1V10-AGIS Nssi

1V10-AGIS nssi

41332 KY GREEN HAZEL H70 ACA) GREEN HAZEL SEPI ELCHANAN C A000209 REGRO 031 HAZE301 BCAO i1413?? introduction her 202, thaneverbefore in d high fidelity.

So it may surprise you to learn how good Baxandall controls, though they're more the 202's AM section is. expensive than the simple attenuators most Sensitivity? 10 microvolts. Selectivity? 44 low-priced (and many high-priced) receivers dB. Image rejection? 40 dB. use,are a much better way of boosting or cut- Sounds more like FM than AM specifica- ting back bass and treble. tions, right? That's exactly what we had in mind. Besides bass and treble controls, the 202 Even on the 202, our lowest -priced AM / FM has an illuminated computer -type function stereo receiver, AM sounds almost as good as switch (AM, FM, phono, and two auxiliary func- FM mono. tions), a volume control, balance control, 100 watts is a lot of power for $249.95. speaker selector switch. And there's a loudness contour switch, FM muting switch, stereo/mono Technology has brought us a long way. We switch and a tape -monitor switch. can remember (and it wasn't so long ago) when In the back are jacks for almost every func- even the top receivers made didn't have as tion conceivable. much power as the new $249.95 Fisher 202. Power is important, not just to blast the The appearance. neighbors, but to drive today's watt -eating Some people think the new Fisher 202 is speakers at any volume level without strain. the most beautiful component Fisher has ever And it takes power to drive, not just one, produced, regardless of price. but two pairs of speakers (main and remote) at Now we're not casting aspersions on the concert levels. rest of the Fisher line, which has been widely 100 watts (or 25 watts per channel r m s ) imitated. is a lot of power. But the 202, with its black -out panel and Of course, power is useless without low lighted dial pointer, has a certain simplicity distortion. And the Fisher 202 has only 0.8% about it. (We think it's gorgeous, but perhaps harmonic distortion at rated output. That's we're biased.) clean! Technology defeats inflation. IM distortion is a low 1.2%. As prices rise, it's become more important And the power bandwidth includes every- for hi-fi companies to spend time and money on thing humans are capable of hearing: 25 to research. Because only research will provide 20,000 Hz. less expensive ways to achieve good sound in All of which merely proves that the 202's the home. power isusablepower. The Fisher 202 is the best example of this The controls. we know. This is an area in which Fisher has always excelled. Our receivers all include Baxandall tone controls, and the 202 is no exception. The Fisher CIRCLE NO. 26 ON READER SERVICE CARD Now, with the of the FE $249.95 buysmore the historyc

In an inflationary economy, technological Years ago only the best tuners around had progress is the sole remaining antidote to ris- a sensitivity rating as low as the new Fisher's ing prices. 2.5 microvolts. (That's sensitive enough to pull Your dollar buys less meat, bread or coffee in those weak, distant signals, and make them than ever before-but more penicillin and more sound like strong, local stations.) airplane miles. Also, luckily for you, more high Only the most expensive equipment had a fidelity. selectivity figure as good as the new Fisher's We sincerely believe that the new Fisher 42 dB's. (It will pull in that weak, distant sta- 202 stereo receiver represents a particularly tion, even if it happens to be located right next significant milestone in this deflationary evolu- to a powerful, local station on the dial.) tion of technology. Never has so much high - It's not only important for a receiver to quality electronics been packed into such a bring in a weak station, adjacent to a strong complete package for so little money. The signal, it's also important to be able to reject a search for low-cost solid-state performance has weak signal when it turns up at the same point finally paid off in a big way. on the dial as a strong one. The figure that measures this is capture ratio. And in the 202, it's The Fisher 202 has an incredibly good only 3 dB. (The lower the number, the better.) FM tuner section. Signal-to-noise ratio is 60 dB. Not many Modern technology has permitted tremen- receivers under $30C have a figure like that. dous improvements in FM reception, even in a (For all practical purposes, the figure, 60 dB, low-priced receiver like the Fisher 202. means that you can't hear any hum, noise, etc. omi mime= No on the tuner itself might generate.) Mail this coupon Now, a word about image rejection. for your free copy of Remember how in a lot of the old-fashioned The Fisher Handbook, 1970 edition. This reference guide equipment you heard the same station at sev- to hi-fi and stereo also eral different points on the FM dial? Well, the I includes detailed information Fisher 202 has eliminated that problem.(Image I on all Fisher components. rejection: 50 dB.) Fisher Radio I11-33 46th Avenue As for stereo separation, the 202's 35 dB Long Island City, N.Y. 11101 is about as good as it is possible to achieve on FM, no matter how much you pay. IName And to eliminate between -station noise IAddress while tuning, there's in FM muting switch.

IICity State Zip 0200701 Now, for the AM section. IM ME 1.1 11111 NM Mi MI NMI For years, AM sections, even when they OVERSEAS AND CANADIAN RESIDENTS PLEASE WRITE TO FISHER RADIO INTERNATIONAL, LONG ISLAND CITY, N.Y. 11101. were part of expensive receivers, got short PRICES SLIGHTLY HIGHER IN THE FAR WEST. shrift. Vinyl -covered wood cabinet, $14.95. Fisher is pleased toannounce the revaluation of the dollar. THE FISNEll 'NON()

*1 202 A1JA, 1 With two exceptions-the Mode Selector As a result the caliber of the 1219's performance which lowers the tonearm base for single play, and is very exclusive indeed. the arm's true gimbal suspension -you'll find a lot of Some of the 1219's features are highlighted features like the 1219's on one automatic turntable below. You should be able to make any comparisons or another. you like very easily. After all, every turntable has to rotate records, These and other features are described much and every tonearm has to track them more fully in our literature. It's yours for the asking, But all the features of the 1219 are quite together with complete reprints of test reports from different than those you'll find on any other independent laboratories. turntable. They're engineered to finer tolerances, United Audio Products, Inc., function with greater accuracy and do precisely 120 So. Columbus Ave., Mount Vernon, what they're supposed to do. New York, 10553 Dual

Not all of these Dual 1219 featuresare exclusive. But thewaythey perform is.

One-piece spindle rotates with Counterbalance with hundredth - platter; doesn't need record to gram click stops makes turn it. And the multiple -play adjustment easier. Foster too. spindle doesn't have to come out Tonearm centered and balanced Especially when interchanging when the records come off; saves within concentric rings of gimbal cartridges of different weights. wear and tear on the owner too. suspension. All four suspension points have identical low - friction bearings. Platter isn't just 12 inches wide and 7 pounds heavy. It's Stylus force is applied around dynamically balanced too. the pivot by a small fraction of a 83/4" tonearm is the longest of long coiled spring. Arm remains any automatic and its tracking balanced in every plone. error is the lowest.

Motor provides high starting Unique Mode Selector provides torque plus synchronous speed 15° stylus tracking in both single - constancy. Drive system adds play and multiple -play modes. 6% pitch control.

Anti -skating control is calibrated separately and differently for elliptical and conical styli. Naturally, since each type skates differently.

Cue -control needs only light touch. Tonearm movement is damped in both directions. And slow descent functions during all automotic starts as well.

$175.00 CIRCLE NO. 12 ON READER SERVICE CARD STEREO REVIEW StereoFORMERLY MI FI/STEREO REVIEW eview AUGUST 1970 VOLUME 25 NUMBER 2 THE MUSIC THE BASIC REPERTOIRE Haydn's Symphony No. 88 MARTIN BOOKSPAN 49 INTRODUCING JOHN DENVER A gifted singer -songwriter of unaffected simplicity NOEL COPPAGE 60 STEREO REVIEW TALKS TO RENATA SCOTTO Continuing a series of interviews with recording artists WILLIAM LIVINGSTONE 70 WHAT LOUIS ARMSTRONG AND JAZZ ARE ALL ABOUT A birthday tribute to an influential artist HENRY PLEASANTS 98 WHALES CAN'T SING, SILLY! Is the humpback whale nature's newest "singing" sensation? PAUL KRESH 100 THE EQUIPMENT. NEW PRODUCTS A roundup of the latest high-fidelity equipment 18 AUDIO QUESTIONS AND ANSWERS Advice on readers' technical problems LARRY KLEIN 22 AUDIO BASICS The Ear }I.\ \ S H. FANTEI 26 EQUIPMENT TEST REPORTS Hirsch -Houck laboratory reports on the Marantz 22 'stereo FM receiver, the James B. Lansing SE 460 stereo power amplifier, the Astio«nn Marluxillodel407 tape deck, and the Perpetuum-Ebner PE 2038 and 2040 automatic turntables JULIAN D. HIRSCH 29 AUDIO TOKYO Akihabara-a paradise for the bargain -conscious stereophile TOBY SMITH 46 HOW HIRSCH-HOUCK LABORATORIES TESTS LOUDSPEAKERS Which factors are measured and how the data is interpreted JULIAN D. HIRSCH 53 THE LOUDSPEAKER AND THE LISTENING ROOM Installing the Speaker in the Room LARRY KLEIN 64 Speaker Performance and Room Size RALPH HODGES 67 INSTALLATION OF THE MONTH A Professional's Approach RALPH HODGES 69 TAPE HORIZONS Off the Beaten Track CRAIG STARK 108 THE REVIEWS BEST RECORDINGS OF THE MONTH 71 CLASSICAL 77 ENTERTAINMENT 93 STEREO TAPE 103 THE REGULARS EDITORIALLY SPEAKING WILLIAM ANDERSON 4 LETTERS TO THE EDITOR 8 GOING ON RECORD JAMES GOODFRIEND 44 ADVERTISERS' INDEX 108 Cover: Photograph by Bruce Pendleton: Design by Borys Patchowsky. Paper sculpture by Shinichiro Torn. Copyright:0 1970 byZiff -Davis Publishing Company.Allrights reserved.Stereo Review. August. 1970. Volume 25. Number 2. Published monthly at 307 North Michigan Ave., Chicago. Illinois 80801. by ZiffDavis Publishing Company-also the publishers of Airline Management and Marketing Including American AviationBoatingBusiness & Commercial Aviation, Car and Driver. Cycle. Electronics World. Flying. Modern Bride.Popular Electronics.Popular Phologranhy. Sk intr.Skiing Area News. Skiing Trade News. and Travel Weekly. One year subscription rate for U.S.. U.S. Possessions and Canada. 57.00: all other countries. $8.00. Second class postage paid at Chicago.Illinois and at additional malliter offices. Authorised as second class mall by the Post Office Department. Ottawa, Canada. and for payment of Postage In cash. SUBSCRIP- TION SERVICE: Forms 3579 and all subscription correspondence should be addressed to Stereo Review. Circulation Deoartment. P.O. Box 11190. Flushing. N.Y. 11352. Please allow at least six weeks for change of address. Include your old address. as well as new-enclosing if possible an address label from a recent issue. Stereo Review PUBLISHER LAWRENCE SPORN EDITOR WILLIAM ANDERSON MANAGING EDITOR WILLIAM LIVINGSTONE MUSIC EDITOR JAMES GOODFRIEND TECHNICAL EDITOR LARRY KLEIN ASSOCIATE EDITOR ROBERT S. CLARK EDITORIALLY SPEAKING ART DIRECTOR BORYS PATCHOWSKY LOOKING FOR LEMNITZ ASSISTANT TECHNICAL EDITOR RALPH HODGES AMONGthe many differences between classical music and popular music there PRODUCTION ASSISTANT MICHAEL MARK is one, perhaps because of its obviousness, that is often overlooked: by CONTRIBUTING EDITORS and large, classical music is composer -centered, and popular music is performer- CLIVE BARNES MARTIN BOOKSPAN centered. Proof of this is not hard to come by-record-company catalogs, the NOEL COPPAGE monthly Schwann Catalog, and record magazines the world over acknowledge HANS H. FANTEL DAVID HALL this difference in their listings. Popular -music composers are seldom credited DON I{ECKMAN JULIAN D. HIRSCH for their efforts on record jackets (their publishers almost always are), andoc- BERNARD JACOBSON GEORGE JELLINEK casionally they even fail to get their last -name -only mention on the disc label. IGOR KIPNIS PAUL KRESH And although the late proliferation of composer -performers may be having its ILEX REED PETER REILLY effect on their awareness, few people, if put to the test, could name the composer ERIC SALZMAN CRAIG STARK of Smoke Gets in Your Eyes, let alone any of their current pop -song favorites. LESTER TRIMBLE What they can tell you, however, is the name of the performer, which leads me LONDON EDITOR IIENRY PLEASANTS to suspect that the burden of musical communication in the case of popular music ADVERTISING DIRECTOR lies mostly on the interpreter, and that it has already been preempted by the ROBERT UR composer in the case of classical music. This is not to gainsay the valuable contri- 'ADVERTISING MANAGER JAMES J. SULLIVAN butions of classical performers, but merely to suggest that the music itself is of ADVERTISING greater importance than anything they might be able to do with it. This may ex- SERVICE MANAGER plain why it is possible to enjoy great classical music even in a miserable perform- MARGARET DANIELLO ance. GROUP VICE PRESIDENT But this difference which makes itself felt so pervasively in the cataloging ELECTRONICS & PHOTOGRAPHIC FURMAN HEBB of recordings of classical music poses an occasional problem for listeners. Even in ASSISTANT PUBLISHER classical music it is possible (some would say inevitable) to develop performer- J. ROYCE RICHARD favorites-singers, instrumental soloists, conductors, and even whole orchestras. S./Mori:A .111.1LN...it:the Offices KIIIDiti.s .U311,11i11it t'npatty One Park Avenue. New York. New York 10016 But ordinary catalog sources just don't work that way. A reader newly enslaved 212 .1711-721i0 Andrew Kuhn Miubestern Office to the enchantments of the harp wrote recently for help in locating recordings of 307 Noon Michigan Avenue. Chicago. Illinois 80601 312 720,181:2 Midwestern Advertising Manager: James Weaklee harp music, and I was glad to oblige-by referring him to the Schwan,: Catalog Western Office 11025 Wilshire Boulevard Beverly Hills. ualifornia 90211 Artist Issue, a publication that does work that way, if only you are lucky enough 213 CRestview Ilitadshaw 2.1161 Western Advert...tog Manager: Bud Dean to have or find a copy. Japan: James Yagi 4. Sakuragaoka. Shibuyaku Ishikawa Mansion. Tokyo. Japan The last edition of this useful compendium appeared in 1966, long enough Telephone: 402.2911-3 Circulation Office P.O. Box 1099. Flushing. N.Y. 11352 ago to make it almost mythical for most people, but I am happy to report that LDITORIAL CONTRIIHiTIONS must be accompanied i,yreturn postage and will he handled with reason able care: however.7ti,,li,her assumes no responsi another (the seventh of its ilk) is on press as of this writing. Its 320 pages of diity for return or safety of art work. photography or manuscript.. closely set type are divided into sensible chapter headings: Orchestras, Trios, Quar- Member Audit Bureau of Circulations tets, Etc. (from Aachen Symphony to Zurich Radio Symphony Orchestra-conductors included) ;Conductors (Claudio Abbado to Algis Zuraitis-orchestras included) ;Initmmental Soloists (by instrument-accordion to zither) ;Choral Groups (Aachen Cathedral Chorus to Zemel Choir) ; Operatic Groups (Accademia di Santa Cecilia to Washington Opera Society Orchestra and Chorus) ; and Vocalists ZIFF.DAV1S PUBLISHING COMPANY VI I1 tam Ziff. President (from baritone Georges Abdoun, whoever he is, through soprano Tiana Lemnitz, W. Bradford Briggs, Executive Vice President Ilershel B. Sarbin. Senior Vice President stanley R. Greenfield. Senior Vice President to soprano Teresa Zylis-Gara). All, with the exception of the conductor list- rhino Sine. Financial Vice President Wolter S. Mills. Jr., Vice President. Circulation ings, include composers, works, and record numbers. Itisas much fun to Phillip T. Heffernsn. Vice President. Marketing Frank Pomerantz. Vice President. Creative Services browse through as any dictionary, but of course it is eminently useful to col- Arthur W. Butzow, Vire President. Production Edward D. Muhlfeld. Vice President. Aviation Division Irwin Robinson. Vire President. Travel Division lectors as well. It will be available at your local record dealer's by the time you George Morrissey. Vice President Sydney H. Rogers, Vice President read this-but hurry. Schwann never prints enough of these, and they go like hot cakes.

4 STEREO REVIEW When our engineers told uswhat the new VARIFLEV SpeakerSystems could do ...we didn't believeit.

justed.1 he engineer merely the vari- decotatively or unobtrusively into any room planulardiscthisway andthat ...and scheme ...even as built-ins with an optional rotated the swivel mount a little to the left, roll out base. a little to the right... and that was all there What about quality? was to it. It seemed too easy to us. But after about two minutes, or maybe a shade less. That was an unnecessary question. they were ready. We were asked to stand The W80's are Achromatic Speaker Sys- anywhere in the room. Then we were treated tems-and therefore are critically engineered toafineperformance of Tchaikovsky'sin the uncompromising tradition of excel- Pathetique. "Walk about." they suggested. lence. After allall when we were told that two We did and we were amazed. It was true A suggestion to all skeptics. speaker systems can be placed end -to -end stereo everywhere and anywhere. There was as a console, or at various spacings apart, or none of the splatter or surround effect asso- Believe your own ears. Just visit a any distance from the wall, or at almost any ciated with omnidirectional systems. We had Wharfedale dealer, and ask for a dramatic height between ceiling and floor, and stillto admit this was a "first" for all of us and demonstration. Start walking around as a project flawless stereophonic reproduction we found it difficult to restrain our excite-disbeliever ... you won't be one for long. to all areas of a room simultaneously ... we ment. You'll be as amazed as we were. Wherever were skeptical ... but there are three ways to you pause, you will be aware of distinct may deal with a skeptic. Third, do it yourself. stereophonicseparation, ... Variflex "Now." they suggested. "you try it." well be the component speaker innovation First, tell it like it is. It looked like fun. We each took a turn ad- of the 70's. Engineers love to explain things, so justing the speakers. Only one thing bothered For full specifications on the W80 that's what they did. Variflex Speaker Sys- us. The W80 makes everybody with finger and all Wharfedale Systems write: Wharfe- tems, we were told, are not like any other tips an instant expert. Then they asked usdale, division British Industries Co., Dept. speaker systems past or present. They are questions. HK50, Westbury, N.Y. 11590 unique because they are the only reflective speaker systems that are completely adjust- What acoustical problem is solved? able. In the rear of each unit is a variplanu- A very important one. Since almost lar disc set in a universal swivel mount. This all rooms are acoustically unbalanced, fixed disc, they said, can be finger tip adjusted for directional systems, conventionally placed, Achromatic Speaker stems any combination of vertical to horizontal are too rigid to overcome this deficiency. positions. Once adjusted for correct acousti- Only the amazing flexibility of the new Vari- cal reflection, the speaker systems would pro- flex Speaker Systems can provide "all over" vide overall stereophonic reproduction as balanced stereo. promised ... and furthermore, we were told, we could move about the room freely and What will women say? never lose that important sense of program "It's about time," probably. W80's source characteristic of concert hall per- are a woman's dream. They are never un- formance. welcome intruders. Since they are reflective systems, the front of the cabinets resemble Front view of two W 80's Second, put it to the test. fine pieces of furniture. Because they permit mounted on optional base We watched as two W80's were ad- placement versatility, they can be inserted CIRCLE NO. 101 ON READER SERVICE CARD Acoustic Research has measured the response ofmore than a million high-fidelity speakers.

Here are some things we have learned about testing.

Fidelity Means Accuracy - Accuracy distinguishes high-fidelity speaker systems from the Graph (1) is the frequency response speakers in simple radios and phonographs. It is therefore rea- of a midrange driver unit of an AR -3a, sonable that evidence of accuracy should take precedence over on axis. This corresponds to what one descriptions of a speaker system's size, shape or theory of design. would hear outdoors, listening directly in front of the speaker. (2) shows Acoustic Research offers exact measurement data for all AR what happens when a listener moves speaker systems to all who ask for it: music listeners, audio enthusi- over to one side of the speaker in 15° asts, science teachers, even competitors. increments. (3) is the integrated The accuracy of a speaker system can be evaluated by listening power output of the AR -3a above tests or by measurement. Both methods give the same information 1000 Hz, measured in a special rever- in different ways. berant chamber. Reflection from the walls of the chamber mixes together Testing far Accuracy all of the sound emitted by the To perform a listening test, an extremely accuraterecording must speaker system in all directions, an be made and played back alongside the original effect much more like that of a source of sound. listening room than the anechoic Amplifier and speaker system controls are adjusted to obtainas chamber used for (1) and (2). A close a match as possible, and the speaker system judged bythe speaker system which measured well degree of similarity. Acoustic Research has presented publiccon- in both types of chamber would be certs at which the Fine Arts Quartet and other musicians could be accurate under almost all listening compared to recordings played back through AR speakersystems; conditions. even seasoned critics were deceived. Obviously, listening tests The graphs are made by connecting cannot be made with commercial recordings of music since the the speaker system to an oscillator listener has no way of knowing which adjustment is mostaccurately which slowly changes frequency. In reproducing the recording. the chamber is a microphone con- Objective Measurements nected to a motor -driven pen writing on a moving strip of paper. If the While it is not always convenient to carry out scientifically controlled speaker gets louder or softer, the pen listening tests, properly conducted measurements can give the moves to one side or another on the same information in permanent, quantitative form. AR knows paper. Since the oscillator connected something about this, having already tested the response of well to the speaker does not change level as it changes frequency, movements over a million speakers - every one that we have ever made, of the pen indicate errors in the and many made by competitors. Our findings are that the most accuracy of the speaker system: an important measurements required to assess the accuracy ofa ideal speaker, that is, one with no speaker system are (1) frequency response on -axis, (2) frequency errors, would produce a straight response off -axis, (3) integrated power output. horizontal line.

6 STEREO REVIEW Full AR speaker system specifications are available free uponrequest. These include: (1) frequency response on axis, (2) frequency responseoff axis, (3) integrated power output, (4) typical system power output,(5) harmonic distortion, (6) impedance, (7) transient response.

Integrated power output curves. vertical divis ons = 1/2 db

it M

MN_ 1111111..§ I =SUM MM MESON MI MN =EMMEN MI MEI 1MtM _ B=MI=MINI SEWN NW 1 1-7- ti I

- - MO'nil ---- -..-1.-11. rarem-4,y..41311% --t zugs. TT- -- =MU ...I C. - , t I . _4- L 2:1,911,1 2 .222:2 -4-,

0111INEWM MINN OE

; 41 - 0 7 8 9 2 5 0 7 89 1 2 3 4 000 10000 1000 10000 Integrated power output of the AR -3a and AR -5 above AR -3a and AR -5 with high-priced magnetic cartridge. It is 1,000 Hz. The source used in this case was a test oscillator. interesting to see that the cartridge introduces somewhat This curve corresponds to performance of a complete sys- more degradation of the signal than the speaker system, at tem, with AR -3a or AR -5 speaker systems, when the program least in the frequency range observed. Nevertheless, a small source is a properly operating F -M tuner or receiver. adjustment of the amplifier treble control could restore uni- formity of response.

M :

3 4 0 7 5 0 7 10000 4 8 10000 1000

AR -2a' with moderately -priced magnetic cartridge. Although A very expensive speaker system and $75 cartridge. Even if not as accurate as the AR -5 or AR -3a, the AR -2a' displays the an equalizer were used to remove the 4,000 Hz "valley"in this same kind of performance, that is, its integrated power out- system, its roughness would exceed that of the AR -2a'. The put curve is relatively level. Because its dispersion, especially uneven response is caused by mechanical resonances inthe in the lower midrange, is less uniform, the AR -2a' is more loudspeakers used in this system. They are severe enough to dependent on optimum placement than the others. be heard from any listening position in a typical room.

._=11312111:23111 =-12=2:22:=11==.11C=023 ===Enniftry,=1112.."muiEnr10511 1 ===2"Mmilie"Manning.nos% mralnim

-.71MERMS:Hin"

f -

2 3 4 5 7 8 O 1 1000 10000 A "multi -directional" system and $75 cartridge. Such sys- Acoustic Research Inc. tems are designed to take advantage of room reflections to 24 Thorndike Street, Cambridge, Mass. 02141 smooth response and create spatial effects. CIRCLE NO. 1ON READER SERVICE CARD 7 AUGUST 1970 choose between listening to pop and listening to serious music any more tharrit shnutd- be necessary to give up eating macaroni and cheese because one likessteak. However, though babies can be fed macaroni and cheese, they have to grow up a little before they can digest steak. JIM WILLIAMS New York, N. Y.

The Editor comments: "To generalize: if there is anything that will equal the contempt rock enthusiasts have for classical music,itis the contempt classical academics have for rock. 'Sweet reason' attempts to give both devils their due (or sympathy, if you will). The enjoyment of one certainly does not depend on the destruction of the other, but entrenched reactionaries on both sides would apparently like us to think so. Rock music is simple music; that does not make LETTERS TO THE EDITOR it contemptible. Perhaps we'd all be happier if we recognized it for the folk music it is. It will then become the serious concern of June Cover also buy only tapes,I would prefer to buy ethno-musicologists, and rock fanciers will After you devoted so many words to the rather than dub. The packaging and program have won the intellectual respectability they early Columbia demonstration disc which notes are better on prerecorded tapes than yearn for." your staff member purchased with the Mig- the home collector can do. But the American nonphone featured on the June cover, I was recording companies have neverreleased Disc Quality surprised to discover that the record on the many of their albums on tape; in Europe, James Goodfriend makes some very in- antique phonograph'sturntableisVictor London and Deutsche Grammophon did for teresting points in his May "Going on Rec- 18688, the Peerless Quartet's rendition of a while, but have now caught the cassette ord" column. The need to increase the audi- Swanee. mania. Where does this leave us open -reel ence for classical records is pressing. There My copy of the Columbia disc differs diehards? Nowhere. Most of us are working are few areas oflife where being "con- fromyours,inthatimpressionnumber people who have invested a lot of money in demned to the present" (a memorable phrase 16949-8-59appearsonsideone,while sound systems. For that reason the cassette whose source eludes me) has such stifling 19104-1-48 appears on side two. Also, my or cartridge does not satisfy us at all. Most results asinthat of aesthetic experience. copy boasts patent dates of January 2, 1906, of us know that we can get a far better copy Surely it is depressing to think of the wealth and February 11, 1908, in addition to those by dubbing a new record borrowed from a of music people casually deafen themselves found on your friend than by buying the cartridge or cas- to. JOE FISCHER sette. So we do it-but reluctantly. But in winning new listeners for this heri- Indianapolis, Ind. The young should definitely have a chance tage one must not neglect the old. Speaking to buy cassettes, which suit their mode of as one who has recently become a hesitant Record Cataloging living and listening much better than any and occasional buyer of the product after Earl Clark ( -Storing and Cataloging the other recording format. However, my group years of rabid and intemperate collecting, Large Record Collection," June) compounds accounts for a small but fairly dependable and this solely because of the poor quality rather than simplifies the problem of index- slice of the market, and should be given of disc surfaces, I must insist that the Ameri- ing and filing records. Where does he file more consideration. Without it, we are a can record companies have no more urgent Angel 35658-under Symphonies, for the lost market so long asitis cheaper and task than to improve drastically the quality Beethoven Second, or under Overtures, for sonically better to borrow and dub ("pirate" of their finished product. the Coriolan and Prometheus? And Wein- if you like). WALTER H. BISHOP gartner's transcription of the "Hammerkla- MICHAEL P. COLE Atlanta, Ga. vier"-under Sonatas or Orchestral? And San Francisco, Cal. why go to the trouble of putting all those We thank Mr. Bishop for "condemned to little numbered and lettered stickers on the Rock and Reason the present"; it is indeed memorable. But is records when the spines already carry num- What makes Christopher Rouse's letter it not just possible that he deserves credit bers and titles (except for the earliest LPs) ? (May) seem so full of "sweet reason" to for melting down and recasting Santayana's The truth of the matter is that there isa the editors? Rock may be of interest to many observation that those who don't know his- simpler way. File alphabetically by manu- musicians, but this may not necessarily be a tory are condemned to repeat it? facturer's name, then numerically by man- record -collecting or rock -composing type of ufacturer's number, and make a 3 x 5 card interest. I doubt there is a single musician in I'dlike to thank Eric Salzman for the file by composer (and artist,too,if you the country who is not interested in rock -- thoughtful and well -written reviews he so want to be really thorough) for each com- but only to the extent that he wants to un- regularly turns out.Ithink-andImean position. Simple enough? derstand what makes certain people like rock this-that he is the best reviewer now in the ALAN WARREN so much, and perhaps through this under- business. Philadelphia,Pa. standing to be able to bring these people to I'd like to thank him particularly for the a more perceptive understanding of and re- concern that he shows regarding the sonic The Music Editor comments: "As for me, sponse to classical music. quality of recordings nowadays, primarily I'm going back to leaving my records un- Itoo am a student of composition ata piano recordings. I agree with him that the der the couch. 'So save the world by clown- great music school. In all my years of study piano asitis being recorded today bears ish works/From generals and filing clerks.' " Idon't recallever knowing a student of scant resemblance to the ones I hear in con- composition who took equal pride in com- cert. It is a source of great pain to me and to A Pirate's Manifesto posing rock or pop music and serious music, several of my friends. Yet we know that

I am a member of the smallest minority of unless his serious music was not very good. nothing will be done unless Mr. Salzman, the recording -consuming public, the open - Some ask, "Why not teach rock in college?" and others like him, bring up the subject. I reel tape collector.I have recently dubbed a But rock is taught in college: students learn have just bought the complete set of Baren- number of borrowed recordings onto tape 85 per cent of what underpins rock music boim's Beethoven sonatas, and have found because I despaired of ever seeing those re- when they learn to build the basic structures the quality of the records execrable. cordings on commercial open -reel tape. of triads and seventh chords. So thanks again for the good work. Don't Frankly,like many of my friends who I agree that it should not be necessary to (Continued on page 12) 8 STEREO REVIEW r 14 15 1 2 3 4 5 6 7 8 9 10 11 12 13 16 17 18 19 2021 222324252627282930 31 3233 343536 37 383940 41 4243 4445 46474849 50 51 52 53 54 55 56 57 58 59 60 FREE 61 626364656667686970 71 72 737475 7677 78 798081 82 8384858687888990 91 9293949596 979899100101102103104105 INFORMATION 106107108109110111112113114115116117118119120 121122123124125126127128129130131132133134135 136137138139140141142143144145146147148149150 151152153154155156157158159160 SERVICE SC 870 PLEASE PRINT aHere's an easy and convenient way for you NAME to get additional information about products advertised or mentioned editorially in ADDRESS this issue. Just follow the directions below ...and the literature will be sent to you promptly and free of charge. CITY STATE ZIP CODE (Zip Code must be included to insure delivery) (Void 90 days after date of issue) Tear out one of the perforated postage -free 13 14 15 cards. Please print or type your name and 1 2 3 4 5 6 7 8 9 10 11 12 address where indicated. 16 17 18 19 20 21 222324252627282930 31 32 33 34353637 383940 41 42434445 Circle the number on the card that corre- 46474849 50 51 52 53 54 55 56 57 58 59 60 sponds to the key number at the bottom of 61 62 6364656667 686970 71 72 73 74 75 the advertisement or editorial mention that 76 7778 7980 81 8283848586 87 888990 interests you. (Key numbers for advertised 91 9293949596979899100101102103104105 products also appear in the Advertisers' 106107108109110111112113114115116117118119120 Index.) 121122123124125126127128129130131132133134135 136137138139140141142143144145146147148149150 Simply mail the card. No postage is re- 151152153154155156157158159160 SB 870 quired. PLEASE PRINT NAME This address is for our "Free Information Service" only. All other inquiries are to be directed to, Stereo Review. One Park Ave., ADDRESS New York, N.Y. 10016. CITY STATE ZIP CODE The "Free Information Service" is available (Zip Code must be included to insure delivery) (Void 90 days after date of issue) to all readers of STEREO REVIEW. If your

copy is passed along, the next reader can 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 also take advantage of this Service. All they 16 17 18 19 20 21 222324252627282930 have to do is tear out one of the remaining 31 3233 343536 37 38394041 42 43 4445 cards and follow the same directions. 46 474849 50 51 52 53 54 55 56 57 58 59 60 61 6263 646566 67686970 71 72 73 7475 gSTEREO REVIEW's Free Information Serv- 76 77787980 81 82 8384 858687888990 ice makes iteasier for you to "shop by 91 9293949596 979899100101102103104105 mail." 106107108109110111112113114115116117118119120 121122123124125126127128129130131132133134135 136137138139140141142143144145146147148149150 151152153154155156157158159160 SA 870 PLEASE PRINT NAME

ADDRESS

CITY STATE ZIP CODE (Zip Code must be included to insure delivery) (Void 90 days after date of issue) FREE INFORMATION SERVICE 1

FIRST CLASS PERMIT NO. 24475 Stereo Review MAY 1970 60 CENTS PHILADELPHIA. PA. FROM MASTER TAPE TO DISC: HOW RECORDINGS ARE MADE BEETHOVEN'S 32 PIANO SONATAS THE VANISHING ART OF BUSINESS REPLY MAIL WHISTLING THE COMPOSER -CRITIC: ROBERT SCHUMANN NO POSTAGE NECESSARY IF MAILED IN THE UNITED STATES

POSTAGE WILL BE PAID BY - Stereo Review P.O. BOX 8051 PHILADELPHIA, PA. 19101 a -la

FIRST CLASS PERMIT NO. 24475 PHILADELPHIA, PA.

BUSINESS REPLY MAIL NO POSTAGE NECESSARY IF MAILED IN THE UNITED STATES

POSTAGE WILL BE PAID BY - Stereo Review's Free Infor- mation Service can help you select everything for your music Stereo Review system without leaving your P.O. BOX 8051 home. PHILADELPHIA, PA. 19101 By simply following the directions on the reverse side of this page you willreceive the answers to all your questions about planning and purchasing rec- FIRST CLASS ords, tapes and stereo systems: PERMIT NO. 24475 how much to spend, what com- PHILADELPHIA, PA. ponents to buy first-and from whom; which records are outstanding and worthy of a spot in BUSINESS REPLY MAIL your music library; how to get NO POSTAGE NECESSARY IF MAILED IN THE UNITED STATES more out of your present audio

system; which turntable . .. car- POSTAGE WILL BE PAID BY - tridge...tuner...headphone... loudspeaker... etc.,will go with Stereo Review your system. All this and much P.O. BOX 8051 more. PHILADELPHIA, PA. 19101 Your next speaker systems should be ready for 2 or3 -channel multi -amp stereo when you are.

CS -A700

Pioneer's two new 3 -way distortion -free sourd and superb multi -amp speaker systems directivhy, both systems incorporate permit you io mprove your Pioneer's advance cesign speakers stereo system at your in a handsome, oil3d walnut own pace. hit ally they can cabinet with latticework grille. be used as conventional full - Hear them today at -./our Pioneer range speaker systems. Then, dealer. with a flick of a switch, they Pioneer ElectrDnics U.S.A. Corp can be cornered for 2 or 3 - 140 Smith Street. Farmingdale, channel mull -amp stereo use. N. Y. 1 1 735 Both units hak.e the necessary the CS -A500. inputs for the changeover. Specifically designed with low Employing Pioneer's newly crossover frequency points for 00 PIONEER° developed Free Beating cone paper, both the CS -A500 and CS -A700 produce exceptionally CS -A500 CS -A700 clear, clean sound with lower System 50 watt, 3 -way multi -amp 60 watt, 3 -way multi -amp distortion and higher efficiency. Speakers 10" cone woofer; 43/4" cone midrange; 12" cone woofer; 43/4" cone midrange; You'll note a distinctive separation 3" cone tweeter multi -cell horn tweeter of lows, midrange and highs. And 40 20,000 Hz 35-20,000 Hz you can adjust the tone of the Response middle and high frequencies to Impedance 8 ohms 8 ohms suit any room. It's simple with the Dimensions 22 1/2"x13"x123/4" 26"x123/4"x15" twin level controls on the CS -A700 Price $149.00 $179.00 and the single tone control on

WEST COAST: 1335 WEST 134TH ST., GARDENA, CALIF. 90247 CANADA: S. H. PARKER CO., 67 LESMILL RD., DON MILLS,ONTARIO Latigur)

AUGUST 1970 11 give up the fight, Mr. Salzman. Youare not James I.In an era where respect for art alone! and learning walked hand in handwith M. MOLINA violence and repression, it iseasy to see that Los Angeles, Cal. the compromise of exile would be Dr.Bull's most likely lot. Transliteration The thought of Dr. Bull will remind The Music Editor's rather tart rejoinder many people of A. L. Rowse's "The Old to G. M. Kosolapoff's letter in the May is- Music School at Oxford" from The English sue concerning variant spellings of the name Spirit. Picture the scene: ". . . a magic quiet Tchaikovsky makes a valid and interesting has descended upon the stilled and sleepy point-that the transliteration was into Ger- room. Outside, the enchantment of the bells man-but then goes on to confuse the issue. of Oxford in summer has fallenupon the There islittle point in stressing thatif streets and green gardens of the city." The Bach, Beethoven, et al., were rendered pho- narrator's eye roves the oak -panelled walls. netically into English, they would be spelled "There is Matthew Locke. He doesnot seem differently. Mr. Kosolapoff's letter wascon- jealous that I am here, but looks withsur- cerned with transliteration, and since the prise that he has vanished out of the world. whymost mentioned composers' names are originally There in the dark of the corner is Orlando writtenin Roman characters,plus some Gibbons in his flowered satingown. In the diacritical marks, no question of translitera- centre, there is the best portrait of them all: tion arises, and the examples are just red a brilliant Elizabethan picture of John Bull, hifi herrings. as bright now as the day it was painted. The The fact is that there are several varying portrait says anno aetatis suae 27 [in the standards for the transliteration of Russian, year]1589. There he is,asif time had and a deal of nonstandard practice. The im- speaker portant thing, as the Music Editor points out, is to accept a common practice, however it originated, and stick with it. manufacturers CYRIL FLEISHER Marietta, Ga. I found G. M. Kosolapoff's letter about demonstrate transliteration (May) most interesting. As a part-time translator of Russian mathematical papers, Ifind the problem of transliteration with the somewhat bothersome, since there is no uni- versally accepted system. There are, tomy knowledge, three currently used:as numbered below, they are (1) that used by the Crown DC300 Library of Congress; (2) one used by the American Mathematical Society in its Mathe- matical Reviews, and (3) a German system It'sno secret to encountered in the literature.Ithought it hi-fi show goers would be amusing to compare our "common" that Crown DC300's are at work in spellings with consistent transliterations of almost every independent speaker some Russian composers' namesinthese manufacturer's exhibit. And,if you systems. could visit their factory design labs JOHN BULL( c. 1562.1628) and test chambers, you wouldsee Common Spelling (1) stayed him at my time of life; had laida DC300's in nearly every plant too. Tchaikovsky We don't Chaykovskiy finger upon him, and stilled the tide of the havetotellyouwhy. Prokofiev Prokof'ev ceaseless unchanging waters; a face long and Speaker manufacturers areinter- Cui Kyui ridged, auburn hair and candid narrow brow, Stravinsky ested in hearing their speakers, not Stravinskiy neat sparse beard and delicate linedlips. the amplifier. And the Crown DC300 Shostakovich Shostakovich But the main feature of the face, the cold is the only amp in the world which Rachmaninoff Rakhmaninov grey eyes, full of the awareness of death. can deliver a signal so pure that Khachaturian Khachaturian He must have charmed his contemporaries distortion is practicallyunmeas- (2) (3) and been beloved by them. Dr. Bullex- urable, at any listening level. Calovskir emplified Sir Henry Wotton's ideal ofone Plus Tschajkowskij "Whose passions Prokof'ev Prokof'ev nothismastersare;/ adequate power to reproduce all of Whose soulisstill the criticaltransient signals with- Kyui Kjui prepared for death,/ Stravinskii Untied unto the world by care/ Of public out overload.Does thattellyou Stravinskij fame or private breath." Sostakovie Schastakovitsch something about how your system DAVID WILSON could sound with a DC300? Rahmaninov Rachmaninov Haeaturian Chatschaturian Carmel, Cal. ROBERT KNAPP The Viola Stillwater, Okla. It was a particular pleasure for me to 300 watts/channel RMS into4 f) read Lester Trimble's lucid and comprehen- IMdistortion under 0.05%, 1/10 John Bull sive review of the Walton and Hindemith watt to 300 watts JohnBull may rightly be called, as he Viola Concertos (March) as performed by S/N 100db below 150 watts RMS was by Igor Kipnis in a May review, the into 8f? Paul Doktor (Odyssey 32 16 0368). His re- "Horowitz of his day," or even the Grand- marks concerning the viola warrant careful 3 -year warranty on parts and labor father of the Baroque, but he was certainly consideration. damping factor greater than 200 not a seventeenth -century Richard Burton, The belief that the viola does not serve as Kipnis suggests. Amorous courtier though well as a solo instrument has been prevalent he was in his Elizabethan youth,it passes for some time. The traditional arguments belief that he entered his fifth decade cuck- were that because of its size, it was not as olding swains; more readily believableis technically adept as the violin. But improved that his Catholic recusancy became insup- BOX technical concepts have shown that there is 1000, DEPT.SR8,ELKHART, INDIANA 46514 portabletohis royal CIRCLE NO. 8 ON READER SERVICE CARD vacillating master, (Continued on page 16) 2 STEREO REVIEW Secondtoone...

Ifit were not for the incomparable Shure V-15 TypeII (IMPROVED) Super -Track, the Shure M91E Hi -Track would be equal or superior to any other phono cartridge in trackability regardless of price! The astouncing thing is that it costs from $15.00 to $50.00 less than its lesser counterparts. And,it features an exclusive "Easy -Mount" design in the bargain. Trade up to the M91E now, and to the V-15 Type II (IMPROVED) when your ship comes in.Elliptical Stylus. 3/4 to 11/2 grams 4M MX ION 7000 SOW MAO ACC DOW FREQUENCY M: tracking. $49.95. Other models with spherical styli, up to 3 TRACKABILITY CHART FOR M91E grams tracking, as low as $39.95. Measured at one Gram S LJ 1=1 E M91E HI -TRACK PHONO CARTRIDGE

0 1969, Shure Brothers Inc., 222 Hartrey Ave., Evanston, Illinois 60204 CIRCLE NO. 35 ON READER SERVICE CARD AUGUST 1970 13 F M STEREO

/SIGNAL 11 2 3 4 5 FM 88 90 9? 94

I I I I I I I I 1 1 1 1 1 1 1 1 1 1 1 I 1 Ir.I IVA I I AM TUNE 1110 f widedialed wonder and linear too

Vaijarit4:03,2 Saussuir.

III 00 90 92 94 96 N 00 011

535 i a a 04

...0...,.®.11.. the Sansui 4000 Here is an exciting new AM/FM Stereo Receiver with outstanding specifications and features...160 watts (IHF) of music power... 1.811 V (IHF) FM sensitivity...wide dial linear tuning...two tuning meters...outputs for 3 sets of stereo speaker systems ...FET FM front end...integrated circuits...just to name a few.. See it, hear it and you'll know why we say that at $349.95, the Sansui 4000 is the greatest value in its power and price range.

14 STEREO REVIEW 98 i 100 102 1011 106

1 Mr I I I I I I 1 1 I I 11.11.I I 1 040 I 1 I I 140 )1 I ,1 1 8001,,,,W KHz 1605 0 1?a° g 1400

ADDITIONAL FEATURES All silicon preamplifierwithspecially designed silicon Two FM Antenna inputs (75 and 300 ohms) for home or transistors for high gain and low noise characteristics. master antennas. Built-in voltage stabilizer that overcomes fluctuations in Two phono inputs (47K and 100K ohms) which match most power voltage. cartridges. Linear scale FM band for the most precise FM station All silicon AM Tuner for greatly improved AM reception. selection. Distortion -free tone controls with friction coupled design. New FM Stereo noise canceler that eliminates noise on FM Black window design that is as practical as it is attractive. stereo broadcasts without affecting high frequency char- Plus: foolproof output terminals, two AC outlets on rear acteristics. panel, high -and low-cut filters, loudness control, headphone Two tuning meters for almost unbelievable pinpoint ac- jack, DIN connector, muting switch, stereo reverse and curacy. mono -stereo switches, noiseless push button switches, Exclusive dial indicator which is actually an electronic de- speaker selector indicator, protector indicator, heavy fly- vice that illuminates in orange for AM and red for FM. wheel for easy tuning, and much, much more.

ALL NEW FM PACK with FET, noiseless silicon transistors in the Sansui 4000's new printed circuit design features separate P. C. 2nd RF mixer and oscillator stages fo the highest sensitivity and modules with plug-in multi -connectors for FM MPX, preamplifier selectivity. Newly designed integrated circuits in the four IF am- and driver amplifiers, permitting faster more economical servicing. plifiers give the Sansui 4000 outstanding stability and IF rejection.

'"''7-T-="tr337EWPMWF-ttAttttmt-C,-,\;;;A

REAR VIEW SANSUI 4000

SANSUI ELECTRONICS CORP. Woodside, New York, 11377 Los Angeles, California, 90007

SANSUI ELECTRIC CO., LTD., Tokyo. Japan Frankfurt a.M., West Germany Electronic Distributors (Canada). British Columbia CIRCLE NO. 33 ON READER SERVICE CARD pan 15 AUGUST 1970 almost nothing that can be played on the violin that cannot be done on the larger instrument in the hands of a competent violist. Also, due to its dark, centrally located register, people felt that it lacked the powerful singing quality of the cello and the piercing quality of the violin. The fact is, it takes the OUP best qualities from both, the result beinga rich, mellow, and big -sounding instrument whose expressive qualities are limited only by the person who plays it. LAWRENCE. B.WHEELER woofer New York, N. Y. The Boozy Muse When Arthur S. Forman (Letters to the Editor, May) has partaken of his marvelous faces Mendelssohn "Scotch" and his Beethoven Fifth, I would like to offer him five fingers (Les Cinq Droigts) of Stravinsky to begin with, some very good Spanish champagne from Tomas Victoria's "Magnum Mysteri- dawn um" to celebrate, an exotic dessert-Arthur Benjamin's Jamaican Rum-ba-ba, and, as a parting gift, a Beethoven "Waldstein." M. J.MILLARD Vancouver, B.C. Another reference to spiritous liquors in music for your list:Alban Berg's concert aria Der Wein. DANHERZOG Waterloo,Ia. Pro-Coppage Reading the June STEREOREVIEW,I no- tified that Noel Coppage did not have any "pro" letters concerning his article on The Star-Spangled Banner (February). So here is one. Another comment was that he should have shown the virtues of the S-SB. Are there any ? This speaker system distributes its lows If they like, the anti-Coppage correspon- dents may consider me another member of the through a complete circle, then spreadsthem "cry-baby generation," as Richard F. Oles put it in the June Letters column. across your room like a carpet of sound. DAVID J. AHEARN It puts the bottom on the bottom, so you Norwood, Mass. get deep. pure, total bass. We deliver it through a 15 in. high compliance woofer I'm inclined to agree with "Benedict" with an 18 lb. ceramic magnet structure Coppagethatthe S-SB isobsolete-I (the world's largest). This immense woofer could never reach "the rockets' red glare" magnet combines with those of the mid- or the "bombs bursting in air," and I cast range and tweeter drivers to produce over my vote for America the Beautiful. There one millionlinesofforce. More than have been articles and reviews in STEREO enough reason why this magnificent 3 -way REVIEW that I did not agree with, and many speaker system can handle a full 125 watts that I have; if you have any more -propa- of receiver power per channel without ganda," please publish it. overload or burnout. BRUCE TOOTHMAN Our full presence mid frequency driver Mannington, W. Va. makes you feel you're listening to a live Klemperer's Siegfried Idyll performance, while the ultra -sonic domed In the March 1970 issue Martin Bookspan tweeter provides crystal clear response mentioned in "The Basic Repertoire" that all the way to 20.000 Hz. Then... Empire's wide-angle acoustic lens diverges even Klemperer's recording of Wagner's Siegfried the highest of these high 'frequencies Idyll was not available on tape. It is avail- through a full 160 arc. able on tape-cassette, that is-as part of "A Wagner Program" by Klemperer (Angel The enclosureisa hand -rubbed sonic 4XS 35947). The disc version of this cas- column topped with imported marble. This sette does not include the Siegfried Idyll. totally stiff,rigidly damped cabinet pro- Empire's world famous The cassette version is quite good, with very duces no vibrations to color the sound. Royal Grenadier Model clear and wide -range stereo sound. Listen to it. Walk around it. Compare it to 9000M is available thru bet- RUSSELL Low any speaker at any price for absoluteter high fidelity dealers at San Francisco, Cal. fidelity and total transparency. Then see $299.95. Other Empire if you can live with anything else. speakers from $99.95. Mr. Bookspan replies: "My thanks to Mr. Low. At the time of writing about the Sieg- W EEMPIRE Write forfreeGuide To Sound Design For 1970. fried Idyll for 'The Basic Repertoire,' the Empire Scientific Corp., 1055 Stewart Ave., Garden City, N. Y. 11530 Klemperercassettehadnotyetbecome available." CIRCLE NO. 15 ON READER SEPVICE :ARD 16 STEREO REVIEW This isaPlug for High Fidelity's Most Liberal Service Policy:

If any Scott Modutron printed circuit board ever needs service, we'll replace it... free during the two-year warranty period; and for only $10 thereafter

Let's face it... electronic devices are becoming pro- ing its products regardless of age. Even today, Scott gressively more complex, and therefore more difficult owners can bring in amplifiers they bought in 1947, and costly to repair. Scott's first year of production, and receive prompt, Scott engineers have solved this problem two ways complete service. First, they minimized the need for service through careful selection of parts. Then, they went on to simplify SCOTT AUDIO COMPONENT, LOUDSPEAKER SYSTEM, servicing through use of replaceable Modutron circuit AND STEREO MUSIC SYSTEM WARRANTY boards. AllH.H. Scott professional quality tuners,amplifiers, receivers. compact stereo music systems, and loudspeaker WHAT'S A MODUTRON CIRCUIT BOARD? systems are warranted against defectsinmaterial and All major Scott electronic circuits are modularized workmanship for two years from the date of sale to the consumer. The unit must be delivered to and picked up on separate plug-in printed circuit boards. Each board from either an authorized Scott warranty service station or plugs into place on the chassis. This means that a the Customer Service Department, H.H. Scott,Inc.,117 Powdermill Road, Maynard, Massachusetts 01754. failure in any major circuit can be repaired instantly This warranty covers repair and/or replacement of any by plugging in a replacement board. Scott's new Modu- part foundby the manufacturer,orhis agent,tobe tron service policy allows replacement of any plug-in defective, including any associated labor cost. The above warranty does not apply to (1) accessory parts printed circuit board at deliberately low cost . . . no explicitly covered by the field warranty of an original man- matter how long you've owned your unit! ufacturer (2) units subjectec to accidental damage or mis- use in violation of instructions; (3) normal wear and tear; HOW DOES THE MODUTRON EXCHANGE (4) units repaired or alterec by other than authorized service agencies; and(5)units with removed or defaced POLICY WORK? serial number. If your Modutron unit ever needs servicing, here's all you do: Take or ship your component to a Scott Warranty HOW WILL THIS AFFECT FUTURE SERVICE COSTS? Service Station. The 1970 CONSUMERS GUIDE published by BUYERS Your unit will be electronically tested and the prob- GUIDE magazine says . . . "as for out -of warranty re- lem isolated. pairs, modular circuit design can cut service bills by 40-80% compared to what it costs to have a non -modu- The warranty stationwill exchange the defective lar receiver repaired. ' board for a perfect one right from stock, or contact Scott for air shipment. WHAT SCOTT UNITS ARE COVERED? Service is faster than ever before, and you pay only Most of Scott's new receivers, plus all Scott com- a nominal amount for trouble -shooting, any necessary ponents presently under development, incorporate Mod- alignment, and the standardized $10 exchange cost (or utron construction. licluded are the 342C FM stereo the equivalent in 1970 purchasing power) of a perfect receiver, the 382C AM/ FM stereo receiver, the 386 factory -rebuilt Modutron circuit board, providing there high -power AM/ FM stereo receiver, and the Scott 2506 has been no physical damage to the original board. compact stereo systems. HOW DOES THIS AFFECT MY WARRANTY? The Modutron exchange policy is a supplement to Scott's regular Two -Year warranty. During the first two years of ownership, there is no charge for either parts co sc cyrT or labor costs. The Modutron exchange policy is addi- H. H. Scott, Inc. 111 Powdermill Road, Maynard, Mass. 01754 tional protection... assuring you of continued service at minimal cost no matter how long you keep your Scott Export: Scott International, Maynard, Mass. 01754 unit. Scott is proud of its long-standing policy of servic- © 1970, H. H. Scott, Inc.

AUGUST 1970 17 NEWPRODUCTS A ROUNDUP OF THE LATESTHIGH-FIDELITY EQUIPMENT

IMF is marketing the Studio speaker headphone jack. Calibration controlsat the rear of the deck system, a four-way design with a fre- permit adjustment for prerecorded Dolbyizedcassettes. The quency response of 30 to 20,000 Hz -±3 Model 200 measures 143/4x 105/8 x 33/4 inches, weighs 14 dB. The 10 -inch woofer and the 4 -inch pounds, and comes on a walnut -finish base. mid -range units have laminated plastic Circle 145 on reader service card cones. Their rear radiations are directed into "transmission lines"-separate RCA ismarketing four simple audio acoustical paths withinthe enclosure electronic kits. Each is battery operated and that are filled with materials of various Oscillator - Amplifier includes an integrated circuit (IC) along densities and sound -absorbing character- with other circuit components. The kitsare: istics. High frequencies are handled by a microphone preamplifier (KC4000), a a 21/2 -inch tweeter and a 3/4 -inch super two -channel mixer (KC4001),an audio tweeter. Crossover points are at 750, 3,500, and 13,000 Hz. oscillator (KC4002), and an oscillator-am- Separate level controls for the mid -range and high -fre- plifier (KC4003, shown) which hasa rated quency units vary their outputs over a ±2 -dB range in 1 -dB power output of 1/2 watt. Packed in a trans- steps. The nominal impedance of the Studio speaker sys- parent plastic case for rack display, each kit tem is 8 ohms; it is recommended for use with amplifiers contains circuit components, predrilled capable of at least 25 watts output per channel. Available printed -circuit boards, and instructions. A in teak or walnut finish and weighing 70 pounds, the sys- soldering iron and hand toolsare needed for assemb!y. tem measures 351/2 x 15 x 1Iinches. Price: $300. Also availableisakitenclosure and hardware pack Circle 143 on reader service card (KC4500) that consists of a plasticcase with input and output jacks and on/off switch for housing kits KC4000, Nortronicshas made available afreeleaflet (No. KC4001, or KC4002. Associated hardware is included.Sug- 7260) describing visual, tactile, and aural tests for deter- gested retail prices of the kitsrange from $4.95 to $8.95. mining if the heads of a tape recorder are worn. A labeled Circle 146 on reader service card diagram illustrates the kinds of wear that can he expected after a machine has been in use for some time. A chart David Clarkhasredesignedtheir showing expected life for various conditions of opera- Clark/loo seriesofstereo headphones, tion is included. adding three new models with different Circle 144 on reader service card nominal impedances. The phonesuse dynamic transducers with Mylarcones and Adventhas introduced its Model 200 stereo cassette ceramic magnets, and can handle inputs deck, incorporating "B -type" Dolby noise -reduction circuits ofupto one watt continuous power. Sen- that achieve a 10 -dB improvement in signal-to-noise ratio sitivity at 1,000 Hz is 105 dB withan in- over conventional units. The Dolby circuits are switched in put of one milliwatt. Frequency response is 20 to 16,000 or out by one of the ten piano -type push keys located on Hz. The phones have adjustable earpieces, foam -padded the front edge of the deck's top panel. An indicator light headbands and ear cushions, and come witha 9 -foot coiled shows when the Dolby circuits are in use. Another push cable terminating in a standard three -connector phone key changes the recording bias and playback equalization plug. Prices: 100A (17 ohms), $50; 103A (300 ohms)$50; 106A (600 ohms), $55. Circle 147 on reader service card

Marantz's new Model 23 AM/stereo FMtuner has a signal -strength tuning meter anda channel -center tuning meter that can be switched to indicate multipath, enabling the user to orient his antenna for minimum distortion.The front -panel mode selector has positions for AM,stereo and mono FM, and high -frequency blend. The threshold of the so that the deck can he properly set up for the currently available low -noise cassettes and for the chromium dioxide formulations to be available in the future. The eightre- maining push keys select mono or stereo input, power on/ off, and control the transport functions. At the end ofa cassette the transport motor automatically shuts off. switchable interstation-noise muting functioncan be ad- When used with low -noise, high -output cassettes, the justed by means of a control on the rear panel. There is Model 200 has a frequency response of approximately 30 also an output -level control. The Model 23 hasan FM sen- to 14,000 Hz. Wow and flutter are 0.15 per cent. The deck sitivity of better than 2.4 microvolts and a capture ratio of has a single large recording -level meter that respondsto 2.5 dB. FM frequency response is ±1 dB from 20 to 15,000 the channel with the higher signallevelat any given Hz. Selectivity is 80 dB, image rejection is better than 78 moment; it can also be switched to read the level of either dB, and harmonic distortion is 0.5 per cent in thestereo channel alone. There are separate recording -level controls mode. The stereo separation is 40 dB at 1,000 Hz. Termi- for each channel, a single playback -level control, anda (Continued on page 20) 18 CIRCLE NO. 2 ON READER SERVICE CARD--> Altec'snewDynamic Force Systems. They're built a lithe better.

I -MO( i:111111111111t1g4

1 t{( illititillilltiAl 11111.11111MM 1: 41414114111tiftl 1111111411111111t 41114111111111it J4411111141(1(a 1iiffillf41111114, diiiiiiiiiillitit 4111/11111111114( 01111111414itia Offilltffitiffiti 1111101141111fitt 1111141MMOtt if Mitt111811114

P' OlifitOffiWff

With a new 15 -inch Dynamic ForceWith a large sectoral horn for betterWith more hand -sanding and hand - woofer for better reproduction of low controlled angular distribution of mids finishing for finer cabinetry. The hand - frequencies. Both Altec's new Barcelona and highs. This exclusive horn enables rubbed natural walnut cabinets of Altec's and Granada speaker systems incor- the new Barcelona and Granada to keep new Barcelona and Granada feature an porate this all -new woofer. It features a the off -axis frequency responses of mids infinite baffle design inside the enclosure long voice coil with edge wound, pre - and higns almost identical to the on - with snap -on fretwork grilles outside. To flattened copper wire and a magnetic axis responses-even in the critical mid ensure oath quality and beauty, these structure of extremely high flux field. range (above 500 Hz) where most low pieces of fine furniture have been indi- Working together in our infinite baffle freauency speakers have a narrow angle vidually hand -sanded probably more enclosure, this speaker is capable of oi distribution. This large sectoral horn than any other speaker cabinets on the producing a Dynamic Force against the also helps extend the direct field which market today. compressed air in the cabinet of up to is where you hear the original acoustics Altec's new Barcelona (873A) sells for 16 psi. This greatly improves low fre- of the recording rather than the acous- $550.00. Altec's new Granada (875A) quency transient performance, extends tics of your listening room. sells for $450.00. Write for our complete, low -end response and reduces distortion new catalog. Altec Lansing, 1515 South while maintaining medium efficiency. Built a little better. Manchester Ave., Anaheim, Calif. 92803. ALTS[

EllI AI !-,'NI :e, k QUALITY COMPANY OF LTV LING ALTEC. INC. NEW PRODUCTS A ROUNDUP OF THE LATEST HIGH-FIDELITY EQUIPMENT

nals for both 300- and 75 -ohm antenna lead-in are pro- tor can be set for tape head, phono, AM, FM, FM -auto, 01 vided. The AM section of the Model 23 has a sensitivity of auxiliary inputs. There are tuning meters for FM signal better than 11 microvolts. There is a built-in ferrite -bar an- strength and channel center, and a front -panel headphone tenna as well as terminals for an external antenna. The jack. The rear -panel facilities include spring -loaded speak- dimensions of the Model 23 are 153/8 x 53/i x 1214 inches. er terminals, 300- and 75 -ohm FM -antenna inputs with a Price: S259. An oiled walnut cabinet costs $32.50. local/distant switch, an interstation-noise-muting threshold Circle 148 on reader service card control, and a ferrite -bar AM antenna. The output transistors of the amplifier section are protected both by fuses Rabcohas modified their SL -8 radially tracking tone and power -limiting circuits. A front -panel indicator lamp arm so that the arm is lowered and raised by a motor - lights when the latter are acting. The Sansui 5000Amea- driven mechanical linkage. (In the previous model the arm sures 171/4 x 47/8 x 1411/,inches. Price: $449.95. An op- was lowered by hand against spring tension until it locked tional walnut cabinet costs $22.50. into the playing position, and was raised by the spring at Circle 150 on reader service card

Pioneerhas made available a free 28 -page color catalog illustrating and describingitscurrent line of audio products for home use. Among the components featured arestereoreceivers,integratedamplifiers,preamplifiers, power amplifiers, tuners, speaker systems, headphones, and the Pioneer turntable and tape deck. Brief specifications are given for each item, as well as suggested retail prices. Circle 151 on reader service card

Magnesonicsis marketing the Erasette 200B cassette tape degaus- ser, said to he more effective than the end of a record or when a lever on the arm carriage the erase facilities of cassette re- The new model, which can be distinguished by the characters "SL -8E" on its nameplate, has a cam corders in removing recorded sig- wheel adjacent to its battery -powered lift motor. Depress- nals and noise. The Erasette, which is 4 x 31/, x 23/I inches, is powered ing a yellow lever on the arm carriage causes the wheel to by four AA cells. The cassette, its rotate 180 degrees, thereby lowering or raising the arm in reels locked in position by a detachable holder, is passed about seven seconds. The raising mechanism is also auto- slowly across the upper surface of the Erasette while a matically tripped at the end of a record. Price of the SL -8E: pushbutton at its upper left corner is depressed. The cas- 5169.50. Older Rabco arms can be converted to SL-8E's for $30 if returned to the manufacturer. sette will be erased to a noise level of 65 dB below 0 VU. Suggested retail price of the Erasette 200B: $15.95. Circle 149 on reader service card Circle 152 on reader service card Sansui's new 5000A AM/stereo FM receiver has a fre- James B. Lansinghas intro- quency response of 10 to 50,000 Hz and a continuous duced their Aquarius line of power output of 55 watts per channel into 8 -ohm loads. speaker systems, comprising four The power bandwidth is 15 to 30,000 Hz. Harmonic dis- models in various price, size, and tortion is 0.8 per cent, and IM distortion is under 0.8per cent. Hum and noise are below -65 dB at the phono in- styling categories. The Aquarius 1 put and -80 dB at the high-level inputs. The FM section ( shown)isathree-way, 8 -ohm has a sensitivity of 1.8 microvolts, greater than 50 dB systemthat employsdiffraction selectivity, and a stereo separation of 35 dB. Besides the slots in front of the drivers for dispersion. The 10 -inch woofer, 5 - inch mid -range, and 2 -inch tweeter aredriven throughacrossover network that provides for considerable overlap in the frequencies handled by each. Frequency - band assignments are: woofer, below 1,000 Hz; mid -range speaker, 300 to 8,000 Hz; tweeter, above 3,000 Hz. The manufacturer recommends that amplifiers with power of at usual volume, balance, and tone controls (separate bass least 15 watts per channel continuous be used with the sys- and treble for each channel), the Sansui 5000A hasa tem (power -handling capability is 40 watts of program speaker -selector switch with positions for one pair of main material). The Aquarius 1 has a black contour -molded speakers and two pairs of remote speakers, as well as com- grille and comes finished in white or oiled walnut. Its di- binations of either remote pair with the main pair. mensions are 20 x 20 x131/2inches. Price: $288; the Loudness, FM interstation-noise muting, mode, and high- optional base shown is $27 extra. Other models in the and low-cut filters are switched through pushbuttons,as Aquarius line use various diffracting and reflecting mecha- are a stereo -FM -only function and two tape -monitor fa- nisms to achieve diffusion throughout the listening room cilities, one of which is connected to a second set of tape without dependence on wall or ceiling surfaces. input and output jacks on the front panel. The input selec- Circle153on reader service card

20 STEREO REVIEW Speakers that speak for themselves features: four free edge woofers and four horn -type tweeters to handle from JVC up to 80 watts input from 20 to Hook 'em up and give a listen. 20,000Hz. Gives you afull360 They'll not only speak for them- degrees of sou -iddiffusion.Just selves, they'll have something to listen. say about the condition of your re- Check the other JVC systems, too. cords and the quality of your stereo Models 5340 and 5304, powerful system. 4 -way systems with multi -channel And with JVC's 5303 omni-direc- inputs. Handle 40 watts RMS and tional system, the message will be 80 watts peak. The 30 watt 5320 deliveredwithfullstereoeffect and 25 watt 5310 3 -way book -shelf anywhere in the room.All 'round systems also deliver full range JVC- quality sound. Get more information about JVC speakers and the name of the dealer handling JVC products in your area. Just drop us a line and we'll make the introduction. 5303 $199.95, 5304: $149.95, 5310 :$69.95, 5320: $99.95, 5340. $229.95.

Catching On Fast

-1 T-Irgr-11. JVC JVC America, Inc., 50-35, 56th Road, Maspeth, New York, N.Y. 11378 A Subsidiary of Victor Company of Japan. Limited, Tokyo, Japan CIRCLE NO. 21 ON READER SERVICE CARD AUGUST1970 21 ELECTRONIC 1970-WINTER $1.35 EXPERIMENTERS ELECTRONIC EXPERIMENTER'S HANDBOOK 148 pages of the most fascinating and challenging construction projects for the electronics hobbyists. All with complete schematics,il- lustrations,partslist,and easy - to -follow instructions that guarantee you perfect finished products.

1970-SPRING $1.50 ELECTRONIC EXPERIMENTER'S ye HANDBOOK - 1Anotherbigpackage containing the most challenging. fun -to build STEREO 7. electronics projects ever!Besure 1 -11 -Fl toorderthisone today! DIRECT9RY AUDIO QUESTIONS & ANSWERS 0.411"q 1970 $1.35 ::-IC,1-___ -10 . STEREO/HI-FI DIRECTORY -...... Giant 180 page buyer's guide list - .7 Speakers for Rock monics (over 100 Hz). which may sound ingmore than1,600individual QI Stereo/Hi-Fi components by176 have a highly rated acoustic- like bass, but have a "flabby," as op- manufacturers. Nine individual sec- suspension speaker system driv- tions complete with specs, photos, posed to "solid," quality. You can check prices-the works! en 1) afairly expensive 100 -watt re- this hypothesis by substituting another ceiver. My major musical interest is in amplifier with a true 60 -watt -per -chan- rock and roll, and I find that my system nel or higher rating and see if it makes 6 Vital simply does not give me the sound qual- the difference. ityIfeelit should. When I play my Another possibility is that you simply Components records and contrast them with the livedon't play your records loud enough performances by the same groups, I find to create the subjective effect you want. ForKnowledge.. that although the records have greaterI know that if I tried to approach in Sheer clarity, all the "sock" or "impact" is lost. my apartment the sound -pressure levels ForProfit...For I am becoming convinced that I need Ihear at live rock concerts,I would ElectronicsEnjoyment! larger speakers(of the kind used byhave the neighbors within a radius of rock groups) and a more powerful am- several floors phoning the fuzz. 1970 $1.35 plifier in order to get the kind of sound A third possibility, though an unlikely TAPE RECORBERTAT6 TAPE RECORDER ANNUAL that I want. Am I on the right track? one, is that your speakers simply aren't Over 130 pages covering every aspect of tape recording. Complete CHARLES LOSSER up to the job of playing at the levels buyer's guide to the brands and San Francisco, Calif. models on the market. Expert tips you desire. So perhaps "larger speak- on equipment - making better ers."either horns or bass -reflex types, tapes - editing - copying - everything you want and need to AYes and no. There are several might be the answer for you. But stay

know about tape recording. differentthingsinvolvedhere away from speakers designed specifical- that help confuse the issue. Theoretical- ly for music -instrument use. They just 1970 $1.35 ly, what we want from any record -play- COMMUNICATIONS don't have the clarity and the frequen- HANDBOOK back systemisaccurate reproduction. cy range( particularly with respect to 148 fact packed pages for the CB. SWL or HAM. Equipment buyer's In other words, what we want it to do is the high frequencies) required for good guide - photos-tables - charts give us what is on the record, neither reproduction of any kind of music. - getting a license - everything to make this the world's most com- more nor less. On the other hand. a plete guide to communications. speaker connected to a music -instrument Matched Speakers amplifierisoperatinginasituation Though I realize that most audio- 1970 $1.35 u -here anything it does is okay as long philespreferto ELECTRONICS ELECTRONICS INSTALLATION . use matched HANDBOOK & SERVICING HANDBOOK as it manages to hold together physical-speakers in their stereo systems, I have For the serviceman who is also a ly and create the kind of sonic effect businessman - the hobbyist who been told that room acoustics can vary is also aperfectionist! Covers all the musician wants. In other words, theso much from point to point that the 8 areas of consumer electronics music -instrument amplifier and speaker differences 14j LT,servicing-all the tricksofthe between many brandsof trade-in one complete, up-to-date are sound producers; the home hi-fi sys- guide. This is the industry's "how- high -quality speakers are negligible by to" book for installing and serv- tem is a sound reproducer. comparison. I have also heard that, with icing consumer electronics equipment. Now let's look at the question of son- speakers oflesserquality, unmatched ic impact. This quality, which I almost speakers can sometimes make up for ZIFF-DAVIS SERVICE DIVISION Dept.W always hear at live rock performances each other's inadequacies. 595 Broadway, New York, N.Y. 10012 and which can frequently be heard at ALLEN GOODMAN Please send me the annuals I've checked below: discotheques, is probably mostly concen- New York, N.Y. H 1970Electronic Experimenter's Handbook Winter trated in the bass frequencies somewhere n 1970Electronic Experimenter's Handbook Spring 9 1970Stereo/Hi-Fi Directory below perhaps 100 Hz. But because of the AWhat you have been told about ri 1970Tape Recorder Annual 1: 1970Communications Handbook way the human ear works (the Fletch- room acoustics and the differ- 1970Elect. Installation & Servicing Handbook er -Munsoneffect),itcomes through ences between many high -quality speak- only when the soundis I am enclosing $ My remittance veryloud. ers is true. People who have heard the includes an additional Hit per copy for shipping Your "100 -watt"receiver,Isuspect, same speaker either in different rooms and handling ( Outside U.S.A. all magazines are $2.00 per copy, postpaid.) simply does not have enough reserve or in different parts of the same room print name power to drive your low -efficiency acous- are frequently astonished by thedif- tic -suspension speakers to the high bass ferences in tonal balance. In regard to address volume that you want. What happens is the second part of your question, I can- city that the amplifier goes into overdrivenot conceive of a circumstance where state distortion (clipping) on the bass peaks. it would really be advantageous to buy zip and hence does not deliver real bass 00 PAYMENT MUST BE ENCLOSED WITH ORDER fundamentals but rather the upper har- (Continued on page 24)

STEREO REVIEW ThenewSony savings plan: $134.95

Four -Track Stereophonic and Mono- phoric Recording and Playback. Seven- inch reel capacity provides hours and hours of stereo enjoyment. Stereo headphone jack for private listening. A Really Spectacular Buy. The new solid- Autcmatic sentinel shut-off. Two VU state stereophonic Sony model 252-D meters. Pause control. Three -digit tape is loaded with exciting quality features counter. Record interlock. Separate including sound -with -sound! Hand- record selector buttons. Vertical or somely mounted in a low profile walnut horizontal operation. wood cabinet. Here is the most tape deck recorder for the money. And it's a Sony! Non -Magnetizing Record Head. Head magnetization Scrape Flutter Filter. Special build-up-the most com- precision idler mechanism mon cause of tape hiss- located between erase and has been eliminated by an record/playback heads elim- exclusive Sony circuit inates tape modulation dis- which prevents any tran- tortion. This feature formerly sient surge of bias current found only on professional to the record head. studio equipment.

Sound -with -Sound. A versatile feature that enables you to record on one channel while lis- Instant Tape Threading. Ex- tening to the other. Ideal for clusive Sony Retractomatic learning or teaching foreign pinch roller permits simple one -hand tape threading. languages as well as perfecting An automatic tape lifter diction, singing and instru- protects heads from wear mental music. during fast forward and rewind.

Vibration -Free Motor. An important new Sony development utilizing "floating" Sony Mode 252-D. Just $134.95! For your shock absorber action to isolate com- free copy et our latest tape recorder cata- pletely any motor vibration from the tape log, please write to Mr. Phillips, Sony/ mechanism. SLperscope, Inc., 8144 Vineland Avenue, Sun Valley. California 91352.

SONY, SJPERSCOPF11=1 You never neard it so good.

01970, SUPERSCOPE, INC. unmatched speakers. The argument for doing so usually goes: "If you have one speaker that has a lot of mid -range and treble but no bass, it should be matched In 1948, University Sound by a speaker with a lot of bass and no made home high fidelity possible. mid -rangeandtreble."Butalittle thought will show you that your best choice would be two speakers with as In 1970, we made it perfect. wide a frequency range as possible. You In 1948 University unveiled the In 1970 University unveils the would be better off trying to make cor- world's first popularly priced, finest, fullest line of high fidel- rectionswithtonecontrolsandthe full fidelity speaker-the 6201 ity products in the world-and rweeterjmid-range level controls on the -and home high fidelity was home high fidelityisfinally backs of the speakers than trying to buy speaker systems that have comple- born. perfected. mentary irregularities. My experience has been that it is far more important to match the upper -end response of systems than their bass -reproduction characteristics. Whereas bass below about 250 Hz isnondirectional. the upper frequenciesaredirectional. and if.for example. you have a left - channel speaker with a strong high -frequency peak and arelatively smooth right -channel speaker, there will tend to be a shiftof stereo perspective wh,n music embodying the frequency of the peak is played. The same holds true in respect to dispersion. It would be a good ideatoget speakers whose high -frequency dispersion characteristics are relatively similar;otherwise, the lossof high frequencies in some areas may result in an unstable stereo image. Multiplex Adapters THE VEGAS Frequency Response: 25- QI own an old Pilot receiver that 20,003 Hz Power Handling .isequipped with a multiplex Twice as :ig as a good -s zed Capac ty: 35 watts 1PM Im- jaLk. But Ineglected to buy the Pilot boo.shelf speaker. With four pedance: 8 ohms Compo- multiplexerthatadaptstheunitfor tines the sound. For about nen-.s: University M-157, 15" stereo FM reception.I now find that the same kind of money. 15" th-ee-way full -range speaker Pilot has gone out of business. Do you wcoter and large enclosure Cbitrols: Contir uously var- know where I could obtain an adapter mean the biggest, sharpest iable brilliance control reces- for this unit? bass you'veever heard - sed in back Finish: oiled HARRYF.SCHUTE regardless of price. walnut Dimensions: 23" x Willow Grove, Pa. Specifications:Free-stand ng, 24" (W) x 15" (D) Walnut thiee-way speaker systern base cptional AFor several reasons,1would sug-

gest that you look into the possibility of buying a new stereo tuner. rather than a stereo adapter for your old one. Most mono tuners were not designed to have the phase linearity, or the bandwidth, that is required for adequate stereo reception. While itis possible to PROJECT PA E.PA30 LAREDO connect a multiplex adapter to almost any older mono tuner, the results, in regard to distortion and separation, will almost surely not he up 'to the standards of even the inexpensive modern stereo tuners. In addition, to get the best from

ULTRA EL 30RADO PRE S! DIO the adapter, it should be adjusted to the specific tuner that it is being used with. which in turn should be freshly aligned. You can see how the cost of alignment AgUNIVERSITY SOUNC: the finestmost complete line of plus the cost of the adapter starts to ap- nigh fidelity speaker systems in the world from the world's proach the cost of one of the inexpensive ealirg manufacturer of esectroacoLstic products. new stereo tuners. And there is a good chance that a new stereo solid-state tun- P.O. Box 21105, Oklahoma C ty Okiehema A quality company of LIN Ling Altec, Inc er will outperform-in almost every area -an older mono tube job that in its day cost perhaps twice as much. CIRCLE NO. a0 ON READER SERVICE CARD CIRCLE NO. 7 ON READER SERVICE CARD-)P. 24 WARNING:The guaranteeonthese tapeheads is dueto expire in 1995

The newly developed pressure -sintered ferrite record and scrape, cogging action. Consider these capabilities - playback heads in the Concord Mark III tape deck carry a sound -on -sound, variable echo, cue/pause control, inde- 25 year guarantee. These diamond -hard heads maintain pendent record-indicatjr lights for each channel, and two their original high standard of performance longer than calibrated VU meters. The Mark III, under $250. The Mark any others. There's no significant headwear, no deteriora- II, uncer $200 is similar to the Mark III except that it has tion in frequency response or signal-to-noise ratio - even ferrite erase head and high -Mu laminated recording and under conditions of constant use. playbackheads. But, there's more to recommend the Mark III than just The top -of -the -line Mark IV has all of the performance the heads. The hysteresis synchronous drive motor assures quality and convenience of the Mark III plus dual capstan a speed accuracy of 97.7% with line voltage variation of electronic automatic reverse and continuous play,no from 100 to 128 volts. Three heads with a 2 -micron gap metal foil or signal required on the tape. Under $300 playback head deliver a 20 to 27,000 Hz response. It has Today, buy the tape deck that you'll advance -design IC preamplifiers-four of them. A unique still be enjoying in 1995 For free flip -up head cover for easy access, and head -gap positionConcord Comparison Ct-art,write markings for precise editing. Dynamic muting suppressesto: Concord Electronics Corporation, hiss. The tape transport mechanism assures a fast start-up 1935 Armacost Avenue, Lcs Angeles, -you don't miss a note. Two tape tension arms stamp outCalif. 90025. Subsidiary of Ehren- burble. A special flutter filter eliminates flutter due to tape reich Photo -Optical Ind , Inc 112 Concord Mark III I NBEST TBUYS! BEST BUYS on all top Equality components and tape decks. IN- RTERNATIONAL carries the most complete se- Nlectionofhifiand photographic equipment ontheEast AUDIO BASICS Coast. When you can't THE EAR Tbuy it anywhere else, rely on us. ATTEN- tii..basic phenomena of sound, some of whichIhave been exploring TION, Mid -West and in this column lately, are experienced by each of us individually through West Coast readers: a mechanism thatis by far the most intricate and ingenious of all "audio INTERNATIONAL components"-the human ear. guarantees fast serv- As far back as the Renaissance, simple anatomic dissection had made it Nice. Trade-ins wel- quite evident how sound vibrations travel through the mechanism of the ear: come. Catalogs. from the ear drum, through a linkage of three small bones in the middle ear, to a flexible oval membrane that affects the fluid in a spiral chamber called the L HI Fl & CAMERA cochlea, the main organ of the inner ear. Early anatomists could also see that DISTRIBUTORS the cochlea was connected to the brain by a large bundle of nerves. But the 2031 Merritt Ave. function of these parts did not become clear until the beginning of experimental Baltimore, Md. 21222 research in the physiology of hearing, pioneered by Helmholtz in Germany Telephone: (301) 288-1710 roughly a hundred years ago. Even today, however, many aspects of audition 411CULC MY. still remain the subject speculation. After the invention of the telephone and the discovery that nerves carry please messages in the form of electric impulses,it was readily assumed that the ear works more or less like a microphone, converting sound vibrations into corresponding electrical signals which are then transmitted to the brain through write fora the auditory nerves. On further investigation, however, this elegantly simple theory turned out to be far too simple. For one thing, nerves don't work like free wires ;they cannot carry a continuous electrical signal. Instead, they fire off a series of separate pulses at certain intervals, no faster than about 500 per second. How, then, can an audio signal of many thousands of cycles per second be transmitted over the auditory nerves? The answer, at least in part, was found in the early Thirties by a Hungarian researcher named Georg von Bekesy, who discovered that different areas of the cochlea-the spiral tube of the inner ear-respond to different frequencies. By tracing the nerves from different cochlear areas, he also found that they connect to correspondingly different locations in the brain. He concluded that we perceive pitch according to the places in the ear and the brain stimulated by a particular frequency. The "place theory," however, could not account for some observable facts of hearing-notably the ability of the ear to reconstruct the fundamental frequency of a tone from its harmonics alone. This is the factor that gives us the illusion of hearing bass notes even from a small radio that does not actually reproduce these low frequencies. Thus the ear and brain "hear" frequencies even iftheir corresponding places of stimulation are not really being actuated. Consequently, some factor besides place of stimulation must Copy be involved. According to the so-called "volley" theory, the brain "counts" the nerve impulses from various locations of the cochlea and interprets the WRITE YOUR NAME AND ADDRESS pulse count as pitch and timbre. Just what sort of unconscious computa- HERE, CUT AND POST THIS COUPONor writea separate letter to: tion is performed by the brain is still a mystery, but a combination of local- records and recording 75 Victoria Street, London, S.W.1., England ized stimulation and pulse counting may be the basic mechanism of pitch name address perception. CIRCLE NO. 10 ON READER SERVICE CARD 26 STEREO REVIEW CAN YOU GUESS WHICH FACTOR IS MOST RESPONSIBLE FOR THE LEADING POSITION OF THE BOSE 901 DIRECT/REFLECTING' SPEAKER SYSTEM?

IS IT: 1 The Rave Reviews? (Circle the number at the bottom of this page on your reader service card for complete reprints of the seven reviews and a list of BOSE dealers in your area.)

2 The 12 Years of Research?- research that went beyond the collection of graphs and numerical data into the basic problems of correlating the perception of music with speaker design parameters. (Copies of the Audio Engineering Society paper 'ON THE DESIGN, MEASUREMENT AND EVALUATION OF LOUDSPEAKERS', by Dr. A. G. Bose, are available from BOSE Corp. for fifty cents.) 3 The Sound of Music Through the 901? (Enjoy it at your nearest BOSE dealer or in the more comfortable surroundings of your friend's home.) THE ANSWER: (AS INDICATED BY CUSTOMER SURVEYS)

.1N30111=13dX3 3H1 3C1VIA1 3AYH noA 1:131JV isanoal SIH1 3>IVIA1 3M AHM 31V103ElddV AlN0 11IM noA '301E UO 3ZIS JO SS310E1V03E1 `S)=13>iV3dS E13H10 ANY KUM NOSILIVcIlA100 193814 NI 1.06 3S08 3H1 01 N31911 punos 6u!Anq axe noA Jopadns se az!ti600ai Aiale!paww! IIIm noA win Al!lePli e o!snw aonp Rose 9, of Alffiqe s,106 ay; uodn Alalaidwoo SISOJ LIONM DIRECT REFLECTIRC Speaker Syste - aouenalaJ goieasai Jo sme!AaJ 6u!Anq lou ale S476 :he Stereo P., including Active noA - aq wogs moq s.leql *L06 ay; pales 08.181S Equalizer. Slightly higher west and 01 SJOWOOMOU pue 1.06 041 Jo; ape.ii siaNeads south Walnut Ilews pue a6Jei SJOLIMO U0Seal Aolew ay' facing and pedestal base eve `Jel Aq `s! 1.06 eql punos aql leql mays sAemns aqi 'Ina 1.06 3S0E1 aqi uais!! aidoad asneo SMa!AaJ one. pue alq!ssodIlep °pew i.joJeaseJ 041

You can hear the difference now. 12ASPP 45,CORP. East Natick Industrial Park Natick, Massachusetts 01760 CIRCLE NO. 5 ON READER SERVICE CARD AUGUST 1970 27 Model S915 Speaker

Model 120 Stereo Receiver The unbeatable combination for cartridge sound

ROBERTS' Model 808D 8 -track micron head (with lifetime guaran- ROBERTS S915 cartridge stereo tape deck, Model tee) Cartridge program se'ec'..or Hi-Fi Stereo Speaker System 120 solid state AM/FM stereo re- 3-3/4 ipsAutomatic stopFre- Woofer:10" Tweeter:3-1/2" ceiver, and S915 hi-fi stereo speaker quency response: 50-15.000Hz Impedance: 8 ohmsMax. power system brings the ultimate in 8 - ±3dbSize:13-1/2"x 9-1/2"x 5- input: 25W Frequency response: track cartridge sound to the audio 3/8" 50-17.000 HzSize: 20-1/2" x12 - perfectionist. The1 -micron head 1/2"x10 -1/2" eachWeight: 17.6 reproduces exciting high notes and ROBERTS 120 Solid State lbs each mellow, vibrant low tones. You can AM/FM Stereo Receiver record 8 -track cartridges yourself Power amplifier:100 W music and play them back in your car power Harmonic distortion:less stereo or hi-fi system for hours of than 0.8% at rated output Tuner: uninterrupted stereo music. Frequency range: FM 88-108MHz, AM 535 -1605KHzHarmon:cdis- The Pro Line ROBERTS 808D Cartridge tortion: FM less than 0.8%FM Stereo Tape Deck stereo separation: better than 35db 8 -track cartridge stereo recording/ Size: 5 -1/4"x17 -1/2"x13-3/8" ROBERTS Division of Rheem Manufacturing Company playback Fast forward controI1- Los Angeles. California 90016 CIRCLE NO. 32 ON READER SERVICE CARD 28 STEREO REVIEW EQUIPMENT TEST REPORTS By HIRSCH-HOUCK LABORATORIES Marantz Model 22 AM/Stereo FM Receiver James B. Lansing SE 460 Stereo Power Amplifier Astrocom/Marlux Model 407 Tape Deck Perpetuum-Ebner PE 2038 and 2040 Automatic Turntables

MARANTZ MODEL 22 tion, we have two additional comments. The horizontally AM/STEREO FM RECEIVER oriented flywheel (a feature of previous Marantz tuners and receivers) used in place of a conventional tuning knob may not be to everyone's taste. And the dial calibrations, which are at 2 -MHz intervals, are not linearly distributed, which sometimes makes it difficult to identify a desired station in a crowded portion of the FM band. The usual functions of input selection, balance, volume, and bass and treble are handled by knobs, with concentric separate tone controls for the two channels. The available inputs, besides AM and FM, include TAPE, Aux, and two THE performance of this new receiver can only be de- magnetic-phono inputs. All other controls are pushbuttons- scribed as superb. It is the first Marantz receiver to include eleven in all. They include the a.c. power switch, tape moni- an AM tuner, the quality of which seems to be at least as toring, a high -frequency blend circuit for stereo -FM noise good as any other currently available. However, the FM reduction, high- and low-cut filters, loudness compensation, and audio sections of the Marantz Model 22 decisively set FM interstation-noise muting, and two pushbuttons for it apart from other receivers, and prove that, if the manu- energizing either or both of two pairs of speakers. Two last facturer wants to,itis possible to design an integrated pushbuttons are used for mono/stereo operation. Depress- receiver that will match the performance of the most ad- ing either one alone puts the signal in that channel (left or vanced separate components. right) through both speakers; depressing both pushbuttons The Model 22 (manufactured in Japan to Marantz speci- parallels the channels for mono listening. fications) measures 17 x 51/2 x 14 inches overall, and has The usual tape -recorder outputs and inputs are in the an impressive array of operating controls and features. rear. They are paralleled by a pair of stereo (three -circuit) There are two tuning meters-one that indicates the rela- phone jacks on the panel. This allows a second tape re- tive signal strength on FM and AM, and the other for zero - corder to be connected into the system, and signals can be center FM tuning. The receiver has a clever and effective dubbed from one recorder onto the other. A headphone method for indicating and minimizing multipath distortion. jack completes the front -panel arrangement. In the rear of When the ANTENNA TUNING button next to the meters is the receiver, spring -loaded clips are used for speaker and pressed, the FM i.f. and detector circuits are temporarily antenna connections. They require no screwdriver and are replaced by a separatei.f.amplifier and AM detector, without doubt the most convenient, safe, and positive -act- whose output goes to the zero -center tuning meter and the ing connections we have come across. audio amplifiers. A perfect FM signal has no AM com- The FM tuner has an FET front end, and there are ponent, so the meter would read zero and no sound would three IC's plus two ceramic filters in the i.f. amplifier. The be heard if such a signal were tuned in. In practice, some stereo -FM separation of the Marantz Model 22 was by far AM is always introduced by multipath reception, causing the best, over the widest frequency range, that we have yet distortion and impaired separation in severe cases. When measured on an FM receiver, and we suspect that much of AM is present, the meter "kicks" upward from its center this can be credited to the i.f. filter design. We are now position and a distorted sound is heard in the speakers. convinced that ceramic filters can be at least as good as When the antenna is set or rotated for minimum sound crystal filters in FM tuners, insofar as their phase linearity and meter movement, FM reception is optimized. Releasing is concerned. The stereo -FM separation exceeded 40 dB be- the button restores normal FM reception. The whole pro- tween 200 and 1,500 Hz, and was better than 23 dB from cess takes less time to perform than to describe. It appears 30 to 15,000 Hz. Until we tested this receiver, we did not to be aseffective as the cathode-ray indicator used in believe our test equipment was that good! Marantz's more expensive components, andisprobably We measured an IHF sensitivity of 2.65 microvolts, with easier for most people to use. Before leaving the tuner sec- limiting nearly complete at 4 microvolts. Thus the actual, effective sensitivity of the Model 22 is about as good as that of many receivers with higher IHF sensitivities.Its TECHNICAL TALK distortion was less than our generator's residual of 0.5 per In place of his regular Technical Ta/k column this cent for inputs exceeding 7 microvolts. Capture ratio was month, Julian Hirsch has supplied us with an extend- 2.4 dB, and FM frequency response was flat within ±0.5 ed examination of the speaker -testing procedures em- dB from 30 to 15,000 Hz. Normally this order of flatness ployed at Hirsch -Houck Laboratories. The article will is obtained only when the receiver lacks a filter to remove be found on page 53 of this issue, and the regular 19- and 38 -kHz components from the multiplex decoder Technical Talk feature will resume in its usual place outputs. However, the almost complete absence of these next month. frequenciesfromthereceiver'soutputssuggeststhat Marantz has incorporated an unusually refined and effective low-pass filter in the Model 22. (Continued on page 33) AUGUST 1970 29 Now everybody can afford one. Llarantz Model 25 AM -3-14 Stereo Once you had to be a cattle baron, a Receiver/Compact. It has room at the top railroad heiress, or at least the duke of a -.,o drop in your favorite Dual, Garrard, small duchy to own a Marantz. But now Miracord record changer lo form a our receivers begin at prices more suited complete compact system Just $379. to those who enjoy rich tastes but do not Here is one of our most xwcrful popular- have a princely pocketbook. -_-.,riced AM -FM Stereo Receivers. The Until last year, the _east -expensive Marantz Model 22. Eight watts RMS Marantz stereo receive:- you could buy continuous power ( 120 watts IHF:. It cost $695.00! Today, Marantz receiver; features two sensitive tuning meters for are available in other than very -high recise station tuning ard :maximum price ranges. True, you can still invest -.;:gnal strength. Yours for $449. $995.00 for a Marantz receiver, but now And now the regent of receivers, the we have receivers starting as low as $219. .ncomparable Marantz Model 19 FM For the budget -minded music -lover, the stereo, the world's only receiver with a new Model 26 AM -FM Stereo Receiver is Guilt -in oscilloscope. It displays with a today's most powerful low -price buy. visual electronic patteralAx separate 20 watts RMS continuous 20-20 KHz (30 characteristics needed tc optimize FM watts IHF ) built with the same quality as arid Stereo performance. Price? $995. our most expensive units. Price -only $219! Regardless of price, every Marantz Looking for more than twice the power =mponent is built with the same careful of the Model 26 at less than twice the. craftsmanship and quality materials. cost? Then Marantz bult the Model 27 Your local dealer will be -oleased to just for you. Only S319. remonstrate Marantz receivers. Tien Have a space problem? Own the versatile let your ears make up pcur mind. W-1 WW1. Components Speaker Systems Receivers cMarantz CoInc., 1970. A subsidiary of Superscope. Inc., P.O. Box 99A, Sun valley, Calif. 91352. Send for free catalog *t AND -"tto AGRAM -14'c A t 86.8 PROOF 'AIDA"S F

If you're modest about your success, let the Smooth Canadian speak for you.

Seagram's V.O. not only says you can afford the smoothest, lightest Canadian whisky of all; it says you have the taste to recognize the smoothest, lightest Canadian whisky of all. And lots of taste is just as impressive as lots of money. Don't you think? I 1 I T 1 1 1 1 1 1 I

l*Hz TOTAL HARMONIC DISTORTION MARANT2 22 - -- 60/7000 Hz (4:11 IPA DISTORTION REFERENCE POWER (40.) 0.5 0. HALF POWER (-301) 22 -----LOW POWER I- 00)

0.2 ;0.2

g 0.1 V az .00 O

.05 OS iiii 451/4 -+.--. ir... ..

-.. -.7ii, .....1.-.... sm. IS.=:-..,...... I 1 ...... i .02 .02 .i. 4.1-...... ,....,...... t..... 7 I I

I 14 .OSI .01 1 0.2 0S 2 5 0 20 50 00 50 50 00 200 500 1611z 21tIlz 501z 4004: 20 CONTINUOUS AND EQUIVALENT SINE -WAVE POWER OuTPuT.PER CHANNEL IN WATTS FREQUENCY IN Mt (CYCLES PER SECOND) kHz

The audio amplifiers are rated by Marantz at 40 watts

1 per channel into 8 ohms, both channels operating, with I I

less than 0.3 per cent harmonic or IM distortion between 0 I II 20 and 20,000 Hz. These are impressive specifications for AUDIOIOUTPUT . . I 0 0 OS(VOLT a receiver, but not nearly as impressive as the figures we lTAPE -OUTPUTJACSI 6 measured. The IM distortion, less than 0.05 per cent at 0.1 U 1, 11 watt, was about 0.1 per cent in the 1 to 10 watt range, O I !I z 0.13 per cent at the rated 40 watts, and did not rise sig- . , I I 1 mAIRANTZ 22 nificantly until clipping occurred at about 50 watts. The - EMSECT ,NImONO) 1,000 -Hz harmonic distortion dropped from 0.076 per cent U at 0.1 watt to about 0.015 per cent from 2.5 to 37 watts, II

1 reaching 0.017 per cent at 40 watts and 0.2 per cent at 50 - 0- 2 65W11-4F SE watts. Into 4 -ohm loads, available power was about 23 per CC cent greater than with 8 -ohm loads, and into 16 ohms it was about 40 per cent less. 41 At the rated 40 -watt output, harmonic distortion was under 0.14 per cent from 20 to 20,000 Hz, and was typical- TOTAL NOISE. o-1, IA DISTC:PTICN' NE'CO'.. MOD.AT 400.1 a s 20 BO .0 Si 20i 50i LOOS ly 0.1 per cent. At half power or less, it was under 0.06 R.F. TEST -SIGNAL. INPUT IN MICROVOLTS I,LLV) per cent over the full frequency range, and averaged about 0.025 per cent. The phono inputs required only 1.3 millivolts for 10 The performance of the Marantz Model 22 is undoubted- watts output, yet did not overload until 67 millivolts was ly better than 99 per cent of the program material it will applied. Hum and noise were exceedingly low: -80 dB ever be called upon to handle. Only a few of the most on AUX and -77 dB on PHONO, referred to 10 watts. The expensive amplifiers can compare with it in distortion and RIAA equalization was accurate to ±0.7 dB over its range. response characteristics. To the extent that we were able With the tone controls centered, the frequency response to measure them, its FM -tuner frequency response, separa- was as flat as we could measure-about ±0.1 dB from 20 tion, and distortion have not been surpassed by anything in to 20,000 Hz. The tone -control characteristics were excellent, our experience. In view of these facts, the price of the with the inflection points moving inward as the controls Marantz Model 22 ($449 in a walnut -finish metal cabinet) were advanced, and with negligible effect on mid -range re- would seem to be moderate indeed. An optional walnut sponse. The filtershad very moderate 6 -dB -per -octave cabinet is $25.50. slopes, with their -3 -dB points at 80 and 5,000 Hz. For more information, circle156 onreader service card

JAMES B. LANSING SE460 0.002 per cent. Most recently, we have improved our inter - STEREO POWER AMPLIFIER modulation -distortion measurement facility by the addition of a Techron IM analyzer (made by Crown International) whose residual distortionis well under 0.005 per cent. Therefore, when we received the new JBL SE460 amplifier for testing, we felt confident that we could measure its true performance. The JBL SE460 stereo power amplifier is essentially similar to the SE400S in circuitry, size, and styling, but is rated at 60 watts per channel instead of 40 watts. It uses WHEN we tested the SE400S power amplifier ( STEREO a direct -coupled differential -amplifier circuit with overall REVIEW, October, 1968), we were slightly frustrated by d.c. feedback. (The owner's manual warns that none of limitations in our test equipment that prevented us from the speaker -output terminals should ever be grounded or measuring distortion below 0.1 per cent-a distortion level connected to each other.) There are no audio transformers that the amplifier didn't reach until it was driven well be- or coupling capacitors except for an input blocking capaci- yond its rated output. Since then we have acquired a Rad- tor, and the circuit has notable stability and transient - ford distortion measuring system that extends our THD recovery characteristics. The amplifierisquite compact, (total harmonic distortion) measuring capability down to (Continued on page 36) AUGUST 1970 33 An audio thenew

"The VM professionals are really worthy of the name. I've never seen so much professional control in home -type equipment." "The VM 1521 receiver, for example, does a lot of things even more expensive units I've played with can't." Murray Allen owns one of the world's keenest ears. He played sax and clarinet "The bass and treble controls really give you a lot of room. And it's with big name bands like Skitch Henderson's got a high and low filter you can switch in and out. The separation is and Bobby Sherwood's before becoming an terrific, too." engineer. And has done sessions for Bobby Melton, The Hi-Lo's, Julie London mean you can take something like a bass and clarinet duo and and many other famous names. Murray was one ofcompletely isolate the bass on one channel, then completely isolate the the first to experiment in multi -track recording andclarinet on the other." recently pioneered in the use of /6 -track. lie is now with Universal Recording "Another thing, I live in an area where FM is very RFy. The VM 1521 Studios where he engineers records and has a new filter that handles it better than anything I've heard." commercials, including the Schlitz and United "The speakers are something else, too. VM calls them the Spiral Reflex Air Lines television campaigns which are currently on the air. System. Built on the twin wave theory. That'svery efficient. And clean. He was also Audio Consultant to Science Really clean. Especially the percussions. Even the transients don'tget Research Associates. distorted. It even gets those low guitar sounds." "And I really like the VM 1555 automatic turntable. The cueing. The belt -driven platter. The extra length on the tone arm. The photo -electric tripping mechanism. All of them are terrific." "And the spindle gently lowers records all theway down TheVM to the stopped platter. Really takes good care of them." PROFESSIONAL1521 Semiconductor complement: .49 transistors, 30 diodes, 3 ICs. 2 MOSFETs FM circuit: four ganged front end with 2 dual gate MOSFETs fur lower cross modulation, greater sensitivity and overload; 5 pole phase linear torodial filters and 2 ICs for selectivity, sensitivity and limiting that surpasses all previous standards in this price range AMPLIFIER: Power output/ bandwidth: 40 watts RMS/ channel power at less than 0.5', distortion; bandwidth 9-30 KHz IM distortion: less than

Frequency response: 1 db 20 Hz - 20 KHz TUNER: Sensitivity: 1.5 uv for 30 db quieting Signal to noise ratio: -75 db Capture ratio: 1.8 db Selectivity: -75 db SM 100% MOD distortion: less than 0.5% Stereo separation: 40 db at 1Hz Image rejection: -90 db IF rejection: - /00 db Spurious response rejection: -100 db Conies complete with cabinet of oiled walnut veneer hardwood at no extra cost. ( Model 1520, slime as above except 25 watts RMS/channel power.) engineer talks about

THE VM PROFESSIONAL1555 Two synchronous motors -24 -pole for turntable, one VM professionals. for changer mechanism Belt driven, completely isolated, low mass, dynamically balanced turntable Gentle lowering spindle Automatic record size sensor system Photo cell cycle -change sensor eliminates side pressure "You know how hard it is to reproduce a clean and trip noise Piston - damped 2 -way cue control piano or harp. Well, the 1555 does a beautiful job. 91/2" tone arm ( from pivot to stylus ); the longest on any automatic Absolutely no wow." turntable Piano -key control center isolated "I listened to an album I engineered on a VM from turntable and pick-up arm Built-in anti -skate professional rig, and I can honestly say it was system Detachable head Tracking error: 11/2 degrees maximum over closer to the master tape than I'd ever heard. entire record Rumble: -52 db (CBS weighting) I could even hear tape noise which is really rare." Comes complete with Shure magnetic cartridge "I've decided to take my VM professional outfit and attractive walnut to my office. Every day I deal with people base with dust cover. who really know a good THE VM PROFESSIONAL "SPIRAL REFLEX sound when they hear it." SYSTEM" 84 The speakers' back waves "And it always pays to are channeled through a spiral configuration __- acoustical tunnel so that make a good the back and front waves blend in phase and the impression." high frequencies of the back wave are completely eliminated; the result is exceptionally clean frequency response with extended bass and high efficiency Speakers: high compliance, air - suspension type, 8" woofer, 31/2" cone type tweeter Response: 35- 20,000 Hz Power Rating: 80 watts peak, 40 watts RMS Cabinet is Pecan solids and veneers with inlays of Carpathian Elm Burl.

For engineering specs on the complete VM Professional Series write: VM CORPORATION Dept. 74, P.O. Box 1247, Benton Harbor, Michigan 49022 or call direct, Area Code 616-925-8841. (Ask for Dept. 74.) CIRCLE NO. 42 ON READER SERVICE CARD U.1 II IT V Like the SE400S, the SE460 can be purchased with option- ./1111. SE 4401111111 REFERENCE POWER 1600 al plug-in equalizing boards that adjust its response and .05 ..HALF POWER I Mil -----LOW POWER( OM damping factor for optimum performance with any JBL of speaker as well as some other makes of speaker. As test- 0 . ..."mwo ed, the response was set flat and the damping factor was 0 00:01..10 high (it is rated at 32 for 8 -ohm loads). D2 In our tests, the SE -160 delivered 75 watts per channel .01 14 '.... .,P -.',--.b..P''< into 8 -ohm loads at 1,000 Hz with both channels driven to the clipping point. With 4 -ohm loads, the output was 003 slightly over 100 watts; into 16 ohms it was about 45 watts. A 0.37 -volt input signal drove the amplifier to 10 watts output, and the noise in its output was 83.5 dB be- 002 low 10 watts. The frequency response was extremely flat, within ±0.05 dB from 20 to 20,000 Hz. It was down 3 001 20 SO 00 200 SOO OMR 21111. 56111 10101: 20 dB at 210 kHz and 1.3 dB at our lower measurement limit FREQUENCY IN H (CYCLES PER SECOND) kHz of 5 Hz. At 1,000 Hz, the distortion was under 0.05 per cent at OA. 0.1 watt, falling smoothly to slightly under 0.01 per cent between 7 and 30 watts, and increasing to 0.025 per cent .05 at the rated 60 -watt output. The distortion was 0.1 per cent just below the clipping point of 75 watts. The IM distortion characteristic was very similar, starting at 0.06 .02 0 per cent for 0.1 watt, dropping to under 0.015 per cent 0 %Mom between 8 and 30 watts, and increasing to 0.06 per cent in.01 a at 60 watts. 5 At 60 watts per channel, the distortion was under 0.02 :D05 per cent from 20 to 1,000 Hz, increasing to 0.05 per cent OH, TOTAL HARMONIC DISTORTION at 10,000 Hz and 0.09 per cent at 20,000 Hz. At half 60/7000 Hz (4.11 IM DISTORTION AIL SE 460 power or less, the distortion was under 0.01 per cent from .002 40 to about 2,000 Hz, under 0.05 per cent all the way to 20,000 Hz, and under 0.02 per cent at 20 Hz. 001 1 1 1 1 1 1 1 1 11111 I I 0) oz 0 5 2 5 0 20 50 00 Needless to say, the JBL SE460 performed essentially CONTINUOUS AND EQUIVALENT SINE -WAVE POWER OUTPUT PER CHANNEL IN WATTS as a perfect amplifier in listening tests. It has the power to drive any speaker, and its distortions were not only in- considering its high power. It measures 43/8 inches high x audible, but were not even measurable without the most 153/4 inches wide x 73/4 inches deep and weighs about 20 advanced test equipment. Like the SE400S (which is still pounds. available), the SE460 cannot be faulted in any respect, Because of its low idling current, the SE460 can be left and it offers even more power at a nominal increase in on permanently without becoming more than faintly warm price. The JBL SE460 ina handsome matte -finish steel to the touch. Each channel has its own input -level adjust- cabinet sells for $342 with flat equalization (as tested), or ment and a relatively low input impedance of 25,000 ohms, $354 with equalizer boards. which should be compatible with any good preamplifier. For snore information, circle 157 on reader service card

ASTROCOM/MARLUX MODEL 407 TAPE DECK ips) are selected by a pushbutton. The capstan is driven by a hysteresis -synchronous motor, and electro-dynamic brak- ing is applied to the reel motors. The Astrocom/Marlux 407 plays in both directions, and can be set to reverse automatically by attaching a foil strip to the tape. It can also be reversed manually at any time simply by pressing the REVERSE button. The two basic operating pushbuttons are flanked by fast -forward and rewind buttons, and a prominent red STOP button is in the middle of the group. In addition, there is an a.c.-power button and a tape -tension button that provides the appropriate tension for standard 1.5 -mil tape or for the thinner 1 -mil and 0.5 -mil tapes. At the right of the transport is the electronic section. It OBVIOUSLY designed to offer professional features and has concentric gain controls for the two high-level line in- appearance in a moderately priced home tape deck, the puts, and another pair for the microphone inputs. The Astrocom/Marlux Model 407 immediately impressed us as latter are designed for dynamic microphones with a 10,000 - a carefully thought-out, well -made machine. Its transport ohm impedance. The inputs can be mixed. At the top of functions are completely under the control of solenoids, ac- the electronics section are concentric playback -level con- tuated by pushbuttons that require only a very light touch. trols. The two VU meters are located above two record- All visible metal parts on the transport are finely finished, safety buttons, which must be pressed when the tape is set and the cast -metal head cover, when raised upward on its in motion if a recording is to be made. A red light above hinges to expose the straight-line tape path, reveals four each button signifies that the corresponding channel is in heads protected by a thick, transparent plastic plate. The the record mode. deck has three motors, and the two speeds (71/2 and 33/4 (Continued on page 38) 36 CIRCLE NO. 109 ON READER SERVICE CARD-D. There are 202 parts in a Garrard automaticturntable. We make all but a

Today's automatic turntable is a At last census the total population beastly sophisticated device. piddling few. of Swindon, England was 97,234. Gar- The Garrard SL95B, below, has rard employs a rather large share of tolerance of plus or minus one ten - them, and has for fifty years. 202 different parts. thousandth of an inch. Mctor pulleys That is, unless we tally the "parts" "Not everyone has been here from must meet the same standard. the year one as Ihave," smiles Morti- that go into such final assembly parts "When you make them yourself," as the motor and pickup arm. In which mer "but we have 256 employees with observes Mr. Mortimer "you can be us over 25 years. Many are second and case the total is more like 700. that finicky. That, actually, is what sets third generation. A few of these parts we buy. Mostly us apart." springs, clips and bits of trim. "It's hardly your average labor force. Everyone feels a part of it." But the parts that make a Garrard Mass produced, by hand perform, or not perform, we make ourselves. Despiteitsplace as the world's The sum of our parts largest producer of component auto- Today's SL95B is the most highly To buy or not to buy matic turntables, Garrard stubbornly perfected automatic turntable you can eschews mass production techniques. At our Swindon works, in England, Every Garrard is still made by hand. buy, regardless of price. a sign reads "If we can't buy surpass- Its revolutionary two -stage synchro- Each person who assembles a part rous motor produces unvarying speed ing quality and absolute accuracy, we tests that finished assembly. make it ourselves." And before each turntable is despite extreme variations in line vol- E. W. Mortimer, Director of Engi- packed in its carton, 26 final tests are tage. neering Staff and a Garrard employee Its new counterweight adjustment performed. screw lets you balance the tone arm since 1919, says "That sign has been Thus, we're assured that the preci- there as long as I can remember. mass to within a hundredth of a gram. sion achieved in its parts is not lost Its patented sliding weight anti - "But considering the precision of in its whole. today's component turntables, and the skating control is permanently accurate. tolerances we must work to, the atti- Swindon, sweet Swindon tude it represents is more critical now And its exclusive two -point record than it was even ten years ago." In fairness to other makers, we support provides unerringly gentle rec- Our Synchro-Lab motor is a perfect confess to a special advantage. ord handling. example. Our home. You can enjoy the SL95B, the sum To limit friction (and rumble) to of all our parts, for $129.50. the irreducible minimum, we super - Or other Garrard component finish each rotor shaft to one micro - models, the sum of fewer parts, for inch. as little as $44.50. The bearings are machined to a Your dealer can help you decide.

British Industries Co. _limpl,14.M.111111M1011,.,.... The record -playback response at 71/2 ipswas down only 0.5 dB at 20,000 Hz from its 1,000 -Hz level. Head fringing 5 N1E117 effects caused some non -audible low -frequency h .453130C031/3413Lll%07 ii - irregularity, ,11EC0.10-1,Av D E.G. 51.01,SE i and the output was down about 6 dBat 20 Hz. The over- ---- ag,. ll I Ldilifl all record -playback responsewas excellent-within ±-1.5 Sj 20 50 100 200 500 Mg 2.1. 51(M, 401114. + dB from 40 to 20,000 Hz. At 3% ips theresponse was ±2 dB from 20 to 13,000 Hz. 0 3 S/4 3.5 The NAB frequency response, checkedover its range -5 3,13 1,_10/13ACK RES.:IONS r FREQUENCY IN I -I(CYCLES PER SECOND] with the Ampex quarter -track testtapes, was flat within 0.5 dB from 200 to 15,000 Hz at 71/2 ips and downonly about 2 dB at 50 Hz. At 3% ips, itwas down 0.5 dB at Finally, there are pushbutton switches for transferring the 7,500 Hz and 2.5 dB at 50 Hz. Theresponse was essential- program from either track to the other. This permits sound- ly the same in both playing directions. on -sound recording, or adding echo while making a record- The transport operatedas well as its fine appearance ing. Between the two ECHO buttons is a source/tape monitor suggested. The wow was 0.02per cent at both speeds. button that connects either the input or the playback-am- Flutter in the forward directionwas an excellent 0.065 per plifier outputs to the line outputs. The input and output cent at 71/2 ips, and 0.085 per cent at 3% ips.In the re- jacks (phono type) are located in the rear of the unit,as verse direction, flutter was 0.1 per cent at both speeds. The is a duplicate input-output DIN connector anda stereo tape speeds were exact, and we appreciated thevery fast headphone jack that will drive low -impedance phones. The and smooth high -wed winding of the407, which handled deck comes on a handsome wooden base measuring21 1,800 feet of tape in less than 58 seconds. inches wide x 141/2 inches high x 101/2 inches deep, and it The distortion was under 1.6per cent with recording weighs 40 pounds. levels as great as +10 dB (far off -scaleon the meters). Just about the only feature we would like tosee added The signal-to-noise ratiowas 54 dB at both speeds, referred to the 407 is a pause control. However, recording levels to a +6 dB input. A line input of 0.12 voltor a micro- can be set up with the tape stationary and the transport phone input of 0.75 millivoltwas needed for 0 -dB record- starts quite positively when the control button is pressed, ing level, and the corresponding lineoutput was 0.78 volt. unlike those of some machines that needa pause control to In an A -B comparison of input and overcome a sluggish or uneven start. output signals, the Astrocom/Marlux 407-did a truly excellent jobat 71/2 ips. Each Astrocom/Marlux 407 recorder is supplied withan Even with FM interstation hissas a "program" (one of the individual frequency -response calibration chart, mar dur- most severe tests of a tape recorder), virtually ing the thorough test no difference itreceives before shipment to the could be heard between the input andoutput signals. At dealer. We measured the record -playbackresponse of the 407 33/4 ips, a slight loss of highswas audible on some pro- by first recording the signal and then rewinding thetape gram material, but -to play it it was certainly not obtrusive. The back. Playback measurements made with the transport controls operated smoothly, withno tendency to machine in the record mode were influenced by the85 - spill or break tape underany conditions of use. In sum, it's kHz bias signal appearing at the line outputs. This did not safe to say that the operating features,design, and con- interfere with normal monitoring operation, but did confuse struction of the Astr.ocom/Marlux 407 makeit an excellent the test instrument readings. The machine isset up for value, well beyond whatone expects to find in a tape deck Audiotape Formula 15 (similar to 3M Type203) which selling for only $379.95. we used for our tests. For more information, circle 158 on reader servicecard

PERPETUUM-EBNER PE 2038 AND 2040 AUTOMATIC TURNTABLES cartridge plug-in slide that tilts the phono cartridgeup or down when turned. Numerals from 1to 8 appear in a small window on the top of thearm head as the knob is rotated, enabling the user to set the correct vertical -tracking angle for any record in a stack of eight. For example, position number 1 would be used for manual play ofa single record. Position 4 gives the correct vertical -tracking angle(ifthe cartridge has been designed-and installed- correctly) for the center of a stack of eight records. Another interesting aspect of the PE mechanical design is the method of sensing record size. A small feelernext to the turntable projects up from the motor board when the changer mechanism is activated. This tests for thepresence of a 12 -inch record on the platter, and indexes thearm appropriately if one is encountered. A second feelernear the center of the turntable is partially depressed when eithera THESE two automatic turntables are thesuccessors to 10 or 12 -inch record is on the turntable. If the center feeler PE's Models 2018 and 2020, reported on in the October is depressed partially and the outer feeler doesnot contact 1969 and May 1968 issues, respectively. Although thenew a record, the arm indexes for a 10 -inch disc. If no record units have the same basic design and operating features as is on the turntable, the inner feeler is fullyextended, and their predecessors, some improvements have been added. the arm will not leave (he rest. Thisprotects the phono One feature of special interest on the PE record players stylus against damage from striking the rubbermat on the is the provision for adjustment of vertical -tracking angleat platter. A 7 -inch record will fully depress the innerfeeler, the cartridge shell. With most automatic turntables the indexing the arm accordingly. Thisvery ingenious indexing vertical -tracking angle changes tosome degree during auto- and protective system worked flawlessly duringour ex- matic play as records are added to the stackon the platter. tensive use of these record players. The PE machines have a small knobon the front of the (Continued on page 40) 38 STEREO REVIEW OposeeaV4 line andPpurtdtsbcttven initsevery

4Ik* mit POIspa! YUNG on. MOW Never before 4 4 4 a I.Pf catip has there been a 111101fOr Mow receiver like the 387. Power and purpose are implicit in its every distinctive line.. . from its bold new high -visibility dial face to the sweep of its comprehensive control panel. And just wait until you experience the 387's effortless performance! A new kind of receiver power is yours to command- instantaneous, undistorted, unmatched for flexibility and responsiveness. Inside, the 387 justifies its advanced exterior. Here are :omorrow's electronics... Integrated Circuits, Field Effect Transistors, solderless connections, and electronic safeguard systems to keep the 387's 270 Watts of power totally usable under all conditions. Decades of manufacturing experience and engineering skill have gone into the 387. But to really appreciate how its designers have totally rejected the ordinary, you must see it and hear it. SCOTT 387 AM/FM STEREO RECEIVER

FM STEREO PERFECTUNE

FM AM

PHONO EXTRA

Computer- activated "Perfectune" New Modutron Circuit Board Ex- Ultra -reliable Integrated Cir- New solderless connection tech- light:Perfectune computer de- change Policy: Takes over after your cuits: Seven IC's are included in niques: Tension -wrapped termi- cides when you're tuned for the warranty expires; insures quick, inex- the 387 . ..totalling 91 transis- nal connections plus plug-in cir- best reception and lowest distor- pensive replacement of any plug-in tors, 28 diodes, and 109 resistors. cuit modules result in the kind of tion, then snaps on the Perfectune printed circuit board for as long as reliability associated with aero- light. you own your Scott unit. space applications. 387 SPECIFICATIONS AMPLIFIER SECTION: Total power (4=1 dB) 270 Watts @ 4 Ohms; IHF music power, 220 Watts @ 4 Ohms; 140 Watts @ 8 Ohms; Continuous output, with one channel driven, 100/100 Watts @ 4 Ohms; 63/63 Watts @ 8 Ohms; Continu- ous output, with both channels driven, 85/85 Watts ® 4 Ohms; 55/55 Watts @ 8 Ohms; Harmonic distortion, 0.5% at rated output; IHF power bandwidth, 10 Hz - 38 kHz; Hum and noise, phone, -70 dB. TUNER SECTION: (FM); Usable sensitivity (IHF), 1.9 uV; Stereo separation, 40 dB; Capture C3SC Orr 17 ratio, 2.5 dB; Signal/Noise ratio, 65 dB; Cross modulation For detailed specifications, write: rejection, 80 dB; Selectivity, 42 dB. TUNER SECTION: (AM); Sensitivity (IHF), 4 uV @ 600 kHz; Selectivity (IHF), H. H. Scott, Inc., Dept. 245-08 32 dB. 111 Powdermill Road, Maynard, Mass. 01754 Price: $449.95 Accessory case, extra. Export: Scott International, Maynard, Mass. 01754 Prices and specifications subject to change without notice. © 1970, H. H. Scott, Inc. AUGUST 1970 39 Like the previous PE models, the 2040 (shown above) instruction manuals give the recommended settings for styli and 2038 are supplied with both an automatic -play spindle of different dimensions. We found that the anti -skating and a single -play spindle that rotates with the platter. The compensation of the PE 2038 had to be set about 1.5grams automatic -play spindle supports the record stack by means higher than recommended for best results. The PE 2040, of three prongs projecting from the shaft. The record -drop- like its predecessor, did not have enough anti -skatingcor- ping action is quite gentle. rection available even at the maximum setting whenan The principal external change in the new models is the elliptical stylus tracking at 1.5 grams was used. On both use of a separate cueing lever (with damped raising and models the antiskating force tended tocause the arm to lowering)insteadof combining thisfunction with the drift outward slightly when it was lowered bymeans of the single lever that controls the other operations of the turn- cueing lever. table. Because of this change, it is no longer necessary to The PE 2038 has a101/2 -inch non-ferrous cast turn- wait about 18 seconds for the cycling action to take place table weighing 41/4 pounds. The PE 2040 turntableisa before a single record can be played manually. Now one massive non-ferrous casting 113/8 inches in diameter and7 simply moves the control lever toMANUAL,positions the pounds in weight. The wow and flutter of both unitswere arm over the record, and lowers it by means of the cueing virtually identical, measuring 0.08 per cent and about0.04 lever. In automatic operation, the PE players still have a to 0.05 per cent, respectively. This is approximately what rather long change cycle (about 20 seconds), but this is a we measured on the older models. However, we foundap- minor inconvenience when playing a stack of records. Aside preciably lower rumble on the new PE turntables-some5 from the cueing modification, the only other change we to 7 dB lower than on the former ones. For the PE 2038, could find on the new models was the elimination of the the rumble was -32 dB (lateral and vertical combined) 162/3 -rpm speed, making them three -speed machines. and -37 dB (lateral only). For the PE 2040, thefigures The PE record players are driven by a husky four -pole were respectively -39 dB and -42 dB. Theseare very induction motor that is virtually unaffected by line -voltage nearly the residual rumble of our test records,and are changes. The speed is adjustable over a ±3-per -cent range about as low as we have measuredon any turntable. about each nominal speed. The arms on the two machines In operation, the two PE units behaved identically,and are identical, with a tracking -force dial calibrated in 0.5- we were impressed by their smoothness and mechanical gram steps from 0 to 6 grams. The very low arm friction quietness. They give a positive impression of good makes it easy to balance the arm unambiguously, and work- we manship and finish, and now that the manual modeof found the tracking -force calibration to be accurate within operation has been speeded up, our only criticism ofthe about 0.1 gram or better. The tracking error was quite low, earlier PE units has been eliminated. The PE recordplay- reaching a maximum of about 0.7 degreeper inch at a ers, in their respective price ranges, are strongly competitive 3 -inch radius. and are very good values. The PE 2038 sells for $115and On the PE 2038, anti -skating correction is applied bya the PE 2040 for $145. Wood bases and dustcovers are $8 dial thatis concentric with the tracking -force dial and each for both models. A deluxe combination baseand dust similarly calibrated. On the PE 2040 there isa separate dial cover is also available. on the motor board calibrated arbitrarily from 0 to 10 The For more information, circle 159 on reader service card The Case Of: New JansZen Electrostaticsvs. Traditional Size And Expense If you' ealways wantt.d to add the natural sound transparency of Electrostatic speakers to your systembut assumed they were bulky and epensi% e. hear JansZen's case: We make the beautiful little Electro- static 130 that can fit right on top of your speakers. Now through handmade Elec- trostatic elements you can add mid/high range "REALISM PLIES" - 5110-30.1100 Ilz. The JansZen Z-700 bookshelf provides the full range. 30-30,000 IIz, for those who are starting out and want Elec- trostatic clarity only improved JansZen speakers can produce. These compact Electrostatics are priced down with comparably sized units. Really See, it only takes a little to make a big difference in your listening... thanks to JansZen 130 JansZen.

Write us for complete information anda free copy01 rthur Janszen's test report on Electrostatics. JansZen speakers incorporate designs by Arthur A. Janszen and are made exclusivelyin the United States by

ELECTRONIC INDUSTRIES, INC., 7516 42nd Ave. No., Minneapolis,Minn. 55427 CIRCLE NO. 44 ON READER SERVICE CARD 40 STEREO REVIEW When you're young your ears aresharp and your pocket book is flat And you can hear every dB of difference between The amp has 44 watts of IHF power, a front -panel what you can afford and what you'd like to. Aux input, high filter, tape monitor, speaker switching Sony understands. and a sexy, sliding balance control. So we brought out an inexpensive amplifier and And, they sell for one hundred twenty dollars tuner that look and sound almost as good as theeach-complete with walnut cabinet. expensive ones. We call the tuner the ST -5600, and the amp the The FM stereo/FM-AM tuner has switchable AFC, TA -1010. You'll call them nicer names. Enjoy these solid-state i.f. filters, FET's and everything you need at your hi-fi dealer. Sony Corporation of America, to bringinallstations richly,clearly, enjoyably. 47-47 Van Dam Street, Long Island City, N.Y. 11101. THE SONY® STEREO TWINS, $120 EACH CIRCLE NO. 36 ON READER SERVICE CARD Until Now There Has Been OneStereo Receive) Obviously Superior To All Others-- The Heathkit® AR -15 Now There Are Three 1. Heathkit® AR -1f.

IMMO66- A9; 55.--P1 .91 11 00 Ir 94 0i HIP 11?, 104 IN Fl

= = OMIMMI

0 0 0 __ _

2. Heathkit® AR -2E

II 11, OEM VII ,111,111111111, 111111 AAll 55 60 65 11 10 90 00 110 141 160

3. Heathkit® AR -19

X1!.11111111111111 FII II1 t1 "iii 110 111 161

4 STEREO REV1EV --150 Watt AM/FM/FM Stereo Receiver The receiver that started the trend to new concepts in circuitry is still judged the world's finest ... by owners, electronic experts and testing labs. Here are some of the many reasons why. The AR -15 delivers 150 watts music power fromits 69 transistor, 43 diode, 2 IC's circuit - 75 watts per channel. Harmonic and IM distortion are both less than 0.5% at full output. The FM tuner has a cascode 2 -stage FET RF amplifier and an FET mixer to provide high overload capability, excellent cross modulation and image rejection. The use of two crystal filters in the IF section is a Heath first in the industry and provides an ideally shaped bandpass and adjacent channel selectivity impossible with conventional methods. Two Integrated Circuits in the IF amplifier provide hard limiting, excellent temperature stability and increased reliability. The FM tuner boasts sensitivity of 1.8 uV, selectivity of 70 dB and harmonic & IM distortion both less than 0.5% ... you'll hear stations you didn't even know existed, and the elaborate noise -operated squelch, adjustable phase control, stereo threshold control and FM stereo noise filter will let you hear them in the clearest, most natural way possible. Other features include two front panel stereo headphone jacks, positive circuit protection, transformerless outputs, loudness switch, stereo only switch, front panel input level controls, recessed outputs, Tone Flat control, a massive electronically filtered power supply and "Black Magic" panel lighting. Whether you choose the kit model or the factory assembled and tested version, you have chosen the world's finest stereo receiver ... the Heathkit AR -15. Kit AR -15, (less cabinet), 34 lbs $349.95* Assembled ARW-15, (less cabinet), 34 lbs $540.00* Assembled AE -16, optional walnut cabinet, 10 lbs $24.95 100 Watt AM/FM/FM Stereo Receiver

The world's finest medium power stereo receiver ... designed in the tradition of the famous Heathkit AR -15. It's all solid-state ... 65 transistors, 42 diodes plus 4 integrated circuits containing another 56 transistors and 24 diodes. Music power output at 8 ohms is 100 watts. Frequency response is 7 to 60,000 Hz. Harmonic Distortion is less than 0.25% and IM Distortion is 0.2% - both ratings at full power. Direct coupled outputs are protected by dissipation -limiting circuitry. It boasts a massive, electronically regulated power supply. Circuitry includes four individually heat sinked output transistors. The AR -29 uses linear motion bass, treble, balance and volume controls and pushbutton selected inputs. There are outputs for two separate stereo speaker systems, it has center channel capability and a front panel stereo headphone jack. The FET FM tuner is assembled and aligned at the factory and has 1.8 uV sensitivity. Two front panel tuning meters make precise tuning easy. A computer designed 9 -pole L -C filter plus 3 IC's in the IF give ideally shaped bandpass with greater than 70 dB selectivity and eliminates alignment. IC multiplex section. The AM tuner has three FET's. An AM rod antenna swivels for best pickup. Modular Plug-in Circuit Boards make the kit easy to build and service. Built-in test circuitry lets you assemble, test and service your AR -29 without external test equipment. "Black Magic" panel lighting, chrome trim, aluminum lower panel. The AR -29 will please even the most discriminating stereo listener in performance and value. Kit AR -29, (less cabinet), 33 lbs $285.00* Assembled AE -19, oiled pecan cabinet, 10 lbs $19.95` 60 Watt AM/FM/FM Stereo Receiver The AR -19 circuitry reflects many of the advanced concepts of the AR -29. It uses 108 transistors and 45 diodes including those in 5 integrated circuits. It delivers 60 watts music power at 8 ohms. At any power level, Harmonic and IM Dis- tortion is less than 0.25%. Frequency response ranges from 6 to 35,000 Hz. Direct coupled outputs are protected by dissipation -limiting circuitry. A massive power supply includes a section of electronically regulated power. The assembled, aligned FET FM tuner has 2.0 uV sensitivity. A preassembled and factory aligned FM IF circuit board gives 35 dB selectivity. The multiplex IC circuit provides inherent SCA rejection. It features two switched noise muting circuits; linear motion controls for bass, treble, volume and balance; input level controls; outputs for 2 separate stereo speaker systems; center speaker capability; two tuning meters; stereo indicator light; front panel stereo headphone jack. The Modular Plug-in Circuit Board design speeds assembly. Built-in Test Circuitry aids assembly, simplifies servicing. "Black Magic" panel lighting, black lower panel, chrome accents. Compare it with any model in its price range ... the AR -19 will prove itself the better buy. Kit AR -19, (less cabinet) 29 lbs $225.00* Assembled AE -19, cabinet, 10 lbs $19.95*

HEATH COMPANY, Dept. 40.8 HEATIIK IT NEW Benton Harbor, MichiLan 49022 a Schlumberger company FREE 1970 CATALOG! Enclosed is $ plus shipping. Now with more kits, more color. Please send model (51 Fully describes these along with Please send FREE Heathkrt Catalog. Please seed Credit Application. over 300 kits for stereo hi-fi, color TV, electronic organs, gui- Name taramplifiers, amateur radio, marine, educational, CB, home Address hobby. Mail coupon or write Heath Company, Benton Harbor. City State Zip Michigan 49022. 'Mail order prices: F.O.B. factory. Prices b specificaticns subject to change without notice. HF-234 CIRCLE NO. 17 ON READER SERVICE CARD AUGUST 1970 43 By JAMES GOODFRIEND (but still musically intellectual)events -Indian music or the exoticavant garde -when they do want to experiment with more substantial music. Thisis something for some concertsponsors to ponder:if they are hungry for audiences, a reversal of attitude might get them the disestablished one. What won't get theyoung audiences is precisely what is being triednow by far too many obviously panicked pack- agers of musical culture: the mixing of serious and popular musicon the mis- begotten theorythatif some slender musical -technical relationshipcan be es- GOING ONRECORD tablished between them,consumers of the one will happily becomeconsumers PRODISESTABLISHMENTARIANISM of the other. But this is nothingmore than the establishment talking down. UNTIL RECENTLY most of us thought tars. But we can try to break it down And if you find we knew who and what the musi- it embarrassing (as I and get a few specifics. I doubt that the do) to be identified with those whoare cal establishment was. People in therec- concert halls themselves are included. In ord business come to recognize, after doing the talking down, think howyou a New York City both Carnegie and Phil- might feelif you were the one being while, just what makes up the estab- harmonic Hall have too often been the talked down to. However it lished repertoire, who putsup the mon- may be ex- sites of non -classical events for thereto pressed, twisted, or oddly packaged, the ey, which performer gets the benefit of beanythingsymbolicallyforbidding an overwhelming promotional campaign, dominant attitude of youth isan ideal- about the buildings themselves. Opera istic one. What they objectto is seeing and who among the many applicants is houses, particularly in New York,may going to get the awards and the appoint- something good overlaid witha thick be a different story. The opera is snob- coating of hype, formality, phoniness, ments. But we have come to know the bish, formal, expensive, and musically establishment from the inside, and that advertisingese, or an adulterated version reactionary, and that combination doesn't of what is already theirs. Offeritto is no longer enough. go down very well with kids. The build- A lot of concerned people in the music them pure, clean, and without hooks, ing may seem to stand forallthose and some of them might just buy it. business today-some performers,some qualities. But then maybe not-the Who managers, some executives, some record have recently (June 7) produced their * companies, some publishers, some publi- "rock opera" Tommy at the Met. cists-are trying to find out what the THE basic research tool of the record A few things quite definitelyare estab- collector is the discography, for only musical establishment looks like from lishment: major newspapers, their pub- the outside. In particular, they want there may he expect reasonable complete- to lished criticisms, and the advertisements ness and accuracy when he must deter- know what the oft -mentioned disaffected placed in them; most radio stations that young generation believes is or is not a mine, for any specific area of music, who play recorded classical music; mostrec- recorded what. Discographies of various part of the establishment, and the rea-ord companies that produce classical son they want to know is tied up with sorts are published frequently in both music; the Fifty -Seventh Street hype- magazine and book form, andone of the the future. That is, if they are to havea that is, the whole promotionalset-up of future they will have to see if there is best and most useful I have yetseen has an the concert -management business; high just been issued. Put together by Steven establishment label over their heads and prices for musical events; high school Smolian, then, maybe, get out from under it. itis called A Handbook of and college music teachers. Film, Theater, and Television Music The multiplecontradictionsinthe on But there are elements bothmore spe- Record, 1948-1969 ($6.00 postpaidin student attitudes toward classical musiccific and more vague than that. Formal- today make sense only if we assume that the U.S.; $7.00 postpaid elsewhere, from ity is one, the formality of theconcert, The Record Undertaker, P. 0. Box 437, the students do not actually hate classi- which specifies not only a mode of dress, cal music in itself. They New York, N. Y. 10023). may not ac- but also a mode of behavior (don'ten- tively like it, for reasons I have described The handbook is madeup of two ter or leave while the music is playing, softbound volumes, an alphabetical list- in perhaps excessive detail before this, do sitquietly, do applaud at certain but it's unlikely that they hate it. What ing and an index,slidintoa binder specific times, don't boo, don't smoke, (from which they are removable). The they do hate and avoid like the plague is don't drink, don't lie on the floor). Pre- the classical musical establishment, the index is by record company and bycom- requisite knowledge is another-forex- poser, the alphabetical listing by show matrix that holds the music itself ina ample, the idea that you haveto know cement -like grip. Their attitude toward or film title. The information given in- something about records beforeyou can cludes the type of production (N. Y. music isn't really much different from intelligently buy a record. their attitudes toward everything else. Original Cast,Later Broadway Cast, But perhaps the major element of the London Original Cast, etc.), the date of The smart kids know what is valuable. establishment, as seen through jaundiced They are not against money, art, books, production,the composer,therecord eyes, is its customary audience. Whether company, mono and stereo numbers, the liberty, and the flag. What they don't itisthe academic, like are the people who control those intellectual group date of issue, and, in a remarkablenum- that turns up at concerts of modernor ber of cases for such difficult -to -obtain things, some of what that control results early music, the essentiallysquare mid- in, and what they have to information, the date of deletion. Anex- go through to dle class at the symphonyconcerts, or get some of that control for themselves. cellent discussion of the discographical What is the socialites, tourists, and vocalnuts at methods and some wise tips on the col- the musical establishment the opera,itisnot an audience for from this point of view? Nobody really lectors' market preface thelistings.I which rock -oriented young peopleare frankly don't see how anyone interested knows yet, for what is operative today is going to feel any empathy. Perhaps that a general feeling, not a bill of particu- in show and film music on recordscan is why they turn up at othermore outré do without it. 44 STEREO REVIEW SHERWOOD $199 100 WATT RECEIVER IS The Most Dramatic Value For The '70's compare it!

The price is low, but the Sherwood 57100 stereo AM/FM Receiver is by far the best value available. Sherwood's long -tradition of excellence in tuner and amplifier design is behind the 57100; feature -packed, and built for years of reliable performance. 100 watts (--.±-1dB); 80 watts (IHF); 25 + 25 watts RMS (8 ohms) @ under 1°/O distortion. Front -panel extra tape record/dubbing jack. FM interchannel "hush" control; mutes out noise between stations.

FM sensitivity (IHF) .1.9/Av. Distortion (@ 10 watts) ... SH E: I % 0 0 ID Handsome oiled walnut cabinet included ELECTRONIC LABORATOFIES, INC. at no extra charge. INNOVATORS IN FINEST QUALITY TO/RS AMPLIFIERS / RECEIVERS / SPEAKERS Complete specifications available upon request. 4300 North Califormia Avenue, Chicago, Illinois 60618

CIRCLE NO. 34 Old READER SERVICE CARD AUGUST 1970 45 ward a round, red pop -art chair.Ile next thing I knew, someone was putting headphones on me and I was listening to the Firebird Suite. It was magnificent. Two salesmen came before me, smiled and bowed. As I listened, I spun myself halfway around in the chair and my eyes caught something wedged between speakers on a shelf above me. There sat a bust of Beethoven wearing i headset identical to mine. When the music stopped I removed the headphones. "You like?" a salesman asked me. "Sure," I said. "Perhaps some Elbis Plesley?" Istreet in Akihabara, Tokyo, a stereo -shopper's paradise. "Uh, no," I said, "that was fine," and I moved on, thanking them generously. Still soothed by the sounds of Stra- AUDIO TOKYO vinsky, I walked into a neighboring store By TOBY SMITH only to be assaulted by the wailing of a Japanese rock singer.I was about to ANY American visitor to Tokyo who I went into one of the nameless audio leave when I spotted an American ready hasevenapassinginterestin emporia and checked some price tags. to make a purchase. Talking to him, I stereo equipment cannot afford to miss From what I know about U.S. prices, a learned he was from Pittsburgh and had a trip to the northwest section of the lot of the Japanese gear was going for come to Japan for Expo '70. He was in world's largest city. Known as Akiha- just about U.S.-dealer cost. In addition, Akihabara to buy equipment and had bara, this four -block area is not only a there was a selection of Japanese name- picked up some components at what he bargain hunter's dreamland-with a 30 brand equipment thatisnot,for one characterized as "a steal." to 35 per cent discount on everything- reason or another, being exported to the "You bought anything?" he asked me. but also a wonderfully chaotic, yet fasci- U.S. I stopped and watched a Japanese "Not yet," I said. nating, place to see. couple eyeing an expensive turntable. A "Well, I'll give you a hint. Be sure Japan has long been known for its fine salesman approached them and the bar- and bargain with them. It's easy. They electronic products; Akihabara has allgaining began. The couple questioned expect it." the familiar ones, plus a lot of others the clerk rat -a -tat -tatstyle for a few "Thanks," I said, watching him carry you can't even pronounce. Merchandise minutes and then the clerk paused. He a receiver out the door. ranges from the tiniest transistor radio squinted his eyes, stuck his finger in his to complete stereo systems, and allat ear, and looked grim. Heads were shak- GETTING a large -size purchase home very low prices. ing, and then the voices rose once again may be Akihabara's only drawback. Un- The chief commodity being sound, at an even more rapid speed. This con- less you have a car, taking two speak- Akihabara doesn't let you forget it. The tinued for several more minutes untilers or any number of components back dozens of small stores lining narrow al- finally the clerk stopped and smiled. A to your hotel room can be a hassle. leyways keep their musical wares going sale. Akihabara is located on the Hibiya Sub- full volume for 18 hours a day. There The alley stores make up the largest way Line, ten minutes from the Ginza, issuch a deafening volley of musicpart of Akihabara. About every fourth but trying to lug something on the sub- and voices ricocheting across the eight - one of these is a shop which specializes in way (forget it if it's rush hour) can be foot passageway that winds between theone of two things-fans or washing ma- difficult if you don't have help. facing storefronts that you can almost chines. Both items, like all the electronic By the time Ileft the helpful gent feelyourselfbeing swayed by soundgear, are always switched on. The fans, from Pittsburgh, my money was burning waves. It's hard to tell where one store all with dazzling blue blades, are best a hole in my pocket. I walked back over endsandanotherbegins,forevery sellers,fora summer in Tokyo can to the alley complex and studied a tape shop'sawningvirtuallyoverlapsthe often seem like a summer in the Sahara. deck. It had a 45,000 yen ($125) price next. And none of the establishments, The washing machines, something com- tag on it. as far as I could tell, have names. paratively new to the Orient, are a great "Real good buy," said the stooped When you finally get used tothe attraction to the Japanese. Many local little proprietor who popped up sud- deafening decibel level, you get around shoppers will stand and watch for hours denly at my side. "Cheap." to noticing the great amount of dicker. on end as the washers rumble and agi- "Maybe,"Isaid, "but too high."I ing and dealing going on inside (and tate on the small sidewalks. raised my hand in the air above my head. outside)each store between customer I walked over and went into one of "Isell you." He wrote 43,000 yen and salesman. Just a thought, but ifthe more fashionable, yetstillnoisy, down on a piece of paper and handed it shopkeepers in Akihabara knew as much two-story stores around the corner from to me. "Good, no?" about semantics as they do about elec- an alley.I was immediately encircled "No, I don't think so," I said. tronics,they wouldn't turn away so by several hard -sell clerks. I got rid of "OK, OK." He wrote 40,000 down. many potential patrons by standing in them by putting my hand on my fore- No dice.Ilooked around the store, front of their shops and shouting tohead, indicating that I was a browser. feigning a yawn, and then back to the gaijins(foreigners) "Hey, wanna buy As I wandered about, an eager, neatly man. Might as well go for all the mar- cheap goods?" What they mean, of dressed clerk came over and asked me if bles, I thought. course, is reasonable or quite inexpen- I was from the United States. I nodded He scratched his head, gave me a sive equipment. Low prices and high and he told me to follow him. What had toothy grin, and then scribbled again - quality have gone hand -in -hand in this I done, I wondered? I trailed him to a 38,000. shoppingdistrictsincethepost-war small back room, carpeted and lined "You take?" years, when the shops first took root. with speakers, and he motioned me to- I took.

46 STEREO REVIEW We made the world's fastest bookshelf speaker alittle faster.

Until recently, the world's fastest book- differences are kept out of the range anyone who pays $199 for a bookshelf shelf speaker was the Rectilinear X. where most of the audible information speaker is entitled to our latest thinking. Now it's the Rectilinear Xa, which is is. The greatest benefit is that the criti- How does the new Rectilinear Xa our new model number for the identical cally important upper bass and lower sound? We're hopelessly prejudiced, system with some minor modifications. midrange are reproduced by a fast so we'll quote Hirsch -Houck Labora- This model change isn't an exercise in midrange driver rather than a slower tories instead (Equipment Test Reports, planned obsolescence, just as our ec- woofer, as in other bookshelf speakers. Stereo Review, June 1970): centric use of the word fast isn't an ad- That's what makes our design the ".. Wepreferred the Rectilinear Xa vertising gimmick. They both express world's fastest. in the areas of clarity and definition. In our deep concern about time delay dis- Now, the main difference between the fact, we have heard few systems capa- tortion, a phenomenon blithely ignored Rectilinear X and the new Xa is that the ble of comparable sonic detail, by most speaker designers and taken relatively unimoortant time delay n the most of them lack the bass of the Rec- seriously only by a few egghead engi- woofer (below 100 Hz) was further re- tilinear Xa." neers. duced by certain changes in the cross- In other words, one of the leading au- Time delay distortion occurs when a over network. This makes the speaker thorities in the business is telling you speaker doesn't "speak" the instant a faster still, and some very small irregu- that if you want supreme transparency signal is fed into it but remains silent for larities in the frequency response were pl.is bass, you're just about reduced to a tiny fraction of a second. This tends also flattened out in the process. It's a the Rectilinear Xa. to blur the reproduced signal, espe- small improvement, but we feethat Arguing with that islike fighting city cially in a speaker system with several hall. drivers, each of which has its own dif- For more information, including de- ferent time delay. Typically, the woofer tailed literature, see your audio dealer is slower to speak than the midrange, or write to Rectilinear Research Corp., which in turn is slower than the tweeter. 107 Bruckner Blvd., Bronx, N. Y. 10454. Crossover networks further complicate Canada: H. Roy Gray Co. Ltd., Mark- the problem. The overall resultis an ham, Ont. Overseas: Royal Sound Co., audible loss of clarity. 409 N. Main St., Freeport, N. Y. 11520.) Our solutionin a three-way system such as the Rectilinear Xa is to use a 5 - inch midrange speaker with exception- Rectilinear Xa ally low time delay (one that speaks exceptionally fast in response to an input signal) and let it carry nearly all of the music. The woofer contributes only to the extreme bass (below 100 Hz) and the tweeter only to the extreme treble (above 8000 Hz). Thus the time delay

CIRCLE NO. 31 ON READER SERVICE CARD AUGUST 1970 47 HEARD THE LATEST?

4.track, 2-cr annel stereo All-sikon trvlsistpr pre -amps Pause ccntrpl Digital coun er Cual lU me er Fast yzindin Autoriat c iTop at end of tape 0.2% woN

SINram45 dB or more A-24 Crosstalk4D dB between adjacent tracks at 100 Hz Micrcphone optional

This :s w-lat havens when a big na:n2, thinks small. It's the TEAC A-24, and it's making cassette history. This deck is powered by a Lnique hysteresis synchronous outer rotor motor for compact. convenience, powerhc use performana. And it comes complete with all the craftsmanship it takes 4-..) mak.: a TEAC. More exclusive features: a special end -of -tape sensing circuit which not only stops the cassette, but completaly disengages the mechanism- releasing pushbuttons, pinch roller and idlers - to avoid "flats" and deformation of critical drive components. Two specially -designed heads for. outstanding frequency response. Just about the lowest wow and flutter that ever came out of a cassette. Of course, no sound system is really complete without cassette capability. So if it's time to round out your equipment, it's time to sound out our A-24. T E AC, TEAC Corporation of America 2000 Colorado Avenue Santa Monica, California 90404 THE BASIC REPERTOIRE: Item One Hundred Twenty-six By Martin Bookspan

A view of the Paris boulevards in 1789 (alter a painting by St. Rubin). aydn's Aymphony nro.88 THEHaydn revival of the past quarter -century, impresario Salomon. But an equally rich lode of sym- largely spurred by the research, manuscript dis- phonies was created by Haydn, about a decade earlier than coveries, and editing of that indefatigable Haydn the "London" Symphonies, for performance at concerts in enthusiast H. C. Robbins Landon, has brought about an Paris. The Symphonies Nos. 82 through 87 are the so- extraordinary expansion of the performing repertoire of called "Paris" Symphonies, but their immediate successors this composer. Little-known Masses, concertos, operas, and were also composed for the French capital. Among the symphonies by the Austrian master have been rescued from latter, the Symphony No. 88, in G major, has long en- oblivion, performed, and recorded. Where the symphon- joyed repertoire status both in the concert hall and on ies are concerned, only a handful of Haydn's more than records-probably the earliest of Haydn's symphonies to one hundred are not available on microgroove recordings. do so. (Of course Haydn himself was extremely helpful in this Haydn composed his Paris symphonies for presentation regard: he fashioned his symphonies to just the proper at the concerts of the Loge Olympique, a fashionable and length for a single LP side !) highly exclusive French institution that was associated Despite the discoveries and recordings, however, the with Freemasonry. One could become a subscriber to the status of the Haydn symphonies in the concert hall re- concerts only after solemn examination and ritual; admis- mains virtually the same as it was a generation ago. Only sion to the hall was by paying an annual fee and wearing an a handful of them are regularly performed, and these identifying badge-a silver lyre on a sky-blue background. are generally from among the composer's final works in Beginning in 1786, the concerts were given in the Salle the form, the dozen symphonies he composed for two des Gardes of the Palace of the Tuileries, the orchestra be- separate visits to London under the aegis of the British ing comprised of carefully selected amateurs who sat along -

.4 -CIRCLE NO. 39 ON READER SERVICE CARD 49 Rie.e tiimeeeme litsi.Oereerlieeletv Nnti fweellmemneek I dirS)mplimn 110.1411 ill I) Iconflon rod -r1{4 141-41,44Z" in( . h icmperrr HAYDN ....STOW No m r, C MAXIS SYMPHONY No CW m C. MANS - TH4 COWMEN, SYMPHONY ORIONeSTPS

The ,iilient catalogs offer threerecordings of Ilaydn's Symphony No. sive, and spontaneous. 88 that are almost equallygenial, respon- These are the performances byLeonard Bernstein (Columbia), and Bruno Walter(also Columbia). The couplings offered Otto Klemperer (Angel), with each may determine thechoice for the buyer.

side professionals. A speciallyerected stage was placed in interlude, the music returnsto the formal sound of the the Salles des Gardes, and QueenMarie Antoinette and Minuet proper. the lords and ladies of her court attended regularly. For- The Finale, allegro mal attire was carefully con spirito, is one of Haydn's most prescribed, and the musicians vivacious and sparkling. Its were dressed in brocaded coats, lace ruffles, bubbling principal theme and plumed becomes the underpinning fora merry rondo, and it hats that they were allowedto place on benches by their makes many welcomereturns during the course of the side as they played. Eachone, too, had a sword at his side. movement. Some of these returnsare enhanced by sus- It was in this elegant ambiancethat Haydn's Symphony penseful preparation, anticipatinga device much favored No. 88 had its first performancein 1787 in Paris. Two by Beethoven. The end ofthe symphony is rollicking. years later, when the tocsin of the FrenchRevolution sounded, the concerts of theLoge Olympique came toan abrupt end. HALF a dozen recordings of the SymphonyNo. 88 are listed in the current Schwann The symphony opens with catalog. One of them- a majestic adagio intro- Scherchen's-predates the stereo duction. Short, full-bodiedchords set a formal tone age, and is not in any to case an irresistibly convincing performance.Each of the the proceedings, but it is quicklydispelled with the en- other five versions, however, trance of the main Allegro's sprightly has its own claim to dis- principal theme, tinction, and choiceamong them is a personal matter. first stated by the strings.The second subject, richer and more chromatic, Though their recordingsare carefully organized and appears in the dominant key of painstakingly detailed, I find D Major, and the expositionis rounded off with both Eugen Jochum and a Fritz Reiner too rigid intheir approaches: the element return to the rhythmic outline ofthe first theme. The of humor is slighted by development begins with them both. And that leaves some gentle play on a rippling Leonard Bernstein (Columbia string motive that accompaniedthe first full orchestral MS 7259), Otto Klem- perer (Angel S 36346), and BrunoWalter (Columbia statement of the main subject. Thisfigure is tossed from MS 6486). All three of themoffer genial and key to key, sometimes in theminor, sometimes in the respon- sive performances thatcommunicate a high degree of major, and is passed fromone section of the orchestra spontaneity. In the case of Klempererthis may surprise to the other in one of Haydn'smost fanciful and insome, for he is generally thoughtto deliver sober, un- ventive developments. Therecapitulation brings back the bending performances-andyet his recording of this material of the exposition, andthere follows a martial coda. symphony is all one could wishfor in the way ofre- laxation. For their part, Bernsteinand Walter are simi- The slow movement, markedlargo, is an impassioned larly satisfying,offering performances thatarealert premonition of early Beethovenslow movements. Three and vital. times during the course of the movement the graceful A choice between Bernstein, singing theme is interruptedby a fortissimo outburst Klemperer, and Walter from the full orchestra. might be made on the basis oftheir respective coup- In the Minuet lings. All three offer anotherHaydn Symphonyon the we return to the formal -sounding de- reverse: sign of the adagio introduction. Bernstein No. 102, ina superb performance With little ornamental and recording; KlempererNo. 104 in a good but flourishes, the movement hasa courtliness that immedi- not ately suggests the circumstances exceptional reading; and WalterNo. 100 ("Military"), of its creation. But in in a perceptive account that the Trio Haydn suddenly takes is somewhat marred by us to a totally different strident and harsh recorded sound. environment: with its droning bass under the flowing Tape enthusiasts have to theme, the music suggestsa pastoral countryside, and content themselves with there is even a hint of one of the available disc versions, forapparently none bagpipes. After this charming of these recordings existon tape. REPRINTS of the latest review of the complete "Basic Repertoire" are available without charge. Circle No. 160on reader servicecard.

CIRCLE NO. 43 ON READER SERVICECARD-). It's kind of a dumb -looking thing, but the varying dimensions. There is no symmetry. waves to the medium parts and so on. ear is still the best listening devicearound. This is because sound is not symmetrical. It The result is a sound as close to natural as Which should tell you something about the bends. So symmetrical shapes-ears or speak- you've heard. Freer, fuller, more omnidirec- shape of a Yamaha speaker. ers-will confine sound to an area that won't tional. True, the ear receives sound and a speaker let it bend naturally. (Cup your ear and see Listen to what natural sound is all about. If reproduces it. But the basic principles of how directional and different things sound.) you're not convinced then, well, maybe you are physics and design are essentially the same. The irregular shape of a Yamaha speaker wearing the wrong kind of ears. There is a place in the middle through which gives sound waves of different length a place to the sound travels. Surrounding it are planes of go. Long waves go to the long parts, medium Either we're right about the shape ofourspeakers, oryou're wearing the wrongkind ofears.

*YAMAHA YAMAI IA IN I litNA IUNAI. CORP Audi,. Dmriori 7733 Telegraph Road, Montebello, Cal& 90640 KENWOOD adds a new measure of fun to STEREO ENJOYMENT

11 gti 91i

Lana. TAM AN. FY MUTING WNW 1.1.7 Nr.w MI Ell III MI BALANCE

Kt n Ls+ .. I ..o.w,.T INN

MODEL KR -6160- 260 WATTS, FET, IC, FM/AM STEREO RECEIVER "Mike -Mixing" in any Mode with its own Dynamic Microphone. Microphone Input Jacks and Level Control conveniently located on front panel. the sound approach to quality For complete information and specifications, write... KENWOOD 15711 South Broadway, Gardena, California 90247 72-02 Fifty-first Avenue, Woodside, New York 11377 CIRCLE NO. 22 ON READER SERVICE CARD 52 STEREO REVIEW /

X Et*4 4 4 al 4 #ft.11

The testing oI uch a matter of how to make measurements, but rather of which factors to measure-and then how to interpret the data thus gathered By JULIAN HIRSCH

MEASUREMENTS are important in the design and of absolutely faithful conversion into sound of the elec- quality control of loudspeakers, but to what trical signal fed toit.Conventional speaker measure- degree do they provide information about how a ments, including some lately publicized new techniques, system will sound in a listener's living room? Based on simply are not able to test for this information, nor to our experiences in evaluating loudspeakers over the years, conveyitto the average reader. Even for an expert we at Hirsch -Houck Laboratories tend to view the mea- in the field, an adequate description of a speaker's per- surements made by most loudspeaker manufacturers as formance based only on objective data would require providing useful guidelines, but certainly not precise amassing a formidable amount of information which descriptions as to how well (which means how accurately) would still not tell him, except in very general terms, a speaker performs. We are interested primarily in how a how the speaker sounds. This is not to say, however, that speaker sounds, in how closely it approaches the ideal the many measurements employed by a designer are not

AUGUST 1970 53 Fig.I. Tone bursts are used to evaluate a loudspeaker system'sresponse to transient signals that occur in normal program material. The burst at (A) is the signal as produced by thegenerator; (B) is the signal picked up by a microphone from with a fairly good response. Signal (C) a speaker was produced by a speaker with poor transient response-this would be audibleon music. also useful in testing, for theycan frequently pinpoint quencies. A microphone picks up the output of the aspects of a speaker's sonic character whose origins could speaker and feeds it in turn toa synchronized graph only be guessed at through listening. recorder. The more angles and the more frequencies What, then, are those measurable aspects of a speaker's used, the greater the difficulty of interpreting thecurves. performance that relate to its sound? In the view of On the other hand, the fewer the angles and frequen- H -H Labs they are: cies, the greater the chance that criticalareas will be 1. frequency response (steady state) missed. Of course, a computer could be used toaverage 2. spatial characteristics(dispersion as a function of the curves, but would the results bearany provable frequency response) relationship to what one hears in a real -life situation? 3. transient response (both amplitude and phase charac- There is also a method of measuring the total output teristics) of a speaker, in all directions, and obtaining 4. non-linear distortion (harmonic, IM, and FM). a single plot of its response. If a reverberant chamber(one Each of the above general categories hasa number of whose surfaces reflect essentially all the sound impinging sub -divisions to deal with inevitable complexities.A on them) is used, we can obtain a response curve that good example of how complicated thingscan get is pro- more closely approximates how a speaker performs in vided by the "simple" matter of frequencyresponse. a normal listening room than an anechoic measurement Even a standard specification suchas "±5 dB from 40 does. However, real listening rooms are neither fully to 15,000 Hz" is far from fully descriptive. The audible reverberant nor fully anechoic (both environments would frequency response of any speaker isa function of the be unpleasant for listening to music). Thus,measure- angle between it and the listener. Usually the directly- ments made under either anechoic or reverberant condi- in -front (or on -axis) measuredresponse is offered as tions can give, at best, only a clue as to what we will the frequency response, since it usually has the widest hear in the home. range. At off -axis angles, the output level at high (and, Transient response, which is the third item in the to a lesser extent, middle) frequencies falls off. Sound list above, is related to frequency response. Frequency- leaves a speaker in many directions, and ina normal response measurements are usually made with steady- listening room it is eventually reflected frommany sur- state (continuous) test tones. Even when the test -tone faces. Therefore, if the listener is sitting far enoughaway frequency is swept automatically over a wide range,as it from the speaker, what reaches him isa more or less usuallyis,the speaker iseffectively responding toa homogenized or integrated sound. The effective frequency single sine -wave tone. But normal program material- response of a speaker is therefore much more a function music and speech-is largely transient in nature: both of its total acoustic output power in all directions thanof amplitudes and frequencies change constantly and rap- its pressure response along any one axis. idly. And there is every reason to believe that the ability There are various methods of evaluating the direction- of a speaker to respond accurately to transient inputs al or polar frequency characteristics ofa speaker, and is necessary to produce good sound quality. these are our second important area of investigation. One There are several types of test signals used to reveal standard procedure is to rotate the speaker slowly in a loudspeaker's reaction to transient audio material. Most an anechoic chamber while feedinginvariousfre- of these unfortunately do not yield numerical results

54 STEREO REVIEW conveniently. Perhaps the most widely used is the tone "Doppler" distortion, a frequency modulation of high burst. This is a short, repetitive burst of a single -fre- frequencies by high -amplitude, low -frequency signals quency sine -wave signal. The electrical signal to be fed that occurs when both are being handled by the same to the speaker typically appears on an oscilloscope as driver. Other factors being equal, Doppler distortion is in Fig.1 (A). Because of its mechanical inertia, a speaker minimized by high -efficiency speaker designs that require usually requires an appreciable time (measured, to be less cone excursion from the low -frequency speakers for sure,in milliseconds)to build up toitsfull output, the same acoustic output, and by the use of a low cross- and inertia may also cause itto "ring" for some time over frequency so that the woofer is not required to after the cessation of the burst. The acoustic output of a handle high frequencies. Doppler distortion is real, and typical speaker in a tone -burst testis shown in Fig. itis readily detectable with a spectrum analyzer, but I 1(B). This is a rather good response-a speaker with am not convinced that it can be heard under normal poor transient response will often produce an output listening conditions. similar to that shown in Fig. 1(C). Although numerical values cannot readily be assigned to tone -burst responses, N testing speakers in H -H Labs, we perform a number sweeping the oscillator frequency through the full range of measurements in the areas described above. They of the speaker makes it possible to detect severe ringing, are necessarily limited in scope (a really complete speaker spurious output frequencies, or other aberrations. Most testfacilityis very large and costly), but have been speakers ring to some degree at certain frequencies, and chosen to extract the maximum of useful information the number of frequencies at which ringing occurs, as that relates to how a speaker sounds. Since neither an well as its severity, provide one basis for judgment of anechoic or a reverberant environment is completely realis- quality. tic for evaluating the listening quality of speakers, we Other transient test signals, such as pulses and square do our testing in a normally "live" room of about 2,800 waves, can also be used. They are,if anything, even cubic feet. more difficult to interpret than tone bursts, and have We place the speaker to be tested against a wall, 24 therefore had limited acceptance as testing methods. Per- inches above the floor if itis a "bookshelf" speaker, or haps the most completely transient test signal is random on the floor if it is designed to be used in that position. noise. Although noise (unless pulsed) does not lend A single calibratedAltec 21BR150 capacitor micro- itself to evaluating transient response, it can be used phone is located on the center axis of the speaker grille, for aural detection of frequency -response variations. and 12 inches in front of it. Three Shure 578 micro- One form of transient distortion that has received some phones are suspended from the ceiling at various em- attention in recent years is time -delay distortion.Itis pirically determinedpositions.Allfour microphones the result of a speaker system's propagating different feed into a Shure M68 microphone mixer whose output frequencies in a complex signal at slightly different times. drives the graphic recorder of a General Radio 1350-A It appears that much of what has been called "phase- Response Plotting System. The test signalis supplied shift" distortion is really time -delay distortion (a small by a General Radio oscillator coupled to the graphic time delay can be equivalent to a very large phase shift). recorder, and sweeps from 20 to 20,000 Hz in1.2 Promising as the study of time -delay distortion is, it re- minutes. This signal is fed to a Dynaco MK IV power quires a rather specialized and costly test setup, and thus amplifier that drives the speaker under test. The speaker far has excited the interest of few engineers. is fed either a constant -level 0.78 -volt signal (8 -ohm The fourth significant factor we investigate in speaker speaker), or a 0.55 -volt signal (4 -ohm speaker). testing is non-linear distortion, which results in the crea- For the initial calibration of our setup, a speaker was tion of frequencies not present in the original signal. driven with an octave (approximately 1,000 to 2,000 One common form of non-linear distortion, harmonic Hz) of random noise, and the mixer gain controls were distortion, increases rapdily below about 100 Hz, where adjusted so that each microphone delivered the same out- speakers become non-linear because of large voice -coil/ put voltage to the recorder. For the purposes of the tests cone excursions. Above 100 Hz, harmonic distortion we perform, this standardized gain setting results in a becomes too small to be conveniently measured. Inter- composite response measurement through the room, at modulation distortion is another result of non -linearity, various distances and angles (vertical and horizontal) but it is very difficult to measure meaningfully, particu- relative to the speaker. In this respect, it is more like a larly in multi -speaker systems. In making IM measure- reverberant measurement than a single -axis anechoic mea- ments, a different choice of test frequencies could com- surement. The resulting response curve is quite irregular, pletely alter the results-in contrast to the case with due to standing waves and interference patterns in the amplifiers, which are relatively insensitive to changes room. And at low frequencies, room resonances obscure in the test frequencies used for IM measurements. the true speaker response. The high frequencies (above Another type of non-linear distortion is the so-called several thousand hertz) are picked up in the main by

AUGUST 1970 55 the close-upAltecmicrophone,sincetheyareab- normally "live" room as can be made. It doesnot take sorbed appreciably before reaching themore distant into account the polar response of the speakerat the microphones (whose responses are, in any event, neither highest frequencies, but the multiple -microphone tech- as wide nor as flat as that of the calibrated Altec mike). nique does in effect integrate the speaker's entireoutput After making the first sweep, we relocate the three at middle frequencies. We make a single close-upmea- Shure microphones to three other positions (originally surement of polar response at several angles for addi- determined by experiment, but now standardized),re- tional information, but itis usually too irregular to be set the mixer gains so that each microphone contributes meaningful when taken out of context. equally in the new positions, back up the chartpaper For tone -burst measurements weuse only the Altec to its start, and repeat the measurement. A large percent- microphone, which is placed about two feet in front of the age of the dips and peaks that occur from 300 Hz to speaker grille. Room reflectionscause a certain amount several thousand hertz cancel each other in the twomea- of "clutter" between bursts, whichmay obscure low- surements, showing clearly that they are a property of level ringing. We surround the speaker and microphone the room and not of the speaker. By drawinga line with absorbent padding to minimize thissource of in- averaging the two curves, we obtaina single curve terference, though with limited success. However, the that is essentially the response of the speaker, andone behavior of the speaker during the first few cycles and which is not influenced by more thana couple of deci- just after the end of the burst is of primary importance, bels by room reflections. A typical compositeresponse and this is not seriously affected by room reflections. curve is shown in Fig. 2. The two lighter curves are To carry out the test, we manually tune the audio the actual results of the two testruns; the heavier curve signal generator-which is being gated (automatically is the averaged response of the speaker. switched on and off)-between 100 and 10,000 Hz, while The highest frequencies, which are pickedup by the observing the waveform on an oscilloscope connected single Altec microphone, measure identically in both to the microphone output. The burst shape changes contest runs. Knowing the calibrated pressureresponse of stantly with frequency, but with experience itis easy the microphone, we correct the curve accordingly. The to differentiate between minor room effects and speaker correction is applied principally to the frequencies above aberrations. Sometimes, in systems with two ormore 9,000 Hz, and we believe that, overall,we obtain a drivers, we find severe dips in response at certain fre- reasonably accurate portrayal of the speaker'soutput up tone -burst distortion. If the re- to the 15,000 -Hz upper limit of the microphone. sponse dips were an inherent property of the system To eliminate the effects of room acoustics below300 rather than an interference effect, moving the microphone Hz, we make comparison measurements between the a few inches should not change the response. Usually, speaker under test and a reference speaker that has however, the picture changes drastically witha slight been calibrated in a large anechoic chamber. The single movement of the mike. This is evidence of a cancella- Altec microphone used for this test remains ina fixed tion between the acoustic outputs of two driversat position, and each speaker is placed in thesame lo- the crossover region. It is a highly localized effect and cation while its response below 300 Hz is measured. cannot be considered poor transient response. The tone Since room resonances affect both curves similarly,we burst shown in Fig.1 (B) was made on the speaker can then take the difference between the two curves and whose response was measured for this article (an excel- add it to the known curve of the reference speakerto lent low -price unit), while Fig. 1 (C) was made witha obtain a true bass -response curve for the speaker under cheap speaker, definitely not of "hi-fi" quality. test. This curve is essentially independent of the boost Low -frequency harmonic distortion is measured with given to low bass by room placement, since the reference the single microphone placed 12 inches in front of the speaker has been calibrated in an anechoic environment. woofer. The speaker is driven at a 1 -watt nominal level When all the corrections have been applied, there- (2.8 volts input signal for an 8 -ohm speaker, 2 volts sultant curve, is, in our opinion, about as accuratea rep- for a 4 -ohm unit), and the distortion is measured in the resentation of a speaker's frequency responseina microphone output at a number of discrete frequencies,

Fig. 2. The differences +5 it:rh-P`

=. between the two light :. rtr.: t curves are the result of Art. - =.e.dik room -acoustics effects; the heavier curve is the ... 71,41...11;0741 )1\ averaged response It'aissign representing the actual performance of the speaker system. -15 ijfF 20 50 100 200 500 1kHz 2kHz 5kHz 10kHz 20 FREQUENCY IN Hz (CYCLES PER SECOND) kHz

56 STEREO REVIEW 15 I mum! system. The inference in this sort of comparison is that uuuuuUIusluMill 1111111111 IWO NMI1 1 1 11 "OM IMI 1 11 11 11111 f1111 plum NMI 1 1111111111 Mil a speaker that can reproduce sound indistinguishable IIMINEM1 MIN i 7011/U11111 11111111 1.11 11 11111 11111 suss. mom MIMI 1P01Il1I111111 "moue Mini mil imo mil from the original program must be a perfect-or nearly EmNs U MWumIIN MmMUoo 'bo ll 1111111111 l 1ull11111 1111 Ir1111111111 NIMINeI111I1111/1111111 perfect-reproducer, at least within the frequency and MEMENEI U MMwUINBoN l11 ,111 mil mourEmEnosMM MMM ol solomou dynamic -range limitations of the test. However, the ex- NUMMI mil moon 11111111H NOMBIM Mil MI mei UNIIIIIII11111111111 111111111 NI 11,1111111 NOBS 1181111111"oo 111Io 11111 pense and inconvenience of having a well -rehearsed Urn h 411111111'MM 1111111 1 ROI 11 11111111111 Emolosusilis 11111 1 'I lllll iimilse NMI 1"111 11111 musulmano.' MMMMMM111..1 MI Minim! mei HOU mu ujoil group of musicians on hand at all hours for compari- IIIMEMINENIONS 0111111O11111 11111.111 MUM Mill 'MI "1111 nill 11111111111811 111111111111521 11. 91111/Po Milli 1 1 1 Imo 11111 sons obviously rules out this technique as a means of MEMINIIIMMII "MI lo.111111. IMMO 1 1 11111i 11111 mi ulna M Imo olin serious speaker evaluation. III 6111 11111 MENUMIIIII011 MOO MI' IM11110 kN1141 mo" woo I'm11111 um Edgar Villchur, formerly of Acoustic Research, Inc., BMW: MU HUI ing developed an ingenious technique by means of which Iiiim Nina :MIMI: int Val! hill OMI1111111111111111 MM. Mb.. one may, in effect, have "live" sound, if not live per- xxxs11111.1 0 11 11111 111112mo mu .1111 Hip ism 0 formers, on hand for "live vs. recorded" comparisons at 20 30 40 50 70 100 any time. The comparison could be performed in any FREQUENCY IN Hz CYCLES PER SECOND) ordinary room, without elaborate instrumentation. Mr. Fig. 3. The distortion of a speaker rises quite rapidly as the frequency of the test signal is lowered. With a well -designed Villchur's technique was presented to the Audio En- system, distortion varies only slightly with input power (solid gineering Society at their 1960 Convention, and was line, 1 watt; dashed line,10 watts)until overdrive occurs. described in that organization's Journal (October 1962, usually from 20 to 100 Hz. Sometimes an inefficient Volume 10, No. 4). He initially used electrically gen- speaker does not produce enough output at 1 watt to per- erated random noise as a test signal (since it contains mit accurate distortion measurements (low-level distor- a wide spectrum of frequencies and is highly transient tioniseasily masked by ambient noise). When this in nature). The noise signal, as played through a refer- happens, we increase the power to 10 watts. We would ence speaker, became in effect the "live" program. Using prefer to use the same power for all speakers, but not the setup shown in Fig. 4(A), a two -track recording all speakers can survive 10 watts at very low frequencies was made on a high -quality stereo tape recorder. On without damage or excessive distortion. Fortunately, a Track 1 was recorded the same original electrical noise considerable difference in drive level has little effect on signal used to drive the reference speaker placed, with the distortion curve. The distortion of a test speaker the microphone, in an anechoic chamber. The "live" at 1 and 10 watts is shown in Fig. 3. sound produced by the reference speaker was simul- All these measurements, which are not necessarily re- taneously recorded via the microphone onto Track 2 peatable in another environment nor by other test labs of the tape. (although they are often remarkably close to data we Consumer's Union later took this test method one step have received from manufacturers and other sources), further. They successfully substituted a musical program have a unique advantage for our purpose. Since every for the white noise-and that is the type of "live" sig- speaker is tested under the same conditions, at the same nal source now used by those (including H -H Labs) who levels, and with constant calibration at all points in the employ the live -vs. -recorded test technique. The micro- system, we can make data comparisons between speak- phone must be carefully positioned in the anechoic cham- ers that are quite valid. If one speaker has more highs ber so as to pick up a signal (from the reference speak- than another, or has a "hole" somewhere initsre- er) whose characteristics are as close as possible to the sponse, it shows up clearly and repeatably in our test total acoustic power -output curve of the reference speak- measurements. er. In other words, since in a listening room onehears a speaker's integrated or "homogenized" output,the ALL our tests, as I have said, represent an effort to signal picked up by the microphone should have the isolate those properties of a speaker that we can hear, same frequency -response characteristics as would be pro- and that distinguish it from other speakers. As Iim- duced by the loudspeaker in a normal room. This de- plied at the beginning of this article, listening is the only mands a trial -and -error approach to microphone location, way to determine what a speaker sounds like. The real and the better the dispersion of the reference speaker, problem lies, then, in removing-or at least minimiz- the more suitable it is for this purpose. ing-idiosyncrasies of human judgment from listening The speaker under test and the reference speaker (the tests. One way of doing that would be to make a high - same one used in making the recording) are thenlocated quality recording of a group of musicians and play it side by side in a normal listening room. The test setup back in such a manner that the listener can hear the live shown in Fig. 4(B) is used. Track 1 of the tape re- musicians and the recording alternately. If done skill- corder, which bears the electrical recording of the pro- fully, this can be a very impressive and revealing dem- gram, now drives the reference speaker, which serves onstration of the strengths and weaknesses of a speaker as the "live" sound source. Track2,which is the record -

AUGUST1970 57 well, comparatively speaking, thespeaker under test imitates the reference speaker. As long as it has been in existence, the simulated live- vs. -recorded test has been challenged by audiophilesand engineers who simply did not understandthe logical SIGNAL SOURCE premises involved. Aswe have tried to indicate, it is not simply an A -B comparison teston program material during which a listener is calledon to state his preference for the sound of one speakerover another in comparison with some ideal"reference" speaker. The reference speaker functions simplyas a source of reference sound, ( A ) and not as an ideal system. Asa matter of fact, it is simple to set up the switchingso that the reference speaker tries to imitate itself. With thatsort of test, we have found several other speakers that R F. can do a better job of sounding like the reference thanthe reference speaker itself can. To restate the premise of the test: a wide- range, "colorless," or "neutral" speaker TEST can obviously do a better job of imitating any other speaker thana speaker with any built-in colorationor frequency aberration can. Insofar as a speaker has 7 no tonal characteristics of its LISTENING own, it does well in the simulated live-vs. -recorded test. For more than a year,we have been using such a test AMPLIFIER AMPLIFIER technique in our speaker work. Ourreference speaker is a specially constructed three-way system(using the same drivers found in an AcousticResearch AR -5) whoseex- cellent dispersion makes it quite CB) suitable for this purpose. 00 0 0 Any other wide -dispersionsystem with a smooth frequency response would have done as well. Thehalf-track tape recording was made on a Magnecord Fig. 4 (A) The program tape for the simulatedlive -vs -recorded 1028 running test is prepared by recording the sound ofa reference speaker at 15 ips. The complete systemresponse, including that of in an anechoic chamber. (B) The recordingof the reference the microphone and recorder,was equalized to be flat with- is then played through the speaker undertest and compared with in 0.5 dB from 100 to 15,000 the reference speaker playing theoriginal material. The better Hz. Any good amplifier thetestspeaker, thebetteritwill imitate the reference. can be used to drive the speakers; currentlywe are using a Dynaco SCA-80. The ing of the acoustic output of the program test tape, made in an reference speaker (or anechoic chamber, contains,inaddition the electrical equivalent of the signal to random now being heard noise, various musical selections ofdifferent instrumental from the reference speaker), drivesthe speaker under test. sounds and male voice. Because of By switching from its limited size, the one speaker to the other, with levels anechoic chamber used to make the carefully matched, recording was not one can compare the "live" sound truly anechoic below 200 Hz. The with the same sound produced by recording was there- the test speaker. Room- fore limited to a bandwidth abovethat frequency. acoustic effects do not enter in,because both speakers I must admit to having been are affected identically. most skeptical as to the worth of this method initially, principally Insofar as the recording has been because it in- done perfectly and volved considerable "cut and try" inmaking the record- the speaker under test is perfect,the two speakers will ing, which seemed to dilute thefundamental objectivity sound identical. Note that thistest does not demand that that was the goal of the technique. We the reference speaker be perfect, have now, to date, nor that the listener tested about twenty speakersystems with this set-up, and judge which is doing the bestjob of reproducing pro- are most favorably impressed with the results. Even inthe gram material. The only judgment called for ishow well musical selections, it is a highly sensitive thespeakerundertest indicator of fre- canimitatethereference quency imbalance. A few speakers have achieved almost speaker. Since the recording ofthe reference speaker complete success in imitating the "live"music. We were is not perfect, evena perfect speaker (if such a thing also pleased to find that thisvery sensitive method gen- could be made) would insome way sound slightly dif- erally confirmed results obtained byour previous test pro- ferent from the reference speaker.But it usually turns cedures. However, some speakers (byno means inexpen- out to be very easy to makea critical judgment as to how sive ones) whose sound seemed satisfactorybut undis-

58 STEREO REVIEW tinguished proved to be dismally deficient when set up to is also an excellent method for comparing two speakers to imitate the "live" sound. With the random -noise signal, see which comes closest to the original sound-but here all speakers tested fell well short of perfection, and it was we are once more at the mercy of subjective conclusions. relatively easy to identify the particular colorations heard. When two speakers have slightly different colorations, This goes a long way toward solving a basic problem with who is to say which is the better? The answer is, it seems white -noise testing by ear: how do you know what white to us, that it really makes not too much difference. Any noise should sound like when colorations are added by two speakers that pass fhe live -vs. -recorded test with fly- even the best speakers? This testprovides an unambig- ing (non)colors will prove themselves satisfactoryin uous reference signal-there is nodoubt as to what the anyone's home, for the differences between them will be reference speaker sounds like when reproducing white more than wiped out by the differences in acousticsbe- noise! There is also no doubt as to the differences one tween any two rooms they may be installed in. hears when another speaker tries to reproduce the same To summarize, our speaker testing program involves an sound. analysis of the data yielded by the measurements de- We believe that this simulated live -vs. -recorded com- scribed above, the simulated live -vs. -recorded comparison, parison, while still not a perfect technique, is by far the and extended listening to FM, records, and tape pro- most ingenious test yet devised for revealing small imper- grams. From all of this we draw our conclusions as tothe fections in speakers (it is certainly not needed to disclose merits-and weaknesses-of a speaker. We believe that gross faults). A major advantage of thetechnique is that this sort of comprehensive approach results in the most it eliminates arguments about the relative importanceof meaningful evaluation of a speaker system in respect to various measured factors in determining sound quality. It how it is going to sound in a home music system.

DO-IT-YOURSELF LOUDSPEAKER EVALUATION

LKE most everyone else,I have my own ideas as to sounds to be submerged in the orchestral mass. Good how a good speaker should sound, and I have definition requires a smooth mid -range response. found (fortunately) that the speakers that conform to By the live -vs. -recorded test criterion, most speakers these ideas also test out well in the simulated live -vs. - are strikingly deficient in their upperhigh -frequency re- recorded comparisons I have made. But suppose you are sponse. A few really good ones we havetested fairly trying to choose a speaker yourself, without access to "sparkle" when driven with clean, wide -range material. the confirmation of a live -vs. -recorded comparison set- This is quite different from the "bright" sound produced up. Are there any purely audible criteriathat can aid by peaked middles. Some people find this "sparkle" an- you in identifying a good or, for that matter, a not -so - noying, which probably accounts for the general ac- good speaker? ceptance of speakers which do not have a really good To start with, it is advisable to forget the usual in- high end. But I suspect that these preferences are really junction to look for a speaker that "recreates the origi- the result of limitations in the program material. If the nal performance," since you have no way of knowing recording is clean and undistorted, the benefits of really what that original performance sounded like,to say good highs are undeniable. On the other hand, distorted nothing of what the engineers may have done to it in the highs in the program material are extremely unpleasant recording process. Then there are three things to keep to hear, and should be filtered out-but by the ampli- uppermost in your mind when listening: a good speaker's fier, not the speaker. response should be (1) unstrained (low distortion), A highly directional speaker can be very irritating to (2) smooth (no dips or peaks in the frequency response), someone listening on its main axis. Wide dispersion, and (3) well dispersed (even spatial distribution of whether achieved by design of the drivers or by a so- mid- and high -frequency tones). called "omni-directional" system design, makes a speak- Thus prepared, your search for a good speaker beer easier to listento,but may sacrifice the highest comes a process of identifying and eliminating the bad frequencies unless some technique is employed to correct ones. For example, if a speaker thumps or booms, or for their absorption in the room. sounds "tubby" when reproducing the male voice,it If a speaker sounds good at first hearing, try to listen probably has a peak in the upper bass frequencies (80 to it for extended periods. I find that I can enjoy listen- to 150 Hz). This is fairly common in speakers at all ing to somespeakers for hours on end, while my toler- price levels. Unfortunately, a listening room can exag- ance for the sound of others is limited to a few minutes. gerate-or even create-this effect, so the speaker should Itis interesting to note that a smooth speaker can be be listened to in different surroundings if it seems to enjoyed at much higher true volume levels than one have this sound quality.If a speaker's mid -range is with an uneven or distorted response, and yet it does rough or peaky, it may sound harsh, strident, or per- not seem, subjectively, to be as loud. haps merely bright and mildly irritating. Some speakers Those eager to explore this challenging subject further have a depressed mid -range response, which gives them are referred to Larry Klein's "Guidelines to Speaker a "distant" character that can cause some instrumental Shopping" in last year's August Speaker Issue. H.

AUGUST 1970 59 introducing OHN oel Coppage When three editors and one publisher independently and simultaneously confront one another on a bright Monday morning with the question "Have you heard the new John Den- ver album?" the editorial alertsignal moves into the red, Noel Coppage sharpens his pen- cil, and (we hope) readers snap to attention. May we, then, introduce John Denver, a young singer -songwriter whose unaffectedsimplicity, easy self-confidence, and musical talent have already won him a great number of friends both personally and professionally.-Ed. ee eaving, on a Jet Plane has opened a lot of doors for from performing before an audience. Unless you are actu- me, but I don't want to be just the guy who wrote ally recording a 'live' concert, you have to take an entirely Lthat one song," John Denver said. "It isn't even different approach. But for me there's nothing quite like the best song I've written. I think Rhymes and Reasons is having people out there, being able to see if you are reach- a better song, Aspenglow is just as good, and Isabel- ing them. have you heard Isabel?" "I've always considered myself a little shy about meet- John wrote Leaving, on a Jet Plane one night in1966 ing people. But I know I can touch an audience. When while he was a member of the Mitchell Trio. He holed I do a show, the people in the audience seem to feel that up in a Washington, D. C., hotel room while the other we've communicated, become acquainted in a way, that members of the trio and all the other people he knew in something has passed between us-and so they come back- Washington were at a party. stage after the show," he said. "I like that. And they ask "We were always being invited to parties," he recalled. all kinds of questions-how I feel about the war, civil "I was never the type to play around on the road, and rights, pollution, all sorts of things." time after time I'd be the only guy at these parties without And he tells them. "I don't see how today, with all a girl. This time I decided I'd had it with that. When that's going on, you can be uninvolved and not have an the others left for the party at eight, I got a pound of opinion about these things. Music does have a connection, salami and a six-pack of beer and my guitar and I think people have a responsibility to speak out- myself in my room. When they came b,ack about mid- I think I have a responsibility. Music today is much more night, I had eaten the salami, drunk all the beer, and than entertainment; it has a profound impact on people's written Jet Plane. It was a pretty productive night." lives. Contemporary music is an expression of a life style. Leaving, on a Jet Plane was in Peter, Paul and Mary's "I seem to be able to speak pretty bluntly about these 1967album"1700,"but was not released as a single until things and still not alienate those who disagree with me. 1969. I don't quite know how that works, but it seems to be that "I don't know whether this is true or not," John told way." me, "but the story I heard was that the song really got Popular music, he believes, is in pretty good condition started in Denver. A girl friend of one of the disc jockeys artistically, as seen against that of the past. "We have was crazy about the song, and she threatened to do some- fads, sure, and people grinding out songs and arrange- thing awful to the disc jockey if he didn't play it at least ments calculated to make a quick dollar, but there are a once every hour while his show was on. Requests started great many songs out today that weren't written merely to coming in, and it spread from Denver until Warner make money. The sad part of it is that there are so many Brothers released it as a single. Then the whole thing just other good songs that aren't being heard. sort of took off. "We in America, when something new comes along, "I guess there were two factors in my writing the song take it as far as we can go"-he cited such phenomena as

...first, I really enjoy meeting people. Frequently while the raga -rock sound introduced by the Beatles, which traveling, doing one-night stands, I'd meet someone and sent droves of rock musicians off to learn to play the sitar. it clicked, and I'd wish I had time to get to know them "Then," he said, "gradually, we discard most of the worst better. There was that, and then a personal factor, a girl from each trend and keep most of the best. You still have I cared about. Everybody has to say goodbye to someone a few opportunists playing heavy rock, for example, but he cares about sooner or later, and when they go away, most of the heavy rock groups that are still thriving play they often fly." pretty good heavy rock. And there seems to be a rush now John is not a lapel -grabber who pins passersby to the into country-and-western." wall with non-stop monologues. But if the subject is There is some country-and-western influence in John's music and he gets "wound up," as he puts it, he can talk background, and he still puts a country twang into his a blue streak. voice now and then for humorous effect. He was born "I love to record," he said. "It's different-different twenty-seven years ago in Roswell, New Mexico, the son

AUGUST 1970 61 of an Air Force officer who moved about considerably. to say. It was a great frustration that the records never did John spent three years in Japan during his early child- seem to go over." hood, and time in Arizona, Alabama, and Texas, among The trio went through a couple of personnel changes other places. He was at Fort Worth through high school and, with none of its original members left, it faceda and into college. "I say I'm from Texas because I was legal problem with Chad Mitchell because of thecontract there during the formative years," he said. he had left behind for the group's perpetuation. So the He left Texas Tech halfway through his junior year, trio, now led by John Denver, changed itsname to Den- for music was becoming more important to him. He had ver, Boyce and Johnson. It was still a good group, Denver planned to be an architect, but his grandmother had given thinks, and he believes the audiences thoughtso, too, but him a 1910 Gibson guitar-in which he developed an in- the record companies apparently didn't think it would terest only after he stopped taking formal guitar lessons- sell. and he was singing, alone and with a trio, and playing "We cut some sides for Reprise that were the best with a rhythm-and-blues band from time to time. "I was things I've ever been involved in recording-better than getting bored with college," he said. "The grades were the stuff I've done alone or with the original trio-but suffering, and the curriculum didn't seem to have enough Reprise never released them," he said. "I wanted to keep connection with the real world. I think it was then that the group going. There are certain hassles involved in I first became aware of the words I was singing." being with a group, but I didn't feel quite readyto go out In 1964, with $125 in his wallet, he went to the West alone." Coast, took a job as a draftsman, and played music before tiny audiences. TEtrio dissolved in December, 1968. John Denver "Folk music was much bigger then than it is now. There went to the cool, clean air of Aspen, Colorado (elevation were hootenannies at various places and I played at some. 7,900 feet), to ski and start again as a solo performer. Finally, Randy Sparks hired me for his club. I have some "I thought there would be a good cross-section of people tapes of a show I did there-the most incredibly funny there and I could re-establish my rapport with an audience and boring thing you ever heard," he said witha grin. and my repertoire as a single." "But I learned how to put a show together there. Randy He played some dates at a small club called the Leather was a great help with that. The Back Porch Majority was Jug-where Chad Mitchell had appeared as a solo per- playing there and a couple of its members helped me." former a couple of years earlier-during Aspen's Winter- His first major job as a performer was as a member skol festival, and the Winterskol, as it happened, in- of one of those folk -revival groups of the early Sixties, cluded a song -writing contest. the Mitchell Trio, which had been known earlieras the "I'd had a lot of beautiful experiences there. The whole Chad Mitchell Trio. The word "Chad" had been dropped stay had given me a tremendous lift when I badly needed from the name because Chad Mitchell left thegroup, and one. The local people were so involved in that friendly it was Denver who replaced him. (After talking to Den- way of life-and when I finally sat down to think about ver at length about it, I had to find out from other sources it, I wrote the song in about fifteen minutes." that he got the job over 250 other applicants.) Amem- The song, of course, was Aspeng/ow, which didn't win ber of the Brothers Four had heard him in Randy Sparks' the contest but seems pretty likely to outlast the one that club and had told the Mitchell Trio about him. did. "It was a very big step for me," he recalled. "These "I tried to capture something of the spirit of the peo- guys were sort of my idols, especially Chad. I thought he ple there and the way they treated me," John said. "The had an incredible voice, and here I was taking his place." friendliest people in the world, I think, are skiers." The date was July 4, 1965. John now lives with his wife, Ann, in Minneapolis. "Through the Mitchell Trio I thinkIfirst became They moved there so Ann could finish college, but the politically and socially aware," Denver said. "Thecon- city is also convenient to John's "office," the collegecam- certs were fantastic. We played the colleges and always puses where he performs, most of them in the Midwest. seemed to get a standing ovation. The group hadsome- "Playing before an audience is what I do best," he thing; it was funny and whimsical, and it had something said. "Recording gives you a chance to get it down exactly the way you want it and preserve it that way. Butan FREE JOHN DENVER SAMPLER audience gives so much back to you. I think my concerts do well at colleges because so many other musicians have put A 45 -rpm stereo single of John Denver singing his Leaving, on a Jet Plane and Tom Paxton's Jimmy the kids on, and I don't. I like to think I do a show, and Newman isoffered free tothefirst5,000 STEREO I select songs for a purpose, songs that I think mean some- REVIEW readers who circle number 155 on the Reader thing. I can't see running yourself ragged trying to be on Service Card, page9. top of the latest trend. I expect to be able to make my living this way a long time-all my life."

62 STEREO REVIEW cians, some of whom have traveled with him. M any good show should, the discs contain humor. Stomped My Heart,a parody of country-and-western, is a real JOHN knee-slapper ("You done stomped on my heart"-correctly pronounced "hort" by Denver-"and mashed that sucker flat/ You just sorta stomped on my aorta"). 'DENVER And Denver wryly summons up the nasal country twang again for Forest Lawn in the second album. That song is such a deft piece of social satire that I had to ON ,RECORDcheck to make sure Tom Lehrer hadn't written it. It turns out Tom Paxton did. Another amusing Paxton song, this one on the first album, is The Ballad of Spiro jelIN Di\ lit was, he admits, "scared pathos isheightened, and the song- Agnew; itis fourteen seconds long and to death" when he recorded his first overexposed now to the point of cruelty consists of the words: "I'll sing you a RCA album, "Rhymes and Reasons." -is rejuvenated. Denver's version will song of Spiro Agnew/Of all of the things That isn't apparent to the listener and have to be the standard for others from that he's done . .." followed by ten sec- isn't as much a problem as the feeling now on. And throughout this third al- onds of silence. Well, I liked it. that too many of the songs carry about bum, Denver's voice sounds markedly On the darkerside,there's Jimmy the same-rather light-weight. But so more mature than it does on the first two. Newman, alsowritten by Paxton, on many of them also have so much charm John Denver is best known, of course, "Take Me to Tomorrow." It's a narra- that I, for one, would give the album an for having written Leaving, on a Jet tive about a young man, presumably a overall mark of a high B -plus. When you Plane, which is included in "Rhymes and soldier in an overseas hospital, trying to hear Denver's second album, "Take Me Reasons." Curiously, his performance of awaken his friend just before they are to to Tomorrow," you see the weight prob- it is lackluster compared with his enthusi- be shipped home together. The friend, lem in perspective. The two albums, it astic way with other songs such as his we gradually come to realize,is never turns out, are an approximation of a typi- own Daydreams or Circus. Denver's is a going to wake up. Denver's performances cal John Denver concert, and that's the thoroughly pleasant voice, conveying emo- of this and of such things as Amsterdam way he sets up a show-the light stuff tional sincerity above all else. It is diffi- indicate a depth that will surprise those first, and such songs as Jacques Brel's cult to believe he has not had formal exposed only to the first album. Amsterdamor Tom Paxton'sJimmy voice training, for the Denver cords seem John Denver wrote or helped write Newman later, when he thinks the au- to have such an easy time of it that you ten of the twenty-three songs on his first dience is ready. Actually, Denver wanted would never suspect they were doing any- two albums, but expects to contribute no his first album to be a two -record set, so thing demanding. His voice has been more than three or four of his own songs it would make sense as a program, but compared to Nilsson's. He is an admirer to "Whose Garden Was This?" I fear RCA wouldn't take that kind of gamble of Nilsson; his heroes, he says, are Nils- this will prove to be the disc's main with a relatively new performer. (The son, Paul McCartney, and his friend Tom weakness. Songs of the quality of Isabel, problem, I'm told, is not in production Paxton, author of several songs in his Aspenglow,Circus,and Rhymes and costs but marketability of double -disc al- repertoire. But Denver's voice is smooth- Reasons would improve ninety per cent bums-the record outlets don't like to lay er at the edges than Nilsson's, and gen- of the albums released-and the disposi- out the extra wholesale cash for them.) erally softer, and conveys a different emotion of record reviewers as well. N. C. Viewed separately, "Take Me to To- tional shading. morrow" ranks higher than "Rhymes and JOHN DENVER: Rhymes and Rea- Reasons," and from what I've heard of HEalso has closer ties with folk music sons. John Denver (vocals, guitar) ; var- the master tapes, Denver's third album, than Nilsson, and that shows in his deliv- ious accompaniments, John Denver and "Whose Garden Was This?", which is ery and in the songs he performs. He Milton Okun arr. The Love of the Com- to be released this fall, will be better than exercises considerable control over the mon People; Catch Another Butterfly; either. It will include the Beatles' Golden songs selected for his recordings, and the Daydream; Circus; When I'm Sixty -Foul; Slumbers, a beautifullittle song that selection seems to me one of the strong Rhymes and Reasons; Yellow Cat; Leav- the Beatles fumbled by running it into points of hisfirst two records. Rarely ing, on a Jet Plane; My Old Man; Today Carry That Weight without pause. Den- have I heard so many songs I could iden- Is the First Day of the Rest of My Life; ver decided that Carry That Weight was tify with and call good. Some are simply Ballad of Spiro Agnew; Ballad of Rich- inappropriate for the theme of his album, pretty, in the folk -pretty tradition; others ard Nixon; My Heart; and I Wish I and has written a new ending for Golden are in the rock idiom and have a different Knew How It Would Feel. RCA LSP Slumbers. Also included will be Mr. set of merits. I think that including When 4207 $4.98, ® P8S 1531 $6.95, © PK Bojungles, The Night They. Drove Old I'm Sixty -Four in the earlier album was a 1531 $6.95. Dixie Down, and the title song, which mistake, and that Denver sings it too fast will be released as a single. It's easy to besides. But compensations on that disc JOHN DENVER: Take Me to Tomor- see why; it's a beautiful piece, and has a include Circus (which is, indeed, better row. John Denver (vocals, guitar); vari- melody one can pick up quickly. As for than Jet Plane) and half a dozen other ous accompaniments, John Denver and Mr. Bojangles,I have heard its writer, fine things. Milton Okun arr.Isabel; Follow Me; Jerry Jeff Walker, perform it on stage, His guitar picking (he has had guitar Forest Lawn; Aspenglow; Amsterdam; and I didn't think anyone could improve lessons) is fair to good on the standard Anthem-Revelation; Sticky Summer on that. Denver does something very sim- instrument; he is still learning the twelve - Weather; Carolina in My Mind; Take ple with the song: he slows it down just a string guitar and doesn't yet try anything Me to Tomorrow; Jimmy Newman; and little bit. Funny that nobody ever thought fancy with it. On both recordings so far Molly. RCA LSP 4278 $4.98, () P8S of that before. The resultisthat the released, he is backed by fine studio musi- 1564 $6.95, © PK 1564 $6.95.

AUGUST1970 63 You know your speakersare good, but how good are they inyour room? The technical editors examine two aspects of THE LOUDSPEAKER AND THE LISTENING ROOM * * * Installing the Speaker inthe Room/Larry Klein

T BEST,the set-up instructions that usually accompany how a speaker system interacts with them, when it'seasier speaker systems can be charitably describedas to leave well enough alone?" However,one hallmark of minimal. A possible reason for this is thecom- the audiophile is his inability to be satisfied with "well- plexity of the problem. Most people install theirspeak- enough," and it is to these new and old-time seekers after ers where they look good-or at least unobtrusive-and fidelity that this article is addressed. that is that. "Why cause trouble," thinks the manufac- First of all, there are unfortunatelyno hard-and-fast turer, "by bringing up questions of room acoustics and rules about exactly where to putyour stereo speakers. The

64 STEREO REVIEW acoustic characteristics of listening rooms vary tremen- you can minimize the problem by, in effect, changing the dously from one to the other, and certainly loudspeakers room boundaries: install tall heavy bookcases or similar are not famous for their consistency from brand to brand furniture as room dividers, relocate your speakers, or re- -or even model to model. One way of approaching the locate your listening area. Standing waves, when trouble- question, then, is to look at the range of variation in room some, tend to be at maximum pressure extremes along properties, then the variations in speaker characteristics, walls and in the corners. Speakers located at the maxi- and to try to relate the two sensibly. mum pressure points will tend to aggravate the situation, The normal -size listening room has properties that can whereas speakers located at the low-pressure points will affect the sound from a speaker in various ways. If a room minimize the problem. has bare walls, uncarpeted floors, and sparse furnishings, acousticians would describe it as "hard" or "bright." If IN order to determine the best locations for your speak- you were to stand in such a room and clap your hands- ers you could do a mathematical analysis of your room once, and hard-after the clap you would hear a sort of and the troublesome wavelengths, but it's simpler to use "ringing" or "reverberation echo" that might take up to a your ears as null detectors. With your speakers playing in second or so to die down. At the other extreme, if the some other part of the room (standing waves remain in listening room is filled with goosedown sofas, overstuffed the same location no matter where your speakers are lo- chairs, and heavy drapes and rugs, the same handclap in cated) move your head around in the area where you in- such a room will sound rather "dead" or dull. Most of tend to locate your speakers. With heavy bass material the "snap" in high -frequency sounds will be gone and, in playing you should be able to hear areas where the bass is an extreme case, hands clapping might sound more like very strong and other areas where it is comparatively weak. feet stamping. Music reproduced-or played, for that For minimum activation of standing waves, locate your matter-in the two above -described rooms would, of speaker in the weak areas. The same technique can also be course, be subject to similar sonic aberrations. In the used for the positioning of your favorite listening chair. "bright" room, everything played through the speakers A test -tone record or audio generator will make the job would sound excessively shrill; pizzicatto passages would much easier. Other possible remedial measures you can be blurred, the stereo effect would be mostly lost, and try include turning up the mid -range and tweeter controls tape and record -surface noise might be unbearable. The on your speaker so that the relative bass level is lower, same speakers playing in the "dead" room would sound and/or cutting back on the bass response with the tone dull, muddy, perhaps boomy, and would lack instrumen- controls on your amplifier. You might be able to estab- tal definition. For best results, of course, the acoustic lish some compromise setting that eliminates most of the properties of the listening room should be somewhere be- standing -wave problem without simultaneously getting tween these two extremes. Happily, they usually are. rid of all your bass response. If you feel your room is too "live," try additional "damp- Obviously, the lower and more powerful the bass re- ing" such asis provided by rugs, heavy drapes, wall sponse of your speakers the more likely they will activate hangings, well -cushioned furniture, and so forth. If your the standing waves in the room. Unfortunately, there are room is too dead (a very unlikely situation with today's some severe standing -wave problems that admit of no approach to interior decoration), try removing some of easy solution. Changing the dimensions of the listening the above -mentioned items. room or using some type of room -equalization technique The only other room -acoustics problems that can cause are possibilities, but they demand what some would re- difficulties are the phenomena called standing waves. Since gard as radical surgery on your walls or bank account. (It the dimensions of most listening rooms are such that they would be out of order to discuss the matter further here, correspond to low -frequency wavelengths (actually half - but if you are interested in more information, I can sug- wavelengths), you may conceivably run into standing - gest two past STEREO REVIEW articles dealing with the wave trouble-a persistent bass heaviness that is heard in subject. The first is Controlling Listening -Room Acous- some parts of the room but not in others. In general, tics, by Roy Allison [February 1964]. It is available as a free reprint from Acoustic Research, Inc., 24 Thorndike St., Cambridge, Mass. 02141. The second is Room Acous- STEREO REVIEW'S TEST RECORD tics, by Peter Sutheim and Larry Klein [October 1966] ; The Model SR12 Stereo Test Record, which has a reprints are available from KLH, 30 Cross St., Cam- variety of bands useful for speaker -system installa- bridge, Mass. 02139. Please include a stamped, self-ad- tion, is available for $4.98 (postpaid) from: Stereo dressed envelope with your reprint request.) Test Record, Ziff -Davis Service Division, 595 Broad- Assuming that your listening room's acoustic proper- way, New York, N.Y. 10012. Outside the United States, the cost is $7.00. New York State residents ties fall within a normal range and present no special please add local sales tax. problems, let us consider some of the other speaker - installation questions that commonly arise.

AUGUST 1970 65 How far apart and how high should stereo speakersbe it to set your speaker controls. installed? The maximum and minimum permissible Set the tweeter so thatyou dis- hear smooth reproduction of cymbalsand triangles, but tances between your speakers is determined both byyour not excessive scratch or tape hiss. Set speakers' high -frequency dispersion characteristics the mid -range so and that there is neitheran excessively "forward" nor "re- the dimensions of your listeningroom. The better your mote, withdrawn" quality in the music.Listen particular- speakers are in respect to their abilityto radiate the higher ly to brass when setting the mid-range control, and try to frequencies over a widearea, the less critical will be the minimize any nasal or "honky" qualitythat may appear. distance from speaker to speaker andfrom speakers to Again, the test tones on the ModelSR12 record will be listener. In general, the closeryou have to sit to the very helpful here, or you can refer to the articleThe Ex- speakers (because of room dimensions),the smaller the perts Pick 25 Stereo Demonstration Records,in the April permissible spacing between them. A goodstarting point 1969 issue, for appropriate musicalprogram material. is a separation of eight feet-and thenadjust to taste. Another common question The goal, of course, is to achieve the speaker concerns the best kind of -to -speaker speaker wire to use. Avoid, ifpossible, the thin "hi-fi" spacing that provides a continuousstereo image across the speaker cable sold by most area between them. Admittedly, some stores. It's okay for runs of program material is perhaps 10 feet or so, but toprevent loss of power on not intended to provide that sort of image, butwith well - longer runs use ordinary rubber- recorded large symphonic works, the or plastic -insulated lamp orchestra should be cord. Make sure that the wire isconnected so that the spread out smoothly between thespeakers and even speakers are properly phased. Every slightly beyond their sides. The STEREO two -conductor wire REVIEW Model has some sort of coding to differentiateone conductor SR12 test record has a band that willhelp you achieve from the other. The coding proper spacing (see ordering information elsewhere may consist of a ridge or flat in on the plastic insulation, a colored thread inside this article). the insulation, or even different colors in The general rules for locating speakers the wire itself (cop- are these: the per and silver are commonly used). Makesure that the closer to the room corners, themore bass will be heard. same wire of each pair goes to the "hot"or "plus" termi- For maximum bass, a speakersystem should be installed nal on the speaker and the amplifier.(The Model SR12 in a corner at a junction of two wallsand the floor-or test record also has a band to checkproper speaker ceiling. For less bass, a speaker shouldbe installed at a phasing.) midwall location, and for minimum bass, a system should One last point: if your amplifieror receiver does not be moved away from the wallsa foot or so. In effect, all have provisions for multiple speakerswitching, think the same rules discussed earlier thatapply to controlling twice before buying a speaker switchout of a catalog and standing waves also apply for bass reproduction. hooking a batch of extensionsto it. A wrong choice of You should be aware that themost bass is not neces- switch and you may blow out the sarily the best bass. What power transistors in you want is bass performance your amplifier. If the amplifier manufacturer's instruc- that does not overpower the mid -range and treble, but is tions do not include dataon connecting extra speakers, smoothly coordinated with it. (TheModel SR12 test rec- write for his suggestions before going ahead ord has bands that check this on your own too.) Some bookshelf -size and making what could bea very costly error. systems, if operated standingon the floor, not only become bass -heavy, but also tend to have theirupper frequencies soaked up by rugs and furniture.The result is an unbalanced, muddy sound quality.Bookshelf systems are best installed at ear level (fora listener who is seated, that is). If you want to put themhigher, tilt them so they face down at the listeningarea. If you place your speakers against the short wall of,say, a 10 x 15 -foot room, you may get excessively heavy bass because of theirproximity to the room corners. But,on the other hand, if your speakers can use help in the bass end,the short wall may be the preferred location. Again,it's a matter of trial and error. The tweeter and mid-range level controls on the back of your speakers are thereto be used. Don't simply set them to "normal" and let itgo at that. I have found that some speaker manufacturers (indudingone of the biggest ones) have peculiar notionsas to what constitutes a "... Gerald, isn't there a tiny possibility "normal" setting. Picka good new classical disc and use that the test record itselfwas off?"

66 STEREO REVIEW Speaker Performance andRoom Size/Ralph Hodges

SNORT time ago STEREO REVIEW sent abrief note excessive bass power, while the converse is true of a small to a number of loudspeaker -systemmanufacturers loudspeaker in a large room, which will sound thin." as follows: On the other hand, Victor Campos of KLH maintained: "A good loudspeaker is a good loudspeaker in a telephone There seems to be some confusion in the minds of our readers on the matter of listening -room size and loud- booth or in an armory. A given environment will act speaker characteristics. Do certain speakers perform better identically on the sound being generated by any speaker, in large or small rooms and, if so, why? and therefore a good, flat speaker will sound better in Not all the manufacturers replied, but the replies of those a goodorbad room than a peaky, rough speaker." who did were illuminating, if not definitive. Roy Allison of Acoustic Research maintains that al- Virtuallyalltherespondents were agreedthat a though large speakers tend to be more efficient, "the low - speaker has to work harder in a large room thanit frequency performance capabilities of speaker systems does in a small one. This is true despite the fact that a have little to do with their size. Even allowing for large speaker with a given drive signal will transmit the same variations in room size and furnishings, the power re- amount of sound energydirect!)to the ear of a listener quirements of the relatively small acoustic -suspension located, say, eight feet away in either a large or a small systems in use today are well within the range of readily room. But the sound reaching the listenerdirectly- available amplifiers and receivers. Only when fairly large following a straight-line path from grille cloth to ear- auditoriums must he filled with sound are more efficient makes a relatively small contribution to the perceived loudspeakers necessary." ness. Most of the sound heard impinges onhis ears Many of the respondents felt it necessary to consider by being reflected toward his position by the interior acousticcharacteristics,such asresonant modes, that surfaces of the listening room. And the larger the room might be encountered in particular rooms. Every room the more this sound energy is dissipated before the longer has fixed, finite dimensions, and therefore italso has reflective paths it follows bring it to the listener's ear. natural acoustical resonances that can be activated by George Augspurger of James B. Lansing Sound com- sound waves that relate toits dimensions in a certain mented: "As room volume goes up and reverberation way. In most cases, a soundwavelength thatis twice time goes down, it takes more and more acoustic power as long as one of the room dimensionswill resonate most to deliver the same loudness. Consequently, there is a enthusiastically, and will, as a result, be louder in cer- point in room size at which small, inefficient loudspeaker tain areas of the room than adjacent wavelengths that systems cannot be used because they simply can't play are a bit longer or shorter. Multiplesof that sound's fre- loud enough." quency will also he affected. These resonances canbe Most of the respondents indicated that the loudness troublesome if they result in only a few frequencies being problem in a large room exists primarily in respect to emphasized over the rest of the audio spectrum. low frequencies. Dave Hafler of Dynaco noted: "The However, rooms well proportioned for the reproduc- larger the room, the less 'bassy' it is. The infinite room tion of music will have dimensions that will encourage (an anechoic chamber) has the least bass." On the matter resonances at a number of well-distributed frequencies. of efficiency, larger speaker systems, because of their For example, a room with a major dimension of 19feet acoustical designs, are almost always more efficient than would encourage a frequency in the neighborhoodof the smaller acoustic -suspension systems. In general, the 30 Hz, the wavelength of which isapproximately twice larger systems require far less cone motion to achieve the 19 feet. If the room's width is about 121/2feet, a reso- same acoustic output. A small loudspeaker, on the other nance will occur at around 45 Hz.And a 10 -foot ceiling hand, usually depends on long back -and -forth cone excur- would tend to create a resonance in the region of 55 Hz. sions to produce an equivalent output. For that reason, In such a room, bass response would be reinforced by the according to Martin Gersten of Rectilinear Research, a resonances, but would still be relativelysmooth because small speaker will "prefer" a small room where relatively the frequencies of the resonances are reasonably well dis- short excursions will produce the desired loudness level: tributed. A room less well proportioned, however, might "A smaller cone excursion results in less harmonic, in- create the prominent low -frequency resonancesknown termodulation, and frequency -modulation distortion, par- as "standing waves," which FredNichols of Electro-Voice ticularly from acoustic -suspension woofers." calls "the most vexing aspect of room acoustics." He R. T. Bozak, of the speaker company of the same points out that two speakers that are identical may, never- name, is a firm believer in small speakers for small rooms theless, sound substantially different at the frequency of and large ones for large: "A large loudspeaker in a small a standing wave if they are placed atdifferent locations in room has an uneasy or uncomfortable sound becauseof the room.

AUGUST 1970 67 The dimensions discussed above are conceivably not the room much more pleasant forliving in as well." unusual ones, and might be found inmany houses or After low -frequency performance,the matter most fre- apartments. In a room very much larger, theresonances quently discussed was high -frequency will be below the lowest audible dispersion, which frequencies, and the was unanimously considered to be desirable in bass output of a speaker will therefore all cases, receive no rein- but especially desirable in large forcement from the room. Irving Fried rooms. Irving Fried said of IMF pointed this was so because ina large room one would be more out that, under such conditions,a speaker with a response likely to find himself in the soundbeam projected by a that rolls off below, say, 80 Hz will lackbass, although it highly directional speaker (the beamspreads like a flash- may sound fine in an average -sizeroom. Going to the light beam the further it travels), other extreme, the while Victor Brociner resonances in a very small room would felt that one would often find oneself tend to occur at frequencies above outside the beam- the deep bass range. since more seating positions would be According to Roy Allison of Acoustic available-and Research, a very therefore miss some of the highs. DaveHafler, while in small room makes it more difficult forany speaker system agreement about the advantages of wide dispersion,had to generate very low bass, no matter whatits low -fre- one reservation: an omni-directional speaker, whichra- quency capabilities. Victor Brociner of H. H. Scott pur- diates equal amounts of high -frequencyenergy inall sued the point: "It is often statedthat a room cannot directions, might be too "hot" in allow reproduction of frequencies a bare room with few below its lowest res- sound -absorbent furnishings. MartinGersten remarked onant mode-which is determined by itssize. This is that "a speaker with generally limited dispersion not really so. Of course, bass would be will be reduced com- acceptable in a small room, but noticeablyweak in a pared with that in a largerroom, but a speaker with good large one." bass reproduction would still soundbetter than one with- Both Fred Nichols and Amar Bose held thata direction- out it." George Augspurgerwas in close agreement with al speaker is less affected by Brociner's views. room acoustics than one with wide dispersion when both speakers Considering this question in are listened to terms of speaker size, on-axis-which is not to say thata directional speaker Bob Beavers of Altec Lansing offeredsome comments that is ever desirable except in public-address seemed to reinforce Bozak's earlier systems, where remarks. "Room A, intelligibility rather than quality is the goal. 4,000 cubic feet in volume, willproduce a reverberant room gain that becomes appreciable at 300 Hz and builds SOME of the related points brought upwere quite in- up to about a 16 -dB peak at approximately50 Hz. Room triguing. George Augspurger felt that matchinga speaker B (2,000 cubic feet) begins to buildup at 600 Hz and may to the room makes sense: "Assuming that reach +20 dB at 100 Hz. Large bass most listening -reflex systems will rooms are too small, too dead, and too box -like, why have a more nearly uniformresponse in Room A than most not make a speaker system specifically intended forstereo small speaker systems. Room B,however, is more sensi- reproduction in this kind of acoustic environment tive to mid -bass frequencies and ?" Ir- may sound quite boomy ving Fried maintained that "speakers with with speaker systems designed for phase problems a flat energy response seem to benefit from small rooms, in which rapid phase in an anechoic chamber. High -quality acoustic -suspension confusions tend to be masked." And, according speakers will be more pleasing in to Mar- this and smaller rooms." tin Gersten, "From the standpoint of fidelity,the small- Amar Bose of the Bose Corporation,as well as Dave est drivers possible should be used to reduce time Hafler, recommended that -delay an individual room's charac- and rise -time effects. This tends to limitthe highest teristics be exploited when they benefit a speaker's per- fidelity systems to relatively small units thatcannot be formance and altered, if possible,when they are detri- driven to large -room levels." mental. Bass response is augmentedif the speaker is Taken as a whole, the replies of placed in our respondents test- a corner, or reducedifitissituatedso ify to the complexity of predicting that it can't strongly activate a speaker's perform- some of the room's impor- ance in any acoustical setting. There was some (expected) tant resonant modes. The decorating scheme can be disagreement as to whether small speakerscan really arranged with consideration given to its potential acous- do the job in the relatively vast interiorspaces of audi- tical properties. Most objects and materials are absorbent toriums and assembly halls-morea matter of a speak- at certain frequencies and reflective at others; the right er's power -handling capability and efficiency than ofits furnishings, properly arranged, willdamp the portions size per se. But on the question of speakers suitable of the audio spectrum that for were undesirably prominent use in living rooms-even large ones-there seemed to be in the untreated room and leave the others relatively un- general agreement with Amar Bose's closingstatement: touched. Bose suggests: "The acoustical treatment that is "There are no specific properties ofany good speaker appropriate to achieve better performance from speakers that make it better for a particular sizeroom, but there is the same that would be used to improve the sound of are several variable factors that can markedly affect the live instruments in theroom, and it almost always makes performance of any speaker in any room."

68 STEREO REVIEW INSTALLATION OF THE MONTH A PROFESSIONAL'S APPROACH

GARYM.SMITHis an insider in the audio field. He horizontal line of components that also includes a Real- manages an Oklahoma branch of a chain of mail- istic TM -70 AM/stereo FM tuner and an AR amplifier. order electronics stores, and he spends a great deal The other tape deck is a Teac A -1500U, and between the of his leisure time with the versatile stereo installation in decks is a Heathkit 5 -inch oscilloscope that Mr. Smith the living room of his Tulsa apartment. The installation uses as a level indicator following the suggestionsmade is based on a two-piece hutch -and -buffet assembly that Mr. by Craig Stark in his article "Using an Oscilloscope as a Smith bought with no audio function in mind. When in- Record -Level Meter" (STEREO REVIEW, March 1969). spiration struck, on went a wooden panel -mounting sur- The turntable is a Marantz SLT-12U with an Empire face-faced with avocado velvet-over approximately two 999VE cartridge. thirds of the hutch's front exterior, and out came a cor- The control box mentioned above was designed and responding section of the hutch's rear panel, to be rebuilt by Mr. Smith. It has inputs and mixing facilities for placed by sliding doors. When the console arrangement is four microphones, headphone outputs and level controls, pulled away from the wall, the wiring for the tape decks and a speaker selector to switch between a remote pair and electronics is easily accessible. Cables for the turntable of Altec Lansing 848A systems and the main speaker sys- and the control box seen at its right are concealed behind tems shown in the photo. (These are home -constructed the rear panel; they emerge through holes directly behind. enclosures containing three-way University driver systems The deck on the right is the Teac A -6010U. Its elec- and crossovers.) And, of course, the cabinet supporting tronic section has been deliberately separated from the the installation houses Mr. Smith's records and tapes, transport and located a few inches below to complete a which are mostly of popular music. -R. H.

AUGUST1970 69 Stereo Review talks to RENATA SCOTTO

THE SOLO song recital, a regular feature of musical life think my voice might not be at its best. Other than that, in European countries north of the Alps, has never nothing makes me nervous. I go to hear other singers when- been very popular with audiences in Italy, and Italian ever I can, and I am pleased that they come to hear me. singers rarely take time out from opera to learn the song As for the tape enthusiasts, I don't object to them. They're repertoire. An exceptionisthelyric -coloratura soprano mostly young people, and it's really rather flatteringto a Renata Scotto, one of the stars most sought after by opera singer that they are sufficiently interested in her workto houses throughout Italy. In a season when her operatic want to take some of it home with them. But when they schedule included a revival of Verdi's I Lombardi in Rome, turn it into a business, that is something else, and I don't Bellini's La Straniera in Venice, and important engage. like it." Pointing emphatically at a pirated recording ofone ments at the Maggio Musicale Fiorentino and elsewhere, of her performances in Bellini's La Straniera witha hand- Mme. Scotto still found time to sing a number of recitals some photograph of herself on the cover, she said, "This in Europe and in several American cities. has the look of a commercial recording, but it is unauthor- The enthusiastic audience at her Carnegie Hall recital in ized, and itis sold for high prices here and in Italy.I New York included an unusually large number of other object not just because the pirates don'tpay the artists, but singers, such as Beverly Sills, Joanna Simon, and Zinka because the quality of the sound is usuallypoor, and with Milanov, several of whom were recognized and applauded the singers moving around on the stageproper microphone as they made their entrances. The public also responded placement isimpossible. Such records do not show the warmly to Mme. Scotto's program of songs by Rossini, singers' work at its best." Bellini, Donizetti, and Verdi, and so did the critics. Few artists will single out the recordson which they Two days later in the living room of her hotel suite in have done their best work, but having raised thequestion Manhattan, she was well supplied with the things that herself, Mine. Scotto readily obliged, naming herMadama make a soprano happy: her reviews were good, she hada Butterfly (Angel S 3702), La Traviata (DGG 138832/3/4, full calendar of singing engagements, and shewas sur- deleted but still available in some shops), and Rigoletto rounded by flowers from her admirers and by attentive (DGG 138931/2/3). Her husband, Lorenzo Anselmi,a vio- men-her husband, her translator, her manager, and her linist, commented, "My favorite of Renata's recordingsis interviewer. She was radiant. "I sing recitals because Ien- Rossini's Petite Messe Solennelle [Everest S 441/2], andI joy them," she said. "The Italian vocal tradition is essential- think La Cambiale di Matrimonio on thesame label [Everest ly theatrical, and on the operatic stage you havescenery, S 446/2] is also a good representation of her work." costumes, the drama, and the orchestra to help you make "For the last ten years my husband has beenmy only big effects. A solo recital places a much greater responsibil- teacher," Mme. Scotto said. "He helpsme develop my in- ity on the singer and requires a great dealmore intellectual terpretations and helps me choose new repertoire. We study preparation, but since the challenge is greater, the satisfac- scores together and base our choices on two things, the tion to the artist is also greater. beauty of the music and what I can do best. Our choices "I didn't sing the usual concert program-you know,a are usually from the bel canto repertoire, which I prefer. French group, a Schubert group, and so forth-because I love Puccini, of course, and continue to sing hisoperas, everybody else does that. Of course, I sing Schuberttoo but Butterfly is easy-yes, it's really easy-comparedwith and even some songs of Alban Berg, but I thoughtan all - Bellini and Donizetti. The public responds quicklyto the Italian program would be an interesting change, andas an pathos of Butterfly, which makes iteasy for the singer to Italian I am proud of our song literature and would liketo communicate emotion. That kind of communication isvery make it better known. I have recorded thisprogram in difficult in the bel canto operas, and because of the display Italy, and it has been issued on disc." ["La Vocee l'Arte of vocal technique they require theyare very difficult to di Renata Scotto," RCA Italiana SL 20256, availableas sing, but I like the challenge." an import from Peters International, Inc., 600 Eighth Ave- Before opening the 1970-1971 season at La Scala with nue, New York, N.Y. 10018.] Verdi's I Verpri Siciliani, Mme. Scotto willreturn to New Asked whether it had made her nervous to sing foran York in the fall to sing a recital at Hunter College and audience that contained so many otheropera stars and so Lucia di Lammermoor at the Metropolitan. That should many fans recording the concert on tape, she replied, "Not give her enough challenge and opportunity for vocal dis- at all. I like to sing, and I'm happyon stage. The only play to keep her happy for at least anotherseason. time I am nervous about it is when I don't feel welland -William Livingstone

70 STEREO REVIEW STEREO REVIEW'S SELECTION OF RECORDINGS OF SPECIAL MERIT BEST OF THE MONTH MINIM .11111111111111111111.

CLASSICAL

OPERA EVENT OF THE YEAR: BERLIOZ'S LES TROYENS Colin Davis' recording of the complete work for Philips is indispensable for operaphiles

44 HAT, all of it?" Confronted with the first 1863, before the composer, in his despair at ever hear- wcomplete recording of Hector Berlioz's Les ing a full performance, split his opera in two and cut Troyens, one's impulse is to echo, with some- it cruelly. Davis, in the recording achievement of his what different emphasis, Rossini's riposte when an offi- career to date, pleads for this sweeping beauty of a cial informed him that the Paris Opera planned to score with a performance of eloquence and control, produce one act of his Guillaume Tell. For surely no one that is expansive and ardent without slipping into major score in musical history has suffered more greatly the bass -drum bluster that so often disfigures routine from piecemeal presentation than Berlioz's Virgilian Berlioz readings. Davis elicits from the orchestra and epic. Until the Royal Opera House at Covent Garden chorus a subtle blend of passion and restraint, so that mounted the production on which this recorded version besides the Romantic overstatement that one anticipates, is based last Septemb,er 17, Les Troyens had never been there is an Attic austerity that keeps the tragedy in epic staged anywhere complete and in the original language. perspective. The recording acoustics, which are slightly In Berlioz's lifetime, only the last three acts, heavily sec but not damagingly so, reveal Berlioz's orchestral abridged and titled Les Troyens a Carthage, made it to imagination with remarkable clarity. a stage, and the composer died without ever hearing the So ambitiousa recording hasitsunevenspots, first two acts, known now as La certainly. The Philips project was Prise de Troie. Thus severed in so some extent dictated by Covent twain, and invariably further cut, Garden economics, a reality that the almost mythicalscore has is reflected in the routine casting been limping about the world for of lesser roles. But Jon Vickers a century, trailing musical blood. is a magnificently virile Aeneas, Now, perhaps, the ghost of and in good voice despite a few Hector may stoprattlinghis pinched top notes. His Aeneas chains. Thanks to Albion, not is,as he should be, a muscle - France, we have the whole work headed hero, wily in war, per- -yes, all of it-the five acts on haps,butaloutinlove. He tendiscsides,playing almost revealstwinges of remorseat exactly four hours (the Covent having to leave Dido, but never Garden production, with two infor a moment lets one suppose termissions, added up to a five - that the call of war and la gloire and -a -half-hour evening). Colin could come off second to human Davis, the conductor, and Philips affection. Josephine Veasey, the Records based this historicre- queen he abandons, sings with cording on the two -volume Bar- unwavering security and velvety enreiter Verlag score, published mezzo tones, and the pure fury in last year and edited by Hugh her denunciations of the destiny - Macdonald, which goes back to COLIN DAVIS bound male suggests that Dido Berlioz's score as it stood in June, Romantic overstatement and Attic austerity might have made a formidable

AUGUST 1970 71 Women's Liberation leader. She ismore conventionally Lennox(tenor), Helenus; Wandsworth School bereft in the elegiac numbers leading Boys' Choir; to her suicide, but Chorusand Orchestra of the Royal OperaHouse, Covent never less than effective. Garden,Colin Davis cond. PHILIPS 6709002 five discs The first two acts at Troy fare less wellthan the $29.95. Carthaginian ones,chiefly because the Cassandra, Berit Lindholm, was either miscastor vocally out of sorts when the recording was made. Cassandra'smusic calls for a smoky mezzo-ish quality, andseems to lie too low STEPHEN BISHOP for the Swedish soprano. In her longscene ending Act I, you hear the voice simply giving out. Her Corebus, Peter PLAYS IT STRAIGHT Glossop, finds little inan unrewarding part to arouse him to more than adequacy. Lateron, at Carthage, mat- Conductor and soloist achievea rare unanimity in ters improve. Ryland Davies makesa good moment of Beethoven's Fifth Piano Concertofor Philips Hylas' song and Heather Begg's gentleAnna is an effective foil to Miss Veasey's distraught and bitter Dido. The MANY eminent pianists have recorded Carthage scenes have everything, Beethoven's even (if you admit the Fifth Piano Concerto, and at barely possibility in opera) Relevance: notice thirty Stephen that Aeneas sneaks Bishop is a youngman to be entering a field so full into peaceable Carthage, offers his band (just a few mili- of famous names. But hisnew recording of the work tary advisors) as allies, and leaves the city broken,leader- for Philips offers a performance less, and a sworn foe of all Trojans. worthy of being set not only beside the Arrau, Casadesus,Gieseking, and In a bountiful booklet ofnotes in French, German, and English-the Serkin versions in the current catalogs;it also fairly librettotriple -tongues,too-Colin meets the challenge raised, in recordings Davis points out that not currently Les Troyensis hardly the time- listed, by Edwin Fischer and ArturSchnabel. The ques- eating ogre of legend. Almost exactlymatching Tristan tion as to whether Bishop and conductor in length, it plays quicker than Colin Davis Gaiterdammerung, Meis- have now, with this performance,superseded the histor- tersinger,orParsifal.It may fairly be compared to those ic partnership of Fischer and Furtwangleris a futile monsters, too, in having its(part d'henres of tedium as one. On this plane of artistry, a performancecan no well as itsheuresof quality. But the dying canard of more be superseded than it can ever properly claimto Berlioz's eccentricity, amateurishness, andvulgarity will be definitive. surely be killed and stuffed by this recording. Anyway, the assertion that Bishopnow belongs on this The performance is a bit vulnerablebecause its cast rarefied level of comparison is is so plainly not French (much of the a large one that will in- diction is operatic evitably be disputedin some quarters.In England, Franglais, in fact), and also because ofan almost simul- where the record was first released,one critic demurred taneous Angel release in which Janet Baker singsportions from the general acclamation with theview that Bishop of Act V under Alexander Gibson'sbaton. When Miss "never really takes hold of the musicas if he had made Veasey fell ill during the London performancerun last it his own." The very plausibility of thatopinion casts year, Miss Baker stepped in and scoreda sensation as Dido; the sizable Baker cultmay, with some justice, find STEPHEN BISHOP: courage and logic it hard to accept anyone else's Dido. Still,no sane man will reject this recordingon that ground-or any ground at all. Choose whatever standardsyou like, Colin Davis' Les Troyensis indispensable for operaphiles and quite probably the opera event of this-andmany another - recording year. Donal Henahan

BERLIOZ:Les Troj'ens.Jon Vickers (tenor), Aeneas; Josephine Veasey (mezzo-soprano), Dido;Berit Lindholm (soprano), Cassandra; Peter Glossop (baritone),Corebus; Heather Begg (contralto), Anna; RogerSoyer (bass), Narbal and Shade of Hector; Anthony Raffell(bass), Panthus; Anne Howells (mezzo-soprano),Ascanius; Ian Partridge (tenor), lopas; Pierre Thau(bass), Priam, a Trojan Soldier, and Mercury; ElizabethBainbridge (mezzo-soprano), Hecuba and Ghost of Cassandra;Ryland Davies (tenor), Hylas; Raimund Herincx(bass),First Sentry and Ghost of Priam; Dennis Wicks(bass), Second Sentry, Ghost of Hector, anda Greek Chieftain; David

a 72 rhythmic eagerness,itissteadier than Furtwangler's equally sympathetic backing for Fischer's more mercu- rial reading. Helped by a magnificent orchestra and a first-rate modern recording, with finely shaded wind and string timbres and crisp, Beethovenish drums, Davis never fails to catch the full flavor of anorchestral texture: witness the ideal balances of weight andcolor in the big chordal statement of the first movement's subsidiary theme, and again the vividly characterized inter- play of woodwinds and strings in the final statement of the Adagio theme. This, then, is that rare achievement-a concerto performance conceived with complete unanimity by soloist andconductor,beautifullyexecuted(apart froma touch or two of imperfect orchestral ensemble early in the first movement), and worthily recorded. Moreover, that dissenting critic and I were hearing exactly the same thing, though we interpret itdifferently. Ours is that, I hope, healthy, wholesome, and urgent one of those disagreements of judgment TINATURNER: make criticism stimulating-not one of the pure dis- light, even for a listener who disagrees with it, on the crepancies of observation that often seem to make it character of Bishop's interpretation. For it is a plausible infuriating and useless. Bernard Jacobson opinion. Especially in thefirst movement, where the plays BEETHOVEN: Piano Concerto No. 5, in E -fiat Major, tone of any performance is inevitably set, Bishop Op. 73 ("Emperor"). Stephen Bishop (piano ) ;London the music unusually straight, with minimal modifications Symphony Orchestra, Colin Davis cond. PHILIPS 839794 of tempo for local expressive emphasis. In any other LY $5.98. work, all the customary guff about "the objective approach" would apply, providing occasion for praise or blame according to where the reviewer stood on that philosophically rickety concept. But the Fifth is the most serenely architectural con- TRY A LITTLE TOGETHERNESS certo Beethoven, or anyone else, ever composed. From WITH IKE & TINA TURNER the severe and deliberate monotonality of the orchestra's exposition onward, itis fashioned from massive blocks Nice -naughty Tina shines in the immaculate of material, grand in scale and quite impersonal in arrangements of Liberty's "Come Together" character. And itis precisely in his perception of this quality that the superbly personal greatness of Bishop's 'VE BEEN hearing a good deal about Ike andTina performance lies. Whereas many pianists seem intent I Turner over the past year. I keep missing their per- on smoothing out the uncompromising contoursof the formances, for one reason or another, but after listen- work, adding a touch of agitation here and a smidgen ing to their new Liberty album "Come Together,"I'm of pathos there, he has had the courage and the logic convinced that everything Ihave heard about them to seek out the concerto's essential nature and, instead must be true. It is truly, as they used to say, adynamite of watering it down, to shape his entire conception by it. act. Miss Turner sounds sexy enough tobe all the hero- That, I think, is why Bishop's first movement moves ines in a Harold Robbins novel, and the supportshe re- with so inexorable a tread. The march of time itself is ceives from Ike Turner and the Ikettes has thathigh, not more majestic than the antiphonal dialogue between glossy sheen one usually associates with a Streisand, a piano and orchestra in the coda, with every note audible Lee, or a Diana Ross. and in place. This is the keystone of the monumental Tina, however, makes abundant use of one gambit structure that has been evolving, steadily and inevitably, all these other ladies are a bit coy about: she aims di- from thestart. The slow movement andfinale are rectly at the gut (or perhaps slightly below it), and her shaped with like strength, though their contrasting notes weapon is plain old, or plain new, sex.But it is sex in of withdrawn tenderness and of abrupt humor are giv- a musical and musicianly context,neither leering nor en full prominence. lickerish. She makes it all sound very healthy, very nat- Colin Davis' accompaniment perfectly complements ural, very wholesome-and very urgent. Doin' It, writ- the soloist's view. Appropriately, withallitslively ten by Ike Turner, probably captures her sassystyle

AUGUST 1970 73 better than anything else in the album: she tears into it with the gusto of a lady possessed. But it is not only in material written especially for her that she shines. I find that her performance of Mick Jagger's Honky Tonk Women, for instance, hasa good deal more reality and vitality than it did in the original. And Lennon-McCartney's Come Together interestingly takes on aspects other than the spiritual when she sings it, as she does, with uninhibited vigor. She has humor, too, as Too Much Woman (for a Henpecked Man) ad- mirably demonstrates. Much of the success of the album must be laid, Iam sure, to Ike Turner's immaculate arrangements, and to the real care that has gone into the production. The buoyant Ikettes, though not exactly the Supremes, doan excellent job of supporting the whole. In the time of the turn -on, Miss Turner's may be the ultimate-nice, clean, dirty fun. Peter Reilly

IKE & TINA TURNER: Come Together. Tina Turner (vocals); Ike Turner (guitar); the Ikettes; orchestra, Ike Turner arr. and cond. ItAin't Right; Too Much Inman; JETHRO TELL:Ian Anderson, Glenn Cornick, Unlucky Creature; lining and Dumb; Honky TonkWom- Clive Bunker, and Martin Barre en; Evil Alan; Doin' It; Come Together; Why Can'tWe Be Happy; Contact High; Keepon Walkin'; I Want to Take You Higher.LIBERTY LST 7637 $-1.98, ® B 7637 The elements that make this recording specialcan (33/I) $6.95, © LTR 9029 $6.98, © C 1029 56.95. be isolated,I suppose. Anderson's flute has a lot to do with it, and then there is the "whiskey voice" harmon- izing on the vocals, plus the fact that Martin Barre and Glenn Comick constitute an excellent rock band all by themselves. But such an analysis is a little less thansat- JETHRO TULL: isfying. Jethro Tull's sound is the synergistic marvel of A ROCK -AGE MARVEL the Rock Age when Andersonmanages to maintain the delicate balance he seeks. Hemanages it almost throughout this album. The group's new "Benefit" for Reprise isa blend of light Irish whimsey and heavy rock Not that there aren't high spots. Thesongs With You There to Help Me, with its folk influences, and A Time for Everything? are exceptional;Sossity:You're JETHRO Tull, the man (1674-1741) was the father a IVoman is good, and it sounds even better because of of agricultural cultivation as we know it. He in- the arrangement, which involves switchingto acoustic vented the seed drill, the horse-drawn hoe, andother guitars. implements, and he wrote several essays on how to till Goat -boys,centaurs,satyrs,and leprechauns the soil. I don't know why Jethro Tull the rock (yes, group there is more than a little Irish flavor here) playamong chose his name to sing and play under; whenevery- the chords-at least they do when I listen to them-and thing works (and it seems to be working better all the then, occasionally, the flute is silent and thegroup jams time) the group sounds more like somethingout of the with some excellent heavy rock. Butno other group folk mythology of some strange land. sounds quite like Jethro Tull; I don't thinkany could. The arrangements in "Benefit," the group'snew al- Perhaps Jethro Tull isn't for everyone, but then what bum on the Reprise label, seem to me to be the culmina- is? Tull makes a personal statement, and I madea per- tion of Ian Anderson's past experimentation and toil, sonal response. In those terms, this is the bestpop al- and for it he has written a batch of songs that take ad- bum I have heard in months. Four stars. NoelCop page vantage of the special flavor of Jethro Tull. Theyare superficially similar(you may have to hear some of JETHRO TULL:Benefit.Jethro Tull (vocals and instru- them dozens of times beforeyou can pick up on the mentals). With )%ni There toHelp Ale; Nothing to Say; Inside; Son; To Cry lyrics), but that doesn't matter much. One doesn'tlisten aSong; Teacher; Play in Time; For Michael Collins Jeffrey and Ale; A Time for Every- to a Jethro Tullsong;one listens to twenty-five minutes thing?; Sossity: lini're a Inman. REPRISE6400 $4.98, B of Jethro Tull-and then turns the recordover. 6400 (33/4) $6.95.

74 STEREO REVIEW An Improved Version ... 'ACRI-TUNE" of A Widely Acclaimed Receiver!

Read what 'HIGH FIDELITY' magazine had to say about ACP. 'UN: the LR-1500T, based on unbiased tests conducted STEREO by CBS Labs:"High performance and an

. . . an excellent FIV1 rr abundance of features buy on today's market."

We Proudly Introduce A New Feature That Lets You Tune Faster and More The LE-1500TA Accurately 240 -Watt AM/FM Stereo Receiver Still Only2999 5

First we introduced the LR-1500T which was an unqualified success.dramatic improvements in FM reception. FET front end now has three Now we present its successor ... unmistakably, the LR-1500TA has theFET's where formerly only two were used. heritage ofitspredecessor, enriched by engineering improvements New FET Tone Controls offer greater flexibility and smoothness to which establishes a new criteria of excellence in design, performancecustom tailor your sound. and operating convenience! Fuseless COMPUTOR-MATIC,m Overload Protection Circuit (Pat. Pend.) automatically guards against damage to drivers and output transistors. FEATURES Other features include automatic FM mono -stereo switching, muting con- New Electronic "ACRI-TUNE" Circuit automatically actuates a fronttrol, massive power supply, center channel output and AM/FM reception panel indicator light when the receiver is precisely tuned to the veryin the LR-1500TA. Add to this a full complement of controls, plus every center of an FM station. It offers a degree of tuning accuracy not pos- needed mput and output for the ultimate in flexibility and operating sible with other tuning meters, and assures best possible FM mono orconvenience, and you have a receiver thats as modern as tomorrows stereo reception. design. Check the advanced features and specifications . . . then see New Silicon FET Front -End, plus the use of IC's in the IF, results inyour nearest Lafayette dealer for a sound demonstration. SPECIFICATIONS TUNER SECTION (FM): Sensitivity [IHF] - 1.5 ,V; Stereo Separation - monic Distortion - 0.8% ',irated output; Frequency Response x-0.75 db 400 Hz; Capture Ratio - 1.25 db; Signal -to -Noise - 75 db - 20-20,000 Hz: Power Bandwidth -18-55,000 Hz; Hum and Noise - 40 db i High Level Inputs: -75 db, Low Level Inputs: -60 db; Phono Sensitivity 1100% modl; Cross Modulation Rejection - 90 db: Selectivity - 50 db.- CER: 64 mV (H), 150 mV (M), 400 mV (L); MAG: 1.8 (fly (H), 4.5mV AMPLIFIER SECTION: Total Power =1 db - 240Watts 4 ohms; Har-(M). 12 mV (L). F-ieskAY 11-"T"' ® LA LAFAYETTE RADIO ELECTRONICS CORP. Dept. 11070 Box 10, Syosset, N.Y. 11791

FREE! Your Most Complete Buying Guide Send me the FREE 1971 Catalog 710 11080 to Everything in Electronics Golden Julilre Name *Hi-Fi-Stereo Equipment Address 1971 Catalog 710 *Radios *Tape Recorders City *Cassettes *Speaker Systems over 460 Pages State Zip CIRCLE NO. 23 ON READER SERVICE CARD 75 s 19710 "...quite probably the best buy in high fidelity today." -the Dynaco A-25 speaker ($79.95 assembled only) from THE STEREOPHILE, Box 49, Elwyn, Pa. 19063 ee (sonically)we cannot see how any preamp, present or future, could surpass the PAT -4." ($89.95 kit, $129.95 assembled)

"...makes most loudspeakers sound better." The Dynaco Stereo 120 power amplifier ($159.95 kit, $199.95 assembled)

These opinions from The Stereophile areformance at a most moderate cost. Proper ini- even more meaningful since itis the most re-tialdesign eliminates the needfor model spected journal in the audio field, whose solechanges. The savings achieved are passed on source of revenue is from its subscriptions. to you. What is"state-of-the-art" when you Over the years Dynaco has proved faithfulacquire it will still meet contemporary perform- to its philosophy of providing outstanding per- ance standards years later.

Send for literature or pick some up at your dealer where you can see and hear Dynaco equipment. dyniaco 3060 JEFFERSON ST., PHILA., PA. 19121 IN EUROPE WRITE: DYNACO A/S, HUMLUM, STRUER, DENMARK

CIRCLE NO. 13 ON READER SERVICE CARD Reviewed by BERNARD JACOBSON DAVID HALL GEORGE JELLINEK IGOR KIPNIS ERIC SALZMAN LESTER TRIMBLE

Disque, for its daring jazz arrangements of These two cantatas are among Bach's most RECORDING OF SPECIAL MERIT Bach. M. Loussier came to Bach after an glorious works for solo voice; the texts the BACH, C. P.E.: Four 12 -Part Sinfonias unusual apprenticeship as accompanist for composer chose are in each case full of for Orchestra (Wq. 183). Leslie Pearson Charles Aznavour and other French singers world-weary expression, even anxiety. There (harpsichord continuo); English Chamber with a rather different repertoire, but Bach is enormous sentiment tothis music, but Orchestra, Raymond Leppard cond. PHILIPS is his business now. He certainly conducts it sentimentislargelylacking in the rendi- 839742 LY $5.98. well. Diehards will be disconcerted by the tions; what issubstitutedis,on the one Performance: Exceptional mere idea of Loussier's presumption, but hand, sentimentality(the final chorale of Recording: Superior those who listen will discern at once an ex- No. 56, for instance, in which Richter pro- Stereo Quality: Excellent ceptional grasp of the original intent and, gresses from an exaggeratedly hushed first above all, impeccable taste. In the Branden- line to an overripe, bombastic final one) and, Not too long ago, we had a recording of these burg Concerto No. 5, which takes up most of on the other, a curious, almost Romantic four orchestral symphonies from Leslie Jones treatment,in which tempos fluctuatetoo on Nonesuch 71180. It was an excellent per- much for the sake of effect (the opening of formance and revealed again how important a. No. 56). Yet, in spite of the Romantic ap- Bach's second son was in the development C proach, the "affect"is not here; the recita- ofthe eighteenth -century symphony-and, tiie in No. 56, in which life's journey is forthatmatter, how enjoyable C.P.E. compared with an ocean voyage, is just mat- Bach's music can be. These are fine works, ter of fact. "Schlummert ein," that gorgeous quite typical of this Bach's sometimes nervous aria from No. 82, is taken too quickly to temperament. There is in them a wealth of convey the desire for final rest. Elsewhere, melodic ideas, unusual shifts in key, great subtleties of phrasing are glossed over, dis- intensity, and a modern, even Romantic spirit. cords are not sufficiently emphasized, and They were, incidentally, composed during his the pacing does not heighten the drama. As last years in Hamburg. If you already own for Fischer-Dieskau, he often seems to be the Nonesuch recording, you can be satisfied overinterpreting, almost as though he were with that, but those who are about to hear rendering a Schubert song. This is, of course, this music for the first time owe it to them- preferable to blandness, but the style is not selves to hear Leppard's sensational perfor- appropriate. In Cantata No. 56, too, he is mances. He and his extraordinary ensemble not in particularly good voice, and his dra- (obviously a more refined group than the matic utterances tend to sound barked and LittleOrchestraof London)presentthe dry; No. 82 finds him in better condition, scores in a most exciting, crisp, and invigorat- but the effect is still misconceived. If these ing manner. There isreal fire to this play- criticisms sound harsh, I might suggest that ing.Inadditiontoorchestralvirtuosity, RAYMOND LEPPARD you listen to Fischer-Dieskau's previous re- though, there is a wonderful feeling for line, C. P. E. Bach sensationally performed cording of No. 56, with Baumgartner con- for accents, and for dynamic shadings. The the album, the Royal Philharmonic's superb ducting, on DGG 138969-it is a far dif- reproduction,moreover,isbreathtakingly treatment of the authentic score supports ferent affair. Best of all, though,I would good. I. K. Loussier's improvisations with a rightness recommend these same cantatas performed that is breathtaking. Substituting a piano for by John Shirley -Quirk, with the Academy BACH, J. S.: Brandenburg Concerto No. the usual harpsichord, and bringing a bass ofSt.Martin -in -the -Fieldsaccompanying 5, in D Major; Air on the G String; Prel- and drums into the picture for ornamenta- (L'Odiseau-Lyre SOL 280) ;theirs are the ude No. 2, in C Minor. Jacques Loussier tion, Loussier hews always to a line of de- most moving performances I have ever heard. Trio; Royal Philharmonic Orchestra, Jacques velopment that amounts to a musical com- I. K. Loussier cond. LONDON SPC 21044 $5.98. mentary on the original material. Especially eloquent is his piano cadenza in the first BACH, J.S.: Prelude and Fugue in A Performance: Innovative elegance ChoralePrelude Recording: Brilliant movement, which finds the twentieth century Minor (BWV 543); "JeanChristus,terser Heiland" (BWV Stereo Quality: Excellent conversing with the eighteenth easily and elegantly. The last eight minutes of the pro- 626); Toccata and Fugue, in F Major While some of us have been having our at- gram are mere filler, but they do sustain the (BWV 540); Trio Sonata No. 5, in C tention diverted by other things, the Jacques felicitous blending of two idioms. P. K. Major (BWV 529);ChoralePrelude Loussier Trio has been busy winning covet- "Gelobet seist du, Jesu Christ" (BWV ed awards,likeFrance's Grand Prix du BACH, J. S.: Cantata 56, "Ich will den604); Prelude and Fugue, in E Minor Kreuzstab gerne tragen"; Cantata No. 82, ("Wedge," BWV 548). Anthony Newman "Ich babe genug." Dietrich Fischer-Dieskau (organ). COLUMBIA MS 7421 $5.98. Explanation of symbols: (baritone); Munich Bach Choir (in Cantata Performance: Exciting in the wrong way ©=reel-to-reel tape 56) ; Munich Bach Orchestra, Karl Richter 0 = f our -track cartridge Recording: Excellent cond. DEUTSCHE GRAMMOPHON ARCHIVE " Stereo Quality: Vivid eQ = eight -track cartridge 198477 $5.98. © = cassette This is not the "second" recital recorded by Monophonic recordings are indicated by Performance. Overinterpreted Anthony Newman, as Columbia's publicity the symbolig; all others are stereo. Recording: Very good attempts, without precisely saying it, to im- Stereo Quality: Good (Continued on page 79) AUGUST1970 77

ply; his earlier disc for Columbia was pre- This is a splendid pairing of two of the few ceded by one made for the Los Angeles label contemporary piano sonatas that have man- Sheffield. Like those previous productions, aged to find their way into the limited re- the new collection is clearly the work of a cital -hallrepertoire.Robert Guralnik ap- John Denver on RCA brilliant and unconventional young musician. proaches them with gusto and a great deal Equally clearly, it is a seriously flawed effort. of technical aplomb. He's got strong, well One of its imperfections may well stem disciplined fingers; the fast, energetic pas- Rhymes and Reasons from the instrument used here-the new sages in which the sonatas abound come Noack organ at Trinity Lutheran Church in through marvelously. On aninterpretive Yellow Cat Worcester, Mass.-and not from a weakness level, Guralnik is so musicianly that I almost Fromholz in Newman's playing. The pedals on this in- hate to criticize lest I make his achievement Leaving, on a Jet Plane strument seem to speak more slowly than the sound more limited than itreallyis. His Denver manuals, and the result is rather like an in- strong suit however, does not seem to be verted version of the bad habit common variety of tonal color. Possibly this impres- (You Dun Stomped) My Heart among Romantic pianists of the old school: sion derives in part from the bright, "up- a pervasive spreading of chords, with the front" sound of the recording. But there are My Old Man bass here sounding after the treble instead of times, as in the Presto misterioso movement Walker before. This disturbing effect can,if you of the Ginastera Sonata, when one might wish I Wish I Knew How It want to check it out, be heard most nakedly for alittleless rationality and a stronger in the slow movement of the Trio Sonata, dose of something like melodrama. In the Would Feel to Be Free where texture and tempo conspire to prevent Barber Sonata, too, there are occasions when Taylor -Dallas any camouflaging of it, but I suspect it may some relaxation of forward drive would have Today Is the First Day of also lie behind the general sense of rhythmic allowed key phrases to speak with subtler the Rest of My Life instability that vitiates all six performances. impact. Nevertheless, these are first-rate per- Fugacity (P. Sr V. Garvey) Nevertheless, if this cannot be laid entirely formances, and no mistake about it. The re- The Love of the Common People to Newman's charge, I think he makes things cording, too, is very fine. L. T. Hurley -Wilkins worse by reckless choices of tempo. The jerki- ness of the little cadential figures in the F BEETHOVEN: Piano Concerto No. 5 (see Catch Another Butterfly Major Toccata is one example that could be Best of the Month, page 72) Williams multiplied many times over. At these speeds, Daydream not even technical equipment as imposing as BEETHOVEN: Piano Sonatas: No. 8, in Denver Newman's can suffice to insure really secure C Minor, Op. 13 ("Pathetique"); No. 14, rhythm and clean articulation. And so, for all in C -sharp Minor, Op. 27, No. 2 ("Moon- The Ballad of Spiro Agnew the excitement he generates, the music tends light"); No. 23, in F Minor, Op. 57 Paxton to get lost in the shuffle. I compared some of ("Appassionata"). Glenn Gould (piano). Circus Newman's performances with the outstand- COLUMBIA MS 7413$5.98. Denver -Johnson ing ones of Lionel Rogg on Epic. At the When I'm Sixty -Four end of Newman's gallop through that F BEETHOVEN: Piano Sonatas: No. 8, in Lennon -McCartney Major Toccata and Fugue, for instance,I C Minor, Op. 13 ("Pathetique"); No. 14, could not restrain a "wow!" of astonished in C -sharp Minor, Op. 27, No. 2 ("Moon- The Ballad of Richard Nixon admiration for what he does succeed inlight"); No. 23, in F Minor, Op. 57 Rhymes & Reasons achieving; after listening to Rogg's perfor- ("Appassionata"). Wilhelm Kempff (pi- Denver mance (which takes more than three minutes ano).DEUTSCHE GRAMMOPHON139300 longer), I found myself murmuring "beauti- $5.98,®L 9300 (71/2) $7.95. ful !"-and the crucial difference is that in PerformanceLook somewhere else the first caseIwas thinking of Anthony Recording: Columbia excellent, DGG good Take me to tomorrow Newman, and in the second of Bach. Stereo Quality: Both adequate If you prefer the "wow -what -a -player" Take Me to Tomorrow feeling to the "what -marvelous -music" feel- Glenn Gould's recording of the "Appassion- Denver ing, you will enjoy this record. The liner ata" marks several notable milestones in the Isabel notes contribute to the general effect, since history of recordings. For starters, this seems Denver they devote one column to a puff for Newman to be the first time that a noted performer Follow Me and the other two to Newman's own discus- takes half the liner of his album to attack the Denver sion of Bach's astrological chart. Not a single principal work that he has recorded inside. word is allotted to the music, and the most Mr. Gould also smashes all records by man- Forest Lawn depressing aspect of the astrological nonsense aging to increase the length of a major reper- Paxton isitsutter pointlessness. Newman simply toire work almost 50 per cent without taking Aspenglow lists features of the chart as suggestive of one a single additional repeat; and this historic Denver human characteristic or another, and then ad- achievement is accomplished with slow tem- Amsterdam duces instances from Bach's life and work pos alone. He has established that the "Ap- Brel-Shuman to show that he really was that way. I am at passionata"is bad Beethoven; he clinches a loss to see how this conveys any more in- the point with his interpretation. Anthem -Revelation formation than a straight recital of the bio- Don't go and get the idea that Mr. Gould Denver graphical facts would have done. Maybe this is making things easier for himself by play- Sticky Summer Weather is prejudice, but such fatuous exegesis seems ing slowly. It is virtually impossible to sus- Denver to me merely a more glaring manifestation tain a Beethoven allegro at an andante pace Carolina in My Mind of the intellectual irresponsibility to be found or an andante asalento. Try reading Taylor inthe actual playing.Isympathize with Shakespeare with a two -second pause be- Newman's desire to emancipate himself from tween each word and make sense out of it. Jimmy Newman traditional molds. But this is not the way to Try to take the passion out of the "Appas- Paxton do it. B. I. sionata"-a thankless task if ever there was Molly one. The pianist's brilliancies are not always Rose RECORDING OF SPECIAL MERIT totally capricious. His last -movement allegro is, for once, truly non troppo, and the pres- BARBER: SonataforPiano,Op.26. to is a knockout. The first movement of the GINASTERA :Sonata for Piano. Robert "Moonlight"issurprisingly effective at a Guralnik (piano). MACE MXX 9085 $2.50. Available at all leading record stores. brisk, non -dreamy clip and the Allegretto is Performance: Excellent perfectly paced (but the furious finale scat- Recording: Excellent ters C -sharp Minor all over the lunar land- Stereo Quality: Excellent scape). The "Pathetique" is whiz-bang with .4-CIRCLE NO. 28 ON READER SERVICE CARD 79 a fast, rigid first movement-not a success. that absolutely nothing isleft unexpressed. end of Berlioz's creative life-Le Temple Gould might get away with more if it were If there is any real criticism to be made of universe!, composed in 1860 with a double not for his blatant disregard of Beethoven's their interpretations,it would be that they chorus of eight thousand voices in mind. most explicit markings: sforzandos, sudden sometimes over -exert themselves in this re- In general, the range of expression rep- hushes, clear phrasing marks or their ab- gard, ignoring the messages (tacit or overt) resented by these eleven songs runs from sence, all blithely ignored. Beautiful piano of the printed music -page in order to make pallid -triadic (Priere du main, Veni Creator) sound with lots of Gouldian hums. What their own interpretive points. To my mind, to militaristic-unisonal (Thmne a la France). more can be said? A great mannerist per- their performance of the Opus 130 Quartet On the other hand, Le Temple universe!, former -philosopher inthe twilight of the is the most consistently remarkable precisely with its plea for a United States of Europe, classical tradition is purveying his Alexan- because it sticks closest to the music. bears a curious and effective kinship to the drian interpretationsina grand, doomed In the other quartets, the ensemble departs sublime Masonic choruses of Mozart's Zau- effort to squeeze some new meaning out of more frequently anddecisively from the berflote. The real Berlioz emerges in the the pots and shards. printed page, applying ritardandi in places highlyoriginal andevocativeBalletdes Admittedly"Beethovenyear"perfor- where they are unnecessary and even counter- ombres, also dating from 1829. A key phrase mances like those on the Kempff disc-co- productive in a musical sense. The only place of this work was to turn up a decade later in incidentally the same three "pop" sonatas- where tonal splendor deserts them, however, the Queen Mob Scherzo of the Romeo and are enough to make one despair of "the is in the Grosse Fuge, where we are sud- Juliet Symphony. classical tradition." The whole apparatus of denly struck by scratchy, "forced" tone. I'll Direct comparison of the blonde selections bourgeois Germanic pseudo -profundityis grant that this movement is difficult, strident, here with those on the Oiseau-Lyre disc is trotted out. A Mass for St. Beethoven! Mum- revealing. Though the choral ensemble re- bled so it sounds like Latin. Okay, I'm being ceives better -focused recording on the latter, hard on Kempff,asecond-rate academic the male soloists on the Argo label are in pianist who has the luck to appear on a first- better vocal control, and Norrington's tempos rate Central European label. He is at his best are far livelier in the Chanson a boire. Side when he plays simply-in those divine, sim- Next Month in one of my Argo review disc was noticeably ple Beethoven slow movements. But off -center. D. H. Kempff's allegro is distinctly without brio, his allegrettoissluggish, and his heavy- BERLIOZ: Les Troyens (see Best of the handed finales are invariably a down. The Stereo Review Month, page 71) piano sound is a little distant, but otherwise good. E. S. BLOCH: SinfoniaBreve(see KOUS- SEVITZKY) RECORDING OF SPECIAL MERIT Four -channel Progress Report by Larry Klein BOULEZ: Improvisation No. 2, sur Mal- BEETHOVEN: String Quartets: f\o. 12, larme (see DALLAPICCOLA) in E -fiat Major, Op. 127; No. 13. in B -fiat, Op. 130; No. 14, in C -Sharp Minor, Op. BUSONI: Doktor Faust. Dietrich Fischer- 131; No. 15, in A Minor, op. 132; No. European Record Companies Dieskau(baritone), Doktor Faust;Karl 16, in F Major, Op. 135; Grosse Fuge, Op. by Richard Freed Christian Kohn (baritone), Wagner; Wil- 133. Guarneri Quartet. RCA VCS 6418 four liam Cochran (tenor), Mephistopheles; An- discs $11.98. ton de Ridder (tenor), Duke of Parma; Performance: Generally beautiful Hildegard Hillebrecht (soprano), Duchess Recording: Superb Two Views of of Parma; Chorus and Symphony Orchestra Stereo Quality Splendid TOM JONES of the Bavarian Radio, Ferdinand Leitner cond.DEUTSCHE GRAMMOPHON 139291/ I've always said that ifI had to make the 2/3 three discs $17.94. choice of a very few records to take with me Ge4PerZ to a desert island, I'd choose recordings of Performance: Okay, but not ideal the last five Beethoven string quartets. Now, Recording: Ditto with the arrival of this new album (complete Stereo Quality Good to very good with the Grosse Fuge) by the Guarneri and nervous in itself, but for these very rea- Ferruccio Busoni's Doktor Faust must really Quartet, I've got my island package. AllI sons one hardly needs still another level of be added to that small list of music dramas need is the island. exacerbation. L. T. that renew the Wagnerian tradition and The Guarneri is, without a doubt, one of carry it forward into the twentieth century. the most extraordinary string quartets be- BERLIOZ: Chantguerrier;Priere du Doktor Faust is, of its kind, a masterpiece. fore the public these days: the group has an main; Le Temple universe!; Chant sacre; The qualificationisnot meant to modify absolutely stunning sense of both soloistic Ballet des ombres; La Menace des Francs; rapture; "of its kind" really means one of a and ensemble color. Indeed, I can't think of Veni Creator; Hymne a la France; Tantum kind, sui generis. Like many of the best post - another string quartet that can match them ergo; Chant des Bretons; Chanson a boire. Wagnerian music dramas, itled nowhere, for sheer sensuous appeal. Arnold Stein- Ryland Davies (tenor); David Thomas (bar- but isinitself a deeply impressive work hardt, the first violinist, produces a tone so itone); Peter Smith (piano, harmonium); which should be kept alive. It can be con- deliciously sweet that I'm only amazed it Heinrich Schutz Choir and Chorale, Roger sidered the composer's testament-his mag- never cloys. John Dailey, the second violin- Norrington cond.ARGOZRG 635 $5.95. num opus, and the summing-up of his final ist, Michael Tree, the violist, and David Performance:Vigorous years. Like some other famous "last" works, Soyer,the cellist, make equally gorgeous Recording: Fair it was left unfinished by the composer at his sounds..And all four are not only strikingly Stereo Quality: Acceptable death and completed by a pupil and follow- individual, but perfectly matched within the er. Philipp Jarnach's contribution apparent- group. In comparison with the Symphonie fantasti- ly consists mostly of the final scene, in which It is obvious that the quartet has been in- que, the Requiem, the best of the overtures, the Busonian material is skillfully used. fluencedinitsstylistic approach bythis or the Nuits d'ete, these choral songs by Busoni wrote his own libretto-in Ger- beauty of instrumental sound. They orches- Berlioz are mere chips from the master's man !-and his treatment of the subject rep- trate everything. An imitation by the second workbench. Yet there are bits here and there resents, in part, a return to the earlier, popu- violin of a phrase just played by the firstthat seize the imagination or anticipate a lar versions of the Faust legend and in part a is treated not only as a melodic event. It is, later and larger masterpiece. philosophical allegory of the composer's own as well, an occasion for timbre adjustment, The earliest of the choruses recorded here devising. The distinctions between the de- so that one really hears two totally differ- date from 1829-Chant guerrier, Chanson monic (out of Liszt), the popular elements entiated statements of the phrase. a boire, and Chant sacre-these being part of (court pageant, student choruses, etc.), the And, speaking of phrase, it must be said the nine settings of Thomas Moore called endless melodizing (music -drama musings that the Guarneri Quartet so constantly ar- blonde (recorded in its entirety on Oiseau- a la Wagner), the harmonic and orchestral ticulates elements of the rhetorical structure Lyre SOL 305); the latest comes from the (Continued on page 82) 80 STEREO REVIEW Almost sixty years ago, Igor Stravinsky sat composing "Le Sacre du Printemps." A young boy playing outside his window kept calling to him as he worked, "It is false, the notes are wrong." Looking back over the years, Stravinsky recounts the story and remarks with a laugh, "It was wrong for him, but not for me." Perhaps no other statement has more accurately caught the spirit of the man who changed the direction of music in the 20th century. It is a small excerpt from "Portrait of Stravinsky."A bonus record in Columbia's five -record set featuring Stravinsky conducting nine of his own masterpieces. "It was false for him but not for me:' "Portrait of Stravinsky" Follow Stravinsky We've also included a offers a unique glimpse into through a rel ears zl with an special 48 -cage booklet the personal life of this great orchestra. lizar h m alter a NINE MASTER 31ECES cor taining many rare photo- artist. An intimate view few pianis:'s accents. Then go CON DUCTED graphs making this set a admirers, outside of close back End hstel to his nine BY THE COMPOSER treasury of Stravinsky that is friends and a select number works. IGOR STRAVINSKY tru y the first complete tribute to both the man and his art. of musicians, have ever seen. Once you've become FIREBIRD SUFI It is a warm, touching and PETIUSHKA SUITE acquainted v.ith Stravinsky LE '_ACRE DU PRINTEMPS often amusing addition to the man, ),o1211 find yourself CHISTOIRE DU SOLDATSUBE SYMPHONY OF PSALMS On ColurnDia Records et this specially priced set. listening to tie ve-y familiar PULC NELLA SUITE SYMPHONY IN THREE MOIEMENTS masterpieces that follow with SYMPHONY IN C a slightly difbrent ear. APOLLO

COLUMBIA 92 MARCUS REG PRINTED IN u $ A modernism, and the musico-intellectual Bu- sound less revolutionary than they once did. Joel Thome, music director and cond. CAN- sonisms are striking and the attempt (in part, That is the way with all initially startling DIDE CE 31021 $3.98. at least, by Jarnach) to achieve a final musical works. and dramatic synthesis of these rather dispar- The scales from which Cage constructed Performance: Very good ate strands is not completely successful. But much of this music are simple, and his treat- Recording: Excellent the "problem" vanishes the moment the di- ment of them is essentially gentle and con- Stereo Quality: Excellent versity of levels ceases to be felt as stylistic servative. The actual core of his composing The Philadelphia Composers' Forum, one discrepancies. style is rhythm, which he treats with immense of a number of older American groups dedi- The recording ofthis important work originality. Some of the pieces are almost cated to new music, has recently taken on poses one of those typical problems of the ascetic in their use of tiny microcosms of new life under the direction of an enterpris- reviewer. The fact that Bavarian Radio and soundvariedby rhythmicmanipulation ing,take -charge director,Joel Thome.It DGG chose to record the work at all is ad- rather than melodic development. Cage's in- must be pointed out, however, that the group mirable, but the truth is that the result is less volvement with dance, through his long as- relies heavily on outside talent: perhaps half than ideal. The worst of is it the rather sociation with Merce Cunningham, provided the musicians here are well-known New brutal and often senseless hacking operation him with the kind of rhythmic inspiration York free-lance and chamber -musicplay- that has been performed on the score-a few that the Diaghilev Ballets gave Stravinsky. lines omitted here, a few pages there, bits and ers. But whatever the sources of talent,it In later works, Cage has tried to eschew all comes together to produce an attractive pieces sliced out everywhere. One example: the personal touch by carious means, such as record. the orchestral introduction to the final scene casting dice or using the I Chingas a way of Thome's repertoire here (not necessarily isentirely omitted,creating an awkward selecting his musical materials. He also ''com- opening and robbing the climactic moment typical of the recent work of the group) is of its musical value as a thematic return. European serialism of the delicate timbre - sensitive variety. Jon Appleton's notes make Even practical considerations will not hold water here, since there is plenty of room on an accurate distinction between the "Ex- the disc side for the missing few minutes. pressionist" linear style of Dallapiccola and the much more abstract "pointillistic" land- The undoubted origin of the recording as a scapes of Boulez and Pousseur but, as he also radio broadcast probably accounts for notes, the works have much in common. In (though hardly justifies) many of the prob- retrospect there is a curious nostalgia about lems.I would describe the orchestral performance and general direction as adequate these products of the Fifties (and, in one to good but not generally inspired. Fischer- case, early Sixties), a kind of series of dis- Dieskau is, on the whole, admirable; now tant vibrations, delicate nuances, and regret- and then, he displays a tendency to lunge ful sighs-sad farewells, asitwere, toa about vocally at the top. Hildegard Hille- great tradition. Quite beautiful, excellently brecht has a few screamy high notes; other- well performed, and exceptionally well recorded. Minus marks only for the pressing. wise she is effective. The rest of the cast and the chorus are good. The recorded sound is E. S. somewhat variable:Fischer-Dieskauisal- DUPARC:Lenore(see SCHMITT) ways allowed to dominate-even to the point of wiping out the orchestra while some other Op. vocallines are curiously and inexplicably 84; Concert Allegro, Op. 46; Sonatina; distant. Let's say that one can get a strong Adieu; Serenade.John Ogdon (piano) ; image of the work from this recording; it's 0N CAGE Allegri Quartet. ANGEL S 36686 85.98. Immense rhythmic originality just too bad that it couldn't have been a bit Performance: Good closer to the total conception as it has been posed" a totally silent composition (4' 33") Recording: Good passed on to us. E. S. of which I wrote in the New YorkHerald Stereo Quality: Good Tribuneback in the Fifties that "it's diffi- RECORDING OF SPECIAL MERIT Elgar's A Minor Piano Quintet of 1918 is cult to know whose music is not being played, one of the last major works in the composer's CAGE:Music for Keyboard 1935-1948. or if, indeed, nobody's music is being played canon, the Cello Concerto of the following Two Pieces (1935); Metamorphosis (1938); at all." year being the only large-scale composition Bacchanale(1938);The PerilousNight But in the period represented by these subsequently to come from his' pen. The (Winter 1943.44); Tossed asItIsUn- piano works, Cage's personality wasstill Concert Allegro for piano, dating from 1901 troubled (1943); A Valentine out of Season discernible in the music he wrote, rather than when Elgar was at his creative peak, stands (1944); Root of an Unfocus; Two Pieces just in the intellectual concepts out of which as a substantial discovery: it was never pub- (1946); Prelude for Meditation(1944); he arrives at working methodologies. In these lished during Elgar's lifetime, and the man- Music for Marcel Duchamp (1947); Suite pieces, the combination of an almost incanta- uscript was thought to have been lost among for Toy Piano(1948); Dream (1948). tory modality, exceptionally sensitive timbres, the belongings of pianist Fanny Davies, for Jeanne Kirstein (piano, "prepared piano," and stark rhythmic effects that verge on ritu- whom he wrote the work. Indeed, the Con- toy piano). COLUMBIA M2S 819 two discs alism were his trademarks. Some of the works cert Allegro is the only major piano work $11.96. call for considerable patience on the part of among the nine listed inGrove's Dictionary the listener. The pieces do not flinch from Performance: Splendid of Music and Musicians.I can't fathom why monotony. Rather, they embrace itas part theSonatina,Adieu,andSerenade-all Recording: Excellent of the aesthetic. Andthatis interesting. Stereo Quality. Excellent mere chips from the workbench-were in- Miss Kirstein plays with unfailing ele- cluded in this Angel package. And Ican't John Cage has invented many things, but gance andconviction.She makeslovely understand why the sleeve notes fail to in- none of his renegade musical ideas has been sounds. On my equipment, some faint pre - clude a single piece of meaningful informa- as charming as the "prepared piano." Time echoes can be heard in silent grooves. How- tion about the music recorded here, none of was when pianists huffed at the very idea of ever, quiet astheyare,they are more a it,it seems to me, is going to be at all fa- attaching nuts, bolts, erasers, screws,etc.,to curiosity that a nuisance. L.T. miliar to non-English audiences. the strings of their instrument to produce the The Concert Allegro is an effective bit CHAUSSON: Viviane, Op. 5 (see delicious galaxy of percussive sounds Cage SCHMITT) of post-Brahmsian piano writing, also con- had envisioned. I doubt many pianists even taining, here and there, suggestions of Bu- now play "prepared piano" pieces in recital. DALLAPICCOLA:Parole di San Paolo; soni and Liszt. John Ogdon, who excels in But at least they don't explode at the idea. Concerto per la Notte di Natale dell'Anno the music of both of these last-named com- Jeanne Kirstein has recorded four sides of 1956. BOULEZ:Improvisation No. 2, sur posers, is certainly the man to play the Elgar Cage's keyboard music, spanning the years Mallarme, "Une dentelle s'abolit."POUS- too. His mastery of phrasing and pianistic from 1935 to 1948. There are pieces for piano SEUR:Trois Chants Sacres.Valarie Lamo- tone color is phenomenal in the lyrical epi- and "prepared piano," and one written in ree (soprano), Benita Valente (mezzo-so- sodes, and his handling of the full-blooded 1948 for a toy piano. Not surprisingly, they prano) ;Philadelphia Composers'Forum, climaxes recall those of the Carl Nielsen 82 STEREO REVIEW Symphonic Suite in his RCA disc devoted to (baritone), Lord Tristram Mickleford; Hans tried,but American audiencesjust don't the Danish master's piano music. Georg Knoblich (bass), the Sheriff of Rich- seem to take to Notow s Martha. The Eng- The Elgar Quintetisan amalgam of mond; others, Chorus and Orchestra of the lish -language performance was no help, ei- Brahms and Franck: there is a solid Brahms- Bavarian State Opera, Munich, Robert Hager ther. And this despite the fact that Martha ian bass line and full harmonic texture, and cond. ANNELIESE ROTHENBERGER: is an opera on an English subject-courtly a Franckian cyclic procedure. The tone of Recital.Mozart: Don Giovanni:Vedrai escapades in the time of Queen Anne-with the work as a whole is lyrical and dramatic, carino. Weber: Der Freischiitz: !Vie nahte The Last Rose of Summer skillfully woven and it reaches its most eloquent expression mir der Schlummer .. . Leise, leise; Undoh into its musical fabric. There are other "Eng- in the noble slow movement. Curiously strik- die IYolke. Bizet: Carmen; Je dis que rien lish -sounding" moments in the music, leaving ing is a recurrent motive, heard in the open- ne m'epourante. Dvoffik: Rusalka: Du lieber no doubt about Flotow's influence on a sub- ing pages, that is redolent of the Dies irae. Mond. Bavarian State Opera Orchestra, Her- sequent manipulator of similar ingredients, The summer cottage where Elgar composed mann Hildebrandt cond.ANGELSCI 3753 Sir Arthur Sullivan. And here may be the much of the Quintet was located on a pla- three discs $17.94. rub: Martha, with its far-fetched plot (high- teau whose gnarled trees at twilight sug- born ladies falling in love with plebeian lads gested ghostly human forms, and Elgar was Performance: Outstanding who turn out to be properly highborn gentle- said to have been fascinated by the local Recording: Excellent men just in time for the final curtain), is story that these trees were the forms of a Stereo Quality. Very good very much like a Gilbert and Sullivan op- community of Spanish monks struck dead Heaven knows the Metropolitan Opera has eretta but without Gilbert's sardonic point of centuries before inthe midst of blasphe- mous rites. Legendary inspiration or no, the Elgar Quintet is a fine late -Romantic work worthy of more frequent hearing. A Dover disc of the Quintet, taken from a 1963 British recording with Leonard Cas- sini and the Aeolian Quartet, has been available for some years, but on comparison it dfcg Maroux represents no competition in terms of either musical communication or sonic richness for this new Angel disc. The Ogdon-Allegro eak Quartet reading is both more swiftly paced and more impassioned, and the Dover sound seems anemic when heard against Angel's. D. H. Oharke ERB: Reconnaissance; In No Strange Land. Stuart Dempster( trombone); Ber- tram Turetzky (double -bass) ; Bonnie Doug- "Build us a great orches- Sir John Barbirolli conducts las(violin) ;Rand Forbes (double -bass); tra:' The year was 1967. Debussy's La Mer. Jean-Pierre Ralph Grierson (piano); Kenneth Watson And Charles Munch, at Jacquillat, a collection of French Or- (percussion); Michael Tilson Thomas chestral Showpieces. Georges Pretre, (Moog synthesizer); Leonard Stein (Moog 76, personally audi- polyphonic instrument) ; Donald Erb cond. tioned over 400 musicians, "all day the acclaimedWerther, with NONESUCHH 71223 $2.98, Q E 1223 long, for weeks and weeks:' De los Angeles and Gedda, Berlioz' (33/4) $4.95,0 M 81223$6.95. The result is musical history. And "concert opera" The Damnation of the Orchestre de Paris. Faust, and an all Poulenc program. Performance: Excellent Recording: One good, the other fair Before his death in 1968, Charles And the permanent conductor, Serge Stereo Quality: Essential Munch had molded 110 musicians Baudo, has recorded Messiaen into a spirit and an orchestra that and Mussorgsky -Ravel programs. This is part of the Nonesuch commissioning series, but itis more a "live" performance "could have rivals, but no superiors" record than a disc of electronic music. Both (L'Aurore). New Releases. pieces use conventional instruments and elec- France now considers it her offi- Now, we introduce two happy tronic sounds on an equal plane. Reconnais- cial orchestra. Critics consider it one milestones. Herbert von Karajan re- sance employs a Moog synthesizer and a of the world's superb instruments. turns to Angel conducting Franck's Moog keyboard instrument (far from the At Angel, we consider it one of D Minor Symphony. same thing, by the way) as "live" members our rare treasures. of the ensemble. In No Strange Land takes a Sviatoslav Richter returns to Angel, slightly different approach. It has tape tracks Albums from Angel. too, with Lorin Maazel conducting, realized at the Moog studios in Trumans- Before its first concert in Novem- in Brahms' Piano Concerto No. 2. burg, N.Y., and instrumental tracks realized in La Jolla, California, by two instrumental ber, 1967, we had recorded Berlioz' The Orchestre de Paris. A living masters:StuartDempsterandBertram Symphonic fantastique, with Munch. monument to the glory that is Turetzky. Both works display a high degree Under our exclusive contract, we France. A joyous reminder of of tone -color fantasy spatteredirregularly now have recorded eleven albums, Charles Munch's love for his arr. overarathershapeless seventeen -minute including two by Charles Munch of And a proud addition to the list of stretch. In spite of the incredible virtuosity Ravel's music. great orchestras recorded on Angel. of Messrs. Dempster and Turetzky, Recon- naissance is by far the more arresting, better recorded, and more acoustically integrated work. But, like its partner,it has a strong start and runs out of steam not half way through. E. S.

RECORDING OF SPECIAL MERIT FLOTOW: Martha. Anneliese Rothenberg- S-36729 S-36728 Angel er (soprano), Lady Harriet Durham; Bri- gitte Fassbaender (mezzo-soprano), Nancy; On -chests de Parlis Nicolai Gedda (tenor), Lionel; Hermann Prey(baritone),Plunkett; Dieter Weller CIRCLE NO. 3 ON READER SERVICE CARD

AUGUST1970 83 view. It takes itself seriously, and that,in the foremost of the old-time fiddlers, Grieg mir Pleshakov, now of the Yehudi Menuhin 1970, spells trouble. Hearing it in German, agreed to attempt a project designed to pre- School of Music at Menlo Park, California. then, is better for us,I think, for it is thus serve in musical notation but in piano med- Foldes is more rhythmically incisive, but also removed a step toward the exotic. ium the old melodies in their authentic form. somewhat four-square. Pleshakov plays a bit Angel's new recording is the opera's first To this end, he enlisted the services of com- more freely with the rhythm, recapturing, stereo recording, and itis a total success. poser -violinist Johan Halvorsen, who notated thereby, something of the essential organic Whatever reservations we may have about the tunes in violin form from Knut Dale's quality of the fiddle performance as against the story, Flotow's music is consistently en- playing, and from this Grieg prepared the the necessarily more mechanical limitations gaging and skillful, and it comes to sparkling piano transcriptions in 1902, anticipating by arising from the nature of the keyboard in- life in the loving hands of the veteran con- some four years the Hungarian folk -song strument. My only criticism of the recorded ductor Robert Heger. He savors the score's transcriptions of Kodaly and Bartok. sound here is a slight overweighting of the melodic riches, revealing its modest subtle- Like Kodaly and Bartok, Grieg steers clear bass, which can be corrected by bass -control ties with the fastidious care other conductors of Romantic coloration and elaborate poly- adjustment in playback. This unique record- reservefor Gustav Mahler andRichard phonic elaboration. Occasionally, as in the ing belongs in anyone's record collection as Strauss. He treasures its gentle contrapuntal Hailing from Gnomes' Hill (No. 4), there essential and wholly different Grieg. D. H. intricacies and revels in its moderately witty is a degree of musical expansiveness-and in touches of orchestration-in short, he makes this connection itis fascinating to listen to RECORDING OF Martha seem dangerously close to being a side four, band 4, of Volume Nine of "The SPECIAL MERIT masterpiece. History of Music in Sound" (RCA Victor KOUSSEVITZKY :Concerto for Double The principals were hand-picked by Mae- LM 6153). rin rthis same tune is played Bass and Orchestra. Gary Karr (bass) ; stro Heger, according to the accompanying Oslo Philharmonic, Alfredo Antonini cond. notes, and they form an ideal cast indeed. BLOCH: Sinfonia Breve. Minneapolis Sym- Anneliese Rothenberger's singing is a model phony, Antal Dorati cond. COMPOSERS RE- ofpurity,accuracy, and security. Nicolai CORDINGS, INC. CRI SD -248 $5.98. Gedda, in excellent form throughout, turns "Ach, JO fromm" ("M'appari") into a tour Performance Both splendid de force by singing the second verse in a Recording: Handsomely warm sustained, insinuating mezza-voce. The role Stereo Quality: Excellent of Plunkett is for once not given to a beefy This recordingisclearly a labor of love. bass -baritone: Hermann Prey, perfectly Serge Koussevitzky'syouthfulstartasa cast, makes the character sound young, manly, double -bass virtuoso, and the fact that he and extremely sympathetic. And if the part had composed some music for that instru- of Nancy could use a weightier voice than ment, were legends even while he was alive Brigitte Fassbaender has at her command, and doing much for American composers she supplies charm and temperamentin from his position as conductor of the Boston abundance. The Munich Chorus and Or- Symphony Orchestra. According to the liner chestra perform in the brilliant manner that notes on this release, he made his only re- is characteristic of the entire production. cording as a bassist in 1929 (for Victor), The album's sixth side is devoted to an and then laid aside the instrument forever. opera recital by Miss Rothenberger. There is The young Los Angeles bassist Gary Karr a certain uneasiness about Micaela's air here, at some point inherited this stupendous in- andthe concludingportionofAgathe's NICOLAI GF.DDA strument, one of only three constructed by the Prayer from Freischiitz needs a weightier A tour de force in Martha great seventeenth -century violin maker Ama- sound and a more dramatic approach, but ti, and he plays it on this recording. Credit Agathe's "Und obdieWolke" andthe first in its original Hardanger-fiddle form, for resuscitating the Koussevitzky score goes Mozart and Dvolik arias are both exquisitely then in Grieg's transcription. Irecall, as a to conductor Alfredo Antonini, who found performed. G. J. matter of fact, hearing of a project to be un- the sole manuscript of this work in the late dertaken by Philips in Norway to record the composer's personallibraryand madeit GINASTERA : Sonata for Piano (see BAR- Sldtter on both Hardanger fiddle andin ready for use. He then programed the piece BER) Grieg's piano version, but I have never seen on a CBS -TV program with young Karr as or heard tell of the finished discs. soloist. RECORDING OF SPECIAL MERIT Once heard, by the way, the sound of the No doubt Iam hearingthisconcerto Hardanger fiddle is not easy to forget. The through prejudiced, even sentimental ears.I GRIEG:Skater(NorwegianPeasant four sympathetic strings underlying thoseadmit to having some affection for Kous- Dances), Op. 72. Vladimir Pleshakov (pi- that are played upon add enormous resonance sevitzky, who was not only an exceptionally ano). ORION ORS 6908 $5.98. and acoustic power to the instrument, which sensitive conductor, but who alsobattled Performance Generally good is intended for outdoor use. The highly orna- consistently for American music and Ameri- Recording:Amite bass -heavy mented Hardanger-fiddle idiomisclosely can composers. Without him, the composing Stereo QualitySufficient akin to that of Scottish bagpipe music. The careers of Aaron Copland, Leonard Bern- chief dance forms are those of the wedding stein, Lukas Foss-and many others-would At th_ risk of seemingrashand headstrong, march, the walking dance (gangar), the more probably have been different. To say nothing I say baldly that this disc of Edvard Grieg's capriciously rhythmed springar, and the acro- of some conducting careers! Thus, when I last major works for piano-the Shifter, pi- batic solo men's dance known as the balling. hear undiluted Tchaikovsky in the opening ano versions of seventeen Norwegian peasant The ones Grieg set include four wedding strains of this 1902 concerto, and thereafter dances for Hardanger fiddle-is the most fas- marches, three gangar, four springar,five as well, I am not at all upset. What interests cinating and significant of his works current- halling, and a Goat -horn dance. The colorful me more is the sweet sincerity of the piece, ly available on record. Only the Haugtussa names attached to the tunes, such as The the always graceful writing, and the many song cycle (recorded by Kirsten Flagstad and MillerLad'sWeddingMarch,Goblin's touches which, though utterly nineteenth- now out of print) and the G Minor Ballade Bridal Procession. Kirledal Girls, and Jon century in style, are nevertheless fresh and (recorded by Artur Rubinstein and also out l'estafae's Springdans, are of a piece with personal. They evoke Koussevitzky himself, of print), together with certain of the Lyric such American mountain fiddle numbers as and with such great immediacy thatthe Pieces for piano-Bell Ringing and Evening UncleCharlie'sBreakdown,The Scotch recording becomes a treasure. The perfor- in the Mountains-are of comparable in- Musick, or Old Joe Clark. mance is lovely, beyond cavil. dividuality and stature. In any event, the Grieg settings are mas- This recording of Ernest Bloch's Sinfonia At the turn of the present century, the terly in their preservation of ornament and Breve is a reissue of a record originally put danger that the wild and elaborately orna- dissonance, and wholly fascinating to hear. out by Mercury. In keeping with CRI's policy mented Hardanger fiddle music from the It was interesting to compare the long out- of restoring worthy recordings of twentieth- West Coast of Norway would be extin- of -print Andor Foldes Mercury recording of century compositions to the catalog, they ob- guished by urban and foreign influences was 1953-the first complete version-with this tained the rights for re-release and now have very real. At the urging of Knut Dale, one of new Orion disc done by Shanghai -born Vladi- (Continued on page 86) 84 STEREO REVIEW Smallnewsfrom Sony.

The World's Most Versatile Tape Recorder! The Model 124 -CS portable stereo Cassette -Corder® lets you record your favorite music and play it back in glorious stereo. When there's work to be done, you can use it as a functional tape recorder. Compact, lightweight, the 124 -CS weighs just five pounds with batteries and measures just 6,%6" x 2'M6" x 93/4".

Full -Range Extension Stereo Speakers. Ideal for desired stereo separation. In addition, recorder also features its own built-in speaker, which cuts off when extension speakers are used.

AC or Battery. Cassette -Corder® plays off house current, car or boat battery, four flashlight batteries, or optional re- chargeable battery pack, providing use - anywhere versatility.

Constant -Speed Motor for True -Fidelity Sound. Regulated -speed DC motor ensures constant tape speed for pitch accuracy. Signal-to-noise ratio: 45 db or better. Frequency response: 50 to 10,000 Hz.

Recording -Level, Battery -Level Indica- tor. Extremely accurate meter for monitoring proper input level. Meter also continuously indicates battery condition during playback mode. Sony- matic level control automatically controls recording level.

Push -Button Tape -Transport Controls. Just push a button for forward, record, rewind, fast -forward, or stop. Safety interlock prevents accidental erasure of recorded tape. Separate controls permit continuously -variable stereo balance, tone, and volume. Stereo or mono mode switch.

,Lid & Cassette Pop-up Button. Push the 'button, the lid flips up, the cassette pops out. Snap a new cassette into place in seconds. Use Sony C-90 cassettes and get 11/2 hours' playing time.

Sony Model 124 -CS Portable Stereo Cassette - Corder". Less than $199.50, co replete with carry- SONICeSUPERSCOPE ing case for recorder, speakers, and accessories. You never heard it so good.® Also available: Sony Model 110, Easy-matic Cassette -Corder;' priced at only $109.95. For your free copy of our latest catalog, please write Mr. Phillips, Sony/ Superscope, 8144 Vineland Ave.,

ISM% CS .0V0C/1,101r 1M11. Sun Valley. California 91352. brought a genuinely important work back teresting enough to prevent the melodic repe- into circulation. This is an immensely com- Whatever else one may say about the individ- titiveness from becoming oppressive; and ual quirks the 90 -year -old -plus Casals brings pelling opus, one of Bloch's strongest. A whereas, in the later Turangalila, the beguil- product of his last years (he died in 1959), to his readings of the last six Mozartsym- ing instrumental treatment of the "theme of phonies, there can be no accusation ofany it has the mastery and grandeur available love" makes its deliberate, blatant vulgarity lack of surging, elemental vitality. Nos. 36, only to composers who have achieved real acceptable and even attractive, itis hard to 38, and 39 are new releases; the others have personal and technical maturity. L. T. take in the monochrome medium of the solo previously been issued as singlkdiAcs. All piano. save No. 36 are done by the MaMWo 'Festi- MENOTTI:The Medium. Regina Resnik An exceptionis the nineteenth and,I val Orchestra in a bright and spaciousacous- (mezzo-soprano), Madame Flora;Judith think, the best of the twenty pieces, "I sleep, tic; the "Linz" fares less well in Blegen(soprano), a somewhat Monica; Emily Derr but my heart is awake," whose rapt stillness cramped ambiance that gives undue promi- (soprano), Mrs. Gobineau; Julian Patrick is for once reinforced by a sense of structure nence to the upper violin register. Casals (baritone), Mr. Gobineau; Claudine Carl- that is both strong and subtle. And here John takes first -movement repeats in Nos. 35 and son (soprano), Mrs. Nolan. Opera Society of Ogdon's uncanny control of touch and ability 39, but he omits them in Nos. 40 and 41. All Washington, Jorge Mester cond. COLUMBIA to wait out Messiaen's seemingly intermina- the performances are recorded in "live"con- MS 7387 $5.98. ble pauses without losing rhythmic poiseare cert, which-taken together with audience Performance: Good marvelously to the point. But though, con- noise and distinctive vocal obbligato from Recording: Excellent sidered purely as piano -playing, his perform- Casals-provides not only a specialaura of Stereo Quality: Very effective ance of the faster piecesisvertiginously spontaneity, but also assurance that theseare exciting (aided by one of the finest record- Within his own operatic world, which is far authentic documentations, not edited tapes. lesslimitedthanhisdeceptively simple The "Haffner" comes across with great means suggest, Gian Carlo Menotti is a true urgency and virility; the slow movement is master. The Medium is Grand Guignol in taken almost con moto rather thanat the cameo: slender musical ingredients manipu- usual reposeful pace. The first twomove- lated with formidable skill and an uncanny ments of the "Linz" are a bit over -deliberate utilization of the textual and theatrical values. for my taste, as are the finale of the "Prague," The work must be seen to experience it fully, the sloN_vstuovement of the G Minor, and the but my interest never sagged while heating first mdMnent of the "Jupiter." Everything else this recorded production-the atmosphere is isbrimful ofvitality and suspense, captured with remarkable strength, and stereo reaching a special high point for me in the is used with boldness and imagination to somber slow introduction of the "Prague" compensate in part for the missing visual Symphony. The E -flat Symphony isa joy element. from beginning to end. Except for that of the "Linz" Symphony, the recording as a whole The composer himself staged the Wash- is bright and clean. However, my review ington, D.C., production which preceded this recording and, since the liner notes are also pressing of the "Linz" was troubled by much by him, we can assume that the recorded pre- and post -echo, and there was consid- version has his full blessing. Regina Resnik erable post -echo in the "Prague" as well. cuts a terrifying figure as the fear -driven I would not suggest that these are defini- Madame Flora, displaying an absolute com- tive recorded versions of these much -recorded masterpieces, but for its best moments I mand of the character that is further strength. REGINA RF.SNIK ened through her exceptionally clear and shall hold and treasure this album formany The Medium's title role in capable hands years to come. For it documents a kind of forceful enunciation. Judith Blegen is affect- organically rooted musicianship, the like of ing as the unhappy Monica, and the three ings I have ever heard, with a dynamic range minor characters round out the picture most which we are not likely to see again in this of impeccable solidity from pppp to fill), it century. D. H. effectively. Jorge Mester's handling of the has to be said that he is often uncharacteris- tricky score is admirable. The all-purpose tically cavalier in his treatment of Messiaen's chamber orchestra POUSSEUR: Trois Chants Sacres(see isvery well suitedto detailed metronome markings and dynamic DALLAPICCOLA) nearly all of the composer's eeriepurposes, indications. In the sixth and eighth pieces, but there are times when a larger body of for example, some of the tempo interrela- strings seems to be called for. RACHMANINOFF:The Bells. Yelizaveta G. J. tionships are widely modified. Shumskaya (soprano); Mikhail Dovenman In England another complete recording MESSIAEN: (tenor); Aleksei Bolshakov (baritone); Vingt Regards sur l'Enfant- by Thomas Rajna has also been released. RSFSR Russian Chorus; Moscow Philhar- Jesus. John Ogden (piano). ARGO ZRG Since itis on a small label (Saga -Psyche) monic Orchestra, 650/1twodiscs$11.90. Kiril Kondrashin cond. unrepresented in the U.S., I doubt if it is MELODIYA/ANGEL 40114 $5.98. Performance: Idiosyncratically brilliant likely to be issued here, and in any case Performance: Vital and colorful Recording: Superb Rajna's playing would have to be remarkable Recording: Good Stereo Quality: Superb indeed to rival the beauty of Ogdon's sound and the brilliance of his technique. But it Stereo Quality: Very good The "theme of God," the "theme of the star would not be at all hard to imaginea per- The Bells is said to have been Rachman- and the Cross," and the "theme of chords" formance that reproduced the composer's in- that recur in various forms and combinations inoff's favorite composition. It is a mighty tentions more faithfully than Ogdon's, andchoral symphony inspired by Edgar Allan through this extraordinary two-hour work that is perhaps even more important in a Poe's famous poem,itsfour symphonic represent only one aspect of its pervasive work as unfamiliar as this one. B. J. naive symbolism. Programmatic representa- movements representing the poet's evocations tion here runs riot, and, predictably, bird of jingle bells(Allegro), wedding bells - MOZART: Symphonies: No. 35, in D Ma- (Lento), alarum bells (Presto), and funeral song and evocations of primitive Oriental jor (K. 385, "Haffner"); No. 36, in C dance figure largely in Messiaen's ostensibly bells (Lento lugubre). Rachmaninoff rose to Major (K. 425, "Linz"); No. 38, in D the musical challenge with real imagination metaphysical but actually picturesque concep- Major (K. 504, "Prague"); No. 39, in tion of the Nativity. In many of his works, and brilliant craft. The work is opulently E -fiat Major (K. 543); No. 40, in G Minor and clangorously scored, requiring a tenor, such as the gigantic Turangalila Symphony, (K. 550); No. 41, in C Major (K. 55, I find that the sheer sweep of his musical soprano, and baritone soloist for the first, "JupiteY'). Marlboro FestivalOrchestra; second, and fourth movements, respectively. imagination easily outweighs the pretentious Casals Festival Orchestra of Puerto Rico, platitude of his so-called "thought." But in The third movement is given over to the Pablo Casals cond. COLUMBIA D3S817three chorusalone,reallythecentralelement the Vingt Regards,I fear,inspirationis discs $11.98. throughout. stretched too thin to hide the lack of real sub- Performance: Virile This is an enthusiastic and rousing per- stance. The rhythmic tricks with "modes of formance, in which the work of the chorus, limitedtransposition,"mined from Nies- Recording: Fair to good Stereo Quality: Good orchestra, and English horn soloist(final siaen's researches in Indian music, are not in- movement) deserve the highest praise. Best 86 STEREOREVIEW of the three vocal soloists is the sweet -voiced tenor, and the weakest the wobbly soprano. Passing instances of distortion (and wowing on the final chord) aside, therecording is technically very impressive.The Bells isan old-fashioned score for 1913, the date of its composition, harking back to Tsarist pomp and Rimsky-Korsakov. Butitachievesits Troyens aims brilliantly and I, for one, find it quite irresistible. G. J. SCHMITT:La Tragedie de Salome, Op. 50.CHAUSSON:Viviane, Op.5. DU- First complete recording. PARC:Lenore. NewPhilharmoniaOr- chestra, Antonio de Almeida cond. RCA BERLIOZ: LES TROYENS LSC 3151 $5.98. Vickers, Veasey, Lindholm, Glossop, Wandsworth School Boys' Choir, Chorus & Orchestra of the Performance. Good Recording: Excellent Royal Opera House, Covent Garden/Colin Davis Stereo Quality: Good 6709. 002 Heard in chronological order-Duparc (1875), Chausson(1882),andSchmitt (1907), respectively-these works offer a fascinating aural view of the influence of post -Wagnerian style on the French orchestral also available - idiom, and, in the Florent Schmitt work, the Berlioz: Te Deum laterinfluencesof Debussy and Richard 'Berlioz: Les Nuits crete; 5 Songs Armstrong, soprano; Veasey, mezzo Tagliavini, tenor; London Symphony Strauss. On first hearing, one would guess Chorus & Orchestra/Colin Davis Lenorewas also soprano; Patterson, tenor; Shirley - that Duparc's rather Lisztian 839. 790 influenced byLe Chasseur mauditby his Quirk, bass. London Symphony Orchestra /Colin Davis Cesar Franck-exceptthatthe teacher, 6500. 009 Berlioz: Romeo et Juliette Franck work was composed seven years later. Patricia Kern, soprano; Robert Tear, Chausson, in hisViviane,displays by far the Berlioz: Symphonie Funebre et tenor; John Shirley -Quirk, bass; most effective command of musical -dramatic Triomphale; Marche funebre, Op. 18; John Alldis Choir. London Symphony rhetoricofthethree composers;Florent Prelude to Les Troyens a Carthage. Orchestra & Chorus /Colin Davis Schmitt'sSalome,save initsrhythmically London Symphony Orchestra / 839. 716/17 original final pages, has not worn well over Colin Davis the years (I remember well the composer's 802. 913 A Product 0' Mercury Record Productions. Inc own recording from the early Thirties). Among the younger conductors of the day, To be released by December 1970. Antonio de Almeida is a new name to me, CIRCLE NO. 25 ON READER SERVICE CARD but he plainly knows his business, giving performances on this disc that are both lucid and vital. The same adjectives apply equally to the excellent recorded sound. D. H. Honeywell Pentax. RECORDING OF SPECIAL MERIT Designed for SHOSTAKOVICH:Symphony No. 6. op. 54; The Age of Gold, Ballet Suite, Op. 22a.Chicago Symphony, Leopold Stokowski cond. RCA LSC 3133 $5.98. Go-ers and Do-ers. Performance: Gorgeous Recording: Very good You like to go, and you go tirst-class. Whatever you do, whenever Stereo Quality: Very good you buy, price is secondary to quality. You'rethe kind of man who I never thought I would ever end up pinning made Spotmatic a classic-the world's best-selling 35mm SLR. Pre- a Special Merit badge on a Shostakovich cise, durable, lightweight, go -able. And so easy to use, it makes you symphony, but more than half of that com- an even better photographer than you thought you were.With poser's Sixth-a work previously unknown to me-consists of a long, slow, thoughtful, Super-Takumar f/1.4 lens, about $300. and quite beautiful first movement gloriously played by Stokowski and the Chicagoans and well worth the price by itself. The second movement is a rare moment of grace, and the Honeywell Photographic Rossinian wrong -note finale, although a little P.O. Box 22083, Denver, CO 80222 heavy-footed for my taste (it ends up in a Please send me Honeywell sort of Soviet can -can ), has wit and humor. Pentax' literature. 632 For once the bombast, the rhetoric, and the grotesquerie are missing, and something more Name genuine and believable emerges. The Age of Gold suggests "polka," of course, and that Address giggly bit of slapstick-surely thesilliest City music ever written-is here along with three other (only slightlyless giddy) numbers State/Zip from the ballet. This kind of humor wears very thin veryfast, but Stokowski makes Honeywell Pentax in th. orchestral riches even out of this, and I find Honeywell U.S. and ,Mexico: it almost bearable. Asah. Pentax elsewhere The recorded sound is good but the disc CIRCLE NO. 18 ON READER SERVICE CARD 87 AUGUST 1970 is even thinner than the humor. RCA'snew Reverie, Op. 9, No. 1; Polka de Salon, Op. paper -thin wafers obviously save half the much delight as Michael Ponti has donewith 9, No. 2; Mazurka de Salon, Op. 9, No.3; this album. After listening to it, I cost of the vinyl, but what happens to quality Nocturne, O. 10, No 1; Humoresque, Op. was eager and durability? The floppy consistency of the to know something about this splendidmu- 10, No. 2; Abend-Traumerei, Op. 19, No. 1; sician (who has also recorded works by meager plastic and some of the noises picked Scherzo Humoristique, Op. 19, No. 2; Feuil- Hen- up the first or second time it is played do not selt and Moscheles for Vox's Candidelabel), let d'album, op. 19, No. 3; Nocturne,Op. but the otherwise fine liner inspire much confidence. E. S. 19, No. 4; Capriccios°, O. 19, No. notes said not 5; one word about him. Only his namewas Theme and Variations, Op. 19, No. 6; Six revealed.It took diligent research to find RECORDING OF SPECIAL MERIT Pieces on a Single Theme, Op. 21; Sonata, out anything beyond that, and I'll in G Major, Op. 37; 12 Etudes, Op. pass those TCHAIKOVSKY: Piano Music. Scherzo 40; few facts on to you. Dumka. Op. 59. Michael Ponti (piano). He is, interestingly, an American. I 1.1 curse, Op. 1, No. 1; Impromptu, in E- Vox SVBX 5455 three discs $9.95. gather llin Minor, Op. 1, No. 2; Ruines d'un Cha- that he is at least fairlyyoung, for the most teau, Op. 2, No. 1; Scherzo, Op. 2, No. 2; Performance: Extraordinarily perceptive important part of his training, after leaving Song without Words, Op. 2, No. 3; Valse- Recording: Superb his childhood home of Washington,D. C., Caprice, in D Major, Op. 4; Romanza, in Stereo Quality: Splendid was in Frankfurt, to which city his father (a F Minor, Op. 5; Valse-Scherzo, in A Major, career officer in the U. S. Government Ser- It's been some time since a pianist has taken vice) was moved in 1955. There he studied Op. 7; Capriccio, in G -flat Major, Op.8; me so thoroughly by surprise and afforded so with an assistant to the great EmilSauer, and attended master classes with ArturRu- binstein and Robert Casadesus. He haswon most of the important European prizes, and has concertized in Europe and SouthAmeri- ca. (I doubt that he's appeared in the United States.) What impresses me above all in Ponti's playing is the extraordinary immediacywith which he responds to the music. Heseems to identify naturally with every phrase and stylistic gesture. Under many pianists' fin- BEFTIIOVEN gers, Tchaikovsky's piano music soundsem-

SYMPHON I balmed. Ponti, however, plays itas if he had Nn. heard the pieces in Tchaikovsky'sown parlor. He treats them with absolute respect and Ki intelligence, and one is astonishedto find how much élan still resides in this old, oft- abused music. You can hear the elegance Cl/OPIN that was so much a part of the composer's 24 ETUDES life and personality, and which is obliterated by interpreters who don't know it'sthere. 11115VASARY Somehow, Ponti finds the kernel of fresh- 923 119 ness in every phrase, and everything comes forth with the sincerity with which itwas certainlymeant.Technically,too,Ponti seems to have absolutely all one could ask 1111%1AM,Ky for. A beautiful tone, and lots of it, in abso- SYMPHONY lute control; vividly energetic fingers;a fine No. 6 foot on the pedals; and a splendidsense of Pathottitt,' rhythm! ).11 111N Tchaikovsky may not be your composer, as he is not really mine. But I guess that many people will be surprised at both the high quality of this music and at its performance here. Ponti plays as if he were giving a public recital rather than making a recording. He has "presence," and it's nota matter of recording technique. I doubt that there were many re -takes or splicings needed in the production of this album. L. T.

RECORDING OF SPECIAL MERIT TELEMANN: Concerto in G Minor, for Viola, Strings, and Continuo; Suite inF Major, for Violin and Orchestra; Suite in Playmates. E -fiat Major, for Strings and Continuo ("La Lyra"). Jaap Schroder (violin); Paul Constant companionsthat Doktor (viola); Gustav Leonhardt (harpsichord); Concerto Amsterdam, Frans Briig- go where the action is. gen cond.TELEFUNKENSAWT 9541-B Ex $5.95. Performance: Excellent MusiCalgEon Recording: Excellent Stereo Quality: Excellent L Those familiar with Frans Briiggen's abilities Was there ever anything else? as a conductor (he is, of course, renowned Deutsche Otanurtophon MuseCessettes are Otetheutedth the USA by Potydet Inc too as one of the foremost recorder virtuosos) tn Canada by Po,vdot Roma, Canada lid from his previous Telefunken recordings of the complete Tat elmusik by Telemann will CIRCLE NO. 9 ON READER SERVICE CARD need little persuasion from me to obtain this 88 STEREO REVIEW new disc. It is a most beautifullyplayed pro- Boulez enfant terrible First Sonataisthe energy; they are a giant bore. The most re- gram, elegantly phrased, impeccablein exe- earliest work on the disc: it is a blockbuster cent work, the Berio Sequenza IV, is striking- cution, and stunningly stylish. Even Paul sprung on the unsuspecting world 'way back ly and effectively built out of two opposing Doktor, thesoloistinthe often -recorded in 1947. The piece has not lost any of its but interrelated kinds of piano sound-an viola concerto, manages to scale his rich tone fearsomeness-it is difficult to play, difficult excellent example of how a simple and di- down to fit the period, and renders his orna- to listen to, difficult to follow, difficult to rect idea can be extended into an effective ments correctly and with flair. The repertoire everything-and Burge's success withitis larger work by the most organic means. E. S. is all first -quality Telemann (the "La L)ra" perhaps his major triumph on this record. Suite,incidentally, takesits name from a The Dallapiccola, written in 1952, is also a RECORDING OF SPECIAL MERIT movement entitled La Vielle, the old string twelve-tone work but is at another extreme MONTSERRAT CABALLE ,' SHIRLEY "hurdy-gurdy,"which Telemanncleverly in its utter simplicity, purity, directness, even imitates). The longest work, the F Major naivete (in the best sense-it was, after all, VERRETT: Great Operatic Duets. Ros- sini: Semiramide: Serbami ognor . . . Alle Suite, withitsfairly extensive violin ob- written for or at least dedicated to a child). bligato, has been recorded before (Archive The Stockhausen dates from 1954 and is a pih calde immagini. Donizetti: Anna Bo- 198467) in a performance featuring period rare and trenchant example of concision in lena: Dio, the mi redi. . . Sul tiro capo instruments. That version, conducted by Kurt that composer's output. The Kienek Sechs aggrayi un Dio. Bellini: Norma: Mira, o Redel, with Eduard Melkus assoloist,is l'ermessene are totally organized right down Norma. Offenbach: The Tales of Hoffmann: rather more aggressive, and, since that album tothe necessary expenditure of muscular Barcarolle.Verdi: Aida: Silenzio! Aida features Telemann's Polishstyle,isalso rhythmically sharper and marginally faster in some movements. Briiggen's interpretation, though less folk -like in spirit, is also not so raw in sound. Both are worthy performances. "Scotch" Brand, the professional This disc, beautifully recorded, is an absolute must for any Baroque collection.I. K. recording tape. COLLECTIONS

WILHELM BACKHAUS: Memorial. Bach: Well -Tempered Clavier: Prelude and Fugue No.1,in C Major (BIFV 846). Brahms: Variations on a Theme of Paganini, In disguise. Op. 35. Chopin: Fantaisie-Impromptu in C- sharp Mino, Op. 66. Schumann: Fantasia iu C Major, Op. 17; Nachtstiick in F Major, Op. 23, No. 4. Wilhelm Backhaus (piano). PARNASSUS $5.00 (postpaid, from Parnassus, 130 Arnold St., Staten Island, N.Y.). Performance: Historic Recording: 1908-1938 This There's the same quality Backhaus had an extraordinarily long re- innocent - cording career, beginning in 1908 when he looking combination little cassette in "Scotch" was twenty-four. This splendid memorial Brand 8 -Track disc includes the Chopin Fantaisie-Impromp- is no teeny- su from that first session, and it is a very idio- bopper's toy. Cartridges, too. matic rendition of Chopin, unlike some of It's loaded with Professional savings: his later efforts in behalf of that composer. "Dynarange" Get up to 40% off on What Backhaus was supreme in, however, recording tape, the tape -related premium was Brahms and Schumann, and the works overwhelming items with tabs from by those composers (like everything else here choice of professional "Scotch" Magnetic Tape never reissued after the release of the late - sound engineers-and products. Ask your dealer Twenties and Thirties 78 -rpm originals) are serious hobbyists. for free catalog, plus helpful most splendidly played. Indeed, in the case On reel-to-reel equipment, booklet of recording tips. of the Schumann (the Nachtstikk, though "Dynarange" offers flawless Or send 25e in coin to: not very well known, is an absolute gem) full -fidelity performance. High 3M Company, P.O. Box 3146, and the Brahms Paganini Variations,itis S/N, superb sensitivity across Saint Paul, Minn. 55101. doubtful whether anybody since has played the whole sound spectrum. And them any better. That is quite a statement, this tough polyester tape has but for my own taste it holds true. Backhaus permanent silicone lubrication for had a bearish way with this kind of music; maximum tape life plus minimum it was craggy, noble, exciting technically, and head wear. fullof Romantic thunder, but controlled. Any piano buff with an understanding of the Yet cassette systems need all these art and its greatest exponents will not want qualities even more. And they get it. to miss this valuable reissue. I. K. With the same dependable "Dynarange" tape in cassettes carefully DAVID BURGE: Avant Garde Piano. engineered for smooth, jam -free Berio: Sequenza IV. Dallapiccola: Qua- performance. "Scotch" Brand derno Musicale di Annalibera. Stockhausen: Cassettes deliver the highest Klarierstfich VIII. Boulez: Premiere Sonate. possible fidelity at cassette speed. Kienek: SechsVermessene. David Burge (piano). CANDIDE CE 31015 $3.98. Performance:The best Recording:Problems

Stereo QuaIity Good This is virtually a survey of European keyboard music since World War II by one of magnetic ProductsDivision3m the best exponents of new piano music. The 'SCOICM. AAAAAA G[ w140.1..40 Of mPKS Oro CO.

AUGUST1970 verso not s'aranza. Puccini: Madama Butter- characterizations onthisdisc,originally fly: Flower Duet. Ponchielli: La Gioconda: well as additional chants,is an extremely issued by Eurodisc in Europe during the important one. There is woefully little L'amo come it fulgor del creato. Montserrat early Sixties. I really am unable to single of Caballe (soprano); Shirley Verrett (mezzo- this music on discs; one principal example out any item on this record for special atten- is a Pater Nosier (also included here), soprano); New Philharmonia Orchestra and tion-everything is so beautifully done. My a Ambrosian Chorus, Anton Guadagno cond. chant that conceivably might date backto the only complaints concern the absence ofa fourth century, available in the RCA RCA LSC 3153 $5.98, ® R8S 1145 $6.95. chorus in the Falstaff aria and the occasionally Victor History of Music in Recorded Soundseries Performance: First-rate inaccurate liner notes (Micaela is not Don (Vol.11). Recording: Very good Jose's sister!). Texts and translationsare The present selection is an excellentone, Stereo Quality: Very good included. This record has got to beone of the and it is very beautifully rendered,even ex- great buys of 1970. Michael Mark Here is an interesting program, and the two citing at times; most of it doesn't soundpar- gifted artists rise to its manifold challenges ticularly Spanish or even Arabian, but there HISPANIAE MUSICA: Mozarabic Mass; is a great deal of fervor to the singing. The brilliantly. Both are excellent musicians, their Liturgic Melodies. Choir of Monks of the recording,furthermore,ishighlyatmos- voices form a lovely blend, they seem to draw Abbey de Santo Domingo de Silos (Burgos, inspiration from one another, and the end pheric and very well gauged forstereo, and Spain), Dom Ismael Fernandez de la Cuesta complete texts and translations are provided. result brings credit to both. The Rossini- (OSB) cond. Deutsche Grammophon AR- One might hope thatresearchintothis Donizetti-Bellini group ought todelight CHIVE 198459 $5.98. every bel canto fancier. Semiramide is an murky area will continue, and that further absurd opera, but Rossini's vocal writing Performance: Fervent investigations will also produce someanswers has endless invention, and it literally glows Recording: Excellent about the manner in which these chants might given the Caballe-Verrett kind of vocalism. Stereo Quality: Superior have been sung originally. I. K. "Mira, o Norma" rivalsthe Sutherland - Of the four branches of Western chant- Horne interpretation, and, instead of drawing MODERN MADRIGAL SINGERS: Re- Gregorian (Rome), Ambrosian(Milan), cital. Poulenc: Sept Chansons. Milhaud: parallels, I feel thankful for our havingaccess to both. The long scene between Anne Bo- Naissance de Venus. Debussy: Trois Chan- leyn and Jane Seymour is one of the high- 0 sons. Ravel: Trois Chansons. Modern Mad- lights of the Donizetti opera.Idon't be- rigal Singers. DESTO DC 6483 $5.98. lieve that the Mesdames Caballe and Verrett extract all the dramatic juice from the con- Performance: Good frontation of the rivals, but their singing is Recording: Good but echo -y above reproach. The same istrue of the Stereo Quality: Lots of separation Aida and Gioconda scenes, in both of which Verrett is more suitably cast than Caballe- This record is particularly valuable for its but every time I thought this the Spanish repertoire. The Poulenc is attractive, the De- soprano would come out with a lovely phrase bussy striking, and the Ravelone of that orbeautifullysustained piano tonethat composer's most extraordinary works. The numbed criticism. Only the Barcarolle falls Milhaud is not very good, but never mind; below the standard elsewhere exhibited here. the rest is rare and eminently worthwhile. The participants seem to have underestimated Language is a bit of a problem; the singers the challengeinthisultrafamiliar piece: are somewhat uneven in their pronunciation there is some uncertain intonation. and no French texts are provided, only free Anton Guadagno provides good but not English translations. Two more cavils:a very very vital direction. Producer Richard Mohr's artificial -sounding reverb andsome curious annotations are, as usual, informative; in and unpleasant greeblesinthe pressing discussing the unjust neglect of Anna Bolena, (from time to time and nearly all right- however, his statement that "the advent of channel). Otherwise these are good lively MIRELLA FRENI Caballe and Verrett on the musical performances, and, even with the background scene has A faultless recital disc done much to revive interest in it" is inspired echo, the recording is basically clear and more by company loyalty than by fact. communicative. E. S. It Gal I ican ( France ), and Mozarabic ( Spain ) was Maria Callas and Giulietta Simionato -some of the oldest examples can be traced ANNELIESE ROTHENBERGER: Recital who returned the Donizetti opera to musical to the Spanish liturgy of the sixth and seventh currency in La Scala's productions of 1957 (see FLOTOW) and 1958. centuries. Properly these belong to the music G. 1. of the Visigothic Church, but the entire period is generally termed Mozarabic (Christians RECORDING OF SPECIAL MERIT MIRELLA FRENI: Favorite Arias. Puc- living under Moorish domination), cini: Gianni Schicchi: 0 mio babbino even SACRED SONGS AND INSTRUMEN- taro; though the Arab invasion did not occur until TAL MUSIC OF LUTHER'S TIME. Al- Suor Angelica; Senza mamma. Mascagni: 711. The Mozarabic rite lasted until the L'Amico Fritz: Son pochi fiori. Bellini: La der: Da Jakob nu das Kleid ansach. Hof- eleventh century, when it was suppressed by haimer: Carmen. Anonymous: Pro oemium; Sonnambula: Ah! non credea mirarte; I Popes Alexander II and Gregory VII; only Capuleti ed i Montecchi: Oh! quante voile. Gelassen had eyn sustergen; Urbs beata-In in a very limited way was it allowedto be dedicatione; Mit got so wain wirs hebenan; Bizet: Carmen: Micaela's aria (in Italian). celebratedafterthattime, Verdi: Falstaff: Sul fil d'un sofilo etesio. principallyin 0 Jesu Christ. Hellinck: Capitan herrgot. Toledo. Isaac: Carmen in F; Carmen in G; Suesser Mirella Freni(soprano); Bavarian Radio There was an attempt around 1500 to Orchestra,Ino Vatter. Kungsberger: Urbs beata. Schlick: Savinicond. VANGUARD transcribe the ancient liturgies, but decipher- CARDINAL VCS 10068 $3.98. Maria zart (organ and vocal versions). Von ing the old notation proved to bea big Bruck: Aus tiefer Not. Kotter: Aus tiefer Performance: Beautiful stumbling block. Most of the melodies that Not. Senfi: Christ ist erstanden; 0 duarmer Recording: Good have come down to us today, reconstructed Judas; Da Jesus an dem Kreuze king. Early Stereo Quality: Fine from copies of manuscripts of the sixth and Music Quartet, Munich (Andrea von Ramm, seventh centuries and even earlier, are the Perhaps I am the wrong person to be review- mezzo-soprano, krumhom, andorganetto; result of a good deal of guesswork. Norcan Willard Cobb, tenor and krumhom; Sterling ing this record, for I find it impossibleto be one say with certitude that what we hear is Jones, krumhom and viola da gamba; Thom- objective about Mirella Freni. Iguess it all entirely devoid of non-Mozarabic influences began when her Mimi in the Scala Boheme as Binkley, lute, krumhorn, organette, tort- of a later date, especially Gregorian. That holt ); film brought me to the verge of tears. Since GraystonBurgess(countertenor); would, as well, include themanner of per- then I have heard Miss Freni in Nigel Rogers and Kurth Rieth (tenors); many record- formance, which in the presentcase is strong- ings and "live" performances, andmy en- Karl -Heinz Klein (baritone) ; Don Smithers ly based on the Solesmes style. These prob- (cornetto) ; Johannes Fink (viola da gamba); thusiasm is unabated. In addition topossess. lems, of course, cannot be solved ing a beautiful voice, she is very easily. Franz Eder (trombone); Victor Lucas (or- a superb actress Yet this collection, which includesa large who manages to create sevenvery different gan). TELEFUNKEN SAWT 9532-B EX portion of the Mass in correct sequence,as $5.95. 90 STEREO REVIEW Performance: First-class Recording: Superior Stereo Quality: Ideal Lowest of the LOW! Here's another valuable collection by the Shamelessly Low Prices. .. Early Music Quartet(Studio der frihen Musik is their German name), devoted this As one of America's largest wholesale distributors, we're guilty time to greater and lesser figures in Germany of shamelessly low prices. Our buying volume has made our at the time of the early Reformation. Much prices the owest. We seriously doubt you can find one lower... use is made of contrast:Luther's famous and that we're proud of. What's more, at S.C.A. you can select hymn Aus tiefer Not (this is Luther's only from hund-eds of NEW, Factory Sealed, Full Warrantee, Brand representation in the program), is heard in name, Hi-Fi Stereo components. If its in the Hi-Fi, Audio field ... two versions, a vocal setting by Arnold von we have it! Bruck and an organ arrangement by Hans Writefor a lowest of the low quote ... we're not ashamed. Kotter. Another example is in the two similar settings of Amolt Schlick's Maria zart, familiar from a number of other Renaissance collections.Much ofthemusicreflects STEREO CORPORATIONNAMERICA Luther's influence in catering to the "com- 2122 UTICA AVENUE, BROOKLYN, NEW YORK 11234 (212)338.8555 mon man," but not all of the selections show the popular approach. The disc'slongest CIRCLE NO. 38 ON READER SERVICE CARD work is a highly interesting polyphonic setting of the "Seven Last Words" by Ludwig -ABOUT YOUR SUBSCRIPTION Senfl(Da Jesus an dem Kreuze hing), Your subscriptionto STEREO REVIEW is start sending you two copiesof STEREO which makes an excellent contrast to such a maintained on one of the world's most mod- REVIEW each month. Other examples of com- piece as the almost naive -sounding Gelasien ern, efficient computer systems, and if you're binat.ons of names that would confuse the had eyn sustergen ("A little nun made her computer would include: John Henry Smith peace and she went into her little cell. Jesus like 99% of our subscribers, you'll never have any reason to complain about your sub- and Henry Smith; and Mrs. Joseph Jones and came to her and wanted to have communion Mary Jones. Minor differences in addresses scription service. with her"). Finally, interspersed among the can also lead to difficulties. For example, to vocal items are various instrumentals, such We have found that when complaints do the computer, 100 Second St. is not the same as the polyphonic piecescalled Carmen, arise, the majority of them occur because as 100 2nd St. which help to add variety to the program. people have written their names or addresses So, please, when you write us about your With the exception of some rather dully differently at different times. For example, subscription, be sure to enclose the mailing played organ selections,the collectionis if your subscription were listed under "Wil- label from the cover of the magazine-or else splendidlyperformed,andtherecorded liam Jones, Cedar Lane, Middletown, Ari- copy your name and address exactly as they sound is exceptional. Texts and translations zona," and you were to renew it as "Bill appear on the mailing label. This will greatly are provided. I. K. Jones,Cedar Lane, Middletown, Arizona," reduce any chance of error, ana we will be our computer would think that two separate able to service your request much more JOSEPH SCHMIDT: Recital. Adam: Le subscriptions were involved, andit would quickly. Postilion de Lon.Oumeau: Freunde, verneh- met die Geschichte. Flotow: Martha: Ach, so fromm. Meyerbeer: L'Africaine: Land so wunderbar. Donizetti: L'Elisir d'amore: Una furtira lagrima. Verdi: Rigoletto: La donna mobile. 11 Trovatore: Di quella pira. Puc- mtlnto5hCATALOG cini: Turandot: Non piangere, Lih; Nessun dorma. May: Hew' ist der scb5nste Tag; Ein Lied geht die Welt; Wenn du Jung bist. and FM DIRECTORY Tauber: Du bist die li'elt fiir mich. Three other songs. Joseph Schmidt (tenor). Or- Get all the newest and latest informatiol on the new McIntosh Sol- chestral accompaniments. SERAPHIM id State equipment in the McIntosh catalog. In addition you will 60120 $2.49. receive an FM station directory that covers all of North America. Performance Exceptional Recording: Dated (1933-1936) This is a representative collection of Joseph Schmidt's memorable art in opera and song. As always, the beautiful vocal quality and engaging spirit assure a high level of enjoyment, even though certain operatic ren- ditions are not delivered with the refine- ment the singer was able to impart to his choicest recordings. Certainly the Martha air leaves nothing to be desired, and only the enunciationcanbefaultedinthetwo Turandot arias. The "Di quella pira"is MX112 stirring, and "La donna e mobile" is tossed off with a debonair elegance. The German - FM STEREO/AM TUNER PREAMPLIFIER language "0 paradiso" is a trifle unsteady -ALL SOLID STATE and, though Schmidt's high C -sharp istri- umphant in the Postilion air, the low notes McIntosh Laboratory Inc are a little troublesome. The songs are all 1 Chambers St., Dept. SD7 associated with Schmidt's great movie suc- Binghamton, N.Y. 13903 cesses, and they are irresistibly delivered, SEND NAME each in its appropriate style. Richard Tauber conducts the orchestra in the selection from ADDRESS Tauber's own operetta, Der singende Traum. Obviously, the rewards of this low -price disc TODAY! CITY STATE ZIP are many. The sound is adequate, and sometimes even a little better. G. I. CIRCLENO. 27 ON READER SERVICE CARD 91 AUGUST 1970 A SUPER tCOLLECTION OF CLASSICAL MUSIC. From the London Library,now on Ampex Stereo Tapes. Now in Twin -Pack Cassettes as wel -London Svm. (Sold) Mozart: Sym- Command Performance Bizet: Carmen phony No. 36/Concerto No. 15-Vienna as Open Reel stereo tape . . this (Highlight')-Resnik,Sutherland,Del Phil.(Bernstein) Brahms: Piano Con- Monaco (Schippers) Strauss: l e Flcdcs- great library of classics and complete certo No. 2-Ashkcnazy (Mehta) Strauss: maus (High1L.g,hts-1-Vienna State Opera operas from the famous London li- Don Quixote-Vienna Phil. (Maazcl) (Karajan) Puccini: Tosca (Complete)- brary. Ampex Stereo Tapes offers Strauss:Also Sprach Zarathustra-Los Nilsson, Corelli, Fischer-Dieskau (Maazcl) Angeles Phil.(Mehta) Mozart: Piano Donizetti: The Daughter of the Regiment you this superb collection and more Concertos No. 20 & No. 6--Ashkenazy (Complete)-Sutherland, Pava rot t i( Bon- . . . the world's most distinguished (Schmidt-lsserstedt) Sibelius: Symphony vnge)CoventGardenAnniversary composers, conductors and classical No. 4/Tapiolii-ViennaPhil.(Maazcl) Album .(VariousArtists)Verdi:La Vienna Spectacular -Vienna Phil. (Bos- Traviata (Complete)-Lorengar (Maazcl) works. Your music dealer has them kovskv) Franck: SonataforViolin & LeoncAvallo: Pagliacci (Complete)- in stock now. Piano,Brahms: Trio for Violin. Horn & McCracken, Lorengar, Merrill (Garden') Piano - Ashkenazy/Perlman/Tuckwell Tebaldi Festival: (Bonynge.- Guadagno) Handel: Water Music-London Svm. Ivan Davis: Art of the Piano Virtuoso Verdi: Aida (Complete)-Pricc, Merrill (Szcll) Hoist: The Planets --Vienna Phil. Schoenberg: Chamber Symphony/Varia- (Solti) Strauss: Der Rosenkavalier (Com- (Karajan) Chopin: Four Ballades/ 1-rois tions-Los Angeles Phil. (Mehta) Puccini: plete)-Crespin (Solti) Nouvelles Etudes (Ashkenazr) Mahler: La Bohemc (Complete)-Tebaldi (Sera- Symphony No. 2-London Svm. (Sold) fin) Verdi: Otello (Highlights)-Del Mon- Liszt and Wagner: PreludesVienna Phil. aco, Tebaldi (Karajan) Donizetti: Lucia (Mehta) "A Night on Bald Mountain" diLammermoor(Highlights)-Suther- tatiEfrOft. AMPEX St Other Russian Orchestral Favorites land. Merrill (Pritchard) Joan Sutherland; STEREO TAPES

''''Al'iINS;14/4.41111"..:Iti.111:':.17:::**''''V:\°.114li (10 %4.'11 N,41,1t lAtmjak 111M1I% 'ROMA Timft,ttit 1trmitt ENTERTAINMENTPOPS JAZZ FILMS TH EATER FOLK SPOKEN WORD

Reviewed by NOEL COPPAGE DON HECKMAN PAUL KRESH REX REED PETER REILLY

CHARLES AZNAVOUR:The Aznavour ships,rings,and morningtides.It'sas at Mama Leone's. For years RCA tried to make a recording star out of Franchi, but he Way.Charles Aznavour (vocals); orchestra. though time never happened for (or to) Desormais; La Lumiere; Au nom de la jeu- Harry Belafonte. His shirts are still early seems to have caught on only in clubs and, peripherally, on television. This is his first nesse;and seven others. MONUMENT SLP Errol Flynn, his face isstill grinning and album for UA, and I was a bit disappointed 18135 $4.98. boyishly handsome, and his voice is full and sweet like overripe melon. In this world of to see that there was no new song listed to Performance: For fans volatile,violent,blood -curdling headlines, mark the event-which means that Franchi Recording: Good I'm afraid Belafonte's stayed too long at the must be pretty sure he's got a future on rec- Stereo Quality: Good fair. R. R. ords. Just to be on the safe side, though, Things are looking up. Still no translations maybe he ought to check up on Enzo Stuarti's of the songs that Aznavour sings here but, SERGIO FRANCHI:Within Me.Sergio residuals for peddling that spaghetti sauce on as the liner notes say, "literal translationsof Franchi(vocals); orchestra.Granada; To television. Man, dat's-areallynice. P. R. the titles." It must be a great help for the Love and Be Loved; Within Me; This Is My non -French listener to know thatLa Lumiere FRANCOISE HARDY:Alone.Francoise translates as "Light" and thatMarie l'Orphe- Hardy (vocals); orchestra.Song of Winter; lineis just plain "Orphan Girl Marie." No Magic Horse; Strange Shadows; All Because translation is offered forL'Amourso I guess of You; Suzanne; Sunshine;and six others. you just have to figure out thatit doesn't REPRISE 6397 $4.98. refer to Dorothy. Performance: Good It is the same old Aznavour here, and if Recording: Excellent you like him you will like the album.Like Stereo Quality: Excellent Sinatra he just keeps on recording and selling all over the world. There is no question To me there is something so attractive about but that he is a fine entertainer, yet I'm be- Francoise Hardy that I find it hard to separate ginning to find him a bit heavy and boring. thepersonafrom the vocal performance. It His world -weariness is taking on the aspect would be like my trying to judge how good of tired blood rather than romantic disen- an actress Catherine Deneuve is. In this out- chantment. In the main, an album for the ing, Mlle. Hardy tackles several songs in Geritol set. P. R. English, suchas Strange Shadows, Sunshine, and Leonard Cohen'sSuzanne.Even if she THE BEATLES: (see Paul McCartney, were singing in Urdu I think I would enjoy page 94, and Ringo Starr, page 95) her.Suzanne,I can safely state, is an excellent job-moody, transparent, and tender. HARRY BELAFONTE:Belafonte by Re- The French group is well handled, particu- quest.Harry Belafonte (vocals) ;orchestra, larlyL'Heure bleue,which is unaccountably William Eaton arr. and cond.Mr. Bojangles; translated asMidnight Blues.Hardy is an in- Oh Linda; Missouri Birds; Big City Living; teresting singer. She has style, musicianship, Abraham, Martin, and John; You'll Still Be andacertain Gallic pithiness in her handling ISAAC. HAYES Needing Me After Pm Gone; Marianne; of lyrics.Idon't think she will ever really Scarborough Fair Canticle; Put Your Tears Funky, warm and sexy break through onto the American market in Away; I've Got a Secret.RCA LSP 4301 Life; Everybody Knows;and seven others. any big way, since the "oo-la-la" approachis $4.98. UNITED ARTISTS UAS 6727 $4.98, 0 U still what Americans seem to ask for from themthe 8176 36.98, © K 0176 $6.98. French female singers. So give Performance: So what else is new? "oo-la-la." I'll take Hardy. P. R. Recording: Okay Performance: Dat's-a nicel Stereo Quality Okay Recording: Excellent RECORDING OF SPECIAL MERIT There must be an audience for this slickly Stereo Quality: Good ISAAC HAYES:The Isaac Hayes Move- and sweetly produced collection of nostalgia There is something of the professional Italian ment.Isaac Hayes (vocals) ; orchestra, Isaac andpasséfolklore fluff. The rhythms here in Sergio Franchi's work. He has a nice, rather wooden voice and style, =eared over Hayes and Dale Warren arr.I Stand Ac- are what I call "twitchy tropicana," about as IJust authentically Caribbean as a horrid big night with those "I-kees-your-hand-Madame" 'man- cused; One Big Unhappy Famil); nerisms that probably come over a lot better Don't Know What to Do With Myself; on the town at the San Juan Hilton. The ENTERPRISE ENS 1010 $4.98, lyrics tell the same old story of farewells, in clubs than they do on recordings. One can Something. quite imagine all the palpitating bosoms at (ti) X 1010 (33/4) $5.95, ® X4 1010 $5.95. ringside when he sings something such as Performance: Hypnotic Explanation of symbols: Lisa Love Me NoworTo Love and Be Loved Recording: Good Oft) = reel-to-reel tape in person. On records, both these songs sound Stereo Quality: Very good headwaiterish. He also singsSlay,which is C) = four -track cartridge "Tinkle, tinkle," goes the piano. "Twang, C) = eight -track cartridge the theme song of his first film,The Secret of Santa Vittoria.It was written by thatecht twang," says the guitar. "Uhm, uhm," sings © = cassette the husky, half -dozing voice. Here we go Monophonic recordings are indicated by Italian team of N. Gimbel and E. Gold, for itis again: the self-indulgent talkathon that is the the symbol (@); all others are stereo. the Stanley Kramer production, and about as authentically Neapolitan as a meal trademark of the hypnotic, magical Isaac 93 4-CIRCLE NO. 24 ON READER SERVICE CARD Hayes begins once more. This new album and sunny. There's an abundance of Lena's auto -harp, and on Cobwebs & Dust, we find has only four cuts on it, each running from special animal grunts here, too-reminding Van Dyke Parks on harmonium and Ry six to twelve minutes. If Isaac Hayes talks me that once upon my youth she was the sex Cooder on the mandolin. So, with a little to the women in his life the way he talks to symbol of the music world. In the words of help from his formidable friends, Gordon his audience through music, the poor things George Harrison, something in the way she Lightfoot has once more made a gem of an must be half -crazed with longing before he sings, something in the way she moves me, album. Itis a thing of beauty to play and finally socks it to them. But when he socks. makes me not want to leave her now. Or re -play until you know it by heart. R. R. you stay socked for a long time. He does it ever. R. R. with the deepest, warmest, sexiest voice ever PAUL McCARTNEY: McCartney. Paul to bend into a microphone. His fingers linger JETHRO TULL: Benefit (see Best of the McCartney (vocalsand instrumentals); over the organ chords with afinesse that Month, page 74) vocalassistancefromLindaMcCartney. makes one's flesh crawl pleasantly. And he Every Night; Maybe I'm Amazed; Junk; knows how to structure a composition so that RECORDING OF SPECIAL MERIT Teddy Bot; and six others. APPLE STAG it builds suspensefully to an exciting, soul- GORDON LIGHTFOOT: 3363 34.98, ® 8XT 3363 $6.98, 4XT ful climax, teasing the lyrics along until the Sit Down 3363 $6.98. song isjust short of collapsing from total Mung Stranger. Gordon Lightfoot (vocals, frustration. guitar); Red Shea (guitar); Rick Haynes Performance: Home movies Isaac Hayes just keeps making bigger cir- (bass). Minstrel of the Dawn; Me and Bob- Recording Very good cles. His circles encompass a choral group by McGee; Approaching Lavender; Saturday Stereo Quality: Very good Clothes; Cobwebs & Dust; Poor Little Alli- funky enough to rival the Ikettes. Funky, What was it that made the Beatles so special? too, is his reaching for those incredible fal- Why was their meteoric flight across the pop setto notes that alternate with deep calico - horizon so much more spectacular than that cat purrs. Side two of "Movement" is better of other, perhaps equally gifted, rock groups? than side one. But that's Hayes' way. I once The answers, at this point, are elusive, but heard him at Fillmore East arhe did the their apparent demise as an active perform- same thing to the live audience that he does ing and recording ensemble undoubtedly will on this record-he teases them into submis- stimulate more and more analyses of the sion, opening with mundane material and group's remarkable career. saving the best for last. He teased thousands One aspect, at least, should not be over- of rough -necks until I thought they'd storm looked. The Beatles, with their all -for -one- the stage on the high tension created by his and -one -for -all loyalty and almost symbiotic holdingback.Fortunately,Hayes always musical and personal inter -relationships, rep- delivers, always aware of the right moment resented aviable social model for young to strike. Listen, particularly, to the wonder- people. In the early Sixties, youth had not ful new Beatles hit, Something. Lena Home's yet come to see itself as a full-fledged sub- version is feline, Tony Bennett's silky, Joe culture, and was striving mightily to find so- Cocker's insanely wild. But Isaac Hayes sings cial units that could provide the love, sym- itthe longest and with the most inward pathy, understanding, and common outlook emotion: twelve minutes of total bliss. R. R. that seemed to be absent in the traditional family structure. The Beatles, four obviously LENA HORNE AND GABOR SZABO: disparateandsometimesantagonisticin- Lena & Gabor. Lena Home (vocals); Gabor dividuals, showed that allegience to a kind Szabo(guitar);RichardTree(organ); of group "good" did not require a sacrifice Grady Tate (drums); Chuck Rainey (electric of creative individuality; on the contrary, it bass); Eric Gayle and Cornell Dupree (gui- could enhance it. tars).Rocky Racoon; Something;Every- But the very intimacy of the Beatles as a body's Talkin'; In My Life; Yesterday When GORDON LIGHTFOOT social and professional unit may have pro- I Was Young; Watch What Happens; My An easygoing vagabond videdaseedbed forthe growth ofthe Mood Is You: Message to Michael; Night- acrimonious feelings that have accompanied wind; The Fool on the Hill.SKYESK 15 son; Sit Down Young Stranger; If You Could their break-up. That Paul McCartney should $5.98. 0 M 815 $6.95. Read My Mind; Baby It's All Right; Your have chosen to produce asolo recording Performance: A mixed bag Love's Return; The Pony Man. REPRISE quietly, without fanfare, for which he has Recording: Good 6392 $4.98, g B 6392 (334) $6.95. written all the material, played all the in- Stereo Quality: Good Performance: As soft as the heart of Lightfoot struments, and sung all the songs (with the exception of a few harmony lines by his wife Tough, titillating Lena is back and the si- Recording: Excellent Stereo Quality: Good Linda), that a self -interview originally in- lently sweet guitarist Gabor Szabo has her tended for release with the album-but de- in his clutches and won't let go. Lena of late Gordon Lightfoot's latest album is as easy- leted in the American edition-should in- has become too café -cliché, but on this disc going asa vagabond asking for no more clude pointedly hostile remarks by McCartney arranger Gary McFarland has lit her fire and than a match to light his hand -rolled ciga- about his fellow Beatles, indicates the tangled sheissimmering. I don't know what a rette. Gordon smiles his thanks with his morass of feelings buried beneath the group's Rocky Racoon is and hearing the number ten every phrase and, in the end, it is Iwhoam confident superficial demeanor. "McCartney", times in a row didn't clear things up, so I'd gratefulfortheprivilegeoflistening. in fact, is reminiscent of a previous effort by advise you to forget that these two talented "Freedom," he sings, is "just another word the entire group to go it alone-the unsuc- musicians chose something so silly for the for nothing left to lose." What profundity cessful television film Magical Mystery Tour. opening song. But when Lena leans on the is hidden in that Lightfoot -written phrase. In both cases a kind of home -movies aesthetic Beatles' great hit, Something, things begin How it sums up youth's drop -out attitude. prevails-like too many nephews and nieces to happen. She grins her way through Fred But Lightfoot always offers hope and poetry. parading their amateurskillsbeforethe Neal's Everybody's Talkin', accompanied by And when a man spills poetry from his soul, camera(or microphone). McCartney, ob- Richard Tree's free -wheeling roadhouse or- how can you deny his worth? viously, is no amateur, but most of the songs gan, immensely funky and amusing. Gabor Poetry reigns supreme in another of his he has chosen to include here are little more Szabo's guitar is kicky. songs, Approaching Lavender: "If you'd like than fragments of music still on their way The rest of the album is foolproof. It's a to try your hand at understanding lavender, toward completion. The fiveinstrumental little passé to sing Michel Legrand's Watch then you must be very sure that life is not a tracks, for example, sound like last-minute What Happens and Bacharach's Message to game," he sings, while Randy Newman's improvisations, marred by McCartney's cum- Michael at this late date. (Even so corny and strings spin off into a world of Randy's own bersome drum playing(and surprisingly unsalvageable a singer as Jane Morgan re- making, a world intricate in its melodies and out -of -tune bass work) and relying upon corded these tunes over a year ago.)Still, harmonies. Newman is not the only guest colorless, often blues -based, chord patterns. Lena Home is so immensely appealing that artist on this album. On Saturday's Clothes, The exception is Junk, a sweetly fin de siècle even tunes for the discard pile emerge safe who else but John Sebastian is playing the melody that McCartney does twice, as a vocal 94 STEREO REVIEW on side one, and as an instrumental onside ments. Sentimental Journey; Blue, Turning the Beatles were evenmore specialthan we realized. D. II. two. Grey Over You; Night and Day; Stardust; Shadows ofrecentBeatles'recordings and eight others.APPLESTAID 3365 34.98, touch many of the other songs. Teddy Boy, C) RXW 3365 $6.98, © 4XW 3365 $6.98. RECORDING OF SPECIAL MERIT filled with "aaahhh, aaahhh"s, comes closest Performance: Ringo plays Perry Como to the McCartney of Maxwell's Silver Ham- JAMES TAYLOR:Sweet Baby James. Recording:Verygood James Taylor (vocals and instrumentals): mer, and the chunky guitar strumming, sim- Stereo Quality: Verygood ple chords, and hoarse vocal of Maybe I'm variousaccompanyingmusicians.Sweet Amazed are immediately reminiscent of Let Never quite a full-fledged creative mem- Baby James; Lo and Behold; Sunny Skier; It Be. Similarly, an important line in Every ber of the Beatles, drummer Ringo Starr Steamroller; Country Road; Oh Susannah; Night isalmost identicaltothe opening developed over the years an almost Chap- and six others. WARNER BROS.1843 34.98, melody of You Never Give Me Your Money linesque acceptance of his role as the group's 0 B 1843 (34) 36.95, 0 8WM 1843 from "Abbey Road." comic relief. Beating beneath the disguise, $6.95, ® CWX 1843 36.95. The album, in sum, is too incomplete, too however, as with so many reluctant clowns, Performance: New young superstar hurried, too doggedly self-centered, to serve was the heart of a determined romantic. For good his first solo recording, Starr has dredged Recording:Very as a real indication of what McCartney can Stereo Quality Good do. His gifts are too plentiful for him to up an almost unbelievably hoary collection produce a really bad album, but I suspect that of pop -music chestnuts. Would you believe Pop stars come and go so fast that it some- he will have to free himself of the tangle of Sentimental Journey (sung "Sent-ee-ment- times is hard to recall what itis (or was) emotions accompanying the Beatles'recent al" by Ringo). Blue, Turning Grey Over that makes one more special than another. difficulties before he can truly take wing on You, Night and Day, Stardust, and, yes, eight One thing is sure: when a genuine superstar his own. D. H. others of the same ilk? Curious. But not so comes down the pike he stands out like a curious as the arrangements, which cover Ferrariina parade of Fords. Well, keep everything from Chico O'Farrill's pseudo- your eyes peeled, because James Taylor's RECORDINGOF SPECIAL MERIT Basie on Night and Day to the Hollywood gathering momentum. I find it difficult to say JOHN SEBASTIAN: John B. Sebastian. Bowl rock of Elmer Bernstein's Have I Told exactly why I expect him to be one of the John Sebastian (vocals and instrumentals); You Lately that I Love You? Seventies'first new headliners, and maybe various accompanying musicians.I Had a Theexplanation for all this lies deep in that's just as well, since the qualities that Dream; She's a Lady; Baby, Don't Ya Get Ringo Starr's curious head. The first inclina- distinguish an effective artist from one who Crazy; How Have You Been; Fa-Fana-Fa; tion is simply to view it as a not particularly goes through the motions but lacks the heart Red -Eye Express; and five others. MGM SF humorous example of middle -period Beatles are probably best left in the realm of magical 4654 $4.98, ® B 6379 (33/4)$6.95, ® camp. But the Beatles' middle period is long mysteries. Suffice it to say that Taylor has 8RM 6379 $6.95, CRX 6379 $5.95. past, and this stuff wouldn't be particularly the kind of personal magnetism that domi- funny under any circumstances. So, obviously, nates a stage with virtually no noticeable ef- Performance: Pop music at its best Ringo must be serious. How fantastic to think fort on his part. Recording: Very good that this is what was going through his mind After making an unsuccessfulfirstdisc, Stereo Qualify Good while he was sitting back there at the drums this young songwriter -guitarist seems to be Just in case you're confused: yes, this Sebas- pounding out All You Need Is Love. Maybe hittinghisstride.His voiceisinstantly tian recording has also beenreleased by Warner Brothers. Same name, same tunes, same versions of the same tunes, and apparently the cause of some sort of heavy lawsuit, which doesn't have to concern us except that you shouldn't make the mistake of buying the same record twice. Actually, now thatIthink aboutit,it might be worth itto buy this one twice, if only to keep one in reserve, because it's so bloody good that you will almost certainly wear out the first one pretty quickly. Sebas- The all new PE -2040 tian flips me-always has, since his days as energy source for the Lovin' Spoonful. He has become that rarity in pop music, a performer whose technicalskills are beyond PErfection in PErformance question, who lets you stop worrying about whether or not he's going to make the next chord change, or sing in tune, or keep the beat. Sebastian may not be a master tech- nician, but he knows how to play his instrument, and he knows what he can do with his voice. And when he gets around to writing songs, Sebastian is a master, one of the very best we have in today's pop music. Examples? Try his tale of the late -night cross-country flight familiar toallperformers, and accurately named the Red -Eye Express; or his lovely, bossa-nova-ish tribute to an old acquaintance, She's a Lady (".. . and Ichanced to meet her in my scufflin' days."); or the kids' songs, How Have You Been and You're a Big Your inevitable choice among automatic Boy Now; or the impressionistic Magical turntables. Sooner or later other automatic turntables Connection. There are more, all laced with will incorporate the exclusive features now available on the heady Sebastian magic, and allto be the new PE -2040: Dial-a-Matic vertical tracking angle adjustment for all records heard and savored. He's a real one, John ... Independent, ultra -gentle, fingertip cueing control ... Fail safe stylus pro- Sebastian, and hearing his music will make tector...Automatic record scanner ...Single lever control for all modes of opera- your life a little bit richer. D. H. tion ... Continuous record repeat. These are just some of the exclusive features. PErfect,an in PErforn.nCe Stop by at your PE dealer for the complete story and a demonstration of PErfection RINGO STARR: Sentimental Journey. in PErformance. PE -2040-$145.00; PE -2038-$115.00. Ringo Starr(vocals); various accompani- Elpa Marketing Industries, Inc., New Hyde Par' -c, N.Y. 11040 >< CIRCLE NO. 14 ON READER SERVICE CARD AUGUST 1970 recognizable, an eagles cry in the mechanical wilderness of so much contemporary rock music. And the songs are buoyed along on WRITE FOR the clean cool air of originality-a touch of the blues, a trace of country music, even bits and snatches of jazz. They're all good and all QUOTATION worth hearing, even Taylor's dressing up of Stephen Foster's bouncy lady friendSusan- FACTORY SEALED CARTONS nah.Only on his occasional attempt to stimu- FRANCHISED DISTRIBUTOR late a black -blues style does Taylor get in QUICK SHIPMENT beyond his depth. Oh, and by the way, if you were one of THEATER FILMS the few who tried Taylor's Apple recording, do not be deterred; the production, the tunes, ZABRISKIE POINT. Original -soundtrack and the ambiance were all wrong. Now recording.Heart Beat, Pig Meat(The Pink they're right, and theBaby James Steam- Floyd) ;Brother Mary(The Kaleidoscope) ; WE GIVE roller(to steal a couple of his tune titles) Excerpt from "DarkStar" (The Grateful begins to look unstoppable. Hear him now. Dead);Crumbling Land(The Pink Floyd) ; D. H. Tennessee Waltz(Patti Page);Sugar Babe (The Yotutgbloods);Love Scene( Jerry Gar- DISCOUNTS IKE & TINA TURNER:Come Together cia of the Grateful Dead);I Wish I Was a (see Best of the Month, page 73) Single Girl Again(Roscoe Holcomb) ;Mick- ON HI-FI ey's Tune(The Kaleidoscope);Dance of PORTER WAGONER AND DOLLY Death(John Fahey) ; andCome in, Number COMPONENTS PARTON:Porter Wayne and Dolly Re- 51, Your Time Is Up(The Pink Floyd). becca.Porter Wagoner and Dolly Parton Don Hall, music coordinator. MGM SE (vocals) ;unidentified accompaniment.To- 4668 ST $5.98. morrow is Forever; Just Someone I Used to Know; We Can't Let This Happen to Us; Performance: Apt Silver Sandals; No Love Left; It Might as Recording: Excellent SOUND Well Be Me; Forty Miles from Poplar Bluff; Stereo Quality: Expert Each Season Changes You; I'm Wasting Your "I am willing to die," says the young hero REPRODUCTION, Time and You're IVasting Mine;and two ofZabriskie Point,"but not to be bored others. RCA LSP 4305 $4.98, C) P8S 1550 to death." The gods turn thishubrisagainst INC. $6.95, © PK 1550 $6.95. him when he shoots a cop on a California 460 CENTRAL AVENUE Performance: Tolerable campus and flees to Death Valley in a stolen East Orange, New Jersey 07018 Recording: Fair plane. The plane sees a car below in the (201) 673-0600 Stereo Quality: Good desert and falls in love with it, and the next thing you know the occupants of both ve- CIRCLE NO. 37 ON READER SERVICE CARD It's follow the leader time again,gang.Re- hicles are rolling about in the Death Valley member how Nilsson used that old faded dust. It all leads to death and not boredom photograph of himself as a boy on the jacket -except, perhaps, for the audience, which of "Harry"? Remember the use of similar suffers through some of the most static epi- effects inButch Cassidy?RCA has allowed sodes ever filmed. Michelangelo Antonioni this album to be titled "Porter Wayne and has not succeeded in turning his study of REAR HERE Dolly Rebecca" and put old faded photos of violence and vulgarity in America into the Porter Wagoner and Dolly Parton on the myth he made ofBlow-up,but he certainly front of the jacket. On the back, there's a employed music marvelously in the attempt FOR THE UTMOST IN photo of Porter Wayne and Dolly Rebecca by inviting a number of mod groups to do as grown people, in what one presumes to their things for the soundtrack. be their "dynamic duo" costumes, for they In the movie, the music is played at a strik- are called the "dynamic duo of country mu- ingly low level, and provides a stream of DISCOUNTS sic" on that side of the jacket. All of which ironical commentary on the action-with the must be RCA's way (or the way of the pro- action, or inaction, commenting wryly, in ON NATIONALLY ducer, Bob Ferguson) of saying it thinks turn, on the music. All this is missing, of ADVERTISED the audience for this disc has caught up to course, when you just hear the track, but it the pop culture of 1967 or so. still adds up to an unusually fine concert. That's unfortunate, because the sounds The experiments of the Pink Floyd with 111-11 STEREO being peddled are fairly good, staple country subliminal voices, magnified heartbeats, and sounds, low in saturated fad content. Porter eerie whispers, the twang of Patti Page in Wagoner is not much of a soloist, and nei- theTennessee Waltz,folksinger Roscoe Hol- COMPONENTS ther is Dolly Parton, but their voices go to- comb nasally intoningI Wish I Was a Single gether nicely on somesongs-Forty Miles Girl Again,and the curiously gentle rumina- WRITE FOR OUR QUOTE from Poplar Bluff,for example, orEach tions of the Youngbloods, the Kaleidoscope, All Merchandise Shipped Season Changes You.Wagoner's unschooled and the Grateful Dead create a haunting, PromptlyFullyInsured From but steady baritone (he's sometimes even on hungering tracery of sound as wistful as it is Our Warehouse. key) complements Dolly's unintentionally immediate. Two passages-a prolonged sere- campy vibrato. It's a so-so recording, all in nade on Jerry Garcia's guitar for the dusty all, the good songs being offset by such love scene, and the dry, dry sound of John bombsas Run That by Me One More Time. Fahey's guitar in theDance of Death-are DOWNTOWN RCA's Dynagroove process gives the whole particularly evocative. thing an unreal sound, as it sometimes does. MGM evidently had a hard timegettingall AUDIO, INC. Wagoner's voiceistoo closely miked,I the rights they needed from other record think, and the bass is recorded so as to make companies to put thisdisc together-ac- .7 WARRE" any equipment sound like a juke box. That's knowledgments are made to the "courtesy" NEW YORK, N.Y.' 0007 what you get when you let engineers go to of Takoma Records, Warner Bros., Folk- 267-3670-1-2 honky tonks, 1 guess. Give the performers- ways, Epic, Mercury, Harvest, and RCA- DEPT. S.R. oh, a B minus, but give those in charge of but a little courtesy from London Records packaging and production no higher than a also would have helped. Without it,the CIRCLE NO. 10 ON READER SERVICE CARD D plus. N. C. Rolling Stones had to be left out. P. K. 96 STEREO REVIEW gamelan. At religiousrites, weddings, fu- nerals,theatricalperformances,andstate FOLK events, jasmine is worn and the gamelan is played. Besides the gamelan, with its great Why assemblage of gongs, there are instruments called genders, with bronze keys suspended DO THOUSANDS OF STEREO over resonating bamboo tubes, and there is ENTHUSIASTS BUY FROM the gambang,axylophone with bamboo keys. There are the Eat sarong instruments, Ayr the kettle chimes of the bonang, and the AUDIO UNLIMITED kendang, which are slender drums played with the hands. The gentle music evoked from theJavanese orchestra is quite dif- It's Obvious! ferent from the music of the nearby island of HUNGARIAN SONGS OF FIVE CEN- Bali. The music of Java is more introverted, LOWEST PRICES more contemplative, less spectacular. It has TURIES (Four sixteenth -century songs FAST SERVICE based on poems by Balassi and Tin&li; Three a hypnotic quality that is at once soothing "Kuruc" songs in settings by Ferenc Farkas; and nerve -tingling. But the gamelan, gen- FAC-ORY SEALED UNITS Sixlovesongs;Four nineteenth-century der, and gambang pieces heard here are "composed" folk songs; Six folk settings never played for effect; they seem to sing FULLY INSURED SHIPMENTS by Zoltan Kodaly, Laszlo Lajtha and Sandor to themselves of love and sorrow, the im- Szokolay). Ferenc Beres (tenor); folk or- portance of patience, the sacredness of cere- PAC(AGE DEALS-SAVE MORE chestra and instrumental accompaniments. mony. Even when the Liwung-which means FRANCHISED DISTRIBUTORS QUALITONS LPX 1292 $5.98. "excited"-is struckup toaccompany a mask dance, the excitement is inward and Write for FREE Listing today Performance: Tasteful and pleasant hinted at rather than proclaimed. The re- Recording: Very good cording, although a little rough in spots, is Stereo Quality: Subdued an excellent addition to Nonesuch's intelli- SEND US YOUR LIST Five centuries of Hungarian song are sur- gently programed explorer series. P. K. veyed here on a single disc containing nearly FOR OUR AIR MAIL one hour of music.Idon't know how JEAN RITCHIE: Clear Waters Remem- QUOTE TODAY much demand there is for such an enter- bered. Jean Ritchie (vocals and dulcimer); prise, even among Hungarians, but the schol- Eric Weisberg (fiddle); Russ Savakus (bass) ; Visit Our Store Warehouse arship is impressive and the musical execu- Happy Traum(guitar); Dick Weisman CLOSED MONDAYS tion is of a high order. The early songs are (banjo). Pretty Nancy; Young Man Who historical, with references to the sixteenth Wouldn't Raise Corn; Johnny Collins; Shoe- CrAUDIOunlimited, inc. and seventeenth -century Turkish domination maker's Song; See the Waters a-Glidin'; and to the prolonged fights for freedom Morning Come, Maria Gone; Black Waters; 396-S Thrd Are. (Nr. 28), N.Y., N.Y.10016 against the Habsburgs in the seventeenth and and seven others. SIRE SES 97014 $4.98. CIRCLE It 0. ON READER SERVICE CARD eighteenth centuries-a politically tragic pe- Performance: Soothing riod, but one that produced a great deal of Recording: Good haunting and durable music. Most of these Stereo Quality: Good songs reach us in settings by authoritative twentieth-century researchers, among which Sometimes it is difficult to remember that all the ingeniously arranged group by Sandor so-called "folk" music is not angry and poli- HI-FI Szokolay (for solo voice and punctuating tical.Jean Ritchie learned such innocent cimbalom, whose function is not unlike thenumbers as Jenny Put the Kettle On, God blues trumpeter doing "fills")is the most Bless the Moon, and Over the River to Feed COMPONENTS appealing. There is also a group of songs My Sheep while growing up in the course of long associated with gypsy bands. These are what she describesas "a long chain of TAPE performed by just such a band here, bereft hazy -golden years of almost total happiness." of the currently unfashionable "gypsy" con- She sings these songs, sometimes with sup- notation, and with the traditional gypsy or- port from bucolic instruments such as fid- RECORDERS namentations held to a minimum. dles, banjos, and dulcimers and sometimes TAPES, ACCESSORIES Beres' voice is limited in range and vol- unaccompanied, in a pure, rich, sweet voice ume, but its timbre is appealing, and he is that is a joy to hear. Even when she is re- SLEEP LEARN KITS obviously a specialist who sings tastefully viving some tendentious ballad like West MERITAPE and with a cultivated style. Though the gen- Virginia Mine Disaster or decrying pollu- eral appeal of such a release is questionable, tion in Black Waters, her approach is entirely it will please the specialist listener. free of that nagging quality which can turn a George Jellinek tune into pestiferous propaganda. Most of the time, she is content to take us back to the SAVE MONEY MASTER MUSICIANS OF JAVA: The songsthatgracedher childhood-Pretty Jasmine Isle.Javanese instrumentalsre- Nancy, Johnny Collins, and See the Waters LOWEST PRICES corded by Suryabrata and David Lewiston. a-Glidin', the last a jaunty old ballad about INTEGRITY SERVICE Pangkur (gender solo) ; Tjatrik (gamelan); the soldier who plays the fiddle so expertly =FRANCHISED DISTRIBUTORS Tjatrik II (gambang solo) ; Bendrong (gam - that a girl he plays it for on a May morning elan) ; Sembung gilang (gamelan); Senggot tries to persuade him to marry her-but he WRITE FOR OUR VERY LOW (gamelan); Bendrong II (gambang solo); refuses, because he already has a wife and PACKAGE QUOTATIONS Sigromongsah (gamelan) ; Kebo giro (gam - "two wives and the army's too many for me." Nationally Advertised Brands elan); Liwung (gamelan). NONESUCH H This is a pleasant relief from the stridency Factory Sealed Cartons 72031 $2.98. of most "protest" music. P. K. WriteFREE CATALOG Visit Our Showrooms Performance:Serene (Continued on page 99) Recording: Fair field job Stereo Quality. Good DRESSNER On Java, the most populous of Indonesia's 1523 G JERICHO TPKE. NEW HYDE PARK, N.Y. islands, the formalities of life are accom- 51040 panied by the scent of jasmine and the sound of the percussion ensemble known as the

AUGUST1970 97 BY HENRY PLEASANTS

analysis really works. Notationisin- separable from the European conven- What tions it was evolved to record and represent. It cannot reflect the myriad shadings of attack, color, vibrato, release, and LOUIS so on that distinguish Louis' playing and singing. It cannot record the slight deviations from pitch and their harmonic and melodic implications. Nor can it ARMSTRONG reproduce visually the rhythmic subtle- tiesso foreignto the fractional sub- and division of units of time in the rhythmic organization of European music. This is true of the music of all the great jazz musicians who came after JAll Armstrong, and it is true of a few who are all about came before him. But it was he who documented more originally, more vividly, and more decisively than anyone else the arrival of a musical idiom that de- LUIS ARMSTRONG, who was seventy on early jazz. With his incandescent intro- fied assessment by traditional criteria. July 4 of this year, is a legend in duction toWest End Blues,recorded on his own time, as he has been, indeed, for June 28, 1928, Armstrong, according to Louts' own careerafter1930 has close to half a century. But the fact tells Gunther Schuller in his bookEarly Jazz, helped to frustrate any just evaluation us next to nothing about him. The very "established the general direction of jazz of his achievement. By the end of the word "legend" seemsto imply semi - for several decades to come." Twenties he was already a celebrity. In- fiction,orhistoryinflatedbyfancy. Because Schuller, now President ofdeed, as early as 1925 he was being Louis Armstrongiseverythingthe the New England Conservatory of Mu- billed, probably not inaccurately, as "the legend holds him to be: the greatest of sic, a classical musician long identified world's greatest trumpet player." And early jazz cornet and trumpet players, a with a serious approach tojazz, and the role of celebrity suited both his tal- unique and improbable vocalist, an ex- composer of many works in the so-called ents and his disposition. He drifted, or uberant and extrovert celebrity, a show- "third -stream" idiom,isnot given to was drawn, into the mainstream of pop- man of genius, and an American am- carelesshyperbole,hisassessment of ular music, playing and singing any- bassador more widely known and more West End Bluesmerits our respectful thing and everything that came his way. warmly accepted than anyone who ever attention: He appearedin moving pictures-al- left the White House with a letter of The clarioncallof 'West End Blues' ways as Louis Armstrong, of course. He accreditation in his pocket. served notice that jazz had the potential ca- played and sang with popular musicians It'salltrue.It'sallattractive. And pacity to compete with the highest order of and popular singers, and not only with yet, in the end, it'sall wrong-wrong previously known musical expression. the best. He clowned and mugged and because the legend is unjust to the man. Though nurtured by the crass entertainment rejoiced in such monikers as "Satchmo" Most legendary figures, being only hu- and night-club world of the Prohibition era, and "Pops." Whatever he played or man, fail to live up to the legend. The Armstrong's music transcended this context sang he did in his own way, to he sure, failure is commonly overlooked, ignored, and its implications.... The beauties of this and there is no denying that the "way" or denied, because the legend, for senti- music were those of any great, compelling musical experience:expressive fervor,in- commonly transcended the "what." But mental or political reasons, is preferable he had nothing new to offer. The jazz to the truth. In Louis Armstrong's case tense artistic commitment, and an intuitive sense for structural logic . . . Louis Arm- world has never quite forgiven him, and it'sthe other way around. The truth strong never was and never will be an intel- sometimes it seems almost to have for- surpassesthe legend-and challenges lect. Yet there is no question that his music gotten him-or to have abandoned him credulity! comes not'July 'fromthe belly,' but also to popular music. It must seem not merely improbable from a mind that thinksinmusical terms and Jazz musicians of the generation after but quite impossible that any one man ideas. his were usually eager to honor their could have exerted so original and so The lay music -lover or jazz fan, ac- debt, and the best of the popular sing- decisive an influence on the evolution of customed to thinking of Armstrong as an ers, too, acknowledged what their phras- Western music, least of all an essentially amiable and irrepressible entertainer- ing owed to his example. But to younger unlettered black trumpet player from even as a venerable and lovable clown- artists, further removed from the source New Orleans. But he did. Almost ev- would be astonished if he had any idea in time and example, he has seemed an erything we have heard in the past forty of the extent of scholarly literature de- anachronism, both as a musician and a years in jazz and in a large amount ofvoted to Armstrong's music. And noman. Or he has appeared, to put a bet- popular music, short of folk and rock,one, goodness knows, would be more ter face on it, as a legend. derives from Armstrong. astonished than Armstrong himself, or But as long as he can put two notes It w as he who liberated the improvis- find it more bewildering and incompre- together in the context of a phrase he ing virtuosojazz musicianassoloist hensible.Louis'improvisatoryexplo- will place those notes, and color them from the tight collective improvisation sions,infact, have been copied down and bend them, in a way that defies no- of New Orleans jazz. It was he who, by measure for measure and subjected to tation and analysis, and challenges imi- his own example, pushed back the tech- the most painstaking melodic, harmonic, tation. He will be telling us what he has nical boundaries of traditional musical and rhythmic analysis. always known better than anyone else, instruments. And it was he who broke The significance of his innovations is if only intuitively and instinctively. He the stereotyped rhythmic procedures of implicit in the fact that none of this will be telling us what jazz is all about!

98 STEREO REVIEW Down; Blue Dashiki; Bush Girl.BLUE NOTE BST 84324 $5.98. DISCOUNTS Performance Soul jazz/rock Recording: Good SELLING HI -Fl Stereo Quality: Good NATION- WIDE Blue Mitchell, a dependable if not always inspired jazz trumpeter, deserved better treat- WORLD ment than he got on thisouting. He is WIDE accompanied by a group of West -Coast musicians playing pieces written, for the most SINCE part, by arranger Monk Higgins. If the music aboi. has any distinguishing qualities, they're hard 1948 for me to spot. Most of the tracks are calcu- RECORDING OF SPECIAL MERIT lated, commercially focused blends of plastic COMPONENTS RECORDERS rock music and jazz improvisation, spiced KITS SPEAKER SYSTEMS TAPE MILES DAVIS: Bitches Brew. Miles Davis with a trace of African percussion. Some- (trumpet); Wayne Shorter (soprano sax); how, in the midst of all the clatter, Mitchell Bennie Maupin Lenny White(drums); plays a few nice phrases. But he does it on New Lower Prices (bass clarinet); Chick Corea (electricpi- courage alone. D. H. ano); Jim Riley(percussion); Jack De- SamefDay Reply To Your Inquiry Johnette (drums); Harvey Brooks (Fender MIROSLAV VITOUS: Infinite Search. Mr- Sealed Cartons bass); Charles Alias (drums); Dave Hol- roslav Vitous (bass) ; Joe Henderson (tenor DoJble Boxed Where Possible Fait, Insured Shipments land(bass); John McLaughlin(electric sax); John McLaughlin (guitar); Herbie guitar); Joe Zawinul (electric piano); Larry Hancock (piano) ; Jack DeJohnette Package Deals Save You More Young (electric piano). Pharaoh's Dance; (drums). Freedom Jazz Dance; Mountain Franchised Distributors for Over Bitches Brew; Spanish Key; John McLaugh- in the Clouds; When Face Gets Pale; Infinite 50 Mfrs. lin; Miles Runs the Voodoo Down; Sanctu- Search; I Will Tell Him on You; Epilogue. Open Monday thru Saturday ary. COLUMBIA GP 26 two discs $5.98. EMBRYOSD 524 $5.98, 0 M 8524 $6.95, © Free Parking at Door M 5524 $6.95. Phones: N.Y.C. (212) 369-6212 Performance: Masterly modern jazz Danbury, Conn. (203) 775-2562 Recording: Excellent Performance: Overweight jazz Stereo Quality: Excellent Recording: Very good Stereo Quality: Very good The fact that the etymology of the words WRITE FOR SPECIALS VISIT "jazz" and "rock" shows sexual origins for A European refugee who has been in this OUR SHOWROOM/WAREHOUSE both is hardly coincidental. The gut sensa- country for only a few years, Vitous plays /// tions of both styles are sensual, even erotic, good enough bass to rank him with the best CAR STO Zr.cm a dip into the surging unconscious in a fash- American jazz men. But even a contempo- R.F.D. ±-`3- ROUTE 7 ion that is often lacking in the loftier art rary Koussevitzky would have a hard time BROOKFIELD, CONN. 06804 forms of the West. filling as much open space as Vitous takes CIRCLE NO. 6 ON READER SERVICE CARD Now I'll admit that's a pretty heavy intro- here. Since he is accompanied by a knockout duction for arecordreview,but there's band with strong Miles Davis overtones method to my verbiage. Undeterred by all the (they seem to be heard almost everywhere in talk about synthesis between rock and jazz, jazz lately), one might have expected more and remembering the source of both those solo time to be allotted to, say, tenor saxo- TH S words, Miles Davis has quietly gone about phonist Joe Henderson or, at the very least, his task of probing the common element be- to English guitarist John McLaughlin. Un- tween the two styles. And the principal fortunately, producer Herbie Mann has in- OVER 65 YEARS thing they share isa fundamental appeal dulged Vitous a bit too much. Plenty of good OF RELIABILITY to deep sensuality. jazz here, but just too much bass. D. H. "Bitches Brew" is probably going to be as influential upon the jazz of the Seventies SMILEY WINTERS: Smiley Etc. Smiley as Davis' "All Blue" was upon the jazz of Winters (drums); various ensembles. Two IS WHY STEREO & HI-FI the Sixties-and that'ssaying alot. One Trains; Love Is Enli,zhtenment; Smiley Etc.; thing is sure: no jazz musician is going to be Frank's Blues; and three others.ARHOOLIE BUYERS CAN BE SURE OF able to overlook what Miles has done on this, 8004/5 two discs $5.98. and his two previous, recordings. The en- Performance: West Coast avant-garde jazz sembleislarge,but not unwieldy, with Recording: Very good Davis' pieces curling in and around the solos Stereo Quality: Good like a sensuous Oriental filigree. Every now SAVINGS and again saxophonist Wayne Shorter, pi- Arhoolie seems to be specializing in San anist Chick Corea, and the gifted English Francisco avant-garde jazz; this is their sec- AT RABSONS guitarist John McLaughlin are highlighted ond or third release of material that fits that AtRabsonsCompetitivePrices. Reliability and general category. Winters is one of those PersoralService have been bywords forover 65 against the ensemble, but the stage clearly years. belongs to Davis. legendary local musicians who never seem to It'sso EASY and SAFE todealwithRabsons. He has reached that stage of artistic ma- reach a national audience. He's a good drum- As close is your telephone - as near as your

turity at which every note he plays has pur- mer, but hardly important enough to warrant mailbox FastAirMail Response on Quotation pose, and the distinctions between sound and a double -disc set. The same holds true for Requests Franchised Distributor forIiiFiLines silence, between "noise" and tone, become the various ensembles. Tenor and soprano Allmerchandise brand newinfactorysealed fullyinsured non-existent. Only in his early forties, Davis saxophonist Bert Wilson dominates most of cartons, shipped double -packed, promptly romour warehouse Greater savings already has seen the influence of his ideas the space, and he is the only player on the on complete systems Export packing 220 Volts.

affect more than twenty years of jazz, and he dates who really has enough to say; trumpet- 50 Cycle merchandise aspecialty Freelistof shows no sign of slowing down. "Bitches er Barbara Donald, his partner in the front monthly specials. Brew" is exactly where Miles Davis is to- line, is a journeyman player whose principal day, and increasingly, that is coming to be justification seems to be the surprise that all BEFORE YOU BUY GET A RABSONS exactly where jazz is as well. D. H. female brass players evoke. There'slittle QUOTE... YOU'LL BE GLAD YOU DID! more, however. With each side of the two discs including a maximum of two pieces, BLUE MITCHELL: Bantu Village. Blue RABSONS ST. INC. Mitchell (trumpet); various accompanists. there is obviously an awful lot of stretching 119 West 57th Street, New York, N. Y. 10019 Hnic; Flat Backing; Na Ta Ka; Heads out. D. H. Tel. Area Code 212-247-0070 CIRCLE NO. 29ONREADERSERVICE CARD AUGUST1970 99 speed so i could get to hear highnotes or- dinarily beyond the range of the human ear. Later,I heard more whale music recorded by a hydrophone lowered froma sailboat in the vicinity of Bermuda,a "distant whale" and a "three -whale trip" performed by a sort of cetaceous counterpart of the Supremes. The listeninginstruc- tions informed me that "whatever the occasion, the people who listened have been affected, often profoundly moved, by the songs. The song produces an extraordinary

inner experience. . . . Perhaps the world is 'turning on' to whales." Now, I don't know too much about modem music, but I do know what Ilike. Try as I would, I could not be moved by the whales' songs. Dr. Payne calls them "songs" because these "strange, ethereal sounds" occur in sequences that last from six to thirty minutes and are then repeated exactly. Different humpback, different song- but the pattern always recurs, asit does with birds. But, song or not, to thislis- tener the humpback whale, whether in solo performance or accompanied, sounds more like a mewling cat or cats than a night- ingale-with echoey electronic overtones that should prove no threatto Morton WHALES CAN'T SING, SILLY! Subotnick or Gyiirgy Ligeti, although they may be of help to the whale in locating his By Paul Kresh friends, if he has any. THE fact is, I have heard only one whale in my lifetime who might truly be said to Seated upon the convex mound qualify for a musical career. He was a Of one vast kidney, Jonah prays whale named Willie, and he appeared in And sings his canticles and hymns a segment of a Disney movie called Make Making the hollow vault resound Mine Music (1946) which apparently was God's goodness and mysterious ways, well ahead of its time. Willie, whose per- Till the great fish spouts music as he swims. formances were dubbed in by Nelson Eddy, -Aldous Huxley, Jonah could sing in three voices at the same time, (From the collection 1,4, reprinted by permission of Harper ft Row) and I mean sing. He did the "Clown Song" from Punchinello, the Tristan and Isolde ocean, as I have suspected for some subject, by sending $9.95 to CRM Books love duet, a selection from Faust, the sextet time, is a pretty noisy place. The "si- THE in Del Mar, California. The whole thing from Lucia-and Shortnin'Bread,too. lent deep," it turns out, is really about as has set up quite a commotion. I first heard What he did best was Figaro from The Bar- silent as a lion cage at feeding time. One aboutit on the eleven -o'clock news on ber of Seville, which finally landed him an more romantic illusion shattered! Anybody television, and since then, there has been appearance at the Met. Willie would proba- who has listened to Folkways' "Sounds of no end of side effects. Judy Collins has bly be singing at the Met to this day except Sea Animals" (RX 6125), as I have, will been talking about the song of the whale that the wicked opera -house manager, Sr. know what a ruckus the snapping shrimp, on interview shows. Mary Hopkin says sheTetti-Tatti, had it in for the poor whale toadfish, and white grunt can kick up when wishes she could sound like a whale her- and slew him with a harpoon, and the the tideis right, and the terrible distur- self. Alan Hovhaness has written an or- episode ended in tragedy. I should like to bances porpoises can make as they whistle, chestral piece based on the whale songs know if any of Dr. Payne's whales claim click, and jabber away in sonic and ultra- which had a premiere performance by theto be able to do the entire sextet from sonic efforts to communicate, or get their New York Philharmonic during June. TheLucia-or even Shortnin' Bread. I rest my geographical bearings, or whatever it is that New Yorkeristo run aseries by the case. makes them so vocal. It's a wonder that novelist Peter Matthiessen about the dis- The book that comes with "Songs of our "finny friends,"as thetropical -fish covery of whale music, and Jacques Cous-the Humpback Whale" is as crowded with handbooks used to call them, get any rest teau is making a movie. at all. information on the topic as an unabridged With all this buildup, I could scarcelycopy of Moby Dick, and beautifully illus- Untilrecently,however, nobody has wait for "Songs of the Humpback Whale" trated. Much of the text is a plea against claimed seriously that any undersea crea- to arrive in the post. It proved to be quite the senseless slaughter of our vanishing ture makes music. That remained for Dr. a package. With an eye to marketing thewhales by avaricious whalers. Most of the Roger Payne, a 35 -year -old zoologist with item at Expo '70 in Osaka, where the whale profits from the record and book sales, in the Institute for Research in Animal Be- songs were played to a thunderstruck pub- fact, are being forwarded to the New York havior in New York City. Dr. Payne, who lic at the Pepsico Pavilion, the producers Zoological Society's Whale Fund, devoted studied owls in the hope of finding out have put out both book and album in Japa- to the study and preservation of the spe- how they can hunt in total darkness, and nese as well as English. This created an cies. So be nice and buy it; the cause is a once demonstrated how moths elude hun- exotic impression at once. Then I put the worthy one, and maybe, all my carping gry bats by figuring out the direction of record on, using earphones to give a "pleas- (ouch!) aside, that's what the whales are their "sonar pulses,"recently came out ant sense of vast echoey space" as recom- really trying to tell us. with the announcement that he had dis- mended in the folder of "listening instruc- covered that humpback whales sing songs. tions," and pretty soon I was floating about SONGS OF THE HUMPBACK WHALE He has not only discovered it, he has madein the auricular brine, listening to the song (book and record). Can be ordered by a record of whale songs, which you can of a solo humpback whale, a recital that sending $9.95 to CRM Books, P.O. Box get, along with a whale -sized book on the was obligingly repeated at a slowed -down 131, Del Mar, California, 92014.

100 STEREO REVIEW THE MOST SPECTACULAR SOUND EXHIBITION OF STEREO FIDELITY Slereo lie\ InvSTEREO EVER AVAILABLE DEMONSTRATION A stunning series of demonstrations, each designed ON ONE DISC. W show off one or more aspects of musical sound RECORDand Its stereo reproduction.

This record is the result of two years of intensive research in the sound libraries of several of the world's leading record companies. The Editors of Stereo Review have selected and edited those excerpts that best demonstrate each of the many aspects of the stereo reproduction of music. The record offers you a greater variety of sound than has ever before been included on a single disc. AN ELECTRIFYING EXPERIENCE IN LISTENING The Stereo Review Stereo Demonstration Pec- ord is a series of independent demonstrations, each designed to show off one or more aspects of cal sound and its reproduction. Entirely music, the Record has been edited to provide self-sufficient capsule presentations of an enormous variety of music arranged in a contrasting and pleasing order. It includes all the basic musical and acoustical sounds that you hear when you listen to records, isolated and pointed up to give you a basis for future critical listening. sound and special layoutof a sma Iperforminggroup (harpsichord, cello and flutes)infairly resonant sarroundiags. KHAN: Raga Chandrananden(excerpt) WIDE RANGE OF DEMONSTRATIONS Connoisseur Society This classical Indian music provides some of the most exciting musical experiences imagin- Techniques of Separation and Multiple Sound able.Directionality between vastlyc ifferentinstrumentsisthepoint here, as well as the sheer sound of the instruments themselves. Sources Acoustic Depth The Ambiance of a RODRIGO: Concert-Serena fe for Nam and Orchestra (excerpt from the first Concert Hall Sharp Contrasts of Dynamics movement) Deutsche Grammophon Gesellschaft This excerpt provides a wealth Crescendo and Diminuendo Very High and Very of instrumental color behind a harp solo. The musicisclear, colorful, rather Low Pitched Musical Sounds Polyphony (two or classical, and immensely enbrtaining. MANITAS DE PLATA: Gypsy Rhumsa (complete) Connoisseur Society The recording puts the listenern the center of a flamenco party by precisely trans- and Contrasting Instruments Tonal Qualities of mitting the directionality,lepth ard ambiance ofthis completely impromptu Wind, String and Percussion Instruments Sounds recording session. of Ancient Instruments Sounds of Oriental Instru- MARCELLOc (arr. King): Psalm XVII "The Heavens are Telling" (complete) Con noisseur S3ciety This ariangemert of the brief Marcello Psalm is for brass, ments Sound of the Singing Voice, Both Classi- choir and organ, who answe- one anther antiphonally. cally Trained and Untrained Plus a Large Sam- PRAETORISS: Terpsichore: La Bourr& XXXII (complete) DGG Archive A musical pling of Finger Snapping, Hand Clapping, Foot gem played by a raft of rens issance instruments including recorders, viols, lutes, Stamping and Other Musical and Percussive Sounds harpsichorc ,small kettle drums, chines, bells, and triangle. BERG: Woneck (excerpt fron Act III) Deutsche Grammophon Gesellschaft The 13 SUPERB SELECTIONS acknowledged masterpiecesaf modem music incorporating the use of many unusual and extraordinary musical devices, including dramatic crescendos for full STRAUSS:Festive Prelude, Op. 61(excerpt)Deutsche Grammcphon orchestra. Gesellschaft Scored forfull symphony orchestra plus organ with BARTOK: sonata for two panos anf Percussion (excerpt from the firstmove- prominence to the brass instruments. Remarkable for the impressive ment) Cam3ridge The work is a storming exploration of percussive sounds used sense of depth it reproduces. as the basic material of the aimpositi an. BEETHOVEN: Wellington's rictory (Battle Victory) (excerpt from the last move DEBUSSY: Feux d'artifice (excerpt). Connoisseur Society Virtually the entire range of the piano is used, including the full force o' the ment) Wes:minster A demonstration of one of stereo's greatest virtues,its bass notes. This is the sound of a piano in reverberant surroundings unmatched ability to clarify separate contrapuntal voices being played by similar heard fairly close-up. instrument!. BEETHOVEN: Wellington'sVictory(Battle Symphony)(excerpt from Advanced New Anti -static Vinyl the first movement) Westminster The recording emphasizes extreme directionality.Itis a dramatic presentation engineered specifically for Recordec with the cooperatioi of Deutsche Grammophon Gesell- stereo reproduction. schaft, Connoisseur Society, Westminster Recording Company and Cambridge Recorcs Incorporated, the Stereo Demonstration MASSAINO: Canzona XXXV a 16 (complete) DGG Archive Perfo-med on old instruments, and recorded with techniques that combine cirec- Record is processed ard pressed on a newly developed, improved tionality withdepth and ambiance, this band reproduces the sound vinyl.Its permanent!, anti -static, repels dust and dirt and proof the musicinitsoriginal environment,a large and reverberant motes lover stylus wear. The use of this material is conducive to cathedral. low surface noise and contributes to the production of full dy- CORRETTE: Concerto Comique Op. 8, No. 6. "Le Plaisir des Dames" namics and frequency range. The record continually looks new, (third movement) Connoisseur Society Recording demonstrates the sounds new and wears longer.

ORDER YOUR STEREO DEMONSTRATION RECORD TODAY

FREEDESCRIPTIVE BOOKLET Only $498 Postpaid ENCLOSED WITH EACH ALBUM RECORDS Ziff -Davis Service Division SR -870 595 Broadway New Yok, N.Y. 10012 Packed with valuable facts to give you a better understanding of the term "stereo high fidelity," including a Please send _ Stereo Review Stereo Demonstration Record Albums discussion of the selections appearing on the record, plus at $4.98 each, postpaid. My check (or money order) for $ a complete description of each selection performed and is enclosed. the purpose behind its demonstration. Check One: 0 33% rpm 0 45 rpm (outside U.S.A. please send $7.00 per album ordered.) New York State residents please add local sales tax. 12" STEREO RECORDING AVAILABLE IN YOUR CHOICE OF 331/3 RPM OR 45 RPM Print Name

The 331/2 rpm is of the highest attainable quality at that Address speed. The higher speed of the 45 enables an even higher quality disc. City Stale Zip Code PAYMENT MUST BE ENCLOSED WITH ORDER

AUGUST 1970 101 "The Harman-Kardon CAD4 hasavert'uniform and extended low end which, in fact,surpasses that ofmanyfarmore expensive reel-to-reel

taperecorders!'(ELECTRON CS WORLD June 1969)

In a recent ad, we stated that our . the Harman-Kardon CAD4 now. Listen to it. Compare it to the CAD4 Cassette Tape Deck had the guts had uniform output to about 10,000- competition. We think you'll agree with to talk specs. 12,000 Hz but the other three began to Electronics World that it is "the best of Electronics World magazine obvi- roll off between 8,000 and 9,000 Hz." the group in performance ..." ously agrees. "The CAD4 had 20-12,000 Hz For more information, and the In addition to the above, they also record/playback response with complete text of the review, write to said: Harman-Kardon tape." Harman-Kardon, Inc., 55 Ames Court, "The flutter was in the vicinity of A copy of the Electronics World Plainview, N.Y. 11803, Dept. SR -8 0.2% for the Ampex and Sony and review of the CAD4 is available upon 0.3% for the Norelco, but an impres- request. It's a review worth reading. sively low 0.12% for the Harman- And a cassette deck worth hearing. The harmankard on Kardon." CAD4 is at your Harman-Kardon dealer A subsi.ury0le,s CIRCLE NO. 16 ON READER SERVICE CARD 102 STEREO REVIEW ICE IAPE STEREO TAPE

Reviewed by NOEL COPPAGE PAUL KRESH

RECORDING OF SPECIAL MERIT BEETHOVEN: Concerto, in C Major, for forallbut technological fussbudgets. No Violin, Cello, Piano, and Orchestra, Op. notes. P. K. BACH, J.S.:BrandenburgConcertos 56. Conrad Van der Golz (violin) ;Jan (complete). Chamber Orchestra of the Saar, Polacek (cello); Kirste Hjort (piano); Nu- Karl Ristenpart cond.NONESUCH © RECORDING OF SPECIAL MERIT N6 remberg Symphony Orchestra, Othmar M.F. 3006 $6.95, ® A 3006 (71/2) $4.95. Maga cond.CASSETTE MUSIC CORPORATION DVORAK: Cello Concerto, in B Minor, Performance: Brilliantly Baroque CMCCS 519$6.95. Op. 104. TCHAIKOVSKY: Variations on Recording: Excellent a Rococo Theme, Op. 33. Mstislav Rostro- Performance: Intrepid povich (cello); Berlin Philharmonic Orches- Stereo Quality: Excellent Recording: Uneven Playing Time: 90'49" tra, Herbert von Karajan cond.DEUTSCHE Stereo Quality: Out of frame GRAMMOPHON DGG 823098 $6.95. Bach composed the six Brandenburg Con- Playing Time: 38' certos in 1721 for the orchestra of Christian Performance: Mellow cello The sound of the music on this tape from Recording: Good Ludwig, the Margrave of the German pro- Cassette Music Corporation, which puts out vince of Brandenburg, while he was serving Stereo Quality: Good as court musician to Prince Leopold in the Playing Time: 60'17" little town of Cothen. Instrumental music Here is a generous coupling of two nine- was constantly in demand at the Cothen court teenth-century Romantic works for cello and in those days, andit was the composer's orchestra whose composers did notstint most prolific period. Not a single solo or en- themselves in fashioning big, broad, mag- semble concerto by Bach was published be- nificently colored canvases that draw upon fore his death, however, and it was 1850 all the lyrical possibilities of this mellowest before the scores of the Brandenburg con- of string instruments. Dvoiik, turning to his certos appeared in Berlin as part of a cen- native soilfor inspiration not long after tenary celebrationof Bach's death. How completing the "New World" Symphony in lucky we are to have them! America, created a rhapsodic, soaring con- "Six Concerts avec plusieurs instru- certo that owes much to his mentor Brahms, ments " is how Bach titled them, and indeed butisalso reminiscent of his own tone each has a different instrumental texture. poems, which aremusicallandscapesas Just about everything one could do with a bountiful as the natural world they celebrate. Baroque orchestra was done by Bach in these The Tchaikovsky piece has the lightness and complex pieces, and just about everything an transparency of the Mozartian textures he orchestra can do to bring the scores to life admired, but is deeply Russian in the poi- was managed by Karl Ristenpart with the gnancy and yearning of the elegiac passages Chamber Orchestra of the Saar. So expert that alternate with stretches of virtuosity and and idiomaticallycorrectaretheperfor- fire for the soloist. In both works, the superb mances, in fact, that although more glamor- cellist is Mstislav Rostropovich, a Russian ous names are affixed to other versions of virtuoso whose father studied with Casals. these works (Munch, Klemperer, Karajan), The sound-slightly compressed though it is none of them tops this bne. MSTISLAV ROSTROPOVICH Superb artistry in two cello favorites on this DGG cassette-is good in the Dvotak Most surprisingisthe quality ofthe and even better in the Tchaikovsky. Notes sound. It is rich and full-the best I have material from Europe not available here an are included. P. K. heard from any cassette so far (the original discs,is a little harsh in comparison with recording was made through the Dolby sys- what has been achieved by Deutsche Gram- SATIE (arr. Camarata): Trois Gymno- tem)-and the usual cassette hiss is virtually mophon in the same medium, and the piece pedies; Heures seculaires et instantanies; nonexistent. Add to this the fact that the is improperly labelled as "Trio in C Major, Avant-derniires Pensies; Passacaille; two sides play superb music for an bout and Op. 56"-it is actually the Triple Concerto, Trois Gnossiennes; Trois Nocturnes; Em- a half at a very reasonable price, andi of course, as listed above. What Beethoven bryosdesseches;Enfantillagespitto- is plain that this one is a bargain. P. K could make three soloists and a symphony resques;Peccadilles importunes; Pieces orchestra do is almost unbelievable in terms froides. The Camarata Contemporary Cham- of sheer sweep and ingenuity, and Maga ber Group.DERAM M 77636$6.95. Explanation of symbols: brings off an extremely difficult feat of co- ordination in this performance with the Nu- Performance: In the spirit ®= reel-to-reel tape Recording: Excellent 0 = four -track cartridge remberg Symphony. I was not happy at first with the way the soloists were balanced- Stereo Quality Excellent C) = eight -track cartridge Playing Time: 46'55" © = cassette one or another seemed to protrude from time to time, like a foreground figure in a badly To my knowledge, this is the first time any The firstlistingis the one reviewed; other formats (if available) follow it. composed photograph-but this cleared up of Erik Satie's music has been released in after a bit and anyhow, this listener forgot cassette form, and Deram, a child of London Monophonic recordings are indicated by cassette quality, indifferent engineering, and Records, has packaged it well. In fact, this the symbol ®; all others are stereo. even occasional roughness of string sound as particular cassette has the best reproduction the work itself engulfed me. Recommended of bass notes and the best stereo quality of AUGUST1970 103 any I have heard. Still, it does have a slight remains for me the best available on records. Opera highlights remove some frustrations hiss at normal listening volume (some of And in this eventful cassette -packaged con- for the casual listener and impose some for them do not), and it does falter at times on cert, all his qualifications are on display: the the aficionado. Itis satisfying to get to the extreme high notes (practically all of them ability to separate the complex instrumental heartofthematter-Sr.Bergonzihas do). The Camarata Contemporary Chamber strands in a thick Straussian passage so that launched into his impassioned rendition of Group uses the Moog synthesizer on some it glows rather than growls; the intimate "Celeste Aidd' almost before you've had a selections and conventional chamber instru- acquaintance with every last nuance and de- chance to catch your breath here-and whole ments, plus a softly strummed guitar, for tail, so that not a single note seems perfunc- stretches of developmental and recitative mat- others. I think Satie, the most deliberately tory; the instinct for exactly the right tempos ter are cleared away so that Verdi's most in- eccentric composer ever to sprinkle a page and dynamics; the courage to push the sweep spired moments follow one after another like with comical annotations, would have en- of a sweeping climax just a little further and spectacular musical circus acts. But there are joyed the Moog. The contraptionis used the restraint to prevent the whole pattern disappointments, too. I was just settling down sparingly here; most of Satie's music is sim- from sinking into the abyss of vulgarity. to enjoy Karajan's loving treatment of the ply too gentle and innocent to entrust to it. The program opens with an excruciatingly ballet music when the editorslifted me The pieces apparently evoked the feel of long -facedandpretentiousscoreentitled blithely into the final chorus of Act Two, for velvet for someone connected with producing Festival Prelude, but Bohm manages to sal- which I was not quite ready psychologically. this recording, because it bears the title "The vage some nobility and excitement from the Tebaldi fans can hear her inall her big Velvet Gentleman." To me, these piecesbe- solemnity. Then comes a Till Eulenspiegel numbers-"Risornavincitor!","0patria long in a sylvan setting in springtime, but- that is extremely satisfying in terms of color mia," and the tomb scene in almost giddy terfliesflutteringsoftlyabout,the pollen succession, and the big choruses, particu- count down, the whole thing backlighted so larly brilliant on this occasion, abound in that the pale green spring leaves are edged generous measure. But you never really get a in yellow flame-and ifa unicorn should chance to care about the characters or the happen by, that's all right too. . . . But I plot in this condensation, and Miss Tebaldi, don't know. With the Moog in there, and whose Aida is a rather cool customer com- the jazzy arrangements, maybe what we have pared with, say, Leontyne Price's, does not here is a soft focus on a boy and girl making help to maintain the high temperature neces- a Salem commercial. Ah, well. It's pleasant sary if Verdi's Egyptian pageant is to sound anyway, and a dandy change of pace from more than decorative. At any rate, these are almost any kind of music you have been operatic titans in splendid voice, with the hearing lately. N. C. conductor getting the best out of allhis forces, and the sound, as cassettes go (Ampex RECORDING OF SPECIAL MERIT makes London's), is uncommonly good. It's a far cry from the Victor Opera Company's STRAUSS,R.:FestivalPrelude;Till "Gems from Aida," when the entire opera Eulenspiegel; Don Juan; Salome's Dance. was condensed to two sides of one 78 -rpm Berlin Philharmonic Orchestra, Karl Bohm twelve -inch disc back in the old acoustic cond.DEUTSCHE GRAMMOPHON © DGG days!-but still, I am sorry to say, no liner 923120$6.98. notes. P. K. Performance: Strauss to a turn Recording: Very good Stereo Quality: Spacious ENTERTAINMENT Playing Time: 54'58" ENOCH LIGHT AND THE LIGHT BRI- Strauss fans, here is a cassette indispensable KARL Boll NI GADE: The Best of the Movie Themes for your collection. Karl Bain is one of the An indispensable cassette for Straussians most satisfying conductors of this compos- 1970. Malcolm Dodds ( vocals) ; unidentified er's work on the face of the earth, and prob- girls' chorus; The Light Brigade Enoch Light and commotion-a Super -Till among orches- cond. The Dayof Anger; True Grit; Sum- ably has been ever since he gave the first tral clowns. Don Juan, my favorite of all mer Me, Winter Me; Everybody's Talkin'; performance of the opera Die schweigsame Strauss tone poems, sends its insatiable hero Frau in Dresden in 1935: his Rosenkavalier Goodbye Columbus; Alice's Restaurant;and far beyond the literal bounds of romantic six others. PROJECT 3 © M 55046 $6.95, 0 adventure on a quest for something behind M 85046$6.95. the stars, and his weariness and revulsion Performance: Contrived A Segovia Festival on Tape when that great horn passage begins is more devastating here than I have ever heard it Recording: Excellent Guitar aficionado, Segovia fan, and before. As for Salome, she has done some Stereo Quality. Fair catalog browser though I am, I was still spectacular stripping for Karajan and Fritz Playing Time: 30'55" taken somewhat by surprise by a packet Reiner, but never danced so seductively or so of cartridges that arrived for review re- Enoch Light's orchestra seems always to be heartbreakingly as she does for Bohm. The working in conjunction with the latest super- cently from Decca. It contained no fewer Berlin Philharmonic under his command is stereo recording process. It is now working than twelve programs by the Spanish nothing less than magnificent. P. K. for Project master in the eight -track format, a veri- 3, which produces a brilliant - table "discography" of that artist playing sounding cassette; the dynamic range here is TCHAIKOVSKY:Variations on a Rococo fantastic, although the stereoisa bit lop- everything from Bach to Mompou. Most Theme (seeDVORAK) have been in the disc catalog for some sided. What the Light Brigade does with all that beautiful processing is something else time, but they are now being made avail- VERDI:Aida (highlights). Se quel guer- able in the newer eight -track and cassette again. This recording is a vulgar exhibition rier. .. Celeste Aida; Sul del Nilo; Ritor- of gaudy and hoked-up arrangements, as if formats as well. The contents, as men- na vincitor!; Gloria all'Egitto (Triumphal tioned, are such an encyclopedic survey of the idea was to make a stereo demonstration Scene); 0 pada mia; Ciel! mio padre!... cassette. There might be something of inter- Segovia's repertoire that space does not Rivedrai le foreste; Gia i sacerdoti; Ah! to permit listing them here. But if this gui- est in the selections here, since a few of them dei vivereq; La fatal pietra. Renata Tebaldi actually haven't been overplayed by radio tarist is as secure in your musical affec- (soprano), Aida; Cornell MacNeil (bari- tions as he is in mine, you will want to stations, but I found myself unable to con- tone), Amonasro; Carlo Bergonzi (tenor), centrate. The Light Brigade, for all its effort, check out the following numbers at your Radames. Vienna Philharmonic Orchestra, dealer's:9751,9931,10027,10034, produces what amounts to Muzak. If your Herbert von Karajancond. LONDON © interest runs to technology rather than music, 10043,10054,10063,10093,10112, M 31025 $6.95, ® LOL 90025 (71/2) 10140,10167, and 10171. A prefix of 6 $7.95. if you have a friend or enemy who doubts indicates the eight -track version, a prefix Performance: Thrill -a -minute the excellence of your playback equipment, of 73 the cassette; prices are $7.95 each. Recording: Superior or if you enjoy hassling with your neighbors, -Ed. Stereo Quality: Exceptionally life -like this may be for you. If your interest is in Playing Time: 56'05" music, shop elsewhere. N. C. 104 STEREO REVIEW RECORDING OF SPECIAL MERIT deadly sins and has a beginning, middle, and and overworks its organist something fierce end. To evoke the various moods required, -apparently because it can't get the sounds NILSSON:Nilsson Sings Newman.Nils- Plus uses most of the studio rock techniques it wants from the other instruments. son (vocals); variousaccompaniments. Love invented by the Beatles, and some ofits The kids can buy the Steppenwolf, Iron Story; Cowboy; Yellow Man; Living With- own. A real pipe organ, a chanting choir, Butterfly, and Creedence Clearwater origi- out You; Caroline; So Long Dad;and four cellos, violins, various sound effects, all are nals of these songs, so I don't expect this others. RCA C) PK 1539 $6.95, C) P8S 1539 carefully plotted into the program with gen- tape to sell more briskly than it deserves to. $6.95. erally successful results-the group didn't Elektra should find something better to do release its experiments. Through it all there with its engineers' skill at reproducing sound Performance: Mellow is good, solid, driving rock, showing (per- on slow -moving tape. N. C. Recording: Good haps) Pete Townshend influences. The songs Stereo Quality: Fair are consistently good and consistentlymusi- ZEPHYR. Zephyr (vocals and instrumen- Playing Time: 27'8" cal,with a surprise in the lyrics now and tals).Cross the River; St. James Infirmary; Randy Newman writes logical, pretty, old- then, like this one in the song about sloth: Huna-Buna; Sail On; Sun's a-Risin'; Rain- fashioned melodies, and he writes lyrics like "Open your eyes and go to sleep; an over- drops; Hard Chargin' Woman; Boom-Ba- nobody else in the world. He writes some- active mind will make you weep." Boom/Somebody Listen.PROBE © M 54510 thing like the way Charlie Schulz draws The disc's pose as a celebration of evil is $6.95, C) A 4510 $5.98, C) M 84510 $6.95. Charlie Brown, with wit and compassion but so transparent that the simplest among us Performance: Uneven with a sharp eye for weaknesses, too. New- will realize he is being moralized at, but I Recording: Very good man writes face-to-face about people, not Stereo Quality: Good sociologically. In some ways, he is as straight Playing Time: 42'34" as a bow -tied accordion player in the Law- rence Welk band, and yet he is wry, campy, Zephyr isa heavy-rock/blues group with and funny, and has a uniquely contempo- jazz connections. The vocals are by a young rary tendency to picture man complete with lady, identity unknown to me, who seems to warts and still call him beautiful. have reasoned that a cross between Janis Nilsson, who has created reminiscence mu- Joplin and Grace Slick was what the world sic of his own at times, seems to me the best needed. The tiny segment of the world that possible choice to sing Newman's songs. And is me was doing just fine without it. The someone has got to do it, because Newman's Zephyr instrumentals are well played but voice drives too many people up the wall. lean too heavily on the organ for my taste. Nilsson also seems to take himself less seri- The group seems somehow nottogether ously than does Newman-this recording much of the time, and lacks spontaneity. has a pleasantly campy spirit. His voice has Thereareexceptions,notablyonHard been antiqued, has those neat, fussy little Chargin' Woman,a big, dramatic blues piece gold stripings around its edges. I'm sure a with a ponderous beat, andSun's a-Risin',in market analyst after surveying today's pop which we hear some good blues harmonica. music would have advised Nilsson to be a The group never seems to reach its po- plumber-heaven knows what he would tential on this disc, mainly because it isn't have told Newman to do-but I wager this getting the mileage out of the voice and Nilsson -Newman tape will go into record organ as blues instruments. Its shortcomings cabinets that house Rolling Stones works are all too apparent onSt. James Infirmary. all across the land. NILSSON But I'd like to hear them again after some The temptation is great to quote a few Perfect for Randy Newman songs adjustments are made. N. C. lines from, say,Love Story,to show what a deft satirist Newman is, but that would be doubt that many will mind. The music is THEATER MUSIC spoiling the fun for those who have not yet what they pay for, and there is music here. heard Nilsson sing the words. Thisisa N. C. JOY (Oscar Brown, Jr.). Original -cast re- sparkling little tape, marred only slightly by cording. Oscar Brown, Jr. and Jean Pace a bit more hiss than seems necessary. I can WILD THING:Block Party. Wild Thing (vocals) ; Sivuca (piano, guitar, accordion); foresee people of widely differing tastes be- (vocals and instrumentals).In a Gadda da James Benjamin (bass) ; Norman Shobey ing warmed and charmed by it. N. C. Vida; My Girl; Sooky Sooky; Mercy Mercy; (congo); Everaldo Ferrarra (drums) ; Sivuca Born on the Bayou; Born to be Wild; Magic cond. RCA © OK 1045 $7.95, C) 08S 1045 PLUS:The Seven Deadly Sins.Plus (vo- Carpet Ride; Good Lovin'; Revolution;and $7.95. cals and instrumentals).Twenty Thousand five others. ELEtcren © M 54059 $6.95. Performance Subdued Pride; People;Toccata;Daddy's Thing; Performance: Second-class Recording: Good Open Up Your Eyes; Devil's Hymn; Maybe Recording: Excellent Stereo Quality: Excellent Mu're the Same;and three others. PROBE C) Stereo Quality: Very good Playing Time: 59'55" M54513 $6.95, 0 M 84513 $6.95, © M Playing Time: 39'19" 54513 $6.95. The Broadway musical may stillserve a This recording is unique in that it is one of purpose, but contributing to the improve- Performance: Good opposed to evil the few in which a rock group performs a ment of popular music doesn't seem to be it. Recording: Good cross-section of other rock groups' hit songs The music ofJoy,isolated from the razzle- Stereo Quality: Excellent -and their arrangements too, in many cases. dazzle of the stage and played cold in the Playing Time: 34'30" It is roughly a parallel to the sort of thing living room, is almost painfully innocuous. This is probably a better recording than the that used to go on before rock became domi- Brown Baby,for example, plays at being an producers set out to make. Guessing at oth- nant in pop music ("Percy Faith Plays Gold- eloquent ballad, but it is such a formula song ers' motives can be dangerous, but it seems en Hits,"etc.).Wild Thing putsitself that its effect is unintentional irony. Latin likely that this one is connected withthe through quite an ordeal trying to doIn a and Afro rhythms are used extensively here, interest in the "good" and "evil" cults that Gadda da Vidasomething like the way Iron but they don't generate much excitement. have appeared in California over the past Butterfly did it, and then trying to doMy The last song,Funky World,has by far the year or so and were published by the media Girlsomething like the way the Mamas and most interesting arrangement and lyrics, but after the Tate murders. Conceived in gim- the Papas did that. Steppenwolf fans will be its dumb non -melody is a disappointment. mickry-and there is some of that in the particularly upset when they hear howBorn The performers don't sound quite as bored execution, too, including a baby's cry (Rose- to Be Wildhas been done up; even Beatles as you would expect, given the material mary's?) in the middle of the song about the fans, by now accustomed to hearing others they're performing. There are black musi- sin of wrath-the thing turns out unexpect- take indecent liberties with their boys' work, cians who could, theoretically, produce a edly honest because of the care and skill that will wince if they let the tape run long musical free of the inhibitions that seem went into it. enough to hearRevolution.The group has toafflictthe white men working Broad- It is, of course, a program about the seven musical as well as conceptual shortcomings, way, but they haven't done it here. N. C. AUGUST 1970 105 STEREO REVIEW CLASSIFIED

COMMERCIAL RATE: For firms or individuals offering commercial productsor services $1.10 per word (including name and address). Minimum order $11.00. Payment must accompany copy except when ads are placed by acc for 12 months paid in advance. redited advertising agencies. Frequency discount: 5% for 6 months; 10% READER RATE: For individuals with a personal item to buy or sell. 65¢ per pany copy. word (including name and address). No minimum! Payment mustaccom- GENERAL INFORMATION: First word in all ads set in bold caps at no extra 2nd month preceding cover date (for example, March issue closes Januacharge. All copy subject to publisher's approval. Closing Date: 1st of the Park Avenue, New York, New York 10016. ry 1st). Send order and remittance to: Hal Cymes, STEREO REVIEW, One EQUIPMENT HARMONIC WAVEFORM PROCESSOR -for stereo TAPE AND RECORDERS systems (patent pending). "A new music wave- WRITE for quotation on any Hi-Fi components: form processing device whose functionisto correct deficiencies in Commercially Recorded BEFORE RENTING Stereo Tapes try us. Postpaid Sound Reproduction Inc., 460 Central Avenue, both ways - no deposit - immediate delivery. East Orange, N.J. 07018. 201.673.0600. program material caused by inadequate energy in the 'transient' and 'peak'portions of the Quality - Dependability - Service - Satisfac- HI -Fl Components, Tape Recorders, at guaran- waveform patterns." Results ... Realism. Audio tion -prevail here.Ifyou've been dissatisfied teed "We Will Not Be Undersold" prices. 15 -day Engineering Laboratories, Inc., Box 36, McFalls, in the past, your initial order will prove this is money -back guarantee. Two year warranty. No Me. 04256. no idle boast. Free catalog. Gold Coast Tape Catalog. Quotations Free. Hi -Fidelity Center, 239 Library, Box 2262, Palm Village Station, Hia- (HC) East 149th St., New York 10451. BUY DIRECT FROM ENGLAND'S HI-FI MAIL leah. Fla. 33012. ORDER SPECIALISTS! Save money on Leak, FREE! Send for money saving stereo catalog Quad, SME., Goldring. Decca. Bowers & Wilkins, SCOTCH RECORDING TAPE,lowestprices. ,-.:H8R and lowest quotations on your individual Thorens, Tannoy. Garrard, Lowther, Wharfedale, TAPE CENTER, Box 4305, Washington,D.C. component, tape recorder, or system require- Goodmans, K.E.P., Celestion, Transcripters, W.B., 20012. ments. Electronic Values, Inc.. 200 West 20th Ortofon, Jordan -Watts, Radford, Armstrong. also St., N.Y., N.Y. 10011. STEREO TAPES, save 20. 30% and more, post- Ferrograph,WilliStuder, Tandberg TapeRe- paid anywhere U.S.A. We discount batteries, TAPE recorders. Hi-Fi components. Sleep Learn- corders etc., etc. Insured shipping quotes free, recorders, tape/cassettes. 80 page catalog 25¢. ing Equipment tapes.Unusual values.Free or send $1.00bill($2.00 airpost) to include SAXITONE TAPES, 1776 Columbia Road, N.W., catalog. Dressner, 1523R Jericho Turnpike, New illustrated catalogue. Goodwin Ltd.,7, Broad- Washington. D.C. 20009. Hyde Park, N.Y. 11040. way, Wood Green, London, N.22. Visitors welcome to showrooms. RENT stereo tapes $1.25 week postpaid -NEW LOW, Low quotes: all components and record- catalog 250. Tape Library, Box 8126, Washing. ers. Hi Fi, Roslyn, Penna. 19001. PROFESSIONAL STEREO TONE ARM -Similar ton. D.C. 20024. to Shure M232 or Rek-o-kut S320. Plug in shell, THE Price is Right! Hi-Fi Components. J. Wright finger lift, adjustable counterweight, no springs, RADIO YESTERYEAR! Biggest and best in the Co., 65-8 Jensen St., East Brunswick, N.J. 08816. arm rest,heavy connecting cables withpin industry we created. Over 7,000 of those great NEW low prices on all stereo components and plugs,beautifullybalanced.One yearwar- old-time radio shows. ANY program you remem- tape recorders. Write for our quote. Stereo Corp. ranty. Made by famous turntable -arm manu- ber, drama, band, serials, comedy, etc. Highest of America, 2122 Utica Avenue, Brooklyn, New facturer in Switzerland. Send check or M.O. for fidelity possible with Ampex duplicators. Send York 11234. $9.50 plus $1.50 for shipping and insurance. $1.00 for our huge 104 -page catalog (refund Stereo Center, 218 Columbia Street, Utica, New able) to RADIO YESTERYEAR, Box H, Dept. B. ELECTRONIC TUBES, Semiconductors, Equip- York 13480. Croton -on -Hudson, N.Y. 10520. Member Better ment and Parts. Lab matched tubes. Finest qual- Business Bureau. ity.Serving TV/Hi-Fi Servicemen.Engineers, STEREO Headphones. Finest Quality. kmerican. and Industry for 20 Years. Advise your needs. made. 2 pairs for $20.00. H & M. Enterprises, RENT 4 -track open reel tapes -all major labels - WriteforCatalog. Barry Electronics.512 P.O. Box 474, Dept. SR, Port Hueneme, Cali- 3,000 different -free brochure. Stereo-Parti, 55 fornia 93041. St. James Drive, Santa Rosa, California 95401. FREE LP and other extra savings. Send for your OLD Radio Programs on tape. 6 hours for $8.00. LOWEST PRICES ON ALL COMPONENTS. RMG low, low quotation today. Discount Specialists, Catalog 50g. Don Maris, 1926 Cherokee, Nor- STEREO, 536 W. 114TH, NEW YORK, NEW YORK man, Okla. 73069. 10025. 212-865-5106. Box 2576, PVS, Hialeah, Fla. 33012. GET OUR LOW QUOTATION ON HI-FI COMPO- COMPUTERIZED 80 -PAGE TAPE CATALOG and REK-O-KUT Turntables7Tonearrn s, and Replace- NENTS. 125 page catalogue 250. Airex Radio magazine with 10.000 4. 8 -track, cassette, open - ment Parts are now available. Contact our Main Corp., 132 Nassau St., New York, N.Y. 10038. reel listings by artist, label, title, catalog num- Plant at Rek-O-Kut, 1568 North Sierra Vista. 8 -TRACK RECORDER/AMPLIFIER KIT. Manufac- ber, and price.Year's subscription, 6 issues Fresno,Calif.Phone:(209) 251-4213orour turer close out. Details 50¢ Trans-Mex Indus- $3.00. You paid over $100 for your tape equip- Parent Company CCA Electronics Corp., 716 tries, Box 745, Newport Beach, Ca. 92661. ment -shouldn't you spend $3.00 more and Jersey Avenue,GloucesterCity,N.J.08030, know what you can play on it? Send checks to Phone: (609) 456-1716. SPECIAL prices on ROBERTS equipment. Write, Listen STARLITE PHOTOGRAPHIC COMPANY, 14578 Magazine, 1808 RittenhouseSquare, DIAMOND NEEDLES AND STEREO CAR- Tuller, Detroit, Michigan 48238. Philadelphia, Pa. 19103. TRIDGES at low, low prices for Shure, Pickering, COMPONENTS at rock -bottom discounts. Write CONSUMERS CASSETTESand Accessories. Stanton, Empire, Grado and ADC. Send for free for quotes. StereoCom, Box 38582, Dallas, Texas Blank Cassettes as low as C-30 ... 500, C-60 ... catalog and price sheet. We will be happy to 75238. 540, C-90 ... 99¢, C120 ... $1.22. All Cassettes quote on any cartridge -Magnetic, Ceramic or licensedqualitycontrolbyNorth American Crystal. All merchandise brand new and shipped FOR SALE Phillips. Lifetime guarantee. WRITE FOR FREE PREPAID. LYLE CARTRIDGES, Dept. S, 265 East CATALOG! CONSUMERS ELECTRONICS CO., 103 149 Street. Bronx. New York 10451. Park Avenue (SR8), New York, N.Y. 10017. AMAZING DISCOUNTS on famous brand high FREE ELECTRONICS PARTS FLYER. Large catalog$1.00deposit. BIGELOW ELECTRONICS, CASSETTES, Pre-recorded Spoken Word -over fidelity stereo components. No small wonder BLUFFTON, OHIO 45817. 100 titles -educational,including language. that we have set new sales records each year Cassette and 8 -track Blanks plus many acces- since 1959Write: Arkay Electronics, 1028-01 SENCORE, B & K TEST EQUIPMENT UNBELIEV- sories. Send 10¢ in stamps or coin for latest Commonwealth. Boston, Mass. 02215. ABLE PRICES.FREE CATALOG AND PRICE SHEET. FORDHAM RADIO, 265 EAST 149TH literature. Cassettes Unlimited, P.O. Box THE ULTIMATE IN DISCOUNTS on Acoustic Re- STREET, BRONX, N.Y. 10451. 13119S, Pittsburgh, Pennsylvania 15243. search, Shure, Pickering, Pioneer, and Dual and _ . many others. Write for our free catalogue to BURGLAR ALARM SYSTEMS and accessories. OLD Time radio programs -all your old favorites. Controls,bells,sirens,hardware,etc. OMNI- 50¢ for catalog. Robert Mussehl, R. 1, Brooklyn, ULTIMATE ELECTRONICS, 29 EGERTON ROAD, Wisc. 53521. ARLINGTON, MASS. 02174. GUARD radar intruder detection system.kit form or assembled. Write for free catalog. Mi- STEREO TAPE TRANSPORT -7"reel --2 WORLD'S BEST TAPE,Box 18026,Seattle, crotech Associates, Inc., Box 10147, St. Peters- speeds --pause control --made for famous Washington 98118. burg, Florida 33733. manufacturer --50 to 15.000 Hz -with rec/play HIGH FIDELITY cabinets? Ask your dealer about CONSTRUCTION PLANS: LASER ... $2.00. and erase heads, without case. Send M.O. or Toujay Designs or visit our factory showroom. Listening Devices -two F.M. Mike Transmitters check for $19.50 to Stereo Center, 218 Colum- . 146 East 53 St., N.Y.C. 10022. Tuesday through $1.00.TailTransmitter . . . $1.00. Sound biaSt.,Utica,N.Y.13502. $2.50 for prepaid Telescope . . . Saturday 10.00-5:30.Fullline brochure and $2.00.Infinity Transmitter . shipping and insurance. color chart, send 250. $2.00. Equipment and kits available. Howard, 20174 Ward, Detroit, Michigan 48235. OPERA TAPES -live performances of past 35 REVOX TAPE RECORDERS, Box 18026, Seattle, years. Free catalog. Ed Rosen, P.O. Box 521, Washington 98118. ELECTRONIC Bargains - Diodes,Transistors, Lynbrook, N.Y. 11563. Tubes, Courses. Free Catalog -Immediate Ship- SAVE over 331/4 on a pair of one of the world's ment. Cornell, 4215-11University, San Diego, SCOTCH Professional Tape 7"reel,1800ft. best speaker systems shipped direct to you Calif. 92105. guaranteed, no splices. $3.39 each, limit 3 to a from factory. Try them in your home for thirty ELECTRONIC COMPONENTS -Distributor prices, customer. Audio Associates, 1012 Roberta Ave- days. Write: KGLL, Inc., Water St.,Lewiston, Free Catalogue, Box 2581, El Cajon, California nue, Orlando, Fla. 32807. Maine 04240. 92021. AMPEX Professional Tape 7" reels, 1800'. $2.69 HARD TO FIND ITEMS! Replacement styli for MC790P $2.00. MC724P $1.05. Write for catalog. plus postage. Audio Associates, 1012 Roberta Shure, Pickering, Empire, Grado, Etc. Turntable Hal Devices, Box 365Z. Urbana, Illinois 61801. Avenue, Orlando, Fla. 32807. Belts, Spindles, Foreign Tubes, Etc. Ken -Craft SONY TC-8 eight -track recorder. As new. $105. OLD radio programs: Cassette, 8 -track,reels. Hi-Fi, 714 Washington Ave. S.E., Minneapolis, Dwight Lindley, 1307 Jackson, Florence, S.C. Catalogue 500. Dwight Lindley, 1307 Jackson, Minn. 55414. (612) 331-6026. 29501. Florence, S.C. 29501. 106 STEREO REVIEW BASF RECORDING TAPE ... 4 TRACK PRE-RE- "DO-IT-YOURSELF" Mailorder Catalog ... With- CORDED STEREO TAPES, Lowest Prices. Post- outMerchandise Investment!FreeCatalog - SPORTS ACTION FILMS paid U.S.A. Free brochure. Write STEREOTONE Proof! OBIE-MYH, Brooklyn, New York 11219. TAPES, Box 657, Sterling, Illinois 61081. BECOME CITIZEN BAND DEALER, Write RJS START A SUPER 8 COLOR COLLECTION NOW! RECORDER Owners -Swap Country Music on Communications, Brockton, Massachusetts 504 catalog earns $1.00 Discount on first pur- tape.Details,CountryCousins,609Cherry 02403. chase. SPORTLITE FILMS, Dept. SR, 20 North Street, Macon, Ga. 31201. Wacker Drive, Chicago, Illinois 60606. SONY RECORDING TAPES - Lowest Prices - WANTED ARCHER, 4193 Archer, Chicago, Illinois 60632. EDUCATIONAL SPECIALIZING Taped Radio Mysteries. Catalog QUICKSILVER, Platinum, Silver, Gold. Ores Ana- OPPORTUNITIES $1.00, Refundable first order. Detective House, lyzed.FreeCircular. Mercury Terminal, Nor- 218 Orangeview Lane, Lakeland, Florida 83803. wood, Mass. 02062. LEARN WHILE ASLEEP,Hypnotize!Strange catalog free. Autosuggestion, Box 24-ZD. RECORDS MAGAZINES Olympia, Washington 98501. UNBELIEVABLE Classicalrarities.Catalogue BACK DATE MAGAZINES! Send needs. Midtown. TEN 4! M.I.T.M. 271 Autumn Avenue, Brooklyn, Box 917 -HS. Maywood. N.J. 07607. PLANS AND KITS N.Y. 11208. FREE 64 PAGE CATALOG offers hundreds of re- BOOKS ROCKET Plans proven, Catalog 104. Rockets, cordings ofrareRenaissance. Baroque and P.O. Box 7274, Long Beach, California 90807. Classical music. Some records priced as low as $1.00 each! All late recordings. In Stereo only. PSYCHEDELIC LIGHTING MANUAL! Make light - NEW PARADOX PUZZLE PLANS. Unique. $1.50 MHS RECORDS, Box 932 -HS, New York, New machines, strobes, organs, kaleidoscopes, etc. 2Dox, 218 Orangeview Lane, Lakeland,Fla. York 10023. Send $2.00. Lightrays, 713-F Pine, Philadelphia, 33803. Pa. 19106. "HARD To Get" records --all speeds. Record Exchange, 842 Seventh Avenue, New York, N.Y. RUBBER STAMPS 10019. INSTRUCTION RARE, Classical Vocal LP's. Free list. D. Jorge. RUBBER ADDRESS STAMPS $2.00. SIGNATURE Box 1012. New York City 10001. LEARN Electronics Organ Servicing at home. All $3.50. FREE CATALOG. JACKSON'S, BOX 443-G, makes, including transistors. Experimental kit - FRANKLIN PARK, ILL 60131. PROTECT your records --Poly sleeves for jack- trouble -shooting. Accredited NHSC, Free Book- ets 54; Inner sleeves 44; Poly lined paper 104; let. Niles Bryant School, 3631 Stockton, Dept. A, white jackets 254. Minimum order $5.00. Record Sacramento, Calif. 95820. House, Hillburn, N.Y. 10931. BINOCULARS AND TELESCOPES R.E.I.'s famous (5) week course for the First CASH for excellent unwanted LPs and prere- Class Radio Telephone License is the shortest, BINOCULAR specialists. Repairs and sales. Free corded tapes. Reder. 81 Forshay Road, Monsey, most effective course in the nation. Over 98% literature. Tele-Optics, 5514 Lawrence, Chicago, New York 10952. of R.E.I. graduates pass F.C.C. exams for 1st III. 60630. HARD to find LPs and prerecorded tapes. Cata- class license. Total tuition $395.00. Job Place- logue 604. Records, Hillburn, New York 10931. ment free. Write for brochure Radio Engineering Incorporated Schools, 1336 Main Street, Sara- MISCELLANEOUS POPULAR organ albums factory direct. Concert sota,Florida33577 -or 3123 GilhamRoad, Recording, Lynwood, Calif. 90262. Kansas City, Missouri 64109 -or 809 Caroline WINEMAKERS. Free illustrated catalog of yeasts. OLDIES -45 RPM original hits. Over 4000 avail- Street, Fredericksburg. Virginia 22401 -or 625 E. eqOpment. Semplex, Box 12276, Minneapolis, able. Catalog 254. C & S Record Sales, Box 197, Colorado Street. Glendale, California 91205. Minn. 55412. Wampsville, N.Y. 13163. DEGREEinElectronicsEngineeringearned FREE CATALOGS -rare broadcasts on cassettes. mostly by correspondence. Free Brochure. Dept. JAPAN'S PUBLICATIONS GUIDE Business, ARG. 341 Cooper Station, New York City 10003. G-9, Grantham School of Engineering, 1505 N. pleasure, education. $5.00. INTERCONTI- Western Ave., Hollywood, California 90027. NENTAL, CPO 1717, Tokyo 100-91. PROTECT YOUR RECORDS. Cardboard replacement covers, plastic lined inside sleeves, 78 and 45 covers and sleeves, multiple record set EMPLOYMENT INFORMATION boxes, 12", 10", 7". Cabco 122, 89 East Wood- ruff, Columbus, Ohio 43201. FOREIGN and USA job opportunities available Stereo Re\ iew VINTAGE RADIO ON LP RECORDS AT LAST. now.Construction,alltrades.Earningsto HIGHEST QUALITY AT MOST REASONABLE $3,000.00 monthly. Paid overtime, travel,bo- SUBSCRIBER SERVICE PRICES. FREE CATALOG. THE RADIOLA COM- nuses.Write:UniversalEmployment. Wood- PANY, BOX H,CROTON-ON-HUDSON, NEW bridge, Conn. 06525. YORK 10520. EXCITING OVERSEAS JOBS. Directory $1.00. Please include an address label when writing about Research Associates, Box 942-E, Belmont, Cali- your subscription to help us serve you promptly. TUBES fornia 94002. Write to:P.O. Box 1099, Flushing, N.Y. 11352 CHANGE OF ADDRESS: ,F -AFFIX LABEL-+ RECEIVING & INDUSTRIAL TUBES, TRANSIS- PERSONALS TORS, All Brands -Biggest Discounts. Techni- Please let us know you cians, Hobbyists, Experimenters -Request FREE MAKE FRIENDS WORLDWIDE through interna- aremovingatleast r Giant Catalog and SAVE! ZALYTRON, 469 Jeri- tional correspondence. Illustrated brochure free.four to six weeks in cho Turnpike, Mineola, N.Y. 11501. Hermes, Berlin 11. Germany. advance.Affixmaga- zine address labelin REPAIRS AND SERVICES PHOTOGRAPHY -FILM, space to the right and EQUIPMENT, SERVICES print new address be- CUSTOM RECORDING SERVICE. Tape and disc. low.Ifyou have a Stereo and mono.Live and copies.Editing. SCIENCE Bargains -Request Free Giant Catalog questionaboutyour Masters and pressings. High quality at reason- "CJ" -148 pages -Astronomical Telescopes, Mi-subscription, attach able rates. Joseph Giovanelli, Audio -Tech Lab- croscopes, Lenses. Binoculars, Kits, Parts, War oratories, 2819 Newkirk Ave., Brooklyn, N.Y. surplus bargains. Edmund Scientific Co., 300address label to your 11226. IN 9-7134. Edscorp Bldg., Barrington, New Jersey 08007. letter. $6.50-12" LPs from tapes, cassettes, records. TO SUBSCRIBE: ARG. 341 Cooper Station, New York City 10003. HYPNOTISM Check boxes below. TAPE CARTRIDGE REPAIR -We fix damaged p New[j Renewal tapes like new. All kinds -4 track, 8 track and FREE Hypnotism, Self -Hypnosis, Sleep Learning O 5 years $26 cassettes. $1.00 per tape. C.B.I., Inc., P.O. Box Catalog! Drawer H400. Ruidoso. New Mexico 88345. O 3 years $18 707, Council Bluffs, Iowa 51501. O 1 year $7 MOVIE FILMS MUSICAL INSTRUMENTS SPECIFY: 0 Payment enclosed - rir 16mm SOUND Features, Shorts, New. Used for 30% DISCOUNT any name brand musical in- You get 1 extra issue Sale. Free Catalog. National Cinema. 333 W. 57 strument. Free catalog. Freeport Music, 127-Q per year as a BONUS! Sunrise Hway, Freeport, N.Y. 11520. Add'i postage: SI per year outside St., N.Y., N.Y. 10019. 0 Bill me later. U.S.,its possessions & Canada. BUSINESS OPPORTUNITIES GOVERNMENT SURPLUS name please print I MADE $40,000.00 Year by mailorder! Helped JEEPS Typically From $53.90 . . . Trucks From others make money! Start with $10.00 - Free $78.40 ... Boats, Typewriters, Airplanes, Multi - Proof. Torrey, Box 318-N, Ypsilanti, Michigan meters, Oscilloscopes, Transceivers. Electronics address 0604 48197. Equipment. Wide Variety, Condition, 100,000 Bid Bargains D rect From Government Nationwide. FREE BOOK "999 Successful Little -Known Busi- Complete Sales Directory and Surplus Catalog city nesses." Work home! Plymouth 445-H, Brook- $1.00 (Deductible First $10.00 Order). Surplus lyn, New York 11218. Service. Box 820-1, Holland. Michigan 49423. stole zip -coda AUGUST 1970 107 STEREO REVIEW ADVERTISERS' INDEX

READER PAGE SERVICE NO. ADVERTISER NUMBER

1 Acoustic Research, Inc. 6, 7 2 Altec Lansing, Division of LTV Ling Altec, Inc. 19 3 Angel Records 83 4 Audio Unlimited, Inc. 97

5 Bose Corporation 27 103 British Industries-G d 37 TAPE HORIZONS 101 BritishIndustries-Wharfdale 5

6 Carston Studios 99 OFF THE BEATEN TRACK Columbia Records 81 7 Concord Electronics Corp. 25 °sr of us use our recorders primarily for music recording and playback. 8 Crown International 12 MThis month, though, I want to introduce you to a most unusual tape hobby- 9 Deutsche Grammophon (DGG) 88 'st. His name is Dick Kenny, and for many years now he has devoted himself 10 Downtown Audio 96 Brenner 97 (and more than two thousand reels of tape!) to hunting out the aurally arcane 12 Dual 2 -events occurring in the world of sound that are unusual, infrequently encoun- 13 Dynaco, Inc. 76 tered, or potentially of special interest. 19 Electro-Voice,Inc. 4th Cover 44 Electronic Industries, Inc. 40 There isn't much that Dick, a retired accountant and showman who bills him- 14 Elpa Marketing Industries, Inc. 95 self as "The Crazy Tapeworm," doesn't have in his carefully indexed collection. 15 Empire Scientific Corporation 16 For example, have you ever heard the footsteps of a moth, the heart-beat of an 26 Fisher Radio Company 2nd Cover, 1 unhatched chicken, or the singing of an oyster? By capturing such sounds Dick

16 Harman-Kardon, Inc. 102 has shown that micro -recording can do for our ears what micro -photography can 17 Heath Company 42, 43 do for our eyes. Or, if you seek wider horizons, he can take you around the world, 18 Honeywell PhotographicProducts 87 thanks to tapespondents all over the globe who have contributed authentic sounds 20 International Hi Fi 26 from their own locales. Historical events are well represented, too, ranging from 21 NC America, Inc. 21 Orson Welles' broadcast of "War of the Worlds" (which threw the country into a

22 Kenwood Electronics,Inc. 52 panic in 1938) to the last transmission made by a rebel Hungarian station during the Russian occupation of 1956. And for those interested in pure Americana, little 23 Lafayette Radio Electronics 75 24 London Records 92 can compare to Dick's collection of old-time radio shows. Though a number of his reels have found commercial applications, Dick is Marantz,Inc. 30, 31 25 Mercury Records 87 primarily interested in a free exchange of tapes (usually 5 -inch, 71/2 ips) with Minnesota Mining & Mfg. Co. 89 other sound collectors. If you want to join the fun, simply write a letter or tape a 27 McIntosh Laboratory,Inc. 91 message to: Mr. Richard Kenny, 710 S. E. 2nd Terrace, Pompano Beach, Florida 25 Philips Records 87 33060. 41 Pickering & Company, Inc. 3rd Cover Pioneer Electronics Corp. 11 Readers of this column may also be interested in "tapesponding," a hobby of correspondence by tape that brings together-at least aurally-a great many peo- 28 RCA Records and Tapes 78, 79 29 Rabsons-57th Street, Inc. 99 ple who would otherwise never meet. Such clubs provide a structure that facili- 30 Records and Recordings 26 tates social activities, the accumulation of tape libraries, and a number of other 31 Rectilinear Research Corp. 47 32 Roberts 28 services as well. Perhaps the most popular activity is the "Round -Robin" tape, in

33 Sansui Electronics Corp. 14, 15 which each successive person on a list adds his own comments to everything that Scott, Inc., H. H. 17, 39 has gone before and sends it on to the next recipient. Tape recording clubs are nu- Seagram's V. 0. 32 merous, and international in scope; I have received publications from as far away 34 Sherwood Electronic Laboratories, Inc. 45 35 Shure Brothers, Inc. 13 as Australia. 36Sony Corporation of America 41 In this country, perhaps the best known association is the Indiana Recording Sony/Superscope, Inc. 23, 85 37 Sound Reproduction, Inc. 96 Club, whose monthly bulletin, "Tape Squeal," crosses my desk regularly. Its 38 Stereo Corporation of America 91 President, Mr. Graham LeStourgeon, says that the club stands ready to welcome 39 Teac Corporation of America 48 members throughout this country and abroad. Tape slide shows, a "Voice of His- tory" library, and many other collections are available; I recently contributed a 12 United Audio Products,Inc 2 40 University Sound 24 remarkable conversion account by Bishop Chandu Ray of Pakistan, the first translator of the Bible into Tibetan, receiving in return a most interesting tape re- 42 V -M Corporation 34, 35 counting what tapesponding had meant to a Czechoslovakian refugee. Readers 43 Yamaha International Corporation 51 wanting to contact the I.R.C. should write to Mr. LeStourgeon at 34 West 42nd Classified Advertising 106, 107 St., Indianapolis, Ind. 46208. Other recording clubs seeking new members can send information directly to me atSTEREOREVIEW and I will pass it on (when I have enough material to make it worthwhile) via this column. 108 Printed in U.S.A. What good is a cartridge that tracks at 3/4 of a gram but delivers less than 3/4 of the music? Great. any part of the audio spectrum it canbe re- For tracking. flected throughout the entire spectrum. The But not for listening. result: a masking effect over all the music. If you love music, you want 100'of the In contrast to this, Pickering's XV-15 series music all the time. And many cartridges just delivers 100(,(music power 100`)of the don't deliver. time. Pickering's XV-15 Series does. Every time. Our point is simple: when it comes to The trouble with many pick-ups is that at cartridges, a track record doesn't count un- higher frequencies they experience a severe less you sound great-at any frequency. loss of output. This leads to a lack of instru- Pickering: for those who can hear the dif- mental definition in those ranges so great it ference. may be difficult to distinguish the precise Pickering XV-15 cartridges range from sounds of the oboe, clarinet, flute, etc. $29.95 to $60. For more information write The sounds literally blend together mask- Pickering & Co., Inc,101 Sunnyside Blvd., ing the music-and not only at the higher Plainview, N.Y. 11803. frequencies. When distortion takes place in

PICKERING "for those who can hear_ the difference"

CIRCLE NO. 41 ON READER SERVICE CARD SPANISH ;Oak CONTEMPORARY / Pecan

TRADITIONAL /Cherry Unretouched photographs and the unvarnished truth about the new ARIES Console Speaker System.

The Aries 21/2" cone/dome tweeter is particularly unique. For instance, to ob-

11,1111r. 11.1111 tain ultimate response, damping com- pound is metered onto the cone within 11111i, 1,111111 Iii11111 a tolerance of ±0.001 oz. And control 101 .10111 of cone/dome materials insures a radia- Nordowdl 'YIIMONJ tion area that varies predictably with

TONE BURST TONE BURS - frequency to insure uniform dispersion TONE BURST at all frequencies. Ddb Even the crossover network is unusual. -5db Four inductors (iron -core type for the woofer to avoid losses), three capacitors 10 db (with a Mylar type for the tweeter to 8 8 8 g 8 g F.A 8 maintain response beyond the high fre- FREQUENCY IN HERTZ X 7 quency limitations of electrolytic types), and a 5 -position rotary ceramic switch offers precise control with up to 10 db attenuation at 10 kHz. But Aries is more than a distinguished If you are as serious about musical half -roll surround, and rigid deep -cone music reproducer. Itis also handsome reproduction as we are, the follow- geometry. It's a combination that insures furniture in its own right. Tasteful design ing discussion may help you in choosing 3/4" linear cone movement, precise tran- and robust construction set Aries apart your next speaker system. And the actual sient response, and high power handling from the anonymous styles of the past. response curves and tone burst tests may capacity without frequency doubling. In every detail from the hidden 2' x 4' prove most revealing when compared with bracing to the authentic hardware and other speaker systems currently available. The mid -range was designed with equal care. A specially treated 6' cone speaker richly finished hardwood veneers, Aries Aries is an uncommon speaker system. is mounted in its own sealed inner en- can be an attractive addition to your Larger than the ubiquitous bookshelf closure. Speaker resonance is well below home ... a delight to ear and eye. speakers for a very sound reason: greater the crossover point to insure peak -free See and hear the new Aries at your internal volume permits a worthwhile ex- response and clean transients in this sen- E -V dealer's soon. Look ...touch... and tension of bass with lower distortion and sitive part of the spectrum. Oscilloscope above all, listen. It can be an eye-opening higher efficiency. Effective use of this vol- testing of every unit is routine so that experience. $300.00 Suggested Resale. ume comes from a 12' woofer with 91/2 laboratory standards are maintained in ELECTRO-VOICE, INC., Dept. 804F pound magnet structure, new sealed -foam production. 616 Cecil Street, Buchanan, Michigan 49107

ma110am high fidelity systems and speakers tuners, amplifiers, receivers public address loudspeakers microphones phono needles and cartridges aerospace and defense electronics gle.ASice A SUBSIDIARY OF GULTON INDUSTRIES. INC. CIRCLE NO. 19 ON READER SERVICE CARD