MAY, 1960 50¢

/ .. A NEW LOW-NOISE TWIN TRIODE to improve performance and simplify the design of Audio Pre-Amplifier Stages

Low noise, high performance, moderate cost­ provided by the new RCA-6EU7, a high-mu, nine­ pin miniature twin triode designed especially for high-gain, resistance-coupled, audio pre-amplifier stages-in high fidelity amplifiers (monaural or stereo), amplifier kits, tape r 2corders, juke boxes, and public address systems.

Noise and hum are minimized by the use of double­ wound, helical heaters, and a new base layout which keeps heater leads well away from the grid leads.

Low microphonism, high mechanical strength, and reli­ ability are assured by a short, rugged cage which provides sturdy support for the tube electrodes.

New base arrangement also simplifies stereo to Stereo layouts. The accom­ C hannel 2 panying diagram shows how the basing arrangement facili­ tates the design of an amplifier using the two to Stereo triode units for isolated Channel l stereo channels. For technical information, contact the RCA Sales Repre­ sentative at our office nearest you, or write directly to RCA Electron Tube Division, Commercial Engineering, Section E-9l-DE, Harrison, New Jersey. EAST: 744 Broad Street, Newark 2, N. J. HUmboldt 5-3900. MID-WEST : Suite 1154, Mercha.ndise Mart Plaza, Ch icago 54, 111. WHitehall 4-2900. WEST: 6355 E. Washington Blvd., Los Angeles 22, Cal. RAymond 3-8361.

• The Most Trusted Name in Electronics ~&: RADIO CORPORATION OF AMERICA ~®

6 t Progress Re1JOrt #1 jTom GarTard LaboratoTies

THIS E~PERIMENTAL TONE ARM WILL TRACK 40,000 MILES BEFORE WE UNVEIL IT FOR YOU The tone.arm on the Garrard you buy today was .once an experimental modelli.fs,e this one. Tracking thousands of miles. Running the gamut of ever more' exacting laboratory tests under the critical eye.s of engineers who have literally grown up in the Garrard tradition. That's why today's Ga1"rard equipment is the world's most advanced. Why, too, the exciting new ideas now on the testing tables will introduce dramatic new concepts in tomorrow's record playing. Now, as for 40 years, you can look to Garrard laboratories for the meaningful advances in the world's finest record playing equipm~nt. introducing the world's fore the 1000-cps tone was filtered_ (Per­ haps I should state here that harmonics are frequencies other than the one f ed into the amplifier. They are always multiples of the original, 01' fundamental, frequency. The first harmonic, 01' fundamental, is con­ l eollil BOUNTIFUL sidered to be the frequency in which we are interested-lOOO cps in this case. The second harmonic is 2000 cps, the third har­ monic is 3000 cps, and so on. In describ­ ing the test I could have said that all the first harmonic content of the signal ap­ pearing at the output of the amplifier is removed. All other harmonics are distortion since the note f ed into the amplifier did not contain harmonics or at least we hope that it didn't. In practice we can never get a source of tone which is completely free from harmonics, although oscillator distor­ tions of less than 0.1 pel' cent are r eadily the J ® obtainable. I do not wish to give the im­ pression here that all harmonics a re bad and unwanted. Musical instruments pro­ ore/co duce harmonics in addition to their funda­ (AG3400) mental tones to a greater or lesser degree, and it is in part, at least, by harmonic content that we can distingnish one musi­ cal instrument from another.) Probably the measurement about which MAINETa-DYNAMIC we have heard the most is that of fj'e­ DESIGNED to provide ultimate fidelity, stereophonic and mono- quency l'esponse determination. We feed in phonic . .. DESIGNED for highest vertical compliance . .. DESIGNED for a series of tones, all of which are at the same intensity. The output of the ampli­ instant compatibility with almost any system, any tone-arm . . . fier should reprodnce these with the same DESIGNED to completely safeguard the full fidelity of your records. relative intensity if we are to say that the Because of its extremely high vertical compliance, frequency r esponse of the amplifier is per­ the Nore1co Magneto-Dynamic cannot impair the fectly flat. To determine if this is true we quality of your valuable stereo records. Because of connect our same old resistor to the ampli­ its high output aqd the correspondingly lower gain fier; we also connect a good a. .f. voltmetel' demanded from your pre-amplifier, the Norelco whose characteristics are good to the lowest Magneto-Dynamic can be expected to eliminate the and to the highest tones in which we are problem of hum and noise in your system. Because interested. In other words, the meter itself the replacement stylus is completely self-contained must have a good - frequency response. with ~ts own damping blocks and self-aligning, you Meters for this purpose often carry a can, Ii you wish, change the stylus at home in a decibel (db) scale so that we can read the matter of seconds. response directly in terms of db without And these are only a few oi the abundant features having to convert voltage ratios into db. and advantages which combine to make the Norelco If the output of the amplifier is truly a Magneto-Dynamic the world's most bountiful stereo refl ection of the signal being f ed into the cartridge . .. ONLY $29.95 (including 0.7 mil dia­ input, the meter will not change reading mond stylus). For additional literature, write to: regardless of the tone being fed in. In North American Philips Co., Inc., High Fidelity other words, the intensity of the tone can vary and cause a change ill meter indica­ tion, but the frequency of the tone can P'OdU't~t 'ion, 23~ ' :okWillO, N. y ~~~NETO. change over a very wide range and should e produce no great change in meter indica­ tion. Another type of distortion measu I'ement in which we are interested is the squa1'e­ wave response of an amplifier. A square I; ,;~, ~~~C~~~E wave, because of its shape, is rich in har­ monics. If we fed a 1000-cps square wa.ve into our amplifier, we could see many har­ B monics. This measurement consists in de­ .~~ , termining how many of the harmonics con­ A taine£l in the square wave the amplifier is capable of reproducing. These are har­ monics which are introduced into the inzmt of the amplifier and are not produced by the amplifier itself. Note this fact in order to differentiate between this type of dis­ tortion and harmonic distortion. (Here r"o thin ~ods (A) c~mposed of a new platinum·cobalt alloy having ex· harmonics are intentionally introduced, and tremely hIgh coerclvlty, acting as armatures and diametrically mal' we are concerned with the amplifier's abil­ netlzed alon& their lengths are supported b, special butyl rubber ity to reproduce them in the same strength 'liearlngs and placed between two mu·metal pole pieces (8). The stylus (e) Is attached to a lever (D). Also attached to lever (D) are as they are contained in the original . vlscolold dampinl blocks (E) which are encased In a small metal sqnare wave. The amount by which the am­ clip that is Inserted into the housing of the cartridge. lever (II) Is plifier does not reproduce these square connected to the magnetic rods. by a W-sbaped couplinll body (F). waves ill a measure of this type of distor· Each half of th is coupling body can conduct stylus vibrations in one on only. In essence, this divides the overall stylus movement tion. No' standards have been set regarding its . two component vectors which correspond to th.- left and transient performance of amplifiers and channel modulations, and transforms these component vlbra­ other audio equipment) 10,000- and 20,000- Into ~ rotary movement of the corresponding magnetiC rod. rl0tatoons induce a varyinl flux In tfie mu metal pole pieces cps sqnare waves are commonly used. The h, n turn, induce signal voltages in the coil systems (G). output of the amplifier is loaded with the be specific advantages forthcoml~, from this s,stem Include' same resistor and with an oscilloscope. This emely high vertical compliance (more tban 3.5 x 111-5 em/drne): mely hllh output (mare than 30 my per channel at 10 cm/see) last instrument gives us a picture of the emely bleh chaanel separation (more than 22 db at 1.000 ke CPS); waves which are being reproduced by the I.. dynamic mass (2 mil. law st,lus pressure (3-5 ,rams) and vir. Iy no distortion. Frequen., respOll .. II flat trom 50 cps to ,. kc. • (Contin1te d on page 65)

4 AUDIO • MAY, 1960 SOulntR~fl SOulntR~ffll OUlntR~ DC

the tape ' that cost , . , to perfect! Soundcraft Tape with the new FA-4 \:~:::::y formula­ tion. Designed to meet the unlimited challenge of the most exciting new era in recording history! Only years of research ... and the most modern and advanced before ... the full frequency spectrum for perhaps the very tape manufacturing facilities in the world ... could have per- first time! fee ted this tape! Soun

Gr:at Pasture Rd., Danbury, Conn. • Chicago: 28 E. Jackson Blvd. REEVES. S0 U N 0 C RAFT CORP • Los Angeles: 342 N. LaBrea • Toronto: 700 Weston Rd. AUDIO • MAY, 1960 5 NOW YOUR BEST BUY IN LETTERS

SPEAKER SYSTEMS IS ... Loudspeaker Linearity SIR: I am indebted to Mr. Novak (LETTERS, March, 1960) for pointing out an error of mathematical interpretation in my article in the January issue. While this error, outside of itself, in no way affects any of the article's conclusions, it should be corrected. The gas equation P=KjV'·1 shows a non-linear relationship between air pressure and volume on two counts-the exponent 1.4, and the reciprocal relationship between pressure and vol­ ume. When the exponent becomes 1, as in the isothermal case, non-linearity due to the first cause disappears, but that due to the second remains. til My mathematical explanation, while correct as it applies to adiabatic VS. isothermal changes, covered only the first of these causes. On the other hand, the graphical explanation of the same conclusion, which employed successive blow-ups of Beranek's gra,ph of air non-linearity took both causes into consideration. The statement· from my article quoted by Mr. Novak, that with fiberglass "even the tiny amount of distortion associated with air non-linearity is not present," should be corrected by changing "is not present" to "is reduced." Perhaps it was the lack of practical significance of the vestigial distortion (no dis­ cemible changes in performance result from it) that allowed me to slip on this point. In any case, in the matter of vestigial distortion due to the air in an acoustic suspension system, I stand corrected. It has no significance, but neither is it zero. EDGAR VILLCHUR, Acoustic Research, Inc., 24 Thorndike St., Cambridge 41, Mass. Vertical Bases available

Another EICO top value in hi-fi - Many-Small-Speaker 'System unu ~ ually pure and full reproduction of very deep bass frequencies with normal efficiency in a ducted-port SIR: enclosure of only 21f. cubic feet! Both the HFS-3 and HFS-4 include~a I read with interest the article, "Hi-Fi Performance from specially designed , bellows-s uspen­ Small Speakers" by Charles F. Mahler in the December issue, sion , full-inch excurs ion Jensen "Flexair " 12" woofer (22 cps re s_) and a Jensen 8" mid-range speaker with high internal damping cone for smooth particularly since it suggested to me a possible solution to my response _ A Jensen 3lf2" cone tweeter is supplied in the HFS-3 for those problem of obtaining a speaker system of higher impedance w~o prefer a softer, '!lore delicate quality in the highs; a Jensen compression­ drover horn tweeter IS supplied in the HFS-4 for those who want more bril­ than is normally available. I am using an O.T.L. amplifier which liance and greater projection in the highs _ (In all other respects the HFS-3 would seem to work better into an impedance of slightly more and HFS-4 are identicaL) Both speaker systems have a system Q of 1f2 for flattest frequency and best transient responses _ Frequency response is than 16 ohms. essentially uniform (±5 db) from 45 to 14,000 cps . 16 ohms impedance. I question, however, the reasoning of the author in his state­ HWO: 26,¥s" X 137/s" x 14 5A1". ment: Smartly-styled matching ba ses optionally available for either vertical or hori­ "We know that a lot of air must be moved before we can hear zontal positioning of the enclosure. HFS-3 (includes cone tweeter) in unfin­ ished bir~h, $7~.~0; in walnut, mahogany or teak, $87.50. HFS-4 (includes horn these desira.ble low frequencies. Even though each speaker in tweeter) m unfmlshed brrch, $83.50; in walnut, mahogany or teak , $98.50. itself is ~oving only a fraction of air mass, the total air mass moved by all 32 six-inch speakers is quite impressive. A rough NEW 2-WAY HIGH FIDELITY idea of how much air we are moving might be obtained by cal­ SPEA.KER SYSTEM SEMI-KIT culating the piston surface of the whole moving system. . . . It HFS-5 . would take five 15-in. speakers to equal the piston area of our 32 six-in. speakers." BOOKSHELF SIZE I think this would indeed be a very "rough idea" of the per­ Complete with factory­ formance of the "total air mass" since the calculation is based constructed enclosure. Easy to assemble - no on area alone. Air mass to me would seem to be a function of gluing or woodworking volume. When the third dimension is added, the comparison necessary. could be a very different one. New techniques in loudspeaker engineering developed recently enable ' this Mr. Mahler states that the cone excursions must be "well bookshelf-size, 11f. cubic foot ducted-po rt enclosure to prov.i de remarkably within the linear portion of the magnetic gap or filL"':." If the clean , deep, smooth bass wit~ good efficiency. The HFS-5 includes a specially­ deSigned, bellows-s uspension , 5/S " excursion Jensen 8" (Flexair) woofer cone excursion of a single 15-in. speaker were five times that of and a Jensen ~lf2" closed back tweeter of exceptional quality. The Q of the each of the 32 six-in. speakers (as it might easily be), then it HFS-5 system IS 1f2 so that the speaker is critically damped when used with. would result in about a tie as far as air volume or air mass is any modern amplifi~r of normal damping factor (7-20). Critical damping gives the smoothest possible frequency response and the best transient response. concerned. Frequency response is essentially uniform (±5 db) from 52 to 14000 cps I merely bring up this point of mathematics. As with most ~6 ohm impe.dance. HWD: 24" x 12W' x 10". In unfinished birch', $47.50; 'm walnut, mahogany or teak, $59.50. reports on speakers, the hearing of the system is tbe test that Add 5%. in the West. HFSI Bookshelf Speaker System, factory-built is most positive. Mr. Mahler states that this system is a "remark­ cabinet $39.95. able performer." Perhaps it is indeed, but it doesn't seem sound HFS2 Omni·Directional Speaker System, com. to compare it to five 15-in. speakers . . pletely factory Mahogany or walnut $139.95. Blond PAUL R. SCHMITZ, Electronic Instrument Co., Inc • • 33·00 Northern B'oulevard • Long Island Cit, I, N. Y. 240 Oaklawn Ave., See EICO 's best buys in tuners and amplifiers on page 11 . Elmhurst, Ill.

6 AUDIO • MAY, 1960 AUDIO • MAY, 1960 7 cover that you no longer remember what tbe first one sounds like and you can start all over again. In his most headlong passages at the keyboard, Mr. Williams remains noncom­ mittal but the blend of piano and orchestra is very easy to take. Recorded during more than one session, the orchestra is led by a succession of conductors-Hal Kanner and lIiarty Gold. This may explain why the piano is hjlard in the right channel during some ~g HT------­ selections, in the left during others. Listening to Jane Morgan-but only when you have finished soldering-you may note that tape has a way of smoothing out her vowel sounds in a manner that reminds one of t he British songstress, Vera Lynn. These predominantly Latin love songs are sung in English and Spanish but the listener seldom ~ThNi~~ is able to forget that Miss Morgan r emain ~ , throughout the undertaking, an int~res tingly normal Anle l'ican girl. If you ' tOe willin g to CHESTER SANTO N':: place glamour above a search for a uthenticity, you'll like this engaging collection of songs ill which the vocalist, fortunately, was not al­ bring up the presence of the right channel to lowed to crowd the mike. that of the left. Adjustment of levels alone The symbol 0 indicates t he United does not restore complete balance in this case. Stereo Tapes 4-track 7 V2 ips tape Later stereo recordings by London exhibit bet­ Ray Conniff: Concert in Rhythm Vol. 2 number. When Mr. Santo.n has lis­ ter channel balance. When relegated to usage Columbia CS 8212 tened to the tape only, the tape as background mUSiC, this reel's length should prove qui te welcome. One of the complain ts Flexibility in a stereo preamp is not a lux­ number is listed first. Otherwise, the against two-track stereo was the playing time. ury when dealing with some of Columbia's pop corresponding tape number is fur­ Items short enough for the average budget releases. Engineering in Ray Connifi"s best nished by United Stereo Tapes. provided a relatively'-brief period of unin­ selling stereo albums-this is his eighth in terrupted music. This reel holds the contents the last two years-appears to be veering to· of two discs, giving side one the duration ward the low-price console market. This Con­ of two sides of a record. The twent y-four cert in Rhythm was geared to the assump­ ONDON RECOR'!lS, reversing a long-stand­ movie tunes offer fe,,,, surprises,. unless you're tion that playback in the home was going to ing position on the question of tape vs. one of the rare mortals still unfamiliar w ith be effective only to tbe viCinity of 10,000 cps. elisc, decided a few months ago to Mantovani's treatment of Three Coins in the I took sbelter in the NARTB position. Other L major labels, apparently -more optimistic about Fountain. The tape really spotlights the actual make its top recol'dings available on 7.5 current playback conditions, manage quite ips, four-track reels. News of London's plunl, of objects that could be COins as they strike the water in three locations--dead cen­ nicely with a reasonably fiat curve tbrough­ agreement with United Stereo Tapes re­ ter and then at each side of the stereo area. ou t a greater part of the hearing range. In polished the morale of everyone interested that way, tbey have little or no need for the in the future of tape as a home medium. echo Columbia introduces here in order ·to ob­ A few days before tile word l'eached the Stanley Black: Cash Bo x Instrume ntal tain presence. The rhythm section takes on a gbostly ring when tbe chorus and orchestra secondary circle of insiders, tape dealers Hits 0 LPM "'700 11 ; London 158 have their quiet moments. If you've beard in New York City were alrea dy tallying Ted Heath: Hits I Missed Vol. 1 of this series, you're partially prepared their future profits in Mantovani tapes. o LPM 70007; London 116 for the new and u rbane designs that Conniff fashions with a wordless chorus as he raids The prospect of more symphonies, con­ If the in it ial release is an example, it will certos, and operas by top artists could be t he opera house and concert hall. Mixing be some time before London artists of only voices and instruments in the writings of the shot in the arm that reel -to-reel has average popularity appear on theil' tapes. Puccini, Coward, and Lehar, he has evolved ~'hese best sellers are logical candidates to needed in the classical market. Pop fans, a homogenized sound that is unique in th~ who have never been starved for stereo re­ lead the parade. In all probability, disc sales industry. . leases from the earliest days of two-track will continue to be an important factor in the choice of material selected for release on tape. tape, can now roam in greener pastures. Neither of these gentlemen (nor Edmundo Ros How The West Was Won who is also prominent in the first release) can RCA Victor LSO 6070 STEREOPHON Ie be classified as unknown, in the field of popular RCA has farmed out the western balf of music. the country to an ouside producer-Project Mantovani Film Encores, Vol. 1 and 2 Close miking brings out blazing detail in Records, Inc. This is a West Coast outfit in o LPK 70003; London 124 and 164 the Stanley Black orchestrations. Holiday 101" which Bing Crosby has been taking more than St.·ings, Ap,-il in Po,-tugal, Blue 'Pango, and a fatherly intel"est. A wedding of popula r and Originally promised for release in the early other top bits sound fresh all over again. The follr talent, this recording is tied in wi th the weeks of 1960, the first London tapes ar­ harp is more prominent in t he shimmering series of articles on the Old West that ap­ rived in time for review in this fssue. Several arrangement of Ebb Tide. If you take the trou­ peared not too long ago in Dile magazine. questions occupied my mind when I unpacked ble to memorize the -topmost layer of sound The plan of the producer, Simon Rady, calls the first shipment. Would a four-track tape that issues from the Latin percussion section for a collection of songs actually used by the recording by London make possible a closer in DeUcado, you'll have a handy reference in­ pioneers. This two-record album, in its nine approximation in the home of the sound con­ dicating that all is well in the response of a sections, covers the days of t he first explor­ tained in their master tapes? The answers be­ stereo playbacl, bead. Other four-track tapes ers, the rancheL·s and Indian raiders, the Gold gan to tumble forth after the first dozen revo­ may have the range- covered in this particular Rush and the railroads in addition to the in­ lutions of the reel. On a wide-range system, selection but very few of them have the clean­ evitable desperadoes and cowboys. The cast the characteristic London sound is very much liness of sound, bas quite a contingent of Hollywood folk­ in evidence. A moderately experienced listener Tape does little to enhance the appeal of Bing Crosby, Rosemary Clooney, the John Hal­ will probably be able to spot a London tape the Ted Heath album. The sound is no better loran Singers and conductor Bob Thompson. blindfolded even when the artist Is not so than average, A good l ikeness of tbe ranks However, with the aid of Jimmy Driftwood well Imown as this one. My first move in play­ of a large dance band is preserved in the (can you top that Ilame for a folk singer?) back was a reduction of treble Similar to that stereo layout but some of the arra ngements and Sam Hinton, who- bring a more direct dictated by mouo Londou LP's of pre-RIAA are not up to par for the Heath folio. The authority to the old songs, mhlimum require­ days. (But then, my new ultra-narrow gap Twelfth St.·eet Rag, with its overtones of ments are met for home-spun atmosphere. Per­ playback head still gleams with a gem-like Spike Jones, is still rather hard to believe. haps the most vaIn able contribution is the flame.) Definition of the upper str ings is scholarship of John and Alan Lomax who slightly better than that found In the disc adapted and edited many of the songs. A lav­ version of t hese film hits. Particularly in high­ Roger Willi-ams: Songs of the Fabulous ish booklet, in color, offers paintings of pio­ level passages, the eighteen violins used in a Century 0 KT 45006; Kapp 5005·S (2) neer life. The producers deserve credit for the typical Mantovani arrangement show less ten­ measure of authenticity maintained in an Item dency to coalesce or "bleed" together on stereo Jane Morgan: Jane in Spain aimed at the widest audience. tape. With the banks of strings mostly in the KT 41016; Kapp 3014 left channel, many listeners may obtain a o more pleasing balance through use of dissimi­ The next time you're looking for "music Music From Million Dollar Movies lar rolloff of treble in the two channels. I to solder by," investigate this reel starring the RCA Victor LSC 2380 found that a smaller amount of treble rolloff qUiet pianist, Roger Williams. This twin­ in the right channel acted somewhat in the album is so bland in nature you can play it If the last word exists in big-orchestra re­ manner of a balance control. It helped to all evening during the connections of the cordings of current movie music, this may trickiest circuits. By the t ime you've finished well be it. There are several impressive fac­ the eight hundred tunes on the reel (six hun­ tors "going" for us In this Boston Pops re­ * 12 FOTest Ave., Hastings on Hudson, dred is probably a more accurate count- they lease. The newest of these is the one that will N . Y. just sound llke eight hundred) you may dis- (Continued on page 69)

8 AUDIO • MAY, 1960 Ie

.The New 6o-Watt : I I Stereo Receiver

HE NEW FISHER 800 is twice as sensitive as any other stereo receiver in the world-and at least 500/0 Tmore powerful! THE STEREO AMPLIFIER features the new, revolutionaryType-7591 power output tube, producing 60 watts of Music Power totally devoid of audible hum, noise and distortion! THE FM TUNER provides 1 microvolt sensitivity for 20 db of quieting, with the identical GOLDEN CASCODE front-end built into the FISHER tuners used by broadcast stations! THE AM TUNER delivers a signal of FM calibre, free of hiss and birdies. THE STEREO MASTER AUDIO CONTROL has 22 controls, including an exclusive, front-panel Center Channel Volume Control! Before you buy any stereo receiver,. protect your investment-remove the bottom cover from the 800 and any other stereo receiver_ Compare the immaculate wiriIlg assembly of the 800 to the others_ The difference will amaze you! No other receiver can $42950 match the quality, the finger-tip simplicity and grand-organ flexibility of the FISHER 800.

WRITE TODAY FOR DETAILED BROCHURE ON THE FISHER 800! FISHER RADIO CORPORATION· 21.29 44TH DRIVE' L. I. CITY 1, N. Y • .. ' 7 (

AUDIO • MAY, 1960 9 But the 78 is no longer "standard." The problem of compatibility is no longer a problem. It was beautifully managed, con­ sidering the mess back in 1949 and 1950 I Note the retirement steps that are simi­ lar to those involved in our new change­ over, from mono to stereo: (1). New equipment that would play both 78 and microgroove records very quickly became standard and ordinary, at a minimum increase in cost (even though prices of everything were going up)" Same thing today with stereo equipment: it is now generally available in all lines, top to bottom. Even without actual dual speaker outlets, the essential element of edward latnall.Canby compatibility, the stereo cartridge itself, is already virtually standard from top to 1. COMPATIBLE PRICING interchangeably, via the stereo-type car­ near-bottom. Also stereo-designed motors, tridge. arms, and the rest. I take a dim view of the new move to­ Virtually every phono cartridge line on (2) When the LP and 45 arrived, new wards It "compatible" .LP record, that will the market a few years ago has now been recordings were issued in alternative re­ play both stereo and mono, which is now redesigned for stereo playing. The entire leases, first in LP and 78, then later in agitating the inner circles of the record complex ficld of pickup manufacture has three forms-LP, 45 and 78. The availa­ business. "converted" to the new standard, and with bilities varied according to need; as the It's not that I am skeptical of its suc­ a technical success that would have seemed relationship of the 45 to the LP was clari­ ·cess, purely technically_ I don't doubt that beyond belief only two years ago. Model fied, classicals were mostly on 78 and LP, with a very small compromise in stereo for model, the ne~~ereo pickups equal or pops 78 and 45. Speaking generally, the effect a record can be cut that will play exceed playback st'fiii'ifards of the late mono same is true today in respect to mono and on a mono machine with reasonable safety_ period. stereo. The dual release is widely prevalent, This is water under the bridge; it has been Virtually every existing older phono­ with emphasis on one or the other type ac­ done before_ But at a time when confusion graph that is capable of playing an LP cording to the situation. aRd misunderstanding of the value of record can be made compatThle via a re­ Note again that in both of these periods stereo itself are at a maximum, this new placement cartridge-and will probably be of multiple-form release, compatibility has injection of more potential confusion seems improved in the process. You can have a been achieved basicaUy through the play­ to me unfortunate_ I also feel that it opens compatible cartridge for as little as a dol­ back equipment, not through the records the way for a host of marginal, irresponsi­ lar or so, if you want a bargain. You may themselves. ble, semi-stereo records that will merely not get super-sound, but you will get com­ But now look at some striking differ­ add more doubts to those so dismally evi­ patibility. ences. dent already. For stereo's own sake, I say In effect, the phonograph cartridge, and no_ . (3) LP and 45 recordings ' were issued hence the phonograph. itself, in all its from the beginning at prices equal to or There is a much more important alterna­ forms hi and low, is now already compati­ below that of the old 78, and this in spite tive step that is by now almost screaming ble to all intents and purposes. Only the of a painfully high expense involved in the for a trial. Compatible pricing_ That is, sluggish confusion of stereo itself, the mess dual and triple processing-three sets of equal pricing of stereo and mono records. occasioned by speaker compromises, igno­ masters, three types of album and packag­ Get rid of the crippling stereo surcharge! rance, false and .faulty exaggerations, ing. The assumption was, of course, that This is the big thing we need most, I holds back this compatibility process from this would not last long-and it didn't. think. It should be put into effect even if completion-aided, of course, by the stereo During the period of alternative releases, it means a modest rise ill the price of some disc surcharge, a heavy drag. however, public confidence in the new-type or all·mono discs, to meet the stereo price discs grew steadily, in spite of violent LP- halfway_ Competition, fair, open and equal, The 78 Bow-Out 45 competition. First, the machines were will event~ally take care of that rise if compatible, would play anything. And, sales justify it. But above all, and quickly, Let's look backward, for enlightenment, second, the new records were favorably let's put stereo recQrding into the "stand­ at another recent major transition, that priced. What else could you ask for' ard" category, take it out of that deadly from the 78 rpm "standard" disc to the - Wbereas the stereo disc from the very de luxe area, where it has no business at new microgroove speeds and groove. That beginning has been saddled with a grossly this late date. transition is now safely accomplished, unfavorable surcharge, publicly justifiable The . plain fact is that stereo was intro­ though the 78 is still with us. How was only in the period of immediate innova­ duced deliberately to supercede mono, as the all-important "compatibility" managed tion. Worse, where the LP and 45 had the 45 and LP were intended to super­ in that situation' immediate and dramatic advantages to cede the 78. Compatibility, as always, is A compatible LP-78 record was obviously offer-remember the huge pile of 78 al­ basically a holding action, to help the tran­ out of the question. So compatibility was bums standing beside the tiny stack of sition in the initial stage. The transition achieved-as now-via playback equip­ equivalent music on LP'-the stereo disc was never meant to go on indefinitely­ ment, not via the record itself. We had a looks just like the ordinary LP, comes in or receive a belated shot in the arm, too really terrible problem--· then, what· with the same package and, alas, too often late. That's what a "compatible" record two quite different stylus points and three through bungling and misunderstanding, will do now. different speeds. There was, even then, some sounds just like an ordinary record. The continued stereo disc surcharge says oversimplification (and resulting confus­ clearly just the opposite, and says it where sion)-the "all-groove" needle, for exam­ it hurts, in terms of cash. Stereo, says this ple. But fortunately, wiser procedures pre­ Do It Now extra charge, is still a de luxe specialty, vailed in the main; the equipment sold to an '~extra" (and for most people of un­ the public fitted the needs of the time, It seems to me only too evident, right proved value). The mono disc is still clearly however zany we .may have thought it at now, that the st?reo-mono price difference "standard." first. Three-speed changers and turnover should have dtSappeared after a few How can stereo ever replace mono as the pickups seemed grotesque, but they did month.~ at the most. Say, by early 1959. intended new standard, as long as this provide the vital playback compatibility Hindsight is better than no sight! artificial price barrier, this class distinc­ that made possible the steady and assured Then, with compatible playing equip­ tion, continues to block the transition' retirement of the 78 as "standard." The ment on sale everywhere, the new-type disc old record made a gracefully slow exit and would have had a solid basis for the pre­ Compatible Playback has been retiring ever since with admirable ('ious growth of public confidence. If the decorum, though tQ this day it is still alive two types cost the same-people should The plain fact is, emphatically, that in a modest way. We still, to this day, have have been saying, all this time-then why stereo compatibility stems not from the 78-LP playback compatibility. To this not try stereo' Might just as well. And record but from the pickup cartridge. moment, most home machines provide for this is just what people would have done, Virtually all new phonograph equip­ 78 playing, thrown in, so to speak, on the in droves, I assure you. ment, of all grades except the very bot­ house; Ilnd you can play 78's on any grade Considering the surcharge on stereo tom, is already fully compatible-both of component hi 1i you may choose, if you records and the public's extreme doubt as stereo and mono records may be played so desire. . to stereo's true value, I think it's amazing

]0 AUDIO.. MAY, 1960 3·Way Speaker System HFS3 2·Way Bookshelf Speaker Systems 100W Stereo Power Amplifier HF89 HFS5 and HFS1 70W Stereo Power Amplifier HF87 28W Stereo Power Amplifier HF86 Stereo Integrated Amplifier AF4tt

• Exclusive advanced systematized engineering FM Tuner HFT90: Prewl red, prealigned, tempera· HWD : 24", 12lf2", 10'12". Unfinished birch $47.50. • Lastest and finest quality parts ture·compensated "front end" is drift·free. Pre· Walnut, mahogany or teak $59.50. • Exclusive "Beginner· Tested" easy step·by· wired exclusive precisi on eye-tronic® travel ing HFSI Bookshelf Speaker System complete with step instructions tuning indicato r. Se nsitivity: 1.5 uv for 20 db factory·built cabinet. Jen sen 8" woofer, match· • Exclusive TRIPLE quality control qu ietin g; 2.5 uv for 30 db qU ietin g, full limiting ing Jensen co mpression·d river exponential horn • Exclusive LIFETIME guarantee at nominal cost from 25 uv. IF bandwidth 260 kc at 6 db points. tweeter. Smooth clean bass; criSp extended IN STOCK - Compare, then take home any EICO Both cathode follower & FM· multiplex stereo highs. 70·12,000 cps range, 8 ohms. HWD: 23" equipment - right " off the shelf"- from 1500 outputs, prevent obsole scence. Very low distor· x 11" x 9". Price $39.95. tion. "One of the best buys in high fidelity kits." neighb.orhood EICO deale rs throughout the U. S. HFS2 Omni·Directional Speaker System (not iIlus.) and Canada . - AUDIOCRAFT . Kit $39 .95 *. Wired $65.95*. Caver $3.95. 'Less cover, F.E.T. incl. HWD : 36", 15 1/4", 11112". "Fine for stereo" - HF81 Stereo Amplifier·Preamplifier selects, MODERN HI·FI. Completely factory·built. Mahog· amplifies, controls any stereo source & feeds it AM Tuner HFT94: Matches HFT 90. Selects "hi-fi" any or walnut $139.95. Blond $144.95. thru self'contained dual 14W amplifiers to a pair wide (20-9000 cps @ -3 db) or weak-station narrow (20·5000 cps @ - 3 db) bandpass. Tuned New Stereo Automatic Changer/Player: The first of speake rs. Provides 28W monophonically. & only LUXURY unit at a popular price! New Gan ged level controls, sepa rate bal ance control, ·RF stage for high se lectivity & sensitivity. Pre· ci sio n eye-tronic® tuning. "One of the best unique engineerin g advances no other unit can independent bass and treble controls for each offer regardl~ss of price: overall integrated channel. Identical Wi lliamson·type , Dush · pull available." -H I-FI SYSTEMS. Kit $39.95. Wired $65.95. Incl. cover & F.E.T. - design, published frequency response, stylus EL84 power amplifiers. "Excellent" - SATUROAY pressure precision·adjusted by factory. advanced REVIEW. "Outstanding •• • extremely versatile." New FM / AM Tuner H~T92 combines renowned design cartridge. Compact: 103/4 " x 13". Model - ELECTRONICS WORLD. Kit $69.95. Wired EICO HFT90 FM Tuner with excellent AM tuning 10070: 0.7 mil diamond . 3 mil sapphire dual $109.95. Incl. cover. facilities. Kit $59.95. Wired $94.95. Incl. cover stylus - $59.75. Model 1007S: 0.7 mil & 3 mil HF85 Stereo Preamplifier: Complete master & F.E.T. sapphire - $49.75. Includes F.E.T. stereo prea mplifier-control un it, self-powered. New AF·4 Economy Stereo Integrated Amplifier Distortion bord ers on unmeasurable. Level , ba ss, provides clea n 4W per chann el or 8W total out· & treble controls independent for each channel put. Kit $38.95. Wired $64.95. Incl. cover & F.E.T tShown In optional Furniture Wood Cabinet or ganged for both channels. Inputs for phono, HF12 Mono Integrated Amplifier (not iIlus.): Com· WE71 : Unfinished Birch, $9.95; Walnut or tape head , mike, AM , FM, & FM -multiplex. One plete "front end" faci lities & true hi-Ii perform· Mahogany, $13.95. each auxiliary A & B input in each channel . ance. 12W continuous, 25W peak . Kit $34.95. ttShown in optional Furniture Wood Cabinet "Extreme flexibility ••• a bargain." - HI·FI Wired $57.95. Incl. cover. WE70: Unfinished Birch, $8.95; Walnut or REVIEW. Kit $39.95. Wired $64.95. Incl. cover. New HFS3 3-Way Speaker System Semi-Kit com­ Mahogany, $12.50. New HF89 1000·Watt Stereo Power Amplifier: plete with factory·bu ilt 3/4" veneered plywood (4 . Dual ·50W highest quality·power amplifiers. 200W . sides) cabinet. Bellows·s uspen sion, full-inch ex­ A-5 peak power output. Uses superlative ultra·linear cursion 12" woofe r (22 cps res .) 8" mid-range 1 EICO, 33·00 N. Blvd., L.I.C. 1, N. Y. connected output tran sformers for undistorted speaker with high internal damping cone for Show me how to SAVE 50% on easy·to·bulld response across the entire audio range at full smooth response, 3'/2" cone tweete r. 21J4 cu. ft. I power, assuring utmost clarity on full orchestra 1 top-quality HI·Fi. Send FREE catalog, Stereo Hi·FI du cted-port enclosure . System a of '/2 for 1 Guide plus name of neighborhood EICO dealer. & organ . 60 db channel separation. 1M distortion smoothest frequ ency & best transient response. 0.5% at WOW; harmon ic distortion les s than 10/0 32·14,000 cps clean , useful respo nse. 16 ohms I Name ...... from 20-20 ,000 CDS within 1 db of WOW. Kit Impedance. HWD: 261J2", 137/8", 14"A!". Un­ $99.50. Wired $139.50. finished birch $72.50. Walnut, mahogany or teak 1 Address ...... HF87 70·Watt Stereo Power Amplifier. Dual 35W $87.50. I City ...... Zone ...... State ...... power amplifiers identical circuit-wise to the New HFS5 2-Way Speaker System Semi-Kit com· 1 ______superb HF89 , differing only in rating of the out· plete with factory·built 3/4" veneered plywood put transformers. 1M distortion 1 % at 70W; (4 sides) cabinet. Bellows·suspension, %" excur· harmonic distortion less than 1 % from 20-20 ,000 Li ste n to the ErCO Hour. WABC·FM, N. Y. • 95.5 slon, 8" woofer (45 cps . res.), & 31/2" cone MC, Mon. to Fri. 7 :15-8 P.M. , Sat. 11-12 P.M. cps within 1 db of 70W. Kit $74.95. Wired $114.95. tweeter. I lf4" cu. ft. ducted-port enclosure. Sys· HFa6 28·Watt Stereo Power Amp. Flawless repro· tern a of 1f2 for smoothest frea. & best transient © 1960 by ErCO, 33·00 N. Blvd ., L. I. C. I , N. Y. duction at modest price. Kit$43.95. Wired $74.95. resp. 45·14,000 cps clean, useful resp. 16 ohms.

AUDIO • MAY, 1960 11 that stereo discs have sold as well as they source for potential confusion and for dis­ have so far. honesty, yet an all-over "V.ariable Stereo" An immediate price· equalizing can still disc, as I've suggested for the future, quite pump life and enthusiasm into stereo, and OK' Yes, for there is a vital difference. you may forget all about the "compatible" The "compatible disc" as now understood record. As described in this column before is a compromise, variably so, intended to the stereo disc was even marketed, the free make stereo records playable via mono price interchangeability between the two pickups. That means a compromise in the types, given all·stereo pickups, would reno vertical response that is basically deter­ der ~he whole question of compatibility mined by the old-type pickup. It ties the meanmgless. "compatible" record not only to an obso­ Equalize the price of stereo and mono lete type of pickup, but also to a mechani­ records, and compatibility will come of its cal consideration that is entirely extra­ own accord and in its own way. You may musical. At its very best, it is bound to be ~:lUild any degree of stereo difference·signal a compromised record-though Columbia's mto your record that you may see fit­ ASRA "compatible" record of 1958 was, from none at all to the ma.ximum-and the to my ears, virtually undetectibly com­ product will sell legitimately at the one promised. standard price. At worst, the compromise in favor of In the end, as suggested by me 'way the mono stylus can be seriously detrimen­ back, the mono·and·stereo dual release wm tal to the stereo effect. Still worse-the simply fade away. Remember my mock·up "compromise" record may be virtually non­ ad, suggesting how a record company might stereo. Who is to say where the dividing introduce a great, new advance in record· line is' Who is to "police" the variably ing technique, Variable Stereo~ (See compatible discs, to weed out the fakes AUDIO, October, 1958, p. 97). that are 100 per cent "compatible"-i.e., Now I'll admit that I've simplified some with no stereo component at alII Never aspects of the situation, in favor of the forget that every mono record is a highly broad viewpoint. The conversion to stereo "compatible" -disc. Ther e- are very serious did cost plenty and that cost must be paid dangers here that can't be put aside as long off somehow. Reducing stereo prices isn't as stereos and monos carry different prices. as simple as lowering the price of, say, a When Columbia first put forward its ball·point pen. That amazing innovation, ASRA scheme, so quickly withdrawn when that sold for $13 or so at first, was inher· opposition to it became excessive, I was ently inexpensive to produce and inherently enthusiastic. I was convinced then, and re­ a mass seller; the price could come down main convinced, that with real ingenuity, fast, and did. I don't mean to suggest that and with high-minded responsibility, a com­ re·pricing the stereo record is as easy as patible stereo disc is quite feasible in which rolling off a ball point pen. the vertical component is selectively re­ Nevertheless, the time has come to for­ duced by enough to make the elisc playable get the higher price and look to larger via most mono pickups, yet the essential horizons. How many ball point pens would stereo message is retained in full, or so you sell now at $13 apiece' nearly so as to be undetectibly reduced. I I would not dare guess whether the con­ felt that Columbia's skill in just that sort version to dual stereo-mono releasing has of thing was a strong point in favor of a been more costly than our earlier conver­ compromise of maximum usefulness- and I sion to 78-45-LP simultaneous release. At came out in favor of it, at that stage. this point I can't see that it matters. If But not now. When ASRA was demon­ something isn't done about the stereo rec­ strated, there were no stereo records at all ord's present cost vs. the mono, the entire on the market. There were very few stereo investment will have gone down the drain. pickups commercially available and, at that For a while, the public can be expected to point, the quality of their performance was understand and tolerate an extra surcharge much in doubt. Suppose that your old mouo on a new and special product such as the records sounded worse via the new pickups stereo disc. But not now, not after so long! than via the old ~ Should you junk a per­ Everybody knows that now almost any fectly good mono pickup and perhaps jeop­ recording is "available in both stereo ancl ardize the sound of a whole library of mono," everybody knows that both types standard LP's in order to be able to play can be had at all sorts of devastating dis­ the handful of new stereo discs that would counts, and that many a stereo demo spe­ be available in the then nea r - future~ cial is sold, apparently with profit, at the That, at least, was the buyer's point of low, low prices printed right on the label. view in the spring of 1958 and it wasu't We are all aware, especially, that the two any laughing matter, either. A "compati­ types are now part of one operation, one ble" stereo disc would at least have soft­ continuing production overhead, and any­ ened the more painful aspects of the early body with common sense realizes that the stereo stage. Buy the new stereo discs as cost could just as well be split evenly as they appeared, play them on your old pick­ not. Why not! up for safe and secure sound-though Maybe people don't think this con­ mono. When and if the stereo pickup was sciously, but you can bet that it floats developed to a point of real quality, match­ around in their brains, ready to pop out ing the then mono units, you co uld retire at any time with a great whoosh of ap­ your mono cartridge for good and play proval, the very moment stereo discs are everything via the new cartridge. An excel­ priced with mono discs. That will do it! lent idea- at the time. ~. But things are utterly different now. The So I suggest that right now is the crucial quality of the stereo pickup is entirely CI) time for something dramatic, a major secure, as compared to the mono. No ex­ breakthrough in simplifying the stereo pic­ cuse at all now for any sort of major com­ ture-and the breakthrough is EQUAL promise in the disc itself. PRICING. It is not the "compatible rec­ So, I say, the "compatible" stereo disc ord," which has been tried at least twice would have been an excellent idea in 1958, -- before and is guarlMlteed to add confusion OJ) if everyone had gone into it from the be­ = to confusion, still further to undermine ginning. This is exactly what would have confidence in stereo sound (by suggesting happened, indeed, except for two dismally =C) n:s even more devastatingly that there really unfortunate circumstances. isn't any difference), and, in the end, open Columbia plugged compatibility but RCA ~ legitimate stereo to every imaginable de­ = >- E gree of modification, dishonest or no. u -- Is a "compatible" stereo-mono record a (Contimted on page 42 ) 12 AUDIO • MAY, 1960 Plastic Microphone and .Shielded Power Supply Cables Offer low capacitance, lighter weight, smaller diameters, long flex-life and high tensile strength. Resistant to oil and ozone.

Rubber Microphone and Shielded Power Supply Cables Abrasion and impact resistant. Limp-lie flat on studio floor. Offer long flex-life plus high tensile strength.

Broadcast Audio Cables Drain wire and shield isolation eliminate current loops. Free stripping jackets, fast shield termination, and the complete line small diameters reduce installation time. Available with variety of insulations and diameters. of wires and cables --i.... ·· . ~1. :. for every broadcast, studio application 75-0hm Video Cable For high-quality video signal transmission in color or black and white. 100% Sweep tested.

Belden cables are designed, application:'engineered, and produced to meet the specialized demands of TV and radio broadcasting, recording studios, remote TV Camera Cables control circuits, and similar applications. For color and black and white TV transmission. Lightweight, small diameters, low friction coefficient, : maximum flexibility. 82 CONDUCTOR COLOR CAMERA CABLE 28 CONDUCTOR CAMEHA CABLE Belden cables are available in a wide range of convenient lengths. 24 CONDUCTOR CAMERA CABLE 13 CONDUCTOR TV EYE CABLE

For complete specifications, ask your Belden electronics jobber. Belden WIREMAKER FOR INDUSTRY SINCE 1902 8·1·0 CHICAGO

AUDIO • MAY, 1960 13 AUDI'OMAN NO.' 8 Beginning as a "ham" in 1918 and adding audio as a hobby in 1921, Fred W. Scholl, Jr. oJ Lancaster, Ohio, may be one of the earliest on record-but very little was "hi-fi" then.

ITH A "PLAYI;G ESK" that is actu· ally a desk constructed for the pur· Wpose and a built in loudspeaker and TV set to a conveniently located door, Fred W. Scholl, Jr. likes comfort and accessibil· ity. Even the phono turntable is built into a Chinese cabinet alongside his favorite arm· chair. The playing desk- a common term in England, but rarely encountel'ed in the U.S.-resembles an office fixture, but it is obvious that it was built for one specific purpose. The top accommodates two Mcln· tosh preamps- CS and CSS- a Fisher 90-X FM tuner and MPX·IO multiplex adapter, ACRO'S PREAMPLIFIER a Hamma1'lund arp.:)..teur receiver, the reo A ne w · all feedback preamplifier with low mote control for the Fleetwood TV set, and no ise, 2 MV referred to phono input, high a Concertone 1051·D tape recorder. For gain , 60 DB phono and tape, and low distor· tioij, 0.15 % 1M for 1.5V out. Extra features phono he uses a Pickering Gyropoise 800 include individual bass and treble controls, turntable with a Weathers- C·501 stel'eo rumble and scratch filters, phase swi tch, third pickup on a Weathel's arm, and the louel· channel ou tput, light matrix, and exclusive speakers are both -Altec- an 604·C built Mic. Dub sw itch. Supplied with two low noise 7199 pentode/ triode, two 7247 dual triode into the door under the TV set, and a tubes .. · .. · .. ·...... · .... ··...... · .. ·...... ··...... ·$69.50 Montel'ey for the right channel. F or re­ cording he uses Shure microphones. Since Lancaster is some 30 miles f rom ously since the early '30's- Mr. Scholl was Columbus and over a hundred from either kind enough to say that AUDIO'S articles Cleveland or Cincinnati, ·with all three at were contributory in widening his scope widely differing points of the compass, Mr. and background in high fidelity matters, Scholl uses Yagi TV and FM antennas on and he is an avid reader of Edward Tatnall a rotator.- the control is to be seen under Canby. He is mechanically adept at all of the lampshade. The high gain of the Yagi the skills required for following audio as 9. gives him excellent F M signals. hobby-cabinet work, wiring; trouble-shoot· I n the course of his normal life, Mr. ing, ancl so on. Scholl is called on by friends, neighbors There are many hobbyists throughout the ACRO'S ULTRA LINEAR II AMPLIFIER and relatives for advice and guidance with country whose interests in music reproduc· This famous 60 watt ba.sic amplifier has long their high fidelity problems, and he will· tion lead them into high fidelity for the been a favorite . of discrimihating audiophiles. ingly helps them in the select ion of com· pleasure it provides for the entire family, Acro perfected Ultra·Linear circuitry has been comb ined with a unique feedback system to ponents for their own systems. H e estimates and Fred's wife Jeanne and his 19-year·old provide an amplifier with unusually low I dis· that he has helped over a hundred this way, Bennett college st udent daughter Martha tortion, superior feedback stability, and finest and he has been instrumental in the over·all J eanne both derive, considerable entertain· transient performance. Construction time is design and planning for some f orty others. ment from his hobby. Why not start think· only two hours. Suppl ied wi th two EL·34 out· pu t tubes , one 12AX7, one 12AU7, and GZ34 A long·time AUDIO reader- he was a sub· ing about getting some recognition to your rectifier ...... ·.. · .. ··...... ·· .. ··.. .. ·.. · .. ··$79.50 scriber to our predecessor Radio continu- hobby for next year's group of Audiomen1

ACRO'S STEREO 20·20 AMPLIFIER A two channel stereo amplifier which provides a full 18 watts in ea ch channel , or a total of 36 watts of low distortion stereo in your iis· tening room. Distortion is only 1.5 % 1M at 18 watts per channel , 0.5% at 16 watts. Ex. cellent square·wave and transi ent perform· ance. Suppl ied with four EL·84 / 6BQ5 output tubes, two 12AX7 driver tubes . Finest per· formance and .lowest price for a dual amplifier. $69.50 write lor inlo~mation to: ACRO PRODUCTS CO. '410 Sl-iurs Lane, Phila. 28, Pa., Dept. AUD.5 .. Aero " " ., .the first name in audio!

14 AUDIO • MAY, 1960 THE PEERLESS K·241·D (20·20 Plus) INPUT TRANSFORMER The K-241-D is a 20-20 Plus transformer of comparatively small size iri relation to its performance characteristics. Its primary balance places it in a class with repeating coils (See Chart C) . It is magnetically shielded to 90 db. The following charts show its superb performance. They demonstrate the quality of P eerless which can help solve your input t r ansformer problems.

DIAGRAM A-Frequency Response K·241·D Frequ ~r\'cy response curves for four oper· .. I-- ating conditions, divided into two parts. The first shows response at maximum rated power level with the transformer 11111111111 terminated resistively and unterminated. : ~ fl-j Th~ same conditions of operation are shown in the second part except for the - 60 dbm level which is representative of microphone output. Extreme perlormance i~ stability is illustrated by these frequency reo " .... I-- sponses taken at widely different power levels and under two extremes of operations; that is, with open cir· ." cuited secondary and with fully loaded secondary. Performances 11111111111 between these extremes 'are within the illustrated limiting,curves . . ' ;;r-ft " 5 6 7 8 9 1 10 0 10000 .. FREQUENCY IN CYCLES PER SEC OND --.,;.---- TERMI NATED ------UNT ERMINAT ED

D IA GRAM 8- Harmonic Distortion K-241·D , Distortion characteristics are shown under , three conditions. \ a a. Input at + 8 dbm, secondary open circuited o b. Input at + 8 dbm, secondary resistively 5 67891 3 4 5 67891 .l100 l l l l l l l lllll ~ H terminated I~ , , C. Input at a dbm, secondary resistively FREOUE NCV IN CYClES PE R SECOND ".J. .. ~ terminated D I A G RA M C - longitudinal Current Cancelling Characteristics of .. d. Oscillator residual distortion the K·241·D d The attenuation of longitudinal currents, measured on the 600 ohm input connection is shown in db below the relative steady­ " 5 6 7 8 9 1 state transmission level.

FR EQUENCY IN CYCLES PER SECONO Frequency response is guaranteed on all 20·20 plus transformers ··Max. ' Impedance, Ohms Primary DC Mil Dimensions, Inches Weight Net Descriptive Data level Primary Secondary Max. Unbal. Height , Depth Width Lbs. Price

Frequency response, ± 1 db : 10·25,000 cps. + 8 500·280· a 23/4 llh 2 f $30.00 Primary balanced to attenuate longitudinal dbm 125-31 70,000'" currents in excess of 50 db. Secondary may or - or be used single ended or in push·pull. Has 2 600·340· 84,000' " secondary windings with balanced capaci· 150·3T.5 tance to ground. Electrostatic shield is provided between primary and seconda~y . ,Has 90 db electromagnetic shielding. Insertion loss 11/4 db. Transformer will operate into open circuit or resistive load. Frequency response down less than 1 db at 15 KC, when operated into resistive load shunted With 120 MMFD, capaCitance. High power rating makes translormer suitable for use as output transformer. 'This transformer may also be used.as a bridging transformer. " Maximum operating level, 1 mw relerence. Complete application data in each packing box. '" Impedance is total of two separate windings.

, Available only thTough authoTizedPeerless distributors. 12-68

Sinc'e 1935, Peerless. has designed and manufactured transformers of high· two, and three·phase or phase·changing configurations. Construction cate· est reliability to exact specilications for electronic application. Peerless­ gories cover ·the entire range from open-frame construction to potted, pioneers in size-reduction - established industry standards lor ruggedness hermetically-sealed and vacuum-impregnated units. Peerless transformers of packaging and reliability of sealing. ' can be varniSh-treated, fosterited, epoxy or silastic·impregnated and en­ Peerless is the leader in the design and production of broadband trans­ capsulated . Hermetically-sealed un its can be compound, resin, mineral or formers. silicone oil·liled. , ' Tf~Q,sformers engineered and built by Peerless include l units Irom '/6 of What !l.ver your transformer needs , Peerless engineers can design to any a cubit: inch to r'ndr~ ·than 8 cubic feet ; Irom fractional voltages to 30,000 ; given' military or' commercial specifications, and manufacture in any qua~­ from less than one cycle to approximately a 'half megacycle, and in one , lity. We invite your inqUiries.

Division of ..'

AUDIO • MAY, 1960 15 EDITOR'S REVI EW

LOW-SPEED TAPE SYSTEM S ago has not completely taken over the tape recorderj reproducer market yet, even though there are at least HERE HAVE BEEN RUMORS and rumors of rumors two manufacturers who make equipment for it, and about a new tape system which was being devel­ some tapes-not a large catalog, to be sure-are avail­ T. oped jointly by Minnesota Mining and Maufac­ able. In any case, the 7ljz-ips reel-to-reel system has al­ turing and CBS Labs, and there have been several ready achieved a large degree of acceptance, and more showings of the device to the trade within the past and more tapes are being made available every month. few months. Mr. Canby has hinted at it, and in the The Magnetic Recording Industry Association has April issue he surmised that it would be announced taken the stand that its members will continue to pro­ soon, perhaps in June. Actually it was first presented vide 4-track reel-to-reel equipment and tapes" as long to the pUblic- to all intents and purposes, although it as there is a market." Just what this phrase means, was at the IRE show-in the middle of March. we cannot be sure, but we hope it was just a poor In order to present this information to AUDIO read­ choice of wording rather than a hedging statement. ers direct" from the horse's mouth," we have secured How many users does it take to constitut.e a "mar­ the article beginning on page 19 from CBS Labs. It ket" 1 Manufacturers cannot be expected to maintain is authored by Dr. Peter C. Goldmark and others of a constant source of supply for a market of, say ten the Laboratory staff and is, we believe, a thorough and people, just as one doesn't expect to buy :film for a excellent description of the new system and the equip­ camera type which has been obsolete for years or, more ment used. There are many interesting innovations in to the point, cylinder records for one's perfectly good the tape player, and the job has been most thorough. Edison phonograph. They have even developed a new reproducing curve Ampex also came out with an annou,ncement stating for the slower and narrower tape. But it is not yet on their position and pledging-both for itself and for its the market, nor does Dr. Goldmark indicate that it is subsidiary, United Stereo Tapes- a "continuing flow expected to be in much less than a year. of equipment and 4-track tape to serve" the still­ And now we come to the reason for this comment. growing 7ljz-ips reel-to-reel market. Furthermore, While we feel it a duty to report on all new develop­ "Ampex will devote every effort to bring about in­ ments as soon as possible after they are "leaked" to dustry-wide standardization on a cartridge concept, the public, we feel that the confusion engendered by both through its own research and development and premature announcements of this nature is not good through close co-operation with the rest of the indus­ for the industry, and not good, actually, for the con­ try, " and when the cartridge concept is standardized sumer. they will serve both markets on the assumption that The prime example of this sort of lack of foresight the two concepts will serve basically separate markets. was the announcement of stereo discs several months We can only agree with Ampex that "for the con­ before (1) there were any such records on the market venience-minded buyer, the cartridge holds great and (2) before there were any stereo pickups to be promise," and that" for the discriminating, quality­ had. What was the effect on the record and equipment conscious listener, the reel-to-reel concept will con- markets? Practically everyone stopped buying any­ tinue to offer unparalleled superiority." . thing at all-records or equipment. They seemed to If a new tape is required to make the l%-ips sys­ think that suddenly there would be a flow of stereo tem work satisfactorily, why couldn't the same tape records and equipment and until then they would just be used to still further improve the performance of wait. This reminds us of the man who says he wouldn't the 7lj2-ips system 1 'l'his would seem to be the logical buy a gas turbine automobile because they are not yet step . . perfected and yet he won't buy a car with a conven­ We do not hold that anything is automatically better tional engine because they might perfect the turbine because it is cheaper-or, in more elegant terms, more soon. economical. Weare, possibly, skeptical, but we do not When announcements of this type are put before presume to prejudge the new system this far in ad­ the public, the natural reaction is to wait until the vance of its actual appearance. Nor was that the point new device.is ready. No one knows for sure yet how of these lines-all we were trying to get across was well the system will work with production models, al­ that industry should keep quiet about its new products though it does appear to work perfectly with hand­ until they are actually ready for the public to buy. built models. We do not mean to indicate that it is The automobile industry follows this precept reli­ not capable of being perfected in the foreseeable fu­ giously-no information is put out about next year's ture-only that it is not now here and that we do not line until the official unveiling throughout the country. know when it will be available. The four-track reel-to­ And the automobile industry has been a ve1'y suc­ reel cartridge introduced by RCA almost two years cessful one in spite of the many abuses heaped upon it.

16 AUDIO • MAY, 1960 lore ... so much more for eveJ;Yone ... for every

application ... in th.e complete Hne of

·Stanton Stereo Fluxvalves*.

Here is responsible performance ... in four

superb models ... for all who Qan H~ar the

difference. From a gentle pianissimo to a

resounding crescendo - every movement

of the stylus reflects a quality touch pos-

sessed only by the Stereo Fluxvalve.

STANTON Calibration Standard: Model 381 - An ultra-linear professional pickup for recording channel calibration, Collectors Series: Model 380-A pre­ Pro-Standard Series: MK II-A pro­ Stereo Player Series: Stereo 90- radio stations and record evaluation cision pickup for the discriminating fessional pickup outstanding for A fine quality stereo magnetic pick­ by engineers and critics . .. from record collector . . . from $29.85 quality control ... from $24_00 up for the audiophile .. . $16.95 $48.00

LISTEN! _. _and you will agree Pickering has more for the best of everything in record reproduction-mono or stereo. More Output­ More Channel Separation-More Response-More Record Life!

In short .. _more to enjoy .. _because, there's more quality for more listening pleasure.

* U.S. Patent No. 2,917.590

LISTEN!-Ask for a Stereo FLUXVALVE demonstration at your Hi-Fi Dealer today! roo '"~o P~kering'"~" Send for Pickering Tech-Specs-a handy guide for planning a stereo high PICKERING & CO., INC., PLAINVIEW, NEW YORI( fidelity system ___ address Dept. B50

STEREO FLUXVALVE, STEREOPLAY ER, CQLLE.CTORS SERIES, PRO·STANDAP n SERIES. CALlBRA.TION STANDAR D ARE TRA DEMARKS USED TO DENOTE THE QU ALITY OF PICKERIN G & c o., INC. PRODUCTS. HAROLD S. BLACK, LAMME MEDALIST

A MAN ""INS A MEDAL ... AND STRENGTHENS A PHILOSOPHY

The search for the "hitherto unattainable"some­ 60 U. S. patents are already credited to him), Mr. Black times ends in strange places. received the 1957 Lamme Medal from the American For years Bell Laboratories engineer Harold S. Institute of Electrical Engineers. He demonstrated that Black pondered a problem: how to rid amplifiers of the the seemingly " unattainable" often can be achieved, distortion which unhappily accumulated as signal-trans­ and thus strengthened a philosophy that is shared by mission paths were made longer and amplifiers were all true researchers. added. There had been many approaches but all had He is one of many Bell Telephone Laboratories failed to provide a practical answer. scientists and engineers who have felt the challenge of Then one day in 1927 the' answer came-not in a telephony and have risen to it, ranging deeply into research laboratory, but as he traveled to work on the science and technology. Numerous medals and awards Lackawanna Ferry. On a newspaper, Mr. Black jotted have thus been won. Two of these have been Nobel down those first exciting calculations. Prizes, a distinction without equal in any other indus­ Years later, his negative feedback principle had trial concern. revolutionized the art of signal amplification. It is a Much remains to be done. To create the com­ principal reason why telephone and TV networks can munication systems of the future, we must probe deeper now blanket the country, the transoceanic cable is a still for new knowledge of Nature's laws, We must con­ reality, and military radar and missile-control systems tinue to develop new techniques in switching, trans­ are models of precision. mission and instrumentation for every kind of For this pioneer achievement, and for numer'ous information-bearing signal. As never before, commu­ other contributions to communications'since then (some nications offer an inspiring challenge to creative men.

BELL TELEPHONE LABORATORIES WORLD CENTER OF COMMUNICATIONS RESEARCH AND DEVELOPMENT A 1 7/S-ips Magnetic Recording System for Stereophonic Music

P. C. GOLDMARK, ':' C. D. MEE, ':' J. D. GOODELL, ':' W. P. GUCKENBURG':'

Rumors about the new tape system have been rampant for several months, but little actual information was available. Here for the first time is a complete description of the tape, car­ tridges, and handling mechanisms from the best authorifies-those who developed it.

s PART OF A LONG RANGE develop­ ment program in the field of mag­ Anetic recording which CBS Labora­ tories undertook on behalf of Minnesota Mining and Manufacturing Company, recorded tape systems for the'home have been under study over a ' period of sev­ eral years. In order that recorded tape can take an important place in the field of home entertainment, one' must take ' into ac-, count a great many requirements, some of which are not easily met. For in­ stance: 1. The tape must be contained in a compact cartridge in such a way' that no part of the tape is exposed. 2. The amount of tape must be small and the cost of the cartridge low in order that the price of the final product can approach that of the disc record. 3. The 'sound should be stereophonic with provision for three tracks for maxi­ mum flexibility. 4. A complete musical composition should 'be played without interruptions; that is without reversing the cartridge or tape. 5. The quality of sound should be at least as good as the best of existing recorded media. Prototype of Columbia 1 "Va-in. tape unit in cabinet. 6. The durability of the tape and car­ tridge must be high enough so that after new tape with characteristics that pro­ cartridge in its container is approxi· several hundred plays, the sound re­ vided optimum matching into the over­ mately 4 cu. in. as compared with an LP record in its envelope with approxi­ mains unchanged. all performance. 7. It should be possible to place a mately 20 cu. in. number of cartridges on a tape machine Late last fall the new recorded sys­ 3. The tape machine can take five equipped with a changer-type mechanism tem was in a sufficiently advanced stage cartridges and play them automatically so that one can provide music for several to demonstrate it to many members of one after the other. A cartl"idge can be hours. this industry. rejected during any part of its play similar to a record changer.' The pro­ Here we will report on the outcome of 3M had, at that time, stated that the duction versions of this machine now these studies and subsequent develop­ Zenith Radio Corporation had joined under development by Zenith ,will have ments which we believe will satisfy the this effort and entered the design of fast forward and reverse speeds. The preceding conditions and requirements. commercial equipment based on these same instruments will also serve as a developments. home recorder using the new cartridges It was clear from the outset that one ' with blank tape. was dealing with a system rather than Some of the important features and just a few components. Thus intensive parameters of the new tape cartridge The Third Track system are as follows: development work over ,a period of sev­ Earlier reference was made to a third eral years progressed simultaneously in 1. Tape speed is 1% ips. The 'width track which is located. in the center of such areas as methods of signal record­ of the tape is 150 mils; the thickness 1 the 150-mil tape. ing, magnetic transducers and playback mil, and there is provision for three tracks. Each track is 40 mils wide. Extended studies have been under­ heads, design of cartridges and tape ~ . The cartridge is approximately 3112 taken in the Laboratories to determine transport mechanisms. The Laboratories' in. square and 5/16 in. thick. The car­ the optimum acoustic conditions desired system work, in close cooperation with tridge contains sufficient tape to play by the listener in the average home 3M, also included the development of a continuously for 64 minutes, and thus while playing recorded music. Conven­ will carry more than 98 per cent of the music compositions available without in­ tional stereophonic music, as now re­ * CBS Laboratories, Stamf01'd, Conn. terruptions. The space occupied by the corded, provides only a portion of the

AUDIO • MAY, 1960 19 components used in magnetic recording of the l'~cor ding field when the critical are required. For instance, due to the value for recording is reached after the tape has passed the recording gap. In shorter wavelengths encountered, devel­ addition to this, a further loss can occur opments have been aimed at reducing due to change in phase of the recorded wavelength-dependent losses. signal through the coating thickuess Among the losses in reproduction caused by the vertical curvature of the which have been minimized in the sys­ effective reco rding plane of the record- ing-head field. . tem at hand are those attending (1) 3. For high resolution of the effectIve separation of head and tape surface, recording plane a sharp cutoff of the re­ (2) azimuth alignment of head and tape, cording field must be acc omp anie ~ bJ.' a and (3) playback-head efficiency. Losses high uniformity in the magnetIzatlO~ minimized in the recording process are characteristics of the individual parti­ cles of the tape. Elimination of particles (1) tape-thickness loss, (2) recording­ with low critical fields for switching will field configm'ation loss, and (3) loss also reduce self-demagnetization effects. caused by non uniformity of tape parti­ The separation loss has one advantage in Fig. 1. Two-track playback head sub- . cles. slow speed tapes for audio, since, due to assembly. the shorter wavelengths involved, print (A) Losses in Rep1'oduction through is correspondingly reduced al­ sounds that are perceived by the listener l. There is an exponential reduction lowing new thin tape backing materials of the playback-head flux with decreas­ to be used with safety. sitting in a concert hall. A large per­ ing recorded wavelength due to the finite centage of the total acoustic energy separation between the surface of the which reaches the listener's ears is re­ tape and the playback-head pole pieces. New Developments in Magnetic verberated and delayed sound which is Recording Components c considerably depleted of its original Although the major loss component, stereophonic character. Experiments in 50 (1) t- '"""'" called separation loss, is inherent in the Laboratories have shown that in a 0 u:l 40 '~ presently known magnetic recording sys­ space simulating the average living u:: tems, it has been possible by improve- room, a much more exciting and realistic Z 301-. <{ (2) . ments of tape and heads to achieve per­ sound can be produced giving an illusion 0- I' I"" 1'1'.."" formance characteristics approaching of "being there." Thus, it is intended to ~ 2Or-- those presently obtained from 7.5-ips record on the third track as an optional ...... "t-- r-- ~ r-tl'r--., r--- t- machines. Such performance is achieved feature on the new recorded tape sys­ 10 ~ (4) r- with a track width of 40 mils. H aving a tem, the stereophonic sum signal delayed ...... '" '" narrow track reduces the alignment '" 0 and reverberated to an optimum degree. problem. The new medium will provide maxi­ (1) ",- It has been found that a conventional mum flexibility and a new dimension in (2') 0- ~ la.minated ring-type playback head can sound. The reproducing instruments can :::;- be constructed to be responsive up to he manufactm'ed for two or for three (3') ~ i ~_ 15,000 cps with a 1.5 mv output from a tracks. tape having V3 mil. coating thickness. A Later some of the electrical and mag­ . (1 j sub-assembly of the two-track version of netic characteristics of the new system 0 5 10 15 such a head is shown in F ig. 1. The play­ will be discussed. The data and curves DI STAN CE FROM GAP CENTER -mil, back-head coils fit over the projecting shown are already hased on the newly Fig. 2 . Rate of recording-field extinction lammations. Since the recorded wave­ developed tape and represent the over­ as a function of gap length. length at 15,000 cps is only Vs mil, it is all behavior of the entire system, that necessary to form an effective magnetic is, recording, tape, and playback. The At 15,000 cps and 1% ips, this loss is gap of 1/16 mil (or 1.5 microns.). It has almost 0.5 db per micro-inch separation. new tape is now in pilot production at been found that a I-micron spacer gives 3M, hut the cartridges played in cm'l'ent 2. Another important loss is associated with the azimuth alignment between the satisfactory head resolution in pro- demonstrations still use the older tape playback-head gap and the line of con­ on which these programs were recorded stant recorded magnetization across the last fall. track width. For a conventional gO-mil Following the section dealing with track a loss of 6 .db occurs at 15,000 the magnetic aspects of the new system, cps and 1% ips. for a misalignment angle of 3 minutes. +10 some of the mechanical problems and 3. The proportion of playback-head their solutions as encountered will be flux shunted by the gap will increase .IJ ...... described. when using the narrow gaps necessary ." +5 "'"- A comparison of the new tape system to resolve the shortest wavelengths re­ I ; \ with the original 15-ips tape master corded at a tape speed of 1% ips. In ~ -- , , order to maintain a high efficiency it is 0 • 0 / from which both the stereo records as necessary to compensate for a reduction z , ..... , well as the new tape cartridges have w ~> "" " '" in gap length by a corresponding reduc­ ~ , 0- i' been derived, has been demonstrated with tion in gap depth. « '. ~ -5 " , success. For this purpose, some sections (B) Losses in Recording w , , of music were alternately transcribed l. A separation loss of the type de­ "" scribed for reproduction occurs during I---ORIENTED ACICULAR<- from the originalJllaster and the 1 % -ips pARTICLE TAPE recording due to the finite coating thick­ -10 narrow track version onto a 15-ips half­ t----NEW SMAll-PARTICLE TAPE ness. Those particles remote from the ...... · PLAYBAC K SYSTEM NOISE track tape. tape surface will thereby give an attenu­ ated contribution to the ta,pe-surface flux t-l JllW I I I III Magnetic and Electrical Characteristics , , . . t I 4 j' . and so will contribute less to the play­ 1000 10000 In order to achieve an adequate sig­ back-head flux. FREQUENCY IN CYCLES PER SECOND 2. The magnetization of a recorded nal-to-noise ratio, frequency response, tape will not be uniform throughout the Fig . 3. Zero modulation noise curves with and dynamic range at a tape speed of coating thickness since it depends 011 correct playback equalization plus the 1 % ips, significant developments of most the rate of extinction and the direction 40-phon ear characteristic.

20 AUDIO • MAY, 1960 quencies. Typical equivalent signal-to­ noise ratio for professional 7%-ips half-track systems is 54 db with a corre­ +10 responding 10,000-cps signal response .... at - 6 db. Thus the new system with its 0 own recording and playback characteris­ '"...... ,...1-' .. ... tics approaches the 7.5-ips performance I I- ./ .... 1-' , Fig. 4. Maximum available today and has been found to 12 -10 "" output curves for 5 /" .... .' .. be entirely adequate for all types of 0 \ 1 'Va-ips tape. musical programs. w "" ...... ~ -20 , - --CONVENTIONAL SYSTEM \ ~ --,NEW TAPE PLUS HIGH- \ Mechanical Design Problems and ~ EFFICIENCY RECORD HEAD Solutions ,1-- \ "" ...,'I) o db = 1 my. One of the central problems in re­ I I Ii 1111 I I I I I '. II II I corded tape systems is the design of the , , t .~ , , 20 " . 20000 tape packaging. Obviously, it is neces­ 100 . . .. . 1000 ''-0000 FRE~UENCY IN CYCLES PER SECOND sary to satisfy requirements of con­ venience as well as to provide adequate longed use. By manufacturing the multi­ individual particles. For acicular parti­ protection for the tape. Naturally high­ track head in two halves, automatic cles better control of the size and shape quality performance with respect to colinearity of the gaps is assured and is required and for effectively spherical music reproduction is a prerequisite. in practice the 10,000-cps sensitivity of or cubic particles it is necessary that In order to popularize recorded tape the tracks differ by less than 4 db. the acicularity be k.ept low enough to it is essential to eliminate the process of manual threading between the reels. This Similar mechanical refinement is nec­ make the crystal anisotropy dominant in requirement is dictated by the need for essary of course in the recording head. all particles. Figu?'e 4 shows the im­ avoiding manual threading and also by Fig. 2 shows a plot of the field distribu­ provement resulting from recording with the requirement to make the cartridge tio~s at O.l-mil spacing for various gaps. the new tape using one of the· high­ compatible with a practical automatic It IS seen that the field decrement in­ efficiency recording heads compared to changer mechanism. creases somewhat with gaps which are that obtained with conventional 1 %-ips On first examination the notion of large compared to the spacing. Thus a recording. threading the tape permanently between long gap might be thought advantageous two side-by-side reels contained in the especially since the vertical field decre­ Equalization Techniques and Performance cartridge is attractive. However, every ment is also reduced. In practice, how­ of the System practical design incorporating both the ever, the expected improvement does not supply and take-up reels in the car­ occur, probably due to the relatively The recording equalization adopted tridge requires that sections of the tape greater vertical component of the ef­ for the new 1 % -ips record-replay system be exposed through openings in the car­ fective recording field. Considerable de­ is shown in Fig. 5. This curve was de­ tridge walls with consequent dangers of velopment has been carried out to im­ rived by perfo!ming many listening damage. Even in a single cartridge prove the recording-field configuration tests on a variety of program material. player there are many difficulties in­ for the very short wavelengths involved It is the characteristic which meets the volved in coupling the tape of a dual­ in this system. This work will be re­ requirement to load the tape optimally reel cartridge to the drive system and ported at a later date. at all frequencies without overload dan­ ger. Using this in conjunction with the the heads, but when the design of ali Significant advances have been made playback equalization (also shown in automated changer is considered, these by 3M in the recording media, leading Fig. 5) a flat response is obtained from problems increase rapidly in number to considerable reduction of the separa­ 30 to 15,000 cps at - 18 db relative to a and magnitude. tion loss effects. Firstly, a tape lacquer level giving 3 per cent distortion at A basic consideration in any type of formulation has been developed which 1000 cps. Under these conditions the cartridge is the need for relatively high is relatively soft, giving good head-to­ ratio of the maximum signal level at speed transport in so-called "search" tape contact. Particle rub-off on guides 1000 cps to the zero-modulation system operations. If flanges are used on ' the and heads has virtually been eliminated noise is 54 db. The 10,000-cps signal reels inside the cartridge, the bulk is and the consequent amplitude variations response at this maximum signal level considerably increased and many prob­ considerably reduced at the shortest is -12 db relative to that at low fre- lems of stability are encountered. Thus, wavelengths. In addition, the Labora­ tories developed a higher-output and lower-noise tape as a result of changes in the magnetic "material itself. Previous work has concluded that a reduction of effective particle size results in lower

tape noise. The improvement achieved ~ is .shown in Fig. 3, where the weighted Fig . 5. Recording +20 V PLAYBACK EQUALIZATION nOIse response for existing tape is com­ and playback ....J> V - pared with the new tape using optimum equalization ~ +10 ... { bias for each. A 4-db lower noise level curves. ~ !:l ...... ,. is obtained in the mid-frequency range. w V > 0 Higher over-all output is also obtained ;:: ( ...... , ,. RECQRDING EQUALIZATION - from the new material. It is found that ~ ... the short-wavelength efficiency is par­ "" -10 - ticularly improved. One reason , for this is that a deliberate attempt was made , , 20000 to reduce the speed of critical fields re­ 2. . . . 100 " . . . . FREQUENCY IN CYCLES.- PER SECOND ''''' quired for magnetization change in the

AUDIO • MAY, 1960 21 A very simple and economic solution was used for the design of the coupling between the reeled tape and the perma­ nent leader. This consists of a "U" shaped device attached to the end of the tape in' the cartridge and so shaped that it seals off the only opening in the cart­ ridge when the · tape is fully rewound. The permanent leader terminates in a dumbbell-shaped element that readily mates with the "U" shaped clip. The dumbbell attached to the permanent leader can slip through the "U"-shaped clip in a vertical direction with .only a Fig. 6 . Cartridge coupling members. light detenting restraint but proviq~~ an absolute coupling in terms .of h~ri- . high-speed winding without flanges re­ -zontal pull when the two members ,are quires some method of maintaining a engaged. (F'ig, 6). Fig. 9. Close-up of cartridge spindle separation between the tape and the In order to eliminate variations m and well. cartridge walls. back tension with dynamic changes in reliable, and simple to assemble. The de­ The three dimensional geometry of the effective reel diameter, a felt pad IS vice selected consists of a linkage reeied tape, the driving spindle in the mounted in the cartridge hub and spring­ transport mechanism, the walls of the ' loaded in a ratcheting relationship with cartridge and other components call for teeth molded in the cartridge wall. When ·strictly orthogonal relationships or some . the cartridge is placed on the machine, automatic dynamic adjustment and an ~ . the spindle releases the brake automati­ accurate system of tape guidance. Other­ •• , .•• '0"... . '''UI ...... eMA .... cally. The brake is shown in Fig. 8 . wise, the cumulative errors in repetitive ~ The facility for driving the cartridge reeling of the tape, even on the same hub during the rewind cycle must be de­ machine, will lead to telescoping or an­ signed so as to permit random rotary gular displacement of the tape reel with orientations of the spindle with respect respect to the cartridge walls. In brief to the cartridge hub in the loading proc­ laboratory experiments these problems ess . . This is accomplished by means of may not be evident but in long-term field radial slots around the inner periphery use the increasing friction produces in­ of the hub and a spring-loaded two­ stabilities in the tape speed and even­ toothed drive in the spindle. See Fig. 9. tually may completely block the reel The cartridges are designed with mat­ from rotating. ing surfaces that couple them (see Fig. The problem of smooth reeliI).g with­ Fig. 8. Cartri dge brake mechanism. 10) together in a stable vertical stack. out any flanges was solved . by introduc­ ~ This feature contributes considerably ing a, novel guiding member in the cart­ spring-loaded against the surface of the to the ease with which they may be ridge with adequate compliance to ta.pe as it leaves the cartridge and the handled and loaded in a changer mecha­ insure a smooth rewind cycle. This ar­ supply reel is operated in free-runlFing nism. The patterns are unsymmetrical rangement allows a tape with an hOlli' bearings. This provides excellent ten­ so that the cartridges must be correctly of playing time to be rewound in twenty sioning characteristics and at the 'lame oriented or they cannot be fitted to­ seconds. (A five-second rewind time has time maintains the cartridge complexity gether. Other details of the mechanism been achieved in the laboratory.) cost at a minimum. F'igm'e 7 shows the make it impossible to load the cartridges Threading of the tape is accomplished tupe deck and the felt pad. in any way that results in improper by means of a leader permanently at­ Some kind of braking mechanism is operation. tached to the takeup reel in the mecha­ essential in order to avoid partial un­ The resulting cartridge design is com­ nism. The end of the rewind cycle leaves reeling and fouling of the tape within pact, inexpensive and dependable. Actu­ the permanent leader in the threading the cartridge under normal conditions ally, of course, the cartridge design was P!lth of the machine. of handling. The brake must be positive, carried on in conjunction with the de­ velopment of mechanisms capable of handling it in a fully automated changer so as to eliminate any mutulJ,lly exclusive features. The actual changing mecha­ nism consists simply of a' spring-loaded platform in a well (Fig. 9) with which the supply spindle is coaxial, and an ap­ propriate escapement. The latter is an' ,essentially conventional device. , There are two escapement levers that operate in tandem on opposite sides of the cartridge well. One of the escape­ ment levers is placed close to the corner from which the tape is fed in order to maintain accurate positioning between the clip 'terminal and the threading path. The path for the tape is a straight Fig. 7. Tape deck, shOWing felt pad. (Oontinp,ed on page 64)

22 AUDIO · . MAY, 1960 Polystyrene Foam Loudspeaker Cones

P. B. WI LLlAMS ':: JAMES F. NOVAK ':":: . Good stiffness-to-mass ratio and controllable internal damping offer improved . cone performance. Inherent high rigidity, moisture , resistance and dimen­ sional stability indicate more bass output for a given amount of distortio'h.

NTEREs'r IN LIGHT) rigid synthetic ma­ terials for speaker cones has stimu­ I lated many design efforts for at least 20 years. None of the resulting commer­ cial products has enjoyed much success. In a business where even mere novelty of difference can be an important sales asset, this lack of success seems to be due to manufacturing problems or defi­ ciencies in performance . . The age-old paper cone still is dominant in direct radiator speakers, almost to the exclu­ sion of other types. ' In 1937, 1. G. Farben of Germany ap­ plied for a British patent issued as 510,707, on a cone body of foamable con­ densation or polymerization resins. These were solidified in a mold to give a compact surface on drying. In 1937 also, Dr. Helmut ' Sell applied for a British patent; issued as 513,289, on cone bodies machined from solidified cel­ lulose foam. Dr. Rudolf Bauer received, in 1949, a German patent, 863,084, for a cone made of glass fibers, lacquers, and Fig. 1. Expandable polystyrene beads. Courtesy of Koppers Company, Incorporated. resins. French patent 1,059,899 was granted to Emil Podzus in 1954. The sign factors sometimes diametrically op­ other places in the moving system, of Podzus plastic foam cone had cells filled posed. Woofer operation needs a sturdy course, at the expense of efficiency. At WIth flakes, fibers, en; wires, to increase moving system, which with most mate­ least two reproducer systems on the elasticity. To increase solidity and con­ rials requires appreciable weight in the market now use metal weights attached ductab,ility as described in this patent, cone. Tweeters must have very light mov­ to the cones to lower resonant frequeney. light films of metal, paper or varnish ing system which are not necessarily Despite the current trend to lower effi­ were applied to the surfaces. Several st.urdy, because only small forces are in­ ciency speakers, let us recognize that years ago in this country, a large cone volved. low efficiency in itself is not a blessing; speaker using polystyrene foam was pro­ it is a penalty to be minimized as much duced by DeMars. This used a flat sheet Efficiency Considerations as possible. Some small speaker systems of prefoamed material joined to a short Let us in this discussion concentrate need in ore than 20 watts for adequate paper cone carrying the voice cell. No as much as possible on only the cone, to loudness. Since few amplifiers will de­ doubt other work was carried on to in­ see, what may be done to minimize unde­ liver anything like rated power output vestigate low density plastics, aimed at sirabJe ,effects of comprohlise~ . ,f>.. priIfl8 at minimum distortion levels over .long combining rigidity and lightness in a need is lightness, to retain as much effi­ periods of time because of changes in practical loudspeaker. ciency as possible. Efficiency greater component values and tube characteris­ Good single-cone speaker designs are, than absolutely necessary can always be' tics, such low-efficiency speaker systems as is true of ~ost good engineering prac­ swapped for other things, such as in­ may need 30 or more watts of initially tice, the result of skillful balancing of creased bass output or more high end, or installed amplifier capacity to maintain coriflicting factors. Criteria for desirable something else. This demand for light­ the highest order of performance. It performance characteristics call for de- ness assumes that dead-weight mass in seems quite safe to say that any speaker the moving system is not decided on as design engineer would be quite happy * Chief Engineer, and ** Senior Engi· neer, J ensen ManUfacturing Company, Di· the method of lowering resonant frc­ with more efficiency than his speaker sys­ vision of the Muter Company, 6601 S. Lar­ quency. Non-working, efficiency-lower­ tem now possesses; lighter cones do in­ amie L1vemie, Chicago 38, Ill. ing mass can be added in the cone or at crease efficiency.

AUDIO • MAY, 1960 23 one-quarter the driving frequency. ' To obtain subharmonics from a cone, the driving force must exceed a certain cri­ tical value, and once excited, the sub­ harmonics will persist even after the Fig. 2. Internal driving force is lowered below that criti­ cross section of cal point. These subharmonics usually polystyrene foam occur at the symmetrical vibrational (1 Ox) from ex­ modes and particularly so in materials pandable beads. (Courtesy of Koppers having low internal dissipation. They are Company Incorpo- usually called "breakup" or "cone cry." rated.) It appears that a paradox exists here. The cone should operate as a rigid piston in. the lower part of the frequency spec­ trum because bending subtracts from the output of the fundamental fre­ quency. On the other hand, it is desir­ able to encourage "bending" at the higher At bass frequencies, we do not want salient types of vibration pertaining to frequencies, otherwise the output wOul.d bending of the cone during its travel. conical shells are (a) radial modes, as in fall off at 6 db per octave. And yet thIS Bending loses power and increases dis­ a bell, and (b) symmetrical modes, as in "bending" can produce increased output tortion. For woofer operation, good rig­ a disk. Radial modes are associated with in the form of alien frequencies which idity is essential, and lightness is desir­ bending, while symmetrical modes de­ are undesirable. able for efficiency. pend upon bending and extension. Al­ For high-frequency tweeters, the same though vibrational modes of cylindrical Requirements of the Cone two qualities of rigidity and low mass and spherical shells and flat plates have The main requirements of a good cone are paramount. High rigidity gives high lent themselves to mathematical analy­ material could be listed as low mass, high suspension stiffness, in the case of sin­ sis, those of conical shells still defy rigidity, and high internal damping. The gle piece cones such as used almost uni­ mathematical treatment and depend art of paper cone making has given us versally for tweeters. High suspension upon the experimental skills of the materials which meet these requirements stiffness and low mass of the whole cone acoustical engineer. to various degrees. The high internal result in high resonant frequency, allow­ The main groups of radial modes damping characteristic of good paper ing greater efficiency and higher cutoff which would occur at frequencies consid­ cones smooths the transitions from mode frequency. Low mass is extremely im­ erably below 1000 cps are substantially to mode and subdues the unwanted , b . pOl-tant, high frequency extension being suppressed in most cones, although there noises emitted so freely from hard, nt- mostly limited by mass. are tendencies for perturbations to occur tle materials such as rigid polystyrene between the edge and the apex when use Cone Action and vinyl sheet. is made of some of the soft wool stocks. It became evident early in the devel­ General-purpose and wide-range direct Radial-mode activity evidences itself in opment of different .cone mat~rials ~t radiator speakers and woofers required the form of loud crinkles or rattles, espe­ Jensen that some easily determmed Cl'l­ to -operate to high crossover frequencies, cially during heavy transients. terion of suitability of materials was call for a peculiar cone action not yet The most important vibrational modes needed. Actually three criteria have been fully understood. The gap between prac­ are the symmetrical modes which gen­ in use. Perhaps it will be possible to tical cone design and theoretical work erally occur above. 1000 cps. A cone evolve a single criterion as experience on vibrations of conical shells still is so operating as a rigid piston throughout and knowledge are gained through their wide that cone speaker design cannot call the entire frequency spectrum would per­ use. At present each seems suitable for a on research results for much help. Cones form poorly at the higher frequencies. special class of speaker, the woofer, a must operate in curious ways to produce Symmetrical modes maintain uniform general purpose speaker, and the both low and high frequencies.! The two output above 1000 cps and in many cases tweeter. Each is obtained from the equa­ 1 M. S. Corrington, "Amplitude and phase are used to increase the sound output. tion for the frequencies of the purel~ measurements on loudspeaker cones." Proc. In testing cones, it is sometimes found flexural modes of a circular ring of rec­ I.R.E., 39 : 1021-1026 (1951). that radial modes occur at half or even tangular section.

where t =thickness 0== Poisson's ratio Fig. 3. Magnified E = Young's Modulus of Elasticity (40x) cross section p = density of experimental , m a Ide d cone, Since Poisson's ratio varies from 0.2 showing compac­ to 0.4, depending on the material, as a tion at the sur· first approximation 1 - 0 2 can be face. V taken as unity. McLachlan has deter­ mined that the frequencies of the sym­ metrical modes of a conical shell do not increase directly as the thickness. For a

2 N. M. McLachlan, "Loudspeakers." Ox; ford University Press, pg. 330, 1934.

24 AUDIO • MAY, 1960 "When we heard the Citations our immediate reaction was that one listen-ed throug h the amplifier system clear back to the original performance, and that the finer nuances of tone shading stood out clearly and distinctly for the first time." c. G. McProud, Editor, AUDIO Magazine We know you will be interested in these additional comments from Construction: "It is obvious that considerable thought has gone Mr. McProud's report: into the preparation of the Citation as a kit (and) when the ampli­ fier is completed, the user may be assured of having a unit he can Performance: "The quality of reproduction reminds us of the be proud of . ; . The_kit is a jOy to construct." solidity of Western Electric theatre amplifiers of some years ago ... The bass.is clean and firm and for the first time we noted that For a copy of Mr. McProud's complete report and a Citation cata­ the low-frequency end appeared to be present even at low volumes log, write Dept. A-5, Citation Kit Division, Harman-Kardon, West­ without the need for the usual bass boost." bury, N. Y. The Citation I is a complete Stereophonic Preamplifier Specifications: "Our own measurements gave 1M figures of 0.35 Control Center. Price, $159.95; Factory Wired, $249.95. The Cita- per cent at 60 watts; .08 per cent at 20 watts, and less than .05% tion II is a 120 Watt Stereophonic Power Amplifier. Price, $159.95; (which is essentially unmeasurable) from 10 watts down." Factory Wil'ed, $229.95. Prices slightly higher in the West. .. Build the Very Best CITATION KITS by Himi.I!'. kardon I

AUDIO • MAY, 19(;0 25 polystyrene foam appears equally well TABLE I suited for all three applications. CRITERIA FOR MATERIAL SUITABILITY Choice of Material Criterion The figures of merit are only useful Material* IE for indicating p?'obable value of speaker {ph 'Jp:i cone materials. In early development work, prefoamed polystyrene looked Cellulose Acetate 1.36 1.26 1.05 Nylon Type 6/ 6 1.42 1.38 1.28 promising, for lightness, rigidity and Polyethylene .91 .93 .96 damping, but means were lacking to Polystyrene 1.71 1.69 1.62 form it into cones accurately and eco­ Vinyl Butyral 1.51 1.45 1.33 nomically. Machining leaves a rough sur­ Vinyl Chloride 1.36 1.23 .97 Aluminum 4.9 3.64 1.82 face devoid of continuity of structure Magnesium 4.8 4.03 2.7 which is needed for strength. Intuitively, Soft Cone Paper 1.1 1.6 3.3 it was f elt that the surface should be Hard Cone Paper 2.1 2.8 5.8 more dense than the body of the mate­ Epoxy Foam .6 1.8 1.9 POlYSTYRENE FOAM .78-1.2 1.5-2.5 7 .1-12.9 rial, to approximate the "sandwich" Phenolic-cotton 2. 1 1.9 1.6 construction now used widely in struc­ tural materials. Further work created * Best when Low High High cones made by a molding process which is economical and which provides all the essential qualities and mechanical struc­ given radius and apical angle it depends the mass, P" is fixed, the value of n will ture we have outlined as goals. These upon tn, where n is governed by the do ubtless vary from 0.3 if there is a wide cones are made from polystYl'ene beads thickness and coil masR. An average difference in thickness. Experimental shown in Fig, 1 which contain an expan­ value for n seems to be about 0.3 . Thr. data seems to indicate that the frequency sion agent activated by heat. Raw or frequency is, therefore, given by criterion V E / p1.6 is sufficiently accurate partly expanded beads are com pression to compare the frequencies of conical molded by steam or other heating meth­ 3 (J) ex to' ~ (.2) shells of equal radius, apical angle, and ods, the cone preferably being cooled in mass, driven by identical coils. This ex­ the Illold for greatest accuracy of dimen­ If thickness and radius r emain con­ pression appears to yield more readily sions. Some back pressure is applied to stant, the only remaining variable is the verifiable results for the general pur­ the mold so that the cone surfaces are radical which is equal to the velocity of pose type response-.than the velocity of compacted to form thin skins. The ex­ sound in the material. This velocity of sound alone. . pansion process somewhat r esembles the sound has been used in the cone indus­ In the case of a disk, where n = 1, the popping of popcorn, differing in an im­ try as a means of grading cone papers criterion is pOl-tant resp.ect, however, in that the ex­ in order of hardness, the hardness vary­ panded foam cells coalesce to form a ing directly with velocity. It is generally (1) sturdy honeycomb-like mass. (See Fig. accepted that the softest papers, (those 2.) (Figu?'e 3 shows the surface com­ with lowest velocities of sound) usually The material with the largest V E / pS paction. make the best woofers. The velocity of gives the disk of smallest mass for a As described in the patent3 covering sound through the material appears, given fl'equency and radius. This cri­ this development, many design features therefore, to be worthy of consideration terion appears to be the one best suited as a criterion by itself. and parameters are possible, most of for tweeter cones wbich generally have them not achievable in any other type of T}le thickness, t = pJ p where PI is the 'a small radius and large apical angle. manufacture. F eatures most easily ob­ mass per unit area and p the density. Table 1 lists the relative values of Substituting this value of t into Eq. (2) tained in this process, or which are these criteria for various materials. we get unique, include: " ,y-; "" '\ Looking at matei;als most familiar, we O/?t", / ('\ ~r- /. (J) ex pO.3 IE (8) find the soft papers best suited for 'oJ ! 'if76 woofer use and the hard papers best b 3 U. S. P atent 2,905,260, issued Sept. 22, J n com paring the frequencies obtained suited for general purpose and tweeter 1959. "Loudspeaker D iaphrag?l~," P. B. Wil­ from shells of different materials when use. It is interesting to observe that liams, assigned to the Mnter Oompany.

Fig. 4. (Left to right) 8, 10, 12, and lS-in. experimental speakers using molded foam cones.

26 AUDIO • MAY, 1960 Acoustic Research introduced the acoustic suspension ' woofer to the audio field ; the AR -l and AR -2 speaker systems altered the cou rse of loudspeaker design.

'The tweeters' of the AR -l and AR-2 are conventional cone units, whose quality we cons ider outstanding in their respective price ranges. We have always taken the position that better ' tweeters existed, though at much higher prices.

Our second major research project was the development of the hemispherical tweeter", two of which we combined with an AR-l woofer in a new speaker model , the AR-3. These tweeters, like _the AR-3 woofer, are no-compromise devices . They are the ·best musical reproducers that we were able to design and manufacture, regardless of cost.

~3st and ~3t SEPARATE TWEETER SYSTEMS

The tweeter sys tem of the AR -3, including crossover and cabinet, is now available separately as the AR-3t. It will convert an AR -l or AR-IW to the equivalent of an AR -3.

The super-tweete r of this system, al so with cro ssover and cabinet, is available separately as the AR-3 st. It. converts an AR -2 to the equivalent of an AR -2a, or it may be added to an AR-l.

Literature on these units is available for the asking.

' U. S. Patent 2, 775,309 " Patent appli ed for

R3t Mid-range unit and super-tweeter, ready to connect directly to an AR-l or AR-1W - $87 to $96, depending on finish

*3st super-tweeter only , ready to connect directly to an AR-l or AR-2 - $32 to $38, depending on finish .

ACOUSTIC RESEARCH, INC. 24 Thorndike St. Cambridge 41, Mass.

AUDIO. • MAY, 1960 27 Variable Low-Pass Filter

RICHARD S. BURWEN ';'

A simple and easily constructed unit which can serve in a variety of applications, both professional and home.

OISY OR DISTORTED program material can usually be cleaned up consider­ r-- I Nably by cutting off the high fre­ quencies. Since the desirable cutoff fre­ I quency and rate of attenuation vary with the quality of the program material, a completely fl exible variable electronic filter has been designed. The low-pass fil­ ter, Figs. 1 and 2, uses transistors and feedback to produce shutoff frequencies variable from 30,000 to 3000 cps with attenuation rates of either 6, 12, or 18 db ' per octave and continuously variable peaking. Four transistors are used in a resist­ ance-capacitance feedback filter circuit powered by mercury batteries. Estimated life for the six flashlight size cells is 4000 operating hours. Separate controls vary the turnover frequency of a 6-db­ per-octave rolloff, Fig. 4; a 12-db-per­ octave cutoff, Fig. 5; and the peaking of the 12-db-per-octave filter, Fig. 6. At minimum peaking the 12-db-per-octave curve is actually a gradual rolloff. At maximum peaking the response has a .. 7-db peak. Fig. 2. Six mercury batteries eliminate power supply hum. Life may be several years in home use. Combination of the 6- and 12-db-per­ octave curves can produce a fast roll off, OUTPUT )2 * Minneapolis-Honeywell Regulator Com­ pany, Boston Division, 1400 Soldiers Field Bl 4 •• Road, Boston 35, Mass. - Illil-++--J.-.;R:::2:.:..1'..:,1::..2 ----0. 3- RM42R

cs

25 lOOk II R15 100 8, l'l lQ '" § ~CI r-: "" ~ uO "" .. ;;; u~

NOTES: 1. 51 POSITIONS: OFF, ON, FILTER 2. ALL RESISTORS 112 WATT, 5% Fig . 1. Continuously variable low-pass filter. Fig. 3. Variable low Pass Filter schematic.

28 AUDIO • MAY, 1960 Listening to a recording with excessive print­ Reducing print·through is like eliminating through is like looking at a picture that the second exposure - and leaving a has a faint double-exposure. clear, sharp recording.

Killing the "double exposure" of print~through

AS your enjoyment of a recorded tape ever been tape"- the solution to the print-through problem. By H marred by an occasional, annoying "echo"? This the use of specially developed magnetic oxides and so-called "print-through" is sometimes found in re­ special processing techniques, print-through has been corded tapes that have been stored for a long time. reduced 8 db in Master Audiotape-without changing The longer the storage, the more magnetism is trans­ any other performance characteristics. Laboratory ferred from one layer of tape to another. Where re­ studies indicate that stored Master Audiotape will corded signals are unusually loud, print-through can take decades to reach the same print-through level become audible on conventional tapes after about two that now mars ordinary tape in one week! So print­ weeks of storage, but is seldom loud enough to be through is "killed" for even the most critical ear. bothersome until stored for much longer periods. Up Master Audiotape is available in 1200- and 2500- to about 18 months ago, professional recordists had foot lengths in two types-on 1 %-mil acetate and on found only one way to avoid print-through: reduce I1h -mil "Mylar." These are part of the most complete the recording level to the point where the print level line of professional-quality recording tapes in the dropped below the noise level inherent in the recorder. industry. Ask your dealer for Audiotape-made by au­ This meant sacrificing 6 to 8 db in signal-to-noise ratio. dio engineers for audio engineers-and backed by over Then Audio Devices introduced "Master Audio- 20 years of experience in sound-recording materials.

Take your recorder on vacation It's almost second nature for a vacationing family to take their camera with them. Why not do the same with your tape recorder? Seaside sounds , church bells, barnyard noises, square dances, a sound track for your home movies-there are literally dozens of "priceless" sounds you'll hear, and want to record, on yo·ur AUDIO DEVICES, INC., 444 Madison Ave .• N. Y. 22. N. Y. vacation. Your best bet for tape recording of this kind is Audio· In Hollywood: 840 N. hirfll Ave .• In ChicJIO: 5428 N. Milwaukee Ave. tape on Ph·mil acetate, type 1251. This economical, dependable tape is the most popular type of Audiotape. ., +5 0 I""'- \. r-.... +5 -5 I\. \ t\ 0 og -10 \. .s> r-..,- I\, 1\ 1\ " -5 r-..... t"----" I -15 I " 5 \. \ f\ 5 -1 I'.. 1"" '5 -20 " .... "'" r-... f'. 1\ 5 -1 '" . ~-25 " ...... "" " I'" \. 1\ ~ -30 1\ ....~- , " ....« \. r\ ~- ~ -35 , f""-. 1'0 1\ " .. - -40 " i' \. I' - -45 ...... 1\ .. . 1'\ FREQUENCY IN CYCLES PER SECOND .- - FREQUENCY IN CYC~ES.- PER SECOND .- - Fig. 4. (left). Response at successive positions'- of the ROLLOFF control. Fig. 5. (right). Response at successive positions of the 12 db . per octave CUTOFF control. an 18-db-per-octave sharp cutoff, or a tion where power is applied and the cou­ resonance by varying the loop gain. rolloff with a peak, as shown in Fig. 7. pling capacitors are allowed to charge. Following this 12-db-per-octave vari­ Such fiexibility makes this filter highly A pushbutton an(l pilot light permit a able low-pass filter, the collector signal suitable for the low-pass section of an visual battery check: from Q, passes through a 6-db-per-octave electronic crossover network. rolloff filter, R16 and Oa, which produces The filter is intended for use with other Circuit Description the curves in Fig. 4. Emitter follower transistor equipment delivering a maxi­ Q4 isolates this filter from the external mum input signal of 1 volt r.m.s. from In the schematic, Fig. 3, a two-section load and provides the low output imped­ a source impedance of less than 500 low-pass RC network at the input, con­ ance. ohms. The input impedance is 33,000 sisting of R s, R 4, 0 1, and Os, produces All the stages are temperature stabi­ ohms in parallel with 0.006 /-Lf. For use a 12-db-per-octave rolloff. The 'cutoff lized by a large amount of d.c. feedback. with a high-impedance source an emitter­ frequency is varied by means of a two­ Direct currents in the potentiometers are follower input stage could be added. gang potentiometer Rs and R 4• This net­ eliminated by coupling capacitors in The filter has unity voltage gain and a work feeds an amplifier consisting of order to minimize control noise. The unit low output impedance of approximately two common-emitter stages having a is constructed complete with mercury 50 ohms. It can deliver 1 volt r.m.s. at total voltage gain of 1.2 determined by batteries in an 8 x 6 x 3lh inch aluminum 400 cps with only 0.15 per cent total har­ local negative feedback. To prevent a box, as shown in Fig. 2. monic distortion to a load of 4700 ohms change in gain due to loading as Rs and The combined gain G versus frequency or higher. Output cables as long as 500 R4 are varied, the input impedance of I for the 6- and 12-db-per-octave filters feet can be used. this amplifier is made infinite by means may be expressed by the equation. Noise at the output is less than 10 /-LV of positive or regenerative feedback 1 r.m.s. or 100 db below 1 volt at any set­ through Os to the bias circuit Rs and R 6 • G ting of the controls. The response at low Regenerative feedback, from the col­ j/ frequencies is fiat within ± 0.1 db down lector of Qe through the PEAKING control [1+ 11 J[1+.iL- QI, (L)'JI, to 10 cps. RII and emitter follower Qa to the net­ where 11 = the 3-db-down frequency of A three-position power switch having work capacitor 01) causes the resonant the 6~db-per~octave filter one shorting wafer and one non-shorting peak near the cutoff frequency. The the asymptotic cutoff fre­ wafer provides a direct signal path from response, Figs. 5 and 6, is exactly the Ie = output to input when the filter is switched quency of the 12-db-per-oc­ same as that of a simple inductance ca­ tave filter off. Thumps during turn-on are eliini­ pacitance-resistance low pass filter. The nated by pausing at the second OFF posi- PEAKING control RII adjusts the Q of the (Oontinued on page 70)

. " .- ;> +5 10' +5 0 -' I-' 0 r- -5 r-... 1\ -5 -10 I"- I'-.. '" .s> og -10 ~ "I -15 I -15 \ -20 1,\ , ~ ~ -20 " 5 ~ -25 & 0-25 r\ \ ['I ~ -30 ~ -30 1\ 1\ ;:: .... \ \ ~.. -35 " ..~ -35 , -40 \ -40 _\ \. -4S -4S 1\ L\ 1\ 20' ...... FREQUENCY IN CYCLES.- PER SECOND .- - FREQUENCY IN CYCLES.- PER SECOND .- Fig. 6. (left). Response at three positions of the PEAKING control. CUTOFF at 4 kc. Fig. 7. (right). A few of the numerous- combinations of the 6 and 12 db per octave cutoffs with variable peaking.

30 AUDIO • MAY, 1960 When Eleotro-Voice engineers set out to create a new series of ultra-compact speaker systems, they recognized that it was impossible to end with an instrument capable of satisfying the audio perception of everyone. Thus, their primary aim became (as always) the most natural reproduction of sound possible. The theory lfehind such an obvious objective is to let the musical acuity of the customer judge the performance of a speaker system - to let the customer listen to the music rather than the speaker.

Cutaway of ESQUIRE 200 That such a fundamental approach to design and engineering was successful has recently been verified by a series of listening tests conducted among three groups of the most severe critics in the high fidelity field. In New York, Boston and Los Angeles nearly 300 sound room personnel of top high fidelity dealers were given the opportunity to spend an afternoon listening to and rating the "sound" produced by three of Electro-Voice's new ultra-compact systems (Regal, Esquire, Leyton) and six other currently popular ultra-compact systems. All nine systems were placed behind an opaque curtain and each listener's selector switch was coded but unmarked so he had no way

;, of knowing which system he was hearing.

More than 80% of the listeners ranked Electro-Voice Esquire and Regal units either first or second. And, Electro-Voice's 'economical Leytop was ranked third by over 50% of the listeners - thus, out-scoring units at double its price.

We suggest that recognition such as this could not be earned by merely "another" speaker system - but must result from our earnest effort to create an instrument that takes nothing away from nor adds anything to the music you want to hear. SERIES OF COMPARISON TESTS BEFORE WORLD'S TOUGHEST AUDIENCE PROVES VALUE OF NEW E~V SPEAKER SYSTEMS

We urge you to spend the time necessary to conduct your own comparative listening test. Visit your own dealer and ask for a demonstration of these remarkable new Electro-Voice instruments. Write directly to the factory for a complete description of these new units contained in High Fidelity Catalog No. 137.

CONSUMER PRODUCTS DIVISION

e--~)6,c,® INC. DEPT.50A, BUCHANAN, MICHIGAN

AUDIO' • MAY, 1960 31 Distortion • Tape Recording

HERMAN BURSTEI N':'

Types and causes of distortion should be understood by the recordist if he is to obtain the best results. Various com­ promises are shown to be effective under different conditions.

IN TWO PARTS-PART ONE

ROM .TIME TO TIME the writer visits more of a challenge in tape machines useful in various ways; for example, it some friends who have in their liv­ than, say, amplifiers. When used with enables one to appreciate why a given Fing r oom a pre-war radio console, today's better amplifiers, tuners, and recording level r esUlts in no noticeable which cost over $500 and was considered speakers, a tape recorder must indeed be distortion for some kinds of sound and one of the finest units of its day. It r e­ of high quality, and must be properly quite perceptible distortion for other ceives good care and enough service to used, in order not to add noticeable dis­ kinds. maintain it in "as good as new" condi­ tortion. tion. To one whose ears have become at­ I n tape recording, distortion is inex­ Meaning of Distortion tuned to modern high fidelity equipment, tricably linked with several other aspects Reproduced SOlDld is never totally de­ this console f alls noticeably short of the of the process- signal-to-noise ratio, fre­ void of distortion. But in the present mark in terms of frequency r esponse and quency response, equalization, bias cur­ state of the art it can be kep t so small noise characteristics. But its most obvi­ rent, and tape speed. Therefore in· tho in most audio components as to be un­ ous deficiency, the greatest deterrent to following discussion we shall discuss dis­ noticeable, permitting the repr oduced pleasurable listening, concerns distor­ tortion in terms of its relationship to sound to retain the ease and naturalness tion. The instrument just does not have these factors. First, however, it would of the original. In somewhat larger quan­ the smoothness and ease of reproduction appear profitable to devote some space tity, it may still not be immediately dis· afforded by modern equipment. to a r eview. of what is meant by distor­ cernible but instead may produce a con­ The foregoing illustrates the point tha t tion. Such an understanding can prove sciousness of aural fatigue after one has one of the most noteworthy developments been listening for a moderate period of in the audio art in the high fid elity era, time. In successively larger quantities, at least to the ears of this writer, has distortion causes the sound to become been the reduction of distortion . While (A ) grainy, gritty, coar se, and finally so the power amplifier has come in for a PURE SINE WAVE +-+--T--+--.l1-' (1000 cps) broken up as to be partially or com­ great share of attention, it is also true pletely unintelligible. that designers of control amplifiers, tun­ Distortion consists of a change in the ers, cartridges, speakers, and other com­ original waveform, due to in1 proper ponents have concentrated on reducing functioning of one or more audio com­ distortion to imper ceptible amounts. ponents. Such improp er f unctioning is In these days when most audio equip­ ( B) called non-linearity; that is, the wave­ ment is built to exacting standards with +_+-"-+-::::-t--1I-DISTORTE D WAVE FORM r :;spect to clean reproduction-i.e. low (1000 cps) form tur ned out by the com p onent is not an exact replica of the incoming signal. distortion-one l oo~s for comparable re­ finement in the tape recorder. The metic­ It can be demonstrated, mathemati­ ulous recordist will wish to preserve the cally and by suitable test equipment, that original quality of the ·sound so far as the change in the waveform actually con­ possible. While satisfactorily low distor­ (C) sists of the addition of new f requencies +_+_f---'r-1I-'ADDIT IONAL FREQUENCY to ' those that were originally produced tion can be achieved in tape machines, (2000 cps) GEN ERATED this is far from a simple matter . Over­ BY THE AUDI O EQ PT by the sound source. This is illustrated in F ig. 1. At (A) we see the original coming distortion remains considerably NOTE: WAVEFORMS (A) AN D (C) ADD UP TO FORM (B) wavef orm, a pure sine wave; (B) shows a distorted version of the original. The * 280 Twin Lane E ., Wantagh, N . Y. Fig. 1. Example of harmonic distortion. distortion consists of the waveform

32 AUDIO • MAY, 1960 URER. Stereo·Record III does best! From the moment you hear its incomparable, high fidelity per-'_. 'in and fade-out, channel and speaker selection. Fingertip control of formance-from the instant you realize the wide range of capabilities pause, stop, rewind, fast rewind, forward, fast forward, speed selec­ the versatile controls put at your command - you know that the tions of 7Y.z, 3%, or 1% ips, and a recording safety lock. Has an Uher Stereo Record III is an exciting new experience in stereo tape accurate digital cueing meter. recording. Its performance is the sum total of superb engineering . . . Monitoring facilities, plus dual recording level indicators, simplify but let the specifications speak for themselves. making stereo or mono recordings. High and low impedance inputs Here's what the Stereo Record III does ... and why it does it best! accommodate any type of program source. Outputs for external speakers and for direct connection ·to external high fidelity ampli­ High Fidelity Performance, Unsurpassed- Broad 40 to 20,000 cps fiers are provided. The simple flip of a switch will allow the program frequency response; negligible wow and flutter 0.1 %; high -55 db to come forth from its self-contained high quality stereo amplifier signal- to - noise ratio and constant speed hysteresis-synchronous and stereo speaker system. Truly portable-weighs only 33 pounds. motor assure the highest possible performance stanclards. Complete with 2 .Dynamic High Impedance Microphones, Ampli- Versatility, Unlimited - Sound-on-sound! Play back on one track, fiers and Carrying Case ...... $399.50 record on the other - simultaneously. It plays either 2 or 4-track pre-recorded tape. 4-tracks of Y.z mil tape, on a 7-inch reel, played FAMOUS UHER UNIVERSAL-High fidelity . at 1 'VB , ips provide more than 17 hours of play. The optional performance - a most remarkable dic" AKUSTOMAT automatically operates the tape transport only when tating/playback inst~ument - 3 speeds voice or program material reaches the microphone. The Stereo from 15/16 ips-voice activated-autoe Record III is adaptable for synchronizing automatic slide projectors. matic continuous playback. With Remote Flexibility, Unequalieil- Fool-proof and jam-proof controls pro­ Control Microphone, Carrying Case, vide individual adjustments of each channel: Volume, tone, fade- Reel, Dust Cover ...... $299.95 plus f.e.t. Your dealer invites you to take the controls of the exciting Uher Stereo Record III. For further details write: Dept. A-5, WARREN WEISS ASSOCIATES, .sole U. S. Agents, 346 West 44th Street, New York, New York

AUDIO • MAY, 1960 33 shown at (C) . If the distortion frequency Distortion Ratings for Tape Recorders in (C) is added to the orig-inal frequency Extremely seldom does one find the (A), the result is the distorted waveform ~ PURE SINE WAVE specifications for 'a tape machine having of (B). anything to say about 1M distortion. The ,. , -~ The new and undesired frequencies, ... reason will appear later, when we com­ which are termed distortion products, pare harmonic and 1M distortion pro­ POSITI VE PEAK COM­ are produced by the audio equipment. PRESS ED (DI STORTED) duced by tape recorders. The nigh-uni­ Unlike noise and hum, wh.ich are also un­ DUE TO AMPLIFIER vers8!1 practice instead is to rate tape desired frequencies produced by (some) NON-LI NEARITY machines in terms of harmonic distor­ audio components, distortion products tion at a stated signal-to-noise ratio, for appear only in the presence of an audio example 50 db in moderate-quality ma­ signal. REDUCED AMP LI TUDE chines or 55 db in high-quality machines. DUE TO INTERMO D­ The principal kinds of distortion, those ULA TlON DI STORTION The record-level indicator is adjusted to most offensive to the ear, are harmonic provide an indication, of maximum per­ and intermodulation distortion. Har­ missible recording level when the level is monic distortion denotes the generatioll such as to prod~ce anywhere from as low of frequencies that are multiples of the , as 1 per cent to as high as 5 per cent original frequency. To illustrate, in the Fig . 2 . Ex ample af intermodula tion d is­ harmonic distortion (at a frequency of course of reproducing a 1000 cps tone tortio n. ' 400 cps or so) . The low-priced machines the audio equipment may, as the result , typically use 5 per cent harmonic distor­ Figw'e 2 illustrates process of in­ of its non-linear behavior, also generat.e th~ tion as maximum permissible r ecording termodulation distortion. For simplicity, frequencies of 2000, 3000, 4000, etc. cps. level, while the top quality ones use 1 or it is assumed that only two tones, 100 To an extent, the ear is not unduly of­ 2 per cent. Many machines, of varying and 1000 cps, are present and that they quality, use 3 per cent harmonic distor­ fended by extraneous frequencies if they are fed through an amplifier. Let us as­ are harmonically related to--exact mul­ tion as the reference. The official stand­ sume that the 100-cps signal is of sub­ tiples of- the original note. As a ard, applicable to 15 ips recording-, con­ stantially greater magnitude than the siders 2 per cent harmonic distortion to rough rule, harmonic distortion products other, so that it causes the amplifier to are compatible with pleasant listening be the maximum permissible quantity. operate in non-linear fashion at the posi­ when, in total, they constitute no more tive peaks of the waveform. During these Distortion and Signal-to-Noise Ratio than about I to 2 per cent of the total moments of non-linear operation of the In the process of recording and play­ sound; generally, 3 per cent is consid­ amplifier the 1000 cps signal is also being ing back a tape, there are two principal ered too great. keated in non-linear manner, despite the sources ,of noise to contend with: tape At the same time, the amount of har­ fact that this signal. in itself is of too noise and amplifier noise. Tape noise is monic distortion which is 'tolerable de­ small magnitude to cause the amplifier of two kinds. One, known as tape hiss, pends upon ·whether the distortion prod­ to behave in non-linear fashion. At (A) is due to incomplete cancellation of mag-­ ucts are even or odd multiples of the we see the effect of amplifier non-linear­ netic fields when the tape is erased. These original frequency. Even multiples tend ity upon the 100 cps waveform. (B) magnetic fields are of random character to be less offensive. Furthermore, the shows the resulting effect upon the 1000- and therefore produce random frequen­ "order" of the harmonic products is a cps waveform due to the fact that the cies with a characteristic "hissy" quality. determining factor. High-order products amplifier is periodically operating- in The other kind of tape noise is known as are many times the original frequency; lion-linear manner. The 1000-cps wave­ modulation noise, which appears only in low-order products are a few times the form is compressed 100 times per second the presence of an audio signal on the original frequency. High-order products by the 100 cps signal. In other words, tape. Modulation noise is due to impe!'­ tend to be more offensive. Thus if the the 100-cps frequency is now present in fections in the base andlor magnetic original frequency is 1000 cps, distor­ the 1000-cps one. coating of the tape. When an audio sig­ tion products of 8000 and 9000 cps Unfortunately the new frequencies cre­ nal is r ecorded, corresponding imperfec­ would be more disagreeable than 2000 ated by 1M distortion are not multiples tions appear in the recorded sig-nal and and 3000 cps. (It is appropriate to in­ of the original frequencies. The distor­ are manifest as noise. As the result of tersperse here that a tape recorder which tion products consist of various multi­ the improvements that have taken place cuts off sharply above 9000 or 10,000 cps ples of one frequency plus or minus in tape manufacture, modulation noise Dlay offer cleaner sound than one which multiples of the other frequency. For is less serious a problem than tape hiss, goes out to 15,000 cps because the former example, 100 and 1000 cps will form 1M Tape-amplifier noise occurs both in eliminates high-order distortion products products of 1100 cps (sum of the Ol'igi­ recording and playback. However, the to a greater extent.) nal signals) and 900 cps (difference be­ signal fed to the tape amplifier is gen­ Intermodulation distortion-1M for tween the original signals). They will emlly of much smaller magnitude in short- occurs only when two or more form 1200 cps (twice 100 cps plus 1000 playback-the tape delivers but a frac­ frequencies are simultaneously repro­ cps) and 2100 cps (twice 1000 cps plus tion of a millivolt at many frequencies­ duced by the audio equipment. Defor­ 100 cps). They will form 1900 cps (twice so that it is principally noise of the tape mation in the waveform of one frequency 1000 cps minus 100 cps) and 800 cps playback amplifier which presents a results in deformation of a second fre" (1000 cps minus twice 100 cps). And so problem. quency, although it could well be that on and so forth. If there were more thau In sum, the principal obstacles to a the second frequency, if reproduced two original frequencies involved, the good signal-to-noise ratio are tape hiss alone, would not have been distorted by distortion products would be still more and the noise (including hum) produced the equipment in question. Thus 1M dis­ complex. by the tape playback amplifier. tortion refers to interaction among fre­ 1M distortion not exceeding 1 to 2 To achieve an adequate signal-to-noise quencies, with new frequencies being per cent is often considered compatible ratio it therefore becomes vital to record born out of this interaction. When a with high fidelity. On the other hand, it as much signal as pmctical upon the substantial number of frequencies are has been found that the ability to re­ tape. But the practical amount of signal reproduced at once, as is often the case duoe 1M to as low as 0.1 per cent in that can be impressed on the tape is with music, the interaction, namely 1M voltage amplifiers and power amplifiers determined by the distortion characteris­ distortion, becomes very complex. has produced noticeable improvement. tics of the tape, the tape head, and the

34 AUDIO • MAY, 1960 higher levels of distortion are acceptable' 'in reproducing speech than music. In ret,)Ol'ding a solo voice or a solo instru­ II lent, 1M distortion is less apt to be sel'ious than when recording a group of voices or instruments, because there will :111· 1111 111 J 111 1 be fewer intermodulation products when 0 1 -1 I I I I, 1 -I - '. there are fewer frequencies reproduced ~ N.easurements of input level are bas ed at one time. on the peak value of the test signals. 5 f- Bias c urrent is approxima tely optimum In deciding how high a recording level for the machine and tape used in mok- one may employ for different source ma­ f- ing these measurements. terial, there is no substitute for experi­ z 0- db input level corresponds approx- o O ~ irnately to a zero-VU indication on the _ t iM DISTORTION _ ence. The neophyte recordist does well ;:: tcpe rec order's level-indicating meter. (60 and 6000 cps) to invest a: certain amount of time in o Fig. 3. Varia tio n experimenting with various r ecording ' t;; of ta pe distortion o 5 levels for various kinds of material. In .~ I w ith cha n ge s in 15 input level. .any event, he should remember that the ~z II desire for a slight improvement in 0 signal-to-noise ratio- i.e., by raising the g HARMONIC DISTORTI ON Q. I (1000 cps) / recording level just a few db- may bring IJ with it a ,great increase in distortion if S one happens to be at the point where V V distortion rises rapidly with a slight in­ V 1--' - crease in recording level. -IS - 10 -S - o +S +10 +I S +20 All in all, the recordist has three REL ATIVE INPu r LEVEL - db choices. First, hc may be willing to ac­ cept occasional noticeable distortion, principally on signal peaks" for the sake of a relatively high recording level and therefore a superior signal-to-noise ratio. record amplifier. Ordinarily, the tape sets different with other machines, tapes, and Second, he may be unwilling to accept the bounds to how mu ch signal can be speeds, nevertheless these curves can be any noticeable distortiun whatsoever, but recorded. That is, the tape overloads, or viewed as representative. at the cost of a significant reduction in should do so, before the tape head and It may be seen in Fig. 3 that distor­ recording level and therefore in signal­ the tape amplifier go into serious dis­ tion , either harmonic or 1M, increases. to-noise ratio. Third, it is possible in a tortion. quite slowly for a while as signal level IS sense to eat one's cake and have it too However, there have been instances increased, but that the rise in distortion by "riding gain." That is, one can record where a poorly designed head has pro­ becomes precipitous after a point. Severe at a moderately high level, well below duced significant distortion in recording, 1M distortion occurs much earlier than the point of noticeable distOl'tion, during particularly at low frequencies, although harmonic distortion. Hence at recording normal and quiet passages, then reduce the signal level was not such as to pro­ levels which breed innocuous amounts the recording level just before loud duce "!l'pPl'ecinhle -distortion on the tape. of harmonic distortion the 1M distortion passages come along. The last alternative Lam inated heads, which contain a greater will have risen to unacceptable levels. It requires one to be prepared with a score is understandable, therefore, why a re­ amount of magnetic mater,ial, are gener­ 01' other means of knowing when loud ally apt to have superior distortion char­ cording may sound grating if made un­ passages are about to occur. Also it im­ acteristics compared with those of nOll­ der conditions where the record level in­ plies that one is willing to compress the laminar construction. dicator p ermits 5 per cent maximum dynamic range (difference between the There have also been instances where harmonic distortion. softest and loudest passages) in ex­ aI', improperly d es ig~ e d recording am­ On the other hand, a recording that change for an improvement with respect plifier has gone into serious distortion at permits 1M distortion to reach 20 per to distortion. too low a recording level. For example, cent or more is not always unacceptable. It must be taken into account that the Sounds recorded at such distortion levels one instance of this kind involved a ma­ need to exchange signal-to-noise ratio, 01' chine of professional calibre. Although are tolerable if their duration is suffi­ possibly dynamic range, for a reduction the amplifier did not produce appreci­ ciently brief. Characteristically, many in distortion depends upon the tape ma­ able distortion when conventional tape sounds have 'peak levels 10 db, 20 db, or chine one is using. If the playback am­ was employed, it wept into excessive dis­ even more above their average level. plifier has superior characteristics in tortion when the recording level was in­ While the peaks may be severely dis­ terms of low noise and hum, and if the creased to a point consistent with the torted, the major part of the sound may head is specificruly designed for play­ use of high-output tape, which can ac­ be at a level that escapes significant dis­ back and therefore has higher output cept several db more signal for the same tortion. Whether the distortion in the tha~ one intended for both recording and amount of distortion. peru,s is tolerable depends upon their playback, the recordist's task of achiev­ For the most part, however, we can c1Ul'ation and how frequently they come ing a satisfactory compromise between ,assume that it is the tape which sets the along. If the peaks are occasional. and the conflicting considerations of noise limit to the recording level by overload­ very brief, large amounts of 1M dIstor­ and distortion is lightened. On the other ing before any of the other components tion in the r eproduction of these peaks hand, if amplifier noise is relatively high do. ' may escape attention. and head output low, the recordist I!).ight Figtwe 3 indicates the variation of The extent to which distortion is ac­ conceivably decide he is willing to accept harmonic distortion and of 1M distortion ceptable also depends upon the natu~e a fair amount of distortion in order to with changes in input signal. The meas­ of the sound being r ecorded. Certam keep noise down relative to the audio urements were taken on a professional­ kinds of music must be recOl'ded at lower signal. quality tape machine operating at 15 ips. levels than other kinds in order to While the results doubtless would be maintain clean reproduction. Generally, To. Be Continued

AUDIO • MAY, 1960 35 36 AUDIO • MAY, 1960 FOR TRUE CONCERT HALL AUDIENCE PERSPECTIVE ... demand ALTEC-the Standatrd of Excellence that professionals applaud-the ALTED DUPLEX Speaker

More ALTEC Duplex loudspeakers are used professionally, as broadcast and telecast monitors, in recording s5,l;dios, in scientific instrumentation-and in home music high fidelity systems. The reason? Altec's excellence in design and rigid manufacturing requirements. Superior is the word for the ALTEC Duplex. A speaker with the lowest possible cone resonance for extended low frequency reproduction. The voice coil of large diameter and long piston excursion provides freedom from distortion. The Duplex is actually two loudspeakers on a single die cast frame-a low frequency cone radiator and a separate exponential horn on a compression t;ype transducer for high frequency reproduction. Frequency response to 22,000 cycles. The "key" to excellence. What you hear-you hear better with ALTEC-the True Sound of Music. Compare this ALTEC trio of values. 605A DUPLEX A 15/1 loudspeaker complete with 1600 cycle network incorporating a high frequency shelving control, Guaranteed frequency response, 20- 22,000 cycles. 35 watt continuous P9wer h?ndling capacity. Model 605A has a low cone resonance of only 25 cps. The low frequency voice coil is 3/1 in diameter and the high frequency voice coiI"is 1%/( in diameter. The low frequency voice coil is of edge wound copper wire and the high frequency coil of edge wound aluminum ribbon wire. The low frequency section voice coil functions in a high magnetic flux of 14,750 gauss de": rived from a heavy Alnico V magnet. This unit ·has a sensitivity rating of 56 db (EIA).' This high sensitivity provides greater listening volume with less audio power demand from the high fidelity amplifier than less efficient types of speakers, with the result that the average amplifier will not produce distortion during " peaks." The distribution of sound is uniform over a wide angle of goO horizontal and 40° vertical. Heavy-lifetime construction-the speaker -weighs 37 pounds. $177.00

602B DUPLEX Like the model 605A this unit is another member of the famous ALTEC Duplex family. The 602B is a 15/1 speaker having the same general charac­ teristics as the 605A. This model has a continuous power handling capacity of 25 watts and a sensitivity rating of 54 db (EIA) distributed over the same wide angle as the 605A type. Tlfe high efficiency of the 602B Duplex, with a flux density of 13,500 gauss, together with its guaranteed frequency response of 30-22,000 cycles, is reason for the great popularity of this model. The loudspeaker complete with 3000 cycle network and variable shelving control weighs 25 pounds. . $143.00

60lB DUPLEX The 60lB Duplex is recommended for the finest of high fidelity reproduction in systems where speaker enclosure space is limited. This model being 12/1 in size does not require an enclosure quite as large as best suited for the 15/1 size. This example of outstanding craftsmanship is a speaker having the same high frequency resp.onse as the models 602B and 605A, and with low frequency reproduction to 40 cycles, and continuous power handling capacity of 20 watts. The Altec design and precision workmanship in this model has created a loudspeaker with a sensitivity of '53 db ' (EIA). High frequency sound is distributed over the same wide angle of goO x 40°' by means of an exponential horn. The high efficiency of the"60lB Duplex, the magnetic field of I 1,400 gauss derived from a 1.8 pound magnet, its guaranteed frequency response-is emblematic of perfection and quality. Model 60lB complete with 3000 cycle network weighs 17 pounds. Here, too, a shelving contr0l is provided as part of the network for high frequency attenuation. $120.00

Visit your authorized Altec dealer and see Altec's complete family line of matched hi fidelity com­ ponents. TUNERS . AMPLIFIERS . PREAMPLIFIERS . SPEAKERS . SPEAKER ENCLOSURES· MICROPHONES ' Write for free catalogs. Address: Dept. AD-5D, ALTEC LANSING CORPORATION 1515 S. Manchester Avenue, Anaheim, California 161 Sixth Avenue, New York 13, New York A subsidiary of Ling,Altec Electronics, Inc.

for the l, best in sO'l!tnd systems, r;hoose components by '1

AUDIO • MAY, 1960 37 Converting the Grundig to Stereo

WILLIAM C. DILLEY*

The method of converting one type of monophonic recorder can be varied to accommodate almost any variety of machine.

H E ADVE~T of stereophonic sound, while provding greater musical en­ Tjoyment for many, has also rendered obsolete much of the equipment now owned by many others. Monophonic re­ corders, of course, fall into-this category. One must either purchase another re­ corder possessing both stereo and mono capability, or convert the mono to stereo. The least expensive course of action is to retain the monophonic recorder, but most manufacturers do not provide for such a conversion. This article outlines such a conversion for the Grundig 800 series recorders, but the principles apply equally well to any monophonic recorder. Since most owners of tape recorders possess tapes recorded on their machines, and desire to play these, as well as pre­ recorded stereo tapes, it is imperative that no part of the normal monophonic operation be compromised. This require­ ment dictates that a separate stereo play­ Fig. 1. Top view of Gnrndig tape recorder showing mounting of stereo heads. Left to' back system be used, since the tape right, the four heads shown are the Dynamu stereo record playback unit, the next equalization provided by this model two are the Grundig R/ P heads, and the last is the Nort.ronics head. The two stereo Grundig is not compatible with Ameri­ heads replace the original erase units. can tape curves. The addition of a stereo palyback on the face of the covel' plate will expose does nothing excepJ; eliminate the erase head connected to two separate pre­ the tape heads, as seen in Fig. 1. Loosen function in the opposite direction. amplifiers is the best and easiest solu­ the leveling plate of either erase head The head is then unplugged from the tion to this problem. It allows playback (the erase heads are both located out­ bakelite socket and the socket r emoved of either mono or stereo without switch­ board, and the record/ playback heads from the leveling plate. If it is desirable ing within the recorder itself. are located on either side of the main to retain the sockets, the rivets may be Since the Grundig is equipped with drive capstan in the center) and cut the drilled out. two erase heads (one for each direction), three attaching wires to allow removal Figu.7·e 2 indicates dimensions for one of these heads can be removed with­ of the complete head assembly. Tape drilling the screw hole for a base-mount­ out losing any capability. The playback the ends of the wires. This operation ing head and F ig. 3 illustrates method will remain unchanged, and the tape can and dimensions for a rear-mounted head. be turned over to record the second track The dimensions given are for heads nor­ in the same direction. Recording can be DYNAMU HEA mally used in Viking Tape Decks : F 'ig. 2 accomplished in either direction, of is a Dynamu head and Fig. 3 is Nor­ course, with new or bulk erased tape. tronics. Other heads may be installed , The advantages of mounting the with only slight placement changes. stereo record/playback in place of the For base mounted heads, the hole is existing erase head are: drilled to accommodate the head mount­ . 1. An adjustable leveling plate is pro­ LEVELING ing screw. For rear mounted heads, the vided to facilitate head alignment. PLATE existing oval hole is used to connect an . 2. Location insures good contact of "L" bracket to the leveling plate, and the tape with the stereo head. any small size machine screw or bolt may 3. No evidence of the modification is be used. Flat head types should be used, visible, since this is a professional-look­ however, to allow the tape head to center ing job. in the proper position without striking the screw head. Installing the Stereo Head After mounting the head on the level­ Removal of the knobs and four screws ing plate, the plate is attached to the deck by the three leveling screws. Fig. 2. Details of mounting' for Dynamu The head leads are then connected to * 577 E. Avel'Y St., San Bemardino, Calif. heads. a double phono jack mounted in any

38 AUDIO • MAY, 1960 BOGEN-PRESTO studio-standard turntables

Consider the record you are about to hear. The original Here are some of the Bogen-Presto turntables: recording may very well have been made with a Presto MODEL TI4 (illustrated above ) 3 speeds • precision-ground professional tape recorder. It is also likely that the master aluminum turntable · planetary, inner-rim drive · independent was made on a Presto disc recorder, using a Presto turn­ idler fo r each speed· hysteres is-synchronous motor· positive smoo th lever-operated speed change • turntable shaft auto­ table, a Presto recording lathe and a Presto cutting head. matically distributes cylinder-wall lubricant for friction-free Presto has been serving the recording and broadcast motion • built-in strobe disc • 's n a p ~ac ti o n ' 45 rpm record industries for many years, and is the only manufacturer spindle • 'radi al-ridged' mat for improved record of both-professional tape and disc recording equipment. traction and ease in cleaning. Less (wm, $99.50. MODEL TIS Powered by heavy-duty, recording­ It's logical that the people who make the equipment­ type hysteresis-synchronous motor- that puts the quality into the records-are most likely to otherwise identical to TT4. Less arm, $129.50. make equipment that will preserve this quality in play­ MODEL TI3 Single speed (33% rpm }-belt­ back. Which is probably why there are so many Presto driven by hysteresis-synchronous motor turntables in professional use. - same turntable material and shaft­ bearing design as TT4 and TT5. The quality of a modern home music system need be Less arm, $59.95. no different from that of a professional studio. The same MODEL pAl Professional Tone-Arm, $24.95. records are played, and the quality of the amplifier and MODEL B60 Speeds continuously variable speaker components can be quite comparable. Bogen­ - cli ck-stops fo r 16, 33%, 45 and 78 rpm- Presto offers you this professional studio quality in the 4-pole heavy-duty motor-heavy steel record playback equipment, as well. turntable- cueing device automatically rarses 860 and lowers arm to assure gentle contact between stylus Whatever other equipment you now own, the addition and record groove. With modified PAl Studio Arm, $49.95 of a Bogen-Presto turntable and arm will produce an MODEL B61 7~" pound non-ferrous, turntable-otherwise iden­ immediate and marked improvement in the playback tical to Model B60. With modified PAl Studio Arm, $54.95. quality of your stereo and monophonic records. And you All prices are slightly higher in West will find the compactness of these BOG E N _ PRE S T 0 See your high fidelity dealer or units particularly convenie nt write for illustrated catalog describ- SERVES THE NATION WITH BETTER SOUND where space is limited. IN INDUSTRY. EDUCATION. THE STUDIO AND IN THE HOME. ing complete turntable line.

@ B~~EN - PRESTO COMPANY P. O. BOX 500. PARAMUS, NEW JERSEY A DIVISION OF THE SIEGLER CORPORATION ~ :. stan. The l"ewind or fast forward opera­ tion is then smooth and trouble free. "l" BRACKET Installation of two additional heads ( 1;8" ALUMINUM) instead of one allows simultaneous rec­ ord and playback capability. The unit NORTRONICS HEAD described, has the left head permilllently connected to playback preamplifiers for playback only. The right head is used Fig . 3. Mounting for an outboard recorder which is deta ils for the plugged into the jacks on the face of the Nortronics heads. recorder. This arangement allows stereo tapes to be played back while they are being recorded (new or bulk-erased tape must be used). Monophonic recordings may be made in either direction with the stereo head, but may be monitored only in one direction. The approximate expenditure of the two hours of time required to install.a convenient position. Two examples are tion, centered in heig'ht by visual means. stereo head in your recorder is more than shown in the photographs. The right Play the alignment tape and adjust the amply repaid by the increased value &.nd head (Nortronics) is cotmected for ac­ leveling screws to obtain maximum sig­ enjoyment as the result of this simple cess from igh-frequency driver a nd close to a:n a.c. magnetic field and slowly T ype LX3 m atching network. The LE30 withdrawing it to a distance of approxi­ in uneven tape tr!tvel and cause erratic is completely sealed and self -contained, and m ay be mounted in the same en­ mately three feet. A bulk eraser or coil­ sound reproduction. If hum is enCOlill­ closure with a low-frequency driver with type soldering iron will provide the nec­ tered, one or both of the following ac­ no special precautions. Ask for Bulletin tions should eleminate it : SB·I01 8. E-12 essary field, Using the screwdriver, ad­ • Audiot-e,x Mfg. Co., 400 S. Wyman St., just the head to a perpendicular 'posi- 1. Ground the Grundig tape deck to Rockford, Ill., lis ts more than 150 stereo­ a udio accessories in its just-released 1960 the tape head input or chassis ground of catalog. Detailed descriptions and photo­ graphs of each item a re included in the the external preamplifiers. 2· color 16-page booklet. List prices are shown. The comprehensive Audiotex line 2. Ground the shielded leads from the includes accessories for all types of sound stereo head to the tape deck. reproducing equipment. These range from durable plastic changer covers to gauges 3. The a.c. power plugs of all units and microscopes for measuring a nd ob· serving record and stylus wear. A full se· should be r:eversed in power outlets until lection of interconnecting cables, adapters, and jacks are illustrated in a variety of lowest hum level is attained. lengths for a ll connections. This catalog is available without cost. In Canada it The only required change in operating may be obtained by writing to Atlas R a dio procedure is during fast forward or fast Corporation, Ltd., Toronto 19. E-13 reverse operation. Since the position (of • Robins Industries Corp., 36-27 Prince St., Flushing 54, N. Y., has just pub­ the newly installed heads) does not allow lis hed a 48·page soft-cover book under the title, "Television T ape Recording." the mechanism the mechanism to pull Written by George B. Goodall, it is a n in­ the tape away from the heads, the fast formative, easy-reading publication which cover s the technica lities of video tape moving tape causes excessive head wear recording a nd playback in practica l lan­ guage. ,The non-mathematical and for· and static electricity build-up which may mula-free treatment of the Ampex Video­ discharge upon the tape. This action is cape' machine and its operation m ak es it possible for the layman as well as the avoided by removing either the selector expert to gain an insight into the u se of knob or the volume (depending up:- n magnetic- tape recording for both video Fig'. 4: View-of modified recorder. Knobs and a udio applications, with emphasis on at top control switching for the stereo which side the head is installed ) a!l'l video. The book is priced at one dollar. heads. using the shaft as a tape guide or cap- 1 T . j'l. Ampex Corp.

40 AUDIO e MAY, 1960 AUDIO () MAY, 1960 41 AUDIO ETC. ([1'om p{Lge 12)

was agin it. AND the stereo disc was priced And the chauces are, I'll bet, that it point, an outstanding success. Perhaps an above the mono, leaving compatibility ill a would be the full stereo disc. announcement at this delicate point might sort of price limbo. So the "comp~tible" give. it a 'polite coup de grace. From CBS * * * disc died before it was born. I rather doubt if compatible pricing will to RCA with lo ve~ My own idea-strictly The idea was born again, on a relatively speculatiou. small scale, in at least one later instance, come in via a sober, industry-wide confer­ ence and subsequent agreemeut. In our I did suggest, last month, that this was the "compatible" recordings on the Coun­ a year of decision for tape. The new an­ terpoint label (ex-Esoteric) . Counterpoint competitive field it isn't likely to happen that way. Remember the pre-war $1.00 disc nouncement proves it handily. We still have discs were stated to be playable on both four-track N ips tape and this excellent and the more recent LP price s l as hes~ All mono and stereo equipment-but whether such price cuts that I can remember have medium has a year's grace in whicb to or­ this was a case of semantics I could not been strictly unilateral and with a maxi­ ganize itself for its own best values or, say. It has been possible to argue all along, mum of drama. The idea is to get a beat alternatively, to modify its aims towards of course, that a straight, non-compromise the inevitable slower speeds. Four-track H stereo disc can be played safely via enough on your rivals. Especially if you are big and so are they. ips is fortunately not too expensive now mono picknps to call it compatible. The GE and it has the major advantage of being mono cartridges, for instance, will play So-go to it, somebody! Somebody plenty big. Get the pUblicity for yourself, in production-and playable on most pres­ most stereo discs without undue trouble. ent new machines. Make hay while . .. They provide enough vertical compliance grab the initiative and take the credit. cushion to prevent major damage. Act big, be dramatic. P?'ice yo~t?' monos and stel'eos the same 3. DON'T THROW IT OUT­ Not wise, you'll say, to count on this am'oss the bOal·d. CONT. sort of accidental compatibility. Indeed, yon may think it highly unwise to suggest Only the biggest record companies can In our March issue we inadvertently put swing this sort of thing, but any one of that there is any compatibility at all. But my discu~sion of the new Dyna-Empire the fact remains that the a rgument is not them might try it with success. Or any two. stereo arm under the general heading of black and white. A stereo disc may be flatly Which ones' I wouldn't know. But some­ "Don't Throw It Out" and I hereby bow an body'd better do it pretty dal'lled soon if termed compatible, in so many words, and apology to Dyna-Empire, in case that com­ the statement is not 100 per cent unt rue sterea is to be put on the rails for good. pany thought I had ever had such an in­ FLASH! Since this was written, Everest by any means. tention! (Apparently they dicZn't, fOI' they Whether CounterpOint depended on this ha s advertised both at the same price. Good for them! didn't mention it. ED.) At this point I somewhat doubtful use of language, or would not even think of the possibility of actually cut with reduced vertical excur­ 2. THAT NEW TAPE CARTRIDGE t hrowing out my Empire 98, and I suspect sion is an interesting question. You ask I'll feel the same way for quite awhile to them. Nor do I know whether the stereo A big heading and not much to say­ come. What happened was simply that two aspect of the records was in any way com­ yet. My article in the April issue probably other items under that heading had to be promised in favor of compatibility. But looked a bit silly to you, considering that postponed due to space limitations. Then the discs were, indubitably, called compa­ it appeared only a week or so afler the the boldface typography in our leads some­ tible. And surely there have been others public announcement of the new Columbia how slipped a joint and found itself in the claiming the same which haven't reached cartridge system at the New York IRE wrong place. The culprit was myself-my my notice. meetings in March and slyly prophesied copy was very late. that the cartridge might, perhaps, be an­ The postponed items will follow, and I'll Price.Compatibility AND Unig roove? I!ounced in June! Natch, I had written the add more from time to time, since I think piece long before and, natch, the IRE> an­ it's interesting to follow up on older equip: Now we have the "compatible" record all nouncement came j ust after we were safely ment now and then as a sort of perspectiYc over again, not from Columbia but from and irrevocably "in bed," gone to press. By on the new. Fairchild, and the story is essentially no being a bit too forehauded, I missed the different as I see it. I don't even feel that boat beautifully. Those Mono Ta bles this is the place to argue whether the new No matter, for the ll ew device is not process "worl,s" or not. I'm quite SUl'e it scheduled to be put on sale until 1961, as I am still using no less than three old does (And if some Unigroove discs turn had been previo usly hinted ill one of our mono-intended tUl'Iltables, built before the out to have "blended" the two stereo tracks wor thy rival magazines by Dr. Goldmark stereo era, and two of them a re playing into each other a bit, there's no saying it himself, head of CBS Labs. The project is stereo records very nicely. The third con­ might not be a good thing. Too much being carried on in conjunction with tinues as a superb table for mouo broad­ stereo separation can be a pain, and a bit "3M," Minnesota Mining, and it seems that cast tapings of both stereo and 111ono discs of compatible blending, especially in Pops at this point the tape itself, quite reason­ -my radio program is still, of course, in­ music, might be very healthy. I've heard ably and logically, is the biggest bottleneck. escapably mono throughout and will con­ one such U nigroove disc already and it This strikes me as both an honest and a tinue so until the F_C.C. comes to some sounds just fine-blended or no.) See p. H hopeful explanation. We all know of t he decision as to stereo broadcasting. Unigroove may for all I know provide the really amazing progress in head gap con­ The best table I've ever had, if you take very paragon of compatibility, n eve rth ~­ struction and manufacture these last f ew the product of the equation tinle/quality, less. I still must go on record as feeling years, and we all are aware now that pitch is also my oldest table, the Rek-O-Kut (now that the whole thing is an unfortunate stability at the very low speeds is decidedly Rondine) T-12H, with hysteresis.' motor. development at this time, UNLESS ... attainable, even in relatively low-cost This really superb old machine just plays Unless we have, first, the much more dra­ equipment. (Remember when the 33 LP on and on and on, year after year. And the matic compatibility that would come with record was much too slow for steady best thing of all is that it turns out to be equal pricing of "standard" mono and speecH) a very acceptable stereo table, with verti­ "standard" stereo discs. Other factors iu slow-speed hi-fi on tape cal rumble low enough so that there is only Then, by golly, the "compatible" record have been improving right along; the ap­ a slight differeuce between mono and stereo might be a reasonable bet. parent fact is that now the tape itself is playback, reasonably acceptable for my Look at it this way. If stereo and mono the major bottleneck. Reminds me of the listening purposes. prices were the same everywhere, a com­ problems of fine-grain film when tbe minia­ I think this T-12H is an excellent illns­ patihle disc would h a~'e no special price ture camera first came out. But there is t ration of the important distinction be­ ach-antage 01' disadvantage. It would not precious Jjttle doubt that with the right im­ tweeu professioual and ... well, consumer have to mD ke the painful choice of attach­ petus, tape manufacturing staudards can quality . Professional equipment is generally ing it~el£ to one price level or the other. be raised and tolerances narrowed nntil th!! better in performance but its real superi­ Therefore it would sell strictly on its own needs of lk ips recording can be met. That ority is in the simple matter of quality, of merits. Chiselers would not find it easy, evidently, is Columbia'S target along witl; strength, durability, reliability. The "T" tben, to muscle in on the confusion. 3M, before a major launching of the new lines of Rek-O-Kut t ables were originally If you had your choice of three types of tape recorcl. designed as professional equipment, or disc, all of the same performance at the Why the announcement 110W, then ~ Aha modified from it. The t able was basically a Sal11e pl'ice, a stereo, a "compatible" stereo -there we rU11 into politics, no doubt. ' recording t able, the 12-inch model adapted, and a mono- which would y.ou choose' ' Never forget t hat there is, still officially on if I'm right, from the fully "pro" 16-inch Whatevel' your choice,.it would be real­ the books a rival tape cartridge launched job. It is enormously massive, the bearings istic, practical and painless. b~- our friends at RCA and not, at this (Continued on page 67)

42 AUDIO • MAY, 1960 MONAURAL CONSOLE OWNER - WHY DON'T YOU .RELEGATE THAT ANTIQUE RELI.G TO THE ATTIC AND GET INTO STEREO THE EASY WAY WITH THE PILOT "602"? MONAURAL COMPONENT OWNER -YOU'LL NEVER BE ABLE TO PERFECTLY MATCH YOUR PRESENT EQUIPMENT. GET INTO TRUE STEREO WITH THE PILOT "602". MONAURAL EAVESDROPPER - STOP LISTENING TO YOUR NEIGHBOR'S STEREO WITH ONE EAR. GET A STEREO SYSTEM OF YOUR OWN WITH A PILOT "602" .•

INTO STEREO THE EASY WAY WITH THE A·MAZING NEW PILOT "602" • IT'S A STEREO FM / AM TUNER . IT'S A STEREO PRE­ AMPLIFIER • IT'S A30-WATT STEREO AMPLIFIER • IT REPRO­ DUCES STEREO OR MONOPHONIC SOUND . IT FEATURES PILOT'S NEW SIMPLI­ MATIC TEST PANEL-BALANCE OUTPUT TUBES USING YOUR SPEAKER SYSTEM­ WITHOUT EXTERNAL METERS • IT FEATURES PILOT STEREO-PLUS FOR CENTER FILL • IT'S ONLY 239.95 • IT'S THE

Controls: Maste r Volume/Power, Automatic Shutoff, Loudn ess, Stereo Bal ance, Dual TroLok Contro ls (Bass Channels A & B, Trebl e Channels A & B), 8 pos ition ,Selector, FM tuning, AM t uning. Inputs: 2 pair non -s horting for permanent simultaneous con ­ nection of multiplex adapter, tape recorder or TV- l pair for turntable or chan ger. Outputs : 4-Channe l A & B tape, Multiplex 1 & 2. Sensitivity: FM-2uv for 20 db of quieting on 300 ohm antenna; AM -3uv for 1 volt DC at detec to r; Phono-3 millivolts; Multipl ex-110 millivo lts; Tap e reco rd er 110 millivolts. Tube complement: '16 tubes, 1 tuning indicator, 4 silicon diode power rectifiers, 3 ge rman ium diodes. Speaker Impedances: 4, 8 and 16 ohm s_ Weight: 26 Ibs. Write for complete specifications. ONLY PILOT COULD HAV~ E ~ ': BUILT THE NEW H602" FOUNDED 1919 • PILOT RADIO CORPORATION,. 37-04 36 STREET, LONG ISLAND CITY 1, NEW YORK

AUDIO • MAY, 1960 43 desired. Two neon pilot lights al'e mounted on the panel, along with the monitor speaker. One, adjacent to the monitor vol­ ume control indicates when power is on, and the other indicates the presence of a iV\E~r·r signal-thus serving as a tuning indicator. Eau, p The squelch circuit silences the audio sec­ tion of the receiver when no signal is pres­ ent-this being necessary because of the use of a Foster-Seeley type of discrimina­ tor instead of a ratio detector. The receiver circuit uses a grounded-grid r.f. stage fol­ I 1- ::j~~~;~i:~::::j'i\)::} 1 ~ lowed by the mixer and three i.f. amplifier oE] stages, the third serving as a limiter. u CI Performance testing of this unit was car­ ried out using a tape recorder to take down. the signals as we walked away from the receiver, and indicated the distance as we waU,ed. Reliable operation was observed up to 350 feet from the transmitter with the antenna draped over the shoulder and with PROfiLE the squelch on, and all the way to 900 feet with the squelch off, With the transmitter antenna held straight up, reliable operation SONY WIRELESS was only 4.7 mao The case is metal, to pro­ extended 50 and 100 feet farther, respec­ vide shielding against variation of fre­ tively, even though specifications call for MICROPHONE, MODEL CR-4 quency due to changes in body capacitance operation maxima of 300 and BOO feet re­ spectively. Why any stage or, night-club performer with the oscillator, and is 41;8 in. high, 2~ is content to drag around a microphone in. wide, and 1 in. thick. The dynamic Using an oscillator to feed a signal into cable while he goes through his act when microphone has a maximum diameter of the transmitter at the microphone j ac k. a device as effective as the Sony Wireless 1 3/16 in. taperu.1g down to % in. and is frequency response was down 2 db from Microphone is available is almost beyond 2% in. long. the midrange response at 32 and 11,500 understanding_ Shown in F'ig, 1, the com­ The receiver unit proper is 9% in. wide, cps, with 1.5 per cent distortion (1000 cps) plete system consists of the transmitter, 7~ in, deep over-all, and 4lh in. high, and at a receiver output of 1 volt. The micro­ receiver, microphone, antennas, lavalier fits snugly into the leatherette-coveI'ed car­ phone has an output iJupedance of 1500 pouch, and the carrying case-the latter rying case which is 9 in. deep, 10lh in. ohms, and is claimed to be flat withul ± 3 having a drawer above the receiver section long, and B% in. high. A hole in the top db from 70 to 10,000 cps, which is about to accommodate the transmitter, micro­ of the case permits operation with the re­ normal for the lavalier types. phone, and cables in a. neat fitted case. ceiver still in the case, although for per­ While many applications for wireless The transmitter uses three transistors­ manent use it is more likely that it would microphones do not require broadcast qual­ one as audio a.mplifiElr, one as a frequency­ be removed and used in its own metal hous­ ity, nothmg short of this will suffice for modulated oscillator, and one as doubler­ ing. The receiver uses a fairly conventional the entertainment field. The principal ap­ amplifier. The oscillator operates at 13.56 FM circuit, with the r.f. aud mixer circuits plication for a wireless microphone is in mc, resulting in an output signal at 27. 12 fixed-tuned and only the oscillator being sound reinforcement where it is not con­ mc, whieh is in the Citizens Band where :variable over a narrow range. The output, venient to employ a trailing microphone no license is required. The transmitter is nnpedance is 50,000 ohms, and is available cable, and both the quality and perform­ powered by two 9-volt batteries inside the at two output jacks-one a standard phono ance of the Sony unit makes it ideal for case, and current drain on the unit, tested jack and the other accommodating a tele­ this purpose. Many other applications could phone plug. The gain control affects only take advantage of the ,vireless feature, and the loudspeaker level, and may be turned at the comparatively low cost it would seem dowu without affecting the normal outputs. as t.hough this device should enjoy wide ac­ ~oth a.f.c. and squelch circuits are pro­ ceptance. E-25 VIded, and a rear-mounted switch permits the user to disable the squelch circuIt when ALTEC MONTEREY AND MONTEREY JR. LOUDSPEAKERS Describing the performance of auy of the many "bookshelf" speakers now 011 the market is somewhat like trying to descl'ibe the taste of some culinary concoction to one who has never eaten it-there is too much subjectivity involved. Furthermore the terminology used in describing l oud~ speakers is not sufficiently well established that it is possible for a reviewer to conjure up a facsimile of the performauce in the mind of the reader. Altec's Monterey line does differ in sound, however, but the dif­ ference can only be descl'ibed as being "subtle." The smaller of the two models is the Monterey, .:[1'., which is shown in Fig. 2. This unit measures 23 m , high, 11~ in. wide, and 11 ~ in. deep, and is available il.l walnut, blond, and mahogany. It con­ SISts of a "coutrolled linear excursion" cone speaker for the low-frequency portion of the spectrum and a 3-m. direct-radiat­ ing tweeter for the highs, together with the necessaJ'y crossover network. The en­ tire system has a power rating of 15 watts, and works at an input impedance of 16 ohms. The cabinet is finished on all four sides so it may be used on a room divider­ bookshelf, set on the floor, or mounted ou t !l ~ wall in eit~er ver,tical or horizontal po­ Fig . 1. The Sony Model CR-4 wireless microphone. sItIons as reqUIred wIthont showing an uu-

AUDIO '. MAY, 1960 pioneer•

the manufacturers of over 350 models of speakers presents:

Highly efflcle,nt and with flat response, the brlll'lancy of Pioneer speakers are enhanced by the use ,of these compact, handsomely finished enclosures.

Cs·l 2A , , . , 12" coaxial speaker system Cs.aB .,.. a" coaxial speaker system Cs.aA . . '. a" mechanical 2-way speaker system

Cs-6A . . .. 6 '/, II mechanical 2-way speaker system For particulars see below:

Model CS-12A Type , Infinite baffle type Speaker mounted, 12" coaxial, 16 ohm frequency response , 45· 16,000 cps Power input, 20 watt Sensitivity, 101 db/watt Dimensions , 15'/." (H) x 23'10" (W )x 10'/," (D) CS - SA ' Color, Cherry

Model CS-8A (BOOKSHELF TYPE) Type, Infinite baffle type Speaker mounted, 8" mechanical 2-way. 16 ohm frequency response, 50-16,000 cps Power input, 6 watt Sensitivity, 99 db /watt Dimensions, 12'10 " (H) x 20 ,/, " (W ) x 11 " (D) Color, Cherry

Model CS-8B (BOOKSHELF TYPE) rype, Infinite baffle type Speaker mounted , 8" coaxial, 16 ohm frequency response , 60-16,000 cps Power input , 8 watt Sensitivity, 99 db /watt Dimensions, 11 'i." (H) x 22'/." (W ) x 9 '/." (D) Color, Cherry

Model CS-6A (BOOKSHELF TYPE) Type, Bass-Reflex type Speaker mounted , 6'/," mechanical 2-way, 16 ohm Frequency response, 80-16,000 cps Power input , 3 watt Sensitivity, 96 db/watt Dimensions, II" (H) x 19" (W ) x 9" (D) Color, Cherry

FUKUIN ELECTRIC, LIMITED CS -6A 5 OTOWACHO 6-CHOME, BUNKYOKU, TOKYO, JAPAN

AUDIO • MAY, '1960 45 ,-

Fig. 3. The Al tec Monte rey, w ith two w oofers and a horn-loade d high-freque ncy un it.

MADISO N FI ELDING SE RIES 440 either bass or treble could be made by STEREOPHONIC RECEI VER grasping both knobs and turning them to­ gether. As the unit is arranged, each pair Incol'porating the same circuitry in the of concentric controls serves one channel­ amplifier section as in the Series 360, this the inner knob for treble and the outer for new Madison Fielding stereo receiver adds bass-so one needs two hands to change what are essentially two separate tuners both channels simultaneo usly. However, and combines the entire assembly in a sin­ the ability to feed separate so urces into Fig . 2 . Altec Monterey Jr. loudspeaker gle case at a considerable economy over the two channels is one feature that we system. separate amplifier-tuner set-ups. The Series consider desirable- we even went so f ar 360 amplifiel' was descl'ibed in the J anuary as to change one amplifier over with a dual­ issue, and consists of a pair of 20-wa tt concentric switch just to get this flexibility. finished surface anywhere. Altec gives this amplifiers together with the necessary con­ Not everyone wishes to play phono or mi­ unit a guaranteed frequency range of 45 trol f acilities for mono or stereo operation. crophone on one channel and tape on the to 18,000 cps, and on test it covered the The new model also employs the "Aural other, apparently, though it is convenient lower end of this range nicely- we don't Zero Null" method 0'£ balancing the two for comparisons sometimes. A j ack is pro­ hear up to 18,000, but the high end was amplifier sections, described fully in the vided on the back for stereo headphones. perfectly adequate as far as we can hear, February issue. The FM tuner uses a grounded-grid r.f. which is around 14,000 cps. At higher levels I n the stereo mode, the preamplifier per­ stage 'and a triode mixer for low noise, doubling was noted below 38 cps, but this mits feeding' any of ,the six inputs-tuner, three Lf. stages with the third acting as a was only at sound volumes that were pain­ multiplex, auxiliary, microphone, tape head, limiter, and a wide-band ratio detector. ful for continuous listening. The general and phono pickup-to either channel, with The a.f.c. is quite effective, and holds a impression of the Monterey Jr: is that it indicator lights showiug t he inputs which tuned-in station excellently through nor­ is clean and crisp, and while the low end are connected. NOl'mally, FM appears on mal warm-up drift. Both FM and multi­ is not prepossessing, it is smooth enough Channell and AM on Channel 2, although plex outputs are provided, in addition to that minor adjustments of the tone control the mode switch permits reversal of this the normal FM feed to the selector push will give excellent balance without intro­ arrangement. In the mono position, any buttons. The AM section uses a t uned r~ f. ducing boominess. Used as an extra loud­ indicated input is f ed to both channels. stage following a large rotatable ferrite speaker in another room from the normal Noise (scratch ), rumble, loudness, speaker loopstick, and a single Lf. stage gives listening area-and thus being supported phase, and monitor switches are provided, sufficient sensitivity for any stations close by the bass response of the main system­ and separate channel level controls on the enough to give high-fidelity r eception. The the Junior was ideal. front panel pel' mit balancing and allow the tuner sections have separate indicators, and The Monterey is somewhat larger, meas­ user to select the operating point on the since the slide-rule dials are not superim­ uring 26 x 14 x 14lh deep, and consists of ganged mastel' volume control so as to ob­ posed, tuning is clearly indica ted. two low-frequency speakers and a sectoral tain suitable compensation when the loud­ The Series 440 is a handsome unit and high-frequency horn for the treble end. It ness switch is turned on. Bass and treble offers practically any control function that is considerably richer on the low end, yet tone contl'ols are separate for the two chan­ the user might want. Since both tuners and still exhibits the smoothness and cleanness nels, allowing individual adjustment, but control unit are in the same enclosure, it of the smaller model. The t op end is we would prefer to have both treble con­ is a very easy instrument to use, and the claimed to extend to 22,000 cps, but this trols on one pair of knobs and both bass sound it produces is in keeping with its becomes ahnost academic since it is doubt­ contl'ols on the other so that changes in impressive appearance. E-27 ful if any practical source- short of a live orchestra pick-up in the next room- would provide such a range. This model is also finished on all four sides, and if it were to ~i!IV"J9ill II! n"'~~ ~ _""~ be hidden it is likely that the listener would "'~iA- ... __ . -. t ake it to be a much, larger unit than it is...... ;,a;. ~ Response is rich in the lower l'egister, with no doubling noticed until the frequency . . . ~ .. reached 33 cps, again at a high volume. .. ~"".' Power rating for this model is 20 watts, and impedance is 8 ohms. Both speakers are efficient, and a 100-mw transistor radio will drive them to a satis­ factory r oom volume. Using the two units as a stereo system indicated some deficiency in the Junior model, but with control units capable of individual channel adjustment of bass response they could be set to pro­ vide a clean and well-balanced progr am. Fig. 4. Madison Fielding Se ri es 440 Stereophon ic re ce ive r-two t une rs, ,two p re­ E -26 amps, and two pow er amplifiers all in one package.

46 AUDIO • MAY, 1960 Bass: This dramatic new .design provides up to four times the General Electric Bookshelf bass power output of conventional speakers in comparable en­ closures. Low frequency response is unusually full and clean, thanks to the G-501's sealed enclosure and high-compliance Speaker System-Superior in woofer. Treble: A new 3-inch tweeter achieves maximum dispersion of the four vital areas highs for full stereo effect. A special cone and voice coil extend No matter how good your other components, what you ultimately response, while the dome improves reproduction at high volume hear from your stereo system will be no better than your levels. speakers. For this reason, exceptional care should be exercised Appearance: The compact, distinctively-styled enclosure is in speaker selection. The iniportant things to watch for are size handsomely finished on all four, sides so that it may be used on (remember, you'll need two), bass sound power level, high fre­ either end or either side to fit almost any room setting. Grille quency performance, and appearance. Appearance is especially cloth designs are individually patterned for each of four genuine important in speakers because they form an integral part of your wood veneer finishes - walnut, ebony and walnut, mahogany, room decor. cherry. $85.00 (manufacturer's suggested resale price, slightly Size: .General Electric's Model G-501 Bookshelf Speaker System higher in the West). Other complete brings you G.E.'s famous Extended Bass performance in an ultra­ speaker systems at $57.95 and $129.95. compact one cubic foot enclosure ideal for stereo. It measures General Electric Company, Audio Products only 9%" x 13" x 22". SeCtion, Auburn, ' N. Y. GEN ERA(e ELECTRIC

AUDIO • MAY; 1960 "47 P.P.S. Just listened to a song for contralto most artistic experimentation in public and NEW DIRECTIONS and piano. John Cage is the pianist. He just it does focus attention and draw the crowd, The ' 25-Year Retrospective Concert of thumps on the piano's wooden frame, bongo­ for better or worse. The com posers here look the Music of John Cage (May 15, 1958) style. The strings never even get touched. lil,e a group of high school students, but the Nice. accounts of their music are gl'nnlliose enough (George Avakian, 10 W. 33rd St. P.P.P.S. Piece for twelve tom-toms . . . to knock you for a loop of tape. "In thi~ New York 1, N. Y.) (3) stereo one for electronic carillon-some carillon, by work," says a Mr. LongfelJow, HI bave en­ golly. "Construction in Metal," just as it deavored to create musically the cycle of Now lool,-Iaugh your head oil' at this, but sounds, and super-hi·fi in stereo. "Williams cosmic beginning and ending." Anybody who don't fail to take it seriously, even so. This lI1ix," an early (1952) tape mix, 600 or so "endeavors" to do that is out for big ganle, famous New York con cert brought to a head, sound snippets spliced into less than five but I found this particnlar cosmos mostly so to speal" the works of one of the most minutes, the effect (calculated for nine some rather pleasant twangs out of the In· flamboyantly, brilliantly eccentric musical months) superficially like random high-speed side of a piano, played frontwards and back­ minds of our time. '.rwo minutes of its sound radio tuning. Took a further look at those wards and reverberated. Nothing very r evolu­ should show you that the man is no namby­ scores-you engineers will find a kindred tionary a bout that, these days. pamby but a tremendous brain, zany or no. spirit there! Incredible. The sound, in other words, is more of that Dali is pallid by comparison. increasingly familiar sort that is being pro­ Let me quote his words, as of no less than New Directions in Music 2/ Morton duced in many another place than San Fran­ 23 years ago, from the inner fold of the brown Feldman Columbia MS 6090 stereo cisco, and I'll admit that, once the airy ac­ wrapping paper con traption that is the book­ counts are absorbed, the techniques used turn let in this al bum : Here is more of the advanced thinking in out to be mostly competent and veu profes­ "I believe that the use of noise will con­ the art of organizing sound, from a younger, sional, with some striking effects along with tinue and increase until we reach a music more sophisticated a nd less overtly dramatic a good many that are by now commonplace--=­ produced through the aid of electr ical instru­ thinker who has followed John Cage and that eternal tape·echo "Dah-dah-dah-dah-dah," ments which will make available for musical other artists too - Jackson Pollock, Philip for example, fading away or building up to a purposes any and a ll sounds tl\at can be heard. Guston- in his car acteristically mathemati­ jumble of noise. I was fussing with that stull' Photo-electric, fi lm, and mechanical mediums cally orientated music structures. This man fiv e years ago, but then I 'm just an olel gray· for the synthetic production of music will be graphs his music. He employs "unpredict­ beard. explored. (Note: no tape in 1937.) Whereas, ability reinforced by spontaneity" (which in The niost impressive item to I11Y ear was in the past, the point of disagreement has a very dill'erent musical area is also typical one of the simplest, a tape canon via the two been between d issona.nce and consonance, it of folk music and jazz thinking) and sets out stereo speakers. The two chann els contain the will be, in the immediate future, between his work in precisely beantiful formulas, de­ same recording but spaced apart a couple of noise and so-called musical sounds.... " limiting the "plus-or-minus" exten t of permis­ seconds or so, and the spatial-rhythmic play I'd quote more if I had room; for this is sible variation or randomness, both via con­ between them is the essence of a basic musi­ an extraordinarily far-seeing prophesy out of ventional notation and via newly invented cal device, neatly brought up to date. ("Three a youth of 25, back in 1937. It's typical that graphic systems. One piece for violin and F ifty Dash Two" is the title and all Ampex these very words, in the present "booklet," piano looks, on paper, like a sketch for sev­ owners will catch, natch.) are dispersed, in caps, over several pages of eral small modern houses, floor plan only. other text in the form of seemingly meaning­ This preoccupation with probability, with The Two Pianos of Leonard Penna rio less sub-heads; not even genuine prophecy can preCise areas of random variation, is, you see. Capitol SP 8517 stereo be set forth in ordinary fashion in this world highly typical of onr day. It is as legitimate of avant-garde experiment! But the prophecy h ere as it is in jazz and in Jackson Pollock's Foe one man to record two pianos is noth· is here, and so is the sound of Cage's work, inspired pain t-dribblings. As always, there ing special these days, but n evertheless, this taken down at the actual concert. . must be minds, generally eccentric, to develop new recording does bring up interesting I've only sampled it so far-it'll take me the new lines of inquiry; as always there are questions. weeks to absorb wha t I'd like to. I'm listen­ creative geniuses (like Pollock ) who will tu rn I s it artistically, aesthetically, right to ing to the piano concerto, a whole side of out good stull' whatever the theory, and maybe have one pianist play both "parts" of a two· amazing squawks, blats, wheezes, crashes, in spi te of it. . piano piece? Well, judging from r esults here electronic bleeps, during which the audience You'll be more interested in t he theor ies I'd say yes in a ll situations where the two applauds heartily at a point where (it says) here than the music itself-but you can listen pianists are not treated as two individuals. the tuba player put the bell of one tuba up to it if you wan t, thanks to Columbia. There is actually litt le two-piano music against a n other and blew hard. There are cats Scarcely room to credit all the live per­ clearly for two protagonist players. Mostly, and mice and hippopotami in the music formers, seven of them, nor to give the titles the pianists merge their ell'orts for a twenty­ and it's very long, but I like it, definitely. of the works (ll)-such as "I ntersection 3 fingered piano "orchestra," like the players in Wild applause and catcalls for minutes, at for Piano," "Structures for String Quartet," an orchestral work. Mr. Pennario simply gives the end. "Extensions 1 for Violin and Piano." It's all himself a double set of fingers here, plus a .The portfolio of r eproduced samples of done with dedication and care, but John Cage bigger sound and some incidental right-left Cage's written scores is as interes ting as the is more exciting. Personality makes the differ­ effects that are pleasing though of no great sound itself-indeed, they were exhibited as ence. importance one way or another. His team­ works of art and surely are just that. A fa­ work with himself is, of course, excellent; natic with incredible persistence, patience, a Hig hlights of VORTEX the problem of .playing to his own perform­ canny sense of eccentric drama and, under Folkways FSS 6301 stereo ance (via earphones?) is surely no greater the zaniness, a mind that may well turn out than playing to that of another performer to Imow more about music than most of those VORTEX is a dramatic sound-and-sight and, when you .come down to it, not r eally around today_ show that is put on at various times in a a ny more artificial. BartolI, for instance, The album has three LP r ecords plus port­ San Francisco planetarium, combining tape­ writes melodic lines in his two-piano music folio. Get it! created "musique concrete" with visual pro­ clear across the printed page frOJn one piano P.S ~ I note, belatedly, that the Concerto jections and fan cy stereo sound. It has ap­ to the other, as though the two pianists were above .does not exist in nny given stnte; the parently been a huge success in that enthusi­ actually one thinking person. pianist h as h is choice of 84 different bits of astic center of the uninhibited arts, and here Note that there are other situations where composition in a bOOk, which he may play is a two-dimensional sampling of the sound this doubling·up technique is musically very whenever and wherever h e wants ; the piece part of the show, in conventional stereo and wrong. The Bach Concerto for Two Violins, can be long or short to choke and is never in a far cry from the all-around, multispeaker for instance, is seriously hurt in its intended a final state though Mr. Cage suggests sub­ sound-blanket produced in the orjginal. It's impact when n single performer plays the two limely t hat he finds each performance defi­ pretty solid, even so. parts. As written, they are almost identical nitive. You've got to expect a certain display of in musical content; the idea, of course, is advanced-type airs and graces in such pres­ that two dill'erent performers playing the * 780 Greenwich St., N ew Y01'k 14, N . .y. entations; it seems to be a necessary part of very similar music provide life and con trast 48 AUDIO • MAY, 1960 '-""'O ....OTl ... _lIh th_ Ph_nom_"_, voLn ' ~L~E~ ~~G~~~EiiNil New Orleans .. . storyville ... high stepp in' music with the plunking pian!), the.highest standard whom pin' tuba 'and sliding trombones. Selections include: "Tiger Rag," "Original Dixieland One Step," and in high· fidelity_ "Kansas City Stomp." AFLP 1928/AFSD 5928

CARNEGIE HALL CONCERT of the phenomenal DU.KES OF DIXIELAND!!! Selections include: "Muskrat Ramble," "Royal Garden Blues," and "Morita!." AFLIt 1918/AFSD 5918

AL HIRT .•. America's newest and greatest trumpet find! Spontaneous and exciting trumpet mastery with-original 'and unique interpretations of I> AUDIO such great numbers as "Birth of the Blues," "Basin Street Blues," en.. "After You've Gone" "Stardust " PLAYS c "Tiger Rag," and ' "I Can 't Get CJ Started With You." . < FIDELITY Vol. 1 AFLP 1877/AFSD 5871, Vol. 2 AFLP 1878/AFSD 5878, z Vol. 3 AfLP 1926/AFSD 5926. DII : GLBEI ":r.. RECORDS ••. CJ SI.Jomts Infirmary ChimMBluH fronScie& lohnny Dr.Jou r'" LEADER IN THE FIELD OF DIXIELAND BANJO _ . _ A Hot TIme In The My Old KenlutiKING OLIVER Louis Armstrong plays jazz favorites born in the early 1900's this decade, brilliantly recorded to bring you __ . immortal classics that have withstood the test of time .. . music that is as vibrantly aliye today as the day it was the utmost in high fidelity reproduction. written. Satchmo played all the selections in this album with King Oliver, and, many of the Unforgetable performances reproduced with selections were written by King Oliver himself. presence and clarity never before achieved. Listen now to Louis Armstrong play such classics as: "Saint James Infirmary," "Frankie & Truly great jazz, dramatically and artfully Johnny," "Jelly Roll Blues," "Big Butter & Egg Man," "Hot Time In The Old Town Tonight," showcased on the finest recordings "I Ain 't Got Nobody," Dr. Jazz," "Drop That Sack," and available today. others. AFLP 1930/AFSD 5930

DEPARTMENT A 4 770 Eleventh Avenue, New York 19, N. Y. Please send me your FREE complete illustrated catalogs and technical data. THE HAPPY SDUND OF RAGTIME •• ; HARRY BREUER. The startling and . exciting sounds of genuine Ragtime ,in effervescent rhythm played in the authentic happy manner of mallet virtuoso Harry Breuer. Selections include: "Temptation Rag," "Bugle Call Rag," "12th Street Rag," and "Dill Pickles." AFLP 1912/AFSD 5912

Suggested list prices ••• STEREO (AFSD) $6.95

.,~'" ,~ AUDIO • MAY, 1960 .:- ..~. ,I... · 49 t hroug h t heir differ ing a nd even opposing per­ member , is the eccentric, now-elderly genius B u t by sheer feminine per s istence an d via sonalities. A single performer on both parts wh o wrote challenging, a nnoying poetry, in­ helpf ul f r ien ds, t he man wa s caught in a ll removes the contrast a nd kills the piece. flu enced a generation of t hinker s a nd writers. h is magnificent irascibllity w hile en route (Even a pair of twin violinists w ho once took up Fascism a nd Mussolini : with enthusi­ from t he h ospital t o Europe, a nd here he Is. recorded this mu sic together prod uced a a sm, generally managed to get himself in ba d " ' hat a sonnel-portrait ! Everytb ing you'ye s imila rly deadened impact.) w ith just about everybody but the fait hful, h eard a bout Pound is right there, in two T ry P errnario, then, and note h ow the mus i­ wa s lock ed up for a good ma ny years in this min utes of listening, t hough the material is n' t cal interest varies from work to work accord­ coun try, t h en, a t la st r elea sed from his h os­ particularly r evolting (as it could well be) , ing to the way the two pianos are u sed by the pital, went sailing back to Italy again a s A ma rv.elous self-portra it of a coutr overs ial composer. You'll find Brahms and Dvora k test y as ever. . figure, such as only our new aud io a rt has da nces a s w ell a s dances by Grieg, Arensky, In other words, Pound is the cla ssic ex­ ever made possible. I magine Thla chia velli, or Chopin, some of these in t wo-pia no a r range­ ample of the old saw tha t you have to tal,e th e Ma rquis de Sa de ( Sadis m to yo u) speak­ men ts. The Chasill s elabor ation of the "Blue t h e bad w ith the good. H e is high-power proof ing blithely into Caedmon 's mikes ! Danube" waltz is rea lly a new piece, a sort (and proud of it) that art and politics, art Side-note. Eccentr ic he may be, but Pound of frot hy finger-fa ntasy on the w ell-known and ethics, art a nd any old t hing, s imply speaks ver y much out of bis n OW-bygone gen­ music. You w ill enjoy it. Stereo is almost ca n ' t be sorted out fr om .each other! A d read­ er ation. His sing-song poetry, fancy r oll ed essen tial, of course, for a ny such r ecording ful old man, maybe, but also a fi rs t-rate crea­ R 's, u pt ur ned phrase endings, h is occasional as t his, toda y. t ive mind. dramatic slangis ll1 s, mixed in \vith h ighbl'ow T h e two Caedmon pa r tner s - t wo girls, Latjn, I talian, Fren ch a nd w hat-huve-you, a re TAPE MARCHES ON mind you-sta r ted visit ing P ound \yit h t he in ma nner s traig h t out of t he age of Chu rch­ idea of a recording when he was stil l locked ill, J a mes Joyce, '1'. S. Eliot, Carl Sauduurg, Ez ra Pound Reading His Poetry up. To wha t ends, please note, will today's Sean O'Casey. No d e:1 dpau model'll ism here, Caedmon TC 1122 modern t a pe recordist go! It must h a ve been hair-rais ill g, and t heir firs t take was mos tly Macl.eish: J. B. (E lia Kazan Production) Ezra P ound is not exact ly t he a udioman's in Provencal or something (to be issued la ter) . poet , bu t his r ecording sh ould be noted for a Hoots of oth er hospit al inmates h eard in RCA Victor LOS 6075 (2) stereo number of good r easons. Pound, you ma y r e- backg round. H ere's the Broadway play itself fo r those who h a ve, or h,nen 's seen it iu t he fles h (I haven ' t) and su ffi ce it to say that t his r ecol'll­ iug ma kes maximum use of imaginative ster eo to tra nslate the pla y i nto the r ecorded me­ dium. '1'here's eveu a s pokeu introcJu ction .by t h e playwright, MacLeish himself, w h ich is more than you'll heal' on Broadway e very nigh t . Much is made of a strict ly legitimate t wo­ track t echnique that is not properly stereo a t a ll but i s enormously useful in recorded drama (a nd even in opera)-oue actor in ea ch speaker , close-up. I f ussed wit h t his technique myself , experimentally, back in 1952 a nd a m delig ht ed t o see it pu t to such widespread use today. T h e o pening section her e, for ins ta nce, featu res t he t w o old men in conversation, one on ea ch side of your home s ta ge; incidental effects occur in t he s t ereo backgr ound. Much is ma de, too, of a cavernous sort of reverberation t hat is im­ pr essi ve in r ecorded drama t houg h completel y u n related to any con ceivable live-stage effect, Good stuff, a nd commenda tion s to RCA for constructive s tereo operations.

Breton: La Verbena de la Paloma (The Festiva l of the Dove). Iriarte, Ausensi, Rivadeneira; Coros Cantores de Madrid, Gran Orquestq Sinfonica, Arge nta. London OSA 1102 (2) stereo 'I' he odd thing a bout this engagingly popu­ lar Spa nish operetta (1894 ) is that it is so very much of t he French sch ool, both Bizet (as in t h e pseudo-Spauish "Carmen" ) a nd Offenbach . The light, colorful, sh owy s tyle, NOW ... for the first time ... a the easy-going music, the Slig htly lech erous modestly priced professional humor , a r e all ou t of Fra nce a nd pleasurably so. Yet t he mus ic itself is in t he familiar stereo recorder that has exciting features found only in the finest Spanish s tyle, inclnding some a stonishingly "a u thentic" F luln en co- f or a time when real instruments. You won 't believe it until you see it! native-st yle music was not considered very e l eg~ n t unless well dressed up. FEATHER TOUCH PUSH·BUTTON OPERATION · 4 HEADS, INCLUDING SEPA. T wo old Spa nish h ypoch ondriacs, talking medical shop in cracl, ed ," oices (one of them RATE 2-TRACK AND 4·TRACK PLAYBACK HEADS . 3 MOTORS, INCLUDING h as two lovely chicks after him a nd his HYSTERESIS DRIVE· MECHANICAL FLUTTER FILTER · DYNAMICALLY BAL. money, set the light satirical tone here and the "cafe" scenes, inCluding t he F lamell co. ANCED CAPSTAN FLYWHEEL· INSTANT SOURCE/TAPE MONITORING. TWO carry it onwa rd brilliant ly. T h e singing a n(l playing a r e both top-quality a nd t h e over-all RECORD/PLAYBACK PREAMPLlFIE.RS • INSTANT START I STOP • AUTOMATIC earnestness and en thusiasm might set a n ex­ CUT·OFF SWITCH • 3%·7~ IPS SPEEDS· AUTOMATIC TAPE LIFTERS. TAPE ample for OUI' own sometimes unspon taneo ll s sh ow biz. The stereo is superb ; L ondon's LOCATION INDICATOR· SEPARATE MICROPHONE/LINE IN PU TS, EACH opera ster eo ca n 't be beat. CHANNEL. De!!us: flodda Suite; Dance Rhapsody r------l # 2; Over The Hills and Far Away. Royal I A M E RI C AN CO N CE RTONE I Philharmonic, Beacham. See the phenomenal I DIVISION OF A MERIC A N ELECTR O N ICS. INC. I Ca p itol SG 7193 stereo CONCERTONE 505 I 9449 West J eff erson Boulevard I The ear ly and youthf ul " F lorida" suite by at your dealer, or send I Gent le men: Culver City, Ca lifo rni a De pt. AUO -5 I Delius is an u nexpected pleasure, throwing a somew hat odcl n ew l ight upon t h e Del ius the coupon for a I Pl ease se nd your illu strated broc hure on th e new CONCERTONE I outpu t, from the America n viewpoint. T he I 505 STE REO RECORDER, an d the name of nearest dea ler. I later Delius, a ssiduously cha mpioned by Sir descriptive brochure and Thomas, seems to most of us over h ere pr etty I Name I the name of your I I turgid stuff, a ll ,in· a ll, though f a r f rom un­ I Address I listenable. Gra nted t h at the early "F lorida" neares t dealer. m usic is much lighter in con tent anll s peC ific IL- Cit______y Zone __S tate __ JI gravity, it does, however , hnve a s pl'ightlr a nd u nselfconscious ver ve, even an innocence,

AUDIO • tba t is likely to please a lot of Americans. And the music is, to my s u rp rise,_ "eally American, genuinely out of that period befor e .1900 when our musical Id ngs were Stephen Foster and the like. Delius was obliged to' live on his f amily's F lorida ora nge estate for some time. He began his music study there on the side; eviden tly he also picked up some musical local Havor ther e a n"d in New Yorl( befor e h e t ook 00' for Europe, where this music was tur ned ou t in 1888 a ud 1890. Slight stuff, bu t a real period Havor. 'l' he la ter Delius is as might be expected STEREODYNE PICKUP here under Si r Thomas' di rection. It's a lot FOR THE mor e im por tan t, but I don' t like it as much, myself.

Hindemith: Symphonia Serena for Or· AUDIO PERFECTIONIST chestra; Horn Concerto. Dennis Brain, horn; Phil harmonia Orch., Hindemith. UNEQUALLED PERFORMANCE Angel S 35491 stereo • lowest distort ion with exclusive ma gnetic push-pull The distinguished and inter esting Angel d esig n Hindemi th ser ies con t inues here, bringing • g reatest channe l separation, smoothest response two more of the many big, important pieces • supe rior tracking- no groove chatter turned out by the beefy, smiling Germa n in recen t years. Dennis Brain r a n into a t r ee in 1957, but he got the Horn Concer to down in OUTSTANDING ENGNEERING stereo form before his death. It strikes me as astonishing t he way Hin­ • DYNA-BAl ANCED arm for perfect 2 gram tracki ng demith's music resembles the man bimself, as a t a ny ang le we see h im in f requen t pictures. I-I e is big, • true free-running gyro gimba l suspe nsion beefy, bald, round, 0 11 the Krush ch ev model o unique ly simple, accura te stylus force a d justme'nt but hef tier by a lot. H is face is r ound but strong-tha t curious anoma ly, th e str ong f at • quick, ea sy single hole mounting ma n-a nd t hough we can see in it every evi­ dence of decision and power, there is a lmost UNSURPASSED VALUE .. _with diamond stylus always a faint but f riendly s mile and a sen se of relaxa tion, a lack of pre ten t iousness. (I TA-12 matched a rm and plug-in cartridge $49. 95 That is precisely what you will h ear (in .. STEREODYNE II cartridge only $29.95 gener a l terms, of course) 1n "hi s music f or la rge orch estra. It is indeed heavy, ponder ous music, and yet oddly, it is a lso f ull of qu ick movement, dexter ous a nd ligb t; it is u ncom­ promiSing, long, enormOtl sly t hicli: in t exture (as opposed to so much stark, thin contem­ DY NAC O B&O pomry music ) a nd yet, again, ther e is -much STE REODYNE II graciousness and n . mile, Dot to tmen tlou out­ right humor, lurl

AUDIO • MAY, 1960 51 echo .recording (not a groove echo in the I like th e record but I'm not enthusiastic. trnmpet to trumpet, from brass to organ, whole piece, in spite of long sides) is a great '.rhe over-all ·effect is somehow rather luke­ should make marvelously alive stereo. Actu­ pleasure. warm and perhaps a bit too much like Sunday a lly, though the brass is imaginativ.ely picked morning. I played it in mid-wee!" up by the mikes at a distance, the organ it­ ORGAN AND BRASS The new ' F lentrop organ itself is fine; It self seems much closer, with a curiously life­ is the latest model in "old" organs, even to less quality and a somewhat disturbingly un­ real spatia l effect. The organ, I'd say, should Music for Organ and Brass. E. Power a complete tracker action, .dispensing WitJl the modern electrical r elay system. '.rhis i ' seem even further away than the brass for a Biggs, Boston Brass Ensemble, Bu rgin. roughly like reconverting a moderu railroad natural impact. Columbia MS 6117 stereo to h and signalling, but the results are musi­ The Frescobaldi makes the best effect. cally worth it in variety of rhythmic and There are too many short fanfares - on the Listeners to the long-lived Sunl1ay morning Gabrieli side for sustained interest-he did CBS broadcasts of his organ program wiII tonal impact, the player's fingers directly con­ nected to the organ1s aJr valve via mechani­ n ot, after alI, write them· for playing In suc­ fi nd this Biggs record familiar in sound, cession, one right after the other. Each was though the brand new organ in the Busch­ cal means. The trouble h ere, I s uspect, is in the build­ for its own separate occasion, and should so Reisinger l\IIuseum at Harvaru was installed be h eard today, LP records or no. after the broadcasts were over. ing. At least in the recorded sound, there Is The music is the familiar sort for old-type the same incipient dullness, a Slightly stuffy organ, with brass fanfares; Roger Voisin, of quality, that I remember well in the older Marce l Dupre at Saint Sulpice, Vol. 1: many Biggs broadcasts, is here represented broadcasts and r ecordings ou t of this very Be ch. (Preludes and Fugues in D, A by a choir of two trumpets and two tro111- same hall. (The recordings issued by RCA bones and a n almost inaudible harpSichord. over a number of years.) The organ sounds Minor, E Minor). One side of the record is Gabrieli, the other sanctimonious, not glorious. MerculY SR 90227 stereo Frescobaldi, who came a generation later. IdeaIly, this antiphonal music, tossed from Marcel Dupre is the "dean" of great French organists and his records can command a hearing whatever he plays-especially on this characteristically French Saint Sulpice in­ strument, Dupre's own for a quarter century. However, if French organists of his school reserve the right, so to speak, to play Bach in their own manner on their own instru­ ments (so do most organists), then I reserve the eqnivalent right to dissent in the listen­ ing. A good many of ns are now "spoiled" b~' hearing Bach on the smaIler, brighter instru­ ments of t he Bach period. The colossal pow­ erhouse sound of the French organ, snbstitnt­ ing ,"olnme and reverberation for color and clarity, jnst seems plain nnstylish. So, too, are certain familiar rhythmic anachronism~ that wiIl jar on the pnrists' ears, though most organists do the same. This is not to suggest unmnsicality on Dnpre's part. Within the style and the in­ strnmental sonnd, his playing is a ll t hat it is snpposed to be. But better to try him on French music-and wait until Mercury rec­ ords this organ playing the music intended for it. That'll be something. The stereo recording feat is a brave one. with vast technical difficulties over come. It's safe to say that Bach never sounded so good at Saint Snlpice, and especially in the live performance. From -Mercury's precariously hung mikes (roped across t he npper r egions of the huge space) the soun d is both big and in telligible. To those mortals who merely sit down below, most of the Bach wonld be grand a nd glorions bnt mnsically an uninspiring blur in the endless reverberation. Bach didn't write for this kind of .situation.

The Organ Concertos of Handel, # 13· # 16. E. Power Biggs; london Philhar­ monic, Boult. Columbia M2S 611 (2) stereo This is merely to call attention to the final volume in this series, as above, and to note that in some ways it is the most interestine in the group, what with the "miscellaneous"" concertos (no opus n nmber aSSigned) tbat i t inclndes, which are among tbe very best of the batch, notably the richer, fuller-bodied final Concerto, with h orns and woodwinds galore. The organ is the British i nstrument "un­ earthed" by Mr. Biggs for the job, on which Handel himself actnaIly played. It h ad to be t uned upwards for the recording, then put back, a pr ocedure which h as cansed some dis­ turbance among lovers of the British' ol'gans. Probably didn't do any h a rm and at least we­ a ll could get to hear the mnsic. To get the fancy explanatory bookle t yon have to buy Volume One. I haven' t yet seen it. There are adequate liner notes her e, though no booklet.

"Fats" (Paul Curry Presents the Friends of Fats). Golden Crest CR 3070 ("compatible" stereo) Here's one of those occasional discs clean ou t of my field that I like-and therefore like saying so. For more expert details, con­ sult Colleague Robertson; I'm just passing It

51 MJOIO. it MAY, 1960 on to you as a nice itelll fo r a lmost uny uodY 'ti when it could h a ve sen'ed a vilal t l'allsitional pluyiug alld 1ll Oll U vi a t he same pair of speal< ­ casual plea sure. 'I'her e's a technical consider a­ pu rpose-now, it just means more conf usion e l' s. Stl'l c tly ci rcumstan tia l e\"l dence. tion her e, t oo-compatibility. a nd mis unde rstand ings, uuder t h e presen t '.rhe music, pa rt "an cien t" a nd pa r t mod­ Fats Waller's n ame is legitima t ely used, ster eo-niono price dilIerence. ern, is t h e sor t favor ed by brass g roups t hese since t hese a r e old co-workers of his. F ats or But I'm n ever averse to listening to any days. 'l.' he Gabrieli is .iu s t so-so; th e less­ T hins, these aimable boys t urn out a leiSUrely, good r ecor d for its own vn]ues. 'l'b is one's a known music by one An thony H olbom e (d. offhan d, picturesque sort of conversation a l honey. I G02) is r eally more interesting as played music tha t is really quite a st onishing. Big h ere. 'l'he modern pieces tend to be zippy, space, a few players sca t ter ed h er e a nd ther e. highly idiomatic, a nd ,-ery co mplex-they get Rema r ks from r igh t f ront (Cu rry ) : nutty. New York Brass Qui ntet "In Conce,t." fine peri'onn a n ces but musica lly a ren 't qu itr Answer f r om som ewhere left r ear, even nut­ Golden Crest CR 40 23 ou t of this w01'l cl. tier, zany variation s on old-tune ideas ("H ey, got some gum, chum ?"). A gohgeous w ah-w ah ("compa tible" ste reo) trumpet- I t hought it was a noth er nu tty This new " compati\l le" stereo di:;c seems STANDARDS voice f or a second. Real brass. And all t his to me distinctly la.cking in stereo effect. But in the most friendly ma nn er imagina ble. I h ave n o way of l(llowillg whether t his is Rimsky-Ko rsakoff: Scheher·azade. London Ah yes- compatible ster eo. Well, I h aven ' t simply in the recording itself or is a by-prod­ Symphony, Goosse ns. t ried to ruin t his unig roove disc via a mono u ct of the compat ibili ty. I rath er s uspect this Everest SDBR 3026 slereo piCk up and so on that score I don ' t righ tly la tter, bu t I can say 11 0 mOI'e tha n tha t. know . . . but it'll play OK, I suspect, un­ You see, wh ereas in pops-str le stereo, where ' Sfunny, t he standa rd classics get r ecorded less your mono needle is ben t double. What left-right separation is often prnctica lly 100 so often that many a r ecord re\'iewer sim ply r eally counts is th at t h ere is plen ty of ster eo, percent, a bit of blending of t he t\\"o ch a nnels cri nges at t h e sigh t of t h em a no goes quickly but definitely. (towards mO DO) can actually do a lot of ·good elsewh ere. I h a dn't h eard "Schehel'ezade" Now whether a pure (non-compatible) ster eo to t he effect, in classical recol' ding t he situa­ str a igh t through, I r ealized, since stereo came disc of this sume m usic would boast even tion is diffel' ent. · Stereo di',fe l'en ce is much a long, a nd I was really deligh tfully s urprised mor e ster eo I do not kn ow. In m usic of th is less crude, less obv ious, more carefully calcu­ by t his lovely r ecording. sor t-where stereo is apt to be of the ex­ lated. A r eduction in stereo dilIerence can be 'I'he credit must go severally to the earnest". t reme, black-find-white, r ight-left sor t, a bit serious-if t her e is a redu ction- where th e careful, s in cer e playing of t he B r itish Or­ of blending a nd blur r ing isn 't going t o do a ny stereo im pact is r igh tly a matter of subtlety chestra u nder its British conductol', to the ha rm. It Surely doesn't here. a nd delicacy. excellen t solo players h er e a nd t here, and to Yes, I'm against th e iu t roduction n ow, at Anyh ow, this brass group plays sturd ily in Everest for a s u pel'bly righ t over-a ll sound. this late date, of a so-called co mpatible r ec­ a bi g liveness a nd sounds just fine-only t her e T he old wn rhor se gains an unexpected dignity ord. T he t ime fo r t ha t was at the beginnlng, is precious li ttle d ilIerence between ster eo (Continued on page 611 )

K LH RESEARCH AND DEVELOPMENT COR PORATION This is probably the last man who will ever see 30 CROSS STREET . CAM BRIDGE 39, MASSACHUS ETTS the inside of your KLH speaker system. Descri1)tive litera/w'e , /(Ii /h the ?tame of your nearest franchised K LH dea ler, is available on reqllest.

AUDIO • MAY, 1960 53 in the Acoll st'c Ins truments Research Depa rt­ m€'nt. A ·sequel planned to sh ow h ow some of t he same factors abply to stereo sh ould clear the air even more. It ·might s upply some adven­ tnrous record company with ideas for demon­ strating stereo benefits not yet exploited. For instance, can a low tone, in stereo, be sounded at a greater intensity before it masks a higber frequency? Do two cbannels eliminate the need for artificial echo? Then there is the differ­ ence between the intensity of. a sound and its loudness-an important consideration in de­ termining wbether bass is heard in · natural balance or as something contrived on the con: trol console. Perhaps General Electric can do the job, incorporating findings from its re­ search on bass directionality. A shorter, one­ record version is available on ·Fol kways FX6136.

Wally Rose: Ragtime Classics Good Time Jazz S10034 CHARLES A. ROBERTSON ~: Half a century ago, this music would be In every home, piled in stacks on the parlol· STEREOPHON Ie listening test at home. A minimum outlay of plano and whistled on tbe stairs. It belongs. less than two dollars will put the Dixieland tbere today, especially as played by Wally Dixieland All Stars: The Golden Era of All Stars on the turntable. Rex Stewart, Bus­ Rose, a pianist who· has devoted more tha n half as many years to studying ragtime and Di xieland Jazz Design DCF1010 ter Bailey and Vic Dickenson are out in f ront, supported by Marty Napoleon, Arvell Shaw, perfecting a style that would make old Tom The Science Of Sound Folkways F,?C6007 and George Wettling. In addition to playing Turpin jump for joy. After a winter like the If the stereo disc has accomplished nothing a half-dozen old favorites, the group stretche~ one just past, listen to the opening bars of else during t\yO years of existence, it has out on R elaxation B 111 es, and Y ellow Dog Sp,·ingtim.e Rag, a 1916 tnne from the India n­ caused many persons to reexamine their think­ Blues. Each side runs about twenty minutes, ·apolis composer Paul Pratt, and feel the years ing about sound witb a frequency in direct and few New York clubs let customers stand drop away as the shoulders straighten in an proportion to the length of time they h ave at t he bar that long at tbe price. irresistible u rge to dance. Personally, I wonlll listened to stereo in the home. The variety Although large letters on the liner are used rather buy a Wally Rose record than eat, so of techniques employed and the great ad­ to quote Danton Wall;er, wbo is better known tbis review is definitely biased. vances made have kept the medium anything as a gossip columnist than an audio expert, Ever since first appearing with Lu Watter's but moribund. The Dixieland album repre­ as declaring this method to be "a revolution Yerba Buena Jazz Band in the early 40's, sents an improved method of cutting com­ in recording," most experienced listeners are Rose has demonstrated a real affinity for rag­ patible stereo and is the center of a certain aware that many stereo discs sound reason­ time and is now at the heigbt of his powers. amount of controversy. Produced on two ably good on monophonic equipment. Some Few pianists have the ability or understa nd­ monophonic records by Bel1 T elepbone Labo­ even play back monophonically th rough a ing to match his performance on H enry ratries, t he otber set mal,es no mention of stereo system better than they do when the Lodge's Red Peppe,· Rag. Under his ministra­ stereo in demonstrating basic pbenomena of two speakers are out of phase in full stereo. tions much of the abuse heaped on ragtime sound, knowledge of wbich t be average au dio­ This is not true of most operas and music is wiped away, and all tbe great composers fan may feel he acquired sometime in the featuring wide separa tion. Considerable pop are played-Scott Joplin, Tom Turpin, J ame dim past. As all the principles toucbed u pon material and quite a few jazz groups can be Scott, Joseph Lamb, and Jelly Roll Morton. have their stereo application, paying them a handled in this fashion without particular All in all, a choice bit of Americana that be­ return visit at this juncture is likely to clear damage. While the present example is no longs in every collection. Mort Corb, bass, and tbe brain of any stray decibels left over .fJ:Om equal for the best monophonic reproduction, drummer Nick Fatool are discreet accompan­ listening to tbe latest stereo opus. it is superior to many early stereo pressings ists, and stereo brings ou t the pianist's tone T be Febl"Uary meetiug of the New York and anlply demonstrates tbe advances made and dynamics. chapter of tbe Audio Engineering Society in cutting processes during the past two years. sen-ed as a forum for a panel discussion on Component dealers may encounter an influx the compatible disc being marketed u nder tbe of inquiries from people who neYer heard of Jim Timmens: Hallelujah! Spirituals In DeSign label. Members wbo attended were pre­ stereo before purchasing a Design record. A Stereo Brass RCA Victor LSP2029 sented with a speCially prepared demonstra­ blank look or abrupt dismissal of the subject The Guitar Choir: New Jazz Sound Of tion record and a covering memorandum signed will not make customers. Instead, a few ques­ Show Boat Columbia CS8216 by John Mosely. an audio consultant for the tions about the equipment nsed can result in labeL The record was played during t be meet­ an invitation to bring the record in and listen If the arranger and conductor duo at work ing and an A-B comparison made with tbe to it on a proper setup. Most audio salesmen on these sets bad been around du ring t h'l master tape. As the gatberi·ng fi lled the 1200 are aware that a record the customer is fa­ swing era, every, jazz fan would bave sung square feet of the main studio of the O-D-O miliar with often makes a greater impact than their praises. The story is different today, and recording Company, of 254 West 54tb Street, more spectacular demonstration material. That one reviewer in a h ighly respected jazz maga· and overflowed into the observation and con­ can come later, after the advantages of com­ zine, during remarks abou t a recent album trol rooms, home listening conditions were ponent stereo are compared to the shortcom­ credited to Jim Timmens, questioned the ex­ hardly approximated. If for no other reason. ings of monophonic boxes or stereo packaged istence of such a person. Well, a glance at it is just as wel1 that no ollicial conclusion with speakers less than four feet apart. As the arranger pages in the Local 802 blue book was attempted by those assembled. the Design product sounds much better in will find him listed, and not under a pseudo­ Tbe cutting tech nique was developed at stereo, it makes an excellent base to start a nym. Let's hope audio enthusiasts appreciate Beltone RecordIng StudiOS, where Les Cahan neopbyte's education by providing an incentive the rich brass voicings on the current gather­ worked with representatives of Faiycbild Re­ to buy stereo. A stamped, self-addressed en­ ing of spirituals, and wili encourage him to cOJ"Cling Company to incorporate the necessary velope sent to P ickwick Sales Corporation. pen more of the same. Each of the studio features into the 641 cutting system. One Pickwick Bnilding, Long Island City 1, New groups involved Is pOSitioned so as to utilize side of the test pressing was cut with 'Vestrex York, will bring a technical brocbure in re­ stereo to the utmost, and the scores feature 3C equipment, and the otber with the Fair­ turn. trumpet exchanges between Joe " ' ilder and child system. A frequency test band is in­ After attending the meeting, I emerged into Doc Severinson, Joe Ferrante and Mel Davis, cluded and each musical selection is heard the night clutching the test record and the fo llowed by a drum battle between Don La­ tbree times-monopbonic first, full stereo last, firm conviction tbat the term psycb oacoustics, mond and Joe Venuto, witb the latter on tym­ and compatible stereo in between. The com­ which figured prominently in the diSCUSSion, pa ni. And there is room among the special patible tracks a re s]jghtly limited In the ver­ has a different meaning for recording eng;' effects for generous solos by Joshua, It' s Me tical and borizontal compone nts. In no case neers, component manufacturers. a udiofans, and Go T ell It On The M ountailt. Ray Hall is i. the vertical limiting in excess of 3 db more and record company offiCials, wi th the aver­ responsible for the splendid engineering. than above tbe lateral. Vertical rolloff is in­ age home listener yet to be heard from. Listen­ John Carisi is best known for i srael, a serted, being down 3 dbs at 100 cps; 7 dbs ing to "The Science of Sound" set a few days work written for tbe Miles Davis band of at 50 cps and 11 dbs at 30 cps, with refer­ later, I welcomed the plain recital of factual 1949, but his many arrangements for dance euce to the RIAA curve. information like a breath of fresh air. De­ bands deserve more notice than they h a ve r e­ Since the meeting was beld, the RIAA_ is signed to aid instructors in schools and col­ ceived. The idea of a choir of fi\'e guitars reported to ha\-e denied a request to approve leges, it furnishes vivid demonstratjons of belongs to Ba rry Galbraith, who plays a lead this modification of the standard recording textbool, terms and wili make a va lued addi­ voice along with Jim Raney, and it Is put to characteristic. The first twenty Design re­ tion to science classrooms. Thanks to a script the test on the J erome Kern musical. As dis­ leases are on sale in record shops and snper­ . prepared by Bruce E. Strasser of the Bell tributed in stereo, the gu itars form a WOll­ markets throughout the cou ntry, however, and Telephone Laboratories Pub]jcations Depart­ derful background for imaginative and mel­ al1 interested parties can satisfy their curios­ ment, the narrator avoids using dry defini­ odic solos by Phil Woods, alto sax, and trom­ ity abont the new product by conducting a tions to describe the numerous phenomena cov­ bonist Bob Broo];meyer. Three songs Included ered in the nineteen sections. Techn ical con ~ were added du ring later revivals and may * 7032 The Pa,·7vway, Ma11la1·oneck, N . Y. sultants were Floyd K. Harvey and associates prove to be a new experience to some. 54 AUDIO • MAY, 1960 SR-445 AM-FM Stereo Tunar

When a tuner can accurately reflect the quality of the broadcast ... you enjoy "Integrity in Music." Strom­ berg-Carlson manifests this concept in the exceptional­ ly sensitive SR-445 stereo tuner. Its two separate and complete tuners have individual circuits---:-ready for any and all types of stereo. The FM portion features balanced ratio detector, wide peak -to-peak separation (475 kc), grounded grid cascode front end, switched AFC, tuning eye, 20 to 20,000 cps response and 200 kc bandwidth. The AM portion is equally exceptional, featuring a tuned RF stage, three-gang variable tuning condenser, 20 to 7,000 cps response and 9 kc bandwidth. Both FM and AM have Local/Distant switches for additional quieting. The SR-445 is only $129.95.';' Top cover in :.vhite, black, tan,or red available. And, the budget-minded can buy the FM or AM por­ tions separately. The specifications correspond to those above. The FM portion, FM-443, is $79.95.* The AM portion is available as model AM-442, with its own power supply, at $59.95* or without power supply, for use with the FM-443 as model AM-441, at $49.95.* Same top cover colors available. Stromberg-Carlson now offers 16 equipment cabinets in a wide variety of styles and finishes. They are de­ signed to house complete Stromberg-Carlson stereo component systems and are factory assembled. They reproduce as faithfully as separately mounted compo­ nents because of a unique mounting method that iso­ lates the speaker systems from the other sensitive components. See your dealer (in Yellow Pages) or write for a complete component and cabinet catalog to: 1418-05 North Goodman St., Roch­ ester 3, New York. * Prices audiophile net, Zone 1, less top cover, subject to change.

1/ There is nothing finer than a Stromberg- Carlson"

STROMBERG-CARLSON

A DIVISION OF GENERAL DVNAMICS

AUDIO • MAY, 1960 55 affiliation does this for Napoleon, and owrers vocal duet with Eddie Condon? Cary turns up Phil Napoleon & His Memphis Five of his previous recording will be agreeably on piano, and other soloists are Cutty Cut­ Capitol ST1344 surprised at his trumpet tone on Oome Back shall and Georgr Wettling. Good, low-priced Jimmy McPartland: That Happy Dixie­ to Son'ento, t he one interloper among a dozen stereo, in spite 01' an attempt to do too much jazz tunes. with t he tuba sound. land Jazz RCA Camden CAS549 Jimmy :McPartland, hardy survivor of Chi­ Where is the jazz res~archer who knows the cago's Austin High gang t hat he is, plays Horace Silver: Blowin' Th ~ Blues Away uumber of bands P hil Napoleon has called t he Dixieland standards in a rrangements by DicIt Blue Note ST84017 Memphis Five? If the maestro himself can Cary, a man who has yet to be classified . J ust tell, he boasts a better memory than most of about everyth ing new happening in this music The Mastersounds Play Horace Silver ' us. This year's edition is one of the best, and can be traced to Carey, or musicians he has World Pacific 1284 it buckles right down to dispensing Dixieland worked beside. A few years ago, Bobby Hack­ ett's band was enlivened by his ideas. T hey In addition to becoming jazz hits, several from the leader's private stock. New York of Horace Sn,'er's compositions, through no style was the way it used to be described, but continue to be fresh and invigorating, with imaginative ensembles to give soloists t he in­ fault of his own, have attained greater popu­ today t he label could just as .well bear a larity when set to lyrics. Both of these al­ Miami or Las Vegas imprint. Harry di Vito's centive to depart from stereotyped perform­ ances. Bob Wilber and Ernie Caceres team up bums are devoted to' his works in the before tailgate trombone provides a solid bass for state, with nothing to impede the musicians Ken Davern to launch lofty, agile solos on for the clarinet parts on High Society, and Harvey Phillip's tuba dances roundly through other t han the hands of t he clock. But it i ~ clarinet. J ohnny Varro t akes a syncopated only natural to speculate as to just how long piano chorus on O"eol e Rag. Anyone with as 'i'hat's A-Pl enty. McPartland responds with his wonted drive on t rumpet, even breaking it will take someone to come up with words many records to his credit as Napoleon de­ for one of the tunes introduced here by the serves to be allle to point to one and say, into song on Way Down Yonde,' I n New Or­ pianist and his men. And will it be Peace, "This is t he way I sound." H is new label leans, and T he Saints. Next time, why not a a balladic eYocation of a tender mood, 01' t hat robust creature fervently shouting the glories of salvation, Siste,· SadieY Portraying different aspects of Silver's personality, they rank high on t he list a nd are bound to have a long career. The stereo verSion was awaited because it for the money is one of the first produced at Rudy Van Gelder'S new studio in E nglewood Cliffs, New Jersey. Excellent piano sound, particularly circuit by on two trio numbers, and it is held in good tubes by balance with the bass, played by E ugene Taylor, and drums. An explOSive and driving ·• drummer from the fi rst• • Louis Hayes is now • completely acclimated t o the leader's moods • Amperex" and responds accordingly. Blue 1I1i tchell, trum­ \8A ·• pet, and J unior Cook, tenor sax, complete the • quintet. • Since the release of their latest album, The Mastersounds have disbanded after developing into a tightly integrated group during three years spent working together. Bubby Mont­ gomery is now with Miles Davis touring Europe, and the new association .will undoubt­ edly increase his reputation as vibist, if not as arranger. It is to be hoped that pianist R ichie Crabtree will fi nd another outlet fo',' his arranging talents because, for one reason, he is among the few who have attempted to do anything more t han popularize S i lver' ~ tunes. All t he composer's strictures for a spontaneous and highly charged performance are obeyed, while working his concepts into a Quartet framewor k, and the group delivers with unflagging zest. I ncluded are Dood1i,n' , Nica's Dreamt, and Enchantment. The vibes are clearly defined in the intimate stereo setting.

Annie Ross: A Gasser World Pacific 1285 Bell engineers, preliminary to the design of their Carillon Model 6060, 2 channel, 60 watt Stereo Amplifier, can­ Joy·a Sherriil: Sugar & Spice vassed the industry for tube types offering something Columbia C58207 truly exceptional in the way of reliability, low distortion, Each of these lady vocalis ts possesses talenr low noise, low hum and absence of microphonics. in such variety that it is almost certain As has frequently been their experience, the people at neither will ever become typed. Annie Ross, Betl found these qualities best exemplified by Amperex aside from being the last named member of the Lambert, Hendricks, and Ross Trio, is tubes. Thus, the tube complement of the Bell Model 6060 equally at home on show tunes, ballads and includes two Amperex 6CA7/ EL34's and three Amperex jazz numbers, be they fast or slow. A gener­ 12AX7/ ECC83's in each channel. ous sampling offered here allows her to range These and many other Amperex 'preferred' tube types f rom a sultry, romantic I D 'idn't Know About have proven their reliability and unique design advan­ You, to a breathless, pulsating Eve"ything I 've Got Belongs To Yo,.. She also reaches about hi-Ii tubes tages in the world's finest audio components. Applications engineering assistance and detailed data way back for Nobody's Baby, and Th'is Is My 'or hi-'i circuitry Du.cky D ay. The accompanying quintet fea· are always available to equipment manufacturers. Write: tures Russ Freeman and Zoot Sims, whose ~mp e re x Electronic Corp., Special Purpose Tube Divi­ tenor sax blends as closely with t he voice as SIon, 230 Duffy Avenue, Hicksville, L. I., New York. Gerry Mulligan's baritone sax d id on one of her previous LP's. Bet·ter begin to collect AMPEREX TUBES FOR QUALITY HIGH-FIDELITY AUDIO APPLICATIONS Annie Ross now, before her early efforts are POWER AMPLIFIERS RF AMPLIFIERS INDICATORS . as h ard to fi nd as Billy Holliday's first rec­ 6CA7/EL34: 60 w. distributed load 6ES8: Frame grid twin triode 6FG6/EM84: Ba r .pattern ords. Stereo frames t he voice beautifully, with 7189: 20 w., push-pull Jim Hall's guitar filling out t he picture. 6ER5: Frame grid shielded triode 6BQS/EL84: 17 W. , push-pull IM3/DM70: Subminiature "excla­ mation" pattern J oya Sherrill sang with Duke E llington's or­ 6CW5/EL86: 25 W.,. high current, 6EH7/EF!83: Frame grid pentode for IF, remote cut-off chestra at the age of fifteen, but a more per· low voltage tinent bit of information is that she wrote 6BM8/ECL82: Triode-pentode, 8 w., 6EJ1/EF184: Frame grid pentode SEMICONDUCTORS for IF, sharp .cut-off t he lyrics for Take T he "An T"ain, his theme push-pull 2Nt517: RF transistor, 70 mc song at the time. Her current project is a 6AQ8/ECC85: 2N1516: RF tranSistor, 70 mc VOLTAGE AMPLIFIERS Dual triode for FM tuners dozen nursery rhymes, reset in topical hip­ 6267/EF86: Pentode for pre·amps 2N151S: RF transistor, 70 me 6DC8/EBF~9 : Duo-diode pentode style, a nd the words and music are all her 12AT7/ECC81: 1Twin triodes, low IN542: own. As the album t itle implies, the season­ 12AU7/ECC82: hum, noise and RECTIFIERS Matched pair discriminator ing is var ied, not too cute and not too l'al' 12AX7/ECC83: microphonics diodes 6V4/EZ80: Indireclly h.eated, 90 mA out, but never as tasty as the E llington dish. 6BL8/ECF80: High gain, triode- IN87A: Lut her Henderson, who did t he arrangements, pentode, low hum, noise and 6CA4/EZ81: Indireclly heated: 150 mA AM detector diode, microphonics 5AR4/GZ34: Indirectly heated, 250 mA subminiature conducts with a beat just right for teenagers

56 AUDIO • MAY, 1960 , and their elders to enjoy dancing to Hmnpty Dumpty, Hickol'y Dickel'y Doel., and Little Boy BI'ie, . Henderson , incidentally, had a hand in training' Miss Ross as well as a host of other singers. ' . ,

Carlos Montoya: From St. louis To Se­ .ville ':", ' ;. RCA Victor LSP1986 The Best Of Django R!!inhardt CcipitC!1 TB010226 (Mono) l!'Jamenco, like jazz, is a n improvised art and tllese two guitarists bring an a ncient gypsy heritage to everything they play. In 11Iaking his first excursion into t he world of jazz, Carlos Mon toya remains himself, in true virtuoso fashion, and from the start takes command of t he rhythm ·section of New York jazzmen engaged to act as a guiding influ­ ence. So persuasive are his powers that it Is easy to credit the report noted on the liner, which would have you believe everyone ad­ journed to the Montoya domicile and con­ tinued jamming after ,the session. ' Meeting jazz on his own terms, 'Montoya creates a mix­ ture full of surprises and unexpected rhythmR. He brings the contrasting mood and colors of Spanish music to St . Louis Blues, and Blues In The Night. He rhapsodizes with all the lyric yearning 'of a "romantic gypsy' on Raoin On The Roof;' and Que Se"a, Se,·a. An inter­ lude of fl'ee imptovisatlon allows him to wan­ der as his faucy. dictates before the jou rney back to Seville begins. On the reverse side he plays the music usually e>.-pected from him, d,isplaying on five numbers a technique which dazzles the audience and wins plaudits at con· certs. But his admirers can find flamenco on the first s ide as well, with: something 'else added for the jazz fans. Stereo lets all the ex­ citement. through, and engineer . Ed Begley keeps the setting intimate . . Twenty·five years, after his first records and eight years aftel'.his d~ath, Django Reinhardt's playing is still an influence on American gui­ tarists. The' gypsy strain which runs through all his work was once thought to detract from his status in jazz. Since then it has defied intitation, and today is regarded as the piquant touch t hat spells Django. It is par t First in the -series: the--new award-winn-irig'* Model 312 12" 3-Way Diffaxial ... of a rich t radition of improvisation which both he and Montoya represent with so much The award-winning ,basket frame of the 312 is only one of the many advanced ; fire and brilliance. Most of the twenty-fout' performances on the two· volume set were first acoustic design features that contribute to its extraordinarily clean and wide re­ issued on the French Swing label. When im· sponse range. Its specially damped cloth suspensions and rigid cone afford rich, ported Into this country' in t he late '30's, they featured, excellent sound and quiet surfaces, deep bass response down to 28 cps. Its high frequency response to 40,000 cps ... in ' comparison with domestic releases, and with a clarity, transparency and sweetness never thought possible ... is provided were well worth t he premium price asked. They weather time well withou.t stereo, and a by the fabulous new Sphericon Super Tweeter. The highly efficient Model 312 rare treat is in store for anyone who meets can attain distortion-free "concert" volume even when driven by modestly the guitarist with his friends In QUintet of the Hot Club of France and such American powered amplifiers, yet its rugged construction permits the use of high powered visitors, as Bill Coleman, 'Re,x Stewa rt, Berney Bigard, Big Boy Goudie, and Dicl'y Wells. amplifiers with complete safety. For both perfectly integrated performance and· convenience in installation, the new University Model 312 is your ideal choice!, 'For design that, "possesses all the rigidity and dimensional stability needed to assure permanent centering MONOPHONIC of the speaker cone, mag netic pot assembly and other components ... " the radically new die-cast bas](et of" the 312 was unanimously a.warded first prize in industrial design competition that attracted entries from l a, Willie Dixon: Willie's Blues major industries. UNIVERSITY LOUDSPEAKERS, INC., WHITE "LAINS,N .Y.A s~bsidiary 0/ Ling-Allee Electronics, IlIc• • Prestige 1003 Memphis Slim: At The Gate Of Horn Features of the Series 200 Model 312 Model T202 Sphericon Super Twe~ter Vee Jay LP1012 ONE-PIECE DIE-CAST BASKET assures rigidity Frequency response from 3000- cps Prestige gets a new blues series' off to D and reliability for the entire structure. to 40,000 cps, ± 2 db to 22,000 cps! N arrow struts reduce reflecting surfaces, flying start by taking under its banner Willie and eliminate peaks and valleys in the The Sphericon is available separately as Dixon, a true country blues man from Clarl,s· frequency response. Mode! T202 for those who wish to add its dale, Mississippi, by way of Chicago's South EXCEPTIONALLY RIGID WOOFER CONE, be- thrilling and complete high frequency repro- Side. Dixon proves to be a match for any of tween two highly compliant cloth suspen- duction to their present systems. his contemporaries, and the freedom he was sions, achieves large, unhindered piston-like The entirely new concept of this direct ra- allowed in maldng his debut results in one of excursions for outstanding bass response. diator tweeter, with its special domed phe- the best examples of his brand of blues yet MID-RANGE is provided by the patented nolic diaphragm and spherical diffractor, placed on LP. There is all the informality, of Dlffusicone, an auxiliary light cone that results in a virtually linear response-with one of Big Bill Broonzy's sessions of' the late produces uniform dispersion of the fre- true musical quality-far superior to even '30's, thanks to Bob Weinstock, with none of quencies in the 1000-3000 cps range. the finest electrostatic tweeters. And unlike the exaggeration effects which other recording THE SPHERICON SUPER TWEETER has' its own. electrostatics, the efficient Sphericon can be directors came to demand In- the search for a specially constructed reflector baffle to matched to any system (especially high com- juke·box hit. And due to Rudy Van Gelder's prevent acoustic interference from the pliance) without sacrificing bass efficiency. engineering, Dixon is among the few of his main cone. SPE-CIFlCATIONS: Dispersion : 12.0°. Power rat- kind to be recorded with the care given SPECIFICATIONS : Frequency response: 28- ing: 30 watts'. Impedance: 8 ohms nominal Jimmy. Rushing, Jimmy Witherspoon, and 40,000 cps. Power rating: 35 watts.* Imped- (use with any 4-16 ohm speaker). Crossover: other blues singers who work with jazz groups. ance, 8-16 ohms. Cross9vers: 1000. c~s me- 3000 cps. Mounting: front or rear of baffle. A former heavyweight boxer, Dixon usually chamcal, 3000 cpselec!ncal. Mounll'!g. fr~nt 4 51.11 d'a 4" depth Price' with built' in net- or rear of baffle. 13" dla., 6%" d. Pflce: With 78 I., . • . thumps a bass fiddle in blues bands, often adjustable brilliance control. 573.00 user net. 111 work and adjustable control. 524.qs user net. accompanying Memphis Slim for whom he has written many songs. This time the pianist r eo *integrafedprogram. ~ • turns the fayor, supporting the singer with fertile blues phrases and turning in an orlgi· nal boogie·woogie instrumental. Dixon claims ~ .

AUDIO • MAY', 1960 57

J 10l Here's what the experts say about the Bell Carillon Stereo Amplifier HAROLD LAWRENCE ';: New Directions in Mu sic-Let The Notes Fall Where They May

VER SINCE Frank Lloyd Wright's beige abstract expressionists and neo-Dadaists, mushroom sprouted on New York's and certain contemporary composers. The Eupper Fifth Avenue, it has become the common ideals shared by these painters center of controversy. Many regard it as a aml composers revolve around the rejection sorely-needed reform of traditional museum of· traditional concepts of art and music, architecture while others see' in it another and the belief that, in the wo rds of Heury disturbing example of the late builder's Cowell, "there should be more room . . . radical philosophy. The new Guggenheim for improvisatory factors, for the elements Art Museum is neither as tall as the Em­ of casual choice and chance." pire State Building uor as grand as Rocke· In one of the most talked-about compo· feller Center, but it already ranks along· sitions of the Fifties-John Cage's I1nagi· side these New York landmarks as oue of na1'Y Landscape- twelve radios co nstituted the city's most popular attractions- as the the "instruments," and twenty-four opera· daily queues will testify. The controversy, tors the "performers" (two to a radio). which no doubt helps to swell public at· One operator selected stations while the tendance, also extends to the museum's other manipulated the volume control. exhibition. Wave·length was indicated by kilocycles, Aren't these the reasons Projecting from the milk·white walls of station·tuning by notes and rests, and dy· the spiral ramp is a' collection of contem­ namics by numbers. The first performance you'll want to own one porary art that, in the main, makes pre­ of Imagina1'Y Landscape at Columbia Uni· World War II modern art exhibitions seem versity's MacMillan Theatre in 1951 was HIGH FIDELITY Magazine mid-Victorian by comparison. The fact disappointing beca.use the work was pre· (The Carillon Stereo Amplifier) IS that abstract expressionism (or "action sented later in the program than originally rated at 30 watts output (per channel) painting") is represented here in force planned, at a time when radio programs at 1000 cps with less than 1 % distortion, underlines the almost universal acceptance had less variety and contrast than at the but can, in fact, develop this power at o{'.this movement on the' part of museums height of the evening. Some of the per· 20 cps with less than 0.7% distortion. throughout the Western World, although formers felt that the rehea;rsals prod uced Its intermodulation distortion is so low 'ju'dging from the visitors' comments, the far more interesting results, but the com­ that we would have considered 50 watts public is far from convinced that this is poser was undisturbed: he wa's out to dem· pe r channel to be an honest rating." really an art form after all. onstrate a principle, not to conduct a .HIFI/STEREO REVIEW Magazine One of the pioneers of abstract expres· "definitive" performance. Even so, Cage sionism, the late Jackson Pollock, leaped would have to admit that there are only a "This amplifie r is going to be one of the into prominence in the 1940's with his few radio·rich cities in America where his great ones. Our reviewers rank the Car­ "horizontal" technique of painting. H e 11'01'1, co uld be given effectively. illon the most flexible (among those Iyould lay his canvas fl at on the floor and tested in the last eight months) in all A centuries·old Chinese game of chance walk around it, trickling, splashing, and categories in its power rating." called I·ChvlIg (the Oriental equivalent of slinging paint at it from a bucket. Follow· dice utilizing coins or marked sticks) sup· AUDIO Magazine ing the barrage, he would stand the canvas plied Cage with a compositional method. (The Carillon) "is good to listen to, just on its side and a lIow gravity to take its He devised an arithmetical system govern· as good to look at (as handsome a unit course. Rorschach's famous inkblots indio ing tempo, duration, dynamics, and wave· as this reviewer has seen)." . rectly affected another approach to abo length tuning, and permitted COill·tossings stract expressionism . The procedure here to dictate the work's progress. If the ulti· Get full facts about the Carillon Stereo involves painting colors and forms at Tan· mate result was of a certain contour and Amplifier and new matching Carillon dom, in ::t completely spontaneous and over-all character, it was not the compos· Stereo Tuner. Ask, too, a~out the fine "thoughtless" manner, and then permitting er's fault alone; in Madison·Avenue tenni· Bell Stereo Tape Transports to complete the haphazard result to suggest to the art· uology, "That's the way the cookie crum· your music system. Send coupon today. ist the ultimate direction his work was to bles." take. "The artist is a receptacle for emotions The element of chance figures signifi· that come from all over the place-from Sound Division cantly in these approaches, regardless of the sky, from the earth, from a scrap of ~A whether the artist drips, spatters, blots, 01' Thompson Ramo Wooldridge Inc. paper, from a passing shape, from a spid· smears. Chance, too, applies to the neo· er's web. That is why we must not discrimi· 555 Marion Road, Columbus 7, Ohio Dadaists who place together co mmonly Ull· nate between things. ' Where things are Please send free literature and specifications on related materials. A new abstract expres· concerned, there are no class distiuctions." these Bell products: sionist painting by Robert Rauschenberg. Pablo Picasso wrote this in 1923. Replace o Carillon Stereo AmpJificl', Model 6060 for example, has a real stuffed eagle pro· the word, "emotions!' with "sounds," and o Carillon Stereo Tuner. Model 6070 jecting' from the canvas, and a stuffed pil· you have an explanation of Cage's "orches· low suspended from the frame by a piece Bell Stereo Tape Transports tration" of his Theatre P.iece. He:nd for o of string. NAME ______the first time at New York's Circle in the Musica l Cousins Square early ill March, the work is scored ADDRESS, ______for piano, tuba, trombone, plastic bags Close parallels can be drawn between the CITY ZONE_STATE: ______(filled with water ), movie projector, alarm L ______~ * 26 W. 9th St., New YOT7c 11, N. Y . clock, broom, garbage·can lid, streamers,

60 AUDIO • MAY, 1960 and their elders to enjoy dancing to Humpty • Dumpty, Hickory Dickm'y Dock, and Little Boy Bl1le. ·,Henderson, incidentally, had a hand in training' Miss Ross as well as a host of other singers.'

Carlos Montoya: f'rom St. louis To Se­ yille .' ": ' ;. RCA Victor LSP1986 The Best Of Diango R4:!in~ardt , C~pitol TB010226 (Mono) l!'lamenco, like jazz, is an improv.ised art and tliese two ' guitarists bring an ancient gypsy heritage to everything they play. In making his first excursion into the world of jazz, Carlos Montoya remains himself, in true virtuoso fashion, and from the start takes command of the rhythm ·section of New York jazzmen engaged to act as a guiding influ­ ence. So persuasive are his powers that it Is easy to credit the report noted on the liner, which would have you believe everyone ad­ journed to the Montoya domicile and con­ tinued jamming after ,the session. Meeting jazz on his own terms, 'Montoya creates a mix­ ture full of surprises and unexpected rhythmR. He brings the contrasting mood and colors of Spanish music to St. LOlt'is Blues, and Bl'nes In The Night. He rhapsodizes with all the lyric yearning 'of a 'romantic gypsy on Rain On The Roof;' and Que Sm'a, Sera. An inter­ lude 'of fl'ee'imptovisation allows him to wan­ der as his fancy dictates before the journey back to Seville begins. On the reverse side he plays the music usually expected from him, d,isplaying on five numbers a technique which dazzles the audience and wins plaudits at con- I certs. But his admirers can find fl amenco on the first side as well, ,vith something 'else added for the jazz fans. Stereo lets all the ex­ citement through, and engineer . Ed Begley keeps the setting intimate. . Twenty-five years, after his first records and eight years aftel: his death, Django Reinhardt's playing is still an influence on American gui­ tarists. The gypsy strain which runs through all his work was once thought to detract from his status in jazz. Since then it has defied imHation, and today is regarded as the piquan t touch that spells Django. It is part First in the series: fhe -n-ew award-winnlng* Model 312 12/1 3-Way Diffaxial , of a rich tradition of improvisation which both he and Montoya represent with so much The award-winning ,basket frame of the 312 is only one of the many advanced fire and brilliance. Most of the twenty-four performances on the two-volume set were first acoustic design features that contribute to its extraordinarily clean and wide re­ issued on the French Swing label. When im­ sponse range. Its specially damped cloth suspensions and rigid cone afford rich, ported Into this country' in the late '30's, they fe~tured excelle~t sound and quiet surfaces, deep bass response down to 28 cps. Its high frequency response to 40,000 cps .. . in comparison with domestic releases, and with a clarity, transparency and sweetness never thought possible ... is provided were well worth the premium price asl

AUDIO • MAY, 1960 57 credit for the eleven remaining tunes and they make a rich addition to blues literature. As befits a man weighing three hundred pounds, Dixon never seems to hurry, even when threatened by a grizzly bear on I Got A Razor, or on the rapid Blt,lt Fo)' Co 11 t/O)'t. H is baritone voice has an engaging· trob, par­ ticularly when stammering throngh Nel"l) OIlB. He shows no compunction about slapping the bass, bouncing the strings again t its necl, for an afterbeat, and his powerful hands can make it sound like a big, deepthroated bu ll· frog. Al Ashby appears to be an ordinary rhythm and blues tenor sa.'l:ist until he also throws convention to the wind on Sittin' And C"yin' The Bl'lI es, the best number of the lot. Here in mournful, earthy fashion, he ' sighs like a creaky gate and then lows like a herd of cattle coming through. '''ally Richardson slips in ral'e touches on guitar, and the drum­ mer is Gus Johnson. Memphis Sli m is moving around the folk music circuit since Alan Lomax introduced him last year at Carnegie Hall (not Town Hall as both liner notes insist). Although he STEREO AMP. appeared at Chicago's Gate of Horn, t here is FEATURES: SM-30 (OUTPUT 15W-15W) every indication that his present set is a col­ lection of sides designed for juke·boxes. No .. Can receive stereophonic broadcasts of both SPEC1F1CATlONS: AM-AM and AM-FM independently at the. audience noises are heard, and from the sound 4·germanium diodes, 23 tubes 6BQ 5p.p.x 2 it might easily have been recorded in the same time and facilitates reception of any Maximum Power Output: 15W-1 5W nearest empty store. The overly amplified kind of broadcasts-AM, SW, FM. guitar is well played, however, and the trans· * By pushing the "presence switch", it con re· Frequency Characteristics : 40 c/ s-70K fer to LP keeps echo within reasonable limits. produce powerful low sound which has cI s, within -ldb (at lOW output) As too little lIIemphis Slim is available, blues hitherto not been possible . Distortion : 1 % at 14W output collectors can ill afford to ignore it. .. Ea sy to see "glamour magic eye" is equipped Gain (input for lOW output): for tuning indication. TAPE .... 1.23mV MAG ... . 3.17mV .. By only changing the mode switch, output of MIC . .. .. 1.34mV X·TAL .... 54mV as much as 15W-15W for stereo and 30W for AUX ... .74mV Joseph Spence: Bahaman Falk Guitar ordinary broadcast can be obtained. Frequency Response: .. A highest closs versatile "mammoth" amplifier 88-108Mc/s x 2 for FM Folkways FS3844 that can also be used as a crossove r 3500c/s 535Kc / s- 1605Kc / s x 2 for MW Anthems, Work Songs, & Ballads From channel amplifier. 3.5Mc I s- l OMc I s for SW The Bahama Islands Folkways FS3845 Samuel B. Charters visited' Andros Island, SANSUI ELECTRIC CO., LTD. t he largest of the Bahamas group, during the 460, Izumi·cho, Sugin a mi ·ku, To kyo, Japan summer of 1958 to study and record the music found in its southernmost settlements, an a rea far removed from the beaten tourist track. So much so, in fact, that his account of the trip makes as fully engrossing a tale as his search in Texas for the blues Singer Lightin' Hopkins. Anyone with a flair for adventure who reads The First Book of its Kind-No Other Like It! the two booklets enclosed in these fi l'st vol­ umes is bound to look forward to the release of the final chapter. It is due to appear shortly, along with a third volume devoted to hymns and dances. In the meantime, let SOUND in the THEATRE Charters tell how he transfel'l'ed his equip· ment from a small skiff to a mail boat in a by Harold Burris-Meyer and Vince'nt Mallory heavy swell. Then listen to some of the musl· cians discovered in his quest for nati ves who othing like SOUND in the THEATRE rived systems and equipment specifications. remember older songs and the appI'opriate N has ever been published. It is the first Complete procedures are given for: Planning, style of performing each one. book to set forth in authoritative detail what assembling, a nd testing sound control installa­ J oseph Spence, who has t he first volume to . you can do with sound by electronic control, tions-Articulating sound control with other himself, is an exceptional guitarist by any elements of production- Rehearsals and per­ standards. Living in a commnnlty where music and how to do it whenever the source (singer, is the only creative expression and almost musician, speaker, etc.) and the audience are forinances - Operation and maintenance of every young man plays the instrument, he is present together. The book develops the re­ sound control equipment. known as the best guitarist the inhabitants quirements for electronic sound control from can remember hear ing. Like many self·taught the necessities 'of the performance, the char­ THE AUTHORS musiCians, he essays simple tunes and states acteristics of the audience (hearing and psy­ During the past thirty years, the authors have developed the theme in a style that is primitive and choacoustics), and the way sound is modified the techniques of sound control in opera, open·air amphi· direct. But once the preliminaries are out of by environment, hall, and scenery. Sound theatres, theatres on Broadway, theatres on·the·roafand t he way, he commences a succession of star­ off·Broadway, in concert halls and night clubs, in Holly· tling va r iations, returning to the melody only , sources a re considered for their susceptibility wood and in the laboratory. Some of their techniques are while pausing to gather his forces 0 1' reaSS ure of control a nd need for it, and the many tech­ used in broadcast and recording as well as in perform· the audience. His ideas are shaped from niques for applying electronic sound control ances where an audience is present. From their laboratory knowledge gained in learning the capabilities , are described and illustrated in thirty-two spe· have come notably successful appl ications of sound con· of the instrument and many of them are ~fiC problems. From these problems are de- trol to psychological warfare and psychological screening. highly or iginal. His voice on the spiritual, ' ['lit Go;"t To Live That Life, resembles the , . work of t his country's early blues singers and the words a re about as intelligible. Anthem. and local dance tunes are treated with eq ual zest, and the one popular song, Com inO In a.. RADIO ~~ A Wi.no a.nd A P..ayer, would indicate that MAGAZINES, INC. " . he crossed paths with GPs during World War II. Spence ma.l,es his living as a stone mason, Dept. 2 "' plays without a pick, and tunes his guitar a Post Office Box '629 tone low-aU of which makes for a powerful Mineola, New York sound and no amplification is needed. If the impulse to start packi ng a tape reo I am .nclosing my remiltance for $10.00 corder is still dormant, then move on to the Send my copy of next volume and meet F redericl, McQueen as SOUND in the THEATRE postpaid. he leads the Singing at a boat launching. (No C.O.D., all books sent postpaid in U.S.A. Harry Belafonte should be willing to pay good money to t he person who gives him first and possessions, Canada, and Mexico. chance at a work song li ke Lono SlIl1tmer Add 60c for Foreign orders.) Days. The boats are built on the beach and Name ______

Address ______

Oly ______Zone _ Siale ______the task of getting one into the watel' in­ PHOTOGRAPHED I N THE MODEL DEMONSTRATION CLASSROOM AT NEW YORK UNIVERSITY volves a unison response to the leader's chant. McQueen also sings original ballads, while several anthems a re handled by a male -trio. Students of folk mores will find much of in­ tel'est in the unusual rhythmic patterns on both albums. They seem to stem from environ­ ment rather than any African heritage. And wilen preparing for your trip, consider the recording conditions met by Char ters and A. R. Danberg, his technical assistant, and make sure of a power supply.

Dixie Anyone? Music Minus One 1009 Bob Wilber: Classic Dixie Classic Editions CJ2 Joe Wilder: Fascinatin' Rhythm Classic Editions CJ 1 After meeting both the needs of fledgling jazz players and more experienced improvisers with a number of rhythm background folios, the Music Minus One series now p rovides all the basic ingredients for stimulating ensemble performances. Also, due to the fact that two albums were produced from each of these ses­ Sions, even those listeners who limit their participation to a bit of compulsive foot­ tapping are accommodated. The Dixieland wing is invited to unlimber in . t he company of a septet headed by Bob Wilber, who learned this music the hard way until Sidney Bechet tHught him tl~e secrets of the. trade. He uses the knowledge acquired then and later in his career to arrange old reliable tunes, six of which are transcribed and. bound in t he vol­ ume prepared for home cooke,'s. Either to avoid ' complications or on the theory that each aspirant must eventually fend for himself. the "missing parts" which MMO usually leaves unplayed a re filled. In­ stead of working with rhythm accompaniment alone, fortunate owners are " able to step on the stand and join a front line comprised of Buck Clayton, trumpet, Vic Dickenson, trom­ bone, Bud Freeman, tenor sax. and the leader on cla.rinet. In keeping with the purpose of the date, the performers are careful to suppress eccentricties 'of-style, leav·ing all such liberties to the guest artists. Ensemble passages are fully plotted and steer clear of the collisions likely to result during the customary free-for­ al!. Because of the meticulous playing, much of the claSSic purity which enabled them to endure the test of time is restored to such melodies as Wolvel'ine Blues, Keepin' Out OJ Mischi ef Now, and T i n Roof Blues. Vocalists will find no competition, however, a nd com­ plete lyriCS are supplied. The practice of limiting each side to three numbers should as combination manual turntable, TH Ea utomatic turntable ensure that the grooves withstand rough usage. Although somehow dropping The Man That and automatic record changer, '0U A L truly capable of Got Away, Classic Editions presents six addi­ tional titles from the same group to complete authentic high fidelity stereo and mono reproduction a normal LP. Meant for dancing and listening, 100 6 the release is likely to prove quite adequate for many students as weI!. At least, rhythm players who h ave mastered the rudiments IS IN A should be able to sharpen their wits, espe­ cially when seated in a section con§isting of GLASS bassist Ahmed Abdul-Malik, drummer Panama Francis, and Dick Wellstood on piano. While aiming at a model performance, the soloist·s BY remain relaxed and the unit swings whole­ heartedly on Chimes Bhtes, High Society, and ITSELF Wila Man Blues. It would be possible to point out less restrained Dixieland sets, but cer­ You need not take our word for it. The United Audio Dual-l006 has tainly not one more perfectly played. been thoroughly tested by many consumer and technical publications within Joe Wilder lends lyric enchanment to eleven Gershwin themes, blowing trumpet improvisa­ the high fidelity industry as well as by noted consumer testing organizations. tions over rhythmic backgrounds contained on Without exception, it has been acclaimed for its flawless workmanship and its previous MMO folios. Most of the titles listed were released on Volume Foul' in the series many exclusive and significant features as both a professional turntable and and such accomplished accompanists as Hank deluxe record changer. Its ability to track a stereo record with the most sensi­ J ones, Mundell Lowe, Wilbur Ware, and Max tive of turntable cartridges at the minimum recommended stylus force en­ Roach are featured. Also Oscar Pettiford and Kenny Clarke, who are now living in Europe sures maximum life of all records. Where permission has been granted, we as expatriates. Owners, of the earlier set can have' reprinted these detailed evaluati0ns and will b-e glad to send you copies complete their education by comparing their efl'orts to Wilder's, perhaps adding a chorus on request. Or, if you can, we suggest you visit your authorized United Audio or two, while others will find enjoyable listen­ dealer and submit the Dual-l006 Turntable/Changer to your own critical test. ing on Someone To Watch Over Me, 'S Won­ del'fltl, and B 1tt Not For Me. The value of each album as an aid to self-instruction is increased by Dave Hancock's engineering. Naturalness of balance is achieved and the united audio separate parts are heard with clarity and defi· PRODUCTS OF DISTINCTION nition. .2E 12 West 18th St., N.Y. 11, N.Y.

AUDIO • MAY, 19'60 59 ,Here's what the experts say about the Bell Carillon Stereo Amplifier HAROLD LAWRENCE ':' New Directions in Music-Let The Notes Fall Where They May

VER SINCE Franl, Lloyd Wright',s beige abstract e}.1>l'essionists and n eD-Dadaists, mushroom sprouted on New York's and certain contemporal·y composers. The Eupper Fifth A venue, it has become the co=on ideals shared by these painters center of controversy. Many regard it as a and composers revolve around the r ejection sorely·needed reform of traditional museum of· traditional concepts of art and music, architecture while others see· in it another · and the belief that, in the words of Henry disturbing example of the late builder's Cowell, "there should be more room . . . radical philosophy. The new Guggenheim for improvisatory f actors,. for the elements Art Museum is neither as tall as the Em· of casual choice and chance." pire State Building nor as grand as Rocke· In one of the most talked-about compo· feller Center, but it already ranks along· sitions of the Fifties-John Cage's I'magi. side these New York landmarks as one of nary Landscape- twelve radios constituted the city's most popular attractions- as the the "instruments," and twenty-four opera· daily queues will testify. The controversy, tors the "performers" (two to a radio). which no doubt helps to swell public at· One operator selected stations while the tendance, also extends to the museum's other manipulated the volume control. exhibition. Wave·length was indicated by kilocycles, Aren't these the reasons Projecting from the milk·white walls of station·tuning by notes and rests, and dy· the spiral ram]) is a· collection of contem­ namics by numbers_ The ·first performance you'll want to own one porary art that, in the main, makes pre· of I1naginary Landscape at Columbia Uni· World War II modern art exhibitions seem versity's MacMillan Theatre in 1951 was HIGH FIDELITY Magazine mid-Victorian by comparison. The f act disappointing because the work was pre· (The Carillon Stereo Amplifier) IS that abstract expressionism (or "action sented later in the program than originally rated at 30 watts output (per channel) painting") is represented here in force plalll1ed, at a time when radio programs at 1000 cps with l~ss than 1 % distortion, underlines the almost universal acceptance had less variety and contrast than at the but can, in fact, develop this power at , "of;.this movement on the· part of museums height of the evening. Some of the per· 20 cps with less than 0.7% distortion. throughout the Western World, although formers felt that the reheal·sals produced Its intermodulation distortion is so low 'judging from the visitors' comments, the far more interesting results, but the com· that we would have considered 50 watts public is far from convinced that this is poser was undistm-bed: he wall out to dem­ per channel to be an honest rating." really an art form after all. onstrate a principle, not to conduct a ,HIFI/STEREO REVIEW Magazine Onl;l of the pioneers of abstract expres· "definitive" performance. Even so, Cage sionism, the late J ackson Pollock, leaped would have to admit that there are only a "This amplifie r is going to be one of the into prominence in the 1940's with his few radio·I'ich cities in America where his great ones. Our reviewers rank the Car­ "horizontal" technique of painting. H e work could be given effectively. illon the most flexible (among those would lay his canvas fl at on the floor and A centuries· old Chinese game of chance 'tested in the last eight months) in all walk around it, trickling, splashing, and categories in ·its power rating." called I·Ching (the Oriental equivalent of slinging paint at it from a bucket. Follow· dice utilizing coins or marked sticks) sup· AUDIO Magazine ing the barrage, he would stand the canvas plied Cage with a compositional method. (The Carillon) "is good to listen to, just on its side and allow gravity to take its H e devised an arithmetical system govern· as good to look at (as handsome a unit course. ROl·schach's famons inkblots indi­ ing tempo, duration, dynamics, and wave· as this reviewer has seen) ." rectly affected another approach to abo length tuning, and permitted coin-tossings stract expressionism. The procedure here to dictate the work's progress. If the ulti· Get full facts about the Carillon Stereo involves painting colors and forms at ran· ma.te result was of a certain contour and Amplifier and new matching Carillon dom, in a co mpletely spontaneous and over-all character, it was not the compos· Stereo Tuner. Ask, too, aQout the fine "thoughtless" manner, and then permitting er's fault alone; in Madison-Avenue termi· Bell Stereo Tape Transports to complete the haphazard result to suggest to the art· nology, "That's the way the cookie crum· your music system. Send coupon today. ist the ultimate direction his work was to bles." take. "The artist is a receptacle for emotions The element of chance figures siguifi· that come from all over the place-from Sound Division cantly in these approaches, regal·dless of the sky, from the earth, from a scrap of ~~ whether the artist drips, spatters, blots, 01' paper, from a passing shape, from a spid· I Thompson R amo Wooldridge Inc. smears. Chance, too, applies to the neo· er's web. That is why we must not discrimi· I 555 Marion Road, Columbus 7, Ohio Dadaists who place together commonly un· nate between things. · Where things are I Please send free llterature and specifications on related materials. A new abstract expres· concerned, there are no class distinctions." I t hese Bell products: sionist painting by Robert Rauschenberg, P ablo Picasso wrote this in 1923. Replace o Carillon Ste r eo Amplifier, Model 6060 for example, has a real stuffed eagle pro· the word, "emotions:' with "sounds," and I D Carillon Stereo Tuner. Model 6070 jecting' from the canvas, and a stuffed pil· you have an explanation of Cage's "orches· I low suspended from the frame by a piece t o Bell Stereo Tape !Transports tration" of his Theatl·e Piece. Hearcl for of string. the first time at New York's Circle in the I NAME ______Musical Cousins Square early in March, the work is scored I ADDRESS, ______for piano, tuba, trombone, plastic bags Close parallels can be drawn between the I CITY ZONE_STATE, ______(filled with water), movie projector, alarm L ______~ * 26 W. 9th St., New York 11, N. Y. clock, broom, garbage·can lid, streamers,

60 AUDIO • MAY, 1960 fireworks, and a dead fi sh. Apart fl'om setting up a time schedule for the half· hour·long piece, Cage placed control of its destiny in the hands of the eight perform· ers. Prior to the event, each p articipant ,vrote down on a series of cards "a noun or verb or combination of both with which [he] would care to associate [himself]." The cards were then mixed and 'the r andom juxtaposition of words formed the compo· sition's basic outline. . In Cage's musical wodd, the composer abdicates his orthodox position vis·a-vis the performer. He hopes in this way to NO TURNTAELE free his compositions of "individual t aste and memory," and to achieve a state of REGARDLESS OF PRICE "indetEl rminancy." This is where the simi­ Jj larity between Cage and the abstract ex­ VV'"ILL OUTPERFORM THE pressionists ceases. John Cage's best known adherent, Mor­ t on F eldman, applies the principle of p er­ former freedom to standard musical instru­ ments. In his work, traditional notation is abandoned since the execu tant, rather than the composer, supplies the actual notes. Using graph paper, F eldman blocks in the squares to indicate to the musicians in ap­ proximately what range they are to play (low, medium, or high), and to specify the duration of their "bits." From time to time, the composer provides instructions as to tonal production (Le., "what is de­ sired in the execution is a pure non-vibrat­ ing tone"), or treatment of specific sqnares (H for harmony, PZ for pizzicato) . The rest is up to the performers. Under this f orm of controlled improvisation, an or­ chestra made up of "conserva.tives" will produce more or less consCl'vative music, while an avant-garde group will turn out ul­ tra-modern "sounds." Appropriately, F eld­ man titles his works I ntm'sections and P1·ojections. Across the Atlantic, the Frenchman, Pierre Boulez, is also experimentiug with • Hysteresis synchronous For the first time in tra nscrip- motor drive for 33Y3 and 45 chance. In his music, however, the score is rpm recordin'gs . still king. Like a chemist whose job is to tion tUTIllablc design, you have the ultimate in performa nce a t a • Rumble factor: - 50 db when break down and analyze the components of practical price. This remarkable new 2- referred to 7 em/sec. a t 1000 cycle speed Stereo turntable, with its hysteresis signa l. a material, Boulez has isolated what he synchronous drive, assures you the superb believes to be the stuff music is made of: quaiity offered by an)1 fine turntable r e­ • Wow content is less th ~ n .15% and gardless of its price. Custom-cr afted and lIutter down to .1 %, notes, dynamics, stresses and accents, and succinctly assembled , each is a work of art. rhythmic figures (which he calls "cells") . No m ass production methods here - merely • Hum level is down 80 decibels. To each of these components he has as­ the unsurpassed skill of fin e English crafts­ 50 men working to wa tch-like precision. Com ­ $59. NET signed numbers. In his system there are pare these specifications with any other twelve notes, twelve dynamic levels r ang­ turntable on the m arket costing considerably Formica-covered base - optional for morc. You'll be amazed ! $14.95 ing from pppp to tttt, twelve manners of sounding a note, and twelve rhythmic frag­ ments. The possible changes which Boulez can ring on these elements are endless. CONNOISSEUR INTEGRATED Their variety can be illustrated by the STEREO PICK-UP AND ARM' mathematical permutations of English bellringing: the number of changes with for the price of a pick-up alone. twelve bells totals 479,001,600 and would A superb quality companion for only the finest of take 37 years and 355 days to ring. With turntables, this h and-crafted stereo pick-up a nd automatic-control arm is unsurpassed. four sets of twelve "bells" each, not to .005/ 6" diamond stylus ; 3.5 g ram ...... IIIr.~"'!:;.; mention various instrumental ancl vocal stylus, force; 20- 18,000 cps; ± 2 db; settings, Boulez need not fear of running 25 db Channel separation. out of combinations. Automatic control action permits arm to be r aised or lowered delicately Cage, Boulez and Co. f eel that tradi­ and accurately without touching the pick-up tional music has nothing more to offer our arm. space age ; we mllst wipe the slate clean, $49.50 NET they say, and begin again. But, as P aul Old world precision se?'ving a new world of sound. H enry Lang wrote so eloquently in the New York H erald Tribune (April 10, 1960) , " The march of time gives a new CORPORATION physiognomy to style, but not a new heart; (Electronic Division) the heartbeat of c,ulture remains the same." Dept. A-5, 16 West 46th Street, New York 36, New York J£

A.u.~ IO • MAY, 1960 61 NEW PRODlJCTS • Tra nsistor ized A -F Voltmet er . This ex­ r ecord and play, wow a nd flutter content ing speakers. Unive r s ity L oudspeakers, tremely small and handy instrument was is below 0. 25 p er cent, a nd signal-to-noise I nc., 80 S. Kensico Ave., White Plains, developed to replace the bulky VTVM. ratio is 45 db. The KN-4060 is equipped N. Y. E -4 Its dimensions are 3 1/ 16 x 5 x 2',2 ins, and with a solenoid which automatically shuts it weighs 28 ozs. The TVM-20 will measure the unit off after a t ape h as been played . • Hom ewood Enclos u r e Kit. Ma de of f ull­ voltages and voltage levels in the r ange Complete information is available from grained whHe hardwood ply, the Model 1 of 30 to 20,000 cps, while at the same time Allied Radio Corporation, 100 N . Western encloses four-and-one-half cubic feet of encompassing a range of m easurement of Ave., Chicago 80, III. . E -2 baffle space, affording good bass r esponse 1.0 mv to 300 volts, or - 60 dbm to + 52 within a compact area. When assembled, dbm. It m ay a lso be used as an amplifier • Reeves M agnetic Tape. D eveloped to the kit stands 29 in. high and 20 in. wide. in a.c. bridge circuits. It indicates the meet the intensified requi rements of multi­ It comes equipped with 5-in. legs: Weight r.m.s. or effective value of the input v olt­ track stereophonic sound, this new tape, age; the w ave shape, therefore, has little which contains an exclusive oxide formu­ lation called FA-4, meets the raised stand-

is only 25 lbs. Simple, exact instructions accompany each kit. Assembly time is ards of p erformance r equired of recording only 30 minutes. The Model l is the la tes t heads, amplifiers, speakers, and tape itself . item in a complete line of unfiinished high­ influence on the accuracy of the measure­ The increased efficiency of the new oxide fidelity furniture and speaker-enclosure ment. Transistors are used throughout, is said to offer improved operation with kits manufactured by Homewood Indus­ and operating voltage is supplied by a n ew equipment, a lso to improve operating tries, Inc., 26 Court St., Brooklyn, N. Y. hermetically-sealed, recha rgeable, nickel­ qua lities . of older t a pe recorders. FA-4, E -5 cadmium battery. Circuitry of the TVM-20 which stands for "frequency adjusted" consists of a three-stage stabilized tran­ oxide formulation, will be available with­ • B elden Low-Loss Ca ble'. Idea l for con­ sistor amplifier with three p-n-p s u rface out additional cost on a ll Sou ndcr aft reels necting hi-fi components where a shielded transistors. Both b a lanced and unbala n ced of Mylar a nd acetate ta pes. Reeves Sound­ low-loss cable is indicated, Belden 8421 voltages may be meas ured. The amplifier craft Corporation, Great P asture Roa d, h as a cellu lar polyethylene insulation for output is brought out to headphone jacks, Da nbury, Conn. E -3 low capacitance, a nd a spiral tinned­ permitting u se of the instrument as a copper shield for easier and neater con­ listening amplifier, or the signal may be • U nive,r sity Super Twee,t er . The Spheri­ nection. In a ddition, for increased me­ fed to an oscilloscope. Gotham Audio Cor­ con Model T - 202 has a frequency range chanical a nd t ensile s trength, the 25-AWG poration, 2 W. 46th St., New York 36, of 3000 to 22,000 cps ± 2.0 db, with output N. Y. E-[ extending to 40,000 cps a t - 10 db. In con­ struction it contains a number of interest­ • Knig ht St ereo Recorde,r. Engineer e d to ing features. A domed phenolic diaphragm meet the exacting require m e nts of cri ti­ cal users, this recorder combines ver­ satility and simplicity with excellent audio characteristics. A 3-speed m achine equipped with built-in preamplifiers, the KN-4060 records and p lays both 2- and 4- t r ack stereo tapes. Designe d for use with external amplifiers and speakers, it m ay be added to any home music system. Push­ conductor consists of four strands of buttons control eve ry function. Bot h tinne d Copperweld a nd three strands of tinned copper. The n ew cable is available on 15-, 25-, 50-, 100-, and 500-foot reels from Belden wire a nd cable distributors. Ma nufactured by B elden Ma nufacturing Compa ny, Chicago 80, Ill. E-G

• PACO AM/ FM St ere<> Tuner K it. All the builder n eed d o i s proceed through several minor wiring and assembly steps. and this tuner is complete a nd ready to operate. B eing entirely pre-aligned a nd fea turing printed-circuit board s, the Model

is acoustically loa ded by a conoidal ring to afford exceptiona lly s mooth response. monophonic and stereo oper a tion are pro­ A diffractor s phere w idens the dispersion vided at three speeds- 7 '1.., 3 *, and 1 % pattern to 120 degrees in a ll planes. The ips. Recording monophonically at the unit i ncorporates a built-in networ]< for slowest speed affords up to 16 hours of 3000-cps crossover, a nd a volume (bril­ recording time on a single 7-in. reel. By liance) control complete with a 36 -in. using the level-ind icating meters mounted cable for convenient location. Power r a ting on th e front panel, channels may be b a l­ of the Sphericon is 30 watts of integrated ST-45PA n eeds no additional minor a lign­ anced in a matter of seconds. Also in­ program material, and nomina l impedance ment or "front-end" tracking a djustments cluded is a digital cou nter for p in-point­ is 8 ohms. This is an excellent u nit for to equ a l a f a ctory-wired a nd aligned unit. ing any specifi c portion of a r ecor ding. At use in the' treble range of m u lti-speaker ' Having sepa rate FM a nd AM circuitry, 7 ',2 i ps, response is 50 to 15,000 for both systems, and to extend t h e range of exist - the t un e r can p lay simulcast stereo, FM AUDIO • MAY, 1960 separa te. a nd AM separate. A socket is provided on the c hassis for a m ultip lex adapter. The FM t uner h as a sensitivity of 2.0 m icrovolts for 30 db quieting. Bandwidth is over 200 k c. with harmonic distortion less than 1.0 p er cent from 20 to 20.000 cps. T he AM tuner has a tuned r .f. stage with a 3-gang tuning capacitor. The a ntenna is a s pecia l built-in ferrite unit which is rotatable as w e ll as remova­ ble. The AM circ uit includes a 10-1{c whistle filter. Both AM a nd FM sections have separate flywheel tuning. cathode­ follower outputs . a nd indiv idual level con­ trols on rear panel. Further informa tion may be obtained by writin g PACO Elec­ tronics Company. Inc.. 70-31 84th St .• Glenda le 27 . N. Y. E-7 • Curre,nt Te·st Adapters. T h ese devices permit ex act tube-circuit current measure­ m ent in operating equipment with out com­ puta tion or cutting lead s. Supplied singly or in a set of 7-. 8-. and 9-pin types. t h e adapters are inserted in the tub e socket between the ch assis and the t ube. Cu rrent r eadings are made by inser ting a u niqu e dua l-sided t est prod in the exposed t est

tabs. as shown in the illustration. The adapters a lso provide means for add ing r esistors or capacit ors in series with tube elements. for connecting leads to external circuits. and for making voltage and w ave­ form measurements. Vector E lectronic Company. 1100 Flower St.. Glenda le 1. Calif. E-S

• Strobe Lamp. Handily mounted on the end of a 6-ft. extension cord. the "Strobo­ lamp" offers a convenient mea ns for checking the speed of a tUrlltable or rec­ ord ch a n ger. A strobe disc supplied with the unit conta ins dots which correspon d new TUNER H.H.SCOTT· WIDE BAND .$114.95*

Here at last is an H. H. Scott Wide-Band FM tuner at a modest price. The new 314 ranks with the very finest FM tuners available. H. H. Scott's exclusive Wide­ Band design delivers more distortion-free sensitivity; long range reliability; better station separation, even when measured by stringent IHFM standards. The fine . pefformance of this unit is made possible by the use of special Wide-Band circuit ') " components manufactured exclusively for H. H. Scott. The new 314 measures a ~. compact 15V2 wide x 5 ~ high x 13 ~ deep. Listen to this fine tuner at authorized H. H. Scott dealers everywhere. You'll be amazed at the fine performance it offers at this exceptional price. *West of Rockies $116.95 ••••...... •.....••..•....••....•••.•

~ Maynard,H~O~T~~l1 Mass. ~d212.!.! '. ' . o Please ru sh me complete technical specifications on your new 314 Wide-Band fM tuner. w ith stan.dard recording spee ds. Opera tion o Also includ e your new catalog and award winning booklet is conventiona l-hold the Strobolamp over Technical Specifications (I H FM Method) "Row To Use Hign Fid elity Components in Your Oecorat­ the d ots: which correspond w ith the speed Signal to Noise Ratio: 60 DB below 100% in g Plans". a t which the table is supposedly turning. Mod.; Harmonic Distortion: 0 .8%; Drift: a nd check ror motion. Further informa ­ rl ame •..•.... . •...... •. . ...• . .••..••....•....• tion can be h a d by writing the manufac­ 0.02%; Capture Ratio: 6 DB; Audio Hum: turer. Switchcraft. Inc.. 5555 N. Elston 66 DB below 1 v; AM Suppression: 55 DB. Address ...... •...... •• Ave .• Chicago 30. Ill. E-9 City ...... : •••• State ...... Export: Tetesco tnternational. 36 W.40th St.. N.Y.C. AUDIO • MAY, 1960 • ..• l'l's-IPS MAGNETICRECORDING SYSTEM (ll'om page 22)

line from the cartridge to the supply these are relatively simple and straight­ reel during the threading operation. forward in design. When the tape has been pulled from the The straight-line character of the tape cartridge and starts to wind on the sup­ path does not require intermediate idlers ply reel, the pressure pad that supplies and consequently the guidance problems the back tension and the pressure roller are minimized. However, as in all such are automatically brought into position. drives, it is important to maintain the (Fig. 13) pressure roller axis par allel to the axis The takeup reel is operated with a of the capstan. This is accomplished by conventional slipping clutch drive. introducing sufficient compliance in the The successive cycles of operation are mounting of the pressure. roller so that programmed by means of a multiposi­ it is self-adjusting within small limits. tion rotary switch and several mechani­ The spring loading provides a simple cal interlocks. The slipping clutches, adjustment for correcting major pres­ sm'e differentials across the idler sur­ face. (Fig. 11). Obviously, there must be some means for sensing the end of the tape and vari­ ous other portions of the operating cycle. I n this machine these results are ob­ tained by means of a simple analog com­ puting linkage that cannot be disclosed in detail at this time. However, the method is independent of the length of the tape in a given cartridge and has displayed a very high degree of relia­ bility. Fig . 10. Diagram showing cartridge nest- . The authors wish to express their ap­ ing ribs. preciation for the advice and assistance brakes, speed-changing idlers, and the during the course of this work by B. B. like are operated from the three-dimen­ Bauer, A. A. Goldberg, J . C. J eschke, FIGHT sional surfaces of a single complex cam H. R . Sherman, E. L. Torick, and J. C. which programs all pressure-pad, pres­ Wish'and of CBS Laboratories and Bar­ sure-roller, and escapement operations. bara Ivins, formerly with CBS Labora­ It is necessary to provide a number of tories. We also wish to acknowledge mechanical and a few electrical inter­ whole-hearted cooperation of Dr. W. W. locks to prevent improper manual inter­ Wetzel and his associates of 3M's Mag­ Eft ference with machine operations, but netic Products Division. 1£ WITH A ECIUP AND A

CSend your Eelgift to "CANCER " in care of your local post office ® AMERICAN CANCER SOCIETY Fig. 11. Straight-line path for tape.

64 AUDIO • MAY, 1960 AUDIOCLINIC (from page 4) Did you get a bum steer by being directed to a pickup which is amplifier. The scope cun also be connecteu stereo in name only? Many so­ to the output of the square wave generator called stereo cartridges fail to (which is connected to tbe input of the provide channel separation in the amplifier) and a comparison made betweell the waves as they appear at the input of vital midrange and high fre­ the amplifier and those waves which a.re quencies, resulting in only one­ recovered from the output of t he amplifier. ear rather than two-ear reproduc- The ability. of the amplifier to respond tion . -- to these square waves is a measure of the tmnsient j'esponse of the amplifier. When Join the musicians, engineers, it is said that an amplifier possesses ex­ and music lovers who have cellent transient response, it means that the amplifier can reproduce steep wave changed to the magn ificent new fronts created by sudden stops and starts ESL-C99 MICRO / FlEX-world's in program material. newest stereo cartridge. Hear the The type of measurement just discussed difference ESL's phase control can often tell you wbether the feedback is adjnsted properly. If· there are wave can make in your two-ear listen­ shapes at output which differ appreciably ing pleasure. Only $49.50 at your from those of the square wave gener ator, dealer's. it probably means that the amplifier is on the verge of oscillation. Further capaci­ tance may be needed in the feedback loop Are you still without the tri­ of the amplifier in order to stabilize the umphant ESL-SIOOO GYRO / BAL­ high-end performance. If this remedy does not work, you probably will have to reduce ANCE arm? It improves the per­ the over-all feedback loop gain. formance of any cartridge; only 'l'he last kind of measurement which I $34.95 including shell. shall discuss here is that of the amount of feedback which an amplifier is using. This is a faidy simple measurement to make. Connect your audio generator to the input of the amplifier and connect our poor old load resistor to the output of the amplifier. FOR LISTENING Electro-Souic Laboratories, Iuc. Connect your a.f. voltmeter to the output­ AT ITS BEST Dept. A. 35-54 Thirty-sixth St. • Long Island City 6, N. Y. the same one which you used when meas­ uring frequency response. Disconnect the Circle 65A feedback resistor and feed in a 1000-Cp8 tone. Note the voltage which appears across the meter terminals. Adjust the input sig­ • nal so it is somewhere neal' full scale. Next, STEREO DEMANDED IT! connect the feedback resistor, and again take a reading. Be sure that no control set­ tings have been changed. The difference between the indication with no feedback and the indication with feedback-ex­ ENGINEERED IT! pressed in db-represents the amount of ,\TANNOY/, feedback present. There is one slight com­ plication to this: If the feedback resistor is small enough that it causes a change in cathode bias when it is removed, you must compensate for this change before making THE NEW "MONITOR" DUAL CONCENTRIC your measurements. When the bias changes, so does the gain of the amplifier. The gain (the most advanced co-axial to date) of the amplifier also changes with varying amounts of feedback, and if the gain is changed by botl). of these factors, you won't I NCORPORATINC * New revolutionary magnetic shunt cir­ kno'w which is doing what. cuit increasing useful low frequency flux Notice that all the measurements dis­ by more than 20%. cussed in this month's column required the use of an .a1ulio signal genemt07', or audio * Unique treatment of low frequency dia­ osc'iUa·tor to produce any frequency at will. phragm surround providing improved re­ Such a device must have a low impedance sponse and stability. output, and should be capable of putting * New acoustic balance cavity improving out very low voltages, from the millivolt high frequency response, reducing dis­ range up to the vicinity of 10 volts. These tortion. instl'Uments should be capable of produc­ ing all the tones of the audio spectl'Um, Tannoy engineers have produced a speaker of unsur· as well as some slightly below it and above passed quality, already being used as a 'Monitor' by world it. Some instruments have meters built wide recording, radio, and television companies. The ex· into them which register the voltage ap­ tended range and increased efficiency of the low frequency pearing at the output of the oscillator­ unit make it ideal for use in relatively small enclosures. which feeds into the amplifier. The oscil­ whilst still maintaining the "presence" of unrestricted "MONITOR" sound. This, combined with the fully integrated sound la tor should have as flat a response as pos­ 12" AND 15" sible, but there probably will be some source of the 'Monitor' Dual Concentric makes it especially deviation. This deviation can be read im­ suitable for stereophonic reproduction. mediately on the meter and the needed correction can be made. The oscillator should also have a minimum amount of WRITE FOR DETAILS distortion, especially when it is to be used TANNOY (CANADA) LTD., TANNOY (AMERICA) LTD ., to make harmonic and intermodulation dis­ 36 WELLINGTON ST. EAST, TORONTO, ONT. BOX 177, EAST NORWICH, L. I., N. Y tortion measurements. IE Circle 658

AUDIO • MAY, 1960 65 NEW! "the best of AU D10" No. 124 No. 120 A new compendium of AU.ola knowledge. THE 4th AUDIO ANTHOLOGY Here is a collection of the best of AUDIO-The AUDIOciinic $2.95 Postpaid by Joseph Giovanelli ... noted audio engineer and the original .. high fidelity answer-man-EQUIPMENT PROFILES edited by , This is the biggest Audio Anthology ever! C. G. McProud ... Editor of AUDIO. Here is a wealth of hi-fi Contains a wealth of essential high fidelity and audio information. Answers to the most important issues know-how in 144 pages of complete arti­ in high fidelity and a valuable reference on the performance of cles by world-famous authors. leading makes of high fidelity components. Volume I $2.00

NEW! Greatest Reference Work on Audio & Hi Fi No. 123 nThe AUDIO Cyc:lopedia" by Howard M. Tremaine Up tf) tlte minute, induing steref) I • 1280 pages • 3400 topics • 1600 illustrations

Here is one single volume with the most comprehensive cov­ erage of every phase of audio. Concise, accurate explanations of all audio and hi fi subjects. More than 7. years in prepara­ tion-the most authoritative encyclopedic work with a unique quick reference system for instant answers to any question. A vital complete reference book for every audio engineer, tech­ nician, and serious audiophile. $19,95

No. 115 No.112 McPROUD HIGH FIDELITY OMNIBOOK TAPE R~CORDERS AND TAPE RECORDING Prepared and edited by C. G. McProud, by Harold D. Weiler publisher of Audio and noted authority A coinplete book on home recording by the author of and pioneer in the field of high fidelity. Contains a wealth of ideas, how to's, High Fidelity Simplified. Easy to read and learn the what to's .and when to's, written so techniques required for professional results with home plainly that both engineer and layman recorders. Covers room acoustics, microphone tecb­ can appreciate its valuable context. niques, sound effects, editing and splicing, etc. Invalli­ Covers planning, problems with decora­ able to recording enthUsiasts. Hard Cover $3.95. Paper tion, cabinets and building hi-fi furni­ ture. A perfect guide. $2.50 Postpaid. Cove.r $2.95 Postpaid.

You save almost 60 % with this combination of Valu­ by Edgar M. Villchur MAY able audio and high fidelity books. The 3rd AUDIO Right up to date, a complete course on ANTHOLOGY ($2.50) ; the 4th AUDIO ANTHOL­ sound reproduction. Covers everything OGY ($2.95); the HANDBOOK OF SOUND RE­ from the basic elements to individual SPECIAL! PRODUCTION ($6.50 ) chapters of each of the important components of a high fidelity system. TOTAL V ALU E OF ALL TH REE $11.95. Regularly $6.50 ... offered for a limited SAVE Your cost ONLY $5.00 POSTPAID time at only $3.75. This offer expires May 31, 1960 SPECIAL! You pay only $2.75 for this $6.95 Good only on direct sale from the Publisher book when you order it w.ith any other ORD~R #0565

AUDIO Bookshelf RADIO MAGAZINES, INC., Dept. 65 P.O. Box 629, Mineola, New York Please send me the books I have circled below. I am enclosing the full remittance of $ ...... (No. C.O.D.) All U.S.A. and CANADIAN orders shipped postpaid. Add 50¢ for Foreign orders (sent at buyer's risk). BOOKS: 110 112 115 12'0 123 124 OS65

NAME~______ADDREss ______

CITY______ZON~STATE ______AUDIO ETC. (f7'om IJag e 42)

a rc .lJ eavy aud big, the rubber idlers are 1960), I mentioned the familial' desigmL­ immense; the whole thing is built like a tion "just a piece of junk"-and then de­ battleship (but simpler ) and was intended scribed 110W I found t hat this l'elatively to last. It has. ancient Model. 360 ~v as anything but that , I doubt if the old T-12H can match the once it had been fix ed up right. very best of new stereo t ables. 'But it's Well, here's another example. My seOl'e­ likely to outlast a few of them. The happy tary brought her own home phonograph "extra" in this model, the hysteresis motor, woes to me a few months ago a nd I got i s probably tbe best reason for acceptable interested, f or the usual reason s. "W anted stereo performance in this pre·stereo t able to find out exactly what was wrong in her though generally good design has plenty to system. She was as cryptic as you might do with it. The low vertical rumble might guess. The machine didn't play right b ut be a sheer happensta nce- who cared about she co uldn't get over to me what was t he vertical vibrations in those days ~ -or it matter. She'd sent it out on ce, at great could also be a by-product of over-all care cost , a nd it had gone bad again-the ol d in the design. story. Now, the local service man said her The other high-quality t able I'm still cartridge was no good and she'd have t o using is the D & R, the one that serves for get another one. What, she asked me, was my broadcast t apes. Tliis t able r at ed tops a cartridge ~ when it was first produced, maybe seven or That intrigued me no end, for here was ei.ght years ago or more, and I've found something I could cope with. H er s was de­ few f aults with it since then. It has an tacha ble, on a plug-iiI changer arm, and to outside-drive rubber wheel, mounted free my surprise it turned out to be an excel­ (you can lift the whole idlel' unit right out) lent one-a Pickering 240-D turnover back­ and held against the rim by a simple to·back model, one separate little sugar ­ spring ; speed change is clumsily done via lump cartridge for LP and another f or 78. brass collars that fit over the motor spindle That model was a distinguished Ol1 e in its -but I don't have to change very often. day and you don't toss sueh valuable eq uip­ A mercury switch that tips does the on-off ment on the junk pile without a second j ob as the brass handle moves the idler thought. So I turned her cartridge over t o against the rim. my assistant f or exploration. Did it work ~ Only two difficulties ha ve ever cropped The elec trical continuity was OK. But as up with this machine. One is petty. The we t ried it, the stylus seemed to produce idler wheel doesn't always release from the distortion now and then, a buzzing. And rim when you turn the machine off, due to the point seemed sort of wobbly. Vaguely mechanical slippage. The other would be remembering a similar problem with my serious if it mattered in my case. Though own exa m pIe of the same model, I began the lateral rumble in the table is very low, to speculate. So I ups and sends it back vertical rumble is quite severe ; I cannot to the Pickering factory with a note. Told use the t able at all for stereo playing. Just them I suspected it might be the stylus goes to show what a tricky thing r umble damping ma terial; I had heard of minor can be. This, too, is a beautifully designed t rouble in th at department with that model. t able ; but it s set of design paTameter s Was it OK h e r e~ (Or the stylus might have happened to involve the once-unimportant been broken, but didn't feel so ). I said factor of vertical rumble, where the Rek­ please repair and send bill. O-Kut design happened not to. It came right baek from Pickering a few The third t able is a f ar less expensive days later. N o eharge. Cryptic note saying model, the original Components "Junior" simply "Stylus is OK." N ot a word about the damping 01' any other trouble. So I Shure announces a stereo arm and cartridge single· speed table, later called t he G1 Spe­ tha t re-crea tes sound wit h incredible fid eli ty, cial or some such name-1 forget exactly. gave it back to its owner to try again. transparency, and smoothness throughout This was a modest version of the Compo­ The story isn't finished yet. A week lat er the audible spectrum. Even elusive middle­ nents belt·driven t able that had been highly she was ba ck~the phonogl'aph still didn't range nuances emerge clearly. Tracks at a praised; it uses a heavy ceramic weight work. So I dutifully explained the phono­ hitherto impossibly li ght lY2-2Y2 grams and for the t able itself , covered by a soft alu­ plug amplifier test t hat would indicat e will not scratch or damage records, even if carelessly handled! Eliminates surface wear, minum shell (I had trouble with dents and whether the trouble was beyond the changer preserves record fidelity indefinitely! bending at first) and the drive is fixed, via - unplug the signal lead halfway, breaking outside belt. The t able has one extra ad­ the ground connection, and see if the-r e's a vantage-it will fit into a changer box or bla t. (Be sure to turn volume up and put the magnificent the space where a changer ordinarily goes. controls to PHON O . . • . ) Another w.eek That's where mine is right now (though I p assed. She came baek and said yes, there ...... II!I had to cut a hole in the box to give the was a blat . But still no music. manual arm room to move) . And, wonder That is as f ar as we've got to da te but of wonders, this cheap little "Junior," sell­ it is a long way, you'll realize, even if the ing 'way back f or around $25, does an ex­ darned thing still doesn't play. cellent stereo job, so good that I have had For at least I know that I have saved no special desire to get anything newer. t his lucky lady the cost of a new P ickering High Fidelity Integrated Tone Arm and Cartridge This, mind you, with a p air of AR-3 speak­ 240-D, or equivalent, diamoncl and all, and ers that show np rumble very precisely t hat ain't hay. Green stuff. It would have when it occurs. bronght that crafty local serviceman a neat .. Between these three t ables I've been little profit. doing so well that, believe it or not, I have And, moreover, I know that heT trouble ± not yet b 'ied any post ·stereo t able, except is no worse than a loose connectiou some­ For Audioflhiles: Hum·free; 20 - 20 ,000 where between the cartridge itself and the cps ± 2~ db. Channel sep.: over 20 db at for a brief whirl with the amplifier-driven 1000 cps. Output per channel: 4.5 mv. Fairchild model- some time back. A good amplifier. She askecl whether she should Vert. & lat. compliance: 9 x 10-6 em per table, let me tell you, is a good investment. send for the man again-1 said NO! "B ~Lt dyne. Individually tested. With .0007" Shure what'll I do ?" Well, I said, maybe one of precision diamond stylus· . S89.50 net. these days my assistant can get up to your FREE BROCHURE: Shure Brothers Inc., 222 Hartrey Ave., Evanston, Ill. Pickering 240-D place and check that loose connection. '1'here it stands. She's saved a mint. But 'WHEN REPLACING STY LU S, don ·t acc ept inferior In the first of these accounts, involving she'd had no music for something like three imitation s. They can se ri ou sly degrade performance . the Colnmbia 360 phonograph (March) or four montlls, JE

AUDIO • MAY, 1960 67

J LOUDSPEAKER CONES (F1·om page 26) Radial ribs or corrugations molded in burden on the design, and inevitably re­ for compliance or stiffness. sults in compromise of some perform­ Variable density 01· thickness wherever ance factors merely to achieve that wide wanted. range. Most generally, efficiency and dis­ Extremely low moisture absorption, tribution angle suffer when the band­ for stability. width is stretched out. Where will the Compression of selected sections after foam cone fit into this type of applica­ cooling, for adjustment. tion ? Much more work needs to be done Forming to almost any angle or shape. here, but one facet of the foam cone is On the other size of tne ledger, how­ encouraging. Its rigidity is high per unit ever, there are problems and techniques of mass. There is nothing to prevent to be woi·ked out to make the most of thinning of the cone over-all, or in se­ the potential we feel exists in foam for lected parts, until cone areas allow enough bending, except at low frequen­ exte n (led Tange speaker cones. Molding dies are much sp enl,er $21.00 more complicated and expensive than cies. Probably some compromise in cone dies which make paper cones. Variations angle, extremity of travel or another fac­ • ... therefore ~ puts tor will be worked out to give adequate the emphasIs on in angle, density, ribs, and other things must be worked out in sequence, taking wideband performance. All these vari­ Wigo.RONOUNCE IT WEEGO internal engineer­ considerable time. So far, molded foam ables give the speaker design engineer ing rather than ex­ more variables to work with. No gen­ ternal frills which cost more, but add seems about on a par with paper for woofers. Performance in tweeter cones eralization can be drawn now as to the nothing to performance. For example, way each should be incorporated in a this 8" speaker delivers full-bodied wide is very promising, but methods must be perfected to make very thin sections. particular speaker design. Rather than range response surprising for its low cost. to rush foam cone speakers to the mar­ For details, write . . . These are now under investigation. The need for rigidity to prevent bend­ ket prematurely, it is preferable to com­ ing has been described for woofer and plete the work and utilize the full poten­ tweeter cones. Yet necessity for bending tial of this promising material. We united a udio was pointed out as necessary in a wide­ believe that judicious employment of the WIGO • PRODUCTS OF DISTINCTION. DU AL range speaker cone. It must be recog­ capabilities of this molded cone will in 12 West 18th St., New York 11 nized that wide-frequency-range opera­ the future improve speakers of many Circle 68A tion in a single cone always puts a heavy types for many applications. lE RECORD REVUE (F1·om page 53) and freshness, where in all too many record­ real conductorial master of the style--Ilntl ings it just sounds tired or--wor e-over­ there are precious few of them left. The alter­ flamhoyant and falsely brilliant. native approach is modernization, and that, I won't need to play another "Schehere­ too, is a risl,y affair. But it is what happens zade" for some time, my feelings tell me. here under Paray. (But I 'll probably heed duty's call and play Brisk and breezy is the word. No non­ the next one just the same). sense, nC' tearing of hair ; no windswept pine forests and deep-blue fjords, etcetc. But no modern harshness, either, and a lot of sparkle Shostakovitch: Symphony # 5. New York where sparkle helps. I 'll admit that a few of Philharmonic, Bernstein. the more poignant Sibelius passages sound as Columbia MS 6 115 stereo though someone had choked him off with a Ii ve herring down the guIlet--he sort of "An international triumph !" says the cover gulps, hastily, and swallows fast. But gen­ blurb on this record and It is, for once, ex­ erally, the old piece Is neatly streamlined and actly that. This Is not ol)ly a wonderfully pleasan t to hear. revealing and human performance, of a sym­ SAVE MOST on quality Stereo hi-Ii! See phony that can sometimes be hard and syn­ Schubert: Quartet in D Minor ("Death top buys in Allied-recommended com­ thetic In Its Intensity, but It Is one of the plete systems, K NIGH T quality Stereo finest stereo recordings I have ever heard, and the Maiden"); Quartettsatz in C hi-fi units, and KNIGHT - K IT

68 AUDIO • MAY, 1960 thing but also useful, given the r ight record­ s idewise ou t of sllape. (It's fine if you use two ing technique. Side· to-side separation is stereo speakers righ t next t o each other!) dangerous; too much of it can spread the There is too much separation; it t ends to be quartet out into a highly false str aight line distmcting. And t he sound seemed to me a across the home "stage"- as no qu artet has trace harsh where the RCA sound W II S bland ever been known to play! The stereo useful­ lind even a bit dull on the cutting edge. ness is in two respects. Most importan t is the heightened room-sound, t he sense of the Brahms: Symphony # 4. Columbia Sym­ players being in a room or hall, which adds phony arch. Bruno Walter. much to the realism of t heir musical pres­ ence. Less important is the slight spatial Columbia MS 6113 stereo va riation from one instrument to another­ This is, indeed, a gentle recording, in the Sligh t, but enough to poin t up the sense of Bruno Walter tradition-at least so it seems fou r individuals playing togetber, exactly as at the beginning. But when you play all the the same slight difl'erence operates in the way t hrough , you discover t ha t th is is a live situation. matter of ove r-all a rchitecture ; the opening On stereo grounds, RCA wins hands down movement is held baCk, but by the end of the here. The Juilliard Quartet is placed just far symphony it becomes dramatically a part of enough away so that it is easily imagined be­ a subtle build-up of ell'ect covering the entire hind and between the stereo speakers, as work. This is very much to the point in though in a room adjacent to your own. The Brahms, who characteristically built his great Ii veness is just right-not too big (for a climaxes la te in the course of his big move­ pseudo-orcbestral ell'ect) nor too dry. I could ments. But it takes a Bruno Walter to a pply not tell which way to put my two speakers, the principle on such a large scale. so little spatial difl'erence is t here from left The stereo recording is conservatively elis­ to right; but the sense of differentiation is tant, somewhat diffuse in over-all effect but there and, even more, the sense of players gaining thereby an accurately musical en­ playing in a space. That's what counts. semble and balance. No harsh and steely The Deutsche Grammophon recording is string-to-the-left here ! made closer, close enough so that with a Vi' e can assnme that th is is one of a com­ fairly wide speaker separation (normal, I plete stereo set of the fonr Brahms Sym­ should say), the quartet is apt to be stretched phonies, to ma tch the set of stereo Beethovens.

LIGHT LISTENING (f1·0m page 8)

pay oll' the best on larger stet·eo systems. In appealing if the sound were really first-rate. Nothing has been spared recent months, RCA has been deploying the The recording locale apparently di scourageo to incorporate the best of every­ members of the Boston Symphony orchestra on top effort in later stages of the recording proc­ thing on one compact chassis. Specifi­ the level floor of the hall instead of the stage. ess. There is a mustiness in the over-all audio cations are truly an engineer's dream. The new angle of mike pickup almost doubles quality that reminds me of discs made ten the stereo depth in t he latest recordings of years ago. This is diffi cult to fathom because , Features 1.uv sensitivity; 2 power Charles Munch at the helm of the Boston. All Epic has a stereo recording of Gershwin's supplies; 15 ir:lput and output signs point to t he use of the same technique CI/ban Ove,·tm·e (Cleveland Pops Orchestra jacks; 22 controls-pro' in this stunning job by Arthur Fiedler and BC-I047) that features some of the better duces 60 watts. the Pops. The reflection of sound has greater souud in the current catalog. 'L'he select ion oE uniformity t han it did when t he orchestra hau tunes is exemplary, ranging from Swanee . the wall of the stage behind it. This is espe­ Gershwin's fi rst important Broadway success, ciall y noticeable in the Ma"ch of the Siamese t o the movie score for "The Shocldng Miss· Buy FISHER at Children f rom "The King and I," while the Pilgrim" released some time after his dea th. a ir above the orchestra is heavy with the soEt Robert Russell Bennett's familiar arrangemen t AUDIO EXCHANGE and Take drone of the oriental instrumen ta tion. Leo of POI'gy an(/ Bess rounds out the release. Advantage of Litwin is the pianist in the big flashy items such as Warsaw Concerto and Corni.sh Rha1J­ AUDIO EXCHANGE's UNIQUE sody. Poise and musicianship carry the day Trapp Family Singers: The Sound of in smooth arrangements of Lam·a, Gigi, and Music Warner Bros. WS 1377 Intermezzo. Alfred Newman: Fiorello j Sound of Music Capitol ST 1343 Tutti Camarata: Deep Purple In some respects, Warner's Sounel of Music Everest SOBR 1079 album surpasses the original cast recording Camarata underlines his loyalty to the on Columbia. It was a bright idea to record music of Peter De Rose in a second Everest some of the members of the Trapp Family album on the subject. Few pop condu ctors Singers in the music used to tell part of their today can match Camarata in recalling the life story on Broadway. While only the cast uncomplicated era that produced Deep Purple headed by Mary Martin can recreate the flavor and the other De Rose h its. Depicted here in of the Broadway production, this performance Everest's best sound, the past four decades of of the songs does help to put the show into this composer's music already seem rather re­ perspective. As arranged and conducted by mote. De Rose, after all, saw the world through Father Franz Wasner, the family's music an unusually well-fl tting pair of rose-colored teacher, the score has only two numbers that glasses. The orchestra alone is heard in some sound awlcward- Siroteen Going on Seventeen of the more famous items. Dolly Dawn, Ralph and So Long, Fa,·ewell. Too much Tin Pan Young, and the Stuarts-a relatively refined Alley. Only the most jaded ear could resist vocal group--take t urns handling the words the freshness of the voices in the rest of the of the seldom-heard tunes. The lyrics of one songs. The Alpine instrumental work is in a of these, Let's Dream Togethe,·, haven't been class by itself. The stereo version divides the recorded before. ' As part of the documentation group into two sections-one for each chan­ of the De Rose career, Camarata even includes nel. a hymn that Babe Ruth considered his favor­ III his latest Capitol album, Alfred Newman ite. The sound is on the bright side yet sub­ leads his Hollywood sound-stage orchestra in ject to the careful discipline of the latest in tas teful and straightforward arrangements of recording studios. six tunes f rom the same show and an equal number from the other ranking hit, "Fiorello." No high pressure here--just cogent transla­ The George Gershwin Story (Po pular) tions of Broadway's best into motion picture Epic BN 552 scoring ' by an arranger-conductor who has This cavalcade of Gershwin hits doesn't live done the same for "The King and I ," "Carou­ up to the entertainment values promised by sel," and "South Pacific." the size of the orchestra. D'Artega conducts a large Pops orchestra recruited f rom the Jerome Kern: leave It To Jane (Original ranks of New York City's Symphony of the Cast) Strand SL 1002 Air anel the songs are some of the best Gersh­ win wrote for Broadway and the films. The I The "ot·iginal cast" heard in this release routine performance would be somewhat more ..L does not mat ch in originali ty the one that

AUDIO • MAY, 1960 69 preceded It when t he musical first opened on Broadway in 1917. T he 1959 revival a t the TYPE intimate Sheridan Square P layhouse in Green­ '--CLASSIFIED- wich Village gives us the cast currently u nder Rates : 10¢ per word per Insertion for noncommercial consideration. It is not easy to estimate how advertisements ; 25c: per word for commercial adver· 201·A wide an audience tbls Strand album will ul­ tls.ments. Rates are net, and no discounts will b. timately embrace. The first in line will be allow.d. COpy must b. accompan ied by remittance In t heatre fans of J erome Kern who lmow his full. and must reach the New York om.. by th. early work from bearsay or manuscript. RCA ftrst of the month preceding th e dale of Issu •. Victor, decades ago, released excer pts from t his show in a cramped acoustical setting. Those ancient· ·ounding 78's were the closest representation we had of the style found iu ADVERTISING MANAGER seeks new, chal­ t he book and lyrics of Guy Bolton and P. G. lenging, and rewarding pOSition. Presen.tly e~n ­ ·Wodehouse. The documentary value of those ployed by leading East Coast .electroLllc.s ~I.'­ excerpts merited reissue on LP and they came tributor and retailer. W ill conSIder aSSOCIatIon out on t be Camden label. The sound bad the with manufacturer, retailer, or ~ i stribu tor of electronic consumer goods. ExperIence ILl sales range of the original discs bu t very little of promotion and advertising budget allotments. the old clarity. Able to visualize and present , plan and ex­ Kathleen ll'lurray is t he cur rent star in ecute national, local and. point. of sales Clt!11- AMPLIFIER this innocent picture of campus life based on paigns. For f u rther deta>]s wr>OO c/o Au dIO, George Ade's play of 1904, "The College Box CE 1. A precision -built Widow". 'rhe plot is as wbolesome as a Harold plug-in amp li fier only Lloyd movie-tbe boys in blazers, the flappers HIGH FIDELITY SPEAKERS REPAIRED Amprite Speaker Ser vice 1 Y4 in. wide; twelve units busy with the latest snappy sayings. The 168 W. 23rd St., New York 11, N. Y. CH-3-4Sl2 will plug into one 5%- Cl eopatte,·e.· song, dealing with t he Siren of in. rack-mounting cabi net. t he Nil e, is a good example of t he comic lyriCS ENJOY PLEASANT SURPRISES? Tllen write employed. T he Si,'en Song and T he C,-ickets Two-stage resistance-coupled, with t ran s­ ns before you purchase any hi·ft. You'll be a·r e Calling stimulate the most nostalgia. glad you did. Unusual savings. Key E lectron· formers in both input and output. For use Mirroring a happier age, this brigh t and neat iCs, 120 Li ber ty St., New York 6, N. Y . as microphone preampl ifier or as booster prodnction shoul d prove a welcome chang;) EVergreen 4-6071 or line ampli f ier. Panel knob releases for of pace. WRITE for confide nt ial money-saving p rices instant removal. 011 your Hi-Fidelity amplifi ers, tuners, speak­ Gain : Input loaded , 31, 36, or 42 db; unload,d, 35, ers tape recorders. Individual qnotations only; 40, or 46 db. no 'catalogs. ClaSSified H i-Fi Exchange, AR, Output l,v,l : + 26 dbm (Ib = 25 rna); + 18 dbm 2375 East 65th St., B rooklyn 34, '. Y. (lb = 8 rna). Distortion : < 0.2 % at 1000 cps ; < 1 % at VARIABLE FILTER UNUSUAL VALUES Hi-Fi components, tape" 20,000 cps. and tape recorders. Send for package qu.0ra· Noise l.v.l: 123 db b,low 0 dbm with AC un h.aters. (.fl·01n page 30) tions. Stereo Center, 18 W. 37th St., N. Y. C. Power: 275-300 v, 25 or 12 rna; 6.3 v at 0.9 I , AC or DC. SALE: 78 rpm recordings. 1900-1950. Free N.t Prlce:wlthout jacks, $105.00; with jacks, $125.00 Q =a peaking factor dependent lists. Coll ect ions bought. P. O. Box 155 (AUI. Verona, N. J. upon the setting of R 11 • Low qnotes OLl everything. H i F i a nd Stereo ELECTRODYNE Minol' deviations from this response oc­ tapes. Bargain l ist. HIFI, Roslyn 4, Pa. CORPORA T ION cur above 50 kc due to stray wiring ca­ RENT STEREO TAPES-over 1,000 different 503 South McClay St., Santa Ana, Calif. IE -all major labels. Free catalog. Stereo-Parti. N.w York City: Robert Marcy and Assoc ., 1776 Bway. pacitances. Sl1-H Centinela Ave., Inglewood 3, California. /'l pnd f or l"tPOt Mtfllqo REl' ERE NCE 124 RARE BACK ISSUES Audio Sept. 1947- Circle 70A Dec. 1957 inclusive. Prepaid to first money 1 Richard S. Burwen, "Portable tra nsistor order for $75. R. Mitchell, 13085 SW 124 A,·e .. music system." J.L1.E.S., Vol. 6, No.1, Jan­ Tigard, Ore. uar y, 1958, pp 10-18. INDUC'l'ORS for cro ·sover networks, 118 types ENJOY SOLVING TECHNICAL PROB­ in stock. Send for brochnre. C & M Coil .. . 3016 LEMS FOR CUSTOMERS? Holmes Ave., N. W., H nntsville, Ala. Here's a real opportu nity fo r young tecb­ SELL: Weathers t u rntable. Weathers stereo nical personnel to ser ve as customer corre­ cartridge, ESL arm. $65. Robert Stafford, 1650 spondents. E lectro-Voice, leading manufacturer Neil Ave., Apt. 21, Columbus 1, Ohio. of bigb-fidelity speakers, phonograpb cart­ 1~Noitu ••• ridges, micropbones, public address aud com­ AMPEX (Sigma) 4 Cba nnel microphone mixer, munication eq uipment, and marine instrumen ts NEW YORX SHOW PLANS AN­ in guaranteed new condition, $195. H. W hite, bas immediate openings for customer ~e r vjce NOUNCED. P la ns for the 1960 New Yorl, 2123 Kenmore Ave., Bethlehem, Pa. personnel. Good men can look forward 1·0 II High FideU,ty Music Show to be held Sep­ career witb growing responsibility. T b is is tbe tember 6 throu gh 11 at t he New York SELL: Brush Soundmirror Tape Recorder. ideal time to join a you ng, aggressive com­ T rade Show b uilding were u nvieled at a $50; Monarch 3-speed record-changer, hase. pany a nd a congenial team. membership meeting of the Institute of new cartridge, $15; Approved A-800 Audlu Live and work in a small town in South­ Righ FideUty Manufa.cturers held recen t ly preamplifier. $15. All excellent condition. V. western Micbigan or live in Sout b Bend, In­ in the New York Coliseum. Milton Thal­ R. HelLl, 418 Gregory, Rockford, I llinoiS. diana, fifteen miles away. Paid vacations, b os­ berg, IHFM treasu rer, a n nou nced that pitalization, life insurance, pension plan; and regularly scheduled enterta.inment will be SEVERAL audio process AP-ll low resonance other benefits. a pa rt of the s how program, and that the woofers. 0.45 lb. magnet; rigid, low density Send full details Including pbotograph and show will run on Sunday for t he first cone; fi lled cloth suspension. $14 each. G. sala ry requirements to Lawrence LeKasbman, time. A 10-m a n Show committee, com­ Cain, 15 Manet Circle, Chestnut Hill, Mass. vice preSident, marketing, E lectro-Voice, I nc., posed of three manufactu rers, fou r deal­ Buchanan, Micbigan. ers, and three representatives, was named FOR SALE: One 40 Watt amplifier using a pair of 6550 tubes, with a Dynaco A-430 t ransformer. One 20 Watt amplifier using a pair of KT-66, w ith Dynaco A-420 trn ns­ former. Also a Hartley-Lutb 220 speakel' in a Holton style A enclosure. Kenneth E. Gonld, Giant Electronics Catalog 509 Vine St., Lh' erpool, N. Y. plus every new issue for full year COllfPLETE FILE Andio from Aug. 1947. 6 \'ols. bound, make offer. L. Kranss, 1174 6th See th e latest in e lectronics ponl Rece ive Radio Shack's Ave., N. Y. 36, N. Y. equipme ntl Th e best in hi-fi, big free 312-page catalog plus stereo, hom radio, topes, and every new iss ue for next 12 more l I5-day no-risk hom e months-free and postpaidl LOUDSPEAKER trial on any item l Moil (au- Satisfaction guaranteed. DESIGN ENGINEER i i) Unique opportunity for young Design IIMii 'a·l 4·] ~ I: t.t.!. Engineer with some experience in de­ with battery Radio Shack Corp., 730 Commonwealth Ave. ~I $29.95 I Boston 17, Mass. Dept. 60E12 sign of cone loudspeakers for O. E. M. Outperfonns all port­ I Send FREE Electronics Catalog-Also every new I applications. ables under $100! It's I issue for 12 months, a full year's suscription Free. a radio, a speaker, a Entirely new product line with estab­ P.A. amplifier. Only I Name I lished manufacturer in pleasant North­ 6 ~ x3-9 / 1 6 x H~" sizel Address I I Po stoffice I east Ohio location. RADIO SHACK CORPORATION L~ City _____~e=-~~-l Reply in detail in full confidence to Circle 70B Box DE 1

70 AUDIO • MAY, 1960 to o rg a n ize and db'ect the s h ow. Members of the committee a r e : Manufacturers: Mr. 'l'halbe "g, A udio­ gersh Co rpor ation, clla i 1'111 <1.11; Julius for less 'W ork and m01"e play G laser, G laser-Steer s , a nd Herbe rt Horo­ witz, Audio Empire. D ealer s: Paul Sampson, Harvey Radio GET THE TURNTABLE Compa ny ; Sol Baxt, Hudson Radio; Jerry Russell, Lafayette Radio; a nd William Kolbe r t , Audio Exchange. Representatives : J ock Brittain, Be-Esco THAT CHANGES RECORDS! Sales ; J ack Simon, Fiel ds & Simo n, a nd P a ul N ic hols , Land-C-Air Sales. TELECTRO OPENS N_ Y. SHOWROOM: A n ew display, intended for the p erma nent exhibit of its commercia l products, h as been opened in New York by Teleotro In­ dustries Corpora.tion. L ocated i11 the 25- floor penth ouse at 1776 Broadway, the show-room will contain t ape r ecorde rs as well as other indu stria l and commerc ial products m a nufactu r e d by T e lectro. It will b e manned by representa tives of Robert E. Ma r cy A ssociates, T e lec r o's New York sal es r ep for professional equip­ m ent, as well as by T e lectr o per sonnel. MlRACORD X5-200 REK-O-KUT EASES CONTEST ENTRY. • heavyweight, professiona l-type turn- As part of its "Tropical Holiday" d ealer table-and a fully-automatic changer! contest, Rek-O-Kut Company la unc h ed a • plays both stereo and monophon ic ! promotion m a king it poss ible for d ealers to ordel' Rek-O-Kut a nd/or Audax prod­ • push-bu tton controlled t hroughout! u cts in April for May a nd June de livery • Magic Wand spin dles eliminate a nd r eceive poi nts to\va rd a Nassau vaca­ pusher 'p latfor ms a nd stabilizing ti011. Rules s pecify that each 5000 p oints arms ! accu m ulated by a dealer by April 30 will yet it costs only $6750 andiophile ilO t earn a free week in Nassau. The vacatio n CANADA will take place s h ortly after the May High Fidelity Equipment parts show. and f or the stereo cartridge that Complete Lines • Complete Service FISHER IN SMITHSONIAN. Believed Hi-FI Records - Components to b e A m erica's first a u thentic hig h-fidel­ ElIMINATES HUM ... and Accessories ity receive r, a Fis h er Philharmonic Futura has been presented to the Smithsonian In­ s titute in Washington by its designer and get STEREOTWIN 210/D builder, Avery Fisher , president of Fishe·r BLECTRO~lJOlCE R a.dio COl"p o·ra.tiotn. Built in 1937, the set w ill becom e a part of t h e p erma 11 ent col­ PERFECT FOR MONOPHONIC. TOO ! SOUND SYSTEMS l ection of the division of e lectl'ic ity of F I TS ALL STANDARD TONE ARMS! 126 OUNDAS ST. WEST. TORONTO, CANADA the Museum of History a nd T echnol ogy. NOW $3450 audioph ile net Circle 71 D EIA PUSHES ST'EREO DRIVE. Excel­ le nt progress h as b een reported by the For store nearest you , and for Free catalogue ,please write Dept. A phonograph section of the Electronic In­ AUDIOGERSH CORP. dustries A s sociation in its e fforts to d e­ velop a publ ic rela tions campaig n to h el p [;14 Bl'onc/w(ty, N. Y. 12 • WO 6-0800 c lear up pub lic a nd d ealer confus ion abou t stereophonic sound. L. M. Sa ndwick, vi ce­ president in c h a rge of sales for Pilot Circle 71A R a dio COlop cratlon a nd c ha irma n of the EIA committee, s tates t ha t final results THE FINEST OF ITS KIND •• • will not be de t ermined unti l the g ,'ou p's a nnua l m eeting during the May pa rts Get more FM stations with the w orld's most s how in Chicago. A r ecent meeting in powerful fM Yagi Antenna systems. Washington w as affected consider a bly by a h eavy s n owstorm which grounded m a ny To be fully informed, of t he m a j o r concerns sch e d uled to a p­ pear to discu ss wheth er they would take send 25~ for book p art in the projected promotion. "Theme And Varia · RCA MANUFACTURES TAPE. A n ew tions" by L. F B. Carini lin e of magnetic tape, called the Vibrant and conta ining FM series, h as been announced by RCA, and is n ow in produc tion in a n ew pla nt at Station Directory. Indianapo lis. "For t h e time being w e will con centra t e on the m a nufacture of a u dio tape," stated A . L. McClay, general p la nt APPARATUS DEVELOPMENT CO. lnallager, manu fac turi ng, RCA Victor rec­ WETHERSFIELD 9, CONN ord divis ion. "Lat e r we will t u rn o ut t a p e Circle 71 E for u se in e lectronic data processi ng sys­ tems a nd t e levis i on t a pe r eco,·de '·s ." The LOOKING FOR a Vibra nt t a p e line will be availa b le i n 5- a nd 7-inc h r eel s izes, in le ngths of 600, pleasant surprise? 900, 1200, a nd 1800 f eet on a splice-free Write for our new hi-Ii plas tic b a se. In a ddition to its production catalog. You'll be glad u nits , the new p la nt will h o u se a technical you did. developme nt g ,'oup for experime'ntal a nd KEY Electronics test work in the magnetic tape fi el d. 120 Liberty St., seX-l New York 6, N. Y. CL 8-4288 BEST IN HI-FI VALUE S.' Circle 71 F COAXIALS All orders rushed to you DELANO Y I in factory-sealed cartons. FOR special SERVICE Write for free catalog. recording tape "1.. 2S·A Oxford Road a udI~n Massapequa, New York HIGH $1.19 Circle 71 H 1200 ft.1 '''-c... r.ftt..... pllce-free FIDELITY 1100 ft.; '" • •• $1 .119. Incl... IOf fer •••h ...01 to COY'" poet•• e .IHII h ...... A NOTE TO THE HI-FI BUYER SOUND REPRODUCER AIR MAIL us your requirements for MANUFACTURER an IMMEDIATE WHOLESALE QUOTATION Components, Tapes and Recorders SHIPPED PROMPTlY AT LOWEST PRICES FUKUYO SOUND WRITE TODAY FOR FREE CATALOG 2-25, Horifune, Kita-ku, Tokyo 714-A Lexington Ave. a a ud io Cable: CORALFUKUYO unlimit e d New York 22, N. Y.

Circle 710 Circle 71 K Circle 71 B

AUDIO • MAY, 1960 71 ADVERTISING INDEX KT·250A 50 WATT INTE­ • TED STEREO AMPLIFIER

A completely new ste·r.o high fidelity amplifier Acoustic Research, Inc...... 27 with a high quality of reproduction, versatility of Acro Products Co...... •...... 14 operation, and distinctive styling. Advanced Acoustics Corp...... 12 A full range of controls enables you to enjoy the utmost in listening pleasure in any situation. De· A ll ied Radio Corp...... 68 luxe features include: unique "Blend" control Altec Lansing Corporat ion .. .. 15. 36, 37 for continuously 'variable channel separation­ American Electronics, I nc., American from full monaural to full stereo, ... position Concertone Di vis ion ...... 50 Selector, Mode, Loudness and Phase switches. Also provided oro outputs for 4, 8 and 16 ohm Amperex Electronic Corp...... 56 speakers. Hum-free operation is insured by the Apparatus Development Corporation .. . 71 use of DC on all preamp and tone control tubes. % Aud io Bookshel f ...... 66 Harmonic distortion, less than 0.25 0 1M distor· % Audio Devices, Inc...... tion, less than .5 0 Hun, and noise, 7.4 db below 29 full output. D.signed with the kit builder in Audio Exchange ...... 69 mind, assembly is simple-no special skills or Audio Fideli ty Records ...... 49 tools required. Complete with deluxe cabinet and legs, all parts, tubes and detailed instruction Audiogersh Corp...... •...... 71 manual. Shpg . Wt .• 26 Ibs. Audion ...... • • .. . . . • ...... 71 KT-2S0A St. reo Amplifier Kit ...... 5.00 Down Audio Unlimited Net 74.S0 7 1 LA-2S0A Stereo Ampllfi.r. wired ...... 5.00 Down Belden ...... 13 Not 99.50 Bell Sound Division Thompson Ramo Wooldridge, Inc...... 60 Bell Telephone Laboratories ...... 18 KT -500 FM-AM Bogen-Presto Ccmpany ...... 39 STEREO TUNER KIT Br itish Industri es Corporation 3 Classified ...... 70 More than a year of research,. planning and en· Connoisseur ...•...... • .... 6 1 gineering went into the making of the ~afayetfe Stereo Tuner. FM specifications incfude grounded· Dynaco, Inc...... _ ...... 51 grid triode lo w noise front end with triode mixer,. double-tuned dual limiters with Foster·Seeley dis· EICO ...... 6, 11 criminator, less than 1 % harmonic distortion, full Electrodyne Corporation ...... 70 200 kc bandwidth and sensitivity of 2 microvolts for 30 db quieting with full limiting at one mi· El ectro-Sonic Laboratories, Inc...... 65 crovolt. Electro-Voice. Inc...... 31 The AM and FM sections have separate 3-ga"9 Electro-Voice Sound Systems, Inc...... 71 tuning condenser,. separate flywheel tuning and separate volume control. Automatic frequency Ercona Corp...... 6 1 control "locks in" fM signal permaner:'l.tly. Two. separate printed circuit boards make cons,ruction Fisher Radio Corp...... 9 and wiring simple. Complete kit includes all parts Fukuin El ectric (Pioneer) ...... 45 and metal cover,. a step-by-step instruction man· Fukuyo Sound Co., Ltd. (Coral ) ...... 71 ual,. schematic and pictorial diagrams. Size is 13'1," W )( 10V," 0 x 4%" H. Shpg. wt .• 22 Ibs. General Electric ...... 47 KT-SOO ...... 5.00 Down ...... Net 74.S0 LT-50. Same as abov e ~ completely factory wired Gotham Audio Sales Co., Inc. . . . Cov. III and tested ...... 5.00 Down, •...... Net 124.S0 Grado Laboratories, Inc...... 52 Harman Kardon ...... _ • ...... 25 KT ·600 PROFESSIONAL Key Electronics ...... 71 Kierulff Sound Corporation ...... 71 STEREO CONTROL CENTER KLH Research & Development Corporation 53 Solves Every Stereo/Monaural Lafayette Radio ...... 72 Control Problem! Lansing, James B. , Sound, Inc ...... 4 1 Provides such unusual features a s a Bridge Con· Neat Onko Denki Co., Ltd...... 2 trol,. for variable cross-channel signal feed foe North American Philips Company ...... 4 elimination of "ping.pong" (exaggerated separa· tion) eff.cts. Also has full input mixing of mona.u· Peerless El ectrical Products Division ral program sources, special "null" stereo bal· of Altec ...... 15 ancing and calibrating system. Also has 24 equal. Pickering &- Company ...... 17 ization positions, all·concentric contcols, rumble and scratch filters, loudness switch . Clutch type Pilot Radio Corporation ...... 43 volume controls for balancing or as 1 Master Volume Control. Has channel reverse, electronic Radio Corporation of America ... . . Cov. II phasing,. input level controls. Sensitivity 2.2 mil. Radio Shack Corporation ...... 70 livolts for 1 volt out. Dual low·impedance out. Reeves Soundcraft Corp...... 5 puts (plate followers). 1500 ohms. Response 5· 40.000 cps ± 1 db. Less than .03% 1M distor­ Sansui ...... 58 tion. Uses 7 new 7025 low-noise dual triodes. Size 14" x 4V2" x 10'1,". Shpg. wt.,. 16 Ibs. Scott. H. H .• Inc...... 63 Complete with printed circuit board, cage, pro. Sherwood Electronics La boratories . . . .. 1 fusely illustra ted instructions, all necessary parts. Shure Brothers, Inc...... 67 LAfAYETTE KT-600-St.reQ Preamplifier kit- 5.00 Down ...... Net 79.50 Sonocraft Corp...... 71 LAfAYETTE LA-600-Stereo Preamplifier. Wired Sony ...... 7 - 5.00 Down ...... N.t 134.50 Stromberg-Carl son. Divis ion of ~~~~~::.si:=.------. General Dynam ics Corporation ...... 55 Superscope, Inc...... 7 I I Tannoy (Ameri ca), Ltd .. .•.•...... 65 Catalog 600 I Transis-Tronics, Inc ...... •.... Cov. IV CUT OUT I Uher ...... 33 Name •....•..••....•.••...... •.•.... . •. •.. •.•..• AND I United Audio Products ... . _ . . . .. 59. 68 PASTE ON I University Loudspeakers ...... 57 I Address •••.....••••..••...... • ...... • • . • POSTCARD I Weiss, Warren, Associates ...... 33 ;~ity .~.:.:..::..: ..:~.::... ~~:..:.:~~e::...:..:..::..:..::..:..::..:..: ______, 72 AUDIO • MAY, 1960 GOTHAM AUDIO CORPORATION, 2 W. 46 st., N. Y. 36, N. Y., Tel: CO 5-4111 Formerly Gotham Audia Sales Co. Inc. Exclusive United States Sales and Service Representatives for: NEUMANN, "the microphone standard of the world." TEe has NO TUBES ... TEe alone generates no tube heat, no hum, no microphonics. TEe alone provides.. su ch superb transient response. Precision engineering permits TEd to make a two year guarantee ort both parts and workmanship. See ~ detailed specifications below and listen to a TEe all transistor amplifier soon for unparalleled sound. GENERAL SPECIFICATIONS: TEC S-25 STEREO PREAMPlIF!ER-AMPLIFIER. POWER RATING: Music power output each channel 34 watts_ Steady power output each channel 25 watts. FREQUENCY RESPONSE: 20·20,000 cps. HARMONIC DISTORTION: 0.7% _ INTER MODULATION DISTORTION: 0 .9% . TONE CONTROLS: ± 15 db bass control ±15 db t reble control. POWER REQUIREMENTS: 117 VAC or 12 to 18 volts DC. 70 watts maximum at full power, less than 15 watts at normal listenihg levels. HUM: Inaudible. 16 INPUTS: Each channel has 2 low level . RIAA equalized phono inputs, switch for high level phono, NARTB eq·ualized low level playback for tape, low level microphone, 3 high level tuner, and one. high level auxiliary input. OUTPUTS: 4, 8, 16 ohm for each channel. Tape recorder outputs for eac·h channel, and a mixed A+ B for a 3rd channel. CONTROLS: Function Selector: Monophonic A, Monophonic B, Monophonic A & B, Stereo, Reverse Stereo. SOURCE SELECTOR : TV-TV, AM-AM, AM -FM, FM - FM , phono I , phono 2, tape, m ike, aux. TONE CONTROLS: Separate Bass and Treble each channel. BALANCE CONTROL: Separate level adjust each channel for optimum setting. OTHERS: On-Off Volume Control, Loudness Contour Switch, Rumbie Filter Switch, Phase Reversal Switch, Phono Selector Switch.

UNIQUE all transistor high fidelity preamplifier-amplifier

TEC S-25 STEREO AMPLIFIER 68 WATTS, 34 WATTS EACH CHANNEL

TRANSIS-TRONICS INC_ (TEC) / 1650 21st ST. / SANTA MONICA, CALIFORNIA