ROOM MODES ON COMPUTE

T-IE EQUIPMENT AUTHORITY

APR _ 1?c'3 EASIEST TO USE TECP'ICS PF---roCIO RECC L--12 LEL;4

MOVIE STER VV 1-1Y 3 CI -AN

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RWIIRD-WINNING POLK CS100 AT ITS LOWEST PRICE EVER -FREE.

That's right, Polk's Grand Prix* award winning center channel speak- er is yours - FREE, at participating Polkdealers! Just purchase any pair of Polk Audio loudspeakers (S4 or larger) for your front channel and any other set of Polk home or in -wall speakers for the rear. We'll complete your home theatersurround sound system by giving you the award winning CS100, a $169 value. The CS100, featuring two high definition 4.5" drivers and a dome tweeter, provides full range performance and rich detain for all on -screen ction and dialog.Its low p-ofile, uniquely angled cab!net offers unmatched flexibility for unobtrusive placement. And s nce it's magnetically shielded, it won't distort your picture. Polk's S and LS series speakers incorporate Dynamic BalanceTM, the result of years of laser research in partnership with Johns Hopkins University. Dynamic Balance significant y improves sonic performance - a difference you'll hear in your 5 channel home theater system. For the best reproduction of surround sound encoded movies and TV programs, all five speakers shouldhave closely matched sonic characteris- tics, so it makes sense to surround yourself with theexcit ng sound of Polk. But do it now - your Free CS100 is at your participating Folk dealer for only a short time - April 1 through May 31, 1993. Hurry, nothing is free forever.

THE CS100 FROM THE SPEAKER SPECIALISTS OF polk the Speaker Specialists

* 1800 cudio experts pick the winners of the prestigious HiFi Grand irix Awards, sponsored by AudioVideo International magazine

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For a free color catalog, call 800-423-5759 APRIL 1993 VOL. 77, NO. 4

Center Channell, AUDIO page 26

" & C 1989 Lucasfilm Ltd. All Rights Reserved Je«t1ues STEREO FOR THE MOVIES: THE CENTER CHANNEL Tomlinson Holman 26 TAKING UP RESONANCE: FINDING ROOM MODES ON YOUR COMPUTER

John H. Sehring . 32 equipment profiles TECHNICS RS -DC 10 DCC RECORDER Leonard Feldman 40 PARADIGM STUDIO MONITOR LOUDSPEAKERS D. B. Keele, Jr. 52 DENON TU-680NAB "SUPERRADIO" Leonard Feldman 64 auricles SOUNDSTREAM DAC 1 D/A CONVERTER Edward J. Foster 70 LIRPA INFLATABLE AUDIO REVIEWER Otto "Bob" Otto 74 Technics, page 40 Classical, rel'OrdhigS page 80 CLASSICAL 80 ROCK/POP 84 JAZZ & BLUES 88 depart/tie/as FAST FORE -WORDEugene PittsIII 6 SIGNALS & NOISE 8 AUDIOCLINICJoseph Giovanelli 10 Soundstream, AUDIO ETCEdward Tatnall Canby 12 ROADSIGNSIvan Berger 16 CURRENTSJohn Eargle 20

The Cover Equipment: Technics RS-DC10 DCC recorder The Cover Photographer: Bill Kouirinis Studio

Audio Publishing, Editorial, and Advertising Offices, 1633 Broadway, New York, N.Y. 10019 Za. Bureau Subscription Inquiries, (303) 445-9330 NO30 REFERENCE DIGITAL PROCESSOR

PRIDE IN THE DETAILS ...

Mark Levinson' components have earned a reputation for their rugged reliability, uncompromising fit and finish and, above all, superior sanics. We at Madrigal Audio Laboratories are understandably proud of this reputation. The presence of "high technology" in our society has, for some, come to mean the absence of craftsmanship. Mass- produced look-alikes are everywhere, even in the realm of so-called high -end audio. The quality that you see and hear in a Mark Levinson component is not the result of automate mass production-rather, it is the result of painstaking atten- tion to the details of design, and of pride in the art of craftsmanship.

Mark Levinson components are handcrafted in limited quantities and to exacting specifications. All who participate in their production share the feeling of pride that comes from knowing that they contribute to a product that defines quality. It is with great pride, then, that we intro- duce the Mark Levinson NQ 30 Reference Digital Processor. Five years of exhaustive research into digital audio yielded a processor worth waiting for, deserving of the Levinson marque. The NQ 30 is a true reference: it neither adds to nor subtracts from the music. It brings to your home the accuracy as well as the essence of the performance. Finally, the promise of digital audio is fulfilled. The NQ 30 is proof that state-of-the-art digital and analog technology can coexist with craftsmanship. The subject here, however, ultimately is music, and the heart of music is in the listening. To fully appreciate the quality of the NQ 30, we recommend that you visit your Mark Levinson dealer for a full audition.

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Mark Levinson® products are designed and manufactured by MADRIGAL AUDIO LABORATORIES P.O. Box 781, Middletown, CT 06457 FAX (203) 346-1540 FASTFORE -WORD AUDIO listen to the new speakers. The reason for V.P./EDITOR-IN-CHIEF this is the extraordinary regard the Thiel Eugene Pitts III people have taken for the safe transport of the CS5s, a regard I wish every speaker ART DIRECTOR Cathy Cacchione maker showed for the fruits of his labor. Now, the CS5s are rather heavy, at 180 ASSOCIATE ART DIRECTOR pounds each, so the firm sends these Linda Zerella speakers out in pairs of individual crates, TECHNICAL EDITOR each of which is big enough for a large Ivan Berger MANAGING EDITOR man to lie in. The pairs of crates are tied Kay Blumenthal together with four additional boards, and ASSOCIATE MANAGING EDITOR each crate is built with dozens of large Teresa Carriero ASSOCIATE MANAGING EDITOR wire staples. Inside each crate, strips of Douglas Hyde Ior most of the past three days, I have wonderfully resilient ethafoam are put DIRECTORY EDITOR been dealing with a change in the into strategic positions using hot -melt Ken Richardson reference speakers we use in our ASSISTANT EDITOR/MUSIC glue. I had two strips come loose when I Michael Bieber listening room at Audio. I won't say opened up the second crate and leaned on ASSISTANT EDITOR that I've spent every minute boxing them; the hardware store around the Gerald F. McCarthy and unboxing speakers; I have taken corner from our offices sold me a spray ASSOCIATE EDITORS and made quite a few phone calls, read a can of 3M Type 76 adhesive that worked Edward Tatnall Canby, Bert Whyte few galley proofs, and written a few letters. very well with a double application. SENIOR EDITORS But since we don't do this as often as every I do not think that all speakers need to Leonard Feldman, D. B. Keele, Jr., David Lander year, it's worth discussing why and how. be shipped in crates, but I certainly do feel We're changing from Thiel CS5s to B & W CONTRIBUTING EDITORS/ARTISTS that the use of such resilient foam should Michael Aldred, Herman Burstein, 801 Ills for several reasons. The principal be all -but -standard in the industry. We David L. Clark, Anthony H. Cordesman, one has to do with a recent move from use only three shipments via common Ted Costa, John Diliberto, Frank Driggs, John Eargle, Susan Elliott, Edward J. Foster, one listening room to another and dealing carriers to get speakers through our review Joseph Giovanelli, Bascom H. King, with a space that has different and poorer system, but the most usually used foam Edward M. Long, Robert D. Long, dimensions. The other reason is simply my Frank Lovece, Jon W. Poses, Jon R. Sank, simply shatters and shreads at the first John Sunier, Michael Tearson, desire to use the same reference as our good impact, making it nearly worthless. Jon & Sally Tiven, Michael Wright principal speaker reviewer, Don Keele. Even with relatively lightweight items, Both speakers are fine examples of the AUDIO, April 1993, Volume 77, Number 4. AU- such as tuners, this foam too often isn't up DIO (ISSN 0004-752X, Dewey Decimal Number science and art of loudspeaker design, and to the second shipment, and needs to be 621.381 or 7783) is published monthly by Hachette the change should not be taken as a knock Magazines, Inc., a wholly owned subsidiary of Ha- supplemented with whatever is at hand- chette PublicationkL Inc., at 1633 Broadway, New on the Thiels or as an indication that I feel bubblewrap, newspapers, other publishers' York, N.Y. 10019. Printed in U.S.A. at Dyersburg, the B & Ws are superior. Indeed, I Tenn. Distributed by Warner Publisher Services Inc. magazines, foam peanuts, etc. Second class postage paid at New York, N.Y. 10001 probably would not have changed had we So, thanks, Thiel, for the loan of the and additional mailing offices. Subscriptions in the still been in our old listening room, which United States, $24.00 for one year, $42.00 for two CS5s, and for using that foam. It would years, $58.00 for three years; other countries except was good enough that the Thiel folks certainly make my life easier if other Canada, add $8.00 per year; in Canada, $32.00 for one year (includes 7% GST; Canadian GST registra- wanted to know the dimensions so as to speaker makers followed suit. tion number 126018209). pass them on to those who wanted to AUDIO® is a registered trademark of Hachette Maga- build a room in which the CS5s would zines, Inc. C1993, Hachette Magazines, Inc. All rights reserved. The Editor assumes no responsibility for sound good. While a "good -sounding manuscripts, photos, or artwork. The Publisher, at his sole discretion, reserves the right to reject any ad room" partially has to do with the copy he deems inappropriate. interaction of woofer elevation and the Subscription Service: Forms 3579 and all subscrip- tion correspondence must be addressed to AUDIO, three room dimensions, I suspect that no P.O. Box 52548, Boulder, Colo. 80321-2548. Allow speaker would have sounded out of place eight weeks for change of address. Include both old in that room. and new address and a recent address label. If you have a subscription problem, please write to the But as I say, I've spent about three days above address or call (303) 447-9330. Back Issues: For information, write to P.O. Box 7085, Brick, N.I. on this change, and I haven't yet gotten to 08723. AUDIO/APRIL 1993 6 WHAT DOES IT TAKEto build the finest in -wall speaker? EVEN MORE ASTONISHING IS THE PRICE!For the same Quite simply, better design execution. or even less than conventional in -wall speakers, you can own the Better in -wall performance demands better materials. So, best...PARADIGM ARCHITECTURAL MONITOR SERIESspeakers. rather than flimsy plastic parts, we use a rigid aluminum You won't findPARADIGM ARCHITECTURAL MONITOR SERIES diecasting that `combines the main chassis, mid /bass driver speakers everywhere. A product this good requires the expertise chassis and tweeter faceplate into a single unit. Instead of of a qualified audio specialist. So, before you buy any in -wall inadequate mounting hardware made of plastic parts, metal clips speaker, visit yourAUTHORIZED PARADIGM DEALERand listen to etc., we use a rigid diecast-aluminum full -perimeter mounting the finest of in -wall speakers. flange. AddPARADIGM'Srenowned driver technology and FOR MORE INFORMATION CALL1-800-451-2248 Sound&Vision AUDIOSTREAM,MPO Box 2410 seamless dividing networks, and the performance results are Ext. 41274 or write: Critic's amazing! Articulate and transparent, these speakers simply Niagara Falls, NY 14302. In Canada: PARADIGM, (-hater Award MI\reveal more of the musical and spacial reality of the live event. 569 Fenmar Drive, Weston, ON M9L 2R6. rrr-cirauw-ibpi Enter No 20 on Reader Service Card COPYRIGHT t PARADIGM/ BAVAN. SIGNALS& NOISE AUDIO THE EQUIPMENT AUTHORITY Lirpa's Not Off His Rocker about the same time, I got my first six- Dear Editor: V.P./GROUP PUBLISHER channel home theater system, which was a Thomas Ph. Witschi Not so long ago I was a distressed per-lot more than the original linkage system (212) 767-6269 son, acquainted with every grief of thecould handle. However, for the genius of V.P./ASSOCIATE PUBLISHER dedicated hi-fi listener. Delving into vari- Tony Catalano the Professor it was no big deal to develop a (212) 767-6061 ous audio publications (mostly small ones)computer program to simulate the me- of the so-called subjective persuasion, I waschanical system by means of digital delay GENERAL MANAGER able to alleviate my affliction by doingand acceleration circuits. Instead of mov- Greg Roperti various little tweaks, such as dyeing theing the speakers, the program "changes" BUSINESS MANAGER rims of my CDs with methyl rosanilinetheir positions with far greater subtlety. Christine Maillet PRODUCTION DIRECTOR chloride, as well asmounting my two Sitting in my rocking chair surrounded Silvia Coppola loudspeakers on little (non -inverted!) pyr-by that glorious sound, I have but one PRODUCTION MANAGER amids of tungsten. complaint to make: The video screen has Kerry Tonning RESEARCH MANAGER My happiness would have been unal- me seeing red shift. Dru Ann Love loyed had I been able to indulge in both of Matti Salonen OFFICE MANAGER my dearest enjoyments simultaneously- Kuusankoski, Finland Aline J. Pulley OPERATIONS MANAGER sitting in a rocking chair and listening to Sylvia Correa music. As it was, that old bugbear of Dopp-Prof Lirpa's Reply: The computer program AD COORDINATOR ler distortion I thought I had banished bydoes, in fact, include automatic adjust- Linda Neuweiler acquiring a pair of Lirpa Labs Full -Range ments for the video signal-and I personal- ADVERTISING Electrostatics (50 kHz to d.c, ± 2 dB) wasly verified all audio and video connections REGIONAL V.P./AD DIRECTOR, raising its ugly head again. The music var-while supervising the installation in your EAST COAST Charles L. P. Watson (212) 767-6038 ied in pitch as I was rocking toward thehouse. Perhaps your problem is atmo- REGIONAL ACCOUNT MANAGER speakers or away from them. spheric. The position of Kuusankoski just Christine B. Forhez (212) 767-6025 REGIONAL V.P./AD DIRECTOR, What with his formidable credentialsabove latitude 60° not only places you at MIDWEST (absolute pitch being the least amongthe southern edge of your country's Lake R. Scott Constantine (212) 767-6346 them) and the geographical proximity of REGIONAL V.P./AD DIRECTOR, District-where the constantly moist air is WEST COAST his Research Institute to Finland, Prof. I.known to affect visibility-but also situates Bob Meth (213) 954-4831 Lirpa was the logical choice as the person toyou within the Earth's northern auroral WESTERN MANAGER Paula Mayeri (213) 954-4832 tackle the problem. He quickly came upregion, the area of greatest northern -light NATIONAL RECORD LABEL SALES with a reciprocating linkage system, where-activity according to S. Chapman's accept- MAG Inc. by the rocking chair, the speakers, and any Mitch Herskowitz (212) 490-1715 ed plot of auroral geography. To learn how Steve Gross (212) 490-1895 objects with surfaces causing early reflec-to reduce reflections of these lights in your H tions all moved in unison and equidistanthome theater, I recommend a new book by to each other. Aurally, the improvementProf. Anni-Frijid Pink: The Auroral Aura in was out of this world; visually, the impact CHAIRMAN Daniel Filipacchi the Aural/Visual: An Oral History of Normal PRESIDENT, CEO, AND COO was no less dramatic. Cure-alls. David J. Pecker EXEC. V.P. AND EDITORIAL This was not to be the ultimate system, DIRECTOR Jean-Louis Ginibre though. After a while, all those joints, link- The Last of the Elcasets? SR. V.P./DIR. CORP. MARKETING ages, and cams tended to develop noises; Paul DuCharme Dear Editor: SR. V.P./DIR., CORP. SALES, anticipating this, Prof. Lirpa had specified a In your 45th -anniversary -year supple- MAGAZINE NETWORK complete lube job every 21,000 rocking ment (September 1992), you ask, "What Nicholas Matarazzo V.P./DIR. OF STRATEGIC cycles (peak to peak). Still, the whole setup Ever Happened to Elcaset?" My Sony PLANNING, ADV. & CIRC. looked too Rube Goldberg-esque to satisfy Elcaset deck still makes wonderful record- Patrice Listfield V.P., CHIEF FINANCIAL OFFICER Prof. Lirpa's tastes for neatness and ele- ings. Sony no longer makes blank Elcaset Paul De Benedictis gance. It so happened, about a year later, tapes. I am interested in buying any tapes V.P., CORP. COMMUNICATIONS that there was a considerable increase in your readers may have. Jolie Cross Doyle V.P., GENERAL COUNSEL number -crunching power at Lirpa Labs Ray Warns Catherine Flickinger with the acquisition of their latest -genera- 3119 West Commodore Way, #1F V.P., MFG. & DISTRIBUTION Anthony Romano tion YARC N mainframe computer. At Seattle, Wash. 98199 V.P., CIRCULATION Leon Rosenfield AUDIO/APRIL 1993 8 Every so often, a product is introduced Cinema DSP settings for video alone. Includ- that's so good, it serves as the benchmark for ing four 70mm settings-Adventure, Spectacle, an entire industry. Yamaha's critically acclaimedMusical and General-to give movies DSP-A1000 is such a product. more spatial depth and impact in your And Yamaha's new DSP-A2070 is another. home than you probably ever imagined. Unquestionably, the most advanced digital All made possible by Yamaha's sound field processor/amplifier you'll find on new LSI technology. A major accom- the market. Due in no small part to a Yamaha plishment that creates sound fields development that makes going to the movies three times more detailed than even actually pale by comparison. our critically acclaimed DSP-A1000.

CINEMA We call it Cinema DSP. An awe- Other notable features include ,c'iosiVpt;Si- CPSFP inspiring blend of technology that an on -screen display for sound field`,Z;:ii';',,pc, multiplies the effects of Digital Sound Field adjustment. Seven -channel ampli- Processing and fully -digital Dolby Pro Logic.® fication. Pre -amp outputs on all channels to The net result is a home theater com- permit additional amplification. Five audio and ponent that's a generation ahead of anything six video inputs. And split subwoofer outputs else on the market. Giving dialogue more to accommodate two front subwoofers. definition. Music, more dynamic range. And Yamaha's exceptional DSP-A2070. We sound effects, more graphic detail, superior think of it as the most sophisticated audio - placement and far greater realism. video product on the market. Understandably, And there's more. All told, there are 12 our competition tends VA mA audio settings for your favorite music. Plus 11 to see it a bit differently. HA® What the competition will be using for target practice this year.

MCLJiE THEPTEF I -

Call 1-800-368-8883 for the Yamaha dealer nearest you. C1993 Yamaha Electronics Corporation, USA. Dolby Pro Logic is a registered trademark of Doihy Laboratories Licensing Corporation. Yamah4 Ele(tronics.gorporation,liSA, PO. Box 8660. Buena Park, CA90622 AUDIOCLINIC tion. In this case, yesterday's truth is definite- ly today's error. From here on in,I'lltell JOSEPH GIOVANELLI anyone who asks that he should keep the d.c. resistance of his speaker cables under 0.1 ohm, either by using heavy cables or by moving the power amplifiers as close to the Yesterday's Truths, Today's Errors pedance, while 8 ohms in the midrange, was speakers as possible (see Table). I've taken this title from a history lecture I only 4 ohms at low frequencies and had also attended some years ago, because history-fallen off at high frequencies. Noisy Muting specifically, audio history-is involved in a Then, it all made sense. My original wire Q. My preamplifier has a muting switch, valuable lesson I've just learned. had a somewhat high d.c. resistance of about which can be helpful when the phone rings Back in the '50s, when I was designing and 0.3 ohm. Very little of the midrange was lost and instant quiet is needed. But there is some making loudspeakers, I was a frequent guest in the cable. But because of the speaker's low kind of electronic transient noise when I on radio shows about high fidelity. A lot of switch the unit to "Mute." There is no noise my air time was spent pleading with listeners when I switch from "Mute" to "Operate." I not to use the 22 -gauge wire often sold as SPEAKER WIRING THAT took the preamplifier to my dealer and he "speaker cable." For all I know, I may have SUFFICED IN TUBE DAYS found no problem. Where do you suggest I go been among the first to understand and speak from here?-Nelson A. Cusher, Buffalo about the importance of keeping cable resis- WON'T WORK AS WELL Grove, Ill. tance low. I followed my own advice, using WITH SOLID-STATE AMPS. A. I do not know if the sound you hear 16 -gauge wires for my own speakers; they when the preamplifieris switched to proved heavy enough. "Mute" is normal or not. If it is normal, Recently, a fledgling speaker designer came impedance at low frequencies, the bass was then no servicing is needed. You should over with what he knew, or thought he knew, more heavily affected; it's a simple matter of check with the manufacturer of the equip- was the greatest speaker ever. I disconnected voltage division. And because of the low ment about this. my speakers and hooked his to my existing impedance at high frequencies, the extreme For the moment let's say that the noise is cables, then played program material with highs were also lost in the cable. normal. If your power amplifier has input which I was completely familiar. The speak- Up until now, when a reader asked wheth- level controls, turning these down a bit will ers sounded mediocre to poor-even the de- er his power amps should be closer to his likely reduce the sound to tolerable limits. signer said so. But he also said his creations speakers or his preamp, I've usually suggested Of course, you should not turn the input never sounded that way in his living room, that power amplifiers, which usually aren't controls so far that you cannot obtain where his amplifier was near the speakers, decorative, should be hidden in the equip - adequate listening levels. connected to them by short lengths of exotic, Table I-Wire size versus resistance. heavy cable. Unloaded Output Stage Wire Resistance per Maximum The way my room is laid out, the run to Size, 1,000 feet, Length for Q. I am using a stereo amplifier to drive the speakers is about 40 feet, which I admit is AWG Ohms 0.1 Ohms, Feet just one loudspeaker; this is done so that I can starting to push what can be expected from 6 0.8 125 have a center channel in a theater system. 16 -gauge line. As I had no heavier wire, 1 8 1.3 78.1 One channel of this amplifier is unloaded. 10 moved my amplifier near the speakers so that 2 50 Will this do harm to my amplifier? Is there 12 3.2 31.3 my longest run of 16 -gauge wire would be 14 5.2 19.2 anything I can do to eliminate any possible about 5 feet. I then needed to lengthen the 16 8 12.5 damage?-Bordir Luoh, Pittsburgh, Pa. interconnect cables between my preamp and 18 13 7.7 A. Your system will probably run just my amp. Because my preamplifier's output 20 20.6 4.9 fine with one channel unloaded, as long as 22 impedance was low, I still had a flat frequen- 32.6 3.1 you don't feed any signal into the unused cy response over the audio range. ment cabinet, provided that, if the cable runs channel. If you believe that the amplifier is Now, when we replayed the same program were long, wire of at least 16 -gauge was used. unstable when unloaded, place an 8 -ohm through his speaker systems, it was as though That's more or less true even now-but only resistor across the unused pair of output we had connected a completely different pair if the speakers have an impedance of 8 ohms terminals. The resistor can be of almost any of speakers! Where there had been virtually or more across most of their bandwidth. wattage; a 10 -watt resistor will be fine. A no bass at the start, bass was now solid. When I started recommending 16 -gauge Serious midrange aberrations were gone: The cable, I was giving good advice. But that was If you have a problem or question about audio, over -forward sound was gone, and I was lis- in tube days, when the resistance of amplifi- write to Mr. Joseph Giovanelli at AUDIO Maga- zine, 1633 Broadway, New York, N.Y. 10019. All tening through the speakers, not to them. ers' output transformers was a factor. Now, letters are answered. In the event that your letter is Even the highs were smoother and more open. when most amplifiers are solid-state designs chosen by Mr. Giovanelli to appear in Audioclinic, When the listening tests were done, I asked with far lower output resistance and imped- please indicate if your name and/or address should be withheld. Please enclose a stamped, self-ad- him more about his design. His speakers' im- ance, it's time to update my recommenda- dressed envelope. AUDIO/APRIL 1993 10 TurnYour Stereo Into An All -OutDolby Surround Pro -Logic System.

NEW FROM CAMBRIDGE SOUNDWORKS

Our new PLIO0 DogyPro Logic decoder with 3 -channel cunpOer; magneticall y shieldeCenter Channel speaker; Me Sumund it dipole radiatilig szuround speakets. Factory -direct pice, $799.

Until now, adding Dolby Surround to a $799 Dolby Pro Logic speaker with four 3" long -throw woofers and a ring radiator tweeter. Because of its wide, low stereo system has been complex and expensive. Add -On System. Add-on decoders were inadequate, costly, and profile (25" wide, 4" high, 61/2" deep), it is ideal often required separate amplifiers. Mve changed The center channel speaker in our $799 for placement directly on top of, or with optional all that with our affordable, high performance Dolby ProLogic Add -On System is our new support unit, beneath a TV. The frequency range Pro Logic Add -On Systems. magnetically shielded Center Channel (see ad of the outer pair of 3" woofers is intentionally Both systems are centered around our new on following page). The rear/side speakers limited to maintain proper dispersion. Vtk don't PL100-a DolbyPro Logic decoder with three area pair of The Surround"' IL Unlike any know of any speaker, at any price, that outper- channels of amplification (40 watts to the center other surround speaker in its price range. The forms Center Channel Plus. channel, 15 watts to the surround channels) and Surround II uses advanced dipole radiator tech- The surround speakers in this system a wireless remote. Its built-in signal generator nology. Properly mounted on the side walls of are The Surround, a dipole radiating speaker enables precise balancing of the left, center right a listening room, their high frequency drivers with higher volume level capability than The and surround speakers. The signal delay applied direct out -of -phase sound signals towards the Surround B. NW feel The Surround is one of the to the surround channel is selectable for room front and rear of the room. The sound then very best surround speakers made, despite size. Other controls include master volume, rear reflects off the surfaces in the room, finally reach-the fact that it costs hundreds less than ing listeners from all directions, competingmodels. "surrounding" them with sound. So if you already own a fine stereo system, Because the drivers are out TV and VCR, why not create an all-out home of phase with each other they theater with one of our Dolby Pro Logic create a null area directly in Add -On Systems? front of the speakers, so listeners can't pinpoint the source of the sound. The result is surround 1-800-FOR-HIFI sound the way it was meant litt Know How to be heard. lb Make Loudspeakers. $999 Dolby Pro Logic Add -On System. CAMBRIDGE Our new PL100 Dolby Pro Logic clecoder with 3 -channel ampOer; low profile Center Channel Plus speaker; The &mad dipole radiatirg swround .59eakets. Our $999 Dolby Pro Logic Factory -direct pice, $999. Add -On System combines SOUNDWORKS 154 California St., Suite IO4APR, Newton, MA 02158 and center level, and a Phantom mode enabling the PL100 with our new low -profile Center 1-800-367-4434 Fax: 617-332-9229 Canada: 1-800-525-4434 the use of the PL100 without a center speaker. Channel Plus speaker and our highly acclaim- Outside U.S. or Canada: 617-332-5936 Purchased separately, the factory -direct price of ed surround speaker, The Surround. Center 1g92 Cambridg Scurektics. The Surround is a trademarkofCambricIF SoundlAbrks. Cety, Dolby Surround and Pro Logic are trademarks of DoCoy Laborawnes Licensing the PL100 is $399. Channel Plus is a magnetically shielded Cotpuaim. mad specifications subjea to change without notice. Enter No. 6 on Reader Service Card AUDIOETC part, mostly short and unintelligible, isn't of much use. But around 1900 EDWARD TATNALL CANBY or so, the mass of it becomes signifi- cant. People! Those ancient record- ings tell us as much about celebrities as the gaudy covers on today's maga- SOUR CREAM AND zines. Teddy Roosevelt's voice goes perfectly with his pictures. I can even AR -CHIVES imitate it, as of circa 1902! That's history, all right. On magnetic tape, we have much more than on early disc and cylinder, a mountain of sound after some 45 years. And now we reach the ulti- mate, which lifts our tape medium to equality with all the older evidence of history: Digital. Only a dozen -odd years so far, but with vast conse- quences for the future. We are thus at a turning point. We begin to understand, and to worry. Can we meet this challenge? That is, are we up to it technically? If so, how? What optimum form should archival audio take? Should it be tape? Let's begin with that. Analog tape, digital tape, and the transfer of analog to digital for

more permanence. As of now, we ;:lt. have nothing else comparable in our3 omewhat forbidding, archival its memory and come up with some- present collections. Not so you'd no-Z. is a word that has been buzz- thing like ar-chives, a new variety of tice. We are awash in tape (if dry),.t ing lately, like the Connecti- salad onion. Or, split at a line end, thousands, millions of miles of tapes - cut gnats that bite me for half arch-ives, like an archduke. to -keep. Should we trust tape? the year. Relentless. Evermore Either way, we cannot avoid it. Or should we, on the other hand, Sfrequently we hear and read, We must take audio preservation transfer our tapes, as systematically "Is it of archival quality?" Librarians, very seriously, because after so many as we can, to a safer, better -lasting at least, will be happy. Itis their centuries of total silence, the histori- medium? What dangers, what safety, word. cal record now is full of sound. It's does tape offer in the very long run? Archival is the adjective form of becoming a major part of the re- In its present ultimate form, digital, archives, but it is the operative term corded flow of civilization itself. And is it truly archival? these days, full of an almost omi- that's after so few Sometimes it's nous intensity. Will our enormous short moments better to ask rather AS WE REACH A TURNING and ever-growing volume of record- compared to the than try to answer ed sound last? Not until next week other forms ofPOINT, WE MUST DECIDEsuch questions. or next year, but for the ages, the historical record. WHAT FORM ARCHIVAL The best I can do is length of our continuing civilization. We are just begin- simply to bring up AUDIO SHOULD TAKE. Not mere decades but centuries, ning to think, to matters that need perhaps millenniums. Or should I be aware. discussion on the say millennia? A big order, and we Does this sound obvious? Of most professional level. Things that really haven't given it much thought. course. But how much have we done maybe have not got through to your Too busy! Tomorrow is more im- about it? Not much, in comparison attention. What about your own portant. But is it? with other older disciplines. tapes, whether professional or of the I'd hate to subject one of those In our tiny span of existence we al- home back -closet type? From dusty new out -loud reading machines to ready have more than a century of re- audio cassettes on the living room this word! It would probably search corded sound history. The earliest floor to those huge shelves of big AUDIO/APRIL 1993 12 The Powered Subwoofer That Has The Audio And Video Press Jumping Out Of Their Seats.

A jet roaring in 76p Gun. The heavy- NEW FROM CAMBRIDGE SOUNDWORKS Optional "slave" subwoofer. footed killer robot in Robocop. A semi For all-out home theater performance, hitting concrete after a 20 foot you can add our optional Slave Sub- fall in kminator 2. These are woofei which is identical to our examples of the substantial, Powered Subwoofer except that it very low -frequency effects on lacks the amplifier and controls. It the soundtracks of today's uses the amplifier and controls movies. Such frequencies are built into the Powered Subwoofer. rare in music, and are beyond Amplifier output jumps from 140 the capabilities of most speak- to 200 watts when the Slave ers designed for music. Subwoofer is connected. The new Cambridge The combination of the two SoundsAbrks Powered Sub - speakers can reproduce a 30 Hz woofer by Henry Kloss was signal cleanly to a sound pressure created to reproduce those level of over 100 dB in a 3,000 cubic ultra -low, ultra -strong bass foot room! That's enough clean, signals with the power and deep bass for the largest home impact you would experience in theaters, and the most demand- movie theaters with the very ing listeners. The factory -direct best sound systems. It's designed to FtmeredSubwoofer Slave Subwvofer price of the Slave Subwoofer is $299. supplement (not replace) the subwoofer(s) of Ensemble or Ensemble II. It will also high-pass, line -level filters for the main and No compromises. No apologies. work with speakers from other companies. center amplifiers. These filters allow you to The combination of our Ensemble Remarkable bass performance. keep strong, low frequencies of sound effects speaker system, Center Channel Plus out of the front speakers. These signals can speaker, The Surround rear/side speakers, The Powered Subwoofer consists of a cause distortion, even in speakers designed Powered Subwoofer and Slave Subwoofer heavy duty, 12 inch long -throw acoustic for full -range music. (see photo at left) creates a home theater suspension woofer integrated with a 140 The Powered Subwoofer's bass perfor- speaker system that we believe is the best of mance is simply awesome. It reproduces its kind. accurate bass to below 30 Hz. You'll hear Although you can spend thousands soundtracks the way they were meant to be more on competing systems, we don't know heard. In fact the bass is better than most of any that outperform this $1,999 package. If you'd like more information, a free catalog Ow Ultimate Home Theater Speaker consiszs of ow dual-subwo er or our new booklet, "Getting The Most From Ensemble system: our kw profile Your Dolby Surround System:' call our toll - Center Churl& Phis speaker; a path- of free number any time. ow witicaV acclaimed surround speakers, The Sunow74. ow Rmeircl Sulmofer; 1-800-FOR-HIFI ow gave olthrtvofer We Know How Factog-darct price: 76 Make Loudspeakers. $1,999. watt amplifier -all in a high-pressure black laminate cabinet. Its control ?anel includes a theaters! At the press event when we intro- CAMBRIDGE bass level control and an 18c.B per octave, duced our Pored Subwoofer, we had four -position electronic crossover frequency startled members of the audio and video SOUNDWORKS 154 California St.,Suite 104APR Newton, MA 02158 selector (to match the subwoofer to your press literally "jumping out of their seats" 1-800-367-4434Fax: 617-332-9229 during demonstrations of movie sound- Canada: 1-800-525-4434 other speakers). Outside U.S. or Canada: 617-332-5936 Additionally, an optional electronic tracks. The factory -direct price of the Pow- ©1942 Cambridge SoundWorks. @ Ensemble is a registered trademark of Cambridge Sounftbrks. Pikes and specifications subjea to change crossover* will provide 18 dB per octave, ered Subwoofer is $599. without notice. *Available late Fall, 1992. Enter No. 7 on Reader Service Card boxed tapes in the large record companies' files, had you thought about them in the No Other Loudspeaker long, the very long future? More important, how about your predecessors-especially Company Can Run This Ad. back in the early tape years? I was around in those years, using tape, Cambridge SoundVVorks is a new kind of audiocompany, and I know the general attitude. Unroll a with factory -direct savings, and much, muchmore... reel of tape on the floor, and gasp at its length! We all, pro and amateur, had a feel- ing that tape must not be wasted, especially since it could so nicely be recorded over ,si again or erased in bulk. For a while almost ce c4 W ''' everybody, and far too many pros, recycled r.Z'sZ k. tape to a fare -thee -well. Maybe okay from 'a "e J an ecological viewpoint but not at all archi-

iii 1 b val. Nor did we do much to protect tapes Audio Hall of Fame member Henry Kloss. V* eliminated the expensive middle -men. Cambridge SouncbAbrks products are designed by our By selling factory -direct to the public, we eliminate huge that we wanted to keep. They lay around in co-founder, Henry boss, who created the dominant distribution expenses. Don't be fooled by our reasonable piles, loosely wound, out of their boxes, speakers of the '50s (AR), '60s (KLI-1) and '70s (Advent). prices. Our products are very well designed and made. and dusty-even in professional places. "Old" tapes we used again and then again, erased, as casually as we throw out plastic plates and bags today. Even now, how many tapes get the full archive -type treat- ment, carefully wound (at playing speed), 110 boxed, with white leaders and full informa- Five year limited parts and labor speaker warranty. NEW: Center Channel Plus center channel speaker. The tion? I wouldn't guess 100%, even for big All of our speakers are backed by a five year parts and labor wide, low profile (25"x4"x6.5") of our magnetically shielded record producers. People are human. Ar- warranty. In some cases, well even send you a replacement Center Channel Phis makes it ideal for placement directly on speaker before we've received your defective unit. top of or, with optional support unit, beneath a 1V. $219. chives are not. Think long, long in time. What of the tape base, the plastic? Already much history there. Our best current tape, suitably pro- tected and carefully played, could last a very great time, I suspect. Tape formula- 1111111 tions were erratic in the early days, but ill most early tapes have lasted too-so far. High performance dipole radiating surround speakers. NEW: Model Eleven A transportable component system. Most of my earliest, some of them loose on The Surround ($399 pr) & The Surround U ($249 pr) use The same high performance of the original, in a smaller dipole radiator technology for surround sound the my it was package. Carrying case doubles as system subwoofer lAbrks the reel, dusty and unboxed, still play ex- meant to be heard. Hundreds less than competing speakers. on 110, 220 & 12 volts. Introductory price $599. actly as they did 40 -odd years ago. That's impressive, if not yet long enough. But oddly, every so often I run into a tape that breaks and breaks-deteriorated base ma- ill terial. Looks okay. But snaps at the slightest pull. To save such a tape, you must play and splice, play and splice; it's an awful job, until you have safely copied it to a more Ambiance ultra -compact speaker system. Ambiance In -Wall high performance speaker system. V* think Ambiance is the best "mini" speaker available, lAk don't know of any other in -wall speakers that match its reliable base. I worked on one of these last regardless of price. Bass and high -frequency dispersion are performance, value and ease of installation. Includes acoustic summer and gave up halfway through. unmatched in its category. $175-$200 each. suspension cabinet, gold plated speaker terminals. $329 pr. Why just these few? Was it my subse- Call 1-800-FOR-HIFI for a free 64 -page catalog with components andsystems quent fault? Or was it in the manufacturer's from Cambridge SoundWorks, Pioneer, Philips, Sony Denon and others. particular formulation? Unsettling, even if most tapes are okay. iittKnow How 7b Make Loudspeakers. After the early years, a million miles of such as Scotch 111 and Audiotape, came a CAMBRIDGE SOUNDWORKS sensation-an "unbreakable" new plastic, 154 California St., Suite Newton, MA 02158 Mylar. It was admirably stable, for more 1-800-367-4434Fax: 617-332-9229 Canada: 1-800-525-4434 Outside U.S. or Canada: 617-332-5936 © 1992 Cambridge SouneMbries. exact timing; it was humidity -proof, and it AUDIO/APRIL 1993 14 would not snap. Yet Mylar turned out to be original recording process, including bias, deadly in any emergency, when the ma- equalization, signal level. Important! But chinery went out of control. It didn't break, again, not an archival consideration, as- it stretched-not linearly but all of a sud- suming it is done right to begin with. We are now talking about long-term preserva- den. Admirably firm under slight over- Includes stress, but when the tension suddenly in- tion of what we have already achieved. Not 6 Page Guide creased, as in a tape drive malfunction, it easy for any working sound engineer. Nev- To Surround "1inolvamsAnti/anal Sound. just let go-all resistance ceased. (Well, ertheless. ... jd'ip" most of it.) In a trice, 3 feet of Mylar tape Another "minor" question: Do we rule became 6 feet of narrow curled -up tub- out any type of tape cartridge, home or pro, ing-the geometry of stretching requires for archival audio? Does the enclosure pro- the curl. Total loss. The signal is stretched vide any real benefit for the very long haul, too, but that's academic-it won't play. the centuries? I doubt it. Will the mecha- Non-Mylar tapes are less stable and more nism inside hold up or disintegrate? The subject to humidity and heat, vital factors. little audio cassette does an excellent short- But these tape's snap easily and predictably term job, we have to admit, for tapes left on the living room floor or lost down a crack in the family car. (The outer box is another ANCIENT RECORDINGS REE matter, hopelessly fragile and clumsy to TELL US AS MUCH ABOUT boot, like itsfirst cousin, the CD jewel Atidio Catalog CELEBRITIES AS THE box.) But again, none of this is archival, or so I see it. There isn't much professional re- Our 64-pagf catalog is loaded with components GAUDY COVERS ON and music systems from Cambridge SoundWorks, cording in cartridge form that needs to be TODAY'S MAGAZINES. Pioneer, Philips, Denon, Sony and others. kept, unless it is those glorious commer- Because you buy factory -direct, with no expen- cials that are the sonic ornament of our age. sive middle -men, you can save hundreds of under stress, in zigzag breaks, and there lies Keep the reeled originals, if you must. dollars. For example, a Dolby Surround system a bonanza-you can reassemble the bits Oh yes-how about reel-to-reel tape with Ensemble II speakers, rear speakers, Philips like a jigsaw puzzle and splice them back boxes? A silly thought, and yet not so silly. Dolby Surround receiver, CD player and system remote is less than $1,000. Call today and find out together for the original sound. They are mostly cardboard and tend to give why Audio magazine said we "may have the best way at the corners. Has anybody thought of Which type of tape, then, is archival? I value in the world." really do not know. Virtues and faults in a better (and more expensive) container? It Call toll -free for factory -direct savings. both. should stay strong, slightly flexible and Save hundreds on components and systems How about the magnetic coating? Yes, reinforced at the corners, not subject to from Cambridge SounNbrks, Pioneer, some formulations have been subject to se- drying out, splitting, or other deterioration. Philips, Denon, Sony and more. rious peeling off the base. No remedy for For archives, cardboard is a very poor idea. Audio experts will answer your questions Ask your librarian. How about a heavy vi- before and after you buy. 8AM-midnight, that. One can only hope for the future that 365 days a year-even holidays. it doesn't happen. nyl tape box? One of the best nonrigid plas- 30 Day lbtal Satisfaction Guarantee on all I have in my hand a parallel example, a tics around. Cambridge SoundlAbrks products. glass positive stereo photo plate I printed Too late here to go into a vital element in The critically acclaimed tape preservation-splices. Tapes that are (from film negative) in 1929. The glass Ensemble II assembled in segments via white "sticky" plates were good for viewing and impervi- speaker ous to curl-but after a few years the patching. I have a quarter -century of radio system emulsion began to peel. This one shows a tapes with millions of these splices. If they tantalizing inch or so of Alpine scenery at fail, you must resplice. What about 100 by one end, still peeling; the rest is clear glass. years from now? My earliest splices were Henry Poor archival choice. dismally short-lived. After only months, Kloss. What is really extraordinary is the per- like other sticky tapes, they went sleazy and $399 manence of the magnetic trace on tape. gummy and instantly let go when the tape Hard to believe. True, a ghost of a magnetic was played. But there was a change-a vital 1-800-FOR-HIFI field can kill it, but fields like that are gen- change.Idid two multi -spliced "live" We KnowHowlb Make Loudspeakers. erally rare. I can hardly believe the perfect shows (on tape) in 1969 and 1973. In 1992 sound I hear after more than 40 years. That I played both of them dozens of times, with CAMBRIDGE is a big plus for tape. never a failure. All the splices held. The These are major factors in archival tapes were perfect. Will they last another SOUNDWORKS 154 California St., auk: -1FR, Newton, MA 02158 sound that most of us never think about. quarter -century? Or 100 years? If so, they 1-800-367-4434Fax: 617-332-9229 are definitely archival, splices included. A Canada: 1-800-525-4434 outside U.S. or Canada: 617-332-5936 We are much more concerned with the ®1992 Cambridge SounclNbrks AUDIO/APRIL 1993 15 or even retune to a new frequency ROAD carrying the same program. In IVAN BERGER Europe, where network programs are still common, the system will RADIO ON DISPLAY switch you to another station. Here, it's more likely to work only for AND VICE VERSA repeaters (also called translators), auxiliary transmitters that fill holes in a station's coverage area. I'm told that in places like Denver, with twisty mountain roads, a station may have 12 such alternates. The system can enhance not only your listening pleasure but your driving pleasure and safety. It can warn you of traffic, accidents, weather, or other emergencies- even if you're listening to a tape or disc-as long as your tuner is on an RDS station. Future models may turn themselves on when a warning comes over the air, or even contain a second front end that stays tuned to an RDS station while you listen to a non-RDS one. The system can also be used for paging, to reset Want RDS? Delco s your car radio trying to tell will probably let you program in your car's clock, and maybe even is ready when you you something? It may be, five or six favorite formats; fancy for navigation. are-as is almost soon. The Radio Broadcast radios might even store format Already, 42 FM stations everybody else. Data System (RBDS) Standard choices separately for each family broadcast RDS; 10 are in Las Vegas, a is finally out. And because most member. where they demonstrated it at the ni car audio manufacturers This goes beyond the program - Consumer Electronics Show in already make radios for Europe's scanning ability of the ID Logic January. There are 5 in Detroit, to similar "RDS" system, the radios system in the Panasonic car unit impress car makers. And by the should be here soon. And to save Audio reviewed in May 1992. That time the Summer CES opens in those manufacturers retooling, the system included a database of Chicago, that city should have more logo will be "RDS" here, too. stations, with provisions for than the two RDS stations it has Want to buy the record you're updating a few entries as stations now. Eventually, RDS stations stand hearing on FM? The RDS display changed. But it couldn't adjust to to make money by incorporating will tell you its name, the artist, the stations that change formats during brief commercial notes ("Buy this label, and maybe even which local the day. With RDS, the program record at Joe's") and to stand out in stores carry it. It will also tell you code changes when the program ratings sweeps by plastering their the station's call letters and where it does. Nevertheless, an enhanced ID logos ("HOT 93") on listeners' is located. If you tune in during a Logic is part of the RBDS Standard. radio displays. commercial, it will tell you the It will serve as an FM program - The radios are on the way. station's program format, so you finder until more stations transmit Philips and Denon should have know whether to hang around and RDS, and will continue as a way of RDS models on sale by the time you listen or dial on. When you're identifying AM stations and read this; others were shown at CES driving where you don't know the programming. An AM station can't by Blaupunkt, Kenwood, and Sony local stations, you can tell the radio transmit the RDS subcarrier, but an (not to mention an Onkyo home what kind of programs you want RDS FM station can update an RDS tuner and a Grundig portable). And and have it find them for you. radio's ID Logic database of AM though Delco, the biggest car audio The RBDS Standard provides stations. company, makes no RDS radios yet, coding for 29 program formats. When a station fades out, the it has a prototype ready to roll "as Car radios won't have room for radio could automatically scan for soon as our customers know what 29 format buttons, so RDS models similar programs on other stations, it's about and want it." AUDIO/APRIL 1993 16 Columbia House. The faceof jazz.

This is the place where the biggest names in jazz come together. From the soaring classics of John Coltrane to the virtuoso stylings of Chick Corea, only Columbia House has the expertise and heritage to bring you face to face with today's greatest artists. Look to Columbia House -where the jazz is. 8 CDs f°r1( PLUS A CHANCE TO GET ONE MORE FREE! Harry Connick Jr. looks to the past and Discover a new facet of Branford's renowned future with two current releases. New versatility in I Heard You Twice The First Orleans Jazz sizzles on a Bourbon Street LEGENDARY JAZZ CLASSICS Time: The Blues are renewed by his modern Billie Holiday-Billie's Josephine Baker (DCC touch, energy and vir- recording made at the early age of 11. Now Best (Verve) 447.607 Compact Clasics) at 25, his virtuosity shines through his 420.729/390.724 tuosity. You'll learn why unique interpretations of the standards. Sarah Vaughan -How his celebrity is so well Long Has This Been Going deserved. On? (Pablo) 418.509 The Best Of Art Blakey & The Jazz Messengers - Kenny Garrett -Black The Blue NoteYears (Blue Hope (Warner Bros.) 445.965 Note) 416.016 Miles Davis -Birth Of The The Quintet -Jazz At Massey Hall (Debut) Cool (Capitol) 414.425 B anford Marsalls-I Ella Fitzgerald And Louis 421.719 Best Of John Coltrane Heard You Twice The First Armstrong -Ella & Louis Time (Columbia) 445460 Spyro Gyre -Collection (Verve) 430.710 (Atlantic) 412114 420.950 Harry Connick, Jr. -11 Harry Connick, Jr. -25 (GRP) Charles Mingus-Mingus Elbow Elias -Fantasia (Columbia) 451.435 (Columbia) 451.443 (Blue Note) 448.019 Bobby Lyle-Pianomagic Dinah Washington - Ah Um (Columbia Jazz (Atlantic Jazz) 432.286 Ramsey Lewis -Ivory Herb Alpert -Midnight Dinah Jams (Emarcy) Masterpieces) 354.795 Nancy Wilson -With My 441.709 Jean Luc Ponty- Pyramid (GRP) 450213 Sun (A&M) 442.913 Dave Brubeck Quartet - Lover Beside Me (Columbia) 429.225 Tchokola (Epic) 420.224 Gary Burton -Six Pack Dizzy Gillespie -Sonny Horace Sliver Quartet - Time Out (Columbia Jazz Song For My Father (Blue (GRP) 450.197 Side Up (Verve) 441.733 Masterpieces) 353.060 Harry Connick, Jr.- Blue The Manhattan Transfer Note) 440.255 -The Offbeat Of Avenues Arturo Sandoval - Erroll Gamer -Body And Light, Red Light Macao Parker -Life On (Columbia) 429.191 (Columbia) 420.208 Planet Groove (Verve) I Remember Clifford Thelonious Monk - Soul (CI Jazz 449.991 (GRP) 436.105 Solo Monk (CI Jazz Masterpieces) 427.955 Basle -Brave New Hope The Crusaders -Healing Masterpieces) 439.356 (Epic) 428.722 The Wounds (GRP) "Malcolm X" Orig. Sndtrk. Spyro -Three 419.952 (40 Acres/Columbia) Wishes (GRP) 440990 Betty Carter -Round Mark Whitfield -Patrice 449.827 Midnight (ATCO) 436.980 (Warner Bros.) 428.342 The Best Of Cannonball The Best Of Fattburger Adderley Quintet -The "Five Guys Named Moe" (Manhattan) 440842 The Best Of Count Basic J.J. Johnson -Standards: (Roulette Jazz) 435.990 Capitol Years (Capitol) Original Cast (Columbia) Louis Jordon -Five Guys Live At The Village Van- 419.671 449.520 Charlie Parker- guard (Antilles) 428235 Named Moe (MCA) Jimmy Smith -The Best 440.297 Now's The Time (Polydor) Meceo Parker -Roots The Manhattan Transfer 429.605 Of Jimmy Smith (Blue Anthology (Rhino) Terence Blanchard - Revisited (Verve) 4286219 Note) 419.507 447.623/397.620 Nat King Cole- Jumpin' Simply Stated (Columbia) Branford Marsalis-The Best Of Sonny Rollins New York Stories - 439.661 At Capitol (Rhino) 421.982 Beautyful Ones Are Not Duke Ellington -Ellington (Blue Note) 419.473 Various Artists (Blue Note) Kathleen Battle & Chet Baker With Strings Yet Born (Columbia) 444.836 (CI Jazz Masterpieces) At Newport (CI Jazz 428.078 Al Jarreau-Heart's Wynton Marsalis- Masterpieces) 354.862 Horizon (Reprise) 376.186 Baroque Duet (Sony 427.906 Rlppingtons- Curves Class.) 439.372 Ahead (GRP) 426.874 Ellis Marsalis-Heart Of Charlie Haden Quartet The Dave Brubeck Gold (Columbia)432.278 West-Hauntec Heart Chick Corea Elektric a Ouartet-Jazz (Verve) 450726 Band -Beneath The Mask Impressions... (CI Jazz The Cole Porter (GRP) 426.866 PAT IIPTHIENY SPA APT srrom Masterpieces) 439.364 Songbook, Vol. 2 (Verve) The Best Of Blue Note 430403 (Blue Note) 433.466 Ella Fitzgerald -The Cole George Howard -Do I Porter Songbook, Vol. 1 Ever Cross Your Mind Dizzy Gillespie -Live At Stanley Jordan -Stolen (Polydor) 426492 (GRP) 438.564 Royal Festival Hall (Enja) Moments (Blue Note) 436.691 433.417 Night And Day John McLaughlin-Que (Polydor) 426.684 Pat Metheny-Secret Alegria (Verve) 438.473 Compact Jazz Joe Sample -Ashes To Story (Geffen) 444.422 (Verve) 434456 Ashes (Warner Bros.) Lee Ritenour Collection Larry Carlton -Kid Gloves Flim And The B.B.'s 414.151 (GRP) 425.876 Diane Schuur-ln Tribute (GRP) 445.569 S'wonderful-Various This Is A Recording Dr. John-Goin' Back To Artists (Verve) 447.599 (Warner Bros.) 438.192 (GRP) 436.097 Yo -Yo Ma/Bobby The Best Of Freddie McFerrin -Hush, 5 New Orleans (Warner Hubbard (Blue Note) "Jelly's Last Jam" The Gentle Side Of John Harper Brothers -You McFernn originals, plus Bros.) 450.718 419.465 Original Cast (Mercury) Coltrane (GRP) 438.135 Can Hide Inside The Music Bach, etc. (Sony Mast.) 447.748 (Verve) 436.022 432.930 Najee-Tokyo Blue (EMI) 405.910 Best Of Miles Davis (Blue 'Blue Vocals, Vol. 2 (Blue Abbey Lincoln -You Note) 435206 Note) 435.917 Gotta Pay The Band Shakatak-Open Your Eyes (Verve) 430413 Dave Grusin -No Borders Al Dimeola-Kiss My Axe (Verve) 432.708 (GRP) 446.724 (Tomato) 435453 Return To Forever - Ahmad Jamal-Pittsburgh Grover Washington, Jr. Romantic Warrior (Atlantic Jazz) 403.279 Patti Austin -Live (GRP) (Columbia) 265.249 445.304 -Next Exit (Columbia) Nancy Wilson -Lady With 435.396 Louis Armstrong - Louis Jordon -No More A Song(Columbia)389492 Joe Henderson -Lush Rhythm Saved The World (Verve) 445.130 (GRP) 432458 Lou Rawls -At Last (Blue Life (Verve) 434.696 Note) 387.589 Benny Carter -Harlem Gerald Albright -Live At Renaissance (Music - The Brecker Brothers - Stan Getz/Kenny Barron George Duke-Snapsho Best Of Dexter Gordon Return Of The Brecker -People Time (Verve) Birdland West (Atlantic) masters Jazz) 430.777 (Warner Bros.) 448.670 (Blue Note) 409.243 440380/394.387 Brothers (GRP) 448.191 434.597/394.593 Earl Klugh Tria, Bobby McFerrin & Chick David Sanborn- Another Stanley Turrentine-More McCoy Tyner - Corea-Play (Blue Note) (Warner Bros.) 430.561 Best Of Preservation Hall Than A Mood Hand (Elektra/Musician) Remembering John (Enja) 434.381 Joe Sample -Collection Jazz Band (CBS 381.863 (Musicmasters Jazz) 437.194 423.103 444.059 Lionel Hampton -Flying (GRP) 4300280 Joe Williams -Ballad And The Dave Grusin Omette Coleman - Home (MCA) 433.946 Kenny Kirkland (GRP) Blues Master (Verve) Collection (GRP) 378.398 Quincy Jones -This Is Change Of The Century 430.264 How I Feel About Jazz The Artistry Of Stan Getz 442.970 Ray Charles & Betty (ATCO) 436.998 Dinah Washington - Carter (DCC Compact (GRP) 444.018 (Verve) 4336706/3936702 Keith Jarrett -Silence Abbey Lincoln -Abbey Compact Jazz (Mercury) Classics) 374.293 Bela Fleck & The Joey DeFrancesco-Re- 429.613 (GRP) 444.034 Sings Billie (Enja) 436.741 Boppin' (Columbia) 433.649 Najee-Just An Illusion Flecktones-Ufo Tufo Gerry Mulligan -Re -Birth (Wamer Bros.) 445809 Bud Powell -Jazz Genius (EMI) 442251 T.S. Monk -Take One Hiroshima -Providence (Verve) 430.744 Of The Cool (GRP) 442.921 (Blue Note) 444.786 (Epic) 443.945 Any 8 CDs foric PLUS A CHANCE TO GET ONEMORE FREE! GRP All -Star Big Band see details below (GRP) 440.503 The Best Of Stanley Wynton Marsalis Septet Turrentine (Blue Note) -Blue Interlude 419.424 (Columbia) 439463 POPULAR HITS Dianne Reeves - John Lucien -Listen I Remember (Blue Note) Sade-Love Deluxe (Epic) Michael Bolton - Love (Mercury) 4260122 449439 4180756 Timeless (The Classics) "The Bodyguard" Orig. (Columbia) 445494 Wynton Marsalis- Sndtrk. (Arista) Intimacy Calling 4480159 Bobby Brown -Bobby (Columbia) 417.675 R.E.M.-Automatic For (MCA) 445403 It's Not About The Melody, the latest re- The People (Warner Bros.) Various Artists -I Like Kenny G --Breathless lease from Betty Carter, showcases her gift Jazz (Columbia) 448.522 417.550 (Arista) 448.142 for giving new life to old standards. Backed Earl Klugh-Midnight In Billy Ray Cyrus -Some Gave All (Mercury) by exciting talents like Mulgrew Miller and San Juan (Warner Bros.) En Vogue -Funky Divas 416.776 441451 Craig Handy, Betty (eastwest) 435.750 Yellowjackets-Greenhouse Eric Clapton-Unplugged proves she's still the (GRP) 416.198 Pearl Jam -Ten (Epic/ Tony Bennett -Perfectly (Reprise/Duck) 446.187 Associated) 428433 "reigning queen Best Of Earl Klugh Frank (Columbia) 445486 (Blue Note) of jazz vocals." 419.655 The Divine Sarah Al Jammu -Heaven And Shirley Horn -Here's To Take 6 -So Much 2 Say Vaughan -The Columbia Earth (Reprise) 439.240 Life (Verve) 439.190 Betty Carter -It's Not (Reprise) 413.310 Years 1949-53 (Columbia) Lee Ritenour-Stolen About The Melody Special EFX-Global (Verve) 3744800940288 Moments (GRP) 406.280 Village (GRP) 4470904 George Benson -Big 4360055 Boss Band (Warner Bros.) Stanley Jordan - Art Porter -Pocket City Holly Cole Trio -Blame It 412478 Standards, Volume 1 (Blue (Verve Forecast) 443.879 On My Youth (Blue Note) Note) 373.282 Bobby McFerrin - Lincoln Center Jan 435.982 Medicine Music (EMI) Lee Ritenour-Portrait Orchestra -Portraits By Tom Scott -Born Again 412.064 (GRP) 363.994 Ellington (Columbia) (GRP)440636 449.181 Esther Phillips -The Best The Dirty Dozen Brass Of Esther Phillips Diane Schuur And The Joey Calderazzo- Band -Open Up Count Basle Orch. (Epic/Associated) 410.712 To Know One (Blue Note) (Columbia) 433.185 (GRP) 361.048 441.758 Bob James -Grand Piano Courtney Pine -Within Canyon (Warner Bros.) Various Artists -The Fourplay (James, Rit- The Realms Of Our 408.906 1940's -The Singers (CI enour, East & Mason) Dreams (Antilles) 420463 Best Of Wayne Shorter Jazz Masterpieces) (Warner Bros.) 428.334 359.596 Best Of The Gerry (Blue Note) 419.515 Mulligan Quartet (Capitol/ Billie Holiday -From The Pacific Jazz) 419.689 Original Decca Masters Larry Carlton -Collection (MCA) 354.985 Kenny Garrett- African (GRP) 407.825 Exchange Student Duke Ellington Orch. & (Atlantic) Harry Connick, Jr.- We Count Basle Orch.-First 413.781 Are In Love (Columbia) Time: The Count Meets Jimmy Scott -All The 406.645 The Duke (CL Jazz Way (Sire) 450.734 Best Of Herbie Hancock Masterpieces) 353.078 Nnenna Freelon (Blue Note) 419.408 Miles Davis -Kind Of Blue (Columbia) 443.978 It's hard to top two platinum andrammy- David Sanborn -Upfront (Columbia Jazz Natalie Cole - (Elektra) Masterpieces) The Rippingtons- winning albums, but Bob James and Earl Klugh 438.994 353.045 Weekend In Monaco (GRP) Unforgettable (Elektra) Glenn Miller Orchestra - 422479 have done it. 10 years of collaboration went into 445.296 In The Digital Mood (GRP) ©1993, The Columbia House Company Cool, and it was worth 347492 the wait. Cool is a Anthology Of Grover The advantages of jazz at Columbia House. Washington, Jr. By choosing any 8 CDs for only a penny (plus breeze of fresh, new (Elektra) 338432 sound and instrumental shipping and handling), you become a member Weather Report -Heavy of the Columbia House Jazz Club. Once you're perfection. Weather enrolled, you agree to buy just 6 more CDs at (Columbia) 273.557 Bob James & Earl Klugh regular Club prices (currently $12.98 to $15.98) David Benoit -Letter To Yellowjackets-Live within the next three years. You may cancel your -Cool (Warner Bros.) Evan (GRP) Wires (GRP) 435.388 439.232 450.288 membership anytime after doing so. (A shipping and handling charge is added to each shipment) Selections with two numbers contain 2 CDs and count as 2 -so write in both numbers. t. Free Music Magazine: As a member we'll keep you current with the best jazz by sending you the COLUMBIA HOUSE, 1400 N. Fruitridge Ave. Columbia House Jazz Magazine about every four P.O. Box 1129, Terre Haute, Indiana 47811-1129 Send these 8 CDs for le weeks (up to 13 times a year). Inside, you'll find de- Write one number in each box. scriptions of Regular Selections plus hundreds of Please accept my membership application under the terms outlined in this alternatives to choose from. We'll also send you 6

advertisement. Send 8 Compact Discs and bill me only 10, plus shipping and Special Mailings. Ina year, you'll enjoy a total of 19 handling. I agree to buy six selections, at regular Club prices, in the next three convenient buying opportunities.

years -and may cancel membership anytime after doing so. Buy Only What You Want: If you choose the My main musical Interest Is (check one): (But I may always choose from any category) Regular or Special Selection, it will automatically be El Jan Soft Rock 171C1essical ITILight SoundsE Rap sent Or, if you prefer an alternate selection -or none G. Washington, Jr, Michael Bolton, V. Horowitz, Neil Diamond, L.L. Cool J. at all -simply mail the Response Card always provid- Pat Metheny Mariah Carey J. P Rampal James Taylor Public Enemy ed by the date specified. You'll always have 10 days

to decide. If not, you may return the Selection at our Country II R&B/Soul E Easy Listening Hard Rock E Dance Pop expense. Travis Tritt. Luther Vandross, Frank Sinatra, Van Halen, C&C Music Factory, Wynonna Judd Boyz II Men Ray Conniff ZZ Top En Vogue Bonus Offer: Join right now and get an additional Cl Mr. CD at the super -low price of only $6.95. That allows

0 Mrs you to take another CD for FREE. That's 10 CDs Age in all. And if you're not satisfied, just return every- Print First Name Initial El Miss Last Name thing within 10 days- with no further obligation. Address Apt. New "Buy More -Pay Less" Bonus Plan: 1-1Extra Bonus Offer: Remain a member after fulfilling your obligation also send one more CD and take advantage of our money -saving Bonus City now, for which I will be billed Plan. It lets you get a single CD for as little as $3.99 only $6.95. (or a single cassette free) for each CD you buy at regular Club price. For selection, convenience and State Zip price, Columbia House is the best place for jazz. Do you have a VCR? (04)El Yes IIIN0 A telephone (01) D Yes CI No So get in the groove. Sign up now. Have you ever bought anything by mail in the past? (27) O Yes No ...and I'm entitled to get How have you paid for your mail order puchase? Check below all that apply: this extra CD FREE! O Cash (28)El Check (30) Credit Card (29)E., Money Order (31) Where the jazz is. Note: we reserve the right to repel any application or cancel any membership. These offers not available in APO. FPO, Alaska. Hawaii. Puerto Rico, vole for delete of alternative oiler. caraesan residents will be sewed Irom Toronto. Applicable sales tax added to at orders 536/S93 (=." 1993. The Columbia House Company BLC-F6-59 1400 North Fruitridgr AvenueTerre Haute. Indiana 47811-1129 White Sound

Dashboards are black. Car radios are black. Boring, ain't it? But there are alternatives. White stereos are readily available-from marine but are alsoweatAerprooted likecrazy- vehicles. And I've seen a handful of suppliers. Marine models (available from just the thing if you sometimes forget to colored car stereos in Japan over the years. Jensen, Kraco, Pioneer, and Standard put your convertible's top up when you Now if only someone besides the high - Communications, and probably from park. Jensen also makes a yellow model, end companies could do something about others as well) are not only a sporty white rugged and weatherproofed for off -road boring black equipment for the home....

be configured. First, the controls that can OS Progress do the most damage should be concealed, Digital signal processing (DSP) to be adjusted only during initial setup. promises to be a wonderful new way of (I've seenaSanyo prototype that works overcoming problems with car acoustics. this way.) People seem reluctant to adjust It's also a powerful means of screwing up controls that are out of immediate reach, the sound beyond belief-if you simply even when those controls need adjusting. play with the controls instead of using However, people are eager to play with them intelligently. any controls that are easy to reach (like One DSP demo at a Consumer the ones on TV remote controls or the Electronics Show proved this, but it dashboard controls of car stereo systems). probably wasn't the product's fault. That's why my Proton TV, with remote Perhaps because it was the first day of control of such picture parameters as the show, the company had left their DSP color, black level, sharpness, and so on, Bass Pacer demo car unmanned, with all and sundry has a "Reset" button that erases any How low does your car's woofer go? free to come in and play with its controls. horrible settings made by overly eager What frequency excites that rattle in the Operating on the "more of anything is fingers and restores everything to factory dashboard, and just what's rattling? You better" principle that makes people set normal. Car DSP units should also have can answer these questions with a equalizer controls into a "U," the dealers reset buttons. And to prevent playful calibrated sine -wave generator or a who preceded me into the car had set the friends from storing rain -barrel effects in generator and a frequency counter. You DSP controls for maximum everything. memory, there should be some simple but can also answer them with your car's CD As a result, when I played my favorite nonobvious code system (such as pressing player (or a portable, if you connect it to Elisabeth Schwarzkopf recording, she two unrelated buttons at once) to protect your system) and the Autosound 2000 101 sounded as if she were singing from the memories from being altered by accident test disc. bottom of a rain barrel back at the rear or from ignorance or malice. Some of the material on the disc may right of the car instead of sounding like Or you could just limit the user's duplicate the material on test discs you a live singer on center stage. The poor options from the outset. That's easiest already own, such as tracks of 1 -kHz tones salesman trying to demonstrate the system when the system is factory -installed, since at fixed and varying levels and tracks of spent several minutes gradually restoring the DSP unit can be preprogrammed to test tones and sweeps. Other tests, such as each parameter and control to normal, match the characteristics of the car it's a series of positive and negative pulses for and he was still at it when I had to leave made for. The first such systems I've seen, checking absolute polarity, and low - for my next press conference. in the Acura Vigor GS and some Ford frequency tone bursts, are less common. The other DSP demos I heard were models, do precisely that. Users can And tracks 10 through 98 are unique: Sine similarly flawed, but it was the old demo choose from any of six digitally simulated waves whose frequencies match their track syndrome: If you're showing something environments at the touch of a button, numbers. Want to see if your woofer can new, exaggerate it until the listeners realize and can turn DSP on and off, but that's go down to 30 Hz? Set normal levels, then they're hearing something. I still think that all. This makes for simpler driving but play track 30 and find out. Want to DSP can actually improve car sound, if it's could beaproblem if you disagree with pinpoint a resonance? Play a series of done right (i.e., to my taste). But, like the factory settings. tracks, and note which track excites most audio processing, DSP should be In any case, be prepared for a DSP the resonance in question. used in such moderation that you're not deluge soon. Prices of DSP chips are This disc is not only neat, it's cheap: $25 consciously aware when it's on but miss it coming down, and low -voltage versions (plus $2.50 shipping) from Autosound when it's off. (which cost less to incorporate in car 2000 (2563 Eric La., Suite D, Burlington, The debacle of the initial demo gave me stereos) are available from such companies N.C. 27215). some ideas about how DSP units should as Analog Devices. AUDIO/APRIL 1993 19 well as by a move to larger picture CURRENTS tubes. At its most upscale, current JOHN EARGLE TV transmission can be viewed over new sets with a wide-screen aspect ratio of 9:16, rather than the stan- dard 3:4 ratio. The new wide-screen ROOM REMOVER sets offer the user several viewing options, including monitoring two or more stations at once, cropping standard transmissions tofitthe wide aspect ratio, and of course di- rect viewing of "letterbox" wide- screen prerecorded video programs. All of this is, of course, intended to bring the home video experience a little closer to that in an actual motion picture theater by adding the new shape to Dolby Stereo sound- tracks now encoded in VHS and LaserDisc source material. At its very best, home theater can be a good show indeed. All it takes is a data -grade projector with line dou- bler, a surround decoder, and a La- serDisc player. This, plus some of the dedicated loudspeaker systems designed for video applications, will produce excellent NTSC-based vid- eo. Of course, you do not need to go The Sigtech DSP ith the domestic econo- Compact Cassette has taken a com-to this extent for an exciting video unit can make my clearly on the mend, manding position in the market.experience. One requisite, however, many of the dealers and manufactur- Product launches for both mediais a reasonable picture size, but be- acoustical ers alike were far more were beset by late deliveries, incom- yond that there are a number of problems in a upbeat this January in plete lines, flawed performance, andmini -loudspeaker systems, acting as room disappear. Las Vegas than at recent high costs to the consumer. They satellites with a common subwoofer, Consumer Electronics Shows. But may both be in for hard times, and it that will provide a remarkably good the signals are mixed. At home, per- will certainly take a couple of years illusion of surround sound without

sonal income is up, and the industry before a clear winner emerges. taking up an undue amount of had very encouraging holiday sales. Video and the automotive after - space. market continue to dominate con- In pure audio terms, the technical sumer entertainment electronics,high point of the Show was the use THE TECHNICAL HIGH with both areas posting major gainsof digital signal processing, or DSP, POINT OF THE SHOW in pre -holiday sales last Novemberto cancel out certain room effects in and December compared to the yearstereo listening environments. Work WAS A NEW USE FOR before. According to the Elearonichas been going on in this area for DIGITAL SIGNAL Industries Association, the car stereo some time, but recent developments PROCESSING. aftermarket increased nearly 38%have made it possible to do an excel- last November over the same monthlent job at reasonable cost. SigTech, in 1991, once again underscoring theof Cambridge, Mass., was clearly at On the other hand, the jobless rate is fact that most people in the Unitedthe forefront of what I saw at the climbing, and overseas markets, States still have their biggest audio -show, so I will make their demon- which had been a bright spot for only investment in their cars, withstration the basis for our discussion. many export -minded companies, their home systems centering Assume that you have spent are down. Cautious optimism best around video. heavily for loudspeakers and associ- describes the general feeling. In video, the growth has been ledated equipment and that your listen- Neither MiniDisc nor Digital by stereo sets and stereo VCRs asing room, while not an acoustical AUDIO/APRIL 1993 20 GCD-600 CD Carousel

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t has been, perhaps, Adcom's toughest act to GFP-565 preamplifier - more clearly define follow. The GCD-575 CD Player achieved low-level information for superior resolution and breakthroughs in musicality unsurpassed by dramatically more musical CD reproduction.You will CD players at almost any price. Stereophile not find such superb component parts in any other 1writes, "...in the under $1000 class the Adcom CD player at any price. is the player to beat - or, more to the point, the play- The cure for "digititis". er to buy."* Stereo Review credits the GCD-575 with "in general pushing the state of the art in The GCD-600's technically advanced analog and digital -disc playback."** digital circuits and the user -selectable polarity inver- So when the engineers at Adcom went back to the sion switch are designed to overcome the problems drawing board to try to top their latest success, they inherent in CD sound. Midrange harshness and glare were hard-pressed to find areas for improvement. are dramatically reduced. Sound stage imaging is The electronics and sound reproduction were already deeper, more focused, more musically natural. near perfect. And then,Voila! The idea: add a The benefits of digital sound are realized, without the carousel changer. accompanying drawbacks. Round and round she goes. Take the GCD-600 for a spin. One disc, superbly reproduced, was a magnificent If you've been searching for a CD player that accomplishment...but five discs mean five times the offers the convenience of a carousel changer and the enjoyment. In typical user-friendly fashion, the sonic superiority of high -end single -disc models, take Adcom GCD-600 lets you change four discs while the GCD-600 for a spin at your authorized Adcom one is playing, offers true random capability for one dealer. You won't have to go round and round to disc or all five, allows direct clockwise or counter- decide which CD changer gives you the most sound clockwise access for faster searches, and plays 3" for your money. discs without an adapter. The standard remote control gives you complete access to all playback features- *Peter W. Mitchell, Stereophile, Vol. 12 No. 6, June 1989 including variable volume control-from the comfort ** Stereo Review, 1989 of your favorite chair. Class "A" without compromise. The GCD-600's Class "A" analog audio amplifier section uses very fast, low noise, linear gain semi- conductors. These no -compromise audio circuits - A details you can hear based on the proprietary amps used in Adcom's

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Enter No1 on Reader Service Card nightmare, falls short of an ideal monitor- want to change it at all. Fortunately for 600 Hz) and the loudspeakers had been ' ing environment. One approach here is toyou, DSP can now provide another solu- placed asymmetrically in the space. A single fine tune your room through judicious tion for about $5,000, which is considera- seat was located at the sweet spot and an application of sound absorption and diffu- bly less than a remake of the room itself A/B switch allowed an immediate compari- sion, and there is certainly no lack of quali- would cost. son of the straight -through signal and the fied consultants to show you how. If, in The SigTech demo was held in one of the corrected signal. fact, your aim is to make your listeningtypical rooms at the Sahara Hotel's Bi-level Earlier, SigTech had placed a micro- room into a professional reviewing roomcomplex. The space was about two-thirds phone at the listener's head location and for audio programs, this is really the onlyto one-half the size of the average living measured the complex transmission func- way to go. room, and most of the larger pieces of fur- tion from each loudspeaker to that zone, On the other hand, if your listeningniture had been removed in normal show including influences of direct and reflected room is well appointed and is intended to fashion. The room had noticeable standing paths. This information was stored and also be a major living space, you may notwaves in the lower midrange (below about used to construct a digital filter that pro- vided corrected signals that could be ap- plied to the loudspeakers. When this was auditioned, the listener heard many of the room's acoustical problems substantially disappear. SigTech had documented all of this and presented graphs showing the "before" and "after" net result of the filtering. Other graphs showed the effect of the filter over short time intervals, pointing out clearly that the correction varies from instant to instant-just as the room reflections them- selves do. In general, most of the correction was done below about 1,000 Hz, with broadband smoothing employed at higher frequencies. I had brought along a copy of Engineer's Choice (Delos DE 3506), the content of which I know very well, and I can attest Sennheiser headphones that the before -after differences were sig- uncover the secrets hiding in nificant. (Editor's Note: John, you are too your favorite music. They modest about being the "engineer" on this accurately recreate all of the compilation of superb recordings!-E.P.) With the filtering bypassed, stereo imaging music's subtlety and power. was about as I had expected it would be: Great recordings sound Somewhat indistinct, due to the random even better. peaks and dips in each channel. With the A wide range of models filtering engaged, imaging improved im- offer new levels of realism mediately because each channel's response and comfort to enhance your had been made much flatter. This was listening. Whatever your particularly clear on piano music, where musical preference, there is the spectrum is especially prominent in the a Sennheiser headphone midrange. perfect for your style. In normal application, the SigTech unit You've only got one set of will store three settings, allowing the user ears. Go ahead, spoil them. some flexibility in seating, or in subtleties of room treatment. The actual setup of the unit in one's home is not done by the user but by a qualified dealer who performs all SENNHEISEFel measurements and enters the proper filter 6 VISTA DRIVE, P.O. coefficients into memory. IN CANADA: 221 LABROSSE AVE, PTE -CLAIRE, PQ H9R 1A3 I am convinced that we are about to see a

big burst of activity in this area. A Enter No. 26 on Reader Service Card AUDIO/APRIL 1993 22 PURE PERFORMANCE

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ACCD, full -function remote control, and for maxi- The world's most powerful high fidelity amplifier Carver's TFM-75 Simultaneous High Current/High Voltage, Dual Mono, Reference mum flexibility -a bundle of video inputs and out- Magnetic Field Amplifier. With 750 watts per channel into 8 ohms, 1000 watts into 4 ohms, and - hold on tight -1300 watts into 2 ohms. puts. Or the Carver ultra -thin C-5 preamp, with There's a lot more in Carver's new line of separates Powerful and flexible Sonic Holography® and multi -room capability. components for any imaginable audio or home theater syitem. And no matter which Carver preamplification component you select, you'll get the prime bene- fit of separates: an individual component handling the signal path, for sound that's pristine, pure and accurate. CARVER There's more, more, more. Get our FREE Powerful Musica, Accurate full -line audio catalog. Or visit your Carver dealer PO.Box 1237 Lynnwood, WA 98046 (206) 775-1202 Distributed in Canada by Evolution Audio, Oakville, Ontario (416) 847-8888 for a personal indulgence. ©1992 CARVER CORP. Enter No. 10 on Reacer Service Card ntlinion olawn tereo in the movies has some fundamental differences from according to the location of the listener. Thus, if one is stereo at home. While home stereo relies mainly on two sitting off the centerline to the left, sound images that channels, as any surround sound aficionado knows, films should appear in the center usually appear to the left, even recorded in Dolby Stereo (and Ultra Stereo) have left, cen- all the way to the left loudspeaker. It is interesting that home ter, and right front channels and a surround channel. These stereo has long required the listener to sit on the central axis four channels are encoded onto the two tracks of videotapes of a pair of speakers to get a solid center image, and that this and videodiscs, from which they are extracted by surround problem has only recently been ameliorated with such decoders in home playback1 I. These added channels have developments as the original dbx SoundField speakers de- some rather obvious, and some other not so obvious, veloped by Mark Davis. Still, most people, most of the time, benefits. do not spend their home stereo listening time precisely on The development of film stereo in the United States grew the centerline with their heads precisely fixed, so image out of work conducted at Bell Labs in the 1930s. There, it shifts in home reproduction are extremely common. quickly became clear that there were problems with two - Film sound solved this problem early on: Even when film channel stereo for presentation to audience members sitting sound grew from a single, center loudspeaker to a number at many different angles from the sound system. The main of front speakers, there has always been a separate electrical problem is, of course, that center -channel information, center channel and associated loudspeaker to anchor the when delivered by means of two equally driven loudspeak- center image. With an actual loudspeaker position at the ers forming a phantom image, appears to shift left or right center of the screen, it is easy to get the whole audience to

AUDIO/APRIL 1993 26 perceive the sound as coming from the center. Just feed the nately added to the mix by way of either a phantom or a electrical signal to only that loudspeaker and everyone will hard image. To make the comparison free from artifacts, the hear the mono component of the stereo sound field proper- subjects were instructed to sit precisely on the centerline ly reproduced in the center. and not move their heads. Beyond the simple localization issue, there lies an inter- esting story. The nature of "phantom" center images (made between two loudspeakers by feeding some proportion of Tomlinson Holman is associate professor at the University signal to each of them) and "hard" ones (coming from a of Southern California School of Cinema -Television and cor- single loudspeaker) is different in other ways. In an experi- porate technical director at LucasArts Entertainment, where he ment I conducted at Lucasfilm, three front -channel loud- works in such technical areas as the THX program, whose speakers (left, center, and right) were very carefully aligned initials may stand for Tomlinson Holman's eXperiment. He co- for equal loudness, frequency response, and directivity. founded Apt Corporation, which made the Apt/Holman pream- (This is a complicated process: See "How Lucasfilm Matches plifier, and was chief electricat engineer at Advent Corp. Hol- Channels:') Then, an A/B comparison was made between a man was twice a Governor and is now a Fellow of the AES. He is phantom image formed from left and right loudspeakers, also a Fellow of the Society of Motion Picture and Television En- and the hard image from an actual center loudspeaker. gineers, which presented him with the Samuel Warner medal in While a stereo left -right "bed" of program material provid- 1987 for progress in film sound. He holds three U.S. patents and ed a "space" for this experiment, center dialog was alter- has won two Hi-Fi Grand Prix awards for product designs.

AUDIO/APRIL 1993 27 changes in just those factors that we've held constant here. One impression that I had was that understanding dialog ment, a dummy mannequin seemed to take less work. Although I could understand called KEMAR (Knowles dialog just about as well with either system, it just seemed to Electronics Mannequin for be easier in the hard -imaged system. If the dialog is ofpoor Acoustic Research) was used. quality to start with-reverberant, distorted, or poorly This mannequin faithfully articulated-it may be far harder to understand on a models the head and torso, phantom -channel system than one with a center speaker. outer ears, and ear canals, Perhaps this is a factor in the film sound community's with a precision microphone insistence on having a hard center channel. at each ear -drum position. Getting the loudness and timbre to match demonstrates Identical signals were fed in another issue affecting the choice of two- or three -channel turn to each of the three front systems. In the phantom center system, as sound is How speakers, and the level and panned electrically from one loudspeaker to the other, humans perceive a timbre shift due to a frequencyresponse Lucasfilm equalization were adjusted for equality across the channels change in the center of the sound field. The reason for this Matches Channels by using a multiplex switch to shift is shown in Fig.1: A sound from the right speaker alternately feed the signals reaches the left ear later than an identical sound emitted To match the level andfrom each "ear" into an ana- simultaneously from the left speaker, due to the right -chan- equalization of the threelyzer that measured level ver- nel signal's longer path around the listener's head. This time channels in use for the experi-sus frequency. difference will cause dips to occur at frequencies where the two sounds arise out of phase. Complete cancellation does not occur, because the diffraction of sound around the head varies with the angle of arrival, but a noticeable 2 -kHz dip and smaller dips at higher frequencies do occur. Asone The first impression one had of the phantom center- might expect from basic acoustics, sounds arriving from image system was remarkable positional definition. For different directions produce different responses at theear- example, "S" sounds from vocalists did not splatter to the drum due to the interaction of the head and outer ears with sides and reveal the speaker placement, a typical problem in stereo systems. This probably occurred due to the care with which the channels had been matched, as was needed to make the experiment valid. Thus, it is true that witha very well -matched pair of speakers in a symmetrical space, the center image is robust when the observer sits on the centerline and does not move his head. This indicated to me that the efforts made by Snell, KEF, and others to carefully match pairs of speakers for two -channel stereo arevery worthwhile, despite the expense that such matching adds. It also means that symmetrical placement of loudspeakers and listeners with respect to the room boundaries is also worth- while in the home, since this helps match channels at the listener's ear. The remarkable thing to do is to switch from "phantom center mono" to an actual center loudspeaker. With all other factors that usually obscure differences removed Fig. l-Identical sounds coming (loudness, frequency response, directivity), simply stated, simultaneously from the left and right the center -channel loudspeaker sounds "clearer" than the speakers will reach the left ear at different phantom image. This is hard to describe because most of times. (The same process occurs at the right our judgments in comparisons of reproduction are based on ear, of course.)

AUDIO/APRIL 1993 28 in diameter, in a sound field disturbs the field enough to cause differences of up to 4 dB in frequency response below 20 kHz [4].) Timbre phenomena (which are mostly due to frequency response shifts in this experiment) and localization phe- nomena should not be confused, but it is easy for humans to misperceive differences in these areas. Localization process- es are among the fastest in the brain, with a just noticeable difference of under 10 p.S! But it takes the ear 2 mS to per- ceive changes of timbre -200 times as long as it takes for localization. This means that the sounds by which we determine timbre occupy a much larger time window than those we use to determine localization. Since this larger win- dow may include reflections or other sources, the operating - time difference of the two mechanisms can throw off our ability to judge both localization and timbre for the same source. Fig. 2-The most commonly recommended Another issue is loudspeaker placement. Music producers setup for two -channel stereo listening is with and expert home users usually employ a subtended angle the speakers 60° apart from the listener's between left and right loudspeakers of 60° for the principal viewpoint. listening location (Fig. 2). Film sound adds another major requirement though: The picture must correspond with the the sound field; after all, the head is a rather large object, sound. Itis silly for us to see Indiana Jones enter the acoustically. At least part of the clarity difference heard in darkened cave near the beginning of Raiders of the Lost Ark my experiment is probably due to this. on the left side of the screen but hear his footsteps from Since doing this work, I learned from George Augsburger,many feet and many degrees away, localizing to the left - a recording -studio acoustical consultant, that this problem channel loudspeaker. Such breaking of the picture image is often perceived in very well -aligned stereo music stu- from the sound image causes a conscious or subconscious dios-one can hear a timbral shift as sound is panned, with discontinuity-it just isn't real. There is nothing wrong with a notch centered around 2 kHz and smaller aberrations at60° for home stereo except that video pictures can't yet higher frequencies appearing in the center of the soundstand the kind of blow-up required to produce an image field. (The response difference from phantom images wasthat wide. Even with film projection of high quality, we use first published by Gunther Theile, but this did not come toa 50° angle for left to right side, with the loudspeakers just my attention until well after the work reported here wasinside the picture image, putting the left and right loud- done [2]. Thus, when a producer places instruments andspeakers about 45° apart. vocalists in the center of the stereo field, their apparent fre- The best reason for higher definition TV that I know is quency response will be different than if they are positioned that it permits bigger pictures. Since the acuity of the hu- left or right. (This is why, in pop music recording, sources man eye is well known, it is necessary to transmit only a are usually panned into position first, and then equalized.) certain amount of information to yield enough sharpness to The hard -center system greatly reduces the response shift, satisfy the eye. What HDTV allows is bigger, more engaging since the center is an actual loudspeaker that does not suffer pictures for definition equal to "perfect" with a correspond- from this problem. ingly wide stereo image. (We would have to sit further away There is evidence that our hearing sums both ears' inputs from an NTSC picture to get the same apparent sharpness.) to determine timbre [3]. However, a shift is to be expected So HDTV isn't about sharpness, it's about size, and one of when one is dealing with a phantom image composed of leftthe greatest benefits of big, wide-screen television is better and right sources, instead of an actual source at the same matched sound and picture imaging. location as the phantom, simply due to the gross change Another factor in the use of a center channel has to do that the head causes when placed in an acoustic field. (Even with film program material. Probably the most important placing a small precision measurement microphone,' inch story -telling element of a soundtrack is its dialog. When ste-

AUDIO/APRIL 1993 29 Setting Up The Center A variety of speaker configurations can be picture. Using identical left, right, and center Aused to reproduce left, center, and right speakers is even more strongly recommend- information. The surround decoder settings ed in systems with subwoofers than insys- used depend on the configuration chosen. METHOD 2 tems without them to ensure best imaging (For example, for systems with no center and front -stage continuity. speaker, the decoder's "Phantom" postion Most surround decoders have separate should be used.) The following recommen- subwoofer outputs. If that output is a sum of dations apply only to Dolby Pro -Logic de- all three decoded front channels, or of the coders, however, as settings for other decod- left and right stereo signals that are fed into er types are not standardized; non -logic the decoder, the Dolby Pro -Logic decoder Dolby Surround decoders typically lack cen- should be set to its "Wide" mode. ter outputs, and therefore have no center - If the subwoofer output is a sum of the left mode settings. J and right decoder outputs only (Fig. B3), the First, let's look at systems that do not use bass redirected decoder should probably be set to its "Nor- separate subwoofers. If three matched, full - Fig. B2-Matched left and right mal" mode. However, there is no standard in range front speaker systems are used (Fig. speakers with smaller center speaker; this area, so it pays to consult your decoder's B1), the Dolby Pro -Logic decoder should be instruction manual and to listen to see set to "Wide" (also called "Full," "Fullband," note that bass is redirected from the center to the sides. whether the "Wide" or "Normal" setting "Wideband," or "Large Center," by different works best in your setup. For your listening manufacturers.) When a smaller speaker isaffected by the driver configuration. If thetests, use sounds rich in bass that pan from used at the center, the decoder should be setcenter speaker's directivity does not matchleft or right to center; the setting that yields to "Normal" (also called "Bass Split" orthat of the side speakers, the ratio of direct tothe least change in timbre as the sound pans "Small Center"). This redirects the centerreverberant sound will change as a sound isis the correct one. panned from side to side, causing centered sounds to seem recessed. If subwoofers are included in the system, they can be placed wherever they look and METHOD 4 sound best, as long as the crossover frequen- cy and slopes are well chosen. The steeper the slope, and the lower the subwoofer's upper cutoff, the more freedom you have in placing the subwoofer while still achieving a seamless blend between its sound and that of the other speakers. Regardless of the subwoofer posi- tion, the smaller left, center, and right speak- Fig. BI-Matched left, center, and ers provide the imaging associated with the right speakers. from left try and right outputs _b., hannel's low -frequency content to the full - range left and right speakers, which can METHOD 3 properly reproduce it (Fig. B2). This setup is Fig. B4-Left, right, and center frequently used because small speakers are speakers used with subwoofer fed easier to fit above or below a video screen, from undecoded left and right stereo and they're usually less expensive. However, signals. the results will not equal those from systems If the decoder has no subwoofer output, with three matched speakers. In the middle feed your woofer the undecoded left and and upper frequencies, where all three speak- right signals, and set the decoder to "Nor- trs operate together, the center speakers mal" (Fig. B4). By redirecting bass informa- hould have not only the same amplitude tion from the center channel to left and = and phase response as the left and right from subwoofer right, this setting ensures that sound panned speakersspeakers do but the same directivity as well. output from one side to the center does not lose bass binet size affects directivity, though. This due to the subwoofer's lack of a center- not so much a problem in the vertical channel input. Use a crossover with both left Fig. B3-Left, right, and center lane (which is affected by cabinet height) as and right line- or speaker -level inputs; many speakers used with subwoofer fed in the horizontal plane (affected by cabinet subwoofers have such summing crossovers width); directivity in both planesisalso from decoder's subwoofer output. built in. reo first came into the movies, dialog was routinely panned above about 80 Hz; this will allow panned program material across the front loudspeakers to indicate the position of the to have invariant timbre as it moves across the front stereo talker. With the revival of stereo movies brought about by stage. (Timbre should be maintained well enough to elimi- Dolby Stereo in the '70s though, it has become much more nate the 2 -kHz notch that appears in the center of a phan- common to pan dialog only infrequently. A valid question tom image stereo field since this notch does not occur in is: "Is this a ploy on the part of producers to make the prod- nature from real images. Timbre variance for different uct cheaper, or is there a psychoacoustic background behind directions of arrival at the head, due to interactions with the it?" Stereo in 1950s' movies had a noticeable problem. As head and outer ears, still occurs and helps to localize sound. Joan Allen of Dolby points out, because loudspeakers were According to Theile's Association Model theory, the effect more poorly matched than they usually are today, an actor of response differences caused by the direction of arrival is could enter one side of the scene a tenor and exit the other a subtracted out in the "location determining stage" of the bass, due to timbral shifts caused by the differing frequency auditory system before the "recognition of Gestalt" [rough- responses of the loudspeaker systems. However, even after ly, the timbre of the source] occurs [2].) better speaker matching became routine and eliminated this Second, the power available for the center channel should problem, panned dialog did not regain its popularity. match left and right because it is equally as likely to have What is wrong with panned dialog? Several psychological high power requirements as the left and right do. And factors seem to come into play. Although our vision has finally, the center channel should have wide and even become adapted to seeing picture discontinuities (cuts) horizontal coverage to present the same experience to all through experience with film and television viewing, our listeners in the room. (See "Setting Up The Center.") hearing is not so trained. Picture editing is truly an art form, A hard center channel with an actual loudspeaker pro- expressing "film grammar" perhaps better than any other vides much better -centered imaging as one moves around element of filmmaking. By grammar I mean that we carry the room, greater clarity of center -channel information and around in our heads a set of rules for where we are from the less timbral shift as sound is panned, and greater ease in dis- camera's point of view and what the meaning of a cut from tinguishing dialog. Three channels are much better than wide shot to close-up is. But sound editing of perspective two, and an old axiom of the industry that a center channel shifts seems more discontinuous-breaks from reality rath- is essential is as true in 1993 as it was in 1931. The coming of er than smooth transitions of it. One reason for this maylie CDs encoded with Dolby Sul -Found (which started with in the construction of the brain. The part of the brain re- movie music on BMG and has expanded to other titles and sponsible for speech perception is well separated from the companies), along with the thousands of LaserDisc and part that processes other sounds, such as music and noise. videocassette titles recorded with Dolby Surround, means Could it be that the added task of detecting directional that there is plenty of software around that can show the changes in speech, and perceiving the speech at the same advantage of having a real center channel. The improve- time, complicates the process by occupying more of the ment in reproduction quality from having a hard center far brain and causes greater difficulty in comprehension? outweighs the additional cost and space requirements of Dialog is routinely panned to the center, with the excep- adding the needed amplifier and loudspeaker. A tion of lines that are supposed to be off screen or ones where the actor is at the extreme left or right of the picture and the REFERENCES line is heard in isolation from others. But a common miscon- 1. Holman, Tomlinson, "Surround Sound Systems Used ception is that the center channel is devoted to the dialog with Pictures in Cinemas and Homes," in The Sound of only. This is simply not so: During film post production, Audio, Proceedings of the AES 8th International Conference mixers consider the center to be exactly the equal of left and (Washington, D.C., 1990, May 3-6). right, with sound effects and music as likely to occur there as 2. Thiele, Gunther, "Lokalisation im Uberlagerten Schall- elsewhere. Music mixing for film always involves a minimum feld," dissertation at Berlin University, 1980. of three mixdown channels-left, center, and right. 3. Hartmann, William, M., "Listening to Sound in Rooms," Considering how all of the preceding should affect the paper presented at meeting of Acoustical Society of design of home systems for surround sound leads to three America, May, 1988. important conclusions. First, the center -channel loudspeak- 4. Brfiel & Kjaer, Condenser Microphones and Microphone er should match the left and right ones in directivityand in Preamplifiers for acoustic measurements, rev. ed., Bruel & both amplitude and phase response, at least for frequencies Kjaer, 1982.

AUDIO/APRIL 1993 31 or quite a long time I have vibrates most and the ends not at all. Though the wanted to try a subwoofer in string itself is vibrating, the pattern (the locations my audio system at home be- of the string's maximum and minimum vibration cause I like listening to large or- points) is stationary. This is a standing wave. chestras and pipe organs. A long The frequency at which the whole length of the organ pipe can put out large string vibrates is called its fundamental and is the amounts of energy at very low fre- string's lowest natural frequency. But the string quencies, and CDs can carry high-lev- will also vibrate at frequencies that are integral el signals at frequencies as low as 10 Hz multiples of that fundamental frequency called (Table I). I wanted to hear some of that harmonics. bass energy in my listening room! Frequency and wavelength are inversely related. In selecting a subwoofer though, it's When one is large, the other is small, and vice important to know that each room has its versa. So the harmonics, being higher in frequen- own signature frequency response and low - cy, have shorter wavelengths than the fundamen- frequency cutoff. At the frequencies that sub- tal. For example, the wavelength of a second woofers handle, the room's response can strongly harmonic is just half the length of the original. dominate that of the loudspeaker [1 J. We need to Rooms, too, have resonances. But while the res- select the most appropriate subwoofer in terms of onances of guitar strings are usually excited by the its low -frequency response. The loudspeaker and guitarist's fingers, room resonances are excited by TAKINGUP findingroommodes RESONANCE on your computer

JOHN F. room act together as a resonant system-both af- sounds of similar frequencies. Instead of vibrating fect what we hear. between the endpoints of a string, the sound ener- SEHRING Many resonant effects can be easily visualized gy in a room bounces back and forth between rig- by watching a vibrating guitar string. If you pluck id wall surfaces. And sounds at the room's reso- that string,itwill vibrate atits own natural nant frequencies also set up standing waves, with (resonant) frequency, which depends, among oth- points of high and low sound pressure. er things, on its length. As the energy in the string Because of this, perception of bass frequencies bounces back and forth against its fixed ends, a in small, regularly shaped rooms can be highly pattern is set up due to resonance. If you look variable and depends on where you are relative to closely, you can see that the center of the string standing waves generated by resonances. The room's response can be strongly imposedon a John F. Sehring has been working as a technical loudspeaker's output. That's why moving either consultant for 20 years, chiefly in the computer the listener or the loudspeaker just a few feet can simulation of such diverse processes as molding sometimes make a considerable difference in bass plastics and predicting the earthquake resistance loudness. of nuclear plants. The lowest (fundamental) resonance of a room occurs at the frequency whose wavelength is equal AUDIO/APRIL 1993 32 PHOTOGRAPH: MICHAEL GROEN to twice the room's length. (The factor of two is could be most efficiently coupled to and excite the involved because we can have a half -wavelength lower frequency. standing wave.) A subwoofer whose frequency response rolled The room's The lowest resonant frequency of a room can off below 29 Hz would be adequate to excite the be obtained by dividing the speed of sound by lowest frequency in this room. There are, oflength determines twice the room's length. Taking the speed of course, other important subwoofer parameters to sound as 1,141 feet per second (it actually varies consider besides frequency response. the lowest slightly with the temperature, altitude, and hu- midity), we get a figure of 29 Hz for a room 20 RESONANT MODES frequency feet long. This is the lowest frequency at which we Since a rectangular room has three principal can generate loudness with reasonable efficiency in a dimensions (length, width, and height), it will at which room this size. The only way to lower it would be have three different fundamental resonant fre- to increase the room's length. quencies, as well as harmonics of higher frequen- a subwoofer can Below this frequency, we can't establish even a cies (which have shorter wavelengths). Energy can half wavelength in the room, so a standing wave bounce off all surfaces and in all directions in awork efficiently. can't exist. As a result, there won't be a point of room, setting up numerous combinations of reso- maximum acoustic pressure where a loudspeaker nances (fundamental and harmonics)related to AUDIO/APRIL 1993 33 the room's geometry. These combinationsare they form a continuum. We will be lookingat called modes. only the low -frequency modes here. The strength of each mode is different and the Any resonant mode of a room may be calculat- entire collection of modes defines a room's fre- ed from the formula: quency response. Different standing -wave pat- If all we really terns of sound energy can be set up in a room de- F = (-2-) XV(i/L)'+ (j/WY +(k/H)z pending on which modes are excited. cared about was At low (base) frequencies, the modes aregener- where F is the frequency of the mode in hertz, C is ally separate and distinct. At high frequencies, the speed of sound in air, and L, W, and Hare the resonance, we'd they are so numerous and bunched together that room's length, width, and height in feet. put our speakers TABLE I-Compact Discs with audible components below 32 Hz.(Louis D. Fielder and Eric M. in the center Benjamin, "Subwoofer Performance for Accurate Reproduction of Music,"Journal of the Audio Engi- neering Society, June 1988.) of the room. FREQUENCY, Hz COMPOSER/ RECORDCATALOG FOR 120 dBFOR 110 dBARTIST SELECTIONLABEL NUMBER 10 12.5 Tchaikovsky 1812 OvertureTelarc CD -80041 16.5 16.5 Dupre Symphony in Telarc CD -80136 G Minor 15 17.5 Grofe Grand Telarc CD -80086 Canyon Suite 18 18 Hindemith Organ Sonata Argo 417159-2 No. 1 18.5 18.5 Jongen Symphonie Telarc CD -80096 Concertante 12.5 22 Flim & The BBsBig Notes dmp CD -454 16.5 22 Strauss Also sprach Telarc CD -80106 Zarathustra 22 22 Bach Kyrie, Gott Telarc CD -80097 heiliger Geist 24 24 Saint-Saens Symphony Telarc CD -80051 No. 3 25 25 Williams "Star Wars" Telarc CD -80094 Theme 19 25 Bach Toccata and Telarc CD -80088 Fugue in D Minor 29 29 Billy Cobham Warning GRP GRD-9528 29 29 Various Movie Windham WD1039 soundtrack, Hill "Country"

TABLE II-Room modes for a room 20 feet long, 11 feet wide, and 8 feet high, The variables i, j, and k require a bitmore ex- as calculated by the program in Table III. planation. Together, they form a three-part "mode number" that defines a mode's relation- MODE (L,W,H) FREQ (Hz) MODE (L,W,H) FREQ (Hz) 0 0 0 ship to the dimensions of the room; i is associated 0 0 0 1 71 0 0 2 143 0 1 0 52 with the length, j with the width, and k with the 0 1 1 88 0 1 2 152 height. These numbers take on only integer values 0 2 0 104 0 2 1 126 such as 0, 1, 2, 3, etc. For example, the lowest 0 2 2 177 1 0 0 29 room mode would be1, 0, 0, representing the 1 0 1 77 1 0 2 146 fundamental of the length -related resonance, with 1 1 0 59 1 1 1 93 no contribution from the width and height; the 1 1 2 155 1 2 0 108 1 2 1 0, 2, 1 mode would represent the second harmon- 129 1 2 2 179 2 0 0 ic of the width -related resonance mode and the 57 2 0 1 91 2 0 2 154 2 1 0 77 fundamental of the floor -to -ceiling resonance. 2 1 1 105 2 1 2 162 The mode numbers i, j, and k each take on inte- 2 2 0 118 2 2 1 138 ger values, 0, 1, 2, 3, etc., and are associated with 2 2 2 186 the resonant modes of the length, width, and AUDIO/APRIL 1993 34 height, respectively, of the room [2]. Table U is a computer printout of the lower modes of my lis- TABLE III-ThisBASIC -language program computes tening room. From it, you can derive the follow- the whole -number frequency of the lower room modes, ing examples: from 0,0,0 to 2,2,2, and shows them on the screen and, 1. My listening room measures 20 X 11 X 8 if desired, the printer. Table II was generated by this feet. The lowest room mode, at 29 Hz, isi = 1, program. Most personal computers come with some j = 0 and k = 0 (abbreviated 1, 0, 0). Since j, which form of BASIC interpreter or compiler, such as corresponds to the width, is zero, and k, which BASICA, GWBASIC, QuickBASIC, QBASIC, Turbo - corresponds to the height, is zero, those dimen- BASIC, Applesoft BASIC, etc. sions do not contribute to this mode. You can type and enter the program in the BASIC 2.The next lowest frequency mode, 0, 1, 0, environment. An easier way is to use a word process- involves only the fundamental frequency associat- ing program (which makes typing and editing easier) ed with width (j = 1), which is 52 Hz. that can save files in ASCII text format for later 3. The next two modes are 2, 0, 0 at 57 Hz and BASIC use. 1, 1, 0 at 59 Hz and involve the second harmonic When entering the program, do so exactly as it is of length and the fundamental of both length and shown here and save the file under the name width, respectively. They are close to mode 0, 1, 0 ROOMODE.BAS. in frequency and might combine with it to some extent. 1 REM: PROGRAM COMPUTES FREQUENCIES OF NORMAL ROOM MODES COMPUTER PROGRAM 10CLS The above formula is tedious when evaluating 20 PRINT "INPUT ROOM LENGTH, WIDTH, many modes, so I wrote a short computer pro- AND HEIGHT (IN DECIMAL FEET), gram (Table III) that calculates modes in any reg- SEPARATED BY COMMAS:" Calculating room ularly shaped room. 30 INPUT L, W, H It is desirable to have a large number of closely 40 PRINT modes can be spaced (but not identical) resonances in a room, 50 PRINT "MODE (L,W,H)"; TAB(15); "FREQ(HZ)"; TAB(41); "MODE (L,W,H)"; tedious, so here rather than appear as individual resonances. It is TAB(55); "FREQ(HZ)" the lower modes that are responsible for convey- 60 FOR I = 0 TO 2 is a computer ing most of the low -frequency energy in a room. 70 FOR J = 0 TO 2 80 FORK = 0TO 2 program to figure OPTIMIZING 90 FREQ = 571 * SQR((I/L) A 2 + (JNV) LOUDSPEAKER LOCATIONS A2 + (K/H)A2) it out for you. The best place to excite the largest number of 95 FREQ = INT (FREQ +0.5) modes is from the corners of a room. This is the 100 PRINT I;J; K, FREQ; point of highest sound pressure for all of the 109 REM: (LINES 110-120 FORCE 2 -COLUMN room's modes, including the lowest one. Itis DISPLAY SO NUMBERS WON'T SCROLL OFF) where a loudspeaker is most efficiently coupled to 110 COL = COL + 1 the room's resonant modes. Since a subwoofer is 120 IF COL = 2 THEN COL = 0: PRINT used to excite the lowest room modes (typically PRINT TAB(41); below 75 or 100 Hz) it should be placed there [3]. 130 NEXT K Placing full -range speakers in corners unbalances 140 NEXT J overall response and causes boomy bass. But 150 NEXT I when only subwoofers are placed there, the re- 160 PRINT: PRINT sponse can be balanced by turning down the pow- 170 PRINT "(TO PRINT, PRESS SHIFT & er in the subwoofer channel, reducing potential PRT-SC KEYS TOGETHER WITH PRINTER ON distortion in both the bass amplifier and the LINE)" subwoofer. If all we cared about was regular frequency re- When using the program, enter room dimensions sponse, the ideal position for the main speakers would be at the precise center of the room- carefully-this program has no error trapping. This program should give you a good general picture of halfway up from the floor as well as centered over it-where it would excite the fewest possible your room's resonances and help you select a sub - woofer to use in that room. modes and where the room's irregular effects on response would be at a minimum. The room's ex - AUDIO/APRIL 1993 35 TABLE IV-Frequencies of multiple ("degener- same frequencies. This leads to very strong stand- ate") modes in a cubical room 20 feet on a side. ing waves at just a few widely spaced frequencies, causing very ragged room response. Such a room FREQUENCY (Hz) NUMBER OF MODES would have large amplitude peaks and wide fre- 29 3 quency gaps between peaks. Also, such a room 40 3 would have no central "sweet spot" where few There's not much 57 3 modes are excited. 64 6 Up to mode 2, 2, 2, there are 26 modes in a 70 3 sense paying for 81 3 room. In a 20 X 20 X 20 foot cubical shape 86 3 room, there are seven frequencies at which multi- a10 -Hz subwoofer ple modes exist (Table IV). act center is at a low-pressure point for most of a In a cubical room, 24 of the 26 modes (92%) if it will be room's modes, which makes them more difficult are degenerate. In the worst case, at 64 Hz, six to excite. Typically, only about 10% of the total modes combine to produce a very large resonant used in a 29 -Hz modes will be easily excited there. Only those peak in the room. This is a listening -room shape modes that have only even mode numbers (such to avoid! Round and elliptical rooms have this listening room. as 2, 2, 2 or 0, 2, 4) will be well excited by a center - kind of (and other worse) problems. mounted speaker 131. Suggested ratios for room dimensions are based However, resonances are not the only consider- on third -octaves, 2n/3, where n is any integer not ations. In the real world, such factors as minimiz- divisible by 3 (e.g., 0, 1, 2, 4, 5, 7, etc.) [4]. These ing early reflections, maintaining separation be - ratios give well -spaced room mode frequencies. Table V shows some examples. TABLE V-Room-dimension ratios based on third -octaves (see text). We pay a great deal of attention to loudspeaker frequency response. But we often don't realize

H L H W L that the room also has a very strong effect on what 20/3 22/3 Small room 2"3 1 1.25 : 1.6

20/3 22/3 25/3 we hear, especially at low frequencies. So we need Average room 1 1.6 : 2.5

20/3 24/3 25/3 to consider both together. The computer program Low ceiling 1 2.5 3.2

20/3 25/3 Long room 2" I 1.25 3.2 in Table III lets you easily find out what these effects are in your room. This can help you make tween the two speakers of a stereo pair, traffic pat- intelligent choices about loudspeaker perfor- terns in the room, and practical seating positions mance and positioning and about selecting a take precedence over this ideal. subwoofer that is appropriate for your room. As with most things, loudspeaker placement is After all, there's not much sense paying for a 10 -

a compromise. Putting speakers at the room's Hz subwoofer in a 29 -Hz room. A center (as closely as we can approximate it in practice) will yield smoothest frequency response REFERENCES and best stereo imaging-but bass response is 1. Morse, Philip M. Vibration and Sound. Sec- compromised there. For the strongest bass re- ond edition. McGraw-Hill Book Company, sponse, the corners are best. Use of a subwoofer Inc., 1948, p. 413. allows us to take best advantage of both locations. 2. Kinsler, Lawrence E. and Austin R. Frey. Fundamentals of Acoustics. Second edition. ROOM SHAPES John Wiley & Sons, Inc., 1962, p. 441. If any of a room's dimensions are too close to 3. Ibid, p. 443. being whole number (integer) ratios of each oth- 4. Westmann, H.P., ed. Reference Data for er, two or more "degenerate" modes at or close to Radio Engineers. Third edition. Federal the same frequency will occur. The resonant rise Telephone and Radio Corp., 1949, p. 520. at these frequencies will be much more than at BIBLIOGRAPHY any frequency corresponding only to a single Hunter, Joseph L. Acoustics. Prentice Hall, Inc., mode, because the degenerate modes combine 1957. their effects. Also, their standing waves will be Meyer, Erwin and Ernst -Georg Neumann. spread out over a larger volume of the room, Physical and Applied Acoustics. Academic making them harder to avoid. Press, 1972. The more symmetrical a room is, the more Richardson, E.G. Technical Aspects of Sound: irregular its response will be. The worst case is a Sonic Range and Airborne Sound. Elsevier cubical room, whose three dimensions are equal, Publishing Co., 1953. causing many of the modes to wind up at the AUDIO/APRIL 1993 36 Perfect back flip, with a twist.Tanqueray AImported singular English Gin, 47.3% Ak/olexperience" (94.6*), 100% Grain Neutral Spirits. 1992 Schiettelin & Somerset Co.. New York, N.Y. LUCASFILM

Miller & Kreisel Sound THE M&K HOME THX4 AUDIO SPEAKER SYSTEM S-5000THx UC/R Satellite MX-5000THx Powered Subwoofer SS-500THx Surround speaker Miller & Kreisel Sound Corporation proudly announces the MX -5000 -nix POWERED SUBWOOFER state-of-the-art M&K Home THX Audio speaker system - culmi- nating years of work with the world's most advanced acoustical The magnetically shielded sealed -box MX -5000 uses M&K's analysis and developmental computer hardware andsoftware. Push -Pull Dual Driver subwoofer configuration and an internal 400 watt RMS power amplifier to truly deliver the full dynamic Since 1974, M&K has led the industry in recognizing and excitement of soundtracks at thunderous output levels. implementing numerous parameters critical to the lifelike repro- duction of music, voice, and sound effects. These include wide PUSH-PULL DUAL DRIVER CONFIGURATION dynamic range; low driver coloration; time domain and impulse M&K's Push -Pull Dual Driver configuration substantially im- accuracy; low baffle coloration; controlled directivity; flat fre- proves bass detail and clarity by virtually eliminating even -order quency response at the listener's ears; low bass/subsonic energy harmonic distortion and increasing efficiency and dynamic range. reproduction by subwoofers; transient optimized crossovers and The MX -5000 uses two M&K-designed 12 inch subwoofer drivers; and more. drivers, with one mounted conventionally and the other mounted All of these are needed to reproduce the sonic energy of film inverted. Although both fire into the room in phase (one with the soundtracks. The M&K Home THX speaker system's unique front side of its cone and the other with the back), they operate ability to do this sets new standards for lifelike reproduction. mechanically out of phase relative to each other, cancelling each other's even -order harmonic distortion products, in addition to S-5000THx SATELLITE SPEAKER providing numerous other sonic benefits. Redefining sonic accuracy and transparency, the magneti- SUBWOOFER DRIVERS & AMPLIFIER cally -shielded S-5000 is the product of advanced listening and In addition to a dual voice coil and undercut core, the MX - computer analysis, involving crossover design, time -domain test- 5000 driver has the unique combination of an aluminum shorting ing, a new swept two-tone distortion test; and research into ring (to substantially lower distortion) and an M&K "asymmetrical" reflected and diffracted energy from drivers and cabinets. voice coil mounting (to increase total linear cone travel). TRANSMISSION LINE OPEN -BACK DOME TWEETERS With a very long -throw high -power voice coil, a new comple- M&K's unique Transmission Line Open -Back Dome Tweeter mentary long -throw dual -spider suspension system, and an ex- establishes a new performance standard through an acoustic tremely linear magnetic motor design, the MX -5000 delivers absorbing transmission line that absorbs the energy produced by thunderous dynamic playback at lifelike levels while being ca- the back side of the tweeter diaphragm. In other tweeters, this pable of reproducing the subtlest nuances of musical articulation. energy reflects and radiates back through the tweeter diaphragm The MX -5000's amplifier is a unique dual output design that to produce audible coloration and time domain "smearing". powers each driver with its own 200+ watt RMS power amplifier, WOOFER DRIVERS & CABINET totalling over 400 watts RMS. Its high -current power supply has A brand-new high-performance 6.5" polypropylene woofer an oversized transformer and tremendous reserve energy stor- delivers both low coloration for music and voice detail and the age for dynamic headroom well over 700 watts! ability to reproduce the powerful impact of percussive musical SS-500THx SURROUND SPEAKER instruments and sound effects at lifelike levels. With a dipole radiation pattern to eliminate directionality in the The trapezoid shape of the S-5000 cabinet was chosen by surround channels of the system, the SS -500 envelops the M&K engineers in order to achieve its extraordinary smoothness listener in a non -directional soundfield. Its dynamic range and of midbass response. The exact dimensions were optimized transient reproduction perfectly match the S-5000 and MX -5000, using computer time -domain measurements. for great realism and excitement in the surround channels. Highly -absorptive acoustical foam on the front baffle and Its new dual 5" polypropylene woofers and 1" dome tweeters internal cabinet walls minimize diffraction and absorb sonic en- are precisely matched to the S-5000 drivers, delivering great ergy radiated from the back of the woofer cones, respectively, clarity and transparency.Its compact size allows for maximum making for very sharp imaging and very low coloration. Its vertical placement flexibility, and it can be painted to match any decor. driver array precisely controls its vertical radiation to minimize The M&K Home THX Audio speaker system continues M&K's floor and ceiling reflections, further improving clarity and imaging. industry leadership in the fields of high -end loudspeakers, sub - CROSSOVER woofers, and audiophile recording.It delivers the unmatched The S -5000's computer -optimized crossover is key to Its dynamics, exciting transient reproduction, and precise tonal ac- exceptional transient response and lifelike sound. Utilizing only curacy that have made M&K the optimum choice for music and audiophile -grade parts such as air -core inductors and polyester home theatre audio reproduction for nearly two decades. film capacitors, it delivers great sonic clarity and transparency.

S-5000mx Dimensions, Weight: 16" H x 7" W x 7" D, 22 lbs. Frequency Response: 80 - 20 KHz ± 2 dB MX-5000THx Power Handling: 20 watts min., 400 watts max./ch. Amplifier Power: 400 watts RMS Finish: Oak or Black Oak, Black Grille Amplifier Distortion: less than 0.03''/o at full power Dimensions, Weight: 24" H x 12" W x 11.25" D, 45 lbs. Frequency Response: 18 - 125 Hz (adjustable) SS-500THx Finish: Oak or Black Oak, Black Grille Frequency Response: 100 - 20 KHz ± 3 dB Dimensions, Weight: 23" H x 15.25" W x 23.5" D, 115 lbs. Power Handling: 20 watts min., 400 watts max./ch. THX is a registered trademark of LucasArts Entertainment Co. Finish: White Grille, suitable for painting All specifications are subject to change without notice.

Miller & Kreisel SoundCorp., 10391 Jefferson Blvd.,Culver City, CA 90232 (310) 204-2854 Fax (310) 202-8782 Enter No.16 on Reader Service Card EQUIPMENT third -order noise shaping. All of the PASC PROFILE bit -rate reduction processing associated with the DCC format is accomplished by four chips. One difference between DCC and analog cassette decks manifests itself as soon as TECHNICS RS-DC10 you load a DCC tape: The deck winds the DCC RECORDER tape for a few seconds to read its Table of Contents. (Similar TOCs are found on CDs, MDs, and prerecorded DATs.)

So far,I have tested and evaluated The RS-DC10's turnover head assemblyControl Layout three Digital Compact Cassetteuses a magnetoresistive thin-film head The RS-DC10 provides just about every (DCC) recorders. In case anyone that includes nine tracks with 0.5 -micronfeature of the DCC format. The power tells you that all DCC machines are gaps for digital recording, nine tracks withswitch is at the lower left of the front panel. pretty much the same, let me assure 0.3 -micron gaps for digital playback, andAbove it is a "timer" switch for use when you that they are not. I found the two analog playback tracks. No erase headan external timer has been connected to the Technics RS-DCI 0 to be the easiest to use, unit. Further up is the section for marker requiring the fewest references to its own- controls. Its six buttons are used for writing er's manual (which has 61 pages). Perhaps DCC TRANSPORTS MAKE track -start markers automatically or man- that's because I've already worked my way SLIGHT, CONTROLLED ually, renumbering tracks, writing "Next" through two other DCC machines, but I and "Reverse" markers; and erasing mark- think it's more a matter of better ergonom- SPEED ADJUSTMENTS ers. In playback, when a DCC machine ics and better labelling and positioning of DURING PLAYBACK. finds a "Next" marker, it switches from controls. side A to side B (or vice versa), rewinds to Like all DCC recorders, the RS-DC10 the beginning of that track, and then starts automatically distinguishes between DCC is needed; digital recording is done byplay. When the machine finds a "Reverse" and conventional analog tapes.Its two - overwriting, and the RS-DC10 does not re-marker, it switches tape sides and then motor drive system uses separate d.c. mo- cord analog tapes. starts play immediately. tors for the capstan and the reels. The chief To convert analog signals to digital for- Next to "Timer" is a noise -reduction difference between this transport and pre- mat, the RS-DC10 uses a one -bit A/D con-switch, with settings for Dolby B and C NR vious cassette drive systems lies in its servo verter and two delta -sigma modulators(and an "Off" position) for use when play- control. A DCC deck records at constant with 64 -times oversampling. This A/D con-ing back analog cassettes. Flanking the cas- speed but makes slight adjustments during verter also has a built-in digital filter andsette drawer at the upper midsection of the playback. DCC decks also buffer recovered sample -and -hold circuitry. The playbackpanel are four tiny buttons for resetting the data to help minimize wow and flutter. circuitry uses a one -bit D/A converter withcounter, selecting repeat play, changing AUDIO/APRIL 1993 40 mode of the counter display, and selectingcoaxial digital inputs), a large master level tion, small flags light up to inform you text information. (The amount of textcontrol, and a channel -balancing pot. about tape direction (side A or B), Dolby available on a prerecorded DCC tape is de- Along the lower edge of the front panelNR status, marker types and locations, pendent on the software manufacturer andare buttons for "Side A/B" selection, for-sampling frequency, selected input, and, may include such ward and reverse track -skip, "Append" (towhen applicable, digital copy -prohibition. things as overall find the end of a partially recorded tape),(United States law now requires SCMS album title, artist's and the usual tape -transport functions (re- name, and track cording, playback, rewind, "Stop," fast for- title. Further to the ward, and auto record mute for recording NONE OF US HEARD ANY right are the blank spaces between tracks). Farther to DIFFERENCE IN MUSICAL the right are the headphone jack and its "Open/Close" but- INTEGRITY OR ACCURACY ton for the cassette level control. tray and three Below the cassette drawer is the display. BETWEEN CDs AND DCCs controls used in The display's alphanumeric section shows MADE FROM THEM. recording: An counter number or time (total remaining, input selector total elapsed, or elapsed within the track), (with settings transport mode, and any text available on a copy -limitation circuitry in all home digital for unbal- DCC recording. It also shows track num- recorders, and SCMS is therefore included anced analog, bers for all prerecorded DCC tapes and for in the specifications for both DCC and its fiber-optic all home -recorded tapes whose makersrival MiniDisc format. All home DAT re- digital, and have specifically included them. In addi- corders now include SCMS, too.) The supplied remote control duplicates just about all of the front -panel control functions and has numerical buttons for SPECS direct access to any track and a button for scanning and playing back the first 10 S of Digital Cassette (DCC) Wow and Flutter: 0.07% wtd. rms, each track on a DCC tape. The remote also Frequency Response: 44.1 -kHz sam- ± 0.12% wtd. peak. has buttons to control the variable -level pling, 10 Hz to 20 kHz, ± 0.2 dB; output jacks on the rear of the RS-DC10. 48 -kHz sampling, 10 Hz to 22 Input & Output Levels That rear panel carries jacks for fixed -level kHz, ± 0.2 dB; 32 -kHz sampling, Minimum Analog Input Level: 60 analog output, analog input, and both co- 10 Hz to 14.5 kHz, ± 0.2 dB. mV. axial and optical digital inputs and outputs. THD: Playback, less than 0.003%; Fixed Analog Output Level: 500 mV record/playback, less than (maximum, 2 V). Measurements 0.005%. Headphone Maximum Output: 30 In testing the performance of the RS- S/N: Playback, greater than 98 dB; mW/channel, 32 ohms. DC10, I first checked record/playback fre- record/playback, greater than 92 Headphone Matching Load Imped- quency response using the analog inputs dB. ance: 8 to 600 ohms. and outputs to record a sweep of frequen- Dynamic Range: Playback, greater cies onto a blank DCC tape. Results are than 95 dBA; record/playback, General Specifications shown in Fig. 1A, with response perfectly greater than 92 dBA. Fast Forward/Rewind Time: Ap- flat from 20 Hz to 20 kHz and a minor Channel Separation at 1 kHz: Play- proximately 100 S with D-60 tape. channel imbalance of less than 0.3 dB. back, greater than 95 dB; record/ Power Requirements: 120 V a.c., 60 playback, greater than 80 dB. Hz, 42 watts. Dimensions: 1615/16 in. W X 6 in. H Analog Cassette X 13'/16 in. D (43 cm X 15.3 cm Frequency Response: Type I tape, 30 -X 34.1 cm). Hz to 15 kHz, ± 3 dB; Type II Weight: 18.3 lbs. (8.3 kg). tape, 30 Hz to 16 kHz, ± 3 dB; Price: $999.95 Type IV (metal) tape, 30 Hz to 17 Company Address: One Panasonic kHz, ± 3 dB. Way, Secaucus, N.J. 07094. S/N (re: 250 nWb/m with Type II For literature, circle No. 90 Tape): Without noise reduction, 56 dB; with Dolby B NR, 66 dB; with Dolby C NR, 74 dB.

AUDIO/APRIL 1993 41 FREQUENCY RESPONSE, ANALOG IN/OUT.TECHNICS RS DC10 OCC DECK For Fig. 1B, I fed a digital fre- PLAYBACK LINEARITY USING PRERECORDEO VEST TAPE.TECHNICS RS-DC10 DCC DECK +2 0 0 quency sweep from my Audio Pre- 1 -2 cision system to the RS-DC1O's - 20 20 100 lk Ok 20k digital inputs. Response is even A FREQUENCY RESPONSE. DIGITAL -TO -ANALOG. TECHNICS RS-DCIO DCC CASSETTE DECK flatter than before, and this time - 40 +2 Ap there is no measurable amplitude 0 difference between channels. Since - 60 220 100 lk Ok 20kone of the features of the DCC for- B - 80 FREDOENCV RESPONSE TYPE II TAPE,PLAYBACK ON TECHNICS RS-OCIO BCC DECK mat is its backwards compatibility 18 with analog cassettes,Inext -100 - 20 checked frequency response for -100 -80 -60 -40 -20 - 22 playback of a Type II cassette, us- OUTPUT - dB 20 100 lk 10k 20k A FREQUENCY - Hz ing a BASF test tape with spot C frequencies from 31.5 Hz to 18 B Fig. 1-Frequency response kHz (Fig. 1C). Response is actually LINEARITY Of 0/A CONVERTER SECTION. TECHNICS RS-OCIO DCC CASSETTE DECK for record/play via analog 0 much better than claimed by Tech- (A) and digital inputs (B) nics; it extends out to the top test and for playback of Type II - 20 frequency of 18 kHz, with no more analog cassette (C). - 40 than about 1 to 1.5 dB of attenua- tion at that frequency and a slight - 60 rise from about 2 to 10 kHz. That's - 80 considerably better than many high-priced analog cassette record- - 100 ers can do. THO N NOISEVS. FREDUENCY.TECHNICS RS -OCIO DCC CASSETTE DECK -120 0.1 Ap Returning to DCC mode, I mea- -120-100 -80-60-40 -20 sured THD + N versus frequency OUTPUT - dB VIA ANALOG INPUT (Fig. 2). For analog input signals, Fig. 4-Input vs. output 001 the results range from about 0.01% linearity, for prerecorded to 0.02% over much of the audio DCC test tape (A) and for VIADIGITAL INPUT spectrum, increasing to aroundrecord/play via digital 0.001 0.04% at 20 Hz and at 20 kHz. As 20 100 lk 10k 20k input (B). FREQUENCY-Hz expected, THD is even lower for digital signals fed via the coaxial Fig. 2-THD + N vs. input, just under 0.004% at 1 kHz frequency for DCC record/play. and rising to 0.018% at 20 kHz. nal" Type I analog cassette and measured To isolate the actual harmonic dis- its signal-to-noise ratio without and with tortion components from the residualDolby B and C noise reduction. The A- noise of the system, I conducted an FFT spectrum analysis of a 1 -kHz dig- itally recorded signal at maximum lev- ON ANALOG TAPES, THE el (not shown). The most significant RS-DC10 IS FLATTER THAN SPECTRUNANALYSIS OK RESIDUAL POISE. TECHNICS RS -OLIO actual harmonic was at 2 kHz and was 60 NR AD 103 dB below maximum recorded lev- MANY EXPENSIVE ANALOG ANALA el, which corresponds to a THD per- DECKS, AND ON DCC -80 centage of less than 0.001%! IT'S FLATTER STILL. Signal-to-noise ratio of the RS- DOLBYB -100 DOLBYCNR DC10, for a "digital zero" signal re- corded through the digital inputs, wasweighted readings were 57 dB without DCC -120 98 dBA for the left channel and 98.6Dolby noise reduction, 66.2 dB using dBA for the right channel. It is worth Dolby B NR, and 73.6 dB using Dolby C noting that a spectrum analysis of the -140 NR. Of course, these results would be dif- 30 100 lk 10k 20k residual noise (Fig. 3) shows not the ferent if I had used another tape formula- FREQUENCY- Hz slightest trace of the 60 -Hz a.c. line tion or brand. A spectrum analysis of resid- Fig. 3-Spectrum analysis frequency or its harmonics. ual noise for playback of the analog "no- of residual noise; see text. Returning to analog tape, I playedsignal" tape (Fig. 3) clearly illustrates the back a previously recorded "no-sig-beneficial effects of Dolby B and C NR. AUDIO/APRIL 1993 42 n ideal loudspeaker would convert electrical signals to sound pressure signals with "flat frequency response" and "zero phase nonlinearity". In practice, THE DIGITAL DECONVOLUTION however, all loudspeakers, no matter how expensive, exhibit significant imperfections. Technically, the electrical signal is improperly AUDIO SYSTEM... dispersed (blurred) by the loudspeaker resulting in audible distortion. This blurring WHAT AUDIO DSP AS VEANT TO BE effect is the result of a physical phenomenon called "CONVOLUTION". Until now, it has been the dream of the hi-fi enthusiast to have a blur -free loudspeaker. JON The DDA-1 amplifier contains a digital signal "APLIFIER processing (DSP) module to which the POWER AMPLIFIER Construction Dual mono incoming audio signal (digital or Rated power output (per channel) 100 W min Or 8 Ohms analog) is routed. At the heart of 140 W min 41 4 Ohms Power bandwidth 20 Hz -20 kHz the DSP module is a Power supply filter capacitance 60.000 microFarads proprietary, state of the art, Damping factor 150 application specific THO at rated power 0.01% IN distortion at rated power 0.16% integrated circuit (ASIC) The DGX IM distortion at 1/8 W output 0.02% Deconvolution Residual noise 0.3 mV unweighted developed by DGX. Processor ANALOG TO DIGITAL CONVERTER

Using a patented algorithm, 383 numbers Type ...... Oversampling delta -sigma modulation describing the loudspeaker characteristics are System sampling rate 44.1 kHz provided to the ASIC, whose sole purpose, Internal oversampling 64 X with quadruple integration through DECONVOLUTION PROCESSING, is to Dynamic range 92 dB SAN + Ol 90 dB prevent the speaker from blurring the signal. DECONVOLUTION FILTER

With a pair of high quality DGX loudspeakers, Type Finite Impulse Response Filter length 383 taps whose coloration (blurring) is virtually Arithmetic unit Fixed point eliminated by the deconvolution process, the 16 bit multiplicand 16 bit multiplier 36 bit accumulator Automatic roundoff sound produced by this revolutionary system Multiply -accumulate time 54 nsec. Overflow detect ... I second LEO indication is so pure and clean, we dare say it is better Supressed polarity reversal than any audio system available, regardless of price.

Shown with optional Rosewood r finish Speaker sound pressure measurement for square wave input. SYSTEM Power rating 150 W Input impedance 8 Ohms 10 Drivers 1 inch Ferro fluid cooled 0.5 soft dome tweeter 2 inch Ferro fluid cooled soft dome mid -range 0 S1995 12 inch high young's modulus mica/pp cone Genuine Rosewood Veneer $200 additional 05 with die cast frame woofer 10 Construction Simulated or real wood veneer over 100% MDF 100 Hz Response Dimensions 39.5H x 15.6W x 11.0D Weight 68th.

2

1

0

1 2 1-800-544-4DGX 500 Hz Response

10 0.5 DGX 05 AUDIO 10 I kHz Response 778 Marconi Avenue, Ronkonkoma, NY 11779 Enter No. 14 on Reader Service Card SPECTRA! ANALYSIS OF PULSES AT 630 Ht REPETION RATE.INPUT TD TECHNICS RS-OCID As in previous tests of DCC re- pressed by its excellent text display facilities 0 corders, I wanted to see if I could and by its truly full -function remote con- -201111111111111111111111111111111ii detect the action of the PASC bit - trol. With the remote, you can control all > -401111111111111111111111111111111111111111111 rate reduction system. Because or- recording or playback functions, including w -6011111111111111111111111111111111111IMEN dinary single -tone test signals will track marking and numbering, from the I:-80grarrmr.IM1111111111111111111111111111111111111.11 qprilpp. not serve to illustrate this action, I comfort of your listening position.

I -Li -100 CC had to use a special signal consist - The folks at Technics were kind enough 0 6k 12k 18k 24k 30k ing of a unit pulse having a repeti- to send along a prerecorded DCC sampler FREQUENCY- Hz tion rate of 630 Hz, which I fed from GRP (GRX-9997). This tape has a A from a Philips test CD via the RS- wide variety of big -band music, including B DC10's digital input. Figure 5A such favorites as "Fascinating Rhythm" in- :GE ow NZ REPETION RATEPLAYBACK TECHNICS RS -00 co -o 0 shows the harmonics in the com- terpreted by Dave Grusin and "In the Ap _j -20 plex input signal, prior to record- Mood" by the Glenn Miller Orchestra. All ing and playback. By contrast, Fig. uj> -40 5B shows what happens to this w -60 signal when it is encoded and de- -80 THE PASC ENCODING _1 coded for playback using the PASC LU -100 SYSTEM HAS OBVIOUSLY CC bit -rate reduction system. As in a 0 6k 12k 18k 24k 30k test of another DCC recorder, the BEEN IMPROVED SINCE FREQUENCY - Hz noise floor over much of the audio I FIRST HEARD IT. Fig. 5-Spectrum of digital spectrum increases by nearly 40 pulse signal with 630 -Hz dB. Listening tests using music, repetition rate, as fed from however, revealed that this in- CD through RS-DC10 (A) 12 tracks were reproduced flawlessly. I par- crease in measured noise has no and after record/play(B). ticularly enjoyed the noise -free reproduc- audible effect. Neither I nor several tion of this and other DCC prerecorded guest listeners were able to detect cassettes I have collected. any difference in musical integrity However, I am still somewhat bothered

TER USING ANALOG TEST TAPE, TECHNICS RS-DC10 DCC CASSETTE DECK or accuracy when comparing DCC by the slow access times of the DCC decks 0.1 Ap recordings with the CDs from I've reviewed so far. To play track 6 of the which they were made. Interest- GRP sampler (the last track on side A of the 0.08 Ve \A, ingly, this was not the case when I cassette), I had to wait 90 S while the mech- first listened to such comparison anism wound its way from the start of side WTD. PEAK 0.06 tests more than a year ago, It seems A to the last track on that side. The actual obvious to me that the PASC en- playing time of tracks 1 through 5 that had 0.04 WTD. RMS codingalgorithmhasbeen to be traversed was only 23 minutes, 35 tweaked since then; the PASC sys- 5 9 13 17 21 25 seconds. I guess I'm just too used to the TIME - SECONDS tem allows improvements in en- instant access of CD players and the more coding to be heard even without Fig. 6-Wow and flutter in rapid (though certainly not instant) access analog playback. improved decoders. of DAT recorders. Of course, this will be of For my final bench test, I revert- little concern to me when I play classical ed to analog tape to measure the DCC tapes from start to finish, but I recog- transport mechanism's wow and nize that most DCC tapes (whether prere- flutter. (There is no measurable corded or user -recorded) consist of several wow and flutter when playing back short tracks. Accessing a track that's deep DCC tapes.) The wtd. rms reading into a tape side just seems to involve an Once again in the DCC mode, I mea-hovers between 0.04% and 0.05%, as can endless wait. sured the linearity of the system. Figure 4Abe seen in Fig. 6, while the wtd. peak (IEC) As a home DCC deck, the Technics RS- shows the results for playback of a prere-wow and flutter ranges from about 0.07% DC10 is an outstanding example of superb corded test tape supplied by Philips; thereto about 0.095%. These are very respect- mechanical and electronic engineering. Its is virtually no deviation from perfect lin-able results for any analog cassette player. suggested retail price of just under $1,000, earity over the range from 0 dB (maximum however, suggests to me that it may be a digital recorded level) down to -90 dB. Us- Useand Listening Tests fairly long time before DCC replaces analog ing digital signals from my Audio Precision As I indicated at the beginning of this re-cassette-especially since inexpensive per- test set, I could measure down to -120 dBport, the RS-DC10's layout is superb, as issonal portable players are now the chief (Fig. 4B), finding nearly perfect linearity itsstyling. Mechanically, the unit per-hardware used for playing music from ana- down to at least -100 dB. formed flawlessly. I was particularly im-log tapes. Leonard Feldman AUDIO/APRIL 1993 44 SPECIAL ADVERTISING SUPP_EMENT

America's almost century -,o ig love affair with tt e automobile and the lifestyles that relationship has reated are unique in all the world. Nowhere else has so much effort and energy been expended on the adaptation of hardware to the special needs of the mobile audicuhile. The challenges laid down by automotive sound have created a whole industry and allovnd the development of a global market- place for American tectnology and engineerir g excellence. What began long ago as a afterthought ie now a mult - billion dollar busiuss responsible for some of the most creative and unique technical innovations ever brought to the world of audio. When this all be- gan a half certry ago who would hate imag- ined the powe- and precisicn reproduction available tocay with the first dedicated car radio speakers and electronic. The stories that unfold on the following pages tell the histo-y and show the drive and dedication of the all-American in- novators who gave the world "sound on the move."

now:

1S99 /VIM. PGH., PA. U.S.A....A

89H -251B SPECIAL ADVERTISING SUPPLEMENT

The workforce at Pyle takes great pride in being PYLE able to marry the latest technologies and materials with the superior, artisan -like quality that this per- sonal attention provides. Ever since the company developed and market- ed the first genuine high power woofers in the late 1960s, it has sought to extend the potential for mobile audio to new levels. This desire produced the now legendary Pyle Driver and multi -element car stereo speakers in the 1970s. In the 1980s, Pyle engineers, pushed by a passion for audio perfection, designed a series of enclosed systems optimized for specific types of vehicles, again breaking new ground in mobile fidelity and pow- er. By doing this they were able to maximize per- formance for their customers and eliminate many of the variables that negatively impacted real- world installations. Now in the 1990s, Pyle again has raised the standard with the introduction of its World Class subwoofers, full range Pounder(R) systems and ToobzTM bass systems. The all-American techno- logical basis for the sonic and mechanical per- formance of the company's loudspeakers is the merging of IronClothTM spider material with Iron- For more than four decades the American heart- GlazeTM magnet wire coating to produce Iron- land has been home to a company whose name is MaxTM, the industry's most indestructible voice synonymous with superior quality, high power coil and motor assembly. loudspeakers. Pyle Industries, in Huntington, Indi- ana, is a classic example of American entrepreneur- ship, dedication to quality, and the best traditions of all-American craftsmanship. Collectively, the key members of the Pyle team have amassed more than three centuries of experi- ence in the design and engineering of loudspeaker products. This amazing resource base was started when key individuals at Pyle were also an integral part of another legendary name in American au- dio-Utah. That company's loudspeakers, made just a few miles from the current Pyle factories, led the way in innovative engineering throughout By integrating and controlling a proprietary mix much of the 1950s, 60s and the early 1970s. of precision materials, Pyle has created a series of Frank Pyle and his son Frank Pyle Jr., along subwoofers and other products that exceed every with other family members and associates, founded measurable standard for ruggedness, resistance to Pyle and are still actively involved in every facet of failure, and pulse -pounding performance. The use the business. This homegrown, individualistic and of massive magnetic configurations, vent -cooled Pyle uniquely personal style is refreshing in an industry motor structures, high energy rare earth Neo- Pyle Industries' personal often known more for its faceless mega -corpora- DomeTM tweeters, ProLinearTM polyfoam suspen- tions. Pyle's more personal approach allows them sions, and polymer laminate cones provide the approach allows them to to produce products that deliver performance professional mobile sound installer and audio en- prAuce products that without compromise. thusiast with a carefully crafted collection of units ddlikier performance That same style continues throughout the orga- to meet any requirement. without compromise. nization, all the way to the factory floor. For ex- The multi -generational heritage of innovation ample, in an industry where many companies mass and no -compromise engineering has built Pyle produce thousands of drivers each hour and batch into one of America's leading mobile sound tech- test just a few on automated equipment, each and nology companies. As the choice of enthusiasts every speaker Pyle produces is built by hand and in- worldwide, Pyle is now guiding the development dividually tested and approved before packaging of products that will continue to change the rules 11"'" and shipping. for sound on the move. ,1 l CRANK UP A PAIR OF NEW JENSEN 6X9'S. THE SPEAKERS THAT GO FROM 0-T0-190 MIND- BLOWING WATTS OF CLEAN, UNDISTORTED SOUND. THAT'S BECAUSE THEY HAVE A MYLAR DYNAMIC TWEETER FOR PURE HIGHS AT ANY VOLUME. AND A SPECIAL HIGH- TECH. HIGH -GLOSS COATING ON THE WOOFER FOR EVEN BIGGER BASS. THE KIND OF SMOOTH BASS RESPONSE THAT GETS EVERYONE IN HIGH GEAR. FOR OVER 60 YEARS, JENSEN HAS BEEN MAKING GREAT SPEAKERS. FOR MORE INFORMATION ABOUT THE SPEAKERS THAT WILL MAKE YOU NEVER WANT TO LEAVE YOUR CAR, CALL 1 -800 -67 -SOUND. THE MOST THRILLING SOUND ON WHEELS.

0400-MADE IN USA c 1992 JENSEN IS A REGISTERED TRADEMARK OF INTERNATIONAL IENSEN, INC JTX3469 WITH 190 WATTS PEAK POWER IN CANADA. CALL SCL PRODUCTS 604-273-1095 IVANCOLIVERI. 416-890-0298 ITORONTOI. SPECIAL ADVERTISING SUPPLEMENT INTERNATIONAL JENSEN INC.

the trailblazer in opening another new market and creating another whole industry-mobile audio. The pursuit of ever -higher fidelity in the automobile, exemplified by the ex- plosive growth of FM radio, brought forth the first true high-fidelity car stereo speaker in 1972. The mid -1970s saw the birth of a legend in automotive sound-the Jensen Triaxial(R) 3 -way car stereo speaker system. Suddenly the perfor- mance capabilities of home audio were available in the car. Made in the U.S.A.? You bet. Inter- The Jensen legacy of American engineering ex- national Jensen Incorporated (IJI) is cellence and innovative products is now part of In- the largest vertically integrated man- ternational Jensen Incorporated. The IJI family of ufacturer of car speakers in the USA. companies includes: Acoustic Research, Advent, It started more than three quarters ofAdvent Mobile, Day Sequerra, Magnat, NHT, a century ago when a brilliant young and Phase Linear. Although its headquarters are in Danish immigrant named Peter Lincolnshire, Illinois, IJI manufactures its own Jensen invented what we know to- metal and plastic in Pennsylvania and magnets in day as the modem loudspeaker. That Texas. single device was the foundation Voice coils and cones are made in their North upon which the power of American Carolina plants, where final assembly occurs. innovation built the high-fidelity in- These companies prove that Made in the USA dustry. means high -quality, globally competitive products. In 1927, the Jensen Manufactur- Industry recognition of the commitment to en- ing Company produced the world's gineering and design excellence at IJI was shown first commercially available moving - when the company received an impressive six De- coil direct radiator loudspeaker, the sign and Innovation awards at the 1992 Summer first permanent magnet dynamic loudspeaker, and Consumer Electronics Show. Among those was an the first commercially available compression -driv- award for the unique Jensen BBE amplifier and the en horn tweeter, followed soon by the first mold- newest Jensen Triaxial. Jensen ed hi -ft speaker diaphragm. Today, Jensen has 1,600 employees across the Creativity and innovation continued to be es- U.S. who are continually refining and improving Creativity and innovation sential parts of the Jensen philosophy. In 1932, the the products. Jensen has recently introduced a new continue to be essential company produced a series of loudspeakers spe- series of receivers featuring detachable receiver se- parts of the Jensen cifically designed to match the first automotive ra- curity panels. Advent Mobile's U.S.-made speaker dios, produced by another all-American pioneer, philosophy., line with ICT (Inductive Coupling Technolo- Paul Galvin of Motorola. Once again, Jensen was gym') is unique in America because the ICT plug cannot be blown like a conventional tweeter. The low -profile design fits behind virtually all OEM grilles. And its performance has been acclaimed by critics from sea to shining sea. The Phase Linear car audio line has graphite cone speakers that offer superior responsiveness, and Phase Linear Series 48 models allow the purchaser to customize and grow their system, since the speakers operate in 4- or 8- ohm loads. The long heritage and many firsts associated with the Jensen name continue to drive the engi- neering and product development professionals at IJI who are dedicated to producing American- made quality audio systems. for the mobile env

Art Series A600 power amplifier

Precision Power AfriotttimAotlifehr- _ Mobile Audio E ectromcs

I'o I Te \ this nevt sct h., of PreCiSioi Power .Implifierits, plc.i.e call I Si/0 O2 POWFR, for theArt ocarest Enter No 23 on Reader Service Card SPECIAL ADVERTISING SUPPLEMENT PRECISION POWER

The American entrepreneurial spirit is alive and not often possible in the real world, Precision well in the Valley of the Sun in the heart of the Power decided to change the entire shape of the American southwest. Phoenix, Arizona is the amplifier and eliminate the "fins" at the same time. home of Precision Power, Inc., a unique company In addition to the "finless" design, this series in- now celebrating its tenth anniversary. corporates the results of a long and detailed study In an industry often perceived to be dominated of the concepts and techniques used in PWM by large, internationally based suppliers, Precision (Pulse Width Modulation) power supplies. Using Power has been immensely successful at finding inductor/capacitor averaging circuitry, PPI's engi- and capitalizing on the needs of those who will neers were able to overcome the complex prob- settle for nothing less than the absolute state of the lems presented when adapting this technology to art in automotive electronics. mobile audio applications. The creation and manufacturing of amplifier Because of their love of sound and Scoon's phi- and preamplifier components especially designed losophy that life is too short to devote it to a job to maximize the head unit to loudspeaker transfer that provides only a paycheck, the company has path is a complex and competitive area. But be- made it an intentional part of their growth plan to cause Precision Power has focused on only this area, it is able to respond almost instantly to market demands and produce those specific products needed by the mobile audio installation and system design professionals around the world. The ability to move quickly and deliver very high quality comes as a re- sult of the two indiViduals who founded the compa- ny in 1983. Jeff Scoon, President and CEO, and Ted Guenther, Secretary Treasurer, both take ac-identify and recruit individuals whose collective tive, hands-on manage-expertise, enjoyment of both high performance ment roles. The combina- audio and high performance vehicles, and willing- tion of Jeff's work on the ness to go above and beyond insures their drive to daily business plan and make each Precision Power product the best -in - Ted's focus on managing class. the production side of the This team understands the company's responsi- company allow their indi- bility to build products that are not only sonically vidual talents to shine stunning but physically attractive as well. Trans- while maintaining the parent audio performance must be integrated with driving, competitive all-American spirit that creat- units that make a clear, positive statement about ed Precision Power. the individual who owns them. That drive to be the best, not the biggest, has al- An approach that embodies taking up a perfor- Precision lowed Precision Power to continue to rely on themance challenge and doing what is necessary to dedication and craftsmanship of its workforce tomeet it, even if that means bucking industry The drive to be the best, build as much of the product by hand as possible. trends, lets Precision Power do what they believe nct the biggest, allows The involvement of the workforce in every stepin. This approach to design and product, coupled builds pride and commitment and also allows the Precision Power to rely with the intense American passion to build the best company to incorporate state -of -the art technolo- and still have lots of fun doing it, is what has given or the dedication and gy and the best components wherever needed. Precision Power the unrivaled success it has en- craftsmanship of its This approach is showcased in the recently in-joyed during the last four years at the I. A. S. C. A workforce. troduced Art Series amplifiers. By offering innova- (International Auto Sound Challenge Awards). No tive solutions, this series of amplifiers resolves a other American amplifier company has earned number of persistent problems faced in higher more awards and First Place trophies. power mobile applications. The heat sink designs This unparalleled recognition of the company's of typical mobile applications are not very effective Pride through Performance goals is clear and un- unless mounted straight up and down to permit equivocal evidence that innovation and excellence the required convective flow. Since this option is are still worth pursuing. Pyle Multi -Element Speakers After all, isn't making a great impression what it's all about? New Pyle multi -element automotive speakers combine exciting technical innovations and handcrafted quality to deliver impressive clarity and outstanding power. Our new high performance, rare earth neodymium (NeoDome " ) tweeters give you exceptional output in small spaces, while our exclusive IronMax ' technology virtually ensures an indestructible voice coil and motor assembly. Impressive? Sure, but we think We've created four distinctive categories of multi -element you'll find Pyle sound speakers- New Wave'" Multi -Element Speakers, Pyle Driver ° Multi -Element Speakers, Pyle Driver° Drop -In Replacement even more impressive - Speakers and Pyle Driver' Component Systems. visit the Pyle dealer nearest you and listen for yourself.

For the name of the Pyle sealer nearest you, write: Pyle Industries, Inc 501 Center Street Huntington, IN 46750 For technical assistance call 1-800-852-9688

11 A Harman International Company Enter No. 24 on Reader Service Card EQUIPMENTPROFILE cabinets for the Monitor line but obtains the midranges and tweeters from Vifa, which makes them to Paradigm's specifica- tions. The system, which is deeper than it is PARADIGM wide, is nearly 4 feet tall. It contains a verti- cal array of drivers with the two woofers on STUDIO MONITOR the bottom, and the midrange and tweeter mounted above, all on the center line of the LOUDSPEAKER front panel. The high -excursion, 8 -inch woofers use large, 40 -oz. magnets and 11/2 -inch diame- ter voice -coils, and are mounted in die-cast aluminum frames. The motor drive uses "focused -field" magnetic geometry and high -temperature precision -wound voice- coils mounted on a vented, aluminum and Kapton former. In order to minimize dis- tortion, Paradigm uses a special cone and surround material that they call a "mineral- filled copolymer polypropylene joined to a SPECS

System Type: Three-way, quasi- third -order resistive -port system. Drivers: Two 8 -in. cone woofers, 5- in. cone midrange, and 1 -in. alu- minum -dome tweeter. Frequency Response: 30 Hz to 20 kHz, ±2 dB, on axis; 30 Hz to 15 kHz, ± 2 dB, 30° off axis. Sensitivity: 87 dB at 1 meter with 2.83 V rms applied. Crossover Frequencies and Filter Slopes: 275 Hz (second -order electroacoustic) and 2.5 kHz (third -order electroacoustic). Impedance: Nominal, 6 ohms; mini- mum, 4 ohms. Recommended Amplifier Power: 15 he recently updated Paradigm Stu- da's National Research Council to produce to 300 watts per channel. dio Monitor is their top -of -the -line what they believe is a highly accurate, low- Dimensions: 431/2 in. H X 12'/4 in. and most -expensive system. It is distortion system at a very affordable price W X 161/2 in. D (110.5 cm X 31.1 part of the five -system, high-perfor- (see "Testing At Canada's National Re- cm X 41.9 cm). mance "Monitor Series," which has search Council," Sept.,1989). Paradigm Weight: 93 lbs. (42.3 kg) for single existed for about 2'/2 years. After my T now depends much less on the NRC be- system excluding stand. excellent experience with the firm's Ise cause they have established their own in- Price: $1,899 per pair. Available in (Sept., 1989), I was interested to ,see if the house R & D and manufacturing facility, natural oak, dark oak, and black Studio Monitor continued the fine tradi- which includes a large anechoic chamber ash wood veneers; walnut veneer, tion; the system did not let me down. (40 feet X 33 feet X 28 feet), along with $50 per pair extra. Comes with The Monitor Series is intended to com- two world -class listening rooms. adjustable spiked feet. pete sonically with such high -end systems The Studio Monitor is a large and fairly Company Address: AudioStream, as B & W, KEF, and Thiel, but at about half heavy, three-way system that uses a pair of M.P.O. Bqx 2410, Niagara Falls, the price. Paradigm has applied all the parallel -connected 8 -inch woofers, operat- N.Y. 14302. knowledge and technology they learned ing in a vented (bass -reflex) box. Paradigm For literature, circle No. 91 through their close association with Cana- manufactures the woofers, crossovers, and AUDIO/APRIL 1993 52 Below, a sampling of Irk N"-irirka., available DACCards where they live and breath music, a survey of 17 D to A converters was conducted by the noted musIcologist and audio critic, Dr Ludwig Reit.Only two converters earned the "Reference Class" status. One of these conveners sells for $13,500. The other, at one seventh llitraAnalog Dual 20 -bit the price, is pictured below. Audio DAC fficokyc), where they, live and breath consumer electronics, and where one can purchase anything made by anyone in the world, that same D to A converter was chosen as 1992's Component of the Year.. Philips 20 -bit Unique in the world, Bitstream DAC the Counterpoint DA -10 's DACCards let you listen to multibit, Sigma -Delta 64X or BitStream PAC's, OnIT the DA -10 has two digital -domain tape loops, four di ital anputs with coaxial, TOSLINK or AT&T ST -type of formats, and is a complete digital studio. Crystal Semiconductor 0:11y the DA -10 has user adjustable DAL trimming, 18 -Bit Sigma Delta DAC t even uses zero feedback in its I to V convener. In short, the worth mostrntoical dr is its most adva.A..c

Analog Devices 20-bit/multi-bit DAC

nAT ,1 -

OUNTERPOINT 1,Las Palmas Dr. Carlsbad, Ca. 92009 oll Free US a 4300) 275-2743 Fax (619) 431-5986 Enter No 13 on Reader Service Card high -hysteresis synthetic butyl suspension"and the other is a smaller board for thekHz (drops about 5.5 dB in this seven - (sounds impressive). The similarly de-low -frequency components. octave range). Along this slope, the re- signed Ferrofluid-cooled midrange utilizes The rear of the cabinet contains the largesponse is quite smooth and exhibits no sig- a curvilinear cone of the same materialsconnection panel, with three pairs ofnificant peaks or dips. From 9 to 20 kHz, the that exhibits "exceptional stiffness versusheavy duty, double -banana jacks for theresponse rises about 3 dB. Even including mass and excellent internal damping:' woofers, midrange, and tweeter. This al-the gradual roll -off and the rise in response lows bi-wiring or tri-wiring the system.above 9 kHz, the overall response from 37 (The cable manufacturers love Paradigm!Hz to 20 kHz stays within a fairly tight Actually having the three parts of the sys-window of ± 3 dB referenced to 1 kHz.

uurnaTED tem separately available is a boon

011 MEM ORM MT to us reviewer types who like to 100 investigate crossover relationships, roll -off slopes, etc.). The holes of 90 the jacks will accept large cable, up LOW 1911116 80 13111VE 4 to 0.2 inch (#4 AWG) in diameter. _s! indiCiLi In standard, single -wiring configu- 70 MILMON- ration, four gold-plated straps are NuomMIMIII provided to connect the three sets 60 STUDIO MONITOR 20 1 0 0 1k 10k 20k of terminals. FREQUENCY - Hz The main structures of the Stu- Fig.1-Anechoic frequency dio Monitor's cabinet are con- response. The Ferrofluid-cooled tweeter uses astructed from high -density com- low -profile, convex aluminum dome,posite hard board, which is said to (which is said to push the dome's firsthave high internal damping to -180 1.0 12 TEF breakup -resonance frequency far above the minimize resonances. Platform -380 0.5 audible range) and a treated textile suspen-braces, made from Medite fiber- GROUP DELAY -540 0.0 sion. The tweeter utilizes a close -mountedboard, located around the full pe- O

of the domerimeter, also reduce resonances. PHASE 010 -720 -0.50 to smooth and widen its response. CoupledThe "Co -Spun" damping material 0 with other design features, the tweeter is used to reduce internal standing -900 1.0 20 100 1k 10k20k said to exhibit exceptional power handlingwaves issaid to be acoustically FREQUENCY-Hz and freedom from dynamic compression. transparent at lower frequencies Fig. 2-Phase response and where the vented -box cabinet op- group delay. erates. The midrange operates in its own tubular sub -enclosure that ABOVE 500 Hz, THE connects the front and rear of the PARADIGM'S POWER cabinet. Real wood veneer is used HANDLING KEPT UP WITH on the top, sides, and rear of the cabinet, Below 10 kHz, the main effect of the while the front panel is finished in Para- ANY SYSTEM I'VE TESTED. grille is a 4 -dB notch in the response at digm's traditional metallic. about 7 kHz. Otherwise the grille's effect on the response is minimal. Averaged over Measurements the range from 250 Hz to 4 kHz, the The Studio Monitor's crossover contains Figure 1 shows the on -axis anechoic fre- sensitivity of the system is 86.9 dB, essen- four resistors, one rheostat, four inductors,quency response of the Studio Monitor,tially equalling Paradigm's 87 -dB rating. and six capacitors, not counting paralleledtaken with and without the grille. Measure-Right -left matching was a very tight ± 0.5 units. All parts are high quality and veryments were taken at a distance of 2 metersdB from 100 Hz to 20 kHz. close tolerance (± 2%). The rheostat, afrom the cabinet's front, on the tweeter's Figure 2 shows the phase and the group - factory -only adjustment, allows the level ofaxis, with a voltage of 5.66 V rms, anddelay responses of the Studio, referenced to the tweeter to be set for close unit -to -unitreferenced back to 1 meter. The responsethe tweeter's arrival time. Both these curves matching. The woofer and midrange in-below 600 Hz was derived from 2 -meterare quite smooth and well behaved. Be- ductors use iron and ferrite cores, respec- ground -plane measurements with input re-tween 1 and 20 kHz, the phase curve ro- tively, while the tweeter coil is an air -core duced to 2.83 V rms to compensate for thetates a significant 216°. This rotation is due type. The crossover is said to be of quasi -ground plane's 6 -dB boost. to a combination of crossover design and Butterworth, electro-acoustic design. The The only significant trend in the re-midrange/tweeter acoustic -center offset. crossover is wired point-to-point on twosponse is a gradual slope in the response ofBetween 1 and 3 kHz, the midrange output hard boards; one is the rear terminal board,about 0.8 dB/octave from about 70 Hz to 9lags the tweeter by about 0.17 mS. AUDIO/APRIL 1993 54 These days "home theater" is a term Of course, no television can be better than the medi- liberally applied and widely advertised. urn it projects. So at the heart of our system isthe Elite We invented the But having defined the category in liquid -cooled, aspherical LD-S2 LaserDisc Player. The most accu- lens to deliver the the first place, we reserve the right to highest resolution on the rate device for the reproduction of a 41. widest screen. redefine it. So here goes: True home theater must rival or moving picture and sound in the home. Any "home theater" exceed the very best movie theaters. without a laser picture source is not a contender. Not just in the quality of picture but in the quality of Which brings us to the receiver: The Elite USX -95. It

[THE ELITE HOMETHEATER. IT STANDS AT THE VERY PINNACLE OFTHE CATEGORYWE CREATED. sound. As does the extraordinary system pictured here. features the detail that is our hallmark. Gold-plated Handpicked complementary Dominating center stage is the Elite® PRO -96 terminals. Hand -selected capacitors reduce cross talk while improving imaging and Projection Television. It's the top of a new line which once components. And five amps transient response. again sets the standard for projection television. The driving five discrete amplification channels. liquid -cooled aspherical lens - our own invention - projects In concert with Dolby® Pro Logic® circuitry, it powers

an incredibly sharp picture of 830 - another essential of Home Theater-surround sound. To

line resolution. A new short focus deliver that sound, Elite TZ-9LTD speakers, notable

lens system creates a picture that is for their studio heritage, ceramic graphite tweeters 25% brighter. And contrast and midrange drivers, and urushi cabinetry.

is dramatically improved Any LaserDisc outperforms any videotape. And the LD-S2 We invite you to visit your Elite dealer to see outperforms all other LaserDisc players. by its new black screen. Finally, a three -line digital comb Home Theater as intended by its maker. And discover

filter has significantly enhanced color accuracy. the ultimate way to watch a movie. The result is the brightest and most vivid colors ever

seen on an electronic screen. ELITE Y PION For the name of a stk. Elite dealer in your area. please call 1 -000 -PIONEER. 01992 Pioneer Electrom. (USAI Long Beach. CA. 1)olby and Pro Logic are registered trademarks of Dolby Laboratories Licensing Corporaaon. Actual on -screen image. Enter No. 21 on Reader Service Card The system's energy -time response isdB down from the peak, 660 RS after the crossover (minimum lobing error), the shown in Fig. 3. The test parameters weremain arrival, seemed to be related to dif- high- and low -frequency drivers need to be chosen to accentuate the 1 to 10 kHz re-fraction from the edges of the cabinet, in phase with each other throughout the sponse, which includes the upper crossoverbecause the height and timing of the return crossover range. The strong anti -phase be- region. The main spike, at 3 mS, is quitedepended on the horizontal angle at which havior of the Studio monitor's crossovers, compact and narrow, which indicates co-the energy/time response was taken (curves with the midrange reversed, indicates that herent summing of the midrange andnot shown). its crossovers are nearly ideal in the stan- tweeter outputs. A delayed spike, about 22 The horizontal "3-D" off -axis responses dard connection. of the Studio Monitor are shown in Fig. 4. Figure 6 shows impedance versus fre- The curve at the rear of the graph is the on - quency over the extended range from 10 axis response. The horizontal coverage of Hz to 20 kHz. A minimum impedance of the system is very even because the details of on -axis response are essentially the same as those of the off -axis curve. The narrow THE STUDIO MONITOR'S ridge on the right side of the curve set PORT TURBULENCE AND indicates a high -frequency broadening of VENT NOISE WERE THE w coverage. Display of an individual curve from the set, at any angle beyond 25° off LOWEST I HAVE EVER axis, shows a narrow, third -octave -wide MEASURED. peak at 18 kHz, which is about 10 dB in lev- el above the nearby response. This dramat- ic directional widening of response may be 3.2 ohms occurs at 85 Hz and a maximum due to the previously mentioned diffrac-of 14.2 ohms at 5 kHz. This max/min Fig. 3-Energy/time tion lens placed over the center of thevariation of about 4.4 to 1 (which equals response. tweeter dome. 14.2/3.2) means that the system will be Figure 5 shows the vertical off -axis somewhat sensitive to cable resistance. curves of the Studio. The bold curve in the Thus, cable resistance should be limited to center of the graph (front to rear) a maximum of about 0.050 ohm (50 mil- was made on axis. The responseliohms) to keep cable -drop effects from curves in the range of ± 15° arecausing response peaks and dips greater quite symmetrical up and downthan 0.1 dB. For a typical run of about 10 10 dB and do not exhibit any major dips feet, 14 -gauge or larger low -inductance ca- in the high -frequency crossover ble should be used. Smaller -diameter wire 0 FRONT range within ± 10° of on axis. Be- 45 OFF can be used but will result in higher peak - 90 SIDE AXIS - yond about 30° off axis, the re- 35 DEGREES to -dip variations in frequency response. 180 REAR sponse is actually a bit flatter for The 4.3 -ohm minimum at 24 Hz occurs at 200 2k 20k FREQUENCY - Hz down angles than up angles. Thethe vented -box tuning, where the enclo- same sharp off -axis high -frequency sure's resonant loading is greatest. Interest- Fig. 4-Horizontaloff -axis frequency responses. peak noted in the horizontal re- ingly, the impedance is fairly flat and stays sponses is evident in the vertical above 10 ohms, over a wide range extend- responses beyond about ± 30°. ing from about 400 Hz to 10 kHz. Overall, the vertical coverage in the Figure 7 shows the fairly well behaved main listening window isquite complex impedance, plotted over the range uniform. from 5 Hz to 30 kHz. The impedance phase Iinvestigated the crossover's (not shown) reached a maximum of +46° phase relationships by inverting(inductive) at 262 Hz and a minimum

: the polarity of the midrange, using angle of -30° (capacitive) at 13.5 kHz. A -4- La 10 dB the tri-wire input connectors. cute little curlicue, of little significance (I 7 With the midrange reversed, deepbelieve), is exhibited at 2.9 kHz. Although ' 90 BELOW -45 oFF nulls in the on -axis response ap- the phase angles are not excessive, and the I 0 FRONT AXIS- peared at both crossover points. 45 DEGREES impedance is quite high over a significant 90 ABOVE This indicates near -ideal driver -to - part of the audible range, the low imped- 200 2k 2 0 k FREQUENCY - Hz driver phase relationships through ance in the bass range will make the system both crossover regions. For broad- fairly demanding on a power amplifier. Fig.5-Vertical off -axis est vertical coverage and a for- On a high-level, low -frequency, sine - frequency responses. ward -facing directional beam atwave sweep, no significant cabinet reso- AUDIO/APRIL 1993 56 ROAD THUNDER

MADE IN

Road Thunder Pro is available only where real car audio is sold. For the F OUNDING name of the MTX dealer nearest you or for more information, write us at MTX, 555 West Lamm Road, Freeport, IL 61032. Or call 815-232-2000.

MEMBER nances were exhibited. A mild front -panel quency, the vent reduced the excursion of Single -frequency harmonic distortion resonance at about 300 Hz was evident, the top woofer by a healthy 75% and theversus power for the musical note E1 (41.2 with maximum activity at a point halfwaybottom woofer by only about 50% (again Hz) is shown in Fig. 9. Distortion plots for between the midrange and tweeter. as compared to the vent -covered state), the usual 110 -Hz and 440 -Hz tones are not As compared to the port -covered condi- even though both woofers are in parallel shown because the distortion was so low tion, the port reduced the woofers' excur-and thus should theoretically have thesame that it was below the floor of my measuring sion over a wide range from 19 to 45 Hz, excursion! This loading difference could be gear! The power levels were computed us- with a minimum excursion at 25 Hz, the due tononuniform sound -pressure distri- ing the rated system impedance of 6 ohms. system's vented -box tuning. At this fre- butionin the enclosure. A maximum power of 100 watts (24.5 V At power levels of 100 watts or rms) was set as the upper limit. At maxi- less (about 25 V rms), at frequen- mum power, the distortion reached 4.9% 100 TEF cies near box resonance (between second and a fairly high 18.6% third. The 20 and 30 Hz where port air veloci- fifth was the only significant higher har- 4 2 OHMS B0 ty is maximum), vent noise and monic, at 5.6%. At 100 watts, the system S 83 OHMS 10 turbulence were the lowest I have generates a loud 105 dB SPL at one meter at measured. The system always 41.2 Hz. f a3 OHMS 5.5 OHMS sounded quite clean and effortless Figure 10 displays the 1M created by 3, OHMS at all bass frequencies above 18 Hz. tones of 440 Hz (A4) and 41.2 Hz (E1) of 10 100 1k 10k 20k Although Paradigm describes the equal input power. The 1M distortion rises FREQUENCY - Hz low -frequency part of the system Fig.6-Impedance. as a quasi -third -order resistive - port system, the system performed PHASE RELATIONSHIPS IN as a well -tuned pure vented -box system. Visual inspection of the THE STUDIO MONITOR'S port reveals no added resistive ma- CROSSOVER REGION +18 TEF terial; the port is completely clear ARE NEARLY IDEAL. w 30 kHz on the inside. 14 The maximum excursion of the z 5 Hz z 8 -inch woofers was a generous 1/2 only to the low value of 5.3% at full power, inch peak to peak, with a linear because the system's lower crossover, at excursion of about 0.4 inch peak to 2 Hz 275 Hz, separates the two 1M test tones peak. The woofers overloaded and thus minimizes the distortion. -j 4 Hz quite gracefully and exhibited no Shown in Fig.11are the short-term, 10 kHz dynamic offset problems. peak -power input and output capabilities 8 The Studio Monitor's 3 -meter of the Studio Monitor, as a function of 0 4 8 12 16 room curve is shown in Fig. 8 with frequency, measured using a third -octave RESISTANCE - OHMS bothrawandsixth -octave bandwidth 6.5 -cycle tone burst. The peak Fig. 7-Complex smoothed responses. The system input power was calculated by assuming impedance. was in the right-hand stereo posi- that the measured peak voltage was applied tion, aimed at the listening posi- across the rated 6 -ohm impedance. tion, and the test microphone was The peak input power starts out high, at placed at ear height (37 inches) at about 160 watts at 20 Hz, rises to a maxi- the listener's position on the sofa. mum of 400 watts at the 25 -Hz box tuning, The system was driven with a falls somewhat to 150 watts between 40 and

90 swept sine -wave signal of 2.83 V 50 Hz, and then rises thereafter, reaching 8 rms (corresponding to 1.33 watts kW (220 V peak). Above 500 Hz, the 80 into the rated 6 -ohm load). The di- Studio's power handling essentially kept up rect sound plus13 mS of thewith the highest power systems I have 70 room's reverberation are included. tested! Between 100 and 200 Hz, the limit rA Above 1 60 kHz, the curve is fairly of the speaker system was reached at about smooth but tilts up above 13 kHz. the same point that my test amplifier's 50 Peaks at 170 and 800 Hz occurred limit was reached! This was due to the low 20 100 1k 10k 20k but, excluding the room -effect dip FREQUENCY - Hz impedance of the system through this at 400 Hz, the averaged curve fits range. Fig. 8-Three-meter room into a 10 -dB( ± 5 dB) window response. The upper curve in Fig.11 shows the from 100 Hz to 20 kHz. maximum peak sound pressure levels the AUDIO/APRIL 1993 58 veRIOR SOU s No FOB sy

49 /°AL A NIP

Bryston's

3B NRB

Amplifier

connectors allow unbalanced or balanced operation at the flick of a rear mounted switch. A ground lift switch sepa-

Bryston's new 3B NRB amplifier is a companion piece to rates system ground from audio ground to reduce annoy- the 4B NRB and 7B NRB, with a similarly optimized ing ground loops and system hum. Finally, switchable interface between power supply and signal circuitry, and monaural operation is available if higher power require- the same ultra -linear amplification as its larger counter- ments become necessary.Althoughthe description of parts. Its 120 watts per channel is a popular size for a wide circuit innovations can indicate the research and commit- range of music systems requiring the highest quality source ment we bring to the design of the finest audio products, of power.The3B NRB uses Bryston's proprietary Quad - only in the listening does the result of that dedication Complementary output section, which improves linearity become clear. Bryston's 3B to a new standard of accuracy, while virtually eliminating NRB is capable of doing 0 aggressive higher harmonic distortion products. From justice to the most refined input to output, all the circuitry in the NRB series of amps sound system, with the subtlest details of the musical fab- has been optimized for the most musical amplification pos- ric revealed in their original form.Weinvite you to sible, with dual power supplies to provide precise and experience the musical accuracy, long term reliability and focused imaging.New,three -colour LEDs glow green for excellent value the Bryston 3B NRB represents. power -on, yellow for transient clipping, and red to indicate longer -term overload or any other departure from linearity, including shorted outputs, or strong out -of -band informa- 5;7 Westmore Dr., Rexdale, Ontario, Canada M9V 3Y6 tion, like RF or DC. Gold plated RCA and XLR input Tel: (416) 746-1800 Fax: (416) 746-0308

Brystonvermont, RFD#4 Berlin, Montpelier, Vermont 05602 Tel: (802) 223-6159 Fax: (802) 229-2210

Enter No. 5 on Reader Service Card system can generate, at a distance of 1 me-rapidly to 112 dB at 25 Hz, and after a One complete page of the manual is ter on axis, for the input levels shown in theslight hesitation rises into the very loud devoted to bi- and tri-wiring and to passive lower curve. Also shown is the room gain mid -120s region, where this level of output bi- and tri-amping, with a well -written of a typical listening room at low frequen- matches the peak SPLs of live music (with description of the horizontal and vertical cies, which adds about 3 dB to the response an appropriately high-powered amplifierbi- and tri-amping configurations. Para- at 80 Hz and 9 dB at 20 Hz. however). With room gain, the system's digm suggests aiming the systems toward With room gain, the peak output startsmaximum output exceeds 110 dB above 24 the listening position in order to optimize at a very strong 106 dB at 20 Hz, risesHz and 120 dB above 90 Hz, very respect- high -frequency response and coverage, able low -frequency limits! The with a location well away from any reflect- high maximum output of the Stu- ing surfaces.

100 - dio Monitor at low frequencies For listening, I placed the systems in my MAXIMUM POWER: 100 WATTS 3.0,15.6% ranks it with the best speakers I regular listening positions 8 feet apart and 10 - 5th, 5.5% have tested, which include such 10 feet from my listening sofa, with a

1.0 strong competitors as the B & W spacing of about 5 feet from the rear wall. 12 dB 100 - 801, PSB Stratus Gold, JBL L7, My equipment line-up includes the new Legacy Convergence, and Velo- Krell KRC preamplifier and KSA-250 pow- POWER - WATTS 1 0 dyne and Hsu subwoofers! A stereo er amplifier along with the Rotel and On- pair of speakers can be expected to kyo CD players. Other equipment includes 50 100 150 200 250 ,;LIENCY-Hz reach even higher low -frequency the B & W 801 Series II speakers (I am ar- Fig. 9-Harmonic distortion levels with bass material common ranging to replace these loudspeakers with products for E(41.2 Hz). to both channels. the new Series III versions), and Straight Wire cabling. Use and Listening Tests On first listening, I was surprised how My review systems were sup- very close the Studios sounded to my refer- plied in a good-looking natural ence B & W systems. This similarity ex- 10 oak finish. The systems' cabinetry, tended through the whole frequency range

8 workmanship, and fit were tops. However, Ican't say Ilike the 6 metallic front panel in combina- I CAN ONLY SHOW 4 tion with the rest of the system.

2 The systems are supplied with re- DISTORTION FOR ONE OF movable, adjustable spiked feet, MY USUAL THREE TONES: o which I used part of .the time. 0.1 10 100 POWER - WATTS Moving the systems without the IT WAS UNMEASURABLE Fig. 10-IM distortion for spiked feet attached was straight- FOR THE OTHER TWO. 440 Hz (A4) and 41.2 Hz forward, because their weight is (E1) mixed in equal less than 100 lbs. proportion. The supplied 81/2X11 -inch and even included essentially the same sen- owners manual is well written and sitivity; no level matching was required! four pages long. The actual manual The systems exhibited an open, spacious, is twice this size due to Canada'sclean sound, with excellent soundstaging mandatory French language trans- and powerful bass capability. 130 lation. A warning note on the front On an excellent new acoustic jazz CD I 120 of the manual was quite useful to picked up at the recent winter Consumer me; it warned that if the systems Electronics Show, The Immigrant's Dilem- 110 10k PEAK INPUT POWER are transported or stored below ma by Todd Garfinkle (M A Recordings 100 1k 50° F, they must be allowed to MO17A, an audiophile direct-to-DAT re- WITHOUT warm up to room temperature be- cording done with two B & K 4006 micro- 90 ROOM 100 GAIN fore using (due to stiffening sur- phones), the systems exhibited a vivid real- 80 10 rounds on the midrange and woof- ism and extended, smooth response with a TEF 70 er drivers and thickening of the detailed and expressive high end. The 20 100 1k 10k 20k Ferrofluid used in the tweeter). acoustic bass lines were reproduced partic- FREQUENCY - Hz This caused me to think twice be- ularly well with fine control and extension. Fig. 11-Maximum peak fore testing the systems outdoors On wide -range symphonic material with input power and sound in 39° weather (the warmest recent chorus and soloists, heavy with percussion, output. winter day here in Indiana)! such as the new Dorian Discovery release of AUDIO/APRIL 1993 60 Push the envelope!

FIBER OPTIC CABLES In the world of high technology the term "envelope" is used to des- 111617111M.418,,,,,m,botWor cribe the performance limitatiocs of the equipment. In the world of music and wonder, a diverse group of technically competent products from AudioQuest lets you expand the performance envelope of you audio or video system. The common thread running TOSLINK & ST STANDARD through all the AQ products is ANALOG INTERCONNECT CABLES that they offer the most improve- ment for the least money. No system is so poor or so perfect that using AudioQuest products won't make a wonderful improve- ment. The only proof is in the products themselves - please put us to the ultimate test - listen and look for yourself.

-CARTRIDGES, ARMS & ACCES. SEVEN MODELS

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-GREAT MUSIC -GREAT SOUND- SIXTEEN MODELS AC POWER CABLES audioquest P.O. Box 3060 San Clemente, CA 92674 USA TEL (714) 498-2770 FAX (714) 498-5112 Distributed in Canada by Audio Products International, 3641 McNicoll Ave., Scarborough, Ontario M1X 1G5 Tel: 416-321-1800 Venezuelan Antonio Estevez'sLa Cantata V. Criolla (DIS-80101), the systems demon- CAW strated an excellent soundstage, with good width and depth, coupled with first-rate re- CONVERT*, covery of recorded ambience. On most program material, the Para- digm systems were so similar to my refer- ence systems that if I directed my attention elsewhere (thus removing directional cues to source identification) by facing to the side, or standing up behind my listening couch and facing to the rear, I virtually could not tell the difference when switch- ing from one system to the other! One source where I could tell the difference, however, was on Clair Marlo's solo singing on Let It Go (Sheffield Lab CD -29), where she sounded slightly more open and crisp All JERROLD, OAK, HAMLIN, ZENITH, SCIENTIFIC ATLANTA, PIONEER and all spe- on the reference systems. cialized cable equipment available for shipment within 24 hours. 60 Day Guarantee. On pink noise, when sitting down, there QUANTITY DISCOUNTS AVAILABLE. MCNISA or C.O.D. telephone orders accepted. were minimal tonal differences when com- Send self-addressed stamped envelope (60C postage) for FREE CATALOG pared to my references. Evenness of vertical coverage on pink noise was good on the INFORMATION/ORDERS P.O. Box 5000 stand-up, sit-down test, but not as uniform MIDWEST Suite 311K ,ELECTROnICS inc. Carpentersville, 1-800 as my references. The Studios exhibited Illinois 60110 648-3030 some upper -midrange suckout when I was Note: Decoders and Descramblers must not be used standing. without authorization by your local cable operator. NO ILLINOIS ORDERS ACCEPTED On band -limited, third -octave pink noise, the Studios did extremely well on all TECHNOLOGY UPDATE the low -frequency bands. As compared to the B & W systems, the 20- and 25 -Hz Space age speaker... bands were the only ones with slight differ- ences, mainly in the higher frequency wireless breakthrough! sound the port generates when the air New wireless technology broadcasts velocity is high. The B & W port produced music through walls, ceilings and floors a swishing sound, while the Studios had a slight tonality to the air rush sounds, which Ever drag your stereo system into another room of your house so you could listen may be due to organ -pipe resonances in the to it? Now, with these amazing new wire- port. The B & W sounded slightly cleaner less speakers you won't have to. on these two bands when generating the 150 foot range.Datawave's water resistant wireless speaker uses patented technology for a same fundamental sound level. 150 foot range through your home's walls, floors, The systems can get down and boogie and ceilings. Each speaker has a volume control when required! This was demonstrated on/off switch and a vertically suspended base Factory direct offer.For a limited time, we with the bass guitar and kick drum on the reflex speaker to provide a 360 degree surround are uttering the Datawave wireless speaker sound patten. Designed in a convenient book- directly to you far below the $149 retail price... "We Will Rock You," and "Fat Bottomed shelf size(8.5"H x 45"W x 4.5"D),it operates on Girls" tracks on Queen's Greatest Hits CD four 'C' batteries or an optional AC adaptor. Datawave Transmitter* $29 $2 S&H First Wireless Speaker $79 $6 sat-i (Hollywood HR -61265-2). Fairly clean lev- Easy installation.The transmitter plugs into Each Extra Speaker $69 $6 S&H els of 95 to 98 dB SPL, A -weighted and 103 a head phone, audio -out or tape -out jack on your 'You need at least one transmitter to operate speakers. stereo, CD player, VCR, or TV. You can use one to 105 dB with C weighting could be gener- Please mention promotional code AU110 3. transmitter to send both left and right channels ated. Cathedral pipe organ was also repro- to an unlimited number of speakers. Or you can For fastest service, call toll -free 24 hours aday use two transmitters to send the left and right 800-992-2966 duced on a satisfyingly big scale with room - channels separately to get stereo separation on shaking bass from the pedal notes. as many pairs of speakers as you want. I = Does the Studio Monitor meet its goal of TOOf(lciI,viu.nl send check or 111,,ncy order for the Try them risk free.Let's face it. The best keeping up with the big -guy, high -end sys- way to test a speaker is to listen to it in your total amimin or enclose your credit card number and exp. date (VA re.idenis addi .ales tax). Send to home. That's why we give you a full 30 days to tems at only half the price? You bet! Check try our speakers. If you're unsatisfied, return sErg._1777.a_rd them out for yourself. D. B. Keele, Jr. them for a full "No Questions Asked" refund. INDUSTRIES You also get a 90 day manufacturer's warranty. 2820 Waterford Lake Dr. Suite 106 Midlothian, VA 23113 AUDIO/APRIL 1993 62 'HE NEW AERIUS SPEAKER FROM MARTIN LOGAN LTD. SO MUCH TECHNOLOGY WE HAD TO CUT IT IN HALF TO FIT IT ON THIS PAGE Sometimes it's not what you see, but what you don't Martin Logan invented the Curvilinear Electrostatic ee. That's true of the new Aerius Speaker from Martin Speaker. And we packed all this technology intoa very -ogan. What you do see is a speaker. Sleek. Elegant. intelligently sized package. What you don't see are the components of a tradi- We may have had a 4fflcult time putting all this on tional speaker. After all, it looks like we put nothing one page, but you'll have no problem sticking all of the )ehind the grill.What you're not seeing is our music in your ear. electrostatic Driver that incorporates an ncredibly advanced Vapor Deposited viembrane. You can see right through it. . design that allows for the soft subtleties of MARTIMOGAII, LTD. 3rahms to come through crystalline and THE ELECTROSTATIC TECHNOLOGY lawlessly. But just crank up some of your 913-749-0133 New Aerius 'avorite rock & roll and get busy. P.O. Box 707 Lawrence, Kansas 66044 $1,995.00 pr. reduce impulse noise, manually or auto- EQUIPMENTPROFILE matically selectable audio bandwidth, con- nections for an external AM antenna, and the capacity to pick up all stations on the newly expanded AM band (now 540 to DENON TU-680NAB 1,700 kHz). If stereo is included, an AMAX tuner must be able to decode the Motorola - "SUPERRADIO" developed C-QUAM system. According to Denon, the TU-680NAB is the first tuner to incorporate all of the AMAX requirements,

Ior some years now, I have bemoaned Standards Committee (a joint effort of the and the NAB is offering it directly to its the fact that the AM circuitry in most Electronic Industries Association and the member stations. "high-fidelity" tuners and receivers NAB). The NAB has also set up a certifica- Both the FM and AM sections of the TU- does not take advantage of the signal tion standard, called AMAX (AM at its 680NAB have selectable bandwidth but not quality that AM stations are capable maximum) for high-fidelity tuners. To get in quite the same way. The FM section has of transmitting. As readers of Audio's selectable wide or narrow if. bandwidth, tuner reports know, AM frequency re- with the narrow setting used for increased sponse typically rolls off at around 2.5 kHz THE DENON TU-680NAB selectivity in areas where stations are close- or, in exceptional cases, at 4 or 5 kHz. Yet ly spaced on the dial. The AM section has AM broadcasters can transmit signals IS BOTH A BYPRODUCT selectable audio bandwidth; the "Wide" whose response extends far beyond this AND A JUSTIFICATION OF setting has a rated bandwidth of 7.5 kHz, limit. TODAY'S IMPROVED AM while the "Narrow" setting varies automat- To show how good AM could be, the ically with signal strength, narrowing as far National Association of Broadcasters BROADCAST STANDARDS. as 3 kHz when conditions call for it. The (NAB) commissioned a "SuperRadio" tun- AM section also incorporates a noise - er from Denon, originally made for NAB blanking circuit that significantly reduces members but now available to audio en- AMAXcertification, a tuner must have interference from such sources as fluores- thusiasts. The project resulted from the frequency response from at least 50 Hz to cent lights and electric motors. According improved AM broadcasting and reception 7.5 kHz, with correct NRSC de -emphasis; it to Denon, this circuit detects and suppress- standards developed by the National Radio must also have automatic noise blanking to es impulse spikes, filling in with a portion AUDIO/APRIL 1993 64 of the preceding signal. The button thattually all the tuner's functions, is supplied. bered buttons and an "Enter" button, used actuates noise blanking in AM mode alsoThe remote control also has a "Preset in entering and recalling preset stations. switches in the multiplex filter for FM. Scan" button that is not found on the tun - The rear panel of the TU-680NAB is Confusingly, Denon has labelled this but- equipped with a bracket for the AM loop ton "NR/NB," implying that the multiplex antenna. Terminals are provided for this A NOISE -BLANKING filter is some sort of noise reducer; actually, AM antenna and for an external or outdoor the only connection to "NR" is that the CIRCUIT SIGNIFICANTLY antenna, as is an F -connector for a 75 -ohm filter enables a tape deck's Dolby noise -re- REDUCES AM ELECTRICAL coaxial FM antenna lead and the usual left duction circuits to work properly when and right phono jacks for audio output. INTERFERENCE. taping a signal from this tuner. Although Denon and the NAB empha- Up to 30 channels of either AM or FM size the AM performance of this compo- can be stored in memory for instant recall. er'sfront panel. Supplied accessories in- nent, I was equally interested in finding out A remote control, capable of handling vir- clude the usual stereo interconnect cable, just how good its FM circuitry is. After all, FM ribbon antenna, and snap -on AM loop antenna. Separate con- AWLI7A, DENON r11-68041te nections are provided for an exter- +4 SPECS nal AM antenna, so the loop need IF AP AM 1 not be disconnected when an out- 0 FM __411141);;IDE-1 FM Section door antenna is used. (According WIDE -4 a. Usable Sensitivity: 11.3 dBf. to Denon, disconnecting the loop NARROW NARROW 50 -dB Quieting Sensitivity: Mono, antenna from this or most other 15.3 dBf; stereo, 37.2 dBf. AM tuners will change the reso- -arII Frequency Response: 20 Hz to 15 nance of some front-end circuits, ?r) 100 Ik 10k 20k kHz, +0.5, -1 dB. preventing proper operation even FREQUENCY - Hz S/N: Mono, 88 dB; stereo, 82 dB. when an external antenna is substi- Fig. 1-Frequency THD at 1 kHz: Mono, 0.06%; ste- tuted for the loop.) The tuner's response. reo, 0.1%. AM frequency band extends from Capture Ratio: 1.3 dB. 520 to 1,710 kHz, covering the Image Rejection: 80 dB. expansion of the AM band recently I.f. Rejection: 100 dB. authorized by the FCC. Alternate -ChannelSelectivity: "'IUD 0 OUTPUT Wide, 50 dB; narrow, 75 dB. Control Layout -20 Separation: 50 dB at 1 kHz. The "Power" switch and re- AM Suppression: 60 dB. mote -control sensor are at the far - 40 left of the panel. Just to their right STEREO NOISE AM Section is a display that shows the current - 60 Frequency Response: 50 Hz to 7.5 tuning frequency, preset number, kHz, +1.5, -3 dB. radio band, tuning mode ("Auto" -80 - MONO NOISE Channel Separation: 32 dB at 1 kHz, or "Manual"), reception mode 50% modulation. ("Mono" or "Stereo"), and which 20 40 60 80 THD for 50% Modulation at 1 kHz: of the mixed AM/FM preset banks SIGNAL INPUT - dBf Mono, 0.3%; stereo 0.5%. is in use. The display also shows Fig. 2-FMquieting characteristics; seetext. S/N: Mono, 53 dB. the presence of a signal, even if it's too weak to be indicated by the sig- General Specifications nal -strength section of the small Power Requirements: 120 V, 60 Hz secondary display further to the a.c., 12 watts. right. This secondary display also Dimensions: 17'/16 in. W X 2'sA6 in. indicates the current bandwidth H X 115/16 in. D (43.4 cm X 7.4 and if the noise blanker and multiplex filter to be dubbed a "SuperRadio" implies that cm X 28.7 cm). are on. its performance is super in all respects. Ac- Weight: 6.8 lbs. (3.1 kg). The right half of the panel is dedicated to cordingly, I tested FM performance before Price: $650. pushbuttons, including "Memory" for stor- tackling the AM section. Company Address: 222 New Rd., ing station frequencies and others for auto/ Parsippany, N.J. 07054. manual tuning, "Bandwidth," "NR/NB," FM Measurements For literature, circle No. 92 AM/FM "Band" selection, and "Tuning Figure 1 shows frequency response. De- (Down/Up)." Below this row are 10 num- spite a rise of almost 2 dB at 10 kHz, overall AUDIO/APRIL 1993 65 FM response extends out to 15 kHz. We'll"Auto Mute/Manu" button, which con- Note, too, that the 19 -kHz pilot carrier has get to AM performance later, but note howtrols muting, automatic or manual tuning, been suppressed by 80 dB, while the side - well the AM section's frequency response, and mono switching. Stereo reception is bands of the suppressed 38 -kHz subcarrier, superimposed for comparison, stands up toonly possible when this button is set to at 33 and 43 kHz, are attenuated by almost that of the FM section. "Auto Mute." Stereo muting occurs some- 60 and 65 dB, respectively. As for the Figure 2 shows FM quieting characteris- where below 30 dBf, by which time S/N is output of the unmodulated channel, 5 -kHz tics for both mono and stereo, as a function already well above 40 dB. This is typical of crosstalk is down some 40 dB relative to the of incoming signal strength. In mono, 50 - sets that combine the muting and mono/ dB quieting is achieved with input signals stereo switching functions in a single con- of only 15.3 dBf, exactly as claimed by trol; such sets can only receive stereo sig- Denon. To measure this, I had to press thenals whose signal strength exceeds the mut- EVEN IN NARROW -BAND ing threshold. In the TU-680NAB, MODE, THE AM SECTION'S DISTORTION E BOISE VERSUS FREGUEMCY; FM SECTION DEMON TU -6BONAB this threshold has been set at just FIDELITY WAS BETTER about the right level. _L. THAN I'VE HEARD FROM Figure 3 is a plot of THD + N STEREO versus modulating frequency. In AM IN MANY YEARS. mono, THD + N at 1 kHz is a very

MONO low 0.057%, increasing to 0.085% at 100 Hz and a bit over 0.1% at 6 reference level. Other harmonic compo- 0.01 kHz. For stereo reception, THD + N nents and subcarrier components are also 50 100 Ik 10k 20k measures just over 0.1% at mid - adequately attenuated. FREQUENCY - Hz frequencies, increasing to 0.17% at Alternate -channel selectivity measured Fig. 3-THD + N vs. FM 100 Hz and to 0.16% at 6 kHz. 60 dB in the wideband mode, increasing to modulating frequency. Figure 4 shows how distortion of a 77 dB when the narrow mode was selected. 1 -kHz modulating signal varies Image rejection exceeded the published with signal strength. For a 65-dBf spec; it was 85 dB, as against 80 dB claimed. TIC WISE VS. SIGNAL LEVEL,FM SECTION DEMON TU 6B0NS8 TUNER signal, THD + N is 0.07% in mono AM suppression was exactly 60 dB, as 3 and 0.08% in stereo. claimed, while capture ratio measured 1.2 Figure 5 shows frequency re- dB. I.f. rejection was in excess of the 100 dB --I- 4- sponse and channel separation for claimed.

I FM, with the AM section'sre- sponse and separation overlaid for AM Measurements N.., STEREO 0.1 comparison. In the FM mode, sep- What a pleasure it was to finally come 4 MONO aration is excellent, reaching nearly across a tuner whose frequency response in 50 dB at 1 kHz and maintaining AM extends well beyond 5 kHz. In fact, as t that level at 100 Hz. At 10 kHz, the was shown in Fig. 1, response in the wide - 0.01 0 20 40 60 80 separation remains greater than band AM mode extends way out to 9.2 kHz SIGNAL INPUT -dBf 30 dB. before the attenuation reaches 3 dB! (In Fig. 4-THD + N vs. FM A further test of stereo FM per- other tuner reports, I usually use a more signal strength. formance involved a spectrum permissive 6 -dB criterion for AM frequen- analysis of the modulated (left - cy response.) Even when I used the narrow channel) and unmodulated (right - mode, frequency response of this remark-

SEPARATION WEN 'S MEOUENCT IN,I, TENON TU-6BONAO channel) outputs of the tuner for a able AM section extended beyond 6 kHz 5 kHz left -only signal modulating for a 10 -mV signal. At the bass end of the my FM signal generator (Fig. 6). spectrum, the -3 dB point was reached at The top curve shows the reference approximately 50 Hz. output level of the 5 -kHz signal Figure 7 shows how THD + N varies (peaking at 0 dB) as well as har- with frequency for the AM section, with monic components at 10 and 15 modulation levels of 90%. At 1 kHz, the -40 kHz and at 5 -kHz intervals out to THD + N measures 1.2% in the wide mode FM the end of the sweep. Even the and increases slightly, to 1.4%, in the nar- greatest of these harmonic compo- row mode. Note that the published specs -60 30 100 1k 10k20k nents (that at 10 kHz) is down for AM distortion were given for 50% FREQUENCY - Hz about 70 dB below reference level, modulation. At that modulation level, the Fig. 5-Frequency response equivalent to a second -harmonic claimed THD figures of 0.3% in mono and and channel separation. distortion level of only 0.03%. 0.5% in stereo were met or surpassed. AUDIO/APRIL 1993 66 PURE PERFECTION

The unique Celestion 300 Transmission Line balanced high fidelity sound, makes this floor standing loudspeaker with its slim and beautifully finished cabinet, loudspeaker a unique listening experience. transcends expectations. The new Celestion 300 joins the award winning The newly designed Celestion Transmission Line Celestion 100 to create pure perfection in two exceptional system-C.T.L.*- produces a deep extended and dynamic loudspeakers. bass response, which, combined with its perfectly Unmistakably Celestion.

1 0 03 0 0

Patent applied for CELESTICITI 89 Doug Brown Way Holliston, Mass. 01746 Voice: (508) 429-6706 Fax: (508) 429-2426 Enter No 12 on Reader Service Card Harmonic distortionitself, without the the 1940s and 1950s, AM receivers-then noise component, was just under 1%, as in the majority-sounded a lot better than measured by spectum analysis of a I -kHz most AM tuner sections do today. The AUDIO Denon TU-680NAB is a happy exception THE EQUIPMENT AUTHORITY to this unhappy trend.) Perhaps the most SUBSCRIBER SERVICE startling revelation occurred when I tuned TO MY EARS AND OTHERS', to a classical music station on the FM band THE AM ACTUALLY that also simulcasts on AM. This enabled me to switch back and forth between them SOUNDED BETTER THAN while listening to the same program.I AN FM SIMULCAST! know you may find this hard to believe, but to my ears (and to those of several visitors

signalat 90% modulation. Ulti- Place mate S/N, with strong signals ap- label 0 40 plied, was 55 dB for monaural op- here erations, as against 53 dB claimed. - 40 As shown in Fig. 5, channel sep- MODULATED

aration in AM is just over 24 dB at - 80 -40 1 kHz, regardless of the audio UNMODULATED bandwidth setting, and it is more - 120 -80 than adequate. At 100 Hz, separa- \ kAttm: t tion is approximately 23 dB for -160 - "1"j"it""Y`t'i'l-120 either bandwidth setting. At 6 kHz, 0 10 20 30 40 50 MOVING? Please giveus 8 it decreases to just over 8 dB for ei- FREQUENCY . -kHz Fig. 6-Spectrum analysis, weeks advance notice. Attach ther mode at the 10 -mV r.f. signal showing FM stereo label with your old address, and level I use. write in new address below. crosstalk and distortion products. Use right-hand RENEWING? Check box Use and Listening Tests scale for bottom curve. below and attach label with cor- I hooked up an ordinary indoor rections marked, if any. dipole antenna to the FM antenna terminal and oriented the dipole SUBSCRIBING? Check towards the west, in the direction OISTOREION NOISE VERSUS FREINIEPCI, 41. SECTION, SENN T11-600NI3 TUNER box and fill in coupon. For gift sub- 5 71,, 1-TI1' I 11.'- scriptions attach a separate sheet. of most of the transmitter anten- l 1 ! -?1 . I

nas in my metropolitan area. Un- 1 1,-+ NARROW I i1 der these conditions, I was able to Send Audio for 1 year at $24.00 ------...... W I DE lj receive no fewer than 53 acceptable ._.t.. O New subscription 0 Renewal II i signals in mono, nearly a half doz- 50 100 1k 10k O Payment enclosed 0 Bill me en more than I've usually gotten RFT,I)Fr:,-'y Canadian orders add $8 per year. Fig. 7-THD + N vs. AM Foreign orders add $8 per year. with typical "hi-fi" tuners and re- ceiversI have tested in the last modulating frequency, with several years. Switching to the monophonic input signals. NAME automatic tuning mode (thereby activating stereo circuitry),I ADDRESS logged some 43 acceptably noise - free stereo signals on the FM band. CITY Orienting the supplied AM loopstick for in my lab when these tests were going on), best reception, I then switched to the AM the audio quality of the AM transmission STATE band and logged 26 acceptable signals. actually seemed better than that of the FM There was little difference in the signal band! /II' count when I switched from automatic to Denon deserves to be congratulated for manual tuning mode. A few of the stations its effort. The TU-680NAB "SuperRadio" 1(303) 447-9330 exhibited less interference when I switched may very well inspire other equipment to the narrow -band mode, but even then, manufacturers to follow a similar course in AUDIO audio fidelity was better than I have heard designing tuners and receivers. P.O. Box 52548 from an AM tuner in many years. (Back in BOULDER, CO 80322 Leonard Feldman AUDIO/APRIL 1993 68 How do you mate a dipole with a dynamic woofer?

After 22 years, most audiophiles know With the careful placement of a high quality Magnepanis an outspoken critic of hybrid subwoofer system, the MG -10 can achieve a designs. We knew any attempt to mate a dipole seamless sound that even your ears may not with a dynamic woofer would require a very low detect. crossover point. Getting that from a narrow From 80Hz to the sky highs from the Quasi dipole proved to be the tricky part. Ribbon tweeters, the MG -10isvintage Introducing the Magneplanar--you'll love it! Magneplanar MG-10/QR Suggested Retail $1175/pair. (In -wall version $1095,pair) At 101/2 inches wide, the MG -10 offers elegant styling and an 80Hz crossover point which is 2 or III MAGNEPAN 3 octaves lower than most other designs. 1645 Ninth Street, White Bear Lake, MN 55110 Enter No. 17 on Reader Service Card AURICLE second the analog control section, and the third the analog output sec- tion. This helps isolate the sections to reduce noise. One set of gold- SOUNDSTREAM DAC1 plated pin -jack analog outputsis provided. D/A CONVERTER The simple chassis, black -painted steel with white lettering, is 17 inch- es wide, just under 2 inches tall, and just over 7 inches deep (including the jacks). The circuitry occupies less than half this space. Everything except the power jack and LED is mounted on a single board,71/8 inches X 43/4 inches, at the right rear of the enclosure. Construction qual- ity is good. Large components are affixed with silicone adhesive, small components are neatly mounted and well soldered, the board is designed with plated -through holes and protected with a solder mask, and metal -filmresistorsareused throughout. The DAC1 is based on the Ya- maha YM3623B DIFRC (Digital In- terface Format Receiver Chip), a oundstream'sDAC1, a The DAC1 is trivially simple to Burr -Brown DF1700P dual -channel stand-alone digital -to -analog use. It has no controls, even though digital interpolationfilter, and a converter, resulted from a it accommodates three digital Burr -Brown PCM67P dual -channel collaboration between sources (one via a Toslink optical 18 -bit D/A converter-all recent - Soundstream and Krell Digi- jack and two via 75 -ohm coaxial vintage devices. Each of these chips Stal engineers. At $695, it's far cable), because it automatically se- is socketed; this raises an interesting less expensive than Krell's own lects between them. You can perma- possibility, as we shall see later. products and is one of the least nently connect three sources and se- The Yamaha DIFRC feeds the dig- expensive stand-alone converters lect the one you want by powering it ital filter directly and generates the up. If more than one sourceis system clock from a crystal oscilla- powered at a time, the DAC1 gives THE DAC1 SELECTS tor. The Burr -Brown filter is a three - highest priority to the optical input, stage device with 20 -bit internal AMONG ITS THREE INPUTS next priority to coax 1, and lowest arithmetic. Each stage oversamples AUTOMATICALLY, WITH priority to coax 2. by a factor of 2. The first stage has NO CONTROLS NEEDED. The unit is powered by an exter- 153 taps, the second 29 taps, and the nal 12-V d.c. supply, which should third 17 taps. Total oversampling be placed well away from audio sig- rateis eight times, and the filter available. Like other such devices, its nal lines to minimize hum and affords a stop -band rejection greater raisons d'etre are the superior perfor- noise. The supply cable plugs into a than 110 dB, with a passband ripple mance that can come from isolating phone jack, and you can leave the within ± 0.00005 dB. the converter, electrically and physi- system on permanently (if you don't The DF1700P filter offers select- cally, from the CD player proper and mind the converter's green power able 16-, 18-, or 20 -bit output data the convenience of routing all digital light glowing constantly) or plug it formats; Soundstream chose the sources through the same converter. into a switched outlet on yourmiddle road in handing off to the preamp. Inside, a 100 -kHz switching PCM67 converter. The PCM67 is a Company Address: 120 Blue Ra- circuit converts the 12 V d.c. into hybrid 18 -bit chip that aims to com- vine, Folsom, Cal. 95630. three separately regulated power bine the low -noise performance of a For literature, circle No. 93 sources, each with an e.m.i./r.f.i. fil- traditional R -2R ladder converter ter. One feeds the digital circuitry, a with the excellent low-level linearity AUDIO/APRIL 1993 70 1Refined topology with no ICs in signal path.2Hand -matched J-FET pairs for balanced differential drive.3More precise drive circuit board layout.4Gold switches select balanced differential/unbalanced direct.5Temperature stable gold -tip Holco feedback resistors. 6Roederstein Resista series metal film resistors.7Faster tracking, wider range DC servo circuits.8Higher speed premium grade DC servo ICs.9Silver -clad internal wiring with improved shielding.10Sturdier premium gold RCA jacks.11Improved heat sink thermal 3O IMPROVEMENTS THAT ARE MUCH EASIERToHEAR THANToREAD. dissipation.12Lavish application of film bypass capacitors.13Improved 60 ampere speaker pro- tection relays. 14 Higher quality, high speed 15 amp output transistors.15Separate coarse and fine bias trim adjustments.16Modified power supply printed circuit board.17Custom -designed, hand fabricated AC power cord.18Greater bass extension, control and pace.19Greater common mode rejection.20More liquid midrange, sweeter high -end.21Unconditionally stable with any load.22Superior crosstalk and separation to beyond 20kHz.23Less higher -order harmonic distortion.24More focused, deeper soundstage.25More pure Class A power available.26Lower noise floor and improved S/N ratio.27Higher continuous power output. 28Gold bi-wire speaker terminals accept larger gauge wire.29Elegant new internal layout.30All topped off with our new look and style.

..4111111111;

As you can see, we've made a number of improvements to our premier amplifier. But to really appreciate our John Curl -designed HCA-2200" Ultra High Current Amplifier, visit your nearest Parasound dealer. Then, close your eyes and open your ears. Because listening to one of thefinest high -end amplifiers is a vast improvement over reading about it.

PARASO U N D affordable audio for the critical listener

Parasound Products, Inc. 950 Battery Street, San Francisco, CA 94111 1-800-822-8802 Fax 415-397-0144 In Canada, distributed by: Absolute Sound Imports, 7651 Granville Street, Vancouver, BC 604-264-0414 (low distortion) of a one -bit converter.which Soundstream chose the least expen- dB. The EIAJ dynamic range was 93.4 dB Internally, the 10 most significant bits aresive. The PCM67P-J is specified at 6 dB less on the left channel, 94.3 dB on the right. converted by a laser -trimmed R -2R ladder;THD + N, and the PCM67P-K exhibits 10 I exercised the Soundstream DAC1 at the eight lower bits are converted by a one -dB less THD + N. Since Soundstream has 48 kHz, using a DAT source and live re- bit converter that uses a first -order noisesocketed the chip, the adventurous soul cordings. Performance was at least equiva- shaper. could give a go at upgrading. The chips are lent to-arguably, a slight improvement This approach doesn't eliminate theinterchangeable and do not use external over-the DAT recorder's internal con- "major carry error" (low-level nonlinear-MSB adjustment, so a simple swap is all verter. (The DAT machine, of first -genera- ity) of a ladder converter completely. So, to that's needed. Since that may void the tion vintage, uses a 16 -bit ladder DAC.) reduce the audibility of the error, Burr -warranty and may not do a whole lot of Most of the serious listening was done with Brown offsets the data by nine bits to raise good, I'm not necessarily suggesting it, but 44.1 -kHz sampling, using CDs, under sin- the level at which the nonlinearity occursit's an interesting thought! gle-blind conditions. (I didn't know which (thereby making the fixed error a lower Aside from its THD + N shift and the converter was being used, but my compan- percentage of the signal) and compensates slight companion increase in nonlinearity ion, who was doing the switching, did.) for the offset (when it is used) by injectingbetween -40 and -50 dB, the DAC1 ac- The comparison was against a high -quality an offset current equal to the weight ofquitted itself quite well in bench tests. Re- CD player with a one -bit MASH converter. bit 9. sponse was truly "ruler flat" (within +0, Levels were matched to ensure a valid com- This hybrid approach reduces some of-0.08 dB from 10 Hz to 20 kHz on either parison. the problems with one -bit DACs. Sincechannel), and interchannel phase error was Although the differences were subtle, I high-level signals are not converted by theno more than 0.065° from 5 Hz to 20 kHz. (and my companion, when we switched one -bit system, the clock rate needn't be soObviously, Soundstream and Krell paid at- roles) could identify the converters with high; in fact, the one -bit portion of thetention to the output filter (which, by the sufficient reliability to convince me that we PCM67 chip operates directly from theway, is built around Signetics NE5534AN were hearing differences. Most of these system clock, eliminating the need for aop -amps and is followed by a discrete related to imaging, which was a bit deeper second oscillator and possible jitter prob- Class -A output stage). and broader on the DAC1 than on the lems. Also, "out -of -band noise" is lower in player. This can be pleasant on orchestral amplitude than with a full one -bit system, works (and, perhaps, with LaserDiscs, THE DAC1'S SIMPLICITY, so a simpler first -order noise shaper will where the Dolby Pro -Logic surround cir- move it into the ultrasonic region. FLEXIBILITY, PRICE, AND cuit might derive more spatial information Problems (if any) with a hybrid ap- IMAGING MAKE IT WELL to work with) but can be less advantageous proach are likely to occur at the point on a solo recording. WORTH AUDITIONING. where the two DACs are married. Indeed, In particular, on the Kubelek recording the DAC1 's THD + N levels shifted of Chopin's Third Ballade (Dorian DOR- abruptly as signals fell from -40 to -50 dB. THD + N versus frequency (at 0 -dB90102), I found the DACl's imaging more In the left channel, THD + N dropped bylevel) was less than 0.0060% on the leftnebulous and less precise than that of the 4.3 dB (from -89.3 to -93.6 dB below channel and less than 0.0085% on the right CD player. The same was true of Elly maximum signal level), while in the right from 20 Hz to 20 kHz. Linearity error on Ameling's voice on An Die Musik (Philips channel the drop was even larger, 11.4 dB the left channel, without dither, was less410037-2) and Gidon Kremer's violin on a (from -83.3 to -94.7 dB). Although this is than 0.07 dB at -60 dB and reached 2.53 dBBrahms concerto (Deutsche Grammophon not exactly where I would have expected to at -90 dB. With dither, the error was less410029-2). On the other hand, with a full see the problem with a nine -bit shift, it's than 1 dB at -80 dB and 1.64 dB at -90 dB. orchestral work like Mahler's Symphony reasonably close and I have no other expla- Right -channel performance was even bet- No. 2, "Resurrection" (Telarc CD -80082), nation for the observed data. Furthermore, ter: Less than 0.016 dB at -60 dB and 1.87the depth given the rear brass was much my measurements also showed a slight rise dB at -90 dB without dither, topping out at appreciated. The only audible artifactI in nonlinearity (+0.055 dB on the left 1.00 dB at -90 dB with dither. Channelcould attribute to the glitch in converter channel, +0.092 dB on the right) at the -40 separation was 73.2 dB at 16 kHz, im- response around -40 dB came about 19 dB level. Comparing spectral analyses of 1 - proved to 84.2 dB by 4 kHz, and maxed out minutes into the final movement of the kHz tones at -40 and -60 dB suggested to at about 92 dB at 1 kHz and below. Mahler, where the soft flute was somewhat me that the increased "THD + N" at -40 At 1.99 V, output level was typical, and more "hairy" with the DAC1 than with the dB was more noise than distortion, al- the channels balanced within 0.03 dB. Out- one -bit MASH. though there was a small difference in put impedance (125 ohms) is low, so there Soundstream's DAC1 has enough going second harmonic content as well. should be little problem driving relatively for it in simplicity, flexibility, and price to It must be stated that the test data meets long interconnects. When fed a digital ab- make it worth auditioning by anyone inter- Burr -Brown's specificationsforthesolute -zero signal, A -weighted noise was ested in a stand-alone converter. For large- PCM67P chip. It also should be stated that-100.7 dB relative to maximum output;scale works, the depth of imaging alone is the PCM67P comes in three grades, ofwith a signal, quantization noise was -90.2 worth a listen. Edward J. Foster AUDIO/APRIL 1993 72 . a wonderful loudspeaker that has no competition at its price point." M.G.D., BOUND FOR SOUND

Focus

ACCEPTING SPEAKER TRADE-INS ON MAJOR BRANDS iSTCJAC(i) distributed by Reel to Real Designs 3021 Sangamon Ave_ Springfield, IL 62702 ,,, dealer and export inquiries invited 1.800.283.4644 1 -ax: 1.217-744-7269 SINCE 1983 Enter No. 25 on Reader Se rice Card and camaraderie developed. Indeed, AURICLE as soon as the Important Audio Critics realized that Lirpa's machine could do all of their tedious evaluat- LIRPA ing, rating, measuring, and writing, they began to look at it with new INFLATABLE respect and stopped spitting atit. Quite a few rounds later, a consen- AUDIO REVIEWER sus developed that the Lirpa Inflat- able Audio Reviewer would free up Important Time of Important Audio Critics for attending trade show par- ties, reselling review equipment, and making personal appearances on late -night cable access programs. At that moment, every critic requested a no -cost loaner for an extended evaluation. By 4 a.m., the Important Audio Critics had accepted the Lirpa Inflatable Audio Reviewer as one of their own. They drunkenly carped to it about editors, argued with it about the contents of reviewsithadn't written, speculated about the per- sonal habits of absent reviewers, and offered to get it extremely drunk at the next CES. The basic operating premise of the Lirpa Inflatable Audio Reviewer of content with stretching the Obvious Improvement. Deeply is that the reviewer and the review- the limits of physics, credu- convinced that no price is too high ing process introduce distortion and lity, and the law, Prof.I. to pay to be told that you spent the deviation from the Expected Typical Lirpa now turns his atten- rest of your money wisely, Lirpa Rational Outcome. In simple electri- tion to The True Meaning decided to end these messy disagree- cal terms, negative and positive re- of Stereo with the Lirpa In- ments. His new system assures you viewer biases are fed back through flatable Audio Reviewer, which is an that you bought the very best stuff the review to the consumer. By mea- integrated computer hardware and money could buy, when such assur- suring and tabulating reviewer dis- software system using artificial intel- ance is warranted. ligence to provide Important Audio The result of six years of nearly Critic opinions and disinformation consistent research, the Lirpa Inflat- NOW IS THE TIME in your home. Based on personal ex- able Audio Reviewer was introduced perience, Prof. Lirpa observed that in January at the Winter CES during FOR ALL GOOD MEN inviting audiophile friends over to a blockbuster party at the Little Cha- TO COME TO THE AID your house to audition the equip- pel of Las Vegas. Regrettably (but OF THEIR PARTY. ment that precipitated your divorce predictably) the initial reactions of can become a high -impact contact the invited Important Audio Critics sport when these friends can't hear were unreasonably hostile and vio- tortion on known signals and lent. Indeed, fragmentary and con- sources, Prof. Lirpa realized that a Company Address: Lirpa Labs, fused reports of the unfortunate en- paradigm representing individual Main & Elm Sts., New York, suing melee made it into the local reviewer distortion could be applied N.Y. 10101. newspaper, under the headline: to any other new, unknown system. For literature, try going to a li- "Transvestite Marriage Interrupted Through careful analysis of the dis- brary; to order direct, call the by Prison Escapees:' tortion products of a large popula- Lirpa Inflatable Audio Review- After the police restored order tion of reviewers, an Archetypical er hotline, (800) 555 -LIAR. and the promised open bar was Jungian Reviewer Pattern was estab- opened, a warm glow of acceptance lished. Once the base distortion and

AUDIO/LIRPA 1993 74 NOW DIGITAL SOUND FITS IN A CASSETTE BOX.

INTRODUCING DCC. THE DIGITAL COMPACT CASSETTE.

Presenting the Digital Compact Cassette, a What's more, you'll be able to enjoy DCC cassettes at breakthrough in both digital and cassette home or on the go.Look for portable DCC players at technology.Brought to you by Philips, the same peo- your loca' retailer soon. ple who invented the compact disc. The incredible sound quality of digital audio combined Pre-recorded DCC cassettes give you precise, crystal with the unsurpassed convenience of a clear reproduction of every kind of music with zero cassette. That's what DCC stands for. noise and zero hiss.That's because the tape inside is all All of these artists and hundreds more are now avail- digital. Outside, DCC cassettes are sleek, streamlined able on DCC: Bon Jovi Boyz II Men Jose Carreras and come complete with their own lyric booklet. Cathy Dennis Placido Domingo Extreme

Shirley Horn I Musici Herbert von Karajan In addition, DCC decks are specially designed to play ana- Yevgeny Kissin Bob Marley Luciano Pavarotti log tapes as well as digital.That means you can keep the Lionel Richie Shakespear's Sister U2 cassettes you have now, and keep listening to them. So Suzanne Vega Vanessa Williams whether it's a favorite old tape from years ago, or your favorite new DCC cassette, you can have it both ways. Your music will never be the same.

DCC. HOW TO HEAR THE FUTURE WITHOUT GIVING UP THE PAST. deviation parameters were uncovered, to trading in stock futures. It follows, then,tortion from the Important Reviewer Re- Lirpa grasped that it would be a simplethat buying audio equipment based on asults deviation database. Other software matter to listen to a device, distort the re- review is like buying an unknown stockutilities of the Lirpa Important Audio Re- sults, and submit a review for publication.based on a tip from a convicted junk bondviewer Emulation Module include a Yet reviewer emulation is not a job for manipulator in the Federal Witness Protec- the queasy. The fundamental software ele- tion Program. ment of the Lirpa Inflatable Audio Review- The technology for the Inflatable Audio er, the Lirpa Important Audio Reviewer Reviewer derives from the NeXT Cube/ THE QUICK BROWN FOX Emulation Module, represents the first se- NeXT Dimension computer platform, an JUMPED OVER THE LAZY rious attempt to analyze, quantify, and Aachen Head "dummy head" microphone RED DOGS.... TESTING, predict the listening habits of Importantmodified by Prof. Lirpa, and a Lirpa Labs Audio Critics. Critics were divided by type artificial intelligence expert system com- TESTING, 1, 2, 3. into Objective Accuracy Mavens, Objective puter program with custom databases and Effect Disciples, Subjective Accuracy En- an easy -to -use user environment that is thusiasts, and Subjective Effect Mystics. environmentally friendly. screech recognition program, the Expected Within each group, selected Important Au- Typical Rational Outcome database, and dio Critics were further divided into subca- the Important Reviewer Results deviation tegories: Moses, Job, Hamlet, Clytemnes- database resident in one of the internal tra, King Lear, Don Quixote, Candide, hard drives. Captain Queeg, Sam Spade, Joseph K., Another major software component is Walter Mitty, and Willy Loman. Critic in a Bag. This utility package has a The database to quantify deviation from timer function to determine when to throw the Expected Typical Rational Outcome everything out into the street, a link be- was secretly gathered under the guise of tween descriptor and price point to tell you inviting Important Audio Critics to a party that a product sounds better when it costs featuring free food and liquor. A prelimi- more, four levels of buzz -word generation nary hearing test was performed by loudly to impress both the casual reader and the announcing, "The bar is open." Those Im- magazine editor, interactive critic confi- portant Audio Critics who heard the an- dence subroutines to operate the pneumat- nouncement and responded were moni- ic head pump, a personal assets analyzer to tored by sensors hidden in the cushions of Analog audio pickup is through thetime the next system trade -up, and a ran- their bar stools. Trained abnormal psychol- aforementioned Lirpa-modified Aachendom psychosis subroutine to tell consum- ogists observed Important Audio Critic be- Head stereo "dummy head" microphone.ers that everything they own is wrong. havior through a one-way mirror to ana- It pneumatically adjusts head size to match The Archetypical Audio Test Signal is lyze personality traits. A modified back- varying reviewer confidence levels, whichalso resident in the computer and is the ground music system reproduced the usual turns it into a "smart head" microphone. only signal used to review equipment. Dr. demo -record material-tedious and musi- A 17 -inch fine -pitch color monitor, aLirpa, reasoning that Important Audio cally trite audiophile sludge-while the 400 -dpi printer, and a modem linked to theCritics do not want to waste time by listen- hidden sensors detected physiological user's bank account are standard. The mo-ing to complete musical selections, simply changes and the onset of stereonudeosis. dem monitors the bank balance to deter-combined the best parts of every standard In those few cases where musical taste mine the precise time for a Full Systemtest and demo disc into one very large was considered important and likely to be Upgrade. The principal use of the colornoise. The resulting Archetypical Audio mentioned in a review, the selected critics monitor is to display the Capsule ReviewTest Signal was described by the Vermont were plied with beer until a recording of Feature, which shows a thumb -up orDepartment of Fish and Wildlife as "a street musicians playing "My Way" was thumb -down icon. threat to migratory waterfowl:' perceived as having significant musical Applying chaos theory to an audio re- This reporter was fortunate to have a content. A few critics were tested with such view metamodel required that Lirpa Labshands-on, up -close, and actual in -person variables as the effect of weightlessness, integrate the Expected Typical Rationalaudition of the new Lirpa system. Anticipa- submersion, and digestion on hearing Outcome and the individual Important Re-tion ran high asI unpacked the Lirpa acuteness, attitude, and footnote density. viewer Results into the Archetypical Jung-Inflatable Audio Reviewer, because unlike Because analysis of the data showed that ian Reviewer Pattern paradigm. These linkwith lesser brands, there often is no rela- the underlying event distribution of the a custom financial trading and analysistionship between what Lirpa promises and modelled sample was random and irratio- software package, measured data from thewhat is eventually delivered. There can also nal, applying the individual results to a co- Aachen Head microphone, predicted databe some risk when first plugging in a new herent model would be similar to applying from the Expected Typical Rational Out-Lirpa product. Accordingly, after I received computer modelling of basic chaos theory come database, and calculated reviewer dis-the Lirpa Inflatable Audio Reviewer, I alert-

AUDIO/LIRPA 1993 76 ed the local fire and police departments be- TIPS FOR MAIL ORDER fore beginning to assemble it in my listen- PURCHASERS ing room. The instruction manual is about what It is impossible for us to verify all of the claims of advertisers, in- you'd expect for a Lirpa product: A com- cluding product availability and prehensive no -refund, no -warranty state- existe ice of warranties. There- ment-and nothing else. However, after fore, tie following information is consulting with the subcomponent manu- provided for your protection. facturers, I was able to assemble the Lirpa Inflatable Audio Reviewer in a few months. 1. Confirm price and merchan- I then turned it on and waited for the tradi- dise information with the seller. in- tional Lirpa Labs smoke and flames. No cluding brand. model, color or finish. accessories and rebates included in smoke. No flames. No neighborhood elec- the price. trical outage. As Islowly got up from 2. Understand the seller's return behind the sofa to wave off the police and and refund -policy, including the fire trucks, it was apparent that the Inflat- allowable return period and who able Audio Reviewer represents a new pin- pays the postage for returned mer- chandise. nacle of reliability from Lirpa. It did not 3. Understand the product's war- catch fire or explode when plugged in. All I Since your validity as a person is based on ranty. Is there a manufacturer's war- heard was whirring and clicking as the your choice of audio accessories, I am now ranty, and if so. is it from a U.S. or system initialized itself. Incredible. While the basis of your entire value system. For- foreign manufacturer? Does the seller adjusting to this new order in the audio- tunately for you, using me is simplicity it- itself offer a warranty? In either case. what is covered by warranty. how self. You ask, 'Well, what do you think?' I phile universe, I was startled by a reedy and long is the warranty period. where nasal "harrumph" that emerged from the then instantly generate The Archetypical will the product be serviced. what do Lirpa Inflatable Audio Reviewer. Iwas Audio Test Signal, think for a second, and you have to do. and will the product amazed. A Lirpa Labs product that worked! give my opinion. And you believe it with- be repaired or replaced? You may As Istared open-mouthed, Irealized out question." want to receive a copy of the written The Lirpa Inflatable Audio Reviewer warranty before placing your order. with a start that the Lirpa Inflatable Audio 4. Keep a copy of all transactions, Reviewer was talking to me: "I can't listen droned on. "Before we start, let me tell you including cancelled checks. receipts that you need to know about some vital and correspondence. For phone or- new Lirpa Labs products that have yet to be ders. make a note of the order includ- built and that you don't have here. Yet." ing merchandise ordered. price order SO, HOW MANY LETTERS The Capsule Review Feature display date. expected delivery date and salesperson's name. GO ON ONE LINE BEFORE switched over to show a heavily retouched 5.If the merchandise is not HEY ARE CUT OFF BY THE photo of Prof. I. Lirpa superimposed over shipped within the promised time an American flag waving in a wheat field. or if no time was promised. 30 days DGES OF THE BLACK BOXES "Okay, so none of these products has pro- of receipt of the order. you generally gressed beyond the deposit -taking stage. have the right to cancel the order and get a refund. And none has been designed, let alone 6. Merchandise substitution with- to any of this stuff unless I'm sitting in the actually exists, but I just happen to have out your express prior consent is not best seat." A few clicks and whirrs later, with me some literature from the manufac- allowed. "And I don't like the electrical outlet I'm turer and some reviews that I wrote myself. 7.If you have a problem with your These reviews are accurate simulations and order or the merchandise, write a connected to and want to know if the letter to the seller with all the pertinent wiring is oxygen -free copper back to the predictions of what unbiased and journal- information and keep a copy. substation." Then, after a small computer - istically responsible manufacturer -written 8.If you are unable to obtain sat- generated belch, "Where did you find those reviews would be like, and I expect you to isfaction from the seller, contact clothes? Are you tone deaf and color blind? believe them without question." the consumer protection agency in the seller's state or your local U.S Loud colors interfere with listening. Too The printer started churning out Lirpa Postal Service. much coloration. Any fool knows that you press releases and reviews on the Lirpa must wear neutral colors. Change them. Listening Room Spike System, Lirpa Audio Floss, Lirpa Quantum Affect Modulators, If, after following the above guide- Damn, I'm dealing with an amateur." lines, you experience a problem I quickly realized that the Lirpa Inflat- and Lirpa AudioCare Correcting Fluid. (I with a mail order advertiser that able Audio Reviewer really does sound like stared at the growing pile of Lirpa literature you are unable to resolve, please an Important Audio Critic. It continued, and thought that, somewhere along the let us know. Write to Tony Catalano, "While you change your clothes, let me tell way, I had lost control of this process.) Associate Publisher of Audio Maga- zine. Be sure to include copies of all you how lucky you are to have me here. Shocked into silence by this amazingly ac - correspondence. AUDIO/LIRPA 1993 77 curate example of CriticSpeak, I watchedand a truly disgusting noise emerged from which is generally considered the absolute the adjustable pneumatic head grow largerthe system, followed by a loud splat from a state of the art. After a pause and several and then heard it say, "All right. Pay atten-Canada goose that flew into my listening electronic burps and harrumphs, it replied, tion. Look, I need complete silence if I'mroom's picture window at full speed. The "You want me to review that? Well, all going to concentrate, so just tell me exactlyLirpa system muttered, "Sounded like a right!' The tone was unmistakably surply what kind of junk we have here and thenCanada goose. Damn birds:' The head and sulky, just like that of a real reviewer. shut up!' enlarged alarmingly, the video screen dis- "I'll review it." As I began to tell the Lirpa Inflatableplayed a big thumbs down, and then: I then hastily gathered a group of friends Audio Reviewer that it was listening to my"Don't quote me on this, but I don't like to serve on a Lirpa Inflatable Audio Re- state-of-the-art system, it interrupted andyour junk and I'm not going to waste my viewer observing panel. Everyone cringed, said, "The stuff you have is okay, but I'mvaluable time reviewing any of it." expecting a further onslaught of birds not really too hot about it. Let me give it a I asked the Lirpa to review just one piece splattered against the picture window. But blast, though!' With that, the head swelledof my system, the ******** ****** D/A, instead the Lirpa's pneumatic head en- larged dangerously and said, "I don't have to listen to this rotten D/A converter, a Judging from what some of our competitorsare doing non-Lirpa Labs product, to review it. My and saying, they've been readingour Cable Design mind is already made up. I hate it. It's the wrong shape, in the wrong place, and booklet... Maybe you should too. owned by the wrong person. You." The panel inquired if that was the entire review. The Lirpa's head deflated and asked, "What do you mean? You don't trust me? You want to edit the life out of my copy? You can't do that. I'm the only one around here who knows anything. You don't know anything about audio. You have no right to have an opinion. You're

but cloth -eared philistines. Audiophiles need me, you pathetic imbeciles." After 81/2 minutes with the Lirpa Inflat- able Audio Reviewer, the panel had an overpowering urge to strangle it. We had heard enough. We pulled the plug, because after 81/2 minutes any rational person wants to strangle a real Important Audio Critic. And it had sounded exactly like an Impor- tant Audio Critic to us. Are you thinking about owning a Lirpa Inflatable Audio Reviewer? Do you really need the security of an authority figure to validate your existence? Are you tired of waiting for the Summer 1984 issue of your favorite underground audiophile publica- tion? Have you missed the point of this article? If so, then the Lirpa Inflatable Au- dio Reviewer may be for you. However, there is a downside: You'll have piles of dead migratory waterfowl and will lack friends. On the upside, you'll enjoy the benefits of reflected status and authority. Somebody once said that you have to be crazy to be an audiophile. Well, by paying Please visit your AudioQuest $122,800 and buying the Lirpa Inflatable dealer or contact us directly for a free copy. Audio Reviewer, you can now scientifically prove this. Otto "Bob" Otto audioquest P.O. Box 3060 San Clemente, CA 92674 (714) 498-2770 Fax (714) 498-5112 AUDIO/LIRPA 1993 78 LOW FREQUENCY TRADE-OFFS TRANSCENDED

Welcome the new DIGITAL PHASE speaker systems. And say good-bye to the all too familiar trade off between upper bass transients and deep bass extension.

DIGITAL PHASE brings new level you ACOUSTA-REED"'" technol- of bass accuracy ogy, the carefully engineered and definition is achieved. coupling of a small bass driver You'll find ACOUSTA- with an elaborate network of REED technology in each of acoustic reeds. You get upper the four DIGITAL PHASE bass transient response that systems. But that's hardly you can reach out and touch only a small bass driver can their only virtue.Thanks to a the music as it touches you. deliver - yet deep bass very special titanium tweeter All that is good about music extension that was previously and superb phase coherence, comes shining through. reserved for drivers of massive DIGITAL PHASE brings you Hear it for yourself. Call size. The approach is so uncommon sweetness and 615-894-5075 for your nearest unique, the sound so refined, accuracy throughout the DIGITALPHASE dealer. that a patent has been musical spectrum. Phase- awarded. Distortion is lower. A good recording is as it _ ACOUDigitalSI A RI D BASS 2841 lickory Valley Road Dynamics are wider. A whole should be. So lifelike you feel Chattanooga, TN 37421 Enter No. 15 on Reader Service Card CLASSICAL R E C O R DINGS

SCHUBERT ROSAMUNDE; SYMPHONY NO. 5

HAYDN SYMPHONIES NOS. 83, 84, AND 85

living from their art) and learn howin Schubert's day, yet light and easy to play old and ancient instruments,in the fast parts. Pure coincidence! formerly despised, and play them asBut it works. There is no sense of well, perhaps, as the original players.rush or of concert -tour jet lag; these Here is a case in point, and not evenpeople have taken their time to feel given special status; there are 39 per- Schubert in a new way-and it formers, all on instruments as closeshows, or sounds. as possible to those Franz Schubert I was particularly interested in a used for this familiar music, Rosa-comment of the conductor, Jos van munde (the overture and two of theImmerseel: "Intonation[is]based Schubert: Rosamunde; incidental pieces) and the Fifth Sym-on the principles of natural tuning, Symphony No. 5 phony. The time is 1816 to 1823, thewith coloring in the sharp and flat Orchestra Anima Eterna, period of Beethoven's ascendance. Jos van Immerseel ... as practiced in Schubert's time." CHANNEL CLASSICS CCS 4292, For those accustomed to the bigYes! All the instruments are free to CD; 52:20 modern orchestras (and the super-raise or lower a pitch by a tiny market ensembles that sometimesamount, abandoning the tempered Haydn: "Paris" Symphonies get to Schubert!), the sound may bescale for a truer overtone blend- Nos. 83, 84, and 85 at first a bit unsettling: A darkerand you can hear it in the purity and The Amsterdam Baroque Orchestra, effect, emphasizing the winds, withimpact of Schubert's marvelous Ton Koopman the strings somewhat obscured in ERATO 2292-45807-2, CD; 67:21 changes of key. Anyone who listens their familiar melodies but makingwith a keen ear can. their impact by that slightly edgy, This new wave of instrumental iike a great quiet wave, like a steely tone so characteristic of theauthenticity seems strongest in Hol- slow tide, our conversion of old unaltered violin. It's a matter ofland (and England) as here is yet an- past music to what is mostly getting used to it, for this is as closeother Dutch orchestra to parallel the now called "period" instru- as we get to Schubert's sound. Orchestra Anima Eterna and its ments majestically invades era Somehow, the performance isSchubert. The latter is appropriately after era, as more and more very Dutch (modern, of course).larger, as of the post -Napoleon peri- first-class professional performers Quite heavy, somber, in the loudod when Europe was bursting every "see the light" (or perhaps a better and baleful -sounding segments, newseam in expansion, from iron and AUDIO/APRIL 1993 80 steel to music. Haydn's "Paris" Sym- the works out first with his small balance, as is clearly the "consensus"The instruments phonies were composed 35 yearshome orchestra, then sent them offon many recordings, puts the windson this Schubert earlier, before the French Revolu- to Paris. more forward and the early -type vi- CDare free to tion, and the appropriate orchestra This is spendid Haydn-for to-olins (often called baroque, thoughraise or lower is smaller, though in Paris itself theday! Perhaps a bit too high-tension,Haydn is far beyond that) somewhata pitch for a normal size was very large. Theseeven for that saintly but actually in the background. These violins aretruer overtone symphonies exploited the expertisesomewhat high-strung composer.wiry -sounding, not full-bodied asblend. of the French groups and not neces- The playing is wonderfully fleet, the later (and present-day) modified sarily the size, which was easily ad-light, accurate, and beautifully violins. Right or wrong, this was the justable. Nineteen players are listedphrased. If you want a decisive bit ofonly fiddle sound known for most of here, all with period instruments. Asevidence that "old" instrumentsthe baroque and classic literature. the notes say, Haydn probably triedreally can be played, here itis. The Edward Tatnall Canby

provided him with the pure, unfiltered The Celestial Frog Trio Arturo Toscanini, Glenn songs of these two musical geniuses. He Gould, Christopher Faye analyzed these tapes with sophisticated LIRPA CD -040193 equipment. It was here that his training as CD; DUH; forever an amphibiologist paid off. His profession- al conclusion was that both Toscanini and I'm just trying to get out of this alive. Gould's singing was identical to the croak- And rich. Otherwise you would never be ing of frogs. What a discovery! In their su- reading about it. preme musical judgment, Toscanini and It all started when I purchased a Com- Gould decided frog croaking would im- pact Disc player that permitted me to enter prove even their sublime creations. at any point on a disc and also exit at any Needless to say, my consultant's presen- point. I discovered that the entrance and tation to the biennial World Symposium of Illustration: Rick Tulka exit points could be separated by only one Amphibiologists along with a paper enti- note. I then found that I could also pro- musicians, find the note, record it repeat- tled Let's Fire all the Musicians and Hire gram this player to repeat that one note as edly for an entire Compact Disc, and then Some Frogs created quite a sensation. many times as I wished. market that disc internationally. Such a And now for the final element in the As I have spent a great deal of time lis- disc would sell itself. By definition it would scheme that will either make me wealthy or tening to music waiting for a few great mo- be the best disc that could ever be created. make me dead: Using the same technology ments, it became obvious to me that the Ihired consultants in assorted disci- that permits Nat King Cole and his daugh- only logical way to enjoy music was to find plines from all over the world. They were a ter Natalie to sing duets on records that the one best note that had ever been writ- colorful group. I will never forget their gala they never sang in real life, I am going to ten in the history of all music and then re- party. I hired an ocarina octet from the have a CD made of Toscanini and Gould peat it endlessly. Orkney Islands who played medleys of the croaking together. After this is completed, I Why surround myself with mediocrity? tunes requested by the various Antarticwill then find their best single note and Ihired some musicians to help me arachnologists, Estonian esophagologists, create the best CD ever. search for the best note ever composed. Venezuelan vulcanologists, etc. The party So how will that make me rich? Everyone Our operating assumption was that this cost plenty, but it was worth it. It providedwill want to buy this disc. So why might note was someplace in the Chorale Finale the real breakthrough. An Albanian amphi- this make me dead? The record companies of Beethoven's Ninth-or possibly in the biologist gave me some startling informa- will never again be able to sell anything Roy Rogers -Dale Evan's rendition of "San tion. He explained that he had made an ex- else. I am too dangerous for them to let me Antonio Rose." tensive study of the master tapes of the live. Over the years, I spent so much time and individual recordings of Arturo Toscanini This article is my insurance policy.I money trying to find this note that I almost and Glenn Gould. He singled out each ofhope its publication will make it too dan- went bankrupt. The musiciansIhired these great musicians for the same reason: gerous for them not to let me live. turned out to be useless. I don't think they Both found it necessary to sing along with However, if you can't get my disc within ever understood that the continuous play- their performances. Their record compa-six months, they probably got me. In the ing of one note was the only scientific way nies went to considerable trouble to filtermeantime, I'm practicing croaking like a to enjoy music. the singing out of the recordings. frog. Perhaps if they do get me, I can be in a The only way to recoup my loses was to So my amphibiologist consultant gained celestial frog trio with Arturo and Glenn. get a new group of experts who were not access to the master tapes, since these tapes Christopher Faye

AUDIO/APRIL 1993 81 Vivaldi's Favorites, Vol. 1 I 'ivaks liworites, Iid.I ble pyrotechnics of some equal genius who Philharmonia Virtuosi, Richard Kapp ESS.A.Y. CD 1022, CD; 60:07 (AsiccrtinoC.Nlajor played the notes more than two centuries Concerto inGNIinor ago for Vivaldi himself. All in all, a lot of Note the apostrophe! A genial sales play 'on crux in G Minor , musical fun, in spite of the substitutions. on words-these are hardly public "favor- :,mccrriIin I)Nlinor No salmon. ites," for the simple reason that practically Richard Kapp's vibrant and skillful small (oecrtn inC\9ajor nobody has ever heard them. (Maybe they orchestra makes a good go-between, basi- were indeed Vivaldi's-who knows?) Not cally a "standard" group of modern instru- to worry a bit. The six concertos feature an glance seems to be a pair of salmon (saline))ments but with a slant towards the "peri- absolutely bizarre collection of solo instru-and two English violets (violettes inglese).od" sparked by Kapp's keen interests. He ments-or the necessary substitutes-in-Also a recorder, the wooden flute type, notwrites his own liner notes, persuasively- cluding a viola d'amore, pairs of horns,an Ampex, played here by a 16 -year -old"period" purists, who can be a bit stiff- mandolins, and theorbos, and what at firstgenius who merely duplicates the incredi-necked, will surely forgive him most of the modern substitutes, if perhaps not the big fat pair of horns that bumble through a concerto for two horns like a pair of wal- ruses in serenade. (Skilled players of the more agile and lighter valveless horn are available these days.) The sound is excellent and the recording technique interesting-the music was re- corded during the group's concert series, with "retakes" only where necessary. Evi- dently they were able to edit the sounds- with -audience right into those in an empty hall, not often feasible. We are not aware of any audience, original or retake. Edward Tatnall

Olivier Messiaen: Organ Works Olivier Messiaen, organ EMI CLASSICS CZS 7 67400 2

In 1956 the great French composer/or- ganist Olivier Messiaen, who died last year, recorded all of his then -published organ music on the organ of St. Trinity in Paris, an instrument that had inspired him. Aside from later works such as "Meditationson the Trinity" and "Livre du St. Sacrament," this four -CD set is the definitive Messiaen for organ. While mono, the recordings by the noted French sound engineer Andre Charlin are well balanced so that the rolling ALLISON AL SERIES reverberation of Messiaen's sometimes overwhelming complexities does not ob- Room -Matched Loudspeaker Systems with scure the primary notes, as can happen in our Convex Diaphragm tweeters are available mono recordings of pipe organ. The spiritually psychedelic nature of only in ALLISON ACOUSTICS speakers. much of this music comes from many influences, the primary one being Mes- siaen's mystical Catholicism. Others in- clude Debussy, Gregorian chant, Indian ALLISON ACOUSTICS and Russian music, and in the composer's 470 Business Highway 150 Phone: (606) 236-8298 words, "everything which is stained glass Danville, KY 40422 Fax: (606) 236-7476 and rainbows." John Sunier Enter No 2 on Reader Service Card AUDIO/APRIL 1993 82 dt4 MOW

Billy Childs' first piano trio outing features works by John Coltrane, Bill Evans, Cedar Walton, and his own compositions.

"Music that reaches for the future yet remembers jazz's noble swinging past." -Los Angeles Times

A distinctive soloist who is fond of shifting time signatures, seguing from a stormy improvisation to a lyrical interlude." -CD Review

Downright lethal...very modern but caring in its preservation of the traditional acoustic genre." -Gavin Report

Bill Chids

Latin, jazz. pop, and r&b accents fuse this new album by guitarist, composer, and arranger Ray Obiedo. Contributions from a seasoned cast of players including Kenny Kirkland, And) Narell, Louis Conte. Dave Garibaldi, and many others.

"Brazilian and Caribbean rhythms boil a handful of the tracks over the brim of plain, down-home cookin' and light funk."-Jazziz Magazine WINDHAM HILL

New on Windham Hill Jazz JHGG discs and tapes. these acoustic instruments and ROCK-POP voices shine like the burnished wood R E C O R DINGS of hand -built boats. But itall comes back to Guy's songs. In "Jack of All Trades" he writes "There ain't no need to do a BOATS TO BUILD job if I can't do it right/I may not be gettin' rich but I'm sleepin at night." In Ben Sandmel's excellent liner es- GUY CLARK say, he quotes Guy as saying how a lot of his songs take a lot of time, patience, and tinkering before they are completed. But when they are, they glide effortlessly and naturally. This is the essence of Guy Clark's art-an essence Boats to Build beau- tifully captures. Michael Tearson

Thomas Dolby Astronauts & Heretics GIANT 24478-2

"She Blinded Me with Science" made Thomas Dolby a momentary Boats to Build The arrangements on Boats aredarling of '80s New Wave. Some of Guy Clark sparse, best showcasing Guy's hand-his quaint electronics live on, and ASYLUM AMERICAN crafted songs. Having on hand fea- EXPLORER SERIES 61442-2 that's one of this album's problems: CD; 32:23 tured pickers the caliber of mando- It's hard to reconcile such artificial- Sound: A, Performance, A+ linist Sam Bush, guitarist Verlonity with Michael Doucet's Cajun fid- Thompson, and dobro and slide gui-dle on "I Love You Goodbye" or Guy Clark is one class act. The tar ace Jerry Douglas doesn't hurtwith Eddi Reader's guest vocals on West Texas -born songsmith one bit either. Likewise with fea-"Cruel." Dolby does aspire to honest has been forging songs as tured vocalists like Emmylou Harrissongwriting, but sometimesit small gems for over 20 on "I Don't Love You Much Do I,"sounds borrowed-from sweeping years, only occasionally put- or Rodney Crowell on "Jack of AllBruce Hornsby here, from poperafty ting out albums. Boats to Trades" (which he co -wrote withSqueeze there. Highlights are sur- Build, his first since 1988's very ele- Guy), or the erstwhile duo of Billprising: "Eastern Bloc," an appeal- gant Old Friends (Sugar Hill SH- Lloyd and Radney Foster on theingly faithful sequel to "Europa and 1025), is an eloquent document with song they co -wrote with Guy, "Pi-the Pirate Twins," and "Neon Sis- a whole lot to say about grace and casso's Mandolin." ters," an ode to a drug casualty that dignity and, for that matter, about The recording is most intimateis the album's best sustained mood. the heart of the artistic process. In and appropriately so. These are notThis iscertainly an improvement "Picasso's Mandolin," Guy sings songs that hit you over the head;over the muddled Aliens Ate My "You can play it straight or play it with time they deepen as their wis-Buick, yet Dolby's newfound logic from left field/You got to play it just dom unfolds. Similarly the record-has him stuck between high-tech the way you feel." And that's the way ing, while not flashy, is right on theand low-key approaches. he does it. money with a superb clarity that lets Ken Richardson AUDIO/APRIL 1993 84 Missing in action are performances by The Grateful Dead and Quicksilver Mes- senger Service, whose extended jamming was a more important signifier of the era than Lou Rawls' "sock -it -to -me" soul. Ironically,it'sthe revolutionary perfor- mance of Hendrix and the timeless music of Ravi Shankar that linger on after the incense has wafted into the atmosphere. Cuba Classics 3 Various Artists John Diliberto LUAKA BOP/WARNER BROS. 9 45107-2

What's happening on the Cuban music scene isn't all salsa and rhumbas, as you to grace the planet. The accompanying can discover on this unevenly recorded but book deserves mention. Annotation by a still exciting collection. Instead, groove to host of those involved in making these an exotic blend of rhythmic a cappella scat, recordings (Jerry Wexler, Tom Dowd, Ah- funky electrit jazz, African juju revival, met Ertegun, and Arif Mardin) as well as reggae meets steel drums, progressive salsa, appreciators (Dave Marsh and Thulani Da- a poet singing a gentle ballad, and speed/ vis) offer some very lively anecdotes and insights that work well with the music. As thrash metal! All, with the exception of the Spilt Milk far as the sonic aspects of the remasterings, metal, contain sensuous, distinctively Cu- Jellyfish ban syncopation. If you like homogeneity, CHARISMA V2-86459 the warmth and punch of the rhythm sec- forget this. If you like to explore, here's tion really come through here. We can your chance for a rare peek behind the On their 1990 debut, Bellybutton, Jelly- only hope that Rhino will offer some leg- sugar -cane curtain. Michael Wright fish was entrenched in a late -'60s power - endary outtakes of this material in the pop sound along with the apropos kitsch. future. Jon & Sally Tiven On Spilt Milk, their follow-up, more rooted in a '70s powerpop sound, also with the apropos kitsch. This time, kitsch is less in the form of clothing (Mylar belts, crushed velour, platform heels) and RISING more in the way of vintage instrumentation and production reminiscent of what Roy SONS Thomas Baker did to beef up the Queen al- bums. Not much synthesier here, but plen- raltilimAd ty of real cellos, harpsichords, an occasion- RY COODER The Monterey al string section, and lush, layered vocals International Pop Festival The Rising Sons that manage to work on the strength of the Various Artists Featuring Taj Mahal and Ry Cooder RHINO R70596 songs. One can only wonder which band COLUMBIA/LEGACY CK 52828 Jellyfish will sound like three albums from Nowhere was the transition of pop mu- now. Jon 6. Sally Tiven These 22 cuts are the entire recorded sic into rock art more evident than 1967's output of a legendary L.A. band that, for Monterey International Pop Festival, where various reasons, just never got off the Queen of Soul the top -40 pop of The Association and The Aretha Franklin ground. As the vehicle for the first record- Mamas and The Papas stood on the same RHINO ATLANTIC R2 71063 ings of both Taj Mahal and Ry Cooder, The stage as raging revolutionaries such as Jimi Rising Sons have a legitimate historic ca- Hendrix and The Jefferson Airplane. You Aretha's recordings for Atlantic were achet. The songs Taj and Ry sang were can hear it all in this wildly uneven, lavishlyrevelation of major proportions and it's the mostly blues, while those of fellow Son Jes- packaged whiff of patchouli. work that her career and legend are basedse Lee Kinkaid skewed toward pop. This The visionary performances are already on. With Queen of Soul, Rhino/Atlantic hasdisparity-Cooder and Mahal's country legendary: Hendrix, Otis Redding, and Thedone a fine job of compiling, on four CDs,blues and Kinkaid's pop-created a per- Who, all brought a taut, seasoned sense ofsome highlights of Aretha's Atlantic tenure. plexing marketing problem for Columbia, theater and dynamics largely absent from There are no surprises here; Queen of Soulwhich eventually threw in the towel. A lot more self-indulgent performances by The is essentially an end -to -end compilation,here is raggedy and raw, but there is Byrds and Eric Burdon. albeit one covering one of the finest singersenough right to make this a very welcome AUDIO/APRIL 1993 85 release from the Columbia vaults. Marc Featured players are Ry Cooder (who pro- Kirkeby's notes relate the history that gives duced a terrific Gabby album in the '70s), these tracks context. Michael Tearson David Lindley, and Jim Keltner, with cam- eos by Van Dyke Parks and Dwight Yoa- kam. This dreamy music is beautifully, The Pahinui Brothers even lovingly, performed and will put a sun- The Pahinui Brothers ny smile on your face. Michael Tearson PRIVATE MUSIC 82098-2

The Pahinui Brothers-Cyril, Jamesian lore (no, nothing like Don Ho) plus ("Bla"), and Martin-are sons of the latesome savvy covers that include "Come Go and great Hawaiian slack -key guitarist with Me," Steve Earle's "My Old Friend the Gabby Pahinui. Their album is a mix ofBlues," and a marvelous Hawaiian/reggae traditional songs and standards of Hawai-hybrid of John Lennon's "Jealous Guy."

Thelonious Monster Beautiful Mess CAPITOL CDP80227

It's been five years since Thelonious Monster's Next Saturday Afternoon, a truly beautiful mess of satiric ranting and Traf- fic/tuba instrumentals. The band seems antiseptic today, mere hissin' vinegar. Gui- tars that jangle are the usual '90s stuff- and back in the old days, pairing vocalist Bob Forrest with Tom Waits would have been considered redundant. Saving graces: "Body and Soul?" and "Bus with No Driv- er," two pleas for understanding (of all things), and "Song for a Politically Correct Girl from the Valley," a nasty, lethal thing A CUSTOMER WRITES, "I LOVE MY NEW B&K... (now that's more like it).Ken Richardson "IF YOU EVER DECIDE TO The Wallflowers MAKE SPORTS CARS, LET The Wallflowers VIRGIN V2-86293 ME KNOW. I WANT ONE." Jakob Dylan and band have made an im- Since our inception more than ten years ago, B&K Components Ltd. of Buffalo, New pressive, rough -edged debut, incorporating York has been listening. Listening to live music, to our customers,our dealers and many styles that would not be inappropri- our audio systems. It is by listening and learning that we have earned a ate on a record by Jakob's father, Bob. For- reputation for producing very fine audio equipment. Some professional reviewers tunately, Jakob doesn't try to sing like Dad, call our products by far the best in their categories because we keepour circuitry although at times he sounds too much like clean and simple, invest in the best manufacturing processes and people, and test Ron Wood. Still, his vocals are appealing in everything over and over and over. While we definitely appreciate themany an unconventional way. The songs are enthusiastic reviews and "best buy" ratings we receive, even more important tous quite good albeit a little self-conscious, as are comments from B&K owners, like the one above. We've found the best way to he seems more intent on conveying every- get great owner reviews is to make sure any B&K component you take home is built thing he knows than directly telling a story or otherwise addressing his audience. In a with the same quality, care and precision as the unit that rated a rave review ina season of post-industrial teen angst, The magazine. For a dealer near you, please call or write: Wallflowers stand head and shoulders above most new young bands. They'll make B&K COMPONENTS LTD. 1-800-543-5252 Bob proud. Jone5,Sally Tiven InNY:716-656-0026 FAX 716-656-1291 2100Old Union Road, Buffalo NY 14227-2725 USA AUDIO/APRIL 1993 Enter No. 4 on Reader Service Card 86 AUDIO ON -SALE AT THESE FINE STORES AUDIO DEALER LISTING

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JOSHUA REDMAN JOSHUA REDMAN CHOICES DEWEY REDMAN

Joshua Redman Joshua Redman WARNER BROS. 945242-2, CD; 64:32 Sound: A, Performance: B+

Choices Dewey Redman ENJA CD 7073-2, CD; 55:29 Sound: A, Performance: A

Is it coincidental that the arrival of precociously mature 21 -year- old tenor saxophonist Joshua Redman is attended by a resur- gence in the career of his father, 61 -year -old Dewey, a multi- reedist who kept his alto sax in the closet through his tenures on tenor with Keith Jarrett, Ornette Coleman, and the co-op quartet Old And New Dreams? Even if there's no causal Cameron Brown and drummer Redman uses his alto to demonstrate link, the occurrence is truly doubly Leon Parker. an exploratory, freely harmonized, gratifying. Continually probing with his mu- melodic and motivic approach. The elder Redman's tone can be sic, Redman has developed an ex- Having turned down a law school languid or grizzled but it's always fo- pressive spectrum on tenor sax thatscholarship to pursue the muse, cused and now lends him an aspect has subtly gradiated from tender Joshua Redman fuels fresh enthusi- of eminence grise. Though he's been vulnerability to caustic assertion; he asm with prodigious technique and moved by his peers and predecessors, tosses off ironic asides in Humphrey daring, open feeling on his fine de- nodding to Ornette, Coltrane, and Bogart style to protect his essentialbut as a leader, in trio and quartet Lester Young, Dewey, on Choices, romanticism. He plays a double- settings, with a fine if not yet famous delivers insights gained from his reed musette as credibly as a Berberrhythm team. A powerful but self- own experience and easily com- shepherd on "O'Besso" and alsocontrolled presence, the younger mands the adept attentions of bassist scat -chants in a made-up tongue.Redman blows great blasts of notes, AUDIO/APRIL 1993 88 TAPE RECORDERS toil free Best Selection Lowest MINI SYSTEMS CAR AUDIO HEADQUARTERS PROCESSORS Audio/VideoYour Connection JBL #1 Brand Name DAT JVC MX55M 4 DADigital Superlinear Preamp converters $469 IN tweeterwoofer3-voyiBookshelf speakerand 1" dome w/g' wib AiwaTopDigitalremote of the AD controlaudio line -F8103 -head tape mssptte recorder deck $469 5259 Denon6+125WTable CD x changer DTdock2 mini -400radio & system remote. v, CALL $199 SALE 4X OS,LuxmanDolby' Remote surround G007 as w/EQlow as and remote $289 2AR -Way Rock bookshelf ...Orig '150ea $299 Partners $66ea 25W x 2 remote mini system Hee 800 542 Ay Surround Sand Retrieval System Reference tower speaker TechnicsAutoDualSherwood reverse cassette dualRSTR333 cars deck Dolby® w/Dolby' B/C NR FIX DD1030 8119 PanasonicJVCMulti UXA3 -voltage SCCH55 110/120 micro system 337 $499sit rimi BLOWOUT PP120302-ch power amp 75W total power DPSHughes to AudioA converter Al(100 Digital lad` LOW$249 AdventCerwin12" 200WHeritage Vega power SW12B$189handling subwoof, CALL $99 AM/FM/CD/double#1 Brand Name cassette Mini w/EQ HAFLER JBLHigh 10" power SubWoofer handling $139 BBEHome Sonic 1002 Maximizer Digital Compact Cassette Philips Fec.titilcs'i JVCMX44. 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MUSICAL DISC' WE DISCOUNT! 312-587-3183rirg° 800-554-9531 ,7,: Century Audio Video !AUTHORIZED, Bang 6. Olafson Dealer THEY DON'T! 16 E. Crystal talus Plasa Crystal Many IL. 60014 WIDE SELECTION LOW PRICES FAST SERVICE* Audio VIOeo FULL WARRANTY KNOWLEDGEABLE CONSULTANTS. Loudspeakers (PMS "The Musical Design D-140 2500 MSS MX5500 $2255 Beolab deserves classic status!" CALL US! SOUND SHOP (206) 692-8201. Paseo 3 $3295 45002610 VXS000 1958 8000 2670 "It doesn't sound like an 7000 4785 6000 1780 amplifier, it just sounds AUDIO BEST: LA, ORANGE, SAN BERNADINO, CALI- weDiscountD Entire 9500 2992 RI Series 7000 890 like music!" "A true FORNIA. HOT COMPONENTS: NEAR 50ML, COUNTER- IN._LETS TAW 6000 534 classic." Isn't it time POINT, HAFLER, PS ULTRALINK; AUDIBLE ILLUSIONS; NO MAIL 080E81 Beovox 4500 623 you auditioned the POWERWEDGE, ACOUSTAT; SPICA; VMPS; MAGNUM; B & 0 CERTIFIED STAFF CX100 396 Din? FOSGATE; B&K, TARALAB, MUSIC REFERENCE, IN -HOME CONSULTATION/INSTALL CX50 308 SOUNDLAB, CELESTION, MONSTER, STRAIGHTWIRE, RESERVE YOUR QUALITY DEMONSTRATION TIME TODAY! MUSICAL CONCEPTS, (909) 861-5413, APPOINTMENT. MUSICAL DESIGN 1832 Borman Ct., Suite 1, St. Louis, MO 63146. (314) 275-7162 DEALER DEMO SALE. Acoustat 3300's & SPW-1 $2200. DEALER COST CLOSEOUT!! All products at cost. B&W ADS 1590's $1795. DCM Time Window 3 $795. Fosgate 12" Matrix 1, Matrix 2, DM1600 & CWM 6; Dahlquist M903, Sub $275. JBL 4430 Biradiars $1850. Klipsch Comerhoms M905, M907, M909, D012 & The Cube loudspeakers; Sumo ADCOM, ADS, AUDIO RESEARCH, BANG & $1400. M&K SIMS $575. Near 50 -M's $795. Spica Angelus 9+ & Andromeda 1power amps. Order/Info: (704) OLUFSEN, B&W, CARVER, CELESTION, $700. Thiel 3.6 $2500. New Audio Alchemy DDE 1.0 $259. 889-9223. DENON, FOSGATE, HARMAN/KARDON, IN- Mitsubishi LT 5V Turntable $199. Audio Source SS1 Sur- round Proc. $90. New Parasound Closeout: TDQ 260 Tuner FINITY, JBL, KEF, KLIPSCH, LEXICON, MI- $150. (217) 544-5252. AUDIO NEXUS= QUALITY Featuring legendary VANDERSTEEN loudspeakers & RAGE, NAKAMICHI, ONKYO, POLK, REVOX, DYNACO S170 UPGRADES: Gold EL34 Sockets, 1215 ROTEL CD Players. TRIAD, VELODYNE, YAMAHA, AND MORE. Microfarad on -board solid state B + ,triode output, more. MANUFACTURER'S WARRANTIES. LIVE DoReTech Audio Services, Box 6054, South Hackensack, Apogee Audio Alchemy Audioquest B&K Cardas NJ 07606-4354. Phone/Fax: (201) 843-0488. Cary Counterpoint EAD Forte Fried Kimber Silver ASSISTANCE WEEKDAYS. AUTOMATED Magnum Dynalab McCormack Melos Power Wedge PRICING 24 HOURS. AMERISOUND SALES, CABLE T.V. CONVERTERS. Jerrold., Zenith, Pioneer, PSB Rotel Jeff Rowland Scientific Fidelity SME Oak, Scientific Atlanta, And Many More! 12 Years Expe- Sony ES Sota Stax Vandersteen VPI SUMMIT, NJ INC. (904) 262-4000. rience Gives Us The ADVANTAGE. Visa/MC, Amex, COD. (908) 277-0333. ADVANTAGE ELECTRONICS INC.; 1-800-952-3916; 1125 ADCOM, B&K, HAFLER and CD MODS RIVERWOOD DR., BURNSVILLE, MN 55337. Void where Since 1979, our modifications have set the standards for prohibited. AUDIO DEN Authorized Sales and Service. ADCOM, performance! MUSICAL CONCEPTS is affordable ele- ARAGON, ARCAM, B&K, CAL, CELESTION, CODA, gance! Inexpensive or "all-out"-Toroids, low ESR fitter ACOUSTIC FOAM -World-renowned since 1984, wedge CONRAD-JOHNSON, KLIPSCH, MAGNEPAN, MI- caps, Dual -Mono conversions, outboards. MC -3T (Tel- cut, improves any listening environment. $120 covers 96 RAGE, MIT, MONSTER CABLE, NAD, NAKAMICHI, lonn phono/line preamp board for Adcom, B&K and sq.tt. MCNISA; FREE INFO: (800) 95 -WEDGE. NEAR, PARADIGM, ROGERS, SONOGRAPHE, Haller -simply stunning! PA -1 driver boards for HAFL- SONUS FABER, SOTA, STAX, THETA DIGITAL, VE- Cable TV Descramblers, Converters, Accessories. Name ER amps -incredible! SuperConnect IV LODYNE, YAMAHA.AUDIO DEN, 2021 Smith Haven interconnect -money back guarantee! We modify PHI- Brands. Lowest prices. Best service. Call CABLE READY Plaza, Lake Grove, NY 11755. (516)360-1990. LIPS, ROTEL, MAGNAVOX, MARANTZ and PI- COMPANY, (800) 234-1006 for FREE 16 -page color catalog. ONEER CDs. Call for mailer today! MUSICAL CON- RACK AND CHASSIS BOXES for construction of electronic CABLE TV DESCRAMBLERS. BARGAIN HEADQUAR- CEPTS, 1832 BORMAN COURT, SUITE ONE, ST. projects. Low cost; stocked for quick delivery. Call for free TERS! WHOLESALE PRICES. ALL BRANDS. NOBODY LOUIS, MO 63146. (314) 275-4925. catalog. SESCOM, INC. 1-800-634-3457. BEATS OUR PRICES! EZ ELECTRONICS 1-800-497-6273. EXPERIENCED, FRIENDLY ADVICE! FREE SHIPPING! HI Fl CLASSICS- USED HI END- HUGE SELECTION of KARAOKE WAREHOUSEWe MIRAGE, PS, CWD, CARY, KINERGETICS, KEF, PHILIPS, have a wide selection of Karaoke Players and Karaoke Disks components, cables, etc. Competent & helpful salespeople AUDIOQUEST, FRIED, MONSTER, QUAD, SPICA, in stock, and we have the best prices in the USA. To purchase & the best prices around. WE BUY SELL & TRADE, INVEN- STRAIGHTWIRE, MORE!! READ BROTHERS, 593 KING, (or inquire about dealerships), call 614-459-0645. 2594 TORY LIST AVAILABLE. TEL: (718) 318-9618, FAX: (718) CHARLESTON, SOUTH CAROLINA 29403. 318-9623. Bethel Road, Columbus, OH 43220. DKK/SONY, JVC (803)723-7276. NIKKODO/PIONEER. AUDIO/APRIL 1993 94 FOR SALE LOUDSPEAKERS AAA BIG DISCOUNTS!!! WE HAVE EXCELLENT PRICES ON THE BEST STUFF. WE SPECIALIZE IN "HOME THEATRE" SYS- SPEAKER COMPONENTS TEMS!!! OUR UN -BIASED ADVICE WILL HELP YOU GET THE MOST FOR YOUR MONEY. ALL U.S.A. CROSSOVER COMPONENTS PRODUCTS' DENON, ONKYO, NAKAMICHI, CARV- ER, NAD, B&K, POLK, KEF, B&W, SPICA, AiD/S/, DAVIS FAST CAPACITORS SNELL, GRADO, M&K, ROCK SOLID, DCM, VE- Metallized Pol7propylene (Non -Polarized) LODYNE, THORENS, V.P.I., BLUE POINT, SALE., Values from 1 0 mfd to 200 mfd. CHICAGO STANDS & RACKS, AND OTHERS. ALL Voltage Rating: 250 VDC / 150 VAC U.S.A. WARRANTIES! DI IAUDIO SOLEN INDUCTORS STEREO TECH. Perfect Lay Hexagonal Winding Air Cored Vrlues from .10 mH to 30 mH, 414-836-2942 k7D/I Wire Sizes from #20 AWG to # 10 AWG McINTOSH SYSTEM MC275, C24 AND MR71 GREAT HEPTA-LITZ INDUCTORS CONDITION! CALL (407) 467-6796. LEAVE MESSAGE IF Seve-i Strands Litz -Wire Constructions NOT IN. Values from .10 mH to 30 mH Wire sizes from #16 AWG to #12 AWG MCINTOSH Bought -Sold -Traded -Repaired. FREE Cata- logue. See our ad at the beginning of the classifieds. AUDIO SOLEN CROSSOVERS i))51 Custom Computer Design CLASSICS, POB 176MB, Walton, NY 13856607-865-7200. (morel.) 8AM-5PM EST Mon. -Fri. Passive Crossover for Professional, Hi-Fi and Car Hi-Fi, Power up to 1000 Watt. M.F.A. 100 watt, Triode, class A, OTL monoamps, (rare) CROSSOVER, SPEAKER PARTS $1895. Futterman: H3 $1100, H3a $1200. Stax DA300 class Gold Speaker Terminals, Gold Banana Plugs A 150 wpc $1100. Fisher 50A's (triode) $700. Altec 1570 modified 160 watt triode $1100. Quad Ifs (dean) $595. trims Gold Binding Posts, Crossover Terminals. Marantz: 7C $1800, others. McIntosh: MC350's as new, Power Resistors, Mylar Capacitors, Plastic Grill Fasteners, Nylon Ty -Wraps MC275 as new $3800, others. Dyna MK III's new in boxes nr $695. LeTellec turntable with Breuer arm $1100. Thorens polydax Grill Cloth, Car Speaker Grills, Misc. Parts. TD224 $400. Garrard 301 $350. Stax Quatro $700. Fairchild 275. Tandberg 3014A $650. N.Y.S.I. (718) 377-7282, 2-6 L-scan.speaK p.m. weekdays only. Specific messages returned, (unless SOLEN INC. COMPUTER AIDED DESIGN FOR sold)! 4470 Thibault Ave ENCLOSURE AND CROSSOVER (seas) St -Hubert. OC J3Y 7T9 AVAILABLE TO CUSTOMER Canada Tel.: (514) 656-2759 Product specifications and prices ACTIVE ELECTRONIC Vita 3Fax: (514) 443-4949 available upon request. CROSSOVERS MODEL 120 CABINET & NEW 120-R "RACK AND PANEL" DESIGNS Made to order in Butterworth bi-amp, Because Icon speakers are only available directly from our factory, trl-amp,or quad -amp configurations The Critics you'll save hundreds of dollars by avoiding the usual dealer markup! with optional level controls, subsonic filters, or summers. Filters, regulated The Lumen & Lumen SE 2 -way monitors - $795/pr. & $995/pr. power supplies, equalizers, are also Had Their The Joule 2 -way floor -standing tower speaker - $1495 per pair. available. The Parsec II 3 -way floor -standing tower speaker - $1995 per pair. New catalog and price sheet. Free! 30 -Day, "You'll fall in love with this speaker's clear sound. I feel that it can Eng. Lab. compete with several prestigious loudspeakers costing many times Deetseewee0 No -Risk, its price." - Bruce Bartlett, High Performance Review , Summer 1991 11828 Jefferson BI., Culver City, CA PHONE (310) 397-9668 In -Home "Close your eyes and you'd think you were listening to electrostatic speakers...I was constantly reminded of the Quad ESL -63, with its breathtaking transparency and impeccably true timbres...The Parsecs Audition. are speakers for symphonic music; to the Sibelius Second they LOUDSPEAKERS brought a naturalism and presence simply unmatched by any other design under consideration."- Lawrence Johnson, CD Review, Nov. 1991 BEST SELECTION & GUARANTY. 50 SPEAKERKITS for HOMES, SURROUND SOUND, CARS, PROS & SUB - "The Lumen is the best under -$1000 speaker I have heard." WOOFERS. JBL, DYNAUDIO, POLYDAX, MOREL, SEAS, Isn't It Time - Kenneth Duke, The Sensible Sound, No. 43, Summer 1991 ELECTROVOICE & VIFA. NEW & USED ELECTRONICS; AWARD -WINNING CROSSOVERS, ANALYZERS. 64p. "The Icon Lumen is the best for Its price." - Audio Art Magazine CATALOG, $2. GOLD SOUND, 4285 S. BROADWAY, EN- You Had GLEWOOD, CO 80110. "I think you will definitely fall in love with these American speakers!" - Modern Audio, January 1992 CUSTOM ELECTRONIC CROSSOVERS, 6 to 36 dB/Oct. Yours? Also Snell, Magnepan versions. DB SYSTEMS, POB 460, Also see the rave review of the Lumen in issue 81 (July/Aug. 1992) of RINDGE, NH 03461. (603) 899-5121. the absolute sound magazine. ...and many more! A & S SPEAKERS imports the world's finest speaker components, crossovers, & kits: Dynaudio, Scan Speak, For your own copy of our free 12 -page color brochure Ceratec, Focal, Morel, MB Electronics, Peerless, Polydax, and review reprints, please call us toll -free at: SEAS, LPG, Eton & Versa-Tronics. We also ship VMPS C-30 systems & kits. Free literature. 3170 23rd Street, San Fran- - BC,C) - 669 - 9662 cisco, CA 94110. (415) 641-4573; Fax (415) 648-5306. since 1989 Icon Acoustics, 13 Fortune Drive, Billerica, MA 01821 VMPS factory assembled speakers. All models, low prices, shipped direct to you. Free price sheet. Arthur LOUDSPEAKER CABINETS - Lar;e selection of high Morgan, 886 East Charing Cross CR., Lake Mary, FL 32746. quality Cabinets ready to finish in Oak, Walnut and solid color WE FIX FOAM EDGES! 15 YEARS laminates. Grenier Cabinets, 5901 Jennings Road, Horse- OF QUALITY SPEAKER REPAIR. 5 YR. WARRANTY. RE - heads, NY 14845. (607) 594-3838. ROTTEN FOAM EDGES? FOAMING IS OUR SPECIALTY. ALL BRANDS, ANY SIZE. SIMPLY SPEAKERSdoes professional foam replace- MODIFICATIONS -HI -END UPGRADES. MC -VISA. LOUDSPEAKER COMPONENTS -KITS. Dynaudio, Morel, ments any size/brand. 7 Year Warranty. We also sell SPEAKERWORLD (813) 544-3511 OR 1-800-359-0366. Eclipse, Focal, Peerless, Eton, Vita, more! Crossover parts, foam surrounds for $22.95/pr. In -wall speakers. MC/ Foam Speaker Grilles ---design books also. Catalog $2. VISA/DISCOVER: 1-800-767-4041 MENISCUS, 2575 28th St., Unit 2, Wyoming, MI 49509. SPEAKER REFOAMING DON'T (616) 534-9121. CROSSOVER NETWORKS, PASSIVE. CUSTOM, STAN RISK YOUR VALUABLE WOOFERS WITH A KIT! WE CAN DARD, WHOLESALE PRICES. FREE BROCHURE, DE REFOAM YOUR WOOFERS RIGHT THE FIRST -IME. ALL STATE OF THE ART CROSSOVER NETWORKS. UP- GRADE AND IMPROVE OLD SPEAKER SYSTEMS. FREE SIGN ASSISTANCE. DEALERS WELCOME. FERGITRON BRANDS, ALL SIZES. 5YR WARRANTY. 2-3 DAY SER- ELECTRONICS, BOX 674, LEVITTOWN, NY 11756. (516 VICE. (813) 544-3511 OR 1-800-359-0366 SPEAKER - DESIGN GUIDE. ALLPASS TECHNOLOGY, INC. PO BOX 453, AMITYVILLE, NY 11701. (516) 598-1320. 735-2019. WORLD. MC -VISA. AUDIO/APRIL 1993 95 LOUDSPEAKERS LOUDSPEAKERS LOUDSPEAKERS DYNAUDIO SPEAKER KITS ADCOM, ADS, AUDIO RESEARCH, BANG & Discover the SUPERIOR SOUND QUALITY of 1993 OLUFSEN, B&W, CARVER, CELESTION, DYNAUDIO SPEAKER KITS. Catalog $2.00 (Refunded). ADVANCED AKUSTIC 7627 Woodside Stockton Cali- BETTER DENON, FOSGATE, HARMAN/KARDON, IN- fornia 95207. (209) 477-5045. FINITY, JBL, KEF, KLIPSCH, LEXICON, MI- LOUDSPEAKER RAGE, NAKAMICHI, ONKYO, POLK, REVOX, FOAM DRY ROT!? Replacementof Foam Surrounds. Any Size, Any Brand. Two -Year Warranty. PERFORMANCETRIAD, VELODYNE, YAMAHA, AND MORE. SPEAKER CLINIC, Atlanta, GA. For FREE Estimates: (404) MANUFACTURER'S WARRANTIES. LIVE 933-0101. ASSISTANCE WEEKDAYS. AUTOMATED CENTER CHANNEL SPKRS PRICING 24 HOURS. AMERISOUND SALES, WE HAVE A GREAT SELECTION OF QUALITY BUILT, INC. (904) 262-4000. SHIELDED CENTER CHANNEL SYSTEMS. $69 EA. UP .c TO $349 EA. MC -VISA. SPEAKERWORLD (813) 544-3511 FOCUS ($4800) $3000. ADS L -300E $200. MCINTOSH OR 1-800-359-0366 O 2500 $2200. MCINTOSH 7200 $1900. KEF 104.2 $1450. CALL (405) 254-3790. o GRILL CLOTH- VERY HIGHGRADE, To VMPS speakers and kits all models, absolutely lowest ACOUSTICALLY TRANSPARENT KNIT GRILL CLOTH. rn 3 price delivered. FREE price sheet. Frank Kvasnicek, 9912 AVAILABLE IN SIX COLORS. 1 YD. X 60" - $8.99. SPEAK - Hoyt Way, Westminster, CO 80021. 11 ERWORLD 1-800-359-0366. O,c x CD CABINETS WOOFERS ROTTED? QUALIFIED xN SERVICE ON ALL BRANDS SINCE 1977. 5 YEAR WAR- RANTY, FAST SERVICE. SPEAKER COMPONENTS, AC- CESSORIES. SPEAKERWORLD 1-800-359-0366 OR EIDE° (7) (813) 544-3511. MC -VISA. CONCRETE SPEAKERS Forget 0 the "sound" of wood or plastic enclosures. Hear music cax .c; _J directly from drivers without cabinet distortion. Lightweight concrete design with an elegant satin black finish. JK AUDIO, U 2701 N. 45th Road, Sandwich, IL 60548. (815) 786-2929. LLc Visa/MC. ma AC COMPONENTS sells the finest drivers, components and 0_- accessories for your speaker building projects. Free catalog. >>o P.O. Box 212, La Crosse, WI 54602-0212. (608) 784-4579. m t- Eft REPAIR FOAM ROT STORADISC " - See why CD Review picked our Library FOR YOURSELF! We at VMPS are proud to introduce our new flagship,Series as their "top choice". Fine -furniture quality in a the FF-1, a symmetrical, focused -field array de-variety of finishes and sizes. Call or write DAVIDSON- Foam speaker surround replacements signed for a specific listening height (approx. 39") WHITEHALL, 555 Whitehall Street, Atlanta, GA 30303. from SAT will sirs you Wks& eldellert. 1-800-848-9811. All elm. including AR. INFINITY, BOSE, and incorporating many innovations in driver and J131., ADVENT. $27.95 /pair (incl. S/H). cabinet design. (No C.O. D.$) Do it yourself with SAT! CD PLAYERS This 350lb, 3" thick MDF laminate enclosure fea- OTEPP AUDIO TECHNOLOGIES 14100-14741102 VISA/NC Orders tures newly developed phase -plug carbon filled poly - PO SOX HISS. FLAT ROCK. NC 28731 70419741001 cone woofers and woven carbon fiber midranges, MUSICAL CONCEPTS = CD MUSICALITY dual 1" domes, ribbon supertweeter, outboard cross- "Since 1979, we have been satisfying listeners with natural musicality -not fancy faceplates, nor unsup- overs featuring Perfect Lay coils and MIT Multicaps, portable hype!" -ENIGMA V, "Best CD value, outper- Soundcoat cabinet and driver damping, in -phase, forming $4000 transport/DACs", for only $649,EPOCH TRUESUBWOOFER linear phase filters, and other luxury appointments V, "As natural and musical as any transporVDAC com- sure to please the most demanding audiophile. Re- bination!", $995 (Both have "Stable Platter", 384 x over- With phenomenal sponse is flat from below audio to 45kHz 1- 3dB), sampling)! CDT II "Stable Platter" transport ($649) - true deep bass power handling is 400W rms, and available undis- hear the difference! We modify Rotel, Philips, Magna- extending below torted output over 120dB/1m. The system can be vox, Marantz, Pioneer. Call for mailer today! MUSICAL 20Hz with low operated from a single amplifier or biamped/biwired CONCEPTS, 1832 Borman Court, Suite One, St. Louis, distortion at a very without an additional crossover. MO 63146. (314) 275-4925. affordable price. The HRSW1Os Hear VMPS at the dealers below, or write for liter- will extend bass of ature and test reports on our three Subwoofers COMPACT DISCS your stereo or ($259-$599ea), the "best buy" 'Omer II ($479- video system for $649ea) and lbwer IISpecial Edition ($738-96,000 CDs/CASSETTES/VHS MUSIC VIDEOS/LASER that "air shaking all $938ea), the Super lbwer/R 3798-$999ealDISCS AT DISCOUNT PRICES! FREE INFORMATION HOUGH'S (HUFFS), 4624 HANOVER, KALAMAZOO, MI around you" effect. HSU Research HRSWio and Super lbwer/R Special Edition ($2,800/pr.- 49002. 1-800-382-0554. FAX: 616-324-3164. Here's what the expeAs are saying: $3,400/pr.), the OSO Series of bookshelf speakers, and the 0S0626/Dedicated Subwoofer AN systemHUGE SELECTION OF CD'S, CASSETTES, MINI DISCS 'Truly awesome room shaking bass... +0, -3 dB 14.3 to 40Hz Don Keele, Audio 11/92 ($1,098). Prices include fine shipping in 48 states. & DCC. Catalog $2: Pacific Coast Electronics, 1378-C Logan Class K recommended components. Ave., Costa Mesa, CA 92626. (714) 545-8128. Stereophile, Vol. 15 No. 10, October 1992 'Most effective subwoofer we have tested ... Best Buy' VMPS AUDIO PRODUCTS LATIN RHYTHMS LOVERS, all Latinamerican artists, CD's, Julian Hirsch, Stereo Review 9/92 div. !tone Audio music/movies, videos. JPR LATIN RECORDS, Box 4155-B, 'Bass extension was truly remarkable' 3429 Morningside Dr. El Sobrante, CA 94803 Winterpark, FL 32793. Robert Deutsch, Stereophile Vol. 15 No. 4, April 1992 (510) 222-4276Fax: (510) 232-3837 'Delivered dean bw bass at high levels ... work just splendidly' David Moran, Speaker Builder 3/92 Hear VMPS at: The Listening Studio, Boston; Sounds Incredible, RECORDS 'Some of the most impressive subwoofer systems I've heard" Brookfield CT: Hamisch Norton, NYC NY; Dynamic Sound, Peter Mitchell, Stereophile Vol. 14 No. 3, March 1991 Washington DC, Hifi Farm. Beckley WV; American Audio,LV/CD/RECORD COLLECTOR'S SUPPLIES. Jewel boxes, 'I guarantee you this much: once you hear good, clean bass, Greenville SC; Chattanooga Valley Audio, Rossville GA; Tech record jackets, sleeves, storage boxes, 78 sleeves, dividers, you'll be hooked for life. Highly recommended" Electronics, Gainesville FL; Arthur Morgan, Lake Mary FL:much more! Free brochure: CABCO PRODUCTS, ROOM Dick Olsher, Stereophile, Vol. 16 No. 3, March 1993 Sound Solutions. Carlisle PA; Sounds Deluxe, Clarendon Hills 663, FOB 8212, COLUMBUS, OH 43201. (614) 267-8468. Send for complete information and critics' review reprints. IL; Audio Specialists. South Bend IN: Audio Exchange. Misha waka IN; Audio Connection, Terre Haute IN; Ruth Industries. PRESERVE + MAINTAIN + RESTORE Write or call: St. Louis MO: Shadow Creek Ltd, Minneapolis MN; Audio by Pickering Shure Stanton 78RPM!!! Nitty-Gritty Prod- Gil Morrison, Detroit MI; Concert Sound, San Antonio TX; ucts & Upgrades! World Renown Brushes: Stylus-$3PPD., HSU RESEARCH Lookout Electronics, Longview WA; Affordable Audio, Fresno. HSU 20013 Rainbow Way, Cerritos, CA 90701 CA; Exclusively Entertainment, Oceanside. CA: Hal Broda.78RPM - $17PPD. DeoxIT "Connection Protec- 1-800-554-0150 (Voice) tion!"-$22PPD. Free Catalog! KAB Electro-Acoustics, Research 1-310-924-7550 (Voice/Fax) Escondido CA: Christopher Hansen Ltd. Beverly Hills CA; Audio Haven. Upland CA. Sounds Unique, San Jose CA; Private P.O. Box 2922, Plainfield, NJ 07602-0922. (908) 754-1479. Sold factory direct with a 30 day trial - money back Line Home Entertainment. Stockton CA; Golden Ear, Chico CA; !tone Audio, El Sobrante CA. The Sound Room, VancouverHALF MILE VINYL. Affordable pm -owned LP's. Selected guarantee. 5 year manufacturer's defect warranty. BC Canada w/care. Cleaned & graded. All catagories. Call f/information. SASE catalog/wants: Box 98, East Wareham, MA 02538. (508) 295-2508. AUDIO/APRIL 1993 96 RETAIL MART AUDIO VIDEO STORAGE WANTED CD STORAGE+ YOUR Sorice Systems - Setting the Standards OLD EQP'T Audio/Video Storage Systems Store 300 CD's in this Premium Solid Hardwood' FOR Cabinet. TRADE-IN. Impeccably crafted in your choice of Solid Oak, Bob Heenan Walnut, Teak or Cherry. Bring me your used gear for Fully adjustable Shelves store any combination of liberal allowance on new. CD's, Videos and Cassettes - all in ONE cabinet. AUTHORIZED DEALER FOR NEW: No -Slot design maximizes storage space, simplifies organizing & re -arranging your collection, PARADIGM PS AUDIO accommodates single & multiple CD sets, allows NAD THORENS for possible changes in the size of CD packaging. MARANTZ JVC HARMAN-KARDON GRADO Adjustable Solid Brass Bookends keep Discs & HAFLER NILES Tapes upright and in place. SONY Efg Cabinets can be stacked, wall mounted or left free standing. (617) 547.2727 Optional Clear or Smoked Glass Doors are available. 95 Vassar Street Completely enclosed back provides dust protection. Cambridge, MA 02139 M-F 10:00-7:00, Sat 10:00-6:00 Compact size: 391/2"H x 231/2"W x 7I/2"D SD CZ "7 Shipped to you fully assembled. No. A300 (Shown in Solid Brown Oak)

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Carver (10) 24 & 25 REL- CAP - Illm/ foil polystyrene. axial leads DIGITAL AUDIO TAMA - ccenpoct metaived and flirn/fc4 Polypropylene. radial lead SOLEN - metallized polypropylene. up to 2000 at 400VDC1 Celestion (11, 12) 23, 67 SIEMENS - metallized polypropylene from 5Ipf to Oluf at 630VDC - , RESISTORS: Columbia House 17 & 18 The VISHAY !lading a Proprietary BULK FOIL technology. these high . precision resistors are the best available! We have a Knifed range Of WIowe WA series Waal lead, 0.5%) values in stock. Also.we are pleased to Counterpoint (13) 53 Introduce the 0102K series (radial lead, 015%) resistors which ore available in any value up to 25PC In any quantity. in under 2 weeks) HOLCO - 0.5% 50pprn metal TIM resat... non-mognettc PNM Courvoisier Cover III constructan.We stock a comprehensive range of yak., In 104. 1/2 !71 and I woe rulings. DGX Engineering (14) ADDITIONAL PRODUCTS: 43 W. !!_., GOLD AFRO - offering tested and selected tubes In 3 grades (Standard. 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SALLS.RENTAIAREPAIRS.DNPLI(ATIONS TRANSIIRS: Magnepan (17) 69 Please CALL, WRITE or FAX tor our FREE 1992 PRODUCT CATALOGUEI Any (omho . DAT (D D(( . MiniDire 4mm Dam (artririp I. Blank DAT Tap (1.0 Cie r 3 hour arailahle) Martin -Logan 63 SONIC FRONTIERS Ammiorier fi Blank Media for all Rpordrri INCORPOR A TED 113A NASITKAID.AMUOUN UlltEn illY011.(.0.1.SHIP U.Piaioa Midwest Electronics 62 Mondays -Fridays9:00in-6:00ni a Sannlan:1:00 - 4:00 *(kA Ways 760 PACIFIC ROAD, UNIT Ri9, OAKVILLE. ONTARIO, CANADA LEL 6t45 Mobile Fidelity (18) 2 & 3 TEL (416) 847-3245 FAX (416) 847-5471 T(, MIA)Silthirenoulnard9 Sad %RIR, 1 P)0110 I he 0AI )10IVI il kilill) -8/8-8/)/ ,I, Pimp S11310 818 6487 MTX 57

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Ni NI (> 1< N The world's great music has never sounded better The "V" amplifiers employ a fully balanced circuit - the new "V' series hybridthan powerwhen playedamplifiers through raiseClassic an Audio series Researchamplifier - until now. Because D.E.C.circuitnoisetopology, and inputimprove and -to advanced dynamic-output, to coaxialcontrasts. reduce capacitors extraneous A -Patented also Withand three V140 new monoblocks models your- the - favoriteV35the "V" and musicseries V70 stereo,allowsto a harmoniousWith greater new pitch. powers of resolution, focus and dynamic expression than ever before. you mode,intosophisticatedmidbandhelp andreduce while out fret distortionof thenewuencies their V70 circuits normal and Atthrough startupV140ease triode the themodels and "V"criticaloperating shutdown, amplifiers also have sounds as wonderful tothe.level match as the thisof next, power exciting withinpower you newits actually range.respective level Soneed.of performanceyou Each don't model have to to sacrifice sonic quality or spend more than you need to. amplifiersthenmusicMusieltifan cooling you is'tnore the really are tckey allhelpthan deserve ofabout.. "V"extendsonic isn't to wallpaper tubehear for life. what in theyour N,'series life, everyone. But if 7540 Green Circle Drive / Minnetonka, Minnesota 53343-4424/ Phone: 612-939-0600 FAX: 612-939-01504 HIGH DEFINITION' Erne, No 3 on Reaper Service Card