CAR STEREO: What Are Minicossette and Stereo -AM Prospects?

Home , Pioneer 5, Robert Crenshaw, Wild Heart of the Young

JUNE 1982 $1.25 Stereo Review CAR STEREO: What are minicossette and stereo -AM prospects?

NEW AUDIO PRODUCTS: Turntables, headphones, accessories

INTEREVIEW: Songwriter Karla Bonoff

EQUIPMENT TEST REPORTS: Aiwa AD -3800U Cassette Dec< McIntosh MC 2255 Power Amplifier Ohm Walsh 2 Speaker System J.C. Penney Model 3263 AM ,!FM Stereo Receiver Shure V15 Type V Phono Cartridge

DISC SPECIALS: cordon Lightfoot Paul McCartney Marshall Crenshaw Bunny Bergan Lou Reed Wynton Marsalis ALKAN & GRIFFES: Piano Roundups BACH: All-star Brandenburjs RODRIGO: Two Concertos

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TOTH, AA ONeiRSH ID ern AdINnOD S092 90 NONOH708 MAU° 8W 98tair rTp9 960DS097. HD8 9628EV awcritical praise, shock the ionvalue for themoney.

one else in the business is doing it. Common sense and uncommon engineering have been a hallmark of our company since its beginning. We still do things a little differently than most. The result is high performance, exceptional value and very often a limited supply. You won't find Sherwood everywhere. It might be smart to start looking now. For the location nearest you, please call toll free: 1-800-323-1717 (in Illinois 1-800-942-8881), Operator #441. How Sherwood receiversmanage toch competition and still provideuncomn

ile the creation of music is an art, the re-crea- "Aside from sheer power, the S-9200 CP could more Won of music is a science. But it's not a pure sci- than hold its own against receivers selling for several ence. For better or worse (typically worse) a delicate times its price balance has to be struck between the passionate desire However, our 20 watt receiver does face stiffcompe- for sonic purity, and the reality of a paycheck. A little tition. From our 30 or 40 or 60 watt receivers. too much in one direction and phenomenal statistics In each case the additional power is accompanied are exceeded only by phenomenal price. Too much in by additional features, additional finesse and im- the other direction and the price is right but the sound proved pleasure. is wrong. The S-9600 CF, for example,is rated 60 watts RMS Tricky business making choices. But something per channel with no more than .05% THD into 8 we've been doing with quiet success for more than 25 ohms. An eight -stage discrete phono pre -amp section years. When in doubt, we opt for performance. filters out subsonics and prevents transient distortion. And the critics seem to think we do it right. The discrete DC power amp section is stable into 2 We're Sherwood. ohm and reactive loads. The tuner section has GOOD ENOUGH 1.6 uV usable sensitivity, ISN'T GOOD 75 dB stereo signal to ENOUGH. noise ratio, and Touch A little over a year ago, Lock Tuning. America's leading con- About the S-9600 CP, sumer research magazine High Fidelity reports rated a Sherwood stereo receiver first in a field of fif- in their January 1982 issue: teen better known pieces of equipment. "Noise and distortion are extremely Our competition was probably shocked. low, frequency response is extremely flat, We were obviously pleased. Because it seemed to and there are no disappointments prove that we'd been going about our business the elsewhere to spoil the listening right way after all. And because favorable reviews are experience." good for sales. Beyond that, Sherwood Despite that, we phased out the winning re- virtually guarantees its ceiver almost immediately and replaced it with performance. something better. EVERY SHERWOOD The continuing evolution of Sherwood receivers brings us now to the 9000 series. Our best to date. YOU BUY, IS USED. Before you open the car- THE BALANCE OF POWER. ton on a Sherwood receiver, Stereo manufacturers typically promote the receiv- you'll know the exact per- er in their line that offers the biggest power rating, formance characteristics for theory being bigger is better. Here's what the Novem- that unit. We call that Cer- ber 1981 Stereo Review Equipment Test said about one tified Performance. It's the of the smallest receivers in our line: result of testing each piece, "Not only did it comfortably surpass many of its key one at a time, then adjusting, performance ratings, but some of those ratings are well and testing again. That seems above the norm for receivers in its price class. For to be the only reasonable example the FM S/N we measured on the S-9200 CP approach to testing, but no was among the best we have yet found in a receiver at any price. "Under practical listening conditions it can deliver far more power than its very conservative Sherwood ops=== ratings would suggest. 17107 Kingsview Ave. , Carson, CA 90746 In Canada: The Pringle Group, Oman,

CIRCLE NO. 42 ON READER SERVICE CARD

Sherwood: A series of intelligent choices.

Air Radio Shack's New Tower System Brings Great Music to You...

Combines Computer Design with Ferrofluid Damping Magnificent reproduction at a moderate price! The to 20,000 Hz. Ferrofluid damping prevents "ring- new Realistic Optimus®-T-300 is designed to bring ing" and contributes to the system's superior over- you clean, well-defined sound with a tremendous all transient response. The crossover provides 150 watt power handling capability. A powerful optimum separation of each speaker element. 10" woofer working together with a 10" high -com- High -frequency and midrange level controls let pliance passive radiator delivers deep, rich bass you adjust the sound the way you want. An oiled response you can "feel" as well as hear down to a walnut veneer finish wood enclosure makes it look solid 44 Hz. Its 5" midrange driver is in an airtight, as good as it sounds. Visit Radio Shack today and acoustically treated sub -enclosure that gives you hear this superb speaker yourself-there's nothing excellent transient response, minimizes unwanted else like it for the money. 259.95 each. resonances and prevents sound coloration. The original performance is reproduced with stunning Built and Sold exclusively by accuracy and clarity. The 1" soft -dome tweeter is positioned at ear level and provides controlled dis- Radio lhaeli persion characteristics for excellent stereo imaging A DIVISION OF TANDY CORPORATION

Retail price may vary at Individual stores and dealers. 5 -Year Limited Warranty-see 1982 catalog 341, page 25. FORMERLY HI FI STEREO REVIEW (ISSN 0039-1220)

JUNE 1982 VOLUME 47 NUMBER 6 e CEquipment NEW PRODUCTS Roundup of the latest audio equipment and accessories 13 AUDIO QUESTIONS AND ANSWERS TwoTypes of CX?, Weak Link, Amp Sandwich LARRY KLEIN 18 TAPE TALK Mike Placement, Modulation Noise, Test Tapes CRAIG STARK 22 TECHNICAL TALK Testing Turntables JULIAND.HIRSCH 24 EQUIPMENT TEST REPORTS Laboratory test results on the Shure VI 5 Type V phono cartridge, Ohm Walsh 2 speaker system. McIntosh MC 2255 power amplifier, J.C. Penney Model 3260 AM/FM stereo receiver, and Aiwa AD -3800U cassette deck JULIAN D. HIRSCH, CRAIG STARK 28 CAR STEREO 1982 An updating for those who must have music wherever they go IVAN BERGER 56 RATING LOUDSPEAKERS FOR "ACCURACY" A manufacturer's view of a controversial subject ROY ALLISON 60 AUDIO PRODUCTS AT LAS VEGAS CES-Part 2 Reports on turntables, headphones, accessories, and video sonics 62 Tie cWusk INTEREVIEW: SONGWRITER KARLA BONOFF ". . . the songs always end up being about me or my life" NOEL COPPAGE 88 BEST RECORDINGS OF THE MONTH 68 Gordon Lightfoot: "Shadows" 68 Griffes: Piano Works 70 Debut: Wynton Marsalis 70 Alkan: Piano Works 71 POPULAR MUSIC 74 Paul McCartney: "Tug of War" 76 Lou Reed: "The Blue Mask" 84 Marshall Crenshaw: Debut 80 The Complete Bunny Berigans Volume I 92 Toots and the Maytals: "Knock Out!" 82 CLASSICAL MUSIC 96 Bach: Brandenburg Concertos 104 New American Music 114 Rodrigo: Two Unfamiliar Concertos 110 rfie9tgu lars BULLETIN WILLIAM LIVINGSTONE 5 SPEAKING OF MUSIC WILLIAM ANDERSON 6 LETTERS TO THE EDITOR 8 GOING ON RECORD JAMES GOODFRIEND 52 ADVERTISERS' INDEX 114

COVER: Design by Borys Patchowsky; photo by Bruce Pendleton.

COPYRIGHT 1982 BY ZIFF-DAVIS PUBLISHING COMPANY. All and at additional mailing offices. Authorized as second-class mail by the Post rights reserved. Stereo Review. June 1982, Volume 47, Number 6. Pub- Office Department, Ottawa, Canada, and for payment of postage in cash. lished monthly by Ziff -Davis Publishing Company. Editorial and Executive POSTMASTER: Forms 3579 and address changes should be sent to Stereo Offices at One Park Avenue, New York, New York 10016; Telephone: 212 Review, Circulation Department, P.O. Box 2771, Boulder, Colorado 80302. 725-3500. Richard P. Friese, President; Furman Hebb, Executive Vice Pres- SUBSCRIPTION SERVICE: All subscription correspondence should be ident; Selwyn Taubman, Treasurer; Bertram A. Abrams, Secretary. Also addressed to Stereo Review, Circulation Department, P.O. Box 2771, Boul- publishers of Backpacker. Boating. Car and Driver, Cycle, Flying, Popular der, Colorado 80302 Please allow at least eight weeks for change of address. Electronics, Popular Photography. Psychology Today, Skiing, Stereo Direc- Include old addressaswellas new-enclosingifpossible an address tory, Tape Recording & Buying Guide, and Yachting. One-year subscrip- label from a recent issue. PERMISSIONS: Material in this publication may tion rate for the United States and its possessions, $9.98; Canada. $10.98. All not be reproduced in any form without permission. Requests for permission other countries, one-year subscription rate $14.98, cash orders only, payable should be directed to John Babcock. Rights and Permissions, Ziff -Davis in U.S. currency. Second-class postage paid at New York, New York 10016 Publishing Company. One Park Avenue, New York. New York 10016. Introducing TDK AD -X. The normal bias tape with Super Avilyn technology. New TDK AD -X is the first normalnew AD -X can easily To ensure years of bias audio cassette to use TDK's handle strong signal reliable use, AD -X is Avilyn magnetic particle-based input without over - housed in TDK's Labo- on the renowned Super Avilyn for- saturation. ratory Standard Mecil- mulation that has kept TDK the When you hear the anism, and protected leader in audio and videotape brilliant playback re- by TDK's lifetime war- technology. sulting from the higher ranty. With its distinc- The Avilyn advan- MOL and Avilyn magnetic particle achieves tive packaging, you tage offered in AD -X lower bias higher saturation and lower noise. won't miss it. is demonstrably clear. noise you won't believe So for high quality recordings You now can record that your deck can in the normal bias/EQ position, and play back-in the Record at higher levels "improve" so much. snap in the new TDK AD -X. You'll normal bias/EQ position with far less distortion. The new AD -X has discover that the Avilyn advantage with complete compatibility for truly versatile applicaticns. Its means superior overall performance any cassette deck over a wider dy- higher sensitivity makes it ideal for for you. namic range and with far less dis- all-round home entertairment use tortion. Even at higher recording and also suitable for any cassette TDK® levels, the increased headroom in player. THE MACHINE FOR YOUR MACHINE CIRCLE NO. 49 ON READER SERVICE CARD

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SSELABORATOAY TTE IMM/IN111111/4 MECHANISM-- iwAmmirAmmrAmmilmar,imMINNEvAmmirAmmimorr- mwarmi r OrNMOIVImierrAsumwarwA WA MEIN IA VA P I I I I IIA IN I I I I I I I I IrAd I IN I I I I I I I I 1 I IA IN I I 1I V I /4 I I I I 1 I I I I I IM I I WI MI IA VAMIR/ TDK Electronics Cor Stereo Review 7g-k!P BULLETIN Edited by William Livingstone

OVER $2.85 BILLION WORTH OF MUSIC the faculty of the Juilliard School of and other entertainment was taped at Music in New York, where his opera home in the United States in 1980, Montezuma was produced this year. according to a consumer survey made by Warner Communications Inc. The CAUTION IN INTRODUCING STEREO AM survey indicates that more than $600 has been called for by the Electronic million worth of blank tape was used Industries Association. Following the for this purpose by home tapers, most Federal Communications Commission's of whom are adults (20-34 years old) decision to permit several stereo AM from upper socio-economic levels. formats, the EIA voiced its fear that Copies of the fifty -two -page report, this would cause consumer confusion. "A Consumer Survey: Home Taping," Jack Wayman, senior vice president of are available free from Information the EIA's Consumer Electronics Group, Dept., Warner Communications Inc., 75 said, "The successful history of U.S. Rockefeller Plaza, New York, N.Y. broadcasting is due in no small part 10019 or from Warner Special Products, to the adoption of standardized 4000 Warner Boulevard, Producers Bldg. technical formats." Wayman pointed #4, Burbank, Calif. 91522. out that in the past multiple formats have had "a negative impact" on such AN OPERA GALA SALUTING GEORGE LONDON promising technologies as four -channel will be seen on Kennedy Center Tonight sound. For more information on stereo on most PBS stations on June 16 from AM see page 58. 8:00 to 10:00 p.m. A bass -baritone who sang with major opera companies in CONDUCTORS: Lorin Maazel takes up Europe and America, London has been his position as general director of incapacitated by illness for several the Vienna State Opera in September of years. The TV show is derived from a this year. The position of music benefit staged to raise money for his director of the Cleveland Orchestra, medical care. Beverly Sills will be which Maazel is vacating, will go to host to such artists as Nicolai Gedda, Christoph von Dohnanyi, who assumes Marilyn Horne, James McCracken, and office in the season of 1984-1985.... Joan Sutherland. RCA is planning an Pinchas Zukerman has just extended his album of excerpts from the show with contract as music director of the St. proceeds going to the benefit fund. Paul Chamber Orchestra into 1986.... Starting next year horn player Barry EARTH WIND & FIRE, touring France, Tuckwell will be music director of the England, Germany, and Holland in the newly organized Maryland Symphony in spring, broke a number of attendance Hagerstown. Back home, Tuckwell leads records previously held by Fleetwood the Tasmania Symphony Orchestra, which Mac, ABBA, and Elton John. Although is Australia's third largest. they played six sold -out concerts in Wembley Stadium in England, more than MIKE OLDFIELD, whose "Tubular Bells" 200,000 requests for tickets had to be sold more than twelve million copies returned unfilled. After this great worldwide, has been given the Freedom success, the group agreed to another, of the City of London by the Lord even more extensive, European tour Chancellor. The privileges that go starting in July. Earth, Wind & with this award include the right to Fire records for Columbia, and their drive his sheep across London Bridge. current album "Raise!" has been The only hitch is that London Bridge certified platinuM by the RIAA. has been taken apart, shipped to the United States, and reassembled in Lake THIS YEAR'S PULITZER PRIZE IN MUSIC Havasu City, Arizona. Oldfield, who has been awarded to Roger Sessions, owns a country home near London, said, 85, for his Concerto for Orchestra. "My sheep will be delighted." His Sessions, who received a special new album, "Five Miles Out," has just Pulitzer Prize eight years ago, is on been released by Virgin Records.

June 1982 simulcasts of some TV specials are already familiar with the extra dimension of pleasure that quality sound gives them. They are more than ready to add improved TV sound Speaking of music to their present lineup of broadcast, tape, and disc program sources, so they will be the first to see the advantages of picking up TV, FM, or AM broadcasts with a universal tuner, the first to want a simple "monitor" TV screen to complete the picture. As long as TV sets remained mono, there was little incentive for most manufacturers of videocassette machines to "go stereo." There will be such an incentive once stereo - TV broadcasts start: time -shifters and video -camera buffs alike will want stereo, and even more passive types know that many prerecorded "old" movies once had stereo soundtracks. The promising videodisc now sits dead in the water thanks to the public's sensible re- fusal to gamble on incompatibility and re- cycled software, but stereo TV could be VIDEO SPRING the catalyst to break down these problems as well. The Philips/MCA laser -read disc is a stereo system already and might well ex- SPRING, it appears, will be a little late this new technology. Such a technology is,in perience a sales boost if there were play- year, but I did see the season's first rob- fact, waiting in the wings: stereo sound. Ja- back -ready stereo -TV sets on the market. in mid -April getting high on fermented bit- pan has been enjoying stereo -sound TV for The RCA stylus -read system has apparent- tersweet while waiting for a thaw to wake over three years now while the FCC (with ly suffered from two market miscalcula- up its usual diet of earthworms. There may help from the EIA) has been mulling over tions: it plays in mono only (stereo not avail- be a metaphor in that relating to the long- the matter with its usual ponderosity. Three able as of this writing) and its sales message awaited business recovery: progress will be possible systems for broadcasting stereo TV was addressed to an unsophisticated and ap- made, for a while at least, in peripheral in the U.S. have been proposed, and an ear- parentlyapathetic audience;stereo TV market areas rather than in the main ones. ly decision has become imperative because might just sink it. With the bugaboo of in- Take, for example, TV. According to Elec- it is increasingly evident that we are being compatibility gone, a reawakened interest tronic Industries Association statistics, the offered a golden opportunity to establish, in the format might inspire the production first two months of this year saw a decline with one neat stroke of technology, the com- of more exciting software, a must for the in shipments of TV sets to retailers and a mon foundation of high -quality audio that success of the videodisc. The division of la- marked increase over last year in shipments discriminating ears will soon be demanding bor between videotape and videodisc in fact of video cameras, videocassette recorders, from all home -entertainment media. parallels that of audio tape and audio disc: and projection TVs; the numbers are small, The advent of stereo -TV broadcasting tape for dubbing, disc for original program- but the percentage increases are not. will mean not only two -channel sound but ming. The claim that the videodisc is infe- But since practically everybody in this hi-fi sound as well, encouraging fuller use rior to videotape because it doesn't record is country already owns at least one TV set, of the frequency range and improvement in a red herring for the naive. More to the what the TV industry needs to spark some the signal-to-noise ratio. Metropolitan -area point: videodiscs and digital audio discs real forward movement is an infusion of audiophiles who have been tuning in to FM may one day share the same turntable. 0

LONDON EDITOR Japan Iva' Trading Co .Ltd. HENRY PLEASANTS J. S. Yagi Stereo Review 803 Ginza Sky Heights Building CONTRIBUTING EDITORS 18-13, Ginza 7-Chorn CHRIS ALBERTSON Chuo-Ku, Tokyo, Japan 104 PUBLISHER IRVING KOLODIN Telephone: (03) 686-0165. 546.3908 J. SCOTT BRIGGS IVAN BERGER PAUL KRESH IRV COHN STODDARD LINCOLN EDITOR IN CHIEF NOEL COPPAGE WILLIAM ANDERSON MARK PEEL Circulation Office RICHARD FREED LINCOLN PERRY P.O. Box 2771. Boulder. Colorado 80302 EXECUTIVE EDITOR PHYL GARLAND PETER REILLY WILLIAM LIVINGSTONE ROBERT GREENE EBET ROBERTS MANAGING EDITOR DAVID HALL CHARLES RODRIGUES EDITORIAL CONTRIBUTIONS must be accompanied by re- LOUISE GOOCH BOUNDAS JULIAN D. HIRSCH ERIC SALZMAN turn postage and will be handled with reasonable care; ART DIRECTOR GEORGE JELLINEK CRAIG STARK however, publisher assumes no responsibility for the re- BORYS PATCHOWSKY IGOR KIPNIS JOEL VANCE turn or safety of art work, photography, ormanuscripts.

TECHNICAL DIRECTOR Member Audit Bureau of Circulations LARRY KLEIN ASSOCIATE PUBLISHER ASSOCIATE TECHNICAL EDITORS ROBERT JOHN UR, SR. DAVID RANADA, GORDON SELL ASSISTANT TO THE PUBLISHER ABC MUSIC EDITOR JEAN ANDERSON JAMES GOODFRIEND POPULAR MUSIC EDITOR Editorial and Executive Offices: 212 725.3500 Ziff -Davis Publishing Company ZIFF-DAVIS PUBLISHING COMPANY PAULETTE WEISS One Park Avenue, New York. New York 10016 SPECIAL PROJECTS EDITOR National Advertising Manager: Richard J. Halpern President: Richard P. Friss, STEVE SIMELS Eastern Advertising Representative: Charles L. P. Watson President, Consumer Magazine Division: Albert S. Trains Midwestern Office, The Pattie Group: 312 679.1100 Executive Vice President: Furman Hebb ASSOCIATE EDITOR 4761 West Touhy Ave., Lincolnwood, Illinois 60646 Senior Vice Presidents: Phillip T. Holleman, DAVID STEIN Arnold S. Hoffman, David W. Palcek Sidney Holtz, Edward D. Muhlfold, Philip Sine ASSISTANT EDITOR, RESEARCH Vice Presidents: Robert Savior, Baird Davis, RICHARD SARBIN Western Office: 213 387.2100 George Morrissey 3480 Wilshire Boulevard EDITORIAL ASSISTANT Los Angeles, California 90010 Treasurer: Selwyn Taubman BARBARA AIKEN Western Advertising Manager: Marge Doherty -Wilhite Secretary: Bertram A. Abrams

6 STEREOREVIEW Because Sony redesigned the car stereo, the auto makers don't have to redesign the car.

The interior of an automobile is So the highs come across clear and SoundField System simply by add- designed with a lot of purposes in soaring. The midrange, natural and ing one of our lower powered ampli- mind. Unfortunately, great stereo accurate. fiers and the Super Woofers to the sound reproduction isn't one of them. Ode "SouNU"' 'Sub -Sonic' car stereo you already have. Then Fortunately, Sony did more than Alter Atter you can slowly build up your system, just tackle this problem. They actu- Val adding a higher powered amplifier, ally solved it. By designing a stereo *dB more speakers, and an equalizer. system that meets the acoustical NonDlreetlonal Versolmmip Moqwftyftworim! Frociwftyftemem A SOUND THAT TAKES challenges inherent in a car. V0M:200m, 20000$ A BA.CICSEAT TO NONE. INTRODUCING THE SONY The bass frequencies below 100Hz Although the technology of the SOUNDFIELDT" SYSTEM. actually are directed from the rear ofSony SoundField System is complex, As the very name of our system the car, where the Super Woofers the reason for it is simple. indicates, we started with the acous- are placed. However, since these It will give you high dB levels with tical sound field itself by treating the frequencies are omnidirectional, theyvery low distortion, extremely pre- entire front of the car as a stage. The seem to be coming from the proper cise stereo imaging, and an amaz- very directional high -end and mid- "stage" location. ingly broad frequency response. In range frequencies emanate from this The result is richer, fuller, and addition, you'll be pleasantly sur- stage in an accurate stereo image. more dramatic bass. prised at just how easily a SoundField System can be installed in your car. Two Super Woofers CONVERT WITH COMPONENTS. in the rear create deep, So come Into your local Sony dramatic bass. The optimum SoundField System consists of a powerful amplifier dealer and ask to hear the next gen- (XM-120) driving a pair of 8" Super eration in autosound systems. Woofers (XS -L20), along with a One listen and you'll know why medium -powered amplifier driving signthe auto hemakers car. don't S have ON to rede- the front speakers. This means full - Y range speakers can be used without THE ONE AND ONLY risk of modulation distortion. Omnidirectional But you can begin to enjoy the bass frequencies below 100Hz seem tc come from the front "souadstage."

O1882 Sony Corporation of America Sony and SoundField are trademarks of Sony Corporation Models shown XS -L20 Super Woofers. XS -301 Front Speakers, XR-55 Indash Cassette/Receiver, XM-E7 Graphic Equalizer/Amplifier and XM-12C. Amplifier. CIRCLE NO. 44ON READER SERVICE CARD THE NEW WORLD, RENEWED These classical albums are now available on dbx discs: DVORAK: "New World" Symphony. Batiz, London Phil. Orch.(Varese Sarabande) PS 1037 TCHAIKOVSKY: "Pathetique" Symphony. Batiz, London Phil. Orch. (Varese Sarabande) PS 1038 SAINT-SAENS: "Organ" Symphony. Tjeknavorian, Royal Liverpool Phil. Orch.(Chalfont) PS 1033 THE FOX TOUCH: Organ Show- pieces by Bach and Jongen. Virgil Fox (Ultragroove) PS 1020 MIKLOS ROZSA: Symphonic Suites From Epic Films - Ben Hur, King of LETTERS TO THE EDITOR Kings and El Cid.(Varese Sarabande) GS 2025 ROSSINI/BERLIOZ: Overtures and Marches. Rozsnyai, Philharmonic Hungarica (Real Time) PS 1005 Barbra Streisand (trombone), Steve Brown (string bass), and MORTON GOULD:Latin American Bill Challis (arranger)-was just four years Symphonette; Festive Music; Philhar- Thanks to Peter Reilly for his continuedin the future. monic Waltzes; Gould, LSO (Varese efforts to promote what some of us still feel NORMAN P. GENTIEU Sarabande) PS -1009 is wonderful music. His full -page treatmer.t Philadelphia, Pa. DANZAS FANTASTICAS: Spanish of Barbra Streisand's Memory inApril Music of Turina, Albeniz, DeFalla, brought tears!I know right where I was Granados. Gould, LSO(Chalfont) PS 1028 HOLST: The Planets. Susskind, St. when Ifirst heard it-I was so struck by it that I pulled off the busy street and stopped George Jones Louis Symphony(Vox) SS -3002 MOZART: Eine Kleine Nachtmusik to listen. I'm proud to say that I guessed it I was pleased to read Noel Coppage's re- and other Mozart Serenades. Wins- was by Andrew Lloyd Webber, butI view of the album "Same Ole Me" by "the chermann, German Bach Soloists couldn't explainthe wonderful old Art great George Jones" in the March issue. I'd (Arabesque) SS -3024 Nouveau feeling of the lyrics until I saw T. sell my Phase Linear equipment, Grado G- DIGITAL HITS OF 1740: Pachelbel's S. Eliot's credit on the label. 2+, and ADS 910s to help keep singers like Canon and Famous Works by OAKLEY DAVIDSON George Jones and critics like Mr. Coppage Albinoni, Bach, others. Smedvig, Clarendon Hills, around for a long, long time. Keep up the Cambridge Chamber (Digitech) good work. I highly recommend "Same Ole dbx discs give you the full Me" for listening and Mr. Coppage's re- dynamic range of a live perform- Jazz at Carnegie Hall views for reading. ance with none of the surface A. D. GRITTON In April "Letters," Ken Darby mentions Hoopeston, Ill. noise of conventional records. that "the first jazz concert in Carnegie Hall The result is clarity, im- was given by Paul Whiteman in 1925." Ac- pact, and sonic realism / cording to the Carnegie Hall programI Videodisc Software like you've never heard / have, the date was November 15,1924. before-even on digital Subtitled "An Entertainment in Modern The reason audiophiles are not opting "audiophile" records. j1 American Music," the concert included sev- for the laser -videodisc medium is the mate- dbx discs. Demand eral numbers in which it is reasonable to as- rial being shoved onto the public, not the them by name. sume that jazz was prominently displayed: hardware or its cost. What we desire on vid- (1) "An early discordant jazz tune" fol- eodiscs is the same kind of recordings we lowed by "A similar tune with modern purchase for our stereo systems, but en- score," (2) Eastwood Lane's Persimmon hanced by the addition of video. Conversely, Pucker, "An Afro-American elaboration of what we don't want is hashed -over movies the Major Triad," (3) Gershwin's Rhapso- we can see anytime at the theater or on ca- dy in Blue, (4) Ferdie [sic] Groff's "Flavor- ble TV. After all, audiophiles are quality - ing a Selection with Borrowed Themes" and minded (some are perfectionists), and digi- Broadway at Night, and (5) such "Popular tal reproduction of a movie can be no better CompositionswithModernScore" as than the film print and soundtrack from Gershwin's Somebody Loves Me, H. Tier- which the videodisc or tape is copied. Too ney's Adoring You, J. Spitalny's Dreamy often that leaves much to be desired. Eyes, and Vincent Rose's Maytime and The way to go is to utilize digital technol- Linger Awhile. ogy to its fullest: record live musical per- At the time Whiteman made his Carne- formances both visually and sonically di- gie Hall debut, his band included several rectly into a master digital recorder to be excellent musicians, among them Harry reproduced (for the first time) unaltered for Perrella (piano), Henry Busse (trumpet), home use. Imagine sitting at home watch- Wilbur Hall (trombone), Kurt Dieterle ing, on your widescreen projection televi- (violin), Mike Pingitore (banjo), Chester sion, and hearing, from quality speakers on Hazlett and Charles Strickfadden (reeds), each side fed by a quality sound system, a Music can't live without us. and Ferde Groff (piano and arranger). world -class symphony orchestraplaying dbx, Incorporated, 71 Chapel Street, Whiteman's greatest jazz ensemble-with your favorite classical works, the camera's Box 100C, Newton, Mass. 02195 U.S.A. Bix Beiderbecke (cornet), Frank Trum-vantage point being the best seat in the Tel. (617) 964-3210, Telex: 92-2522. bauer (C -melody saxophone),Bill Rank (Continued on page 10) CIRCLE NO. 11 ON READER SERVICE CARD 8 STEREO REVIEW The next step in turntable technology: Technics linear -tracking with plug-in cartridge capability made affordable.

Utilizing the same linear-track,ng concept featured in Dynamically balanced linear -Jacking tonearm with the renowned Techni:s SL -10 and SL -15, Technics now gimbal suspensicn. Aluminum d e -cast platter. Tonearm introdu:es both the zlbum-sized SL -5 and the compact position indicator LED and scale to show the precise SL-DL5. Each of these two new models offers you the location of the tonearm on tre record. A built-in muting same incredible perfcrmance and uncarny accuracy of circuit to eliminate "cl CKS and "pops" when the stylus Technics linear -tracking at prices equal to many of today's makes contact vt.ith tie record su-face. Plus convenient conventional turntables. front panel controls. Bo:h feature Technics plug-in cartridge system, so Technics r ew linear-trac

TechnicsThe science of soJnd. CIRCLE NO 36 ON READER SERVICE CARD house. Then imagine on the flip side of the Associate Technical Editor David Ranada raise some aesthetic issues. Although the disc thevery samesound recording, but this replies: Reader Erwin needs to do a little addition of video would undoubtedly bene- time the camera is zeroing in on the instru- more technical homework. In the presentfitrecordings of Broadway shows and ments and the conductor-the best of both state of the videodisc art it is impossible to opera, the videodisc seems to me better ap- viewing worlds on one disc at virtually no put a digital -audio soundtrackand amov- proached as anewmedium ripe for artistic extra production cost. ing picture on the same disc without tre- innovation and creativity.The videodisc To satisfy audiophiles, videodisc players mendous sacrifices in playing time, reli- canfunction merely as an illustrated music should have high-level output jacksfor ability, and picture or sound quality. At- recording, as Mr. Erwin wishes, but why feeding an outboard digital -to -analog con- tempting this without an extension of a vid- should it? verter. Audio manufacturers can then com- eodisc's available bandwidth would be like pete in providing the best equipment for cramming two movies onto a single set of converting the signal to feed our analog videodisc "tracks." But CX-encoded stereo systems. If digital audio/video is in- soundtracks on both laser- and stylus -read Classy Cover tended to be a meaningful alternative to the videodiscs may provide much of the sound As an audio enthusiast, amateur pho- existing media, then let's get on with it! quality that Mr. Erwin is looking (and lis- tographer, and avionics technician,I sug- R. BRUCE ERWIN tening) for. gest a "Special Merit" tag for Art Director Evansville, Ind. However, Mr. Erwin's proposals also Borys Patchowsky and photographer Bruce Pendleton'simpressiveandoutstanding March STEREO REVIEW cover.I admire a "class act" such as yours. Please keep up the excellent work. Three Incredible, Affordable SAL DE VICTORIA New Speaker Systems New Orleans, La. From Polk Audio Jussi Bjoerling The Jussi Bjoerling Memorial Archive is a non-profit educational organization that Are you looking for the best was founded in 1974 by several profession- sound but afraid you can't al men and women interested in preserving afford it?Read On... the heritage of a great artist. The Archive has just published a limited -edition two - Polk Audio loudspeakers have hundred -pageJussi Bjoerling Discography. Copies are $15 each, plus $2.50 for shipping earned a worldwide reputation for de- and handling. To order, or for more infor- livering the best sound for the money. mation about the Archive, write to: Jussi The new Polk 4, RTA 11 and SubSat Bjoerling Memorial Archive, Inc., P.O. Box 4/14 systems continue and expand on 2638, Indianapolis, Ind. 46206. JACK W. PORTER this tradition. The 4 (*99.95 ea) brings Executive Director Polk quality to a new low price and is Jussi Bjoerling Memorial Archive already achieving a reputation as thePolk Monitor 4 - *99.95 each best value in hifi today. The amazing SubSat 4/14 system (*$500 total) of- Home Music Store fers superb sound in a three piece IconcurwithMusicEditor James package that allows easy, unobtrusive Goodfriend's reservations concerning the and optimum placement in any room. "Home Music Store" in his January col- The mirror imaged RTA 11 (*399.95 umn. The "Home Music Store" aspires to become part of the American media all of ea) offers most of the features and us know and love, the same media that give performance of the Grand Prix Award usThe Dukes of Hazzardand take away winning, top of the line RTA 12 at an any and all ventures that cater to civilized even lower price. All of these systems human beings. Studies that show average reading skill in the U.S. to be at the sixth - utilize Polk trilaminate-polymer driv- grade level and average mental acuity to be ers and isophase crossover networks that of a ten -year -old are used to set the for the most highly defined, lifelike, tone and temperament of programming on musical reproduction. And best of all, "the vast wasteland." But it does Ameri- you can easily afford them. cans a terrible disservice to pull all down to the lowest common denominator and force mediocrity on those who want something Polk RTA 11 - *399.95 each better. People have come to expect mediocrity and to pay for nothing else, as most advertisers can attest. Polk speakers are affordably priced DREW DANIELS from $100 to $500 each. Use the free Los Angeles, Calif. reader service card to receive detailed information and the location nearest you for auditioning the Incredible, Af- Credit Correction fordable Polks. Polk Audio, Inc. 1915 The April review by George Jellinek of a Annapolis Rd., Baltimore, MD 21230. disc of Schumann vocal and chamber music on the Musicmasters label (page 97) inad- vertently failed to identify the artists involved as members of the Chamber Music p olk Society of Lincoln Center. We regret this Polk 4/14 System - 5500 total The Speaker Specialists omission. 'may vary with dealer CIRCLE NO. 38 ON READER SERVICE CARD 10 STEREO REVIEW Ell!' TRIO CI FRmanyanyNo LPJO price, other NARY STEP zartridge, BEYOND benefits. offers so #11/1/CMCIParlY SYSTEMPIROP-otectsS'Off.E-G stylus LIAM from IZEI TEC TICIPAI byoccidental withdrawing breakage shankassembly intostylus housing. TSrOPERES.AM SIM TSFPFPC/i/. ASMEK.TWAIO racking-plustyks tip ssureswear. reduced accurate, record distortior-free andlea lux /SEM asarsev absorberExclusive!EPIESTOWICIWE01111114111MIC 'o =unctions eliminate like warp STIMISOLIZE-51/ a miniature -related problemsshock you getAs ana cerif:cate extraPLUS! bor.us, newtrackabilityUnprecedentedMICOZCPWISILL. high stiffness, due highto lowthis frequency /E. mcssrevolutionaryT ie." WAIL LAS SOCA. AIM sweepsdischarcescartridgesuch as awaysignal bottoming. surface microdust. wow, static grooveSimultaneously electricity skipping, and and oodTR1end for17-a Trackability$15oura copy factvalue--FREE1 of-filled theTest newbrochure. Record Ask for AL694. stylus shank. 6:0_% YAMAHA AM/ WA OTEPEO T-70 GOrtAkar Stn. URAAyr., .104.1C0 IIMINQ 0 Wro AftriaTrAllON :'' I0I.i AEC GAL Ar MHO ',VAMP ArICArro

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IMMEASURABL Introducing Yamaha's newest separates-the T-70 tuner, full -logic function switching. the C-70 control amplifier, and the M-70 X -power amplifier Nothing less would measure up. featuring our unique Zero Distortion Rule. Zero Distortion Yamaha's new separates. Rule for distortion so low, it Immeasurable in performance, THD OF FINEST TEST EOUIPMEN beauty, versatility, and musical 003% can't be measured. Here, in a listening pleasure. Visit your 002°. nutshell, is how the Zero

ESTIMATED THD OF YAMAHA M-70 Distortion Rule circuitry .0005% 20 Hz 1 kHz 20 kHz works: Sophisticated circuitry Sophisticated test equipment is incapable measures any difference of measuring the M -70's THD. between the output signal and the input signal, and feeds back only this difference 180 degrees out of phase. This, in effect, completely cancels distortion. The most critical test equipment of all. How completely? Laboratory But the only test instruments research has found that the only you'll be using to measure the Yamaha dealer now and measure distortion test instruments can M -70's sound are your ears. So for yourself. detect in the M-70 is the distor- you'll hear only the most For more information, write tion generated by the instru- breathtakingly clear, accurate to Yamaha Electronics Corpora- ,t4 ments themselves. Which is why music reproduction possible. tion, USA, P.O. Box 6660, Buena we have to estimate the M -70's To complement the phenome- Park, CA 90622. Total Harmonic Distortion nal M-70 amplifier, we created For the musk In you. (arrived at by computer extrapo- the equally phenomenal T-70 lation) at no more than 0.002% at computer servo -locked synthe- 200 Watts RMS per channel, both sizer tuner, and the C-70 control channels driven into 8 ohms, fromamplifier complete with two -band 20 Hz to 20 kHz. parametric equalization and YAMAHA flew Productslatest audio equipment and accessories

duction with almost 90 dB of dynamic tape, -20 -dB recording level), wow and range. A two-color LED indicates the CX flutter of less than 0.045 per cent wrms, and reference level in the necessary calibration signal-to-noise ratio of more than 80 dB procedure. A calibration record is supplied (chrome tape, Dolby -C). Dimensions are with the unit. 203/4 x 51/sx117A inches. Weight is17 Distortion at 1,000 Hz is less than 0.01 pounds. Price: $1,800. per cent measured at 20 dB below the CX Circle 122 on reader service card reference level. Separation is greater than 60 dB. Maximum output levelis 20 dB above the CX reference level. Input impedance is greater than 8,000 ohms, and output impedance is 300 ohms. Dimensions are 11/2 x 71/4 x 4 inches. Price: kit, $69; assembled, Quad's FM Tuner $109. Phoenix Systems, Dept. SR, 91 Elm Street, Marchester, Conn. 06040. Has Microprocessor Circle 121 on reader service card

Designed primarily for use with the Model 44 preamplifier (bottom in photo), Quad's new FM4 tuner (top) has no controls except station -preset buttons, a power switch, and a tuning knob. The unit's built- in microprocessor automatically performs all other tuner functions, including preset tuning, muting, and AFC. The FM4 unit will memorize up to seven station frequencies and hold them in memory for up to five years even if disconnected from a power source. A combinationsignal -strength/ channel -center meter is adjacent to the station -frequency readout. Bang & Olufsen's Specifications include an IHF sensitivity Computer -optimized of 1 microvolt (µV) and a stereo 50 -dB - quieting sensitivity of 25 µV. Signal-to- Cassette Deck Measuring 93/4 inches on an edge, 3D noise ratio with a1 -millivolt antenna signal Acoustics' "Cube" loudspeaker has a cloth is 70 dB in stereo. Selectivity is 53 dB, cap- grille on three sides and walnut caps on top

ture ratio 2.5 dB, AM suppression 60 dB, The automatic tape -matching feature of and bottom. The Cube is a two-way system and image rejection 80 dB. Frequency re- the B&O Beocord 9000 compensates for with a 6 -inch woofer and a 3/4 -inch polycar- sponse is 20 to 15,000 Hz +0, -1 dB. The variations in tape sensitivity and adjusts bonate-dome tweeter. Crossover frequency antenna input is for a 75 -ohm unbalanced bias (separately for each channel), equali- is 3,000 Hz. For maximum power -handling line. Dimensions are 121/2 x 3 x 83/4 inches. zation, and meter sensitivity. For the meter ability, the tweeter is damped with ferro- Weight is about 61/2 pounds. Price: $625. adjustment the deck measures the third - fluid. Minimum amplifier power is 15 watts Quad, Dept. SR, 425 Sherman Avenue, harmonic distortionofa 333 -Hz tone, and nominal impedance is 8 ohms. Frequen- Palo Alto, Calif. 94306. thereby defining the recording level for 5 cy response is given as 70 to 20,000 Hz ± 3 Circle 120 on reader service card per centthird -harmonic distortion. The dB. Price: $195 per pair. 3D Acoustics, peak -reading meters' sensitivity is then set Dept. SR, 175 Heritage Avenue, Ports- to give a 0 -dB indication at about 2 per cent mouth, N.H. 03801 distortion at 333 Hz; the +5 -dB indicator Circle 123 on reader service card will then light when distortion exceeds 5 per cent. Calibrated setting for the four standard cassette -tape categories can be stored in the Beocord 9000's memories, where the information is protected from loss for up to five years by a battery. The record and play heads in this three - head deck have a single housing with an azi- 411111111111116 Phoenix Systems' muth -alignment deviation between the two sections of less than 0.06 degree. Besides CX-decoder Kit Dolby -B and Dolby -C noise -reduction circuitry, the deck is equipped with the Dolby/ Phase Linear's B&O HX Professional system, which dy- Parametric Equalizer Phoenix Systems' Model P-82 CX de- namically adjusts bias levels for maximum coder provides the necessary 1:2 playback high -frequency capability with minimum expansion for decoding CX-encoded rec- low -frequencydistortion.Thereal-time Said to be the first five -band parametric ords. As a result of the expansion, preampli- tape timer can be used not only to display equalizer in a 13/4 -inch -high rack -mounting fier and record -surface noise are reduced by elapsed time but also to indicate time re- chassis, the single -channel Phase Linear as much as 20 dB while dynamic range is maining on a cassette and as a built-in 24 - E51 is intended mainly for professional use. increased by 26 dB. High-speed circuitry hour recording or playback timer control. The unit has five filters, each adjustable in along with a low -distortion variable -gain Specifications includea frequency re- degree of attenuation or boost ( ± 12 dB), in element is said to deliver uncolored repro- sponse of 20 to 20,000 Hz ± 1.5 dB (metal bandwidth (0.14 to 1.5 octaves), and in cen-

JUNE 1982 13 flew Productslatest audio equipment and accessories

ter frequency. The filters cover ranges of 21 cies above 2,300 Hz. The drivers are posi- to 190 Hz, 83 to 750 Hz, 330 to 3,000 Hz, tioned at the upper portion of the enclosure 1,300 to 12,000 Hz, and 2,500 to 22,000 for superior imaging characteristics. The Hz. The highest and lowest filters can be ten -element crossoverisindividually ad- switched to peak, dip, or shelving responses. justed to the drivers for unit -to -unit consis- Other features include automatic match- tency. Specifications include a frequency ing of balanced and unbalanced inputs with response of 39 to 22,000 Hz ±2 dB (meas- outputs, a + 20 -dB gain system for low-lev- ured in a home environment), nominal im- el inputs, an overall level control, and a by- pedance of 8 ohms, and sensitivity of 90 dB pass switch. LEDs indicate bypass opera- sound -pressure level measured at a I -meter tion, signal presence, power on, and system distance with a I -watt input. Minimum rec- overload. Specifications include total har- ommended amplifier power is 15 watts per monic distortion and noise at a 1 -volt output channel; maximum is150 watts. Dimen- level of less than 0.009 per cent, frequency Fidelity Research's sions are 33 x 141/2 x 11 inches and weight is response of 20 to 20,000 Hz +0, -I dB, 48 pounds. Finishes include oak with dark and a signal-to-noise ratio of 111 dB below Moving -coil Cartridge brown grille or walnut with black grille. maximum output. Dimensions are 19 x 13/4 x Price: $749 per pair. 71/2 inches. Weight is 5 pounds. Price: $549. Circle 127 on reader service card Circle 124 on reader service card Fidelity Research's new MC -202 "Gold" moving -coil cartridge incorporates a nude -diamond tip whose shape increases the contact area with the record -groove walls without riding deep in the groove. Loran's New Specifications include an output voltage of 0.17 millivolt with a 5-cm/sec groove veloc- High -bias Cassettes ity. Cartridge impedance is 8.5 ohms, recommended load impedance 9 ohms or more. Tracking force isIto 1.3 grams. Price: Featuring heavy-duty Lexan cassette $350. Fidelity Research, Dept. SR, P.O. shells, Loran's High Bias Type II cassette Box 5242, Ventura, Calif. 93003. tapes are said to offer extremely flat fre- Circle 126 on reader service card quency response (with a -3 dB point of 21,500 Hz). Other specifications include sensitivity of -0.45 dB at 330 Hz (referred to a reference tape), signal-to-noise ratio of 64.5 dB with Dolby -B, and high -frequency headroom of -3 dB at 10,000 Hz. The tapes are availableinC-60 and C-90 lengths. Prices: LHB-60, $5.75; LHB-90, $7.95. Circle 128 on reader service card

Floor -to -ceiling Electrostatic Speakers From Acoustat

Acoustat's Professional Series Models Six (right) and Eight (left) stand 7 feet, 10 inches tall and incorporate the same full - range electrostatic elements used inthe firm's Slimline Series speakers. The new models are said to offer improved vertical dispersion, increased maximum output level,and extended low -bass performance. Both have a nominal impedance of 6 ohms. Frequency response is given as 26 to 20,000 Floor -standing Hz ±2 dB for the Model Six, 24 to 20,000 Hz ± 2 dB for the Model Eight. The Model Speaker from Six is 28 inches wide, the Model Eight 36 Snell Acoustics Stanton's RC5 Plus all -in -one record - inches; the panels are both about 4 inches cleaner kit contains a special fluid that is thick. Both models are available in a choice said to dissolve oily films, microscopic dust, of base finishes and with either a black or Snell Acoustics'I ype E speaker isa and other debris safely while leaving no re- off-white grille cloth. Prices per pair: Model floor -standing design with an adjustable - sidue. The fluid has antistatic ingredients Six, $3,750; Model Eight, $4,750. Acoustat height base. The system uses an 8 -inch for removing static charges during record Corp., Dept. SR, 3101 Southwest First Ter- woofer with a polymer -treated cone in a cleaning. A "polarized" brush with a con- race, Ft. Lauderdale, Fla. 33315. "precision -tuned" 2 -cubic -foot enclosure. A ductive handleisincludedinthekit's Circle 125 on reader service card 1 -inch soft -dome tweeter handles frequen- (Continued on page 16)

14 STEREO REVIEW MAXELL IS PLEASED TO PRESENT AN EVEN HIGHER PERFORMANCE TAPE.

If you're familiar with Maxell UD-XL tapes you probably find it hard to believe that any tape could give you higher performance. But heanng is believing. And while we can't play our newest tape for you right here on this page, we can replay the comments of Audio VIdeo Magazine. "Those who thought it was impossible to improve on Maxell's UD-XL II were mistaken. The 1981 tape of the year award goes to Maxell XL II -Sr How does high bias XL II -S and our normal bias equivalent XL I -S give you such high performance? By engineering smaller and more uniformly shaped epitaxial oxide particles we were able to pack more into a given area of tape. Resulting in a higher maximum output level, improved signal-to-noise ratio and better frequency response. o keep the particles from rubbingoff on your recording heads Maxell XL -S also has an improved binder system. And toeliminate tape deforma- tion, XL -S comes with our unique Quin-Lok Clamp/Hub Assembly to hold the leader firmly in place. Of course, Maxe1.1 XL WS and XL I -S carry a little higher price tag than lesser cassettes. We think you'll find it a small price to pay for higher performance. IT'S WORM IT.

CIRCLE NO33 ON READER SERVICE CARD LEAR JET STEREO Lear Invented the 8 -Track flew Products BUT IafesI audio equipment and accessories LEAR IS box. The brush is directional to allow for noise -reductioncircuits,and a muting CASSETTE maximum debris removal, and the conduc- switch. Wow -and -flutteris given as 0.05 tive handle aids in drawing static charges per cent (wrms), and signal-to-noise ratio is from the disc. Price: $16.95. 61 dB (CrO, and metal tape). Circle 129 on reader service card The portable section of the DC -20 XP contains phono and auxiliary inputs, bass and treble tone controls, a loudness switch, and an "Accusonic" control said to improve stereo imaging when one is listening to the built-in 3 x 5 -inch speakers at close range. High PowerFm Dimensions are 113/8 x 93/16 x 57/s inches. A-15AM Prices: DC -20 XP, $700; DC -20S speakers, MPX Cassette featuring: full $250 per pair. electronic tuning, seek, scan, Circle 130 on reader service card 12 pre-set stations, digital frequency display, digital quartz clock, Lo/Lx, switchable DNR, fader, F.F., metal tape, separate bass/treble and more'

Pushbutton A-25AM & FM, MPX Cassette with auto reverse, 15 watts RMS per channel, locking F.F./rewind, Lo/Dx, switchableDNR,loudness Denon Headphones switch, fader and more! Fold into a Cassette -size Case 0 Designed "specifically for the hi-fi fan," the Kenwood DC -20 XP is said to be the only complete audio system with a cassette/ 0 The folding -design Denon A H -P5 amplifier/tuner section that can be sepa "Pocket" mini headphones come in a cas- FM & AM rated from its main amplifier and speakers sette -size box. The case provides attach- A-31MPX, Cas- and used as a high -quality, self-contained ments to hold the headphones, cord, and sette / 5 Band Graphic portable recording or playback unit. The connecting plugs. When removed from the Equalizer, features 25 watts system consists of the DC -20P power ampli- case, the AH-P5s are entirely flat. A 90 - RMS per channel, mute, ster- fier and the portable DC -20X cassette/am- degree turn of the earpieces brings them eo / mono, Lo/Dx,locking plifier/tuner (shown). The DC -20S vertical down from their tucked -in storage position, F.F., and more! loudspeaker system with 4 -inch woofer/ and another 90 -degree turn moves the ear midrange drivers and 1 -inch dome tweeters pieces parallel to the ears. can be purchased separately. The full sys- The headphones use high -flux -density sa- tem can operate on house current or, with marium -cobalt magnets and low -mass dia- the aid of an optional adaptor (AD -15). phragms. They are supplied with a 3 -foot MelD from a car or recreational -vehicle battery mini-phone-plug/phone-plug adaptor cord Output power of the DC -20P power ampli- 26 more models to choose from. Design- in addition to the attached 3 -foot mini - fier is 20 watts per channel into 8 ohms with phone -plug cord. Rated impedance is 32 ed to meet your needs, whether you no more than 0.1 per cent total harmonic wanta CENTERPIECEofa$1,000 ohms. Sensitivity is 100 dB sound -pressure system or your first experience with fine distortion from 40 to 20,000 Hz. Twclevel with a 1-milliwatt input. Frequency auto sound for under $100. speaker systems may be connected, select- range is given as 20 to 22,000 Hz. Weight is able by a front -panel switch. I ounce. Price: $39.95. All units, including our graphic The tuner section of the DC -20X has dig- Circle 131 on reader service card ital -synthesis tuning and up to five FM and equalizer/amplifiers,arepro- five AM station presets. Usable sensitivity tected by our 2+2 Protection is 2.5 microvolts; alternate -channel selectiv- Plan. ity is 55 dB. Stereo separation is given as 36 NOTE: All product descriptions and specifi- dB at 1,000 Hz. The cassette transport is cations quoted in these columns are based controlled by light -touch microprocessor - on materials supplied by the manufacturers, -411jr- LEAR JET activatedswitches.ADirectProgram who will respond directly to reader requests STEREO Search System automatically locates the for further information. beginning of chosen selections and starts Domestic inflation and fluctuations in the A division of Detroit Electronics Group playback. The cassette sectionalso has value of the dollar overseas affect the price 15278 Gratiot Ave./Detroit, Mich. 48205 of merchandise imported into this country. three -positiontape -typeswitches,timer Please be aware that prices quoted in this standby switching, a head "specially de- issue are therefore subject to change. [313] 839-7830 signed for use with metal tape," Dolby -B Ctrcle No 28 for Informatron on Lear Jet products. 16 For more New Products see page 62 empire introducesan improvement sodramaticyou can notonly measure ityou canhearit THE NEW EMPIRE GOLDEN TOUCH SERIES.

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Empire Scientific 1055 Avenue,ueuarden Pc(\°°:11:\"\;:ttcite:: fteasall 11:tate ael:ft \!idt11:111111.18\e: Pce141:::\tj:see\ t fil:P\- t:11111::°111;c1rItt:8ee ts:dltu?).4eeeq4s\ Stewart Gsoarden NewSCIEYork 11530 ct6. IC IE ri CIRCLE - 11-N READER F audio Q. and R. details ..A DIFFERENT KIND OF RECORD CLUB By Larry You can now own every record or tape that

you may ever want . . . at tremendous say- Klein ings and with no continuing purchase obligations. You can get valuable free dividend certificates, you can get quick service and all the 100% iron -clad guarantees you want Now you can stop price increases that leave you with less music for your record and tape budget. You can guarantee yourself more music for less money through membership in Discount Music Club. Technical Director Klein Look at these benefits: works out the schedule TREMENDOUS SAVINGS OfSTEREO REVIEW'S on every record and tape in print- equipment test reports. no -agreeto-purchase" obligations of any kind DISCOUNTS Of 43% TO 73% off mfg suggested list special catalog features hundreds of titles and artists AU. LABELS AVAILABLE Two Types of CX? inputs for a second video sound source that including most imports through special also makes it useful as a connector/switch custom ordering service. It we don't / have heard that the CX encoding box between video and audio systems. stock it we'll get it for you system that CBS and others have Incidentally, in Japan recentlyIheard SCIIWANN CATALOG been using on some new LPs is also being(and saw) some CX-encoded videodiscs lists thousands of titles, classical, used for videodiscs. A dealer told me that played through the latest laser -disc ma- pop, jazz, ballet, opera, musical shows, there are actually two different kinds ofchines which had CX decoders built in. The folk, rock, vocal, instrumental, country, etc CX encoding and that the decoders avail- overall fidelity was close to excellent! DISCOUNT DIVIDEND ableare onlysetup for phonograph CERTIFICATES records. Will these decoders also work with Dividend Gifts-Every shipment videodiscs, and, if not, what are the techni- carries a dividend gift or dividend certificate cal differences? Weak Link Certificates redeemable immediately JOEL CUBERS n I understand that any stereo system is for extra discounts Boston, Mass. 1.01 only as good as its poorest compo- NEWSLETTERS nent. Is there an easy method of determin- happenings in the world of music; ing the "weak link" of a given system with- concerts, critiques, new releases... special tionsystem adds20 dB tothe out expensive super -sale listings at discounts of up to 73% testing equipment?This dynamic range of records by compressing would be extremely helpful when the time DISCOUNT the top 40 dB of the dynamic range (the came to upgrade. ACCESSORY GUIDE loudest parts of the recording) by 20 dB in DAVID BARN Diamond needles, cloths, tape cleaners, the encoding process and then expanding it Cheyenne, Wyo. etc. Discount Music Club is your complete back to 40 dB in the decoding process. one stop music and accessory buying service. Unlike Dolby noise reduction, which com- AWouldn't the "weak link" in your sys- QUICK SERVICE presses only the high frequencies, the CX tem depend on what you were experi- same day shipping on many orders . . system affects the entire audio band. encing as a deficiency? rarely later than the next several days. If your speakers Partial shipments always made in the When Pioneer and others investigated can't be driven to the volume you desire event of unforeseen delay ... all at the CX system for encoding the audio sig- without rattling or blowing their drivers, or no extra cost to you. nal on videodiscs, they decided that some- if your amplifier can't supply all the power 100% IRON -CLAD what different parameters would best serve your speakers need to play as loud as you GUARANTEES the specific needs of videodisc audio. The would like, or if your tape deck won't make on all products and services. videodisc CX standard calls for 14 dB of a(to your ears) satisfactory copy of a Everything is guaranteed factory fresh and free compression/expansion versus 20 dB for record, or if your prerecorded tapes sound of defects or damages of any sort. phonograph records. Specifically, the top 28 Your total satisfaction is better to you than your records, or if your unconditionally guaranteed dB of the dynamic range is compressed to FM tuner won't deliver noise -free reception 14 dB during encoding and expanded back of your preferred stations, then you have Discount Music Club is a no -obligation mem- to 28 dB in decoding. In addition, the low - bership club that guarantees tremendous dis- located a problem or two in your system-if counts on all stereo records and tapes and frequency threshold of operation of the sys- not a "weak link." lets you buy what you want ... when you want tem's control circuitry is raised to 500 Hz Not everyone has the same hi-fi needs . . . or not st all if you choose. from 100 Hz. and therefore not everyone would focus on These are just a few of the money -saving If a normal CX decoder is used with vid- the same inadequacies in a given system. If, reasons to write for free details. You can't eodiscs, there will be up to 12 dB of exces- say, you have a taste for flute solos played lose so why not fill out and mail the coupon sive expansion overall plus an additional below for immediate information. at low level, then a low- to medium -power overexpansion of the frequencies between (12- to 30 -watt) amplifier is more than like- MIN NM IM MM. ON ...... ME r MUM. 100 and 500 Hz. The result is likely to be ly to be adequate, and upgrading to a high- dmsDISCOUNT MUSIC CLUB. INC "pumping" (erratic volume changes) and er -power unit will not serve your purposes. 650 Main StreetDEPT. 9-0682 some boominess. An additional problem is P.O. Box 2000 Butotherlistenerswithothermusical New Rochelle. N.Y. 10801 that, for proper operation, CX disc decoders tastes, low -efficiency speakers, and large must be set for a 0 -VU reference level at the rooms may find 200 watts per channel bare- NAME output ofthe phono preamplifier. The ly adequate. equivalent 0 -VU level from avideodisc In general, the very best way to deter- ADDRESS player will usually be 3 to 4 dB higher. mine which, if any, component in your sys- One manufacturer,SoundConcepts tem is not doing the kind of job you would CITY (P.O. Box 135, Brookline, Mass. 02146), like it to do is to substitute another compo- produces a CX decoder specifically for vid- nent with better or higher ratings and listen STATE ZIP eodiscs. Their model VDX-80 ($149) has (Continued on page 20)

CIRCLE NO. 15 ON READER SERVICE CARD 18 STEREO REVIEW "You go ahead. I prefer the Jensen performance:'

When it comes to the performance of vocals are reproduced. The result is a sound, Jensen° Car Audio is stiff clearer, more realistic sound across the competition. entire midrange Take the Jensen spectrum. Quadrax° four-way And the Quadrax speaker system for handles power su- example. Naturally perbly, to push that it delivers rich, full sound even further- bass and crisp clear 55 watts per speaker. highs. So if it's the sound But, to add to its that moves you, consider installing superb performance, it also features a Jensen Quadrax speaker system. two separate drivers to define the up- That way, you can go far... just stay- per and lower midrange ing in your car..Quadrax" ts the registered signals, where most Laboratories eprtte:fitifneSond irpatented4 way JENSEN speaker system. CAR AUDIO When it's the sound thatmoves you. c1982. Jensen Sound Loboratur-les, Sthil er Pirk, Illinois 60176 CIRCLE NO. 26 ON READER SERVICE CARD

Jl \I1982 19 for an improvement either overall or in the area of the suspected weakness. However, don't misinterpret small differences in frequency response or a greater loudness at a given volume -control setting as evidence of superiority.

.ire Amp Sandwich 00oest QSome of my friends have told me that

otestoet itis beneficial to the sound of an porposes60tortor.tess amplifier to weight it down with bricks or actc2 Pet other heavy objects. Is this true? at pi v+ tor oostier GERALD MOSER ed , cocoete Brooklyn, N.Y. coOdereasorerestioot:latkpaxtebottlIN::essa1,10100s.;to 00 be 011 :ate saysAlor .to:ees sod\ A One of the unfortunate side effects of a 1 o°.°. fkevietiOP000el.ceededpreePreqr or. Aadvanced audiophilia is a tendency Stereo ratog 0 a dotcgt`°1". to develop auditory hallucinations. Various oci\ a ro prearept..01. torsac.`o; ." Ws actleer A 10 subjective acoustic effects are perceived and Oetter 20 reported as having an objective existence prear4VercootOveof ttle cOser orNe soe despite conflicts with the laws of electron- ItNel stereo ctlINaolests . posse Os P,.oe0.05,101NO glivaac:teidoes:i11(1e?alglIN'o999°;t1:el. ics, physics, and psychoacoustics-or even 9'0 Ooreseparate k ade NocoeisGfat oo \las ea logic and common sense.But although atso advanced audiophilia may lead to behavior poser Ocore ot Gf torroers suggesting a mental disease, it more closely Toe viPvt*Otertereooe'oetIteetcper ot ar 2soe resembles a primitive, magic -based religion. kvo cooSstecsiexcettettor Through the ritual application of any of Itlesestir \te Octlahretsdoverse.o6oWs or - several totem objects (special braided wires, Gat\2.0,020*""))° mysterious liquids, massive weights, or even vacuum tubes) to their sound systems, true PMS believers are able to experience wonderful acoustic effects not always audible to those without equal faith.

Becausethe number of questions we receive each monthisgreater than we can reply to individually, only those letters selected for use in this column can be answered. Sorry! dbx, Inc., 71 Chapel St., Box 100C, Newton, Mass. 02195 U.S.A. Tel. (617)964-3210, In Canada: BSR (Canada) Ltd CIRCLE NO. 12 ON READER SERVICE CARD 20 STEREO REVIEW Here's howwe kiss the hiss goodbye.

And like all BASF tapes, PRO II comes BASF Chrome. encased in our new ultra -precision cassette The world's quietest tape. shell that provides perfect alignment, smooth, 44 With BASF Chrome, you hear only what you even want to hear-because we "kissed the hiss goodbye." In fact, among all high bias tapes on the market today, only PRO II combines the world's lowest background noise with outstanding sensitivity in the critical high frequency range for superior dynamic range (signal-to-noise ratio). PRO II is unlike any other BASF designed and developed the tape because it's world's only Measure- made like no ment Reference Tape Cas- sette. And out new ultra -precision other tape. cassette shel: is the logical culmi- Magnified While ordi- nation of that development. 15,000 X nary high bias tape movement, and consistent high fidelity tapes reproduction. are So when you want to hear all of the music and none of the tape. turn on to BASF Chrome. It's the one tape that Per- kissed the fectly hiss good- shaped and uni- bye. formly sized particles of pure chromium dioxide provide a magnetic medium like no other tape in the world. made from modified particles of ferric oxide, only PRO II is made of pure chromium dioxide. These perfectly shaped and uniformly sized particles provide a magnetic medium that's truly superior-so superior that PRO II was chosen by Mobile Fidelity Sound Lab for their Original Master Recording"' High Fidelity Cassettes-the finest prerecorded cassettes in the world. PRO 11-a tape so superior, a cassette so reliable, that it was the one chosen by Mobile Fidelity Sound Lab for their Original Master Recording'"" High Fidelity Cassettes

For the best recordings you'll ever make. *),BASF Audio/Video Tapes CIRCLE NO 5 ON READER SERVICE CARD noise commonly encountered in recording: FM (frequency modulation) and AM (amplitude modulation). Modulation noise in Tape Talk FM is related to wow and flutter, for which there are standard measurements. Modula- tion noise in AM manifests itself as a kind of "gritty" quality, a noise "behind" the desired signal, and is more difficult to iso- late and measure. Its origins are related to the tape -coating process and to magnetic inhomogeneities among the particles used in the coating. The easiest way to spot modulation noise is to record a mid -frequency tone at a moderate level on a three -head deck. When you switch between "source" and "tape" you'll hear the grit (unless you have a digital recorder!), and as you alternately raise and lower the record level the grit will track the signal. To my mind, modulation noise is probably the most serious signal -quality problem confronting analog recording.

Mike Placement from the original concert hall. Fortunately, we're not all that hard to fool-as magi- Test Tapes el I am interested in doing live recording cians, advertisers, and even performing mu- n You and Julian Hirsch always men-

g and want to know whether micro- sicians well know! My suggestion, therefore, lion the specific test tapes you use in phones should be placed as close to the per- is to begin with a single pair of the usual checking a tape recorder. Why? And where formers as is practical or farther away, cardioid (unidirectional) microphones can I get a set? where they will pick up more background taped together (plastic electrical tape will RODNEY SPODE noise. Also, are there any benefits from do very nicely) so as to form an X with an Madison, Wis. locating the mikes as close to the r'ecorder approximate 90 -degree angle (or alittle as possible? less). Pull back sufficiently so that neither A It does seem silly to keep on mention- DOUGLAS BROEHLmike has to "scan" more than a 45 -degree ing the test tapes we use, but the Madison, Wis. angle to cover the performers. In most audi- unhappy fact of the matter is that with test toriums I've worked in this is a good rule of tapes, just as with the regular tapes you A Proper microphone technique is really thumb, for the resulting distance from the record and play, the numbers you get when as much an art as it is a science, for sound source will bring in enough hall re- you measure depend on the tape you meas- mikes "hear" differentlythan earsdo. verberation for the recording to sound rea:- ure with. More than twenty years ago, Their job, however, is to help fool us into istic when played back in a typical home lis- before I became professionally involved in thinking that we are actually present at a tening room. hi-fi, I noticed that test reports on the really live performance. To get the hang of live recording, what good open -reel decks seemed always to The firstpractical rule of microphone you should do is put on your headphones show a rising high -frequency response with technique is that the fewer you have to use, (use the sealed type that shut out all sounds Ampex test tapes. Ultimately that company the better your results are likely to be. other than what the mikes pick up) and admitted (in AES papers by J. McKnight Years ago, before stereo, Mercury Records practice, practice, practice, just as a mu- and J.Morrison, subsequently reprinted used a single omnidirectional microphone to sician does. You want to be able to "feel" an and distributed by Ampex) that their test cover an entire orchestra, and the clarity ofacoustic space almost palpably when you tapes had indeed been slightly "hot" on the thoserecordingsisimpressive evenby walk into it and clap your hands a couple of high end in order to compensate for losses today's standards. The principal reason for times to get its "ring." That's when you can that might occur during use. the proliferation of microphones (I've heard start modifying my rule of thumb to suit McKnight and Morrison have since left of seven being used on a single drum set!) is particular circumstances, andit'swhere Ampex to form their own companies to the view held by some recording engineers you begin to become a real recording engi- make test tapes. McKnight operates Mag- that anything can be "fixed in the mix." neer. [See the article on "Microphoning" in netic Research Laboratories (229 Polaris Stereo, of course, requires at least two the October 1981 issue.) Avenue, Suite 4, Mountain View, Calif. microphones, for part of the sonic informa- As for your second question, you should 94043), and I use the MRL test tapes for tionthebrainprocesses as indicating keep mike cables as short as possible to open -reel testing. Morrison operates Stand- breadth and depth results from our two ears minimize noise pickup and high -end rolloff. ard Tape Labs, Inc. (26120 Eden Landing picking up the same signal at slightly differ- You'llneedprofessionallow -impedance, Road, Hayward, Calif. 94545), and he also ent times, since they are located at slight- balanced -line gear for long distances. has a line of fine test tapes available. lydifferentdistancesfromthesound Over the years I have used any number of source(s). cassette test tapes. Nortronics (8101 Tenth One way of making absolutely stunning Modulation Noise Avenue North, Minneapolis, Minn. 55427) stereo recordings of live music is to place produces two test tapes that are available in miniature microphones in a "dummy" head n In several tape -deck test reports I've some retail stores, and both TDK (755 located in a good seat in the audience. This encountered the term "modulation Eastgate Boulevard, Garden City, N.Y. isgenerally called the "binaural" tech- noise." Manufacturers don't seem to have a 11530) and Teac (7733 Telegraph Road, nique, and I can personally testify that ifspecification for it, so what is it? Montebello, Calif. 90640) make commer- the resulting recordings are played back G.PURCHASE cially available test tapes I have relied upon through headphones, the sense of realism is New York, N.Y. for years. Their calibrated response is not as unsurpassed-as long as you don't move wide, however, as the new IEC-standard your head. If you do, the whole orchestra AIn general terms, "noise" is anyunde- BASF test tapes (write R. Piselli, BASF, moves with it! sired addition to a signal. Unlike CrosbyDrive,Bedford,Mass.01730) Two, occasionally more (but best not),tape hiss, which isarelatively constant which I now use in my test reports forSTER- microphones can be placed so as to fool our background factor, modulation noisein- EO REVIEW.Don't be shocked by the prices normal hearing "program" into thinking wecreases or decreases with the variation- quoted for the test tapes; they are all preci- are hearing the real thing in a listening"modulation"-of the signal itself. sion recordings done in real time, and that's room thatisacoustically very different There are two main types of modulation an expensive way to go.

22 STEREO REVIEW ADS Automotive Audio. Accuracy. Power.

ADS 300i ADS P100 We have only covered the basics The ADS 300i is designed and The ADS P100 uses digital tech- of these ADS Automotive Compo- built from the ground up to be the nology to deliver 100 watts continu- nents, and we have not even men - most thoroughly thought-out and ous power. The Power Plate meets t oned the CS400 Subwoofer Sys- most carefully manufactured auto- the FTC and IHF home component tem. If you would like all the details motive speaker system available. standards for its claimed perfor- call toll free 1-800-824-7888 (in The 300i is musically accurate. mance. Built-in equalizatic n California 1-800-852-7777), ask for Its power handling ability makes it achieves the best possible bass per- operator 483, Dept. SR 6. We will possible to achieve high sound formance with different types of send you a complete kit of technical pressure levels even over engine speakers. Protection circuitry for information and a list of ADS Auto- and road noise. The basic config- both the amplifier and the speakers motive Dealers near you. uration of the 300i allows it to be assures reliability without sonic You owe it to yourself to visit your mounted where it sounds best yet compromise. The corn pad, func- ADS Dealer and listen to the 300i take a minimum of space. It extends tional shape of the P100 tc kes little and P100. Hear how ADS Automo- only one inch above the mounting room and facilitates mounting. tive Components earned their repu- surface. The combination of effi- Considering its high power out- tation for quality and pace setting ciency and high power handling put, bass equalization and cean performance. make the 300i compatible with a sound, the P100 is an outs'anding wide range of amplifiers. example of State -of -the -Art performance. Analog & ADSDigital Systems, Inc., Where Technology Serves Music One Progress Way, Wilmington, MA 01887 Technical Talk By Julian D. Hirsch

Testing Turntables

ONE cannot measure the performance of As for the cartridge, it must be checked Actual turntable speed is generally indi- a tone arm, a turntable, or a phono for frequency response, crosstalk, square - cated directly (and very accurately) by stro- cartridge individually; you can measure any wave response, output voltage, tracking boscope markings or similar display sys- one of them only while it is in use with the ability (as a function of frequency and ver- tems, and no separate measurement is real- other two. To date, there are no industry- tical force), distortion, vertical stylus angle, ly needed. To check the effect of line volt- wide standards (in this country) covering and sensitivity to load variations (particu- age on speed, we play a record with a con- the performance rating or testing of these larly capacitance, which can vary widely stant -frequency tone (such as the 3,000 Hz record -playing components. Most measure- among installations). As with the other two of a flutter test record) and monitor the out- ments are therefore made using more or less components, we are also concerned with put on a frequency counter as the line volt- obvious general procedures, with the specif- how easy itis to install the cartridge in a age is varied between 95 and 135 volts. In- ic test conditions established by the person headshell or other carrier. terestingly, it has been years since we have or organization doing the testing. For prac- What about the sound of these compo- found a measurable change (for example, 1 tical reasons, I prefer to combine the tests nents? Obviously, the cartridge has an ef- Hz out of 3,000 Hz) in this test. for a record player and a cartridge rather fect on sound quality, though this is usually than maintain a "standard tone arm" for all much less dramatic than many people pre- FOR flutter measurement we feed the pick- cartridges or a "standard cartridge" for fer to believe. This aspect of its perform- up output into a Meguro MK667C flutter testing all record players (given the rapid ance must be judged by listening tests. De- meter and measure both the JIS (weight- changes in cartridge and record-player per- spite the often vehement statements to the ed-rms) and either the CCIR or DIN formance, such "standards" would be short- contrary from some quarters, the turntable (weighted -peak) flutter, depending on the lived anyway). and tone arm have no important effects on frequency of the test record we are using The key performance characteristics of a phono-disc sound reproduction other than (the two are very similar except that they turntable are its speed (accuracy and con- those that can easily be inferred from meas- use 3,000 and 3,150 Hz, respectively). We stancy), flutter, rumble, and immunity to urements. For example, a severe case of use CBS BTR 150 and DIN 45 545 test external vibration. The important parame- rumble or flutter can have a profound effect records for this purpose. Unlike most meas- ters of a tone arm are its effective mass, on the sound, to the point where it can make urements, flutter readings require a some- tracking error, accuracy of tracking -force the end result completely unlistenable. Even what subjective interpretation of an irregu- and antiskating scale calibrations, damp- a much milder flutter condition can be most larly swinging meter pointer and may there- ing, and, not least, the ease of mounting and offensive to some listeners, since people dif- fore differ according to who is making the aligning a cartridge on it. In the case of a fer greatly in their sensitivity to (and toler- reading-even on the same test setup. separate tone arm, its own ease of installa- ance of) flutter. A turntable with poor isola- The lowest flutter frequencies (wow) are tion on a turntable can be an important fac- tion from its surroundings can give rise to caused by record eccentricity, which usual- tor. Low bearing frictionis basic to the acoustic feedback (howling)or perhaps ly determines the minimum flutter reading proper operation of any arm, but this is dif- simply "muddy" the sound when the feed- obtainable with a particular test record. ficult to measure with accuracy (it can be back level does not reach the point of actual Unfortunately, test records in general do estimated from the behavior of the arm in a oscillation. Tone arms do have internal res- not appear to be made with any greater care free-floating balanced state, however). Vir- onances, but they are usually of very high than typical music records, making meas- tually every arm made today has negligible "Q" (narrow bandwidth) and thus unlikely urements of less than about 0.05 per cent bearing friction. to modify the sound substantially. flutter nearly impossible. Lower readings,

Tested This Month Shure V15 Type V Phono Cartridge Ohm Walsh 2 Speaker System McIntosh MC 2255 Power Amplifier Aiwa AD -3800U Cassette Deck J.C. Penney Model 3260 AM./FM Stereo Receiver

24 STEREO REVIEW as published by some turntable manufac- 315 Hz (where there is little to begin with). drivers are driven in phase from a power turers, imply a direct optical or magnetic In my view, DIN -B curves are of little value amplifier with a sine -wave signal sweeping reading of the turntable rotation or a meas- for expressing the true audible rumble con- from 20 to 1,000 Hz. The pickup is placed urement made in the turntable's feedback tent of a turntable. on a stationary record, and its output, after servo loop which corresponds to the flutter - RIAA equalization, is plotted on a chart re- speed variations. AFTER the meter reading is taken for the corder synchronized with the sweeping fre- The demodulated output of the flutter reference signal, the record is replaced by a quency. The result is a rough plot of the vi- meter (which is essentially an audio -fre- silent -groove disc which is played through bration transmitted through the mounting quency FM receiver) is connected to our the same equalization and weighting net- feet as a function of frequency. The chart H -P 3580A spectrum analyzer to obtain a works. The meter shows the total rumble, scales are corrected to allow for the output frequency analysis of the flutter rates. Of- which is expressed in decibels below the ref- sensitivity of the specific cartridge used for ten this is a random band of non -resolvable erence level. The ARLL measurement dis- the test, so charts for different turntables signals in the range from less than 5 Hz (the criminates somewhat against the sub -audi- can be compared using a simple overlay. spectrum analyzer's lower limit) to perhaps ble components arising from certain types The results, though entirely qualitative, are of warps and eccentricities, and it gives a reasonably valid for comparing the base - more valid picture of the audibility of the isolation effectiveness of different turnta- rumble. However, the unweighted measure- bles. Small differences (a few decibels) are ment (usually 25 to 30 dB higher than the meaningless because of the many uncon- ARLL reading) helps assess the possibility trolled variables in the process, but fortu- I of overload of an amplifier or speaker cone nately we find that the really outstanding by infrasonic rumble components that are turntables are often 20 or 30 dB better than

I' never heard as such. Like flutter measure- the "run-of-the-mill" type in this test. ment, rumble measurement involves a con- In addition, the turntable is evaluated for r.. siderable degree of artbecause of the ease of use, freedom from groove jumping (usually) wildly oscillating meter pointer. due to Jarring when in normal use, accessi- 4111114.40,3 i1 X111. We have several records that are suitable bility of controls, and so forth. Its automatic for rumble measurement, including the features are also timed, since some turnta- VV\ \VV\ \v. \\\V W\ A V.V.VV \ DIN 45 544, but as a rule the final reading bles take a very long time to start playing is made with a silent -groove lacquer disc after the start button is pushed, while others specially cut for us for this purpose. It has go into action almost instantly.

THESE tests are not likely to determine absolutely which of two competitive turntables anyone should buy; such tests probably do not exist. However, they do provide a good overview of the turntable's performance and of any weaknesses that might Mow up on the bench or in actual use. Our reports do not indicate, aside from the test data, which turntables "sound better," but those who believe in the sonic importance of unmeasured qualities are free to buy whatever pleases their ears. 0

30 or 40 Hz. If peaks are found at certain frequencies, they may provide a clue to the source of the speed irregularity. Rumble measurement presents a somewhat similar problem, since all test records have some built-in rumble (from the cutting aisom .1 in," lathe) plus other noise that may cover a \V\AVAWAVAVV\V\VAMV V\V\VVW AAAVVVVV good part of the audio spectrum. The measurement is made in two parts. First the system is calibrated to the cartridge sensitivity by playing a standard -level tone and reading the cartridge output after RIAA equalization and amplification. The reference bands near both the inner and the outer di- level is 1.4 cm/sec at 100 Hz for an NAB ameters, and these usually give somewhat (unweighted) measurement and 3.54 cm/ different rumble readings. We use the bet- sec at 1,000 Hz for an ARLL (Audible ter (lower) reading of the two as the turnta- Rumble LoudnessLevel)measurement. ble's rumble rating. A spectrum analysis of The ARLL spec, which is designed to re- the rumble also shows the presence of any flect the ear's sensitivity to sounds of vari- discrete peaks that might indicate an out - ous frequencies, is measured through a fil- of -balance rotating component. ter that rolls off the low frequencies at 6 dB per octave below 500 Hz. The filter also at- THE effectiveness of the turntable's base tenuates the high frequencies (which have isolation is measured, at least qualitatively, littleeffect on the finalreading in any with the aid of a small "shake table" using case). The very low rumble ratings of some four small dynamic loudspeaker drivers turntables are almost always based on the whose voice coils drive corks instead of use of DIN -B weighting, which essentially cones. The turntable is supported on the measures the rumble only in the vicinity of four corks under its mounting feet, and the Test reports begin on page 28

JUNE 1982 25

THE, FIRST LINE OF DECKS TO EQUAL THE RANGE OF HUMAN REARM.

CD101 RECORD/PLAYBACK FREQUENCY RESPONSE It's been known for WITH LOW NOISE TAPE We're finishing what nearly a century that we started. the range of human Harman Kardon hearing extends from helped make cassette 20 to 20,000Hz. And tapes a serious record- for at least the last 15 I2030 100 1K 10K zrequency (Hz) ing medium when we 9 years, every stereo introduced the first component has had to Even our least expensive model covers the entire audible 20K spectrum, from the deepest bass at 20Hz to the highest overtones at decks with Dolby Bt meet that standard in 20,000Hz. (Shaded area represents accuracy to ±3 dB.) in 1970. Then in 1980, order to be considered we were first with high fidelity. Which means that anyone Dolby HX.t Yet until now, only a who is serious about stereo Now, with the CD Series, handful of the most expen- systems can now afford a we've made the cassette deck sive cassette decks-often cassette deck with true high a true high fidelity component. costing more than the rest fidelity performance. Of course, there's only one of your system-have been Trade up to our least way to appreciate these revolu- able to accurately reproduce expensive deck. tionary new decks. And that's the entire frequency range. The CD101 costs only to go hear them. Now Harman Kardon in- $299.** Yet its frequency Ask your audio specialty troduces the CD Series of response is so faithful to the dealer for a demonstration cassette decks. original music that many today. You'll hear what few Every deck in the line people will undoubtedly people have ever heard before. matches or exceeds the fre- trade -up from their present Everything. quency range of human hear- $400 and $500 decks. The For your nearest dealer, call ing to an accuracy of ±3 dB.* CD101 also gives you features toll -free, 1-800-528-6050, ext. From the deepest bass rever- like solenoid transport, bias 870. Or write Harman Kardon, berations at 20Hz, to the fine trim, and auto repeat. 240 Crossways Park West, highest shimmering over- As you go up the line, you Woodbury, NY 11797-2057. tones at 20,000Hz. can add Dolby C,I Dolby HX In Canada, Gould Marketing, And every deck achieves Professionalt and three heads Montreal H4T 1E5. this with any tape formula- for performance that easily 'Other manufacturers may quote seem- ingly similar upper and lower frequency tion, not just costly metal rivals tape systems costing response specifications, but without the tape. thousands more. ±3 dBtolerance. Without the tolerance specified, these limits can be greatly Perhaps most impor- exaggerated and therefore misleading. tant of all, the entire line is 'Manufacturer's suggested list prices. tDolby B, C,HX and HX Professional priced like ordinary decks, harmanIkardon are registered trademarks of from $299 to $749.** ASK ANYAUDIOPHIL Dolby Laboratories, Inc. Equipment Test Reports By Julian D. Hirsch By Craig Stark Hirsch -Houck Laboratories Starksonic Studio

Shure V15 Type V Phono Cartridge

Shure V15 Type V Phono Cartridge thickness of only 0.5 mil. Not every materi- is,however, a maximum rating of 1.25 Tracking Force: 1 gram al can be formed into a thin -wall tube ofgrams). To compensate for the stabilizer, Weight: 6.6 grams these proportions. An analysis of availablethe tracking force of the tone arm must be Price: $250 materials, from the prosaic aluminum to the set to 1.5 grams in normal operation. exotic diamond, showed that beryllium was The frequency -response limits of the car- SHUREcoined the term "trackability"the optimum choice. Using a proprietary tridge are specified as ± 1 dB from 20 to some time ago to describe a key criteri- process, Shure created the "Microwall/Be"8,000 Hz, gradually increasing to ±2 dB at on of cartridge performance. It is the ability stylus shank with an effective mass less 20,000 Hz. The rated channel separation is of the stylus system to trace the groove than half that of the shank in the V 15 Type at least 25 dB at 1,000 Hz and 18 dB at modulation accurately, neither gouging the IV. The result is a 50 per cent higher stylus - 10,000 Hz; recommended cartridge load is soft vinyl nor losing contact with it, over the resonance frequency (33 kHz). 47,000 ohms and 250 picofarads. The fullrange of recordedfrequencies and The hyperelliptical diamond stylus tip, trackability of the V15 Type V is specified groove velocities likely to be encountered whose contact surfaces are highly polished, as 30 cm/sec at 400 Hz, 46 cm/sec at 1,000 when playing records. is nude -mounted on the end of the cantilev- Hz, 80 cm/sec at 5,000 Hz, and 60 cm/sec Different aspects of a cartridge's elec- er. The generating system of the cartridge is at 10,000 Hz. tromechanical design affect its trackability basically the moving -magnet type used in in different frequency ranges. Compliance other Shure cartridges, with high -efficiency Laboratory Measurements.We tested of the moving system is the controlling fac- laminated pole pieces to provide a flat fre- the Shure V15 Type V in a relatively mas- tor at low frequencies, and effective tip quency response through the midrange (thesive S -shape tone arm (about 18 grams ef- mass ultimately limits the ability of the sty- older and less efficient core and pole struc- fective mass). The installation of the car- lus to follow very -high -frequency groove tures tended to give a "sway -backed" re- tridge was by far the easiest we have yet modulation. The damping of the movingsponse curve). Another feature carried for- experienced(barring,ofcourse, pre - system is the key to tracking in the mid- ward from the Type IV is the dynamic sta- mounted cartridges or those integrated with range frequencies. bilizer, which combines the functions of an headshells). The body of the cartridge holds In planning a successor to the VI5 Type arm -resonance damper, static discharger, plastic insert nuts, and, with the cartridge IV, Shure gave high priority to further im- record brush, and stylus guard. The V15 firmly mounted in the installation fixture provement of high -frequency trackability, Type V also has the side -guard stylus pro- supplied, it was a simple matter to attach it and this required a radical reduction in ef-tector previously offered in Shure's profes- to the low -mass headshell we used. The two- fective tip mass. The key to this was in thesional cartridges. It retracts the stylus and step overhang and offset -angle adjustment design of the cantilever, or stylus shank,cantilever safely into the cartridge body took perhaps a minute to make and resulted which accounts for a large part of the effec-during rough handling (the standard fac-in a perfectly mounted cartridge. With the tive tip mass. Shure engineers concludedtory test of the efficacy of this feature in- special plastic alignment "stylus" replacing that a thin -wall hollow tube was the idealvolves scrubbing a test pickup one hundred the regular stylus assembly, it took but a configuration for the cantilever because it times across a record). moment to set the cartridge -reference sur- would provide the highest ratio of stiffness The 0.2 x 1.5 -mil -long contact stylus isface exactly parallel to the record surface. to mass. designed to track at1 gram. Unlike most We used the recommended 1 -gram track- Tubular cantilevers have been used incartridges, the Type V isnotrated for use ing force (a total applied downward force of many cartridges, but the tubes have had rel-over a range of stylus forces, since the1 - 1.5 grams) for our measurements, decreas- atively thick walls. Shure's thin -wall stylus gram force is necessary to establish the ing it temporarily to 0.75 gram when check - shank has a diameter of 18 mils and a wall rated 20 -degree vertical stylus angle (there (Continued on page 30)

STEREO REVIEW

+10 a +5 0 0 1:6 cr 5 0 I- W -10 SHURE V15 TYPE Vi 04 ti-Is I - Si 0- 20 -25 E2 - 30 -35 oo 20 50 100 5.0 1K 5K 10K 20K 5 10 15 20 26 30 FREQUENCY IN HZ (CYCLES PER SECOND) PEAK VELOCITY IN CM/SEC OF TEST DISC

In the graph at left, the upper curve represents the frequency re- ities provide a severe test of a phono cartridge's performance. The sponse of the cartridge. The distance (measured in decibels) be- intermodulation-distortion (IM) readings for any given cartridge can tween it and the lower curve represents the separation between the vary widely, depending on the particular IM test record used. The two channels (anything above 15 dB is adequate). The inset oscil- actual distortion figure measured is not as important as the maxi- loscope photo shows the cartridge's response to a recorded mum recorded -signal groove velocity that the phono cartridge is 1,000 -Hz square wave, which indicates resonances and overall fre- able to track before a sudden and radical increase in distortion quency response (see text). At right is the cartridge's response to takes place. There are very few commercial phonograph discs that the intermodulation-distortion (IM) and 10.8 -kHz tone -burst test embody musical audio signals whose average recorded groove ve- bands of the TTR-102 and TTR- 103 test records. These high veloc- locities are much higher than about 15 centimeters per second.

ing the cartridge's trackability. High track - aggerated by audio purists (or manufac- ability is the forte of the Type V, so we were turers of mounting and alignment acces- not too surprised to find that it could play Shure V15 Type V sories), but there is no doubt that itis every level on the Shure Audio Obstacle Phono Cartridge desirable if one is to realize the full po- Course records (ERA III, ERA IV, and the tential of a record -playing system. new TTR-117) at1 gram with no audible The Shure gauge is a flat plate that mistracking. In fact, it breezed through all slips over the turntable spindle and con- the high-level test records in our collection Comment. Our tests show that the tains a precision -machined metal block without a trace of strain, with but one small Shure V15 Type V not only lives up to into which the cartridge body fits snugly exception. The 300 -Hz tones of the German the claims made for it, but in virtually (Shure refers to it as a "nest"). It takes Hi-Fi Institute test record could be played every respect outperforms the best car- longer to describe the alignment process only up to the 70 -micrometer level without tridges we have previously tested. In its than to do it (only a minute or two), but distortion. This is good performance, to be record -playing performance the Type V the end result is a cartridge aligned and sure, but this test was the only one in which is a surpassingly fine cartridge, in every positioned for perfect tangency at radii the V15 Type V failed to surpass or match way a worthy successor to the Type IV. of 2.6 and 4.76 inches, which are usually the performance of any cartridge we have We doubtthatany commercially considered to be the optimum points for ever tested. pressed record could tax the tracking this adjustment. Best of all, the process The low -frequency resonance in the tone abilities of this cartridge. Any distor- requires no squinting at the stylus or its arm used was between 8 and 9 Hz, with its tions or other unpleasant sounds can cantilever (the stylusisnot even in- amplitude damped very strongly by the Dy- safely be assumed to originate in the stalled in the cartridge during the proce- namic Stabilizer (in fact, we had to disable record or other part of the system. dure) or even at the edges of the car- the stabilizer in order to identify the reso- The V 15 Type V also has several fea- tridge body or headshell. The precision nance frequency clearly). The cartridge tures not directly related to sound that and accuracy of the installation are de- output was 3.4 millivolts with the channel make ita more nearly ideal pickup. termined by the dimensional tolerances levels balanced within 0.4 dB. The vertical These include the highly effective Dy- of the cartridge and stylus assemblies stylus angle was 20 degrees as rated. The namic Stabilizer (which dramatically themselves(and,ofcourse,ofthe cartridge's frequency response was meas- enhances the warp -tracking ability of gauge), which are far "tighter" than ured with a range of load capacitances in the pickup system) and the relatively could be achieved by eye. parallel with a 47,000 -ohm resistance. The unpublicized but nonetheless important output dropped about 2 dB in the 5,000- to Side -Guard protectivesystem. Those FI sound enthusiastic, itis only be- 15,000 -Hz range with a 70-picofarad load, who have never made a careless mistake cause I am. At this time, itis hard to and with 440 pF it was almost perfectly flat and ruined an expensive stylus may feel imagine how the VI5 Type V could be ( ± 0.3 dB) up to 12,500 Hz but fell off 4 dB no need for such a feature, but for the improvedsignificantly.Itoffersthe at 20,000 Hz. We used 280 pF for our other majority of the record -playing public it most performance inthe most areas, tests, since it gave the best combination of could be as important as a foolproof am- plus the most convenience and safety in flatness and extended high -frequency re- plifier or speaker -protection system. installation and operation. What more sponse. With the CBS STR 100 test record, I must admit to being most impressed could one ask for? Only a lower price, the response of the poorer of the two chan- by the installation gauge supplied with perhaps, but good things rarely come nels was +0, -1 dB from 40 to 17,000 Hz, the Type V, sinceI have always found cheap.Itis reasonable to expect that and it was +0, -1 dB from 40 to 20,000 cartridge installation to be one of the some of the Type V's features will even- Hz on the other channel. The channel sepa- most exacting chores in setting up a mu- tually appear in lower -price Shure car- ration averaged about 26 dB over most of sic system. Trying to position a cartridge tridges, as has already occurred with the the audio range up to 10,000 Hz, falling to in the headshell with an accuracy of per- Dynamic Stabilizer and the hyperellipti- about 14 dB at 20,000 Hz. The square -wave haps 1/32 inch or better is an exercise in cal stylus, both originally developed for response of the Type V was nearly ideal, frustration. The importance of this de- earlier models in the V15 series. with negligible overshoot and only very low- gree of mounting precision is usually ex- -Julian D. Hirsch levelringing visible on the square -wave (Continued on page 32)

30 STEREO REVIEW &Pia al :"._,U.ONO _1111m

Any car designed for extraordinary performance should also be equipped for extraordinary sound. This Lamborghini is equipped with the high technology of Alpine Car Audio Systems. Clean, powerful sound that extends to the limits of human hearing. Reproducing everything from a whisper to a crescendo with vanishingly low distortion. If you love music the way you love your car, experience Car Audio. Only your Alpine dealer has it. For the Alpine dealer nearest you, call toll -free, 800-421-1395. In California call,800-262-4150. ©1982 Alpine Electronics of America, Inc. 3102 Kashiwa Street, Torrance, California 90505 ALPINE car audio systems

Body by Lamborghini. High fidelity by Alpine. signals of the CBS STR 112 test record. test -disc velocities from 15 to 30 cm/sec. the record. We tried the TTR-117 test rec- The final measurement was of tracking Shure's new TTR- 117 record (available ord with several other good -quality car- distortion,using Shure's TTR-102 and free to purchasers of the Type V cartridge) tridges and found that some would play lev- TTR- I 03 test records. With the Type V, it contains complex three -tone testsignals, el 6 and others would mistrack audibly at is probable that we were reading the residu- rather than music, to test the trackability of level 4 at their rated forces. Thus the TTR- al distortion levels of the record and test fix- a cartridge. We found it less easy to inter- 117 is effective in distinguishing between tures. The 400- and 4,000 -Hz intermodula- pretthantheearlier "Audio Obstacle cartridges of a very high quality level. The tion-distortion readings from the TTR-102 Course" records, in part because the Type record also contains an excellent antiskat- varied randomly between 1 and 1.7 per cent V steadfastly refused to distort audibly at ing-adjustment band that is easy to use and for velocities from 6.9 to 27.1 cm/sec. The its rated1 -gram force. By reducing the unambiguous in its results. 10.8 -kHz tone -burst distortion from the force to 0.75 gram, we were finally able to TTR-103 was a constant 0.7 per cent for detect mistracking at level 6, the highest on Circle 140 on reader service card

Ohm Walsh 2 Speaker System tention that the speaker willcreate an from low bass through most of the treble Rated Frequency Response: acoustic waveform that is a close analog to range, augmenting it with a more conven- 45-16,000 Hz ±4 dB the electrical input signal. tional dome radiator in the uppermost audi- Size: 111/2 inches square (bottom), Walsh's speaker patents are now owned ble octave. The Walsh 2 system is a gently 9'/4 inches square (top), by Ohm Acoustics. Some years ago the tapered truncated pyramid in shape. The 32,/2 inches high company developed the Ohm A and Ohm F, enclosure is covered in veneers of genuine Weight: 30 pounds both very large, heavy, expensive, and inef- oak or walnut (teak or rosewood are avail- Price: $700 per pair ficient speakers that could indeed generate able at extra cost). The upper part, which an omnidirectional sound fieldthat pre- contains the drivers, is covered by a remov- THE late Lincoln Walsh, a pioneer in hi-fi served the waveform of the driving signal to able black clothgrille, and the drivers some thirty-five years ago, invented a an unprecedented degree. themselves are completely hidden by a cy- loudspeaker unlike any other in its principle Ohm has now incorporated much of the lindrical, nonremovable perforated metal of operation. It creates a coherent cylindri- Walsh technology in a much more afford- cage. cal sound field that is omnidirectional in the able and practical product with a much The Walsh driver's specially designed horizontal plane. All frequencies, from bass broader market appeal. The Ohm Walsh 2 and tapered cone radiates the highest fre- to treble, are radiated from a single cone in is a compact floor -standing system using a quencies from its top (near the voice coil). time (and phase) synchronism, with the in- Walsh driverto handle the frequencies (Continued on page 36)

32 STEREO REVIEW

LIGHTS: 11 mg. "tar", 0 9 mg. nicotine, LIGHTS 10 O's: 12 mg. "tar", 0.9 mg. nicotine, ay. per cigarette, FTC Report DEC. '81. Warning The Surgeon General Has Determined That Cigarette Smoking Is Dangerous to Your Health.

This isyour world. This isyour Winston. The only low tar built on taste. Winston hts As the acoustic wave propagates down the cone, the lower frequencies are radiated one could pay to a loudspeaker. The from the lower portions of the cone. All sound of the Walsh 2 was well balanced parts of the acoustic waveform pass the out- Ohm Walsh 2 and "all there," though with the totally er circumference of the driver at the same Speaker System nonlocalized apparent source thatis time (in phase), forming a coherent cylin- characteristic of speaker systems with drical wavefront in the air. This is a highly very wide radiation patterns. The HF and oversimplified description of the action of LF switches on the speaker had a rather the Walsh driver, which is capable of propa- Comment. Itis true of any speaker subtle effect, and we foundlittleto gating a very wide range of frequencies (and especially an "omni") that the choose from between the available re- without the usual limitations of cone break- sound reaching the listener is strongly sponseoptions.Thespeakerswere up and other effects that make conventional affected by the room's acoustic treat- placed about 2 feet from the wall behind single -driver systems unsuitable forfull - ment and by speaker placement. Al- them and about 5 feet from the side range operation. though much of the rear output of the walls of the room, but this did not ap- The Walsh 2's cone (about 6 inches in di- Walsh 2 is deliberately attenuated, a pear to be critical. ameter) faces down into the speaker enclo- large part of its upper midrange output The Walsh 2's frequency balance was sure, which is reinforced internally with six is directed upward and thus confronts an very good, with a striking absence of the 2 x 3 -inch wooden crossbraces and contains unpredictable amount of absorption in usual mid -bass "chestiness" on male acoustic absorbing material. The bass sys- acoustically treated ceilings before be- voices and an obviously very solid lower tem is said to be a sixth -order Butterworth ing reflected into the listening area. This bass. One thing is plain: the Walsh 2 is a Thiele alignment with additional filtering in was almost certainly happening in our legitimate descendent of the Ohm F, the crossover network to convert it to an listening room, making it slightly more with much of its inherent sound charac- optimized fourth -order response. (The net- difficult than usual for us to correlate ter, but at a small fraction of its size and work also rolls off the response below 30 Hz the measured response with what we price. We would guess that most listen- to protect the speaker against high-level in- heard. ers, and particularly those who prefer frasonic inputs.) On the bottom of the cabi- The Walsh 2 was a very fine -perform- the spaciousness of very wide -dispersion net are the port opening, spring -loaded con- ing unit. Its sound was surprisingly neu- systems, are likely to find the new Ohm nectors, and a pair of three -position slide tral, to the point that we were hardly Walsh 2 a very appealing loudspeaker switches that permit limited adjustment of aware we were listening to speakers, and both visually and audibly. the system's frequency response. this is one of the greatest compliments -Julian D. Hirsch Unlike the Ohm F, the main radiator of the Walsh 2 is not designed to radiate om- nidirectionally at all frequencies. Absorbent blocks around the driver's voice -coil region amplifiers rated between 30 and 120 watts ers were very nearly identical, showing that limit its rear -radiating high -frequency out- output, and it has a nominal (as well as the dome tweeters had adequate dispersion put to make the overall sound less depen- minimum) impedance rating of 4 ohms. for full room coverage. dent on the speaker's placement inthe The low -frequency response was meas- room. Just above them is the dome tweeter, Laboratory Measurements. The aver- ured with the microphone as close as possi- facing toward one front corner of the speak- aged and smoothed room response of the ble to the metal cage surrounding the driver cabinet and filling in the highest treble Walsh 2 speakerswasquiteuniform ers. The Walsh driver response (not includ- frequencies. The Walsh 2 speakers are de- through the midrange, sloping gently down- ing the port output) was flat within ± 1.5 signed to be used in pairs, with their tweet- ward above 5,000 Hz and more rapidly dB from 90 to 1,300 Hz. A separate meas- ers angled in toward the listening area. The above 12,000 Hz. The high -frequency re- urement at the port, when combined with Ohm Walsh 2 is recommended for use with sponse curves from the left and right speak- the cone radiation, yielded a total bass response of ±2.5 dB from 40 to 1,200 Hz, with a broad, somewhat controllable maximum between 70 and 100 Hz. Splicing the low -frequency and room -response curves was easy because of the considerable overlap between them. The composite response curve was a smooth line sloping slightly downward from a maximum at 70 Hz. With the mid frequencies used as a reference, response was down 3 to 5 dB at 10,000 Hz and another 2 dB at 15,000 Hz. The INCREASE setting of the HF switch raised the output about 2.5 dB over most of the range from 3,000 to 12,000 Hz. The LF output switch had a moderate effect (about 5 dB total) between 70 and 120 Hz but an opposite response shift of about 1.5 dB from 200 to 1,500 Hz. Using the FFT analysis program on our Apple II computer to measure a quasi -an - echoic response of the entire speaker, we found its output to be flat within ±3 dB from 200 Hz (the analyzer's lower limit) to about 7,000 Hz, rising an additional 3 dB at 9,000 Hz and falling off somewhat above 12,000 Hz. The response curves measured at distances of 1 meter and 2 meters were very similar. Our measurements of the speaker's sensitivity (its acoustic output at 1 meter for an input of 2.83 volts) did not confirm Ohm's "... Tell you what-I like you and I'm gonna give rating of 89 dB. We found that the speak - you a lifetime guarantee on this turntable...." (Continued on page 38)

36 STEREO REVIEW ...and thencame Super Feedforward.

Not many years ago a "high Direct Current) drive circuit. Then, to While Super Feedforward circuitry fidelity" amplifier delivered 5 watts eliminate the remaining vestiges of puts Sansui's AU -D 11 and AU -D 9 with 5% harmonic distortion.Today, iigh-level, high -frequency distortion amplifiers in a class by themselves. distortion levels of 0.05% -or even n the amplifier's output stage, Sansui all our amplifiers are renowned for 0.005%- in amplifiers with huicreds engineers perfected a unique circuit their musicality, versatility, and respect of watts and a much wider frequency Nhich. though proposed yea's ago. for human engir eering. Add a match- range are almost routine. las now been realized in a practical ing -U tuner to any of Sansui's AU Reducing harmonic distort cn amplifier design. Super Feedforward, amplifiers and you'll appreciate the has usually been achieved by using he new Sansui technique, takes the difference 35 years of Sansui dedi- negative feedback. But too much .eftover distortion products present in cation to sound purity can produce. negative feedback can introduce a even an optimally -designed amplifier, For the name of the nearest new kind of distortion,TIM (Transient 'eeds them to a separate. error cor- audio specialist Nho carries the Intermodulation Distortion) that audi- recting circuit that reverses their polar- AU -D 11 and AL -D 9 or other fine bly degrades the musical sound. ity, then combines them so they cancel components in Sansui's extensive To reduce TIM and other forms of themselves out against the regular line of high fidelity products, write: residual distortion. Sansui developed audio signal. What's left is on y the Sansui Electrcnics Corp., 1250 Valley its DD/DC (Diamond Differential: music, with not a trace of distortion. Brook Avenue. Lyndhurst, NJ 07071. Aestsepords er's mid/high-frequency output was much mained above 5 ohms elsewhere in the au- At 2 watts, the distortion was about 0.5 per greater on a vertical axis above the unit dio range. cent or less above 70 Hz, 2.5 per cent at 40 than it was anywhere around the periphery Low -frequency distortion was measured Hz, and only 3.2 per cent at 35 Hz. A ten- of the symmetrical speaker cage on the level with inputs of 2.83 and 8.94 volts (corre- fold power increase resulted in distortion of the speakers. We measured a sensitivity sponding to I and 10 watts into 8 ohms, or 2 readings ofI per cent at 100 Hz, 2.5 per of 81 dB in the horizontal plane and 86 dB and 20 watts into 4 ohms). Since most of cent at 70 Hz, and 11 per cent at 40 Hz, at a point1 meter above the speaker. The the output below 100 Hz was radiated from all fine results. system impedance was slightly below 4 theport, our distortionplot was based ohms between 36 and 60 Hz, butitre- largely on measurements made at the port. Circle 141 on reader service card

McIntosh MC 2255 Power Amplifier completely eliminates the crossover distor- signal to be attenuated ahead of the output Power Rating: 250 watts per channel tion usually associated with class -B opera- section. This prevents the output from ever Size: 161/4 x 143/4 x 71/8 Inches tion. This being the most efficient mode of exceeding itslinear operating range (ac- Weight: 82 pounds linear amplifier operation, the total power cording to McIntosh, the amplifier can be Price: $2,750 consumption of the MC 2255 from the 120 - overdrivenby20 dB beforedistortion volt a.c. line is only 0.7 ampere at idle (or reaches 2 per cent). THE McIntosh MC 2255 basic power am- normal playing volume) and 12 amperes at Internally, the McIntosh MC 2255 is a plifier is rated to deliver its output into full output. The input and driver stages very complex amplifier, containing some loads of1,2, 4, or 8 ohms, from 20 to form a complete class -AB low -power ampli- eighty-five transistors, forty-seven diodes, 20,000 Hz, with no more than 0.02 per cent fier which drives the front -panel headphone and fourteen integrated circuits. Many of harmonic or intermodulation distortion. Its jack as well as the power stages. Switches its components are involved in the protec- stereo outputs may be paralleled or bridged connect the input sections for mono opera- tive systems and in its novel self -test fea- to drive a mono load with a maximum out- tion.Inthe MONO/PARALLEL mode the ture. Each time the amplifier is turned on, put of 500 watts at 0.02 per cent distortion. right -channel input drives both output sec- anautomaticseven -step testsequence Depending on the connection used,the tions in phase, and for the MONO BRIDGE checks the key operating voltages for cor- mono load impedance can be from 0.5 to 16 mode the other input section is used as a rectness. As each step is executed, the cor- ohms. phase inverter so that the outputs can be responding numeral lights up on a front - The unusual load capabilities of the MC driven 180 degrees out of phase. panel display and a green light signals that 2255 derive from the use of large autotrans- The power stages are protected by a novel it has been passed. If any stage of the test is formers to match the output transistors to Power Guard circuit that makes it impossi- not satisfactory, its number remains lit to their loads. Like vacuum -tube amplifiers, ble to clip the amplifier output by overdriv- indicate the problem area. Two different the MC 2255 has output terminals desig- ing it. A waveform comparator monitors the test speeds can be selected, and one can nated for 1, 2, 4, or 8 ohms. Thus, regard- input and output signals of the amplifier, choose to have a "beep" sound after each less of the speaker impedance, the output and if the output waveform differs from the step or to have the tests proceed in silence. transistors are optimally loaded and can de- input by an amount corresponding to about Two large meters are calibrated logarith- liver their full power without excessive dis- 0.5 per cent harmonic distortion, a red LIM- mically from less than 2.5 milliwatts to 500 tortion or overheating. IT light glows on the panel (there are sepa- watts output (because of the output trans- The output stages of the MC 2255 oper- rate lights for the two channels). Any fur- formers, these readings are equally applica- ate in class -B, but a unique biasing system ther increase in the drive level causes the (Continued on page 42)

38 STEREO REVIEW 0/006 J N airfield. Drive ,IN l ,/ Ir I( Arrivr Denon next. do well what Imagine CARD SERVICE READER ON 13 NO CIRCLE alone. name than nore share products Denon Series. Engineering Advanced Denon's for a - derelopec principle out, through electronics (capacitorless) DC of use the is Series -F DR the for approach design Demon's of example important equally An a studio-typetransport_ of miniaturization I a ON on teral offer decks Denon's decks), cassette conve-itional problems maintenance of source principal (the clutches and belts eliminate Motors, Drive w which Reel Slip Nan Series' -F DR the th concert in Working system. Sensor Servo Tension Tape Demon's by accomplished 15 this decks, cassette Series -F DR the On machines. studio on arms sensing tension controlled outboard by playback,is and recording tape quality highest the for critical absolutely contact, -head -to tape Proper cecks. cassette cur to ir machines mastering 5/4" and studio our for developed technology transport the incorporate to chase Denon claims, inflated such making than Rather reel. open to quality sourd their compare manufacturers cassette Many

DEMON

pit

Deck. Cassette -CDolby Discrete -Head,Three -F7 DR $500. our ...and

Deck Tape Speed High -Track Half Reel, Open -510 DH $1350. our on found be ...can

8 7 : 6 5 4 3 2 1 recorders... -track 24 our for developed technology Servc Tension Tape The INTEGRITY: DESIGN AT PIONEERN ABOUT 11N Nobody listens to audio equipment.receiver from a receiver. A Pioneer car They listen to music. stereo from a car stereo. A Pioneer ------61 .ilgiVINIIIIIIll! -...._ : ir--_.1=.- ,- .4,..--__ .7 :..,. ., ., -irt)r) A small distinction to make, but the portable from a portable. And so on. very thing that distinguishes a Pioneer Because at Pioneer, were convinced VE ONLY CARE 0 THINGS. that what really matters can't be mea-guy. Or, for that matter, that we've sold sured in watts per channel, or total more in the last five years than any harmonic distortion, or wow, or flutter.other audio manufacturer. What matters isn't just cassette When all is said and done, plug- decks with three direct -drive motors, ged in and switched on, what matters, linear tracking turntables cr quartz- is the music. lock tuning. What matters ,sn't that we make PIONEER more audio equipment than the nextBecause the music matters. CIRCLE NO. 39 ON READER SERVICE CARD .0s, 1 1 11111 I I 1 I 111111 I I .03 1111111 11 1 1111111 .02 MCINTOSHMC 2255 .02 0 MCINTOSH MC 2255 -REFERENCE POWER (250W) rt )1 HALF POWER (-3 013/ .01 0 - -LOW POWER (-10 OB1 IN .. .oS .005 .."'°...... ) 0 '''''tr""'" --/ /"..."'...... - I z I- \, .,.1 .002 .... I- .002 e . .. . 4 " V..* z 4 41 .0)1 0 I 1 N,,,,,, 001 0 ''S a. 0.005 N. .0005 IC ..N4*.SEN"/ a. .0002 .0002 20 SO 100200 500 K 2K SK OK 20K 0.1 0 2 0 5 2 5 10 20 SO 100 FREQUENCY IN HZ (CYCLES PER SECOND/ CONT NUOUS WATTS/CHANNEL

ble to any of the load impedances for which or that the amplifier operation is NORMAL. work are finished in black, with front ac- the amplifier is designed). Another scale Above this group, a meter group illuminates cents of silver and softly lit blue-green me- reads in decibels from -20 to +2 (the lat- the words WATTS, HOLD, or DECIBELS, ac- ters. The chassis is chrome -plated. Also fur- ter corresponding to about 250 watts out- cording to the setting of the METER RANGE nished with the amplifier are side brackets put). Knobs below the meters control LEFT switch. and hardware for the McIntosh Panloc sys- GAIN, RIGHT/MONO GAIN, METER RANGE On the rear of the chassis are two sets of tem for custom installations. ( -20 dB, -10 dB, 0 dB, WATTS, HOLD), barrier terminal strips for the speaker out- the SPEAKERS outputs, and POWER. The puts, a single unswitched a.c. outlet, and the LaboratoryMeasurements.Precondi- HOLD position of the METER RANGE switch holder for the 15 -ampere line fuse. A three - tioning the MC 2255 at one-third rated causes the meters to retain their highest position MODE Switch selects STEREO, MONO power made the heat sinks very hot, but the readings. The meter -driving circuits allow BRIDGE, or MONO PARALLEL operation. Next rest of the amplifier remained comfortably them to respond to very short program to the two input phono jacks is a switch thatcool throughout our tests. In normal opera- peaks, although they are calibrated in aver- sets the input sensitivity to either 0.75 or 2.5 tion the MC 2255 is no more than faintly age watts. volts for full output depending upon the as- warm and has no need of a cooling fan or At the right side of the panel are the two sociated equipment. (The latter is the nor- any unusual ventilation precautions. indicator groups. The POWER GUARD display mally preferred setting for most setups.) With both channels driving 8 -ohm loads shows the number of the SYSTEM TEST se- The MC 2255 is a handsome and rugged at 1,000 Hz the distortion was undetectable quence step as it is executed, and pairs of amplifier, following a long-standing McIn- (well below the noise level) until we reached red and green LEDs show either that the tosh tradition in its styling and construc- 10 watts output, when it measured 0.00056 LIMIT (of output power) has been exceeded tion. The panel and most of the top metal - per cent. It increased very gradually with higher power to 0.0032 per cent at 250 watts and 0.0045 per cent at 300 watts. The maximum power (corresponding to "clip- power than the MC 2255 delivers with ping power," except that the waveform such apparent ease. Its noise, distortion, could not be made to clip) was about 357 McIntosh MC 2255 stability, and any other quality one watts, with distortion reading 0.24 per cent Power Amplifier might name are quite literally "state of at the limiting point. The output into 4 the art." ohms (using the appropriate output termi- The Power Guard system is most ef- nals) was also 357 watts, and we were able fective in making it impossible to hard - to develop 420 watts per channel into 2 -ohm Comment. McIntosh (one of the old- clip the output of the amplifier. Regard- loads. est names in hi-fi, and perhaps the only less of how hard itis driven, it simply At the rated 250 watts output into 8 firm from its time to remain under the cannot develop an audible amount of ohms, the maximum distortion was 0.01 per original ownership) has earned an im- distortion on musical program material cent at 20 Hz. Over most of the audio range pressive reputation for their continued (2 per cent is well below the probable it was about 0.004 per cent, rising to 0.009 support of their products, their excep- threshold of audibility of distortion in a per cent at 20,000 Hz. At lower power out- tionally conservative design and specifi- music system being driven to 350 -plus puts the distortion was substantially lower. cations, and generally outstanding qual- watts). This feature should also mean a The amplifier sensitivity (using the 2.5 -volt ity. The MC 2255, the first McIntosh greatly reduced likelihood of blowing switch setting) was 0.15 volt for aI -watt product we have reviewedin many out a speaker, since clipping is a com- reference output, and the A -weighted noise years, is a perfect example of the contin- mon cause of tweeter damage. For the and hum level was 86 dB below 1 watt. The uation of those policies. nontechnical user, the self -test feature is frequency response of the amplifier was In its circuitry and operating features, mostly a "security blanket," although within +0, -0.1 dB from 20 to 20,000 Hz the MC 2255 is quite unlike any other we can appreciate that it would also sim- and was down 0.9 dB at 5 Hz and 3 dB at basic power amplifier we have seen. By plify troubleshooting and servicing. 150 kHz. using autotransformers to match the The amplifier rise time was about 3 mi- load impedance to the transistor require- CLEARLY. no effort has been spared in croseconds, and its IHF slew factor was ments, McIntosh has made an amplifier the design and construction of this am- about 10. The IHF intermodulation distor- capable of delivering its full potential plifier. This sort of perfectionism carries tion, measured with 18- and 19 -kHz sig- performance into almost any load im- a considerable price, both in dollars and nals, was -94 dB for the second -order com- pedance it might encounter. That per- pounds (avoirdupois, not sterling!). Con- ponent at 1,000 Hz and -67 dB for each of formance, as our tests have shown, is ab- sidering the probable long life of the MC the third -order products at 17 and 20 kHz, solutely first-rate. It is difficult to imag- 2255, that price does not seem at all all being referred to a 250 -watt level. ine any home installation needing more unreasonable. -Julian I) Hirsch The clipping headroom of the amplifier (Continued on page 44)

42 STEREO REVIEW Audition the An -3800 3 -head cassette deck and you will witness a Nowautoreducedjustsitivityautomaticallydisplay as -demagnetizing, and outstanding.of wow technical equalization. andrecord flutter sophistication.AIWA's test 32 It'sto sectiontones, just impressive! patented 0.025% check tri-color In 16 dual playback, (WRMS)!Mechanically, seconds, bar capstan meters, Addthen the tape digital totheADset thattransport AD-3800bias, tape/timeDolby -3800 sen-will hasC, is recreating it is. SIMPLYAIWA ADVANCED Theit'sremaining the AIWAtop -of display -the AD -line. and -3800's the optional DATA remote microcomputer control. Now you know assures why unsurpassed compatibility between CIRCLE NO. 2 ON READER SERVICE CARD AiwaDolby American is a trademark Inc 35 Oxford of Dolby Drive. Laboratories Moonachie. New Jersey 07074 In Canada. Shwa (Canada) Ltd tape and deck. Jestseporli was 1.55 dB for 4- and 8 -ohm loads and The meters read quite accurately (about by switching off the speakers. We found the 2.55 dB for 2 -ohm loads. The dynamic pow- 0.2 dB high at full power) and responded to headphone volume to be only marginally er output was 455 to 466 watts, depending very brief transient signals. They are driven useful with 600 -ohm phones. It was ade- on the load impedance, giving dynamic - from the class -AB input amplifier instead quate with conventional -impedance phones. headroom ratings of 2.65, 2.7, and 2.5 dB of from the output stages as in most ampli- for loads of 8, 4, and 2 ohms, respectively. fiers, so the meter readings are unaffected Circle 142 on reader service card

J.C. Penney Model 3260 AM/FM Stereo Receiver

J.C. Penney Model 3260 AM FM Lever switches control POWER, tape DUB- The 1,000 -Hz distortion was very low, be- Stereo Receiver BING from either of two decks to the other, ing masked by noise below 10 watts, where Power Rating: 60 watts per channel and the TAPE MONITOR functions. The three it reached 0.001 per cent, and climbing to Size: 19 x 12', x 5', inches tone -controlknobs (BASS,MID, TREBLE) 0.0036 per cent at the rated 60 watts. Into Weight: 25 pounds have center detents, and there is a pair of 4 -ohm loads, the distortion was only 0.004 Price: S479.95 large concentric knobs for volume and bal- per cent at 10 watts, 0.011 per cent at 70 ance. The rear apron of the receiver con- watts, and 0.04 per cent at 80 watts. The THE Model 3260 heads the current re - tains the signal input and output jacks, two 2 -ohm distortion was roughly the same as ceiver line of J.C. Penney's Modular a.c. outlets (one switched), and antenna the 4 -ohm readings, but at the maximum Component Series (MCS). The Model binding posts plus a hinged, pivoted AM output of about 80 watts the amplifier be- 3260 has a digital -synthesis AM/FM tuner ferrite -rod antenna. The two sets of speaker came very hot, causing us to abandon the with an amplifier section specified to deliver connectors are the insulated spring -loaded distortion test. its rated power into 8 -ohm loads from 20 to type. The receiver's front panel is finished Across most of the audio -frequency range 20,000 Hz with no more than 0.02 per cent in satin silver, with the top and sides cov- the distortion was well below 0.002 per cent distortion. It is a full -feature receiver with ered in walnut -grain vinyl. at or below rated power output. At high fre- six memory buttons (each usable for one quencies it began to increase, to a maxi- FM and one AM station), a digital frequen- Laboratory Measurements. The J.C. mum of 0.01 per cent at 20,000 Hz. The cy display whose large (1/2 -inch) green nu- Penney Model 3260 receiver is fairly large IHF intermodulation distortion was meas- merals can be read from a considerable dis- for its power rating, so even though it is ven- ured with equal -amplitude 18- and 19 -kHz tance,and LED indicatorsforsignal tilated only by a small grille, it became no signals whose combined peak value was strength, input source, operating mode, and more than moderately warm during the pre- equal to that of a sine wave of 60 watts. The the audio power output of each channel. conditioningperiod and the subsequent second -order distortion component at 1,000 The displays occupy the upper half of the high -power testing (except during 2 -ohm Hz was barely detectable at -95 dB, and panel behind a full -width window. operation). the third -order products at 17 and 20 kHz Small buttons justbelow the display When driving 8 -ohm loads at 1,000 Hz, were each -91 dB (allreferred to 60 window select the program source (AM, FM, the outputs clipped at 73.8 watts per chan- watts). The IHF slew factor exceeded our PHONO, AUX) and increase the sensitivity of nel (IHF clipping -headroom rating of 0.9 measurement limit of 25. the power display by ten times or switch it dB). The clipping output into 4- and 2 -ohm The amplifier sensitivity for a 1 -watt ref- off entirely. Larger buttons across the bot- loads was 94 and 82 watts, respectively. erence output was 20millivolts(mV) tom of the panel control two sets of speaker Driving the amplifier with the pulsed dy- through the AUX input and 0.3 mV through outputs, the audio filters (SUBSONIC and namic -power test signal, we measured a the PHONO input. The A -weighted noise lev- HIGH), AF MUTE (a 20 -dB volume reduc- power output at clipping of 89, 96, and 84 els for these inputs were -78.4 and -76 tion), LOUDNESS compensation, mono/ster- watts per channel for 8-, 4-, and 2 -ohm dB, respectively. The phono preamplifier eo MODE, FM MUTING, and the MPX FILTER loads, respectively. This corresponds to an overloaded at a very good 220 to 230 mV at (to remove the FM -multiplex pilot carrier IHF dynamic -headroom rating of 1.72 dB frequencies of 1,000 Hz and below but at a from the audio outputs when recording). at 8 ohms. (Continued on page 46)

44 STEREO REVIEW Warning: The Surgeon General Has Determiad Marlboro Red or Lono,horn 100's- That Cigarette Smoking Is Dangerous to Your Health. you get a lot to like. pings: 16 mg "tar:' 10 mg nicotine -1E0', 16 mqtar,' 11.1 mg nicotine av per cigarette, FTC Report Dec'81 1 0 1 1 1 11/ /111..1 . 1 1 III 01 0 J.C. PENNEY 3260 I HIM II I III F AMPLIFIER SECTION J.C. PENNEY 3260 tr O5 .05 0 REFERENCE POWER (60 W ) N AMPLIFIER SECTION F HALF POWER 1-3 OS) I 0 -- -LOW POWER (-10 DB) 0 2 .02 0 I0 F 01 .01 F cc 2

1,1 I.00)5 e 0.005 2 OHMS o '0. cc A 0 oo20 r .002 % -

U '-- ...... 1i1/ .1. 4 1.1,..- .001 .001 ^-." .- ...... - ...- .S..- - - . - - . - - .... - ...... K 0.1 0 2 0 5 2 5 10 20 50 100 FREQUENCY IN HZ (CYCLES PER SECOND) CONTINUOUS WATTS/CHANNEL

within 0.5 dB overall from 20 to 20,000 Hz. were probably even more impressed by When measured through the inductance of its origins. J.C. Penney is certainly not a typical phono cartridge, the high -frequen- J.C. Penney Model 3260 the usual hi-fi dealer or manufacturer, cy phono response rose slightly above 2,000 AM/FM Stereo Receiver and this unitis obviously aimed at a Hz to a maximum of 1.5 dB at 20,000 Hz. broad mass market of consumers. Most This is unlikely to be audible. earlier attempts to market component The FM -tuner sectionof the Penney hi-fi to a mass market have emphasized Model 3260 was unusually sensitive, with a Comment. Most of the features of the flashy"space-age"cosmeticsrather usable sensitivity of 9.9 dBf (1.65 micro- J.C. Penney Model 3260 are not unique than the level of performance that most volts, or µV) in mono. The stereo threshold in today's receivers, but we were nev- readers of STEREO REVIEW would expect was 20 dBf (5.5 µV), at which level the dis- ertheless impressed by its exceptionallyfrom a quality stereo component. tortion was 1.8 per cent. The 50 -dB quieting smooth and "bug -free" operation, con- sensitivity was 13 dBf (2.4 µV) in mono and servative ratings, and ability to with- THE Model 3260 (and presumably its 35 dBf (30 µV) in stereo. At 65 dBf (1,000 stand considerable electrical abuse on companions in the MCS line) is a very µV) the tuner noise level was -75 dB in our test bench. different matter. This receiver could be mono and -70 dB in stereo, with corre- In our tests, the tuner memories were placed on the shelf by any audio dealer, sponding distortion readings of 0.066 and retained (thanks to a built-in NiCad and it would look perfectly "at home" in 0.19 per cent. The IHF intermodulation dis- battery) for several weeks even with the the company of any others that hap- tortion of the tuner (with 14- and 15 -kHz plug removed from a powered outlet. pened to be there. Furthermore, it can modulating signals) was -72 dB for the Also, each time the receiver is turned on, hold its own (and then some) against second -order product at 1,000 Hz and -57 it comes on at the frequency to which it some of the products of the most presti- dB for the third -order distortion at 13 and was tuned when last operated. gious names in hi-fi in the same price 16 kHz. In stereo, the third -order distortion The Model 3260 is one of the few re- range. The Model 3260 is the third gen- was about the same, but the second -order ceivers (or amplifiers) with really usable eration of Penney MCS receivers to pass increased to -57 dB and a number of addi- "loudness" compensation. Its moderate through our hands, and we are glad to tional spurious products appeared on the bass boost ensures a pleasant, non -tubby see that it has evolved into a product of spectrum -analyzer display (this is typical of soundatlowlisteninglevels,with which any hi-fi manufacturer (or con- stereo tuners). enough added "body" to the program to sumer) could be proud. It is a nice piece The FM frequency response was virtually justify the use of the feature. of work in every way. flat from 30 to 10,000 Hz and up 1.7 dB at Excellent as the Model 3260 is, we -Julian D. Hirsch 15,000 Hz. The channel separation was (Continued on page 48)

considerably lower level at 20,000 Hz. Slew +10 maul: limiting was apparent on the waveform MOON MON. ="a ailriU7rMP when the 20,000 -Hz overload was reached 0mmmaemse mMOSNMI MON""semmeOOMOOG=Lr M":meMOi UTUr.a= at the equivalent of a 1,000 -Hz signal of 46 02:1=...... ,...... =...... noon. MOO (.0 Yee mV. The measured phono-input impedance 10 memo MOS MM 1:11 USABLE NOON EN OM MENG MUM MONO mamma. man MOON Yea was50,000 ohmsinparallelwith80 ID .. Weenie ...... MMEMOMMOMMOMOOM MMOON= MONO MOW. =11111111111 20 SENS TIVITY mmememm J.C.PENNEY 3260 picofarads. U .. 65 p v memos ; MANI MOSE NEM MO.. 111 MOON A MOO. a:VA./ins some wassa FM -TUNER SECTION NONOM. MO MO M.= MOO. MEMO The tone controls had conventional char- Ems sosamaammass MO...... MENU NON MN.. acteristics, with the midrange control hav- Z 30 Immomeme..... mans =:: =Si ='"' .."."'"= MT& sae ..... m aomanWes=1=10. =swan ow I 'ma ...... sem moms =mu MORO =OM MEMO ENE MOO ing a maximum range of only ±6 dB cen- MONO MN= OM= MOOD NUMMOM MOWN , MOON id 40 O ..... Jelene MUSES = MOONS 00.0. ON MNWOW MOO. INS !Mb,. MM. =MOM Ono tered at 1,000 Hz. The RASO \ IC filter was NOON N.O. Oil TI -I0 + NOISEmemMMMMMM MOO N. [ "ONNI Mee *Odle NOSS 2 dB down at our lower measurement limit 50 Ti::::=Intnn.',Mtn inn was WOOS J41 MONM NM N[.. 'Vern NEN Mien. memo semen of 20 Hz. The HIGH filter response was 1..... 3 f r1-.-7-] - 3 JLJ ..37. 3 9. 1111 . Nee One r-mmome

MaeESN ..... a ... MON ./.000 11 .... MMMMMM MOEN Moen MMMMM down 3 dB at 5,000 Hz with a not particu- 1_ 60WOMEN MGM ...... DrIre "22: ..... mem N 111, larly useful slope of 6 dB per octave above 4 ::. ON NOME MONO . ...MI J 50 DB QUIETING OMNI MENGE MOSSO ONIONS NOM MOM MO thatfrequency.Theloudnesscontours W -70 2 4 jiv (MONO) ;MO , BOOM.M0.0. - sommewommomemwee...Nes ...... 130 jay (STEREO) OM boosted both low and high frequencies but MC=e MONO =MU MOSSO "...WM"SMOGS were quite mild in their effect, with a max- 90 MONO MOOMMO imum bass boost of only 7 dB. The MUTE MO ...... MD ONNE110 STEREON 90 .... MN NN =1: button reduced the gain by 19 dB. The 0 10 20 30 40 50 60 70 80 90 RIAA phono equalization was accurate R.F TEST -SIGNAL INPUT IN DBF

46 STEREO REVIEW THE V 5RX YOU CAN'T EVEN HEAR ITS BEST FEATURE.

This is the Teac that's quicker than the ear. It features Real Time Reverse. When your cassette comes to its end, a miniatLre infra -red sensor activates either thf independent forward or reverse capstan (as appropriate-!. Its unique Eour-channel permalloy record/play head is repositioned_ And the tape reverses course. All in an astoundingly swift 0.15 seconds. So quick, the gap is virtually inaudible. In record or play. And you'll never have to flip a cassette again. Yet this is just one feature of an extraordinary deck wn- ich also offers the unusual option of both Dolby NR*and dbX*r_oise reduction. Plus Computomatic. So you can program in advance the exact cuts you want. Along w-_th a three- motor transport system. And an optional full-functicn remote control. The V-95RX. You v1/4sDn't know if .it's coming or going. TEAC. MADE IN JAPAN BY FANATICS CO.YFIGHT 1982, TE*C CORPORATION OF AMERICA. 7733 TELEGRAPH ROAD, MCRJT:.:.BELLO, CA90640 *DOLBY" S A REGISTERED TRADEMARK OF DOLBY LABORATORIES, NC. ** dbx" IS A TRADEMARK OF abx, INC. CIRCLE NO. Si ON READER SERVICE CARD _testirepoirts 34.5 dB at 30 Hz but a nearly constant 48 at inputs from 28.7 dBf (for the first light) channel selectivity was 5 dB. The frequency to 50 dB from 400 to 15,000 Hz. The 19 - to 54.7 dBf (for the fifth one). The FM cap- response of the AM -tuner section was more kHz pilot -carrier leakage into the audio was ture ratio was 1.25 dB and the AM rejec- or less typical of the performance found in -64 dB and the 60 -Hz hum was -73 dB. tion was 60 dB at a 65 dBf input. Image receivers: down 6 dB at 90 and 2,500 Hz. The tuner's muting threshold was 17.2 dBf rejection was a good 90 dB. Alternate -chan- (4 µV). The signal -strength lights came on nel selectivity was 71 dB and adjacent - Circle 143 on reader service card

Aiwa AD -3800U Cassette Deck are three -color, sixteen -segment peak -read- duction systems and for tape -type selection. Size: 165/e x 43/8 x 101/2 inches ing displays calibrated from -30 to +10 Additional buttons and switches permit Weight: 111/4 pounds dB. The electronic four -digit counter can be muting the recording during commercials, Price: $595 switched to read out minutes and seconds activation by an external timer, and memo- when recording or playing back, but not ry rewind and/or play. The rear panel of TAiwa AD -3800U isa three -head, during fast -winding operations. the AD -3800U contains the usual input/ idual -capstan deck thatincorporates Pressing the DATA SYSTEM buttonini- output jacks, a DIN -type connector for a both Dolby -B and Dolby -C noise -reduction tiates the tape -optimization procedure, dur- remote -control accessory, and the micro- systems. Through the use of a microproces- ing which BIAS, CAL, and EQ indicators phone -input phone jacks. An optional wire- sor chip itis also able to make automatic flash. On completion, after about 16 sec- less remote control costs $95. adjustments of record bias, equalization, onds, a READY indicator comes on and the and sensitivity, thus minimizing perform- tape is automatically rewound to its starting Laboratory Measurements.The materi- ance differences between tape brands. Sep- point. Pushbuttons with LED indicators are al provided with my sample of the Aiwa arate record and playback heads, using provided for Dolby -B or Dolby -C noise -re - AD -3800U indicated that it had been set up laminated sendust and hard permalloy con- for use with TDK MA (metal), TDK SA struction, are enclosed in a single housing. (CrOrequivalent), Sony Duad (ferri- The recording head has a 4 -micrometer gap chrome), and TDK D (ferric). Because of to provide full magnetic penetration of the the ease with which the machine could be tape, while a1 -micrometer gap is used for Aiwa AD -3800U adapted to any tape, I tried a variety of ad- the playback section to increase high -fre- ditionalformulations,includingBASF quency resolution. A d.c. servomotor drives Cassette Deck Pro I, 3M MasterI,Loran ferric, Sony the capstans, and a second d.c. motor is HFX (Type I), Memorex High Bias, Fuji used for the cassette hubs. FX II, Maxell UD-XLII (CrO2-types), and The transport of the AD -3800U is sole- Comment.UsingtheDolby -C Sony Metallic, from all of which I obtained noid operated. Cassettes are inserted, tape system (or even Dolby -B, for that essentiallyequivalentfrequency -response openings downward, into slides on the rear matter) the Aiwa AD -3800U was curves. My only departure from Aiwa's rec- of the cassette -well door. A tinted window able to make impeccable copies of all ommendation wastosubstituteMaxell on the door provides label visibility, rear il- FM and almost all recorded materi- X LI-S for the less expensive TDK D in the lumination allows the user to see how much al. Some slight high -frequency losses ferric position, as it gave a better signal-to- tape is left on a side, and the heads are ac- could be heard, but only in a direct noise ratio. cessible for routine cleaning when the door source/tape recorded comparison of Playback response was measured with the is open. Head demagnetization is accom- digitally mastered material or inter - new IEC-standard BASF test tapes, which plished by an automatic circuit that oper- station FM hiss recorded above a cover the range from 31.5 Hz to 18 kHz. ates when the deck is turned on or when the - 10 -dBinputlevel.Thisis,of The slight bass rise below 100 Hz shown in ADMS button is pressed. The process takes course, excellent performance, and the graph on page 50 is not a characteristic less than 2 seconds, and a LED signals its the Aiwa AD -3800U can certainly of the AD -3800U but results from using operation. Record levels are set with a pair be recommended to anyone search- afull -track test tape on a quarter -track of long -throw horizontal slider controls, and ingforatop -performing cassette stereo deck. The 3.7- and 4.7 -dB 18 -kHz a similar (though smaller) slider is used to deck. -Craig Stark rolloff is principally the consequence of a determine output level. The level indicators (Continued on page 50)

48 STEREO REVIEW The Kyocera Series D-801 Cassette Deck with 3 motors and a direct driven dual capstan... With only 0.02% WRMS wow and flutter. If you think 3 motors impress you, performance. That's where both 4 -digit LED electronic timer/counter think of what they can do for tape Dolby* B and C noise reduction for precise elapsed time, remaining performance. One drives our dual circuits come in, along witl- a Sendust time, stopwatch and memory stop capstans to insure constant and alloy tape head; electromagnetic and registering time and/or counter highly accurate speed with remark- braking on both take-up and feed reference of recorded programs... able low wow & flutter of 0.02%. A reels; selectable bias and equaliza- and more. second motor drives both the take-up tion for all types of tapes; 30-20,000 But our most impressive feature and feed reels while the third motor Hz response range; full LED function awaits at your local audio retailer... gently positions the record/playback indication, feather -touch controls; a demonstration of the D-801... it's head against the tape surface. An APM R for automatic program search; just one of a very impressive list of innovative approach resulting in auto stop; auto repeat, memory and distinguished audio components and accurate head -to -tape positioning a full bank of operational controls systems from Cybernet...where the and optimal head azimuth alignment. concealed behind a flip-dcwn access future is now! But motors alone Co not insure top panel; plus the convenience of a

- - --=)

'Dolby is a regI m of Dolby Laboratories. Inc. Cybernet. 01982 CYBERNET A Division of Kyocera Seven Powder Horn Crive, Warren, N.J. 07060 U.S.A. Telephone: (201) 560-0060 Telex: 642529 CYBERNET WARE. CIRCLE NO10 ON READER SERVICE CARD Aiwa AD -3800U Cassette Deck tion reference point required increasing the input signal level by 8.6, 7.4, 3.3, and 3.5 +5 dB, respectively. On an unweighted basis, ..f...... 1, F 0IIIII DBI 0 Ii=f _...... 1..... without noise reduction, the better -than -av- . --.... erage signal-to-noise ratios (S/N) of the four tapes measured 56 dB (XLI-S and ID 6 AIWA AD -3000U J RECORD -PLAYBACK RESPONSE -\\\ MA) and 53 dB (SA and FeCr). With , CCIR weighting and Dolby -B noise reduc- 1 U METAL I TDK MA) tion these figures improved to 66.3 dB for ---FoCr (SONY 1\. 0-15-- - Cr02-TYPE ITDK SA) the Maxell XLI-S and the metal TDK MA, FERRICIMAXELLXLI-S) -- to 63.7 dB for TDK SA, and to 65 dB for -20 .IriP1 . f ' Plw.-601.1=IN Sony FeCr. Dolby -C reduced the noise still 1-20 DB) t:N 1, further, producing excellent S/N figures: -25 20 30 50 00 200 500 1K 21< 51< 101< 20K 74.5 dB (Maxell XLI-S and TDK MA), 74 +5 dB (Sony FeCr), and 72 dB (TDK SA). 120AS IFERR C) 70µSICr02/METAL) Wow -and -flutter, using a TDK MTT- 11 l test tape, measured only 0.018 per cent 1- 1 PLAYBACKRESPONSE wrms and 0.03 per cent on the DIN peak - -5 *CA FREQUENCY IN HZ (CYCLES PER SECOND) weighted basis. The Dolby -level marking was admirably exact, and frequency -re- The upper curves indicate overall record -playback response at the manufacturer's indicated sponse tracking was within ± 1dB with 0 -dB recording level using the tapes designated on the graph. In the center are the same Dolby -B and ±2 dB with Dolby -C up to 15 measurements recorded at -20 dB relative to the upper curves, a level conventionally used kHz at a -20 -dB input level. At a -30 -dB for tape -deck frequency -response measurements. Bottom curves show playback response levelthe high -frequency error increased from calibrated test cassettes and indicate the deck's ability to play prerecorded tapes. only slightly to ± 1.5 dB (Dolby -B) and +3 dB (Dolby -C) at 15 kHz. At 1,000 Hz a signal level of 44 mV (0.044 V) at the line -level inputs and 0.3 small modification in the new IEC stand- was very close to matching the company's mV at the microphone inputs was sufficient ards. Overall record -playback response was metal -particle tape. to produce a 0 -dB indication and 350 -mV extremely uniform among the tape types at Using a 315 -Hz input at the indicated 0 - output level. The microphone inputs ac- the normal -20 -dB measurement level. dB record level,Imeasured only 0.4 per cepted up to 640 mV before overloading. The "knee" in the curves was between 16 cent third -harmonic distortion with Maxell Fast -forward and rewind times were just and 18 kHz. Predictably, the ferrichrome XLI-S, 0.5 per cent with TDK MA, 1.2 per under 80 seconds for a C-60 cassette. formulation dropped off in its high -end recent with TDK SA, and 1.8 per cent with sponse with a 0 -dB input, but TDK's SA Sony FeCr. To reach the 3 per cent distor- Circle 144 on reader service card

ZX-7 Maximum Performance through Complete Control With the Nakamichi ZX-7 you command and optimize the vital record parameters-bias, level, and azimuth-which bring to life the true potential lying dormant in every cassette. This kind of control, plus the most advanced technology and features in cassette history, make the ZX-7 a serious recordist's dream -come -true. Maximum PerformanceThe ZX-7 awaits you now at your Nakamichd dealer.

1101 Colorado Ave , Santa Monica, CA 90401 raNakamichi For more information write Nakamichi U S A Corp

r LW -7 INS e. . u"'". n"1" `fr. .. - $ a $110111=1 11111,

.$ 00 1$$ 111.01110 0 - - -- mes Qom --4.-- P.m 10 e. , Ym OF Once again, JVC harnesses higher tech mthe pursuit of higher fidelity

The power of higher tech, harnessed musical overtones and transients are Speakers more precise than the ear itself. by superior engineering. Once again, amplified intact for a pure, musically Our Dyna-Flat ribbon tweeter it's the mark of JVC's leadership. natural sound. Add graphic equaliza- extends to 100 kHz, higher than the Even in the realm of moderately tion and quartz tuning, and you have ear can hear. By doing so, it helps pro- priced components like these. receivers unsurpassed for perform- vide correct amplitude and phase The intricacy of JVC turntable design. ance and versatility. characteristics in the audible range. You see it, and hear it, in attention The innovators in metal cassette decks. So music takes on the focus, detail to subtle, yet significant detai.s. Like a It was JVC who first put together the and spatial image of live sound. straight, low -mass tonearm with trac- technology needed to record metal Your JVC dealer is waiting to demon- ing hold to stabilize tracking. And tapes. Now we've added Dolby' C for strate the full new line of higher tech quartz control to insure virtually per- ultra -quiet recordings. Plus features components. Computerized tuners. fect platter rotation. like Music Scan to find selections "Thinking" tonearms. Self -optimizing Powerful, vrkmus:cally pure receivers. automatically. Spectro-Peak metering. cassette decks. Higher tech engineer- A JVC innovation called Super -A Logic controls, digital indication, ing all focused on one goal- achieving removes subtle forms of distortion. So memory and more. the highest fidelity possible.

=M.= I Pr, I I ...am Cr=. US4JVC CORP. t 1 _- -:44-listen)riveillilmeireodPark,N4 07407 -- titoThrAll segliltsred timings rk al Dolly La beretorlee.-__ - , 77 JVC CANSO INC., Searbenorgh, ONT. --7-z __ ...... 4 .- 1.:74 -- 111 rovulualluig.. Goingon Record

MEM

"The sound of this diminutive speaker is nothing less than astonishing. "Listen to the Four if you possibly can. It is worth hearing - even if you are not shopping fora speaker- just fora demonstration of how good a small box can sound." STEREO REVIEW June, 1978. Copyright Ziff -Davis Publ. Co. For literature and information call (800) 225-4791 or send coupon. The Allison: Four-costs $280 each in oiled walnut, $290 in oiled oak cabinet. BUYING FRUSTRATION

No communications Ireceive as Music sion of the local distributor that while he ALLISON Editor at STEREO REVIEW bother me has forty-eight orders for the record, they more than those that tell of the difficulty, or are too few for him to bother with. Really? theimpossibility, of the correspondent's Why put out the record at all? ACOUSTICS purchasing a record we have just reviewed. I gave the gentleman the names and ad- seen.Fech Circle %Wick. 11. 01760.1. .S..%. They bother me so much-though they aredresses of a couple of stores in New York rarely critical of the magazine or my part in and a couple in Chicago that I thought it-because there is so littleI can do about mightbe able to help him. One of those Name them. And they bother me because they are stores just happened to call me later about Address symptomatic of the near -moribund state of something else, giving me example two. Did this business I once used to love and have, I know, asked the gentleman at the store,

Cits State _ Zip _ over the years, grown almost to hate. that RCA has just instituted a new policy The classical record business, yes, and the that allows stores to order Red Seal records popular record business too, was once made only quarterly (instead of as they need up of music -minded people notable for their them) for delivery one month afterward? CCONSUMERS CO. enthusiasm,theirknowledge, andtheir No, I didn't know. Did I understand, con- TAPES - DISCOUNTS - STEREO taste. Of course, there were always individ- tinued the gentleman, that even a store such Min Order10 Audio or Video Tapes or assorted uals whose sole concern was financial, or as his, which sells a lot of classical records, &YEW. some sort of ego gratification that had noth- could stock only one or two of most items SA C 90 275 MAR C 90 798 ing to do with music, or who had no con- (because of the sheer number of different SAC 50 2 19 1035 18011 18 50 SA1 3 90 799 1935 180 16 50 cerns at all other than having a job, but the records they have to stock), and, therefore, 030 c 90 359 1 835 909 585 AOC% 325 1835 90 535 mesh of musical and non-musical people if they sold a record in December they mAC9a 5'.9 SA35 18089 24 75 0 3 % I59 SA35 NU 975 was a working one, and everywhere one might not have another copy of it to sell un- 0 C 60 1 19 X001 14 69 looked one saw musicalpeople,record til April? Yes, I understood it. What did I FUJImaxe people, in decision -making positions. They think of it?I told him I thought that RCA, UOOL IS or USG 90 399 Elul Pro eIII C 60 219 may not have had ultimate authority, but if such was their attitude, ought to sell their UOAL 1or II C 90 199 tun ME C 93 519 NAL lot II C 60 749 FLni F Xll C 90 285 they made most of themusicaldecisions Red Seal division to someone whowantedto U0 C 90 239 Mem 111 Br C 90 285 Bost Pro II/111C 90 275 Sony FeCr C 90 789 With only a few exceptions, they were also be in the classical -record business. 1110E0 TAPES greatly interested in how their productions IDA T 120MISI 12 75 Sony 1930 petal 15 50 TOK IM 1 UR 1 12 85 were received. The thought that someone ANDthat is one of the main roots of the 100 T win 12 25 TOK 1 500 fletal 985 12 75 Fun 7 1201411 1 17 95 who wanted one of their records was finding problem. The business is almost entirely Memorex 7 12919901 12 65 Full500 Me% 950 Fun VHS Neadclearter 16 95 Fun Elele Headcleoner 16 95 it literally impossible to buy it and that no controlled these days by people who don't CAR STEREO SPECIALS body with the job of selling those records wantto be in the classical -record business. PIONEER CAR SANYO CAR was taking the matter very seriously would As a field of economic endeavor it has its Kt 5100 214 90 FT 2200 11990 KP 7500 179 90 PA 6050 9990 have driven them up the wall. inherent difficulties: a small audience geo- KP 6600 159 90 FT 30 179 90 91 5500 132 90 FT C16 96 90 And yet, to the surprise of no one, least ofgraphically spread out, low unit prices, a UKP MR 1890 FT CI8 149 90 UKP 5000 174 90 FIC6 all readers of this magazine, that seems toproduct that needs and cannot get proper 9 Opr 1S 6695 Rgupuma C Ai be precisely the case today. I cite only twoquality control, too much direct competi- TS 168 83 90/pr CR 2010 274 90 IS 167 49 90/pr CR 5001 349 90 recent examples. First, a reader in the Mid tion. With the best of intentions there are 1S 09 14103/pr CR 3001 434 90 TS 96 74 9Orpr KR 150 139 90 west called to tell me that he had been try-bottlenecks. With less than the best, the ENSEN CAR774 ing, completely without success, to buy a whole affair is one big gridlock. Records are SONY CAR RE 518J 90 x8 70 310 90 RE 512 744 90 brand-new London digital record, a recorddeleted because they don'tsell;records 0R50 229 90 12033 94 90 or IR 55 277 90 J2037 75 90 or that had received from us a "Best of the AR 35 210 90 J 2041 54 90 or don't sell because people are unable to buy AR 25 169 90 J 1065 7290.r Month" designation. He had begun his at- them. It has the ring of one of Kafka's mi- All merchandise freshManufacturer guaranteed tempt immediately upon reading the review nor musings. For ORDERS ONLY Call TOLL -FREE and was calling me two months later. He The classical -record business is the mess rndP a 800-431-2932 v14. had already made the usual rounds-that isit is today not because of new technologies Ns Customer Uneaten 1 19141 9602909 to say, first the record store that doesn't (in fact, technology bails it out every once in ont deliver y use M mey Order Cashier 5 or Cer t d rr neck urCredit Cardr Add r 'dr Credo Card ordersiAdd 5 lot know anything, then the special order, then a while), but because a suicidal manage- Shrpprn9 8 Handling 5. r3 On '3 501 NY Residents must add

Sales Tax Personal c .112 weeks free Catalog the information that the disc is back -or- ment system preoccupied with numbers dered, then the canard that it isn't avail- rather than the product, with markets rath- able, then the lack of concern of someone at er than customers, is driving it lemming - ecoNsumERs co P.O. Box 550. Dept SR0682 the record company, and finally the confes- like into the sea. Mount Vernon. New York 10551 CIRCLE NO9 ON READER SERVICE CARD 52 STEREO REVIEW KOOL ULTRA There's cely one way toplay No other ultra brings you a sensation this refreshing. Even at 2 mg., Kool Ultra has taste that ouplays them all.

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WE CAN MAKE BEAUTIFUL MUSIC TOGETHER. Put an eager, imaginative mind in the sameroom with an ATARI* Home Computer, and there'sno telling what could be accomplished. For instance, learning becomes a whole new ball game. Take ATARI Music Composer.TM You can compose your own melodies or recreate your favorite songs in colorful detail. Want to learn a new language or increaseyour knowledge of geography? The ATARI Conversational French or the European Countries and Capitalsprogram could take you far in both subjects. Improving things around the house is another ATARI specialty. There's Graph It;" a revealing way to ( 'ontersationa/ Fren. review your home finances on easy -to -read, colorful charts. And Home Filing Manager,' a system that makes old card files a thing of the past. Of course, just because an ATARI Home Computer is easy to use doesn't mean Pac-Mann or Caverns ofMars' are easyto master. But then, you expect the toughest challenges from ATARI computer games. So, it really doesn't matter how you employ or enjoy your ATARI Home Computer. Because the combination ofyour talents and our computer is a winning team. 0ATARI ---- For more information,write:Atari, Inc., Dept. Al4Q, PO. Box 16525, Denver, CO 80216. Estimated product availability of Pac-Man, Caverns of Mars and Home Filing Manager, mid -1982. © 1982 Atari, Inc. All rights reserved. Pac-Man is a trademark of Bally Midway Manutacturmg Co. Licensed by Namco-America, Inc. ATARI HOME COMPUTERS We've brought the computer age home.'

CIRCLE NO. 3 ON READER SERVICE CARD CF -THE-ROAD music lovers can Manufacturers are playing it cool for now expect some fascinating innovations in car stereo in the fu - but getting ready for two fascinating new lute, but few of them, judging from what I saw at the Consumer Electronics developments: microcassette players Show (CES) in Las Vegas recently, will be appearing this spring. Manufactur- and stereo -AM broadcasting ers are being cautious, holding off the introduction of major innovations until the economy improves and perhaps unti,lthe stereo -AM situation is clearer By Ivan Berger (pee box on page 58).

' This watchful waiting is particularly il ',parent with reference to the micro - cassette format. It won't be available in /the U.S. for car use this year, but it was /shown in prototype form at Las Vegas 1 by Panasonic and Jensen (see the box : on facing page for details). As for the products one can buy now (or soon), the biggest news is noise reduction, DNR and dbx. The DNR system is the newer one, introduced as a chip by National Semiconductor about a year ago. It's a "dynamic filter," reducing highfre- quencies (and the accompanying noise) when there is no high -frequency program content and restoring the response when the highs in the music are atthe rightfrequencies and strong enough to mask the noise. It will therefore work on any program material, inon two new Marantz models, the CAR sitions, plus flashing -LED input -level cluding both FM and tape, and it needs 312 ($200) and CAR 320 ($170). Both "meters" which, happily, can also be no encoding in advance. have reversible face plates which incor- bypassed. Metro Sound's Blue Sap- Besides Autotek's in -dash unit with porate the molded -in "hex nuts" which phirelineincludesatwelve -band DNR (and Dolby -B) announced last have become a Marantz trademark, but graphic equalizer, the EQ-370, with 50 year, there are in -dash units with DNR not the Marantz gold finish (they're watts per channel ($210). Lear Jet also here or coming soon from Blaupunkt,wood -grain on one side, black on thehas agraphic-equalizer/booster,the Boman (inits Carrera series), FAS other). Model 6854, with seven bands and 30 (the company's first in -dash unit), and ARA-Motorola has another circuit, watts per channel (W/ch) at $130. Pio- J.I.L. Concept (not to mention Jensen's the FM Extender, in a line that runs neer's newest seven -band equalizer, the micro prototype). The feature will also from $189 to $400. It's apparently an BP -520 ($170) has "IC" echo; without show up soon in Audiovox, ARA-Mo- automatic high -blendcircuit. ARA- echo, it's the BP -520 ($110). Both ver- torola,Sparkomatic,andothers- Motorola's new one-year warranty in- sions are designed to deliver 10 W/ch about fifteen manufacturers this year. cludesremovalandre -installation at 5 per cent distortion. Last year, FAS announced an equal- costs-a new idea, and a very good Audiovox has a very compact "para- izer with dbx (so did Rockford Fosgate, one. graphic" equalizer, the AMP -775; it's butIdidn't see it this year), and dbx about 11/2 inches high, has seven control itself introduced a separate decoder. A BLAUPUNKT'S emphasis on "Night Il- bands, and delivers 13 W/ch at 1 per newly announced low -voltage dbx de- lumination" (it's in at least five of thecent distortion. Zapco has a different coder chip is likely to help make thecompany's in -dash units and one equal- type of paragraphic unitfor about system popular. There are no in -dash izer) is being echoed by other compa- $375. Its four control knobs act like systems with dbx yet, but Concord nownies. For example: Kenwood's KRC- those on a standard graphic equalizer; has a separate dbx decoder and two in - 1022 illuminates most controls and has however,itsfilterfrequenciesand dash units with connections for it. anautomatic dimmer; Audiobahn's bandwidths can be adjusted as in a "pa- The Schotz tuner circuit, which usesAB-1000-ETX Series II has LEDs on rametric" equalizer. The difference is a signal -responsive variable -bandwidth the station -selector buttons; Alpine's il- that you plug in each of the needed fil- FM detector, is making its entrance in luminated -button Model 7136 has been ter modules rather than turning knobs Proton's car -stereo line this year. It isjoined by four other models with thisto get the characteristics you want. A said to provide better than state-of-the- feature (the 7135, 7140, 7146, and typical setup might have 35- and 160 - art specs for capture ratio, sensitivity, 7337); Metro Sound's Blue Sapphire Hz filters with a "Q" (sharpness) of 2, and multipath rejection. There will be EQ-330 seven -band equalizer ($133) a1 -kHz filter with a Q of 0.7, and a two models initially: the Model 202, has green, backlit controls; and Ken - 16 -kHz filter with a Q of 2.5, all with with full tone controls, analog tuning,wood's new KGC-447 equalizer ($139) the intention of flattening your car's Dolby -B, a preamp output, and a built- has moving LED spots instead of mov- acoustics. in5 -watts -per -channel amplifier, will ing slide controls to show where you've For Porsche owners, Spectron has a be $189. The Model 201, with auto -re- setit. Settings are made by pressing preamp/equalizer with a special face- verse, digital tuning, station presets, buttons to raise or lower the response in plate for Porsche installations. Classic and Dolby -B, will be about $300 toeach band. (A similar equalizer is built Research and Engineering's unit has a $330. Fancier models are planned, but into Kenwood's latest home receiver.) "Z -Box" speaker enclosure shaped and they probably won't appear this year. Alpine's new Model 3316 ($200) is a finishedtomatchtheinteriorsof Marantz's IMS (Interference Man- preamp-level, seven -bandequalizer Porsches (and of Corvettes and BMWs agement System), another FM -cleanup with subwoofer output; it has a bypass too). technique introduced last year, will be switch and LEDs marking its slider po- Getting back to in -dash units, Boman

MOBILE nisms and the front -panel slots can be smaller, leaving more room for circuitry MICROCASSETTES on the inside and controls on the outside. And once the fidelity of the microcas- IT was no great surprise to see, at Pana- sette becomes acceptable (which could sonic's CES exhibit, the Matsushita be very soon, with metal tape plus Dol- microcassette system I mentioned in my by -C or dbx),itsconvenience could "Car Stereo" column in March. But I make it very popular. Everything but the was surprised to see another microcas- very high -end response-say, over 8,000 sette prototype too-from Jensen. Hz-stems to be up to the mark. With The Panasonic deck has Dolby, auto - the micros, even today's skimpy glove reverse, and an up -down button for vol- compartments could hold enough tapes ume control. It also has a tape -equaliza- to keep you happy on a cross-country tion switch, with the 70 -microsecond po- Jensen'smicrocassette system was jaunt, while your pocket could hold sition marked "Metal." (Microcassettes quite different: an all -in -one unit with hours of tapes for your micro personal need metal tape for a reasonable high - electronic tuning, six station -preset but- portable. frequencyresponse,unlike standard - tons, and a tape transport in a motorized Incidentally,thename "microcas- cassette units which can do very well drawer (with a lid, which could be a nui- sette" distinguishes the capstan -driven with chrome -type tapes.) The microdeck sance on the road). It also had both Dol- tape format developed by Olympus from was shown stacked with a frequency - by and DNR noise reduction. the rim -drivenPhilips "minicassette" synthesis AM/FM tuner featuring sta- Car -stereo designers welcome the idea format. While the latter works well for tion seek. The system may show up with- of using microcassettes because it means dictation, its drive system makes it an in the next two years. thatboth the tape -transport mecha- unlikely candidate for musical use.

JUNE 1982 57 fiers, each delivering 12 W/ch at 0.8 Proton has a $250 amplifier that will CAR 5TEREO per cent distortion. Both Panasonic and deliver 50 watts into 4 ohms or 72 watts Sanyo offer extra -compact amplifiers, into 2 ohms. It's the first car -stereo am- too: Panasonic's is the CYSB25 booster plifier I've seen with a "soft -clipping" ".. a car horn which amp ($80), 12 W/ch (EIA rating) and circuit (and button) like those on the can play seventy-six only11/2 inches high, which can be NAD home, amplifiers;italsohas turned on by a car -stereo unit's power - curved -fin heat sinks. JVC has decided preprogrammed tunes. . . ." antenna switch. Sanyo's is the PA6030 to get into the car -stereo business and "palm -size powerhouse," an $80 unit will shortly be introducing three in- only an inch high; it delivers 15 W/ch dash cassette/receivers and four speak- from line- or speaker -level signals. ers. The top -of -the -line JVC receiver offers "Rideman" (note the play on Alpine also showed a new high -powerhas digital tuning, six presets, scanning, "Walkman") stereo -headset jacks on model, the 3502 ($350); it's rated at 50 Dolby, solenoid tape controls, and 10 two of its new Carrera models-fine for W/ch (EIA) in stereo, but its channelsW/ch at 1 per cent distortionfor passengers, but unsafe (and in manycan be bridged to make a 150 -watt $379. places illegal) for the driver to use. mono amplifier. Other versions deliver Alpinehas a functionalstyling 20 + 20 watts (60 mono) for $200 and INspeakers, the most talked -about de- change, the "SelecTouch Switch," on 30 + 30 watts (90 mono) for $250.velopment is ADS' new Model 3201 its new Model 7146 ($500). Instead of Thanks to Class -D output technology,separates, available soon at about $350 pressing four tiny buttons to set tape Spectron has a larger but equally low- to $370 per pair. The two-way system's equalization, the music sensor, Dolby, slung amplifier with much higher pow-woofer istotally waterproof, and its or local/distant sensitivity, you press er: 30, 60, or 90 W/ch. frame(of non -corrodingUltramide the appropriate corner of a large rec- Panasonic introduced its new CQ-plastic) has six hold-down points in- tangular switch plate. And Lear Jet has S747 stereo ($250) at CES by demon-stead of the usual four to minimize air introduced a new, economically priced strating its amplifier with concert -sizeleaks and mounting stress when itis auto -reversein -dashunit,the A-68 music -instrument speakers. Consider-mounted on a flexible surface. It has a ($170). ing that such speakers are fairly effi- 1 -inch soft -dome tweeter that bayonets Most of the other details I noticed on cient and that the amp delivers14 onto an easily attached base, but since in -dash units were matters of styling: W/ch (EIA), it was no surprise that theit is surface -mounted, you can move it the introduction of a dark, soft, metal- demonstration worked, but it was an at- about to find where it sounds best be- lic -grey tone on J.I.L. Concept units, a tention -getter nonetheless. fore fixing it in place. very clean appearance on the Metro Sound Blue Sapphire line, and a new black versionof the(Fujitsu) Ten "Mini -Wizard"(itsoptionalremote STEREO AM: On March 5, 1982, after five years control is still finished in brushed alu- of deliberation and one aborted deci- minum, though). COMING SOON sion, the FCC finally decidednotto decide on one of five competing ster- Ovt R the past decade or so, AM SEPARATE -COMPONENTtuners rarely eo -AM systems (Motorola, Harris, radio -broadcast stations have Kahn,Belar, and Magnavox, the have the conveniences found on in -dash been losing listeners to FM stations. winner until the FCC changed its units, but Sony's new XT -11 ($350) is Given a choice, listeners concerned mind).Instead,theyruledthat an exception. It has auto -scan tuning, with sound quality will choose stereo broadcasters can useanystereo -AM presets for six AM and six FM stations, FM over mono AM, so AM broad- system as long as it doesn't interfere and a three -LED signal -strength indi- casters have been looking for a way with the present mono -AM system, cator. A matching auto -reverse compo- to get back their lost revenues. They so itis quite possible that we could nent tape deck, the XK-25, is the same see stereo AM as the way to do it- even end up with a sixth system from price.Craig also had a component particularly with car listeners. Japan. player, the T104, with auto -reverse, In some circumstances AM has The FCC says that this "free-mar- advantages over FM: AM's longer Dolby, and preamp-level output. ket" solution will "yield the greatest range allows one station to serve a net benefit to the public." If they are Aside from these, though, there are larger area and hence have more lis- referring to the possibility of having few new separate components save am- teners-given, of course, attractive a stereo -AM selector switch with five plifiers, but they are in abundance. Au- programming. And listeners on the or more positions added to all receiv- diomobile has an "amp rack" for high- road can avoid the annoyance of con- ers, tuners, and car -stereo units, it is end installations; it includes two high- stantly searching the FM band for a difficult to see just where that "ben- poweramplifiersand anelectronic new station whenever they get out of efit" might lie. In any event, at press crossover premounted on one easily in- the range of one they have been lis- time all parties concerned were rush- stalled panel. Prices range from $1,400 tening to. Another advantage of ster- ing full speed in several directions, eo AM isits freedom from FM's to$1,900 perrack. and one industry pundit has com- Mini -Amp has multipath and "picket -fencing" mented that "we would have been modules that make similar but lower- problems. At the moment, however, better off if the FCC had made their price and lower -power systems, while the frequency response of the AM decision by drawing straws." Spectron's Amp Rack seems to fall be- section of a typical AM/FM/cas- tween the two. sette stereo in -dash unit is something BECAUSEof the intense competition Linear Powerhasredesignedits like 50 to 3,000 Hz ±6 dB, which among broadcast -equipment manu- Model 300, at 150 W/ch and 0.15 per falls well short of the frequency -re- facturers,itis probable that there cent distortion "the most powerful pro- sponse potential of AM stations. It is will be stereo -AM broadcasting by also important to keep in mind, from the end of this year. The availability duction car amplifier in the world." the Concord is going the opposite direction broadcastingstandpoint,that of receiving equipment will not lag stereodoes not automatically mean far behind, especially in the car -ster- with its slim, almost tubular (11/2 x 11/8 hi-fi.Will stereo AM cause station eo field. So, whatever happens, ster- inches) HPA-25 monophonic ampli- managers to upgradetheir audio eo AM will soon be upon us in one or quality to hi-fi levels? Only time will more forms, in time perhaps even in tell. (would you believe?) hi-fi. 58 There'sagrowingtrendtoward "plate" systems: two or three round drivers mounted together on rectangular plates that can fit over 6 x 9 -inch holes. Many of these are derived from minispeaker boxes, such as Infinity's new "i-car" (whichisbasically the frontpanelfromtheInfiniTesimal box). Several other new plates have no box ancestors thatI know of: Boston Acoustics has one coming (another home -speakercompanyhittingthe road); Genesis has two new plates, the AM -135 and the larger AM -165 (apparently derived from the AS -I65 separates). Isophon has about the largest plate I've seen, a three-way about 8 x 12 inches. Spectron has a two-way plate with polypropylene drivers; the speakers are also available as separates. Pioneer's rear -deck speaker with a forward -facing "periscope" tweeter has started a mini trend. Among the latest are Isophon's "CARonetta" with rotating tweeter and a Clarion unit with dual tweeters that resembles Mickey

Mouse ears. . Hmmtn-you don't own a car. . . . Well, would vou happen to own a /2 -volt storage batterv? THE most unusual new subwoofer design is Linear Power's Bass Vent. All that shows above your deck is a small, rectangular grille plate with a 13/4 x 6 - inch hole. Below the deck, two large drivers face each other across a rectan- only other opening isthat top grille. The fear- Kenwood KRC-712 casceiver Panasonic CQ-S747 casceiver some -looking system weighs 12 pounds. An optional amp, the Model 2601, combines a 30-W/ch stereo amplifier for the main speakers with a 100 -Hz electroniccrossoveranda60 -watt mmi mono amp for the subwoofer. Xaxis Craig T104 cassette player Transducer Co. has the RAN woofer MetroSound CS 800 casceiver system. It's a 10 -inch woofer with dual voice coil, and it installs in a box in the trunk. (At the CES, Blaupunkt showed a system with multiple small woofers instead of one big one, but I didn't get to hear it.) Alpine now has subwoofers too in 8 - Sony XT -1 1 tuner inch ($100), 10 -inch ($140), and 12 - inch ($160) models. In addition to their 157; 1111A equalizer with subwoofer output, they nowofferanelectroniccrossover -IIIIIIIIMMI1111=11111111111111111-a ($130) with switch -selected crossover frequencies of 125, 250, and 500 Hz. Blaupunkt is introducing a new antenna, the Bosch Autoflex.It has a Pi Dneer BP -720 equalizer booster Marantz CAR -320 casceiver short, flexible shaft (like a CB "rubber duckie") with reverse -wound coils on the shaft. According to Blaupunkt, it's as good on AM as Blaupunkt'ssimiiar- size amplified antennas andbetteron horn which can play seventy-six prepro- it doubles as a PA system, alarm clock, FM than the amplified models (not asgrammed tunes (plus two you programand ultrasonic burglar alarm. I like the much signal strength, but lower noise). in yourself), sound effects (an ocean - idea of turning a Rabbit into the Queen It's said to cause less wind noise than liner horn, for instance), and vocal ef- Mary, but I'd hate to be at a corner conventional types and to be unaffected fects (an evil laugh, for example, or an where two Horn -a -Plenty owners were by weather or car washes. imitation of Cagney calling out "You conducting an argument over the right Calfax's Horn -a -PlentyII dirty is a car rat").Ifthat'snotenough, of way via PA.

JUNE1982 59 design,testing,andnificant frequency region below 110 Hz RRTRIG evaluationarethesubjectsof in their scoring of accuracy. This stems, LOUDSPEAKERmore controversy than anything Ibelieve, from a basic misconception else in audio. If we agree that the largeabout the behavior of loudspeakers, a LOUDSPEAKERS amount of subjectivity in these activi-misconception shared by a large num- ties is the source of most of the disa- ber of people. FOR greement, then the addition of any Consumers Union's criteria for judg- measure of objectivity ought to be help- ingloudspeakerperformancehave ful, right? Not necessarily. changed slowly over the years, but for "ACCURRCY" To take but one recent example, Con- at least a decade their basic measure- sumers Union's letter to Julian Hirschment has been of total radiated acoustic Speaker manufacturer (in STEREO REVIEW'S April "Technical power vs.frequency in an anechoic Roy Allison finds Talk") defending their rating systemchamber-the power response, as it is for loudspeakers provides proof that ob- called. This information has been inter- a logical flaw in jectivity and freedom from commercialpreted and processed by CU in various bias do not guarantee good judgment,ways at different times, but the un- Consumers Union's for it fails to make a convincing case forderlying assumption has remained the test methods several frequently criticized aspects ofsame: that the most important aspect of CU's test methods. The procedure CUa loudspeaker's performance (certainly uses to generate loudspeaker "accuracythe most clearly audible aspect) is how scores" is still flawed seriously enough its acoustic -power output varies as a to render these scores almost meaning- function of frequency. There is wide, less. That is most unfortunate, because but certainly not universal, agreement it need not be so. with CU on this point.I am among Rather than argue againstevery those who agree. point in CU's letter with which I dis- It is simpler to test speakers in an - agree, I would like to examine one fatal echoic chambers than in living rooms logical flaw in CU's rationale, specifi- because there are no sound -energy re- cally, the reason given for not consider- flections from room surfaces to confuse ing loudspeaker performance in the sig- the measurements; only the direct out -

60 STEREO REVIEW put from the speaker is picked up by the cationof the room -boundary effect on a as Julian Hirsch pointed out, that the microphone. That is why CU, like most speaker's low -frequency output. If we correlation is so good. otherinstitutions engagedinloud- know where a speaker will be located What is CU's justification for this? speaker testing, tests them under an - with respect to nearby room surfaces, That, below 110 Hz, "we believe the ef- echoic conditions. But a far more im-we can now (using a simple algebraic fects to be quite variable from room to portant effect is traceable to sounds re- formula) determine precisely how its room." But thisis consistent neither flected from nearby room surfaces, for acoustic -power output will be modified with observed facts nor with CU's own these sounds actually change the power over the entire bass range relative to its practice of applying room -boundary output of the speaker substantially, anechoic-chamber response. Knowing a corrections to anechoic-test results. If augmenting or reducing it at different speaker's anechoic-chamber response the information is not (in CU's opinion) frequencies according to a complex pat- and its recommended (or assumed) po- valid, why do they publish the corrected tern which changes as the speaker's lo- sition in a room relative to walls and curves? And if itisvalid, why is it not cation in the room is changed. floor, we know what its real bass per- included in their score computation? If the loudspeaker is placed close to formance will be. We also know that Listening rooms do, of course, have at least one room surface (as itis in this performance will be independent ofstanding waves at low frequencies, and most listeningrooms),these room - the room's size, proportions, and ab- the perceived frequency response will, boundary effects, although more pro- sorptive characteristics, and that it will of course, change with a listener's loca- nounced at low frequencies, extend up- be unaffected by standing waves ortion in the room. But this is true no ward to about 500 Hz. Thus, when CU room furnishings. It is a response that is matter what hi-fi component is being was setting up their speaker -test pro- a fixed property of that particular loud- evaluated. It makes no more sense to gram a decade ago, they had to face the speaker when placed similarly with re- say that the low -frequency response of uncomfortable fact that loudspeaker spect to the surfaces ofanyroom. a loudspeaker is not significant for that performance in living rooms would be The second change, following quickly reason than it does to say that a tape accurately predicted by their anechoic- machine's (or an amplifier's) low -fre- chamber tests only in the frequency re- quency response doesn't matter because gion above 500 Hz. The lower four oc- the listening room will change it any- taves (40 per cent of the audible range) way. CU is using an odd double stand- would be unpredictably related to the .. agiant leap of ard here. anechoic-chamber tests because there faith, a blanket would be no way of knowing where THE proof that these accuracy -score speakers would be placed in users' lis- assumption about the ratings are invalidis to be found in tening rooms. How, then, could they be listening habits and CU's own publication. In the Septem- ratedon the basis of the anechoic-test ber 1981 issue ofConsumer Reports results? living -room decor of there were reports and ratings on mid - At that point CU, attempting to im- loudspeaker users." price loudspeakers (priced from $400 to pose some order on what was then a vir- $598 per pair) and also on minispeakers tually unmanageabletask, made a (mostly of shoe -box size). The report giant leap of faith, a blanket assump- condemned all the miniature speakers tion about the listening habits and liv- for woefully inadequate bass performing -room decor of loudspeaker users. upon the first, was in thedesignof loud- ance while commenting favorably on They decided to assume that speakers speaker systems intended for use in cer- the bass performance of the mid -price would be placed in users' living rooms tain general room locations so that their systems. The median accuracy score for at least 3 to 5 feet away fromanyroom performance could be predicted and op- the "minis" was 83.5; for the larger, surface-not only the walls, but the timized. Manufacturers began to rec-more expensive speakers, 85.5. That floor and ceiling as well. With that as- ommend fairly specific room locations difference of two percentage points in sumption, the room -boundary effects for their loudspeakers; not all do so accuracy scores certainly does not ade- wouldbe limited to the frequency re- even now, but a reasonable preferred quately describe the vast difference in gion below 110 Hz, and the anechoic- location can generally be assumed. accuracy between the two groups, as chamber test results could therefore be Having been made aware of these de- would be easily perceived by anyone applied down to that frequency. Ignor- velopments, CU has included room - who knows what live music sounds like, ing the lowest two octaves in the rating boundary corrections in their most re- primarily because CU has eliminated process was at least more acceptable cent loudspeaker tests and published two octaves of low -frequency perform- than eliminatingfouroctaves. Howev- the resulting response curves extended ance from the scoring process. er, CU did not tell its readers that an down to about 22 Hz. Nevertheless, in But there is no reason to ignore those unrealistic room location for speakers aninexplicablefailuretofollow octaves. The power response of a loud- had to be assumed in order to validate through on this change, CU still contin- speaker can be specified exactly (if we the "accuracy scores" even down to 110 ues to exclude speaker response below know where it will be placed in a room) Hz, though they did point out that 110 Hz from its accuracy -score calcu- down to the lowest audible frequency. changing the speakers' location would lations! They claim that the accuracy Its acoustic -power response is therefore affect the bass response. scores based on their preferred limited no longer an unknown variable-no frequency range correlate well with the more so than is the frequency response SINCECU began using accuracy - results of double-blind music -listeningof an FM tuner or a power amplifier. score ratings, there have been two de- tests. But the report doesn't tell us that, Let us hope that CU will soon find it velopments that have changed the way for the listening tests, they filter out all possible to correct the methods they use speaker designers deal with the ques- music energy below 110 Hz. In otherto prepare future loudspeaker reports tion of a loudspeaker's low -frequency words, the subjective -test signal is arti- so as to make them reflect relative per- performance. These changes ought to ficially limited to the same frequencyformance capability more realistical- have simplified CU's rating system tre- range as is used for the "objective" ac- ly-in other words, to make the accura- mendously. The first was thequantifi- curacy -score calculations! No wonder,cy scores more accurate.

JUNE1982 61 Turntables

O\t. of the principal trends in the turn - table market is an increasing prolif- Preview for Buyers: eration of models with good performance in the middle price range. Typically, these have front -mounted controls that can be operated with the dust cover down, a straight AUDIO PRODUCTS aluminum arm tube, an offset headshell, and a lightweight composite plastic base that resists ringing. Sanyo's TPQ5 fully automatic direct -drive unit ($170) includes a straight tone -arm tube and low -mass head - AT LAS VEGAS US shell, a high -density platter mat, and a floating suspension that isolates the platter and arm from the turntable base. NAD's Port 2: Concluding the survey, Model5025semi -automatic belt -drive turntable ($148) features a relatively low - begun lost month, of the mass arm (9.5 grams), a 5 -mm -thick soft - rubber platter mat for resonance absorption (this will also be marketed separately as an Winker 1982 Consumer Electronics Show audiophileaccessory), and vibration -absorbing feet. Akai has a new belt -drive semi -automatic turntablefor$135 and quartz -lockdirect -drivefullyautomatic models at $175 and $250. Onkyo's new CP-1017A direct -drive semi- Reports by automatic turntable for $160 includes pitch adjustment over a 3 per cent range and Peter Mitchell three-part vibration -absorbing feet (rubber, coil springs, and felt), while the CP-1028R Ivan Berger direct -drive fully automatic model at $260 adds a factory -installedmoving -magnet E. Brad Meyer cartridge and microprocessor programming to play up to eight cuts on a record side in any order. Toshiba showed three new turntables with bases made of a nonresonant high -density molding compound: the SR - B150 (a belt -drive semi -automatic at only What's flew in $115), the SR -D350 (a direct -drive semi- automatic with adjustable pitch at $180), and the SR -Q650 (fully automatic quartz - locked direct -drive, $230). Vector Research has added a two -speed semi -automatic belt - drive, the VT -150 at $120. Garrard, one of the classic names in turntables, introduced a complete new six -model line, three belt -drive and three direct - drive units all equipped with a straight low - mass 9.5 -gram tone arm whose horizontal and vertical pivots are in the plane of the record, thus minimizing warp -induced wow. The top model of each type is fully automatic with a headshell that permits adjustment of the vertical tracking angle. TURF TABLES IlEADP11011ES Another major trend is the growing variety of compact, low -profile turntables oc-

cupying only about 1 square foot of shelf space, typically offering fully automatic operation with a radial -tracking arm. Hita- chi's first radial -tracking turntable, the L70

r ($370), is barely larger in area than a record jacket and has a "digital random program selector" that allows the bands on a record side to be played (and replayed) in any desired order. It is a two -speed model that detects the size of the record on the platter and sets its speed accordingly. San- sui's first entry into the radial -tracking der- by, the $350 P -M7, boasts similar features (playing up to seven bands in programmed ACCESSORIES VIDEO SOAKS order), and its microprocessor also provides control signals to drive a companion Sansui D -M7 cassette deck so that, when dubbing, the recorder's starting and stopping is synchronized with the record's. Technics has

STEREO REVIEW added two more models to fill out its line of The 60 -pound turntable has no rubber plat- will not produce any net motion of the sty- compact radial -tracking record players: the ter mat; the record rests directly on the non - lus tip. $200 SL -5 is about the size of a record jack- resonant ceramic platter, and Cybernet is Luxman has three new turntables. The et, while the $250 SL-DL5 has a wider also marketing a separate 3 -pound ceramic PD -289 ($400) is a fully automatic single - chassis. platter mat intended to replace the rubber play direct -drive model that uses an optical JVC's QL-Y7 turntable ($750) features mats on other turntables. sensor to control arm liftoff at the end of an "electrodynamic servo" tone arm in Onkyo's effort at all-out high -end design play, while the PD -284 ($300) is a semi- which the counterweight and antiskating is the PX-100M, weighing a solid 88 pounds automatic unit. The $1,000 PD -300 belt - spring have been replaced by miniature and sporting a suggested price of $2,500 drive unit features Luxman's vacuum disc - coreless linear motors that control the tone without tone arm. This visually striking unit stabilizer systemin which a two-stroke arm's horizontal and vertical movements, has a black base and a 13 -inch polished cop- manual vacuum pump temporarily bonds virtually eliminating the arm's inertia and per platter driven by a peripheral linear -in- the record to the vibration -absorbing rub- allowing tracking force, antiskating, and duction -drive system that uses the solid ber platter mat, flattening out warps. resonance damping to be controlled elec- electrolytic 22 -pound copper platter itself Nakamichiisknown foritscassette tronically-even altered during play by the as the rotor. (Current flowing in the large decks, including some very exotic and costly front -panel dials. copper coils beneath the rim induces eddy models, but the company has come up with Dynamic servo control of tracking force currents in the platter that cause it to be a turntable design that is even more exotic and infrasonic arm resonance is also featured in three new Denon turntables, the DP -5I F ($425) and DP -52F ($525) fully automatic microprocessor -controlleddi- rect -drive units and the budget -price record -jacket -size DP -1 1 F at $200. This feature stabilizes the arm's vertical motion in response to disc warps, thus maintaining constant tracking force, unlike conventional tone arms whose tracking force varies during play because of the inertia of the arm Sansui CompuSensor P -M7 and cartridge. Kenwood introduced one new turntable at the show, the KD-670 ($375) with a high -inertia 13 -inch aluminum platter driv- Hitachi HT -L70 en by a coreless and slotless d.c. motor, a fully automatic tone arm driven by a completely separate motor, and an antiresonant resin base. Sony has a new turntable that is aimed primarily at owners of Walkman -type ster- JVC QL-Y7 eo tape players with headphones who like to use them to listen to records, but it also makes a nice "starter" unit for anyone who isn't ready to invest in a complete stereo -component system. The $175 PS -155 Kenwood Audio Purist KD-670 has a built-in phono-preamp circuit and a headphone amplifier that allow stereo headphones to be plugged directly into it. Sony's other new turntable is a front -loading design that can be stacked with other audio components; virtuallytheentireplayer slides forward from its case, like a drawer Cybernet KyoceraL-90' opening, to receive the record, then retracts for play. The $400 PS-FL5 has a microprocessor control system and three motors: one to spin the turntable's platter, one to cycle the tone arm, and a third to operate the pulled in the direction of flow.) Since there and expensive than its most refined cassette loading system. are no "poles," the driving torque is smooth machine. The new Nakamichi TX -1000 At the low-cost end of the market, Mesa and continuous with no cogging, and in con- turntable weighs over 80 pounds and sells introduced two fully automatic multiple - sequence the residual wow -and -flutter of for about 57,000-and that's without a tone play record changers, the Models 100c ($85) the turntable is specified as under 0.01 per arm. The goal of this turntable is to combat and 200c ($90), as well as two semi -auto- cent rms. the problem of disc eccentricity caused by a matic single -play models, the 500s ($80) and Sansui's X R -Q7 direct -drive turntable center hole that is punched slightly off cen- 600s ($85), all factory -equipped with Audio- features a "Silent Synchrotor" counter -ro- ter at the record plant (a common occur- Technica AT70 pickups. BSR added four tating subplatter-actually the flywheel of rence); some eccentricity can also be caused models to its Quanta line, each equipped a second motor mounted coaxially with the by a loose fit between an undersize spindle with an ADC cartridge: the 75MX ($110) main motor and driven by the latter's servo - and an oversize center hole. Believe it or and 72MX ($100) are automatic changers, control speed -correcting pulses, thus pro- not, these eccentricities can produce more and the 65SX ($90) and 62SX ($80) are ducing equal and opposite torsional forces. than 0.1 per cent wow, which is enough to semi -automatic single -play units. The purpose is to eliminate any effect that be marginally audible and far higher than Of greaterinterest,perhaps,arethe unbalanced torsional forces might have on the specified wow and flutter of many new state-of-the-art products that explore the the turntable's performance, and the system turntables. So, when you put a record on the frontiers of performance-or at least do yields a DIN -B weighted rumble specifica- Nakamichi TX -1000, it first plays the final something different. For instance, Cybernet tion of better than 80 dB. This $500 turnta- groove of the record with a special sensor is a division of Kyoto Ceramic, so its PL - ble also incorporates the "dyna-optimum- arm, measures the amount of eccentricity, 901 belt -drive turntable is equipped with a balanced" tone arm Sansui introduced last and then activates two servomotors that, us- high -density ceramic spindle, a ceramic year, a design in which the arm's mass dis- ing a system of gears, pulleys, and belts, thrust bearing, and even a dense 6 -pound tribution is calculated to ensure that vibra- physically offset the record until the eccen- ceramic platter riding on a brass subplatter. tions reaching the tone arm through its base tricity is corrected! -Peter Mitchell

JUNE1982 (Continuedoverleaf) been replaced by the 3BX Series Two, slim- fibers won't mat or pick up dirt. Both clean- Accessories mer ( I 3/4 inches high, 19 inches wide) and ers are $25. The Nitty Gritty machines are considerably less expensive ($549 instead of more expensive but more spectacular. Pic- ACCESSORIESare rarely revolutionary; it's $750). Quadraphony reared its controver- ture an oak -and -walnut box with a spindle not in their nature. But one revolution- sial head again with the Tetrasound decod- and two Teflon lips on top. You rest the ary accessory was unveiled at the Winter er in both home and car versions. The home record on the spindle and clean it with the CES (or rather in a hotel suite on the show's version, with remote control, will be $1,200, brush and fluid supplied, then you flip it periphery):the Adaptive Digital Signal but Tetrasound unitswill eventually be over and rotateit; a vacuum below the Processor (ADSP) from Acoustic Research. available at lower prices. soft, non -scratching lips sucks off all dirt The ADSP is completely automatic.Its Not all the boxes you can pass a signal and fluid. There's no supporting platform to handheld control unit contains a micro- through are signal processors like those spread dust back to the recorded surface- phone and a control button. Press that but- mentioned above. Perhaps the most elabo- it touches only the lips and brush. The ton, and a test signal is fed through your rate exception to debut at the show was smaller Nitty Gritty II is $299; the Model system while ADSP checks the response at Russound/FMP'smodularspeaker -level III, with storage compartment for the brush your listening position through the mike. control system. Instead of resistive L -pads, and fluid, is $399. Another way to keep Then it calculates how to filter (adjust) the the Russound units use autotransformers. record surfaces from contamination is to signal to compensate for speaker -response These waste less power than L -pads. The handle them with Discwasher's new Disc - variations, room acoustics, and other fac- standard module ($80) has two autotrans- Handler. It clamps to the edge of a 12 -inch tors in the overall response. formers, one per channel. An alternative LP so you can grasp and flip the disc with- What distinguishes the ADSP from such $100 version for high -power systems has out hand contact; it also opens the plastic automated equalizers as the dbx 20/20 and two transformers per channel. For complex, wraps around new albums. Sansui's SE -9 is the way the sound is meas- multispeaker audio setups, an impedance - Clamping of a different kind is provided ured and the adjustment performed. The matching module ($150) signals you to turn by two vacuum turntable mats designed to measured response is used to generate a dig- its transformer switch when overall system hold all but the most horribly warped recital filter program to correct system errors impedance drops below a safe 4 ohms. Also ords flat and to damp record resonances-a below 1,000 Hz. This program can create new from Russound is the VS -1 headphone technique pioneered by recent Lux turnta- "filters" as numerous and as wide or narrow junction box ($80) with speaker switching bles. Audio-Technica's AT66 stabilizer re- as need be; AR cites filter bandwidths of and headphone level control. places the turntable mat and includes a "only a few hertz" and correctionsfor Audiovisual Systems' patch bay made its manual vacuum pump with vacuum indica- "more than fifty peaks and dips in a 1,000 - CES debut. Like most patch bays, this has tor. The suction holds the disc down with 55 Hz bandwidth" as examples of what it can rear connections for several components pounds of force but without adding any do. It can also separately correct errors in plusfrontjacksfor jumper cablesto mass to the system. The vacuum is said to the direct speaker response and the re- "patch" those components together as you last an hour, which is more than enough for flected room response. AR expects to de- please. Patch bays are an old studio stand- any LP side, and the unit will carry a sug- liver the ADSP unit in mid -1982 at a price by; what's new about this $850 one is that gested price of $275. Reference Monitor In- somewhere between $1,500 and $2,000. each input and output can be "normaled" ternational showed a prototype of a simpler MXR showed a partially completed pro- together with a switch so that one jack in a vacuum stabilizer called Vac Mat ($99). totype of a ten -band graphic equalizer with pair will automatically feed the other until You place the record on a mat with a raised automatic setting and memories for ten dif- you insert a patch cable. rim, then squeeze a gasketed bellows over ferentequalizationcurves.Equalization Despite the winds of digital change, new the spindle to create the vacuum. curves can also be drawn manually (with accessories for analog record players keep Gruv-Glide announced thatits record - 0.5 -dB resolution) by controls that move an appearing. Most, as usual, are devoted to care formulation (a dry, antifriction, anti- illuminated "cursor" spot over a field of record care and cleaning. static chemical) has been endorsed by Shef- LEDs. Target price is $1,000. Allsop's Orbitrac rotates around the rec- field Laboratories, of direct -to -disc fame. A Audio Control has added CX decoding to ord's center; it includes a pad on which to kit to treat two hundred LPs is $22. And if its D -I0 equalizer and $10 to its price, mak- lay the disc while cleaning to avoid any pos- you need replacement shells for one of the ing it the D -10X. Kenwood showed the GE - sible strain on the turntable. Audio-Tech- new straight-arm turntables, Audio-Tech- 1000, a twelve -band, $440 graphic equaliz- nica's Techni-Clean is a handheld pad with nica now has a shell that will fit most of er with built-in time delay and a visual dis- one-way fibers, built-in fluid reservoir, and them, though its offset angle will be op- play of time -delay "depth." Similar dis- a conductive body to drain static from the timum only for arms of certain lengths. Ra- plays are found on other Japanese delay disc; its storage base suspends the pad so its dio Shack has such shells too. units, including Pioneer's $195 SR -9 reverb amp, now anodized in "champagne gold" to match the rest of the Pioneer line; the RG-9 dynamic processor (also $195) has received the same treatment. I noticed only one new accessory CX decoder, a Kenwood prototype with moving - coilandmoving -magnetphonoinputs (which means it could also be used to add an extra phono input to a system). Howev- er, Toshiba showed two CX-equipped receivers, Audionics and Sherwood showed preamps with CX, and Soundcraftsmen announced a $15 plug-in adaptor for its 4000 - Discwasher C.P.R. cleaner series preamps. Elsewhere on the noise -reduction front, Nitty Gritty Model II record cleaner dbx showed its first combination noise-reduction/expansionunit,the Model 228 ($499). As a noise reducer, it allows simul- taneous encoding and decoding for three- or dbx Model 228 two -head tape decks and decoding for dbx expander, noise reducer, discs (of which there should be about a and disc decoder hundred and fifty titles by the time you read this). It also offers variable expansion up to a 1:1.5 expansion ratio. If all you want is expansion, the three -band 3BX has now Audiovisual Systems PB-289G patch bay

64 There were surprisingly few new developments in tape care this year. Allsop has a new tape cleaner, with replaceable felts, for both regular and auto -reverse tape decks. Discwasher has added a C.P.R. (capstan pinch -roller) cleaner to the Perfect Path head cleaner it introduced last year. And LC Engineering Lab has new test tapes (including ones for microcassette use), each dubbed directly from test -tone generators. -Ivan Berger

Headphones

Most of the emphasis in headphones this year was on the ultra -lightweight, miniature phones made popular by personal portable tape players and radios. This year the phones were even more portable: Aiwa, Mura, and Technidyne showed models with folding headbands. The even more collapsi- ble Sound Partner from Koss has now been Bush Model 1280 redesigned as the KSP-SI "with improved home -entertainment cabinet coupling between its transducers and the ear"; the $35 price is unchanged. Denon's new AH-P5 Pocketphonesfoldsmall enough to fit into a cassette box. They're rivaled by phones that have no headband at all but hang directly from the ears; introduced by Sony last year, such phones are now available from Mura and Technidyne as well. Differentcompaniesdealtdifferently with the conflict between the 3.5 -mm headphone jacks of portable equipment and the 1/4 -inch jacks of home gear. Aiwa has joined Sony in offering convertible plugs like those on their microphones. Some others, such as Mura, Sansui, Denon, and Audio-Technica, offer their miniphones with short cables having 3.5 -mm plugs plus long cable adaptors for 1/4 -inch jacks. (Audio-Technica also designedforsuch mixed systems were foradistinctive,arrowhead -likeeffect. sells such adaptors separately.) Pioneer's shown by Barzilay, Bush Industries, Mar- Ashley Arcadia showed "tambour -style" latest lightweight phones have interchange- iani,Pulaski, Ridgewood Industries, and cabinets framed in concentric moldings. able cords with muting switches in the junc- SDI Wood Classics. Matching audio and Audio racks with glass that wraps around tion boxes the cords plug into. You can par- video cabinets were shown by Ashley Arca- to the sides instead of confining itself to the tially mute Mura's Red Set V too-it has dia, Bush, Custom Woodwork & Design front doors were also popular, less among sliding volume controls for each ear, despite ("Woodmore"),Gusdorf,Mariani,and independentfurnituremakers (though its 2 -ounce weight. SDI. Ridgewood Industries showed some) than Not all new phones are ultralight. Beyer CWD Woodmore accessories now include among audio -component makers such as Pi- introduced the DT660 with ducted -port re- video as well as audio tape drawers (and ac- oneer, Onkyo, and Sansui. Sansui's new flex enclosures ($95). Pioneer offered the cessories for stacking two of their 30 -inch - GX- 55 was notable for having a head- SE -L15 ($110) with "Variable Chamber" high cabinetstogether).Kenmark's ex- phone jack on its exterior so you can listen passive -diaphragm enclosures. Fostex panded range of multiple -drawer tape cabi- privately with the rack's doors closed. It is showed several "Regular Phase" phones nets now also includes models with drawers finished in oak -grain vinyl and has a sug- with flat, printed -ribbon diaphragms. And for both types of tape. gested retail price of $220. The styling of Stax introduced two new models of its elec- In pure -audio storage, Sonrise showed ro- the Xylophile by Raymond Lepper Works tret Earspeakers. tating tape cabinets for tabletop and floor was simple and conservative, but the level of Headphones aren't the only reproducers as well as combination tape/disc racks for craftsmanship was well above average. So, sold for personal portables. AudioSource, thefloor.Nous' Discollectors are wall - naturally, was the price: $520 for a 32 -inch Mura, and Technidyne also offered pocket- mounting picture frames that hold one 12 - cabinet, $749 for a 64 -inch model. Avail- size speaker systems with 3.5 -mm -plug ca- inch record jacket apiece and interlock for able accessories for the unit include a cas- bles for the purpose. -Ivan Berger multiple -album display. sette drawer, sliding turntable shelf, and an In styling, the trends continued toward under -shelf light. -Ivan Berger the use of real wood or veneer rather than Cabinets and Furniture vinyl or laminates and toward rounded cor- ners. There is also a growing variety of fin- One -brand Systems ishes in both real and pseudo wood. Oak is If the much-discussed "marriage of audio gradually wresting dominance from walnut, and video" has been consummated, itis in with such companies as Fournier and CWD THE first one -brand "rack" systems were wood and vinyl rather than in electronics. offering both dark and light oak; Gusdorf introduced in the U.S. about two years Many audio components at CES were showed a new "hickory" finish with "cane" ago at the CES. They were intended pri- shown in simulated home settings that in- inserts and new "burled -walnut" inserts for marily to broaden the audio market by sim- cluded video equipment (Sony's component their walnut -vinyl cabinets. SDI used an- plifying the process of buying a home ster- Profeel TV was most prominent). Cabinets gled panels of mirror -image wood veneers eo. The theory was that if hi-fi were made

JUNE 1982 65 more accessible to those who were intimi- dated by the complications of choosing individual components, a vast and previously untapped market would open up. The rack system has proved to be only a modest success. Some shoppers who would not venture into an audio -specialty store have bought rack systems from department stores and appliance dealers, but no major market explosion occurred. At the Winter CES this year there were almost no new one -brand systems introduced. A STEREO REVIEW'S readers have already Aiwa M-808 rack system been advised (December 1981) of the advantages and pitfalls of one -brand systems. not so much for themselves but to enable them better to fulfill their function as audio advisors to friends and relatives.Briefly, one -brand systems have adequate electronics with lots of modern features, and the cabinets that come with them arehandy. But the loudspeakers supplied with these systems are highly variable in quality and should be auditioned carefully before buy- Schneider Consort 32 DLX ' ( ing. (To attract rack -system customers who would prefer more familiar loudspeakers, r r Ci Kenwood and JBL announced a joint mar- Rotel RCX-860 shelf system keting agreement under which the Ken - wood Spectrum and Audio Purist series will be available with speaker systems from the JBL Radiance line.) There are some very elaborate rack systems from companies such as Fisher and of shelf components; the rack systems are Video Sonics Rotel that cost over $2,000. Judging from bolted into their cabinets so that all the the few new systems at the show, however, buyer has to do is connect the speakers and most of the buyer interest is in the $1,200 - the power cord. Schneider's turntables are ALMOST everyone expects that the next and -under bracket, especially in the more made by Dual; many of their cassette decks few years will see immense growth in compact packages that can be bought either have the mechanism in a sliding drawer for the home -video industry. Itis already so with a cabinet or without. Without a unit compactness. The most interesting of the large that an exhaustive survey of every new cabinet, the stack of components is known Schneider systems is the DCS 8025 (for Di- television set or videocassette recorder at as a "shelf system." rect Contact Series). Each component in the CES would confuse more than it would Aiwa's new M-808 minicomponent sys- the 8025 system has four eleven -pin con- enlighten. But there is much that is worth tem has a 50 -watts -per -channel (W/ch) di- nectors built into the chassis: male on the talking about, especially from a sonic point rect -coupled power amplifier and a separate top and right sides, female on the left and of view. The audio in present-day video preamp with a moving -coil phono input. bottom.Each pinintheconnectoris equipment has a great deal of room for im- The M-808 also contains a digital tuner uniquely assigned to an input or output provement, but much development work with a circuit whose function is to keep dig- function, so the user can stack the compo- has been done. ital noise out of the audio section. Options nents in any order, either vertically or side It is all too easy to conclude that just be- include a cassette deck with Dolby -C, a by side, and all signal connections are made cause people are watching a lot of TV, they front -loading turntable thatfits into the automatically.Thebasic8025system will be eager to buy video recorders, video- bottom shelf of the optional cabinet, and a ($1,150) comes with a 25-W/ch power disc players, and large -screen sets. While digital timer that can record two events per amp, a separate preamp, an AM/FM/LW most of the attention at a CES is paid to the day, make changes between tuner station analog tuner with five station presets, a slid- more glamorous newtechnologies,the presets, and keep track of the time remaining -drawer cassette deck, and a pair of mainstay of the market is still the conven- ing on a cassette. Also available as an acces- three-way speakers. tional television set. However, an increasing sory is an infrared remote control, an in- The line between minicomponents and proportion of TV sets are designed to be increasingly popular feature in medium -size portables grows ever more blurred. Aiwa, tegrated into an audio/video home enter- shelf systems. Rotel, Telefunken, and Kenwood now offer tainment system. Another wireless -remote unit is Rotel's mini systems that can be operated from a The growing trend toward component new RCX 860 cassette/receiver, or casceiv- 12 -volt d.c. source. The Kenwood DC -20 video will help improve TV sound quality. er. Its rated output is 40 W/ch at 8 ohms, system has a dual identity: it is both a por- The heart of these systems is the video tun- 60 W/ch at 4 ohms. The full 860 system table and a shelf system. The self-contained er, which takes the signal from the antenna ($995) includes a turntable, also remotely portable section has its own battery pack and converts it to line -level audio and video. controllable, and a rack. and contains a preamp, tuner, cassette deck, The audio is sent to a stereo system and the Optonica showed four new systems priced small power amp, and self-contained speak- video signal to a video monitor whose sole from $650 to $1,000. At the top of the line ers. There is also a larger power amplifier function is to reproduce the picture. Sony's is the System 5400, which has a 60-W/ch with a 20-W/ch output on which the porta- Profeel series of video components is the amp, a moving -coil preamplifier, a direct - ble unit sits when it's at home and an op- best-known of this new genus; the Profeel drive turntable with a separate motor to tional pair of separate speaker systems with 19- and 25 -inch monitors alone cost $850 control the tone arm, and a pair of three- 4 -inchwoofer/midrangedrivers,4 -inch and $1,500, respectively. way speaker systems. passive radiators, and1 -inch dome tweet- The Japanese firm of lcknika has intro- The only major new line of one -brand sys- ers. The larger system will operate on house ducedits ATV -25 audio/video system, tems at the show came from the German current or, with an optional adaptor, from a which comprises either a 19- or 25 -inch firm of Schneider, which introduced four- car's, recreational vehicle's, or boat's elec- monitor, a low -power stereo FM receiver teen rack and shelf systems ranging in price trical system. The DC -20 sells for $700 with built-in cable -ready TV tuner, and (as from $550 to $1,600. Many of the Schneid- without the separate speakers, which are options) an audio cassette deck, a turntable, er systems come either in racks or as groups $250 per pair. -E. Brad Meyer a pair of speakers, and a choice of racks to

66 STEREO REVIEW hold it all. The entire system can be oper- terest to the audiophile is the machine's off the air is a violation of copyright (see ated by remote control. And although they stereo sound with Dolby -B noise reduction. "Taping and the Law" in March STEREO plan no formal introductions until the June Another new VHS home deck, the Hitachi ReviEw). The consensus at the show was CES, the well-known NAD audio firm held VT -9710, also has Dolby -B. that the matter will be taken care of by leg- private showings of a high-performance 19 - The sound from these machines is sur- islative means sooner or later (see April's inch monitor with a separate video tuner. prisingly good considering the slow tape "Bulletin"), and no one seemed to be worry- NEC showed a basic video tuner and a pair speed and the narrow(0.1 -mm) track ing much except the people who ran the of monitors. width. Judging from a brief sampling, there "Defend Your Right to Tape" booth. JVC, carrying an old idea to its logical is distinctly more tape hiss than from an au- The most exciting piece of news at the limit, issued engraved invitations to "The dio cassette deck as well as more audible show for the audio buff was unquestionably Marriage of Audio and Video." Each of the dropouts. But jazz and popular music were the introduction, a little earlier than ex- six display areas in their booth offered both quite listenable, and bass performance is pected, of the Sony PCM-F1 digital adap- kinds of technology. In one, there was a con- good. There will be prerecorded software tor. This device turns two channels of audio ventional stereo audio system plus a VHD for these machines: Paramount and 20th into digital form and then disguises the re- videodisc player and the new AV -2000U Century -Fox Video (formerlyMagnetic sulting "bit" stream as an NTSC video sig- monitor/receiver with three sets of audio Video) both have stereo VHS duplicating nal. Any videocassette recorder, whether and video line inputs. The AV -2000U con- machines, and one pundit predicted there Beta, VHS, or U-Matic, can be used with tains a cable -ready tuner, and all functions will be two hundred stereo videocassettes the PCM-F1, and the combination gives re- can be wireless remote controlled. released by this year's end. If that happens, sults superior to any analog recorder in dis- In the battle of the new video technolo- the selection will be larger than the entire tortion,noise,andflutter.The break- gies there seems one obvious winner: the optical -disc catalog is at present. In a re- throughs here are in size and price; last videocassette recorder, with its equal ability lated development, Mobile Fidelity demon- year's model was the PCM- 10,which to record off the air, make home "movies," strated startlingly good stereo sound from weighed over 50 pounds and cost $5,200. and play commercially duplicated material. master tapes dubbed on a $2,500 profes- The PCM-Fl weighs less than ten pounds Basic machines in either the Beta or VHS sional VHS deck; they plan to release some and costs $1,900. It has a rechargeable bat- formats can be had at list prices of $650 or of their music albums in stereo VHS form tery pack and an optional car adaptor, and less; somewhat fancier models, often with with added picture programming. it matches in size and appearance the very better -quality audio and high-speed scan- The greater demands placed on video small Sony SL -2000 Betapak. Combining tling for speeding through commercials, go tape by the public's desire for better sound, the two is like being able to carry a $10,000 for about $1,000 and up. especially at the very slow (less than 0.5- two -track studio machine slung over your At the top of the line in consumer Beta ips) 6 -hour VHS speed, have prompted the shoulder. The PCM-Fl uses EIAJ four- machines is the new Sony SL -2500, a sleek, tape manufacturers to produce another, im- teen -bit encoding and has switch -selectable compact unit measuring 17 inches wide and proved generation of blank tape. Sony's Dy- sixteen -bit encoding as well. 131/2 inches deep (only slightly bigger than namicron High Grade, Fuji Super HG, and Push has come to shove in the videodisc this magazine when itis opened flat) and Maxell HGX all offer improved audio and market. The CED disc player from RCA just over 3 inches high. It was designed to video signal-to-noise ratios. has not sold well, and there have been mas- be part of the Profeel audio/video compo- The prerecorded -tape rental market con- sivelayoffs at the main manufacturing nent series. Marantz showed a pair of stereo tinues to grow and prosper, and this has at- plant, even though the discs themselves are Beta units with Dolby -B and Dolby -C noise tracted the attention of the movie studios, selling rather well. In the optical -disc camp reduction. The VHS contingent has not who initially wanted nothing to do with the the closed DiscoVision pressing plant in been sitting on its hands either. The new whole enterprise but have now claimed a Carson, California, is being reactivated by JVC HR -7650U (about $1,550) also has piece of the action. As a result, more recent Pioneer Video. LaserVision discs will con- remote -controllable, noise -free fast motion, releases will be available for rent, but fees tinue to be produced in Japan and at a new slow motion, and still -frame, as well as so- will go up. Another controversy rages over a 3M plant in Wisconsin. phisticated editing capabilities. Of more in- California court decision that home taping Despite predictions that VCRs and videodisc players could coexist peacefully, both the CE.D and LaserVision catalogs suffer in comparison to the tape rental market in both variety and depth. Disc manufacturers are accordingly scrambling madly to provide new programs. Some of these are interesting, especially the optical titles, which have an increasing emphasis on sound. At CES, Pioneer played stereo videodiscs with CX noise reduction using new machines with built-in decoders. Among the offerings were Michael Nesmith in Elephant Parts, Dragonslayer, a Covent Garden production of The Tales of Hoffman, and a live Ray Charles concert, the last two in CX-en- Teknika ATV -19 coded stereo. component audio/TV The third videodisc format, the VHD rack system from JVC, made asurprisingly strong showing, with claims that by the end of this year one hundred and twenty-five titles will be available. JVC too is planning a number of stereo music programs on videodiscs. To summarize: the video market is, at the moment, built around broadcast TV, cable TV, and tape rentals. A lot of attention is being paid to better sound, and in the next few months we will see more of a trend toward video components, with a VCR and perhaps a disc player as accessories. But for now, if all you do with your TV set is turn 5'4 it on and watch it,you're not outdated quite yet. -E. Brad Meyer Fisher HT800 dual -speaker TV set JVC HR -7650U stereo/Dolby VCR

67 STEREO REVIEW'S SELECTION OF RECORDINGS OF SPECIAL MERIT BEST OF TIIE rn011T11 ,e7 ;j,Yi c - P's

Gordon Lightfoot's "Shadows": a Rare Craftsman at Work

is Gordon Lightfoot the best songwrit-invent a tune yourself, you know that own ways, involve work songs such as er of modern times? He has writtenthe possibilities don't come easy; the Cotton Jenny or what he calls "topical" and recorded upwards of one hundredmelody of Thank You for the Promises, songs such as Circle of Steel or Chero- and fifty songs, of which at least ninety for example, is pulled by minor chordskee Bend. Similarly, the title song here are not only "keepers" but demonstra- into a downward spiral and might make is a throwback to another, softer kind of bly superior, in one way or another, toyou think, perhaps, of Jacques Brel. It song Lightfoot has written before. But most of their contemporaries. I know ofmay sound now as if it had been just each new invocation of any of these no one else who has lately producedhanging there in the air all the time, but composing modes has its own sound and such quality in such quantity. He's at it it took a special ear to seize it and write itsown specialqualities. Shadows, again in his just -released "Shadows"it down. while fitted with quite an active melo- with eleven new ones, and ten of them "Shadows"isfullofthesenice dy, has a whole slew of seven -syllable are beauties as engrossing as they aretouches, full too of songs for which lines followed by aneleven -syllable elegantly structured. there are precedents-but only in the "resolution" that paradoxically leaves What makes Lightfoot great, I think,earlierworkofLightfoothimself. things still about halfway up in the air. is his believability, a quality that prob-Heaven Help the Devil, whose forerun- But I don't have to go into detail to ably explains also his successful and show you there's a rare craftsman at graceful assumption of the role of No. 1 work here; you'll hear that right away. post -commercial folkie. He is amply And if you can listen to Triangle just equipped with the credentials to Cole GORDON LIGHTFOOT: Shad- once without lifting the stylus back for Porter his way through life, being one ows. Gordon Lightfoot (vocals, a quick second helping, you must be one of the few pop stars who are comfort- guitar); Terry Clements (guitar); of those perverts who can eat just one able reading music, one of the few with Rick Haynes (bass); Pee Wee chocolate -chipcookie.The songis a background as an orchestrator, and Charles(steelguitar);Barry about the Bermuda Triangle, and the Keane (drums); other musicians. one of the few with such command of l4 Karat Gold; In My Fashion; words are the imaginings of a sailor the English language that he can use Shadows; Blackberry Wine; who's about to sail through it.It isn't word play as an end in itself. And so he Heaven Help the Devil; Thank quite as striking as its recent precedent, writes with the folkie's sense of what is You for the Memories; Baby Ghosts of Cape Horn, but itis much real even as he writes with the trained Step Back; All I'm After; Trian- more infectious. musician's awareness of the many pos- gle; 171 Do Anything; She's Not I'll Do Anything is almost as strong, sible ways of expressing it. the Same. WARNER BROS. BSK although the sentimentitexpresses Of course,he'salsoinordinately 3633 $8.98, © M5 3633 $8.98. strikes me as uncomfortably close to gifted. His melodies are so natural - masochism. As I suggested before, only sounding you findyourself thinking one song, Blackberry Wine, shows any there's no excuse for their not having real weaknesses. It and In My Fashion existed before. How could a tune soners include Too Late for Praying, is (bailed out by a nifty lyric) are varia- right as the one to Triangle not havethe kind of generalized, generally pessi- tions on the droning kind of thing been thought of already? A New York mistic social commentary Lightfoot oc- Lightfoot experimented with during the newspaper reported not long ago thatcasionally writes: "We have been cap- "Old Dan's Records" days, when he we are, according to some smart -asstured by the thieves of the night/Held was fascinated with what he called the computer, running out of melodic possi-for ransom, if you please." Lightfoot's "E -drone position" on the guitar (he bilities. If so, Gordon Lightfoot doesn'ttwo other approaches to making social once showed it to me, but I still can't know it yet. But if you've ever tried tocomments, both as nonspecific in their describe it). So is their livelier, catchier

"...I know of no one else who has lately produced such quality in such quantity."

()S STEREO REVIEW Troubadour Gordon Lightfoot (Photo: Andy Freeberg/Retna Ltd.) cousin here,Baby Step Back,a soft the Hancock quartet. He was in fast seems to be coming practically from the rocker worthy of Fleetwood Mac; it also company with Hancock, Ron Carter,cradle. -Chris Albertson has the great groove sense ofSundown, and Tony Williams, but he held his but it's notthatcatchy. own. Soon there was a great deal of talkWYNTON MARSALIS. Wynton Marsalis The instrumental sound is a further about Wynton Marsalis, just as sixty (trumpet); Branford Marsalis (saxophone); refinement of the acoustic/pedal-steel/ years before there had been talk aboutHerbie Hancock, Kenny Kirkland (piano); synthesizer blend first struck inThe Ron Carter, Charles Fambrough, Clarence another young New Orleans trumpeterSeay (bass); Tony Williams, Jeff Watts Wreck of the Edmund Fitzgerald,still named Louis Armstrong. (drums).Father Time; Hesitation; Twi- possibly the most restrained use of the Will Marsalis be the force Arm- light; Sister Cheryl; Be There When the synthesizer going. This album mutes strong was? Probably not, but only be- Time Is Right; RJ; Who Can I Turn To thesynthesizersound maybe even cause the times are different: it is not (When Nobody Needs Me).COLUMBIA FC more, being in all about as acoustic as likely thatanyjazz musician can ever 37574, © FCT 37574, no list price. "Summertime Dream," one of Light - again make the kind of impact Arm- foot's best. "Shadows" doesn't rank at strong-or, for that matter, Parker and theverytop of his work, but ten keepers Coltrane-did. Nevertheless, "Wynton out of eleven is still semi -remarkable, Marsalis" is an extraordinary album and you have to consider how high that about which much will be written, and I top is. So, to get back to the question at predict that Marsalis' contribution to the beginning:"IsGordon Lightfootjazz will go far beyond his own music, The Piano Works of the best songwriter of modern times?"for he will surely inspire other young As his compatriot Ian Tyson might put players to consider the jazz route. AndGriffes: a First-rate it, "Hell, yes!" -Noel Coppage who knows? He might even inspire some integrity in older defectors. Survey of American As for the album itself, there is not a blemish on it. Four of the seven selec-Music at the Crossroads tions were made in a Tokyo studio, with the Hancock group and Marsalis' twenty -one -year -oldbrotherBranfordin THOUGHhis life was cut short at age Wynton Marsalis' various combinations. The other three thirty-five, Charles Tomlinson feature a quartet, again with Branford,Griffes (1884-1920) had time to be- Impressive Debut Album who plays the saxophone with an elo- come the most important transition fig- quence to match that of his youngerure in the period that marked the entry Promises Well for the brother. It promises well for the futureof American art music into the modern Future of Jazz of jazz that this breath of fresh air age.Though ourgreatestpioneer,

WYNTON MARSALIS:assurance and originality. WYNTONMARSALIS: if you have not heard the name before, be prepared to hear it many times again, and for a long time to come. Columbia's new "Wynton Marsalis" is one of the most impressive debut albums I have ever heard, a grand entrance that will undoubtedly give jazz a healthy boost at a time when some of its best practi- tioners have strayed from the field. What makes the advent of Wynton Marsalis even more impressive is the fact that he is a mere twenty years old, yet he plays with the assurance, articulation, and self-possessed originality of someone who has been performing for at least that many years. Ironically, Herbie Hancock, one of the first and most prominent of the jazz defectors, played a major role in bring- ing Marsalis to this stage of his career, including acting as producer of this album. But rest assured that a talent as big as this would soon have emerged without anybody's help. Prior to Han - cock's involvement, Marsalis (then a Juilliard student) worked in the pit band for the Sondheim musicalSwee- ney Todd,and he spent the summer of 1980 with Art Blakey's Jazz Messen- gers, which is a school in itself. From Blakey, Marsalis moved on to tour with

70 z

DENVER OLDHAM: scrupulous and subtle t(UNAI i, Jan I is: understandingand enthusiastic

Charles Ives, had already written far "pieces" and the dance included here, Evening. The Night Winds. The Vale of more radical music than Griffes was the Legend and the De Profundis are Dreams); Fantasy Pieces, Op. 6 (Notturno, ever to produce, he remained essential- first recordings. And, as a special bo- Barcarolle, Scherzo); Roman Sketches. Op. ly unknown at the time (1915-1920) nus, we have a transfer of Griffes' own 7 (The White Peacock. Nightfall. Clouds. Griffes was making his impact; it was Duo -Art piano -rollrecording of his The Fountain of the Acqua Paola); Legend; only with a later generation that Ives De Profundis; Three Preludes; Sonata; most popular work, The White Pea-Dance in A Minor; Pieces in D Minor, was to make his mark. cock. Denver Oldham's performances Listening to the twenty pieces con- B -fiat Major, and E Major.Denver Old- are scrupulous -in their dedication and ham (piano); Charles Tomlinson Griffes tained in New World Records' four - sensitivity, and his reading of the great disc survey of Griffes' piano music, we (piano roll, inThe White Peacock).NEW Piano Sonata takes its place among the WORLD NW 310/311 two discs $15.96. can observe the composer's evolution several fine previous recorded versions from a gifted eclectic deeply influenced that begin with the Harrison Potter 78s by the French impressionists to the for the Friends of Recorded Music la- powerful creator of the Piano Sonata bel back in the Thirties. and the Three Preludes, music in which Itis unquestionably fascinating to he put to his own uses the quartal inter- hear the two performances of The vallic practice of Scriabin. Missing here White Peacock-the Griffes piano roll "The Alkan Project": only is any sign of the German in- and Oldham's live one-in immediate fluence (Griffes studied in Berlin from succession. Though a Duo -Art piano One of Music's Great 1903 to 1907), but that is displayed roll played back on a perfectly adjusted chiefly in the early songs. reproducing piano of the same type can Eccentrics Has Found If one were to attempt a capsule sum- give us virtually all the nuances of the A New Champion mation of the Griffes style as it is docu- original performance, it must be ad- mented here, one might speak of a mitted that Oldham's exquisite reading highly effective amalgam of Gallic sen- isseveral degrees more subtle than suosity and a Germanic feel for line and what comes out of the piano roll, even CHARLES-VALLNTIN ALKAN (1813- structure,for close listening reveals though, as the comprehensive liner -note 1888)isrepresented morein how Griffes, for all his reveling in what essay by Gerald Stonehill attests, no ef- anecdotes and legends than in perform- was considered (in his day) outré har- fort was spared to achieve the finest ances of his music. Just to mention his monic textures, was also intent on es- possible results. Indeed, no effort has name is to call up the scene of his bi- tablishing clear melodic lines. He did been spared to make all of this Griffes zarre death (crushed beneath a falling not, in fact, have any hesitation in using album a first-rate documentary musi- bookcase when he reached for a volume time-honored academic devices to un- cally, sonically, and historically. It is an of the Talmud on the top shelf), his re- derpin his structures, as witness the ca- important release. -David Hall clusiveness, his Satie-before-the-fact ti- nonic element in the Barcarolle from tles,the phenomenon of his having Op. 6. GRIFFES:Collected Works for Piano. composed an Allegro Barbaro before Together with the three unpublished Three Tone -Pictures. Op. 5 (The Lakeat Bartok did, the composing style that

JUNE 1982 71 moved Hans von Billow to call him "the those colleagues-between whom and Berlioz of the piano," the virtuosity ac- himself there was a great deal of mu- knowledged by Liszt as "the finesttual respect and admiration, and with technique I've ever known." There are whom he sometimes collaborated in two reasons for our not hearing much of "all-star" events. Alkan's music in live performance: its Echoes of the salon are rare in Al- difficulty and its unusual dimensions, kan's music. He did not go in for the factors which may have been conse- operatic fantasies and paraphrases that quences of the reclusiveness that per- were in vogue in his time, and even in mitted him to indulge his whims and his shorter pieces one senses the "sym- fantasies without regard for the practi- phonic" concept. Billow was splendidly calities of the recital hall. The mostapt in likening him to Berlioz, and the striking illustration, surely, is the set of visionary qualities in his works look for- Twelve Studies in All the Minor Keys, ward to specific developments in or- Op. 39, which, in its first complete re- chestral music as well as that for the cording, sprawls over five of the six piano. Smith, for example, in his struc- sides in Ronald Smith's Arabesque settural analysis of the half-hourfirst called "The Alkan Project." movement of the "Concerto," notes "an BEST OF THE MONTH: Now, a "study," oretude,is usually a uncannyanticipationofthearctic RECENT SELECTIONS brief piece; the average playing time for world of Sibelius'Fourth Sympho- YOU MAY HAVE MISSED the twenty-fouretudesthat make up ny .."; in describing the "Symphony" Chopin's Opp. 10 and 25 is about twohe invokes comparisons with Mahler minutes. The average time for Alkan's and Nielsen. The listener reasonably CLASSICAL studies is more than ten minutes, andfamiliar with the piano repertoire will Delius: Vocal and Orchestral Works - one of them takes a full half-hour. That detect, unaided, passages in theetudes the Fenby Legacy. UNICORN-KANCHANA one, No. 8, is the first in a sequence ofand the other works recorded in the set DKP 9008/9. "Well-nigh perfect re -cre- ations." (April) three that constitutes a "Concerto for that are virtual "pre -echoes" of various Solo Piano"; Nos. 4 through 7 add up to twentieth-century piano compositions, Haydn:CompleteSongs. PHILIPS a "Symphony for Piano Solo"; No. 11, 6769 064. "A significant release . . . Elly but this is only an incidental point, for Ameling's refinement and involvement mul- similarly orchestralin concept,isa all the music is quite fascinating in its tiply the pleasure of discovery." (May) grand "Overture" running more than aown right. What a chilling little mas- Mahler: Symphonies Nos. 2 and4. PRO quarter-hour; and the last in the set is aterpiece, for example, isLa Chanson de ARTE 2PAL-2011, PAL -1068. "Revelatory littletonepoemtitledLeFestin la Folle au Bord de la Mer (The Song performances, splendidly recorded." (May) d'Esope. Puccini: Tosca. ANGEL DSBX-3919. It has been suggested that, in of the Madwoman on the Seashore,one "The opera's best recorded performance viewof the dimensions and difficulty ofof the Op. 31 preludes), and what a pro- since 1963." (April) this music, the phonograph may be its phetic summing-up theAllegro Barba- Purcell: Choral Works. ARCHIV 2723 ideal medium. While it is unlikely that ro (thefifth of the Op. 35 studies) 076. " . .. not only exquisitely performed any pianist would undertake to perform seems to be at the end of the final side. but brilliantly recorded." (March) the twelve studies of Op. 39 in recital, Schoenberg: Erwartung; Six Orchestral Ronald Smith makes the two-hour se- IN Songs, Op. 8. LONDON LDR 71015. "Su- 1965, the American pianist Ray- perb performance of one of the landmarks of quence a fascinating listening experi- mond Lewenthal made the first full LP twentieth-century music." (March) ence on records. devoted to Alkan's solo piano music (it Thomson: A Portrait Album. NONE- Smith has been championing Alkan's included five pieces from Op. 39). Sad- SUCH D-79024. "Musical portraits in per- cause for some time. About nine years ly, that record (RCA LSC-2815) is formances that gladden the ears." (May) ago the Musical Heritage Society is- long since gone from the catalog. Aside sued his Oryx recording of a shorter Al- from Smith's own MHS disc, which is kan program (OR 174), three pieces worth acquiring despite the three dupli- POPULAR from which-LeFestin d'Esope, La cations, nearly all of the very few other Art Blakey and the Jazz Messengers: Chanson de la Folle au Bord de la Alkan recordings available now are of Straight Ahead. CONCORD JAll CJ -168. Mer,and the aforementionedAllegro works for piano with other instruments "The Class of '81 graduates with lull hon- Barbaro-arerepeatedin (theSonate de Concert ors." (April) the Ara- for cello and pi- besque set (an EMI recording that was ano, theConcerto da CameraNo. 2 for Dr.John:PlaysMac Rebennack CLEAN CUTS CC 705. "Probably the first unaccountably passed up by Angel), piano and strings, etc.). While these are

solo album by a New Orleans pianist . . . . which also includes theTrois Petites not without interest, itis in the solo hearty and heartfelt." (May) Fantaisies,Op. 41. He has also pub- pieces that Alkan is at his most impres- Mark Murphy: Bop for Kerouac. MUSE lished a short biography of the compos- sive, and the Op. 39 studies surely con- MR 5253. "May be the vocal jazz album of er,Alkan, the Enigma,and he supplies stitute the most important of his own the year." (March) his own annotations for his recordings, Pennies from Heaven. WARNER BROS. "Alkan projects." Ronald Smith has 2HW 3639. "A soundtrack album with a dif- which make his understanding of and put us in his debt by recording this mu- ference." (April) enthusiasm for the music abundantly sic, and recording it so well, and Ara- Jean Redpath: Lowlands. PH ILO 1066. clear. More to the point, he seems to be besque deserves our gratitude for mak- . . it is melodies we have here, and a voice equipped with everything he needs to ing it available. -Richard Freed and a half. Both lovely." (May) put his case across musically. This mu- Sister Sledge: The Sisters. COTILLION sic, after all, is not merely "eccentric," ALKAN: Twelve Studies in All the Minor SD 5231. "Fresh, feminine, and flawless." but is packed with both originality and Keys, Op. 39; Trois Petites Fantaisies, Op. (May) 41; La Chanson de la Folle au Bord de la Doc and Merle Watson: Red Rocking substance. It is as elegantly pianistic as Mer, Op. 31, No. 8; Allegro Barbaro, Op. Chair. FLYING FISH FF 252. "Strong tunes Chopin, as wildly visionary aslate 35, No. S. Ronald Smith (piano).ARA- and some amazing flat -picking." (April) Liszt, and yet it shows Alkan to have BESQUE8127-3 three discs 520.94, © 9127- been as much his own man as either of 3 523.94.

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released by London Records. thatpeopleremember the "The producers wanted a voice song-some have even taped with a lot of character for Mrs it when the picture was shown Peachum, and I was immensely on TV My next film after that pleased to be asked to do it was The Harvey Girls, a musical Next to acting I love music best, with Judy Garland.I was disap-

but I feltI had no business on pointedthattheproducers thesame platformwiththe thought my voice not heavy opera singers Kin Te Kanawa, enough and had me dubbed. James Morris, and Joan Suther- No one wants to dub me now, land, who were in the cast " For so although it has taken me a thisrecordingdidher back- while,I feel that I've got my own ground in musicals give her an back." -W.L. edge on the opera singers? "They made me feel that it did, bless their hearts They were in Epic raiders of the Columbia fear and trembling for the act- vaultsrecentlyreleased

ing, lust as I was in fear and two volumes of"Rocket:only trembling for the vocal side of it. Stars," reissues on the Epic la- But it turned out well, and the bel of CBS recordings by such Angela Lansbury as the pastry -chef Mrs. Lovett in Sweeney Todd English critics liked it " performers as Johnny Cash, the When MissLansbury was Everly Brothers, Carl Perkins, ALTHouGH the Broadway revi- ment Life is very hard now for a elected to the Theater Hall of and Charlie Rich (see review in vall of Little Johnny Jones great many people, and they Fame in New York this spring, the May issue). A third rockabilly with Donny Osmond closed the want films and theater that will she commented that Broadway album in the series is scheduled day after its official opening, the show them the bright side of the has become homeforher for early release American musical theater is in clouds." Broadway is most likely to see Epic has also reissued a se- excellent healthSuch hits as Born in England, Miss Lans- her next in a revival of Mame riesof Okeh recordings from Annie. A Chorus Line, Barnum, bury began her career in Holly- now in the planning stages"I the 1930s to the 1960s, five 42nd Street. and Sugar Babies wood movies whilestillin her hope we can recapture the fun double albums devoted to jazz, continue to coin money for ev- teens. "People used to think of and joy of the original," she Western swing, rhythm-and- erybody involved in them, and me as a dramatic actress who said"It worked well in the Six- blues, soul, and Chicago blues, four months ago the producers sang," she said, "but in recent ties and should work even bet- respectively. If suggestions are of Evita by Andrew Lloyd Web- yearsI've worked more and ter now " inorder,Epic merchandisers ber and Tim Rice reported that more in musicals " These in- Her current recording project should now go after the unre- itsworldwide gross had exclude such important shows as is an album of the Bob Merrill/ leased early work of Barbra ceeded $130 millionMusicals Mame and Gypsy After a long Jule Styne show Prettybelle for Streisand, Bob Dylan and the also seem to be doing well in Broadway run in Sweeney Original Cast Records Back in Band at Royal AlbertHallin England. where Webber's Cats Todd,she wenttoEngland 1971, Miss Lansbury starred in 1966, the Yardbirds at the An- is a smash hit and the National where she played the Piratical Prettybelle, which never made it derson Theater, and the Byrds Theatre is having a big success Maid in a new movie version of to Broadway. but closed in Bos- live at Monterey. with Guys and Dolls Gilbert and Sullivan's Pirates of tonThe company expects to We talked this over with sing- Penzance "In that I was singing release the album in June ing actress Angela Lansbury. outofmy rangeandjust Miss Lansbury has never re- TREE new books on three who continuesto work both got away with it by the skin of corded Goodbye, Little Yellow major rockfigurespast sides of the Atlantic She said. my teethMine is not really a Bird, the song she sang in The and present have crossed our "The world needs to be enter- trained voice, you know." Picture of Dorian Gray at the desk this month Chronological- tained, to be taken out of itself, While in England, Miss Lans- beginning of her career, but she lyspeaking, thefirstisThe and musicals can do thatIt's a buryalsorecordedRichard plans to record it some day "It Complete Elvis, edited by Mar- natural tendency we've seen Bonynge and Douglas Gam- was thefirsttime the public tinTorgoff(Delilah,$13 95), before-during hard times ley's new version of John Gay's heard that thin, pure little voice, which surprisingly enoughal- people seek escapist entertain- The Beggar's Opera, recently and it pleases me enormously most lives up toitstitleThe

74 STEREO REVIEW centerpiece of the book is an A Finally, we have Rod Stew- to Z listingof every person, art, by Paul Nelson and Lester song, film, and record the King Bangs (Delilah, $8.95), which is was ever connected with, comin the grand tradition of Bangs' pletewithdetailedand,at earlier Blondie bio: in a word, times,amusingdescriptions. snide. This is not a hatchet job, The rest consists of critical and exactly; Nelson still believes in historical essays old and new Rod the Mod's artistry and sin- (personal Pave: Stanley Booth's cerity, even in his later work, classic pre -comeback piece A and both Nelson and Bangs Hound Dog to the Manor Born) find Stewart's early work con- and some sensationalFifties vincing, But Bangs, who con- photos. Allinall,it's a terrific tributed the bulk of the biogra- book: well researched, extreme- phical and critical material here, ly fair, and a much -needed cor- goes onto make apretty rectivetoAlbertGoldman's damning case against Stewart strangely hate -filled Elvis. astheUltimateSelloutand Then there's As I Write This makes of him a metaphor for all Letter: An American Genera- that was wrong with rock in the tion Remembers the Beatles, Seventies.Anangry,funny, by Marc ACatone ($17 95 thought -provoking book. -S.S. from Greenfield Books/Pierian sHE recent resurgence of in- When Tork hit the stage, my Press, P.O Box 1808, Ann Ar- terestintheSixties pop residue of nostalgic good feel- bor, Mich 48106) Catone G000 news for country -rock group the Monkees came partly ing evaporated almost immedi- placed ads in various newspa- fans: the Band's "Music from English punk bands who atelyHis New Monks turned pers and rock journals around from Big Pink," one of the gen- were influenced by them and outtobe aghastlybunch the country, inviting people to uine classics of the Sixties, has partly from Japan, where their ofslummingdinosaurs who write him their reminiscences of just been released in an audio- fan club has been reactivated seemed to be as bored by the theBeatles,tellinghow the phile pressing by Mobile Fidelity and their albums have been heavy-metal cliches they were group affected their livesThe Sound Labs (MFSL 1-039). The reissued.Although he Mon- dishing out as the crowd was. A book collects the most interest- 1968 original was quite well re- kees were simply manufactured depressing evening. ing of the responses, along with corded for its day (as opposed as an American answer to the Another alumnus of the band, fanartandCatone'sown to, say, the Beatles' "Magical Beatles and didn'tplay very however, hasdone himself thoughts on the Fab Four. Itall Mystery Tour," a bad recording well, they nonetheless got their proudMike Nesmith, whom has a certain heartfelt charm, rendered unlistenable by sonic names and voices attached to they used to call the Thinking but I suspect your Beatles sto- upgrading), and Mobile Fidelity a lot of terrific pop singles, and I Man's Monkee,justwon a ries or mine are at least as in- has done a very nice job techni- always Aced them Grammy in the brand new cate- teresting as anything here Like cally-the new version sounds So when Peter Tork (photo gory Best Original Video. The all artifacts of latter-day Beetle - terrific. As for the aesthetics of above), the Ringo of the group, winning program, Michael Nes- mania, this one is ultimately de- the matter, thisissurely the hit the road in the States (after mith in Elephant Parts, is avail- pressing, both for its implicit re- most American -sounding music a successful stadium tour in Ja- able on his own Pacific Arts la-

jection of the present and for its ever played by Canadians. Not pan), I 'estrained my cynicism bel. Elephant Parts, which we perpetuationof amyth we for nothing did somebody de- But after catching Tork and his raved about in the September should have long since out- scribe the Band as the only band, tne New Monks, at the 1981 issue,is currently avail- grown. Read Phillip Norman's rock groupthatcould have Bottom LineinManhattan, I able on tape and will be a vid- Beatles bio Shout and listen to warmed up the crowd for Abra- have to admit that you really eodisc (thelaser system) by their albums instead ham Lincoln -S S can't go home again fall. -S.S.

Disc and Tape Reviews By CHRIS ALBERTSON NOEL COPPAGE PHYI. GARLAND PAUL KRESH MARK PEEL PETER REILLY STEVE SIMEI S JOEL VANCE © = stereo cassette CIO = digital -master recording = quadrophonic disc 0 = eight -truck stereo cartridge 0 = direct -to -disc 1E4.) = monophonic recording The first listing is the one reviewed; other formats, if available, follow.

ADAM AND THE ANTS: Prince Charm- aboutdoubledrummingandAfrican B -52's: Mesopotamia. B -52's (vocals and ing. Adam and the Ants (vocals and instru- rhythms). It's somehow immensely reassur- instrumentals);instrumentalaccompani- mentals). Scorpios; Picasso Visita el Plane- ing to know that a good commercial gim- ment. Loveland; Deep Sleep; Mesopotamia; ta de los Simios; Prince Charming; Guns mick can still compensate for utter lack of Cake;and two others.WARNER BROS. West; That Voodoo; and five others. EPIC talent. It's so wonderfully egalitarian. The MINI 3641 $5.99, © MM5 3641 $5.99. ARE 37615, © AEC 37615, no list price. music on "Prince Charming" conforms to Adam andtheAnts'tried -and -tested Performance Don't ask Performance Hokey Recording Good Recording Good formula: lots of tribal whooping and holler- ing, sound effects out of old spaghetti west- I've always maintained that pop musicians These guys are already a bad joke, of erns, and troweled -on self -mythologizing. expend far too much effort saying the same course, but for me they're a guilty pleasure. Anybody over the age of fifteen will likely things (about love) over and over, so you I think it's really neat that they suckered find it numbingly moronic.I rather like it can image my excitement when I discovered responsible critics into taking them seri- (granted, in extremely small doses) for the some who could write about baking a cake. ously,if only briefly (all that loose talk proudly defiant drivel it is. S.S. That happy prospect is offered by the new

JUNE 1982 75 six -song "mini" album, "Mesopotamia," by the B -52's. And the B -52's don't stop with If there is one word for McCartney's bal- dessert either:they alsosharesome lad lyrics, itis vague. Songs such as Here thoughts on the cradle of civilization. Un- Today, Wander Lust, and Somebody Who fortunately, very little of what they say Cares are just about impossible to figure about cake or anthropology is particularly out, since they are mainly strings of images illuminating or even interesting. Yet their apparently picked at random for the way merely addressing such themes makes the they sound more than for what they mean. B -52's a major, and lonely, voice in contem- When pressed to pin down what he's trying porary pop music. So what if vocalists Cin- to say in a song, McCartney is apt to cop dy Wilson and Fred Schneider can't sing? I out with banal phrases such as "There's al- doubt that Julia Child can carry a tune ei- ways someone somewhere who cares" or ther. And so what if the supporting instru- "It's frustrating" (which, as an expression mentals-just a beat, really-are so mini- of human feeling, is about as pointed as "ya mal as to be practically nonexistent? What know"). Still, there's no law that says a bal- kind of chops do you think Louis Leakey or lad has to make sense, and McCartney'sDesmond Morris have? Give them credit: skill at penning a hummable pop melody is the B -52's are making baking, ancient civil- second to none. ization, and mediocrity in general alot The rockers are another story. When he's more fun to dance to. M.P. on, which is never a sure thing, McCartney can rock with the best. Here, though, he has BURRITO BROTHERS: Sunset Sundown. to fight a bad production job, surprising Burrito Brothers (vocals and instrumen- coming from studio patriarch George Mar- tals);other musicians.IfSomething tin. Much of the problem is over -produc- Should Come Between Us; Louisiana; I'm tion; excessive electronic tampering often Drinking Canada Dry; What's One More disfigures the vocals and horns to no appar- Time; Run to the Night; Coast to Coast; ent purpose. At some points the production and four others. EPic/Curta FZ 37705, © is just wrong, as on What's That, a heavy - FZT 37705, OO FZA 37705, no list price. funk collaborationwith Stevie Wonder Performance. Catchy where there is so much clashing of cymbals Recording: Good and so little bass drum or tom-tom that the beat is lost and the song's momentum peters Gib Guilbeau has said he and the boys were out. McCartney has only himself to blame, aiming at AM radio here, but their aim though, if the tune he calls Tug of Warmay have been a little high. If AM radio sounds more like a ride down the Blue Dan- uses this kind of thing, AM radio might im- ube with a thousand strings. prove, and Idon't know whether the ac- 'McCartney countants who run it could stand that. I see THE most talked -about aspect of this al- what Gib meant, though; every song on this bum is McCartney's collaborators. Ebony album is easy and, to some degree, glib. and 'Friends and Ivory, a harmless homily on the broth- Guilbeau and John Beland now seem to be erhood of man, isthe first single pulled the only full-time members of the Burritos, from "Tug of War" and one of the two incidentally;steelplayerSneakyPete You can tell by the album's intensity that songs that team McCartney and Wonder. Kleinow has appeared on both albums since Paul McCartney wanted his new "Tug The electricity generated by the mere pres- the group was resurrected, but the publicity of War" to be good. He sings with more ence of these pop deities is not enough to and credits suggest that this time he's a conviction and writes with more concentra- disguise the song's essential blandness. On guest star. tion than he has in years. But if you don't What'sThat,however, Wonder almost Guilbeau and Beland have headed for a use it, you lose it, and McCartney has been blows his partner out of the grooves with a more clear-cut country sound, cutting down coasting on inoffensive product for so long no -sweat demonstration of funk virtuosity radically on the number of experiments and that when he tries to turn up the energy this that manages to come through despite the surprises the Flying Burrito Brothers used time out, not a lot happens. cluttered production. McCartney has to to spring on us. So, a lot of the old jaunti- "Tug of War" has Genuine McCartney work to keep up. ness and verve are missing these days, but, stamped all over it. He remains one of pop's The third collaboration is the rockabilly on "Sunset Sundown" particularly, the boys great crooners, with a schoolboy tone and a Get It with Carl Perkins. Perkins steps in are turning out some pretty fair juke -box dreamy, bucolic delivery. If the sound of his with jaunty authority on two verses, pairs tunes. Guilbeau, originally a Cajun fiddler, comforting voice is enough for you, read no with McCartney for the choruses, and is is a pretty good singer, and with Kleinow further. Musically, he's the Sir Edward El - caught for posterity laughing long and harddoing his thing in there it never becomes gar of rock (Elgar composed Pomp and Cir- at the end. While none of the duets really common or manufactured -sounding. Stay cumstance, the tune you marched to at your gets the most out of the guest artist, they tuned. You might hear something other graduation). Nobody else writes a high - are the least self-conscious and most plainly than Kenny Rogers. N.C. church hymn tune oran old-fashioned fun things on "Tug of War." If the rest of round into a rock song, or arranges "ooh - the album comes up short, McCartney fans oohs" for a fifty -voice choir, or makes a can at least be encouraged by the effort. RECORDING OF SPECIAL MERIT dramatic exit on a section of lowing cellos -Mark Peel IRENE CARA: Anyone Can See.Irene the way McCartney does. The songs on Cara (vocals); vocal and instrumental ac- "Tug of War" are roughly divided between PAUL McCARTNEY: Tug of War. Paulcompaniment. Reach Out, I'll Be There; sweet -nothing ballads and rockers, the lat- McCartney (vocals and instruments); Ste- My Baby (He's Something Else); Anyone ter including a smattering of funk, rockabil- vie Wonder (vocals, keyboards);, Carl Per- Can See; Don't Throw Your Love Away; ly, and reggae. Both categories have their kins (vocal); vocal and instrumental accom- Slow Down; You Hurt Me Once; and four share of McCartney's characteristic novelty paniment. Tug of War; Take It Away; others. NETWORK El -60003 $8.98, © E4- cuts of the Uncle Albert variety. Two exam- Somebody Who Cares; What's That; Here 60003 $8.98. ples here are Ballroom Dancing (with lines Today; Ballroom Dancin'; The Pound; such as "Sailing down the Nile in a China Wander Lust; Get It; Interlude; Dress Me PerformanceSixties flavor Recording. Good cup" that defy interpretation) and TheUp; Ebony andIvory.COLUMBIA TC Pound (using the international financial 37462, © TCT 37462, CD TCA 37462, no Most people who have heard of Irene Cara markets as a metaphor). list price. recall the expectant luminosity she radiated in her portrayal of a teenager preparing for (Continued on page 78)

76 STEREO REVIEW Drink Ronrico Rum instead. Face it, you already know what your usual rum, gin and vodka have to offer. Just try one drink mixed with Ronrico, and you'll realize what you've been missing. Ronrico is superbly smooth and light. ith a surprisingly distinctive :favor that's bound to win you over. Isn't it time you broke tradition with Ronrico Rum?

RONRICO RUM & ROSE'S I. 5 parts Ronrico Rom 1 part Rose's lime juice Shake with ice cibes. Pour into an on the rocks glass. Add a thin slice of lime. stardom in the film Fame. Although she erates less excitement when stripped of vi- come strongly identified with her, the other had appeared in other films and television sual enhancement, Cara comes across as a standout here is the title track, a sweetly productions (she played Alex Haley's moth- performer witha potentiallydistinctive simple ballad with a fine melodic line. er as a young girl in Roots: The Second style. Most of the material on "Anyone Can While this is not an outstanding album in Generation), it was Fame, a tale of talented See" has a heavy but quite palatable flavor terms of breaking new ground or stirring youngsters almost bursting with hunger for of the Sixties. On several selections the surging waves of excitement, it stands above recognition, that created her public image. rhythms-with their even beat and nostal- most others because of its success in reshap- She became a sort of Eighties version of the gically fashioned arrangements-summon ing the molds and moods of the past to suit young Diana Ross, Barbra Streisand, and up ghosts of the old Motown sound. The current tastes. P.C. Aretha Franklin, all of whom set out as background vocals are carefully wrought, teens to make it against all odds and did. It withtheubiquitousLutherVandross, CHUBBYCHECKER: The Change Has has been difficult so far to separate Cara's among others, lending a hand. There is a Come.Chubby Checker (vocals); vocal and image from her actual talent as a popular light, relaxed, comfortable feeling to the instrumental accompaniment.Running; singer. whole set. Cara's voice has an appealingly Harder Than Diamond; Under My Thumb: This new album presents her strictly on gutsy edge, and she makes these new songs Burn Up the Night; It's Only Rock and her own, without props, a gyrating chorus, sound like familiar old tunes. Along with Roll; and five others. MCA MCA -5291 or an engaging story line. Though she gen- Reach Out, I'll Be There, which has be - $7.98, © MCAC-5291 $7.98. Performance. Pro at work Recording Good Chubby Checker (Ernest Evans), whose stage name is a variation on Fats Domino's, had a string of novelty dance hits in the early Sixties, the most famous of which is The Twist, copied note for note, vocally as well as instrumentally, from the Hank Ballard original. The British Invasion ended Check- er's recording career, as it did so many other American pop singers', but he has continued to tour as a "golden oldie" act in small clubs across the country ever since. A terrific stage performer, Evans has been as trapped in the nostalgia mode as Gary U.S. Bonds was until Bruce Springsteen rediscovered him. This new Chubby Checker album attempts to do for Evans what Spring- steen's backing did for Bonds; the material even attempts to copy the sound and sentiments of Springsteen's fervent odes to New Jersey seashore life. It doesn't work, but that's not Evans' fault. Cast in an imitative role, he sings with his usual gusto and professionalism, as though he were trying to sing past the limitations that have been imposed on him. But then, this album is meant for a new generation that doesn't remember Chubby Check- er, and it is possible it will be a hit.I hope so. Chubby's been working hard for a living Part of the pleasure you enjoy seated in for a long, long time, and he deserves anoth- front of Jensen System Series 500 er stroll down Easy Street. J.V. Speakers actually comes from the back JUDY COLLINS:Times of Our Lives.Judy of the speakers. A rear -firing high fre- Collins (vocals); vocal and instrumental accompaniment.GreatExpectations;The quency driver augments the already Rest of Your Life; Grandaddy; Memory: full sound of these System Series Sun Son; Mama Mama; and four others. Speakers. The result -a pure, uncen- ELEKTRA E1-60001$8.98, © E5-60001 sored virgin sound. Hear it at finer $8.98, ® E8 -6000l $8.98. Performance. Grandiose audio shops. For more information and Recording Likewise dealer locations, call 800-323-0707. Judy Collins used to make modest albums that came into town like hippies and won over both the flower children and the slightly older group, the Silent Generation or whatever it was called. Now her albums blow into town like big shots, wearing neck- ties. Well, times change, and people never were that simple anyway. A trained pianist before she was a "folk" singer, Collins has long had a yen to do thingsapproachingtheartsong,and "Times of Our Lives" consists largely of not -so -near misses aimed at that target both by her and by other people. Still, it is more interesting and better than her last two or three MOR-aimed albums, and so are her (Continued on page 80) CIRCLE NO25 ON READER SERVICE CARD 7l STEREO REVIEW The Blaupunkt CR-2010. Richer,purersound thanyou everthought possible inamoving vehicle.

is only as good as the equip-and richness while hold- as well as ta2e. A Sendust Alloy Autosoundment it passes through. Which meansing its delicate balance tape head reproduces a fuller range through the magic of a of recorded frequencies. that, in the case of the Blaupunkt CR-2010,built-in front -to -rear the sound is exceptional. fader. Hear the Full Blaupunkt Line The CR-2010 retails for only The CR-2010 coddles and shapes Holds Signal Longer $396.00** and is the latest in a full highs and lows into a sound as full- Drive away from the signal source line of Blaupunkt AM/FM stereo bodied, as richly -textured, as any- of your favorite stereo station and eAccette radios priced from $290.00:"* thing you'll hear from a home what happens? Reception stereo. breaks up into a barrage of crackles and hisses. Not CR-2010 Features 4 Channel Amplifier with the CR-2010.Thanks 4 channel (4 x 7.5W) Soft Mute Blaupunkt increased the conven- to the "Soft MPX" fea- Autoreserse Cassette Soft MPX Sendust Alloy Tape Head Night Illuminated tional two channels to four, each ture your Blaupunkt Auto Hi -Cut Filter Controls with a maximum output of 7.5 watts. automatically shifts recep- Dolby Noise Reduction Circuit Even when hooked up to a front tion from stereo to mono *Dar is a registered trademark.1 Dolby Laboratories. before the hissing sets in. Blaupunkts can be installed in vir- Higher Volume without tually any car, import or domestic. Distortion For more information, write: The CR-2010 has a pre -amp output Robert Bosch Sales Corporation jack that lets you bypass the built-in 2800 South 25th Avenue amp and plug directly into a high Broadview, IL 60153 I he essential coral ols are fully illuminated. power amplifier. Yet the boost in Robert Bosch Canada, Ltd. end, two -speaker system, the volume doesn't come at the ex-Ontario, Canada CR-2010's crisp reproduction pense of distorted sound. And at will surprise you. Add two rear lower volume the clarity is actually **Suggested U.S. retail paces. The Blue Dot and Blaupunkt speakers and the home stereo enhanced. are retzwered tradema-k,+I Blaupunkt Werke GmbH. effect is complete-sound that Of course, you get Dolby Noise BLAUPUNKT surges to new heights of clarity Reduction-but for FM reception 1`)",: er tII( performances. The obvious improvement is that she's singing on key again, although a couple of these meandering tunes don't seem to call for the singer to strike any def- inite pitch. Memory, the big song from the hit London musical Cats, is perhaps not quite in that category, but I think only Cecil B. DeMille might have managed to follow cIVIarshall Crenshaw the ponderous, pseudo -stately melody that Andrew Lloyd Webber has grafted onto T. S. Eliot's (and Trevor Nunn's) words. In fact, it sounds as if DeMille commissioned it. Despite the huge orchestral flourishes behind her, Collins gives it a wistful, wide- eyed reading. I don't think that most of the songs here succeed at what they try to do-Collins did the same sort of thing better in her "Night- ingales" phase-but at least they do try things. Mama Mama, for instance, has lyrics that sketch out how a woman comes to want an abortion while the melody swirls around like a tilt -a -whirl. There is one little bonus, Judy in her good old voice, with that touch of wildness at the top, singing Hugh Prestwood's Drink a Round to Ireland. Overall, this album is at least half a step upward for Judy Collins. N.C.

SAMMY HAGAR: StandingHampton. Sammy Hagar (vocals, guitar); vocal and instrumental accompaniment. I'll Fall in Love Again; There's Only One Way to Rock; Baby's on Fire; Can't Get Loose; MARSHALL CRENSHAW isa youngish I'm hard pressed to single out favoritesHeavy Metal; andfiveothers. GEFFEN singer, songwriter, and guitarist who among the twelve gems on display here. GHS 2006 $8.98, M5 2006 $8.98. graduated from the Broadway company of One day I lean toward She Can't Dance and Beatlemania and then attracted a lot of no- the biting guitar solo that slices it in half, Performance. Overbearing tice, as a sort of latter-day Buddy Holly, another day the sly and utterly adorable Recording: Excellent through live gigs around New York City. rockabilly of The Usual Thing. Sometimes Invite Sammy Hagar into your home and His debut album for Warner Bros. shows what grabs me is the brilliant Merseybeat right away he comes on with this swagger- him to be an extraordinary pop craftsman. revivalism of Soldier of Love or the gor- ing rock-and-roll that knocks off round af- He's written a slew of concise, tuneful little geously melodic impact of Someday, Some- ter round of stock guitar riffs like so many pop/rock songs, has a wistful yet muscular way. Other times I just give up and play thebottles of beer, wipes its chin on its sleeve voice, and fronts a fabulous three-piece whole album through four or five times in a with a swipe of the synthesizer, burps a bass band. row while I dance around the room in, asline, and heaves the empties against the Now, pop critics, me included, have a John Lennon put it, wild abdomen. wall with a punishing, single-minded beat. habit of discovering such phenomena every That wouldn't be so bad, but the guy's con- couple of years at least. They're almost a IHAVE to warn you that this is not particu-vinced he's a ladies' man and a deep think- glut on the market, in fact (think of Dwight larly fashionable music. The teenagers who er. Maybe he is, but he seems to have ex- Twilley or Eric Carmen or Alex Chilton or lap up the commercial pomp -rock that hausted most of his cleverness here on the . . . ), and they seem invariably, sooner or floods our airwaves may find it anachronis-enigmatic record jacket. Give him credit, later, to disappoint us. So you're going to tic, and the avant-gardists who think that athough; he has enough energy to be heard in have to take this on faith: Crenshaw's al- tune is a sure sign of artistic bankruptcy the back rows of the biggest rock arena. In bum has given me more pleasure than any- will doubtless viewitas reactionary. A fact, he muscled me right off the couch and thing since I uncovered a virgin mono copy plague on both their houses, say I. Ironical- out of the living room. M.P. of "The Hollies' Greatest Hits" in a bargain ly, what is clearly one of the great rock rec- bin in California. Every single song on it ords of the Eighties might have its initial CHAS JANKEL:Questionnaire.Chas Jan- sounds like pop heaven, every one makes me success on country radio-the crossover po- kel (vocals, keyboards, guitars, synthesiz- want to be seventeen, in love, and driving tential is there. But let us not pussyfoot; this ers, percussion); vocal and instrumental ac- around in a convertible with the top down is the strongest debut album by an Ameri- companiment.109; Johnny Funk; Now and these tunes blasting on the AM radio. can rocker that I have ever been privileged You're Dancing; Magic of Music; Glad to They're that wonderful. to review. In the immortal words of Redd Know You; and three others. A&M SP - Stylistic comparisons with Buddy Holly Foxx: "This is the Big One, Elizabeth." 4862 $8.98, © CS -4862 $8.98. are actually apt up to a point (check out -Steve Simels Cynical Girl, which is practically a tribute), Performance Straight Recording: Excellent but Crenshaw has an incredible ear, and his MARSHALL CRENSHAW. Marshall songs manage also to use some r -&-b in- Crenshaw (vocals, guitar); Chris Donato Chas Jankel, ex -music director forIan fluences along with just about everything (bass, vocals); Robert Crenshaw (drums, Dury and the Blockheads, is a crack pop else that was any good in suburban pop vocals); other musicians. There She Goes composer and arranger, but I wish he'd stop from about 1958 on, including a marked Again; Someday. Someway; I'll Do Any- singing! This second solo album from him is

English tinge as a bonus. In general, howev- thing;Girls . . . ; Rockin' Around in a technical gem, danceable in the extreme, er, the models for Crenshaw's songs are un- NYC; The Usual Thing; She Can't Dance: and popping with electronic titillation, but specific. They're just great songs, and since Cynical Girl; Mary Anne; Soldier of Love;it would be hard to image a sillier record Crenshaw also happens to have one of the Not for Me; Brand New Lover. WARNER (well, maybe "The Ray Coniff Singers Sing most winsome voices in rock history, the BROS. BSK 3673 $8.98, CI M5 3673 $8.98, the Plasmatics Songbook"). combination is irresistible. ® M8 3673 $8.98. While it may be the last thing Jankel would like to hear, I have to say that "Ques- (Continued on page 82)

80 STEREO REVIEW THE INSIDE STORY FROM THE LEADING AUTO SOUND SPECIALIST.

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DNR is a trademark of National Semiconductor Corporation tionnaire" could have been a great vehicle for his old boss. Dury, in fact, wrote the lished Toots Hibbert as reggae's pre-emi- lyrics for five of the songs here. (Who else nent vocalist. "Knock Out!" pushes him could write something like "Said the pike into the ranks of the great rhythm-and- upon the angler's line/1 wish that I'd been blues singers. On it he seems to combine the told'," and who else could deliver it with the best of Otis Redding and Al Green, his right kind of utterly lunatic conviction?) voice ranging from a husky soulfulness to a The songs are fidgety and funny for the wistful falsetto, and the Maytals back him most part (one exceptionis the vaguely up with singing and playing that match the transsexualBoy,which is a drag-no pun power of his lead vocals. intended), and the arrangements are pun- At a time when too much reggae seems to chy and resourceful. But Jankel's guy -next- be slipping into lazy, monotonous, knee - doorvocalsarejusttoounassuming,

jerking jamming, this album is packed with too . . . well,norma/-soundingforthis catchy melodies and irrepressible rhythms. quirky music. Listening to his thin crooning The music draws heavily on r -&-b tradi- is like hearing the guy next to you on the tions, and there's even a bit of country/ bus singing along to Ian Dury on his Walk- western yodeling. But the thread that runs man. But "Questionnaire" is such a tour through "Knock Out!"isa rock -steady de force of hedonistic Latin rhythms, fran- beat-the pulse of all great reggae-that's tic funk, and special effects that Jankel played freshly and imaginatively. could sing like Prince Charles and it would Hibbert also once again proves himself to stillbe great for dancing. M.P. be one of reggae's most convincing songwriters. On "Knock Out!" he deals with themes of survival, religious freedom, false RECORDING OF SPECIAL MERIT idols, and false women; he handles them all JEAN KNIGHT ANDPREMIUM: Keep It with understanding, humor, and feeling. Comin'.Jean Knight and Premium (vo- Simply put, "Knock Out!" does everything cals); vocal and instrumental accompani- right.Ittranscends reggae and rhythm- ment.You Show Me Yours, I'll Show You and-blues to embody what's meant when Mine; Keep It Comin'; Love Me Tonight; one talks about soul. If you buy only one What Are We Waiting For; Does It Mean reggae album this year, this should be it. You LoveMe; and three others. COTILLION (The cassette version of "Knock Out!" is SD 5230 $8.98, © CS 5230 $8.98, ® TP one of parent -label Island's controversial 5230 $8.98. "One -Plus -One" tapes. The whole album is Toots Performance From the gut recordedtwice,once on each side of the cassette, so you can, if you wish, erase one side Recording Good and the and record something else on it. Me, I just Jean Knight has a voice and style that come flipitover and listen to Toots all over straight from the gut. This is the sort of again.) -Mark Peel plain, old-fashioned r -&-b that's played on 'Maytals bar jukeboxes before last call. Without re- TOOTS AND THE MAYTALS:Knock sorting to explicit interjections alaMillie Out!Toots Hibbert (vocals); the Maytals Jackson, Knight belts outYou Got the Pa- TOOTS AND THE MAYTALS' new Mango (vocals and instrumentals); other musi- pers (But I Got the Man)with an unmistak- album "Knock Out!" is a nearly flaw- cians.Careless Ethiopians; Never Get Wea- able hands -on -hips, don't -mess -with -me at- less combination of material brimming with ry; Spend a Weekend; Two- Time; Survival titude that drives her message home most ideas and confident, commanding perform- Time; Beautiful Woman; I Know We Can humorously. Most of the remaining menu ances that squeeze every drop of emotional Make It; Missing You; Will You Be Kind. here is less peppery, but an especially deli- juice out of the music. Over the years, such MANGO MLPS 9670 $8.98, © ZCM 9670 cious morsel on the sweeter side is Keep /t classics as "Funky Kingston" have estab- $8.98. Comin',which ishighlighted by mellow singing both by Knight and her male partner, identified only as Premium. The duo

sound wall -shaking -channel cc ...delivers 30 -watt-per driven bya good amplifier." of theDA2OLF " ..theblending was DA -10satellites with the effective." "...strikingly exceptionally that couldsuspect... one module was " ...no -bass balanced, acommon present." system..:" most attractive hear " ...a review a -tndrio Read theentire uncolored DA -30Stereo the exciting Acoustics at yourDesign sound.:Review dealertoday! Stereo DA -30 Stereo -trio System 11,01MICS Compony An Audio-lecmco

CIRCLE NO14 ON READER SERVICE CARD

82 STEREO REVIEW seems modeled after Peaches and Herb, but this peach must have been soaked in bran- dy. A delight. P.G.

LAKESIDE: Your Wish Is My Command. Lakeside (vocals and instrumentals); other musicians.The Songwriter; The Urban Man; I'll Be Standing By; I Want to Hold Protect Your Your Hand; and four others.SOLARS-26 $8.98, © SC -26 $8.98, ® ST -26 $8.98. PerformanceMoving on up Stereo System RecordingGood Lakeside's previous album, "Keep On Mov- in' Straight Ahead," was competent but un- and Maintain exceptional. On this one the group seems to be striving for greater variety and impact. They have succeeded in part: four of the selections here are excellent. One more, and Its Sound the disc would have earned a "Special Mer- it" heading. Among the goodies here are the opener, Your Wish Is My Command, a storm of power and special effects, I'll Be Standing By, a mighty fine ballad given a deeply emotional vocal reading, and Magic Moments, a little mood piece tucked in at the end. However, this release has attracted most attention for Lakeside's unusual slow - drag rendition of the Beatles' I Want to Hold Your Hand. They make it sound like a delightfully new composition. Such willing- ness to try a fresh approach bodes well for Lakeside's future. P.G. The SC -2T.Stylus Care System BRENDA LEE: Only When I Laugh. Bren- SC -2 fluid with the exclusive nylon da Lee (vocals); instrumental accompani- fibered brush effectively loosens and ment. Only When I Laugh; Love Letters; A wipes away stylus contamination, Good Love Don't Come That Easy; I Know a Lot About Love; and six others. MCA a rte or contributor to record wear. MCA -5278 $7.98, © MCAC-5278 $7.98, 0 MCAT -5278 $7.98. Performance.Wasted style Recording:Very good Back in the Fifties, one of the best of breed in the bright new world of pop was a young The DC, country singer named Brenda Lee. She could sing rings around her peers, and still Record Care System can; she has style to spare. When she can get her hooks into a solid phrase or the right The highly active D4 fluid song she still leaves the competition far be- and unique directionally hind in technique and vocal control. The fibered pad removes trouble here is with the material. Give Lee a good comic ballad such as From Levis to harmful microdust and Calvin Klein Jeans, a deft put-on by Rich- debris that can cause ard Runyeon and Rick Lathrop about a permanent damage cowboy who turns into a playboy, and her to your recordings. bright humor and happy way with a line shine forth. Alas, one good ballad doth not an album make, and the rest of this stuff is simply not worth the attention lavished on it. Songwriters to the rescue! P.K. The Discwasher D4 lecord Care System GORDON LIGHTFOOT: Shadows (see and the Discwasher SC -2 Sty US Care System are Best of the Month, page 68) era lablt separately or tog ,the' se DiscSet LORETTA LYNN: I Lie. Loretta Lynn (vo- For a free copy of cur 'Guide to cals); vocal and instrumental accompani- Record Care" write ment. I Lie; There Stands the Glass; I to C iscwasher. Wanted You to Leave (Until You Left Me); and six others. MCA MCA -5293 $7.98, 0 MCAC-5293 $7.98, ® MCAT -5293 $7.98. Performance.Comprehensive Recording: Good discwa Never be tentative, the late John Jacob PROOUCTS TO CARE Niles told me, and somebody-probably 1407 North Providence Road C USA (Continued on page 85) A DIV SION OF JENSEN

CIRCLE NO. 16 ON READER SERVICE CAF D JUNE 1982 (some of which are nearly fifteen years old, or fooling around. Instead, he offers us a if you can believe it). songs that are passionately felt and tightly The Velvets comparison isespecially edited in a sequence that's alternately ter- apropos, for one of the things Reed has done rifying, slyly funny, and spiritually uplift- here is to use a stripped -down, no -overdub ing. Some of the songs are ethereally lovely, guitar/band sound very much like that onsuch as My House, in which the ghost of all the Velvets' albums except "Loaded," Lou's idol, poet Delmore Schwartz, takes their penultimate studio effort. And, for the up residence in his back room (it recalls the first time in ages, Reed has trusted his in- third Velvets album, which has been de- stincts enough to be his own lead guitarist. scribed as "one long sigh"). Others are His playing here on the title track and, es- bone -crushingly dissonant, such as the title pecially, Waves of Fear is simply awesome. track and Waves of Fear. But all of them Though his style hasn't changed much since display an immense compassion, a love of his revolutionary barnyard squawks on the language, and a restless intelligence. Velvets' albums, in the context of the bland metal sludge that dominates the radio it ArrER spending a large part of the Sev- seems as welcomely abrasive and ear -clear- enties impersonating himself (badly) and ing here as ever. doing his damnedest to cheapen his reputa- Reed has found an extremely sympathet- tion, Lou Reed has finally shed his masks iccolleagueinsecond -guitaristRobert (blue or otherwise) and made the album Quine, one of the few distinctive soloists to that most of us, even his biggest fans, had have emerged from the New Wave and a long since lost hope of ever hearing. Miss musician whose style has been strongly inthis one at your peril. -Steve Simels fluenced by Reed's prophetic sonic assaults AFUNNY thing happened to Lou Reed on over a decade ago. Add in an especially as- LOU REED: The Blue Mask. Lou Reed his way back to RCA Records after a tute rhythm section, and you have a back- (vocals,guitar); Robert Quine (guitar); disappointing tenure with Arista; he went up band fully as splendid as (and reminis- Fernando Saunders (bass); Doane Perry and made "The Blue Mask," probably the cent of)Neil Young's Crazy Horse. In (drums). My House; Women; Underneath most mature, moving, carefully crafted, and short, "The Blue Mask" features a great the Bottle; The Gun; The Blue Mask; Aver- consistent solo album of his career. It is, for rock-and-roll ensemble. age Guy; The Heroine; Waves of Fear; The me, the first record he's done alone that can The songs themselves are close to over- Day John Kennedy Died; Heavenly Arms. be mentioned in the same breath as his clas- whelming. There's no cheap cynicism here, RCA AFLI-4221 $8.98, AFKI-4221 sic albums with the Velvet Underground none of Reed's old posturing, role-playing,$8.98, ® AFSI-4221 $8.98.

AURAL TIFICATPautosound. forperfect by Ten. G yourpassion system Satisfy car stereo 88 watts Mini-Wizard. incredibleimpressive The high-performanceispacked an And an It's theultimate chassis qalizer. eventhe super-compact graphic to please In its five-band features Adynamic of power. state-of-the-art extraordinary a Ten. arrayof audiophile. to be by Ten. beperfect most TheMini-VVizard haS to The guaranteed. Ontario satisfaction, Canada Inc. Sound Noresco In Canadaof America AMERICA C.A 90502TEN Corp CORP OFDrive Torrance FUJITSU TEN ©1982, Fujitsu Gatevvay TEN Ltd. 19281 Pacific by Fujitsu Manufactured her husbandDoolittle-gotthatlesson across to Loretta Lynn. She has good judgment about how a song should be done and, once committed, sings with a sort of unself- conscious self-assurance. The program on "I Lie" calls on her versatility a little bit. I Wanted You to Leave (Until You Left Me) has her almost getting into r -&-b; it's actually a gospel song with secular words- black gospel. Save Me, written by John Moffat, is a white gospel -pop song with not - so -secular words that's the most potent thing in the album. (It is one of six cuts in which Lynn is backed by the Jordanaires.) While Lynn's performance is consistently a impressive here, some of the songs are not. -1.1.11.4111111111""

If I Ain't Got It (You Don't Need It), by _ Max D. Barnes, should lead the two or

three that light up jukeboxes; it's the R- rated novelty kind of thing Loretta's fans y- never tire of. Not a great album, but one aspiring singers could learn from. N.C.

RECORDING OF SPECIAL MERIT .1 GRAHAM PARKER:Another Grey Area. Graham Parker(vocals,guitar);Hugh McCracken (guitar); Nicky Hopkins (key- r--r- boards); other musicians. Temporary Beau- r r ty; No More Excuses; Dark Side of the Bright Lights; Can't Waste a Minute; Big Far Zero; You Hit the Spot; and five others. 'MEM ARISTA AL 9589 $8.98, © ACT 9589 r=11111r1111=11i._117MMIIIMI $8.98, OO A8T 9589 $8.98. e n n n Performance Very good c RecordingExcellent Graham Parker's last album, "Up Escala- tor," which should have been his commercial breakthrough and wasn't, was for me WHAT lYPE the least satisfying he'd ever made. He seemed obviously to be acting, and from a man who had once convincingly sung that ARE YOU? Passion Is No Ordinary Word, it was, to say the least, a letdown. "Another Grey Power has .t3 price. Unfortunately, with many receivers, you Area," his first album without his now -de- usually end up paying for a lot of power you may not necessarily funct band the Rumour, is a significant improvement because in it he sounds again as need in order to get the computerized features you want. if he means what he's saying. At Kenwocd, we don't think that's playing fair. Musically, this album is of a piece with Which is w1 -.y every one of our new Hi -Speed" receivers his last one, which one critic dubbed "The Hummable Graham Parker." It'sfull of offers a host of very intelligent engineering advances. tunes that stay with you and felicitous little Like Direct Coupled. Hi -Speed amplifier circuitry for instrumental and verbal details, but it is far absolutely brilliant musical clarity, down to 0Hz. less blustery, and his old rage is curiously muted. The overall mood is almost-for And microprocessor controlled Quart PLL Synthesizer Parker, anyway-autumnal. Some critics tuning to give you perfect, dr.ft-free FM reception. have carped about the high -price American We've even included the convenience of our computerized back-up players, but I can't hear what the fuss is about. These guys manage a pretty AutoScan tuning. And instant, automatic computer -memory fairapproximationofParker'susual tuning of 6 AM and 6 of your favorite FM stations. "Blonde on Blonde" sound, though they do come off a tad impersonal. Given the tenor But best of all, we didn't restrict all this intelligence to just our of the songs, that may have been the point new KR -850 FL -Speed receiver. of using them. You can also find it on cur new KR -830. There's nothing here as wonderful as the And our new KR -820. best of "Squeezing Out Sparks," which I suspect will remain Parker's masterwork And even our new Slimiine KR -90. for the foreseeable future, but Temporary Examine all the possibilities at your Kenwocd dealer. W:th Beauty (perhaps the prettiest ballad he's all the choices we offer, you'l: find the computerized receiver ever done), No More Excuses, Can't Waste a Minute, the title tune, and a few of the that's exactly your type. others are compelling enough to help you At your type of price ignore the fact that Parker is mostly waffling about what's bugging him. But Gra- ham Parker waffling still beats most rockers going full tilt. S.S. KENWOOD (Continued overleaf) The audio company that listens.

P.O. 11 -x6213. Carson. CA 90749 JUNE 1982 POCO:Cowboys & Englishmen.Poco (vo- dulged. Fortunately, there are a few moreTHE RAYBEATS:Guitar Beat.The Ray - cals and instrumentals). Sea of Heart- cowboy than English sounds here, since beats(instrumentals).TightTurn; Big break; No Relief in Sight; Cajun Moon; Poco plays any kind of head-on rock with a Black Sneakers; Tone Zone; The Back- The Price of Love; There Goes My Heart; lack of distinction bordering on Eighties -ra- stroke; B -Gas -Rickshaw; and six others. and four others. MCA MCA -5288 $7.98, dio anonymity (check out the uninspired PVC 8904 $8.98. © MCAC-5288 $7.98, 0 MCAT -5288 The Price of Love). But when Young bran- Performance On the beach again dishes his steel guitar, Poco stops sounding $7.98. Recording: Good like a dozen other bands. Even so, the read- Performance: Good ing here of Gordon Lightfoot's Ribbon ofHere's an album that proves something, Recording: Very good Darkness is hurting for ideas, and program- though I'm not sure just what it is (possibly Rusty Young, on pedal steel, and Paul Cot- ming a song called If You Could Read My that it's not what you do, but how self-con- ton, lead guitar and vocals, are the only Mind right after itis a bit jarring, since sciously you do it). The Raybeats are the ones left here from the old Poco (Young is that's also the title of a different, vastly su- kind of avant -surf, Ventures Go Modern act the only member of the original Poco), and perior song by Lightfoot. Elsewhere on thethat could only have sprung up in Manhat- nowadays the band does indeed sound like album, though, Poco shows that it is again a tan-these guys have divined qualities in either cowboys or Englishmen, depending pretty good picking band, and the mix and old beach -party records that you or I (or my on whether Young or Cotton is being in- stereo imaging are unusually good. N.C. dog Eric) might miss even after umpteen playings. Their music is non -melodic and atmospherically spooky. Somewhere Dick Dale and His Deltones must be scratching Music is energy. A flash their heads and wondering What ItAll of power. A delicate detail. Means.Ithinkit'sfun stuff,but, then again, in the immortal words of Chuck Bar- A world of contrasts. ris,I like cold toilet seats. S.S. To recreate that natural energy...the emotional qualitydiscover THE RINGS:Rhythm Method.The Rings we find so difficult to define in (vocals and instrumentals). Uh Oh (Here I a live performance... Go Again); Move Over; Talk Back; Bang the energy Bang (Out of Your Misery);It'sNot Dahlquist has created a Enough; and five others. MCA MCA -5264 totally new speaker system, $7.98, © MCAC-5264 $7.98. the DQM-5. Performance: Good Every detail of the Dahl- Recording: Good quist DQM-5, from its edge I don't know if it was an accident or done wound ribbon wire voice coil for effect, but I like the way the singer here to its triple density imported counts off on Move Over and then goes into enclosure board, has been a coughing fit. I'm also impressed by drummer Matt Thurber, who's excitingly rhyth- painstakingly considered for mic instead of being, as most rock drum- acoustic value. mers are, a mere timekeeper. The Rings' On listening, you'll discover sound is neo-punk, and their subject matter an unprecedented integrity is-you guessed it-youthful Angst in a where nothing is foresakeh. turbulent society where values are suspect and the individual is wary and insecure. The On asking, you'll be pleas- Rings' arrangements and production are antly surprised by how afford- solid, and their performance is assertive, so able this pleasure is. Just if you like the subject matter you'll like this $289 -each in gray Nexter record. I don't like it much, but I like the (shown) or $250 each in Rings, and I'd like to hear them do some- walnut woodgrain. thing else. J.V. SHALAMAR:Friends.Shalamar (vocals); instrumental accompaniment. I Can Make 0 You Feel Good; I Just Dropped By Because I Had To; I Don't Wanna Be the Last to Know; A Night to Remember; On Top of the World; and five others. SOLAR S-28 $8.98, © SC -28 $8.98, e ST -28 $8.98. Performance: Polished singing Recording: Good The trio called Shalamar is capable of some of the most polished singing to be heard in r -&-b these days, but some of their songs are not strong enough to stand up through repeated hearings. Yet when they are good, they are very, very good, as on this album's I Just Dropped By Because I Had To, a lush slow -burner, and A Night to Remem- ber, which presents Shalamar at their up - tempo best. Part of the credit for the better than average overall quality of "Friends" should go to Leon Sylvers III, who not only produced it but is credited on some cuts as the vocal and rhythm arranger, composer, and percussionist.I counted at least three BAH IL 1LJP II MT other Sylvers nestled in the credits. So, let 601 Old Willets Path, Hauppauge. New York 11788 the Sylvers take a bow too. P.G. CIRCLE NO. 56 ON READER SERVICE CARD 86 STEREO REVIEW -

HAROLD ASHBY:Presenting Harold Ash- by.Harold Ashby (tenor saxophone); Don Friedman (piano); George Mraz (bass); Ronnie Bedford (drums). Candy; Quickie; Dainty; Over the Rainbow; and four others. PROGRESSIVE PRO 7040 $8.98. PerformanceVery good RecordingVery good Harold Ashby was with the Duke Ellington band from 1968 until the Duke's death in 1974, and since then he has gigged wher- LECTRIC SHAVE ever the gigs may be. This recording, made MAKES YOUR BRISTLES STAND UP in New York in 1978 and now released on a small label headquartered in Georgia, re- FOR A CLOSER SHAVE. veals Ashby as a frisky improvisor with a Lectric Shave is putting its money where your sturdy tone and a sense of fun. His transfor- face is. Here's the deal: apply Lectric Shave to mation of that maudlin old clunker Over the Rainbow is remarkable, and his originals one side of your face. Then use your electric OVABAIIIIIII If you don't agree that Lectric Shave (Quickie,Dainty,Pleading,and Cous razor. Compare the Lectrie Shave side w,th the gives ,ou a closer shave. we give you a Cous) are pleasurable and hearty fare. dry side. The Lectric Shave side should feel compete refund Just send your bottle of Lectric Shave with the unused portion The irritating liner notes sound like feder- closer, smoother. That s because Lectric and tie cash register receipt with the al guidelines on how to appreciate jazz. Ig- purchase price circled to J B Williams Shave makes your beard stand up. So you Lectric Shave Guarantee Offer. PO Box nore them, but do introduce yourself to shave closer, faster, with less irritation. 5036 Hicksville. New York 11816 Harold Ashby's zest and bonhomie. J.V. OR YOUR MONEY BACK. RECORDING OF SPECIAL MERIT BENNYCARTER: Opening Blues.Benny Carter (trumpet, alto saxophone); Shorty Revox 8795. Sherock (trumpet); Ben Webster (tenor Short arm, no waiting. saxophone); Barney Bigard (clarinet); Dave Barbour (guitar); Jimmy Rowles (piano); At inches, the B795 's tonearmcrawl back before changing records. Leroy Vinnegar (bass); Mel Lewis (drums). is the worlds shortestIn fact. Because. with a flick of your Opening Blues; When Lights Are Low; it's hardly a tonearm at all. fingers, the entire Linatrack " module Lula;Heavy -HeartedBlues. PRESTIGE pivots aside. MPP-2513 $7.98. The secret of our shortness is Linatrack." a revolutionary linear Performance.Stupendous The 6795 also offers a quartz - Recording.Very good tracking system. Guided by an regulated, Hall -effect direct ultra -sensitive servo mechanism, Originally released under the title "BBB & drive motor: precise cueing: Co.," this Benny Carter album was re- the Linatrack'tonearmglides and solid German craftsmanship. corded in 1962, but the intervening twenty smoothly straight across the disk. years have only enhanced its appeal. Just The result? Ideal resonance When it comes to tonearms. look at the sterling cast: Carter, Ben Web- characteristics. No -racking short is beautiful. Hear ster,and Barney Bigard,three of the error. And no waiting for a the Linatrack' difference today. greatest reed players in jazz history; Shorty conventional linear tonearm to at your Revox dealer. Sherock, whose mellow swing trumpet de- served greater recognition; and a flawless rhythm section that by itself could have made this a notable session. It irks me to see the producer claim credit for a couple of selections that clearly were the creation of these remarkable performers, but nothing can detract from the quality of the music itself. This is simply superb jazz. C.A. DONCHERRY: Humus; Sim Rama En- cores(see Classical Reviews, page 107)

RECORDING OF SPECIAL MERIT Da L-, R EVOX CHICOFREEMAN: Destiny's Dance.Chi- Europe's premier aLdio components. co Freeman (bass clarinet,tenor saxo- (Continued on page 90) Studer Revox America, Inc. 1425 Elm Hill Pke Nashville, TN 37210 (615) 254-5651

JUNE 1982 CIRC-E NO. 48 ON READER SERVICE CARD 87 song about my summer vacation.' ...It takes too much energy and too much intensity to write a song if it's not something you really care about." a It may also be pertinent that she doesn't 3 do much rewriting: "I usually get it the first

',,r; time or I don't get it." Ronstadt answered my question about Bonofflaconically:"She's afriendof 2 mine." But she also told me Bonoff had been in a band called Bryndle with Wendy Waldman and a couple of members of Lin- da's band, lead guitarist Andrew Gold and bassist (now Bonoff's producer) Kenny Ed- wards-who had also played in the Stone Poneys, the earlier band with Ronstadt. "Bryndle did an album for A & M in 1971," Bonoff said, "and they didn't release it. I think it was ahead of its time-two girls and two guys, four different writers. I don't think A &M thought there was a focus; they thought there was a problem. As we saw later, Fleetwood Mac managed that ar- rangement just fine. As is often the case, the business end of the industry was behind what people were doing." So Bryndle died, 'Karla Bonoff but Edwards was soon making Ronstadt aware of Bonoff's songs. "Writing is still a mystery to me...." "I was lucky," Karla said. "At one point, I went through tapes for Linda. They paid me to listen to them, and there were so many, most not very good. I think out of two HO'S Karla Bonoff?"It was the came on and sang If I Had a Hammer, and hundred tapesI found one song that I summer of 1976, and it was an in- I remember going, 'Dad, I want that rec- thought I should actually bring to her atten- evitable question if you had heard Linda ord.'It was the very first recordIever tion, and it turned out that it had already Ronstadt's latest album, "Hasten Down the owned." been recorded by someone else. I'm glad I And her first memory of catalytic action didn't have to send my tapes through that mental Bonoff songs. Those songs-Lose that set her own muse on course involved route." Again, Someone to Lay Down Beside Me, that folk approach distilled through another and If He's Ever Near-had considerable if generation of songwriters. "When I was fif- HOME probably came out so well because unconventional melodic power behind them teen, I was hearing Jackson Browne play his Bonoff is, she says, "a real homebody, basi- and raw personal emotions right up front. new songs as he wrote them at the Trouba- cally a nester. I had a wonderful family and They stood naked before you. Some time dour's Monday 'hoot nights.' He was about a wonderful upbringing and that's a strong later I was bowled over in a different way nineteen then. I remember the first night he part of who I am." She kept referring to this by Home in Bonnie Raitt's "Sweet Forgive- played Opening Farewell-the first night I nesting urge when talking about the tour ness" album. It was not naked and was less heard it, maybe the week he wrote it-and I then being put together to support "Wild intense, starting with a sort of Heming- hadn't written any lyrics yet, but I was sit- Heart," to be followed by a trip to Japan wayesque objectivity ("Traveling at night/ ting up in the balcony and he played that just about as you are reading this. Too long Theheadlightsarebright .."),and, song, and at that instant I knew what I was on the road, she said, makes her forget who though not so hefty, the melody was abso- going to do. I was going to be a songwriter." she is. The feeling in Home "is the feeling lutely lovely. you get when you've been on the road too Now I have put the question, in an inter- KARLA had already written a few tunes to long, when you can't identify with anything viewer's various indirect and underhanded poems by her three -years -older sister Lisa. any more. You really need those things ways, to Karla Bonoff herself. Her an- She still finds melodies easier to produce around you that are yours." swers-there is no one answer to such a than lyrics. "Writing music for me really EarlierI mentioned Bonoff's contradic- question-and those suggested in her own isn't difficult," she told me. "Writing lyrics tions: there's the emotional, personal, from - new (third) album, "Wild Heart of the takes the most time, really slows me down. the -heart Karla Bonoff way with songwrit- Young" on Columbia, raise the inevitable Writing is still a mystery to me in terms of ing on the one hand, and, on the other, a contradictions and paradoxes. how I do it.I don't know what happens detached, analytical, almost cold way of Bonoff'sfirst memory of music: "My when a song starts to come out. If I did, I talking about herself and her work. There's motherplayingFrankSinatrarecords thinkI could probably tap into it a little herfolkieattitude-withallthosein- twenty-four hours a day." Karla came from more. Because I was not lyric -oriented, was fluences from Jackson Browne, James Tay- "your typical nice West L.A. middle-class not someone who read or wrote poetry and lor, Joni Mitchell ("her guitar work espe- family," went to the same high school as Bon- stories, because I didn't feel that I had a big cially"), and Laura Nyro-juxtaposed with nie Raitt, and had a friend who knew Ry vocabulary at my command, I just wrote what she calls her "Motown teenage roots," Cooder, who was another neighborhood kid what I could, as simply as I could, as quick- some of which show above ground in her but a little older. Her father is a doctor and ly as I could. new album. her mother "a pretty good classical pianist" "It is easier for me to draw on personal "I spent the last couple of years listening who used to teach before her marriage. experiences because my emotions are what to a lot of r -&-b, getting away from the mu- The first memory of music that made inspire me to write. So the songs always end sic I've listened to so much, and I think it's Bonoff sit up and take notice involved the up being about me or my life. I found it was had an effect.Ilike the really commercial early -Sixties folk business that has been a too hard to maintain my interest in some r -&-b: the Spinners, the Stylistics, some major influence on her work. "There was a other topic;I couldn't get inspired about it Commodores songs.Istarted listening to local radio show, and Peter, Paul, and Mary if I were to say, 'Well, I'm going to write a that partly because I was tired of the very

88 STEREO REVIEW .1 I

self-conscious approach to music that I and the people I listened to had been involved in, and I just wanted to have fun with it. I'd be washing dishes and stuff and put those records on and they'd invigorate me. "Then I realized that a lot of the music I ,Mura Hi -6 receiver had listened to beforeIstarted thinking about writing was Motown. I realized I had mth Mura Red Set hs2 a kind of pop/r-&-b orientation in my sys- headphone tem already thatI wasn't really aware of. So I think this new record is simple in that way, a littlelessintrospective, and-I hope-a little more groove -oriented.It's MURA® You II be hearing from HE.' less folk -musical, but I think it's still me." A critic assessing "Wild Heart of the Young" might use much of the same language. This is not music whose lyrics can be ignored, as most r -&-b lyrics can be nowadays. It is not given over to funk or dancing madness, nor is it even predominantly about fun subjects or the lighter side of relationships. But the teenage Motown roots are there. Compared with the one song here that Bonoff didn't write, Paul Kelly's Per- sonally, her eight new tunes are only vaguely Motown -flavored, but the lyrics are less introspective and the melodies simpler than in her previous work. Personally, I find the r -&-b influence benefiting her lyrics more than her melodies. The words still have that characteristic directness and spontaneity; they're just laid out in less convoluted lines. The melodies are catchy, sure -handed, and mostlypretty-buttheirstraight -ahead simplicity leaves no room for the brief, off- the-wall detours her old melodies took, and to stepper. Red Set and Mora are trademarks of Mora Corporattunt 1982 Mora Corborabon. Westbury. N Y 11590 those did lead, sometimes, through a garden CIRCLE NO. 34 ON READER SERVICE CARD of delight. Not surprisingly,I am most pleased with the most folkie-sounding new SAVE BY PHONE one, Dream. ORDER TOLL FREE HI-FI 800-638-0935 SEND FOR OUR NEW Bur itallis, as she says, still her, still W.will mud at beat any mice!BUYS probing around in the whys and wherefores w riC WON 4:""L" 1r/ of relationships,stilldelivered with soft, S. MU 1118Iw FREE 40 PAGE 191 1/11 warm directness, backed by an in-between NNCONCORD :-.4= NON WM 1118 AIWA ensemble that puts the best of what's left of 8.08 HI-FI DISCOUNT 88.0s NM the L.A. Sound in harmony with David 18114181 wcul Fla 8,031110 WM KENWCK3D =Ze;:: J11131 III Coss SU RamMillen Sanborn's saxophone homage to the old, dSTOK ,1001.1 061111,8. S. CATALOG 4,414 Cal No.61 raunchy days. In any case, this is the album SCMC ,11 . two 13, Karla Bonoff should make now, according MAW to my grasp of her view of how the world INw JENSEN Lowest prices works. Ws CMS 1,1,11418RA 0P 1810 on audio Cr Ilea "I believe in fate," she said. "I believe AO IC components! 8IGSA SON CUSS MS 0111.111 people get what they're supposed to get, and 8.811. 1.1 Fast service! ATARI Ss. OR. NNNNN 8.0o 48 that's just the way of the world. That way at Urn 611000 US Fully insured! 8 171 11. MO. 1115 maxell 8.0140 Sus ST,SLC 1,0 least you don't have to go around feeling 1,101 3 Solo C. if Infactory 8000 Coo Wm, SIG you didn't get something you were supposed 1.0140 840 121 sealed Yaw. 00U0 to get." 1.0108, 30.10 cartons! Ca. 401410 Sus UM CU 1111 That must mean I got as much of the an- ' KLH 00 111, SAO Co la 8088.... W., swer to "Who is Karla Bonoff?" as I was 0100 61 IL 8.8=8 ,811 401 Wl 01404 supposed to. Hope you do too. Ni' -Noel Coppage rtt IMIZAAll orders shipped in SS. (1unti SONY factorysealed car. KARLA BONOFF: Wild Heart of the tons with lull REPRODUCTION,inc. Young. Karla Bonoff (vocals, piano, gui- AM/! manufacturer's war. (201) 227-6720 ranty ViaMaster. tar); Russ Kunkel (drums); Bob Glaub orwpwrrw Card. and C 0 0 CLIP & MAIL TODAY! (bass); Andrew Gold (guitar); David San- AuS 0 orders accepted pimoommisommoimmor born (saxophone); Hawk Wolinski (key- It"" Shippirg charges are o STC". 't" 4% or 53 minCall Sound Reproduction. Inc boards);othermusicians.Personally;I St IC NIV for exact quotes and 7 IndustrialRd .Fairfield. N J. 07006 I Don't Want to Miss You; Just Walk Away; n mailatility Prices Gonna Be Mine; It Just Takes One; Even If' ww subfecttochange Please rush your fee HI -Fl Discount ,wwwww Catalog I Wild Heart of the Young; Please Be the Allpricesquoted hereinareformail Name One; Dream. COLUMBIA FC 37444, © FCT Ce11131114.114573-Catieser Service order only 37444, © FCA 37444, no list price. Ts Order call 111-131.1135 Address 1

1362 HOLTON LANE City LANGLEY PARK. MD (4111-F1 ZIP CODE 20783 Zip 13011434-5573 JUNE 1982 BUYS CIRCLE NO 21 ON READER SERVICE CARD . CIRCLE NO....45 ON READER SERVICE CARD phone); Wynton Marsalis (trumpet); Bobby Freeman, continues to develop magnificent- If you have been affected by the youthful Hutcherson (vibraphone); Dennis Moor- ly as his story unfolds. There are other im- spirit, sparkling creativity, and breathtak- man (piano); Cecil McBee (bass); Ronnie portant characters too, not least of whom is ing musicianship of, say, the Armstrong Burrage (drums); Paulinho da Costa (per- bassist Cecil McBee, Freeman's alter ego. Hot Five's Potato Head Blues, you'll like cussion). Same Shame; Crossing the Su- He is on hand again for "Destiny's Dance," "Destiny's Dance." C.A. dan; Embracing Oneness; and three others. the latest superb chapter in this ongoing CONTEMPORARY 14008 $8.98. story, and both leading characters are mag- RECORDING OF SPECIAL MERIT nificently complimented by an extraordina- Performance. Exquisite ry newcomer,the twenty -one -year -old EGBERTO GISMONTI AND ACADEM- Recording Very good trumpeter Wynton Marsalis. You will be IA DE DANCAS:Sanfona.Egberto Gis- I have for some time now greeted the arrival hearing a great deal from and about Mar- monti (piano, guitar, Indian organ, vocal); of a new Chico Freeman album with the salis (see "Best of the Month," page 70), Mauro Senise (soprano and altosaxo- same sense of anticipation and curiosity one and you will not want to miss this meeting phones,flute);Zeca Assumpcao (bass); might afford the sequel to a favorite literary of two exceptional new forces in jazz. Vibist Nene (drums, percussion). Maracatu; Fre- work. In Freeman's case, there has been a Bobby Hutcherson, pianist Dennis Moor- vo; Ebro; Vale do Eco; Cavaquinho; and series of installments, each at least as excit- man, and drummer Ronnie Burrage also five others. ECM ECM -2-1203 two discs ing as the one before. The main character, contribute to make this a memorable set. $14.98, © 2E5-1203 $14.98. Performance. Brilliant RecordingExcellent This two -record set features Egberto Gis- monti playing alone on one disc and as part A LASER MONITOR FOR of a quartet on the other. All of the music was composed by Gismonti and is flavored with American urban sounds, but it also strongly reflects the rich musical traditions THE PRIVILEGED FEW. of his native Brazil. It is a wonderful blend The new Celestion SL -6 is yet effortlessly handling up to that has often been used but never with as like no other loudspeaker in 200 watts per channel. much beauty and flairas by Gismonti. the world. There is much more to tell. "Sanfona" is on my Record of the Year Designed with a laser, a com- But the most eloquent way to list. C.A. puter and a blank sheet of hear it is musically, from the paper by a new generation of SL -6 itself. RECORDING OF SPECIAL MERIT engineering talent, it began with SL -6 driver BILL HENDERSON:A Tribute to Johnny something never seen before. Perfect -piston motion: Mercer.Bill Henderson (vocals); Joyce Col- the new SL -6 tweeter, lins (vocals, piano); Dave Mackay (electric The microscopic vibrations of vibrating at 15kHz. drivers in action, frozen in time. piano); Joey Baron (drums). Out of This World; Hooray for Hollywood; Blues in the Scanned and plotted in exquis- Night; I Remember You; and five others. ite three-dimensional detail by DISCOVERY DS -846 $8.98. the laser -computer system we Performance Superb call ULTRAT"* Recording Very good With the knowledge ULTRA gave us, we could discard the BillHenderson's "A Tribute to Johnny Mercer" is just about as flawless and de- misconceptions and guesswork of lightful a collection of the composer's songs conventional speaker design. as you are ever likely to hear. Accompanied The results: Two radically But first, a word of caution: only by pianos and drums, Henderson bends different transducers with only a limited number are his highly identifiable voice in wondrous precise, perfect -piston re- planned for production. Which ways through a well-chosen thirty -five-min- sponse. A crossover means its pleasures are limited ute program of songs that only the most re- network of unique to a privileged few. That select cent generation could have missed hearing group of music lovers with the before. As on Henderson's previous Discov- simplicity, because ery album, "Street of Dreams," Joyce Col- the drivers are sensory and, yes, the financial lins steps in briefly as vocalist (she does a so perfectly resources to appreciate it. If the fair share assisting with arrangements and matched. And an idea of being among them inon piano too), this time contributing her enclosure of incredible trigues you, write or call for half to a wonderful weave of My Shining more information. Hour and I Thought About You. The two rigidity. singers are perfectly matched. C.A. What's more, the SL -6 is the *Ultra -accurate ,,,ximispoomS. Laser Topographic first compact loudspeaker of Response Analysis. WYNTON MARSALIS (see Best of the studio monitor quality. Smaller Month, page 70) than many "bookshelf" units, Conventionaldriver RECORDING OF SPECIAL MERIT ULTRA scan of JEAN-LUC PONTY:Mystical Adventures. distortion -producingbreakup never before visible. Jean -Luc Ponty (violins, keyboards, synthesizers); other musicians. Mystical Adven- tures; Rhythms of Hope; Final Truth; and .41.1 two others. ATLANTIC SD 19333 $8.98, © #:14 CS 19333 $8.98, Oa TP 19333 $8.98.

. Performance. Vigorous Ar CO rn celestion 8 speakers Recording Very good AND PROFESSIONAL DRIVERS. .11 You'll know... in an instant Happily, "Mystical Adventures" is neither Celestion Industries, Inc., Kunihoim Drive, Box 521, Holliston, MA 01746 (617) 429-6706, In Canada. Rocelco, Toronto as airy headed as its title would suggest nor (Continued on page 92) CIRCLE NO8 ON READER SERVICE CARD STEREO REVIEW Panasonic hascar stereos that eliminateunnecessarynoise. The Supreme Serial.

I d Ii

NO 3S REA)ER SERVICE CA -33

istiII/ IC MAU APO IL__ J 1 a

I' the kind of electronic Tower of Babel that Jean -Luc Ponty has frequently erected on previous albums. In fact, it manages to convey a fairly convincing sense of mysticism, not with pompous fanfares or multiple syn- thesizersplayingbogus "music ofthe spheres" but with subtle melodic gestures and quick nods of rhythm. The whole first side of the album is the title piece, a suite in five sections. True to the original meaning of "suite," it's very dance -like; many of the tunes even sound as though they were derived from folk dances. It's all very melodic music, and it is comple- mented by the vigorous solos, particularly Ponty's spirited, syncopated violin and keyboard attacks. If there is a flaw, it's the weak structure. Too many of the suite's movements make promises that are never satisfactorily fulfilled-they sound like introductions that can't find the way to move on into development. The second sideis more conventional, more structured and "progressive" sounding, but also very danceable. It too shows off the formidable solo skills of the players, with tunes tossed enthusiastically from violin to guitar to bass to synthesizer like a hardball on the first day of spring. This is better than average fusion that's not just for confirmed fans. M.P.

GROVER WASHINGTON, JR.:Come Morning. Grover Washington, Jr.(saxo- phones); vocal and instrumental accom- BLANY BERIGA \ and Bix Beiderbecke are soloists in Joe Dixon (alto sax and clarinet), paniment. East River Drive; Come Morn- supposed to have met in a pick-up band Georgie Auld (tenor sax), and Sonny Lee ing; Be Mine Tonight; Reaching Out; Little sometime in 1930 or 1931, when Berigan's (trombone). Their reputations too may rise Black Samba; and three others. ELEKTRA star was rising and Bix's was setting. Bunny as a result of this reissue. 5E-562 $8.98, © 5C5-562 $8.98, 0 5T8- wowed the college crowd on the date, and The set includes I Can't Get Started, Ber- 562 $8.98. that made Bix jealous since his career had igan's great hit and theme song (originally Performance Smooth begun by conquering campuses with the recorded on a I2 -inch, 78 -rpm disc with a Recording Wolverines in 1923. Bunny and Bix shared playing time of nearly five minutes, unusual Excellent other things too: both were totally devoted for those days), arousing Frankie and It's been said that jazz is less a kind of mu- to music, both were alcoholics, and both Johnny, and, in tribute to Armstrong, Ma- sic than a way of playing music. No doubt died young. But Bix is a legend while Bunny hogany Hall Stomp. Bunny and his merry this is a personal prejudice, but to me jazz is Berigan has remained only a fond memory crew played with such momentum that even music played with a hard -edged, rebellious for fans, fellow musicians, and critics-al- the meatball ballads assigned to them are intelligence, music that expresses rage or ways worth a paragraph or a footnote but taken as uptempo as possible, with the vo- mischief more than romance. But there is a not a full evaluation. calists (including Berigan himself, who was wholeschoolofjazzplayers-Grover A reassessment of Berigan is possible now no slouch) zipping through the bland mel- Washington, Jr. and Bob James and Stan- that RCA Bluebird has released the first odies and stodgy sentiments with happy ley Turrentine, to name a few-whose con- volume in its projected reissue series covering abandon. cerns are very different. They're the decora- all the recordings he made under his own tive artists of jazz, not so much architects as name, starting in 1937. Berigan formed two THis nicely remastered and packaged al- interior designers, and Washington is one of bands that year; the first flopped, but the bum will surely be welcome to old fans and the best. His new album, "Come Morning," second group included some disaffected surprising to new listeners.It offers com- is all atmosphere, all sensation. Washing- musicians from Tommy Dorsey's outfit. pelling evidence that Berigan has been un ton's warm alto sax rises from the coolly The new band played with terrific drive for derestimated by musical historians. Of all flowing arrangements like morning mist on at least two good reasons: George Wettling, the figures in the Swing Era, he probably the East River or dances away like a jog- usually remembered as a Chicagoan from swung the hardest. -Joel Vance ger's breath in the frosty air. His solos are the Eddie Condon mob, was the drummer, simple and soulful, their whole effect some- and Bunny led with exuberant trumpet BUNNY BERIGAN: The Complete Bunny times hanging on a single note bent to just playing that flashed like a Hussar's sabre. Berigan,Vol.1-1937. Bunny Berigan the right shade of blue. The personnel on Unlike Bix-who, drunk or not, always (trumpet, vocals); vocal and instrumental "Come Morning" reads like a roll call of maintained a certain reserve in his play- accompaniment.YouCan't Run Away the pop -jazz school: Ralph MacDonald, ing-Bunny's blasts were always emotional.from Love Tonight; 'Cause My Baby Says Richard Tee, Eric Gale, Steve Gadd. They He was as capable as Bix of playing fast It's So; Carelessly; All Dark People Are contribute a rhythmic environment that's runs, though his middle -register tones had a Light on Their Feet; The First Time I Saw crisp and breezy. tendency to sound choked (unlike Louis You; Love Is a Merry Go -Round; The Not everything here works. Washington's Armstrong's, who was Bunny's principal Image of You; I'm Happy, Darling, Danc- use of cooing back-up singers, okay in small model). But the excitement he generated ing with You; Swanee River; All God's doses, starts sounding lame -brained by the was undeniable, and it remains so today. Chillun Got Rhythm; The Lady from Fifth middle of side two, and now and then the His band adored him, and though they Avenue; Let's Have Another Cigarette; and arrangements are just plain wrongheaded played with ahell -for -leather zeal, they nineteen others. RCA BLUEBIRD ® AXM2- (a 'galloping version of the Wailers' Jam- never tripped over the sometimes tricky ar- 5584 two discs$11.98, 0 AXK2-5584 ming is the most egregious example). But, rangements. Berigan also had outstanding $11.98. for the most part, "Come Morning" is as easy and as comfortable to sink into as a warm bath. M.P.

92 STEREO REVIEW AMARCORD NINO ROTA (I REMEM- BER NINO ROTA). JakiByard, Dave Samuels, the Carla Bley Band, Bill Frisell, the David Amram Quintet, Steve Lacy (vocals and instrumentals); other musicians. Amarcord; Interlude from Juliet of the Spirits; 81/2; and seven others. HANNIBAL HNBL 9301 $8.98. Performance: Well -Intentioned Recording. Very good What we have here is a (somewhat) bewil- dering variety of musicians-ranging from The records of such jazz artists as Carla Bley, Ron Carter, Miles Davis' first tour in seven years. and Steve Lacy to Blondie's Chris Stein and Debbie Harry-paying tribute to the work of the great Italian film composer Nino Rota. It is a well-intentioned effort, and I hate to knock an obvious labor of love, but, to be blunt, the result is at best a mildly jazzy mood record reminiscent of the kind of thing you might have heard wafting down the hall of a college dormitory in 1958. Estimable as some of the work here is (Jaki Byard's delicate solo -piano version of the theme from La Strada, for instance), I think we'd all have been better served if the original soundtracks of these Fellini films had been excerpted for a genuine Nino Rota "Greatest Hits" album. S.S.

THE CATHERINE WHEEL (David Byrne). David Byrne (vocals, bass, guitars, Two records of percussion, synthesizers, etc.); Yogi Horton (drums); John Chernoff (percussion); Ber- brand-new Miles Davis performances nie Worrell (Mini Moog, clavinet, piano); recorded live in Tokyo, Bostor and \ ew Y-Drk. Adrian Belew (guitars); Brian Eno (bass, keyboards, vibes); Jerry Harrison (clavinet, drums); Dolette McDonald, Sue Halloran (vocals); Twyla Tharp (water pot). SIRE SRK 3645 $8.98, C) M5S 3645 $8.98. Performance High-energy Recording. Heavy, powerful Yes, you read it right: "Twyla Tharp (water pot)." In the original Broadway production of The Catherine Wheel, Tharp took a somewhat more important role: she choreo- graphed the work-which is to say, she created it-with music and lyrics contribut- ed by David Byrne of the Talking Heads (one instrumental is credited to Brian Eno). The record is described as "Songs from the A very specially Broadway Production," but there's not very much singing (Byrne typically does a rap - priced, new double album. Ircluding:hree rhythm -style Talking Head routine with previously unrecorded new compositions. only some marginal singing). Where's the tune? Hey, this must be Modern Music! On Columbia Records and Tapes. Byrne writes classic arty/surreal rock lyrics. The Catherine Wheel (I didn't see it) apparently had something to do with the life and death of the American family, and Byrne's words hover menacingly around this topic.I recently described commercial television as being concerned with "stories

JUNE 1982 Produced by Teo Macero. Executive Producer Ge)rge Butler**Columba" is a traden, 6 of extreme violence and danger performed Luther Henderson's arrangements of Five - Red Army Is The Most Powerful of All, in an elliptical, laconic, laid-back style with o -Nine and Full Time Lover and as Isabelle the Internationale, and The Engine -with a heavy,threateningrhythmic undertones Adjani makes the most of a fine song called spirit and vitality that are missing from the and a clipped, stylized surface." Except for Pars. There's also an Arabesque Valsante, rest of the score. The disc was produced by, the fact that there is no story, that is an ac- a Tango, a sizzling interlude in Maggie's of all people, Phil Ramone. P.R. curate description of what's on this disc. Trot, and some very French moments in Au Not only is there no literary, dramatic, or Ba! Musette. This is one score you don't SHARKY'S MACHINE. Original -sound- narrative content, there is no musical story have to have seen the movie to enjoy, espe- track recording. Randy Crawford, Peggy either. No tune. These are rhythmic out- cially if you like good Twenties -style jazz Lee, Chet Baker, Doc Severinsen, the Man- lines for music with a ghastly emptiness in- done to a turn. More new records like this hattan Transfer, Sarah Vaughan, others side -tight, heavy, even powerful structures one just might bring back the Jazz Age (vocals and instrumentals). WARNER BROS.

that, frighteningly, contain . . . nothing. along with Jean Rhys' novels. P.K. BSK 3653 $8.98, © M5 3653 $8.98. -Eric Salzman REDS (Sondheim-Grusin). Original -sound- Performance Star tracks Recording Glossy RECORDING OF SPECIAL MERIT track recording.COLUMBIABJS 37690, © BJT 37690, no list price. The new Burt Reynolds vehicle, Sharky's QUARTET (Richard Robbins). Original - Performance Good Machine, has been fitted out with one of the soundtrack recording. Armelia McQueen Recording Good glossiest,star -drenchedsoundtracksin (vocals); instrumental ensemble.GRAMAVI- memory. In this slick Snuff Garrett produc- SIONGR-1020 $8.98. Reds is a lavishly beautiful but somewhat tion the names tumble after one another: Performance Jazz Age revisited silly movie about two narcissists in search of Sarah Vaughan sings the title Love Theme Recording Superb a cause. It might have been entertaining at and then pairs off with Joe Williams in Be- half the length and with a more maturefore You; Chet Baker and Julie London The dissolution of rootless women wander- viewpoint. The soundtrack album from thiseach do a version of My Funny Valentine; ing around Europe, holding on as best they long, long movie is,I suppose, as properly Randy Crawford, Flora Purim and Buddy can to their looks and the men they hapless- and unavoidably grandiose as the film itself. De Franco, the Manhattan Transfer, and ly depend on, is the theme of the novels of Stephen Sondheim contributes Goodbye for Doc Severinsen all do their neatly mani- Jean Rhys, an English author who wrote Now, the Lara-like theme performed by cured turns. As with most such galas, one most of her books in the Thirties but was Jean-Pierre Rampal and Claude Bolling. It star outshines all the rest; in this case it is rediscovered in the Seventies by the femin- isn't exactly a house -burner; in fact,it's the unsinkable Peggy Lee. Wrapping her ist movement. Quartet, written in 1929, is pretty dull. Even dulleris the incidental sloe -ginvoiceandlambentlyricstyle set in the Jazz Age, which afforded the mo- music that Dave Grusin supplied for most around areally lousy song -Let's Keep vie makers an opportunity to include some of the rest of the film. The only breaks from Dancing, probably best described as a sort stunning jazz performances. The score is a the self -preoccupation of the whole enter- of idiot son of If That's All There Is -she is new one by Richard Robbins, but you'd prise are three tracks performed by the still able to produce the kind of effects that swear it was vintage material of the period massive Moscow Radio Chorus. They roar send the listener back to the recording to as Armelia McQueen socksitto you in through Communist golden oldies -Theplay her track again and again. P.R.

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CIRCLE NO24 ON READER SERVICE CARD

9-1 STEREO REVIEW CONCORD. Anything else isa compromise.

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CIRCLE NO 55 ON READER SERVICE CARO Classical musk Briefs

more common in England be- cludes music of several centu- IN England, the Royal Opera cause voices of this kind have ries, Esswood sings mostly Ba- House, Covent Garden, has traditionally been used inthe roque music written for castrato licensed films of a few ofits

Englishcathedrals."When I altos. These days he is so busy performancesfordistribution used to sing at Westminster Ab- in opera that he has little time onvideodiscs.Thefirstof bey, I had a list of at least forty for recitals."I like to sing the these,Offenbach'sTalesof others I could call on whenever I Handel rolesoftheheraldic Hoffman with Placido Domingo,

needed a substitute." warrior type. In music I like to is now available on Pioneer La- Esswood's speaking voice is express a man's sentiments, to serDisc with a stereo sound- rather deep. Does this mean his express my own emotions. I've track that features CBS' new high singing voice is falsetto? neversunganythingwritten CX noise -reduction system "That depends on how you de- specifically for a female, and (see this month's "Audio Q. finefalsetto," he said. "Cer- I've never done a travesty role and A." for more on this use of tainly the vocal cords are not on stage. I'm afraidI might be the CX system). being used in the usual way. quite good at it, and Icertainly At the Metropolitan Opera we They are vibrating in half their wouldn't want tobecome asked Michael Bronson, execu- OPPORTUNITIEStoseeano length, and you are getting the typecast in that sort of thing." tive producer of the "Live from hear a good countertenor first harmonics. It's like touching - W.L. the Met" TV series shown on in action are not abundant in a violin string to get the over- PBS, whether that series was the United States. But the Public tones." When studentsask likely to show up in the home Broadcasting Service will give Esswood whether they should video market. He said, "We are television viewers two such op- aim to become countertenors negotiating with unions and art- portunities this month intheir or basses, he says they should ists for the rights to issue past cycleofMonteverdi operas. ask themselves two questions: performances, andifagree- The cycle consists of Orpheus "(a) Is it natural for you to sing ments are reached within the (June 7), The Return of Ulysses alto, and (b) Isit pleasant for next few months, we might have (June 14), and The Coronation other people to listen to you? If videocassettesorvideodiscs of Poppea (June 21), and the you are going to make noises on the market as early as next casts for the last two include like a cat on a hot tin roof, don't winter.We haveadefinite the noted English countertenor bother.It must be beautiful to sense that there is a place for Paul Esswood, who has re- be interesting." opera inthis market.Itis not corded both operasforthe Two conductors have been justadream.Licensingour Telefunken label. especially influential in building 'Live from the Met' perform- We talked with Esswood ear- Esswood's international career: ances to foreign television now lier this season when he made Charles Mackerras and Niko- produces a little revenue for the his New York debut singing the laus Harnoncourt. When Ess- ANDREW LITTON of New York company. Perhaps when the alto part in Handel's Messiah. wood was only twenty-three, City,amaster's degree new technology settles in, video Hesaid,"Mineis aquiet Mackerras gave him his first big candidate at the Juilliard School can produce a significant voice-not large, but not small break by engaging him for an of Music, has won the Sixth In- amount." 0 either.It certainly is not fragile. important recording of Messiah ternational Young Conductors I've done 51/2 -hour recording forEMI/Angel. With Harnon- competitioninLondon, Eng- ATHENE UM recently published sessionsnonstop,andI've court he has recorded several land. He conducted the BBC CharlesOsborne's The sung fifteen operas in seven- operas and many worksin Symphony Orchestra inMo- Complete Operas of Puccini teen days. At first people are Telefunken's integral series of zart's Haffner Symphony. The (279 pages, $15.95). Like the fascinated that a man can sing the Bach cantatas. His latest twenty -year -old Litton, who de- author's earlier guides to the so high, then they are delighted U.S. release is Handel's Xerxes scribed winning the contest as operas of Verdi and Mozart, it to learn that it is possible to sing conducted by Jean-Claude "the greatest thrill of my life," is treats each opera discussed as that way and be musical at the Malgoire for CBS Masterworks. the youngest finalist in the his- a work for the musical theater. same time." Esswood says, "Istopped tory of the contest. -le will make In theintroductionOsborne Esswood studiedat the counting my records when the his American opera debut con- says, "This book is addressed

Royal College of Music in Lon- number got to three figures." ducting the San Diego Opera in to the opera -lover . . . who don. He says countertenors are Althoughhisrepertoirein- October of this year. wants to know the background

96 STEREO REVIEW of the operas he enjoys,to for Fire and discovered that its the pan -flutesoloistinsuch have the works set in their his- soundtrack included alotof cuts as the Love Theme and torical context and the music panpiping. Set in the Stone Age, the Birth of Love discussed in terms reasonably Quest for Fire is a story about Syrinx is the stage name of freeof jargon-remembering life and love some 80,000 years pan flutist Simion Stanclu, who that operas are not abstract ago. Despite the filmmakers' ef- is,like Zamfir, from Romania. symphonies."It'squite read- fortstore-createprehistory His European recordings on the able, and we recommend it convincingly,QuestforFire Carrere label include albums of struck us as a pretentious geek classical pieces, Romanian fok show, but the soundtrack by songs, and Christmas carols as composer Philippe Sarde (now well as a recital with electronic N March, Philips Records re - available on disc from RCA) is instruments. As far as we have I leased the album "Zamfir, interesting. The music is per- been abletodetermine, the King of the Pan Flute" on the formed by the London Sympho- soundtrack album for Quest for Mercury label.Itis a recital of ny Orchestra and Les Percus- Fire is his North American re- classical favorites by Bach, Mo- sions de Strasbourg conducted cording debut. zart,Telemann,andothers by Peter Knight with Syrinx as We are not ready to compare played by Gheorghe Zamfir, a Stanciu's technique with Zan- - Ivan Moravec Romanian virtuoso on thein- Simion Stanciu fir's,but we're working onit strument known as the pan- We don't yet know what James Nocturnes on the Connoisseur pipes,syrinx, Pandean pipes, Galway,Jean-PierreRampal, SocietylabelThose record- or pan flute. When we heard the and Ransom Wilson will make ings, no longer in the Schwann album (and learned of Zamfir's of these Romanians muscling in catalog, are now available only impressive record sales in Eu- on their big flute revival. For all on In Sync cassettes or Book - rope and Canada), we prophe- we know, Galway may be in the of -the -Month Club records, but sied that Americans would be studio right now making a rec- Moravec fans will be pleased to hearing a lot of pan -flute play- ord with Syrinx or Zamfir. But know that on his recent North ing this year. whatever happens, and at the American tour he was lured into Well, we prophesied better risk of repeating ourselves, we recording studios by not one, than we knew. Unknown to us think there's gonna be a whole but two U.S. labels: Nonesuch at the time, the Dance Theater lot more pan -flute playing going and Vox. At his first American of Harlem was performing at on. -W.L. sessions in many years Mora- the New York City Center (right vec recorded works by Brahms, next door to Philips' U.S head- Schumann, and Janadekfor quarters), and the troupe's rep- mHE Czech pianist Ivan Mo- Nonesuch and compositions by ertoire included Doina, a ballet ravac began attracting his Chopin and Debussy for Vox. danced to panpipe music on ardent American follow ng back Release plans for the record- tape-by Zamfir,ofcourse in the middle 1960s with his rec- ings have not yet been an- Then we saw the movie Quest ords of Chopin's Preludes and nounced by either label. 0

Disc and Tape Reviews By RICHARD FREED DAVID HALL GEORGE JELLINEK PAUL KRESH STODDARD LINCOLN ERIC SALZMAN = stereo cassette 0 = digital -master recording 0 = quadraphonic disc = eight -track stereo cartridge 0 = direct -to -disc 0=monophonic recording The first listing is the one reviewed; other formats, if available, follow.

ALKAN: Solo Piano Pieces (see Best of the unknown realms. But there is much more .1. S. BACH: Sonatas and Partitas for Solo Month, page 71) here than sheer sound: the Bach motets and Violin (BWV 1001-1006). Gidon Kremer the two mctet-like cantatas are, of course, (violin).PHILIPS 6769 053threediscs RECORDING OF SPECIAL MERIT masterpieces, and John Eliot Gardiner's $26.94, © 7654 053 $26.94. interpretationsof themareexquisitely Performance Inappropriate J. S. BACH: Seven Motets (BWV 225-231); wrought. Recording. Okay Cantata 50, Nun ist das Hell and die Kraft; Gardiner is not afraid to use a wide range Cantata 118, 0 Jesu Christ, mein Lebens of tempos and dynamics, though in each I like Gidon Kremer's playing very much in Licht. Monteverdi Choir; English Baroque case these are clearly based on the meaning a lot of repertoire, but not much in this mu- Soloists, John Eliot Gardiner cond. ERATO/ of the words. The articulation of the indi- sic. Well, let's say that the D Minor Cha- RCA STU 71337 two discs S17.96. vidual lines and the vocal colorations are conne is wonderful and that a few other Performance Resplendent similarly based on the sonic structure of the things-abstract pieces such as the E Major Recording Superb texts. As Bach translates the meaning of the Prelude-are strong. These pieces can take poetry into music, so Gardiner has conveyed Kremer's big, gutsy approach. But mostly Singing here with a rare combination of in- the same meanings through his interpreta- he is so far off the beam in style here-un- strumental -like precision and clarity and a tions. The marriage is perfect. Jesu, Meine comfortable-soundinginunfamiliarsur- natural vocal warmth, the some twenty-five Freude is a tone poem of faith and rejection; roundings-that the music doesn't flow. male singers of the Monteverdi Choir pro- Singe: dem Herrn is the epitome of contem- The dance movements never dance, the or- duce an unearthly sound that is a listening plative joy. The unification of poetical and naments are never ornamental, repeats are experience in itself. Combined with period musical meaning in these performances is never varied, the written -out doubles are strings and natural trumpets, their voices virtually unique on records, and Bach's played not as varied repeats but as whole make the heavens open and transport us to spirit shines brightly through them. S.L. separate movements, the wit and ingenuity

JUNE 1982 97 of the music never sparkle but always seem labored and clumsily tragical. Perhaps I'm too harsh. Some may enjoy the sheer hear- tiness and gusto of the playing, and to some degree the music can take it. But we've learned too much about Baroque perform- Miccardo STRAVINSKY ance practice in the last decades to be en- Angel PETRUSHKA tirely satisfied with a Russian Joachim ver- newinsuperb RICCARDO MUTI sion of Bach. E.S. the PHILADELPHIA ORCHESTRA digitalfrom RECORDING OF SPECIAL MERIT maestro! J. S. BACH: Suites for Solo Cello (BWV magnificent 1007-1012). Frederick Zlotkin (cello). MU- SICAL HERITAGE SOCIETY MHS 834469 EMI. three discs $23.25 (plus $1.60 postage and The standard of handling charge from the Musical Heritage Society, 14 Park Road, Tinton Falls, N.J. Excellence on Angel 07724). Records & Cassettes Performance Elegant Recording Fine DS -37822 This is a wonderfully elegant performance ROSSINI: TCHAIKOVSKY of wonderfully elegant music. In Frederick STABAT MATER MANFRED SYMPHONY Zlotkin's hands the cello takes on an airi- Malfitano Baltsa Gambill Howell RICCARDO MUTI ness that is perfect for the dance move- RICCARDO MUTI Philharmonia Orchestra ments. In the rhapsodic preludes, the har- monies are savored and the figurations are ty carefully molded. Zlotkin's ornamentation is particularly rich and bold, especially in the paired optional dances where each repetition of a section accumulates glittering variations. If music for solo cello has intim- idated you, try these and enjoy. S.L.

BEETHOVEN: Symphony No. 9, in D Mi- . nor, Op. 125 ("Choral"). Jessye Norman rn.N...1 DIGITAL (soprano); Brigitte Fassbaender (contral- DS -37901 DS -37752 to); Placido Domingo (tenor); Walter Berry (baritone); Concert Chorus of the Vienna State Opera; Vienna Philharmonic Orches- tra, Karl Bohm cond. DEUTSCHE GRAMMO. PHON 0 2741 009 two discs $25.96, © 3382 Music in the round. 009 $25.96. Performance. Craggy With BES speakers, Recording Good Completed in November 1980, this elabo- rately packaged album marks the end of the center stage is everywhere. more than forty -year recording career of Karl Bohm. He died at Salzburg less than a year later, a fortnight before his seventy- seventh birthday. Bohm's approach here to the first movement of the Ninth recalls his craggy read- No matter where you sit, no matter where the ings of the Bruckner Fourth and Fifth Sym- speakers are placed, the musical phonies with the Dresden Staatskapelle in image remains 3 -dimensional and the middle Thirties, though, as with the Bruckner scores, he by no means neglects lifelike. the lyrical aspects. He is generous with re- That's because BES speakers peats in the scherzo, and if his treatment is radiate the sound in all directions, not as fiery as some, he takes the trip at a pleasingly brisk clip. The high point of the not in a narrow beam like ordinary performance is the slow movement, which is box speakers that limit the stereo marked by great tenderness and spirituali- image to one point in the room. ty; one senses an element of the valedictory here, and the solemn fanfares toward the BES projects the spacious quality close are especially imposing. The choral fi- of live music everywhere. nale does not have here the Dionysian qual- BES Speakers-suddenly itiesof, say, the Bernstein or Toscanini readings, but Bohm's rock -steady pacing center stage is wherever you are. givesthemusic amonumentalitythat builds impressively from one climax to the next. The vocal soloists are outstanding BES speakers. throughout. The Vienna choral forces do their job splendidly too, thoughIwould have liked somewhat more presence in their Music in the round. opening "Freude!" entries. (Continued on page 100) ©1982 by BES, 345 Fischer Street, Costa Mesa, Ca. 92626 (7141 549.3833 CIRCLE NO. 6 ON READER SERVICE CARD STEREO REVIEW Lo -an- is the cassette of the f tape can stand up tc being acc dentally left Every Lcran ta3e cenEswith a lull life- but it's here right nc w. The original and near a sour:e of excessive heat in your time waranty. Lister to Oran. The new only heat resistant cassette shell ar d tape hone or in your eat. It is indeed tie finest genera:ion et cassettes s bee right now that withstands tha oven temperate res of quE I ty tape available today. a car dEshboard in tie sun. Testing proves Loran also has Exclusive feoUres not LORAN 9C that even TDK cr Maxell cannot tak3 this available on any ()tier cassette Safety kind of punishmer t Talcs- (pant peni ng) prevert occidental Wish Loran, you'll capture a fuI range erasures. But unlike other cassetes, you of sound as you ue r ever heard it bE fore car restore its erase and retort capabilities -ape that delivers Magnificent repoduc sin -ply by timing tie Tab screw a 1/2 turn. CHROOE tion of highs and lows, along with an excep-Out Hub Lcck (patent pending secures 0.-Y MA 17 tionally low background noise level Super the tape tothe hub i i such a way that the sensiti%e with a i ex:remely high maximLm hard..r it is pulled the tighter it s held. record' ig, level ea po- bility. That means you With all these features, it's To wonder can record Loran at high input leve s for Loran was selected as "one of -he most in- greater clarity. As a matter of fact, ,ve rec- nowo:ive consumer electronics products...' ommend it. by the Consumer Electronics Sr cw Design Bezause of our cassette shell, loran and Engineering Exhibition. The Dmign of Sr ect3cular SoLni

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Loran'" is manufactured exclusively by Loranger Entertainm al', 10-48 Clark Street, Warren, Pa 16365 For those who want a Beethoven Ninth steeped in the German classic tradition, this one ranks with Otto Klemperer's 1958 recording as one of high distinction. The sonics are basically excellent, though I do not find that the digital mastering has made for FORTHE significant enhancement of quality. D.H. CALL RECORDING OF SPECIAL MERIT 1?11.IC.1-1. BRAHMS: Symphony No. 1, in C Minor, Remember, Op. 68. National Philharmonic Orchestra, will beat any BEST. P R.I.C.E. on in - Carlos Paw cond. LODIA 0 LOD 779 PRICE for legitimate offer $17.98, © LOC 779 $17.98 (from Brilly Call 8003431078 on video (617)961-24001 stock items. Imports, 155 North San Vicente Boulevard, big savings (in Mass , Just pickup the Beverly Hills, Calif. 90211). cassetterecorders, dial ourtoll- home phone, and as Performance Superb car stereo, number, portable freekquotes. Recording. Excellent stereo, tape re- forP.R.I.C.E. radios and to mail you Carlos PaIta's performance of the Brahms telephone (Or ask us corders, list.) First is almost as impressive for what it is machines, ourP.R.I.C.E. ansvvering tapes, P.R.I.C.E. iswhat not as for what it is. What it is not is self- video games, indulgent or wayward. What itisis you want. su- and movies. perbly musical; it shines with integrity. This computer most extroverted of Brahms' symphonies AiwaCS220 VIC-20 home seems to tempt many conductors to pull its Shown: The portable. Commodore AM/FM cassette AM/FM car withprofessional write rhythms about and distort the phrasing by . Call or R406 5watt/ch., 95.95 keyboard...... way of making a "personal statement." But Jensen pushbuttons..$1 2609 video car cassette, Intellivision $235 the work is monumental enough as Brahms AM/FM car Mattel game...... KP-4500 $119.95 computer ,semi -auto, wrote it without staggering the final state- Pioneer auto -reverse... single -play, ment of the chorale theme, and dramatic cassette, Triax Dual 607 turntable ...$149 J2033 6x9" $98 direct drive enoughwithoutgratuitousgear -shifting Jensen (pr.)...... after6/30/82., car speakers standard t to change nue every few bars; it can fulfill its expressive l'bration 79 Prices su aims fully if it is simply played as written, Stanton881 ...... phonocartridge with minimal "interpretation" and maxi- AM/FM cassette wia0 mal respect for the score. This seems to be Aiwa CS-220 It f19 1,111. multi-vo age .$ Palta's approach, and in this respect his re- rtable, NiA 02368. Po Randolph, cording recalls the noble simplicity of the 4110 CSARRED0682, early microgroove versions under Eduard EA6ZETReseEdRD:IiVeE, van Beinum and Guido Cantelli-except CIRCLE NO. 40 ON R C that within a similar framework PaIta manages to project a greater sense of drama, a greater intensity, and still more lyrical ex- pressiveness. The proportions of the work are ideally realized, and the finale comes off with really convincing grandeur precisely WHY PAY MORE ! because of PaIta's faithful adherence to what Brahms setdown. No stops -and - starts, no distended phrases, no spotlight- SONY.'s RIM lb !IN W.11.1111N11 .. M PIONEER ing; just sound, honest music making, very Best 1099 Portable Stereo Digital much to the glory of Brahms. The orches- Supertuner$193 tra, possibly the most versatile ever assem- A09 bled for recording, plays like one of the 4 ..,11-jJa: world's great ensembles; concertmaster Sid- ney Sax distinguishes himself in the slow movement, as do the winds throughout the SL 2500 *;:.PMS 3020 KE 5100 symphony. The recording (made with the SHARP SONY. FM 3M system) is extraordinarily rich and real- Dolby istic, and the pressing is what we have come Walkman to expect from Teldec. R.F. Cassette Deck I [17711_ CHERRY: Humus; Site Rama Encores (see $64 PENDERECKI) ' mien (7' G RT- 10 CHOPIN: Andante Spianato and Grande Polonaise, Op. 22 (see MUSSORGSKY) Weekdays 9-9 TOLL FREE 800-356-9514 Saturdays 9-5 GINASTERA: Piano Sonata (see MUS- SORGSKY) Over 100 Brands like: GRIFFES: Collected Piano Pieces (see Best Technics Maxell Sony Cerwin Acutex of the Month, page 70) Pioneer Empire Teac Vega Craig Marantz Altec Akai Onkyo Scotch Kenwood Sharp Dual Audio B I C RECORDING OF SPECIAL MERIT WISCONSIN DISCOUNT STEREO Sansui Phillips Koss Technica Stanton HANDEL: Concerti Grossi, Op. 3; Oboe Jensen Shure TDK Clarion Pickering2417 w. badger rd madison, WI 53713 Concerto No. 3, in G Minor. itIrg Schaeft- lein,David Reichenberg(oboes);Alice 608 271 6889 (Continued on page 103)

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BOX 13878 PHONE ORDERS ACCEPTED (minimumr3 $10) PHONE TOLL FREE PHILADELPHIA, PA. 19101 800-431-2731 New York State only 800-942-1940 Harnoncourt(violin);HerbertTachezi (harpsichord, organ); Concentus Musicus of Vienna, Nikolaus Harnoncourt cond. TELEFUNKEN6.35545 two discs $21.96 Performance:Spirited Recordirg:Excellent Besides the six delightful concertos of Han- del's Op. 3, conductor Nikolaus Harnon- court here throws in two "extras": a second version of Concerto No. 4 and the G Minor 4908 16th Avenue Oboe Concerto. The latter is especially wel- Brooklyn, NY 11204 come since it gives us a chance to hear the excellent playing of Jfirg Schaeftlein, whose For Information embellishments and divisions are a model of call 854-8989 good taste and imagination. When he is joined by oboist David Reichenberg in the For orders Op. 3 set, the result is a marvel of verve and call Toll Free ingenuity. Their articulation is joyous, their 1-800-847-4226 syncopation startling.In the Sixth Con- VISA certo, in which the organ is surprisingly en- MASTERCHARGE listed as a soloist, Herbert Tachezi puts on a real show. Handel's figuration seems routine in most performances, but Tachezi's or- RECEIVERS CASSETTE DECKS naments add sparkle and brilliance. STRVO6 8419.00 The orchestral sound is at once gruff and S1RVX5 343.00 873300 5139.00 STRVX4 284 00 01620' 229.00 suave. Harnoncourt savors the peculiarities STRVX3 219.00 reo",,s994205 112.50 of each fugue subject and keeps the instru- STRVX2 178.95 09.1216 129.95 39002 243 00 458225 162.00 ments dancing. The tempos are on the slow 49002 299.00 00240' 189.00 side, but the tongue-in-cheek pomposity of 59002 349.95 1vC 4002 129.00 79002 464.95 AD03 149.00 the overtures and double-time dancesis 89002 539.00 1004 204.00 contagious. All the usual Concentus Mu- TX3000 2:9.00 Orhyc 112050 219.00 1X4000 279.00 141500 149.00 sicus mannerisms are in evidence, but some- 1160011 349.00 742020 169.00 how they are woven here into the musical 112000 174.95 CVO 279.00 ,,ruo4 9200 175.00 F 'she, CRI 13 Call for fabric and become convincing. This is real 9300 215.00 price music making, not merely a display of mu- 9400 269.00 CR155 Call for sical scholarship. S.L. 9600 339.00 price ^,.csSA626 359.00 5A222 206.95 SPEAKERS SA203 169.95 RECORDING OF SPECIAL MERIT Cato, ,ca545107 165.00 Advent 4002 Call for SA5207 249.00 price 915,00 U9! HINDEMITH: Concert Music for Strings 5A5407 AR 485 GU for IVC RS77 339.00 price 1111111111 RS33 and Brass, Op. 50; Morning Music for 239.00 Bose 501 8354.00 Brass; Concert Music for Piano, Brass, and TURNTABLES Harps, Op. 49.Paul Crossley (piano); Phil- HEADPHONES ip Jones Brass Ensemble, Elgar Howarth .3518202 $ 82.50 cond. LONDON 0 LDR 71053 $12.98. S10303 114.95 525 95 Si.020? 99.95 474 4,4 95 SI 5 139.95 420 48 95 Performance: Excellent Dual 1251 99.00 424 63 95 Recording. Superb 1268 129.90 430 69 95 508 113.50 222 66 95 608 219.95 Paul Hindemith's Concert Music for Piano, Koss 4011.0 45.50 607 149.00 iNX 39 70 Brass, and Harps, written in 1930, is actual- 6270 169.00 4911C 35 95 ly a chamber concerto for piano. There is a WA 29 95 BLANK TAPE Pro 44 49 50 Tne souni of a well movement for piano and brass, another for X61C 24 95 piano and harps, and a finale for all three. Mares U08t1 82.99 designed ca aucio system The excellent pianist here is Paul Crossley; DOM'S 3.79 IDA 5AC90 2.59 with Lirear Power amplifiers, the brass ensemble and the unidentified Bast ProllS9C 2.49 VISA harpists are conducted by Elgar Howarth. C90 1.29 is unlike any stereo system Walkman U 93.95 you've ever heard. The Concert Music for Brass and Strings, Walkman TS310 113.95 Op. 50, is, despite the closeness of date and The company that brought title toits predecessor, a big symphonic Hi Fi to the cur, brings you work commissioned by the Boston Sympho- TECHNICS SHURE the most innovative ny for its fiftieth anniversary in 1931. And TDK SONY the Morgenmusik (Morning Music)was a techiology available, with ALLISON 0 oower from 40 watts to wake-up chorale played from a tower to open a festival in a small town in North AUDIO-TECHNICA 300 watts RMS (INF) Germany for which Hindemith wrote an entire day's worth of music. DISCWASHER FEEL THE CIFFERENCE. Istress these simple facts because this SENNHEISER record comes with liner notes that are ex- Available only at the tremely uninformative and unclear. Fortu- SANSUI ADC finest car audio dealers Call or wr to formoreinformation nately, there is nothing unclear about the DUAL FISHER music or the playing or the recording. It is vintage Hindemith. This composer played ADVENT BOSE and wrote for virtually every instrument HARMAN KARDON and instrumental combination associated LINEAR"W" with the modern orchestra, but his style was ONKYO SHERWOOD (916) 323 7891 particularly appropriate for brass. The ear- 11545 D Avenue East ly Thirties was the best period of hisGe- Brand new merchandise Auburn. California 95603 brauchsmusik(music for use) style. And shipped within 24 hours

CIRCLE NO. 30 ON READER SERVICE CARD CIRCLE NO4 ON READER SERVICE CARD the first movement of the Second Concerto, for instance, the potentially awkward combination of violin, oboe, recorder, and trumpet is so well handled that the thematic material is always clearly heard regardless of which instrument is playing which line. In the Fifth Concerto, the solo harpsichord is always up front but never aggressively forward. All of the instruments sound bright and crisp throughout, and theyproject Bach's intricate sound tapestry in sharp, clean colors.

INgeneral the playing is based on a long linewithseamlesslegato. Though one might quibble about this approach for its lack of Baroque articulation, I can only admire the unity of style and resultant clarity. My only real criticism of the set concerns the absence of a supporting cello in the slow movement of theFifthConcerto. That aside,theseBrandenburgsare certainly among the best in the catalog, and they Left to right: Bernard. Szeryng, Petri, Marriner, and Holliger reaffirm that great musicianship can carry the day even at the expense of niceties of authentic performance practice. 11 -star ""Brandenburgs" -Stoddard Lincoln J. S. BACH:BrandenburgConcertos (BWV 1046-10514 Henryk Szeryng (violin); Jean- RECORDINGS ofBach'sever -popular but also in musical style. The vexing ques- PierreRampal(flute);HeinzHolliger BrandenburgConcertos come and go, tion of oldvs.modern instruments has been (oboe); Carl Pini (violino piccolo); Michala but a new Philips set with an all-star roster delicately resolved here by the unconven- Petri, Elisabeth Selin (recorders); George of soloists and the Academy of St. Martin - tional use of recorders, gambas, and harpsi- Malcolm (harpsichord); Andre Bernard in -the -Fields conducted by Neville Marrin- chord together with modern flutes, violins, (trumpet); others. Academy of St. Martin - er is absolutely top-drawer. Despite their oboes, and trumpets. Musically, it works. in -the- Fields, Neville Marriner cond.PHIL- varied backgrounds, the soloists are perfect- Perhaps the most remarkable aspect of IPS6769 058 two discs $22.96, © 7654 058 ly matched not only in technical virtuosity this gorgeous recording is the balance. In $22.96.

this is music for playing which is also (as it the solo piano getting special attention, andof the dark forces, should have registered a is not always with Hindemith) music for lis- the pressing is flawless. D.H. stronger impact. tening. Good music, superb performances, The singing is generally good. Lucia Popp and an outstanding recording. Bravo!E.S. MOZART: The Magic Flute. Lucia Popp isexquisiteasPamina; her"Ach,ich (soprano),Pamina; SiegfriedJerusalemfillirs"is the set's highlight. Siegfried Jeru- RECORDING OF SPECIAL MERIT (tenor),Tamino;BrigitteLindner(so- salemisan agreeably musical Tamino, prano), Papagena; Wolfgang Brendel (bari- though a shade tight in the high register MOSZKOWSKI:Piano Concerto in E Ma- tone),Papageno;Edita Gruberova(so- and occasionally off in intonation. Intona- jor, Op. 59. David Bar -(Ilan (piano); Bavar- prano), Queen of the Night; Roland Bracht tion is not one of Edita Gruberova's strong ianRadio Orchestra,Alfredo Antonini (bass), Sarastro; Norman Bailey (bass), points either, but she delivers the Queen of cond.AUDIOFON2006 $11.98. Speaker; Heinz Zednik (tenor), Monosta-the Night's arias with passion and fluency. Performance.Dashing tos; Waldemar Kmentt (tenor), First Priest; Commendable too are the charming Papa- RecordingExcellent Erich Kunz (baritone), Second Priest; oth- gena of Brigitte Lindner and the eloquent ers. Bavarian Radio Chorus and Symphony Speaker of Norman Bailey. Moritz Moszkowski (1854-1925) was a cel- Orchestra, Bernard Haitink cond.ANGEL 0 The remaining cast members are less dis- ebrated piano virtuoso and teacher in his DSCX-3918 three discs $32.94, © 4X3X- tinguished. Roland Bracht is a none -too - day, best known as a composer for his set of 3918 $32.94. steady Sarastro with precarious low notes. Spanish Dances and various encore favor- PerformanceGood, not great Heinz Zednik croons and whispers his mu- ites. The E Major Piano Concerto, in four sic, which is not my idea of Monostatos. In RecordingVery good, but. . movements, presents him in a decidedly theotherdirection,WolfgangBrendel more ambitious vein, and it certainly is a BecauseThe Magic Fluteis lavishly repre- floods his music with excessive tone, leaving humdinger of a display piece, beginningsented on records, this newest version-thecharm in short supply. Papageno is a role right off with the opening solo -piano recita- eighth in stereo, not counting several inter- that seems to come naturally to Viennese tive. The slow movement is a kind of song esting mono predecessors-is not likely tosingers, but, with due regard for such ex- without words that leads without pause into alter existing preferences. It is a sound and ceptions as Gerhard Hilsch and Hermann an absolutely dazzling scherzo. The finale uncontroversial performance, sensibly guid- Prey, it seems to elude the Germans. recalls, in some respects, the corresponding ed by Bernard Haitink. His tempos are de- Angel's digital sound is generally impos- movement of the Tchaikovsky G Major liberate but not dragging, and he displays a ing, but there are some balance miscalcula- Concerto. fine ear for balances and a keen attention to tions, starting with the first scene where David Bar -Man simply eats up this stuff, orchestral detail.Dramatically, however, Tamino's opening words are too far in the playing wholly as one to the manner born. the performance is not the last word: little is background. And, though the extramusical Veteran Alfredo Antonini and the Bavarian made of dynamic contrasts, and surely thesounds are realistically captured, the last Radio Symphony provide able orchestral final transformation scene, as the stage be- two "thunders" specified in the score have support. The disc is expertly recorded, with comes illuminated through the elimination been omitted. G.J.

104 STEREO REVIEW

RECORDING OF SPECIAL MERIT lockuar

illinou

MOZART: Sonata in B -flat Major (K. 333); Sonata in C Major (K. 545); Fantasy in C

Minor (K. 475); Sonata in C Minor (K. 4571.

Andras Schiff (piano).LONDONCS 7240

$10.98.

Performance. Stylish

Recording Fine

Andras Schiff, probably the best-known of

the several admirable Hungarian pianists still under thirty, has already recorded all of

Mozart's keyboard sonatas for London/

Decca. I'm glad that the discs are being issued one at a time in the U.S. so that the SAVE MONEY TIME FREIGHT performances can be evaluated and appre-

ciated individually. This first installment is ON NAME BRANDS surely a total success. Schiff's feeling for

clarity, so evident in his Bach recordings, CASSETTE TARS and his response to the early Romantic id- AKAI CASSETTE DECKS SONY SHF -90 STANDARD BIAS TATE.... 128.00/10 iom combine to serve him especially well in MODEL GXF-35 GX HEAD DECK *.$ TOO UOW WHY CF -90HIGH BIAS TAFE 27.00/10 SONY FER -90 HIGH BIAS PREMIUM 28.00/10 MODEL GX-F80 SOLENOID CASS DECK TO SHOW the monumental sequence of the two C Mi- 7131 14A -C90METAL CASSETTETA IF. S48.50/10 nor works. The music comes to life splen- ADC SOUNDMAFER EQUALIZERS TIC SAX -C-90 NEW PREMIUMTALE 38.00/10

MODEL SS -110 IC NEW EQUALIZER $150.00 1TICOD -C-90 OFTIMUM STD. BIAS 30.00/10 didly and unhurriedly, without posturing or 200.00 TEE SA -C90 SUFFR AVALIN TALE 29.50/10 MODEL SS -2 IC - 12 BAND EQ ...* exaggeration of any sort and with a kind of MODEL SS -3 IC - TOP OF THE LINE329.00 7131 C-90AD NEW AUDUA TAFF. 22.00/10 BASE PERFORMANCE C-90 QUALITY TALE 518.00/10 improvisatory sobriety that suits its charac- BalaC SFECIALS BAN, FROII OR III C-90 SFECIFY 28.00/10

MAXF1L C-90 LA IOW NOISETAFF 523.50/12 ter ideally. In contrast, Schiff's approach to MODEL TER -200 TOWER UOUDSFEAKER $ 90.00 MAXELLC -80U0 ULTRA DYNAMIC 23.00/12 the cheerier works on the other side of the MODEL TFR-400 TOWER UOUDSFEAKER 150.00 MAXS1LC-9000ULTRADYNAMIC 29.50/12 MAXF1L UD-XL-090 TYPE.I OR II 29.50/12 disc gives an elegant fleetness to the outer DUAL TURNTABLES - LOW MASS UNITS! MAXElL UD-XL C-90TYFF. I OR II 39.50/12 movements that simply does not allow the MODEL 506 SEMI -AUTO BELT DRIVE$ 99.00 SCOTCH C-90MASTER TYPE2 OR 3 31.50/10 usual sort of sentimentalizing. Only in the MODEL 606-55 DO TABLE W/CART. WRITE REEL TO REEL TAFF.

WRITE OR CALL FOR ALL CENTER DUALS," 1 1 TT1( LX -35-80 NEW 7IN. seo.nn/In slow movement of K. 333 does Schiff allow TIXLX-15-1ROM NEW 10 1/2 IN 170.00/10 the Romanticism that is so apt in the C Mi- JVC ELECTRONICS - DELLS - FTC. MAXF1L111-35-90 ULTRA DYNAMIC 7" 57.50/10 MODFI IC -5 NEW 08331 II/ Dolby 1M $WRITF nor works to make itself felt, rather less apt- MAXF1LVD-35-1RO SAME ON 10 1/2" 133.00/10 LA -31 NEW TURNTABLE BARGAIN ! CALL' MAXF1Lu7 -m-35-905 RACKOATED XL mi.5n/In ly, in a distended phrase or two. This might WE'LL U1-m-inon SAME ON 10 1/2 198.50/10 suggest that as the remaining discs appear ICENTICOD DEALS - WRITE FOR OTHER MODELS! SCOTCH 20711-90 FOLY-POSI1TAK 55.00/10 SCITIF31 207R-180 10 1/2 IN 17n.nn/in 0-6050 SUFER RECEIVER DEAL $214.00 we'll find him a bit more at home in the KX -2060 TOP CASSETTE. DECK DEAL* 410.00 VIDEO TALE. later works than the earlier ones, but the 5110.00/10 MARANTZSFECIALS!! FUJI L-500 RETA present release, with its stylish playing and FUJI 1-750BETA TYPE. 145.00/10

SR -6000 SUPER RECEIVERDEAL $350.00 SCCTCH 1-120VHS TYFE 140.00/10 rich, warm sound, certainly augurs well for SD -6000TOP CASSETTE DM( 340.00 R.F. AUDIO TECHNICA CARTS. STANTON CARTRIDGES the series. SD -8000 FROGRAMABLE CASSETTE 425.00 MODEL 155 -LC $105.00 143DEL 8A1-3 $79.00

PIONEER DEALS 103DF2.140 -LC 88.00 681-EFES 59.00 49.00 MODEL 125 -LC 44.00 8E1 -FE' MUSSORGSKY: Pictures at an Exhibition. SX -7 NEW DIGITAL RECEIVER $341.00 SHIRE CARTRIDGES EMPIRE. CARTRIDGES SX -3700 SUPER RECEIVER $219.00 V -Is TYFE 4 WRITE! TIWI J $110.61 RAVEL: Jeux d'Eau. GINASTERA: Piano

80.00 HP11-500LCDDSFEAKERSYSTEM**** CALL"! V-15TYFE3HE 70.00 LAC- 00 Sonata.Hans -ChristianWille(piano). M-97 HE 414.00 2000E-3 25.00 SANSUIF.:LEL-num SHIRE 9095ED $22 WITH TURNTABLE FURCHASE !!, DEUTSCHE GRAMMOPHONCONCOURS2535 016 $6.98. 39002 DIGITAL RECEIVER DEAL .*** $WRITE AUTOMOTIVE STEREO

89002 -DB RECEIVER II/DOLBYRINR WRITE PIONEER KE -2100 ELBTTIONIK READOUT !WRITE! Performance Piquant and polished PIONEER HE -6603AM -FMCASSETTE. 140.00 SONY SUFERDEALS!!! R2. PR Recording Very good TS -695849 3 -WAY SFKR. SYSTEMS.... STR -V55 RECEIVER cLosparri ...* $329.00 TS -6968e3 2 -WAY SFKR. SYSTEMS.... 84.00 WRITE FCR ALL FICHE:FR AUTOMOTIVE PRICTS !!!! I43X -65TURNTABLE GUMBOOT ! *a* 254.00 MUSSORGSKY: Pictures at an Exhibition. JENSEN R-405 AM -FM IN DASH CASS... 4180.00 WRITE OR CALL FOR NEW 1982 moms AND $ JOSSES J-1033 80 TRIAX4. IT RPM. 79.00

CHOPIN: Andante Spianato and Grande TEAC CASSETTE DEO( DEALS!! JENSENJ-1037 816 (D -AX IIA SAM. nn.no Polonaise. Op. 22. Paul Schenly (piano). WRITE OR CALLPOR OTHERSINCLUDING SOHY.,,,, SUFERDEALCASSETTE 199.00 MODEL0X-400 DIGITECH 0 DIGI 108 $11.98. HEADRIONES ISDOELA-770 3 HEAD DOANE NR a* 260.00 KOBE MODEL RV-%STFREORIONM $41.50 MODEL V -3RX NEW dtamRECORDER 3115.00

PerformanceSpiffy and splashy KOSS1R3-43NEW 2 -WAY SYSTEM 49.50 TECHNICS ELCETRONICS SENNHEISER HD -224 LIGHTWEICHT S1.01 Recording Very good 45.00 WOE, RSM-240X1333CASSETTE DK. 232.00 M"FiRol414snal3IS 33.00 RSM-260 NEW 3 HEADCASSETTEOK. 237.00 RECORDING OF SPECIAL MERIT SIB -101 NEW BELT TURNTABLE 71.00

SLD-202 SEMI AUTC)IATIC TABLE 109.50 MUSSORGSKY (trans. Yamashita): Pic- SEE A BETTER TRICE ? LET US KNOW ""11

tures at an Exhibition. Kazuhito Yamashita (guitar). RCA 0 ARCM -4203 $11.98.

Performance Tour de force

Recording Spectacular

Mussorgsky wrote Pictures at an Exhibi- audio. tion to honor the memory of his painter

12 E. Delaware Pl., Chicago 60611 friend Victor Hartmann following a posthu-

mous exhibition of Hartmann's work in 1874. Hans -Christian Wille, at twenty-four

Phone Now send for free catalog a celebrated prize winner in competitions (312) - all over the world, manages to convey all the color and complexity of Mussorgsky's mu- 664-0020 Name sical sketches with a good deal of delicacy TOLL FREE I. Address and a minimum of flashy exaggeration for 00) Ci effect. Only in the concluding Great Gate at 62(1-88042 Kiev does he show what he can do when he State Zip really lets himself go. He also delivers a JUNE 1982 beautifully shaded version of Ravel'sJeux d'Eau,a performance that reminded me happily of what Alfred Cortot did with that shimmering piece on an old pre -electrical recording. The program ends with a chal- lenging sonata by the contemporary Argen- Nine independent tinian composer Alberto Ginastera that is reviews replete with strongly accented South Amer- you should ican sounds and rhythms and features some read before arrestingly syncopated passages. Here too, you buy the fleet -fingered Wille certainly rises to the occasion. a stereocartridge. A far more extroverted and showy approach to Mussorgsky'sPicturesis taken by Paul Schenly, another young pianist and one with slashing power to spare. Schenly is 'The XSV/4000 t not content to color those old castles, mar- emerges a I I ket places, and playing children in pastel clear winner' shades;hesplashes on extremelyvivid sound colors, which the digital recording makes seem even more vivid, sometimes too much so. This young virtuoso's swashbuck- ling style is more appropriate to Chopin's Andante Spianato and Grande Polonaise, which is delivered with so much energy and agility that I scarcely missed the usual in- This 16 -page book of reviews from High Fidelity, strumental accompaniment. Schenly can sound like a whole orchestra when he puts Stereo Review and Stereo is available at your his mind-and his fingers-to it. A third new version of Mussorgsky'sPic- local audio dealer ...or write to: Pickering & Co turesfeatures Japanese guitarist Kazuhito Yamashita, who must have at least three 101 Sunnyside Blvd., Plainview, NY 11803 hands at his disposal to accomplish the tour de force he pulls off here. It's hard to know which to admire most-the ingenious trans- THE SOURCE OF PERFECTION PICKERING cription of so ambitious a piano score for solo guitar (from eighty-eight strings to "for those who can hear the difference" six!), the astonishing virtuosity of the play- CIRCLE NO 37 ON READER SERVICE CARD ing, or the uncanny realism of the digital recording.Listentothat oxcartrolling along inBydlo, attendto the masterly coun- terpoint accomplished by this nimble gui- SAVESON tarist's magical fingers as the solemn, rich AUDIO VIDEO old Jew Samuel Goldenberg discusses matters of grave import with his shrill, shoul- COMPONENTS 2Q,IrtLawn der -shrugging compatriot Shmuyle, suc- CALL TOLL-FREE NOW YOU CAN OWN ALL cumb to the fancy fingerwork as the witch Baba Yaga leaps about inThe Hut on 800-221-0974 TOP BRAND Fowl's Legs,and you might be willing to RECEIVERS TURNTABLES trade in your latest spectacular recording of ,EC.. S. 414 1271 TECHNICS SL -5 $133 the Stokowski-or even the Ravel-orches- PIONEER 504 1273 TECTINICSSLOL / 3224 SIARNTZ SR -1100 CALL DUAL OS -607 CALL STEREO COMPONENTS tral transcription just for a couple of min- SONY S TR VaS CALL SONY PS-XSOD CALL i ECNTNCS SA 203 $199 PIONEER PL.7 11135 utes of Yamashita. The price is high, of SAPYSIA 41001 CALL APAI AP -0310 Ins AT THE SAME PRICE MANY course, for a recording of solo guitar, but I CASSETTE DECKS CARTRIDGES TECTINICSRS-332.3.3 ,,,/, SNORE VIS-1V SAO dare say you'll find it's worth it. P.K. AAA. 03 .A3 i ,/,/, SHURE NAME SAS DEALERS PAY! MARANT3 SD 3030 CALL PICKERING 830.3003 11A4 NOM TA 430041 Sit? PICKERING 36,4000 363 120,000 Customers Coast -to -Coast OFFEN BACH: La Vie Parisienne (abridged). SONY TC-F330 CALL PERSONAL STEREO TEAL V.7 1270 Danielle Chlostawa (soprano), Gabrielle; SONY WALKMAN II 396 CALL TODAY 9 A.M. to 9 P.M. BLANK TAPE SONY WALKMAN] So FOR FULL COLOR BROCHURES OR Renee Auphan (soprano), Metella; Daniele BASF PRO II CPO . . $2, PANASONIC RS IMO 1130 TOP SA3 C-110 . . say AIWA CS -11 5149 PLACE YOUR ORDER FOR Millet (soprano), La Baronne; Michel Roux TOP SA -ON 4 S211 CAR STEREO (baritone),LeBaron; NAXELL IJOAL PC PS 4 ' t16 Jacques Trigeau JENSEN RC -5111 S364 SAME -DAY DELIVERY MARELL LID -01.1611C-110 1/ AO JENSEN J.1033 Pt SAO COD OR CHARGE CARD (baritone), Le Bresilien; Patrick Minard VIDEO SAMOA -T.390 $247 ASK ABOUT OUR NO LEMON GUARANTEE (tenor), Gardefeu; Jacques Tayles (bari- PANASONIC PY.6600 ' . CALL PIONEER UPP-4300 1133 PANASONIC P0402 Au/ -s CALL PIONEER TS -11116 ca US tone), Bobinet; others. Chorus and Orches- RCA IIPT460 ..CALL PIONEER T11.1116 se 173 CALL SONY SL -2500 '1.'CALL SONY CAR STEREO CALL tra of the Concerts Colonne, Laurent Petit- ALL MERCHANDISEIS BRAND NEW, 1-800-638-8806 girard cond.PETERS INTERNATIONALPLE FACTORY FRESH, ANDFULLY GUARANTEED 138/9 two discs $17.96. Quantities limited Prices subjectto change without notice OR1-301-488-9600 Write Or Call ForFree Catalog! Performance. Lively Call Toll-Freel Use our special OR SEND FOR BROCHURE WITH Recording.Unspectacular 800.221-0974 Night -Owl Line. LINES AND PRICES AND TIPS (Ex NY, AK, Hi I ON BUYING BY MAIL TO This recording is based on the 1980 Paris Monday - Friday Call Toll -Free. revival of Offenbach's engaging operetta. A 9Am - 5:30Pm 800-327.1531 small oiaestra of forty-two musicians is Sat. 9Am - 5Pm E.S.T. Monday Friday INTERNATIONAL OR CALL (212) 253-8888 5:30 - 10Pm E.S.T. HI-FI used, but the annotations inform us that Of- DISTRIBUTORS, Inc. fenbach had only eighteen in the pit for the STEREO CORPORATION MORAVIA CENTER premiere at the Palais-Royal in 1866. The OF AMERICA INDUSTRIAL PARK singers here display slender operetta voices, ...... , Dept106 a BALTIMORE MARYLAND 21206 but they form a nice ensemble, sing in tune, 1629 Flatbush Ave.,Brooklyn,N.Y. 1 1210 and enunciate their parts superbly. CIRCLE NO46 ON READER SERVICE CARD 106 CIRCLE NO22 ON READER SERVICE CARD STEREO REVIEW Meilhac and Halevy, the librettists -to -be While our one -of -a -kind, of Carmen, concocted a plot for Offenbach die-cast metal frame is amaz- that has little cohesive story line but an ing, it's our MA -R tape's abundance of lively satire and textual and sound that will really impress musical wit. Much of the dialogue is miss- you. TDK MA -R created a ing in the streamlined version here; the An- new state-of-the-art in cas- gel set (SBLX-3839) offers more music, a settes. It's metal tape with a fuller orchestration, operatic voices, and a higher energy and a wider far richer sound. But it is an advantage of dynamic range. the present abridgment that the selections But the MA -R's looks are are banded and the delectable highlights important to the tape's thus easier to find. No libretto is supplied, sound, too. The metal frame however, and I noticed some pressing flaws and Reference Standard on side two of my review copy. G.J. Mechanism eliminate warp- age, reduce wow and flutter, PENDERECKI: Actions for Free Jazz Or- and withstand environmental chestra. New Eternal Rhythm Orchestra, changes. Krzysztof Penderecki cond. CHERRY: Hu- The same outstanding mus-the Life Exploring Force; Sita Rama metal tape also comes in a Encores.DonCherry(pocket -trumpet, more economical cassette: flutes, vocals); New Eternal Rhythm Or- TDK's MA, in a Laboratory chestra.EVEREST 3484$5.98. Standard Mechanism. Performance. Authoritative Look for TDK MA -R and Recording:Good MA, the metal tapes that This live recording comes from the 1971 stand alone. Donaueschingen Festival and from the very heyday of the intersection between free jazz and avant-garde aleatory music. The New Eternal Rhythm Orchestra is-or was-a band made up of outstanding American, English, German, Dutch, Belgian, Norwe- gian, and Polish jazz musicians. Don Cher- ry's Humus is a loose collection of themes and thematic elements, mostly from Asia and Africa, that are brought in one by one in the most informal manner and picked up THE MACHINE FOR YOUR MACHINE. on by the musicians in an atmosphere of good spirits and mellowness. Krzysztof Penderecki's presence in the CIRCLE NO 50 ON READER SERVICE CARD midst of these high jinks might seem a little surprising, but, in fact, the distinction between avant-garde jazz and a lot of new non -jazz has been blurred for a long time now. The jazz tradition has accorded more importance to the creative contributions of the players than those of the composer, but, with the advent of so-called aleatory music McIntosh and free improvisation on the new -music scene lo these many years ago, even that STEREO CATALOG difference has tended to disappear. Actual- ly, the Penderecki and the Cherry pieces and FM DIRECTORY here have a lot in common. Penderecki also gives music to the musicians-in this case a Getall the newest and lafest int ormatiDn on the new written -out score-and then lets them take McIntosh stereo equipment in the McIntosh catalog. In addition you will receive an FM station directory that off from it. The difference is one of tone. covers all of North America. Penderecki is organized, serious, full of intention; Cherry is playful, off-the-cuff, mes- sy, nitty-gritty, spiritual. But this is more a difference in personality between the two men (and a distinction between an Old World attitude and a New World one) than a real difference in genre. Listeners who like Cherry's sloppy big - band idea of ecumenical fun may not take so quickly to Penderecki's long -bearded idea of a free jazz band, but those are the r 1 risks. Seems like people were more willing McIntosh Laboratory, Inc. SR to take those risks ten years ago. A friendly East Side Staion P.O. Box 96 word of warning: my review copy had re- Binghamton, N.Y. 13904-0096 versed disc labels. E.S. SEND NAME RAVEL: Jeux d'Eau (see MUSSORGSKY) TODAY! ADDRESS RECORDING OF SPECIAL MERIT STATE ZIP _ REGER: Serenade in G Major, Op. 141a, Serenade in D Major, Op. 77a. Peter -Lukas If you are in a hurry for your catalcg please send the coupon to McIntosh. Graf (flute); Sandor Vegh (violin); Rainer For non rush service send the Reader Service Card to the magazine.

JUNE1982 CIRCLE NO32 ON READER SERVICE CARD Moog (viola).CLAVESD 8104 $11.98 (from tone but also beautifully written, and neith-four, all written by the time he was twenty- BrillyImports,155 North San Vicente er overstays its visit at all. four. The earlier works may be less ambi- Boulevard, Beverly Hills, Calif. 90211). The success of these works is aided in no tious and astonishing than the familiar Performance Deft small part by the deft performances and theThird, but it would be nice if some of them fine recording. For once Reger gets the kind would get a little of the attention lavished RecordingLovely of attention he should get. E.S. on it. Sometimes it seems that every organ- If you think Max Reger is a heavy, dull, and ist and orchestra in the world is determined pedantic note -spinner, try the delicate, ex- SAINT-SAENS: Symphony No. 3, in C Mi-to add yet another recording of the Organ quisite G Major Serenade for flute, violin, nor, Op. 78 ("Organ"). Frederick Minger Symphony to the catalog (I counted sixteen and viola. It sparkles, it delights. Nor is it (organ); Baltimore Symphony Orchestra, in the current Schwann). In terms of per- some work of youthful exuberance; it dates Sergiu Comissiona cond.VANGUARDal formance, I suspect Toscanini did all that from 1915, only a year before his death. VA -25008 $12.98, CVA-25008 $12.98. could be done for this work years ago (too With its lovely and highly original slow Performance Fiery and flashy bad his sensational RCA recording is no movement and witty, perfectly conceived Recording: Spectacular longer available), but in terms of sound fast outer sections, itis a masterpiece. Its many of the later versions have been land- companion piece on this disc, composed Saint-Saens' Third Symphony was actually marks. Although there are mightier sym- eleven years earlier, is a tad more serious in his fifth. He suppressed two of the otherphony orchestras than the Baltimore and more celebrated organists than Frederick Minger, under Sergiu Comissiona's fiery guidance their new digital recording seems to my ears the equal of any of its current competitors. Unlike some other recent recordings, the organ and orchestra were recorded together, not mixed after the fact, Orbitrac T:.. and additional resonance is provided by the locale, the National Presbyterian Church in Always in the groove! Washington, D.C. P.K. SCHUMANN: Violin Sonatas: No. 1, in A Minor, Op. 105; No. 2, in D Minor, Op. 121. RonaldGorevic(violin);CaryLewis (piano).CRYSTALSI31 $8.98. Performance Communicative Recording. Rich and bright The Schumann violin sonatas have fared well in all their recent recordings, perhaps because the relatively few violinists who bother to record them really love and understand them. Ronald Gorevic, a youngish Briton now living in the U.S., surely has the measure of them, and in Cary Lewis he has as sympathetic a keyboard partner as anyone could ask. They benefit, too, from a somewhat richer and brighter recording than Desto gave Jaime and Ruth Laredo (DC 6442) or than Vox provided for Zvi Zeitlin (one of Gorevic's teachers) and Bar- ry Snyder (SVBX-5111). However, the Laredos perform the intermezzo from the "F -A -E" Sonata in addition to these two works, and the Zeitlin/Snyder performances are part of an economical three -disc set of Schumann's chamber music made up for the most part of lesser -known works for unusual combinations ofinstruments. Orbitrac circles your album with hundreds of microscopic fibers in each So ... you pays your money and you takes groove for a clean no other record care system offers. Just align with the your choice. R. F . center notch and the hand-held pad swirls each and every groove free of SHOSTAKOVICH: Symphony No. 1, in F abrasive grit.It's simple and fast and, because it uses a wet solution, Major, Op. 10; Symphony No. 9, in E -flat damaging particles are lifted free without grinding or scraping across Major, Op. 70. London Philharmonic Or- chestra, Bernard Haitink cond.LONDON 0 groove ridges. No other record cleaner can 4.. touch it for complete LDR 71017$12.98, © LDR5 71017 cleaning ability. Get an Orbitrac and really get in the $12.98. groove. Performance Highly charged Recording. Very good SHOSTAKOVICH: Symphony No. 1, in F Major, Op. 10; Symphony No. 9, in E -flat Major, Op. 70. Cincinnati Symphony Or- Win -hl Leaders In Fidelity Cleatiin,s; chestra, Walter Susskind cond. VoxCUM LAUDEVCL 9003 $8.98, © VCS 9003 $8.98. ALLSOP, INC. PO Box 23 Beifingham. WA 98227 USA (206) 734 -9090,Telex 15.2101 Alisop Bo- I Performance Good to excellent CIRCLE NO. 53 ON READER SERVICE CARD Recording: Good There are pluses and minuses for both these new records. Bernard Haitink's recording

108 STEREO REVIEW has the advantage of the splendid immedia- cy of sound provided by London's excellent digital mastering, but the late Walter Suss - kind offers a distinctly more satisfying pacing of the interlinked final three movements of the Ninth Symphony, in which Haitink's sharply defined tempo contrasts tend to throw one off a bit. One might also question Let the sound shine Haitink's tempo contrast between the outer through. Gusdorf's sections and trio of the scherzo in No. I. On beautiful glass doors and _1 the other hand, his pacing of the opening canopy give stereo movement in No. 9 captures every bit of its delectable impertinence, and the London components glamorous Philharmonic winds accomplish prodigies of luminescence. With virtuosity in the presto of the same work. gorgeous woodgrain Still,Ifeel that Susskind does better with finishes to choose. And the sweet-and-sour aspects of the finale. Although the production team of Mark all those better-than-Ny Aubort and Joanna Nickrenz did a very de- features that make cent recording job in Cincinnati, it doesn't Gusdorf what it is - We quite match what the London disc has to genuine article. We call offer, nor does the Cincinnati orchestra it- this one VistaRak. WE've self sound in the same league here as the Londoners. My own preference for No.I made four models, arid remains the composer -supervised Ormandy you con get free colo- recording on Columbia and for No. 9 either literature that's got the Kondrashin on Melodiya/Angel or the everything we make As reissued Koussevitsky on RCA. D. H . well as the name of your SMETANA:String Quartet No. 1, in E Mi- nearest dealer. Just write nor ("From My Life"). SUK: String Quartet me, Mike Sheperis, at No. 1, in B -flat Major, Op. 11. Bohemian Gusdorf, 6900 String Quartet. PARNASSUS 1001 $10 Manchester, St. Louis (plus $1.50 postage and handling charge from Parnassus Records, 2188 Stoll Road, MO63143. Saugerties, N.Y. 12477). PerformanceHistoric slides Recording 1928 The Bohemian String Quartet-really the

Czech Quartet but always known abroad by acir No . its German name-was founded in Prague in 1892 and remained active until the mid - 1930s. When these recordings were made in 1928 the violinists were still, incredibly, the original ones: Karel Hoffman and the com- We've Got It All! poser Josef Suk. The violist, Jiri Herold, and thecellist,Ladislav Zelenka, were Stereo Discounters new long-time members too. The group's reper- Spring 1982 Hi-Fi & Home toire was wide, but, not surprisingly, they CALL TOLL FREE specialized in the music of Dvotak, Smeta- Entertainment Buying Guide 1-800-638-3920 na, Jana6ek, and Suk, many of whose works is here! It's bigger and better for your free catalog of the latest they premiered or first brought to the out- in audio & video equipment! side world. than ever, offering you page Parnassus Records is a company that spe- after page of famous name Complete Catdati of ralf cializes in reissues of early and historic re- Nam Brand Stereo and brand Hi-Fi & HomeSTEREO Video CompOnents for roe cordings, and this one is certainly of consid- Nene and Car at Oe Entertainment equipment.DISCOUNTERS indust-rs Lowest arias erable interest. After all, Suk himself plays SPRING 1912 the violin in his quartet, and the short, vig- It's full of manufacturer's Hi-Fi a Home ENtertainment Buying Guioe orous finale performed hereisdifferent specifications and rlustrations from that in the published score. But the Smetana performance-of a work only six- of the latest in sight & sound, teen years older than the ensemble playing home information and enter- SeL it-is of even greater interest. tainment, for your home and As John D. Wiser points out in his album notes, the technical basis for the legato/ car. From car stereo to home melodic style of playing this music is the computers, Stereo Discounters ' XI 9 :: .

portamento or slide. This way of playing the has it all for less! Alawl violin was not limited just to Czech or Slavic music but was completely pervasive n from at least the late nineteenth century STEREO (perhaps a good bit earlier) until well into iii the first decades of the twentieth. The tech- DISCOUNTERS nique has gone so far out of fashion today, 6730 Santa Barbara Ct. however, that contemporary listeners may be put off; yet, as Wiser notes, the effect is Baltimore, MD. 21227 ' just the way these composers must have r Idea wow imagined their string music would sound. 'Pilashmeard VISA Just listen to Suk and his companions in his

JUNE1982 DIRECT ONE of the most impressive features of the various concertos by Joaquin Ro- HOT drigo-perhaps even more impressive than his gift for infectious tunes and piquant coloring-is his thoroughly idiomatic ex- LINE ploitation of the solo instruments. This feature is no less apparent in the two unfamil- 1-800-327-0396 Ext. 2 iar concertos offered on a new Angel re- FOR PRICES ON SONY, cording than in the wildly popular Concier- to de Aranjuez for guitar, and the orches- JVC, PANASONIC, RCA & tral writing is remarkably imaginativeas other famous Mfgs. well. Anyone coming to these works for the first time must wonder how they could have remained so little known all this time. The COLORr "Summer Concerto" for violin was written TV'S in 1943, just four years after the Concierto de Aranjuez, and the Cello Concertoap-

SONY COI OR TV'S 449 peared in 1949. Both works show Rodrigo SONY 196R IN IN SONYNORASPS at the very top of his form in terms of crea- SONS RV ONSIPS 111 SNIT Alf NOT tive inspiration, and both give the respective 115 SONY KV 264 '1, SSN UP SONY KV 2061. 11150 soloists the most attractive opportunities for BIG SCREEN TV'S lyrical display and witty asides. This record RCA PPR 100 SORT P.SO. SPIN was my first exposure to the acclaimed PANASONIC CI soo SPAN SONY N

99.9 SONY KA SON SONS twenty -three -year -old British cellist Robert TSINRINI NOVO f t 139' MANN V. IPS STNS ouSAR ORONO - 10999 CINNT ve rrs 10291 Cohen, and itis easy to hear what all the R. Ono ca..* c or... Pons of PANASONIC NC RCA SANYO A N.C. fuss is about: he plays like a god. Agustin CAP 1 NOTP OS16 b 10.1,90 Leon Ara is similarly appealing in hiscon- certo, and Enrique Batiz, as always, has the orchestra brilliantly in hand. The digitally HOME VIDE Cellist Robert Cohen RECORDERS mastered sound is very natural, and the PANASONIC PS .1210 to, pressing is exemplary. This disc is a winner T Y-5-0 11..p. NS SANYO NT-43CC.. Rro. 609 wY SS PS1301... 0 RCA 103.200 in every respect. -Richard Freed wY Y.SS-MA,,, NS PICA WV r' VHS 71P v C POSNISOLI VHS NvonN RCA 10,460 N....1N-, to. 11.41 JvC NNTTOO VMS Ref rwas 122 GRodrigo: PANASONIC PO -INS PPS RwrTon SAO QUASAR SVC/ . 705 RODRIGO: Concierto de Estio for Violin PANASONIC 1.1.1370 VMS 075r0n377 QUASAR ST ff SIN PANASONIC IV NA QUASAR SAW 119 SOS and Orchestra; Concierto en Modo Galante Two Unfamiliar for Cello and Orchestra. Agustin Le6n Ara (violin);Robert Cohen(cello);London VIDEO CAMERAS Symphony Orchestra, Enrique Batiz cond. SORT 7151( 2200 St179 11110111 SSC 11100 sows ANGEL 0 DS -37877 $10.98, PA NASON.0 OR 751. MPS MITA°. GNI 0 4ZS-37877 PANASONIC PK SSTS Concertos soffTn RCA CCON SNIP $10.98. PANASONIC PK 700 7 2575 RCA CC011 JVC GS NV S'S QUASAR OR 720 1.19 NIS QUASAR OK 73 . PANASONIC PR606.sof t..mn. SASS , PANASONIC P.M fofo CW.Ial, 1090 we Nso aw.a. c.i.f. 5,9. w inaus1001 Nowa& PORTABLE VIDEO RECORDERS SNIT 1,1000 INPICA SNNITC vo.. tun, SONY TT.INO foon fn. NS RCA 101.170.45.3 7,7x slow movement: if that isn't authentic, what ries; Dance of the Blessed Spirits. Handel: PANASONIC INN 10 VMS Rocco. NS PENN 'NAUSS VMS. ;few NUNIONC INNIS VNS ON WAS. I/PAIII0 005 SANAA Sn is? Personally, I'm in favor of a revival ofSolomon: The Arrival of the Queen of She- PANASONIC NAMPA NTS R.. NIS QUASAR ONSX1 Tone. lmw 249 MUNN VTONNA NTS* To. IN SANTO VTR Ions good old-fashioned portamento in modern ba. Berenice: Overture, Minuet, and Gigue. VIDEO TAPES CAR violin playing-and there are signs that it is Water Music: Air and Hornpipe. Academy Ne car, pa. Nom by SONY INA JVC already happening. of Ancient Music, Christopher Hogwood IONE LP NONA. RCA PANASONIC STEREOS SCOTCH I T$1 TA corn, 01. of SORT SN I The case for the old style would be made cond. L'OISEAU-LYRE DSLO 594 $10.98. SOO 410IN SO Any NO SIP' ST NOUN( T a... Co M. Y 00 IN N A.1120 SIT 9S 10771701.0777171 a little more strongly here if the quartet Performance Excellent SPECIALS were just a bit more accurate in intonation. ATARI CP 2600 Comps. 0. SIN SP. Walkman I 369 The dry old sound-although serviceable Recording Very good INV RRNs.. from NT 95 SONY SRP NW Walkman fN SONY VOL ,,,,,, leg JVC PC SAM Poo Steno Syslorn $30V and nicely cleaned up-is quite merciless in Christopher Hogwood must have had two We emu carry its emaciated, close, focused quality. No purposes in mind when he chose the reper- PANASONIC, AKAI. SHARP, BLAUPUNKT, fancy blend here: everything can be heard toire HITACHI, ATARI, SANYO, FUJI, BRAUN, for this delightful record.First, to JVC, ADVENT, and much more. very clearly. The performances' charm and present in their original scorings, with peri- For more Information send for a free catalog musical rewards are provided by the quar- od instruments and stylistically correct per- and enclose $2 00 for postage and handling. tet's tightness of ensemble, rhythmic sense, formances, popular pieces that are usually Order by phone or by mail, send money or certified check Two week delay on personal togetherness in rubato, and use of phrasing, heard in souped -up versions. Second, to dis- checks, when paying by charge include card articulation, and strong coloration as well play the sonorities of various instruments in number and expiration date. Shipping charges will be added on to credit card. as a general expressive liveliness. E.S. an orchestral context. The result is a splen- Not responsible for typographical errors Prices subject to change did anthology that makes a perfect intro- SUK: String Quartet No. 1, in B -Nat Major, duction for listeners wishing to be initiated 111 Op. 11 (see SMETANA) into the joys of authentic performance prac- inter tice on early instruments. COLLECTIONS The performancehereofPachelbel's whoiesa Canon cleans the ears of meaningless string OF RECORDING OF SPECIAL MERIT vibrato and shapeless legato. The Gluck MUM, INC. dances astonish with the fury of the full en- 17866 IPCO ROAD IN E 5th AVE I ACADEMY OF ANCIENT MUSIC. Pa- semble and the contrasting sweetness of the MIAMI ,FL 33162 chelbel: Canon and Gigue. Vivaldi: Con- old flute. The Vivaldi and Handel pieces For FREE 192 pg catalog send $200 for post- ageand handling certo in B Minor for Four Violins. Cello. bring in the sounds of oboes, militant brass, let. I and Orchestra, Op. 3, No. 10; Concerto in C and Baroque festive joy. The Academy's Name Major for Two Trumpets and Orchestra strong performances throughout should dis- Address (RV 537). Gluck: Orfeo: Dance of the Fu- (Continued on page 113) L JI CIRCLE NO 23 ON READER SERVICE CARD 1 I0 STEREO REVIEW STEREO REVIEW CLASSIFIED

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STEREO ONE. Your ONE call for affordable hi -end audio. New premium cassettes. Sample. C-60: $1.00. AUDIO Acustat, Audio Research, David Berning, Haller, Infinity, Mit- TAPES, Box 9584-K. Alexandria, VA 22304. (703) 892-8722 IMPORTANT BONANZA! Largest selection of West German, subishi. PS -Audio, 3D. ONE day, pre -paid nationwide, fully - VISA -MC East European, and Japanese recordings ever seen. Classi- cal, Rock. Jazz. Free details. Dealers Welcome. Larry's Rec- insured shipping. 2410 West Ridge Rd., Rochester, NY FREE PROMOTIONAL ALBUMS, concert tickets. stereos. 14626. (716) 227-6181. etc... Information: J. Saez Promotions. Suite S-151, 323 S. ord Syndicate, 617 Seventh Street, Oregon City, OR 97045. (503) 655-0001. FREE information -complete systems below component cost!! Franklin Bldg., Chicago, ILL 60606 Stamped envelope. Tradewest. SR62, 3632 Floyalscott, West TAPES CHEAP! 8 Irks & cassettes from $1.49. Rock, Soul, Valley, Utah 84120. Jazz, El, Quad and more. Free 36 page TAPE catalog. SQUARE DEAL RECORDS, Box 1002, Department T, San :stIta1°6FREE! Luis Obispo, 93406. -DISCOUNT CATALOG SUBSCRIPTION. TUBES SOTA FE ;MESS ;Vote today for the latest edition 01 C he Saxitone Catalog, America's TV and Radio Tubes 49 cents. Free 48 page color c 415109. WE HAVE THE BEST PRICE most complete buying land saving) Cornell, 4215-H University, San Diego, California 92105. guide to tape recording. Brand 1a1. name cassettes,open.reel videotape, tape decks & recorders, personal stereo units WANTED PROMPT and more always at discount prices. S2 shipping on most orders. 24 -hour shipping with MasterCard, Visa & Choice. GOLD, silver, platinum, mercury, tantalum wartted. Highest 12021462-0800. prices paid by refinery. Ores assayed. Free cirnular. Mercury SERVICE Terminal, Box 191, Norwood, MA 02062. BRAND NAME CAR & HOME AMOOCAIS Tape*corer.,Soocroirsts AUDIO COMPONENTS CASH FOR Unwanted LP's, Prerecorded !Wel/Reel Tapes. (=TONE Rader, Box 323S, Hillburn, NY 10931. CALL US TAPE SALES TOP DOLLAR paid for: AUDIO RESEARCH, MARANTZ, 1-800-545-5188 1776 Columbia Rd NW Washington DC 20009-2896 McINTOSH, Box 18009, Seattle. WA 98118.. (206) 323-4987. OR WRITE J TOP DOLLAR PAID for good condition LPAI. All types, quanti- PO BOX 7578 CASSETTES. No one beats our price! Send SASE. Tapes ALBUOUEROUE,NEW MEXICO 8 719 4 ties. FESTOON'S, 15 Whitney, New Haven . CT 06510. (203) Unlimited. 300 Baker. Elkhorn. WI 53121 789-8210. pal any lingering doubts one might have BOYD NEEL: A Concert for Strings. Wolf - Pezel:Suite.Speer:Sonata for Four Sac - about the wisdom of reviving the sounds of Ferrari:School for Fathers: Intermezzo.buts; Sonata for Trumpet and Three Sac- the eighteenth century. S.L. Collins:Vanity Fair.Bizet:L'Arlesienne buts.Reiche:Fugas Nos. 4 and 18.Hauss- Suite No. I: Adagietto.Dela:Adagio; Dans mann:Pavane and Gaillard.Praetorius: RECORDING OF SPECIAL MERIT Tous les Cantons.Rimsky-Korsakov:Flight Ballet. Spagnoletta; Schiitzenkonig; Three of the Bumble Bee.Wiren:Serenade forSettings of "Gelobet seist du, Jesu Christ." LILI KRAUS:Fantasies. J. S.Bach:Chro- String Orchestra, Op. II: March.Gibbs: Franck:Intrada.Isaac:A la Bataglia. matic Fantasy and Fugue in D Minor Dusk.Mendelssohn:Spinning Song.Volk- Stolzer:Melodias in the Hypophrygian and (BWV 903).Haydn:Fantasy in C Major mann:Serenade No. 2 for Strings: Waltz. Mixolydian Modes.Priuli:Canzona a 6. (Hob. XVII: 4).Mozart:Fantasy in D Mi- Hart House Orchestra, Boyd Ned cond. Brade: Canzonaa 5; Pavane and Galliard. nor (K. 397).Schubert:Fantasy in C Major VOX/TURNABOUTCTC-32007 $4.98. New York Cornet and Sacbut Ensemble. (D. 760, "Der Wanderer").Lili Kraus (pi- Performance Luscious lollipops TITANICTi -97 $9. ano).VANGUARD VA -25003 $12.98, 0 CA -25003 $12.98. Recording: Excellent Performance Uneven Recording: Full-bodied Performance Gutsy, communicative Some years after founding the eighteen - Recording. Warm and clear member Boyd Neel Chamber Orchestra in This album gets off to a rather lackluster England and leadingitin performances start with Schmelzer's Music for a Carrou- Lili Kraus celebrated her seventy-seventh praised all over the world, the late Boyd sel. The rhythms in the twocourantesec- birthday on April 2, but she obviously has Neel emigrated to Canada, and in 1954 he tions are flabby, and the whole performance no more intention than Arthur Rubinstein started the Hart House Orchestra in Toron- sounds tentative. Something of the same before her of ever assuming an "elder to. To judge from this recording, the group quality pervades the rest of side one. On statesman" role in her music making. She played with the same high polish and disci- flippingthediscover,however,allis has never believed, of course, in such a thing pline that characterized the British ensem- changed. Brilliance and precision charac- as a "feminine" approach, nor ever felt that ble. The program here ranges from such terize the rousing rendition of Isaac'sA la the music of any of the four composers rep- chestnuts as Rimsky-Korsakov's Flight ofBataglia,and in the patchwork canzonas resented here was to be regarded in terms of the BumbleBeeto a delightful march from the ensemble's handling of the tricky rhyth- gossamer fragility. There's no mincing reti- the Serenade for Strings by Dag Wiren, at- mic and tempo changes is masterly. Both cence in her confrontations with Bach and mospheric pieces by Maurice Dela, and An- the music and the playing reach their Mozart, no condescending smoothing -over thony Collins' melodic miniature Vanity greatestheightswithWilliamBrade's in her Haydn and Schubert. The playing is, Fair. It's a lighthearted, lightweight pro- sumptuous Pavane and Galliard. as always, gutsy, involved, and urgently gram, but everything is played so splendidly Despite the unevenness of the music and communicative. The program makes more that it adds up to a thoroughly satisfying performance on this record, itwill be of sense than many a collection of unrelated listening experience. P.K. great interest to brass buffs. It is a fine col- pieces by one composer, and the recording, lection of old German music and displays its digitally mastered from a four -track analog NEW YORK CORNET AND SACBUT different facets very well. S.L. tape, presents a comfortable balance of ENSEMBLE: German Brass Music, 1500- warmth and clarity. R.F. 1700. Schmelzer:Music for a Carrousel. (Continued on page 114)

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JUNE 1982 113 STEREO REVIEW ADVERTISERS' INDEX READER PAGE SERVICE NO ADVERTISER NUMBER

CNew Adcom 20 ADS 23 2 Aiwa 43 Allison Acoustics 52 1-nerican 53 Allsop, Inc 108 Alpine Electronics of America, Inc 31 Angel/EMI Records 98 °Music 3 Atari 54, 55 4 Audio Spot 103

5 BASF 21 5 B.E.S 98 Robert C. Bosch 79 Bose Corporation Cover 3 Brown it Williamson 53 Arthur Weisberg, conductor of the 7 Carver Corporation 29 8 Celestion Industries, Inc. 90 Orchestra of the 20th Century Columbia Records 93 55 Concord Electronics 95 9 Consumer's Company 52 10 Cybernet International 49

58 Dahlquist. Inc 86 11 dbx, Inc 8 Two newCR1releases not only offer their services, there is still the not inconsid- 12 dbx, Inc 20 some attractive recent American music erable cost of production. The Da Capo Delco Electronics Division 81 but also document the remarkable rise of 13 Devon America, Inc 39 Chamber Players' disc carries the imprints 14 Design Acoustics 82 performance groups devoted to new music. of the National Endowment, the Martha 15 Discount Music Club 18 One disc features the Orchestra of the 20th Baird Rockefeller Fund (it has just gone out 18 Discwasher 83 Century in works by Robert Moevs and Ja- of business), and the Ditson Fund of Co- 17 Empire Scientific Corp cob Druckman, the other the Da Capo lumbia University. The original commis- 17 Chamber Players playing works commis- sions were underwritten by the New York 18 Fujitsu Ten 84 sioned for the group's tenth anniversary State Council on the Arts, the Meet the concertinAlice Tully Hall atLincoln Composer program, and the Fromm Foun- 20 Gusdort Corp. 109 Center. dation. One wonders what will be the future Harman Kardon, Inc. 28, 27 The Orchestra of the 20th Century was of such projects in the Reagan era. 21 Hi-Fi Buys 89 founded by Arthur Weisberg in 1975 and Illinois Audio 105 has continued to be active in the perform- IN tribute to the group's name, all the 22 International HiFi Dist. 108 ance of new music, mostly American. The pieces here make some kind of reference to 23 International Wholesalers 110 conjunction of circumstances that brought the idea of repetition-long anathema in 24 J 8 R Music World 94 about its new album is too curious not to be new music but now very much on its way 25 Jensen/Sound Laboratories 78 recounted. Robert Moevs, born in Wiscon- back. The most obvious example is Philip 28 Jensen Automotive Div. 19 sin in 1920, studied with Nadia Boulanger Glass'two -chord Modern LoveWaltz, Kenwood Electronics 85 in Paris. But his Concerto Grosso for Piano, charmingly arrangedforthe Da Capo 27 Kose Corporation Cover 4 Percussion, and Orchestra, the work offered Players by Robert Moran from a solo piece here, was conceived in1960, finished in originally contributedto Moran's "The 28 Liar Jet Stereo 18 1968, and won the Stockhausen Interna- Lectric Shave 87 Waltz Project" (the piano originalis on 30 Linear Power 103 tional Composition Prize in Italy in 1978. Nonesuch 79011, which I produced). The 31 Loren 99 As you might imagine, it does not sound like other works range from Joan Tower's amus- a product of the Boulangerie but is right up ing retakes of Stravinsky to the warmth of Marlboro 45 32 McIntosh Laboratory, Inc 107 there with the serialist avant -grade. Joseph Schwantner, the wit and wisdom of 33 Maxell Corp. of America 15 But that's not the end of the tale. Wanda George Perle, and the austerities of Sha- 34 Mura Corp 89 Maximilien, the excellent pianistinthe lamit Ran and Charles Wuorinen. All are Nekernichi 50 Concerto Grosso, is from Haiti, and the very well played. The recording is close and record was subsidized by His Excellency, clear, less wide and warm than on the or- 35 Panasonic Car Stereo 91 Jean-Claude Duvalier, the President -for - chestral record. -Eric Salzman 37 Pickering & Company 108 39 U.S. Pioneer 40, 41 Life of Haiti, as well as by grants from 38 Polk Audio 10 Rutgers University, the National Endow- ORCHESTRA OF THE 20TH CENTURY. 40 P.R.I.C.E. 100 ment for the Arts, and the New York State Moevs: Concerto Grosso for Piano, Percus- Council on the Arts. Subsidy these days, I Radio Shack 2 sion, and Orchestra. Wanda Maximilien R. J. Reynolds/Camel 73 guess, is where you find it. (piano);Raymond DesRoches,Richard R. J. Reynolds/Winston 33-35 The piece on the other side of the disc, Fitz, Louis Oddo, Bruce Patti, Stephen Ron Rico Rum 77 Jacob Druckman's Windows, won the Pu- Payson (percussion); Orchestra of the 20th 41 Sensui Electronics Corp. 37 litzer Prize in 1972 and has been played ex- Century, Arthur Weisberg cond.Druck- 42 Sherwood Electronic Labs. Inc Car 2. 1 tensively in America and Europe. It took man:Windows. Orchestra of the 20th Cen- 43 Shure Brothers 11 44 Sony Corp 7 only ten years to get it recorded. Windows tury, Arthur Weisberg cond. CR1 SD 457 46 Sound Reproduction, Inc 89 also belongs to the general category of serial $8.95. 48 Stereo Corp. of America 89 music, but itis full of references to more Stereo Discounters 109 48 Studer Revox 87 traditional styles and is on the whole much DA CAPO CHAMBER PLAYERS. freer, wittier, more flexible, more articu- Schwantner:Wind, Willow. Whisper . . . 49 TDK Electronics 4 lated and flowing than its disc partner- Ran:Private Games.Tower:Petroush- 50 TDK Electronics 107 51 Tesc Corporation of America 47 and thus more engaging. But both pieces kates.Wuorinen:Joan's.Perle:Scherzo. 36 Technics 9 are worth your attention, especially in these Glass (arr. Moran):Modern Love Waltz. Da excellent performances and recordings. Capo Chamber Players (Patricia Spencer, U.S. JVC 81 All records released by CR1 (Composers flute; Laura Flax, clarinet; Joel Lester, vio- 52 Wisconsin Discount Stereo 100 Recordings, Inc.) must be fully subsidized lin; Andre Emelianoff, cello; Joan Tower, up front. Even if the performers donate piano). CR1 SD 441 $8.95. Yamaha International Corp. 12 JUNE 1982

114 STEREO REVIEW ,%' :@ O ,_E 15 ii-, to 12 a 6 ;,-- t- .-; 76 ts Cl) F,,L, -`,f.---.: (1) "A' f :,. 1/..' ' i ,,,,,-; i ,,,, 2 ,,,-,,i7-,,, a' .! 8 7, MI§ S :SG

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What a duo the Kossfi-e, 210 and Dyna Mite Or take the Koss Dyna Mite M/80 loudspeak- M/80 loudspeakers make. Each is an explosion ers. Just over 12 -inches high, the Dyna Mite of sound and design innovation that sets them M/80 features a unique 3 -driver system with per- apart from all other speakers in their class. fect mirror -image performance whether it's stand- Take the 4 -driver Kcssfire loudspeaker, for ing up or lying down. Dual 41/2 -inch woofers and a example. Kossfire's unicLe dual tweeter design 1-inci dome tweeter turn any music into a dyna- doubles the power handling capability over the mite experience. And the Dyna Mite's natural, all-important treble range while virtually eliminat- hand -rubbed walnut veneer cabinet make it as ing distortion. There's a big 12 -inch woofer and a beautiful to look at as it is to listen to ... on your 5 -inch midrange. Even a built-in automatic circuit bookshelves or in your van. breaker. And ifs all wrapped up in a beautiful Ask your audio dealer to show you the ex- pecan veneer, 80 -liter, cabinet. No wonder the plosive duo from Koss. We think you'll find Kossfire/210 is the first loudspeaker to live up to them both a dynamite experience. And that's a its promise. promise! C 1981 K C NKOSSsJereophones/Loudspec kers/K4DS Digital Delay System hearing is believing

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