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1986 MITSUBISHI ELECTRIC SALES AMERICAINC 799 N, Circle Mount Prospect, IL 60056 (312) 298-9223 5886 Woodbine Avenue Markham, Ontano L3R5G1 (416) 475-7728 HIGH FIDELITY Volume 36 Number 3 March 1986 TEST REPOR TS 25 Bose N2loudspeaker 31 DenonAVG500 audio -video control center 34 TechnicsSA -460 audio -video receiver 37 Harman KardonTD -292 cassette deck 39 Kenwood K LC -999car tuner/tape deck 42 Panasonic (*Q-E(V,111.:l.car receiver/tape deck AUDIO & VIDEO 45 Coming to You in Stereo by Leslie B. Tyler Miami Vice has viewers hearing double, but the road to MIS was anything but fast -paced. 48 Happy Hookups by Robert Angus Thinking of summoning a TV Genie or a Video Magician? Beware the FCC's hex. MUSIC Classical 54 The Czar of Soviet Music by Joel W. Spiegelman An exclusive interview with Tikhon Khrennikov 56 The CD Spread by Robert E. Benson, Irving Kolodin, and Bill Zakariasen For Schiffians: Andrds on piano, Heinrich on cello. For Jovians: Mozart symphony, Hoist suite. 58 Notes from Underground by Mint Andris Varga A salute to Salieri and other news from Hungaroton Popular/Backbeat TTTT 65 Country's Future Days by John Morthland "New traditionalists" can't re-create an era, but their popularity has spurred interest in reissues. -T- DEPARTMENTS 2 Publisher's PageThe Government Connection 54 4 Letters 8 CurrentsMostly mobile audio 18 Crosstalk Cable unready; DBX-I vs. DBX-II 21 Basically SpeakingFeedback-the untold story 22 Bits & PiecesLoose ends in the Compact Disc standard 53 MedleyLily Tomlin on Broadway; Denon builds a classical repertory. 59 Classical Reviews 61 Critics' Choice 68 Popular Reviews 74 Jazz Reviews 80 Advertising Index 80 Reader -Action Page

Cover Design: Michael 0Delevante

. Delevante. Jr His. f rot rut ri556 0018 1455 ,,,Mkshed monthly at 825 lrh Ave . New York. N Y 10019. by ABC Consumer Magatures, Insa Mown of ABC Putantong. Incand a substdory of Cover Photos: David Hedoich n Coo/rapt y' 1986 by ABC CM51.101.1 Mat:pones. t o The desqn and con tent: ION ,veered Or ealtst KJI4 and muss am be rontodt44,10 any.. and at orgjoronur mining in tern Alsthot,r1 as mr nut erase mail I, the Post -Mice Department. Ottawa, and to paYme. of P.41.94 to New Ynek, N Y

, ' r , Send submnpoons. mourns,. and address changes to Htmi TIMMY On the Cover lt.r hnics SA 460 audio inw u S A and Posses:tons 413 95 . 5 Noon AVC 500 au PO Box 11 Iowa 50340 Change of address Cow. address label horn last moue and allow five weeks lot change to be enter cane elf, 1,,,POST MASTER: Saul diMp of imlims to MGM MR 1,, 4'(Ibm. 10159 Di, Mom, IA 50340 HIGHf10ElITY

PUBUSHER'S PAGE Publisher/Editorial Director William Tynan

by William Tynan Editor Michael Riggs Editor. MUSICAL AMERICA Shirley Fleming Art Director Michael 0. Delevante Managing Editor Kathleen Green Associate Editors Mildred Camacho, Ken Richardson Copy Editor Patricia Reilly Administrative Assistant Darleen D. Edwards The Government Connection TECHNICAL DEPARTMENT Technical Editor I ,avid Ranada Late last year, while President Reagan and Soviet General Secretary Gor- Consulting Technical Editors F:dward J. Foster, bachev were meeting in Geneva to discuss global issues, a summit on issues Robert Long Contributing Editor. Jay C. Taylor of import to the music world was taking place in Moscow. Joel W. Spiegel- MUSIC DEPARTMENT man, a professor of composition at Sarah Lawrence College, was meeting Classical Music Editor Theodore W. Libbey. Jr. Popular Music Editor Georgia Christgau with Tikhon Khrennikov, who-as a deputy to the Supreme Soviet, as a Assistant Kim Parker -Dumont member of the Central Committee of the Communist party, and, last but Contributing Editors Vince Aletti, Robert E. Benson, Pamela Bloom, R. D. Darrell, Francis Davis, not least, as a composer and pianist and as chairman of the Union of Soviet Rev. Thomas L Dixon, Steve Futterman, Edward Greenfield, Thomas Hathaway, Paul Hume, Composers for the past 38 years-has actively shaped his country's musical Joyce Millman, Paul Moor, John Morthland, Jeff Nesin, Thomas W. Russell III, RI Smith, David Patrick Stearns, policy. In the exclusive, wide-ranging interview featured in our CLASSICAL Terry Teachout, Noah Andre Trudeau, Richard C. Walls, Music section this month, seventy -two -year -old Khrennikov gives his ac- .lames N'ierzhicki, John S. Wilson ART count of the censuring of Shostakovich and Prokofiev under Stalin, opines DEPARTMENT Design Consultant Robert V. Delevante, Jr. about the trends being followed by the Soviet Union's leading composers, Assistant Art Director Susan Watts Technical Art Roy Lindstrom and reveals himself to be an affable, energetic musician who still has the PRODUCTION strength and skill to perform his own piano concertos in public. As he tells Director of Production Angelo Puleo Advertising Production Manager Janet Cermak Spiegelman in "The Czar of Soviet Music," "A good Soviet composer can Associate Production Editor Jonathan Teaser Editorial Production (Special Interest) Paula Ration create a stir in any part of the globe." Atex System Manager Karim Walsh Asher No matter where you are in the world, the government seems to havea CIRCULATION Vice -President, Circulation Steven I. Rosenbaum hand in communications. In the United States, the Federal Communications Vice -President, Newsstand Sales/Cansumer Magazines Commission is one such body, and its actions and inactions have profoundly National Sales Manager/Newsstand Michael Gerardo Circulation Director/Subscriptions Lorraine Vizzio affected what can and cannot be communicated over the air. Two specific Circulation Subscription Staff Mary Beth Colucei, Barbara Donlon, William Johnson. Janice Raiford, cases are examined this month. In "Happy Hookups," Robert Angus inves- John Rand. Andrde Rittenhouse Customer Service Mary L,osi tigates what happened when the FCC stepped in and shut the dooron some innovative "high-tech hookup" equipment. As Angus recounts it, the wire- ADC CONSUMER MAGAZINES, INC. James A. Casella. President less devices-actually miniature TV transmitters-were prospering untila Steven I. Rosenbaum, Vice -President, Circulation Steve Vetter, VicePresident, Finance manufacturer and an inventor asked the FCC to issue production andoper- ation guidelines. Leslie B. Tyler, in "Coming to You in Stereo," illuminates ONE OF THE ABC. PUILISHING COMPANIES Robert G. Burton, President the long and twisted trail that finally led to the adoption of a single broad- IMO Avenue of the Americas New York, N.Y. 10019 casting standard for multichannel television sound. Tyler focuseson how a Hock hailer HwM F1.115 Mum., Masi. :oublished monthly by ARC relatively simple concept can escalate into a project involving the govern- Inc and a subside, of ,sJiC Consumer Magazines. Inc ment and dozens of the world's top electronics experts, all to ensure the Math.. Audit Boo., EII0ott11.111.11,I I,,en in Reader's Guide to Peno.cal Lemma. Current and back comes of HitoufgEtihe and HIGH 1,011. Music. AMERICA we wadable on racial,. lion, Untveintv hAmotilms Ann Mini. KO choice of the best technology possible. 48106 %mkt* copies (1973 [awed!) ae wadable hors Flee 8 Howell Woo Photo Da.. Old Mansfield Rd Woo., Ohs 44691 Also in this issue, Technical Editor David Ranada contemplates some ANODISING OFFICES New York ABC Consume, Magazines. Inc. 825 7th Ave .8th Flocs. New Yolk. as -yet -unrealized goals for Compact Disc players, and our technical staff N Y 10019 Tel(212) 265-0360 Itched J Mama. Gump Adverts.) Doer tor. %duel H Goldbetg. [weir) Advertising Manage,. James R McCallum. R4, old Advertising Msnaget. Maw McCamick. Netwoik Advertising Manage. Can puts six more components-including two high-tech car stereo units- dice Leyden. Classdoed Advetbung Manager. Angelo %leo. 0.001 at Pioduction Janet Cenral.. ArNenismg Pioduction Manage. through their paces. Meanwhile, in BACKBEAT'S "Country's Future Days," Illreweet /*GM Flower. Hitchcock Baling. Wheaton.III 60187 Tel (312, 653 8020 Stan Lane. Midwest Adyerbsong Manage; John Morthland provides background on great artists such as Floyd Till- los Anoka: ABC Consumer Magentas, bed:. 1888 Century Pak East. Suite 920. ) mn,, /Tel (2131 557 7587 Ed Winchell. Westetn Adv. man, Roy Acuff, and Hank Williams, highlighting significant reissues of Ednonal correspondence be addoessed to The Edna. Hoe 11011110. 825 10 Ace . New 1010 N t10019 Editotial conteibutions gall be wekomed and their work in the context of an increasingly commercialized country music 11.1,111e111Icor arlideS accepted wall be awned inka to publicatron Suhrmssiuns mint be accompented M coulee postage and will be handled with teasonable can) market. howevei. the publisher assumes no responsibility 10r return of tcholtuted Photo WaPhs a manuscopts Next month, we will be presenting our annual spring roundup of the 11 hundreds of new audio and video products introduced at the recent Winter l' PA

6/ Onemins L.ttJ. nI Consumer Electronics Show. Radio Shack's Linear -Tracking No "Extras" to Buy. This turntable is housed in an attractive metal cabinet and includes a Front -Loading System factory -aligned Realistic/Audio Technica dual - Our Realistic' LAB -1600 belt -drive turntable magnet cartridge. Bring in your favorite LP and plays your records with a linear -tracking arm. "test -play" it on our LAB -1600. You'll agree this The stylus is always at the correct angle, a ma- is a major advance in turntable design, and one jor advance that gives you two major benefits: you can enjoy witl-out a major expenditure. Cleaner sound and reduced disc wear. Take home the front-loadinc, linear -tracking LAB -1600 today for only $159.95. Use your Ra. .io Goes Where Others Can't. Since this front - Shack/CitiLine or cther credit card. loading design fits in spaces only six inches high, it's ideal for audio racks and between shelves-that's another Radio Ihaeli major advance. And it The Technology Store' A Tli% !SION OF TANIM CORPORATION couldn't be easier to use. Press a soft -touch control FREE 1986 CATALOG! and the drawer glides out Mall to Radio Shack. Department 84-A-320, for disc loading. Press 300 One Tandy Center. Fart Worth. TX 76102 again and the drawer re- NAME tracts, ready for automatic ADDRESS play. Electronic logic lets CITY you raise, lower and posi- STATE ZIP tion the arm precisely. L And applor. at oarhapahng Radro Shad stores and dealers THE $2000 CAR STEREO (THAT JUST MIGHT FIT IN YOUR CAR)

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LETTERS

US VS. THEM? YOUR SERVICE $499 to $250. The other is in the status of our In "DAT Standard Announced" ["Cur- In response to the letter from Ted and Sylvia patents on the BBE process, which the re- rents," October], David Ranada writes that Blishak of Menlo Park, Calif. [November]: port describes as pending: We are happy to its provision for a playback -only 44.1 -kHz Their problem with service would not exist if say that all 42 claims have now been granted. sampling rate will make straight digital -to - they purchased their equipment from inde- Vesta digital copying of Compact Discs impossible, pendent dealers with repair shops and if they Communications Director while enabling record companies to make stuck with brands that are concerned with Barcus-Berry Electronics, Inc. prerecorded RDAT cassettes directly from service. We sell Sylvania and Zenith prod- Huntington Beach, Calif. their CD -format master tapes. I can't, but ucts and provide loaners to people who they can? bought from us. We also have little trouble DUMB QUESTIONS Lawrence W. McFarland getting parts for RCA, Philco, and Quasar Every so often you get a letter in "Cross- Carmel, N.Y. components. talk" that goes something like this: "I recent- It is unfortunate that most electronics ly played a Dolby tape and neglected to en- Precisely. The record companies will have companies take the attitude that nothing gage the Dolby system on my deck. Have I special duplicating machines that can re- ever goes wrong with their products. ruined my machine or the tape?" Or: "While cord at 44.1 kHz. Consumer digital cassette Gary L. Johnson recording on a ferric tape, I accidentally set decks will be able to play back these tapes, Clarkfield Radio & TV my deck's selector switch for chrome. On but they will not be able to record at 44.1 Clarkfield, Minn. playback, the sound was noticeably dulled. kHz. This restriction is intended to deter Have I ruined my deck or the tape?" I think piracy without making it difficult to turn BBE UPDATE you get the idea. Anyway, my point is this: out legitimate prerecorded cassettes. Tapes We want to inform you of a couple of Dolby noise reduction and chrome tape have that you record yourself will be at a 48 -kHz changes that have occurred since your Janu- been around for 15 years, and if these people sampling rate. The correct playback sam- ary test report on the Barcus-Berry BBE- haven't learned how to use them by now, pling frequency will be chosen automati- 2002R signal processor. First is a 50 -percent they should have their tape decks confiscat- cally by the deck.-Ed. reduction in the suggested retail price, from ed. It's difficult for me to understand why

4 HIGH FIDELITY holiday browsing through the CD selection A PREFERABLE "PIERROT"? at my local record store, anticipating an un- Your reviewer Naul Moor seems puzzled be- disturbed, pensive search in my own quiet, cause Schoenberg's Pierrot lunaire has not The cloistered nook of the shop. But something yet caught on with the public [November]. was obviously amiss. As I reached toward May I suggest the following substitute: the S section, I noticed an unusual number of Zwolf Gedichte aus Pierrot lunaire, by last word Max Kowalski (his Opus 4), published by hands moving about on either side. I looked up and gasped in horror: Kids! Dozens of Simrock in 1913. There are no problems. I in them, all flocking around the CD table. They wonder why it didn't catch on. had to be high-school age or younger, and Eldon Rathbun, phono they fought tooth and claw for Bruce Spring- Ottawa, Ontario, Canada steen and Madonna. I reeled in confusion. Then it hit me: Christmas! Millions of NOTES ON "DON CARLOS" cartridges In your January issue, Harry Halbreich re- fers to the new Deutsche Grammophon re- cording of Verdi's Don Carlos as the first recording in French. Not so, although it may The be the first on a major label. I refer you to Mkt Voce 23, a four -record set with John Mathe- last word son conducting the BBC Concert Orchestra, from a 1973 performance. True, this does not unonsaVb come with a libretto, but it does have a syn- in opsis and a discussion of "versions," and the cuts are restored in the opera itself, not in an WOrecord appendix_ For a supplier, I refer you to Leg- endary Recordings, P.O. Box 104, Ansonia Station, New York, N.Y. 10023. care (Continued on page 6) audio-technica anyone so ignorant in this regard would even bother to subscribe to an audio magazine. They certainly aren't reading it, for if they were, they wouldn't ask such basic ques- tions. Nor can I understand why you bother to print them: Your regular readers already know the answers. Francis Plvar New Kensington, Pa.

The reason a person who doesn't know the answers to such questions subscribes to an audio-technica audio magazine is to find them out. We all have to start somewhere, and there are few (almost no) other sources of solid infor- kids across the land must have been offered mation. We try to go over the fundamen- CD players by parents and other relatives in tals periodically just to give new readers a a desperate bid for appeasement. Now I leg up on what can be a complex and in- must share my hi-fi pastures with the plebe- timidating subject. The trick is to do that ians, the members of society once confined while providing an adequate flow of new to the LP and tape sections. information for advanced audiophiles Looking back, I smile on those simpler and videophiles. We hope we're succeeding times; deep down, I had known this had to on both rooms.-Ed. come someday. The CD industry will contin- ue to steam forward to ultimate market dom- CDs ARE FOR KIDS, TOO ination. Reservations aside, I wish it well.

Ithinkwe haveJustpassed another mile- After all, democracy is universal. stone in audio (and particularly the Compact Barclay L Soody Disc). Today I went down to do some post - Little Silver, N.J.

MARCH 1986 5 (Continued from page 5) When can we look forward to major -la- bel, French -language recordings of Verdi's Les Vepres Siciliennes(available on Voce REDEFINITION. 56, with the BBC Concert Orchestra, Mario Rossi conducting) andJerusalem(BJRS 150- THE CARVER RECEIVER: Redefines your expectations of receiver perform- 3, a 1963 recording from the Teatro La Fe - ance with the power you need for Digital Audio Discs plus virtually noise -free nice, Gianandrea Gavazzeniconducting)? stereo FM reception. A receiver with astonishing performance incorporating two Charles N. Hubbell highly significant technological breakthroughs: Bob Carver's Magnetic Field Kenmore, N.Y. Power Amplifer and his Asymmetrical Charge Coupled FM Detector. ESSENTIAL POWER: Your system needs an abundanceof power to reproduce, without distortion, the dynamic range of music on Digital Audio Discs and fine In his review of the new recording of Verdi's analog recordings. Don Carlos,Harry Halbreich notes that The Magnetic Field Amplifier in the CARVER Receiver gives you 130 "Carlo Bergonzi's Carlo [in Sir Georg Solti's watts per channel* of pure, clean power with superbly defined, high fidelity 1965 recording of the Italian -translationDon reproduction. The Magnetic Field Amplifier produces large amounts of power (absolutely Carlo]has not been surpassed." Such a view necessary for the accurate reproduction of music at realistic listening levels) is not surprising: Mr. Bergonzi is as much a without the need for heavy heat sinks, massive transformers, and enormous symbol of Verdi's music as are Maria Callas, power capacitors required by conventional amplifier design. Unlike conventional amplifiers which produce a constant, high voltage level Arturo Toscanini, and, most recently, James at all times, irrespective of the demands of the ever-changing audio signal (Even Levine. From his early -1950s recording ofSi- when there is no audio signal in the circuit at all!), the Magnetic Field Amplifier's mon Boecanegrato the recently released power supply is signal responsive. Highly efficient, it produces exactly and only Oberto(Verdi's first opera), Bergonzi's style the power needed to carry the signal with complete accuracy and fidelity. The 130 watts -per -channel* CARVER Receiver is about the same size and has been exemplary and bracing, and his fine weight of conventional receivers having merely 30 watts per channel! voice has remained intact. NOISE -FREE RECEPTION: The AM -FM CARVER Receiver gives you FM A wonderful three -disc set of Bergonzi stereo performance unmatched by that of any other receiver. singing all of Verdi's tenor arias was re- As it is transmitted from the station, the stereo FM signal is extremely vulnera- leased on the Philips label in 1976. Each aria, ble to distortion, noise, hiss and multipath interference. However, when you engage CARVER's Asymmetrical Charge Coupled FM fromObertotoFalstaff,is sung with a sense Detector circuit, the stereo signal arrives at your ears virtually noise -free. You of phrasing and line that simply eludes Pla- hear fully separated stereo with space, depth and ambience! cido Domingo and Luciano Pavarotti. Sadly, "This receiver combines the best elements of Carver's separate tuner and those fine recordings were deleted, but I amplifier... The Carver Receiver is, without question, one of the finest products hope they will be reinstated soon. of its kind I have ever tested and used. Bob Carver is definitely an audio and r.f. Bergonzi's riveting delivery of two arias genius": Leonard Feldman, Audio Magazine, June 1984 fromOtelloon the Philips set would certain- "I consider the Carver Receiver to be the "most" receiver I have yet tested ly whet my appetite for an "ideal -cast" re- in terms of the quantitative and qualitative superiority of almost all its basic cording ofOtellofeaturing him, Johanna functions!' Julian D. Hirsch, Stereo Review April 1984 Meier, and Piero Cappuccilli, conducted by The CARVER Receiver has been designed for fidelity, accuracy and musi- Lamberto Gardelli. Verdi's greatest opera cality. You will want to visit your CARVER dealer for a personal audition of this with the greatest Verdi tenor! For now, I remarkable instrument. will revel in the titanic proportions of some *130 watts per channel RMS into 8 ohms, 20 Hz to 20 kHz with no mythical recording ofOtellowith Bergonzi, more than 0.05% total harmonic distortion. Callas, Lawrence Tibbett, and Toscanini! Thomas R. Wilson Westmont, Ill.

ONE MAN'S "TRASH" ... I have been a subscriber to HIGH FIDELITY since its first year and believe that you have made significant contributions to the causes of good music and its faithful reproduction. But I write to disagree strongly with review- er Paul Moor's description of recently re- corded Paganini works for violin and orches- tra as "sheer trash" [June 1985]. This is beautiful music impeccably played. My opin- ion is shared by all who have heard my cas-

CARWRCORPORATION PO Box 1237. Lynnwood. WA 98036 settes; several went straightaway to pur- POWERFUL MUSICAL ACCURATE chase their own copies. How refreshing in an age when review- Distributed in Canada by Evolution Audio, Ltd. ers praise contemporary music-music with

6 HIGH FIDELITY (with Pla- no melodies and with dissonant harmonies- when George needed you? Obviously the Zinka Milanov) andLa Traviata to hear works with memorable melodies and man's a musical genius, but even geniuses cido Domingo and 'leans Cotrubas) and a made in Mexico pleasing harmonies. drift off course occasionally. live recording ofRigoletto Grady L. Hallman WHIN Swanson City in 1952 (with Maria Callas and Giuseppe Houston, Texa' Westville, N.J. Di Stefano). The studio performances have everything polished and right in place, but LEOPOLD LOST A LIVE ONE they sound very dull compared with the 1952 Not long before the advent of the LP, Leo- If all record producers adopted the position live opera. pold Stokowski recorded Strauss'sDeath of Steven Epstein [January]-which appears In a studio session, a segment of a com- and Transfigurationon electrical transcrip- to be not to bother with live recordings be- position may be repeated many times, killing tion. Although I cannot remember the or- cause they don't always generate more ex- the spontaneity of the performers. Sections chestra or the label (probably RCA), memory citement than studio sessions-we would be of an opera may even be recorded out of se- insists that it was the best reading of the deprived of much magic in listening experi- quence to take advantage of the limited time work I have ever heard. I do not believe it ences. available to a star. Consequently, there is no was ever transferred to LP, though I could It is interesting to note that in a recent involvement in the sweep of the complete be wrong. Would you have any information interview, Claudio Abbado commented on performance. on the availability of this performance? the failure of studio recordings to elicit those If perfection according to the score is Joseph Gal unpredictable but priceless moments when a what "objective" record -making is headed Millburn, N.J. performance catches fire. It should also be for, we might as well use voice and instru- noted that an article in your own magazine, ment synthesizers instead of human musi- Clough and Cuming'sThe World's Ency- about Takashi Asahina and other "Home- cians. It will necessitate only one recording clopaedia of Recorded Musiclists several spun Japanese Talent" ["Notes from Under- of each work-very efficient, economical, pre -LP recordings ofDeath and Transfig- ground," January], mentioned that the Japa- and deadly. urationby Leopold Stokowski: one with the nese treasure a live recording of the Prodarlak S. Lightfoot Philadelphia Orchestra (Victor 8288/90, Bruckner Seventh. Greenport, N.Y. set M 217), one with the All American Or- I have been made freshly aware of what chestra (Columbia 11728/30D, set M 492), a great difference there can be between stu- Letters should be addressed to The Editor. HIGH and one with the New York City Sympho- dio and live performances in opera by play- FSHELIT);8.45 7th Are., New York. N.Y 10019. All ny (Victor 11-8826/8, set M 1006). Chances ing, one after another, studio recordings of letters are subject to editing for brevity and are, it's the last of these you have in mind, Verdi's11 Trovatore(with Jussi Bjorling and clarity. a splendid performance that was reissued on a Camden LP (backed by Stravinsky's The Song of the Nightingaleperformed by the Cincinnati Symphony and Eugene Goossens) that is sadly long out of print. For further help, contact the Leopold Sto- kowski Society of America, c/o Robert M. Stumpf II, 870 N. Meadows Ct., Apt. E, Co- lumbus, Ohio 43229.-Ed.

IN A PUNK Ho!!! Your review of George Clinton'sSome of My Best Jokes Are Friends[November] is about as accurate as a state policeman's ra- dar gun. You clocked this album at 110 mph when it's only doing 50. At first these fake- ateers had me fooled on "Double Oh Oh." Backed by a solid groove, this "Atomic Dog" came out growling and snarling on its leash, ure styli are designed which Clinton seemed to be holding very If you haven't to exacting specifications for tight. I figured, "Hey, he's just getting replaced your stylus (needle) in the past year, precis` stereo reproduction. And only warmed up." Boy, was I wrong. The rest is a you may be permanently damaging a Shure stylus can restore your rehash of Funkadelic'sAmerica Eats Its every record you play. Shure cartridge to its original YoungandHard Core Jolliesthat barely Replacing your stylus is simple (see standard of performance. makes a ripple in Clinton's ocean of funk. diagram). And selecting the Don't accept substitutes. Not counting his work with splinter groups, proper stylus to replace it with Protect your records and your is also easy. Make certain it's a sound. Get a genuine Shure Replace- this album is one of his worst in ten years. ment Stylus. Soon. These may seem like harsh words com- genuine Shure stylus. ing from a Funkateer, but I know what I'm SHUiE® talking about. Bootsy! Where were you BREAKING SOUND BARRIERS For the name and locations of the Shure Stylus replacement center in your area, calltoll -free: MARCH 1986 1-800-257-4873. In lllinois 1-800-624-8522. CURRENTS

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MULTIFEATURED channel blend and a high -cut filter are acti- Mostly SOUNDSTREAM TUNER/DECK vated as needed. If the signal is very bad, a Four interesting features together set the soft -muting circuit reduces volume gradu- Soundstream TG308 tuner/cassette deck ally. The tuner incorporates two automatic apart from most of its competition. First is gain -control (AGC) stages that are claimed a tape play -trim circuit meant to reduce to dramatically reduce "picket fencing" Dolby mistracking. Controlled by the low- and mutual station interference or inter - Mobile er front -panel knob, it enables the user to modulation in areas subject to high signal adjust high -frequency playback equaliza- strengths. tion over a range of ±3 dB at 10 kHz and Third, the preamp section has a CD - ±6 dB at 20 kHz to compensate for azi- player input, activated with a push of the muth misalignments, partial tape demag- tape -eject button. The last special feature Audio netization, over- or underbiased record- is an antitheft quick -release chassis. The ings,orslightlyincorrectrecord TG308, which conforms to DIN dimen- equalization, all of which could otherwise sions, slides into a permanently mounted produce erroneous decoding by the unit's housing and can be easily removed when Dolby B and Dolby C circuits. necessary for safekeeping. A $20 quick -re- Second, the tuner (designed by Larry lease handlebar, the SH-30 (shown in- Schotz) is said to produce less noise during stalled), eases that task further. poor reception conditions. Depending on The TG308's autoreverse tape deck in- the quality of the incoming FM signal, cludes a DC servo motor with low torque THE JENSEN JENSEN'S ENTIRE LINE OF CLASSIC CAR STEREO SPEAKERS WILL Model for model, size for size, and dollar amplifier at any level you choose. Cut in Most car stereo speakers have pole for dollar, we have designed Classic any Jensen Classic speaker, then switch mounts. Jensen Classic speakers have speakers to deliver more volume, over to any comparable competitive the unitized array. This improved method smoother bass response, and greater speaker. Now switch back and forth to of mounting the midrange and tweeter dynamic range than ever before. compare the two. In every model category gives the woofer a larger working area, PROVE IT TO YOURSELF! Visit your the Jensen Classic speaker will stand and better bass response than possible nearest Jensen® dealer. Set the display out right there on the floor! with other systems. The unitized array

JTX-300 6" x 9" TRIAX' 3 -Way Speakers JTX-365 61/2" TRIAX' 3 -Way Speakers JFX-140 4 Dual Cone Speakers Power Handling, 150 Wafts Peak, 80 Watts Continuous Useable Power Handling: 120 Watts Peek, 60 Watts Continuous iseable Power Handling 60 Watts Peak. 30 Watts Continuous - Useable Frequency Response: 40 Hz -25 kHz Sensitivity (1 Waft nn 1 Meter), Frequency Response 58 Hz -20 kHz Sensdnoty (1 Watt o 1 Meter) Frequency Response 70 Hz -20 kHz Sensitrerly (1 Watt o 1 Meter) 92 OB SPL Impedance: 4 Ohm Woofer, 6 n 9 Cone Midrange: 91 dB SPL Impedance 4 Ohio Woofer 6'Cone MK range 2 88 dB SPL Impedance' 4 Ohm Woofer. 4 Cone Mounting 2' 2 Cone tweeter: 2' Cone. Mounting Depth: 4 Cone 'Nester Vo Cone Mounting Depth tor,. Depth 1', "Triax and Jensen" are registered trademarks of International Jensen, Inc. fluctuation, a laminated sendust-core head 865 (right), has a power rating of 65 watts with a gap width of 1.2 micrometers, mo- (18'/4 dBW) per channel at 0.5 percent total tor -assisted tape loading, key -off cassette harmonic distortion (THD). It has a 30 -amp ejection, and 120-microsecond/70-micro- fuseable power line and can be bridged to second playback EQ switching. Frequency provide 130 watts in mono. Dimensions are response is given as 30 Hz to 18 kHz, ±3 23/4 by 6% by 11% inches. Price is $200. The dB; wow and flutter, as 0.1 percent HCB-840 (left), rated at 40 watts (16 dBW)

WRMS. FM sensitivity for 50 -dB quieting per channel for 0.5 percent THD, and the PILL. P200 STEREO CAR SPEAKER in mono is said to be 20 dBf. Dimensions HCB-818 (middle), rated at 14 watts (11'/2 are 7Y4 by 2'/,, by 7 inches. Price is $580. dBW) per channel at 1 percent THD, have inch polypropylene woofers and a shared Details can be obtained from Soundstream Molex plug-in wiring harnesses for quick 10 -inch drone cone that radiates through a Technologies, 2907 W. 182nd St., Redondo upgrades without rewiring. The former loaded slot at the bottom of the unit. The Beach, Calif. 90278. measures 23/4 by 6% by 7'/2 inches; the lat- two tweeters are cooled with magnetic flu- ter, 1'/2 by 4 by 4% inches. The HCB-840 id. The glued and multiple -doweled wood- THREE AUDIOVOX AMPS can be bridged for 80 -watt mono opera- en enclosure has a nonmarring black fin- tion. Its price is $150, and the HCB-818 ish and a snap -on cloth grille panel. goes for $60. More information is available Sensitivity is given as 92 dB SPL (sound from Audiovox Corp., 150 Marcus Blvd., pressure level) at one meter with a 1 -watt Hauppauge, N.Y. 11788. (0-dBW) input. Price is $290. For further details, contact Pyle Industries, Inc., P.O. POUNDERS FROM PYLE Box 620, Huntington, Ind. 46750. The first model in the Pyle Pounder Series of car stereo speakers, the P-200, is specifi- INFINITY REFERENCE AMP Part of an entirely new line of Hi -Comp Se- cally intended for hatchbacks and fast- Infinity's MRA-90, second in the compa- ries products, these three Audiovox power backs, but the company says that it also is ny's Mobile Reference Amplifier Series, is amplifiers have pin -plug inputs, LED pow- excellent for use in off -road vehicles and in said to fit in a wide variety of car interiors, er -on indicators, and variable input level the backs of cargo vans. The computer -de- including foreign and domestic compacts, controls. The top-of-the-Lne unit, the HCB- signed stereo enclosure houses two 6'/2 sports cars, and other vehicles in which CHALLENGE: TAKE ON ANY OTHER BRAND IN HEAD TO HEAD COMPETITION! construction provides up to 48% more handling and performance to make them speaker area than some pole mount digitally ready for compact disc players. COMPICT DISC speakers fitting in the same installation. Take The Jensen challenge with the The result is more bass, more overall entire Classic line. You will hear the differ- - I 56.4111 JENSEN performance superiority-more sound ence a Jensen speaker makes, loud and When you want It all for the dollar. The Jensen Classic car clear, with your own ears. It's no longer a stereo speakers deliver the power matter of which brand, but which Jelsen.

JCX-265 6's'COAX 2 -Way Speakers JCX-200 6' x 9" COAX 2 -Way Speakers JC=C245 COAK 2 -Way Convertible Speakers Power Handling 90 Watts Peak. 45 Watts C-,ntinuous Useable Power Handling 150 Watts Peak. 80 Watts Covihnuous Useable Power iandling 20 Watts Peak. 35 Watts Continuous Useable Frequency Response 60 Hz -20 kHz Sens/ ody (1 Watt a 1 Meter) Frequency Response 40 B1-22 kHz Sensityyry (1 Watt 4 1 Meter) Freque,cy Respoesw Flush Instatlabon 65 Hz -20 kHz. Surface 90 dB SPL Impedance 4 Ohm Woofer 6, Cone Tweeter 2 91 dB SPL impedance ' Ohm Woofer 6 z 9 Cone Treader. Installabon 185 It -20 kHz Sensitanty (1 Watt aa1 Meter) 89 dB Cone Mounting Depth 1' 2'7 Cone Mounting DeP1h: 4 SPL I opedance 4 Ohm Woofer. 45, Cone Tweeter: 2 Coo* Mounting Depth (Flush): 13/4' 0 1986 International Jensen, Inc HARMAN KARDON ULTRAWIDEBAND CASSETTE DECKS

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The professional, alert with anticipation, is ready to meet the challenge, anywhere on the court, anytime. Then to respond quickly, with a OW fluid full-swing-from the draw to the follow through... the apparently effortless 111. movement that is the winner's edge. In cassette decks, the principle's the .41111111111111111r same-if high fidelity sound repro-

duction is to be achieved. That winning edge isin every Harman Kardon cassette deck. It's called Ultrawideband Frequency 41111110Response-the ability to react lap smoothly and quickly through thetotal rangeof human hearing (from 20Hz to 20kHz ± 3dB). From the most inex- r- pensive to the most sophisti- cated, every Harman Kardon SPIS cassette deck delivers this level of performance, with any tape 10 formulation. Other manufacturers simply don't follow through the entire range and therefore miss many of the hard to reaciellop notes. Harman Kardon cassette decks expect the unexpected, anticipate the highs and EMIPand lows... to accurately reproduce all of the music. In meeting the challenge of high fidelity, every Harman Kardon cassette deck shows the seem- ingly effortless superiority needed to take the title-every time.

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Shown is the new TD392 CassetteDeck featuring 3 heads, Dolby HX Professional,' Dolby B and C,* Meter - rir- Weighting, Auto Repeat, Output Level Control and Solenoid Operation. a 1 P

I II 1 I Illsompott' Dolty a epsteredVIIIM11111, 10060011.1111111111111.1111.1r 11011111111...... 111111.111111111 Ir 11.1.11.1111.11.1111 unimuninagim:_Laminan/ Barr d 40 Crossways Park West, Woodbury, New York 11797Call Toll -Free 1-800-633-2252 Ext. 250 A Harman International Company space is at a premium. The unit is similar exact dimensional replacement in such im- to the more powerful MRA-150 in its use ports as Mercedes Benz, BMW, and Volks- Take A of only moderate amounts of negative wagen. Only 1% inches deep (11/2 with sup- feedback and a tightly regulated, pulse - plied spacer), the 4 -by -6 -inch speaker Musical Stand! mounts flush in a door, rear deck, or kick panel. The grille assemblies are designed to match European car interiors, and an in- tegral water shield protects the speaker components from moisture. The suggest- Tune In And ed price range for the XS -462 is $90-$100. The universal model (the XS -461, $80-$90) Support The and the U.S. model (the XS -460, $55-$60) can be mounted in the dashboard to re- PHILHARMONIC place factory -installed speakers, as well as RADIOTHON INFINITY'S MRA-90 05 -WATT POWER AMP in door panels or in the rear deck. Write to Sony Consumer Products Co., Sony Dr., MARCH 7, 8 & 9 width -modulation power supply. The Park Ridge, N.J. 07656. MRA-90 also employs a quasi -complemen- PRESENTED WITH AND tary output stage, which, the manufactur- TWO JENSEN HEAD UNITS BROADCAST LIVE ON er claims, is an optimally balanced circuit that eliminates the harsh, metallic tonal quality it says is characteristic of many car audio systems. A protection circuit shuts FM the amp down during extreme overload 111:11DatOr1560MA The Stereo Stations of The New York Times conditions without limiting output current TOMF-TI*4111 JENSEN JX455 during normal operation. ant

Output power is specified in two ways: .11;55iS1.3 ea- a 1111 as 45 watts (161/2 dBW) per channel into 4 4.1.1 Sixty continuous ohms at less than 1 percent THD at 1 kHz per channel hours of fun -filled, on -air into 4 ohms at less than 0.25 percent THD JENSEN JX1,45 auctions, with the chance from 20 Hz to 20 kHz. Frequency response to bid on hundreds is specified as +0, -3 dB from 2 Hz to 100 International Jensen has two stereo re- of wonderful gifts... kHz. Sensitivity is adjustable from a mini- ceiver/deck systems designed to accom- celebrity interviews, mum of 326 millivolts. Signal-to-noise modate portable or permanently installed special musical interludes, (S/N) ratio is given as 100 dB A -weighted car Compact Disc players. The JXL-45 and below 45 watts. Damping factor is 25 from top -of -the -line JXL-55 have audio inputs and a live Philharmonic 20 Hz to 20 kHz, and input impedance is 15 enabling easy connection of a CD player, concert. kilohms at maximum gain. The MRA-90 and an inexpensive adapter providing measures 2'/4 by 'P/2 by 8'/2 inches and more convenient dashboard access to the weighs four pounds. Its price is $199. Con- CD input jacks is available. A front -panel tact Infinity Systems, Inc., 9409 Owens - pushbutton switches in the CD player. The mouth Ave.. Chatsworth, Calif. 91311. units' tuner sections feature digital -syn- thesis tuning and Automatic Program SONY'S COUNTRY-SPECIFK Control to optimize reception. The APC SPEAKERS system is said to eliminate station -fading and to significantly reduce static and "noise blasts" caused by rapidly changing reception conditions. Each model provides six FM and six AM station presets. Perm - alloy heads are used in the autoreverse cassette transports. The JXL-55 adds Sony's Automotive Entertainment Divi- Dolby B noise reduction and soft -touch sion has introduced two car loudspeakers, transport controls. Both systems have sep- CALL one tailored to the mounting requirements arate bass and treble controls as well as of foreign cars and one with dimensions separate preamp outputs. Jensen de- (212) 724-2131 more suitable for American cars. A third scribes the frequency response, distortion, MARCH 7, 8 & 9 model is billed as "universal." The two- and noise characteristics of the units as (Long distance call collect) way XS -462 (pictured) has coaxially "meeting or exceeding" the specs of com- mounted drivers and can be installed as an (Continued on page 15)

MARCH 1986 THERE'S NEVER BEEN A BETTER 400 horizontal lines and 450 vertical lines HOME MONITOR. of video resolution. With the introduction of the Pioneer® BOTH A TINTED FACEPLATE SD -25A monitor/receiver, many of the AND A TINTED CRT. classic, previously unsolved problems Some manufacturers tint their face- of video image reproduction have plate to increase contrast. Others tint the suddenly disappeared. front panel on their CRT On the Pioneer ALL MONITORS ARE BETTER THAN TELEVISIONS. BUT SOME MONITORS ARE BETTER THAN OTHERS. You merely have to see it side -by -side SD -25A, we dramatically enhance contrast with other sets, and the difference is by tinting both. Every bit as important,a immediately obvious to your eyes. Since highly regulated switching power supply we can't offer you that comparison on theand black -level stabilizer createa dramat- printed page, the facts will have to suffice.ically wider video -dynamic range. A UNIQUE RED PHOSPHOR CRT. MORE DETAIL, LESS DISTORTION. Red has historically been a particularly A unique velocity modulation circuit difficult color for television to realize well.assures far better transient response. And With the introduction of Pioneer's pro- a high -quality deflection yoke combined prietary Red Phosphor CRT red achieves with a highly regulated power supply a color accuracy never before possible. deliver exceptional geometric linearity. Because it is not accomplished at the In all, the edges are crisper, the shapes expense of other colors. Simply put, at lasttruer, the depth -of -field greater than true red can exist in the video company ofyou've probably ever seen in video before. true green. AUDIO THAT'S IN A LEAGUE AN EXCEPTIONAL BANDWIDTH WITH THE VIDEO. OF 5.0 MHZ. As you would expect with a monitor/ Today we hear much of comb filters. receiver of this quality, the audio is quite The presence of one, however, does not accomplished. A robust power supply pro- assure exceptional detail. Great resolutionduces a stereo/audio output 3 times that of requires a comb filter that delivers wide conventional television. But what may be video bandwidth. The Pioneer comb filterparticularly meaningful to many of you is produces a remarkable luminance band- that there are 5 separate audio outputs width of 5.0 MHz. Which in turn results inthat allow it to become part of the most sophisticated hi-fi system. There's a fixed YOU SIMPLY HAVE TO SEE IT. output for recording; a Surround Sound Now that you understand what makes the output; and for your hi-fi there's a fixed Pioneer SD -25A perform so well, you should output, a variable output for remote see it perform. Your eyes willunderstand volume control, and there's even a sepa-instantly. It's the not -so -subtle difference rate sub -woofer output. between a monitor and a great monitor. LaserDisc brand videodisc player is a trademark of Pioneer Electronics Corp. IT'S MORE THAN A MONITOR. (D1986 Pioneer Electronics (USA) Inc. All rights reserved. IT'S AN EXPANDABLE RECEIVER. Using a series of modules that are loaded into a port at the front of the set, CD PIONEER' the SD -25A is built to grow and improve Video for those who really care about audio. with video's ever-chang- ing technology. A stereo TV tuner pack with built-in MTS decoder that's 139 - channel cable capable, delivers the best of both cable and broadcast TV. (There are even 2 separate RF inputs) And there's a video- enhancer pack that increases the quality of transfers onto your VCR; an RGB control module; there's even a sing -along "Karaoke" module. A REMOTE THAT EVEN CONTROLS LASERDISC:m Given a monitor of this resolution and detail, it's not surprising that we've provided for the source that delivers the greatest resolution and detail: LaserDisc. Pioneer LaserDisc can be operated by the re- mote control, as can the Pioneer Super Beta Hi-Fi and 8 mm PCM VCRs. What do Beethoven's Ninth, the destruction of the Death Star, Mozart's laugh and rock video's latest thriller have in common? Uncommon sounds. Sounds that makefavorite films special. And do it through exceptional demands on your audio system.a receiver so advanced it uses discrete cir- Because from the crescendo of a massed cuitry like that found in Yamaha's finest chorale to the detonation of proton torpedos,separate components. the sounds of modern entertainment reward The R -9's AM/FM stereo tuner fea- audio high-performance as never before. tures digital tuning with a unique 5 -digit And nothing performs like Yamaha. capability that allows you to fine-tune in Yamaha's sophisticated new R-9 re- increments of 0.01 MHz (FM). ceiver is designed to make the most of This is particularly helpful in obtaining today's home entertainment possibilities. maximum signal quality when tuning rela- With seven audio and three video hookups,tively weak stations interfered with by the R-9 can serve as the control panel for stronger adjacent stations. your entire home audio/video system. And Combined with our new Computer because it has a separates -quality 125 -watt- Servo Lock Tuning System, it gives you per -channel* amplifier with Auto Class the best of both digital and analog tuning A Power amplification, it provides the highcapabilities. power and wide dynamic range that add a The R-9 includes a multi -function in- whole new dimension to your home enter-frared remote control. And it is just one in a tainment experience. complete line of advanced Yamaha receivers. Now you can hear digital recordings Now that's entertainment. and compact discs reproduced with the full125 watts RMS per channel, both channels driven into 8 ohms, from 20 to 20,000 Hz, at no more than 0.015% Total Harmonic Distortion. clarity and resonance demanded by serious Yamaha Electronics Corporation, USA, P.O. Box 6660, Buena Park, CA 90622. audiophiles. Experience the high -decibel impact of the sound effects that make your YAMAHA

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COP ce Ise 6.9Cr 0 1111. .111.1 14 nI; h. (Continued from page 11) or at high level, for direct feed to speakers. RADIO SHACK'S peting models in the same price range. The The AM/FM tuner has twelve presets, and STEREO TV RECEIVER JXL-55 costs $400; the JXL-45, $330. More the frequency display also serves as a digi- details are available from International tal clock. Other functions include a front/ Jensen, Inc., 4136 N. United Pkwy., Schil- rear fader and balance and tone controls. ler Park, Ill. 60176. Price: $270. Write to Alpine Electronics of America, Inc., 19145 Gramercy Pl., Tor- SHARP REMOTE -CONTROL rance, Calif. 90501. RECEIVER/DECK VMS CAMCORDER ADAPTER VDO-Pak's $20 CLM-12 allows car -battery operation of any Matsushita -manufac- The $149 Realistic TV-100-not an adapt- tured VHS camcorder -type videocassette er, but a separate stereo TV audio receiv- recorder. The company says this includes er-connects (usually via a signal splitter) units bearing the Panasonic, Magnavox, to a TV antenna or cable box. Tuning is via J. C. Penney, Canon, General Electric, an analog dial. Indicator LEDs show when Olympus, Philco, Quasar, Pentax, and a program is being broadcast in stereo and Sears brand names. The six-foot cord ter- when a Second Audio Program (SAP) is minates in a cigarette -lighter plug at one available. A stereo -synthesizer circuit can Among Sharp's first car stereo products is end, and at the other, in an adapter for the be switched -in during mono programs. the RG-F870 AM /FM /autoreverse stereo camcorder and in audio- and video -output The receiver can drive speakers directly or receiver/deck. Features include a built-in pin plugs. The plugs may be used to patch connect to an audio system. Front -panel five -band graphic equalizer, Dolby B noise the camcorder directly into a video moni- features include tuning, tone, balance, and reduction, a digital frequency -synthesis tor or another VCR. According to VDO- volume knobs; switching for TV band, tuner, and a microprocessor -controlled Pak, by using the CLM-12 and an external SAP, mode, stereo simulation, and an aux- cassette transport with lockable rewind battery, you can more than quadruple the iliary input; and a y; inch phone jack for and fast -forward. Five station presets are recording time available from a camcord- stereo headphones. Write to Tandy Cor- provided for each radio band, and an Auto er's internal batteries. Information can be poration/Radio Shack, 1800 One Tandy Program Search System and key -off obtained from VDO-Pak Products, 164 Center, Fort Worth, Texas 76102. pinch -roller release add extra touches of Howes St., Port Orange, Fla. 32029. convenience. An LCD frequency readout SANYO'S VERSATILE doubles as a digital clock. Rated output HIGH-POWERED CLARION CAR CD PLAYER power is 11 watts (101/2 dBW) per channel RECEIVER/DECK The Sanyo FTEC2 is a combination car into 4 ohms from 50 Hz to 20 kHz with no Compact Disc player and AM/stereo-FM more than 1 percent THD. The remote - tuner featuring the company's Viper secu- control handset can operate wirelessly by rity system. The CD player section has a infrared transmission or can connect to shock resistant mechanism and automatic the RG-F870 by an optical fiber. The re- loading and playing, as well as the various ceiver/deck costs $400. A version without scanning and cueing functions normally the remote control, the RG-F'864, is avail- At the top of the Clarion line is the 9425RT found on a home model. Added to these able for $350. For more information, con- stereo AM/FM receiver/deck, a model are an intro -scan feature (to sample each tact Sharp Electronics Corp., 10 Sharp Pla- containing an amplifier rated at 20 watts track for ten seconds) and track or full -disc za, Paramus, N.J. 07652. (13 dBW) per channel. The tape deck of- repeat. To compensate for the lack of a fers soft -touch transport controls and cassette deck, the unit has a tape input ALPINE'S MID -PRICED automatic selection -seeking. Other tape that enables a portable player to be RECEIVER/TAPE DECK features include autoreverse, locking fast - patched in, while preserving the FTEC2's wind modes, Dolby B and Dolby C noise reduction, 70 -microsecond equalization, and a Permalloy head. The tuner section has both stereo AM and stereo FM capabil- ity, 12 FM and six AM memories, signal - activated stereo blending, an FM noise SANYO'S FTECt CD PlAYEIV11111ER canceller, and automatic distant/local The Alpine 716 includes a Music Sensor switching. Bass, treble, balance, volume, preamp controls (bass, treble, loudness, function (to find the next recorded selec- and fader controls are provided in the am- volume, and fader). Six FM and six AM tion or to aid in repeating one) and a logic - plifier section, as well as an output -power presets are offered in the tuner section, controlled cassette mechanism with auto- display and a digital -clock mode for the nu- which also has distant/local and stereo/ matic reverse and tape -type sensing. The merical LCD. Price is $570. For details, mono switching, automatic station -seek, output can be selected to be at either low write Clarion Corp. of America, 5500 Rose- and LCD display of frequency or time. level, for connection to other equipment, crans Ave., Lawndale. Calif. 90260. To protect the entire car, the Viper

MARCH 1986 15 mechanism essentially separates the igni- trol and FM noise -suppression circuits tion circuit from the rest of the car's elec- claimed to reduce static, greatly stabilize polk trical system. With the ignition off, the car reception, and retain stereo separation un- The Speaker Specialists ® cannot be started without first entering a der poor reception conditions. There are 15 personal three -digit access code into the FM and five AM presets, as well as a provi- Where to buy Polk Speakers memory preset buttons. If the code is for- sion for hookup of an external CD player.

Price is $440. Contact JVC Co. of America, AUTNONLVED OE ALIN LIST MONTANA Bozeman . Great falls gotten, a master relay switch (hidden by ALABAMA Auburn Orr the owner anywhere on the vehicle) will 41 Slater Dr., Elmwood Park, N.J. 07407. nxnaltarn Homewood! Huntsville NEBRASKA Lincoln Omaha Montgomery Tuscaloosa NEVADA las Vegas Reno

disengage the alarm. The access code can ALASKA Anchorage Fairbanks NEW HAMPSHIRE Concord

Laconia New London be changed at any time. An attempt to ACORN ACOUSTKS SPEAKER ARIZONA flagstall ayes, Shim lesson NEW JERSEY East Brunswick

ARKANSAS L Mle Roca Frankiln Lakes Maple steal the in -dash unit will sound the car's The A-2'25 loudspeaker from Acorn Acous- Seem, Shade Monk!. CALIFORNIA Arcata Raman Ridgewood tics (a new company to us) is a two-way Baser -stied Berkeley Shrewsbury Toms horn once each second for five minutes. Campbell Chico West Caldwell

Darla Faille,' U Carlsbad .Santa Fe

f ream, This feature does not rely on the access system incorporating a 1 -inch soft -dome Los Angeles Mill Valley Napa Orange Elmira code for operation. Instead, it is activated tweeter and a 10 -inch woofer. Crossover Pennprove Med.,. Glens liedd,ng Redondo Huntington whenever two or more wires to the rear of frequency is 2 kHz, and the tweeter has a Sacramento ItnaCa

San Diego Jam, nr, Manhasset San Francisco Newburgh the unit are cut or otherwise disconnected. continuously variable level control. The Santa Barbara Santa Cruz Yon T ty Santa Marla ROcheSter Scarsdale The FTEC2 costs $700 and requires an ex- company claims a sensitivity of 89 dBA at Santa Monica Thousand Syracuse Vestal O ats Ventura Wappingers Falls Visaix Walnut Creek NORTH CAROLINA AShemlle

ternal power amplifier. Details are avail- 1 meter with a 1 -watt input. Impedance is 8 Woos.. Hius Chapel HO . Charlotte CANADA Greensboro Jackson able from Sanyo Electric, Inc., Consumer ohms, and the recommended amplifier Rateigh COLORADO Arvada Aurora Wilmington

!Mulder Winston Salem Electronics Division, 1200 W. Artesia power is from 15 to 100 watts per channel. COlOrado Springs NORTH DAKOTA Bismarck M no Denver Littleton

P0e010 (IMO Cleveland ' Cmcinnax Blvd., Compton, Calif., 90220. To minimize diffraction and improve CONNECIICUT Aron Columbus Dayton Brookfield Fairlieid FArtawn MndlaY imaging, the cabinet edges are rounded, Lima May,. Groton Harlon, Heights Toledo Westiake

MITSUBISHI CD CHANGER acoustic damping material covers the Remington New London OKLAHOMA Lawton Stillwater Tulsa DISTRICT OF COLUMBIA OREGON Beaverton Eugene front panel, and the grille mounting sys- FLORIDA Altamonte Springs Klamath falls

Boca Raton . Clearwater Pendleton Port

tem is frameless. Cabinet material can be ' Daytona Beach land Lauderdale PENNSYLVANIA Auentown z. selected from cherry, oak, and walnut-all Myers FtPierce Altoona Blakely Fl Walton Beach Garnet Bryn Mawr Camp HIII

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hand -finished solid hardwoods. The loud- JefasonvIlle Lakeworth lT tnRlxxe lenlu mown Melbourne Menitt , Kingston speaker measures 13 by 21 by 8 inches. Islam d Miami e LenCaSter Montgornerymile Naples .rrera 41,. Natrona Heights

Orange Park Orlando Philaoelunia area . Pittsburgh Price is $256 per pair. For more infor- Pensacola 0Oakertoven Tallahassee lanma Roadan Selinsgrove W Palm Beach WIllramsport *KPH,

mation, write Acorn Acoustics, 10807 W. GEORGIA Atlanta Auguste Duluth Morrow RHODE ISLAND N Providence 90th Terr., Overland Park, Kan. 66214. Sarannan SOUTH CAROLINA Anderson Smyrna .Tucker Charleston Colurnbra HAWAII Honolulu Greenwood SP...Pull

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Sandpoint Tam Falls SOUTH DAKOTA Rapp] City

Sioux Falls Z.

ILLINOIS Bloormngdax . TENNESSEE Chattanooga Johnson Buffalo Grua, Chem City Angsporl

01100 UMW Lake . a Knoxville Memphis

DeKalb Hoffman Nashville S Madison Estates Hightand Pars

Using a magazine roughly the size of a MI Prospect TEXAS Austin Beaumont Normal Northbrook College Station Dallas VHS cassette, the DP -309 CD changer pro- Peons Paso Caireston Riverdale Rockford Garland Houston

SheuMberg Longview

vides random access to any item on as H Springlield a Ster Lubbock Odessa

N og Vernon Hills San Angelo , Tempi, SK, Vilia Pert Waukegan leaartane Waco many as five discs, as well as a 30 -selection WWI. Falls

INDIANA gloOrnington UTAH Logan store only Sett programmed playback system. The car- Neuron . Greenwood Lake City , F Vernai r IndianapOlia . Lalayene EF, Muncie South Bend VERMONT Burlington Rutland tridges (not the same size as those used by Stem- Ism Wawa

IOWA ON Mann Fairfield VIRGINIA Bristol Chartot the recently announced Pioneer CD chang- COW Er 4) , Slew City teMille Falls Church

O NUS Empona . Junction Cilx Richmond er) facilitate storage of CDs in areas nor- Overland Part Roanoke virginia Beach

WWI. Topeka . mally reserved for videocassettes, in addi- N ENTUCKY Lexington WASHINGTON Bellevue L. ' Bainnonarn Lynnwood'. tion to affording a measure of disc ,oc, . Mt Vernon . Oak Harbor Gretna. Ste,.. 1 aoe Ulnae 50101. protection. Repeat of programmed selec- In black, gray, or red, the CD -12 Compact I WOW. Slere0 Volaye Nem Orleans

Shreveport a w , MO Monroe WEST VIRGIN Barbour..a .. Bea tions or of the entire magazine is possible. Disc carrying bag ($15) from Case Logic is ley Huntington. MAINE Bangor Camden Morgantown Piedmontonedmont

. Princet Wheeling Cueing features include track -skip, fast - made of nylon laminated to a foam pad- MARYLAND Annapolis . Bat-

hroom Frederick ' WISCONSIN Appleton . Green Bay scan, and disc -change. Price is $450. More ding. A plastic inner tray holds 12 CDs in A LAMM. MadilOn MASSACHUSETTS Cioucester

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press, Calif. 90630-0007. The same materials and colors make up Kills: - Grand Rapids Iron Mountain LAnsmg MOBILE MONITOR 0000 SPECIALISTS Petoskey Portage CALIFORNIA Ca.,. Park ' Costa the firm's cassette carrying cases. The Royal Oak Saginaw Mesa 030001110 Trauma Glendate TOP -OF -THE -LINE NC CD -3N, -15N, -30N, and -60N hold 3, 15, 30, Caw la, Hollywood Holly MINNESOTA Atexandria wood Sante Monica Brooklyn Center . Burn... 4...0.0 MASSACHUSETTS Boston

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, Minneapolis MIA - Compatible with late -model General Mo- smallest case substitutes a belt loop for . Saadi. Broom net.. Rocnester A a Scold, Plains westemod Rotenone tors and Chrysler cars, the JVC KS-RX710 the handle and can carry any small items, MISSISSIPPI Gulfport JacksonAla NEW YORK Bey Shore Man Pascagoula haslet MI Asco MISSOURI Cape Girardeau Co as it has no inner tray. They are priced at St Jame, ' boasts a five -band graphic equalizer, an tumble StLaois 000TH CAROLINA Raleigh Winston Salem autoreverse tape player with Dolby B $6, $12, $20, and $30. Information is avail- TEXAS San Antonio VIRGINIA Newport News noise reduction, and a digital -synthesis able from Case Logic, Inc., P.O. Box 4187, Virginia Beach tuner. The latter incorporates noise -con- Boulder, Colo. 80306.

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4- FM' ruur nearril 11'1' CROSSTALK 1.111111111byRobert Long

CABLE UNREADY you'll lose access to certain rates bandpass filtering to mode plays in full color, with a My "cable ready" TV set and channels if the signal has to deal with such problems as 5 -percent color degradation VCR have infrared remote pass through the VCR on the infrasonic signals from (reds and purples seem deep- controls. But now that I've way to the converter. warped records, which are er); SECAM plays in black and had cable installed, I can no not an issue in professional white. All of the original longer use the remote controls WILL THE REAL DSX ... recording. NTSC functions are retained. or program the VCR to record Your response to Jeffrey T. Machines intended for All you have to supply is a from different channels auto- Gardner in the March 1985 semipro use might benefit standard American NTSC TV matically. I don't subscribe to "Crosstalk" raises a question: from built-in DBX Type I set with a vertical hold or an any of the premium scrambled What is the difference be- companders, but it's my automatic vertical adjustment channels, and I'm not trying to tween DBX-I and DBX-II? My strong impression that some feature. [Conventional multi - pirate programs or otherwise open -reel deck has DBX-I, the home decks are fitted with mode decks require special do anything illegal-I'm only professional version, built in. I Type I circuitry simply be- monitors.] trying to use the VCR and TV no longer have the good feel- cause it is the "professional" Victoria 0. Watkins set the way they were meant ings about it that I did before version, and that word has so Instant Replay to be used. What can I do? you commented, "Unless much pizzazz. I could do a Coconut Grove, Fla. Gerald J. Post you're planning to have rec- whole column on the buying Lanham, Md. ords cut from your tapes, I public's inclination to be- So the truth is out: I don't would strongly recommend lieve that "professional" is read every word in every is- Perhaps nothing. Cable necessarily better than "con- the tems vary a good deal, but for reasons of performance as sumer" (though for home "Currents" item on your your situation appears to be well as compatibility." Please use, the reverse often is true) company-Instant Replay the norm, and any attempt explain. Also, why do deck and manufacturers' willing- (2951 S. Bayshore Dr., Coco- to get around it may be manufacturers use Type Iif ness to pander to it (which nut Grove, Fla.13133)-prob- viewed askance (however un- Type H is better? DBX tries to discourage). ably wasn't available to me reasonably) by the cable com- Howard E. Smith But I won't. For one thing, it when I wrote my reply to Mr. pany. In certain setups it's Bangor, Maine would draw attention away Mottram. If it had been, I not hard, for instance, to dis- from an important issue in would have suggested he look connect the converter from All compander noise reduc- the context out of which you into your models, which the cable and interpose the tionsystems,including quote me-that Type I can't seem to cover an interesting VCR between the two. That DBX's, must rely on the sig- accurately decode DBX LPs range of VHS capabilities may enable you to record nal to mask the noise to some or cassette tapes. Type II can, and prices ($749 to $1,795). some channels while you're degree. Careful engineering and that's an important ex- watching something else or requires that circuit charac- tra in the home, in my judg- SECOND EMPIRE while the converter is shut off teristics be optimized for the ment. Where can I get replacement altogether. You may even be noise levels anticipated in parts for equipment from Em- able to dispense with the ca- the media to which the sys- INSTANT REPLY pire Scientific Corporation? ble converter entirely. That's tems will be applied. The Your answer in the June 1985 William A. Helfand the point of "cable ready" equalization of Type II (in "Crosstalk" to a question by Berlin, N. J. tuners in VCRs and TV sets, part, pre -emphasis and de - Bill Mottram overlooks the though such components emphasis in the encode/de- information published in your Empire is now part of the may not work properly with code circuitry, the salient own magazine on our Image Trans -Atlantic Electronics all cable systems. But the ca- area of incompatibility be- Translator VCR ["Currents," group. You can write to P.O. ble company may construe tween the two versions) is bet- April 1985; see also "Letters," Box 486, Hicksville, N.Y. some or all of this as unau- ter calculated to cope with January 1986]. The deck is 11802, or phone (516) 822- thorized and illegal tamper- the relatively high hiss levels made by General Electric and, 2110. ing with its equipment. And imposed by the narrower with our modification, plays some VCRs won't pass the tracks and slower transport PAL and SECAM tapes at all We regret that the nohow' of reader entire signal of some cable speeds of consumer record- speeds, as well as [the U.S. mail is too great for us to answer operations-meaning that ing. Type II also incorpo- standard] NTSC. The PAL all questions individually.

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Feedback - Throat or Memo?

Much discussed and argued and the entire process occurs cleaner than it would have at high frequencies. Its effect about, often misunderstood, virtually instantaneously. A been without the addition of does not vanish altogether un- negative feedback is a corner- tap is taken from the output of feedback. til well beyond the audio stone of modern amplifier de- the amplifying circuit to its in- The cancellation is never range, but this rolloff is one sign. It is no exaggeration to put. This connection is the perfect, however: We don't reason that distortion typical- say that the low distortion we feedback loop. In addition to have some kind of perpetual - ly is somewhat greater at the now take for granted in even providing a route for the out- motion machine here. You top of the audio band than at modestly priced audio elec- put signal to return to the in- could never apply enough low and middle frequencies. tronics would not be possible put, the loop attenuates the feedback to totally remove the The major limitation in the without this versatile and very feedback signal and inverts it, distortion without completely use of feedback is that it effec- effective technique. Yet in re- so that it is 180 degrees out of cancelling the input signal. tively reduces the gain of the cent years, it has been sur- phase with the input. And though the transit time amplifier. So the circuit must rounded with controversy- So what good does that required for the feedback sig- have enough gain to begin accused, in some cases, of do? The conventional explana- nal to get from the output with that you wind up with ad- causing distortion more seri- tion here says something back to the input is exceeding- equate amplification after the ous than that which it cures. about the inverted distortion ly small, it is not zero. Conse- necessary feedback is applied. Separating fact from fic- products in the feedback sig- quently, there is some phase It sometimes is charged tion requires a look at how nal cancelling much of the dis- shift in the feedback, which in- that feedback creates exotic feedback works. The basic tortion in the signal itself, creases in proportion to the forms of distortion (such as principal is very familiar: We which misleads and confuses signal frequency. The feed- transient intermodulation dis- use it to control our bodies. If anyone who thinks about it back signal therefore is never tortion, or TIM) that are more you want to pick up an object, very hard, since the input sig- quite exactly 180 degrees out serious than the ones it allevi- you move your hand toward it nal doesn't contain any distor- of phase with the input, al- ates or that it is the equivalent until you can see and feel that tion. And if the feedback were though the difference is small of "electronic whitewash," it's in your grip. If you move introduced at a point following enough at audio frequencies covering up problems without your hand too far or grasp the where the distortion is gener- that feedback can do its job actually making them go object too softly or firmly, ated, it would cancel the same quite well. away. The latter notion seems your nervous system senses proportion of wanted signal as But eventually, the phase based on a misunderstanding the error and tries to correct it, of unwanted distortion, leav- shift becomes a problem. of how feedback works: It going back and forth (perhaps ing the percentage of distor- When the frequency gets high really does remove distortion, imperceptibly) until you have tion unchanged. enough, the feedback will not "hide" it. Otherwise, the the item securely, but com- The way feedback really start to become more in -phase distortion would be present fortably, in hand. Your body's works is far more ingenious. than out -of -phase with the sig- and measurable in the output. feedback -based servo motor - The amplitude of the feedback nal. At this point, it starts The former notion is better control system is not capable signal is adjusted so that it turning on you, becoming pos- grounded, in the sense that of infinitely fine adjustments, cancels some, but not all, of itive feedback. If something is feedback amplifiers can get but it is good enough that you the input. This reduced input not done, the amplifier will be- into trouble with certain types are aware of its limitations signal goes into the amplifier come unstable and start to os- of signals. On the other hand, only when doing very meticu- along with the inverted distor- cillate, giving the electronic these signals are not anything lous work, such as threading a tion products contained in the equivalent of the shrieking like those that occur in music tiny needle. feedback. The fed -back distor- howlback sometimes heard on reproduction. Typically, they The analogy with amplifi- tion and the input signal prop- PA systems. The oscillation are much, much faster, con- er feedback circuits breaks er are amplified anddistorted probably will be in the ultra- taining frequencies well up down insofar as an amp does together. But the fed -back dis- sonic range, so you won't hear into the ultrasonic or even ra- not have any intermediary tortion has the effect of pre - it, but it will waste your ampli- dio -frequency range. A low- controller that calculates the compensating the input for fier power, generate heat and pass filter designed to cut off appropriate correction signal the circuit's distortion charac- distortion, and perhaps dam- above 20 kHz can shortstop based on the amount of error teristics, so that some (per- age your amp or speakers. any such problems without im- it detects. The connection is haps most) of the distortion Forthisreason,the pairing performance within far more direct and automatic, cancels out, leaving the signal amount of feedback is reduced the audio band.

MARCH 1986 zi BITSlitPIECES

Loom Bits

You might think that because the most popular (and consid- not disqualify them from be- a CD player might only mix the Philips/Sony Compact ered by many the best) digital ing among digital audio's things up further. Disc system is a de facto tape recorder on the market, loose ends, nor does it prevent Perhaps I shouldn't be so worldwide standard, digital the Sony PCM-F1 digital -audio them from becoming impor- hard on an industry that often audio engineers would have adapter used with a videotape tant in the future. At present, doesn't mount a tonearm on a little design freedom. Think recorder. The adapter's ana- one can have a Compact Disc turntable correctly. (For least again! Aside from such com- log output inverts, too. Al- mastered from the analog out- wow with warped records, the mercially competitive aspects though this has been correct- put of a PCM-F1 being played vertical tonearm pivot must lie of CD -player design as output - ed in Sony's various follow-up on a non -inverting. analog -fil- on the plane of the disc.) But filter technology and the num- models, there are still quite a ter CD player with a multi- there are conventions or stan- ber of "beams" used by the la- few Fls out there making plexed DAC. A positive -going dards for signal polarity for ser pickup, there are some many of the recordings that impulse originally recorded si- the other important transduc- conceptually simpler elements eventually end up on Compact multaneously on both chan- ers in the high-fidelity chain, of digital audio that also are Disc. If a record company hap- nels of the Fl will emerge such as microphones, phono being approached differently pens to use the analog output from the CD player as nega- cartridges, and loudspeakers. by various manufacturers. of an Fl anywhere in the CD tive -going, with the right Besides, doing it right from But not only does execution mastering process, instead of channel emerging a full 22.6 the very start is neither diffi- vary: Some companies are get- going direct digital -to -digital, microseconds after the left. cult nor expensive. With a ting it wrong. and if no compensating phase This degree of time offset can Compact Disc player, correc- For example, it would re -inversion takes place, the be significant in stereo broad- tion of phase inversion is ac- seem logical that a Compact resulting CD will be recorded casting because the L -R complished by adding or re- Disc player would deliver a in inverted phase relative to channel -difference signal will moving one inverting - positive output voltage if the the original signal. have an improperly rising amplifierstageinthe number fed to the player's dig- But that ain't all. A CD - high -frequency response that component's output circuitry, ital -to -analog converter (DAC) master recorder is supposed to might overload the stereo sub - or by changing the polarity of were positive and a negative sample and encode both chan- carrier sooner. More impor- the digits sent to the DAC. If, voltage if the number were nels of the incoming audio sig- tant, the mono L +R signal in an effort to eliminate inter - negative. Although there is no nal simultaneously: Channels will have a slowly falling re- channel delays, the addition of polarity specification in the entering the recorder inputs at sponse that may be audible as another DAC should prove un- copy of the proposed IEC (In- the same time should emerge such. duly costly, the use of over - ternational Electrotechnical simultaneously in playback. Down the road, it's possi- sampling digital filters would Commission) Compact Disc Not so with the PCM-F1 or ble that a home digital signal naturally lead to a reduction standard I've seen-an omis- with most single-DAC Com- processing (DSP) system may of interchannel time shifts in sion that I hope is filled soon- pact Disc players using analog require standardization of inverse proportion to the over - this positive-digit/positive- output filters: One channel, phase and timing for the soft- sampling rate. Or, as is done in output convention is followed usually the right, emerges ware to work correctly. In- several CD players, an analog by most of the CD test discs one-half sampling period deed, the Audio Engineering all -pass filter can be used to I've examined, including one (11.34 microseconds) "late." Society's Digital Audio Tech- shift the undelayed channel made by Philips. And this is As a cost -saving measure, nical Committee has devoted into sync with the delayed sig- how all DACs, most CD -mas- these units have but one DAC, quite a bit of labor to these nal. Taking such trouble to ter recorders, and most CD which they switch rapidly be- very issues and how they re- make these corrections may players operate. Most players, tween left and right outputs in late to signal processing and not produce audible differ- but not all. As evidenced by a multiplexing scheme much equipment interconnection. ences, but in view of the still downward -pointing impulse like the one sometimes used to Programs manipulating the untapped resources (and un- waveforms in certain HIDE FI- decode stereo FM. The delay stereo image can be particu- specified requirements) of dig- DELITY test reports, a few corresponds to the switching larly prone to mishaps without ital signal processing, I urge players (even some of the rate. a phase/timing convention. the industry to start tying up newest) have inverted out- Phase inversion and inter - And any reconversion of the these and other loose bits- puts. channel time offset normally signal to and from the digital before it starts tripping over Compounding the error is are inaudible, but that does domain after it emerges from them.

22 HIGH FIDELITY "Every time I helpachopper land, it putsme oncloud nine:' Loretta Dicks, Air Traffic Control "A few years ago, I wasn't doing anything with my life, and I didn't like it. I had no goals. I needed a purpose, and the Army is where I found one. "I knew the Army's air traffic control training wouldn't be easy, but after having gone through basic, I just looked upon it as another challenge to meet. The Army isn't only about building up your muscles-it builds up your self-confidence, too. "Now I enjoy having goals and responsibilities, because the Army's taught me to handle them. Is it any wonder I feel I can touch the sky?" The training and room for growth the Army offers could be the best way to get your future off the ground. See your ARMY local Army Recruiter, or call toll free 1 -800 -USA -ARMY. BE ALLYOU CAN BL The computer monitor: the most critical of all picture tube applications. It must be sharp enough for extended viewing from inches away. That's why demanding computer professionals demand monitors from NEC Even if you don't run a mainframe computer installation, it's comforting to know that NEC puts much of our computer monitor technology into TV Receiver/Monitors for the home. Consider the NEC CT -2610A. It uses a full square 26" picture tube for an undistorted image, and a comb filter for picture resolution that's even better than TV broadcasting itself. The CT -2610A receives stereo TV, tunes in 142 channels, and gives you enough inputs and outputs to start your own TV network. You see, building highly acclaimed computer monitors is not enough for NEC We feel obligated to take the world's most advanced technology one step further. Into your home.

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DENON AVC-500 AUDIO -VIDEO CONTROL CENTER

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THE RADICAL NEV BOSE 8 2 LOUDSPEAKER: Report preparation REf'ORT BEGINS ON PAGE 87 supervised by

Michael Riggs, HARMAN KARDON TD -292 CASSETTE DECK David Ranada,

Robert Long, and MO ...m.

Edward J. Foster. -1=11 7111XIM Laboratory data KENWOOD KRC-999 CAR TUNER /TAPE DECK (unless otherwise indicated) is supplied by Diversified Science

Laboratories. PANASONIC CQ-E650EU CAR RECEIVER/TAPE DECK BEYOND CONVENTIONAL CD PERFORMANCE Onkyo's Integra DX -200 Compact Disc Player sets a new Four separate power supplies eliminate interaction standard of CD performance, both in sonic fidelity and user between stages, and exclusive Delta Power and Super Servo convenience. circuitries maintain noise & distortion free reproduction. A When comparing CD players, the digital -to -analog (D/A) precision 3 -beam laser pickup assures precise tracking with conversion method is the key factor, for although the sound fast track access. on the disc itself is digital, the CD player must convert it to A full complement of convenience features includes 16 analog for output to the amplifier. If this is not accomplished track random memory, with complete digital display for perfectly, the chief benefit of digital-far greater dynamic track, index, elapsed/remaining time, and memory contents, range with a total absence of noise-will not be realized. all of which can be controlled by the DX -200's wireless That's why Onkyo utilizes a 16 bit D/A converter system that remote unit. exactly matches the 16 bit digital code used in the recording The Integra DX -200 goes beyond conventional CD per- process, along with specialized double oversampling and formance to let you realize the promise of digital as it was digital filtering techniques. meant to be heard. Discover the audible difference today. ONKYOArtistry In Sound 200 Williams Drive, Ramsey, NJ. 07446 T E S T IC E P O a T S

In a sense, the Bose 8.2 (as well as means in different frequency ranges. the similarly designed 10.2 and prob- The 10 -inch woofer is set closer to the ably other forthcoming models in outside of the baffle (the left edge of the Point Two Series) is a Bose speaker the left speaker, the right edge of the for the audiophile who can't find any- right speaker), which tends to direct its where to put Bose speakers. Unlike the energy inward between approximately company's cornerstone Model 901, 600 Hz and 1.2 kHz. And Bose says that which is designed to be out in the room placing the tweeters in front of the in order to obtain the Direct/Reflecting woofer directs energy between 1.2 kHz sound that is Bose's trademark, the 8.2 and 2.5 kHz toward the inner tweeter, is intended to sit near a wall and to which is in -phase with the woofer. (Un- achieve somewhat different ends. For usually, the two 3 -inch tweeters are the Point Two Series' goal is also its driven out -of -phase with each other.) own new trademark: "Stereo Every- In the next octave, up to 5 kHz, the where," meaning, as the company says, design relies on the phase relationship the production of a stereo image that between the tweeters to steer the can be heard everywhere in the room. sound into two lobes. One is directed in- To achieve this, the speakers' radia- ward to contribute to the formation of a DIMENSIONS 16 BY 9v, INCHES (TOP), 34 INCHES HIGH. PRICE. tion (polar) patterns are deliberately an- stable stereo image; the other, which is $949 PER PAIR. WARRANTY: "FULL," FIVE YEARS PARTS AND LA- gled toward each other (instead of di- out -of -phase with the overall direct -ra- BOR. MANUFACTURER: BOSE CORP., THE MOUNTAIN, FRAMING - rectly forward, the way it's usually diated sound, provides energy for side - HAM, MISS. 01701. done). Consequently, from most listen- wall reflections. Radiation from this ing positions, the perceived output of outer tweeter is suppressed above 5 ROOM RESPONSE CHARACTERISTICS DB the speaker farther away is greater kHz by what Bose calls its Interactive .5 tie SordZA than that of the nearer speaker. This Crossover. Above that frequency, 0 s -W.."11111 compensates for the precedence effect, where the wavelengths of the sound -10 --EMU so that the stereo image remains cen- are less than the diameter of the tweet- HZ 20 50 100 200 500 1K 2K 5K 10K 20K tered between the speakers instead of er, the output is directed inward by the boundary -dependent region collapsing into the closer one, whose in -phase tweeter's mounting angle. on -axis response sound arrives first at your ears. Reflecting its skewed radiation pat- oft axis (30 ) response Bose is not the first to make this tern, the 8.2 itself is visibly asymmetri- SENSITIVITY (at 1 meter, 2.8 -volt pink noise) 87 3/4 dEISPI. time/intensity tradeoff, and even cal, with a square, unremovable, brown AVERA3E IMPEDANCE (250 Hz to 6 kHz) IS ohms before such speakers came on the mar- cloth grille directly over the three -driv- ket, it was common practice among er array. The back wave of the woofer some audiophiles to toe in conventional percolates through an internal port into 1/2 inch to 2 inches away from the wall systems so that their axes crossed in the lower part of the enclosure and behind them, at least 12 inches from the front of the actual listening area, to the then vents through a tube that opens walls at either side, and 3 to 12 feet same purpose (though with less con- onto the rear panel. Electrical connec- apart. The ideal setup, according to the vincing results). But as usual, Bose has tions also are made at the back, to re- company, would be to divide the back chosen a way of achieving the desired cessed spring -loaded clips. The enclo- wall into quarters and place the speak- effect that is distinctly its own. This can sure shape is pleasingly modern; ers at the 1/4 and % marks. be seen from a quick glance at the driv- vertical surfaces have rounded corners Diversified Science Laboratories' er arrangement: The 8.2's woofer and and are covered with an attractive teak - standard loudspeaker -measurement dual tweeters are mounted in an array grain vinyl finish. setup uses only one speaker but is cali- that radiates all the sound from virtual- Obviously, the back vent cannot be brated for several possible cabinet ly a single point close to ear level. placed right against a wall, but the placements in the room. For floor - The driver configuration also speakers are designed to stand near standing models, the nearest available shapes the speaker's polar pattern to one. Bose's recommendations in the approach to the wall is 3 inches-only a optimize stereo imaging throughout folder that serves as an owner's man- little more than that recommended by the listening room, using different ual include placing the speakers from Bose. When, as here, the two speakers

MARCH 1986 27 Throughout the midbass, mid- out -of -phase tweeters. And occasional- range, and lower treble, measured re- ly we did catch a hint of these qualities, sponse stays within ±3 dB in both on - particularly when moving around the and off -axis traces. The usual dip at- room. But we found these factors are tributable to floor reflections is less not nearly as pronounced as the "wis- pronounced than usual, although there dom" would predict. Another possible is a deeper dip in the main crossover re- contributor to our perception of less - gion. The rises toward both ends of the than -perfect treble smoothness is the spectrum would give us pause were unusually high distortion. Even at the measured response our only gauge of lowest test sound pressure level (SPL) performance. In our stereo listening of 85 dB, measured distortion averages tests, we didn't hear the colorations im- more than '/2 percent across the fre- plied by these sections of the curves. quency band (though it is astonishingly THE KEY TO THE 8.2'S IMAGING IS ITS NOVEL DRIVER ARRAY: A PAR However, when we turned off one low in the bass). At 100 dB SPL, the av- OF ANGLED TWEETERS MOUNTED IN FRONT OF THE WOOFER. speaker to investigate the way the oth- erage distortion is more than 1 percent, er directed its output into the room, we rising above 10 percent at several test of the pair under test aren't inter- were astonished at how it sounded: The frequencies, particularly in the mid - changeable, only the right one is mea- thumpy bass, harsh highs, and shallow, bass. Still, this isn't outrageously high sured. "Axial" response for this pur- muddy midrange all reflected the mea- for a loudspeaker, and this one will put pose is that picked up straight in front sured curves much more than the very out much higher sound levels with no of the cabinet; "off axis" response is good stereo we had just been hearing. obvious sign of complaint. When DSL's measured from 30 degrees toward the We don't altogether understand test amplifier ran out of steam in the center of the listening area (that is, to why this should be, but the one- 300 -Hz pulse test, at the equivalent of the left of the right speaker). Thus, in speaker/two-speaker difference with 27 dBW (500 watts) into 8 ohms, calcu- the 8.2, the axial response presumably the 8.2 struck us as much more extreme lated output was a whopping 1143/4 dB. is on the main output lobe of neither than is the case with most models, The 8.2's actual impedance curve tweeter, while the off -axis curve is tak- strongly suggesting that the printed lies considerably higher than Bose's 4 - en somewhere within the major lobe of curves, measured with only a single ohm rating suggests. Its minimum is the inward -firing, in -phase tweeter. speaker, must be assessed with more 5.2 ohms at a bit above 100 Hz; its maxi- Given the 8.2's radiation pattern, it's caution than usual. And, as always, mum, in the crossover region, is 24 not surprising that our graph's off -axis they must be approached in the knowl- ohms. The impedance averages 15 curve rises so much higher at the top edge that bass, in particular, is subject ohms in our rating band and just shy of end than the curve taken on -axis. Con- to change as a result of placement rela- 13 ohms over the entire audio spec- ventional speakers tend to behave in tive to room boundaries. At times, in all trum. It therefore should present solid- the opposite manner. the positions we tried, we detected a state amplifiers with an easier load to Aside from the foregoing infor- hint of deep -bass thumpiness, though drive than the 4 -ohm rating implies, mation about propagation in the vari- the response could be altered consider- though some amps probably wouldn't ous frequency bands, Bose doesn't ably by moving the speakers away be happy with an additional, paralleled specify a crossover frequency. And from the wall. speaker pair because the combined im- DSL's near -field measurements are The best overall results were pedance could drop below 2 or 3 ohms problematic because it's impossible to achieved by following Bose's place- at some frequencies. By coincidence, place a microphone near one driver ment instructions. That done, the sound the passband of the noise we use to rate without having another in close proxim- is fairly rich, with good detail, and the speaker sensitivity coincides with the ity. But the near -field curves the lab did stereo image is-as claimed-unusual- lowered range between the two maxi- obtain tend to confirm that the out- ly stable and spacious. As you move ma in the measured frequency re- ward -firing tweeter is cut off above 5 about the listening room, centered solo- sponse. Because of this and the rela- kHz, essentially leaving the highest ists stay centered, rather than seeming tively high impedance, we were not too frequencies to the inner -facing driver. to jump from one speaker to the other surprised to find that the 8.2's mea- The crossover from the woofer to the as you cross the "sweet spot." Spatial sured sensitivity is on the low side for a two tweeters may be a little higher clarity within the image is perhaps not speaker of its size. than the 1.2 kHz implied by Bose, as crystalline as it is with some other What sets the 8.2 apart and keeps it though the data essentially confirm the speakers, giving it a somewhat unfo- from being just another loudspeaker- existence of a crossover in that region. cused character. But the sound stage is albeit with Bose's characteristic sonic Direct output from the woofer runs out surrounded by an exciting sense of spaciousness-is indeed the Stereo Ev- of steam below 50 Hz. But by that time, space, one that we wouldn't expect erywhere technology. Few other mod- the vent is putting out considerable en- from speakers delivering an exception- els (and none at this one's price) allow ergy, as it continues to do with very lit- ally unequivocal image. you as much freedom to move about tle rolloff right down to DSL's testing Conventional loudspeaker wisdom without loss or serious degradation of limit of 20 Hz. (Vent resonance is some- would predict a roughness or phasiness the stereo image. In that objective, the

where below 20 Hz.) in the highs as a result of the unbaffled, Bose 8.2 is entirely successful.

HIGH FIDELITY Good Reasons You needthe Schwann Catalog

1. You'll get a month -by -month listing of all the 6.You won't have to look for the SCHWANN new LPs, Cassette tapes and compactdisc CATALOG every month. It will come right to recordings. (Over 50,000 titles every month. your home or office. You can just sitback and The average issue is well over 270 pages.) enjoy the convenience. All you have to do is fill out the form below... 2. You'll learn which records and tapes are about to be discontinued-before it happens! 3.You'll get listings for spoken word, interna- 7.WE SAVED THE BEST FOR tional, religious, folk music, boxed sets and LAST. HERE'S THE MOST electronic music-as well as a complete clas- EXCITING NEWS OF ALL: sical music listing. We will send you-as a Special 4.You'll get a complete price list of every record, Bonus-a brand-new push- tape and CD-so there will never be any con- button phone. Complete with fusion about costs. standard plug. With auto- reclial of your last number and 5.Our December and June issues (which is features you'll find on phones $3.95) is a massive collection of the year's record and tape information-over 430 costing as much as $25... pages. It is probably the most important or more. reference a music lover can have-and utter- ly indispensable for anyone who sells re- cords, tapes and compact discs.

r 1 THE NEW SCHWANN: HF386 P.O. BOX 41094, NASHVILLE, TN 37204

YES! send me one year of THE NEW SCHWANN (12 issues including the big double issue) for just $35 and my FREE phone.

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ADDRESS APT. IP

CITY/STATE/ZIP FOREIGN RATES: CANADA. 540.00. OTHER FOREIGN $45 ($80 AIR MAIL PAYMENT IN U.S. CURRENCY ONLY -MUST ACCOMPANY ORDER. THE 1986 MUSICAL AMERICA INTERivvrioNAL DIRE(ToRy OF TI1E PERFORI\IING ARTS NOW

Musical America is pleased to invite you to order AVAILABLE copies of the 1986 Directory of the Performing Arts for $55. The authoritative reference source for interna- tional listings in music and dance presents in one com- prehensive 600 -page volume the 1986 listings for: Music. Over 600 orchestras, chamber ensembles, opera com- MUSICAL AMERICA panies and choral groups are listed with important infor- mation on "target decision makers" and concert halls. Dance. From Alvin Ailey to Zorongo Flamenco. over 600 dance companies are listed: ballet theatre, comedy, children's dance, folk and mime. Includes regional and national companies throughout the U.S and Canada. Performing Arts Series and Festivals. A survey of popular and classical music, theatre and dance series sponsored by communities, societies and universities. Music Schools. Contests. Foundations and Awards. From small music schools to music departments at major universities. In addition, over 100 international music competitions are accompanied by information on requirements for entry. Plus complete international listings for: Music publications. Professional services and organiza- tions. Artist managers. Music publishers. And perfor- mance schedules for North American concert halls. Each listing will also provide you with an address, phone number and the names of key people to contact. To reserve copies of the 1986 International Di- rectory of the Performing Arts at $55 each, please return the form with your check to: Musical America, Circulation Department. 825 Seventh Ave., New York, NY 10019

r MAD3 ) 1986 MUSICAL AMERICA DIRE(TORY CIRCULATION DEP T. -8TH FL 825 SEVENTH AVENUE. NEW YORK. NY 10019

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APT Please send me the 1986 International Directo- ADDRESS ry of the Performing Arts for $55 each. CITY STATE ZIP I enclose $ for (IF FOREIGN) PROVINCE COUNTRY Directory (Directories). (Price includes postage and handling on U.S. CHECK ENCLOSED CHARGE MASTER CARD VISA

orders. Outside the U.S. add $10 for surface EXP mail, $20 for Air Mail.) CARD NO DATE PAYMENT IN U S CURRENCY ONLY (PAYMENT MUST ACCOMPANY ORDER) R E P 0 R TS

Denon AVC-500 Audio -Video Control Center

TAPE PROCESS (RECORD/PLAY/ SOURCE SELECT.: MAIN ("APE/C01. VIDEO 1/2/3

INPUT LEVEL ADJUST AC POWER

VOLUME (OUTPUT LEVEL) HEADPHONES ADJUST

E 3UA LIZ ER BALANCEADJUST. VIDEO ENHANCE (ON/OFF) IMAGE WIDTH ADJUST

OUTPUT MODE (MONO/STEREO) IMAGING PROCESSOR SIR:RATED STEREO SURROUN3 AMBIENCE 'OFF EXPANDER (ON/OFF)

As you add program sources to the same videotape. With the Tape/CD DIMENSIONS: 171/4 BY 314 INCHES (FRONT), 10 INCHES DEEP PLUS your video system, you're faced key in the normal released position, au- CLEARANCE FOR CONTROLS AND CONNECTIONS. AC CONVEN- with the problem of switching dio and video stem from the same IENCE OUTLETS: TWO UNSWITCHED (250 WATTS MAX.). PRICE. among them and, perhaps, dubbing source; when the key is pressed, the $375. WARRANTY: "LIMITED," THREE YEARS PARTS AND LABOR. from one to the next. Although many video you are watching (and recording) MANLFACTURER: NIPPON COLUMBIA COMPANY, LTD., JAPAN; modern monitor/receivers provide mul- is determined by the settings of the oth- U.S. DISTRIBUTOR: DENON AMERICA, INC., 27 LAW DR., FAIR - tiple direct -video inputs and some fur- er three switches, while the audio is FIELD, N.J. 07006. nish video outputs for recording, taken from the source connected to the there's still reason to consider a prod- Tape/CD line -input jacks on the rear uct like Denon's AVG500 Audio -Video panel. This makes it possible for you to Control Center. listen to and record simulcasts (if In addition to source -selection and you've connected an FM tuner to the dubbing facilities-including provi- Tape/CD inputs) or to replace the sions for replacing the soundtrack of soundtrack of a home video with music processors. the program being duplicated with a from a CD player or tape deck. A back -panel slide switch deter- different audio program-the AVG500 There are two sets of audio -video mines whether the audio program boasts a rather complete range of audio recording outputs (Video 1 and 2), a sep- passes through the surround -sound controls, including a five -band graphic arate video monitor output. stereo and processor on its way to the line outputs. equalizer, a peak expander, a stereo mono line outputs, a tape output (for re- If the AVG500's power amp is used to simulator, and a surround -sound decod- cording on a deck you may have con- drive the rear speakers (the normal ar- er. Its built-in stereo power amplifier, nected to the Tape/CD inputs), and left rangement), the switch is set to send rated at 25 watts (14 dBW) per channel, and right speaker outputs. With this ar- unmodified audio to the external stereo can be used to drive either front or back rangement, you can dub between Video amplifier that is driving the front pair. speakers. There's even a video enhanc- 1 and 2 in either direction or record on If the AVC-500's internal amp is used to er that can be used to snap up picture both simultaneously from the Video 3 drive the front speakers, the switch is detail when either viewing or copying. source. In all cases, the monitor dis- set to route signals through the sur- The control center has a bank of plays the program you've selected to round -sound circuits before delivering mutually exclusive pushbuttons for copy. Pressing ENHANCER modifies the them to the line outputs, from which switching among as many as three di- video frequency response to both the they can be fed to an external amplifier rect audio -video program sources. A monitor and video outputs. The setting for the back speakers. fourth pushbutton (marked "Tape/ of PROCESSOR COPY designates whether Pressing MODE parallels left and CD" and not interlocked with the oth- the audio program being recorded on right channels to ensure that sound ers in the bank) enables you to record any tape deck or VCR connected to the emerges from both front speakers independent audio and video sources on unit is passed through the audio signal when a mono source is connected to

MARCH 1986 31 The Energy 22 Pro Monitor has bees hailed by critics as one of the major loudspeaker design breEkthroughs of the last decade. Ir fact, the Energy 22 may well rank as a standard against which other speakers should be judged. Audition either the Energy 22 Pro Monitors or the Reference Connoisseurs and we think you'll agree that they are not only the most exciting speakers you've ever heard, but "a stunning achi?vement" indeed!

"A STUNNING ACHIEVEMENT" Miami, Florida, Audio By Caruso, Don Caruso - Owner. .The REFERENCE CONNOISSEURS are among the most neutral. uncolored. speakers we have found!!! Top Retail Experts They provide very relaxing listening:' El Paso, Texas, Sound Room, Mark Pearson - Owner. -Energy 22 pro monitor is Personal Views About the most three dimensional speaker ever' The Energy 22 Phoenix, Mesa, Arizona, HI Fl Sales, Dave Ross - G. Mgr. -ENERGY 22. One of the most accurate, best imaging speakers we have ever heard." New York, New York, The Listening Room, Ron Mintz - Owner. "As one of the Los Angeles, California, Christopher Hanson Ltd., Christopher Hanson - First dealers in the U.S. to rea ize tne quality c4 tie E22. we continue to be amazed by Owner. "The Energy 22 is very musically involving - 'Absolutely Brilliant*." the imaging and spaciousness of this speaker of such compact size & price" San Diego, California, Stereo Sound Co., Bob Kokley - Owner. -Over the Hicksville, Long Island, New York, Designatron, John Thomas - Manager. years we have heard many promises of new breakthroughs in speakers with "Never before have we experienced a speaker system which exhibits the level of realism disappointing results. The ENERGY 22 is one of the only products which performed that the Energy 22 provides. The excitement generated by Energy speakers is only beyond those promises. A job well done!" exceeded by the pleasure of cwrirg them. The Energy 22 sets a reference standard by Berkley, California, The Sounding Board, Jeff Smith, Jim Serena which all other speakers must be judged.' Co -Owners. Washington, D.C., Audio Associates, Mike Zazanis -Owner...The ENERGY "The Energy 22 is an outstanding speaker. What's incredible is the value. compact size 22 is a very musical speaker at a very inexpensive price that easily could cost a lot more and its performace level." money." THE DEALER'S #1 CHOICE Chicago, Illinois, Pro Musica, Ken Christianson, John Schwarz - Co -owners. "The Energy 22 Reference Connoisseur & Pro Monitors simply outperform tie competition. Musically satisfying to the most demanding listerers: E SC C 22 Energy Loudspeakers. 135 Torbay Road, Markham. Ontario CopyrightAPI 1985. Energy Loudspeakers L3R 1G7 -1416; 475-0050 TLX 06-986689 either the left or right input jack. Nor- be more of a "peak unlimiter" than a RATED POWER 14 dOW (25 walls)/ charnel mally the switch is kept in the released classic "linear" expander. With the in- OUTPUT AT CLIPPfNG (at 1 kHz; both channels driven) position to permit stereo reproduction put level at maximum, the expander 8 ohm load 11'.dBW Ii8 weusl channel 4 ohm load either from a true stereo source or had essentially no effect on signals of 14 ,I2 dBW (28 watts(/channel DYNAMIC POWER (at 1 kHz) from a mono source via the stereo simu- less than approximately 35 millivolts. 8 ohm load 15111 t111.1 lation circuitry. The expansion factor gradually in- 4 -ohm load 16 1/4 dBW A three -position rotary switch en- creases with rising signal level, reach- 2 ohm load 15 dBW DYNAMIC HEADROOM see text ables you to choose regular stereo (or ing 1.2 :1 at an input of 125 millivolts. HARMONIC DISTORTION ITHD. 20 Hz to 20 kHz) mono) reproduction, simulated stereo The maximum expansion ratio (1.4 : 1) at 14 dBW 125 wags) 0.55% from a mono source, or surround sound occurs at about 200 millivolts. at 0 dBW (1 watt) '5. 0 12% from a stereo source. Denon does not Strangely, the AVG500's amplifier AUDIO FREQUENCY RESPONSE claim that the surround -sound circuitry power specification is not based on the 0H conforms to the Dolby Stereo standard "standard" 8 -ohm load. It is rated for . sro01 for encoded movie soundtracks. Rath- use with speakers whose impedances HZ 20 50 100200 500 1K 2K 5K 10K 20K expaadiu Mt +0, -2 dB. 20 Hz o 20 kHz er, the effect is "created electronically are between 6 and 16 ohms and is said supaailei ea +0. -3 dB. 54 Hz o 20 kHz by using phase-differencing coloration to deliver 25 watts (14 dBW) per chan- AUDIO EMIALMBI ADJUSTMENT RANGE elements." According to Diversified nel into 6 ohms. Since DSL found the De 10IIIMIIMMIN1111111111111111MIN Science Laboratories' investigation, clipping level into both 4- and 8 -ohm 5 both the synthetic -stereo and surround - loads to be 28 watts (14'/2 dBW), we de- 0 5 sound effects are created by comb fil- cided to use the 25 -watt rating as our 10 ters, although not the same ones. In reference, even though at 8 ohms this 1/2 20 50 100200 500 1K 20 SK 10K 20K each case, the degree of enhancement ran the amplifier closer to the voltage individual sliders set at max. and min. limits of its power supply than would be AUDIO S/N RATIO Ire 0 dBW. A weighted) is determined by the setting of the best case (no processing) 86 1/4 dB "width" control. the case with a 6 -ohm load. Under these worst case (surround at max 69 de The AVC-500's five -band graphic conditions, total harmonic distortion AUDIO SENSITIVITY (re 0 dBW) 33 mV equalizer is controlled by a series of (THD) was less than or equal to 0.11 AUDIO IN°UT OVERLOAD 11 -kHz clipping) sliders on the left of the control panel. percent from 40 Hz to 10 kHz, rising to input level at max. 3 66 volts input level at min. 10 volts

The equalizer sections are spaced at 0.55 percent at 20 Hz and 0.20 percent AUDIO INPUT IMPEDANCE 46k ohms two -octave intervals from 63 Hz to 16 at 20 kHz. The predominant harmonics AUDIO OUTPUT IMPEDANCE Ito tape) 650 ohms kHz. DSL reports that their center fre- were the second, third, and fifth. At 0 DAMPING FACTOR (at 50 Hz; re 8 ohms) 50 quencies are very accurately marked dBW (1 watt), distortion was 0.12 per- CHANNEL SEPARATION lat 1 kHz) ' 4 dB and that the maximum boost or cut cent or less across the entire band. VIDEO FREQUENCY RESPONSE available is very close to 10 dB in every Without a power rating into a stan- enhancer off mien= au at 51111 ltltr flat + 11/2 dB case. The linearity of the sliders is dard load impedance, it is impossible to at I/ MIN flat +4 dB somewhat worse than average, al- assess dynamic headroom, but dynamic at LIM flat +33/4 dB M 3.8 Mae - 1/2 d8 -1 1/2dB though we have yet to test a graphic power can always be measured. For the at 3.51 MIN - 1/2dB + I/2dB equalizer that has a truly uniform con- AVG500, it ranges from a low of 15 m 4.2 MIN - 1/2 dB + 1I/4 dB trol range. About half the total range is dBW (32 watts) into 2 ohms to a maxi- LUMINANCE LEVEL concentrated between the first and sec- mum of 16'/4 dBW (42 watts) into 4 enhancer off enhancer on tsmenitor output 3% high 6% high ond markings above and below the cen- ohms. With 8 -ohm loads, 151/2 dBW (35 to Moo 2 output 12% low standard ter detent, with most of the rest occur- watts) is available on musical tran- GRAY -SCALE NONLINEARITY (worst case) none ring between the third and fourth. This sients. The damping factor is adequate- CffROM 4 DIFFERENTIA) GAIN 'nine makes setting the sliders a bit touchy. ly high at low frequencies and is fairly CHROMA DIFFERENTIAL PHASE The control center's audio expan- well maintained even out to 20 kHz, CHROMA LEVEL 1(4 dB sion circuit is engaged by pressing EX- where it is the equivalent of 20 refer- CHROMA PHASE ERROR PANDER. An input level control (sepa- enced to an 8 -ohm load. rate from the master volume and Input sensitivity, input and output balance knobs) is used to prevent input impedances, and audio recording out- REPORT POLICY overload. Normally, it is set to its maxi- Equipment reports are based on laboratory put level should present no problems measurements and controlled listening tests. mum and turned down only if the peak with typical VCRs and cassette decks. Unless otherwise noted, test data are provided by Diversified Science Laboratories. The LED lights up. The lab found that the The AVC-500's signal-to-noise (S/N) ra- choice of equipment to be tested rests with LED did illuminate at the point of over- tio depends upon how much audio pro- the editors of HIGH Pima,. Samples normally are supplied on loan from the manufacturer. load, but only when the expander was cessing you use. It ranges from an ex- Maufacturers are not permitted to read re- ports in advance of publication, and no report on. With the expander off and the input cellent 861/4 dB with no processing to a or portion thereof may be reproduced for any level control all the way up, it was pos- still quite respectable 69 dB with the purpose or in any form without written permis- sion of the publisher. All reports should be con- sible to clip the input without trigger- surround -sound mode set at maximum strLed as applying to the specific samples test- ed. HiGn FIDELITY and Diversified Science ing the peak LED, but since this re- (turning down the width control half- Laboratories assume no responsibility for quired an input of almost 3.7 volts, it's way improves the noise figure by al- product performance or quality. not likely to be a problem. most 6 dB). DSL's tests show the expander to The video enhancer affects both the

MARCH 1986 33 monitor and video recording outputs. Response at 500 kHz and 4.2 MHz is to expect it to perform all of its func- With it off, there's negligible change in lifted a little more than 1 dB, while that tions as well as dedicated separates the video signal to the monitor output at 3 MHz is reduced 1'/2 dB. might. (A true Dolby Stereo surround - and, except for a slight reduction in lu- The Denon AVG500 is a versatile sound decoder produces more realistic minance and chrominance levels, virtu- and rather unusual component. It com- effects; an expensive, top -of -the -line ally no difference at the recording out- bines many elements-video switching video enhancer gives you more control puts either. Switching the enhancer on and dubbing facilities, a video image over video response and noise.) But if raises the luminance and chrominance enhancer, stereo and surround -sound you want to get your feet wet in audio - levels at both outputs (restoring those synthesizers, a peak unlimiter, a five - video enhancement or to obtain all of at the recording output to nominal lev- band graphic equalizer, and a fairly these features without busting your els) and boosts video output between substantial stereo power amplifier-in bank account, the AVG500 is a good

1.5 and 2.0 MHz by approximately 4 dB. a single package. Perhaps it's too much choice. TEST REPOR TS

Technics SA -460 Audio -Video Receiver

TAPE MONITOR: TAPE (OR VCR) 1/ TAPE 2 (AUDIO), 11111 DUB TAPE 1

SOURCE SELECT. TUNER/ PHONO/AUX

AC POWER

VOLUME FM MODE ADJUST. (AUTO; MONO) HEADPHONES

SPEAKERS A. B ON OFF) 111'?! "TAPE 3'. INPUTS CH R CH VIDEO STATION PRESETS BAND AM FM TV/CABLE "TAPE 3" DUBBING ION:OFF) CABLE FINE TUNING LMODE (STEREO/MONO) TUNING (UP. DOWN) LOUDNESS (ON/OFF)

MEMORY, MEMORY SCAN INFRASONIC FILTER (ON/OFF) STEREO SIMULATION ON OFF VCR ECI ON OF TREBLE. BASS. BALANCEADJUST.

DIMENSIONS17 BY 3'y INCHES (FRONT PANEL), 10' INCHES Despite its moderate price, the nics's own best audio -only gear, but it is DEEP PLUS CLEARANCE FOR CONNECTIONS. AC CONVENIENCE Technics SA -460 incorporates a good enough for respectable service in

OUTLETS: ONE UNSWITCHED (150 WATTS MAX.). PRICE: 5320; OP- wealth of capabilities-more, in practical audio -video systems.

TIONAL SH-4090 STEREO TV ADAPTER, 5150. WARRANTY: "LIMIT- fact, than some costlier audio -video re- To understand what's going on in-

ED." TWO YEARS PARTS AND LABOR. MANUFACTURER. MATSU- ceivers we've covered in these pages. In side, let's begin by examining the back

SHITA ELECTRIC INDUSTRIAL CO., LTD., JAPAN; U.S. DISTRIBUTOR: particular, its tuner section will deliver panel. There are several RF (radio fre-

PANASONIC COMPANY DIV.. MATSUSHITA ELECTRIC CORPORA- high -quality television audio in mono, quency) inputs. An AM loop antenna TION OF AMERICA, 1 PANASONIC WAY, SECAUCUS, N.J. 07094. simulated stereo, or true stereo and plugs into a special socket (and, for from videotape, videodisc, broadcasts, some reason, must remain plugged in, or cable, depending on what's available according to the owner's manual, even in your area and whether you add the if you add an external AM antenna). optional MTS adapter. The SA -460's Two mounting adapters are included so great functionality is achieved by that you can screw the loop to the back avoiding both the frills that appear on of the receiver or to an independent some competing equipment and the lat- support or clip it to the pressboard back est esoterica in the audio circuitry it- of a typical equipment -rack cabinet. self. The resulting performance doesn't Also on the back panel are screw bind- quite match that of (for example) Tech- ing posts for a 300 -ohm (twinlead) FM

34 HIGH FIDELITY antenna, along with a post -plus -clamp would use Tape 1 and 3. But you can FM TUNER SECTION arrangement for 75 -ohm FM coax. attach audio decks or outboard signal FREQUENCY RESPONSE & CHANNEL SEPARATION

This last is a fairly standard fitting processors or the audio sections of Do MMIMIMM- on Japanese audio -only gear, but it video decks, in any mix, to all three, iiimiNMEMMIMMIMINIM=MM MIMIMMIMMIMEMMIMM-- seems an odd choice for the U.S., where simply ignoring the video jacks (with - 10MIMMIMINMIMMEIMMII= 15031==1111MMIMINNIMMIMMI the more convenient and reliable F con- the proviso that whatever is connected 20 LIMMIIIMM=MMIIMI nector has come to be expected. On the to Tape 3 can derive no input from the 3025MMIIWYMIM=MINPAII other hand, Technics does use an F con- SA -460). 35ECOMM=IniiiirdgMILFAIM nector for the input from your TV an- Also included among the back -pan- UP 20 50 100200 500 IIC 2K 5K 10K20K tenna or cable system. There also is an el connections is a multiplex output jack Frequency response RF output to pass the television signal to feed Technics's optional SH-4090 - lett channel +1, -2 IR d8. 20 Hz to 15 kHz right channel + 1/2. -1 3/4 dB, 20 Hz to 15 kHz on to your other video equipment; here, stereo TV adapter (which we didn't Charm& separation however, Technics has chosen a pin test). Though the SA -460's manual is a l 35 di, 800 Hz tc 7 8 kHz. jack (commonly used for direct audio little vague on the point, we gather that 25 dB. 92 Hz to 15 kHz and video inputs and outputs, but not signal connections back from the adapt- FM SENSITIVITY & QUIETING DB for RF) plus an adapter cable that ter- er to the receiver are through the Tape SA 460121 minates in an F fitting. 1 jacks, for which substitutes are pro- 10 The back panel sports video pin vided on the adapter so that you can re- 20 30 jacks as well, intended for dubbing be- tain full use of the input. 1 tween videocassette recorders and en- Just ahead of the SA -460's power - 40 tt tirely independent of the TV tuning sec- amplifier section (following the other so tion and the RF input and output. Here controls in the circuit and the various so the owner's manual, which struggles tape loops) are two options intended pri- D8C 0 10 20 30 40 50 60 70 80 90 100 valiantly to explain all the features in marily for TV or VCR audio signals but simple (if not always very idiomatic) available for other sources as well. One - -- stereo quieting (noise) mono quieting (noise) terms, can be particularly confusing. is a simulated -stereo mode, called Stereo sensitivity (for 50-d8 noise suppression) Though it consistently refers to Tape 1 "Stereoplex," that introduces an inter - 38 3/4 d131 at 98 MHz. with 0 54% THO N (40 3a a, 90 MH/ 39 14 481 )8 106 MHz) and Tape 2, there actually are connec- channel phase difference to "open up" Mono .ensitivity (for 50-d8 noise suppression) tions for three decks, but they are the sound. Diversified Science Labora- meant primarily for two VCRs or two tories measured a 180 -degree disparity Stereo threshold 14 112 dBf Stereo S/N ratio (at 65 dBf 68 117 dB audio decks, or two of one and one of toward both frequency extremes, with Mono S/N ratio (at 65 dBf) /5 dB the other. Got that? varying phase differences (but always CAPTL RE RATIO 2 42 de

It works as follows. Of the two sets some) in between. Technics also refers SELECTIVITY of deck connections on the back panel to this option as "stereo ambience," and alternizachannel 71 1/4 (for which monitor switching is provid- indeed the sound does suggest ambi- adjacent channel 11 dB HARMONIC DISTORTION (THO+N) ed on the front), only one has a video ence simulation somewhat more than stem mem jack, and that's for recording output left -right stereo-which is probably all et MOON 0.29% 0.28% only. Let's call those connections Tape to the good for use with video, whose at I kHz 0.25% 0.24% at 6 kHz 1 (14% 0.46%

1 and the ones next to them Tape 2. images could contradict a too -literal STERI 0 PILOT INTERMODULATION 0.15%

Both sets have a full complement of hint at lateral space or movement. As INTERIMODULATION DISTORTION (mono) 006%

stereo jacks-for recording output and usual, purist audiophiles probably will AM SUPPRESSION 46 1/2dB playback input. The Tape 3 connections prefer to do without the simulation, an PILOT (19 kHZ) SUPPRESSION 351/2 dB (our designation) are on the front panel attitude we tend to share. SUBCARRIER (38 kHz) SUPPRESSION 51 dB and consist of playback inputs only: More useful, depending on the qual- two for stereo audio and one for video. ity of your video sources, is the so- TV TUNER SECTION

Thus, you can copy video from Tape 3 called VCR -sound equalizer-actually AUDIO FREQUENCY RESPONSE

to Tape 1 (using a special front -panel a bandpass filter with gently sloping D e

"dubbing" switch that interposes the skirts, as our graph shows. The manual -s SA 430131 front -panel jacks into the circuit that says it is intended only for playing vid- HZ 20 50 100 200 SOO 1K 2K 5K 10K20K normally supplies the source signal to eotapes. to reduce noise toward the fre- the back -panel recording -output jacks). quency extremes. In working with 1/7, -3 dB. 26 Hz to 15 kHz AUDIO S/N RATIO (A -weighted) Or you can dub audio from Tape 1 to edge -track audio, which often has an in- hest case Poo color or luminance) 57 3/4 di Tape 2 by pushing the Tape 1 monitor herent frequency response similar to WOW use (white raster) 40 1/4 dB button (actually marked Tape 1/VCR) that of the EQ, we seldom needed it. RESIDUAL HORIZONTAL -SCAN COMPONENT (15.7 kHz) to establish the source and, if you want But some broadcasts-particularly live 55 1.4 dB to monitor the copy (and if your deck is newscasts and field reporting-contain AMPLIFIER SECTION equipped for it), the Tape 2 monitor but- too much audio garbage to sound pleas- RATED POWER 17 dBW (50 watts)/channel ton as well. So if you have two audio ant on wideband equipment like the SA - OUTPUT AT CLIPPING (at 1 kHz; both channels driven)

8 -ohm load 18 ' - dBW 170 watisi, channel decks, you normally would hook them 460. These sources profited from the 4 -ohm load 19112 dOW (90 waoslictannel to Tape 1 and 2, while two video decks EQ, and (though we didn't specifically

MARCH 1986 35 DYNAMIC POWER (at 1 kHz) try it) Beta Hi-Fi or VHS Hi-Fi tapes of kHz) steps on AM if you simply tap the 8 ohm load 19 IA dBW similar material should, too. UP or DOWN button. If you hold it in un- 4 -ohm load 20114 40W The receiver's overall frequency re- til the frequency indication changes, DYNAMIC HEADROOM Ire rated power, 8 -ohm load) 21,4 d8 sponse is quite flat-better than ±''/ you'll skip to the next receivable station HARMONIC DISTORTION (THD: 20 Hz to 20 kHz) dB throughout the audio band. The pho- in the chosen direction. There are eight at 11 dBW (50 watts) 0.011% no section incorporates a nondefeatable preset buttons that control 16 memory <0.01% at 0 dBW (1 watt) locations; Presets 9 to 16, occupying FREQUENCY RESPONSE infrasonic filter that attenuates output < 44 dB. 16 Hz to 34.9 kHz by more than 19 dB at 5 Hz (the critical Buttons 1 to 8, respectively, are each se- + < 1/4, < 10 Hz to 95 4 kHz frequency for unwanted output due to lected by pressing deliberately on the RIAA PHONO EQUALIZATION record warps), which is better than you appropriate button, rather than merely DB 0 get from some filters whose front -pan- tapping it. The manual tells you how -5 5646014$ el switchability makes them seem like a the machine can load these presets HZ 20 50 100 200 500 1K 2K 5K 10K 2045 automatically, first scanning the FM + 1, -3 dB, 23 Hz 20 kHz: bigger deal. The rolloff does shade up 19 112 dB at 5 Hz into the audio band, pulling phono re- band so that each receivable station in VCR SOUND ED RESPONSE sponse down by a little more than 3 dB succession is memorized in one posi- at 20 Hz. There also is a slight promi- tion, to a maximum of 16, and then be- -5 nence in the midbass and a slight rise ginning again on AM, whose stations HZ 20 50 100200 500 1K 2K 5K 10K20K start overwriting on Preset 9. How +0 -3 dB, 84 Hz in 92 kHz toward the top, but neither is of much SENSITIVITY & NOISE (re 0 dBW. A -weighting) sonic significance. timesaving this procedure will be, com- sensitivity S/N ratio The tone controls shelve toward the pared with memorizing stations one at aux input 78 dB frequency extremes. The TREBLE does a time, will depend on the number of re- phono input 75 dB

PHONO OVERLOAD (1 -kHz clipping) 170 mV so above about 10 kHz at its extreme ceivable stations in your area and the dial locations of your favorites. But INPUT IMPEDANCE settings (+10 or -10 dB at 20 kHz), but aux input 16k ohms the curves remain shelved to much low- however you load the presets, you can phono input 46k ohms: 120 pF er frequencies for more moderate de- scan the results, sampling each station, OUTPUT IMPEDANCE (to tape) grees of boost or cut. The BASS shelves at the touch of a button. from aux input direct from tuner section 1.700 ohms below about 50 Hz for almost all set- As we said at the beginning, the SA - from phono input 950 ohms tings, achieving extremes of approxi- 460's performance is not really compa- DAMPING FACTOR (at 50 Hz, re 8 Amu) /0 mately +12 and -12 dB. The Loup - rable to that of Technics's top audio - CHANNEL SEPARATION (at 1 kHz) 64 dB NESS adds about 8'/2 dB to the bass only components. You can't expect that INFRASONIC FILTER 3 dB at 37 Hz: r= 6 dB/octave response below 100 Hz, with respect to degree of sophistication plus such a the response above 1 kHz, for any set- hefty list of features and capabilities at ting of the VOLUME. The latter we con- so slim a price. For instance, the lab sider the least satisfactory control on measurements show the FM section to the SA -460 because its taper forces you be respectable, but no more than that. to use it very near the bottom of its And we might say much the same of range, where tiny slider adjustments the power amplifier, which provides for ABOUT THE dBW create significant shifts in perceived two speaker pairs but wires them in se- We currently are expressing power in terms of ries to prevent very low impedances in dBW-meaning power in dB with a reference level for any reasonable setting with (0 dBW) of 1 watt. The conversion table will typical loudspeakers. the combined load. In fact, the lab enable you to use the advantages of dBW in comparing these products to others for which The SA -460 receives three bands- couldn't measure dynamic power into 2 you have no dBW figures. AM, FM, and TV audio-but the last is ohms because the protection relay WATTS dBW WATTS dBW tuned in two ways. If you select the tripped before a reading could be taken. 1.0 0 32 15 button marked TV, the manual controls But there certainly is plenty of power available (given a reasonably high load 1.25 1 40 16 will step through all the regular VHF impedance) for normal home purposes. 1.6 2 50 17 channels (2 through 13). But if you se- lect CATV, the SA -460 will tune only to The crux of the model is how its 2.0 3 63 18 Channel 2, 3, or 4, and changing chan- constituent parts work together in 2.5 4 80 19 nels is relatively cumbersome. The idea practical terms in today's audio -video 3.2 5 100 20 is that you should tune to the output systems. Because those systems are 4.0 6 125 21 channel of your cable converter box evolving rapidly, we can't tell exactly 5.0 7 160 22 and leave it there; the TV option is for what they will be like tomorrow; but for 6.3 8 200 23 the RF input from your own antenna. If now, we commend Technics for the 8.0 9 250 24 the quartz -lock pilot doesn't light in thoughtful planning on which the SA - 10.0 10 320 25 CATV, you can press the fine-tuning 460 is based. It can't be all things to all 12.5 11 400 26 button next to it and the receiver will users-no design can-but it can do 16.0 12 500 27 home in automatically on the convert- more things more simply in more hook- 20.0 13 630 28 er's carrier. up configurations than perhaps any 25.0 14 800 29 Tuning progresses by half -channel other audio -video receiver we've tested

(100 -kHz) steps on FM, full -channel (10 - to date.

36 HIGH FIDELITY TEST REPOR TS

Harman Kardon TD -292 Cassette Deck

COUNTEF RESET TAPE SELECT TYPE 1 2 TI

REPEAT NOISE REDUCTION (ON/OFE DOLBY EI/C1

EJECT

1111111111.11- LEVEL ADJUST AC POWER

HEADPHONES FT FT 1-1 ET

TRANSPORT CONTROLS I I BE11ND 00011 BALANCE ADJUST BIAS 'INE TUN1, MPX FILTER ON. OFF

Harman Kardon's consistency of Beyond that, there are few features DIMENSONS 17'., BY 4,, INCHES (FRONT PANEL), 12),, INCHES physical and electronic design that can be considered out of the ordi- DEEP PUS CLEARANCE FOR CONNECTIONS. PRICE: $375. WAR- means that you know pretty nary. The manually switchable multi- RANTY "LIMITED," ONE YEAR PARTS AND LABOR. MANUFAC- much what you're getting when you plex filter (one of three controls behind TURER MADE IN JAPAN FOR HARMAN KARDON, 240 CROSS- buy one of its products, even if you the door at the lower right corner of the WAYS PARK WEST, WOODBURY, N.Y 11797. have no direct experience with the spe- front panel) restores wideband per- cific model you've chosen. The family formance when the filter isn't needed resemblance certainly extends to the to suppress any residual pilot signal in company's cassette decks, several of recording with Dolby noise reduction which we've tested in recent years. The from FM. Manual tape -type selection is TD -292 is the least elaborate of that a welcome touch (and an unusual one, group. It is a moderately priced two - these days), because it lets you rere- head (record/play and erase) unit with cord old tapes that don't incorporate Dolby B and C noise reduction. the now -standard keyways for auto- What sets it apart from other rela- matic type sensing. And astonishing by A QUICK GUIDE tively simple decks in its price range is, its absence is the usual timer -modes TO TAPE TYPES Our tape classifications, Types 1 above all, the very fact of its being a switch; considering how difficult it is to through 4, are based on the Internation- Harman Kardon. The company has al- find really good timers to use with such al Electrotechnical Commission mea- ways espoused the position that good surement standards. a feature, its absence here won't be (IEC Type I) tapes are ferries behavior within the audio band, as mea- mourned. requiring "normal" bias and 120 -micro- sured against conventional standards, The most problematic element of second playback equalization. TNT2 (IEC Type II) tapes are intend- isn't enough. Relatively flat response the TD -292, however, is the bias adjust- ed for use with 70 -microsecond playback well beyond the audio band is needed, ment (also hidden behind the door). It EQ and higher recording bias. The first formulations of this sort used chromium for instance, if phase and square -wave can be genuinely helpful, as we shall dioxide; today they also include chrome - response are to remain tidy at audio see. Whether it will actually be put to compatible coatings such as the ferrico- halts and a few metals. frequencies. While the audible impor- good use depends in part on the opera- TIN 3(IEC Type III) tapes are dual - tance of square square waves and flat tor. Because the deck has no separate layered ferrichromes, implying the 70 - phase response are the subject of some playback head to monitor from the tape microsecond ("chrome") playback EQ. Approaches to their biasing and record- controversy, the enviable track record while recording is in progress, it's im- ing EQ vary somewhat from one deck that Harman Kardon has been able to possible to make a direct comparison of manufacturer to another, when they are accommodated at all. Formulations of rack up by following this ideal is not. source and recording as the bias is ad- this type are no longer being made. The TD -292 continues the tradition of justed, and no instrumentation is pro- TTN 4(IEC Type IV) tapes are the metal -particle, or "alloy," tapes, requir- wideband electronics and adds the com- vided to help you out. If, on playing ing the highest bias of all and retaining pany's fairly recent emphasis on "lin- back a tape, you suspect that the highs the 70 -microsecond EQ of Type 2. ear phase" tape equipment. have been dulled or exaggerated by too

MARCH 1986 37 PLAYBACK RESPONSE (BASF test tape, -20 dB DIN) much or too little bias current, respec- Maxell XL -I Type 1 ferric, TDK SA 06 tively, you can alter the setting, do the Type 2 ("chrome") ferricobalt, and 0 ....1=mmar 406 -6 recording again, and listen to see TDK MA Type 4 metal. 1C9 222111 H2 20 50100200 500 1K 2K 6K 10K20K whether there's an improvement-a Diversified Science Laboratories subjective, iffy, and potentially tedious followed the manual's tape recommen- - Left demi +O.-1114 dB,315 Hz to 18 kHz MOM dwells' +O. -2112 dB, 315 Hz to 18 kHz process. (On the other hand, adding the dations in measuring the TD -292, leav- RECORD/PLAY RESPONSE. TYPE 2 TAPE (-201) features necessary to simplify the ad- ing the bias control at its detented cen- DB justment procedure would boost the ter (normal) setting. As you can see in 0 -5 unit's price considerably.) the graphs, response with the Type 2 102 222 121 HZ 20 50 100 200 500 1K 2K 5K 10K20K The only practical way of assessing and Type 1 tapes is superbly flat for a

Left channel NR) +1, -3 c11). 20 Hz to 20 kHz bias without measurement is the old deck in this price range. The Type 4 Right chassmi: when -all -else -fails standby: Record FM curves (as always, using the right chan- - PONR +1 1/2. -2 dB. 20 Hz to 20 kHz Dolby 0 +11/2, -3 dB, 20 Hz to 19 kHz interstation noise at about -20 dB, nel) are very smooth, but they gradual- - Deity C + I314.- 1/2 dB. 20 Hz to 20 kHz then play it back and use the monitor ly roll off toward the top end (particu- RECORD/PLAY RESPONSE. TYPE 4 TAPE (-20 1) switch on your preamp to compare tape larly,of course, with the noise DB with tuner. It's a rather slow cut -and - reduction turned on), suggesting exces-

-5F"..-TC12292 121 try process, and most users probably sive bias. The left channel is as flat as HZ 20 50 100 200 500 1K 2K 5K 10K 20K will elect to skip it except in rare mo- you might expect from the curves for

Left dimmed Os NR) + 1/2.-2 dB. 20 Hz to 20 kHz ments of inquisitiveness or perhaps the other two tapes: spot-on the 0 -dB Right dismel (see tut): when first setting up for a new tape line right up to 10 kHz and down only Y2 me MI +0, -3 dB. 20 Hz to 15kHz formulation. WW1 +0,-3483,20 Hzio 10kHz dB at 20 kHz without noise reduction - -- Dolby C + 1. -3 dB. 20 Hz to 6.8 kHz Experienced recordists may find and almost that good with either Dolby RECORD/MY RESPONSE TYPE I TAPE (-201) that the bias control's operation seems B or C. DO backward, since turning the knob clock- Our first reaction on seeing the 0 -6 10492141 wise reduces the bias instead of in- Type 4 curves was, "What a pity you HZ 20 50 100200 500 1K 2K SK 10K 20K creasing it (opposite to the way most can't correct the right -channel overbias other such controls work). On the other without underbiasing the left." Howev- Left chamel (se NR) + 1/2,-2 dB. 20 0z to 20 kHz Right drawl: hand, this arrangement probably is er, when the lab measured response in so NR +1. -2 d8.20 Hz to 20 kHz more intuitive for those innocent of both channels with the bias at its mini- Dolby B +1, -3 dB. 20 Hz to 19.5 kHz how bias works, who can simply think mum (that is, at maximum control rota- - Dolby C +1 3/4. -2 dB. 20 Hz to 20 kHz BIAS ADJUSTMENT RANGE (-20 dB; Type 1 tape) of it as a sort of EQ adjustment: Turn it tion), the results were astonishingly

DB "up," and treble increases (because of good: only a very small rise in the left 0 -5 the reduced bias); turn it "down," and channel and a slight rolloff in the right, 1C0 292 III HZ 20 50 100 200 500 1K 2K 5K 10K 20K the high frequencies diminish. But yielding a maximum spread of ±1 dB though this aspect of bias adjustment is at 20 kHz and of just ±'/2 dB at 10 kHz. maximumsett* minimumsemi the most obvious, it isn't the whole On checking a second TD -292, the lab MULTIPLEX FILTER(detestable) story. Lowering bias also raises head- found an excellent match between the SIN d 15 kHz. -36 3/4 dB at 19 kHz room at high frequencies, while reduc- two channels, though with about as S/N RATIO (re DIN 0l; R/P; A -weighted) ing it in the normally more critical mid- much rolloff as in the right channel of Type 2 taps Type 4 tape Type I tape as NR 561/2 dB 55 dB 51 1/4 dB range. Use of the bias knob as a tone the first unit. We therefore wonder Delay B 65 dB 64 dB 60 dB control could thus lead unsophisticated whether our samples of MA, as sup- Dolby C 70 114 dB 70 dB 65 3/4 dB users into misunderstanding and mak- plied by TDK U.S. in January 1985, may INDICATOR READINGS FOR DIN 0 DB (315 Rs) Type 2 tape +3 dB (with 4.916 THO) ing inferior recordings. differ in bias requirement from what- Type 4 tape +1 dB tooth 1 0% THO) The owner's manual is not much ever samples the factory in Japan uses Type 1 tape +1 dB tooth 1 8% THDI help on this point. In general, however, to optimize the deck. it is vastly more satisfying than most, This also makes comparison of the in that it supplies both clear, simple headroom figures a little questionable, how-to explanations of basic functions at least with respect to the Type 4 tape. and some background to help you un- At high frequencies, the Type 1 does derstand why its dictates are what they best, with no significant compression at are-all in idiomatic, if slightly stiff, 0 dB to above 5 kHz, particularly with English. It also includes a table of rec- Dolby C. Compression shows up a little ommended tapes. The Maxell entries sooner and is a little more severe with are encouraging because they include the Type 2 tape, because of its more de- current offerings (many deck manufac- manding high -frequency equalization. turers have yet to catch up), although Because of the overbias, the Type 4 is the designations do not reflect the us- the poorest, showing at least Y2 dB of ages of the American marketplace in all compression throughout the frequency respects. Three tapes are indicated as range, though the Dolby C curve actu- "standard reference" formulations: ally is flatter (-3 dB at 11 kHz) at 0 dB

31 HIGH FIDELITY than at -20 dB. Lowering its bias un- slightly toward the top end, where DSL INDICATOR READINGS FOR 3% DISTORTION (315 IN) doubtedly would improve these results gives the unit the benefit of any doubt Type 2 taps +1 te (la -1 1/2 de DIN) as well as flatten the response. Type 4tap +.5 dB (for +4 de DIN) occasioned by output fluctuations at- Type 1 tape 3 dB or,4- 1 de DIN) On the other hand, that also would tributable (as here) to a poor azimuth DISTORTION ITHD at -10 dB DIN, 50 Hz up S ISM reduce the Type 4's midrange head- match between it and the BASF test Type 2 taps < 0.d1% Type 4 tape 5 0.43% room (though perhaps not significant- tape. With a good azimuth match, there Type 1 tape 50.53% ly), which, with the current settings, is might be no rolloff at all. Speed accura- ERASURE (as 100 Hz) exactly where it should be for the maxi- cy, with no measurable error, is excep- Type 2 taps 74 112 13 Type' 4 tape mum meter readings recommended in tional. The flutter figure isn't, but it's 59 d CHANNEL SEPARATION lit 315 Hz) 54 $/4 dI3 the manual for each tape type. (Why no cause for complaint, either. Sensitiv- INDICATOR' BALLISTICS"

both the maximum value and the meter ities and impedances are well within Response time 2.8 msec sensitivity should change when you standard limits. Decay time 7-- 1,040RISK switch types, we don't know, but the Overall-and despite our reserva- Overshoot 088 SPEED ACCL RACY (105 to 127 VAC)

point is moot, because the level -setting tions about the bias adjustment no measurable error

recommendations stand up in practice.) scheme-the TD -292 is an exceptionally FLJTTER (ANSI weighted peak; 11/P) ±0.13% The metering is typical of modern fine two -head cassette deck. We'd rec- SENSITIVITY (re DIN 0 411; 315 Hz) 73.9 decks, providing a fast rise and slow de- ommend it particularly to users who INPUT OVER-OAD (at I kHz) > 1(1 volts cay. It registers nothing below -20 dB, are methodical enough to set the tape - INPUT IMPEDANCE 49.9% ohms but is more finely divided than average type and noise reduction switches cor- OUTPUT IMPEDANCE 990 ohms between this threshold and its +8 -dB rectly, but otherwise want to skirt the OUTPUT LEVEL (from DIN 0 d8) 0.71 volt maximum: in 2 -dB increments between technological details of recording. For -7 and +5 dB, except for 1 -dB steps them, the TD -292 should make excel- from -1 to +1 dB. lent tapes with a minimum of fuss (and

Playback response rolls off only at a relatively modest price). TES TR EPOR TS Kenwood KRC-999,::::::::: Car Tuner/ Tape Deckimmul

The Kenwood KRG999 is, hands wood has managed to exceed the call of DIMENSIONS; MAIN CHASSIS, 7 BY 2 INCHES (FRONT), 6 INCHES down, the most complex car car stereo duty are some unusual CEEP; ESCU'CHEON, 7'/, BY 21/2 INCHES; CONTROL UNIT, 6 BY I

stereo unit we've tested. And giv- (though not always very useful) display BY 6 INCHES; POWER SUPPLY, 2 BY IBY 3',/, INCHES. CONNEC- en its astonishing complement of fea- capabilities. For the tuner section, TIONS. ERMINATED WIRES FOR IGNITION AND BATTERY, tures and controls, we expect it to en- there's an LED signal -strength "me- FLAT FEMALE FOR POWER ANTENNA, SPADE LUGS FOR counter few rivals in this regard in ter"; for the tape deck, there's a tape - GROUNDS, SEPARATE 13 -PIN DIN MALE FOR OUTPUTS TO FRONT coming seasons. It even has a motor- remaining display that "shrinks" as the AND BACK STEREO POWER AMPLIFIERS, SPECIAL DIN -STYLE ized drawer that rolls out to give you cassette plays. And the LED array that FEMALE FOR INPUT FROM OPTIONAL KDC-9 COMPACT DISC access to the less -used controls, as in shows the settings of the equalizer can PLAYER. STANDARD COAXIAL FEMALE FOR ANTENNA INPUT. some home components. But the KRG be pressed into service as a spectrum FUSES, 3 -AMP IN BOTH IGNITION AND BATTERY LEADS. PRICE;

999, even with its three separate chas- analyzer. All of these are automotive 51,299 TO 51,499; OPTIONAL KDC-9 CD PLAYER, $.599 TO 9649; OP- sis, isn't a total system. That requires firsts in our experience. Throughout, -10NAL SZ 20A TWO -AMPLIFIER POWER SUPPLY AND WIRING, the addition of at least one stereo ampli- the designers seem to have been moti- $25. WARI ANTY. "LIMITED," ONE YEAR PARTS AND LABOR. fier (there's also a second, back output) vated by the question, "What else can klANUFACURER, TRIO -KEN WOOD CORP., JAPAN; U.S. DISTRIBU- and speakers-plus, if you want to go we give the user?" TOR. KEN WOOD ELECTRONICS, 1315 E. WATSONCENTER RD., whole hog, a matching Kenwood CD Such audio-visual aids are perhaps :ARSON. CALIF. 90743. player. essential, in this case, because the man- What the KRC-999 does include is ual is not much help. The elegant -look- the usual front-end combination of ing 80 -page tome (of which half is the AM/FM tuner, preamp, and bidirec- English version, half the French) is tional cassette player, plus a built-in abundantly and clearly illustrated, but seven -band equalizer. But that's not all. the edition that accompanied our test The most obvious ways in which Ken - sample was very poorly written and

MARCH 1986 39 STATION PRESETS

BAND (AM/FM), TUNING: TAPE TRANSPORT CONTROLS. SCAN --E 1-EQUALIZER ANALYZER DISPLAY Li- EQUALIZER CONTROLS

VOLUME BALANCE.- `IN DRAWER: EQUALIZER/ANALYZER MODE. MEMORY CONTROLS. FADER ADJUST VOLUME MEMORY. BALANCE/FADER MEMORY CONTROLS. --1MUTING (0/ 20 DB) CLOCK CONTROLS. TUNER MODES (ANRC. DX LOCAL. SEEK, SENSOR SEEK. PRESET SCAN), TAPE EQ (70/120SEC). VOLUME PRESETS 1. 2 NOISE REDUCTION (DBX/DOLBY C/ DOLBY B 'OFF). SEEK. SKIP ]DRAWER OPEN/CLOSE

FM TUNER SECTION squandered its space on exhaustive ex- curves. Frankly, we weren't exactly de- Data taken with ANRC off planations of basics. We understand lighted by either response, but this is a FREQUENCY RESPONSE & CHANNEL SEPARATION that it is being reprinted with many question of personal taste, and you can DB 0 amendments, so we hope that audio- easily modify the curves by tapping the 5 philes will no longer be left on their own - 10 seven equalizer controls upward (to - 15 to perceive, apply, and appreciate the boost the selected frequency band) or - 20 25 significance of much of the design. If downward (for cut). With KBS off, any you buy a KRG999, take a look at its 35 three curves of your own devising can manual before you leave the store to be stored in memory, using the same HZ 20 50 I00200 500 IK 2K 510 11310 2010 Frequency response + 1t /2. -3 dB. 22 lino 12 kHz make sure it tells you everything you three KBS buttons. 010111116 separation > 30 dB. 60111 to 11 kHz want to know. The adjustment options available in FM SENSITIVITY & QUIETING The head end-that is, the chassis each equalizer band consist of six de- DB that contains the operating controls-is grees of boost or cut (nominally, in 2 -dB 10 simply called the KRC-999 in the man- increments, for a maximum of 12 dB). 20 ual; the larger subsidiary one is styled When a band is at reference (0 dB) lev- 30 the "control unit," while the third is the el, an amber LED lights in its "column" 40 "power supply unit." The KRC-999 4.6 of the display. Above are three red 50 proper is umbilically attached to the LEDs and below are three green ones, 60 power supply, from which emanate the each of which represents two consecu- DC connections and a permanent DEW 0 10 20 30 40 50 60 70 80 00 100 tive steps of change from flat. Thus, for stereo quieting (noise) & output, ANRC on ground lead. Dual umbilicals, fitted instance, boosting a band by either mono quieting (noise) & output. ANRC off with multipin connectors, attach the three or four steps lights its second red - channel separation at I kHz. ANRC on - - - - stereo quieting & separation. ANRC off head end to the control unit, which the LED. The nominal center frequencies Stereo sensitivity (for 50-1111 noise suppression) manual suggests you stash under a and boost/cut increments are reason- 39 3,4 dBI, with 41 4 dB sepalation at I kHz seat. The control unit provides the an- ably accurate, although a boost or cut Mono sensitivity (tor 50 -do noise suppression) tenna input and has its own detachable without ANRC 18 4131 of any degree in any band seems to with ANRC 16' dBf ground and cables for all outputs. An- shift the entire curve above 1 kHz Stereo S/N ratio (at 65 dB1) 68 1/2 dB tenna leads in most cars terminate be- about 2 dB up (for a boost) or down (for Mono S/N ratio (at 65 clBt) 73 IQ dB hind the dash, so Kenwood supplies an a cut) from its flat position-a minor CAPTURE RATIO 2 dB extension about six feet long to get flaw, in our view. SELECTIVITY (alternate -channel) 54 I ; dB from the antenna to the control unit, Two more memories are built into AM SUPPRESSION 64' dB along with a wealth of mounting hard- the preamp section. One will store three DISTORTION (THD+N) ware. 551116 mono combinations of balance and fader set- at 100 Hz 0 64% 041% Memory functions are used liberal- tings for future reference; the other at 1 kHz 0.48% 0.32% ly throughout the design. For example, memorizes two volume levels. The elec- at 6 kHz 0.26% 0.08% the equalizer has, in effect, two sepa- tronic volume control steps in reason- rate three -address memories. One, ably even increments of about 1 or 2 called KBS (for Kenwood Built-in dB. Its setting is shown with an LED Sound), is preprogrammed at the fac- display, but because this display (like tory. Its three options-"loudness," the one for the equalizer) has a total "vocal," and "flat"-are shown in one range of only seven elements, several of our graphs. For some reason, Ken - volume steps are needed to go from one wood has chosen to boost output con- segment to the next. The KRG999 has siderably in the first two of these, as re- a mute button (which lowers output by flected in the height of the respective 20 dB)-the first in any automotive

40 HIGH FIDELITY component we've tested and no doubt level for that input, which lies on or useful during arguments with toll- near the mono output curve (the dashed booth operators. line at the top). Omitted altogether in A control -unit switch sets the maxi- the interest of clarity is the best quiet- mum output level at either "normal" ing curve of all-that for mono with (nominally, 300 -millivolt) or "high" (1 - ANRC on, which lies on the stereo volt). Both on the test bench and in lis- curve down to about -55 dB (lower left tening, we used the high option almost corner), below which it descends even exclusively and found even it to be a lit- more steeply to bottom out at -73'/2 dB tle lower than usual, requiring us to just above 40 dBf. turn the volume nearly all the way up The frequency response curves (in- most of the time. Presumably Ken - cluding the one for the equalizer with a wood's own amplifiers (which we didn't mono FM input) were made with test) provide the extra gain that would ANRC off and at the normal test input be needed with the "normal" output. of 65 dBf (which is fairly typical of the The tuner has five preset buttons, signal strengths you might encounter AM TUNER SECTION each capable of recalling four frequen- in, say, a suburb that is a moderate dis- FREQUENCY RESPONSE cies: three on FM and one on AM. Tun- tance from transmitters). As you can DO 311C 313131 ing advances in full -channel increments see, there's some prominence in a broad 0 on both bands. Automatic tuning op- region centered on about 4 kHz and a 10 tions include bidirectional scan (when decided rolloff above 8 kHz. With KZ 20 50 100200 500 1K 2K 5K 10K 20K you press a tuning key, the KRG999 ANRC on and input reduced to 45 dBf + f/4 -3 M, 12011: to 2.6 kHz SENSITIVITY 3 3 µV automatically stops at the closest re- so that the circuit is forced to work (you SELECT'VITY See teKI ceivable station above or below the cur- can see in the quieting graph that out- AVC RANGE 641/4 de rent one), auto memory (which loads put, separation, and noise are all virtu- the five strongest stations into five ally identical at and above 65 dBf CASSETTE TRANSPORT SECTION memory positions), preset scan (which whether ANRC is on or off), the upper FREQUENCY RESPONSE will sample five seconds of each of the end of the frequency response curve DB -50 five stations stored in any memory bends down somewhat more so that the 311C 99111tAl bank), and ABSS (Automatic Broadcast prominence disappears, but the rela- 317 20 50100200 500 1K 2K SK 10020K tionships are too complex to permit sim- forward +0, -3 dB, 50 Hz to 18 kHz Sensor System, which seeks upward on reverse +1. -3 dB. 5011110 18 kHz the dial when the tuned station fades). ple predictions of behavior in any given WOW 8 FLUTTER ± 0 16% avg., ± 15 0.19% peak

To make the unit ignore all but strong circumstance. SPEED ACCURACY (10.8 to 14.4 volts) < 0 2% fast stations, you can reduce the sensitivity Perhaps such complexity is just PREAMPLIFIER SECTION of the seek function by pressingLOCAL, what has been missing in other car PREPRJGRAMMED EQUALIZER OPTIONS (mono FM input) which increases the threshold signal stereo units, since the listening quality DB strength by 46 dB. of the FM section struck us as very 10 .5 Kenwood's method of optimizing good indeed. At some signal strengths 0 6 performance with fading FM signals is we could hear the treble prominence IOC 000101 called ANRC (for Automatic Noise Re- shown in our graph, but the sound HZ 20 50100 200 500 1K 2K 5K 10K 20K EQ No. 3: "flat" duction Circuit), and it appears to be un- wasn't displeasing. Our tests for fluctu- EQ No 1: "loudness" usually complex. For one thing, it im- ating signal strength and multipath EQ No. 2: "vocal" proves the performance of mono produced well -controlled bursts of LINE OJTPUT IMPEDANCE 690 ohms reception, as well as stereo. For anoth- noise and distortion. All of the remain- MAXIMUM LINE OUTPUT LEVEL roormarrhigh") from FM (100% modulation) 0.34/1.100 er, it appears to be controlled by signal ing FM data are, at minimum, quite re- from taps (DIN 0 dB) 0.31/0.98 V content as well as strength. (The more spectable, and some (such as AM sup- highs in the music, the better it can pression) are distinctly better than that. mask hiss, and therefore the less need The AM section evidently makes for blending or other hiss -reducing noise removal a major priority. The re- measures.) Since ANRC never permits sponse is shorn of all highs and is rolled noise to rise above -50 dB until signal off in the bass. But that makes it easier strength is so weak that separation is to listen to than the thumpiness or clat- virtually nil, the only true -stereo stereo - ter that many AM stations' sonic affec- sensitivity rating is that with ANRC tations create through a receiver with off. flatter or wider response. Sensitivity is Basically, our quieting curves show excellent; among recent models, we've stereo performance with ANRC on, measured none that is significantly bet- mono with it off. Stereo quieting and ter. Like many other front ends, the separation with it off are also shown KRG999 yields no meaningful figure in (center left in the graph), but not output the standard AM selectivity test.

MARCH 1986 41 The cassette transport features in- eight tunes away. A scan function sam- rization is a necessity if you're to work dividual factory adjustment of azimuth ples ten seconds of each selection the controls while driving. Still, we for each direction of tape travel. It not before going on to the next. An auto- were surprised how quickly we assimi- only provides a good or very good matic skip will fast -forward in search of lated them, and the many memory match to the azimuth of the lab's BASF the next number whenever it encoun- functions do help this process. Balance/ test tape, as judged by the stability of ters 15 seconds of continuous silence- fader options, for example, can be pre- the signal in the high -frequency re- which is particularly useful when, for set for the driver alone, for the driver sponse tests, but is unusually flat in re- instance, the program on one prere- and a front -seat passenger, and for a sponse throughout the range. The deck corded tape side is considerably longer full load. From then on, the touch of a is exceptionally consistent from one than the one on the other. Incidentally, single button will adjust both functions side to the other in all measured charac- when you turn off the power, the KRG to the occupancy of the moment. teristics, in fact, which speaks well for 999 automatically ejects the tape. All in In any event, the KRG999 repre- its mechanical engineering. All three all, we consider the tape section unusu- sents a unique sonomotive experience noise reduction systems (Dolby B, ally competent and comprehensive. (if we may coin a term). In appearance, Dolby C, and DBX) are present, as is In fact, comprehensiveness is the as in capabilities, it is quite unlike any playback equalization switching-al- name of the KRG999's game-and is, model we've reported on previously, though, as usual, the 70 -microsecond at once, its strength and its weakness. and until you see it, operate its controls, EQ for Type 2 and Type 4 tapes is mis- With so encyclopedic a list of features, and hear what they will do, your con- named "MTL." it naturally has complex multifunction cept of its potential will necessarily be There is a skip mode to wind the controls and some very tiny switches. A imperfect. It certainly is not for every- tape to the nearest interselection blank few prospective purchasers doubtless body, but the enthusiast for whom it is in either direction. The transport can will balk at the formidable job of memo- designed will be hard put to find anoth- also be programmed to skip as far as rizing so many procedures, and memo - er front end worthy of comparison.

T E S T R E P OR TS

Panasonic CQ-E650EU Car Receiver/Tape Deck

DIMENSIONS: MAIN CHASSIS, 7 BY 1 INCHES (FRONT), 6 INCHES There is a practical appeal to Pana- tape. Although it's true that some of DEEP; ESCUTCHEON, 77, BY 2',/, INCHES; BACK -SPEAKER AMPLIFI- sonic's CQ-E650EU that some the labeling is too small to read easily ER CHASSIS, 6 BY 2 BY INCHES PLUS CLEARANCE FOR MOUNT- people will find irresistible. The while you're driving (and that strong ING BRACKETS. CONNECTIONS: BARED WIRES FOR IGNITION, large control buttons, the unambigu- daylight completely washes out the illu- BATTERY, AND SPEAKERS, SPADE LUG (PLUS CHASSIS -LUG DIS- ous front -panel markings, the logical mination), we found the system unusu- CONNECT) FOR GROUND; ROUND FEMALE FOR AUTOMATIC layout, and the easily readable charac- ally helpful in learning the front -panel POWER ANTENNA AND POWER TO BACK -AMP CHASSIS; PIN ters of the liquid -crystal display (LCD) functions. In addition, the most impor- CONNECTORS FOR LINE FEED TO BACK -AMP CHASSIS; STANDARD that serves as clock, frequency read- tant operations have status indicators COAXIAL FEMALE FOR ANTENNA INPUT. FUSES: S -AMP IN BOTH out, and tape mode/motion indicator all in the LCD panel (which is exceptional- IGNITION LEAD AND BACK -AMP BATTERY LEAD. PRICE: $550. conspire to make the front end's many ly easy to read, even with sunlight fall- WARRANTY: "LIMITED," ONE YEAR PARTS AND LABOR. MANU- features unusually accessible, even ing directly on it), speeding the learning FACTURER: MATSUSHITA ELECTRIC INDUSTRIAL CO., LTD., JAPAN; while you're driving. In that respect, it process even more. A button below the U.S. DISTRIBUTOR: PANASONIC COMPANY DIV., MATSUSHITA is one of the most successful car stereo LCD toggles it between frequency and ELECTRIC CORPORATION OF AMERICA, I PANASONIC WAY, SE - designs we have yet tested. clock when you're using the tuner sec- CAUCUS, N.J. 07094. Key to the control system are the tion and, when you're playing a tape, multiple indicator light/labels for those between clock and a stylized motion dis- buttons offering double service. Be- play that suggests the direction of tape - cause there are so many features and wind at normal and fast transport the buttons that oversee them are so speeds. large-a big plus even if you're only The unit's only knob governs both moderately fumble-fingered-the unit volume and, when you pull it out, bal- automatically switches both the control ance-but not with the typical spring functions and the buttons' labeling loading that returns you automatically when you alternate between tuner and to the volume mode (and that usually

42 HIGH FIDELITY TUNING UP DOWN

SCAN TUNING

TREBLE BASS TAPE TRANSPORT CONTROLS, SEEK

LOUDNESS ON, OFF ON OFF, VOLUME. BALANCE. TAPE DIRECTION. FADER STATION SEEK

BAND (AM/FM) STATION PRESETS

"FM OPTIMIZER" IFMOI TAPE NOISE REDUCTION DOLBY B DOLBY C. DB% ON OFF DISPLAY MODE (STATION OR TRANSPORT. CLOCK) TAPE EQ (10/120 iiSEC)

makes balance setting annoyingly diffi- up the dial from one receivable station FM TUNER SECTION cult). Instead, the knob latches into the to the next, sampling five seconds of FREQUENCY RESPONSE & CHANNEL SEPARATION out position, letting you adjust balance each, until you press the button a sec- DB 0 with relaxed fingers, and a tap pops it ond time. Also included is seek tuning, -5...winism1=1111111Mem... back to the normal position-a big im- which moves to the next receivable sta- 10 IS 20------provement over the customary ar- tion and stays there; it shares a button 25 rangement. The front/rear fader is the with tape "program"-that is, direction 30------MM=M==M1== m=i0omitio-u-1254110411 tab at the side of the knob. The treble reverse. 147 20 50 100 200 500 10 2K 51( 10K 20K and bass sliders are the smallest, stiff- The CQ-E650EU actually consists Frequence response +0 -3 d8. 20 Hz to 7 kHz est, and most difficult to adjust of the of two separate chassis. In addition to Channel separation n du 65 Hz to I2 kHz controls, suggesting their set -and -for- the one behind the control panel, which FM SENSE TIVITY AND QUIETING get nature. In fact, if they were larger includes a stereo amplifier to power the or looser you might conceivably knock front speakers, there's a smaller chas- 10DB them out of adjustment when setting sis containing a stereo amp for the back 20 the volume. speakers. If you plan on mounting only 30 All of the large buttons at the bot- a single speaker pair, the latter amp 401111111MILMICEMI tom -right select station presets in the can be ignored or used instead of the 50MINSPE11111MEN tuner mode (as many as six for each ra- front -channel amp to take advantage of 60 dio band). In the tape mode, the left- its slightly higher output. Both amplifi- D8F 0 AO 40 50 60 70 CO 90 100 most one doubles as the playback ers operate in bridged configuration, FMO stereo quieting (noise) I output equalization switch (as usual, marked precluding use of grounded speakers or mono quieting (noise) 11 output to indicate "metal" for the 70 -microsec- FMO channel separation at 1 kHz any wiring that would ground either - - stereo quieting & separation without FMO ond setting shared by Type 2 tapes), side of the amps' outputs. Like many Stereo se nsitivityfor 50 dB noise suppression(' while the next three buttons to the such amplifiers, they deliver less power right double as noise reduction selec- than you might expect from their rat- Mono seasitiyity (for 50 -dB noise suppression) tors (for Dolby B, Dolby C, or DBX, re- ings (specs for car stereo aren't derived Stereo S !Al ratio (at 65 d131) spectively). The unit's logic turns off all nearly as rigorously as those for home Mono S/N ratio (at 65 Mt) noise reduction if you touch the button equipment), but the front output of 11.1 CAPTURE RATIO 18 for the currently selected system, but watts per channel is considerably more SELECTIVITY (ahernate-channel) 5842 dB overrides the current system if you than you'll get from a typical factory - AM SUP9FIESSION 74'4 dB touch any other. installed radio, and the back channels DISTOR1 ION (THD+N) stereo Particularly effective is the way provide an additional 2'/2 dB. It's easy at 100 Ha 78", 0.72% Panasonic uses the tape transport con- to add yet more power, if you insist, be- at I kHz 1.1- 0.52% at 6 kHz 988 070% trols for tuning the radio. The "fast -for- cause the line output to the back amp is 'See text ward" and "rewind" buttons tune up fitted with standard pin connectors. and down, respectively, and in full - The tone controls offer a little more channel steps (200 kHz on FM, 10 kHz than 10 dB of cut or boost relative to on AM). Doubling as the scan -tuning their detented center positions, which control is the button for the tape -seek were used as the reference settings for feature (which Panasonic calls TPS and the other measurements. Our test sam- which can be programmed to skip as ple required some treble boost to many as nine selections in either direc- achieve relatively flat electrical re- tion when you touch the appropriate sponse-which otherwise droops some- fast -wind button). Scan tuning moves what more rapidly in FM than in tape

MARCH 1986 43 playback. Switching in the loudness low signal strengths (to spare you the compensation introduces a bass boost rush of noise). All this is classic behav- (of about 10 dB below 100 Hz with the ior for a home -style FM radio, but it can volume lowered 20 dB from the refer- make for annoying on -the -road listen- ence setting) but leaves the treble as is, ing when signal strength or multipath reflecting present theory as to how is varying radically because of the car's loudness compensation should be ap- motion. plied. Although you may want to touch The traditional solution to this prob- up the compensation with the tone con- lem has been to blend channels, alter trols, we found the built-in curve more frequency response, or attenuate out- AM TUNER SECTION to our taste than those of many other put automatically on the basis of in- FREQUENCY RESPONSE car stereo models. stantaneous signal strength or multi -

De Mounted in our test car, the CQ- path. The infinite variety in which these CO E 131 0 5 E650EU actually sounds somewhat expedients can be combined is responsi- 10 brighter than it looks in our graphs, ble for the great differences in sonic be- HZ 20 50 100 200 500 IK 2K 5K 10K 2010 though the AM has no real top end by havior between one car radio and an- + 1/4. -3 dB. 20 H to 2.15 kHz any standard. On the other hand, the SENSITIVITY 4.4µV other. Below about 40 dBf, Panasonic's

SELECTIVITY 558 text AM is relatively untroubled by high - FMO rapidly decreases separation and AVC RANGE 741/2 di frequency interference products. It begins attenuating output. By 30 dBf,

CASSETTE TRANSPORT SECTION also doesn't have the boomy bottom we reception no longer is stereo in any use- sometimes encounter, so we judged it FREQUENCY RESPONSE ful sense. Because of the blend, quiet-

DB relatively free of annoyances, if less ing remains better than 50 dB until well O than sonically stimulating. below this point (where reception is to- COE60 141 HZ 20 50 100200 500 1K 2K 5K 10K20K The rolloff at the top end of the tape tally mono), so we can report stereo howard 1/7. -3 t16. 40 Hz to 16 kHz curves is attributable to the electronics, sensitivity only with the FMO off. But WNW + 1/2, -3 dB. 40 Hz to 16 kHz since the head -azimuth match to Diver- for stations to which the sensitivity fig- WOW & FLUTTER ±0.22%aveiage; ±0.26% peak sified Science Laboratories' BASF test ure would make a difference, the FMO SPEED ACCURACY (10.1 to 14.4 volts) 5 1/% fast tape, which might otherwise be sus- mode is much the more listenable. PREAMP/AMPLIFIER SECTION pected as a cause, is proved very good When we first saw the lab data, we

BASS CONTROL 12.11 dB at 100 Hz by the stability of the high -frequency worried that so rapid a channel blend TREBLE CONTROL 11 3a.11 dB at 10 kHz output during this test. Measured flut- might cause the stereo image to keep LINE OUTPUT IMPEDANCE 550 ohms ter, while not spectacularly low, is com- popping open and deflating, like an air MAXIMUM LINE OUTPUT LEVEL parable to that of many competing bag-an effect we have noted with from FM (100% modulation) 1.1 volts from taps (DIN 0 dB) OS volt models, and the transport's immunity some competing models. On our test OUTPUT (per donne) into 4 ohms; at 3% TIID+N) to road shock is quite good. Actual track, however, we found no reason to heat 11 watts (101/2 dBW) transport speed is reasonably accurate complain. And the FMO considerably bock 16 2 watts (12 dBWI (a hair closer to spot-on in the forward ameliorates bursts of noise and distor- direction than in reverse), and overall tion that also are occasioned by weak performance in the car pleased us-in and fluctuating signal strength and, particular because we found it excep- particularly, by multipath. At both fre- tionally easy to control. We discovered, quency extremes, the sound of this however, that the deck doesn't auto- "spitting" is fairly aggressive without matically eject the cassette when you FMO; when the FMO is turned on, the shut off the power. spitting isn't so much lessened as soft- Panasonic calls its circuitry for im- ened, making it easier to live with (no proving the sound of fading FM sta- doubt at least partly because of the out- tions FMO, for FM Optimization (sur- putattenuationatlowsignal prise!). It can be defeated with a front - strengths). With the FMO on-definite- panelbutton,withtheresults ly the preferred listening mode unless suggested on our quieting graph: As you're tuned to a strong local station- signal strength drops below 50 dBf, we'd rate the CQ-E650EU average or noise rises by about 1 dB for each dB better in this respect. loss of signal strength, and separation Overall performance is satisfyingly gradually starts disappearing as noise good, but the real star of the show is contributes to the output in the unwant- the human engineering of the front ed channel. Not shown is the maximum panel. We hope other companies will stereo output level with the FMO off, take to heart the lessons that Panasonic which closely approximates the mono can teach them. If they do, the quality curve down to the stereo threshold- of life for automotive audiophiles will

meaning that output is reduced at very be materially enhanced.

44 HIGH FIDELITY MTS proposals. The subcommittee's ambitious goal was to find a stereo television system providing: COMING TO YOU IN a compatible monophonic channel with distortion U THE TYPICAL VIEWER, STEREO and noise equal to or lower than that of the present television seems to have ap- audio channel, peared out of nowhere, the two -channel audio with quality approaching that of first evidence of it being a clev- stereo FM radio, er symbol shown by NBC in an almost -high-fidelity SAP (Separate Audio Pro- much the same way that the gram) channel to be employed for bilingual broadcasts network once displayed a fan- and other related uses, ning peacock to identify its [1] a fourth, rather low -quality auxiliary channel, to be color broadcasts. But the technology has a history ex- used as broadcasters see fit (this became known as the tending back before ABC's experimental transmis- Professional Channel), and, if possible, sions during the 1984 Olympic Games and NBC's ex- Ej standardized signal processing to improve dynamic ploratory stereo airings of The Tonight Show. Indeed, range. the gestation of this country's multichannel TV sys- The subcommittee considered transmission sys- tem was a complex process that illustrates how a rela- tems from the EIAJ (Electronics Industry Association tively simple concept can grow into a project involving of Japan), Telesonics Systems, and Zenith Radio Cor- the government and dozens of the world's top elec- m poration. All of these proposals used the present tele- tronics experts, all to ensure the choice of the best vision -audio carrier signal to transmit the mono sum technology possible. of the left and right channels (L + R) and added a mul- Although stereo audio for television had been dis- tiplexed subcarrier to transmit stereo information as cussed since the 1950s, serious attention first came in the difference between the left and right channels 1979. By that time, two important segments of the (L - R). There were also three proposals for noise television industry were eager for it. TV set manufac- reduction. turers, seeking increased sales in an almost saturated market, wanted to incorporate high fidelity sound- TESTS...MORETESTS including stereo-into a new generation of models. STUDIE:, WERE UNDEMAW co MEASURE THE UWE(' Broadcasters wanted tive performance of to provide more audio HOW THE U.S. FINA1 .HANNEL TV SOUND the three transmission capabilities to the pub- systems under various lic to increase interest BY LE TYLER reception conditions. in their service, which was then facing competition Every relevant characteristic was evaluated, includ- from the proliferating cable systems. The year before, ing frequency response, distortion, separation, noise, Japanese broadcasters had started using a single ex- and interference (the susceptibility to it and the poten- tra audio channel to transmit either stereo or bilingual tial to create it). The tests employed both closed-circuit information. The American television industry hoped and broadcast transmissions, the latter to determine to improve on that with a system that would transmit the effects of receiving MTS on conventional sets. stereo and bilingual audio simultaneously. Thus, there Subjective tests of the noise reduction systems also was the will-and the way ran straight by the Federal were conducted. Communications Commission. In the summer of 1982, the results were published Broadcasters were still smarting from the FCC's by the NAB (National Association of Broadcasters) in decision not to select a standard system for stereo AM a 1,000 -page report that was to serve as a basis for radio from among five competing proposals. The con- meaningful comparisons between the proposals. But fusion resulting from that "open marketplace" ruling unhappily for those hoping for speedy adoption of a has delayed widespread implementation of stereo AM stereo TV standard, the systems that had been tested to this day. Those pushing for stereo television wanted were no longer the ones that were being proposed! to prevent the same numbing fate from befalling it. The reason? Any time a developer got wind of unfa- They felt that MTS (multichannel television sound; see vorable results during the evaluations, it would rede- "Stereo TV Abbreviations" on page 46) would have sign its system in an effort to the best chance of succeeding if the FCC were to improve its standing. Leslie B. Tyler is rice - choose a single system. But the deregulation -oriented So another exhaustive and president ofengineering agency was unlikely to do so unless the television in- exhausting round of testing at DBX, Inc., and was dustry as a whole presented a strong argument in fa- was scheduled-but with two active in designing the vor of a specific method. significant differences. First, company's TV noise re- thecompeting developers duction system. A UNI NT agreed to a period of reengi- RESPONDING TO THE TH OF MARKET CHAOS, THE EIA (Electronics Industry Association) formed a Mul- NInoA 01 DNIVIO) tichannel Sound Subcommittee to solicit and evaluate

MARCH 1986 45 STEREO TV ABBREVIATIONS neering, followed by a freezing of the designs during BTSC: The name of the stereo put transfer functions at various frequencies, and ob- the subcommittee's evaluations. Second, and more im- television system approved by serving responses to tone bursts. portant from the audiophile's viewpoint, there would the FCC, comprising the Zenith transmitter and the DBX corn - be even more detailed testing of improved noise reduc- FINALLY, L TESTS pander. The abbreviationis EVERYTHING WAS THEN TOGETHER IN FRANKLIN tion systems. Four such proposals came from the CBS taken from the EIA's Broad- Technology Center, DBX, Dolby Laboratories, and cast Television System Com- Park for closed-circuit tests of the three transmission Straight Wire Audio. All were encode -decode com- mittee. systems with the three remaining companders (Straight Wire Audio having dropped out). A carefully panders, requiring a compressor at the transmitter EIA: Electronics Industry As- and a complementary expander in the television sociation. An industry lobby- chosen sequence of wide -dynamic -range music and di- receiver. ing group. It also collects sta- alogue was synchronized with various types of signal tistics and establishes testing impairments, such as impulse noise, multipath, low IN -DEPT RUTINY standards for many types of signal strength, and video cross -modulation. The pro- LABORATORIES WERE S UP AT THE QUASAR/ home electronics equipment. gram material was sent through each compander and Matsushita facility in Franklin Park, Illinois; the CBS EIAJ: Electronics Industry As- each transmission system in turn, while digital record- Technology Center in Stamford, Connecticut; and the sociation of Japan. The Japa- ings were made of the reception on each of the three RCA David Sarnoff Research Center in Princeton, nese equivalent of the EIA. most -used types of television -audio circuits (Nyquist, New Jersey. Closed-circuit testing of the originally FCC: Federal Communications quasi -parallel, and split -sound). proposed transmission systems from the EIAJ, Tele- Commission. The U.S. govern- Each of the resulting 80 recordings represented a sonics, and Zenith was conducted in Franklin Park, as ment agency that regulates different combination of signal impairment, transmis- were conventional measurements (without compand- the allocation of radio -fre- sion system, and noise reduction. There were 44 re- quency space to broadcast ing) of such characteristics as frequency response, cordings of stereo reception and 36 of SAP reception. stations and their transmission These tapes were made available at listening rooms noise, and distortion. At the same time, the four corn - methods, among other things. panders were evaluated in Stamford in tests simulat- set up at Franklin Park and at NAB headquarters in ing the noise, distortion, and interference levels of the MTS: Multichannel Television Washington, D.C. The actual sounds of the proposed Sound. The generic name for multichannel television formats could therefore be au- various transmission systems. Since noise increases all methods of broadcasting with distance from the transmitter, the simulations stereo, secondary, and auxil- ditioned by anyone wishing to participate in the selec- were of typical reception in which the picture is some- iary programs on the TV -au- tion process. what snowy, but not objectionably so. (This occurs at dio carrier. about 60 miles from a typical TV transmitter and is N AB: National Association of ZENITH =BTSC called the B -contour signal level.) Broadcasters. The leading IN THE FALL OF 1983, AB PUBLISHED ANOTHER Because all companders are based on psycho - tradeassociationofthe 1,000 pages of reports, this time detailing the findings acoustic principles, making them difficult to evaluate broadcasting industry. from the second round of tests. Just before Christ- in purely objective terms, a program of double-blind N TSC: National Television mas, selected television -industry representatives met subjective tests was used in Stamford. Paired A/B System Committee. A panel of in Washington to hear three days of presentations, comparisons were made between randomly selected television engineers formed lobbying, and caucusing. At last came their vote for combinations of companders and transmission sys- by the EIA to prepare stan- the stereo television system to be recommended as a tems. Listeners were chosen from the ranks of audio dards. The FCC approved the standard to the full EIA and, thus, to the FCC. Sur- NTSC's recommendations for prisingly, the choice was unanimous: a combination of equipment technicians, recording engineers, musi- a monochrome system in cians, broadcasters, and editors of sound -oriented 1941 and for a monochrome - the Zenith transmitter and the DBX compander. The magazines, including HIGH FIDELITY. The listening en- compatible color standard in selection was given the nonpartisan name "BTSC," vironment, playback equipment, and sound levels 1953. The present NTSC color after the Broadcast Television System Committee, were all consistent with high -quality audio reproduc- system is the one used in parent panel to the EIA's Multichannel Sound Sub- tion. The program material-selected by the compet- North America and Japan. committee. ing developers to include passages capable of gener- SAP: Separate Audio Pro- On March 29, 1984, the FCC authorized multichan- ating problems with each other's companders- gram. A sound -carrying chan- nel -sound television broadcasting in what has been contained high fidelity music and speech (some of it nel in the BTSC system meant called a "modified marketplice" decision: Skillfully, it from digital masters) as well as such typical highly for program -related audio approved the BTSC system but did not prohibit other (such as a simultaneous trans- methods. To protect BTSC while permitting further processed sources as commercials. lation). Fidelity of the SAP is The companders also were subjected to a complete restricted by its 10 -kHz upper development, the FCC merely said that it would be the round of laboratory bench tests in Princeton. Prior frequency limit. only MTS sytem allowed to use a 15.734 -kHz pilot work in this field had been limited and was mostly ap- tone. This was the go-ahead signal the industry plicable to companders for voice -grade communica- needed: Broadcasters and television set manufactur- tions, certainly not anything for high fidelity music. ers could get to work modifying transmitters and Therefore, in addition to conventional audio trials, the making stereo TV receivers for BTSC operation with- latest testing techniques were used to examine these out fear of incompatibility. [Stay tuned to HIGH FIDEL- high -quality companders, including measuring fre- rrY in the coming months for a detailed look at the quency response with pink noise, plotting input -to -out - BTSC system.]

46 HIGH FIDELITY Stereo television has spread relatively rapidly, at least compared with stereo AM. If you live in one of the top 50 television markets, the odds are one in seven that you are within reach of a stereo TV station. At the end of 1985, there were more than 200 such stations in the United States and Canada. NBC network affiliates led the list with 60 stereo outlets. PBS, ABC, and CBS were closely grouped together with 28, 27, and 23, re- 0 spectively, and independents accounted for another 5/-,1=60dE, 4,4 49. Most of these stations use MTS for stereo broad- casting, as opposed to bilingual SAP programming, 5/N = 45 dB 5 N = 50 d8 63 r, ak,lir 61m with many transmitting mono material synthesized La into pseudostereo. COCOON S J=69 dB In fact, the primary limitation to the spread of 34 n, MTS has been the dearth of naturally stereophonic RURAL program material. That is changing. News and sports S!'N = d8 B CON OUR 70 rn, broadcasts, music videos, and movies were among the 5/N.47 645 first shows to be aired in stereo. But such leading pro- S N= 84d8 grams as The Tonight Show and Miami Vice have paved the way for a two -channel era in television pro- duction. And commercials, always quick to adopt new technical means (such as computer graphics), are al- N=62 dB S,N=60d8 ready using stereo for added impact. 68 rni Television sets capable of decoding MTS are now offered by almost every manufacturer. "MTS ready" sets were available even before the FCC ruling; to de- S/N.50 dB 91mi. modulate the extra channels, they need outboard adapters, most of which can be connected to an audio system to take advantage of its higher amplifier pow- srEREolv VY 8TICCOMPIOnill er and better loudspeakers. Older sets without MTS jacks can be upgraded with separate MTS tuners (some of which include AM/stereo-FM radios and built-in power amplifiers) or with decoders that pick PROVIDING A GRAPHIC DEMON- will not change when switching between mono and up the MTS signals from stray radiation from the set. STRATION OF THE IMPORTANCE stereo. This is due in large part to the compander, And MTS-equipped ("stereo capable") videocassette OF COMPANDING IN EXTENDING which eliminates noise that would otherwise be added recorders have outputs to feed stereo to an audio sys- THE REACH OF A STEREO TV SIG- to stereo reception. Stereo television can actually out- tem, as do many MTS-equipped television sets. NAL, THIS DIAGRAM DEPICTS THE perform FM radio because the latter is inherently THEORETICAL SIGNAL-TO-NOISE much noisier in stereo than in mono. The figure on this HIGH QUAY SOUND (S/N) RATIOS OBTAINABLE AT page compares the coverage areas of stereo FM and FEEDING TELEVISION yND (MONO OR STEREO) VARIOUS DISTANCES FROM A 10 - stereo TV for various noise levels. through an audio system usually leads to significant kW 88 -MHz FM TRANSMITTER Stereo television's sonic advantage also stands a improvement in fidelity because the audio capability AND A 100 -kW CHANNEL 6 TELE- good chance of being heard because it is shifting in- of TV has always been nearly equivalent to that of FM VISION TRANSMITTER. (THE DIS- dustry focus toward better sound with video. Both radio. Though precious few broadcasts or TV tuners PARITY IN TRANSMITTER POW- broadcasters and set manufacturers now have good take advantage of it, the present monaural TV -audio ERS COMPENSATES FOR THE reasons to provide better program material and equip- channel is capable of flat response from 50 Hz to 15 LOWER SOUND -CARRIER POWER ment for the audio side of television. Technology is in- kHz, a signal-to-noise ratio of better than 70 dB, and IN A TV SIGNAL.) COMPANDING spiring art, as video -sound engineers and producers distortion of less than 0.1 percent. That this sound INCREASES FROM 60 MILES (LEFT) awaken to the potential of the new medium. Stereo quality has rarely been heard by television viewers is TO 91 MILES (BOTTOM) THE DIS- has already enhanced the you -are -there crowd sounds the fault of the broadcasters and the designers of TV TANCE AT WHICH A STEREO TV of spectacular sports events, the pop and rock songs sets, not the system itself. SIGNAL CAN BE RECEIVED WITH A of music videos, and the soundtracks of public -televi- Television is at a slight disadvantage when com- S/N RATIO OF BETTER THAN 50 sion concert and opera performances. That these tele- pared with FM radio because the transmitter power dB. THE FCC'S URBAN, RURAL A - casts can be so effective and successful is largely be- must be divided between audio and video; less TV - CONTOUR, AND B -CONTOUR DES- cause stations are upgrading their audio facilities and audio signal reaches the viewer for every watt of radi- IGNATIONS REFER TO STANDARD- revising their audio production values. This new atten- ated power. But one of the BTSC system's most pleas- IZED RECEIVED SIGNAL tion to sound quality is perhaps the greatest benefit ant aspects is that, theoretically, the quality of service STRENGTHS. stereo television will have.

MARCH 1986 47

B Y R OBER T A NGUS

"YOU CAN ENJOY THAT SATELLITE CHANNEL YOU'RE RE- A Cautionary ceiving in every square inch of your house," the ad pro- Tale About claimed. "A truly remarkable new concept gives you the ultimate use of your VCR or cable box or video camera Wireless with every TV set in the house! Imagine!" I did more Ways of than imagine: I fired off $99 for a Video Magician. And Getting Video $69.50 for a TV Genie. And $39.95 for a Videocaster. By Everywhere in the time they all arrived, the government, in the guise of the Federal Communications Commission (FCC), in- Your Home formed me that I couldn't use a single one of them and that to do so would be courting a fine of as much as $10,000 for each offense and the possibility of a year in jail. Imagine! There have always been devices that pipe the signal from the VCR in your living room to the TV in your bedroom or that enable you to watch cable in one room while the kids watch a screen in another getting its sig- nal from a player in a third. But such arrangements tra- ditionally have involved signal splitters, line amplifiers, and coaxial cable (with its special connectors), not to mention lots of crawling around in the basement snak- ing wires around the water heater. The devices on which Robert Angu', who hasn't yet been busted by the FCC, the FCC has descended promised an end to all that. They is still intimately involved attach to the RF (radio frequency) output of a video with the latest technology. VDO-Pak Hawkeye swift: The agency not only turned down the petitions

ONE OF THE FEW LEGAL CORDLESS from Greene and RF Power Labs, but it put manufac-

VIDEO RETRANSMITTERS, THE turers, retailers, and users of such products on notice

HAWKEYE VTR -80 REBROAD- that the devices are and always have been illegal and

CASTS ONTO CHANNEL 14. that it wants them off the market. John Reed of the FCC's Office of Science and Technology, who issued the public announcement, says that he wasn't worried so much about the approx- imately 8,000 units sold before his bulletin was pub- lished in October 1985 as about a flood of such prod- ucts from abroad. The FCC already has had inquiries about the concept from manufacturers in Hong Kong, Taiwan, Korea, and Japan, he reported, and one of the items against which the warning was issued was made in Canada. In addition, Konica and other manu- facturers have shown tiny transmitters that clip onto the tops of their video cameras, making them wireless for field or surveillance use-a slightly different cate- gory, perhaps, and doubtless a fine idea, but nonethe- game or video camera, cable box or satellite receiver, less also impermissible in the United States. or VCR or videodisc player and then retransmit the But I'm getting ahead of my story. Back in Octo- signal being fed into them to TV sets throughout the ber, before the FCC notice was published, there were house. The other sets receive the rebroadcast signal about a dozen wireless signal distributors being of- on an "unused" VHF or UHF channel instead of fered through the pages of electronics hobbyist maga- through a "hard wired" hookup. zines and over retail counters. They ranged in price Cable subscribers thought highly of the concept from $39.95 to $350, and in quality from wretched to and of the savings accumulated by avoiding supple- superb, as I discovered. Being an avid videophile and mentary charges for "drops" to two or three TV sets. having three TVs scattered around my home, I sam- How much nicer and easier if you needed only retrans- pled a few to see just how well they worked. mit the signal. But you can't, the FCC concluded, be- cause in doing so you run the risk of interfering with your neighbor's viewing pleasure and the rights of a CAN OF WORMS broadcaster who's legally licensed to use the channel ONE OF THE FIRST PRODUCTS TO BE ORDERED OFF THE on which you're rebroadcasting. The Feds would say market was the Videocaster, a black and silver canis- that even if you don't succeed in beaming the Playboy ter about the size and shape of a can of Dinty Moore Channel to the elderly couple across the hall in an ef- Beef Stew. It was essentially an RF amplifier with an- fort to get it on your bedroom monitor, you're likely to tenna wire lining the inside wall of the can. With an louse up their reception on adjacent or possibly unre- RF output switchable between Channels 3 and 4, it lated channels. was almost certain to create cochannel or adjacent - channel interference when used in or near a big city where one or the other of those channels is likely to be VAIN ATTEMPTS on the air already. In my location, it interfered with a THIS WHOLE TALE STARTED ABOUT A YEAR AGO, WHEN signal originating 35 miles away. several small electronics firms introduced devices that I also discovered that the Videocaster's per- are, in effect, miniature TV transmitters. The FCC formance was highly variable, depending on how the didn't pay much attention until it received petitions device was positioned and where it was located rela- from RF Power Labs, a manufacturer, and Robert tive to the three TV monitors in remote parts of my Greene, an inventor, asking that it create guidelines home. In one position (and with a favoring breeze), the for the manufacture and operation of such equipment. picture on the kitchen TV was viewable, if not ideal, As is its wont, the agency solicited comments on the and the audio was intelligible, if hum -laden. In the request. They were not long in coming, and they were same position, the unit produced pictures in the up- emphatic. The National Association of Broadcasters, stairs bedroom with diagonal color bars over a black - the Association of Maximum Service Telecasters, and -white image. With the can oriented differently, RCA, NBC, and MA/Com (a manufacturer of cable the images reversed (like photographic negatives) or and satellite equipment) all responded in no uncertain simply disappeared into a sea of murk. terms. They opposed allowing the equipment on the To see how much of what quality of signal oozed market on the grounds that it would interfere not only out of my house, I grabbed my battery -powered porta- with existing telecasters, but with any who might be ble TV and went for a stroll around the neighborhood. licensed at some time in the future to broadcast on a The pictures outside were considerably poorer than presently unused channel. The FCC's response was those I'd seen indoors, but there was still a strong

50 HIGH FIDELITY Remote Alternatives As it happens, Federal Communications Commission restrictions don't cover all video signal - distribution units. At least three such products rely on wiring rather than over -the -air transmis- sion and can be coupled with infrared remote -control technology to create a home distribution system even more flexible than the legal Hawkeye retransmitter. The trouble with these sys- tems is that they all require 'hard' " wiring, the very thing the outlawed units were trying to get away from. Still, they offer o degree of adaptability impossible with a simple splitter, switcher, J u coupler, or controller. And for very big or elaborate setups, you amuse them together in hybrid configurations For example, Video Link's MRTV is a modular system that costs from $279 to $500 or so, depending on the number of TV sets and the program sources you want to interconnect. uses coaxial cable to carry the video signals from as many os five sources to a command center that distributes them to as many as three TV sets. You con change channels or programs from 3 remote location via an infrared controller and tune the TVs in the system to different program sources. The MRTV package consists of the Model XL -400 Electronic Switcher, which handles as many as four inputs and three TV receivers and has facilities for wireless remote operation in the main viewing room, and one or more Model 170 Xtra-link;, which may be placed at remote locations to relay infrared signals bock to your base TV set, VCR, or whatever, from its Revox B-206 infrared transceiver system own remote -control handset. Multiplex Technology's Channel Plul. does essentially the same thing as the MRTV, but without infrared remote control. However, it can accommodate as many as three program sources and deliver signals to an almost limitless number of TV sets. Like the MRTV, it receives and distributes signals via coaxial cable, which means, as Multiplex Technology President Phil p Strauss explains, that the unit complies with Part 15 of the FCC rules (under which the wireless devices are being ordered off the market) because the transmission system is self-contained. A -3V modulator combiner from Channel Plus With Channel Plus, it's possible to watch two or more different program sources (cable and videodisc, for example) in different rooms and to switch back and forth among them simply by changing channels on the remote set. The reason: The (bonne' Plus box can retransmit on three different UHF frequencies. My sample came pretuned to Channels 25, 37, and 47 but these are easily adjustable to any between 14 and 62 Under this arrangement, it's possible to continue viewing all of the locally available off -air channels in their normal locations and to choose, say, a satellite dish on Channel 25, a VCR on Channel 37, or a videodisc player on Channel 47. Channel Plus is wired into a home antenna system cheod of any signal splitters, and it has direct inputs for the rooftop antenna and three other RF ((radio frequency) video sources. Although Channel Plus comes without remote -control capabi ity (Strauss says that selec- tion of program source by changing channels on the remote TV is all most people need), it's possible to odd itif your living -room video (or audio) components already incorporate infrared remote control. Radio Shock's video remote -control extender ($491 functions in very much the same way as the infrared portion of the Video Link MRTV. It consists of a sender, Video Link )L-00 Electronic Switcher which is placed in a remote location (on top of your bedroom TV, for example), and a receiver/ repeater, which is placed in clear view of the infrared sensor on your VCR, cable box, satell te receiver, CD player, or whatever. You'll need as many senders cs you have remote setups. To operate a component in the master system (a VCR, perhaps), simply aim the remote control that come with it at the sender and push the appropriate bittons. The sender relays the message to the receiver/repeater, which beams the commands a- the selected component as if you were in the room with it. The system works with the command sets for a variety of recent video components or with a universal remote control like General Electric's Command Central Revox now has a $95 incarnation of this concept the B-206 "Transceiver"which also con be used to add remote capability to a Channel Plus system or simply to facilitate control of an individual video or audio component from another room. The unit is said to be unusually tolerant of commands transmitted from off axis, and in some applications, the sender can be placed out of sight in a cupboard or behind a glass door. Finally, there's the Rabbit, perhaps the best known of all the remote controllers despite Radio Shock's remote control extender the fact that when this was written, the manufacturer hadn't shipped a single unit. The original (cat. no. 15-1289) Rabbit, introduced in January 1985, would have used house wiring to relay infrared messaces from remote locations bock to a central unit, which in turn would have relayed instructions to the TV receiver. But the Feds scotched the idea even before the product hit the market (exces- sive radio frequencies radiating from the house wiring). A seconc version, using a control tone transmitted through coaxial cable, likewise never made it on sale. A third one is in the works, and although Rabbit isn't talking about it, the system apparently operates along the lines of the Channel Plus. R.A. enough signal at 1,200 feet to cause herringbone inter- molded to suit the supposedly opposed groups, Messe- ference on Channel 3, even though throughout all of maker points to the incursion by cellular telephone op- this the Videocaster was operating on Channel 4. The erators into the high UHF TV frequencies and the FCC seemed to have a point, at least in this case. FCC approval of TV modulators (those devices in your I never receivedlhe Video Magician, but in the ad VCR, videogame, or videodisc player that convert the ("You can do magic all through your entire home!") it composite -video output to a Channel 3 or Channel 4 looked suspiciously like a Videocaster. However, I did signal), albeit with strict controls on their radiation have a try at the TV Genie, which rebroadcasts on levels. UHF Channel 14 or 27. The in -home results were bet- ter, more reliable, and more consistent than those ob- tained with the Videocaster, but still not of the caliber ALL TIED UP I'd like to see on my bedroom TV, much less on a high - THE FCC MAY NOT OBJECT TO THE HAWKEYE OR THE resolution monitor. The audio quality was good, if not wired -in Channel Plus (see "Remote Alternatives," on Addresses true high fidelity, and although the picture had a page 51), but all these devices face yet another legal Nawkeye Imiestries somewhat grainy texture, the colors were adequately hurdle. Last year, the Connecticut legislature, at the -PAK Products vibrant and I could see what was going on. According behest of the state's cable industry, passed a law mak- 164 Howes St. to the manufacturer, this gadget's 90-milliwatt trans- ing it Illegal to connect anything to a cable system that Port Orange, Fla. 32029 mitter is effective to a range of about 200 feet. My would have the effect of avoiding the payment of ca- portable TV found no stray signals beyond that perim- ble fees. The law was meant to apply to unauthorized line taps, decoder boxes, and hard -wire connections 251 Imperial Hwy. eter-in fact, very little outside the house itself. Fullerton, Calif. 92635 At the other end of the price spectrum is a product within the home that circumvent paying for additional that closely resembles the TV Genie, but costs more drops. But that is just what Channel Plus and some of Rabbit Systems, than five times as much. It's the Hawkeye, a $399 de- the other products do when they're connected to a ca- #290 vice that the FCC has not put on the proscribed list, ble box. Connecticut Cable Television Association Santa Monica, Calif. 9 even though it radiates its signal on UHF Channel 14, Chairman Michael Dorfsman says he doesn't think the like the TV Genie. Unlike the Genie, however, it pro- legislature had these devices in mind when it passed the law, but some other state legislatures now aren't by Orion Indu duced a clear, sharp, consistent image on all of my TV 3675 South Highland Dr. receivers, with audio to match. Although I did detect so sure. Other states have similar laws, which means Las Vegas, Nev. 89103 some stray Channel 14 radiation outside the house, that someone using in conjunction with there was no detectable interference on adjacent chan- a cable box might have to worry about both Federal Video Link nels, and the signal seemed to disappear entirely 50 agents and State Troopers. Ave. feet or so from the unit. In fact, advises the FCC's John Reed, no one is A product of Hawkeye Industries, Inc., of Port Or- likely to come pounding on your door with a warrant ange, Florida, the Hawkeye is sold primarily for secu- except in the most egregious cases, even if you have rity and professional video use, for which Reed says it been using one of the noisy retransmitters. Instead, is approved. In the home, however, it would seem not you're more likely to get a polite but firm request to to meet the FCC's criteria: use of a frequency well stop using it-or else. Federal agents do have the above the UHF band (which would require some sort right to seize the offending unit and may do so in the of downconverter for use with a TV set) and a license case of retail shops with several in stock. In principle, to operate at that frequency. Nevertheless, as of this since the devices never were legal, manufacturers had writing, the FCC continues to permit its sale. no right to make them or supply them to dealers, who The Hawkeye is the creation of Nick Messemaker, had no right to sell one to you. who is currently embarked on a crusade to persuade What to do? If you can find the person who sold the FCC to change its mind about flea -powered re - one of these things to you, you can force him to take it transmitters. Messemaker and other manufacturers, back. But some of the companies that made retrans- like Video Magician's Carl Kircher and TV Genie's mitters (such as Video Magician and Videocaster) are Jack Riley, feel that the agency knuckled under too now out of business, which makes returning one diffi- quickly to pressure from TV broadcasters. cult. And a balky dealer may force you to take him to Messemaker believes that it's possible to come up court to get your money back, if you care that much. with a maximum -power limitation on the transmitter Dealers in turn must seek reimbursement from the and other safeguards that would ensure that the in- factory or distributor who sold them the equipment. If struments do not interfere with existing licensed sig- you haven't yet bought a video distribution system, nals. "There is a need for this class of product, as dem- there are several things you can do to protect youself. onstrated by the enormous consumer interest in the One is to make sure that any prospective retransmit - Hawkeye," he explains. "It should be possible for the ter is a legal device. You also can check out the range FCC to accommodate the interests both of the broad- and strength of a retransmitter using a portable TV, casters and of the viewing public. But it can't be done or you can consider the wired -in remote -control alter- as long as the FCC takes the position that it will pro- natives. Though they may not always save you from a tect nonexistent signals as well as those already on hands -and -knees wiring job, they are free of govern-

the air." Among the examples of how the rules can be mental entanglements.

52 HIGH FIDELITY MEDLEY Edited by Georgia Christgau and Ted Libbey

Laughing Lily A Hardware Leader Goes Soft

On Laugh -In, Lily Tomlin's her amazing transformation "Classical music is not our tra used to do: the big works Ernestine, the acerbic tele- into the role made her and main business," Denon's man- that sell well," Ohno confided. phone operator who personi- some of her fans uneasy.) ager of artists and repertory, "We are looking for the right fied the utility company's Short sketches suit Tomlin's Toshibumi Ohno, announced orchestra and the right con- bland, corporate omnipotence, jumpy, staccato style. One-lin- when I visited the firm's To- ductor. Another consideration used to sign off, "We don't ers provide extra breathing kyo headquarters last sum- is the star soloist." care. We don't have to." space, and a soapbox: "Infin- mer. "But to get a good repu- Recently, Denon began its Laugh -In was the only TV I ity is time on an ego trip." tation with classical listeners first major orchestral project watched in college: great, sub- Laugh -In was good training will help our hardware sell. outside the Eastern bloc: a versive entertainment in the for the rigors of a two-hour, That's the basic idea." complete Mahler symphony tradition of the short-lived one -woman show. Long one of Japan's most cycle with Eliahu Inbal and That Was the Week That What endears Tomlin to important makers of record - the Frankfurt Radio Sympho- Was, a tradition upheld, I sup- her fans, however, is not her playing equipment. Denon ny Orchestra (Nos. 1 and 2 are pose, by Saturday Night perfect timing or her penchant (Nippon Columbia Co., Ltd.) now available). To follow, the Live. But by the mid -Seventies for piquant zingers or even only recently launched itself company plans a Ravel cycle the college generation wanted her acutely observed cast, but into the business of producing with Inbal conducting L'Or- less sarcasm and more slap- rather the vitality and celebra- its own classical recordings. chestre National de France. stick; even Laugh-In's Goldie tion that's implicit in her char- Because it was one of the pio- Meanwhile, in East Berlin, Hawn traded her kinky rep as acters' struggles, as well as neers of digital technology where Otmar Suitner has al- the most ticklish go-go dancer their creator's own graceful and because it has the ability ready recorded the sympho- on television for superstardom embrace of life. This rever- to manufacture its own CDs, nies of Beethoven and Schu- and respectability. ence is symbolized by bag lady the company has amassed a bert, work is under way on Tomlin is wildly erratic in Trudy, who admires her outer - large classical CD catalog in a Schumann and Mendelssohn her screen roles. But her rec- space friends most for their fairly short time. cycles. ords consistently go gold, and "desire to know." Even in the Ohno said that the Denon The key to Denon's strate- they love her on Broadway, darkest moments, Tomlin's in- label's a&r division is guided gy until recently had been where she is currently appear- dividuals express a kind of by two principles. The first is Dresden, where it recorded ing in The Search for Signs of hope. Lynne, one of a trio of "sale and profit"-no surprise the Staatskapelle in both sym- Intelligent Life in the Uni- ex -radical friends who sus- there-and the second is ''to phonic and operatic literature. verse, her second hit show in tains most of Act II, asks her establish a total image of But Herbert Blomstedt's de- eight years. This one is spe- husband as they sign divorce Denon status, including that parture for San Francisco and cial, though, because like a papers, "We have made so of the hi-fi product." With that mounting competition from gOod marriage, Tomlin's fideli- many mistakes. I wonder if in mind, Denon in the mid - other labels have forced the ty-to herself and to her audi- this is just another one." But 1970s sought coproduction firm's hand. "We know we ence-seems more valuable Tomlin usually plays her opti- agreements with Supraphon need to look for balance in our the longer it lasts. mism straight. As five -year - and V.E.B. Deutsche Schall- repertory," Ohno said, "and to My favorite new character old Edith Ann used to say: "I platten, the state recording get beyond the limitations of is Agnus Angst, a teenager have noticed that sometimes agencies of Czechoslovakia working with Supraphon and who claims she and her family when I laugh I feel lice crying. and East Germany, which V.E.B. Deutsche Schallplat- "have nothing in common ex- But when I am sad I do not have guaranteed access to ten." It is too early to tell cept that we are carbon -based feel like laughing. So I have their countries' best musicians whether that strategy will in- life forms." Like most of the decided that it is better to be and ensembles. Denon started volve American orchestras. people Tomlin inhabits, Agnus happy than sad: You get two cautiously, concentrating on But according to Ohno, Denon surfaces intermittently; either emotions for the price of one." chamber and solo instrumen- is hot in pursuit of the Ameri- the actress can't sustain a How does this tough, uncom- tal music before moving into can listener. "The keys to the character for long or she promising artist get away the symphonic and operatic American market are distribu- doesn't want to. (I heard she with such corn? To me, that repertories. tion and promotion. We think dropped Rick the bar cruiser mystery has always been her "We want to have the rep- the U.S. will eventually be- from Appearing Nitely, her best -kept secret. ertory that Eugene Ormandy come our biggest market." first Broadway show, because Georgia Christgau and the Philadelphia Orches- Ted Libbey

MARCH 1986 53 CL A S S I C A L

Tikhon Khrennikov looks back on four decades as chairman of the Union of Composers.

The CZAR of Soviet Music BY JOEL W. SPIEGELMAN

TIKHON NIKOLAYEVICH KHRENNIKOV IS United States, Khrennikov remains an Eugene Ormandy took up the work, and the most powerful official in music. Since enigmatic figure here. His own music is Charles Munch occasionally performed it 1948, when he became chairman of the widely performed in the Soviet Union and with the Boston Symphony Orchestra dur- Union of Soviet Composers at the age of in many European countries, but most ing the 1950s.) thirty-five, he has shaped his country's Americans are not well acquainted with At the heart of Khrennikov's style is a musical policy. To some Americans, he is his impressive output of operas, ballets, combination of Russian lyricism and an evil czar, enforcing Communist party songs, concertos, and symphonic works. strong harmonic underpinning. He has a ideology by putting down any new artistic (He first came to the attention of Ameri- gift for spinning out an endless stream of trends that might waver from the doctrine can audiences in 1936, when Leopold Sto- melodies, often powered by piquant chord- of socialist realism. Khrennikov's author- kowski conducted his First Symphony al progressions and bouncy rhythms. ity is bolstered by his positions as a deputy with the Philadelphia Orchestra. Later, There is a dramatic flair and a bigness to to the Supreme Soviet, a job he has held much of his music; this is certainly true of since 1962, and as a member of the Central Composer and keyboardist Joel W. Spiegel - the piano concertos, which Khrennikov Committee of the Communist party. man is a professor of composition at Sa- frequently performs himself. At the age In spite of three official visits to the rah Lawrence College. of seventy-two, he still has the technique

Si HIGH FIDELITY The CZAR and the sound to play them. ing him in action in his Union office, and considered the party of the Bolsheviks to In November 1985, while President being entertained by him and his wife of 50 be the most progressive force in the world. Reagan and General Secretary Gorbachev years, Clara, left me with the impression 'I have always listened to it and will contin- were meeting in Geneva, I was in Moscow that Khrennikov is a generous man. This ue to do so.' He said that in America. Right holding a summit -of -a -lesser -kind in was a revelation. But because there has in Los Angeles. Well, they nearly fell off Khrennikov's living room. I had gone to been so much contradictory information their seats. the Soviet capital with Frank Yandolino, about him over the years-especially "Volkov is simply a hooligan and an president of National Exchange Produc- about his role in enforcing party doc- opportunist. There is not a penny's worth tions, Inc., a New York -based firm han- trine-I felt I had to ask for his side on a of truth in that book." dling exchanges in entertainment and the number of controversial issues. My first I retorted: "Volkov claims that Shosta- performing arts. Our hope was to initiate question dealt with his part in the censur- kovich approved and signed every chapter talks that would lead to the establishment of a working relationship between our two countries' musical communities. Gideon Toeplitz, executive director of the Houston T TIT Symphony Orchestra, had asked me to ex- fr)IT plore with Khrennikov the possibility of "I have never acted against my comrades; creating an annual Soviet -American festi- val and symposium on music and the per- perhaps that is the very reason I have been running forming arts, to take place in both coun- the Union of Composers for so long." tries, the first installment in Houston with Khrennikov attending. To our delight, he agreed to come to Houston in May. ing of Shostakovich. of the memoirs himself and that they are However, I was interested not only in "That is nothing but a pack of lies," held in safe-deposit in a Swiss bank." winning Khrennikov's support for this Khrennikov responded. "That is all Solo- "Go ahead and try to find them," project, but in getting to know him as both mon Volkov and his book [Testimony: The Khrennikov said. "Shostakovich would a composer and a man. He proved to be a Memoirs olDmitri Shostakovich, Harper never sign his name to such rot. The only warm and affable host: I found myself in- & Row, 1979]. He writes that I, together thing is that sometimes he would sign an stantly at ease in his presence. Since I am with Stalin, suppressed Shostakovich. interview without reading it. He couldn't fluent in Russian, there was no language What idiotic nonsense!" stand interviews; he had no patience for barrier between us, and our talks were Khrennikov roared with laughter, as them.... punctuated with humor and an occasional though he had just heard an enormous "How could Volkov say that Stalin good joke. joke. I asked him what really happened. telephoned me every day telling me to sup- During our stay, Khrennikov took us "Nothing happened," he answered. press Shostakovich? Stalin never called to the Stanislaysky Nemirovich-Dan- "Everything was fine. There was some me, and I never put any pressure on Shos- chenko Theater to hear his new opera, The criticism of Shostakovich, but at the same takovich. On the contrary, we were Golden Calf, a comic work based on a time he was awarded a Stalin Prize. All of friends. Why should I put him down when story by the Russian humorists Ilf and us get criticized, and it can be unpleasant. I revered him just like I revered Prokofiev, Petrov (remember Mel Brooks's film The But the story that he was suppressed and who was a God to me? I have never acted Twelve Chairs?) about life in Odessa and made a martyr was made up by people against my comrades; perhaps that is the the connivances of an aspiring millionaire. who did not wish us well. very reason I have been running the Union Khrennikov's setting is rapidly paced, and "When Shostakovich, Kabalevsky, of Composers for so long. It is just a the packed house responded to the colorful and I were in Los Angeles in 1959, at a shame that people believed Volkov. But production by laughing in all the right press conference at the Ambassador Ho- that is all in the past" places and giving composer and cast a tel, the journalists tried to provoke Shosta- I wasn't quite finished with the past, rousing ovation. kovich into arguing with me. They asked though. I wanted to know more about the Another day was spent at Moscow him, 'How can you even speak to Khrenni- Central Committee's 1948 resolution. Television viewing recent videotapes of kov after he criticized you in 1948 [in the 'The party was worried about what performances of three more Khrennikov Central Committee's resolution condemn- our composers were writing," Khrennikov works: the Second and Third Piano Con- ing modernistic trends in Soviet music]?' explained. "When the Central Committee certos, played by the composer and the If you only could have seen his face and reviewed the work of some of our great Moscow State Philharmonic, and the First how he broke up laughing with all that composers, beginning with Muradeli's op- Violin Concerto, played by Vadim Repin, a business. He told them, `Khrermikov criti- era The Great Friendship, it decreed that fourteen -year -old phenomenon from Sibe- cized me, and I criticized him. That was the they were writing [trash]. True, there was ria who might well be the new David Ois- law by which we lived: mutual criticism.' some rough language [against the com- trakh. We also saw Khrennikov's ballet But the journalists said, The party criti- posers], but after the death of Stalin in Much Ado About Nothing and scenes cized you, too,' and Shostakovich an- 1953, it stopped. The crudeness was can- from his operas Mother and Into the swered with a statement that appeared in celed, as it was said to be a result of Sta- Storm. newspapers all over America: He told lin's Cult of Personality. Yet it is terribly Hearing a large dose of his music, see - them that he was a Communist and that he (Continued on page 76)

MARCH 1986 66 BY ROBERT E. BENSON, IRVING KOLODIN, AND BILL ZAK ARIASEN role (and I mean "his" role now) with frequently incredi- ble aplomb, making his per- formance one of the greatest pieces of singing to be heard in Mini -reviews of the the postacoustic era. Ramey's colleagues in THE latest Compact Discs Maometto (June Anderson, Margarita Zimmermann, Er- nesto Palacio, and Laurence Dale) don't possess his prodi- gious vocal gifts, but they all are in near absolute control, if CD SPRE occasionally (and forgivably) in awe of Ramey's magnifi- cence.ClaudioScimone's SCHUMANN AND table style. This may not be ex- recorded, also will be new to scholarly, uptempo conduct-

.1.1111.1CHOPIN CONCERTOS ceptional value in playing most listeners; it is more of an ing is most satisfying, as are Andras Schiff s performances time, but it is worth owning extended idyll than a concerto, the playing of the Philhar- of Schumann's Piano Concer- and will be cherished by collec- far removed from the virtuoso monic Orchestra and the sing- to in A minor and Chopin's Pi- tors of vocal music. Playing writing of most standard vio- ing of the Ambrosian Opera ano Concerto No. 2, in F mi- time: 43:43. (Angel EMI CDC lin concertos, and it has rich Chorus. This CD shares the nor,areextraordinarily 47284.) rewards for those with the pa- virtues of the best recordings sensitive; he is as comfortable The other CD, featuring tience to explore its depths. in the new format, although with the Romantic repertory music of Richard Strauss and These were the final record- there is some bass deficiency as he is with Bach and Bartok. much more generous in play- ings of violinist Ralph Holmes, in spots. Perspective is re- The Chopin is particularly ing time, was recorded too late and they form a fitting memo- markably good, and the big imaginative, with Antal Dorati in Schwarzkopf's career to rial to his artistry. Vernon explosion heralding Maomet- and the Concertgebouw Or- show her at her best, although Handley and the Royal Phil- to's arrival toward the end of chestra of Amsterdam sensi- her artistry and intent remain. harmonic Orchestra provide Act Iis a potential lease - tively mirroring Schiff s ruba- Included are the Four Last committed accompaniments. breaker. All in all, this is a to.Theengineeringis Songs and five Lieder with Playing time: 53:57. (Unicorn- stellar -sounding Maometto acceptable but not outstand- George Szell directing the Kanchana DKP CD 9040. Dis- that should defy any succes- ing: Bass is not well defined, London Symphony Orchestra tributed by Harmonia Mundi, sor for some time to come. and the solo piano lacks bril- (all from Angel EMI S 36347), U.S.A.) R.E.B. Playing time: 187:18. (Philips liance in the upper octaves. as well as seven Lieder with 412 148-2.) B.Z. Playing time: 65:08. (London Szell and the Berlin Radio MAGNIFICENT 411 942-2.) R.E.B. Symphony Orchestra (from S O1.11 "MAOMETTO" DVORAK QUINTETS 36643), recorded in 1966 and Gioacchino Rossini's 1820 op- OWITH RICHTER SCHWARZKOPF 1969, respectively. Schwarz- era Maometto II is the most Two of Antonin Dvotales O3111.11gREISSUES kopf fans of course will want ambitious work of his Neapoli- mostebullientchamber Historic performances by Elis- to have this, but it's unfortu- tan period. Considering the vo- works-the Piano Quintets in abeth Schwarzkopf have been nate that Angel did not opt to cal demands, it is even more A (Opp. 5 and 81)-are given issued on two new Compact release her 1954 monophonic ambitious than his later re- truly festive performances on Discs. The original analog re- recording of the Four Last write of the score for Paris, Le a single Philips CD. Taped at cordings have not been digital- Songs, which is far superior to Sitge de Corinthe. It's fortu- the 1982 Prague Spring Festi- ly remastered, but the sound the one offered here. Playing nate, then, that the first com- val, these recordings feature is cleaner on CD, without the time: 63:41. (Angel EMI CDC plete recording of Maometto Sviatoslav Richter and the distortion that occasionally 47276.) R.E.B. is so accomplished, in both per- Borodin Quartet in superlative marred the LPs. Complete formance and sound. These form. Richter's pianism is the texts are provided, and the r DEFINITIVE days, of course, chief listening sort that catches fire when he rather thick booklets barely -DELIUS interest is directed toward has an audience-an ironic sit- slide into the plastic CD cases. A superb t 1), with splendid Samuel Ramey, whose dra- uation, considering his report- Elisabeth Schwarzkopf performances and natural, matic authority and command edly crotchety personality. In Sings Operetta can be highly wide -range sonics. These are of Rossinian fioritura are vir- vigorous song and full of sen- recommended. Dating from the premiere recordings of the tually unchallenged by any timent, Richter is in peak con- 1959, it offers works of Heu- Suite for Violin and Orchestra other contemporary operatic dition here, and the Borodin berger,Lehar,Millocker, and the Legende for Violin basso. As Maometto, he surely players, obviously inspired, Strauss, and other composers, and Orchestra. The Violin doesn't disappoint: He runs contribute to renditions re- all sung in the soprano's inimi- Concerto, though previously the exhausting gauntlet of his served for only the most spe-

56 HIGH FIDELITY cial occasions. legium Aureum directed by the analog source, it is not those by Herbert von Karajan The warmly resonant yet Franzjosef Maier. One is the enough to be disturbing. and Alexander Gibson. But forwardly detailed sonics (no use of original instruments, R.E.B. why didn't Angel, while going doubt largely the product of the other is the promise, made into the archives, instead issue the Prague Rudolphinum's prominently on the cover, of ralCTCHAIKOVSKY: on CD the near definitive and acoustics) provide an ideal re- 64 minutes of music. TWO FINE FIFTHS beautifully recorded Adrian flection of Dvotak's joyful ge- As far as sound is con- The Oslo Philharmonic Or- Boult/New Philharmonia Or- nius, as they do for the joyous cerned, the Symphony No. 40, chestra (led by Mariss Jan - chestraversion(fromS applause at the conclusion of in G minor, is recorded in a sons) plays Tchaikovsky's fa- 36420)? Playing time: 50:56. each work. Playing time: fashion that is clearly typical miliar Fifth Symphony with a (Angel EMI CDC 47160.) 57:67. (Philips 412 429-2.) and unfussily appropriate. commitment one would expect R.E.B. B.Z. However, the Symphony No. only from some of the top or- 41, in C ("Jupiter"), is inade- chestras in the world on a LIVE SCHIFF PLAYS quate. As for length, the good day. There are a few mi O"UMW LNINSHOSTAKOVICH promise is kept-but on a re- nor inaccuracies, but this is a This account of Bedtich Sme- Dmitri Shostakovich's two cent Deutsche Grammophon dynamic performance that tana's Libuk was taped at the Cello Concertos receive knowl- CD (413 776-2), Mozart's Sym- pleases: Playing time: 43:14. reopening of the Prague Na- edgeable if not entirely suc- phonies Nos. 39 and 40, played (Chandos CD 8351.) tional Theater on November cessful presentations from by the Vienna Philharmonic Andre Previn's new ver- 18, 1983, and it is a resounding Heinrich Schiff and the Bavar- with Leonard Bernstein, total sion of the Fifth with the Roy- success in almost every de ian Radio Symphony Orches- 60 minutes without any partic- al Philharmonic Orchestra is partment. No current operatic tra under Maxim Shostako- ular mention. Playing time: on the same high standard., recording exudes more strik- vich. Despite the fact that the 64:50. (Pro Arte CDD 233.) and for some collectors the de- ing immediacy of sound, and conductor is the composer's I.K. termining factor will be the the balances between voices son, the First Concerto's per- bonus that Telarc offers: the and orchestra are amazingly formance lacks the fluidity r CHANDOS OFFERS March from Rimsky-Korsa- good, particularly considering and the forward motion heard OENGLISH MUSIC kov's Tsar Saltan. Playing the huge scale of the work. in some other recordings (cf. Well worth investigating is time: 50:57. (Telarc CD 80107.) Moreover, the lack of back- Yo -Yo Ma with Eugene Or- Chandos's English Music for R.E.B. ground noise on the three CDs mandy and the Philadelphia on Strings, featuring George shows that the Czech audience CBS). Moreover, the orches- Hurst and the Bournemouth rWPREVIN'S was well behaved that eve- tral tone, and at times that of Sinfonietta in digitally remas- "PLANETS" ning-though as is custom- Schiff's cello, seems rather tered analog recordings of This recording of Holst's The ary, it couldn't resist cheering harsh-though this must be Holst's St. Paul's Suite, El - Planets was made more than as the chorus took up the final partly the fault of the prob- gar's Serenade in E minor, a decade ago, but the analog refrain just before the curtain: lematic acoustics of Munich's Warlock's Capriol Suite, and sound is superior to what digi- "Ces14 ndrod neskond" Herkules-Saal, where these John Ireland's Concerto Pas- tal techniques have yielded on ("The Czech people will over- live performances were taped torale. Playing time: 54:10. several contemporaryre- come"). in April 1984. (Chandos CD 8375.) leases. Sound buffs will de- In the main, the per- Things are markedly bet- Another collection, also light in the massive bass, formance of this glorious pae- ter in the brooding, lesser - worth having, includes Gran- which has plenty of impact. an to a people is done justice, known Second Concerto, a ville Bantock's Pierrot of the The overall pickup is distant especially by the orchestra work I personally prefer and Minute (a comedy overture); Woodwinds and brass are too and chorus under Zdenek one whose introspective na- Frank Bridge's Summer, remote for my taste, but Koriler. The soloists are a ture isn't betrayed as much by There Is a Willow Grows doubtless many listeners will mixed bag, however. Soprano acoustical faults. Further- Aslant a Brook, and Suite for enjoy this perspective. The en- Eva Depoltova and mezzo more, the overall reading is a Strings; and George Butter - gineers have been very suc- Vera Soukupova are the best, convincing one, by all partici- worth's The Banks of Green cessful with the soft fade at but they sing subsidiary roles. pants. Since the later, better, Willow. Here the Bourne- the conclusion of "Neptune." Gabriela Beiladkova-Capova's and longer concerto fares so mouth Sinfonietta is led by an evocative episode not al- lyric spinto soprano is rather well in this issue, the CD is Norman del Mar. Playing ways effectively handled on overmatched by the heroic de- worth at least a guarded rec- time: 58:09. (Chandos CD competing versions. mands of the title role; at ommendation. Playing time: 8373.) AndrePrevin'sper- times she is forced to revamp 62:54. (Philips 412 526-2.) There are many musical formance (with the London the vocal line to suit her abili- B.Z. treasures on these two CDs, Symphony Orchestra and the ties. Nevertheless, an impos- and the dedicated perfor- Ambrosian Singers) is rather ing presentation given to one MOZART mances are very capably en- tame. "Mars" should have of the noblest monuments of OFROM MAIER gineered. Although there is more dynamic impulse, "Jupi- Czech art.Playing time: Two items attract attention to occasionally a touch of back- ter" more majesty. Still, I find 166:16.(SupraphonCDS this release featuring the Col- ground noise, possibly from this release preferable to 7438/39/40.) B.Z.

MARCH 1986 57 N OTES FROM UNDERGROUND

A SALUTE TO andotherByeALiNTAND wRANsevARGsA

B UDAPEST-It took Hungaroton nearly ed States in November-December 1985, three years to produce a rather unusual has recorded the incidental music to A Bach record-but it did, almost in time for Midsummer Night's Dream, omitting the tercentenary, and the disc looks like only the melodrama sections. Magda Kal- quite a hit. The Hungarian lutenist Ger- mar (soprano) and Jutta Bokor (mezzo) are gely Sarkozy has reconstructed what in the two soloists. The chorus is that of the German is called a Lautenklavecimbel, or Jeunesses Musicales of Hungary. lute-harpsichord-a cross of the two in- Leh Weiner, the legendary teacher of struments that retains and combines the chamber music at the Budapest Academy characteristics of both. (Bach's estate in- of Music between 1918 and 1957, was born cluded as many as five lute -harpsichords, in 1885. The centenary of his birth was re- and although none have survived, descrip- membered in a book by his many pupils- tions of what they looked like have come among them Sir Georg Solti, Antal Dorati, down to us.) Sarkozy has recorded two Andor Foldes, Louis Kentner, Janos pieces that were apparently meant by Starker, and GyOrgy Sebok. Hungaroton Bach for the unusual instrument. The LP has now released two of his string quar- features the Suite in E minor, B.W.V. 996, tets recorded in 1960 and 1962 by a group and the Suite in C minor, B.W.V. 997, as he coached that bore his name and that has well as three chorales. The latter serve di- ADAM FISCHER CONDUCTS MENDELSSOHN ON A NEW since disappeared from the scene. dactic purposes, throwing into relief the HUNGAROTON RFITA% On the lighter side, cellist Miklos Per- special qualities of the lute -harpsichord by enyi and pianist Kocsis have let their hair affording the listener a chance to compare The Hungarian label hopes to per- down and recorded an album of encores: its sound with that of the harpsichord, the suade Zoltan Kocsis and Dersti Ranki to pieces by Paganini, Schubert, Mendels- lute, and the lute register of the harpsi- turn into a series their recordings of Mo- sohn, Chopin, Faure, Saint-Saens, Rimsky- chord, all of which have figured in previ- zart's piano concertos. They released one Korsakov, Debussy, Tchaikovsky, Popper, ous recordings of these works. disc each last year (K. 414 and K. 488, both Granados, Davidov, Rachmaninoff, and Laszlo Dobszay and Janka Szendrey in A, by Kocsis; K. 453, in G, and K. 450, in Kodaly. The Franz Liszt Chamber Orches- have followed up their exploration of Hun- B flat, by Mild), and a new LP by Ranki tra has followed suit with popular compo- gary's musical past by recording with (K. 271 and K. 449, both in E flat) was just sitions by Vivaldi, Bach, Handel, Rameau, their ensemble, Schola Hungarica, a pro- making its way into the shops as of press Mozart, Berlioz, Brahms, Kodaly, and Jo- gram of medieval Hungarian sacred music time. The accompaniment on all three rec- hann Strauss the elder-and even some connected with the festivities after Christ- ords is provided by the Franz Liszt Cham- rags by Scott Joplin, arranged for strings mas. They call the new disc Epiphany. ber Orchestra led by Janos Rolla. As of by Peter Wolf. Hungaroton's new release of Antonio yet, no other concertos have been commit- The Budapest Festival Orchestra un- Salieri's Falstaff may well be the first re- ted to tape; apparently the two pianists der the baton of Ivan Fischer has pro- cording of a complete opera by that com- share favorites and are hard put to divide duced a rather unusual recording of poser. Interest in Salieri's music has the spoils. Hungaroton is ready to go Brahms's Hungarian Dances. Without shown a marked increase, thanks to Milos down on its knees to persuade the young altering the three orchestrations that were Forman's film Amadeus, and Hungaroton stars to continue with the series. done by the composer himself and the five unashamedly wishes to capitalize on it. The brothers Fischer-Ivan and by Antonin Dvorak, Fischer, with the help When the label got wind of the indignation Adam-have recorded some Mendelssohn of composer Frigyes Hidas, has edited being expressed by inhabitants of Salieri's favorites with the Hungarian State Or- some of the remaining arrangements in an birthplace, Legnano, at the way their illus- chestra. Ivan, whose rendition of the Ital- attempt to be more faithful to the spirit of trious son is treated in the film (reputedly ian and the Reformation Symphonies Brahms and the melodies that inspired the citizens now wish to put up a statue to sold out in a matter of months, has now him. The result: more colorful, livelier honor his memory), its executives wrote a tackled the Scottish Symphony and the Hungarian Dances than one has been letter to the town councillors and made Hebrides Overture. Adam, who took the used to hearing (even a cimbalom part has them a present of the Falstaff album. The orchestra on an extensive tour of the Unit - been added). The quasi -improvisatory title role is sung by JOzsef Gregor; the character of the revisions lends the dances chorus and chamber ensemble, both &dint Andras Varga works in Budapest something of the atmosphere that must named for this occasion after Salieri, are at Editio Musica, the state music -publish- have captivated Brahms in the perfor-

conducted by Tamas ing agency. mances of gypsy bands.

5$ HIGH FIDELITY made in Hungary

STRAUSS, R.: In general. the only thing most opera buffs gram notes for this recording). This was far Guntram. know about Richard Strauss's first opera, too much for the fledgling opera composer to O Tokody, Goldberg, Solyom-Nagy, Gati, Guntram, is that one of its themes is quoted handle. Band; Gregor, others; Hungarian People's Army Male Choir, Hungarian State Orchestra, during the "Works of Peace" section of Ein Yet Strauss eventually realized there Clueler. David Mottley and Jeno Simon. prods. Heldenleben. The latter composition was was music in Guntram worth saving be- CBS Masterworks I2M 39737 (D, 2). C1(2). written in 1898-four years after Guntram yond that quotation in Heldenleben. In 1940, was an abject failure at its premiere, pur- he created a new edition, pruning 70 minutes portedly because the tenor singing the title from the manuscript, transposing sections role had not learned the music. The expe- (both in placement and in range-particular- rience was so traumatic for Strauss that he ly for the tenor), and excising some of the waited almost ten years before attempting most ridiculous passages of the libretto. The another opera (Feuersnot), and he harbored rewrite proved successful, and it is this ver- an almost pathological (and eventually sion that Eve Queler conducts in CBS's new much -parodied) antipathy to tenors for the recording. rest -of his life. The libretto remains a serious liability, However, Strauss deserved to share the but the music-especially in the later blame. Imagining himself to be another pages-is choice if not always prime -cut

CONDUCTOR EVE QUELER Wagner, he wrote his own libretto-a dog- Strauss. The trademarks are already here: a

(ABOVE) HAS RECORDED gerel -ridden script about medieval codes of unique gift for ecstatic melody, challenging STRAUSS'S FIRST OPERA WITH honor that seems a parody of equal parts yet rewarding vocal lines, luxuriant orches-

THE SAME PRINCIPALS THAT PER- Tannhauser and Lohengrin. In addition, his tration, and a sure feel for musical drama

FORMED If UNDER HER DIREC- original score ran three -and -a -quarter hours that nearly always transcends the mundane

TION IN 1983. (not two -and -a -half, as implied in the pro- words. While Guntram occasionally glances

MARCH 1986 59 backward (for instance, there's a quote from stylistic mannerisms. Many listeners will virtuosos since Johana Harris introduced it Tod and Verklarung in Act I), it also looks find Perahia equally convincing in the in 1952; the Second Piano Sonata, written 30 forward, with its hints of Die Frau ohne greater Chopin of the Barcarolle and the F years later and receiving its premiere record- Schatten, Arabella, Daphne, and other minor Fantasie, though his very beautiful ing here, is more original but less inspired. masterpieces to come. Whether or not Gun - performances of these remarkable pieces Rodriguez gives both sonatas powerful, tram itself is a masterpiece isn't as impor- will sound a shade too expansive in spots for slightly dry performances (his playing in tant as the fact that it is one of Strauss's those accustomed to the simpler, more clas- concert is more colorful) and is equally win- seminal works. sic approach of Dinu Lipatti in the Barcarolle ning in the shorter folk -derived pieces that Queler's admirably chosen tempos and (Odyssey 32 16 0369) or Van Cliburn in the fill up each side. the Hungarian State Orchestra's fine play- Fantasie (RCA LSC 2576). Andrew Kazdin's The homemade digital sound is excellent ing help make a generally good case for the digital sound is plummily resonant; Philip in the Ginastera, serviceable in the Debussy. opera. The exponents of the two lead roles, Ramey's liner notes are riddled with easy Somebody at Elan was asleep at the switch Reiner Goldberg (Guntram) and Ilona To- platitudes ("Despite its title, [the Fantasie] is when mastering Side 1 of the Debussy: kody (Freihild), are the same as when Queler nothing less than a full-blown though con- "General Lavine-eccentric" is abruptly fol- led the American premiere in concert form at cise sonata movement, and one of consider- lowed by two of the Argentinian Dances Carnegie Hall in early 1983. The boon of am- able breadth with a corresponding wealth of from the Ginastera tape. Highly recom- plification makes both singers sound more ideas"). Terry Teachout mended, particularly the Debussy. high-powered than they did back then, Terry Teachout though neither has the true heroic timbre DEBUSSY: their assignment requires. Nevertheless, GERSHWIN: Preludes, Bk. 2. Works for Piano. Goldberg and Tokody never try to make Rodriguez, S. Natasha Rodriguez. prod. Elan Thomas; Los Angeles Philharmonic, Thom- their voices any more than what they are- 1206 (0). (P.O. Box 748, Adelph I. Md. 20783- as.Steven Epstein, prod. CBS Masterworks 0761.) pleasing lyric spintos-and both deliver text IM 39699 (D). GINASTERA: Rhapsody in Blue (orch. GrolO); Preludes for and phrase with intelligence. Three Argentinian Dances, Op. 2; Piano (3); Short Story; Violin Piece (arr. Thomas); With the exception of Janos Midi's ar- Rondo, Op. 19; Piano Sonata No. 1, Second Rhapsody for Piano with Orchestra; For Op. 22; Piano Sonata No. 2, Op. 53. Lily Pons (realized by Thomas); Sleepless Night; resting performance of the quirky, high - Promenade ("Walking the Dog"). Rodriguez, S. Natasha Rodriguez, prod. Elan lying role of the Duke's jester (a tenor Rigo- 1202 (D). letto?), however, the other singers are nota- The idea of a Gershwin Gesamtausgabe bly below the level of those that Queler used Santiago Rodriguez, a brilliant andincisive may sound like a misguided exercise in the in 1983. Was she forced into some sort of Cuban -born pianist who was nosed out of worst kind of academic pedantry. Not so. Procrustean bed in exchange for Hungaro- first place at the 1981 Van Cliburn Competi- George Gershwin's "serious" music is full of ton's willingness to bankroll this recording? tion by Andre -Michel Schub, has been consis- editing problems that, at their worst, are as Veteran baritone J6zsef Gregor's singing of tently ignored by the record companies-it bad as anything Rimsky-Korsakov ever did the important role of Friedhold, for example, takes first place or a scandal to get a con- to Mussorgsky. This recording, the first of a sounds just too old for comfort. tract these days-and he has responded by series, isn't exactly a critical edition, but it is The recording has optimum clarity and a starting his own label, a cassette -only shoe- the next best thing; in it, Michael Tilson specially potent bass line, though voices are string operation called Elan. Judging from Thomas has attempted to establish Urtexts at times too prominent in relation to the or- the two releases at hand, the major labels for Rhapsody in Blue and the less familiar chestra, as so often is the case with Hungar- have missed a good bet Piano playing like Second Rhapsody. Furthermore, Thomas oton-made issues (I haven't heard the Com- this is hard to find. claims for his own piano -playing a special au- pact Disc version yet). Surfaces and Rodriguez's performance of the second thenticity, based, we are assured, on an "oral packaging, however, are excellent. Flaws of book of Debussy's Preludes, which was re- tradition" of correct Gershwin style passed performance and recording aside, Gun tram corded live at the University of Maryland down by his father (a piano student of Gersh- gets an exposure capable of making the lis- (where Rodriguez is on the faculty), is an ex- win) and his uncles, all close associates of the tener stand in admiration of the early yet al- ceptional achievement by any standard. composer. This "tradition" has been supple- ready -well -formed genius of Strauss. CBS Cool, rather objective, and technically flaw- mented by the close study of Gershwin's sur- need fear no competition in the foreseeable less, Rodriguez's Debussy is full of vivid viving recordings and by consultations with future. Bill Zakariasen pedal effects and wonderfully adroit voice - the composer's brother, Ira. [For a detailed leading; though some of the slow pieces are discussion of this project, see David Patrick CHOPIN: occasionally a shade brisk, the more explicit- Stearns's interview with Thomas in "Discov- Impromptus: in A flat, Op. 29; in F sharp, ly virtuosic ones like "Les Tierces alternees" ering Gershwin," June 1985.] Op. 36; in G flat, Op. 51; Fantasie in F minor, Op. 49; Berceuse in D flat, and "Feux d'artifice" make a terrific im- Musicologically speaking, the most im- Op. 57; Barcarolle in F sharp, Op. 60. pression. One would like to hear Rodriguez portant performance on this recording is Perahia. Andrew Kazdin, prod. CBS Master- works IMT 39708 (0).00 in the Debussy Etudes-or Gaspard de la that of the Second Rhapsody. For the last nuit. three decades, New World has published a Murray Perahia is a distinguished interpret- Alberto Ginastera's piano music is hopelessly corrupt text of the piece, com- er of Chopin, and his performances of the frankly derivative, mostly of Bart6k and pletely reorchestrated by Robert McBride, Impromptus and the Berceuse on this new Prokofiev, but quite appealing all the same. while Gershwin's 1931 original gathered recording are just about perfect: warmly lyr- The First Piano Sonata, in fact, has become dust in the Library of Congress. Thomas is ical, technically secure, completely free of something of a warhorse for up-and-coming apparently the first person since the days of

W HIGH FIDELITY FORMAT KEY Oscar Levant to perform the superior origi- 0 LP ing at "jazz"; many dated period techniques nal version; he gives it a brilliant per- like slap -tonguing are either de-emphasized O Cassette formance, too, full of excitingly idiomatic or left out altogether. As good as this Rhap- playing from soloist and orchestra alike. Compact Disc sody in Blue is, it is certainly possible to While none of this can quite shore up the Videocassette imagine an even more evocative perfor- work's low melodic profile, Thomas's efforts Videodisc mance will surely encourage other pianists and con- ,2)Open reel The remainder of the album is largely ductors to take a fresh look at Gershwin's RECORDING INFORMATION given over to solo piano music, much of it un- engaging and unfairly neglected sequel to (A) analog original published. The popular Preludes of 1926 re- Rhapsody in Blue. (D) digital original ceive an attractive but distinctly self-indul- The problems facing anyone who seeks gent performance from Thomas, who adds Large yotibul111211Valih MI, Indicates reviewed to establish an Urtext for Rhapsody in format. Small symbols following catalog number over two minutes, all of it in the second Pre- Blue, much less to perform it in a truly au- of reviewed format indicate other available for- lude, to Gershwin's 1928 running time. Of mats (ii any) thentic style, are a good deal more formida- Catalog numbers of all formats of a panic- the four solo premieres, Fbr Lily Pons and ular recording usually are identical except for ble. Gershwin, of course, did not orchestrate differing prefixes or suffixes. Catalog nurrbers of Sleepless Night, a pair of pensive, lyrical Rhapsody in Blue. Ferde Grofe's first ver- formats otherthan the reviewed format are miniatures, are best; Gershwin's own witty printed onlyifthen basic numbers differ sub- sion, scored "on" the Paul Whiteman band of stanualy from that of the reviewed format. salon orchestration of Promenade, a charm- Arabic numeral in parentheses indicates 1924, cannot be played by a normally consti- number of items in multi tern set Unless other- ing piece of background music from the 1936 tuted orchestra; his later arrangements wise ticketed, all multi -LP sets are in manual Fred Astaire/Ginger Rogers movie Shall sequence gloss over the crude banjo -and -saxophone We Dance, is a particularly welcome find. flavor that is an essential part of the work's Steven Epstein's digital production is character. Thomas, here as in his 1976 re- very realistic, almost too much so in the or- cording (in which Gershwin's 1925 Duo -Art calls it, needs some minor adjusting. His gen- chestral recordings (made in Los Angeles's piano roll of Rhapsody in Blue provided the erally convincing interpretation of the solo Dorothy Chandler Pavilion); Rhapsody in solo part), has correctly opted for Grofe's part contains occasional rhythmic exaggera- Blue would have benefited from a drier, original with a few new editorial emenda- tions not to be found in Gera hwin's own more mundane acoustic. The anonymous lin- tions aimed at restoring "all the details of straightforward and unmannered reading. er notes fail to give the specifics of what Mi- the original score as they were played at the (William Bolcom, oral traditions notwith- chael Tilson Thomas actually did in "realiz- 1924 premiere." standing, plays Gershwin rather more credi- ing" the scores of Fbr Lily Pons and Violin Once again, Thomas and the Los Ange- bly than does Thomas. A Bolcom Rhapsody Piece; they also misleadingly assert that les Philharmonic play with enormous gusto; in Blue would definitely be worth hearing.) Ferde Groff; orchestrated Rhapsody in on the whole, this is probably the single best And the highly distinctive, old-fashioned Blue "following the composer's indications modern recording of Rhapsody in Blue. But sounds of such Whiteman players as Henry for instrumentation." In fact, Gershwin's a close comparison with the heavily abridged Busse and Ross Gorman are only hinted at contribution to the scoring of Rhapsody in 1924 Gershwin/Whiteman performance by their latter-day Los Angeles counter- Blue was exiguous-he didn't even specify a (available on RCA AVM1-1740) suggests parts. The listener is always aware that clarinet glissando in the opening bars. that Thomas's "Gershwin gyroscope," as he these are classically trained musicians play - Terry Teachout

C R ITICS'CHOICE

The most noteworthy releases WALTON: PISTON: VERDI: reviewed recently Cello Concerto. String Quartets Nos. I and 2. Rigoletto. Ma; London Symphony Orchestra, Portland String Quartet. 0 North- Gruberova, Fassbaender, Shicoff, BACH: Previn. i= CBS Masterworks IMT eastern NR 216, Feb. Bryson, Lloyd, Rydl; Accademia di 39541. Dec SantaCeciliaOrchestra and Partitas Nos. 1-6, B.W.V. SCHUTZ: 825-30. Chorus, Sinopoli 0 Philips 412592- KHACHATURIAN: "St. Matthew Passion," 2, Feb. Schiff. 0 London 411 732-1, Jan. Piano Concerto'. S.W.V. 479. RECITALS AND MISCELLANY BLOCH: Hilliard Vocal Ensemble, Hillier. PROKOFIEV: Angel EMI DS 38167, Jan. Piano Quintet No. 2. Piano Concerto No. 3, in C, GLENN GOULD: LERDAHL: Op. 26**. SIBELIUS: The Glenn Gould Legacy, Kapell; Boston Symphony Orches- String Quartets: in A minor; Vol. 2: Haydn, Beethoven, String Quartet No. 2. tra, Koussevitzky*; Dallas Sympho- in B flat, Op. 4. Mozart. Karp; Pro Arte Quartet. 0 LaurelLR ny Orchestra, Dorati. 0 RCA Gold Sibelius Academy Quartet. C Fin- Gould; Columbia Symphony Or- 128, Dec Seal AGM 1-5266, Jan. landia FAD 345, Dec. chestra, Golschmann; Leningrad Philharmonic Academic Symphony BRITTEN: MONTEVERDI: VERDI: Orchestra, Slovak. CI CBS Master- Choral Music. Vespro della Beata Vergine. Don Carlos. works M3T 39036, Jan. Chance, Coxwell, Hayes, Salmon, lurkby, Rogers; Taverner Consort, Helmond!, Domingo, Nucci, Seers, Unwin; Westminster Cathe- Players, and Choir, Parrott. E) An- Ghiaurov, Ricciarelh, Valentini Ter - dral Choristers, Corydon Singers, gel EMI 4025 3963, Dec. rani; Chorus and Orchestra of the Best. CI Hyperion KA 66126, Jan. Teatro alla Scala, Milan, Abbado. 0 ELGAR: Deutsche Grammophon 415 316-1, Cello Concerto in E minor. Jan.

61 STRAUSS, R. if the intention of this unedited recording dorms. VERDI: Aida: Celeste Aida: Rgoletta. La Elioktra. was to capture the thrill of a live per- donna 6 mobile.- Parmi. veder le lagrime. O Vining, Rysanek,lde France,Forrestepre, noctkher Or- formance or merely to cut costs. JUSSI EIJORLING: Philippes Songs and Opera Arias, 1939-51. Pelissier, prod. Rodolphe Productions RP Michelle Krisel 12420/21 (A, 2). 0 0 (Distributed by Harmonia Bjorling; various musicians, orchestras, and Mundi, U.S.A.) conductors. Frank Hedman, prod Bluebell 187 (A). (Distributed by Ad Lib, Box 52, S-162 11 To attempt a live recording of one of the STRAUSS, R.: Vallingby, Sweden.) Four Last Songs; Final Scene from ALFVEN: Skagen Sover. ALTHEN: Land, Du most strenuous operas ever written is to "Capriccio." vrtysig nade. BIZET: Carmen: Flower Song. EK- tempt fate. Performed without intermission, Schwarzkopl, Phrlharmonia Orchestra, Ack- LOF: Morgon. NORDOVIST: Bon i ofredstid; Bist I=1 Thomas' frihetsstIng. PONCHIELLI: La Gioconda: Elektra pushes singers to their limits and ermann. Walter Legge, prod. Angel EMI 4XS 38266 (A). 0 Cielo e marl PUCCINI: La Boherne: Che gelida forces them, in all sincerity, to sound desper- manina. SCHUBERT: An Sylvia; Standchen; An die Leier. SIBELIUS: Svarta rosor: Say say, susa. ate. The preservation of this "sincerity" on Elisabeth Schwarzkopf's exquisite mono re- VERDI: Aida: Celeste Aida. the present recording has led to both positive cording of Richard Strauss's Four Last and negative results. Songs and the final scene from Capriccio, There is no question of the greatness of On the positive side, Ute Vinzing tri- which has been turning up on countless des- Jussi Bjorling: After Gigli there is still no umphs in the title role. To be sure, her voice ert -island -disc lists for the past three dec- one but this Swedish tenor. His placement lacks the metallic cut that Birgit Nilsson ades, is now available on both LP and cas- was the most perfect I have heard, and the made synonymous with it. But her middle sette in a digitally remastered version. There honeyed gold of his tone was balm to one's range is like molasses, while her high notes have been more vocally opulent recordings soul. RCA has done him no particular favor are thrilling and, unlike those of most Elek- of the Four Last Songs (though not by with its reissue, however. There is no infor- tras, never strident. She can also sing softly much), but none anywhere as vivid as mation on the dates of these recordings, and and seductively, especially when Elektra Schwarzkopf's first: This is what critics the conductors are listed only in tiny print in tries to flatter Chrysothemis into helping her mean when they talk about "singing with a a corner. Most of the arias are taken from kill Klytemnestra and Aegisth. Vinzing face." Dennis Brain finally receives cover Bjtirling's complete opera sets instead of the seems to be saving herself at the beginning credit for his matchless horn solos. Otto Ack- legendary single 78s that preceded them. of the opera, but this is easily forgiven. ermann accompanies sympathetically, and The sound of the remastering is honest Leonie Rysanek and Maureen Forres- the Philharmonia Orchestra is captured at Where the original was dry, this is dry. In- ter, on the other hand, give histrionic perfor- its early -Fifties peak. The liner notes are by deed, comparison shows almost no differ- mances that, though electric in places, are Andrew Porter. If you don't have this, you vocally uneven. Rysanek sings Chrysothe- should. Terry Teachout to some of the originals. Best all around are mis with a feverish excitement that is mis- the cuts made with the tenor's longtime con- placed on the timid sister. In the first half of RECITALS AND MISCELLANY ductor, Nils Grevillius, but this record is all the performance, her voice seems to whine, Bjorling and thus a necessity. her low tones are weak, and her middle regis- The full warmth of Bjorling's voice can ter-where she has always sung too heavi- JUSSI BJORLING: be heard on the Bluebell disc, a compendium ly-sounds worn. By the time Rysanek Opera Arias. from several sources and already a best-sell- makes her second entrance, she has warmed O Wining; various orchestras and conductors. John F Pfeiffer, reissue prod RCA Gold Seal er in Sweden. There are the usual Schubert up and her high notes are thrilling, if occa- AGM 1-5277 (A).1=1 songs, the usual Sibelius (from 1940), four sionally out of control. BORODIN: Prince Igor: Vladimir's recitative and cavatina. FLOTOW: Martha: M'appari. GIOR- patriotic songs (1939, '40, and '44), the Bo - Unlike Rysanek, Forrester (as Klytem- DANO: Andrea Chenier. Come un bel ri di mag- !time and Carmen arias from Sweden's Ra- nestra) sings so opulently at first that she gio. MASCAGNI: Cavalleria rusticana: Sicilian. dio (1941), and the Victor 78s of the Aida and PUCCINI: Marlon Lescaut Donna non vidi mai; sounds tired and ravaged by the end. Her Tosca: Recondita armonia; E lucevan le stelle; 0 Gioconda arias (1941). No digital machina- low register is wonderfully rich and dark, dolci mania Turandot Non piangere, Liu; Nessun tions here, just clean surfaces and the clean but she has trouble moving up into the mid- sound of Bjorling, plus his irrefutable artist- dle part of the voice. She also has the annoy- ry and commitment. Bluebell has also re- ing habit common to non -Germanic singers leased the 12 popular songs he recorded in of overemphasizing the final consonant of a 1932-33 under the name of Erik Odde, and word. they are great fun. To listen to Bjorling sing The small roles are rather poorly sung, again after a passage of time is like going and the orchestral playing is unsatisfying. home for a vacation: The ear relaxes and one One misses the rich string Sound of a first- exults. Bert Wechsler rate orchestra (such as the Vienna Philhar- monic, heard to advantage on Sir Georg Sol - ti's recording). Christof Perick's conducting FOLLIES -1N CONCERT. O Music and lyrics by Stephen Sondheim; book is mostly two-dimensional and unexciting; to- and new continuity by James Goldman. Vari- ward the.end, though, he is able to bring out ous singers; New York Philharmonic, Gemignani. Thomas Z Shepard, prod. RCA Red Seal HBC 2- the opera's lyrical passion, reminding us that 7128 (a 2). O (2). 0 (2). Elektra belongs on the same family tree as Ariadne. Thomas Z. Shepard explains that he decided With such uneven results, one wonders to record a new version of Stephen Sond-

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Francophilia as the "Paree" that Beatrice 0 Check for details Accredited by the Accrediting Commission of the National Home Study Council 161-1136 MARCH 1986 63 Lillie once sang from her perch above the might have in the hands of a less gifted or ERMANNO MAURO: Moulin Rouge in At Home Abroad (I had less glamorous cast. Whatever the reasons, Groat Timor Arias. O Mauro; Edmonton Symphony Orchestra, hoped to get through an entire review of a hearing Follies on this new recording is as Mayer. Anton Kwiatkowski, prod. CBC Enter- Sondheim score without using the word satisfying an experience as it was a letdown prises SM 5046 (A). CI (PO. Box 500, Station A, on the old one; even the Philharmonic seems Toronto, Ontario, Canada M5W 1E6.) "pastiche," but I guess it can't be done). BIZET: Carmen: Flower Song. GIORDANO. Phyllis Newman shines, too, as Stella in to have succumbed to the enthusiasm, pro- Andrea Chenier. Improviso. GOUNOD: Romeo et "Who's That Woman?" And Mandy Patinkin viding idiomatic playing that lives up to the Juliette: Ah! Leve-toi, soled. LEONCAVALLO: Pagliacci: Vesti la giubba. MASSENET: Le Cid: 0 and George Hearn, portraying the over -the - spirit of the occasion. Souveraint Werther. Pourquoi me reveiller? PUC- hill husbands, are not the least bit disap- In sum, this package, which comes with CINI: La Boheme: Che gelida manina; Tosca: E lucevan le stelle; Turandot Nessun donna. VER- pointing in the many bright moments en- the complete text, is a thorough success and DI: Un Ballo in maschera: Ma se m'e torza per- trusted to them. might even pave the way for a revival on derti; °folio: Niun mi terns; II Trovatore: Ah si, ben Considering that Sondheim, the master stage. Cassette and CD versions are also mio. lyricist, has always been something less than available; the cassettes sound good, and LOUIE QUILICO: Groat Verdi Arias. a master melodist, the whole production they, too, come with the full text. OOuilico; Edmonton Symphony Orchestra, makes a better impression musically than it Paul Kresh Mayer. Anton Kwiatkowski, prod. CBC Enter- prises SM 5043 (A). 03 Un Bello in maschera: En tu, the macchiavi. Falstaff. E sogno? 0 realta? La Forza del destino: Urna fatale. Macbeth: Pieta, rispetto amore. THE SCHWANN Otello: Credo in un D,o crude!. Rigoletto: Corti - giant La Traviata: Di Provenza it mar. ll Trovatore: II batten del suo somso. IIE COMPACT DISC Canada sometimes celebrates its artists CATALOG overmuch, but these two recordings out of Edmonton are on all accounts worthy of praise. They also fill two gaps: Heretofore, neither singer has been represented on disc COMPACTa to any degree. Ermanno Mauro has been a resident of Canada since 1958. At his New York stage debut he was noted as being an extremely promising tenor, and the fear was that, be- ing useful, he would go too far too fast. Sub- sequent live performances have not been Elul «)IIII 111(1 1,NN:11., world-shaking, so it is good to hear such re- 11,1',%, 1111\(.s.' laxed, substantial vocalism in all 12 arias on 11111:1III I\ a0T 111;11 IEWN his record. The repertoire is French and Ital- ian, from lyric to dramatic. Mauro does not

have a finished style throughout: He prefers 1'1{1,1111%11E ISSI to be an all-purpose tenor with a healthy voice. There are some strange choices. The LISTINGS: 4,500 complete CD REVIEWS: Timely analysis Ballo aria is recorded here without the caba- Compact Disc listings on by the editors of High letta, and "Ah si, ben mio" is not followed by more than 125 record Fidelity of the most recent "Di quella pira." What is here I've listened labels. Divided into three releases. More than 50 in categories-Classical, the first edition alone. to several times, and always with great plea- Pop and Jazz-this CD TECHNOLOGY: Where is sure. uniquely designed section this revolution headed? Montreal native Louis Quilico, in his will feature cross-refer- How to use and maintain prime, had a baritone voice that never quit. encing of all classical your hardware and soft- Had his record been made ten years ago, we releases by song title/ ware. Keep pace with the work and by composer/ products that are chang- might have gotten the full meat of that artist. ing the world of audio. voice; as it is, we hear more careful singing (he teaches now), though Quilico still stands with all but the very great. He remains on JUST S295 (plus $1.00 postage and handling) top of the music and gives more than basic HF386 acting. Please send me copy Accompanying both singers is Uri (copies) of THE SCHWANN MR ,MS COMPACT DISC CATALOG at Mayer (who was born in Romania but now $2:95plus $1.00 forpostage and ADDRESS APT lives in Canada), and the Edmonton Sympho- handling each. ny responds sympathetically to his lead. The I enclose CITY STATE ZIP

MAKE CHECK OR MONEY ORDER PAYABLE TO recorded sound is near spectacular for RATES' FOREIGN AND CANADA- S2 95 PLUS St 50 FOR POSTAGE AND HANDLING PER ABC Schwann, P.O. Box 11120, analog. Bert Wechsler COPY CHECK OR MONEY ORDER IN U S CURE RENCY MUST ACCOMPANY ORDER Church Street Station, New York, N.Y. 10249 LORDER CANNOT BE PROCESSED WITHOUT PAYMENT 64 HIGH FIDELITY B A C K BE A T

BY JOHN MORTHIAND Country's Future Days

RETIRED MAVERICK FLOYD TILLMAN EVERYTHING THAT'S GOOD AND TRUE IN AMERICAN MUSIC

Nashville's pop lunge, DESPITE THE OCCASIONAL WILD CARD LIKE ner of an increasingly large market. Merle Willie Nelson, there are three main cur- Haggard turns out well -crafted country "new traditionalists" on rents in modern country music-which, singles, freewheeling performances, and, for better or for worse, has become part of every five years or so, even a compelling the rise, and some great the pop record business. Country has al- album (1983's That's the Way Love Goes is reissues ways had an ambivalent attitude toward his most recent, by my count). But his pop- pop, wishing to share in the rewards of ularity is equally dependent on his reputa- mainstream success without compromis- tion as "the poet of the working man." ing its own essence. If country has suc- Johnny Cash sells himself as "the man in cumbed to the lure of pop, it is largely the black" as much as he sells his records, result of evolution. This is the first time which are terribly erratic these days. And major country stars (Dolly Parton, Kenny George Jones perseveres as the tortured Rogers, and the Oak Ridge Boys), who are heir to Hank Williams, while on vinyl his clearly the wave of the future, have no di- definitive voice usually fights pedestrian rect musical ties to prewar country and material to a standoff. Others aren't so the culture that spawned it (though this lucky: Charley Pride has learned that be- wasn't always so for Dolly). ing a classy stylist is no longer enough, A few traditionalists-those with en- Mel Tiflis can't get by on his songwriting during images-continue to hold their and stagecraft alone. Even Loretta Lynn ground, which is an increasingly small cor- gropes for a new sound [see Mark Moses's

MARCH 1986 S5 review of her albumJust a Woman,page "the Hillbilly Shakespeare" ever did-and country music. He was also one of the first 70]. It's hard to picture the old guard re- usually as he first did it, which matters be- to work with a producer. Fred Rose was a turning to fashion, because it's hard to pic- cause so many of his original recordings Northern sophisticate who wound up in ture traditional country remaining a force; have been available before this only with Nashville almost by accident-a genteel, it is now simply the music of a handful of posthumous overdubs. teetotaling Christian Scientist in a culture exceptional artists. Like the others in the Columbia series, of rough, hard -drinking Southern Bap- Meanwhile, the biggest names of the Roy Acuffmixes hits with rarities and tists. His substantial contributions, from last year or so make up a third strain: the anomalies in a bid to please everyone. In choosing instrumentation to polishing lyr- "new traditionalists," self-styled throw- tandem with hisGreatest Hits(also on Co- ics, were designed to make Hank more pal- backs to the era Williams symbolizes. But lumbia) or the three -record setRoy Acuff atable to the burgeoning audience in the they sound less like the real thing than like Country and Western Classics(Time - urban South and elsewhere if possible. revivalists, with all the distance from the Life), the album offers a crucial glimpse of Each man seemed to have a clear idea of source that that word implies. Without country in transition. Acuff is not, as he what a gold mine he had in the other, but questioning sincerity or integrity at all, it's has always claimed, the genre's first star there must have been some exasperating worth pointing out that John Anderson's vocalist, but he certainly consolidated the studio standoffs between them, just the past is as much in rock groups playing status of the country singer. same. "Purple Haze" as it is in country bands. Most of his early repertoire was tradi- Hence the fascination withJust Me And that George Strait and Ricky Skaggs tional-songs about God, Mother, and and My Guitar,12 demos that have been approach their material more like folkies trains-and he had a limited vocal range greeted like the hillbilly Holy Grail. In than like gutbucket country singers. and melodic sense. But he made the most print, this album has already been favor- These guys have become the exception of his limits, and in the late '30s and the ably compared to the recordings of Robert that proves the rule: They sound wonder- '40s, when country was tentatively seek- Johnson, the solo acoustic Mississippi Del- ful next to Rogers and Parton, but thin ing to make sense of the industrial world, ta bluesman of the '30s whose life was as and calculated compared to the originals. Acuff upheld the old ways and became the doomed as Hank's, but this correlation The good news is that such artists Grand Ole Opry figurehead and self- overlooks rather obvious mitigating fac- have generated, in turn, a consumer inter- styled "King of Country Music" in the pro- tors. We hear Johnson's small output ex- est in historical reissues. There's great cess. Even the most recent cut here-"I'll actly as he meant it to be heard; it was con- stuff out there-by Williams, Roy Acuff, Be Alone," from 1951-shows him strad- ceived for voice and guitar only, and his Floyd Tillman, and Patsy Cline, at the mo- dling the line between modern and archaic, two albums on Columbia represent com- ment-and it's beautifully packaged and and doing so uncomfortably enough that plete performances.Just Me and My Gui- intelligently annotated, too. This batch there's little doubt about where his loyal- taris demos: raw and passionate, true, but covers a 20 -year period beginning in the ties lie.RoyAcuff includes two important incomplete. Consider the vocal on "Your late 1930s, when country was first sensing curiosities: the 1936 version of "Wabash Cheatin' Heart," which is tentative and its wider appeal and expanding from its Cannonball" with Sam Hatcher singing plain, no more than a rough sketch, com- rural base. (the tune didn't become Acuff's calling pared with the harrowing version ulti- The Columbia Historic Edition, which card until he cut his own vocal on it in 1947) mately released. released the first installment of its 16 -vol- and the also previously unreleased "The Thatsaid, Just Me and My Guitar is ume series in March 1982, currently offers Heart that Was Broken for Me," which mandatory for country fans. "Jamba- an erratic trio consisting of mountain proves to be one of Acuff's most stirring laya," "Help Me Understand," and "Hon- songster Roy Acuff, honky-tonk hero spirituals. ky Tonk Blues" all contain verses not on Floyd Tillman, and hillbilly -boogie masters This artist's unabashed cries so moved the final releases. Hank never even com- the Maddox Brothers and Rose. Hank Wil- Williams that he described his own style as mercially recorded seven of these tracks, liams fans will be happy to add a previous- a cross between Acuff and Ernest Tubb, though in some cases versions by other ly unreleased set of demos to their collec- though he turned them so far inside out artists exist. "The Log Train," a tribute to tion, as well as the first two double albums that the formal influence is hard to detect. his father, is probably the last thing he put in a chronological series that will ultimate- Born in 1923, Williams was of the first on tape before his death in 1953. How iron - ly restore (or bring into being) everything generation to grow up entirely with vocal (Continued on page 79) SE L EC TEDR EISSUES

HANK WILLIAMS FLOYD TILLMAN ROY ACUFF Just Me and My Guitar. Columbia Historic Edition. Columbia Historic Edition. Country Music Foundation CMF 006. CI (4 Music Square East. PATSY CLINE Nashville, Tenn. 37203.) THE MADDOX BROTHERS AND ROSE Sweet Dreams-The Life and I Ain't Got Nothin' but Time Columbia Historic Edition. Times of Patsy Cline (December 1946 -August (Music from the Motion 1947). Picture Soundtrack, 1985). Potydor 825 548-1 (2) CI Lovesick Blues (August 1947 -December 1948). Polydor 825 551-1 (2) Cl

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THE CLASH: We can go at it in depth some other time, but Cut the Crap. one thing that made the Clash's first record O Jose Unidos. prod Epic FE 40017. (Dal so great was the audience it forged. The BIG AUDIO DYNAMITE: group imagined a little community, the "we" This Is Big Audio Dynamite. that would finally get its kicks, then purify Mick Jones. prod Columbia BFC 40220. CI the planet and knock it off its feet.The Clash discovered fans everywhere, and instantly a lot of people who had been talking to them- selves in their bedrooms or shouting at STRUMMER'S NEW CLASH HAS ALREADY SPLIT UP. voices on the radio-people somehow like the band itself-were tied together on one party line. The Clash created their utopia with its revolutionary rules and then de- manded to see it happen now, which also made them great. Nobody since has made such a claim on the world. Well, egos, junk, a posturing manager, and so forth blew it apart-wait for the Avon paperback. But the end didn't make the be- ginning matter less, or predict the failure at hand: From the Clash's guitarist/frontmen, two guys who once fantasized a mass move- ment and who currently are not speaking to each other, come albums that don't speak to anybody.Cut the Crapis, mostly and lastly, a nearly unlistenable punk -by -numbers exer- cise from Joe Strummer, who kept the name and bassist Paul Simonon and hired a new band.This Is Big Audio Dynamiteoffers Mick Jones a chance to assert the personality that made Strummer wary. And it's surely more contempo-kinda like ice cream made from bean curd. Great Expectations The more depressing failure isCut the Crap, since it always seemed that Strummer was the more interesting songwriter, the one more likely to see through just such shallow gesticulations as this. Oh, it has it all for ral- lyingthe kids:solidarity -with -the -urchins football cheers everywhere, a street -creden- tials -in -order grubby mix, liner notes exhort- ing us to remember that the system can be licked "with your participation ... so cut the crap and get out there!" This kind of loud guitar punk isn't out of style, exactly, but ev- ery brick of this record, every move, seems cemented with nostalgia. Pick up the single of "This Is England," which is the one (okay, maybe "North and South," too) glorious, un- forced moment here, a fine blue howl that stands with Strummer's past successes. Then do the dishes or something. A first hearing of Big Audio Dynamite seems to dismantle the old comparison of Strummer/Jones with Lennon/McCartney;

JONES'S MORE CONTEMPO BIG AUDIO DYNAMITE CUTE if anything, Jones is the less sentimental of

68 HIGH FIDELITY the two. There are some unhackneyed ideas American underdogs have made, and even if pity, the Replacements come up with a percolating in this pop funk, and one is heart- the prominence of Westerberg makes this doomed anthem to college radio called "Left ened by the news that Jones plays more gui- seem less a bunch of equals than an auteur of the Dial." Desperate and road -weary, tar on tour and that a Rick Rubin mix of the with inspired sidemen, the acuity of the com- cushioned by neither pop success nor pop whole record is in the works. Both suggest positions validates Tim. "Little Mascara," glamour, they stand as the logical heirs to Jones doesn't trust the limits of this perky for example, is a tough, sympathetic lament the skeptical, screwed -up, romantic tradition disc. It might be good for doing aerobics to. for a woman saddled with a marriage whose of Mod the Hoople, proclaiming rock as a The lyrics, though, are the final blow: lots of only bond is its children; "Bastards of loser's game even as they continue to play it little political -sounding references and pseu- Young" links being afloat in the music scene with zest. But as Westerberg suggests in the doconfessional snippets, too obscure to be to estrangement from family. two quiet statements that close out each side confessional, too safe to matter, all wiggling The sense of being the self-conscious in- with a hush, all the young dudes carry the down the slipstream of easygoing dance - heritors of a rock 'n' roll tradition that no one news to an audience that is barely listen- beats. "Stone Thames," a horrible song seems to care about anymore is the auda- ing-absent even. A "Swingin' Party" is about AIDS, is probably the most egregious cious theme of this record. As blunt about where scared, dissolute true believers "hang (sample line: "iron undies back in style"). Not their defiance as they are about their self - side -by -side." "Here Comes a Regular" of- helping matters any is the irritating, "hip" singsong voice Jones uses on every tune, 11 whether he's talking about a plague or, as in ...the most successful design of all" "E= MC2," the entire Nicholas Roeg oeuvre (he's kidding, right?). Gordon1. Holt Stereophile July, 1985. Oh, but Mick has got something (obvi- Mr. Holt elaborates further: "of all the speakers in this price class that I ous) to say: We are bad. The Clash romanti- have heard, I would say that Siefert's Matins is probably the most suc- cized themselves overmuch, but at least cessful design of all...The system is beautifully balanced and almost perfectly neutral....the low end from these is just amazing!...these little when they called themselves the Four speakers will play LOUD! Unlike most small systems...they have the Horsemen of the Apocalypse, they sounded most accurate middle range I have heard from any speaker...the nigh end sounds as if it goes out almost indefinitely... I would gladly take this the part. Cute references to cool outlaws and high end in preference to that of most over -S2000 speaker systems I have auditioned in recent years...The Maxim reproduce massed violin sound tough guys dot this LP (lyrics and musical superbly- with not a trace of steeliness, yet with all the resinous sheen nods to Clint Eastwood, combat and samurai of the real thing...) have never heard strings on good CDs sound more natural...the imaging and soundstage presentation from these are ex- movies, too), but it all boils down to Mick try- cellent. They do not sound small...lt can make most audiophiles (and Send for a reprint of the entire review practically all music lovers) quite happy for an indefinite period of time. along with complete specifications of ing on his buckskin jacket and six-shooter in thiswalnut2 -waybookshelfsize Recommended." front of the mirror. He likes how he looks. system. Save $100 from the $499 dealer sellingprice.Buythe MaximIlls Mick, when you tear yourself away from Siefert Research, dedicated to excellence in sound, is a pioneering factory -direct for $399, including ship- designerandmanufacturer ofminimum -group -delayand low- ping. 30 day, satisfaction -guaranteed the vanity, give us a ring. Hey, Joe, where intermoctulation-distortion speaker systems. return privilege. you going with that gun in your hand? (Since the release of Cut the Crap, everyone but Simonon has split) I'm wishing they'll heed SIIEFERT RESERREIHI the (very paraphrased) words of a smart Phone: 213/457-421q 31212-HBallard Rd., Malibu,CA90265 French guy sometime soon: Last year the blood of the prisoners, next year the blood of the tormentors. This year-well, this year NOW AVAILABLE the boys took it very easy. RJ Smith THE NEW

THE REPLACEMENT& Tim. SCHWANN 0 Tommy Erdelyi, prod. Sire 25330-1. l ARTIST After first hearingTim, longtime fans of the Replacements might guess that these ISSUE trash -rock heroes had interpreted their ma- jor -label debut as the opportunity to clean up Theunique classical music guide. Presenting over 25,000 classical their ragtag act, and in a way, they'd be recordings listed by orchestra, trio, right. The angry, obvious jokes of 1984's Let quartet, conductor, soloist, vocalist, It Be, as well as that album's roiling, juiced - choral group and operatic company. up guitars, don't leap out at you now. But after a while, you realize that honcho Paul Reserve my copy of the new SCHWANN ARTIST ISSUE Circalahon Dept825 Seventh Ave New York NY 10019 Schwann Artist Issue. Westerberg is slipping his mordant wise- NAME I enclose lust S6.95 (plus S1 for cracks into, dare I say it, mature songs, just postage and handling) for each ADDRESS APT as the band is condensing its guitar clamor copy. Number of copies-. into coiled hooks and riffs. In every way, this Amount enclosed $_. CI IY STATE ZIP is the richest, most complex record these PAYMENT MUST ACCOMPANY ORDER PAYMENT IN U S CURRENCY CNLY PLEASE ALLOW 6.8 WEEKS FOR DELIVERY HIFM

MARCH 1986 68 fers up its whiskey -soaked title phrase as the tritus of years and relationships, then sets Wood, and U2's Bono; it was a last-minute warmest expression of community available. them to a cattle roundup rhythm complete addition, reportedly taped in a jam session Yet no matter how much Westerberg and with snapping lassos. I laughed, I cried. right after Bono heard Robert Johnson rec- pals cry into their double shots, they're al- Then I decided to come home. ords for the first time. While Bono's slurred ways good for their own tabs and, on a good Leslie Berman vocals are too stiff an homage, the song nev- night, maybe even yours, too. ertheless makes a fitting coda: two old Mark Moses ARTISTS UNITED AGAINST APARTHEID: Stones and a new blues student reminding Sun City. us that rock 'n' roll's debt to black culture O Little Steven and Arthur Baker, prods.Man- LOUDON WAINWRIGHT III: s-1hattan ST 53019. CI (Distributed by Capitol.) can never be repaid in full. I'm Alright Joyce Millman Richard Thompson and Loudon Wainwright By now you've probably heard "Sun City," O prods. Rounder 3096 0 the rousing single by Artists United Against LORETTA LYNN: Just a Woman. Few performers set up antagonistic rela- Apartheid, a coalition gathered by former E (71 Jimmy Bowen and Loretta Lynn, prods. MCA tionships with their audiences as successful- Street Band guitarist Steve Van Zandt (a.k.a. 5613. as ly as Loudon Wainwright III. The lanky, Little Steven) and producer Arthur Baker. brooding black -humorist who withdraws With its taunting na-na-na-na chorus, When Loretta Lynn starts off her new, into himself in private practically spits chal- grungy guitars, and crossover -dream lineup long-awaited return to recording with a lenges from the stage. His fans respond of singers at their angriest (Bruce Spring- swift romp called "Stop the Clock," which quickly, catcalling and barking requests for steen, Ruben Blades, Bonnie Raitt, Run- stops the clock at under two minutes, the old favorites like "Dead Skunk" and "The D.M.C., to name a few), "Sun City" was last song serves as both an attention -getter and a Swimming Song" and more recent narra- year's most ambitious melding of main- brief testing of the waters. It's an appropri- tives like "The Acid Song." Unlike a lot of stream pop and social activism. As an album, ate entrance, both brash and demure, a re- more tractable artists, Wainwright obliges, Sun City sustains its message-a boycott of minder that what makes Loretta Lynn such often changing tunes midstrum, drawing in South Africa's most lavish resort-and mo- a pivotal c&w performer is the way she bal- the bloodlust of the crowd to fuel his mug- mentum all the way through, thanks to the ances contradictions. She delights in the se- ging, aggressive, taunting stance. But as his savvy concept of Van Zandt and Baker. Six curity of tradition and still understands the stage presence grows more mannered and songs are based on the same thundering - way it hems in people, especially women. On predictable (he has been at this 17 years), his drums rhythm track; as each group of per- this fine album, which contains her toughest writing grows more acute, sensitive, calmer. formers adds its own words and music, that material in a long while, she makes the de- Of course, I'm Alright, Wainwright's first rhythm track stands as a thread of unity, the mand for the love of a husband who's too de- collaboration with guitarist Richard Thomp- musical counterpart to the antiapartheid pendent on the bottle (in her own "Wouldn't son and perhaps his finest LP, is not a gentle, sentiment the participants share. (Artists' It Be Great") and the demand for the love of sweet reminiscence. Sidestepping what his royalties are being donated to a United Na- a one-night stand (in the title track) seem public expects, Wainwright concentrates on tions -sponsored African aid fund.) equally crucial. After all, the question she his softer side (he credits Thompson with en- Of the two versions of the title cut, I'll asks the man in the second song, "Is it me or couraging him) and fashions a portrait of the take the original for the peerless fury of its just a woman you need tonight," would be artist as a gloomily hopeful fellow; the anger rap contingent. But the album offers many just as appropriate in the first. and disdain of so many of his earlier songs is other spine -tingling moments. Peter Gabri- Coproducer Jimmy Bowen incorporates gone. By toning down his negativity, he has el's joyous trilling and violinist Shankar's the spare, new -breed rootsiness that has discovered a more complicated and effective birdlike shrieks entwine on "No More Apart- been making itself felt in recent c&w (Lynn level of humor, though his old fans may find heid," a celebratory companion piece to has given her maternal approval to Reba some of the new material hard to swallow: "Biko," Gabriel's eerie eulogy for the black McEntire) with an unobtrusive pop glossi- There are no easy laughs like the descrip- activist who died in police custody. On "Rev- ness. Loretta's a sucker for the big slow one, tions of dog caca in "Colors." olutionary Situation," Keith LeBlanc and but even when the ballads flirt with schlock, "Not John," about the death of John Danny Schechter piece together authentic as do "I'll Think of Something" and "Heart Lennon, has no laughs, though audiences street -riot sounds and the news -report voices Don't Do This to Me," her unsparing voice, find a nervous giggle in the first verse's of jailed resistance leader Nelson Mandela, with its drawn-out quaver and grainy tone, is .. Lennon and his wife Yoko/Oh no." Side South African President P. W. Botha, and there to cut through the murk. At her insis- 2 starts and stops with odes to the perform- our own President into a tumultuous collage tence, each tune depicts characters faced ing life, one wry, one plaintive. There's a No- of unyielding positions. On the rap "Let Me with some moral choice, even in a comic skit ah's Ark feel to the "Animal Song," a kid's See Your I.D.," Gil Scott -Heron, Peter Wolf, like "I Can't Say It on the Radio," about a rhyme as good as any by Woody Guthrie or and Melle Mel conjur ominous scenes of life woman moved to broadcast the news that Pete Seeger. One song's about a grumpy fa- under apartheid. Miles Davis leads Stanley her husband is a jerk. And the LP's common- ther ("Daddy Take a Nap"), another about Jordan, Herbie Hancock, and talking -drum sense truths are bolstered by the presence of daughter Lucy ("Screaming Issue," written player Sonny Okosun (among others) Lynn's first two originals in ten years: with her aunt Terre Roche). Two sad -sack through "The Struggle Continues," a sinu- "Wouldn't It Be Great" and the feisty "Ad- self -put-downs look for sympathy, but I find ous piece that's both chilling and euphoric. am's Rib." The latter argues, in typically more poignance in "Cardboard Boxes," a de- The only cut not based on the "Sun City" rousing fashion, that mutual fidelity is a pre- ceptively simple catalog of packing and mov- rhythm track is the finale, "Silver and Gold," requisite for maintaining equality in a mar- ing. In a few verses, Wainwright lists the de- an acoustic blues by Keith Richard, Ron riage, which is to say that Lynn believes the

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DL 41454' 10" 50 watts . . 40.95 p. 1986 Catalog J3023 6' r' trim 75w 4945 on, Dt. 4145.4"x10" dual cone 45 wt 4111.105 p. 20 day return policy All returns must be phoned in for prior authorization and must be not tape. or deface manufacturer's original cartons Shipping and handling charges not received within 20 days from receipt of original shipment All products must be returned refundable Pictures are for dlustrati 3n only and do not represent the product exactly as in original factory packaging, clean and unSCratChed along with blank warranty card Do shown. Rainchecks available upon request All prices reflect manufacturers rebate PFORMAT KEY old institutions like monogamy (and country glumly at the camera as a tape of the song is music) can still afford her the freedom she OLP/EP played. Very occasionally, he half-heartedly requires. Listening to Just a Woman, it's I= Cassette sings along with himself for a line or two; it's tough to argue with her. Mark Moses OCompact Disc as if we've caught him listening to an unseen GE) Videocassette radio. But as he stares at us balefully, vari- Videodisc ous people enter the frame to give him quick ZZ TOP: Afterburner. O 12 -inch single kisses on the cheek. Costello never turns to 0 Bill Ham, prod. Warner Bros. 25342-1 C10 Open reel look at them-all sorts of men, women, and Large symbol beneath title indicates reviewed children-as they peck and vanish. He just format Small symbols following catalog number In business since 1970, ZZ Top has prudently of reviewed format indicate other available lot groans "I wanna be loved" once in a while. I taken more than two years to follow up mats (if any) never liked the song until I saw this clip. Its Catalog numbers of all formats of a panic Eliminator, an album so accessible and well tilerrecording usually are identical except for effect is extraordinary: desolating, scary, marketed it is now Texas -size sextuple plati- differing prefixes or suffixes. Catalog numbers of formats otherthan the reviewed format are and witty all at the same time, precisely what num. Such success is all the more impressive printed onlyiftheir basic numbers differ sub- Costello achieves on his best records. Too stantially from that of the reviewed format. because this hirsute, superannuated, blues - Arabic numeral in parentheses indicates bad he never made a video for "Alison." bred power trio looks like it's down to stems number of items in multi -item set. Ken Tucker and seeds. If this still doesn't sound like The Next Big Thing to you, turn on your TV and BOB DYLAN: watch these Fabulous Furry Freak Brothers Velcro fly") that uses the sound of the fly Biograph. cavort in Tim Newman's hysterical videos O Various prods. Columbia C5X 38830 (5). 1=) ripping open as lesser mortals might use a (3). 0 (3). ("Gimme All Your Lovin'," "Legs," "Sharp tambourine. Technology made timeless- Dressed Man," and the new "Sleeping just my kind of innovation. Jeff Nesin The cover of this five -LP collection-a Bag"). Hip, self -mocking star power that, 1961-81 retrospective with the last five years like their guru -length facial hair, just won't neatly excised to make the time since he's ELVIS COSTELLO AND THE quit. ATTRACTIONS: made a significant difference to anyone but And vinyl is even kinder than videotape The Best of Elvis Costello and the the born-again seem shorter-is dominated Attractions. because ZZ has, you'll pardon the expres- by the striking, baleful countenance of Bob Various dirs. and prods. CBS/Fox Video sion, roots. Blues and its derivatives adhere 1307092-20(Beta), 7092-30 (VHS); $24.98. Dylan c. 1965, surrounded by the specters of to such strict formal limitations that, para- '70s and '80s Dylans, relegated to the edges doxically, they offer considerable freedom, Twenty-two videos for about a buck apiece, of the box like whispering consiglieres or a particularly from the onerous puffery of cre- and as the ads say, "Many never before seen couple of sidemen in a very unequal yoking. ating something new under the pop sun each on MTV." When you combine this with the Which, for me, accurately reflects the con- time out. Having outlived the late -Sixties fact that the featured artist is probably the tents. horde of psychedelic white boys as well as its most interesting rock star of the past dec- From 1965-67-years in which the com- own overblown use of cowpie shtick, ZZ has ade, The Best of Elvis Costello and the At- petition was heavier than it has ever been- spent the last three years fine-tuning a tractions is a bargain, a must -have, a major Dylan was the most potent creative force in blues -based pop that benefits from just such event. Or maybe I feel this way only because Western popular culture. Since then, he has freedom, leaning heavily on technologically the music is so damn great. You could play generally held that his importance was unim- souped -up instrumental skill and wit. "Oliver's Army" behind Duran Duran's portant to him, nothing more than an exag- Nothing on the new LP would have been "Girls on Film" video and it would still be a gerated projection of the needs and fantasies out of place on Eliminator, which is a genu- moving experience. (Actually, I suppose of fans and critics. With the scrambled histo- ine compliment. "Dipping Low (in the Lap of "Pump It Up" would make better accompa- ry and aesthetic disinformation of Bio- Luxury)" is a very close relative of "Gimme niment for "Girls on Film.") graph , Dylan now embraces his own impor- All Your Lovin'," while "Rough Boy" is yet Over the course of these chronologically tance with a vengeance. another tip of the ZZ Stetson to Anglo blues shuffled videos, Costello shifts back and The set's aggressively antichronological specter Peter Green. And a liberal lend-lease forth between his early -period, pigeon-toed track -sequencing and pages of self-serving policy allows guitarist Billy Gibbons to ap- Avenging Dork persona and his latter-day, reappraisal posit Dylan like Yahweh: He is pend the wonderful "Boys of Summer" lick intellectual Smoothie Crooner image. Appar- what he is, will be what he will be, will be to the back end of the pop chord changes of ently it's hard to find a visual equivalent to what he has been. Consider: "Contrary to "Stages," only the most obvious of the sever- his knotty language. In fact, the best-known what some so-called experts believe, I don't al hits on Afterburner. The trademark song directors-Chuck Staler, Allen Arkush- constantly reinvent myself-I was there structure remains unchanged: Most tracks fare worst, coming up with literal -minded from the beginning. I'm also not any seeker are at least 60 percent spare, rhythm -driven stuff that attempts to locate plot lines in Cos- or a searcher for God -knows -what; I had it all instrumentals that showcase Gibbons's tonal tello's convoluted, punning scenarios. Pop together a while back and can go any kind of mastery as los tres hombres steam toward music is supposed to be so primitive, so sim- way." Revisionism begins at home. Being the fade. And the trademark glandular ob- ple-minded, yet this cassette proves you protean is forever ... and certainly means sessions descend directly from Bo "Pig Meat can't reduce it to High Concept. never having to say you're sorry. Is What I Crave" Carter, the Thirties master Only once do form and content coincide. On record, revisionism means filling a of the single entendre. My current fave is In 1983's "I Wanna Be Loved" (director's manufactured gap between the original 1965 "Velcro Fly," a drum -heavy dance ("Do the credit to "The Rich Kids"), Costello stares studio versions of songs that ran back to

72 HIGH FIDELITY back onHighway 61 Revisited(the incandes- records ever) for this entire package. This Crusader," a funny fantasy about the Pope cent "Tombstone Blues" and Dylan's first is one book you can judge quite well by its as a comic -book character, and "Noguchi," Top 10 hit, "Like a Rolling Stone") with cover. Jeff Nesin which puts down the L.A. coroner of dubious "Groom's Still Waiting at the Altar" (a 1981 work habits. But the rest sink into oversim- non -LP B-side of minimal nostalgic conse- PHRANC: plistic pronouncements. "Ballad of the quence) and a 1974 live recording of "Most Folksinger. Dumb Hairdresser" ("It's not easy to be/A Phranc. Ethan James, and Craig Lee, prods. Likely You Go Your Way," from a depress- Rhino RNLP 856 CI good hairdresser"), "Female Mudwrestling" ing tour with the Band, his first as a Dylan ("I don't like female mudwrestling/It's stu- impersonator. I would never argue for the There have been a few crossovers from pid, it's embarrassing"), and "Handicapped" immutability of Canon, but there ought to be punk to folk, all to the latter's advantage. ("Unless you are disabled/Go and find your some point to tinkering with brilliance. I can- New ears hear old songs, new songs get car another stable") are featherweight social not believe that anyone considers these per- written, and the folk scene gets a little elec- commentary. Phranc's affirmations -a love formances to be of equal significance, or tric jolt, even if only temporarily. It's un- song to "Carolyn," listing reasons for her even complementary. The sole purpose of clear, though, whether Phranc, an ex-punker crush, and "One 0' the Girls," about being such jarring juxtapositions -the above are from L.A., is advancing or retreating. Her on the swim team and sticking out but still only the most obvious of several onBio- visuals -flattop haircut, western shirt, cow- fitting in -should be the best songs here, but graph-is to shed some reflected glory on boy boots -are a setup, intimating a tough- they too are prosaic. Instead it's Bob Dylan's recent lesser product. ness and a masculinity that her delicate voice "The Lonesome Death of Hattie Carroll" If you're trying to figure out who the and deferentially questioning semipolitical that stands out, perhaps because it's the Jeremiah that closed Live Aid was, this in- lyrics belie. Her crossover embraces more most articulately sensitive statement she tentionally misleading miasma is not the than punk's edge and folk's narrative, add- has to work with. place to start. If you're a completist, be ad- ing a lesbian -feminist ethic to songs about If Phranc has a stylistic correlative, it's vised that the 17 unreleased tracks are most- women and women's images, but the result Jonathan Richman. But Richman, perma- ly just unreleased. I wouldn't trade myRoy- is a confused and ultimately tepid statement. nent adolescent that he is, drags himself be- al Albert Hall Concert 1966bootleg (which I A few of Phranc's subjects are, or lievably through his frailties, ringing us in as consider one of the ten greatest rock 'n' roll should be, good for laughs. There's "Caped conspirators. Phranc cares about things, but

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MARCH 1986 73 leaves weak lyrics and three -chord melodies engaging pianist Dave Bowman, spirited BETTY O'HARA AND JOHNNY VARRO: to do her emotional dirty work. Faced with clarinetist Rod Cless, and unorthodox valve Horns A'Plenty. (7, Dan Grant, prod. Magnagraphic Jazz MJ the breadth of her confessions, they just trombonist Brad Gowans. Leader Yank 103. (8600 Louise Ave.. Northridge, Calif. don't stand up to the job. LeslieBerman Lawson, the onetime Bob Crosby trumpeter, 91325.) plays at the peak of his fiery, exclamatory DOC WATSON AND MERLE WATSON: drive-Muggsy Spanier with imagination. Betty O'Hara, a Los Angeles studio musi- Pickin' the Blues. John S. Wilson cian, plays trumpet, flugelhorn, slide and Merle Watson and Mitch Greenhill, prods. valve trombone, and double -bell euphonium Flying Fish FF 352. CI DAVE FRISHBERG: and sings on this album (she also has cornet Live at Vine Street. and piccolo trumpet in reserve). All that, plus A handful of stylish guitar virtuosos domi- 0 Dave Frishberg, prod. Fantasy F 9638. CI nated the Northern uprising of the folking overdubbing, raises anticipations of gim- '60s. City slickers in particular latched onto No jazz pianist since Nat King Cole has micks on parade. But O'Hara adapts her ap- the sounds of the South, imitating each oth- made the switch to singing as effectively as proach to the potential of each instrument er's imitations if the real thing was hard to Dave Frishberg. Not that there's any partic- and has organizedHorns A'Plentytasteful- find. In the case of Doc Watson, blind flat - ular resemblance. Unlike Cole, Frishberg ly and logically. With Johnny Varro on piano picker from the Blue Ridge Mountains noted writes his own material to suit his small, flat - (and further backed by bass and drums), she for his gentle, clean, and undecorated style, accent Midwestern voice. His songs are rare- plays a swinging euphonium solo on "It it wasn't. Admired as much for his catholic ly overt jazz, but jazz is always hanging Don't Mean a Thing"; a warm, floating trom- tastes as for his graceful arpeggios, Doc around the edges. "You Would Rather Have bone solo on "Star Dust," built on Jack Jen- toured for more than a dozen years with son the Blues" isn't really a blues, but Frishberg ney's classic turn; and a skillfully over- Merle, a rhythm guitarist whose leanings to- makes it feel like one. "Eloise," he proudly dubbed flugelhorn-and-trombone duet on an ward rock amplified and complemented his points out, is a ballad based on the chord exuberant "You Stepped Out of a Dream." father's work, while retaining a distinct changes of "Ain't Misbehavin'." And he re- Then there is the eight -track euphonium en- voice for his own rare leads and solos. members Johnny Hodges with an affection- semble of "Euphonies," which, incredibly, Merle's sudden and unnecessary death ate solo medley. Frishberg is funny, charm- swings with the lightness of the Basie band. last fall turnedPickin' the Bluesinto an epi- ing, and totally disarming; even when he The three vocal performances, however, are taph. Although it is a slight record, surpris- comes up with as pointless a song as "Zanzi- no match for O'Hara's horn exhibitions. ingly narrow in focus, Merle's rhythm, slide, bar," he can almost justify it. John S. Wilson lead, and finger -style playing add depth and John S. Wilson invention to Doe's favorite blues tunes; on a THELONIOUS MONK WITH JOHN COLTRANE: duet version of "Windy and Warm," their CHICK WEBB AND HIS ORCHESTRA: Thelonious Monk with John Coltrane. lead, rhythm, and counterpoint lines inter- Stompin' at the Savoy -1936. (71 George H. Buck, Jr., prod. Circle CLP 81. rk Orrin heepnews prod Jazzland FCD 634- twine so closely, they're virtually impossible (3008 Wadsworth Mill Pl., Atlanta. Ga. ' 946.0 OJC 039. C3 (Distributed by Fantasy/ to pry apart. "Stormy Weather," stripped 30032.) Prestige/Milestone.) down and plainspoken, strikes just the right JOHN COLTRANE: mournful note. A swinging "Freight Train Some of Benny Goodman's biggest hits Coltrane.

Bob Weinstock,2to0ck .prod. Prestige FCD 635- Blues," propelled equally by Doc's vocal, when he was the King of Swing in the '30s 7o10b5.o Merle's slide, and guest Sam Bush's fiddle came from other bands. The radio -transcrip- !Waitron*. glissando, and a fat cover of Brownie tion recordings on this LP include three () FCD 626-7142. 0 OJC 021. CI McGhee's "I'm a Stranger Here," fleshed tunes that Goodman got from Chick Webb- out with harmonica and Merle's lead, are the "Don't Be That Way," "Stompin' at the Sa- other standouts. There are no definitive per- voy," and "If Dreams Come True," all com- formances onPickin' the Blues,but this posed by Webb's alto saxophonist, Edgar sturdy, accurate portrait of father and son, Sampson-and one that both Webb and and a few good friends, is a fitting farewell. Goodman got from Fletcher Henderson, Leslie Berman "Big John Special." Trombonist Sandy Wil- liams personalizes another cut usually asso- ciated with Goodman's orchestra, "Nit Wit JAZZ Serenade." The quality of these recordings is superior to Webb's Decca releases, as well as YANK LAWSON: subsequent reissues based on them. As a bo- That's a Plenty. nus, the band features a then new member, Q Bob Thiele, prod. Doctor Jazz FW 40064. CI Ella Fitzgerald, who was seventeen years This recording of mostly Dixieland and old. Her assurance shows in her skillful blues was made more than 40 years ago by a phrasing of "Shine" and especially "Dark - These three Compact Discs, remastered mixture of still familiar and almost forgot- town Strutters Ball." In impeccable stop - from the original late Fifties recordings, find ten musicians. Pee Wee Russell, James P. time, Fitzgerald sings the lyrics on the John Coltrane emerging from a long appren- Johnson, and Eddie Condon sound great, but chorus, saving the scat syllables for a couple ticeship. The Thelonious Monk quartet was it is the lesser -known jazzmen who come viv- of excellent codas. She sounds young, and his finishing school.Thelonious Monk with idly to life: virtuoso trombonist Miff Mole, impressive. John S. Wilson John Coltranecombines two of the six num-

74 HIGH FIDELITY hers they recorded (in stereo) in June 1957 with three pieces from the following year and adds a ringer, Monk's long solo blues, "Functional." The selection on this CD, which duplicates an earlier Riverside issue, is illogical, especially since everything the two artists did together, barring alternate takes, could fit on a single disc. But the mu- UNBEATABLE PRICES PRO:=ESSIONAL SERVICE sic is grand. FLEXIBLE PAYMENT PLANS IMMEDIATE DELIVERY In some ways, these two giants were op- HIFI/STEREO VIDEO/T.V. CAR STEREO PANASONIC P51545 8545 00 KRC4000 posite musical personalities. Monk was terse TALISMAN 129.00 KEN WOOD 524800 ZENITH VR3250 $597.00 SONY XR75B $281 DO MONSTER INTERLINK 1retr 29.00 JVC 000235 8399.00 YAMAHA YCT500 6355 00 where Coltrane was garrulous; Monk accent- CARVER C4000 798.00 RCA VLT6001-1F 8533 00 CANTON DENON DCR7600 6461.00 KARAT 200 266.00 SONY SLHF400 9489.00 NAKAMICHI TE)500 $493.00 ADVENT BABY 64.00 SHARP VHS -0.-0 9419.00 DENON ORM22 JENSEN 6X9 TRIA)( $ 59 00 ed heavily and stuck close to the original mel- 309 00 FISHER OVH625 8409 00 JVC KSRX400 $199 00 MISSION 750 515.00 HITACHI VT65A 8418.00 NAP 1155 246.00 SONY 20XBR 9699.00 RADAR DETECTORS odies of his tunes, while Coltrane played 88W 802FSP 949.00 *KAI VS616-RFF, 9647.00 NAKAMICHI RX202 468.00 All camcorders .n Stock- VHS Beta 8 8 mm UNIDEN RD9 II 199.00 TECHNICS SA956 326 00 Call for best once long, billowing lines with a kind of sweeping YAMAHA R7 366.00 BEL 83. 5 156.00 AKAI AA30113 199.00 WHISTLER SPECTRUM 5 119.00 grandeur. But Coltrane was also a great bal- 860 MMC1 291.00 TYPEWRITERS SAE 5000A 138 00 COMPUTERS SPECIAL SALE ONKYO TA2056 279.00 EPICURE STUDIO TOWER lad player (as he shows here on "Ruby, My REVOX 8225 944.00 SCM XD7000SR 399.00 TANDBERG 3014 965.00 ROYAL 5200 299.00 FACIj181;5401,PArE MONITOR v.pedoIrs° BROTHER CE70 399.00 Dear"), which allowed the two to meet half- AIWA ADW20 409.00 9398.00 19, YAMAHA A1000 409.00 PANASONIC RI(400 249.00 YAMAHA &WS/STEM DRY 38XIII 425.00 CANON PC25 809.00 way. You can hear him warming to the spiky JVC RX3317VB 158.00 COMMODORE C128 254 00 '01:AltAIIITCOMPLETE RACK SYSTEM 1:491:01 EPSON FOBS 345 00 RECORDING TAPE accents of Monk's "Trink le Tinkle" and WALKMANS/ sally L750 114.37 PORTABLE STEREO T.V. TOE SA90 91.98 "Epistrophy." TEAC CRC9.0 92.39 AIWA 05.1500 129.00 ItAXEU. UMW 111.70 SONY WMF1011 91.00 WA5A4 Recorded on May 31, 1957, JVC T120 93.99 SONY MARC 239.00 Coltrane TOSHIBA AXF11 99.00 SK SONY .D2A 111.00 (once issued asThe First Trane)was the Free Subscription -the Ilma}ing 3ntemational Wholesale ea)rut . saxophonist's debut as a leader. His sextet NO MEMBERSHIP FEE REQUIRED! ILL plays solid if unoriginal hard bop; Coltrane Installment Payment Credit Plan Friendly, knowledgeable sales people '6;,. Otl All products brand new and carry U.S.A. warranties himself seems to sag midsolo on "Straight HOURS: 9AM-7PM EST. Street" His quartet is more rewarding, es- FOR FASTEST (212) 6844363Monday -Saturday SERVICE CALL pecially on "Violet for Your Furs," which he or Write Direct: 2 PARK AVENUE. DEPT. 13. New York, N.Y. 10016 approaches up high with an affecting, al- ce fvewu most nasal sound.Soultrane,a 1958 quartet date (with a slightly different lineup), fea- tures more ballads getting more solid and co- SEND FOR OUR NEW herent Pianist Red Garland, with his light, STEREO Teddy Wilson- and Hank Jones -derived style, HOME and CAR FREE MINI is an effective foil. Coltrane would get more experimental later, but performances such VIDEO HI-FI DISCOUNT as the masterpiece "I Want to Talk About CATALOG No. NA You," with its almost restful statement of SATELLITE TV the theme, show that he was already extend- We sell to hundreds of dealers coast - to -toast -Now you can buy stereo, 464%*, ing the ballad tradition established by Cole- Lowest prices video and satellite equipment for the on audio man Hawkins and Ben Webster. The mono- components! -I phonic sound on all three CDs is quite similar SAME PRICE Fast service! to that of their LP counterparts, which is all Fully insured! rt to the good; I'm beginning to realize that the DEALERS PAY In factory sealed late Fifties was an unrecognized golden age INTERNATIONAL'S NO RISK POLICY cartons! of recording, characterized by striking pres- 1 -No Deposit ence, clarity, and balance. 2-90 Day No -Lemon Michael Ullman replacement warranty 3 -SAME DAY SHIPPING Call or write for our free booklet. CECIL TAYLOR SINIMENTS N "Ultra HIFl Digital at Half the Cost." (ORCHESTRA OF TWO CONTINENTS): (201) 227-6720 Winged Serpent (Sliding Quadrants). Daily 9am to 9pm CLIP & MAIL TODAY! O Giovanni Bonandrini, prod. Soul Note SN 1(301) 488-9600 g. MOM zI= 111 1089. no Sound Reproduction, Inc

241 Bloomfield Ave., Bloomfield, N.J.07003 I Fashions change, the Zeitgeist registers an- INTERNATIONAL Please rush your free Hi-Fi Discount Catalog I other turn of the screw, but Cecil Taylor's HI-FI music remains apart from it all, unaffected. DISTRIBUTORS, INC. Name I When his Winged Serpent orchestra (two Moravia Center Address I Industrial Pork trumpets, four saxes, one bassoon, rhythm Baltimore, Md. City section, and percussion) comes on full 21206 State Zip L fJ MARCH 1986 75 The CZAR force-reeds and brass crying ecstatically, come the touchstone for this generation's (Continued from page55) rhythm churning, the piano prancing, danc- most popular artists tends to be a smoke interesting that things that are happening ing through the firestorm-for one of those screen for deep-rooted conservatism. Mired now [in contemporary music] were written breathtaking extended episodes that are the in appropriated nostalgia, these young play- about in the decree; the whole world is centerpiece of any Taylor performance, one ers avoid taking risks; consequently, their coming back full circle." knows that this is energy music at its peak: sound is sterile, safe, and all too familiar. For And specifically how does the chair- disturbing, exhilarating, and fearlessly me, the most stimulating musicians of the man of the Union of Soviet Composers anachronistic. While the main thrust of im- past few years have been the over -thirty look upon the various trends of new music provisational music today is concerned with crowd, who, weathering the excesses of both appearing in his country? reinvestigating and recycling existing struc- the free jazz era and the experiments in re- "Very calmly," he answered. "You tures, Taylor persists in striking loud, fast strictive formalism that followed, have sur- must understand that it is completely nat- blows for freedom-blows bereft, in these vived-tousled, but mature. ural for composers to be attracted to dif- less than revolutionary times, of the socio- Motherland Pulseblows this pet theory ferent things. We have, for example, com- political and cultural resonances they once out of the water. The key members of this posers who are drawn, perhaps even too had. For long stretches of the music, this di- ensemble-alto saxophonist Steve Coleman, much so, to the New Viennese School. But minished context may leave one wondering drummer Marvin Smith, and pianist Geri Al- that is their own business. There are also what, if anything, it all means, while still len (all of whom were unknowns five years people who think in a more cosmopolitan marveling at the sheer volcanic grandeur of ago)-have individual, nonderivative instru- manner, like Edison Denisov and Alfred the sound itself. mental voices. Their contributions, along Schnittke. And there is a whole younger Not that this is all stampeding amphet- with Coleman's refusal to back his group set with its own audience. Denisov and amine free bop devoid of (rather subtle) into any stylistic corner, make this record an Schnittke have many fans, and, thank structures. Two of the album's four composi- event: It announces a new breed of players God, their music is played here all the time. tions, "Taht" and "Womb Waters Scent of finally thinking for themselves. They often travel abroad, sent by the the Burning Armadillo Shell," have simple Coleman has a sweet, but never treacly, Union of Composers; their music is both opening themes that are repeatedly referred tone and a cerebral approach to improvising performed and published in the West, and to both in the improvs and in those occasional_ that give his solos a rounded, symmetrical that is perfectly okay with us. In fact, written parts that emerge from the thickets shape, even at a breakneck pace, as in "Irate Denisov has written an opera [based on like helpful signposts. Taylor uses textures Blues" or "Cud Ba-Rith." His lovely plum Boris Vian'sL'Ecume des jours]that will that are carefully predetermined: The wood- tone also helps him carry off more reflective be performed in Paris this March. wind sound is especially rich, making good moods like "Another Level" (a duet with "As the head of the Union of Compos- use of the darkly sensual intertwining of Smith) and the ballad, "On This." Neither is ers, I am very patient and understanding Karen Borca's bassoon and Gunter Ham- much of a composition, yet Coleman, whose toward my colleagues. We have absolutely pel's baritone sax. Some sections are almost beautiful sound and emphasis on melodic de- no regimentation, and there are no cre- conventional. Alto saxist Jimmy Lyons has a sign suggest shades of Benny Carter, makes ative 'rules': Everyone writes the way he lovely balladic feature at the end of them riveting. or she wants. The composers themselves "Womb," with a somewhat jittery Taylor I'm positive I'll be writing about Smith will eventually see what goes and what adding the proper modern touch, and the ti- for many years to come, so I will be brief: doesn't go with the public." tle cut comes close to conventional song The man has no peers. And the best new pia- What, I asked him, should be the chief form, but never quite coheres. "Cun-Un-Un- nist is Allen, who looks past the Herbie Han- goal of the Soviet composer today? Khren- Un-An" pretty much defies classification, be- cock/McCoy Tyner/Chick Corea axis in or- nikov's answer came directly to the point: ing a chant piece divided into seven sections, der to mine the more astringent terrain of "To write music that addresses itself to some urgently dramatic, some comical. Cecil Taylor and Thelonious Monk. Her "The the heart. All of the great musicians had Throughout the album (except for the Glide was in the Ride," with its funk/bop/ that intent. A work that excites and moves chanting), Taylor's piano dominates, prod- pop line, is the most memorable tune here. the heart is what people can grasp.... ding and commenting, alternately within and (And to show his respect, Coleman gives her "Most composers in the world strive to without the various layers of sound. In his the only solo.) It's also a lesson in how to write music that will be liked by the larg- solo finale, bombastic bass chords and arcs avoid the strings of long, evenly placed neo- est number of people possible, and that is of sound dart by so quickly, it's as though bop runs that tend to slide mechanically out only natural. But music that no one needs? the tape had been speeded up. What all this of today's technically adroit but unimagina- I ask you! There are composers who want means may be more elusive than ever, but tive pianists. their music to resemble no one else's- what is apparent is a celebration of the cre- Trumpeter Graham Haynes (son of Roy) John Cage, for example. But I don't con- ation of music, a mysterious and irrepress- and bassist Lonnie Plaxico do a lot with the sider him a true composer, although he is a ible ritual. Richard C. Walls little space they are given.Motherland most intelligent and pleasant person. Pulseis fresh, rather than revolutionary, "Our music enjoys worldwide author- jazz-Steve C. doesn't try to take on Ornette ity," Khrennikov concluded. "This proba- STEVE COLEMAN GROUP: C. While this group may not be leaning off bly comes from our late comrades Proko- Motherland Pulse. the avant-garde cliffs, it flatly rejects the ge- fiev and Shostakovich, not to speak of the r7N Stefan F Winter. prod. JMT 850001. (Distrib- neric prisons that have become today's main- greats of the last century. A good Soviet uteds"" by Polygram Special Imports.) stream. That alone is cause for rejoicing. composer can create a stir in any part of

The veneration of jazz tradition that has be- Steve Futterman the globe."

76 HIGH FIDELITY High Fidelity Classified BANG & OLUFSEN FULL LINE, ADS, B&W

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CALL US LAST SEARCHING FOR OUT -OF -PRINTS? Try for Discontinued Shop around, Get your best price, Records. 444 South Victory, Burbank, California 91502 Inventors' AIM wants -Ideas. Inventions. New Products. Then call THE SOUND APPROACH. (213) 849-4791 Improvements on existing products. We present ideas to manufacturers. Confidentiality Guaranteed. Call Toll Free 1- Guaranteed LOWEST PRICES on all 800-225-5800 for information kit. HOME and CAR STEREO. Featuring: RARE CLASSICAL AND JAZZ. 200.000 LP's. The Record ADS, AIWA, AUDIO CONTROL, SONY ES, Collector, 1158.N. Highland, Los Angeles, CA 90038. (213) BLAUPUNKT, BOSTON ACOUSTICS, BANG 467-2875. Video & OLUFSEN, DENON, HARMAN KARDON, HAFLER, INFINITY, NEC, ORTOFON, SHOW ALBUMS -Rare, out -of -print Ips. 64 -page list $1.00 1.000,000 VIDEOTAPES/SOUNDTRACKS! Video catalog THORENS, MARANTZ. Factory fresh, Fully !,,adway-Hollywood Recordings. Georgetown. CT. 06829 $1.00 Soundtrack catalog $1.00 RTSII13 Box 1829. Novato. CA 94948. warranteed. For FAST FREE DELIVERY and GUARANTEED LOWEST PRICES, call RECORDS BY GASPARO. Chamber music, solo, THE SOUND APPROACH, 6067 Jericho baroque -We have something for you! Write for fret: Compact Discs catalog. P.O.Box 120069, Nashville, TN 37212. Tpke., Commack, New York, 11725 (516)

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HIGH FIDELITY COMPACT DISCS & ACCESSORIES. Call Future Days TOLL FREE 1 -800 -ALL -DISC (in Connecticut 1-452-0203) For Free (Continued from page 66) displaced rural Southerners who had CATALOG M -F, 10-8, Saturday 10-6. 41 is that after seeing several of his tunes cut moved to urban centers to work and build Monroe Turnpike, Trumbull, CT 06611. by New York pop singers, Hank's own fi- new lives in the war years, and instead nal shot was what can only be described as found a whole new set of crushing social CLASSICAL/POP COMPACT DISCS AT AFFORDABLE an Appalachian folk song. problems: alcoholism, divorce, bad jobs, PRICES. Write to. Wil-Sean Enterprises. 256 So Robertson 1 Ain't Got Nothin' But Time and big -city wiles. With "Each Night at Nine," BlvdSuite 9546. Beverly Hills. CA 90211 Lovesick Blues begin the task of finally he spoke for the soldiers themselves. He putting Hank's recording career in order. was also a timely phrasemaker, as heard DUWARS. BOX 6662F. GREENVILLE, S.C. 29606 -CD Classical Music From $9 Up- The former is weighted with spirituals and on the weary "Sentenced to a Life (With- -Free Mini Catalog- novelties, while the latter starts moving out You)." Floyd Tillman represents into more bluesy material. But both show what's good and true in American music, COMPACT DISCS AT FANTASTIC SAVINGS,' Large Williams and Rose evolving toward a hon- and Floyd Tillman (which covers 1946-50) selection, fast service. Send today for free catalog' DISCOVER, 35 Aldom Circle. West Caldwell, NJ 07006 ky-tonk sound for the postwar years. is easily the most indispensable album in Gradually, the rhythms are closing up; the the entire Columbia series. Miscellaneous guitar is more percussive, and the steel The Maddox Brothers and Rose are whines louder and higher. As the sound is not as well served, unfortunately. Alabam- TERMPAPER ASSISTANCE 15.278 papers available, 306 - refined, the band becomes both tighter ians who grew up in California during the page catalog-rush $1 00 Research. 11322 Idaho, and thinner (this is the effect new tradi- x 206HF. Los Angeles 90025. OR. CALL 213-477-8226 Depression, Rose (vocals), Fred (bass), tionalists are after), until early in the sec- Don (fiddle), Cal (rhythm guitar), and Hen- ond album, on "Rootie Tootie," we hear New Improved Weight Loss Program. Lose Weight and Not ry (lead guitar) created the most raucous, Eating. Doctor Rec Send $5.00 cash o money orders Hank's hillbilly boogie pointing the way to- anarchistic brand of hillbilly boogie. only Sorry no personal checks to GA V PO Box 4683, ward rockabilly. The progression is equal- Though they dabbled in spirituals, senti- Chicago, IL 60680 Please allow 4 weeks for delivery. ly apparent in his lyrics, which are as likely mental love songs, and Western ballads, to invoke slang phrases of the day as they they were at their most striking when the BACK ISSUES OPERA NEWS. OPERA (ENGLAND). etc. John Stewart, 1512 W Carolina, Hartsville. S C 29550 are to echo the stilted language of prewar boys were flailing away wildly as singer country. They are also highly personal, Rose brayed on, breaking into horse- Business Opportunities unlike those of his predecessors, who laughs at a moment's notice. Despite "I've spoke vaguely in the third person. These Got Four Big Brothers (To Look After ELECTRONIC REPRESENTATIVES NEEDED,' Lowest two double albums should be cornerstones Me)," Rose always gives the impression Possible Prices,' Over 100 Brands, Audio -Video -Car Stereos + Computers, Electronic Experts 1000 Orange in any country library. (Rare Takes and she can hold her own. Two Arhoolie reis- Ave West Haven, CT 06516 Radio Cuts [Polydor 823 695-1] and On sues capture the group at its hottest, bold- the Air [Polydor 827 531-1] are odds and est, and corniest: Maddox Brothers and ends for collectors only.) Rose 1946-1951, Vol. 1 (Arhoolie 5016) and Because Floyd Tillman seldom leaves Vol. 2 (5017). When they moved to Colum- HIGH FIDELITY CLASSIFIED ORDER FORM Texas, he goes largely unsung. Though bia, they simultaneously retreated from Williams is acknowledged as country's and chased after the new rock 'n' roll they RATES PER WORD: 15 word minimum No charge for zip code first crossover writer, Floyd beat him by a helped spawn. They lost their bite, and the decade. Ernest Tubb is perceived as the Regular Type: $2.75 per word. group broke up in 1956, with Rose pursu- Imperial Type: $3.75 per word. founder of honky-tonk, but Tillman was ing a solo career. Discounts for 3 times; 6 times: & 12 times midwifing the form years earlier. His in- Thanks to Jessica Lange and Sweet

Check one: Regular Imperial I fectious blend of that style and Western 3x0 6x01 12x0 Dreams, Patsy Cline, whose original re- swing is echoed today by George Strait; cordings have been tampered with as bad- his note -bending, slurred tones, and be- ly as those of Williams, appears to be next IPlease print or type message below or on sep. Iarate paper hind -the -beat phrasing, by Willie Nelson. for the Serious Reissue Treatment. The Name Tillman is a classic "bad" singer, he movie's soundtrack is barely an introduc- Company sounds like he slipped on a bar of soap on tion, but if Cline's work is restored proper- I Address his way to the mike, but his warmth and ly, it will reveal what the on -screen Patsy ICity/State/Zip conviction are overwhelmingly intimate, only hinted at: a heartbreaking stylist of

I Phon magnetic. Just listen to his tour de force unsurpassed finesse who recast country ISignature cover of "I Almost Lost My Mind," as he music in much the same way Billie Holiday breaks on the word "almost," sings high in Payment must accompany order. did the blues. After her, the possibilities the middle of each line, and then goes even Send to: Candice Leyden are many, but surely Don Gibson, Johnny HIGH FIDELITY higher or drops down low at the end, his Horton, Bill Monroe, Buck Owens, Jimmie 825 Seventh Avenue New York, N.Y. 10019 lazy drawl a foil for his prickly blues Rodgers, Hank Snow, Webb Pierce, Ray (212) 887-8459 or guitar. Price, Tex Ritter, the Delmores, Ernest

1 800-ABC-MAGS With "Slipping Around," which in 1949 Tubb. and Kitty Wells (some of whom are Payment enclosed $ became the first blatant cheating song to already represented on specialty labels or MASTER Card dominate country charts, and "Drivin' on perfunctory major -label greatest -hits VISA Card Nails in My Coffin," a lost -love lament items) rate special attention. With any

drenched in whiskey, Tillman spoke for luck, much of the best is yet to come.

79 R E A DER -A C T ION P A GE

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Audio Products International 32 API International Hi h Polk Audio Inc. 135 Torbay Rd.. Moravia Industrial Park, 1915 Annapolis Rd., Baltimore, MD 21230 Markham. Ontario. Canada 1.3R 1C2. 6330 Frankfoid Ave . Baltimore. MD 21206. 301/837-4300. Att: Dept. HF 386 Army 23 416/475-0050. Att: Dept. HF 386 Att Dept HF 386 Radio Shack Audio Technics J&R Music World 300 One Tandy Center. Ft. Worth TX 76102, Audio Technica U.S. Inc. 5 1221 Commerce Dr., Stow, OH 44224, 23 Park Row. New York, NY 10038. An: Dept HF 386 216/6862600, Att: Dept. HF 386 Customer Service DeptAtt Dept HF 386 Recoton Corp. Carver Corp. 6 Carver Corporation Jensen Car Audio 46-23 Crane Street P 0 Box 1237, Lynnwood, WA 98046. 4136 N United Parkwar, Long Island City, NY 11101 Att Dept HF 386 Schiller Park, IL 60176. 212/392 6442 Att Dept 386 Epicure Products Cover III An: Dept. HF 386 Epicure Products Siefert Research 25 Hale St., Kenwood 31212 Ballard Rd Malibu CA 90265 Fujitsu Ten 4 Newburyport, MA 01950 1315 E Watsoncenter Road 213/457-4239, Att: Dept. HF 386 617 / 462-1000 Att: Dept. HF 386 Carson, CA 90745 213/518-1700 Att: Dept. HF 386 Harman Kardon 10 Shure Brothers Fujitsu Ten 222 Hartrey Ave_ Evanston. IL 60204. 19281 Pacific Gateway. LaBelle Camera & Stereo of Maine 312/866-2553. Att: Dept. HF 386 Torrance, CA 90502. Illinois Audio 73 155 Main St_ Biddeford. ME 04005, Att: Dept. HF 386 800-341-0783. m ME, HI, AK Sound Reproduction 207-281-1401. Att Dept HF 386 7 Industrial Road. Fairfield, NJ 07006, International Hi Fi 75 Harman Kardon Att: Dept. HF 386 240 Crossways Park West, NEC Home Electronics (USA) Inc. Woodbury. NY 11797, 1401 Estes Ave Yamaha Electronics Corp., USA J&R Music World 67 516/496-3400. Att: Dept. HF 386 Elk Grove Village, IL 60007 660 Orangethorpe Ave 312/228.5900.Att. Dept HF 386 Buena Park, CA 90620, Illinois Audio Att: Dept. HF 386 Jensen Car Audio 8. 9 12 E Delaware PI., New York Whclesale Warehouse Chicago, IL 60611. 2 Park Avenue. New York. NY 1001/ 800/621-8042, Att Dept HF 386 212/684-6363, Art: Dept. HF 386 Kenwood Cover IV

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Introducing the phenomenal a track anywhere on a side. than skin deep. It represents the Kenwood KRC-999 cassette And scan the first five culmination of 25 years of tuner. If the face plate isn't seconds of every cut. superior audio technology from enough to make your jaw drop, And take stations with the Kenwood. Consider it wait you hear the way the 999 strongest signal and automatic- our anniversary sounds. And performs. ally program them into memory. present to the world It's the most advanced car Heard enough? of music. stereo ever made. How about the lowest signal For the Kenwood dealer nearest Period. to noise ratio available. Metal you, call 1 -800 -CAR SOUND. "Sure," you say, "I've heard tape frequency response of that before." But how many car 20 - 22.5k (± 3dB). A 7 -band KENWOOD stereos have you heard that are graphic equalizer that instantly STEREO FOR YOUR CAR driven by a 16K ROM computer? converts to a spectrum analyzer A computer that lets you Or an automatic azimuth - customize the sound to suit your adjusting hyperbolic - car's environment. contour tape head. And And pre-set electronic three drive motors. volume levels. Yes. The beauty of And automatically seek out the KRC-999 is more