T TEST! ONKIT'S $1,000 DD RECEIVER

Home Theater

5 Top Guns in the Bottom Bass War

TESTED: MARCH 1998 US $3.50 BOSTON ACOUSTICS CANADA $4.50 SPEAKER SYSTEM UK £2.50

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1,11,111lllll IIIIIIIII111111111111111111,1118,11;111 MR DAVID S BUCHANAN 03 VC07 4950 1100 OXMOOR HOODS PKY P45/5700 U LOUISVILLE KY 40222-5569 DVX8000 MULTIMEDIA HOME THEATER Experience DVD movies, DVD-ROM gaming, even the Internet with intense sound and graphics.DVX8000 manages and enhances your entire home theater set-up. Video line doubler, 3-D graphics accelerator and audio technology

Dolby Digital is a trademark of Dolby Laboratories Licensing Corp. by Marantz® (including Dolby Digital-). All integrated with powerful multimedia PC functionality. It's entertain- ment to the extreme. Available at select dealers. For more info on Philips Extreme Home Entertainment call 1-888-486-6272 or visit us atwww.mmhometheater.com

01997 Philips Electronics North America Corp The Advanced Technology Inside Definitive's BP2000

Piano gloss black or gloss cherry endcaps

1" thick rear Low frequency medite baffle tuned column

High definition pure copper wire

25 mm pure aluminum Multi -layered dampening dome, aperiodic pads line entire cabinet transmission -line tweeter

Low diffraction driver 17 cm mineral -filled baffle interface polymer high -definition bass/midrange drivers Complex Linkwitz Riley Rear mirror -imaged crossover network D'Appolito bipolar array in non -resonant chamber Front mirror -imaged D'Appolito bipolar array in non -resonant chamber 15" high -power long -throw bi-laminate polymer subwoofer driver Massive subwoofer magnet structure

Complete built-in powered subwoofer system

Gold-plated low-level subwoofer input (for optional use) Electronic crossover Gold-plated tri-wirable speaker level inputs

Accelerometer optimized High current 300 -watt RMS cabinet braces subwoofer amplifier

1" thick high density Torroidal transformer medite front baffle

Sonopurefiber internal dampening 1 1/4" thick high -density medite cabinet sidewall

"...I would choose these speakers for myself." -Julian Hirsch, Stereo Review Definitive's Amazing BP 2000 & 2002 Are The World's Most Highly Acclaimed Loudspeakers! " The first speaker I have been able to audition in my own familiar surroundings that has given me that special thrill that usually costs ten or more times its price to obtain." -Julian Hirsch, Stereo Review, USA

"Literally Staggering" "Amazing Music and Home Theater... - Home Theater, LISA Most Spectacular Speakers Ever" Top reviewers around the world -HiFi Review, Hong Kong agree that Definitive's amazing BP 2000s In addition to being an audiophile's & BP 2002s combine highly advanced dream, the BP 2000s & BP 2002s are technology and superior build quality also the main speakers in Definitive's in order to achieve unsurpassed sonic Ultimate Home Theater Systems. These performance plus unequalled value. astonishing systems are absolutely the finest sounding available. They recreate "Astounding...The Stuff of Dreams" a "you are there" virtual reality that - Home Cinema Choice. England actually puts you into the sound -space Definitive's revolutionary BP 2000 & of the original cinematic action. BP 2002 combine our incredible bipolar technology with dual built-in high- "The Best Performance You Can Get" powered subwoofers (BP 2000: 15"/300 -V.T.V., England watts ea., BP2002: 12"/125 watts ea.) Experts agree these complete Dolby for extraordinary sound quality Digital AC -3" ready systems deliver the beyond anything you've ever heard. ultimate listening experience. They combine BP 2000s or BP 2002s with "Absolutely Unsurpassed" perfectly matched center and rear - Prestige HiFi, France surround speakers. Dual powered Both music and movies are reproduced subwoofers are already built into the with outstanding purity, transparency sleek towers. Experience them today! and life -like realism. And the astounding high resolution imaging, magnificent soundstaging, awesome bass and 131." ""199ET-. nitive Tech Definitive's Grand Prix award -winning BP 2000 and BP 2002 'The Leader in HighPerkanance Loudspeakers. explosive dynamic impact totally envelopcombine our revolutionary bipolar technology with awesome I 1115 Valley His. Dr. Baltimore, MD 21117.14101363-7148 you in sonic ecstacy. It is simply amazing! built-in powered subwoofers for unsurpassed performance. V isil us at hup://wwa.detinitivetech.com Ifevrof, ril Padienbi, See our dealer list on page 60 Rated main output level 1.0 volt Sigrid toFrequency noise ratio -A" response weighted ±0.5dB 5Hz to 85kHz >102dB THD + noise 20Hz to 20kHzTHD unbalanced * noise 20Hz to 20kHz balanced 0.095%0.025% Input impedanceOutput impedance unbalanced balancedInput 47k impedance ohms balanced 94k ohms 1200 ohms Output impedance unbalancedInput sensitivity 600 unbalancedohms Input 365mV sensitivity balanced 183mV DimensionsDimensions Height Width 174 1/4 inches inches Dimensions Depth Weight Net 1512 inchespounds Weight Packed subjectspecifications17 topounds change ADCOM's new GFP-750 stereo preamplifier answers the music enthusiast's needs for the finest quality audio reproduction while providing an easily used bridge to the rapidly expanding world of multi -channel surround sound. Regardless of application, all users will benefit from the exceptional care shown in circuit layout and implementation. The GFP-750, developed to satisfy the most sophisticated and criticalauraltastes,will serve superbly as a cost-effective and flexible control center in a wide variety of system configurations.

ADCOM®Designed for your ears. And what's between them. II Elkins Rwd East Brunswick. NJ. 0581( Tel: 732-390-1130 Fax 732-390-5657 Web: http://www.acic nn.a nu BY BOB ANKOSKO & WILLIAM LIVINGSTONE cat's back, zep rules sales - not less. Nonetheless, Yusuf Islam, the Seventies artist most agreed to remove the formerly known as Cat Stevens, pirated material on request from has made his first recording in lawyers.... Elsewhere in the nearly two decades. It's a song deep dark world of audio piracy, called "The Little Ones," a $100,000 worth of duplicating tribute to children killed in equipment seized in a sting has Bosnia and Scotland. Islam, who been donated to the Library of abandoned the celebrity life in Congress's National Library 1977 and became a Muslim Service for the Blind and Physi- educator, made his first concert cally Handicapped to produce appearance since then in Sara- books on tape. jevo, Bosnia, last November. A live recording may be released csw's retro warranty this year.... Metal pioneer Led To commemorate its 10th anni- Zeppelin has been certified by versary, Cambridge Sound Works the Recording Industry Associa- has retroactively extended the tion of America as the second warranty to 10 years on every top -selling group after the nonpowered speaker system it Beatles (whose total sales are has sold since July 1988. CSW nearing 100 million). By the end minidisc gets thebig pusl also increased the warranty on of 1997, Led Zep's cumulative Half a decade has passed since Sony introduced MiniDisc all its current nonpowered sales reached 63.8 million. (MD) and Philips the Digital Compact Cassette (DCC), both speaker systems to 10 years. divx update hailed as successor to the almighty analog cassette. Of hard copy Digital Video Express (Divx), course, DCC has since fallen by the wayside, and while MD "DVD Video: The New Wave in inventor of the controversial has found a respectable niche in radio broadcasting, it has- Home Entertainment," a DVD-offshoot system that plays n't caught on as a home recording format here in the U.S. brochure that explains the regular DVDs and limited -play Still, Sony is far from giving up on MiniDisc. Spurred by the features and benefits of the DVD Divx discs (see "Pay -Per -View format, is available for free from format's rousing success in Japan and declining cassette DVD," December 1997), has the DVD Video Group. Call announced that 100 Divx DVD sales, Sony is bolstering its 1998 MD lineup with ten new 213-845-0160, or e-mail titles from several movie studios models and plans to spend millions to promote the format [email protected]. will be available this summer this year. Meanwhile, other well-known audio companies are . The POOGE Chronicles, a when Divx players from RCA, taking a second look at MD. Denon, Kenwood, JVC, Sharp, book of sixteen articles from Panasonic, and Zenith hit stores. The Audio Amateur, guides do- Aiwa, and Sanyo are beefing up their MD offerings, and Pio- The company expects 500 titles it-yourself audio enthusiasts in to be available in the first year. neer and Yamaha will roll out their first home recorders. On modifying their equipment to the media side, Maxell is pushing MD in its advertising and improve performance. Price: operatic operations offering its MD74 discs in four -packs that sell for as low as $24.95 plus shipping. To order, Recent research reveals that $20 in some stores. TDK's new MD-XG blanks, in 60- and 74 - call 888-924-9465. young American adults are minute lengths, sell for about $7 and S9 each, while Sony increasingly interested in opera. recognition As if in response, Doubleday has MDs are available at list prices ranging from $13 for a two - Rock star philanthropist Elton published The American Opera pack to $55 for a ten -pack. John was knighted in England at Singer ($40) by Peter G. Davis, the beginning of the New Year music critic for New York maga- and should now be addressed as zine, and BMG Classics has company in Milan, Italy, is a couple of months before its Sir Elton.... The Trumpet issued a companion two -CD set working with TDK to archive scheduled February release, the Awards, given in Atlanta by of recordings made by thirty-six more than 5,000 hours of orig- band and its record label (Epic) Turner Broadcasting, single out American opera stars between inal open -reel recordings from feared that the leak would hurt African -Americans who have 1906 and 1995. The U.S. Postal 1951 to the present on CD -R. sales of the new release. As it succeeded in their fields and Service has also issued a set of turned out, most of the cyberpi- inspired others to excel. stamps honoring the singers Lily pirate plays rates were Pearl Jam fans; one of Among the latest honorees are Pons, Rosa Ponselle, Lawrence When songs from Pearl Jam's them argued that, if anything, Whitney Houston, Kenneth Tibbett, and Richard Tucker. new album "Yield" appeared on the postings generated advance "Babyface" Edmonds, and Further afield, La Scala opera the Internet in "near -CD quality" publicity that would yield more Wynton Marsalis.

8 STEREO REVIEW MARCH 1998 ILLUSTRATION BY BOB SCOTT Ti -e. VT -7Hc.re TheaterSystem Cesign T43usei-s2lectetle c-o:soveer :opolcgies adep:tc d-fferfng .icurestage requ:-ements of tvo-tunnel ren-3ductipa. alC A/I0 Coherency: Ta:lcred resporse assures perfectsne-gy betreel ste-eo and r imege ;nal 'stager,. Dyeacfcs:ltopowEr vice oaldwide to dylamic equa demand of finest tome theatEre. Rad-aticn: Smoct,eves response over v:de range cf listenion positiors.

Knows pure note when hehears

Gan M ;intain. Frofessional iconoclast/writer. some ti,?aterske)tic isrned entbusiat. i.-oud new father o lotelyLaughter. J-oud rew owner of on= VT -2Home Theater System. Geleb,7ated jazz pianipt rext 'life.

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r N-41 dleel?.r in QrCanad3: 1-800-NHT-)993 www.nhthifi4om M99-MITN-IT RESERVRT10115 REQUIREDDigital.end'I is one of the exclusive features in the Sony Dolby Digital Receiver. It delivers the movie stud o sound sought after by today's top directors right to your home. A powerful 24 -bit di gital p-ocessor contains the acoustic characteristics of three state-of-the-art movie productior dubb ig stages. The result is astounding. You'll hear movies the way these directors mas:ered iiem-from dramatic sound effects that match stunning screen images, to the subtle nuartces of the whispered word. It's just another way Sony makes great things happen.

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01997 Sony Electronics Inc All rights reserved. Sony. Digital Cinema Sound and Maximum Televisior ire tradenurks of Son Dolby is a trademark of Dolby LaboratoriesLicensing Corporation. MARCH 1998 Stereo Review

-41 Peripherals 77ITop 40 1 Olik 22Computer -based CD-RW drives that Four decades ON THE COVER let you record, and rerecord, your own CDs! of popular and classical Bigger bass boxes: BY KEN C. POHLMANN recordings that clockwise from top right, mattered - and still do the Energy ES-12XL, BY KEN RICHARDSON Klipsch KSW300, B&W Block ASW2000, PSB Stratus AND ROBERT RIPPS SubSonic 3i, and 62Busters Velodyne VA1012-XII. See The lowdown on five page 62 for details. powered subwoofers for Digital Imaging by $1,000 or less Chris Gould BY TOM NOUSAINE

STEREO REVIEW ONLINE

JOIN US My First Stereo at our site on America Our editors and contributors recall Online and link up with 80 thousands of other how they caught the stereo bug people who are interested in the same good stuff you read about in Stereo Best Review. Browse our Recordings message boards and put Flashback 86 in your 20 worth ... or of the Month ask for opinions about The high points (and a few low ones) 68 Kristin Hersh'sStrange equipment or a special in forty years of audio and A/V technology CD. Search our archives Angels,Vivaldi violin BY JULIAN HIRSCH AND DAVID RANADA and find a test report concertos from from last year. Somebody swiped the January Christopher Hogwood, issue before you could Remembrance of Jim Lauderdale's get to it? You can find lots of the information 74Things Past and Future Whisper,and Tan Dun's you missed on Yesterday's digital revolution, and tomorrow's operaMarco Polo Stereo Review Online. BY KEN C. POHLMANN

ALL YOU NEED is a computer, a modem, THE REGULARS EQUIPMENT REPORTS and America Online software. To sign up, call America Online at BULLETIN 6 ONKYO TX-DS747 Dolby Digital Receiver 39 1-800-603-8181 for a free startup kit. Our keyword LETTERS 12 TECHNICS SL-MC410 111 -Disc CD Changer 44 is STEREO REVIEW. NEW PRODUCTS 17 BOSTON ACOUSTICS Lynnfield VR960 Speaker48

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POPULAR MUSIC 89

Stereo Review. Stereo. Hi Fi. High CLASSICAL MUSIC 100 Fidelity. and Backbeat are reg- istered trademarks of Hachette Filipacchi Magazines. Inc. THE HIGH END 112

PRINTED IN THE U.S.A. Stereo Review Vice President, Editor in Chief POWER, PERFORMANCE, LOUISE BOUNDAS Executive Editor BOB ANKOSKO Art Director PERFECTION...PERIOD! NDREIA THOMPSON Technical Editor Senior Editor Value without compromise. At $1,695, the 73 -pound AT1505 5 -channel power amplifier DAVID RANADA BRIAN FENTON has no equal. FTC power output is 150 watts per channel into 8 ohms from 20Hz to 20kHz Director, Hirsch -Houck Laboratories at no more than 0.03% THD with all channels driven simultaneously! ATI engineers have JULIAN HIRSCH Managing Editor been designing and manufacturing power amplifiers for over 10 years. All ATI amplifiers DAVID STEIN are built with the finest parts available...we Popular Music EditorClassical Music Editor invite you to compare our amplifiers to any KEN RICHARDSON ROBERT RIPPS other makes, no matter what the price! ATI Assistant Art Director DAN FLINT power amplifiers have received critical Assistant Editors acclaim from reviewers and from DANIEL MANU. JAE SEGARRA audio enthusiasts worldwide. Database Coordinator All ATI amplifiers are SANTIAGO PIZZINI Editor at Large hacked by a 7 -year WILLIAM LIVINGSTONE warranty and are Contributors: Chris Albertson. Francis Davis. made in the USA. Rebecca Day, Richard Freed, Will Friedwald, Phyl Garland. Ron Givens. Corey Greenberg. David Hall, For more information Bryan Harrell (Tokyo). Jamie James, George Jellinek. on the AT1505 or our Daniel Kumin. Ian Masters. Brett Milano. Alanna Nash, other models, or to Tom Nousaine. Henry Pleasants (London), Ken Pohlmann, Parke Puterbaugh, Charles Rodrigues, order, please call Eric Salzman, Craig Stark, Rich Warren 1-888-777-8507. Vice President, Group Publisher TONY CATALANO

\ inplifier Technologies, Inc. Consumer Electronics Group Advertising Ilttp://www.ati-amp.com VP/Associate Publisher ATI I. [email protected] Scott Constantine I )1stributed in Canada by Artech Electronics lidS14-63 I6 IIS Regional VP/Ad Director. East Coast: Charles L. P. Watson. (212) 767-6038 Regional Account Managers, East Coast: Christine B. Ead, (212) 767-6025 Paul C. Smith. (212) 767-6077 Midwest Ad Manager: Jerry Stoeckigt, (312) 923-4804 Regional VP/Ad Director. West Coast: Robert Meth. (213) 954-4831 Western Ad Manager: Paula Mayeri, (213) 954-4830 National Record Label Sales Representatives: The Mitchell Advertising Group (MAG Inc.) Mitch Herskowitz. (212) 490-1715 Steve Gross. (212) 490-1895 Assistant to the Publisher: Aline J. Pulley Promotions Manager: Adele Ferraioli-Kalter Operations Mgr./Ad Coordinator: Linda Neuweiler Sales Assistant: Yvonne Telesford Classified Advertising: (8(X)) 445-6066 Production Manager: Mary NI. Lewis Senior Production Assistant: Jacqueline Longa Production Director: Michael Esposito Business Manager: Jonathan J. Bigham General Manager: Greg Roperti Subscription information: 303-604-1464

Stereo Review is published ilaelletgi by Hachette Filipacchi Magazines, Inc. ' The World's Most Popular Nlatf,aZttleS Chairman: Daniel Filipacchi President and CEO: David J. Pecker Internet Online Service. Executive VP and Editorial Director: Jean-Louis Ginibre Senior Vice President. COO: John Fennell America Online. Easy to use. Friendly menus. President. Hachette Filipacchi New Media: James P. Docheny Senior VP. Director of Corporate Sales: Nicholas Matarazzo E-mail. News. Sports. Senior VP. CFO. & Treasurer: John T. O'Connor The entire Internet at your fingertips. Senior VP, Manufacturing & Distribution: Anthony R. Romano Senior VP. General Counsel: Catherine Flickinger AMERIeCA VP. Circulation: David W. Leckey VP. Communications & Special Projects: Keith Estabrook Call 1-800-827-6364 VP. Dir. Marketing and Sales Development: Lynn Chaiken VP. Financial Operations: Margaret Carroll VP. Corporate Compliance: Carlo A. Boccia So easy to use, no wonder it's #1 Availability may be limited, especially during peak times. "to.

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jot% 1,5tts* Al11411.1f$,gte 111141171),71 A Technical iiii411-11111111'11 AO -DI 11111' 4114) sill 1111,111.0111,1111 Knockout '1'1 Superior subwoofer performance requires superior amplification. Sadly, most

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home recording edited like a MiniDisc but with (d) no com- much more with it than any other format Rich Warren's "The Future of Home Re- pression or loss of data and (e) cost less out there, such as combining tracks, divid- cording" in January clarified the swirl of than $10 apiece. When that is available, an ing tracks, deleting tracks, moving tracks digital recording formats. My own adoption avalanche of millions of buyers will go for around, and being able to rerecord the same of the MiniDisc as the successor to the ven- it, including me. In the meantime, a huge disc up to a million times. In addition, it of- erable audio cassette took into considera- number of consumers will continue to re- fers absolutely great -sounding recordings, tion its relatively greater imperturbability to frain from buying. It almost seems that direct track access, smaller discs that can fit magnetic fields, its protective cover (which manufacturers are insulting our intelligence in your pocket, blank discs for only $3 to the CD and DVD should have had), its su- with products so obviously different from $6, and a case that protects against finger- perb track -editing and titling facilities, its what we want. Thirty dollars for a blank prints. I can't think of any product I have portability (greater than CD's), and, not CD-RW? Get serious! bought in the last ten years that has made least, according to my 56 -year -old hearing, I suspect that concerns about piracy are me so excited. its sound quality, which comes within a affecting the judgment of the hi-fi indus- MiniDisc may not sound quite as good as heartbeat of that of CD. Richard Reid try's decision makers. Depriving consumers CD, but the difference is very small, maybe Grand Rapids, MI of the technology they want does not re- even negligible. I have not been able to tell duce the activity of pirates; it just keeps the the difference in my MD recordings from In the 1970s, the tape cassette gained prom- rest of us from spending our money. the CD originals. Thomas Gantt inence because it made our record collec- Tom Slocombe Van Nuys, CA tions portable. Instead of griping about its Edmond, OK inferior sound quality (greatly enhanced Technical Editor David Ranaria replies: My over the years) and even more inferior song - "prejudicial" statement was based on what locating ability, we were glad just to have digital ins and outs Sony's Roger Lagadec, a digital audio ex- portable music. With the invention of the How do "coaxial" digital inputs and outputs pert, told me when I asked if it was possi- MiniDisc and recordable CD, many of differ from the "S/PDIF' inputs and outputs ble, given an "infinitely good" ATRAC en- the inherent limitations of tape have been that utilize RCA jacks and are in common coder, for MD to be as sonically transpar- superseded. use in computer sound cards and recording ent as CD. His well -considered answer was What has also been superseded is the equipment? I have a Digidesign Audiome- "No." That's because the ATRAC audio da- public's need for recording devices. I re- dia III PCI A/D-D/A card in my Macintosh ta -compression system used by MD - even cently archived the last of my LPs onto computer. Is it possible to convert from the when it's operating "perfectly" -does not MDs, but in most cases I could have simply RCA -type S/PDIF inputs on this card to the save enough of the right kinds of audio in- bought the CD. Home recording is now a "coaxial" type? What about the optical out- formation (Dolby Digital does much bet- hobby rather than a necessity. My CDs are puts that are commonly found on home CD ter). The Philips CD-RW recorder, despite easily portable, and I have yet to see the players? Can these be converted to my its non -bit -accurate recording, is sonically logic in making a recording of something I RCA -type digital inputs? JamesWeisbin transparent to true 16 -bit digital input sig- already own, especially when it is recorded New York, NY nals. Nonetheless, I am also a fan of the on the most durable medium in the history MD system and think it works superbly in of information storage. There are only two The way we use the terms, a "coaxial" dig- the primary application for which it was reasons to buy one of the advanced digital ital connection is the same as an RCA -type designed: replacing the analog cassette. recording systems: fun or piracy. And my digital connection. "SPDIF" or "SIPDIF" MD recorder provides me with more fun simply refers to the standard SonylPhilips than any other piece of audio gear ever. Digital Interface, and your sound card will more divx fallout Larry Bainbridge work jus fine with the coaxial/RCA digital Overthe past few months, I have read with Marcellus, MI outputs found on home audio equipment. disquieting interest the articles written An optical output can he converted to a co- about the Divx pay -per -view video format Various people quoted in "The Future of axial/RCA input only by using an accessory being touted by Circuit City and backed by Home Recording" seemed baffled about device designed for that purpose or by run- Disney, DreamWorks, Paramount, and Uni- why particular formats either catch on like ning the signal through another digital com- versal. I have even heard rumors that some wildfire, catch on slowly, or leave almost as ponent that has an optical input and a co- people in the music industry find the thought soon as they arrive. I feel it's because the axial output. of pay -per -play music attractive. If this is manufacturers are releasing new products where the entertainment industry is headed, too quickly for consumers to absorb them. I desperately want to be left behind. It's all happening too fast. rerecordable CD vs. MD In the same way that Gutenberg's print- The manufacturers should slow down on I was a bit upset at David Ranada's January ing press democratized learning and litera- their production and release of all these test report on the Philips CDR870 rewrit- ture in the fifteenth century, the mass media new formats. Let consumers have a chance able CD (CD-RW) recorder. His bias was of the twentieth century have democratized to check things out and decide for them- clearly shown in prejudicial statements like, music, the arts, and news. People no longer selves which is best for them and their "The CDR870 was sonically superior to all have to be wealthy to listen to a symphony needs. I refuse to jump on the bandwagon the MiniDisc machines we have tested, and played by a fine orchestra. Radio and the every time a new format comes along. I'd be willing to bet that it is better than any recording industry have brought all kinds of Christine M. Rockledge possible MiniDisc recorder." He never stat- music to everyone. The cinema and televi- Manchester, CT ed which machines it was tested against, or sion have done the same for drama, come- howmuchbetter the CDR870 was than the dy, and news. What was once available on- Here's what people want: the ability to re- MD recorders. It sounds more like hearsay ly to the privileged, powerful, and wealthy cord on (a) erasable discs that will (b) play and bias than an objective comparison. is now within the grasp of almost everyone. on a regular CD player and can (c) be easily Well, I love MiniDisc! You can do so Now that we are about to enter a new

12 STEREO REVIEW. MARCH 1998 SURCEDN GENERAL'S WARNING: Smoking Causes Lung Cancer, Heart Disease, EmpTisema, And May Complicate Pregnancy. Before you buy an expensive power amplifier, read the fine print.

Adcom's dedicationtouncompromising sonic reproduction,innovativecircuitdesign, and thehighest quality electronic pans guarantee that, dollar for dollar, you're getting the best value in the audio world. At 300 watts per

The GFA-5802 channel into 8 ohms and 450 watts per channel into 4 ohm?, is the culmination our new GFA-5802 combines innovative all MOSFET circuitry of years of award -winning with a tremendous power supply to out perfomi the so-called experience in the 'super amps' retailing for two to three times the price. design and manufacture of To produce this remarkable amplifier, Adcom started affordable high with an enormous toroidal power transformer. Totally separate performance components. secondary windings and independent ground connections assure each channel is completely isolated from crosstalk and AC line interference. Lots Th GFA-5802 comes with versatile binding posts of dean power for lots of for easy speaker hook-ups. Accepting either standard clear and powerful sound. stripped or 'tinned' wires, single or dual banana plugs or Even theneighborswill spade lug connectors, the GFA-5802 is a great match for any enjoy system. And since it can drive virtually any speaker system In addition to the GFA- regardless of its impedance, even the most demanding speak- 5802's main toroidal trans- ers will sing beautiful music. Additionally, the GFA-5802 also fomier, a sep t,front end comes equip, I with two sets of binding posts for each chan- transformer isused. ibis nel. These extra binding posts allow the GFA-5802 to accom- additional device isolates the modate speaker systems that have 'hi -wire' capability. front end input stages from Adcom makes sure that the sound created by your the main output section so other components can be flawlesslytransferredtothe any peak demands from GFA-5802's balanced power and optimum circuit technology. the output stages will not The GFA-5802 is equipped with two types of input connec- decreasetheoperating tors for complete compatibility, 'Tiffany style', gold-plated voltages for the input sec- RCA jacks and XLR jacks. The GFA-5802's professional grade tions. This design also con- three pin XLR jacks provide both positive, negative, and tributes to improved sepa- shield properties. The result is a balanced line connection ration at the inputs for precise between the GFA-5802 and your other components. This con- scxincIstiOng and imiging. nection is essentially immune to electromagnetic and radio

Adcom's new GFA-5802 frequency interference and provides a significant power amplifier also has reduction in 'common mode noise'. exceptionally large capaci- Dependable technology and efficient use of the tors to store large amounts highest quality parts make the GFA-5802 one of the most of DC current for supply to sought after audiophile products in recent years. And because the speakers. it's an Adcom component it will benefit from a high resale This large storage value and an outstanding dealer service network. After you capacity means thatthe hear the GFA-5802 you'll agree that it's an incredible value in amp won't be starved for high end audio. power when you're driving The most important detail to look for before you lowimpedanceand/or buy your next amplifier is the Adcom name. Adcom audio inefficient speaker systems. and audio/video components are designed to be second to Now your speakers and none. It's this driving passion for accurate, musical sound and your music can sound the performance that has made Adcom components sought after way you expect them to. by the discriminating audiophile. Through a combination of All the time. technology and innovative engineering techniques,the The well organized Adcom GFA-5802 is quite possibly the best amplifier you may and simple design of the everhear.From itstoroidaltransformer andgiant GFA-5802'sglass epoxy capacitors to its reference grade Hexfet circuitry, the Adcom circuitboards assures GFA-5802 is built to be the best amplifier money can buy. outstanding and reliable To listentoallthe GFA-5802 has to offer,call operation. Usingonly 1-800-882-9296 for the Adcom dealer nearest you. single -ended Class 'A' circuitry in the front end, the Adcom lbur ears will thank you. GFA-5802 delivers the pure sound that other amplifiers can only And so will what's between them. talk about. All devices are precision matched for maximum performance, negligible distortion, and higher output currents. We use only International Rectifier Hexfets transistors in the signal path of the Adcom GFA-5802. These Hexfet circuits are reference grade, hybrid MOSFET transistors which Designed for your ears. reproduce all the punch and muscle of bipolar devices but with And what's between them. the musical sound of tube amps. And since the GFA-5802 11 Elkins Road Fast Brunswick: N.I. 08816 V.S.A. has only three gain stages it out performs comparable amps Tel: 732-390-1130 Fax 732-390-5657 Web: http://www.adcom.com which usually have five stages or more. The shorter the path of power resistance, the better the sound. 20 to 20,000 Hz with both channels driven at less than 0.18 THD century and millennium, someone wants to rent Internet bandwidth is nowhere close to take all that away from us once again. Live that of Divx, but it will be someday, and theater, opera, ballet, and most professional when it is, the technology will be very simi- ShoppingFOR sporting events are already beyond the lar. You'll download what you want and means of ordinary people, so let's take away pay online to decrypt it. Michael Morse Speakers? movies, music, radio, and television, too, Garrett Park, MD with $10 movie tickets, personal seat li- censes, cable TV, and pay -per -view. I have put off buying a DVD player, but I hope Divx will be a wake-up call for now that I've heard about Divx, I'm going Find everything you need the masses. Itis time to vote with our to buy one right away. I will not wait for to know about speakers- wallets. Jim Kolendo Divx. I am not going to pay extra for a Parma, OH player with Divx capability so that I can from how to buy and set- pay an outrageous $4.99 for a rental. I can Nothing I've seen in Stereo Review has ever already rent a DVD for two days from a lo- up home theater, to the been more entertaining than Corey Green - cal store for $2.50. It isn't so difficult to re- berg's column, "The High End." Just when turn a movie that I'm going to get sucked latest speaker technologies. I thought things couldn't get any better than into Divx. People who don't want to travel "Stooge -o -Phonics," he took satire to an en- to the rental store are going to get pay -per - Be a smart shopper, check tirely new level with January's "Divx Is a view from cable or satellite anyway. Four -Letter Word"! Fred Danowski out the award winning David F. Toone Stratford, CT Tucson, AZ polkaudio.com/s today! Corey Greenberg's column on Divx was of- fensive. Worse, it was bad writing. delos DVD spectacular 1) Name-calling is not just bad manners. 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I'm sure many readers scanned the The Dolby Digital transcription of the column, saw the words "most important, 1812 Overture was done at a data rate of brilliant, downright sexy," "coolest," and 448 kilobits (not kilobytes) per second. In "most awesome," and went away thinking addition, there is a "bonus" track on the disc Mr. Greenberg was praising the system. [Title 29] that has a transcription of the 3) Mr. Greenberg comes off as dishonest. same 1812 done at Dolby Digital's maxi- I got the impression that if anyone retort- mum rate of 640 kbps (some DVD players

ed, "Well, you said . . . ," he would reply, may not be able to play this section). While "No, / didn't say that. I said a cynic would I have not been able to detect any digital ar- say that." tifacts with program material recorded at 4) He missed an opportunity to educate. both the lower and higher rates (or at the Readers unfamiliar with DVD and Divx and 384-kbps rate used for most movies), the some of the controversy would be totally potential for the higher rate with audio -only perplexed by the column. releases should help allay the fears of the I explained the Divx concept to several anti -data -reduction establishment. of my friends who don't keep up with video Howard Ferstler technology (none of them had even heard Tallahassee, FL of DVD). All of them thought the technolo- gy was intriguing and would be willing to "catalog update" update buy itif the cost was right. They hate re- American CD rights to Prologue and Ashes turning videos to the rental store. Are Burning by the British progressive -rock Divx is not intended to compete with group Renaissance - subject of last No- video rental, which is already so cheap that vember's "Catalog Update" in the Popular you cannot compete with it on cost. Where Music section - have been reacquired by Dealer Locator Number r 1-800-992-2520 you are going to see Divx sold is at Wal- One Way, P.O. Box 6429, Albany, NY it Ad code 10011 Man or Safeway. Those who don't think it 12206-0429: telephone, 800-833-3553. will succeed don't understand the depth of anger folks have at paying late fees at the We welcome your letters. Please address cor- video store. And compared with the cost of respondence to Editor, Stereo Review, 1633 The Speaker Sp,, other entertainment, nobody will be con- Broadway, New York, NY 10019. You should 5601 Metro Dr. cerned about the $3 extra -play charge. include your address and telephone number Baltimore, MD 21215 Divx is just a natural step toward online for verification. Letters may be edited for 1-800-377-7655 ordering of videos. The problem is that cur- clarity and length.

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PhoneArea Code Signature Dog and Mom are trademarks of General Electric Comply% USA. 0 I HBLH41 The BM° logo Is a trademark of OMB Music. Other tradsmarla used in the advertisement are the progeny of various trademark 5. Have you bought anything else by mail in the past: C 6 months H Year H Never owners 1998 BMG Direct MAG. 1 ASSIK Ai Otter hmrted tome per person. per year. We reserve On ncrri to request addbmal ntamabon. reject any application or cancel airy membership Local taxes. rfany. We be added late charges we be added CMS 982 wt. seas to past -due bits Otter available n continental LISA and under special arrangement in Alaska and Hawaii Otter not available n Puerto Rico APO orFPO. Oder and product seiecbon may vary el Canada. Polk Audio Polk's RT5000 home -

theater speaker system M,IN1r11 consists cf two RT300Cp front left/-ight speakers with integrated sub - woofers, a CS1000p cen- ter speaker with a built-in powered sub, and a pair of f/x1000 full -range surround speakers switchable between dipolar and bipolar operation. The sys- tem is available finished in b ack, white, or rosewood veneer (shown). Each RT3000p speaker consists of a mid/high-fre- quency module on top of a separate but connected powered sub, with a total height of 5C Eches. The surround speakers have identical two-way drive- complements mounted on op- posing baffles offset at a 45-Jegree angle from the speaker's front axis. Price: $6,000. Pok Audio, Dept. SR, 5601 Metro Dr., Baltimore, MD 212- 5. Phor e, 800-377-7655.

Yamaha Yamaha's DSP-Al surround -sound proces- sor/amplifier can decode both Dolby Digital and DTS-encod- Entech The Number ed software and has six -channel inputs for external decoders Cruncher 203.2 and the of other types that may be developed. The amplifier secti an is Number C-uncher 205.2 rated to deliver 110 watts each to the five standard charnels; digital -to -analog (D/A) con- there are also two 25 -watt channels for optional front-efects verters from the Entech divi- speakers used by some of the processor's thirty-nine sound - sion of Mcnster Cable are field modes. The DSP-Al has inputs and switching for si> AN said to "smooth the sound sources and five audio -only sources, including CD, phono, and open the music coming tuner, and two recording loops. A system remote control is in- from a CD player." Both cluded. Price: $2,599. Yamaha, Dept. SR, 6660 Orangethorpe converters are designed to Ave., Buena Park, CA 90620. Phone, 800-492-6242. accept a cigital input signal from a CD transport and to feed an analog output M&K Sound The signal to an amplifier, amplifier in the MX-5000THX preamp, o- receiver. Prices: Mark II powered subwoofer 203.2, $300; 205.2, $450. from Miller & Kreisel Sound Monster Cable, Dept. SR, is rated to deliver 400 watts 274 Wattis Way, South San rms. The maximum output of Francisco, CA 94080. its dual 12 -inch drivers is Phone, 650-871-6000. said to exceed THX require- Meridian The Meridian Model 508.24 CD player is ments. Frequency response designed to be compatible with so-called "super CDs" mas- is rated flat within ±2 dB to tered with Meridian's Model 518 processor, which uses psy- below 20 Hz. The black choacoustic-based noise -shaping to yield an effective dy- oak -finish cabinet measures namic range said to be greater than is possible with the 231/4 x 151/2 x 26 inches standard 16 bits. Precision reclocking circuitry is said to elim- and weighs 115 pounds. inate timing -error distortion. The transport has a carbon and Price: $2,695. M&K, Dept. glass -fiber disc clamp that is said to eliminate vibration. Frice: SR, 10391 Jefferson $3,495. Meridian, Dept. SR, 3800 Camp Creek Pkwy., Building Blvd., Culver City, CA 90232. 2400, Suite 122, Atlanta, GA 30331. Phone, 404-344-7111. Phone, 310-204-2854.

MARCH 1998 STEREO REVIEW 17 Case Logic NEWPRO= Case Logic's K 3W-100 and KSW-36 CD organizers are made of Koskin, which is said to look and feel like leather. The KSW-100 can 7-/,_' ,-' hold up to 100 :',Ds along with their book ets and features a carrying handle. IVISB The MSB Digital Director digital switcher has two The KSW-36 can hold 36 Toslink optical and four coaxial digital inputs, and one Toslink CDs and booklets. Both optical and two coaxial digital outputs. Digital inputs are se- organizers feature a zipper lected automatically and routed to both the optical and coaxi- closure and pockets with a al outputs; manual selection is not possible. If two of the digi- soft lining so &at the CD's tal inputs have a signal present, the one at the lower - playing surface is not B&W B&W's Compact numbered input will be selected. Green and amber LEDs indi- scratched. The booklets are Digital Monitor series cate the active and selected inputs. The Digital Director mea- held separately. Prices: includes the CDM7SE, a sures 17 x 6 x 2 inches and weighs 7 pounds. It is available KSW-100, $50; KSW-36, three-way floor -standing finished in a metallic charcoal as shown or in a silver-gray fin- $30. Case Logic, Dept. SR, model that's 373/8 inches ish. Price: $399. MSB, Dept. SR, 14251 Pescadero Rd., La 6303 Dry Creek Pkwy., high, and the CDM1SE and Honda, CA 94020. Phone, 650-747-0400. Longmont, CO 80503. CDM2SE speakers for stand Phone, 800-447-4848. or shelf mounting. All have vented cabinets and are XS Technologies available in black ash, red The Strata Power Command ash, or cherry veneer. Center from XS Technologies Prices (per pair): CDM1SE, can pro:ect up to five elec- $1,100; CDM2SE, $800; tronic devices from damage CDM7SE, $1,800. B&W, caused by power loss, Dept. SR, 54 Concord St., brownouts, or power surges North Reading, MA 01864. and spikes. It contains a Phone, 508-664-2870. microprocessor -controlled uninterruptable power supply

that delivers a constant Cerwin-Vega Ce-win-Vega's HT-CTR25 center- voltage by automatically channel speaker has dual 4 -inch woofers and a 1 -inch invert- decreasing output if the line ed silk -dome tweeter, all of them magnetically shielded. Dual voltage surges or boosting it if ports are said to contribute to the speaker's high sensitivity, the voltage drops. A battery - which is given as 92 dB. Frequency response is rated as 80 backed power supply kicks in Hz to 22 kHz ±2.5 dB, nominal impedance as 8 ohms, and if the line voltage drops power handlir g as 150 watts. The trapezoidal enclosure, further. The self -standing unit which measures 51/4 x 15 x 61/4 inches, is finished in black can be rack -mounted with an woodgrain vinyl and has a removable cloth -covered grille. optional kit, and its control Price: $229. CE rwi n -Vega, Dept. SR, 555 E. Easy St., Simi Val- panel can be mounted ley, CA 93065. Phone, 805-584-9332. remotely. Two models are available. The Strata 800AV ($599) has an 800 -VA battery, the Strata 1000AV ($749) a 1,000 -VA battery. XS Technologies, Dept. SR, 3001 Curry Ford Rd., Orlando, FL 32806. Phone, 888-978-3241.

18 STEREO REVIEW MARCH 1998 As you begin your search for the ideal home theater audio system, Is it the size ask yourself what's important: of the equipment?

MM. 31 0 G.

Or is it the size of the sound?

It has long been assumed that bigger equipment means better sound. Not anymore. Bose® Lifestyle® systems allow you to enjoy better sound with less clutter, less equipment and less complication. A single, 2V high music center replaces an entire rack of electronics and includes a built-in CD player and AM/FM tunec Tiny Jewel Cube® speakers are about the size of a computer mouse. And hidden away out of view is the Acoustimass® module for purer, more natural bass. Your favorite music, movies and sports programs will come to life in a way you simply cannot imagine. Home Theater Tech- nologysummed it up by saying, "Everything is included and carefully thought out.... The performance is awesome."* Please call for your complimentary guide to our Lifestyle' music and home theater systems, and for Bose dealers near you. Then compare the size of Bose sound to the sound of the biggest equipment you can find. _HOME" Better sound though research® 1-800-444-BOSE Ext.586 www.bose.com

0 199' Mr. Corporation J1,198 30M ; Frfmn a review of the Lifesryk." 12 home thorn, system Ultimate NEWPRODUCTS The SW -1212 powered subwoofer from Ultimate Sound has a 150 -watt amplifier, a 10-i ich driver, and a 10 -inch passive radi- ator. It features an auto- matic power -on mode, and its level and crcssover point can be adjusted with the supplied remote control. Oracle Both line -level and speaker - Oracle's Mentor Monitor level inputs and outputs are two-way loudspeaker .00 provided, as is a phase incorporates a 53/4 -inch switch. The SW -1212 woofer that crosses over to measures 19 x ' 5 x 17 a 3/4 -inch tweeter at 3 kHz. inches and is finished in The speaker's frequency anthracite oak vinyl. Price: response is given as 55 Hz Panamax The Panamax MAX 1500 component -style S473. Ultimate Sound, Dept. to 20 kHz ±2 dB and its surge protector is designed for high -end home -theater sys- SR, 138 University Pkwy., sensitivity as 88 dB. It is tems. It orovides ten electrical outlets as well as protection Pomona, CA 91768. Phone, recommended for use with for one telephone line, one coaxial feed from a satellite re- 888-909-9988. amplifiers that can deliver ceiver, and two cable/antenna coaxial lines. Power -line -con- between 25 and 200 ditioning circuitry in the MAX 1500 is said to eliminate up to watts per channel. Dimen- 99.9 percent of all electromagnetic and radio -frequency inter- sions of the trapezoidal ference over its rated bandwidth of 100 kHz to 1 MHz. The cabinet are 133/4 x 73/s x 12 rack -mountable unit has a height of two rack spaces. Fea- inches, and its weight is tures include sequential startup, automatic shutoff, and un- about 20 pounds. Available der/over-voltage protection. Indicator lights show line -fault or finishes are deep red ground -fault conditions. The MAX 1500 has a UL 1449 surge - (shown) and piano black. protector rating of 330 volts and can dissipate 672 joules of Price: S2,100. Oracle, energy with a maximum spike capacity of 40,000 amperes. distributed by ACI, Dept. Price: S449. Panamax, Dept. SR, 150 Mitchell Blvd., San SR, 340 Bourque Blvd., Rafael, CA 94903. Phone, 800-472-5555. Omerville, Quebec J1X 4G1. Phone, 819-868-0284.

Rocktron The HTD1 home -theater decoder is based on Rocktron's proprietary Circle Surround 5.2.5 matrix surround -sound technology. It accepts a stereo input and processes it to create left, center, and right front, left and

right surround, and low -frequency -effects channels. It can AudioControl The AEQ-26 equalizer from Audio- also generate a phantom center channel. Separate decoding Control is designed for use with in -wall speakers. It features modes are provided for music and video. A Wide mode is six bands of equalization centered at 45, 150, 300, and 700 provided to increase the surround -channel separation. Price: Hz and 2.5 and 12 kHz. A programmable bass -cut filter con- S999. Rocktron, Dept. SR, 2870 Technology Dr., Rochester cealed underneath the top cover allows the installer to set the Hills, MI 48309. Phone, 248-853-3055. bottom frequency limit for a speaker to protect it from being damaged by excessive low -bass signals. The factory -preset .1119.400.111,11.110sor nf.1.1MCCVNI limit of the filter is 40 Hz. The AEQ-26 is rack -mountable; a standard front plate is also available. Price: S249. AudioCon- trol, Dept. SR, 22410 70th Ave. W., Mountlake Terrace, WA 98043. Phone, 425-775-8461.

20 STEREO REVIDA, MARCH 1998 SONY

LEGENDARY PERFORMFMCE The Sony DVP-S7000 player has alreacy been hailedas "the reference standard" for DVD performance. Now, thanks to our Dolby Digital ES receiver with Digital Cinema SoundTM and a Trinitron XBR television with component video technology, the S7000 delivers even greater color clarity and stunning sound quality. It all adds up to the ultimate home entertain-nent experience. It's just another way Sony makes great things happen.

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©1991 Sony Eedtbas Yc. M rights reserved. Sony, Digital Camila Sound, Tnnamn, XBR and Maxxnurn lelevisim are trathaancs at Saw Dolby is a trademark at Dolby Laboralones Lansing Capciabon Legends d the Fall ©1994 TnStar Pares, WAS gas resew ed Legerwis of the Fall nowavail* en IND files themselves were written to the Pro- back through my sound card. Next I PERIPHERALSA gram Files directory in my C: drive. If used the Erase program to erase the your PC does not have a CD-ROM dri- disc; it only took a minute or so to ve, you can use the software supplied erase the table of contents, effectively To test how well thelatest CD on a floppy disk to install the parallel - making the disc blank again. species fulfills its promise, I asked two port driver files, then use the CD-RW Then I tried CD Copier, which, as its industry leaders, Hewlett-Packard and drive (and CD-ROM) to complete the name implies, is used to copy data from Ricoh, to send me their latest CD-RW installation. one CD to another. You can use the wares for Windows/Intel PCs so that 1 Following installation, I restarted my CD-RW drive as both the source and could put them through their paces. PC and clicked on the CD -Writer's file destination drive (by swapping discs) or group, which revealed the variety of use your CD-ROM drive as the source. HP SureStore programs that accompanied the drive. When you are copying audio data, The Hewlett-Packard SureStore CD - Specifically, they include five Adaptec however, not all CD-ROM drives sup- Writer Plus 7110e is an external CD- programs: Easy CD Audio to make Red port digital audio extraction; you can RW drive (it is also available as an in- Book discs, DirectCD to make data use the program to test your drive to ternal drive with a standard IDE disk - CDs (using the CD-UDF protocol), CD determine its exact capabilities. This drive interface as the Model 7110i). It Copier to make duplicate or backup release of CD Copier supports copying can write CDs at 2x speed and play discs, CD-RW Eraser to erase discs, and audio CDs only in the Track -at -Once them back at 6x speed. This translates Jewel Case Designer to create CD box mode, which means that it inserts a 2 - into a write rate of 300 kilobytes per second gap of silence between tracks. If second (kB/s) and a read rate of 900 SR -CD -SW IfIPlops:des 11E you are making multiple copies itis kB/s. The average access time is less GertetatI Seems I Breda) Weed best to copy your data to the PC's hard than 350 milliseconds (ms). The drive ALabe ItIMMS disk, then run copies from it;in addi- contains a I -MB buffer. The front pan- Type COTtecoldabie Dec tion, the software recommends that you elis user-friendly. There is an audio use the program to test all data before headphone jack with volume control, a Used space 24.707.072 bytes 23 MB copying it to check validity. CD Copier drawer open/close button, and two I Flee space 663879.6E10 bytes 633 MB worked exactly as advertised, though LEDs to indicate power/busy and writ- reading from and writing to CD was ing. The drive's rear panel has two Capacey 688.586 752 bytes 656 MB painfully slow compared with hard -disk twenty -five -pin D connectors, an audio data manipulation. output jack, and a power input jack. In- Next I used DirectCD to format the cidentally,Hewlett-Packard recom- blank disc; this is necessary if you want mends that you use a PC with at least a to drag and drop files from Windows 75 -MHz Pentium, 16 MB of RAM, and DIIVO E Explorer or other programs. The proc- Windows 95 or NT 4.0. ess takes about an hour. That one-time Physical installation of this external chore aside, it was easy to move files to drive was a snap. I used the supplied the CD-RW, use the "Save As" and cable to connect my PC's parallel print- "Send To" commands, and write, read, er port to the drive's data -input port; the and erase files. In this application, the second, pass -through connector let me CD-RW really is as simple to use as a reconnect my printer. (Hewlett-Packard floppy disk or hard drive. However, warns that you may not be able to use there is a downside to this drag -and - the CD -Writer and the printer simulta- Ricoh's MediaMaster MP 6200S is an drop convenience: after formatting, the neously.) I connected the external pow- internal drive that can be installed in a disc's user capacity was reduced to un- er supply to the drive and an AC outlet. standard disk -drive bay. It is supplied der 500 megabytes. I also burned a CD- There is no power switch; the power with a SCSI interface card. R disc with audio tracks and verified supply switches into standby mode that it would play on a conventional CD when the drive is not in use. Finally, I and disc labels. The drive is also accom- audio player. connected the drive to my PC sound panied by LivePix Photo Collage soft- In addition, I formatted a CD -R disc card's line input via a supplied stereo ware, which allows photos to be stored, (a 15 -second process) so I could drag mini -jack audio cable. enhanced, and manipulated on the PC. and drop computer files; after format- The software portion of the installa- Hewlett-Packard sportingly throws in ting, user capacity was about 611 tion was also uneventful.I loaded the a blank CD-RW (but no CD -R), and I megabytes. Finally, I verified the Sure - supplied CD-ROM into my CD-ROM lost no time in making my first CD- Store 7110e's playback abilities by drive (not the still -to -be -installed CD- RW. I used Easy CD Audio to assemble playing an audio CD, a CD -R, my CD- RW drive!) and followed the on -screen a list of audio files residing on my hard RW, and a variety of CD-ROMs. In installation instructions. There was only drive and to write them to a CD-RW. every case, the drive worked flawlessly. one complication - the software as- Although the 2x writing speed isn't ex- No matter which of its many features I signed the E: drive address to the new actly lightning -fast, the process is quite was using. this was a terrific drive. The drive, which disabled the CD-ROM that painless, and the software even auto- only drawback was that while the Di- was already assigned to the E: drive. It matically inserts blank spaces between rectCD software provided with the dri- was a simple matter, however, to resolve tracks and writes the table of contents ve made creating CD -Rs a snap, it did the conflict by reassigning the CD-RW on the finished disc. The result was a not make it possible to create discs that to the F: drive. The CD-RW program ten -track audio CD-RW that played were compatible with Windows 3.1 or 24 STEREO REVIF 'MARCH 1998 How ToThe Celebratel0 Best Years Of Maldng Speakers Some Of Ever: 2. Give A Best -In -The I- OfferSpecials Mind -Bo: Sound OSysten Surround ms! -Industryq ing No & Oft No Money Davn.Payments.10 -Year Ti 1.999!* Warranty. No interest SOUNDWORKS Save $100 On Ensemble IV Home Theater System- No Payments Till 1999r The country's best -sounding affordable surround system. Ensemble IV Home Theater was recenty rated Best Buyby a leading consumer publication. Sony's Pro Logic receiver has 60/60/60/60 watts per channel. 10 -Year Parts & Labor Warranty on speakers. 2 -year warranty on the receiver. Reg. $599.98

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Save $290 On New Ensemble 11 Home Theater System- No Payments Till 1999r This remarkable system features our outstanding New Ensemble ll sub/sat speakers. Stereo Review said Ensemble II "can only be compared with muchmore expensive speakers." The Surround II 5.1 speakers switch from dipole to bipole operation, for teat surround sound with ay1 recording. Harman Kardon receiver was top -rated over models from Yamaha, Denon. Speakers backed by 10 -Year Parts & Labor Warranty. Receiver backed by a 2 -year warranty. Reg.$1,289.96

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In 1988 we started Cambridge SoundWorks, the country's first factory -direct To Order, Or For A Free Catalog, Call... audio company. In 10 years, we've became one of the most successful consumer electronics companies ever. We're one of the country's leading speaker companies. And our business is growing tremendously. We have lots to celebrate. 1-800-FOR-HIF1 Special Savings. 10 -Year Warranties. (1-800-367-4434) Or Visit hifi.com No Payments Tii 1999! CAMBRIDGE We've succeeded because we make 01 products - designed by Audio Hall of Fame member and Emmy-winner Henry Noss. Audio magazine says we may have "the best value in the world." And during our 10th Anniversary Celebration, that value is even better. When you buy selected surround sound systems, we'll give SOU NDWOR KS you incredible discounts, a 10 -Year Speaker Warranty,*and no payments or Critically Acclaimed. Factory -Direct. interest until 1999! Tel:1-800367-4434 Fax: 61' 3s.92_11 oda 6181 ,Jtsde U.S. or Canada: 617-332-5936

I 1998 Carandge SeudWorks. Inc. Ensemble.111e Suaound. akraeWorks. CenterStage. Taxerasena NOSS andkruArPole are traaernarks aegaterea trademarks of Canaagge Sot/anal,. la. Doty Dotal rsregestead tralernata or DollitAaratares. Fe, auarhfied customers re -1 pilsa 4...1E5 lang the CV/ Cade Can1 Interest acmes at 21.84%. an a caned r1 account S pad mn full use,., 365 says. Asa for setals Specter n Parered Sutraoarer caerea be 10 rear Pats 8, Labor Warrant) amp* CORM( be 2 ',ea Part & Lab:, Wartanry. The Critics Love Our Multimedia Speakers. You'll Love The $50-$100 Savings.

To Celebrate Our 10th Anniversary, We're Offering Incredible Values On Our Highly -Acclaimed Multimedia Speakers...PCWorks, SDundWorks & MicroWorks. And Qualified Customers Don't Pay Til 1999!

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Now you can release the incredible sound hidden in your PC for only $149.99! We've combined our most affordable multimedia speaker system, PCWorks, with the Sound Blaster AWE64 Value 16 -bit sound card, to create a hit -performance, high -value computer audio system. It delivers natural, wide - What The Craics Say About PCWoths... range sound for less than the price of many sound cards alone! "One of the best PC audio values on the market. -CNN Designed by Audio Hall of Fame member Henry Kloss, PCWorks is an amplified subwoofer/satellite speaker system with very realistic, very "big" "Fantastic -sounding speakers...I was stunned by the quality...civilized, lucid output sound...that doesn't take very much desk space. The subwoofer goes on the that accurately reproduces the tiniest details."' -PC Magazine floor. And the tiny satellite speakers can be placed just about anywhere. With "Great sound for unctr $100...a bargain... -Computer Shopper our velcro kit, you can even attach them to your monitor. PCWorks sounds Some of the cleaner sounds you can get for less than 100 bucks. You'll be hard- terrific. When people hear it for the first time, they just smile and shake their pressed to find a beter set of speakers for twice the price." -Boot heads in disbelief. And the critics love PCWorks (see box at right). "Not many speakers :ome close to the marvelous output of this system. And at The Sound Blaster AWE64 Value sound card from Creative Labs uses 16 -bit $99? Forget it. Costs less than $100 and sounds like it's worth $500." -C/NET technology to bring component -quality sound to your PC. It includes an E -mu "A speaker system for $100 that should make some $250 systems nervous."3 Systems' EMU8000 audio processor for wave table synthesis - with 32 -voice -Computer Gaming World polyphony, 128 synthesizer instruments, 10 drum kits, 16 MIDI channels and "Sounds better than some speakers that sell for twice the price...Cambridge 1 MB of built-in sound samples. SoundWorks has broten a price/performance barrier...an excellent system." PCWorks and the Sound Blaster AWE64 Value regularly sell for $99.99 -PC Gamer each. Buy this bundle for only $149.99 and save $50. 3. Save $70 On SoundWorksn PC Magazine's Editors' Choice Winner For 1998!

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For over three years, SoundWorks has been the standard of quality in multimedia speakers. When we introduced it in 1994, it was the only affordable speaker in its category to deliver natural, realistic sound. One of the most highly - reviewed speakers in history. SoundWorks has received coveted Editors' Choice awards from both Macworld and PC Magazine. SoundWorks is an amplfied subwoofer/satellite speaker system that delivers truly great sound - including solid bass - from a computer, IV, boom box, clock radio, portaole CD player...anything with a headphone jack. It's available in black or computer beige. And because it operates on 110 or 12 volts, you can take it anywhere. With our optional rechargeable battery and carrybag, you can even bring it to the beach! Thousands and thousands were sold at our regular once of $219.99. 10

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Now Only $24999 What The Critics Say About SoundWorks... Price Effective 3/1198 "...excepionally good...should be compared to loudspeaker systems that cost about We don't know any multimedia speaker, at any price, that sounds better than $300...$)unds terrific,I can recommend it highly." -Audio MicroWorks. In fact, MicroWorks sounds better than many, many comporent systems we've heard. With 67 watts total, it is much more powerful than most "SoundWorks has the most natural musical timbre." -The New York Times similar systems. In fact, MicroWorks has four times the acoustic output of most "SoundWorks leaves much of the multimedia competition in the dust with rich, clear multimedia speakers. It produces enough natural, accurate, wide -range sound to sound." -Sound & Image fill a living room, a conference room - or even a small auditorium - with beautiful "The best buy in new PC scund systems has to be SoundWorks...the sound is crisp music. It's available in black or computer beige. and clea-...the overall winner in our Naluation...SoundWorks simply sounded like a good home stereo system.'7 -PC Magazine The critics adore MicroWorks (see boxed -in section below). It recently beat all the competition to receive PC Computing magazine's MVP Award. Thousands and "...head and shoulders above the otters we've tried." -MacUser thousand were sold at our regular price of $349.99. "The SoundWorks system is unquestionably the choice for garners who also happen to be au.iiophiles...may just outclass your home hi-fi." -PC Gamer What The Critics Say About MicroWorks...

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"...razor-sharp musical image...natural, balanced sound that compares well nil just with other computer speakers, but with any speakers."' -Computer Shopper 1-800-FOR-HIF1 "In terms of price for performance, it's in a class by itself." -Macworld (1-800-367-4434) Or Visit hifi.com "The best for less...I haven't heard better speakers at this price." -PC World CAMBRIDGE "This is a true audiophile system for garners who want PC speakers that sounc as good (or better) than their home stereos." -PC Gamer "...nothing short of stunning...the most accurate multimedia speakers I've SOUNDWORKS heard...these are really great sounding units."6 -Computer Gaming Maid Critically Acclaimed. Factory -Direct. "- it provided an excellent listening experience across all music types and CD game 311 Needham Street, Suite 102. Newton, MA 02164 Tel:1800-3674434Fax: 6173329229 Canada: 1-800-525-4434 wvnx.hifi.com Outside U.S. or Canada: 617332-5936 sound tracks. This is an indication of Cambridge's extensive hi-fi background aid its C 1968 CarnageSuVac.sUV,*acta-onage Sardaasaeneemaos d bow Sardacns MMI t Fo. paka LISIOMPS purnang r, Cronage Sa.,,PaNs soe.as c seectec swes en at CSW Croon Can C reputation for products that deliver clear and accurate sound." -PC Magazine World NEI* kr' 3 199(4 ref., acmes r 21134,. s raw axar. Dad n A.,thr 365 ass 4.4* Eget to [etas 1Ftsmed Ny^ Pt Map. kri 4 097 & or 6 1938 Uofr 1998 7.9 Dan Po st,ng Co 2 Rec.ta: Co,ve 9,ccce %a 1997 Ccon111 C 1997 1t..)aes Ntasang Co 3 Pawns.] Mr Drum, Gang kre. Ow 1997 Ccopr C 1937/J10as POstrg Co 4 Revntec `nr. PC Yap,. Jan 7 1937 Czoir 1997 LI Das Pubs,,,g Co 5-Recn,teV, Cammer Exam In 1997 Ccorel C 1997 Days Prang Ca &Rev,* ts," Cawr Ga-,9 Won. ktycr 1997 Copt, C 19972,n Das Pos.,g Co7 Rtynal ,17., PC %%game Dec 20 1994 Owe C 1994 L. Dans Put.; og Ca Before you buy stereo for your home, get this catalog! discs. You can also make backup copies PERIPHERALS of CDs and jewel -case inserts. In other words, Easy CD Pro encompasses the same features as the Easy CD Audio Inside other operating systems. For that I had The program supplied with the Hewlett- Perfect to use Adaptec's EZ CD Pro, which Packard drive. DirectCD is the same Home was provided with the Ricoh Media - program as bundled with the Hewlett- Theater master drive. Hewlett-Packard's offi- Packard drive. The Backup Exec pro- cial single -unit blank -media prices are gram is handy for manually or automat- $32 for CD-RWs and $4.60 for CD -Rs, ically archiving large volumes of data; but street prices of both media are using its compression algorithm, you dropping fast. The Model 71 l0e retails can fit up to 1.3 gigabytes (GB) of data for $610 (the 7110i is $495). onto a CD. I played with all of these programs and had no trouble executing RicohMediaMaster any of the software features, and the The Ricoh MediaMaster MP 6200S is Ricoh hardware drive worked without an internal CD-RW drive. Like the fault. For example, I used Easy CD Pro Hewlett-Packard CD -Writer, it reads at to copy tracks from various music CDs 6X speed and writes at 2x speed, and it and burn them into a compilation CD- incorporates a 1 -MB buffer. Its average R. I used noncopyrighted titles for this FREE access time is 350 milliseconds. It reads test; as with any copying, it is impor- all CDs, writes CD -Rs, and rewrites tant to observe all copyrights. Ricoh Stereo Catalog CD-RWs. It also supports the CD-UDF kindly supplies both a blank CD-RW Looking for the latest in specification, allowing simple drag -and - and a blank CD -R. The Ricoh MP audio/video components? drop operation. Its front panel is truly 6200S retails for $699. spartan, with only an audio headphone The Crutchfieldcatalog bringsyou hundreds of top, brand -name components and jack, up/down volume buttons, a drawer driving away makes it easy to compare open/close button, and a power/busy In my opinion, CD-RW is a fabulous them feature for LED indicator. The rear of the drive invention. PCs have always had eras- feature. Infor- sports three connectors: a SCSI connec- able media, but they have been hin- mative articles, tor, an audio output connector, and a dered by low capacity, high cost, or in- helpful tips and power connector. There is also a set of compatibility. The CD-RW format in- exclusive comparison pins for setting the SCSI ID number and stantly removes all these obstacles and, charts guide you through two SCSI terminators. Because it is an in fact, has a sporting chance at replac- the maze of buzzwords. internal drive, the installation of the MP ing the1.44 -MBfloppy disk as the You'll find exactly 62005 is slightly complex. In particular, world's most ubiquitous data carrier. what you need without New' See why DVD I began by physically mounting the dri- CD-RWcan do everything a floppy can paying for more than means movies at home ve in an open PC bay, using the sup- do, but with 400 times the capacity and you want! will never be the same! plied screws. I set its SCSI number and at relatively fast speeds. In other words, Discover the convenience of termination, and plugged in power from it is like a gigantic floppy that bridges shopping from home my PC. I then plugged the supplied PE the gap between audio and computers. Part catalog, part shopper's guide, the Logic SCSI -2 controller card into a 16 - Moreover, the software provided with Crutchfield catalog makes it a pleasure to bit ISA slot in my motherboard and in- these drives lets you expertly assemble shop from home. You can call our well- ternally connected the drive and card and store data, creating either erasable informed sales with a supplied fifty -pin flat SCSI cable. or permanent files; audiophiles who are advisors toll -free, The SCSI card, incidentally, also pro- also PC -savvy will absolutely love the 7 days a week with vides an external SCSI pass -through audio possibilities. any of your product connector, which can be used to connect So, should everyone rush out and buy questions. Plus, external SCSI devices. a CD-RW for their PC? That depends. you'll get your order The Ricoh drive comes with a variety in 2 days or less! The DVD-RAM format is under devel- of bundled software, configured for opment, and although different manu- So what are you Sony, Kenwood, Pioneer, waiting for? Get Windows 95 only. In particular, you'll facturers have already announced in- JVC, Bose, Harman Kardon, find Adaptec's Easy CD Pro and Di- Infinity, Technics, Polk, your copy on its compatible implementations - which Carver. Yamaha, and more! way today! rectCD software, Seagate's Backup Ex- will impede universality - itsstill ec software, and PE Logic's SCSI sup- higher data capacity (2.6, 3.0, or 5.2 GB Call now for your free copy! port drivers. As with the Hewlett- per side, depending on the version) will Packard CD -Writer, it was a fairly easy eclipse that of CD-RW. However, stand- matter to install the software and start alone CD-RW recorders like the Philips burning disks. The programs supplied CDR870 could make CD-RW the next 1-800-955-9009 with this Ricoh drive allow general- 8 a.m. to Midnight (Eastern time), 7 days a week popular consumer audio -recording for- or visit our Web site at purpose data copying, with special pro- mat. Clearly, CD-RW will fit into many visions for audio files. Easy CD Pro http://www.crutchfield.com diverse niches and engender further lets you make audio CDs and data CDs evolutionary developments - sure CRUTCHFIELD as well as mixed -mode and CD Extra signs of a very fit species indeed. L 1 Crutchfield Park, Dept. SR, Charlottesville. VA 22906 30 STEREO REVIEW MARCH 1998 HEAR WHY THE breath of air to fill an CALL NOW AND BOSE® WAVE® RADIO entire concert hall, the MAKE SIX INTEREST - WAS NAMED A waveguide produces room - FREE PAYMENTS. "BEST NEW filling sound from a small enclosure. 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that delivers big, rich, lifelike Wired magazine stereo sound plus a small, said it has a "clean, convenient size. sweet sound that will have your friends THE BEST- wondering where you've SOUNDING RADIO ridden your fancy speakers:' YOU CAN BUY. But you have to hear the Wave radio We think the Wave radio is the best - any room. And with your choice of for yourself to believe it. Call today. sounding radio you can buy. And imperial white or graphite gray, the audio critics agree. Wave radio not only fits in any CALL 1-800-845-BOSE, Radio World room, it fits any decor. EXT. R7223. called the sound When you call, ask about our six-month "simply amazing...a REMOTE -CONTROLLED installment payment plan. (Available on telephone orders only.) Also ask about The speakers ® convenhonal genuine breakthrough CONVENIENCE. FedEx® delivery service. sodros cannot poducelildike boss, which a essential for in improved sound Operate the radio from across the Please specify your color choice when greatsound. quality." Business Week roomwith the credit card -sized ordering the Wave® radio: 0 Imperial White 0 Graphite Gray named the Wave radio remote control. Set six Mr./Mrs./Ms. a "Best New Product AM and six FM Name (Please Print)

of 1994" Popular stations, and Address Science called it switch between Only the Wove coda with City State /II, awash( waveguide speaker "a sonic marvel" them at the touch technology produces highluolity Daytime Telephone sand vnth lull, Id bass and gave it a of a button. You

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dipoles and dolby digital from cassette decks, but it may be possible leach plasticizers out of a vinyl disc, ren- doN undershillti that the surround signal to program your VCR to record audio auto- dering it brittle and subject to damage and %go in Dolby Pro Logic is mono and de- matically if you can instruct it to tape from noise. Most LPs need only a dry brushing signed so that you can't pinpoint the source the line inputs rather than its internal tuner. before every play; liquids should be used of the sound. and that the best surround This would allow multi -event recording but sparingly, and nothing much stronger than speakers spread the sound using bipolar or not, I'm afraid, changing stations. distilled water is really necessary. And I'd dipolar configurations, not aiming it directly Coupling the VCR together with a re- be hesitant to use bathroom tissue, which at the listeners. On the other hand, in Dolby ceiver with a programmable timer would al- can leave fibers behind. A clean dry cloth is Digital you are supposed to he able to tell if low you to record multiple events on differ- better, or a dedicated record brush. And a sound is coming from the left or the right. ent stations. Although timers have disap- never put an LP away wet. and hear it moving from one to the other. In peared from today's receivers, some high - As for CDs, if you can see dust or finger- that case, how do dipolar surrounds per- end separate tuners, such as Onkyo's Integra prints, I'd give them a wipe with whatever form? Should I use regular front -firing 1-909011, have timers. A clock radio with you use to clean your glasses. Otherwise, speakers instead? And. cost aside, should line -level outputs, such as the Bose Wave leave them alone unless they actually skip they he identical to my front speakers? Radio, might also work for you. or cause your player to mute. Renato A. Mertens Finally, if you can figure out how to pro- Santiago, Chile gram it, a universal remote control with "macro" capability and a built-in timer may tape typology A Not everyone would agree, but in my be able to perform the tuner and VCR oper- giN/ re, only purchased blank cassettes experience, the diffuse nature of the ations you need. We with normal, high -bias, and metal surround -channel sound in Pro Logic is formulations (Types I. II. and IV). Is it really largely a product of the time delay in that worth it to buy the premium formulations? channel and its high -frequency rolloff. Us- hanging speakers Is there much improvement in the sound? ing dipolar or bipolar speakers may en- fit A lot of whatve read about speak- Also, whatever happened to Type //t.' hance that effect a bit, but I've never heard ers and their placement has to do Andrew Ludewig a major difference between those and regu- with floor stands. Are there any negatives Sewell, NJ lar front -firing speakers. Similarly, I've to hanging speakers from the ceiling using used both types of surround speakers for cables? Lester Allen A The advantages of the more expen- Dolby Digital and have found that dipoles Hollis, NY IME sive tape types depend on what you work just fine. intend to do. Type II tapes offer better high - As for using identical speakers, that A The positioning of speakers is con- frequency performance and higher output would be ideal if you can manage it. And it cerned with their relationship to than Type I varieties, and metal offers fur- need not cost the earth: five small satellites neighboring surfaces and the main listening ther improvements. But if you are making together with a powered subwoofer can locations. Whether you prop them up on tapes to listen to in the car or on a boombox give you a high degree of tonal consistency stands or hang them from wires makes little at the beach, save your money. without sacrificing anything in terms of difference. The only drawback I can see to Tapes are generally good enough today spectral range. suspending them is that they would proba- that you can make high -quality recordings bly be quite difficult to move if you find even on Type I tape, especially if the deck that their position leaves something to be you're using has Dolby HX Pro headroom audio time -shifting desired acoustically. Perhaps the best thing extension. The important thing is that the IN The radio stations in my area broad - to do is to use makeshift stands to deter- tape be closely matched to the recorder in Vg cast my favorite programs at odd mine their optimal position - mere inches terms of bias, equalization, and output lev- hours, and I would like to record them so can make a difference - and suspend them el. Get that right - the easiest way is to that I can listen at my own convenience. only when you have determined exactly buy a recorder with automatic circuits that Does anyone make an audio recorder that where they should go. optimize the settings for you - and use the can he programmed to record different sta- highest level of noise reduction available, tions at different times of the day? usually Dolby C or Dolby S, and you'll be Thomas J. Hilgen cleaning overkill surprised at the audio quality. Omaha, NE I clean both my compact discs and Type III tape was a dual -layer variety Ws vinyl LPs with isopropyl alcohol and called "ferrichrome." It was expensive to Many early cassette decks had provi- bathroom tissue. I can see they're clean, but make and offered very little advantage over PPs sions for timer recording, and in I worry that I might he doing some damage. the other formulations, so it quickly disap- Japan, where time -shifting audio was popu- Am I? Kevin Kerr peared - but not before its number had lar, there were many models of external Gastonia, NC been assigned. timers to operate these machines. A few showed up on this side of the ocean, but A First, neither type of disc requires If you have a question about audio, send they were all one -event devices, and none n that drastic a cleaning regimen, al- it to 08,A, Stereo Review, 1633 Broad- that I'm aware of had the capability of though you're certainly far from the only way, New York, NY 10019. Sorry, only changing stations. person I've encountered who cleans with questions chosen for publication can be The timer functions have disappeared alcohol. The problem is that alcohol can answered. 32 STEREO REVIEW MARCH 1998 11 WORLD OF CHOICEThe Digital Satellite Sysrr (DSS ) from Sony opeis up a vorld of over 200 channels of digital -rich entertainment with the touch of a button. You'll find what you're looking for faster with a powerful 32 -bit microprocessor and custom menus that easily guide you to your favorite programming. It's just another way Sony makes great things happen.

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©1997 Saly Electronics Inc All rights reserved. Sony and Maximum Television are trademarks of Sony. DS3 registernd trademark of DIRECTV. . a unit of Hugl-Bs Elelronics Corporat on nonproductive arguments about digital transparency and finally move on to ad- Into the Darkness dress far more serious problems. When you listen to audio playback, it isn't the 44.1/16 specification of the stor- \ GUY IS WALKING down the street cations also seem to overlook the fact that age medium that limits your enjoyment. It late one night, and he comes across anoth- neither microphones nor loudspeakers isn't the 95 -dB dynamic range or the 0.2- er guy wandering around under a street- can linearly transduce audio signals span- dB bump in your CD player's 0 Hz to 20 light, hunched over. The first guy asks ning such huge frequency and dynamic kHz frequency response that makes you him, "Did you lose something?" And the ranges, nor can any known musical instru- unhappy. It is, instead, the choice and second guy says, "I lost my car keys!" So ment operate over such ranges. These placement of the microphones, the record- the first guy starts looking too, but he drawbacks have not prevented some en- ing and post -production equipment, and can't find anything. Finally he says, thusiastic individuals from proposing even probably above all the interaction of your "Don't you have any idea where you mightier specifications. including a 192- loudspeakers and listening room. Trust dropped them?" And the second guy kHz sampling rate and 36 -bit words. me, the acoustical nightmare created by waves his hand toward the shadows be- Itis true that there have been a few that interaction, with its cavernous fre- tween the streetlights and says, "Some- lonely voices of reason. Bob Stuart of quency notches and wacky phase rela- where up there." The first guy exclaims, Meridian. one of the most thoughtful men tions, swamps the tiny imperfections in- "Well, then, why aren't you looking in audio, has stated that for optimal trans- troduced by the CD standard. Neverthe- there?" The second guy says simply, "The parency, a new consumer format should less. although I feel uncomfortable about light's better over here." use a sampling rate of 58 kHz and a word proceeding without a clear scientific basis, You might not think that's a particular- length of 18 to 20 bits. Unfortunately, his I agree that the CD storage standard ly funny story, but, unfortunately, it ex- scientific voice has been drowned out by should be abandoned for an improved one. plains a lot about the consumer audio in- the very loud babble of people driven by I say this: Let's agree on a 96/24 stor- dustry. Many companies religiously use anecdotal "evidence" and intent on push- age standard, or something to that effect, what I'll call Streetlight Thinking when ing the easy envelope. and agree to slap people who make inane developing new products. They push the envelope only where it's easy to push, and their so-called "new and improved" products might not be especially useful or Let's agreeona 96-Hz/24-bit welcome, but they persist in this approach anyway, precisely because it's an easy storage standard for DVD-Audio and then way to develop new products. The audio industry is caught in a mon- tackle the really tough problems. umental example of classic Streetlight Thinking. Companies are scrambling to develop a new generation of digital audio Perhaps they are still operating on the comments about its sound quality. Then technology. Although they will (I hope) outdated notion that the audio storage ele- we can tackle the really tough problems add genuine improvements, such as mul- ment is the weakest link in the audio of audio, problems like transducer tech- tichannel surround sound, one of their chain and thus requires the most improve. nology, room acoustics, and the psychoa- principal "improvements" will undoubt- ment. In fact, that hasn't been the case coustics of listening. Let's work to achieve edly be increasing the sampling rate and since the advent of digital audio technolo- transparency at 64 kilobits per second so the word length. For example, many com- gy. Even some new analog technologies, that we can take full advantage of new panies have proposed that any new digital such as cassette tapes coded with Dolby wired and wireless communications chan- audio format should use a sampling rate S, can exceed the performance of the sig- nels for music distribution. Let's figure of 96 kHz and a word length of 24 bits. nal chain that comes before and after the out how the human sensory systems real- They are doing this not because it will storage. But the marketing people, god ly work and design virtual -reality tech- make their products particularly better, love 'em, are champing at the bit to sell nology that is both totally immersive and but because it's easy to do. 96/24 products because they believe that completely persuasive. Let's see, once A 96/24 format will theoretically pro- consumers will buy them simply because and for all, which audio companies are vide a flat frequency response to 48 kHz those numbers are bigger than the CD the parasites who make profits from pseu- and a dynamic range of 144 dB. For standard of 44.1 kHz and 16 bits. do -improvements intechnology, and starters, however, no one has ever scien- Now, don't get me wrong. I am, in fact. which are the industry leaders who dare tifically demonstrated that humans can hesitantly in favor of a 96/24 format. It is to invest the sums needed to make gen- perceive audio information at frequencies my opinion that 44.1/16 is only marginal- uine breakthroughs. Meanwhile, don't be above 24 kHz, so half of the frequency re- ly transparent, and because storage is, in- fooled by companies who shine the spot- sponse would be wasted. Moreover, as we deed, trivially cheap, there's no reason lights on themselves as they announce so- understand the laws of physics, itis not not to enjoy the luxury of obliterating this called revolutionary products. They know feasible to design electrical equipment particular marginality. Most of all, I favor damn well that the truly exciting discov- with a dynamic range of 144 dB. overkill like 96/24 because I hope that eries lie in the unexplored darkness that Proponents of the "improved" specifi- once and for all we can get past all the surrounds them. 34 STEREO REVIEW MARCH 1998 Listening to a TV without SoundBar is like only watching this much of its screen.

Most folks buy a big -screen TV because they want that gigantic movie theater feeling in the comfort of their own Hear the whole picture. living room. Problem is, watching a big screen TV without theater sound is like watching 4th of July fireworks without the "Ka -b am"! That's why we created the Boston SoundBar-Cinema-a complete home theater system in a very convenient package-three small components connected by three simple wires. Just add a TV and a VCR and you're ready to enjoy big, satisfying theater sound. SoundBar even comes with a pre-programmed remote control, allowing you to operate virtually all your components using one handy device. Best of all, it's priced so you can hear the whole picture without emptying your whole bank account. Of course, seeing-and hearing-is believing. You can do a lot of both at your nearest Boston dealer. And, feel free to use the whole TV screen.

Boston SoundBar-Cinema

BostonAcoustics Boston Acoustics 300 Jubilee DrivePeabody, MA 01960 978.538.5000 www.bostonacoustics.com TECHNICAL TALK JULIAN HIRSCH StereoReview DOES YOUR EOU11-ME T NEED UPGRADING? high-fidelity music recording and repro- How I Got duction. My friend Glad- den Houck and I went Started In Audio on to form a partner- ship,andin1957 Hirsch -Houck Labora- FROM TIME TO TIME, Ihave been ing their lunch hours tories came into being. asked by readers how they can become in vigorous discus- We had both left our hi-fi equipment reviewers. Frankly, I have sions of a subject original employer, but always found this to be an unanswerable that was totally un- since we lived only a question, since in my case it came about familiar to me. In- fewmilesapartwe through a unique series of events that are trigued, I soon be- were able to continue not likely to be repeated, although the sto- came immersed in our testing operations ry may be of some interest to today's the arcane world of from our homes, still on readers. woofers, tweeters, and so on, and my life a part-time basis. We For one thing, in my formative years was irrevocably changed. outfitted ourselves with war -surplus test (the mid -1930s) there was no audio (or It started innocently enough. Our em- equipment and began to evaluate new au- video) industry as we now know it. In- ployer had no objections to our using its dio components for various publications stead, we enjoyed acoustic phonographs extensive laboratory facilities, outside of as well as manufacturers and dealers. and 78 -rpm records of distinctly "lo-fi" working hours, for measurements of our After a time, it became obvious to us quality (and with a typical 3- or 4 -minute own amplifiers, tuners, and speakers. The that our testing activities had become too playing time), AM radios, and movie the- theater section of the lab was equipped much for a reasonable part-time opera- aters (black -and -white only). These tech- with loudspeakers (Altec Voice of the tion, yet the income was not enough to nological wonders weretheancestors of today's high-fidelity music and home -the- ater systems. As a youngster, I was a voracious read- It all beganinnocently enough, er with an enthusiastic interest in science and technology. Purely by accident, I was with a group of engineers using our employer's introduced by a friend to the hobby of amateur ("ham") radio, and soon I was laboratory facilities after hours to testour incurably hooked on electronics (a term that had not yet been coined). I became a own amplifiers, tuners, speakers, and so on. licensed ham -radio operator at 14 and am still active as W2KFB today. This interest logically led me to em- Theater, Klipschom, and others) as well support both of us and our families on a bark on an electrical -engineering program as various amplifiers and appropriate test full-time basis. Around this time, Ziff - in college. During my junior year, the equipment. Davis, then the publisher ofHiFi/Stereo Pearl Harbor attack occurred. I enlisted in As time passed, anyone who acquired ReviewandElectronics World, madeus the Army Signal Corps reserve, complet- or built a new piece of audio gear was in- an offer that could not be refused, com- ed my schooling, and two weeks after vited to bring it to the lab for an objective pensating my partner for his share of our graduation went on active duty. In the fol- evaluation. We soon developed a keen assets and securing my services, and the lowing couple of years I received inten- awareness of the "hype" that was then name of Hirsch -Houck Laboratories, for sive training in radar technology at Har- prevalent (and still is, to a greater or less- the exclusive use of Z -D publications. vard, MIT, and the Signal Corps Radar er degree) in promoting a new product. My firstStereo Reviewtest report ap- School. WhileI was en route to the Eventually, four of us decided to pub- peared in the October 1961 issue and Philippines, the atom bombs ended the lish a newsletter - on a strictly part-time dealt with six stereo phono cartridges. war, and I spent the following year with basis - to provide unbiased information The total number of my test reports for my four -man radar maintenance team in about a variety of consumer audio com- this magazine to date is close to 2,400, the occupation of Japan. ponents.The Audio League Reportwas and combined with those done for other Returning to civilian life, I joined the probably the audiophile's equivalent (in publications, the total is around 4,000! research and development staff of a large microcosm) of the established consumer This account may give the reader some conglomerate that was involved with such publications. It reached 5,000 readers, but insight as to why I have never been able diverse projects as medical electronics, unfortunately we were able to produce to give a meaningful answer to those who motion -picture projectors, theater sound only seventeen issues over a three-year ask me how they can become an equip- systems, and Doppler radar navigation period! However, during its brief tenure ment reviewer. The best I can do is to systems, among many others. the Audio League had established a rep- stress that you must be an enthusiast who During the late 1940s I noticed that utation for unbiased and enthusiastic in- is deeply interested and involved in the some of my fellow engineers were spend- terest in the rapidly growing hobby of products and their application. 38 STEREO REVIEW MARCH 1998 For years, we've been telling you where to hide the subwoofer. Finally, we've done it for you.

Introducing the Boston Lynnfield VR970 speaker system with built-in powered subwoofer.

A subwoofer is a wonderful thing.It adds palpable Featuring our patented AMC)" tweeter technology. depth and power to your music and movies. But it also A sleek design. Two built-in 10 -inch subwoofers- subtracts several cubic feet of space from your .iving one in each speaker-powered by dual high -current room (not to mention the hassles of placement, wiring, 100 -watt amplifiers. And our exclusive Active Bass and blending its sound with the rest of your Contour' control. There's a lot more to say about system). "So," we mused, "why not find a the VR970 and its siblings, the VR960 and better place for a sub than sticking out from VR950. And, we've found a good place for behind the couch? Likeinsideapair that,too:yourlocalBoston Acoustics of reference -quality floor -standing speakers?" Dealer. We invite you to stop by and hear the Theresult:The newLynnfieldVR970. new Lynnfield VR" Series for yourself.

BostonAcoustics 300 Jubilee Drive Peabody, MA 01960 978.538,5000www.bostoiacoustics.com II MEI 111111111111MEIMIIIIIE IVIMM9.1IMI!!1!!!!!!BI!!!!MISIIIIV NIL BECAUSE

; 1_4_ L_ Nam It®I I _ I__ L_4_ , NomminaN aNNN -I I- Rmmem. I 1111111111111111011 r samaaa 1 _ __ I__ling 1 1--7-_-J am Ire' _ , aa ril 1 IIIII 1111 M T11IMMI OM 1111111111111 t U CRITICAL DATA.Immo MUSIC ON CD -R IS RECORDED AS MICROSCOPIC MARKS. THE ULTRA -REFINED MSI CYANINE RECORDING LAYER ON TDK CERTIFIED PLUS CD -R HELPS CREATE PERFECTLY FORMED RECORDED MARKS. RESULTING IN LOWER JITTER AND BETTER DATA RETRIEVAL.pik MORE ACCURATE MUSIC. PURE MUSIC IS ACCURATE DATA.

DJ CLUE USES TDK CD -R FOR IT'S SOUND QUALITY AND ULTIMATE RELIABILITY

MNITIBLE TEAS MSi BING SPEEDS CYANINE

0 iDn CJ -R med,a exceeds Orange Book Part II WIIWOGrds testreport

ing position. The front -panel readout is mirrored, mostly, by an equally simple Onkyo TX-DS747 and legible on -screen display, which al- so guides you through the receiver's setup routines. Dolby Digital Receiver At first glance the front panel ap- pears conventional enough, with nu- DANIEL KUMIN, START LABORATORIES merous pushbuttons, two small bass and treble knobs, and a large master These days, just about as soon that is only 0.5 dB "louder" than the volume knob. However, there is a third as I wave bye-bye to the latest 40 -watt surround rating. knob -like appliance, a round spinner low-cost, high-performance The TX-DS747 looks very much like with telephone -dial indentations (re- Dolby Digital A/V receiver, the standard Onkyo design of late. The member those?) that's labeled Smart the UPS truck pulls up with a more faceplate is the usual boring black (or Scan Controller. This is a "data wheel" recent example of the genre to take its elegantly understated black, depending that lets you riffle in both directions place. The latest is the Onkyo TX- on your perspective), with the usual through displays, or through increments DS747, which has a few new twists but barely legible white lettering. The la- or decrements of adjustable parameters, largely follows this manufacturer's fa- bels are actually gray -tinged rather than depending on which of four adjacent miliar pattern for surround -sound re- bright white, which certainly doesn't keys you select. The first of these, Pre- ceivers: solidly adequate power, flexi- help them stand out from the black set, lets the data wheel step through the ble inputs and outputs (and plenty of background. In compensation, the aqua - memorized radio frequencies, and the them), powerful remote control, and a hued display window is encouragingly second, Tuning, gives the wheel con- generally no-nonsense implementation free of silliness, with easily readable ventional manual or auto -seek tuning - and layout. primary data and mostly text -based sec- knob action. The Surround button lets In its multichannel modes the receiv- ondary information, such as surround the data wheel step through the receiv- er is rated to deliver 80 watts to each and tuning modes, though the text is far er's eight surround modes, four of them of the three front channels and 40 watts too small to read from a typical listen - variants of Dolby Pro Logic (DPL), and per channel to the surround outputs, all Parameter lets you spin though all of from 20 Hz to 20 kHz into 8 ohms at FAST FACTS the system and surround setup adjust- 0.08 percent total harmonic distortion ments, which you select by way of the (THD). The less -than -equal power to DIMENSIONS 17% inches wide, 6% Enter key next door. the surround channels is a bit unusual inches higi (including feet), 153/e itches The Smart Scan Controller is a use- these days, at least in this price range. deep fully integrated design that enables you Then again, so is Onkyo's full -range, WEIGHT 29 pounds to page through every one of the TX- low -distortion spec for these outputs. PRICE $1,000 DS747's modes and controls directly at On the whole, it's close to a wash, and MANUFA.:7TURER Onkyo, Dept. SR, the panel, without recourse to the re- our tests confirmed the spec. In stereo 200 Williams Dr., Ramsey, NJ 07446; mote control. For its part, the supplied operation, the power ratings go up to 90 telephone 201-825-7950 remote handset is also unusual. Prepro- watts per channel, but in the real world grammed to control a full A/V system

PHOTOS BY DAN WAGNER MARCH 1998 STEREO REVIEW 39 testreport (there is no "learning" option), it has a converts S -video inputs to composite - not seem to run short of gas significant- vaguely interstellar shape that permits video outputs if necessary. Preamp out- ly before the front -stage trio. All to- it to rest vertically, rising above the puts are provided for all audio chan- gether, the five channels achieved quite usual coffee-table clutter. (You can't nels, including, of course, the low -fre- high levels before beginning to sound operate it that way, though: it falls right quency effects (LFE) or subwoofer noticeably bright, which occurred a bit over.) Keys are logically grouped and channel. There's also a line -level Multi before the onset of discernible harsh- effectively differentiated by shape, Source Pre -Out, which can extend two - ness. With the powered sub connected, background color, and spacing. The channel playback to a remote room headroom was ample. Unless you have handset's intelligent layout and tapered with independent source selection and a really big room or unusually low -sen- shape conspire to put most key func- volume using an optional IR-repeater sitivity speakers, the TX-DS747 should tions under either thumb. system and another remote handset. provide enough surround power for al- On the receiver's back is a fully Inside, the TX-DS747 is arranged most any system with a powered sub. equipped jack panel with inputs for with its heat -sink assembly centered The TX-DS747 was impressively four audio -only components (including fore and aft. A fan in the left -rear cor- quiet in all modes. Dolby Digital play- phono and two full tape loops) and four ner is thermostatically operated to cool back was as free of hum and buzz as sets of A/V inputs, unimaginatively but the power -transistor array under stress- with any 5.1 -channel A/V receiver I've clearly labeled Video -1 through Video - ful conditions. On the test bench the fan yet tried, and the noise remained almost 4; their corresponding front -panel se- proved moderately noisy, but you'd as low in Pro Logic and DSP-surround lector keys are marked VCR -1, VCR -2, never hear it in normal use. programs. Pro Logic sound was out- DVD/TV, and VDP/CAM. Video -1 and Following my usual practice, Iini- standing, with a precision and freedom Video -2 are full A/V input/output loops tially set up the Onkyo receiver to drive from surround -channel "pumping" that that allow recording, and the all three front speakers, a approached the theoretical limits of other pair is play only. The pair of B&W Model 803 Se- this matrixed mode. Dialogue leakage Video -4 jacks are duplicated ries 2 speakers at left and was almost nil, as were any obvious on the front panel for cam- right and a B&W HTM cen- dynamic artifacts or distortions. If the corder/game-player conve- ter speaker, full -range, thus "inner detail" and clarity of ultra -low- nience, with the front con- demanding the maximum level filigree were not equal to that nection - including the from its amplifiers. Later, I from the best stand-alone Pro Logic optional S -video jack - au- evaluatedfull -system and and Dolby Digital preamp/processors, tomatically overriding the crossover performance with they were still well above the average rear -panel set, a most handy the B&W 800ASW powered for A/V receivers. arrangement. subwoofer hooked up as The only lab -test result that calls for Digital inputs responding well. The Citation 7.3 sur- comment is the unusually high linearity both to Dolby Digital sig- rounds I used are moderately error of the system's digital -to -analog nals and to standard, two - low -sensitivity, four -driver (D/A) converters (see "Stereo Perfor- channel PCM bitstreams are speakers with selectable di- mance, Digital Inputs" in the "Mea- provided by three indepen- polar or bipolar operation. surements" box on page 42). While the dent data ports, two coaxial The Onkyo's bass -man- linearity result virtually guarantees both (electrical) and one optical. agement options are just low digital -input noise levels and with- Each can be assigned to any short of complete: the only out -signal EN16 numbers, it also in- one digital source. You can- surround -speaker options are sures that the with -signal EN16 and not have one digital source Yes and No. In Pro Logic EN20 numbers will be worse (higher). feed two input -selector posi- and DSP-surround modes With very critical material, like CD test tions, nor can two inputs be these speakers run full -range tones and the rare well -made "20 -bit" directed to the same source when you set up without a CD, the effect might be audible as selection. There is no AC -3/ subwoofer, but when a Dol- noise and distortion. RF input, so connecting a Dolby Digi- by Digital signal is present they cross In addition to "plain" Pro Logic or tal laserdisc player requires an outboard over at 80 Hz willy-nilly whether or not Dolby Digital for movie surround, the demodulator. (The graphic and captions you're using a subwoofer. Generally, TX-DS747 permits you to dial in three in the owner's manual accompanying this modal change is immaterial since variants labeled Action, Drama, and my early production sample of the TX- most Dolby Surround matrixed mixes Musical. The differences were fairly DS747 clearly show and specify an have little or no surround content below subtle. Note that while this receiver is AC-3/RF laserdisc hookup at the Coax - 100 Hz anyway. The more thought -pro- not THX-certified,it provides both 2 jack, but this dog don't hunt; I tried voking point is that if you wanted to main -channel re -equalization (treble - it.) The digital -input trio wins points connect full -range surrounds for Dolby smoothing) and surround -channel tim- nonetheless. Digital playback, you'd be stymied. bre -matching, two of the salient THX Speaker outputs use reasonably solid I have no quibbles with the TX- processes, and the most valuable ones multiway binding posts all around. Al- DS747's power stocks, whatever its in my book. though the spacing is designed to pre- printed specs. The receiver drove my The receiver's remaining DSP modes vent use of dual banana plugs, if you're full -range setup comfortably and crisply - Hall, Live, Arena, and Stadium - willing to jam them in they'll just bare- in both stereo and surround playback, are all five -channel programs to en- ly fit. Onkyo provides every video con- which sounded very transparent in my hance conentional two -channel music nection in both S -video and composite - 16 x 20 -foot studio. Despite their mod- recordings, but each employs the center video formats, and the receiver even est ratings, the surround channels did and surround channels a bit differently 40 STEREO REVIEW MARCH 1988 A Revelation In High -End Sound!

"I was floored by the Paradigm Active/20 ...this is hands down the best sounding two-way 6-incher I've heard at any price...highly recommended!"

Corey Greenberg, Audio Magazine

"this particular system is...ten leaps forward in terms of performance ...destined to become a legend." - Ions Anunune, Video ,Ilagezme

:"

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Athse(4.50-1.1t Aarsei(154C Actis.120 Anisr1450-ADP sortqire: uwer.paradtg r meet testreport in terms of both frequency contour and over a fairly narrow range, which dis- ate the design rationale: it makes it delay/reverb effects. Suffice to say that courages dialing in too outrageous an harder for casual users to trash your Onkyo's Hall mode is one of the more, effect. While each surround mode re- carefully calibrated settings. well, musical available from a receiver. members your settings for all these Otherwise, using the Onkyo TX- Suitably tweaked, it delivered a surpris- parameters, the relative channel levels DS747 was more than ordinarily pleas- ingly subtle multipurpose surround pre- are fixed globally. In fact, you cannot ant. The Smart Scan Controller roto- sentation that enhanced the music more change center or surround levels even gizmo takes a bit of familiarization, but often than degrading it. temporarily without passing through it does significantly increase flexibility. Speaking of tweaking, the TX- the receiver's circulating -noise setup - And I liked Onkyo's Buck Rogers -style DS747 has a number of user -adjustable balance routine, which in turn requires remote a good deal. It proved very parameters for each mode, including a journey through several layers of on- comfortable to hold and easy to use by venue size, effect and reverb levels, and screen (or Smart Scan) menus. While I feel for the more common functions. reverb time. Each adjustment works consider this a drawback, I can appreci- On the other hand, the lack of any

MEASUREMENTS

DOLBY DIGITAL (AC -3) PERFORMANCE and surround channels, 200 mV for remaining DYNAMIC POWER All data except frequency response obtained speakers; subwoofer off. 8 ohms 121 watts with Dolby Digital signals from Dolby Labs' AC -3 4 ohms FREQUENCY RESPONSE 200 watts test DVD using "small" speaker settings. Except front for maximum output -power and channel - 20 Hz to 20 kHz +0.3, -0.8 dB DYNAMIC HEADROOM center imbalance measurements, the speaker -balance 20 Hz to 20 kHz +0.3, -0.6 dB (re 90 -watt, 8 -ohm rating) surround controls and volume control were set together to 20 Hz to 7.6 kHz +0.1, -3 dB 8 ohms +1.3 dB produce 2.83 volts into 8 ohms from a -20- NOISE (A-wtd) DISTORTION AT RATED POWER dBFS' signal from all channels. All input signals worst case (left front) -71.9 dB (THD,N, 1kHz) were dithered (which sets limits on measured 90 watts (8 ohms) DISTORTION (THD+N, 1 kHz) 0.02% noise and distortion). worst case (center) 0.065% DISTORTION AT 1 WATT 1 kHz) OUTPUT AT CLIPPING (1 kHz, into 8/4 ohms) 8 and 4 ohms SURROUND -CHANNEL NOISE -REDUCTION 0.02% one channel driven (front) 121/186 watts CALIBRATION ERROR one channel driven (surround) 48/80 watts SENSITIVITY (for 1 watt at max volume) re THX level (141.4 mV) 0 dB CD all channels driven 79/146 watts 22.6 mV phono 0.366 mV DISTORTION AT 1 WATT THD+N, 1 kHz) SURROUND -DECODER INPUT -OVERLOAD MARGINS (analog inputs, at 1 kHz) 8 and 4 onrns 0.04% INPUT -OVERLOAD LEVEL front (re 2 -volt input) +2.2 dB (re 2 -volt input, surround off) NOISE (A-wtd) center (re 1.4 -volt input) +2.3 dB CD +10.25 dB worst case (surrounds) -71.0 dB surround (re 1.4 -volt input) +5.2 dB NOISE (re 1 -watt output, A-wtd) EXCESS NOISE (worst case, with signal) CHANNEL SEPARATION CD (200 -mV input) -82.4 dB 16 -bit +4.45 dB worst case (left out, center driven) >38 dB phono (5 -mV input) -76.1 dB 18 -bit +22.3 dB RIAA PHONO-EQUALIZATION ERROR FREQUENCY RESPONSE STEREO PERFORMANCE, (20 Hz to 20 kHz) +0.2, -0.14 dB (worst cases, see text) DIGITAL INPUTS ANALOG -INPUT FREQUENCY RESPONSE left front 20 Hz to 20 kHz +0.25, -0.62 dB Reference volume setting for noise is the same 20 Hz to 20 kHz +0.21, -0.23 dB right surround 80 Hz to 20 kHz +0.13, -3 dB as for Dolby Digital; subwoofer off. CHANNEL IMBALANCE (individual channels set LINEARITY ERROR (at -90 dBFS*) -7.8 dB at 0 -dB gain) 0.7 -dB spread TUNER SECTION NOISE All figures for FM except frequency response SUBWOOFER OUTPUT FREQUENCY (A-wtd, de -emphasis off/on) -75.4/-77.3 dB RESPONSE SENSITIVITY (50 -dB quieting) 24 dB/octave rolloff above -6-dB point at 80 Hz EXCESS NOISE (without/with signal) mono 19.9 dBf 16 -bit +0.65/+4.95 dB stereo 44.1 dBf HIGH -PASS -FILTER FREQUENCY quasi -20 -bit +18.71+19.9 dB RESPONSES NOISE (at 65 dBf) TONE -CONTROL RANGE 12 dB/octave rolloff below -3-dB point at 80 Hz mono -78.2 dB 100 Hz ±8.3 dB stereo -69.3 dB MAXIMUM UNCLIPPED SUBWOOFER 10 kHz ±8.9 dB OUTPUT (either master volume or subwoofer at DISTORTION (THD+N at 65 dBf) FREQUENCY RESPONSE mono -2-dB settings) 6.5 volts 0.08% (tone controls off, 20 Hz to 20 kHz) stereo 0.11% SUBWOOFER DISTORTION (master volumes de -emphasis off +0.26, -0.86 dB CAPTURE RATIO lat 65 dBf) and subwoofer at 0 -dB settings) de -emphasis on +0.26, -1.54 dB 0.9 dB worst -case signal 4% AM REJECTION 36.1 dB THX RE -EQUALIZATION ERROR <1 dB STEREO PERFORMANCE, SELECTIVITY ANALOG INPUTS THX SURROUND TIMBRE -MATCH ERROR alternate -nel 55.3 dB adjacent -channel 3 dB <1 dB OUTPUT AT CLIPPING at 1 kHz) 8 ohms 104 watts PILOT -CARRIER LEAKAGE 4 ohms DOLBY PRO LOGIC PERFORMANCE, 167 watts 19/38 kHz -67.6/-70.2 dB ANALOG INPUTS CLIPPING HEADROOM CHANNEL SEPARATION (1 kHz) 47.1 dB Reference input signal levels for noise and (re 90 -watt, 8 -ohm rating) FREQUENCY RESPONSE distortion measurements are 141.4 mV for center 8 ohms +0.6 dB FM 30 Hz to 15 kHz +0, -0.8 dB dBFS = decibels referred to digital full-scale AM 68 Hz to 3.2 kHz +0.1, -6 dB

42 STEREO REVIEW MARCH 1998 back -lighting is a surprise at this price level. Moreover, the seven -position SUBWOOFER OF slide switch mounted toward the bot- tom, which you have to use to select the source that the remote's prepro- grammed keys will command at any given time, is none too positive in its THE YEAR! click stops, too hard to view in dim home -theater lighting, and too fussy for easy real -world use. Though there Audio/Video are only sequential (up/down) keys for selecting surround modes, the remote International provides direct -access buttons for the Grand Prix tape, tuner, and CD options and sepa- Product of the Year rate sequence keys to select the Video 1-4 inputs. But since the CD and tape keys are not programmable, unless you have Onkyo-brand CD and tape com- Video Magazine's ponents, the remote's transport controls 1997 Home Theater are useless with these sources. System of the Year Onkyo has for some years now pro- duced a couple of very good FM tun- ers, so I had high hopes for the TX- DS747's radio section. Unfortunately, "...A DOWNRIGHT AMAZING PERFORMER. FMJeception was standard -issue re- ceiver -grade, 1998 -style. That means I "...POWERFUL AND IMPRESSIVE." got solidly hi-fi (though very slightly squished -sounding) reproduction from strong local signals, okay but rather "ROCK SOLID AND DEEP AS A CHASM, BASS noisy and mono-ized sound from medi- NOTES CAME THROUGH AS I'D NEVER HEARD um -strength stations, and essentially THEM BEFORE." useless sound from even borderline 4erreeepenie Hun, "fringe" or low -power signals. Howev- er, and rather more unexpectedly, the AM section tuned more stations intelli- gibly than the norm: well over a dozen A[most overnight PARADIGM has become the new standard in high-p..t tormance sulmott:Cr.. As a world leader on the best session. (I checked on three in speaker design, PARADIGM knows what it takes to make great sounding speakers - from best -value budget different days to make sure that freak audiophile speakers right through to sensational PARADIGM' REFERENCE high -end systems. PARADIGM has atmospherics weren't the reason; on the applied this comprehensive expertise to design and build the finest subwoofers available, at any price! And when worst day I got eight stations.) it comes to price, PARADIGM'S value is unmatched. In fact, PARADIGM has been rated #1 in price/value for There's more that could be said 7 consecutive years in surveys conducted by the distinguished trade publication Inside Track°. about the TX-DS747, but much of it is familiar A/V-receiver fare: facilities for Sophisticated bass driver technology utilizes AVS- diecast heatsink chassis' for higher power -handling and much mixed audio/video source dubbing or lower distortion. Patented high -current, high -output amplifiers simulcasts, Onkyo's Intelligent Power ensure full power -delivery at all times. Add solid Management auto-turn-on/off routine, a braced enclosures and full control featt.res and "Midnight Theater" dynamic -range what you have is the pure, clean, articulate control for Dolby Digital programs, the and thunderous deep bass of PARADIGM'S usual bass -boost option ("3-D Bass"), sensational powered subwoofers. and so on. The bottom line seems pret- ty clear-cut: this is a fine -performing, We invite you to visit your nearestAUTHORIZED PARADIGM well-equipped Dolby Digital receiver DIALER and experience these remarkable subwoofers today. from a maker with long experience in The difterence is... simply better sound' the high -end A/V receiver game. While there is now brisk 5.1 -class competition priced a couple of C -notes less, if you care about having superior ambience enhancement for music, a wide array of inputs and outputs, and a powerful re- mote control - to name just three out- standing features of the TX-DS747 - 0 horde Irade Annus, 11,4,, Nunn 4, l'arneleenn Flee erne,.In. &tan (.or, more than you care about simple watts - per -dollar. you will not feel the least bit INN& cheated. ten nen _,..tern en when fine Parader waken nun neen Anew

e..e or Ante Atee. ne AIM elm 2410 Nugent NY 14.102 612-0180 In n anee14l'. en,r 101 Hanle, Rd Wegraridie III 141 'Cl MN 891-2888 rrairadi-rri webrite: susumparadigm.ra THE ULTIMATE IN HIGH-PERFORMANCE SOUNO- testreport

000111 - 010. -woo

of the tray. Slot No. 0 is designated as a single -play slot and has a separate play Technics SLIM/110 button. When the panel is back in its "locked and upright position," you can dimly see the discs through two large 111 -Disc CD Changer windows. Conveniently, you can open KEN C. POHLMANN, HAMMER LABORATORIES the front and swap discs without inter- rupting playback. Although the SL-MC410's control Many, manyyearsago, tant, good and terrible digital -to -analog panel looks somewhat formidable, the shortlyafterdinosaurs (D/A) converters, but there is no reason changer's operation is straightforward. walked the earth, but be- a CD changer can't sound as good as a Besides the usual power, stop, pause, fore Bill Gates owned it, single -play model - or better. and play buttons, there are Skip/Cursor people listened to music that was stored The Technics SL-MC410 is a good and Search/Character buttons, which on discs of black, warped plastic. Be- example of a contemporary jukebox. serve double -duty for disc -navigation cause of the system's inherent frailties, Instead of a loading drawer, the play- and text -entry functions, and other but- audiophiles made incredible sacrifices er's entire front panel can be manually tons that are used to select discs or to coax listenable sound from LPs. For swung open on bottom hinges to reveal groups of discs. In fact, the changer of- starters, changers were verboten. Pur- a horizontal tray with slots. Up to 111 fers several ways to play discs. Hit the ists (including me) would listen only discs can be loaded vertically. The ver- play button, and it will play all of the to single -play turntables because drop- tically mounted disc transport runs loaded discs in sequence, starting with ping one disc on top of another could across the back of the tray, picking off Disc 1. A pair of disc -skip buttons, la- damage them and because the changer discs for playback and returning them beled - and +, can be used to move mechanism was intertwined with the when they're finished. To expedite load- from one disc to another. Alternatively, motor that rotated discs, inevitably de- ing and unloading, you can slide a plas- a row of ten numeric buttons can be grading playback performance. tic carriage to any disc slot from 1to used to select a specific disc. The same Old habits are hard to break, and 110 and use it to flip a disc into or out numeric buttons, along with abutton, some people feel that single -play CD can be used to access specific tracks. players are inherently superior to mul- FAST FACTS To help navigate the changer's disc tiple -disc CD changers. In fact, the collection, the front panel offers a changer mechanism has no bearing on DIMENSIONS 17 inches wide, 61/2 Group Enter button and five Disc how a CD is played. It is relatively easy inches high, 151/4 inches deep Grouping Play buttons labeled A to E. to build a mechanism that simply loads WEIGHT 151/2 pounds When a disc is loaded, you can assign it the appropriate disc onto the disc trans- PRICE $260 to one or more groups. Furthermore, port and then has no further effect (old- MANUFACTURER Technics, Dept. SR, you can assign one of fourteen preset time record jukeboxes did this, in fact). One Panasonic Way, Secaucus, names, such as Ballads, Classic, Hip Of course, there are good and not so NJ 07094; telephone, 800-222-4213 Hop, or Rock, to each disc group re- good CD transports and, more impor- gardless of the discs' physical position

44 STEREO REVIEW MARCH 1998 PHOTOS BY DAN WAGNER "THE FINEST IN -WALL SPEAKERS IN THE WORLD!"

HI-Fl GRAND PIM Audio/Video International AWA R11.1

AucioNideT6 Grand Prix Product of the Year

Sound e.\ Is! 0 n Sound&Vision Critics' Choice Award AWARD

Consumers Digest Best Buy Award

in -wall speakers are not created equal! Although they may look Atisimilar, most often beauty is only skin deep. Paradigm's extra- ordinary AMS in -walls, on the other hand, are designed from the inside out to provide stunning state-of-the-art performance that setsthe standard for high -end in -wall sound!

What does it take to build the world's finest in -wall speakers? Nothing short of better design execution and better materials. Paradigm's advanced AMS in -walls use an aluminum diecasting that combines the

..... ** main chassis, mid/bass driver chassis and tweeter faceplate into a single ultra -rigid unit. And, to ensure a solid high strength installation, we use W-VAV ,A: H;: an ultra -rigid diecast aluminum mounting bracket. / Add Paradigm's world renowned driver technology and seamless dividing networks, and the result is dramatically superior in -wall sound for both music and home theater.

We invite you to visit your nearest AUTHORIZED PARADIGM DEALER and experience these sensational in -wall marvels today. The difference is... simply better sound!

AMA A111111111 ONLAIllibk (lulu!1 1 boy more mfirneanon on the,, fine Paradigm speaker, visa your neareRAI ArliORIZED PARADMM 10AltR Or !erne Al 71105TRFAM. .51191 Box 2410 bitagam Fad. NY 14302 (905) 622-0180 THE ULTIMATE IN HI -;H PERFC, %ICE SOUND In Canada PARA00,11. 10/ Han/an Rd Woodbridge. OA 1413P, (905) 850-2889 5; Paradigm Flterronn, 1nr. . Baran Corp websitr: wsme.paradigm.ra testreport in the jukebox. Once discs are grouped find the disc you're looking for, simply disc transport. The power -supply trans- by music category, you can step through hit play. former is located on another board con- a group to see which disc numbers it Unfortunately, although they are in- nected directly to the AC -power input contains or simply hit the Disc Group- creasingly common, CD -Text discs will and audio -output jacks. Although it ing Play button to initiate playback of be a small minority in most CD collec- won't win any awards for looks, the the discs in that group. tions. Therefore, the SL-MC410 also overall design is a model of cost-con- As with most CD changers, the SL- allows you to create two text messages scious efficiency. MC410 lets you program a sequence of (album title and artist name) for each From a features standpoint, the SL- up to thirty-two tracks or discs (each regular CD using the Search/Character MC410 is well equipped, although I disc counts as one entry). The Direct and Skip/Cursor buttons. Each message would have appreciated a digital audio Programming button lets you add a cur- can be up to thirty-two char- output and a headphone out- rently playing track to the end of your acters long. Any text infor- put. Using an optical sensor, programmed sequence. mation you key in for a par- the changer automatically One of the drawbacks of changers is ticular discisassociated scans the jukebox when the ONO the problem of remembering which with the slot that disc occu- 164 power is turned on, or when disc is which. Technics provides three pies; if you move the disc to V 3,, 414 the front panel has been solutions. For starters, you get a plastic another slot, the message is opened, to determine which binder for storing the liner notes, and automatically deleted. In ad- slots are loaded. This lets it the back of the owner's manual has a dition to disc messages, the Mr. WO. MISOo. bypass empty slots when disc -index table. Then there's CD -Text, display provides helpful di- changing discs, which short- which offers a decidedly higher -tech agnostic messages. 1110C1001 ens access time. Worst -case approach to keeping track of CDs. The supplied remote con- switching time was about 10 CD -Text discs, which began trickling trol duplicates many of the to 11 seconds, and closer into the market about a year ago, con- front -panel features and adds discs were swapped in half tain alphanumeric information in their a few twists of its own. that time. Entering text data table of contents. When these discs are When you press the ID Scan was a chore, but once the in- played, information scrolls across a button, the changer searches 6c.!2-1,951' formation was in memory it CD -Text -capable player's display. You from the beginning of the was easy to locate discs. can use the Text Mode button to call up current track for a loud sec- Although the disc trans- a disc's album title, artist, the title of tion and then plays 10 sec- port rides on rails and is ver- the track currently playing, and timing onds centering around that tically mounted, I could not information. A text -search feature also point. This is useful both for identify- find any flaws attributable to its data lets you search for discs by album title, ing a song and for setting recording delivery. Moreover, it shrugged off typ- artist name, or song title. When you levels when you're making an analog ical shock and vibration. In short, I copy of a disc. The remote also adds re- couldn't assign any sonic penalty to the call and clear buttons, to check or mod- mechanical design. MEASUREMENTS ify the contents of a programmed se- I auditioned a number of test discs, quence, and a random -play button for listening particularly for the Achilles Tests performed by David Ranada; all but tracks from one or all stored discs. Fi- heel of poor conversion - nonlinearity defect tracking, Impact resistance, and disc -change time used Stereo Review's nally, the remote adds a repeat button in the form of distortion or noise in CD -player test disc. that lets you replay a track, a disc, a low-level signals. While I could detect MAXIMUM OUTPUT 2 volts programmed sequence, or a new ran- slight distortion in extremely low-level dom selection. signals played back at very loud levels, FREQUENCY RESPONSE (20 Hz to 20 kHz) Given its $260 price tag, the SL- I judged it to be inaudible under normal normal +0.04, -0.05 dB MC410 performed pretty well on the listening conditions. Next I kicked de -emphasis on (see text)+0.38, -0.19 dB test bench, with only very minor anom- back and enjoyed a wide range of CDs, NOISE LEVEL (A-wtd) alies. Its normal -mode frequency re- switching from rock to jazz to classical normal -93.7 dB sponse was outstandingly flat, but its with the remote control. I would not de -emphasis on (see text) -93.9 dB de -emphasis -mode response was curi- swear on a stack of Bibles that this is EXCESS NOISE (without/with signal) ously lumpy, though never to the extent the most transparent CD player I have 16 -bit (EN16) +1.25/+1.95 dB that it was particularly audible. And ever heard, but its sound quality was quasi -20 -bit (EN20) +16.71/+17.01 dB while the excess -noise results are aver- certainly comparable to that of many DISTORTION (THD+N, 1 kHz) age for a lower -cost CD player, they single -disc players on the market, and it at 0 dBFS* 0.005% didn't reveal the very low-level (all in- will sound just fine to most listeners. at -20 dBFS' 0.043% audible) spurious tones the player gen- The ability to browse among 111 LINEARITY (at -90 dBFS') -3 dB erated on a spectrum plot of back- discs is a real treat. If you stockpile DEFECT TRACKING ground noise. Perhaps these tones are enough food and drink, and the re- (Pierre Verany test disc) 1,250 pm related to its larger than normal lineari- mote's batteries hold out, you can listen IMPACT RESISTANCE top, A; sides, A ty error. nonstop for a week without budging DISC -CHANGE TIME The inside of the SL-MC410's metal from your chair. And if you want to DJ worst case (Disc 1 to Disc 111) 11 sec chassis is devoted almost entirely to the a friend's party, this changer makes a multidisc mechanism. Most of the elec- great carrying case. Either way, the dBFS = decibels re digital full-scale tronics are located on a densely packed Technics SL-MC410 proves the merit

circuit board mounted directly on the of low-cost CD jukeboxes. 46 STEREO REVIEW MARCH 1998 "a true world -class surround speaker" "one of the most versatile products in the history of home theater" AudioVideo Shopper

Winner of an Audio Video Interiors Excellence In Design award, the revolu- tionary SS-150mix Tripole is the ideal surround channel speaker for any sys- tem. Designed for 5.1 multichannel Dolby Digital and DTS, this THX surround speaker is also superb for Pro -Logic and surround music modes. Dozens of pro studios use it to mix multichannel sound. Its groundbreaking Tripole mode com- bines the diffused, spacious sound of dipole speakers with the immediacy and imaging of the best direct radiators-for an unprecedented consistency of sound in the surround channels. It delivers good imaging and spatiality to every listener, regardless of room location. How does it work? It operates as two separate speakers: one a point source direct radiator with a 5 1/4" woofer and 1" tweeter, and the other a dipole with two 3 1/4" poly mid -tweeters. It has two main user -selectable modes: THX dipole or Tripole, plus six custom modes to suit the needs of any program material or Visit your nearest M&K dealer to room. You can even alternate be- hear the ultimate surround speaker. tween modes with a remote switcher! Find out why M&K is consistently Using M&K's exclusive Phase - rated number one in head -to -head Focused crossover (designed for 5.1 competition and is rapidly becoming multichannel's unique requirements), the standard for professional multi- the Tripole produces true uniformity channel sound recording. of surround channel sound throughout Contact us by telephone, mail, the 10391 Jefferson Boulevard Culver City, California 90232 the room, due to its extremely web, or our toll -free fax back for more (310) 204-2854, Fax (310) 202-8782 coherent response over a wide and information and the location of the Fax back (800) 414-7744 tall listening window. nearest authorized M&K dealer. http://www.mksound.com testreport We have reviewed a few such sys- tems, and about the only significant negative aspect we have found has been their relatively high prices, which have probably restricted the format's more widespread use. Fortunately, market- place competition has followed its usu- al course, and one of the more striking results is the new Lynnfield VR960 speaker from Boston Acoustics, priced at only $1,000 a pair. The VR960 is a tall, slender column that's only 61/2 inches wide. At the top of the enclosure is a 41/2 -inch midrange cone driver, operating in a sealed vol- ume, that crosses over at 3 kHz to a 1 - inch aluminum -dome tweeter. In the middle of the cabinet is the bass section, with an 8 -inch driver and its 75 -watt amplifier in a sealed suben- closure. The driver radiates to the side of the cabinet, about 22 inches above the floor. The speakers are sold in pairs, with the subwoofers mounted on oppo- site sides of their cabinets. While there may be slight differences in the low - frequency performance depending on which way the subwoofers face (toward or away from each other), this is not a critical consideration. Experiment if you wish! Each speaker weighs only 50 pounds, making it relatively easy to move around. One advantage of the side -firing sub - woofer is the speaker's remarkably nar- row front profile. This not only makes it fairly inconspicuous when viewed from the front but enhances the hori- zontal dispersion of its sound. Since the narrow cabinet might otherwise tend to be easily tipped over, small outriggers attached to the base minimize that risk. The VR960 is covered by a charcoal - gray cloth -mesh "sock" and has a wood- en top panel with a decorative glossy - Boston Acoustics black finish. The subwoofer's amplifier is built into the bottom rear of the cabi- net with its heat sink facing down. The Lynnfield VR960 Speaker only other visible external feature is a JULIAN HIRSCH, HIRSCH-HOUCK LABORATORIES small plate at the very bottom of the cabinet's rear panel, which has a pair of five -way binding -post terminals that ac- ne of the more distinctive FAST FACTS cept wires, lugs, or single or dual ba- loudspeaker formats to ap- nana plugs, a knob for varying the sub - pear in the last couple of DIMENSIONS 421/4 inches high, 6'/2 woofer level, and a single RCA jack la- years combines a relatively inches wide, 14 inches deep beled LFE, for low -frequency effects. 0slender column enclosure with a built- WEIGHT 50 pounds The LFE jack is intended for use in a in powered subwoofer. Building the FINISH charcoal -gray cloth with glossy 5.1 -channel Dolby Digital home -the- bass module into the speaker enables black top ater system, where the ".1" or LFE the designer to match the mid/high-fre- PRICE $1,000 a pair channel delivers special low -frequency quency part of the system to the sub - MANUFACTURER Boston Acoustics, program content (under 100 Hz) from woofer, eliminates the need for a sepa- Dept. SR, 300 Jubilee Dr., Peabody, MA Dolby Digital -encoded soundtracks. rate subwoofer enclosure, and greatly 01960; telephone, 508-538-5000 The speaker's Active Bass Contour simplifies system setup. control differs in some important re -

48 STEREO REVIEV. MARCH 1998 PHOTOS BY DAVE SLAGLE 4 See Bob Rock. The new Sunfire True Subwoofer by Bob Carver has received reviews that are redefining the subwoofer industry There has never been a subwoofer like it! There will never be a subwoofer like it!*

:ts a small eleven inch square

bass cube, and it shakes the

walls and rattles the

rafters. It has its

own built-in two

E thousand, seven

hundred watt amp! (,) t.r rh Trust Bob. "The True Subwoofer is an achievement on par It Rocks! with the space shuttle r and the twinkle." -Al Griffin Home Theater, Feb, 97

"Talk about floor shaking bass...turned up to maximum level, I don't think there was anything in the house that wasn't shaking, including the concrete foundation!" "Don't,I repeat, don't even think about purchasing another subwoofer without giving the Astonishing True subwoofer a listen" -Josepb M. Cierniak The Sensible Sound, Issue # 60 4ft http: www. sunfirelabs.com "The lowest, flattest, deepest bassIhave EVER heard or measured." -Julian Hirsb neah; Stereo Review, Dec. 96 *Strictly speaking: for 20 Surefire years or until patent expires. Of in U I. 4 /lc L LL cc Ll It 1.1 U LL.

For additional Inlatmotian on Sunlite, tall or write to Sunlit. fotearation PO Ron I 589 Snohomish. WA 98290 012061. 35-4748 Distributed in Canada byKotbon Fading lab Carver is na longer affiliated wet Carver Corr Flat to 18 hew: Powered by 2700 watts testreport spects from the usual subwoofer level We normally request that equipment eraged room response of the two speak- control. Unlike conventional controls, manufacturers supply relevant test data ers was by far the flattest over the ma- which typically vary the woofer level for the review sample, as a check on jor part of the audio range that we have over a relatively wide range of bass fre- possible shipping damage and (in the ever measured, within ±2 dB from 300 quencies, the Boston Acoustics Active case of speakers) the inevitable differ- Hz to 20 kHz. In fact, the same re- Bass Contour principally adjusts the ences in test environment and proce- sponse variation extended down to 20 level of the lower bass frequencies, dures. In speaker measurements, it is a Hz, but that was almost certainly an ef- with a proportionally reduced effect on rare event when our test results closely fect of the room characteristics. Our the upper bass and lower midrange. In resemble the manufacturer's data, al- quasi-anechoic MLS response measure- other words, you can increase deep - though the differences are rarely seri- ment (valid only above 300 Hz), though bass output without creating tubbiness ous and are usually easily explained by typically ragged, also confirmed the in the upper -bass region, which is diffi- the differences in test conditions. VR960's smooth response, varying on- cult to do with many stand-alone sub - The Boston Acoustics VR960 was a ly ±3 dB from 300 Hz to 20 kHz. woofers. striking exception to this rule. The av- We measured the subwoofer's fre-

LYNIVFIELD VR HOME THEATER SPEAKER SYSTEM

Adding center and surround speakers to mechanical resonances between 300 a pair of Lynnfield VR960s will produce a and 500 Hz. full-fledged home -theater speaker sys- Impedance of the VRS speaker is giv- tem. The additional speakers supplied to en as 8 ohms. Its rated sensitivity is 85 us were a VR10 center ($300) and a pair dB SPL with a 1 -watt input, 5 dB lower of VRS surrounds ($350) for a total sys- than that of the VR960 and VR10 speak- tem price of $1,650. ers. To produce the same sound levels, a The VR10 center speaker is unusually VRS will have to be driven by more than complex for its size (17 x 61/2 x 6% inch- three times as much input power. es).It contains a 51/4 -inch cone woofer Even though the VR960's woofer is as well as a 51/4 -inch passive radiator touted as a "built-in subwoofer," it is in flanking a vertically stacked 31/2 -inch the same box as the other drivers, which cone midrange driver and a 1 -inch dome makes the system a full -range speaker tweeter. The stacking of the midrange with all the traditional full -range place- driver and tweeter is responsible for the ment problems. For example, with full - lack of horizontal off -axis "lobing" in the range speakers youusually cannot VR10's response: in other words, its optimize bass performance and imaging sound quality doesn't change much from simultaneously. Using the VR960's LFE one side of the listening area to the oth- inputs changes nothing, because the er. The crossover frequency between the problem stems from having the sub - woofer and the midrange driver takes woofers built in and not separately mov- place at 500 Hz and that between the able. (By the way, use a 100 -Hz crossov- midrange and tweeter at 3.5 kHz. Rated er frequency to drive the LFE inputs impedance is 8 ohms. That works better with the bass perfor- Both the drivers and the crossover mance of the VR10 center and VRS sur- frequencies of the VR10 are very differ- rounds than, say, an 80 -Hz crossover. might want to try pushing the speakers' ent from those used in the VR960, and which is too low.) backs up against the wall. But that several laws of physics would have to be You might have to perform a series of would diminish their unusually good ste- repealed to obtain a really close match experiments to optimize the placement reo imaging and outstanding sense of of their sound qualities. In our tests, of the VR960s. In our room, I was never depth, as revealed by the superspectac- panned pink noise did become notably able to eliminate a deep (10 -dB) midbass ular two -microphone recording of Rich- more colored as it passed through the (150 -Hz) dip at our usual listening posi- ard Danielpour's Concerto for Orchestra VR10, but this effect was far less evident tion without the use of a graphic equaliz- on Sony Classical. with surround -encoded music programs er. The dip gave the VR960s a slightly In multichannel use the full system and movie soundtracks. "forward" sound quality. With the dip was impressive. The DVD of the movie Each VRS surround is a two-way di- equalized out, they produced an impres- Das Boot was especially thrilling, with pole speaker containing a single 4'/2 - sively neutral -sounding balance between the storm sequence far more sonically inch woofer crossing over at 350 Hz to a highs and lows. effective than the music or the depth - pair of 2V2 -inch tweeters. The enclosure Deep -bass performance was very charge explosions, which had limited measures 103/4 x 41/2 x 6 inches and good, with the speakers producing us- dynamic range. Then again, a lifelike dy- weighs 6 pounds. Black or white finishes able output to below 30 Hz (we used the namic range for a depth -charge explo- are available, but the metal grilles are re- finale of Christopher Rouse's Symphony sion would blow out the walls of your lis- movable for painting. You might want to No. 2 on Telarc to exercise the system's tening room. Not even the VR960s fed take them off in any case since in our lows). To get the best midbass perfor- through their LFE inputs could do that! tests the grilles produced several nasty mance, instead of using an equalizer you - David Ranada

50 STEREO REVIEW MARCH 1998 quency response using close micro- phone spacing and with its level control set at the midpoint, which we found to be optimum for our room with most program material. The response was "WOW, I can't within ±2.5 dB from 30 to 120 Hz, which is quite impressive for a single driver whose effective cone diameter is believeyouhave only about 7 inches. The VR960 is magnetically shielded to allow placement next to a TV set. We measured its external flux level at a that CD!" typical (negligible) level of less than 0.2 gauss over most of the cabinet sur- 1 -800 -EVERY -CDis a wholesale music club. Members receive a 950 face, and less than 0.5 gauss at 6 inches page catalog offering virtually every CD in print. All CD's are offered at from the drivers. The system sensitivi- wholesale, which is guaranteed to be the lowest price you can find. We do not send unsolicited CD's, and there is no minimum required to order. ty, measured at the standard distance of Call today or search our catalog now online at http://www.everycd.com. 1 meter with an input of 1watt, was Whatever CD you last bought, chances are we'll have it, too, for less. right on spec at 90 dB. We'll also have the items you've been wanting to buy but couldn't find. Although the nominal system imped- ance is rated at 8 ohms, we measured Good music selection is hard to find. We're not. minimum readings of just under 5 ohms at 300 Hz and 4.5 kHz. The max- imum impedance readings were 27 g00 EVERYco ohms at 20 Hz, 23 ohms at 130 Hz, and 18 ohms at 1.1 kHz. In view of the sys- www.everycd.com tem's high sensitivity, its low minimum impedance should not pose any prob- lems in operation with any properly functioning amplifier. music for the serious collector Impressive as were the measure- ments of the Lynnfield VR960 system, Outside the U.S , please call (203) 972-11.52 or tax (203) 972-1129 they were also completely consistent with what we heard from the speakers with a variety of program material. It is relatively easy to convince oneself that a speaker's sound is very good even if its measurements are characteristically uneven (which can be a reasonable and valid conclusion in view of the un- avoidable and uncertain interactions be- tween the speaker and the room enviro- ment). However, it is not so easy to convince a dispassionate microphone of an acoustic property unless it actually exists, and judging from our printouts, the Audio Precision test system was just as impressed as we were! For us, the final proof of perfor- mance for the VR960, as for any speak- er with claims to deep -bass response, Virtual Reality was the way it reproduced John Rut- in Home Entertainment ter's Requiem (Reference RR-57CD). This system handled the powerful low es a jungla out there in horna-theater Your hunt is over. Audition the Model land' PC -3 and experience sound so real, you bass of that recording in a natural and can almost see it. believable fashion, something we have Let Phase Technology be yoJr guide movies, rrusic and more wit!. previously experienced only from much critically azclaimed home theater, larger and costlier speakers or separate audiophile and in -wall speaker systems subwoofers. The Boston Acoustics Now presenting our latest cowning TECHNOLOGY Lynnfield VR960 is a relatively com- achievement- the user -adjustable Mc=iel pact, attractive, and affordable loud- PC -3 multi -purpose speaker_ It's idea for 1 -888 -PHASE TK front, rear and center use in any www.phasetech.com speaker that can do justice to the most multi -channel sytem. demanding program material - a rare combination of qualities. 0 Phase TechnologyCorp. testreport

C4)pioNEEJ-4 CT07D

4 - At_J t..) -

L)tphal fir ELITE

en tams.10.1. '

HXPro headroom -extension circuitry to insure optimum high -frequency per- Pioneer Elite CD -07D formance with high-level signals. The two separate four -digit tape counters can be switched between Digital -NR Cassette Deck elapsed time and tape -hub revolutions. CRAIG STARK, HIRSCH-HOUCK LABORATORIE:: By pressing the counter switches for both decks simultaneously, the digital NR system can be toggled on or off. Hiss has been an affliction of autoreverse playback of both sides of a The peak -reading vacuum -fluorescent the analog tape cassette since tape, and up to sixteen unattended repe- level display shows seven discrete steps its invention. Various analog titions of the same tape. A blank -sens- between -20 and +3 dB. There is no noise -reduction (NR) sys- ing feature lets you skip selections al- lighting in either cassette well, howev- tems, such as dbx and several flavors of ready recorded by pressing the fast -for- er, so it is nearly impossible to read the Dolby, have alleviated the problem, but ward or reverse buttons an appropriate labels or to see how much tape remains none has conquered the disease. The number of times during playback. on a side. newdigitalnoise -reduction system The microphone and headphone A digital Automatic Level Control used in the Pioneer Elite CT -07D cas- jacks have their own level controls, and Analysis button bypasses the man- sette deck, while not a complete cure, though the overall audio output level ual record -level control and lets the does send tape hiss into a state of virtu- and channel balance are not adjustable. deck determine the optimum overall re- ally total remission. And, best of all, it A direct digital input, surely an innova- cording level from your own short test works both on tapes you make on the tion on an analog recorder, bypasses the recording. This feature cannot be used CT -07Dandon tapes made elsewhere. deck's 20 -bit digital -to -analog (D/A) during tape copying, however. The CT -07D is really two autore- converter. It employs the standard 44.1 - You can restore missing high fre- verse cassette decks in a single case. kHz sampling rate. quencies to older tapes by pressing the Each is a two -head, bidirectional ma- Both decks have switch -selected au- FLEX (Frequency Level Expander) chine with a belt drive. The head as- tomatic optimizing circuits for bias, re- button. This applies a digitally deter- semblies invert for reverse play (Side 2) cord level, and record equalization. mined treble boost of up to 10 dB to the and for recording. When you're dub- Both offer Dolby B and Dolby C noise frequency range from 1 to 10 kHz. If bing, either deck can be the master and reduction in addition to their digital NR the deck senses a sufficient high -end the other one the slave, with digital circuits. Both also incorporate Dolby level in the original tape, the boost is noise reduction being applied to the canceled. tape copy. Dubs can be made at normal FAST FACTS We checked the playback frequency or double speed, and a separate tape - response of the CT -07D with our cali- duplication noise -suppression feature DIMENSIONS 161/2 inches wide, 5 brated IEC ferric and (chrome) test cas- can be used to silence hiss between inches high, 9'/8 inches deep settes (made by BASF). Response was selections. WEIGHT 101/2 pounds quite smooth over the range from 31.5 If desired, two parallel recordings of PRICE $550 Hz to 18 kHz, being down by about 2 the same input can be made simultane- MANUFACTURER Pioneer Electronics, to 3 dB at the ends of the spectrum with ously. A REV(erse) mode pushbutton P.O. Box 1540, Dept. SR, Long Beach, chrome tape. permits continuous ("relay") playback CA 90810; telephone, 800-746-6337 For overall record -playback response from both Deck 1 and Deck 2 in turn, we used recent samples of TDK AD

52 STEREO REVIEW MARCH 1998 PHOTO BY MONICA BUCK U C The Revolutionary Art 4741111116%;

The of the 21st Ceto 11

Mirage usher.; in the sAT The new 0M-3 delivers perfezt millennium with a brmktbrougti imaging thrc ugh its unique4 sound technology so radical is will profiled cabinet design. the revolutionize the wizy the world famous Miragie PTHTM tweeters, thirlks about loudspeakers. extraordinary new mid -range Omaipol sr® goes beword bipolar drivers and :w n built-in 150 watt to create a truly spaerical 360° powered subwoofers. The result is sound radiation palern with no outstanding spaciousness, %ODIC wrap -around distor:ion. accuracy and unparalleled realism.

THE NEW SHAPE OF SOUND. 0 0 ©0 0 0 0 0 0* ONLY FROM MIRAGE!

FOR AN EXPERT DEMONS 'ION Uit AUDIO PRODUCTS INTERN.' .TIONAL CORPORATICN MORE. INFOKMATION ON ROJEI SOME 3641 MCNICOLL PluENUE, SCARROROUC H 'I'I I EAI ER SW.TEMS, VPDT E r_ ON -BRIO, CANADA MIX ICS DE.LER IN YOU TELEPHONE (416)31:1-1600 FAX (416)3i1-1540 testreport (ferric), TDK SA (chrome), and TDK within ±2.5 dB throughout the 20 Hz to ital NR was extraordinary, enabling the MA (metal). At a 0 -dB record level the 20 kHz range. deck to achieve its rated 90 -dB S/N metal tape held up to 14 kHz. As usual, We measured signal-to-noise ratio with ferric tape and Dolby B or C and the ferric and chrome -equivalent tapes (S/N) on an unweighted, A -weighted, with chrome tape with Dolby C. ran into tape saturation and dropped off and CCIR-weighted basis both with Wow -and -flutter figures were accept- below only 10 kHz. At the usual level and without the digital noise -reduction able but not outstanding. Worst -case of -20 dB, measured response was system. The effect of the CT-07D's dig - Dolby tracking error was only1 dB with metal tape but reached 4 dB with chrome -equivalent and 2.5 dB with fer- MEASUREMENTS ric, but these are not unusual values. Sensitivity was normal, but the high- FAST -FORWARD TIME (C-60)100 seconds TDK SA (TYPE II, speed winding times were slow. CHROME -EQUIVALENT) REWIND TIME (C-60) 100 seconds Having fought with the problem of IEC 0-DB DISTORTION SPEED ERROR +0.167%/+2.9 cents* 1.5% tape hiss for four decades of "This METER INDICATION AT 3% THD+N DOLBY TRACKING ERROR (worst cases) technique will finally cure it" claims, +3 dB Dolby B +2.5. -0 dB I've become somewhat skeptical. Yet Dolby C +0, -2 dB SIGNAL-TO-NOISE RATIOS (in decibels, it's hard not to be amazed at Pioneer's with/without digital NR) WOW -AND -FLUTTER success with the CT -07D. Old Dolby B Unwtd A-wtd CCIR/ARM DIN peak -weighted 0.12% prerecorded cassettes sounded fifteen Dolby off 50.5/75.0 59.0/79.050.5/78.5 IEC wrms 0.071% Dolby B 59.0/79.0 67.5/89.060.0/81.5 years younger, and the clearly audible LINE INPUT FOR INDICATED 0-DB Dolby C 65.5/80.0 77.5/90.075.5/82.0 master -tape hiss in the quiet intro sec- 100 mV tion of the Jazz at the Pawnshop CD LINE OUTPUT AT INDICATED 0-DB TDK MA (TYPE IV, METAL) (Proprius) disappeared entirely in a 0.54 volt IEC 0-DB DISTORTION 2.1% tape copy. Though physics declares it METER INDICATION AT IEC-STANDARD impossible, I even made a dub of an METER INDICATION AT 3% THD+N 0-DB +3 dB +3 dB old tape that seemed quieter than the original! TDK AD (TYPE I, FERRIC) SIGNAL-TO-NOISE RATIOS (in decibels, with/without digital NR) Though you can't make a direct AB IEC 0-DB DISTORTION 0.75% Unwtd A-wtd CCIR/ARM comparison between the source and the Dolby off 51.0/74.0 METER INDICATION AT 3% THD+N 58.0/82.049.5/78.0 recorded playback on a two -head deck Dolby B 59.0/79.0 +3 dB 67.5/81.080.0/88.0 like this one, with careful rewinding Dolby C 61.0/78.076.5/88.072.0/81.0 SIGNAL-TO-NOISE RATIOS (in decibels. you can come close. In this close in-

with/without digital NR) 1 cent = one hundredth of a musical spection, some wow -and -flutter was Unwtd A-wtd CCIR/ARM semitone detectable in a steel -guitar passsage, Dolby oft 54.0/76.058.5/82.049.5/75.0 and generallyIdetected a slightly Dolby B 61.5/81.068.5/90.580.5/84.0 Dolby C 64.0/79.077.0/90.073.0/83.0 "edgier" or "harsher" tonal quality on the dubbed versions. This did not seem to be a product of the digital noise re- RECORD/PLAYBACK RESPONSES duction but rather of interactions be- 5 tween the digital system and the regular Dolby circuits. I hasten to add that the 0 effect was very subtle and audible only under critical listening conditions. -5 With older recordings having nor- mally audible tape hiss, the Pioneer NR ' -10 system could at times be heard to mis- tu 0 behave. When a tenor sang a word with -15 a heavy "s" sound, the tape hiss was sometimes insufficiently masked. It -20 would come in and out, somewhat like the "pumping" sometimes heard with

-25 dbx NR systems. The Pioneer system 20 50 100 500 1k 5k 10k20k cuts out whole bands of frequencies FREQUENCY IN HERTZ where it does not detect any musical tones, and these are reproduced entirely PLAYBACK RESPONSES without hiss. But where music and sub- 5 stantial background hiss occur at the ferric chrome same instant, the hiss is detectable. 0 This is not to belittle Pioneer's really stunning accomplishment. If you're in

-5 the market for a cassette deck, the CT - 20 50 100 500 1k 5k 10k 20k 07D is a "must hear" product. After FREQUENCY IN HERTZ hearing it, you may not want to buy

anything else. 54 STEREO REVIEW MARCH 1998 "Five high tech speakers for $500? Believe it! Their remarkable value for this price class makes the Take5 an AVS No-Brainer." Anthony Chiarella Audio Video Shopper, May 1997 rai "For the bucks, you simply can't do better." "...if you want a system that delivers the absolute best home -theater and music performance for less than $1,000, you owe it to yourself tohuntdoss n the Energy Take5 system at your local specialty audio dealer." Corey Greenberg, Stereo Review, September 1997

You've never heard sound this big from a home theater surround system so small. It's the "Take5TM" home theater system. Designed to be fashionable, and engineered to deliver sound quality unheard of in speakers twice their size.

The basics are five high performance shielded speakers; a "Takel" center channel, and four "Take2" satellites. Add an "Energy®" ES Series powered subwoofer, and treat yourself to the ultimate in full range surround performance. The "Take5" system is compact and fully integrated, with a sound so big, your eyes won't believe your ears. 1°. IMO 3641 McNicoll Avenue, Scarborough, TAKE, Ontario, Canada MIX 1G5 LOUDSPEAKERS HOME THEATER Tel. (416) 321-1800 Fax (416) 321-1500 USICAL TROJTI-1'. SYSTEM testreport vent itself is a cylindrical duct, 3 inches in diameter. Above the opening are the input terminals, binding posts that ac- cept wires, lugs, or single or dual ba- nana plugs. The higher frequencies are delivered by a small (3/4 -inch) horn -loaded tweet- er located just above the woofer. The horn's mouth dimensions are approxi- mately 31/4 x 2 inches. The crossover Frequency between the woofer and tweeter, which is not specified, appears to be in the range of 2 to 3 kHz. The DCM KX-7 Series Two's front panel is covered over most of its area by a removable black cloth grille on a wooden frame. A plastic label on the panel identifies some of the speaker's special features, including 125 watts maximum power handling, magnetical- ly shielded drivers, and built-in over- load protection (its specific nature is not described). The speaker's magnetic shielding permits it to be used adjacent to a TV set without picture degradation. Our gaussmeter confirmed this, indicat- ing a negligible flux level (less than 0.5 gauss) at any point on the exterior of the cabinet. Like other DCM speakers, the KX 7 Series Two is very efficient. We mea- ured its sensitivity as 95 dB sound - pressure level (SPL) at I meter, the same as its rating. Such high insensitiv- ity means that the driving amplifier is DCM KX-7 Series Two required to deliver only a few watts to the speaker to generate a volume level high enough to discourage conversa- Speaker tion. Of course, it can be driven to far JULIAN HIRSCH, HIRSCH-HOUCK LABORATORIES greater levels, if desired, without seri- ous distortion or damage. The KX-7 Series Two has a rated The DCM loudspeaker line of- ter) is approximately centered on the nominal impedance of 8 ohms. We fers a broad range of models front panel. The operating design is de- measured considerably lower values at in a variety of designs, featur- scribed as a "modified transmission most frequencies, with readings as low ing both sealed and vented en- line," with the specific features left un- as 3.5 ohms at 20 Hz and 250 Hz, and closures in several variations (including stated. Presumably there is some inter- reaching or exceeding 8 ohms only in acoustic suspension) as well as trans- nal baffling that extends the path length the vicinity of 100 Hz and 2 kHz. In mission -line speakers and powered sub - of the lower frequencies on their way to practical terms, however, this apparent woofers. There are approximately thirty the vent, which augments the direct discrepancy is unlikely to cause any DCM models, most of them priced in bass output of the woofer cone. The problems because of the speaker's high the low to moderate range (between sensitivity. $100 and $400 per speaker). A distin- FAST FACTS With the speakers on 26 -inch stands guishing characteristic of DCM speak- at the front of the room and about 8 feet ers is their relatively high efficiency, apart, we measured the room response DIMENSIONS 183/4 inches high, with sensitivity ratings typically well of the KX-7 Series Two from a micro- : :aches wide, 101/4 inches deep over 90 dB. phone position 12 feet in front of the The KX-7 Series Two is a recent ad- WEIGHT 163/4 pounds left speaker. The average of the re- FINISH textured black dition to the DCM line. It is a compact sponse curves from the left and right PRICE $199 each two-way speaker suitable for stand speakers (the "room response") was mounting; its bass vent opens at the MANUFACTURER DCM Loudspeakers, within +3, -5 dB from 40 Hz to 10 rear, making wall mounting impracti- Dept. SR, 670 Airport Blvd., Ann Arbor, kHz, sloping off at about 6 dB per oc- MI 48108; telephone, 800-878-8463 cal. The nominally 8 -inch woofer (the tave above 10 kHz, which is fairly typi- active cone is only 51/2 inches in diame- cal behavior for this measurement. The

56 STEREO REVIEW MARCH 1998 PHOTO BY MONICA BUCK tweeter's dispersion measured -5 dB at vicinity of 35 Hz, a very creditable per- were especially interested in its low - ±45 degrees off the forward axis above formance for a speaker in this size and bass performance. The rated bass limit 4 kHz, with little further change up to price class. of the KX-7 Model Two is given as 45 15 kHz. These measurements suggest that the Hz, which is quite adequate for most The quasi-anechoic MLS response DCM KX-7 Series Two is an excellent listening. As it turned out, however, its measurement, made with the Audio value at its price. However, as always, subjective bass limit proved to be at Precision System One, produced essen- the proof of a speaker's worth can be least 10 Hz lower. Listening to swept tially similar response curves at dis- obtained only by listening. The essen- signals from test records, at a reason - tances of 1,2, and 3 meters. The smoothed response variation was ±2 dB from 300 Hz to 10 kHz. This measure- ment produces larger cyclic variations We were especiallyinterested at the highest octaves, but the averaged readings were consistent with the low- in the DCM KX-7 Series Two speaker's low- er -frequency values. We measured the speaker's woofer bass performance. It's subjective limit proved response in its lower region by placing separate microphones at the cone and to be at least 10 dB lower than its rating. vent. Combining the two outputs, in proportion to the respective areas of their sources, produced the effective tial sound character of this one was able level, confirmed that response. In frequency response of the woofer/vent smooth and balanced, with no obvious general, that sort of performance is on- system. The bass response was flat emphasis or lack of any specific part of ly available from speakers that have within ±1 dB from 40 to 100 Hz, with the frequency range. But the same can much larger woofers, at corresponding- rolloffs of 6 dB per octave from 90 to also apply to a number of similarly ly higher prices. 280 Hz and approximately 16 dB per priced speakers. The bottom line is that the DCM octave from 40 to 20 Hz. The bass out- In view of this speaker's low price KX-7 Series Two represents an excep- put was clean and usable down to the and modest driver complement, we tional value in today's speaker market.o

B & K's AVP4090 Home Theater Preamp/Processor features today's most advanced surround sound sys- tems including Dolby Pro Logic®, Dolby Digitar(AC-31 and Digital Theater Systems® (DTS). If and when new systems are developed, it can be upgraded at the factory at a nominal cost. So your choice of buying the right home theater component is quite simple. B & K. Great today. Upgradable tomorrow. It's that simple.

MOMB & K Components, Ltd. 2100 Old Union Rd., Buffalo, NY 14227 1-800-543-5252 FAX: 716-656-1291 Web Site: http://www.bkcomp.com Dolby Pro Logic*, Dolby Digital* and AC -Pare trademarks of Dolby Laboratories Licensing Corporation, OW is a registered trademark of Digital Theater Systems, L L.0

MARCH 1998 STEREO REVIEW 67 testreport

Construction is on a familiar Para - sound pattern. The rack -mount front Parasound HCA-1205A panel is unadorned save for a big pow- er -switch rocker and eight tiny LEDs - current -overload indicators for each Five -Channel Power Amp channel and three AC -power status DANIEL KUMIN, START LABORATORIL,_ lights (line, standby, and normal). The amp is fully enclosed by a wraparound top/side cover, a nice feature that elimi- If you're looking for a multichannel frequency response at 5 Hz to 100 kHz nates the skinned knuckles that exposed power amplifier that will add some +O. -3 dB at 1 watt. heat sinks tend to produce. On the rear real depth to your system, try Para - The amp incorporates some classic panel, each channel gets a gold-plated sound's new $1,650 HCA-1205A. "high -end" circuit elements, including RCA -jack input, a heavy-duty multi - Measuring nearly 21 inches from its Class A J-FET input stages, hand - way binding -post output, and a nice big front panel to the rack handles on its matched output -transistor pairs, and input -level trim knob. backside, the five -channel amp is about DC -coupled topology with a protective The only remaining rear -panel fea- as deep as they come - and at 70 anti -meltdown low -end rolloff way tures are the rack -mount handles men- pounds it's a heavy player, too. down at 0.8 Hz. Each channel is served tioned earlier, which are very useful But seriously, folks, this talk of di- by six 50 -MHz output transistors in when it comes time to lift the amp, an mensionality just might be relevant. complementary pairs, and the amp is IEC power -cord socket (Parasound sup- More than one audio pundit has sug- described as running in a "high -bias" plies a three -prong AC cord it describes gested - only half in jest - evaluating Class A/AB mode, meaning thatit as "custom -designed audiophile grade," power amps on a pounds -per -dollar ba- spends a higher percentage of its time whatever that means), a 15 -ampere (!) sis, on the theory that size and weight in full -swing, Class A operation. As ex- fuse holder, and a terminal strip to hook arise from power -supply heft, which pected, this causes the Parasound to up a 12 -volt DC turn -on trigger; Para - translates pretty reliably into electrical idle a bit on the warm side. The HCA- sound's preamps, among others, supply current capability. Which, in turn, may 1205A is also THX-certified by Lucas - this activating voltage. determine whether the amp will be able film, which means it meets some fairly Inside, the HCA-1205A is tidily as- to handle transients with grace. And the stringent parameters for current output sembled. Heavy -gauge, hand -installed more channels on board, the more pow- into low -impedance and reactive loads, wire connects each channel's sub- er -supply meat and potatoes you need noise/hum rejection, distortion, and in- assembly to the output terminals, and to feed all those output stages. put sensitivity, among other things. "audiophile -type" cabling carries input So it's not surprising that the five - signals to each output module. The five channel HCA-1205A wears an athletic - FAST FACTS circuit -board/ heat -sink channel assem- cut suit. It's rated to deliver 140 watts blies are arranged asymmetrically, with continuously into each of five 8 -ohm DIMENSIONS 19 inches wide, 6 inches three surrounding the single massive to- loads, or 200 watts into a quintet of 4 - high (including feet), 16 inches deep roidal power transformer and the re- ohm loads - all at less than 0.03 per- WEIGHT 70 pounds maining two back to back on the right cent distortion. Designed by John Curl, PRICE $1,650 side. Each channel is bolted to the floor one of the forefathers of low transient- MANUFACTURER Parasound, Dept. pan, which is louvered for cooling intermodulation distortion (TIM) audio SR, 950 Battery St., San Francisco, CA (there is no fan) through the heavily design, the FICA -1205A is a very wide - 94111; telephone, 415-397-7100 slotted top and sides. Mechanically, the band design. Parasound specifies its amp is quite solid, with a heavy -gauge,

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See our dealer list on page 60 testreport DefinitivrTechno The Leader in High -Performance Loudspeakers folded -steel pan and bolted -on front - to 8 ohms) was good at 1.7 dB, but note Authorized Dealers and rear -panel assemblies. The top/side that this essentially duplicates clipping cover is thinner but still a heavier - headroom, since the amp exceeds its AK- Alaska Audio: Juneau. Pyramid: Anchorage E- Cohen's Electronics: Montgomery* Kincaid's TV Tuscaloosa. gauge steel than that used in many steady-state power spec so easily. Likis Audio Birmingham, Homewood. Palm Audio Video Huntsville /- Custom Audio Video: Little Rock power amps. Though not particularly When all five channels were driven into - Jerry's Audio Video: Phoenix, Tucson, Scottsdale fancy, the HCA-1205A's finish is neat - Access to Music Larkspur. Accurate AN: S. Lake Tahoe. 8 ohms simultaneously, the HCA- cad Stereo Los Angeles. Audio Concepts: Long Beach, and contributes to its good looks. 1205A still had dynamic headroom of San Gabriel. Bay Area Audio: San JoseBools Camera: Fresno. Christopher Hansen: West LA. Coast Home Ent.: Atascadero On the test bench the HCA-1205A about 1 dB, a small but potentially use- Creative Stereo Santa Barbara David Rutledge Audio Palm Desert. DB Audio Berkeley. Digital Ear Tustin. Dow Stereo Video San Diego easily surpassed all of Parasound's ful reserve. & Suburbs, La Jolla, El Caton, Chula Vista, Escondido. Dynamic specs except for frequency response, Entertainment: Danville. Lee's Home Theater Visalia. Monterey I used the Parasound HCA-1205A to Stereo: Monterey. Paradyme SacramentoPerformance Audio San where I saw a -3 -dB point of 83 kHz power the usual five -speaker home -the- Francisco. Replay Multimedia. Modesto. Systems Design Redondo Beach. Videotek: Westminster. Wilson Home Theater Woodland Hills. rather than 100 kHz - as if that mat- ater suite in my 16 x 20 -foot studio: a c_Q-Listen Up- Denver, Boulder. Colorado Springs. Soundtrack* Denver & Suburbs, Boulder, Ft. Collins, Colorado Springs. ters to anyone. The amp's response was pair of B&W Model 803 Series 2 gi- Al Franklin's: GreenwichAudio Etc: Orange Carstons StereoNideo. Danbury. Roberts Audio Video: New London. The Sound Room also very linear in the ultrasonic band, speakers and a B&W HTM center Westport. Stereo Shop: Hartford. with low -power total harmonic distor- - Myer-Emco. speaker up front, two Citation 7.3 di- oun tolo. ilmington. tion plus noise (THD+N) remaining pole/bipole surround speakers in the - Absolute Sound: Winter Park. Audio Advisors: West Palm Beach. udio Center: Deerfield Beach. Audio Video Stores: Tallahassee. well below 0.1 percent out to 100 kHz. rear. I did all my critical listening with The Audiohouse: Vero Beach. Cooper for Stereo Clearwater. Hoyt Stereo: Jacksonville* Palm Audio: Destine Sound Components: Within the audio band, THD+N re- the 803/2s running full -range in order Coral Gables* Sound Ideas: Gainesville. Sound InsightsFt. Pierce. mained below 0.035 percent at any lev- Stereotypes Daytona Beach. Stuart AN. Stuart. to stress the Parasound amp to the max. gA- Laser Disc Enterprises: Atlanta* Merit TV: Columbus. el below rated power. Noise was not a The results leave me almost nothing Stereo Connections: Valdosta. Stereo Festival Atlanta. 1- Honolulu Home Theater Honolulu. factor, remaining some 85 dB below 1 to say except that the HCA-1205A per- - Audio King Cedar Rapids, Des Wines. Archer Audio Video: t1Dodge Audio Video Logic: Des Moines. Audio Visions: Sioux City. watt on Channel 1, the worst of the lot; formed admirably under all conditions, Hawkeye Audio Iowa City Cedar Falls T- Ultimate Electronics: Boise* Wise Buy Idaho Falls. the remaining channels were all 3 to 5 answering the call of everything I could - Absolute Audio: Rockford. United Audio Centers: Chicago & dB better still. uburbs. Good Vibes: Champaign. Jon's Home Ctr.: Quincy* throw at it. This included the two best Sound Forum Crystal Lake Sundown AIV: Springfield. Power output was generous to a multichannel recordings I know: the IN Classic Stereo: Ft. Wayne, Mishawaka* Kings Great Buys: Evansville. Ovation Audio Clarksville, Indianapolis, Lafayette. fault. The HCA-1205A clippedat 5.1 -channel Dolby Digital recording of 10- Accent Sound Overland Park. Advance Audio: Wichita. Audio Junction Junction City, Manhattan around 200 watts on all channels into the1812 Overture(Dallas Symphony - Ovation Audio. Lexington, Louisville. an 8 -ohm load with one channel driven - Alterman Audio: Metairie. Mike's Audio: Baton Rouge. and chorus) on Delos'sDVD Spectacu- right's Sound Gallery: Shreveport. and at well over 300 watts with a 4 - lar(DV7001) and "String of Pearls" MA- Cookin': Chestnut Hill, Saugus. Goodwins Audio Boston Shrewsbury. Nantucket Sound: Hyannis* Northampton Audio: ohm load. With all five of its channels and other tracks from DMP's DTS-en- Northampton* Pittsfield Radio: Pittsfield. go- Gramophone: Baltimore,. Ellicott City* Myer-Emco Gaithersburg, pumping simultaneously into 8 -ohm coded, 5.1 -channelGlenn Miller Pro- Beltsville, Rockville. Sight & Sounds: Easton. Soundscape Baltimore. Cookin' Portland loads, it still yielded more than 150 ject(MAS CD -802). These stunningly - Pecar's TrorClassical Jazz Holland. Sound North:Iron Mtn.. watts per channel after 10 seconds - Stereopte- Center FRAY- FlintCourt St. Listening Room: Saginaw. dynamic recordings sounded lively, RN- Audio King: Minneapolis & Suburbs. Rochester, St. Cloud. even though my AC line voltage sagged quick, and preternaturally rich in ambi- Audio Designs Winona M Independence AN: Independence Sound Central St Louis to 110 volts (from 117 volts). Dynamic ence, with a level of effortlessness to - Ideal Acoustics Starkville* Mclelland TV: Hattiesburg. avers AN Ridgeland headroom with one channel driven (in - big, snappy transients that I simply do -Avitel: Bozeman. Rocky Mt. Hi FI Great Falls. Audio Video Systems: Charlotte. Audio Visions: Wilmington. not hear from matrixed surround en- udio Lab Wilmington. Now AudioViden Durham, Greensboro, coding or ambience -enhanced playback Raleigh, Winston Salem. Fri City Electronics: Conover. - Custom Electronics Omaha, Lincoln. MEASUREMENTS using digital signal processing - or Cookin' Nashua, Manchester, Newington, Salem, S. Nashua. - Hal's Stereo Trenton. Monmouth Stereo:Shrewsbury. from less capable amplifiers, for that Woodbridge Stereo:West Caldwell, Woodbridge. All data reflect worst -case one -channel Ultimate Elect.' Albuquerque. Sound Ideas: Albuquerque. matter. I fed the Parasound a steady diet - Ultimate Elect.: Las Vegas. Upper Ear: Las Vegas. operation into 8 ohms except as noted. - Audio Breakthroughs: Manhasset. Audio Den: Lake Grove. of effects -heavy movie scenes as well, Fark Music: Albany, Syracuse. Stereo Exchange: Manhattan. OUTPUT AT CLIPPING (1 kHz) from Dolby Digital laserdiscs and Hart Elect. Vestal. Innovative Audio. Brooklyn* Listening Room: 8 ohms 203 watts Scarsdale. Rowe Camera Rochester. Speaker Shop: Amherst 4 ohms DVDs to DTS laserdiscs, which sound- gll- Audio Craft Akron, Cleveland, Mayfield Hts , Westlake Audio Etc.: 326 watts Dayton. Classic Stereo: Lime Ohio Valley Audio: Cincinnati. all channels driven, 8 ohms 157 watts ed almost as good. And the 5.1 -chan- Paragon Sound: Toledo. Stereo Visions: Columbus. Threshold Audio: Heath. Unique Home System Cincinnati CLIPPING HEADROOM nel DTS-encoded CD version of the 01- Audio Dimensions: Oklahoma City. Photo World: Stillwater, Shawnee. Ultimate Electronics: Tulsa. (re 140 -watt rated output) 1.6 dB Allman Brothers Band's classicLive at Qa- Bradford's HiFi: Eugene. Chelsea AN Portland, Beaverton. Fillmore East(HDS 4410)rocked, Kelly's Home Ctr.: Salem. Magnolia HiFi: (Portland,) Beaverton, DYNAMIC HEADROOM Clackamas. Stereo Plant: Bend (re rated output, one channel driven) three -dimensionally. Eik Audio Junction: Pittsburgh. Gary's Elect.: State College. GNT Stem°. Lancaster. Hart Elect. Blakely. Hi Fi House: Abington, 8 ohms (re 140 watts) 1.7 dB I was unable to induce any audible Broomall. Camp Hill, Harrisburg. Listening Post: Pittsburgh. 4 ohms (re 200 watts) 2.2 dB Palmer Audio:Allentown. Stereo Shoppe Selinsgrove, Williamsport. signs of clipping at any sane level, even Stereoland Natrona Heights. The Stereoshop Greensburg. DYNAMIC HEADROOM (re 140 -watt while playing organ music in my sur- FStereo Discount Ctr.: Providence - AN Design Charleston. Custom Theater & Audio Myrtle Beach. rated output, all channels driven) 1.2 dB round preamp's front/rear stereo mode stairs Audio Columbia - Audio King Sioux Falls. Sound Pro Rapid City. DISTORTION (THD+N, 1 kHz, 8 or 4 ohms) (all channels driven equally), the stern- College HIFI Chattanooga. Hi Fi Buys Nashville Now Audio Video at rated power (140 watts) 0.02% noxville. Modern Music* Memphis. Sound Room: Johnson City. est test I know. Nor was I able to as- Au- Home Entertainment Dallas. Houston. Plana Audio Tech: Temple* at1 watt 0.025% dio Video College Station. Bunkley's Sound Systems Abilene. cribe any particular sonic character to Bjorn's. San Antonia High Fidelity. Austin. Broth Clear Dallas. SENSITIVITY 1 watt output) ...100 my the HCA-1205A - precisely what you Marvin Electronics Ft. Worth. Sound Quest: El Paso. Sound Systems: Amarillo. Sound Towne. Texarkana. FREQUENCY RESPONSE want in an amplifier (or almost any oth- 1,11- AudioWorks: Salt Lake City* Crazy Bob's St. George. Stokes Bros Logan. Ultimate Elect.: Layton, Murray, Orem, Salt Lake City 10 Hz to 83 kHz ,c), -3 dB er audio component, for that matter). In vA- Myer-Emco: Falls Church. Tyson's Corner, FairlarAudio Connection: Virginia Beach. Audiotronics Roanoke. Home Media Store Richmond NOISE (re 1 -watt output) -85 dB short, this is a one -box power block WA- Magnolia HiFi Seattle & Suburbs. Tacoma, Silverdale, Spokane. Pacific Sight 6 Sound Wenatchee. Tin Ear Kennewick. CHANNEL BALANCE that is able-bodied enough to serve vir- WI- Absolute Sound & Vision Sheboygan. Flanner's AN Milwaukee. (Channel 3 re any other) +0.3 dB tually any home theater. And where a Hi-Fi Heaven Appleton, Green Bay. Sound World: Wausau. P - Precision Audio RioPiedras. powered sub is also part of the setup, B Sound Calgary, Edmonton, Kelowna, Vancouver & uburbs, Victoria. Advance Electronics Winnipeg. Bay Bloor Radio

you can delete the "virtually." Toronto. Canadian Sound Brampton. Ont Digital Dynamics. Clearbrook. Harrington Audio. Peterborough, Ont Kebecson 60 ' ER EO REVIEW MARCH 1998 Montreal- Lipton's: New Market, Ont Sound Decisions Duncan, B.C.' Sound Room: Vancouver. StereoLand Windsor. Treble Clel: Ottawa. Mexico- Contact Grupo Volumes Mexico City "Ifyouwant truly incredible speakers atanunbelievable price, runand get this system:' -Jeff Ckerun, Home Theater Magazine Definitive's remarkable $799 ProCinema sub/sat system features: Absolute State -of -the -Art Performance for Music and Home Theater Perfection 125 -Watt Powered 10" Subwoofer Cast -Basket Drivers and Aluminum Tweeters Optional Timbre -Matched Center and Rears Dolby AC -3` Ready In Black or White

Home Theater Magazine raves: "Truly awesome...close to perfection...clearly sets a new standard for sub/sat systems" See yir dealer list on the facing page Definitive Tech The Leader in High -Performance Loudspeakers

11105 Ht. Dr. Baltimore. MD 21117*(4101 363-7148 red Trademark pl DIby Laboratories Lkensoty Cugmeirtaiv. Visit ns at http://%%%v..detinitiNetech.com Although 3 small subwoofer ;an be a mighty sm_isfying ?art of you- home theater, a larger, more expers v SU) generally goes lower and plays louder. Wh,r is tut so important? Because re- cording; that actua_ly have deep loud bass wit s-3und more realistic sac have noinlact. If yeu never watch ac- liar/ache-mum moves or listen to mu- sk with 'Jeep bass :such as man mu- sk). you might find that a small ;ub k, real y a] you need. On the other hank, if y3i wart the thrill of being a3le BLOCK play .atirb_ng with big bass jars- is the compose- wroteit,themus:cians played and the recording engineer laid i: down, then a Digger subw-3afer probably. What you'll want. tc2) Can y311 get adequate biz; from large fell -range stereo speaers? If you'reLcky, yes. However, .9>eaker BUSTERS plate ner>i .s critical for good has; per- fcmsance - and be location :1-a: pro. 2 Five potent subs for a thcusand vides the best performance at frequen- cies above 100 Hz is not the sane one E dollars or less by Tom Nousaine that delivers the goods at suo.orzofe-

LEFT TO RIGHT B&W ASW2000, Velodyne VA1012-XII, PSB Stratus SubSonic 3i, Energy ES-12XL, and Klipsch KSW300 frequencies. A subwoofer cal_ solve the ("How Big Is Big Enough?" in Septem- To start,I :laced a microphone to dilemma of speaker positioning - ber 1997). Nov it's time for an in-depth measure sourd-pressure level (SPL) whether to favor deep bass or the upper investigation of several current sub - and frequency response right in the lis- part of the spectrum - for both two - woofers larger than our initial sextet. tening son, which just happens to be 2 and five -channel playback systems. These five subs are bigger and badder, meters from the subwoofer location. The subwoofers tested here are cost more, and take up more floor space Thus, you can compare my SPL mea- priced between $700 and $ ,000 and than those smL11 subs, but in return they surements witt others made at the usu- have drivers that measure 10, 12, or 15 go lower and clay louder. alI -meter distance by subtracting 6 dB inches. They have powerful Lmplifiers, from those numbers. variable electronic low-pass crossovers, I used a ma.dmum-length-sequences and adjustable level and phase controls, REAL -WORLD system analyzer (MLSSA) and an Au- and they automatically power up when PERFORMANCE TESTS dio Control 311150a sound -level meter they sense a signal input. The., all have for all the measurements. The frequen- both line- and speaker -level it puts. and What perform uice aspects are impor- cy response was measured at 85 dB they include feed -through outputs with tant for subwoofers? Basically we want SPL using an MLS signal. Maximum high-pass filtering for satellite speakers. to know whether these subs go low SPL was measured using both actual Some also have bonus features such as enough and play loud enough to repro- program mate-ial and a sequence of special equalization settings, magnetic duce the bass in modem movie sound- tone bursts of iicreasing frequency. We shielding, and crossover bypasses for tracks and music recordings with real- set a 10-rercent distortion limit for the use with receivers and surround proces- ism and authority. I used the same basic tone -burst meEsurements, and distor- sors that have their own subwoofer test method as in the small -sub compar- tion was measured using a separate mi- crossovers. ison, placing the subwoofers, one at a crophone placed in the direct field of In a previous article last spr ng ("Su- time, in the right rear corner of the the subwoofer. The average maximum percubes," April 1997), I compared six room - the location that I've found de- tone -burst SPL produced by each sub small subwoofers. Later, I explained livers the best performance at my lis- in the range from 25 to 62 Hz was not- the pros and cons of moving up in size tening seat. ed, and that number - translated to a smaller room so that the results can be were made in a room that is consider- compared directly to measurements ably larger. My old room was a 12 x given in previous articles - is given in 22 -foot shoebox with a standard 8 -foot the measurements section of the indi- ceiling. The new room has a 13 x 23 - vidual photo boxes. foot floor plan, but it also opens to a Why did we set the maximum allow- staircase and a foyer. It has three open able distortion at 10 percent? When a doorways altogether and an 18 -foot driver is leaving its linear -excursion cathedral ceiling. It is a much larger range or an amplifier is going into clip- space in every way. ping, it will be producing about 10 per- You may have been told that a big cent distortion. Any further increase, room supports bass better than a small and audible distortion rises explosively. one. This is utter nonsense. My new VELODYNE VA1012-XII I also measured the maximum SPL room has less extension and a lower attainable without obvious overload SPL at low frequencies than the smaller HIGHLIGHTS with real video and music programs. I one. I measured the transfer functions Woofer size: 10 inches used the explosion scene from Chapter of the same subwoofer in both rooms, Passive radiator: 12 inches 14 of theClear and Present Dangerla- and from this data I calculated the per- Enclosure: bass -reflex serdisc, "It's Live" from Bass Erotica's formance you can expect from each I/O: line -level and speaker -level Variable low-pass crossover Bass Ecstasy(Neurodisc), the recre- tested sub in both a medium -size room (40 to 120 Hz ) ation of theJurassic Parklawyer -eating and a large one. Phase -reverse switch scene, entitled "Jurassic Lunch," on I also installed each subwoofer in a Auto -on The Great Fantasy and Adventure Al- 7.1 -channel playback systembuilt Finish: black vinyl woodgrain with bum(Telarc), and the black -powder around a Lexicon DC -1 processor and granite vinyl trim legs cannon blasts from Tchaikovsky's1812 Paradigm powered loudspeakers. All of Magnetically shielded Overture(Telarc). These sources all the subs tested here were easily in- DIMENSIONS have very low and very loud bass con- stalled and balanced to the reference 171/2 x 173/4 x 171/2 inches (W x H x D) tent. The maximum SPL measured dur- system. They're discussed below in as- Footprint 2 square feet ing theClear and Present Dangertrack cending order of rated amplifier power. Gross volume 31/4 cubic feet and the average of the maximum SPLs WEIGHT 56 pounds measured for the three music tracks al- so appear in the measurement data. HOW THEY MANUFACTURER'S RATINGS Unlike most loudspeaker measure- MEASURED UP Amplifier power 100 watts continuous ments, these represent real -world per- Frequency response 28 to 120 Hz ±3 dB formance. They were taken in a real Velodyne VA1012-XIIVelodyne is best room at a realistic listening position known for its line of servo -controlled, WARRANTY 2 years and distance, and they predict what low -distortion subwoofers. However, PRICE $699 someone in a real room can expect to the VA1012-XII is part of the compa- hear. By contrast, most speaker mea- ny's lower -price series of subs using MANUFACTURER Velodyne Acoustics, Dept. SR, 1070 surements are made under quasi-ane- passive radiators instead of servomech- Commercial St., Suite 101, San Jose, CA choic conditions precisely toremove anisms. A passive radiator, often called 95112; telephone, 408-436-7270 the effects of the room in which the a vent substitute, is just a cone without measurements are taken. At higher fre- a magnet or voice coil. It works just MEASUREMENTS Frequency response 29 to 80 Hz quencies this is important, because the like a very large, long port, simulating a ±2.5 dB purpose of the measurements is to com- large air mass. In the case of the Low -end extension (at 10% pare speakers and not the rooms they're VA1012-XII, the passive radiator al- distortion): 29 Hz in. But a speaker will never be used lows a bass -reflex box to be tuned in a Tone -burst sequence SPL (25 to 62 anechoically, so such tests do not nec- way that might not be possible other- Hz, 10% distortion limit): 102 dB essarily represent the actual sound any wise given the enclosure's dimensions. Maximum average music SPL (with listener will hear. The VA1012-XII has a 10 -inch pa- no obvious distortion): 105 dB At subwoofer frequencies, however, per -cone woofer driven by an amplifier Maximum soundtrack SPL (Clear things are simpler with respect to in - rated at 100 watts continuous or 250 and Present Danger explosion): 107 dB room performance. Performance maps watts peak. The 12 -inch passive radia- that I made of eight different rooms tor faces downward on the bottom of show that a corner location nearly al- the cabinet. The sub packs a full set of and speaker -level outputs. Other fea- ways delivers the best possible (lowest, features into the relatively small enclo- tures include a phase switch, a crossov- loudest, and smoothest) in -room per- sure. It's the smallest model tested here er bypass option, a detachable line formance. At low frequencies the bass and, at 56 pounds, the lightest, too. cord, input -overload protection, and a reinforcement from the room is very Operating features include a variable special gain -compression circuit that helpful and needs to be included - as 40- to 120 -Hz "dual staggered" low- prevents overexcursion of the woofer. it is in our measurements - to give a pass crossover. Its slope begins at 12 The performance of the VA1012-XII true picture of a speaker's real -world dB per octave and ends at 24 dB per was very good. Frequency response performance. octave. Selectable 80- or 100 -Hz high- was flat - 29 to 80 Hz ±2.5 dB - in One difference from our April 1997 pass filters with slopes of 6 dB per oc- my large room; expect extension to 27 report is that the new measurements tave are available for both the line -level Hz in a smaller room. The crossover 64 STEREO REVIEW MARCH 1998 had a slope of 24 dB per octave at all You can expect to get extension to 26 setting that is continuously variable settings, but the actual crossover points Hz in a smaller room. The crossover from -3 to +3. At the -3 setting, re- did not vary much even at full spin of was unusually precise. Slopes started sponse was trimmed by 1 dB between the frequency control. At the spot out at 12 dB per octave but sharpened 30 and 50 Hz. At the +3 setting, re- marked 40 Hz, the actual crossover to 24 dB as the frequency increased. sponse was boosted by 5 dB from 40 to point was about 70 Hz, and at 120 Hz it The subwoofer had plenty of hum at 70 Hz and cut by 7 dB below 35 Hz. was really about 105 Hz. high volume -control settings. Energy suggests that the control re- Because subwoofers must accommo- The bass -equalization circuit has a duces boominess at the bottom of its date a wide range of input voltage from rotation and adds "oomph" for movies line to speaker level, they often have a at the plus settings. fair degree of hum at higher volume - With a 10 -percent distortion thresh- control settings. The Velodyne VA1012- old, the sub kicked out an average of 98 XII, however, was dead quiet atallvol- dB SPL over the range from 25 to 62 ume settings. Impressive. Hz, and 99 dB when the range was ex- As with all the subs tested here, 25 panded to 80 Hz; expect 101 dB or Hz is the lowest frequency you can ex- more in a smaller room. With program pect to get from the Velodyne with material, it pounded out an average 107 healthy output in a real room. With the dB SPL on my music selections and tone -burst test, it averaged 99 dB SPL 109 dB on theClear and Present Dan- from 25 to 62 Hz and 100 dB from 25 gerexplosion. Again, those aren't new to 80 Hz with no more than 10 percent world records, but it was pretty dam distortion. In a smaller room you can loud and should be perfectly adequate expect 102 and 103 dB, respectively. for most applications. With real program material and with the distortion limits removed, the Velo- B&W ASW2000 Now here is a real dyne whacked out 107 dB SPL on the high-tech piece if I ever saw one. The Clear and Present Dangerexplosion and HIGHLIGHTS rear panel of the B&W ASW2000 averaged 105 dB on the music tracks. Woofer size: 12 inches sports a pair of heat sinks and a large While these are not Olympian numbers, Enclosure: acoustic -suspension round cover for the toroidal transformer they should be quite adequate for most 1/0: line -level and speaker -level used in the power amplifier. It remind- systems. The main limit of this sub - Variable low-pass crossover ed me of an oil filter you'd see on a woofer is its relatively restricted upper - (50 to 100 Hz) race car - really. The bass -reflex en- Variable phase control (0 to 180 range bandwidth. It may not be the best degrees) closure houses a 12 -inch woofer and choice for use with ultra -tiny, limited - Auto -on has a 4 -inch port with a huge flared range satellites. Finish: high -gloss black lacquer top, mouth on its bottom side, which is fabricwrapped cabinet raised above the floor on feet. Energy ES-12XL The Energy ES-12XL DIMENSIONS Flaring the ends of a port reduces is the most stylish of the subwoofers in 173/4 x 21 x 18 inches (W x H x D) turbulence and noise and the tendency this group. The enclosure is fabric - Footprint 21/4 square feet to grunt and blat at high output levels. wrapped with a glossy black top. A re- Gross volume 33/4 cubic feet The B&W's port is flared at both ends, cessed control panel is located on the but the exit mouth has the most grace- WEIGHT 70 pounds rear of the cabinet. The recessed panel ful flare I've seen, with both a function- offers no particular functional advan- ro,AnnwAcTURER'S RATINGS al taper and a stylish dimpled surface. tage, but when it is combined with the Ampifier power 150 watts continuous It's impressive and good-looking, even subwoofer's slick finish and striking di- Frequency response 21 to 100 Hz if it is hidden in normal use. mensions, the Energy ES-12XL has a +0, -3 d13 The amplifier is rated at 175 watts style quotient that surpasses any other WARRANTY 1 year continuous, and the ASW2000 has all sub I've met at any price. PRICE $800 the trimmings except a crossover by- This 70 -pounder brims with features pass and special bass-EQ settings. But as well, including an 80 -Hz high-pass MANUFACTURER don't assume that the lack of a knob or crossover for both the line -level outputs Energy Loudspeakers, Dept. SR, 3641 switch implies that there is no equaliza- McNicoll Ave., Scarborough, Ontario (18 dB per octave) and the speaker -lev- MIX 105; telephone, 416-321-1800 tion. Indeed, the hallmark of good pow- el outputs (6 dB per octave). The ES- ered speakers is clever and functional 12XL includes all the standard features MEASUREMENTS electronic equalization included as a except a crossover bypass, but it sup- Frequency response 28 to 110 Hz design element. That's one reason pow- ±4 dB plies a bass -equalization circuit and a Low -end extension (at 10% ered subwoofers offer so much perfor- rotary phase control. Specifications in- distortion): 28 Hz mance for the money. clude a frequency response of 22 to 100 Tone -burst sequence SPL (25 to 62 The crossover range is 40 to 140 Hz Hz +0, -3 dB and amplifier power of Hz, 10% distortion limit): 101 dB at 24 dB per octave. The 80 -Hz high- 150 watts continuous, 600 watts peak. Maximum average music SPL (with pass filtering slopes off at 18 dB per oc- The crossover is variable from 50 to no obvious distortion): 107 dB tave for the line -level outputs, 6 dB per 100 Hz at 18 dB per octave. Maximum soundtrack SPL (Clear octave for the speaker -level outputs. In operation, the ES-12XL's response and Present Danger explosion): 109 dB The ASW2000 was big in perfor- extended to 28 Hz in my large room. mance. The electronics were dead quiet MARCH 1998 STEREO REVIEW 68 Output with a 10 -percent distortion SPL from 25 to 62 Hz and 101 dB from limit was 103 dB SPL from 25 to 62 25 to 80 Hz in the large room, which Hz. In a smaller room the number would translate to 104 dB for both would be 107 dB SPL. On program ranges in a smaller room. With program material the subwoofer played very material, the sub whacked out an amaz- large as well. Maximum SPL was 115 ing 115 dB SPL on the Clear and Pre- dB on the Bass Erotica disc, with an sent Danger bomb and on the Bass average 114 dB on music. The explo- Erotica CD, and it also averaged 115 sion on Clear and Present Danger de- dB over the three music tracks. This, livered 114 dB at the key listening seat. too, is Olympic -level performance. That is Olympic -level output from a first-class performer.

PSB Stratus SubSonic 3iThis PSB sub follows the high-tech path and HIGHLIGHTS sports a 15 -inch driver and a 300 -watt Woofer size: 12 inches (700 -watt peak) amplifier in a sealed Enclosure bass -reflex; box. Its switched -mode power supply is I/O: line -level and speaker -level so efficient that no heat sinks are re- Variable low-pass crossover quired. The back panel is as flat as the (40 to 140 Hz) Energy sub's except that the dual bind- Phase -reverse switch Auto -on ing posts stick out slightly. Finish: black ash vinyl with black The enclosure footprint is square and cloth grille the overall shape nearly cubical. The Magnetically shielded 64 -pound cabinet, only slightly larger DIMENSIONS than the Velodyne sub's, is completely 213/4 x 193/4 x 21 inches (W x H x D) wrapped with a black fabric sock and PSB STRATUS SUBSONIC Si Footprint square feet capped with a snap -on top available in Gross volume 51/4 cubic feet roughcast or high -gloss black finishes. HIGHLIGHTS Woofer size: 15 inches WEIGHT 77 pounds Unlike the other subs, the PSB has no removable grille, so the front -mounted Enclosure: acoustic -suspension MANUFACTURER'S RATINGS driver is never visible. I/O: line -level and speaker -level Ampifier power 175 watts continuous A full set of input and output facili- Variable low-pass crossover Frequency response 22 to 140 Hz ties is provided, but there is no crossov- (50 to 150 Hz) .Ilt Phase -reverse switch er bypass. The variable (50- to 150 -Hz) Auto -on WARRANTY 5 years low-pass crossover uses fourth -order Finish: black roughcast or high -gloss PRICE $1,000 filters (24 dB per octave). There is an black 80 -Hz line -level high-pass filter with a MANUFACTURER DIMENSIONS slope of 12 dB per octave and a 100 -Hz B&W Loudspeakers, Dept. SR, 54 171/2 x 191/4 x 171/2 inches (W x H x D) Concord St., North Reading, MA 01864; speaker -level high-pass filter. Frequen- Footprint 2 square feet telephone. 800-370-3740 cy response is specified as 24 to 150 Hz Gross volume 31/2 cubic feet ±3 dB, with a -10 -dB point of 20 Hz. MEASUREMENTS The Stratus SubSonic 3i makes seri- WEIGHT 64 pounds Frequency response 29 to 115 Hz ous bass. I measured its frequency re- MANUFACTURER'S RATINGS ±3 dB Amplifier power 300 watts continuous Low -end extension (at 10% sponse as 28 Hz to 132 Hz ±3 dB. In a Frequency response 24 to 150 Hz distortion): 29 Hz smaller room expect a low end of 26 ±3 dB Tone -burst sequence SPL (25 to 62 Hz. At 10 dB down, the response band- Hz, 10% distortion limit): 107 dB width was 25 Hz in the big room, WARRANTY 1 year Maximum average music SPL (with which would translate to 23 Hz in the PRICE $899; $999 in high -gloss finish no obvious distortion): 114 dB smaller space. In a very small room, 20 Maximum soundtrack SPL (Clear Hz may be attainable. MANUFACTURER PSB, Dept. SR, and Present Danger explosion): 114 dB Operationally the PSB sub was won- 633 Granite Ct., Pickering, Ontario LIW derful. The electronic protection made 3KI; telephone, 800-263-4641 it difficult to overdrive the woofer even MEASUREMENTS no matter what the volume setting, and when I ran it hard enough to melt the Frequency response 28 to 132 Hz it kicked butt in the SPL department. At 12 -ampere fuse. When the crossover ±3 dB 85 dB SPL the response extended from said 50 Hz the actual turnover point Low -end extension (at 1()% 29 to 115 Hz (±3 dB) in my large was 50 Hz. At a marked 80 Hz it mea- distortion): 28 dB Tone -burst sequence SPL (25 to 62 room. Expect 26 Hz in a smaller room. sured 75 Hz. At 100 Hz it was about 85 Hz, 10% distortion limit): 104 dB The ASW2000 radiates class in the op- Hz, and at an indicated 150 Hz it was Maximum average music SPL (with erating department. The crossover slope 132 Hz. Slopes were a minimum of 24 no obvious distortion): 115 dB measured 24 dB per octave, as rated, dB per octave. There was a little hum at Maximum soundtrack SPL (Clear and the turnover frequencies closely the maximum volume setting. and Present Danger explosion): 115 dB matched the actual acoustic response. The SubSonic 3i averaged 100 dB 66 STEREO REVIEW MARCH 1998 Klipsch KSW300The Klipsch KSW THE LOWDOWN 300 sub has the biggest woofer (15 inches) and shares the highest amplifier As a class, these five subwoofers show rating (300 watts continuous) in this evolutionary improvements in overall group. It weighs 76 pounds. operating character. It used to be com- The 15 -inch paper -cone woofer faces mon to find considerable interaction be- downward on the bottom of the cabinet. tween level and crossover controls; if Visually the box shows only rounded you reset one, the other was sure to be top edges, the control/amplifier panel affected. Not anymore. All these subs on the rear, and a 4 -inch flared port lo- had remarkable independence between cated near the top front edge of the the two primary controls. right side wall. It looks like a squashed Listening revealed that all five, once 2001monolith with a hole in one side. properly set up, sounded identical with That's either terrific or strange depend- programs that had limited bandwidth ing on your taste. Personally, I like it. HIGHLIGHTS and dynamic bass. If you listen to jazz, Special features include a video - Woofer size: 15 inches blues, pop, light classical, or MOR, any compensation setting plus a line -level Enclosure: bass -reflex of these subwoofers will provide a LFE (low -frequency effects)input. I/O: line -level and speaker -level proper foundation. For example, with High-pass filtering (6 dB per octave) is Variable low-pass crossover the string -bass sound on the Oscar Pe- switchable between 40 and 80 Hz at (40 to 120 Hz) terson Trio'sWe Get RequestsCD Phase -reverse switch line level, and the speaker -level high- Auto -on (Verve), which I used to test the sub - pass filter is fixed at 100 Hz. The cross- Finish: matte black vinyl woofers' ability to reproduce bowed over is variable from 40 to 120 Hz and and plucked bass with spatial accuracy has a slope of 24 dB per octave. Fre- DIMENSIONS and without overload, allfive subs 19x 19Ih x 20 inches (W x H x D) sounded fantastic - and virtually in- quency response is rated as 25 to 120 Footprint 21/4 square feet Hz ±3 dB and maximum output as 112 Gross volume 41/4 cubic feet distinguishable from each other. dB SPL. Sonic differences come with the big - There was only a rough correspon- WEIGHT 76 pounds bass stuff. Lower and louder gives dence between the crossover markings MANUFACTURER'S RATINGS more thrill, a greater tactile sensation, on the Klipsch sub and its actual acous- Ampifier power 300 watts continuous and generally a bigger sound field that tic performance at the lower end of the Frequency response 25 to 120 Hz is more realistic spatially and dynami- crossover range. When the crossover ±3 dB cally. Since these subwoofers had prac- was set to 40 Hz, for example, the actu- WARRANTY 5 years on speaker. 2 tically identical extension, the main al crossover measured about 75 Hz. years on electronics sound -quality distinctions concern their maximum -output capabilities with bass - However, the level and crossover con- PRICE 5999 trols have convenient click stops that heavy recordings. make finding (or refinding) a particular MANUFACTURER The B&W, PSB, and Klipsch subs setting much easier. There was also a Klipsch, Dept. SR, 8900 Keystone are capable of producing substantial fair amount of hum at higher volume Crossing, Suite 1220, Indianapolis, IN maximum output levels. It is only rea- 46240; telephone, 800-554-7724 settings, which could be a problem in sonable that they cost 30 to 40 percent ultraquiet listening rooms. MEASUREMENTS more than the least expensive model The output of the KSW300 was re- Frequency response 30 to 160 Hz tested. Among our test group, the Velo- markable. Response extended from 30 ±4 dB dyne offers the best value, the Energy Low -end extension (at 10% captures the style award hands down as to 160 Hz in my large room, with distortion): 30 Hz somewhat more ripple than usual (±4 Tone -burst sequence SPL (25 to 62 far as I'm concerned, the Klipsch offers dB). You can expect extension to 26 Hz Hz. 10'7, distortion limit): 109 dB the most output but with diamond -in - in a smaller room. Maximum average music SPL (with the -rough demeanor, and the PSB and It got really loud. Indeed, the Klipsch no obvious distortion): 116 dB B&W are killer high-tech, high -output sub produced 92 dB SPL at 25 Hz with Maximum soundtrack SPL (Clear subwoofers. less than 10 percent distortion, and it and Present Danger explosion): 118 dB Manufacturers, it seems fair to say, put out more than 107 dB from 32 to 50 have been doing their homework. Hz, and 112 dB from 50 Hz upward. Prices are remaining stable, output has This performance yielded an average the explosion fromClear and Present moved up a step, and operating charac- SPL of 106 dB from 25 to 62 Hz in my Danger.That is Herculean output. teristics are improving. The typical sub - large room (expect 109 dB in a smaller Of course, the Klipsch sub's response woofer in this price range still fails to room). At lower frequencies the port falls at 24 dB per octave at very low do justice to the very lowest and loud- grunted loudly when I passed its maxi- frequencies, so it couldn't match the est program material available, such as mum output capability. best of the 20 -Hz -extension subwoofers organ music. But for pop, rock, jazz, Because most programs also contain in the world. But it kicks everybody's and most movie soundtracks, they fill a good deal of energy above 40 Hz, the butt from 40 Hz upward. For a video- all the basic requirements and remain Klipsch produced the most output on phile who never plays organ music, the the single easiest, least expensive, and the music tracks of any subwoofer I Klipsch KSW300 has to be among the most effective upgrade path to improve have used. Its average output was 116 top choices on the market today, espe- the performance of a music or home - dB SPL on the music and 118 dB on cially at its price. theater system. MARCH 1998 STEREO REVIEW 87 Audio Fidelity's "Stereodiscs" This early stereo tuner were hailed in a May 1958 from Harman Kardon ad as the "first major (1958) received development in phonograph one channel of stereo records since the broadcasts on AM transition from cylinder to disc." and the other on FM.

The first cover (1958) of The arrival of stereo LPs sparked a proliferation HiFi& Music Review, of two -channel gear. In the August 1958 issue, 111111111111.111 which became HiFi/Stereo Warren DeMotte evaluated the first integrated Review in 1960 and stereo amplifiers, including the Madison Fielding Stereo Review in 1968. Model 320, which sold for $169.95.

FlashStory by Julian Hirsch and David Ranada The year was 1958. Eishenhower was President, and theackWe asked Julian Hirsch to reminisce space age had arrived with the birth of NASA and the about the early days of audio and David launch of the first U.S. satellite a couple of months after Ranada to look back on the technologi- cal milestones of the past twenty or so the Russians put up Sputnik. Hula hoops were the rage, years. Brian Fenton and I scoured back and novelty songs like "Yakety Yak" and "The Purple People Eater" issues in search of intriguing images were common on the radio (thanks to all those baby boomers). Eight of from audio's colorful past. We could have filled the whole magazine with the Top 10 TV shows were westerns, and the first Dick Clark Saturday what we found, but finally we settled Night Show featured Jerry Lee Lewis singing "Great Balls of Fire." on a few dozen snapshots that remind us of just how far we've come. Enjoy! Of course, 1958 was also the year everyone was convinced stereo was all - Bob Ankosko that the first stereo LPs trickled onto that it was cracked up to be, but in an store shelves and the maiden issue of article titled "The Straight Steer on Ste- The First 20 Years Julian Hirsch HiFi & Music Review rolled off the reo," Robert Cobb examined the new Although my audio testing (and later, press. Hi-fi hobbyists weighed the move format: "What we have been lacking... writing) activities began on a part-time from mono to two -channel sound, which is the means for adding depth and per- basis in the early 1950s, they became a required a second (usually large) speak- spective to reproduced sound. This void full-time career when I became associ- er and an electronics upgrade. Not is now filled by stereo." ated with HiFi/Stereo Review (as this

The FCC authorized The open -reel tape ft..-- multiplex stereo recorder was an FM broadcasting in audiophile staple in 1961, enabling the 1950s and 1960s. 1.1.4ir ... listeners to tune in The Ampex Model stereo from 1070(1964) cost S399. . a single FM station. Shure's classic V-15 the AUC Model 1000 phono cartridge Garrard was a popular "pushbutton" receiver cost $62.50 in 1964. brand of turntable from 1968 was one A recently revived in the 1960s. The of the first to otter version, the V15VxMR, Model 60 Mkll cost electronic tuning and lists for $300. $74.50 in 1967. radio presets.

68 STEREO REVIEW MARCH 1998 AlpbaSonic't 'Surround - Sound" speAser Do-it-yourself kits were (1959) had .n 8 -inch popular in the 1950s and wocfer and an 1960s. The Heathkit upward -firing tweeter WA -P2 preamp (1958) satc to radiate sound sold for S19.75. a fun 360 degrees. In a 1960 ad, H. H. Scott touted its Model 399 Early sub/sat (1958) the Stephens Six "Jumbo bookshelf as the first Stereodot system converted a full -range speakers' from 1959, -all-in-one ampituner mono speaker (middle) into a three - including the classic combination.. speaker stereo rig in which the big box Acoustic Research with separate - reproduced only bass frequencies AR -3 (top right). component quality. -

magazine was then known) in 1961. most audio components from kits. Many the largest manufacturers of high-fideli- My early test reports included the Har- of my early test instruments, as well as ty speaker systems. man Kardon Citation III power amplifi- my Heath, Dynaco, and Eico compo- The Dynaco A-25 speaker we re- er and the KLH 10 speaker, both very nents, were assembled from kits. Our viewed in June 1969 became one of good even by today's standards. reviews in the 1960s regularly dealt David Hafler's most popular models Thirty-seven years and thousands of with kit -assembled components. thanks to its rare combination of excel- tests later, I am looking back on what In Jul)1964 we reported on the lent sound, compact size, and an afford- has been the most enjoyable and re- Shure V-15 stereo phono cartridge, one able price. Dynaco, originally noted for warding career thatI could ever have of the most refined record transducers producing high -quality output trans- imagined. For the 40th birthday cele- of that or any other time. Its latest ver- formers, also earned an enviable repu- bration of the magazine, I was asked to sion is still available, a sign that the LP tation for its excellent power amplifiers reflect on products thatI consider to remains a viable source of recorded and tuners, offered in both kit and as- have been particularly noteworthy. Of music for serious listeners. sembled forms. course, it would take far more pages In December 1965, the long-awaited In November 1969, I tested the Mc- than we have to cover everything, but Marantz 10B FM stereo tuner finally Intosh MC -3500 power amplifier, with here are a few highlights. made its appearance after years of de- its conservatively rated 350 -watt out- The LP record was the dominant pro- velopment. Though one of the finest put, and in the process tested my gram source in the early 1960s, and the FM tuners ever made, it was too late in weight -lifting abilities as well as my January and March issues in 1963 pre- arriving, and the asking price of $600 collection of 250 -watt load resistors! sented reports on two superb record proved too costly for it to be a success. This huge mono tube amp was too players from Weathers and Acoustic In September 1968, we reported on large and heavy to be lifted or placed Research. In contrast to previous con- an unconventional loudspeaker from a on the test bench, but somehow I got ventional designs, with their heavy plat- new company. The unique appearance the job done and even got a chance to ters and motors, these low -mass turn- and distinctive sonic qualities of the listen to it. Of course, it sounded excel- tables were driven by miniature clock - Bose Model 901 were controversial - lent, though it was expensive at $1,100 like motors, and they provided superior and still are thirty years later in its cur- (far more in 1998 dollars). performance at low prices. rent version - but Bose has been high- In October 1970, we reported on a In those days, it was still technically ly successful with its numerous innova- new product that, as it eventually turned (and economically) feasible to assemble tive product designs and today is among out, heralded a revolution in recorded -

Advent's 5250 Model Philips introduced the Our grrovy 100 noise -reduction cassette it 1964, but it Noventer 1970 cover system introduced didn't take off as a the world to Dolby B music format until in 1969 Dolby 8 noise reduction hit the scene The digital readout Bose introduced its years later Of the on Sherwood's now -famous Model seventeen cassette SEL-300 FM tuner 901 speaker system in tiZig decks Julian Hirsch was a rare 1968. For 5476 you tested for -his 1970 feature in 1971. got two speakers and article, only three had an outboard equalizer. Dolby NR.

MARCH 1998 STEREO REVIEW 69 Bet you'd forgotten all Sony introduced the JVC introduced the about the "world's cd..fm Betamax videocassette VHS VCR in 1977. first" (and last?) eight - recorder in 1975. The Audio Pulse Model Ultimately, of course, track changer, which Dolby Stereo made its One time -delay system the longer -running Telex introduced in the theatrical debut the we reviewedin1977 VHS format trounced early 1970s. The Phase Linear next year, and in 1977 was an early attempt Sony's Betamax The short-lived quad era Model 700 could crank Star Wars wowed to restore ambience in in the marketplace. began in 1970 with Fisher's out 420 watts per moviegoers with music recordings. Model 701 receiver (top), channel into 8 ohms, its special surround - which cost 5703 and had making it the sound effects. 40 watts per channel. Also "super amp" of 1972. shown: Sansui's OR -500 quad receiver (reviewed in 1972).

music reproduction. The Advent Model of the most powerful stereo amplifiers ence to recorded programs. It was a 100 noise -reduction unit introduced the of the day, the Phase Linear Model 400, time -delay device, and in my recollec- consumer audio world to the Dolby B which sold for $499 and delivered 250 tion it actually imparted a believable system, which was instrumental in mak- watts per channel into 8 ohms or 400 sense of space to the playback of other- ing the Compact Cassette introduced by watts into 4 ohms with less than 0.25 wise "dead" recordings. Although it Philips several years earlier a listenable percent distortion. Eventually Carver was not particularly successful as a medium for high -quality music. founded the Carver Corporation and, product, it was a precursor of today's In the early 1970s "quadraphonic" most recently, the Sunfire Corporation, surround -sound systems and deserves sound burst upon us, and several ma- whose powered subwoofer (tested in to be remembered. trixed four -channel systems vied for a December 1996) and power amplifier In recent years most of my work has share of the spoils. The major con- (April 1995) continue to demonstrate been with loudspeakers. The speaker is tenders were CBS with its SQ system his innovative talents. by far the most important component, and Sansui with the QS format, and we In August 1972, we reported on a since itis the only one that actually tested a number of components using new audio product that measured sound generates a sound, yet itis inherently those systems, among others. The one instead of generating it. Radio Shack's the furthest from "perfect" in its opera- characteristic shared by all of them was Realistic sound -level meter, still avail- tion. Nevertheless, I continue to be im- their mutual incompatibility. The lack able for about $40 in an improved ver- pressed by the qualities of so many of a unified format, combined with the sion, allows any audiophile to make speakers, of all types and prices. gimmicky character of many four -chan- meaningful acoustic -levelmeasure- As the hi-fi world has expanded in nel recordings, eventually killed quad. ments for a small fraction of the cost of recent years, the number of new prod- Only with the advent of the digital era, a precision laboratory -grade instru- ucts and technical features has prolifer- years later, did discrete multichannel ment. I have several and use them for ated, and the current emphasis favors systems become practical. speaker measurements that do not re- video and home theater rather than mu- In 1972 a new name appeared on the quire a precision microphone costing sic reproduction. While this is fine as hi-fi scene. Phase Linear was the cre- almost a hundred times the modest an expansion of our home -entertain- ation of Bob Carver, a young physicist price of the Radio Shack meter. ment options, I do see a disturbing ten- and audio enthusiast with an unconven- The Audio Pulse Model One that we dency toward excessive operating com- tional approach to product design. In reviewed in April 1977 was an early at- plexity, which could limit the appeal of September of that year, we tested one tempt to restore a more lifelike ambi- the more sophisticated systems.

Cereo Review In July 1983 The introduction of Music Television Tests Julian Hirsch and Beta Hi-Fi in 1983 and (MN) went

Digital' ' I Compact Di David Ranada VHS Hi-Fi in 1984 on the air in 1981, Players IIME11111921.1.11111 evaluated eleven of was the key to bringing In his April 1983 test but TV shows the first -generation An early "AN receiver," home -theater sound report, Craig Stark weren't broadcast CD players, Jensen's AVS-1500 to a broad public. called the Nakamichi in stereo including Magnavox's (1983) was one of the Shown here is the Dragon "simply the until 1984. S800 FD 1000SL first to include JVC HR-D725U VHS finest cassette deck and Yamaha's facilities for video Hi-Fi VCR. we have tested." S1,395 CD -1. switching.

MUSIC TELEVISION®

70 STEREO REVIEW MARCH 1998 Our December 1982 An early 1980s cover trumpeted One of the first CD laserdisc player, the the revolutionary players offered to the DOLBY SURROUND Pioneer LD-1100 Do arriva! of the Compact public, and the first was a 21 x 6 x 16 -inch The advent of Dolby Disc, lien known as model we tested in behemoth. Surround processing the Digital Audio Disc. December 1982, for videotapes in was the S900 Sony 1982 made it possible CDP-101. to enjoy multichannel

Personal stereo was born movie soundtracks 7 in 1979 with the arrival at home. SSI offered IMF of Sony's Walkman. the first decoder.

The Second 20 Years David Ranada ful shock -absorbing mechanisms. And mastered from digitally recorded session When I joined Stereo Review in the fall one Nakamichi turntable could even tapes and then in the Compact Disc, of 1979, the LP was going through offset a disc's center of rotation to com- which made its U.S. debut in 1983. what my audio mentor, the late Peter pensate for the wow produced by an But it has taken some time for CDs Mitchell, called its baroque era. Turnta- off -center pressing. and CD players to fulfill the mathemat- ble designs became ever more bizarre Circuit designers started paying long - ical promise of the medium. Many in efforts to eke the last decibel of per- overdue attention to phono-preamp de- don't even come close, discs especially. formance out of the aging stylus -in - sign in an effort to reduce interaction Early CDs suffered from all sorts of groove system, which only two years between the circuitry and the attached sonic woes, some attributable to incom- before celebrated its 100th anniversary. cartridge and to achieve the theoretical prehension of such fine points of digital In an effort to duplicate the geometry minimum of noise from the preamp- recording as "dither." Digital playback of disc cutting during playback, linear - cartridge combination. They also sought quality was always ahead of recording tracking turntables appeared, none pro- to perfect the RIAA de -emphasis cir- quality (electronically speaking, play- ducing a sound quality markedly supe- cuitry, which was often incorrectly spe- back is much easier), but we had to rior to that of a well -aligned cartridge cified in circuit -design "cookbooks." wait until the advent of "1 -bit" digital - in a pivoting tonearm. To reduce back- Moving -coil cartridges, despite their to -analog (D/A) converter technology ground rumble some designers built low output levels and unreplaceable sty- in 1989 before performance was reli- turntables that floated on air bearings li, became objects of sonic obsession, ably close to theoretical limits. A good with their platters connected to air probably because their typically non - 1 -bit portable CD player today costs pumps. To reduce mechanical vibra- flat frequency responses interacted eu- less than a good "baroque -era" phono tions in the disc itself, turntable mats phoniously with the numerous faults of cartridge and turntable did in 1987. were made from exotic materials and the LP medium. And a well -made "20 -bit" CD played numerous disc -clamping devices were The editorial controversy surrounding on such a portable can reproduce all the developed. There were also various rec- these technologies put bread on my fine sonic details that a typical adult hu- ommendations on damping materials table for several years. But as someone man - even an audiophile - is able to that users could stuff into the base of trained in computer programming and hear from a two -channel medium. a turntable or underneath the platter. digital circuit design, I welcomed with Substantial progress can still occur in Cartridges and tonearms were the re- open arms the advent of digital audio two -channel audio, however. Consum- cipients of weird, occasionally success - technology. This appeared first in LPs ers can now judge for themselves how

Stereo Peview The tiny cube satellites A promising recording and hideaway format known as Home -theater sound bass module of the AM - Digital Audio Tape In 1986 the was considerably 5 system Bose (DAT) was introduced Yamaha DSP-1 Digital refined in 1987 introduced 1987 in 1987 but became Sound Field with the arrival of started a revolution mired in political Processor showed Dolby Pro Logic in three-piece wrangling over that it was possible processing, "subwooferl satellite" copyright issues. The to mimic the featuring a discrete speaker systems. first -generation acoustic properties center channel. Sony DTC-1000ES of real concert deck is shown. DOLBY SURROUND halls at home. PROLOGIC

MARCH 1998 STEREO REVIEW 71 Format wars: In 1992 The Marantz Sony introduced CDR -1 CD recorder the magneto -optical hit store shelves

MiniDisc (MD) in1992 with digital recording a $7,000 price tag. format and Philips Interest was Ambience/suround the competing high among processing reached and incompatible Left, Sony's MZ-1 enthusiasts, but its bold new heights Digital Compact portable MD recorder steep 57,000 with the arrival of Cassette (DCC) format, (reviewed in March price tag Lexicon's CP-3 confusing consumers 1993); above, the kept sales low. digital surround and hobbling Philips DCC900 DCC processor in 1992. the acceptance of deck (reviewed in both formats. November 1992).

well made a commercial CD is by mak- of analog Dolby Pro Logic circuits. There's lots coming up in the next ing their own live digital recordings at And digital Pro Logic decoding was it- few years. Most important is digital home, whether on digital audio tape self dethroned by the spectacular Dolby TV, coming later this year, in which (DAT), MiniDisc (a struggling format Digital discrete multichannel system high -definition programming should that's still alive, unlike the still -born (originally known as AC -3), which first play a major role. Next is digital radio DCC), or, most recently, rewritable CD appeared at home in laserdisc sound- with its promise of substantial freedom (CD-RW). And coming up are new tracks. from interference and multipath ef- DVD-based home -recording systems. Dolby Digital is thriving on DVD, a fects. Third isthestillundecided Aside from the introduction of new "convergence" product if ever there was DVD-Audio system, a potential suc- digital media and the development of one. It represents a digital melding of cessor to the CD that holds the promise advanced control/convenience features audio and video with roots both in the of a vastly improved listening experi- (infrared remotes, on -screen menus), elitist analog laserdisc system, with its ence if the format's immense data ca- the area of audio in which digital tech- high picture quality, and in the populist pacity is wisely used - remember nology has had the greatest impact has stereo -TV and analog VCR systems what happend to quad! been extension beyond two channels. It (first Beta Hi-Fi, then VHS Hi-Fi). All Product convergence will continue, began with the pioneering all -digital thesemedia,togetherwithsuch with home computers and the Internet surround -sound processors from Yama- influential movies as Star Wars, have becoming ever more integrated into ha and Lexicon, which generated ambi- awakened in the public an awareness of both audio and video. Our listening ex- ence signals from normal stereo record- the dramatic potential of accompanying perience will undoubtedly be enhanced ings. But multichannel audio, which a video program with high -quality by virtual -reality processing that can was in its unsuccessful quadraphonic sound. That is the major source of the produce solid "3-D" sonic imaging from phase while I was in college, never re- interest in home theater products like as few as two speakers. And maybe, ally died. It lived on in movie theaters multichannel receivers, surround decod- just maybe, there will be a good, low- and reappeared with a vengeance at ing systems, center and surround speak- cost computer -based room -correction home with the Dolby Surround and lat- ers, and powered subwoofers. And, by system for jumping over the last great er Dolby Pro Logic systems, whose the way, DVD and satellite TV are what hurdle in home sound reproduction. patents show direct descent from ma- first introduced quality digital video Then even the most rabid audiophile trixed quadraphony. Before long, digi- playback to the most consumers, not the will be able to relax, forget about the tal processing took over the functions stuff available on desktop computers. equipment, and just enjoy the music. c

Stereo Rev iewl Dolby Digital, which hit DVD players began HOME THEATERS movie theaters in 1992, trickling into THAT WORK redefined the state of stores in February the art Inhometheater MP 1997 after a year - in 1995 Pioneer's VSX- bog delay. D3S was the first AN Pioneer's $2,000 Shown: Toshiba's The Philips CDR870 receiver to incorporate PDR-99 (reviewed SD -3006 (reviewed January Dolby Digital decoding. December 1995) (eviewed July 1997). 1998) is the was the first first home CD reasonably priced recorder to use home CD -R rewritable/erasable (write -once) recorder. CD-RW discs.

72 STEREO REVIEW MARCH 1998 The ROAR. The Rumble. Ri sideng seats to every resounding punchsince /946_ The POWER KLIPSCH.

IUSAi lave..And, stunningly real. Klipsch first stepped into the ring of big theater sound in 1946 with the unveiling of the patented Klipschorn and the introduction of horn technology. This technology continues today as the hallmark of Klipsch speaker design. delivering the most authentic sound reproduction possible. It's no contest-for theater sound that ranks as the perennial heavy- weight favorite. choose Klipsch. With the Klipsch Synergy 3.1 Home Theater System- in your corner. you're ringside for all the action. Thunderous power. Devastating punch. Auditory dynamite wrapped up in a solid, compact package. Visit your Klipsch audio retailer to hear, feel and experience the distinctive Klipsch diflerence. It's Alive.

Learn more about the heart and science of the Klipsch sound by calling I -800-KLIPSCH. or for the surfing savvy'. visit us online at w w w_IJipsch.com.

L L AdKlipschC A LEG- s..DN SOUND. v NI1r1.1!..ht.ruNcnett and tear, and its pickup is largely immune to shock and vibration. All of those ideas are completely novel to the woman; she can't imagine driving REMEMBRANCE around in a car with a jukebox full of rec- ords. Moreover, the lifelike fidelity of the music startles her.Itsfullfrequency OF THINGS PAST AND range, dynamic power, full ambience, and loud volume are somewhat unsettling and perhaps seem a little unsafe. You explain to her that modem transistor amplifiers are far more efficient than the vacuum - tube amplifiers familiar to her. Moreover, you are using digital signal processing to recreate the sound of Carnegie Hall in your car. A small computer takes the au- dio input signal and computes new data to FUTURE add the correct time delays, equalization. and reverberation. She looks at you as if C. BY KEN POHLMANN you're crazy. Still, hearing is believing. She is a little nervous about your propen- sity to make phone calls while driving, MUCH HAS BEEN WRITTEN about the "digital perhaps even ignoring the larger question of how revolution," perhaps too much. But, in fact, it is you can wirelessly and quickly connect to any oth- proceeding faster than words can describe. Every er phone in the world and communicate with great aspect of our lives has been touched by digital clarity. And as the drive draws to an end, her atten- technology, and ifitis true that the greatest tion is drawn to an old invention - AM radio. changes are the ones we most take for granted, then She is aghast at the incivility of this thing that we "revolution" is no exaggeration. Exploratory space- call "talk radio." craft beam digital data back to us from distant Arriving back at your home and stepping into planets. Our own earth is ringed by orbiting satel- your living room, she immediately identifies your lites relaying billions of bytes across continents television set, but its large screen size and high res- and oceans. The trillions of dollars in our financial olution are a revelation to her -a far cry from her markets are measured down to the last bit. Industry, small -screen, grainy black -and -white model. She is academia, transportation, medicine, entertainment even more surprised when you apologize for the - all have gone digital. Our cars are filled with picture quality and explain that you are waiting to chips, our desktops and laps hold multimedia com- buy a much better digital television this fall. The puters, and even our dishwashers have operating number of channels positively shocks her. Whereas systems. Of course, our audio and video systems her TV picks up three channels from a roof -mount- have not escaped the revolution. CD, DAT, MD, ed dipole antenna pointed toward the city, yours DVD, DBS, and other formats are proof that the picks up hundreds of channels from a pizza -size best sights and sounds are stored and delivered in dish pointed to the sky. You explain how the dish binary form. The future is here today, so subtly collects digital signals from a trio of geostationary shifted into our lives that few of us truly under- satellites located over the equator. stand just how much things have changed. She is even more amazed when you note that An average consumer who traveled forward in you paid $200 for your satellite TV system. You time from 1958 would be shocked by the magni- hand her the satellite receiver's remote, and she tude of the change: As she steps down from the looks at it quizzically. You explain that it sends time machine and onto your front lawn, she hardly control commands to your home -theater system via glances at your house; it has not changed much in infrared light beams. As she flips through the chan- forty years. Her attention is immediately drawn to nels, she is amazed to see films on television - the the automobile parked in your driveway. Clearly, it idea of watching a movie at home is foreign to her. appears to be a futuristic vehicle to her, and a short Also foreign are the violence and sexual content of test drive soon confirms that impression. The sound the programs. She is upset to see that even in the system is absolutely sensational - the ability to middle of the afternoon, images of murder and sex- call up a large library of recorded music from an ual brutality are beamed across America. unseen source and pick any musical selection at You show her a DVD, and she identifies it as a random seems almost like magic. You explain to distant cousin of her familiar LP record. You ex- her that the music library is stored on digital opti- plain that it is essentially a second -generation CD, cal discs called CDs. They were introduced in 1983 but instead of stereo music, a DVD contains hours and immediately displaced the LP, introduced in of multichannel digital audio and video. The idea 1948, a mere thirty-five years earlier. Unlike LPs, a of video is unknown to her (TV was mostly live in CD can be played countless times without wear 1958), but you explain that digital video can be

74 STEREO REVIEW MARCH 1998 ILLUSTRATION BY ALISON SEIFFER used to store motion pictures. This is even more puzzling to her because the disc looks nothing like a strip of photographic film, and the player is cer- tainly not a movie projector. As she settles into your sofa, you load the disc and select a chapter from Jumanji. The sight and sounds of the jungle stampede leave her speechless. You explain that although the actors are real, the lions and rhinos exist only in a computer. The two are merged during postproduc- tion. The enveloping sounds, you explain, come from small speakers around the room, and the room -shaking low frequencies come from an ef- fects channel played through a subwoofer tucked behind the sofa. She explains in turn that although stereo LPs were introduced in 1958, she has never heard sound from so many speakers, or played at such a loud volume. Moreover, she is surprised to see that the speakers are so tiny. She is more accus- tomed to large wood cabinets with horns. You switch off your DVD player, and she watch- es intently as you boot up your PC. She has never heard of companies like Gateway 2000 or Mi- crosoft; they certainly did not exist in 1958. You balance your wireless typewriter keyboard on your knees - its QWERTY layout is all too familiar to her. Although your keyboard is physically discon- nected, when you hit a key, the character somehow appears on your television set, as if it were coming from some strange TV station. She is even more surprised by your word-processing program. Typ- ing without paper, scrolling though a document, cutting and pasting, inserting graphs and photos, spell -checking - it all fascinates her. She remem- bers how long it took her to type (and correct) her term papers on an Underwood. When you've finished typing, you log onto your Internet service provider to check your e-mail and quickly answer a letter from a friend in Hong Kong. Then you log onto the Web and briefly listen to a radio station in Seattle (from your home in Mi- ami) and download a software program. Finally, you use an Internet videophone program to call a friend in Berlin. She observes all this carefully, and finally simply declares that you must be both an important and wealthy person to control such re- sources. You reply that you write software for a liv- ing, and the services are available to anyone for $20 a month. She asks, "What is software?" You load in a few CD-ROMs and show her mul- timedia encyclopedias, textbooks, and children's educational programs. She is very impressed. Then you load in Quake, and she watches as you casually move through the dark corridors, shooting down monsters, your shotgun booming in your surround speakers, their bloody corpses piling up around you. As she bids you farewell and returns to the vehi- cle that brought her here, she comments that in her day, a writer said that future technology would bring about a spiritual awakening. After seeing this future, she isn't so sure. She shakes your hand with a firm grip - a bold move on her part, to show

MARCH 1998 STEREO REVIEW 75 time a blast hits you. The experience is The only physical copies left are illegal devastatingly real, and unnerving. React- bootlegs and obsolete curiosities like that she is indeed a progressive woman, ing involuntarily, you shut your eyes. DVD. "And the hardware:' you ask, "is it but her grasp lingers in yours. She asks, purchased or leased?" She shrugs. "It "Would you like to see what the world When you open your eyes, you came with the house along with all the will be like in another forty years?" You are sitting in a quiet classroom other appliances." Then you ask about hesitate, then nod. The 1958 woman van- surrounded byhigh-school the high-school girl. The woman smiles ishes before your eyes, and you step into students. The professor walks and says, "Ask her yourself." The girl the vehicle. You hear the sound of your casually through the room, appears beside you. As you converse heartbeat, growing louder and louder until explaining software -program- with the girl, you learn that she is a kind it seems deafening, and there is a flash of ming techniques as flow charts flash on a of tour guide, that she handles a number white light. screen behind him. Although you are a of household chores, keeps tracks of The year is 2038. Your house is stand- software expert, his comments are incom- billing and finances, does the taxes, re- ing there - aside from a few coats of prehensibly complex to you. You start to minds you when your favorite shows are paint, not changed one bit. A woman say something, and the professor turns on and where your favorite artists are steps forward to greet you. She is wearing to look at you, smiling. He asks, "Do you playing .. ..It suddenly dawns on you blue jeans. You feel confident that, as a have a question?" You shake your head, that the girl is a software program that sophisticated technology user, this future and he turns away, continuing his lecture. runs on the home -theater system. "How world will hold few surprises for you. The girl sitting next to you laughs softly. much does she cost?" you ask the woman Then you notice her car. It is pathetically Then a moment later a handwritten note incredulously. The woman shrugs and tiny, looking much like a golf cart. You appears on the screen. You turn red as you says, "She's shareware." correctly guess that it is electric, but you read it, and she smiles at you again. You You look at the girl intently, and then are surprised by its fast acceleration. You close your eyes. ask her to show you an example of vio- are even more surprised to see that the You open your eyes, and you are on lent content. The girl turns away indig- woman driving the car is taking a nap. stage at a music concert - the high- nantly. The woman explains that a young- The car guides itself through dense traffic school girl is standing beside you. The ster would never go to such places. She to a highway entry ramp, then accelerates performers are standing around you, play- lets you choose another guide, a rough - powerfully, quickly joining into a flying ing furiously and deafeningly, the sound looking man. You repeat your request, wedge of interlocked cars moving at ter- of each instrument coming specifically and the man smiles. Even before the im- rific speed. from that instrument. The clarity of the ages are fully formed, you gasp in shock Without opening her eyes, the woman music is incredible. You can hear every and repulsion and close your eyes tight. mutters the word "Zermatt," and the car's note and see every detail. The sound of You realize that although technology it- windows turn opaque and then show a the crowd, and the hall itself, is absolutely self is amoral, its applications certainly vivid image of the Swiss Alps, the Mat- realistic. In fact, it is as if you are really are not. In some ways, the challenge is terhom towering before you in the cloud- there, but whether it is a live concert or a not inventing new technology, it's deter- less blue sky. Gradually the air grows recording, you cannot tell. mining how society should use it. cold, and the only sound is the wind blow- The image of the girl beside you is The woman in blue jeans escorts you ing through the craggy rocks. The tranquil live, that's for sure, and she dances to the back outside, and the time machine mate- images fade to black, and the car's win- frenzied music. You shout something to rializes in the driveway. The woman asks, dows again grow transparent. You are sur- her, and she shouts something back. You "Where would you like to go?" You think prised to see that you are again parked in try to adjust to the sound and its fury, but of all the past and future times, and an- front of your house. you cannot; you feel as if you are being swer simply, "1998, please." Your heart The front door swings open as you ap- physically assaulted. The woman in blue pounds and there is a flash of white light. proach, and you enter the living room. It jeans is sitting beside you, smiling placid- is empty except for a prayer mat in the ly. At last the concert ends, and the pic- As profound as recent technological center of the room. The woman in blue ture fades to black. As credits roll, you re- changes have been, it is likely that jeans leads you upstairs and into your alize that you were experiencing a music they are mere prolegomena to walk-in closet. You are surprised to see recording. An index appears, and you fur- what is ahead. The pace of the that a sofa has been placed in the small, ther realize that over a million recordings digital revolution is accelerating, bare room. As the door closes, the walls are online and available to you. and the rapidly developing so- disappear in blackness. Then the room You turn to the woman in blue jeans phistication of our digital tools only mag- lights up with a multitude of images and ask if she enjoyed the concert. She nifies our ability to devise still more so- placed panoramically around you, making looks slightly surprised and says that she phisticated digital tools. Clearly, the in- its interior space seem vast. It is as if you wasn't at the concert - she was touring ventions of the past forty years will be to- are surrounded by thousands of tiny TVs the Egyptian exhibit at the Louvre with tally eclipsed by the inventions of the in an amphitheater. some friends. You ask her about the con- next forty years. It seems that there is no As you look across the images, your cert, wondering where she stores all her limit to what technology can do. Some gaze lingers on one in particular. That im- discs. The woman smiles and explains modern physicists are even talking seri- age grows in size, quickly enveloping the that local storage of privately owned ously about the possibility of time travel. entire room around you. Simultaneously copies of programs is an antiquated distri- Certainly music lovers would relish such sound wells up from all sides and above bution method. Instead, people simply an invention. Instead of listening to a re- and below. You are in a holographic mon- use remote terminals to access any pro- cording of Beethoven's "Waldstein" So- ster movie, and the beasts are all around gram they want from a network of cen- nata, you could simply attend a concert you in a vast Gothic space. They pull out trally stored data. where Beethoven plays the sonata him- their weapons and begin firing at you, the You ask, "Don't people want to collect self. The last word in high fidelity? laser blasts resounding from all around. their favorite titles?" She smiles - the You feel your skin pulse with heat each lawyers put an end to that a decade ago. 78 STEREO REVIEW MARCH 1998 HANDEL 1962 Concerti Grossi, Op. 3 Academy of St. Martin in the Fields, JOHN COLTRANE Live at the Neville Marriner conducting (Argo) Village Vanguard (Impulse!) STRAVINSKY The Rite of Spring 1966 Columbia Symphony. Igor BOB DYLAN Stravinsky conducting (Columbia) Blonde on Blonde (C,,/imibia) SCHUBERT Die Winterreise 1963 Dietrich Fischer-Dieskau. baritone; Jorg Demus. piano (Deutsche JAMES BROWN Graninioplion) Live at the Apollo (Kitz) BEETHOVEN The Nine Symphonies 1967 Berlin Philharmonic. Herbert von THE BEATLES Karajan conducting (Deutsche Sgt. Pepper's Lonely Hearts Grammophon I Club Band ic HANDEL Messiah 1964 Harwood. Baker. Esswood, Tear. Victims; Ambrosian Singers; THE BEATLES English Chamber Orchestra. Charles Meet the Beatles! (Capitob Popular and classical albums Mackerra. conducting (Angel) MAHLER Symphony No. 2 that mattered and still do ("Resurrection") BY KEN RICHARDSON AND ROBERT RIPPS Tourel. Venora; Collegiate Chorale; 1968 New York Philharmonic. Leonard THE ROLLING STONES Bernstein conducting (Columbia) First, we'll tell you what these records are by Beggars Banquet (London) telling you what they aren't. They aren't neces- ORFF Carmina Burana sarily (ahem!) The Best Albums of the Past 40 1965 Janowit/. Stolle. Fischer-Dieskau; Berlin German Opera Chorus and Years, nor even (sniff!) our sentimental favor- BOB DYLAN Bringing It All Orchestra. Eugen Jochum con- Back Home (Columbia) ites. And they aren't necessarily the biggest sellers. Instead, the ducting (Deutsche Grammophon) titles listed here are records that, in one way or another, made a difference. They were important when they were released; they have staying power today. We went back through the four dec- ades of Stereo Review's history to pick one popular and one classical album from each year. The resulting Top 40 is a vivid chart of where we all have been - and it goes a long way toward explaining why we fell in love with stereo in the first place. 1958 1960 FRANK SINATRA THE DAVE BRUBECK Come Fly with Me (Capital) QUARTET Time Out (Columbia. BARTOK Concerto for Orchestra SCHUBERT Symphony No. 9 Chicago Symphony, Fritz Reiner Cleveland Orchestra. George Szell conducting (RCA I 'him-) conducting (Columbia) 1959 1961 MILES DAVIS ORNETTE COLEMAN Kind of Blue (Cohimbial Free Jazz (At/antic) WAGNER Das Rheingold LEONTYNE PRICE Flagstad. London. others; Vienna Verdi and Puccini Arias Philharmonic Chorus and Orchestra. Rome Opera !louse Orchestra. Georg Solti conducting (London) Arturo Basile and Oliviero Fabritiis conducting (RCA Victor)

DIGITAL IMAGING BY CHRIS GOULD MARCH 1998 STEREO REVIEW 77 1969 19 73 THE WHO Tommy (Decco) PINK FLOYD The Dark Side of the Moon (Harvest/Capitol) BERLIOZ Te Deum Tagliavini: Wandsworth School PUCCINI Turandot Boys' Chorus; London Symphony Sutherland. Caballe, Pavarotti, Chorus and Orchestra, Colin Davis Ghiaurov, others; John Alldis Choir, conducting (Philips) London Philharmonic. Zubin Mehta conducting (London) 19 70 MILES DAVIS 19 74 Bitches Brew(Columbia) JONI MITCHELL Court and Spark (Asylum) DEBUSSY Images for Orchestra; SHOSTAKOVICH Sacred and Profane Dances Symphony No. 8 Cleveland Orchestra, Pierre Boulez London Symphony, Andre Previn conducting (Columbia) conducting (Angel) 19 71 19 75 LED ZEPPELIN BRUCE SPRINGSTEEN 660(Atlantic) Born to Run (Columbia) SATIE Piano Music, Vol. 1 BEETHOVEN Aldo Ciccolini 1,4,n;e/) Symphony No. 5 Vienna Philharmonic, Carlos Kleiber conducting (Deutsche 19 72 Grammophon) THE ROLLING STONES Exile on Main St. (Rolling Stones/Atlantic) 19 76 19 77 19 78 RAMONES (Sire) FLEETWOOD MAC MAHLER Symphony No. 8 ELVIS COSTELLO Rumours liorner Bros.) This Year's Model (Columbia) Auger, Harper, Popp, Minton, Watts. MESSIAEN Kollo, Shirley -Quirk, Talvela; Quartet for the End of Time GRANADOS Goyescas DEBUSSY Vienna State Opera Chorus; Vienna Tashi (RCA Victor) Alicia de Larrocha, piano (London) Preludes, Books 1 and 2 Boys' Choir, Chicago Symphony, Paul Jacobs. piano (Nonesuch) Georg Solti conducting (London) 19 79 NEIL YOUNG AND CRAZY HORSE Rust Never Sleeps ( Reprise) BRITTEN Peter Grimes Vickers, Harper, Summers, others; Chorus and Orchestra of the Royal Opera House, Covent Garden, Colin Davis conducting (Philips) 1980 THE CLASH London Calling ( Epic) MOZART Symphonies Nos. 18-27 Academy of Ancient Music, Christopher Hogwood conducting (L. Oiseau-Lyre)

78 STEREO REVI FALLA The Three -Cornered VLADIMIR HOROWITZ 1981 Hat; Homenajes; The Last Recording 1994 La Vida Breve (excerpts) Vladimir Horowitz, piano (Sony) SQUEEZE SOUNDGARDEN Cincinnati Symphony. Jesus Lopez- East Side Story (A&M) Superunknown i I&1/, Cobos conducting (Telarc) J. S. BACH 1991 RAVEL Bolero; Alborada del Goldberg Variations Gracioso; Une Barque NIRVANA Glenn Gould. piano CBS I sur ('Ocean; Ma Mere I'Oye 1988 Nevermind (Sub Pop' DGC) PUBLIC ENEMY It Takes a Berlin Philharmonic, Pierre Boulez SMETANA Ma Vlast Nation of Millions to Hold Us conducting (Deutsche Grammophon) 1982 Czech Philharmonic, Rafael Back (/)(1 /dm ('n/n,/, MICHAEL JACKSON Kubelik conducting (Supraphon) ADAMS Nixon in China Thriller ,/ p 1995 Sylvan, Maddelena, others; chorus: P J HARVEY TERESA STRATAS Orchestra of St. Luke's, Edo 1992 To Bring You My Love ( Island) The Unknown Kurt Weill de Waart conducting (Nonesuch) LYLE LOVETT Joshua Teresa Stratas, soprano; Richard RACHMANINOFF Judges Ruth ,CH,/, I, Woitach, piano (Nonesuch) Piano Concerto No. 3 1989 GORECKI Symphony No. 3 Martha Argerich: Berlin Radio Dawn Upshaw; London Sinfonietta. MADONNA Symphony. Riccardo Chailly David Zinman conducting 1983 Like a Prayer r conducting (Philips) R.E.M. Murmur f /R S (Nonesuch) HANSON Symphony No. 1 MOZART Piano Concertos ("Nordic"); Symphony No. 2 1996 Nos. 15 and 21 ("Romantic"); Elegy 1993 BECK Odelay (DGC) Alfred Brendel; Academy of Seattle Symphony. Gerard Schwarz LIZ PHAIR St. Martin in the Fields, Neville conducting (Delos) PROKOFIEV Exile in Guyville (Matador) Marriner conducting (Philips) Romeo and Juliet (selections) BRAHMS San Francisco Symphony. 1990 Piano Concerto No. 1 Michael Tilson Thomas conducting Stephen KoN aces ich. London 1984 GARTH BROOKS (RCA Victor) o .c, Wolfgang Sawalliscli PRINCE AND No Fences (Capitol) THE REVOLUTION (EMI) Purple Rain Mame,- Brun.) 1997 MAHLER Symphony No. 9 RADIOHEAD Berlin Philharmonic. Herbert OK Computer (Capitol) von Karajan conducting (Deutsche KRONOS QUARTET Grammophon) Early Music ( Nonc%itch) 1985 THE REPLACEMENTS Tim BERNSTEIN West Side Story 'Fe Kanawa, Carreras, Troyanos. Horne; Orchestra and Chorus conducted by Leonard Bernstein (Deutsche Grammophon) 1986 PAUL SIMON Graceland ( Burner Bros.) /A BEETHOVEN Piano Concertos Nos. 3 and 4 Murray Perahia: Concertgebouw Orchestra, Bernard Haitink conducting (CBS) `tipW MB INN IN IMP 1111111 MIN WIN ail 11116, UM", aim MI/P 71111.11 amain Vie R",11 1r - lir! Prior mniir %%ND 1"," T.1.- -- 1987 1111115l* 1.1 324 1 :7/P. IWO 1 U2 The Joshua Tree ( /sh

MARCH 1998 STEREO REVIEW 79 I leStstroc

Remember your first stereo compo- in stereo, however humble. From David Hall's nents? Or isit the music - or the 1940 (!) preview of surround sound at the New company - that comes to mind rath- York first run of Walt Disney's Fantasia to Corey er than the gear? As part of our 40th -anniversary Greenberg's fond memories of the Quad Era, celebration, we asked past and present editors and here's the first installment of audio autobiographies contributors to reminisce about their beginnings from this crowd of sound lovers. More next month!

onstrations at Washington's Constitu- dumbfounding, visually and sonically, DAVID HALL tion Hall. The Philadelphia Orchestra with surround sound based on Bell Lab Classical music reviewer; formerly was being piped into a huge three - experiments rather than the stereo that a record producer for Mercury speaker array over phone lines from the was commercially developed some fif- and this magazine's first managing Academy of Music in Philadelphia. But teen years later. editor and music editor my first listening experience on the way Cut to Orchestra Hall, Chicago, De- to stereo came in November 1940, cember 1952. The legendary C. Robert My first inkling of stereophonic sound when I saw Walt Disney's Fantasia in a ("Bob") Fine and yours truly, as classi- was in April 1933, when - as a teen- New York theater. The sequences fea- cal music director and producer, re- ager with primitive components from turing Bach's Toccata and Fugue in D spectively, for Mercury Records, were Lafayette Radio - I read with total Minor and Mussorgsky's Night on Bald busy recording Rafael Kubelik's fiery fascination the New York Times reports Mountain, as arranged and conducted reading of Smetana's symphonic cycle about "three-dimensional sound" dem- by Leopold Stokowski, were just plain Ma Vlast (My Fatherland) with the

80 STEREO REVIEW MARCH 1998 ILLUSTRATIONS BY MARK MATCHO Chicago Symphony. A guest brought along a Magnecord staggered -head tape JULIAN HIRSCH recorder. He was Bert Whyte, later to Director Hirsch -Houck Laboratories and "Technical Talk" columnist become a topnotch producer and audio writer himself. He recorded a fair por- My first "stereo"? Actually, it was a The loudspeaker systems of those tion of the Smetana sessions at 71/2 ips, "mono"! Circa 1950, stereo as we days tended to be large and expensive and these experimental takes were my know it was still a few years away, al- and were often poorly suited to the first one-on-one encounter with stereo though several mutually incompatible requirements of a high-fidelity music sound. Frankly, I found it more thought - systems for supplying two independent !system. Many audiophiles preferred to provoking than mind -boggling. Hearing sound channels were under considera- assemble their own speakers. In my guitar transients on early FM radio tion. By that time, however, a fledgling case, this consisted of building a corner (Major Armstrong's pre -World War II "hi-fi" industry had already made its enclosure containing a GE 1201D (a W2XER in New Jersey. later WQXR) appearance, largely in the form of loud- popular, reasonably good 12 -inch driv- made a greater impression. speakers and amplifiers derived from er) and a small University horn tweeter. A few years later came the first com- public-address applications. Like many There were few available FM tuners, mercially issued stereo tapes from others in those days, my first music and stereo broadcasting was still a few RCA, Columbia, and Mercury, among system was home constructed, although years in the future. I chose a tuner mar- others. By that time I had departed its basic program sources (tuner and keted by Sun Radio, which served me Mercury for a Fulbright year in Den- record player) were commercially man- well for a number of years. mark, where I experienced some of the ufactured. Aside from radio, phonograph rec- Danish work in electroacoustics and I still have the Williamson amplifier ords were the principal source of listen- stereo illusion, and a few weeks after that powered my first system, although ing material. Tape recordings were of my return in the fall of 1958 I found itis no longer in operating condition. limited quality in the early years, and myself on the staff of a brand-new Except for its massive Partridge output I never became a tape enthusiast. LP magazine, HiFi & Music Review, sub- transformer, which weighed more than records and FM radio were of suffi- sequently HiFi/Stereo Review (1960- 20 pounds and had to be ordered and ciently good quality to satisfy my musi- 68) and Stereo Review (1968 to date). shipped from England, the power sup- cal tastes. A Webcor record changer and At that time I had stereo tape playback ply was made with surplus World War a GE Variable Reluctance phono cart- equipment at my house in Wilton, Con- II components. ridge met my recorded -music needs. In necticut - a fine four -track, three - The amplifier's pair of 807 output later years they were replaced by nu- speed Tandberg machine - along with tubes, operating at 450 volts, delivered merous more refined components. a pair of very high -efficiency Tandberg about 12 watts of clean audio at well The only component of my constant- speakers. under 0.1 percent distortion - remark- ly evolving music system that has re- When the redoubtable Sid Frye of able for that time and easily enough mained relatively constant over the Audio Fidelity turned the record indus- power to drive the relatively efficient years is the pleasure it provides, and try on its ear in November 1957 with speakers of the period. that is probably as it should be. the first stereo disc to be cut with the Westrex 45/45 system (stereo LPs weren't yet available to the public). where I worked, and if I skipped lunch there was fortunately no destructive LOUISE I could afford to buy records every now battle over standards like the 1949-50 and then, but I never did manage to ac- Battle of the Speeds (331/2 vs. 45 rpm) BOUNDAS cumulate enough money to buy my that almost destroyed the U.S. record- Editor in Chief own equipment to play them on. So I ing industry. By May 1958, with a uni- listened to records in the record store versally accepted cutting system in My parents owned one of those ubiqui- and at the apartment of a college friend place, stereo LPs became a fact of life. tous living -room consoles, and that's who had gotten a record player for I added an H. H. Scott stereo amplifier how I listened to records when I was graduation. I even kept my records in to my Wilton playback setup along growing up. (Well, okay, I did listen to her apartment. Still not state of the art. with a decent quality turntable. the jukeboxes at the drugstore soda Then I met George, who took me to After HiFi & Music Review became fountain and the bowling alley, and my jazz concerts, the New York Hi-Fi HiFi/Stereo Review in 1960. I upgraded boy friend kept his car radio tuned Show, and the Acoustic Research demo my playback setup again, with help to the local hit station.) When I went room in Grand Central Station. Ilis- from Bert Whyte, and by 1963 I had a to college. my roommate had a little tened to Duke Ellington and Sarah pair of 10 -cubic -foot boxes with twin portable phonograph with a built-in Vaughan and Ruby Braff and Ben Web- Wharfedale bass drivers topped by speaker, which both of us used to play ster in stereo. I was hooked. I was in Pickering electrostatics for the upper theveryscratched -up records we love.I moved my Mozart and Faure end of the spectrum. Harman Kardon checked out of the college library. Not and Baez to his apartment. When we amplification supplied the electronic exactly state of the art. got married, I became the proud co- muscle, and I used Shure cartridges and After graduation I came to New owner of Acoustic Research AR -2a styli for disc playback. With various York, where I joined thousands and speakers, an AR integrated amplifier outboard modifications this setup stood thousands of English majors trying to (which had replaced an H. H. Scott me in good stead until the summer of make a living in the publishing indus- Model 299 tube amp), and an AR turn- 1985, when a move to smaller quarters try.I spent lunch hours in the record table with a Shure M7 -D cartridge. Fi- dictated drastic downsizing. store across the street from the offices nally, state of the art!

MARCH 1998 STEREO REVIEW 81 where I was spending way too much BOB ANKOSKO time in the living room, so mom and Executive Editor dad bought me a neat little component system at Radio Shack as a Christmas I can't swear that it was the first stereo loud without distorting. I'm sure the present that year.I was in heaven. record I ever heard, but the chug -along speakers were too close together and Perched on a shelf above my desk was bass riff in Henry Mancini's classicPe- too near to the floor to project a good my very own 20 -watt Realistic receiver, ter Gunntheme playing on the family's stereo image, but who knew better? You one of those cheap turntables with the first hi-fi system is what sticks in my had to lift a lid in the middle of the cab- smoked -plastic dust cover, and a pair of mind. Actually, the system was one of inet to get at the system's semiautomat- bookshelf speakers, each with a lone 3 - those huge all -in -one consoles - from ic turntable and AM/FM radio with its inch driver. The bass output of the tiny TV -maker Zenith, no less - that any big tuning dial and stereo button; there drivers was no match for the console self-respecting hobbyist would have was also a cubbyhole with space for system, but at least the speakers' acous- shrugged off. But the skin -tingling bass twenty or so LPs. As my brother and I tic -suspension design did a decent job it produced was an exciting new sensa- got a little older, my folks very gra- of faking it. tion for a 7 -year -old kid whose only ciously allowed us to use the system - In those days, I fed the turntable a source of music had been a portable ra- at least until we started collecting rec- steady diet of Beatles, Stones, and Led dio in the kitchen and the Fifties -era ords in earnest. Zeppelin, slipping in the occasional 45 -rpm record player his mom had When I was 11 or 12, I bought my James Taylor or Joni Mitchell LP for used in high school a decade earlier. first album -Abbey Road,which variety. Around that time I developed The console's components were housed made me a Beatles fan for life. I can't an interest in playing music myself, in a gorgeous, solid -walnut cabinet that begin to count how many timesI which led to the discovery that many of immediately became the centerpiece of played "Come Together" with the vol- my beloved stereo LPs - particularly our small living room, threatening to ume cranked up and the windows open the Beatles albums - were mixed in a dethrone the almighty RCA color TV (to impress the girl next door). Come to way that made it easy to isolate specific (except in the evening when shows like think of it, my folks must have felt it parts. I'd turn the balance control one BonanzaandBatmanwere on). was a pretty good record, too, consider- way to zero in on the guitar, the other With six drivers in all, including a ing how many times they let me get way to figure out what the drums, bass, couple of good -size woofers, I remem- away with blasting it! and vocals were doing. And that's how ber the old console as a formidable By the time I was 13, my record col- I learned to play countless drum solos presence that could play remarkably lection had mushroomed to the point and guitar licks.

stage . .. but that's a whole other story. DANIEL KUMIN The first system I owned after receiv- Contributor and equipment reviewer ing "the knowledge" - that is, when I began to have a faint inkling of what The first "real" stereo of my very own fense, I would sometimes do the same good sound was - resided in Cam- that I can recall began with a pair of ex- thing - at only slightly lower volume bridge, Massachusetts, around 1978. It ponential -horn cabinets Ibuilt in my - with Carl Ruggles'sSun -Treaderor consisted of my beloved Apt/Holman college dorm room with the help of my Charles Ives'sThree Places in New preamp, serial number 6 (still cheerful- strange but industrious freshman room- England. ly in service on my lab bench today), a mate. (I was, and am, singularly un- An interesting sidelight: that same pair of Dynaco Stereo 70 tube power handy; he was more than a little like the Dynaco amplifier served as PA power amps (generously lent for over a year character Orr in the novelCatch -22.) for the band in which I played at the by my boss at the time) bridged to These were made of unfinished, con- time. It drove a bizarre concoction of mono and modified with solid-state rec- struction -grade plywood, knots and all, home-brew speakers and Shure Vocal - tifiers, and Braun 710 three-way speak- and if memory serves they contained a master columns, probably all connected ers, the gorgeous, white -lacquer ones pair of whizzer-cone Utah drivers. This in parallel - I don't think we had a with the cool Teutonic perfed-alumi- audiophile transducer pair was driven clue about impedance loads and solid- num grilles.Ilovedthose speakers - by a Dynaco Stereo 120 solid-state state amps in those days.I remember in retrospect, they probably sounded power amp fed by the front end of a that the poor Dynaco amp was so un- pretty tubby, but boy did they look Rotel integrated amp and a Dual 1015 stable that the bass player (Prent - cool. I wish Istill had them. (Around turntable. where are you now?) kept a bag of ex- then, Peter Snell offered me the third or I'm not too proud to reveal that in tra Motorola output transistors in the fourth pair of Snell Acoustics Type A's those days I would frequently lean the wings with a soldering iron; he was so for $500; I could as easily have bought speakers together in a sort of teepee, good with the iron that he could pop a Ferrari.) The sole program source was turn out the lights, and lie on my back in a replacement or two between sets, an AR turntable mounted with a Rabco with my head between them playing when one channel or the other in- tangential -tracking tonearm and a Stan- Jimi Hendrix'sAxis: Bold as Lovefrom evitably went down. And then there ton 681EEE cartridge. I used to spend start to finish; this was the Sixties, after was the night, during a 5 -hour gig at a hoursfiddling with that bloody setup to all. (Actually it was the Seventies, but, singles' weekend at one of those Lake get it to work right. Memory fails, but I as is well known, the Sixties mostly George holiday camps, that my Twin may even have listened to a record on it happened in the Seventies.) In my de- Reverb literally burst into flames on- once in a while.

82 STEREO REVIEW. MARCH 1998 IAN G. COREY GREENBERG MASTERS Contributor, equipment reviewer, and "The High End" columnist Contributor and Would, gentle reader, that I could spin down components from my dad - a "Audio Q&A" columnist you a heartwarming tale of a two -head- midprice Lafayette quad rig missing the ed immigrant urchin sitting rapt around rear speakers that originally came with Like most people who grew up in the the kitchen table with his mama and pa- it. The 35 -watt quadraphonic receiver 1950s, my first exposure to stereo pa as the soft green glowing dial of an was one of those cold, nasty Seventies sound was in a movie theater. It was Atwater -Kent radio brings the whole solid-state jobs that took sound quality one of the technological innovations wide worldintotheirtinyHell's to an all-time low, but to me it was the Hollywood adopted to keep a step Kitchen tenement. Or perhaps the story finest piece of audio gear I could ever ahead of its arch -rival, television (the of a Fifties high-school hellcat, a greasy hope to call my own. The bookshelf others were widescreen images and dollop of Royal Crown pomade in one speakers, with their torn foam woofer nearly universal color). hand and a burning soldering iron in surrounds and ripped paper -cone tweet- Movie stereo in those days was the other, hovering over the abandoned ers, sounded so much better than the mostly unsatisfactory. For one thing, Rock-Ola jukebox that would one day cheap chipboard speakers attached to the soundtracks themselves were very blast Link Wray's "Rumble" as his my old record player that I felt like I gimmicky, with things flying overhead roaring Indian motorcycle plunged in was hearing my records for the first or stuff happening behind you. Also, slo-mo off Stag's Leap because he re- time. Soon Hanukkah came, and with it the acoustics of the theaters - the ones fused to yell "Chicken!" Or the gut - a new Technics turntable and a bigger near me, anyway - were dreadful. wrenching saga of an idealistic young pair of speakers - Cerwin-Vega rock- Home stereo first showed up in the man thrust into the eye of a storm and-roll thunderboxes with the big red - form of prerecorded open -reel tapes, called the Sixties, plunging headfirst in- rimmed woofers. Dy-no-mite! and kits were available that let you add to a hedonistic world of free love, bead- My attempts at rigging up my system an extra head to an existing tape deck. I ed vests, and Dynaco tube amps. for successful quadraphony were about don't believe I ever heard one of those I'd love to be able to blow the dust as good as the next guy's, which is to tapes directly, but a couple of local ra- off of any of those yams, but I can't. say I never got four -channel sound to dio stations got together to broadcast Because I grew up during the height of work e%en half right, but I sure had fun some samples, the left channel on one the most low-down, wretched period sitting in the dark of my bedroom as frequency, the right channel on the oth- the hobby of hi-fi has ever known - the scrambled -phase wackiness of the er. There was some sense of space, but the Quadraphonic Seventies. It was a few quad -encoded LPs I got filled the I don't imagine that they were able to tragic time for many people, but for room with crazy, swirling, totally ran- control the phase relationship of the none more than the thousands of au- dom surround sound. And to think that two broadcast signals very well. One sta- diophiles who bought second speaker all of this interest in hi-fi began when tion even tried using its AM frequency pairs for the back of their rooms, fitted I discovered a magazine called Stereo for one channel and its TV frequency for their turntables with extended -response Review in my friend's older brother's the other, with similar results. phono cartridges, and tried to wring room (and if you don't believe me, you Stereo sound didn't become a practi- the first baby breaths of surround sound can ask my mom, who's still trying cal reality until the stereo LP appeared from warped vinyl records. to get me to clean out the boxes in 1958, and it wasn't long after that My firstreal stereo system of back issues I've been sav- that I had my first taste of reasonable consisted mostly of hand -me- ing in her attic). two -channel sound. A friend's father ..., ran a music store that also carried audio gear, and he brought home one of the first stereo music consoles, along with a handful of records. The console was impressive enough, butitsbuilt-in speakers were so close together that I had to sit on the floor right in front of it to get any spatial effect. From 3 feet away, it was mono. These minor brushes with two -chan- nel sound did little to make me want to abandon my already considerable pile of mono gear. That changed when an- other friend's father unveiled his new system: Marantz electronic separates, AR speakers, a Fairchild turntable, a Weathers tonearm - the works. The sound was a revelation, even though many of the records still tended to favor ping-pong effects. Rather like those gimmicky early stereo movies.

subtle overdubs (bass, cello, piano, organ) to warm up and fill out the sound. Her vocals have also gotten more seductive, as when she shows her playful/romantic side in "Like You." More often, however, there's a creepy beauty that harks back to "Delicate Cutters," the acoustic finale of Throwing Muses.The new album's lead- off track, "Home," sets up the record's otherworldly feel and makes the most of Hersh's Appalachian twang. Even when the subject matter is more wholesome, her imagery gets unusually vivid. How many writers would think to express OUR CRITICS CHOOSE THE OUTSTANDING CURRENT RELEASES motherly love with the line, "When he drools, it's like he's spitting jewels"? Kristin Hersh has always insisted that she doesn't write songs in the convention- al sense; she merely channels them from inner voices that wake her in the middle of the night. Judging from the material on Strange Angels, it's timeto give those voices a raise. Brett Milano

KRISTIN HERSH Strange Angels Home; Like You: Aching for You; Cold Water Coming: Some Catch Flies; Stained; Shake: Hope: Pale: Baseball Field; Heaven; Gazebo Tree; Gut Pageant; Rock Candy Brains; Cartoons(Throwing Music/Rykodisc, 46 min) Vivaldi with Style, Vigor, And Charm Back in the dimly remembered days when we seldom heard Vi- valdi at all, his Op. 12 violin concertos had a certain cur- rency - at least the first of them, in G Minor, which was usually heard in a nine- teenth-century arrangement. The new re- cording of these concertos on L'Oiseau- Lyre by the Academy of Ancient Music under Christopher Hogwood, with the Academy violinist Pavlo Beznosiuk as Kristin Hersh's Strange Angels soloist, appears to be only the third "inte- gral" recording of Op. 12, which was Vi- For those of us who braved the tangled feelings, with darkness and depth valdi's last published set of concertos and storm of debut albums by sensi- in the songs by Hersh (and, in one case, comprises only six works rather than the tive, tortured female artists over by her stepsister, Tanya Donelly ). The dozen that constitute the better-known the past year, it didn't take long band never transcended its cult -hero sta- collections to which he gave such titles as to realize that Throwing Muses and their tus before breaking up last year, but you L'Estro Armonico, La Stravaganza,and frontwoman, Kristin Hersh, did it all bet- can still hear its influence today, most ob- La Cerra.Neither the sound nor, to an ter a decade ago. Hersh's new album, viously on one of the best records of even greater degree, the performance in Strange Angels,comes after her previous 1997, Sleater-Kinney'sDig Me Out. the 1974 Philips recording by Salvatore solo disc, 1994'sHips and Makers,but On the surface,Strange Angelsis very Accardo with I Musici or the more recent in some ways it feels like a follow-up to different from that first Muses disc, since one by the Solisti Italiani on Denon com- the Muses' 1986 self -titled debut record, the screaming and the loud guitars have pares with the robust new offering from which ranks with any alternative -rock been replaced by lusher pop leanings. In L'Oiseau-Lyre, which would have swept a classic you'd care to name. Still unre- fact, the tunes here are among Hersh's field of any size. leased in America,Throwing Museswas a loveliest, and although the program is A curiosity in Op. 12 is the shortest of beautiful mess of mangled guitars and mostly solo acoustic, she adds enough the six concertos, No. 3, in D Major, MARCH 1988 STEREO REVIEW 85 phrase. Articulation is consistently crisp these richly enlivening performances, and - whether in the marvelously animated H. C. Robbins Landon's annotation is yet outer movements or the downright melt- another facet of the overall excellence of ing loveliness of the tiny slow movement the production. Now, if the same team of No. 6, in B -flat Major, with its pizzica- will kindly oblige with similar attention to accompaniment under the hearty yet to Vivaldi's other neglected demi-dozens,

caressing solo - and yet the expressive the Op. 6 and Op. 11 violin concertos .... effect is of unrestricted and unfeigned Richard Freed warmth. The continuo does not rely on a harpsichord exclusively but involves an VIVALDI Violin Concertos, Op. 12 organ and an archlute as appropriate. Pavlo Beznosiuk, violin; Academy of The recorded sound could hardly be Ancient Music, Christopher Hogwood cond. more effectively tailored to this music and (L'Oiseau-Lyre 443 556, 53 min) Lauderdale: State of the Heart

As a writer, Jim Lauderdale has You fogged up my mind with love words never had any trouble getting you said"), his mournful melodic turns, noticed. His songs have graced his ability to convey bone -deep ache, and enough albums by artists like his hard-core, Owens -meets -Jones vocals. George Strait and Patty Loveless to keep He reaches his zenith in the closer, "I'll him squarely in the chips. But as a per- Lead You Home," where he's joined by former, he has tended to fall through the bluegrass master Ralph Stanley and the cracks between country's more traditional Clinch Mountain Boys for a quasi -spiritu- which is not a violin concerto at all but and more rock -oriented territories. In al experience. Listening to this cut and to one of Vivaldi's dozens of miniature con- 1996 he released a pop album, Persim- so many others on Jim Lauderdale's Whis- certos for strings without a solo instru- mons, that was good enough to make per, you'll tell yourself the same thing: ment - the only one, in fact, to be pub- most neo-rockers gasp for breath. Now he country, modern or otherwise, doesn't get lished in his lifetime. It's a more than at- has used a change in record companies to much better than this. Alanna Nash tractive piece in its own right and a fetch- launch his countriest album ever, Whisper. ing little intermezzo amid some of the Lauderdale still fuels many of his lyr- JIM LAUDERDALE Whisper most distinguished and utterly captivating ics with a rocking beat. But in co -writing Goodbye Song: Whisper: Sometimes: Take Me performances of any of the actual violin with such bankable dinosaurs as Harlan Down a Path (My Heart Won't Know): She Used concertos to come our way to date from Howard and Frank Dycus, he takes ad- to Say That to Me: In Harm's Way: Without any source. As soloist, Beznosiuk defi- vantage of old-style melodic and vocal You Here It's Not the Same: It's Hard to Keep a nitely does not take a "one size fits all" forms to punch up his emotion to nearly Secret Anymore: We're Gone: What Do You approach but celebrates the individuality palpable levels. "She Used to Say That Say to That: You're Tempting Me: Hole in of each of the five solo concertos, and he to Me," a killer tune about a faithless My Head: I'll Lead You Home (BNA, 38 min) gets exceptional support from Hogwood woman, neatly captures the searing pain and his splendid players. The perfor- of romantic deception. And when Glen mances display a dazzling abundance of Duncan enters with his mocking blue- vigor and charm, a thorough understand- grass fiddle, the song turns into nothing East Meets ing of the style, and obvious affection for short of a country masterpiece. the music on the part of both soloist and Throughout, Lauderdale thrills again West in conductor; a similarly apparent joy in per- and again in his use of language ("Like formingittogether illuminates every that old Titanic running full steam ahead / Marco Polo

Tan Dun was born in Hunan, Chi- na, in 1957, studied in China and at Columbia University, and currently livesin New York City. His instrumental works have been widely performed, and his Ghost Opera was performed and recorded by the Kro- nos Quartet. The opera Marco Polo, his most ambitious work to date, can now be heard on a new Sony recording conducted by the composer. It was commissioned by the Edinburgh Festival and also per- formed at the Munich Biennale, the Hol- land Festival (where this recording was made), and the Hong Kong Festival as well as at the New York City Opera. Marco Polo's libretto, by the English critic and writer Paul Griffiths,isall metaphor: East vs. West, action vs. played and sung in masks and reflection, physical vs. spiritual, shifting identities - that I could past vs. present, action vs. memo- never seem to grasp the whole. ry, European music vs. Chinese And yet, in another way, this is an music, and romanticism vs. mod- unfailingly brilliant work whose ernism. The title character himself scope, ingenuity, and immense is divided in two: an unreal Polo, skill made a deep impression on sung by a dramatic tenor, and the me. Like the subject, the work is historical Marco, sung by a mez- an immense journey through time zo-soprano (!). The Chinese em- and space, and the dissonant, peror Kublai Khan is sung by a shrieking terrors of the journey are Chinese bass, Dong-Jian Gong, counterbalanced by passages of while a real Beijing Opera singer, exquisite beauty. Shi-Zheng Chen, portrays an Ital- Is there any way to sort out all ian "shadow" and the Chinese po- of these contradictions? Probably et Li Po, both with a painted face not; they are built into the piece like a Beijing opera star. and into the extraordinary nature It goes on from there. A sopra- of what the composer has attempt- no portrays Water, and another ed here. What remains is the tre- portrays both Sheherazade and mendous contribution made by the Gustav Mahler, whose influence is first-class performers as well as very noticeable (Mahler's settings the powerful impression of a gi- of Li Po inDas Liedare actually gantic set of contradictions that quoted). Even Dante and Shakespeare ed vocalism. The large sections of the contains multitudes. Eric Salzman make their appearances. A Western -style work carry the names of the four seasons vocal choir and orchestra is complement- under the overall title "The Book of TAN DUP. Marco Polo: An Opera ed by a Chinese pipa and an Indian tabla Timespace," and the smaller divisions are Within an Opera and sitar, suggesting an amalgamation or, entitled "Piazza," "Sea," "Bazaar," "Des- Thomas Young (Polo), Alexandra Montano at least, juxtaposition of Eastern and ert," "Himalaya," and "The Wall" - (Marco), Dong-Jian Gong (Kublai Khan), Susan Western musics from across Eurasia. The about as close asMarco Pologets to an Botti (Water), Shi-Zheng Chen (Rustichello, range is also temporal - early music, understandable synopsis. Li Po), Nina Warren (Sheherazade, Mahler, Romanticism, and extreme modernism As a dramatic or philosophical concep- Queen), Stephen Bryant (Dante, Shakespeare); are all present, and there is a huge range tion, the work is constantly at the edge of Ya Dong, pipa; Wolfram Winkel, tabla; of Eastern and Western vocal techniques, incomprehensibility. Its musical range is Al Gromer Khan, sitar; Cappella Amsterdam; from the most traditional to Tibetan over- so huge and its artistic identity so poly- Netherlands Radio Chamber Orchestra, Tan Dun tone singing to the most advanced extend- morphous - everything seems to be cond. (Sony 62912, two CDs, 100 min)

PAUL ROBESON DWIGHT TWILLEY BAND been a student. Recorded in 1960 The Peace Arch Concerts Sincerely on 35 -mm tape and remastered (Folk Era) The great singer/activist, (The Right Stuff; 1750 N. Vine St.. with 20 -bit technology. forbidden to travel by the U.S. Hollywood, CA 90028) government, sang these 1952 and 1Willey Don't Mind RACHMANINOFF 1953 concerts on a flatbed truck (The Right Stuff) Symphony No. 2 in Washington State's Peace Arch Twilley and cohort Phil Seymour, PROKOFIEV Park, just a foot away from the both from Tulsa, released these Classical Symphony Canadian border. popabilly records in 1976 and R. STRAUSS 1977. The first, with the hit "I'm on Till Eulenspiegel SELECT REISSUES THE SAINTS (I'm) Stranded Fire," now offers four bonus tracks, Pittsburgh Symphony, William (Amsterdamned; P.O. Box and the second has three extras. Steinberg cond. (EMI 66554). 862558, Los Angeles, CA 90086) Classic "Full Dimensional Sound" ELLA FITZGERALD AND Eternally Yours VAN CLIBURN mono recordings on Capitol from DUKE ELLINGTON (Amsterdamned) My Favorite Chopin 1953-54. Ella & Duke at the Cote D'Azur The first two albums, from 1977 Van Clibum, piano (RCA Victor (Verve, two CDs) Recorded in and 1978, by the pioneering 68813). His debut solo -piano TCHAIKOVSKY 1966, this classic double album now Australian punks, led by Chris recording, from 1961, three years Piano Concerto No. 1; includes the bonus tracks "Jive Bailey (who has revived the band after his Moscow Competition The Nutcracker (excerpts) Jam," "The Trip," and "Things Ain't name for a new album, Howling, triumph, remastered with 20 -bit Emil Gilds, piano; Chicago What They Used to Be." also on Amsterdamned). technology. Symphony, Fritz Reiner cond. (RCA Victor 68530). One of the THE STEVE MILLER BAND STEPPENWOLF MAHLER Symphony No. 9 great performances of the concerto Greatest Hits 1974-78 (Mobile Fidelity Sound Lab) London Symphony, Leopold in a stunning "Living Stereo" (DCC Compact Classics) One of The 1968 debut record comes to Ludwig cond. iVanguard EVC recording from 1955, originally the most popular collections of all gold CD, featuring "Sookie 9059). The Moravian -born released in mono before the advent time, remastered from the original Sookie," "The Pusher," and "Born conductor studied at the Vienna of stereo LPs, with Nutcracker tapes and transferred to gold disc. to Be Wild." Conservatory, where Mahler had excerpts from 1959.

MARCH 1998 STEREO REVIEW 87 KEF

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NEW RECORDINGS REVIEWED BY CHRIS ALBERTSON, FRANCIS DAVIS, WILL FRIEDWALD, PHYL GARLAND, RON GIVENS, BRETT MILANO, ALANNA NASH, ,PARKE PUTERBAUGH, KEN RICHARDSON, AND STEVE SIMELS

MARCIA BALL, IRMA THOMAS, Jones homage that sports an unusually tra- AND TRACY NELSON Sing It! ditional (for Brooks) swing sound, wailing (Rounder, 48 min) steel and all. You have to figure he's making * * * * a point by putting this song up front: he ing It!, a trio record by three of the may hold back his album for months as he 10most distinctive soul and blues vocal- fights with his record label over marketing ists, arrives with high expectations. Marcia strategy, but at heart he's still a regular guy. Ball, planting one foot in New Orleans and Nice try, but the rest of Sevens doesn't the other in Austin, practices a form of measure up. Only the tuneful tearjerker blues -jazz that live audiences find irre- "She's Gonna Make It" and the token barn- sistible. Irma Thomas, a soul queen for four stormer "Cowboy Cadillac" are as convinc- decades, is deservedly a legend. And Tracy ingly country as the opener. Otherwise, Nelson is nothing short of a country -soul Brooks sounds even slicker and poppier force field. Here they sing separately, in than before, and his message songs are trite. pairs, and all together, and they fulfill the Worse still, each half of Sevens closes with record's biggest promises as they revisit the a big production number that falls flat. "Fit R&B of the Fifties and Sixties in songs by for a King" tries to identify with the home- less and downtrodden, but no amount of gospel choruses can keep it from sounding condescending. As for "Belleau Wood," which celebrates a Christmas truce during World War I, Collin Raye already recorded "It Could Happen Again," a similar -sound- down between the crevices of the lowest ing song on the same topic, for his 1996 notes of the scale and rattles around for a Christmas album. And you know some- while before coming up for air. He is a body's playing it too safe when his most commanding vocalist who would attract at- topical song is set eighty years ago. B.M. tention even if he didn't wrap that other- worldly instrument around some of the GREG BROWN Slant 6 Mind most original and transporting lyrics in (Red House, 54 rain) popular music. "Mose Allison Played Here" * * * * is a true -sounding story about the woes of The hipster/beat-poet/singer Greg Brown an itinerant musician. The gritty "Down at opens Slant 6 Mind with "Whatever It the Mill" turns on anger and violence. And Joe Tex, Mike Reid, Gary Nicholson, Steve Was," a moody stream of consciousness in "Billy from the Hills," the smell of death Cropper, Dan Penn, and Jerry Ragovoy. It's where "the little towns are lying on their hangs in the air. These and other songs are a joy to hear these women, who at times faces." Like the seemingly normal burgs of cinematic jewels, polished to perfection by ("Shouldn't I Love Him") recall the best David Lynch -land, Brown's small towns are Brown's deft blues guitar playing. "girl groups" of years past - and who seem teeming with anxiety, chaos, and perver- Greg Brown's America won't be em- to be enjoying the project as much as the sion. There's a guy in a bra, for starters, as braced by the Brady Bunch crowd, but it's rest of us. Yet only Nelson gets to the emo- well as a headless body out on the lawn and an unforgettable portrait, painted by one of tional core of the pain that drives the soul a drive -by shooting in Lake Wobegon. It's folk's pre-eminent artists. A.N. genre. Whether handling the lead of "In scary in the heartland, and it's an ominous Tears" or sharing the duets of "You Don't heart that beats through most of the rest of THE DERAILERS Reverb Deluxe Know Nothin' About Love" and "Heart to Brown's program. (Watermelon/Sire, 48 min) Heart," she is a pure and transcendent artist. Brown has a baritone -bass that gets * * * More than that, she's a miracle. A.N. elk n first hearing, the Austin -based De- STAR SYSTEM li/ railers are so ear-tweakingly country, GARTH BROOKS Sevens so steeped in the hard-core Bakersfield (Capitol, 46 min) Excellent** ** * style, that it's easy to dismiss them as paro- * * Very good** ** dy. But they eventually win you over with ive Garth Brooks credit for opening Good * * * both their Buck Owens -inspired originals i his much -hyped, long -delayed seventh and their earnest covers of classics like Har- Fair* * album with an honest -to -God country song. lan Howard's "I Don't Believe I'll Fall in "Longneck Bottle" is a first-class George Poor * Love (Today)" and the thrilling "No One to

MARCH 1998 STEREO REVIEW 89 popularmusic

Talk to But the Blues," a song reminiscent more Than You Do"). Elsewhere, the acous- of early Elvis Presley but made famous by tic/electric backing revs up for sassy num- Lefty Frizzell. Vocally, the Derailers hit and bers like the title track and "Been Lovin' miss: "Tears in Your Eyes" is nearly good Me" as Carillo impresses with his brisk gui- enough to remind you of the Everly Broth- tar work. And there are affecting elegies in ers' familial harmony, but the lead in Golden's two solo turns: "Picture of the "Painful Days and Sleepless Nights" is just Pain," a tribute to those hunted down by the plain painful to hear. Still, you forget all media (written before Princess Diana's that when they launch into "Ellen," a lively death), and the beautiful piano -and -cello chicken-pickin' instrumental, or "Come ballad "Clara Bow." Back," a rockabilly diamond in the rough. In Back for More, Golden Carillo have . These four cats are too retro and rough - made an album that comes across like a edged for Nashville, and, to my way of New York version of Buckingham Nicks. thinking, that's a compliment. Hear 'em be- And you know what happened to Lindsey fore they get the big head. A.N. and Stevie after that record. K.R.

In GOLDEN CARILLO Back for More LSG Levert.Sweat.Gill Golden Carillo (Kaye. s, 38 mm; 16 W. 19th St., 5th floor, (East West. 56 min) New York, NY 10011; [email protected]) * * * * * * * To create the R&B supergroup LSG, a Roses' output on the two volumes of Use The scene is the Manhattan haunt CBGB, I certain amount of accommodation was Your Illusion by 3 minutes, making Metal- the time is the late 1970s, and the veri- necessary to fuse the soulful emotional lica the new heavyweight in the overkill table house bands are the Ramones, Blon- thrust of Gerald Levert with the polished department. Artistically, Reload is more of die, Talking Heads, Television, the Shirts .. . Southern strut of Keith Sweat and the en- the same, only darker - which is not to the Shirts? Yes, they were there, too, a gagingly youthful balladry of Johnny Gill. say better. Brooklyn sextet of arty popsters who ulti- The result is a consistently pleasing vocal Whereas Load had changes of pace like mately were overlooked for not being as blend, but Levert.Sweat.Gi!l reaches fewer the countryish "Mama Said" and the reflec- raw, sexy, or eggheaded as their colleagues peaks than expected. Perhaps each singer tive "Wasting My Hate," Reload mires the - never mind that Shirts shows were all - was trying too hard not to hog the spotlight. band in a fire -breathing, heavy -mental rut stops -out, dual -guitars -brandished affairs. It doesn't help that many of the songs are of evil and devilry. As players, the guys re- The band eventually broke up, but riveting based on simple, monotonous riffs. But the main sharp as a saber's edge, mounting a lead vocalist Annie Golden not only kept three are capable of pushing each other to controlled attack upon all that bugs them plugging (and unplugging) away but also exciting heights, as in "Drove Me to Tears," with laser -precise riffing. At this point, showed her versatility by tackling cabaret the best -shaped and most tuneful song here. however, there's something automatic about (with future soundtrack composer Marc And spirited changes of pace come by way the demon -obsessed negativity. We've heard Shaiman), Broadway (as Lynette "Squeaky" of various guests, from rappers The Lox it all before, and although Metallica can Fromme in Stephen Sondheim's Assassins), and LL Cool J to the refreshing female in- still rock like the furies on Reload, its film (from Hair to 12 Monkeys), and TV (as put of Faith Evans, Coko of SWV, and Mis- shtick now seems merely ill-tempered and Cliff's girlfriend Margaret in Cheers). sy "Misdemeanor" Elliott. Overall, Levert. anachronistic. P.P. First and foremost, however, she remains Sweat.Gill is an experiment that lights no a charismatic singer, and for the past several new fires but certainly doesn't fizzle. P.G. TODD SNIDER Viva Satellite years she has been singing and writing with (MCA. 65 min) guitarist Frank Carillo. Their first two al- METALLICA Reload * * * bums, A Fire in New Town and Toxic Emo- (Elekira, 76 min) After two impressive albums that rocked tion (actually different versions of the same * * with a decided folk -country leaning, record), had some strong material, but Back Metallica could just as easily have Todd Snider has gone for a straighter rock/ for More is a great leap. Golden and Carillo called this one Rehash or Redux, pop sound on Viva Satellite, making, as he have become a genuine duo, their sweet/ since the thirteen tracks have their origins puts it, music "in celebration of whatever gruff voices blending perfectly to evoke the in the sessions for the band's previous al- we want, for better or worse." Most of the despair of the streets ("Slow Burn"), a lone- bum, Load. Statistically, the mother lode of time it's for better, but it veers the other ly har ("Cantina"). and Hell itself ("Anv- material on both records edges out Guns N' way in a cover of Steve Miller's "The Jok- er," a song that needed no resurrection, and in "I Am Too," with riffs too derivative to SONGS FROM THE BIG CHAIR support Snider's claim that his is "the best rock band in the world." As before, Snider CD cover, is often more interesting lyrically than Dubstar melodically, especially in "God Send," where he succinctly prays for "an angel to dabatar love," tiring of "bachelor life / got two ex- '40 wives / beer -can pile / night-club world / 4:t? ashtray girl." The Townes Van Zandt-ish 0,- 4 "Doublewide Blues" and "Positively Nega-

tive" ("Come over here tonight / And I will A let you treat me like the victim / I'm not CD cover, Southern gonna be") round out his more intriguing songs, after the hallucinogenic "Satisfaction Culture on the Skids Ad campaign, Pink Floyd reissues Guaranteed" and the hip I -found -Jesus of -

90 STEREO REVIEW MARCH 1998 OFFICIAL RULES No purchase necessary. On an official entry form or a 3" by 5" piece of paper, print your name, address, zip Help Stereo Review Celebrate its code and daytime telephone number. No mechanical reproduction of official entry form will be accepted. Enter as often as you wish, but mail each entry sepa- 40th Anniversary and Win a rately. To enter, mail your entry to: Stereo Review's "Ten Of The All Time Best" Sweepstakes, 1633 Broadway, 45th Floor, New York, NY 10019. Entries Philips CD-R/RW Recorder and must be received by April 1, 1998. All eligible entries become the property of Hachette Filipacchi Maga- zines, Inc., which reserves the right to reprint the 40 TDK Recordable CDs! name, address and photo of winner for publicity pur- poses. The winner will be selected in a random draw- ing to be held no later than April 17, 1998, from among all eligible entries received and under the su- HERE'S HOW: On the official entry form be- pervision of Hachette Filipacchi Magazines, whose low, list 10 song titles, and their artists, that decision will be final. The prize is a Philips CDR870 you consider to be "Ten Of The All Time CD recorder and 40 TDK CD-RXG recordable CDs Best." These songs should be ten of your all (maximum retail value $1,008.60). The winner will be time favorites, songs that you would pick to notified by mail and may be required to sign an affi- make your very own greatest hits album. davit of eligibility and release of liability. If under age 18. a parent or guardian must sign. Failure to return The ten songs must be from various artists the affidavit within 10 days will result in an alternate and can come from a variety of musical cat- winner being selected. Odds of winning will depend egories. on the number of entries received. The prize is not transferable and there is no substitute for the prize. Send this information, along with your The contest is open to legal residents of the continen- tal United States and Canada, except Quebec. Em- name, address, and telephone number to: ployees of Hachette Filipacchi Magazines, Philips and Stereo Review's "Ten Of The All Time Best" TDK, their families, affiliates, or advertising and pro- Sweepstakes, 1633 Broadway, 45th Floor, motion agencies are not eligible. Void where prohibit- New York, NY 10019. ed or restricted by law. For the winner's name, send a self-addressed stamped envelope to: Stereo Re- view's "Ten Of The All Time Best" Sweepstakes Win- All entries must be received by April 1, 1998. ner, Hachette Filipacchi Magazines, Inc., 45th Floor, Only one winner will be chosen. 1633 Broadway, New York, NY 10019.

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'479" standard -mount, *trot rnestylus, '229" 8MB RAW, docking cradle (HP 11238A) '699" (HP (53001) NEW IOW %RICH '799" 31PARKRow, NY, NY ASK ABOUT OUR EXTENDED WARRANTY TO ORDER BY MAIL: SEND MONEY ORDER, CERTIFIED OR CASHIER'S CHECK, MASTERCARD VISA, AMERICAN EXPRESS or DISCOVER CARD (include Interbank No., expiration date & signature) To: J&R Music World, 59-50 Queens Midtown Expwy i.laspeth, Queens, NY 11378. Personal 8 bit siness checks must clear our Authorization Center before processing. Shipping, handling & Insurance Charge (Continental US) is 5% of the total order with o $4.95 minimum for orders up to $500; 4% for orders over $500 to $1000; 3% for orders over $1000 to 51500; 2% for orders over $1500to $2000; 1% for orders jrprj MUSIC! over $2000. For heavyweight/over-sized items, shipment by air or to Canad Hawa i, Alaska, Virgin Islands & Puerto Rico, please call for information. DO NOT SEND CASH. Sony, no CQ.D.'s. NY residents please add sales tax. ORDERS SUBJECT TO VERIFICATION & ACCEPTANCE. NOT RESPONSIBLE FOR mum W01/1,14 TYPOGRAPHICAL OR PICTORIAL ERRORS. AU. MERCHANDISE SHIPPED BRAND NEW, FACTORY FRESH & 100% GUARANTEED. Some guortities may be limited. Copyright 1998 18R Music World. City of N.Y. Dept. of Consumer Affairs License Nun bers 0900310/0900615/0900616/0900617 popularmusic colonelvideo. fering of "Once He Finds Us." Todd Sni- Recorded not long after,Open Your Eyes der's wide-ranging repertoire sometimes marks another personnel change - Wake- corn signals a lack of focus, but he's definitely a man is out (again), guitarist/singer/writer talent to be reckoned with. A.N. Billy Sherwood is in - and another change of course. Sherwood helps steers the band 1-800-277-5632 ROBERT WYATT Shleep in the same radio -friendly direction Trevor (Thirsty Ear, 52 min; 274 Madison Ave., Suite Rabin did. It works fine in the first few 804, New York, NY 10016; [email protected]) tracks: "New State of Mind," the title song, * * * and "Universal Garden" retain the grandios- Shleepis Robert Wyatt doing what he ity of prime Yes, with enough layers of vo- does best: discoursing in conversation- cals to make up for the lack of keyboards. Factory al meter in his wispy British voice as music But then a slick adult -contemporary ap- swirls around him in strange and wonderful proach takes over, as Anderson's lyrics de- ways. Wyatt herds together modern jazz, scend into the trite feel-goodisms of recent Authorized difficult art songs, abstract pop confections, years. Pleasant,yes; progressive, no. B.M. and audacious recastings of familiar source for material; in the last category, the highlight is his breathless spinoff of Bob Dylan's COLLECTIONS TOP NAME BRANDS "Subterranean Homesick Blues" as "Blues in in Bob Minor." There is less of the leftist THE BRIDGE SCHOOL CONCERTS, polemics that typified Wyatt's albums in the VOL. ONE AUDIO & VIDEO 1980s and more of the dreamily engaging (Reprise. 62 min) twists and turns of his earlier work. The * * * * gently percolating first track, "Heaps of The Bridge School Concerts, Vol. One is Receivers, Speakers, CD Changers Sheeps," evinces the unmistakable hand of a model of how to put together a coher- Brian Eno, and "Maryan" drifts along like a ent multi -artist collection - no small feat, Audio Accessories, Audio Separates particularlyintriguing daydream. Then considering that fifteen performances by as Subwoofers, Digital Video Disc, there's "Free Will and Testament," whose many artists were culled from nine years' Dolby Digital Receivers, philosophical lyrics hark back to the school worth of benefit shows. Neil and Pegi Young Satellite Dish Systems of "pataphysics" - a kind of playful exis- cofounded the Bridge School to offer edu- tentialism without the academic starch - cational opportunities to children with "se- Home Theater, Projection TV's, hatched by Wyatt back in his days with the vere speech and physical impairments." Be- Camcorders and Accessories Soft Machine. All in all,Shleep isa return cause the musical approach of the concerts to the quirkiness and charm of Robert Wy- is unplugged and because all involved keep att at his inscrutably accessible best. P.P. the cherubic beneficiaries of their donated ALL MAJOR BRANDS LIKE time at the forefront,The Bridge School YES Keys to Ascension 2 Concertscomes together in a spirit of inti- SONY 0 Infinity (Yes1Puiple Pyramid, two CDs, 102 min) macy and generosity. Live disc: * * * Neil Young opens the disc with "I Am a Studio disc: * * * * Child," a Buffalo Springfield -era tune writ- KENWOOD harman/kardon Open Your Eyes ten long before the term "inner child" (Beyond Music/Tommy Boy, 74 min; passed into vogue. The most moving songs psb (1,1) PIONEER The Art of Entertainment available in regular or SAIL -surround edition) here make explicit statements about self- * * sufficiency: Tracy Chapman's "All That You The good news is that Yes has made a Have Is Your Soul," the Pretenders' "Sense UNBEATABLE creative comeback and a commercial of Purpose," Patti Smith's "People Have the one at the same time. The bad news is that Power," and David Bowie's "Heroes." Oth- over 1,500,000 served! it has done them on separate albums. er tracks qualify as curios that no fan or The classic lineup of Jon Anderson, Steve collector will want to be without, including 17 Yrs in Houston, TX Howe, Chris Squire, Rick Wakeman, and Elvis Costello's "Alison" (with Young) and Alan White shows its mettle onKeys to As- the improbable matchup of Don Henley and cension 2,which, like the firstKeys,com- an early Beatles tune, "Yes It Is." The vibes bines live tracks from a 1996 reunion gig must be good at these affairs: even industri- with new studio material. But this time the al doom -mongers Ministry make nice with studio sessions cover a full CD, and it's the a bubbly true -bluegrass rendition of the best Yes disc since 1977'sGoing for the Grateful Dead's "Friend of the Devil." P.P. One.At long last, the band throws commer- ciality to the wind and mines the cosmic ONE STEP UP/TWO STEPS BACK: epic style it perfected in the Seventies. The THE SONGS OF BRUCE SPRINGSTEEN 9 -minute "Foot Prints" and the 18 -minute (The Right Stuff, two CDs, 118 min) "Mind Drive" are complex pieces that hold * * together as songs, alternating Anderson's With fourteen new versions and four- melodic musings with thrilling guitar/key- teen previously recorded tracks,One board outbursts. The live disc is a nice but Step Up/Two Steps Back isthe proverbial unnecessary bonus, since most of the songs case of a double disc that would have made all major credit cards C.O.D. & P.O.'s Welcome have been on concert albums before and a fine single one highlighting just those mon-thurs 9-9 fri-sat 9-7 sun 10-6 CST Fax (713) 910-5868 e-mail: [email protected] these faithful versions offer nothing new. artists who bring a measure of personality see our web site for policies & procedures Harris County TX is jurisdiction for all transactions 94 STEREO REVIEW MARCH 1998 OneCull GETS IT ALL! PRICEDELIVERY SERVICE

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(Reprise, 44 min)* * * The Verve has mutated into something King brings an effortless soulfulness to "4th The title song is Chapman's ballad about rather out of step with the rest of its Brit of July, Asbury Park (Sandy)." But most of being reunited with a loved one "through contemporaries: a traditional -sounding the project is generally flat at best and em- the doors beyond the grave." The album, five -piece rock band that happens to be barrassing at worst. Martin Zellar's ghast- written and performed in a style reminis- really good.Urban Hymnsis the right ly, constipated "Darkness on the Edge of cent of late -1960s Judy Collins, is clear- kind of Sixties revivalism, faithful to the Town" is at the bottom, followed closely by ly a companion for those still stunned by spirit, rather than the letter, of that era's Syd Straw's histrionic, uncomprehending sorrow but fighting to find their way best music. S.S. "Meeting Across the River." And just who back into the world. A.N. are Mrs. Fun/Tina and the B -Side Move- ment, who sandbag "Janey, Don't You Lose DURAN DURAN Medazzaland Heart" with a dull, disinterested reading? (Capitol. 49 min * * One Step Up/Two Steps Backmakes you THE DURAN DURAN TRIBUTE yearn to hear the originals, if only to dis- ALBUM lodge these banal interpretations from the (Mojo, 57 min) * mind's ear. That seems something of a trav- A handful of tracks onMedazzaland at- esty, given Bruce Springsteen's rich, time- temptto recapture the sound and feel of less store of song. P.P. old, but at its best the record plays like a decent Duran Duran tribute album. The TIBETAN FREEDOM CONCERT real tribute album has a bunch of ska MIKEWATT (Grand Royal/Capitol, three CDs. 168 min: versions, a bit of hardcore, and some Contemplating the EngineRoom enhanced CD) thrash metal, and it abounds with clumsy (Columbia, 54 min)* * * * * * * * arrangements and snotty vocals. The on- Watt's mesmerizing rock opera (as un- A II -star charity events usually don't ly track that works is from a joke band, likely as that sounds) metaphorically re- PS translate into good albums, but this Bjorn Again, which transforms "Girls on counts a day in the life of the Minute- three -disc set from the Tibetan benefit con- Film" into an ABBA epic. B.M. men, the punk -rock trio for which he certs organized over the past two summers played bass. It also evokes the seafaring by Beastie Boy Adam Yauch is a rare ex- DIZZY GILLESPIE life of his late Navyman dad (who's pic- ception. Yauch put together a fine cross sec- Bird Songs: The Final Recordings tured on the cover). Watts, guitarist Nels tion of popular alternative and hip -hop acts, 1 elan Jaz:, 63 nun)* * Cline, and drummer Stephen Hodges in- mixed with folk and Eastern roots music. Taped live in January 1992,Bird Songs teract like a jazz group with punk in- Tibetan Freedom Concertwisely puts every- features appearances by Benny Golson, stincts and avant-garde leanings, setting one on equal footing, with one track each Jackie McLean, Clifford Jordan, David sail for territories previously claimed on- by everybody who played, and it's good to Sanchez, Paquito D'Rivera, and Antonio ly by the likes of Captain Beetheart and hear Taj Mahal, Jamaican dub -master Lee Hart -a fine lineup, but one that under- the Hampton Grease Band. P.P. Perry, and Japanese pop artist Yungchen lines how Gillespie had become just an Lhamo alongside the Foo Fighters, U2, and echo of his former self. In "Con Alma" BEBE WINANS members of R.E.M. his eloquence is unimpaired, but I miss (Atlantic, 62 min)* * * * Despite jivey moments from the Jon the authority of old. CA. Winans is a passionate singer, but he isSpencer Blues Explosion and the severely also a gifted songwriter, arranger, and overrated Beck, the music generally sounds GRAND FUNK RAILROAD Bosnia producer, as his fine solo record attests. urgent enough to suit the occasion, even if (EMI/Capitol Entertainment Properties, The music owes far more to R&B than there are few explicitly topical songs. The two CDs, 101 min)* * * to gospel, and the lyrics seem to address best political number, a searing satirical po- Performing together for the first time in earthly love. Yet the album closes with a em by Public Enemy leader Chuck D., ap- more than twenty years, Grand Funk rousing rendition of the Edwin Hawkins pears only in the multimedia section, but replicates its old live set. The sound is a classic "Oh Happy Day." P.G. hip -hop gets a strong showing via a fiery lot cleaner now, and time has been rela- performance by KRS- I , a warm and funky tively kind to the material. B.M. BILLY YATES one by De La Soul, and a goofy one by Biz (Almo Sounds, 34 min)* * * * Markie. For rockier tastes, Patti Smith's PATTY LARKINPerishable Fruit Fans of stone-cold country will likely "About a Boy" (far stronger than theGone (High Street, 50 min)* * * send up a flare after one spin through Againversion), Sonic Youth's "Wildflower" In her first producing role, Larkin ex- Yates's debut. He knows how to get to (an inventive, 10 -minute instrumental), and cluded drums and challenged her players the heart and head at precisely the same Oasis member Noel Gallagher's "Cast No and herself to create music "plucked, time and how to find the universal in the Shadow" are worth the proverbial price of thumped, and sampled on stringed in- personal, whether facing life -altering admission. struments." The result is graceful folk - "Choices" or addressing the departed The multimedia portion doesn't provide pop that alternately recalls the dreami- loved one of "Flowers." Country does much extra live footage, just some song ex- ness of k.d. lang, the detached coolness maudlin like no other music, but the bot- cerpts (most under a minute), backstage of Sheryl Crow, and the self-conscious tom line is this: if that last song doesn't sound bites, and interviewer Sean Lennon hipness of Rickie Lee Jones. A.N. get you, you just ain't breathin.' A.N. identifying himself six times. But there's a wealth of documentary material, including 96 STEREO REVIEW MARCH 1998 speeches from the Dalai Lama. to put the music into perspective. B.M. tCINENP SOUN:inTomorrow's Technology JAll .Ushering Tcgdayi BILL COSBY Hello, Friend: To Ennis with Love .971;t_seeff,k4ifc9ffeve- 6)/t 64Zed (Verve, 48 min) * * * At Sound & Cinema we're proud to be the Technical Leader in Hello, Friend is a misleading release: it Design and Custom Installation of Superior Quality Audio, Video bears Bill Cosby's name and likeness and Digital Theater Components. on the cover, but it's not a Cosby album, ex- cept for the fact that he coproduced it. Ac- Going beyond competent performance, our systems bring Hollywood, with all its amazing tually, this is a good jazz session featuring realism, right into your living room! Lester Bowie and Philip Harper on trumpet, Bobby Watson on alto saxophone, Craig We have 4 finely appointed, state-of-the-art DELIVERY Handy on tenor sax, and a rhythm section BASIC SETUP ON HOME Audio/Video Rooms and wnen yon THEATER SYSTEMS of pianist Cedar Walton, bassist Peter Wash- consider that we offer practi- 33 DAY HOME TRIAL ON ington, drummer Billy Higgins, and per- cally every major brand at THEATER SYSTEMS cussionist Steve Kroon - certainly a group greatly reduced pricing, why that deserves proper credit. Recorded in call anywhere else? 1993, the album was put aside until Cosby asked Verve to issue it as a tribute to the Ectyyverthlonk memory of his son, Ennis. EN Cosby apparently picked the tunes - a FREEF good mix of standards and soul -jazz hits from the late Fifties and early Sixties - A d Video Home Theater nos Projection TVs Laser Disc DVD VCRs and he leads them off with his own piece Multimedia Subwoofers Speakers CD Pl.ers/Changer Signal Processors "Wide Open," itself very much in the soul - You Aiwa s Do Better at Saund & Cinema type head -arrangement mold of the Sixties. OHunterdon Shopping Center Route 202/31 South There is nothing wrong with having a retro Flemington, NJ 08822 FC A EL t1 1 888-862-860 repertoire, but, given who was on hand, this could have been a far more venturesome and meaningful set. The ensembles are clean, the solos are often brisk and imagi- native, and everybody plays very well in- deed, but these are men who can, and often CALL US LAST do, go well beyond very well. C.A.

PAQUITO D'RIVERA & THE UNITED NATION ORCHESTRA Live at MCG (Jazz MCG/Blue Jackel, 69 min) * * * * BEATAENWYLPRICE I t sounds ever so official, but the United printed in this magazine on Nation Orchestra has no connection with the United Nations. Dizzy Gillespie origi- HOME ELECTRONICS & CAR AUDIO nated the name to illustrate music's role as an international language. Now saxophonist 7actoui 7iatAcniTed Jeafczw Scarce Paquito D'Rivera, who shared the orches- Home Products tra's musical direction with Gillespie, con- DVD AC -3. CD PLAYERS AMPS PREAMPS TUNERS tinues spreading the pleasant amalgam of PRO -LOGIC & STEREO RECEIVERS SUBWOOFERS jazz, Afro -Caribbean, and Latin music. LOUDSPEAKERS PROCESSORS OUTDOOR SPEAKERS EQJALIZEFS IN WALLS & ACCY'S Live at MCG, recorded last year at Pitts- .:ar Products burgh's Manchester Craftsmen's Guild, is CD CHANGERS AM/FM CASSETTE RADIOS CD HEAD UNITS a richly textured multimood romp. Trum- AMPLIFIERS EQUALIZERS SPEAKERS peter Mike Ponella was inspired by a Nev- BEST PRICE BEST SERVICE ille Brothers performance to write the bras- THE sy, "St. Louis Blues" -like "King of Can- cun." "Groove for Diz" also exemplifies the SOUND orchestra's excitement, as well as its diver- APPROACH sity; written by trombonist William Cepeda 6067 JERICHO TPKE., COMMACK, NY 11725 and arranged (with a decided bow to Stan ON LONG ISLAND CALL (516) 499-7680 Kenton) by Luis Romero, it's based on the 12/8 Puerto Rican bomba yuba rhythm. And D'Rivera and Oscar Stagnaro duet on clarinet and bass, respectively, in "Andalu- 800-368-2344 popularmusic cia Medley." paying tribute to Cuban com- Metheny together with guitarist Bill Frisell but invented the concept of swinging eclec- poser Ernesto Lecuona. for the first time. These two are a good ticism, an accomplishment "officially" rec- I am particularly pleased to be able to match, lyrical eclectics with a feel for con- ognized at long last by his winning the recommend this CD because proceeds from temporary Americana. Whatever Metheny's Down Beat poll for the past two years. All of its sale support the MCG's Jazz Education shortcomings as an improviser, he's a team his records constitute veritable catalogues Program - we need more of those. If player with an ear for texture. He mostly of techniques, including scat, the blues, D'Rivera ever presents the United Nation lets Frisell set the pace, and with Johnson Latin rhythms. vocalese, and even poetry Orchestra in your vicinity, make every ef- and drummer Joey Baron providing a sup- recitation. Murphy's newest set, Song for fort to experience it. C.A. ple beat the result is an album of jazz that the Geese, adds more via a three -voice might best be described as bristlingly cere- choir (in the title track) and an acid -jazz PAT METHENY GROUP Imaginary Day bral. And the absence of an actual Ham- background given to several cuts, includ- (Warner Bras.. 65 min) mond B-3 doesn't stop these guys from ing a rendition of the Steely Dan hit "Do * * turning in a killer organ groove in the irre- It Again." But it's the swinging numbers MARC JOHNSON sistible "Union Pacific." F.D. ("You Go to My Head") and the ballads The Sound of Summer Running (his scathing soliloquy in Stephen Sond- (terve. 53 mini MARK MURPHY Song for the Geese heim's "I Remember") that will most please * * * * (RC'A limn.. 64 min) lovers of classic jazz singing. 'maginaryDay is one of those hour-long * * * * Two retrospectives complete the picture sighs that have won guitarist Pat Metheny The Best of Mark Murphy: of Murphy's evolution. The Capitol Years a loyal following among advocates of fu- The Capitol Years offers a well -selected sampling of his three sion, New Age, and smooth jazz. Dominat- (Capitol 49 min) albums and assorted singles for that label. ed as much by Lyle Mays's keyboards and * * * This is a younger, more conservative Mur- Mark Ledford and David Blamires's la -la's Stolen ... and Other Moments phy, one whom some listeners may even as by Metheny's acoustic, electric, and synth (?2 .1a:_, too CDs. 149 min) prefer. Stolen . . . and Other Moments sum- guitars, this is the sort of pleasant back- * * * * * marizes the nineteen albums and twenty- ground music that,if listened to more Mark Murphy not only sings jazz but two years Murphy spent with Muse Rec- closely ... fades even further into the back- teaches it around the globe, and his ords: it's a gloriously varied program with ground. But I wouldn't mind hearing the most important lesson is his own life: pa) sources of inspiration ranging from Antonio beguiling "The Roots of Coincidence" on your dues and stay true to your artistic con- Carlos Jobim to Nat King Cole to Jack Ker- the radio every so often. science and eventually the world will catch ouac. As colleague Sheila Jordan observes Bassist Marc Johnson's The Sound of up with you, although it may take forty in the liner notes. "What's not to like? What Summer Running is notable for bringing years. Alongside Betty Carter. Murphy all singers do what Mark Murphy does?" W.F.

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NEW RECORDINGS REVIEWED BY RICHARD FREED, DAVID HALL, JAMIE JAMES, GEORGE JELLINEK, AND ERIC SALZMAN

J. S. BACH Brandenburg Concertos commonly regarded from a Germanic point ones, for the most part, suggest little more II Giardino Armonico ( leldec 98442. two CDs. of view. than thoughtful attention to detail, an ele- 93 min) II Giardino Armonico is a Milan -based gant level of articulation, and a fastidious * * * * period -instrument group directed by the balancing of the solo and orchestral ele- We think trends move quickly in these flutist and conductor Giovanni Antonini. ments - which merely provide the frame- days of high-speed communications, These musicians lean into the musical work for the music's real substance. R.F. but new musical fashions traveled across grooves in an almost contemporary choreo- Europe at amazing speed in the seventeenth graphic manner, giving us a jazzy, dancing, and eighteenth centuries. The Baroque con- Bach under sunny southern skies. E.5. certo was invented in Italy at the beginning of the eighteenth century and crossed the BEETHOVEN Piano Concertos Nos. 1-5; Alps only a few years later. Although Bach Piano Sonata No. 23 ("Appassionata") Andras Schiff, piano; Dresden State Orchestra. Bernard Haitink cond. (Teldec 13159. three CDs. 203 min) * * * I f you listen first to the last of the three discs in this set, the one containing the BERNSTEIN Candide, Overture; Fifth Concerto (the "Emperor") and the West Side Story, Symphonic Dances; "Appassionata" Sonata, you will find it irre- Facsimile; Fancy Free sistible. Andras Schiff, the Dresden State Baltimore Symphony, David Zinman cond. Orchestra, and Bernard Haitink perform (London 452 916.73 min) like preordained partners in the concerto. * * * Eschewing anything that might smack of I tis ironic (but perhaps not surprising) mere rhetoric or self-conscious reverence, that Bernstein's "serious" symphonic mu- they allow themselves - and us, as listen- sic has had a slow go but his show and ers - to revel in the vigor of Beethoven's dance music is solidly entrenched in the imaginativeness and the inexhaustibility of modern orchestral repertory. The overture music that even now, perhaps, has yet to re- to Candide and the Symphonic Dances from veal all of its wonders. One very small but West Side Story are long-time favorites, and very telling example occurs about 4 min- Fancy Free, a wonderful score written for a utes into the final movement, in a transition ballet by Jerome Robbins, is now often passage for the piano that suddenly blos- heard as well. In this collection, only Fac- soms into the most fetching little dance simile, a rather abstract, Stravinskian work when Schiff very clearly yet subtly brings written in 1946 for another Robbins Broad- forward the ingratiating accompaniment way ballet, is relatively unknown, and it de- figure, which tends to go unnoticed. A simi- serves to be better known. The perfor- lar sense of enthusiastic rediscovery illu- mances by David Zinman and his Baltimore mines his unreservedly dramatic yet un- Symphony are expert. E.S. never left Germany and worked only occa- waveringly elegant re-examination of the sionally with Italian musicians, he was well familiar "Appassionata" Sonata, and the BRAHMS Viola Sonatas Nos. 1 and 2 aquainted with the Italian style, which was recorded sound is virtually ideal in both Kim Kashkashian. viola; Robert Levin. piano probably the single greatest influence on works. (ECM 1630.44 min) him. And he would, I am sure, have enjoyed The four earlier concertos seem to have * * * * these Italian performances - light (even been recorded by a different pianist - one Iike the great B Minor Quintet and A spare), fast, stylish, rhythmic - of his six whose approach might be described as con- Om Minor Trio, these sonatas, Brahms's Brandenburg Concertos, which are only too templative, or ruminative, or profoundly re- Op. 120, were composed for the clarinet, spectful, but certainly not as enthusiastic or but Brahms also prepared the versions for particularly vigorous. And his collaborators viola, which were quickly seized upon by STAR SYSTEM in these performances seem entirely in ac- performers on that instrument. Late Brahms Excellent** ** * cord with that approach. The results cannot at his mellow best, these two masterpieces Very good** ** be written off as pedestrian or disengaged, have an autumnal hue that some listeners Good** * but they do not meet the expectations raised feel is more aptly conveyed by the dusky except, curiously, in the slow movements, sound of the viola than by the clarinet's Fair** which are brought off with splendid convic- more pellucid tone. As in all of the Brahms Poor* tion and communicative power. The outer duo sonatas, the keyboard instrument is an

100 STEREO REVIEW MARCH 1998 equal partner, and nothing but the best she emerges as a cultivated and mature mu- back to the richly conciliatory vein found in will do. sician. Her choice of the Elgar E Minor the last pages of the Second Symphony. Violist Kim Kashkashian and pianist Sonata, a late, nostalgic work composed in Midori and her very capable partner, the Robert Levin are tops in their league, and the closing months of World War I, is par- pianist Robert McDonald, do very well in- they need give no ground to the stiff com- ticularly notable. The music opens abruptly deed by the work. petition in these works interpretively. Be- with a fiercely Brahmsian statement com- Unlike the Elgar, the Franck A Major cause the viola's dynamic range is wider plete with tritonal elements, but this gives Sonata has been recorded many times, and than the clarinet's, the piano sound here way to a wistfully lyrical expression. There not just for violin. Midori's performance is may seem a bit aggressive to listeners used follows an elusive, almost spooky "Ro- on the restrained side - not a bad approach to the versions with clarinet. It took a while mance" that Elgar's wife said suggested the to a work that can be given a decidedly for me to get accustomed to it, but once I dead trees at twilight next to the composer's overheated rendition. It contains some of did I found these readings right on target, country retreat. The final movement harks Franck's finest late music, free of bombast even the extreme dynamics in the opening movement of the Sonata No. 1. The sound overall is first-rate - full bodied and amply present.I do wish, however, that we had Something Old, Something New been given more than a mere 44 minutes of playing time. D.H. Where will be conservatives who its half-hearted resolution as poignant CANTELOUBE Songs of the Auvergne IIwill delight in the Kronos Quartet's as Russian folk song. And the world EMMANUEL Burgundian Songs Early Music (Lachrymae Antiquae) music sounds as modern as Cage, resting Dawn Upshaw, soprano; Lyons Opera because of its title, and progressives who upon relentless drones and ostinatos. Orchestra, Kent Nagano cond. will be distressed for the same reason. Is Early Music is performed almost (Erato 17577. 59 min) the Kronos forsaking its lifelong mission entirely without vibrato, yet this approach * * * * * to champion the new and comb the globe is flexible enough to be piercing, Many topflight sopranos have embraced for the unusual? Not at all. You see, this austere, even raucous, as in Machaut's Joseph Canteloube's Chants d' Au- is early music, but it is also new music Kyrie II, or silken, hushed, and trans- vergne since Madeleine Grey's pioneering and world music. The early music dates lucent, as in the Purcell Fantasia No. 2 version in the 1930s. There are eighteen back to the chant of the ninth -century and Tye's "Rachell's Weepinge" and Auvergne songs here; a previous Erato disc Byzantine abbess Kassia and the twelfth - "Farewell My Goode," where the by Dawn Upshaw and Kent Nagano offers century abbess Hildegard of Bingen. others from the same collection. The Chan- The new music reaches up to John Cage sons Bourguignonnes of Maurice Emman- and Alfred Schnittke. The world music uel (1862-1938) were new to me, but they ranges from the folk singing of Tuva are ideal discmates for the Canteloube. to the folk fiddling of Sweden. 2 Both Emmanuel and the younger Can- What's remarkable is that the early (.5 teloube (1870-1957) were enthusiastic folk- music sounds new, and the new and a 2 lorists who found in the songs of these re- world music sounds early. Early Music spective regions a welcome link to French is the Kronos's most superb concept .75.1 music's Renaissance and Baroque past, as album, designed to be a 69 -minute well as a free departure from the various artwork unto itself, oblivious to time and turn -of -century "schools." Emmanuel's har- place. It will please neither musicolo- monizations are more subdued - two of gists who demand historical authenticity his songs, "Noel" and "Complainte de Not- nor ethnologists who demand cultural re Dame," are touchingly devotional - and context. (Most of the selections are they lack the pungency and the imaginative arrangements of pieces not intended for orchestrations of Canteloube's settings, but string quartet.) But it will entrance those they are delightful nonetheless. open-minded enough to embrace it as Songs like these challenge the interpreter an unbroken entity. to be simple and artful at the same time. Of the twenty-one brief numbers, quartet sounds like a consort of viols. Upshaw's wonderful sense of vocal color eleven are by medieval, Renaissance, and The Kronos members have learned enables her to capture the lyricism without early Baroque composers such as an entirely new approach to their instru- excessive sentiment, to reveal the subtle hu- Kassia, Hildegard, Perotin, Guillaume de ments and to quartet style, and first mor and flirtatious teasing in the texts, and Machaut, John Dowland, Christopher violinist David Harrington, whose to render the music with the appropriate Tye, and Henry Purcell. Eight numbers playing can be needlessly strident, has rustic charm. The deftly played orchestral would count as new music, yet in each benefited the most. Whatever the Kronos backgrounds are beautifully recorded.GJ. case they seem old. Arvo Part's Psalom records in the future, Early Music is frankly neo-medieval; Harry Partch's has opened the door to an unsuspected ELGAR Violin Sonata in E Minor Two Studies are based on ancient Greek new world of colors and styles. FRANCK Violin Sonata in A Major scales. Cage's youthful pieces Totem - K. Robert Schwarz Midori, violin; Robert McDonald, piano Ancestor and Quodlibet sound non - (Sony 63331, 55 min) Western in their hypnotic drones and KROMOS QUARTET * * * * rhythmic ostinatos. Schnittke's Collected Early Music (Lachrymae Antiquae) idori, now in her mid -20s, has taken a Songs Where Every Verse Is Filled with Kronos Quartet; other musicians MI new tack - away from showpiece Grief (1985) stands apart from time, its (Nonesuch 79457, 69 min) concertos and encore pieces and into sub- anguish reminiscent of Shostakovich, * ** * stantial sonata repertoire - and on this CD

MARCH 1998 STEREO REVIEW 101 classicalmusic

and formal overextension; the cyclic ele- ments are handled in a subtle rather than MCM Electronics° obvious manner, and the chromatic aspect Sane Da of the composer's idiom is less obtrusive The Custom Home Sh than usual. Recorded sound and balance rq irePing! stock orders0,, leave nothing to be desired. D.H. 5:00 p rec Audio Accessory shrPPedm.(noun Noun .....eived ,IME),are HAYDN Symphonies No. 103 ("Drum same day. - Source Roll") and No. 104 ("London") La Petite Bande, Sigiswald Kuijken cond. Monoblock Tube (Deutsche Harmonia Mundil8MG 77362, Amplifier Pair 58 min) Look to MCM Electronics for * * * * all of your custom audio needs. igiswald Kuijken and La Petite Bande's Speakers, cable, connectors, 110Precordings of Haydn's twelve "London" specialized tools and thousands Symphonies, which got off to a splendid of consumer electronics repair start with a surpassingly persuasive CD of components are available at Nos. 93, 94, and 95 a few years ago, has your fingertips. been less consistently appealing in its sub- sequent installments, but the present disc, A. which concludes the series, is surely an- other winner. Kuijken takes Haydn's slow movements 1-800-543-4330 rather more expansively than his period -in- Visit our website www.mcmelectronics.com strument colleagues in Britain, who tend to take them very briskly indeed. He is still MCM ELECTRONICS' successful, however, in realizing the spirit 650 CONGRESS PARK DR. CENTERVILLE. OH 45459 of a Haydn andante or allegretto with a ro- A PREMIER FARRELL Company bustness that enlivens at any speed. At just Hours: M -F 7 a.m.- 9 p.m., Sat. 9 am-6pm EST a shade under I I minutes, the slow move- ment of No. 103 is certainly not rushed, but SOURCE CODE: SR23 it strides along at a purposeful pace, ab- solutely undulled by gratuitous solemnizing - and yet suggesting that anything the tini- r 1 est bit faster would sound breathless. MOVING?Please give us 8 In contrast to that andante, the slow movement of No. 104 proceeds at a some- weeks advance notice. Attach label what more measured pace, building effec- with your old address, and write in Stereo Review tively toward the eruptive middle section, new address below. which comes off to powerful effect while SUBSCRIBER SERVICE avoiding any impression of being "staged." RENEWING?Check box The minuets of both works are uncommon- below and attach label with correc- ly fleet, and the outer movements, despite some less than ideal wind balances, suc- tions marked, if any. cessfully realize Haydn's familiar blend of movement and substance, warmth and wit SUBSCRIBING?Check on the highest level. The recording itself, box and fill in coupon. For gift sub- while not quite demonstration class,is scriptions attach a separate sheet. agreeably full-bodied and well defined. R.F. Send STEREO REVIEW MENDELSSOHN Elijah PLACE Bryn Terfel (Elijah), Renee Fleming (the LABEL for 1 year at $17.94 Widow). Patricia Bardon (an Angel), John Mark HERE 0 New Subscription0 Renewal Ainsley (Obadiah), others; Edinburgh Festival 0 Payment enclosed 0 Bill me Chorus; Orchestra of the Age of Enlightenment, Paul Daniel cond. (London 455 688, 131 min) Canadian and foreign orders * * * * * add $8 per year. 1111 endelssohn's Elijah, first performed M in 1846, was his last major work. NAME [hough his basic text was in German, he saw to it that the English version was musi- ADDRESS cally compatible, for the work had been commissioned by Britain's Birmingham CITY 1(303)604-1464 Festival. For nearly a hundred years there-

FAX 1(303) 604-7455 STATE after, the British considered it the greatest post-Handelian oratorio. For today's audi- STEREO REVIEW ences, even in Britain, it takes a superlative P.O. Box 55627, Boulder CO 80322 performance with first -rank soloists, cho- same musical material. The first allegro is nied or very sparely orchestrated, and lilt- rus, and orchestra to put the work across. "refracted through the prism of the second ing marches. The disc concludes with Phae- And for my money, this new recording does movement," in the composer's words, and thon, a dynamic, exciting tone poem based just that, in spades. transformed into a tempestuous finale dom- on the myth of the son of the Greek sun god Conductor Paul Daniel, best known for inated by high brass and winds and awash Helios, who takes the old man's chariot out his work in contemporary music, turns out with pounding timpani and cymbals. for a spin, loses control, and crashes to to have just the right touch to bring out both The Flute Concerto, a much more sub- earth. The composer says he had reached the dramatic tension and the lyricism of the dued affair, is infused with a nostalgic, the exact point in the score where Zeus Elijah story. He has a splendid chorus, a pe- folkish mood reflecting the composer's hurls a thunderbolt at Phaethon, to put an riod -instrument orchestra, and a superb ar- Celtic ancestry. The piece alternates be- end to his disastrous joyride, on the day the ray of soloists headed by the Welsh bass - tween airs for the flute, either unaccompa- space shuttle Challenger exploded. It is a baritone, Bryn Terfel. From the opening proclamation, "As the Lord God of Israel liveth," which precedes the overture, there is no doubt that we are in for a memorable listening experience. While itis Terfel's heroic portrayal of Elijah that makes the deepest impression, tenor John Mark Ains- ley is a pleasure to the ear in "If with all your hearts . . ," and soprano Renee Flem- ing's voice and delivery in the Widow's dia- logue and duet with Elijah are right on tar- get, if a bit cool for my taste. But for me the best of the women soloists is Patricia Bar - don, who communicates a real sense of warmth and assurance in "Oh rest in the Lord." Of course, Terfel and the Edinburgh Fes- tival Chorus make a splendid show out of the contest between the Israelites and the priests of Baal, whose subsequent damna- tion is genuinely chilling. Terfel does equal- ly well with the more thoughtful and som- ber aspects of the Biblical hero. The taking up of Elijah into heaven on the chariot of fire is another great moment for the chorus, which packs plenty of punch even if it does CALL US FOR PRICE AND not enunciate quite as distinctly as Robert Shaw's on his Telarc recording. I have no ADVICE, WE'RE VERY NICE! complaint with the excellent solo and en- semble work for the Angels; there is both elegance where needed and ample feeling, 8009786253 with no lapse into sentimentality. The re- CALL 8AM - MIDNIGHT 7 DAYS A WEEK corded sound is excellent, with ideal bal- ances between soloists, chorus, and orches- (1,r) PIONEER tra. A first -choice Elijah. D.H. HTP301 7 -PIECE ROUSE Symphony No. 2; Flute Concerto; HOME THEATER SYSTEM 320W Po -Logic Receiver Phaethon Front/Center/Rear Speakers Carol Wincenc, flute; Houston Symphony, Compact Deep Bass Sub PSI Christoph Eschenbach cond. (Teton. 80452, Includes All Accessories 100 WATT 65 min) Full Function Remote POWERED SUBWOOFER * * * * 10" Long 041 hristopher Rouse is a fascinating fig- '399 Throw Woofer ure, one of the first composers to bring Retail Price $599 100 Watt Built -In Amplifier the rock idiom into the symphony concert Variable Crossover hall. His recent works, in a sophisticated AFFORDABLE PRICES Adjustable Gain atonal style, have taken on a dark, even an- FOR TODAY'S ECONOMY gry tone. The heart of his Symphony No. 2 PRICE SELECTION SERVICE1.1 9 9 Retail Price is a bravura, 13 -minute -long adagio, which $399 is dedicated to the memory of the composer SMILE! WE LOVE YA! Stephen Albert, a friend of Rouse's who UNCLE'S STEREO had recently died in a car accident. It swings 216 W 72ND ST., NEW YORK, NY 10023 in mood between an anguished string thren- STORE HOURS: MON-SAT 10:30-7:30 SUN 11:00-5:30 ody and acrid, staccato protests by brass FAX 21 2-721 -7587 NYC 21 2-721 -7500 and percussion. The movement is bracketed N.Y. CONSUMER AFFAIRS LIC. #0904418 by two allegros, which contain much the classicalmusic

violently colorful work, spectacularly re- QUICK FIXES corded by Telarc. JJ.

BARTOK Concerto for Orchestra; RACHMANINOFF Suites Nos. 1 and 2 COLLECTION Divertimento for String Orchestra for Two Pianos; Six Duets; Royal Philharmonic, Daniele Gatti cond. Prelude in C -sharp Minor CECILIA BARTOLI An Italian Songbook (ConiferIBMG 51324,68 min)* * * Cynthia Raim and David Allen Wehr, pianos Cecilia Bartoli, mezzo-soprano; James Levine, Daniele Gatti has his London orchestra (Connoisseur Society 4214, 79 min) piano (London 455 513, 67 min) playing near the top of its form, with an * * * * * * * especially well -judged springiness in the Seasoned and sensitive pianists Cynthia Cecilia Bartoli's art is exceptional, but Concerto for Orchestra's second move- Raim and David Allen Wehr give us a her recordings do tend to expose us to ment. But he comes no closer than any fine sampling of the youthful Rachman- a somewhat limited landscape. What she of- inoff's writing for two pianos and for pi- fers us in her latest recital CD, An Italian ano duet. The Six Duets and the First Songbook, is, as always, exemplary techni- Suite are the more picturesque, while the cal assurance, clarity, tonal variety, dazzling Second Suite is decidedly the more pol- passagework, and, above all, the impression ished. The famous C -sharp Minor Pre- of an endearing personality. Her expressive lude is done here in the composer's own phrasing and telling inflections enrich Belli- 1938 two -piano version, which sounds ni's now elegiac, now passionate minia- bigger but not necessarily better than the tures, Donizetti's ebullient "Neapolitan solo original. The sonics are A-1. D.H. Songs" and elegant romances, and a variety of Rossini songs that include two lively SCHUBERT Ueder variations, "Bolero" and"Aragonese,"on of his eminent predecessors to matching Matthias Goeme, baritone; Andreas the Metastasio lyric"Mi lagnero tacendo" the formidable standard Fritz Reiner set Haefliger, piano(London 452 9/7, 72 min) as well as the familiar "LaDanza."Taken in his Chicago Symphony recording of * * * in small doses, the program is delightful. the concerto, and the Divertimento for Schubert's lieder on poems of Goethe in- Philip Gossett's annotations are informa- Strings flows a bit more ingratiatingly in clude some of his best -loved songs, from tive, and James Levine must have found the several other recordings. R.F. the hair-raising ghost story"Erlkonig"to piano accompaniments a pleasant break "An den Mond,"a dreamy, heartbroken from the complex operatic scores he usually BERLIOZ Les Nuits d'Ete; Arias song to the moon. Matthias Goeme, a deals with. G J. Susan Graham, soprano; Royal Opera House talented young German baritone, com- Orchestra, John Nelson cond. municates the many subtle moods of (Sony 62730,61 min)* * * these songs with disarming directness COPYRIGHT © 1998 BY HACHETTE FILIPAC- CHI MAGAZINES, INC. All rights reserved. Ste- Although Susan Graham hails from the and admirable voice control, and he's reo Review, March 1998, Volume 63, Number 3. American Southwest, you'd swear she ably accompanied by the pianist Andreas Stereo Review (ISSN 0039-1220) is published was French, so idiomatic and instinctive Haefliger. JJ. monthly by Hachette Filipacchi Magazines, Inc. at 1633 Broadway, New York, NY 10019; tele- is her feel for this repertory. Berlioz's phone (212) 767-6000. One-year subscription song cycleLes Nuits d'Eteis a work of WAGNER Orchestral Music rate for the United States and its possessions, shifting moods and colors, and she cap- $19.94; Canada, $29.34 (Canadian Business MET Orchestra, James Levine cond. Number 126018209RT, IPN Sales Agreement tures them with incandescent beauty. (DeutscheGrammophon 447 764, Number 99236); all other countries, $27.94; The Royal Opera House Orchestra, how- 72 min)* * * * cash orders only, payable in U.S. currency. Peri- odical postage paid at New York, NY 10001, and ever, conducted by John Nelson, sounds James Levine and his superb orchestra at additional mailing offices. Authorized as peri- rather colorless. The disc is filled up give exceptional accounts of music from odical mail by the Post Office Department, Ot- with a clutch of arias from Berlioz's Lohengrin(Prelude to Act I), Die Wal- tawa, Canada, and for payment of postage in cash. POSTMASTER/SUBSCRIPTION SER- operas and from the dramatic symphony kiire("Ride of the Valkyries"), Siegfried VICE: Please send change -of -address forms and The Damnation of Faust. JJ. ("Forest Murmurs"),Gotterdammerung all subscription correspondence to Stereo Re- view, P.O. Box 55627, Boulder, CO 80322- 5627. Please allow at least eight weeks for the ORFF Carmina Burana change of address to become effective. Include Beverly Hoch, soprano; Stanford Olsen, both your old and your new address, enclosing, if possible, an address label from a recent issue. tenor; Mark Oswald, baritone; F.A.C.E. If you have a subscription problem, write to the Treble Choir, Montreal Symphony Chorus above address or call (303) 604-1464; fax (303) and Orchestra, Charles Dutoit cond.(London 604-7455. PERMISSIONS: Material in this pub- lication may not be reproduced in any form 455 290,59 min)* * * without permission. Requests for permission Orff'sCarmina Buranais probably the should be directed to: The Editor, Stereo Re- most popular choral/symphonic work in view, 1633 Broadway, New York, NY 10019. BACK ISSUES are available. Write to ISI/Stereo the twentieth-century repertoire. Its Ger- Review, 30 Montgomery Street, Jersey City, NJ man publisher once told me that the roy- 07302. For each copy ordered, enclose a check or money order for $5.95 in U.S. funds ($7.25 alties from it alone virtually kept his pub- ("Siegfried's Death and Funeral March"), for orders sent to Canada, $12.95 for other for- lishing operation in the black! Charles Tristan and Isolde(Prelude andLiebe- eign locations); add $2 to those prices for each Dutoit's reading isn't very sexy but rath- stod), Meistersinger(Prelude to Act III), copy of the 1998 Stereo Buyer's Guide annual. For telephone credit-card orders, call (201) 451- er a solid, typical, big, and fat version andParsifal("Good Friday Spell"). Wag- 9420. EDITORIAL CONTRIBUTIONS must be with good soloists and excellent choral ner's concert editions of the respective accompanied by return postage and will be han- work. Recommended but with only mod- pieces are used, and the sonic focus has dled with reasonable care, but the publisher as- sumes no responsibility for the return or safety ified rapture. E.S. been adjusted accordingly. R.F. of unsolicited manuscripts, art, or photographs.

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Microsoft. 1234 567 890 123 & the VERB() Group 1/99 Preterred Customer Applyfor our Ode c fill credit card add get 90 DAYS, NO PAYMENT, NO INTEREST O.A.C. 'AIM. swum rem AM et purthalie PA on payments eat mem. esmq Me pronoun- Aron , 'mow vlarps. tem wnsea pur pmlias .r/nflon 'X clays /ow,* or, we ...KJ on me ema/ 999Atre T9e menttey pens. rane I 69, in. are. e.t.a.* tato n 19 att9 sm 90 AY am. of. apples amp mectustos en Me One Cm mew MM TM One CM WO meutPl by DA MAYAS Bank Dos PO 's ACCEPTED 11wies A Cr., ettemci le [Warner appestat ny Ulionat Flaen ter Festival, he conducted a rare perfor- mance of Hans Werner Henze's Tristan, one CENTER STAGE of the neglected masterpieces of contempo- rary German music. "People complained BY JAMIE JAMES that I'm only interested in composers who are connected with the past," he said in ex- asperation. "Well, Beethoven was connect- ed with the past. Schoenberg was connected with the past." Pressed to name some of the recording Kurt Masur projects he had pushed for that Teldec re- jected, he shrugged and said, with a sardon- SINCE HE TOOK OVER the New York Then he paused dramatically, and said ic chuckle, "We gave up from the begin- Philharmonic seven years ago, Kurt Masur, that while he has been quite satisfied with ning." The difficulties arose, he explained, the genial, bearded bear from Leipzig, has the artistic fruits of the relationship with because the orchestra was under exclusive become widely known as the man who im- Teldec, there have also been problems, contract with Teldec, and the label wanted posed discipline on this famously fractious which he tactfully expressed in a double them to record "the basic repertory of a orchestra and inspired musical perfor- negative: "The nonartistic side was never symphony orchestra - which is fine." An- mances at the highest artistic levels since without problems. There is no doubt, we other shrug. "But the orchestra has had sev- the legendary Leonard Bernstein era (1958- wanted to do more." He threw up his big eral important first performances. We had 1969). Yet perhaps the best thing he did for hands. "Artists want to do more. We did the Schnittke's Seventh Symphony; we had Mi- the orchestra was to land it an exclu- noru Miki's Symphony for Two Worlds; sive, thirty -two -CD contract with Tel- there was a new piece by Bright dec at a time when recording compa- Sheng." nies were beginning to shy away from Masur said that he asked Teldec if such iron -clad, big -money deals. Inter- the orchestra could record such con- viewed at his office in Lincoln Center temporary repertory with one of the last September, he said that Teldec "had smaller American labels instead. "But it a wonderful, basic idea - to follow the wasn't allowed. They said, 'Exclusive New York Philharmonic and Masur is exclusive.' It's a pity. It limited the from the beginning, from the opening mirror, I would call it, of what we have concert until now." done over the past seven years.It With Masur's enthusiastic support, makes me a little bit sad." Masur be- Teldec decided to do all the recordings lieves that the record labels and artists' live during performances at Avery Fish- managers "make the mistake of think- er Hall, the orchestra's home in Lincoln ing that the audience only wants to hear Center. "It gives an entirely different Beethoven. That isn't true. Of course feeling to the recordings," Masur said, it's important to improve, to create per- "because they take place in front of an formances of Beethoven that make peo- audience. That's absolutely clear, espe- ple sit up and be excited. But perhaps cially in the case of the New York Phil- on the first half of the program, it might harmonic, because they're not afraid to be interesting to hear something new." play in front of a microphone. What we The main question now, he said, is have achieved together is much more the future. "We at the Philharmonic are honest [than studio recordings]. Teldec trying to find some way of making two was brave to do it that way, because or three recordings a year by young there was a risk. No one knew how it composers." Lowering his voice to a would work." dramatic mezza voce, "Someone must He has developed a close working care about them," he said, "Otherwise, relationship with his producer, Martin "It's a mistake to think how will they live? A young composer Fouque. "Martin has an understanding can only earn money by doing movie of music and musical style, and a that the audience only wants music. You can learn a lot from that - knowledge of conducting, which is im- for a while. But ultimately it flattens a portant." If the conductor and the pro- to hear Beethoven: composer's musical expression." ducer aren't on the same wavelength, Less than a year remains in the Phil- Masur said, "then suddenly you may harmonic's contract with Teldec. And feel, for example, that the tempo doesn't fit, Britten War Requiem, but there are more after that? "I don't know how it will contin- or the sound doesn't fit the tempo, and you contemporary pieces we wanted to do." ue," Masur said. "None of us knows." The don't feel the spirit of the performance." It's all more than a bit ironic: from the ongoing slump in classical -music sales is at Masur and Fouque's most recent collabora- beginning of Masur's directorship, even as the heart of the problem, but Masur main- tion was not for Teldec but for Deutsche critics and audiences raved about his spark- tains a positive attitude: "At the moment Grammophon: a recording of the Brahms ling Mendelssohn, his majestic Dvorak, his our world is a little bit shaky. We have to Violin Concerto and Schumann's Fantasy profound Beethoven, there was also some find some way of becoming healthy again. for Violin and Orchestra with Anne -Sophie grumbling that the repertory was becoming 'Healthy' means that young composers have Mutter, who is an exclusive DG artist. Ma- too staid, too German. Yet even when he a chance, and that we are able to give the sur called it one of the best recordings he programs contemporary music, he gets audience an orientation about what's going has done with the Philharmonic. knocked. Last summer, in the Lincoln Cen- on in the musical world."

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Q PIONEER ranty, the seller may offer its own war- PARASOUND GOLD025 TOWER 1799 VELODYNE .SR -12 ranty In either case, what is covered by P SP-1000.PRO-LOGIC KRIX M&K 14X-125 SONY HCA 1206 AMP EQUINOX Award Winner KLIPSCH KSVv.200 warranty, how long is the warranty peri- ADCOM APEX TOWER YAMAHA YST-SW 150 299 YAMAHA od, where will the product be serviced, CTP 600 PRE AMP KLIPSCH BIC 1200R Velodyne what do you have to do, and will the C,FA7000 AMP KLE20 CALL AUDES SW101 product he repaired or replaced? You MILLION DOLLAR INVENTORY may want to receive a copy of the writ- S YEAR WARRANTIES AVAILABLE ON ALL PRODUCTS VISA Ai products are new USA merchandwe covered by the manufacturers werranty or ten warranty before placing your order. ABCS rochisme hnuted warranty MEMBER Of THE BETTER BUSINESS BUREAU 4. Keep a copy of all transactions, including cancelled checks, receipts and correspondence. If you pay by cred- MOM in. 41 SUNDAE H. it card, you may have a greater recourse (800) 451-5851 in the event the advertiser does not per- VIDEO NY (718) 4381027 ENTERPRIfES 1/18 438 4421.1871 MB TT /HMI UI 112Dc form. (Check the complaint procedures NIP I=IZEEDE3 IN312GM111::E!MI of your credit card companies). For RECEIVERS LCD/CRT PROJECTORS JVC SONY cOMONEER phone orders, make a note of the order 411,40 2.6 14,0 112 0211111141 till SPEAKERS/SUBWOOFERS REAR PROJECTION 119. 121 1111'50 f. KR( 110 Ill(I/ 4,0 '1'61 '4:17111 including merchandise ordered, price, SIK510 194 101 1,44 (014410, a HOOC AMPS/PRE-AMPS COLOR TV'S 1 /4.11410 144 an, 414 1orstio 41114411 I order date, expected delivery date and ND(OS( 440 1114 PAM0.0 140 6.111 1141400 .44 sfOr 411 21,11 C 00..1 salesperson's name. St PROCESSORS DVD PLAYERS 0111/ 111 s sh M. OMPIS Mg (0130.1 /14 MONIS MU 2114MiS9 174' Hra, mittg 5. If the merchandise is not shipped CD/CASSETTE/TUNERS LASER DISC PLAYERS ALPINE 011440111.e. .1.00 194(Nmpo (01,4210 within the promised time or if no time TUBE ELECTRONICS 114.1111 411.(IN tali III:roll: 3 VCR'S felMa M. IN /UV 114 /1311 M. MA /(44 was promised, 30 days of receipt of the TOPIONEER IN /S. I.. 1011750 Clarion' 179 . NIS 199 111:11111UAI-1111CaM1144111611 IT aWlIDR (11.6411 M. (WW1 In al III OM SWIM 11NrH, 140C. order, you generally have the right to MO MC 40) 144. (MAIMS 110. MAI. IIR 114PAI5111 IN (1110149 414 (WO 401 144. WNW SLR 041141 119144 11 S 1114 cancel the order and get a refund. 40404.4 M. Mb M. OP. 144.. Deem 4114 71,0 01.4111114.1/0 119 1101.1 M." M. 6. Merchandise substitution without 14144 1/9. 11.1401 M. 41 "'OWL% 119 MXPIAMIIIIMINAS ...... IM.14...RADARDETECTOR your express prior consent is not 114.1104. /PM 10. no 50.141 .. 2.. ... M. FOR THE FINEST IN AUDIO & HOME THEATER... MRS 1.119. MN /41. SONY allowed. GUSIMIKO 041 us_109. 0.1 (1111 nun. 1.. 1M inn am Mirg2IIMII Mt 119. 2344,1 .114. ws CM KM 7. If you have a problem with your II/. (MM.III: jainif -- . 14111 .199. /4111, 119 TECHNICS .1.50441. .19...... 2111 149. BO CAL MAKE ONE CALL -WE SELL THEM ALL! WfRRaID MP >Of PM. 111101404 M. orde or the merchandise, write a let- RS III I. eSeSIS M. PLUTI5 H011181 (MI. 159. (PO 140119. 01110199411 19 010424111 ter to the seller with all the pertinent 4411110 14.11/1110 . AIWA. 1111.111.n. SIONMSPIS 1141 441110 319.4401/10 1114 411217116 111.4111. information and keep a copy. 4401170 M. 141110 Mt KM. 4.. MASI 1/9. WHISTLER1110 OPIA1115 14.1.0 I.. MOO 143. .W. IMM 8. If you are unable to obtain satis- UFO. I/4.N40./ I.MN, Mt..110 Ilt 1441. 14OS SS 114 800-598-0117 S. 110 1411 MIMI III. 1111.21 1490 . 144.1.00 /2 49. .14 Itl. 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The first DAD -ready DVD players from Muse and Conrad -Johnson may Format -of -the -Month Club have already hit the market as this issue goes to press. Now, I really like the guys at Muse and Conrad -Johnson - I've giv- THE MOST COMMON complaint that I cause it's going to be used to rerelease the en rave reviews to their products, and I hear these days from consumers, dealers, existing archive of stereo recordings. But consider theirs to be two of the most reli- and manufacturers is that high -end audio DVD-Audio can and will be used for the ably solid high -end product lines in the is shooting itself in the foot with its latest same purpose, with the same uncom- industry. But as much as I respect their trend: the Format -of -the -Month Club. pressed, high -bandwidth sound quality as design and engineering talent, they've got Somehow, somewhere, someone told the DAD. Just because DVD-Audio will like- no business creating new proprietary for- high end that it should stop waiting for ly be a 5.1 -channel format doesn't mean it mats. No matter how good DAD sounds, the giants like Sony, Philips, Toshiba, and can't be used as a transparent delivery it's still going to be a niche format like Dolby to develop new worldwide format medium for stereo or even mono archival HDCD and DTS, confined to a handful of standards and start creating new and pro- recordings, much as DVD-Video's 5.1 - high -end hardware manufacturers and prietary formats on its own. The result channel Dolby Digital soundtrack expertly software titles. has been an alphabet soup of ill-con- delivers the mono sound of such classic It's a fact of fife that the Sonys, Philips, ceived formats that offer no real benefit to films as Dr. Strangelove. You don't have to and Toshibas of the world are the ones the consumer over the accepted industry use all 5.1 channels all of the time if the who develop worldwide A/V media for- standards like CD and Dolby Digital. For original recording doesn't need them. mats. They have the experience and the example, there's HDCD, which offers For sixteen years I've been hearing the clout, and, more important, they have a "penalized compatibility" (the undecoded high end carp about the sound of CDs worldview that includes the general pub- discs can be played on conventional CD (and joining in myself). Yet, despite all lic, not just hard-core audiophiles. And no players but with degraded performance), the complaints, high -end manufacturers format, no matter how awesome its po- and DTS-encoded CDs and the soon -to - did the right thing by accepting the CD as tential, can succeed by catering only to be -released DTS DVDs, which aren't the new worldwide standard and working several thousand rabid audiophiles. compatible at all without an expensive hardware upgrade. Now you can add another three -letter niche format to the mix, DAD. The L.A.- It's not the jobof the high end based audiophile LP -reissue label Classic Records held a press conference at this to go off and create multiple niche formats, winter's Consumer Electronics Show to announce a new format it calls "24/96 especially at the rapid clip we're seeing. Digital Audio Disc," a high -quality, au- dio -only version of DVD (but not the DVD-Audio format, which is still being to refine its sound with upgraded circuitry As I see it, the high end's duty is to hashed out by the official standards in the players, separate high -end digital - present its case for improved technical group). Promoted by a small group of to -analog (D/A) processors, and better performance, wait for the giants to thrash high -end hardware manufacturers, most digital mastering on the recording side it all out, and then build the best -sounding notably Muse Electronics, this new format from such audiophile labels as Chesky, playback hardware for the new standard. will be used to rerelease the past and pre- Mobile Fidelity, and DCC. So why are It's not its job to go off and create multi- sent catalogs of Classic Records, Chesky, they now coming out with a new format, ple niche formats, especially at the rapid and other audiophile labels in 24 -bit, 96 - just as the world is about to welcome clip we're seeing. If the high end wants to kHz -sampled two -channel stereo. DVD-Audio as CD's official successor? create its own two -channel DVD-based Just when we're finally on the verge of Some see DAD as a tourniquet to stop format separate from the 5.1 -channel a new and improved worldwide digital the bleeding away of the market for sepa- DVD-Audio the rest of us will be enjoy- audio format in the form of DVD-Audio, rate two -channel D/A processors, whose ing, I guess it's entitled to. But I have to a group of high -end manufacturers has an- sales and popularity with audiophiles wonder whether this is really a benefit to nounced that, rather than wait for the offi- have plummeted in the past two years be- the audiophile, or just another Format of cial DVD-Audio format standard, they're cause of the success of Dolby Digital. the Month. coming out with their own separate for- While the smarter D/A-processor manu- The road to audio perfection is littered mat. And while the rest of the world is facturers, like Theta, Krell, and Meridian, with the sun -bleached bones of such evolving from stereo to multichannel sur- have moved on to building multichannel niche "super -formats" as the dbx-encoded round sound, the high end decides to stick processors that can handle everything LP, and the vultures are already starting to stereo! I can't help but scratch my head from two -channel PCM audio from CDs to circle around HDCD and DTS-encod- in that same worn spot I always scratch to 5.1 -channel Dolby Digital, there are ed CDs and laserdiscs. Will DAD join when the high end thinks small and then clearly many other manufacturers in the them? If the worldwide DVD-Audio stan- wonders why its ranks are dwindling. high end who either lack the skill to de- dard offers the same uncompressed, high - I was told that DAD's two -channel sign a proper surround preamp or simply resolution sound in a 5.1 -channel format, specification isn't a limiting factor be- wish to stay the two -channel course. the answer will be yes. 112 STEREO REVIEW MARCH 1998 F-1800RII World's Best Subwoofer Technology...

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