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DECEMBER 1992

A/V Receivers, page 46 Peter Asher, page 60 FEATURES A/V RECEIVER ROUNDUP Leonard Feldman 46 THE MECHANICS OF SONY'S MINIDISC: BEYOND THE CADDY Leonard Feldman 56 THE AUDIO INTERVIEW: PETER ASHER Ted Fox 60 1992 ANNUAL INDEX 176

EQUIPMENT PROFILES NOBIS CANTABILE AMPLIFIER Bascom H. King 72 YAMAHA CDC -835 CD CHANGER Leonard Feldman 103 AUDIX SCX-ONE STUDIO MIKE SYSTEM Jon R. Sank 108 JBL L7 SPEAKER D. B. Keele, Jr. 114 AURICLE: PIONEER ELITE PD -65 CD PLAYER Leonard Feldman 126 AURICLE: MOBILE FIDELITY SOUND LAB ULTRAMP PREAMP AND AMP Anthony H. Cordesman 130

MUSIC REVIEWS CLASSICAL RECORDINGS 138 ROCK/POP RECORDINGS 148MiniDisc, page 56 JAZZ & BLUES 160

DEPARTMENTS FAST FORE -WORD Eugene Pitts III 4 SIGNALS & NOISE 6 TAPE GUIDE Herman Burstein 11 AUDIOCLINIC Joseph Giovanelli 16 WHAT'S NEW 22 BEHIND THE SCENES Bert Whyte 33 CURRENTS John Eargle 36 ROADSIGNS Ivan Berger 40 THE BOOKSHELF 134 The Cover Equipment: Nobis Cantabile amplifier The Cover Photographer: ©Michael Groen reuda Audio Publishing, Editorial, and Advertising Offices, Bureau 1633 Broadway, New York, N.Y. 10019. Subscription Inquiries, (800) 274-8808; in Canada or other foreign countries, (303) 447-9330. Photo CD, page 38 No30 REFERENCE DIGITAL PROCESSOR

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

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Mark Levinson components are handcrafted in limited quantities and to exacting specifications. All who participate in their production share the feeling of pride that comes from knowing that they contribute to a product that defines quality. It is with great pride, then, that we introduce the Mark Levinson N2 30 Reference Digital Processor. Five years of exhaustive research into digital audio yielded a processor worth waiting for, deserving of the Levinson marque. The N2 30 is a true reference: it neither adds to nor subtracts from the music. It brings to your home the accuracy as well as the essence of the performance. Finally, the promise of digital audio is fulfilled. The N2 30 is proof that state-of-the-art digital and analog technology can coexist with craftsmanship. The subject here, however, ultimately is music, and the heart of music is in the listening. To fully appreciate the quality of the N° 30, we recommend that you visit your Mark Levinson dealer for a full audition.

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Mark Levinson' products are designed and manufactured by MADRIGAL AUDIO LABORATORIES P.O. Box 781, Middletown, CT 06457 FAX (203) 346-1540 FAST FORE -WORD Audio V.P. Editor -in -Chief:Eugene Pitts III Art Director: Cathy Cacchione 4ssociate Art Director: Linda Zerela Technical Editor: Ivan Berger Managing Editor: Kay Blumentha Associate Managing Editor: Teresa Carriero Associate Managing Editor: Douglas Hyde Directory Editor: Ken Richardson issue. In my view, the taped copies of Assistant Editor Music: Michael Bieber both individual songs and whole discs Associate Editors: one makes for friends or for use in the Edward Tatnall Canby, Bert Whyte Senior Editors: car or at the summer retreat are fair Leonard Feldman, D B. Keele, Jr., David Lander use. I cannot reasonably object if you Contributing Editors/Artist: pass along this copy of Audio to a M. Aldred, H Burstein, D. L. Clark, friend to read or even if you make a A. H. Cordesman, T Costa. J. Diliberto. F Driggs, J. Eargle, S. Elliott, E. J Foster. J. Giovanelli, copy of the Annual Index. B. H. King, E M. Long, R. D. Long, F Lovece. The essential thing here is money. I J. W Poses. J. R. Sank, J. Sunier, M. Tearson. do not make a living from last year's J & S T::ven, M. Wright ideas or work. To say that one cannot General Manager: Greg Ropert: Production Director: Silvia Coppo;a In those last frantic days of the last make compilations that would never Production Manager: Kerry Tonning Congressional session, a piece of exist as commercial releases because Research Manager: Dru Ann Love legislation of interest to me, and they come from three competing labels Office Manager: Nadine Goody Operations Manager: Sylvia Correa which I believe will affect you, has been is ... well, passing strange to me. Ad Coordinator: Linda Neuweiler passed. I recently spoke about this bill But there was a lawsuit, more V.P./Group Publisher: Nicholas Matarazzo to the New Jersey State Bar threatened than real, though it could (212) 767-6035 Association's Entertainment and Arts have eaten up millions of dollars in V.P./Associate Publisher: Tony Catalano Law Section, lawyer fees, just like the Betamax case (212) 767-6061 The bill, S.1623, is called the Audio that was essentially about the same ADVERTISING Regic.nal V.P !Ad Director, East Coast. Home Recording Act (AHRA) and puts issue. Now, my lawyer friend, who Charles L. P. Watson (212) 767-6038 a new type of "tax" on digital recorders invited me to speak to the N.J. Bar Regional Account Mgr.. and blank recording media. The Senate Ch'istine B. Forhez (212) 767-6025 section, pointed out to me on the way Regional V.P /Ad Director. Midwest: passed it by unanimous consent the home that in the Betamax case the R. Scott Constantine (212) 767-6346 day before I wrote this. The essence of Supreme Court really didn't decide that Regional V.P. Ad Director. West Coast: Bob Meth (213) 954-4831 the bill is that there will be a 3% royalty it was legally proper to copy on a VCR, Western Mgr.: Paula Mayeri (213) 954-4832 fee on the factory price of the blank saying simply that the Court saw no National Record Labe! Sales: MAG Inc media (read Digital Compact Cassettes substantial financial damage from Mitch Herskowitz (212) 490-1715 Steve Gross (212) 490-1895 and MiniDiscs) and a 2% surcharge on copying. That's the narrow interpretation the factory price of digital recorders, of the ruling. Well, times have changed, H - with a $1 minimum and an $8 and the movie industry is doing the twum: maximum. The money collected will go copying now; they're in the rental Chairman. Daniel Filipacchi to performers, record companies, business, a whole new industry, and President, CEO. and COO. David J Pecker publishers, and songwriters. Exec. V.P. and Editorial Director: Jean-Louis Giniore they're fatter than ever. In that regard, Sr. V.P./Dir. Corp. Marketing: Paul DuCharme Now note that this is on digital the Recording Industry Association of Sr. V.P.4Dir., Corp. Sales, Mag. Network: Jay Burzon recorders and media, not analog. America has just reported that "the V.P./Dir. of Strategic Planning, Adv. & Circ.: Patrice Listf led Further, it says that it is now "legal" to industry's midyear dollar value of $3.8 V.P., Chief Financial Officer: Paul De Benedicts copy in the home, even though it has billion represents a healthy 11.33% V.P., Dorp. Communications. Jolie Cross Doyle been possible to do so for 100 years or increase over midyear 1991." (In V.P , General Counsel: Catherine Flickinger V.F., Mfg. & Distribution: Anthony Romano more-just roll one cylinder machine up addition, the RIAA says that both CD V.P., Circulation Leon Rosenfield to another, horn to horn.I wonder if unit shipments and dollar value are for there aren't enough teeth in present AUDIO. December 1992, Volume 76. Number 12 the first time larger than those for AUDIO .ISSN 0004-752X, Dewey Decimal Number piracy laws? Why didn't this issue get cassettes.) This tax represents a new 621.381 or 778.5) is published monthly by Hachette settled long years ago? Why did it have revenue stream for them, at the Magazines, Inc.. a wholly owned subsidiary of Hachettia Publications, Inc.. at 1633 Broadway, to come to the fore only when expense of the audio industry. New York, N.Y. 10019. Printed in U.S.A. at Dyersbuig technology would allow home The bill also requires inclusion of the Tenn. Dcstributed by Warner Publisher Services Inc Second class postage paid at New York, N.Y. 10001 consumers the ability to make copies asSerial Copy Management System and additional mailing offices. Subscriptions in the good as the master tape? Is the record (SCMS) in all consumer digital U S., $24.00 for one year. $42.00 for two years, $58 0G industry not willing to let us have copies for three years. other countries, add $8.00 per year. recorders. The system prevents second - AUDIO' is a registered trademark of Hachette or recorders as good as theirs? generation digital copying. Since there Magazines, Inc. 511992, Hachette Magazines, Inc. The recording industry has are available pro digital recorders sans All right!. reserved. The Editor assumes no responsibility for manuscripts. photos. or artwork. The complained for some years that they SCMS, this seems like a minor difficulty. Publisher, at his sole discretion, reserves the right to were losing sales to home taping, whichIn the end, I am glad to have some sort reject any ad copy he deems inappropriate. Subscription Service: Forms 3579 and all they viewed as something close to of digital recorder on the market, subscription correspondence must be addressed to outright piracy (which I define as supported by software, even ifit is AUDIO: P O. Box 52548. Boulder. Cob 80321-2548 copying to sell). While clearly there Allow 8 seeks for change of address. include both eld poorer technically than a DAT machine. and new address and a recent address labelIf you have been lots of blank cassettes sold, I have a subscription problem, please write to the above believe that what one copies in one's address or call (800) 274-8808. in Canada or other foreign countries, (303) 447-9330. Canadian GST own home is a Fourth Amendment or Number 126018209. Back Issues: For information, privacy issue, rather than a copyright write to P.O. Box 7085. Brick. N.J.08723 4 AUDIO/DECEMBER 1992 Form surroundIfsFlexibilityFunction the soul sound of a home system-a theater high- MICRO II from Infinity. cndyourreplacementtech, the balcony,highideal performance.speaker for bedroort your system old or compactspeakers patio. for The MICRO II 2 -way iredispersed,withreproducesatellites produced lifelike mate theclean musicality. by musicalto musicaltiethe satellites subwoofer spectrum Broadly patterns tc tunedsubwooferareHarmonicallyfar superbdeveloped enclosure sounddrivers trueby withimaging.a bass.inpa: a etsved rspecially ofdynamics Or,withoutplaceexit usingport. the causing satellitesthe versatile color near distortion.installation your TV Magnetic shielding lets you Jptimumanglingentertainmentsatellites-3rackets, placement or to you pivoting walls, can cabinetry- an3mountceiling them sonic the foror both mentsmusicalsystemperformance. for that and form, can lifes:yle satisfyfunction require- your and Experience the only 3 -piece H.Intheflexibility. Canada,Roy Infinity Gray, calldealer Ltd. (416) nearest 294-4833, you. Call (800) 765-5556 for ©1992 Infinity Systems Inc H A Harman International Company We get back to what it's a I about.k.) Music. I nfi pity SIGNALS & NOISE

Felt Found in Rogers ... with felt will have a more audible effectmight have other, more up-to-date Dear Editor: than adding a tweeter ring. A "singing"texts or summations of the subject to

I enjoyed Richard J. Kaufman's Sep-or underdamped baffle willblur therecommend. I intend to prepare a tember article, "With a Little Help from output of all drivers. Small woofers inbooklet that combines the insights of My Friends," about improving loud- two-way systems are particularly sus-the audiophile and audiology commu- speaker imaging with foam rings or feltceptible, especiallyifthey are sur-nities with respect to techniqueS that blankets. Eager to obtain maximumrounded by large baffles. Double -sid-might be used to sharpen perceptual sound at minimum expense, I rushed ed tape works well as an adhesive forskills in the auditory sensory domain. to my listening room and pried the cov- the blanket, and there is silicone for the Michael D. Riley er from one of my Rogers LS3/5Atruly committed. Santa Monica, Cal. speakers. Lo and behold,I found that Boxes with rounded baffle edges will Rogers had already enclosed thebenefit from a tweeter ring, as willAuthor's Reply: Mr. Riley raises an in- tweeter with a rectangle of felt. those with sharper edges. It need notteresting question. Examples of the

I have always been pleased with thebe a ring (a square will do), and it neednew approaches to hearing I referred imaging of the Rogers. Even today, 14not have a round hole (I find an octa-to can be found in several journals, years after purchase,I am still verygon easier to cut in thick felt). The holesuch as Music Perception, the Journal

satisfied with the sound. I guess theshould be about 2 inches in diameterof the Audio Engineering Society, and felt really does work! for a 1 -inch dome tweeter. the Journal of the Acoustical Society of Mark Urban-Lurain Finally,I would humbly like to pointAmerica, though this may take some Mason, Mich.out that the wavelength of 2.7 kHz is 5digging. You can also consult general inches. not 2. reference works on perception, such ... and Spica and Vandersteen William Reynoldsas the Handbook of Perception and Dear Editor: Human Performance (Wiley,1986). In his September article on the effec- Duntech's Foam Original John R. Pierce's book The Science of tiveness of foam rings and felt pads in Dear Editor: Musical Sound (Scientific American Li- speakers, Richard J. Kaufman says, "I I was surprisedat the article bybrary, 1983) is a beautifully clear intro- don't know of a currently produced Richard J. Kaufman in your Septemberduction to the field, written by an au- commercial speaker that uses a feltissue discussing the placement ofthor with a rare understanding of the blanket on the baffle." foam and felt surround on loudspeak-key issues involved. My own edited

I think there are at least two. Unless ers.In the mid -1970s, a company I volume The Psychology of Music (Aca- I'm mistaken, the Spica TC-50 has arepresented as an attorney, Duntechdemic Press, 1982) will go into a sec-

felt blanket on the entire front baffleLabs, placed an ad in your magazineond edition shortly, and I anticipate (excluding drivers, of course), and the for its Model DL -15 speaker system,that several texts combining the in- Vandersteen 2Ce (and perhaps other with one of its main attributes beingsights of audiophiles, musicians, engi- models from Vandersteen) has a felt foam surrounding the midrange andneers, and scientists will be published pad surrounding the tweeter. Both tweeter to eliminate diffraction effects. over the next few years.-Diana speakers are noted for excellent imag- This treatment is subject to a patentDeutsch, Dept. of Psychology, Univ. of ing and smooth highs, qualities that issued to John H. Dunlavy, Jr., whoCalifornia at San Diego, La Jolla, Cal. Kaufman noted in his own experiments was president of Duntech Labs at that with foam and felt. time. Mr. Dunlavy has many patents inHall Lieberson! John Holdren the antenna field, which has been his Dear Editor: Greenwood, Va. main area of expertise for over 40 In a sidebar accompanying his years. He remains involved in the au-splendid salute to the late great God- Editor's Note: Spica confirms that both dio industry andisprobably bestdard Lieberson ("The Audio Interview: the TC-50 and the Angelus employ the known for the Sovereign line of Dun -A Classic at Columbia," September), felt blanket described. According totech loudspeakers. Robert Long kindly mentions my Vandersteen, the 2Ce has a felt shroud I would appreciate your letting yourgrandfather, Emile Berliner, inventor of covering the front of its tweeter enclo- readers know who was responsible forthe microphone and the disc record sure; the Models 1B and 3 also use feltusing this technology in speakers. and co-founder of Victor Records, in this fashion.-K.R. Donald M. Fefermanamong other accomplishments. In this Corpus Christi, Tex.respect, I am disappointed Long failed More Felt Tips to mention that in 1964 Lieberson was Dear Editor. More Books on Hearing presented the Maker of the Micro-

I read with interest Richard J. Kauf-Dear Editor: phone Award "for an outstanding con-

man's article in the September issue. I I would liketo knowifDiana tribution to the world of sound," a trib- have been experimenting withfeltDeutsch, the author of your magazine's ute to his innovation in bringing Broad- tweeter rings and baffle blankets forreview of the second edition of Stanley way to America's back porches. several years, and I concur with authorA. Gelfand's Hearing: An Introduction As one who is oft accused of living in Kaufman and the "Critic." In fact, myto Psychological and Physiologicalthe past-where it comes to the record ears suggest that covering the baffleAcoustics("The Bookshelf,"July), business, at least-I'd like to point out

6 AUDIO/DECEMBER 1992 13B NEW V

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SURGEON GENERAL'S WARNING: Quitting Snoking © Philip Morris Inc.1992 Now Greatly Reduces Serious Risks to "our Health. 16 mg"tEr:'11 nig nicotine av per cogarEtte by FTC method. Since we now have both discrete multi -channel and digital capabilities, why still try to defy the laws of mathematics?

one or two of my laments, alluded to in acousticsinthisInstitute,includ.ngwe wasting time on attempts to defy the article. Decca Records used totransducer and sound system re-the laws of mathematics? own Universal Pictures. MCA, Inc.search, design, development, and In order to present believable and now owns Universal and has aban- evaluation. I have a very strong techni-accurate audio stimuli, a sound field doned the famous Decca label in favor cal background in electrical and elec-must be created. A sound fieldre- of the not -so -famous MCA label. Sony troacoustical engineering, and excel-quires a minimum of four balanced au- has seen fitto abandon the world's lent technique with research, productdio channels and loudspeakers, and a oldest label, Columbia, to push the management, and new product designrecording technique that emulates the

Sony logo. And where Bertelsmann cycles.Over theyears, I havesymmetry, time, amplitude, and phase Music Group continues to use (whoachieved much inelectroacoustics,that allow the human ear/brain comput- wouldn't?) the "His Master's Voice" especially with loudspeakers, micro-er to localize images. A four -channel

trademark (created by Emile Berliner in phones, and sound systems. I washeadphone set is possible to accom- 1900 and now licensed to North Ameri- awarded four prizes for my researchplish this task as well(I have one). can users by General Electric), we see work in these fields by the ChineseSuffice to say, you cannot solve four the GE logo atop Manhattan's RCA government. I also have a patent for aunknowns (the mathematical proper- Building and the BMG logo atop Holly- miniature electret microphone that wasties of a sound field) with two simulta- wood's. What a shame. approved by the Chinese governmentneous linear equations! This law ap-

Oliver Berliner in 1989. Since August 1989, I have plies to 4-2-4 matrix schemes as well Beverly Hills, Cal. been working as a visiting scholar onas to phase manipulation schemes, no psychoacoustics and architecturematter how complex the algorithms nor Circuit Board of Appeals acoustics at the University of Florida. how powerful the computer. Dear Editor: Cangpu Li Since most HDTV formats, new con- It was in 1981 that Audio published 702 S.W. 16th Ave., #208sumer and professional digital video the project of the Total Harmonic Dis- Gainesville, Fla. 32601 formats, and film soundtrack formats of tortion Analyzer by Robert R. Cordell. the future all contain [or will contain] Circuit Works was listed as the source"Virtual Reality" with Fake Sound? discrete multi -channel and digital ca- for the printed circuit board. From theDear Editor: pabilities, what on earth are we still start, the response was far greater than In his July "Behind the Scenes," Bertdoing, talking about anything that syn- we ever expected, and it has contin-Whyte makes a dramatic statement,thesizes or simulates reality like a car- ued all these years. We have madewhich is highlighted on page 21, to wit:toon? For special effects, like equaliza- several additional production runs,"For virtual reality to be successful, wetion, echo, flanging, exciters, and so and we still keep getting calls for moremust have sound quality that rivals theforth,I can buy it. But to suggest that boards. With each order, we enclosevisual stimuli." sound fields can be created by defying assembly addenda that Mr. Cordell It is becoming more evident to morethe laws of mathematics heaps scorn has furnished. Fortunately, we stillvisually creative people just how im-on a professional audio industry that have about 10 sets that are available toportant sound can be to any visualcould do without it. Audio readers. stimuli. If one is able to turn a reason- What those of us in the creative com- This success story is truly a tribute to ably fine meal at a highly rated restau-munity must do is learn how to imple- the brilliant engineering of Mr. Cordellrant into a mediocre experience by thement discrete multi -channel audio in and the vision of Audio. ambience or music reproduction sys-order to lend that credibility to our cre- Milton Edelmantem, then one can surmise that soundations, as Whyte suggested with his Circuit Worksmay often be even more important than"virtual reality" comment. Our hands 85 West Sylvania Ave.visual stimuli. have been bound for too long, limited Neptune City, N.J. 07753 As a software producer and propo-to two -channel delivery formats. No

nent of "quadraphonic" sound (there. I more, and it couldn't have come too The Job Hunt Is On said it and I'm glad!),I was recentlysoon to suit me! Dear Editor: asked a simple but very serious ques- Brad S. Miller In April 1990, President Bush issued tion: IfI had only two choices, would I Mobile Fidelity Productions of Nevada a directive for Chinese students and opt for discrete multi -channel systems Incline Village, Nev. visiting scholars. Accordingly, I can for recording and reproduction, or apply for a job in the U.S. This is awould I be satisfied with artificial simu-Editor's Note: Brad S. Miller was the great opportunity for me, and since I lation of multi -channel sound as longmusic industry representative on the am looking for a job in audio engineer- as it was digital? My answer, of course: National Quadraphonic Radio Commit- ing, perhaps some of your readersDiscrete multi -channel capabilities fartee (NQRC), which was cosponsored would take an interest in my skills. outweigh the importance of the actualby the FCC and the Electronic Indus- I was a senior acoustics engineer inarchival format-analog or digital! triesAssociation(EIA) and was the Research Institute of TV and Elec- But since we now have the benefit ofcharged with testing and evaluating tro-Acoustics, Beijing, China. After I both-discrete multi -channel systemsfour -channel broadcast systems. He graduated from Nanjing University inwith digital sound, in both professional also was the founder of Mobile Fidelity 1966,I worked in the field of electro-and consumer applications-why areSound Lab.-E.P.

8 AUDIO/DECEMBER 1992 The B -52's: Good Stuff Guns N' Roses: (Reprise) 53851 Use Your Illusion 10 Sting: The Soul Cages (Geffen) 25534 (A&M) 25218 ZZ Top: Greatest Hits Billy Ray Cyrus: Fleetwood Mac: (Warner Bros.) 83411 Some Gave All Greatest Hits Nirvana : Nevermind (Mercury) 41711 (Warner Bros.) 00796 (Geffen) 15600 Grand Funk Railroad: Bonnie Raiff: Capitol Collector's Series &need O'Connor: Van Haien: Luck Of The Draw Dr. John: Goin' Back To (Capitol) 73258 I Do Not Want What For Unlawful Carnal (Capitol) 15567 Knowledge The Cure: Wish New Orleans Elvis Presley: I Haven't Got (Warner Bros.) 53246 (Chrysalis) 33512 (Warner Bros.) 10016 Talking Heads: (Elektra) 11116 The Number One Hits Stop Making Sense Frank Sinatra: The Best Of Jay & (RCA) 72190 Enya: Shepherd Moons Peter Frampton: (Sire) 24560 Bobby Brown: Bobby Sinatra Reprise/ The Americans: (Reprise) 53190 Classics (13 Greatest Hits) Madonna: The (A&M) 04894 Yanni: Dare To Dream (MCA) 11121 The Very Good Years Come A Little Bit Closer Immaculate Collection Bonnie Raiff: (EMI) 72262 (Private) 93703 The Baddest Of George (Reprise) 80304 (Sire) 54164 Nick Of Time TLC: O000000hhh... On Ringo Starr: (Capitol) 54410 The TLC Tlp Steppenwolf: Thorogood And The Styx: Paradise Theatre Paul Simon: (A&M) 25243 Time Takes Time (LaFace) 50167 16 Greatest Hits Destroyers Negotiations And Wynonna Judd: (MCA) 13453 (EMI) 84002 N.Y. Rock & Soul Revue (Private Music) 35088 Love Songs 1971-86 Wynonna Wayne's World -Music Mlles Davis: Doo-Bop Temple 01 The Dog (Giant) 63189 GRP All -Star Big Band (Warner Bros.) 20461 (MCA/Curb) 64540 From The Motion Picture (GRP) 63298 (Reprise) 63551 (Warner Bros.) 71151 (A&M) 31124 U2: Rattle And Hum Peter Gabriel: Hammer: Clint Black: (Island) 00596 Battle: The Bach Album Shaking The Tree - Too Legit To Qult Tears For Fears: James Taylor: The Hard Way (DG) 73670 16 Golden Greats (Capitol) 25514 Tears Roll Down Greatest Hits Bon Jovi: New Jersey (The Hits 1982-1992) (Reprise) 23790 (RCA) 35458 (Mercury) 00516 Anne Murray: (Geffen) 11089 Carpenters: Lovellnes (Fontana) 80162 The Very Best Of Barcelona Gold Squeeze: Singles Fifteen Of The Best Soundgarden: (A&M) 24763 (Warner Bros.) 63472 (Liberty) 64657 Badmotorfinger Daryl Hall & John Oates: Amy Grant: The Boston Pops 45's & Under Heart In Motion I Philips) 15319 Carreras, Domingo, (A&M) 35208 Metallica: (A&M) 05637 Rock 'N Soul, Part 1 (RCA) 13313 (A&M) 25182 Megadeth: Countdown Pavarotti: 3 Tenors Prince & The N.P.G.: And Justice For All Nell Diamond: (London) 35078 (Elektra) 00478 12 Greatest Hits Michael Crawford JIml Hendrix To Extinction Diamonds And Pearls Experience: Live (Capitol) 63340 Lindsey Buckingham: (WB/Paisley Park) 63372 Bob Marley: Legend (MCA) 84050 Performs Andrew Lloyd (Island) 53521 Webber At WInterland Damn Yankees: Out Of The Cradle Supertramp: A Tribe Called Quest: (Rykodisc) 63650 (Reprise) 20483 Lyle Lovett: The Low End Theory (Atlantic) 74128 Don't Tread Breakfast In America The Cars: Greatest Hits (Warner Bros.) 53663 Eagles: Greatest Hits (A&M) 25246 Joshua Judges Ruth (Jive) 24809 The Police: (Elektra) 53702 Allman Bros. Band:A 1971-1975 Garth Brooks: (MCA/Curb) 10508 David Bowie: Every Breath You Take- (Asylum )23481 Aerosmith: Pump Changesbowie The Singles Bell BN DeVoe: Poison Decade Of Hits 1969-1979 Rodin' The Wind (A&M) 73924 (MCA) 00547 (Polydor) 35031 Natalie Cole: (Liberty) 25535 (Geffen) 63678 (Rykodisc) 43693 Unforgettable The Commitments/Sdtrk. (Elektra) 83452 (MCA) 74016 The Very Best Of The Extreme: Pornograffltti Righteous Brothers: (A&M) 43557 Unchained Melody (Verve) 44658 Best Of The Grateful Dead: Skeletons From The SMG. John Mellencamp: Closet NO POSTAGE Whenever We Wanted (Warner Bros.) 83892 (Mercury) 74582 011COMPACT1111,01 NECESSARY Don Henley: The End Of II III Robert Palmer: The Innocence YEighil IF MAILED Addictions, Vol. 2 (Geffen) 01064 IN THE (Island) 25277 Steely Den: Gold Michael Penn: (MCA) 74339 UNITED STATES Free -For -Ali Kronos Quartet: (RCA) 20668 Pieces Of Africa 1111111111111 Pat Metheny: (Nonesuch) 10472 Secret Story Tom Petty & The (Geffen) 82267 Heartbreakers: into The BUSINESS REPLY MAIL The Doors/Sdtrk. Great Wide Open FIRST CLASS MAIL PERMIT NO 5071 INDIANAPOLIS. IN (Elektra) 54289 (MCA) 35409 Mo' Money/Sdtrk. Lethal Weapon 3/Sdtrk. 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sanjrcp 2517" Boo..ref s nfleSdtlit.53395 Reba McEntire: kLaFace For My Broken Heart (MCA) 73624 Norrington: Beethoven, Symphony No.9 Lou Reed: Magic & Loss (Choral) (Warner Bros /Sire) 15470 (EMI Classics) 00467 Marc Cohn George Harrison: Best (Atlantic) 82983 With Of Dark Horse, 1976-1989 (Dark Horse) 80307 HERE'S HOW THE CLUB WORKS: VShirley Horn: Vangells: Get 8 for the Price of 1! Choose 4 free CDs or cassettes from Billy Idol: Vital idol Here's To Life Nothing More Chariots Of Fire this ad, buy just 1 more at regular Club prices (currently $14.98 (Chrysalis) 54038 (Shirley Horn w/Strings) (Polydor) 24869 and up for CDs, $8.98 and up for cassettes) within a year, and Slaughter: The Wild Life (Verve) 11134 Moody Blues: A then get 3 more Free! Shipping and handling charges are added (Chrysalis) 84072 Chicago: Question Of Balance to all shipments. The BMG Compact Disc Club is unlike other Van Helen Greatest Hits 1982-1989 to Buy Ever! (Threshold) 44588 clubs which make you buy 6 CDs, or 8 cassettes at full price to (Warner Bros.) 14620 (Reprise) 63363 CeCe Peniston: Finally complete your commitment. (A&M) 53858 *Free 10 -Day Trial! Along with your 4 introductory selections. COMPLETE THE POSTAGE -PAID REPLY CARD AND START SAVING TODAY! you'll receive a "Welcome Package" with complete details of the Club.Enjoy your introductory selections for 10 days.If 2.160A. Mail to: BMG Compact Disc Club / P.O.Box 91412 / Indianapolis, IN 46209-9758 you are not completely satisfied, you may return them without any further obligation. Send no money now; we'll bill you later. COMPACT 0 Please accept my membership in the BMG Compact Disc Club and send my four FREE CDs as I have indicated here Club Music Mailings MEIRIAM under the terms of this offer.I need buy just gllg more CD at regular Club prices during the next year. After that,I can W/ choose 3 more CDs FREE! Shipping and handling charges are added to all shipments. That's 8 for the price of 1, with -About every three weeks (19 times a year), you'll receive our nothing more to buy...ever! exclusive Club catalog which contains hundreds of MCLUBM selections from which to choose. 0.) Send my selections on (check gne only): 0 Compact Discs 0 Cassettes (1) - Each issue highlights a Featured Selection from your RUSH ME THESE 4 CDs NOW preferred music category.If you'd like the Featured Selection, do nothing and it will be sent to you automatically. (Indicate by number): INSTANT If you prefer an alternate selection, or none at all, simply i am most interested in the musk categorychecked here - bid lam always free to choose from any (check go onty): return the Notification Card, enclosed with each issue of your magazine, by the date specified on the card.

50% OFF 1 Li LIGHT SOUNDS 2 COUNTRY 3...J HARD ROCK 4 H POP/SOFT ROCK -You have at least 10 days to return the Notification Card.If Bette Midler Reba McEntire BONUS DISCOUNTS U2 Bonnie Raitt you do not want the Featured Selection, and do not have 10 Frank Sinatra Hank Williams, Jr. Dire Straits Paula Abdul FOR MEMBERS WHO days, you may return the Featured Selection at our expense. 5... CLASSICAL(2) 6 7Li JAll HEAVY METAL Stay a member as long as you like.After purchasing your CHOOSE CDs! Luciano Pavarotti Dave Grusin Motley Cale Vladimir Horowitz Yellowjackets Skid Row regular -Club -price selection, you may cancel your membership The BMG Music at any time simply by writing to us.If you remain a member, e 0 Mr. you'll enjoy additional savings on CDs or cassettes with our Services Difference 0 Mrs special sales and bonus discounts. First Name Initial Last Name (PLEASE PRINT) You earn INSTANT 0 Ms. Save with Instant Bonus Discounts. Members who choose 50% OFF BONUS Address Apt. CDs are entitled to instant sales or discounts with every DISCOUNTS every additional CD you buy.These instant Bonus Discounts begin City State Zip with your very first CD purchase. Also, the longer you remain a time you buy a CD at member, the better the sales get.Other clubs make you buy 6 regular Club prices. or more at full price before you "earn" savings like this. Telephone. please Just buy 1, and take *Cassettes also available. Simply check the "cassettes" box on Area code another at half price. the postage -paid reply card if you prefer to receive your Signature With other clubs, you selections on cassettes. Of the reply card Is missing. please write to: must first buy 6 or (0 Have you bought anything else by mail in the last: 6 months 1.7 year pnever BMG Music Services, P.O. Box 91001, Indianapolis, IN 46291 more at full price and Ill Members who choose cassettes will be serviced by the MG Music Senna) Current MUSK Service members are not eligible. (2) Members who choose CLASSICAL as their listening interest will be serviced by the BMG Classical Music Service. CD053 BMG Music Services, 6550 E. X1111 SL, Indianapois, IN 46219- become a "Preferred We resent the mint to request any addibong intormabon or reject any application. Limited to new members. only one memberslup per tangy. Local 1194. TRADEMARKS USED IN THIS ADVERTISEMENT ARE THE Member" before you taxes rt any, will be added. Altematwe otter vailaNe in Alaska and Flame Otter not available in Puerto Rico. APO or FPO PROPERTY OF VARIOUS TRADEMARK OWNERS. © 1992 BMG earn savings like this! Direct Marketing, Inc. idigt Dog and Horn are trademarks of General Electric Photocopies of this coupon BMDRV AS Company. U.S.A. BMG logo TM BMG Music are acceptable. 1-= Parental advisory, explicit lyrics *Not available on cassette. TAPE GUIDE HERMAN BURSTEIN

Attention, Norm Strong! example, a given mike might have athe nature of the program material. All I believe I have a solution for Normspec of -65 dB/pbar, signifying thatin all, there is some art to getting the Strong's dbx woes ("Whatever Hap- its output is 0.00056 V, or 65 dB belowbest out of a recording. pened to Mike Inputs and dbx NR?" in1 V, for a sound pressure of 1 µbar. "Tape Guide," January 1992). I have a The specification of your tape deckDolby S Progress dbx Model NX-40 encoder/decoderstates that a signal 70 dB below 1 V Q.I awn two cassette decks-both that I would be willing to part with for a(which is 0.25 mV, or 0.00025 V) canwith Dolby B, Dolby C, and Dolby HX very low fee (plus shipping). I don't usedrive your deck to full recording level.Pro-that do a very good job of record- the unit, and it is in virtually new condi-Accordingly, you should look for aing. Recently I read about a new form tion. It will also decode dbx LPs-raremike rated at no less than - 70 dB; forof Dolby noise reduction, Dolby S. As a products, but I will give Mr. Strong theexample, -65 dB would be okay. Astypical audiophile,I am always inter- few thatIhave, gratis.-John D.for output impedance, unless you planested in upgrading the performance of Cheatham, P.O. Box 1224, Redondoto use extraordinarily long connectingcomponents, even those with perfor- Beach, Cal. 90278 cable, perhaps beyond 100 feet,it mance that is very good. However, I probably is not important whether thedon't wish to part with either deck, so Mike Specs mike's impedance is 200 or 600 ohms.I wonder if Dolby S encoding/decod- Q.I am looking for a pair of micro- To find the mike best suited to youring is available in an outboard unit, phones that are unidirectional, dynam-needs,itis advisable to deal with asimilar to the way dbx was once of- ic, and have a range of about 30 Hz toquality audio store, even though youfered: If not, are there plans to do this 16 kHz; these are to feed my portablemay pay somewhat more than in ain the near future?-Frank Ciccone, tape deck, whose specs for the mikestore that discounts heavily. Some-Wallingford, Conn. inputs give only the following: "0.25 mVtimes a store will try to push items it A. As yet, the cassette deck indus- ( -70 dB), for low impedance." I'm nothas heavily overstocked or on which ittry has not been in a mad rush to sure of the relationship of mike imped-makes maximum profit, rather than try incorporate Dolby S NR, evidenced by ance, in ohms, to the deck's specs. Ito truly serve the customer's needs. Athe fact that, according to the Equip- need mikes with high output. Wouldhigh -quality dealer may provide a bet- ment Directory in the October 1992. this mean mikes with 600 -ohm imped-ter opportunity to buy a mike on a mon- issue of Audio, only seven decks offer ance? Is a mike spec for open -circuitey -back or trial basis. this feature. One reason is price: Dolby sensitivity important in connection with S NR itself adds to cost, and a deck output?-Richard S.Hartley,Dover- Recording Level and Tape Type must meet high standards set by Dolby Foxcroft, Maine Q. Why do most deck manuals ad-Laboratories before it can include this A. Low -impedance microphonesvise using +2 or +3 dB recordingsystem. Another reason is that the dif- generally have output impedances inlevel for peaks with Type I tape, andference between Dolby C and Dolby S the range of 50 to 600 ohms, although +5 or +6 dB with Type II tape? WithNR is not profound, particularly if you a few go as high as 1,000 or evenmetal tape (Type IV), they say one canlisten at fairly moderate levels, where 2,000 ohms. High -impedance mikesgo as high as +7 dB.-Anthony Huda-noise is usually unobtrusive. This is not are those between about 10 and 50 kil-verdi, Santa Monica, Cal. to say that Dolby S NR has no advan- ohms. While there is a basic relation- A. Type II tapes generally have high-tages; it does extend noise reduction

ship between impedance and output,er coercivity than Type I tapes. Thisto the bass range, and it is less sensi- the relationship is not very linear. Therefers to the force required to magne-tive than Dolby C NR to mistracking higher the output impedance, the high-tize a tape. Thus, a stronger signal(mismatching of the record and player tends to be the output. High -imped-must be applied to Type II to achieve aback levels). ance mikes have the obvious advan-given recorded level.Furthermore, I have no information as to whether tage of producing greater signal volt-Type II can accept a stronger signal inor when Dolby S noise reduction will age, which helps make for a high sig-the treble region beforeit goes intobe available in a stand-alone unit. nal-to-noise ratio, but they have thesaturation. Accordingly, the optimum disadvantage of permitting only a fewsignal level employed in recording-Setting Recording Levels feet of connecting cable-about 10 tothat which maximizes S/N without in- Q. I am searching for a good way to 15 feet-before cable capacitancecurring excessive distortion and trebleset tape recording levels. My present causes serious treble loss. loss-tends to be roughly 3 dB highermethod entails skipping through the Itis quite possible that a 200 -ohmfor Type II than for Type I. Type IV tapeentire recording, comparing the source mike will produce more output than ahas still higher coercivity and so canmaterial with the taped material for dis- 600 -ohm one.In other words, for aaccept a still higher recording level. given sound input, the 200 -ohm mike Differences in permissible recordingIf you have a problem or question on tape can be more sensitive than a 600 -ohmlevel vary not only according to tape recording, write to Mr. Herman Burstein at AU- DIO, 1633 Broadway, New York, N.Y. 10019. All mike. The sensitivity rating of a mike istype but also according to brand.letters are answered. In the event that your ordinarily based on output voltage for aWhatever type and brand you decideletter is chosen by Mr. Burstein to appear in sound pressure of 1microbar (ithar)to use, experiment to find the optimum Tape Guide, please indicate if your name and/ applied to the mike. The output voltagerecording level. Also, the optimum re- or address should be withheld. Please enclose is stated as so many dB below 1 V. Forcording level may vary somewhat with a stamped, self-addressed envelope. AUDIO/DECEMBER 1992 11 Your knowledge of a piece of music and its recording can help you determine the optimum setting of your deck's record level control.

tortion, and making appropriate adjust-suitable tape saturation check?-Markindicator of your deck, a reference set- ments. While this is not extremely diffi- E. Richards, South Bend, Ind. ting of the record level control, and cult with my three -head deck, it does A. Let's assume that you are tapingyour own experience. take some time. Is there a better way toCDs. (Similar comments would apply Use a CD with substantial dynamics check for saturation levels? I've readto phono discs.) Your present proce-to find the maximum setting of the re- that the human ear is most sensitive todure seems more laborious than nec- cord level control which permits undis- frequencies around 2,000 Hz. Would aessary. Your guides to proper record- torted recording to your ear. Note the test tone of this frequency provide aing level should be the record level corresponding reading of the record level indicator on peaks. For a safety margin, back down on the level control to reduce recording level about 2 or 3 dB. You now have a reference setting for your level control. However, this doesn't mean that the control should remain in exactly the same position for VA\DERSTEE\ A.,910 all recordings. Based on your knowledge of the CD you wish to copy, you might reduce or advance the setting of the control a bit. For example, if you were to tape Debussy's "Prelude to the The most expensive dynamic Afternoon of a Faun," you might in- speakers in the world are multi - crease the level a little;if you were to record Stravinsky's Firebird Suite, you enclosure, minimum -baffle designs. might reduce thelevel somewhat. So is our least expensive speaker. When recording, take frequent note of One listen to the astonishing the record level indicator. If it goes well clarity and realism of the Model 18 beyond the reference level previously noted, and ifit does so frequently, the will show you why "boxless" is record level might be too high. It may definitely better. be desirable to redo the recording at a lower level, but this is unlikely to happen often.

The Model 18 features: What do I mean by changing the recording level "a bit" or "somewhat"? A superior -quality, This is where your experience comes cast -basket woofer in to inform you. For most music, maxi- A dual -chamber, mum amplitude tends to occur in the general vicinity of 400 Hz or so. On the metal -dome tweeter. other hand, owing to the large amount An aligned dynamic design. of treble boost employed in a cassette deck for recording, high signal ampli- A slim elegant appearance. tudes presented to the record head Unrivaled quality control. and to the tape may well occur in the range above 10 kHz. Therefore, if you were to check distortion on the basis of single tones,I would suggest 400 Hz and something like 12 kHz (or higher, if your hearing is good). But I don't think that you should use single tones to find VANDERSTEEN AUDIO the proper recording level. The ear is 116 West Fourth Street, Hanford, California 93230 considerably less sensitive to distor- (209) 582-0324 tion for mixed tones than for single tones. For example, distortion might become noticeable to a given individ- -)11\/1F1\19(>1\1A1P1I -21T\ ual when it reaches 1% on a single For more than 15 years, VANDERSTEEN AUDIO has built affordable loudspeakers true to both tone, but not untilit reaches 5% on science and music. If you're looking for speakers that accurately reproduce the entire frequency complex tones. Thus, you should use actual music to determine how high range of music and recreate the full dimensions of the original performance, we can direct you you can set the record level before to your nearest carefully selected Vandersteen dealer. distortion becomes audible. A The Vandersteen Model 18 is priced from under 5700 per pair. 12 AUDIO/DECEMBER 1992

Enter No. 47 on Reader Service Card GFA-2535 Multi -Channel Power Amplifier ;1si"We wish tothank Mom; our3rd grade music teacher, the members of the Academy.::

The Multi -Channel GFA-2535: home theater to life, delivering 200 watts of clean, yet another award -winning amplifier distortion -free sound to the center channel, and 60 from Adcom. watts to each of the rear channels. Add it to your existing 2 -channel amp, and you'll be at the center A pattern appears to be taking shape here: of a superbly balanced, awesomely powered stage Adcom introduces a new power amplifier, Adcom with sound so real, you can practically touch it. wins an award. The GFA-535, GFA-555, For audio applications, the GFA-2535 in the GFA-5551I, GFA-565, and now the GFA-2535 - 4 -channel mode acts as a pair of 60 watts -per - every single one has earned the immediate praise channel amps to drive two sets of speakers. With and plaudits of the industry's most respected two of the channels bridged, it delivers 60 watts authorities...perhaps because Adcom packs more each to a pair of satellites, and 200 watts to a sin- performance and innovative technology into its gle subwoofer for an incredible display of musical amplifiers than you'll find in components that cost strength so real, you definitely can feel it. twice as much or more. Three channels or four...home theater, home The innovative GFA-2535 is a worthy new audio...the award -winning Adcom GFA-2535 standard-bearer. The GFA-2535 is really two gives you twice the versatility of ordinary ampli- GFA-535's in one case, with the flexibility to drive fiers...and twice the value that has made Adcom three or four channels. With individual level con- famous. trols for precise control of each amp's volume, it's the ideal foundation for an authentic, ultra -realistic surround -sound theater system, or for a multi - room or multi -speaker audio system. The Versatility of 3 Channels or 4. A single switch on the GFA-2535's rear panel lets you select 4 -channel operation, or bridge two of the channels for a 3 -channel configuration. In the 3 -channel mode, the GFA-2535 brings your details you can hear 11 Elkins Road, East Brunswick, NJ 08816 U.S.A. (908) 390-1130. Distributed in Canada by PRO ACOUSTICS INC. Pointe Claire, Quebec H9R 4X5 Enter No. 1 on Reader Service Card

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Relays Get Dirty, Too copy an LP or any other programantenna when I use the TV set or my A few years back, you told a readersource onto an open -reelrecorder, VCR?-Stuart Leman, Portage, Pa. with intermittent amplifier output thatsome noise and distortion will be add- A.I think it's safe to say that most of his problem might be dirty switch con-ed, and the frequency balance may bethe hum is caused by at least one tacts. I fully agree with your diagnosis,slightly altered. (The noise may go un-ground loop. That is, your FM antenna but I'd like to suggest that the problemnoticed, however, if the original LP isand your TV, VCR, or receiver are con- might be due to dirty speaker relays, ifnoisy.) Recording onto DAT and thennected to ground by different paths. his receiver has any. A friend recentlycopying the DAT to open -reel tapeThe difference in these paths pro- had the same problem as your reader:won't do anything to alleviate this-duces a voltage difference, which He had to raise the volume to a highDAT recording adds no significantcauses the hum. level to get one or both channels toamount of noise (though it does add If you have grounded any of this come on. This suggested to me thatsome), but it does nothing to clean upequipment, disconnecting the ground whatever was blocking the signalthe original signal, either. All this inter- may end your problem. If any of these (such as oxidation on contacts) wasmediate step will do is cost you time. components has a three -wire, ground- being "punched through" when theOn the other hand, if you want to keeped a.c. plug, temporarily plug that into potential across the barrier reached aall your copies on DAT instead of a three -to -two -prong adaptor, the kind sufficient amplitude. Although cleaningopen -reel tape, you'll have more faith-you use when the wall outlet is not a the amplifier's output relays solved the ful (if expensive) copies of your LPs. three -wire type. Do not ground the ter- problem for a while, it returned several Your friend's DAT deck obviouslyminal. If the hum disappears, remove months later. Repeated cleanings con-has the Serial Copy Management Sys- the adaptor and plug the component tinued to offer relief for a few monthstem (SCMS), found in virtually all home back into the wall as you had it origi- after each cleaning. However, the in-digital recorders. If you copy a CD bynally. Yes, the hum will return, but at convenience of tearing the systemconnecting your CD player's digital least you've proven that your problem down every few months became tiring.outputs to your DAT recorder's digitalis a ground loop. (The amplifier weighs nearly 100inputs, the tape copy will be marked You can't cure the problem by dis- pounds.) with an SCMS code. If you then con-connecting the FM antenna's ground, It was finally agreed thatI wouldnect your DAT machine's digital out-because you need that for lightning replace all four relays in this amplifier.puts to another DAT recorder's digital protection, but you can provide d.c. The problem is gone! I would suggestinputs and try copying the SCMS-en-isolation between the receiver and the this repair to anyone experiencing this coded tape, the second recorder willantenna whileletting ther.f.signal problem if the equipment is 10 yearsrecognize the code and refuse to re-through. This requires an isolating ba- old or more. cord the signal. lun transformer, such as the Gemini In all my years of servicing electronic But SCMS does not apply to analogCV89. If you cannot locate an isolating equipment, over 90% of the serviceinput and output signals. When youbalun, you can make one by connect- problems in older equipment are con- record from an analog source, such as ing two ordinary 300 -to -75 -ohm baluns tact -related. I spoke to an expert in the LP, to the DAT recorder's analog in-back to back. Connect the 75 -ohm field of relays. He confirmed what Iputs, no SCMS code is added to theside of one balun to your antenna and have said: If a relay is acting up, re-tape. Even if the SCMS code was pres- the other's 75 -ohm side to your receiv- place it.-Brian Hefner, Newportent, it wouldn't be included in the ana-er, and use 50-µF capacitors to con- News, Va. log output fed to your open -reel deck. nect the transformer's 300 -ohm sides And open -reel decks have no SCMSto each other. This will permit r.f.to Dubbing the Long Way Around recording -lockoutcircuits,anyway.flow, but block d.c., and should cure Q./ have many LPs that I really en-You could even copy an SCMS-en-the hum. To avoid future problems, you joy. Is it possible to dub them onto my coded DAT recording to another DATmight use a second isolated balun be- open -reel deck? I suspect this couldrecorder, so long as you used onlytween your cable box and the rest of be done by dubbing the disc onto a analog connections between them. your equipment. DAT cassette, and copying that onto the open -reel deck. But the instruc-Hum from FM Antenna Setting Subwoofer Levels tions for my friend's DAT deck say, in Q.I am plagued with a 60 -Hz hum Q. What is the proper way to set part, "You cannot make a second -gen-every time I use either the TV set or thesubwoofer level controls to obtain cor- eration tape via 'digital input/output.' "VCR-each connected to my receiver. rect, or flat, bass response, assuming Does this, in effect, mean I can dubThe hum is not heard during tuner orthat both my satellites and my sub - from a CD player to the DAT recordertape mode. but cannot make another recording I shielded the receiver from the TV If you have a problem or question about audio, from that DAT copy?-Albert Z. Skeld-set. I've added an a.c. line filter. I have write to Mr. Joseph Glovanelll at AUDIO Maga- ing, Lynchburg, Va. zine, 1633 Broadway, New York, N.Y. 10019. All checked the house wiring.I have re- letters are answered. In the event that your A. You can copy your LP directlyversed electrical line plugs. The only letter Is chosen by Mr. Glovanelll to appear In onto your open -reel deck. You couldthing that kills the hum is disconnect- Audloclinlc, please Indicate If your name and/ also dub from LP to open -reel via DAT, ing the FM antenna. What causes the or address should be withheld. Please enclose but there's no point init. When you hum? Must I continue to disconnect the a stamped, self-addressed envelope.

16 AUDIO/DECEMBER 1992 Never miss another O.

You can't capture a moment or a memory

if your camera is at home ir. a drawer.

OTkaA whan so great about the ultra -

boyscompact Olyn-.pus Infinity

moments it's a

lovecamera that begs to be taken

olympuseverywhere:

Barely wider than a roll 6135mm film,

the Sblus is one smart carreva. It knows

how t9 focus, load, rewira, read film

speed all automatically. (.1i, and one

more thing about the Olympus Stylus-it's

OLYMPUS

OLYMPUS® Enter No 30 o der Service Caro flynrocomutexp 4.}1,,, (kJ Ilwafreri 0.(71/3/

, -sr irr" f, No matter what you do to balance your system, some recordings will sound just great but others won't.

woofers have been positioned properlyShack sound level meter on a tripod, at A. For my own part,I go along with in the listening room? what I think is the correct listening po-the advice you have been given, but The advice that I get is that the levels sition. I use a CD with test tones at 20, let me add something that could help. should be set by ear, but that does not40, 100, and 1,000 Hz. The measure-Locate a piano recording that sounds help because I'm not sure what to lis-ments I make are not consistent fromgood on a system you know to be

ten for or what recording to use whenday to day, despite careful siting of thegood. When I say "sounds good," I calibrating the system.I have spentmeter. What do I do now? -Chris L.mean that there should be body to the many fruitless hours using a RadioWalker, King of Prussia, Pa. piano when bass tones are struck. Take that recording to your listening room. Adjust the levels of your sub - woofers until the piano sounds slightly too "warm," and then back the settings off just slightly. Because you are using two sub - woofers, you have a slight problem. Theoretically you would want equal loudness from each one. As a practical matter, it is probably not important because bass tends to be omnidirectional, so you won't notice that the bass is slightly out of balance if levels are not

right. So, adjust levels as I instructed. Then feed a tone into your system and make a rough balance with your sound level meter. Chances are the balance will be different with different tones, and this is why you should not, or cannot, be really fussy about all of this. If you were to use your test methods, you would first need more tones; that gap between 100 and 1,000 Hz is a serious one. Next, you must take into Sennheiser headphones account that your sound level meter is uncover the secrets hiding in not flat. The curve that comes with the your favorite music. They meter shows this. The deviation from flat response must be taken into ac- accurately recreate all of the count when you interpret measured music's subtlety and power. sound levels. Great recordings sound No matter what you do, there will be even better. discs that sound justgreat; others won't sound good. You must use a A wide range of models tone control or an equalizer to offset offer new levels of realism these program differences.Inother and comfort to enhance your words, even if your system were perfect, some recordings won't be-at listening. Whatever your least as far as you are concerned. musical preference, there is (Editor's Note: No curve came with a Sennheiser headphone my own Radio Shack sound level meter, but I did have it measured once by perfect for your style. a friend at an acoustics laboratory and You've only got one set of found thatit was quite reasonably ears. Go ahead, spoil them. flat-within ± 1.5 dB over most of the

audio range, as I recall. Mr. Walker's measurement variations may therefore be the result of slight differences in the position of the meter from one measuring session to the next. The higher the 6 VISTA DRIVE, P. frequency, the greater the difference IN CANADA: 221 LABROSSE AVE., PTE -CLAIRE, very slight changes inpositionwill have.-/./3.) A Enter No. 42 on Reader Service Card 18 AUDIO/DECEMBER 1992 First in a series THE COMPONENTS OF EXCELLENCE: BUILD QUALITY Youcantell how good aMcIntosh iseven beforeyou turn it on.

WATTS 10 100 1000

POWER GUARD 50 - 40 30- 10 0 ITUIPELS

POWER OUTPUT

1\/1111 11 - i41.1111 111t1ntosh MO 1 000 POWER AFJPLIFIEF

The MC1000 is a 1000 Watt, Mono Block Power Amplifier Made in the USA For a high fidelity component to earn a posi- the strength and heft of its construction; all these tion at the pinnacle of high -end audio, many McIntosh qualites are not mere adjuncts to criteria, not simply superb sound quality, must superb sonic performance, they are essential to come into play. A McIntosh audio component is the definition of the highest quality. In fact, for built to such high standards that it speaks more than 40 years, the design and construction volumes about itself and the company that built of McIntosh products have set a standard of it...even before itis turned on. quality not only for audio components, but for The look and the design, the feel and 'sound' the finest products of the controls, the way the parts mesh together, of any kind. McIntosh McIntosh Laboratory Inc., 2 Chambers St., Binghamton, NY, USA 13903.2699 (607)723-3512 Components of Excellence Enter No. 25 on Reader Service Card No matter how good loudspeakersmay sound in the lab, in a review column, or in a dealer's showroom-what really matters is how they sound when you get themhome.

This is why KEF developed the link()

Driverto help reduce the adverse effects of your room's boundaries. Uni-Q works as a point -source of sound, producing a precisely controlled, highly uniform dispersionpattern.

This reduces the room reflections that can muddy the sound and destroy the spatial accuracy of the stereo image. The result? Isyourhome Freedom to place the speakers where they fit best, knowing they will also sound their best.

Uni-Q's realistic sound, accurate imaging the right place and placement flexibility become especially valuable in home foryourspeakers? theater and surround sound applications, which require precise localization to effect BY PLACING THE TWEETER AT THE cinematic realism. CENTER OF THE WOOFER, KEF HAS CREATED THE UNI-O. A VIRTUAL The Uni-Q Driver POINT SOURCE OF SOUND joins such other KEF scientific advances as the Coupled Cavity Bass system, which delivers deep bass from small enclosures; and Conjugate Load Matching, which makes it less strenuous for your amplifier to drive your speakers. Together, these have earned

KEF its international reputation for real -world performance.

For KEF, the world's finest loudspeakers are those that sound the best in your home.

KEF The Science of Loudspeakers 1 WHAT'S NEW

Lanzar Car Stereo Bass Processor The CBX4 from Lanzar combines the functions of a crossover and bass processor. It provides constant bass for any fader and balance -control position, and variable high- SOTA Turntable cost for buying the Satellite pass controls allow or The Satellite from SOTA and upgrading it to a Star is a belt -drive turntable, vacuum turntable would be prevent overlap between the woofer and satellite available in light, dark, or the same as the price of speakers. Other features black oak or satin black. It the latter turntable. Price: is SOTA's lowest -priced Without arm, $695; with arm include bass boost with shelving, a bass -polarity turntable but can be and dust cover, starting at upgraded to any higher switch, and stereo or mono $950. bass output. Specifications model with no cost For literature, circle No. 111 penalty-that is, the total include 100 -dB S/N, distortion of less than 0.00004%, and frequency response of 20 Hz to 50 kHz. Price: $279.95. Forte Audio For literature, Five -Channel Amp circle No. 112 Designed for home theater use, the Forte FT -1 has five channels of amplification, delivering 125 watts into each of the three front channels and 55 watts

powered subwoofer or separate bass amp. Preamp-out and main -in jacks are available for all five channels. In addition to a Dolby Pro -Logic decoder, Martin -Logan Speaker the SR -92 features an Unusually compact for its Marantz A/V Receiver AM/FM tuner with 30 AM type, the Martin -Logan With five separate amp and 30 FM presets, dual Aerius stands only 41/2 feet into each of the two rear channels (110 watts antenna inputs -or high (of which the top ones, all at less than 0.15%per channel for the main broadcast and cable FM 3 feet consist of the semi- THD from 20 Hz to 20 kHz. speakers, 75 watts for signals, and an AM section transparent electrostatic Frequency response is the center, and 35 watts that meets NRSC standards upper -frequency section) 3 Hz to 50 kHz, -±1 dB, per side for surround and has response out and has a footprint only at rated power, and gain speakers), the SR -92 can to 12 kHz. A multi -room 101/2 inches wide x 131/2 for all channels is 26.5 dB. drive every speaker in an mode allows listening to a inches deep. Frequencies Price: $1,595. A/V surround system second program source in below 500 Hz are handled For literature, except a subwoofer another room. Price: $1,099. by an 8 -inch woofer in a circle No. 110 -and there's a For literature, sealed enclosure of line -level output circle No. 113 11/4 cubic feet. Overall for a frequency response is 40 Hz to 20 kHz, ±3 dB, 00000 impedance is 4 ohms, and 00000 sensitivity is 89 dB. Price: moo= $1,995 per pair. mooEit3 For literature, circ.e No. 114

22 AUDIO/DECEMBER 1992 Critics. They think they're sosmart.

PRODUCT' REVIEWS

sound at how big,full, and real the "I was stunned are probably was...Carver's SilverSeven amplifiers heard." - BascomH. King, the best I have ever -Audio Magazine,Feb., 1991. Carver portrayal of amusical event... "A flawless deliver preciseacoustical depiction."' Silver Nines Fall/Winter, 1991. - InnerEar Report, the TFM-45 isclean, punchy, "Prodigious power... musical." - AndrewMarshall, -Audio Ideas,Winter, 1991. extension that isphe- has real bass "The TFM-15 ampli- -watt amp...the best $400 nomenal for a 100 Karl encountered." -Gerald Burt and fier yet Fall/Winter, 1991. Nehring, -TheSensible Sound,

Tough job, huh? Listening to great music "phenomenal" don't come easily. Yet, we all day long. Truth is, audio critics are pretty think you'll be just as wowed by a Carver darn smart. And superbly trained for judg- Audition. From our flagship Silver Sevens ing high-fidelity to our sleek (but oh so potent) amplifiers. So, words Pro-Phile Amps. Now at like "flawless" and your Carver dealer.

CARVERPowerful Musical Accurate reprints available on request P.O. Box 1237 Lynnwood, WA 98046 Distributed in Canada by Evolution Audio, Oakville, Ontario (416) 847-8888 (206) 775-1202

Enter No. 10 on Reader Service Card WHAT'S NEW

Mitsubishi A/V Receiver An audio/video receiver with the accent on the video, the Mitsubishi HTS- 300 not only switches video signals but cleans them up with a digital comb filter. Audio features include Dolby Pro -Logic surround channel. Help menus can and an amplifier section be shown on the TV Bozak Speaker that delivers 100 watts screen as well. Price: The Grand is the flagship each to the right, left, and $1,699. model of Bozak Audio center speakers and For literature, circle No. 116 Laboratories, a new 50 watts to each surround company. Its main speaker. The tuner's technical feature is a dual - 16 AM/FM presets can be cabinet design, with a displayed on the user's Scosche Speaker Mount sealed enclosure floating TV screen, with a user - Made of aluminum, the on viscous foam within a assigned name for each Scosche 1208 can be furniture cabinet to reduce fitted to most home the transmission of cabinet speakers and allows vibrations to the air. The the speaker to be three-way system uses four swung up to ±90° in any 61/2 -inch polypropylene direction around a 360° woofers, two 12 -inch Lebo CD Case circle of rotation. The passive radiators, two The Lebo Voyager CD bracket is die-cast 5 -inch polypropylene case holds 30 single or aluminum and allows wires midranges, and a 1 -inch 15 twin CDs, several CD to be fed through the base inverted -dome titanium for concealment. It is tweeter. Rated frequency available in white or black. response is 28 Hz to Price: $24.95 each. 20 kHz, +1, -2 dB. For literature, circle No. 117 Sensitivity is 93 dB. The system is available in dark, light, black, or white- washed oak. Price: $5,000 per pair. For literature, circle No. 119 Fisher CD Changer The Fisher DAC243 is repeat play, and a 31 - a front -loading, five -disc function remote control. changer magazines, or a carousel CD changer, with Price: $299.95. portable CD player with one -bit dual D/A converters. For literature, circle No. 118 discs. A movable partition Other features include held by hook -and -loop 32 -selection programming, fasteners divides the main random play, intro scan, compartment in two, and a double -zipper enclosure allows easy access to all contents. A separate pocket running the length of the soft, simulated leather case holds accessories or additional discs. Price: $37.95. For literature, circle No. 115

24 Contre4ryto popularopinion, you can pleaseeveryone.

PRODUCTREVIEWS

dynamic "Deliciously liquid...breathtaking handling." - StevenBaird, superb bass range... Fall/Winter, 1991. - TheSensible Sound, bass rich and musical...upper "Astonishingly and clear." potent... highssweet sounding Fall/Winter, 1991. - InnerEar Report, right." example of digitalaudio done "An excellent Daniel Kumin, - Review, Summer,1991. High Performance play- expected from atop-quality CD "Everything full complement er... superblow-level linearity... of features." -Julian Hirsch 1991. - StereoReview, April,

A hard bunch, those critics. So pardon our make for "astonishingly musical" CD delight at such universal acclaim for our CD sounds. But please, hear them for yourself. players. It's true, Carver's classic tube tech- Take your favorite disc to your Carver nology and the latest dealer today. And audi- wonders of single tion the full line of bit D/A conversion Carver CD players.

CARVER Powerful Musical Accurate reprints available on request P.O. Box 1237 Lynnwood, WA 98046 Distributed in Canada by Evolution Audio, Oakville, Ontario (416) 847-8888 (206) 775-1202

Enter No. 11 on Reader Service Card WHAT'S NEW

Design Acoustics Subwoofer The PS -SW from Design Acoustics is a front -firing, ported subwoofer with a rated frequency range of 30 to 130 Hz and a built-in, 130 -Hz high-pass filter to feed signals to satellites. The 10 -inch driver has a dual voice -coil of heat - dissipating aluminum; its cone is impregnated with Stimuli CD Rack cassettes, but only one is carbon fibers for stiffness. Stimuli's Half Moon CD required for DATs and Nominal impedance is rack is a wall -mounted analog cassettes. 8 ohms, sensitivity is 89 dB design that was created to Prices: Black or brass SPL with one voice -coil be good looking as well as finish, $68 each; aluminum driven and 95 dB with both functional. Constructed finish, $62 each. coils driven; maximum output is 107 dB SPL. from aluminum alloy, one For literature, circle No. 120 unit will hold 36 Compact Dimensions are 22 inches Discs, while two, mounted high x 161/4 inches wide x 11 inches deep. Price: McIntosh Preamp adjacently, will hold 106 Like many McIntosh due to additional spaces $339.95. For literature, circle No. 122 preamps over the years, created by the "fins." Two the C40 includes a small or more racks can also built-in monitor amp that accommodate VHS can be used to power surround speakers or speakers in a second room.

. ,..,COC010 . CON TAM CEN.T ::------' ' 0 r...... In addition to its 20 watt/ ..° channel monitor, the C40 -6- 1.50 0. incorporates a five -band 00000 equalizer and a compander (10_ to expand and dramatize am mir dynamic range or to compress it for recording or quiet listening. Both the equalizer and compander can be switched into the Mix Bookshelf Catalog record output circuits. The Cerwin-Vega More than 575 new C40 has balanced inputs In -Wall Speaker textbooks, reference and outputs. Price: $2,795. The W -8x2 uses an 8 - manuals, and instructional For literature, circle No. 123 inch long -throw woofer and videos on professional a dome tweeter. Rated at recording and music - 150 watts power handling, related topics are presented in the this speaker has a BOO- sensitivity rating of 93 dB 44 -page catalog and frequency response from 40 Hz to 20 kHz, available free ±3 dB. The speaker has a from the Mix self -resetting protection Bookshelf. To system. Dimensions are obtain a copy, 16 inches high and write to them 12 inches wide, with a at 6400 Hollis *E. mounting depth of #12, Emeryville, 31/2 inches. Price: $530 Cal. 94608, or per pair. circle No. 124. For literature, circle No. 121

AUDIO/DECEMBER 1992 Compliments of the Season

66...[The Glenlivet Distillery] produces a delicate and full flavoured whisky which is unarguably the most famous, if not the greatest in the world.99 -Derek Cooper Whiskies of Scotland

No excuse is needed for giving this whisky pride of place among the malts, for The Glenlivet has been the prince of whiskies for over a hundred years. 19 -R.J.S. McDowall, The Whiskies of Scotland, New Amsterdam Books

Brighten the holidays To give someone the highest of compliments with a gift of the finest single malt in existence, just call 1-800-238-4373 to ensure the brightest Christmas in years.

0 1992. Imported by The Glenlivet Distilling Company, N.Y., N.Y. 12 -year -old single malt Scotch whisky Alc 43% by vol. (86 proof The GlenINetis a registered trademark. WHAT'S NEW

Carver Loudspeaker 7 The AL -III dipolar speaker uses a 48 -inch ribbon midrange/tweeter driver adapted from Carver's Amazing Loudspeaker, mated to a 10 -inch woofer. Frequency response is 34 Hz to 20 kHz, ±3 dB, and only records Digital recommended amplifier Compact Cassettes, it also power is 35 to 400 watts offers Dolby B and C noise per channel. The speakers reduction for playback of are 6 feet tall but only Technics DCC Recorder analog cassettes. Digital 141/2 inches wide, and the One of the first DCC tapes can be marked with panels flanking the ribbon recorders on the market, start, skip, repeat, reverse, driver are solid oak. Price: the Technics RS-DC10 not and counter codes. The $1,499.95 per pair. RS-DC10 can also display For literature, circle No. 128 album and track titles, artist names, and other data encoded on prerecorded tapes. Analog, digital coaxial, and optical inputs are provided. Price: Pass Laboratories $999.95. Power Amp For literature, circle No. 126 Designer Nelson Pass calls his Aleph 0 an Asymmetric Class -A design because it uses a single bank of gain devices instead of push-pull circuitry. According to Pass, this is the purest but least efficient form of Class - Memorex DCC Tape A operation. Output of this Available in 60- and 90 - 65 -pound mono amp is minute versions, Memorex 75 watts into 8 ohms, at Digital Compact Cassettes 0.1(% THD, and power Fostex Recorder are packaged singly The Fostex X-18 consumption is 350 watts at and in two -pack bricks. idle. Frequency response is Multitracker four -track Prices: DRX-60, $7.49 each; portable recorder weighs down 3 dB at 100 kHz, but DRX-90, $9.99 each. flat at d.c. Price: $3,500 each. less than 3 pounds and For literature, circle No. 129 For literature, circle No. 125 runs on batteries. Two of its four independently controlled inputs can be used for mike or line signals, the other two for line only. A pitch control provides ± 10% speed adjustment. Levels for each channel can be monitored on five -segment LED meters. Record/play S/N is 58 dB with Dolby B NR; frequency response is 40 Hz to 12.5 kHz. Price: $399.95. For literature, circle No. 127

AUDIO/DECEMBER 1992

Clas-sic (Klas' ik) adj. 1. Of the highest rank or class. 2. Having lasting significance or recognized worth. 3. Of or in accordance with established principles and methods in the arts and sciences. - n. 1. An artist, author or work generally considered to be of the highest rank or excellence.

In the loudspeaker world, few companies crossover frequency and the roll -off em- have had as much influence as Acoustic ployed. Research. Since 1954, AR has continuously developed innovative solutions to the prob- The Acoustic Research SRA features a lems of music playback in the home. The2KHz crossover point and 18dB per octave Classic series of home loudspeakers repre- slopes. This configuration is used through- sents AR's re -dedication to the fundamen-out the Classic SRA series, in conjunction tals of high fidelity. with Acoustic Suspension low frequency systems. The result of intensive analysis of loudspeaker performance in a wide variety of The successful development of the SRA listening environments, the Classic series "module" allowed David Day and his team of employs apparently conventional system el-engineers to refine the low frequency per- ements in an unconventional manner. Thisformance. As the SRA handles all frequen- is not born of a desire to be different, but cies from 150Hz to 20KHz, the low frequen- quite simply because the music sounds morecies can be handled by a dedicated driver, true to life. designed for use only up to 150Hz. The only exception in the SRA series is the Model 12 Classic models 12 through 30 employ a which uses dual 6" mid -bass drivers. Mod- virtual point -source driver arrangement, els 26 and 30 employ dual low frequency known as a Symmetrical Radiation Array drivers, one at the top and one near the (SRA). The tweeter is flanked above and floor. The traditional approach would be to below by two high quality die-cast mid -bass place both low frequency drivers close to- drivers and the spacing of the acoustic cen- gether at the base of the cabinet, to take ters of the drivers is dictated by the desired advantage of acoustic coupling and floor reinforcement.This makes the low fre-was chosen after extensive testing and lis- quencies appear subjectively louder, buttening, in preference to all hard dome tweet- leads to a significant rise in standing waves ers. All Classic models feature two sets of in normal listening environments. Placinggold-plated 5 -way binding -posts to permit the second woofer at the top of the cabinetbi-wiring and maximum signal transfer. staggers room node excitation points, de- creasing standing waves while improving How do they sound? We would like you the effective dynamic range of the system. to judge, but we don't think they have a sound. We designed them to be as neutral as All the cone drivers in the Classic series we know how, so you hear only what you put are built around die-cast frames which arein. The music. less prone to ringing than pressed steel. The tweeter is an all new one inch device which features a soft cloth dome. This material 0 Classic Specifications Classic Model 'ki.,.1,1 12 Model 18 0 Model 2o Model 30 System %comfit. Avoustic TYlor Acoustic \e»mt» 0 Suspension Suspension Suspension Model 12 !-11-1»m mil

!No ttt i t utl 1 ohm 0 4 (dun .1 ohm Impedance 1 (Min

Frequency 4611z -201(11z 4211z-20kllz Response 4011z-20kllz 3811z-20kIlz (±3db) (EMI>) (±34111) ' (±3(111) ( 0 ) Crossover Model 18 2kIlz 20011z. 2kIlz Frequency 20011z, 2kIlz 20011z, 2kIlz

Driver (2) 6" polypropylene 8" polypropylene (2) 8" polypropylene C pll nt woofers (2) 10" polypropylene hoofer woepfers I" soft dome tweeter (2) 5.25" polypropylene woofers (2) 5.25" polypropylene12) 5.25" polypropylene SRA driver topology midrange midrange midrange I" soft d tweeter I" soft dome tweeter I" soft dome tweeter. Model 2( SRA driver topology 0 SRA driver topology SR 1 driver topology 0 Sensitivity 88 (IR SI'L 88 dB SPI, 88 dB SIT 0 (2.83 volts @ 1 meter) 88 dB SI'L (2.83 volts 0 I meter) (2.83 volts qt.I meter) (2.83 tolls (a I illet"

I) nsions 8-13/16" x 11" 9-13/16" x 12-3/16" (W x D x H) 9-13/16" x 12-5/16" 11" x 15" x 32-3/8" x 33-1/2" x 45-1/2" x 51-1/2"

Model 30

1 1992 11111,111 Ft ...W/11.141 dk isi tttt of InternationalJensen I 330 Turnpike !street. I:anion. NI 1 800 -961) I{ Il

Not t: Snare it i. the poliesof tc,.11,111, It t,earili 1111411111 llllll 11,1A 110.1191111'1111 1111111'101.1111111, all 411, pr,..itirt.. all 11111/ .pecification, are .1111.11,1 1111111111p W11110111 110111.0. P/N 16050007 BEHIND THE SCENES BERT WHYTE

DCC AND MD: TECHNO-TOYS?

The home entertainment industry Sifting through the comments,I'd provides sound of "near CD quality." is about to undergo radicalsay it appears that only the hypercriti-The MDs allow a virtuallyunlimited changes. By January, both thecal audiophile. with a high -resolutionnumber of record/playback/erase cy- Philips Digital Compact Cassetteplayback system will regard the Digitalcles and, like CDs, offer quick random (DCC) and the Sony MiniDisc (MD)Compact Cassette as a sonically inferi-access to program material. Targeted should be widely available in this coun-or format.Ironically, one digiphobetothe personal -portable Walkman/ try. In addition, digital signal process-who has maligned the Compact Disc Discman market, the MD format allows ing is poised to become the predomi-now speaks reverentially of the "won-joggers to enjoy music virtually uninter- nant technology in various audio andderful'y cohesive, smooth sound and rupted, since the Electronic Shock Pro- video control devices, as well as in amusicality of 16 -bit linear PCM CDs" astection (ESP) memory buffer now pro- number of loudspeaker applications. compared to DCC! vides 10 S of playback for the laser to Both DCC and MD depend heavily Entry-level DCC recorders are ex-resume proper tracking, instead of the on bit -rate reduction systems, whichpected to cost between $700 and3 S of the original design. are but the first harbingers of similar$900, with 60 -minute blank DCC tapes Sony's MD units willinclude the data -compression systems Model MZ-1, which will have that will be used in a broad such automatic recording fea- variety of other audio and vid- tures as track numbering, eo products. For example, storage of both time and date HDTV systems under consid- of recording, and location of eration by the FCC use some remaining blank disc space form of data compression. for quick recording plus a Needless tosay, many function for creating custom people take a skeptical view titlesof recorded tracks or of data compression, espe- discs.Itwill have 10 -key di- cially with respect to audio rect access and a two-line, equipment; they believe that 24 -character, backlit LCD to data compression will de- show primary functions as grade sound quality. One well as disctitle and artist main concern seems to be name. The MZ-1 will operate audibilityofthe Precision from rechargeable battery, Adaptive Sub -band Coding a.c.,or car battery. With (PASC) used in DCC record- headphones,battery,a.c. ers. Preliminary reports (main- adaptor, and other accesso- ly from Europe) on several ries, the unit will cost $749.95. DCC prototypes were rather The Sony MZ-2P playback - mixed. The reviewers were careful to running about $8 to $9. This is obvi-only unit will have such features as distinguish between what they thought ously a bit pricey, but the anticipationshuffle play, random programmability, would be acceptable to the public and is that the cost will be appreciably lessand the LCD panel for disc and track what far more critical audiophilesin a relatively short time, as was thenumbers. It will operate from the same would accept.In a comparison be- case with CD. As for prerecorded DCCpower sources as mentioned for the tween a prerecorded DCC and a CD of tapes, there seems to be some confu-MZ-1 portable recorder and, with the the same program, there was general sion as to what they will cost. Philipsusual accessories, will cost $549.95. agreement that differences in sound had hoped to sell a DCC for less than aEarly next year, the MDX-U1 in -dash quality were perceptible thoughCD, and thenitappeared that thecar stereo player, with AM/FM tuner "slight" or "subtle," with the CD sound prices would be the same. Some re-and a built-in controller for a Sony Disc having perhaps a shade "more open- ports circulated that a DCC recordingJockey CD changer, will be available ness and ambience." A few critics would be more expensive than a CD,at $979.95. were less charitable. One stated that butI tend to discount this, as it would MD -format licensees now include DCC was "clearly inferior to CD-the be a very significant obstacle to ac-Denon, Hitachi, Kenwood, Matsushita, PASC is not transparent." Another said ceptance of the new format. All of theMitsubishi, Onkyo, Pioneer, Sanyo, the opposite, claiming to be "surprised technology for Digital Compact Cas-and Yamaha for hardware. For soft- by the transparency of the PASC." sette tape duplication seems to be inware, some 300 prerecorded MD titles DCC decks have backward com- place, with some 500 titles expected toare expected from such labels as An- patibility-they can play standard ana- be available. gel,Atlantic,Capitol,Columbia, log cassettes-but at present they The MiniDisc, withits AdaptiveDenon, dmp, Elektra, EMI, Epic, Sony cannot record analog cassettes. The TRansform Acoustic Coding (ATRAC)Classical,Virgin,and Warner Bros. analog playback quality from these data -compression system, permits upCost should be similar to that of a CD, early DCC machines did not impress to 74 minutes of digital recording on itsas MDs can be replicatedin CD the reviewers, who in the main consid- 21/2 -inch aisc, employing magneto -op-plants, using roughly the same tech- ered it "marginal." tical technology. Sony claims the MDnology. As for blank MDs, Sony's 60-

AUDIO/DECEMBER 1992 33 In airline pilots, brain surgeons, and CD support a disc spinning at high velocity. Next, the stable players, steadiness is a pretty platter, by supporting the entire area of the CD disc, damental requirement. minimizes wobble and chatter. A wobbling disc presents a In the case of the difficult target for the laser, while a chattering disc creates Professional type balanced output jacks are grounded, and Elite line of CD players and the resonance, distorting the signal, which distorts the sound. shield the signal against noise. uncompromising Elite transport, their rock -solid stability The stable platter, with its great mass and driven with has rocked the world of music lovers and audio critics. It's precision by a new transport mechanism, spins solidly in

[ HowA CONCEPT CALLEDTHE STABLE PLATTER TURNEDTHE CD UPSIDE DOWN. apparent from the reviews and the awards that Elite has place generating no vibration. The result advanced CD standards dramatically. is sound that is perceptibly superior. At the very apex of CD technology today is our Another problem for conventional PD -S95 transport. To insure optimum sound quality, it CDs is gravity. Spinning above the mobilizes an unprecedented array of mechanical and elec- laser pickup and supported only in the trical isolation techniques, including rigid acoustic shell An thi\ance,i linear drive center, the disc sags microscopically. motor moves the laser construction and discrete power supplies. pickup with smooth speedWhich to a laser beam is significant. But and precision. But its most significant innovation- incorporated on the Elite CD platter, the disc is turned upside down and lies firmly clamped to a solid surface. Meanwhile, the laser pickup reads the disc's digital code from above, where it is immune to dust settling on the laser optics. We invite you to visit an Elite dealer and audition the The Elite PD -75 Compact Disc Player. Its elegant urushi finish reflects technical elegance within. entire line of Elite CD players. throughout the Elite line - is the stable platter. And usher in a new era of stability Two basics of physics -mass and inertia- combine to make the stable platter an obviously superior platform to ELITE For the name of a select Elio dealer in your area please cat l -800 -PIONEER. ©1992 Pioneer Electronics (USA) Inc.. Long Beach. CA.

Enter No. 33 on Reader Service Card Anyone can appreciate the noise -free attributes and low distortion of both DCC and MD, but are consumers willing to pay for this? Make minute MDW-60 is available for $13.99. The 74 -minute MDW-74 will follow in the spring. The battle lines are drawn. Though neither Philips nor Sony is promoting yourLiszt the idea that its system is a replacement for CD, the DCC and MD formats themselves can be viewed as compet- ingdigitalrecording systems. Both have their positive and negative aspects. Initially, DCC would appear to last have the better sound quality, approaching that of CD in most respects. But MD is not far behind, and it has the advantage of a no -wear medium and rapid random access-plus the unde- niable portability afforded by ESP. longer. Many industry seers do not believe that DCC and MD can coexist. My own Your collection of classics will sound richer and last for ages veiwpoint is that, clever and sophisti- with a new Shure phono cartridge and styius. For the cated as they are,I would question the formats' viability even in a normal name of the Shure dealer nearest you, or for a free catalog, economy. In the midst of a recession, I call 1-800-25-SHURE. Put it at the top of your "Liszt f' have strong doubts that either will make a significant impact in the mar- SHUE® ketplace. Both the DCC and MD intro- Ente-Jo. 43 on Reader Semite Card ductory models are relatively high- priced, and blank tapes and discs are considerably more expensive than the THE LITTLE ONE WITH THE lowly analog cassette. And yes, anyone can appreciate the noise -free attributes of both DCC and MD, and the unquestionably low distortion. But are consumers willing to pay for this? After all, recording off the air is hardly high- tech. Recording pop tunes on a $2 analog cassette has appeal for many people; will they appreciate the superi- "The PSB Alphas are simply one or sonics of a digital recording of the of the greatest buys in audio, providing same program, at close to three or four times the expense?I may be an old c musica ly satisfying sound

mossback, but I do appreciate high- tech audio developments that help re- for a parry 5200 For their produce music ever more realistically. [rice, the PSB Alphas are Still,, I feel DCC and MD are merely nifty new techno-toys that will enjoy an initial flurry of sales but then become a sensational audio relativelylow -volume products. The CD, as it stands or embellished with barga n. Now get Super Bit Mapping or other refine- out those checkbooks!" ments, is still my choice-and not likely to be superseded until it's replaced by .ack English, Stereophile, systems that record insolid-state memory, with no moving parts. Vol. 15, No.1 (July, 1992) In the meantime, we have plenty of audio equipment that can benefit considerably from digital signal processing or new digital circuitry. Meridian and Celestion have pioneered in im- PSB - A UNIQUE V proving loudspeakers with digital tech -

AUDIO/DECEMBER 1992 35 Enter No 37 on Reader Service Card Remember the first time you heard a CD? It sounded Take Yamaha's new CDC -835 for example. With Yamaha's so good, you hoped the music would never stop. S -Bit Plus Technology, twin Which is the whole idea behind the CD changer. balanced D/A converters and S-BitPlus Unfortunately most companies, in their rush to produce Class A amplification at every stage, the CDC -835 outperforms one, neglected to isolate the disc that's playing from the most single disc CD players on the market. changer platform. A big mistake. (Not as big as the Hubble Its fluorescent display can be dimmed or set to automatically telescope, but pretty shut off during playback, darn serious.) eliminating any chance of One that transfers interference. internal and external And the CDC -835 is vibrations to the playing equally impressive in the disc. Creates resonance. convenience department. Distorts the sound. And Its TOC Memory defeats a primary rea- memorizes the contents son for buying a CD on each disc, speeding up player in the first place. access to specific songs, Fortunately Yamaha especially during random avoided this common disc -to -disc play. problem by developing And to give your an entire line of CD Or buy one of Yamaha's new CD changers. favorite kind of music changers that are even more presence, virtually vibration -free. A pretty amazing feat in itself. there's a built-in equalizer with five digital presets. How they do it is something called PlayXchange. A unique In fact, the CDC -835 can remember your favorite songs on design which not only up to 100 discs and play them back in any sequence. It even isolates the playing remembers EQ settings. disc from the Then there's 5 -Disc Tape The CDC -835 The only changer with loading tray, providing Edit. A useful recording fea- a five -mode digital equalizer vibration -free play- ture that arranges the tracks you select so they fit neatly on back, but also allows two sides of your tape. Yamaha's PlayXchange System. The only carousel mechanism that doesn't transmit you to change four CDs By now, if you're not quite sold on the CDC -835, you only vibration to the playing disc An important feature that permits four discs to be changed without disturbing the have two options. You can drop by your nearest Yamaha without disturbing the one playing.

fifth one that's playing. dealer and let your ears make up your mind. And because you're supposed to spend your time listening Or you can buy another changer. Which when you stop to your CDs and not the machine that plays them, Yamaha's to think about it, would be a total developed a new changing mechanism that's exceptionally shock to your system. YAMAHA quiet, quick and reliable. But you can't judge a superior CD player merely by its changing mechanism. What makes the difference between a good player and a great one has to do with attention to details. ©1992 Yamaha Electronics Corporation USA P.O. Box 6660, Buena Park, CA 90622 Initially, DCC would appear to have the better sound, but MD is not far behind, 131. and it has the advantage COLE of a no -wear medium.

nology. and several companies are working on other ambitious digital applications in speakers, mainly in the areas of crossovers and controlling frequency, phase, and impulse response. A somewhat controversial development is the application of DSP to loudspeaker/room equalization. Thisis a very tantalizing prospect and has the potential to bedazzle with what seems to be the ideal answer to some problems of the loudspeaker/room interface. There are pitfalls to this, with psychoacoustics playing a prominent role. If DSP can become sufficiently power- All JERROLD, OAK, HAMLIN, ZENITH, SCIENTIFIC ATLANTA, PIONEER and all spe- ful and cheap,it might help resolve cialized cable equipment available for shipment within 24 hours. SO Day Guarantee. some of the inherent problems. QUANTITY DISCOUNTS AVAILABLE. MC/VISA or C.O.D. telephone orders accepted. In the video realm, DSP will have a Send self-addressed stamped envelope (60c p6stage) for FREE CATALOG

major impact. In the February issue, I

reported on the new Dolby SR -D digital INFORMATION/ORDERS format for motion picture sound; more MIDWEST P.O. Box 5000 thana dozen theaters are now Suite 311K ELECTRMICSinc.Carpentersville, 1-800 equipped to show SR -D films, and oth- Illinois 60110 er theaters willbe coming on-line. 648-3030 Note: Decoders and Descramblers must not be used More important from a home theater without authorization by your local cable operator. NO ILLINOIS ORDERS ACCEPTED viewpoint isthat Dolby Laboratories has developed the AC -3 Adaptive Transform Coding Algorithm, another form of data compression. The SMPTE Surround Standard, now designated the 5.1 surround system, specifies six Paul Baron, a NOTHING BUT THE channels: Left, right, center, left rear, right rear, and 100 -Hz sub -bass (i.e., concert %iolinist, subwoofer). Using Dolby AC -3, the 5.1 system can be encoded at 64 kilobits and a world- per second per channel and still pro- renowned speaker vide wide -range high-fidelity sound equal to that of AC -2's 192 kilobits per designer and founder of second per channel. The AC -3 system should enable the 5.1 surround signals PSB, is a firm believer in natural to be accommodated on a videodisc. Thus, not only will a new generation of sound. Fe shudders at speakers t videodiscs provide all the usual bene- fits of digital sound with respect to high color misicions' notes. Shown h S/N ratio, low distortion, and wide dy- the PS8 300, 500 and 800 a namics, but each of the channels in the surround field will be totally discrete! part of in affordably priced

In closing, I offer a plea that unfortunately may fall on deaf ears. Many line of high-performance owners of home theaters have complained that after acquiring the usual speakers which allow you to library of blockbuster films, they are disappointed withthe "surround listen to the music naturally - os insur- sound." The music score is was intended to be heard. round, but few motional dynamics relate to the action. These people, and I count myself among them, would like to see videodiscs rated and labelled as

"MS" for Music Surround and "AS" for Action Surround.I wish us luck! A PSB - A UNIQUE VOICE IN THE CR AUDIO/DECEMBER 1992 37 Enter No. 37 on Reader Service Card CURRENTS JOHN EARGLE PHOTO OPPORTUNITY

man encoding; you can think of this as the visual equivalent of perceptual encoding of audio, as is used in the Phil- ips DCC and the Sony MiniDisc. I recently tested the Kodak PCD 870 player ($549), a combination unit that plays photographic and normal audio CDs. The user has a choice of three outputs: An r.f. output for older TV sets and both composite video and S -video outputs for higher quality on newer sets and monitors.I used the r.f. output, since that is what most consumers would use. (In this mode, the player simulates a TV broadcast signal and can be assigned to either channel 3 or 4, whichever is the unused channel in your community.) After connection, you simply put a Photo CD into the unit and press the

Kodak's introduction of PhotoDigital retouching CD system provides both theis possible using professional graphics industrythe Kodak Photo CD and the photo -shooting consumer withdata in an Apple a new way of storing and manipulatingMacintosh loaded high -resolution color images. For thewith Adobe Printshop professional, the system can revolu-software. Note the tionize the way photographs are ar-three larger photos chived, transported, and actually pro-at right: From top, a dupe cessed for mass reproduction. For theof the normal print in foreground, consumer,it means freedom at lastretouched print with one added from having to wait till nightfall to set upflower, and bottom print with two the old slide projector; with a new CDnew flowers, one in a new color. reader (a device for playing data rather than audio or video information) or a The system uses a five -level method"Play" button on the remote. Picture Philips CD -Interactive (CD -I) player, heof encoding the picture data. The twonumber 1will show on the screen and can show a discful of favorite slides onlower levels can be used for reduced -remain thereuntil you give another a TV set with remarkable resolution. size multiple screen images and print-command. With each new command, a The basic "input" to the system isouts about the size of postage stamps.new picture will scroll downward on the not a TV image, but rather an actualThe middle level is used for normal TVscreen, taking about 5 S. color slide, print, or negative. Kodakviewing and can be scanned fairly In order to see the system in opera- states that for about $20 a photofinish-quickly at its resolution of 512 lines andtion exactly the way a typical consumer er can develop and transfer 24 pic-768 pixels. The fourth level can bewould,I had access to a record -once tures to a write -once Photo CD and will used for HDTV purposes, and the fifth,CD that had been made from a roll of be able to scan prints for transfer to or highest, resolution level is designedcolor film. Prints were included so that I disc by year's end. Once the picturesfor Kodak's 2,048 -line x 3,072 -pixelcould judge the quality of TV presenta- are transferred, the consumer can ef-Photo CD printer. Just as with digitaltion relative to those prints. The CD fectively retire the original and view the recording of music, once an image haswas packaged in the typical jewel box, disc's contents over TV. The disc canbeen encoded, subsequent operationsand a handy index print was included also be taken to the photofinisher tocan be done without going back to thethat showed numbered, stamp -sized have photos added to it (up to a maxi-optical (or analog) domain. The twoversions of each photo stored on the mum of 100), or color prints can behigher levels of encoding use a data -disc. You can simply enter the number made from it at their original resolution. compression method known as Huff-of an indexed photo, and the system

38 AUDIO/DECEMBER 1992 FINALLY, AN OFFICIAL ELVIS SIGHTING! The Limited Edition goes right toit. The quality of the TV images was uniformly excellent, especially in terms of color value and con- ELVIS trast.If normal NTSC television could be reproduced this well by the time it PRESLEY reached your TV, you might not yearn for HDTV at all! STAMP CLOCK Off icially Authorized Product There are several useful manipula- Stamp Design 1992 U.S.P.S. tions available in viewing pictures on Handmade in the USA the disc. The remote control lets you Exquisite beveled glass pan the image from left to right and Electronic quartz crystal also up and down. The normal TV pic- movements ture has a 4:3 aspect ratio, while the Available as x 11' Wall Clock $49.95 ea. 35 -mm frame is slightly wider. In nor- 8' x 8" Wall Clock $47.95 ea. mal view, the sides of the film frame 4'x 8" Desk Clock $39.95 ea. are slightly cropped, but image size plus $3.50 shipping/handling can be reduced to show a full horizon- To order, call tal frame or reduced a lot to show a full 1 -800 -969 -TIME vertical one. A "Frame" command puts Visa & MC or sendcheck or money order to: a small white outlined frame on the screen that can be moved about with Clock -Wise' the pan controls to highlight a particu- P.O. Box 1198 Bodega Bay, CA 94923 ti,..and:EK,Presley'arePe¢grsleredlradentarksot Ely. lar part of the total picture. Then, when Presley Enterprises, I nc Dock -Wise man official licensee of The United States Postal Seance and Elvis Presley Enterprises. Inc you press the "Zoom" control, that por- 9" x11"Wall Clock tionof the picture within the white frame will fill the entire screen. These commands can be stored as programs for specific discs.In program play, not only are the pictures TITILLATE YOU shown in their programmed order, but each will be individually framed, zoomed, or panned as it comes up on screen. Programs are storedin the player, not on the disc itself.This makes it easy to change a program at a later date, but if you insert the disc Music is a powerful stimulant, titil aipitir into another player, your presentation cues will have to be reentered into it. senses and awakening our emotion!. Paul Another test discI used was somewhat more complicated. It was a travel- Barton, founder of PSB and a respe:ted og through Australia, complete with stereo commentary and a set of menus musician and recording engineer, designs loud. by which I could pick a given portion of the "trip." Once a menu item was se- speakers which deliver pure, netted sound, free lected, the disc traversed it automati- from co orations. The result? Reccrc ed music that cally. Still,I could override the program and zoom in on a given scene. parallel; the live performance. The acclaimed Stratus For very dedicated amateur photog- raphers, the prospect of viewing high - Gold and Stratus Mini offer unparalleled perf quality slides on a standard TV set may not be all that attractive, inasmuch as it splendid appearance and unequalled value. would take the HDTV system to begin to do justice to what a routine slide Audition them today! projector can do. However, for many people the convenience of the TV set will probably win out-and there is always the added comfort of knowing that the Photo CD, at its highest resolution capability,doesdo justice to the SPEAKERS PSB - A UNIQUE VOICE IN THE CROWD. original picture. AUDIO/DECEMBER 1992 39 Enter No. 37 on Reader Service Card ROADSIGNS IVAN BERGER

IT'S THE LONG -RANGER

large knob. The buttons for loudness, muting, and "Audio" are on the front of the swing -down subpanel. The only quirky control placement is the on/off switch, which is hidden from the driver's view by the control knob (except in Britain, Japan, and other countries where the driver sits on the right side of the car). By day, the large display is easy to read even in direct sunlight. At night, with the unit off, the control knob, tape buttons, and on/off switch are illuminated. With power on, everything lights up except the "Loudness" and "Mute" buttons and the small button between the control knob and the "Audio" button that swings the subpanel out. On FM and tape,I found the Philips had a slight edge to its sound, an over -crispness that made speech very clear yet added a touch of harshness to music. But then, when a manufacturer leaves both Dolby NR and EQ switching off his tape section, I go to the beach at Harvey be used for manual or auto -search you know he's not aiming the model Cedars, N.J. to get away from it all, tuning in either direction, and at audiophiles. but Iregret getting away from good pressing the Auto -Store ("AST") That's a pity, because the DC777 is jazz and classical music on the radio. button captures the five strongest full of very useful features. The timers Even though the place is only about local stations on the currently will keep you from missing your 80 miles from New York, and about selected band yet lets you easily favorite programs (though it would be 65 from Philadelphia, nothing but retrieve any previously memorized better if the timers could distinguish nearby rock and pop gets through. stations. The tape section has auto weekdays from weekends), and the But on my last trip,I picked up jazz reverse. For theft protection, you can short-wave section does bring in and classical music in my car activate a circuit lock that renders the many interesting programs. Over the every night-from Deutsche Welle DC777 useless until its security code weeks I used the Philips,I heard not and the BBC. is entered (while "Code" flashes on only jazz and the classics but Oriental The head unit that brought me all the big display), and you can get an music, comedy in an unidentified this was the Philips DC777, the only optional pull-out mounting kit for even language, news with a foreign slant, car stereo I know of in the U.S. more security. The built-in amplifier interviews, and sports (soccer, I think). market that picks up short wave (SW) delivers 13 watts per channel at 1% Unfortunately, finding those as well as AM and FM. Short wave THD, and there are line outputs programs wasn't easy. Some SW isn't its only unusual feature. The (which I used) for external amps. stations came in as clearly as distant Philips incorporates three timers that The large knob, which normally clear -channel stations on the AM can tune in a predetermined station at controls volume, can also be used as band would. But when I scanned a preset time, even if you're listening a fader, balance control, or treble or away from those stations to seek to another station or a tape or have bass control, according to how many others on the same band, the Philips the muting on (though not if the radio times you press the "Audio" button found more unlistenable than is turned off). Pressing a button next about an inch to its left. (This is now a listenable signals. At any given time, to the single large control knob fairly common way of lessening panel most bands yielded nothing swings out a subpanel with a numeric clutter, but Philips was the firstI know listenable, and the bands where I pad for directly setting a station of to use it.) The bass and treble could find a few worthwhile stations frequency, setting the clock, or settings are stored separately for FM, varied with the time of day. That's the setting any of the three timers. AM (including short wave), and nature of short wave, whose The tuning facilities are fairly cassette. propagation also varies with the extensive. There are two five -station The controls beneath the station season, the weather, and the level of memory banks for FM, one five -station display are all related to tuning, while sunspot activity. bank for AM, and a 20 -station short- the tape -transport controls are just to So prospecting for stations is not wave memory. The arrow buttons can the right of the tape slot, above the something you should try to do while 40 AUDIO/DECEMBER 1992 Rnasonic introduces car speakers so advanced, special materials had to be used to build them. After it blows the doors off your car, vou'll wish it could do the sarre for your room. It's the new E -Series from Panasonic. They're not just new car speakers, they're a totally new speaker technology. For instance, its woofer system represents a radical departure in speaker design. Usually the outer- most portion of a woofer's diameter is unable to create sound. Our new discrete -edge design uses the -ull diameter of the E -Series woofer to create music. And its acoustically dampened resins reduce harmonic vibrations for stur ning sound clarity. And if those sps don't tickle your tweeters, wait Id you hear its dash -mounted tweeters. They can reproduce up to 25 KHz. The new Panasonic E -Series. Available in 51/4" (EAB-E55) and 61/2" (EAB-E66) component systems, as well as a 6" x 9" 3 -way rear deck system (EAB-E99). They're the speakers you would do anything to have in your home. Unfortunately, they're only for your car.

PANASONIC INTRODUCES A WHOLE NEW SPEAKER TECHNOLOGY. UNFORTUNATELY, IT'S ONLY FOR CARS. Panasonic® just slightly ahead of our time? Enter No. 31 on Reader Service Card Why This Ad Is Making The Other driving. Luckily, you do not have to. Beforeyou hit the road, you can scan Loudspeaker Company for stations, enter them in memory, and set off confident that a few hours' driving won't take you out of range. Nervous. (The BBC World Service, at 5,975 kHz on the 49 -meter band, came in just as We think the Ensemble II speaker system by Henry Kloss clearly in Hartford, Conn. as it had in Harvey Cedars, 200 miles away.) is better than the BOSE AM -5 Series II. And because Better yet, you can look up stations in Cambridge Sound%\brks sells direct...it's half the price. Philips' 161 -page Short Wave Handbook, which lists station names, frequencies, program languages, and Audio Hall of Fame member, Henry Kloss the times and continents where each All Cambridge SoundWorks products are designed by broadcast is theoretically available. our co-founder and chairman, Henry Kloss, who created Once you find a few stations you want the dominant speakers of the '50s (AR), '60s (KI,H) to hear, enter their frequencies from and '70s (Advent). Our high performance, high -value the swing -down keypad and add speakers and systems are all manufactured in our them to the station memories for easy factory in Newton, Massachusetts. access while you drive. The 20 -station SW memory Ensemble II performance for half the Bose price. $399 allocates up to five frequencies to Ensemble® II is the latest version of the subwoofer- Lomplete each of the first four preset buttons; satellite speakers Audio magazine said "may be the best you use the fifth button to shift value in the world." Unlike the Bose® system, it uses between a button's stored two-way satellite speakers and acoustic suspension frequencies. This allows you to assign subwoofers (with 35% more cone area). It can sound one button to a radio service that identical to our original Ensemble system. broadcasts on different frequencies at different times of day, as many SW Audio experts on call 365 days a year. stations do. In fact, the timers can Our helpful, knowledgeable audio experts (not clerks) switch frequencies for you at the are on duty for advice, hook-up information or orders, same times the station does. 8AM-midnight, ewiy day, including holidays. They The DC777 covers SW frequencies don't know the meaning of the phrase "hard sell:' from 3,170 to 21,910 kHz, the 90 - A astomer wrote "The quality of your product is through 13 -meter broadcast bands. matched by your attitude towards your customers:' This includes virtually all the worldwide bands plus a few regional %Wye eliminated the expensive "middle -men:' and tropical ones. Amateur and other All Carnbridge SoundWorks components and systems SW bands that lie between the are sold factory -direct to the public, eliminating huge broadcast frequencies can be distribution expenses. Don't be fooled by our reasonable reached by using manual tuning or by prices-our products are vet), well made, with premium directly entering frequencies on the quality components throughout. With our 30 -day swing -out keypad. satisfaction guarantee, you can't lose. According to the unit's British spec sheet, turning the treble all the way FREE catalog-Pioneer, Philips, Denon and more. down during short-wave listening Our full -color catalog is loaded with systems and com- switches the tuner to a narrower i.f. ponents from top name brands, including our own. bandwidth to counter noise and Our systems deliver a lot of performance for the money, interference even further. Had the especially our Dolby Surround systems, which we feel manual mentioned that, I'd have given are the best values in the counny. For your free catalog, it a try.I found one station slightly cal11-800-AKA-HIFI, 24 hours a day vulnerable to alternator and ignition noise, though another station on the same band wasn't. For $499.95 (plus $49.95 for the CAMBRIDGE SOUNDWORKS pull-out kit and $44.95 more for a A new &lid of audio company, with factory -direct savings. remote control), the DC777 doesn't 154 California St.,Suite 1o4DEc ,Newton, MA 02158 1-800-AKA-HIFI (800-252-4434) bring you the finest in musical sound Fax: 617-332-5936 In Canada: 1-800-525-4434 Switchboard: 617-332-5936 or the utmost in FM sensitivity. But it © 1991 Cambridir SounchAteks 0 Ensemble is a iegiscoad trademark of Cambridge SoundWades. Bose is a registered sadernadcof Bose Corp. AR & Actvent aes trackmatics of International lensen. does bring you the world.

42 AUDIO/DECEMBER 1992 Findout how goodwe are: experts oncall 8AM-midnight (ET) every day 1-800-AKA-HIFI Enter No. 8 on Reader Service Card You're more likely to carry a car stereo's faceplate in V your pocket than to lug an 5 -Year Parts& Labor entire head unit around. Warranty Unnted1ht,,,,

What's Coming Off receipt for the head unit's purchase, Detachable faceplates are growing or other documentation as well as to more common. In addition to LA anyone who sends in his warranty Sound, Pioneer, and Profile, this anti- card to the manufacturer or whose theft system is now supported by Al- dealer has records of the purchase- pine, JVC, Panasonic, Sherwood, but rot tot_ist anyone who walks in Sony, and others. Typically, units with off the street. this feature cost about $10 more than Some manufacturers, however, find those with pull-out mounts. these precautions undesirable be- Makers of detachable -face stereos cause customers squawk like crazy if point out that units which stay in the they lose their controls and can't get dash don't get banged about the way new ones fast. They also fee, such pull-outs do. This could improve reli- safeguards are unnecessary, be- FREE ability, especially of CD players. How-cause car stereo thieves don't sell ever, some detached control panels their loot to people who'll go out to a Audio Catalog will get lost, dropped, or stepped on, dealer the next day to replace miss- and the connections between panel ing parts. Thieves sell to people on Call toll -free for factory -direct savings. and head unit are potential weak the street who are willing to pay spot Save hundreds on components and spots. (One car manufacturer told me cash, but only for something they systems from Cambridge SoundWorks, that they don't offer removable face - think they can use right away. Pull-out Philips, Pioneer, Denon, Nakamichi, plates because such problems with stereos are easy to sell to the unwary Thorens, Koss and others. the factory stereo might reflect badly because they look complete: The Audio Experts will answer all your on the overall reliability of their cars.) knobs and dials are obviously all pre- questions, before and after you buy... So about the only significant selling sent, and only in the rear, which peo- 8AM-midnight (ET), 365 days a year. point is more effective theft preven- ple normally don't see, is anything tion: Users are more likely to take a missing. But a plain black box without 30 -day total satisfaction guarantee. light faceplate with them than to lug controls is too hard to pass off as a around an entire head unit. car stereo, even ifit is one. I'd thought that the theft deterrence Or so say the manufacturers. My in- would ultimately hinge on how tight a staller, Tony Igel of Stratford Mobile "Ensemble II, like rein manufacturers and dealers keep Sound, is skeptical: "I get three or in on purchases of replacement face - four people a week coming in to pur- its companions plates. Ideally, replacements should chase 'replacement' faceplates," he the Cambridge

be made readily available to anyone says. "I won't sell them, but I bet SoundWorks lineup, who can produce a broken panel, a somebody else does." performs so far beyond its priceand size class that it can Cooling It efficiency (which means only one -fifth As I've mentioned before, a major of their power draw is wasted as be comparedonly trend in amplifiers is fan -cooling (at heat) versus about 20% to 45% effi- with much larger least 10 companies have power - ciency for conventional designs. Be- cooled amps). Fans are needed because switching amps need so little speakers at substan- cause most amplifiers convert more cooling, they can sometimes be in- tially higherprices." than half the energy they draw from stalled directly in speaker enclosures, the car's electrical system into heat. just as Bose has long been doing -Stereo Review. Raise the efficiency, and you reduce with their switching amplifiers for fac- both the need for cooling and the de- tory -installed sound systems. mands on the car's electrical system. Blade Technology, of Canada, That's why Infinity has introduced claims that Class -D amps sound a bit 1-800-FOR-HIFI some Class -D switching amps, and too cold. They've come up with a de- 24 hours a day, 365 days a year (800-252-4434) I've heard that other companies plan sign, BASH (not an abbreviation for to. Switching amps have roughly dou- anything), for which they claim 70% ble the efficiency of normal amp de- efficiency. Incoming signals are de- CAMBRIDGE signs because they use transistors layed a few microseconds while a cir- SOUNDWORKS only in their most efficient states- cuit analyzes the signal and its power A new kind of audio company, switched full on or full off-rather than requirements; by the time the signal with factory -direct savings. in the less efficient gain states be- reaches the amplification stages, the 154 California St., State104 DECNewton, MA 02158 tween those extremes. The Infinity power supply is prepared to provide *In Canada call 1-800-525-4434. Fax: 617-332-9229 amps, for example, are rated at 80% Outside U.S. or Canada 617-332-5936 just the right voltage to handle it. © 1991 fambridg. SauraMbrksC) Ensemble Is a reggered trademark of Cambric? Scs. AR& Advent are tradanaliG of Intemanonal Jensen. Inc. AUDIO/DECEMBER 1992 43

Enter No. 9 on Reader Service Card OUR AUDIO COMPONENTS FEEDBACK.HAVE THE UNCANNY ABILITY TO PRODUCE INCREDIBLE

66 Iam not aware of an amplifier, anywhere, that delivers this much usable power at such a modest cost. 77

HCA-80011 AMPLIFIER, BOUND FOR SOUND, DECEMBER 1990, U.S.A.

66...internal appearance definitely suggests that of some far costlier high -end components....first rate sound at a truly affordable price. 79 P/FET-90011 PREAMP, STEREO REVIEW, JANUARY 1992, U.S.A.

66 Parasoundcomes out on top in the areas of fine detail, clarity and timbral accuracy. " HCA-80011 AMPLIFIER, FALL 1992, THE SENSIBLE SOUND, U.S.A.

"From thevery first sounds-even forgetting this price-we noticed unsurpassed spaciousness and detail enveloping us." P/FET-900 PREAMP AND HCA-80011 AMPLIFIER, HOMESTUDIO, DECEMBER 1989, HOLLAND

"... aproduct that's basically untouchable by the competition. HCA-2200 AMPLIFIER, BOUND FOR SOUND, DECEMBER 1991, U.S.A.

66 It offersmore than just a touch of high -end sound at a very affordable price. HCA-80011 AMPLIFIER, STEREOPHILE, OCTOBER 1990, U.S.A.

One thing is coming through loud and clear. A by making high -end audio components at affordable consensus that our audio components are a prices. resounding success. To learn more about our complete family of audio And it's no accident. Because we take a uniquely products, give us a call. And discover for yourself why pure approach to music reproduction. You see, we put we're generating so much positive feedback. our money into elegant audio engineering and acoustic design. Not into fancy decorations that don't add any

sonic value. On the surface, this may not seem like such a big PARASOUND deal. But, as you can see, we've built quite a reputation Aftiodable audio for the critical listener.

Parasound Products, Inc. 950 Battery Street, San Francisco, CA 94111 1-800-822-8802; 415-397-7100; Fax: 415-397-0144 In Canada, distributed by: Absolute Sound Imports, 7651 Granville Street, Vancouver, BC; 604-264-0414 OUR POWERFUL HIGH -END AMPLIFIERS ARE ALSO DESIGNED TO INSULATE YOU FROM STICKER SHOCK.

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Shopping for high -end audio can be a real jolt to amplifiers costing two to three times more. your system. Your authorized Parasound dealer will help you But it doesn't have to be. Because Parasound offers choose the one that's right for you. For further in- a complete family of affordable power amplifiers to formation and reviews, give us a call. And discover faithfully reproduce the music you love. amplifiers and other components which are nothing From the HCA-500 at under $400, to the John short of electrifying. Curl -designed HCA-2200 at under $2,000. Each one is designed to master difficult loads with true power and grace. PARASOUND What you'll receive is quality sound that surpasses Affordable audio for the critical listener.

- PROMO -

Photographs: Kevin Knight seven for seven seventy to seventeenninety-five

LEONARD E 1?ROUN DU PFELDMAN

The popularization of home theater au- channels to power from three to five speak- dio/video entertainment rooms has ers for home theater use; at least one model boosted the popularity of the receiver. of those I reviewed here has seven chanrels. Today's AN receivers, unlike the stereo tun- The decoders in the seven receivers tested er/amplifiers of yesteryear, include decoders and extra amplifier channels for surround At left, from top: Receivers from Sony, sound. Most popular models have video as Kenwood, JVC, and Onkyo. Below, from top: well as audio connections to control the entire AN system. They also have enough amp Receivers from Sansui, Pioneer, and Denon. Mae ..,,r,., 4/1.1/03

CD DIRECT MIMIN=0, ceiver that performs as well and has as many useful features as a $1,300 receiver would garner a somewhat higher rating.

DENON AVR-3000 This benchmark unit from Denon has five high -power amplifier channels (110 watts per channel for the front left,center, and right channels; 35 watts per channel for the rear channels). Its analog and digital micro- include Dolby Pro -Logic circuitry (at leastcircuits deliver outstanding Dolby Pro -Logic partially digital,in several cases) that en-surround sound enhanced by powerful digi- hances separation between the front, center,tal signal processing (DSP) capabilities. Op- and rear (surround) channels. These Pro -erating in parallel with the Pro -Logic circuit- Logic decoders all allow deliberately limitedry, DSP offers surround environments suit- adjustment of rear -channel delay and aable for music -only listening, such as "Clas- IN1M1116CMIXT0116,10 OLIIIM AMIN API PEIXIVER 0 choice of three front -channel modes: Phan-sic," "Jazz," "Church," and many more, Po 4UOZ OUTPUT tom (for systems without center speakers),Additional AN modes include "Wide Screen' -20 normal (for systems whose center speakers(fa- greater user control of such system pa- have less bass than the main speakers), andrameters as delay when watching movies), -40 wide (for systems whose three front speak- . STEREO NOISE "Live" (with default parameters more suited ers have equal bass capabilities). Most haveto live musical performances), and "Mono 60 full -range mono line outputs that can feed aMovie" (a stereo simulation). Surround pa- self -powered subwoofer. rameters can be adjusted to achieve desired -80 MONONOII Other home theater features found in com-effects. 0 20 40 60 80 mon include a three -channel Dolby Surround The Denon's measured FM tuner perfor- FM quieting characteristics, mode for systems without rear speakers andmance was certainly adequate but not as Denon AVR-3000. universal remotes that are preprogrammedgood as I might have hoped insofar as us- to control other audio and video componentsable sensitivity and ultimate signal-to-noise and can learn the commands for still more Channel separation, components. And since these are audio ason the other hand, was fairly good, and tun- well as home theater components, all sevening was accurate and stable. Activating and have phono inputs. setting up the 16 AM/FM station presets was For all their flexibility and versatility, not allrelatively simple, and Iliked the fact that the AN receivers are equal. Therefore,Audio'sless -often -used controls were hidden behind editor decided to conduct a no -holds -barreda swing -down panel. The display panel of comparison test and evaluation. Separatethe AVR-3000 is easy to understand and can comparison charts are included for the tunerbe turned off completely ifit becomes too and amplifier sections of each receiver, asdistracting. well as for the video sections and the conve- An interesting touch is the inclusion of two nience features and facilities. Ratings from 0remote controls. The more versatile remote to 10 are assigned for each of the sectionsnot only operates nearly every function of the and for overall convenience, and, finally, anAVR-3000 but can also operate additional overall rating is given to each model. All ofcomponents from Denon and other manufac- the receivers are excellent performers, butturers through preprogrammed or user -pro- some are better than others.In addition,grammed commands. The simpler remote overall ratings are based, in part, on price/operates only the AVR-3000's major func- performance ratio. Obviously, a $1,000 re -tions, for easier use by those who do not want all the secondary functions. Even the simpler remote offers a Personal Memory Function, which lets you restore your favorite The Denon AVR-3000 excelled for both control and mode settings with the touch of a single button. This receiver excels for home theater ap- home theater and surround sounduse, plications and in its surround music listening modes. The number of parameter permuta- tions is almost countless, with variable time delay available even in the Dolby Surround thanks to an almost countless number modes. The 53 -page owner's manual is fairly complete, though the organization of the text could have been a bit better. The Denon AVR-3000 carries a suggested retail price of 1-< of adjustments. )B.4 $1,300. 48 AUDIO/DECEMBER 1992 ,---Aiditw'AlrAllriN 1111010112116. JVC RX-1050VTN This relatively expensive model ($1,500 suggested retail) is the flagship in JVC's Su- per Digifine series of audiophile receivers. The unit's Dolby Surround decoding is digitally processed, and a proprietary digital acoustics processor simulates the sound fields of theaters, halls, and stadiums. The RX-1050VTN receiver boasts five channels of amplification. The JVC has S -video jacks for its three vid- Both surround and Dolby Pro -Logic perfor- eo inputs, its monitor output, and its two VCRmance were beyond reproach, with enough outputs. An on -screen TV display helpsparameter adjustments to take care of just guide the user through a fairly complex setabout any listening room and listener posi- of functions and controls that might intimi-tion. Since the JVC has no fewer than 57 but- date those who refuse to consult the 60 -tons behind its swing-dbwn panel (in addi- page owner's manual. tion to the always -visible controls for source VIIQUIETINGOURACTERISTICS .NC III -11150VwRECEIVER 0 A, The JVC's remote control can also learnand speaker selection, volume, muting, and AUDIO OUTPUT commands for other companies' AN prod-power), you may find it takes a bit of learning 20 ucts, and it is preprogrammed for other JVCbefore you can fully avail yourself of the AN components. Instead of a button arrayMany features. Once you familiarize yourself 40 the remote has a touch -panel LCD, whichwith its intricacies, though, you'll find the JVC 1,STEREO NOISE makes it rather large, but lets "button" leg-well worth its price. 60 ends automatically change to match whatever component is being controlled. The re- KENWOOD KR -V9030 80 MONONOiSE

I ceiver has both optical and coaxial digital in- In addition to the usual Dolby Pro -Logic 0 20 40 60 80 puts, so a CD player equipped with a digitalsurround modes, this receiver offers a choice FM quieting characteristics, output can be connected directly withoutof six simulated sound environments: "Arena," having to first convert the digital data to ana-"Jazz," "Stadium," "Discotheque," "Cathe- JVC RX-1050VTN. log signals in the CD player itself. Since thedral," and "Movie Theater." Other features built-in D/A section uses JVC's P.E.M. one - VII MOINECITERALTRISTICS REIONICO Ell -r9430 E/V RECEIVER include six DSP sound -field presets, six sur- 0 .0 bit D/A converter, conversion accuracy andround memory presets with name display, a OUTPUT linearity were superb-in alllikelihood aslearning remote, automatic input balance for 20 good as or better than the D/A conversionDolby Surround, two VCR input/output loops IT.STEREO NOISE systems found in all but the most expensiveand a front -panel video input, S -video con- 40 late -model CD players. nections, video dubbing facilities, 20 tuner An unusual feature not found in many ANpresets, and a station name preset system60 receivers is a built-in seven -band graphicvisible on the front -panel display. MONONOISE equalizer, with memories for three factory -set Although the Kenwood is rated at 13080 and three user -set equalization curves.Itswatts per channel at 0.03% THD for stereo, 0 20 40 60 80 display can show the EQ curve in use andthis power rating changes to 75 watts per FM quieting characteristics, be used as a real-time analyzer of signalchannel (at a maximum of 0.9% THD) when Kenwood KR -V9030. content. An enhancement to JVC's Compu-operated in the five -channel surround mode.

Link system, called CSRP, lets you storeStill, I found that the power output in sur- three sets of adjusted acoustic parametersround was more than adequate, even when (from a list that includes level, balance,driving my relatively inefficient KEF 105.2 equalization, etc.) for each program source.speakers as the main pair in a five -channel Additionally, the new AN CompuLink systemsetup. A built-in test -tone generator simpli- can be used to integrate the RX-1050VTN's operation with that of selected JVC television sets and VCRs. For example, when you load a prerecorded tape into the VCR, the rest of the AN system will automatically set itself to view the VCR's output. ------4007,470"Atr' WEE The JVC's FM tuner performance was about average, with 50 -dB quieting figures in T LINER 02 P110800_ both mono and stereo somewhat poorer than I would have expected. This did not limit the number of acceptably noise -free stations thatI was able to receive, but having the muting and auto -stereo functions combined did limit the number of signals I could receive in stereo. wealth of other features. Pro -Logic is just one of eight surround and sound -field settings that can create an almost infinite range of audio environments. These include more than the usual number of sound fields (such as two "Theater" and "Hall" settings instead of just one) plus full decoding of Ambisonic- encoded source material. Many feel that Ambisonics offers a superior three-dimen- fiedlevel setting for surround and centersional sound experience, and a number of channels in the Dolby Surround mode. recordings (including the entire Nimbus cat- The Kenwood's FM tuner performancealog) have been made with it. As far as I've ranked with the best of the seven receiversbeen able to determine, this is the first and tested; its 50 -dB quieting sensitivity was ac-only receiver to incorporate an Ambisonic tually better than specified.I could find onlydecoder. two minor faults with the FM section: First, its The Onkyo boasts six video inputs and 0IFT1116 C11.1V011411. 01110. IX -P10.0 16E1.14 relatively low alternate -channel selectivity ro three video outputs, all with composite and ___Z---TUDIO OUTPUT (55 dB) could be a problem in metropolitanS -video connections, plus five audio inputs, 20 areas where FM stations are closely spacedan optical digital input, and five audio line on the dial. In my tests (some 18 miles fromoutputs. Users can adjust nearly all tuner 40 ,.....STEREO NOISE major transmitter sites) no such problemsarid amplifier parameters by using easy -to - arose. A second minor fault was the FM fre-follow on -screen menus in combination with -60 quency response, which was down a bitthe remote control. Other tuning facilities in- more than 3 dB at 15 kHz. eo clude 40 random station presets (with the MONO NOISE The 39 -page owner's manual was one ofability to assign and scan stations by any of 0 20 40 60 80the best I encountered during this project. six program -format categories) and the abili- FM quieting characteristics, Connection diagrams are very clear, andty to enter station frequencies directly from a Onkyo TX-SV909PRO. more important, instructions for each of the10 -key pad. Onkyo's Remote Interactive (RI) many operating modes are presented in asystem can be used tolink the TX- numbered, step-by-step format that will beSV909PRO to other Onkyo components for easy to follow even by those who have nevercontrol by the receiver's remote. Considering operated an AN receiver. At a suggestedthis unit's versatility,its price of $1,795 price of $979 including its learning remote,seems reasonable. the Kenwood KR -V9030 represents extreme- Setting up the TX-SV909PRO for a full ly good value compared with some of thehome theater installation may likely take you

tested units; I took this fact into account inquite a while, as it did me. But if you follow my overall rating. the diagrams and instructions provided in the well -written 45 -page owner's manual, ONKYO TX-SV909PRO you should have no trouble. One unusual The Onkyo has a fully digital Dolby Pro- aspect of the surround setup is that the Onk- Logic surround decoder plus seven discreteyo provides for an extra pair of enhancement channels of amplification. It also has the abil-speakers, to be mounted somewhat behind ity to play different programs in two rooms orand above the usualleft and right front zones of your house, control menus that dis-speakers. (This is why the Onkyo has seven play on your TV screen (including diagramsoutput channels instead of the usual four or of simulated sound fields and your imaginaryfive.)If you can afford the extra pair of seat positions within those fields), and aspeakers for this configuration, by all means include them; they can add a sense of sonic space that you just can't achieve with four or five speakers.

Once setup was complete, I found that I Among its many surround facilities, preferred operating the Onkyo from the comfort of my listening and viewing position instead of trying to adjust all the parameters the Onkyo TX-SV909PRO has the only via the front -panel controls. Watching a movie on LaserDisc, with Dolby Surround aug- mented by a receiver such as this Onkyo "do -it -all"unit, brings me as close to the Ambisonic decoder I'veseen so faractual movie theater experience as any setup I've evaluated to date. But don't overlook the fact that as a straight stereo receiver, the 4 in a receiver. B+ TX-SV909PRO offers unsurpassed performance. Onkyo has always been noted for 50 AUDIO/DECEMBER 1992 segm

IMO MIIN MN superb FM tuner designs, and they have obviously incorporated much of what they've learned from designing separate tuners into

this outstanding receiver. I listened to CDs and to FM radio in the stereo mode (dis- abling the surround features) and then

switched to one of the surround modes. I was always able to find at least one surround mode that was appropriate for the kind of

program material I was listening to.Butgroup. Considering its features, control func- whether you prefer straight stereo or sur-tions, and effective surround performance, round sound for music -only listening,it the VSX-D901S is well worth serious consid- would be hard to beat the performance of eration. this top -of -the -line receiver from Onkyo. SANSUI RZ-9500AV PIONEER VSX-D901S This AN receiver delivers enough power A digital signal processing circuit in the to handle some of the more inefficient loud- ER CIVALCIERISTICS V9-09019 UV RECEIVER VSX-D901S creates five listening environ-speaker systems around. On a continuous ///-AUDIO OUTPUT ments in addition to the usual Dolby Pro -Log-power output basis, its front -channel amps 20 ic. Separate audio and video programs can delivered considerably more power than the 40 be fed to two different rooms or zones of the 100 watts per channel specified by Sansui. .`,.FEREO NOISE house, and with an optional infrared adaptor,Surround (rear) and center -channel amp:ifi- the system can be controlled from any roomers easily met their conservatively stated rat- 60 ti in the house as well. ings of 30 watts per channel and 40 watts, MONO NOISE Any two user -defined control settingsrespectively. FM tuner usuable sensitivity 80 (such as input selection, surround mode, orwas excellent-as good as that of the most 0 20 40 60 80 volume) can be stored in memory for instantsensitive separate tuners. FM quieting characteristics, recall when the "Auto Source Control" button The RZ-9500AV is supplied with a univer- Pioneer VSX-D901S. is pushed. For example, you can set thesal remote control, i.e.,it can be taught the codes or commands of other components cruftermstics 5.31.11 AS -95004V 1/V RECEIVER just the volume to your preferred level when(including those from other manufacturers). 0 the button is pushed; if the CD player is aWhen not listening to one of the Sansui's AUDIO 0UTPOT Pioneer model that shares System Remotemany surround sound options, you can 20 (SR) connections with this receiver,itwill choose the "Source Direct" mode, which by- then start playing. The thumb -indentedpasses tone controls and surround circuitry 40 "Jog" dial is used for a variety of functions:for the shortest signal path between the pro- ,....ST:REO NOISE Tuning, scanning a character table to spellgram source and your main loudspeakers. 60 out the names of preset stations, changing You can tailor and store all the parameters surround delay time or total sound -field ef-of up to four surround settings in memory. so MONO NOISE fect, and adjusting a built-in video enhancer.The unit can simultaneously drive a set of 0 20 40 60 80 A split-screen video display mode lets youfront, center, and surround speakers in one FM quieting characteristics, adjust the video enhancer while comparingroom and a stereo pair in another room. Up Sansui RZ-9500AV. enhanced and normal versions of the pictureto 30 AM and FM stations can be preset, and on one screen. And, like most of the receiv-a scan function lets you listen to each memo- ers in this review, the Pioneer can show itsrized station for about 8 S until you select operating status on your TV screen as wellone for listening. Station call letters can also as on its own display. be stored in memory. Tuner facilities include direct -access tuning from a numeric keypad and "Custom Memory" tuning by any of five program categories. The tuner's 50 -dB mono quieting sensitivity was extremely good-as was its capture ratio, a characteristic that should make the tuner section especially effective in crowded signal areas and in the presence of multipath reflections. Channel separation was excellent as well, though Idid notice a 0.75 -dB imbalance between left and right outputs in the mono mode. This may be a function of my particular sample, and of course, it can be corrected by offsetting the balance control slightly. The Pioneer's price of $1,140 fallsin the middle of this test SONY k

ACOUSTIC -T. TC-14R99ES

0 0 In = such traditional surround parameters as ef- O fects level, reverberation time, rear -channel levels, and center -channel level. Add to that 0 0 G the presence of a three -band parametric equalizer, and it becomes clear that the STR- GX99ES lets you customize your listening preferences to a greater degree than any of the other models evaluated. Of course, with such versatility comes a A clever arrangement of pushbuttons mini- certain amount of complexity. To make oper- mizes the clutter that might have resulted ifation easier, the status of all the main, DSP, all switching functions were operated by in- and surround functions and sub -parameters dividual rotary or pushbutton controls.In- mentioned above can be displayed on the stead, a single pair of "up" and "down" but-screen of a TV set-right down to the posi- tons operates such functions as bass andtion of the listener's seat in the simulated

BOW 9111-6999ES Uv RE:FIVER treble, balance, center- and rear -channel concert hall. A host of other on -screen

AUDIO OUTPUT Po levels, and even rear -channel time delay.graphics makes the detailed DSP adjust- Secondary buttons select which function the ments completely clear to the novice user. 20 up/down buttons perform. The surround sound and Dolby Surround

40 Detailed instructions are a bit sparse in the reproduction were superb, especially when I Sansui owner's manual, but there's enough took the trouble to customize all the adjust- STEREO NOISE 60 information to enable a relatively inexperi- able parameters and sub -parameters of this enced user to hook up the unit properly and remarkable receiver. Despite the number of 80 NOISE to take advantage of its versatility. At its sug- features and controls that contribute to the gested price of $769.95, the Sansui is the Sony's versatility,I found I was able to use all 0 20 40 60 80 least expensive receiver I tested. As such, it of them after about an hour or so of experi- FM quieting characteristics, represents a bargain for those who cannot menting with the front panel and the remote Sony STR-GX99ES. afford or don't want all the frills (such as DSP control. and digital Dolby decoding) found in the As for FM tuner performance, mono 50 -dB more expensive units. quieting sensitivity was narrowly better than that of all the other receivers, beating out the SONY STR-GX99ES nearest competitors by a fraction of a dBf. Sony has borrowed much of the technol- Frequency response of the STR-GX99ES ogy of their successful digital preamp of two was down by nearly 3 dB at 15 kHz, how- years ago, the TA-E1000ESD, in configuring ever, and distortion was somewhat higher

this top -of -the -line A/V receiver. The unit than I would have expected from such an even borrows the TA-E1000ESD's digital otherwise superb receiver. compander, to compress CD signals for The amplifier channels (main, center, and dubbing to cassette or for background lis- surround) all performed well, exceeding tening, and to expand the dynamics of older published power and distortion specifica- recordings. The number of adjustable pa- tions by a relatively wide margin. Like most rameters in Dolby Surround and in the nine of the receivers in this group,it had only additional surround modes is truly awesome. three video inputs, including the front -panel

The receiver's programmable remote control input usually used for camcorders. I think can set such parameters of the digitally sim- that more would have been desirable. Many ulated listening environment as room size, people's home theater installations include wall material, and seat position as well as at least two VCRs (for editing and dubbing) as well as a LaserDisc player, so at least one more set of video input/output jacks would have been useful.It would also have been nice if Sony had incorporated S -video con- In terms of price, Sony's STR-GX99ES nectors for the video inputs and outputs, as the makers of most of the competing receivers did. Still, the magnificent ergonomics, the on- landed about in the middle of this screen displays that make adjustments easy to perform, the universal remote control, and the number of possible adjustments with group; in terms of surround features, DSP circuitry far outweigh the minor omis- sions cited.In terms of price, the STIR- GX99ES, at $1,000, lands about in the middle of the receivers tested. In terms of sur- it surpassed them all. 4( round features, it surpasses all of them.

52 AUDIO/DECEMBER 1992 FM TUNER SECTION

Measurement Denon JVC Kenwood Onkyo Pioneer Sansui Sony 50 -dB Quieting, dBf Mono 20 23 14 16 13 13 12.5 Stereo 27 46 35 39 35 35 34 S/N at 65 dBf, dB Mono 74 75 77 79 73 76 78 Stereo 68 66 73 75 71 71 74 THD at 1 kHz, % Mono 0.098 0.09 0.059 0.035 0.11 0.16 0.25 Stereo 0.072 0.16 0.18 0.065 0.10 0.36 0.21 Frequency Response from 30 Hz to 15 kHz, dB +1,-0.3 +0.4.- 1.4 +0,-3.3 +0,-0.2 +0,-0.9 +0.2,-1.5 +0.4,-2.9 Alternate -Channel Selectivity, dB 65 65 55 55 65 70 60 Separation at 1 kHz, dB 53 35 45 62 56 54 35 Capture Ratio, dB 2.0 1.5 2.0 1.5 1.2 1.5 1.2 Number of Presets 16 40 30 40 30 30 30 Tuner Rating (0-10) 8.5 8.0 9.5 9.8 9.5 9.5 9.0

AMPLIFIER SECTION

Manufacturer's Spec Denon JVC Kenwood Onkyo Pioneer Sansui Sony Rated 8 -Ohm Power, Watts Front Channels 110 1201/701 1301/752 1103 125 100 1201/75 Rear Channels 35 30 20 30 45 30 30 Center Channel 110 70 75 110 55 40 75 Rated THD, % Front Channels 0.03 0.007 0.031/0.92 0.04 0.005 0.02 0.04 Rear Channels 0.05 0.7 0.9 0.08 0.05 0.03 0.8 Center Channel 0.03 0.7 0.9 0.08 0.005 0.03 0.8 Measurements S/N, Line Inputs, dB Re: Rated Output 98 100 103 100 98 96 99 Re: 1 -Watt Output, 500 -mV Input 83 77.3 80 85 82 76 75 High -Frequency Limit ( -3 dB) for Front Channels, kHz 210 72 29 55 125 43 23 Amplifier Rating (0-10) 9.5 9.0 8.0 9.0 9.5 9.0 9.0

Notes 'Stereo mode. 2Surround mode. 3Front enhancement speakers (see text), 30 watts per channel at 0.08% THD.

VIDEO SECTION

Feature Denon JVC Kenwood Onkyo Pioneer Sansui Sony Number of Video Inputs 5 3 3 6 6 3 3 Number of S -Video Inputs 5 3 2 6 4 3 0 Number of Video Outputs 3 3 2 3 5 3 2 Number of S -Video Outputs 3 3 2 3 3 3 0 Number of VCR In/Out Loops 2 2 2 3 2 2 1 Front -Panel Video Input Yes No Yes Yes Yes No Yes On -Screen Display Yes Yes No Yes Yes No Yes Simulcast Ability Yes Yes Yes Yes Yes No Yes Video Rating (0-10) 9.8 9.0 8.5 9.8 9.8 8.5 8.5 CONVENIENCE FEATURES

Denon JVC Kenwood Onkyo Pioneer Sansui Sony Remote -Control Rating (0-10) 10 10 9.0 9.5 9.5 9.0 9.8 Learning Remote Yes Yes Yes Yes Yes Yes Yes Number of Surround Modes 10 9 8 8 7 6 9 Dolby Pro -Logic Yes Yes Yes Yes Yes Yes Yes Input Level Adjustment Yes Auto No No Yes No Yes Subwoofer Line Output Yes Yes No Yes Yes Yes Yes Display Rating (0-10) 9.5 8.0 9.0 9.0 9.5 9.0 9.8 Number of A.C. Outlets 3 2 3 3 3 2 2 Control Ergonomics (0-10) 7.0 6.5 8.5 9.5 9.0 9.5 9.5 Overall Feature Rating (0-10) 9.5 9.0 8.5 9.8 9.5 8.5 9.8 Price $1,300 $1,500 $979 $1,795 $1,140 $770 $1,000 Overall Receiver Rating 9.0 8.0 8.8 9.5 9.0 9.0 9.5

WINNERS AND RUNNERS-UP all rating for both the Onkyo and Sony re- Let me say right off, there are no losers ceivers is an outstanding 9.5, on a scale of 0 here. All of these receivers have a lot to offerto 10. (Nothing is perfect!) Close behind those novices about to enter the world of were the receivers offered by Denon, Pio- home theater as well as those trading up neer, and Sansui. While the Sansui lacks from more basic AN systems. The rankings some of the features and enhancements of shown in the accompanying Tables reflect the other two receivers that earned 9.0 rat- my personal preferences as well as my lab ings, its "bargain" price of $769.95 (lowest of measurements. Readers with different pref- all the receivers tested) earns it extra points erences can use the data in the Tables to as- in the overall rating. The Kenwood earned an sign their own ratings. overall rating of 8.8, trailing behind the run- After considering all factors (tuner perfor- ners-up by a very small amount largely be-

mance, amplifier performance, video perfor- cause I found its controls rather complex

mance, convenience features, and price), I and difficult to use and because of the high- find two receivers tie for first -place honors: er than expected distortion spec of its impor- The Onkyo TX-SV909PRO (with superb tuner tant center -channel amplifier. With the fea- performance, powerful center -channel and tures the JVC offers, and with its ratings for front -channel amplifiers, plus those extraamplifier, video, and convenience right up front -enhancement amplification channels) there (at 9.0) with some of the higher ranked and the Sony STR-GX99ES (with superb sur- models, only its high price and less than round capabilities, helpful on -screen graph-stellar FM tuner sensitivity prompted me to ics, and an almost infinite number of DSP pa-assign it an overall rating of 8.0. rameter adjustments). Had the Sony offered slightly better FM frequency response, more video inputs, and some S -video inputs and COMPANY ADDRESSES outputs, it would have been the outright winner in this contest. Had the price of the On- Denon, 222 New Rd., Parsippany, N.J. kyo been as low as that of the Sony model, it 07054. For literature on Model AVR- would have beaten the Sony by some tenths 3000, circle No. 100. of a rating point. As matters stand, my over- JVC, 41 Slater Dr., Elmwood Park, N.J. 07407. For literature on Model RX- 1050VTN, circle No. 101. Kenwood, P.O. Box 22745, Long Beach, Cal. 90801. For literature on Model KR - V9030, circle No. 102. Whether for afirst home theater or Onkyo, 200 Williams Dr., Ramsey, N.J. 07446. For literature on Model TX- SV909PRO, circle No. 103. Pioneer, P.O. Box 1540, Long Beach, Cal. a trade -up from there,allof these 90301. For literature on Model VSX- D901S, circle No. 104. Sansui, P.O. Box 1909, Edison, N.J. 08819. receivers have alot to offer; there For literature on Model RZ-9500AV, circle No. 105. Sony ES, Sony Dr., Park Ridge, N.J. 07656. ryr, For literature on Model STR-GX99ES, are no losers here. circle No. 106.

54 AUDIO/DECEMBER 1992 Columbia House.The face of jazz. This is the place where the biggestnames in jazz come together. From the soaring classics of John Coltrane to the virtuoso stylings of Chick Corea, only Columbia House has the expertise and heritage to bring you face to face with today's greatest artists. Look to Columbia House -where the jazz is.

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tnat I will address in this discussion. the MiniDisc, however, the amount of The MiniDisc has been pos.tioned asdata read in subsequent intervals is a record/playback format especiallyincreased to make up for the data lost suited fo- portable applications, Walk-while the pickup was incorrectly posi- man -type miniature players and mobile tioned. Once the buffer memory's con- or car audio systems. The biggest.tents are replenished, the pickup re- problem in using optical discs, such assumes rearing the signals at regular CDs, in portable applications has been intervals. skipping or mistracking caused by shocK or vibration. This difficulty has Types of MiniDisc been virtually eliminated in the Mini - Two types of discs have been devel- Disc system thanks to the use of aoper for the MiriDisc system. De- memory chip. The memory acts as asigned specifically for prerecorded buffer, holding digital data equivalentmusic from record companies, play- to approximately 10 seconds of play. -back -only MiniDiscs are similar to CDs LEONARDFELDMAN

AUDIO DECEME ER 1992 57 MiniDisc, unlike earlier magneto -optical recording systems, can record new data over old in one pass. in many ways. The lead-in area is onence. Since a magnetic recordinc the inner circumference of the disc.head and a laser are used on opposite This is followed by the program area,sides of the disc (more on this shortly) Fig. 1-The pre -grooves molded while the lead -out area is on the outerthe shutter must open on both sides of into recorcEble MiniDiscs for circumference of the disc. Informationthe caddy (Fig.3). The recordable tracking control have a wobble; is recorded as pits in the disc's sub-MiniDisc's unique layerstructure, see text. strate in much the same way as withalong with the pre -groove configura- full-size CDs. The discs can betion,isrepresented conceptuallyit stamped out and mass-produced withFig. 4. This MO layer construction has an injection molding machine. The en-been engineered to enable Magnetic tire front of the caddy that protects andField Modulation overwriting. Accord- Lead -out area holds the prerecorded disc can being to Sony, it has already been proven UTOC area used for graphics, since the protectiveboth to handle more than one million Lead-in area -7 shutter on this caddy opens only onoverrecordings without degradatior the back side. and to provide excellent long-term One of the most important featuresstorage characteristics.It seems un- Recordable are of the MiniDisc is complete random-likely that anyone would erase and re- access capability. That's not surprisingcord a MiniDisc so many times! Music Data on playback -only MiniDiscs; they are recorded like CDs-complete with dig- Principles of MO Recording -Cross section of ital addresses for each selection or Magneto -optical discs can be rere- a recordab'e MiniDisc. track-for quick and easy access tocorded countless times. As the name any point on the disc. On the otherimplies,the recording system uses hand, random access is harder toboth optical and magnetic technology. Plastic cartridge achieve on discs whose final recordedThe recordable layer in an MO disc is sequence is unknown at the time ofmade of a magnetic material. A laser manufacture and, indeed, can bebeam heats a tiny area of the record- changed many times. Thus, the re-able layer toitsCurie temperature Shutter opening cordable discs must be pre -grooved,(typically, about 400° F), which demag- Recordable MO disc for tracking and spindle -servo controlnetizes it.If a magnetic field is applied in recording and playback. Sony'sto that spot as it begins to cool, the Clamping plate technique was to give these pre- spot will acquire a north or a south grooves a wobble, a slightshiftin magnetic polarity, corresponding to a Shutter opening groove position that creates subtle ad-digital zero or one. dress marks at 13.3 -millisecond inter- On conventional MO discs Used for vals (Fig. 1). computer data storage, all previously Shutter Sony has devoted part of the record-recorded signals must be erased be- able disc's inner circumference to afore new data can be recorded. Previ- user table of contents (UTOC) areaous systems have used one of two whose data structure is more like thatmethods to accomplish this: Either two Fig. 3-Exploded view of a of a computer floppy disk than a nor-lasers are used, one for erasing and recordable MiniDisc and caddy; mal CD. This allows the track numbersone for recording (much like a tape note that the sliding shutter and addresses to be edited in secondsrecorder with separate erase and re- uncovers w ndows on both sides (far more quickly than in systems likecording heads), or a single laser is of the disc. DAT, where the track numbers are writ-used, with old data erased in the first ten at the points where each selectionrotation and new data recorded during actually begins).It also speeds anda second rotation. simplifies automatic renumbering. For Unlike these conventional approach- example, if you edit out track 3, trackses, the MiniDisc Magnetic Field Modu- rotective layer 4 and 5 will be renumbered 3 and 4; if Reflective layer-' lation overwrite system writes new sig- Dielectric layer 17`... you combine tracks 4 and 5, track 6nals over old ones. This system uses a MO layey will then be designated track 5. magnetic head on one side of the disc Dielectric layer Recordable MiniDiscs, unlike theand a laser beam on the other side in Folycarbonate suts...rate1.1 micron 05 micron prerecorded type, employ magneto -the same corresponding position (Fig. / optical (MO) technology. As shown in5). With the disc situated between the Fig. 2, the lead-in area is on the innermagnetic head and the laser, the laser Fig. 4-Layered construction circumference of the disc, followed inbrings the spot beneath it up to the of the recordable MiniDisc. this case by the user table of contentsCurie point, which dissipates its previ- area, the program area, and the disc'sous magnetic orientation. As this spot lead -out area on the outer circumfer-on the disc moves away from the laser,

58 AUDIO/DECEMBER 1992 Recording head Wring Signal

0 1 0 1 0

Disc rotation New Old 0, Recordable MiniDisc

Cross-sectional view itcools to a temperature below the Q4AQ o Curie point and a new magnetic orien- Objective lens tation corresponding to the input signal is created by the magnetic head.

The Dual -Function Optical Pickup The playback -only MiniDiscisre- Fig. 5-Magnetic corded and read in much the same Field Modulation Laser way as a CD. Its data stream is repre- overwrite system. sented by pits molded into its base layer and coated with a reflective layer. A 0.5-mW laser beam directed at thesystems now in use, including the 3/4 - pits is reflected back when itstrikesinch U-Matic cassette media used for 0 1 the smooth surface between pits. Butmastering, can also be used in Mini - where it strikes a pit, the light is dif-Disc production.

fracted, reducing the amount of light From what I was able to observe reflected back. A pair of photodetec-during my short visit, Sony has ex- tors reads theselightfluctuations,plored all aspects of this new technol- which are then decoded into the binaryogy (work began on the MiniDisc con- "0" and "1" signals, as shown in Fig. 6. cept back in 1986). At Sendai, about High intensity Low intensity Recordable discs are different. The180 miles north of Tokyo, there was data is represented by differences ineven a production line turning out Fig. 6-In prerecorded MiniDiscs, the polarization of the reflected light,blank recordable MiniDiscs, with much as in CDs, digital signals are not by differences initsintensity. Aof that production line already fully represented by pits and lands that phenomenon known as the Kerr effectautomated. cause variations in reflected light rotates the plane of polarization slightly How successful the MiniDisc format intensity. forward or back, depending on the po-will be remains to be determined. Itis larity of the magneto -optical recordedto Sony's credit that they are not claim- signal (Fig. 7). A polarizing beam split -ing "CD -quality sound" for this new ter varies the distribution ratio of theproduct. Rather, they are saying that reflected light according to the direc-under the conditions in which MiniDisc tion of polarization: A photodetector on is likely to be used, listeners will be one side of the beam splitter will re-hard-pressed to tell the difference be- Polarization ceive a larger share of light reflected intween CD sound and MiniDisc sound. axis the forward direction, while a detector Many of us attending the technical Magnetic Magnetic on another side receives a larger sharesessions atSonyheadquarters direction S drection N of light polarized the opposite way. Thebrought along some of our favorite differences between the electrical out-CDs for auditioning. The digital output Fig. 7-In recordable MiriDiscs, puts of the two photodiodes are used from a CD player was alternately heard digital signals are represented to re-create the binary zeros and ones.after normal D/A conversion and after by magnetic poles that rotate The fact that light reflected from thebeing passed through a MiniDisc-for- the polarization of the reflected disc changes its polarity according tomat A/D converter (which compressed laser beam. magnetic orientation is fundamental tothe digital data as it would be com- the MiniDisc's recording system. pressed in a MiniDisc) and D/A con- Sony recognizes that success itverter. For some of the music, most of marketing the new format will requireus could not detect significant differ- the simultaneous release of MiniDiscences in sound quality. With other re- software by record companies alongcordings, most of us could detect a with the introduction of MiniDisc hard -difference, but not a difference that (1, ware. Like CDs, playback -only Mini could be said to have seriously de- 6- Discs carry subcode data as well asgraded the musical quality. -1 audio data, which simplifies produc- Allof us attending the sessions tion from master tapes made for CD.were, I believe, impressed with the so- (The MiniDisc does, however, have ad-phisticated technology involved in the ditional subcode sectors that can becreation of this new optical disc format. used for such information as lyrics or I'llhave to reserve judgment about 2- explanatory text.) MiniDisc also usesMiniDisc's ultimate sound quality for a o) the same basic pressing system aslater date, when I get my hands on a rCD. Therefore, a significant advantageMiniDisc recorder/player for more de- ra_ of the MiniDisc is that CD masteringfinitive listening tests.

AUDIO/DECEMBER 1992 59 THE AUDIO INTERVIEW PETER ASHER Tales of Peter and Gordon... D F 0 \ Walk into Peter Asher's bungalow on the edge of Beverly Hills, and. you may and fames, wonder if he found his interior decorator at the Recording Industry Association of America. The walls are covered from floor linda, to ceiling with framed gold and platinum albums awarded to Asher for his production and management work with clients 4 Beatles, such as James Taylor, Linda Ronstadt, Cher, Diana Ross, and 10,000 Maniacs. I'll bet somewhere in that collection are the and 10,000 ones he garnered in the mid -'60s, with Gordon Waller, as half of the classic British Invasion act Peter and Gordon. Their maniacs smash hit "A World Without Love" was a Paul McCartney castoff and just one aspect of Asher's close relationship with McCart- ney. The Beatle also dated Asher's sister Jane, and lived in Asher's parents' house. When Apple Records was formed, Asher became its head of A&R. While there, he signed and produced James Taylor, and went on to manage him when they both left Apple. So began the career of one of the most well - respected and powerful producers and man- agers of the last two decades. T.F.

Do you remember the Peter and Gordon course. We had been to America a lot good record man-to actually run the years fondly? of times and had lots of fun. Nothing company. I was sort of second -in -com- Oh, yes! Not all of them, but overall it was better than being in Los Angeles mand to Ron, who was actually the was very exciting.I had never been to in the '60s and being an English rock boss, who was,inturn, second -in -

America before, and I always wanted 'n' roll star, having girls scream at you command to whatever quorum of Bea- to come.I was a big folk fan-Woody and stuff.I had just started producing tles happened to be in the building

Guthrie, Sonny Terry and Brownie records. The first record I ever pro - that day. McGhee. I was a jazz fan too. Aside from the lofty philosophical Everybody I ever wanted to l' '1' ER AN 1)(; 0 R 1) 0 N purpose of Apple to be there for hear was always playingin people with different ideas, did New York; even the names of they really attempt to do A&R? the jazz clubs were legend- Yes, they did. We had A&R ary. Then I became a rock 'n' meetings pretty much every roll fan partly through my week that some Beatles friendship with Gordon, who would attend and which I introduced me to Buddy Holly would sort of chair. Rarely and The Everly Brothers. I would they allturn up, but was 18 or 19, and what we sometimes. And they all had went through,in retrospect, quite different interests. John was something out of a mov- wasn't interested in much ex- ie. We were working around cept his Plastic Ono Band town a lot, just the two of us, stuff or whatever he was up for our own entertainment and to. [Road Manager] Mal Ev- some money. We were play- ans was the big supporter of ingin a club, and an A&R The lvys, who George also0 man in a shiny suit came over kind of liked. George had his Q) and said, "You boys should Jackie Lomax project. PaulC) make a record. Do you want was doing whatever he was0) to audition? I'm with EMI Rec- into at that time. For example,0) ords." That was Norman he saw Mary Hopkin on Op- Newell, a very nice man. We portunity Knocks, a talent auditioned, and they gave us show, and the next day said,co the record contract. "Go and sign that girl." So off we all

Soon enough, you had a huge hit with "A went to sign her. In addition, I had a World Without Love." THE ABBEY ROAD ENGINEERS number of people working for me, lis- I was very excited when we had a hit. THOUGHT THEY WERE tening to all the tapes that came in, We were choosing the songs for our RECORDING PROPERLY, which were really huge in number. first session, and I had recently met They would play me anything they Paul McCartney and heard this half - BUT "PROPERLY" BEGAN TO thought was any good. Anything I written song that he had. The Beatles thought was any good I would bring up had decided not to do it.I said to him,SOUND DULL AFTER A WHILE. at the A&R meetings. But tragically, "If you finish it, we would love to do it. out of all the stuff that came in, nothing Because we're cutting three songs for duced was Paul Jones, the singer in was really good. The good things we our first record." So he finished it, and Manfred Mann, a wonderful singer. did sign came from, for example, Paul we cut it. That was our first record, and The first track I did was a Bee Gees seeing Mary Hopkin on a TV show, or it went straight to No.1. Now, more song, "And the Sun Will Shine," which me finding James Taylor after having than 25 years later, I realize how in- was a very minor hit in England and met him in America, or George making credibly hard and unlikely what hap- didn't do anything here. But the rhythm the Jackie Lomax record; he knew pened to us actually was. At that time I section on that was Nicky Hopkins on Jackie from before. Almost nothing was a philosophy student at London piano, Paul Samwell-Smith from The that Apple did actually came from the University. Yardbirds played bass, Jeff Beck open door policy that we maintained. Was your relationship with Paul the reason played guitar, and Paul McCartney But we did. do it; people did listen to you started working for Apple? played drums. It was a very illustrious the stuff that came in. Yes. We became friends. He was living rhythm section. Paul had seen me pro- When you were in Peter and Gordon, did

in my parents' house for a couple ofduce other stuff, and he askedif I you start totake a keen interest inthe years; we had rooms next to each oth- would like to produce something for production end? er and spent a lot of time together. He Apple. As the thing started to get a Yes.I found the studio fascinating and was also going out with my sister. We structure, he said, "Listen, why don't enjoyed the production of the records remained friends through thick and you be head of A&R and help us start very much. It's funny-I saw these old thin. So when he had the whole idea of the label, kind of run the label." pictures that Michael Ochs had [of Pe- Apple, we sat up together many eve- The Beatles seemed to be looking for people ter and Gordon behind a console at nings when he was talking about his very specifically not in shiny suits to work at Abbey Road studios]. The funny part is plan. He asked ifI would like to work Apple. that even at this early stage, that's for the company. This was pretty much Yes. But they had Ron Kass-who was where I am, and that's were Gordon is. after Peter and Gordon had runits a shiny suit, but a very nice man and a I found that area of things interesting,

62 AUDIO/DECEMBER 1992 and not just technically.I would always We would bring in a Motown record bills. So suddenly you were aware of a stick around for the mix at a time when and say, "Listen to this! There is way whole new flexibility of what you would nobody did-when you were not sup- more bass!" And they would say, "No! do in the studio. posed to. That console is probably The groove is not symmetrical, and it's Let's talk about James Taylor.

worth a fortune today, because all that all distorted, and it's technically hope- I brought him to Apple. We met stuff sounded great! Half -inch four- less." "Yeah, but it sounds great!" through a mutual friend, Danny Kortch- track-fabulous machine. Was it that they just didn't have any under- mar. Danny had been in a band that Did it bother you when you gave up your standing of rock 'n' roll? backed Peter and Gordon on a couple singing career? They just thought they knew how to of tours, The King Bees, and he and I

I never wanted to be a lead singer record things properly, and they did. had become great friends. I used to anyway. I always enjoyed being a har- But "properly" started to sound pretty stay with him and his then wife when I

mony singer and still do. Istill sing har- dull after a while. Then, after that we'd came to Los Angeles. I greatly ad- mony on some of the thingsI produce want to do things that were really cra- mired Danny's playing, as Istill do. He

or on stage sometimes for fun. But I zy. "What happens if you overload the has also now turned into a great rec- have never been anything resembling tape amazingly?" Sometimes it sound- ord producer. After The King Bees he a lead singer. Gordon wanted to make ed terrific. They would never ever think was in a band called The Flying Ma- his own records anyway, and we were of trying anything like thatl And the chine with his oldest friend, James having less fun doing it. We were not mix -down process, or reduction as it Taylor. They had been together since getting on that well. We were still was called, was very formal. When you they were 14. The first professional en- friends, but time moves faster when were ready to mix, these men in white gagement that James ever did was you are that young, and it had been coats-literally-came in and set up with Danny-Jamie and Kootch. Flying some four 'years. this equipment. They'd set up a com- Machine broke up due to commercial What studios were you working in then withpressor at a certain fixed setting on failure, and James decided to go to

the Apple signees, or before that with Peter your mix, and you just did it that way. London to seek his fortune. I had ap- and Gordon? You had very few options.I mean, you parently met James at a Flying Ma- Peter and Gordon was recorded en- could turn the voice up or down, but chirre rehearsal some time before. tirely at Abbey Road, or EMI Studios as there were very few options. On the Kootch gave James my telephone

it was called then. I don't think it was other hand, the old tube equipment number and said, "This is my friend in even called Abbey Road yet. James sounded wonderful. All the micro- London. Give him a call and play him

Taylor Idid at Trident. Trident was the phones we used are the microphones your tape." So he did. I loved it and first eight -track studio that any of us that everyone stillkills for- I had worked in. I recommended it to Neumann U -67s and 47s, the ASHER AND TAYLOR Paul, and that's when The Beatles best mikes in the world, still. moved over there and did Hey Jude. The sounds of those records Up to then they had done everything at are unbeatable to this day! Abbey Road, Ithink. The trouble was, they knew Tell me what Abbey Road was like then, what they were doing and technically. wouldn't do anything else! Everything was their own stuff. They How long would it take you to made almost everything. The tape ma- make a Peter and Gordon recard chines, except for the Studer four - in those days? track. But the two -track machines and You would usually get a cou-

a lot of the equipment was EMI -made. ple of songs in a day, I sup- Itall looked like a battleship.It was pose. And mixing would take big, gray, with big black knobs and anhour,because there sounded good. The problem was not wasn't much to do. with the facility but the way the equip- How was Trident different? ment was used.It was very acutely Itwas a combinationof prescribed by manuals, andit was things.It was multi -track re- only to be used in that way. And if you cording, which we didn't asked what would happenifyou have-we had four tracks. (ID° turned the knobs all the wrong way, EMI actually had an eight - you'd be toldit was not a possibility. track and a 16 -track for ages, nNo. This machine is used this way! but they would not let anyone g For this purpose! And if you're going to use them until they modified compress it, you do itthis way and them to suit their specific standards. only this much." What The Beatles did They were like the BBC; everything

later, I suppose around Sgt. Pepper had to match some very specific tech- I HAVE BEEN ACCUSED OF time, was they won the right to turn all nical standards. Whereas the otherMAKING RECORDS THAT ARE the knobs the wrong way and see what places would buy a machine and get it the hell would happen. We would say, out of the box and use it straightaway.TOO PERFECT, BUT NOBODY "We want more bass." And they would Trident was a much looser organiza- DELIBERATELY TRIES TO say, "No, you cannot have more bass. tion.It was run by the Sheffield broth- This is the most bass that is technically ers, and they did not care what you did MAKE THINGS SLOPPY. possible." And we would say, "No!" so long as you booked in and paid the

AUDIO/DECEMBER 1992 63 THE AUDIO INTERVIEW

said, "I just started working for Apple song with different instrumentation and You would be told everything was fine, Records and would like to sign you to put thislittlelink between the songs and you would go off on the tour and Apple and produce a record with you." and stuff.It did set James apart a bit get there and find everything is weird So we did. And James has talked from just a folk singer who had one and screwed up, not what it was sup-

about how unusual it was to come to acoustic song after another. posed to be. I hated that more than England and the first two weeks you Why do you think it didn't do so well at anything. were there, to be suddenly sitting first? My main conviction was to really down with The Beatles talking about It ran really contrary to the kind of mu- keep things together and make sure your record deal.It was stunning for sic which was successful at the time. It the artist knew what was going on and

him. At any rate, that's how it all came was a surprising sort of a record. We to tell him the truth. So James and I

about. I took him straight into Apple were looking to America, and we saw decided to enter into a management the next day and said, "This guy is people like Joni Mitchell and Eric An- relationship, again with a confidence I really great. Listen to his tape; I want to dersen starting to get noticed, and it am not sureI would feel today.I was sign him." Paul was actively enthusias- occurred to me there was hope that plunging into a business Ididn't know tic, John was kind of okay about it, people in America would appreciate too much about. And James, with the George I think liked it-I can't remem- James for the genius that I thought he same kind of confidence, said, "Fine,

ber-and Ringo I'm not sure heard it at was. I didn't have a whole lot of hope you do it." He was still a bit crazed at that stage. But they all acquiesced, for England, butI was hoping for the the time. When he came back to Amer- and we went ahead and signed. best. ica, he actually went into this mental Was there ever any question about who Did the lack of its success have anything to hospital place he had been in before, would produce? do with your leaving Apple? because he was going through drug

No. I really wanted to.I had started to No. That wasn't the issue. We left Ap- hell.I came to L.A. We made a man- produce records and was very keen to ple because Apple was getting pretty agement contract. James had a lawyer do it.I loved the songs. So, with youth- weird! And because Allen Klein had who knew nothing about the music

ful self-confidence, I just said that I come into the picture-who I didn't like business, who I guess represented the

would do the record. In retrospect I and knew a lot of by reputation, true or Taylor family in some context.I went to think we may have overproduced it a false, in New York.I am not slandering Nat Weiss, who was a great friend of

bit, but I was so anxious to make peo- the man, but I heard from friends in mine and stillis, a brilliant lawyer in ple listen to it, for the songs to stand New York that he was someone to stay New York who I met because he was out. That is why we arranged each clear of. representing Brian Epstein and The He came into Apple and fired, Beatles at that time. They made a deal. 1 NI 1. ti () basically, everybody! We entered into a four-year contract Yeah, he fired a lot of people. that ran out 18 years ago. That is the James met with Allen himself, only management contract I have ever

and subjectively agreed with signed in my whole life; I have never my estimation about whether had a management contract with any- we wanted to do business body since then. And that one was with this man, and so we left. actually at his lawyer's request. In fact, When did thisrelationship be- when James and I passed our 20th an- come a "we," with you as man- niversary a couple of years ago, I sent agement? him a copy of the original contract out

It had become a "we" from of curiosity. And I sent him a gold the moment I took James into watch on the understanding that he the company. So from then on clearly understood that it didn't mean

within the company, I was he was retiring!It just meant that was clearly his man and was act- the first 20 years.

ingin a sort of managerial So you and James came to America.... way-in the way that record Actually, when I first came to America I company people do now.If was working for MGM Records. That this is the guy you sign, you was an interlude. Ron Kass was fired

nag everyone to make sure shortly after I left Apple, and he then he is being treated right. went on to run MGM Records in New When we left Apple,it was York. He asked ifI would be head of i. clear that someone had to A&R for MGM. Isaid, "Certainly"-as talkabout management. long as they would pay all of my ex- Really by default, we didn't know whopenses getting over to America, be- should really manage him. What I cause Ididn't have any money. None FROM THE MOMENT I TOOK knew about management was learned of us had any money at that time. So JAMES TAYLOR INTO APPLE, by the things that had been done in- Ron said okay. I got tickets on the boat correctly on our behalf as Peter and and everything for myself and my wife, I WAS CLEARLY HIS MAN ANDGordon-mostly just in the matter ofand we took our furniture and cats to WAS ACTING IN A SORT OF general principle that things were nev- move to New York and then to L.A. er organized, and we were never told Shortly afterI had done that, Kirk Ker- MANAGERIAL WAY. exactly the truth about what was hap- korian bought MGM, fired Ron, and pening. Not exactly lying, but sort of. brought in Mike Curb, who then fired 64 AUDIO/DECEMBER 1992 everyone including me.I've actually Was that an all -in deal? Did all the record- call it?" And Isaid, "Suite for 20 G," hardly ever met Mike Curb since then. ing costs come out of this money? because we were desperate for the

I don't think he knows that he fired me That was an all -in deal, yes. When we money. Since then, people have as- 20 years ago. But he did-in a blanket did the record, we chose the band we cribed all kinds of metaphysical and firing, which is okay. By that time I had liked; we had Carole King playing pi- artistic interpretations to the title.Its made it out to L.A. and had rented a ano-who we loved desperately.I was meaning is entirely materialistic. house for $400 a month. I went to have looking for a drummer when I got here How involved was Carole King in your ver- lunch with Joe Smith. He sion of her song "You've Got a wanted to make a deal for I. I N DA R 0 N SI A DT Friend"? James, whose contractual Not at all. Hers was an act of status was a little unclear. He supreme generosity in giving had a contract with Apple that James thesong. James was a bit woolly, and the sta- heard her singit,perhaps tus of Apple as a whole was when she opened for him at pretty woolly. Allen Klein was the Troubadour. He told her, threatening to sue everybody "That is a really beautiful but never did. He talked song," and she said, "So why about suing a lot. He did an don't you do it? You'd sing it interview in Playboy and said great." She wasn't there when that he had sued James and we cut it, because I remem- me for $10 million each. But ber when she came in to hear nothing ever happened. Joe itafter we finishedit.She Smith believed in James. He loved it. She cried when she indemnified us against the heard it! James was extreme- terrifying lawsuits-otherwise ly grateful, and is very grate- we could not have made a ful to this day to Carole for deal. giving him the song. Where did you do the first album How do you feel today about how in the U.S.? things have evolved? Now, work- Sunset Sound. With an engi- ing with 48 tracks,digital or neer named Bill Lazarus, who whatever, there seems to be such was very good. The tom-tom pressure to be technically perfect. fills on Fire and Rain are still a classic You always try to get it perfect.I think piece of recording that he did. He MANAGING AND PRODUCING our standards have changed. I have completely did that. been accused of making records that Working with James at this time must have AT THE SAME TIME are too perfect. Even going back to been difficult because of the drug problems. ELIMINATES CONFLICTS; THE Linda Ronstadt's old hits, some people Was this sort of a baptism by fire.? said they were too precise. But you

Well,in the beginning I didn't know MANAGER AND PRODUCER know, nobody deliberately tries to much about drugs beyond smoking DON'T ARGUE MUCH. make things sloppy; you try to get dope, which everyone did.I was pretty them good. I am sure James' One Man naive about the whole thing. Yeah, he Dog might sound kind of sloppy now. spent a lot of time in the bathroom, but and found Russ Kunkel. He had done We recordeditat home, we were he was okay. James is a very thought- sessions as a band member, he was in smoking a lot of dope, we were not ful, intelligent person, and obviously all a band with David Crosby, but he had taking life terribly seriously .... But at junkies do share certain characteris- never played on other people's rec- the same time we were trying. We tics: They will lie, cheat, and steal. But ords. I loved his style. We had a cou- loved the songs, and we wanted them somehow he remained a nice bloke ple of different bass players, including to come out right. through all of that. We certainly had Randy Meisner. What we would do is Today, would you even contemplate the idea some difficult moments when he was get together at my house in the after- of not going into a top-flight studio to do a on and off the wagon, and there were noon-I had no furniture init, which record with a star like James? various bits of hell going on. But I sup- made it ideal for rehearsal-learn three I would contemplate the idea, yes, if I pose in retrospect it was sort of a bap- songs, and go into the stud o that night thought we would get a better record tism by fire. He was in the fire a lot and do them. The album actually cost that way. If I thought we would get a more intensely thanI was, so Imostly $8,000 because we did it in five days better mood or something, yes, I prob- felt sorry for him getting burned rather or something. ably would take a lot more stuff in. I than worrying about myself. Were the songs written? would go to greater lengths to make it What kind of preproduction would you do? Songs were mostly written. Oddly sound perfect, because the standard For Sweet Baby James we did a lot of enough, at the end of the album weof sound has changed. preproduction. That was a cheap al- were a song short and had to finish to Why has that standard changed? Isthat bum. I found the budget the other day, get the remaining $20,000. James radio -driven? Isit consumer -driven? Isit and the deal we made with Joe Smith played me segments of three songs just peace of mind? was that we got $20,000 when we that he had not completed. I said, It's all of the above. And the sheer fact signed and $20,000 when we deliv- "Let's just string them all together."of what you can do. You can make ered the album. Which he did. He asked, "What do we things sound so amazing now with all

AUDIO/DECEMBER 1992 65 THE AUDIO INTERVIEW the equipment available. You can annoying with no light and you're do a song, we just sit around and think make everything sound so big and squished in. But the first thingI worry about a great arrangement that would present and perfect, and you can about is how the music is going to be somewhat different-not different move things around. What you can do sound in the room. It makes a lot of for its own sake but just a different way now with computers . . . . Now you can difference. of approaching the song based put the vocal in a computer and play So the performance would be the key thing? around the way she sings it. with it forever. You can take little words Absolutely! Well, of course, after the Have you ever gone through a process with of the vocal and move them around, songs. The songs would be the key, her of trying a cover and saying it wasn't and tune them up, and spin them in. I key thing before you even get in there. working? do it all the time; it's great. There used If you have a rotten song, you're not Yes. I can't remember which ones, but to be things you'd use because there going to get anywhere. I know we have, when they just slipped was nothing [else] you could do. You That brings me to another question. Particu- away from us. couldn't fix whatever mistakes there larly with Linda Ronstadt you have done Tell me how you and Linda hooked up. were. You could keep doing more some classic cover songs: "Heat Wave," I went to see her at the Bitter End in takes, but you would choose the best "You're No Good," "When Will I Be New York. Someone said that we had one. Same with mixing. You would do Loved," "That'll Be the Day," "Blue Bay- to go down and see this girl, that she a lot of mixing, and choose the best ou," "Tumbling Dice," "Back inthe was great. I did. She was fantastic. one. Now, with automation, you don't U.S.A." What do you look for in a cover? She sang brilliantly. That was the "Sil- do that. You make the very, very, very Most of the song choices on Linda's ver Threads and Golden Needles" pe- best one of everything the way you records are Linda's. I had influence riod, and she had a couple of The want it. and made suggestions, and some of Eagles in the band. She just sounded And does it make a better record? Some peo- the ones you mentioned may have amazing; she looked amazing. She ple think it ultimately makes things sound been originally my suggestions. But was like a dream of a California girl, the same. the vast majority of Linda's song and an amazing singer. I met her after- No, I don't think it does that. I think it choices then and now are Linda's. She wards and liked her. It turned out she makes for good records. I love making has a particular genius for choosing was actually looking for management them. I still love being in the studio so songs she can really get her teeth into, at that time. The very first time we ever much, and love making records.It's in any style. I think her brilliance is that, talked about management, I couldn't some of my favorite things. I like the and the fact that she has such a spec- doit because I had just started to flexibility you have now. It's like every- tacular voice. But once we decide to manage Kate Taylor and made a rec- thing else. Is it really better to ord with her. It seemed to me fly on the Concorde than to fly there would be a conflict. At on one of those great old. that time my management op- Stratocruisers with beds in eration was just me, and I them? Idon't know! But be- didn't really think thatI could cause it's there, and you can, do both. So I declined. A year it's great. But you couldn't go or two later it came up again. back if you wanted to. Linda had a habit of having What do you look for when you sort of manager/boyfriends, check out a new studio? which didn't always work ter- The room, mostly. I really care ribly well. So when the situa- a lot about how the room tion arose again, Kate had sounds, how things sound in decided to quit-made one the room. I worry less about record and sort of quit the what's in the control room. biz. So I told Linda, yes, I Because you can get an engi- would love to manage her. At neer who knows how to use that point she was in the mid- an SSL or Neve or whatever, dle of Don't Cry Now and was you can work with pretty trying to getitfinished. I much anything. I have my stepped in as one of the sev- preferences. My favorite eral producers involved in board is the Focusrite; there that record to try and get it are only two or three around. finished, which we did. The ones that Rupert Neve Does it create problems for you made after he left Neve. when you are both managing and There is one at Conway, one at Ocean producing?

Way, one at Electric Lady in New York I thinkiteliminates more problems. that is very old. The Conway board isALL I CAN REALLY BRING TO The problem is time. The problem [for spectacular, though it's very expen- PROJECTS IS THE SAME me] is,I am very busy. I love to pro- sive. [In a studio] I like a bit of space. I CLARITY OF APPROACH AND duce records and take on more proj- don't like small control rooms with no ects than I can do. In terms of any con- windows because you feel like you are PLANNING THAT ANY MUSIC flicts, with any luck it tends to eliminate in a cell.I am not claustrophobic at all; RESPONDS TO IN A STUDIO. conflicts because at least the manager I just think if you are going to live in a and the producer don't get into argu- place for days on end, it gets kind of ments about how things should be. So 66 AUDIO/DECEMBER 1992 if Linda and I decide we want to make with him, which she doesn't usually do. Land Before Time, people had said, a certain kind of record, allI have to do But she has always been such a fan of "Don't do that." People were filled with is talk to the record company and ex- Aaron's that she did. And she loved all those stories-which may or may plain what we want to accomplish. singing with him. So when we started not be true. But I remember I was sit- Linda seems to have such a wide-ranging ca- talking about her idea for Cry Like a ting with my engineer comping the vo- reer. She's gone in so many completely dif- Rainstorm, which was basically to do cal and doing a lot of stuff after she ferent directions.Isthis something that an album with a big rock 'n' roll rhythm had sung it a number of times.I was you've consciously ... section and a big orchestra No. It's her. Linda is song -driven. It is she already knew that she R songs she loves and wants to sing. wanted to try doing some That's why she did the first "stan- stuff with Aaron. dards" album. She knew those songs, You have worked with some of the and she knew that they were much biggest pop divas-Linda, Diana better than the elevator music every- Ross, Cher. Are there any special one had consigned them to be. She problems? knew they were so good that people No, actually. It has been said would like them and buy them. Every- of each of them that they are

one thought she was wrong, including difficult to work with. I have me. I mean, I thought she would make not found it so.I found that if a good record out of it, but Ithought you have done your home- we would be lucky if we sold half a work,if you know what you

million, if we did really well. It did 272 are doing . . . .I think that they million, without a hit. She was right. are all capable of, justifiably, What seemed, externally, to be major a certain sort of impatience career changes-singing La Boheme, and intolerance of somebody to singing Gilbert and Sullivan, to sing- who doesn't know what they ing mariachi, to singing Nelson Rid- are doing or things that are dle-are not. She is a singer who can not arranged properly. But I sing lots of different kinds of songs found all of them to be a plea- and loves different kinds of songs. sure to work with. They are not conscious decisions that I Did they seek you out? Did they

make. I assist her in executing her call and say that they wanted the plans and obviously do a lot trying to man who did Linda's records? make sure it all happens right. But the Cher . . . . JohnKolodner, who I have I OBJECT TO THE WAY actual directions in which she wishes known for a long time, asked me if I to travel follow her own musical in- wanted to do Cher for three albums or PRODUCERS GET TYPECAST; stincts. something. I said yes. I thinrc that was IF YOU ALWAYS DO POP As a producer, is that ever a problem for before his plan to bring back Cher you, not knowing what you're going to be succeeded. Some people he had DIVAS, YOU DON'T GET doing next? asked had said, "No. Cher-are you HIRED TO DO A ROCK BAND. Absolutely! A problem in the sense of kidding?" Because you must remem- expanding my own musical education, ber,itis hard to remember now, but but it's good. I mean, I had only been Cher had no credibility as a singer at worried she would get bored, you doing Linda for a couple of years, and that time. The same way that she had know, get impatient, because it takes a

I won country producer of the year. I to fight to gain her credibility as an ac- long time to do that. So she was sitting didn't know anything about country tress, when she had done so, and got behind us, and suddenly she stood music! That was kind of ridiculous. But herAcademy Award,everyone up. "Uh, oh, here we go," I thought.

"Blue Bayou" was No. 1 country and thought she was wonderful, but then But she said, "You guys have been at this for a long time. Can I get you some "When Will I Be Loved?" was No. 1 no one would take her seriously as a country, because Linda had a lot of singer again. It was funny. They just re- coffee or something?"Ithas never

country credibility. I was astounded. membered her from Sonny and Cher changed. She has been incredibly

I I was The Nelson Riddle stuff, I learned and being sort of silly.have always nice and incredibly cooperative.

through listening and learningit from liked her voice. I like distinctive voices. with her last night. She is such a won- Nelson and Linda. AllI can really bring It's a really tough, distinctive voice. So derful singer; she is really amazing. to all these projects is the same kind of I was happy to do that.I forget how the When she does 10 takes of a song, clarity of approach and planning, and Diana thing came up; I think I was she never sings it the same way twice. sort of musical perception, hopefully, approached by her lawyer. She comes up with completely new to which any music responds in the And Diana Ross is a breeze in the studio? phrasing, new and really interesting, studio. No problem at all? brilliant phrasing for a song every time How did the Aaron Neville duet come No problem whatsoever.I have heard she sings it. So she has been an un- about? horror stories. People have said, "Oh, mitigated pleasure to work with.

Linda and Aaron met in New Orleans. I you mustn't do this, you mustn't do How did the 10,000 Maniacs projects come think she went to see The Neville that," "Look out." And the first session about? Howard Thompson, A&R Man at Elek- Brothers at Tipitina's or something, that I did with her, on the first song, and he invited her up on stage to sing which was "Somewhere Out There" for tra, had the idea, which I think was AUDIO/DECEMBER 1992 67 THE AUDIO INTERVIEW

brave of him. It was brave of him, and When you are mixing a record, who are you quence. So the good part is that we brave of them. Because it clearly left mixing for? Are you mixing for someone used to have to-when you thought of them open to the criticism of "this hip with the perfect stereo system, someone play- a new sequence-you had to make young band is hiring this old -fart pro- ing the music in a car, or what? your cassette up of that new se- ducer because they want to get them- I'm just mixing for me, really. When we quence, so you had people chopping selves a hit." Because that's certainly have a mix,I take it out and play it in tape up all the time. Now you get a CD, a perception that could have been ap- the car and see if it still sounds okay. just program the sequence you want to plied to it. Howard asked if I hear, and sit back and hear it. would like to do 10,000 Mani- How involved do you get in se- acs, but I hadn't heard of quencing an album? them. He sent me their exist- Oh, a lot. It's hard. During the ing albums. I really loved course of an album, what I them, and I thought Natalie usually do is... like on Rain- Merchant's voice was extraor- storm, we had one of these dinary. I really loved the magnetic things. We got all songs. I met Natalie and liked the titles up on little plaques. her a lot. She is very direct, Luckily, up at George Lucas' very intelligent. We talked Skywalker Ranch, they had a about almost nothing to do machine shop where they with music. She askedif I can whip you up anything. So smoked. I told her that I never all the way through the whole had. She said, "Oh, good!" album, just like in church, we And that was it.I did not know would have all the titles we how the meeting had gone. knew we were going to do up Howard called me back and on the board. We would keep said that they had liked me, switching them around.It and everything was fine. I didn't really get to be acute, was really very happy to do of course, until we were mix- that because Ihadn't done a ing and had a pretty clear band for a long, long time. idea of what they were going Was it an opportunity for you to to sound like. So we would get into a different area? keep thinking of different or - Oh, yes. I really object to the way pro- ders and would put the various orders ducers and musicians get typecast I ALMOST MISS HAVING AN together and listen to them, even when like actors do. If you always play the we only had roughs. So we were pretty bad guy, they don't hire you to play the LP'S TWO SIDES, BECAUSE clear about what works next to what hero. And if you always do pop divas IN A FUNNY WAY IT WAS A before we actually got to the end. Lin- or big ballads, they don't hire you to do da is really very good at sequencing a rock 'n' roll band. Idon't think that is LITTLE BIT EASIER TO DO too. She has come up with some really necessarily correct. You can do any- ALBUM SEQUENCING. good sequencing ideas. thing, but people think of you in a cer- The philosophy of sequencing is still tain category only because of recent very flexible. It could be something as history, not because of any innate abil- mix on sort of medium speakers, at a simple as putting all your good stuff ity or inability on your part. I think that's medium level. I don't mix on the giant near the beginning, in case that's all a quite unfair. wall speakers that no one in their lives fan is going to listen to. That's certainly Natalie Merchant is another person who isare ever going to hear it on. No. I play a viable theory;it's as good as any- thought of as strong-willed.... it back on those for fun, but I mix on thing else. I just try to think about The band as a whole wasn't the easi- good medium -size, medium -level what's going to work next to what. I al- est thing in the world, because they speakers and just try to make it sound most miss having an LP's side one and don't get on with each other terriblyas great as possible. Then, occasion- side two. It was a little bit easier to se- well all the time. But I don't think any ally, you will be specifically requested quence the two sides, in a funny way, bands do. If you stick any four or five to do a mix with less electric guitar so because you could put an intermission people on a bus together for a few Adult Contemporary radio could play it in the middle. You didn't have to worry months on the road, they probably end or something, and you do. But I don't about track 5 and track 6 fitting togeth- up with a number of aspects of each take any of those things into consider- er, because you knew that people had other that would be less than fun. But, ation when I am making the first mix. I to stop and turn the record over any- no,I did not find Natalie difficult. What- just make it sound the best I can. way. That's all gone now, and some- ever difficulties that arose in the When you have what you think is an album times I really missit. Some people course of either of those records, and sequence that you want, how long do you sit would specifically say you've got to there were no major ones, were mostly with it? put the first single as the second track. due to the simple fact that the mem- It entirely depends on how much pres- There are little rules that some people bers of the band were not necessarily sure you are under. What you can do have. I have never particularly paid the best of friends all the time. Now, as now is make a [test] CD of your first any attention to that;I have just tried to far as I understand it, they are gettingrough sequence. Then, of course, you make the whole thing work together as on very well. can play that CD back in any se- an album. A 68 AUDIO/DECEMBER 1992 For over eighty years Denon has lived the definition of high fidelity- DOLBY PRO LOGIC producing sound faithful to the

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"RM3000 Celebration runs from November 20 to January 18, 1992. Enter No 36 on Reader Service Card EQUIPMENT PROFILE

Manufacturer's Specifications Power Output: 35 watts per channel into 8 or 4 ohms. THD: 0.3%. Dynamic Headroom: 1.2 dB. Full -Power Bandwidth: 30 Hz to 21 kHz. S/N: Greater than 100 dB. Input Impedance: 100 kilohms. Dimensions: 16 in. W x 63/8 in. H x 12 in. D (40.6 cm x 16.2 cm x 30.5 cm). Weight: 35 lbs. (15.9 kg). Price: $1.695. Company Address: W141 N9316 NOBIS FountainBlvd., Menomonee Falls, CANTABILE Wisc. 53051. AMPLIFIER For literature, circle No. 90

72 AUDIO/DECEMBER 1992 The Cantabile is yet another in the growing list of new BAH LABS LEVEL(dBr) V5 FREI(HE) amplifiers using tubes. Nobis is known more for their speak- T I II OPEN CIRCUIT Ap ers than their electronics, though they also make the EC -1 Z.0808 j. ..1-1 electronic crossover used with their DMS-1a subwoofer and 8 OHMS recently introduced an all -tube preamp, the Proteus. The 8.0

Cantabile is a hybrid design, with a solid-state front-end and -2.040 . II a transformer -coupled tube output stage, and is rated at 35 4 OHMS watts per channel. Though the owner's manual does not -4.800 discuss it, the amplifier's nameplate says "Class A," and a -6.644

brochure that came with the unit refers to Class -A operation -8.080 of the output stage.I checked on the extent to which the amp does operate in Class A and will talk about this in the -10.80

"Measurements" section. -12.44 Construction of the Cantabile is simplicity itself. Every- thing is mounted to one flat metal plate, the chassis of the -14.00 amplifier. This plate sits in a box with nice -looking wood sides and a fiberboard bottom. That's it! As can be seen Is 114 1lk Bilk from the photograph, the output tubes are lined up alongFig. 1-Frequency the front of the unit. Between the sets of output tubes is aresponse vs. load on plastic window covering the front-end circuit board. Behind 8 -ohm tap. each output tube is a screwdriver -adjust potentiometer for setting that tube's idling current. In front of each tube is an LED indicator used when adjusting tube bias. During bias adjustment, the LED indicators extinguish when the proper bias point is reached, as they do on many other amps with LED bias indicators. What sets the Cantabile's arrangement apart is that each LED comes back on again if the associated pot is turned past the narrow zone where optimum bias is achieved. The output and power transformers are lined up behind the bias pots, with the power transformer in the middle. Along the rear edge of the chassis are the input and output connections, the line cord and fuse, and a rocker -type power switch. The output binding posts accept either dual - banana plugs or bare wire up to at least 10 -gauge. Both output and input signal connectors are high quality. All in all, I found the Nobis Cantabile amplifier an elegant and attrac tive package. Fig. 2-Square-wave The signal circuitry of the Cantabile amp is an interesting response for 10 kHz into modern adaptation of several older ideas. The first of these8 -ohm load on 8 -ohm tap is a solid-state version of the old common -cathode first - (top), 10 kHz into 8 ohms stage amplifier. This stage is direct -coupled to the second paralleled by 2 µF stage, a split -load phase inverter. Each "equivalent tube" (middle), and 40 Hz into is a cascoded combination of a junction FET driving a8 ohms (bottom). Scales: MOS-FET. Vertical, 5 V/div.; The second good old idea is taking a portion of thehorizontal, 20 µS/div. second stage "cathode voltage," low-pass filteringit, andfor 10 kHz, 5 mS/div. for using it to bias the input device. In effect, this forms a sort of 40 Hz, d.c. bias servo that compensates for variations in power - supply voltage and temperature by linking the second stage's operating point to them. This scheme was used a lot in early transistorized direct -coupled designs. The output stage of the circuit is quite conventional and consists of an ultralinear-connected set of EL34 output The high -voltage power supply is conventional, consisting tubes with fixed bias. Each output tube has its own biasof a capacitor input filter fed by solid-state rectifier diodes in control and LED bias indicator. An IC window -comparatora full -wave circuit. The filter capacitor is 800 p.,F at 450 V circuit compares the voltage drop across a 10 -ohm cathoded.c., providing a healthy amount of energy storage. This resistor (representative of total tube current) to a fixed refer- main high -voltage point directly feeds the output transform- ence and is so arranged that the LED is extinguished wheners' center taps. Another RC filter section feeds a reduced these potentials are equal. voltage to the solid-state front-end. The tube heaters are AUDIO/DECEMBER 1992 73 Unlike many tube amps, the Cantabile's performance does not vary with the transformer tap you use.

1101 LABS 111044(x)re neesuredLEVEL(Y) Frequency response of the right channel is shown in Fig. p 1 for open -circuit, 8 -ohm, and 4 -ohm loading on the 8 -ohm tap. As can be seen, high -frequency bandwidth is not particularly extended and is 3 dB down at about 23 kHz with 8- ohm loading. Some evidence of output transformerreso- nance can be seen in the region around 30 kHz. Further, 4 OHMS judging by the way the output varies with the load, the output impedance is fairly high. .8 OHMS Square -wave response is shown in Fig. 2. The top trace is a 10 -kHz signal into an 8 -ohm load on the 8 -ohm tap. The 0.1 middle trace shows the effect of adding a 2-11F capacitor in 16 OHMS ::::::::: ...... parallel with the 8 -ohm load. While rise- and fall -times in the . top trace are commensurate with the frequency response shown in Fig. 1, the 2-tLF capacitor slows the response and makes the square wave peak at the edge of the audio band. 0.010 The bottom trace, for a 40 -Hz signal into 8 ohms, exhibits ml es satisfactorily little tilt. Fig. 3-THD + N vs. Total harmonic distortion plus noise at 1 kHz, as a func- power at 8 -ohm tap. tion of power output and loading on the 8 -ohm tap, is shown in Fig. 3. Load tolerance in this design is typical for an ultralinear output stage: Maximum power is obtained when the load matches the tap, and most of that power isstill available with half the nominal load; however, power drops

off noticeably when the tap sees twice its nominal load. I BAN LABS nekn(H) a Limonvg FREQ(110 generated a curve of 5 -kHz distortion versus power output Ap for 4 -ohm loading on the 4 -ohm tap and compared it toa

110 similar curve for 8 -ohm loading on the 8 -ohm tap (neither

HH curve shown) and found them to be essentially identical. This is not true of some other tube amplifiers, whose performance changes from tap to tap because of poor coupling between the output transformer's secondary winding. The Nobis Cantabile does quite well in this test. Total harmonic distortion as a function of frequency and

10 WATTS""" power is plotted in Fig. 4. Performance of this hybrid amp is 1 WATT similar to that of amplifiers that use all -tube circuits. A 0.1 spectrum of the harmonic -distortion residue at 10 watts

20 11111 115 Ilk 211k output (Fig. 5) mainly shows low -order second and third Fig. 4-THD + N vs. harmonics, although the eagle eye of the Audio Precision frequency as a function of test computer reveals the existence of a healthy series of power into 8 -ohm load on higher order (but low -magnitude) components. 8 -ohm tap. Damping factor for the left channel is shown in Fig. 6. (The right channel's damping factor was slightly lower.) The relatively low damping factor is a sign of the high impedance typical of most tube amplifier circuits. Its effect will be to make the output frequency response to the speakers a strong function of the speaker loads' impedance variations. a.c. powered. A half -wave rectifier off a tap in the power Output noise levels and IHF signal-to-noise ratios are transformer's high -voltage secondary is fed through a ca-presented in Table I. Results are quite good here. Interchan- pacitor input filter to the bias -adjustment circuits. nel crosstalk was down about 70 dB throughout most of the audio band. Measurements My measurement of dynamic headroom, using the IHF Sensitivity and gain were first measured on the 8 -ohmtone -burst signal, yielded an output power of about 40 watts taps with 8 -ohm loads. The IHF sensitivity for a 1 -watt outputat the visual onset of clipping. This corresponds to a dynam- was 205.5 and 204.5 mV for the left and right channels,ic headroom of 0.6 dB. Steady-state power output at the respectively. Gain was 22.77 and 22.82 dB, which is loweronset of clipping was about 37 watts for a clipping head- than the usual power amp gain of 26 dB or more. With about room figure of 0.24 dB. These measurements were done 3 -dB less gain at the 4 -ohm taps, it may be difficult to getwith 8 -ohm loading on the 8 -ohm tap. enough playing volume when using passive line preamps How Class A is the Cantabile? The theoretical idling with low -output sources. With ordinary active preamps,power for a push-pull Class -A output stage, assuming no however, there should be enough overall gain. losses, is twice the output power at the onset of clipping into 74 AUDIO/DECEMBER 1992

- the evolution of perfection performance evocative

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PHILIPS EVER BE THE SAME This little amplifier had considerable resolution and detail, and I generally found its sound satisfying.

(A) 55 (Ha) the designed load. In the Cantabile, the plate power at idle is about 27 watts per tube, a total of 54 watts per channel, rather than the 70 watts you'd expect from the amplifier's power rating. One of the requirements for Class -A operation is continuous current to the individual output devices, with no cutoffs during the signal cycle. When I used a 'scope to

monitor the voltage drop across the cathode resistors, I found the current was cutting off for part of the signal cycle when I increased the output power to some 15 or 20 watts. Another Class -A requirement is that the power to the output stage stay constant from zero to full output. In this amp, the input a.c. line current varied from an idle value of 1.6 to about 2.0 amperes at an output of 35 watts per channel. Conclusion: Not strictly Class A, but certainly a very rich (high idling power) Class AB!

10u 0 0 2.66k4.11k 6.000 8.000 10.00 12 Ok 14.0k 16 ek 16 5k21 1k Use and Listening Tests Fig. 5-Spectrum of Front-end equipment used to audition the Cantabile am- harmonic -distortion plifier included an Oracle turntable fitted with a Well Tem- residue at 10 watts out. pered arm and Spectral Audio MCR-1 Select cartridge, a Krell Digital MD -1 CD transport feeding a PS Audio UltraLink D/A converter, a Nakamichi 250 cassette recorder and ST -7 tuner, and a Technics 1500 open -reel recorder. Phono

6110 LABS 2 -CHAM(V) ya FREQ(Nak preamplification was competently handled by a Vendetta 5.4440 Research SCP-2B. Preamplifiers used were a Quicksilver Audio and a passive First Sound Reference II. Other power 4.5000 amplifiers on hand during the review period were a proto- 4.0000 type pair of Quicksilver M -135s, a pair of custom triode tube amps, and an Arnoux Seven B digital switching amplifier. 3.5111 Loudspeakers used were Win Research SM-10s and Scien- 3.0000 tific Fidelity Teslas.

2.9166 My first impressions of this little amp were thatit had considerable resolution and detail, with a touch of upper 2.0000 midrange brightness. After usingit awhile and, I guess,

1.5000 breaking itin a bit, I generally found its sound musically satisfying. Compared to the Quicksilver prototypes (which 1.0610 are separate mono units of higher power) the Cantabile 5811.8 sounded more forward and less spacious, with a smaller . apparent soundstage. At times, depending on the particular software, the sound could be a bit harsh and bright, even at 10 101 1k Ilk 26k power levels that were not anywhere near clipping. The Fig. 6-Damping factor speakers didn't "disappear" quite as successfully as with vs. frequency. other amplifiers I used; frequently, some sounds would seem to be coming more from the speakers than from points in the space around them. Bass response, though not as prominent as with other amplifiers I used, did have a tight character, without flabbiness.Overall, however,performance was pretty good. One nit that I must pick is that the locking nuts on the bias pots were set too tight for easy adjustment on my review Table I-Output noise. The A -weighted IHF S/N ratiowas sample. Normally, fixing this would simply be a matter of 89.9 dB for the left channel and 91.3 dB for the right. loosening a lock nut, making the adjustment, and then retightening the nut to prevent accidental readjustment. In Output Noise, µV the Cantabile I tested, however, loosening this nut also Bandwidth LEFT RIGHT Wideband loosened the pots. This allowed some of the pots to turn 430 475 during adjustment, which could have caused wires beneath 22 Hz to 22 kHz 425 461 the chassis to short or break. 400 Hz to 22 kHz 47 55 In conclusion, the Cantabile is an interesting design that A -Weighted 77 91 works pretty well and sounds pretty musical in the process. Bascom H. King

78 AUDIO/DECEMBER 1992 'A ;J ) 11 4:

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Ever since the first hominid beat a stretched 1876. Bell's "wondrous machine" proved it skin or a hollow log to make sound, man has was possible to electrically transmit and been enthralled by the pleasures the aural receive sound. sense can bring. That proof was also the challenge of the Perhaps only sight has a more direct affect on century, and it launched dozens of the brightest our daily existence. Yet it was not until just scientific minds of the age on a search for over a century ago that science gave us the better and better ways to reproduce sound. opportunity to bring the delectations of sound home. The search for a better way began in America, and it is still being pursued by dreamers and Every great change in the flow of technology innovators from coast to coast. begins with one small step, and for the loudspeaker industry it began with Alexander This is the story of some of those who joined Graham Bell's invention of the telephone in this quest. A ACOUSTIC RESEARCH when the industry standard was 90 IJI's plan to return AR to its historic days. position as an industry leader, the H.I. For almost four decades the initials Series is available through specialist AR have denoted innovation and a Building on the concept of full dealers and has gained enormous tradition of excellence and fidelity service manufacturing, AR brought critical acclaim worldwide. The in the American loudspeaker forth a series of innovative and Ml, the smallest system in the line, industry. unique products, each of which set recently received the prestigious new standards and in many cases "Best Buy" award from Britain's Founded in 1954 by Edgar Villchur, produced design elements and HiFi Choice Magazine. Acoustic Research was originally concepts still in use today. headquartered in Cambridge, MA, For 1992, AR continues to advance the home of Harvard and MIT. For example, the XA turntable, the art of audio reproduction even premiered in 1963, gave the industry further with the introduction of two The first two innovations to come the three point floating suspension, new lines. The "Classic" series of from the new firm changed forever low RPM motor, and damped tone home loudspeakers are very high the face of the loudspeaker arm concepts still found in many of quality moving coil systems industry worldwide. the world's most exotic and employing AR's SRA (Symmetrical expensive turntables. That unit set Radiation Array). This drive unit/ The long throw woofer and acoustic standards for wow and flutter, as crossover module, places a 1" soft suspension enclosure, incorporated well as signal to noise ratio and dome tweeter between two in the now legendary AR 1, were feedback immunity that were not to vertically aligned mid/bass drivers shown for the first time at the New be exceeded for many years. to create a virtual point source. York Hi-Fi show in 1954, and the First shown to U.S. dealers in pioneering work of Villchur and his Throughout the 60's and 70's AR September 1992, the reaction has team astonished the industry. continued to be an been excellent, with the sound innovator in the rapidly The research continued and in 1958 expanding worldwide AR invented and introduced in the audio industry. High AR3 the first dome drivers. That current amplification, system, which used a 1.5 inch liquid cooling of drive domed midrange unit and a 3/4 inch units, and baffle treat- dome tweeter, rapidly became the ments such as the standard by which all other speakers Acoustic Blanket (TM) were measured. The quality and were all first seen in performance of AR products also AR products. allowed the company to be the first to introduce a full 5 year warranty As an integral part of Aimilia For music purists with For music purists with anunlimited budget. limited space. In the relentless pursuit of musical perfection, Infinity ERS environmental in -wall speakers use Infinity has created some of the world's best sounding no floor or shelf space, and they can be painted to speakers. Including one for the decidedly well-heeled: match or accent your room's decor. In short, they the 7'/2 foot, $60,000 Infinity Reference Standard V. offer the best of both worlds - filling your rooms with Acclaimed internationally as the most spacious, extremely accurate stereo sound, but sonically -accurate speaker ever made. (With without imposing on your environment. unlimited space and budget you might choose For a copy of Infinity's new ERS Series the imposing sound - and imposing presence - brochure and home theater planning guide, of the IRS V.) contact your authorized Infinity ERS dealer, Now Infinity introduces another Reference or call (800) 765-5556. Standard for people whose passion for music In Canada, call must be in harmony with their living space: (416) 294-4833, Infinity the Environmental Reference Standard Series. H. Roy Gray, Ltd. We get you back to what it's all about. Music.

© 1992 Infinity Systems, Inc. HA Harman International Company. MADE IN AMERICA ADVERTISING SUPPLEMENT being described as "seamless and Day Sequerra, AR and Cello, Ltd., Arthur Blumenthal, Vice President transparent, but with real weight." are collaborating to realize Mark and general manager of AR, noted Levinson's concept (he is the that "by combining the skills and These new Classic speakers are the founder and President of Cello, abilities of the three companies, we fruits of AR's re -organized Ltd.) of an "affordable reference can produce a product family that Engineering Team under it's new quality system." will bring ultrahigh end performance director, David Day. David, known at a very affordable price." for designing the world's best FM The system will encompass all tuner, the Day Sequerra FM aspects of audio, including cables He added: "This will continue the Reference, joined AR in 1991 at the and furniture. These new products, tradition AR established from its same time as HI acquired the whether separate or combined, will inception-bringing the highest Davidson Roth Corp., manufacturers redefine performance levels at their levels of American research, design of Day Sequerra products. He and the price points, a fact assured by the and engineering expertise together Day Sequerra engineers are part of skill and integrity of the participants.to produce products that can equal an alliance whose purpose is to These products will be hand made or better the finest the world can develop AR's new "Limited" line in the U.S.A. "Limited" refers to offer."r of high -end audio components. availability will be modest.

7:c INFINITY with a dynamic servo controlled could produce allowed Infinity to sub -woofer bass system. achieve a number of firsts, propelled The story of Infinity is one shaped along by the enormous explosion of by three driving passions-music, With funding from outside investors, hi-fi sales in the mid 1970's as sonic perfection, and excellence. the partners put their concepts and music became an integral part of their ideas to the ultimate test-they It begins in 1969 when Cary quit their full time jobs and moved Christie, now Infinity's president, their budding hi-fi company from During that period the company began meeting with two partners the garage to a real factory building embarked on an ambitious research from the aerospace industry on in nearby Chatsworth. Infinity was program which produced the world's weekends to pursue their mutual born. first true digital power amp (a full dream of building the ideal audio decade before digital audio "arrived"), reproduction system. However, the company quickly a unique all FET pre -amp, again realized that good as it was, the years ahead of its time, and the The group knew that the technology debut product was simply out of world's first air bearing turntable. accessible in the products available reach for most serious music simply could not give them the kind enthusiasts. The key developments from that of accuracy, purity, and realism that program, however, were the they wanted. To find the path that They turned their attention towards signature could lead them to their dream, an developing smaller and less costly EMIT(TM) R&D shop was set up in a garage at systems but kept their focus on one of the group's home in innovation, accuracy, and the Woodland Hills, CA, to begin the application of aerospace search for a state of the art speaker technologies to the challenges of system using new scientific musical reproduction. principles brought from their aerospace backgrounds. The goal was then and is now to produce no -compromise, leading - Late that year the initial realization edge designs and then bring as of the dream was produced, and a much of that technology as practical whole new concept in loudspeaker to each and every product in the design was born. The Servo-Statik family. 1 was a true breakthrough, combining for the first time two The drive to bring to the consumer electro-static elements (as satellites) the best that American technology AR C L A SSIC LOUDSPEAKERS

AR is recognized worldwide for 1 11 1 \ R CLASSIC 26 its technological breakthroughs and contributions to the audio industry. Tapered cabinets However unlike most companies, AR minimize frontal area and diffraction does not employ technology for technology's sake, but only when it pro-

SRA, Symmetrical vides a noticeable, audible difference. Radiation Array, With the AR Classic Series you provides a virtual will hear the difference. They don't point source cast their own shadow over the music. Timbre and musical texture Acoustic suspension woofers are placed to are intact. The image has height, control room interaction width and depth. Dynamics appear to be limitless. All the Classics have

Listening will tell you far more bi-wiring capability than reading can. When you are considering and evaluating loudspeakers, bring along music you care about. AZ Ask your dealer to play the AR Acoustic Research Classics and hear the difference 330 Turnpike Street Canton MA 02021 between the ordinary and the classic. 1 800 969 AR4U (2748)

(electromagnetic induction tweeter) 11,1- -Since Bozak was aware that many and EMIM(TM) (electromagnetic customers could not afford to induction midrange) drivers which BOZAK purchase the system outright, he allowed Infinity to establish One of the more innovative of developed a pioneering modular reproduction and performance America's loudspeaker pioneers was approach that allowed the customers standards still being attempted by Rudy T. Bozak. to begin with a modest system and others. add to it over time until they had The company that bears his name built up a complete Concert Grand. These drivers combined for the first took shape as a result of Rudy's time the potential of the extremely commitment to the recreation of In the 1950's Bozak added to the low mass that Kapton diaphragms lifelike fidelity and the spatial loudspeaker line with the addition could provide with the power of perspective of live musical events. of amplifiers and electronic rare earth Samarium Cobalt Bozak was responsible for crossover systems to feed the needs magnets. engineering the first known 360° of the growing audiophile acoustic perspective and first community. This marriage of aerospace stereophonic reproduction technologies to state of the art demonstrations to the general magnetic materials allowed spatial public, which took place at the detail and a musical presence 1939 New York World's Fair. previously unobtainable. Rudy Bozak's unique approach was Those drivers led directly to the best demonstrated in the Lagoon Of company's flagship product, the IRS Nations sound system, which was (Infinity Reference Standard), which installed within a fountain and used in the no -compromise tradition not a 27 inch loudspeaker with a 450 only broke ground across the pound magnet structure whose reproduction frontier but has also overall frequency response was served as the R&D platform for the 28 Hz to 10 kHz + / - 4 dB-an technology now incorporated in less astonishing achievement for the time. expensive products. After the successes at the World's The ongoing R&D embodied in the fair, Bozak founded the R.T. Bozak IRS systems produced another Company in Buffalo, N.Y., and The two individuals who lead group of advancements and industry began manufacturing woofers, today's Norwich, Connecticut based firsts during the 1980's including midranges, and tweeters of his own Bozak Audio Laboratories bring the Watkins Dual Voice Coil design, many of which utilized a their own heritage of experience to system and the use of IMG (TM) proprietary coating of neoprene the daily process of guiding the (injection molded graphite) cones. rubber compounds making them company's future and maintaining These two proprietary able to resist the effects of moisture the commitment to recreate the breakthroughs combined to bring and humidity-often a problem with lifelike fidelity of live music events. low frequency performance to a designs of the time. new level of realism. Howard Jacks, President and Chief The business prospered, and in Designer, has been a collaborator in As we enter the latter half of the 1953 Bozak built a furniture factory the design and marketing of eight 90's, and the full flowering of the to permit him to begin marketing major U.S. loudspeaker brands, as digital audio age and explosion of completely assembled loudspeaker well as the design, manufacturing, audio/video entertainment systems, systems and equipment cabinets for and supply of quality OEM Infinity continues to bring its the nascent hi-fi industry. loudspeaker components. Chairman unique American blend of aerospace of the Board David Luchs has been materials technology, no - Bozak's designs were based on the involved with the manufacturing of compromise reproduction, and a infinite baffle principle, and his electronic component systems, quarter century long passion for flagship model was the 18 cubic complete loudspeaker systems, and sonic excellence and musical purity foot system Rudy called The high -quality furniture products on to bear on the needs of today's Concert Grand. an OEM basis for more than 30 home entertainment consumers. years. "Definitive Technology Has Hit the Bull's Eye:" -Julian Hirsch, Stereo Review Experience the Miracle of Bipolar Technology with Definitive's Revolutionary BP10 & 20!

"Truly Outstanding" position convenience for - Stereo Review superb musical reproduction so real that it has been called, Experts agree that Definitive's "a sonic miracle!" revolutionary bipolar BP10 and BP20 are two of the The Ultimate Home Theatre world's finest speakers and Combine the BP10s, BP2Os or are sonically superior to DR7s with our Cl ultra center speakers selling for many channel and BP2 bipolar satel- times their remarkably afford- lite/surround speakers for the able cost. ultimate in home theatre sound. These advanced technology Visit your nearest Definitive bipolar (front and rear radiat- dealer and experience the ing) systems combine lush dramatic sonic superiority of spacious soundstaging, life- these truly extraordinary like depth -of -field, razor-sharp loudspeakers.For More Information resolution and pinpoint 3-D am% imaging with powerful sub - Call 1-800-451-2248 woofer -like bass (to below 20 Definitive Technob Hz), high efficiency, wide 11105 Valley Heights Drive Baltimore, MD 21117 dynamic range and easy -to - (410) 363-7148 Enter No 15 on Reader Seuice Card MADE IN AMERICA ADVERTISING SUPPLEMENT

The current products maintain the maximum control over cone motion. cabinet and permitting the drivers to focus Rudy placed on linear, wide produce maximum detail and clarity. band response, highly accurate One of the most distinctive aspects transient response characteristics, of the Bozak products is their This enclosure is inserted into a minimal harmonic and cabinet design. Far more than a furniture grade outer cabinet. The intermodulation distortion and simple exercise in esthetics, the space between the two is then filled coloration., and sufficient acoustic enclosures feature extremely thick with foam in place of polyurethane, output to permit the reproduction of front baffles (up to a massive 2 creating a highly braced, rigid, yet music at realistic live performance inches in the Grand). This provides absorbent structure which drastically levels. the drivers with a highly stable and reduces acoustic re -radiation and rigid platform from which to launch the distortions it can produce. To accomplish this, each cone driver the acoustic wave front. component is operated only within Looking towards the future Howard its linear piston range, thus All but one system also employ the Jacks noted that "the doctrine of avoiding the coloration due to company's exclusive "Acoustic pragmatic innovation and sonic irregularities and improper driver to Insolation Enclosure," constructed reality that Rudy created will driver transition. In the three top from two different types of wood continue to be a core element in all models multiple small drivers (a products to produce a non -parallel our products. After all, our pursuit Bozak tradition) are used to achieve walled enclosed volume of air, of acoustic reality is based on more high acoustic output with a minimum inhibiting standing waves within the than a half century of tradition." of cone excursion as well as

Like many other American Spending the familiar nights and engineering professionals and weekends tweaking, comparing, experimenters of the time, he had and most of all listening, what great difficulty finding a emerged was the Legacy -1, an loudspeaker system that could give elaborate four-way design he felt him the kind of accuracy he felt could achieve the performance was possible. Comparisons between results required. Some nine years the original sources and the later that system, now incorporating reproduced material kept showing hundreds of hours of further annoying faults in the speakers. refinement, is still being produced, but its brothers and sisters now These frustrations were the number nearly a dozen. beginning of Dudleston's personal voyage into the world of invention. Crediting the work of Roy Allison, Acknowledging his needs, he took D.B. Keele, and Olsen, Kellog & the highly personal and uniquely Rice as pushing him to follow the American approach and put himself experimenter's path, Dudleston's and his ideas on the line. interests in room acoustics (he is now busy exploring the potential With his business partner, LEGACY uses of DSP for active control of construction entrepreneur Jacob loudspeaker performance and its REEL TO REAL Albright, and the stunning sum of potential in the area of DESIGNS $2000, Dudleston, who had been a psychoacoustics and the ear/brain process engineer for a polymer interface) and the extensive time he During the late 1970's and early manufacturer, left his current has spent examining the way the 1980's engineer Bill Dudleston, position as supervisor of a digital room and the electrodynamic (BS, Engineering, Univ. of IL) research lab and began what is reproduction devices we call found himself spending more and today the Springfield, IL, loudspeakers interact have led to a more time refining stereo recording headquartered Legacy Loudspeaker philosophy that emphasizes two key techniques and playback systems. Systems division of Reel to Real elements. Designs. VA\ IRSTF-NI /\\DIO

Th? most expensive dynamic speakers in the world are multi -enclosure minimum -baffle designs. So is every fell -range Vandersteen speaker. One listen to the astonishing clarity and realism of Vandersteen loudspeakers will show you why "boxless' is definitely better. Model 3 thriniase realism's an edvanced lour dr.ver three-way loudspeaker ova ultra quell!), hiss CaP111p0Jeilb: duo inputs to, br wrIng or b amplify and a patented no Jrange allot virtually elm mares on:ern:al reflecrso is and the resJIrant dISIMI011 Model 2Ce Super, performance in a legemita4 lour driver three will loudspeaker with advanced drove components and dual "'potato, tor n sting or bi : spiry

Incred tole

Ira /us eta slim elegem' two in 01 loudspeaker with lrue bass of nigh ptriolinence, a three drier draw CLIIIpillitlots AV wolf(p01*ered subwooter

VA\DERSTEEN AJ910 For more than 15 years, VANDERSTEEN AUDIO has built affordable loudspeakers llo West Fourth St, Hanford, CA 93230 true to both science and music. if you're look;ng for speakers that accurately (2C9) 582-C324 reproduce the entire frequency range of music 3nd recreate the full eimeasions of the original performance, wen direct you to your nearest carefully selected DIW\SIONAL Vandersteen Audio dealer. R,R

Please write or ca'l for a brochure and the name of your nearest dealer. Biter No 48 on Reader Service Card MADE IN AMERICA ADVERTISING SUPPLEMENT

Because, instead of acknowledging By incorporating the concept of To achieve those goals in the that we have a great deal of increasing the piston area uniformly FOCUS and the 11 other systems knowledge about how and where and progressively as the frequency Legacy offers, the company designs the buyer will use his system, drops, and avoiding any crossovers its own low frequency units. In its designers often chose to measure in or near the critical midrange unique 17 -person craft workshop, and test in anechoic laboratory region, the systems produced by which the company invites anyone spaces which have, according to Legacy offer the audiophile the interested to visit, exotic woods Dudleston, "little connection to opportunity to experience highly merge with injection molding, reality, and are in fact a deep abyss stable imaging coupled to low driver design and testing, system into which good ideas disappear," distortion, high dynamic range buildup, nulling, and final he suggests that first we should power distribution into the listening matching. acknowledge that loudspeakers will environment. be operated in rooms and incorporate Building on the more than a century low frequency room gain into the FOCUS (Field Optimized and a half of looking for a better operational performance of the Convergent Source), the 165 lb. way inherent in the American system. flagship of the company's loudspeaker industry's traditions of loudspeaker line which incorporates innovation and refusal to accept the Second, keep midrange reflections more than 400 sq. inches of total existing state of the art as the best to an absolute minimum since the piston area, and utilizes a unique that can be done, Legacy, in its ear's exceptional sensitivity in the driver array optimized to minimize own way, has brought to the 300 Hz to 3 kHz band make the colorations caused by floor and marketplace ideas and concepts inaccuracies, and anomalies in this ceiling reflections, is an example of which have opened up further area are exceptionally detectable. this engineering philosophy. options for more research.*

built at age 12 were so strong that of Lansing's own design to JBL they caused interference at the professional users. In 1936, Great Lakes Naval Air station, a working from designs generated by In January 1902, one of the men significant distance from his home) film sound legends Douglas who was to forever change the face became critical building blocks of Shearer, John Hillard, and Robert of the loudspeaker industry in his passionate desire to make a Stephens, Lansing produced America was born. James Bullough better device and improve both the components for what became Lansing (born James Martini) was, processes by which loudspeakers known as the Shearer horn system. over the course of his 47 years, to were made and the sound they That system won an Academy bring American audio industry a produced. award for technical excellence. number of vital innovations, designs and manufacturing processes still in His vision and willingness to take a In 1946 the company we know use. different path were the elements today as JBL, Inc. was formed as which enabled Lansing to seek out Lansing Sound. The work done by The young Lansing showed a and find the unique and innovative Lansing during the 40's and 50's on remarkable aptitude and interest in ideas he brought to the nascent theater sound perfectly positioned all things electrical and mechanical. loudspeaker manufacturing industry the new company to become a key That inquisitive bent and his drive beginning in the 1920's. Having player in the developing for perfection and improvement (the migrated to Los Angeles, he formed professional sound industry as a signals from a radio transmitter he Lansing Manufacturing Company in supplier of studio monitors 1927. By 1930 the company had (becoming the benchmark for more than 40 employees. Although Capitol Records and EMI Lansing's company produced worldwide) and sound products used to reproduce the first reinforcement components. The sound picture (The Jazz Singer, quality and strength of the Lansing 1928), the explosive growth of designs was also what led Leo motion picture sound gave the Fender to choose a modified version company its first real opportunity of a JBL cone transducer to provide to provide the kind of ultrahigh the "sound" for his new electric quality "signature sound" products guitar amplifiers. You know, they played a big role in the is a true child of the Revolution. This Revolution. Rock2d-Roll Revolution, that is. little extremist has a 6.5" high excursion When the Large Advent became the speakerwoofer with aluminum voice coil and a'/2" of choice for an entire generation of rebels. polycarbonate ferrofluid-filled dome tweeter. Today, that tradition is kept alive in 150 watts of peak power, too. speakers like the Heritage® tower. Its 8" Just two of the reasons why FORTUNE Co -Active' Woofers, 600 watts of peak Magazine rated Advent Speakers as one of power and handcrafted, pecan trim movedthe 100 products America makes best. Stereo Review critic, Julian Hirsch to write, For American -made speakers with world - "...I hated to pack (it) up after class sound, look to Advent. Call tests were concluded:' 1-800-477-3257 for more infor- Our award -winning Baby' II/ADVL -C1 mation and a dealer near you. Sound as it was meant to be heard

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The company, which is now a part industry by JBL has extended the have made JBL the choice of 7 out of Northridge, CA headquartered company's leadership position to of 10 recording studios, hundreds of Harman International, continues the the home audio arena. Cast -frames the finest concert venues, live Lansing legacy of innovation. In and vented gap cooling are but two performance systems and THX- addition to its leadership position breakthrough technologies licensed movie theaters the world within the professional sound distinguishing the company's car over, JBL brings to the listener reproduction field, JBL audio offerings. precisely what the people who loudspeakers are designed for use at performed, recorded and mixed the home and in the car. Matching Today with more than 60 years of performance heard-accurate, finely crafted furniture to American innovation as a base, and effortless, precise reproduction of technologies first introduced to the using the same technologies that the original source.

VANDERSTEEN AUDIO minimum baffle designs and proper Now 15 years later, Vandersteen driver alignment, Vandersteen Audio has firmly established itself The time is the early 1970's. The produced the Model 2. The reaction as a first line American place is the central San Joaquin from the growing circle of manufacturer of high -end Valley of California, near Fresno. enthusiasts who owned one of loudspeaker systems. Richard Vandersteen is very Richard's systems encouraged him frustrated by the sound quality of to show the design to a few of the Richard was continuously looking the affordably priced loudspeakers local audio retailers. Their highly for new ways to improve and he can find at the local hi-fi shops positive reaction and his belief in enhance the systems he was and dealers. his designs convinced Vandersteen building. This is what led him to that it was time to put his concepts become a pioneer in the application He believes he can produce to the test. of computer based analysis to something better. This belief is the system design in the late 1970's. beginning of what was to become In 1977 Vandersteen Audio was Using a Gen-Rad 2512 FFT Vandersteen Audio. founded, based out of Richard's analyzer to aid in his R&D house. The garage was the factory, program, he was also one of the Working from his military and the rest of the house became first manufacturers to specifically electronics background and his his lab, storage, and warehouse address the shape and size of the extensive reading on the subject, facilities. He built each pair of baffle boards used to mount the Vandersteen designed and built a speakers himself using custom jigs drive units. By using a board only pair of loudspeakers for his own to speed production, but within a just large enough to hold the use. The friends and relatives that few months the demand had required driver(s), Vandersteen was heard these first speakers liked them exceeded his capabilities. It was able to significantly reduce both so much that Richard quickly found time for a factory and a few reflections from and diffraction himself building pairs for them as employees to help produce the caused by the baffle, as well as well. Very soon he was spending systems. reducing the flexing and resonances almost all his time crafting, by often associated with larger baffle hand, each pair of speakers. The surface area approaches. process of improvement for t Vandersteen followed a similar As a natural extension of his work course to the one taken by many on diffraction and reflection, other innovative American Vandersteen and his company began loudspeaker entrepreneurs. Small a research project into the internal improvement were made along the reflection characteristics of the drive way, until in 1976 it all came units themselves. together for Vandersteen in the product that turned him into a full The first product from this time manufacturer-the extensive project was U.S. patent revolutionary Model 2. number 5073948 granted to the first dynamic midrange cone driver to Using all that he had learned and incorporate a reflection free zone adding in some new ideas about behind the cone. "... a wonderful loudspeaker that has no competition at its price point."

M.G.D., BOUND FOR SOUND

Focus

ACCEPTING SPEAKER TRADE-INS ON MAJOR BRANDS distributed by Reel to Real Designs 3C21 Sangamon Ave. Springfield. IL 62702 dealer and export inquiries inv ted 1.800-2814644Fax: 1-217-744-7269 E -e; No 111 on Reace, SerN, cce Card MADE IN AMERICA ADVERTISING SUPPLEMENT

In a conventional midrange unit the To further aid in the ongoing Only critically damped dual energy from the back side of the process of improving the product, chamber metal dome tweeters, cast cone immediately strikes the front the company recently began a basket low frequency and mid of the magnet assembly and is project in which it is applying frequency drivers, and transient reflected back through the cone into minimalist techniques to produce a perfect first order crossover the listening area. series of reference recordings to be networks are used in Vandersteen used during the evaluation and products. Every component used is The research project enabled listening test phases of speaker tested prior to assembly and each Vandersteen to find a unique way development. These recordings are finished system is compared by to minimize the frontal area of the now being marketed by the computer to a model reference unit magnet structure by utilizing a company on its own label. under real world conditions. combination of advanced materials and proprietary construction The current product line Known for its exemplary techniques. The narrower profile encompasses the Model 1B, the workmanship, superior price to presented by this design reduces Model 2Ce, and the flagship performance ratio, and highly internal reflections and the Model 3. In addition, the Model 2W reliable designs, Vandersteen Audio distortion they cause. This special powered subwoofer with a integral is continuing a decade and a half driver is used in the company's 300 W amplifier is available. tradition of American loudspeaker Model 3 system. innovation and advancements.

In 1988, after more than 15 years Gross sought to define what he of innovation, and with a store of believed was missing from the knowledge and experience regarding marketplace. What he found was the pitfalls and practicalities of that there was an unfilled niche. starting a company, Gross left to begin again. He saw an opportunity to provide This time he wanted to pursue, in high -end loudspeakers equally true American dream fashion, a superb for music reproduction and goal that had eluded him the first home theater, which delivered the time-to produce a unique world performance, technology and build class, high -end product with quality of the most exotic and exceptional performance, expensive systems, but offered incorporating as much of the affordable prices, utilizing lifestyle available new construction oriented designs that would blend techniques, materials technology, into the space in which they were and design ideas as possible. placed, and would seem to simply disappear when played. He felt that the progress that had been made in quantifying Realizing that dipolar planar system performance, analyzing the designs provided the lifelike perceived sonic qualities of presence, accurate imaging, and loudspeakers, and the availability of sound stage depth they sought, but DEFINITIVE new cabinet construction options that their size, bass limitations, TECHNOLOGY had not been fully utilized by any inefficiency, and room placement of the available products. requirements often presented Sometimes an individual gets the problems, Gross and his team set chance to follow his dream twice in To explore this concept Gross out to design bipolar towers with a lifetime. In 1972, Sandy Gross and began his journey down a familiar the efficiency, dynamic range, and two of his friends and classmates route-one whose sign says "I extended bass response that the best at Johns Hopkins University formed know there is a better way to do conventional box systems offered. what was to become one of the this." most successful and well-known Taking advantage of the newly American loudspeaker companies. To climb his personal mountain, available resources, the Definitive Like an Open Window, They Give You All The Music. Adding Nothingof Their Own... TakingNothingAway.

With Bozak...

it is the Music that is Spectacular.

Bozak Audio Laboratories' sole commitment sio the ocreation o' the lifelike fidelity of original nusical events.

fca further information, please contact usdirectly. Bozak Audio Labcratioles539 Norwich Avenue Taftville Ct. 063.30 (203) 886-1510 E-iter Nc. 6 on ,wader Service Card FAX (203) 886-1413 MADE IN AMERICA ADVERTISING SUPPLEMENT designers spent hundreds of hours that I was able to bring into focus He noted that "its easy to build with programmers using another all the ideas running around my high end loudspeakers when cost is American innovation, the super head and see the results of the not an objective," however, he computer, to investigate the various options we had investigated. added "to design a truly superior concepts surrounding the product offering high value as well transmission line loading of low This allowed the company to meet as exceptional performance, which frequency drivers. one of its key goals of bringing the can be efficiently manufactured to a performance of the ultrahigh end consistent quality standard takes Their efforts produced a new and systems down to affordable, livable more than a good idea. It takes unique approach to the idea, the products that meet world class experience, expertise, and very hard "computer synthesized transmission quality objectives. work." line" cabinet that was far less complex to build yet still produced the required effect.

Gross explains: "Without the ability of the super computer to model in extreme detail the loading characteristics of a transmission line, and the ability to investigate almost instantly any idea or option, we simply could not have designed the systems. Doing it the old way would have probably meant years of experimentation, then having to actually build each version to find out what the changes meant. With the computer this process takes just a few days."

Coupled to the application of MAGNEPAN part of that system. modeling and investigative techniques developed for the high For more than two centuries, However, Winey felt that those tech American aerospace industry, experimenters and researchers have systems could still be improved, Definitive Technology took worked at the production of could be made even more accurate, advantage of a another proprietary electrostatic transducers. Despite and thus provide the listener with a American resource-the facilities of huge amounts of time, effort, and more realistic sound field. Working the National Research Council funding during the mid -1920's and alone, at night, and on weekends, laboratories in Ottawa, Canada. onward until W.W.II, the he began to experiment with his restrictions imposed by available own ideas on electrostatics, and Working with a research partner materials, amplifiers, and ended up with a system that he and loudspeaker engineer Don breakdown voltage limitations described as "too flat and unstable." Givogue, Gross brought the hindered the realization of the considerable resources available at inherent potentials of planar drivers. Looking back on those days Winey NRC (considered to be the best recalled that a rubberized magnetic facility of its kind in the world) to These limitations were all too clear material from 3M was the trigger for bear on the process of refining and to James Winey, Magnepan's the "idea" that became the first quantifying the performance of the founder whose confessed hi-fi Magneplanar (electromagnetic panel) Definitive Technology systems. addiction and a true love of music speaker. had led him to invest more than Gross explained: "Although I built $2500 (1960's dollars) in building Although the sound that emanated my first electrodynamic transducer up the best music reproduction from that first working model, in based bipolar system in 1973, it system he could assemble from the dead of night, was described by was not until we began to measure available components. A pair of Winey as "puny," three years of and explore our prototypes at NRC electrostatic loudspeakers were a additional tweaking, adjustments, ThENEWTIMEWiNdOW SEVEN: PERFORMANCE ThATPASSESThETESTOf TIME.

In the 1970s, DCM ir-roduced the original, critically-acc eimec TimeWridows.- In the 1980s, the TimeWindow Three' accompanied the birth of the digital era. Now, to maet tne increased evecta- ions of today's audio/video enthusiasts, DCM introducee the ultimate TimeWindow.`"'

The TimeWindow Seven- combines the incredible imaging clarity and accuracy of its predecessors with dramatic improvements in sensitivity, dynamic range and sound dis:ribution. And it's enclosure design enhances the listening environment as much as the listening experience. To audition TimeWindow Seven- speakers write to DCM, 670 Airport Blvd.. Ann Artor, Michigan 48108. Or call loll -free 1 -8004378 -TIME. The new TimeWindow Seven. t was just a matter of time.

DCM. Loudspeakers

Enter No. 14 on Reader Service ward MADE IN AMERICA ADVERTISING SUPPLEMENT and modifications culminated ina used in the company's three larger environment against the air pressure stable working system that finally systems, have allowed Winey to of the room producing a highly satisfied the precise reproduction address several fundamental uniform pressure response, as well goals Jim had set for the system. quandaries facing loudspeaker as a correspondingly even and designers. regular phase plot. Winey, driven by his internal knowledge that there was a better One key element to the system's This, coupled to the intrinsic energy way to solve the known electrical sonic performance is the extremely conversion efficiency of the motor problems with electrostatic drive low mass mylar film and ribbon (since it does not have to bleed off systems, had created what is now driver (approaching as close as energy to cover voice coil heat generically called a planar -magnetic current materials technology will losses, magnetic -hysteresis losses, driver. allow the holy grail of loudspeaker or eddy current losses), allows a design-the massless driver). highly uniform radiating structure to His pioneering breakthrough be produced. permitted direct coupling to the Only .001 thick, the ribbon, driving amplifier and because it attached to the .0005 inch thick Now, more than 20 years and used permanent magnets required mylar diaphragm, permits the 160,000loudspeaker systems later, no high voltage source for systems to respond essentially Magnepan's unique technologies are polarization. instantly to musical transients since still giving audiophiles the world there is no significant mass to put over the spacious and visual That original system, completed in into motion. imaging coupled with the liner 1969,was the first working version power response only the almost of the type of planar magnetic The use of an open baffle design massless planar drivers can driver still found in every system allows it to work in a symmetrical produce. 'Cr the White Bear Lake, MN based company produces. That prototype, which Winey showed to potential investors, friends, and dozens of MARTIN-LOGAN So, putting his money and his ideas audiophiles who he believed would on the line, Sanders in1979 be potential customers, was a full The story of Martin -Logan is one oforganized a small team to complete range system and was never dedication, innovation, and the 10 years of personal actually converted into a production commitment to the ideas that first, development work on an original version. "it can be done" and second, "we user friendly design that did not can do it." destroy power amplifiers, did not With the help of Leland Vander arc, and delivered realistic volume Linden, a Pleasantville, IA Martin -Logan began as a dream in levels. businessman and friend, seed musician, part time marketeer, capital was raised, and the weekend inventor and tinkerer beginnings of what has become one Gayle Sanders' head. of the audio industry's best known, longest lived technological Sanders was convinced that only innovators was in place. electrostatic loudspeakers could bring to the listener music in it's Two more years filled with sweat, purest and most transparent form. experimentation, further capitalization, and a hefty portion He knew the history of the of plain old American ingenuity technology all too well, and was were to pass before the first salable aware of the 200 years of attempts units were produced in1971. by dozens of others to make these systems stable, safe, and wide The concepts behind the Quasi- range enough to deliver the full Ribbon/Planar Magnetic driver, and musical spectrum. But Sanders the pure ribbon driver system remained positive that the introduced in 1982 for high problems could be solved, that frequency applications and now there was a better way. ...it looks like a ribbon ...it sounds like a ribbon it's a quasi -ribbon

it's from Magnepan The taller Magneplanar® MG -1.5 at $1350 per pair, and the MG -.5 at $995 per pair, are for those wanting ribbon technology in a smaller, more affordable design. Quasi Ribbon models at $690, $995, and $1350 per pair. True Line Source ribbon models at $1950, $3000 per pair, and the fabulous new MG -20 at $8500 per pair. Both speakers shown with custom transparent front grilles. MAGNEPAN 1645 Nintl- Street, White Bear Lake, MN 55110 Enter No 24 on Reader Senrce Card MADE IN AMERICA ADVERTISING SUPPLEMENT

The first product didn't quite meet This patented transducer resistive surface on the diaphragm. those goals however. configuration, which has earned the company 6 design awards from the All of that technology was The flat electrostatic panel the team Consumer Electronics Show, a incorporated into the Monolith, a produced was audibly stunning to remarkable achievement, produces full range hybrid ESL (electrostatic all who heard that first the signature 30° pie wedge of loudspeaker) that was introduced at demonstration-but when in their sound energy with almost perfect the 1983 CES. enthusiasm they turned up the dispersion. volume, sparks flew, smoke curled By 1989, the company had grown towards the ceiling, and a horrific The development process continued,to the point where it made Inc. lighting storm flashed across the and three years of intensive work magazine's list of the 500 fastest aluminum panel. with the firm that was developing growing privately held companies in the filtered windows for the space America. The company made that That failure fully convinced Sanders shuttle produced the patented vapor prestigious list again in 1990, a rare that there were problems with the deposition system that creates the honor. Currently, more than 50% of existing approaches which simply stable and optically clear diaphragm the company's sales of its line could not be mitigated sufficiently that supports the required 5000 V encompassing four hybrid to make the products safe and charge, yet was safe enough to electrostatic/dynamic systems, and reliable enough to be used in a operate in any home environment. one pure full range ESL system home environment or stable enough covering a wide price range, to produce sufficient level to re- The work continued producing the serving the needs of music lovers, create the dynamics of live music completely insulated acoustically and audiophiles the world over, are accurately without either blowing transparent stators that sandwich thebeing done through export to more up the driving amplifier or failing diaphragm and the controlled than 30 countries. themselves. So he went looking for solutions from other industries. A He knew that new aerospace DCM the DCM Corporation in 1974. industry -developed polymer materials, better and more stable The mid -1970's were very prolific Like many others who had been power supplies, and a host of other years in the American audio hooked by hi-fi, Steve, Howard and cutting edge ideas had not been industry. That period saw the Bob had a better idea-that the applied to the electrostatic problem. founding of many of today's well future of audio was in audiovisual known names in consumer audio. style home entertainment. They What emerged took advantage of Throughout these pages you will knew that there was a need for cost state of the art conductive coatings, see a number of innovators and effective, reasonably sized applied to a .0005 inch mylar inventors who began their quest for loudspeakers that could supply a diaphragm sandwiched between better audio and the pursuit of their spacious wide image yet maintain two perforated steel plates. own dream, much like Steve good localization and positioning. Eberbach, (an aerospace engineer During one midnight testing and fascinated by loudspeaker design) evaluation session, the unique Howard Krause (a engineering curved shape that is a Martin -Logan school student fascinated by trademark came forth. Seeking to loudspeakers) and Bob Watestripe emulate the dispersion of a sound (a top notch real estate salesman, wave front, the curvilinear shape who wanted to sell hi-fi). that allows the company's system to achieve their remarkable dispersion Their pursuit of better audio made and sound field spaciousness was in America began with a casual suddenly obvious. conversation in an Ann Arbor, MI delicatessen. That chance meeting The ability to achieve a coherent led to a trip to the Consumer wave front with high transient Electronics Show, and shortly capability and near perfect phase thereafter to the formation of the coherency was now within reach. partnership that eventually became UBL

PEOPLE WHO MAKE MUSIC TRUST JBL.(7 OUT OF 10 RECORDING STUDIOS USE AMERICAN MADE JBL EQUIPMENT.) PEOPLE WHO LISTEN TO MUSIC SHOULD, TOO.

JBL CONSUMER PRODUCTS 240 CROSSWAYS PARK WEST, WOODBURY, NEW YORK 11797 1 800 336 4.1BL H A HARMAN INTERNATIONAL COMPANY Ente- No. 21 on Reader Service Card MADE IN AMERICA ADVERTISING SUPPLEMENT

Yet none of what they had heard tit while. Steve recalled: "In those to provide high sensitivity, accurate this description. days we did our R&D testing with phase response, and uniform the people who came to the house distribution of the sound field. After some false starts with a new to buy the systems." power amplifier idea, and some The company's Time Window, serious learning curve experiences The company continued to grow, Time Frame and CX series products with the venture capital and when a friend offered the use continue to prove that innovation marketplace, they got some very of a warehouse, and tools to use in and dedication can provide a better sage advice from another the off hours, they jumped at the sound. entrepreneur: "Don't ever forget chance. Now they could make 100 that the key to your company is units at a time, buying the more This is all embodied in the latest your partnership, which is very expensive components as required. version of the legendary Time strong." 1977 saw expansion of DCM, with Window series products, the a working capitol loan from Ann flagship Time Window Seven. The decision was made to postpone Arbor Trust, and the move to a Combining all the renowned the amplifier project and focus on 1200 sq.ft. facility. 1978 saw the features first seen in the original the loudspeaker vision that had first growth explode and a move to an products and updated through the brought them together that night in 8000 sq. ft. facility. 1979 was even succeeding series, this version the deli. better and now in 1992 the 50 + makes dramatic steps in imaging, employee company calls 15,000 dynamic capabilities, and Steve was working with a local PA square feet home. Three specific sensitivity. company (Fanfare) which was doing technologies are unique to the rock concerts. They had a shop DCM systems. The almost two decades since 1974 where he could spend his spare time have seen continual growth for building up and trying out various These are ported transmission line DCM, but more importantly, DCM loudspeaker designs. Howard was enclosures, time equalized coaxial has made significant progress also experimenting with loudspeaker drivers and acoustic sound toward the dream of bringing virtual designs, trying to make something absorbing "lenses." They combine reality into home entertainment.i better than what he had purchased primarily because he could not afford the much higher 7;( cost of the superior products then on the market. ADVENT One of the oldest names in Steve and Howard combined their American audio is Jensen. In fact, ideas and talents with Waterstripes' the company that now bears Peter bottomless enthusiasm and sales Jensen's name is the living legacy ability, and following the advice of the individual who essentially they had received, they managed to invented the modern loudspeaker, survive. circa 1913.

Howard, who had left engineering Now known as International Jensen school to work on the speaker Inc., the company consists of the project, then decided to return to Acoustic Research, Advent, Day business school. He commented, "I Sequerra, Jensen, Magnat, NHT, figured that either the company was and Phase Linear brands. It has going to be successful, in which clearly positioned itself as an case I would need the training, or it American technology leader and is was NOT going to be sucessful, in continually adding to the legend which case I would need the Peter Jensen started almost 80 yearsbreakthroughs truly built the stage training." ago. upon which all that followed were to perform. The seed that Jensen Bob and Steve continued to build Although many brilliant inventors planted essentially makes him the speakers, three pairs at a time, moved forward from Jensen's great grandfather of the loudspeaker tinkering and experimenting all the original work, his engineering industry as we know it today. ALL CLEAR.

A rose is just a rose. And a speaker is just a speaker. Martin Logan invented Curvilinear Electrostatic Right? Get a grip. Technology. And we packed it all into a line of very remarkable loudspeaker designs. From the new Aerius These are Martin Logan Speakers. Unlike any others. starting at $1,995 a pair to the $60,000 Statement Gone are the components of a traditional speaker. It System. looks like we put nothing behind the grill. That's our electrostatic driver, incorporating an All this is something you'll have a difficult time incredibly advanced Vapor Deposited Membrane seeing. But you will hear it.Clearly. that you can see right through. With less mass than the air it's moving. Capable of cleanly reproducing the exquisite texture of a MARTIn.LOGAR LTD. THE ELECTROSTATIC TECHNOLOGY Stradavarious violin, yet able to unleash the 913-749-0133 awesome power of a Fender® bass. New Aerius P.O. Box 707 Lawrence, Kansas 66044 $1,995.00 pr. MADE IN AMERICA ADVERTISING SUPPLEMENT

From that seed came the company IJI family is ADVENT. Acquired automotive environment, the first that was the first to make dedicated, by DI in 1982, and now 25 years ICT (Inductive Coupling high quality automotive speakers, old, it was a part of the explosion Technology) drive system in the the first to produce a Triaxial in American loudspeaker U.S. where the high frequency system and the first to develop a development and technology reproduction element is inductively graphite cone. centered in New England during the coupled to the woofer's voice coil, mid 1960's. By the 1970's one out providing point source imaging in a Headquartered in Lincolnshire, IL, of every six loudspeakers sold in very compact, low profile unit. The IJI has operations across America. the United States was an Advent. result is a speaker that is reliable and R&D is located in nearby Schiller fits 90% of all car installations. Park, IL, Acoustic Research in Starting with the first model, called Canton, MA, NHT in Benicia, simply The Advent Loudspeaker, Today Advent continues to provide CA, and the General Magnetic the line expanded to include two a whole new generation of users operations are sited in Dallas, TX. models, and the Smaller Advent with excellent price to performance ratios as Fortune magazine noted when it rated Advent one of the 100 Best made American products.

In addition, a special award was presented to the now classic Jensen Triaxial 6x9 automotive loudspeaker system, first introduced in 1976, and still the standard after more than a decade and a half.

The future for IJI is focused on continuing the 80 -year tradition of innovation. This effort is centered around a team of world -class The plastic and metal stamping joined its original parent, now acoustical, electrical, and work, along with home loudspeaker dubbed the Large Advent. These mechanical engineers. The sole goal assembly, takes place at the products rapidly became the of this group is to move ahead by facilities in Punxsutawney, PA, loudspeaker of choice for an entire introducing new home, car, and final car product assembly in generation of Americans, providing lifestyle loudspeaker and electronics Lumberton, NC, and the company them with "Sound as it was meant products. manufactures its woofer cones and to be heard." voice coils in Clinton, NC. The proud heritage of American After the acquisition, HI relaunched innovation embodied in Advent is Using its vertically integrated the company with the "Baby" and also found throughout International manufacturing capabilities, the over the last 7 years has expanded Jensen Inc. At the 1992 Summer company's 2000 + workers, using the family to include a range of Consumer Electronics Show, IJI the PDQ (Products Demand products to serve the needs of received a record 6 Design and Quality) team approach, prove audiophiles, including the special Innovation Awards. Advent home every day that quality, American Limited Edition 25th Anniversary and car speakers, the unique Jensen engineering, and home grown version of the original Large BBE amplifier, Acoustic Research, management can compete on a Advent, which graced more than a and NHT offerings all earned awards. global scale. In fact, export sales to half million homes. Most recently, the Orient are continually the company developed a full line expanding, as the quality and of mobile audio products to bring technical superiority of IJI products the unique Advent sound to the provide its worldwide customer automotive environment. These base with first class, made in products continue the quarter America loudspeaker systems. century of design innovation that is the company's heritage by this year One of the core divisions within the introducing Advent Mobile for the EQUIPMENT PROFILE

Power Requirements: 120 V a.c., A pair of five -disc CD changers re- 60 Hz 20 watts. cently introduced by Yamaha, the Dimensions: 171/8 in. W x 41/4 in. HCDC -735 and CDC -835, incorporate a x 151/4 in. D (43.5 cm x 10.8 cm xnumber of worthwhile and uncommon 38.7 cm). touches. The Model CDC -835,re- Weight: 14 lbs., 5 oz. (6.5 kg). viewed here,is the more expensive Price: $549 and feature -laden of the pair. Company Address: 6660 Orange- An unusual convenience is Yama- thorpe Ave., Buena Park,Cal.ha's PlayXchange, which isolates the 90620. disc being played from the changer For literature, drawer. This eliminates vibration and circle No. 91 permits up to four of the discs in the carousel tray to be removed and replaced while the fifth disc plays. The D/A converter is Yamaha's S -Bit YAMAHA Plus, a single -bit system that uses In- dependent -Pulse Density Modulation CDC -835 (I-PDM) to generate separate, more CD CHANGER accurate pulses for each channel. Ac- cording to Yamaha's engineers, this Manufacturer's Specifications converter improves low-level linearity, Frequency Response: 2 Hz to 20 low-level signal purity, and high -fre- kHz, ±0.3 dB. quency response clarity. The analog THD + N: 0.0018% at 1 kHz. sections following the D/A operate in S/N: 115 dB. Class A, according to Yamaha. Dynamic Range: 100 dB. The CDC -835 uses memory exten- Output Level: Line, 2.0 V; head- sively. The player can store the table of phone, 200 mV. contents (TOC) forallfive discs at Output Impedance: Line, 730 once instead of reading each disc's ohms; headphone, 150 ohms. TOC as the discis accessed; this

AUDIO/DECEMBER 1992 THD + N stays low even at maximum recorded level, indicating that the analog output stages have been properly designed.

speeds track selection, especially for IMPLITUOE 1081VS. fliEODENCY YAMAHA COC-83.5 CO CHANGER you to start play from a given index +1 programs that span several discs. A Ap point within a track (if index points are tape editing feature also functions with encoded on the disc) and permits you LEFT all five discs, so that a "favorite hits" 0 t I to move to any other desired index tape can be easily assembled to fit the RIGHT point. This is not done the usual way, two sides of a cassette. A Program File which is by pressing the "Index" but- memory can store program selections 10 100 lk 10k 20k ton each time you want to move to a and order for up to 100 discs with up to higher index number. (In fact, pressing 10 programmed selections from each.Fig. 1-Frequency response. that button a second time will take you The same memory can store your cho- out of index mode.) Instead, you key in sen settings for the built-indigital the index point you want by using the equalizer. This equalizer, another un- numeric buttons on the subpanel or the usual feature of the CDC -835, provides remote. five settings ("Rock," "Vocal," "Jazz," "Classic," and "Flat"). Memorized set- Measurements tings for any disc will be activated Figure 1 shows the frequency re- whenever that disc is played. sponse of the CDC -835. The published NO NOISE 181 VS PRCOUENCY 11171 ATII OD LEVEL.11118118 COC-1130 CO CHANGER Another unusual feature, Relay Play, 0.01 specification of ±0.3 dB to 20 kHz is permits two Yamaha changers to be AP easily met, but there is a difference in connected together for uninterrupted LEFT R GHT output levels between left and right 10 -disc play. Other features include 0.001 channels. This difference amounts to remotely controllable digital level con- 20 100 lk 10k 20k Fig. 2-THD + N vs. approximately 0.15 dB. trol for headphone and line outputs, Figure 2 is a plot of THD + N versus two -mode random play, four -mode re- frequency as percent of maximum level. frequency for signals at maximum repeat play, direct track access, five- corded level. My left -channel reading disc direct access, music search and of 0.002% at 1 kHz (slightly lower in the skip search, four -mode time display, right channel) does not quite meet the three -mode display illumination, and a rated 0.0018%, but the difference is front -panel headphone jack. The CDC- hardly worth worrying about.I was im- 835 is supplied with a 47 -key remote pressed by the fact that THD + N control and is compatible with other does not rise significantly at the higher Yamaha RS system components. TOO NOISE 1081 VS.1.1181.1i110E1081: YAMAHA OCC-135 CO CRAMER treble frequencies, as is the case with -90 many CD players I have tested. Control Layout RIGHT 4P LEFT -""- Figure 3 shows how THD + N varied Only the most often used controls with signal amplitude. Here, the right are normally visible on the front panel: - 100 -100 -80 -60 -40 -20 0 channel exhibits a slightly lower level "Power," "PlayXchange," "Open/ of THD + N than does the left channel, Close," "Play/Pause,""Stop,""DiscFig. 3-THD + N vs. but even the left -channel reading is signal level. Skip," five buttons for selecting discs some 96.5 dB below maximum record- or selecting and activating digital ed level over most of the range of am- equalizer settings, the "Output Level" plitudes measured. This corresponds rocker, and the headphone jack. Less to a distortion percentage of 0.0015%. often used controls are accessed by At maximum recorded level, the read- opening a hide -away control panel that ing is about -95.0 dB, or 0.0018%, contains the required numeric buttons yielding close correlation with the re- as well as other buttons used in pro- sult obtained in Fig. 2. The fact that this gramming. "Random" play, "Search," level of THD + N is maintained even at track "Skip," and "Repeat" buttons, as SEPARATION VS FREODENCY: 11.1818111 COC-835 CO CHANGER - 60 0 -dB recorded level indicates that the well as "Time" mode and display -illu- AP analog output stages are not reaching mination mode buttons, are also found overload levels and are properly de- on this subpanel. - 80 signed to handle the amplitudes in- The rear panel of the CDC -835 is volved. equipped with a coaxial digital output To see how much of the THD + N jack, gold-plated analog line output-100 figure was THD alone, I ran a spectrum jacks, and jacks and connectors used analysis (not shown). It revealed main- with Relay Play to allow two Yamaha ly second and fourth harmonics, at players to work together. The remote-120 20 100 lk 10k 20k around -100 and -108 dB, respec- control duplicates just about all of the tively. The spectral information allowed front panel's controls.It also has anFig. 4-Separation vs. me to calculate a pure THD figure of frequency. "Index" access button which enables 0.00108%. Additional spectrum analy-

104 AUDIO/DECEMBER 1992 and manages all this power. It's eal movie theater sound THERE ARE 62 begins with a stack of a system comparable to many powerful, articulate amplifiers. separate surround units, each Harman Kardon's audio/video AUDIO/VIDEO of which might cost as much as receiver starts with five dis- an entire ordinary A/V receiver. crete amplifiers, meticulously RECEIVERS ON We suspect that this unique engineered into one preci- integration of high -end ampli- h sion-crafted THE MARKET. * Sensor

FM Mkt EFFECTS LEVEL i a-1 2 3 4 5 i II I a,i I Minnanc 51055 ONE OF PRESET DELAY lan en fication and surround process- THEM IS ing will make it difficult to settle for old standards of value. BUILT FOR The AVR30 sets a new and chassis. Most important one. Too many important, the five amplifiers audio/video receivers are more inside the AVR30 are pure REAL. difficult to use than full-size cin- Harman Kardon in design and ema sound systems. Some need build. Only superior -grade discrete parts are 70 page owners' manuals. You can operate the used in the main audio signal path - right down AVR30 in any mode - right out of the box - to the output terminals. The AVR30 is the ulti- without even opening the owners' guide. Still, mate expression of reviewing that guide HarmanKardon's permits you to uncompromised 40 - fully appreciate this yearcommitment receiver's remarkable to performance over repertoire. To say showmanship; to that the AVR30 is higher quality through- unlikeanyother out instead of the all audio/video receiver too familiar "bells and whistles." Although is an understatement. Despite its unprece- not its intended purpose, the AVR30's 40 amp dented performance and engineering, some high -current rating provides capacity enough for people will still be more impressed by the gad- a real theater sound getry and front -panel excess of other designs. system. A But Harman Kardon didn't build its home state-of-the- theater receiver for a typical audience. artdigital We built it for you. In every sense, we soundand built this one for real. Dolby'Pro- Logicpro- harman kardon THE AMERICAN REVOLUTION cessing sys- IN AUDIO AND VIDEO tem controls

H A Harman International Company Audio magazine's 35th Annual Equipment Directory; receivers with both surround circuitry and video inputs. © 1992 HarmanKardon 800-422-8027 Enter No. 20 on Reader Service Card Measured performance of the Yamaha CDC -835 is equal to the better single -play units at a comparable or even higher price.

sis allowed me to compare quantiza- DEVIATION LINEARITY USING LON-LEVEL SIGNALS,YAMAHA [OC-BaG 110 dB. Using the somewhat different tion +2 distortionforlow-level dithered UNDITHERED EIAJ method of calculating dynamic and undithered signals. For the dith- 0 DITHERED range,I came up with a figure of 99.0 ered signal, only random noise was 2 -100 -80 -60 -40 -20 0 dB for the left channel and - 100.2 dB visible, but overall residual noise level for the right. was somewhat higher (peaking atFig. 5-Deviation from A remarkable aspect of the CDC- - 120 dB compared with peaks ofperfect linearity. 835 was its internal clock accuracy, -125 dB for the undithered signals). which was as close to perfect as I This is the worthwhile trade-off that could measure within the limits of my dithering provides for low-level signal test equipment. Deviation from perfect reproduction. timing accuracy was a negligible Although channel separation ex- 0.003%. ceeds 110 dB at 1 kHz (Fig. 4),it decreases substantially at higher fre- Use and Listening Tests quencies, measuring only about 66.5 The CDC -835 was extremely resis- dB at 16 kHz. From a practical point of FEE-TO-101SETEST FM -00 SO TO -120 Et FANNY COC-435 CO CIENEEP tant to external vibration. With a disc view, this level of high -frequency sepa-+4 playing,I pounded on both the top and ration 4P is more than adequate, but I the sides of the changer's cabinet, and wonder why such a decrease oc- 0 at no time did I detect any evidence of curred. Perhaps it was due to compo- mistracking or muting. On the other nent and wiring layout, with the culprit 4 hand, using my Pierre Verany "de- being capacitive coupling between -120 -100 -80 -60 fects" disc, I found that the changer channels in the final analog stages orFig. 6-Fade-to-noise test. was able to correct for missing data output cables. extending to 0.77 mm but that mis- Overall A -weighted S/N for the CDC- tracking occurred when the length of 835 measured 114.74 dB for the left missing data increased to 1.0 mm. Al- channel and 114.85 dB for the right though this degree of error correction channel. An unweighted spectrum exceeds the minimum required by the analysis (not shown) of residual noise CD standard, itis not up to the error - revealed very minor power -line hum correction capabilities of some CD peaks that reached no higher than a playersI have tested. totally inaudible -119 dB at 120 Hz. With the CDC -835's digital equalizer Mostly, though, the noise was below at its "Flat" setting, Ifelt that the sound about -130 dB up to 2 kHz, rising was somewhat deficient in brightness gently to about -115 dB at 20 kHz. 'CLASSIC. EINIALIZATION RESPONSE FOR TIE TANANA COC-IES CO 01/11615 +5 and mid -bass. However, when I Low-level linearity of this changer is switched to the "Classic" equalization 0 as good as any I have measured for z'N mode, which adds mild boosts in both even the costliest single -disc players. 5 those areas (Fig.7A),the balance 10 100 1k 10k 20k Yamaha's one -bit system of D/A con- seemed to improve.I noticed this on a version results in a deviation of lessA recent release of Rachmaninoff's Sym- than 0.64 dB at -90 dB for undithered B phony No. 2 (Telarc CD -80312) and a signals, as shown in Fig. 5. The same "ROW EINALIZATICN RESPONSE 105 TIE MEM COC-S30 CO CHANGER modern work, Paul Creston's Sympho- +5 holds true for low-level linearity using Ap ny No. 3 (Delos DE 3114). When listen- dithered signals, also shown in Fig. 5. 0 ing to pop and rock, I found the music Here I noted even less deviation, all 5 more dynamic and more emotionally the way down to -100 dB. Both chan- 10 100 1k 10k 20k exciting when I used the digital equal- nels exhibit essentially the same mini- Fig. 7-Digital equalizer izer's "Rock" setting (Fig. 7B). As I mal deviation from perfect linearity inresponse in "Classic" might have expected, the "Vocal" set- these tests. setting (A) and "Rock" ting(not shown) introduced a mid- Further evidence of better than usualsetting (B). range boost that tended to bring the low-level linearity can be seen in the singer's voice forward. fade -to -noise test (Fig. 6), in which a The CDC -835's convenience fea- signal gradually decreases in ampli- tures are outstanding, and anyone who tude from -60 to -120 dB untilit likes the idea of owning a multiple -disc fades into the residual noise. Dithered CD player with extensive programma- signals were used, and once again, bility would do well to consider this the deviation from perfect linearity is unit.I would rank its measured perfor- minimal. This test also serves to define mance equal to the better single -play EIA dynamic range, which, for this units selling for a comparable or even Yamaha changer, was approximately higher price. Leonard Feldman 106 AUDIO/DECEMBER 1992 4

Rule #23 All drivers are not created equal.

The speakeron the left is designed with Injection -Molded Polypropylene (IMPP") cone technology. The speaker on the right, is paper. The speaker on the left offers cleaneE richer bass. The one cn the right doesn't. The one on the left can handle extraordinary amounts of power without distortion. The one on OD PIONEER' the right can't. The one on the left is from a full line of new high-performance componen: speak- The Art of Entertainment ers from Pioneer' The one on the right isn't. Tc find out more, call 1-800-421-1604, ext. 441

S.:1992 Pioneer Electronics (USA) Inc.. Long Beach, CA. Enter No. 34 on Reader Service Card EQUIPMENT PROFILE

AUDIX SCX-ONE STUDIO MIKE SYSTEM Manufacturer's Specifications Type: Condenser with interchangeable capsules. Capsules: Omnidirectional (SCX-o), omnidirectional with added pres- The new SCX-One studio condenser In addition to the four capsules, a ence (SCX-op), cardioid(SCX-c), microphone from Audix is distinctively 10 -dB attenuator was furnished, which and hypercardioid (SCX-hO). short, which the manufacturer attri- fitsin between the capsule and the Frequency Response: SCX-o andbutes to the use of surface -mount tech- preamp. This element is needed only SCX-op, 20 Hz to 20 kHz; SCX-c andnology in the electronics. Audix haswhen working with high sound levels, SCX-hc, 40 Hz to 20 kHz. their own surface -mount facilities as anditincreases the maximum SPL Sensitivity (re: 1 V/µbar): SCX-o,well as proprietary coil -winding equip- from 130 or 132 dB to 140 or 142 dB. - 60 dB; SCX-op, -58 dB; SCX-c,ment. (Their consumer microphones, The windscreen, pop screen, and - 56 dB; SCX-hc, -56 dB. however, are imported from Japan.) I shock mount were not furnished. No Impedance: 200 ohms. reviewed the Audix UD-200S cardioid cable was furnished, and I found that Equivalent Noise Level: 13 dBAdynamic microphone for the June 1987 not all of the cables I had on hand with re: 20 micropascals (p,Pa). issue and found it had good perfor-XLR-type three -pin connectors would Maximum Sound Pressure Levelmance and appeared durable. Since fit the mike. This was because the mi- (re: 20 µPa): SCX-o and SCX-op, 1988,I have been using Audix OM -1 crophone's precision machining did 132 dB; SCX-c and SCX-hc, 130 dB; dynamic mikes in my church auditori- not allow for the size variation among all figures 10 dB higher with optionalum; these microphones have survived different brands of connectors. 10 -dB attenuator. relatively rough usage and still sound Power Source: Phantom, 9 to 52 Vand look good. Measurements d.c. The SCX-One and its interchange- Audix indicated that it would be best Connections: Integral three -pin XLRable capsules have precision -ma- to use a source of phantom power with male plug at base of preamp hous-chined housings and appear to be ofminimum series resistance so as to ing. high quality. The SCX-One is the first maintain the voltage at the mike close Dimensions: 41/8 in. L x 13/16 in. dia. studio condenser offered by Audix and to 48 V d.c. For my tests,I used five 9- (10.5 cm x 2.1 cm). was so new that an instruction manual V batteries connected to the center tap Weight: 4 oz. (0.11 kg). with detailed data on the unit was not of a high -quality 200:200 -ohm isolation

Prices: Preamp section, $500; cap-available when I wrote this. The cata-transformer. Since I used no resistor sules, $399 each; 10 -dB pad, $100;log sheet contained some errors and between the batteries and the center shock mount, $199.95; windscreentypos (which I've confirmed with the tap, and since fresh "9-V" batteries are and pop filter, $25. manufacturer); the specs listed at the actually a fraction of a volt over that Company Address: 19439 S.W.beginning of this review are correct. value, I obtained approximately 47 V at 90th Ct., Tualatin, Ore. 97062. The frequency response curves in thethe microphone. This arrangement had For literature, circle No. 92 catalog sheet were too small to be of the advantage of isolating d.c. from my much use, but individually drawn strip impedance -measuringcircuit,which charts were included with the micro- allowed me to ground one side of the phone system. mike output for the impedance test. 108 AUDIO/DECEMBER 1992 "There is an inherent quality of ruggedness, reliability, and sonic integrity that has always impressed me favorably when I have had the opportunity to test and listen to Soundcraftsmen products."

Leonard Feldman,Audio

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MTX SOUNDCRAFTSMEN Technical Assistance: 2200 S Ritchey, Santa Ana, Ca 92705, Phone 714-556-6191 Sales Support: 555 W Lamm Rd, Freeport, IL 61032, Phone 815-232-2000 0 MTX, 1992 Quote reprinted with permission tram Hachette Magazine, 1989 Enter No 28 on Reader Service Card The Audix SCX-One mike system has both excellent frequency response and uniform directional characteristics.

Normally, I present an impedance Cg .20 degree of response equalization is curve, but in this case, the magnitude -J comparable to popular vocal micro- varied so much with frequency that the o- 1.1 phones, so the SCX-op capsule should isolation transformer introduced errors. -1 0 be appropriate for vocal music and After making corrections for the series 17- speech. Both omni capsules show lin- resistance of the transformer, I estimat- -J ear bass response and will probably ed the impedance to be about 26 wiLl 20 20 100 lk 10k 20k pick up subterranean bass. Omnis are ohms at 1 kHz and above. Below 1 FREQUENCY-Hz the first choice for vocals, as they have kHz, the impedance increased like aFig. 1-Frequency no proximity effect (bass boost when capacitor's, reaching about 1,100response with SCX-o used at close distances) and are less ohms at 20 Hz. In order to avoid bassomni capsule (0 dB is responsive to breath blast or "pop." roll -off, the minimum load resistance - 35 dBV/Pa). The response of the SCX-c cardioid on the mike should be about 3 kilohms. capsule (Fig. 3) shows a slight rise I tested the SCX-One and its cap- towards 10 kHz, which is acceptable sules using a 2 -inch spherical labora- and perhaps desirable for many uses. tory sound source at distances from 6 The roll -off above 10 kHz is a bit too to 24 inches. The first capsule tested 20 steep. The bass response is linear for was the omnidirectional SCX-o. Figure sources 12 inches away but rolls off for 1 shows that the response is smooth point sources at an "infinite" distance -I and flat, except that the peak at 8 kHz 0 (greater than 4 feet). Since the latter is about 2.5 dB higher than the re- response is calculated for a free field, sponse on the factory strip chart. This wc, 20 it is difficult to be certain if it is correct is an acceptable variation; in my opin- 20 100 1k 10k 20k for sound pickup in rooms. Figure 4 ion, a microphone of this size should FREQUENCY - Hz indicates good cardioid directional re- have a peak of this magnitude in theFig. 2-Frequency sponses for the SCX-c capsule. The frontal response so that diffractionresponse with SCX-op individual factory test curve agreed does not cause the response to haveomni capsule with above. excessive high -frequency roll -off. Afterpresence (0 dB is The data for the SCX-hc capsule translation to a 1 -µbar (0.1 -Pa) refer- - 38 dBV/Pa). (Fig. 5) indicates that exceptionally lin- ence, the measured sensitivity was 6 ear frequency response will probably dB higher than was shown on the fac- be obtained for sources more than a tory test chart and 5 dB higher than few feet distant. Figure 6 shows good shown on the spec sheet. Table I .20 hypercardioiddirectiona[ responses.

shows a comparison of three sets of 1 Note that the "null" is at 135°, not 180° sensitivity data for this and the other 6" as in the cardioid. The factory test three capsules. - 0 curves showed more linear response Normally, my data agrees with the for the hypercardioid than for the other manufacturer's within 1 or 2 dB. In this CO capsules, and my curves are in rea- case, since my test values show less of ce- 20 20 100 lk 10k 20k sonable agreement with them. a spread than Audix's factory test re- To measure the noise of the micro- sults do, there appears to be a prob- FREQUENCY-Hz Fig. 3-Frequency phone, I put itin a sound -attenuating lem in their testing but not in the micro- box. The cardioid capsule was used phones themselves. Despite what Au-response vs. source distance with SCX-c for this test, as it was likely to pick up dix's test charts show, the spread of the least environmental noise at very values in the specifications and in mycardioid capsule (0 dB Is -39 dBV/Pa). low frequencies, and the mike was test results is acceptable. This is im- powered by a battery supply to avoid portant to the user, because micro- hum. The SCX-One has nearly 20 dB phones with closely matched output greater sensitivity than a dynamic levels are desirable for stereo record- mike, so noise from my instrument am- ing and because uniform sensitivity im- TableI --Comparison of sensitivity plifier was not a factor. plies uniformity in manufacture. figures at 1 kHz, in dB re: 1 V/1.Lbar. The third -octave -band noise spec- The frequency response with the trum of the SCX-c (Fig. 7) decreases SCX-op (omni with presence) capsule Factory with frequency at a more or less linear is shown in Fig. 2. If the 0° curve were Test Reviewer rate. The A -weighted equivalent sound smoothed a bit between 5 and 10 kHz, Capsule Spec Chart Data pressure level of the noise was calcu- it would closely match the test curve SCX-o -60 dB -61 dB -55 dB lated to be 25 dB. This was much high- supplied by the factory. Note that the SCX-op -58 dB -63 dB -58 dB er than the manufacturer's rating of 13 90° curve, compared to Fig.1,indi- SCX-c -56 dB -56 dB -59 dB dBA, so I tested a second sample and cates the response peakinginthis SCX-hc -56 dB -60 dB -57 dB founditto have almost exactly the capsule is about 7 dB at 7 kHz. This same noise level. Then, I put a Neu - 110 AUDIO/DECEMBER 1992 aragonamplifiers the beast within the beauty

Each 4004 MKII contains two separate monoblook amplifiers enclosed in a single chassis. This beast produces 200 watts into 8 ohms, 400 watt into 4 ohms from each mronoblock, and contirces increasing power into lowe- impedances. The new 4004 MKII has advanced discrete high bias class A gain stages with auto bias control. From -he epoxy sealed military grcde -esistors to the beta matched output t-ansistors, tie quality of the components in an Aragon are found only in the world's costliest electronic 3. All th s is then housed in a timeless sculpture of steel anc aluminum, whose beauty has been exhibited in some of the nation s most prestigious museums. But the oeauty is rot just skin deep, the Aragois are there to exhibit the subtle musical differences between 3tradavari, Guarneri cnd Amati violins. Experience the oeast within the beauty. Made in America and internationally acclaimed as the -nest quality and value attainable.

MONDIAL DESIGNS LIMITED 2 Elm Street, Ardsley, New York 10502 '314-693-8008 Erier No. 27 on Reader Service Card Exceptional as my AKG mike is, I was pleased that I could hear no difference between tapes made with it and with the Audix.

mann KM -100 with cardioid capsule were able to drive the Sony to its 0 -dB and the SCX into the test box. Playing level during the taping. a radio in the test room at low level and My test recordings were made at a using the calibrated attenuator in my concert atthe United Methodist microphone amplifier, I determined Church in Haddonfield, N.J., a large that the equivalent noise SPL of the sanctuary with 900 seats. I mounted Audix was about 10 dB higher than the SCX-Ones on a 14 -foot stand, used that of the Neumann, a far more expen- FREQUENCY - the hypercardioid capsules, and set sive mike with a rated noise level of 16 Fig. 4-Frequency up the mikes as a coincident pair with dBA. Therefore, I concluded that my a 90° included angle. The Audix mikes measured noise level for the Audixresponse vs. angle, with SCX-c cardioid capsule. were positioned about 2 feet below the mike was correct. However, noise from permanently flown AKG C-422 stereo the SCX was not a problem during the microphone. The latter was set as a listening tests. coincident pair of figure -8 micro- The clipping level of the SCX-o omni phones at 90° (a Blumlein array). The was measured as 127 dB peak SPL, AKG was connected via a Soundcraft significantly lower than the rated 132 8 x 4 mixing console to a Sony DTC- dB. Of course, inserting the 10 -dB at- 6' III 75ES DAT recorder. The concert in- tenuator will increase the overload lev- cluded a young persons' choir with so- el to 137 dB. 12' 00 loists,handbells, organ, and piano. Nearly two hours of tape had been Use and Listening Tests 20 used by intermission. The DAT Walk- 1k After my tests, I obtained a second 20 100 fOk 20k man's battery, which is rated at two SCX microphone set, plus a power FREQUENCY -Hz hours per charge, was flat by this time, supply, so I'd have a stereo pair forFig. 5-Axial frequency and the battery in the microphone recording. The power supply wasresponse vs. source power supply was also weak. made by ACO Pacific; Audix does notdistance with SCX-hc I was unable to perform a strict NB make or sell power supplies Of its own.hypercardioid capsule (0 dB is -37 dBV/Pa). comparison between the AKG and Au- This switching supply used one 9-V dix mikes, as the tape made with the battery to furnish 48 V d.c. to a pair of AKG also included some sound from microphones; under load,however, soloists' microphones at times, and .1 the unit delivered only 29 V d.c. at the had to keep switching the AKG and mikes, much less than my homemade *20 Audix tapes in and out of the one DAT battery supply did. The battery fur- recorder I had available. Nonetheless, nished with the supply died on the I am pleased that I heard no difference bench and was replaced with a fresh 0 between the tapes, particularly since I alkaline. Testing indicated that the au- consider the AKG to be an exceptional dio outputs of the supply were bal- mike. anced, with the midpoint grounded. -20 After the concert, I acquired a To- This showed that the mike had an elec- shiba DX -900 VCR with digital and tronically balanced, transformerless 20 100 1k 10k 20k FREQUENCY - Hz VHS Hi-Fi sound. Because this unit can circuit. I therefore derived the unbal- record both PCM and Hi-Fi sound si- anced signals for the recorder fromFig. 6-Frequency response vs. angle with multaneously, with flat response from one audio line only (pins 2 and 1 of the 20 Hz to 20 kHz on each, it is a valu- XLR-type connectors). This avoidedSCX-hc hypercardioid capsule. able toolin comparing two pairs of shorting the other line (pin 3) to ground microphones orin making surround (pin 1), which might possibly damage sound recordings. chips in the power supply. I used this VCR to make a backup The recorder used was a Sony TCD- master tape during an organ recording D3 DAT Walkman, so the entire record- session in the Haddonfield church with ing setup needed no a.c. power. Be- -100 Music Director and organist John Wil- cause of the SCX-One's high output, I -110 nu son. The large Austin pipe organ was had to switch in the Sony's 20 -dB mike recently rebuilt, and some electronic input attenuator. This worked well until 120 92.m_nom 32 -foot stops had been added. I one channel of the Sony's mike -130 nu hi placed a pair of SCX-o omni units in preamp failed,probably due to a 100 10k 20k RFOUENCY-Hz the first row of the rear balcony, which switch problem. The line inputs were is about 130 feet from the organ pipes. still good, so the mikes were connect-Fig. 7-Third-octave noise The mikes were spaced 7 inches ed to these inputs with gain at maxi-spectrum with SCX-c apart, facing the organ, and powered capsule. mum. Remarkably, the SCX mikes by the audio console. The audio from 112 AUDIO/DECEMBER 1992 The Audix is comparable to more expensive studio mikes and is an ideal choice for live concert recordings.

the AKG mike was recorded by the Sony DAT Walkman and by the PCM tracks on the Toshiba VCR. The audio from the SCX mikes was recorded on the Hi-Fi tracks of the VCR as surround channels. The recordings were remarkably similar, save for an excess of very low bass on the SCX tracks, caused by room acoustics. I learned from this experiment that these omni mikes are capable of subterranean

bass, as I had expected.I was not surprised that a good stereo recording could be made with slightly spaced omnidirectional microphones, as I had used this technique in reviewing the Mid & Kjaer Studio Microphones (No- vember 1984 issue). AfterI obtained these good results, my colleague Carlton Read used the Audix omnis in recording a string quartet concert at the Presbyterian Church in Haddonfield. The acoustics of this large, 1,000 -seat sanctuary had been recently improved. The mikes were spaced about 7 inches apart and were above, in front of, and facing the musicians. The recorder was a battery -operated Marantz cassette unit with If you'd like to hear more apuut our colorful founder drop i, Dolby B NR. The recording was technically about the best I've heard fromTHIS OLD SAFE didn't fall on Jack Daniel, this church. Background noise was not audible, and the stereo perspectivebut it may as well have. was amazingly good. The instruments sounded very live, almost like a DAT One morning in 1905, the safe wouldn't recording. cooperate with its owner(he thought he knew Conclusions The SCX-One microphone system the combination well). Mr. Jack lost his temper has excellent frequency response and uniform directional characteristics, and kicked it hard enough to break his comparable to more expensive studio microphones. Itis an ideal choice for big toe. Infection took a lot of people making on -location concert recordings later, it using a DAT or a PCM/Hi-Fi VCR. The in those days, and a few years noise levels may be too high for re- took Jack Newton Daniel. Faithful to cording very quiet sources inquiet places but will probably not be noticed his ways, we've never altered the in typical concert recording venues. I hope that by the time you read this whiskey that bears his name. Nor, review, Audix will have ironed out quality control in factory testing and provid- we'll admit, ever found reason to ed a manual with properly written specifications. I also hope Audix can mess withthat old safe. reduce the noise level and increase the peak SPL, but this may not be possible without increasing the cost. SMOOTH SIPPIN' Still, these are small items, and overall TENNESSEE WHISKEY this mike offers good performance at a reasonable price. Jon R. Sank Tennessee Whiskey 40-43% alcohu by volume (80-66 proof) Distillec anc Bottled by AUDIO/DECEMBER 1992 113 Jack Daniel Distillery, tem Motlow, Proprietor, Route 1, Lynchburg (Pop 361), Tennessee 31352 Placed in the National Registera Historic Place. bythe United States Government. EQUIPMENT PROFILE

JBL L7 SPEAKER Manufacturer's Specifications System Type: Four-way, tower -style vented box. Drivers: 12 -in. cone woofer, 8 -in. cone mid -bass, 5 -in. cone midrange, and1 -in. titanium -dome tweeter. Frequency Response: 30 Hz to 27 kHz, ±6 dB. Sensitivity: 91 dB at 1 meter with 1 watt applied. Crossover Frequencies: 180 Hz, 900 Hz, and 4 kHz. Nominal Impedance: 6 ohms. Recommended Amplifier Power: 35 to 450 watts per channel. Dimensions: 4515/16 in. H x 95/8 in. W x 175/8 in. D (116.7 cm x 24.4 cm x 44.8 cm), excluding base; base mounts flush with front and rear JBL`s new L series consists of fourand up to the mid/high-range horn- of cabinet, increases height by 1in., models-the L1,L3,L5, and L7-loaded L300. and extends 21/2 in. on either side. which range from a small two-way 6- The L7 is a true four-way, all direct- Weight: 75 lbs. (34.1 kg) each. inch system to the L7 reviewed here, a radiator loudspeaker and is only sold Price: $975 each ($1,950 per pair),floor -standing four-way 12 -inch sys- in mirror -image pairs. The bottom 21/2 including base; available only intem. The L series is just below JBL'soctaves are handled by a beefy long- black ash. high -end XPL series of home loud-throw 12 -inch woofer mounted on the Company Address: 240 Crosswaysspeakers. side of the cabinet and operating in a Park West, Woodbury, N.Y. 11797; The L designation in JBL's consumerrear -ported box. The side -mounted (800) 336-4525. line has long held an honorable posi-woofer permits a relatively narrow cab- For literature, circle No. 93 tion, going back to the early 1970s. In inet just slightly wider than the 8 -inch my JBL literature file (which is quitemid -bass driver. The mid -bass, mid- extensive, because I worked for therange. and tweeter drivers are in a company's pro division for seven yearsvertical array on the top half of the beginning in the late '70s),I countedcabinet, on a panel angled back about no fewer than 28 models with the ven- 9°. The cabinet's slanted top half mini- erable L prefix, running from the L15,mizes internal standing waves be- to the very popular L100 "Century, cause of the non -rectangular configu- 114 AUDIO/DECEMBER 1992 Push the envelope!

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100 ration. JBL states that the L7's narrow TEF and mid -bass crossover legs are cabinet and vertical driver array con- GRILLE OFF specified to have saturation currents tribute to uniform and wide sound dis- 90 co higher than 4 amperes. JBL pays a lot persion, which results in improved ste- 80 of attention to the details, judging reo imaging. a. I,RILLE ON co from the execution of the crossover, The cabinetisquitesolidly con- 70 even to areas that consumers wouldn't structed from a combination of both normally see. high -density and medium -densityfi- 60 20 According to JBL's white paper de- berboards, and it is well supported by 100 1k 10k 20k FREQUENCY - Hz scribing the L series, the following per- side -to -side and front -to -back braces.Fig. 1-Anechoic formance characteristics were given The extensive bracing strengthens thefrequency response. high priority: Smooth on -axis response, side walls and reduces vibration. Lock- smooth power response (i.e., smooth miter corners increase the rigidity of on- and off -axis response), accurate the cabinet. to 0 n. 1.2 stereophonic imaging, and low distor- Subchambers are used for both mid - Icel -630 0.8 I tion. The on -axis response should be -360 bass and midrange drivers. All absorp- GROUP DELAY0.4 )1. smooth, because it defines the spec- LI; -540 tion materials are fiberglass, and con- 0 wo tral balance of the sound that first ar- nections are made with 16 -gauge -720 -o.4 ,,ASE rives at the listener and so is of great- stranded wire. The rear -mounted plas- -900 -0.8g est subjective importance in judging tic port is 4 inches in diameter and 8 R- -1080 1.2 20 100 lk 10k 20k timbre. Smooth power response is im- inches long. A grille made of black FREOUENCY-Hz portant because the room's sound and cloth stretched over a curved plasticFig. 2-Phase response associated reverberation depend frame occupies the upper third of theand group delay. heavily on the off -axis response of the cabinet's front. A recessed cloth -cov- speaker and its power response. The ered grille also covers the side -mount- total sound of a speaker dependg not ed woofer. The L7s are only available 90 TEF only on the direct sound reaching the in a finish of black ash wood. A sup- listener but also on the later reflected plied plastic base increases the width GRILLE; OF sound. Assuming a properly designed of the speaker by 5 inches forin- 80 listening room, a speaker with smooth creased lateral stability. No means are co on -axis and off -axis response will provided for attachment of spikes. GRILLE ON sound best. Accurate stereo imaging I 70 The system contains a new family of depends on absolute symmetry in your cast -frame drivers designed specifi- listening setup, on close right/left cally for assembly on JBL's automated 60 matching of the loudspeakers, and manufacturing line. The low -frequency very uniform on- and off -axis horizontal drivers utilize JBL's Symmetrical Field response. Low distortion, particularly Geometry magnetic design tomini- at high levels and low frequencies, is a mize low -frequency distortion. The 50 0 2 4 6 8 10 requirement forrealistic wide -range woofer and mid -bass drivers each sound reproduction. have vented pole -pieces; holes in the TIME - mS rear of their magnet assemblies circu-Fig. 3-Energy/time Measurements late air for increased heat dissipation.response. Figure 1 shows the L7's on -axis an- The tweeter contains a dome and sur- echoic frequency response. Measure- round made from pure titanium. Titani-permitting the woofer to be driven sep- ments were taken at a distance of 2 um has a very high stiffness -to -massarately from the rest of the system. meters from a point halfway between ratio, which raises the dome's reso- The crossover is made up of 16 the midrange and tweeter and perpen- nance far above the audible range, butparts (not counting paralleled units): dicular to the front of the cabinet (not is extremely difficult to work with. JBLFour inductors, six capacitors, and six perpendicular to the tilteddriver - forms the dome with ribs and uses aresistors. The crossover topology con- mounting panel). A signal of 5.66 V proprietary diamond patternfor thesistsofa second -order low-pass rms was applied and the results refer- surround. Titanium's high strength andsection on the woofer, a first -order enced back to 1 meter. The response rigidity are used to great advantage inhigh-pass and a second -order low-pass below 800 Hz was derived from 2 -me- JBL's tweeters. section (forming a bandpass filter) onter ground -plane measurements; the The crossover of the L7 is construct-the mid -bass and midrange, and ainput was reduced to 2.83 V rms to ed on two separate p.c. boards, onesecond -order high-pass on the tweet-compensate for the ground plane's 6 - devoted to the woofer and the other toer. All parts used in the crossover aredB boost. the mid -bass, midrange and tweeter.of high quality, and all nonpolarized Overall, the response without the The double -banana -jack input termi-electrolytic capacitors are bypassedfront grille fits a tight window of ±2.3 nals are connected by straps whichwith low -value polypropylene units. dB between 50 Hz and 20 kHz refer- can be removed for bi-wire operation, The iron -core inductors in the wooferenced to 1 kHz. Above 800 Hz, the 116 AUDIO/DECEMBER 1992 Effortless

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Enter No. 40 on Reader Service Card JBL gave high priority to smooth on -axis response, smooth power response, accurate stereo imaging, and low distortion.

response fits an even tighter window of about 23 dB down. With the grille, the ± 1.4 dB. Above 20 kHz (not shown), main arrival is followed closely by three the response was flat to 22 kHz and 111 relatively high-levelreturns, the first then rolled off rapidly at higher fre- only about 13 dB down from the main quencies. Notably, the response arrival. 0 FRONT above 20 kHz did not exhibit any of the 45 The horizontal off -axis responses of high -Q dome resonances commonly 90 SIDE OFF 35 AXIS - the L7 are displayed in Fig. 4; the bold exhibited by most metal -dome tweet- WO REAR DEGREES 200 2k 20k curve at the rear is the on -axis re- ers. The roll -off above 20 kHz was FREQUENCY-Hz sponse. Because the on -axis response quite smooth and well behaved. Fig. 4-Horizontal off -axis is carried over quite faithfully into the The only conspicuous features of thefrequency responses. off -axis curves, the L7's horizontal cov- response occur below 800 Hz, where erage should be judged first-rate. Al- the curve in Fig. 1 exhibits an undulat- though the system is slightly asymmet- ing character with peaks at 105 and rical, with the midrange and tweeter about 350 Hz and adjacent troughs. offset on the front panel, the off -axis The trough at 200 Hz roughly coin- responses to either side were essen- cides with the crossover between the tially the same. woofer and the 8 -inch mid -bass. Sepa- Figure 5 shows the vertical off -axis rate ground -plane measurements of curves. The bold curve in the center of the L7's output energized through the the graph (front to rear) is directly on bi-wire inputs (with the bi-wire straps -90 BELOW axis. Not clearly seen is the excellent removed) revealed that, indeed, the -45 OFF flatness of the curves in the main lis- output was low in this region 0 FRONT AXIS - ,245 DEGREES tening window, from 5° below axis to ABOVE The front grille causes s me fairly 200 2k 20k 15° above it. Only the 10° and 15° be- severe interference effects in the on - FREQUENCY-Hz low -axis response curves exhibit inter- axis response. I suggest leaving it offFig. 5-Vertical off -axis ference in the upper crossover range for serious listening; the speaker looksfrequency responses. (3 to 5 kHz), where relatively narrow quite acceptable without it. dips of 10 to 15 dB are evident. At Above 100 Hz, the right and left sys- extreme angles off the axis and above tems matched within a fairly close it (front of graph), dips in the frequency -± 1.3 dB. Close right/left matching is a response can be clearly seen at both prerequisite for stable lateral imaging. 100 co of the upper crossover regions, 900 Hz Figure 2 shows the phase and and 4 kHz. group -delay responses of the L7, refer-0 1 When the system was subjected to a enced to the tweeter's arrival time. The z10 high-level, low -frequency sine -wave phase rotates a consequential 280° sweep, no significant cabinet reso- between 1 and 20 kHz due to a combi- nances were evident. A sharp mini- nation of crossover design and the off- mum in woofer excursion occurred at set between the acoustic centers of the 5 10 100 lk 10k 20k 29 Hz, which indicates the L7's vented- midrange and tweeter. Between 800 FREQUENCY- Hz box tuning. Even at levels above 30 V Hz and 4 kHz, the group delay of theFig. 6-Impedance. rms (150 watts) at the 29 -Hz box reso- midrange averages about 0.2 mS, nance, wind noise from the port was which indicates that acousticallyits quite low and the port's sound output output lags the tweeter with an equiva- was very clean. The woofer handled a lent distance of about 2.7 inches. The robust 18 V rms (54 watts into 6 ohms) dip in the group delay at 200 Hz coin- +j40 at frequencies below 20 Hz without cides with a dip in the axial response producing any bad noises, and it did at about the same frequency, indicat- 5 +j20 8.5 Hz not exhibit any dynamic offset effects. 5 Hz ing a possible minimum -phase aberra- 0 The maximum excursion of the woofer tion. If the response were equalized flat z 30 kHz 9.5 Hz was a healthy 3/4 inch, peak to peak, 700 Hz in this region, the group delay would 0 with a linear excursion of about 1/2 inch, also be much smoother. 38 Hz peak to peak, and the driver over- The L7's energy/time response is Hz loaded gracefully. -j20 shown in Fig. 3. The test parameters The L7's impedance magnitude is were chosen to accentuate there- shown in Fig. 6. A minimum imped- sponse from 1to 10 kHz, which in- -j40 ance of 3.2 ohms occurs at 70 Hz and cludes the highest crossover region. 0 20 40 60 80 a maximum of 64 ohms at the subsonic With the grille off, the main arrival, at 3 RESISTANCE - OHMS frequency of 9 Hz. The maximum im- mS, is quite slender and is followed byFig. 7-Complex pedance in the passband is 20 ohms only a single prominent delayed arrivalimpedance. at 40 Hz. Because the curve has a 20 AUDIO/DECEMBER 1992 LISTEN...DON'T SHORTCHANGE YOURSELF

your4P4b Q'e Cele Quoti 041.

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Finally, it's here! The NAD 505 combines the convenience of a five disc carousel compact disc changer with the kind of performance NAD that has won critical acclaim worldwide for single-di3c NAD players. At NAD, the music is the mcst important feat ire. Come hear the difference. YEARS Enter No. 29 on Reader Service Card of MUSIC The curves don't do justice to the excellent flatness of the response in the main listening window, from 5° below axis to 15° above it.

fairly high passband max/min variation 90 1EF 4.5% second and 3.9% third. Only of about 6.3:1,this speaker will be small amounts of higher harmonics 80 somewhat sensitive to cable resis- were evident. At 100 watts the L7 gen- tance. Cable series resistance should7 70 erates a fairly loud 104 dB SPL at1 therefore be limited to a maximum of 0, meter at 41.2 Hz. about 0.044 ohm to keep cable -drop 60 The very low A2 (110 -Hz) distortion effects from causing response peaks data is shown in Fig. 10. The second and dips greater than 0.1 dB. For a 50 20 100 1k 10k 20k harmonic reaches only 0.9% at 100 standard run of about 10 feet,14 FREQUENCY- Hz watts; the higher harmonics were be- gauge or larger wire should be used.Fig. 8-Three-meter room low the floor of my analyzer. At 110 Hz Although smaller diameter wire, withresponse. with a 100 -watt input, the JBL gener- higher series resistance, can be used, ates a loud 108 dB SPL at 1 meter. itwill result in larger peak -to -dip re- Figure 11 displays the IM distortion sponse variations. created by tones of 440 Hz (A4) and In Fig. 7 the complex impedance is 41.2 Hz (E1) of equal input power. The plotted over the range from 5 Hz to 30 100 - MAXIMUM POWER:100 WATTS IM rises only to the low level of about kHz with an expanded 80 -ohm imped- 0Z 1% at 100 watts. The four-way design 10- ance scale. The large circle in the plot N.,2 nd, 4 5% 3,d, 3.9% 1 of the L7, with a low crossover at about is the subsonic resonance of the lower N 41h,0.9%515,0.8% 10 12d8 200 Hz, separates the two IM test vented -box impedance peak. The 100 - tones and sends one to the woofer and passband impedance phase (not 10 POWER- ',Ill the other to the mid -bass driver, thus shown) reached a maximum angle of WATTS 0- minimizing the distortion. +35° (inductive) at 550 Hz and a mini- 0 The L7's short-term peak -power in- mum angle of -71° (capacitive) at 48 50 100 150 200 250 FREQUENCY -Hz put and output capabilities are shown Hz. The L7s will not be a problem forFig. 9-Harmonic in Fig. 12, and assume the rated 6 -ohm any high -quality amplifier,but don'tdistortion products for impedance. The input power starts parallel two L7s on one channel! E1 (41.2 Hz). quite high, 230 watts at 20 Hz, but then Figure 8 shows the 3 -meter room fluctuates as frequency increases. curve with both raw and sixth -octave Power -limitation dips occur at 60 Hz, smoothed responses. The L7 was in 350 Hz, and 5.5 kHz. A maximum input the right-hand stereo position, aimed of about 4.5 kW is reached between at the listening location; the test micro- 1:100 - z MAXIMUM POWER:100 WATTS 800 Hz and 3 kHz and above 8 kHz. phone was at ear height, at the listen- 0 10 - In the vicinity of 60 Hz, the input er's position on the sofa. The system 0cc power was limited to about 400 watts was driven with a swept sine -wave sig- Ecn 1.0 - 2nd, 0.9% 12dB by a buzzing sound from the woofer. 100 - nal of 2.83 V rms (1.33 watts into the T Both speakers exhibited the same af- 10 - .1** rated 6 -ohm load). The direct sound POWER - 1.0-. fect. The power at 350 Hz was limited and 13 mS of the room's reverberation WATTS to about 900 watts; the output wave 0.l0.1 1 are included. Above 4 kHz, the 150 250 350 450 550 650 shape changed to a triangle, presum- smoothed curve is quite flat and ex- FREQUENCY- Hz ably due to crossover inductor satura- tended. Some upper midrange em-Fig. 10-Harmonic tion. Waveform distortion near 5.5 kHz phasis between 1.5 and 2.5 kHz isdistortion products for limited the input power to about 1,000 noted. Excluding the two room -effectA2 (110 Hz). watts. The flattening of the wave shape dips near 200 and 400 Hz, the curve in this band may possibly have been fits an 8 -dB window ( -± 4 dB) from 100 due to tweeter excursion limitations in Hz to 20 kHz. the bottom of its range. Figures 9 and 10 show the single- The top curves in Fig. 12 show the frequency harmonic distortion versus peak sound levels the L7 can gener- power for the musical notes of E1 (41.2 ate. The "room gain" of a typical listen- Hz) and A2 (110 Hz). Distortion for the ing room adds about 3 dB to the re- usual 440 -Hz tone is not shown be- sponse at 80 Hz and 9 dB at 20 Hz. cause the only distortion rising above The peak acoustic output rises rap- the floor of my test gear consisted of idly with frequency up to 150 Hz, hesi- about 0.2% third harmonic at full pow- 0 tates, and then reaches a peak at 1.6

er. The power levels were computed 01 1 10 100 kHz near 125 dB SPL. At higher fre- using the L7's rated impedance of 6 POWER - WATTS quencies, the output curve mimics the ohms. Fig. 11-1M for 440 Hz input -power curve's dip at 5.5 kHz. The E1 (41.2 -Hz) harmonic distortion(A4) and 41.2 Hz (E1) With room gain, the output exceeds data is shown in Fig. 9. At maximummixed in equal 110 dB above 26 Hz and 120 dB power, the distortion only reachesproportion. above 90 Hz, with only a slight fall 122 AUDIO/DECEMBER 1992 The Breakthrough.

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Upon its introduction, the Adcom GFA-555 and more music lovers the opportunity of experiencing power amplifier was considered a breakthrough in the thrill of sonic perfection without the shock of audio technology. Rated superior to amplifiers cost- exorbitant costs. ing two and three times as much, some critics had Visit your Adcom dealer and listen to the new difficulty in naming a better component at any price. GFA-555II. Then ask its price. You'll hear how good Now, after years of using the GFA-555 as their this new breakthrough sounds. model of superior performance and value, Adcom *Power output watts/channel, continuous both channels driven into 8 engineers announce another breakthrough. The new, ohms, 20 Hz - 20 kHz at less than 0.04% THD. upgraded GFA-555II, rated at 200 watts per **Stereophile, October 1990. channel*, offers greater stability, superior heat dissipation and less distortion. It is everything which made the GFA-555 "...one of the best selling amplifiers of all time,"** and more. With the GFA-5551I, Adcom begins a new gener- details you can hear ation of amplifiers, designed to set a new standard 11 Elkins Road, East Brunswick, NJ 08816 U.S.A. (908) 390-1130 for performance at a reasonable price... giving more Distributed in Canada by PRO ACOUSTICS INC. Pointe Claire, Quebec H9R 4X5

Enter No. 2on Reader Service Card The JBL L7's sound was well balanced, somewhat up -front, with extended frequency response and excellent dynamics.

below 120 dB between 200 and 300 130 WII+ ,700M sounds was extended and smooth, Hz. Even with the limitations in input 120 easily the equal of my reference B & W power noted earlier, the L7's low -fre- PEAK ACOUSTIC OUTPUT 801 Matrix 2 systems. quency output can keep up with that of. 110 IT 10k Reproduction of organ pedal notes the best speaker systems I have tested 100 lk played by Michael Murray on A Recital as well as with several subwoofers I PEAK INPUT POWER of Works by Bach, Messiaen, Dupre, 90 know about. A stereo pair of L7s can 100 Widor, and Franck (Telarc CD -80097) reach even higher low -frequency lev- 80 10 was quite extended and clean. I did els with bass material that's common to 70 notice some slight colorationin the both channels. 20 100 I k 10k 20k middle and upper midrange that gave FREQUENCY - Hz the pipe organ a somewhat up -front Use and Listening Tests Fig. 12-Maximum peak signature. This characteristic was also Although the L7s weigh 75 poundsinput power and sound evident on other classical music and apiece, they were fairly easy for me tooutput. on jazz. move around. They can be "walked" On difficult vocal, instrument, and easily by rocking the cabinet from side percussion material-such as16th - to side. Even without their bases at- century Spanish compositions by Ma- tached, these systems are quite imper- teo Flecha el Viejo on Las Ensaladas: vious to sideways tipping motions. The Burlesques of the Spanish Renais- molded base attaches to the bottom of sance (Sony Classical SK 46699)-the the enclosure with eight Phillips -head L7s exhibited a well -integrated sound - screws. Unfortunately, JBL did not pro- stage with particularly good stereo fo- vide guide holes to help with screw cus and clean vocal and transient re- insertion and alignment of the base. I production. would have preferred bolts and Tee The L7s' evenness of vertical cover- nuts rather than just wood screws that age was not quite as good as that of are simply driven into the cabinet's fi-Several bi-wire configurations are dis-my reference speakers on the stand- berboard bottom. As noted, no provi-cussed, ranging from a single stereoup/sit-down test with pink noise. Some sion is made for spikes on the bottomamp setup to the use of four monomidrange and upper midrange tonal of the enclosure. amps (which may include a mixture ofchanges were noted. The L7s' sensitiv- The L7s are quite handsome in theirtube amps for high frequencies andity was somewhat higher than that of basic black finish. The cosmetics andsolid-state amps for the low frequen-my reference systems. On some third -

fit and finish of the cabinets are excel-cies!). For simplicity, however, I did octave band -limited low -frequency lent; even the drivers look first-ratemost of my listeningin the straightpink noise, the L7s' output at 25 Hz when removed from the cabinet. No(non-bi-wire) configuration. and above actually exceeded my ref- trim rings are used around the drivers, Listening was done using Straighterence speakers' capability. For the because they look superb on theirWire Maestro cables hooked to a Brys-20 -Hz band, the L7s' fundamental out- own. ton 4B power amp and .4B preamp, put was not as great as my reference Connection to the L7s is through adriven by Onkyo and Rotel CD players. systems'. For the 20-, 25-, and 32 -Hz pair of quite accessible double -ba-JBL recommends placing the L7s 3 bands, the wind noise from the JBL's nana jacks on the bottom rear of thefeet away from both the side and rearvent was significantly less than from cabinet. As stated, bi-wire capabilty iswalls and with the side -mounted woof-the B & W's, helped by the fact that the supported by a set of removableers facing each other.I was not able to JBL's vent faces the rear. straps that connect the two sets offollow the recommendation for equidis- On The Mambo Kings soundtrack jacks. The banana jacks unfortunatelytant placement (and didn't want to, ei-album (Elektra 61240-2), the JBLs' cannot handle large -diameter barether!). Instead, I placed the speakershigh-level performance on the Latin - wire. On my review samples, the redfurther from the rear wall than the side flavored big -band material with heavy banana terminals had a larger holewalls, with the woofers facing inward.percussion was excellent. The two vo- than the black terminals. The speakers were essentially aimedcal tracks of Linda Ronstadt were ren- The owner's manual for JBL's L se-at my listening position, separated by 8 dered very realistically, with natural dy- ries of speakers was quite informative,feet, and about 10 feet away. namics. On rock kick drum, the L7s providing much detail on system The JBLs spent some extra time in kicked quite well, compressing only placement, hookup, and operation.my listening setup because of sched-slightly at very high levels. The manual also included a four -pageuling mix-ups, and I very much en- At $1,950 per pair, the L7s offer a supplement specifically for the L7,joyed the extra exposure to them.very good combination of attractive which covered in detail such topics asThese speakers demonstrated a well-styling, a well balanced and fairly neu- placement,bi-wiring, and biamping.balanced, somewhat up -front soundtral sound, excellent dynamics, and Even though the L7 is not in JBL'swith an extended frequency responseextended frequency response-cou- high -end line, the supplement tacklesand excellent dynamics. Their repro-pled with the legendary JBL name. what are essentially high -end issues.duction of high -frequency percussive Give them a listen! D. B. Kee/e, Jr. 124 AUDIO/DECEMBER 1992 Experience FULL SPECTRUM SOUND! Spira-Shieff^ Outer Conductors (Matci Ele-Arical Characteristics of Inner Ccnductors) Outer Poly -Flex' Jacket Mylar® Foil Outer Wrap

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During the standard CD recording Rather than sounding too bright (as I PIONEER process, the ultra -high frequencies are might have thought), the unit with Le- omitted from the digital -to -analog (D/A) gato Link sounded more pleasant and ELITE PD -65 conversion process, thus slightly alter- less raspy than the unit lacking this ing reproduction of the original instru- feature, especially on the flute solo and CD PLAYER mentation. This conversion process re- the percussion examples. Once I had creates the lost sounds in existing CDs established that there was an audible Company Address: P.O. Box 1540, during digital signal processing. difference-however subtle -1 was

Long Beach, Cal. 90801. anxious to see if I could correlate this For literature, circle No. 94 In order to evaluate the merits ofdifference with measurements on the Legato Link, Pioneer sent us two sam-test bench. Sometimes it's hard to tell when theples of the PD -65, one of which had improvements touted by makers of CD been modified by the substitution of a players are real and when they aremore conventional digital -filter IC. Nor- mere advertising ploys. Listening and mally, I'd have put both units on the bench tests assess the overall merits test bench and done my listening later. of a product-but without settlingThis time, however,I thought it better whether those merits are really due to to listenfirst, so that my judgments the touted improvement. So I did would not be influenced by any mea- something different by evaluating the sured differences between the two Pioneer Elite PD -65 both with and with- units. I used selected musical tracks out its claimed improvement. from my Pierre Verany test discs, in- One of the major advances Pioneercluding vocal selections, chamber mu- claims for this player is its Legato Link sic with flute solo, and contemporary digital filter system, used in both themusic emphasizing percussion instru- $800 Model PD -65 and the $450 Modelments. The differences between the PD -52. What, exactly, is Legato Link?two players were certainly subtle, but Let me quote from the manufacturer's they were there! (Mind you, at my age I press release: am lucky to hear pure tones of around 16 kHz, let alone tones above 20 kHz, Pioneer's Legato Link conversion sys- as implied by the description of Legato tem improves CD sound quality by re- Link. Nevertheless, I and others have storing high -frequency signals. Legato long since proven that what one car Link technology incorporates a propri- hear as a pure sine -wave tone bears etary integrated circuit to infer frequen- no relationship to what one hears when cies above 20 kHz, which have been listening to complex musical material, eliminated in all CD recordings. richin harmonics and overtones.)

126 AUDIO,DECEMBER 1992 WHAT DOES IT TAKE to build the finest in -wall speaker? EVEN MORE ASTONISHING IS THE PRICE! For the same Quite simply, better design execution. or even less than conventional in -wall speakers, you can own the Better in -wall performance demands better materials. So, best... PARADIGM ARCHITECTURAL MONITOR SERIES speakers. rather than flimsy plastic parts, we use a rigid aluminum You won't find PARADIGM ARCHITECTURAL MONITOR SERIES diecasting that combines the main chassis, mid/bass driver speakers everywhere. A product this good requires the expertise chassis and tweeter faceplate into a single unit. Instead of of a qualified audio specialist. So, before you buy any in -wall inadequate mounting hardware made of plastic parts, metal clips speaker, visit your AUTHORIZED PARADIGM DEALER and listen to etc., we use a rigid diecast-aluminum full -perimeter mounting the finest of in -wall speakers. flange. Add PARADIGM'S renowned driver technology and FOR MORE INFORMATION CALL 1-800-553-4355Sound&Vision seamless dividing networks, and the performance results are Ext. 41274 or write: AUDIOSTREAM, MPO Box 2410 Critic's amazing! Articulate and transparent, these speakers simply Niagara Falls, NY 14302. In Canada: PARADIGM, Choice Award reveal more of the musical and spacial reality of the live event. 569 Fenmar Drive, Weston, ON M9L 2R6. For More Information 091

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Enter No. 32 on Reader Service Card COPYRIGHT C PARADIGM /BAVAN Although sonic differences between the Pioneer player with Legato Link and the one without it were subtle, they were definitely there.

ONI.IROD WI vs MOM. OM. PUMA M. 1011,11.100191 Before discussing the test results, I I components at 16 and 24 kHz, but for should mention that the PD -65 boasts both machines, these harmonic com- RIGHT another unusual feature: A stable -plat- 0 ponents were so far below maximum ter design employing a heavy alumi- LEFT recorded level that they were well be- num platter and a nonresonant mat to low the threshold of human hearing. support the entire CD surface during Furthermore, the amplitude of the out - rotation. As a result,it is necessary to 2 of -band harmonic was essentially the load CDs with the label side down. The 10 100 1k 10k 20k same for both samples. However, the optical pickup assembly rides above A Legato Link spectrum showed a bit the disc rather than below, where it is B less noise, and the other showed a in most other CD players. Both sam- 01101.111110 W VS. MOD. OM. OIONAN M. Omen MOO +1 sudden drop of about 3 dB just above ples had this mechanism, of course, so Po 21 kHz. I cannot attribute any sonic differences LEFT 0 Tests of deviation from perfect lin- between them to it. RIGH earity (using undithered signals in the My first surprise came when I mea- range from 0 to -90 dB and using low- sured the frequency response of both level dithered signals in the range from players. The unit with Legato Link ex- 2 -70 to -100 dB) offered no clues as hibits a gentleroll -off beginning at 10 100 lk 10k 20k to why I heard differences between the around 10 kHz (Fig. 1A). The expand- two units. Linearity was close to perfect Fig. 1-Frequency response of PD -65 ed vertical scale in the figure makes for both players and for both types of this roll -off look steep, but note that itwith Legato Link filter (A) and without Legato Link (B); see text. tests; the deviation was less than 1 dB only amounts to about 2 dB at 16 kHz. for the tests with an undithered signal The unit lacking the Legato Link filter and practically nil for the tests with a

has essentially flat response; at 20 kHz MO 101SE SO VS. FIRESIder NI At 0 MI I.FvFL PIONIN 00-06 dithered, low-level signal. it's -0.2 dB (Fig. 1B). Could the slight 10 When I conducted the fade -to -noise roll -off in the Legato Link unit account test, using dithered signals from -60 for its somewhat smoother, mellower 511111Miii11111.511111iiii to -120 dB, the results confirmed the sound? Wait, the plot thickens! ;;;;:= superb linearity of both machines, and 11511111Siii11111.51111111A Next I measured THD + N as a 0.1 the EIA dynamic range proved to be function of frequency (Fig. 2). The Le- about the same for both samples 0.010 gato Link unit exhibits remarkably low (around 112 dB). I also checked out THD + N at mid -frequencies (around EIAJ dynamic range and found that the 0.002%), but above 4 kHz,itrises 0.001 unit with Legato Link measured 98.8 steeply, reaching 0.1% at 10 kHz and 20 100 1 k 10k 20k and 98.4 dB for its two channels, while approaching 10% at 20 kHz! As I Fig. 2-THD + N vs. frequency. the unit without Legato Link measured thought about what Legato Link is sup- 99.6 and 99.2 dB. Again, these differ- posed to do, this made perfect sense: MAIDS OFIII DM SUMS OHM= AT 0 OS SFVFL. PIMP..,, ences are almost certainly attributable When higher frequencies are present, 0 to production variations rather than to the Legato Link circuit deliberately any influence of the Legato Link. This 30 generates harmonics that are not pre- holds truefor signal-to-noiseratios, sent in the actual CD (Fig. 3). The test 60 which were around 113 dB for the Le- equipment interprets these harmonics gato Link player and 114 dB for the as distortion components, which, in a 90 player lacking the circuit. ii IL sense, they are. However, the genera- L I -120 Finally, in desperation,I decided to tion of out -of -band harmonics is exact- 0 20k 40k 60k 80k examine a 20 -kHz waveform as repro- ly what is claimed for the Legato Link A duced by each machine. While I noted circuitry. Sure enough, the plot of the a bit of in -band aliasing that showed sample lacking Legato Link shows B MDT. DIKLYSTS OF 10 SIYAL. FED00003 Dr 0 OD DOI, 1.04.3 up as amplitude modulation of the 20 - 0 THD + N is a bit higher at low and Po kHz sine wave, the appearance of the mid -frequencies (around 0.003%)- 30 waveform was identical for both play- probably attributable to production ers. So the mystery remains. Admitted- variation-but actually decreases as 60 ly, my listening tests were not conduct- the high -frequency end of the plot is ed as double-blind tests, but I did play reached. 90 LorlDr0.4.001...... 4.10Lo11.0...004. musical selections for other listeners, I tried to isolate harmonics from the -120 and they preferred the unit with the residual noise by using the spectrum 0 20k 40k 60k 80k Legato Link as well. All of which again analysis function of my Audio Precision confirms the fact that static test -tone test equipment while playing an 8 -kHz Fig. 3-Spectrum analysis of 18 -kHz measurements don't always reveal test tone. The plot (not shown) extend- signal with Legato Link (A) and how an audio product will sound! ed to 30 kHz with low-level harmonic without it (B); see text. Leonard Feldman

128 AUDIO/DECEMBER 1992 If ybu're tired of flavor -of -the -month areamp pretenthrs, maybe it's time to get real about an honest pearnp in your music system.. One that doesn't cdorize the classics in your music collection. but lets them speak truthfully aneneutrally. A line preamp that has enough functiofls to give you practical, use -it -everyday control over your music system, yet enough inputs and outputs to be right at home in an audic-video setup. And - let's not kid around -a high -end preamp that won't vaporize your bank account. Meet,the new LS3 line -level preamplifier from Audio Research. An all -new circuit design with optional balanced outputs Honest, faithful reproduction. Sparkling dynamics. And the reputation and lasting value that has been the hallmark of this American manufacture: for over twenty years. So, hsten to the new LS3. It's about as red_ as you tan get. . ,.. audio research _ i ,,... - - -HIGH DEFINfIrro N ,. - 574P C rem Circle [)rive, Minnetonka, Minnesota 55343-4424. PI -one': 612-939-0600 FAX: 612-93910604t Enter No. 4 on Reader Service Ca -d AURICLE

MOBILE FIDELITY SOUND LAB ULTRAMP PREAMP AND AMP

Company Address: 105 Morris St., Sebastopol, Cal. 95472. For literature, circle No. 95 The UltrAmp Line Amplifier and UltrAmp Power Amplifier are part of a new series of components from Mobile Fidelity Sound Lab, long a source of top-quality recordings. The units are hand assembled in the U.S. and tested by designer Michael Yee. The UltrAmp product marketing is unusual; the equipment is being sold directly to the consumer by the manufacturer. Mobile Fidelity offers the buyer a 30 -day, in - home audition, technical support through toll -free phone lines, and a comprehensive three-year warranty. Direct marketing does offer some The UltrAmp line features fully dis-significant potential savings to the con- crete amplification circuitry (no inte-sumer, as dealers get a margin of grated op -amps) and dual mono de-about 30 to 50 points on high -end sign with separate power transformerselectronics. The UltrAmp Line Amplifier (not just separate windings) for eachand Power Amplifier sellfor $1,295 channel. Rather than trying to maxi-each. Thisisnot an inconsiderable mize the usual specs, Mobile Fidelityprice, even by high -end standards. At has taken a psychoacoustic approachthis price point, there is a great deal of arate ground planes for each channel, to these designs, stating that their re-demanding competition from a wideand a direct signal path without a.c. search shows that sonic differencesrange of high -end firms,including coupling capacitors;it uses conduc- between amps are mostly due to dis-such well -established names as Ad -tive plastic potentiometers and silver- tortion components that fall below thecorn, B & K Components, Counter- plated high -conductivity switches. To- noise floor. Feedback is limited to apoint, Forte Audio, Hafler, PS Audio, tal harmonic distortion is rated at less moderate 30 dB or so; slew rate is 2.5 and VTL. Andifyou compare itto than 0.02%, signal-to-noise ratio at 90 V/p,S, which the company says is ade-products priced as the UltrAmp line dB, and gain at 12 dB. The input im- quate because it is 10 times the maxi-would be after a dealer markup, well pedance is 10 kilohms, and the output mum slew rate in music. Bandwidth isover $1,500 each, the competition be- impedance is 100 ohms. 2 Hz to 200 kHz. comes even more demanding. The UltrAmp Line Amplifier has a The UltrAmp preamplifier has rela- perfectly acceptable exterior style and tively simple features: A selector for six finish, although I personally don't care line -level inputs, a combination muting for either the legibility or style of the and tape monitor switch with positions blue lettering for the control functions. for two tape decks, and controls for The unit does, however, have well-built volume and balance. It does, however, input and output jacks and clean, well- have sophisticated electronics. Each laid -out circuit boards with high -quality channel of this dual mono design has a components. The front panel is thick separate line stage plus a separate and exceptionally strong, and the pow- buffer stage for tape outputs to ensure er supply seems to be very well con- that interconnect cables and tape re- structed.

corder inputs do not interact with the I received two samples of the pre- source. The preamp does not include amplifier. The earlier sample sounded a phono gain stage, but one is available far less clean than the second, the dot from the manufacturer at extra cost. on its balance control was not aligned The UltrAmp preamp has double to show proper channel balance, and regulation on the power supplies, sep- the volume control's lowest setting did 130 AUDIO/DECEMBER 1992 THE NEW AERIUS SPEAKER FROM MARTIN LOGAN LTD. SO MUCH TECHNOLOGY WE HAD TO CUT IT IN HALF TO FIT IT ON THIS PAGE Sometimes it's not what you see, but what you don't Martin Logan invented the Curvilinear Electrostatic see. That's true of the new Aerius Speaker from Martin Speaker. And we packed all this technology into a very Logan. What you do see is a speaker. Sleek. Elegant. intelligent), sized package. What you don't see are the components of a tradi- We may have had a dOcult time putting all this on tional speaker. After all, it looks like we put nothing one page; but you'll have no problem sticking all of the behind the grill.What you're not seeing is our music in your ear. Electrostatic Driver that incorporates an incredibly advanced Vapor Deposited Membrane. You can see right through it. A design that allows for the soft subtleties of MARTIII.LOGAR LTD. Brahms to come through crystalline and THE ELECTROSTATIC TECHNOLOGY flawlessly. But just crank up some of your 913-749-0133 favorite rock & roll and get busy. New Aerius P.O. Box 707 Lawrence, Kansas 66044 $1,995.00 pr. The sophistication of the TIPS FOR MAIL ORDER UltrAmp line amplifier PURCHASERS lies in its circuitry, not its relatively simple features. It is impossible for us to verify all of the claims of advertisers, including product availability and existence of warranties. There- fore, the following information is not produce total silence. The second Fidelity claims that the measured im- provided for your protection. unit not only had superior sound but a provement is obtained at the cost of properly aligned balance control.It stability with complex speaker loads. 1. Confirm price and merchan- still, however, would not produce totalAs a result, "fast" amplifiers then re- silence with the volume control at its quire decoupling networks thatlimit dise information with the seller. in- minimum position. cluding brand, model. color or finish. their ability to accurately drive speak- The second sample of the UltrAmp ers. accessories and rebates included in MobileFidelitymakes the Line Amplifier provided an open, de- UltrAmp's the price. last gain stage the slow tailed, and dynamic sound. Overall fre- 2. Understand the seller's return stage, so that the amplifier becomes quency response and timbre were more stable under a complex load and and refund -policy, including the good, bass was very good, and the allowable return period and who can deliver more electrical signal di- midrange and treble were detailed and rectly to the load. pays the postage for returned mer- extended. The soundstage was nicely All this care and effort translate into chandise. detailed, with very good imaging and 3. Understand the product's war- good sound quality. The UltrAmp Pow- width, although depth and the ability to er Amplifier performed well with the ranty. Is there a manufacturer's war- resolve layers of depth rated only ranty. and if so, isit from a U.S. or Spendor BC -1, Thiel CS3.6, and Quad good. Dynamics were very good, su- ESL -63 as well as with more conven- foreign manufacturer? Does the seller perior to those of a number of compet- itself offer a warranty? In either case. tional speaker loads. Bass, while not ing. line -stage preamps. particularly dynamic, was well con- what is covered by warranty. how In terms of overall performance, the long is the warranty period. where trolled and well defined. Midrange per- UltrAmp Line Amplifier was certainly formance was well balanced, and tran- will the product be serviced. what do capable of good high -end perfor-sients were quick and well defined. you have to do. and will the product mance. At the same time,itdid not Imaging was good to very good, as be repaired or replaced? You may stand out from other products inits was depth. Soundstage width was want to receive a copy of the written price class because it was less trans-moderate. The upper midrange was warranty before placing your order. parent and slightly less musically con- very clearly defined, although some a copy of all transactions, vincing in the upper octaves. competing products provide equal in- including cancelled checks. receipts The UltrAmp Power Amplifier has an formation in a more musical or trans- and correspondence. For phone or- output power of 100 watts per channel parent way. Treble performance was ders. make a note of the order includ- into 8 ohms and 150 watts into 4 ohms, good. ing merchandise ordered. price. order and a maximum current output of 20 Like the UltrAmp Line Amplifier, the date. expected delivery date and amperes. Mobile Fidelity feels that UltrAmp Power Amplifier was capable salesperson's name. conventionally designed speakers of 4 of good high -end performance. At the 5.Ifthe merchandise isnot ohms or higher impedance never need same time, it too did not stand out from shipped within the promised time current higher than 10 amperes. Total other products inits price class. In- or if no time was promised. 30 days harmonic distortion is rated at less than deed, some competing products proof receipt of the order. you generally 0.02%, signal-to-noise ratio is 90 dB, vide a more convincing overall illusion have the right to cancel the order and gain is 30 dB. of musical reality. This is particularly and get a refund. Like the Line Amplifier, the UltrAmptrue regarding the dynamics and ener- 6. Merchandise substitution with- Power Amplifier has a number of inter- gy of the bass and lower midrange and out your express prior consent is not esting technical features. The amplifier the sweetness and air of the upper allowed. uses three power transformers. Two midrange. 7.If you have a problem with your separate amplifiers are used for the It is easily possible to build a good order or the merchandise, write a high -current stage of each channel tohigh -end system around the UltrAmp letter to the seller with all the pertinent improve imaging. A third transformer,amp and preamp. Today's high -end information and keep a copy. which has a separate winding for eachand mid-fi electronics set a very high 8.If you are unable to obtain sat- channel, drives the independently reg-standard, however, and well -designed isfaction from the seller, contact ulated power supplies for the gainhigh -end electronics are available at the consumer protection agency in stages. Mobile Fidelity feels that usingprices as low as $300 for a preamp the seller's state or your local U.S. three transformers to separate theand $400 for an amp of nearly equal Postal Service. high -current functions from the gainoutput as the UltrAmp. Any product functions improves both imaging andline that emphasizes price, a special If, after following the above guide- apparent power level. marketing approach, and outstanding lines, you experience a problem The circuit topology is unusual and value really ought to perform excep- with a mail order advertiser that does not require a decoupling net-tionally well at its price point;I am not you are unable to resolve, please work. For an amplifier to use feedback, sure that the UltrAmps fully meet that let us know. Write to Nick Mata- one stage must be slower than the resttest. UltrAmp is certainly a very promis- razzo, Publisher of Audio Maga- of the stages. In most amplifiers, this ing new line, but it may well take some zine. Be sure to include copies of "slow stage" is the first stage, in orderfurther evolution to surpass its compe- all correspondence. to improve measured speed. Mobile tition. Anthony H. Cordesman 132 AUDIO/DECEMBER 1992 SoWho Are We To Argue? Introducing The Nafler Trans1111V2

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NUMERIC RADIO

organizations are provided so those Digital Radio Basics by Skip Pizzi. In- Osler: "In science, the credit goes to readers wishing more detailed infor- tertec Publishing Corp., softcover, 152 the man who convinces the world, not pp., $30.00. mation can go directly to the sources.to whom the idea first occurs." At the end of each chapter, Pizzi pro- Among the most impressive aspects As Brad Dick, editor of Broadcastvides a series of "endnotes" that eitherof this book is how amazingly up to Engineering magazine, states inhis provide clarification for points made date it is. The Electronic Industries As- preface to this remarkably up-to-datewithin the chapter or offer bibliographi-sociation has taken on the responsibil- book, "It's not often that a technologycal references that will elaborate on ity of establishing a single standard for leapfrogs an entire industry in new ca-points made by the author within thedigital radio broadcasting, at least in pability.Yet,that appears about tochapter. this country. Since that organization happen almost overnight with digital One of the things that makes Digitalmandated that all system proponents radio broadcasting (DRB)." Others inRadio Basics such a joy to read is thesubmit descriptions of their system by the industry are referring to this newlighthearted approach taken by the au- mid -summer 1992, Pizzi was able to technology as DAB (Digital Audio thor. While the subject matter is,of provide adequate description ofall Broadcasting) or DAR (Digital Audiocourse, treated with proper serious-eight systems being proposed by the Radio). Regardless of what you call it,ness, each chapter is preceded by antime his book was copyrighted and digital radio will be with us well beforeinsightful quote that sets the tone of thepublished in April 1992. Unlike many the end of this decade. other technical books that are often In his easy -to -read and well -orga- obsolete (or at least somewhat behind nized book, Skip Pizzi first explains the times) as soon as they are pub- why digital radio is a "must." He then ADPCM BIT -RATE lished, Pizzi's book is current on this provides a clear primer on digital audio important technology that islikely to basics, covering such topics as band- BER L BSS (SOUND) DAB 0 COMPRESSION change the couse of radio broadcast- width requirements, analog -to -digital ing in the very near future. conversion, binary coding, and digital DIGITAL RADIOD Skip Pizzi is eminently qualified to signal modulation. After a brief discus- 6, CHANNEL -CODE ISI DBS 0 BASICS author a book such as this one. He is sion of digital radio broadcast history currently technical editor for Broadcast in Chapter 3, Pizzi leads us into the DIVERSITY L ECAC Engineering magazine, where he cov- heart of the subject, data compression FLAT -FADE IBOC ers audio and radio matters of broad- (or, as some prefer to callit,bit -rate SFN 0 GAP -FILLER cast technology. Prior to joining the reduction), in Chapter 4. The informa- MULTIPATH i PODS magazine, he spent 13 years at Nation- tion contained in this chapter not only 0 SOURCE -CODE 0 al Public Radio headquarters in Wash- will clarify this subject as it relates to TRANSFORM L WARC ington, D.C., serving in a number of digital radio, but also will shed light on EUREKA 0 VITERBI different capacities, including that of the data compression technologies technical training coordinator. Pizzi is being used in new recording formats also an active member of both the Au- such as the Digital Compact Cassette dio Engineering Society and the Soci- and the MiniDisc. ety of Broadcast Engineers and main- Pizzi manages to present a clear, tains a roster of consulting and training unbiased picture of no fewer than eight clients from around the country. proposed systems for digital radiochapter and provides the reader with Leonard Feldman broadcasting, categorizing them eitherample food for thought. A couple of as out -of -band formats (those that willexamples: At the beginning of the require new spectrum allocations fromchapter "Digital Audio Basics," the au- RDAT by John Watkinson. Focal Press, the FCC) or as in -band systems (thosethor quotes Marshall Buck (an active hardcover, 244 pp., $59.95. that can use the existing broadcastAES governor), who said: "Wouldn't it Coding for Digital Recording by John spectrum in various ways). have been niceif George Westing-Watkinson. Focal Press, softcover, 220 Other chapters deal with such relat-house had chosen 64 Hz as his power pp., $22.95. ed topics as: Coding and error correc-line frequency?" (If you don't get the Both RDAT and Coding for Digital tion; the pros and cons of signal deliv-significance of that remark, you will getRecording borrow heavily from John ery by satellite, cable, and land -based itafter reading the chapter that fol-Watkinson's earlier book, The Art of broadcast stations, and the technical,lows!) To ease the concerns of those Digital Audio (published in 1988 and economic, and political issues ahead.who might find the chapter on datareviewed in Audio's January 1990 is- A useful glossary of terms is included,compression somewhat "compromis-sue). The purpose of these new titles as is a list of names and addresses ofing,"Pizzi quotes philosopher Ber-seems to be to make available in the principal participants-system pro-trand Russell, who said: "All science is shorter form the specific topics each ponents as well as associations anddominated by the idea of approxima- covers; both books offer some new committees involved in the digital radiotion." And finally, before launching into material as well. selection process. Phone numbersa discussion of proposed formats, the Substantial sections of RDAT are, and FAX numbers for each of theseauthor quotes a statement by Williamword for word and figure for figure, 134 AUDIO/DECEMBER 1992 ?egIORs o NO ry Sy S?' 0 AL A1111PL1

Bryston's 1E3=1 Amplifier

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

Bryston's new 3B NRB amplifier is a companion piece to rates system ground from audio ground to reduce annoy- the 4B NRB and 7B NRB, with a similarly optimized ing ground loops and system hum. Finally, switchable interface between power supply and signal circuitry, and monaural operation is available if higher power require- the same ultra -linear amplification as its larger counter- ments become necessary.Althoughthe description of parts. Its 120 watts per channel is a popular size for a wide circuit innovations can indicate the research and commit- range of music systems requiring the highest quality source ment we bring to the design of the finest audio products, of power.The3B NRB uses Bryston's proprietary Quad - only in the listening does the result of that dedication Complementary output section, which improves linearity become clear. Bryston's 3B to a new standard of accuracy, while virtually eliminating NRB is capable of doing 30bEFricui aggressive higher harmonic distortion products. From justice to the most refined input to output, all the circuitry in the NRB series of amps sound system, with the subtlest details of the musical fab- has been optimized for the most musical amplification pos- ric revealed in their original form.Vileinvite you to sible, with dualower supplies to provide precise and experience the musical accuracy, long term reliability and focused imaging. ew, three -colour LEDs glow green for excellent value the Bryston 3B NRB represents. power -on, yellow for transient clipping, and red to indicate longer -term overload or any other departure from linearity, including shorted outputs, or strong out -of -band informa- 57 Westmore Dr., Rex -dale, Ontario, Canada M9V 3Y6 tion, like RF or DC. Gold plated RCA and XLR input Tel: (416) 746-1800 Fax: (416) 746-0308

Brystonvermont, RFD#4 Berlin, Montpelier, Vermont 05602 Tel: (802) 223-6159 Fax: (802) 229-2210 Enter No. 7 on Reader Service Card

ft R A r c ct- 4

...6001110.°111.11.1111.11111111,40000111.1.111111111111 Watkinson's books borrow from his earlier volume The Art of Digital Audio, with some material intact, some rewritten, some new.

taken from The Art of Digital Audio. original book but contains only infor- Chapter 1 is taken mainly from Chapter mation that is particular to the actual 8 of the earlier book. Chapter 2, "Con- coding of digital information, with a version," is entirely from Chapter 2 of number of applications presented in The Art and is outdated. My earlier the final chapter. review was quite critical of this materi- The first four chapters are taken, with al, and the comments stand. The tech- some selection and rearrangement, niques of analog -to -digital conversion and essentially no new material, from used in modern digital recording and chapters in The Art of Digital Audio. developed extensively over the past Chapter 5, at 80 pages, is also taken four years are almost ignored. This mainly from the earlier work. There are chapter is the weakest and most dated about a dozen pages extracted from in the book, in my opinion. another of Watkinson's books, The Art Chapter 3, "Digital Audio Process- of Digital Video, and about a dozen ing," is taken mainly from Chapter 3 of pages of new material on CD-ROM The Art of Digital Audio; Chapter 4, and other optical media. "Digital Recording," from Chapter 6, Chapter 1is an introduction to the and Chapter 5,"Error Correction," need for digital recording, and Chapter mainly from Chapter 7. Two parts of 2 briefly describes magnetic and opti- Chapter 5, Hamming distance (Section cal recording schemes in popular use. 5.8, which now includes the Venn dia- These two chapters are both interest- gram) and Introduction to error correc- ing and appropriate to the purpose of tion in RDAT (Section 5.15), are largelytems of R-DAT, very interesting. The the book. rewritten. Section 5.15 gives a clearlyauthor includes here many details on Chapters 3 and 4 are identical to written and specific applicationofthe geometry of helical -scan record-Chapters 6 and 7 in The Art of Digital complex error theory to the R-DAT sig-ing, the mechanics of the transport,Audio. As indicated in my 1990 review, nal -handling system. It is instructive toand the tracking system. His descrip-these chapters describe the heart of see the theory applied to a .specifictions of the tape -handling motors, ser- digital signal processing and are quite case. Additionally, Chapter 3 includesvo system, and alignment require-good. That is not to say that there are a section on the AES/EBU interconnectments are particularly well done. Ofnot some difficulties with the material (taken, in turn, from Chapter 5 of thegreat interest to users of R-DAT will be presented. The writingis very com- earlier book) that is very well done andthe information on searching for pro-pact, and some instances of major appropriately placed. Understandinggram material and the editing of the jumps in the train of thought are diffi- digital interconnects is vital if a digitalmaterial using digital techniques. Thiscult to overcome. But as an overview system is to work well. is definitely not a razor -blade type ofand with the perspective of several My rather extensive commentsoperation (unless the editor of the tape years between these reviews, the new about The Art of Digital Audio apply towishes to cut his wrists). book holds up well. the corresponding chapters inthis The material on the R-DAT digital In Chapter 4,"Error Correction," book as well. The first 147 pages ofsignal system (Chapter 7) includes de- there is one substantially rewritten por- RDAT have text and figures principallytails on formats, headers, interleaving, tion, Section 4.10, in which hamming in common with the earlier book butsubcode structure, and time codes- distance is treated. The Venn diagram nicely rearranged to concentrate atten-specifics that any knowledgeable re-is discussed in some detail, and the tion to those issues most applicable tocording engineer should understand ifback of the book has a large fold -out understanding the R-DAT recordingthe medium is to be used to its fullest. Venn diagram. This is a sort of coder's system. If the reader has not read theIndeed, this chapter is brimming with "centerfold,"I suppose. The new ma- earlier book, these topics are an es-helpful information. The final chapter, terial, four pages, is well written and sential build-up to the chapters whichwhich treats R-DAT as a data recorder interesting. Unfortunately, Venn did not follow. rather than just an audio recorder, is a get included in the index, an indication Chapter 6 ("The RDAT Tape Trans-fine addition here. The author expandsof a bit of haste in putting the book port"), Chapter 7 ("The RDAT Signalunderstanding of how closely digitaltogether. System"), and Chapter 8 ("RDAT as aaudio and other forms of digital data Coding for Digital Recording is a Data Recorder") are wonderfully wellhandling and processing are related. good selection of material from the ear- written and as up to date as one could In the end, this book is a fine compi-lier book; at least 90% of it is extracted want. These 93 pages alone makelation of material from The Art of Digital from The Art of Digital Audio. However, RDAT a worthy addition to the book-Audio with extensive new material on I would still suggest that you consider shelf of anyone interested in digital re-R-DAT. It should be required reading purchasing the earlier title. Although cording. Watkinson is at his best formfor all those using R-DAT in any of itspossibly twice the price, it is twice the in the presentations in these threeforms. book and all in all a far better choice chapters. I found Chapter 6, on the Coding for Digital Recording is al- for the sake of its completeness. mechanical transport and control sys-most completely a reprint from the R. A. Greiner 36 AUDIO/DECEMBER 1992 vIJsical Articu Etion. Detail. Elusive quali- MX -100, MX -90, MX -80 & MX -70 )Es of sJperio- sonic renrodJction that are Four MX models, with internal amplifiers -welyfcund ii even :hE met expensive between 75 and 200 watts RMS, provide MILLER 8 K REISEL 3i.bwocters. an ideal match for your sys-em. Jntil now! Building On Excellence SOUND CORPORATION M&K's new NTX supw-Dofars bring you Seventeen years of M&K experience ii -lase hgh-pErformaice qualities-in a Satellite-Sibwoofer systems comes Push -Pull Dual Driver EriaIler cabinet and at a lower price. together again to create a iew subwoo-er Powered Su owoofers In a cabinet the size of a :ookshelf performarce standard. Anc with the 18" x Epeake-, two new proprietary 12" sub - 10" x 13.5' MX -70, M&K creates a new MX -100, MX -90, ./roofer driver. produce the massive compact E Jbwoof e r standa-d. MX -80, & MX -70 amounts of bass only eXpeled from muchThe Ideal Choice 10391 Jefferson Bipuleva arger cabine:s. Bettar vet, M&K's Push - The unprecedented musical articulaticn Culver City, CA 9:232 Pull design p-aduces a mi.ci higher qualityand "ultra quick" sound of tie MX sub - (213) 204-2854 of bass by virtually elirrinatng even -order woofers make them the perfect choice to In Canada (604) 8;;,-4475 harmonic distortion. complete any audio or audio/video system. Fax (604) 872-121C inter No 23 on Reacer Service Card CLASSICAL RECORDINGS

MAGNIFICENT MAHLER

Mahler: Symphony No. 9 in D. Berlin anist Horst Gabel, his eyes a - Philharmonic, Leonard Bernstein. fame, he said, after a long Deutsche Grammophon 4353782, pause for reflection: "I be- two CDs; DDD; 82:02. lieve this was the most beautiful concert of my Leonard Bernstein's death left un- entire life." completed his cycle of the Mahler sym- Many listeners will find phonies for Deutsche Grammophon. this performance almost This necessitated a certain improvisa- unbearably moving. Mahler, tion: Instead of realizing plans made as he composed the work, knew for the Eighth, the label has released he ad death staring him in the face, (on the two -CD set 4351022) Bern- and he in fact wrote this wrench- stein's 1975 performance of that great ing Romantic masterpiece about his work at the Salzburg Festival with the imminent demise. The overpowering Vienna Philharmonic and stellar solo- score itself, combined with Bernstein's ists,plus the only completed move- nonpareil interpretation ofit and per- ment from the 10th, the Adagio. If im- haps the world's greatest orchestra provisation has also given us this giving him and Mahler itsall, not to unique recording of the Ninth, derived mention exceptionally good sonics, from two concerts during the 1979 Ber- make this Mahler Ninth one that will lin Festival, then necessity in this in- almost certainly set the standard for a stance has indeed become a virtue, long time to come. Paul Moor and a very rare one. A bit of stage -setting makes this extraordinary performance an even more Rachmaninoff: Symphonic Dances;

affecting and poignant one. I still lived Vocalise. Dallas Symphony. Donald in Berlin at that time, and nothing con- Johanos. ceivable would have prevented my at- Analogue Productions APCD 006, tending the first of those concerts. For CD; 41:18. Bernstein himself, extramusical cir- Another Analogue Productions reis- cumstances made the event extremely sue (from 1967), complete with all -tube important for him. Tortuous, protracted technology up to, of course, the final negotiations delayed his debut with the CD product. Interesting side points: Berlin Philharmonic for several years, The copyright, Moss Music Group, but the Berlin Festival's director finally gives the original away-Moss ab- found a way to accommodate Bern- sorbed George Mendelssohn'spio- stein's insistence on making the event neer postwar label, Vox, one of the a benefit for Amnesty International. very first new American small outfits to Eyewitnesses reported that during re- appear after World War II, some years hearsals Bernstein only rarely stopped before the LP. (Yes-George M. rated weeping; the fact that Hitler's former as a descendant of the Mendelssohn!) chancellery laylittle more than a Vox rivalled Vanguard as an enterpris- stone's throw away from the podium in ing explorer in new musical fields for the Philharmonie merely heightened records, and both labels amassed im- the tensions of the moment. mense catalogs of original record- One partisan Philharmoniker in par- ings in the heady days of the LP. My ticular regarded Bernstein as some friend of those days, David B. Han- sort of anti-Karajan, and almost defi- cock, a brilliant pianist who was also a antly sabotaged the interloper's first recording engineer, did the technicali- day of rehearsal. The next morning ties on this job. His hobby-or profes- (after the mutineer called in sick and sion-was altering top-quality micro- another player took over), Bernstein phones to make them even topper. dared the rare step of appealing to Ah-but more! Yes, the CD isre- the musicians for the reason they re-preserves the miraculous results.markably short, but it is very complete sponded so inadequately to his con-These pampered musicians, an ex-as a musical message. The Symphonic ducting. His risk-a substantial one-ceedingly tough crew to impress, al- Dances were Rachmaninoff's last com- paid off: From that point on, theyready knew allthe world's greatestposition, written in this country in 1940 played their hearts out for him, and thisconductors. Even so, at the Americanafter his emigration here. He was in the recording (taken over from RIAS,ambassador's post -concert reception, New York area at the time, but moved Rundfunk im amerikanischen Sektor)when Iran into the Philharmonic's pi-to California to "be with his Russian 138 AUDIO/DECEMBER 1992 THE FOUR ALBUMS THAT MADE MUSIC HISTORY BY DEFINING "AUDIOPHILE' FOR MILLIONS. NOW IN A LIMITED EDITION COLLECTOR'S SET.

,NHEIM STEAMROLLER SIANNHEN STEAMROLLER

C'":28bcfre I by Chip Davis

The perfect gift and a mist -have collection for audio enthusiasts. SEASONS by Composer Chip Davis with Mannieim Steamroller brings you four CD recordings which redefined state-of-the-art and forever changed the listening expectations of millions. This classic set of Fresh Aire I,II, Ill & IV paints -he four seasons in the "Mainheim Steamroller Style" that has won adoriig fans worldwide. Available now at linerrecord stores.

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with the freedom, accuracy, and utterly performances, Horowitz had some- musical ensemble of this 1967 Texasthing infinitely more important on his group under a splendidly aware con- mind: Pure music. ductor. Doesitmatter whether you Not for nothing has Deutsche Gram- have heard of him or not? Ihadn't. mophon dubbed this disc Horowitz the Edward Tatnall CanbyPoet. This most stupendous pianistic technician of his era also had at his disposal a musicality that could turn Schubert: Piano Sonata in B Flat, something as simple as Schumann's Op. posth.; Schumann: Scenes fromhackneyed "Traumerei"-which he Childhood, Op. 15. Vladimir Horowitz, dearly loved, and often played as an piano. encore-into a memorably limpid little Deutsche Grammophon 435025-2, gem. In this Schubert he chose a tow- CD; DDD; 56:07. ering masterpiece, arguably the great- Those of us lucky enough to have est of all Schubert's sonatas, which heard Horowitz in person will almostHorowitz plays with a heart-rending certainly never hear his like again. His- poignancy. Deutsche Grammophon's friendsin the film industry." Maybetorically, Franz Liszt holds a hallowed engineers have obviously exerted that's what killed him in 1943.Itis aplace as the greatest piano virtuoso ofthemselves to rise splendidly to this remarkable piece, this disguised shortall time, but one wonders, if Liszt could historic occasion. Paul Moor symphony in three oversized dancehave made recordings, how his play- movements, and not in any way at all aing would stand up today to that of feeble effort.It has every bit of the Horowitz, to mention only one name.Brahms: Piano Concerto No. 2 in B vast energy of the earlier works, as well Horowitz's musical and technical mag-Flat. Cyprien Katsaris, piano; Philhar- as the usual sense of a -bit -too -much - ic, at its best, bordered on the super-mania Orchestra, Eliahu Inbal. and -too -long. The man was clearly at natural. How wonderful that these twoTeldec 2292-44936-2, CD; 50:43. his full strength and undiminished inperformances-the Schubert in New Three minutes ofthisfamiliar

ability. York's RCA Studio in 1986 and theBrahms, which I had not heard for a One of my music students at FinchSchumann in a recital broadcast fromlong time, and it struck out clearly as College in New York at that time came the auditorium of Vienna's Musikverein"neo-Romantic"-the recent and re- to me breathlessly to say that Rachma- in 1987-show the old warlock, even innewed Romantic approach after the ninoff lived in her apartment house and his 80s,still a unique master with ayears of more rigid neo-classical. It's she saw him often going in and out. style, a sound, and especially a uniquethe same old Brahms, but somehow Didn't say where she lived. Maybe she articulation easily recognizable to thewith a new rosiness in the cheek and a lived in Huntington, Long Island, where experienced ear.Ifthese works in-bit less formidable beard. Do we hear all the books say he lived? Or did heclude none of those demonic pyro-echoes of such as Schumann and have a part-time toehold in New York technics that inevitably brought audi-even Tchaikovksy in this rendition? It's City? She would tell me she had seen ences leaping to their feet cheering,up to date, no question.

him just that very morning. . . Near aswho cares? When he played these two Neo-Romantic, of course,is now I ever got to the great man. close to middle-aged. These are not I think we may well revalue Rachma- kids, this pianist and this conductor. ninoff today, as a late Romantic who But they seem, at least to this long-time composed right through the Stravinski- reviewer, to have much in common, not an neo-classic era, never departing a only early middle age and long hair, bit from the basic Romantic sound. but a clearly different approach to the Yet, as we can hear in this splendid old conservative master. No longer is performance of the Dances, he was the old rigorous classic sound present, able to absorb for the quick ear many as in the seminal recordings of Bruno of the real aspects of "modern" music, Walter; now all is relaxed and flowery, built into his own idiom. From where as though there were never a differ- else the ever-increasing dissonance, ence between Brahms and his musical the high-tension nervousness, the antitheses of the 19th century, the "jazz" -syncopated rhythms of the last "real" Romantics of the Wagner -Liszt movement? He was a lot more of his school! That was a musical fight to the

time than we thought. death, and I was brought up on its The Dallas Symphony is fulsomely principles: Brahms, the academic con- praised in the booklet in the usual PR servative, Wagner, the Great Liberator. terms. But here, every word,I can at- Gone! And probably rightly. test, is true.I could only wish some of In practical terms, there are discrete the major orchestras today could play differences that any Brahms listener

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re- scene-older audio people will erring good taste in picking really mu- -Q member his name from the early days. sical pianists who may not yet be in the He was, I think, a definitive recordist in million -dollar bracket and snapped up0 the move towards quality cassettes by the majors! This lady is a gentle and with his long-time Connoisseur Soci- wonderfully polishedmusician,well ety, working from the start to the high- schooled in the flexible (but so often est standards in both the recording maltreated) traditions of Chopin play- and the transfer to home tape. Verying. Her New York teachers were ro --) early, Silver found himself inclined to- good. They knew how! Not surprising- can hear. Yes, Brahms did stress thewards the piano, not only as a record- ly,ifI remember well, Silver had to do 0. overall structure of his work, always,ing challenge but as a workable andwith their careers too, just as he now 0 sometimes even painfully, never wast- reasonable medium for a small label, records New Yorker Karen Kushner. 0 ing a note nor writing a purely inspira- given musical taste and recording Edward Tatnall Canby ii tional tune just for the fun ofit.Yet judgment. these things are there, even so, inte- Nobody has had a more productive Schumann: Piano Concerto in A Mi- grated into the ever larger structuresexperience in piano recording than Sil- nor; Chopin: Piano Concerto No. 2 in he set down. Oddly, the neo-Roman- ver,both musically and technically, F Minor. Louis Lortie, piano; The Phil- tics, as here, are mildly misguided in and you will hear the accumulated re- harmonia, Neeme Jarvi. Chandos SK two directions. Yes, they play Brahms sult in the superbly natural sound of 48043. as full of sighs and ecstasy, from mo- this CD. It is limpid, with never a twang Louis Lortie, a youngish pianist new ment to moment, as I never remember or buzz and notably a lack of mechani- to me (there are hundreds), made me it before. But curiously, they often miss cal noise, traits all too evident in manysit up with a start-Schumann come to the real high points of Romantic melo- a piano recording.I have never heard life! The Philharmonia, that highly su- dy and dramatic contrast! This to an it better. perior orchestra, is nothing much here older ear is the characteristic of the It must be a pleasure, too, for Silver -one senses just another job. But when neo-Romantic school of revivals. Goto exploit the CD, which is the greatest Louis Lortie comes in, suddenly Schu- listen to the Brahms recordings of thegift to piano recording in our history. A mann himself looms as real as "3-D." 1950s and '60s for the significantlygood ear will always notice the true I was astonished, as one is so often higher tension, the cleaner structure,pitch of a good piano CD, far beyond astonished these days, at the impact, the more truly Romantic performancesanything on cassette or LP. via CD, of relatively unknown musi-

that came out of the actual world of I didn't even look at the pianist'scians. Lortieis one of those people Brahms, not to say Wagner and Liszt,name when this arrived, but I should who simply understands, intuitivelyit who were far more rigorous in theirhave remembered that Silver has un- seems, as though predestined to composing than our younger musi- know. The man communicates, all-out. cians suppose. Lortie's Chopin is only less impres-

I enjoyed Inbal's free -wheeling or- sive because the music is not as per- chestral accompaniment and wonder suasive, because it'searly Chopin how he got it out of the Philharmonia, and, when you come down toit,a schooled in earlier Brahms for dec- somewhat inept attempt. The orchestra ades. Katsaris, the pianist, is dedicat- just plays chords, for the most part. ed and musical, makes many of the Accompaniment. The piano doodles big musical points, and yet curiously along, gracefully and melodically, but does not seem to know how to project this doesn't compare with the best of the grand shapes of the big Brahms Chopin. Can't blame Louis Lortie for melodies, nor the elfin staccato quality this. Edward Tatnall Canby of some of the more pixie -like details- one of the high points in Brahms' piano Beethoven: Symphony No. 9 in D writing. (Brahms played the first perfor- Minor, Op. 125 (1895 Gustav Mahler mance himself in 1881.) Yet, Brahms Edition). Soloists; JanaCek Opera lives again, even so! What glorious Choir and the Brno Philharmonic, Peter continuity the art of recording has add- Tiboris. Bridge BCD 9033. ed to the art of music. Beethoven: Symphony No. 9 in D Edward Tatnall Canby Minor, Op. 125 (1895 Gustav Mahler Edition). Soloists; Cincinnati College - Conservatory of Music Chorale -Motet The Chopin Mazurkas, Vol. 1. Karen and Chamber Choir; Cincinnati Phil- Kushner, piano. harmonia, Gerhard Samuel. Centaur Connoisseur Society, CD; 66:30. CRC 2107. It is a pleasure to have E. Alan Silver Why in the world would a conductor still around the New York recording of Gustav Mahler's monumental stature 144 AUDIO/DECEMBER 1992 Definitive Technology's Award Winning Cl Center/Main and BP2 Bipolar Satellite/Surround Speakers

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presume to reorchestrate one of theblings between winds and strings, ex- self] to be led astray by 'tradition,' [I] towering masterpieces of perhaps thetends Beethoven's dynamic indica-was constantly and solely concerned greatest of all composers? tions from pp andffto pppp andffff, with carrying out Beethoven's wishes On the one hand, Mahler leaves theand even introduces new countermel- in their minutest detail, and ensuring vocal parts and the original tempo indi-odic material! Mahler defended his au- that nothing the master intended cations unaltered; on the other, his ver-dacities by claiming that, "Far from fol- should be sacrificed or drowned out sion calls for additional timpani andlowing any arbitrary purpose or amid the general confusion of sound." four additional horns, introduces dou-course, but also without allowing [my - Well, Beethoven's deafness had,of course, by that time become virtually total;also,later concert halls make 4LARRY WILLIS STEAL AWAY those he composed for appear to be MORE AQ 1009 miniature. also featuring Cecil McBee & Gary Bartz Three giants of jazz turn in a per-for- Purists may rise up in wrath, but this curiosity does have its charms, albeit '11 mance of spirituals, blues and originals that is truly stunning. Past asso- fewer than Mozart's delicious rework- WORKS ciations of these three include Miles ing of Handel's Messiah. These perfor- Davis, Cannonball Adderly, mances, neither a world-beater but Joe Henderson, Charles Lloyd and Phoraoh Sanders. Don't miss this one! both adequate, leave little to choose OF ART... between. Centaur has made its recording at a puzzlingly low volume level, but both offer adequate fidelity. ROBERT LUCAS Paul Moor BUILT FOR COMFORT AQ 1011 Robert Lucas has received universal Strauss Waltzes. Vienna State Opera praise from the world-wide blues com- Orchestra, Jascha Horenstein. Chesky munity for his first two releases CD 70. For at least a century, any profes- is a tasty combination of solo, duo and group offerings with backing musi- sional musician operatingin Vienna cians including Stephen Hodges (Tom has been ready to play almost any Waits, James Harman) drums, Strauss (Johann Jr.) waltz in his sleep, and Freebo (Bonnie Raitt), tuba. "Built and probably every other day as well. For Comfort" is Robert's best yet! A BRUCE KATZ BAND Here is the Viennese tradition as of a CRESCENT CRAWL MOKAVE VOL 2 generation ago. Different? Yes. There AO 1012 AG 1007 is a certain tightness and efficiency "Amazing" is the only way to GLEN MOORE, LARRY KARUSH, that says 1962 emphatically. That was describe Bruce Katz's piano and GLEN IMO GLEN VELEZ LARRY KARUSH Hammond B-3 organ playing. He GLEN SUEZ MOKAVE VOL1 before the popular return of the Ro- has awesome technique along with "**-....an intense collaboration" mantic way of doing things! "Make that important "something extra" - said DownBeat in a rave review of your point but don't exaggerate" was soul. This Boston based group Mokave Vol 1. Vol 2 features more the then -current musical approach, combines a forward looking jazz from the masters of world music groove with what can only be called and improvisation. Those who and not even romantic Vienna could a turbo charged Booker T and the have heard Vol. 1 already know. avoid doing it that way. MG's sound. Features Bob Malach V eximmet. Mokave is earthy, funky, cerebral The curious thing is that this and on tenor sax. and a lot of fun! other similar old recordings now compete virtually on a par with newer ver- fr. VICTOR LEWIS VICTOR LEWIS sions-and a new generation of musi- FAN. POLTRAV FAMILY PORTRAIT AQ 1010 cians. It is a brand-new way of carrying also featuring JOHN STUBBLEFIELD, EDUARDO SIMON, on an old tradition, a sort of active CECIL MCBEE, DON ALIAS, JUMMA SANTOS feedback in the literal sound, to sup- Victor Lewis is an extraordinarily talented drummer and composer who co -leads the acclaimed group Horizon with plement the older "live" way of hand- Bobby Watson. He has been the subject of recent feature ing on music from one era to the next. stories in DownBeat, The Wire, Modern Drummer and Remarkable. Newsweek. "Family Portrait" features an all star cast of jazz For my ear, the Chesky label does 10,1a. luminaries and is a showcase for the composing talents of New York's most in demand drummer. an excellent and unobtrusive job on amiboonol transferring these top-quality analog

Also available from AudioQuest: recordings to the CD medium. This sort AQ1001 Robert Lucas-Usin Man Blues of transfer, to our great artistic advan- AQ1002 Strunz and Farah tage as well as audio's, is becoming AQ1003 Tuxedo Cowboy A01004 Robert Lucas -Luke and The Locomotives routinein thousands of examples, AQ1005 Trio Galanterie though not always carried off as well. AQ1006 Mokave Vol. 1 audioquest. Edward Tatnall Canby AQ1008 Works of Art Sampler -Selected tracks from the first six AudioQuest releases State of the Art Music/State of the Art Sound P.O. Box 3060 AVAILABLE AT ALL 10E0 \l111111 LOCATIONS. San Clemente, CA 92674 USA 146 AUDIO/DECEMBER 1992 TO ORDER BY PHONE: TOWER RECORDS (800) 648-4844 OR ACOUSTIC SOUNDS (800)525-1630 (714) 498 2770 OMETHINGS ARE TIMELESS

blish Heart STORY anist Story takes a turn tord -he wor 11!f4 romantic stanXrd, MN Fa' rt features 14 intimate

phino piano/bass duets, law- less treasurfrom the catalogs of Duke Ellington, Rodgers & Hart, Jeroiae Kern and many others. Her sensiti exploration of these graceful classics evokes an enchanted mood that radiates with every song.

Stained Glass Memories SCOTT COSSIJ

Spider Dreams a I. Oa I TURTLE ISLAND STRIN Follo thryear absence fr .m QUARTET reco due to a near -fatal atiko acc ,Scctt. Cossu's rturr Suite for jazz string orchestra. mar a m 'menu.* alb From its inception, TISQ Windham Hi -1 Oat - has pushed the envelope nrnence am nteittpo- for string ensembles. Onr. tmentl dame' His latest their latest CD, they expand work faithfully covers a variety their palette beyond the musical styles: traditional quartet in both B=Ilian, Latin - scale and content, bring- inspired pieces, and ing an improvisational, chamber -oriented swing approach to a series acoustic ballads. of original compositions by group member David Balakrishnan. "Their voice is authentic and passionate." -Yo-Yo Ma

WOODY KICKS BUTT... KEITH KICKS BUCKET?

the frail cuts that follow; sadly, by the time of "Runnin' Too Deep" and "Will but you Won't," the last thing we want to hear is another Stones chord. Else- where, nearly seven minutes are spent on thin reggae ("Words of Wonder"), and Steve Jordan bogs down the bal- lad'HateIt When You Leave" with some unaccountably sluggish drum- minc. It would have been nice to hear this potentially affecting song on Rich- ardslooser, more involvingTalkIs Cheap, where band and material were a lot less forced. Ken Richardson

Us: 'eter Gabriel Geffen GEFD 24473, CD; 57:49. Sound: B Performance: A - Peter Gabriel's Us picks up where So left off in 1986, with detours through the Passion Slide on This: Ronnie Wood soundtrackrecording,the Continuum 19210-2, CD; 59:23. breakup ofhis marriage, a Sound: B Performance: B+ failed relationship with actress Main Offender: Keith Richards Rosanna Arquette, and thera- Virgin V2-86499, CD; 49:37. py. It all emerges from the pan - global grooves of Us, possibly Sound: B+ Performance: B - Gabriel's most personal album, Ron Wood has been a Rolling Stone and one where he looks inward three times longer than Brian Jones or rather than outward. Mick Taylor-and has proven to be just That's what informs the as vital to the band's interplay. Next to swampy beat of "Digging in the Keith Richards, though, he's always Dirt," the lead single and video. seen as the upstart in their game of It's an emotional pendulum, dodgeball guitar. But as a solo artist, swinging from verses tinged Wood is now the tougher competitor. with angry violence ("Shut your Judging from itsstylish DigiTrak mouth") to cries for help and package, one might expect Wood's understanding. Slide on This to be ultra slick, but the Gabriel mixes and matches album is an agreeably dog-eared af- cultures with willful abandon. fair. Once past the opening track's "Come Talk to Me" has Scottish drum machine, we're reassured by all - bagpipes, African drums, the natural percussionists (among them Dmitri Pokrovsky Ensemble Charlie Watts), and Wood fills holes from Russia, and the Armenian with both terse slide guitar and his cus- doudouk. The doudouk is a se- tomary snippets of licks. Throughout, rene double-reed instrument his Dylan -and -clove -spiced vocals jos- whose caressing tones echo tle well with the smoky calls of Bernard Gabriel's own psychological Fowler, who also shares writing, ar- journey. Gabriel makes all the ranging, and production credits. A fewsound, and if his goal is to reassert thatcultures sound like they belong in the invigorating covers (including Georgerock keeps you young, then he's trulysame village. Clinton's "Testify") supplement origi-earned back the name "Ronnie." A few tracks follow too closely in the nals that range from the Philly soul of On the first three tracks of Main Of-spirit of So's "Sledgehammer" and "Thinkin' " to some surprisingly freshfender, Richards comes over like a kid"Big Time." "Kiss That Frog" is a Stones -style numbers, especially "Likeas well. The voice seems rehabilitated,tongue-in-cheeklark,while "Steam" It"(with ferocious backing by Hot-and the aggressive guitar is classicrecalls the jubilant rhythms of Martha house Flowers). Wood appears to rel-Keith. But the suspicion that this mus-and The Vandellas' "Dancing in the ish his album's occasionally raggedcle carries little meat is borne out byStreet." But several songs are more

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PHILIPS LHH500Last Call! HUGHES(0)MODELAK -100 r REFERENCE SERIES CD PLAYER AUDIO PRODUCTS Sound RetrievalSystem New Philips Bitstream Pulse Density Modulation 1 -bit 256 times oversampling digital to analog conversion 4 DAC digital differential mode 1 L. =1 700+ selection Favorite Track Selection lifetime memory programming ORIGINALLY $2000 31 key full -function infarea remote control transmitter "Perhaps the most effective stereo enhancement sys Motorized, push -to -close disc tray tern, one that even simulates full surround sound." NOW ON SALE Display Off feature cancels front panel display indication Len Feldman Video Review March 1991 Automatic Music Scan for quick disc contents ovrview "The sound spread was so startling that I was certain A -B playback or Delete Playback automatically repeats additional speakers had been turned on -but they hadn't" Len Feldndan A dio April 1992 $1299 Also Available LHH1000 Reference Series CD Players Holiday Special 5249 AudioSourc DD TO Amp One Subwoofer Amp Home Theater System YOUR 170 watts bridged into mono LUXMAN EXISTING $249 Compact Disc Player 4001 Dolby' Pro Logic SYSTEM EQ10 Computerized EQ System Featues: Remote graphic EQ/spectrum analyzer $299 SS4 Dolby' Pro SS Three IISurround Processor Pro Logic w/remote & built-in amps $349 Logic Surround AV3 Audio/Video Switcher DZ-92 REMOTE CD PLAYER 5 YEAR Sound Processor 5 video/audio sources. Color corrector $159 Features dual D/A converters 4X VS -One video shield- -, VS One oversampling digital filter 3 -beam LUXMAN ed center channel full range Center channel shielded speaker Call laser 20selection programmed play speaker LS-Ten/A surround Sound Speakers (1 pr) Almetal chassis and housing PARTS & VS Two Multi -function remotecontrol STAR Make Your Receiver NOW ON SALE Powered center channel speaker Call circuitry & more. LABOR Into A Home LLC2 CD Cleaner ORIG $280 $129 Theater System CD laser lens cleaner A must $2495 WARRANTY $399 NOW ONONLY

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SELECTION SERVICE SATISFACTION] 7" copolymer woofer, advanced 24dB/octave FAX MAC ES Artif. * crcssover Low -diffraction flush KX-T9000 baffle and bi-wire capable 900MHZ pocket sized folding wire- KX-T1000 150 W power handling less phone 30 channel auto scan- Micro cassette answering machine FR 42-20kHz ning 2 interchangeable batteries with tone remote control and digital ORIG $1000$539 (10) 20 digit speed dial memory call counter Integrated telephone/fax/answering NOW ONLY machine tone remote system 10 speed Orig $45 NEW...CALL dial memory Copier function Fine s79 KX-T3720 Cordless mode for high resolution. KX-T1451 The Long Wait Is Over... Auto dialer, 10 ch access ri50g Dualstandardcassette $59 NOW AVAILABLE PHILIPS CDV-400 KX-T3730 Cordless $ $469 KX-T1461 s5 Hands free speakerphone 1 19 Voiceltimelday stamp $69 KX-T3848 Cordless K. r.,,,KX-F60 KX-T1470 7 -day standby battery life C Telephone answering sys. w/fax$529 Voice remote menu w/LCD$99 KX-T3980 Cordless $4 KX-F90 KX-T8000 2 -line with LCD readout I69 Features auto paper cutter $599 Digital answering machine NEW 5 -video and coaxial digital output KX-T4000 Cordless $.4 r, KX-F110 KX-71740 42 -button infared remote control 2 interchangeable batteries I 9 Features sequential broadcast LOW 2 -line answering system $119 Random play w/record edit KX-T4350 Cordless $4 ri KX-F5000 KX-T4400 425 lines horizontal resolution Answering system & cradle I 9 Plain paper laser facsimile CALLDual micro cass w/cordiess NEW 5 -mode repeat play KX-T3860 Cordless 'Limit,KX-F155 KX-F195 KX-F215 KX-T2100 KX-T2300 KX-T5000 ORIG $479 Speaker with LCD readout NEWWhite facsimile machines CALL new answering systems ilit444:11;iglZrei5599

MAIL ORDER CALLS WE WELCOME CUSTOMER SERVICE To Order Toll Free Call: Please Have Your Invoice Number Ready: VISA AMERICAN 1.800.54207283 410woo EXPRESS 1.201.838.1180 To Order By Fax Call: Mail Order Hours: Customer Service Hours: 1.201.838.9599 Monday thru Friday 9am - 9pm Monday thru Friday To Order By Mail: Send Check, Cashiers Check or Money Order. Saturday 9am - 6pm Sunday 11 a m - 4pm 10am - 5pm Enter No. 44 on Reader Service Card Pan -global Peter Gabriel emotionally confronts his inner turmoil on possibly his most personal album.

intimate, exploring the interface of sen- without passion. Vega's songs aren't suality and spirituality. You can hear it insubstantial-they're always about in the somber tones of the track something-but it wouldn't hurt her to "Washing of the Water," as well as in throw in some tempo changes and the African train rhythms underpinning maybe a crescendo now and again. Gabriel's tale of miscommunicated Frank Lovece love on "Secret World" and the South African choral arrangements of "Blood Dry: P J Harvey. Indigo 162-555 001-2. of Eden," a song couched in the story Hearing Dry for the first time recalls of Adam and Eve. the virgin thrill of Pretenders, but the Producer Daniel Lanois brings an preciousness that would eventually open, textured atmosphere that com- swamp Chrissie Hynde is absent from plements Gabriel's internal turmoil. Us isn't the innovative leap of Gabriel's England's Polly Jean Harvey. Her text and voice, especially in describing the 1980s trilogy, but like those records it stale mates of "Oh My Lover," show reveals more details, sonically and an emotionally, with each listening. John Diliberto

Burning Questions: Graham Parker. Capitol CDP-7 99003 2. Graham Parker is getting predictable in his career: Sign with a new label, record your best album in years, then follow it up with a contractually obligated piece of self-indulgence. Fortunately, Burning Questions falls at the start of this cycle and is his best album since The Mona Lisa's Sister. Parker plays all the guitars and doesn't leave any gaping holes, but the instru- mental hooks and trademark riffs are few and far between. He's backed by the rhythm section of Bruce Thomas and Pete Thomas, from Elvis Costello's former band, The Attractions; had Parker also enlisted Attractions pianist Steve Nieve, Burning Questions would have been a first cousin to Costello's age and a marksmanship far beyond Armed Forces. Yet these days, Park- her 22 years. Her music, for '90s power er's a lot closer to being Rod Stewart trio, revels in the chords of her own than a latter-day Costello, and he's garageland guitar. Not since Sinead desperately trying to maintain an angry O'Connor has a woman broken into pose. It's hard to think of anybody who alternative rock with such authority. could sing "I've seen the future of rock Ken Richardson and it sucks" and not be embarrassed. Jon & Sally Tiven Tenement Angels: Scott Kempner. Razor & Tie 2809. (Available from Ra- 99.9° F: Suzanne Vega. A&M 31454 zor & Tie Music, 214 Sullivan St., Suite 0005 2. 5A, New York, N.Y. 10012.) With her waifish ways, Suzanne It's tough not to admire a guy who Vega remains superb at writing about dedicates himself so seriously to rock things lost to childhood as we grow 'n' roll while avoiding the subterfuge of older and lose that fine edge of joy. Yet the record business. Scott Kempner 99.9° F is too often joyless and plod- has finally gotten around to releasing ding. The lovely and depressing poetry his own album after years with The of "Blood Sings," the retro-psychedelic Dictators and The Del -Lords. Both drone of "Fat Man and Dancing Girl," bands were street -smart purveyors of and the title cut itself, a sort of rap song no-B.S. rock, a vibe that Kempner re- on lithium, are woven and expressed tains while also acknowledging his

152 AUDIO/DECEMBER 1992 20 51 70 The world's smallest 12 -band receiver.

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120 130' 140 150 160 170 The Rembrandts paint obviously Beatle-esque portraits that go beyond their inspiration.

successful" yet not so emotional covers of her songs by the likes of Patty Loveless and Mary -Chapin Carpenter. Be it uptempo for the joyous "Lines Around Your Eyes" and the bluesy "Hot Blood" or down -tempo for Nick Drake's "Which Will," Sweet Old World shows Lucinda to be a riveting writer and performer whose apparent simplicity is merely the entranceway to a rewarding. artist of depth. Michael Tearson

Cowboy Real: Tom Russell. Philo PH 1146. (Available from Rounder Rec- ords, One Camp Street, Cambridge, Mass. 02140.) Cowboy Real is an acoustic album of cowboy ballads that bear an unerring roots. With backing from one of thefellow Spiritual Cowboy alumnus Mar- ring of truth and sincerity. Here, Tom best bands you've probably nevertin Chambers on drums, the fine guitar- Russellis accompanied by guitarist heard of-The Skeletons from Spring-ist Jimmy Taylor, and bassist PeterAndrew Hardin, string bassist Hank field, Missouri-Tenement Angels hasNoone (not the Hermit -keeper Her-Bones, and multi -instrumentalist Fats lotsof Hammond organ, acoustics,man), this debut is an unexpectedKaplin. Old friend Ian Tyson duets on and rich harmonies as well as loudpleasure. Although the approach is atwo cuts, the unforgettable corrida of guitars that go kerrang. Urbanites willbit mannered, Miss World manages tothe gamecock ("Gallo del Cielo") and relate to Kempner's stories of life in thesound fresh despite the members' vet-a tale of love and life ("Navajo Rug"), big city.If you're also a Lower Easteran status. Songs like "The First Fe-Tom's admiration and understanding Sider, however, this album will really hitmale SerialKiller" and "Watch Thatof cowboys and theirlifestylehelp home. Michael BieberMan Weep" leap out of the speakersmake this a rich and honest album. with an urgency reminiscent of early Michael Tearson Miss World. Anxious, Atlantic 7Roxy Music. With the proper push, 82424-2. Miss World could become very popu-Blind: The Sundays. DGC 24479. Miss World is more or less the brain- lar, but at the least we should note that The Sundays' follow-up to their 1989 child of Jonathan Perkins, a formerthey're very good indeed. debut won't disappoint the band's member of Dave Stewart's Spiritual Jon & Sally Tivenfans. Stretching their luscious, acous- Cowboys as well as The Original Mir- tic guitar -driven sound to new aural rors. Perkins is a clever lyricist, and heUntitled: The RembrandtsAtco 7lengths, they continue to spin confes- does a fine vocal impression of (alter- 92200-2. sional tales about love, obsession, and nately) Lou Reed and Iggy Pop. With a On their second effort, Danny Wildethe fragility of life but in a more ap- band that includes ex -Pretender andand Phil Solem, a.k.a. The Rem brandts, once again create sophisticated songs with neatly embellished arrangements. Playing most of the instruments themselves, including many multi -tracked acoustic and electric guitars, the two paint portraits in an obviously Beatle-esque pop pastiche that, like the best art, is highly inventive and able to stand on its own, going beyond its inspiration. Michael Wright Sweet Old World: Lucinda Williams. Chameleon 61351-2. With a plaintive quaver in her voice and a full -tilt emotional commitment, Lucinda Williams might be too much for some. But herein lies the difference between her own "ripped from life" performances and the "correct and 54 AUDIO/DECEMBER 1992 The best investment you'll ever put into your sound system...

Compact Discs

Classic albums that now sourd better than ever before, thanks to Sony's revolutionary new 20 -bit technology ca led "Super Bit Mapping:'

In addition to reproclicing mi. sic with unprecedented clarity and accuracy, eoch MasterSound disc comes with a 24 -karat gold reflective surface. a special picture label, and deluxe packaging.

The experts are already raving: "Super Bit Mopping is the best technique I've yet heard for digital y transferring 20 -bit masters to 16 -bit compact discs." Bob Ludwig, re'iowned Mustering Ergineer, June 1992

"This is a premiJm-qualitv sound from the CD median, and I must confess I had thought CD's sonics were not to be improved upor I will <--earth then out and pay the extra dollar; to have tiem, for they are that much better." Gene Pitts, Editor AJdio Magazine August 1992

Now Available Miles Davis "Kind Of BILe" CK 52861 Billy Joel "52nd Street"1K 52858 Aerosmith "Toys In The At? c" CK 52057 Dave Brubeck "Time OW" CK 52860 Bruce Springsteen "Born To Run" a 52859 Bob Dylan "Blonde On Bonde" CK 53016 Boston"Boston" CK 5285c West Side Sto-y, Broadway Cast CK 53152

For a technical paper on Sonya revolutionary "Super Bit Ma ppi process,wr to to "SBM", Legacy Recording, Radio Citt Station, P.O Box 1526, New York City, NY 1010 -1526

"Legacy" and R. Reg. U.S. Pet. &In, Off Morco Reg istrada./e 1992 Sc ny Music Entertainment In.7./"MosterSeund" and are trademarks of Sony Musi Entertainment Inc./ "SBMISuper 13,r AAapping" is °trademark c -f Sony. YOU BETTERGRAB IT... RECEIVERS HEADPHONES CDCHANGERS CAR AUDIO Sony MDRV6 Studio sound -me stereo JVC RX705VIN headphones JVC XLM405TN 100W/channel remote Pro Logic 6 -disc magazine +single tray Panasonic CQDP38 Orig. '129$67 Car CD player w/MASH 1 -bit, 32X Surround Sound Receiver NOW ONLY Total play of up to 7 discs Orig. ,500 $ Orig. OS, removeable face, 22W x 4 2 69 Sennheizer HD440 Orig. '539 NOW ONLY NOWON$s2" 159LY Large diaphram digital ready $59 NOW ONLY$3 4 9 JVC RX207VIN Philips CDC925BK AKG K270 5 -Disc carousel with Bitstream $229 JVC KSRG7 40W/ch remote receiver 449 Parabolic closed ear design Auto reverse, detatchablefaces227 Sherwood RV601ORS 439 Philips CDC935BK Signet EP350 5 -Disc carousel w/digital cut$ 2 6 9 JVC XLMG700RF Rated #1 receiver w/remoteCALL Stereo headphones $37 10 disc changer w/controllerCALL Technics SAGX130 NAD 5170 Changer $3 $199 JVC HAD990 Factory reconditioned 90 day watranty Clarion 5770CD 70W/ch remote receiver Closed ear digital headphones $87 Removeable Co player $379 Philips FR910PBK Technics SLPD827 $189 Sony MDRIF310BK Remote 5 -disc carousel Clarion SE7360 40W/ch remote reciever $229 5'1(7' or 6"x8" speakers Wireless stereo headphones$109 JVC XLM505TN $79 Philips FR940PBK Nady WH90 JBL Car Speakers 100W/ch Dolby* Pro Log,c$399 6+1 changer with remote Long range wireless $99 499 All Models Available CALL Sansui RZ9500 Sony CD Changers Full Line Available Phase Linear PLS1200 $199 Pro Logic Award Winner $599PERSONAL AUDIO 12' subwoofer 4 or 8 ohm Technic SAGX730 Technics TAPES Phase Linear PLC2525 $149 125W/ch Pro Logic NEW 5.25" component system SLS505C Scotch P6120 8mm video tape - 10pk Sony Car Audio Portable/car $4.19° Full Line On Display compact disc Scotch TC20EXG $3490 player 20 min VHS -C tape - lOpk VCRs Orig. 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Panasonic SCCH55 Hi-Fi rated #1 VCR $599 2 -Way floorstanding speaker $469 NOW ONLY5"9$289 25W/ch mini system w/remote$4.79 Philips FB650XBK Sony CFD120 Sony FHB50CD TURNTABLES SOW 2 -Way speaker w17' woofers 169 Portable AM/FM/CD/cassette $189 18W/ch mini system w/remote$399 Pinnacle PN2+ Sony CFD50 Denon Mini Systems Technics SL1200 2 -Way bookshelf speaker $99 Portable AM/FM/CD/cassette $125 All Models Are On Display CALL Dl's best turntable $399 Yamaha NSA625 Sony CFD755 Sony Mini Systems JVC ALA151BK 2 -Way bookshelf speakers $149 3 -piece AM/FM/CD/cassette $259 MHC Series Availalbe NEW Auto direct drive turntable $79 Sonance SB30 Panasonic RXDT680 JVC Shelf Systems Denon DP7F 2 -Way inloutdoor speakers $199 3 -piece AM/FM/cassette CALL MX44, MX55M, MX77M CALL Direct drive turntable CALL All Speaker Prices Are Per Pair JVC PCXT7 Yamha YSTC11 Brand Name Portable AM/FM/CD/cassette $369 Top load CO w/dual cassette $569 Semi -automatic with cartridge NirAuthorized Dealer 65 Full Line Available Panasonic RXDT707 Optonica CDX17 Thorens TD180 NEW portable AM/FM/CD/cass$369 Remote system widual cassettES-599 3 -speed wtTP20 arm $299 RETAIL STORE RETAIL STORE INFORMATION Meadtown Call 201.838.3444 Shopping Center Route 23 South Open 7 Days A Week StindgE Kinnelon, NJ 07405 Mon - Fri 9-9 Sat 9-6 Sun 10-5 Factor/ Authorized for all brands we sell Not responsible for typographical errors Some pictures for illustration only NO refunds on video equipmentw car stereo products 10 day detective exchange from date or receipt (Faxegt on video products) All returns must be made within 10 days of receipt of merchandise & are subject to a restocking fee Productsreturned must be in original condition and packaging. Shkming 6 handling not refundable WHILE WE STILLGOT IT! SUPER SAVERS-OUR BEST HOLIDAY SPECIALS EVER! Sima SRWV2 $1595Terk AF9925 Precision Power 2030M Sony SPP75 2 -Way VHS rewinder Powered AM/FM antenna $89 30WIch car amplifier $149 10 -channel cordless phone $89 Sima SRW8N Brand Name DAT Pinnacle PN60 PS Audio Digital Link $479 2 -Way 8mm video rewinder $3495 Home DAT recorder $469 6.5' 2 -way bookshelf speaker 479 18 -Bit 8X digital processor JVC JXS100 $8995a/d/s/ T2 Philips VR6705 PS Audio 6.1 Video selector switcher Digital tuner w/presets $239 Top quality Hi-Fi MIS VCR $499 Line level pre -amp $569 Sony TCD-D3 Philips VR6615 JVC AV31I BM3 Scotche PDS1 DAT walkman player/recorderCALL 4 -Head VHS Hi -Fl VCR CALL 31' color TV w/MTS $899 Car mounting bracket for CO's$2995 Sole Control SC -2000 $07 Panasonic PVM1321 Bazooka Bass Tubes Soundcraftsman A200 Universal remote for8Audio/8 video OP, 13' color TV with built-in VCR$469 162,T82,1102 & powered subsCALL Home audio amplifier CALL Gemstar VCR+ Hitachi VME23A JVC UXA.3 Soundcraftsman Pro EQ44$399 VCR instant programmer $4995 8mm, 64X Zoom camcorder $769 Micro system with remote $349 Third octave equalizer Sony MDR 84 Hafler DH330 Target BT1 Sherwood XAT400Q Turbo headphones digital ready 37 Digital FM tuner 459 Tilt and swival speaker bracket$2995 6 -channel car amplifier CALL Sony MDRIF510K Kenwood KT880D Toshiba M222 Sherwood XA1240Q $199 Wireless headphones 459 AM/FM digital tuner 459 2 -Head VHS VCR $199 4 x 50 wart car amplifier JVC XLG3700 Proton 440 a/d/s/ PSX10 Snooper D4000 Pull-out car CD/AM/FM receiver$299 AMIFM digital tuner $169 P -mount cartridge forturntables$1995 Triple superheterodyne radar $99 Kenwood ISM20 Advent A1022 Aiwa HST110 Snooper Cycle Phone/answering machine $129 Mini passive ported subwoofer 429 Personal AMIFM cassette radio$3995 Radar detector for motorcycle 499 Jensen JFX125 Pinnacle PN SUB Camber 0.7t Sony CCDF201 5.25' dual cone car speakers $2995 Ported passive subwoofer $189 2 -Way BOWIch speakeRs $139 8mm camcorder 6X zoom $549 JVC JXSV55 Soundcraftsman Canon H800 Sony ITD250 Video editor console $449 Control -13 17' pre -amplifier $249 Hi -8 8mm camcorder $899 2 -Line desk -top phone $99 JVC JXT88 Sole Control SC -1500 $39Brand Name Amp Parsec Wavecatcher Video titler w/charactorgeneratf$349 Universal remote w/6 AN 110 watts per channel $269 Indoor AM/FM antenna $1695 JBL GT962 Philips CDV600 MEI DA7255 Memorex WM200 6'x9' 2 -way car speakers $99 Top -of -the -line laser discplayerCALL 250W/ch car amplifier $259 Inloutdoor 2 -way speakers $89 Hitachi CT1394W Luxman G007 Mission 773M Monster Cable 13' color TV with remote $209 Surround sound /equalizer $269 Turntable cartridge $69 Interlink & speaker wire a*11CALL Hitachi 31KX6B 551 5513000 Monster Cable CDS12R Pinnacle PN50 31' MTS Color TV $899 Dolby' Pro Logic processor 499 Sound rings for CDs $1395 Centerchannel speaker $89 Yamaha NSA825 Triad Satellite/Sub Sony Pinnacle PN8+ 2 -Way floor standing speakers$249 System 6 System 7 CALL61. SPA40, SPPA60 CALL 2 -Way bookshelf speaker $289 Advent A2000 NAD MR13 Niles SPS1 Philips SBV1136 Model 350 New Vision Series $449 #1 Rated 13' TV wIS-video $389 4 -Pair speaker selector $79 10 ft S -VHS cable $1495 Advent A2004 Atlantic Technology 100CALLNiles HDS6 Sony ICFSW7600 Model 250 New Vision Series $349 Powered satellite/sub system Hi -power 6 pair speaker selector489 Short wave radio $219 Advent Heritage Terk FM8500 Olympus 5912 Sony FD10A Top -of -the -line speakers CALL Powered AMIFM antenna $2995 Micro cassette recorder $49 Black & white handheld TV $89 SPECIAL PURCHASE Atlantic Technology System 150 Come Audition The New System 150HT Is A Complete Home Technics FACTORY Theater System That Combines All Of SC-TH200 System NAD The Following Components: RECONDITIONED 152 PBM "Power directed" bass module CALL MERCHANDISE 151 LR Main satellite speaker system QUANTITIES LIMITED 153 C FOR Center channel speaker CALL FOR MODELS, 154 SR PRICE Rear channel surround speakers WARRANTY AND PRICES P. . P RAT A LT EC SELECTION, PRICE & EXPERT ADVICE LANSING INWALL SPEAKERS ADS ADVENT AR AIWA AKG ATLANTIC TECHNOLOGY AUDIO SOURCE BAZOOKA BBE BELTRONICS CANON CARVER CANTON 118La/d/s/ INFARED REPEATERS CLIFFORD DENON HAFLER HITACHI HUGHES JVC KENWOOD VOLUME CONTROLS LEXICON LUXMAN MINOLTA MITSUBISHI M&K MONSTER CABLE NAD QINION

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MAIL ORDER CALLS WE WELCOME CUSTOMER SERVICE To Order Toll Free Call: LANI=N Please Have Your Invoice Number Ready: 1.800.542.7283 VISA logo EXPRESS 1 0201 083801180 To Order By Fax Call: Mail Order Hours: Customer Service Hours: 1 201 083809599 Monday thru Friday 9am - 9pm Monday thru Friday To Order By Mail: 10am - 5pm Send Check, Cashiers Check or Money Order. Saturday 9am - 6pm Sunday 11am - 4pm Enter No. 45 on Reader Service Card Paul Kelly writes lyrics with a simple eloquence, enhanced by appealing musical flourishes.

proachable way. With due respect toComedy: Paul Kelly and The Messen- skills of Squeeze and Crowded House. the band, vocalist and co -songwritergers. Doctor Dream DD 9265. (Avail-It's a measure of his lyric -writingfi- Harriet Wheeler is the magic ingredientable from Doctor Dream Records, 841nesse that he can talk about sorrow that keeps The Sundays among theWest Collins Ave., Orange, Cal.("StoriesofMe") andrevenge best in ethereal pop. Rounding out92667.) ("Brighter") with the simple eloquence Blind is "Wild Horses," whose haunted Fillingthis hour -plus album withof a wise teacher. He's also a fount of spirit evokes the Rolling Stones origi-nearly 20 songs, Australia's Paul Kellyappealing musical flourishes, per- nal. Toby Habercontinues to match the reflective popformed sympathetically by a band that never overreaches. After three fine albums on A&M, Kelly re-enters the U.S. B&K PRO -10 SONATA & EX -442 SONATA courtesy of the folks at Doctor Dream, who should boast that they now have a small triumph on their hands. JUST Ken Richardson Disraeli Gears: Cream. Mobile Fideli- ty UDCD 01-00562. The special thing about this gold UI- THE MUSIC tradisc of Cream's best album is that it includes both stereo and mono mixes of the entire album. Curiously, several of the mono fades, most notably on "Sunshine of Your Love" and "Tales of Brave Ulysses," are significantly longer. Engineer Tom Dowd's notes reveal that the whole album was completed in just 31/2 days. Michael Tearson

Anam: Clannad. Atlantic 82409-2. Clannad's new album, like its predecessors, carries Gaelic mysticism beyond the ends of the Earth. Indeed, three songs are in untranslated, indeci- pherable Gaelic, which is irksome. That aside, Anam is a beautiful, ethereal collection about faith and friendship in a Wuthering Heights mode. When the band members stray from that "The SONATA FAMILY UNITED- When used together, the PRO - strength-as with "In Fortune's Hand," 10 and EX -442 Sonata worked like a pair of world -class figure skaters: the closest thing to a conventional pop each complemented the other to benefit the overall performance. song here-they sound a bit like angst - They really worked well in tandem. ridden Archies. But mostly, even the On recordings of acoustic music, these components had the ability Gaelic songs and two instrumentals to differentiate clearly between an instrument's direct sound and the are delicate and thoughtful, with a deli- accompanying envelope of reflected and reverberant sound. In cious underlying sense of menace. many cases, this gave me a clearer sense of what the recording Frank Lovece acoustic was like.Just the music." Bob Bottman Sensible Sound, Summer 1992 The Stiff Records Box Set: Various Sonata PRO -10 Pre -Amplifier Sonata EX -442 Dual Mono Amplifier Artists. Rhino R2 71062-4. MC/MM Capability 75 Amps Peak to Peak This excellent four -CD box compiles Gold Plated RCA Jacks Separate Power Supplies 96 songs representing the irreverent Wide Bandwidth for Each Channel label that unleashed Elvis Costello, Ian Line Drive Output Premium Connectors Dury, The Damned, Tracey Ullman, All Discrete Circuitry DC Coupled Circuitry and many others into an otherwise un- suspecting world. Stiff's primary legacy is to acknowledge the fun at the BcB&K COMPONENTS, LTD. core of rock 'n' roll-and fun is what 1971 Abbott Road Buffalo, New York 14218-3241 USA this box isallabout. Ian McCann's NY:716-822-8488 FAX: 716-822-8306 1-800-543-5252 lengthy history of the label nicely com- plements the music. Michael Tearson 158 AUDIO/DECEMBER 1992 Enter No. 5 on Reader Service Card The Affordable 1-11;qh-End

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richtextures, always variedterrain, and appropriate mood swings. Keenly crafted compositions are built on solos that range from searing to sensitive. Icing the cake are terrific arrangements featuring knockout hornlines. New York Stories is truly a present-day musical collage, one that entertains but also engages. Jon W. Poses The Vibe: Roy Hargrove. RCA/Novus 63132-2. Trumpeter Roy Hargrove's matura- tion as musician and leader is evident on The Vibe. Employing his working quintet, Hargrove and saxophonist An- tonio Hart, pianist Marc Cary, bassist Rodney Whitaker, and drummer Greg Hutcherson make their way through 10 solid and rhythmically varied compositions. On several cuts, Hargrove beefs up his tight ensemble with reedmen to men such as Robert Johnson, Lead - I Heard You Twice the First Time: Branford Marsalis belly, and Charley Patton. On this jour- Columbia CK 46083, CD; 69:50. ney, Marsalis first suggests, then rein- forces, and finally celebrates the corre- Sound: A- Performance: B+ lation between the two African -American New York Stories: Various Artists art forms. Blue Note CDP 7 98959 2, CD; 53:36. Aside from the cadre of contributors Sound: A - Performance: Awhom Marsalis routinely employs- Kenny Kirkland,Jeff Watts, Robert I Heard You Twice the First Time is,Hurst, and brothers Wynton and Del- by his own account, Branford Marsalis'feayo-it is the presence of blues and long -overdue acknowledgment of theR&B artists that makes this date entic- blues and its rich, long-standing lega-ing. Along with somewhat predictable cy. Here, the Tonight Show bandleaderappearances by B.B. King and John demonstrates a new-found maturity,Lee Hooker are contributions from Joe examining the interrelationship be-Louis Walker (who has one of the tween blues and jazz as he tips his hatstrongest voices around) and veteran belter Linda Hopkins. In a similar spirit is a slightly tougher jazz -blues date, New York Stories. Ap- pearing here is a startling aggregate of Branford Marsalis and David "Fat- players-a roster any leader would killhead" Newman as well as trombonist for-who run through nine super -hipFrank Lacy. Worthy of note is "Blues original compositions. The force be-for Booty Green's," where Hargrove hind this project is the magnificent andcalls on organist Jack McDuff topro- diverse guitarist Danny Gatton, who isvide the backdrop for a satisfying joined on the front line by altoist Bobby"down and dirty" episode. Watson, young tenorist Joshua Red- Jon W. Poses man (who seems to be nearly everywhere these days), and trumpeter Roy The Complete CBS Studio Record- Hargrove. The rhythm section featuresings of Woody Shaw. Mosaic MD3- Belgianpianist Franck Amsallem, 142. bassist Charles Fambrough, and This collection, the four albums re- drummer Yuron Israel. corded by the trumpeter during his Steeped in the classic Blue Note al- tenure with CBS (1977 to 1981), shows bums of the late '50s and early '60show traditionalistslike Woody Shaw that were drenched in guitar and or-made uncompromising art during a gan, this disc bowls you over with itsperiod in jazz when compromise

160 AUDIO/DECEMBER 1992 Danny Gatton AUDIO ON -SALE AT THESE FlNE STORES AUDIO DEALER LISTING

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111 Stanley Turrentine rekindles a fire between long-standing friends on More Than a Mood, a straight -ahead groove.

big band, but hearing his skewed solo piano version of "In a Sentimental Mood," you realize that he's a big band unto himself. John Diliberto More Than a Mood: Stanley Turren- tine. Musicmasters 01612-65079-2. More Than a Mood isa classic, straight -ahead groove that rekindles some fire between long-standing friends. Stanley Turrentine plays with a kind of gentle -sounding steadiness, a bluesiness that delights. For a setting like this, you probably can't beat his rhythm section of pianist Cedar Wal- ton, bassist Ron Carter, and Billy Hig- gins, who once again enthralls with his cymbal and snare work. Freddie Hub- bard appears on two of the CD's eight selections. Jon W. Poses

Monkey: Jai Uttal. Triloka 7194-2. Trans -cultural fusions are becoming the norm, but few artists are working the territories with the experience or grace of Jai Uttal. Monkey blends Indi- meant everything-press and radio ex-porary and Muse labels.Italone posure, let alone recording contracts.makes this box worth its price; some Rosewood, Shaw's 1977 CBS debut, excellent essays by Michael Cuscuna remains an excellent large -ensembleand Carl Woidek enhance the set. album that does sound like a product Michael Bieber of its time, yet no one-including label president Bruce Lundvall-was pres-The Turning Point: McCoy Tyner Big suring Shaw to adapt to the languageBand. Birdology/PolyGram Jazz 513 of the day, fusion. Rosewood came163-2. from Woody's heart. Jump three al- What a difference a couple of dec- bums and some four years later toades make. The early '70s marked the United, which is as timeless and bril-period when McCoy Tyner recorded liant as any of his work on the Contem-his first big -band effort, Song of the New World, an album charged with modal expansiveness and the African undercurrents dominating new jazz at the time. In 1992, however, Tyner's running a an and Middle Eastern sounds, shined post -bop big band, and The Turningwith synthesizers and samplers, and Point is a turning back. In the wake of heated by jazz players from Peter Ap- aggregations likePeter Apfelbaum felbaum's Hieroglyphics Ensemble, of and the Hieroglyphics Ensemble or the which Uttal is a member. With throb- Carla Bley Big Band, Tyner risksbing percussive rhythms-tablas, sounding nostalgic. Slide Hampton's dumbeks, and percussion samples arrangement of "Angel Eyes" is one freely conversing with each other-Ut- step removed from the mirrored globes tal's music moves freely from feedback of ballroom dancing. But despite the guitar solos and saxophone backlines retrospective approach, there's some to melodies played on the dotar, an robust music here, not the least of Indian stringed instrument. Although a which comes from Tyner's core trio of handful of English vocal tracks make drummer Aaron Scott and bassist him sound like Michael McDonald with Avery Sharpe. a sitar,Uttalis creating a fusion Always a broad, orchestral player, unimagined in the days of raga -rock. Tyner is well suited to the bombast of a John Diliberto

162 AUDIO/DECEMBER 1992 Up TO 3 FREE DECADE OF MUSIC CDs WITH PURCHASE OFANY SONY CD PLAYER. A decade ago Sony unleashed the power of muslc by introdu:ing the world's Erst Compact Disc player. To commemorate this anniversary, Sony is offering, with th.. purchase of any Sony CD player, an exclusive collection of CD hits compiled directly from tie Billboard charts. Visit your Authorized Son:, Dealer or call 1-800-451-2248 (Access Code #41281: for a coupon with all the details on :his offer, and let Sony CD Urdelsh the Power of Music for you. For great music entertainment, watch for the Billboard Music Awards on Fax Television, December 9, 1992.

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Analogue Productions ANNOUNCEMENTS ANNOUNCEMENTS Mobile Fidelity- Wilson Reference Recording - Chesky ACT AUDIO gives good sound! Sheffield Lab - Harmonia Mundi A professionally designed listening room costs less than CASH for USED AUDIO & VIDEO EQUIP. Proprius - RCA Living Stereo - Klavier some CD's. Send SASE for details. ACT AUDIO, 619 Moon BUYING and SELLING by PHONE.CALLfor Mercury Living Presence - plus many more Clinton Rd., Coraopolis, PA 15108. in and out of print recordings! HIGHEST QUOTE. (215) 886-1650. The Catalog $3 In USA, $5 elsewhere - refundable THE LNPA 150 MONOBLOCK POWER AMPLIFIER; clari- Stereo Trading Outlet, 320 Old York Road, ACOUSTIC SOUNDS 1-800-525-1630 ty, immediacy, and accurate harmonic content never before Visa P. O. BOX 2043 SALINA, KS 67402-2043 heard in high end audio. Designed to please a musician's Jenkintown, PA 19046. MasterCard 1-913-825-8609 FAX: 1-913-825-0156 ears and built for longevity. "Some of the best solid state I AUDIO BY VAN ALSTINE HAS ALL NEW MODELS! have ever heard." Brian Cheney; VMPS Audio Products. Announcing our stunning new FET-VALVE, OMEGA TWO, R.E. DESIGNS, 510 Western Avenue, Lynn, MA 01904. and TRANSCENDENCE THREE DESIGNS. Our brand new (617) 592-7862. Available to audition at The Listening Stu- big amplifier chassis features ultra -efficient extruded heat - dio, Boston, MA. sinks And up to 50% more output mos-f els. We engineered brand new preamplifiers for all budgets (hybrid, tube, and EUROPEAN TUBE ELECTRONICS: KLIMO, solid state). Big preamps complete with tone controls and 9 SPEAKER LECTRON, VERDIER and others; the MOR- sets of inputs for the most complex systems. Fabulous CH tonearms from Denmark, the VERDIER performing straight line preamps at true budget prices. CATALOG Complete line -only preamps, headphone amps, stereo Parts Express is a full -line turntables from France. Also outstanding phase inverters, and more at prices under $300. Many distributor of electronic parts classical/jazz CDs and LPs from six Euro- available as complete kits for even greater savings and fun. and accessories, geared toward All hand crafted in the USA. No cheap parts, no "made by the consumer electronics pean countries (catalog $3.00). All items machine" layouts. We design to be faithful to the spirit of the industry, and the technical imported/distributed exclusively by AUDIO music. It's a listening revelation! Write or call for our illustrated hobbyist. Stocking an extensive catalog. Audio by Van Alstine, 2202 River Hills Drive, Bum- line of speaker drivers and ADVANCEMENTS, POBox 100, Lincoln sville, MN 55337. (612) 890-3517. accessories for home and car. Park, NJ 07035. For info and dealer near you Send for your FREE 148 page call: 201.633.1151! catalog today. BIG DISCOUNTS! CALL US!! Parts BARGAIN PRICES ON CD PLAYERS, SPEAKERS, AND Parts Express LOW PRICES! We havea wide selection of MANY MORE COMPONENTS! FAST SERVICE, FULL 340 East First Street audiophile products! FULL WARRANTY, plus extended war- WARRANTY. SOUND SHOP (206)692-8201. Dayton, Ohio 45402 1 - ranties. PRICES TOO LOW TO PRINT! Sound Shop (206)692-8201. Hardbound AUDIO, annual bound volume editions, just like the ones in the Editor -in -Chief's office. Various years available in limited quantities, $40.00 each. Also available: Hardbound October Annual Equipment Directories. Years 1990, 1989, 1987, 1986, $15.00 each, and hardbound May Car Stereo Directories for years 1991, 1990, 1989 and 1985, $8.00 each. All prices include postage and handling. All orders postpaid. Check or money order only (no credit card orders) payable to AUDIO MAGAZINE. Send orders to AU- CD STORAGE+ DIO, 1633 Broadway, New York, N.Y. 10019. Attn: Michael Bieber, Or call 212/767-6301 for further information. Sorice Systems - Setting the Standards in CA$H PAID FOR AUDIO & VIDEO EQUIP- Audio/Video Storage Systems MENT. AUTHORIZED: DENON, HARMAN KARDON, MAR- ANTZ, ROTEL, SUMO, ACURUS, ROGERS, CELESTION, Store 300 CD's in this Premium Solid Hardwood ENERGY, SIGNET, ETC. STEREO CLASSICS, 75 Cabinet. CHURCH ST., NEW BRUNSWICK, NJ 08901. (908) 220-1144, FAX: (908) 220-1284. Impeccably crafted in your choice of Solid Oak, Walnut, Teak or Cherry. AUDIOPHILE & SCHOLAR UNIVERSITY AUDIO SHOP, MADISON, WI Fully adjustable Shelves store any combination of Vandersteen, KEF, Snell, EPOS, JMLabs, Paradigm, NEAR, CD's, Videos and Cassettes - all in ONE cabinet. Pattern, B&K, Paragon, CODA, YBA, Boulder, Symphon- icLine, Melos, Parasound, Micromega, Audio Alchemy, No -Slot design maximizes storage space, simplifies Rega, Roksan, Stax, Fosgate, Soundstream, JVC, Grado, organizing & re -arranging your collection, PowerWedge, Audioquest, OCOS, & XLO. (608) 284-0001. accommodates single & multiple CD sets, allows HOSANNA AUDIO: REVOX T3286TP-$595. COUNTER- POINT SA100-$795. TANDBERG 3026A-$650. TAN- for possible changes in the size of CD packaging. DBERG 3018A PREAMP-$850. NAKAMICHI PA511-$850. BELLES 400,450 -OFFER. CITATION 25-$395. MUST MAN Adjustable Solid Brass Bookends keep Discs & BE BORN AGAIN? JOHN3:1-18. (313)471.1223. Tapes upright and in place. ATTN: QUAD OWNERS! FAC- Cabinets can be stacked, wall mounted or left TORY AUTHORIZED REPAIRS AND MODIFICATIONS free standing. ARE PERFORMED BY QS&D. WE HAVE ORIGINAL RE- PLACEMENT PARTS AVAILABLE ALONG WITH RECON- Optional Clear or Smoked Glass Doors are available. DITIONED QUAD EQUIPMENT. IF YOU NEED ASSIS- TANCE PLEASE CONTACT QS&D AT 33 MCWHIRT LOOP Completely enclosed back provides dust protection. #108, FREOERICKSBURQ, VIRGINIA 22406. PHONE: Compact size: 391/2"H x 231/2"W x 71/2"D 703-372-3711, FAX: 703-372-3713. MCNISA. AUDIO UNLIMITED in Colorado offers Acoustic Energy, Shipped to you fully assembled. No. A300 (Shown in Solid Brown Oak) Acrotec, AirTight, Audio Meca by Pierre Lume, Audio Note, Benz -Micro, Bitwise, Chario, CODA, Dynavector, Ensemble, Golden Dragon, Ikeda, JM Labs, Lazarus, Magnum For Prices and Free Full Color Liter- Dynalab, Musical Design, ORACLE, Muse, Roksan, Room - SORICO ature on our Complete Line of Audio/ tunes, SOTA, Tice, Unity Audio, Wheaton Triplanar, & more... P.O. Box747-A Nutley, NJ 07110 Video Storage Systems: Call Toll Free Call John Barnes at (303) 698-0138 or Fax (303) 922-0522. 2341 West Yale Ave., Englewood, CO 80110. VISA and MC We accept Visa, MasterCard, American Express, Checks and Money Orders. All 1-800432-8005or FAX your name accepted. Models come with a 30 Day Money Back Guarantee and a Full One Year Warranty. and address to 1401448-2592 168 AUDIO/DECEMBER 1992 ANNOUNCEMENTS FOR SALE FOR SALE

- LIMITED INTRO OFFER - UPGRADE FOR LESS! ROGERS' AUDIO IS OFFERING ABARGAIN: STAX SIGN/LAMBDA $1,395; SIGN/SRM1-I I Don't let the Depressed Economy get you down This Christ- BEST PRICES ON USED AUDIO COMPONENTS. BUY- $859, PRO/LAMBDA(#1) $459, SIGN/LAMBDA SRD/7 mas, Lift -up your Spirits with a new BINAURAL HOLO- SELL-TRADE. CALL (509) 966-4431. $599; GRACE F9ERUBY $199; F9E $125; FR1MK3F $169; GRAPHIC HEADPHONE ADAPTOR. LIMITED OFFER ALL UNUSED (212) 966-1355. $14.95 POSTPAID, Exp. 2-22-93. Send S.A.S.E. For Full WANTED Info or Check or Money Order to: GT Enterprises, P.O. Box 62, Greenlawn, N.Y. 11740. MCINTOSH/DYNACO WANTED: MCINTOSH, MARANTZ, DYNACO, ALTEC, JENSEN, FISHER, CITATION, JBL, ELECTROVOICE, CEL- WESCOTT AUDIO- Acoustat Spectra LO, LEVINSON, AUDIO RESEARCH, CONRAD JOHN- mods, XL0, Discovery, VAC, Sumiko, Room Tune, Bitwise, CALL US SON, WESTERN ELECTRIC, TUBE/SOLID STATE. Ensemble, Sonus Faber, Muse, Dynavector, Power (713)728-4343. FAX: (713)723-1301. MAURY CORB, Wedge, Benz -Micro, Prodigy, Edison Price, Eminent Tech- 12325 ASHCROFT, HOUSTON, TEXAS 77095. nology, Vampire, Power Flow, BAE. Music Meter, Super LAST Contact, & the superlative EAD T-7000, & DSP-7000 trans- RACK AND CHASSIS BOXES for construction of electronic WE WILL port & D/A converter. Call SCOTT 800-669-7574 Anytime, projects. Low cost; stocked for quick delivery. Call for free Anyday For Info. & Expert Consultation. catalog. SESCOM, INC. 1-800-634-3457. BEAT ANY PRICE SAVE 40% ON HIGH -END home speak- PRINTED IN THIS MAGAZINE ON CD MAGIC makes CD Music come to life. Clean highs, fabulous detail, marvelous vocals, new musi- ers, subwoofers, amplifiers. FREE CAT- HOME & CAR STEREO cality. CD MAGIC stops CD skipping. CD Magic sprays an ALOG, 3021 Sangamon Avenue, Spring- invisible film onto CDs for major sound improvement. Will not harm or alter CDs. CD MAGIC will improve 200 CDs for field, IL 62702.1-800-283-4644. The SOUND Approach audiophile playback. Send $14.95 for new CD MAGIC, post- 6067 Jericho Tpke., Commack, NY 11725 age paid. Compact Dynamics Co., P.O. Box 32014-A, A UDTENX: D Euclid, Ohio 44132. CALL (216) 946-0438. FAX (216) AA/STEREO TECH. 451-2510. LOW PRICES/FAST DELIVERY! DENON, NAD, KEF, (800) 368-2344 B&W, ADCOM, CARVER, NAKAMICHI. BOSTON HAFLER, VP1, ADS, M&K, ROCK SOLID, ONKYO, AUDIO CLASSICS B&K, DCM, SNELL, FRIED, VELODYNE, POLK, Buys -Sells -Trades -Repairs -Modifies. SPICA, COUNTERPOINT, AND MORE! Amplifiers: Accurus A250 $750, 200411 $1099; Audio Re- FULL WARRANTY!! VAMPIRE WIRE TM search D40 $795; Audire DM700 $699; B&K M200/Bal MOST ITEMS IN STOCK!! $1799; Beming EA2100 $2099; Cary Audio SLA70DLH 414-836-2942 $1069; Counterpoint SA100 $899, SA12 $825, SA220 $1995; Electrocompaniet Amp II $799; Jadis Defy 7 4575; CALL US!! Janis Interphase 1A $375; Krell KSA150 $3550, KSA250 $4900, MDA300 $7999; Lazarus H1A $899; McIntosh MC2120 $799, MC240 $1400, MC250 $499, MC2500 $2900, MC275 $2899, MC50 $599, MC75 $2495, MC754 CD OLDIES IMPORTS $699, Motif MS100 $1825; Precision Fidelity M7A $399; PS ANNETTE FUNICELLO . Best 01 (JON) $27.99 Audio 200C $1199; Quad 306 $599, SAE A205 $399; Soloist AMBROSIA One Eig ly (JAI.) 525.99 OCM200 $1289, OCM500 $2099; Sonograph SA120 $599. FRANKIE AVALON - The Fabulous (UK) 518.99 CD Players: Adcom GCD575 $359; B&O CDX $249; CAL OLIVIA NEWTON JOHN - Best (JPN) 525.99 Aria $455, loon $299; Discrete Technology FD2040 $199; MAC & KATIE KISSOON Chirpy Chnpy Chem Camp NN) 518.99 MARIA MULDAUR . 5/T Inc. lednight At Oasis (JPN) 524.99 Kinergetics KCD40 $1899; Krell CDDSP Custom $2533; ASSOCIATION - Greatest Hits (JPN) $24 99 McIntosh MCD7000 $749, MCD7007 $1499; NAD 5240 KOOL & THE GANG - Best of (JPN) 523.99 $249. CD Processors: Arcam Delta Black Box $299; Krell TONY ORLANDO & DAWN - Greatest Hits (JPN) 527.99 SBP32X $1999. Crossovers: Crown VFX2 $299. Equal- SONNY & CHER - Collection (JPN) $23.99 JAMES TAYLOR - Love in no (anzi.) 521.99 izers: Audio Control C101 $325. Headphones: Stax ED1 MICHAEL MCDONALD - Best (G) 52449 $475, Lambda $399, Lambda Signature $1499, Sigma DAVID CASSIDY - Best (JPN) $24.99 $379, SR80MX $299. Integrated Amps: MA5100 $350, We Specialize in Oldies, Greatest Hits .4 Classic Rock 6 ...audible results with the MA6100 $449, MA6200 $1199. Line Conditioners: Tripp- Roll ONLY! (No metal. No weird stuff') Call for FREE List finest Lite BC325 $399, LC1800 $249. Preamps: Amber FF17 WE SHIP TODAY! ... ALL MAJOR CREDIT CARDS $199; Apt Holman $200; Audiolab 8000C $349; B&K C$115 Add $4.50 S/H per total order - NY Res. add Tax in connecting components! $269; Bedini BC800 $999; Carver C1 $299; Hafler SE100 CDMO, INC., Dept. AUD, 900 At. 110, Melville, NY 11747 SOUND CONNECTIONS INTERNATIONAL. INC $287; Jadis JPL $4995; Kinergetics KPA2 $999; Krell KBL 203 FlopsNp Dr.. Lutz. FL. 33.540 PH. '(8131 948-2707 Info: 516-385-2366 Orders Only: 1-800-FOR-CDMO $3200, KSL $1499, PAMS $1125; Levinson 26 $3499; Mar - anti 7T $495; McIntosh C20 $349-799, C22 $1699, C26 $299, C27 $499, C28 $449, C29 $999, C31V $1200, C32 $899, C35 $1295, C504 $550; Motif MC9 $799; MTI 500 $399; Precision Fidelity C7All $380, C8 $399; Reference WE HAVE GONE FAR Line 1000 $299; Soloist OCM55 $1129; VSP Straightwire II $499. Processors: Benchmark Acoustics ARU $299; Fos - gate 101A $249; Lexicon CP1 $799, CP2 $799; Yamaha DSP1 $449. Receivers: Carver 2000 $999; Kyocera R461 TO HAVE them HERE... $399; McIntosh MAC1700 $249, MAC4100 $999; MAC4280 $1558; Nakamichi TA3A $599; Scott 340 $299; Record Cleaners: VPI HW16.5 $375. Speaker Switches: Audio Control 15 $199. Speakers: Acoustic Energy AE1 $1589; ETON peerless Apogee Diva $6666, Major $2999, Minor $799; B&W 802 Matrix III $3483, 804 Matrix $1775; Dahlquist D020i $1145; Infinite Slope .6A $399; Infinity Kappa 5 $399; Janis WI $399; JBL 4408 $549; KEF 105/3 $2399, 107/2 $4195, C35 90 sccu.<))) $285, C55 $399, C85 $599, Q60 $499, 080 $499; Klipsch morel; Quartet $649; Martin -Logan CLSIIa $2200; McIntosh ML1C $550; Phase Tech PC80 $375; Polk SDA1A $699; ProAc of EUROPE'S Mini Tower $1299; Quad ESL63 $1995; Ryan MCL3 $899; (seas) VifaDV AUDIO Snell KII $299; Tannoy K3838 $799; TDL Studio 1 $965, FINEST KITS Studio 3 $995; Velodyne F1200 $995, ULD 1511$1195. Tape Decks: Sony PCMF1 $920. Tonearms: Dennesen ABLT1 'AV/S= $400; SME V $999; Syrinx PU4 $499. Tuner Preamps: CIIIMAX) ACOUSTICS McIntosh MX110 $399, MX112 $399, MX113 $449, MX117 $1199. Tuners: Carver TX11 $288; Creek T40 $399; Hafler The most ingenious designsfrom European DH330 $175, SE130 $289; Kenwood KT7001 $99; Magnum speaker kit builders,nowavailablehere. Dynelab Etude $1179, F205B17 $257, FT101AS19 $725, FT11S17 $399; McIntosh MR500 $699, MR510 $839, OrderourspecialEUROPEAN KIT BROCHURE, MR65B $299, MR7082 $1195, MR7083 $1299, MR71 $899, featuring90 fullydetaileddrawingsand MR80 $1350; Sansui TUX701 $329; Tandberg TPT3001A $1295. Turntables: B&O 3300 $249; HW19IV $1499. Video specificationsforonly $6) Exclusivelyavai- Disc Players: NAD 5900 $599. FREE Catalogue. lable from: 8AM-5PM EST Mon-Fri., AUDIO CLASSICS, POB 176 AAA, Walton, NY 13856. EN Electronique Inc. 4470 Ave.Thibault 14) 656 - 2759 St. -Hubert, QC J3Y 7T9 607-865-7200 14) 443 - 4949 Canada

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We modify PHILIPS, ROTEL, speaker is small enough to fit MAGNAVOX, MARANTZ and PIONEER CDs. X-mas TARA LABS SPACE & TIME CABLE BLOWOUT! SAV- unobtrusively in any den or be specials! Call for mailer today! MUSICAL CONCEPTS, INGS UP TO 60% ON SOME OF THE BEST INTERCON- 1832 BORMAN COURT, SUITE ONE, ST. LOUIS, MO NECT AND SPEAKER CABLES AVAILABLE! DONT MISS used as a rear channel speaker .*,,,. 63146. (314) 275-4925. THIS OPPORTUNITY TO UPGRADE YOUR SYSTEM AT We chose a high quality 6 1/2" TREMENDOUS SAVINGS. SAVE ON QUANTUM II, QUAN- polypropylene woofer and a Vifa TUM III, QUANTUM REFERENCE, TEMPORAL CONTINU- treated textile dome tweeter with SAN FRANCISCO AREA - IRRESISTABLY priced audi UM, PANDORA, ORIGINAL, ASTRAL BWE AND MORE. ferrofluld for a very clean sound. ophile components/accessories. Shipped/delivered. World's MANY DIFFERENT LENGTHS. OVER 300 PAIRS OF NEW We have utilized the best possi- best! By appointment only. 444 Eastwood, Petaluma CA AND DEMO CABLES AVAILABLE. FULL MANUFAC- ble components in the crossover 94954. (707) 765-1992. TURERS WARRANTY. CALL NOW FOR COMPLETE PRI- CE LIST. HCM AUDIO, (800) 222-3465, (916) 345-1341. network with Sidewinder coil. - and Chateauroux Metallized AUDIO NEXUS= QUALITY Polypropylene capacitors on an Featuring legendary VANDERSTEEN loudspeakers & WE DISCOUNT! epoxy circuit board. ROTEL CD Players. THEY DON'T! The kit is designed to be as easy WIDE SELECTION LOW PRICES FAST SERVICE* as possible to assemble. The cab- Apogee Audio Alchemy Audioquest B&K Cary FULL WARRANTY KNOWLEDGEABLE CONSULTANTS. Counterpoint Dynaco EAD Esoteric Forte Fried CALL US! SOUND SHOP (206) 692-8201. inet is already finished. The* Kimber Silver Magnum Dynalab McCormack Melos holes for the drivers and the PSB Rotel Jeff Rowland Scientific Fidelity SME EXPERIENCED, FRIENDLY ADVICE! FREE SHIPPING! input cup are pre-cut; the cross- Sony ES Sota Stax Vandersteen VPI Wadia. MIRAGE, PS, CWD, CARY, KINERGETICS, KEF, PHILIPS, over is preassembled, and the SUMMIT, NJ (908) 277-0333. AUDIOQUEST, FRIED, MONSTER, QUAD, SPICA, grill cloth is stretched on the STRAIGHTWIRE, MORE!! READ BROTHERS, 593 KING, frame. The assembly of this kit CHARLESTON, SOUTH CAROLINA 29403. (803) DYNACO $170 UPGRADES: Gold EL34 Sockets, 1215T23-7276. does require some soldering abil- Microfarad on -board solid state B + ,triode output, more. ity. DoReTech Audio Services, Box 6054, South Hackensack, DEALER DEMO SALE. Snell C IV $1099. JBL 4430 Bi Specifications: NJ 07606-4354. Phone/Fax: (201) 843-0488. Radial System $1850. Magnepan MG3A $1099. B&W 801 $1900. Klipsch Forte $699. Audio Alchemy DDE 1.0 $259. Impedance: 4 0 or 8 CI DYNACO AND HAFLER OWNERS! Audio by Van Alstine Thorens 320 II $550. Soundcraftsman Pro Power 8 $900. builds great new circuits for you. Not "modifications," but (Please specify) Mitsubishi LT 5V Turntable $199. 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Recycle that solid Hafler or Dyna chassis Cable TV Descremblers, Converters, Accessories. Name e4 Tweeter 3/4" Dome and get better than new performance for a much lower cost. Brands. Lowest prices. Best service. Call CABLE READY Write or call for our illustrated catalog. Audio by Van Alstine, COMPANY, (800) 234-1006 for FREE 16 -page color catalog. Crossover; 6/6 rib vr/ Side- 2202 River Hills Drive, Burnsville, MN 55337. (612) winder Coils and Polypropyl- 890-3517. STEVE'S AUDIO ADVICE ene Capacitors Offering extra special pricing starting October on VMPS, Cabinet Walnut Wood Ilti McCormack, B&K, Quad, Philips, Alon, Rocksan, Woodside, Veneer or, Block Lacquer ****** ACCESSORIES TO COMPONENTS ****** Modsquad, also featuring Cardas, Kimber, and other great (7x12"x6" cable. Used equipment also available. Dial Toll Free Audio Outlet... 1-800-752-4018. At Sffil Only 1145/palr Walnut *- where audiophiles 135/pair Black AUDIO SOLUTIONS is Atlanta's Hi -End call audiophiles source for Audio Research, McCormack, MIN lel II111111111M111111111111 rl Irin misiggismilEMIIIV...NRIMOOMU MIMI for great selection, MIIMMIK.1.11.1154:01111ilhanAidul...ibiliiiil Theta, Vandersteen, CODA, Wire World, Illellg/2101011111111111111111111111111111111M MIMIMIIMIIIMIIMMIIISIIIIIMMIIIIIIIIMIM great services and Acurus, Snell, Music Metre, Classe, Musi- NM essfimmassmomamoseis imi great prices! -.4 IMMO Ili MMIIIIIIIIIIIIIIIPE=9110111 IMO cal Design, Kimber Kable, B&K, Magnum =seineMM. :111.761!://NENIMIsVP!MC. imamneriiiimpmann& Dynalab, Rotel, & VPI. 4880 Lawrenceville Sound Advice without the Price Highway. (404) 381-0778. Ordering Information: Al speaker orders wNI be 914-666-0550 HI Fl CLASSICS - USED HI END - HUGE SELECTION of 24 -HR. FAX 914-666-0544 slipped promptly, If possi- 11:0[10 components, cables, etc. Competent & helpful salespeople Monday -Friday & the best prices around. WE BUY SELL & TRADE, INVEN- ble by UPS. COO re- Inc. aires a 25% prepsiment ur[rLET 10am-7pm ET TORY LIST AVAILABLE. TEL: (718) 318-9618, FAX: (718) 318-9623. and palatal checks 'rust ** P.O. Box 673 Bedford Hills, NY 10507-0673 ** dear before shipment. DEMO SALE AT ARIEL...THE SPECIALIST IN COST EF- Add 10% for shipping FECTIVE HIGH -END: B&K, NEAR, Musical Design/ charges(Residents of Concepts, Straightwire & Many More. Authorized Dealer. Alaska, Canada and Ha- AUDIO CABLES & MORE Carmel, IN. Visa/MC. (317) 846-9766, 5-10PM. waii, and those who require Blue Label air AUDIO BEST: LA, ORANGE, SAN BERNADINO, CALI- servloe, please add 25%). FORNIA. HOT COMPONENTS: NEAR 50ML, COUNTER- There no he for pack- POINT, HAFLER, PS ULTRALINK; AUDIBLE ILLUSIONS; aging or handling, and we DON'T PAY EXORBITANT PRICES POWERWEDGE, ACOUSTAT; SPICA; VMPS; MAGNUM; 101-=-4 will refund to the exad FOSGATE; B&K, TARALAB, MUSIC REFERENCE, gripping charge. We ac- ! FOR TOP QUALITY ! SOUNDLAB, CELESTION, MONSTER, STRAIGHTWIRE, cept M asterdarge or Vise We have years of experience in wire manufacturing MUSICAL CONCEPTS, (909) 861-5413, APPOINTMENT. and we have simulated the high priced brands. liadisoand Speaker Components Equivalents as low as .35/foot. We demystify wire 8808 University Green technology. Send for explanation literature and PAUL HEATH AUDIO Box 44283 sf catalog that includes all our audio products or AUDIOSTATIC, ARONOV AUDIO, ARTEMIS, CROWN liadison.WI 53744-4283 call our catalog request # 800 321 2108 24 hrs/day. MACRO, B&K, CONRAD-JOHNSON, CODA, CAR- Phone:(808)831-3433 DAS, EMINENT TECHNOLOGY, ESSENCE, EN- F=(308)831-3771 LIGHTENED AUDIO, PS AUDIO, UNITY, VIMAK, L A T INTERNATIONAL QUICKSILVER, LINAEUM, MERLIN, MUSIC METER, Dept A 317 Provincetown Road XLO, OCM, MUSICAL DESIGN. 217 ALEXANDER ST., 5#'4? -94P1' II Cherry Hill NJ 08034 ROCHESTER, NY 14607. (716) 262-4310. 170 AUDIO/DECEMBER 1992 FOR SALE FOR SALE

FOR TWENTY YEARS WE HAVE BEEN THE SOURCE PHILIPS DAC960 D/A CONVERTER/PREAMPS AT HALF FOR ALL OF YOUR BLANK AUDIONIDEO TAPES AND PRICE! Coax & optical digital inputs, fixed & variable pre - LOWER ACCESSORIES, EVEN REEL-TO-REEL TAPES FOR STU- amplified outputs drive power amps, balanced outputs, DIOS, AT DISCOUNTED PRICES. CATALOG AVAILABLE. headphone amp. New with original Philips warranty. $475 + SOUNDD INVESTMENT CORPORATION, 3586 PIERCE s/h. Phone (410) 828-9225 or write attention: HAMPTON LOUDSPEAKER DRIVE, CHAMBLEE, GA 30341. (800) 659 -TAPE (8273), IN CHILDRESS, BOX 36141, TOWSON, MD 21286-6141. GA (404) 458-1679. FAX: (404) 458-0276. AAA-LOW PRICES-HIGH END EQUIPMENT!!! DISTORTION ATTENTION AUDIOPHILES! See October '92 Audio, A/D/S/ B&K CARVER CHICAGO STANDS DCM E Pages 343 & 347. Unbiased, Expert Advice. Best Trades! DENON FRIED GRADO MK NAKAMICHI ONKYO cu

Used/Demo List. AUDIO CLASSICS ENTERPRISES. Visa/ PS AUDIO SNELL SUMIKO THORENS VELODYNE us MC/Disc. (405) 842-3033. VPI, and others. AUDIO ELITE, Menasha, WI. co 414-725-4431 SAVE $$$ co AUDIO DEN Authorized Sales and Service. ADCOM, Qt ARAGON, ARCAM, B&K, CAL CELESTION, CODA, DESIGN & INSTALL FA CONRAD-JOHNSON, KLIPSCH, MAGNEPAN, MI- YOUR OWN CUSTOM AN or MULTIROOM SYSTEM with RAGE, MIT, MONSTER CABLE, NAD, NAKAMICHI, our informative cataloge of installation supplies. Complete NEAR, PARADIGM, ROGERS, SONOGRAPHE, Systems, Parts, Text, Diagrams, & Full Technical Support. - co a) SONUS FABER, SOTA, STAX, THETA DIGITAL, VE- Cataloge $3.00. R Gladwin, P.O. Box, 221666, Carmel, CA if -r) LODYNE, YAMAHA. AUDIO DEN, 2021 Smith Haven 93922 or Call: 510-655-6653. N. Plaza, Lake Grove, NY 11755. (516)360-1990. BEST $1,500 LOUDSPEAKERS!!! B&W LAST CALL! ADC SS -525X 12 -band autoequalizer BANG & OLUFSEN CROWN NAKAMICHI Ul $249.95; dbx 224X -DS: $299.95; dbx 500XR: $369.95; AKG Cf) K-1000 earspeakers: $599.95 (all new, factory sealed car- VMPS DENON TRIAD ADCOM CARVER t0 tons) Audio Marketing: (310) 839-2000. HARMAN/KARDON POLK MIRAGE KEF x + MORE + HONESTY. MANUFACTURERS HIGH -END WARRANTIES! TECH ELECTRONICS. (904) En 15%-40% DISCOUNT 376-8080. - co WARRANTY FAST SHIPPING HONESTY: Acoustat o Adcom a/d/s Altec Bang & Olufsen Bose Crown CROWN RP -30 7 -TUBE RACK -MOUNT RECORDER a) c. Forte Fosgate Hailer Infinity JBL JVC KEF ELECTRONICS FOR SERIES 700/800/1000 PROFES- O -69 Klipsch Lexicon Meridian Nakamichi Onkyo Philips SIONAL DECK. TWO. NEAR -NEW. SCARCE! MINIMUM Pioneer Rane Threshold Velodyne. SoundBox OFFER $250/EACH. ALSO, FLEETWOOD TELEVISION, 0o (305) 262-4766. DYNAKIT & HEATH TUBE AMPLIFIERS. MAXWELL STRANGE, 11710 WAYNERIDGE COURT, FULTON, MD CD CD CARVER LOWEST PRICES 20759. i-.c_C 20%-50% OFF FULL LINE WARRANTY FAST SHIP- PING: Amplifiers TFM-15 $315, TFM-25 $505, TFM-35 $550, TFM-45 $705, Silver Nine -t $875, TFM-75 Call. CD DO IT YOURSELF The VMPS Tower II is a low distortion, high output floor -standing speaker system offering unparalleled SDA-490t $515, SDA-350 Carousel $265. Preamplifiers SPEAKER REPAIRS CT -17 $605, CT -3 $335, CT -6 $445, C-19 $855. Cassettes Foam speaker surround performance for price. TD -1700 $395, TD -1400 $235, Amazing Loudspeakers replacements from SAT Platinum $2400, Silver $2000. SoundBox (305) will an you Amtrak of With its three 12" woofers (two active, one passive), Mars. All 1105. including butyl surround polycone mid, softdome tweeter and 262-4766. AR. ADVENT. BOSE, JBL Surrounds.adhesive. dual supertweeters (piezo or ribbon), the Tower II AUDIO/VIDEO AUTHORIZED DEALER. instructions. $27.95 pair generates no more than 0.7% THD/1W drive down Do It yourself with SAT to 22Hz. High sensitivity (94dB/1W/1m) and high Wholesale Prices. SONY, KENWOOD, STEPP AUDIO TECHNOLOGIES 1 800 747-3692 PO BOX 1088. FLAT SOCK. NC 28731 11 ISA/MC undistorted output levels (120 + dB SPLJ1m) ensure BOSE, RCA, PHILIPS, ADVENT, JBL and dynamic range and impact previously unavailable in More. FREE Catalog. (800) 423-VCRS. its price range. Audio Magazine critic Anthony The World's First Inexpensive Cordesmancomments: "...the Tower II is the only COLONEL VIDEO & AUDIO. True Subwoofer: speaker even close to its cost that is capable of

SPEAKER STANDS Improve the sound of your speakers. The Hsu Research HRSW10 true deep and powerful bass response . . . It is an 12" pedistal stands in ebony finish $24.95. Order now for unquestionable Best Buy." (Jun 89) Christmas! Send $1 for various heights & woodgrains to: Starting at $750 a pair plus shipping, Sterling Investments, 856 S. Aspen, Suite 21-S, Broken these elegantly -finished cylindricalHear VMS at the dealers below, or write for Arrow, OK 74012. subwoofers provide tight,floor shakingbrochures and test reports on our full line including ultra clean bass to below 20 Hz. the Minilbwer Ila ($369ea kit, $479ea assem), ADCOM GFA 535/GTP400 $450; AO STERLING ORIGI- Super lbwer/R ($749ea kit, $998ea assem), the NAL 10' PR. $1100; GREEN 12' PR. $375; B&O OLDER "14.3 Hz to 40 Hz"( +0, -3 dB) "theall-out Super bluer Ill ($4700/pr kit, $5600/pr RECEIVERS, TURNTABLES ETC. CALL; CJ PV -1 PRE - highestmaximum outputofalltheasserm,our four highly acclaimed Subwoofers AMP $300; LEVINSON ML9 $1500, #27 CALL; LINN DMS assem;Original, $4500; LK-1/LK-280 CALL; MERIDIAN 208 CD $1400; MIT systems" "generated truly awesome room -(Smaller, $259ea kit, $329ea CALL; PIONEER CLD1070 VIDEODISC PLAYER $375; shaking bass..air pulsating around me"$349ea kit, $429ea assem; Larger, $479ea kit, PINNACLE CALL; SONOGRAPHE SD1b CD $325; TAN- $599ea assem; Dedicated, $349ea kit, $429ea "provides extremely good value for theassem), the 0S0626 A/V Monitor (269ea kit, DBERG 3026 AMPLIFIER $675; THIEL CS3.5 CALL; VAN- thecostof a DERSTEEN 3 $1900. CALL TERRY AT: (402) 391-3842. money, even counting $329ea assem), and the OSO Series bookshelf moderate sized amplifier, and still betterspeakers starting at $159ea. Kits are supplied with CABLE TV DESCRAMBLERS! ABSOLUTELY THE LOW- value if you already have such an amp" -assembled cabinets and prices include free shipping EST PRICES! ALL MAJOR BRANDS. NOBODY BEATS Don Keele, Nov 92 Audio. in 48 states. OUR PRICES! CABLE PRICE CLUB 1-800-377-9742. "the most effective subwoofer we haveVMPS AUDIO PRODUCTS ADCOM, ADS, AUDIO RESEARCH, BANG & tested""Theskin -tinglingandwall - div. !tone Audio OLUFSEN, B&W, CARVER, CELESTION, vibrating sensationitimparted (even at 3429 Morningside Dr. El Sobrante, CA 94803 DENON, FOSGATE, HARMAN/KARDON, IN- moderate levels) was unmistakable""a (510) 222-4276Fax: (510) 232-3837 FINITY, JBL, KEF, KLIPSCH, LEXICON, MI- 'best buy- " +/- 2 dB 11 to 70 Hz" - Hear VMPS at: The Listening Studio. Boston; Sounds Incredible, Julian Hirsch, Sep 92 Stereo Review. Brookfield, Ct; Hamisch Norton NYC NY; Dynamic Sound. RAGE, NAKAMICHI, ONKYO, POLK, REVOX, Washington DC; Hifi Farm, Beckley WV; Pace Audio, Decatur, Speaker Builder (3/92) found its distortion Ga; American Audio, Greenville SC; Tech Electronics, Gaines- TRIAD, VELODYNE, YAMAHA, AND MORE. ville FL; Arthur Morgan, Lake Mary, FL; Sound Solutions, Car- MANUFACTURER'S WARRANTIES. LIVE at 24 Hz to be an order of magnitudelisle PA; Sounds Deluxe, Clarendon Hills II; Audio Specialists. lower than the reviewer's reference with4South Bend In; Audio Connection, Terre HauteIn;Ruth ASSISTANCE WEEKDAYS. AUTOMATED instead of the 110 -inch of theHRSW10. Industries. St. Louis Mo; Shadow Creek Ltd, Minneapolis Mn: PRICING 24 HOURS. AMERISOUND SALES, Audio by Gil Morrison, Detroit Mi; Concert Sound, San Antonio Available factory -direct witha 30 -dayTx; Stereoworks, Houston Tx; Lookout Electronics. Longview INC. (904) 262-4000. Wa; Affordable Audio, Fresno, Ca; Exclusively Entertainment, money -back guarantee from: Oceanside, Ca; Hal Broda, Escondido Ca; Christopher Hansen BEDINI ELECTRONICS INC. OF IDAHO. All warranty and Ltd, Beverly Hills Ca; Audio Haven, Upland Ca; Sounds Unique, non -warranty work done. 25/25 45/45 100/100 All MKII Hsu Research San Jose Ca; Private Line Home Entertainment, Stockton Ca; series and BA -900 series Amplifiers Discontinued and Re- 20013 Rainbow Way Golden Ear, Chico Ca; Itone Audio, El Sobrante Ca. The Sound Room, Vancouver BC Can. conditioned Amplifiers and PreAmplifiers all models. Call or CerritosCA 90701 write for info, 7239 Valley Street, Dalton Gardens, IDAHO 1-800-554-0150 (Voice) 83814. (208) 772-9207. 1-310-924-7550 (Voice/FAX) AUDIO/DECEMBER 1992 171 THE SENSIBLE SOUND FOR SALE FOR SALE After 12 years of publishing still the only audiophile MCINTOSH Bought -Sold -Traded -Repaired. 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New Sony DTC-M100 SemiPro DAT Recorders $750 OBO, New Hatter XL600s, Adcom GTP500 preamp/tuner $335 1-800-292-5843 OBO, 2 SoundCraftsman 200 Watt Power Amps, Sony CDP707ESD CD - Mint! $750 OBO, Kenwood 5300 Tuner ermen, PROSES $85, Thorens w/Rabco, 1lot Club/Disco Stage Lighting 1678 S3rd St. Brooklyn, N.Y. 11204 Mon. -Fri. 8-7, Sun. 9-6 equip. John(602)553-8207. (800) 451.5851 NYC (718) 438-1027 m1)74. CTIVE ELECTRONIC RADAR LOUDSPEAKERS 4_0E1 ECTOR HOME STEREOS CROSSOVERS ABSOLUTE SATISFACTION guaranteed. We sell more 990 179 RECEIVERS CASSE If DECKS 11 701 15 159 1059 01 '24 MODEL 120 CABINET & NEW 120-R 961V, high end speaker kits than anyone in the U.S. Eleven kits In 11107 19 III ID* /07 .39 966070 "RACK AND PANEL" DESIGNS 719 11107 IN 141 ID,/ 10? 119 from $119/pr. Free catalog. 1-800-346-9183. Audio Con- 966S7WIt 719 11107 IN 119 IDK 5117 II/5 710 107 9561V 159 II 10/ Ill 339 119 cepts, Inc., 901 So. 4th St., La Crosse, WI 54601. 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NEAR - 50M IS THE MOST MUSICALLY ACCURATE - Lawrence Johnson, CD Review, Nov. 199" In -Home LOUDSPEAKER REVIEWED BY THIS NEWSLETTER - BOUND FOR SOUND. Complete review from THE ABSO- "The Lumen is the best under -$1000 speaker I have heard." LUTE SOUND also. NEAR 207-353-7307. Audition. - Kenneth Duke, The Sensible Sound, No. 43, Summer 1991 BOZAK SPEAKER REPAIRS, using original manufacturer's "From it's clear, sweet, solid sound, we declare the Lumen a winnerl" machinery, specifications, techniques and dies. Quality workmanship. NEAR 207-353-7308. - Music and Audiophile, January 1992 Simply better technology from North Creek Music Sys- Isn't It Time " For someone who is looking for a good speaker at under a grand, tems - loudspeaker components and kits for the descriminat- the Lumen would be my top recommendation right now." ing audiophile. Please call or write for a complimentary You Had - Karl Nehring, The Sensible Sound, No. 43, Summer 1991 catalog. 500A Route 8, Speculator, NY 12164, (518) 548-3623. Yours? "I urge you to rush and give the Lumen a listen.I think you will definitely fall in love with these American speakers!" GRILL CLOTH_ VERYHIGH GRADE, - Modern Audio, January 1992 ACOUSTICALLY TRANSPARENT KNIT GRILL CLOTH. AVAILABLE IN SIX COLORS. 1 YD. X 60" - $8.99. SPEAK- ERWORLD 1-800-359-0366. For your own copy of our free 12 -page color brochure and review reprints please call us toll -free at: BOSE, JBL REFOAMINGOuALI- - 8 co TY SERVICE ON ALL BRANDS SINCE 1977. CALL - 669 - 9662 ABOUTOUR BOSE 901 UPGRADE/MOD., REFOAMING, Icon Acoustics, 13 Fortune Drive, Billerica, MA 01821 REPLACEMENT PARTS, FAST SERVICE. SPEAKER - WORLD. 813-544-3511. 800-359-0366. MC -VISA -AMEX.

172 AUDIO/DECEMBER 1992 LOUDSPEAKERS CD PLAYERS f REMOVE SINGERS VOCALS' PATTERSON Audio Systems wishes you and your family Unlimited Backgrounds" all the joys and blessings of the holiday season!! PATTER - MUSICAL CONCEPTS = CD MUSICALITY From Stancard Records & withthe SON Audio Systems, (313) 981-7220. Thompson Vocal EliminatorCall for Free "Since 1979, Musical Concepts has been about satis- Catalog & Demo Record. tying musicality and transparency-not fancy fecep- Phone: (460)4432-4189 Est 52 lates, nor unsupportable hype!"-ENIGMA V, 'The Singer's Supply, Dept AU -1 7985 Higt tower Trail ROTTEN FOAM EDGES? best CD value, outperforming $4000 transporVDACs", Lithonia, 'JA30058 SIMPLY SPEAKERS does professional foam replace- for only $649, EPOCH V, "More natural and musical 24 Hour Deno/Into Request t, Llne (400)4212-2485 Eat 52 ments any size/brand. 7 Year Warranty. We also sell than any transport/DAC combination-breakthrough Singer's Supply -We Have Anythilie=isi-For Sirtgers foam surrounds for $22.95/pr. Computer designed kits & openness and transparency!"-$995. All players use inwall speakers. MC/VISA/DISCOVER: 1-800- 384X oversampling! Try our CDT II "Stable Platter"- 767-4041. hear the difference transports make($649)! We modify Rotel, Philips, Magnavox, Marantz, Pioneer. Call for mailer today! MUSICAL CONCEPTS, 1832 Borman PROFESSIONAL FOAM REPLACEMENT!!! GUARAN- Court, Suite One. St. Louis, MO 63146. (314) 275-4925. TEED WORK. FIVE YEAR WARRANTY. FAST TURN- AROUND. ALL BRANDS - ALL SIZES. ADVENT A SPE- WHY RENT? CIALTY. NEVISONICS, 601-A BAXTER AVE., LOUISVILLE, KY 40204. (502) 587-1848. SAVE! $AVE! CROSSOVER NETWORKS, PASSIVE. CUSTOM, STAN- DARD, WHOLESALE PRICES. FREE BROCHURE, DE- SIGN ASSISTANCE. DEALERS WELCOME. FERGITRON ELECTRONICS, BOX 674, LEVITTOWN, NY 11756. (516) WANTED CABLE TV 735-2019. TRADE-INS SPEAKER RECONING; Refoaming Kits; Crossover Kits, FOR NEW & Mods By "Van Evers"; Grills Made To Specs; Dia- DESCRAMBLERS phragms, Mids & Tweets; New Speaker Test Lab Using di o JERROLD OAK HAMLIN ZENITH L.E.A.P.-L.M.S. THE SPEAKER EXCHANGE, 1242 E. Hill- MARK sborough Avenue, Tampa, Florida 33604. (813) 237-4800. Bong us your tired old stereo for liberal trade- PIONEER SCIENTIFIC ATLANTA in new stereo. WE REPAIR SPEAKERS! Call for When in 3oston, please visit the world's READY -TO -SHIP! FREE Estimates. SPEAKER CLINIC. (404) 933-0101. smallest HiFi shop, featuring products by: 6 MONTH WARRANTY! ADCOM, ADS, AUDIO RESEARCH, BANG & ALCHEMY NAD AUDIOQUEST PARADIGM ABSOLUTELY LOWEST OLUFSEN, B&W, CARVER, CELESTION, BOSE PHILIPS HAFLER PS AUDIO WHOLESALE /RETAIL PRICES! DENON, FOSGATE, HARMAN/KARDON, IN- HARMAN KARDON SONY LEXICON STAX MASTER CARD VISA FINITY, JBL, KEF, KLIPSCH, LEXICON, MI- MARANTZ THORENS RAGE, NAKAMICHI, ONKYO, POLK, REVOX, AMEX C.O.D. TRIAD, VELODYNE, YAMAHA, AND MORE. MANUFACTURER'S WARRANTIES. LIVE FREE COLOR CATALOG !' ASSISTANCE WEEKDAYS. AUTOMATED 95 Vassar Street 1 (800) 950-9145 PRICING 24 HOURS. AMERISOUND SALES, Cambridge, MA INC. (904) 262-4000. 02139 WANTED: WE ARE A RENOWNED LOUDSPEAKER RE- PAIR COMPANY SEEKING A RELIABLE SOURCE OF (017) 547 2727 SPEAKER RECONING COMPONENTS. PHONE: (201) JP 993-5718, FAX: (201) 993-1177. STORE HOURS: IL/111131E.) SOUNDAID MODIFICATION KIT for REALISTIC MINI- M -F 10-7 SAT 10-6 MUS 7 & 77 SPEAKERS. "Wow! More bass, more depth, Audio 147C OLD COUNTRY ROAD, SUITE 31E -AR more listening fun.' Peter M. Sorrentino, Valley Stream, New PLAINVIEW, NY 11803 NO NY SALES York. "The response of the bass driver is better...because mCNISA DISC AME, them is less cone breakup." Audio/July 1992. "Dynamics were mom, well, dynamic. Bass was smoother and deeper, treble was smoother, clearer and more defined...instruments were more cleanly seperated, compared to the presentation of the stock speaker." $ensible Sound Vol. 10 No. 39. Mini- mus 7 kit $27.90 + $2.90 shipping. NY State residents add

app. sales tax. (Minimus 77 kit $29.50 + $2.90 shipping.) SOUNDAID, PO BOX 30315, NEW YORK, NY 10011. Drivers: 8ea. EVM15B II 15" (new) $175 OBO, Altec 416A DEFINITIVE 15" $165 OBO, 15" woofers from '30.5/40's "Voice -of -the - Theater"; Mint Magneplanar MGIIIA $1000 pr. John (602) The Premier Eight 553-8207. COMPACT DISCS CASH PAID FOR AUDIOPHILE LP'S. MOBILE FIDELITY, NAUTILUS, CBS MASTERSOUND, SUPER DISC, SWEET THUNDER, JAPANESE PRESSINGS, RCA LIVING STER- EO, MERCURY LIVING PRESENCE, ENGLISH DECCA'S AND EMI. MUST BE SEALED OR IN MINT CONDITION. CALL BOBBY AT (913) 823-7211. LATIN MUSIC LOVERS. Your 1 stop source. CD's & videos from Latin Countries. JPR LATIN RECORDS, P.O. Box, 4155-B, Winter Park, FL 32793. "CD STABILIZER" the only (motorized) electronic device that restores clarity, detail and overall sound quality back to the compact disc. No CD collection should be without this new technology. $29.95 ck/rno Visa/MC send to Bedini Elec- tronics Inc., 7239 Valley St., Dalton Gardens, ID 83814 or (208) 772-9207, Fax (208) 772-5814. BUSINESS OPPORTUNITIES LET THE GOVERNMENT FINANCE your small business. Grants/loans to $500,000.00. Free recorded message: (707) 448-0270. (KF1 ) 2733 Nlerrileel3rive rairfax, VA 22031 703 698 8581

AUDIO/DECEMBER 1992 173 Premium Parts & Accessories PARTS AND ACCESSORIES RECORDS The largest selection of audiophile capacitors, resistors, connectors, chassis wires in North TOSLINK CABLES from A.T.A.E. have lower optical power America. MIT MultiCaps, Wonder Caps -solder - loss and lower modal dispersion. We fabricate custom We buy and sell wire, Solen cap, Rel-Cap: Vishay, Holco, Caddock, lengths of up to 20 meters (65.6 feet). Stock pricing: 5M Resists resistors: MIT, Gerdes, XLO, & silver $64.00, 10M $96.00. To order call A.T.A.E. FIBER OPTIC chassis wires, custom cables & terminations: all LP vinyl records types of audio connectors and adaptors: silver SYSTEMS DIVISION (408) 423-7179. M -F, 8 to 5 Pacific. contact toggle, rotary switches & attenuator kits. Over 100,000 titles in stock Tubes, feet, damping sheets & compounds, tools SILVER LIGHTNINGINTERCON- GA and many accessories. Best prices & best service! NECT! PURE SILVER. " WONDERFULLY NATURAL." Ulti- 139 West 72nd Street Phone 415 669-7181 or fax 669-7558 for a catalog. mate phono cable!! Excells anywhere! 100% money back. New York, NY 10023 Michael Percy, Box 526, Inverness, CA 94937 1m $240/pr. Others, BALANCED: R. Bradley do BEAR Rare Records Ltd.212 877-5020 LABS, PO Box 144, Hannacroix, NY 12087. (518) 756-9894

PUBLICATIONS LV/CD/RECORD COLLECTOR'S SUPPLIES. Jewel boxes, AUDIOPHILE GRADE record jackets, sleeves, storage boxes, 78 sleeves, dividers, MOVIESOUND NEWSLETTER. The state of film audio much more! Free brochure: CABCO PRODUCTS, ROOM tracks in theaters and at home. $8/year (4 -issues} Send $2 663, POB 8212, COLUMBUS, OH 43201. (614) 267-8468. PARTS for two sample issues. P.O. Box 7304, Suite269A, No. STANTON: 881MKIIS For the last 4 years, SONIC FRONTIERS INC. has been Hollywood, CA 91603. $108PPD!, 500MKII78RPM - offering audiophile hobbyists from around the world, the $38PPD! KAB: Brushes (Stylus - $3PPD, LP;45 -$11PPD, highest quality electronic parts for their audio electronic DIGITAL AUDIO WHITE PAPER: 25 years experience. Like 78RPM - $17PPD), Gliding Platter + "- "Nifty-Grity Up- projects. We have continued to expand our line of parts having your own audio consultant. Covers all aspects of grade" - $15PPD. Nifty -Gritty: Purifierl&2 - $16PPD, and components to satisfy the needs of our demanding including purchase, setup, and insider information. $9.95 Vac-Sweep(4) - $11PPD! DeoxIT: "Interconnect Re- clientele. We are pleased to feature the following lines: ppd. Visa/MC. 1-800-232-2191 (9-5 EST) storer!" Solvent -free! - $22PPD. Free Catalog. Order CAPACITORS: today! CHK/MO: KAB Electro-Acoustics Box 2922A-12, 1b001J5.6.0 Plainfield, N.J. 07062-0922. (908)754-1479. MIT Mul8Cap - Film /Foil or Metalled. jialausimummuths World's best FILM CAPACITORS! USED LPs. AUDIOPHILE COLLECTIONS. MOSTLY WONDER CAP - new Series If. wonder wire leads. CLASSICAL. $3.00 FOR LIST 2,000 + TITLES. BOX 1766, REL. CAP - film/ foil polystyrene. avid leads VISTA, CA 92085. WIMA - compact metollized and flirn/foll polypropylene. radial Nod SOEEN Initd9XIed colmorwlene. up to 2000 at sovoci SIEMENS - metallized polypropylene horn 51pf to glut of 630VDC HALF MILE VINYL. Affordable used LP's. Selected w/care. Cleaned & graded. All categories. Call f/information. SASE RESISTORS: lists/wants: Box 98, East Wareham, MA 02538. (508) VISHAY - utilizing a proprietary BULK FOIL technology. these high 295-2508. precision resistors are the best available' We hove a limited range of DISC. VISA LIC VTA series (axial lead. 0.5%) values in stock. Abo.we ore pleased to NO EXTRA Introduce the 5102K series (radial lead. 0.25%) resistors which ore CHARGE coo Fs, peaAy JVC P.n.* AUDIOPHILE RECORDS mailable In any value up to 250K. In any quantity. in under 2 weeksi 0 TAPE WORLD no SPF11..i OOK 111, MOH. HOLCO - 0.5% 5Oppm metal fikn resistors. non-magnetic C1114:04.1511.0.1011 oweniM101.111. constructIon.We stock a comprehereNe range of values in 1/4, 1/2 WORLD'S LARGEST SELECTION OF AUDIOPHILE LP'S and 1 waft rat9gs. AND CD'S! Mobile Fidelity, Sheffield, Reference, Chesky, ADDITIONAL PRODUCTS: Analogue Productions, Wilson, Klavier, Audioquest, Nau- Can't afford the loudspeaker tilus, OPUS 3, TBM, Proprius, Harmonia Mundi...many more GOLD AERO - offering tested and selected tubes in 3 grades (Standard. Gold and Platinum) for the discriminating tubeophile 4 month war- of your dreams? current, rare and out of print. Catalogue $3 in U.S./$5 else- rants/1; RAM TubeWorks. CARDAS RCA locks. plugs. hookup wire and where. INFORMATION: (913) 825-8609. FAX: (913) shielded cab9, WIT: INFANT, EDISON PRICE Music Posts. ALPS, BOURNS Volume and Balance Confiols, NEUTRIK XLR plugs, GRAYHILL rotary We'll show you how to build it! From 825-0156. ORDERS: 1-800-525-1630. ACOUSTIC switches: TEFLON wire (many gauges and coksurs). ANALOG DEVICES SOUNDS, BOX 2043, SALINA, KANSAS 67402. AD827JN. AD847JN. PEARL Tube Cooks', No -Sockets. CAE (Grob bookshelf to horns to electrostatics. Audio Engineering) DANIEL PreAmp Kits (MKI and MX11) and DYNACO AUDIOPHILE RECORD WAREHOUSE! Out -Of -Print Rebuild Kits. SONIC FRONTERS mono odder attenuator kits (20K. 50K. Classic kits and new designs. A rich mix 10)K, 250K). best volume control available', plus tube sockets. semicon- of how-to and theory. From the world's Direct -To -Disc, Halfspeed, Quiex II & Import Pressings. ductors, electrolytic capacttors etc Great selection of In -Print Records & CD's. Quantity Dis- only magazine devoted to loudspeakers. SPECIALIZING IN INTERNATIONAL SHIPMENTS counts! Call for Free Catalog. Elusive Disc, 5346 N. Guilford Only $45 for two yrs. (12 issues). 1 yr. Ave., Indianapolis, IN 46220. (317) 255-3446. DISCOUNTS UP TO 30% AVAILABLE! Please CALL. WRITE or FAX for our FREE 1992 PRODUCT CATALOGUE, for $25 (6). U.S. $ only. Canada, add $6/yr. for postage. Other countries $40 WANTED TO BUY SONIC FRONTIERS 1 yr. $70 2 yrs. MARANTZ, MCINTOSH, HARTSFIELDS, W.E., PATRI- N C O R P O R A TED air mailed. SpeakerBui CIANS, TANNOY, KRELL, LEVINSON, ARC, ETC. Call THE LOUSPEAKERJ U AL LAST for absolutely highest collector prices on mint equip- 760 PACIFIC ROAD, UNIT e19, OAKVILLE, ONTARIO, CANADA 16L 6M5 Box 494, Dept. AUI , Peterborough, NH 03458 ment. Act before market weakens. N.Y.S.I. (718) 377-7282, TEL (416) 847-3245 FAX (416) 847-5471 2-6P.M., WEEKDAYS. WANT-JBL Hartstield, EV Patrician, Singles OK, McIn- tosh, Marantz & other tube equipment. Larry Dupon, 2638 W. Find out how good your Albion, Chicago, IL 60645. (312) 338-1042, evenings. WANTED: WESTERN ELECTRIC, JBL, MARANTZ OLD EQUIPMENT. SUNLIGHT ENGINEERING COMPANY: analog records really are! 310-320-7020, 22130 SOUTH VERMONT AVENUE, #A, There is a wealth of information in the TORRANCE, CA 90502. grooves of your analog records that I BUY USED MID TO HIGH END EQUIPMENT. (303) is hidden from you. Let the HW-16.5 777-6064. LEAVE MESSAGE IF NOT IN. HI-FI SUPPLIES-PAYS CASH FOR LEVINSON, ARC, C.J., made m USA safely remove all this gunk that is KRELL, SPECTRAL, ROWLAND, THRESHOLD & OLD 11W-16.5 clogging up your records, and be MARANTZ, MCINTOSH TUBE EQUIP. (212) 219-3352, Record Cleaning Machine amazed at how quiet, detailed and 7 DAYS 10AM-6PM (NY). COLLECTOR WILL TRAVEL, to pick-up: tube MARANTZ, natural -sounding records can be. McIntosh, TANNOY Speakers, SEQUERRA Tuner FN -1, Vacuumpickup tube assembly, KRELL, etc. MONO/Stereo. (718) 387-7316. NEW YORK. automatically adjusts to the Audio City Always Paying top tor: Studer, Levinson, McIn- thickness of any record. tosh, Marantz, CJ, ARC, Quad, Leak, Western Electric, Telefunken. Vintage Speaker systems, raw units by Tannoy, 35 second cleaning cycle (wash/ WE., EV, JBL, Altec, Jensen. Audio tubes by Telefunken, dry) per side Genalax, etc. P.O. Box 802, Northridge, CA 91328-0802. Tel: 18 RPM, high -torque turntable 818-701-5633. David Yo. motor for long life. MARANTZ, REL, HADLEY, FAIRCHILD, WESTERN ELEC- Powerful suction (vacuum) TRIC, ETC., TUBE EQUIPMENT. ALSO, UNUSUAL HI -Fl ensures quick, deep cleaning- EQUIPMENT, OLD HI -Fl BOOKS, MAGAZINES & CATA- removes old residue LOGS. PAUL: (313) 737-0429. Velvet coated record contacts AAAALWAYS PAYING TOP $$ FOR CLEAN, COLLECT- Leaves apristine, dry, static-frcc ABLE McINTOSH TUBE AND SOLID STATE, MARANTZ record TUBE, WESTERN ELECTRIC, JBL-PARAGON, HART- SFIELDS, ETC. & ALNICO PARTS. EV PATRICIANS, V.P.I Ind. Inc., 77 Cliffwood Ave. #3B, Cliffwood, NJ. 07721 GEORGIANS & MISC. PARTS. M. LEVINSON, KRELL, ARC, SPECTRAL ETC. CALL ME LAST ONLY WHEN Tel: 908-946-8606Fax: 908-946-8578 YOU'RE READY TO SELL! JOHN: 1-800-628-0266.

174 AUDIO/DECEMBER 1992 WANTED TO BUY

TOP PAYING FOR MCINTOSH, MARANTZ TUBE AMP AD INDEX McIntosh Solid state, Western, JBL, Altec, Tannoy, EV, Jensen, Speakers & Horn, EMT Turntable, Ortofon Arm, NOW!The World's Temma--(516) 942-1212, (516) 496-2973. CAR STEREO Greatest Christmas Music

"STEREO WORLD" is your discount sound source for Your Most Joyous with great deals on car and home stereo: Panasonic, JVC, Sony, PrecisionAudio Pioneer, Sherwood, Hi- Holiday Entertaining Ever! Fon ics, Blaupunkt, MTX, Pyle, Orion, Kenwood, Firm (Reader Service No.) Page Scosche EFX, Autotek, JBL-Car, Clarion and many Acoustic Research 29-32, 83 others. We Carry alarms and a full line of installation Adcom (1, 2) 13, 123 A 4 -CD set (4 kits. Please call or write for FREE catalog. FREE UPS in Advent 89 48 states. Visa/MC; COD accepted. P.O. Box 596, 0M3U.TKM. cassettes if Monroe, NY 10950. (914) 782-6044. American Gramaphone (3) 139 I:MOIR Ls Audio Research (4) 129 you prefer) AudioQuesti 115, 146 Featuring dip SERVICES B &K (5) 158 INDEPENDENT AUDIO CONSULTANT: Don't be taken Benson & Hedges 7* internationall1 advantage of by audio salesman, we can save you time and BMG 9 & 10 money. Guidance on all aspects, from purchase to inexpen- Bozak (6) 93 renowned sive room acoustic treatments. Visa/MC. 1-800-232-2191 135 (9-5 EST). Brystonvermont (7) VIENNA BOYS Cambridge Soundworks (8, 9) . 42, 43 Specialist, Tube Equipment Customization. Repair Ser- vices. Vintage military tubes & parts available. Service esti- Carver (10, 11) 23, 25 CHOIR, mates for audio equipment, old or new. BWS Consulting, Celestion (12) 75 5609 N. 23rd Street, Arlington, VA 22205. (703) 536-3910. Clearfield by Counterpoint LONDON

Audio Repairs and Restorations by CH( Ramsey, former (13) Cover IV SYMPHONY Senior Service Technician at McIntosh. Tuner Modifica- Columbia House 55 tions by Richard Modafferi, independent consultant to Audio ORCHESTRA Classics, inventor, and former Senior Engineer at McIntosh. Courvoisier Cover III 95 Over 70 years combined experience. AUDIO CLASSICS. DCM (14) AND ROYAL 8AM-5PM EST Mon:Fri., POB 176SAR, Walton, NY 13856. Definitive Technology (15) !WI 85,'145 607-865-7200. Denon (16) 69 COLLEGE Esoteric Audio (17) 125 ACCUPHASEAUTHORIZED PARTS AND OF MUSIC SERVICE. We repair and supply parts for all ACCUPHASE Genesis Technologies (18) 159 and KENSONIC Amplifiers, Tuners, Compact Disc Players, Hafler (19) . 133 CHAMBER etc. Contact: ACCUTECH, 206 E. Star of India Lane, Car- Harman Kardon (20) 105 son, CA 90746. TEL. (310) 324-7406, FAX (310) 324-7422. 5, 81 CHOIR AND Hours: 9am-4pm Pacific lime. Infinity Sysems Inc. Jack Daniels 113 BRASS ENSEMBLE HELP WANTED JBL (21) 99 KEF (22) 20 & 21 - AND OTHERS! SOUND BY SINGER Levinson 3 HIGH END AUDIONIDEO SALES 137 Join the Best! Wanted: Ace Salespersons with extensive M & K Sound (23) Makes a great experience (two years plus) High End Audio and/or custom Magnepan (24) 97 install (media rooms, incl. ceiling mt. projection, multi Marlboro 7* gift! Order source/multi rm rem systems). Requirements: focused clos- Martin -Logan 101, 131 er; organized; neat; articulate; reliable and persistent. Cus- additional sets tom sales specific requirements: You must have designed, MB), Inc. 153 planned, written proposals for, laid out & supervised at least McIntosh (25) 19 for your list' 6 jobs $15,000 plus. $600 per week. No b.s.-artists or Midwest Electronics 37 hardsell low end types. Annual income 50,000-100,000 Mobile Fidelity (26) - 140 & 141 (draw against generous comm.) Med plan; Reloc Exp. Subsi- $19.984 compact dized. Please send resume to: Bruce E. Brinker, 165 West Mondial (27) 111 46th Street, Suite 1109, New York, N.Y. 10036. MTX/Soundcraftsmen (28) 109 $13.984cassettes) NAD (29) 121 SOUND BY SINGER eludes allpostageand landing; elm MASTER AUDIONIDEO INSTALLER Nakamichi 143 Allow for de Extraordinary Career opportunity for organized motivated Olympus (30) 17 individual with can do attitude and hands on approach. Head 41 up Service/Install Dept. N.Y.'s Top High End A/V store. Panasonic (31) derlul an d rW 127 Requirements: (1) Extensive Experience with survey, layout, Paradigm (32) delights in all: nutcracker Suite... Jingle draw plans, install and service of High End audio systems, Parasound 44 & 45 media rooms, multi room/multi source remote control sys- Phi ips 76 & 77 Bells... Silver Bells... eleven Vlessiah tems, including ceiling mount projectors (pre and post construction); (2) Trouble shoot repair all kinds of High End AN Pioneer (33, 34) 34, 107 highlights, including Hallelujah Chorus... Ave components; (3) Terminate thick exotic cables; (4) Clean Polk (35, 36) .. W .14 & 15,70 & 71 Maria... We Three Kings.. Hark! The Herald drivers license; Top salary, Med plan. Relocation Exp. Subsi- Polygram Records 149 dized. Please send resume to: Bruce E. Brinker, 165 West 35, 37, 39 Angels Sing... 0 Come Al Ye Faithful... 0 46th Street, Suite 1109, New York, N.Y. 10036. PSB Speakers (37) Radio Shack (40) 118 & 119 Holy Night... 0 Christmas Tree... Joy To MAIL ORDER Reel to Real (41) 91 The World... and ;zany, many more! Seagram's Glenlivet 27 THE BEST DISC, TAPE & COMPONENT STORAGE SYS- Sennheiser (42) 18 TEM IN AMERICA. Stackable, portable oak units hold all A Music Gift To Be Treasured, From recording formats & AudioNideo components. FREE Mail- Shure Brothers (43) 35 Sony Music Entertainment order Brochure (please mention Audio). Per Madsen Design: Sony Cover II & 1, 163 (415) 928-4509. P.O. Box 330101, San Francisco, CA Sony Music 155 To Order: Call 24 hrs. 1-800-257-3443 94133. Sound City ext. 651(have your Visa MasterCard CUSTOM DESIGNS (44, 45) 150 & 151, 156 & 157 or American Express card ready) Theta (46) 117 Or send a check or money order FREEL AUDIO DESIGNS & MANUFACTURES THE HIGH- Vandersteen (47, 48) 12, 87 EST QUALITY POWER AMPLIFIERS AT THE LOWEST payable to: Sony Music Fulfillment Windham Hill 147 PRICE! CALUWRITE FOR FREE CATALOG. FREEL AU- Dept. 1001-651, P.O. Box 4000 Yamaha 36 DIO, 195 IBIS DRIVE, MELBOURNE, FLORIDA 32951. Carrollton, GA 30117 (407) 676-5933. Touch Tone Participant *Regional Ad Please add applicable sales tax. AUDIO/DECEMBER 1992 ANN

18th Annual Car Stereo Directory, May, 51. Roadsigns (Philips DC777 car stereo with short wave), Ivan Berger, Dec., 40.

Construction Projects Auricle: SoundAid Modification Kit for Real- istic Minimus 7 Loudspeaker, July, 76. With a Little Help from My Friends (improving speaker imaging with foam and felt), Richard J. Kaufman, Sept., 42.

Digital Compact Cassette (DCC) The ABCs of DCC: Measurements & Me- chanics, Leonard Feldman, Jan., 42. Auditory Scene Analysis: The PerceptualA/B/Xing DCC, David L. Clark, April, 32. Organization of Sound by Albert S. Breg- man, Jan., 110. Digital Technology The Physics of Musical Instruments by Nev- Currents(jitter and dither); John Eargle, ille H. Fletcher and Thomas D. Rossing, Jan., 24. Jan., 112. The ABCs of DCC: Measurements & Me- Full Frequency Stereophonic Sound by chanics, Leonard Feldman, Jan., 42. Robert Moon and Michael Gray, May, 31. Forum (SPARS code), Tom Jung, Feb., 21. Enhanced Sound: 22 Electronics Projects CD Packaging: A Boxing Free -for -All, Joe for the Audiophile by Richard J. Kaufman, Wiesenfelder, Feb., 28. July, 12. Multi -Bit and One -Bit D/A Conversion, Leon- The Down Home Guide to the Blues by ard Feldman, Feb., 78. Frank Scott and the staff of Down HomeCurrents (data reduction), John Eargle, Music, July, 12. March, 24 (Addendum, Aug., 4). Hearing: An Introduction to Psychological CEDAR Noise Reduction: Getting the Grain and Physiological Acoustics, Second Edi- Out, Beth C. Fishkind, March, 34. tion by Stanley A. Gelfand, July, 14. A/B/Xing DCC, David L. Clark, April, 32. The Roots of the Blues: An African Search Recordable CD: Promises & Problems, Mi- Addenda by Samuel Charters, July, 15. chael B. Martin, Part 1, June, 28; Part II, Tuning In to Yesterday: Vintage Sets fromAcoustical Engineering by Harry F. Olson, July, 36. the Golden Age of Broadcasting (Jan. Aug., 22. The Audio Interview: Heitaro Nakajima, Da- 1992, 48), June, 4. The New Stereo Soundbook by F.Alton vid Ranada, July, 32. Equipment Profile: First Sound Reference II Everest and Ron Streicher, Nov., 14. The Audio Interview: Jack Pfeiffer, Susan Passive Preamplifier (Jan.1992, 98),Bullock on Boxes by Robert M. Bullock III, Elliott, Nov., 44. June, 4. assisted by Robert White, Nov., 14. Currents (Kodak's Photo CD system), John Currents (data reduction, March 1992, 24),DAT: The Complete Guide to Digital Audio Eargle, Dec., 38. Aug., 4. Tape by Delton T. Horn, Nov., 19. The Mechanics of Sony's MiniDisc: Beyond Digital Radio Basics by Skip Pizzi, Dec., the Caddy, Leonard Feldman, Dec., 56. AM Reception 134. Forum: Aim High on AM, Ted Alexander, RDAT by John Watkinson, Dec., 134. Directories Nov., 22. Coding for Digital Recording by John Wat-Car Stereo Directory, May. kinson, Dec., 134. CD Changers, 51; In -Dash CD Players, Anniversary of Audio Magazine 54; DAT Players, 58; Amps/Equalizers, Behind the Scenes, Bert Whyte, May, 8. Cables & Wires 60; Radios/Tape Players, 78; Speakers, Currents, John Eargle, May, 16. Forum (mutual inductance versus self-in- 86; Company Addresses, 137. Audio ETC, Edward Tatnall Canby, May, 19. ductance), R. A. Greiner, Jan., 28. Annual Equipment Directory, Oct. 45 Years of Audio Magazine, Sept., 49. Introduction, 119; CD Players & D/A Con- Car Stereo verters, 122; Amplifiers, 142; Preamplifi- Book Reviews Ford Explorer: Slick but Super Simple (in- ers,170; Tuners, 186; Receivers, 190; New Ears: A Guide to Education in Audio stallation), Ivan Berger, May, 32. Turntables, 196; Tonearms, 198; Phono and the Recording Sciences, compiledWinter CES: Sweet Sounds, Ivan Berge,, Cartridges, 200; Headphones, 204; Digi- and edited by Mark Drews, Jan., 110. May, 34. talRecorders, 208; Analog Cassette

176 AUDIO/DECEMBER 1992 Al

Decks, 210; Blank Cassettes, 214; Equal-JBL L7 Loudspeaker, Dec., 114. Thiel CS2.2 Loudspeaker ("Auricle"), Aug., izers, 216; Ambience & Surround SoundJVC RX-1050VTN AN Receiver (Roundup), 68. Processors, 218; Signal Processors, 220; Dec., 46. Vacuum Tube Logic (VTL) Straight -Line D/A Crossovers, 222; Loudspeakers, 226; Kenwood KR -V9030 AN Receiver (Round- Converter, Nov., 76. Company Addresses, 354. up), Dec., 46. van den Hul MM -1 Moving -Magnet Phone Koss ESP/950 Earphones ("Auricle"), Nov., Cartridge and Well Tempered Record Equipment Profiles 96. Player, Jan., 84. Acurus L10 Line Preamplifier, Sept., 66. Maplenoll Signature Ariadne Turntable andVandersteen 2Ci Loudspeaker, June, 71. AKG K280 Earphones ("Auricle"), Jan., Tonearm, July, 50. Velodyne F-1500 Subwoofer (Thunder in the 106. Marantz CDR -1 Professional CD Recorder, Listening Room: Subwoofer Shootout), AKG K340 Earphones ("Auricle"),Nov., March, 42. Nov., 34. 106. McIntosh MC2600 Amplifier, Feb., 44. Vimak DS -2000 D/A Converter and Pream- Altec Lansing PSW10 Subwoofer (Thunder Mobile Fidelity Sound Lab UltrAmp Pream- plifier, Nov., 54. in the Listening Room: Subwoofer Shoot- plifier and Amplifier("Auricle"),Dec., Well Tempered Record Player and van den out), Nov., 34. 130. Hul MM -1 Phone Cartridge, Jan., 84. AR M1 Loudspeaker, Jan., 68. Naim Audio NAP 135 Mono Amplifier andWin Research SM-10 Loudspeaker ("Auri- Arcam Delta 110 Digital Preamplifier, June, NAC 72 Preamplifier, March, 74. cle"), July, 80. 52. Nakamichi 1000mb CD Transport and Yamaha CDC -835 CD Changer, Dec., 103. Audix SCX-One Studio Microphone System, 1000p Digital Processor, Jan., 56. Dec., 108. Nobis Cantabile Amplifier, Dec., 72. Forum Beyerdynamic DT990 Pro Earphones ("Au- Onkyo Integra TA -207 Cassette Deck, Wires and cables, R. A. Greiner, Jan., 28. ricle"), April, 74. Sept., 72. SPARS code, Tom Jung, Feb., 21. B & K Components PRO-10MC Preamplifi-Onkyo TX-SV909PRO AN Receiver (Round- AIM High on AM, Ted Alexander, Nov., 22. er, April, 56. up), Dec., 46. Bright Star Altair Loudspeaker, July, 60. Oracle Premiere MK IV Turntable and Ora- Bryston 4B NRB Amplifier, Aug., 42. cle SME 345 Tonearm, April, 64. History Canton Ergo 100 Loudspeaker, March, 62. Panasonic CQ-ID60 Car Stereo with ID Log- Tuning Into Yesterday: Vintage Sets from conrad-johnson Premier Seven -A Preampli- ic, May, 40. the Golden Ageof Broadcasting(Atwater fier and Evolution 2000 Amplifier, June, Philips LHH500 CD Player, April, 42. Kent Museum show), Jon R. Sank, Jan., 48 (Addendum, June, 4). 88. Philips DC777 Car Stereo with Short Wave, Crown Macro Reference Amplifier, June, ("Roadsigns"), Dec., 40. TheAudioInterview: Henry Kloss, David 38. Pioneer VSX-0901S AN Receiver (Round- Lander, Feb., 34. Denon AVR-3000 AN Receiver (Roundup), up), Dec., 46. Behind the Scenes(Audio's45th anniversa- Dec., 46. Pioneer Elite PD -65 CD Player ("Auricle"), ry), Bert Whyte, May, 8. Currents(Audio's45th anniversary), John Dymek DR333 General Coverage Receiver, Dec. 126. Eargle, May, 16. Sept., 84. Proton AT -670 Tuner, March, 50. Audio ETC (Audio's45th anniversary), Ed- Dynaco QD-1 Series II Surround Sound Pro- PS Audio Digital Link II D/A Converter, July, ward Tatnall Canby, May, 19. cessor ("Auricle"), Sept., 96. 70. Dynaco Stereo 70 Series II Tube Amplifier, Quart 490MCS Loudspeaker, Feb ,62. TheAudioInterview: Heitaro Nakajima, Da- Nov., 64. Sansui RZ-9500AV AN Receiver (Round- vid Ranada, July, .32. TheAudioInterview: Goddard Lieberson, First Sound Reference II Passive Preamplifi- up), Dec., 46. er, Jan., 98 (Addendum, June, 4). Sennheiser HD -540 Reference II Earphones Robert Long, Sept., 32. Ford JBL Car Audio System, Aug., 48. ("Auricle"), June, 104. 45 Yearsof Audio Magazine,Sept., 49. Grado Labs SR200 & Joseph Grado Signa- Sitting Duck Listening Room Speaker - TheAudioInterview: Jack Pfeiffer, Susan ture HP -2 Earphones and HP-1ADC Ear- Placement Program ("Auricle"),Nov., Elliott, Nov., 44. AudioInterview: Peter Asher, Ted Fox, phone Amplifier ("Auricle"), Nov., 88. 102. The Harman Kardon HD76001I CD Player, Feb.,Snell Type B Loudspeaker, Sept., 88. Dec., 60. 76. Sony ES STR-GX99ES A/V Receiver Hsu Research HRSW 10 Subwoofer (Thun- (Roundup), Dec., 46. Home Theater & Surround Sound der in the Listening Room: SubwooferSoundAid Mddification Kit for Realistic Mini- Home Theater: A Pro's Way, Wynne Smith, Shootout), Nov., 34. mus 7 Loudspeaker ("Auricle"), July, 76. March. 28. Hughes AK -100 Sound Retrieval SystemTannoy 615 Loudspeaker, Aug., 58. SRS: Surround Sound with Only Two Speak- Decoder, April, 48. TEAC Esoteric X-1 CD Player, Nov., 60. ers (Hughes' Sound Retrieval System), Infinity SSW -210 Subwoofer (Thunder in theTechnics SA-GX910 A/V Receiver, July, 42. Arnold I. Klayman, Aug., 32. Listening Room: Subwoofer Shootout),Theta DSPro Prime D/A Converter ("Auri- Currents (JBL Synthesis One THX system), Nov., 34. cle"), Aug.. 70. John Eargle, Sept., 18.

AUDIO/DECEMBER 1992 177 1992 ANNUM INDEX

A/V Receiver Roundup: Seven for SevenObituaries Pro Recording Seventy to Seventeen Ninety -Five (DenonArthur A. Janszen, Jan., 8. The Audio Interview: Goddard Lieberson, AVR-3000, JVC RX-1050VTN, Kenwood B. V. Pisha, Feb., 6. Robert Long, Sept., 32. KR -V9030, Onkyo TX-SV909PRO, Pioneer The Audio Interview: Jack Pfeiffer, Susan VSX-D901S, Sansui RZ-9500AV, andPhoto CD Elliott, Nov., 44. Sony ES STR-GX99ES), Leonard Feld- Currents (Kodak's Photo CD system), John The Audio Interview: Peter Asher, Ted Fox, man, Dec., 46. Eargle, Dec., 38. Dec., 60.

Interviews Henry Kloss, David Lander, Feb., 34. George L. Augspurger, Wendy J. Duch, April, 36. Heitaro Nakajima, David Ranada, July, 32. Goddard Lieberson, Robert Long, Sept., N 32. DEX Jack Pfeiffer, Susan Elliott, Nov., 44. Peter Asher, Ted Fox, Dec., 60.

Multi -Bit and One -Bit D/A Conversion, Listening & Listening Rooms Feb., 78; A/V Receiver Roundup: Seven Currents (auralization and Lexicon Acoustic for Seven Seventy to Seventeen Ninety - Reverberance Enhancement System), Five, Dec., 46; The Mechanics of Sony's John Eargle, Feb., 18. MiniDisc: Beyond the Caddy, Dec., 56. Home Theater: A Pro's Way, Wynne Smith, Fishkind, Beth C., CEDAR Noise Reduc- March, 28. tion: Getting the Grain Out, March, 34. A/B/Xing DCC, David L. Clark, April, 32. Fox, Ted, The Audio Interview: Peter Asher, The Audio Interview: George L. Augs- Dec., 60. purger, Wendy J. Duch, April, 36. Greiner, R. A., Forum (wires and cables), SRS: Surround Sound with Only Two Speak- Jan., 28. ers (Hughes' Sound Retrieval System), Hansen, Villy and S. K. Pramanik, Listening Arnold I. Klayman, Aug., 32. and Experience, Aug., 38. Listening and Experience (listening panel imm Jung, Tom, Forum (SPARS code), Feb., 21. for B & 0), Villy Hansen and S. K. Pra- Kaufman, Richard J., With a Little Help manik, Aug., 38. from My Friends, Sept., 42. Keele, D. B., Jr., Thunder in the Listening Alexander, Ted, Forum: Aim High on AM, Room: Subwoofer Shootout, Nov., 34. Loudspeakers Nov., 22. Klayman, Arnold I., Hughes SRS: Surround The Audio Interview: Henry Kloss, DavidBerger, Ivan, Ford Explorer: Slick but Super Sound with Only Two Speakers, Aug., 32. Lander, Feb., 34. Simple, May, 32; Winter CES: Sweet Lander, David, The Audio Interview: Henry A New Type of Speaker: A Sphere of Sound Sounds, May, 34; Roadsigns (Philips Kloss, Feb., 34. (Museatex Audio's Melior Point Source DC777 car stereo), Dec., 40. Long, Robert, The Audio Interview: God- speakers), Moray Campbell and ScottCampbell, Moray and Scott Robinson, A dard Lieberson, Sept., 32. Robinson, June, 34. New Type of Speaker: A Sphere ofMartin, Michael B., Recordable CD: Prom- Currents (JBL Synthesis One THX system), Sound, June, 34. ises & Problems, Part 1, June, 28; Part II, John Eargle, Sept., 18. Canby, Edward Tatnall, Audio ETC (Au- July, 36. With a Little Help from My Friends (improv- dio's 45th anniversary), May, 19. Pramanik, S. K. and Villy Hansen, Listening ing speaker imaging with foam and felt), Clark, David L., A/B/Xing DCC, April, 32. and Experience, Aug., 38. Richard J. Kaufman, Sept., 42. Duch, Wendy J., The Audio Interview:Ranada, David, The Audio Interview: Hei- Thunder in the Listening Room: Subwoofer George L. Augspurger, April, 36. taro Nakajima, July, 32. Shootout (Altec Lansing PSW10, Hsu Re-Eargle, John, Currents (jitter and dither),Robinson, Scott and Moray Campbell, A search HRSW 10, Infinity SSW -210, and Jan., 24; Currents (auralization and Lexi- New Type of Speaker: A Sphere of Velodyne F-1500), D. B. Keele, Jr., Nov., con Acoustic Reverberance Enhance- Sound, June, 34. 34. ment System), Feb., 18; Currents (dataSank, Jon R., Tuning In to Yesterday: Vin- reduction), March, 24 and Addendum, tage Sets from the Golden Age of Broad- Aug., 4; Currents (Audio's 45th anniver- casting, Jan., 48 (Addendum, June, 4). MiniDisc (MD) sary), May, 16; Currents (JBL Synthesis Smith, Wynne, Home Theater: A Pro's Way, The Mechanics of Sony's MiniDisc: Beyond One THX system), Sept.,18; Currents March, 28. the Caddy. Leonard Feldman, Dec., 56. (Kodak's Photo CD system), Dec., 38. Whyte, Bert, Coda: B.V. Pisha, Feb., 6; Elliott, Susan, The Audio Interview: Jack Behind the Scenes (Audio's 45th anniver- Noise Reduction Pfeiffer, Nov., 44. sary), May, 8. CEDAR Noise Reduction: Getting the GrainFeldman, Leonard, The ABCs of DCC:Wiesenfelder, Joe, CD Packaging: A Box- Out, Beth C. Fishkind, March, 34. Measurements & Mechanics, Jan., 42; ing Free -for -All, Feb., 28.

78 AUDIO/DECEMBER 1992 NV II , N4 A K. E S A H C)L. I L) A V

NIE.NI C)Ft. V

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