High-Fidelity-1984-10.Pdf

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. 2VK02 10449 DAL92 SEP85 tr1 02010 eN.J 000 012 1 HIF JOHN R VEKOFF 20449 DALBY DBG JP REDFORD HIS MI 48240 You'll know why we're first, the second you hear us.

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+8 - +8 xl la DEFEAT Off C OFF 010 10 10 ON -20d11 a C First it was DC. Then DD/DC and Super Feed- forward. Now Sansui astounds the audiophile with the greatest improvement in an amp. X-Balanced circuitry. It cancels out external distortion by eliminating the transformer to chassis ground; and decisively removes IHM.

You'll find X-Balanced circuitry in a wide range of superior Sansui products, like our AU-G99X amp, shown with TU-D99X quartz-PLL synthesizer tuner which incorporates our new Super Linear Digital Decoder for improved rejection of spurious signals and interference. Another version of this tuner has AM stereo capability.

When it comes to digital sound, our new PC-X11 Tr- code PCM Processor is the world's finest for any VCR. With 100 times the accuracy of any other PCM processor, it even reads blurred sections of digital material and lets you record up to eight hours of music on one VHS video cassette.

11111111111111ft.„ Our ingenious new XL-900C digital/analog speakers handle broad dynamic range with incredibly quick response to energy flow. Patented Tr-composite Carbon Fiber multi-layer diaphragms, plus high-polymer air-tight cores deliver higher resonance, fewer breakups and overall flat response.

There's more worth hearing about these great Sansui compo- XL-900C nents. Write: Consumer Service Dept., Sansui Electronics Corp., Lyndhurst, NJ 07071, Carson, CA 90746, Sansui Electric Co., Ltd., Tokyo, Japan.

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PC-X11 OFF La of F LEFT RIGHT ON a. oN Circle 28 on Reader-Service Card ONLY NEC OFFERS THE BEST OF BOTH FORMATS. Whether you're watching the movie that won the Academy Award's "Best Picture" or want to make your own video movie with the best picture possible, NEC -las the video cassette recorder that's exactly right for you. Now, you've probably heard pretty convincing arguments for the superiority of VHS versus Beta THE NEC VC- N833EU VHS VIDEO CASSE7TE RECORDER. Add Dolby stereo to a high performance four- and vice „...., , head, CA fl/-ready VCR and clouble your , ..`-.'...., .4.7.4,... versa. \ .„....,....,...,...... „ .. ...:: *.-;.:;•;;0...... ;,- recording pleasure. .."•.>," #,.;.- ,,-,-..-•• ... ; "'" -e.•.'-'--z-- .„..- .. ---- 4 -

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THE NEC VC-N895EU VHS HI-Fl VCR. This state-of-the-art VCRs' features include true hi-f, audic; a 139 coannel, CATV-ready PLL Quartz tuner; 14 day 8 event programmable timer, 4 heads for clear special effects; stereo recording and playback with Dolby Noise Reduction; segment recording; variable speed control; automatic editing system; picture sharpness control; electronic tape counter and full function infrared wireless remote control.

The Paramount Home Video Videocassettes pictured are $39.95 each suggested retail price and are supplied courtesy of Paramount Home Video That's because each format has its respective strengths. While VHS decks olay longer, which saves tape costs; Beta video cassettes are smaller and employ a faster writing speed, making Beta the favorite of serious field and home video recordists. This is why NEC became the only

VCR manufacturer to THE NEC BM-IIEU BETAMOVIE. NEC put it all together with an integrated Color Video Camera/Video Cassette offer both formats Recorder that only weighs 5.5 lbs. under its own name including its battery THE NEC VC-N4OEU BETA SUMIJNE in the United States. This includes the VIDEO CASSETTE RECORDER. Whatever the recording speed, it produces the test possible VCR picture very finest Beta and VHS models in available. each category. Suddenly, the answer to the question, "Which VCR is best?" becomes very simple. NEC. THE ONES TO WATCH. NEC Corporation, Tokyo, Japan

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THE NEC VC-739E BETA HI-Fl VCR. The VCR with the picture that sounds as good as it looks. It features studio quality hi-fi audio; a 134 channel, CATV-ready PLL Quartz tuner, 21 day 8 event programmable timer; 4 heads for clear; special effects; three slow motion speeds; picture sharpness control; segment recording; electronic tape counter and full function intrared wireless remote control.

NEC Home Electronics (U 5 A ) Inc , 1401 Estes Avenue, Elk Grove Village, Illinois 60007, (312)228-5900

Circle 49 on Reader-Service Card Sherwood announces the latest thing in second generation CD audio technology: Affordability

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The compact disc just may be the most heart-stopping sound generates a sampling frequency which must be concept in sound since stereo. But the most heart- filtered out, or distortions will be heard. stopping feature of compact disc players has been their Other CD players use one very steep analog filter; this price. Now, with Sherwood's new CDP-100, you can can cause phase distortion. Sherwood's answer is to relax about money and really get excited about sound. use a digital filter to double the sampling frequency, A tradition of affordable excellence. then use a more gentle type of analog filter for reduced Sherwood is well-known for high-quality audio products phase distortion. The result: better sound at less cost. at affordable prices. And our new CD player is no Easy-to-use functional controls. exception. While others were still on first generation Inserting a disc is easy, thanks to a "smart" motorized models, we combined advanced second-generation drawer under microprocessor operation. (It even knows performance with a no-nonsense array of useful, if you accidentally put the disc in upside down.) features. And we did it in a way that not only makes You can easily access any selection, and there's a two- sense, but saves you dollars as well. speed fast forward and backward, so you can listen Three laser beams for better tracking. Most while you quickly locate the spot you want to hear. CD players use only one laser beam. Sherwood put a You can even set the CDP-100 to repeat the entire disc three-beam laser into the CDP-100, because a three- for continuous music. beam system virtually eliminates distortion caused by Find out how advanced, easy to use, and affordable spurious data from adjacent tracks. Sherwood's new CDP-100 really is at your neared 7Ivo filters, not one. Sherwood dealer. To find him, call (800)841-1412 All CD's require filters, because the decoding of digital during west coast business hours. Sherwood Quality and Innovation You Can Afford

17107 Kingsview Avenue, Carson, CA 90746. In Canada: The Pringle Group, Don Mills. Ontario arninpraulrillEPPIPPRIP111 min n I MAI I II mu i mu E1 ii MI TIME! 1111111E 111 I I IL:11 ii MI I II II ,Q1ii 11111 /N M 11 II NI MI II 11 II 1E1 El El 1E1 MEIN" JL 1111161111611=•16 A1m1•11611111111111 1 LI 0 00••••••••••000 VOLU ME 34 NUMBER 10 OCTOBER 1984

AUDIO Currents: Compact Discs today: Going for mass appeal . 14 CrossTalk by Robert Long 21 Basically Speaking by Michael Riggs 23 Oversampling and the Holy Grail: Should a CD player have separate D/A converters for each channel? New Equipment Reports Kenwood DP-110013 Compact Disc player 24 Audio-Technica AT-160ML phono cartridge 34 NAD Model 4125 tuner 26 ESB 7/08 loudspeaker 35 Sansui AU-G9OX integrated amplifier 30 *Car Stereo Special Refinements for the Road by Gary Stock 39 Style and function prevail as manufacturers show off their latest high-performance gear. Lab and Road Tests Sony CDX-5 car Compact Disc player 43 Pioneer KE-A880 receiver/tape deck 46

NEW TECHNOLOGIES Video Lab Test: Quasar VH-5845XQ VHS Hi-Fi videocassette recorder 49 Sample and Hold by Paul D. Lehrman 56 Digital sound recording. real-time playback, and more in an add-on package for the Apple II computer *Compact Disc Special CD Players—How They Compare: Buying guide to 58 models by Peter Dobbin 59 Music Reviews: A sampler of pop and classical discs, from Beethoven to Bowie 64 Playing the Name Game: What gets released on CD by Sam Sutherland 67 Latest Pop Releases: What's really available in the stores 68 CD Indexing—A Classic Betrayal by Theodore W. Libber. Jr. 70 1985 Annual Preview of Forthcoming Recordings, Part 2—Compact Discs 74

CLASSICAL MUSIC Odd Man Out—Or In? Reviewed by Thomas L. Dixon 80 An assessment of Gyorgy Cziffra's recordings on the eve of some rare North American recitals Reviews: Early Viennese Classics: Ma and Ax play Beethoven; Mehli Mehta's debut; Star Trek III 85 Critics' Choice 95 The Tape Deck by R. D. Darrell 103

BACKBEAT/Popular Music Roots & Branches by John Morthland 1114 Free-jazz founder Ornette Coleman says, "The sound is what matters, not the style." Pop Reviews: Prince; Laura Branigan; Elvis Costello; George Jones; Oh-OK; Tina Turner 106 The 12-inch Single: Ain't No Stoppin' It Now Reviewed by Vince Aletti 109 Jazz Reviews: Barbara Lashley; Louisiana Jazz Ensemble: Art Pepper; Mel Powell 112 DEPARTMENTS About This Issue 6 Reader-Action Page 118 Letters 6 Advertising Index 117 Reader-Service Card 101 *Cover Story

NIGH FIDELITY (ISSN 0018-14551 is published monthly at 825 7th Ave New Yo.k. N Y 10019. by ABC Leisure Magazines, Inc . a subsidiary of American Broadcasting Companies, Inc Copyright i 1984 by ABC Leisure Magazines, Inc The design and contents are fully protected by copyright and must not be reproduced in any manner Second-class postage paid at New York. New York. and at additional mailing offices Authorized as second-class mail by the Post Office Department. Ottawa, and for payment of postage in cash Yearly subscription in U S A and Possessions $13 95; elsewhere S19 95 Single copies S1 95 Subscribers' Send subscriptions, inquiries. and address changes to HIGH FIDELITY. P 0 Box 10759. Des Moines, Iowa 50340 Change of address Give old and new addresses. including ZIP code Enclose address label from last issue and allow five weeks for change to become effective POSTMASTER: send change of address to HIGH FIDELITY, P.O. Box 10759, Des Moines, IA 50345.

4 Circle 3 on Reader-Service Card About This Issue

THE COMPACT DISC definitely is being Next, we bring you an in-depth lab and taken seriously by both hardware and road evaluation of the first Compact Disc software manufacturers. The result is a player designed specifically for car virtual deluge of CD players and releases installation—Sony's CDX-5. And lastly, this fall. Along with this profusion of you'll find comprehensive coverage of new product has come a reduction in CDs themselves. prices: You should be able to buy a basic Much of this section is devoted to a player for less than $400 and discs for complete listing of nearly 500 classical less than $15. In highly competitive titles that record companies are promising areas, such as New York City, CD prices to release on Compact Disc, beginning have already slipped to $13 for many this fall. Complementing our preview is COVER DESIGN Skip Johnston Cover Photo Grant Roberts releases. an article by regular contributor Sam ON THE COVER Three Com- To bring you up to date on what's Sutherland, in which he provides an pact Disc players Worn top to' happening in the bustling world of inside view of how record company bottom) Luxman DX 103, Re- vox B-225. Kenwood DP- Compact Discs, we've dedicated a major executives select what will be issued on 1100B portion of this issue to the topic. First. CD. Classical Music Editor Theodore W. we've assembled a number of the Libbey, Jr.. explores the topic of comments and questions you've written "indexing" —widely touted in the us regarding the Compact Disc into a beginning as a major advantage of the special — Letters" column. Then. CD format, but still rarely used. And car-stereo components, another in our Electronics Features Editor Peter Dobbin starting this month, we'll be combining series of lab tests on VHS Hi-Fi VCRs, a reports on the latest CD news in forces with our sister publication, THE look at the recordings of the flamboyant "Currents." and Technical Editor NEW SCHWANN RECORD & TAPE GUIDE, pianist GyOrgy Cziffra. an interview with Michael Riggs explores the controversial to bring you the most up-to-date listings the influential jazz performer Ornette topic of CD player "sampling rates" in possible of new pop and classical CD Coleman, and reviews of new issues in — Basically Speaking." Following this, releases. The criterion for inclusion in the today's hottest LP format—the I2-inch you'll find an exhaustive buying guide to lists is actual availability at retail, not just single. Readers of our MUSICAL AMERICA more than 55 current CD players, ranging a record company's promise of issuance. edition will also enjoy James in price from $400 to $1,600. Salient Elsewhere in these pages we offer a Wierzbicki's feature on the latest record features are called out clearly to let you complete wrapup by "Autophile" releases from CRI and more than a dozen easily assess what each price level offers. columnist Gary Stock of the new 1985 additional reviews.—W.T.

Letters

More CD Debate acoustically aware of it. Those of your readers citer. which would (based on the programming). who may not even know that the gremlins Mr. statistically at random, inject pops, clicks, and First I hear that the greatest advance in audio Carver is slaying are alive may feel some confu- varying amounts of other synthesized surface history has been developed. It's called the Corn- sion at this, yet attack them he does, sometimes noise into the music. Note that this is still a step pact Disc and must be played on something to the delight of all concerned, ahead of the regular LP situation, wherein you called a Compact Disc player, which sells for the Just think of it: For a mere price to be always remember exactly when the next intrusion same price as a baseball team franchise. Since I named later you can go right out (later) and buy a will occur and go crazy waiting for it. am not a baseball fan. I decide to invest my mon- processor that turns a CD back into an LP. In Lest you think that we're a couple of ama- ey in one of these new players instead. All is fine fact, we of the older generation feel that there teur crackpots, we'd like to inform you that. and dandy for a few weeks. Now in your March also should be choices available marked "45" between us. we have five (count 'cm, five) ver- issue I read that Bob Carver has just invented a and "78." This step backwards in time could be sions of Mr. Jackson's "Thriller" (standard LP. black box. And what's the, purpose of the box? accomplished by a simple binary processor. half-speed mastered LP. CD. stereo VHS. and It's to make Compact Discs sound more like ana- which the owner would program by giving a few homemade mono VHS) that we have carefully log records. So it seems I have to buy something simple yes/no responses to the following ques- ABCDE'd against each other and then F'd to make these Compact Discs sound like the old- tions: against the Rock-Olas at the Thruway Diner in fashioned kind I was supposed to get away from. I. Do you stack records for play on your New Rochelle in an attempt to reach the Truth. Is someone trying to make me crazy, or what? changer? We have but one question: Is there any possibility Howard Garrett 2. Do you clean your records? that we could hook Mr. C's gorgeous new device Bayside. N.Y. 3. More than once a year? into one of our systems backwards? You see. 4. Are there pennies on your headshell? although we have, between us, four preamps. We have read with delight and amazement your 5. Quarters? two tuners, three amplifiers, one receiver, four article "The Carver CD Fixer" IMarchL which 6. Do you call what you have a cassette decks, two and a half reel-to-reel decks, describes in some detail the new processor that "stylus"! two real-time analyzers, seven various signal the ingenious Mr. C is concocting for those of us 7. Or a " needle' •? processors, six pairs of speakers, and one sub- not entirely weaned from the time-worn vagaries 8. Is $19.95 too much to spend for a woofer, we have only one CD player. Could we of our collections of vinyl. As always, Mr. C has cartridge? share? One of us could use it northbound to make somehow found out what it is that makes what- This new machine could be combined with one of his CDs sound like 78s, while the other could use ever it is do whatever it is doing and found a way Mr. C's other devices to create an Automated it southbound for the reverse. to change it, whether or not we were psycho- Surface Synthesizer/Holographic Listening Ex- Meanwhile, you might ask why this new

6 Circle 5 on Reader-Service Card Technics Digital Compact Disc Players. Lasers and computers give you the one experience your conventional audio system never could: Reality.

Reality: The duplication of a live musical performance. The ways. Play any selection you want. In any order you want. most elusive goal of all. Yet reality is precisely what you hear Repeat the selections you like. Even skip ones you don't. with Technics digital Compact Disc players. Auto Music Scan automatically lets you hear the first 10 How? Tecrnics revolutionary Compact Disc players have seconds of every selection. So finding the selection you a laser instead of a conventional stylus. Because instead of want is easy. conventional record grooves, digital Compact Discs have a The fluorescent display shows you precisely where the computer code. The laser "reads" this code. And a computer laser is on the disc. So you can even find the exact notes you instantaneously translates it into music. want to hear What you hear is not just a reproduction of tie music, but And to let you do all this from across the room, the SL-P8 a re-creation of it: Reality. even has an infrared remote control. And nothing touches the Compact Disc except the laser Experience the full range of Technics digital technology. beam. That means there is no wear. No noise. And no Including the SL-P8 and the affordable SL-P7. distortion. All of which can plague conventional records. The digital revolution continues at Technics. All this Tecinics digital technology comes together in the CO MPACT latest generation of Technics Compact Disc r_ig[2 p ayers. The remarkable SL-P8 and SL-P7. Technics DIG TAL AUDIO You can program toe SL-P8 up to 32 different The science of sound

Get a Technics CD Starter Kit —3 Free Discs: The Jacksons' "Victory" "Flashdance," "Classical Sampler." Plus a FreE CO Cleaning System & CD Club Membership Including 1 Free Disc. Total Suggested Retail Value Over 585. *vvitrIpurr,tiase of any Technic, CD Player from ‘2eptember 1 to December 31, 1984. See participating Technics dealers for details The National Academy of Recording Arts and Sciences presents the Official Grammy Awards Archive Collection

Now-the most acclaimed performances by the greatest artists of the past 25 years in one collection for the first time

Frank Sinatra ... Barbra Streisand... The Beatles ... Elvis Presley ... Diana Ross ... Ray Charles ... Bob Dylan ... Lena Home ... Barry Manilow ... Anne Murray ... Willie Nelson ... Carole King ... and more. Together in the first comprehensive collection of original Grammy Award recordings. Including out-of-issue pressings and hard-to-find rarities.

The Grammy Award is the highest quarter-century are included in the honor in the recording field. It is collection. For example: presented each year to the most Frank Sinatra with his recording distinguished individuals in the music of the nostalgic ballad, My Way. Elvis world by The National Academy of Presley and Are You Lonesome Tonight. Recording Arts and Sciences, the Barbra Streisand with People. Barry applaud "I professional organization dedicated to Manilow with Mandy. Peggy Lee's this collection! fostering the highest standards of classic, Fever. Willie Nelson's Because these are artistic achievement in the field of award-winning Georgia On My Mind. the great perfor- recording. Diana Ross' interpretation of Touch mances of the best Now, the Academy has announced Me in the Morning. Stevie Wonder's I that it will issue the firs: collection in Wish. Linda Ronstadt's When Willi Be popular music its history—The Official Grammy Loved? And Judy Garland at Carnegie of our time —and Awards Archive Collection of The Hall with Over the Rainbow. you can't get any better than that. Greatest Recordings of Our Time. And there are famous groups as The Grammy Award recordings will Assembled with the cooperation of well. The Beatles—Peter, Paul and go on and on, as long as people every major record company, this Mary—the Fifth Dimension—the collection will represent the best of Beach Boys—Chicago—the Rolling enjoy melody and rhythm and style. the best. The greatest performances Stones—Paul McCartney and Wings. That's why I said 'Count me in.' of the greatest music of our time And great instrumentalists such as And I hope you love every —selected out of all those ever Herb Alpert with A Taste of Honey, minute of it." nominated for a Grammy Award, with Chuck Mangione with Feels So Good, the assistance of a special committee Mason Williams doing Classical Gas, established by the Academy. and Michel Legrand's beautiful lAventy-five years of great music / Will Wait For You. These superb recordings have now Rare and out-of-issue pressings been brought together for the first Some of the original recordings which time in one complete record are included in this outstanding collection, to enjoy for years to come. collection are now out of issue—and All of the favorites of the past others are very difficult to come by. The Greatest Recordings of Our Among these rare recordings are: high-quality records. records (or cassettes), and each will Nat 'King' Cole crooning Ramblin' These records will be pressed in a be accompanied by specially written Rose. The Kingston Trio doing dust-free, atmosphere-controlled commentaries describing the Grammy Tom Dooley. George Harrison and "clean room," where standards of Award recordings contained in each My Sweet Lord. Dionne Warwick quality control are stricter than in album. The commentaries will provide singing Do You Know the Way to other facilities. A special anti-static in-depth information and little-known San Jose? And Ramsey Lewis with vinyl compound will be used in the sidelights on the artists and their The In Crowd. production of the records, which music, and give you an insider's view In addition, there are memorable resists the accumulation of dust in the of some actual recording sessions. recordings by composers performing sensitive record grooves. This The albums will be illustrated with their own songs: Carole King with exclusive compound, together with photographs of performers, composers You've Got A Friend, Paul Williams' the careful pressing technique, creates instrumentalists and band leaders. interpretation of We've Only Just a record of exceptional fidelity that Many have never been published Begun, Johnny Mercer singing is heavier and more durable than before. I Wanna Be Around, and Harry ordinary records. A record of true Subscribe by October 31st Chapin's classic Cat's in the Cradle. proof quality. (The collection is The Greatest Recordings of Our lime also available on high-quality On superior proof-quality records will not be sold in any record or tape cassettes.) To produce the records for this music stores. It is available only by historic collection, The National Attractive library albums provided subscription and only from The Academy of Recording Arts and To protect the records or tapes, a set Franklin Mint Record Society. Sciences has appointed The Franklin of custom-designed library albums There will be 100 proof-quality Mint Record Society, one of will be provided as part of the records in the collection, and the America's leading producers of collection. Each album will hold four issue price for each proof-quality record is $10.75, with cassettes priced at $1 more. To acquire the Official Grammy Awards Archive Collection, please mail your application to The Franklin Mint Record Society, Franklin Center, PA 19091, by October 31, 1984.

Subscription Application The Greatest Recordings of Our Time Please mail by October 31, 1984 The Franklin Mint Record Society Franklin Center, Pennsylvania 19091 Please enter my subscription for the Official Grammy Awards Archive Collection of The Greatest Record- ings of Our Time, consisting of 100 proof-quality records in custom- designed albums, at the price of $10.75* plus 95* for packaging, shipping and handling per record. No payment is required now. I will receive a 4-record album every other month, and 1 will be billed for each album in two equal monthly install- ments, beginning when my first album is ready to be sent. I may discontinue my subscription at any time upon thirty days' written notice. 'Plus my state sales tax. CI Check here to receive the collection on high-quality, Dolbyt encoded, chromium dioxide tape cassettes. Same subscription plan, $1. extra per cassette. tTrademark of Dolby Laboratories

Signature ALL APPLICATIO NS ASS 111.111[C, To Act AAAA A CW Mr. Mrs. Miss

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State, Zip 49 Time 1144 F URS Circle 47 on Roador-Sondeo Card device is called an Automated Surface Synthesiz- who are paid to find fault. My personal enthusi- icisms that have greeted every innovation in er/Holographic Listening Exciter. Frankly, we asm for the new medium certainly runs contrary recording technology. Some didn't like stereo don't know, but we're sure that Bob could give to most of what I have read in your magazine, when it became widely available, for it undoubt- us a fascinating answer. And the ability of the medium to realize its poten- edly increased distortion and accentuated surface William C. Gill, Jr. tial and overcome the faults that Mr. Sutherland noise. Remember the hiss and blare of those Cm- John BB.. Thompson points out depends on enthusiastic consumers. emaScope movies with their special magnetic Mount Vernon. N.Y. Bill Erwin tracks? Baltimore, Md. For that matter, high fidelity itself met great I have a bone to pick about Sam Sutherland's early resistance—all that piercing treble, and did article, "Do CDs Sound Better?" [March]. Even "The exaggeration of sibilants by the new meth- it have to be so loud? I can hardly wait for the though all his examples clearly are pop music and ad is abominable, and there is often a harshness next advance in sound reproduction, which I con- he says that he's referring to CDs transferred which recalls some of the worst excesses of the fidently expect to be met by a rear guard from analog recordings, the piece is more an past. The recording of massed strings is atrocious denouncing it as unnatural, uncomfortable, and indictment of Compact Discs than a fair assess- from an impressionistic standpoint." A present- clearly unnecessary. ment of the sound of all CDs. classical and day critic decrying the advent of digital record- Charles Britton pop. ing? Not at all. The quotation is from Compton Manhattan Beach, Calif. I am a collector primarily of classical Mackenzie. founder and longtime editor of recordings and bought a CD player a few months Gramophone, denouncing electrical recording in We seem to have touched a nerve. The Compact ago. I began with two discs and rather quickly the mid-Twenties. Disc is a great advance, and we have said so increased that number to about fifty. All but three Many readers of that distinguished maga- quite often. For the first time, it's possible to take are classical, and most are digitally recorded. I zinc fully agreed; they complained that the mel- the sound picked up in a studio or concert hall to am very pleased with the sound and have not low sound they were used to was giving way to your home with absolutely no audible degrada- generally experienced any of the problems that the nervous stridency of the electrical process tion. But if the microphones introduce cobra- are so underscored in Mr. Sutherland's article. In (which Mackenzie thought was peculiarly and lions or are poorly placed, or if the signals from A/ B comparisons with LPs, the CDs have much offensively American). And truth to tell, electri- them are tastelessly compressed and equalized. greater clarity, a smoother sound, and remark- cal recordings did strike many as strident, partly the sound will not be good. And that's why some able stereo imaging (including excellent depth). because the process was suddenly capable of (not all) CDs sound unpleasant—not because And I have top-of-the-line record-playing equip- reproducing high frequencies (up to 10 kHz) that they are digital. but because of carelessness and ment. Frankly, adding a CD player to my system previously had been lost, the perpetuation of production techniques devel- has made a quantum jump in my enjoyment of Twenty years later Mackenzie came out oped to compensate for the shortcomings of ana- recorded music, and it is the first time I have against long-playing records. What was so tern- log records and playback systems. That's the sto- experienced at home anything close to what I've ble about changing records? he asked. Others ty we told in March.—Ed. heard in a concert hall. evidently wondered the same thing, especially in Because CDs are new, not to mention Britain. where EMI clung to 78s long after other Letters should be addressed to The Editor. Haat expensive, I think you should present both sides companies had adopted the slower speeds. FIDELITY. 825 7th Ave., New York, N.Y. 10019. of the issue so that potential buyers will not be Today's somewhat worked-up controversy All letters are subject to editing for brevity and overly swayed to the side of technology critics about digital sound rehashes much the same crit- clarity.

Revox B225 For those who waited.

REVOX INFRARED REMOTE CONTROLLED SYSTEM And those = = = = PENA' RAY NEX , StOP who wish they had.

All Compact Disc players are not created equal. This much, at least, has emerged from all the hype and hoopla. Some CD players are built better than others. Some have more sophisticated programming features. Some combinations of track num- are easier to use. And, yes, some do sound significantly bers and times. Cueing time is always less better than others. than 3 seconds, and a single infrared remote transmitter The new B225, from Revox of Switzerland, excels (optional) operates the 13225 as well as all other com- on all counts. For those who have postponed their pur- ponents in the Revox 200 audio system. chase, patience has been rewarded. For those who Finally, the 6225 is a product of refined Swiss design didn't wait, the 6225 is the logical upgrading route. and meticulous craftsmanship. Behind its faceplate of First, the 6225 is designed for unexcelled CD repro- functional elegance, the B225 is an audio component duction. By using oversampling (176.4 kHz) in conjunc- built in quiet defiance of planned obsolescence. tion with digital filtering, the B225 guarantees optimum Without question, the definitive CD player has just sound resolution and true phase response. arrived. For those who waited (and those who didn't), For your convenience, the 6225 offers programming now is the time to see an authorized Revox dealer. of nearly every conceivable combination of start, stop, and loop functions, in any sequence, and using mixed R EVOX Studer Revox America • 1425 Elm Hill Pike, Nashville, TN 37210 (615) 254-5651

Circle 2 on Reader-Service Card YOU'RE LOOKING AT THE SIX BEST AUTO-REVERSING DECKS YOU OW BUY.

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SUPER GX HEADS — 0•\ CO MPUTER RECORD LEVEL PROCESSIN G SYSTEM -

BI-DIRECTIONAL RECORD/PLAYBACK - TWIN DIRECT-DRIVE CLOSED LOOP AKAI. SONY JVC, PIONEER, TEAC DOUBLE CAPSTAN TRANSPORT- AKAl. NAKAMICHI

Staying ahead of the competition in auto- display, which displays frequency response with reversing cassette decks has been an AKAI greater accuracy. AKAI's exclusive Auto Moni- tradition for the past 14 years. Now we're intro- tor. And our super GX heads. So super, they're ducing the all-new GX-R99, a deck that has guaranteed for 17/12 years of continuous play. so many advanced features you'd have to buy It's easy to see why the GX-R99, just one of six other auto-reversing decks to get them all. four great AKAI auto-reversing decks, is called Features like our Computer !Record Level the Dragon Slayer. And to find out why it's getting Processing System, that sets a tape's bias, more praise than all the equalization and tape sensitivity measures a other guys combined, write tape's MOL, then sets the optimum recording to AKA], PO. Box 6010, Dept. level. A Spectrum Analyzer encompassing MOL H9, Compton, CA 90224. AUDIO/VIDEO Currents

News, new products, and new technologies Edited by Peter Dobbin

fered? Not in the least, says Polygram. It Compact Discs expected an average defect rate of 0.3 percent, but says that only one-third that many Today: Going for flawed discs (one per thousand) actually are leaving the plant. Mass Appeal Curiously, CBS/Sony has been rather mum about the expected completion date of its domestic CD production plant. The Ter- • CD Prices Start to Tumble re Haute, Indiana, facility was scheduled to If you've been holding off buying a Com- go on-line in August, a deadline that has pact Disc player because of the high cost of come and gone. According to an unofficial • More for the Road software, we have good news for you: CD comment by a Sony spokesman, unexpect- manufacturers are slashing their wholesale ed delays in delivery of mastering and Pioneer is following hot on the heels of prices. The Warner-Elektra-Atlantic family pressing equipment have caused the post- Sony in the race to get a car CD player on started the ball rolling by announcing an ponement. the road and claims that its CDX-1 should across-the-board wholesale price of $9.81 be available by January. (Sony's CDX-5, per disc, down from $11.64. Polygram which we review in this issue, will hit the • The Digital Truth responded quickly, lowering its prices to stores after this month.) Unlike Sony, Pio- $10 for pop and jazz recordings and $11 for Though the Compact Disc is a digital medi- neer has adopted a two-chassis format for classical releases on the Deutsche Grammo- um, savvy music lovers have been quick to its player—one enclosure for the transport phon, Philips, and London labels. CBS is realize that not all CDs are created equal. and another for the digital processing cir- down to $10 per disc, which RCA is match- Those discs that have been converted to cuitry. (The second chassis can be stowed ing for its pop titles. (RCA's Red Seal digital from analog recordings can be accu- away under a seat.) The unit's music-access releases are slighly higher at $10.75). And rate copies, but the word "digital" on the features include band stepping, scan, and Denon is marching in step with the majors, CD packaging does not mean that you're repeat (for a single track or a complete dropping its dealer price to $10. getting all the potential benefits of a fully disc). Its fluorescent indicators give read- What will this mean on the retail level? digital product. outs of a disc's total number of tracks, the J&R Music World, a major discount record current track, total disc play time, elapsed chain in New York City, has already low- disc time, and high-temperature warning. ered its price to $12.99 for most pop and Price has not yet been announced. classical titles. According to Allen PeIler, 111111 J&R's record manager, the downward spi- FRANZ SCHUBERI I gr SympirwrieNr.1 C-dorD944 ral has just begun. "As soon as record companies get behind simultaneous release of new recordings on LP and CD, the format will start to generate the kind of numbers that will make it possible for prices to come down even more."

• Gearing Up ® 1984 Pol k While the giant Japanese and West German companies have been busy expanding their 0 413 437- Compact Disc production capacities to keep D hcN t up with growing demand, little Nimbus • Denon to the Test Records in England has been quietly foot- You'll have to hunt a bit to find Polygram's ing the bill for the construction of its own CD code (inset). Given that Denon built its consumer repu- digital mastering and pressing plant. By the tation on a solid history of service to the time you read this, Nimbus should have its To clarify the situation, Polygram has audio professional, we're not surprised that Monmouth factory up and running, with an devised a three-letter code that will appear it should be one of the few companies to expected production capacity of 80,000 on the back of its CD packages and has rec- release a CD test and evaluation disc. discs per month by the end of the year. ommended that other manufacturers adopt Intended for the serious audio hobbyist (and That figure palls, however, in compar- it as well. The first letter of the code tells that means someone who, at the minimum, sion to Polygram's. A recent report pegs its whether the original recording was done owns an oscilloscope), Denon's "Audio Hanover, West Germany, plant at a daily with a digital (D) or analog (A) recorder. Technical CD" is best thought of as a $20 total of 80,000 discs, making it the largest The second D or A denotes the kind of mix- means to convert a Compact Disc player CD manufacturing site in the world. (For ing console used, and the last specifies dig- into a super-high-quality signal generator. the record, Polygram claims to have ital or analog mastering, presumably mean- All the signals on the disc (some 80 separate pressed more than ten million discs to date.) ing the process used to create the two-track bands, consisting of sine waves, frequency With such a huge output, has quality suf- stereo master tape. sweeps, square waves, tone bursts, and

14 HIGH FIDELITY THE ARM GIVES YOU AN ED HELPS PAY FO

If your plans for the future include college, the Army Reserve can fit nicely into your plans. You'll get hands-on training in one of hundreds of potential careers, from communications to electronics to engineering. You'll learn from experienced, first-rate instructors. And you'll hone your skill by working on a Saturday and Sunday each month at a Reserve center near your college. The money you earn (an average of $1,500 a year) will help with some of your college expenses. And besides your regular salary, you could also qualify for an additional $4,000 in student aid and a student loan repayment program. Find out more about the Army Reserve. If you're headed for college, it's a step in the right direction. See your local Army Reserve recruiter today. Or call toll free 1-800-USA-ARMY. ARMY RESERVE. BE ALLYOU CAN BE. eaker Tweak from TDK

winifkin.. — w --

4 V D. High 10-1 1 TIDIC SA-X9( II SUPER AVILYN CASSETTE II Position

4tT DK " SA -X90

HIGH RESOLUTION

Laboratory Standard Cassette Mech. —

MN/ r4.

You bought a high-powered, quality vides optimum performance at all fre- ances from two other TDK Pro Refer- audio system with speakers to match quency ranges. You get crisp, clean ence cassettes: MA-R metal and AD-X for only one purpose. Total perform- highs and rich, solid lows. With pure Avilyn-based normal bias cassettes. ance. To maximize its potential, you sonic pleasure in between. Each is designed to deliver pure need the ultimate high-bias audio SA-X will also handle high signal performance pleasure and long-time cassette. TDK SA-X. levels without distortion or satura- reliability...each backed by our Life- It's one of our Pro Reference cas- tion, thanks to its super-wide dynamic time Warranty. settes designed to deliver unmatched range and higher MOL. So maximize the performance of performance. And we make sure SA-X keeps on your equipment. Pick up TDK Pro Surpassing all other conventional tweaking without squeaking (as some Reference audio cassettes today. cassettes in its class, SA-X delivers a other cassettes do). Our specially-engi- We've never met a speaker we couldn't level of sound quality, clarity and fidel- neered Laboratory Standard Mecha- tweak! ity that you have never obtained be- nism provides a smoother tape fore. Unless, of course, you're already transport to assure total reliability using it. and trouble-free performance. SA-X's exclusive dual coating of It should also come as no surprise Super Avilyn magnetic particles pro- that you'll get incredible perform- THE MACHINE FOR YOUR MACHINE.

1984 TDK Electromcs Corp much more) were created with a laboratory- grade digital signal processor. Handmade, B.E.S. The only speakers so to speak, are the musical excerpts, which enable those of you limited to subjective test instruments (i.e., ears) to get some use from the disc as well. in the world that bring And while we're on the topic of this estimable Japanese manufacturer, we should tell you to expect several new Denon you music in the round. components on your dealer's shelves this fall. Two cassette decks (the DR-M22 and DR-M11, $420 and $320, respectively) use the company's proprietary Silent Mecha- B. E.S. speakers don't care where you sit. And nism, which not only is quieter than con- unlike conventional speakers, they give you great ventional solenoid designs, but is said to flexibility in placing them. Their ensure consistent tape speed. Both of these computer-designed planar dia- two-head decks are equipped with bias fine- phragms radiate sound in a near- tuning controls and use VCR-grade five- perfect spherical pattern, to every pole DC reel-drive motors for precise tape part of the room. travel and reduced cogging. Meanwhile, That special talent means a life- Denon has added two integrated amplifiers like three-dimensional stereo to its high-end PMA series of audio elec- image wherever you sit. Even the tronics. The 80-watt PMA-757 ($450) and most expensive conventional the 100-watt PMA-777 ($625) employ the cone-and-box speakers can't company's non-negative-feedback circuitry accomplish that. and are said to have slew rates of 200 and Music in the round. A special 250 volts per microsecond, respectively. gift from B. E.S. The dynamic headroom spec given for both amps is 3 dB, or twice the continuous rated output when the music demands it. B.E.S. Two more turntables also join the company's lineup this fall: The DP-61F Music in the round: SM 300 ($500) and DP-37F ($325) are equipped with warp-fighting servo-controlled tone- c 1984 by B.E.S.. 345 Fischer Street, Costa Mesa, Ca. 92626 • (714) 549-3833 arms and use Denon's magnetic-head Circle 27 on Reader-Service Card speed-control system for a claimed rota tional accuracy ten times greater than that possible with typical servo systems. And The scars finally, three new receivers make their debut: the 70-wan DRA-750 ($550), 50- watt DRA-550 ($420), and 33-watt DRA- of an abused 350 ($320). Each is said to have a heavy- OUP duty power supply and liquid-cooled heat sinks, and the 750 is equipped with child can stay Denon's Super Searcher tuning system —a continuously variable filter that enables you to get quieter reception by suppressing with us all strong adjacent channels. For more information, write to Denon America, Inc. (27 Law Dr., Fairfield, N.J. 07006). his life.

A"Lead Balloon" No, we're not disparaging what may well be a very effective feedback-deadening Many teenage drug addicts and how to do it. But we need your help. We turntable stand. Arcici, Inc., the manufac- teenage prostitutes report being abused need money. We need volunteers. Send turer of the 33-inch-high stand, has named children. So do juvenile delinquents. us your check today, or write for our it the Lead Balloon after the 25 pounds of And because we all pay to respond to booklet. lead bars that are used in making the delta- those problems, we are all victims of And, remember, if we don't all start shaped tower. The stand accepts any three- child abuse. somewhere, we won't get anywhere. or four-footed turntable whose feet fall Yet child abuse can be prevented. within a 14-by-20-inch area. Adjustable The National Committee for bolts enable you to level the stand, and a Prevention of Child Abuse is a private, National Committee for spirit level is included to help you calibrate charitable organization that knows Prevention of Child Abuse the procedure. For more information about the $195 Lead Balloon, write to Arcici, Inc. (173 Wilson Rd., Columbus, Ohio Help us get to the heart of the problem. 43204). Write: Prevent Child Abuse, Box 2866, Chicago, Illinois 60690

4 Circle 12 on Reader-Service Card 17 A Public Service Message of This Magazine & The Advertising Councilr.,,71111 MOST PEOPLE WOULD CALL IT OVERKILL.

The new ULTRX - R100 receiver of :wise in CD digital recordings. isn't for everybody. With the dbx, any cassette deck You don't really need 100 watts can make virtually noise-free re- per enannel* of virtually distortion- cordings, while the DNR "cleans less power. Unless you like listen- up" existing noisy signals. irg to today's ultra-high quality Unless you're a nut about video recordings at "live concert" sound sound quality, too, you won't have levels. much use for the TV/VCR inputs And a remote-controlled digital and stereo synthesizer circuit. ttner with 20-station memory is The R100 is packed with features probably more than enough —un- thit are best appreciated by an less you're a dedicated FM listener audio perfectionist. It may be the with wide-ranging tastes. best-equipped receiver ever built. Likewise, most people could get Get an ULTRX dealer to put an along without the built-in dbx and R100 (or one of our other new re- DNR noise reduction systems. ceivers) through its paces for you. Except those few who've become Some people might call it over- spoiled by the almost eerie absence kill. But you'll call it overwhelming.

a Ut ne X /41M/FIN OKSITAA. S•N11-110ERZEN UThHEO .11E.CICIVLI4

erpact ..41 -4 - 4 4 -4 • ..... III • - • •er_r"":'. M O M 10 2.5 O.. U.K. CO ...cx ".7„.

7111111r1 COM E SOUR. TA, - 1111111 1111111111M 111111111111011111111

Pl/Wt • .A "•• mt.(

e 0 1111

Beyond the Ordinary.

*Minimum Continuous Average Power per channel, both channels driven into 8 ohms, horn 3/-20,000Hz, with no more than 0.009% Total Hanronic Distortion. dbx is trademark of dbx, Inc. V 1984 ULTRX 1200 W. Artesia Blvd., Zompton, CA 90220 AUDIONIDEO Basically Speaking

Audio and video concepts and terms explained by Michael Riggs

the degree of loss. Thus, the interchannel the inventor of the Compact Disc decided Two Chips— delay will manifest itself as a slight, but that it would be wiser to go with a I 4-bit perhaps audible, high-frequency rolloff. chip than to attempt a 16-bit IC capable of Better This may be important to you if you're a audio-grade performance. But the Compact purist who wants to hear early Beatles Disc is a I6-bit system: A 14-bit converter Than One? records as they were meant to be heard or if operated in the conventional way would you own a radio station, but otherwise, it's sacrifice 12 dB of dynamic range. AT THE LAST Consumer Electronics Show, I hard to see why you should care. Philips's solution was to use a tech- heard a dealer ask a manufacturer's repre- Nonetheless, I admit that my own nique known as oversampling, in which sentative whether his company's Compact sense of design propriety is offended by this each real sample is averaged with several Disc player used one D/A (digital to ana- kind of untidiness, so all else being equal null samples—in this case, three. The play- log) converter or two. This followed by a (which it seldom is), I would be inclined to back sampling rate thus becomes four times few weeks a phone call to me from a rep- choose a model with its channels in step the 44.1 kHz used in recording, or 176.4 resentative of another manufacturer who over one that simply lets the stagger go by. kHz. Because the noise is distributed over insisted that the listening impressions (For the record, the player that I actually the entire bandwidth defined by the sam- reported in a HIGH FIDELITY article were use is in the latter category.) But this does pling rate, much more of it is in the ultra- faulty because the CD player involved con- not require dual converters. sonic range than it would be with a straight tained only one converter and was therefore 44.1-kHz, 16-bit system. This, together incapable of stereo reproduction. I pointed with another trick called noise shaping, out that the channel separation of the unit in restores the 12 dB of signal-to-noise (S/N) question measured greater than 60 dB Some claim that CD ratio given up by a 14-bit converter. across the audio band, but the argument The trouble here is speed: 176.4 kHz is didn't seem to cut much ice with him. players with only very fast, and if just one chip were used for The point is that at least some people both channels, it would have to run at a think the chip count is a serious issue; play- one converter have fearsome rate of 352.8 kHz. The only way ers are being sold and unsold on this basis. audible phase shift. to make the system work was to use two One of the reasons given is that single-con- converters. In fact, this is merely incidental verter players suffer from severe interchan- to what some audiophiles see as the big nel phase shift at high frequencies because advantage of the Philips approach, which is of an I I .3-microsecond timing difference. To see why, let's look at the four basic low phase shift—not just between chan- The alleged result is, if not mono, at least ways the system can work. The most nels, but also within each one. significantly degraded stereo imaging. straightforward, and most common, feeds Most players use steep "brick wall" It is true that most CD players using a the binary codes for the digitally encoded low-pass filters to remove the 44.1-kHz single D/A converter delay one channel rel- samples through a single converter in the switching component from the audio out- ative to the other by a very small amount. order they come off the disc. The analog put. These filters introduce relatively large This delay arises from the Compact Disc's output of the converter is switched at 88.2 amounts of high-frequency phase shift. In sequential recording format, in which the kHz to send the appropriate signals to each other words, if you were to pass a signal signals for the two channels are sampled channel-11.3 microseconds out of step. through the filter, higher frequencies would alternately, rather than simultaneously. So The usual alternative is found in play- emerge slightly later than lower ones, even one channel is always slightly ahead of the ers employing the Philips chip set, which though they went into the filter at the same other. Each is sampled at 44.1 kHz, which provides two D/A converters. It switches time. Because the Philips method uses a means that the combined data stream comes the samples before conversion, so that those much higher sampling rate, the analog out- off the disc at a rate of 88,200 samples per for the right channel go to one converter, put-smoothing filter can be made to cut in at second. Thus, the offset between channels those for the left channel to the other. A a higher frequency and with a gentler slope, is equal to one second divided by 88,200, or hold circuit in the leading channel delays thereby minimizing phase shift within the 11.3 millionths of a second. the samples going into its converter by the audio band. Noise between 20 kHz and the At first blush, this might seem like a requisite 11.3 microseconds, so that every- 176.4-kHz playback sampling frequency is terrible thing, but it's really not. You can thing is in sync at the outputs. removed by means of digital filtration, compensate for the delay by moving the However, some players with dual con- which introduces no phase shift. Again, this speaker for the lagging channel forward less verters do not incorporate such a latching has nothing to do with the number of con- than a quarter of an inch (assuming that you circuit and therefore perpetuate the discrep- verters used: The same thing could be have your speakers set up with such preci- ancy. And there are players with only a sin- accomplished with a single chip if it could sion to begin with). As you might expect, gle converter that use an analog delay line be run fast enough. the difference is completely inaudible. in one channel, after the switching circuit, But does it matter? Can you hear the The delay matters only if you switch to eliminate it. In other words, counting the difference? I'll pick up that topic next your preamp to mono—or receive an FM chips really tells you nothing at all—at least month in a more general discussion of broadcast of a CD in mono. In that case, the in this respect. phase shift. Until then, suffice to say that phase difference between channels will The other main argument for dual-con- although I admire the technological ele- cause some cancellation, and because the verter designs is tied up with the Philips gance of the Philips approach, the player I phase shift increases with frequency (as approach to getting from a string of num- use at home is of the other persuasion— must occur with a constant delay), so will bers back to an audio waveform. Early on, which is not the reason I chose it. HF

23 AUDIO New Equipment Reports

Preparation supervised by Michael Riggs, Peter Dobbin, Robert Long, and Edward I. Foster. Laboratory data (unless otherwise noted) supplied by Dive -sified Science Laboratories.

IT SEEMS OBLIGATORY these days for any the operating mode of the player or the Kenwood Meets full-line component manufacturer worthy time—total elapsed. total remaining on the of the name to include at least one Compact disc, or elapsed within the current band. Compact Disc Disc player among its wares From such depending on the mode to which you've considerations is me-tooism born. But the stepped it with the TIME button. The time Kenwood DP-1100B Compact Disc player, with Kenwood DP-1100B, though not unique in options work only in manual playback. not wireless remote control. Dimensions: 17 14 by 314 inches (front), 11 /34 inches deep plus clearance for any important respect. is hardly run-of-the- for programmed play. The latter can be set connections. Price: $900. Warranty: "limited," two mill. For example, it counts among its fea- up (for a sequence of as many as 16 selec- years pads and labor. Manufacturer: Trio-Kenwood Corp., Japan: U.S. distributor: Kenwood Electronics, tures that precious rarity, the ability to seek tions) either by stepping to the desired band 1315 E. Watsoncenter Rd., Carson, Calif. 90745. out passages or movements by index num- numbers with the SEEK controls or by enter- ber—if you are lucky enough to own CDs All data obtained using the Sony YEDS-7. Technics SH- ing band (and index) numbers directly on CD001. Philips 410 055-2. and Philips 410 056-2 test that have been indexed. the keypad beneath the drawer. discs The disc drawer has finger openings at In addition to SEEK — which steps FREQUENCY RESPONSE both sides so that you can easily insert or backward or forward to the beginnings of DB remove a CD by grasping it at opposite bands, depending on which of the buttons 0 edges with the fingers of one hand—the you push and how many times you do so-- 5 DP we preferred way, in our view. The display there are scanning controls comparable to HZ 20 50 100 200 500 1K 2K 5K 10K 20K panel shows the band and index number to the CUE and REVIE W on some cassette -/14 dB, 20 Hz to 20 kHz — L ch which the laser pickup is cued (or to which decks. They move the pickup across the R ch -< 1/4 dB, 20 Hz to 20 kHz the random-access system is set) and either disc at approximately ten times normal

24 The Only Amplifiers and Receivers with Wide Dynamic Range And Low Impedance Drive Capability.

The Onkyo Delta Power Supply

t)N K V O t 'I* •••••44 Mie.•114

NEON NONE 11 1

YIP•16,11% —

TR b

In order to properly reproduce Onlo,to's patented Delta Power into 8, 4, and 2 ohms, further evidence the dynartic range of today's music, Supply is the only answer to all of these of the outstanding power capabilities of your ampl her must be capable of critical requirements. First, our oversize the Delta Power Supply. similar dynamic range. For example, the power transformers provide addit onal Because the Delta Power Supply Compact Disc has a dynamic range of power for substantial headroom. The effectively satisfies these critical power over 90 dt, and this can place severe ultra quiet background essential for supply requirements, true high fidelity is demands on your amplifier. By the same noise-free reproduction is provided by possible with any source material, and token, the impedance of your speaker tre Delta circuitry, and substantial Low choice of loudspeaker. As the name system is constantly changing from one Inpedance Drive Capability means that Integra suggests, Onkyo components moment to the next (as the dynamics of 0-ikyo amplifiers will comfortably handle equipped with the Delta Power Supply the music change), so your amplifier law impedance speaker loads. In -act, give the listener a sound as close as must also be capable of driving a wide our latest series of amplifiers and possible to the original, with all of the impedance range. receivers are IHF Dynamic Power rated integrity of the live performance retained.

Shown is our new Integra TX-85 receiver In addition to incorporating the Delta Power Supply, the TX-85 features dbx Type I. Noise Reduction (EncodeiDecole), O N KIL70 APR Automatt Precision Reception, Dynamic Bass Expansion, Computer Controled Artistry in Sound Logic Input Selection. 200 Williams Drive, Ramsey, NJ 07446 dbx is a regiFtered trademark of dbx Inc (201) 825-7950 AUDIO New Equip ment Reports

DRA WER OPEN/CLOSE

AC POWER PLAY

HEADPHONE

HEADPHONE LEVEL ADJUST STOP KEYPAD PAUSE SEEK (FOR WARD. BACK) MEMORY FAST CUE (FORWARD, BACK) MEMORY REAt REPEAT CLEAR AE DISPLAY

DE-EMPHASIS ERROR playing speed, sampling tiny snippets of trial at 500 micrometers. In fact, it didn't left channel • V4 dB, 1 to 16 kHz rigM channel +0, -/14 dB, 1 to 16 kHz music to help you find the passage you're skip until the ends of these test bands, sug- looking for. And there are the usual buttons gesting that it might track similar, isolated CHANNEL SEPARATION (at 1 kHz) 98 dB for repeating a whole disc, or a pro- flaws without problems. The mechanism is CHANNEL BALANCE (at 1 kHz) I-0 dB grammed part of it, and for clearing mistak- just about impervious to external shock and en program entries or the entire sequence. vibration. &NJ RATIO (re 0 dB; A-weighted) without de-emphasis 96/14 dB When you program consecutive bands The only practical cause for complaint with de-emphasis 101 dB (or indexed passages), the pickup travels is the headphone output. It's provided with

HARMONIC DISTORTION (THD+N; 40 Hz to 20 kHz) from one to the next without even the sub- an output level control, which is very nice if at 0 dB <0.01% tlest faltering. This means that you can tell you want to use the player plus a fine head- at -24 dB 5- 0.046% the player to extract one concerto from sev- set as a complete music system. But the lab IN DISTORTION (70-Hz difference frequency; eral on the same disc, all of whose move- found that the control can't be advanced all 300 Hz to 20 kHz) ments are banded, and play it back alone as the way without inducing clipping at full 0 to -30 dB <0.01% a continuous thread of sound. Few players recorded level. With an open circuit (no LINEARITY (at 1 kHz) will do this without audible breaks between headphone connected), the output clips at 0 to -60 dB no measurable error at -70 dB + 1A2 dB bands. Of course, if you program the deck just less than 7.5 volts; with a 50-ohm load, at -80 dB +1 1/4 dB to skip forward or back within the disc overload occurs at just under 1 volt. The at -90 d63 r 5 dB sequence, there is a brief pause in the output higher the impedance of your headset (and TRACKING .5 ERROR CORRECTION and you can hear the pickup as it recues—a therefore the less current it draws for a giv- maximum signal-layer gap 600 t..m - procedure that some players seem to require en output voltage), the higher the clipping maximum surface obstruction 300 um' simulated-fingerprint test pass even when the programmed bands are con- point will be. And if, like us, you seldom or tiguous. never use headphones for CD listening, the MAXIMUM OUTPUT LEVEL line output 1 92 volts The DP-1100B did very well in Diver- matter is inconsequential. headphone output see text sified Science Laboratories' bench tests. We like the control scheme of the Ken- 14 OUTPUT IMPEDANCE Frequency response is up about / dB over wood even without its supplied infrared line output 555 ohms the top two octaves (a hair less in the right remote control. The latter (which requires headphone output 235 ohms channel than in the left) and down less than two AAA cells) duplicates all of the front- SQUARE-WAVE half that much at 20 Hz—minuscule dis- panel controls, including a SCAN to check RESPONSE (1 kHz crepancies compared to those found in pho- the opening ten seconds of each selection, no cartridges, cassette decks, and other and can be turned off to prevent inadvertent conventional program sources. The same interruption of your listening. The remote is might be said of what little distortion or also exceptionally small and light, making nonlinearity could be measured at all. The it particularly handy in every sense. Thanks tracking and error-correction figures aren't in part to it, the Kenwood can find and play up to the best, but actual behavior is a bit whatever you want from your CDs with better than the data imply. We show the more dispatch and precision than most play- player as failing the information-gap test at ers and with a sonic beauty that is the medi- 'See text 700 micrometers (p.m) and the surface-dot um's hallmark.

BY NOW, IT WOULD COME as a shock if an both are low, resulting in increased hiss NAD's "Dynamic NAD product were less than a good value, with little musical energy to mask it, the not among the technological leaders in its high-blend introduces 3 dB of quieting by Blend" Tuner particular niche, or cluttered or glitzy in its recombining channels in the high treble and control layout. So the Model 4125 tuner thus canceling the most audible portion of

HAD Model 4125 AM FM tuner. Dimensions: 16 ,3 by isn't even a surprise: It qualifies as a typical the noise. We have encountered automatic- 3/14 Inches (front panel), 9I/2 inches deep plus NAD on all counts. blend features before, but never one quite clearance for connections. Price: $245. Warranty: "limited," three years parts and labor. Manufacturer: The 41 25's technological credentials this sophisticated. made In Japan for NAD (USA), Inc., 675 Canton St., rest on what is probably its most intriguing Tuning proceeds by full-channel steps Norwood, Mass. 02062. feature: a dynamic high-blend that responds (10 kHz, for tuners sold in this country) on to the strength of both the broadcast (the AM, quarter-channel steps (50 kHz) on RF, or radio frequency, signal strength) and FM. On the latter band, there is a SEEK, its content (the modulation level). When engaged by a separate button, that will find

26 Circle 18 on Reader Service Card Luxman brings music home to Burt Bacharach and Carole Bayer Sager

The living roc m of Burt Bachgrach and Ccudie Bayer Sager - with the Lu xmar T-240. K-240 and L-430 ligh Fidelity *AO..

For those whose lives are music, there is Luxman. Uncompromising Luxman. Precise, elegant Luxman. The Luxman of legendary innovation and handcrafted quality; of sound pure, rich aid real. If you value such music. Luxman belongs in your life. For the dealer nearest you, call 1-800-257-4631. HGH FIDELITY SYSTEMS

Luxman/Division of Alpine Electronics of America. 19445 Gramercy Pl., Torrance. CA90501 A R T I T R

H I G H F I D E L I T Y

In a true masterpiece, subtle details combine with unique cesign to become the ideal. Harman Kardon has achieved this ideal with the introduction of the technologically advanced T65C Turntable.

An example of disc reproduction excellence, the T65C incorporates a sophisticated 3-point suspension system, counter-balanced to center the moving mass at the platter spindle. This keeps the platter, tonearm, and belt drive system isolated from vibration. The T65C's AC sine-wave driven motor is crafted to turn with pure harmonic motion, a dramatic improvement over conventional turntables that use a series of DC pulses, resulting in high frequency deviations in

"Alfr platter rotation. The T65C's tonearm exemplifies Harman Kardon's technological know-how. A straight, tapered tube to suppress natural res- onances, it features a weight and wire anti-skating mechanism for additional precision. Its high mass pivot assembly acts as a high frequency vibration filter, and a later - , al balancer on the tonearm cornsa pteens-

for

unlevel surfaces. A carbon fiber headshell provides low resonance and vibration damping. The T65C's massive 3.3 pound platter, disc stabi- lizer, capacitance trim and optically-sensed auto-lift further illustrate Harman Kardon's commitment to the art of high fidelity. A commitment that is reflected in all Harman Kardon prcducts.

Harman Kardon ... Dedicated to mastering the fine art of high fidelity.

SPECIFICATIONS: Wow 8 Flutter (WRMS) 0325%. Rumble t DIN-B WTD) 70dB Pitch Adjustable F.ange 3.0 Effective Tonearm Mass 9 5 Grams Stylus Over- hang 18mm 1] Offset Angle 25 5%. , EffectNe Tomearm

Length 216mm.L , Tracking Error . ±2°. rj Phone Capaci- tance 70/170/270 r; Tracking Force: 0-3 Grams

CIRCLE 38 ON READER-SERVICE CARD

harman/kardon inammatina AmmmalM11 240 Crossways Park West, Woodbury, NY 11797, In Canada, Gould Marketing, Montreal. For more information call toll-free 1- (800) 633-2252 ext 250 C HK 191 AUDIO New Equipment Reports

STATION PRESETS

All data taken with the Dynamic Separation feature turned the next receivable station above or below straightforward. The manual says a three- off, unless otherwise noted (See feat.) the frequency you're tuned to, depending foot length of wire is supplied for the pur- STEREO RESPONSE 8 CHANNEL SEPARATION on whether you push the up or down tuning pose. Our test sample came with a ten-foot DB button. Though many stations sneak by the I2s length, which delivered only fair reception. 0 skirts of the IF (intermediate frequency) fil- We judged a three-foot length to be even —5 ter and thus can be received several notches —10 less effective, and the usual loop antenna 15 on either side of their true center frequen- (we tried two models) proved entirely 20 cies, the SEEK never mistunes them, and the unsatisfactory. So plan on having a length — 25 decimal point in the frequency readout of wire hanging down in the back of your 30 —35 flashes whenever you do so manually. The equipment or strung up along the wall -40 manual tuning offers the usual one-step- molding. In any event, the AM section per-

HZ 20 -54) 100 200 500 1K 2K 5K 10K 20K per-tap option or a "fast wind" when you forms no better than the standard utility- hold the button in. The small FM step size grade designs built into most receivers. Frequency response L ch -1 1/4 dB. 20 Hz to 15 kHz makes the process a little more wearisome The FM section is a different story. at R ch • 0. 1/12 dB. 20 Hz to 15 kHz than average, but not seriously so. least partly because of the automatic blend. Channel separation -45 dB. 200 Hz to 3.5 kHz; Aside from station frequency, there 38 dB. 20 Hz to 15 kHz When you defeat it. you can hear a hard are only two indicators in the readout panel: edge return to the noise under difficult sig- FM SENSITIVITY 8 QUIETING a green power pilot and a red one to signal nal conditions. We happened on one pro- stereo reception. There are no aids of any gram—a male chorus—in which a slight kind for antenna orientation except the pumping of the high-frequency hiss was blinking decimal point, which also re- audible in response to the music's dynam- sponds to multipath severe enough to make ics. This required just the right combination the circuitry "think" it's detuned. (The of signal strength and varying loudness. purpose of this feature evidently is to assist plus a lack of high treble in the music to tuning with the more confusing frequency mask the pumping. It occurred only once, assignments used in Europe; in this coun- and we might have listened for months try. you simply look for an odd multiple of without encountering that particular set of ten to the right of the decimal point.) Five circumstances again. DBF 0 10 20 30 40 50 60 80 90 100 stations from each band can be memorized On strong signals (and also on fairly stereo quie Prig (noise for pushbutton selection. weak ones in the mono mode) the sound of mono quieting (noise) The remaining front-panel buttons the tuner impresses us as particularly clean — • — stereo quieting with Dynamic Separation Stereo sensitivity (for 50-dB noise suppression) choose the band and the FM reception and quiet. Stereo sensitivity without the 36 1/2 dBf at 98 MHz. with 0.36% THD • N modes (automatic blend, stereo/mono, and blend feature is very good, but not excep- (38 dBf at 90 MHz. 37/12 dBf at 106 MHz): with Dynamic Separation. 33 /12 dBf at 98 MHz muting) and switch on the power. There is tional, so the extra 3 dB of noise suppres- Mono sensitivity (for 50-dB noise suppression) no muting of weak AM stations—just the sion that the blend can afford is a welcome. 13 dBf at 98 MHz Muting threshold 25 dBf usual progressive fading as they fall below if modest, improvement when signal Stereo threshold 233,4 dBf reach of the AGC (automatic gain con- strength approaches the borderline region. Stereo S N ratio (at 65 dBf) 71 /12 dB trol)—and no AM SEEK. Subjectively, the tuner seems a little more Mono S N ratio (at 65 dBf) 80I/4 dB The back panel has a pair of pin-jack sensitive to impulse interference (automo- CAPTURE RATIO 1 dB outputs and a row of four screw terminals: tive ignition noise, for instance) on moder-

SELECTIVITY for AM antenna, ground, and the two sides ately weak signals than the excellent AM- alternate-channel 62 /12 dB of a 300-ohm FM twinlead antenna. In suppression figure suggests. adjacent-channel 53,4 dB addition, there's a coaxial F connector for Channel separation is superb at "full" HARMONIC DISTORTION (THD • N) 75-ohm lead-in—a touch we appreciate. signal strength (65 dBf or more), as indi- stereo mono The owner's manual, for all its brevity, pro- cated by the graph in our data column. at 100 Hz 0.150% 0.145% at 1 kHz 0.043% 0.052% vides an excellent discussion of FM anten- When Diversified Science Laboratories at 6 kHz 0.110% 0.060% nas and even waxes so brash as to suggest checked at moderate signal strength (40

STEREO PILOT INTERMODULATION 0.10% that the supplied "floppy" dipole antenna dBf) to examine the behavior of the auto- be used only as a stopgap unless you're matic blend, it found that separation with IM DISTORTION (mono) 0.027% blessed with wondrous natural reception— the blend off had dropped to a little more AM SUPPRESSION 63 dB a sensible but rarely expressed attitude that than 30 dB (still excellent, and more than other manufacturers would do well to culti- adequate for good stereo imaging). With vate. the automatic blend on, separation ap- The matter of the AM antenna is less peared to decrease by about 5 dB per octave

Circle 38 on Reader Service Card 29 AUDIO New Equipment Reports

PILOT (19 kHz) SUPPRESSION 74 /12 dB above 150 Hz. On music, however, we "give," so that small variations in signal never had any sense of the stereo image col- strength (or, more usually, signal strength SUBCARRIER (38 kHz) SUPPR. 85414 dB lapsing and expanding or of any impairment plus multipath) don't cause undue "flicker- OUTPUT (from 100% modulation) 0.52 volt of instrument localization. Frequency re- ing" of the sound as the threshold is crossed OUTPUT IMPEDANCE 1,000 ohms sponse is superbly flat throughout the and recrossed. At the same time, we must midrange and even in the very deep bass, say that this tuner is not really a DXer's with only a tiny rolloff just below the top delight; it will be most at home where signal end of the passband, at 15 kHz. strength is moderate or better. But since All of the lab data suggest perfor- Americans who live in city and suburban mance that is at least good, and in most surroundings far outnumber those dedicat- respects it is excellent. One is left with the ed to the rural life, the 4125 might be impression of a very clean design. Particu- thought of as a tuner for Almost Every- larly welcome is the discovery that the mut- man—especially when you consider its ing and stereo thresholds have some bargain-basement price.

VOLUME

SPEAKERS A/B/A+B/OFF dfl AJ AIVA11101 PHONO ALk-C9OX SENSITIVITY & LOADING

AC POWER RECORDING SOURCE SELECT.

BASS SELECTOR (PHONO/TUNER/ BASS TURNOVER (150 300 HZ) AUX/TAPE 1/TAPE 2) BALANCE TONE CONTROLS IN/OUT MUTING (0/-20 DB) INFRASONIC FILTER ON/OFF LOUDNESS (ON/OFF)

TEXTBOOKS WILL TELL YOU that what drives stage. Sansui's a loudspeaker is a difference in electrical The significance of such thoroughgo- potential (or voltage) between the amplifier ing reciprocity, according to Sansui, is out- X-Balanced terminals to which it is connected. The standing immunity to external influences— greater the difference, the greater the cur- magnetic induction, for instance—because Integrated rent that flows through the load presented whatever affects one side of the circuit in by the speaker. In most amplifiers, one ter- one way will create an opposite and there- minal of each channel—the "hot" one, fore canceling result in the other side. But, Sansui AU-G9OX integrated amplifier. Dimensions: like all bridged amplifiers, the AU-G9OX 18 /12 by 6 inches (front panel), 15 inches deep plus normally red—varies in potential with clearance for controls and connections. AC respect to chassis ground, to which the oth- must be treated somewhat specially. The convenience outlets: one switched (100 watts max.). er terminal is connected. The circuit is thus lack of a common ground prevents use of two unswitched (250 watts max. total). Price: 5800. Warranty: "limited," two years parts and labor. called unbalanced, as is any in which the some speaker-switching devices, for in- Manufacturer: Sansui Electric Co., Ltd.. Japan; U.S. two sides aren't reciprocal. stance, so you must use the options (for two distributor: Sansui Electronics Corp.. 1250 Valley Brook Ave., Lyndhurst, N.J. 07071. Sansui has designed its X-Balanced speaker pairs) built into the amplifier. The amplifiers from the premise that reciprocal speaker terminals aren't marked "hot" and RATED POWER 21 dBW 1130 watts) channel circuit elements are inherently more linear "ground," incidentally, but "hot" and OUTPUT Al CLIPPING (at 1 kHz; both channels driven) than nonreciprocal ones. The output is "cold." This may cause a smirk at first 8-ohm load 22 1,4 dBW (170 watts) channel bridged—meaning that in each channel it glance (and isn't an entirely apt description 4-ohm load 22 1,2 dBW (180 watts) channel' functions as two amplifers "pumping" in of the terminals' functions), but it helps to DYNAMIC POWER opposite directions. As one half, attached to dramatize the unusual nature of the 8-ohm load 23 /12 dBW 4-ohm load 233,4 dBW' one of the output terminals, develops a pos- design. 2-ohm load 241,4 dBW' itive voltage, the other develops a negative The AU-G9OX is one of the two top

DYNAMIC HEADROOM (re rated power. 8-ohm load) one. In fact, the entire circuit is kept "float- models among the five X-Balanced inte- # 2/12 dB ing," because a conventional ground plays grated amps that Sansui announced this no part in it and therefore has no opportu- year, and with a power rating of 130 watts HARMONIC DISTORTION (THD; 20 Hz to 20 kHz) at 21 dBW (130 watts) 0.04% nity to act as a conduit by which an electri- per side, it's an intimidating beast. Besides at 0 dBW (1 watt) 0.01% cal event in one portion of the amplifier can an unusual number of features, it boasts perturb response in another. Even the pow- high-gloss wood-grain end pieces that make er supply is balanced, and symmetrical a striking and handsome appearance.

'With speaker-matching switch at its low-impedance feedback loops around the amplifier reach There are separate monitor (labeled setting See text opposite sides of the differential input "input") and recording selectors, with pro-

30 Circle 37 on Reader-Service Card W" qt.!

-1111111

H z SM. /11.JM A

SA Sao nbo IN

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_ Introclucing The result of an uncompromising de\ )ti( n to absolute performance.

Absolute performance is the strongest sig- to achieve zero- not just an attitude that can be nal in multipath azimuth in both created overnight. Audia WLS conditions to vir- directions so you born out of 40 years of Clarion's tually eliminate won't sacrifice expertise and success. annoying "picket high end frequen- Audia is an entirely new and fencing" noise. cy response. unique line of high end, no com- Typically, automobile interiors Extend \Our Limits promise speakers, create an undesir- (4 Perfection. amplifiers, equal- able harmonic izers, receivers /JUDE. response in the The entire Audia line repre- and tuners, that low frequency sents total flexibility. It will mcet the needs ranges. The 180 Hz. easily interflice with other com- of even the most Acoustic Com- ponents, allowing you to up- critical car audio pensation Control grade at any time and to create purists. returns the bass to the most esoteric sound system. l'erk..‘cting I )erh wmalice its original deep, clean sound, Audia. A state of the art in the ,\LItomotive while it allows the amplifier to accomplishment that results run cooler. from a philosophy of absolute The Auto Reverse Deck performance. The FM Diversity'Rifling with Dual-Direction Automatic System, a feature pioneered by Azimuth Adjustment is more Clarion, constantly monitom than just a convenience feature. two FM front ends, picking out It precisely adjusts the tapthead

O CIalenli 4 ill Bill 4:III 4,4 AMC! is, 1, 4N4 Rso ws NO M AVt•litic, I 4 A The \ rt of Sound in \lotion. 4 out of 5 Sony car stereo owners would go down the same road again. It seems there is one road that most Sony owners would gladly travel again. The road to a Sony car stereo. In a recent survey, an overwhelming majority of Sony car stereo owners contacted gave Sony the ultimate testimonial. They said they would be more than willing to buy a Sony again*. As one Sony owner, Ronald Dokken of Minneapolis, Minnesota, vol- unteered, "When there's a car stereo that sounds as good and works as well as a - Sony, why would you want another one?" In fact, most Sony car stereo owners when asked went so far as to say that they would keep their car stereos longer than they'd keep their cars. Or, in the words of Valerie Roussel of New Orleans, Louisiana: "My car was in the shop for a few weeks. I missed my car stereo a lot more than my car!' And Mark Share of Tempe, Arizona, added, "I have two cars and two kinds of car stereos. I find myself driving the car with the better sounding one—the Sony" Which is not at all surprising, considering the fact that Sony car stereos are not just engineered to perform reliably. They are also engineered to deliver brilliant high-fidelity stereo sound. Because they take advantage of the same experience and innovative technology that goes into Sony's home stereos. So if you're in the market for a car sterec, it makes sense to go down the same road that 4 out of 5 Sony owners would travel. S O N-Y. Buy the Sony THE ONE AND ONLY. AUDIO New Equipment Reports

FREQUENCY RESPONSE visions for two tape decks and dubbing in The BASS delivers a maximum of about + 44, -0 dB, - 10 Hz to 28.9 kHz; either direction. One of the inputs is titled 12 dB of boost or cut in the frequency +3V4, -3 dB, 10 Hz to 590 kHz CD/aux; a less commonplace sign of the ranges where it has the greatest effect; if the RIAA EQUALIZATION times is the subtitle of the Tape 2 connec- measurements were to be tracked to above fixed-coil or high-level moving-coil phono tions—PCM. Sansui obviously is thinking 1-1/4 dB, 20 Hz to 20 kHz; 20 kHz, the same probably could be said of -1V4 dB at 5 Hz of processors such as its own PC-X1 (test the TREBLE. Maximu m BASS rotation high trans MC phono t 1/4 dB, 20 Hz to 20 kHz; report, February) that can turn a VCR into a -5V4 dB at 5 Hz produces about 5 dB of boost or cut at the low trans. MC phono • 1/4, -34 dB, 20 Hz to 20 kHz; digital tape deck. Curious in the face of marked turnover frequency: 130 or 300 Hz. -6 dB at 5 Hz Sansui's entry into video equipment is the The TREBLE is switchable between 3 and 6 SENSITIVITY 8 NOISE (re 0 dBW; A-weighting) absence of any specific provision for stereo kHz and delivers about 3 dB of boost or cut sensitivity S N ratio sound from video sources, particularly con- at these frequencies with maximum rota- aux input 13 mV 77 dB sidering the range of features built into this fixed-coil phono 0.22 mV 74 ,, dB tion. The curves are quite well behaved and high-level MC phono 0.22 mV 76 dB particular amp. the turnover options genuinely (if subtly) high trans MC phono 22 MV 75 dB The AU-G9OX has four phono op- low trans. MC phono 8.15 MV 77 ,2 dB useful. The lab discovered that response is tions. A single pair of back-panel phono not flat with the controls at their center PHONO OVERLOAD (1-kHz clipping) jacks feeds the phono selector, which deter- detents, but they can be cut out altogether at fixed-coil or high-level moving-coil 340 mV high trans. moving-coil 34 mV mines sensitivity and loading. The output of a front-panel switch. The loudness compen- low trans. moving-coil 125 mV this phono section then is fed to the record- sation, which is not level-dependent, adds

INPUT IMPEDANCE ing outputs, the main output, or both. Thus. as much as 10 dB of boost in the deep bass aux input 34k ohms although you can record from one source and about 6 dB at the extreme top. We pre- fixed-coil phono 100k ohms: 140 pF while listening to another, you can't use high-level MC phono 100 ohms ferred using the tone controls to create less high trans. MC phono 740 ohms two phono sources simultaneously. The heavy-handed alternatives. low trans. MC phono 100 ohms fixed-coil (moving-magnet or moving-iron) The power amplifier meets its 130- OUTPUT IMPEDANCE (to tape) option has extremely flat, broad frequency watt rating with plenty of room to spare: from aux input direct response, but the input impedance is high Note particularly the 2/12 -dB dynamic head- from phono input 535 ohms enough (about double the 47.000-ohm stan- room measurement, which is unusually DAMPING FACTOR (at 50 Hz) 160 dard) that it could compromise these quali- generous. Even more power can be dumped ties with some pickups. into low impedances, though Sansui pro- CHANNEL SEPARATION (at 1 kHz) 701,4 dB The same gain is available with a 100- vides a back-panel impedance-matching INFRASONIC FILTER 3 dB at 16 Hz; 6 dlloctave ohm impedance for high-output moving- switch to avoid too much of a good thing. It coil cartridges—presumably the sort claim- has two calibrations, one for driving two ing sensitivities comparable to those of pairs simultaneously. The markings sug- fixed-coil models. Diversified Science gest that if you have all 8-ohm speakers, Laboratories therefore adopted the fixed- you should alter the switch depending on coil reference level in testing this setting. whether you're running one or two pairs at Frequency response of this option is virtu- the moment. (The markings would preclude ally identical to that for fixed-coil pick- simultaneous use of two 4-ohm pairs.) ups. Leaving it at the lower mark seems an easier The remaining two moving-coil posi- solution. It may reduce maximum available tions supply extra gain. The "trans." in power into a single pair, but the amp has so their designations indicates that a step-up much to spare that you probably won't transformer is used instead of a head amp. notice. DSL made all measurements, There is no overriding reason to prefer one except those for 2- and 4-ohm power out- over the other; both must be designed and put, with the switch in the 8-ohm position. built with care if the results are to be worthy The high-impedance setting might have of a superb cartridge. Most electronics yielded even greater power into the low- manufacturers probably go for head amps impedance loads, but at the risk of exces- because they can make them in-house, sive current through the output stage and whereas transformers of appropriate quality consequent damage to the amplifier. About the dBW require a specialized craft and therefore an We currently are expressing power in Distortion is below our reporting terms of dBW —meaning power in dB outside supplier. Response is not quite as threshold at 0 dBW ( I watt) and only slight- with a reference (0 dBW) of 1 watt. The broad or (particularly at "low trans.") as ly above it at rated power. The third har- conversion table will enable you to use flat as it is for the standard-gain settings. monic dominates the latter readings, but the the advantages of dBW in comparing and the input impedances measure surpris- these products to others for which you quantities involved are too small to be of have no dBW figures. ingly high, but the figures are very good audible significance. Bandwidth is ex- overall. treme—covering as much of the proverbial WATTS dBW WATTS dBW The wide bandwidth that Sansui has DC-to-light range as we're prepared to 1.00 0 32 15 gone after in the AU-G9OX shows itself in 1.25 1 40 16 measure. In fact, response rises ever so 1.6 2 50 17 the phono section's infrasonic region. gradually in the ultrasonic range, to a peak 2.0 3 63 18 There's little rolloff at 5 Hz through the of +3 /14 dB at 215 kHz. The damping factor 2.5 4 ao 19 transformer, almost none at the other two also is noteworthy, being not only quite 3.2 5 100 20 settings. The switchable infrasonic filter is high (especially for a bridged amplifier), 4.0 6 125 21 5.0 7 160 22 both gentle and fairly low in turnover fre- but also essentially uniform across the 6.3 8 200 23 quency (though it does impinge slightly on audio band. Even at 20 kHz, it is down only 8.0 9 250 24 the bottom of the audio band, which is about 25 percent from the 50-Hz value, 10.0 10 320 25 down about 1 dB at 35 Hz), so its ability to which is extraordinary. Under most 12.5 11 400 26 16 12 500 27 ward off the ill effects of warps is minimal, circumstances, this characteristic is of little 20 13 630 28 putting a premium on the damping of your or no importance, but it will forestall any 25 14 800 29 tonearm and proper matching of it to your tendency to treble rolloff when the amp cartridge. must drive electrostatic or other loudspeak-

.4 Circle 24 on Reader-Service Card 33 AUDIO New Equipment Reports ers whose impedances are very low at high testing bridged amplifiers (the frequency frequencies. The signal-to-noise (S/N) ra- sweeps. though not the ultrasonic response tios are not among the very best DSL has checks, were made through a calibrated measured, but they should he more than transformer, for instance) has resulted in adequate. figures that are a shade less spectacular As Sansui's own literature remarks. than they might otherwise have been. amplifiers were awfully good even before despite DSL's diligence. However, this is the X-Balanced circuit came along. So hardly a matter of concern, for as they while we find the sound very fine, we're not stand, they reveal an amplifier of good surprised that we can document no major to excellent performance. capable of de- improvement over other good amplifiers. In livering ultrahigh power into even low- fact, it's conceivable that the difficulty of impedance loads.

THE PROGRESS in phono cartridges over the been squeezed together front-to-back. cre- The State of last decade is remarkable compared to the ating a much sharper pair of angles at the much more gradual pace of development groove-wall edges than at those facing for- The A-T Art through the preceding quarter-century. This ward and aft. The actual contact surface is advancement has not been without its costs, not formed by the edges themselves, but is in the literal sense, but today's higher prices worked into a microscopic half-round only hint at the precious materials, exotic "molding" or "nosing" whose contour is manufacturing techniques. and astonishing the scanning radius. Because the contour up precision that have made it possible. and down the groove wall is almost straight A case in point is Audio-Technica's (following the corner edge of the "pyra- new flagship model, the AT- 160ML. Four mid"). the contact area is exceptionally coils, in what A-T calls its Paratoroidal Sig- long and narrow. As a result, its makers nal Generator, are wound around laminated claim, the stylus not only will resolve high- pole pieces. and the assemblies for the two frequency detail in new discs with excep- channels are separated by a permalloy tional clarity, but will contact virgin por- shield to minimize inductive crosstalk. for tions of the groove in worn records, restor- maximum channel separation. Independent ing some of their former glory. Audio-Technica AT-160ML fixed-coil (moving-magnet) magnets for each channel (an Audio-Tech- The pickup comes, for once, in a box phono cartridge, with MicroLine multiradial diamond stylus and accessory magnesium headshell. Price: nica hallmark) are mounted on the stylus that has a long-term practical function. In a $250. Warranty: "limited," one year parts and labor. cantilever at its damped fulcrum. Compli- socket near the cartridge is a plug-in head- Manufacturer: Audlo-Technica Corp.. Japan; U.S. ance is adjusted individually for each pick- shell (for a standard S- or J-shaped arm). distributor: Audio-Technics U.S., Inc., 1221 Com merce Dr., Stow, Ohio 44224. up. The cantilever itself is a thin, hollow. and there is a second socket so that the box gold-plated beryllium tube. A-T says the can be used as a dust-free caddy for two gold plating helps the cantilever approach mounted pickups. Provision of the head- the ideal of an utterly rigid structure with no shell also means that if your arm is of the mass or resonance. appropriate type. you can put your new- The nude diamond tip is ground to comer to work without unmounting an old Audio-Technica's MicroLine shape—the cartridge or searching for an extra, high- latest generation in an evolutionary se- quality shell, which can be hard to find in quence beginning with the Shibata stylus some stores. To further aid in the process. that vaulted the company to international Audio-Technica gives you the usual prominence a decade ago. The working tip screws, washers, and nuts in a resealable is shaped almost like a pyramid that has tube, instead of the usual plastic bag that

By means of this nomograph. you can quickly and easily frequency (measured in the SME 3009 Series II Improved Tonearm/Cartridge determine the compatibility of any cartridge and tonearm tonearm) and the cartridge's weight. Add 15 grams (the we have tested Ideally, the arm cartridge resonance fre- SME s effective mass) to the cartridge weight to get the Matching Graph quency (indicated by the diagonal lines) should fall at 10 total effective mass. Then find the intersection of the vertical line representing that mass with the diagonal line RESONANCE FREOUENCY IN HZ Hz, but anywhere between 8 and 12 Hz will assure good warp tracking and accurate bass response (It is usually representing the measured resonance frequency Now okay to let the resonance rise as high as 15 Hz. although you can read off the compliance from the horizontal line we don't normally recommend this.) passing through the point of intersection. For tonearms, look up the vertical resonance fre-

gh,s gh,s Begin by looking up the weight and dynamic compliance shown in the cartridge report and the effective quency as measured with the Shure V-15 Type III car- mass listed in the turntable or tonearm report Add the tridge. Find the intersection of the diagonal line for that e a. A A a. e

,, weight of the cartridge to the effective mass of the tone- frequency with the horizontal line representing the arm to get the total effective mass Then find the point on Shure's dynamic compliance of 22.5 • 10' 6 cm dyne. .§ua,

4 the graph where the vertical line for the total effective Reading down the vertical line on which the point of inter- +.

, mass intersects the horizontal line for the cartridges dy- section lies will give you the total effective mass of the namic compliance For a good match, this point should arm with the Shure V-15 Type III mounted in it. Then fall in the white region, between the 8- and 12-Hz diago- subtract 6.3 grams (the weight of the V-15 Type III) to get nal lines the tonearm s effective mass. When necessary, you can back-figure compliances Because of differences in measurement tech- and effective masses for cartridges and tonearms tested niques. manufacturers' specifications for compliance and before we began reporting these figures directly (in Janu- effective mass often differ from our findings and may

C 1961 HIGH FIDEL11 HIGH 1961 C TOTAL EFFECTIVE MASS Ti GRAMS ary 1983) For cartridges, look up the vertical resonance therefore yield inconsistent results if used with this graph.

34 HIGH FIDELITY FREQUENCY RESPONSE 8 CHANNEL SEPARATION "leaks" once it's opened. And there's a achieve that), but they would look respect- (test record: JVC IRS 1007 Mk. III full complement of cleaning brushes and able if this were a tape recorder. You can't DB other accessories. say that for most other cartridges. 0 5 The supplied shell is somewhat unusu- Helping to keep distortion down, -10 al in having no slots for the mounting doubtless, is the spot-on 20-degree vertical - 15 screws—just a pair of threaded holes at tracking angle (VTA). And the stylus rake -20 each side, affording two discrete positions angle (measured similarly. but with higher -25 -30 for the cartridge. This arrangement pre- test frequencies) matches the VTA. mean- AT 1.80.11 cludes the skewing that results when one . HZ 20 50 100 200 500 iK 21( 5K 10K -20K ing that it, too, is as close to perfect as the screw moves in its slot relative to the other, DIN test disc can measure. Frequency Frequency response L ch +/12 . -2 dB. 20 Hz to 20 kHz and thus keeps the stylus correctly aligned response is extremely flat right up to very ch -2 /12 dB. 20 Hz to 20 kHz along the shell axis. To adjust the position nearly the top of the audio band, and the Channel separation 30 dB. 220 Hz to 1 5 kHz. 20 dB. 100 Hz to 20 kHz of the cartridge relative to the arm, you use slight rolloff visible in our graph is accom- a supplied Allen wrench to loosen a tiny panied by only the subtlest (/12 dB) of peaks. SENSITIVITY (at 1 kHz) 1 24 mV cm sec screw near the plug-in mount. This frees the Separation is excellent. Sensitivity is a little CHANNEL BALANCE • . 1,4 dB mount to move within a collar at the base of higher than average, and channel balance is the shell. Pushing it forward or back adjusts excellent. The square-wave photo shows VERTICAL TRACKING ANGLE 20 overhang; rotating it adjusts azimuth. Sim- one cycle of well-controlled ringing. (The MAX. TRACKING LEVEL (re RIAA 0 VU. 1 5 grams') ple but reasonably effective plastic gauges remaining low-level oscillations can be lateral •.18 dB vertical -+12 dB are supplied for both purposes. attributed to the cutter used to make the test The little instruction booklet recom- record, rather than to the pickup.) DYNAMIC COMPLIANCE (vertical) mends that the vertical tracking force (VTF) 22 10 -6 cm dyne The only matter about which you be set at between 0.8 and 1.8 grams. As might have reservations is arm matching. RECOMMENDED EFFECTIVE TONEARM MASS usual, Diversified Science Laboratories The high stylus compliance, combined with optimum 3 grams acceptable up to 10 grams used the minimum in subjecting the pickup the exceptionally high mass of the cartridge to the "torture test" bands of the CBS STR- as a whole, suggests that the infrasonic WEIGHT 8 4 grams 100 and STR-120 test records. On three of arm/cartridge resonance will occur at an SQUARE-WAVE the four bands, it passed the test, and on the unusually low frequency. with attendant RESPONSE (1 kHz) remaining one it came close. When the lab warp-tracking problems, unless you use an set VTF to the median value (1.3 grams), arm of no more than moderate effective the cartridge did very well in the maximum- mass or one with excellent damping. In our level trials. At 1.5 grams, however, it did listening tests, we did try the cartridge in a even better, tracking all of the highest test fairly massive arm without misadventure, levels without flaw. So 1.5 grams was used but the closer you can stay to an ideal rela- for all the remaining evaluations—includ- tionship in this respect. the more severe the ing listening. Recommended loading is the warps that the pickup will take in stride and 'See text. usual 47.000 (47k) ohms shunted by 100 to the better the sound is likely to be. 200 picofarads (pF). (The lab chose the The sound of the AT-160ML is median value: 150 pF.) superb: wonderfully clean, smooth, and Audio-Technica says that the AT- natural. We found ourselves getting out all I 60ML's intermodulation distortion is sorts of test material for the sheer joy of about half that of the company's previous listening. Whether the stylus really does best, so we were anxious to see how it find undamaged groove surfaces in worn would do in DSL's distortion measure- records we can't tell for sure by ear, but we ments. And the figures are exceptionally did discover new virtues in records that had low for a pickup—anybody's pickup. begun to pall the last time we listened to They're not in the amplifier ball park (per- them. So Audio-Technica's best also is haps no transducer of any sort will ever among the very best of any brand.

A LTHOUGH YOU'VE PROBABLY never heard to a two-inch midrange dome, which han- A Touch of of it. ESB is not a new company: The U.S. dles everything up to 6 kHz. where a one- distributor for its products says that it com- inch soft-dome tweeter takes over. Fuses The Continent, mands 25 percent of the Italian loudspeaker for each driver are recessed into the back of market. It is. however, new to this country. the enclosure, along with color-coded bind- From ESB The Model 7/08 is the smallest of the four ing posts that will accept banana plugs. floor-standing ESBs being imported here spade lugs. or bared wires. The cabinet is and the only three-way. A ten-inch acoustic beautifully finished in walnut on all of its suspension woofer crosses over at 600 Hz exposed surfaces, including the back.

Report Policy: Equipment reports are based on labora- reports in advance of publication, and no report or por- tory measurements and controlled listening tests Unless tion thereof may be reproduced for any purpose or in any otherwise noted, test data and measurements are ob- form without written permission of the publisher All retained by Diversified Science Laboratories The choice of ports should be construed as applying to the specific equipment to be tested rests with the editors of HIGH samples tested HIGH FIDELITV and Diversified Science FIDELITY Samples normally are supplied on loan from the Laboratories assume no responsibility for product per- manufacturer Manufacturers are not permitted to read formance or quality

OCTOBER 1984 35 A key element in the design of all the therefore made all other measurements with Series 7 speakers is what ESB calls DSR the speaker against the wall. (for "distributed spectrum radiation"), As you can see, the response in this which is intended to maintain accurate, position is remarkably uniform, especially consistent stereo imaging over a wide lis- "off axis" (approximately on-axis to the tening area. Vertically, this is achieved first high-frequency drivers in the 7/08), where by building the mid- and high-frequency it is within +4 1/2, —2 /14 dB from 40 Hz to 20 drivers on a single mounting flange, mini- kHz and within +4 /12 , —/14 dB from 50 Hz to mizing the distance (and therefore the inter- 16 kHz—one of the narrowest spreads ference) between them, so that they act as we've seen. On axis (by which we mean the nearly as possible like a point source. The axis of the cabinet, not the drivers), resulting driver unit is then positioned on response is within +5 /14 . —3 /14 dB from 40 the enclosure at a carefully calculated dis- Hz to 16 kHz, which is good, though not as tance from the woofer. impressive as the off-axis measurement. The method ESB uses to stabilize the The 7/08's sensitivity is about average image horizontally is a refinement of a fa- for a good modern loudspeaker, and its miliar technique. Toeing in a pair of speak- impedance is, in every sense of the word, ers so that their forward radiating axes cross moderate, with a maximum value of 15.1 slightly in front of the listening position ohms at bass resonance (about 45 Hz) and a usually broadens the area in which you can minimum of 5.8 ohms at 110 Hz. Just as sit without the stereo image collapsing into important is the smoothness of the curve, the speaker nearer to you. It works by trad- which indicates that the loudspeaker is not a ing off the two cues the brain uses to local- highly reactive load. All told, it should be ize sound sources: timing and intensity. an easy load for any decent amplifier to A sound that is louder at one ear than at drive.

ESB 7 08 Boor-standing loudspeaker system, in wood the other or arrives at it sooner is perceived In our 300-Hz tone-burst test, the 7/08 enclosure with walnut veneer finish. Dimensions: 15 as coming from that direction. Moving accepted the full 64-volt peak output of by 37 1,x inches (front), 11 inches deep. Price: $1,300 nearer one speaker than the other necessar- DSL's amplifier (equivalent to 27 dBW, or per pair. Warranty: "full, - five years parts and labor. Manufacturer: ESB-Electroacoustics System Building ily results in its output arriving earlier and about 500 watts, into 8 ohms). This indi- S.p.A. Aprilia, Italy; U.S. distributor: ESB-USA, 692 the other's later. But if the speakers are con- cates excellent midrange power-handling Central Ave., Cedarhurst, N.Y. 11516. ventional direct-radiating models canted capability. And distortion is quite low ROOM RESPONSE CHARACTERISTICS inward at an appropriate angle, moving to across the board. At a moderately low DB the left or right also will take you increas- sound pressure level (SPL) of 85 dB, total +5 ingly off the axis of the near speaker's harmonic distortion (THD) averages less tweeter and onto the axis of the far one's, so than /14 percent from 100 Hz to 10 kHz (the that at high frequencies (where intensity upper frequency limit of our distortion test-

HZ 20 50 100 200 500 1k it< 5K 19K 29K cues are most important) the more distant ing). Although THD increases at higher

boundary-dependent region speaker will tend to be somewhat louder. output levels, it still averages only about /14 on-axis response The timing and intensity cues thus tend to percent above 100 Hz at a very loud 100 dB off-axis (30) response offset one another (instead of reinforcing SPL. Distortion naturally is worse in the SENSITIVITY (at 1 meter, 2.8-volt pink noise, each other, as they would if the speakers very deep bass, but not drastically, and cer- 250 Hz to 6 kHz) 89 dB SPL were pointed straight forward), thereby tainly to a lesser degree than commonly is AVERAGE IMPEDANCE (250 Hz to 6 kHz) enlarging the area in which one can hear a the case for loudspeakers. 9.1 ohms proper stereo effect. We tried the 7/08s in a number of posi- ESB gives you the desired toe-in auto- tions in our listening room before settling matically by means of a small baffle section on essentially the same one used by the lab. that slants toward the wall behind the The speaker's overall balance is basically speaker, aiming the upper-range drivers neutral, with a tendency to warmth that is into the room at a carefully calculated most readily apparent on vocals. The effect angle. To minimize potentially confusing is not large, however, and is rather attrac- early reflections, the adjoining baffle area is tive on some recordings. As advertised, the covered with a layer of felt that absorbs 7/08's strongest suit is its imaging, which is energy radiated in its direction. consistently first-rate over a wide range of Although ESB recommends that the listening positions. It's easy to forget the Model 7/08 be placed at least a foot from importance of precise, stable, three-dimen- any walls, Diversified Science Laboratories sional localization in creating a convincing found that the speaker's room-corrected sonic illusion, until you hear a speaker that third-octave response was more extended in carries it off as well as the ESB 7/08 does. the bass and slightly smoother overall when In short, this is a relatively big, relatively it was backed up against a wall than when it expensive loudspeaker, but a very good one was placed in the lab's other calibrated test that merits strong consideration by the seri- position, four feet out into the room. DSL ous listener.

CORRECTION

In our June review of the ADS L-570 loudspeaker, we mistakenly reported that the cabinet has a vinyl finish. It actually is a genuine wood veneer.

Circle 26 on Reader Service Card P. Very simply, our R-85I is not for everyone. Not for every dealer. Not for every audio buyer. Only for those who demand the ONLY ONE AUDIO best. Those who want sound that's pure and distinctive.., who hear subtleties others miss. For those discriminating listeners, the R-851 DEALER IN TWENTY is well worth the quest.

Hear the silence before you WILL CARRY THE hear the sound. Switch on the R-851, switch from one function to another. Try Phono. Tape I. Tape 2. Auxiliary. Back to Phono. KYOCERA R-851 Absolute silence (of course, you'll get sound on AM/FM). The silence is the mark of a great receiver. And great engineering. TUNER/AMPLIFIER The kind of quiet an audiophile loves to hear.

WITH MOS FET AMPS. Sound that takes you closer to the source. We've turned on the R-851 for some very experienced—even jaded— audio ears, and all we can say is it stops 'em every time. The sound is different. The sense of being there is almost overpowering. All this comes from 85 watts per channel of power* (with dynamic power far above this figure) and some of the most sophisticated circuitry in the business. Above all, it uses MOS FET's. the new breed of output transistors, in the amplifier section. They can handle the transients, the power surges, the power requirements of present-day sound (and tomorrow's digital sound) better than bipolar transistors ever could— and give you a sonic purity like no other (many claim MOS FET's have picked up the warm, rich sound of the great tube amps and gone a step beyond!).

Fine tuned for every audio need. From front end to output jacks, the R-85I offers every feature an audio enthusiast might want. The most commonly used controls are right up front—the more esoteric ones are placed behind a neat flip-down front panel. There's microprocessor- controlled quartz-locked tuning with 14 station programmable memory (7 AM & 7 FM); automatic station seek; 3-band parametric- style equalizer; fluorescent display panel; and two-way tape monitoring and dubbing. Call (201) 560-0060 for the name of the nearest dealer. Kyocera Interna- tional, Inc., 7 Powder Horn Drive, Warren, NI 07060.

VOI L ; 1

KYOCERB

'85 watts RMS per channel. both channels driven. at 8 Ohms with no more than 0.015% THE) from 20-20.000 Hz. 2 38 In today's Army, you learn to accept challenge, handle responsibility, and make the most of any given situation. And that's much of what it takes to be a good college student. So if you're planning to attend college, maybe you should think about how spending some time in the Army can help you get there. Not only will you be better prepared to handle the challenge, you can also be better prepared to handle the costs. By taking advantage of the Army College Fund. In just three years, if you qualify, you can accumulate as much as $20,100 for college costs. (In two years, you can accumulate $15,200.) The Army College Fund works like a savings plan. For every $1 you save from your Army salary, the government adds $5 or more. Call toll free 1-800-USA-ARMY for your free Army College Fund booklet. And find out how the Army can contribute to a very worthwhile cause — your college education. ARMY. BE ALLYOU CAN BE. IIEHNHE oI tie road

M OBILE SO U N D SYSTE MS THAT CATER TO YO UR SENS U O US SIDE FRO M THE SU M MER CO NS U MER ELE CTR O NICS SH O W

Early June and it's time to head for Chicago's immense lakeside convention center to eyeball the amazing variety of sexy new car-stereo goodies at the Summer. Consumer Electronics Show. But staggering though the show was in sheer quantity of product introductions, traditional car components

(front ends, amps, speakers) were not fundamentally different from last year's in technology. Instead, manufacturers with high-tech expertise have concentrated their talents on products in two hot new

categories: mo-

bile communi-

cations systems

and protection Aiwa makes a striking car- stereo debut with the remote- devices. Butting controlled CT-X500 (left).

my way down

the crowded

convention center aisles, I was accosted by a veritable army of publicists, all eager to show off their clients' cellular telephones, low-cost emergency CB transceivers, and car security systems.

But we mobile-music enthusiasts can take heart at the news that this year's car stereo components display a growing degree of refinement. Better human engineering, an overall increase in the performance-per-dollar ratio, and good looks are hallmarks of this season's gear. The car system you buy today may not sound different from Blaupunkt's BEQ-MS graphic the one your friend bought last equalizer (shown actual size, left) is small enough to fit in a year, but it will almost certainly be crowded dash. a better value overall. eery Stock

OC T O B E R 19 8 4 39 per pair) even gives you controls for adjusting tonal balance.

In the Digital Domain

(.tmstdcring all the prerelease publicity car CD players have been receiving, it's surprising that the stores aren't packed with them yet. Obviously, it has light, and backlighting makes taken the Japanese and Europe- them easily visible at night. an electronics giants longer Aiwa, an old hand at than expected to perfect road- designing high-performance worthy systems. Be that as it home audio equipment, at- may. car CD decks moved a tracted attention at the SCES step closer to reality at the with its first line of mobile SCES. Sony, Pioneer. Tech- sound gear. Its best front end is nics. and Fujitsu Ten all had an impressively original model players on display. Sony says that gains a degree of theft- its two models—one with and resistance via a hinged panel one without an AM/FM tuner New Shapes, New Sixes that folds over the escutcheon to section—will be available by camouflage the unit. The savvy the time you read this. 'See test Think of a typical car-stereo designers at Aiwa, however, report of the Sony CDX-5 car component. and the image of a have another use for the panel. player on page 43.) Pioneer cluttered, garish faceplate is When opened, it cradles a con- claims its CD/radio will be Twenty-six speakers and 800 inevitable. Well, thanks to trol pad that can be operated in shipped to dealers in January. watts of power in Panasonic's some innovative ideas from dc- situ or handed to the backseat How much will you have to pay signers willing to use micropro- music critic who keeps de- for digital playback on the souped-up Dodge Daytona cessors and integrated circuits manding that you change sta- road? Though refusing to pin Turbo Z (above) in creative new ways, the glitz tions. If remote control is themselves down, most manu- and silliness of some old mod- appealing to you, Blaupunkt's facturers say that first-genera- els may be on the way out. Houston ($600) is also worth a tion machines will fall in the Blaupunkt, for example, made look. $700 to $900 range. news last year with an equalizer Speakers, too, are chang- But do you really need a mounted on a flexible stalk—a ing in shape and format. Spark- CD player for digital playback design that, though eye-catch- ing, tended to give other motorists the impression that you were traveling with E.T. Alpine's 6393 (right) is rated at This year, the company is a power-handling capacity of continuing to rethink traditional formats, but has wisely decided 100 watts. to apply its expertise to a more sedate look. One result is the BEQ-MS equalizer ($100). Just slightly larger than a matchbox, it has five control bands and can be placed in or under the dash. The Blaupunkt boys are also leaders in another trend—the use of oversize, digital-watch- omatic joins those companies on the road? According to the style liquid-crystal readouts. To (Pioneer and Sansui, to name publicist for a major Japanese my eyes, these LCD panels— just two) that offer rear-deck company that has not an- which are also showing up in speakers with angled, forward- nounced a car CD player, the front ends from Kraco and Vec- facing drivers. Its new models answer is no. His solution: tor Research —are far more use a superstructure reminiscent Schlepp aboard a PCM proces- readable than traditional LED of radar-dish supports to posi- sor and a battery-operated displays. They don't get tion the midrange and treble VCR, plug the outputs into your "washed out" in bright day- drivers. The ASK-4010 ($250 car amp, and you're all set.

40 HIG H FID E LI T Y Though slightly ludicrous, such Hot Looks, Cool Prices (where some surveys say 30 a system might prove more for percent of all cassettes end up), giving of road shocks than some It was inevitable that the sleek, with formulations and shells car CD decks. Time will tell. knobless appearance of top-of- specifically designed to with- the-line front ends would even- stand the rigors of the road. Fuji tually filter down into mid- offers GT-II, a high-bias (Type Se Tee Need New Speakers priced equipment, but I had not 2) version of its GT-I ferric car expected it to happen quite so tape, and Loran has reformu- Not to worry: As usual, there quickly. lated its high-bias products spe- are lots of models to choose Most-Promising Newcom- cifically for automotive use. In from. This year's crop contin- er status belongs to the Targa accessories, Monster Cable has ues the overall trend of years line of equipment introduced by introduced one particularly past—new materials and pro- Haitai, a large Asian manufac- clever item —a multiconductor cesses for the manufacture of turer of electronics and appli- cable that contains both power diaphragms, and some new ances. Despite being reason- and signal wires for remote driver formats. This year's ably priced, the Targa stuff amplifiers and speakers. best-publicized Wunder materi- looks as though it were de al is graphite. Rather prosaical- signed in Stuttgart. It has the ly described by JBL as "a soft, black-on-black cosmetics and With No Apologies gray-black stone," its allegedly orange night illumination fa- miraculous properties emerge vored by BMW and Audi, as Though trade shows are hardly when it is mixed with paper well as all the microprocessor- classy affairs, every year one pulp in a process said to yield a controlled tuning and tape-han- manufacturer pulls out all the cone of unusual rigidity. You dling features offered by the big stops in an effort to win my can hear the graphite difference names. The company's most Most Questionable Taste for yourself in JBL's ER/G expensive front end (HT-7001) Award. Well, the judging was series—four speakers ranging sells for only $380. Another fla- tougher than usual this year, but in price from $70 to $160 per shy-looking, mid-priced front it would be unfair not to bestow pair. end that caught my eye is Auto- top honors on Kenwood. At- The Winner: Kenwood's Alpine's new speakers tek's 5770, a $400 flat-faced tempting to attract dealers and $100,000 show car. Bo Derek combine two ideas that were hot piece made to fit a European the press, Kenwood proudly (right), hubby John (left), and in the early days of high fideli- dash opening. Sanyo's flat- used a $100,000 show car ty—a cone with a fluted "tan- faced FT-ED7 has an excep- developed by the king of cus- customizer George Barris share gential" edge (said to reduce tionally high-tech look and sells tomizers, George Barris, as the the honor. flexure) and a "Uni-Axial" for just $350. centerpiece of its booth. Sup- driver array. The latter involves One of the most intrigu- posedly designed for actress Bo mounting the tweeter concentri- ingly computerized front ends Derek, the "Barrister" (as this cally within the midrange driv- comes from JVC. Its KS- bit of vehicular horror is called) er, which in turn sits concentri- RX910 ($650) is equipped with cally within the bass cone. This a programmable music-seek kind of wheels-within-wheels that counts the selections on the arrangement should theoretical- tape, giving you access to songs ly reduce phase interference up to five "cuts" apart. between drivers and give a more uniform output. Among the Alpine speakers to include And Mere both design elements is the 6393, which drops into a stan- A variety of other, less easily dard 6-by-9-inch hole. The categorized developments drew company's other big idea at the this reporter's attention as well. SCES made lots of noise, but The four competing stereo-AM could hardly be called hi-fl: For broadcasting systems have kept the record, Alpine now has an consumers confused and manu- extensive line of car security facturers cautious. Sansui's re- sports flaring fenders, a wildly systems. sponse is a front end capable of protuberant grille, a fully visi- Finally, Infinity continues decoding all four, while Pio- ble chrome engine exhaust, and to transfer its home speaker neer has announced that it will (of course) a Kenwood sound technology to the automotive join with Delco in supporting system. While film critics may realm. New this year are an 8- the Motorola multiplex AM argue about Ms. Derek's tal- inch polypropylene subwoofer system. ents, there'll be no debate about ($85) and an EMIT planar-film Tape makers seem to be her taste should she cruise down tweeter ($95 per pair). paying more attention to the car Sunset Strip in this monster. HF

O C T O B E R 1 9 8 4 41 •

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• State-of-the-Artist Performance

• Bring a cassette tape recording of your • favorite artist to any Ford or Lincoln-Mercury 0 _ • tt dealer and hear it for yourself. • The Ford Electronic Stereo Cassette System heads an all star cast of high performance sound systems with sophisticated audio features. Only Ford factory installed sound systems are designed. manufactured and quality tested specifically for your new • Ford or Lincoln-Me-c dry. • (ared) Electrical and Electronics Division

4 `. I SONY CDX-5 COMPACT DISC PLAYER Sony CDX-5 Compact Disc player. Dimensions: 7 by 2 inches (chassis front), 6 inches deep. Connections: ignition, battery, ground, power switching; pin connectors for input and output signals (see text). Fuses: see text. Price: see text. Warranty: "limited," one year parts and labor. Manufacturer: Sony Corp., Japan; U.S. distributor: Sony Corporation of America, Sony Dr., Park Ridge, N.J. 07656.

VOLU ME; BALANCE -

BASS L...... SEEK (BAND STEP) TREBLE ' -CUE (FOR WARD. BACK) REPEAT - ] RESTART DISPLAY (BAND/TIME)

ORECASTS OF THE arrival of how it should work. Consequently car Compact Disc players have we're reduced to guesswork in some Fbeen blowing hot and cold ever areas, and Sony says that at least one since the first home decks were weakness in our sample will be announced. On the one hand, the corrected in final production. relative indestructibility and random- Power wires to the player access features of the CDs themselves terminate in round connectors (male in sounded like a giant improvement over all but one case). It was easy to Compact Cassettes; on the other, the determine which were the ignition and susceptibility of some home CD battery lines (equipped with 3.15- and players to shock and vibration caused I-amp fuses, respectively), but the eyebrows to raise whenever the subject other two were more problematic. of a mobile version came up. Now Evidently the idea is to wire the CDX- with the Sony CDX-5. we can give this 5 between the prcamp output of your application a first-hand try. front end and the input of your separate I should warn you right off the amplifier, using two attached pairs of bat, however, that one model—and in-line female pin connectors. particularly this one—doesn't answer Assuming that your front end has a 12- all the questions. We had a few days volt takeoff designed to switch on the with a single and evidently power amp, you connect this to one of preproduction sample. (Normally. we the remaining CDX-5 leads and attach receive two production samples and the other (with the female connector) to work with them for much longer.) the amp's on/off connection. There was no manual with it. all of its Such a setup functions as a regular leads were unlabeled, and the Sony radio/tape ensemble as long as the front contact through whom we arranged the end is turned on and delivering 12 loan was short on information about volts to the CDX-5. which will simply

O C T O B E R 1 9 8 4 43 C A R S T E R E O

Ar • t• , `• [DS 7 SH C0001 pass the radio or tape signals straight narrow and almost inaccessible balance 410 056 2 'es! (1•scs through without alteration to the amp. ring behind it. has a center detent. The FREQUENCY RESPONSE Turn off the front end, and the CDX-5 mid position may represent a rather DR 0 comes to life when the 12-volt control meager level with some systems. but —5 - .(.2nal stops. It now takes over. there's plenty of room to turn it up. HZ 2-6 40 -100 -200 500 '05 :00 injecting its own audio and control Just below the VOLU ME are two pop- L 413 20 Hs to 20 NH/ signals to the power amp. The only out tone-control knobs. (Remember di 211 IT- •,, 10 other connection is the ground wire. that the CD signals don't pass through DE-EMPHASIS ERROR left channel which was fitted with a spade lug in your front-end controls.) At maximum right channel our test sample. rotation. the BASS introduces about 10 CHANNEL SEPARATION (st 1 kHz) 4' Oi The chassis is designed to the new dr3 of cut or boost at 1(X) liz and even CHANNEL BALANCE (at 1 kHz) • OH DIN size spec. so it can be dash- more at lower frequencies. The TREBLE S N RATIO (re 0 dB; A-weighted) mounted in some cars. But because the reaches the same spread at without de-emphasis 92 OR player will probably supplement your approximately 6 kHz hut is a little with de-emphasis 94 dB front end, you're more likely to want it more restrained toward the frequency HARMONIC DISTORTION (THD+N; 40 Hz to 29 kHz atOdB 01`,, under the dash. When you slip a CD extremes. at -24 dB 0 042 1, into the narrow "mouth." rollers in the The bench data make it clear that IM DISTORTION 170-Hz difference, 300 Hz to 20 kHz) player "suck" it in the rest of the way. we're not dealing with a Mickey 0 to -30 dB 0 013' ejecting it only on request. (At the end Mouse knockdown of home CD LINEARITY (at 1 kHzi players: This is the real thing in every 0 to 80 dB c.,,o, of the disc, the laser pickup rccues to at 90 dB the beginning and goes into STOP/ sense. Datum for datum, it can stand

TRACKING & ERROR CORRECTION PAL 7SE, waiting for further instructions.) comparison with even the best decks maximum signal-layer gap If you don't retrieve the disc within a we've tested. The one oddity the lab maximum surface obstruction 8011 simulated-fingerprint test Nor 990 few seconds of ejection, the player is encountered was inconsistent behavior

MAXIMUM OUTPUT LEVEL supposed to retract it for safety's sake. in the fingerprint test. mistracking on in 56 yoh cc-,01 /Men!) Depending on how level the player (Inc pass and then playing the same OUTPUT IMPEDANCE 215 ohms is at the moment (and possibly other area perfectly on the next. SQUARE-WAVE RESPONSE (1 kHz) considerations), this last operation may But the big question was whether not work. I mounted the player beneath the deck would prove excessively the dash, tilting up the front slightly tender. The lab tried its regular shock for better visibility, and found that test, with excellent results. So did I. every time I tried to grasp the CD by confirming the player to be utterly its edge the deck pulled it away. (I had rock-steady. But that was on the to touch the playing side to get it out.) bench. After several miles on the road. But even when it's level, the player I hit a bump that caused mistracking. sometimes ejects the disc a little too far Then another. Even a seemingly small to retract it later, and if the front of the bump induced a glitch. In all, there IMPULSE RESPONSE player is slanted down it won't retrieve were four audible mistrackings in 21 at all. Perhaps—as Diversified Science miles—not at all bad. I'd say. Laboratories commented when it considering that much of the route was encountered the phenomenon on the chosen for its stressfulness and that I test bench—this is just a question of enjoy tooling around the hairpin mechanical fine-tuning for final curves. But it's still disappointing after production. the deck's superb benchside manners. There are the usual steppers for When I started the road test. I was cueing the pickup band by band in prepared for a certain amount of sonic either direction and audible fast-cue overkill. I wondered what a dynamic controls that move the pickup across range of 80 dB or more would mean in the disc at ten times normal speed, a moving car. Surely this would not be sampling as it goes and letting you the venue for ultra-fl. Wrong! All I can hear the result at reduced level. The say is that in all my road testing to display can be switched between date. I've never heard it so good. current band num ber and elapsed time. Some of the tape equipment has come REPEAT options arc "all" or "1" (the pretty close, but I don't remember track currently playing). The faint red experiencing quite the same sort of indicators are very difficult to read— bloom. It's true that some pianissimos even on the test bench with low get lost in the road noise, but the same ambient light—and useless while can be said of many a well-recorded you're driving. Sony. too, has noticed tape. And in the hushed interior of a this, and a representative assures us sedately moving limousine, the unit that the indicators will be brighter in may really show its breeding. But such production units. luxury is not cheap. Expect to pay The volume control, like the from $650 to $750 for the CDX-50. HF

Laboratory data for HIGH Fiorures autosound equipment reports are supplied by Diversified Science Laboratories; road testing and text are by Robert long. Preparation is supervised by Michael Riggs, Peter Dobbin, and Edward J. Foster. All reports should be construed as applying to the specific samples tested. HIGH FIDELITY and Diversified Science Laboratories assume no responsibility for product performance or quality.

44 Circle 17 on Reader-Service Card O. Ten. The Sound Inclukence.

11.

Indulge in truly exceptional auto soune. Indulge in 3 :echnologically forward, feature-fabulous czr ster?Cc.3ssette deck, equalizer, amulifier and speaker system. indulce in Fujitsu Ten Car Audio.

111.11ISU TIN

c -" N• N The 1-,est sound on wheels. CAN AUDIO

019 a, Fu su Ten Corp of Amer ca **way Orme, briance, Cal,fornia 90S02 • Nores:o Canada lac . Thronto. Ornaao ManJlactured by Fujitsu TEN -10 C A R S T E R E O PIONEER KE-A880 RECEIVER/TAPE DECK Pioneer KE-A880 AM/FM/cassette receiver, with automatic cassette reverse, Dolby B and C noise reduction, and built-in clock. Dimensions: 7 by 2 inches (chassis front), 5/34 inches deep; escutcheon, 7/12 by 2/14 inches; "nose," 4/14 by 1/34 inches; main shafts, 5 or 5/34 inches o.c. Connections: round male for ignition, battery, lighting, accessory amplifier power; flat female for power antenna; round male and female for front and back speakers; female pin connectors for preamp output; standard coaxial female for antenna input. Fuses: 4-amp in ignition line, 0.5-amp in battery, lighting, and accessory-amp lines. Price: $400. Warranty: "limited," one year parts and labor. Manufacturer: Pioneer Electronic Corp., Japan; U.S. distributor: Pioneer Electronics (U.S.A.), Inc., P.O. Box 1760, Long Beach, Calif. 90801.

TUNING BAND FM) TRANSPORT CONTROLS

VOLUME/ FADER/ BASS/ TREBLE TUNING/ TUNING MODE (SEEK/MANUAL) /BALANCE alikookrammx.

LOUDNESS ON/OFF LOCAL SEEK MODE STATION PRESETS FM MODE (STEREO/MONO) DOLBY B (ON/OFF) TAPE SEARCH TAPE E0 (120/70 mSEC)

FM TUNER SECTION HERE ARE TWO details in in the owner's manual, you get to the FREQUENCY RESPONSE & CHANNEL SEPARATION Pioneer's top-of-the-line KE-A880 second FM group by pressing the FM Be Tthat set it apart from most front button twice.) When the FM tuner is -5 ends. First, its control shafts, flanking set for automatic mode switching (the —10 the nosepiece, are provided with two normal, stereo position). noise remains 15 —20 spacings and escutcheon inserts that very low. Diversified Science —25 snap into place to keep the appearance Laboratories' tests show that this is —33 neat no matter which spacing you achieved by limiting separation, even • HZ 20 50 100 200 500 1K 2X 5K 10K 200 Frequency response V4 -3 dB. 25 Hz 10 15 kHz choose. Second, and more unusual, is on strong stations, to no more than is Channel separation dB. 35 Hz to 59 kHz a separate hookup wire that connects to needed for good imaging and by FM SENSITIVITY & QUIETING the dash lighting switch so that full decreasing it quite rapidly as signal DO illumination comes on only with the strength drops. Separation (and —10 car's lighting. therefore stereo) is gone before signals

20 However, I wish more thought had fall to 40 dBf—and before the signal-

—B3 been given to the brightness of the to-noise (S/N) ratio deteriorates to the frequency/clock display, whose faint stereo sensitivity rating point of 50 dB. 40 green LEDs are unusually difficult to With stereo modulation, output already —50 read in strong daylight. Also difficult is is down almost 10 dB at 40 dBf, and BO the manipulation of the middle rings output begins attenuating even with

0 .1• •••11•• • • •••• VIO DBF 0 10 20 30 10 50 e0 70 80 90 100 (for bass and manual/seek tuning) on mono modulation just below this signal stereo qu toting (noise) & output the control shafts, which require a strength. mono quieting (noise) & output caliperlike touch if you're not to move As a result of all this signal —- • — channel separation at 1 kHz — • • — mono -mode quieting (noise) & output' the adjacent elements. On the plus manipulation. I experienced very little Stereo sensitivity (for 50-dB noise suppression) side, the control scheme assigns only "spitting" and no "ballooning" stereo lest Mono sonsitivitY (For 50-dB noise suppression) one function per pushbutton, except in the most multipath-ridden portion of 0/14 dBf• during tape play. In that mode, three of my road test. But the low and Stereo Sill ratio (at 15 dlif) 65/34 dB

Mono S/11 ratio lot 16 din) 68/14 dB' the station presets serve other uses— fluctuating signal strength during this

'See text Dolby, EQ, and SEARCH. run caused gross station fadeout, The six presets actually enable you almost to inaudibility at many points. to tune 18 stations: six AM and 12 Aware that this would happen with FM. (Though I found no mention of it weak stations, Pioneer has done more

48 Circle 36 on Reader-Service Card Our twelve millionth sound system just found a new home. Audiovox made the very first custom in-dash radio further refinement is the solenoid soft-touch operating for audiophiles nearly 20 years ago. buttons usually found only on the most expensive home Since then, we've made over twelve million custom cassette decks. sound systems for automobiles. One at a time. With enormous power and the least cluttered control Today, our top-of-the-line Hi-Comp matched stereo panel extant, this receiver/deck is designed for minimal components produce a response so remarkable they are eye movement combined with all the listening satisfac- wooing Mercedes owners away from the most famous tions of the home system. European system. But Audiovox hasn't stopped at sound systems in For instance, the Audiovox Hi-Comp HCC-1250 bringing motorists the comforts of home. Whether receiver/cassette being installed here is only 5" deep. you're considering our new AudiotelTM mobile cellular Yet it's back-lit panel displays not only frequency and phones or our electronic car security systems, Audiovox time, but all other functions just as though you had a leads the way with a host of features the competition small personal computer at your fingertips. hasn't even considered yet. Audiovox. We've made cars You get Dolby noise reduction from the deck, plus more livable for a whole generation of drivers. a music search system that permits scanning of cassette Audiovox Corporation, 150 Marcus Boulevard, programs in both the forward and reverse modes. And a Hauppauge, NY 11788. (516) 231-7750. A U D I O V O X We make cars more livable.

Dolby is a relnyirrcyl I radem mk of Dolby Labormoric.. Inc OD 1981 Amboy.", C urn C A R S T E R E O

CAPTURE RATIO 3/12 dB than blend channels in the mono mode, supplement or to bypass the power SELECTIVITY (alternate-channel) 664/4 dB which retains almost the full audible section), there is provision for direct AM SUPPRESSION 54/14 dB output down to below 20 dBf (very hookup to two or four speakers. The DISTORTION (THD+N) weak, indeed). The noise floor does four-speaker configuration (stereo pairs stereo memo fluctuate audibly (according to signal front and rear, controlled by the fader) at 100 Hz 0 57% at 1 kHz 0 32% strength), which is what the output involves a regular hot-plus-ground at 6 kHz 0 62% attenuation in the stereo mode is setup.

A M TUNER SECTIO N designed to inhibit, but in mono you Pioneer also gives you the option

FREQUENCY RESPONSE can listen through the noise with much of switching to a bridged configuration De for considerably more power when SEASSO less chance of losing the station 0 altogether. you're driving only one stereo pair 5 —10 This radical difference between from the built-in amp. In this mode, a

1-12 20 50 100 200 500 1K 2K 5K 10K 20K modes thus has genuine advantages. chassis switch enables you to invert the 4 0 -3 dB. 97 Hz to 2 6 kHz particularly in an FM section whose phase of the signals through one pair of SENSITIVITY 3 2 overall performance, as documented in amps, and a separate set of connections SELECTIVITY see text our data column, is very good in all supplies the inverse output to what AVC RANGE 71 dB important respects. The LOCAL setting. would otherwise be the ground side of

CASSETTE TRA NSP ORT incidentally, affects only the sensitivity the speakers. Thus, one side of the SECTIO N of the SEEK, eliminating weak stations speakers can be safely grounded in the

FREQUENCY RESPONSE that may be subject to fading. Stepping four-speaker setup. but not in the DB is by full channels on both bands: 200 bridged alternative. 0 kHz for FM, 10 kHz for AM. The To add to the confusion, the Lf— I 1 HZ 20 50 +00 200 500 IS 215 95 10K 20K latter section certainly isn't a match for speaker wires (together with the ground

forward 4 1/34 , -1 /12 dB, 315 Hz to 8 kH the FM. Despite the restricted and the main ignition supply— reverie r 1141 -3 dB 31 5 Hz to 155 kHz bandwidth and the good sensitivity misidentified in the manual, but not on WOW & FLUTTER (either direction) figure that this helps make possible, the wire itself, as the battery supply) 0 22% a mage 0 27% peak on-the-road reception did not strike me pass through a black box with similarly SPEED ACCURACY forward 02 to 04% slow, 108 to 144 volts as especially quiet, though many color-coded wires emerging from both reverse 0 0 slow 10 8 ,o 14 4 ol's stations came through in listenable ends. You must carefully connect the

PRE A M V A MPLIFIER SECTIO N fashion. (The fact that the standard test 12 speaker terminals attached to the

BASS CONTROL ' aki at 100 111 yields no reportable selectivity figure is box, choosing from four possibilities:

TREBLE CONTROL • 10, -9 /12 dB at 10 kHz unimportant.) hooking them to the four terminals that UNE OUTPUT IMPEDANCE 1,325 ohms Behavior of the tape transport emerge from the KE-A880's chassis, to

MAXIMUM LINE OUTPUT LEVEL (which disengages the drive but does each other, to the speakers, or not from FM (100% modulation) 1 025 volts not automatically eject the cassette hooking them up at all. The connection from tape (DIN 0 dB( 072 volt when you turn off the power) is scheme is very different depending on OUTPUT (per channel into 4 ohms, at 3% THD+N) superior. The deck is very insensitive at 1 the, two-speaker mode which speaker configuration you select.

10 b watts 110 /14 cIBW) to road shock, and I am delighted at And if you're working with a unit from the inclusion of EQ switching and both the first production run, you'll have to Dolby options (plus oFF). Azimuth cope with a short jumper on the end of agreement with the test tape is the ignition supply cable. The only excellent in the forward direction, but a instructions, repeated verbatim in shade off in reverse. Incidentally. several places, defy correct Pioneer subtitles the 70-microsecond interpretation. Pioneer says that both EQ setting "metal" (actually. it's the jumper and the instructions are equally appropriate for chromes, omitted from later production. In the ferricobalts, and ferrichromes), which unlikely event that you get them. is a step ahead of the common practice ignore them. of letting the insufficient "metal" By all means, seek professional designation stand alone. help with this installation. Its The.Louot;tEss introduces complexity, however, does give you progressive bass boost (to more than 12 more options and more power than HOW WE TEST CAR dB below 50 Hz) as level is reduced could otherwise be squeezed from a STEREO EQUIPMENT and adds some treble boost (to more 12-volt supply without heroic electronic Diversified Science Laboratories taps line-level than 6 dB at 15 kHz) as well. The tone measures. Pioneer rates the amplifier outputs to measure tuner, tape, and -preamp - performance; for those front ends equipped with controls—conventional in design. with section at an adequate 3.2 watts (5 a power-amp stage (what we call car receivers) minimal influence on each other's dBW) per channel in the four-speaker but lacking line outputs, DSL takes data from the range—can be used to supplement or mode, 10 watts (10 dBW) bridged. speaker connections. For our road testing, we replace the loudness contour. 14 use an ADS amplifier crossover speaker setup, DSL measured 10.6 watts (10 / dBW) bypassing the power-amp stages of receivers. Understanding and correct in the latter mode—still not AM sensitivity is given in microvolts, and application of the unit's built-in thunderous, but more than enough to the lower the number, the better. For FM, we plot amplifier are critical to successful satisfy most tastes inside a car. (Plus both the audio signal level and the noise level as a function of RF input. Since car tuners may have installation. The owner's manual is the KE-A880 makes it easy to add an various reception modes, a number of curves inadequate in this respect for most do- outboard amp.) It is, overall, a very may apear on the same graph. Finally, some tun- it-yourselfers. In addition to the attractive receiver, whose shortcomings ers cannot be assigned a 50-dB stereo quieting figure because they are already in mono at that prcamp outputs (which can be used, are more evident in the installation bay quieting level. with an accessory amp. either to than on the road. liF

48 HI G H FI D E L I T V I D E O E Q U I P M E N T R E P O R T S

QUASAR VH-5845X0 VHS Hi-fl VCR

Quasar VH-5845X0 VHS videocassette recorder (available in black as VH-5846XE), with cable-ready 14-day/8-event programmable tuner/timer, wireless remote control, and VHS Hi-Fi high fidelity stereo audio recording and playback capability.

Dimensions: 17 by 41/4 inches (front panel), 14/14 inches deep plus clearance for connections. Price: $1,195; optional VE-585UQ CATV adapter, $130. Warranty: "limited," one year parts, 90 days labor. Manufacturer: Matsushita Electric Industrial Co., Japan; U.S. distributor: Quasar Co., 9401 W. Grand Ave., Franklin Park, III. 60131.

TRANSPORT CONTROLS BEHIND DOOR: TIMER ADJUST.: CHANNEL MEMORY: AUDIO DOLBY ON/OFF, RECORDING AUDIO RECORDING LEVEL ADJUST LEVEL AUTO MANUAL

EJECT • PL RY CHANNEL TUNE illir (UP. DOWN) AC POWER VCR TV tmrPrr ON SIDE . . SHARPNESS ADJUST 1111 1111/ 7

TIMER MODE ON OFF MEMORY REWIND ON OFF TRACKING ADJUST COUNTER RESET SLO W-MOTION TRACKING ADJUST INPUT SELECT L,I,L TUNER SIMULCAST AUDIO - TRANSPORT SPEED (SL LP 'EP) AUDIO OUTPUT MODE SELECT HEADPHONES L L&R R. HI-Fl/EDGE TRACK MIKE INPUTS (L, RI

TANDING AT THE TOP of unlike some other models, the VH- Quasar's VCR line, the VH- 5845XQ records at all three VHS S5845XQ provides VHS Hi-Fi speeds (another feature that may or sound and then some. For example, it's may not matter to you). the first such deck we've tested that is Special playback effects—freeze capable of recording edge-track stereo frame, frame advance, slow motion, as well as playing it back—a real plus and search—work best at the highest if you or any of your friends already and lowest speeds (SP and EP), but has a non-Hi-Fi stereo VHS deck. And SEARCH produces at least a O C T O B E R 98 4 49 Li... 11 11 11 11111 11111 11 11 11 111 N E W TEC H N OL O GIES

VCR SECTION recognizable picture in LP. At SP and you can review any preset with a single

Except where otherwise indicated, the recording data shown EP, the special effects are about the press of PROGRAM CHECK, which here apply to all three speeds—SP. LP. and EP (SIP), data listed best we've seen, with only very narrow sequentially displays the start and stop for standard edge-track audio recording were taken with the Dolby B noise reduction engaged All measurements were made noise bars in SEARCH and seldom even times, accompanied by a flashing at the direct audio and video outputs, with test signals injected through the direct audio and video inputs For VHS Hi-Fi. the a trace of one in the other modes. And channel number. In addition to its 0-dB reference input level is the voltage required to produce 3 percent third-harmonic distortion at 315 Hz. for the standard this without resorting to the "slow" regular programmer, the deck includes audio recording mode, it is 10 dB above the voltage at which the tracking control that Quasar has "one-touch recording." The first time automatic level control IALCI produces 3 dB of compression at 315 Hz The 0-0E1 reference output level is the output voltage thoughtfully provided in addition to the you press OTR (behind a front-panel from a 0-dB input normal-speed TRACKING. door), the clock switches from current VHS HI-TI RECORD/PLAY RESPONSE (-re dB) SEARCH can be operated at the time to countdown time and the • ,+.4•45,to 0 VCR by pressing FAST FORWARD or display's OTR legend illuminates. Each 5 REWIND from PLAY or at the wireless additional press on OTR advances the HZ 20 50 100 200 500 1K 2K 5K 10K 20K remote by means of separate buttons countdown by 30 minutes, to a +1 /12 , -3 dB. 39 Hz to 19 kHz (whose placement, unfortunately, maximum of four hours. The deck STANDARD RECORD PLAY RESPONSE (-211 dB)* makes them subject to accidental records the currently tuned program DO xo121 activation). Slow motion (forward until the sand runs out in the timer, at 5 only) also can be controlled either which point recording ceases, the VCR HZ 20 50 100 200 500 1K 2K 5K 10K 20K locally or from the remote, but you can turns itself off, and the clock reverts to — SP +IA -3 dB, 80 Hz to 11 kHz adjust its tracking only at the front normal. LP +Ma, -3 dB. 93 Hz to 7 kHz +1. -3 dB, 78 Hz to 6.2 kHz panel and its speed only at the remote. The Quasar's tuner is "cable

AUDIO S N RATIO (re 0-dB output; R P; A-weighted) And only the remote has a keypad for ready." You choose broadcast or cable standard" VHS Hi-Pr punching up a channel directly, reception with a four-position switch 53/12 dB 79/34 dB although scan tuning in either direction behind the door. In its broadcast mode, LP 52,/x dB 7914 dB EP 79 dB is available at the front panel as well. the tuner handles all the standard VHF INDICATOR CALIBRATION (315 Hz, VHS Hi-Fl) Other functions accessible either way and UHF frequencies (Channels 2 for 0-dB input include the usual transport modes, through 83); if you have cable, one of for -10-dB input antenna! VCR selection, and power the three CATV positions should DISTORTION ITHD at -10-dB input, 50 Hz to 5 kHz) standard VHS Hi-Fi switching. accommodate your service. When set SP S 1 50% . - A single, large fluorescent panel for cable (indicated by a CATV legend LP S 2 46% 0 69% gives an exceptionally complete 145%1 0.64% on the display panel), the tuner overview of system operation, receives the usual VHF channels (2 CHANNEL SEPARATION (MS Na) VHS H1-9 70 dB displaying the transport mode and through 13) and CATV Channels A standard 53 de channel in characters large enough to through W, AA through EEE, A-5 INDICATOR "BALLISTICS" be read easily from across the room. through A-1, and 5A, which lies Response time 24 msec Decay time 350 mses These are supplemented by motion between Channels 4 and 5. The last Overshoot 2 dB indicators—left- and right-facing can be received only on the HRC and FLUTTER (ANSI weighted peak; RiP; overage) arrows and a center square that lights IRC cable systems that use it. standard VHS Hi-Fl when the tape is stationary. A blinking The back panel supplies the SP 8% ± 0 015% LP t 0 22% <001% arrow denotes fast-wind, and when it is normal complement of inputs and EP t 0 25% <0.01% accompanied by the PLAY legend, it outputs: coaxial F connectors for VHF SENSITIVITY (for 0-dB output; 315 Hz) indicates SEARCH (high-speed playback) and cable, twinlead terminals for UHF, mike line VHS Hi-Fi 0 94 mV 250 mV in that direction; the center square and and pin jacks for direct audio and standard 1 4 mV 380 mV PLAY together signify freeze frame. video connections. In addition, there's AUDIO OUTPUT LEVEL (from 0-dB input 315 Hz) The same alphanumeric display also a subminiature phone jack for remote VHS Hi-Fi 1 6 volts serves as a dew indicator. pause from a camera and a five-pin standard 042 volt Illuminated legends elsewhere on DIN connector for Quasar's optional AUDIO INPUT IMPEDANCE (VHS Hi-Fi) line input 59k ohms the display tell when the deck is in the VE-585UQ CATV adapter, which is mike input 100k ohms audio-dub mode (edge track only), said to permit full use of the VCR's when it's in the VCR mode, when a functions (including programmability tape is loaded, the operating speed, and and watching one channel while when MEMORY REWIND is set. This last recording another) with regular TV and function is used in conjunction with the cable channels plus one scrambled display's four-digit electronic counter. channel. Presumably, the adapter Below the counter is a clock, complete enables you to loop a cable decoder with day-of-the-week legends, and a box into the RF feed to the VH- set of program-number indicators-1 5845XQ's tuner or your television set, through 7, plus "W" for weekly with automatic switching by the VCR. Laboratory data for HIGH FIDELITY'S video equip- automatic recording. A battery backup A multiposition "pay TV" switch is ment reports are supplied by Diversified Science Laboratories. Preparation is supervised by Mi- maintains the correct time for one hour supposed to be set to the output chael Riggs, Peter Dobbin, and Edward J. Foster. in case of power failure. channel of your descrambler box, if All reports should be construed as applying to The VH-5845XQ's eight-event you're using one. We assume the the specific samples tested. HIGH FIDELITY and Diversified Science Laboratories assume no tuner/timer can be programmed as switch is intended primarily for use responsibility for product performance or quality. much as two weeks in advance, and with the CATV adapter, but the 50 Circle 23 on Reader Service Card TO CREATE A BETTER DISC PLAYER,WE TURNED TO A HIGHER INTELLIGENCE. Introducing maintains the harmonic integrity of your the CD-2 source. With no loss of dimensionality. You compact disc can actually hear a more natural, spacious player And sound from your discs. Yamaha's proprietary 1.51 technology provides audibly superior playback and added the brains A related benefit of our proprietary LSI programming power that set it technology is user convenience. You can above all other compact disc players. choose from three different playback modes. We're referring, of course, to our proprietary Program the random-access memory system LSIs (Large Scale Integrated circuits). And in moments. And search for selections the approach they use to process digital (or individual passages signals. within a selection) at Most CD players convert the digitized the touch of a button. signals at a standard sampling rate of 44.1kHz. You also get wire- So they are forced to use a very sharp 50db/ less infra-red remote octave analog filter to cut off the unwanted control. Our 3-beam frequencies above 20kHz generated by the laser with LSI-based To match your decor and other components. the CD-2 is available 44.1kHz carrier signal. servo-control for in silver and black (both standard This process creates phase anomalies extraordinary tracking component size). which degrade the harmonic structure of accuracy. And a sleek, component-sized your music. You hear this as a loss of package. dimensionality What's more, if you don't require the CD-2's So we came up with random access programming, or a remote, an intelligent solution. you can enjoy all this sound-improving Our YM-2201 LSI. It technology in the CD-X1. At an even lower doubles the sampling price. (CD-2, $599*; CD-X1, $499*) rate to 88.2kHz and uses So visit your Yamaha dealer today. And hear an on-chip digital filter. for yourself why our CD-2 is the most intelli- This over-sampling elimi- gent way there is to listen to compact discs. Girdles: infra- nates phase distortion and contro. a standard equipment. YAMAHA *Suggested U.S.A. retail prices Yamaha Electronics Corporation, USA, P.O. Box 6660, Buena Park, CA 90622 111 111

N E W T E C H N O L O G I E S

VIDEO RECORD PLAY RESPONSE SP LP EP

al 500 kHz ' 4 dB + /14 dB +1/4 dB

at 14 MHz 1/14 dB -2 /12 dB -2 3/4 dB

at 2.0 MHz 6 dB -7 1/4 dB :7 /14 dB

at 30 MHz 10/14 dB -13 dB -13 dB

at 3.58 MHz -19 dB -193/4 dB -5 dEitt at 42 MHz tt tt tt

SHARPNESS CONTROL RANGE

at 500 kHz • 1' = 2 dB at 1.5 MHz + 4 7 dB

at 2.0 MHz +4, -9 3/4 dB

at 3.0 MHz +3, -5 /12 dB 3.58 to 4.2 MHz no measurable effect

LUMINANCE LEVEL 4% high

GRAY-SCALE NONLINEARITY Iworst case) -15%

CHROMA LEVEL standard

CHROMA DIFFERENTIAL GAIN none

CHROMA DIFFERENTIAL PHASE COLOR ACCURACY of the VCR section (left) is the best we have seen, with all six

MEDIAN CHROMA PHASE ERROR color vectors (the white blobs near the edge of the grid) precisely on their targets. The tuner's performance (right) is less impressive, but still good. Some loss of TV TUNER SECTIO N chroma level (color saturation) is evident, as is a small to moderate amount of phase (hue) error. However, most of this (the attenuation, especially) can be eliminated All measurements were taken at the direct audio and video outputs, with the automatic level control (ALC( turned off except with a monitor's color and tint controls. where noted

AUDIO FREQUENCY RESPONSE

DO - 0 V.•54.8a0 —5 manual is not clear on this point. in stereo on the edge track as well in Hz 20 so too 200 500 1K 2K 5K 10K 20K Audio inputs and outputs are in VHS Hi-Fi, Diversified Science + /12 . -3 dB. 45 Hz to 7 7 kHz

AUDIO S N RATIO (A-weighted) stereo pairs. Audio output is selected Laboratories made all its audio best case (no video signali 59 dB using three mutually exclusive measurements in the stereo mode. In worst case lmultiburst signal)37 dB pushbuttons, which determine whether the past, DSL has detected small RESIDUAL HORIZONTAL SCAN COMPONENT (151 kliz) playback is in stereo or the left- or amounts of mistracking in the operation ---100 dB right-channel signal is fed to both of the VHS Hi-Fi noise reduction MAXIMUM AUDIO OUTPUT (100% modulation) Alt off 1 3 volts outputs. Another pair of buttons selects system, but it found no such anomaly ALC on 036 volt Hi-Fi or edge-track playback. But even in the Quasar, whose Hi-Fi frequency AUDIO OUTPUT IMPEDANCE 990 ohms if you choose Hi-Fi playback, the VH- response is the same at all recording VIDEO FREQUENCY RESPONSE 5845XQ automatically switches to the levels within the test range of —10 to at 500 kHz dB edge track if it can't find a VHS Hi-Fi —40 dB. This leads us to conclude that at 1.5 MHz • . dB at 2.0 MHz • '41 dB signal. A series of lamps indicates your the gradual rolloff below 100 Hz and at 3.0 Milt -/12 dB selections. the broad peak centered on 10 kHz are at 3.58 MHz -444 dB

at 4.2 MHz -183/4 dB When the deck's four-position errors contributed by the audio

LUMINANCE LEVEL 2% high input switch is at its audio setting, the electronics or the VHS Hi-Fi

GRAY-SCALE NONUNEARITY (worst case) -12% VCR generates its own video modulator/demodulator circuitry. And

CHROMA DIFFERENTIAL GAIN =25% synchronization signals, enabling you though negligible by normal standards CHROMA DIFFERENTIAL PHASE ±5° to use it as a straight audio recorder. (certainly inaudible), measurable

CHROMA ERROR The line setting selects the direct audio amounts of flutter were evident at the level phase and video inputs for rerecording, audio SP and LP speeds in the VHS Hi-Fi red 2 dB • 4 magenta 2 dB dubbing, and camera recording. The mode—a first in our experience. blue 114 dB tuner position is used for regular TV Naturally, flutter is much worse on cyan 2/12 dB +8' recording with monaural sound, the edge track, but we are very green 2' 4 dB +7° yellow -3 dB +7° whereas "audio two-channel" enables impressed with the VH-5845XQ's non- median error -2141 dB +4 14° you to record video from the tuner and Hi-Fi frequency response, which is the uncorrectable error %,14 dB t 3/12 ° audio from another source, such as an smoothest and most extended we can 'With Dolby on Response with Dolby off is within /12 dB of the response shown over the ranges specified FM tuner receiving a simulcast recall for any VCR running in its linear Signal-to-noise (S/N) ratios without Dolby B are 46 dB in SP, 44 transmission. recording mode. What's more, the dB in LP, and 41 dB in [P—a deterioration of 7/12 to 9 dB tDistortion could not be reliably measured at 5 kHz in EP You also can choose whether to response with Dolby (shown in the data t tLevel was too low to measure at 42 MHz Output at 358 MHz use the VH-5845XQ's automatic level column) is virtually identical to that was unstable in EP, the figure given is a peak reading control (ALC) or manual recording- without, so there's no reason to forgo level sliders. When active, the ALC the marked and clearly audible determines the levels on both the edge improvement in signal-to-noise (SIN) and VHS Hi-Fi tracks. You also have ratio that it affords. And considering the option of using Dolby B noise the narrow, closely spaced tracks used reduction on the edge track, which for stereo recording in this mode, the causes a green lamp on the front panel measured separation is remarkable. to light. As usual, DSL set VHS Hi-Fi Because the VH-5845XQ records recording levels with the recording- 52 Circle 4 on Reader Service Card CONTINUOUS PLAYBACK AND RECORDING. Auto-reverse was a great idea. Quick-Reverse is a better one. It not only changes tape sides, it does something even more miraculous. It eliminates interruption between sides! A to B in 0.2 secs! Aiwa engineers achieved this remarkable feat two ways: First, Aiwa's AD-R550 does its changing act fast: just 0.2 of a second from one side to the other! That's just half the story. Just before the tape leader reaches the heads, a photo- electric sensor activates Aiwa's Quick-Reverse mechanism. That way, instead of giving you 15 seconds of leader, Aiwa gives you something unheard of...continuous playback and recording! DOLBY MX PROFESSIONAL With Dolby • HX Profes- sional, normal bias cassettes you record on the AD-R550 will actually outperform expensive chrome position tapes recorded on conventional decks! What's more, they can be played back on any deck, with the same superior results.

• 'IA. ••77.440.10 uf`lt UNPARALELLED PERFORMANCE MATCHED BY UNEQUALLED CONVENIENCE. Activate Aiwa's unique Blank Skip feature and the AD-R550 will automatically move into Fast Forward mode •EVE R5E when it senses more than 12 seconds of blank tape. That

• MsorTE. way it skips any long pauses. The Aiwa Quick-Reverse AD-R550. Catch it at your Aiwa dealer. 'Dolby is a trademark of Dolby Labs.

SIMPLYADVANCED 35 Oxford Dr. Moonachie, N.J. 07074 Quick-Reverse: Aiwa's latest inn()\ -;it i n in iligit;11 -roady rae1 t decks. In Canada, Shriro (Canada) Ltd. N E W T E C H N O L O G I E S

sharpness control on the side of the deck functions only for playback but does provide a means of heightening detail (with some increase in video noise) or reducing graininess (at the expense of crispness). Its maximum effect is around 2 MHz, but the total range extends from 500 kHz to 3 MHz. Chroma level is right on the money, luminance level very close to standard, and there's no measurable color error or chroma differential gain and phase. The TV tuner's video performance is quite good, too. Response holds up very well to 3 MHz and is down just COLOR CONSISTENCY of the VH-5845XQ's recorder section (left) and for its TV tuner slightly at 3.58 MHz, suggesting that it (right). In each case, the ideal would be for the cluster of dots toward the left edge of could deliver a horizontal resolution of the grid to be a single dot at the intersection of the nine-o'clock axis with the circumference. The radial spread of the dots indicates chroma differential gain a close to 300 lines if connected directly measure of how much chroma level (color saturation) varies with changes in scene to a good monitor. Luminance level is brightness (luminance). The angular spread shows the chroma differential phase, almost exactly on standard, and gray- which tells how much chroma phase (hue) shifts with changes in brightness. The scale linearity is much better than VCR's performance is, again, perfect, and the tuner's is excellent, with nearly all of average. There's a bit of chroma the error concentrated at the highest brightness level. differential gain (indicating variation of color saturation with scene brightness), but only at the highest luminance level, where it's likely to pass unnoticed. level sliders but used the automatic Chroma differential phase (hue level control on the edge track. The variation with brightness) is lower than ALC holds the level very "tightly" average, and color accuracy is quite once it comes into play. Subjectively, good in both phase (hue) and level it does an adequate job of preventing (saturation). A slight touch-up at a overload without totally destroying monitor's tint and color controls is all program dynamics. that's required to produce a very good When controlling recording level picture. manually, you must rely on the deck's As with the VCR section, audio fluorescent bar-graph indicators. The performance is less impressive than the meters are calibrated over an video. For example, the VH-5845XQ extraordinary dynamic range (from exhibits no measurable scan whistle, below —50 to +10 dB). but DSL but at the expense of a high-frequency reports rather poor accuracy in the rolloff that becomes quite steep above important region around 0 dB. For 10 kHz. The low end also falls off example. a 10-dB change in input level prematurely, and DSL noted altered the meter reading by only 4 dB substantially more distortion than we (from —2 to +2). The display responds normally find in a TV tuner. very quickly, with a modest amount of Fortunately, it consists mainly of the overshoot. Actually, the overshoot is a relatively benign second harmonic. blessing in disguise, given that DSL The Quasar VH-5845XQ is not a measured midrange distortion of 3 perfect VCR (we haven't found one percent at an indicator reading of only yet), but in several important aspects of +2: Don't push the level beyond meter video performance it is among the best zero if you want clean recordings. we have tested. Plus it's very flexible Distortion drops substantially at and, despite apparent complexity, easy reduced levels (suggesting that the to use. Audio performance is not all overload may be occurring in the audio we might have hoped for, but the circuitry); at —10 dB, it is 1 percent or Quasar's VHS Hi-Fi system is less from 50 Hz to 6.3 kHz. unusually free of tracking error. Video recording performance is Certainly it makes recordings far among the best we've seen. Response superior to what you could get on the is quite flat to 2 MHz, and there's edge track. So if you want a versatile usable output to 3 MHz at all three unit combining excellent video speeds. (The relatively high output at performance and high fidelity audio 3.58 MHz in the EP mode is too recording capability, the VH-5845XQ unstable to be relied upon.) The deserves your serious consideration. HF Circle 19 on Reader Service Card e. The NAD 7140 Digital Stereo Receiver,

"Take one part Schotz tuner wizardry, lots of dynamic headroom and the bargain price, and you get one h--- of a receiver." iStereo Review Magazine)

Nearly twice as sensi -ive in Soft clippiig reduces the FM stereo as other race v- harshness nornally heard ers. 50 dB stereo quieting Exclusive NAD impedance when an amplifier is over sensitivity is typically only selector to deliver maxi- driven. The sound remains 22 pV, and maximum stereo mum power into any clear and musical, rather quieting is 80 dB. speaker impedance. than becoming distorted.

Bass EQ circuit augments Dynamic Separation circuit High-currert ot.tput stage, the deep-bass response ol maintains full subjective able to deliver peak cur- speakers while infrason c stereo separation while rents grea -er than 30 am- filter preserves maximum improving the quieting peres for precise control of power for music. of weak stereo signals. voice coil with speaker impedances as ow as 2 ohms.

The 7140 represents the best value in a receiver in NAD's history. Rated at 40 watts per channel with 3 dB of IHF dynamic headroom, this powerful new receiver is able to deliver twice its rated power (80 watts/channel) over short peaks. Add to this NAD's unique Dynamic Separation circuit, bass EQ and remarkable sensitivity and you have a product that Julian Hirsch of Stereo Review Magazine cells "unmatched at its price."* • Suggested retail is under $500. Prices may vary according to dealer. cor more information on the NAD 7140 and a list of dealers, send us he coupon below.

NAME

NAD ADERESS

CIT STATE ZIP

NAD (USA), INC., 675 Canton Street, Norwo3d, MA 02082 N E W T E C H N O L O G I E S

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N •*'101 . NI mfr. - .... It MIL MIA II IMM6.. a, OM EN Willaft.

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FASCINATING AND inexpensive Aintroduction to digital sound creation, the DX-1 sound processing system from Decillionix differs from most other computer music-making Digital sound recording,01 real-time playback, and sequencer systems by virtue of its ability to record real sounds, which then become functions in an add-on package for the Apple II computer the digital building blocks for a variety of interesting effects. You need an Apple 11 computer to USC the system. eight high-quality percussion third menu option, is where things but the combination gives you a degree instruments—snare drum, bass drum. really start to get exciting. In this of creative control usually found only wood block, cowbell, two tom-toms, mode, an individual sound can be in dedicated professional devices. and two cymbals. The main program played in real time by tapping the The DX-I package ($239) consists menu then offers you three options for Apple's keyboard. The sound appears of a circuit card, which plugs into one accessing the percussion sounds. on a pair of keys, enabling you to trill of the expansion slots inside the Apple. First, you can tie the sounds to or "roll" it quickly. and several disk-based programs. The one of 12 rhythm patterns and adjust The two-key approach is also circuit board contains the necessary speed and volume to your liking. In the integral to the recording feature. With analog-to-digital (AID) and digital-to- second option, you can arrange the the system in the recording mode, analog (D/A) converters, a mini jack sounds into any of eight special-effects for line-level or microphone inputs, patterns, three of which I found and a rotary control to adjust the particularly interesting. "Cycle" plays sensitivity of the system for different each of the preset instruments in inputs. Audio output appears at a sequence with increasing speed and standard RCA phono jack. and a cable pitch. "Falling Object" repeats one is provided for routing the signal to an sound faster and faster, as if it were a amplifier or tape recorder. ball bouncing on the floor. And You begin your session with the "Forward/Backward" plays a sound DX-I by booting the program disk, normally and then in reverse, an effect which automatically loads the Apple's similar to that obtained by rocking an memory with the control program and open-reel tape back and forth. a preset library. or "soundbase." of "Real Time Record/Play." the 56 1111 11 11 11 11 111 NEW TECHNOLOGIES

striking the left-hand key of a pair Decillionix sells his sing e-disk turns on the recording function for a program, called Echo, for $150. Echo specific chunk of memory. The system takes incoming analog sounds and waits until it "hears" a sound, either THE DX-1 CIRCUIT CARD fits into one loops them through the Apple's from a microphone or an external line- of the computer's expansion slots memory in a variety of ways to create level source. The sound is then (opposite, bottom). Author Lehrman real-time sound effects—some of digitized and loaded into memory. tests the system's fidelity with a which can be very complex and pitch pipe (above). When the allocated memory space is spacey. Its functions are adjusted with All PHOTOS BY MICHAEL ROMANOS ROMANOS MICHAEL BY PHOTOS All full, the Apple's speaker beeps and the game paddles or the Apple's keyboard, recording stops. Striking the right-hand or you can even set the program so that key of the pair then lets you play back it operates randomly. The Echo your digital recording. Loading a sound of the recording input is adjustable so documentation is sketchy. but into a section of memory erases what's that stray noises do not accidentally Swearingen says that's the point: The already in there, but since each new activate the recording function. program can make sound jump through sound can be saved on disk, nothing But recording and real-time literally an infinite number of hoops, need be lost. playback are just part of the DX-1's and it's up to you to discover them. appeal. The system's built-in sequencer The DX-1 is a remarkable device HE SOFTWARE gives you a great program helps you create some fairly for computer hobbyists and those of Tdeal of control over the recording complex compositions. As many as you who are looking for an economical and playback functions. The amount of eight sounds can be individually way to experiment with digital sound memory set aside for each sound can controlled in pitch, duration, volume, recording. With the proper interface, be specified individually—anywhere and direction. You can order the whole sounds recorded by the DX-1 could be from one byte to a maximum of 24,000 sound or just a part of it to be played, passed on to more complex synthesizer bytes (the total amount of memory left or string it together with another programs, such as the AlphaSyntauri, after the DX-1 control program has sound. Once all that's done, the for elaborate modification and been loaded). The sampling rate also is sequencer gives you 16 control steps. keyboard-based playback (see "The adjustable, from 780 Hz to 23.2 kHz Each is capable of ordering one of the Alpha and the Apple." September (for a maximum signal bandwidth of eight sound events to repeat as many as 1983). And it's not hard to imagine 11.6 kHz). At the slowest sampling 254 times before moving on to the next some enterprising "hacker" coming up rate, the system can store about 31 one. Sequences can be stored on disk, with a whole generation of special- seconds of sound, but with very poor and because they are handled effects devices built around the system, quality. At the fastest speed, maximum separately from the soundbases, they including phasers, flangers, digital recording time is slightly more than can be used to play any group of delays, and reverberators. one second. sounds. For more information about the The playback rate for each sound Another program available for use DX-1, you can call Decillionix at (408) can be specified as well, which enables with the DX-1 hardware has been 735-0410. The prerecorded message you to alter pitch over a range of more developed by Paul Swearingen. an you'll hear gives you a guided tour than five octaves. The "trigger" level independent software writer. through the DX-1's functions. HF O C T O B E R 19 8 4 57 reproduces music so realistically you'll think ycu were at the original recording session. WHO WOULD Since a sophisticated optical laser never makes contact with the disc, all surface noise HAVE THOUGHT from dust and scratches is eliminated. And because the music is processed digi-ally, distortion is essentially nonexistent, IT COULD TRIGGER resulting in the drama of a live performance. In addition, the P-D70 contains all the A REVOLUTION ultra-convenience features of a player so sophisticated and futuristic. IN SOUND. But of course, it's what you should expect Remember when laser technology was from a compact disc player from Pioneer. the stuff that made for good science fiction? After all, we developed laser optics Well, it isn't fiction anymore. digital electronic technology for our revol Because Pioneer has harnessed the same ary LaserDisc brand video disc player. used to blow space creatures away, And that was back when m • y. were of the opinion that lase 70.A compact disc player that fiction than science.

(40 PIO N E E R Because the music matters. C 1914.1 Eh., tr, I • C D P L A Y E R S H O W T H E Y C O M P A R E

THOUGH THE COMPAC I DISC system across bands (forward or backward) via remote control. In several players, the delivers remarkable and strikingly a stepper. those that combine numerical keypad for direct access and uniform performance from player to sequential stepping with a programming is built into the remote, player, its capabilities have resulted in programmable memory for automatic not the deck itself. We have not noted anything but uniformity in convenience playback of desired selections, and these players separately, preferring and music-access features. Unlike those that provide a keypad for direct instead to describe the capabilities of analog record players and cassette access to any band and the ability to the whole system. "Loop" is our term decks, whose performance and features program selections via band number. for a sequential memory function that usually are tied to price, CD players Which music-access system is enables a deck to play or repeat any today defy such categorization. Even a preferable? In our experience, classical continuous segment of a disc. With cursory glance at the accompanying music discs rarely contain more than a such a feature, you can even order a guide to 58 models reveals the extent handful of banded selections, so player to repeat a phrase just two or of the diversity, with some very steppers are easy to live with. But for three seconds long. A repeat button inexpensive models vying in features pop CDs, most of which have at least serves a different purpose, causing with ones costing much more. ten selections, steppers can be a either the whole disc, a band, or a For your convenience, we have nuisance. Programmability can be programmed sequence to replay organized the guide by price. As with thought of in a similar way. Pop music indefinitely. Pitch control is a very rare other audio components, however. listeners may feel hamstrung without a feature, but if playing or singing along published CD player prices are hardly way to separate the wheat from the to recorded music is your thing, you absolute. Considering the volatility of chaff on a typical recording. Classical might want such adjustability. And the market, don't be surprised to see listeners, however, must also consider whether you intend to stack your player some of the expensive players the vexing CD indexing situation. among other components or keep it (especially those first-generation According to standards formulated separate (or atop the stack) is the machines introduced more than a year by Philips and Sony for the Compact important factor when deciding ago) being offered at retail for several Disc system, electronic index marks between a deck with a horizontal, hundred dollars less than shown here. can be used by the producer of a CD to front-loading drawer or one with a top- Still, bargains are relative to what you delineate selections contained within a mounted disc well. Players with get for your money, so the important longer, banded work. An opera vertical front-loading systems are part of our guide is the description of recording, for example. might contain quickly disappearing. each player. bands for each scene and index Finally, though we have tried to Most of the features we cite relate numbers for quick access to favorite be as accurate as possible in our to a player's ability to get to the music arias within them. Without index- features breakdown (an effort not made you want to hear. With an LP, it's search capabilities, a CD player is any easier by some manufacturers who relatively easy to find a specific cut: blind to these notations, and finding remain remarkably confused about the Just eyeball the grooves, then move the the desired selection (via fast-forward capabilities of their own machines), tonearm to the desired band. A controls, a standard feature on all this listing cannot tell the full story of Compact Disc has no visible marks to decks) can be painfully slow. Even a complicated player's capabilities or point you in the right direction; more frustrating is attempting to find limitations. Because of the comparative instead, all the data about what's on such selections without the help of an nature of the guide, players as the disc are contained in a directory audible search function that lets you exceptional as the Toshiba XR-Z70 coded into its beginning. Several CD know when you're getting close. And lose some of their uniqueness. In our players will display some of this there are CD players that will display test of the machine (July), we were information, giving you the total index numbers but that give you no particularly delighted at its number of selections and the full way to reach them automatically. programming ease and flexibility (via playing time. And during play, some Theodore W. Libbey, Jr., our keypad or stepper). So use this guide machines will show you the elapsed or classical music editor, has more to say as a first step in your shopping efforts, remaining time. on the topic in "CD Indexing: A but when choosing between machines But that's only part of the story. Classic Betrayal" (page 68). with similar capabilities, only hands-on The universe of CD players is divided, The remaining features called out experience and a thorough reading of rather roughly, into three music-access in this guide are less critical to the the owner's manual (or our test report) categories: players that let you skip music lover—except, in some cases, will tell you which deck is for you. polar Debbi,

OC T O B E R 198 4 I. C D P L A Y E R S H O W T H E Y C O M P A R E

i " - • II ir

Skip Forward/Sack • • • • • • • • • • • • • • • • •

Audible Search • • • • • • • • • • •

Intro Scan • •

Direct Access • •

Pause • • • • • • • • • • • • • • • • •

Programmable • • • • • • • • • • • •

Number of Selections 15 15 15 23 15 12 23 12 16 15 15 15

Loop' • • • • • •

Timer Play • •

Headphone • • • • • • • •

Line-Out Level •

lbsumete

Pitch Control

Index Search • • • •

Repeat • • • • • • • • • • • • • • • • •

Leads V, II, r HHTHHHHTHHHHHHHHH

Current Track Display • • • • • • • • • • • • • • • • • L_ — Total Track Display • • • • • i • • • • •

Elapsed Track These • • • • • • • • • • • • • • . . Elapsed Disc Thee • • • • • • • • •

Remaining Disc Tim. • • • • • •

Index Needier Display • • • • • • •

Next Selection Display.' • • • • • • •

1. Two-step sequential me mory. Enables you to progra m any continuous seg ment of a disc.

2. Disc-loading formats: Vertical (toaster style), Horizontal (disc drawer), Top (hinged compartment).

3. In progra m mable players, a display that enables you to see the next "scheduled" selection. Includes decks that allo w you to double-check

the full contents of the progra m med me mory before beginning the play cycle.

Manufacturer claims a 99-selection me mory capacity, which we doubt.

60 HI G H FID E LI T Y • • • • • • • • • • • • • • • • • • • • • • •

• • • • • • • • • • •

• • • •

• • • • • • • •

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• • • • 0, • • • • • • • • • • • •

15 0 23 23 15 10 15 15 24 15 15 15 32 10 12 15 15 16

• • • • • • • • • • •

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• • • • • • • • • • • • •

• • • • •

• • • • • • •

•

• • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • •

T H H H H H H H H H H H H T T H H H H H H H H H

• • • • • • • • • • • • • • • • • • • • • • • •

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• 4 • • • • • •

O C T O B E R 1 9 8 4 61 C D P L A Y E R S H O W TH E Y C O M P A R E

/7/7/7///((7/7/7/7/7/7/7/7/7/7/7h

Skip Forward/Back • • • • • • • • • • • • 4 • • • •

Audible, Search • • • • • • • •

Intro Scan • • • • • •

Direct Access • • • • • • • • • • • • • • •

Pause • • • • • • • • • • • • • • • • •

Programmable • • • • • • • • • • • • • • 0 •

Number of Solostions 15 15 15 18 18 15 15 8 83 24 24 24 19 8 0 24

Loop' • • • • P • • •

Thaw Plig • • • • • • •

Headphone • • • • • • • • • • • • •

Line-Out Level • • • • • • • • •

Remote • • • • • • • • •

Pitch Control •

Index Search • —0 0, • , • 0 • • • • • •

Repeat • • • • • • • • • • • • • • • • •

Leash V, tl, T2 H H H V H H H H H V V H V H H H H

Current Track Display • • • • • • • • • • • • • • — 11- 6- 4-

Total Track Display • • • • • tflt • • •

Elapsed Track Time • • • • II: • • • • • • • • • • •

Elapsed Disc Timm • • • • • • • • • • •

Remaining Disc Tinto • • • • • • • • •

Index Number Display • • 111, • • • • • • • • • •

Next Selection Display' • • • • • • • • • •

I. Two-step sequential me mory. Enables you to progra m any continuous seg ment of a disc.

2. Disc-loading formats: Vertical (toaster style), Eforisontal (disc drawer), Top (hinged comportment).

3. In progra m mable players, o display that enables you to see the next "scheduled" selection. Includes decks that allo w you to double-ch•ck

the full contents of the progra m med me mory before beginning the play cycle.

The SL-P15 is a change., capable of auto matic playback of SO discs. A 12-step me mory gives you eeeeee to specific discs and tracks.

62 Circle 10 on Reader-Service Card How? With ceramics technology—Kyocera's chassis—supporting and housing all compo- What else does the DA-910 offer? innovative method of ensuring steady laser nents and isolating vibration. Resonance si Infrared wireless remote control system. tracking—immune to vibrations. The bottom from the cabinetry is almost non-existent. • Three separate power supplies to allow line: total purity of sound. But Kyocera doesn't stop there. Digital complete isolation to critical circuits. Why ceramics? They're rigid and inert, so audio's technical requirements demand un- • Direct coupling (audio stages) for excellent they provide uncommon stability and resist- precedented circuit capability so we use fine low frequency response. ance to mechanical vibrations from audio ceramics throughout to further conquer vibra- • Floating horizontal motorized disc loading to feedback. They're non-ferrous, so there are tion. For example, all discrete hi tolerance further improve stability and accuracy from The new Kyocera DA-910 no chassis eddy currents to cause electrical audio components and the 3rd order BesseIle external feedback. Remote Control hum. analog filters are ceramic encased. • Separate digital to analog conversion for left The handsome ceramic-compound resin There are other material differences. In- Compact Disc Player. and right channels. base of the DA-910 CD player is actually the stead of an ordinary laminated E frame, we • 176.4 Khz quadruple over-sampling use a solid ferrite cutlass core power technology. transformer to cut • Quality digital and improved analog filtering eddy currents, for superior phase distortion performance. minimize flux leakage • Full feature programmable keyboard entry. and improve voltage Even before Kyocera added ceramics, the regulation. And DA-910 CD player provided remarkable instead of ferrous tops in ration purity With rtarnmiec, thol rAsultc nro truly metois, we use 10010aluminum and zinc astounding. Put it to the test at a selected chassis construction including a diecast Kyocera dealer now. laser head and a precision disc drive mechanism. Kyocera International, Inc., 7 Powder Horn Drive, Warren, New Jersey 07060, i n its track. (201) 560-0060

PLAY

PAC W O . P1AV Mi ni ! UL M'

MO M

1 11 1 11111111 1 TIM M IWO KYOCER2 0 0 er' f

/Mg alai II • i ND BASED ON CERAMICS. R E V I E W S

POPULAR COMPACT DISC

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Dave Grusin & Larry Rosen, producers "'PP Ri CRP 0 9504 I ivy oigital Compact Disci LP CRP C 100,

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Dave Grusin & Larry Rosen. producers OAF RFdonos GAP 0 9501

JOE BECK: Friends. Joe Beck & Tom Jung producers IDMPI CD

I producers were among the first advocates of digital recording. But as GRUSIN & SNOW: Are they blowing out true digital sound in "Night-Lines"? these three discs attest, the quality of true digital-to-digital CDs varies widely. Dave Grusin, a successful film and television composer and seasoned studio player, releases only true digital recordings By contrast, the latest from Tom DAVID on his GRP label. using his own multitrack Jung's tiny DMP line takes full advantage BOWIE: Let's Dance. equipment. Upon hearing these CDs under of its two-track digital master. Whether that David Bowie & Nile Rodgers. producers. [MI AMFACA CDP7 46002 2 his own name, however, you may wonder documentary format is intrinsically superior (analog recoraing. oigital Compact Disci LP SO 17093. reviewed why he and coproducer Larry Rosen go to to more elaborate systems. guitarist Joe 7/83 such trouble. Beck's ensemble brings out the CD's The instrumental format of "Night- superior distortion and signal-to-noise The sleek but visceral production finish Lines" mitigates any substantial characteristics. There's nothing comparable of David Bowie's first collaboration improvements in the transfer to CD. Its on the Grusin "Dream Band" tracks to the with Chic's Nile Rodgers proved to be one emphasis on keyboard stylist Grusin's visceral presence of drummer Gadd on of its commercial trump cards, giving the layered synthesizer textures limits bold "Friends." or the exploitation of CD's set a dance-oriented punch missing in the dynamic changes; the differences between open bass response by two evocative rock star's late '70s work. The album's this and analog disc or tape versions are players, Jay Leonhart on acoustic double evocative use of various subtle signal- barely audible. Guest vocalist Phoebe Snow bass and Mark Egan on fretless four- and processing methods, from echo to does enjoy added bite to her lusty vocals, as eight-string electric. compression, seemed to promise a digital does David Sanborn's alto sax, but engineer Add Michael Brecker's reliably delight, but the actual results are more of a Rosen's preference for a balanced but expressive tenor sax, Don Grolnick's lush draw. While "Let's Dance" demonstrates somewhat distant ensemble mix downplays acoustic piano. and leader Beck's electric how smart production sidesteps the potential any added nuance. guitar—which neatly spans both fluid jazz pitfalls of analog recording. it also The live "Dream Band," offering and denser, rock-inflected timbres—and the minimizes opportunities to exploit digital studio heavies Lee Ritenour, Steve Gadd, results are impressive, technically and techniques. Eric Gale, and Anthony Jackson, suffers the musically. While Grusin's objectives in If anything, the liberal use of echo on same fate. Grusin's breezy. upbeat fusion preparing his masters were doubtless shaped drums and vocals tends to mitigate any charts are well recorded and mixed—there's in part by the need to create conventional substantial improvement, as well as to just nothing dramatic about them that might albums, DMP's emphasis on CDs (the label obscure much of the putative reduction in show off the CD's technical abilities. also offers real-time cassette versions. but background noise. Hints of a positive no LPs) apparently freed Jung and Beck to transfer occur only during the quietest

For additional reviews of Pop and Jazz recordings. concentrate on a level of sonic realism that passages of Without You and between the

see BACKBEAT. shines on Compact Disc. — SAM SUTHERLAND blaring, staccato phrases of the title track: RECORDS GAP COURTESY

64 Circle 32 on Reader-Service Card 10. LI 11 11111111 Music just met its Master.

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elsewhere, the backdrop of synthesized PLA YIN G THE NA ME GA ME keyboards and shuffling percussion obviates If you've contemplated buying a Compact Disc player, it's a safe bet that any advantage. one of your first steps was to find out what you could play on it. Adven- turous listeners have doubtless been frustrated by the hits-oriented pop PAUL SIMON: catalogs, which have stressed com mercial clout over sonic polish. Hearts and Bones. How do major record companies decide which albums to release on Paul Simon Russ Tilelman & Roy Hales, producers. WARPOR Boos ording. digital Compact Disc) LP Compact Disc? The answers show how the financial gamble behind an

entirely new playback mediu m dictates a balancing act between aesthetic, aul Simon's best album in nearly a technical, and com mercial considerations. Most label executives say their decade. "Hearts and Bones" revives P initial conservatism in designing CD catalogs was based on past practice. the often cinematic use of sonics that According to the com mon wisdo m, software must help validate new and characterized his most vivid studio works with Art Garfunkel. To an already spacious, unfamiliar hardware by pulling the designs into acceptance; as was the immaculately detailed instrumental mix. case with the first stereo discs, it's familiar names, not spectacular technical effects, that spur broad market success. Consequently, most CD

titles are being chosen by marketers, not by the people who find and devel- op talent for record companies in the first place. CBS Records vice-president Jerry Shulman, who supervised market research before beco ming head of the corporation's CD program, explains,

"I personally chose the first hundred or so titles, as the guy in charge of

CD. I put on my research hat and looked at the kind of buyer we felt would be the system's first customer." That demographic model described him as twenty-six to forty-five years old, white, and relatively upscale. Shul- man then consulted existing research and "matched up artists against the

model." Still, he notes the screening process involved his own listening tastes. Although he took full advantage of available digital masters in CBS's classical Masterworks catalog, he says he wasn't aiming for audiophile buyers, "but rather for media-oriented baby-boo mers."

Production limitations have also dictated a hits-only approach in the past. Emiel Petrone, chairman of the Compact Disc Group and vice-presi-

dent in charge of Polygram's domestic CD program, emphasizes that "early on, we faced long lead times between delivery of tapes and finished product. So we went for recordings that had been gigantic sellers as LPs."

He adds that subsequent expansion of manufacturing capacity at Poly- gram's German plant is bringing the label much closer to simultaneous release for recordings in CD, LP, and cassette formats. "We're treating CD more and more as another sound carrier, end less as a special technology."

Some lesser-known titles are being developed for the young CD mar-

ket, however. David Steffen, A& M's vice-president of sales and head of its SIMON• still dynamically effective Compact Disc program, says that both newer, developing artists and certain specialized releases lend themselves to the configuration's programming characteristics. At the same time, Steffen does feel that older catalog titles need to be

Simon and coproducers Russ Titelman and assessed now, before CDs are a mass-market com modity. Because the cur- Roy Halee add mimetic sound effects— rent cost structure of the embryonic marketplace allows record compa- typewriters, automobiles, and synthesized nies to cover their costs after only a few thousand unit sales, the risk in accents—as dramatic devices. Such an testing older catalog items is still modest. Those that don't sell now, how- array provides an ample foil for this Compact Disc release, a fittingly crisp, full ever, will be unlikely to reappear as CDs in the future. rendering of one of the year's finest pop There is lingering resistance to the Compact Disc among some major recordings. recording artists. For largely political reasons, company sources seldom Simon has always had a broader discuss these superstar holdouts, yet executives confide that they are

dynamic sensibility than most of his peers. refusing to allow hit albums to make the crossing to CD. Labels had con- Here, Allergies moves from a hushed, free- vinced artists to accept reduced royalty rates until the high cost of intro- rhythm prologue into a propulsive, ducing the system could begin recoup ment based on sales; now the per- syncopated uptempo work. Muted synthesizers behind his opening vocal formers are impatient for a financial reassessment. emerge from virtual silence, while the The industrywide drop in software prices, initiated by such titans as emphatic drum accents that cap each verse CBS, Polygram, and the Warner-Elektra-Atlantic distribution group, brings cascade crisply from one side of the stereo the typical cost of a CD to below $15 and parallels hardware price reduc- array to the other. tions. Together, these trends should prompt a rapid proliferation of avail- That stereo separation and signal-to- able CD titles, ahead of schedule. —Sam Sutherland n( ke ratio should prove impressive is a

Al Circle 30 on Reader-Service Card 67

MA • M I •.• given for this configuration. What might have been more problematic are such half- heard but evocative elements as the quiet instrumental details and shimmering echo. Fortunately these remain unaffected, leaving the overall ambience of the original intact. Credit the producers use of digital mixdown from analog tracks for at least

part of this CD's unquestionable success.

N EW P OP CD s HASTINGS PETER DOHNANYI debuts with the Cleveland Orchestra in Beethoven and Schubert Because no store we know of carries every new pop CD, each month we will present a list of the latest releases. Most retail- this lean-cuisine approach is the imprint and ers can order your selections, CL A S SI C A L import of his conducting in the Marcia even if they don't stock them. Funebre. Right from the start. Dohnanyi CO M P A C T DIS C The list is compiled for us by the offers a bleak portrait of post-holocaust editors of THE NEW SCHWANN exhaustion. Eighth-note rests are held just RECORD & TAPE GUIDE from CDs BEETH OVEN : long enough to suggest the difficulty of Symphony No, 3, in E flat, Op. 55 ("Eroica"). that they have received —not continuing, the slowness of the journey to Cleveland Orchestra Christoph 11011 Dohnanyi, cond • from a record company's roster . Compact Disc) 'Jut rebuild. Constant triplets evoke the ritual shuffling of a funeral cortege. Even the of scheduled releases, which This is a puzzling introduction—at least dramatic brass calls (as at measures 159ff) may or may not be available. for me—to the Cleveland Orchestra's suggest the grief of Milton's fallen angel,

ALABAMA new music director, and a curious tilt at "Vaunting aloud, but rackt with deep

My Homes in Alabama Beethoven's most torch-bearing work. despair." The final expressive playing of

ALA ECU I 3644 To begin with the obvious, Christoph fragmented string phrases returns us wearied von Dohnanyi allows some of the most to the burning lake. It is not this hero's life, DAVID BOWIE startlingly casual string work and off-tune but his death we remember. Farce & Fashion IAII-Time Greatest Hits) brass playing I've heard from this orchestra. If only the surrounding movements once praised by Stravinsky for playing weren't so bleached out. . . Young Americans "right in the middle of the note." — THOMAS W. RUSSELL III Admittedly, the Trio's horn calls are The Rise and Fall uf bogy Stardust mercilessly exposed—and yes. Beethoven's and the Spiders From Mars BEETHOVEN : race-you-to-the-end finales (the Ninth, the Symphony No. 8, in F, Op. 93. Appassionata. Fidelio) are hard to play in JOHN DENVER time and in tune—but this sounds like a SCHUBERT: Greatest Hits Haymarket Anarchists' convention. Symphony No. 8, in B minor, D. 759 RCA ECU I 1074 Still, one could excuse as nugatory a ("Unfinished"). Cleveland Orchestra. Christoph von Dohnanyi, cond Robert DARYL HALL & JOHN OATES few hasty errors in the white heat of Woods. prod I 1. ARM fully do; • . ' DISCI t' (1'31 Greatest Hits Rock 'n Soul Pan 1 passion. But that hardly seems the point here. There's certainly speed in the outer A lot of eyes and ears are directed at three movements, but at the sacrifice of Cleveland this season as Christoph von JEFFERSON STARSHIP gravity and of shaping detail. Dohnanyi takes over the orchestra there, Nuclear Furniture The first movement is particularly challenging the shadow of George Szell and maimed, its quick bursts of energy bound the more recent and still reverberating

RONNIE MILSAP and gagged. Beethoven's explosive presence of Lorin Maazel [see last month's Inside Ronnie Masao sforzandos, diminishing often with equal MUSICAL AMERICA edition]. Judging from LI 4.11• suddenness, are here soundly muted. Jagged this recording, Clevelanders old enough to contrasts in texture are smoothed out, remember the Szell days, as well as THE ounaws contours eroded, fault lines concealed. And listeners of fresher vintage, will have some The Outlaws Dohnanyi everywhere softens the rhythms: adjusting to do. The air fairly crackled in Where some conductors in effect double- Severance Hall in years gone by; today, it POINTER SISTERS dot, he does the opposite, shortening promises to be somewhat more soothing. Break Out quarter notes, lengthening sixteenths. The The Beethoven Eighth offers a happy RCA KU 1-4/115 result is an Eroica that is no revolutionary basis of comparison, as Cleveland versions fanfare-for-the-19th-century. but a work by all three conductors are now available. STYX eminently . . . well, respectable. The contrasts are easily perceived. Best 01 Comfortable. There is no sense here of Dohnanyi emphasizes smooth surfaces, RCA PCB 1 3597 perilous harmonic energies overcome, of creamy tone, a sober and urbane handling SYLVIA foreign key areas faced and conquered. of rhythm (nothing exaggerated, nothing Just Sylvia Perhaps Dohnanyi feels the opening unkempt). and has a tendency to let inner RCA PCD 1-4312 Allegro's Promethean exertions have been and sometimes bass voices drop into overrated. In any event, the exception to (Continued on page 72) 68 Circle 25 on Hirador-Sorvico Card NOT JUST ANOTHER PRE 1 Y

FACEPLATEThere are a lot of people putting decks ever since there was a cassette. tion * direct-drive motors, auto reverse, their names on the front of cassette And because we also make pro- cobalt amorphous heads, and program- decks these days. fessional recording equipment, you can mable search and memory systems, But, quite frankly, it's much expect to find more professional fea- to name a few. easier building faceplates than it is build- tures included on a Teac for your home. So ask yourself this: Do you ing cassette decks. So when it comes to In fact, we were among the want a row of matching faceplates, buying one for your system consider first to offer cassette decks featuring or do you want a cassette deck that this: Teac has been building cassette bui_t-in dbx* and Dolby noise reduc- can't be matched?

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CD INDEXING: A CLASSIC BETRAYAL

It was touted as a way to make Compact Discs easier to play than conventional LPs, and some manufacturers have taken full advantage of it. But the world's largest CD producer has left listeners in a lurch by not using the feature as it said it would.

HEN SONY AND POLN'GRAM launched some machines can take a good 20 minutes Anyone who spent extra money for a W the Compact Disc, they understood of your time. Decca should have banded CD player with index capabilities in the that its commercial success would depend to each of the ballet's three tableaux and days when indexing was a highly touted a significant extent on the "hard-core" indexed each of the dances—or, at the very feature has every right to feel cheated by classical audiophile, traditionally the least, indexed each of the tableaux if it these developments. And that listener now bellwether of the audio industry. As a felt it had to present the whole ballet finds himself in the middle of a vicious result, they designed into the disc/player in a single band. Ravel himself published circle, because today, only a handful of protocol a number of features intended to the third tableau, consisting of three parts, machines are being offered with indexing. appeal to him, one of the most important of as Suite No. 2—but Decca/London's CD Polygram must shoulder much of the which was indexing. Not quite two years does not permit the listener to hear it responsibility for that, too, because the into the revolution, it is obvious that the that way. hardware manufacturers are building their industry giants have betrayed the classical This example of index phobia is a machines to conform with what the major listener on the subject of indexing, even particularly bad one, but there are many record companies are putting out. though he has borne the CD standard others, including several from outside the Even if you don't have the index loyally. Polygram group. For instance, Telarc fails feature on your CD player and don't want Internal indexing, as originally to index the Poco Adagio of Saint-Sadns's it, you could be inconvenienced by conceived, was to be a secondary and Organ Symphony. True, sections of this Polygram's current band-it-instead-of-index- highly useful method of random access to symphony are meant to be played through it philosophy. One of the most offensive the program material encoded on a CD— without a pause, but that doesn't mean they examples of this is Deutsche making the CD, in theory at least, more shouldn't be individually and directly Grammophon's new CD-only version of the convenient to use than the LP. According to accessible. Mahler Ninth, recorded live by the Berlin guidelines Polygram drew up before it began production of Compact Discs, band numbers were to be given to each composition on a multiwork disc and index points were to be assigned to separate (1875-1937) , movements or constituent parts of each MAURICE RAVEL composition. Where a single work appeared on a disc, band numbers would be used for DAPHNIS ET CHLOE the movements, and index points could, at (Complete Ballet • Ballet complet • Vollstandiges Ballett) the producer's discretion, mark important subdivisions within those movements. This Orchestre symphonique de Montreal makes good sense, since many classical CDs offer multiple works, each with Choeur de l'Orchestre symphonique multiple movements, while some contain larger symphonic works with lengthy de Montreal movements that invite access at various middle points, such as tempo changes, Chorus director • Maitre de choeur • Chorleiter: Rene Lacourse important thematic statements, and Solo flute • Fliite solo • Soloflote: Timothy Hutchins the like. Unfortunately, the software CHARLES DUTOIT manufacturers—led by Polygram —have progressively dispensed with the internal Part I • ler tableau • Teil I indexing feature. (Indeed, I cannot think of a single Polygram CD that ever used it.) Part 2 • ame tableau • Tell 2 The rationale appears to be one of Part 3 • 3eme tableau • Teil 3 (55.57) convenience: not for the listener, but for the manufacturer. Polygram has embarked on a confused policy of providing little or no access to parts of works that clearly call for Recording Producer • Directeur artistique • Aufnahmeleiter: Ray Minshull Sound Engineer • Ingenieur du son • Toningenieur: John Dunkerley. it, or, in recent issues, of substituting extra Cover • Couverture • Titelseite: Shepherd watching a Sleeping Shepherdess bands for index points. by Francois Boucher by permission of the Wallace Collection, London. The prime example of inadequate WARNING C:opt nen tn All I/EGCA (;R(H.•P ret.minnes un.inthorterd loo.tdr.onng, publo fog, tut we. rop ing access, often cited, is Decca/London's re-recording thereof l'01.411t1 I, en sofrottnnnent oit opt emelt And .111 render the infringer Iteble to an Artetto of 1.to Liven( r. Fn. pulthe nee or ImAnk Aso tot mat he oln Anted fon n Phonogrephn PrelorniAncr I .ta Galloon K RIM% 14-22 Canton Street. I.ondon stupendous CD of Daphnis et Chloe, with t-IS' ;13 In the I: nted S %mem A onanittot teed rep., el II( rn online prohtheted I.. Feder.11 Lt. atnl wince, to the Montreal Symphony Orchestra under etimoronl proven... Charles Dutoit. The disc has one band and no index points. Thus the only way to get to the Danse generale, the ballet's brilliant POLYGRAM'S CD of Daphnis et Chloe offers the nearly hour-long ballet in a single concluding section, is by fast-forwarding band. The tableaux are listed on the liner, but the disc denies access to them. through 50 minutes of music, which on 70 HI G H FI D E LI T Y 11 1111 1111 111111111111111

N E W T E C H N O L O G I E S

Philharmonic and Herbert von Karajan. The say it should be, the first movement would to be banded, and sections within them first movement is divided into eight bands, have been Band 1 and each of the divisions (recitatives, arias, ensembles) separately the second into seven, the third into seven, would have been indexed—making repeat indexed. Where excerpts or parts of two or and the fourth into eight. Admittedly, this is play a simple matter on any machine, while more acts are contained on a single CD, or better than having just four bands, with no still enabling the listener with a player where the music is continuous, each access points within each movement—but it equipped for indexing to advance or return individual excerpt or the complete act is still unacceptable. Suppose you want to to any major point in the movement with a should carry a band number and the hear the second movement only. Simple: single command. important subdivisions should be indexed. Just load the first disc and press 9—that's There is marvelous potential for the Polygram is.right to leave such right, 9—and hope that your machine indexing feature in opera CDs, but so far, it determinations to a set's producer, but doesn't hiccough six times, between bands hasn't been tapped. Take Philips's highly wrong to let its producers avoid them 9 and 10, 10 and 11, 11 and 12, etc., all praised CD rendition of Barbiere di altogether. And it should insist that more arbitrarily (but intelligently) selected points Siviglia. The absence of indexing is only care is taken with what gets printed on marking tempo changes or important cues the most distressing of several shortcomings discs, liners, and librettos. within that movement. in the set's presentation, all of which point Happily, not all CDs fall short of The real problem occurs if you want to to a lack of concern for the listener: The Polygram's indexing guidlines. Especially repeat a single movement—say, the first. libretto booklet contains no references to in Japan, the feature is being used as it CDs and CD players were designed to make band numbers; the band information printed should, with results that are gratifying to this easy: Theoretically, you program your on the discs is not always correct; and the the listener. Take Denon's CD of Andras machine to memorize the band number of disposition of musical passages among the Schiff playing piano works of Bartok. It the movement you want to hear again, and three discs verges on the illogical contains the Dance Suite, the Roumanian then press "repeat play" or an equivalent (specifically, the break between Discs I and Folk Dances, Three Rondos on Folk Tunes, command. But to repeat the first movement 2 occurs after Una voce poco fa, which is of DG's Mahler Ninth, on just about any not part of the opening scene, even though Theand theDance Fifteen Suite Hungarianis given a Peasantsingle bandSongs. player in existence, you must enter band there's room for the aria on Disc 2, where number, while each of its six sections is numbers I. 2, 3, 4, 5, 6, 7, and 8 separately it could go with the material with which it indexed; the six Roumanian Folk Dances into the machine's memory and hope it can does belong). get one band, but they, too, are separately replay the whole sequence. If the disc had The solution? In operas comprised of indexed; the Three Rondos are indexed been formatted the way Polygram guidelines scenes or "numbers," those passages ought within a single band; and all fifteen of the Peasant Songs are indexed, again within a single band. Thus, you can go directly to any dance, tune, or rondo, or play a whole group together. The Sugano Disc CD of RUDOLF FIRKUSNY PLAYS Rudolf Firkusny playing works of Schulprt, Schumann, and Brahms offers, as Band 4, FRANZ SCHUBERT (1797 Schumann's Davidsbiindlertiinze, with each Urei Klavierstiicke - Impromptus- op.posth. D.946 of the 18 sections separately indexed. Want mam a( 0:00) 1.Allegro assai es-moll (Wm' . to hear it twice straight through? Press 4, paocurill( 8:20) 2.Allegretto Es-dur (7'22') then "repeat play." Try that with a separately banded set. Yet the indexing mam a (i 5:46) 3.Allegro C-dur (353'1 gives you the ability, if you want, to hear Firkusny play the B minor section near the ROBERT SCHUMANN(Isto-ses6) beginning of the set and to compare that Davidsbundlertanze op.6(27 .52") passage with its recurrence at the end. pRoGRAmil: s:roT.) I( 0:00)1.Lebhaft 6:m2)10(12:42) 10. Balladennaig. Sehr rasch There are disturbing signs that the 5:CiED 2( 1 : 30) 2.Innig smn t 1(13:54) 11.Einfach Japanese CD manufacturers, following 6:121:1 3( 2:32) 3.Mit Humor 5:tri 12(15:26) 12.Mit Humor Polygram's lead, are curtailing their yse .of CS:C3E) 4( 3 : 51) 4.Ungeduldig 5:120 13(16:04) 13.Wild und lustig the indexing feature. They shouldn't. Instead, Polygram should be indexing its 13:2:3 5( 4:31 ) 5.Einfach EME) 14(17:51) 14.Zart und singend discs according to the guidelines it EN:S3D 6( 6:35) 6.Sehr rasch (3:(r) 15(20 : 10) 15.Frisch originally laid down. If the company snao 7( 7:59) 7.Nicht scluiell swo 16(22:03) 16.Mit gutem Humor doesn't start soon, there may come a day 3:010 8(10 :47) 8.Frisch EITED 17(23:26) 17.Wie aus der Fame when some enterprising competitors produce suao 9(11:45) 9.Lebhaft 5:ED 18(26: 20) 18.Nicht schnell Compact Discs that are deemed superior to Polygram's precisely because of differences JOHANNES BRAHMS(8331 1897) in indexing capability. So how about it, Klavierstiicke op.119 Polygram? Instead of beating a disorganized Pfrocituia)(47:49)1.1ntermezzo h-moll (3'03") retreat, why not lead the way? And while NeGRAmiii(50:53)2.1ntermezzo e-moll (4'06') you're at it, how about remastering and replacing all of the unindexed discs you've F91141 11:1(5501) 3.Intermezzo C-dur 11.30) made to date? Theodore W. Libbey, Jr. pRocrima)(56: 32) 4. Rhapsodie Es-dur (433')

RUDOLF F1RKUSNY Editor's note: Polygram was offered an Piano opportunity to present its views on indexing and to answer the criticisms made in this article, but its comments failed to reach us A JAPANESE CD of piano works provides a band number for each composition and in time for inclusion here. The company's separate index numbers for each section of Davidsbundlertanze. response will appear in a forthcoming issue.

O C T O B E R 1 9 8 71 N E W TE CH N OL O GIES

(Continued from page 68) Symphony as one of the great orchestras of Kubrick's 2001: A Space Odyssey, has had obscurity. In the exceptionally lush CD the world; the brass playing, in particular, generally wretched luck on records during sound here, details sometimes blur—a is dazzling. But Deutsche Grammophon has the past few years. It has been characterized picky but important example being the not added reverberation, which is by either unimaginative interpretations, beginning of the second subject of the first unfortunate; the dry acoustic robs the strings prosaic orchestral playing, or poor recorded movement, where the staccato opening note of their beauty, the brass of its bite, and the sound—and sometimes all three, as is the is scarcely heard as such, but melts into low percussion of its impact. case in Zubin Mehta's version with the New itself as it is repeated back-to-back. Just Because the final three movements, York Philharmonic on CBS (Compact Disc: how much of this is due to the recorded with a playing time of almost 33 minutes, MK 35888). Seiji Ozawa's with the Boston sound is hard to say, but a similar lack of are placed on Side 2 of the LP version, Symphony on Philips (Compact Disc: 400 articulation is bothersome in the third sonic impact in that format is limited. The 072-2) is scarcely better, a vacuous reading movement Trio, where the horns operate in CD version has no such limitation. The far removed from the powerful and a kind of golden blur. It's a beautiful blur, finale, with bells recorded in Hiroshima and pioneering Koussevitzky recording made but one wishes for greater definition. dubbed in. is banded in four sections. with the same orchestra nearly five decades Against this satiny performance put — ROBERT E. BENSON earlier. (Both the CBS and Philips Szell, and buckle your seat belt. Taut to the recordings are particularly poor values on point of ferocity, cutting incisively to the CD, as neither has a filler. You pay dearly bone, incomparably distinct in every note, it for very little in playing time, in addition to is a rendition that quickens the pulse. And the interpretive and sonic deficiencies.) somewhere between Szell and Dohnanyi Karajan's new account is one of the stands Maazel. much closer to the former most expansive Zarathustras ever put on than the latter. I myself can't imagine any disc, approaching 37 minutes. The opening other choice than Szell, for all the grittiness section sounds a bit shaky. with rather of the recorded sound. But as any tentative trumpet calls, timpani just a shade Southerner knows, grits are good for you. off the beat, and a truncated climax. The The story is much the same with the high point comes in the massive climax of Schubert Unfinished—seamless, serene, and the "Dance-Song," with its solid, metallic self-possessed. At the risk of sounding Midnight Bell. I find the rest of Karajan's geriatric, 1 must say again that an older reading to be rather boring. Don Juan, performance reveals more of what this while beautifully played, lacks impulse. symphony can mean: Try Bruno Walter Sonically. this recording offers the with the Columbia Symphony [soon to be orchestra-in-a-vacuum approach popular released on Compact Disc by CBS] for a with many of today's producers and sense of propulsion and dynamism that engineers—which is misguided technology, Dohnanyi fails to convey (the tension to say the least. As there is virtually no hall Walter builds into the crescendo leading to resonance, strings lack sheen and there is the famous second subject, for instance). little bloom to any of the instruments. It is Walter expresses the foundations of the unfortunate, too, that the recording was not form with a kind of rock-hewn strength; made in a hall where there was a Dohnanyi shapes the movements satisfactory organ, or that the sound of a voluptuously in some more malleable real organ was not dubbed in to avoid the material. That's not to say that the wheezy electronic monstrosity heard here.

Clevelanders don't play beautifully for their There is currently only one GRAWNOPHON other DEUTSCHE CD LAUTERVVASSER/COURTESY new conductor. They do—witness the of Zarathustra, on London with Antal ineffable woodwind solos just before the KARAJAN: expansive Zarathustra Dorati and the Detroit Symphony, which development in the second movement. But offers Strauss's Macbeth as a filler (410 looking beyond beauty, those older guys 146-2). It is superior sonically to the still have the edge. -SHIRLEY FLEMING Mehta, Ozawa. and Karajan recordings, but interpretively somewhat lacking. Lorin BERLIOZ: Maazel's fine performance with the Vienna Symphonie fantastique, Op. 14. STRAUSS: Philharmonic on DG is not now available Chicago Symphony Orchestra. Claudio Abbado. cond. 'Rainer Also sprach Zarathustra. Op. 30; on CD, and probably won't be for some BiLiL. tit L . i.,;(2 410 895-2 (fully digital Compact time, nor is Georges Pretre's interesting Disc) LP 410 895-1 Don Juan, Op. 20. Berlin Philharmonic Orchestra. Herbert won Karmen, cond. :Gun- Philharmonia Orchestra version on RCA. 101 Bieest, prod Di t.t Ad( 410 959 (fully digital Compact Still, to hear what Zarathustra is really ith its vivid orchestration and large Disc) LP 410 959-1 W masses of sound, the Symphonic, about, we must go back to the LP. The famastique has always been a favorite with erbert von Karajan has recorded this earlier Philips recording by Bernard Haitink hi-fi buffs. (RCA's first stereo 7/12 -ips open- Hmusic before with both the Vienna and and the Concertgebouw on Philips (650 reel tape of it, with Charles Munch and the Berlin Philharmonics, still available 062-4, deleted), the Fritz Reiner/Chicago Boston Symphony, was the centerpiece of respectively on London's budget-priced Symphony version on RCA (ATL 1-4286), many a stereo show.) One would suspect Stereo Treasury label (STS 15083) and and the Eugene Ormandy/Philadelphia that with today's "advanced" recording Deutsche Grammophon (253 040-2). Orchestra digital recording on Angel (DS techniques a new account would equal the Neither of those LPs offers a filler. The 37744) are all superlative accounts of this best of extant versions, at least in sonics if Maestro apparently wanted to record it yet music. Ormandy's also uses an electronic not interpretively. Claudio Abbado's, again, digitally, and here is the result—the organ, but the hall resonance makes the recorded in February 1983 in Chicago's fourth Zarathustra to be issued on Compact sound more acceptable. — R. E. B Orchestra Hall. doesn't quite make it. Disc. There are many felicities of orchestral The score, with its familiar "Sunrise" For additional reviews of classical recordings, see detail that clearly show the Chicago section utilized so effectively in Stanley Classical Reviews. 72 Circle 35 on Roador-Service Card Polk Speakers Sound Better! WeareTheSpeakerS ecialists.

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CBS MASTER WORKS Disc RIVE Bach: Flute Concertos. Rampal; Ars Rediviva Prague. Munclinger. Bach: Gamba Sonatas. Ma, Cooper. Beethoven: Sonatas for Piano and Cello Nos. 3, 5. In this roundup of Compact Discs—Part 2 of our preview of the forthcoming year's Ax, Ma. classical recordings—you will find more than three times as many titles as appeared last Chopin: Piano Concerto No. 2. Licad; London SO, Previn. year in this space. The numbers—counting approximately 450 releases listed here and Debussy: La Damoiselle tque. Berlioz: Nuits d'ete. another fifty or so expected from Angel (but not, as yet, specified)—tell the story far Von Stade; Boston SO, Ozawa, better than words. The coming months will see a veritable tidal wave of CDs, including Glass: The Photographer. Handel: Water Music. Malgloire. many important historic recordings newly remastered. Anyone who doubts that the Hindn: Three Favorite Concertos. Ma, Marsalis, medium is for real need only look at what follows. Lit Lecuona: Songs. Domingo. Please note our use of abbreviations, alone or in combination. For performing Mahler: Symphony No.2. Norman, Marton; Vien- forces: P (Philharmonic), R (Radio), S (Symphony), T (Television), 0 (Orchestra), C na 1'0. Maazel. (Chamber), Ch (Chorus, Choir), St (State), Op (Opera), Ac (Academy), E (Ensemble), Or Mahler: Symphony No. 4. Battle: Vienna PO, Maazel. (Quartet), Qn (Quintet), Fest (Festival), or their foreign-language equivalents. For pro- Mozart: Piano Concerto No. 26. Perahia; English duction and packaging: Where known, number of discs in multidisc sets is given in CO. Mozart: Piano Concertos Nos. 19, 23 . Perahia: En- parentheses at end of listing; other parenthetical symbols include s (single disc rather glish CO. than set), a (analog recording), I (live recording). Initials and first names appear only as Mozart: Three Piano Concertos, K. 107. Perahia: needed. English CO. Puccini: La Rondine. Te Kanawa, Domingo, Ren- dall. Nucci; Ambrosian OpCh, London SO, Maazel. Puccini: Turandot. Marton, Carreras, Ricciarelli: ACCE NT (Belgiu m) ARGO Vienna PO, Maazel (1). (distributed by AudioSource) (released by London Records) Rameau: Works. James. Ravel: Orchestral works. 0 National de France, Beethoven: Piano Works. Immersed. Mozart: Coronation Mass; Missa Solemnis. Mar- Maazel. Handel; Telemann; Galuppi: Janitsch; Bach, J.C.: shall. Murray, Covey-Crump. Wilson-Johnson; Tchaikovsky: Nutcracker (highlights). Philadelphia Chamber Works. The Parnassus E. King's College Ch. Cambridge; English CO, 0. Ormandy. Haydn: Six Trios op. 38. B. Kuijken, S. Kuijken, Cleobury. Tchaikovsky: Symphony No. 4. Cleveland 0, W. Kuijken. Christmas at King's. King's College Ch, Cam- Maazel. Mozart: The Four Flute Quartets. B. Kuijken. S. bridge; Cleobury. Wagner: Scenes and arias. Hofmann. Kuijken. W. Kuijken, van Dad. Bach & Sons: Trio Sonatas. Rampal, Stern. Baroque Trumpet Works. Gruberova, Marsalis; AUDIOSOURCE English CO. Leppard. ANGEL See Accent. AudioSource, 1185 Chess Dr., Foster Behind the Gardens. Vollenweider. Brass in Berlin. Canadian Brass. Berlin PO Brass. EMI anticipates having 75 titles available by De- City, Calif. 94404. Bravura (Virtuoso violin showpieces). Lin. cember, 1984. Caverna Magica. Vollenweider. Angel Records. 1750 N. Vine St., Hollywood. BIS (Sweden) Christmas with Placido Domingo. Calif. 90028. Classical Barbra. Streisand. (distributed by Qualiton Imports) Digital Moonscapes. W. Carlos. Beethoven: Piano Works. Nagai. Glassworks. Glass. ARCHIV Mozart: Symphony No. 39; Eine Kleine Nachtmu- Great Messiah Choruses. Mormon Tabernacle Ch. sik Divertimento No. 2. Stockholm New CO, Greatest Hits of 1720. Kapp. (r, sed by Deutsche Grammophon) Berglund. Live from Tokyo. Boyd. Bach: The Art of Fugue; Goldberg Canons. Musica Ravel: Piano Works. Nagai. Silent Night—Greatest Hits of Christmas. Mormon Antigua. Kohl. Roman: Violin Concertos; Symphonies. Sparf; Or- Tabernacle Ch. Bach: Concertos (3) after BWV 1060, 1055, 1044. feus CO. CBS Masterworks, 51 W. 52nd St.. New York, English Concert. Pinnock. Sibelius: Complete Orchestral Works, Vols. 4, 7, 8. N.Y. 10019. Handel: Concerti grossi, Op. 3. English Concert. Gothenburg SO, Jarvi. Pinnock. Sibelius: Complete Orchestral Songs. Hynninen. Handel: Organ Concertos, Opp. 4, 7. Preston: En- Haggander: Gothenburg SO, Panula. glish Concert, Pinnock. Telemann, Vivaldi: Double Concertos; Concertos CENTAUR Mozart: Piano Concertos 12-15. Bilson, Gardiner: for Baroque Bassoon and Recorder. McCraw, Bach: Harpsichord works. Pixton. English Baroque Soloists. Pehrsson; Drottningholm CE. Brahms: Paganini Variations; Six Intermezzi. Vivaldi: Concertos. English•foncert, Pinnock. Vivaldi: The Four Seasons. Sparf; Drottningholm Rodriguez. Trevor Pinnock: The Harmonious Blacksmith and CE. Dvotik: String Quartets Opp. 51, 105. New World Other Harpsichord Works. Brass Music. Stockholm P Qn. Oslo Brass Qn. Qr. 74 HI G H FI D E L I T Y 11 11 11 1111111 11111 1111

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Hanson: Dies Natalis. Benson: The Leaves Are ERATO Falling. Brant: Angels and Devils. Eastman (distributed by RCA) Wind E, Hunsberger. Jamitek: The Two String Quartets. New World Qr. Berio: Sinfonia. New Swingle Singers; French Na- Mozart: Three Piano Trios. Philadelphia Trio. tional 0, Boulez. Schubert: String Quartet No. 15. Manhattan Qr. Charpentier: Medee. Norman; Lyon Op, Corboz. Schubert: Piano Sonata in D; Two Impromptus. Chopin: Sonatas Nos. 2, 3. Duchable. Steigerwalt. Delalande: Symphonic pour les soupers du Roi. Shostakovich: String Quartets Nos. 3, 8. Manhat- Pailiard 0. tan Qr. Dukes: Symphonic; La Pen. Suisse Romande 0. Spohr: Six German Songs. Villa-Lobos: Bachianas Jordan. Brasileiras No. 6. Roussel: Two Poems of Ron- Handel: Ballet music. English Baroque Soloists. sard. Starer: Songs of Youth and Age. Blank: Gardiner. Four Poems on texts of Emily Dickinson. Scar- Handel: Complete Organ Concertos. Koopman. borough C Players. Enesco: Two Rhapsodies; Roumanian poem. Mon- te Carlo PO, Foster (a). Centaur Records, Inc., P.O. Box 23764, Baton Jamitek: Dances: Incidental music. Rotterdam PO, Rouge, La. 70893 Conlon. Liszt: Dante Symphony. Rotterdam PO, Conlon. CLAVES Mozart: Arias. Baker; Scottish CO, Leppard. (distributed by Qualiton Imports) Mozart: Three Cassations. Paillard 0. Mozart: Symphonies Nos. 38, 39. Scottish CO. Music for Trombone of the German Baroque. Stamp- Conlon. ABBADO conducts Mahler on DG Di, Dialler, Muller, Wenzinger. Wahlich; Slokar Scarlatti: Stabat Mater. Monteverdi Ch; English Trombone Qr. Baroque Soloists, Gardiner. Old German Christmas Songs. Haelliger; Consilium Tosti: Songs. Raimondi; I Soloisti Veneti. musicum, Angerer. Teresa Berganza Sings Music Scimone. of South America (works by Villa-Lobos. Braga. Vivaldi: Catone en Utica. Gasdia, Zimmermann; I and Guastavina Mozart: Sinfonia Concertante; Violin Concerto Soloisti Veneti, Scimone (a). No. I. Kremer, Kashkashian; Vienna PO, Vivaldi: Motets. Gasdia; I Soloisti Veneti, Harnoncourt. CONSORTIU M Scimone. Mozart: Symphonies 38, 39. Vienna PO, Bernstein, See Laurel Record. Consortium Recordings. 2451 Arias from French Operas. Horne; Monte Carlo Mozart: Symphonies 40. 4!. Vienna PO, Bernstein. PO, Foster (a). Nichols Canyon. Los Angeles, Calif. 90046. Mozart: Violin Sonatas. Perlman, Barenboim. Mozart: Violin Concerto No, I; Rondos. Perlman; DELOS Vienna PO, Levine. ETCETER A Bach: Cello Suite. Sor: Sonata No. 2; Sonata Op. Mozart: Violin Concertos Nos. 2, 4. Perlman, Vi- (distributed by Qualiton Imports) 15; Themes of Mozart's Magic Flute. C. enna PO, Levine. Ives: Songs. Alexander; Crone. Romero. Orff: Carmina Burana. Anderson, Creech, Weikl; Purcell: Songs. Dalton. Bach; Handel. Arias. Auger; Mostly Mozart Festi- Glen Ellyn Children's Ch, Chicago SO&Ch, val 0, Schwarz. Levine. Beethoven: Symphonies Nos. I and 8. Los Angeles Pergolesi: Stabat Mater. Marshall, Valentini-Ter- FIFTH CONTINE NT CO, Schwarz. rani. London SO, Abbado. Brahms: Sonatas for Clarinet and Piano. Schu- Puccini: Manon Lescaut. Freni. Domingo, Bruson; See Label 'X', Preamble, and Southern Cross. Fifth mann. Fantasy Pieces. Shifrin, Rosenberger. London Philharmonia. Sinopoli. Continent Music Group, 1200 Newell Hill Pl., Liszt: Sonata in B minor; Dante Sonata; Petrarch Rachmaninoff: Piano Concerto No. 3. Argerich; Suite 302, Walnut Creek, Calif. 94596 Sonnets. Browning. Boston SO, Ozawa. Mozart: Serenade in B fiat, K. 361. Chicago SO Ravel: Daphnis et Chloe. Vienna PO, Levine. HUNG AROTO N (Hungary) Winds. Schubert: Symphony No. 9. Chicago SO, Levine, Mozart; Beethoven: Quintets for Piano and Winds. Schumann: Symphonies. Vienna PO, Bernstein, (distributed b) Qualiton Imports) Vogel, Shifrin. Graham, Munday, Rosenberger. Sibelius: Finlandia, Op. 26; Valse Triste, Op. 44; Swan of Tuonela; Tapiola. Berlin PO, Karajan. Bach: Cantatas Nos. 211, 212. Laki, Giti, Fulop; Mozart: Clarinet Concerto; Clarinet Quintet. Shi- Capella Savaria, Nemeth. frin; Mostly Mozart Festival 0, Schwarz. Strauss: Der Rosenkavalier. Tomova-Sintow, Bartok: Music for Strings, Percussion and Celesta; Schubert: Sonata in B flat D.960; Impromptus Op. Baltsa, Moll, Perry, Hornik; Vienna StOCh&O, Divertimento. Franz Liszt CO, Rolla. 90. Rosenberger. Karajan. Strauss: Sinfonia Domestic:a. Vienna PO, Maazel. Bart6k: String Quartets Nos. 1-6. Takics Qr. Celedonio Romero, guitar. Works of Sanz, Giu- Boito: Nerone. Tokody, Takics, Nagy, Miller liani, Tarrega. Torroba. Stravinsky: Suites: Firebird; Pulcinella. Israel PO, Bernstein. Dene, Gregor; Hungarian R&TCh, Hungarian St0p0, Queler. Delos Records. Inc., 2210 Wilshire Blvd.. Suite Tchaikovsky: Capriccio italien; Marche slave; Donizetti: Don Pasquale (excerpts). Kalmar, 664, Santa Monica. Calif. 90403. Waltz and Polonaise from 'Eugen Onegin'; Sandi, Gati, Gregor; Hungarian R&TCh, Hun- Hamlet Overture. Israel PO, Bernstein. garian StO, Fischer. DEUTSCHE GRA M M OPH O N Tchaikovsky: Symphonies Nos. 4, 5, 6. Vienna PO, Karajan. Handel: Concerti grossi, Op. 3. Franz Liszt CO, Bach: Violin Sonatas and Partitas. Mintz. Rolla. Verdi: Don Carlos. Domingo, Ricciarelli, Nucci, Beethoven: Violin Sonatas, Nos. 4, 5. Kremer, Handel: Duets. ?Mori, Esswood; Ella, Falvay. Raimondi. Valentini-Terrani; Ch&O of La Scala. Argeric h. Abbado. Mozart: Piano Concertos Nos. 12, 23. Kocsis; Franz Bernstein: West Side Story. Cast to be announced. Liszt CO, Rolla. Verdi: II Trovatore. Plowright, Fassbaender, Do- Brahms: Double Concerto; Academic Festival Puccini: Gianni Schicchi. Melis, Kalmar, Gulyis, mingo; Ac Santa Cecilia, Giulini. Overture. Kremer. Maisky; Vienna PO. Gall, Gregor; Hungarian St0p0, Ferencsik. Verdi: Requiem. Vienna PO, Karajan. Bernstein. Wagner: Overtures and Preludes. Berlin PO, Ravel: Sonatine; Valses nobles et sentimentales; Brahms: Piano Concerto No. 2. Zimerman; Vienna Prelude; Menuet sur le nom de Haydn; Gaspard Karajan. PO, Bernstein. Widor: Symphony No. 5. Vierne: Carillon de West- de la nuit. Ranki. Bruckner: Symphony No. 8. Vienna PO, Giulini. Verdi: Ernani (excerpts). Sass, Lamberti, Miller, minster. Preston. Haydn: Symphonies Nos. 88, 92. Vienna PO, Placido Domingo: Arias from Aida, Nabucco, Tur- Kovits; Hungarian StOpCh&O, Gardelli. Bernstein. andot, Manon Lescaut, Trovatore, Don Verdi: I Lombardi. Sass, Lamberti, Di Cesare, Ko- Mahler: Symphony No. 7. Chicago SO, Abbado. vats; Hungarian R&TCh, Hungarian St0p0, Carlos. Mahler: Dos klagende Lied. Popp, Fassbaender, Gardelli. Goran Sollsrher: Car atina and other popular Araiza. Allen; London Philharmonia. Sinopoli. pieces. Verdi: Simon Boccanegra (excerpts). Kincses, Mendelssohn: A Midsummer Night's Dream. Schu- Nagy, Miller, Gragor; Hungarian StOpCh&O, Christmas Carols. Westminster Abbey Ch. bert: Rosamunde (excerpts). Chicago SO, Patant. Preston. Levine. An der schOnen, blauen Donau. Hungarian StO, Mozart: Piano Concertos (continuing cycle). Bil- Released by Polygram Classics, Inc.. 810 7th Ave.. Ferencsik. son; English Baroque Soloists. Gardiner. New York, N.Y. 10019. The Choral Music of Kodaly, Vol. I. Miller; Hun- O C T O B E R 1 9 8 4 75 1111 1 1 1 1 1 1 1111 11 1 1111111111111 1111 111111111 11111 111

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garian R&TCh, Ferencsik. Eulenspiegel. Chicago SO, Solti (a). Vesperae (16th century). Schola Hungarica. Strauss: Salome. Nilsson, Hoffman. Stolze. Zigeunerweisen. Kalman Volts and his Gipsy Wachter, Kmentt; Vienna PO, Solti (2. a). Band. Stravinsky: Symphony of Psalms; Chant du Ros- signol; Fireworks; Zvezdoliki. Berlin RCh&SO. Chailly. INTERSO U N D Verdi: Aida. L. Price, Vickers; Rome Op0, Solti Sec Pro Ane. "leidec. Intersound, Inc., 14025 23rd (3. a). Ave. N.. Minneapolis. Minn. 55441. Verdi: Rigoletto. Sutherland. Pavarotti, Milnes; London SO. Bonynge (2, a). LABEL "X" Verdi: Un Ballo in Maschera. Pavarotti, Price, Bruson, Ludwig. Battle; National PO, Solti. (distributed by Fifth Continent Music) Vivaldi: The Four Seasons. Si. Martin's Ac, Mar- Barry: Body Heat. Hollywood Studio 0, Barry (a). rifler (a). Breil: Birth of a Nation. New Zealand SO. Allen. Vivaldi: Stabat Mater. Bowman. Ac of Ancient Green: Raintree County. MGM Studio 0, Green Music. Hogwood (a). (a). Wagner: Das Rheingold. London, Flagstad, Svan- Horner: Krull. Ambrosian Singers; London SO, holm; Vienna PO, Solti (3, a). Homer (a). Wagner. Die Walkiire. Nilsson, Hotter. Crespin, North: Cheyenne Autumn. Rome SO, Savina (a). Ludwig; Vienna PO, Solti (4. a).

North: Dragonslayer. National PO, North (a). Wagner: Siegfried. Windgassen, Hotter, Nilsson. LONDON COURTESY Waxman: Hemingway's Adventures of a Young Sutherland; Vienna PO, Solti (4. a). Man. 20th Century-Fox O. Waxman (a). SOLTI: His Ring is on the way. Wagner: Gotterdiimmerung. Nilsson, Windgassen. Neidlinger, Fischer-Dieskau. Ludwig; Vienna PO, Solti (4, a). LAUREL Ave Maria (a). (distributed by Consortium) Lecocq: Matti:elle Argot. Weber (orch. Berlioz): In- Brass Splendor. Philip Jones Brass E (a). Dance of the Hours (a). Bloch: String Quartet No. I. Pro Arte Qr (a). vitation to the Dance. Berlioz: Ballet music from Famous Waltzes (a). Bloch: String Quartet No. 2. Pro Arte Qr (a). Les Troyens. National PO, Bonynge. Great Love Themes (a). Debussy; Dvotak: Trios. Western Arts Trio (a). Liszt: Annees de pelerinage. premiere annee. Immortal Classics (a). Szymanowski: String Quartets Nos. 1, 2. Pro Arte Bolet. Qr (a). Liszt: Fantasia on Hungarian Folk Themes; Toten- Ode to Joy (a). tanz; Malediction. Bolet; London SO, Fischer. 0 Holy Night. Pavarotti (a). Mahler: Symphony No. I. Chicago SO. Solti. Opera Gala (a). LONDON Mahler: Symphony No. 3. Dernesch; Chicago SO, Pomp and Circumstance (famous marches) (a). Bart6k: Piano Concerto No. 3. Prokofiev: Piano Solti (2). Prima Ballerina (a). Concerto No. 3. Ashkenazy; London PO. Solti Mahler: Symphony No. 8. Chicago SO, Solti (2. a). Romantic Violin Melodies (a). (a). Mahler: Das Lied von der Erde. Ferrier. Patzak; Further historical reissues are expected to include a Bart6k: Violin Concerto No. 1. Berg: Violin Con- Vienna PO, Walter (a). Backhaus/BOhm Brahms 2nd Piano Concerto and certo. Chung: Chicago SO, Solti. Mendelssohn: Symphonies Nos. 3. 4. St. Martin's Bahm's Bruckner 4th. Beethoven: Fidelio. Behrens. Ghazarian, Hof- Ac, Marriner. mann. Adam. Ridderbusch; Chicago SO&Ch. Mozart: Horn Concertos Nos. 1-4. Tuckwell, En- Released by Polygram Classics, Inc.. 810 Seventh Solti (2). glish CO. Ave., New York, N.Y. 10019. Beethoven: Piano Concertos (5). Ashkenazy; Vien- Mozart: Piano Concertos Nos. 17, 21. Ashkenazy. na PO. Mehta (4). Philharmonia 0 (a). Beethoven: String Quartet, Op. 132. Fitzwilliam Mozart: Piano Concertos Nos. 19, 24. Ashkenazy, MOBILE FIDELITY Qr. Philharmonia 0 (a). Strauss: Don Juan; Rosenkavalier Waltzes; Till Eu- Beethoven: Symphony No. 7; Egmont and Coriolan Mussorgsky: Pictures at an Exhibition-version for lenspiegel; Dance of the Seven Veils. Cincinnati Overtures. Philharmonia 0, Ashkenazy. piano solo; version for orchestra (orch. Ashken- SO, Schippers (a). Berlioz: Nails d'ete. Ravel: Sheherazade. Behrens; azy). Ashkenazy; Philharmonia 0. Ashkenazy. My Fair Lady. Shelly Manne Trio (a). Vienna S. Travis. OrIT: Carmina Burana. Greensberg, Bowman. The Best of Me. David Foster (a). Boito: Mefistofele. Pavarotti, Ghiaurov, Freni. Ca- Roberts; Berlin RSO&Ch, Chailly. The Power & The Majesty, Vol. 2 (a). balk; National PO. De Fabritiis (3). Pachelbel: Kanon. Albinoni: Adagio. Bach; Handel; The Newport Blues Festival (2, a). Brahms: Symphony No. I. Chicago SO. Solti (a). Gluck; Boccherini; Haydn. Instrumental Works. Mobile Fidelity Sound Lab. P.O. Box 919, 21040 Brahms: Symphony No. 2. Chicago SO, Solti (a). Stuttgart CO, Miinchinger. Nordhoff St., Chatsworth, Calif. 91311 Britten: War Requiem. Pears, Vishnevskaya. Fi- Puccini: Tosca. Te Kanawa. Aragall, Nucci; Solti scher-Dieskau; London SO&Ch, Britten (2, a). (2). Canteloube: Songs of the Auvergne. Vol. 2. Te Puccini: Turandoi. Sutherland, Caballt, Pavarotti• MOSS MUSIC GROUP Kanawa; English CO. Tate. London PO, Mehta (2. a). Beethoven: Overtures. Minnesota 0. Chopin: Etudes. Ashkenazy (a). Rachmaninoff: Preludes, Op. 23. Ashkenazy (2. a). Skrowaczewski. Copland: Rodeo, Dance Symphony. Detroit SO. Rachmaninoff: Symphonic Dances; The Isle of the Brahms (orch. Schoenberg): Piano Quartet in G mi- Dorati. Dead. Concertgebouw 0. Ashkenazy. nor. Baltimore SO, Comissiona. Debussy: La Mer; Nocturnes: Prelude a l'Apres- Ravel: Bolero; La Valse; Valses nobles et senti- Busoni: Turandot Suite, Op. 41: Sarabande and midi dun faune. Suisse Romande 0, Ansermet mentales; Rapsodie espagnok; Alborada del Cortege from 'Doktor Faust.' Cincinnati SO. (a). gracioso. Suisse Romande 0, Ansermet (a). Gielen. Donizetti: L'Elisir d'amore. Sutherland. Pavarotti; Ravel: Ma Mere L'Oye; Pavane pour une infante Chopin: Mazurkas; Waltzes; Polonaises. Moravec. English CO, Bonynge (2. a). defame; Le Tombeau de Couperin; Valses No- C,ershwin: Rhapsody in Blue: Concerto in F; Sec- Donizetti: Lucia di Lammermoor. Sutherland. Pa- bles et Sentimentales. Montreal SO. Dutoit. ond Rhapsody. Siegel; St. Louis SO. Slatkin. varotti. Ghiaurov. Milnes; Royal Opera 0, Bon- Ravel: Ma Mire L'Oye; Pavane pour une infante Haydn, M.: Symphonies. Bournemouth Sinfon- ynge (3. a). defunte; Le Tombeau de Couperin; Valses nobles et ietta, Farberman. Falls: Nights in the Gardens of Spain. AlbEniz: sentimentales. Montreal SO, Dutoit. Kodaly: Harr Janos Suite. Alrven: Swedish Rhapso- Rapsodia Espanola. Turina: Rapsodia Sinfon- Rimsky-Korsakov:Scheherazade. Borodin: Polovt- dy No. I. Enescu: Romanian Rhapsody No. 2. Bal- lea. De Larrocha; London PO, Frilhbeck. sian Dances. Suisse Romande 0. Ansermet (a). timore SO. Comissiona. Falba: The Three Cornered Hat; La Vida Breve. Schoenberg: Moses und Aron. Mazura, Langridge. Mendelssohn: Piano Trios. Kalichstein-Laredo- Suisse Romande 0. Ansermet (a). Haugland; Chicago SO, Solti. Robinson Trio. Franck: Violin Sonata. Brahms: Horn Trio. Perl- Schubert: Trout Quintet. Schiff; members of Hagen Mendelssohn: A Midsummer Night's Dream; man, Tuckwell. Ashkenazy (a). Qr. Scherzo from the Octet. Rochester PO, Zinman. Giordano: Andrea Chillier. Pavarotti, Caballe, Schumann: Piano Concerto. Chopin: Piano Con- Offenbach: Concerto Rondo for Cello and Orches- Nucci; National PO, Chailly (3). certo No. 2. Schiff; Concertgebouw 0. Dorati. tra: Waltzes and Polkas. Harnoy; Cincinnati Granados: Goyescas. De Larrocha (a). Sibelius: Symphonies Nos. 3, 6. Philharmonia 0, Pops. Kunzel. Janatek: Jensifa. SOderstrom: Vienna PO, Mack- Ashkenazy. RachmaninolT: Symphonic Dances; Isle of the erras (2). Strauss: Also Sprach Zarathustra; Don Juan; Till Dead. St. Louis SO. Slatkin. 76 HI G H FI D E LI T Y 1984 1 8 9 R E B O T C O COURTESY PHILIPS Mozart:Mozart: Mozart: Mozart: Mozart:Mozart: Mozart: M end e l s s ohn : Liszt:Liszt: 111 Mahler: LannertHandel: Strauss,Debussy:Chopin: Bruckner: Berlioz:Berlioz: B e e thoB v en e e : tho Bach ven : (arr. of Vivaldi): Bach:Bach: Bach: Bach: (released by London Records) Bach: Bach:PHILIPS OISEAU Haydn:Bach: Nonesuch Records,0 Dolce VitaMoore's 9229 Mia Sunset Irish Blvd., Melodies.Del Tredici: Los Ange- Mozart:Dvorak: Brahms: Moss Music Group, Inc., 48 W. 38th St., New ONESUCHNO TECHNOLO L O N H C E T W E N faune. (3). Giuranna. Moll. Melbye, Adam; Dresden State 0, Davis Martin's Ac. Marriner. moureuxSt. 0, Markevitch Paulbouw Ch0. 0,SO, Haitink. (a). Kondrashinburgh SO,kas. (a). Previn. Idyll. Danse macabre. marche. Ju!son; St. Louis SO. Sladcin. Baroque Soloists. Gardiner.Marriner.vane pour une infante0, Davis &flume.m ed (a). i ta t ion . Arrau. roqueLanden.' Soloists, Gardiner. Kremer, Ho!tiger; St. Martin'sminor (on Ac. a theme of CoreIli). Brendel. Music,sic, Hogwood. Hogwood (2). les, Calif. 90069 London Earlyly. Sharp: Musicpheus Group. Kipnis. CO. Schwarz. York, N.Y. 10018. Piano Concertos Nos. 1, 2. Piano Concertos Nos. .1, 2. B r and enbu rg C onc e r to s . Partitas; Suites. Organ Works. Magnificat.The Well-Tempered Motet Vauchzet Clavier. Gott in Allen Three Concertos after Vivaldi; Fugue in B Kremer, Guth, Kashkashian, Hortnagel. Italian Concerto; Chromatic Fantasy. Concertgebouw 0, Haitink (2). Symphonies Nos. 100, 104. PianoPiano Concertos Sonatas; Nos. Rondo,Piano 8, K. Quartets, HI.Piano Concertos K. 478, Nos. 493. 20, 24. Piano Works. Symphony No. 4. B a l l ad e s ; I mp romp tu s . The Magic Flute. S ymphon i c f an t a s t iqu e . Piano Concertos Nos. 17, 23. Violin Concertos Nos. 3, 5. Messiah Dukas: Legends. La Mer; Nocturnes. Rakoczy March. 11 Serenade No. I. Symphony No. 8. Piano Sonata. Op. III. Debussy: - Piano Sonatas, Opp. 10 No. 3; III. Kirkby; Monteverdi Ch; English Ba- LYRE In Memory of a Summer Day. Violin Concerto; Octet. Gulda. S o rce r e r 's A pp r en t i ce . Johann; Klauser: ( h igh l igh ts ) . Ma r sha l l ; E ng l ish Rochester PO, Zinman. Loveday; St. Martins' Ac, (Italian Renaissance songs). Prelude C ho r z empa . Three Concertos; Sinfonia. Uchida. Romero. Shelton. de Gaetani, Kel- A lexande r ; C on ce r tg e - Price, Schreier, Serra. d Chabrier: Boston SO, Davis. Los Angeles CO. Wagner: Ac of Ancient Mu- D av idov ich . l'apres-midi dun Richter, London C ho r z emp a . 26. C o n c e r tg ebo uw GuIda: Dichter. Pitts- C ho r z emp a . Ac of Ancient Waltzes; Pol- Brendel; St. Beaux Arts, S a in t -Saens : Haskil; La- Zukerman, Goode; Or- Grumiaux; Ravel: Siegfried Uchida. Joyeuse Winter- Bryn- Pa- (released by Intersound) Bach:Bach: Released by PolygramGulda Plays Classics,Famous Guido:. Overtures-works Inc., 810 by Seventh J. Strauss. von PRO ARTE Serenata. Wagner:Wagner: V ivaVivaldi: ldVerdi: i ; S ammar t in i ; T e l emann : Sentimental Me -music by Gershwin, Ellington.Wagner: Verdi: Verdi: Telemann: Verdi: Telemann:T ch a ikoT v ch sky a ik : o v s k y : Strauss,Schubert: R.:Schubert: Schubert: Rossini: Porter. Ave.. New York. N.Y. 10019.St.Suppe, Martin's Auber, Ac, Smetana. Marriner. Offenbach. Sullivan. tos. (3). BavarianReeh: RO, Berlin Bernsteinreuth Fest State 0, Op Bohm a Fricke. (a).Schmidt,berti, Neubert; Shicoff,elli, Ahnsjo, Deutsche Masurok, Salomaa, Op Berlin. Toczyska; Nikolic, Sinopoli Royal Opera House 0. Davis. na St0p0, Karajan (3). Ac Strings. Hill. I. Brown; St. Martin'sC once Ac. r t ino f o r Ho rn . Boston SO, Davis.Masur. Masur.kat]. riner Brendelers. (6). (2). Sheppard. Berkowitz. Nunn, Scimone (2). mermann, Carreras, Ramey; Ambrosian Sing- London SO, Davis B rand enbu rg C onc e r to s . UCHIDA plays Mozart on Philips. Magnificat in D. Petri; St. Martin's Ac. Brown. O ve r tu r e s . II TrovatoreFalstaff Macbeth. Nine concertos. Petite Messe Solennelle. Die Walkiire Ameling, Clayton, Van Dijk. Tristan und lsolde. Ameling, Jansen. Scenes and Arias. Symphonies (10). R o s am u nd e . St. Martin's Ac, Marriner. Horn Concertos. Winterreise; Lieder (8). Violin Concertos. Horn Concertos Nos. I, 2. 1812 Overture; Romeo and Juliet. Nutcracker Suite; Serenade for (complete). Taddei, Panerai; Vien- Zampieri, Bruson, Lloyd, Al- Vienna PO, Sinopoli. (highlights). Can (a). (complete). Nilsson; Bay- Baumann; Gewandhaus 0. Ameling; Gewandhaus 0. I Musici. Hoffmann (attrib. Tele- (5). St. Martin's Ac. Mar- Baumann, T. Brown. Brown; St. Martin's Behrens, Hoffman; Estes, Bundschuh, Bach E, Rifkin (2). Recorder Concer- Ricciarelli, Zim- - eras, Ricciar- F i sche r -D ie s - Weber: This new label will be devoted exclusively to cham- Wh i tho rne :Antheil: (distributed by FifthSerenata: ContinentPachelbel Music Music) of Canon the and Grand other Salon.Argentine BaroqueAmerican Hits. Tangos. Festival. PREA MBLE Music ofNew York, theCafehaus: Grand NewBrazilian York. Salon.Bach Music Meets Streetside of the the Beatles. classic Waltzes cafehaus. and Tangos. Vivaldi:T cha iko v sky : P rokoNazareth: f i ev : M e ndMahler: e l sMahler: s o hn : Debussy:Copland: Chopin:Chopin: B ern s te in : Mahler:Mahler: B e e tho v en : B e e tho v en : Brahms: I lBeethmen: e eBeethmen: thmen : B e eB tho e eB v tho en e e : ven thov B : en e eB : tho e e v tho en ven : : B e e thoB ven e e : thov en : Barber:Bach: Bach: Bach: composersers. from Particular the early emphasis 20th century. will be paid to world premieresber of and neglectedReal; orchestral Valse works de works by little-known concert. by American compos- ludes. Three Shades of Blue. um Aureum.Ch. lon 0. for Scandal; Essay for Orchestra No. 2; Prelude Symphony. Kuijken.Minnesota Hager. 0, Slatkin. SO, Silverstein. RSO, Bertini. N o rman . CIves: a r r e r a s , F i sWand. ch e r -D ie skau ; S tu t tga r t Kegel (7). S iand lver Intermezzo s te in . from Vanessa. Kegel.Kegel. Kegel. P. Neumann.P. Neumann. ken (2).(2). Gall, man Hoffmeister, Opalach; Bach E, Rifkin. Orchestral Suites. Mass in B minor. Violin Concertos. n): Symphony No. Airplane Sonata; Sonata Sausage. SymphonySymphonySymphony No. No. No. 2. G iana t to s io . Symphony No. 9. PianoP re Works. lud e s ; B ar ca ro l le . The Four Seasons. Violin Concerto; Overture to The School Symphony No. I. L'enfant prodigue; La damoiselle elue. Appalachian Spring; Short Symphony. Brazilian Waltzes and Tangos. Complete works for solo piano. New York Days and Nights; El Camino Peter and the Wolf. German Magnificat. Piano ConcertoPiano Concerto No. 2. No. I. SymphonySymphony No. No. Symphony No. 3. Symphony No. Symphony No. 3. Piano Sonatas Opp. 53, 57. SymphoniesSymphonies Nos. 5. Nos. 8.Symphonies 4, 6. Nos. I, 2. The Nine Symphonies. Nutcracker and Swan Lake Suites. Violin Concerto; Overtures. Buckley; Luxembourg R&TO. I S a lon is t i . Milwaukee SO, Foss. New York City Gay Men's P. Serkin. 3. Saint Paul CO, Davies. 8.3. Czech P. Neumann 12.). La Petite Bande, Kuijken S. Kuijken.La Petite Bande, S. Kuij- Bayless. Czech P.Czech Neumann P. (2). Neumann (2). Kozar. Gershwin: Czech P. Neumann. 9. Dresden PO, Kegel. 7. Dresden PO. Kegel. 7. Collegium Aureum. The Salon 0. North German RSO, La Petite Bande, S. Dresden PO, Kegel. Collegium Aureum. Sherman. L. Mozart: Sherman;Sherman; Czech Czech Bryden, Baird, Dresden PO. DresdenDresden PO, PO, Dresden PO, I S a lon is t i . Three Pre- Utah SO, Sherman. The Sa- Collegi- Lima. Lima. Tocco. Groff: Utah Toy 77 1111 111 111 11 1111 11 11 11 11 II111111111111111111111111

N E W T E C H N O L O

QUALITO N VANGUARD See Bis, Claves. Etcetera. Hungaroton. Qualiton Ravel: Bolero. Berlioz: Overture to 'Le Corsaire.' Imports, 39-28 Crescent St.. Long Island City. Rimsky-Korsakov: Capriccio Espagnol. Enesco: N.Y. 11101. Rumanian Rhapsody No. I. Baltimore SO, Comissiona. Saint-Saens: Symphony No. 3 ('Organ'). Minger; RCA RED SEAL Baltimore SO, Comissiona. Beetho%en: Choral Fantasy; Sonatas Opp. 53, 57. Vanguard Recording Society. 71 West 23rd St.. Ax; New York PO, Mehta (a). New York, N.Y. 10010 Brahms: Songs and Romances for Chorus. Musica Sacra, Westenburg. Chopin: Nocturnes and Waltzes. Rubinstein (a). Chopin: Piano Concertos Nos. 1, 2. Ax; Philadel- phia 0, Ormandy (a). VARESE SARAB ANDE Chopin; Schumann; Scriabin: Piano works. Beethoven: Symphonies Nos. 7, 8. OS del Estado Horowitz. de Mexico; London SO, Batiz. Mahler: Symphony No. 3. Home; Chicago SO, Le- Beethoven: Symphony No. 9. Araiza. Valente, vine (a). Yauger, Sarabia; Ch of the Universidad Veracru- Mahler: Symphony No. 4. Blegen; Chicago SO, zana, OS del Estado de Mexico, Batiz. Levine (a). Berlioz: Symphonic fantastique. Utah SO, Kojian. Mahler: Symphony No. 5. Philadelphia 0, Levine Copland: Saga of the Prairies; An Outdoor Over- RCA COURTESY (a). ture. Barber: Capricorn Concerto; First Essay Mahler: Symphony No. 10. Philadelphia 0, Le- SLATKIN: something new from RCA for Orchestra. Ives: Overture from the Third Or- vine. chestral Set. Pacific SO. Clark. Mussorgsky: Pictures at an Exhibition. Tomita (a). Dvoilik: Symphony No. 9; Carnival Overture. Lon- Prokoflev: Cinderella. St. Louis SO, Slatkin. don SO, Batiz. Handel: Messiah (highlights). Prokoflev: Symphony No. 5. St. Louis SO, Slatkin. Fans: El Amor Brujo. Rodrigo: Fantasia para un Jongen:SymphonieConcertanteforOrganandOrches- Schubert: Arpeggione Sonata; Introduction and Gentilhombre; Concierto Andaluz. Vergara, tra. Franck: Pastorale; Fantaisie in A . Murray; San Variations. Galway, Moll. Moreno. Garibay, Lopez, Ruiz; OS del Estado Francisco SO, De Waart. Schubert: Winterreise. Hagegard, Schuback. de Mexico, Batiz. Sondheim: Pacific Overtures (original Broadway Respighi: Pines of Rome; Fountains of Rome; The Falls: The Three Cornered Hat; Nights in the Gar- Birds. Atlanta SO, Lane. cast) (a). dens of Spain. Salinas, Zuk; OS del Estado de Sondheim: Sunday in the Park with George (origi- Sibelius: Symphony No. 2: Finlandia. Cleveland 0, Mexico, Batiz. Levi. nal Broadway cast). Herrmann: North by Northwest (selections). Lon- Sor; Aguado: Guitar works. Bream. Ein Straussfest—Waltzes, Polkas and Marches by don Studio SO, Johnson. Tchaikovsky: Piano Concerto No. I. Cliburn; Sym- the Strauss Family. Cincinnati Pops 0. Kunzel. Homer: Brainstorm. Ambrosian Singers, London Organ Recital by Michael Murray. Works by phony 0, Kondrashin (a). SO. Homer. Bach, Messiaen, Franck, and Dupre. (Premiere Tchaikovsky: Nutcracker, Swan Lake Suites. Phil- Korngold: Kings Row (symphonic suite). National recording of the new Ruffatti Organ in Davies adelphia 0, Ormandy (a). PO, Gerhardt. Symphony Hall, San Francisco.) Wagner: Selections from Die Meistersinger, Got- Korngold: The Adventures of Robin Hood (selec- The Many Moods of Christmas. terdiimmerung. Chicago SO, Reiner (a). tions). Utah SO, Kojian. Christmas with the Canadian Brass and the Great Telarc Corporation, 23307 Commerce Park Road. Liszt: 'Dante' Symphony. Utah SO, Kojian. Organ of St. Patrick's Cathedral. Cleveland, Ohio 44122 Mahler: Symphony No. 4.• Stravinsky: Symphony Placido Domingo and the Vienna Choir Boys (a). in Three Movements. Vienna PO; Seefried, Wal- Turned-On Broadway (a). ter*: Furtwangler. James Galway: Nocturne. TELDEC Menotti: Violin Concerto. Barber: Violin Concerto. James Galway with Henry Mancini. (distributed by Intersound) Harris: Symphony No. 6. Ricci; Pacific SO. Best of the Classic Film Scores. National PO, Clark. Bach: Magnificat. Handel: Utrecht Te Deum. Con- Gerhardt. Rintsky-Korsakov: Scheherazade. Clinics: Russian centus Musicus Wien, Harnoncourt. Placid° Domingo: Bravissimo, Domingo! (a). and Ludmilla Overture. London SO, Bach: Orchestral Suites Nos. 1, 2. Concentus Mu- Tjeknavorian. RCA Records, 1133 Avenue of the Americas, New sicus Wien, Harnoncourt. Rozsa: Spellbound Concerto; New England Con- York, N.Y. 10036. Bach: Six Motets. Concentus Musicus Wien, certo; Overture from 'The World, the Flesh and Harnoncourt. the Devil'. Pierce, Jonas; Utah SO, E. Bernstein. Bruckner: Symphony No. 4. Frankfurt RSO, Saint-Saens: Symphony No. 3. Mendelssohn: Fin- SOUTHERN CROSS Chopin: Ballades; Scherzos. Katsaris. gal's Cave Overture. Rawsthorne; Royal Liver- (distributed by Fifth Continent Music) Dvotak: Slavonic Dances. Czech P. Neumann. pool PO, Tjeknavorian. Futik: Marches. Czech P. Neumann. Takemitsu: In an Autumn Garden. Taicemitsu. Friedhofer: Best Years of Our Lives. London PO, Handel: Concerti grossi, Op. 6. Concentus Musi- Collura (a). Vaughan Williams: Toward the Unknown Region; cus Wien, Harnoncourt (3). Norfolk Rhapsody No. 1; Tallis Fantasia; Vari- Hainlisch: Sophie's Choice. Hamlisch (a). Handel: Messiah. Concentus Musicus Wien, Har- ants on Dives and Lazarus; other orchestral Herrmann: Sisters. Herrmann (a). noncourt (3). works. City of Birmingham SO, Del Mar; Steiner, M.: King Kong (1933). National PO, F. Haydn: Concerto for Violin. Haydn, M.: Concerti- Steiner (a). Bournemouth SO, Hurst. no. Zehetmair, Franz Liszt CO. Vivaldi (arr. Gleeson): The Four Seasons. Gleeson. Hollywood Brass Ensemble, Fred Steiner: Cellu- Haydn: Horn Concertos. Clevenger, Franz Liszt Williams: The Star Wars Trilogy—Suites from 'Re- loid Fanfares. World Premiere commissioned CO. turn of the Jedi,' 'Star Wars' and 'The Empire works by Addison, E. Bernstein, Duning, Fried. Mendelssohn: Concertos. Zehetmair, Katsaris; Strikes Back.' Utah SO, Kojian. Gold. Green, Jaffe, Mancini, Raksin, Rosen- Franz Liszt CO. man, Rozsa, Schifrin, F. Steiner, Smeaton, J. Williams: The Empire Strikes Back (selections). Mozart: Idomeneo. Concentus Musicus Wien, National PO, Gerhardt. Williams. Harnoncourt (3). Camelot—the 1982 London cast with Richard Mozart: Piano Concertos Nos. 23, 26. Gulda; Con- Harris. certgebouw 0, Harnoncourt. Digital Space—Music for Films. London SO, TELARC Mozart: Serenade K. 320. Staatskapelle Dresden. Gould. Beethoven: Piano Concertos (5). R. Serkin; Boston Harnoncourt. Morton Gould Conducts. Works by Ravel, Shosta- SO, Ozawa (3). Mozart: Symphonies Nos. 32, 39. Concertgebouw kovich, Weinberger, Granados, Turina, and Gi- Brahms: Ein Deutsches Requiem. Auger. Stilwell; 0, Harnoncourt. nastera. London SO. Atlanta SO, Shaw. Rossini: String Serenades. Franz Liszt CO. Music from Alfred Hitchcock Films. Suites from Croft: Grand Canyon Suite. Cincinnati Pops 0, Dance Music of Hungary. Benko E. scores by Tiomkin, Waxman, Webb and Wil- Kunzel. Organ Music of the Renaissance. Tachezi. liams. Utah SO&Ch. Ketchum. Handel: Messiah. Erickson, McNair, Hodgson, Original Instrument Harpsichord. Leonhardt. Humphrey, Stilwell; Atlanta SO&CCh, Shaw Pachelbel Canon and Gigue (Popular Classical Varese Sarabande Records, Inc., 13006 Saticoy (3). Pieces). Franz Liszt CO. St., N. Hollywood, Calif. 91605 78 HI G H FI D E LI T Y Vivaldi's 'Mandolin Concerti'

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4:0.0.0.00=0C•C•045CDCDCM:=0=.047 0.0.0.C.C1041:1011114:142141240C1404:14=4147 Odd Man Out Or In?

Cult figure or bad boy of the keyboard, Gyorgy Cziffra is a pianist to be reckoned with.

Reviewed by Thomas L. Dixon

L:Wra converted a chapel into a recital hall: at the piano, he can transform the familiar into the extraordinary.

ZIFFRA. Who? TZEEF-ra—Gyorgy spirits in Los Angeles, San Francisco, and Shura Cherkassky, and the only pianist of Cziffra. Who? Exactly! How we do Toronto remembered, because that is where the past with whom he might be compared forget the sensations of yesterday! the pianist is giving recitals during Septem- is Ignaz Friedman. Cziffra is an honored Who remembers much about the Hun- ber—recitals that, to judge from past national figure in France, his concerts are garian Revolution of 1956? Who cares? recordings and the eleven under consider- "events" in Japan, but we have yet to truly Who recalls a debut recital in Vienna that ation here, should provoke audiences to rediscover him here. year by a newly arrived refugee, a concert reactions that are anything but neutral. Well then, lacking his regular pres- so startling that it was reported even in The Record collectors remember him; in ence as a concertizing artist, what do we New Yorker? Apparently, few Americans fact, those with sharp ears have never for- make of these discs? They were all kindly do. particularly those in charge of concert gotten him. His long absence from the supplied by Pathe-Marconi directly from management in New York. However, when American scene notwithstanding, Cziffra Paris; however, they should be available in Jacques Leiser invited Gyorgy Cziffra to remains possibly the most flamboyantly many import shops or by direct order from come to North America for the first time in personal pianist alive. The only other artist International Book and Record Distributors 15 years. wiser heads and more courageous still playing who resembles him (slightly) is [40-11 24th St., Long Island City, N.Y.

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1111. MM M M M M 111011 or Andre Perrault [P.O. Box 8310, only way, but we are in great need of the ent. A few . . . played well enough to leave Virginia Beach, Va. 23450], for those fearless individualism that he brings to more than fleeting impressions. Far too interested in going to such effort. And, rest every page of his fellow Hungarian's often, however . . . I am not able to recall assured, the effort is definitely worth- works. even one piece . . . or one memorable phrase. . . [A]nyone who regularly while! Cziffra's recent activities have not attends piano recitals . . . is likely to find The first five albums listed [see box] been limited to the keyboard. A fine auto- . . . that the performances start to run contain encores, works that Cziffra has biography, Cannons and Flowers, has together . . . and the reason is the death of played for years. Each one merits close appeared in French . . . definitely a book spontaneity. . . They may look different, investigation not only for the variety of the worth translation. What other pianist has but they sound distressingly similar. playing and the technical brilliance (some- taken the time, effort, and money to convert thing one may always assume with Cziffra), a medieval chapel into a concert hall, with It is a pity that Cziffra has not been but for something much more rare these the desire to use it to present aspiring art- allowed to find his overdue place in the top days-the amazing individuality of his ists? What other pianist allows time at the echelons of our concert life, because he conceptions. This is not to say that any sea- conclusion of his recitals to personally in- could provide the kind of corrective vision soned collector will be satisfied with each troduce young pianists and offer them a hear- that is so lacking, especially among many performance (I certainly am not), but every ing? There is more that could be said, but members of the youngest pianistic genera- band contains the sort of lively provocation since the message of this review is first and tion. Although he will no longer accept that renders even a short journey with Czif- fra so memorable. Call him eccentric, call him headstrong, call him whatever, his playing is not to be forgotten once heard- A Selected Cziffra Discography even, for instance, in a formerly over- Compiled by Mildred Camacho-Castillo worked warhorse such as Liszt's Liebes- traum. He guides, he charms, he arouses, GYORGY CZIFFRA: Piano Recital. SCHUBERT: Impromptu, D. 899. No. 4. he inspires. If there is one disc within this Gyorgy Cziffra, piano. Pathe-Marconi 059 12021 GYORGY CZIFFRA: Piano Recital. first group that stands out, it is the recital of (monophonic recording). Cassette: 259 12021. (Distrib- Gyorgy Can:1.a. piano. Pathe-Marconi 167 French pre-Classic works: Not since Horo- uted by International Book & Record Dist.. 40-11 24th 73103/4 (two discs). witz's Scarlatti Sonatas record of the late St.. Long Island City. N.Y. I 1101.) BACH: Prelude and fugue. in D. B.W.V. 532. BEETHOVEN: Fiir Elise. BRAHMS: Waltz in A CHOPIN: Nocturnes: in B flat minor and E flat, Op. 9, 1960s has there been anything close to flat. Op. 39. No. IS. CHOPIN: Etude in E. Op. 10. No. Nos. 1 and 2; Scherzo in D flat, Op. 31: Etudes: Op. 10. this. 3. CZIFFRA: Reminiscences de Johann Strauss. Nos. 3-5. 10. 12: Introduction and Variations. LISZT: The collection of Chopin Polonaises DAQU1N: Le Coucou. DEBUSSY: Claire de lune from Polonaise No. 2. in E: Etude d'execution transcendante. comes across as something of a letdown; "Suite Bergamasque." FALLA: Ritual Fire Dance No. 10. in F minor. SAINT-SAENS: Etude in D flat. from "El Amor Britio." LISZT: Liebestraum No. 3: Op. 52. No. 6. SCHUBERT: Impromptu, D. 935, No. Cziffra seems off his form. However, a Die Nachtigal. MENDELSSOHN: Lieder ohne Worte: 1: Impromptu. D. 809. No. 4. hearing of another Chopin performance- Op. 67, No. 4:0p. 62. No. 6. SCHUMANN: Traumer- CHOPIN: Piano Works (5). that of the Waltzes on a Philips cassette- ci from "Kinderszenen," Op. IS. No. 7. Gyorgy Cziffra. piano. Paha-Marconi 069 reveals a conception of those works that is GYORGY CZIFFRA: Piano Recital. 12790. Cassette: 269 12790. GyOrgy Cziffra. piano. Pathe-Marconi 059 surely the most stimulating since the 1934 Polonaises: Op. 53. in A flat; Op. 40: No. I. in A. 12022. Cassette: 259 12022. No. 2. in C minor: Op. 44. in F sharp minor. Polonaise- Cortot version. Yes, Cziffra is variable, but CHOPIN: Waltz in D flat. Op. 64, No. 6; Noc- fantaisie. Op. 61. in A flat. so, too, are Michelangeli and Richter, to turne in E flat. Op. 9. No, 2; Prelude in B flat minor. CHOPIN: Krakowiak, Op. 14. MENDELS- say nothing of the aforementioned Cher- Op. 28, No. 16. DEBUSSY: La Fine aux cheveux de SOHN: Concerto for Piano and Orchestra, lin. GOUNOD (arr. Liszt): Waltz from "Faust." kassky. Cziffra clearly belongs in their No. I, in G minor, Op. 25. WEBER: Konzert- GR1EG: Papillon. Op. 43. No. I. LISZT: Etude ("La stuck, in F minor. company. Campanella' ). MENDELSSOHN: Scherzo in E minor. Gyorgy Cziffra. piano; Orchestre National de Worth a listen are the two concerto Op. 16. No. 2. RACHMANINOFF: Prelude in G l'Opera de Monte Carlo. Gyorgy Cziffra, Jr., cond. minor, Op. 23. No. 5. RAMEAU: Le Tambourin. ROS- records if for no other reason than their con- !Eric Macleod. prod.) Pathe-Marconi 069 16337. Cas- SINI (art. Cziffra): La Danza. SCHUBERT (arr. Tau- trast. The first (Chopin/Mendelssohni sette: 269 16337. sig): Marche militaire in D flat. Op. 51. No. I. LISZT: Totentanz for Piano and Orchestra; Weber) presents routine interpretations de- GYORGY CZIFFRA: Piano Recital. void of unusual insights, while the second Gyorgy Cziffra. piano. Pattie-Marconi 069 Hungarian Fantasia for Piano and Orches- (Liszt) gives us Cziffra at both his worst 73080. Cassette: 269 73080. tra. Gyorgy Cziffra, piano; Orchestre de Paris, Gyor- (willful) and best (brilliant). If piano play- COUPERIN: Les Folies francoises. ou Les Dom- inos; Les Baricades misterieuses; L'Anguille; La Ban- gy Cziffra. Jr.. cond. Pathe-Marconi 069 10313. ing a la Tzigane has ever been better cap- doline; Le Tic-toc-choc. ou Les Maillotins; Les Papil- LISZT: Piano Works (6). tured on disc, I have yet to hear it! Ions: Les Moissonneurs: Les petits Moulins a vent. Gyorgy Cziffra, piano. 'Eric Macleod. prod.! The final three offerings bring us to the DAQUIN: L'Hirondelle: Le Coucou. LULLY: Gavotte Pathe-Marconi 069 16318. Cassette: 269 16318. Ballade No. 2, in B minor; Valse oubliee in F heart of Cziffra's unique contribution to the en rondeau. RAMEAU: Le Rappel des oiseaux; Le Tambourin: L'Egiptienne: La Poole: Rigaudon. sharp: Etude de concert ("Ronde des lutins'•): Liebes- piano. After listening carefully and over a GYORGY CZIFFRA: Piano Recital. traum No. 3; Legende No. I ("St. Francis of Assisi long period to these performances, as well Gyi5rgy Cziffra. piano. Pathe-Marconi 069 Preaching to the Birds"): Valse impromptu in A flat; as to the set of the Transcendental Etudes 14012. Polonaise in C minor. LISZT: Hungarian Rhapsodies: Nos. 1-16, (once on Angel, but long ago deleted), I am CHOPIN: Etude in A flat. Op. 25. No. 1; Etude in E. Op. 10. No. 3; Impromptu in F sharp. Op. 36: Waltz No. 19. led to two conclusions: that Cziffra may in C sharp minor. Op. 64, No. 2: Fantaisie-impromptu GyOrgy Cziffra, piano. Pathe-Marconi 167 indeed be the greatest Liszt player alive, in C sharp minor. Op. 66. DEBUSSY: La Plus clue 14021/3 (three discs, stereo recording). and if so, then surely he must be brought lente. DOHNANYI: Etude ("Capriccio") in F minor. LISZT: Annees de peierinage (complete). here to contribute to our Liszt celebrations Op. 28. LISZT: Etude d'apres Paganini ("La Chasse"); Gytirgy Cziffra, piano. Pathe-Marconi 167 Etude de concert, in A flat. RAVEL: Jeux d'eau in E. during 1986. He could restore the sense of 14081/3 (three discs, stereo recording). excitement that once flourished whenever Liszt was played, but, in recent times, has last great pianism, let us return to that. orchestral engagements (out of memory to been dampened under the weight of overly Last May, the senior critic of The New his late son, Gyorgy Cziffra, Jr., a conduc- serious performances (usually of the com- York Times took a few moments one Sun- tor), his great artistry, even in solo recital, poser's late music) or of emotionally pallid day to voice a complaint: would speak profoundly to our need for run-throughs by pianists who know next to Looking back over the last few months, I individualism, spirit, and commitment. nothing about the genuine meaning of bra- see that I have heard a dozen well-known The evidence from all these extraordi- vura. Cziffra's way with Liszt is not the pianists of various ages and degrees of tal- nary records proves the point. HF

82 HIGH FIDELITY CLASSICAL Reviews

ated in mid- and late-18th-century Vienna by musicians whose names we are hardly aware of today. The rediscovery of a group of unjustly neglected composers would be cause enough for celebration, but we gain one additional dimension: insight into the development of Haydn's and Mozart's styles. Neither composer worked in a vacuum; they were products of their time, Oboist Heinz Holliger solos in Dittersdorf and Salieri works with the Camerata Bern. actively involved in all aspects of musical life, selectively absorbing the best that the music around them had to offer. Thus we can never hope to understand their achieve- Early Viennese Classics ments until we become familiar with the work of the lesser masters who preceded From the Camerata Bern and worked alongside them —composers without whom the great heights of Viennese Classicism would probably never have been Reviewed by K. Robert Schwarz reached. Matthias Georg Monn (1717-1750) was often described by pro-Austrian histo- THE EARLY VIENNESE SCHOOL. with Monn and his Viennese descendants, rians as being the Viennese fount of Classi- Heinz Holliger, oboe; Thomas Fart, violin; the Italians with Pergolesi and Sammartini, cism. While this claim may have been Thomas Demenga, cello; Camerata Bern, Thom- the French with Gossec. In truth, none of exaggerated, the two works presented here as Ftiri, dir. [Andreas Holschneider and Steven these viewpoints was completely correct: are of sufficient quality to make one wonder Paul, prods.] ARCHIV 410 599-1 (three discs, dig- The High Classic style that we associate ital recording). Cassettes (2): 410 599-4. how this young genius would have devel- ALBRECHTSBERGER: Quartettfuge in with Haydn and Mozart was a miraculous oped had he lived longer. Both the Sinfonia C. DITTERSDORF: Concerto for Oboe and synthesis of German counterpoint, Austrian in B and the Violin Concerto in B flat Orchestra, in G; Sinfonia in A minor. MONN: formal rationality, Italian melody, and (1747) display striking mixes of old-fash- Concerto for Violin and Orchestra, in B flat; Sin- French instrumental color—a truly interna- ioned Baroque and more progressive Clas- fonia in B. SALIERI: Triple Concerto for Violin, tional achievement. sical traits, but the result is not the disjoint- Oboe, Cello, and Orchestra, in D. STARZER: Yet, because Haydn and Mozart were ed stylistic hodgepodge of so many mid- Divertimento in C. VANHAL: Sinfonia in G both closely associated with Vienna, it is 18th-century works. Monn's firm grasp of minor. WAGENSEIL: Sinfonia in D. ZIMMER- the rise of the peculiarly Viennese Classi- formal structure, his sprightly, distin- MAN: Sinfonia in C. cism that has most fascinated musicians. guished thematic material, and his harmon- Few issues in music history have engen- The producers of this three-record set have ic excursions all stamp him as an inspired dered as much controversy as the origin of coined the term "Early Viennese School" composer. Georg Christoph Wagenseil the Classical style. To begin with, nation- in order to "represent the Viennese forerun- (1715-1777), who lived to complete a life- alistic pride blinded generations of well- ners of the High Classic style, the unde- time of service in Vienna as imperial court meaning historians—the Germans claimed servedly obscure group of pre-Classical composer, seems just as capable but far less priority in the rise of Classicism with Stam- composers who lived and worked mainly in inspired. His Sinfonia in D, written several itz and the Mannheim School, the Austrians and around Vienna during the reign of decades after Monn's work, appears com- Maria Theresa." There are at least two monplace, despite its capable control of For additional reviews of classical music good reasons why these composers should form and thematic development. on Compact Disc and videodisc, see NEw be of interest to us. One is that a great deal With Carl Ditters von Dittersdorf TECHNOLOGIES. of competent, viable music was being cre- (1739-1799) we arrive at one of the most

OCTOBER 1984 85 CLASSICAL Reviews important figures of Viennese Classicism, an enormously prolific composer who penned no less than 120 symphonies and 40 : S. e S . . . N I * * ‘ 4 0 S I I i3 * g . concertos. Dittersdorfs music displays all I X " G t S t :.P r the hallmarks of the mature Classic style— PROKOFIEV its balanced phrasing, formal coherence, s p l i p ti O ni e S . . . criGairr PETER AND THE WOLF and characteristic orchestral sonority— SAINT SAENS

CARNIVAL or THE ANIMALS without any of the strokes of genius we PERLMAN • LABEOUE • MEHTA sin gerS••• •'' RACH MANINOFF associate with Haydn and Mozart. The Sin- Symphony No. 2 4.,r1 fonia in A minor has an impassioned open- Los Angeles Philharmonic ,e ing movement that typifies the Sturm und SIMON RATTLE Drang ethos of the 1770s; yet it turns curi- BO M A I 11 Lucia di Lammermoor ously flaccid, despite the concertolike cello Coulierma • Kraus • Burson • Lime Royal Philharmonic • Elescigno solo in the second movement and the folk }. inflections of the finale. Dittersdorf s Oboe DS-38189 Concerto in G offers the listener a competent, well-crafted three-movement work, GERSHWIN KATIA AND MARIELLE but aside from a lovely slow movement DS-38100 LABEQUE there are few electrifying moments. AN AMERICAN IN PARIS PORGY AND BESS Two composers whose names are 0,00 DVORAK Symphony No. 9 missing from many of the history books

DSCX-3951 FROM THE NEW WORLD provide some of the finest music on these Berlin Philharmonic DIGITAL TENNSTEDT discs. Joseph Starzer (1726-1787), best Rani: The Complete Songs known for his ballet scores, is represented MI MI by an absolutely superb Divertimento in C tfg7i. for string orchestra. Except for its title, this is in all respects a mature Classic sympho- DS-38130 ! • ny. Yet its interesting chromatic modula-

• 01, • 4 .1 ^ tions, intertwining contrapuntal lines, and rich orchestral textures go beyond the com- DS-38140 monplace to give evidence of a truly original composer. Anton Zimmerman (1741- All available on new high 1781) was court composer to the Prince- DSCX•3965 quality XDR/HX Cassettes. Archbishop in Pressburg, now Bratislava, and the orchestra he directed there was as highly esteemed as Haydn's in Esterhaza. His Sinfonia in C was actually thought to be by Haydn until well into the 20th century, and it is indeed Haydnesque in its powerful WDS development section (which ably fragments W E DELIVER SAVINGS WISCONSIN DISCOuNI ARID the thematic material), its extensively 2411 IN badger inaenun ire 53/13 rewritten recapitulations, and its dramatic harmonic and formal sense. Special Purchase Ask About Our Special Purchases On ... The name of Antonio Salieri (1750- on ALL Compact Multi-Million $ ALL VHS Hi-Fi 1825) has been burdened by historical innu- Disc Players Specials On ... CALL FOR PRICES endo concerning his supposed role in CALL FOR PRICES AKAI, Concord. JVC. ALL Beta Hi-Fi Mozart's death, a hypothesis taken up by Hitachi. Sanyo. Kenwood, Sherwood. CALL FOR PRICES the play Amadeus. His compositional Sansui, Toshiba. Jensen, Teat, Toshiba. CALL FOR OTHER SPECIALS. and more" Sansui, Marantz. Sanyo strengths were in the realm of vocal music; his instrumental works—if the Triple Con- Thch nics SPEAKERS by S-517 `i 1111,141 certo for Violin, Oboe, Cello, and Orches- _ ffirLF H Lc— Super Special tra is representative—seem pale and insip- $119 Direct-Radiating id. No one can deny that the Triple Concer- Quartz Floor-Standing '4'1 4 9 Linear 3-Speaker System ea. $49 to sounds attractive, due to Salieri's skillful Direct Drive Direct-Radiating $ 3 9 Floor-Standing intermingling of the three diverse solo Bookshelf 2-Way ea. with Cartridge Purchase) 3-Way instruments, but his weak control of form and characterless thematic material mark JENSEN ATZ 100 BRA N D NE W Z-5000X this as a second-rate work. Computer Conti oiled Sansui Sx-1100 Sansui Salieri's contemporary Johann Georg Audio Video Stereo I"f! AM Receiver 249 Albrechtsberger (1736-1809) has been $196 C with 70 Watt duly noted by the historians as the man who "Multi- Channe gave counterpoint lessons to the young Bee- Digital with Presets 8 Scan GALL FOR PRICE Dimension" Digital Receiver thoven. Known in Vienna as a fierce r — defender of the Baroque contrapuntal tradi- * We Discount Most Major Brands L — C.O.D. tion, he wrote 240 fugues for various instru- * Oldest Mail Order And Best Consultants In The Country mental combinations. The two-movement * Most Orders Shipped Within 48 Hours Quartettfuge in C has a lovely, richly tex- * All Products We Sell Carry Our Famous Buyer Protection Plan tured opening Andantino, but it is followed or Call 608 271-6889 by a wooden fugue that seems more bur- TOLL FREE 800-356-9514 Weekdays 9-9 Saturdays 9-5 dened with tradition than inspired by it.

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czNroti Die reine Vusik Allsop's CLASSICAL Reviews tocry j*,iffer!- bu a Allsop 3 CR cleaner well, 14:49 pop for the corn! Wi Allsop improves sight. sound ...and taste! Buy an award- . winning Allsop. 3 VHS or Beta cleaner and get your hands on a fire 3 az. bag of theatre quality Video Popmi popping corn. It's the perfect treat for inter- mission! Pop in your Allsop 3 VCR cleaner—the specially formulated Ma (left) and Ax: sumptuous sonorities, and an emphasis on the lyrical aspects solution and non-abrasive rib- bon remove harmful contam- I have saved the finest work for last. movements (Dittersdorf, Vanhal, and Zim- inants from critical VCR parts. Johann Baptist Vanhal (1739-1813), merman) that call for solo instruments. Reach for the best cleaner around and the tasty Video Czech by birth, moved to Vienna in the "The Early Viennese School" is a PopTm popping corn and set your 1760s and was friendly with all the musi- sequel to the Camerata Bern's prior collec- sights for better video enjoyment. cians of his day, including Haydn and tion, "The Mannheim School" (Archiv Look for Allsop's hot, new display at your Mozart. Mental illness prevented him from 2723 068). One hopes that more volumes video dealer's. Act now, the show's about realizing the potential he showed as a young are to follow, allowing us to mine the ore of to begin! man, but his Sinfonia in G minor is a mas- the later Classical period. How about Vien- terpiece, worthy of comparison with Mo- nese contemporaries of Haydn, Mozart, zart's Symphony No. 25, in G minor, and and Beethoven, such as Eybler, Gyrowetz,

'1.4442.217 Haydn's minor-key works of the 1770s. and Forster? How about a set devoted to Here, in contrast to the Dittersdorf Sinfo- those neglected composers straddling the nia, we have a symphony that maintains its Classic and Romantic eras, such as Viotti, impassioned tone throughout. Its imagina- Dussek, Hummel, and Reicha? The possi- tive orchestration, potent thematic materi- bilities are intoxicating, with both listeners al, rhythmic and harmonic surprises, and and historians having an infinite amount to emotional intensity indicate a composer of gain from such projects. Work/ Leaden- in I I Care Mnducts true genius—one who deserves a retrospec- tive set all his own. BEETHOVEN: Sonatas for Cello and .444 , Not surprisingly, this fine work also Piano: in A, Op. 69; in D, op. 102, No. 4ril evokes the best performance of the set. It 2. - finds the Camerata Bern at their most com- Yo-Yo Ma, cello; Emmanuel Ax, piano. mitted, producing a reading of tremendous (James Mallinson, prod.] CBS MASTERWORKS excitement and rhythmic drive. Elsewhere, IM 39024 (digital recording). Cassette: IMT , however, the performances can seem more 39024. CD: MK 39024. polite than compelling, and I cannot help RCA has lent Emmanuel Ax out to CBS to wondering if some of the less inspired make the continuation of this impressive ep works recorded here would seem more collaboration possible; the jacket refers to interesting in other hands. Nevertheless, the set as "Volume 2." The sumptuous the accounts are models of clarity, whatever sonorities of both young artists, faithfully they may lack in intensity. Although play- recorded, command attention from the very ing on modern instruments, the performers beginning, and their easy technical mastery are careful to insure that the interpretations of the music makes the disc an attractive are historically and stylistically appropri- one. Both emphasize the lyrical aspects of ate: Articulation is crisp and clean, vibrato these works whenever the composer is narrow, slides and swells in the strings presents them, and cellist Yo-Yo Ma

* are kept to a minimum. Sensitive dynamic extracts ample poignancy from that de- and rhythmic manipulations enliven the scending minor-seventh figure in the earlier ". 4 . a proceedings. The four soloists are superb, sonata's third movement. * having an opportunity to demonstrate their I find the big D major work somewhat III • gifts not only in the three outright concer- less successful. From the outset, an unusu- ALLSOP. INC., P. el. Buie 23,11.ellingh VA 9$227114011 tos, but also in the several symphonic slow ally snappy tempo—metronomically main- 40,61734-9090.-Telen li-2101/Allsop

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Circle 16 on Reader-Service Card CLASSICAL Reviews tamed, even beyond Beethoven's indica- so with a level of individualism, passion, tion of Allegro con brio—keeps things and vision that is regrettably rare among his bright, lightweight, even superficial. Also, contemporaries. This quality is foreign to 1 question the musicological authenticity of Lupu's recordings, though in this account Ax's mordents in the development section. of Brahms's Piano Sonata No. 3 the fourth- He and Ma play the second movement Ada- movement Intermezzo startles the listener gio, all right, but con molto sentimento in the midst of a business-as-usual interpre- d'affetto? Hardly. One misses the noble res- tation: Lupu's reserved introspection be- ignation, the element of almost high trage- gins. to creep and crawl, taking on almost dy implicit in the movement. (Cellists never hallucinatory qualities. want to believe that CasaIs, inimitably, That movement alone is enough to recorded thcentire slow, four-part opening make this LP worth its price, though the theme with his left hand motionless, totally recording has a number of other merits as free of vibrato—but I saw it myself in 1953 § well. Sir Clifford Curzon's beautifully dis- at the French Pyrenees Abbaye de St.- tilled reading on London Stereo Treasury Michel-de-Cuxa, outside Prades.) Ax and (STS 15272) is still the preferred version of Ma play the awesomely powerful final this youthful though sprawling sonata; but fugue of the D major Sonata almost like a while Curzon tends to mask the work's country folk dance in triple meter. If you shortcomings (which sometimes means prefer your late Beethoven real cool, man, giving its verbose passages an Olympian you may find this right up your alley. once-over-lightly), Lupu embraces its ex- Beethoven himself originally labelled cesses along with its strengths and attempts these two sonatas, like their three compan- Lupu: embracing Brahms's excesses to prove—with varying degrees of suc- ion pieces, ' fiir Pianoforte und Violoncel- cess—that the twenty-year-old Brahms lo," not the other way around. The BRAH MS: Sonata for Piano, No. 3, in F knew exactly what he was doing. sleeve—embellished by two extraordinari- minor, Op. 5; Theme and Variations, in The tip-off comes when Lupu takes the ly arresting photographs by Bill King, D minor (arr. of slow movement from exposition repeat in the first movement, no showing the two young artists in rambunc- String Sextet, op. 18). doubt to give the movement a weight and tious action—gives the artists equal billing, Radu Lupu, piano. [Michael Haas, prod.] grandeur it needs to keep from being LONDON LDR 71061 (digital recording). but the copy sent me contains a separate p.r. dwarfed by the equally long but more bio of Ma and none of Ax, which at least There are moments in Radu Lupu's con- melodically endearing Andante. In most implies "for cello with piano accompani- certs when he drops his customary polite- performances, this heart-melting second ment." Ax has ample reason to raise ness and transforms whatever he is playing movement is the work's primary attraction, hell. PAUL MOOR into a Kafka-esque nightmare. And he does and after Lupu's luxurious account, the oth-

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DAVID: Trio. HUTCHESON: Noc- turnes of the Inferno. Lutenist Paul O'Dette offers peppy performances of Dowland's dances. Verdehr Trio. [Walter Verdehr, prod.] CRYSTAL S 644. ny Orchestra, Andre Previn, cond. [Suvi Raj part for its eternal mystery, and even less Grubb, prod.] ANGEL DS 37929 (digital record- The standard repertoire pieces for the for its awful power. ing). Cassette: 4XS 37929. CD: CDC 47028. ensemble of violin, clarinet, and piano can Atmosphere, generally speaking, gets be counted on the digits of a single hand— The more I listened to this recording (within comparatively short shrift in his perfor- or perhaps a hand and an extra thumb if one earshot of the Pacific surf at Carmel, coin- mance of both these marvelous works. In includes with Bartok's 1938 Contrasts, cidentally), the more the phrases "you hus- the first Nocturne, Previn keeps his clouds Milhaud's 1936 Suite, Khachaturian's 1932 ky-nois'd sea" and "the hoarse surging of scudding almost briskly along, crowding Trio, and Ives's 1902 Largo the arrange- the sea" plucked insistently at the sleeve of the little solo sensitively played by one of ments Stravinsky and Berg made, respec- my conscious mind—not because they the most beautiful-sounding English horns I tively, of the L'Histoire du soldat suite and apply to this performance, but because, to have ever heard. (James Harding signs him- the slow movement of the Chamber Con- my perplexity, they do not. Finally, the self responsible for these album notes; have certo. Obviously, that's not enough to keep source of the two quotations surfaced: Walt we his jaws to box, or his proofreader's, for the members of the Verdehr Trio fully Whitman's Out of the Cradle Endlessly their reference to "a sad little theme on the occupied and challenged, so since its Rocking, specifically that section of the French horn"?) In the second, Fetes, the founding in 1972 the group has commis- poem that Frederick Delius excerpted for leisureliness of all the tempos contradicts sioned a bevy of new works from compos- his choral/orchestral masterpiece, Sea the festiveness specified by the title. The ers on both sides of the Atlantic. Drift. end of the third Nocturne finally attains a In 1978 the prolific Viennese compos- Off onto a literary tangent, and for remarkable atmospheric quality, but only er Thomas Christian David provided the purposes of comparison, I subsequently after having passed over the rapturous cli- group with a Classically designed Trio that pulled out my treasured 1951 Toscanini max in a manner almost matter-of-fact. maintains the formal rigor and heated inten- recording of La Mer, for which RCA Victor The orchestra and chorus both perform sity (but apparently not the dodecaphonic had the inspiration to commission album superbly, but all the surface sheen some- constructive techniques) of his early-20th- notes from the late naturalist Rachel L. Car- how fails to compensate for a curiously century compatriots. Jere Hutcheson, a col- son, author of that poetic masterpiece The abstract overall detachment. PAUL MOOR league of the Verdehrs on the faculty of Sea Around Us. In those notes she wrote of Michigan State University, offered them "one who makes a long ocean voyage— DOWLAND: Lute Music. Nocturnes of the Inferno in 1976, a set of when day after day he watches the receding Paul O'Dette, lute. [Michael Bernstein, highly coloristic movements whose sonic rim of the horizon, ridged and furrowed by prod.] AsTREE AS 90 (digital recording) (distributed by AudioSource, 1185 Chess Dr.. Foster vocabulary and evocative subtitles ("Cries waves; or when he stands alone in darkness City, Calif. 94404). on the deck at night, in a world compound- and Murmurs," "In a Dream...," The Shomalcers Wife, a Toy; La Mia Bar- "Night Creatures") put the work in line ed only of water and sky, and feels the bara; The Lady Cliftons Spirit; Mrs Cliftons All- with the mood music George Crumb was brooding presence of the sea around him." maine; Alo; Queene Elizabeth, her Galliard; producing c. 1970. These are effective She concludes that "surely the sense of Wallsingham; A Galliard (upon Wallsingham); pieces, and superbly performed by the vir- these things was in Debussy's mind when Semper Dowland semper dolens; Fantasia; A tuosos for whom they were created, but the he composed La Mer, capturing in immor- Fancy; Mr John Langtons Pavan; The Lady Rich, recorded sound is rather persistently his- tal music the shining beauty, the awful her Galliard; Winter Jomps; Mistris Whittes sy .. JAMES WIERZBICKI power, and the eternal mystery of the sea." thinge; Mrs Whittes nothing; Lachrimae; Gal- liard to Lachrimae; Farewell fantasia. Andre Previn, to my way of thinking, has DEBUSSY: La Mer; Trois Nocturnes. concentrated on the shining beauty of the Lute music is by nature intimate, but not The Ambrosian Singers; London Sympho- sea, but I feel relatively little interest on his necessarily introspective, as Paul O'Dette

92 HIGH FIDELITY demonstrates with his peppy performances doubt that couples in Michel Lambert's life- Lully, held the title of surintendant. of the stylized dance numbers that make up time (c.1610-1696) rarely went farther The selections on this disc range from the first half of each side of this disc. The than holding hands; these works leave the purely instrumental interludes, beautifully foot-tappers represent only one aspect of question open as to whether they got even played, to vocal numbers for as many as Dowland's musical personality, though; that far. five voices, beautifully sung. A 16-page tri- melancholia was apparently this 16th-cen- The names connected with the vocal lingual booklet provides all the texts, with tury composer's dominant humor, and it is and instrumental ensemble Les Arts floris- translations, but it prints the original dia- in works such as the Lachrimae pavane and sants reveal it is a polyglot group: William logue in "Admirons noire jeune et char- the autobiographical Semper Dow/and Christie directs it, and its singers include mante diesse" in a manner that will con- semper do/ens (the anguished effect of their Agnes Mellon, Jill Friedman, and Philippe fuse you the first time round; the use of a chromatic notes heightened by their acous- Cantor, but also Guillemette Laurens, few colons—which appear in the transla- tical conflict with the mean-tone tuning sys- Michel Laplenie, and Etienne Lestringant, tions—would have cleared the matter up. tem) that we find Dowland's most individ- with Konrad Junghanel playing the theor- One wonders, in passing, why Mellon sings ualized writing. In these more doleful bo, one of those double-necked lutes. They the solo part in "Trouver sur l'herbette," pieces, too, O'Dette has just the right do it all with great style and polish, with the obviously a man's song—particularly in a touch, and the contrasts in emotional inten- female singers, especially Laurens, demon- country where the punch line of one of the sity between one group and the other are strating an arresting melismatic flexibility most famous national jokes cries, "Vive la remarkable. This is a beautiful recording; in the ornamentations. Do not expect much difference!" PAUL MOOR the microphones seem to have been placed variety of tempo or spirit, for this selection very close to the instrument, but the occa- and this ensemble show little interest in the MENDELSSOHN: A Midsum mer sional sighs they pick up are not at all intru- lustier type of music of the period, which so Night's Dream: Overture, Op. 21; Inci- sive. JAMES WIEFtZBICKI enthroned David Munrow and his merry dental Music, Op. 61, Nos. 1, 2b, 3, 5, 7, men and women. 9, 10, 11, 12b. LAMBERT: Airs de cour. Don't feel sheepish, either, if you've Arleen Auger, soprano; Ann Murray, mez- Les Arts florissants, William Christie, never heard of Lambert. As a young man he zo-soprano; Philhannonia Orchestra and Ambro- cond. [Daniel Toursiere, prod.] HARMONIA MUN- enjoyed the patronage of Cardinal Riche- sian Singers, Neville Marriner, cond. PHILIPS DI HM 1123. lieu, and during the course of his astonish- 411 106-1 (digital recording). Cassette: 411 106- 4. CD: 411 106-2. The shepherds, shepherdesses, and other ingly long life he published some 20 collec- folk dealt with in these 14 works (one tions containing hundreds of airs of the type In music as transparent and featherweight femme fatale named Iris gets apostrophized recorded here (more than 300 have sur- as Mendelssohn's for A Midsummer Night's several times) weep, sigh, and languish, all vived). In 1661 he became Maitre de Dream, there's everything to be said for the for sweet love, but they do it with consid- musique at the court of Louis XIV, where American policy of recording after a series erable grace and charm. Personally, I rather his more famous son-in-law, Jean Baptiste of public performances, not before. Even CAL

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Circle 39 on Reader-Service Card CLASSICAL Reviews an orchestra currently as polished as the ‘s -to c _s e.4- 119 OPEN SUNDAY 10-5 Philharmonia in London (credit Riccardo Muti) cannot sound insouciant or effortless st-s1;3 031.56‘00°5. FOR CUSTO MER SERVICE & INFO when conditions are rehearse-tape, re- *. sCP CALL (212) 387-7770 CLOSED SEPT. 27- TS. OCT 11 21 cl‘ hearse-tape whether or not there's to be a Store H ours M on Th urs: 9 to 6; Fri: 9 to 2; Sun: 10 to 5; Set: closed concert post facto. The players don't seem to know Nelville Marriner's conducting CALL" MEANS USA'S LOWEST PRICE! well enough to skip the part about his beat and where to find it. Everything on this disc VCR 'S (VHS ) QUASA R VPSILI5NA140 SCALL SONY HV C2S00 Y. X PANASONIC PH 1225 sounds (which it shouldn't) like prepara- Ile9 IC HITA CHI VT13.4 SCALA SONY HH C2800 969 00 PANASO NIC PV 1231R III 00 HITACHI VT M A SCALA tion, rather than a confident performance. PANASO NIC PV 1S30 C A M E R A S (VHS ) SO 00 HITACHI VT1SA SCA L L PANASON IC P51130 PANASO NIC PESSO M oo 5.30 00 HI TACHI VT36A SCAL PANASO NIC PV 1730 PANASON IC PE W ) TIM M For every last note of the incidental S CALL HITACHI VT IRIA CAL L PANASO NIC PVSSRRMOAI PANASON IC PESTS !CALL S39 DO HIT AC HI VT ASA I CA LL music Mendelssohn wrote 17 years after the PANASO NIC MAN10000411 SIR 00 PANASONIC PK410 MO 00 HIT AC HI SP SCALA PANASON IC PHOTO 97500 PANASONIC PV1110 Mall S CALL HITACHI AP eCast JVC CIENTO 755 00 Overture—to accompany a command per- PANASONIC PH11300 Wore, NW 00 GE IV CR51:02X ICA ct JVC HR D220 JVC CMSSU TOO LO 00 00 GE IV CIS5003X SCALA. JVC tow ns MO M RCA CKC017 S C AL L formance of Shakespeare's play at Potsdam GE IVCR5010x S CAL L JVC HR0170 RCA CKC 0111 S CALL MS 00 GE IV CR5011X S CAL 1. JVC HR D725 No III RCA CKCO IS S CALL in 1843—you'll want Andre Previn, on an S CAL L GE IVCR SOills SCAL I JVC HRS 1000 Toon RCA CKCO20 S C AL L S CALL GE 'TU M MY 11Ii S CALL SHARP VC 441 RCA CECO21 S CALL Angel disc of some vintage that stars the ISA 00 GE M VP502034 Loon, S CAL L SHA RP VC3155 HITACH I VEC4140 S CALL MS 00 E ICHPS02114 A mu S CALL SHARP VC MI6 MO M HITAC HI VEC IMO !CALL London Symphony. Although that perfor- SHARP VC36310C SA S CALL VCR 's (•ITA ) HITACHI VEC 3400 CALL RC A VA T215 S CALL SANY O VCR4400 M CC 0 E ICKSO RE I CALL mance is neither more imaginative nor more RCA VIST3C0 S CALL SANY O VCRMISO M ao 0 E ICVCSOSIE S CAL L RCA VI( TWO S CALL SANYO VCR4.170 Rile GE ICVCSAME S CALL vivacious interpretively than Marriner's, it RCA VISTSSO flu Ill CALL SANY O VCR4793 S CAS s 0 E IC VM SOSO IS nun, S CALL RCA VA T650 !CALL SANT O HCR7200 Si IS W ee does sound better and is consistent in the RCA VISP1701now winless rern pall SC ALL SONY SL2300 RICA WE ADO CARR Y A FUL L LIN E OF ORAN () RCA .01P1103 SC ALL SON Y SL2410 475.00 NAME CASSETTES , TR IPODS . DUST matter of repeats. Philips wins points for RCAYEPNYO IPRSSIIII SC ALL SON. SL2710 etst fi, 740 00 COVERS. LENSES FILT ERS HEAD GUASAR VMS041 S CA LL SONY SL2004TT200S wort. M os CLEANERS AND OT HER VIDEO giving us Arleen Auger and Ann Murray as OUASAR NISOM S CALL ACCESSORI ES AT M AJOR SAVIN GS ' C AISI M A S (SETA ) QUASAR VH5145 S CALL solo singers in "Ye spotted snakes" and SANY O VSC ,00 Ul m HUGE SE LEC TION OF TV'S & MONI TORS — QUASAR HCS245 $ CALL SAN YO VSC 700 MI R SHARP . HIT AC HI OUASA R, ETC AT QUASAR SIAS MI S CALL "Through this house" at the very end, SANYO VSCI100 S CALL SIM ILAR SAVINGS — PRICED MUC H QUASAR HCS1145 S CALL SONY IIMC 110 117100 TOO LOW TO ADVERT ISE — CALL NOW' • ASAP VPS230 !CALL where it seems, however, that the Ambro- sians are singing in German. Despite a ELECTRONICS & APPLIANCES reverberant studio (or church, or town hall, or whatever), digitalism discloses virtually NOW IN OUR 15th YEAR! eZmi every detail, even on a conventional stereo 187 Ross St • Brooklyn, NY 11211 disc. But the high strings have the metallic

Master Charge Hill & COD s accepted credo GSM accounts charged at timbre of a thunder sheet when they play time ot outer Add shipping handling Ar insurance Prices subtect to forte and louder, wherefore a cassette coun- change wrthout notice We are not responsibte tor typographical errors terpart is prettier to hear. Musically, though, the loveliest evo- Circle 40 on Reader-Service Card cation of this elfin Dream remains Peter Maag's on London Stereo Treasury, despite its quarter-century of service, with Bernard Haitink's firmly in second place on Philips Festivo. Neither one has every note of the music (nor even Dolby processing, much less computer coding, in the case of Maag), but what they do include ensorcells. McIntosh ROGER DETrMER STEREO CATALOG MOZART: Quartets: No. 14, in G, K. 387; No 23, in F, K. 590. and FM DIRECTORY Brandis Quartet. IF. Axel Mehrle, Dieter Sinn, and Diether G. Wameck, prods] ° R H O S Get all the newest and latest information on the new 041831 (digital recording). Cassette: M 041831. McIntosh stereo equipment in the McIntosh catalog. In (Distributed by Harmonia Mundi. 2351 West- addition you will receive an FM station directory that wood Blvd.. Los Angeles, Calif. 90064.) covers all of North America. The Berlin-based Brandis Quartet gives these Mozart pieces the basic Romantic reading, with impassioned crescendos, tight vibrato, volume contrasts on an orchestral scale, lots of precious fussing with the phrasing, a dash of Angst in almost all the accents, etc. And there's a peculiar nervous quality about the group's collective 1 sonority, a slight edginess that gives the McIntosh Laboratory Inc. HF1084 East Side Station P.O. Box 96 music a hurried feeling even though the Binghamton, N.Y. 13904 0096 tempos are in fact perfectly sensible. SEND Those idiosyncracies arc worth detail- NAME ing, because everything else about the performance is first-rate. For all their stylistic ADDRESS anachronisms, these interpretations are un- TODAY! deniably cohesive, and the playing—like L CITY STATE ZIP the recorded sound—is simply impecca- ble. JAMES WIERZBICKI

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1 1 0 M For Owners of CD Players: CMOITAL AUDIO Critics' Choice Receive a FREE CO MPACT DISC The most noteworthy releases reviewed recently with charter membership in the CO MPACT BACH: The French Suites (6), B.W.V. 812- 9059, July. 817. Koopman. Odic VERLAG CAL 30 442/43, DUNSTABLE: Motets. Hilliard Ensemble, Sept. Hillier. ANGEL S 38082, Aug. BLOCH: String Quartet No. 1*. String Quar- HAYDN: Symphonies: No. 91, in E flat, Hob. O N 0 % tet No. 2; Prelude; Night; Two Pieces for 1:91; No. 92, in G, Hob, 1:92. Concertgebouw CLUB String Quartett. Pro Arte Quartet. LAUREL LR Orchestra, Davis. PHILIPS 410 390-1, July. —A service of RCA — 120*. LR 126t, Aug. LUTOSLAWSKI: Variations on a Theme by BRAHMS: Liebeslieder Waltzes (18), op. 52; Paganini. RACHMAN1NOFF: Suite No. 2, As a charter member you Neue Liebeslieder Waltzes (15), op. 65; Three Op. 17. RAVEL: La Vain (arr. two pianos). receive all these great benefits — Quartets, Op. 64*. Sixteen Waltzes, Op. 39; Argerich, Freire. PHILIPS 6514 369, July. • FREE CD for joining (pay just shipping/handling) Variations on a Theme by Schumann in E flat, MOZART: Concertos for Violin and Orches- • No minimum purchase required Op. 23; Souvenir de Russiet. Mathis, Fass- tra: No. 1, in B flat, K. 207; No. 5, in A, K. • Exclusive Club bulletin featuring new baender. Schreier, Fischer-Dieskau, Engel, Sa- 219. Brown; Academy of St. Martin-in-the- CD releases each month wallisch*. Alfons Kontarsky, Aloys Kontar- Fields. LONDON JUBILEE 411 707-1, July. • Classical...Rock...Pop... skyt. DG 2532 094*, 410 714-1t, Aug. MOZART: Divertimento in D, K. 334; March Original Soundtrack BRAH MS: Songs and Romances. Musica in D, K. 445. Academy of St. Martin-in-the- • Half-price bonus plan Sacra, Westenberg. RCA RED SEAL ARC 1- Fields Chamber Ensemble. PHILIPS 411 102-1, • And much more! 4916, Aug. Sept. NO RISK —NO OBLIGATION! BUSON1: Fantasia contrappuntistica for Two STRAUSS, R.: Orchestral Songs (12). Jerusa- Compact Disc Club Pianos. BEETHOVEN: Grosse Fuge for Pia- lem; Leipzig Gewandhaus Orchestra, Masur. P.O. Boa 91412 Indianapolis, IN 46291 no, Four Hands, Op. 134. MOZART: Fanta- PHIUPS 6514 321, Sept. send me my charter member- y E s.),s ship application and full details, sia for a Musical Clock. K. 608. Jacobs, BENNETT LERNER: American Piano Mu- immediately. Oppens. NoNEstri) 79061-1, July. sic. ETCETERA ETC 1019, Sept. CHOPIN: Mazurkas, Waltzes, and Polo- RENAISSANCE MUSIC IN NAPLES. Hes- naises. Moravec. Vox CUM LAUDE D-VCL perion XX, Sava11. ANGEL S 38083, Aug. NAME (please print)

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CITY RAMEAU: Orchestral Suite from "Les ordering is determined only by the smooth- Indes galantes." ness of the tonal relationships and the viv- STATE/ZIP TJS04 @ Orchestre de la Chapelle Royale; Philippe idness of the contrasts in meter, tempo, and Herreweghe, cond. [Alain de Chambure, prod.] sonority. This is deliberately spectacular HARMONIA MUNDI HM 1130 (digital recording). music, spectacularly performed by a 43- 1 MUSICAL AMERICA Cassette: HM 40.1130. piece "original instrument" orchestra that 1985 International In his article on Rameau in The New Grove features some of the best woodwind players Dictionary of Music and Musicians, Cuth- in the early music business. The recording Directory of the bert Girdlestone advises that there is much was made in one of Radio France's drier Performing Arts. more to this composer's theatrical works studios; the sound is sharply focused in all than the orchestral dances and interludes, registers, and the bass patterns on which the It is the complete reference guide to: • Orchestras • Chamber ensembles but he admits that these instrumental pieces music depends so much for its forward • Opera cot infamies • Choral groups "are what touch us first because of their motion are never made subordinate to the • Soloists • Dance companies uniquely immediate, quasi-tactile magic." brilliantly colored upper lines. • Performing arts series and festivals Persons interested in exploring the deeper JAMES WIEFtZBICKI • Artist managers • Music schools recesses of Rameau's dramatic sensibilities • Contests and awards • Professional are invited to listen to Jean-Claude Mal- organizations • Publications goire's fine recording of the complete Les SATIE: Apercus desagreables; La belle SAVE 20% Indes galantes on CBS M3-32973. (Of Excentrique; En Habit de cheval; Pa- course, insights far more profound than r TUNN COUPON WITH CHECK TO rade; Trois Morceaux en forme de poire; MUSICAL AMERICA Directory 1985 those offered by this or any other of the Trois petites Pieces montees. ABC Single Copy Sales, 825 7th Avenue, 8th Floor essentially lightweight operas-ballets are to Wyneke Jordans and Leo van Doeselaar, New York, NY 10019 be had when time is spent with tragedies piano. [Klaas A. Posthuma, prod.] ETCETERA lyriques such as Hippolyte et Aricie or ETC 1015 (digital recording). Cassette: XTC Please send me copies of the 1985 Musical America Directory of the Performing Abaris, ou Les Boreades, available on Argo 1015. CD: CD 1015. (Distributed by Qualiton Arts at $40 each, 20% off the $50 cover price. D 272 D3 and Erato STU 71534, respec- Imports, 39-28 Crescent St., Long Island City, N.Y. 11101.) (postage and handling included in U.S.). tively, and reviewed by David Patrick Enclosed is my check/money order for $ Stearns in HIGH FIDELITY'S June M USICAL This recording presents us with the com- AMERICA edition.) plete piano four-hand music of Erik Satie, NAME For those content with just a quick brought together on one disc for the first ADDRESS sample of the magic, though, this sumptu- time. Including his own arrangements of ous orchestral suite will do nicely. Like the works not originally conceived for piano, it CITY APT four concerts from Les Indes galantes that offers a relatively complete picture of Rameau himself prepared for publication Satie's compositional development after STATE/ZIP shortly after the work's 1735 premiere, the 1900. And what impressive music this is! COUNTRY collection of airs and dances put together by For those who belittle Satie, perceiving him PAYMENT MUST ACCOMPANY MOEN Philippe Herreweghe draws from the vari- as a second-rate prankster more important For postage outside USA add $10. For Foreign ous entrées a potpourri of selections whose for his influence than for his music, a num- Orders via AIR MAIL. Printed Matter add $20. L please allow 4-6 week delivery MAD 850

OCTOBER 19114 95 CLASSICAL Reviews ber of these pieces will be eye-openers. Satie's last years and are imbued with the Prime among them is Trois Morceaux popular spirit of the music hall: March, pol- en forme de poire (1890-1903). Despite its ka, waltz, cancan, cakewalk are all humorous title, this is deeply serious music, snatched from the cabaret and remade. a set of seven miniatures that span a wide Sometimes vulgar, sometimes affecting, emotional range from lilting melancholy to these miniatures-while far from pro- popular dancelike numbers. There is none found-have an undeniable charm. of the arch cynicism or illogical juxtaposi- One doubts that Wyneke Jordans and tioning of Satie's later works. The more Leo van Doeselaar's performances will somber sections emanate from the world of soon be surpassed. The two approach this the Gymnopedies, with mournful, oddly music lovingly, caressingly; most impor- chromatic melodic lines floating above tant, they take it seriously. They have repeated chordal patterns; the dancelike rehearsed their interpretations with infinite sections never fall into vulgarity or parody. care, bringing to them a wide dynamic All is controlled, heartfelt, utterly disarm- range, innumerable tonal shadings, and ing. delightfully appropriate rubatos-without In 1905, Satie entered the Schola Can- ever undoing the appearance of absolute torum to study theory and counterpoint. spontaneity. Jordans and Doeselaar capture Works like Apercus desagreables (1908- the charm of this music, from the rambunc- 12) and En Habit de cheval (1911) are typ- tious joy of the cabaret numbers to the del- ical of the results. The movements are cast icate melancholy of the lyric ones. Even in compact, neo-Classic forms (principally Perceptive playing from pianist Frankl better, they penetrate to the music's struc- fugues and chorales) and the writing is thin- ture, clarifying inner lines through crisp ner in texture, far more linear, and less per- this work-lacking the visual distraction of articulation and careful pedaling. fumed harmonically than in his earlier the stage-quickly disintegrate into a jum- Etcetera's sonics are excellent, as is its works. Yet-as Stravinsky was to do some ble of dance-hall fragments, popular tunes, pressing, but unfortunately all is cloaked in years later-Satie entirely reinterprets the and cinematic action music. Yet, owing to an intrusive background hiss that is surpris- traditions of fugue and chorale, and the out- the uniform timbre of the instrument, the ing in a digital recording. No matter: Pia- come bears his unmistakably personal har- piano duo version immediately assumes a nists, Francophiles, contemporary music monic and melodic stamp. more organic character, its cubistic collages types will all cherish this recording. Satie's famous ballet, Parade (1917), suddenly seeming coherent if not con- K. ROBERT SCHWARZ recorded here in its piano duo version, trolled. makes an excellent impression. I have Trois petites Pieces monties (c.1920) SCHU MANN: Conzertstiick in F, Op. 86 always found that orchestral recordings of and La belle Excentrique (1920) date from (arr. for Piano and Orchestra); MEN-

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OCTOBER 1984 97 CLASSICAL Reviews and Laila Padorr Nilles, prods.] PROTONE PR impressive on their own merits. Protonc's top by carefully following already blazed 159. Cassette: CPR 159. recording is quite clear, though subject to trails, it's Horner. Yup, it's Zubin's father, now in his mid- stridency in the upper registers. It would Mind you, I haven't heard Brainstorm seventies, making his long-delayed record- now seem meet and right to allow Mehli or Gorky Park, which (I'm told) stand out ing debut. The elder Mehta, longtime music Mehta to record the really meaty repertory with some individuality, but on the basis of director of the Bombay Symphony Orches- he surely deserves. BILL ZAKARIASEN his major film scores Horner is a creator of tra, founded the Youth Symphony of Los coldly calculated, imitative music. His Angeles in 1964 and has apparently been Wrath of Khan was a pale reflection of the content to remain there ever since, despite fine material Jerry Goldsmith wrote for Star the fact that his New York debut with the Trek: The Motion Picture. And now Star National Orchestral Association in Carne- Trek III sounds like outtake cues from gie Hall two seasons ago was greeted with Khan. (Indeed, the wavery main theme unequivocal critical acclaim. Theater from Trek II returns to dominate the new Even though both sides of this disc are score.) The music does not lend itself to devoted to ersatz arrangements of the real and Film much treatment, nor does Homer apply thing, one can easily hear why the critics much, and the result is aural stagnation. (and Zubin himself) have been so enthusi- HORNER: Star Trek III: The Search for One can hear a bit of Goldsmith here, a bit astic. Stoki's marzipan mishmash of Tris- Spock. of John Williams there. There's even what tan's love music has never been to every- James Homer, cond. [James Homer, sounds like a direct lift from Prokofiev's one's taste, and most likely there are those prod.] CAPITOL SKBK 12360 (digital recording). Romeo and Juliet—compare the opening of Cassette: 4XT 12360. who were grateful that the maestro's death "Stealing the Enterprise" to the middle supposedly precluded any further perfor- James Homer is a composer who, after section of "The Death of Tybalt." (Homer mances of it. Mehli was courageous indeed what seemed the briefest of apprenticeships has done this before: His score to Battle to take up the gauntlet. At any rate, what is scoring the current equivalent of Backs Beyond the Stars lifts a theme from Alexan- heard here is remarkable for its sinewy (Humanoids from the Deep, Battle Beyond der Nevsky.) strength, sinuous exposure of detail, and — the Stars), graduated to the big time in a big This is a BORING album, graced by above all—its uncanny near-duplication of way. Suddenly, films like 48 Hours, The some of the worst studio playing I've ever the lush Stoki/Philly sound. All the more Dresser, and Star Trek II: The Wrath of heard out of Hollywood. To top it off, a striking, since Mehta's orchestra is some- Khan were sporting his music. None of his one-sided LP containing a disco version of what undersized (only five basses) and previous work indicated any solid creative the Search for Spock theme is included as a mainly made up of students. capacity, nor have any of the scores he has "bonus." Whoever thought that one up The Rosenkavalier Suite was anony- written since his name went up in sound- ought to be beamed into the storage com- mously arranged (appropriate, because it's track lights. If ever there was a composer partment of a Port-O-San as punishment to really awful), but the sounds are likewise who rode the Tinsel Town escalator to the fit the crime. NOAH ANDRE TRUDEAU The SOURCE THE ALL NEW 1985 EDITION OF MUSICAL AMERICA INTERNATIONAL DIRECTORY OF THE PERFORMING ARTS The most encompassing and informative Directory of the Per- forming Arts in America. 7 Listings of orchestras, opera companies, publishers and Musical America Directory 1985 MAD850 ABC Single Copy Sales artists' managers. Competitions, foundations and awards; per- 8th floor formances, performers and organizations. 825 7th Avenue. New York. NY 10019

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Circle 20 on Reader-Service Card 7a PRESENTING A THE ALL-NEW 11th EDITION OF THE SCHWANN ARTIST ISSUE

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SCHWAINN ARTIST ISSUE Dept. II, Single Copy Sales 825 Seventh Ave. NO% York NY 10019 CLASSICAL The Tape Deck

Critiques of new cassette and open-reel releases by R. D. Darrell

the presence of a devout audience. Witness delectable early Classical works not only by Alive, Alive, OW Haydn's so-called Saint Cecilia Cantata- Albrechtsberger and Dittersdorf, but also Mass. Its inexhaustible musical, as well as by the far-from-obsolete Matthias Monn, THE VIRTUES OF LIVE Concert recordings vis- devotional, appeals (and the grand ambi- Joseph Starzer, Johann Baptist Vanhal, and à-vis those made without an audience in ence of the Basilica Ottobeuren) were spell- Anton Zimmermann. Only period instru- attendance have long been fervently advo- bindingly captured on July 4, 1982, in ments are lacking in this invaluable anthol- cated—and questioned. The pioneering Rafael Kubelik's account with Bavarian ogy (Archiv prestige-box digital/chrome example, Columbia's Associated Glee choral and orchestral forces and a group of 410 599-4; two extended-play cassettes). Clubs and a Metropolitan Opera House celebrity soloists topped by soprano Lucia [See review in this issue.] audience in Adeste fidelis (March 31, Popp and bass Kurt Moll (Orfeo/Pantheon A more startling return from apparent 1925), was one of the most potent factors in digital/chrome double-play M 032822; oblivion is that of Albeniz's only piano con- selling the brand-new "electrical" technol- brief notes; no texts). certo, which vanished after he first per- ogy to the record-buying public. Later Live recording risks can be avoided, formed it in 1887 and was rediscovered (in examples have met with varying degrees of yet some advantages retained, by schedul- a two-piano reduction) only in the late success, although some are highly es- ing sessions during the rehearsals for a con- 1960s. Now, in a restored orchestral ver- teemed as historical documents. Few recent cert or just after a performance—long a sion, it is played with zestful bravura by ones have been as vigorously touted as common practice, as we are reminded by Aldo Ciccolini with the Royal Philharmon- Alfred Brendel's third traversal of the five the first of Barton Wimble's two latest ic under Enrique Batiz (Angel digital/ferric Beethoven Piano Concertos, this time with miraculous resurrections of 78-rpm mile- 4XS 38038). But the crisp articulation and the Chicago Symphony Orchestra under stones: the Columbia Karl Muck and Sieg- vivid presence of recording that are so James Levine, recorded June 14-16, 1983 fried Wagner Parsifal excerpts, from the effective for this Lisztian display are less (Philips prestige-box digital/chrome 411 1927 Bayreuth Festival (In Sync/Conduc- apt for the impressionistic coupling, Falla's 189-4). Brendel pleads the "live" case in tart C 4137), and the Willem Mengelberg/ Nights in the Gardens of Spain. For its the 48-page notes-booklet and in a May Concertgebouw Orchestra versions of haunting magic, turn to the third and finest 1984 HIGH FIDELITY article, but both the Tchaikovsky's Fourth (1929) and Fifth version by Alicia de Larrocha, now with the pros and cons are most provocatively (1928) Symphonies (C 4138, double-play). London Philharmonic under Rafael Friih- argued by the recordings themselves. [See feature review, September M USICAL beck de Burgos (London digital/chrome There is indeed a fine sense of sponta- AMERICA edition.] Both meet the dictionary 410 289-4). Their matchless mastery of neity and dramatically effective spacing. definition of "live" as "full of life and Franco/Iberian atmosphere and idiom is And while the audience is admirably quiet, active power; not obsolete." Indeed, I'm also evident in another, if less important, one seems aware of its empathetic presence still able to reiterate my 1929 praise for the Albeniz revival—his more expectedly even apart from the warm applause at the sheer strength of Menge!berg's perfor- "Spanish" Rapsodia espaiiola, a string of start of each concerto and enthusiastic mances, which even in quiet passages sug- piano-solo dances deftly transcribed for cheering after each has been played. But gest "an athlete's muscles rippling under piano and orchestra by Cristobal Halffter. right there is a prime disadvantage: Fine on the skin as he makes even the slightest ges- Turina's familiar, more gaudily colorful first hearing, these audience reactions ture." But it's the Wagnerian program — Rapsodia sinfOnica is the filler. [See review become less and less tolerable on every rep- above all, the incomparable eloquence of of these Angel and London recordings in etition. In any case, home listeners will be Alexander Kipnis and Fritz Wolff in the this month's M USICAL AMERICA edition.] most directly influenced by the music, the Good Friday Spell—that endows the past There was an alter ego of the March- readings, and the sonic qualities—all vari- with eternal life. King John Philip Sousa few of us know: a ously admirable and debatable. composer of popular operetta and dance Brendel and Levine fans will be enrap- Lively Interpretations. The great Ukraini- music, as we are ingeniously reminded by tured, but I have a few reservations, mainly an bass's artistry also survives in the play- Erich Kunzel and the Cincinnati Pops about the conductor's over-Romanticiza- ing of his harpsichordist son, the American- Orchestra (Vox Cum Laude D-VCS 9063). tion of some orchestral passages and the born Igor Kipnis, whose latest program is His exemplary waltzes, gavotte, polonaise, tendency of the piano's tone to harden in further outstanding for the tonal beauty of tango, even a fox-trot, plus Desiree and El loud, emphatic moments—in contrast to its Boston Museum instruments: a 1680 Capitan excerpts, are disarming lavender- the sparkling or floating sonorities found Couchet in Francois Couperin's 26th Ordre and-old-lace curios. elsewhere in Philips's ultralucid digitalism. and uncle Louis Couperin's G minor Suite, And the convenience and economy of this and a 1756 Henri Hemsch in Louis Mar- Lifeforms' infinite variety. Valuable as three-cassette edition must be balanced chand's First Suite. All three pieces, but many live recordings may be—including against improper sequencing and side especially Francois's masterpiece in silvery this month's Beethoven and Haydn exam- breaks between movements in the First, Couchet sound, are sheer enchantment ples—the catch-'em-on-the-wing mode Fifth, and Third Concertos. So while this is (Nonesuch 78021-4, detailed instrument works far better for grand, potentially his- a set to be heard—and, in large part, and music notes). Moving on from France toric ceremonials than for standard reperto- esteemed—it scarcely challenges the mem- to Austria, an "Early Viennese School" ry fare. The death-and-time-defying vitality orable Ashkenazy/Solti/London, Fleischer/ collection by the Camerata Bern under of either the works themselves or unique Sze11/CBS, or Schnabel/Sargent/HMV Thomas Fiiri, with oboe soloist Heinz Hol- interpreters, along with invigorating acous- (now Arabesque) versions. liger, hardly makes a case for the tical ambience, is quintessentially what Church music, even in concert rather "school" 's existence. However, it imagi- makes music, recorded or otherwise, "then than actual worship, profits more richly by natively revives unjustly forgotten yet still chiefly live." HF

OCTOBER 1984 103 )s13,1A\COK BEA r BORN IN FORT W ORTH, Texas, in 1930, Ornette Coleman has been widely recog- nized since the release of his debut album in 1955 as the father of free jazz. With such landmarks as the double-quartet "Free Jazz" in 1961 and the electric guitar—based "Dancing in Your Head" in 1977, he has created a body of work that eschews conventional bar limitations and ignores keys and chord changes. He also invented "har- molodics," a complicated system of writing that is better felt when listened to than when read about. John Coltrane and James Blood Ulmer, to name just two of the great ones in the past 30 years, have both said that Coleman changed the way they improvised and made them more open as musicians. Yet no matter how far "outside" he has gone. Coleman's work has distinct roots in the black music of his native South- west. The Texas-style honking of rhythm- and-blues saxophonists such as King Curtis is a part of his playing today. And his recent performances with Prime Time (his electric guitar band) at New York clubs like the Ritz link the dance music of the '40s with the dance music of the '80s. Coleman's impact has been felt in the classical field as well as in jazz and rock. His symphony, Skies of America, has been performed at home and abroad, and he is currently writing The Oldest Language, a symphony for Prime Time and 125 additional musicians, Eastern and Western. A recent tax-evasion case is but one example of the kind of financial difficulties Coleman has faced his entire career. On the afternoon of the Fourth of July, we met at his current home, a spacious but largely unfurnished room on the top floor of an old schoolhouse on Manhattan's Lower East Side.

Backbeat: What are your earliest memories of music? How did you begin? Coleman: My father died when I was about seven; I only faintly remember him, but my mother told me that he was a really good singer. We lived on the East Side of Fort Worth, a class-zero ghetto. As little kids, my friends and I used to play on kazoos and imitate bands. There were three churches right on my block, and I remember all that Roots & Branches time going from one church to the other listening to gospel music. I was around nine when a band came to school, a miniature Basie-type band. This Omette Coleman connects the dance music guy got up and took a solo on saxophone and I was just in awe. His name was Red of the Forties and the Eighties. Connors and he became my hero. When I became a teenager I made me a shine box and got a job shining shoes, and also as a busboy, to save money. Finally one night by John Morthland my mom told me to look under the bed, and there was this alto. I assembled it and

104 HIGH FIDELITY played it as good as I'm playing it today. carnival type of band there was looking for always played and they all got up and first time. Because I just thought that was a saxophone player. I told my mother they walked off the bandstand-left me standing the way you do it. wasn't going any further than Dallas, when there by myself. I was so hurt I started cry- I started learning things from the radio; actually we went deep into the South- ing; they made it seem as I I was back- I wasn't old enough to go to clubs. Senti- Natchez, Mississippi. I was trying to teach wards. and that wasn't true. They just mental Journey was big then. Jimmy Dor- this other tenor player some bebop, and so I didn't know how to play outside. sey and Louis Jordan were big. When I was was fired; I thought the minstrel show was Eventually I met some guy at a jam ses- fourteen I got a band together, and we were outdated, Uncle Tom-ish. so I didn't regret sion who knew Les Koenig of Contempo- the house band for these illegal gambling it. But I did regret being fired in Natchez. (Continued on page 114) joints in town. I played in lots of Mexican I was a vegetarian then, and had my places, too. hair long like the Beatles-this was way Backbeat: Then what was your introduc- back in the early Forties-and a beard. Selected Discography tion to jazz? People thought I was a homosexual. But I Compiled by Mildred Camacho-Castillo Coleman: I met Red Connors. I went to a had done all that because I thought it put me ORNETTE COLEMAN jam session one night with Lester Young. in a category where I wouldn't have to play Something Else! Contemporary S 7551; Red, musicians passing through town from a certain kind of music. And it did. All I 1958. the East, and lots of local guys. I found out I ever thought about was how the horn Tomorrow Is the Question! Contemporary was very limited, because I only knew the sounded, not the style. S 7569; 1959. song I was playing. They were calling Backbeat: Next you went to New Orleans. The Shape of Jazz to Come. Atlintic SD songs they thought was hard, to play the a city with a long jazz tradition. Did you fit 1317; 1959. changes; I couldn't do that because I hadn't in there at all? Change of the Century. Atlantic SD 1327; learned their repertoire. So Red played me Coleman: I joined Clarence Samuels's 1960 (recorded 1959). This Is Our Music. Atlantic SD 1353; records by Bud Powell and Charlie Parker band, and I switched back to alto because 1960. and Dizzy Gillespie. who are still my favor- some guys who beat me up in Baton Rouge Free Jazz. Atlantic SD 1364; 1961. ite bebop musicians today. as is Thelonious had destroyed my tenor. New Orleans was Ornette! Atlantic 1378; 1961. Monk. The more I learned everybody's still playing Dixieland. But I was staying Art of the Improvisers. Atlantic SD 1572; solos, the less I wanted to play other kinds with Melvin Lassiter the trumpet player, 1961. of music. I was fifteen. Two years later I and his family came from a sanctified Twins. Atlantic SD 1588; 1961. broke my collarbone playing football; the church. I used to go with them on Sunday Ornette on Tenor. Atlantic SD 1394; 1962 doctor said I'd have to switch from alto to and take my horn. I found myself playing in (recorded 1961). tenor. So I was playing more rhythm and these incredible keys, Z and P and Q. It At the Golden Circle, Vols. 1, 2. Blue Note BST 84224/25; 1965. blues, because that's what people wanted to really helped me find out how to play with- The Empty Foxhole. Blue Note BST 84246; hear on tenor. out referring to what I call the maze, which 1966. Backbeat: Would you say there was any- is the changes. The music was freer than Saints & Soldiers. RCA Red Seal LSC thing in your style then that hinted at what any I'd ever played, because there wasn't a 2982; 1967. was to come? key. People sang or danced out of the blue, New York Is Now. Blue Note BST 84287: Coleman: Yes-1 always made up some- and everybody played what shook them at 1968. thing when I didn't have anything to go by. the moment. That made me very comfort- Love Call. Blue Note BST 84356; 1968. I didn't know it was improvising. I just able. I'm at the point today of believing that Ornette at 12. Impulse AS 9178; 1969. thought that was the way you played music, the truest expression is from the folk musics Science Fiction. Columbia KC 31061; the way you would, say, just read a news- of the world. 1971. Paris Concert. Trio PA 7169-80 (Japan); paper. I didn't think of a structure and what Backbeat: Were you writing by then? 1971. you could and couldn't do. Coleman: Yes. I had learned enough to Crisis. Impulse AS 9187; 1972 (recorded But the only jobs I could get were in know that there were consistent patterns 1969). bands that read charts, and I'd always get that went with bebop writing. So I could Skies of America. Columbia KC 31562; fired from them because of my solos. I take a pop song and use the changes to make 1972. remember one night I started playing what I bebop. But when I went back to Fort Worth Dancing in Your Head. A&M/Horizon SP thought Stardust sounded like without play- in 1950. I really got into analyzing those 722; 1977 (recorded 1975). ing the melody. Everybody stopped danc- changes. When I finally discovered they Body Meta. Artists' House AH 9401; 1979 ing and started looking up and just listen- were based on the voicing of the piano, I (recorded 1975). ing. And that night I got fired; the guy said, realized that the alto sax didn't have to fol- Soapsuds, Soapsuds. Artists' House AH 9406; 1979 (recorded 1977). "Give 'em vanilla! Give 'em vanilla!" low those voicings; the C on the piano and Broken Shadows, Columbia FC 38029; Backbeat: If you were already playing out- the A on the alto were the same soundwise, 1982 (recorded 1971). side, did you really expect people to react even if they were supposedly different Of Human Feelings. Antilles AN 2001; otherwise in those days? musically. I found that I could play much 1982. Coleman: Yeah, I expected them to like it. freer by using alto in place of piano. When See, I was still playing with a dance feeling. that happened, I thought I'd outgrown With JOHN LEWIS a dance beat; I just wasn't playing with bebop, and started writing songs that didn't Jazz Abstractions. Atlantic 1365; 1960. dance ideas. People coulda danced to it if have nothing to do with changes. With JACKIE McLEAN they'd wanted. But I figured maybe they Backbeat: Later that year you finally New and Old Gospel. Blue Note BST just wanted to listen, so I obliged. reached Los Angeles. as saxophonist with 84262; 1967. Backbeat: Were you making a decent liv- Pee Wee Crayton's r&b band. Then what ing when you left Fort Worth at seventeen? happened? With YOKO ONO What was your ticket out? Coleman: When his band broke up. I sat in Yoko Otto/Plastic Ono Band. Apple SW Coleman: I was making a decent living where I could-and I never went back to 3373; 1970 (includes a segment recorded until I started playing bebop. Then nobody bebop, so I was having a terrible time. I'll at Royal Albert Hall, 1968). in Fort Worth would hire me. I thought if I tell you an embarrassing story. One night I could just get to either coast, I could play got to sit in with Max Roach and Sonny With JAMES BLOOD ULMER the real music. I went down to the black Rollins and Clifford Brown. When it came Tales of Captain Black. Artists' House AH 9407; 1978. movie house in Fort Worth, and a minstrel, time to solo. I started playing the way I

OCTOBER 1984 105 BACK BEAT

played to the bleachers in the back. The move's a smashing success: Both the album and the first single are stuck like barnacles on the Top 10, and as I write, the film hasn't even opened. Prince has earned his success, and yet it comes off like a big joke. At his best he's an amazingly asocial artist, one of the few who might still ipater your mama, as intense in his desire to slough off this mild life as any punk who never made it as far. "Purple Rain" doesn't advance any new ideas, but it's enjoyably splashy and unavoidable—Prince, a big flag flapping in the faces of middle Ameri- ca. He's winning them over. "Dearly beloved," the album begins; throughout, Prince plays at being a preach- er, albeit one with his own ideas about what constitutes a sacrament. By the end of that cut (Let's Go Crazy) you don't really know which second coming Prince is actually cheering for, but my guess is that the reli- gious stuff is more strategic than felt. Cas- ing his psyche and the sidewalks for something that might be called "spirit," he finds it in sex. The goof on preaching is self- dramatizing, something he could have taught Norman Mailer a thing or two about; the musically great I Would Die for You even has Prince offering to do God's job. But beneath the posturing, there's a pretty dangerous, pretty exciting impulse: that with God out of work these days, sex—not love—can rend this vale of tears. There has always been a sense of others in Prince's music. On "Dirty Mind" he was the self-appointed leader of a gang set to rob all the banks and end all wars. In lingerie. The postcoital hordes he martials avoid the old social ruts: They won't fight, He's a Rebel don't want to work, and like their horizontal refreshment anywhere they please. Yet Prince and the Revolution: Purple Rain lived long enough to talk about his growing for all the talk about "blacks, whites, Puer- Prince and the Revolution, producers pains and his remorse, and he's smart to Ricans, everybody just a freakin'," there Warner Bros. 25 i 10- I enough to see the advantage in making his was also a way in which sex seemed like an fans feel they understand. escape from everybody else, and himself, Prince is getting too old to make like he's Thus the goofy, slippery film and too. It cleared the air for Prince's love-mad Bambi running for a warm cove in the soundtrack album "Purple Rain." There's fifth column, but before it built a coalition it woods; he wants his fans to know he has nothing here as visionary as Little Red Cor- registered as one big No—to boredom, to matured at least a little since he first wrig- vette. or that speaks to the body as aggres- rigor mortis. It was as full of life and urgen- gled in his bikini briefs for the masses in sively as the rest of last year's "1999 — did. cy as punk's revolt, and as total. 1978. Now twenty-four years old, he has "Purple Rain" is made for arenas, and New fans may be corralled by the

106 HIGH FIDELITY thousands with "Purple Rain." but they won't learn anything so revelatory about G UA RA N TE ED* Prince, although his performance in the film makes that not matter much. "Purple LOWEST Prices, Rain" is full-canvas, aims to be the masterpiece: Prince shoots for Phil Spector's gran- BEST Service deur, but John Williams. film scorer to the stars, is more like it. The album succeeds on the strength of Prince's writing, which is issanin world-class, and because he's such a great singer, not because of his skills at the control board. Buy Panasonic, RCA, Quasar Still, there are those songs. Stripped ()I and Magnavox BELO W ornaments. When Doves Cry is the best. good funk and amazingly touching when Wholesale. Shipped by UPS Prince lets out a twisted little cry. and Take within 24 Hours. Audio Video Center features a full „s o Me with You stands up to its thick-pile pro- line of video equipment from duction. Let's Go Crazy deserves one fur- C.O.D. V Panasonic, RCA, Quasar and ther note for the following line: "Let's look Magnavox. Our three locations give 'II we can't beat any price on PdrldS1M1( or 81 A video for the purple banana 'til they put us in the equipment well send you a free Alsop Head Cleaner us tremendous buying power that FREE - a $29.95 value. truck." Like, yeah. And the kink-out of translates to big savings for you. A note on "800" numbers... Darling Nikki serves his legend well. Call us last for our price on the Toll Free numbers are not free. Their cost shows up Which may just be the problem with "Pur- in the price of your video gear. Use them to SHOP, recorder or camera of your choice. but not to BUY. ( all us with your best price. Well ple Rain": Prince is talking up that legend, beat it and deduct Si 5.00 from the price of your trying to make a billboard of it. On the Satellite Earth Station Headquarters purchase. screen this is electrifying, but it succeeds for Birdview and Regency. Dealer Inquires Web ome. only intermittently in your living room. Prince would like to come into each and CALL ONE OF OUR THREE CONVENIENT LOCATIONS! every one of your homes and stay for more than coffee: "Purple Rain" is a preview of coming attractions until he finds your aqueli.c ( 14.clEo eEntEx, gn.c. address. RJ SMITH 4128 S. Florida Ave. New Jersey 4816 Interstate Dr. Lakeland, Florida Sales Office Cincinnati, Ohio Laura Branigan: Self-Control (813) 644-4546 (201) 297-2744 (513) 777-8800 Jack White. producer Atlantic S 299706 Circle 45 on Reader-Service Card

Laura Branigan may be the Lucky One after Cartridges & Styli c USPS 191. all: three hits, a Grammy nomination for (.5 14 III I II arrangedbs increasingpriceorder. D I S S O L V E 7 Best Pop Vocal Performance, and a certi- STANDARD MOUNTS Osawa OS102 + 12.95 fied gold single in the two short years since Audio-Technica ATIO5 9 Shure M44E : 1184..955

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4-- AKG P1OED (with free hea dshell) : 8279.95 without a substantial cause to support it- "Q,--...- Audio-Technica ATI55LC . g that is, without a genuine, multicolored per- 1.-../ Ortokin 0M30 1 82.95 ‘NY REPAIRS MADI ‘w e Bang & Olufsen MMC3 1 9995 sonality that speaks through and ultimately %‘.0 AKG PISMO (with free headshell) 5 99.95 •C.), Audio-Technica AT3100E (MC) 5109.95 IN THE SPOT- 2 0. beyond the instrument itself. Despite her Audio-Technica AT3200XE (MC) C Ortofon MC1OOU (MC) $112.95 5149.95 publicized four-octave range. Branigan's Bang & Olufsen MMC2 M ...6. Technics EPC205C Mk III 5149.95 limited vocal expression vascillatcs only C,..) AKG P25MD (24 or 35) +154.95 n n5 5159.95 between a hoarse whisper and a wail that Ortofon MC200U (MC) $199.95 If it sounds ...w_, Bang & Olufsen MMCI (incl. free MMC5R) $249.95 treads dangerously close to a loud whine. 7 - "10 best" P-MOUNT CARTRIDGES 0 Audio-Technica ATI 12EP 14.75 0 too good Hitch this to a punchy way with words, and Ortofon OMPIO 25.951114d Aucho-Technsca AT122LP + 28.95 all her tunes bland into some prefabbed Ortofon OMP20 44.95% a ATI52LP (gold) 82.95 in to be true, sameness that's exhausting to listen to en Ortolon OMP30 $ 82.95 masse unless you are concentrating hard on AKG P4DP 5 99.95 Audio-iTc echnica AT312EP (MC) +109.95,A it probably is. something else, like dancing. On The Lucky Techn s EPC-P205C Mk M $149.95 0 Orrofon TMC200 (MC) '199.95 lb learn how to protect One, Satisfaction, and Breaking Out, Bran- 511200 Mk 11 +265.00 -w-i Ortolon LM Pro $ 47.00 :7 yourself against mail fraud, igan seems to sing from the outside in-a DJ's Aurae Sp-7 Stickphome $ 84.95 cric curious mannerism for someone who idol- a Tchoworkdoerrpboyrmblaokrdfoerr InPmosecdonhaolbratrnidmcooudrlwseoduusdrerIqpunIrwectlasowndncciarbrNoleorr'ts -,--, write to the insurancelfehandlingchargeS2 959.ronlervAirin - Chief Postal Inspector izes Edith Plat , but understandable from a (Cartridges & Styli (Needles) career personally (and painlessly?) manipu- For quotes & COD Orders )• 24hr. Shipment) P O. Box 23900-A lated by Atlantic Svengali Ahmet Ertegun. 0 1-800-431-3232 0 Washington, DC 20026-0900 Even when she offers her brand of tender- (212) 438-6400 TAKE A BITE OUT OF ness on Will You Still Lave Me Tomorrow?, for advice and serek audiotmn P.O. BOX 37. Brooklyn, NY 11204 Hours 10AM - 6PM EST OCTOBER 1984 107 CRIME Fret Catakp: send sell addressed cooped envelope WATCH OUT FOR MAIL FRAUD BACKBEAT Reviews bogus, the unrelieved tension of the title cut pleads for a video fix: Check out the three versions proffering graded degrees of sleaze. The tune itself (an Italian import) might stalk you into the night; at least it's guaranteed to make you feel lean, mean, and hungry whenever "You take my self, you take my self-control" pops into your head. Surprisingly. Branigan's lusty vocal resonance can resemble that of the Divine Miss M at her biggest and bustiest, but without the loony warmth that seems to ten- derize even the most glittery showmanship. Bette's playful humor must seem foreign to an artist whose Turkish promoter and Ger- man producer like to keep her dressed up as a dance-club queen. Branigan's more than that and she knows it. but she may have to

find the way to her own heart alone. TN RE PJTLAND PAMELA BLOOM

Branigan: humorless self-control Costello: clever Ina dangerous rehashing Elvis Costello and the Attractions: Goodbye Cruel World the crackle in her voice, although slick. Clive Langer & Alan Winstanley. penal Bedroom" (1982) was Costello's remains curiously empty. producers. Columbia FC 39429 masterpiece of this phase. He weaved Beat- Still, Branigan is not without effect. In lesque bounce, Broadway elegance, and the last refrains of With Every Beat of My Ever since "Trust" (1981), when Elvis folk simplicity into a sophisticated brand of Heart ("There's thunder inside of me. deep Costello revealed his ambition to write like pop. and puzzled over love's fractured inside of me. something's goin' aaaagh Cole Porter and sing like Frank Sinatra. he bonds with juicy wordplay. But on "Good- . . ."), she dives headfirst into a roekpile has been turning out exercises in dazzling bye Cruel World," he succumbs to the dan- of emotion with an abandonment that is songcraft, moving further away from the gers of eclecticism. These songs carom thrilling and even infectious. A little more compressed rock of his early albums. "Im- between styles with no unifying theme. and TRY & BEAT OUR

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Circle 15 on Reader-Service Card The 12-inch Single: Ain't No Stoppin' It Now

Reviewed by Vince Aletti

THE 1 2-INCH SINGLE, introduced a decade but hardly a throwaway. It's lighter, almost ago, has survived the disco boom that sing-song, and more direct lyrically: Prince spawned it and the industry's running- is alone with "two cigarettes and this bro- scared, post-disco slump to be rewarded ken heart of mine," wishing. like the this year with a new kind of pop respect- Temptations, that it would rain. ability and recognition. Once the format of Springstcen's Dancing in the Dark is a the dance club underground, the 12-inch is rigorous rock and roll anthem of discontent now solidly Hot 100 as well: At the time of set to a track so punched up it could knock this writing, fifteen of the top 20 singles on holes in the wall. Hip-hop producer Arthur the Billboard chart are available as 12-inch Baker. who turned out a brilliant scratch discs. Originally developed to accommo- mix of Cyndi Lauper's Girls Just Want to date extended dance mixes on a high-qual- Have Fun earlier this year, gives Bruce a ity pressing, the 12-inch is still the vinyl of less radical reworking here, but his "blast- choice for hard-core dance records of all er" and dub mixes are big and bold, wide- sorts, including the broad range of rap and open. Baker does some echoing and tape break tracks that are often available in no manipulation in the main mix, but it's the other format. But the success of dance-ori- dub that sets the song loose, cutting Spring- ented British pop groups like Culture Club, steen's vocal track back and forth so it stut- Duran Duran, the Thompson Twins, and ters and struts against that booming track. Human League—all of whom put out five Annie Leibovitz gets Springsteen to jump 12-inch singles to every full LP—and the up on the picture sleeve, but Baker has him Jellybean: revives a classic 1973 oddity return of upbeat, multiracial Top 40 radio turning backflips. have brought the I 2-inch mix to a much Madonna's Borderline (Warner Bros. Spanish guitar lifted from a spaghetti-West- wider audience. 20212) is disco-turned-pop, uncomplicated ern soundtrack. On the versions where the Ideally, the format offers versions of a as Lesley Gore and just as catchy. The vocal is dubbed out—the Funhouse Mix song no other pressing provides: primarily song's coproducer, a club DJ and popular and Hip Hop Bean Bop—the build-up and longer (averaging between six and nine remix expert known as Jellybean, stretches deconstruction of percussion and synth minutes), usually remixed (in most cases by the song by dropping tracks and slipping in tracks is astonishing: the essence of beat a club DJ) for maximum danceability, and a stripped-down percussion break or echo- club breakdown. accompanied by an instrumental or dub vering and phasing the vocal. Madonna sounds Latin and African influences thrive on sion. Designed to capture the heat of the anxious, fragile (her image as a precocious other I2-inch releases right now: Konk's moment on the dance floor, many I 2-inch punkette notwithstanding), but the track is Your Life (Sleeping Bag SLX 009) sets up singles have the life-span of a firefly on a reassuringly bright—and on the flip side an Afro chant with Latin horns and percus- summer night, but the best retain their pow- she's cheerier, too, serenading her Lucky sion plus synth blips; vibrant and robust. er long after that moment has passed. Start- Star on an even more elaborately extended it's the best so far from this Lower East Side ing below, a regular round-up of those mix. Madonna's got the perfect pop I 2-inch band. The most pumped-up, loose, and records most likely to survive the passing voice: juicy, edgy, nicely unpolished, girl- lively Afro hybrid around is Hugh Maseke- passion. ish but sharp. Further over in left field, la's Don't Go Lose It Baby (Jive Afrika JD Begin with two of the year's biggest prime I2-inch territory, is the voice on The 19194), with his trumpet floating above a pop singles, Prince's When Doves Cry Dominatrix Sleeps Tonight by Dominatrix percolating track and a great, biting rap (Warner Bros. 20228) and Bruce Spring- (Streetwise SWRL 2220), which is either near the end; the "stretch mix" puts it steen's Dancing in the Dark (Columbia 44- processed and cut up through a synth or just together best. Manu DiBango returns in top 05028)—rich, dramatic records in very dif- deadpan, reading a few simple lines rather form with a sinuous Afro-jazz number ferent molds. Prince's chunky, dense track than singing. Here, the track's the thing: called Abele Dance (Celluloid 171) that and the dreamlike intensity of his lyrics bubbly, percussive, concise. Dominatrix is recalls his club classic Soul Makossa even if combine for his most compelling perfor- the underside of pop. it never quite finds the same hypnotic mance on vinyl. Even before the sighs and Jellybean (a.k.a. John Benitez) has groove. Finally, England's Special AKA, screams come in—and the guitar howls— gone into the New York club underground formed by members of the Specials and you know there's something deeply primal and revived a classic oddity for his own produced by Elvis Costello, have a record and thrilling going on here. What makes the debut. The Mexican, recorded in 1973 by in the festive Masekela mood, Free Nelson I2-inch essential, though, since the A-side the British group Babe Ruth, is back in five Mandela (Chrysalis 42793). The message is an unextended album version, is a B-side versions on Jellybean's 1 2-inch, featuring here is clearly a serious one—Mandela is a unavailable elsewhere called 17 Days. A the original rough-grained vocalist Jenny South African political prisoner whose minor pleasure next to the major workouts Haan (EMI America V 7831 ). Outlasting treatment is described in detail on the on "Purple Rain," it sounds like an outtake all of the baroque Eurodisco that came record sleeve—but the music is up and between, The Mexican sounds fresh all over sparkling enough to let the rap go down Vince Aletti lives and works in New York again because it's beat-based, full of hard quite easily. Too easily, perhaps—is any- City and writes for The Village Voice. drumming under a colorful filigree of body listening? HF

OCTOBER 1984 109 BACKBEAT Reviews Costello's musical cleverness can't hide his a charming, simple. corny, and kind of surprisingly sloppy writing or the perfunc- interesting six-song I 2-inch. toriness with which he addresses his famil- Oh-OK are melodically obvious and iar obsessions, faithless love and lovers' instrumentally intriguing, and they proba- guilt. bly mean to be both. They've captured the On last year's Punch the Clock, Cos- mixture of grace and awkwardness that tello united his conflicting desires (mass accompanies the growth of a teenager into a popularity vs. artistic integrity) by writing a young adult—no little feat. But here's what glossy, brass-laden album about battling bothers me: Oh-OK —at least bassist Lynda lassitude in work, love, and thought. Here, Stipe—love sound as much as they love indecision sinks the record. For example. in singalongs, yet they don't explore their his attempt at an even bigger single, The gifts as much as they might. But maybe Only Flame in Town. Costello virtually rips that's intentional, too. off his 1983 Top 10 hit. Everyday I Write As for the rest of the parts: Linda Hop- the Book (and needlessly drags in singer per is a rather undistinguished vocalist Daryl Hall as a security for more airplay). whose charm comes in the strength and soul Yet on Worthless Thing, the finest song on she puts behind her ordinary skills. David the album, he derides a celebrity-fixated McNair's drums are solid and prominent, culture. The Great Unknown—a humble but Matthew Sweet's guitar is barely there. acceptance that the song. not the singer. is practically ambient. Mitch Easter contrib- immortal—is top-rate, and so is Peace in utes clear and straightforward boardwork, Our Time, which conjures up World War quite unlike the wall-of-soup in which he II. Grenada, and America's beauty-pageant tends to settle the bands he produces. Presidential campaigns to caution that The. group's songs, though tender and peace isn't possible as long as we're vulner- well crafted, can be cloyingly sweet and able to propaganda. In these three songs. precious to the point of tart distaste: that's a Costello retains his facility for raising pop's characteristic element of Oh-OK. coun- literacy level. tered to a degree by the ingenuity of their But forget the rest. The real problem Turner: low batting average, big hit arrangements and the sliding, winding. with "Goodbye Cruel World" is that its buckling, and singing bass of Stipe. Her prolific creator simply needs a vacation. playing is the band's most valuable and dis- JOYCE MILI.MAN (the gospel Leaning on the Everlasting tinctive element. Indeed, Stipc may be the Arms) could be considered upbeat. The rest most melodic and natural bass player I've George Jones: Heartaches & Hangovers are honky-tonk hell—from the irony of My heard since PIL's Jah Wobble. Rounder Special Series SS 17 Favorite Lies, on which his vocal twists The playful. sexy. and inventive qual- reshape the melody with virtually every ity of Oh-OK's music brings to mind sly From 1965 to 1971. when he was on line. to The Man That You Once Knew, feminine bashers like Kleenex or the Rain- Musicor. George Jones released nearly 300 which he sings with his teeth clenched and coats—intriguing progressive punk groups sides, or roughly four to five albums per his stomach in knots, to Things Have Gone whose exciting examples were rarely fol- year. So it's hardly surprising that his out- to Pieces, the kind of overblown country lowed. But I sense that Oh-OK don't put was patchy and that much of it is for- melodrama only Jones can salvage. descend from punk. which may account for gotten today. But it was an important tran- Perhaps the best of all is the unusually their milder leanings; though they have a sitional period for Jones in several respects, frank (for its time) Say It's Not You. "Dar- similar ear for bass-heavy rhythmic mini- and besides, his talents are simply too vast lin'. there's talk around town/ About a girl malism, their roots are in pop. and rather to mess up all that material. With last year's who spreads love around," it begins. At the ordinary pop at that. The jumpy, challeng- "Burn the Honky-Tonk Down" and now end of the first chorus, a pained Jones begs, ing nature of Stipc's bass playing makes me this new LP. Rounder has begun separating "Darlin'. say it's not you." But as the wish that Oh-OK would follow her lead and the wheat from the chaff. details are filled in. his voice ebbs and show their teeth every now and then; the The "Nashville Sound" sweetening flows over a mournful Texas fiddle, and the result could be music as fiercely original as took hold during this era, but Jones's truth becomes increasingly apparent. Final- that now being made by fellow (mostly records stayed closer to hard-core honky- ly. there is nothing left but resignation as he female) American postpunkers like Ut and tonk than most of his peers'. The vocal cho- delivers the title line one more time. Say It's Salem 66. But it's likely that they have no rus, for example, may sound excessive on / Not You is a guided tour through (to para- desire to get closer to an edge and are con- Threw Away the Rose or Blue Side of Lone- phrase one of his songs) the seasons of tent with their music in its present form: a some, but the crying steel guitar remains George Jones's heart, proving conclusively delicate and hokey thing of beauty and prominent on the former, and his own that it's a mistake to ignore his Musicor potential. TIM SOMMER phrasing on the latter matches the pedal years. JOHN MORTHLAND steel note for note. Jones was also blessed Tina Turner: Private Dancer with the true grit of songwriters Dallas Fra- Oh-OK: Furthermore What Rupert Hine, Terry Britten, zier. who took his honky-tonking straight Mitch Easter & Oh-OK, producers Marlyn Ware. Greg Walsh, & Carter. or tongue-in-cheek, and Leon Payne. who DB Records DB 69 (six-song EP) producers. Capitol ST 12330 was unremittingly morbid. (Distributed by Compendium. Inc.. But most importantly. by moving 432 Moreland Ave., Atlanta, Ga. 30307) The simplest question regarding Tina away from the uptempo (and often carefree) Turner's career could put an end to any material of his youth and toward ballads. Oh-OK speak in a postnaive vocabulary of Trivial Pursuit contest: Who can name one Jones allowed himself to stretch out, giving clicks, clangs, and coos, making compact hit of hers? Unless you're one of those sla- full play to his pinched voice and to his and propulsive modern nursery rhymes. vering keepers of her long-legged legend, newer, more adult feelings of yearning, With the campfire-song sensibility of a wry you might, after some thought. mumble anger. and remorse. Only three of these and wide-eyed child and a skeletal bass- Proud Mary and stop dead. After almost 30 songs arc uptempo, and only one of them drums-voice rock ensemble, they've made years in the majors, her batting average has

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20 din return talks All returns must be phoned in for prior authorization. All products must be returned in original factor) packaging. clean “nd unseratched Do not write, tape, or deface manufacturers original cartons. Please-include blank %arrant, cards Reviews HFO BAC K BEAT r High Fidelity been mighty low. lets her work up a sweat on two concise Until now, that is. Before "Private declarations, I Might Have Been Queen and SUBSCRIBER Dancer" even came out, Turner scored Better Be Good to Me, and studio vet Terry with an audacious 12-inch rendition of Al Britten applies the most modern settings to SERVICE Green's Let's Stay Together that matched a quirky take on Ann Peebles's / Can't technosmarts (courtesy of the producers, Stand the Rain and Turner's summer " NEW ORDER Heaven 17's Martyn Ware and Greg Walsh) smash, What's Love Got to Do With It? OR RENEWAL with old-styled Memphis grit. Best of all, The rock-and-soul sound of the last To start a subscription or extend your current though, was Turner herself: The plea for two songs on the record is one that Turner subscription to HIGH FIDELITY, simply fill in the information in the form below. lasting love revealed a part of her soul she'd has mined with little success since splitting never shown before. with husband Ike in the mid-Seventies. But MR MS. Such moments abound on this album, producer Carter and a Mark Knopflcr-less a considerable achievement in that four sets Dire Straits assisted by Jeff Beck give us Address Apt*, of British producers and musicians had a overdrive rock on Claw that stays this side City State Zip hand in its three-year metamorphosis. Each of strident, and convey understated melo- • 1 Year $13.95 2 Years •26.00 song has been carefully picked or molded to drama on Private Dancer. By assuming the Bill Me Payment enclosed fit Turner's persona: the gritty soul survivor title role, Turner chooses an extreme but New subscription Renewal who may have seen some better days, but perhaps fitting finale for her most glorious Outside the U S add S6 00 per year postage who's doing just fine, thank you. That real recorded moment. "Tell me, do you want FOR EVEN FASTER SERVICE character inspires the producers to avoid the to sec me shimmy again?" she sighs, and CALL TOLL FREE sterile confines of most current British stu- the answer is—of course—yes. The show 14800)-247-5470 dio creations. Rupert Hine (known of late must go on; in Tina Turner's case, we're for producing the Fixx and Howard Jones) lucky it did. W AYNE KING 0 CHANGE OF L ADDRESS Jazz

• 0 • • Oil qt. 0, Barbara Lashley: 91b. How Long Has This Been Going On? 44, Judy Kopanic & Bozy White, producers ...s. Shoestring SS 70 (P.O. Box 10208, •I•I•••• 6.44_44.4 a Oakland, Calif. 95610) V4.4444 414 4 ' . Barbara Lashley's studies at the University I° of California at Berkeley in the history of American female singers led her to become a professional herself. So it is not surprising Cc' ge to find a number of '30s and '40s perform- 0 w ers suggested in her work. The relationships come out in phrasing, in shading, in approach, but not in outright imitation. MAILING LIST Periodically, High Fidelity's list of The conjunction of Lashley's research 3subscribers is made available to carefully and voice with similarly oriented instru- Lashley: an academic with good pipes screened manufacturers and/or publishers. This is done as a service to our subscribers. However, mentalists gives a sense of immediate vital- if you choose not to have your name included on ity to songs that are usually thought of as that follows the stylized phrasing of the any such solicitations, simply indicate so by checking the box below and affixing your mail. old standards. She is especially in sync with vocal trio in Jimmie Lunceford's version of ing label to this form. trumpeter Leon Oakley, whether in brash the tune. Another '30s band, the Casa . ] PLEASE DO NOT INCLUDE MY NAME ON YOUR MAILING LIST. and brassy outbursts or muted to a soft and Loma Orchestra, and a male singer, Kenny distant murmur, while pianist Ray Sargent, inspire For You, although her thin- MR/MS. Skjelbred keeps the rhythm pumping. The voiced rendition wilts in comparison to Address Apt IS ensemble effect is particularly successful his. JOHN S. WILSON on Lawd, You Made the Night Too Long, a City clumsily constructed song that flows be- The Louisiana Repertory Jazz Ensemble \,,S_tate Zip cause of her phrasing: Oakley spurs her on of New Orleans: Uptown Jazz with wild growls, and Dick Hadlock's S. Frederick Starr, producer Mail this form and any additional soprano saxophone adds soft, ascendant Stomp Off SOS 1055 (549 Fairview Terr., correspondence to: mutterings. York, Pa. 17403) And Lashley is not limited to female singers as sources. She and bassist Steven The Louisiana Repertory Jazz Ensemble of High Strauss do a vocal duet on My Blue Heaven New Orleans has embarked on what might be a treacherous project, "creating uncom- Fidelity For additional reviews of Pop and Jazz promisingly authentic performances of music on videodisc and Compact Disc, classic New Orleans jazz of the decades P.O. Box 10758 see NEW TECHNOLOGIES. Des Moines, Iowa 50340 before 1930." It is extremely difficult to .1

112 HIGH FIDELITY Cables, bassist Charlie Haden, and drummer Billy Higgins; and one piece on clarinet STEREO with Haden and Higgins. There are two HOME and CAR standards. two Charlie Parker numbers, a bossa nova, and a Pepper original. This is a VIDEO cross section that really cuts across. Pepper, distinctively himself in each SATELLITE TV situation, is particularly interesting in his We sell to hundreds of dealers coast- to-coast—Now you can buy stereo, clarinet treatment of Parker's Anthropolo- video and satellite equipment for the gy. In contrast to the best-known bop clar- inetists, Buddy DeFranco and Tony SAME PRICE Scott—who attempted to equate the instrument with the clipped, furious tumble of notes that poured out of most bop trumpet- DEALERS PAY ers and saxophonists—Pepper has a re- INTERNATIONAL'S NO RISK POLICY laxed, easy approach, starting in low regis- 1-No Deposit ter to milk the tune's melodic warmth first 2-90 Day No-Lemon and then rising to an interpretation more replacement warranty like theirs. Of his two unaccompanied pieces, his Body and Soul is a gem, but he 3-SAME DAY SHIPPING Coll or write for our free booklet, has trouble getting You Go to My Head off "Ultra HI-Fl Digital at Half the Cost." the ground: It merely bumps around sullen- Daily 9am to 9pm ly. Yet Pepper is as fleet as an arrow with 1(301) 488-9600 the quartet on Donna Lee and his phrasing is provocatively Monk-ish on his own Blues for Blanche. JOHN S. WILSON INTERNATIONAL Pepper: ohtuys eclectic. always himself HI-Fl Mel Powell: • INC. recreate something as ephemeral as a jazz The Unavailable Mel Powell DISTRIBUTORS, 4111 P" Moravia Center performance; it's nearly impossible to reach Pete Welding, producer Industrial Park back 50 years and capture not just the musi- Pausa PR 9023 (P.O. Box 10069, Baltimore, Md. cians' style, but also their instincts and Glendale, Calif. 91209) 21206 chemistry. So the Ensemble's first LP, "Alive Mel Powell made a very impressive Circle 48 on Reader-Service Card and Well" (Stomp Off SOS 1029), was entrance into the big-time jazz world at the encouraging. But "Uptown Jazz" is even age of eighteen when he succeeded Teddy SEND FOR OUR NEW better. The best cuts succeed not because Wilson as Benny Goodman's pianist in they are faithful reproductions, but because 1941 and began writing arrangements for they're played with the kind of vitality and the band, such as Mission to Moscow and FREE 40 PAGE involvement that one associates with origi- The Earl. But gradually he withdrew to nal creation. Frederick Longo, a marvel- study classical music and to teach. This HI-Fl DISCOUNT ously broad, brash but perceptively chan- album of recordings made in 1947 and '48 neled trombonist, is especially good; John is a reminder of his individuality as a jazz CATALOG No.65 Chaffe's delicately sensitive mandolin and musician. These glimpses were originally producer S. Frederick Starr's clarinet virtu- released as 78 rpm singles or as individual • Lowest prices osity are also first-rate. Starr, who has a day contributions to an LP; two have never been on audio gig as president of Oberlin College, released before. components! projects the idiosyncratically exuberant, Whether he plays solo or with a quin- • Fast service! grainy-toned phrasing of Edmond Hall and tet, sextet, or out-of-character Dixieland • Fully insured! brings fresh life to the styles of Johnny septet, Powell sets the tone and style of • In factory Dodds and George Lewis. every piece. He is a strong player who goes sealed As quoted above, the Ensemble speaks dancing through ensembles or around solo- cartons! of "creating," not "recreating," which is ists as if he were Earl Hines cutting through the customary approach. On this disc, they a big band. (Hines, Wilson, and Tatum are are zeroing right in on their target. major influences.) His solo pieces—You JOHN S. WILSON Go to My Head and When a Woman Loves a ouno Man—are relaxed and evocative, full of REPRODUCTION, Inc Art Pepper: Artworks spirit and sensitivity. For the sextet, he (201) 227-6720 John Snyder & Laurie Pepper, producers writes with a sturdy, thick texture, taking Galaxy 5148 (Distributed by Fantasy/ advantage of the presence of Chuck Gen- CLIP & MAIL TODAY! Prestige/ Milestone/Stax) try's baritone saxophone and using his own • A. piano solos as a light contrast to the grainy, Sound Reproduction, Inc. I 7 Industrial Rd.. Fairfield, N.J 07006 I This is the first of three albums of new urgent quality of the ensembles (most nota- material recorded at the sessions that bly on an original, Cookin' One Up). Musk- Please rush your tree Hi-H Discount Catalog I yielded "So In Love" for producer John rat Ramble is a complete stray, recorded ame Snyder's now defunct Artists' House label. with a septet of different musicians almost a There could scarcely be a better representa- year after the other pieces. But like the oth- tion of Art Pepper than "Artworks." He ers, it's distinguished by Powell himself, I City plays two unaccompanied alto saxophone who alone refuses to bend an inch to Dix- Sta , ZIP solos; three pieces with pianist George ieland formulas. JOHN S. WILSON

Circle 22 on Reader-Service Card OCTOBER 1984 113 ORNETTE COLEMAN traveling in the early '70s with Moroccan (Continued from page 105) and Nigerian musicians that really put me rary Records, and Les wanted to buy some on notice. They played just as free as they of my compositions. I sold him seven at $25 wanted to, yet when they all wanted to stop each. About three weeks later, he called together, they did. They were playing free back and said his contracted musicians jazz, only it must have been 400 million didn't know how to play the songs. I told years old. What I tried to do after that, him I could play them, and he asked me to, which was what I experienced in Nigeria, without even an audition. That's how I was to allow every musician to be equal in made my first album, "Something Else!" the total expression of the idea. And everybody said, "I like his writing, When I heard this big sound, the first but I can't stand his playing." thing that came into my mind was the gui- Backbeat: It seems like the two would be tar.,I got me two electric guitars; I wasn't inseparable for you. trying to get an electric band or a rock band, Coleman: When I explored my own com- I was just trying to expand my writing, to positions as a player, instead of finding the get that bigger sound. To get the feeling of maze I had written the song about I would dancing, without using a specific pattern. just create another new maze, to go on top. The Moroccan musicians did that. I wanted Therefore, nobody could follow how I got the music to be very electrostatic, to have a from a to b. Once I established the frame- cerebral effect but a physical feeling. I was work, I didn't use it to establish how I was trying to make you think and feel at the gonna play; I would just play, because I same time. knew I could always go back to that frame- Backbeat: Did you see it as a turning point work. So it didn't really dawn on me how for yourself? Were you aware of the atten- different my playing was until I put together tion it brought you in the rock world? my own little band and started trying to Coleman: dance feelings, not dance ideas Coleman: Because it was a new band, I show others how to do it. thought it was opening up avenues for me. I Backbeat: Did your situation change when things like read music, it never helped me. thought it would free me from being classi- you came to New York in 1959? So after that, write-ups always picked up on fied, and it has worked out like that. I was Coleman: I had the same problems! I filled that quote. I made an album with Gunther aware that you could put out a dance record the Five Spot every night for six months, Schuller called "Abstraction," and the lin- without playing a constant cliché, and that but people came to see how ridiculous I er notes said I didn't know how to read or some of the rock guys were gonna be turned was, even if they liked the music once they notate my own music. And all that time, I on by that. got there. Most of them were artists and had bee!) in the studio sight-reading his Backbeat: Do you see any similarities painters. I was making only about $90 a music. I realized my image was sort of between "Dancing in Your Head" and the week and I was getting written up in all the "corn-pone musician," this illiterate guy kind of r&b you played 40 years ago? magazines. who just plays, so I started writing classical Coleman: You know what I learned to do Backbeat: By 1962, you were composing music. I still think of myself as basically a back then with what's called swing music? clas sical music. What drew you to that? composer who does some performing. Even when I was playing jazz, I still had Coleman: Huntley and Brinkley came to Backbeat: "Dancing in Your Head" has that dance image in my mind without hav- the Five Spot and asked me, "Can you come to be seen as another crucial breaking to have drums; lots of that is still in my read?" And I said, "Only the newspaper," through. What was your goal on that? playing. But that's the only thing I feel I've because even when I told people I could do Coleman: I had some experiences while carried over from the time I started. HF

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Circle 8 on Reader-Service Card High FACTORY ORIGINAL DIAMOND Fidelity NEEDLES 8, PHONO CARTRIDGES. Quality Tapes MOST POPULAR LINES AT DISCOUNT 1ms monrn s duper dpecurts PRICES. FOR FREE CATALOG SEND Classified 1,1, SS 'AI 1.15 MAXEJ-L UDXL 11 90 2.1$ OK SA 60 I.N MAXEll 1.1 60 1.85 1/K SAX 90 2.69 MAXE1J. XI II S 40 2.69 SELF ADDRESSED STAMPED DK SAX Ni 2.49 MA/CFLI. MX VO 4.69 DK MA SO 4.19 MAXEll UD 90 1.95 ENVELOPE. LYLE CARTRIDGES, 1/K HS-X 90 NFW• 4.19 MAX121 IN 90 1.73 DK ADS 90 2.55 MAXELL IS 60 1.05 BOX 69H, BROOKLYN, NY 11218. CALL DK AD WI 1.15 MXXII L 1.11/ It 91 7- keel 4.09 MAIL TO: 825 7th Ave.. 6th Floor, New York, N.Y. DK AD 60 1.45 MAXI-11. X1.1 L1 ,a18 T Reel 6.39 TOLL FREE (800) 221-0906, N.Y. I/K D 90 I.05 SONY UCSS 2.25 10019. Phone: 1-800-ABC-MAGS. In New York call DK 060 .95 SON1 (718) 871-3303. VISA MC. DK LX 11SX/ T Reel 4.71 SONY I.NX Ni (212) 265 -8360 GENERAL: all copy subject to publisher .55 DK LX 35-908 T Reel 5.85 FUJI FR METAL 90 318 approval. Users of P.O. Box MUST supply permanent DII FRI.01 Dee Cos Dean 13.49 ELM Fit 11 90 2.19 SAVE 50% BUILD YOUR OWN SPEAKER SYSTEM. DISCWASHER DISCKIT 33.95 MEMORIA METAL 2.39 address and telephone number before ad can run. DISCWASHER RECORD CI.NG M AC CIX'',0 Reels Loa a.as.et 2.09 Write McGee Radio Electronics. 1901 McGee Street, CLOSING DATE: 1st of second month preceding cover ,YS 9.119 TIAC CRC 40110 Baas Roam 119 Kansas City, Missouri 61408. I alSCWASHE.R TAPECARE SET 11.49 date.15 Word minimum No charge for Zip Code. VIDEO TAPE GIVEA WAY •• MIK or MAXELL or SONY' 1.129 or I:750 149 CLASSIFIED RATES: regular type, per word: lx-$2.75: T1H1 or MAXELL ryr SONY T-I20 or 1-750 IMO Geode 7.49 LOWEST POSSIBLE PRICES 3x-$2.65; 6x-52.55; 12x--52.45. Words in caps-15c ORDER NOW! 0111 718-1343417 FROM ANY WHERE! 111 ORDER RI' MAIL IN CONTINENTAL 1 A. ADD $150 FOR ANY WHERE! FULL WARRANTY-FAST extra each. IMPERIAL type, per word: lx-53.75; 3x- "HIPPING ON ORDEILS UP TO $79. !VOIDER 1,05 ER $78 ADD 5% aIF TOTAL ORDER. ELSE WHERE IN U.S. ADD 57.001/5 ORDERS UP 8385; 65-$3.55; 125-$3.45. Words in caps-150 TO $TE IF OVER ADD 10%. FOREIGN ORD/ R5 ADD 1110.50 ON DELIVERY AUDIO-VIDEO-CAR STEREO- 11111)1.85 UP TO 178 OVER ADO 15%. %ISA'MASTERCARD extra each. Minimum 15 words. Box numbers: $3.00 ONHTIONAL 3% HANDLING. COMPUTERS-SOFTWARE VIDEO additional per insertion to cover cost of handling and QUALITY TAPES GAME-TELEPHONE-MORE!! postage. Display, per inch: lx-5350; 3x-$340; 6x ,-- $6.4 Fast 7th Street. Dept. MAO. Brooklyn, NY 11230 ELECTRIFIED DISCOUNTERS 996 $330; 12x-$310. PAYMENT WITH ORDER: Send check, M.0. MASTERCARD or VISA No. and expiration ORANGE AVE.. WEST HAVEN, CT date to: Classified Dept.. HIGH FIDELITY, 825 7th Ave 06516-M CVISA 203-937-0106 6th Floor. New York, NY 10019. CALL TOLL FREE 1-800-826-0520 FOR DYNACO OWNERS: 60,000# Buyout Dyna s Remaining ACOUSTAT, DAHLQUIST. NAD, Inventory! Free Bargain Catalog. SCC, Box 551 (HF), HAFLER, DENON, dbx, 3D, PROTON, Dublin, OH 43017. (614) 889-2117. TANDBERG, BELLES, ORACLE, M&K, GRADO, NITTY GRITTY, AUDIOQUEST, EXCEPTIONAL AUDIO REPRODUCTION NEC, DUNTEC, MONSTER, SUMIKO, SYSTEMS ... REASONABLY PRICED!! PERREAUX, CWD, SNELL, B&W. DCM, EA R S, P.O. BOX 658-H, WEST COVINA, For Sale THORENS, VSP, STAX, SOTA, GRACE. CA 91790. 818 961-6158, EVENINGS, ASTATIC, DYNAVECTOR. THE WEEKENDS. STAMP BRINGS MONTHLY SOUND SELLER, 1706 MAIN STREET, SPECIALS. MC VISA. 1-800-431-3232 MARINETTE, WI 54143, (715) 735-9002. 8013CA982/01) only HI carindges +styk +mrcs +heaaphones PEOPLE WHO KNO W STEREO BUY d • A K G • O ri ol O n THEIR SOUND DIRECT. Now you can I • PI C K E RING • Stanton ' sIGNL I • SHURE • Sennheiser A SINGER'S DREAM! buy the finest in High Fidelity • components, including esoterics and autosound, at unheard of prices. P 0 Box 37 Brooklyn NY 11204 12121 438-6400 DIRECT SOUND MARKETING provides SEE OUR ENLARGED AD IN THE MAIN SECTION sensible expert advice, in-house service facilities and factory fresh components

-tr.' fT7 on an in-stock basis. Discover America's best kept audio secret. Send HARMAN KARDON, NAKAMICHI. RE MOVES VOCALS FRO M RECORDS! $1.00 for our informative catalog to CRO WN, CARVER, HAFLER. THORENS, Now You can sing with the world's best bands! DIRECT SOUND MARKETING, Dept. H, TANDBERG, REVOX, NAD, LUXMAN, The Thompson Vocal Eliminator can remove most or virtually all of a lead vocal from a standard 3095 Bolling Way, Atlanta, GA 30305, or DCM. DBX, ELECTRO-VOICE, stereo record and leave the background! call 404-233-9500. M C, VISA and AMEX VANDERSTEIN, AND OTHER QUALITY Write or call for a free brochure and demo record. accepted. COMPONENTS, BEST PRICES - LT Sound. Dept. HF, P.O. Box 338, Stone Mountain, GA 30086 (404) 493 -1258 PROFESSIONAL SERVICE, SHAMEFULLY LOW PRICES: Nakamichi, Quad, Grace. EAST (904) 262-4000; ETC. Serious Buyers Only. VISA/MC, COD. WEST (818) 840-0878. AudioWorkShop 1-206/323-4987, 1-206/323-2676 NAKAMICHI, STAX, SONY, YAMAHA, DYNAVECTOR, GRACE. MICRO, CALL US! HARMAN-KARDON, AUDIO THEY DON'T DISCOUNT IT? WE DO! NAKAMICHI. GOLDBUG, FIDELITY PRO, VSP LABS. HAFLER, NAD, GET LOW PRICES on ALL types of RESEARCH. KOETSU, ACCUPHASE. AMBER, DENON, TANDBERG. ADS, audio equipment-including high-end OFFICES IN TOKYO MEAN LOWEST KEF, BOSTON ACOUSTICS, DCM, and even esoteric products not PRICES ANY WHERE ON ESOTERIC CONRAD-JOHNSON, GRACE, DBX, PS normally discounted! Now we can save JAPANESE CARTRIDGES, EQUIPMENT. AUDIO, OHM ACOUSTICS, GRADO, you money on the equipment you CALL (213) 652-3337 TUESDAY- DYNAVECTOR, INFINITY, NITTY REALLY WANT. Extensive selection - SATURDAY. GRITTY, MONSTER ALPHA, no need to settle for second choice. AUTOMOTIVE, CONCORD, KEN WOOD, Thousands of satisfied customers ZAPCO, LINEAR POWER, UNGO BOX, CRIMESTOPPERS SECURITY, MORE! nationwide. Call us for price quotes or BANG & OLUFSEN FULL LINE, ADS, FRIENDLY, EXPERT CONSULTATION. friendly, expert advice. Catalog Si. 616- B&W AND BOSE SPEAKERS AND 451-3868. VISA MC AMEX. The AUDIO OTHER QUALITY PRODUCTS AT FAST, FREE SHIPPING! MC VISA. ADVISOR. INC., BOX 6202, Grand REASONABLE PRICES. SOUNDCREST, REFERENCE AUDIO SYSTEMS, 18214 DALTON AVENUE, GARDENA, CA 90248 Rapids, MI 49506. INC. (717) 774-2618 (213) 398-4205.

OCTOBER 1984 115

- Tapes & Records JAZZ COMPACT DISCS — Recorded totally digital—Free Catalog— DMP. Box 2317, FREE ALBUMS New York, NY 10185

-COMPACT DISCS" Low Prices Send $1.00 For Cata- IN EXCHANGE FOR YOUR OPINION. logue (Refundable with Order) DISC HAVEN. Box 16. We need Record Raters Your opportunity to Storrs, CT 06268 ' build a substantial album collection Small membership fee Write EARS. Dept HF COMPACT DISCS —Most $11.99-$13.99. Box 10245. Milwaukee, WI 53210 1,200 Plus Titles in Stock. Free Catalog rol . 0. O W ANY (04.1411•00 PO . Co •+ ..1•14 . *MO 1.0011. 4 CIOAL WAS BY Plus Monthly Updates. OZ Records,

11.1.••• ••••o• . • 34 , SHO W ALBUMS- Rare, out-of-print Ips. 64-page list 5246H Memorial Drive, Stone Mountain, $1.00 Broadway-Hollywood Recordings, Georgetown. GA 30083, (404) 292-5452. CT 06829.

HUGE 73 PAGE CATALOGUE , COMPACT DISCS --$13.99-$17 99 Most Imports and All

Every Available Title , Immediate Service. Low Prices. OPEN REEL TAPES from Studio masters Catalogue Domestic Titles Available For Free Catalogue $2.00. National Music Sales. 23115 (H), Ostronic, $1.00 Barclay-Crocker, 313-H Mill Street. Poughkeepsie, Or To Place Order, Call (301) 731-0099, or Write To Woodland Hills, CA 91367 NY 12601 Washington CD. PO Box 44005. Washington DC 20026. MasterCard and Visa Accepted RECORDED ONE HOUR GREAT RADIO SHO WS RECORDS BY GASPARO Chamber music, solo,

Cassette Sampler .Fascinating Listening , $1 25 , baroque-- We have something for you , Write for free COMPACT DIGITAL DISCS exclusively-in stock-classical, AM Treasures. Box 192HF, Babylon, NY 11702 catalog P 0 Box 120069. Nashville, TN 37212 opera. Jau. film-catalog $1.00, refundable with order- Ethel Enterprises. P.O. Box 3301. Dept HF. Falls REAL-TIME CLASSICAL CASSETTES Church, VA 22043. OPEN REEL TAPE-MOSTLY AMPEX 641/ Over 100 Titles. Dolby B C Free Catalogue In Sync. 2211 Broadway, NYC 10024 (212) 873-6769 671, used once, unspliced, unboxed. 7" COMPACT DISCS Large stocks, Prompt Air Service. 1800' or 2400' Reels; 50 for $60.00. HI Fl SYSTEM TEST RECORD. System frequency Overseas Specialists. Export Prices; Free Lists. response, separation, cartridge separation, rumble. white Europadisc King Street. Sudbury. Suffolk. U.K. Sample: $2.00. Ten 3600' 10 1,2" Reels: noise and more Professional quality, mastered at /12 $37.50. Sample: $3.50. New, High-Bias speed. $9.95 each. Check. m.o or C.O.D. 10P, Suite #43, COMPACT DISCS! FREE CATALOG — cassettes; Sample: $1.00. AUDIO TAPES, 2395 Oakland Road. San Jose, CA 95131 BOX 9584-J, ALEXANDRIA, VA 22304. Over 1300 Listings—Same Day (703) 370-5555 VISA MC Shipping. Laury's Records, 9800 North Compact Discs Milwaukee Avenue, Des Plaines, IL 60016. (312) 296-0420. SEARCHING FOR OUT-OF-PRINTS', Try for Discontinued Records, 444 South Victory, Burbank, COMPACT DISC CENTER OPERA-HISTORICAL PERFORMANCES ON DISC Most California 91502 (2131 849-4791 PO 80x 616 Clifton Park NY 12065 comprehensive selection anywhere Send Si 00 for cata- 15181664 2550 log-refundable LYRIC, 162 B Cabot, West Babylon, NY ORGAN AND CHORAL RECORDS For free catalog 117.04 write Gothic Records, PO Box 1576-A Tustin, Calif Many Discs SI3 99 92681 ) Onantity 10 and over only S12 99 S2 00 Conl IlS shipping FREE CATALOGUE Equip ment for Sale 'SOUNDTRACKS, SHO W. NOSTALGIA 8, JAZZ — FREE Catalog & Offering List—A-1 Record Finders. P 0 Box HIGH PERFORMANCE AUDIO PLUS 75071-H, LA CAL 90075" COMPACT DIGITAL DISCS & PLAYERS. CAR STEREO AT A LOW, LOW PRICE. HAFLER, MITSUBISHI, FRIED, ADCOM, Featuring: ADS, Advent, Aiwa, LIVE OPERA TAPES. CASSETTES, DISCS Incredible Selection. Free Catalogue. Live Opera. Box 3141, NAKAMICHI, KLIPSCH, ACOUSTAT, Alphasonik, Alpine, Amber, AR, Audio Steinway Station. L.I.0 NY 11103 SAE, MIRAGE, PROTON, more. Immedi- Control, Audio Source, Blaupunkt, ate, FREE shipping! READ BROTHERS Bose, Boston, Celestion, Clarion-Audia, •TDK SA-90. Case $25 00, TDK D-90. Case $15 00. STEREO, 593-C King Street, Charleston, Concord, DBX. Denon, Dual, Maxell UDXL-1190. Case 35.00 $2 00 Shipping. $3 50 South Carolina 29403. (803) 723-7276. Dynavector. Energy, Grace, Grado, C O D Accessary Distributors, Box 11, 121 Murrah Road, North Augusta, SC 29841 Grundig, Harman-Kardon, Hitachi, JBL, COMPACT DISCS & ACCESSORIES. Kenwood, Kyocera, Mitsubishi, Monster- J AZZ. BLUES. BUDGET ROCK BELO W LIST Free Cat- Call TOLL FREE 1-800-ALL-DISC (in Alpha, Onkyo, Phase Linear, Pioneer, alog. Kutabaga Records. 437 N 5th Street, Stroudsburg. Connecticut 1-452-0203) For FREE Proton, Pyramid, Robertson Audio, SAE, PA 18360 CATALOG M-F, 10-8, Saturday 10-7, Sherwood. Signet, Soundcraftsmen,

FREE RECORD CATALOG New releases at discount Sunday 10-4. All Disc Music Inc., 133 Sound Dynamics, Sony, Tandberg, prices and huge selection of classical, soundtrack. popu Wheeler Road, Monroe, CT 06468. Thorens, Vampire Wire, Wharfedale, lar and Jazz special values. Rose Records, Dept H. 214 Walker, others. Providing: professional S Wabash, Chicago. IL 60604 DIGITAL COMPACT DISCLUB. advice, personal service, "no rush" RARE CLASSICAL AND JAZZ. 150.000 LP's. The Members get SUPER LOW PRICES showroom, prompt shipments, free Record Collector, 1158 N. Highland, Los Angeles, CA (Hardware, Too), Super Selection. delivery and set up trade-ins, extended 90038 (213) 467-2875. TRADE-IN PRIVILEGES, Free 900 Title warranty. RETAIL-MAIL ORDER- TOSCANINI. great conductors, instrumentalists LIVE Quarterly Catalog. Send $1.00 For De- EXPORT. Call 12 Noon to 7PM E.S.T.. or CONCERTS. Reels, cassettes Free lists. request artists tails (Refundable On Membership). Digi- CRAA. BOX 1112HF, El Cerrito, CA 94530. write today (regarding specific make tal Disclub-H, P.O. Box 645, Carmel, In- and models). HAROLD MINTO, 1.000.000 SOUNDTRACKS BROAD WAY VIDEOTAPES , diana 46032 PERFORMANCE AUDIO VIDEO LTD. Catalogue -$1.00. RTSHG, Box 1829, Novato, California 94948. Soundtrack Valueguide: $5.50. COMPACT DISCS AS LOW AS $9.99. 365 South Bayview Avenue, Dept. HF,

Best Prices. Selection Anywhere , All Warner-Elektra- Freeport, LI., NY 11520. (516) 378-4389. PROTECT YOUR LP's At!antic Singles $9.99. All Nonesuch Singles $10.99. CBS Financing, MC VISA, AMEX. NO SALES Poly. Paper, Cardboard Jackets Singles $11.99 London-DG-Philips Singles $12.99. We TAX CHARGED TO OUT OF STATE Low Prices Free Catalog Record Care. Accept MC Visa. Include Expiration Date Order By Artist- Kilburn, NY 10931 Title-Label-Number If Known. Add $2.25 UPS Shipping RESIDENTS. 1st Disc. .50c Each Additional Disc. Plenty of Catalogues ELECTRO-VOICE DEALER —Speaker Components Plus DISCONTINUED RECORDS. CLASSICAL, POPULAR. Sent With Every Order Plus $25.00 of Discount Coupons Interface. CD35, Sentry Speakers. Microphones. Low All Speeds. Free Lists. Fred Steinmetz, One Seaview For Future Orders. Classic Diversion, Inc:, PO Box 1923. Avenue, Massapequa, NY 11758. Evanston, IL 60204 Prices. Rick Marder (201) 561-8123.

116 HIGH FIDELITY Wanted to Buy Place Your Advertising Index WANTED— Scotch black 10',2" "Classic" tape boxes. Replacement boxes available. Don Olsen. 157 Alpine. Own Ad: San Francisco, CA 94117 RS # Page # 4 Aiwa America, Inc. 53 Aka) America, LTD. 13 Instruction 31 Allsop Electronics 88 18 Alpine Luxman 27 BE A RECORDING ENGINEER' New Classes quarterly. HIGH FIDELITY CLASSIFIED INSTITUTE OF AUDIONIDEO ENGINEERING. (213) Angel Records 86 ORDER FORM 666-3003, 1831 Hyperion Dept. C, Hollywood, CA 90027. Army 38 RATES PER WORD: 15 word minimum Army Reserve 15 No charge for zip code 37 Audia 31 Business Opportunities Regular Type: $2.75 per word. Audiofon 107 Imperial Type: $3.75 per word. 36 Audiovox 47 YOUR OWN RADIO STATION! AM, FM, Discounts for 3 times; 6 times; & 12 times. 27 BES 17 licensed, unlicensed, low cost transmit- Check one: El Regular LI Imperial 11 Bose Corp. 19 ters! Free information. BROADCASTING, 3x C.1 6x IC 12xLJ 29 Carver Corp. 18 Box 1 30-D10, Paradise, CA 95969. 9 Canton North America 87 ELECTRONIC REPRESENTATIVES NEEDED. , Please print or type message below or on sep- 8 D'Ascanio 114 Lowest Possible Prices!! Over 100 Brands' Audio-Video- arate paper. Car Stereo-Computers, Electronic Experts, 1000 Orange 6 Denon America, Inc. Cover III Ave., West Haven, CT 06516 1 Discwasher, Inc. Cover IV

TELEPHONES: Earn at least 30%, start your own phone 41 Focus Electronics 97 retail business at home or in your store. Send $3.00 for Ford Electrical & our wholesale catalogues of all the ma(or brand tele- Electronics Div. 42 phones, refundable with first order. A.D.S. Distributing, Dept. HF245, 245 Salem Street, Woburn, MA 01801. 47 Franklin Mint Record Society 8-11 17 Fujitsu Ten 45 38 Harman Kardon 28 Inventions Wanted 30 Hitachi Sales Corp. 66 Illinois Audio 96 Inventions, ideas, new products wanted for presentation 48 International Hi Fi 113 to industry and exhibition at national technology exposition. Call 1-800-528-6050. Arizona 1-800-352-0458. X831 20 J&R Music World 99 26 Kyocera International Inc. 37 10 Kyocera International Inc. 63 Miscellaneous 14 LaBelle Camera & Stereo 111 Maxell Corp. 20 TERMPAPER catalog-306 pages-15.278 papers 42 McIntosh Laboratory Inc. 94 available. Rush $1.00. RESEARCH, 11322 Idaho, #206HT. Los Angeles, 90025 (213) 477-8226 Musical Heritage Society 79 19 NAD 55 National Consumer Music magazine in- 49 NEC Home Electronics Corp. 2,3 terested in obtaining classical and Onkyo 25 opera photographs. Rush reply to: Pho- Opera News 91 to Research Department, High Fidelity, 39 Onophon 93 825 Seventh Avenue, New York. N.Y. Pioneer Electronics U.S.A. 58 1001 9. 35 Polk Audio 73

CLASSICAL MUSIC LOVERS . EXCHANGE 32 Proton Corp. 65 Nationwide Link Between Unattached Music Lovers. Write RCA - Compact Disc Club 95 CMLE, Box 31, Pelham, NY 10803. ao s&w Electronics 94 28 Sansui Electronics Corp. Cover II, 1 Shure Brothers 81 Name Other 3 Sherwood 4 Company 24 Sony Corp. of America 32 Address 22 Sound Reproduction 113 City/State/Zip 16 Soundcraftsman 89 Phone 15 Stereo Corp. of America 108 Richard's Signature 2 Studer Revox 12 The Clothier lin the Man Under 58" 12 TDK Electronics Corp. Payment must accompany order 16 Suits. Shirts, Sweaters and Sportssscar 25 Teac Corp. of America 69 sited to fit the man under 5.8-. Send to: Cecelia Giunta HIGH FIDELITY 5 Technics 7 FREE Catalog: Rir hard's, Dept. HI' 825 Seventh Avenue Ultrx Sanyo 22 2535 Pilot Knob Rd , Mendota Heights, New York, N.Y. 10019 MN 55120 I-800-328-8322 Ext. 524 (212) 265-8360 7 Wisconsin Discount 86

NAM(' 23 Yamaha 51 Payment enclosed $ Addre.s. MASTER Card # (.11 VISA Card # Zip P), inc a

OCTOBER 1984 117 1111111111 1111111111 11111 11111111 11111111111 11111111111

READER-ACTION PAGE

Many manufacturers who advertise in HIGH F IDELITY offer additional literature on their products free of charge to our readers. For more information on specific products advertised in this issue, drop a postcard, care of Dept. HF-1084 unless otherwise noted, to the addresses listed below. If an address does not appear, literature is available through the company's dealers only

Aiwa America, Inc., Franklin Mint Record Society, Proton, 35 Oxford Drive, Moonachie, New Jersey, Franklin Center, Pennsylvania 19091, 800-523- 737 West Artesia Blvd., Compton, CA 90220, 07074, Att: Dept. HF 1084 7622, Act: Dept. HF 1084 Act Dept. HF 1084

AI!sop Electronics, Fujitsu Ten, S&W Electronics, P.O. Box 23 Bellingham, WA Act: Dept. HF 19281 Pacific Gateway Drive., Torrance, CA. 187 Ross Street, Brooklyn, N.Y. 11211, An: 1084 90502, Dept. HF 1084 Dept. HF 1084

Alpine/Luxman, Harman Kardon, Sansui Electronics Corp., 19145 Gramercy Pl., Torrance, CA 90509, An: 240 Crossways Park West, Westbury, NY Home Audio Division, Lyndhurst, NJ 00771, Dept. HF 1084 11797, (800) 528-6050, Act. Dept. HF 1084 Act. Dept. HF 1084

Audia, Hitachi Sales Corporation, Sherwood, 5500 Rosecrans, Lawndale, CA 90509, Act: 401 West Artesia Blvd., Compton, CA 90220, 17107 Kingsview Ave., Carson, CA 90746, Att: Dept. HF 1084 Att: Dept. HF 1084 Dept. HF 1084

Audiofon, Illinois Audio, Sony Corp. of America P.O. Box 37, Brooklyn, N.Y. 11204, Act' Dept. 12 East Delaware Pl. Chicago, Illinois 60611, Sony Drive, Park Ridge, New Jersey 07656, HF 1084 800-621-8042, Act: Dept. HF 1084 Act: Dept. HF 1084

Audio Video Center, International Hi Fi Dist. Inc., Soundcraftsman, 4128 South Florida Ave., Lakeland, Florida Moravia Center, Industrial Park, Baltimore, 2200 South Ritchey, Santa Ana, CA 92705, 33803, Act: Dept. HF 1084 MD 21206 An: Dept. HF 1084 Att: Dept. HF 1084

Audiovox, J&R Music World, Sound Reproduction, 150 Marcus Blvd., Hauppauge, N.Y. 11788, 23 Park Row, New York, N.Y. 10038, Custom- 7 Industrial Rd., Fairfield, NJ 07006, Act: Dept. An: Dept. HF 1084 er Service Dept. HF 1084 HF 1084

BES, Kyocera International, Stereo Corp. of America, 345 Fisher Ave., Costa Mesa, CA 92626, Att: 7 Powderhorn Drve, Warren, NJ 07060, Act: 1629 Flatbush Ave., Brooklyn, NY 11210, 212- Dept. HF 1084 Dept. HF 1084 (201) 560-0060 338-8555, An: Dept. HF 1084

Bose Corporation, LaBelle Camera & Stereo Of Maine, Studer Revox, 100 The Mountain Road, Farmingham, MA 155 Main Street, Biddeford, MA. 04005, 800- 1425 Elm Hill Pike, Nashville, TN 37210, 1615) 01701, An: Dept. HF 1084 341-0783, In ME, HI, Alaska (2071 283-1401 254-5651, Act: Dept. HF 1084

Canton North America, McIntosh Laboratory, Inc., TDK Electronics Corp., 254 First Avenue North, Minneapolis, MN East Side Station P.O. Box 96, Binghamton, 12 Harbor Park Dr., Port Washington, NY 55401, 612-333-1150, Dept. HF 1084 NY 13904, Act: Fred Dept. HF 1084 10050, Act: Dept. HF 1084

Carver Corporation, NAD, TEAC Corporation of America, P.O. Box 1237 Lynnwood, WA 98036, An: 675 Canton St. Norwood MA 02062, Art: 7733 Telegraph Rd., Montebello, CA 90640, Dept. HF 1084 Dept. HF 1084 An: Dept HF 1084

D'Ascanio Audio, NEC Home Electronics (USA) Inc., Technics 11450 Overseas Highway, Marathon, FL. 1401 Estes Avenue, Elk Grove Village, Ill., 1 Panasonic Way, Secaucus, N.J. 07094, Act: 33050, An: Dept. HF 1084 60007 Act. Dept. HF 1084 Dept. HF 1084

Denon America, Onkyo, Ultrx/Sanyo, 27 Law Dr., Fairfield, New Jersey 07006, Act: 200 Williams Ave., Ramsey N.J. 07446, An: 1200 West Artesia Blvd., Compton, CA. 90220, Dept. HF 1084 Dept. HF 1084 Att: Dept. HF 1084

Discwasher, Ortofon, Wisconsin Discount Stereo, 1407 North Providence Rd., P.O. Box 6021, 122 Dupont St. Plainview, NY 11803, An: 2417 W. Badger Rd., Madison, WI 53713, 800- Columbia, MO. 65205, Act: Dept. HF 1084 Dept. 1084 356-9514, Act: Dept. HF 1084

Focus Electronics, Polk Audio Inc., Yamaha Electronics Corp. USA., 4523 13th Ave., Brooklyn, N.Y. 11219, An 1915 Annapolis Rd., Baltimore, MD 21230, 6660 Orangethorpe Ave., Buena Park, CA. Dept. HF 1084 An: Dept. HF 1084 90620, Act: Dept. HF 1084

Advertising Offices

Now Ted: ABC leisure Magazines Inc 825 7111 Ave . Ith flout New 1 las Angola: ABC leisure Magazines. Inc . 1010 Avenue of the Sid. Siute . 10019 Tel 12121265.83N James A Casella. Advertising DifeCIOI Renard .1 A.... Century Ciry Calif 90067 le! 11131 557 6481 Rita Wedren Wes'ero Ache, ;

National Accounts Manager. Michael (ioldberg. Eastern Advertising Manager 1.1 , P) Manager R McCallum. Record Advertrsrng Manager Cecelia M Santa Classified Advertising Plationsl Pleps, Kathleen Chatia. Kathleen G Chola &Psalm 110011 W POUF Manager Kathleen Davis. Director ot Production. Janet Cemak. Advertising Produchni, teen Mile Road Birmingham. Mich 48010 Tel 13131641 3482 Prank laVerne hank

Manager LaVerne Associates. 922 Crenshaw Blvd Ins Angeles Calif 90019 12131 937 ,142 Midwest: High hdeltry Hitchcock Budding Wheaten III 60187 tel :1121 653 Telly*: Japan Advertising Communications Inn New Gin7a Bldg 7 311 Corm , 8070 ,,tart lane, Midwest Advertising Manager Chuo.ku Tokyo 104 Japan Tel 1031 571 ma Shuteru Kobayashi President i

118 HIGH HIM 1 ITV TO MAKE CASSETTE DECKS SOUND MORE LIKE OPEN REEL YOU HAVE TO KNOW HOW TO BUILD OPEN REEL DECKS.

Dual Capst,, , 1,,, hnologies found on Denon's DR-M33 and the An audio cassette should he really no more than I.. , fru ni at ore DR- M44 Three head Cassette Decks. Similarly, the outstanding open reels in a case. It follows, therefore, that extra( ting -open reel-like" performance from cassettes will involve m niaturited audio per komarice of these decks can be attributed to open reel technology. Denen's electronics experience building the world's finest hi-f, Denon has been producing open reel tape and tape recorders for components. over 25 years. Not simply /14 " machines. but 24-track 2- studio The net result is the most advanced in the series of cassette machines. This open reel technology helped Denon 3ecorm, one of decks considered by serious recordists to be "the most musical Japan's largest recording companies and a prime supplier of cassette decks available at any price:' Proof that no matter how equipment to Japanese recording studios and radiostations. :ouch anyone tells you or charges you, there simply is no substitute It also led to the Non-slip Reel Drive Motor and C osed-bop. for Pxperrence.

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D E S I G N I N T E G R I T Y

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Circle 6 on Reader Service Card New technologies will provide many records without leaving behind residues which advances in recorded music, but can affect a record's sound. nothing can replace your favori records. But total care doesn't stop with a clean record surface. A diamond Protect them as people have been t. P stylus, contaminated with vinyl doing for well over a decade...v.,iin stabilizers and dirt, can actually Discwasher record care products. t i ) 1 1- 0 • reduce the life of your records by two-thirds The Discwasher,! D4+— Record Care System safely cleans records without recucing their The Discwasher • SC-2— Stylus Care System, dynamics and fidelity. The highly active D4+ fluid with its exclusive nylon -fibered brush and is able to lift and suspend contaminants on the scientifically safe fluid, effectively loosens and record surface to be removed by the directional wipes away abrasive stylus contamination for fibers of the 04 pad; and the D4+ System cleans longer record life.

Protect gour records with LliscvvasherP care.

1407 NORTH PROVIDENCE ROAD. P 0 BOX 6021, DEPT HF. COLUMBIA, MO 65215 discwasher A DIVISION OF JENSEN an E WAN( Company Circle 1 on Reader-Service Card