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MARCH,. 1962 SO¢

www.americanradiohistory.comAmericanRadioHistory.Com COOLNESS OF TRANSISTORS ­ WHAT MAJOR COMPONENTS AR E NEW CIRCUITRY, PRECISION OF FRAME GRID TUBES I NCLUDED I N THE NEW "ASTRO"? NEW FEATURES, For cool operation, Altec makes judicious Five integrated stereo components are use of transistors. For highest sensitivity packaged in a compact 6" x 15" x 131;2" and quietest performance imaginable, new cabinet: FM, FM multiplex, AM, dual­ NEW IDEA IN STEREO channel preamplifiers, dual-channel power ultra-precise frame grid tubes are used. amplifiers. The wide band FM tuner fea­ "Modern" is not the word. Perhaps This proper combination of transistors and tures 1.5 microvolt sensitivity (equivalent "ahead-of-its-time" is a bit more descrip­ tubes in the "Astro" has produced results to 0.75 microvolts with matched 72 ohm that are just this side of miraculous. antenna) to assure highest gain, lowest tive of the new Altec 708A "Astro." How noise. A built-in FM stereo multiplex re­ else would you describe an all-in-one ceiver provides 30 db stereo separ.ation be­ stereo center full of features and facilities The "Astro" is sensitive, stable and com­ tween channels over the entire audio never before available in a single package? pletely consistent in its performance (top­ range. To take all guesswork out of tuning, a monitor light goes on automatically notch!) and utterly free of drift. Indeed, it when stereo signal is received. The AM For example, consider its circuitry. is the first truly practical stereo center be­ tuner provides high sensitivity and excel­ Transistors are combined with new frame cause transistors in the power stage make lent image and IF rejection. grid tubes to gain the best qualities of each. it run cool for hours on end. Unlike ordin­ The preamplifier section features a com­ As another example, consider its unique ary "hot boxes," the "Astro" secures peak plete complement of controls and includes stereo headphone facilities. The output re­ operating efficiency and maximum life facilities for everything from record and tape player to the stereo headphones. ceptacle is in the rear; you may leave the from resistors, capacitors, and other sub­ Powerful dual-channel amplifiers deliver headphones plugged in permanently, out components in its circuitry. And, because 25 watts each down to 20 cycles (lHFM of sight when not in use. The headphone it runs cool, the "Astro" is the first practi­ standard) with ± 1 db, 20-20,000 cps fre­ switch, however, is located conveniently cal unit for built-in installations. quency response. on .:le front panel. YOU MUST SEE & HEAR THE "ASTRO" Feel it, too, for that all-important cool­ Or, consider the unique tape recording ness. At your Altec Distributor's now. Or, 50 watts from monitor that functions much like monitors for information, write Dept. A3 an area the size in professional recording studios. Namely, of a postcard! it permits you to monitor any source © 1962 ALlEe LANSING CORP. material two ways during recording: the That's the magic A Subsidia71l instant signal enters the record head or of transistors: 1... of Ling-Temco- directly from tape, the moment it is re­ the four shown LJ!'J.~~~iiiii~1 Vought. Inc. corded. And these features are only a at left make up sampling. Truly, the "Astro" is "ahead-of­ the power stage its-time" even down to the smallest details of the "Astro." ALTEC LANSING such as the exclusive friction-lock controls In all, 12 transistors and 17 tubes are used CORPORATION that obsolete awkward dual knobs found in this entirely new stereo center that is 1515 S. Manchester Ave .• Anaheim, California on conventional stereo equipment. rated several years ahead of its time. 161 Sixth Avenue. New York }3 •. New York

www.americanradiohistory.comAmericanRadioHistory.Com l\1t.RCTI, 1962 Vol. 46, No. 3 Successor to R.AmQ , Est. 1917 C. G . MCPROUD • Publisher DO YOU D AVID SASLAW Editor LIVE NEAR ONE OF JANET M. DURGIN Production Manager THESE

" - ' . . ' . '"' .. ' ~-:- . . : -, ' '-:'::':' STEREO·FM Contributing Editors CITIES? E DWARD TATNALL CANBY HENRY A. SCHOBER Representatives Business Manager & JOSEPH GIOVANELLI Ariz.: Phoenix : KEPI , KNIX Bill Pattis Associates, Calif., Fresno : KCI B, KXQR 4761 West Touhy Ave., H AROLD L AWRENCE los An~eles : KFMU, KMlA SANFORD L. CAHN OceanSIde: KUDE Lincolnwood 46, Ill. Sacramento : KSFM Advertising Director CHARLES A. ROBERTSON Santa Barbara : KMUZ James.c. Galloway, San Diego: KGB , KlRO, KPRI CHESTER SANTON San Francisco : KPEN, KBAY EDGAR E. NEWMAN 6535 Wilshire Blvd., San Jose: KSJO Circulation Director Los Angeles 48, Calif. H ERMAN BURSTEIN Visalia: KONG Woodland: KATT Conn., Newton: WGHF Dela ., Wilmington: WJ BR Fla ., Miami Beach: WAEZ, WVCG Orlando: WHOO AUDIO Articles Sarasota : WY AK . Ga., Columbus : WRBl III., Chicago : WEFM, WFMT, WKFM A High Quality Stereophonic Mixer J 9 Robert Gerbracht Rock Island : WHBF Ind., Evansville: WIKY The Frequency-Response Specification 24 Mannie H orowitz Indianapolis: WFMS, WISH Iowa , Des Moines : KDMI Electronic Organ Tone Generators- In Two Kans. , lawrence: KANU Wichita: KCM B Parts- Part II 30 D. Wolkov Md., Towson : WAQE Mass., Boston (Waltham) : WCRB lynn: WUPY Mich ., Detroit : WDTM, WGPR AUDIO Reviews East lansing : WSWM Grand Rapid s: WJEF, WOOD Minn., Minneapolis: WAYl, KWFM Light Listening 8 Chester Santon Mo., Kansas City : KCMO Sl. louis: KCFM, KSHE, KWIX Record ReVUe 46 Edward T atnall Canby Nebr., Omaha : KQAl Nev., las Vegas : KORK Jazz and All That 54 Charles A . Robertson N.J., Dover : WDHA long Branch : WRlB N.Y., Garden City: WliR New York: WQXR, WTFM AUDlO~ Profiles . Schenectady : WGFM Syracuse: WSYR Westbury : WGFM Fisher Stereo Control Amplifi er Kit 40 K X -200 N.C., Burlington : WBBB Ohio, Akron : WDBN Fisher FM-Stereo Tuner Kit 40 K M-60 Cleveland: WNOB Columbus: WBNS Heath Oscilloscope 43 M odel 10-21 Middletown : WPFB Ore., Eugene: KFMY Omega Transistorized Stereo Amplifier 44 Model 1600 Portland : KPFM Penn., Johnstown : WJAC H. H. Scott Speaker System 44 S-3 Norristown : WIFI Philadelphia: WFlN, WHAT, WQAl Wilkes-Barre: WYZZ R.I., Providence : WPFM AUDIO in General S.C., Spartanburg: WSPA Texas, Dallas: KIXl, KSFM Hou ston: KODA, KFMK, KGHM Audioclinic 2 Joseph Giovanelli Wichita Falls: KNTO Va ., Richmond : WFMV Letters 6 Wash ., Seattle: KISW, KlSN Wi se., Milwaukee: WFMR, WMKE, WTMJ Audio ETC J2 Edward T atnall Canby Canada, Oshawa : CKlB Editor's Review J6 Toronto: CFRB, CHFI Tape Guide 34 H erman Burstein Audio Teasers 38 N orman H . Crowhurst New Products 60 This Month's Cover 65 If so, see your Sherwood dealer right away! The FM stations listed above About Music 66 Harold Lawrence are now-or soon will be-broadcasting Industry Notes 7J in Stereo. To enjoy fully this thrilling new experience, you need the Advertising Index 72 incomparable Sherwood S-8000 FM·Stereo Receiver and a pair of Sherwood SR3 "Ravinia" Loudspeakers . See and hear these superb stereo ·MEMBER· starters at your Sherwood dealer. "'SlIfUU Of Sherwood Electronic laboratories, Inc., ,"0' "",wo •. • '"' " .J • ,",- ..... ~ ...... 4300 N. California Ave ., Chicago 18, $M -;. '"".zines, Inc., Henry A. Scbober, President; C. O. McProud, Secretary. Executi •• Illinois. For details, write Dept. A·3. it ~ and Editortal OMces, 204 Front St., Mineola, N. Y. Subscription rates-U. S., ~ c: Possesaions, Canada, and Mexico, $4.00 ror one year, $7.00 ror two yeor8; all ~_ <.... ~ other countries $5.00 per year. Single copies 50¢. Printed in U.S.A. at 10 ., -;" MeGoTern Ave., Lancaster, Pa. All rights reserved. Entire contents eopyrlghted 'INC ' 1962 by Radio Magazines, Inc. Seeond Class postage paid at Lanca,ter, Po. SHERWOOD .. RADIO MAGAZINES, INC., P. O. Box 629, MINEOLA, N. Y. only for those who want the ultimate Postmaster: Send Form 3579 to AUDIO, P.O. Box 629, Mineola, N. Y.

AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com AUOIOclinic

,• W IDE i • BAND • microphones • for JOSEPH GIOVANELLI"" ~ STEREO and Interna l Circu it Grounding to bring my filament grounds directly to the MONO main ground-to the chassis-so that they Q. I would welcome information on the won't cause hum voltage to be introduced following question. In reading articles in along the length of the bus bar. It would AUDIO and other magazines, there appears be a good idea to return the B filter ca· g~ to be two schools of thought in regard to pacitor leads to this same, main ground ~ grounding of amplifiers. Both schools agl'ee point. The centertap of the power trans­ -~ ' that the internal circuit ground should be former is returned here also. These are .., .., professional made to the chassis at one point only, some of the most important considerations o usually at the input jack. One school uses in grounding circuit elements within an -- regular hookup wire to run separate wires amplifier. By observing these precautions, - qua Iity from each component to the single ground you can produce virtually hum-free per­ point. The other school uses a single, heavy formance from your preamplifiers, provid­ ~:J for the gl'ound bus, grounded at one point and ing that care is taken in filtering of Band run through the amplifiel' with the ground filament supplies, and that hum is not ~ studio and points tied on to it. It appears that the picked in the input devices such as tape :t- order of the grounding points on this bus playback heads or phono cartridges. the audio is critical. My question is in two parts,' When using the hookup-wire system you 1. Is either method superior to the other? do not need to run a wire from each in· 2. In the ground bus method what order of dividual component to the main chassis perfection ist grounding to the bus would be best for a ground. It is sufficient to run the grounds first try? Arthur L. Stanhope, Haddonfield, from each stage to a tie point and take New Jersey. this stage ground tie point to the main A. First of all, when constructing amp­ ground via hookup wire. T M lifiers, unless they are of the integrated type, containing the preamplifier together A.C. a nd D.C. Balance Circuits with the amplifier, I am not fussy about Q. grounding. I often make chassis grounds Many amplifiers have pot controls at whatever point seems convenient to the for d.c. balance of the output tubes. Many particular ciFcuit, and use neither method of the newer amplifiers are appearing with you mentioned. a,c. balance controls as well. What is the When it comes to a circuit which has the advantage or purpose of an a.c. balance gain possessed by a preamplifier and which control? How is it adjusted? Arthur L. must handle low-level signals, more care in Stanhope, Haddonfield, New Jersey. grounding must be observed. Both the bus A. Let's look at the push-pull output system and the hookup wire approach are stage to see why we need the a.c. balance good schemes. I don't think there is much control. We want the d.c. adjusted in the StereO Spacer and two to say for one method over the other. I push-pull amplifier so that , equal current 8&053 microphones prefer the use of the hookup wire rather flows through each half of the output than the bus since the bus makes for diffi­ transformer. This will prevent saturation culties in laying out the parts in some in­ of the iron in the transformer. When the stances. Notice that my preference is not iron core of a transformer is saturated, the The new 8&0 200 convertible inductance of the transformer decreases. ba~~d, upon the relative hum-rejecting microphone comprises two rib­ abIlitIes of the two schemes. With ex­ When the circuit is unbalanced, the d.c. magnetization of one half of the primary bon elements in a rotating tremely high-gain circuits, such as those required for some low-output tape heads of the output transformer is not counter­ housing for controllable sepa­ I believe that the hookup wire syste~ acted by the same force in the other half of the transformer. Even if, under these ration with ideal point-pickup possesses somewhat superior performance capabilities. This system is so wired that conditions, no saturation has resulted, the for multiplex compatibility. Its the ground for each stage is returned to transformer will not be able to handle the amount of audio which could otherwise performance surpasses even the main ground point. This eliminates the possibility of any hum loops being de­ be handled when the d.c. is correctly bal· the famed 8&0 50 and 53. veloped along the ground bus. anced. This previously·mentioned fall in inductance is likely to occur during low­ Standard impedance, As fo: the order of ground placement 200 n when USlllg the bus approach, there is a frequency passages because these passages phase switch, T-M-O switch; ac­ very simple explanation for this. You know contain the greatest amount of audio power, Therefore, these bass tones will not be cessory matching transformer. that the end nearest the input handling the smallest signal is grounded to the reproduced cleanly. It would also be nice if each half of the Write for detailed specifications chassis. This point is located near the first stage of the equipment. All grounds from output stage of the amplifier would recieve the first stage are made to one point_ Then the same amount of signal from the driver. comes the grounds for the second stage This would give maximum power output DVNACO, INC. the third stage grounds, and so on. I lik ~ and minimum distortion because the push­ 3912 Powelton Ave. • Phila. 4. Pa. pull action of the stage is correctly func­ CABLE ADDRESS: DYNACO. PHILA. tioning. Not only is it a matter of the * 3420 Newkir'k Ave., Brooklyn 3, N. Y. performance of the stage as a whole, but

2 AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com THE ANSWER IS: Use the cartridge of your choice ... any manufacturer, any 1nodel!. The arm on the Type A will bring out the best in any cartridge with a weighted, full-size, non-magnetic turntable; a laboratory­ ... tracking (and tripping) at the lightest pressure specified by balanced, double-shielded motor; and (when you want it) the the cartridge manufacturer. This includes the professional mod­ gentlest automatic record-handling mechanism ever designed; els, which were developed originally for separately-sold tone rewards you wi th the full measure of the magnificent reproduc­ arms because of their high compliance. 0 Now,Garrard integrates tion achieved by any of the latest, finest, stereo cartridges. 0 precisely such an arm into the Type A Automatic Turntable. This Extravagant concept, yes . .. but the price of the Garrard Type A is a dynamically-balanced, counterweighted arm, designed and "::-" Automatic Turntable is exceedingly modest, only $79.50. built with the same precision, the same balance, the same free­ j~ For illustrated literature, write Dept. GC-12, dom from friction, the same playback charac­ ,. r-i.."'-.... Garrard Sales Corporation, Port Washington, N. Y. ',>, >; teristics and low resonance expected in tone arms separately sold, regardless of price. " GARRARD'S LABs~~~~gRY TYPE A The Type A arm, operating in conjunction AUTOMATIC TURNTABLE

www.americanradiohistory.comAmericanRadioHistory.Com also it is a matter of the performance of the transformer. If one half of the trans· former is driven harder than the other half, it is obvious that magnetizing forces will not cancel out, and the transformer will be more quickly saturated than it would the Weathers Moderne Trio otherwise be. I n order to determine whether ... a complete, three the grids of the output tubes are receiving equal signal, you can measure between grid channel stereo speaker and ground of each tube. If they are not receiving equal signal, what can you do system which gives full .. about it in most amplifier circuits' The stereo phon ic reproduction .answer is, of course, nothing at all. Only in those amplifiers containing an a.c. bal· in every part of any size ance control can this condition be corrected. The a.c. balance control makes it possible room. It consists of two to adjust the input so that each grid does full ra nge speakers and a get the same amount of signal. The a.c. signal conditions discussed unique Hideaway here are not applicable to the output stages non·directional speaker of amplifiers only. They hold true for any push·pull stage. that is completely concealed Of course excellent performance may be obtained without the a.c. balance control. f rom view. You can pl ace The use of this type of balance circuit it anywhere - and still merely imparts the final touch to the equip· ment- the frosting on the cake as it were. be sure of superb performance. The Moderne 'lhe Ya g i Antenna What is a Yagi antenna? Nario Brenes, Trio is the smallest and Brooklyn, N ew York. most efficient stereo A. A yagi antenna is one of a group of antennas known as parasitic arrays. The speaker system yet devised. yagi consists of a dipole, a reflector, and A superlative several directors mounted on a boom. To It fit s any size room and make this arrangement more clearly under­ blends with any decor. instrument with the standable, consider a heavy rod. At one end of this rod is mounted another rod, this one It produces to perfection finest performance being much shorter than this first rod, or boom. It is mounted at right angles to the all stereophonic recordings per cubic inch of any direction of the boom. Near the rod is and adds greater depth mounted a dipole- either folded or straight. speaker yet devised. The physical length of the dipole is slightly to monaural discs . less than that of the fu'st rod. The first rod is known as a reflector; the dipole is known as the driven element. Spaced along the remainder of the length of the boom are mounted one or more additional rods, or elements as they are called. These will each be shorter than the dipole, and are One without the other is known as direct01·s. Somewhere near the center of gravity excellent . .. BUT ... of this array, a clamp is attached which Combine the speakers enables the array, or beam, to be mounted to a mast. Sometimes, rather than being and t he Professional mounted directly on the mast, it is mounted on a rotator. Wires are run from such a Picku p System and t he rotator to some convenient point near the results are fa r beyond equipment with which the yagi is associ­ ated. The wires are connected to a control all you 've ever box which operates the rotator, and which hoped fo r, is provided with some means whereby the direction the yagi points to can be de· termined. Rotating the antenna and know­ we ing the direction in which it is pointed are very important f acets of the total picture of the yagi, as will shortly be seen. guarantee The end of the boom furthest away from the driven element is the end which points I°t .I to the desired direction. What is the purpose of this' It strength­ ens the signals received. In other words, let us assume that you are interested in receiving a weak FM station. Your dipole did not work well enough to give you really good limiting. The yagi antenna will probably give you sufficiently greater signal strength to enable the listener to re­ ceive the station with no background noise. W~ The yagi accomplishes this by means of a the finest performance focusing action of the elements, focusing per unit of cost maximum signal on the dipole portion of t9'~ the array. in stereo cartridges. However, this is done with some sacrifice. 66 E. GLOUOESTER PI KE You somehow never do get something for BARRINGTON, N. J. nothing. Your original dipole would receive signals from two directions in a cardioid (Continued on page 38)

4 AUDIO • MARCH, 1962

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www.americanradiohistory.comAmericanRadioHistory.Com LETTERS

Higher Harmonics SIR: I n the J anuary "Letters" column Mr. Richard Simonton stated that he has yet to examine an electronic organ with har­ monics higher than 7500 cps. Mr. Simonton, at least three organs (Alien, Artisan, and the new Rodgers) have funda­ mentals up to 8372 cps and some of the mixture stops may have even a higher f undamental. Obviously, the second harmonic of these fundamentals is in the region of 16,000 cps, which is not difficult to achieve since these notes are not pure sine waves. Some of the reeds and strings may actually have harmonics as high as 20,000 cps. ALLEN A. H EIBECK 2504 Alvord Lane Redondo Beach, Calif.

Electronic Organs SIR : There are some misleading statements in Mr. Wolkov's arti­ cle in the February issue. First of ali, organs which sell for $39 are not really electronic organs- they are reed mechanisms with motor-driven blowers which at best may use electronic amplifiers. The most inexpensive electronic organ I know of sells for $300--400. Secondly, Table 1 does not clearly indicate that a pipe of the length shown will produce only the top fre­ quency in the column. For other notes, frequency and pipe length are inversely proportional. However the table is mis­ leading in that the pipe lengths shown generally refer to pitch registers over an entire manual. For example, a 16-foot register would include notes beginning at 32.7 cps (produced by a 32-foot pipe), plus 5 additional octaves. Thirdly, the author's conception of scale mathematics seems THORENS TD-135, COMPLETE WITH INTEGRATED ARM inaccurate. The frequency of each note is the same as that of For the first time, Thorens - in the new TD-135 - offers a the previous note multiplied by the 12th root of 2. This ratio component-quality arm and turntable mated with a precision produces the correct, tempered scale. Fourths and fifths are that insures you perfect tracking, perfect sound ... always .. . "mistuned" to achieve the relationship mentioned, not to result with a minimum of installation effort on your part. in altering it. Briefly stated, the scale is based on a frequency ratio of 2, the octave. The ear hears pitch increments and There's no compromise whatever with quality such as you decrements logarithmically. Thus, to divide a ratio of 2 into THORENS usually find in integrated turntable and a?'m units, 12 parts which will be exactly equal as perceived by the human TD-135 is Swiss-precision crafted throughout, , . true compo­ nent high fidelity all the way. You get : A precision turntable brain, the factor becomes the 12th root of 2. The reason a featuring 4 speeds, all adjustable, with an 8-pound non­ tuner hears beats between fourths and fifths is that in this magnetic t able, .. plus a completely new, advanced tone arm tempered scale the numbers arrived at are irrational, bearing that's so good we also sell it separately (see below) for use no whole-number relationship. with any turntable of your choice. Exceeds NAB specs for RICHARD H . DORF, President wow, rumble and flutter, Has same belt-plus-idler drive as The Schober Organ Corp. famQus TD-124, Shuts off a utomatically at end of r ecord. 43 West 61st St. Many, many more features tha n we can detail. $110 net New York, N. Y. He Wants Meat SIR : I have looked at the instruction manuals of kits built by friends and find that they are complete as to step-by-step as­ sembly but do not give any information on the "whys." I (10 THORENS BTD-12S, 12" PROFESSIONAL TONE ARM not intend to become an engineer but would like to know a great deal more about how my set· operates. Identical arm included with TD-135, but sold as separat e unit. 0 The question remains, "How can manufacturers be convinced Less than 0.5 l inch tracking error. Built-in cueing device. All that many people in my category want more meat to chew on ,,, adjustments : vertical height; calibrated gram-force; stylus DON HASLWANTER P?sitioning slide; balancing counter-weight. Unique vertical 1205 Tyler St. PlvOt keeps stylus vertical for any h e ight adjus tment. Glendale 5, Calif. Resonance well below audible frequencies. Interchangeable 4-pin cartridge shells. Mounted on board for THORENS (Simple--write to them! ED.) TD-124, TD-121 turntables. $50.00 net What and Why See and hear the THORENS TD-135 and ALL the members SIR : of the "TD" family of fine turntables a t your franchised Anyone who is adept with his hands can do a creditable dealer's today; there's oile for every budget! Fo?' additional job in building kits-if he f ollows the instructions. But after in/ormation, write us direct. a few kits he wants to know what and why as well as how. I feel tha.t a better underst anding of what and why will increase THOREN'S DIVISION his understanding and enjoyment of music just as a person who understands the basic f unctions of an automobile makes ELPA MARKETING INDUSTRIES, Inc. a better driver. R. C. MCINTOSH New Hyde Park, N. Y. 84--23 Manton Ave. J amaica 35, N. Y.

6 AUDIO • MARCH , 1962

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ROBERTS ELECTRONICS, INC., Dept. A-3-C 5920 Bowcroft Ave. , Los Angeles 16, Calif. .... Please send me : o Roberts Stereo Tape Instruction Manual t~~tsl containing stereo and monaural applications. I enclose 25¢ (cash, stamps) for ·postage and handling. o The name of my nearest dealer. ROBERTS ELECTRONICS, INC. Name ______5920 BOWCROFT AVENUE, LOS ANGELES 16, CALIFORNIA Address ______MFRS. OF ROBERTS SONIC-THESIA, MEDICAL EQUIPME~T, STEREO HEAD PHONES, City State _____ NEGATIVE ION GENERATORS, AUDIO EQUIPMENT AND MAGNETIC RECORDING TAPE

AUDIO • MARCH, 1962 7

www.americanradiohistory.comAmericanRadioHistory.Com maintains the workmanship exhibited in his first album, Mersey will soon be a leading name in the specialized field of tastefully­ produced orchestral show music.

Kwamina (Original Broadway Cast) Capitol SW 164S This musical dealing with the birth of na­ tionalism in present-day Africa raD for only .-rli.g HT------­ 32 performances in New York. Capitol Records decided, however, to assemble the cast for a recording of t he score on the day after the show closed. This move, certainly an unusual one in the record business, was prompted by Capitol's conviction that "Kwamina" did not fall on Broadway because of its music, a point borne out by the press reviews when the ~1tN-i~~~ show opened. The company felt that the score CHESTER SANTON':: deserved a wider audience than it was able to gamer in the theatre. Richard Adler fur­ nished the music and lyrics that propelled on Band 1 of Side 2. 'rhe tllne is the tradi­ Capitol to Its decision. The show's plight, in The symbol 0 indicates the United tional favorite, When Johnny Oomes March­ all probability, stemmed from a plot so ad­ Stereo Tapes 4- track 71j2 ips tape ing Home. Before the arrangers get him off vanced in its thinking th at even today's audi­ the battlefield, they unleash some cannon fire ence was not quite prepared to accept it. The number. that is the most realistic I've heard on stereo Adler score attempted to include two types of discs since the days of Vanguard's 21-gnn African music: atonal incantations of strong volley in "The Queen's Birthday Salute" and rhythmiC pattern but no melody and the Stereo 35/MM Volume 2 the Mercury recordings for artillery and or­ Bantu music of South Africa with ample mel­ Command RS 831 SD chestra. The only other dubbed-in sound play­ ody in its five-tone scale. ing a role in the arrangements comes f rom a From what I have read about the play, I Ordinarily, records that sound good on small train with a decidedly roguish person­ expected a score somewhat aloug the lines of equipment oj modest frequency range, sound ality. It circles about while the chorus sings Kurt Weill's famous "Lost In the Stars" even better when transferred to wide-range Down By the Station. The most effective which also had an African locale. "Kwamlna" equipment whose response is flat enough to sounds produced in the studio include the per­ comes closest to that classic in atmospheric satisfy the discriminating listener. Last No­ cussion battery that sparks the old Chevalier pieces such as The Oocoa Bean Song as de­ vember, I made a point of the fact that Com­ hit Mimi nnd the tap dancing of Tad Vosburgh livered by the entire company and A Man mand's first stereo 35/MJ\1 release had im­ picked up on a special platform during the Oan Have No Ohoice sung by the owner of pressive sound when played on equipment that performance of T ea For Two. The brief duel one of the best voices in the cast- Brock rolls off sharply in the high end. The peak in between dancer and drums is a particularly Peters. The Calypso, originally brought to the the record's mid range, barely noticeable on a clever example of stereo milling. Balancing West Indies by African slaves, Is suggested In system of limited response, was all too evident the busier moments of the program are re­ the rhythms and double talk of The Sun 18 on the set up I use every day for review of laxed treatmen ts of Irving Berlin's For the Beginning to Orow. Unfortunately, a jarring records and tapes. Ve,·y First Time and Ben Bemie's old theme note is struck just as the scores shows some During the months that followed the release song, It's a Lonesome Old Town. sign of establishing an identity of Its own. In of "Stereo 35/MM," Volume I , my reviewing the role of the white lady doctor, Sally Ann equipment underwent only one significant Ray Ellis: How To Succeed in Business Howes, who once played the role of Eliza change: a thoroughly up-to-date stereo car­ Doolittle, copies the inflections used by Julie tridge that has Improved the sound of vil'­ RCA Victor LPS 2493 Robert Mersey: Kean Andrews throughout the second half of Lerner tually every record I own. When Volume 2 and Loewe's "My Fair Lady." This is a minor of this series came along, I immediately Columbia CS 8532 point in casting and direction but it may have checked it with the new pickup-only to dis­ Once a record firm acquires the right to been one of several factors that led to the cover that the rise in the record's mid-fre­ show's demise. quency response is stm there and is stilI ob­ release the original cast recording of a Broad­ jectionable with the new pickup. ROlling off way show, other decisions remain to be con­ the upper end doesn't help. The record fails sidered. There's one sure way to learn what a Leo Diamond: Foreign Film Themes record label really thinks of a musical It has to respond to moderate change of tone co n­ Reprise RSL 1706 trols the way other discs do these days. I under its wing. If a production shows promise 0 didn't get rid of the exaggeration in Com­ while stIlI in rehearsal, plans are then set in King of Kings and Other Film Themes mand's recording curve un til I set the pre­ motion to record the score in a variety of in­ London 0 LPM 70050 amp's cutoff filter at 7000 cps. Such a record­ strumental formats. If a show has mixed ing curve hardly does justice to the sound of prospects during rehearsal, instrumental ver­ Imported cars have not been the only Euro­ the diverting arrangements acquired for the sions may be held in abeyance until the public pean products gaining wide circulation in this orchestra led by Enoch Light. Phil Bodner's has had a chance to render its over-the-foot­ country in recent years. Back in the Thirties, piccolo and Doc Severensen's trumpet roam lights judgment. European movies were available only in the the upper regions of the scale; a French horn Neither RCA or Columbia has wa ted a large urban centers-if you Imew someone warms the orchestral tonal palette and a tuba moment in bringing out orchestral treatments who could direct you to the right neighbor­ underlines the efforts of the lower strings but of these two scores. Both shows were ob­ hoods. With 'Iuck you might even see an ocr-a­ the highs don't get the break they should. viously considered strong enough to make sional "musical"-the life of Beethoven, per­ The stereo separation delivers its punch from headway in the market without the benefit haps, with a sound track as sour as the visage each channel but I stilI come a way with the of big-name established orchestras. Ray Ellis of the composer. Since World War 2, the bur­ conviction that this is not a complete record. has appeared in several Victor albums bu t geoning European movie industry has been What is missing is the fiat response above Robert Mersey is making his record debut in sending an IncreaSing number of fi lms to this 7000 cps that other labels are furn ishing In the Kean score. Ellis elects a swinging ap­ country. The more recent ones have adopted their releases. Command deserves a great deal proach in all the bright tunes from Frank the Hollywood custom of stressing one or two of credit for the sound it Is turning out in Loesser's "How to Succeed." A wordless themes in the background score, tbereby mak­ Its classical line but this particular series chorus backs up the beat of Love F"om a ing possible the tape album now issued by Leo lea yes me cold. Heart at Gold, Happy to Keep His D inne" Diamond. We can't complain of a scarCity of War"" and Been a Long Day. A few phrases Hollywood movie music on records or tapes Keith Textor: Sounds Sensational! are sung in J Believe i1l )'O!,; the title alon e but comprehensive collections of foreign is voiced in Rosemary. A Secretary Is Not (I themes have been a comparative rarity. The RCA Victor LSA 2425 Toy is one of the smartest tunes in the origi­ only hitch here lies in the fact that you have Novelty seekers get the best break in sound nal cast album hut something seems to happen to take Diamond's harmonica acrobatics along in the recordings t h at compromise this month's to it in the con,ersion. As an orchestral nov­ with the more reasonable sound of two pianos, RCA Victor pop release. The extra demands elty, it sounds for all the world IiJ,e the harpsichord, celesta and strings. Diamond has placed upon the label's technical resources in Whistler and His Dog. probably earned the gratitude of some listen­ the Stereo Action series seem to call forth The music from t he Robert Wright-George ers in one respect-he doesn't use a zither in better work from the personnel in the pressing Forrest musical gets a sophisticated treatment the Thi,'a jJian Theme. The best known music depar tment. Keith Textor's grab bag of sounds in the Robert Mersey arrangements. Most lis­ from "La Strada" and "Never on Sunday" 1s Involving chorus and percussion is displayed teners will find his approach in Kean's music given a bolero tempo. Among the dozen tunes on good surfaces and the response is invigor­ a refreshing one. The scoring is fully as color­ a re such well-entrenched favorites as Anna, ating. An assortment of RCA microphones has ful as the instrumental show albums put out Om'nival from "Black Orpheus" and themes been used at most of the vantage points with by Percy Faith and And re Kostelanetz. Mersey from "La Dolce Vita." "Rocca and his Broth­ the chorus and brass Instruments assigned to is a native New Yorker who began his profes­ ers/' "La Ronde," and "400 Blo,vs." Telefunkens. The selection on this record des­ sional career as an arranger for the Woody In the London tape, Frank Chacksfield is tined to get the most demonstration is found Herman band. He later spent three years ar­ asked to abandon his blithe carefree style of ranging and conducting in England. Upon his former years and don the heavy mUSical" robes return to the States, Mersey wrote and ar­ of the super-spectacle costume films. He can * 12 Forest Ave., Hastings-on-Hudson, ranged music for some of the prestige drama hardly be blamed if the themes from "King N.Y. shows on television-while they lasted. If he of Kings," "The Robe," "Ben-Hur," and "Quo

8 AUDIO • MARCH, 1962

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AUDIO • MARCH, 1962 9

www.americanradiohistory.comAmericanRadioHistory.Com Vadis" sound pretty much alike. They have to. If they didn't, the producers and the public would feel they were being short changed. The sound on this reel, for all its "heroic" spread, is disapPointing. I have a two year old four­ track Chacksfield tape on this label ("Evening in Paris"/M 70005) that sounds better in side-by-slde comparison.

The Many Voices of Miriam Makeba Kapp KS 3274 Remember the days when sound-on-sound recording usually In vol ved a loss in listening quality? I was reminded anew of the progress made in multi-track work while listening to the amazingly clean sonnd that producer Bob Bollard and recording engineer Bob Simpson have provided in the second albnm by the new singing star from Africa, Miriam Makeba. In songs abont warriors and witch doctors, Miss Makeba produced seven vOicings--dubbed one at a time-yet the sound loses none of the clarity found in the rest of this recording that is rar from average in technical prowess. The first Intimation that this is to be a remarkable record comes in the very first selection, a hunting song and boot dance that sends the stamping feet of dancers across the stage to the accompaniment of large African drums, bells aud smoothly agile stick rhythms. In the West I ndian ballad Love Ta8tes Like Stmwberries, the silvery sigh of Ernie Cala­ bria's 12-string guitar, heard on the left, and the low boom of percussion on t he right pro­ vide a startling contrast as backdrop for the voice. In more sophisticated material-the Carnival theme from the movie "Black Or­ pheus" and "Night Must F all"-we find Miss Makeba equally at home in music f rom other con tinen ts. Her crystalline voice is heard to best a dvantage in a little lullaby about a ca­ nary. In its mOving simplicity, this one song is enough to confirm the belief of many ob­ servers that Mirian Makeba is one of the truly great folk Singers of our day.

Mantovani: Music of Victor Herbert and Sigmund Romberg London PS 165 Mantovani recordings have been a vital seg­ ment of the London catalog during all the years of the LP record but a surprising num· ber of t hem are available only In mono ver­ America is taking to our new Lu xor Stereo tape recorder like Swedes take to Smorgasbord. sions. At first glance, this release-and a companion disc called "Music of Irving Berlin Among the big factors in the success of this complete stereo sound system is its great and Rudolf Frlml" (London PS 166)-struck crosstalk rejection ability. This means that the port arid starboard speakers in your stereo me as another example of duplication until I system pull their share of stereo from the tape and nothing more. Made with traditional discovered that not one of these composers had undergone stereo treatment in Mantovani Swedish care, the Luxor Magnefon has less crosstalk than a pair of glaciers. It does however albums. If the orchestra's arrangements have HAVE all of the finest characteristics that a "dedicated" audiophile could ask for. Any changed since mono days, it would take a audio dealer in town will fill you in on the. frequency responses at all three speeds, (it's battery of experts to establish the pOint. truly Hi Fi at 33/4), and even the cubic dimensions. While you ar.e investigating all this we Woodwinds are now sharing some of the prominence once reserved for the strings. Of are sure he will try to sell you one at $279. If he does- Buy it! In the West he will ask course, Mantovanl's string section still has for a few more dollar.s-Still worth it! plen ty of prominence if you hear it under the conditions of preemphasis used on four-track tapes. The recording curve in these discs, for­ tunately, for the music involved, is quite close to the RIAA specifica tion.

Vienna-City of My Dreams Columbia WL 156 The technique of dubbing the sounds of a city into a recording of its music is hardly a new one yet the Austrian crew involved in this project has turned in a fresh·sounding portrait of Vienna. Most of us have encoun­ tered recordings of this type in which the sound effects were'" burdened with a distor­ © 1961 AMELUX ELECTRONICS CORP. tion content greater than that of the studlo­ r ecorded orchestra. Here the problem is r------AJ ' licl{ed in a very simple way. The extraneous : Pl ease write for illustrated descriptive I sounds are kept at true background level I brochure while the orchestral arrangements a re used for maximum effect in pinpointing the lighter I AmeLux Electronics Corporation side of the Viennese musical scene. Among I 60 East 42 Street . New York 17, N.Y. the sources of local color are the city's cab­ I Please send your free brochure to arets, bars, and wine gardens. Even the I leading amusement park has been pressed MOTALA, SWEDEN I NAME: ______into service for some of the background at­ mosphere. The local orchestra under the di­ Sale U. S. Di8h~b"to'·8 I ADDRESS, ______I rection of Karl Grell has the relaxed freedom I CITY STATE I of authentic Viennese music making. AmeLux ELECTRONICS CORPORATION L ______~ 60 East 42 Street, New York 17, N. Y. (Continued on page 67)

10 AUDIO • MARCH , 1962

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www.americanradiohistory.comAmericanRadioHistory.Com November. That was :fine with me; so I tactfully waited until mid-December (I do understand these things.. . ) and then tried again. I got back an excellent suggestion from the company: under the circum­ stances, wouldn't it be more sensible, now, for me to turn in my mono tuner and pick up the new model with the multiplex al­ ready built-in' An excellent thought, I decided. For in the meanwhile I had dis­ covered that the conversion unit was not quite of the plug-in sort; there was a cer­ tain amount of :finger work to be done in ere. the process, like replacing the volume con­ trol and power switch. I found, unaccount­ ably, that I had chilly feet at this mild Edward ratnaliCanby prospect. So I said-yes. Excellent idea. Give mo the works- and thus 1 by-passed the conversion period altogether. If you will turn to page 46 of the Feb­ ruary issue, you'll find our "Equipment LAYMAN'S FM STEREO and talk all the time, from every side'-:=not Profile" write-up of this very conversion (MULTIPLEX) merely in the building of home stereo unit, "at long last." Citation MA. The edi­ tuners but from the transmitter people, tors sweated out the wait, too, and don't I haven't said a word about FM-stereo who were having their minor disasters, and think they didn't expect it, just as 1 did. for almost nine months. Not since last even from the program departments, who A conscientious audio designer is more than spring, when the new system was :first ap­ found to their horror that a large propor­ likely thus to get out of step with his pub­ proved. (I won't count a passing reference tion of available stereo disc material licity people, who always get there first to FM-stereo's "phase-2" characteristics, a wouldn't work on FM-stereo broadcast­ with the mostest. few issues back.) Good enough reason. It complex and unforeseen technical allergies, takes awhile for this kind of pudding to so to speak, phase cancellations, and the So, as of now, I am still looking forward cook. And the proof's in the eating, re­ like. A frantic time was had even here, with utter equanimity to a continned slight member. The listening. auditioning huge quantities of records in delay in receiving the Citation IIIX multi­ It wasn't until almost the end of last the search for something that the System plex tuner, in exchange for the Citation III year that, very late one night, Miss Sarah would tolerate; and that, of course, was mono tuner that I still am hanging onto, Vaughan suddenly belted out a number merely one minor area of problems. There with the greatest of pleasure. I must say, from one of my stereo loudspeakers, while were plenty more, most of which belong at this point, that the Citation III has her accompaniment dribbled forth out of in the technical sections of this magazine given me, over-all, unusually fine mono FM the other. Stereo! Well, maybe it wasn't and which I can do no more than acknowl­ performance. The longer I wait for Cita­ stereo but there sure was plenty of separa­ edge as existing. Even such minor annoy­ tion IIIX stereo, the more confident 1 am tion. I tried my balance control, from one ances as that nasty audio beat tone that that the eventual product will be tops. I'll channel all the way over to the other; yes, shows up with some tape recorders. Bias, leave Citation there, for the time being, definitely, this was it. The real ping-pong tangling with the multiplex. and return to my story about Miss McCoy. There was Miss V., full-bodied, No blame for the delay in multiplex, Vaughan. slightly larger than life and much closer, then. Far from it. Better an honest delay spang in one speaker. On the other channel than a too-hasty launching of imperfect she was no more than a faint, off-mike, equipment, half-baked. There will always Pilot's Separation reverberated echo. be serious problems in this sort of develop­ Miss Vaughan, you see, came to me My musical ears were not impressed. But ment that simply cannot be foreseen ahead courtesy of another company, Pilot. (It my mind said, by golly, it works. This is no of time. was another company. Since then, I dis­ fake. If La Vaughan can do it, so can What was the layman's likely first move, cover to my astonishment, Pilot has been Beethoven and Mozart. I mean, maybe, towards stereo on the aid Well, I :figured Leonard Bernstein and Leopold Stokowski. first I'd like to try a conversion. After all, bought by a corporation that also owns If you've got sepamtion, you've got every­ for some years now we've all had those Harman-Kardon, maker of the Citation thing. (Well, almost everything.) nicely labeled MULTIPLEX plugs on our line.) Pilot was really on the ball this last tuners, just waiting for a plug-in converter. year. That company somehow got its FM A Slight Delay . . . In any new area, the conversion unit is bugs and its designing problems out of the naturally the first item to be made avail­ way in relatively short order and, in no Yes, I'm aware that thousands of ardent able. Serves a highly useful, if a temporary time at all (just a few months) came out audiofans sat up most of one night, back purpose. As soon as FM stereo is generally with workable, buyable, practical stereo there last June, intent upon hearing the built into most FM tuners of the requisite equipment. I don't mind saying that it was first ten seconds of genuine stereo-on-the­ quality, the conversions will have served at the editors' suggestion that 1 inquired air. (I'm aware that the editorial staff of their interim purpose and they'll quietly at Pilot to see whether they might have our magazine was numbered among the leave the market. So-I'd better begin with wakeful hopefuls, too.) Not me--though I some stereo ready to hear. They did, and I a converter. received a Pilot 602M, a moderately priced did ride on the very first train on the new Well, I never got to one. You see, I had Sixth Avenue subway in N.Y.C., back in a fine mono tuner sitting in my living room combination unit, combining stereo ampli­ the thirties. (Just to show you I can get just then, and I :figured, why not try the fier and phono preamp, and so forth, with in a "first" when I feel like it.) I was too multiplex conversion for this tuner, the a multiplex tuner all in a single package. much the benevolent cynic, this time. I went conversion for which was being heralded, if This was, actually, just what I wanted, to bed early, and figured I'd look into FM I remember rightly, back in midsu=er. (1 in a different category. If you are going to stereo in a couple of months or so, maybe was leery of "all-purpose" converters, to fit get an idea of practical broadcast stereo by late August. I was much too optimistic, any mono tuner, and had already heard of for the layman, you must tackle various of course. Shouldn't have given it a thought some disquieting mismatches, inevitable line of inquiry (a) conversions (b) top­ until after Christmas. under the circumstances. Better stick to the quality equipment and, even more impor­ Now keep carefully in mind that I am same brand, I thought, a specific conver­ tant, (c) modestly priced, intermediate speaking here of layman's stereo (multi­ sion for a particular model. I note that plex), as per title. Needless to say, during equipment of the sort that really will make today one can acquire an all-purpose con­ or break the multiplex market for compo­ those six months or so the inner audio verter, the probable bugs having been world was positively seething with FM­ mainly worked out and anticipated, out of nents. stereo activity, breaking its collective neck experience. But this was last August.) Since we've already printed an extensive in a hundred ways over the frightening So-an exchange of cordial letters and Equipment Report on this model (AUDIO, task of living up to advance publicity, phone calls with the maker of this fine January 1962, page 44), I'll concentrate getting real, audible, workable FM stereo mono tuner. Then a wait. Further exchange on the actual experience I have had with out where it belongs, in the living room. of cordial letters and phone calls. A slight this very honestly designed piece of equip­ This was a "phase 2" with a vengeance, as f urther delay. As I say, 1 was understand­ ment. It has already taught me much, both almost any participant will admit, I think, ing, and expected just this. Eventually, 1 pro and con, about the larger picture in and the problems were genuine all along got a nice letter saying the conversion present-time stereo reception, both at my the way. As a semi-insider, I heard rumors unit would probably be available in mid- city location, in the heart of Manhattan,

12 AUDIO • MARCH, 1962

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Designed for all EICO FM equipment (HFT90, HFT92, ST96) and any other component qual­ ity, wide-band FM tuners having multiplex outputs, the new MX99 incorporates the best features of both matrixing and sampling tech­ niques. It is free of phase-distorting filters and provides the required, or better·than-required, suppression of all spurious signals including SCA (67kc) background music carrier, re­ inserted 38kc sub-carrier, 19kc pilot carrier and 70-WATT INTEGRATED STEREO AMPLIFIER ST70 all harmonics thereof. This is very important TRANSISTORIZED Kit $94.95 Includes Metal Cover Wired $149.95 for high quality tape recording, where spurious 4-TRACK'STEREO TAPE DECK RPI00 40-WATT INTEGRATED STEREO AMPLIFIER ST40 signals can beat against the tape recorder bias Completely assembled, wired and tested. Kit $79.95 Includes Metal Cover Wired $129.95 oscillator and result in audible spurious -tones $399.95 in a recording. This adaptor will sym;hronize ST96: FM and AM stereo tuners on one com­ with any usable output from the FM tuner and Semi-kit include? a completely assembled and pact chassis. Easy-to-assemble: prewired, pre­ will demodulate without significant distortion tested transport, electronics in kit form. aligned RF and IF stages for AM and FM . tuner outputs as high as 7 volts peak·to-peak $299.95 Exclusive precision prewired EYETRONIC® (2.5 volts RMS). Luggage-type Carrying Case-$29.95 tuning on both AM and FM . The MX99 is self· powered, provides entirely Standard 19-inch Rack Mount-$9_95 FM TUNER: Switched AFC (AUtomatic Fre­ automatic stereo/mono operation and includes A top quality stereo tape recorder permits you quency Control). Sensitivity: 1.5uv for 20db low impedance cathode follower outputs to per­ to build a stereo tape library of your favorite qUieting. Frequency Response: 20-15,000 cps mit long lines. An indicator lamp turns on when music at low cost. As your musical interests ±ldb. Multiplex-ready: Regular and MX out· the station selected is broadcasting multiplex change, you may record the new music that puts built in. stereo. A separation of 35db between channels interests you at no additional cost. AM TUNER: Switched "wide" and " narrow" is typical across the entire audio spectrum. An "Perfected 4-track stereo/ mono recording, 4 & bandpass. High Q filter eliminates 10 kc whistle. over-all gain of unity is provided from input to 2 track pl~yback. True high fidelity transistor Sensitivity: 3uv for 1.0V output at 20db SIN output on both stereo and mono. electronics, individual for record & playback, ratio. Frequency Response: 20·9,000 cps plus separate record & playback heads permit· ("wide"), 20-4,500 cps ("narrow"). ting off-the-tape monitor. 2 recording level I-----~------meters, mixing, mic & level controls, switched BOTH AMPLIFIERS: Complete stereo centers 1 Eleo, 3300 N. Blvd .. L.I.C. 1, N. Y. A-3 sound-on·sound recording. Electrodynaniically plus two excellent power' amplifiers. Accept, D Send free 32-page catalog & dealer's name control, and amplify signals from any stereo I D Send new 36·page Guidebook to HI·FI for braked supply & take-up reel motors; hysteresis which I enclose 25¢ for po stage & handling. synchronous capstan motor. Individual sole­ or mono source. I noids for pinch-roller & tape lifters. All-electric, 5T70: Cathode·coupled phase inverter circuitry I Name ...... _...... interlocked push-button transport control & preceded by a direct-coupled voltage amplifier. I interlocked safety "record" pushbutton. Preci­ Harmonic' Distortion: less than 1 % from 25· I Address ...... sion tape guidance & sweep loading - no pres­ 20.000 cps within 1 db of 70 watts. Frequency sure pads. No slurring or tape bounce problems. Response: ±lhdb 10-50,000 cps. '-C~..::.::::.:::: . =.:: . :: . :::: . ~o~ :: ~a~.. :: .: .::::_ Digital turns counter. Vertical or horizontal 5T40: Highly stable Williamson-type power mounting. Modular plug-in construction_ An or­ amplifiers. Harmonic Distortion: less than 1 % Over 2 MILLION EICO instruments in use. iginal, exclusive EICO product designed & man· from 40-20,000 cps within 1 db of 40 watts. Most EICO Dealers offer budget terms. ufactured in U.S.A. (patents pending). Frequency Response: ± % db 12-25,000 cps. Add 5% in West.

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AUDIO • MARCH, 1962 13

www.americanradiohistory.comAmericanRadioHistory.Com and in the country, a hundred miles away, Let's be realistic, too, about Pilot's 602M with fringe· area reception at its most and a good many other stereo tuners that P,"ese,"ve ti,e Ge"ills deadly. I can sum up the 602M major quali­ fit in the same moderate and popular inter­ of ti,e M"ste,"s ,,;iII. tim ties in just two observations. mediate category. I said the P ilot was First, it has the essential quality for "honest." I mean just that. If I am right, stereo reception, the absolute necessity·of· Pilot could have reduced some of this huge necessities. SEPARATION. La Vaughan roar on weak stereo signals by compromis­ sold me not only on Pilot but on stereo ing the stereo itself. (Anybody can do it, broadcasting, all in the space of a few of course, by throwing in a low-end filter, moments I I owe Pilot a real debt of thanks to reduce the roar to a hiss; but that also for bringing me then, after so many months cuts ont the bass in the music.) I'm not of doubt, the first absolutely concrete evi· enough of a technician to know at this dence that stereo broadcasting does, truly, point what is involved ill the adjustable honestly, without the slightest doubt, pro· design parameters here, but I am confident duce real stereo. that P ilot's insistence on "eal, 100 per cent Moreover, Pilot resolved another heavy stereo separation even at the possible ex­ layman's doubt that had bothered me (and pense of some extra noise as compared with bothers others, I am sure). Even with a standard (mono) FM, is both an honest ap­ minimum signal-and a vast roar of back­ proach and a highly valuable one. After ground noise-the separation was excellent. all, we are buying stereo and we want the I had wondered, perhaps innocently, most of it there is. More sensitivity- with­ whether separation in any way depended out stereo compromise- would help, though. upon signal strength. (I now know that separation can be traded, in the designing, Let's not underestimate this need for for certain other desired features- if you extra sensitivity in multiplex stereo recep­ want them.) Well, it doesn't. Ask Pilot. tion. It is a drastic need, for all weakish N,lt.,,-al So.",d reception and in all fringe areas. On the Jet Roar other hand, in most urban or near-urban areas- which means just about anywhere Secondly, that much-discussed l7-db loss within 30 or 40 miles of a strong station­ OfRfaHdIJeJ'O in effective sensitivity as between stereo the sensitivity factor is not so important. l'Elception and mono reception of the same There is plenty of reserve and more, in any signal is a stark reality. The Pilot 602M reputable component tuner-though I in its role as a moderate· cost but carefully designed over-all performer is not particu­ wouldn't say as much for some of the weak­ larly sensitive. Sensitivity is only one of sister FM receivers of the table-model sort many desirables, remember, and not always I've had occasion 'to run into. needed, either. (My Connecticut neighbor has an FM In my country home I found that this mono t able model, with built-in aerial, tuner behaved moderately and nicely on around 200 yards from my house. I can tune FM mono, receiving dozens of distant sta­ some 60 FM stations (mono) via any tions with complete limiting and perfect normal, medium-sensitive FM tuner plus silence, picking up the weak ones with my rotating house-top antenna. Neighbor varying degrees of steady hiss and/or M. can get exactly one local station, rather swish-swish (interference from planes), faintly. F ortunately, its a "good music" exactly as might be expected. My ultimate MODEL 6 3 SPEED 4 TRACK station and his wife loves it. The thing just sensitivity test, my own weak signal from STEREO RECORD/PLAYBACK TAPE DECK plays, all day long, in the kitchen, sitting New York's WNYC 100 miles away, was catty-corner to get the best reception. TUl'll marginally audible on the Pilot sometimes The r em arkable features of this superb it halfway around and there's no FM at unit sp eak for them selves - records 4 quite clear, at other times fading to noth­ ing. That's nothing new, you may be sure! all.) track; plays back 2 and 4 track stereo Moral : Beware of fringe reception if you and mono; records/plays back FM It happens with most tuners. However, on multiplex, as expected, the buy stereo ; get the most sensitive tuner Multiplex Stereocast with m agnificen t you can possibly pay f or. But if you are clar ity, even at 3 % ips. P ermits sound­ thin margin of useable reception I had on hand at this critically distant range was in a normal location with good, strong sig­ on-sound, track adding, dir ect m onitor nals, receivable on an ordinary folded from sow'ce or tape; has push button drastically reduced. The hiss became a controls, three separate Tandber g en ­ giant roar, like a nearby jet plane, an im­ dipole inside the house (or if you have a gineered precision laminated heads, mense increase in a heavy bass "rumble." better antenna outdoors or in the attic that h ysteresis synchronous motor; installs Net result was that though I could pick up gives the equivalent), you can buy a P ilot into HI-FI system. Price $ 498. Remote New York stereo at 100 miles via Pilot, I or similar tuner with expectation of com­ control "F" model also available. could not eliminate the background noise plete background silence on F M broadcasts to the point where the reception was prac­ -and via the Pilot I can guarantee, first­ tical. (I could hear the stereo separation­ hand, that you will hear stereo. definitely and reassuringly. Remember I note that the same basic Pilot circuit that.) is available in other forms, including the WTFM, our New York all-weather 24- conversion unit, which if I am right should hour stereo station, was always audible "work" with virtually any mono tuner. but was not quite strong enough to limit * * * the stereo noise background. WQXR's Bos­ I note also that current issues of AUDIO ton Symphony "live" broadcast (via tape) are so full of stereo multiplex tuner ads was considerably weaker, come Saturday that I am left gaping with astonishment, MODEL 65 3 SPEED 4 TRACK night. I could just about make out the and hope that you-all out there understand STEREO PLAYBACK TAPE DECK music, and confirm that the stereo sound two things. First, that I am unable t o still was there. F ive minutes of the jet roar try 'em all, not even in a year, let alone Another Tandberg triumph - for pure was all I could take of that. And nobody day after tomorrow. And, second, that I playb ack of 2 and 4 track stereo an d else around the East seemed to provide any chose Pilot for preliminary trial last fall mono tapes with finest frequency re­ stereo for me on the occasions when I tried because the Pilot company did get into sponse. E xtrem ely versa tile; facilities stereo hunting, right across the band. Not practical production (as opposed to ad vel'­ for adding erase and l'ecord h eads. a thing. It's amazing, I'm sorry to say, how tising) very quickly and, last autumn, was Price 8 199.50. little stereo there is on the air, even now. clearly one of the few companies out in Tandberg remains u nchallengecl for Again-this is only to be expected. Let's front in the big race. Things have changec1 clear, crisp, natural souncl! bo realistic. 24 hours a day is an awful lot - now there are rivals on every hand, as of time to fill when the hours, days, weeks, you may see by looking about you on these months insist on mounting up relentlessly pages. I trust that my early experience ,,1andberfJ OF AMERICA. INC., without a break. Still- don't count your with Pilot will serve usefully for you lay­ a THIR,D AVENUE. PELHAM , NEW YORK stereo chickens too fast. There aren't very man readers, whatever brand of tuner you many of them, yet. tryout for yourself, as of now. IE

14 AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com Highest Output For Best Quality Professional Quality Basic Amplifier With Amazingly Low Distortion SM.Q300

100 - Watt Basic Amplifier Model HF-90M Superb Hi·Fi Sound from Newly Designed Circuit 40-WATT FM/AM/AM STEREO TUNER AMPLIFIER I . Silicon diode with high regulating capability is used in rectifier circuit to produce a powerful output of 80 watts without distortion. This unit is so compact that it may be conveniently installed or moved around. 2. One of the most distinguished features of the HF-90M is superb low­ frequency characteristics which are rarely found in 9ther flmplifiers. The distortion·free output (distortion reduced to 1 'Yo) is 75W at 30 cps and 50W at 20 cps. 3. This amplifier uses a large output transformer with a core of 5'/." X4'/." X I '!. ", the same in size with that of a power source transformer. Such a large output transformer usually has rather poor high.frequency charac· tcristics and it is difficult to apply negative feedback. In order to overcome SM.B201 such defects, this amplifier has specially designed tertiary coil so that a Standard Type Specially Emphasizing Stability great deal of stabilized negative feedback may be applied. 28-WATT FM/AM/AM STEREO TUNER AMPLIFIER The HF-90M is the best professional type basic amplifier featuring exceedingly powerful output, superb tone quality, highly stabilized performance and com­ pact size .

.• Model HF-90MH provided with a terminal for high impedance output (200 ohm) and an output terminal for monitoring is scheduled to be placed on the market together with Model HF-90M.

Specifications I Electron tubes: 3 tubes. 2 silicon diodes, Se len ium rectifier . Circuit system: 6CA7PP Fixed bios SM-B200A Gain , 0.9Y. SOW at IKe Disc Reproduction Noise Is Eliminated S N ratio: More thon 75db Output te rminal: 4, 8, 16 ohm 24-WATT FM/AM/AM Maximum output: lOOW STEREO TUNER AMPLIFIER Distortionlass output: BOW (lees than 1% distor- tion at IKe) Frequency characteri stics: 20 c/s-30Ke' ± Idb Residual noise: l ess than 1.5WCot th e lowest level) Voltage, 100. 117Y Singapore & Malaya: Hwee Seng & Co. Beach Road, Singapore PIONEER ELECTRONIC CORPORATION 5, Otowacho 6-chome, Bunkya ku, Tokyo, Japan

AUDIO • MARCH, 1962 15

www.americanradiohistory.comAmericanRadioHistory.Com EDITOR'S REVIEW

PER FORMANCE, Sit we are inclined to believe that the over-all effect is harmful. N THE PAST FEW YEARS high-fidelity components have First of all, the basis for an industry-wide standard I achieved quality levels which are truly remarkable is that it be accepted and used by the entire industry. -fer instance, we noticed in the process of putting Because such standards exist, the consumer can be together our Test Equipment Roundup in the January confident that a 20-watt amplifier will not change in issue that the residual distortion of some laboratory­ power from store to store. The manufacturer can be type test instruments actually is as great as the total confident too. distortion of several available components. Tube com­ Now, what if the standard is inadequate in that it ponents, that is! does not truly standardize the qualities it purports to Now, however, there is much talk about the inevi­ make standard? It seems to us that the proper pro­ table and imminent transistorization of components. cedure would be to fight hard to change the standard According to the conversations we have heard the -not tear down the system of standards! Indeed, it changeover is supposed to occur within the next three is vitally important for the consumer to insist on the or four years. Well, perhaps these predictions are use of these standards-they are one of the best yard­ correct but we can't help wondering, in view of the sticks available to him. unusually high quality of existing tube equipment, As an interesting footnote, recently the Magnetic why it is necessary to abandon known excellence for Recording Industry Association set up an eleven-man the "wee electronic wonders?" Even more to the Standards Committee in order to assure consistent point, will transistorized equipment perform better high standards in the tape industry. Another step in than, or as well as, existing components in the equiva­ the right direction. lent category ? It seems to us that unless the latter question is answered affirmatively, transistorization MEMORABILIA will be a step backwards. Fifteen years ago, come May, AUDIO (then called We do not deny the important virtues of solid-state devices; smaller size, less weight, and reduced heat. AUDIO ENGINEERING) started a course of events which But these qualities must necessarily take a back seat has inexorably led to the magazine (and industry) as to performance in high-quality components. we know it today. In the course of these fifteen years, Don't misunderstand, we are neither saying that many exciting events have occurred and AUDIO read­ transistorized components are necessarily worse than ers have participated in them. In our May issue we tube components nor that conversion to transistors is will devote a considerable amount of space and effort undesirable; what we are saying is that the decision to retelling those eventful years. In order to make to convert should be based primarily on performance. this as meaningful and interesting as possible, we in­ And reliability. And serviceability. vite each of you to participate-to send us photo­ graphs or other documents which would shed light on the growth of the high-fidelity field. (We promise to STANDARDS use them gently and return them quickly.) Naturally the most useful photographs would show some of the Recently we visited a local audio emporium to pur­ early equipment as well as the important events. chase a resistor or something, and overheard a conver­ In addition, we invite you to gaze into your crystal sation which disturbed us somewhat. In effect we heard ball and predict what you think the next fifteen years a salesman saying that the IHFM (Institute of High holds in store for the high-fidelity field. Do not feel Fidelity Manufacturers) rating system for amplifiers restricted, make your predictions as technical or non­ (music power) was not as valid as the rms rating. technical as you wish or are capable of. We will tabu­ 'Whether or not he is right about amplifier ratings (we late all the predictions and report the results in May. have commented upon this in the past), and whether Fifteen years from May it will make interesting read­ or not he was trying sincerely to help a customer, ing for any of us still around.

16 AU DIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com COMPARES ...

to his ...

stereo tluxvalve p-ickup--

PICKERING & COMPANY INC. offers the stereo f1uxvalve pickup in the following models: the Calibration Standard 381, the Collector's Series 380, the Pro-Standard Mark II and the Stereo 90. Priced from $16.50 to $60.00, available at audio specialists everywhere.

·"FOR THOSE WHO CAN HEAR THE DIFFE~ENCEu

Pickering and Company-Plainyiew, Long Island. New York

AUDIO • MARCH, 1962 17

www.americanradiohistory.comAmericanRadioHistory.Com The fundamental capabilities of pulse transmission are under study at Bell Labora­ tories. At a transmission rate of 200 million bits per second, for example, PCM could simultaneously transmit 3000 telephone conversations on a single circuit. AN INTRIGUING DEVELOPMENT IN TELEPHONE TRANSMISSION

Bell Laboratories engineers have applied a method of ·Other systems for carrying more than one voice signal transmitting telephone conversations which uses a series over a single telephone line have been developed and are of ON-OFF pulses rather than the continuous electrical in widespread use. PCM, however, provides special advan­ signals generally used since the time of Alexander tages, for example, in cable circuits connecting telephone Graham Bell's first famous message. offices in a congested metropolitan area. The method is called Pulse Code Modulation. With PCM in its present practical form for cable circuits PCM the telephone caller's voice is sampled every has been made feasible by Bell Laboratories' invention 1/8000th second. Each sample is then encoded into a and development of the transistor, the key element nec­ series of ON or OFF pulses, and these pulse groups are essary for a small economical system. sent over the regular telephone line. Spaced periodically Currently, PCM systems carrying much larger bundles along the line are repeaters which clean up and amplify of communication channels are under study at Bell Lab­ the pulses. At the receiving end the pulse groups are oratories. The goal as always is the improvement of Bell decoded and the caller's voice is reconstructed. System communication services. Since the pulses are of very short duration, it is pos­ sible to interlace many different voice messages and send them allover one line. For example, in a PCM system BELL TELEPHONE LABORATORIES now operating between Newark and Passaic, N. J., a single World center of communications research and development pair of wires carries as many as 24 one-way voice signals.

www.americanradiohistory.comAmericanRadioHistory.Com A High-Quality Stereophonic Mixer

ROBERT GERBRACHr'

The avid tape recordist can improve his recordings by use of a mixer. Here IS one that will mix four stereo channels (two each high and low level) or eight mono.

OR A WIDE VARIETY of reasons it is sometimes desirable to employ several Finput signals simultaneously. Such instances occur most often during re­ cording- adding spoken commentary to recorded music, sound-on-sound tech­ niques, and other special effects. When more than one input source is employed it is necessary to supply means of switch­ -----~, '" ON r ing from one to another, controlling the OUT amplitude of the signals, fading them in and out, and mixing them as desired. It is the purpose of the mixer to perform these operations smoothly and without noticeable discontinuities in the output. Fig . 2. The "common-plate" mixer. Mixers come in all sizes and forms devices between about 600 ohms to usual 600-ohm studio line. For con­ depending upon their projected use. perhaps 10,000 ohms. A similar situa­ venience and simplicity we will consider They may be divided into classes de­ tion exists in the case of signal levels­ only high-impedance sources. Now the fined by the inputs: high or low im­ the dividing line may be taken as perhaps signals to be mixed must be of the same pedance, constant or variable impedance, 50 mv, although 20 mv would be a large order of magnitude; hence low-input high or low amplitude. Further diversi­ "low-level" signal, and perhaps .1 volt signals must be amplified to the level fication arises according to whether or is closer to usual "high-level" signals. of the high-level inputs before mixing. not amplification is provided during the It is up to the mixer to accomodate the Since preamplification is necessary at mixing process. By and large equaliza­ wide latitude of impedances and output any rate, the output then being high tion is applied before the mixing stages, levels and to function properly through­ impedance, the choice of a high input but even this function may be performed out as broad a range as possible. impedance mixer in no way limits the simultaneously with the mixing. versatility of the device. It is only neces­ The dividing line between high and Design Considerations sary to provide a suitable means for low impedances for the purposes of this The most common signal sources are: amplifying the low-level signals by a article will be taken as some few kilohms. high-level high-impedance (tuner, pre­ factor of perhaps 40-60 db, taking pains that the input impedance of the pre­ Obviously the dividing line is somewhat amplifier output, ceramic cartridges, and amplifier matches that of the signal vague-in practice, however, things are so on) ; low-level high-impedance (mag­ source. much improved, for there is a gap in netic cartridges, some microphones) ; and Magnetic cartridges require equaliza­ the range of impedances of commercial low-level low-impedance (other mi­ crophones). High-level low-impedance tion and should be terminated in a fixed impedance (usually 47,000 ohms). With­ * 315 S. Chester Ave., Pasadena, Calif. sources are rarely found outside of the our further discussion it is assumed that the signal from such a cartridge will be amplified and equalized in the usual fashion and presented to the mixer as the (high level) output from some pre­ amplifier. Microphones require no equal­ ization-preamps suitable for high im­ pedance microphones are included in the mixer described in this article. Al­ though low-impedance microphones are often superior to their higher impedance counterparts, the microphone may be terminated in a suitable transformer and the output changed to high impedance j with little trouble and moderate expense. Alternately, the output may be sent Fig. 1. The completed mixer. through a transistor cll.'cuit in the

AUDIO • MARCH, 1962 19

www.americanradiohistory.comAmericanRadioHistory.Com contact the signal must be on the order pectively (tubes assumed identical). B+ of at least 100 mv, i.e. a high-level Here eo is the signal output while ej is signal. Hence all low-level signals must the jth input signal. Cathode resistors be amplified before the attenuator. This are eliminated for simplicity. Then

il; no drawback, however, since ampli­ '/.Io el + ilrp = /.Ioe 2 + i2rp = . .. =- iTRL r-.II.f\N\IIrII-+----1f---<> OUT fication of low-level signals is ne.cessary where iT =il + i~ + ia + . . . + in. Hence before mixing anyway. /.10 ( e1 +e2 + . .. +en) + Probably the most popular and com­ rp(il +i~ + ... +i,,) =-iTnRL mon type of multi-input mixer-ampli­ so that /.10 (eI +e2 + . . . +e,,) = fier is the common-plate circuit shown - iT(rp + nRL). in Fig. 2. This circuit has the advantage But eo = iTRL so that eo = of complete isolation between inputs­ /.IoRL --R=-(el + e2 + .. . + en) no amount of change in the levels of rp +n L any input has any effect on that of any Eq. (1) - I other, an important requirement for any From this it is seen that all signals : AND SO ON mixer. On the other hand, one tube sec­ are mixed evenly and also that any I tion is required for each input. An given input is amplified by a factor Fig. 3. The "anode-follower" mixer. alternate design, Fig. 3, utilizes plate- .A =-'/.IoRd(rp + nRL) Eq. (2) This compares with the usual expres­ sion for a triode amplifier gain A = - I/.IoRd(1·p+RL ) so that the gain is altered by the factor (rp+RL)/(rp + nRL ). For triodes this often appr oxi­ mates lin indicating that amplification is markedly lessened in the mixer. More­ -- - AND SO ON over, due to the shunting of the load resistor by the plate resistance of the various tubes it is evident that the out­ put voltage for some given amount of distortion is reduced in the ratio r pi Fig. 4. The equivalent circuit of the common-plate mixer for n inputs. [rp+ (n-l)RL] from that of the single amplifying stage. But as the output grounded-base configuration which has grid feedback in an "anode-follower"l.2 from the mixer need be only a few volts the properties of low-input impedance arrangement to achieve isolation and this limitation is not serious. and high-output impedance. From here mixing. However complete isolation is it may proceed to the high-input im­ not gained, for grounding one input may pedance preamplifiers. Finally, the out­ alter the output of another signal by Circuit Det-ails put of the mixer may be sent to a cathode some 2- 3 db. The common-plate circuit Figu1·e 5 shows a block diagram of the follower, thus removing any need for is employed in the mixer described in mixer. Low-level signals are amplified constant output impedance. These con­ this article. 43.5 db in a cascode preamplifier. The siderations simplify the design of the two low-level inputs and the two high­ mixing stage considerably. Theory of Operation level inputs are then mixed in relative For a mixer to be a mixer it must Figure 4 shows the equivalent circuit amounts depending on the settings of have at least two signals to mix-each of the common-plate configuration for n the level controls. Over-all gain for the signal may be high level or low level. inputs. RL is the common-plate load two channels is adjusted by a ganged This dictates at least four inputs. The volume control. A simple switch changes while rp and /.10 are the tubes' plate re­ demands of stereo double this number. sistance and amplification factor, res- the dual 4-input mixer into a single 8- Unless the degree of attenuation must input mixer with a variable resistor be precisely known, simple potentiometer 1 Ch arles P. Boegli, "The Anode Fol· serving as a separation control. At this type attenuators may be used instead lower," AUDIO; Dec. 1960, p. 19. 2 Donald L. Shirer, "Feedback Tech­ point information is taken from each of costly step-type controls. However to niques in Low-Level Amplifiers," AUDIO; channel and delivered to an amplifier override the noise from the moving May 1961, p. 19. stage and then to a VU meter which

LEVEL LOW J PRE AMP METER AMP. AND ATTENUATOR '\' VU METER lOW 2 PREAMP P MASTER ~ GAIN "*"

-l- '"~ CATHODE HIGH J~ OUT ~ l FOLLOWER i I -=- I 5EPERATION I -l-' STEREO 4-INPUT/ HIGH 2 - I I ~NO '-,",", I r. GANGED TO CHANNEL B CHANNEL B MASTER GA IN

I ~ Fig. 5. Block diagram of the mixer (channel A only).

20 AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com !

serves as a visual monitor. A cathode stability and low-hum levels. Large these tubes J.L=100, rp =80,000 ohms, so follower completes the circuit. amounts of feedback are applied in the according to Eq. (2) Figure 6 presents the schematic dia­ preamps, including the unbypassed cathode resistors, cathode to cathode .A 100 x 27 14.4 gram of the mixer. Only one channel is 80 +4 x 27 indicated, the other being identical. The feedback from V t b to VIa) and, indeed, low-level preamp is an almost standard the basic design of the cascode circuit Unbypassed cathode resistors supply 5.2 cascode amplifier followed by a voltage itself. The output from the preampli­ db of inverse feedback and the resultant amplifier and d.c.-coupled cathode fol­ fier is flat within 1 db from below 5 cps gain is 8. lower. The function of the 120,000-ohm to 175,000 cps. The cathode resistor of The mixer output is coupled through cascode plate resistor has been described the cathode follower output from the the .5 J.Lf capacitor to the 100,000-ohm by Shirer2. A gain of 150 is delivered by preamplifier is a 100,000-ohm pot and master gain control and the grid of the the two tubes. The cascode tubes VIand serves as the level control. A spst switch cathode follower. The latter has a gain Vs are 12AY7's, a premium low-noise, grounds the output when no signal is of .9 which serves to make the over-all low-microphonic tube especially de­ present. gain for low-level signals exactly 1000, signed for low-level amplification, while The high-level inputs go directly to and 7 for the high-level pickups. Two the cascode circuit is used for its low­ similar 100,000-ohm pots and on-off partially isolated outputs are supplied noise characteristics. One per cent (le­ switches, and then directly to the mixer so that, for example, an audio amplifier posited film precision resistors are used tubes. and tape recorder may receive the signal throughout the preamps to ensure low The mixer circuits are identical for with output being available at one output noise. Well filtered d.c. is applied to the high-and low-level signals with the ex­ jack even if the other is grounded, which filaments of all preamp tubes operating ception of the grid resistors and coupling sometimes is done in equipment when at low-signal levels. Regulated B + is capacitors of the low-level stages. Two the input is not being used. The output used throughout to provide exceptional 12AX7's are common-plate coupled. For impedance is approximately 10,300 ohms

VI V3 V2 V4 V5 Vb Vl 12AY7 12AY7 12AX7 12AX7 12AX7 12AX7 12AU7 r---~------~--~------~------~----~-- + 225 v

V 2B

VlA LOW 1 10 k . 5~f t--o----V 16 50v

10 k . 5 ~ f J 50 v 7 va 12AX7 ~ 560 k

L---~------*---~--i~ +225 v

"ON/ OFF" STEREO 4-INPuT/ MONO a-INPUT 6 ~ ':' In "ON/ OFF" ~~ HIGH 2 :.. "METER SENS ITIVITY"

J ~ § ~~------~------~--~ 4 CHANNEL B MAS TER GAIN

Fig. 6. Schema tic of the mixer (only one ch annel shown, the other is identical).

AU DIO • MARCH , 1962 21

www.americanradiohistory.comAmericanRadioHistory.Com V16 V 17 100 rna 600 v 1284 1284

+225 v

+------~----~----_o +2~v

+

(4) 150 rna 400 v

'»---...... ,J\/1MfIr- ...... -----;~ +10 I v

T1 '------t==~--~~~L-~

Fig. 7. Schematic of a power supply for the mixer. which permits the use of an output by the input signal voltages necessary be placed at the upper side of the fila­ cable with a shunt capacitance of up to to give "0" VU deflection on the meter. ment supply. 750 pf before the highest audio fre­ The resistors of the attenuators were A considerably simplified power supply quencies are noticeably attenuated. This hand picked from a box of standard 10 circuit is shown in Fig. 7. Here an corresponds to an output cable length of per cent resistors to ensure their proper isolation transformer, TIJ supplies 117 approximately 30 feet. values. For example, the 550,000-ohm volts of a.c. at an easy 150 mao This When the mixer is employed in the resistor is actually a 560,000-ohm resistor is rectified in a typical fnll-wave bridge 8-input configuration the over-all gain is with somewhat low resistance. and filtered. This supply sends well­ reduced by a factor of 2 if the separa­ The power supply for such a device filtered d.c. to the eight preamp tubes tion control is completely shorted. When must be carefully designed. Hum can­ operating at lo.w-signal levels. The other this control is fully open the signal in­ tubes and the various pilot lamps are jected into the alternate channel is about not be tolerated with such low-level sig­ powered from the usual 6.3 volt winding 15 db below that of the original channel. nals. Direct current on the filaments is of transformer T 2' Plate voltage is also Input to the meter circuit is from three essential to low-hum operation-regula­ obtained from this transformer. After points. Switches on the front panel send tion of the filament supply is helpful, rectification and preliminary filtering the signal on any or all of the mixer but not absolutely necessary. On the the output passes through a standard grids through the meter, or the total other hand, regulation of plate voltages series voltage regulator. The series regu­ output of the mixer may be monitored. is necessary for long-term over-all oper­ lation tubes V16 and V are each rated In the latter position a voltage divider ational stability. It goes without saying 17 at 35 mao The error signal is applied to consisting of the 120,000 and 820,000- that hum on the B + line must be in­ the grid of V18J a high gain amplifier, ohm resistors takes account of the gain significant. The mixer requires a + 225 through the sliding arm of the 20,000- of the mixer stage and eliminates the volt regulated supply at about 65 rna, necessity of changing the meter sen­ and filament voltages. In the actual con­ ohm pot which permits accurate adjust­ ment to 225 volts. A premium 5651 sitivity switch. A third position is struction of the mixer a slightly modi­ + gas VR tube provides a stable reference supplied for any external signal, such as fied commercial power supply was used that from an audio preamplifier. The with regulated outputs of + 225, + 150, voltage and completes the tube comple­ meter circuit consists of a voltage am­ and -170 volts. The negative supply at ment of the supply. plifier, a step-type attenuator, cathode 150 rna was used to supply regulated follower, and the VU meter itself. Tube filament voltages with a series string Construction Details V 8a has a gain of 60 with sufficient arrangement to all tubes except those Two views of the mixer are shown in bandpass to cover all audio frequencies. in the meter circuits. (If such an ar­ Figs. 8 and 9. The construction of the The signal is then coupled through the rangement is used care must be taken to mixer employs a few techniques worthy cathode follower to the meter. The am­ ensure that the 12AY7's are stacked of mention. Careful attention was given plifier and attenuator permit the meter toward the ground side of the line­ to shielding of the low-level stages-the to register on scale to a wide range of otherwise the filament-to-cathode volt­ power supply is isolated by shields input levels and effectively eliminates age ratings may be exceeded.) The across the width of the chassis, top and the loading effect of the VU meter on 12AX7's will tolerate 200 volts between bottom, and shielded cables are used the line. The switch positions are labeled filament and cathode and thus may safely ,vherever long signal leads are required.

22 AUDIO • MARCH , 1962

www.americanradiohistory.comAmericanRadioHistory.Com Such leads are.found only at the inputs, choring the eight toggle switches. Decals of two. Thus the sensitivity of the mixer however, because pots and switches have were used to complete these, and the changes to 2 mv or 300 mv, and the sig­ been positioned near the tubes they serve, brass pieces then covered with lacquer. nal-to-noise ratio improves by the corre­ thus elimating the usual (and intermin­ A polished brass bar divides the panel sponding 6 db. able) number of long leads to the front horizontally, with brass knobs purchased The frequency response of the mixer of the chassis and back. Brackets holding form a well-known component manufac­ is shown in Fig. 10. It is evident that the the pots have been used, with extension turer completing the front panel design. output is essentially flat up to and be­ shafts bridging the gap from the pot to The finished chassis is slid in from the ond 100,000 cps. and to below 5 cps. the front panel. rear and bolted to the cabinet bottom. This result is independent of the input, For low noise operation precision car­ The result is shown in F ig.l. for the low-level stages have flat re­ bon-film resistors were used exclusively sponse well beyond these limits. in the preamp stages, with 1 watt re­ Operation and Performance At this point it may be proper to con­ sistors throughout the remainder of the The rated output of the mixer is taken sider the matter of distortion. Figures construction. Phone plugs are used in­ to be 1 volt. This is sufficient for nearly on distortion-harmonic and intermodu­ stead of the usual phono plugs. This all purposes-if not, the mixer will de­ lation-are difficult to come by. With permits a more positive connection and liver outputs up to six volts without ap­ such low power applications distortion also allows the inputs to be shorted when preciable distortion. The sensitivity for in a properly designed amplifier will no plugs are in the sockets. It is import­ not exceed a few tenths of a per cent, ant that high quality components be even at the extreme ends of the audio used, especially for the potentiometers, spectrum. Graphs of harmonic distortion otherwise the sliding contact may inject vs. frequency are rather uninteresting­ appreciable noise into the line. Shielded they generally consist of a horizontal tube sockets are also provided for mini­ straight line. Even the ordinate of this mum hum, and a bottom plate completes line is indeterminate if high quality the electrostatic shielding. equipment is not available, capable of In this particular construction exten­ measuring distortion levels on the order sive use was made of ceramic terminal of .1-.2 per cent. This is the situation strips which unfortunately are not read­ in this case. The only remarks on dis­ ily available commerically. However, any tortion consist in the fact that the dis­ of the customary wiring techniques using Fig . 8. Top view of the completed mixer. tortion is certainly less than .3 per cent terminal boards, printed circuits, or good throughout the audio range and at out­ point-to_-point wiring may be satisfac­ puts of up to six volts. tory. The ordinary phenolic terminal Crosstalk is an important character­ strips may also be employed with good istic of a mixer, for good isolation must results at some sacrifice in space econ­ be achieved between various inputs and omy. While the chassis width is deter­ between the two channels. At 1000 cps. mined by standard rack panel widths, the feedthrough is down 45 db between in­ depth behind the front panel is arbitrary puts of each channel, while between the to a certain extent. The meter circuit two stereo channels the crosstalk is 55 may be placed on a front subpanel as db down. At 10,000 cps. the above fig­ in this construction (Fig. 8), or posi­ ures change to 35 db and 45 db respec­ tioned on the main chassis of a deeper tively. This is sufficiently low to be model. Aside from these particular hints ignored. standard wiring practice should be fol­ Fig . 9 . Bottom view of the completed The mixer described above is a flex­ lowed for satisfactory results. While not mixer. ible, unit offering complete control si­ a complex project, the mixer is rather rated output using the low-level inputs multaneously over a large number of involved, and should be approached with is then 1 mv-for the high-level inputs inputs. The mixer may be used for many caution by those with limited experience. the sensitivity is 150 mv. The signal-to­ purposes, of course, but its primary On the other hand, those familiar with noise ratio for the low-level inputs is 54 utility arises during tape recording. For the avid recordist some type of building projects can reasonably expect db, corresponding to an effective noise mixer is practically mandatory and this to achieve a pleasing result with no more input of 2 !-tv. Hum is well below this than the usual trauma. thermal and tube noise. At the high-level unit should fulfill the wishes of the most The mixer is built on a 17-in. chassis inputs the signal-to- noise ratio is 85 db . . exacting. for standard 19-in. rack mounting, al­ These figures all correspond to the PARTS LIST-Mixer though an alternate panel was construc­ stereo, 4-input configuration. When the The parts indicated below are for one ted and the completed instrument placed mixer is used as a single-channel 8-input channel only. For stereo the number must in a wooden case for aesthetic purposes. mixer the output is reduced by a factor · (Continued on page 53) A familiar problem to the home con­ structor is that of capping a successful project with a front panel worthy of the electronics behind. In this case the bare chassis front and sub panel are covered ~ 0 by an aluminum panel, with proper cut­ .... outs, which is sprayed flat black. The ~ I"- !3 -5 ~ front panel itself is of Plexiglas. Control o designations were etched on the rear of " the Plexiglas, and edge lighting is em­ -10 100 1000 10000 100,000 1 MC ployed with lamps located at the edge of 10 FREQUENCY IN CYCLES PER SECOND the Plexiglas. The VU meters are also illUlI\inated. Brass plates are employed Fig. 10. Over-all frequency response with a low-level input: e in = 5 mv, e out = 5 volts on either side as a convenient way of an- (0 db).

AUDIO • MARCH, 1962 23

www.americanradiohistory.comAmericanRadioHistory.Com The Frequency-Response Specification

MANNIE HOROWITZ

Frequency response is one of the most commonly quoted statistics of a high-quality amplifier. Here's how it is obtained and measured.

T IS MOST LIKELY that the first char­ LOAD The Decibel acteristic recognized by the andiofan RESI STOR I in relation to an audio amplifier is The decibel is defined by the simple frequency response- which can be de­ [ZJ equation : fined as the relative gain of the unit db=10loglO Po/P, Eq. (1) over a range of frequencies. The sig­ AM PLIFIER~II o nificance of this yardstick has not waned I---'~~---.J where Po = output power f1'ol11 a n am­ with time, but other amplifier charac­ A.C. VTVM plifier and Pi is the input power. Putting teristics have assumed a place of equal this equation into another form, with Fig. 1. Output measuring circuit. importance. the logorithmic base being 10, yields : The importance of a flat frequency db =10 log Po -10 log Pi Eq. (2) characteristic requires little discussion. It is quite obvious that for accurate During the frequency-response check, sound reproduction, all frequencies the voltages fed to the amplifier (Vi) should be given "equal opportunity." must be maintained at an equal level for Any frequency presented to the input all frequencies. It is assumed that the of an amplifier should be amplified the input impedance (Ri) of the amplifier same amount as any other frequency is not frequency sensitive. The latter simultaneously presented at the same condition can be assured by feeding the input. There are several important ex­ signal from a low-impedance source. ceptions to this ideal. The input power, Pi is thus constant at First, it must be realized that the all frequencies because it is equal to output from an equalized phonograph Vl / R i, two constants. The term 10 log or tapehead preamplifier is not uniform: Pi in Eq. (2) can be replaced by a con­ records and tapes are recorded to adhere stant. We will call this constant K. tv a specific curve wherein some fre­ In these tests, all measurements re­ volve about the 10 log Po term. In the quencies are favored. During playback, Fig. 2. Standard meter face. the amplifier must compensate for these actual test procedure, the K term is ad­ frequencies in order to provide an over­ ured in terms of voltage or power. In justed for a specific power reading at all flat response from the source (phono­ the latter cases, the numbers would be­ the output of an amplifier, for some graph record 01' prerecorded tape), the come astronomical. A brief review of db frequency in the middle of the audio transducer, and the amplifier. We will is thus in order here. range. The central frequency is usually Jiscuss the measurements of frequency response from the tuner input of the preamplifier through the power output section. The characteristic must be rea­ sonably flat when only these sections are considered. . A second consideration is the fre­ quency range desired from the ampli­ fier in question. While many units will have a flat response to several octaves on either side of the audio spectrum (assumed here to be 20 cps to 20,000 cps), some amplifiers are designed for limited bandwidth in the interest of increased stability and reduced noise. The latter factor is especially true in transistorized units, where bandwidth limitations are required to keep noise measurements comparable with actual audible noise reproduction. Frequency response is usually meas­ ured in db although it can also be meas- Fig. 3. Logarithmically expanded scale.

24 AUDIO • MARCH, 1962

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www.americanradiohistory.comAmericanRadioHistory.Com Equation (7) can be used, assuming that RL at 1000 cps is equal to RL at INPUT METER OUTPUT METER 100 cps. This is generally true if the load resistor used in the test is non­ inductive. This formula does not hold SCOPE true if a speaker load is used, for the load varies with frequency. All tests on amplifiers are made assuming a constant OSCILLATOR load at the output for all frequencies. In E q. (7), db is expressed as a ratio o of two voltages. If one voltage is known, t:". db can be calculated for any other voltage from the equation. These db Fig . 4 . Ci rcuit used to measure freque ncy response. values, representing different relative voltages, can be printed on the meter face, and read directly as in Fig. 2. 1000 cps or 400 cps. Ten times the log Converting the equation to read directly Reading db variation on this scale is of the output power at all other fre­ in voltage would be much simpler, saving obvious. Set the output for 0 db at quencies is compared with this reading two calculations. 1000 cps on a convenient range. Read the at 1000 or 400 cps. In the following Consider the output power at 1000 deviation from this 0 db at any other discussion, 1000 cps is used as the refer­ cps to be equal to Po (1000 cps) = V / frequency directly on the scale. If the ence frequency. (1000 CPS)/RL and the output power at voltage is on the next higher range, add 100 cps to be equal to Po (100 cps) = V/ The equation for gain at 1000 cps is: 10 db to the original reading while, if (100 cps)/R . Substituting these into L you must switch to the next lower range, db (1000 cps) = 10 log Po (1000 cps) - K Eq. (6) yields: Eq. (3) subtract 10 db. Every time you switch t:". db = 10 log from the original reference range, you For example, let us find the difference V / (1000 cps) / R in gain (in db) at 100 and 1000 cps. either add or subtract 10 db per range, V / (100 cps)/ R depending on whether the output is First, write the counterpart of Eq. (3) higher or lower than the original. for 100 cps: =10 log (Vo (1000 CPS) ) 2 V o (100 cps) If you use other than the 0 db as the db (100 cps) = 10 log Po (100 cps) - K reference voltage, all other readings Eq. (4) = 20 log (Vo (1000 ('. PS)) Eq. (7) must be referred to this new reference The db variation at 100 cps from the V o (100 cps) as if it were 0 db. Thus, if - 2 db were reading at 1000 cps is found by sub­ the reference reading at 1000 cps, a - 4 tracting Eq. (3) from Eq. (4), if the db reading at 100 cps indicates a loss gain at 100 cps is greater than the gain in gain of 2 db and a + 2 db reading at o (A) at 1000 cps or subtracting E q. (4) from " 10,000 cps indicates an increase of 4 db. Eq. (3) if the gain at 1000 cps is greater .=t. Several factors may be observed when than the gain at 100 cps. comparing the voltage and db scales. db (1000 cps) =10 log Po (1000 cps) -K Doubling the voltage is the same as a 6 db increase while cutting the voltage - [db (100 cps) = 10 log Po (100 cps) in half is a 6 db decrease. A voltage -K] e in factor of 10 is a change of 20 db. Dou­ ... db (1000 cps) - db (100 cps) = 10 log :: ~ . ~Cg (8) bling the doubled voltage indicates a Po(1000cps) -10Po(100cps) Eq. (5) second 6 db increase or a total of 12 db more than the original. Doubling the The input term drops out in the final original voltage three times (2 x 2 x 2) equation. The resulting equation involves indicates in 18 db increase over the only the deviation of the log of the out­ original reading ( 6 db 6 db 6 db). put power at 100 cps from the log of + + Similarly, 26 db (20 db 6 db) indicates the output power at 1000 cps. + a voltage multiplication of 20: a multi­ Another way of expressing the dif­ plication by 10 is 20 db and a multiplica­ ~erence in gain at 1000 cps and 100 cps tion by 2 is 6 db, and 2 x 10 = 20 or 6 db IS Fig . 5. Ideal level control, (A); more ac­ t 20 db = 26 db. While numbers are multi­ curate rep resentation of a level co ntrol plied, the db factors are added. t:". db=10 log Po (1000 cps) Eq. (6) in a circuit, (B); realistic circuit of level Po (100 cps) co ntrol in conjuncti on with conventional Another type of a.c. meter, extremely popular in the audio field, uses a sup- The measuring circuit at the output stereo balance control, (C). of an amplifier takes the form shown in Fig. 1. The output power is developed across a load resistor, R L , and measured on a wide-frequency-range a.c. volt­ meter. The power across the resistor is, of course, V o2/RL' where Vo is the out­ put reading on the a.c. meter.

A straightforward procedure consists SQUARE WAVE INSUFFICIENT LOW­ EXCESS LOW­ HIGH-FREQUENCY of measuring the output voltages at 100 FED TO AN FREQUENCY GAIN FREQUENCY GAIN ROLLOFF AMPLIFIER and 1000 cps calculating the power at EXCE SS HIGH' FREQUENCY GAIN WITH RINGING each frequency from V o2/RL , and sub­ stituting these into Eq. (6) to determine the db difference at the two frequencies. Fig. 6. Testing w ith a square w a ve.

26 AUDIO • MARCH, 1962

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www.americanradiohistory.comAmericanRadioHistory.Com starts at about 10,000 cps, the effect will probably not be audible.

I- Continuing with the mechanical fea­ Fig . 7. Square tures of the test procedure, choose a 3u wave with meas­ convenient output impedance on the urable rise time. power amplifier and place the load' re­ Rise time is t2 - tl sistor across it. The 16-ohm output and is defined as terminals are usually used. Connect a the time required 16-ohm, 25-watt, non-inductive resistor for the output to across these terminals. The power de­ rise from 10 per veloped across this resistor is measured cent to 90 per cent of its final value. in terms of voltage on a wide range a.c. voltmeter placed across this resistor. (The readings may be converted to power if desired, using the V· /R for­ mula, where R =16 in the example cited.) Place a scope across the load resistor. This last step does not result in actual pressed zero movement, as shown in Fig. 150 that the reactance becomes data, but is required to monitor the wave­ 3. The scale does not start with zero X _ R. shape. An essentially sinusoidal output is and is essentially logarithmic in char­ Eq. (8) • - 1 + jooCR. required if the meter readings are to be acter. . If this type of meter is used ' each significant. hme the range is switched, it represents The impedance of the upper portion The actual readings can now be made. a change of 20 db rather than 10 db. is R, . Treating this circuit as a voltage Set the signal generator for a specific divider, reading on the db meter at 1000 cps. e 1/.1 _ R. /l + jooCR. The Measuring Circuit 0 _ Eq. (9) Switch to all other significant frequencies ei1l R./1 + jooCR. + R, (from 10 cps to 40,000 cps or more) As indicated, the first step in measur­ Divide the neumerator and denominator and read the deviation from the original ing the relative gain or frequency re­ in Eq. (9) by jooCR. to yield db setting. sponse is to maintain a constant input It must be r emembered that the meas­ voltage at all frequencies. As shown in Eq. (10) urement is for frequency response-not Fig. 4, a meter is connected at the input ein R, + R. + jooCR ,R. power response. The output must be so to the amplifier to monitor the voltage Multiplying this equation by adjusted that the signal will not distort fed from the signal generator. The out­ R,+R. at any frequency under test. A I-watt put from the generator should be level is usually satisfa.ctory. When the readjusted or checked each time the signal begins to distort, the reading is results III frequency is changed to maintain the no longer valid. Start the test again at input to the amplifier (as read On the some lower output and repeat the meas­ input meter) constant at all frequencies. urements. Only then can you be certain Feed the signal from the oscillator to eill RI+R2/RI+R 2 +j~CR: . that you are reading frequency response 1 + • an unequalized input on the amplifier. rather than power response. _ R./R, + R. !.rhis is usually marked TUNER or AUXlL­ The frequency response should be a IARY. Adjust all controls on the am­ - l+jooCR,R. smooth curve over the complete range. plifier to get an optimum fiat position. R,+R. Any peaks are usually an indication of If a preamplier is involved, the tone con­ The frequency at which the response is a tendency towards instability. Peaks trols, loudness or contour controls, and (of about 2 db or more) within the the scratch and rumble filters are all set 3 db from the center value is reached when the denominator takes the form audible ra~ge of 20 cps to 20,000 cps so that there is no compensation intro­ add undeSIred effects to the reproduced duced. Turn all level controls to their 1 + j, or jooCRIR ~ . sound. The much disputed "presence maximum output position. = J peak" at about 2000 cps is said to add R, + R. A level control can be considered as to the reBlism-but the purist will cer­ the resistive voltage divider shown in R, +R. tainly disagree. (A) of Fig. 5. A more exact representa­ and 00 = -- Eq. (11) R,R. C A square-wave test can provide a tIon o~ the level control as it is commonly rough indication of the frequency re­ used ill the grid circuit of a vacuum The frequency response is thus a direct sponse. Figure 6 illustrates how an am­ tube is given in (B) of Fig. 5. C repre­ function of the relative values of re­ G plifier may affect a square wave. Tilt sents the total capacity between the grid sistors R, and R 2 • and other variations of the waveshape and cathode of the tube and is the sum This situation is even more serious in are possible and may be observed, but of the gr~d-~o-cathode capacity and (K stereo amplifiers. A potentiometer is these have more significance in describ­ + multiplied by the grid-to-plate ca­ usually placed in series with ein, used for 1J. ing the phase shift rather than the fre­ paClty (Miller effect). (K is the gain of balance between the two channels. The the tube). frequency response must roll off at the quency response . . It can be shown from Fig. 5 that the upper end of the band when this con­ The rise time of a square wave is a hIgh-frequency response is a function figuration exists, for R. behaves as if it fairly accurate check on the upper limit of the control setting. Assume the con­ were part of R , . In testing this type o~ an amplifier's frequency response. A hIgh-frequency square wave is illus­ trol ~o be set at a point so that the upper of amplifier, it is proper to set the portlOn has a resistance R and the level controls at maximum and the bal­ trated in Fig. 7. This may be considered lowe;- portion has a resistan~e R . . The ance control for equal output from both as the form assumed after having passed admIttance of the lower portion is: channels. The response cannot be as fiat through an amplifier. It is actually a at the upper end of the band as was plot of output voltage against time. The theoretical square wave has a zero Y. =..!:....=..!:....+ jfuC= 1+ jooCR. the case with monophonic units. Be­ X. R. R. cause the rolloff is slow, and usually (Continued on page 67)

28 AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com Now, Electro-Voice offers the finest acoustically­ correct enclosures for your home music system ... and at a saving to you of up to 50% ! In just a few short hours, you can assemble an E-V KD6 Aristocrat or KD9 Marquis kit -without special tools or previous woodworking experience. And you'll obtain the same full sound as the factory-assembled models ... yet you'll save up to one-half! Carefully pre-cut and complete with easy-to­ follow instructions, each E-V enclosure kit features handsome birch veneer that can be easily finished to match any decor, with complete E-V Finishing Kits. For the final sparkling accent, an AK6 Grille can easily be added. The KD6 and KD9 are each scientifically designed, acoustically correct enclosures that will add up to an extra octave of performance to any full-range speaker. The folded-horn KD6 uses the corner of the room as part of the horn, to increase performance without increasing size. The KD9 with its rear-facing ducted port provides similar range extension for along-the-wall applications. Now! Each kit is pre-cut for any 12" speaker. KD9 also accepts IS" speakers. For superb results, choose one of the six E-V 12" speakers ranging in price from $19.50 to $125.00. There is the precise model for your requirements. Both kits are also designed for simple addition of any E-V Building Block Kit. You can start with a coaxial speaker and Build easily build to a complete 3-way system in step with your budget. For the perfect combination of performance 'n and economy, put your high fidelity loudspeaker in an Electro-Voice kit the Biggest Bargal enclosure. You'll bring 'em back alive -every favorite musical performance, and at lower cost than you dreamed possible! Write for your in High Fidelityl free E-V catalog today!

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MODEL KD6 ARISTOCRAT KIT For any EN FINISHING KITS Complete with stain, 12" speaker. Also pre-cut for E-V Building filler, sealer, shellac, high gloss and sati n Block components and Wolverine Step-Up varn ishes, finishing papers, brushes and easy­ Kits. Uses folded-horn plus corner of room to to-follow in structions. Available in Walnut, Cor­ extend range- save space. Size: 29% inches dovan Mahogany, Fruitwood, Cherry, Golden high, 19 inches wide, 15% inches deep.Shipping Oak and Ebony. Net each $6.00. weight 36 pounds. Net each $39.00. AK6 TRIM KIT Add a sparklin g brass grille MODEL KD9 MARQUIS Similar to Aristo­ to KD6 or KD9. Net each $4.80. crat at left, but for 12" or 15" speakers. Ducted E·V DO-IT·YOURSELF INSTRUCTION ELECTRO-VOICE, INC. , Dept. 324A rear port des ign provides optimum bass re­ BOOKS Complete, concise instructions help Buchanan, Michigan sponse in along-the-wall in stallations. Size: the home workshop enthusiast to build E-V Pl ease send my free copy of the E-V high fidelity catalog. 29% inches high, 19 inches wid e, 14Y. inches high fidelity enclosures. Avai lable for Aristo­ deep. Shipping weight 38 pounds. Net each crat, Marquis, Regency or Baronet. Net each Name ______$36.00. $1.00. Address' ______o ELECTRO-VOICE, INC., Consumer Products Division, Buchanan, Michigan City______State ______

www.americanradiohistory.comAmericanRadioHistory.Com Electronic Organ Tone Generators D. WOLKOV *

Electro-mechanical tone generators use either the recorded sound of pipe organs or the addition of modified sine waves to produce musical tones.

In Two Parts-Part 2

There are three different types of The Kimball Photoelectric Organ re­ electromechanical tone generators in to­ MAGNET produces organ tones by scanning photo­ day's organs. Such tone generators, al­ _;;I!S!l\---TONE WHEEL graphic patterns placed between lamp though they differ in design concept and bulbs and photocells. Each of the twelve tonal quality, are alike in that they never tone generators encloses a photocell require tuning. The new Electro-Voice within a metal shell so that the cells Fig. 14 . Hammond tone generator. ltD" Series utilizes the recorded sound are normally dark. The photocell is from air pipe organs to generate a The relative movement between the connected to the organ preamplifier so that if a beam of light is moved across capacitance in a manner similar to a stator and the scanner produces a vary­ it, an oscillation will be produced. Lamp condenser microphone. I n the second ing capacitance change which in turn bulbs illuminate the photocell when the type, exemplified by the Kimball, photo produces a varying voltage. The complex waveforms used on the twenty-four sta­ organ keys are pressed. When a bulb cells scan the analog of a recorded sound tors reproduce the waveforms of the is lighted, its light reaches the photo­ of a pipe organ. The third type, the organ pipes from which the originals cell through successive identical slits Hammond uses tone wheels to generate were obtained. which are moved across it. This produces modified sine waves from which complex a tone at a pitch determined by the num­ tones are formed by electr{)nic addition. ber of slits crossing a lamp bulb is a The Electro-Voice Series "D" organ given time (see Fig. 13). Seven pitches, produces its tones from twelve genera­ each an octave apart, are produced in SYNCHRONOUS BACK OF GENUATOl STAlTING tors. Each generator has two stationary MOTOl END (AT BACK OF CONSOLE) HOTORENO each tone generator. By ananging the stators with engraved complex wave­ slits in circular rows, with different num­ forms for each note and each voice. A bers of slits in the various rows, dif­ synchron{)us motor rotates a scanner ferent pitches are produced. which has radial lines corresponding to In contrast to the systems just de­ the number of octaves on the stator. DOnED LINES SHOW FREQUENCIES WHOSE TONE WHEELS AlE ON SAME SHAFT scribed, single-frequency sine waves are Fig. 15. Magnet locations on Hammond produced in the Hammond tone-genera­ " 10 Sunbeam Rd., Syosset, N.Y. tone generator. tor assembly. The Hammond generator contains 91 "tone wheels" driven at pre­ determined speeds by a motor-and-gear arrangement. Each tone wheel is a steel

LAMP BOARD disc similar to a gear with high and low spots on its edge (see F ig. 14). As the wheel rotates, these teeth pass near an associated permanent magnet. The re­ ~@~ sulting variations in the magnetic field MASK PLATE · induce a voltage in a coil wound on the · magnet. The twelve lowest tone-genera­ · tor wheels are specially cut to be rich SC,ANNER DIS K in odd harmonics and are used only in REFLECTOR AND the pedal combinations. Each pair of · PHOTOCELL tone wheels is mounted on a shaft and · between them is a Bakelite gear held between two coil springs forming a SHIELD mechanical vibration filter. As the gear is not rigidly attached to the shaft, any pair of wheels which might be stopped ct) will not interfere with the operation of the others. On top of the Hammond tone generator assembly are small trans­ Fig. 13. Kimball photo-electric tone ge nerator. formers and capacitors forming tuned

30 AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com .<' No, we haven't forgotten anything. We designed it that way. L + Rand L - R signals) takes place at a rate of 38,000 times There are no "user·operated" controls. This is only one of a second, and the "memory" circuits maintain a constant the manyfeatures that makes PILOT 'S unique signal sampling output signal level between sampling instants. Multiplex circuit'~ used in all PILOT Multiplexers, Stereo Re· Other stereo demodulating methods, such as frequency sepa· ceivers and Stereo Tuners-simpler, more effective and more ration and time division, require filtering and matrixing and trouble·free than any circuit presently being manufactured cannot maintain perfect channel separation across the entire for stereo demodulation. audio spectrum. TO BE SPECIFIC: 3. No frequency separation filters or matrices are used. For 1. The circuit is simplicity itself-there are no controls to this reason PILOT'S Multiplex circuitry gives you perfect sepa­ manipulate, no special adjustments to make. You can con· ration across the entire audio spectrum. nect PILOT 'S fully automatic 200 Multiplexer to the FM tuner 4. An ultra-stable synchronized oscillator assures locking of your stereo system in less than a minute without any tools, and accurate phasing and maintains high-level performance and you never have to touch the Multiplexer again. (The despite varying input signal levels. PILOT 100 Multiplexer can be connected just as easily, and in most cases it, too, need never be touched again.) And, in 5. Virtually any high-fidelity FM tuner can be used with PILOT PILOT 'S Stereo Tuners and Receivers, where the Multiplex cir· Multiplexers for stereo reception. cuit is built into the unit, no extra controls of any kind are 6. Equipped with the only fully-automatic stereo indicator. needed for Multiplex Stereo reception. The FM Stereo indicator on PILOT'S 200 Multiplexer and 654M Stereo Receiver will light and stay lit if the station you're 2. Maximum separation (30 db or better) is provided by tuned to is broadcasting in stereo. PILOT 'S Multiplex circuit. The left (L) and right (R) channel signals are extracted directly from the incoming composite If you'd like us to be even more specific, we'll be glad to send signal by means of unique signal sampling and "memory" you a reprint of a December, 1961, AUDIO article which dis­ circuits. Sampling of the composite signal (a combination of cusses these features in detail. · Patent Pending MULTIPLEXERS (PILOT 100, $49.50 ... PILOT 200, $79.50) STEREO RECEIVERS (PILOT 654M, 60 watts, FM / MPX, $329.50 .•. PILOT 602S, 30 watts, AM / FM / MPX, $299.50 ... PILOT 602M, 30 watts, FM / MPX, $249.50) and STEREO TUNERS (PILOT 280, $99.95 ... PILOT 380, $179.50). For further information, see your PILOT dealer or write:

PI-'or PILOT RADIO CORPORATION, 37-40 36TH STREET, LONG ISLAND CITY 1, NEW YORK FOUNDED 1919

AUDIO • MARCH, 1962 31

www.americanradiohistory.comAmericanRadioHistory.Com Table II lists in summary form the filters for the higher frequencies (see determine the frequency of the sawtooth tone generator design approach for a Fig. 15). The design of the organ is such oscillations. group of representative electronic or­ that the fundamental and harmonics may Although the classic neon relaxation gans. The characteristics given are not be mixed by the performer in varying oscillator can be synchronized to an ex­ amounts. This method permits the gen­ ternally generated signal, it cannot be intended as a figure of merit, but to show the diversity of schemes used for tone eration of a multiplicity of complex done reliably. Even if all components patterns for each fundamental note. and voltages were held constant, the generation. With an understanding of Figure 16 is a schematic of one Kins­ lamp would fire at different times be­ how organ tone generators operate, we man tone generator, which exemplifies cause of random firings across the two will be ready to discuss in a subsequent the class of organs based on the neon­ electrode faces. article the methods used for changing the tube relaxation oscillator. The triode It has been determined that two con­ output of the tone generators into the tube, half of a 12AX7, is the master os­ ditions are necessary in a relaxation fre­ complex wave shapes which we hear as cillator, operating as a variation of the quency-divider arrangement for elec­ musical sounds. IE Hartley circUit. The coil, approximately tronic organ. 300 rob in value, is tuned by means of a 1. That relaxation oscillator must have REFERENCES AND S UGGESTIONS FOR ADDITIONAL READING powdered-u'on slug. G1 is the tuning ca­ a free-running frequency somewhat pacitor and Rl is shunted across the coil lower than the desired synchroniza­ 1. R. H. Dorf, "Electronic Musical In­ to reduce its Q somewhat. struments," Chapters 1 through 4. Radiojile, tion. 1959. While the Kinsman oscillator is essen­ 2. That the method of injection of 2. Harry F. Olson, "Musical Engineer­ tially of the grounded-plate variety, sync signal must be such as not to ing." McGraw-Hill, 1952. there is a plate load R s so that output reflect back to the source, nor to 3. Carl E. Seashore, "Psychology of can be taken from the plate. The values Music." McGraw-Hill, 1938. inject into the output any appre­ 4. B. Van der Pol, "The non-linear the­ of G3 and G4 are such that a sawtooth ciable amount of the sync signal. ory of electric oscillators." Proc. I.R.E., pulse is produced. Vol. 22, 1051 (1934). The frequency-divider stages employ With the correct selection of sync am­ 5. F. B. Llewellyn, "Constant-frequency NE-2 neon lamps. A classic neon oscil­ plitude and timing values (resistors and oscillators." Proc. I.R.E., Vol. 19, 2063 capacitors), the two lamps may be made (1931) . lator consists of a resistor connected to 6. H. Pender, K. McIlwain, "Electrical the supply voltage and to one lamp elec­ to fire only once for every two cycles Engineer's Handbook, Electric Communica­ tt'ode while the other electrode is of the synchronizing frequency. Thus, tion g- Electronics," John Wiley and Sons, grounded. Across the lamp there is a frequency division can be accomplished. Fourth Edition, 1954. capacitor. The values of the supply Reference 10 contains a complete anal­ 7. F. E . Ter.man, "Radio Engineering." McGraw-Hill. voltage, the resistor, and the capacitor, ysis of the Kinsman two-neon-tube re­ as well as the characteristics of the lamp, laxation oscillator. (Continued on page 65)

liN TONE GEN. -1 CIRCUITRY INSIDE BROKEN LINE , ....- COMMON TO ALL TWELVE TONE CHA~ . r GENERATORS '\ ~. I &+ ": 300 v REGULATED

1.5 MEG ~ VI(B) ~ ~ --- "w \~: p I H ~~" '" -~" M ;;;::i:" 1: ~ 10 f:i '" ;;;" '" ~ ..;" '" ..; '" "..; 0 = ~ I ~ ~ ~ - I H "'w I o-~" ;;;::i:" ~~" I "'" " "' " I ~~~ ! LOCATE D IN -" • V~CING PANE L ~ :-- I I TO VIBRATING II OSC ILLATOR 5TH DI V. -0

~7~T!~pl~_ I 4TH DIV . ~ F IER, APPROX. I ~------3~R~D~D~IV~.~ ~ 7 cps I L------~2N~D~D~IV~. O ~ L ______J ~ ______~~~ 0 1ST DIV . . . MASTER OSC. CI C2 . C3 C4 C6 C7 CIO Cil CI4 CI5 CI8 CI9 C22 C23 C .02 .002 .025 .1 .0008 . 008 . 0016 .016 . 0032 . 032 .0064 .064 .0125 .125 C' " " " " " " 0 .016 " " " " " " 0 ' " " " " " " " " E . 0125 .0016 . 02 .08 . 00064 .0064 .00125 .0125 . 0025 . 025 .005 .05 . 01 . 1 F " " " " " " " " " " F' .01 " " " " " " " " " G " " " " " " " G' .008 .00125 .016 .064 .0005 .005 . 00 1 .01 .002 .02 .004 . 04 . 008 .08 NE-2 GLOW A " II " It DISCHARGE TUBE " " " " " " " " A'· . 0064 " " " " " " " " B " " " " II \1 " " " *-200 v.d.c.w.

Fi g . 16. Sche matic of Kinsman tone genera to r. Each printed circuit contains two adja cent notes.

32 AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com Can You Afford 15 Hours to Build The World's Best FM/Multiplex Tuner? Fifteen hours. That's all it takes to build the world's best problem of IF alignment and oscillator adjustment are eliminated. FM/Multiplex tuner. Citation III is the only kit to employ military-type construc­ Citation has the "specs" to back the claim but numbers alone tion. Rigid terminal boards are provided for mounting compo­ can't tell the story. On its real measure, the way it sounds, nents. Once mounted, components are suspended tightly between Citation III is unsurpassed. And with good reason. turret lugs. Lead length is sharply defined. Overall stability of After years of intensive listening tests, Stew Hegeman, director the instrument is thus assured. Other special aids include pack­ of engineering of the Citation Kit Division, discovered that the aging of small hardware in separate plastic envelopes and performance of any instrument in the audible range is strongly mounting of resistors and condensers on special component cards. influenced by its response in the non-audible range. Consistent For complete information on all Citation kits, including re­ with this basic design philosophy - the Citation III has a prints of independent laboratory test reports, write Dept. A - 3. frequ ency response three octaves above and below the normal Citation Kit Division, Harman-Kardon, Inc., Plainview, N. Y. range of hearing. The result: unmeasurable distortion and the The Citatio1t III FM t"ner·-kit, $149.95; wired, $229.95. The incomparable "Citation Sound." Citati01t III MA 1/tnltiplex adapter-factory wired only, $79.95 . The qualities that make Citation III the world's best FM tuner The Citation III X integrated multiplex tuner - kit, $219.95, also make it the world's best FM/Multiplex tuner. The multiplex factory wired, $299.95. All prices slightly higher in the West. section has been engineered to provide wideband response, ex­ ceptional sensitivity and absolute oscillator stability. It mounts right on the chassis and the front panel accommodates the adapter controls. What makes Citation III even more remarkable is that it can The be built in 15 hours without reliance upon external equipment. Citation To 1'\1 e't tl1.e special requirements of Citation III, a new FM III 9 ridol \\~S develo1?ed which embodies every critical tuner ~ . \\ is QQu1yletely assembled at the ~QiW [\\ \~ ~~ .~ d erfect\y lligned. ~ith the c~~ Q., ~l' P 1 i\\\1\}.\ \IX meters, \~

www.americanradiohistory.comAmericanRadioHistory.Com tortion, which after all is the main pur­ pose of the record-level indicator,

Wow and Flutter Q. I would like a brief explanation of wow and flutter, How 1n~LCh is acceptable in a tape machine? A. Wow is a slow variation in speed, audible as a quavering effect or one that causes a steady note, such as produced by a piano, to go "sour." Flutter is a rapid variation in speed, which imparts a grainy, buzzy, 01' coarse quality to a sound. In any tape machine deserving of the term high fidelity, wow and flutter should be unde­ tectable to any ear except perhaps the HERMAN BURSTEIN'~ extremely sensitive one. To judge whether there is appreciable flutter, and also wow, (Note: To facilitate a prompt l'eply, other hand, the machine with a hysteresis record and play back a steady tone of please enclose a sta'lnped, self-addl'essed motor retains the advantage of speed sta­ about 3000 cps, for example from a test envelope with yOU1' question,) bility, so that pitch does not change be­ tween record and blayback, or possibly be­ record or, better yet, au audio oscillator; or play back a test tape designed for this Silicon Rectifier tween the beginning and end of the reel. A tape recorder with a shaded-pole motor may purpose. In playback, if the recording is Q. I have a stereo tape recorder and change its speed between record and play­ made at moderate level (somewhat below plan to build another power amplifier. The back, or from one day to another, or from maximum recording level), the tone should circuit calls for a power transformer with one end of the reel to the other, because of sound steady, pure, and sweet rather than 393 volts at 200 mils in the high voltage changes in line voltage and/or changes in pulsating, grainy, or coarse. section. I have another transformer which the load presented to the motor, . delivers 355 vo lts at the required current_ If I can substitute a silicon rectifier for Magic Eye vs. VU Meter Cable Length the rectifier tube, a GZ34, can I get the required voltage? Q. I am considm'ing the pUl'chase of the Q. I plan to install my tape recorder in a closet about 20 feet from my preampli­ A. You may pick up as much as 30 volts *'"* tape recordel', which has been stl'ongly by substituting a silicon rectifier for a vac­ recom7nended fOl' high fidelity use, but I fiel·. Is the 20-foot distance all right? The uum-tube rectifier. If you are still shy some note that it has a magic eye ~ndicatol' in­ closet doors have small magnetic catches, volts, you might try putting a filament stead of a VU meter. How much difference Will these affect the l'ecording, the tape winding of the power transformer, if there will this make? heads, or the tape? A. For home use, this should make very is one to spare, in series bucking with the A. The 20-foot distance is all right for primary, .(A direct plug-in replacement for little or no difference. In professional ap­ the GZ34 is a 1N2389 silicon rectifier.) plications, a VU meter is important, for playback only if your tape machine has a Fnrthermore, any worthwhile amplifier cir­ one thing, to assure that the playback low-impedance output. Otherwise you are cuit should operate well at voltages within signal fed to subsequent studio equipment limited to about 2 or 3 feet of cable unless 10 to 15 per cent of design value. There­ is of proper level, so that it will neither you are willing to accept substantial treble fore, if your ultimate voltage still is some­ overload or be too weak to drive this loss. Similarly, the 20-foot distance is what less than 393, the amplifier's perform­ equipment. Such use is 'not ordinarily made suitable for recording only if the tape out­ ance should not be seriously affected. of the record-level indicator at home. For recording purposes, the magic eye in­ put of your preamplifier has low impecl­ ance. If in doubt, check with the manu­ Hysteresis Motor dicator actually has an advantage over the meter. The magic eye is an electronic facturer or salesman of your audio com­ Q. What is the advantage of having a instrument that responds immediately to ponents whether they have low-impedance hysteresis motor in a tape machine? strong, brief signals (transients), whereas outputs. As for the magnetic catches on the meter is a mechanical device that lags your closet doors, they will havtl no effect A. The speed of a hysteresis motor is behind such signals. The magic eye shows basically governed by the line frequency peak recording level, whereas the meter unless brought into immediate contact with rather than by the line voltage. This makes provides an indication of average level. the tape, heads, or other components. it possible to build a tape transport with Hence the recordist who operates a tape a high order of speed accuracy. Profes- machine incorporating a meter must esti- Loss of One Channel sional units with hysteresis motors exhibit mate the peak level on the basis of the speed errors of 0.2 per cent or less, whereas meter reading plus his experience and Q. I have a **** tape deck Every so many home machines have speed errors of judgment. The home recordist, using a often when I am recording or playing back 1 per cent or more. Worse, this speed error magic eye indicator, does not have to a tape I lose one channel. This is especially may change from one period of time to an- make such an estimate and therefore true when I fil'st use the machine after it other; thus under some conditions it may incurs less danger of overloading the has been idle seveml hOU1'S. I can usually be 0.5 per cent, and under other conditions tape. bring back the lost channel by touching it may be 1.5 per cent. Hence correct pitch On the other hand, the· VU meter is a one of the terminal leads behind the record­ will not always be preserved between re- more stable device. than the magic eye playback head with tny finger. Any sug­ ~ording and playback, even though record- , so that its indication of recording level gestions you might have as to the cause of mg and playback are on the same machine. i8 apt to remain more accurate over a long this annoyance and its remedy would be When it comes to playing commercial pre- period of time. Also, the VU meter lends appreciated. recorded tapes, speed errors as little as 1 itself to fine adjustments of recording per cent or less can be offensive to ears le,:e1. I~ you consider buying a tape ma- A. Your difficulty may be a faulty with a good sense of pitch, although other chme wIth a meter, be sure that this is a solder connection. When the tape deck has ears may tolerate errors of 2 per cent true VU meter, having the frequency re- been in operation f or a while, the increase 3 perNot cent, ort even more. ' spon.se and other standard characterl'stl' CS in. tern pera t ure may cause enoug1 1 !:lXpan. every ave m achine with a hysteresis specified by the a. udio industry. There are s o t tl motor necessanly 0 t 'thin 0 ~ n a Ie poor COlmection SM> .~J,lI'''f J .)U;\ t pera es WI .2 per some meters WhICh look very much like Slunal ge ~:s tl , i "V flfl f ITnf cen of accurate speed. The WTl'ter has the VU t 0 -" ~, II 1 t~ S fl llr. w,'b teth t e d some units with such motors where poo . . type- t ' same Bcale and "o. ll- b U t are aoo1 B tho ", ~1J//1i '~fl r} W~11111 erorer~or was ~~out 1 per cent. A slight anc~ lIDl a lOns with respect to perform- i ' ~ OOllll Mtion Op II fW er In machllU th d" CCOI ,ll'DIU/V ens u • • capstan th ng e Iameter of the In view of the £ t~Q W gl; I l UY ml If, -r ~ ~JJ.rt ca~ r e~ ultI~r shaftd or some other ~ing to buy the ***Iltt that TOU liT pl«u t HoJdu ~n nn I:~ lIIJ~ Uf, n ~'>~& ~-,n,r UU . u ~~P:er =eg bstan. BIPabmty oj B VU 4p§r gnOraop t,t d ~ MA n ~Ii ~ ' n~~ ~t l J - l? .Tto.. ,. .L n the fact that th ' t. 1JJotel' 16 I J VlJO ~ II ~ I'P~ ~ b ,l u ~ 34 ane 8., lJ7anta.(1h AT r eCord aad 19 ape moe, , JI weOned h tl1g0. gYVly:n1 OJ ~~ , . F. 1hZ,:; i:!ft~!'th~:~;: ~ ~h: bit ~/8bJ/jlmt~ "Y I ~~ /1 ~ .gJ~ W!~leq :~~4 ~lfe mU 10;0 ~ l~gMd qo~ I~! I. WJ~ q/: /lttr/ ~tq ~PQ IUl, ,~ VI Q~ I ~I I tJ. ~ ,q4t~!t~O ~O P\~~ 1t,, www.americanradiohistory.comAmericanRadioHistory.Com 'hfl _4 b/, DfI_ lill ~ I ~~ I

sma" speakers for sma" rooms?

These two AR-3 speakers provided Christmas mu sic last year for Grand Central Terminal's main concourse, whose capacity is several million cubic feet. Carols and organ music were played in stereo at natural concert volume. Passers·by were often seen looking around for a live chorus or pipe organ. Relative size does not determine the suitability of small , medium, or large speakers to small , medium, or large rooms. The only criterion by which performance may be judged is the ability of the speaker to reproduce music naturally, without coloration. The price of AR speakers ranges from $89 for an unfinished AR-2 to $225 for an AR-3 in walnut, cherry, or teak. A five-year guarantee covers parts, labor, and r eimbursement of any freight charges to and from the factory. Catalog and a list of AR dealers in your area are available on request.

ACOUSTIC RESEARCH, INC., 24 Thorndike Street, Cambridge 41, Massachusetts

AUDIO • MARCH , 1962 35

www.americanradiohistory.comAmericanRadioHistory.Com Buy with Complete Confi­ dence of Quality Perform­ ance-Heathkit guarantee assures your success. Your Heathkit must perform to fac­ HEATHKIT® TAKES tory specifications or you r money refunded! Build with Amazing Ease THE WORRY OUT OF and Speed-Complete in­ structions in everyday lan­ guage show you what to do BUYING, BUILDING, FINANCING and how to do it! No experi­ ence needed, no special knowledge required! THE BEST STEREO SYSTEM Pay as You Enjoy the Music Y ou Love-You can order the kits you want with no FOR QUALITY SOUND money down and up to 18 months to pay on $25 to $600! 5% discount on Systems!

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Heathkit AA-20)

Heathkit AS-SIW

. l Heathkit AD-lOC Heathkit AS-SI U j Heathkit AA-ISI

You'll be amazed a t the quality sound of this Heathkit Stereo System. Capable of reproducing every note of your favorite recordings, this system features the top-of-the-line Heathkit AD-60B Record Changer with the Shure MSD Stereo Cartridge equipped with a diamond stylus and the Heathkit ADA-SOW Walnut record changer base. Power is supplied by the Heathkit AA-lSl 28 Watt Stereo The Heathkit H FS-46 is a low-cost Stereo Phono System that is Combination amplifier ... 14 hi-fi-rated watts for each stereo complete in every way to bring to your home the pleasures of channel. This tremendous preamp/amplifier value fe atures the stereo record playing. It is perfect as a "starter" system for new­ patented Heath ULTRA-L1NEAR. ® circuit for extra fidelity, comers to the world of stereo sound and it is priced we ll within separate bass and treble tone controls, four stereo inputs, speaker the reach of every budget for that "extra" system. phasing switch, and rich modern styling in lu ggage-tan and Included in this economical system is the Heathkit AD-JOC charcoal gray. Stereo Record Player with Sonotone STA4-SD ceramic stereo Ideally matched to the amplifi er are the twin speakers, the cartridge and diamond and sapphire styli; the Heathkit AA-201 Heathkit AS-S I W duo. The factory assembled cabinets are hand­ 6-watt Stereo Amplifier wit h its exciting new styling concept of some in walnut veneer. Inside is an S" woofer, a true compression­ black and ivory ; and two of the new Heathkit AS-S! U Miniature type tweeter, ancl a high frequency level control. High Fidelity Speakers which feature a 6" woofer of special design All components are simple to. assemble, designed to give yo ur and a 3" tweeter for unusual response (cabinet is factolY as­ family years of stereo enjoyment, and may be expanded at any sembled, ready for finishing). time to include other program SO Ul ces (examples: add the Heath­ Expandable at any time, you can add the Heathkit AJ-3 1 FM kit AJ-! I A M-FM tuner and AC-!! B Multiplex Adaptor or the tuner and AG-) 1A Multiplex Adaptor for FM Stereo reception. new AJ-41 Stereo Tuner, opposite, for Stereo off the air. WI. HFS·46 . .. 33 Ibs . . . . no money down, $10 mo .. .. HFS·47 ... 90 Ibs •... no money down, $21 mo .... , ...... (with system discount) just $94.90 . . . •...... (with system discount) $211.61

36 AUDIO • MARCH , 1962

www.americanradiohistory.comAmericanRadioHistory.Com ALL NEW HEATHKIT STEREO TUNER

Superior Circuitry; Beautifully Styled; AM, FM and Built-In FM Stereo Multiplex

Here's the kit tuner you've asked fo r . .. the new Heathkit AJ-41 . . . ready for you to e nj oy AM, F M or FM Stereo Multiplex ! It's completely self-contai ned . . . the FM Multi- plex Adaptor is buill-in ! It's conve nient ... separate tuning meters fo r AM and FM! It 's quiet ... new FM squelch circuit hushes between-stati o n noise ! It's a uto matic . . . the Stereo Indicator light sho ws when F M sta ti o n is blOadcasting stereo ! It 's easy to build ... preassembled tuner, preali gned coil s, circuit boards. It's a great Heathkit value . . . Heathkit AJ-41 no mo ney down, $ 11 mo. o nl y $ 11 9.95 in Ki t form ; $189 .95 assembled .

Your "Dream Stereo Home Music Center'f-yours with no money down, as low as $3800 2. AD-60B per month 3. AE-20W Walnut uip ment Center Cabinet 4. AE-40W Walnut Spea ker Cab inet

6. AJ-41 Stereo Tu ner ------H E A TH C O MPA N Y Benton Har bor 41. M i ch i gan BUILD YOUR WAY ®§# fff=A ¥.f,b. TO MORE ENJOYMENT o Yes . se nd me my free 1962 Heathkit catalog WITH HEATHKIT NAME ______Free Cotolog!

You can build your " dream stereo home music A DDRESS ______center" and enj oy the superior quali ty of the fi nest in equipment with the satisfaction of having C lTV' ______ZONE __ST A T E: ______secured it at a savings of at least 50% ! The above Ord er direct by mai l or see yo ur Heathkit dea ler. Heathkit stereo system presents the ul timate in Ship 0 Parce l Post 0 Express 0 C.O.D. 0 Best W ay performance of kit components ... a fi ne record Ordering Instructions: Fill ou t the order b l a n~ . Include charge s for parcel post changer, the latest in stereo t uners, a powerful according to weights shown. Express orders shi pped delive ry charges collect. A ll and versatile amplifier, superb coaxial speakers, prices F. 0 . B. Benton Harbor, Mich. A 20% deposit Is re aulred o~ all C:O .O . ord ers. Prices subjec l lo ch ange without nol ice. Dealer and export pn ces sllghlly Send In tod ay for your free and elegant wa ln ut cabinetry. Check the detai ls higher. of each component in your H eathkit catalog; 100·page cat alog . Over 250 ITEM MODEL NO. PR ICE ki ts (mo re than 40 are new ) compare the system with others costing $500 to i n this most comp lete ca ta­ log of ki ts. Eve ry pi ece is $1000 more ! You' ll agree there's extra va lue in top qu ality .. . save liP to Heathkit. 50 %. Get a cata log now and receive 196 2 Hea thK it sup· no money down, $ 38 mo . HFS.48 .. . pleme nts ...... •...... (with system disco unt) $572.14 L ______

37 AUD IO • MARCH, 1962

I www.americanradiohistory.comAmericanRadioHistory.Com arise, however much the loudspeaker may liver what you bear, and not to service bats distort-so long as it does not rattle or and other creatures. Which of these views buzz. is right-is one influenced by "wishful thinking"-or can they be reconciled' TeaSeI\§ Th is M onth's Quest ions Question C-l. A high-fidelity enthusiast had Reader Answers built an amplifier from a kit. When a friend AUDIO will pay $5 for questions or noted that the output transformer did not Following is my answer to Question 1 in answers used. Send questions or an­ look husky enough to be a quality job, our the January 1962 issue: swers to: Audio Teasers, P. O. Box enthusiast decided to try a "better" one. For flat response down to 50 cps (no 629, Mineola, N. Y. Getting a larger unit, with the same ratio, more than 3·db down at this point), the impedance ratings, frequency response, and time constant of the circuit capacitances so on, he installed it, hoping his quality in conjunction with the load resistance NORMAN H. CROWHURST would be demonstrably worth the effort; should be about 3200 jLB. The circuit ca­ instead it was inferior to the original trans­ pacitances are those of the ceraInic pickup Answ ers to Last Month's Teasers former. For the record, the output stage and of the cable to the amplifier. We shall used push-pull, with the tubes connected assume cable capacitance to be 100 pf, Answer B-1. This question freq uently crops which is quite typical. If a 5 megohm load up. In a correctly designed filter of this as triodes, over biased so as to work in Class AB • What could be wrong with the is required for good bass, this suggests that type, at crossover frequency there is 90 1 deg. transfer delay in the low-pass section transformer, assuming it tested out well the ceramic pickup has 540 pf capacitance, and 90 deg. transfer phase advance in the according to specs f making a total of 640 pf circuit capaci­ high-pass section. This means the two sig­ Question C-2. Comparisons were being macle tance. Multiplying 640 pf times 5 megohms nals at the outputs are precisely out of between two systems, one rated to have an yields a time constant of 3200 !Ls. phase. At frequencies adjoining crossover, output of 15 watts, the other 60 watts. For response down to 50 cps with a 250k the phase transfer angle of each section Each was operated with the loudspeaker load, total circuit capacitance would have changes, but retains the total of 180 deg. system recommended for it. First test used to be 20 times as great as with a 5 meg­ at all frequencies (theoretically from zero a piece of program using a jazz combo, ohm load. It would have to be 12,800 pf. to infinity). and the 60-watt system clefinitely had more The difference between 12,800 pf and 640 It is usually argued that, for the high power and punch than the 15-watt system. pf is .01260 !Lf. Therefore we can achieve and low frequencies to produce their out­ The ne)..'t test used a symphonic recording, good bass response by wiring a .012 !Lf puts in correct phase relationship, both and seemed to reverse the situation: the capacitor in parallel with the output ter­ uuits should be in phase; but this would 60-watt system folded up long before the minals of the pickup. 15-watt system sounded too bad; a little At the same time this capacitor would distortion Inight be detected in the 15-watt cause 26 db over-all reduction in output of system, but not the complete inability to the pickup. The question, then, is whether handle evidenced by the 60-watt system. the amplifier has sufficient gain in view of Why the difference, with different program the signal we can expect from the pickup. mat e rial s~ Typically, a ceramic pickup can produce Question C-3. The relationship between fre­ between 1 and 3 volts on peaks. A 26-db quency response and observed (audible) reduction would yield peak values between performance is often brought in question. 50 and 150 mv. Many amplifiers have suf­ Readers write in about it. Articles are ficient sensitivity to be clriven to full or written about it. Both report apparently ample output by such a signal. contradictory experiences. On the other If the amplifier lacks such sensitivity, hand, many report tbat an amplifier with or if the pickup produces less than 1 volt lots of feedback and a response from sub­ on peaks, we could use a 500k load control audible to uitrasollic frequencies (even up or perhaps even a 1 megohm control \vith­ iIltO the megacycle range) is much cleaner out encountering hum. This would entail sounding than one with less pretentious only a 20 db or 14 db reduction in signal, performance. On tbe other hand, others which for most ceraInic pickups and most Fig . B-1. Correct connections. make precisley similar comparisons and amplifiers should be enough to drive the come to the opposite conclusion: extended amplifier to full output. For a 500k load range, beyond audible limits, "costs" in the capacitor across the pickup should be I·esult in out-of-phase operation in the im­ other respects; these claimants argue that about .006 !Lf; for a megohm load it sbould portant frequency regions where both units the best amplifier is one designed to de- be about .0025 !Lf. H. B. are contributing essentially equal acoustic power. To cover the crossover range of frequencies correctly, the ~nits should be connected out of phase, according to the test, so the acoustic outputs are in phase AUDIOCLINIC over this range. The fact that the high frequencies will (from page 4) be phase-reversed compared to the low fre­ quencies cannot be helped, and is an un­ avoidable consequence of using a two-way pattern in each direction. This arrange­ the number of directors will increase the system with this kind of filtering. Figur·e ment gave the dipole the ability to bear strength of a received signal by 3 db. An B-1 shows the correctly completed con­ most signals in the vicinity of the antenna. 8-element yagi can be expected to provide nections. The yagi, on the other hand, is capable of an apparent gain of between 10 and 13 db. Answer B-2. The key to this situation rests receiving signals in only one direction over Sometimes, rather than doubling the num­ in the kind of sound being reproduced. The an angle of perhaps 30 deg., the exact angle ber of elements in a single array, two or high-fidelity loudspeaker is invariably depending upon the number of elements more arrays are stacked on the same mast called upon to reproduce a complex of used. and connected to a common feed line. This sounds all at once. Intermodulation distor­ Because of this characteristic of the also will increase the performance. Of tion can pro~uce very j arring effects, and yagi and all other parasitic arrays, means course, as the performance is improved, resonances will produce spurious coloration. must be provided which can change the the sharpness of the pickup pattern is also For the solo organ, on the other hand the direction to which the yagi points if cover­ increased. An 8-element array will have a loudspeaker is really part of a musical in­ age is to be complete. The rotator does this pickup pattern of 30 deg. between points strument. The resonances may lend "body" and lets you know from where yon can at which the signal is dOWll 3 db. to the .tone, instead of . coloring it-they expect to hear stations with a given setting. Books can and have been written on this are eqUIvalent to mechamcal and acoustical The actual operation of this kind of subject. Space does not permit a fuller r es o~ances th~t ar.e present in any con­ antenna depends upon the phase relation­ discussion of the working of the array ventIOnal musICal IDstrument. And inter­ ships of the signals on each element. The and its application not only to receivers modulation distortion has no effect, be­ reflector is intended to reflect signals frol11 but to transmitters. I do hope, however c~use the organ only plays one tone at a the rear of the yagi back into the dipole that this gives you some idea of the yagi; tIme. Intermodulation products only come while the director focuses the signals from and can show you how to improve your when at least two unrelated tones are the front of the array into the dipole. Only FM reception. Do not consider using such played together. The harmonic relationship one reflector is usually employed; addi­ a device to improve AM reception. You between frequencies in a single organ tone tional reflectors do not add significantly would be rotating a boom hundreds of feet ensures no illtermodulation products can to the performance of the arrays. Doubling in length. JE

38 AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com II N1.1 NI rn: I) "',UIII,\NIY

JBL goes all the way-with product warranty as well as product quality. It is - and always has been-JBL's policy to repair or replace without charge, at any time during the life of a product manufactured by James B. Lansing Sound, Inc., any unit whose performance is impaired by a cause beyond the control of the owner. The only limitation is the availability of parts. And , frequently, it is possible to use today's parts to bring a discon· tinued model up to better·than·new performance. This is another reason why it's a smart idea for the music enthusiast to invest in the very best loudspeakers available. like any fine musical instrument, they don't wear out, are almost always worth restoring to top·notch playing condition . Write for your free copy of the new JBL catalog and ask us to enclose a copy of the J BL warranty card .

IRL PR ECISION TRANSDUCERS ARE MANUFACTURED BY JAME S B LAN SING SOUND , INC ., AND ARE MARKETED BY JB L INTERNATIONAl. LO S ANGELE S 39, CALIFORNIA

AUDIO • MARCH , 1962 39

www.americanradiohistory.comAmericanRadioHistory.Com accurate. Up to about 6000 cps, the NAB curve is exact for 73h ips, with a droop of 2 db at 10,000 cps and 3 at 15,000-easily compensated for by the treble tone controls. C-24 The KM-60 Tuner Kit Immediately followiJlg the construction of the amplifier, we turned to the tuner. This unit, which is very similar to the factory-built 50·B tuner, consists of a casco de r.f. stage, employing an ECC8Sj 6DJ8, a mixer and oscillator using the two sections of an ECC-85/ 6AQ8, with two 6AU6 i.f. amplifier stages and two 6AU6 linriters, feeding a wide-band ratio de­ tector. A meter in the grid circuit of the second limiter serves as a tuning indicator for normal use, while chassis-mounted switch permits connecting the meter to the ratio detector circuit for use in initial alignment. A panel switch feeds the de­ emphasized mono signal to the two grids FISHER STRATAKITS or less J'esistance iuto the center speaker of an ECC83/12AX7 as anode followers MODELS KX-200 and KM-60 circuit which is fed from the common tap feeding the output jacks. of the left channel and the 16-ohm tap The multiplex unit comprises a 12AT7 These units are two of the newest entries of the right channel, with the 4·ohm tap signal and pilot amplifier, with the latter's in the kit field, and they are well worthy of both channels being grounded to the output synchronizing a 12AX7 multivi­ of the Fisher name, both in performance chassis. The meter switch aud the bias and brator at 38 kc to provide the subcarrier and in ease of construction. The KX·200 balance controls for the output stage are to two diode bridge circuits. Their outputs is a dual 35·watt stel'eo amplifier-pre­ located on the top of the chassis. are fed to the two grids of a 12AT7 wheJ'e amplifier and the KM-60 is an FM-stereo There are five inputs for each channel­ separation compensation is added, along tuner with self-contained multiplex cir­ MAG 1, :MAG 2, 'l' UNER, AUX 1, und AUX 2- with the de-emphasis for the two stereo cuitry. Both have excellent specifications, along with a tape monitor input and a re­ outputs, which are then fed to the output and the performance equals 01' exceeds the corder output, with the latter being ahead ] 2AX7 anode followers. The presence of specs. of both volume and tone controls, which is the 19·]

Chassis view af the two completed Fisher Stratakits-Fig. 1 (left) is the KX-200 amplifier-preamp, and Fig . 2 (right) is the KM-60 tuner.

40 AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com :land, Sinatra, Lee, Cole, Kingston Trio, top shows, classics, etc., etc., etc. - all on Capitol 4~Track Stereo Tape Albums! Judy at Carnegie Hall-Judy Gar­ Kenton's West Side Story 0 Okla­ _land 0 Only the Lonely - Frank horhil! Carousel, Can-Can 0 The Sinatra 0 Come Dance With Me! - King and I 0 The Music Man 0 Frank Sinatra 0 Latin ALA Lee ! - Fiorello! The Sound of Wagner­ Peggy Lee 0 Love is the Thing-Nat Erich Leinsdorf 0 Americana - Ca r­ King Cole 0 The Touch of Your Lips men Dragon 0 Hallelujah! - Alfred - Nat King Cole 0 Make Way!­ ' Newman 0 Concerto Under the Stars Kingston Trio 0 Here We Go Again! - Leonard P ennario 0 Charge !­ - Kingston Trio 0 Music for Lovers Felix Slatkin 0 Tchaikovsky : Over­ Only-Jackie Gleason 0 Sounds of ture "1812"- Herbert von Karajan 0 the Great Bands - Glen Gray 0 Fred Soviet Army Chorus and Band 0 Waring and the Pennsylvanians in Poulenc: Gloria In G Major Con­ Hi Fi 0 Sa:tin Brass - George Shear­ certo For Organ 0 String & Timpani. ing 0 Berlin by Lombardo 0 Your CAPITOL PROFESS IONAL RECORDING Guy Lombardo Medley: Volume 3 0 TAPE - The Master Series_ By any and The Shearing Touch 0 Music for My all criteria, there is no finer tape Love - Paul Weston 0 Dream Danc­ available_ Precision-produced in nine ing-Ray Anthony 0 Billy May's Big types to meet every professional nee'd. Fat Brass 0 Ports of Paradise­ Ask for it at your favorite hi-fi Alfred Newman & Ken Darby 0 Stan specialty store. www.americanradiohistory.comAmericanRadioHistory.Com , DANCER: BRONZE STA.TUE BY EDGAR DEGAS , THE:.. M · ~TROPOLfT~.. N MUSEUM OF ART, BEQUEST OF MRS . H. O . HAVEMEYER. 1929. THE H . O . HAVEMEYER COLLECTION

www.americanradiohistory.comAmericanRadioHistory.Com MEASURE OF EMOTION The emotion created with in you by a work of art is a profoundly personal experience. Equally personal is your reaction to a work of music. And, view of the KM-60 FM-stereo tune r mounted in the a ccessory w alnut therefore, beyond question, cabinet. your own ear, is the only is the stereo indicator which amusing. Phrases that brought out smiles true measure of how closely whenever one turns to a stereo were encountered regularly, such as, " _ .. if you have any parts left over you goofed! the deep emotion you Go back and check," After stage 4 of the experience during a live amplifier, the builder is cautioned "to take a break" so as to avoid carelessness caused performance is recaptured by Construction of both units is simple by getting tired. There are special in­ the speakers in your high and quite fast-13 hours for the amplifier structions on how to handle shielded cable, and just under 8 for the tuner, and both silicon diodes, and' mistakes. fidelity system. Quite apart worked right off the bat. In both kits, the Much of the drudgery is avoided by the from engineering, the instructions are broken down into stages, factory mounting of sockets, transformers, each apparently designed to take about tie points, and similar parts, not to mention design of the Wharfedale half an hour. The parts for each stage the tuner front end and the MX units. W60 Achromatic Speaker are packaged in separate polyethylene bags, In the amplifier, all controls and switches each with the contents listed on a card are properly mounted on the front plate Sys tem, and all other systems enclosed in the bag. Wire lengths are so as to eliminate the possibility of in the series, reflects given, and the lengths of resistor and selecting the wrong part- which could capacitor leads down to the nearest % in. happen easily to an inexperienced builder. extensive musical training The introductory treatise in the instructions On the whole, we found these kits to be and great respect for musical covers soldering thoroughly and should beautifully packaged and "instructed," and make an expert of practically anybody. easy to build, and the performance is im­ values. Wharfedale's In the amplifier kit especially, the over-all peccable. So now, you, too, can build a exclusive sand· fi lled tone of the instructions is light and Fisher. baffle, coupled with special speakers built HEATHKIT MODEL 10-21 to perform perfectly in OSCILLOSCOPE concert with the enclosure, While it is true that most measurements on audio equipment can be made with vari­ produces full, true bass ous types of meters used in conjunction and rich, non-strident high with different signal sources, there are still notes. You hear music free other observations which can be· made only with some sort of device which will permit of all spurious resonances or a study of the actual waveform- and that coloration. Discover the means an oscilloscope. uniquely natural sound of In the oscilloscope, the "writing" ele­ ment is actually a beam of electrons which a Wharfedale speaker system has-to all intents and purposes-no inertia by listening to a whatever. For example, on the face of a best-loved recording 21-in. picture tube, the beam moves about 20 in. for each scan, and there are 15,750 at your high fidelity dealer. scans per second, so the beam is actually moving across the screen at around 18,200 miles per hour. On many laboratory-model 'scopes, the beam can travel some 200 times that fast. In contrast, the beam of a typical 3-in. 'scope traveling over the limits of the 2-in. reticule at 10,000 cps neecls to travel only about 2300 miles per hour. Fig. 4. New Hea thkit 10-2 1 oscilloscope. Needless to say, the requirements of the audiofan do not warrant the expense of perimenter, and capable of handling fre­ THE WHARFEDALE W60 achromatic speaker system 'scopes capable of handling 100 mc, and it quencies up to 200,000 cps. It measures (rue wood J 16.50, unfinished 5 101.50 is true that some of the finest lab 'scopes 9Jh-in. high, 6Jh-in. wide, and 10-in. deep, cost as much or more than a small auto­ and weighs only 12 pounds-quite a con­ mobile . However, within the limits .of its trast to an elderly 5-in. model we have frequency range, any 'scope is equally ac­ which weighs 53 Ibs. The 10-21 builds in curate in its presentation of waveform data. afound 7 hours, and is a fine performer The Heathkit 10-21 'scope is a small, com­ after its completion. A reprint suitable for framing available pact, and lightweight instrument priced Since the requirements of audio and most on request. Address Dept. we 12 British Industries Corp., Port "VashingLOIl, N . Y. well within the budget of any earnest ex- general radio servicing are not as severe as

AUDIO • MARCH, 1962 43 iI

www.americanradiohistory.comAmericanRadioHistory.Com those for micrO\nlVe work, for example, it is adjusted for a f ull-screen pattern for an is possible to reduce the cost appreciably input of 0.5 volts. This is the sort of pattern by resorting to a simplified design without mobility that is usually encountered on only eliminating any needed function. In the the most flexible 'scopes. 10-21, there is no focus control on the panel Specifications call for an input sensitiv­ - focus and astigmatism are adjusted by ity of 0.25 volts/ inch, but the actual meas­ internal controls which need no touching ured value was 0.18 volts/inch, which is up throughout the entire range of t he in­ considerably above the claimed figure. One strument_ There is no intensity control­ other desirable feature is the blanking intensity is set by the original design. There which eliminates the unwanted return is no synchronizing control-sync is fed to the multivibrator time-base generator from traces which so often become objectionable the vertical amplifier automatically. The at high sweep frequencies. two deflection amplifiers are identical, COll­ The 3-in. cathode ray t ube is protected by sisting of a cathode follower, gain control, a heavy Ple).:iglas screen and a green reti­ and a driver direct co upled to the push-pull cule graduated in 14-in. squares o, er au output stage. entire pattern of a 2-in. square. Terminals are available on the back for direct con­ Pe rformance nection to the deflection plates for observa­ The horizontal sweep is calibrated on the tions above the frequency range of the front panel in foul' ranges fTom 20 cps to internal amplifiers and at high signal volt­ 100,000 cps, and will actually sync from 10 ages. A switch selects either the terminals to 230 cps on the lowest range, 90 to 2500 or the internal amplifier. on the second, 1600 to 27,000 on the thiTd, This is the first 'scope we have obser,ed and from about 16,000 to 125,000 cps on iu some ti.me which had all the features the top range. The hOTizontal expansion is required for audio work without undue com­ great enough that with a six-cycle p attern plication. Previous low-priced 'scopes gen­ on the screen, the pattern can be spread out erally had limitations in over-all perform­ to permit a full-screen sine-wave of any ance which forced the user to compromise. one single cycle of the six. In the vertical The Heath 10-21 does not seem to have any Fi g. 6 . H. H. Scott spe a ker syste m, Mode l direction, the pattern can be moved up 01' limitations for which compromises must be 5-3. down enough to view the top or bottom of made in any work that the audio engineer, a 5-volt illput signal when the gain control serviceman, or experimenter needs to do. H. H. SCOTT SPEAKER SYSTEM, MODEL S-3 The first time we observed this speakel' system several months ago we were im­ OMEGA TRANSISTORIZED and 3 are driven by 1\TPN units connected pressed by a veTY significant fact, t he as common emitter amplifiers. The input design of t he "package" (enclosure) wa s STEREO AMPLIFI ER, signal to these units is derived from loa ds MODEL 1600 extremely sensitive and handsome. This is in the collector circuit of the PNP drivers. significant to us because a speaker sy tem At the last New York High Fidelity A signal representative of the output wave of this type is intended to be a piece of Show (September 1961) we were intro­ form across the load is obtained through furniture as well as a music reproducer. duced to a new piece of high-fidelity equip­ a novel one-transistor differential am­ Anyhow, subsequently we discovered that ment, a fully transistorized 30-watt plifier which provides feedback for i njec­ the visual designer of this unit (and, as (IHFM) stereo amplifier. At that time we tion i nto a low-level stage. Altogether a we understand it, all H . H. Scott equip­ noted that it used military-type constTuc­ rather clever ciTcuit. ment) is no less than the Vice President tion underneath its beautiful exterior. A p­ The Omega 1600 provides balance con­ of the company. We are not sure whether p arently e"erybody thought it exciting trols for volume, bass, and treble. After this means that H. H. Scott thinks visual because we had to wait in line several these controls are set to compensate for design important enough to rate a vice months before our turn came. You can Test room acoustics, master ganged controls are presidency or that the vice president is an assured that the unit was listened to, used. IV' e found this a rather useful feature, unusually versatile person, but we are glad "opened up," and under t est within minutes especially since the commonly-used controls either way. after we received it. spOl'tecl larger knobs. The S-3 is a three-way speaker system The circuit of the output stage is signi­ The Omega 1600 is the f1l'st transistor which utilizes "air loading" to improve ficanf and patented. Each output stage amplifl er we have tested which delivered low-frequency response. In addition, the consists of four power transistors in a 30 watts IHFM (25 watts rms) per crossover network is used to help "flatten" ba.sic symmetrical bridge. The power tra.n­ channel. The frequency re ponse was within the mid-Tanga response. In reality, t he sistors, constituting the four active arms 0.5 db f rom 30 cps to 40,000 cps a.nd ± 1.5 crossover network is used in the S-3 in a of the bridge, are driven in p airs j tran­ db from 10 cps to 55,000 cp s. For some manner similar to the way a tone control sistors 1 and 4 conduct while transistors unaccountable reason harmonic distortion is used to compensate for room acoustics. 2 and 3 do not, and vice-versa. Associated did not meet specifications (less than 1 Looking at it another way, we can consider with each of the power transistors is a pel' cent) at the extreme low and high the enclosure for the speakers as a "room" driver transistor. Power transistors 2 and frequencies although 1M distortion was with individual acoustics, and the crossover 4 are driven by emitter-follower F:NP units within specifications. In all other areas network as a frequency-discrinlinating de­ in phase opposition. Their input signal is the 1600 performed extremely well. In all, vice used to boost or cut those frequencies derived from a conventional t ransistor a rather satisfying early production sample. which require it. Since the "room" is phase-splitter circuit. Power transistors 1 0 -27 constant once the design is fued, it is only necessary to measure its acoustics, calculate or empirically determine the correction, and "build it in" the crossover network. A clever idea. The only question that remains to be answered is how well have the H. H. Scott engineers succeeded ~ Very well I On the other hand, it would have been very surprising if they hadn't done an excellent engineering job j ex­ cellent engineering is really their stock in trade. More specifically, t he H. H . Scott Model ) S-3 speaker system reproduces music with as little coloration as any bookshelf speaker system we have heard. Both extremes of the audible frequency spectrum are solid while the mid-range has just that touch of fig. 5. Omega's Model 1600 transistorized amplifier-preamp. brightness that we personally enjoy. 0-28

44 AUDIO . ' MARCH, 1"962

www.americanradiohistory.comAmericanRadioHistory.Com automatic The selected Diamond Stylus pickup of the 4-speed Electro-Acoustic 7000 Series stereophonic record player, with its record player high compliance and extremely low stylus pressure combine to extend record life and maintain the original fidelity .. made of your fine recordings. The dynamically-balanced 4-pole, 4-coil motor and turntable, to protect micro-honed motor spindle, precisely machined bearings, and the custom-fitted turntable drive ... limit rumble to-40db, wow to less than 0.15% RMS and flutter to 0.06% RMS (better than NARTB the original standards). Turntable speed is certified to be within ±1 % of absolute. The Electro-Acoustic 7000 series handles your records more fidelity of your carefully than human hands. It is designed to capture the full beauty of every recording for hundreds of playings. recordings $69.50 Audiophile Net.

CERTIFIED QUALITY Write today Jor Jree illustrated literature and the name oj 1Jour nearest dealer. Each record player is laboratory tested and is sold with a written test report coded to the serial number of that particular ELECTRO-ACOUSTIC PRODUCTS COMPANY record player, certifying that 2135 South Bueter Road, Fort Wayne, Indiana performance is within specification limits.

AUDIO • MARCH, 1962 45

www.americanradiohistory.comAmericanRadioHistory.Com VOICES Saint-Saens and Faure-a pretty kettle of Moussorgsky: Songs and Dances of Death; musical fish and any other than this superbly The Nursery, etc. Netania Davrath, sopr., The Incomparable Bjoerling. Arias from musical team would manage to make hash of It. Good musicianship pays; here we have Erik Werba, pf. Italian Opera. Assorted orchestras, con­ Vanguard VRS 1068 (mono) ductors. three of its top practitioners. Netanla Devrath has a lovely voice and an RCA Victor LSC 2570 stereo infallible musical ear; she sings almost every­ This memorial to the Scandinavian tenor Rita Streich sings Lieder by Hugo Wolf. thing, from opera to Israeli folk song. She who died in 1960 is a collection out of his Erik Werba, piano. sings Moussorgksy here, some of the finest later recordings (in stereo), after a 25-year Deutsche Gramm. 138 641 stereo dramatic songs of the late 19th century, and career in which the superb vocal technique I admire half of them, find the other half in­ sC'arcely altered, nor did the voice grow old. A really lovely record, with ony a few adequate. After all, not every singer can sing Bjoerling was a mild, almost placid tenor com­ qualifications. Streich has a lovely and com­ e1'e-ry song, of whatever sort. pared to the fiery-voiced Caruso or the brassy municative voice for the German Lied, one Devrath's voice is light, rather white in Lanritz Melchior in his big days. But Bjoerl­ t hat emotes, that dicts, that weeps and tone. In the delightful "Nursery Suite," a set ing did have what is now virtually non-exist­ laughs, with that peculiarly direct honesty of songs in which a child speaks of his own ent, a real, old-fashioned perfection of vocal and purity of intent that is the most won­ life in child-terms, she is superb, taking the production, absolutely never forced and, thus, derful part of this German song-music. Her child's part with animation and musical never forcing the voice itself into overwork. only mild fault is one that is ultra-common finesse. But in the stark, terrifying "Songs Paradoxically, his finest milieu was in the in the case of Hugo Wolf-she can't quite and Dances of Death," Devrath is out of her Italian opera area, where the impact of a keep up with the Wolfian harmonies when element. The drama is miSSing. If you want perfect technique and high musicianship they begin to jump a round. to hear these songs in all their chill fear­ easily outbalanced the mildness of tempera­ Wolf was a fiendishly ingenious composer. someness (and their human appeal) try to dig ment that could show up to his detriment in Much of the time, his expression is as simple, up Jennie Tourel's old Columbia recording, the heftier Germanic roles. as well as profound, as anything by Schubert. on an early LP. Next to that, this one is al­ But every so often-let's say in every third most inSipid-though musically accurate and or fourth song-he goes into complex tonal beautiful in the singing tone. Eileen Farrell in Verdi Arias. Columbia modulations, jumping astonishingly f rom Symphony, Rudolph. chord to chord, key to key. Paradoxically in Columbia MS 6254 stereo this day of atonality, not many performing Liszt: "Dante" Symphony. Budapest Phil­ artists have the ears to follow his lightning­ harmonic, Budapest Radio Choir, Lehel. The great EIleen, she of the big voice that like complexities, Streich can't, when the can sing anything (including popular music), harmonic gOing gets tough. She's like a bob­ Westminster WST 14152 stereo is at her very best in Italian opera even if sled that just barely makes the fast curves. The revived Westminister label Is issuing she does live in Staten Island, New York, Nothing obvious; but every so often one feels an interesting series of recordings out of and even though her solid American accent a groping for pitch that is mildly unsettling. Budapest, where the musical tradition re­ does show through a bit here and there. For That's all. mains so very strong that to this day, and on one thing, she conveys a real sense of per­ Erik Werba, at the piano, has no trouble, all sides of the political front, Hungarian­ sonal involvement in Verdi and Puccini, of course. His own fine ear is aided by the trained musicians are the most brillian t and where in other music-including Beethoven­ piano keys themselves-which are always in solid we can find anywhere. Llszt wasn't one feels a bit too strongly the implication, tune, after all. exactly a Hungarian composer, but in his day "See, I can sing this too". he did produce what passed for Hungarian She can, be assured. But she does it all a music (even if it did turn out mostly to stem bit too easily, with that immense voice of Leroy Robertson: Oratorio from the Book from gypsy cafe material). That's enough hers. Not so in these Italian works. She's well of Mormon. Soloists, University of Utah for present-day Hungarians, who perform him worth a heavy try in this recording and In Chorus, Utah Symphony, Abravanel. as a national hero. others in her present series of the sort- put The trouble with Liszt right now is that her up against Tibaldi, If you really want an Vanguard VSD 2099 stereo though he is just out of a 150th anniversary interesting comparison, Tibaldi being the On the face of it, this immense oratorio (his birth, in 1811) his music is at the very reigning Italian queen of Italian opera. Far­ out of Utah might seem the sort of music for climax of " datedness"--1!ven as it begins to rell can hold her ' own. outsiders t o avoid. I was rather surprised, be appreciated for its truly classic qualities then, to find that even though it is a thor­ of structure and design. You'll find this long, Victori,a De Los Angeles and Dietrich oughly derivative work it does have a certain meandering, thundering "symphony," com­ sturdy modernity to it and a good deal of plete with Inferno, Purgatory and Magnificat, Fischer-Dieskau in Duets. Gerald Moore, rather solid musical construction as well, by turns inspiring and an infernal bore. Can't pf. within the grandly solemn oratorio tradition criticize it-for this is the way things were, Angel 35963 stereo to which it belongs-stemming back to count­ back in the 1850's. The longer, the better! less "Messiahs" and even a Bach B Minor This is plenty long, especially the soft, mys­ It is musically correct that three not two Mass or two. I found I really didn't mind smiling faces should appear on th~ cover of terious parts and the Silences, pregnant it a bit, though aU my intellectual senses mostly with surface noise. Not Liszt's fault; this record-Gerald Moore, at the piano, is kept saying I should. surely as big an artist as either of the others Indeed, the fervently musical performance ours for listening at home. a nd the three together make marvelous music, by these dedicated Utah people suggests a whatever the style or content. good comparison, architecturally and stylis­ INSTRUMENTS The styles vary pretty widely. We begin tically: the music somehow reminds one of with Henry Purcell, in English (practically the famous Mormon Temple itself, out in Brahms: Symphony :#:2. Pittsburgh Sym­ faultless), then go on to. a Haydn setting (in Salt Lake City. That sturdy shrine is nomi­ phony, Steinberg. German) of a Scots aIr, All Through the nally a monument to early American archi­ Command Classics CC 11 002SD stereo Night and a brace of Beethoven's similar ar­ tectural n aivete but, even so, it manages to rangements of Irish tunes (in English) with convey an astonishing quality of str ength, Haven't enjoyed this old symphony so much an interlude by the "London" Bach, J ohann dedicated workmanship and community to­ since . . . well, since I played the 1940 Christian, sung in Italian. Side Two moves getherness. Impressive even if you've just Mengelberg Telefunken recording recently re­ from Schubert through Dvorak, Tchaikowsky, flown in from Notre Dame or Chartres the leased. (See above). And the stereo micro­ day before. So it is with this oratorio. In­ 14, phoning on this new label is out of this * 780 Greenwich St., New York N. Y. teresting. world, a marvelous example of what I might

46 AUDIO • MARCH , 1962

www.americanradiohistory.comAmericanRadioHistory.Com AUDIO FIDELITY 'nW~~~I

STRINGS FOR A SPACE AGE, Bobby Christian & His arch. SPAC E SUITE: Th e Call· Count-Down · Flight Into Orbi t & Empy rean ' The Call · Re- Entry · Finale· Midni gh t Sun' Out Of Thi s World· Blue Star ' Autum n In New Yo rk ' Out Of Now here · How High Th e Moon AFLP 1959 • AFSD 5959

A DATE WITH EDDIE CANTOR, NICKEl MUSIC, The Sound Songs, Stories and EDDIEwi~ of the Nickelodeons at Anecdotes from his Carnegie Paul Eakins' Gay Nineties Villa ge Kin g Cotton. Di xie · Patri otic Hall One Man Show CANTOR Medley · Georgia Cam p Meeting ' Makin' Whoopie • If You Knew Sus ie · . Han ds Ac ross The Sea ' The Jolly Ida' Ma, He's Maki ng Eyes At Me • Coppe rsmith, Th e Iris h Was herwo man. Th ere's No Business Lik e Show • Battle Hym n Of The Repub lic ' Busi ness · Dinah ' Is It Tru e Wha t My Wild Iri sh Rose · Ma rch Medl ey · The y Say About Dixie? • Margie ' Ca rry Me Bac k To Old Virg in ny • Josephine Please Don't Lea n Ya nkee Dood le · Ta Ra Ra Boom On The Be ll' and oth ers De Ay • Ov er Th e Waves AFLP 702 AFLP 1960 • AFSD 5960

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AUDIO • MARCH , 1962 47

www.americanradiohistory.comAmericanRadioHistory.Com Steinberg sound. Natural in terms o.f today. can Prog ressive America n stereo, imagina­ whicb means tbat it is h armonious, ~ ea utiful in its color scbeme and well-proportIoned in which means straightforward a nd mIDu Ro ­ tively used not for ''literal'' concert hall r e­ mantic-style frills, yet lyric, cleanly played prod~Ction but to achieve a ma ximum musi­ t be typography. . and phrased, always balanced and well co n- cal impact in stereo's own terms. E~ropean But tbe disc is wbat counts. And for m~ It isn't n ecessarily tbe 35-mm film-r ecordlllg trolled. . 'd record buyers should try it for theIr own If ~arvels tbat gives such a lovely sound but, as I .s~ y , you want to hea r the m SI e a edification. Brahms sym phony, the multitude of couuter­ To tell the truth, I was a bit put off ~y somebody's bighly iutelligent and sensItive use of tbe stereo mikes. I suggest tha t Con~ ­ melodies the color touches, the play of the tbe hi-power publicity which launched thIs orcbestr ~1 chOi rs, t h is semi-close-up "cur­ label and by the faucy double-fold albums. mand bas done a good deal better than CapI­ tol did with tbis same group, though t~at tain of sound" is "the most." I 'nl gla~ C~m­ Last' time this sort of thing came my way, mand has a l ready sold 50,000 of thI S dISC. the results in music were distinctly less t han was in an earlier stage of the fast-movlllg sensational, in inverse propor tion to the p ro­ stereo a rt. You'd better try one, too. motional jazz. Not this time. And finally-the music. Command, hy ac­ For one thing, (starting from the Ollt­ cident or careful choice (I wouldn't kno.'v) , side), the albums nre fan cy bu t each boasls has inherited one of the finest, most musIcal an excellent a nd beautiful art cover by a of the American orcbestras a nd one of the wothwhiJe serious artist-ill this case Gaber best conductors in tbe business for the bIg Peterdi (the notes tell me), whose buff­ classics. Tbe first two movemen ts of this War-Time History colored print a bstraction makes an unus ual performance are just plain lo\·e l .r~fo r any covel' design. The liner notes are modestly listening ear at all. Tbe other two go sor t of Brahms: Symphony No.2. Concert­ adeqnate, t he technical data only modera tely fast (maybe the LP wasn't big enougb) but ge bouw Orch., Menge lbe rg . (Re­ blown-up (35-mm film-recorded) and t he gen­ cven so t her e is no lacl' of clarity and sweet­ corded April 9, 1940). eml a r t-layout really in excellent taste- ness. ':Natnral" is t he best word for the Telefunken TH 97005 Tchaikowsky: Symphony No.6 (" Pa- thetigue"). (Recorded April 22, 1 194 1), Concertgebouw Orch., Men- 2 gelbe rg. Telefunken TH 97002 Historic r ecordings with a 'i'engea n ce, t hese. How strange is music:) l histor,v when it is lined up against t he la rgel' world in which it exists ! I thought. I somehow. that t he dateR above migh t I be especially Significant. I rus hed to my I "Rise a nd Fall" ("Rise and Fall of tile I Thi1'd R e';ch," b.v Wm. L. Shirer) a nd ~ ~~.;-~ ~~~ L_ ------~ - - - - :;- la-the great \ViIlem lI1en.gelberg, one of -;------T------__ the fin est conductors of the early cen ­ t ury, r ecorded t his Brahms with his

., I 'wi ..... Dutch orchestra on the very day of the invasion of Norway by the Germans and : I ONE PROBLEM , .: 1 the sutlden overpowering of its small I n eighbor-nation, Denmark. The Norwegians fought for awhile, I FOR WHICH . I I but t he Danes n ever even had a cbance 1! to try. And t here, only a few miles away 1 on tha t day, was B r ahms, serenely lively. :. THE NEUMANN U-67 MICROPHONE played in the great tradition of high I I Romanticism in which the symphony I IS NOT IDEAL! : was composed, led by a man wbo had I I taken over this orchestra befo re the • I I ---- -~ _...L. -- -______- ______...L. ______turn of t he century. Astonishing-and what a lovely, warm, plastic, gPlluinc performauce it is, too! T o lI1endelberg, 5 6 Brahms was still young a nd new. Goo cl ­ quality, olel-style 78's. You can hea r t he swish-swish faintly. It was only a month later that the larger invasion which completed the con­ quest of Europe overwhelmed Holla nd itself, in a mere five days of terror. \ \T h at do we have, t ben, on the second . ~~~~ .;' j'.{ / of t bese diSCS? A/J1'iZ 22, 1941! On t hat '" A ... II ., April 22, Hitler was in tota l charge of ~ N .. ' I .. Europe, including Holland, and ob­ N viously including the Concertgebollw ------: - . ----- ~!J --- Orchestra and its famous leader. An un­ MONDAY: savory aspect of his last years but a Check thIS weekly \' schedule . .. Vocal group (Omni- complex one, as this s uperb Mengelberg, directional ), TUESDAY: Soloist (Cardioid), WEDNESDAY: Trumpet ... Close-up "Pathetique" attests. On that April 22, Greece was about ( Overload protection switch ), THURSDAY: Duet (Figure 8), FRIDAY: News­ to collapse and Yugosla via's pathetic caster (Voice switch ). Now, all these day-tO-day studio problems can be solved little r evolution had been crushed by Hitler; the great invasion of RU SS ia with ONE NEUMANN u-67 MICROPHONE! Switch controlled directional charac­ was al ready overdue, postponed until tbe teristics (all patterns), low frequency response, and sensitivity, are the three Jate days of J une. And here was Mengel­ berg a nd his orchestra-and Piotr separate compensation possibiliti es provided by the U-67 ... the only microphone' lIyich Tchaikowsky's last symphony, t ragically played as it seldom has been with such unique versatility. Remember the thrill, the firs t time you tested the Since, in a style no longer really possible famous U-47? The U-67 will thrill you anew, setting new standards with its today. A superb, a priceless perform­ ance. completely natural and undistOrted sound even when inches away from the I s there anything Hitlerian about i t? sound source. Incidentally . .. the one situation in our group above, for which Well, the Dutch string section is piti­ fully weak, a handful of fiddlers, placed we DO NOT recommend the U-67, is the SATURDAY concert hall ass ignment. The close to the microphones. \Var-time at­ M49b with remote controlled directional patterns is better for this particular trition. Much more Significant, t he tecb­ nical qu ality of the sou nd is s ta,·tIingly purpose. Write us about your special problem. The U-67 can probably solve it i llLp"o ved over that of the Dutcb record­ ... or we will forward details on the NEUMANN microphone most ing of a year earlier. F abulous ! And sinister-for this mus t bave been the suited for your needs. Address inquiries to Dept. M. sudden influence of German technology. At such a time! Well, s uch is life, and Telefunken (via London) is aesthetically GOTHAM AU 01 0 CORPORATION 100 per cent r ight in bringing us again these outstanding recordings, out of a 2 W. 46 St.. New York 36. N. Y. (212) CO 5·4111 • 1710 N. La Brea. Hollywood 28, Ca l. 1,13) HO 5.4 111 tro u bled his tory.

48 AUDIO • MARCH , 1962

www.americanradiohistory.comAmericanRadioHistory.Com Instruments of the Orchestra. Commentary by Yehudi Menuhin. 50-page ill. booklet. WHAT Capitol HBZ 2 J 002 (2) mono CARTRIDGE Recordings of the instruments of the or­ chestra, for edu cational u se, seem to pop up regularly every year or so. This British one SHOULD YOU has the best-played and best-r ecorded mlls i­ eal examples I've ever h eard, done in a very natural liveness, as at a musical record i n~ USE IN , sesston, and contr asted deftly willt f u l ~ orchestra passages excerpted from EMI l'e­ YOUR RECORD cordings. ( ~'h e co mparison between a solo instrument close-u p and the same in its naturally di .. tant orch estral surroundings has C·HANGER? too often been badly h andled, or simply ig­ nored.) Yehudi Menuhin is the earnest, somewhat THE selection of a cartridge fo r use with a record changer-mono pedantic-sounding commentator. Ther e is no or stereo-would appear to pose no special problem. Yet, there are doubt of his sincerity, and the information he conveys is useful a n d succinct. It's just certa in things to be consider ed. that somehow, the tone of his voice h as t h at "educationa l" sound to it, much prized by A cartridge that tracks at some featherweight fraction of a gram may music educators a nd goner ally a bhorred by introduce problems if the record changer arm is not capable of track­ th e public at large and by children in par­ ticular! ing at that force. To adjust it, and attempt to use it at such a low force Not unpleasant, mind you-and yOU must may introduce complications. Joe Marshal, noted audio authority, dis­ produce some tone, if you're going to talk, cussed this in his article INSIDE THE CARTRIDGE (High Fidelity Maga-{ after all. I've heard a great deal worse pedantry than Menuhin's, which isn't r eally zine, Jan. 1962 )-HAn attempt to 1' educe n eedl e preSSU1-e with an arm t hat at all, for h e is a r eal musician . Just a not designed for low n eedle pr-eSSU1'e will usually 1'esult in high distor­ mannerism, a way of speaking. tion due to loading the needle w ith the mass and f ricti on of the arm." The tape editing of the r ecorded excerpts is poor-clumsy fade-outs, more Or less at a Induced hum is another problem to be cori$.idered and anticipated with proper stopping point but ill-ma naged and badly timed. 1 know-I do it ever y week m y­ a magnetic cartridge. The very nature of the magnetic cartridge self with records, on the air, and 1 could do makes it an effici ent hum transducer. In the fi eld of an unshielded AC better U,an this. motor, it is prone to r eproduce hum in the loudspeaker system.

Poulenc: Concerto for Organ and Strings. The record changer owner must make fairly certain that the tracking Stravinsky: Jeu de Cartes. Boston Sym­ capabilities of the arm and motor shielding are suitable for use with phony, Munch. a magnetic cartridge. He can avoid these complications, and enjoy RCA Victor LSC 2567 stereo superlative performance by selecting a ceramic stereo cartridge. A fine pair of works here, both of them Sonotone was the first to develop the use of ceramics in piezo-electric associated most honorably with the Boston Symphony and its home auditorium, Sym­ phono pickup applications. And today, the Velocitone cartridge stands phony Hall. The Poulenc is one of his neo­ out as one of the most notable attainments in high quality r ecord classical pieces (after many a year of f rittery Fren ch hi-jinks), dating from 1938, not un­ r eproduction. The Velocitone tracks at 2 to 4 grams - well within the I like t he very popular two-piano concerto, capabilities of any r ecord changer arm. And it will perform in the with plenty of serious but catchy melody a nd magnetic fi eld of an entirely unshielded motor without the trace of some pleasantly h ard rhythmic variety. The Stravinsky "Card Game" is also in magnetically induced hum. the high neo-classical tra dition (1936), Bach-like in its steady, pulsing rhyth mic With magnetically induced hum and stylus f orce problems out of the figures, ingratiating to t h e ears of today as way, here's the kind of performance you can expect f rom the Veloci­ though a lready out of a classical period in the past-which it is, to be sure. Music now tone : usable frequency response from 20 to 20,000 cycles (± 1;2 db is made of sterner stufl', in the atomic age. from 20 to 6,000 cps; ± 1 db to 17,000 cps). Output is 11 mv. per channel The piece is composed in "deals," with a special bit of music t o accompan y the card­ with better than 25 db separation. shuffling, and the plot involves complications The Velocitone is provided with matched equalizers (no tools re­ provoked by t he guile of the perfidious Joker. As the liner notes put it, this is a quired) so that it operates as a constant velocity device, and can feed "waggish" piece--and an a musing one f or di r ectly into the 'magnetic' phono input of any ster eo preamp. What's almost any hi-fi listener. more, the Velocitone's performance is unaffected by extreme tempera­ t ure and humidity changes. Ravel: Daphnis ·and Chloe (Suite No.2): The Veloc itone, priced at $26.50 with two 0.7 mil turnover diamond , Alborada del Gracioso; Le Tombeau de Couperin; Valses Nobles et Sentimentales. styli, gives you, in effect, two cartridges for the price of on e. With L'Orch. de Ie Suisse Romande, Ansermet. diamond/sapphire combination, the price is $23.50. Ask your hi-fi London CS 6210 stereo dealer to demonstrate the Velocitone, the cartridge t hat is perform­ There's n othing 1 love so much as Ravel ance-matched to yo ur r ecord changer. Write for descriptive literature. well played-a nd h ere is a whole record of the very best of it. Ravel, the essence or II Frenchman, is a somewhat specia l t aste, I admit-people either enjoy him moderntel~· SONOTONE@CORPORATION Or (like me) find his influence as essen tinl and powerful, every so often, as catnip is to ELECTRONIC APPLICATIONS DIVISION • ELMSFORD, NEW YORK a cat. One must delicately roll in Ravel and that's just th e way I feel about his marvel­ CANADA: ATLAS RADIO CORP., TORONTO eusly lush, beautifully ten der, elegan t , sophis· ticated, super-violent music. A r eal man of CARTRIDGES • SPEAKERS • TAPE HEADS • MIKES hiS type, and one of t h e great musical per­ sonalities of his age. ELECTRONIC TUBES • BATTERIES • HEARING AIDS Ansermet, the bearded Swiss, is in tru th far nearer to the French temperament, albeit in a suitably weighty fashion, than he is to that of the Germanic peoples whose m usic h e also plays-Beethoven, Brahms and the rest. This is just plain s uperb F r ench, especially t he "Tom beau de Couperin," and only the "Valses Nobles" seem to me somewhat less potent her e than I've h eard them elsewhere at their best.

AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com Eighteenth Century Flute Duets. Juli us Baker, Jean·Pierre Rampal. Washington WR 442 (mono) Catering to the Baroque-Rococo trade, the circumspect Washington label here offers a somewhat spectacular special- these two are perhaps the greatest living flute players of today, one American the other French. (Washington releases few records but chooses with care.) Two flutes, no accompanimen t. A fi ne sound, and much of the music is decidedly worth­ while-it involves a piece by "Haydn (?)," a Telemann Sonata, an Allegro and Minuet by Beethoven, out of his earliest {>roductlon at Bonn three years prior to "Opus 1," and a longish D.tet by Kuhlau, a flute player who fled the Napoleonic Wars and settled happily to a life of flute production for the King of Denmark. One of t hese pieces, or two, may be enough at a time. If you will space them out in your listening, you'll fi nd each a fine exercise in top-form fl ute playing. T he tiny, significant contrasts of tone and technique between the two men will keep flute players' ears ex­ tremely busy.

Aristid Von Wurtzler, Harpist. ASCO A 112 stereo (Am_ Stereophonic Corp.) Aristld Von Wurtzler is a top harpist, a young refugee from Hungary afOOr the 1956 FM • STEREO • MULTIPLEX revolution, a soloist with the New York Phllharmonic--and his recording is a plain All on One Chassis and in KIT FORM bore. No bet ter can be said, though this is not uncommon as a result of the kind of musical professionalism that gets onto this record. That's Right - No external Multiplex Why? Well, nobody can deny that M_ Von Adapter required ••• PACO introduces the by ~~[9[QJ Wurtzler is a fi ne harp player- he Is. But new model ST·35MX FM Stereo Multiplex when his Bart6k, praised by KodAly himself, turns out here to be no more than a hand­ tuner, featuring the finest multiplex cir­ ful of those tiny, half-minute children's cuitry, ALL ON ONE CHASSIS _ .. ALL IN pieces of Bart61<, that sound much better In ONE CABINET AND IN KIT FORM (with their proper piano versions, when an in­ factory pre-aligned multiplex section). structional suite by Von W. himself (easy for students) is no more than an insipid and The ST-35MX FM Stereo-multiplex rather amateurish bit of harpish parlor music, tuner is designed for the discriminating when a Von 'Wurtzler performance of a well­ Audiophile who demands the ultimate in known Handel Passacaglia sounds as though distortion less FM Stereo reception. It s Handel were a late-19th century harpist on a Model SHO small scale--which he was not, when the incomparable features include ultra high STEREO PREAMP-AMPLIFIER KIT mea t of this disc finally emerges (as migh t sensitivity, rock-stable AFC, pin point Kit Net Price: $79.95 have been expected) as we arrive, come selectivity combined with broad band Factory Wired Net Pric e: $129.95 side 2, at the real harpy pieces, all fancy trills and runs, a la Harpo Marx-then • . . response, well, I'm just not a harp player myself. The ST-35MX has been engineered to Nor, probably, are you. -- -~ -- - -- meet the most critical standards. Highly -~----- This is strictly trade stuff, showing merely styled ina handsome black and gold case that the Budapest harp training is much like too much other harp-instruction, tending •.. it is the perfect companion to Paco's towards narrowness, compounded. Fine for popular SA-40 Stereo preamp-amplifier or harpists. any other fine quality stereo system. Model ST-25 MX DOCUMENTS AVAILABLE THREE WAYS IN HANDSOME FM STEREO TUNER KIT Portrait of a Splendid American-A Docu­ GOLD AND BLACK ENCLOSURE Kit Net Price: $69.95 Factory Wired Net Price: $99.95 mentary Tribute to Dr. Tom Dooley. MODEL ST·35MX (Kit) with full pre-aligned Columbia ML 5709 (mono) multiplex circuitry and PACO detailed assembly-operating manual. This is a first-ra te documentary in the highest sense of that term- for though it NET PRICE $99.95 ostensibly presents facets of Dooley's hectic MODEL ST·35PAMX (Semi-Kit) with both life as a tribute to him, in actuality it af­ fords all of us a first-hand opportunity to tuner and multiplex sections factory­ hear for ourselves how this somewhat con­ wired and completely prealigned for troversial young man "worked," to hear the hairline sensitivity. Complete with intensity of his dedication to his medical PACO detailed assembly - operating causes, to assess with our owu ears-as he speaks-whether we feel one way or another manual ...... NET PRICE $119.95 about him. MODEL ST·35WMX (ready to operate). Model MX-100 Dr. Dooley, you'll remember, went out to Factory-Wired, aligned, calibrated and Laos and stirred himself mightily in favor of STEREO MULTIPLEX ADAPTER the native population. He was a kind of assembled complete with operating Kit Net Price: ~49.9 5 dynamic whirlwind Dr. Schweitzer-passion­ manual _ ...... NET PRICE $139.95 Fac tory Wired Net Pric e: $69.95 ate, where the older Doctor was quietly philosophical, avid for publicity in his cause, where Schweitzer was cautious (and still is), frenetically high-tension in contrast to p ~n c )10) Electronics Co., Inc. See the full line of PACO Hi-Fi Stereo components Schweitzer's enduring calm. And Dooley died a division of PRECISION Apparatus Co. ,Inc. on display at all leading of galloping cancer right in the middle of it distributors throughout the all, thus quickly ending a ca reer that perhaps Siibsldlarle& of PaootronlOl, Ino. was too spectacular for its own good. 70-S1 84th Street, Glendale 27, Long Island, New York world. Was it? Well, you can judge nicely for yourself, via the abundant quotes from Dr . .Atanu/ad~ o/:¥ine ~ledwnic ~~ntfot. twet 30 ~. Dooley's own speeches and broadcasts, on-the-

50 AUDIO • MARCH , 1962

www.americanradiohistory.comAmericanRadioHistory.Com scene and on visits home_ No question, he was a highly volatile and abundantly en­ dowed young man with an enormously com­ pell!ng personality. That personality comes through with disturbing vividness here. Con­ grats to KMOX, St. Louis, which produced this show 6riginally for radio.

The Story Teller • . . a Session with Charles Laughton. Capitol STBO 1650 (2) stereo This is a humdinger of a set. I'm only part-way through the four long Sides at the moment, but I've been caught for fair, and so will you be. The man has a stage per­ sonality and a mike personality that is just amazing! One minute, and you'll be rooted to your speAker until It's all over-from Shakespeare to Jack Kerouac, from the Bible to "Major Barbara" by Bernard Shaw, plus a liberal sprinkle of small talk and large talk, off the cuff, to tie the whole thing to­ gether. Here, by the way, is an excellent example of an audience recording, a "live" perform­ ance on records. It goes along with many another, ranging from pure slapstick and Milt Kamen all the way to "Mark Twain Tonight." In a "live" recording of speech, you see, the audience is very much in evi­ dence and audibly a real part of the show, with its constant laughs, applause. Your imaginative awareness of the "live" situa­ tion is thus perfectly sustained, in the living room. With music however, the situation is quite different. Audience noise is obtrusive, even in very small quantities, and so is the relatively stiff applause that accompanies a formal concert. This kind of "live" performance is a natu­ ral for records, though music rarely is.

Sviatoslav Richter at Carnegie Hall: All· Beethoven Program (Vol. 1). Columbia M2L 272 (2) mono There's a fascination to that magic phrase, "So-and-so at Carnegie Hall," a cachet that goes with a live performance of distinction, apt to be historicaL This concert was all of that; but I have reservations as to its value in the recorded form. Don't forget, in your excitement over Richter, that a record is always a record. (And particularly when the pianist, as Is rumored here, insists on a mike that is out of sight and mind-hence the somewhat In­ adequate mono sound in this series.) Keep In mind that the recorded medium has its own values, makes its own demands, projects its own sort s of virtues as well as defects. It is always necessary to apply a separate judg­ ment to the musical values of a "live" con­ cert and its recorded duplicate; the two are often very different in musical impact. On these records, Richter is exactly what we should expect him to be, a big pianist, a big-audience man, playing on the grandest scale to vast, attentive, enthusiastic crowds of admirers. We are in on a spectacle, llIid we listen close-up (relatively close, though the plano is off-mike by normal recording standards) : we are intimate witnesses here to a show, in musical terms, that is aimed THE DUAL-l006 CUSTOM big, spread wide, shaped on a huge scale. Could it be otherwise, in such a situation? We consider the Dual-l006 CUSTOM Clearly not-and even the critics on the to compare more than favorably with spot, live, had a sense that some of this any other record player now on the Beethoven was a bit larger than life, notably in the early Sonata Opus 2, Number 3, which market. So much so thatwe submitted is essentially a piece for room-size playing it for testing to a completely impartial and is at Its best in that milieu. authority. A copy of this report is now We are room-sized listeners, via records. available upon request. It contains the The recorded medium is basically for living­ room listening. True, we can "sit in" on a facts to be familiar with before con­ spectacle such as this. True, we can be per­ sidering any purchase of record play­ suaded of music's sheer size by means of ing equipment. For your copy write: tricks, via big liveness, for instance, as re­ cording engineers now know so well. But Dept. C-3, !:l when it comes to the real thing, as here, we feel an inconsistency. Like being a couple of feet from La Callas when she hits a high united u.,udio note, or, maybe, bending over Heifetz' necl, WIGO • PRODUCTS OF DISTINCTION • DUAL as he screetches off a fiddle cadenza. Much 12-14 W_ 18th Street. New York 11, N_ Y- larger than life, and a bit overdone, for the living room. 51 AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com Steam Railroading Under Thundering So it is with Rich te r. One sen es the elec­ "Machado-Greco" is the way it gets pri n ted. t ric atmosphere, all rigbt, by t b!l almost hys­ Since Spanish dancing is supposedly st ill Skies, terical applause that bursts out instantly quite improvisational, traditional, and high ly Mobile Fidelity MF 8 stereo rhythmic-with-the-feet-and-body, I'm not clear after each piece; but oll e resents t he suuden Well, this oue has added sound-effects, intrusion- baving forgotten during the play­ as to how or what the "arranging" involves­ but let t his pass. It sounds good, arranged or too. "Havoc! February, 1961! The fun force ing that there was such an a udience! (Colum­ of ang"-y skies striT,e Hattiesburg, Mississippi, bia has reduced many of the a udience's coughs no. (Can you copyrigh t some fast foot wo 1'1, in terms of recorded sound? ?'!) '1'he 8ta,'" reality of devastating ,-ain and hi gh to a sort of gassy hi s, which I find more wate,'. . ! ' P ublic relation s in high gear, if annoying" than the genuine, natural bonk.) you ask me, and I'll bet t he guy who wrote In the early Beethoven, the sbow is too STEAM PLUS that blurb didn't even own a hi-fl. B ut there close-up, too potent, too big, for any nornlal is a real, honest thunderstorm here, just the living room. In the "Appassionata," however 2nd Pigeon and the Mockingbird. (Sounds same, one of those that keep coming back - a show-piece if ever there was one-­ of Steam Railroading, Vol. 4.) O. Winston again and again (pre-frontal squall line, I'll Beetboven takes otI with astonishing eO'ect. insert in my capacity as a u amateur 111eteor­ '['hat piece is righ t at home in the concert link. hall, and at home with R ichter, too. ologist) . The thunder cracks are solid enough (0 . Winston link Railway Prods. and reasonably frequent. the raiu just kceps Yes, he's a great dramatiC pianist, a masler 58 E. 34th St., New York 16, N. Y.) of big-time performance. But the thoughtfl11 pou ring down and down, wetly. In the micldle intimacy of the chamber mus ic approach is of the record I looked out my window at a "2nd Pigeon," believe it or Dot, is the perfectly dry city street and jumped per­ not his specialty. You'll need to listell to name of a train, one of the last coal trains to him on records with this in mind. ceptibly. be hauled by steam on purpose (as opposed Against this sultry storm there is a train, to those that a re ma nned by fans or com­ natch. Old engine ' 0. 300, 2-8-2, comes Spanish Songs and Dances in Motion. missioned by recording outfits!) . And this rec­ rumbling along with its train of cars. Sounds ord, continuing the O. Winston Link tradition just like an old small freight to me, and my Jose Greco and His Dance Company, of interesting side-etIects, does feature a full­ Orquesta de Conciertos de Madrid, only objection is that, as we listen, this train fledged and genuine mockingbird, no fake nor also 1ceeps coming back, over and oYe r again. Machado. even a caged birdie but a singer who ju t I can't figure out its schedule. Columbia MS 6265 stereo happened to come along and stay awh il e. The darned thing seems to be shuttling In case you didn't know, mockin"birtls busily over a co uple of miles of dead-end line, Here's another of those Spanish song-and­ belong in the South but often stray North­ dance recordings that featu re t he sounds of judging from the sound. Whooo, whoooo, wards-and, oddly enough, the Northern who-WOOO echoes the whistle' t hrough the the dance itself as well as the accompanying strays often turn out to be exceptionally music. T his one is rather sophisticated, as stormy Mississippi hills, then choo-choo-choo­ good singers. T he theory is that they have CHOO-OHOO, rattle-wbeeze-baug, a nd olr it benefits a famous touring co mpan y. Pa rt of nothing t o do bu t imitate the surrounding it involves a full symphony orcbestra and a goes into the distance--only to turn rigbt noises, minus the company of their own around and choo-choo straight back again Spanish one at that, kind. Moreover, mockingbirds (as I've oh­ But there's nothing phoney about th is to us once more. After a few times, this gets presentation. The more intimate dances lI a " e served myself) clearly like people a nd enjo)' to be rather zany. Has the engineer goue tJ:1e requisite close-up sound of guitars, sla]>­ showing off near any scene of moderate mad? Or maybe it's a circular track. plUg of thighs, clapping of hands, r attle or human activity. Just a rather unimaginative job of tape castanets and, of course, the brittle rh ythms So, you see, t his mockingbird came around editing, I suppose--but what, after all, are of hard heels and soles an hard wood floor­ to inspect the Link tape recorder an ti stayed you going to do with one old steam train for ing. Some passages-as is the new style in on a bit, to sing. After awhile, a steam train a whole LP side? Can't just record it once Spanish recordings- dispense en t irely with comes along. . . . U 's 2nd P igeon. on the daily run-through, then wait 24 hours music for considerable stretches, in favor of Most of t he record is the now-usual se­ for the next time. sheer r h ythm. Very nice. quential account of complete train episodes, There's a differen t traiu on the other side. Virtually e ve ry piece (or dance) seems to abundantly descr ibed in the accompanying Steam trains being so scarce, two complete be somehow "arranged" by the symphonic con­ liner notes, which YOU must . read as you trains, all ditIerent, is doiu' pretty good for a ductor, Machado, or so the record label says. listen. Link in\"ented the idea, far as I l",ow. single LP. 1E

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52 AUDIO • MARCH , 1962

www.americanradiohistory.comAmericanRadioHistory.Com 1-260,00000 Transformers lhw,10% 2-100000 I -T" 117v isolation ( Triad N-51X or MIXER 2-82,00000 eqnivalent) 1-180,00000 1- T ., plate (Stancor PM-8419 or equiva­ (fTom page 23) 1- 270,00000 lent) 1-470,00000 1-1 Meg Tubes and Diodes pow e?' and va?'i able 1-40000, lOw 1-6AU6 be doubled except for those items marked 1-20,00000, 2w, pot. 2-12B4 with *. 1-5651 4-150 ma, 400 v diode Capacitors 2-100 ma, 600v diode Resistors 2-.1~tf / 5 00 v , ceramic 1-8/-tf/450v, electrolytic Miscellaneous Ihw,l% 1- 80/-tf/ 450v, electrolytic 2-10000 2 -1 50 ~tf /250v, electrolytic I-spst switch "on-off" 2-333000 I-fuse, %, amp, fast blow 2-18,00000 I-fuse, 0.4 amp, slow blow. 2- 100,00000 2-120,00000 2- 250,00000 2-267,00000 2-470,00000 2-1 Meg l w, 10% 5-100000 an astounding 4-10,00000 1-27,0 00 00 new sound . .. 2-47,00000 1-120,00000 an incredible 1-560,00000 1-820,0 0000 1-1 Meg new cartridge l1v,10% (pic7ced ) 1-22,00000 M33 1-33,00000 1-55,00000 -® 2- 56,00000 1- 110,00 000 1-112,0 0000 An extraordinary achievem ent in supe­ 1-224,000 00 rior re-creation: 1-33 0, 00000 1-448,00000 RESPONSE: 20 to 20,000 (conservative­ 1-550,00000 ly ) . Singularly clean and smooth. Goes va?'iable 5-100,0 0000 , 2w, pot. right through the top limits of audibil­ *1-500 ,000w, 2w, pot . ity without a hint of "break-up" prev­ alent in most other stereo cartridges. Capacitors COLORATION: virtually non-existent. Imparts no false sound to the music. It 1-.005/-tf, 250v, ceramic is transparent, clear, hum-free (special l-.l/-tf, 250v, c er am~ c 2-.2/-tf , 400v, cer arnlC M u-metal shielding rejects electrically 4- .5/-tf, 50v, paper induced hum). Peak-free. 5- .5 /-tf, 400v, p aper o 1-2/-tf, 25v, electrolytic COMPLIANCE: over 20xlO- cm/ dyne! 2-6.25I1f, 300v, electrolytic Tracks as low as 1 gram .. . virtually eliminates record and stylus wear. Sep­ Switches aration over 22.5 db. at 1000 cps. THE STYLUS : Choice of .0005" or 4-spst, toggle "l-spst, rotary .0007" diamond tips. Exceptionally 4-spst, lever action rugged. Special plastic grip makes sty­ 1-lp3t, lever action lus changing easy as plugging in an 1-10 position, rotary electric cord. PRICES : M33-5 (with .0005/1 diamond) Tubes or M33-7 (with .0007/1 diamond). 2-12AY7 Tracks at 1 to 3 grams .. . $36.50 net. 5-12AX7 1-12AU7 (Ih t 1tbe/channel ) Model M77 (for tracking at 4 to 7 Miscellaneous grams) only $27.50. 4-shorting jacks, Jl---7 J 4 3- open circuit j acks, J5 ---7 J7 1-VU meter (Al'gonne AR-331) with 360000 resistor

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AUDIO • MARCH, 1962 53

www.americanradiohistory.comAmericanRadioHistory.Com balks at the claim that a self-replenishing groove lubricant reduces the tendency of the stylus to "skate" up and down the side walls. The term "pinch ell'ect" might be more ac­ curate and do away with any confusion, as friction when high frequencies narrow a groove is what causes the stylus to ride up side walls. Lubrication does lessen friction and help the stylus "skate" through a narrow passage, but this term usually refers to a tone arm moving across the record surface after a broken side wall or other defect forces the stylus to jump out of the groove. Finally, the magazine's experts tried taking measure­ ments to confirm the Impressions of listening tests. Any differences proved too sUgh t to ac­ count for the improvement, so the article is titled "The Polymax Mystery." The answer lies in the Fortissimo XK and Stereo Work­ shop Series, and quite a few record buyers will judge it to be the solution of their toughest problem.

Joe Gordon: lookin' Good CHARLES A. ROBERTSON* Contemporary Stereo S7597 Dexter Gordon: Doin' All Right STEREO made great progress in inventing synthetic Blue Note Stereo ST84077 sounds and altering t ape speeds, but their Shorty Rogers: The Fourth Dimension In ' lighter minded brethren are being given fa­ Although both claim the same last name, cilities to take the lead in the conquest of the real bond between these two men Is the Sound Warner Bros. Stereo BS 1443 space. Perhaps before long Warner Bros. w!ll part they are playing in the revitalization of To meet stereo competition from all quar­ let a few of California's bright, young syn­ jazz in and around Los Angeles, a region ters, Warner Bros. has set up a Stereo Work­ thesists take a turn at its sixteen-position still less than wholly receptive to the un­ shop, given its engineers carte blanche in console. adulterated product. However, the vaunted regard to engineering facilities, and is launch­ At present, most seekers of stereo adventure climate is proving especially beneficial at the Ing a series designed to titillate audiophiles will find Rogers inventive enough, without moment for rejuvenating battle-scarred vet­ and arouse the curiosity of musicians. In the help of manufactured sounds, to satisfy erans and raising a vigorous new crop of keeping with the avowed intention of "ex­ their craving. Leading a mobile group of youngsters. Neither category quite fits Joe ploring unchartered patterns of sound," the nine studio regulars, he comes up with fresh, Gordon, whose trumpet playing won admira­ first three albums introduce a number of new swinging ideas to make his debut in super tion in his native Boston and for the last ell'ects, some of which are novel and ingenious stereo an eventful one. Stereo dialogues are three years in California, yet this is his debut enough to startle the fashioners of electronic developed between flutists Bud Shank and album as leader and composer. It marks a music. The Initial jazz offering comes from Paul Horn, drawing responses from Emil great forward step for the former Dizzy Shorty Rogers, a seasoned veteran at trying Richards, vibes, and bassists Red Mitchell on Gillespie protege, and trumpet fanciers are out unusual combinations of sound, and he Lover, and Stompin' At The Savoy. Dual advised to give first priority to the nine handles the multiple duties of arranger, con­ melody lines are worked out on You're Just originals contained therein. The creative ,ductor, fiugelhorn soloist and supervisor of In Love, and Baubles, Bangles And Beads. humor of the writing is best indicated by the final remixing without missing a trick. Latin rhythms go Into action on Kook-A-Ra­ some of the titles, and a healthy future should As remixing Involves six channels and six Cha Waltz, with Shelly Manne shaking a be in store for anyone able to think up recorders, the need for close cooperation be­ tambourine, and the vibrantly exotic Taboo. Terra Firma Irma, You're The Only Gir~ In tween arranger and engineers in preparing the Pete Jolly's plano "swings" about with spllt­ The Nea:t World For Me, and Non-Vienne8e two final tape channels must be fairly evi­ second timing, and the leader's fiugelhorn Waltz Blue8. Aside from bassist Jimmy Bond, dent. In fact, conferences begin well In ad­ turns up when least expected. the quintet introduces members of the new vance of recording sessions, and each piece The audio enthusiast who learned about crop, Including Jimmy Woods, an alto sllXist is carefully plotted In terms of time and high quality Polymax pres sings from River­ of great promise, pianist Dick Whittington, space. Not only does the six-track recording side's Fortissimo XK series will welcome news and drummer Milt Turner. permit complete fiexibility of positioning in that Warner Bros. also Is adopting this su­ Dexter Gordon's return after ten years of breadth, but the amount of reverberation perior material. So far, distribution reaches relative inactivity closely parallels the re­ can be Individually controlled on signals from just thirteen western states, and purchasers surgence of Howard McGhee, another resi­ all sixteen microphones. Soloists or instru­ can detect the genuine article only by looking dent who is back in the IImeUght, but he had mental sections can be placed in depth at wlll, for two patent marks next to the engraved to visit New York to get back in a recording either during the session or by remixing matrix number near the printed label. Un­ studio again. Greater maturity and close at­ la ter through the console. like the brightly hued Fortissimo XKs, all tention to tonal niceties are evident during Even confirmed opponents of artificial re­ copies are colored black and the grooves play the ballad You've Changed, and the tenor sax­ verberation will be intrigued at some of the from the outside edge. Owners of good equip­ ist shifts from low to upper register without ell'ects brought oll' by Workshop engineers, ment should have no trouble spotting the ad­ a hitch. He gradually gathers steam on George who seldom stoop to anything so Simple as vantages in clarity and presence when com­ GerShwin's 1 Was DOing All RiUht, and It'8 applying echo to the entire assemblage at parisons with ordinary pres sings a re made You Or No One, until all the old fire bursts once. Instead, the same instrument may ap­ on their turntables. forth on two originals. Stereo affords all the pear to be quite remote or astonishingly close Chemists working at Research Craft Cor­ room needed to turn a beautiful phrase or go at dill'erent pOints In a single selection. Or­ poration discovered Poly max, which is pre­ loping oll' In pursuit of Freddie Hubbard's chestral sections are isolated in the studio pared as an additive to harden and convert trumpet, and both feats are performed with and usually recorded with a minimum of pure vinyl resin into an Improved medium deceptive ease and a warm, full-bodied sound. echo. A sound's final trajectory becomes firmly for preserving delicate sound impreSSions, and The Horace Parlan trio provides rhythm back­ established only during remiXing, which is Stereo Workshop' presslngs were shipped for ing, with the leader on piano, George Tucker, alleged to take three times the n umber of review f rom the Los Angeles plant. Ewing bass, and drummer Al Harewood. studio hours normally required. Just how Nunn's Audiophile is another label which smoothly the engineers work is demon­ played a part in the developmen t of the new strated when trombone and reed move for­ compound, and some collectors may have Riverside Jazz: Stars: A Jazz Version Of ward from far back in the studio on the old sampled early pressings without knowing It. Kean Riverside Stereo RLP9397 Tommy Dorsey favorite Marie, terminating Since the last Fortissimo XK release, the with the extreme presence of organlike chords manufacturer has increased his list of claims This jazz version of a Broadway musical from Ken Shroyer's bass trombone and Bill and now states that pressings are free from is neatly arranged to make the nine Jazz Hood's baritone sax. internal stresses, thereby making possible Stars sound Uke fourteen ordinary players, Several playlngs are required to absorb warp free records and a product of less weight. and the trio responsible for turning the trick everything Rogers and his collaborators have An array of photographs taken by means of consists of Jimmy Heath, Ernie Wilkins and up their sleeves, and the experience is less polarized light supports this revolutionary Melba Liston. Spreading the writing chores apt to become tiresome than when echo is claim, and the stress areas in various vinyl around increases the odds In favor of a more added in the usual way. One or more in­ mixes are clearly shown. Just to make the varied trea tmen t, yet the risk of conflicting struments always remain fairly stationary in proof more binding, an early Polymax press­ viewpoints ' spoiling the whole was sUght in the middle of the stage to provide a focal ing containing some signs of stresses pictured this case. The division of labor is fairly point for all the action. Some experiments along with one of the latest, in which stress even, with both ballads and swingers being wlll prove more durable than others, but all appears to be completely vanquished. shared by all, and everyone hews to the cur­ are worth noting, especially a "swim" ell'ect Polymax is being introduced abroad, and rent jazz Une. used to switch channels with a steady stroke. demonstrations at the 1961 London Audio In fact, if the fiamboyan t Kean were ali ve Serious composers of electronic music have Festival resulted in an article in the British today, he might consider the untimely demise "Hi-Fi News." While awarding the new ma­ of the show bearing his name and forego the terial hOllors after AB listening tests and stage for a career in jazz. He would probably * 732 The Parkway, Mamaroneck, N. Y. praising its anti-Static properties, the author feel right at home and ready to take part in

54 AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com AUDIO • MARCH, 1962 55

www.americanradiohistory.comAmericanRadioHistory.Com had better abandon the precepts of the book when the trying is turned over to suell ~orn­ the stereo conversation between Blue Mitchell peten t member s of the sixteen·man stal1' as and Ernie Royal on Penny Plain, even t hough and really try. A youthful vibist from the \Vest Coast, McFarland has branched out as Phil Woods, Bob Broolmarimba to vibes and imitates Bobby 'I.'immons soloing on Moanitt'. Of more substautial nature are several clarinet pas 'ages from Art Pepper, and drummer Shelly Uanne duelling with Ramon River's congas on Teq'tila. Although Uancini drops broad stylistic hints in the di· rection of famous combos, the only influence frankly admitted is Raymond Scott's draw· ing room manner on The Powderecl Wig. As on aU Mancini's r ecordings , engineer Al Schmi tt again does the honors. Jonah Jones p robably last read an arrange­ ment when playing in the "POl'gy and Bess·' pit band nearly ten years ago. His brand of rugged individualism makes h is q uartet a one-man operation, and his success formula is melody, a variation or two, and then more melody. And once he knows the tune, tbe muted-trumpet variations could go on all nigh t. Happily, one of h is sets of Broadway s how tunes each year seems to be part of Capitol 's permanent planning. Among tbe hi ts Forg,et about . ecord wear. Play records Single ball bearing mountings: Mini­ of the past season are Ma.1,e Someone Ha.PIJY, at peak perfomlance even if they are mize lateral-vertical friction. Goo(l Glean Fun, and Hey, Look Me Over. Also reprised are a few mellowed with use, w~rped. Hear t?e entire audible range An accurately machined and treated Without d istortIOn. How? "Vith these incl uding Al·most LH,e Being In Love, and I walnut tone arm: suppresses extraneous Wish I Were In Love again. technically superior features available resonances. only in Audio Dynamics components: New type wire guide: Tone arm wire AI Hirt: Horn A-Plenty First, the ADC-l al1d ADC-2 ca rtridges can no longer exert drag on the mo\'ing ~ RCA Victar Stereo LSP2446 that give you: . system. I t moves as a unit on its own axis! Apparen til' neith er Al Hirt nor Billy May Lowest stylus mass: a mere half-milli­ Plug-in head: eaSily accommodates all stepped on the scales before and after this gram eliminates high frequency d istor­ quality cartridges. exhibition bout, as there is no listing of the tlOn and helps to provide excellent chan­ poundage lost by the two hefty gen ts. After nel separation. And now the Pritchard Pickup System. working as sparring pa rtner with so many girl By cO ~llbining the ADC-l carh·idge and vocalists, May seems happy to be back in the Unusually high compliance: at least 20 the Pritchard tone arm, a remarkable sys­ heavyweight division again, and he unwraps x 10.0 ems/dyne, delivers clean, tight bass. a dozen strenuous arrangements to give the .tom IS produced. This system tracks at trumpeter from New Orleans his most thor· f ' Both of these qualities resliit "i ll : ~/4 gram! Surely with these exclusives, it ough workout yet. No less than twenty top Hollywood studio musicians help out at the IS worth your whil e to hear superb Audio , Lowest tracking force: less than 1 gram!, event, responding to May's every request anel renders record wear and distortion ne

56 ·AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com sounds on Swing Low, Sweet Chariot. In the joint capacity of engineer and referee, John Norman treats both contestants alike and New society attracts never permits one to overpower the other.

Jo Basile: Jo Bosile's Paris Audio Fidelity Stereo AFSD5955 more than 4000 kit builders After playing attendance on a sum total of sixteen albums fo r this label, J 0 Basile re­ • turns from a grand tonr of the international scene to the city of his first success. Massed In less than 3 months strings furn out in welcome, swelling the ranks of the little bal musette ensemble which supported the leader during his travels. The home-com ing party takes place in a spaciou s Charter Membership Invitation extended to April 30, 1962 ballroom, and the sumpt uous setting is in sharp contrast to the group's plebeian be­ nnouncement of the new R' A' E Society At this writing, the first 1962 issue is being ginnings. Basile's accordion purrs contentedly among the silken strings, but he may have A has received overwhelming response. completed, and will be ready for. mailing to slipped away to a neighborhood bloc!< party Charter Membership applications from kit­ Society members soon after this advertisement to end the evening in plainer surroundings. building enthusiasts are pouring in from' every appears. Among the equipment articles are: Th e songs chosen are popular in either section of the Country. long-time kit-builders, Simplified, Modular-Type Stereo FM Tuner place, even a noble visitor from Britain new kit-builders, and will-be kit-builders are t itled Greensleeves, and include Gig'i, SO" .. £e Electronic Network Improves Any System Ciel De Pa."i8, and Melod'ie D 'Amott'!". Three as one in applauding the R' A· E Society idea New Concepts of Kit Design Monnet pieces comprise a special treat. F ull for people interested in building radio, audio, A Mono Preamp You Can Convert to Stereo advantage is taken of the extra personnel to electronic kits. The Society will help you, too, 36 Plans for High-Quality Installations increase the dimensions of t he stereo stage, to derive more enjoyment and satisfaction from and the strings acquire a romantic blool11 in In 'addition, the first 1962 issue of the Quar­ the excellen t recording. this fascinating hobby, and show you how to achieve the best performance possible from terly Journal will contain important, advance kits you build. information about 'new kits of revolutionary The Limeliters: Sing Out! design by R ' A . E Equipment, Inc. KIT ENTHUSIASTS CITE RCA Victor Stereo LSP2445 ADVANCE-TEST PANELS Bob Grossman R'A' E SOCIETY BENEFITS Elektra EKL21 5 Many letters accompanying applications cite Many comments indicate that this is one of the most original ideas ever adopted for pre-testing After a series of appearances in packed the various benefits offered by the Society as clubs and noisy auditoriums, even the inside reasons for seeking membership. Most often new products. Kits intended for kit-builders of a recording studio must seem inviting, mentioned: will now represent the kit-builders' point of Besides, ample proof already exists of the r. The R ' A· E Quarterly Journal received view, with design techniques based on kit­ explosive way audiences react when The Jj'uilders' experiences. Limeliters let fly, and examples of the sharp the greatest number of mentions as the bumor of Lou Gottlieb's introductions also only publication devoted exclusively to Before any new R · A' E kit is finalized, ten are plentiful. Apart from dispensing with kits and kit-building. (No music articles, prototypes will be first tested by an Advance­ preliminaries, the t rio sings out with ac­ no record reviews ) Test Panel comprized of 10 Society members. customed high spirits and compensates for the 2. The Advance-Test Panels excited in­ Each will receive a kit to assemble, and will omi ssion with hilarious asides directed at the report his findings to the Society. The com­ control booth of RCA's Music Center of the terest with the plan to have members pre­ World in Hollywood. One member benefiting test newly-designed R' A' E kits before pleted kit will then become his property at from quiet surroundings and excellent stereo they are marketed and, in so doing, receive no, cost to him. All members may qualify for is Glenn Yarbrough, whose tasteful solo the kits absolutely free. the Advance-Test Panels. A new Panel will be passages proceed without interference on chosen for each new kit to be pre-tested; no Everywhere I Lool. T Jds Morn'in', The LUtle 3. The Members' Roundtable and other Land, anel A Wa"ja1"ing St,'ange,', Alex departments of the Journal devoted to member will serve twice. Hassilev leads everyone back to the open members' correspondence, brought favor­ CHARTER MEMBERSHIP OFFER road on Gol den Ben, and Joy Across The able comment as an opportunity to EXTENDED TO APRIL 30, 1962 Land. exchange ideas and experiences, opinions Interviewers have quoted the Limeliters Becf\use response has been so much greater on the price of success and the strain of con­ and recommendations, to help others, and stantly singing together, an affliction which to learn from them. than anticipated, the cutoff date for Charter caused a split in The Kingston Trio. The One applicant summed it up: "This looks Membership has been extended. By sending chance to relax in the studio helps this time, like the best $1 investment I ever made." $1 for your first-year dues before April 30, but a long vacation may still seem attractive 1962, you can still become a Charter Member. to one member or another. If a sllbstitu te is R·A · E QUARTERLY JOURNAL This will entitle you to receive the quarterly ever needed, the two survivors might do well to draft a rising new star on the label which Milton B. Sleeper, noted figure in electronics issues of the Journal; to qualify for an Ad­ gave the Limeliters a start. and Chairman of the R· A· E Society, heads the vance-Test Panel; to receive advance informa­ Bob Grossman set out 011 a foil, Singing editorial staff of the Society's Journal. This tion on new R' A . E kits, and to participate in career after graduation from high school and all other activities announced in the Journal. acquired stage presence during a nine month unique publication, elaborately illustrated and stay at the Unicorn in his native Los An­ printed on fine paper, will cover new R'A'E MAIL YOUR APPLICATION NOW: geles. The twenty-year-old youth is now stereo and mono kit designs, new kit-building packing a gu itar around the circuit traveled ideas, high-quality installations from the ' Use the coupon below or your own stationery. by all folk aspirants, anel this debu t album finds him en livening t he night at the Bllddbi simplest to the most complete, recording tech­ in Oklahoma City. Dipping into an inter­ niques, and maintenance and testing methods, national bog of folk material, he keeps the with articles on improving reproduction from ....·Il' ...... R·A · E SOCIETY populace alternately enthralled and en­ records, tape, multiplex ' FM, and TV sound. (sponsored by R·A,. E thusiastic enough to indulge in group par­ Equipment, Inc.) ticipation. Attesting to his versatility are The Journal will include an "I Think" de­ I Central Bank Building such diverse items as Viva La Qttnice Brigad(" partment where members will air their ideas Great Barrington, Mass. Vayiven Uziaht', and Bilked And Scon,ed. No as to what they would like or don't like in Yes, 1 want to participate in the R·A·E Society's stereo version is available, but Grossman will kit designs, circuits, and methods of assembly. activities. I enclose $1 as my Charter Memb,er­ be heard from ngain and again. "Notes and Comments" will contain news and ship dues for one year. I understand that 1 will receive a Charter Membership Card, the Q uarter­ criticism related to radio, audio, and electronics. ly Journal issues for one year, and will qualify Modesto Duran: Pachanga, Anyone? Use of the "Buy, Sell, and Swap" section will to serve on the Advance-Test Panel. World-Pacific Stereo 1414 be available to members without charge. Mariano Mores: Mexico The wide spread of authoritative, reliable Name iniormation in the Journal, planned for be­ Capitol Stereo ST10292 Street ginners as well as advanced enthusiasts, is not The atmosphere in Latin American music is so heavy with the pollen of cross-fertiliza­ available from any other source. City & Zone ",State tion that hybrids of all sorts are turning up. YOU CAN'T BUY COPIES OF THE JOURNAL I understand t.hat I am not required to purchase However, these albums come from hardy any R· A · E kits to enjoy membership privileges. stock and the incidence of foreign strains Only members of the Society will receive the I am a 0 Beginner 0 Experienced kit-builder remains relatively lo w, especially when Mo- o Advanced R'A:E Journal. The $1 annual membership UNCONDITIONAL MONEY-BACK GUARANTEE dues will entitle you to receive four issues free If I am not completely satisfied after I receive and examine my fi rst issue of the Quarterly AUDIO • MARCH, 1962 of charge as one of the benefits of membership. Joumal, my money will be refunded promptly No copies can be bought anywhere. on request. No extra charge outside the USA .

www.americanradiohistory.comAmericanRadioHistory.Com ELIMINATE ALL YOUR Now! The identical world-acknowledged desto Duran's Charanga Kings occupy the stand. The instrumentation consists simply SP EAKER DISTORTION of violins and cello, a wooden Cuban flute W ITH AN AMAZING FAIRCHILD pitched high enough to sond like a piccolo, pl us a rhythm section featuring the jawbone TRU-FI TONE components are available in of an ass and the leader's conga drum. Born EASY-TO-ASSEMBLE in Havana, Duran got his start with Gilberto Valdes orchestra, played in Mexico with Esquivel, toured seven years with Marla Antonietta Pons, and his three·count conga Ii bea t helped the original Perez Prado group introduce the mambo. After coming to the The same electro-mechanical know-how United States, he worked wIth Ertha Kitt, that for over a quarter century has estab­ Lena Horne, Herb JeffrIes, a nd set the lished FAIRCHILD as a leader in quality rhythmic pace for Harry Belafonte's first components is now available to the astute calypso album. With all these credits to look audiophile and kit builder in quality back on, Duran ventures forth as composer of controlled ready-to-assemble kits. nine of the dozen tunes, most of which move to a pachanga beat. One exception worthy of note is Sere FeUz, a lyrical and pulsating FAIRCHILD 412-1K bolero, while unother brings the chachacha to Les Baxter's Qlti.et Village. The sound of Turntable Kit DomIngo Vernier's fabulous flute obbligatos For th e astu te audiophile who dreams of repays the purchase price, and Olguita sup­ You eliminate distortion in even owning only th e finest the famous FAIRCHILD plies pert vocals. Oliver Berliner's supervIsion the most elaborate speaker system 412 is now available i n kit form . The assures sterling stereo reproduction. with a TRU-FI TONE. This easily­ FAIRCHILD 412-1 K is Mariano Mores introduces five new works from "Luces de Buenos Aires," a musical installed unit (no soldering needed) identical as its sbow whicb he presented with great success stops distortion originating in your assembled coun ­ in MexiCO City, where thIs album was reo te rpart which co rded in excellent stereo. Wbile the perform· speaker system and improves t one ances of the large chorus and orchestra may quality by a new method of back includes seem a bit theatrical, tbe leader's arrange­ locked in ments are full of surprises that break through pressure control. Satisfaction guar­ syn chronous 33 Th the shimmering surface. His touch at the anteed or your money refunded. speed, 8 lb. turntable and piano is firm, fiexible and sparkling in the N o C.O.D.'s Only $5.95, postpaid. best tango tradition. The fiery Argentine the famous exclusive FAIRCHILD Double­ rbythm gives a luminous new look to the one (Calif. residents add 24¢ sales Belt Dri ve . Comes complete with mounting outside Visitor, The Song From Moulin tax.) board. . KIT $74.95 Rouge. Assembled $95.00 Joe Harnell: The Sound Of Th e Asphalt DAVID ARDEN ENTERPRISES FAIRCHILD COMPANDER ® Jungle 4 337 FAIRMOUNT AVENUE Model 510K Kapp Medallion MST47018 SAN DIEGO 5, CALIFORNIA (4-track UST tape) Dynamic Realism in kit form ! Through the Circle 5 8B use of the No doubt record producers spend as much FAIRCHILD time looking for tags to hang on albums as they devote to preparing the contents. Names COMPANDER of popular televisIon shows fill the bill you can now splendidly, if a pact that is mutually agree­ PURCHASING add Dynamic Realism to all able can be worked out, and why a natural your disc and tape recordings. Acclaimed by like "Person to Person" was neglected still remains a mystery. Joe Harnell beat out com­ A HI-FI music and audiQ experts the COMPANDER petition before to gain the rights to "Naked restores many of the dynamic values that City," and it must have sold copies or this sequel would never see the light of day. As SYSTEM? are necessa ri ly controlled in recording or TIME PAYMENTS AVAILABLE broadcast. Can also be used as a compres­ fa: as Harnell is concerned though, the set's pl'lmary purpose is to provide swinging Up to 2 years to payl so r for ba ckground music . KIT $59.95 danceable mUSic, and fancy titles or stere~ Jim lansing* fireworks are just so much extra frosting. Altae Lansing Assembled $75.00 Electrovoice Apart from the theme and a little thing of Send Us Jensen FAIRCHILD 440-2K flarnell's called Midnight Madne88, t he tunes Hartley' are all standards accustomed to both country University club life and the urban scene. Harnell's ar­ Your List Of Acoustic Research Turntable Kit rangements deserve to be classed with those Jansze" This Fairchild single-belt drive, two-speed Wharfedale of Nelson Riddle and Gordon Jenkins, and his USL Citizen Band turntable, 33 \13 and piano passages are smartly styled. While sec­ Components Gonser. Hallicrafter 45 rpm ., has per­ tions of the large orchestra are at liberty to Texas Crystals leap about in stereo, the beat always remains Conce~one. Viking formance charac­ within reach. Dancers can sail forth with For A Bell. G.E . teristics similar to this tape confident that it wlll not become Waathers too spectacular for comfort. Harman-Korda" the famou s FAIR­ Package Eico • Pilot. TEC CHILD 412. This Sherwood" ESL • Frazier robustly designed FAIRCHILD 440-2K kit MONO Superscope with fast speed change, accurate speed Quotation Dual Changer Pink Anderson: Carolina Blues Man, Vol. Bogen . Leak control through use of FAIRCHILD Spee d A/REX Dynakit • Fisher Sentinel, unusual low low rumble and prac­ 1 Prestige/ Bluesville 1038 H. H. SCali W ON'T BE Thorens· tically immeasurable wow and flutter makes The CarOlinas nurtured a goodly number of UNDERSOLD Conrae t his a desi red addition to any quality blues singers throughout the years, but this DeWald component· system. Comes complete with is the first visit paid to the area by any So';y • Roberts of the contemporary lot of folk material A II merchandise is Challenger mounting board. KIT $58.00 gatherers. Pink Anderson worked most of his brand new, factory Wollenoak Assembled $69.95 life as a mediCi ne show entertainer, traveling frc::; h & ~l1aran t ee(L Garrard. Norelco fo r thirty years with Dr. Kerr to help peddle f ree HI·f l Catalog Miracord Glaser-Steers All these FAIRCHILD KITS are available miraculous cures put out by the Indian Rek-O-Kut at your audio dealer. Write for com ­ Remedy Company. Seasons when the show C9m ponents was off the road, he sang ru ral blues and Tandberg" plete details. played guitar with a trio around his home AIREX Fairchild in Spartanburg, until heart trouble finally Pickering • Gray Audio Tape put an end to outsIde activities a year or so Magnecord* ago. Now in bis sixtY'second year, Anderson RADIO Rockford Cabinets FAIRCHILD can look at the blues with a dispassionate RECORDING EQUIPMENT CORPORATION eye, and the ten here are sung with a de­ CORPORATION Artiz?;Ui~,*~~~': tached and reflective air. Perhaps the virtues 8S-A MCortlan"tSt• • N. Y. 7. WO 4-1820 10·40 45th Ave., Long Island City I, N. Y. of understatement were learned in t he tent Circle 5SA shows, where the next act always promises to Circle 5SC

58 AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com be better tban the last and perfor mers leave Evening. The interlude should prove pleas­ selling to the doctor in charge. trumpet solo, and the feat should also clear ant enough to stir up quite a few requests liP any doubts about his command of the According to another theory, the t rait is that Tate make the change more often. Each horn. . regional and helps distinguish t he local member carries his own weight on Sajm, Also attempted in one take is an expression product from less temperate outpourings and the trip across the veldt is much like of the emotions indicated in the title D espair usually heard t o the sout hwest. Supporting the ones Jaan Tizol used to plan for Duke T o Hope, an exercise inspired during attend­ this claim is the in fi uence of Blind Boy Fuller, Ellington. ance at a Joh n Cage concert. Actually, the who was the first residen t of the Carolina Heading the quintet not only gives Hopkins music is much easier to take than the hill countr y t o r ecord with a n y success. But a chance to work his balladic wiles, but his analysis E llis gives on the liner, and think­ Fuller had a bass voice, unlike most blues pianistic strength as an accompanist is more ing of it Simply as a slow blues in which the singers, a nd it must have shaped his style, evident than during the days when he was tempos become brighter helps a lot. Ellis as little restraint shows in the falsetto of leading a big band. He always makes his introduces a new partner in Al FranCiS, whose Sonny Terry, another native son and early presence felt, whether by politely nudging the recorded debu t on vibes reveals a fresh pupil. Thanks t o the efforts of two adven­ others along or swinging out at will on I sounding voice, a nd the newest thing in fresh turers with a tape recorder, producers Sam Apologize, I Surrender Dear, and his own r hythm is represented by Jaki Byard, piano, Charters aud Ken Goldstein, blues collectors familiar I WouZd Do Anything For You. Ron Carter, bass, and drummer Charile can wor l< ou t their own solu tion while listen­ Persip. ing to Anderson sing four pieces associated Don Ellis: New Ideas with F uller. Presti ge/ New Jazz 8257 It was only a question of time before some Jim Copp and Ed Brown: East of Flum­ hapless record company came a cropper for diddle Playhouse 404 Claude Hopkins: Let's Jam the same reason that an art gallery hangs a Prestige/Swingville 2020 modern painting upside down. Everything While t he exact location of the title's seems to have gone smoothly with this latest imaginary land of bright nonsense never be­ Although new material is convenien tly sep­ Don Ellis release un til the final stages of comes known, it must be somewhere along a arated from swing standards on this album, production, then somehow the sides were route already traveled by Hans Christian some finicky listeners may hold an opposite reversed. Both the liner notes and labels are Anderson. Several of the master storyteller's view from the liner notes as to wh ich portion correct for the first master number punched tales are borrowed by Jim Copp and Ed deserves to be called the newer. Actually, on the matrix, but someone blocked out the Brown to complete this fourth annual col­ the three Cla ude H opkins originals prepared A and B deSignations and scratched new let­ lection of song and fable. Fortunate owners for the first side go back fur ther in jazz an­ ters on the wrong sides. If every collector of of earlier entries in the series are aware nals than do the swinger s on the reverse. curiosa starts ransacking retail outlets for a that considerable audio know-how goes into Basic issues are dealt with a t the very start, copy, Ellis may find this inside-out example the preparation of both original and adapted and the quintet gets down to business as Wen­ selling to an audience not reached by his material. The two collaborators call on a dell Marshall ticks off the agenda on Offbeat earlier abstract deSigns. n umber of electronic skills to account for BZues. With the prompting of d rummer Compounding the error is the fact that the ninety differen t voices, including all the in­ J . C. Heard to rely on, the bassist tells every­ first title, Natural H, was selected to show animate objects met on the way. Whenever one how to time a slow drag for t he proper how Ellis handles a familiar line like Sweet a situation calls for sound effects, some of the effect. The quest for speed seldom permits Georgia Brown. Apparently the quintet had a most reailstic noises ever to come through today's youthful wonders to work at such a few ideas leftover to use on Imitation, which loudspeakers are heard. Not only does the deliberate pace, and they might take a lesson opens the other side, as bits of the theme audio action keep young audiences quiet for in pu rity of tone a nd pertinen t phr asing from turn up during improvised solos. The trusting the moment, but it opens tender ears to the veterans J oe Thomas and B uddy Tate. Ex­ listener can hardly be blamed for jumping to imaginative use of everyday sounds. Among perience on several recent LPs has returned the same conclusion as the expert who the characters and places visited this year Thomas to top form, a nd his t rumpet sounds switched sides. If any doubts exist after this are a basso profundo lady toad, an A.W.O.L. fuller and better than ever . A surprise swit ch explanation, the next number is something French toy soldier, a one-inch maiden, a hen from tenor sax to clarinet has T ate perform­ Ellis improvised in one take at the studio. with a low I.Q., and t he castle of Tin Pan ing like a true son of New Orleans on Late It is unmistakeably an unaccompanied with its magical garden of audible frllit. .a:

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AUDIO • MARCH, 1962 59

www.americanradiohistory.comAmericanRadioHistory.Com NEW PRODUCTS a d' Arsonval t u ning' m eter, separate t one • Thin Spea ke·r Syste,m. Advanced Acous­ • 48-Watt Amplifie·r. H. H . Scott has m a de available a 48 -watt stereo a mplifie r kit. controls , b lend control, stereo indicator tics announces a new addition to the ir lights, fron t pallel headphone r eceptacle, line of B i-Phonic Coupler speaker systems. The new kit, Model LK-48, incl udes fea­ T he new u nit, called the Wafaire Bi­ tures s uch as separate bass and treble a nd a n illumina ted pushbu tton on/off Phonic Coupler, uses a new method of controls for each channel, a stereo bal­ switch. Price of the TA5000X is $299.95. constr uction which helps improve pe r ­ a n ce control, front pa nel t a pe monitor fa­ A walnut e nclosure is available for $29.95. formance while a t the same time reducing c ilities, a nd d erived cellter c hannel out­ Hannan-I{.al'don, Inc., P la invie \", Long Is ­ cost. The B i-Phonic coupler does not USe put. Although ra t ed at 24 w a tts per c han­ la nd, N. Y. C-5 cone-type speakers, but instead the wooden nel, the LK-48 is claimed to d eliver 28 panel vibrates as a single piston in an • Professional Turntable. Designed t o unbatfled arrangement. Dimensions of the solve the r umble problem highlighted b y the intr oduction of stereo broadcasting, the F a irchild Model 750 is clalmed to be the fi rst 16-in., 3-s peed, belt-driven t Ul'1l­ t able offered to the broadcast industry. R umble is - 65 db b el ow a l OOO -cps s ignal at 5 cm/ sec. Wow a nd flutte r are b elo\\' 0.03 p er cent, clearly indicating the ad­ vantages of a belt drive. 011 the other h a nd, one of t h e maln d isadvantages of the belt drive, stretching of the b elt , h ave been

watts (IHFM) at low frequellcies. For ease of construction the m a nua l shows parts in their actu al color. Parts come mounted on sepa r ate "Part-Cha rts," one for each page of the instruction book. All wires are pre-cut and pre-stripped. The kit arrives in a "Kit-Pal," cOlltainer w hich opens to form a work t able. All mechanical parts a r e riveted to the chassis at the factory. Price of the l

Wafaire are 13'hx21%.x3% . The un­ usually shallow depth of the system per­ mits it to be placed in a variety of loca­ eliminated by the u se a 2-speed synchro­ tions not ordina rily compatible to speaker nous motor. Also, speed change can b e systems. It requires only 10 watts of clean accomplis h ed while the turnta ble is re­ audio power and its impeda nce is 8 ohms . volving, a nd is sufficiently quiet to permit The Wafaire is available in mahogany, operation very close to open stUdio micr o­ oiled walnut, or lacquered walnut finish. phones. Other features include a 35-lb. Price is $69.50 individually, or $124.50 for a luminum-filled platter and a front dress­ a matched pair. Advanced Acoustics Co., ]) late for m ounting controls. Semi-auto­ Cedar Grove, N. J. C-l m atic operation is available with t h e u se of the new Fairchild '''I'hird Hand," an • Ste,reo Prea.mp. The n ew Eico Model a u tomatic attenua tor. The price of the ST-84 stereo preamp featu res distortion t urntable unit on a t op plate is $485.00, levels of 0.05 per cent or less at all levels and in a cabine t (illustrated) $550.00. F air­ of a ll functions. Styled to match the Eico child Recording Equipme nt Corp., L ong "New Look" line, its brushed cast-alumi­ will ha ndle 35 watts of program m ateria l I s land City, N. Y. C-6 n u m faceplate is gold anodized with brown and dispe rsion with the reflectors shown is accenting ban d. Input and mode selectors 180 deg. Impeda nce is 16 ohms. E ach unit • FM-Ste·r eo (Multiplex) Tuner . F eaturing each have s even positions. Switches con­ measures 20-in. x 16-in . x 6-in. Price for a front-panel s witc h for the multiplex sec­ trol low- and high-frequency filtering, the M50W is $49.95 each in u tility black or tion, the L afayette LT-700 indicates stereo equalization of 3%, and 7'h ips t a pe speeds, $54.95 finished in oiled walnut. Raven s ­ by means of a front-pane l light. The FM wood, Annapolis, Md. C-4 • FM-Ster eo Receiver. The new S ter eo Festival III by H a rma n -Kardon, Model TA5000X, is a versatile high fidelity m u sic center for the home. It f eatures separate

tape monitoring, and lou dness contour. T he unit is self -powered. Frequency re­ sponse is ± 0.3 db from 5 cps to 25,000 cps. Harmonic distortion from 20 cps to circuitry includes a low-noise front end 20,000 cps is 0.06 per cent at 2 volts ou t ­ with triode m ixer followecl by double­ p u t. Inter modulation distortion is 0.04 AM and FM tuner sections for stan dard tuned dual limiters a n d a wide band per cent at 2 volts outpu t. Tone controls broadcast reception, an integrated FM­ Foster-Seeley discriminator. Separation is p r ovide 15 db cut and boost at 50 cps and stereo adapter, two 25-watt amplifiers given as 35 d b at 400 cps and harmonic dis­ 10,000 cps. P r ice is $59.95 in kit form and (music power), and complete control fa­ tortion is less t h an 1 per cent f r om 50 cps $89.95 ready t o pla y . E ico E lectronic In­ cilities for monophonic or stereophonic to 15,000 cps. Over-all frequ ency response stru ment Co., L .I.C., N . Y. C-2 listening. The Stereo F estival I II includes is within 1 db f rom 50 cps to 15,000 cps. 60 AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com Hermon Scott faced a basic choice ... bring out his new Yes ... Hermon Scott cou ld have made the LK-48 to sell LK-48 amplifier kit at $124.95 or make it to sell for $30 less for $30 less ... but it would have mea nt compromising like many other amplifier kits. All his engineering depart­ life- lon g standards. This is something he would never do_ ment had to do was make a few compromises. You can choose any Scott kit with complete confidence The LK-48 is rated at 48 watts. By using a smaller power - the LK-48, the LK-72 80 watt complete stereo a.mplifier, supply, ordinary output transformers, and pushing the the LK-150 130 watt stereo power amplifier, the LC -21 pro­ output tubes to their limits, the ampli fier might still pro­ fessional preamplifier, the L T-110 multiplex tuner, LT-10 duce 48 watts at 1000 cycles where many amplifier kits FM tuner or t he LM -35 multiplex adaptor. These superb are rated. But measured at 20 cyc les, where Scott en­ kits have al l the features and performance you've come gineers feel power is really important, output would be to expect from the world's leadel' in audio engineering. down considerably. No compromise was made. Th e LK-48actual/y produces 28 watts per channel at 20 cycles, H.H.SCOTT and delivers full power throughout the audio range. H. H. SCOTT INC .• III Powdermill Rd .• Mayna rd, Mass. Dept. 035-03 Many kits use a one color in struction book. Hermon Scott Please rush me your new full-color brochure telli ng decided to continue to use full color to insure factory­ about Scott's full line of superb stereo kits. built performance, even at the hands of a novice_ Important Scott engineering extras like the all-alu minum Name. __ ...... _ ...... _...... _.... __ .. _ •. chassis, DC operated preamp heaters and unique hum­ null balancing could have been eliminated. Hum would Address ...... ___ ...... _. _.•• •• have been audibly hig her and distortion at levels normal City ...... Slale ...... " to many kits, but Hermon Scottfelt thatthe kit builder was entitled to the same performance he has come to expect Export: Morhan Exporting Corp., 458 Broadway, N .V.C. Canada: Atlas Radio C,?rp .. 50 Win~old Ave ., Toronto. from Scott factory-wired units_ Prices sli ghtly higher West of Rockies.

AUDIO • MARCH, 1962 61

www.americanradiohistory.comAmericanRadioHistory.Com The LT-700 is handsomely styled in cream input level drops below a preset level. This and brushed-brass finish on the front panel unit is intended for FM broadcasters, tele­ and is set In a beige-finish vinyl enclosure. vision motion pictures, and public-address Price of the LT-700 Is $124.50. Lafayette syste~s. An Audimax stereophonic adapter Radio Electroics Corp., Syosset, L. I., N. Y. is also available to provide for precise C-7 stereophonic coupling of two Audimax units. CBS Laboratories, Stamford, Conn. • Automatic Level ControL Incorporating C-8 the most recent advances In solid state and computer technology, the CBS Labora­ • lO()"Watt Complete stereo Ampll.fl.er. Ex­ tories "Audimax" automatic level control ceptionally high power and flexibility device automatically maintains maxi­ which makes it equal to many separate mum modulation or recording level. Audl­ units distinguishes the new H. H. Scott max Is offered in two models: Audlmax I Model 296. Among the features of this unit employs a "platform" concept which auto­ is the patented "Dynaural Rumble Sup­ 'matically readjusts the gain "platform" to pressor" which removes turntable or rec­ ord rumble during playback without loss

- 0 o

o of audible music. Each section delivers 60 watts IHFM from 20 cps to 20,000 cps. A a new level when the Input levels shift to variable phono level control permits pre­ a new region. This unit is intended ex­ cise matching to any phono cartridge or pecially for broadcasting, recording, and tape deck. Other features include a stereo background music systems. Audimax II selector switch, a front panel stereo head­ incorporates, in addition, a "gated gain phone output, and a derived "center chan­ amplifier" which maintains a constant gain nel" level control. H. H. Scott, Inc., May­ that bridges the program lapses when the nard, Mass. C-9 AUDIO ETC (from page 14)

2. THE AUTOMATIC ARM vertical and lateral, that must be balanced against the changing mechanical param­ A good many years ago, I decided that eters of stylus design within the cartridge eventually the phonograph arm was going itself. Right! I'm not dumb enough to by­ to get smaller and smaller, as pickup ele­ pass such considerations (out 10.lid). ments grew lighter and more delicate, un­ Nevertheless . . . the total consideration til it would somehow resolve itself into a in an arm does involve three major factors, purely automatic t racking device-a mini­ oIlly one of which is strictly a matter of changer that would eliminate the coarse engineering performance. The pickUp arm human hand altogether. Well, it's funny, is designed for people and for the home. but it hasn't happened. . Aesthetic appeal may be the last factor of For one thing (speaking superficially), importance but it's there just the same, the age-old half-inch mounting center for and permanently. And there is that even pickUp cartridges, dating back to the early more important human factor, increasingly crystal period in the 1930's, still sticks our concern these days, the cybernetics of with us today, carrying with it the neces­ the design, the human engineering. Your sity for a large "head" on the arm, its arm must be developed, you see, as part of minimum dimensions determined by the the human machine with which it will op­ need for interchangeability between car­ erate; it must be "coupled" to human en­ tridge models. There are big cartridges ergizing motions and to human thinking and small ones, but all of them toe the and habits. Since we haven't yet been able half-inch line in this particular respect­ to redesign the human arm itself, and in except for a few s.pecial models that have particular to miniaturize it, we seem to be now and then broken away, such as the more or less permanently stuck with its Pickering Uni-Poise or the Shure Studio macro-energy and its relatively coarse Dynetic. movements, as a source of motive power. Thus today virtually every arm still has If you ask me, that is really the basic a very swelled head. And a big head tends reason why we still have the big arms and to require a fairly big arm to support it, their swelled heads, though I'll admit that if only for looks. Not too many recent the geometry of the 12-in. LP record has arms have sported big heads on spindly a wee bit to do with it. "necks," though from an aesthetic point In a way, you can think of pickup arm of view the thin-tube type of arm, done designing (cartridge taken into considera­ rightly, can be handsome. tion, of course) as a kind of constant juggling of various methods of suspension Three-Way Designing and of motion, to see which one works out best at a given time, for a given set of The technicians will be screaming at me factors in relation to the unchangeable here that aesthetics come last and what human being. Remember the 6-oz. RCA counts isn't arm size at all nor even the magnetic pickups of around 1930' I used head size, but those much more vital basic one. When those beasts went into operation parameters that go along with all these ex­ via the hand the main danger was the ternals-arm mass, tracking geometry, the needle-and the danger wasn't to the sty­ assorted weights, drags and inertias, both lus. You could stab yourself 1f2-in. deep

62 AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com with no trouble at all. You could also stab itself. "Wow-what superb Bach!," they'll mine-where the last arm I used had to the record, breaking the point or digging enthnse. And all the time it was just the have a hole cut in the side of the box to holes. Once on the disc, however, the arm cartridge, doing a superb job. What else let its rear overhang out. Short, and also didn't really present much of a tracking is a cartridge for. surprisingly simple, considering the variety problem. It had to track, with all that The Grado arm takes all standard car­ of adjustments the arm provides. The arm weight, and no two ways about it, so long tridges in its tricky bottom-mounted car­ itself is made of wood (walnut, I think), as the shellac record was in one piece. tridge chassis, made of milky nylon plastic for non-resonance. The rear counterweight And then there was the first "light­ with four delicate fingers for the silver con­ is massive , and heavy, projecting only a weight" arms, along just before the war. tacts. You place it under the end of the short distance; it slides easily, with a Point pressure was reduced to an uncanny knurled knob to hold it in place for the lightness-one ounce. I evolved a standard arm and screw it tight upwards via an over­ head knob. Good system, though you can't fore-and-aft equilibrium that is the special test method for "needle" pressure in those feature of this type of arm. After mount­ days. Lift the arm by lifting the stylus see what you're doing very well, if you ever want to. (Use a dentist's mirror') ing, and inserting the cartridge of your point with the ball of a finger. If the point choice, you fil'St set this rear weight. The drew blood, the pressure was too great. If This arm is the most practical and in­ cartridge sits in mid-air, balanced. (Same it merely pricked a bit, it was all right. genious version of the increasingly popular general system on numerous other arms If you think back over this long period, dynamically balanced arm I have yet run today-Empire, SME, ESL, and so on.) you'll find the basic thinking for each de­ into. For one thing, it is small-unusually Then you proceed quickly to the side­ sign more or less as I have described it. As so. It fits right into an old changer box of wise balance: Grado uses a very simple the designer works out his formulae or fol­ lows his intuitions and brainstorms, adjust­ ing the angles, the weights and the counter­ weights, the pivots, bearings, springs, scales and, of course, the aesthetics, he must think inevitably-first get it to work with cur­ rent equipment; then get it to work with people, who are always "current;" and fi­ nally, make it pretty. This tripartite oP-" eration brings up something different each time the changing factors are lined up for a new look. Each advance in cartridge construction means a new set of readjustments or re­ designings in the arms that take the car­ tridge. Stereo, for example, produced the biggest disruption in arm design since the beginning of phonography. We aren't yet entirely recovered, after a good three years, from the fuss stirred up when vertical car­ tridge response was added to lateral. Arm after arm has appeared, or reappeared modified; type after type has been .tried; old types like the once-popular VISCOUS­ damped mono arm have been largely re­ tired, or drastically altered to meet the new needs. New sorts of arms have turned ~t ,ecording StUdt ' out to be best for stereo. A small repercussion of a typical sort t.,,\\~ ~.. comes to mind. A year or so back I got a new arm to try out-I won't name it now, having more to say about it later on. Just lately I mounted that arm in a new set-up Wor\"\~'\ theall-in-Ine oreko@ to take a brand new cartridge put out by the maker of the arm itself. Well, there was only about a year's time-lag between the two, but the new cartridge was so light in weight that the arm wouldn '~ a~just .to CONTINENTAL '400' it and proceeded to float happlly lU mId­ air! Obviously, the company had not fore­ seen its own cartridge when it designed 4-Track Stereo Tape Recorder that arm-thon~h I suspect minor changes have since taken care of the difference. I A recording studio in a suitcase - that's how Norelco '400' strapped a penny on top of the shell, to owners describe this most advanced (and most popular) self­ bring it down to earth. contained stereo tape recorder. VERSATILITY: 4-track stereo recording and playback, as well as 4-track monophonic re­ Grado cording and playback, at any of its 3 speeds. FREQUENCY And so, with these general thoughts in RE,SPONSE: at 71/z ips, 50-18,000 cps; at 3* ips, 50-14,000 mind, I turn to mention of an interesting arm I've used for these last several months cps; at 1% ips, 60-7000 cps (yes, its response at 3* ips is in my main listening system, the Grado actually equal to or wider than the response of most other arm, plus its complementary Grado ca7- machines at 71/z ips)! PROFESSIONAL EXTRAS (at no extra cost): tridge. (Bless me, I can't figure a~ thIS point which of the Grado grades thIS one mixing, monitoring, sound-on-sound facilities and the Norelco is but I think it's the best, out of three. stereo dynamic microphone. SIGNAL-TQ-NOISE RATIO: 48 db or No identification on it. Anyhow, it's small, better. wow AND FLUTTER: less than .15 % at 7Yz ips. CROSS­ strictly rectangular and a soft gold in color, with a very compliant stylus, emerging TALK: 55 db. HEAD GAP : .00012". AUDIO FACILITIES: completely from a protective rubberish guard.) self-contained, including dual recording and playback pre­ Let me talk of the arm-but I'll have to amplifiers, dual power amplifiers and two Norelco wide-range, say in passing that the Grado cartridge is stereo-matched speakers (one in the detachable lid). For com­ one of those that just plays and plays, pro­ ducing top-quality sound for me without plete specifications, write to Norelco. In the meantime, see any complicatio;ns at all. If it varies from and hear the '400'. The recording studio you can carry is now other top cartridges, it is in those micro­ available for immediate delivery. respects that fascinate hi-fi listeners ~ut tend to affect musicians in that they lIke their music the better, or praise the record­ High Fidelity Products Division ing, or the amplifier--even the performance NORTH AMERICAN PHILIPS COMPANY, INC •• 230 Duffy Avenue, Hicksville, L.I., N.Y..

AUDIO • MARCH, 1962 63

www.americanradiohistory.comAmericanRadioHistory.Com little sliding weight on a track to the rig~t of the main arm, with a setscrew. For thIS adjustment you tip the whole turntable 'way over, then balance the side·pull (now a partial down-pull) of. t~e offs~t head a~d cartridge against the sliding weIght. ~galll, same idea as in the other arms, bu thIS one is undeniably convenient and easy to ad· just. Finally, after balancing both w~ys, you turn a small knob over the arm pIvot and the third major adjustment, stylus foree, is made via a spring inside. Also similar to other arms of this general type. It would be nice if someone could devise an "absolute" seale of grams for this type of spring stylus adjustment. Bu~ that, I fear, is impossible unless all cartndges are standardized at identical weights (and all springs made to pull at a permanently standard tension, another unlikelihood) . As with other arms, you must measure your own stylus force at this stage; but Grado tries to help via one of those ubiquitous penny balances. For once, Mr. Grado be· comes imprecise, as I suppose he had to, pennies being pennies. It says "2 pennies equal 1 gram. Each additional penny equals 1 gram. 4 pennies equal 3 grams." Today's great motion pictures depend on extensive stereo techniques and BafIled by this arithmetic, I went out and effects. To achieve them, the industry turns to the one manufacturer whose dug up myoId Auda.....: stylus·force meas· products consistently meet their most critical demands-Soundcraft. The sound urer, the one with the little donut weights. No pennies, thanks. you hear in MGM (Camera 65), Todd·AO, Cinemascope and other great wide There are still other neatly designed ad· screen producions is reproduced on Soundcraft magnetic j ustments, once and for all, on this Grado products. Enjoy the same superior performance and reli· arm-I forgot an important one, a sliding motion at the cartridge mounting which ability in your own recordings. Switch to Soundcraft allows you to center the stylus tip exactly Recording Tapes now. Professional performance is the at the optimum point for best tracking. standard ... satisfaction the guarantee! Excellent idea, and it should be provided on aU general·pUl'pose arms. In use (after these preliminaries), I REEVES SOUNDCRAFTcORP. found the Grado to be cybernetically near Main Office: Great Pasture Road. Danbury. Connectic ut ideal for its type. A neat little arm rest, for instance, in the right place, with a small magnet mounted in the arm itself to hold it down. Unlike other magnetic arm rests I've tried, this one cannot bounce, a dangerous habit when the magnetic pull is SEARCHING? side,vise and unaided by mOl'e conventional If you are tracking down a technical article - holding power. This arm drops downwards in a current, or even not-so-current, issue of a into a rectanglar socket t hat just fits; the magazine - do it the easiest way with magnet merely serves to hold it lightly in place. Excellent. (But the magnet kept LECTRODEX, the original radio-electronic coming loose. I re·stuck it with rubber magazine index. In only minutf.S you can locate cement.) the subject you want, and it costs you only The other vital element in arm handling, pennies per issue of LECTRODEX. the lowly finger lift, is also exactly "right" For more than a decade, librarians, engineers here-where in so many f ancy arms it is teachers, students, researchers, hobbyists and overly complex, clumsy, fussily delicate technicians in the radio-TV-electronic fields have and/or badly placed. The simplest is really referred to LECTRODEX for information about the best, just the old-fashioned curved articles from amplifiers to zener diodes. hook, f or one fore·finger. There isn't any­ LECTRODEX covers more than twenty-five publications thing better. in the radio and electronics fields and is published bi-monthly Only one minor problem turned up, an as a cumulative index throughout the year with the 6th or las t easily repaired defect. The cartridge at issue as an Annual which may be kept as a permanent record of first produced only one channel and for all radio-electronics and related articles published that year. awhile I thought I was up against some more of those Canby gremlins. Couldn't get a peep out of the other half. It turned out to be a slight warping of the plastic can· tact fingers on the cartridge mount. Com· man enough in this sort of material and IEClRoDEX Available by subscription only: not hard to remedy with a bit of warmth. One (1) Year $3.00 - - - Two (2) Years $5.50 I think the most impressive aspect of the Grado arm, over and beyond its compact· ness and its ease of adjustment, is simply Subscription Rates : U.S. & Possessions $3.00 a feeling of security that it provides in LECTRODEX actual use. Not easy to pin down, for it is P.O. Box 629 fo r six issues; $5.50 for twelve issues; all Mineola, New York other countries $3.50 for six issues. a result of many f actors; but the over·all lightness of mass has to do with it. No Please enter my subscription for LECTRODEX. I enclose $ ...... big hUllks of metal swinging dangerously around, no long projections to snag, no for a ...... issue subscription. clumsy or over-delicate handling facilities. Name If you want a short arm, if you want in particular an arm that goes easily in a Address ...... small cabinet, a tight corner, a cramped work space, yet has "everything," this City ...... Zone...... State ...... Grado model is surely for you. 1£

64 AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com ELECTRONIC ORGAN TONE GENERATORS ([l·om page 32) 8. Alan Douglas, "Frequency division organ." AUDIO, September aud October, circuits for musical instruments." Eleo­ 1956. tronio Engineering, September, 1960. 10. R. H. Dorf, "Electronic organ uses neon tone generators." Eleotronios, August, 9. R. H. Dorf, "The Conn electronic 1958.

MFG. MO DEL GENERATOR WAVE SHAPE DI V ISIO N REMARKS

ALLE N T-44 ORGANETTE MODIFIED SINE WAVE INDIVIDUAL KEYED PLATE T- 12o , RONDO, EMPIRE HARTLEY OSC ILLATORS! O SCI LL ATORS T- 15o, b, SHERATON NOTE TC-1, TC-3, TC-4, TC- 6

BALDWIN MODELS 5A, lOA MODIFIED SAWTOOTH TRIODE 30, 45 SERIE S 5 1 HARTLEY DI VISION

CONN 621 SERENADE MODIFIED SAWTOOTH INDIVIDUAL KEYED PL ATE lIO ARTIST I HARTLEY & OSC ILL ATORS! O SCILLATO RS 8 10 CLAS SIC SINE WAVE NOTE 820 SUPER CLASSIC \ 430 } MODIFIED SAW TOOTH CONTINUOUSL Y 540 HARTLEY & RUNNING OS- SINE WAVE CILLATORS. TOP O CTAVE DERI VED BY DOUBLING.

ELECTRO - BARON \ MODIFIED SAWTO O TH NE ON TU BE VOI CE BARONE SS J HARTLEY FRE QUENCY DI V ISI O N " D" PRE-RECORDED CO MPL EX A IR ORGAN SOUNDS

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HAMMOND SELF-CONTAINED I EL ECTRO- SINE WAVE INDIVIDUAL DI STINCTIVE CHURCH ,. MECHANICAL PI CK-UP COIL HAMMO N D HOME \ FOR EACH TONE CONCERT N O TE ~~~;V OIC E l M O DIFIED SINE WAVE SEPARATE SOME TO NE HARTLEY OSC ILL ATOR S! SHAR ING SP INE T \ N O TE

KI MBALL 200 } HAR TL EY SAWTOOTH TRAN SISTO R NO POWER 205 FROM OSC ILL ATO R. 260 A IR O RG AN COMPLE X EXCITE R LAMP S 264 SOUNDS RE- AND PHOTO 265 CORDED A S I TUBES FOR 12 280 OPTI CAL TONE GENERA TO RS 285 PATTERNS ( MUST BE CAREFULLY 270 MATCHED. 275

KINSMAN ALL GROUNDED SAWTOOTH NEON 2 NEONS USED Mixers aren't new. But one that will fade PLATE FOR FREQUENCY and blend two program sources with a single HART LEY STA BILITY contro l is. That's one of the exclusive features LOWERY ALL HARTLEY SAWTOOTH TRIODE TOP NOTE IS on the new Harman-Kardon COMMAN DER Series FIRST HARMONIC of publ ic address amp lifiers. Equally unique, OF FUNDAMENTAL yet typical of the exceptional value of thi s SCHOBER CONSOLETTE 1. MODIFIED SAWTOOTH TRIODE 1. POWER TAKEN product group is an Anti-Feedback Filter which GROUNDED FROM OSCILLATOR increases sou nd output by 100% under diffi­ CONCERT 2. PLATE 2. NO POWER HARTLE Y TAKEN FROM cult acoustica l condi tions and Multip le Inputs OSC ILLATOR for still greater installation fle xibility. That's SP INET 3. NEON TUBE 3. VACUUM TUBE OS- not all ! The po pular priced COMMANDER Seri es CILLATOR REQU IRES REGU LATED 8+. TOP includes features usually reserved for co stlier NOTE COMES FROM " de luxe" equipment such as: master volume VACUUM-TUBE os- CILLATOR. control ; input for ma gnetic cartridge ; outputs for tape recorder, booster amplifiers and both 25 and 70 volt speaker lines; locking covers; TABL E. 2. Characte ristics of typical tone g e nerators. DC on fi laments of hi -gain sta ges, etc. Get all the facts now. Write Commercia l Sound Divi­ amplifier (not visible) and the S-3000 TH IS MONTH'S COVER III FM-ster eo tuner (with multiplex ) sion, Harman-Kardon, Plainview, LI., N.Y. The owner of this system, Mr. Francis Telefunken M97 stereo t ape recorder Colaguori, has combined his two major in­ Weathers K803 professional turntable r------, terests, art and music, in an unusually in­ and pickup system I Se nd f ree d etailed catalogs: De sk 38 I genious manner. A resident of West Long Jensen TRJOU speaker system (one on I Nam e I Branch, N. J., Mr. Colaguori constructed a pole, the other is out of the picture "picture wall" with the paintings function­ area) I Addr ess 01 ing as do~rs for the compartments in which Another interesting idea r evealed by the I City State ~ I the high-fidelity components are mounted. photograph is the use of egg separators 011 He used the following components in his the surface behind the "wall." We nnder­ system: . stand they work beautifully as sound ab­ kardon Sherwood S-4400 preamp, S-360 basic sorbers and diffusers. . ;f""f'" ~I AUDIO • MARCH , 1'962 65

www.americanradiohistory.comAmericanRadioHistory.Com HAROLD LAWRENCE On French Opera, Not Crand

ECTOR BERLIOZ called it "music for style that consistently avoided pretentious­ pastry cooks and dressmakers." Theo­ ness- it was sentimental but never pa­ Hphile Gautier contemptuously dis· tlletic; its humor was down to earth, not missed it as "that wretched bastard form epic; and philosophical overtones were composed of two incompatible elements, conspicuously absent. Looking over some in which the actors excuse their bad act­ of the operas comiques of the period, one ing by saying that they are singers, and is struck by the fact that there is very sing out of tune on the plea that they are little real development of musical or lit­ actors." erary ideas. Each theme (or should we say, The target of these and other attacks by tune) appears briefly and, with a pretty 19th-century composers and literary figures curtsy-cadence, makes way f or the next; was the "opera comique," a peculiarly as for the personages, they are shallow, French institution that is often neither stereotyped creations. The storms and pas­ operatic nor comic. sions of Zampa, for example, with its Technically speaking, opera comique is Weber-like string writing and noisy cli­ opera with spoken dialogue. The form had maxes, are not to be taken too seriously. its roots in the "vaudeville" and "piece a Nevertheless, there is much to be admired ariettes" of the early eighteenth century, from a purely musical viewpoint. A lively, its modern counterpart being the satirical boulevardier spirit animates the melodic review. Everything not specifically banned line of an Aubel' score; Boieldieu's orches­ by the Court was fair game in these short tration is often a model of clarity and full plays with music: topical events, fashions, of piquant effects; and one finds numerous For information, write Department Me 12 the nouveaux riches, and celebrated per­ examples of elegant vocal and instrumental Circle 66A sonalities (Cardinal Mazarin was the butt writing in the works of Adam and Herold. of numerous satires, which acquired the Today's musical public is familiar with generic title of Mazarinades). From the the operas comiques of these composers start, opera comique, like the gay inter­ only through a handful of overtures which mezzi inserted between the acts of serious are included in "pops" concert programs. Italian operas, was essentially a popular The near-total disappearance f rom the entertainment, quite apart from the opera repertoire of this large body of music con­ of the "grand" variety, which sets mytho­ b'asts dramatically with the enormous and logical and historical subjects to appro­ extended popularity which many of these priately dignified music. works enjoyed during their day. Within The French, who maintain separate two years after its premiere, Herold's though unequal facilities for their two Zampa (1831) was performed in a dozen branches of the musico-clramatic art, tra­ opera houses throughout Europe and in ditionally enveloped the Opera in an aura Moscow and New York; Boieldieu's La of superiority. Composers for the stage re­ Dame Blanche (1825) reached the 1000- garded the Opera as their ultimate goal. mark at age forty; and many others ran ]]ven the most successful opera-comique over a hundred performances. Berlioz, con­ masters longed to penetrate the confines of fronted with defeat and frustration in his the Opera, where fluff and frivolity were operatic career, reacted with cold fury spurned and noble music and high-toned over the easy success of the opera-comique libretti enshrined. The Opera-Comique was composers, although he was fair enough t o to the Opera what the Broadway musical credit some of them with originality and theatre is to the Metropolitan Opera House. craftsmanship in orchestration. Opera comique was the rage of Paris I n recent years, quite a number of lesser during the years between the Restoration known 18th- and 19th-century operas have and the decline of the Second Empire. In been revived, either in stage or concert keeping with the growth of Romanticism, versions. As might have been expected, the it had lost much of the intimacy and sa­ majority of these revivals have consisted tirical bite of pre-Revolutionary times, of obscure works by famous composers, not turning more and more to the typical melo­ always a guarantee of high musical qual­ dramatic concoctions of the period and ity; e.g., Bellini's Il Pirata. But this op­ straying far from home for its subject eratic archaeology has unearthed some fine material. Sir Walter Scott's novels were music, such as Rossini's Turco in Italia widely adapted by opera-comique libret­ and Paisiello's Barber of Seville. tists, and, as early as 1797, Cherubini set Mid-19th-century opem comique, how­ the tragic and gruesome story of Medea to ever, like Swiss wine, does not export well. music. The orchestra increased in size from Do not blame it on the librettists. Eugene 40 players in 1790 to 70 some fifty years Scribe, who wrote nearly all of Auber's later. Despite this rapprochement in text books, was one of the foremost dramatic and scope between the Opera Comique and writers of his day. What of the music' Of the Opera, the former generally retained minor significance in the history of opera, Circle 66B in approach and execution a lightness of light in content and treatment, designed

66 AUDIO • MARCH, 1962

I \ www.americanradiohistory.comAmericanRadioHistory.Com to "'epater les bourgeois" (to delight the average Parisian audience)-hardly an un­ qualified recommendation. Yet, if Fra FREQUENCY RESPONSE Diavolo is representative of the opem comique style of the mid-1800's, it would (from page 28) bt' a pity to banish such music forever. What Rossini wrote of Auber could also rise time--that is to say that it takes apply to the best works of the leading zero time for the voltage to rise from composers in this carefree genre : "H e may its zero level to maximum. However, Fig. 8. Circuit with high-frequency rolloff. have produced light music, but he pro­ when a square-wave signal is sent duced it like a great musician." lE defined as the time it takes the signal through an amplifier it will be found to rise from 10 to 90 per cent of its final that a finite amount of time will elapse value. The passage of time is shown as from the instant the rise starts until the t2 - t l in the drawing. peak output voltage is reached. This is J ust what the relationship is between due to limited bandwith. This passage of rise time and the upper frequency limit LIGHT LISTENING time can be defined as the rise time. can be determined from Fig. 8. We can Actually, the rise time is conventionally see that the upper frequencies are (from page 10)

Living Strings: South of the Border RCA Camden CAS 682 AUDIBLYSUPERIOR .. We learn In this release that a "Living Strings" orchestra can be assembled in Mexico just as easily as one in England. This low­ priced series (It is listed at a national fi gure of $2.98) has featured some exceptionally fine • , . TRANSIENT RESPONSE - Unique low inertial single metal performances in the past. Chucho Zarzosa up­ diaphragm system re sults in superior transient response and holds the habit as he conducts, in an up-to­ crystal clear definition at highest levels. Especially obvious when date Mexican studio, his own arrangements record ing cymbals, trumpets or piano. of F"enesi, Besame Mucho, P oinciana and other Hemisphere favorites. There isn't a trace of boredom in the playing of these musi­ cians. They behave as though a sizeable break had come their way in the form of an appear­ • •• FREQUENCY RESPONSE - AT LAST, a condenser microphone ance on a major American label. The quality of the sound In this release is just about on WITHOUT high frequen cy peaks. Piano and voi ce are reproduced a par with so-so stereo discs selling at regular without shrillness. prices. Definitely recommended for "budgeted" background listening.

Norman Luboff: Sing! It's Good For You • .. LACK OF 0 ISTORTION - Significantly lower distortion, never RCA Victor lSP 2475 exceeding 0.3% at sound pressure levels to 115dB above 0.0002 microbar. Impossi bl e to overload conden ser capsule. Is the Norman Luboff choir being groomed for sing-along releases? Luboff's previous re­ cordings on this label stressed arrangements that highligh ted the virtuOSity of the choir. Now we find the chorus occupied with a • • . FRONT-TO·BACK RATIO -Highest wideband rejection over roster of tunes designed to stimulate listener participation. The mood is resolutely cheerful the important midrange; at least 26dB. Since directional patterns throughout a lineup that ranges from a Latin­ are varied acou stically rather than electrically, frequency and paced Happy Days A,'e Here Again to swing­ sensitivity characterist ics are not distu rbed. ing versions of I Got Plenty 0 Nuttin' and It's a Good D ay. Listener s who object to the amount of reverberation found in some of the more famous sing-along albums that have been dominating the market will find UNEQUALLEO PERFORMANCE GREATEST VERSAtILITY little fault with the trace of echo that is suggested in this disc. The un ique feature that makes Schoeps microphones are avail­ Schoeps microphones superior to able in two serie s. The eM 60 ail others is its patented single series uses a standard 6AU6 More Yves Montand metal diaphragm con struction . Pat­ plug-in tube. The smaller M221B Columbia WS 380 tern switching is achieved by alter­ series (illu strated) features a Yves Montand has been a Parisian music ing the acoustic chambers behind number of interchangeable con­ hall favorite for nearly two decades but his masculine singing style didn't become a major the diaphragm. Thi s system guar­ den ser capsules. A full range of attraction on domestic recordings until he antees not only a smoother high accessories, including a unique made his first American movie. Releases by frequency re sponse but aI so a MS stereo adapter, makes Montand on French labels first began to catch higher front-to-b ack di scrimin at ion Schoeps the mo st versatile on among collectors in this country during the Fifties when singers such as Edith Piaf, in the cardioid pattern. microphone in the world. Patachou, and Jacqueline Francois were dem­ onstrating that Chevalier was not the only French vocal star of our generation. The turn­ Schoeps is the onl y condenser microphone approved for use by Ing point in Montand's career was the one­ man song and dance show he brought to New the entire Fren ch radio and television broadcasting system. York in 1959, only to discover that the gravel Actual Size in his voice could also he t u rned to American gold. In his latest Columbia release, a small COMPARE THE SCHOEPS combo accompanies MOIitand in one of his typ­ You are cordially invite d to try the Schoeps mic rophon e on location ical displays of versatility. There is more than or in your own studio. We are confid ent th at you will find the one echo of European music halls in The Bilbao Song from Kurt Weill's forgotten show Scho eps system va stly superior to any conden ser mi crophone. "Happy E nd." A novelty with an oriental Write or phon e for a demon stration. literature is available on theme, From Shanghai to Bangkok, brings in reque st. the tinkle of temple bells and at least one recen t movie is recalled in the theme from "Goodbye Again." That new woofer may carry INTERNATIONAL ELECTROACOUSTICS INCORPORATED more conviction to the distaff side of the family with this release. 1G 333 SIXTH AVENUE NEW YORK 14, N. Y. 212 WA 9·8364

AUDIO • MARCH, 1962 67

www.americanradiohistory.comAmericanRadioHistory.Com "the hest of AU 0 10" No. 124 No. 120 A new compendium of AUDIO knowledge. THE 4th AUDIO ANTHOLOGY Here is a collection of the best of AUDIO-The AUDIOclinic by Joseph Giovanelli ... noted audio engineer and the o!'iginal $2.95 Postpaid high fidelity answer-man-EQUIPMENT PR.OFILES edIted .by This is the biggest Audio Anthology everl C. G. McProud ... Editor of AUDIO. Here IS a wealth of hI-fi and audio information. Answers to the most important issues Contains a wealth of essential high fidelity in high fidelity and a valuable reference on the performance of know-how in 144 pages of complete arti­ leading makes of high fidelity components. Volume I $2.00 cles by world-famous authors.

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No. 115 No.112 McPROUD HIGH FIDELITY OMNIBOOK TAPE RECORDERS AND TAPE RECORDING Prepared and edited by C. G. McProud, by Harold D. Weiler publisher of Audio and noted authority and pioneer in the field of high fidelity. Contains a wealth of ideas, how to's, A complete book on borne recording by the author of what to's .and when to's, written so High Fidelity Simplified. Easy to read and learn the plainly that both engineer and layman techniques required for professional results with home can appreciate its valuable context. recorders. Covers room acoustics, microphone techniques, Covers planning, problems with decora­ sound elIects, editing and splicing, etc. Invaluable to reo tion, cabinets and building hi-fi furni­ cording enthusiasts. Paper Cover $2.95 Postpaid. ture. A perfect guide. $2.50 Postpaid.

Save over 50% with this collection of AUDIO books. by Edgar M. Villchut 4th Audio Anthology ($2.95) McProud High Fidelity MONTHLY Omnibook ($2.50) best of AUDIO ($2.00) Tape Right up to date, a complete course on Recorders & Tape Recording ($2.95) sound reproduction. Covers everything SPECIAL! Irnm the basic elements to individual TOTAL VALUE OF ALL FOUR BOOKS $10.40 chapt.rs of each of the important com· ponents of a high fidelity system. $3.75 Postpaid. SAVE Your cost ONLY $5.00 POSTPAID This offer expires March 3 I, 1962 SPECIAL! You pay only $2.75 for this $5.40 Good only on direct order to Publisher book when you order it wHh any other CIRCLE 05200

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www.americanradiohistory.comAmericanRadioHistory.Com limited by some configtu'ation (s) similar The time requu'ed for the voltage to to that shown. Here, the capacitor at rise from 10 to 90 per cent of f ull value the output results in a rolloff. The fre­ is the difference between Eq. (16) and quency at which the gain is down 3 db (17) . is 1/2JtRO. This can be seen when we consider the network as a voltage di­ Rise Time = t,. = (2.3 - .105) BO vider where 1 = 2.2 == 2.2 ( for w =~) w 2Jt/ RO eout = jwO 1 eill R + l/jwO j wRO + 1 The frequency where the response I S down 3 db is then: The output is 3 db down when the de­ nominator is equal to 1 + j, or jwRO = j. 2.2 0.35 f= - =- Eq. (18) 1 1 2Jtt,. t,. w=ROandf = 2JtRO Eq. (12) Equation (18) will yield the 3-db point N ow assume that the leading edge of a for frequency response at the high end. square wave enters the network shown This equation will give the 3-db point in Fig. 8, causing the capacitor to charge from actual measurement, whereas Eq. gradually. The equation for this network (12) will give the point from component is calculations. ei= V c + V R Eq. (1 3 ) Unfortunately, the rise-time measure­ ment cannot be readily made on all oscil­ but Vc=~ J iclt and VR= 'iR loscopes found in the average labora­ tory : it must be made on scopes in which the horizontal axis has been calibrated therefore e'i = ~ Jiclt + iR Eq. (14) in tiIne. Only on these more expensive types of equipment can this test be made A solution1 to this equation is accurately. Eq. (15) While on the topic of 'scopes and square waves, it should be noted that not You can assemble t his new Schober Spinet Organ for $550 where eo is the instantaneous voltage all oscilloscopes are capable of properly - or half the cost of comparable instru· across the capacitor at any moment of r eproducing square waves. Wide-band ments you have seen in stores. The job is time after the leading edge of the pulse d.c. 'scopes best suit the task of observ­ simplicity itself because clear, detailed step­ has been applied, E is the final voltage ing all kinds of square-wave responses. by-step instructions tell you exactly what after an infinite time, and { is a constant to do. And you can assemble it in as little as 50 hours_ equal to 2.72. We can now find the time M easuri ng Preamplifiers Yo u will ex perience the thrill and satisfac­ it takes for the voltage to rise f rom 10 to tion of watching a beautiful musical instru­ 90 per cent of its fin al value. In general, the test procedure and ment take shape under your hands. The new For convenience, let us assume that E setup for meastu'ing a preamplifier is Schober El ect ronic Sp inet sounds just like identical to that shown in Fig. 4 One a big concert-size organ - with two key­ in EiJ.. (15), the final voltage across the boards, thirteen pedals and magnificent capacitor, is 1. At the 90 per cent por­ important exception must be considered. pipe organ tone. Yet it's small enough (only tion of the final voltage, eo must be equal A 16-ohm load has been placed at the 38 inches wide) to f it into the most limited to 0.9. Substituting these into Eq. (1 5), output of the power amplifier. This is living space_ an extremely low impedance. Any nor­ You can learn to play your spinet with 0.9 = 1 (1- (-t i RO) mal capacitance due to instruments, such astou nding ease. From the very first day you wil l transform simple tunes into deeply + 0.1 =+ { -ti RO as the a.c. voltmeter, oscilloscope, distor­ satisfying musical experi ences. Then, for tion analyzer, and so on, is negligible. the rest of your life, you will realize one of Putting this into logarithmic form gives The output of a preamplifier is usually life's rarest pleasures - the joy of creat ing your own music. log{O.l = - tiRO high impedance. The capacitance due to - RO log,O .l = t = 2.3RO log 100.1 the instruments as well as the connecting For free details on all Schober Organs, leads may have a considerable effect on mail the coupon now. No salesman will call. (for log, = 2.3log10) t=-2.3RO(-1.0) =2.3RG the frequency r esponse. For this reason THE [jJ~ @~ CORPORATION Eq. (16) all instruments not actually involved in the test should be disconnected. The con­ 4 3 W e st 61st Street, Ne w York 23, N. Y. The time that it takes the voltage to necting leads should be made of low-im­ Also av ailable in Canada and Aust ra lia. reach 10 pel' cent of its fin al value, can be pedance single-conductor shielded cable, MAIL .THIS COUPON TODAY found by substituting 0.1 for eo in Eq. and kept as short as practicahle. r------:-----, The Schober O rgan CorporatIon I (15) . Frequency r esponse is an extremely I Dept. AE 7 I I 43 We st 615t Street 0. 1 = 1 (1- (-t iRO ) important characteristic of an amplifier New York 23, New York I but it should be considered in its true .I 0 Please send m e FREE booklet and other I + 0.9 = + { _ t iRO I' literatu re o n the Schober Organs. perspective. Just as a wide frequency 0 Pl ease send m e the Hi-Fi demonstr at ion I Putting this into logarithmic form gives I record . I enc lose $2 w h ich is refundable I response does not necessarily indicate an I w hen I o rder my f irst kit. log{0.9 = - t/RO excellent unit, a liInited bandwidth does I I - RO log,0.9 = t =- 2.3RO lOg100.9 not necessarily indicate a poor amplifier. I Name ... .. -• . . _ . ...• .. .. .•• - _ •..•.. - I t = - 2.3RO (-1 + .9542 ) = 0.105RO Either extreme can be a detriment as I I I Address . . ... -- - - .... . - • - . . . - ... - .. -- I Eq. (17) well as a benefit. A good design involves all factors and the best compromise is IL ______City . .· ...... Zone ... State...... _ J 1 See Appendix. achieved only after everything involved

AUDIO • MARCH, 1962 69

www.americanradiohistory.comAmericanRadioHistory.Com in proper audio reproduction is consid­

a new High Fidelity APPENDIX Rat .. : 10¢ per wMI per In sertion for nOll""" ,,,111 Id,orthl" •• ts; 25¢ p. r word for com ....l al ad..,· HEADPHONE Repeating Eq. (14) : tlle • • Dts. Rat.. arl net, and no dl,_nb will N all owed. Copy malt bl atcompaDled by rIIIlttuM ID fi n. and malt r.acb the New York ofht ., til. iR +~ fidt=e ft rst 01 t he month pr. cedlng t hl dati of la l ..

The complete solution involves both the steady state and the transient solution. The HIGH FIDELITY SPEAKERS REPAIRED AMPRITE SPEAKER SERVICE force-free tra nsient solution can be found 168 W. 23rd St., New York 11, N. Y. CH 3-4812 by setting e = 0, resulting in: ENJOY PLEASANT SURPRISES? Then f idt=O Eq. (14A) write us before you purchase any hi-fl. You'll iR+~ be glad you did. Unusual savin~s . Key Elec­ troniCS, 120 Liberty St., New York 6, N. Y. Assume i = AeP' Eq. (14B ) CLoverdale 8-4288. as a solution to Eq. (14A) . Substituting LOW, LOW quotes: stereo tapes, compo­ gives: nents, recorders, HIFI, Roslyn 4, Pa.

iR + AeP' = 0 PROFESSIONAL RECONDITIONING all ~ f audio and recording equipment. Low prices on components with service. Best trade-in deal in the country. Dick Simms, Audio Trading Post, Available in both monaural a nd stereo types, in a iR + ~p AeP' = 0 Inc., 58 W. 48th Street, New York 36, N. Y. large va riety of impedances, this new addition to JUdson 2-2356. 2nd floor. the world re nowned PERMOFLU X dynamic head­ p, phones combines all desirable fea rures iR+ ~p=O (for i=Ae ) LEARN WHILE ASLEEP. Hypnotize with High sensitivity and smooth flat fre- your recorder, phonograph, or amazing new * "Electronic Educator" endless tape recorder. quency response Astonishiug details, sensational catalogue * Rugged sturdy construction i (R + ~p) =0 FREE. SleeJ;l-Learning Research ASSOCiation, * Close coupling to ears Box 24-AD, Olympia, Washingtou. * Soft comfortable earcushions (washable) Solving for p results in At popular prices SALE ITEMS. Bulk tapes-component * 1 quotes. Bayla, Box 131-0, Wantagh, N. Y. With or w ithout boom mounted microphones. p=- RO Recommended for language labora tories, a udio­ 15-INCH STEPHENS WOOFER, Model phile, studios. Substituting this into Eq. (14B) leaves as 105-LX. All die cast frame, 2%-pound magnet, the solution for i 2-inch V. C. 20 watts. $35.00 or trade for Write lor lurther details. University HF-206 super-tweeter. Terry Mc­ i=Ae- tIRC Eq. (140 ) Connell, 1101 Kalamazoo Aveuue, Petoskey, PERMOFLUX CORPORATION Mich. P.O. Box 1449, Glendale, California At the start of the impulse, all the cur­ Circle 70A rent is across R_ The current through the MAGNECORDS FOR SALE. Several differ­ resistor at this instant is EjR. Writing this ent professional models newly reconditioned. a lgebraically Send for list. Audio Specialties, Box 1220 ~ San Antonio 12, Texas. i= Ae- oIIW =A(l) = EjR WANTED: Two Marantz electronic cross­ So that Eq. (140) becomes overs. Age, condition, price in reply. Meyer, YOU Box 586, W. Hyattsville, Maryland. Eq. (14D) FOR SALE: Slightly used Roberts 144 DPA The steady-state solution for this is i = 0, deck, $435.00; Altec Lansing model 830A SAVE Laguna speaker system, mahogany, make of­ the transient solution for the voltage across fer; Bell T-238 deck, $235.60; TA-230 HK the capacitor is: stereo amplifier, AM-FM tuner, $195.00; VM 722 tape recorder and model 168 speaker­ amplifier used once, full warranty, $275.00; eo f e- IIRCdt ( for i e- tlRO ) two ALC-1 JFD bookshelf mahogany speakers, MONEY! =~ ~ =~ pair $75.00; Stephen Leberer, 2232 South Clermont St., Denver 22, Colorado. E IIRO RUSH US YOUR eo = OR [- RO] e- + Ee- tiRO + A FOR SALE : REL 646C FM receiver, perfect condition, $185.00. Shure StudiO Dynetic 16- Eq. (14E) inch reproducer with N21D stylus, $45.00. LIST OF HI- FI W. Torgeson, 6425 12th Avenue South, Min­ When t = 0, eo = O. At this time. Eq. (14E) neapolis 23, Minn. becomes COM PO NE NTS o =_Ee-DIRO +A = E +A U47 NEUMANN (Telefunken) OWNERS : or A=E Tight vocal pickup with no blast or thump on FOR A SP ECIAL "p," "th," or "b" sounds- no wind noise out· Substituting this into Eq. (14E) yields doors. $5.95 check or money order. No C.O.D.'s. Postage paid. Peter J. Helffrich, 419 QUO TATION eo =-Ee - IIRO +E W. 4th St., Bethlehem, Pa. or eo=E(l-e- IIRO ) SELL: Amplifier Corporation portable, dual­ which is Eq. (15). track tape recorder, "Magnemite" Model WRITE FOR FREE 610-TD. Like-new condition, factory over­ hauled July 13, 1961. 7%- and 3%,-lpS cap­ AUDIO DISCOUNT stans, microphone, batteries. $115.00 or high­ est offer. Captain Edward Rodgers, 2008 CATAL OC A-15 Comm. Sq. APO 271, New York, N. Y. New low prices on ampli· REK-O-KUT B-16-H turntable, net $250.00, EMPLOYMENT unopened),. $145.00. Bill Watson, 96-01 133rd fiers, tuners, tape record· Avenue, vzone Park 17, N. Y. ers, speakers, etc. NATIONAL CONSUMER MAGA­ NOW AVAILABLE: Index to record and ZINE seeks man (or woman) who knows tape reviews. Covers fourteen 1961 periodicals audio from components to consoles and including AUDIO. $1.50 postpaid. POLART, ELECTRONICS CO. can write about it intelligently. Knowl­ 20115 Goulburn St., Detroit 5, Michigan. 120 LIBERTY ST. edge of tape and tape recorders for home WANTED: Buy, Magnecord 728 recorder. NEW YORK 6, N.Y. use desirable. All correspondence con­ Sell, Concertone 505E 'h -track recorder plus KEY pair Dynaco variable-impedance microphones. fidential. Address Box CC-l, AUDIO, Walter Robinson, 1941 California St., Meun­ tain View, California. Circle 708 P. O. Box 629, Mineola, N. Y.

70 AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com !J~ Noted- ••• TOP ALLOWANCE • 1962 MUSIC INDUSTRY TRADE SHOW FOR YOUR USED COMPONENTS ASSIGNS EN'l'IRE BUILDING TO ELEC­ TRONIC PRODUCTS. For the first time ... AT in the history of the show an entire b uild­ THE FINEST OF ITS KIND ••• ing will be devoted to electronic products (. ) audio exchange Get more FM stations with the world's most and their a cces s ories. The 1962 show powerful FM Yagi Antenna systems. w ill be in New York June 24-28. Mu s ical m ercha n dise will be demonstrated a t the WHEN YOU PURCHASE To be fully informed, Hotel New Yorker w hile the N ew York Tra de Show building across the street will send 30¢ for book The Fisher FM-l00-8 h a ve five fioors of ex hibits devoted to FM-Multiplex Wide-Band Tuner "Theme And Varia­ sound reproduction equipment. tions" by L. F. B. TelePrompter Purchases Weathers_ As its with Exclusive Stereo Beacon Carini and containing first entry in the high-fidelity components Features 0.6 microvolt sensitivity, Micro Ray Tuning Indicator, Automatic switching between FM Station Directory. field, T elePrompter Corp. a nnounced the mono and stereo, MPX noise filter. - acq u~ sition of W eathers Indus tries, of Barrmgton, N. J. TelePrompter Corp. spe­ APPARATUS DEVELOPMENT CO. cia lizes in a udio-visua l and electronic com­ munica tions equipment and services. I r­ WETHERSFIELD 9, CONN . v ing B . Kahn, President of T elePrompter Circle 71C sa id tha t "Weathers fits perfectly into our plans to develop a nd m a rket a n ex­ panded line of a udio-vis ua l products. We SAVE UP TO 40% on intend to m a intain the high q ua lity of Weathers products a nd to a ugment the HI-FI COMPONENTS line with items now b eing developed in our la bora tories ." Gera ld G. Griffin, Tele­ TRADE 4 WAYS AND PACKAGES Prompter Corp. Vive-President of Ma rket­ • TRADE Hi-fi for hi-fi ing, s a id tha t they pla n to offer their • TRADE Amateur radio* for hi-fi • 15 Day Money Bock Guarantee • TRADE Hi-fi for amateur radio audio-visual equipment through dis tribu­ • TRADE Amateur radio* for amateur radio* • EASY PAY PLAN - UP TO 24 MONTHS tors a lready ha ndling Wea thers products " Includes HAM; SWL; Citizen's Band ; Test Equipment TO PAY a nd, in addition, will develop n ew outlets throughout the United Sta tes a nd a broad. AUDIO EXCHANGE EXCLUSIVES: • WE GUARANTEE WE WILL NOT BE Trade·Back Plan • New Equipment from over 100 UNDERSOLD Weathers Industries will b e opera ted as manufacturers. Used Equipment sold on 10·day un· a separa te division of the TelePrompter conditional mon ey·back guarantee .. . plus 90·day se.rv· Plea.. write for FREE return mail quotation, Corp. with Mr. Paul W eathers a s Director Ic.e warranty. Special GE credit plan. custom Instal· and wholesale catalog. Also pre-recorded tape of Engineering. lation for stereo and monaural equipment. • Hi FI calol09 on request. service laboratory. ~ Get more! Pay less when YOU trade ~ 220-U East 23rd St. at New York 10, N. Y. audio exchange For Trading info" write dept, AM . PLEASE MAIL ALL ORDERS· AND INQUIRIES TO JAMAICA 153.21 Hillside Ave., Jamaica 32, N. Y. • AXle I 7·7577 WHITE PLAIN S, N. Y. BROOKLYN, N. Y. MANHASSET, N. Y. 203 Mamaro neck Ave. 1065 flalbush Ave. 451 Pl andome Rd. Circle 71A

Specializes in SAVING YOU MONEY Y' FACTORY FRESH COMPONENTS ~ Y' LOWEST POSSIBLE QUOTATIONS SONOVOX Y' FAST DELIVERY We are FRANCHISED DEALERS for most Hi -Fi lines. Most orders SHIPPED PROMPTLY from ~ stock. RECORDING TAPE at LOWEST PRICES . FREE 95 page STEREO CATALOG. 190-A Lex. Ave., Cor. 32 St., New York 16, N. Y. Visil Our Showroom Circle 71 E CANADA Irving B. Kahn (left), President of Tele­ High Fidelity Equipment Prompter Corp., examines products of Complete Lines • Complete Service Weathers Industries, with Paul Weathers. TelePrompter h~s just announced ac- HI-Fi Records - Components and Accessories quisition of Weathers Industries. BLECTRO.:vOlCE MAGNETIC STEREO CARTRIDGE SOUND SYSTEMS SAVE YOUR modelSX-l 126 DUNDAS ST. WEST. TORONTO, CANADA COPIES OF SPECIFICATIONS Circle 71 F Responce .. .. . ··· ·············· 20- 20. 000 cps ••••••••••••••••••••••••••• Out put· ·· ·· ··· ·· .. .. 4 mV I 5 em I I. 000 Cis : ~ MAIL ORDER HI-FI ~ : Channel lsolanon . . . 20 dB 40-12.000 Cis :COMPONENTS RECORDERS TAPES: Channel Balance ...... ±0 .5dB aI 1.000 cis AUDIO Compli ance ...... 3 X 10 -6= I dyne .At wholesale prices. Shipped within 24-28e Load ReSistance .... 50-70killo ohms .hrs. We'll airmail low quotes on packaged· • Each file holds a Attractive and : Hi-fi. (Free catalogue.) : Tracking Force· ······3 gram s full year's copies. practical for your Stylus ...... ·········· ···0.7 mil Diam ond :CARSTON ~2E5YrY~iJ::,~:y.: • Jesse Jones Vol ­ home or office Welgb! ...... ················12.5gr"!'s ••••••••••••••••••••••••••• ume Files for every Circle 71C 3 for $7.00 publication. 11 111 111111 11111111111111111111111111111111 11 11111111 111111111111111111111111111 11111111111 1111111111111111 1 6 for $13.00 SONOVOX TAKE THE TIME ••• • Covered in durable to write to us and we will show you how to keep your ORDER NOW - send SONOVOX CO .• LTD leather like Kivar, 10 1 Toklwomol sucho, Shibuyoku, HI-FI COSTS LOW! check or money order T okY'~ 1~po n title embossed in 16 " ~ ...~ BRITISH EQUIPMENT - MAGAZINE FILE CO. _ Ampllfters, Tuners, Speakers, Motors, Pick-ups from the Kt gold. United Kingdom HI-FI Mall Order Specialists carefully 520 FIFTH AVENUE ·.:1 packed , Insured and shipped promptly at minimum cost. Solisfacllon guaranleed NEW YORK 36, N. ~. Y. C. C. GOODWIN (SALES) LTD. (Dept. A) 7, The Broadway, Wood Green, London N.22. England DESCRIPTIVE FOLDER 11111111\111111111111111111111"11111111111111111111111111111111111 1111 1111 111 11 1111 111111 11 1111111 111111 111 FREE UPON REQUEST Circle 71 B Circle 7tH

AUDIO • MARCH, 1962 71

www.americanradiohistory.comAmericanRadioHistory.Com ADVERTISING LAFAYETT,E INDEX STEREO HI·FI COMPO'NENTS Engineered To Professional Standards •

Acoustic Research , Inc ...... 35 Airex Radio Corporation ..•...... 58 Altec Lansing Corporation ...... Cov. II Amelux Electronics Corporation ...... 10 Apparatus Development Co...... 7 I Made in U.S.A. Arden, Da vid, Enterprises ... . . _ ...... 58 Audio Bookshelf ...... _ . . . . 68 Audio Dynamics Corporation .. . .. _ . . .. 56 LAFAYETTE LT-700 Audio Exchange ...... •....• 71 Audio Fidelity Records ...... •...... 47 Criterion FM STEREO Audio Unlimited ...... ••...•• .. .. 7 1 MULTIPLEX TUNER Be ll Telephone Laboratories ...... 18 NO MONEY DOWN 124.50 British I ndustries Corporation 3, 42, 43 Rea dy for Stereo and no Adapter Needed laboratory Standards , its exceptional sel ectivity opening a new era in stereo, the new lafayette Capitol Tape .. _ .. .. _ . . .•...... 41 and sensitivity together with drift-free AFC per­ Carston ...... •...... 71 Criterion FM Stereo Mu ltiplex Tun er is entirely forman ce insures effective reception of even self conta ined with its own built-in multiple x Cl ass if ied ...... ••... .. •... • _ ...... 70 the weakest multipl ex or monaural FM signals. facilities. Capable of achieving t he highest Dynaco, Inc ...... _ .. , . , .. .. , .. .. _.. 2 KT-250A 50-WATT INTEGRATED ~ 11 ~3r~Acci~stic· ' Pr~ d~~t; ·C~ .. : : : : : : : : :: ~~ STEREO AMPLIFIER Electronic Applications. Inc...... 52 KT-250A LA-250A Electro-Voice. Inc ...... 29, 59 Electro-Voice Sound Systems ...... 71 74.50 99.50 Empire ...... 27 in Kit Form Completely Wired Ercona Corporation ...... _ •... 55 • 3rd Channel Output • Separate Bass & Treble Controls Fairchild Recording Equipment Corp. . .. 58 • 50-Watts Monophonically - 25 Watts Each stereo Channel Fisher Radio Corporation ...... 9 • Response: 15-40,000 cps ± .5 db (at normal listening level) Pac ese tting quality, performanc e and design. Fe atures include: unique "Blend" Made co ntrol for continuously variable channel separation-from full monaural to full Garr ard Sa les Corp...... 3 in U.S.A. stereo, 4-position Selector, Mode , loudness and Phase switches. Also provides Goodwin, C. C. (Sales) Ltd ...... 71 outputs for 4, 8, and 16 ohm speakers. Hum-free operation is insured by use of Gotham Audio Corporation . .. _ ...... 48 OC on all pre-amp and tone co ntrol tubes. Individual bias and bal ance controls. Grado Laboratories, Inc...... _ . . . 62 Harmonic distortion, less than 0.25 % . 1M distortion , less than .5%. Hum and noise 77 db below full output. 14'I2"W x 12%"0 x 5112"H. Shpg . wt., 28 Ibs . Harman-Kardon ...... _ . .. . . 33, 65 Heath Company ...... ••.. . . _ .. . 36, 37 KT-600A Criterion Hi Fidelity Center ...... 71 PROFESSIONAL STEREO I nternational Electroacoustics CONTROL CENTER Incorporated ...... 67 KT-GOOA LA-GOO A 79.50 134.50 Key Electronics Company ...... _ . .... 70 In Kit Form Completely Wired • Response 5-40,000 cps ± 1 db Lafayette Radio ...... 72 • Precise "Null" Balancing System Lansing, James B., Sound, Inc ...... 39 • Bridge Control Provides Variable 3rd Channel Output • Variable Cross Channel Sil:nal Feed Eliminates Hole-In-The-Mi ddle Effects Made • Tape Head Playback Equalization for 4-Track Stereo in U.S.A. Magnetic Product s Di vision, 3M Company 5 sensitivity 2.2 mv for 1 volt out. Dual low impedance "plate followe r" outputs 1500 Multicore Sales Corp...... 66 ohms. l ess than .03% 1M distortion; less than .1% harmon ic distortion. Hum and noise 20 db below 2 volls. 14xlOo/ax4V2 " . Shpg. wI., 16 Ibs North American Phil ips Co., Inc.•. _ ... 63 KT-550 Paco Electronics Co., Inc ...... • _ ... 50 Criterion 100-WATT Permoflux Corporation ...... , •.. . 70 Pickering & Company, Inc...... _... 17 BASIC STEREO AMPLIFIER Pi lot Radio Corporation ...... 31 • Rate d at 50-Watts per Channel • Response Pi oneer Electronic Corporation . . . . •.... 15 from 2-100,000 cps; 0-1 db at l-Watt • Mas­ sive Grain Oriented Silicon Steel Transformers • Multiple Feedback Loop Design (over 50 db) RAE Soc iety ...... • ...... 57 • Metered Calibration Control Panel • Abso- Reeves Soundcraft Corp...... 64 lutely Stable Under Any Conditions of Load (.-. Rek-O- Kut Co., Inc...... 11 A new " labora tory Sta ndard" dual 50-watt ampl ifie r Roberts Electronics, Inc...... •. .... 7 guaranteed to outperform any ba sic stereo ampl ifier Rus-Lang Corp...... • . .... 66 on the market. Advanced engineering techniques plus KT-550 the finest components ensure flawless performance. Dis· tortion levels so low th ey are unmeasurab le . Hum and noise Schober Organ Corporation ...... 69 better than 90 db below 50-watts. Complete with metal en­ Scott, H. H., Inc ...... 61 134.50 1 in Kit closure. 9 /4"H x 12V2"D. Shpg. wI., 60 Ibs. Sherwood El ectronic Laboratories, Inc. .. 1 Shure Brothers, Inc...... ••. . . 53 Sonotone Corp...... 49 Sonovox Co. . Ltd...... ,...... 71 Superscope, Inc...... Cov. III UlFAYETTE RADIO, Dept. AC-2 FOR THE ASKING! P.o. Box 10 Tandberg of America, Inc...... 14 Syosset, L. I., N. Y. Thorens Division, Elpa Marketing Industries, Inc...... 6 o Send FREE 1962 Catal og featuring the complete line of I lafayette Stereo Components. , I Transis-Tronics, Inc...... •. Cov. IV I $ Enclosed ...... for Stock No ...... I I Name' ______I United Audio ...... 51 •I Address' ______I City· ______Zone __Slale ______• Weathers Industries ...... •...... 4 • Wharfedale ••...... _ . ... 42, 43 ~-,- .. -.. -,----.------! 72 AUDIO • MARCH, 1962

www.americanradiohistory.comAmericanRadioHistory.Com GOTHAM AUDIO CORPORATION, 2 W. 46 St., N. V. 36, N. V., Tel: CO 5-4111 Formerly Gotham Audio Sales Co. Inc. Exclusive United States Sales and Service Representatives for: NEUMANN, "the microphone standard of the world."

www.americanradiohistory.comAmericanRadioHistory.Com basic con.tributions to our culture I

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Johann Gutenberg of Main;,:: on the Rhin'e is credited with the inven tion of movable type, a contribution of immeasurable worth to the arts and sciences. Unmeasured sure!y, but of great significance, are the contributions to the art-science of high fidelity made by James B. Lansing Sound, Inc.: There is the four-inch voice coil with its attendant high efficiency ... th e aco ustical lens . . . the ring radiator •.. Now JBL brings you wide field stereo reprodu ction through radial refraction. This is the principle on which the magnificent JBL Ranger-Paragon and the more recent JBL Ranger-Metregon are based. Two highly efficient, full range, precision loudspeaker systems are integrated by a curved, refracting panel. You are not confined to one "best" listening spot, but can perceive al l the realistic dimensions of stereophonic reproduction at its very best throughout the listening area. The JBL Ranger-Metregon comes within the reach of all true high fidelity enthusiasts. For, no less than seven different speaker systems may be installed within this exquisitely styled, meticulously finished acoustical dual enclosure . You may start with a basic system and progressively improve it. Perhaps some of the JBL loudspeakers you already own may be used. Write for a complete descriptton of the JBL Ranger-Metregon and the name and address of the Authorized JBL Signature Audio Sp'ecialist in your community.

JAMES- B. LANSING SOUND, INC., 3249 CaSitas Ave., Los Angeles 39, Calif.

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