STEREO CARTRIDGES the latest and lightest

1 h fideli JANUARY THE MAGAZINE FOR MUSIC LISTENERS

Masters. & Matrices, Mass Production a guided tour of the stereo disc assembly line

www.americanradiohistory.com ew Beakers based on the the XP -10.

The Fisher XP -7 The Fisher XP -9

x. 20 cps Wooer: 12" free -piston; approx. 20 cps Woofer: 12" free- piston; approx. 18 cps free -air 1/2" voice free -air resonance; 11" voice coil; resonance; 2" voice coil; 6-lb. magnet ; tructure. 5' /2 -lb. magnet structure. structure. il; 1 -lb. Midrange: Two 5" cones; each with 3/4" voice Midrange: Three 5" cones; each with s/a" voice coil and 1 -lb. magnet structure. coil and t -lb magnet structure. e type; 2 -Ib. Tweeter: 11 1/2" soft-cotton dome type; 2 -Ib. Tweeter: 1,1/2" soft-cotton dome type; 21/2-lb. 000 gauss magnet structure; 15,000 gauss flux magnet structure; 17,000 gauss flux density. density. etwork with Crossover: Full 3 -way LC -type network with Crossover: Full 3 -way LC -type network with air - ver points at air -core coils; crossover points at core coils; crossover points at 300 and 300 and 2500 cps. 2500 cps. Impedance: 8 ohms Impedance: 8 ohms ge of Frequency Response: 30 cps to beyond range of Frequency Response: 28 cps to beyond range of audibility. audibility. Power Requirement: 10 watts minimum; 60 watts maximum 0 watts Power Requirement: 10 watts minimum; 60 watts (program material). material). maximum (program material). Cabinet: 24" by I4" by 12" deep; Scandinavian Jeep; Cabinet: 24" by 14" by 12" deep; walnut. Scandinavian walnut. Weight: 55 lbs. Weight: 45 lbs. Price: $199.50 Price: $139.50 CIRCLE 35 ON READER -SERVICE CARD

www.americanradiohistory.com Of course you want the Fisher XP -10. (Who doesn't ?)

But if you don't have

the space for it, don't give up yet!

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www.americanradiohistory.com Introducing three n Fisher bookshelf sp design principles ol

No loudspeaker design in recent years has caused as much excitement among high fidelity connoisseurs as the Fisher XP -10. (Audio magazine called it "truly a step forward in smoothness, transient response and musical quality. ") The superb performance of the 5- cubic -foot XP -I0 is the result of several highly sophisticated engineering features, two of i''l'i ! I. 'jr f!'11:1i'.rltl1'!P1 which are now incorporated in the new bookshelf -size Fisher systems. One is the exclusive i fi III(,,,i!,14 Fisher soft -cotton dome tweeter, whose exceptional dispersion characteristics and uniquely hill"'} . }'..'nj! '"l. smooth, resonance -free response result in the most natural -sounding treble range ever '4#41,1. v,11, achieved. The other important feature is the assignment of more than three octaves of the l .l:i .¡¡, HY1_4.} .±Ìr,+-I..(.. audible spectrum to the midrange channel, with a considerably lower -to- midrange .:I...;ii':f,f"FI1TI rtl.;i.f ..:torr: ,1 . iw1.1.1.7 crossover than is conventional. This flattens the upper bass and lower midrange , ...... , response to an unprecedented degree, completely eliminating the slightest suggestion of boxed -in 'bookshelf' sound. Thus it becomes possible to own a moderately priced bookshelf speaker whose sound is a close approximation to that of the XP-10 -which is just about the best sound there is.

._ _.: For those who must have Fisher Ji, Z^ázt-- ' iati :_s;s ';Zaiii: yy.. -si2 , a i??Tai.iï,-.=,,: iç' a._!yy+ 1 _)1.,'t,}tyt1y. 3.._._.1, - quality in an absolute minimum of space: 1.4 L _y1h t }i.i{i 1 WS,. . 11 -Y.1ÿ{` -1_ 1{_ imp. T. i{l- _.3ZI}ia the ultracompact Fisher XP -5. ÿ1: .T_.ii .:{a1{ 1 i lTt YTt . Syny.íS'12 -411/r,-i 1 M 1{ i3-a iT- 1,,a -_; iiai, -..- S S Only 20" 10" 9" ii I . 'fi 11h+ai F, }a .zz by by deep; 1:: 3'...r: iT iia }_ t Ç 8" low- resonance woofer; .ltlni III. y ii ,S_ï '1"' 1 {ÿ' _rT T%_. (({Snip , ti ij I.i:i:l:{il::; :1.Z:.:{ia ii 21/2" wide- dispersion tweeter; 1:S1{iìlìi z _._.1:1nï i _{t^1._.a : -aZ;.ak- {rráïr t § 1z5. 2000 cps crossover; 'iä{ii?}}_ìI clean response down to 38 cps; {iiraii{ír{ -}=-:{ 1 j ti ztt{-i,Z'' Z:_ . { i.. s: t s5 1a{ iï } price 554.50 in walnut. Sr - a. «ai{ T ì:.- -,t }t_IF t i Tyyi T %y1:1:1::n{tTIT" ' } -1 ri: 1: :1 a_._. i{., r'S:-;.#ír}2 ' L z {". =a--kÄZa{ aBZFa..ir v_ _:._:_-:{- Z_ 1

PLACE 4, STAMP HERE

The Fisher XP-0

Woofer: 10" free -piston; appr free -air resonance; I FISHER RADIO CORPORATION coil: 51/2-lb. magnet Midrange: 5" cone; Y." voice co magnet structure. 21 Tweeter: 111" soft-cotton dom -40 44th Drive magnet structure; 15 flux density. Crossover: Full 3 -way LC -type t air -core coils; crosso Long Island City, N. Y. 11101 300 and 2500 cps. Impedance: 8 ohms Frequency Response: 35 cps to beyond ran audibility. Power Requirement: 10 watts minimum; C maximum (program < Ú Cabinet: 23" by 13" by 1014" z Scandinavian walnut L J Weight: 35 lbs. OVERSEAS RESIDENTS PLEASE WRITE TO EISNER RADIO INTERNATIONAL, iN LONG ISLAND CITY, N Y. 11101. Price: 599.50 CANADIAN RESIDENTS WRITE TO TRI -TEL ASSOCIATES, LTD., WILLOWOALE, ONT.

www.americanradiohistory.com eexaxxxxxxx: XxExxl:xGxxM u r XXXXXXxXXXM xxxxxxxxxxX ; xxxxxlCxXxx :.[xxx:[xxX:cxxMiu xxxxx::xxxx ::Cxx1[:[xxxxxx xx1[xxxxxxx ::/xxX.t:IXXMxXM Xx1[xX.CxxXXX ::rxx:[x:cX:cxxx XXXXXXXXXXX ::C:[XxxXAxx:[XX xxxxxXxxxXX [.C:[:[XXX [xx:txX X.CX:[XXXXXXX :Ctxx:[xM [xX:[:[:[ SCxxx:C:CXXS[XM .C[.[JXXM [x:tX:t:O xxxxxX:::-XXX ::[xxxxs [3[:[XX:1 xxxxx::xxxxx ::cxxxxXxxxx ::Xi:XXXXX..1:X

The Fisher XP -10

Woo /er: 15" free- piston; approx. 16 cps free -air resonance: 2" voice coil with exclusive eddy -current damping: 6 -lb. magnet structure. Midrange: 8" cone; 11/2" voice coil; 51/2-Ib. magnet structure. Tweeter: 2" cotton. soft -dome type; 51/2-lb. magnet structure; 14.000 gauss flux density. Crossover: Full 3 -way LC -type network with air -core coils; crossover points at 200 and 2500 cps. Impedance: 8 ohms. Frequency Response: From below 28 cps to beyond range of audibility. Power Requirement: IIl watts minimum: 60 watts maximum (program material). Cabinet: 301/2" high, 24,é" wide. 14.4 deep; Scandinavian walnut. Weight: 80 lbs. Price: 5249.50

CIRCLE 35 ON READER -SERVICE CARD

JANUARY 1965 1

www.americanradiohistory.com (V -15 AME -1 ELLIPTICAL STYLUS) NATURAL SOUND BEGINS WITH PICKERING Whether you own a record changer, automatic turntable, or a professional type manual turntable Pickering has engineered the RIGHT V -15 pickup for you. Each of these applications requires a cartridge with specific characteristics and specifications to produce the maximum in NATURAL SOUND that is possible from the record playing equipment and other components in your system. If it's RECORD CHANGER application, where high output and heavier tracking forces are required try the C -1} Most of you, no doubt are tracking lighter on the late model AUTOMATIC TURNTABLES' and will use the V -15 AT -1 Or if a professional type MANUAL TURNTABLE is your choice you'll need the even more compliant 11111,41Li And if it's unexcelled tracking ability you're seeking, you will demand the ELLIPTICAL STYLUS PICKUP IZEIFAMEI All of these pickups are radically different from any other cartridge. You can see the difference. You can hear the difference. Pick up a V -15. Note its light weight -only 5 grams. Perfect for low mass tone arm systems. Now, see how Pickering's exclusive "Floating Stylus" and patented replaceable V -Guard assembly protects your record and diamond as it plays.

FOR THOSE WHO CAN HEAR THE DIFFERENCE PICKERING & CO., INC. PLAINVIEW, N.Y Pickering

THE WORLD'S LARGEST AND MOST EXPERIENCED MANUFACTURER OF MAGNETIC PICKUPS CIRCLE 57 ON READER -SERVICE CARD 2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Page 56

Page 46 high fidelity

Page 42

Music and Musicians 41. The New Conductor: an editorial 42 "A Mixture of Instinct and Intellect ": conversations on the art of conducting George Szell and Paul Henry Lang 56 The Cheerful Ghost of Eisenstadt: recording Haydn in Austria John T. McClure 22 Notes from Our Correspondents: New York, Rome, London

Sound Reproduction 37 High Fidelity Newsfronts: loudspeakers-caveat emptor Norman Eisenberg 46 Masters, Matrices, and Mass Production: record manufacture Shirley Fleming 52 Stereo Cartridges -a Status Report Albert Sterling 61 Equipment Reports Ampex Model 2070 Tape Recorder Scope /Castagna Model A Tone Arm Knight KN -999 Integrated Amplifier Acoustic Research AR -4 Speaker System

Reviews of Recordings 69 Feature Record Reviews Stravinsky: The Rake's Progress (Judith Raskin, Alexander Young, et al.; Royal Philharmonic Orchestra, Igor Stravinsky, cond.) Music from Nuremberg -Hans Sachs: Songs; selections from the Locheimer Liederbuch (Soloists; Nuremberg Gambencollegium, Josef Ulsamer, cond.) 72 Other Classical Reviews 93 The Lighter Side 97 Folk Music 101 Jazz 105 The Tape Deck

J A N U A R Y 1 9 6 5 VOLUME 15 NUMBER 1

Published monthly at Great Barrington, Mass., by The Billboard Publishing Co. Copyright 1964 by The Billboard Publishing Co. The design and contents of High Fidelity Magazine an fully protected by copyright and must not be reproduced in any m . Second -clan postage paid at Great Barrington and at odditional mailing offices. Authorized ass and -class mail by the Post Office Department Ottawa, and for payment of postage in cash. One.yeor subscription -Anywhere on Earth $7.00. e Indexed in the "Reader's Guide to Periodical literature." Change of address notices and undelivered copies (Form 3579) should be adds d to High Fidelity, Subscription Deportment, 2160 Potbrson Sue., Cincinnati, Ohio 43214.

www.americanradiohistory.com ,.n.° o..rcOs _ .. .

Ì 1 is this Tsn er.,frlr11rs1C'lits tc', & YOUR ÀtaeiLphxluction. tape collection? Cover Photo: by Roy Lindstrom

ScIluBERTtS 04FiNisHEili (UNFiNisNED) Roland Gelatt Editor in Chief

Joan Griffiths Executive Editor

Norman Eisenberg OKLAHOMA (SINS FINALE) Audio Editor

Sue Severn INTERRUPTED MELO Dy (INTERRUPTED) Managing Editor Shirley Fleming cair% of BEETHOVEN'S Fi FTH Assistant Editor H. C. Robbins London European Editor AROUND THE WORLD iN 6O DAYS Roy Lindstrom Art Director Ni GNT ON BALD MouNTAIN (g -to 10 p. M. onu-Y) Nathan Broder John M. Conly TcHAiKovsKY'S R. D. Darrell (VIZ (11, to THE CANNONS AND BELLS) Alfred Frankenstein Robert C. Marsh SINATRA SWINGS (CoNotNSEP) Contributing Editors Claire N. Eddings Director of Advertising Sales S FOUR SEASONS Cl ao OCT, 21 Vt VALDi' Walter F. Grueninger Circulation Director

Well! We should hope not . . . But, then again, if you are Warren B. Syer still buying old fashioned conventional length recording tapes, you are Publisher either wasting a lot of music or a lot of money. Let's face it; Schubert, Brahms, Beethoven and Company didn't write music to fit a reel of recording tape.

It's up to you, the recorder owner, to buy a tape that will fit the music. A D V E R T I S I N G Only American offers a complete line of Professional Length recording old fashioned conventional Main Office tapes at prices you are now paying for Claire N. Eddings, The Publishing House lengths. In fact, only American offers a selection of 45 different record- Great Barrington, Mass. 01230 Telephone: 1300 ing tapes available in lengths of 150, 250, 300, 350, 450, 500, 600, 900, 1200, 1500, 1800, 2000, 2400, 3000, 3600, 4800 and 7200 feet. New York 165 West 46th St. , New York 10036 Be up to date. Insist on American, the tape designed to fulfill your Telephone: Plaza 7 -2800 every recording need. S. Resnick, A. Sobel, A. Spanberger Chicago See your dealer or write to: Taylor /Friedman 333 N. Michigan Ave., Suite 314, Chicago 60601 ffarnatYl Telephone: 332 -7683 Jerry Taylor, Ed Larson

Los Angeles 434 So. San Vicente Blvd. Los Angeles 90048 Telephone: Olympia 2 -2100 Robert J. Friedman, Mrs. Pat Kempler GREENTREE ELECTRONICS 2135 Canyon Drive, Costo Mesa, Cal., CIRCLE 38 ON READER -SERVICE CARD

4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ALTEC ALL- TRANSISTOR VIANBICX, ri a gkiee J(l?p STEREO AMPLIFIER The Only All- Transistor Stereo Amplifier Backed by 6 Years of Leadership in Solid -State Circuitry!

"Professionals in the recording and ence made the Three Sixty possible. Over any integrated stereo amp /preamp on the Sixty is broadcasting industries know that Altec five years ago, we designed the first all -tran- market today. The Tierce priced at (the 351A) for high quality $389.00: matching cabinet $11.00 extra. has been making solid -state amplifiers for sistor amplifier applications. We also developed the first In addition to those shown below, other some time now-for professional use only. successful all- transistor repeater amplifiers studio -users of Altec PIA\'9ACI: Equipment reflects the experience The i7?/i fir // for use by telephone companies. We also were include: ABC, Universal Recordings, Colum- Alter has arhicred in making these ampli- the first to combine transistors with vacuum bia, Sam Goldwyn, Glen Glenn, United Walton, fiers." AUDIO Magazine, April, 1964 tubes in the famous 708A "Astro ". and just about every major concert hall, auditorium and theatre in the nation, includ- At a time when most amplifiers were of the y All- transistor circuitry of the Tierce Sixty ing all Cinerama Theatres. At the New York vacuum -tube type, we marketed our first all - offers greatest possible durability because, Fair, some of the exhibitors who transistor amplifier. Then, five years later, we World's unlike heat -generating vacuum tube ampli- Altec equipment include I.B.M., Du presented the Three Sixty. In the past year, selected fiers, it always runs cool. Hence, there's no Pont, Chrysler, Ford, General Electric, Heinz, it has been proved again and again by satisfied deterioration of quality caused by heating and Graham, Texas Pavilion, users. Because you asked for it, we have im- Cinerama, Billy cooling of vital circuit components. Wax, and many more. proved the styling of the instrument, making Johnson's Visit your nearest Altec Distributor (Yellow it more modern, good -looking, more conven- Three Sixty is a genuine Altec //The Pages) and hear the finest equipment in the ient to operate. PIANVACi; Component. It is part of a line world of sound: Altec PIA\6ACI.:, Equipment. that has won acceptance by leading recording Be sure to ask for your courtesy copy of Altec CHECK THESE REASONS. and broadcast studios. There's a world of PIA\1 ACI:. and Speech Input Equipment for YOU'LL SEE WHY THE difference between equipment designed for Recording and Broadcast Studios. Although SUPERIOR. and used by professionals, and ordinary hi fi ALTEC 7/?/( J%t// IS SO prepared specifically for the recording /broad- components made strictly for home use. - casting industry, the conclusions to be drawn 1 Altec's wide experience in designing solid state circuitry for audio frequencies has given You'll like the looks as well as the sound of about your own home music center will be us a lead over other companies. This experi- the Three Sixty. And, its size is smallest of obvious. Or, for free copy, write DEPT. HF1

Four extra -heavy heat sinks in Altec Three Sixty make possible continuous operation with virtually no rise in temperature. Internal-external heat is kept well below industry standards to guarantee lifetime trouble - free, service -free operation. Two power output transistors A (four per channel) on each heat sink. Modular preamplifiers are completely shielded from and power circuits to assure long life, mini- output is used by Dave Sarser's and Skitch mum maintenance. Another Altec exclusive! The Three Sixty Henderson's famous "Studio 3" in New York

AC. C -ea Perfect partners! Rack -mounted Altec Three Sixty works with Altec 314A FM Multiplex Tuner at Sim - O.Rama Recording Studio. N.J. Plug in facilities provide independent voltage out- prin." Top view of Three Sixty. All -transistor circuitry put to drive separate remote power or booster eliminates hum and hiss common with vacuum tube amplifiers (Altec all -transistor 3518) for patio. pool - amplifiers. Features 3 automatic resetting circuit side. recreation room, other remote areas. breakers -one in main power circuit, one in each Impedance selector switch eliminates confusion 1 speaker output circuit. about multiple speaker terminals. ALTEC LANSING CORPORATION /7 A Subsidiary of ALTE[ \/7 e film production service at Virginia State Cepart- Ling - Temco- Vought, Inc. LANSING CORPORATION v rnent of Education relies on Three Sixty for p / conjunction with other Altec PLAYBACK an : ,ers ANAHEIM, CALIFORNIA and controls. CIRCLE 7 ON READER -SERVICE CARD JANUARY 1965 5

www.americanradiohistory.com fts I d. ti nwersarg.. COLUMBIA RECORD CLUB now enables you to acquire, at once, a sizable collection of classical records -and even a record rack in which to hold them

1067. OPPBNACH: NONE BUT CHARLES MUNCH ANDRE WATTS PORTS OF CALL THE LONELY HEART PHILADELPHIA ORCH. Ciite arisienne LISZT: Punti Concerto Ne .l Clair Oe Lune A, ISAAC STERN BERLIOZ FAURE La Vals[ HIGHLIGHTS RAVEL Bolero #. Plays GREAT As a new member you will receive VIOLIN BERNSTEIN Andre gettelautE FAVORITES °I PHILADELPHIA DRCN. CIZIEED13 elle YORK PHILHARMONIC EUGENE ORMANDY 1523. 1300. 1330. 1074. 1296. TCHAINOVSKY BERNSTEIN THE WAGNER: SHOSTAKOVITCH dd MI IS Symphony No 7 BLUE NW,. CONDUCY3 .xl hra dRiunn Owlet SYMPHONY No. 5 DANUBE orld COPLAND P14.1 A. c..IA" Sr.,l A Johann 4 PrWemifre El Salon Mexico -., ,L Strauss ANY Recording fe:Oral 9 w REGULAR or STEREO RMANOYxN PhilharmonicR LEONARD BERNSTEIN BRUNO WALTER MU TOM PHILHARMONIC PHILADELPHIA DRCN. CLASSICAL RECORDINGS 1283. 1279. 1094. 1573. 1288. BARTON. CONCERTO VIVALDI A FESTIVAL OF WADIES CRIEG: SCHUMANN: FOR ORCHESTRA This Is My Country March of the Tereaden Piano Concertos LEONARD BERNSTEIN N. Y. PHILHARMONIC MORMON TABERNACLE Amerman Salute S Stars and Stripes Forever Meadowlands Star Spangled Banner Arne. tea, The nn,--] 9 more BeaNllul Finland.. Ma,se,llalse ' ,PIHILADELPHIA DRCN 95 ORMANDY 10 IN ALL ,"n' votAl FOR ONLY 1289. 1083. 1529. 1271. 1366. Iocu NRI PROKOFIEV: SONGS OF THE SAINT-SAENS if you join the Club now - and agree to purchase a TNE.YIORIOU8 Organ Spnphony (No.3) NORTH L OUTH E Alexander RdadelplNa Oroe Ornaedy record a month during the coming nine months (you xesi 1865 FINLANDIA Nevsky v. OF wA6R^ will have over 200 records a month to choose from) ARE Nu ORCHESTRA 'tkï+}sft 1ORMORRI IutaeALLe CHOIR MOH ORMUOr xr, 1_T111 Ix.l SHAH NNy.Ny Philadelphia Orchestra Z. POWER BIGGS Plus FREE Record Rack h.r rood Soda N..1 L1 ..r red xr, j ORMANDY ORGANIST As our loth Anniversary Clft 1096. 1278. 1574. 1084. 1076. to you. we will include this record rack FREE. RACHMANINOFF You'll find BERNSTEIN ` TcHAIKOVSKY STRAVINSKY: Villa Lobas Guern en It extremely useful, for thin Plano I Ne TOEE K MNAR¿YpM Concertos Nos I I CONDUCTS Copland Chase! others compact, brass -finished rack Momno9sNT 7M, LATIN AMERICAN adjusts to your specific needs KIWIS AT S LAKE holds from one to sixty UMRI11011 .0, l / records securely. Fulda fiat a.. - Ballet Suite n,ma.v Y when not in use. No.s.ko. 1 I.,xrvr.r,l ORMANOY F/ESTA PNIIAOEIPNIA PHILIPPE ENTREMONT l i `: BERNSTEIN BMW ORMANOT.NNNeNNaOr.H r.HrvxrwORCM(SIRA ..... ,,,,¡Wl.Al ®New York p)1 Phdharmomc 1525. 1328 1102. 1285. 1322.

Rlmsky- Korsakov THE GOLDEN AGE OF CHOPIN: PROKOFIEV WALTER/DVORAK MUSIC OF JUBILEE Classical Symphony SCHEHERAZADE HARPSICHORD MUSIC Les Sylphides NEW WORLD'. Bach The Lave for , Philadelphia DELIBES: favorites Suites from ANNIVERSARY OFFER! Three Oranges Suite Orch. SYMPHONY (No.5) for Organ Sylvia. Coppola : Lieutenant Aile Suite Eugene ORMANOV Orcandhestra This Deluxe 4- Record Set ORMANDY Ormandy Philadelphia PHILADELPHIA OCR Orchestra * L POWER Counts as 3 Selections L I I l BIGGS 1370. 1089. 1475. 1081. 1321. 1605. MUSSORGSKY'S Samt- Saens: STRAVINSKY CLAIR de LUNE BERNSTEIN CARNIVAL of ANIMALS BERLIOZ A Debussy conducts LLOEBEIIIES l CONDUCTS Symphonie Piano Recital by TCHAIKOVSKY ROSAUNO EVAS ÀI STRAVINSKY Boris PHILIPPE ENTREMONT III? Overbite JERO ME HIES Fantastique E- ORMANDY xeien and Narrated by Con... TM PMMMFSMDelman Ca.RNCted Godunov LEONARD BERNSTEIN Philadelphia Orch. NEW TORN PRILNARRONIO Starring ®1Illr N.Y. PNiIIwmeM. 1112 1265. 1479. 1093. 1405. 1100. 1603.

GEORGE at- BACH: THE SERKIN The Cuckoo THE LORD'S PRAYER Volume II WELL TEMPERED CLAVIER MENDELSSOHN and the Nightingale Nos I E 2 LONDON STRAVINSKY. Book 1. Vol. 2 Plano Concertos Four Handel AVE MARIA Organ CrndnlM- FIREBIRD SUITE Preludes and HALLELUJAH, AMEN TCHAIKOVSKY: E POWER NOS 1656-16571 658. The magnificent perform- Fugues 9-15 ' COME. SWEET DEATH ROMEO ANO JULIET ADRIAN ance that took Moscow by storm. This GLENN SIP HOLT psira.Lj and others Bolshoi Theatre production LEONARD BERNSTEIN LONDON is "one of N. Y. PHILHARMONIC GOULD PHILHARMONIC Alexander Brailowsky MORMON IHIRNbCII CHOIR the finest ever heard." -Life rn,l O.mnd, Madero,. 5,rn 1404. 1369. 1476. 1269. 1557. 1091. e Columbia Records Distribution Corp., 1965 9I8/ S6S CIRCLE 20 ON READER -SERVICE CARD 6 HIGH FII>rl rn MAGAZINE

www.americanradiohistory.com MOZART Dances for Orchestra Rhapsody In Blue Beethoven: LORD'S PRAYER URKIN BEETHOVEN ^ MORMON Concerti M ride O An American in Paris PASTORAL SYMPHONY IN. M TA e'RN AGI' CHOIR W OrcMltra Ls17 DANSE MACABRE SZELL. Cleveland oven art. HABANERA Lemont ANNIVERSARY OFFER! tar Mums BHRStma -411" RN O,,Mma LlIt POLOVTSIAN DANCES WI. ;s NMIOaMM Mot ®` I 4 more Ibn 1 s- ce ' ''-e% Three Tanana Sonatas ORMANDY * * This Deluxe 3- Record Set iersInns MOONLIGHT PATMETIOUE EJ UMI me M rie NNaN Counts as 2 Selections 71:u NNAMn NdMn'W 0.5 11 s Ay,,, IM 10105 1IAnr -o mom APPASSIONATA 1078. 1073. 1098. 1172. 1090. 1263.

Romantic MOZART'S a Plano Music al Last Six iTchaikovsky _% ANNIVERSARY OFFER!

Symphonies < 011 MX.. Entremont Eugene Ormandy This Deluxe 7- Record Set Conducted by Philadelphia Orch. Counts as 5 Selections 1477. 1326. 1480. BRUNO Vienna, My City Bach , of Dreams ` Beethoven BEETHOVEN'S Organ WALTER RICHARD Fifth TUCKER Favorites , Symphony 1467.1468. "No other Vows le My 9 Symphonies conductor seems to give Hw Aloe. E. Power I tag Fr Dorm, wee', himself to this music so Biggs Conducted by completely." 1r, 11 MORE BERNSTEIN i Iren ....1 - M.Y. FFRLMARMONIC -N.Y. Herald Trib. - - -- BRUNO WALTER 1606. 1097. 1325. 1462. 1463.1464.1465 RICHARD TCHAIKOVSKY Serenade STRAUSS: The 1466. "Taken separate- 'Ij fur EIM the SLEEPING }' ly, individual re- It's Columbia Record Club's 10th Anniver HELDENLEBEN Strings i BEAUTY , a cordings are recom- M Ann. Lee,) fr sary and we're celebrating with our most gen- a1r1AM0y, Bellel Sulle mended without quali- erous offer ever an extraordinary THE The Strings of fication. As a set they ... offer NIIINIELMM THE PHILADELPHIA ORtH ri PHILADELPHIA stand as near the pin- that enables you to add nine truly superb ORCHESTRA EUGENE ORMANOY _' ORCHESTRA nacle per- EUtent onMAMOy Cent of classical recordings to your collection at once! 1 E'® fection as any 1478. 1282. 1474. human prod - Yes, if you join now, you may have any uct ever can." BRAHMS BACH: TNE -San nine of these recordings for only $4.95 . . . WILL.1YNNREO CLAyE A GERMAN Francisco and if you select any of the four deluxe An- Chronicle Jerome Hines PrAmkr ahi niversary Offer sets, you will actually receive Pueuee t-I MORMON UOOIMACLe more than nine records! In short, you will COMM GLENN therefore receive nine (or more) records for PMMd.gNa Orte. GOUL the price of one! And as our 10th Anniver- sary Gift to you, we'll even include an adjust- 1323-1324 Set Counts As 2 Selections 1264. able record rack free! I(IMF: CAMMINA BURANA BEETHOVEN TM PIII.MV.M aTeOTAA Violin Concerto ..lent, and ce«u. To receive the nine recordings eeIIANOy T.N.TH.g of your choice ANNIVERSARY OFFER! ISAAC - simply fill in and mail the coupon at the STERN

right. Please be sure to indicate whether you This Deluxe 4- Record Set SCCIICEICI want your nine selections (and all future se- Counts as 3 Selections M.. gee. Pelleme..H. lections) in regular high -fidelity or stereo. 1...«a I,..t«A C.N. 1281. 1109. 1195. How the Club operates: Each month ' the BRAHMS' Tthalkdvsky. BACH Club's staff of music experts selects several FOURTH SYMPHONY NUTCRACKER BRANINNBUR6 outstanding classical recordings - as well as Four Symphonies LEONARD BERNSTEIN SUITE CONCERTO No 5 N. Y. PHILHARMONIC Prokoflev' THREE CHORALE , records from other fields of music. All of PETER AND PRELUMS these selections are fully described in the Conducted by THE WOLF ST0K0WSKI Club's entertaining and informative music Le:ne_; Be-- PNladegha Orch BRUNO HG. wee. Magazine ... together with interesting pro- gram notes, photographs, etc. WALTER 1329. 1070. 1272. BRAHM SCHUBERT: The Sound or 1469.1470.1471. You will receive the Club Magazine free This PIANO Symphonies NIA 5 HOROWITZ deluxe album also in- B CONClRO ; -NP. M ) each month ... and each issue will contain cludes: The Academ- over 200 different records to choose from. ic Festival Overture; You may accept any of the Tragic Overture; Var- sKIN\ j!.1 ,® ! records offered - iations on a Theme ORMANDY .421111 Philadelphia ._ .. from any field of music! by Haydn. "This is a Orth. SCANISiTI fCNUN[NT monumental album!" ® ® ScNUMaNN SCRUM! Your only membership obligation is to pur- -N.Y. Times 1472. 1287. 1068. chase a record a month during the coming Send No Money Just fill in nine months. Thereafter, you have no further - obligation to purchase and mail this coupon today! any additional rec- r ords from the Club ... and you may discon- SEND ME THESE COLUMBIA RECORD CLUB, Dept. tinue your membership at any time. 200-3 9 RECORDS FOR $4.95 Terre Haute, Indiana (fill in numbers below) Free records given regularly. If you do wish I accept your special offer and have written In the boxes at the right the to continue as a member numbers of the nine records I wish to receive for only $4.95 plus a small after fulfilling your mailing and handling charge. I will also receive a record rack free. enrollment agreement, you will receive - Send my 9 records and all FREE - a record of your choice for every future selections in (cheek one) REGULAR STEREO two additional selections you buy. Enroll me in the Classical Division. with the understanding that I may select any of the other records offered. I agree to purchase a record a The records you want are mailed and billed month during the coming nine months, at the regular Club price plus a to you at the regular Club price of $4.98 small mailing and handling charge. After fulfilling this agreement, I may cancel my membership at any time. However, if I continue, I will receive a (Popular, $3.98), plus a small mailing and 12' record of my choice FREE for every two additional records I buy. handling charge. Stereo records are $1.00 more. Since this is a special 10th Anniversary offer, be sure to take Name advantage of it now! (Please Print) First Name Last Name

NOTE: Stereo records must he played Address only on a stereo record player

More than 1,500,000 families now belong Zip to the world's largest record club City state code APO. FPO addressees: write for special offer COLUMBIA RECORD CLUB CANADA: prices slightly higher; 1111 Leslie St., Don Mills, Ont. 60-7N Terre Haute. Indiana L CIRCLE 20 ON READER -SERVICE CARD JANUARY 1965 7

www.americanradiohistory.com gi

FM- Matters of Opinion

SIR: WRUN -FM is one of those stations that has stayed on the air since 1947. We were a part of the New York State divi- sion of the QXR Network until its demise and are now trying desperately to replace its excellent programming with programs of our own . . . but we agree wholeheartedly with Leonard Marcus' conclusion ["FM on the Threshold," November 1964] that the apathy of the classical music listener is preventing most stations, including ours, from adding a great deal of classical 100 volt signal to line? music to our schedule or improving the 25 ohm output? quality of what is now broadcast. As he .... bridging monitor points out, sponsor support is far more difficult when you are not in the top for 600 ohm line twenty -five markets. as is our case. 230 volt signal output? Because we consider Mr. Marcus' such .... variable correc- a valuable article, we have scheduled an- nouncements on our station suggesting tion unit ? .... 1 ohm that listeners read it. output? 30 64 our .... ohm Richard E. Thomas output? .... special FM Program Director, WRUN input sockets? .... Utica, N.Y. rack and panel mounting? SIR: .... Articles about FM radio such as Leonard 50volt line? .... or Marcus' often strike us for their omis- simply to enjoy good sions of fact and for the implication that quality reproduction a station which duplicates AM /FM oc- of music in your own cupies some lower rung on the culture/ home to the same respectability scale. WGMS AM /FM -the RKO General professional Broadcasting station in Washington, standards? D. C.- programs a schedule of virtually a hundred per cent serious music, occa- 9 sional lectures and readings from the these are some of the Library of Congress Literary Series variations of the versatile (which are not broadcast elsewhere), and QUAD supplied to other special spoken word and musical professional users features. These programs have been en- throughout the world. thusiastically accepted by an audience that surely must be a reasonably sophisti- cated one. Specifically, Mr. Marcus says, ". live stereo broadcasts are unknown in nearly all communities." Specifically, we would like to say that for about fifteen consecutive years WGMS has car- ried the annual twenty- six -week Library for the closest approach to the original sound of Congress chamber music series live from the Coolidge Auditorium. (This dis- tinguished musical event now presents Write for an illustrated leaflet and the name of your nearest QUAD dealer. to the Juilliard String Quartet; formerly, the Budapest String Quartet was the ACOUSTICAL MANUFACTURING CO., LTD., HUNTINGDON, HUNTS, ENGLAND. quartet -in- residence.) For the last two years we have broadcast the programs on AM and FM monophonically and on

Continued un Page 10 CIRCLE 3 ON READER -SERVICE CARD 8 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The new Miracord 40 would have been great at X99.50.

At $79.50, it's sensational!

Imagine a 4 -speed auto -manual turn- machined casting, 12 inches in diam- A simp!e retaining mount, which ac- table with dynamically balanced eter, weighs about 6 pounds, and is in- cepts all standard cartridges, snaps turntable platter, 4 -pole induction dividually dynamically balanced. The into the head of the arm making motor, dynamically balanced tone 40 alSO has the famous FEATHERTOUCH instant, positive electrical contact. It arm, and automatic pushbutton con- automatic push buttons. also snaps out for easy removal. Extra trols at under $80. Until now, no The tone arm is new - dynamically accessory retaining mounts are avail- turntable below the $100 price class balanced and equipped with a gram - able where cartridges are to be inter- even claimed these features. calibrated dial for adjusting stylus changed frequently. The new Miracord 40 plays single re- force directly. It will track any cart- Wow and flutter are less than 0.1 %; cords manually or automatically, and ridge at recommended stylus force and rumble, better than 50db below stacks of up to 10 records in auto- settings to less than one gram. average signal level. Miracord 40 is matic sequence. As in the case of all The arm also provides an ingenious $79.50, less cartridge and base. See it Miracords, the platter is a one -piece, method for interchanging cartridges. at your hi -fi dealer. For details, write:

BENJAMIN ELECTRONIC SOUND CORP., 80 Swaim St. Westbury, N.Y. sole U.S. distributor for Miracord turntables,Elac cartridges,and other Electroacustice audio components www.americanradiohistory.com LETTERS LAFAYETTE Continued from page 8 FM in multiplex stereo, though your article does not report this information. RADIO ELECTRONICS We would add that a mere glance at FM programming among other stereo stations in Washington would show that WHFS NEW! LAFAYETTE 70 -WATT COMPLETE FM -a competitor -broadcast in live FM stereo the whole Watergate 1964 summer season of lighter music. AM -FM STEREO RECEIVER Relevant to your discussion of circular Just Add Speakers and Enjoy FM, FM Stereo polarization, WGMS was also the first or second FM station in the and High -Quality AM Reception to install a horizontal plus vertical an- tenna system for improved FM stereo transmission. In fact our antenna system is the prototype for all such antenna systems. Your article can be confirmed in one detail: we agree that circular polarization greatly improves FM trans- mission, most noticeably in automobile reception. Victor R. Hirsh, Director Program Operations, WGMS Washington, D.C.

SIR: A powerful 70 -Watt Amplifier plus Complete Pre- Radio Station KFUO unidentified amplifier Control Facilities plus a Standard AM Tuner -the plus a sensitive FM Tuner plus an FM Stereo Tuner - 199'0 "current [italics in original] major clas- all on One Compact chassis Amazing FM "Stereo 99- 0005WX sical station" in Saint Louis faith- Search" Circuit Signals Presence of Stereo Broadcast -has Tuned Nuvistor "Front End" provides Greater Sensitivity, Lower Noise fully served this area as a strong cultural Bar -Type Tuning Indicator for AM and FM Variable AFC Control Imported force for forty years. Leonard Marcus' quick dismissal of KFUO's programming THE WIDELY ACCLAIMED LAFAYETTE RK -137A because it "devotes 50% of its time to gospel music" is unfortunate and inade- TAPE RECORDER FEATURING A - TRACK STEREO PLAYBACKS quate. music" TRACK MONAURAL RECORD "Gospel music" and "classical - are not mutually exclusive terms. KFUO's PLAYBACK religious broadcasts regularly include much of the Lutheran heritage of great With Electronic Track Selector musical religious literature. Bach wrote Switch, VU Recording Level a lot of "classical gospel" music, you Meter and Pause Switch For know. Instant Editing Donald R. Hoger, Pastor Holy Cross Lutheran Church Includes Lightweight carrying case, Crawfordsville, Ind. dynamic microphone, output cable, 7 inch empty tape reel. Mr. Marcus replies: Ah, would that "nearly all communities" were like Mr. Hirsh's Washington -at least insofar as live stereocasting is concerned. / did not 950 mean to imply that AM-FM duplicating stations were ipso facto on a lower cul- Two Speeds-33/4 & 71/2 ips Pause Lever 991511 WX nonduplicating stations. Provides Instant Stop for Editing Record - tural rung than Erase Safety Switch Fast, Rugged Shift Lever merely that they were de facto generally Control Extension Speaker Jack High Im- TAKES REELS lower. pedance Monitoring Jack VU Meter Recording UP TO 7" Unfortunately. most comnucnities are Level Indicator Electronic Track Selector more like Mr. Hoger's St. Louis. I did Switch Specially Designed Heavy -Duty 6x4" identify KFUO, for my point was adaptable to not PM Separate Erase and Record Heads + Speaker +stereo playback not to denigrate a particular station, Imported which obviously contributes a service to its community, but to note that this is the very best that St. Louis seems able FREE! AóAYEóTE to support. It remains a fact that the city's only all -classical station of a year Over 500 Pages 1965 CATALOG No. 650 or so ago. KSHE, had to become a pop Featuring Everything r station in order to stay in business. Lafayette Radio Electronics D Send me the FREE 1965 Lafayette in Hi -Fi from the Dept. WA -5 P.O. Box 10 Catalog 650 l'iric Speaks Up Hi -Fi & Syosset, L. I., N. Y. 11791 n s enclosed; Ir. "World's send me # Electronics Center" (Prices do not include shipping charges). SIR: See the Largest Selection in In his letter [October 1964] referring to Our 44-Year History! Name my article "Fie Upon Freud!" Mr. Jack Mail the Coupon for Diether is of course right about the loca- Address tion of the Mahler -Freud encounter. But your FREE 1965 Lafa- yette Catalog. City State Zip Continued on page I4 CIRCLE 48 ON READER -SERVICE CARD MAGAZINE lu HIGH FIDELITY

www.americanradiohistory.com What do these "dangerous" loudspeakers have in common?

% .. %/í/ii/%/

Model DLS -529 Model 711A Model 901 Model 319 Model 630 Model 812 5 59. $249. $395. $99.75. $69.75. $49.95.' --- -I.y./ Model SE -63 543. Model SE -31 $66. Baffle 1 $115. Model\ SE -90 $285 (630 speaker without enclosure) (319 speaker without enclosure) (DIS-529 speaker without enclosure) (901 speaker without enclosure) The uncommon ability to make all receivers and amplifiers sound better. You could use the finest receivers and amplifiers made, but you There may be some dealers who do not have EMI loudspeakers and still wouldn't have the best sound unless you used the finest loud- will demonstrate other speakers for you. But don't be misled. Listen speakers made ... the EMI "dangerous" loudspeakers. to an EMI at a franchised dealer - and then compare! We have no All of these fine EMI loudspeakers are designed to meet specific fear of the inevitable judgment of your ears. Choose from six ex- acoustical needs and requirements. One of these models will be cellent EMI models. Also available without cabinets for personal just right for you. And within each model category, you will find custom installation. transient -perfect sound reproduction that's in a class by itself. Alf prices slightly higher in South and West EMI SCOPE ELECTRONICS CORPORATION 235 East 42nd Street, New York, N.Y. 10017 Distributed in Canada by: HARTONE ELECTRONICS INDUSTRIES, LTD. / 298 BRIDGELAND AVE., TORONTO 19, ONTARIO CIRCLE 33 ON READER -SERVICE CARD

JANUARY ! 965 11

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ALASKA Anchorage Audiocam Corp. ARIZONA Tucson Winter's Music "By all means CALIFORNIA Anaheim Henry Radio Covina Hi Fi Covina Culver City HiFi Matic Company Hollywood Hollywood Electronics Los Angeles Gmora Stereo Center listen to this $95 Henry Radio Redisco Inc. Oakland Fidelity Sound Fisher Electronics Palm Springs Pat Barbara Music Pasadena Dow Radio speaker... Electronic Components Henry Radio Riverside Haymans Appliance Sacramento Industrial Sound 8 Tel. San Francisco Eber Electronics San Diego Western Radio This is not 'just San Jose West Coast Audio Sales Santa Ana Hi Fi Associates Santa Monica Midway Electronics Whittier Oxbow Electronics CONNECTICUT Fi box. Hi Center another Bridgeport New Haven David Dean Smith " DISTRICT OF COLUMBIA Kitt Music Company, Inc. Hi Ft/Stereo Review FLORIDA Orlando Lafayette Radio So. Miami Johnny's Hi Fi INDIANA Hammond Halls Electronics Distributing KANSAS Topeka Swinson -McCormick LOUISIANA Monroe George Baber MASSACHUSETTS Boston Hi Fi Trading Post Cambridge Minute Man Radio Co. Inc. MICHIGAN Ann Arbor The Music Center Detroit Lobby Hobby Uptown Radio MINNESOTA THE ADC 3o3A BRENTWOOD Minneapolis Ken Craft Hi Fi MISSISSIPPI Jackson Swan Electronics "After the lab measurements had been "The system's resonance is 48 cps, and ADC MISSOURI made, and I had a chance to analyze the states that it delivers true bass response to at California George's Music House I how unusual this least 38 cps. This it certainly does, with ease. Kansas City David Beatty data, began to appreciate NEW JERSEY speaker system really is." The Model 303A is a very successful appli- Newark Sound Reproduction, Inc. cation of the acoustic- suspension principle, So writes Julian D. Hirsch of Hirsch -Houck Paramus-Leonard Radio, achieved without excessive loss of efficiency." Inc. Laboratories, in his "Technical Talk" col- Trenton George's Stereo Center umn in HiFi /Stereo Review. What Mr. Hirsch found in his laboratory NEW YORK was impressive; what he heard in his listen- Brooklyn Kingsway Custom Stereo, his enthusi- Inc. The measurements that evoked ing room was equally so. This is the way he Buffalo Victor L. Cole astic comments revealed surprising qualities sums it up: Lockport Lockport Audio in a speaker so compact as the new ADC New York Aires Radio Corp. "As for sound, the ADC 303A is very live Audio Unlimited 303A. Here is how Julian Hirsch describes it: without Heins 8 Bolet, Inc. and open. It has presence, but the Kooper Products, Inc. "For one thing, my tests confirmed the man- peaked unnatural response usually associ- Leonard Radio Inc. ufacturer's claimed frequency response of ated with that term." Rochester Orco Marine ± 3 measured in an PENNSYLVANIA 35 to 20,000 cps db ... this speaker brings the music right into Philadelphia Sam Goody's Inc. average listening room." your listening room ... as contrasted to some Pittsburgh Joseph Horne Co. Lafayette Radio ... the Brentwood has a true, effective re- in which the sound never seems to get out of TENNESSEE the speaker enclosure." Chattanooga College Hi Fi sponse down to at least 33 cps, with lower TEXAS distortion than I have measured on many The ADC 303A was planned to produce op- Fort Worth Audio Associates larger and more costly speaker systems, timum performance in your home, as well as Houston Audio Center, Inc. Mr. room. San Antonio Audio Center, Inc. under similar conditions." Hirsch's listening WASHINGTON Bellingham Advance Electronics Prices slightly higher West of Mississippi. Seattle Standard Records 8 Hi Fi

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www.americanradiohistory.com Everything Fisher knows about tuners, preamplifiers and power amplifiers is in this transistorized stereo receiver.

Take the most advanced FM- multiplex The 600 -T features the exclusive Fisher r tuner circuitry known to Fisher. Take the GOLDEN SYNCHRODE* front FREE: S2.00 VALUE: Send Nut'istor- end, for your free copy of The New THE NEW ultimate in Fisher control -preamplifiers. 5 IF stages, 5 limiters and a wide -band Fisher Handbook. This entirely FISHER Take the most remarkable stereo power ratio detector. FM sensitivity is 1.8 micro- new, revised and enlarged edi- HANDBOOK amplifier ever developed by Fisher engi- volts IHF Standard. The famous Fisher tion of the famous Fisher high fidelity reference guide is a neers. Put them all together on one chassis, STEREO BEACON* automatically lights up magnificent 76 -page book. De- as Fisher did, and you have the incompara- on stereo broadcasts and automatically tailed information on all Fisher ble Fisher 600 -T. Is it as good as any com- switches between FM -mono and FM- stereo components is included. ,04 bination of separate components? In 999 stereo. The professional -type d'Arsonval cases out of 1000, it's better! tuning meter assures dead -accurate tuning. The Fisher 600 -T will easily fit on a The transformerless power output stage, standard 12 -inch deep shelf, in less than with 4 output transistors per channel, pro- 17 inches of horizontal space. (That's for vides 110 watts IHF music power. No all the electronics of your stereo system.) other stereo receiver comes even close to Use postcard on inside cover flap. Thanks to its transistorized design, it will this kind of performance. generate no heat to speak of. And thanks The sound? Listen! It makes you smile to the Fisher way of using transistors, it condescendingly at previously accepted will stay in perfect alignment and opti- standards. Fisher Radio Corporation mum operating condition indefinitely. (Size: 163/4" wide, 51/2" high, 11 %" 21-40 44th Drive (Transistors don't necessarily mean prog- deep. Weight: 31 lbs. Price: $499.50. Long Island City, N. Y. 11101 ress. Fisher solid -state engineering does.) Cabinet: $24.95.) PATENT PENDING L J

Ov(ESE..S EESiOEN1S IESE wEiTE TO EISNER DIO INTEENETIONL, INC.. LONG ISINO CITY, N. V. 11101. ON.LDI.LN RESIDENTS WRITE TO TR,TEI ESTOCITES, LTD., WILLOWDELE, ONT. The Fisher CIRCLE 35 ON READER -SERVICE CARD JANUARY 1965 13

www.americanradiohistory.com LETTERS

Continued from page 10

he is ill advised to describe as wild and fanciful the theory that Beethoven's deaf- This plug ness was at least in part self -induced and psychosomatic, since that diagnosis is made by some orthodox Freudians and lies well within the canon. It has been in the Re10 -Kut R -34 put forward recently, for example, by Hans Keller, musician and Freudian, who went far beyond my remarks in criticizing the Sterbas' Beethoven and His Turntable Nephew. He called the book "pitiable nonsense." Peter J. Pirie $600 Shoreham -by -Sea, Sussex is worth England

Opera Fans United

SIR: I have just finished reading the editorial in the November Hioit FIDELITY and wish to console John Brow that he definitely is not alone in his feelings as more no Bohèmes and Rigo/ettos flood the mar- We give it to you at charge! ket. I too would rejoice if we were to be blessed by recordings of La Juive. Les The popular Rek -O -Kut R -34 turntable, already the best Huguenots, Rienzi, Otello (Rossini's), and Lucrezia Borgia, to name but a few. value in a single -play unit, is now even better ... and at ... And undoubtedly. Mr. Brow is just no price increase! Constantly watching for changes that as eagerly awaiting RCA's release of will improve quality and convenience in record playback Luisa Miller as I am. As was suggested in your editorial. I hope the -buy- Rek -O -Kut has determined that the tonearm on systems, ing public will show RCA that future the R -34 simply must have a plug -in shell to make cart- releases of . Emani, and / Vespri ridge mounting simpler. So the new S -440 tonearm now siciliani would be amply justified. Robert E. Browne R -34; now an even greater value comes mounted on the Mount Vernon, O. ... still $89.95. The Shostakovich Syndrome

SIR: Peter Heyworth's attempt to divorce Shostakovich from Soviet ideology [Octo- ber 1964] is interesting but superficial. The article fails to account for two facts which, when fully considered. make the author's thesis untenable: (I) the po- litical pressures in Soviet musical life are more complex than the direct. spec - ifiable actions (e.g., Stalin's rejection of Lady Macbeth) noted by Mr. Hey - worth; (2) the inability of Shostakovich to create. with any consistency, music of lasting (or even immediate) interest is common to other Soviet composers. The Shostakovich phenomenon is not a unique instance. but is characteristic of the whole Soviet school. Of all the contemporary Russian composers whose works are available to American audi- ences, Shostakovich is the only one whose music occasionally rises above monu- mental dullness. Though we don't expect Specifications: Complete 2speed turntable, tonearm, and solid walnut base. All with a 5.year the U.S.S.R. to turn out music masters Warranty, unheard of in the audio industry! Exclusive Rekothane belt reduces noise and rumble at the same rate at which they put satel- to minus 6 db lower than any other belt. Exclusive Instant Speed Selector changes from 331/3 to 45 rpm with a mere flick of your finger. Specifications: Noise and rumble: -60 db below average lites into orbit. we may legitimately won- recorded level (@ 7 cm /sec. @ 1000 cps). Flutter and wow: .08 0/0 RMS. der why Shostakovich alone ranks with our finest half dozen or more com- posers. Also Mr. Heyworth marvels at "the flood but is blind to its manufacturers of Khrushchev's thaw," most obvious offspring-nothing. of Koss KOSS REK-O-KUT The pressures demanding conformity are Stereophones 2227 North 31st Street Milwaukee, Wisconsin Continued on page 16 CIRCLE 61 ON READER -SERVICE CARD 14 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The powers that be: 50 watts

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The powers that inspire awe in high the power does not suddenly fall off at the r FREE! $2.00 VALUE! Send fidelity circles these days are the output frequency extremes, as is the case in so for your free copy of The New FTHE EW ratings of the new Fisher stereo control - many lesser control -amplifiers. Fisher Handbook. This entirely FISHER new, revised and enlarged edi- HANDBOOK; amplifiers. They indicate a level of per- Of course, clean power throughout the tion of the famous Fisher high formance that until recently would have audio spectrum is not the whole story. fidelity reference guide is a magnificent 76 -page book. De- been unthinkable in moderately priced These Fisher amplifiers also have the most tailed information on all Fisher equipment. You merely have to match the complete and most advanced preamplifier stereo components is included. watts against the dollars and remember and control facilities. Plenty of gain. Su- that a Fisher watt is inevitably a clean watt. perbly convenient rocker switches. Front - Heavy -duty beam -power output tubes of panel headphone jacks. The exclusive Use postcard on inside cover flap. the latest types are one of the most im- Fisher DIRECT TAPE MONITOR.t Sharp - portant factors in the Fisher power elite. cutoff filters. And each amplifier provides Fisher Radio Corporation Superior circuit design is another. Large a power -derived center channel output. 21-40 44th Drive output transformers with low leakage and Is this the kind of amplifier you appre- Long Island City, N. Y. 11101 high primary inductance make sure that elate? More power to you. tPATENT PENDING. L

OVERSEAS aES.CENTS PLEASE waltE TO rS"ER RADIO INTER,.ATIONL, INC.. L- IG I-l.N., t'i , N . V. 11101. f..... i.N RESIDENTS WRITE TO TRITEL ASSOCIATES, LTD., WILLOWDALE, ONT. The Fisher CIRCLE 35 ON READER- SERVICE CARD JANUARY 1965 15

www.americanradiohistory.com LETTERS Continued front page 14 KENWOOD more subtle than Kremlin edicts: once imposed by the State, they have become engrained in the composers' minds and El) now take the form of inner compulsion. said state stereo . . . Freedom is often a matter of de- grees. and not all of the limits to free- dom are catalogued in books of laws. New High Fidelity Stereo Units Shostakovich's frustrated talent (perhaps genius) is sad testimonial to the unwrit- For Those Who Are Selective ten, but no less real. restrictions to free- Who's selective? YOU ARE... if you choose the handsome look of dom of expression existing in Soviet life. Perhaps someday a young. gifted Russian KENWOOD with all-new transistorized circuitry. Here are composer will develop a compositional components engineered only for those who expect the big, full style allowing full expression of his imag- sound of quality, demand superior performance and reliability and ination. He will be a Russian -not a prefer all those special features. Soviet -composer. LeRoy E. Doggett Ann Arbor, Mich.

Stereo Budget: Addendum . min ruÿrax . `. SIR: w ( : l Re: Edward F. McIntyre's article "A Budget for Stereo," p. 111, your October 1964 issue. Mr. McIntyre seems to have missed KT-10 ALL TRANSISTOR AM/ FM AUTOMATIC one important point in his stereo budget- STEREO RECEIVER is an all-new transistorized tuner, pre -amplifier and total 40 watts amplifier on a ing. Many qualified experts have pointed single chassis. Exclusive custom features include out to us that a system can be improved an automatic protection circuit that guards against a I increase in speaker transistor damage, automatic relay switching more by 2: dollars to proper mode, tape monitor system, front -panel than by a 5:I increase in amplifier dol- stereo headset jack and so much more. $299.95 lars. We have tried this test on any number of people, and I personally do not recall any who remained uncon- vinced. Lest any amplifier manufacturers EMI "+, take issue with me. I suggest they try the test first. The good speaker will in turn do its sales job on the better amplifier. ai I Long before I took employment with a speaker manufacturer, my own system consisted of two $700 speakers and a TK -500 TRANSISTORIZED AUTOMATIC FM STEREO TUNER $ I90 amplifier- preamplifier combination. features a Nuvistor Cascode Front-end, 5 IF Stages, Now the system has grown without Automatic Relay Switching to Proper Mode, and Tape changing speakers to include over $800 Record Outputs. $199.95 worth of amplification and well worth it, but not first. Robert L. Moers. General Manager Klipsch and Associates, Inc. Hope, Ark.

Continued on page 20

TK -400 ALL TRANSISTOR STEREO AMPLIFIER has a total of 80 watts music power (IHF Standard) High Fidelity, January 1965. Vol. 15, No. or 40 watts per stereo channel, Automatic Protection I. Published monthly by The Billboard Circuit (U.S. Pat. Pend.), Output Transformerless Publishing Co., publisher of Billboard. Circuit, Front -panel Stereo Headset Jack, and Vend, Amusement Business. American Art- Direct Tape Monitor System. $199.95 ist. Modern Photography. and the Program. Telephone: Great Barrington 1300, Member Audit Bureau of Circulations.

Editorial Correspondence should be ad- dressed to The Editor. High Fidelity. Great Barrington. Mass. (112M). Editorial contribu- tions will be welcomed. Payment for articles See the complete line of Kenwood receivers, tuners, amplifiers, and acces- accepted will be arranged prior to publica- sories at your high fidelity dealer, or write direct for descriptive catalog to tion. Unsolicited manuscripts should be accompanied by return postage.

Subscriptions: Subscriptions should be ad- KENWOOD ELECTRONICS, INC. dressed to High Fidelity. Great Barrington. Mass. 01230. Subscription rates: Anywhere on Earth. 1 year. 57: 2 years. S13; 3 years, New York Office: 212 Fifth Avenue. New York, N.Y. 10010, Murray Hill 6 -1590 517. Single copies, 60 cents. Office: 3700 South Broadway Place, Los Angeles, Calif. 90007. ADams 2.7217 Los Angeles Change of address notices and undelivered copies (Form 3579) should be addressed to ugh Fidelity, Subscription Fulfillment Dept.. 2160 Patterson St., Cincinnati, O. 45214.

CIRCLE 43 ON READER -SERVICE CARD 16 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com SHANGRI-LA The Wonderful World of BERNSTEIN THE SECOND Aillilli This Is My Country ANDY WILLIAMS VLALIMIR conducts BARBRA A MORMON TABERNACLE Fool TCH AINO VSPlT STREISAND HOROWITZ Never CHOIR 1112 Routine Learns ALBUM i. Chopit Liszt Star Spangled Banner Marche Sle,e Rachnaninoff I I Penmen DOWN WITH LOVE J i7 I America. The Beauf J I e n From SUR b MY COLORING toot PERCY FAITH Sch mane F,nla d Marseillaise O,Inmal So rdlrack MLR LORI PN,ÌN0RMON,C WHO WILL BUY' Song of Indu Sayonara Heaven 101N All 0 MORE Recordnq 8 more Stranger m Paradne 9 mow the 366. Also: Land o 351. Also: Dream 037. "The most ad 1603. Bernstein "at 301. Also: I Stayed 162. Also: Rovin 257. Also: Return to 067. "Perhaps Fair, Beyond The greatest piano Hope and Glory, Thi This Is All I Ask venturous musica top of his form." -- Too Long at The Gambler, A Travelin Paradise, re Rev. Is My Country, etc Noelle, 12 in all ever made. " - Life High Fidelity Gotta Move, etc. Man, 12 in all Reef, etc. cording. " -HiFi PORTS OF CALL RAY CONNIFF Clav De Lune , of these exciting La Valse M,:I COLUMBIA Bolero pre - recorded 4 -track i sa IDUNc STEREO TAPE CLUB MIS NOW OFFERS YOU PHILADELPHIAaORCH. StereoTapes EUGENE ORMANDY 296. Six favorites 350. Also: Third Man Ravel, Debussy, Theme, Caravan, Sol- by itude, etc. Ibert, Chabrier LERNER L LOEWE \ STRAVINSKY $ k CONDUCTS ,Camelot -- S98to FOR ;slue $39.50 STRAVINSKY t reg uCpv lub prices ONLY f RICHARD BURTON i JULIE ANDREWS .- u if you join the Club now and / ROBERT GOULET agree to purchase as few as aM Orin/1 Broo A'ar 5 from I PETROUSHKA selections the more r than 150 to be offered lavish, 093. "A work 0 the next 12 months 035. "Most musical; a genius . . colossa beautiful coro! "High Fid. rio mph! "Kilgallen

SERKIMBEETHOVEN The Village Stompers BOBBY HACKETT Rhapsody in Blue JACK JONES plays MANCINI WASH NOON An American in Paris WIVES SQUARE . Vit AND LOVERS '-Roe! -,,,

GREEN GREEN Three Favome Sonatas Days of wine and Notes MOONUGHT PATHETIOUE BL OWING IN THE WINO Moon River Oreams,me APPASSIONATA IO more 9 MORE AP 9 óoe 1371. Say It, Too 594. Also: Tara's 263. "Magnificent 033. A show mat' 258. Also: Midnigh 161. Also: Baby El- 1098. "Fierce imóaot 1457. Also: Fly Me Moon, Nina Young to Go Steady, Theme, Imagination, performances!" - "perfectly wonder n Moscow, If I Had ephant Walk, Peter and momentum." To The Nancy, 8 in all Laura, etc. High Fidelity full" -Ed Sullivan A Hammer, etc. Gunn, Mr. Lucky, etc. N.Y. World- Telegram Never Knew, etc. TONY BLOOD. SWEAT ORIGINAL SoUHDIRACrs ROGER WILLIAMS FIRST TIME! AND TEARS MESSIAH TWIN - AND MUSIC FROM 711E GREATEST HITS DUKE ELLINGTON BENNETT GREAT MOTION PICTURES MEETS EUGENE Autum l leave I Left My PACK COUNT BASIS ne . MONDO CANE Near YTu s, ORMANDY MORE I Heart In aoÑ..Mea Tammy The Philadelphia Equivalent San Francisco g CLEOPATRA 9 More Orchestra To Two Tender Is the Night Johnny TN, MORMON IMIONI CtE LAWRENCE OF Smile 9 more Selections ARABIA . , Ime?, CASH mum z More

1077. "A master o 023. Also: Leve fo 332. Casey Jones 1107 -1108. Twin- Pack (Counts as Two Selec- 1362. Also: Exodus, 302. Also: The High 1196. "Walloping The ensembles and stir- his instrument." - Sale, Candy Kisses Waiting for A Train tions.) "Zestful . a powerful, vital Irma La Douce, And The Mighty, High Fid. N. Y. Herald Tribune Marry Young, etc. Chain Gang, 9 In al statement!" HiFi /Stereo Review Apartment, etc, Got Rhythm, etc. ring solos." RAY ANDRE PREVIN DAVE BRUBECK MUSIC OF JUBILEE CONNIFF his Orchestra '9 TIME CHANGES Bach Fa.orites and Chorus FREE -if you join now o for Organ The Happy Beat `(. REVOLUTIONARY SELF -THREADING TAKE -UP REEL and Never e4 on Sunday \e Orchestra Volare Gig: l E. 'OWER 9 MORE

1521. Also: When I 556. World's Fai , 605.America'smos 017. Also: Wheel of 084. highlights - Unisphere, Iberia, celebrated organist." Fortune, Blueberry TannhaLser, Lohen Fall In Love, Like Siegfried, etc in Love, etc. Elementals, 2 more - Newsweek Hill, Cry, etc. Just drop the end of the tape ove this reel, sta t grin, Someone your recorder, and watch it thread itself ! Unique ANNIE GET YOUR GUN Scotch® process automatically threads up tape of Thi tGVE SONO OF HERE'S A CONVENIENT WAY TO any thickness, releases freely on rewind. Ni LINES D IS ROBERT 1O OAT GOULET BUILD A STEREO TAPE LIBRARY CTerade IF YOU ARE ONE OF THE FORTUNATE PEOPLE Your only membership obligation is to pur- The Pink Panther who own 4 -track stereo tape playback equip- chase 5 tapes from the more than 150 to be a MORE HARMONICATS ment, you know the thrill of the near-perfect offered in the coming 12 months. There- fidelity, :he unsurpassed sound of tape. Now after, you have no further obligation to buy 1001. Tonight, love 439 -A: so: Lawrence 032. "Rich melodic you have an exceptional opportunity to build any additional tapes - and you may dis- Is A Many -Splen Arabia, Seven Days core...brilliant." - superb stereo continue your membership at any time. of dored Thing, 9 more an outstanding collection of In May, etc. N.Y. Journal -Amer. i at through the most tapes great savings FREE TAPES GIVEN REGULARLY. If you wish TC HA IK 0VSKY generous offer ever made by the Columbia to continue as a member after purchasing THE PERCY Sn.phonr NO 7 Stereo Tope Club! five tapes you will receive - FREE - a BLUE FAITH DANUBE k4, World By now you may have ANY FOUR of 4 -track stereo tape of your choice for every Great joining A Johann Premiere 4,as y the magnificently recorded 4track stereo two additional tapes you buy. ;; A Strauss Folk Recording tapes described here sold regularly by the I_ Festival Thornes - The tapes you want are mailed and billed Club for up to for only $5.98! Greenlields f ORMANDY $39.80 - to you at the regular Club price of $7.95 500 Mlles -( l0 MORE uniw PHILADELPHIA ORCH TO RECEIVE YOUR 4 PRE -RECORDED STEREO (occasional Original Cast recordings some- ,,.,, FOR ONLY simply fill in and what higher), plus a small mailing and han- 1283. "Appealing TAPES $5.98 - 1094. "Performance 1349. Also: Sloop tunes and lush ro- mail the postage -paid card provided. Be sure dling charge. that really sparkle John B., This Train, manticism." -life to indicate which Club Division best suits SEND NO MONEY - Just mail the card today and glow." High Fid Darlin' Corey, etc. your musical taste: Classical or Popular. to receive your four pre- recorded 4 -track HIM! HOW THE CLUB OPERATES: Each month the stereo tapes - ALL FOUR for only $5.98! GREAT; :É THEMES LOVE DORIS DAY staff of music experts chooses out- Club's IMPORTANT NOTE: All tapes offered by EXODUS standing selections for both Divisions. These More Nye Club must be played on 4track NEVER 3N SUNDAY selections are described in the entertaining Lnd0INyoie stereo play -back equipment. If your tape THE APARTMENT Yo and informative Club Magazine, which you l AFV recorder does not play 4 -track stereo plus 13 more Losini You receive f-ee each month. purl tapes you may be able to convert it sim- 9 mort You may accept the monthly selection for ply and economically. See your local 1348. Also: Getting your Division . . . or take any of the wide service dealer for complete details. 036. Also: Smile, 333. Also: Funny, A to You, Know The variety of tapes offered in the Magazine to Some Lee It Hot, Fool Such As I, Nigh Sound of Music, etc. TAPE CLUB Magnifient 7, etc, life, etc. members of both Divisions ... or take no COLUMBIA STEREO tape in a.iy particular month. Terre Haute, Indiana Columbia Records Distribution Corp., 1903 CIRCLE 22 ON READER -SERVICE CARD JANUARY 1965 I1)

www.americanradiohistory.com LETTERS

Continued from page 16 Thank -you Note

SIR: Generally speaking, the manufacturers of high fidelity equipment are most accom- modating to their consumers. Recently this was demonstrated to me in an act above and beyond the call of duty, and I thought it was worth bringing to the attention of other readers. After completing the wiring of an Acoustech IV preamp I proceeded to blow fuses (within the unit). Several hours later I was still unable to find the reason. At this point I wrote to the Acoustech people asking for authoriza- tion to return the unit to the factory for their inspection and correction (a $12 fee is the cost of this service). Two days later I received a telephone call from a Mr. Scott Kent of Acoustech, at their expense, and during the next fifteen to twenty minutes he helped me find the problem and advised me as to its cor- rection. Incidentally, he was right. Emmanuel R. Riff, M. D. Maple Heights, O.

Egge's Concerto: Correction

SIR: Regarding Alan Rich's review of CRI 184 in your November issue, I hasten to inform you that the recording of the THE MOST EXPENSIVE COMPACT MUSIC RE- CREATION Egge Piano Concerto is not a reissue of the old Mercury tape but a new SYSTEM ON THE ! MARKET... AND WELL WORTH IT recording done in June of 1963. As the Those who want their high fidelity in a small, available ONLY from components, but who person responsible for procurement, mas- compact package, and whose standards compel has neither the time nor inclination to assemble tering, and release of both versions, I them to seek out the very finest -regardless of a component system. The highly creative Shure can say that the Mercury tape was from price -are urged to hear the incredible new engineering group spent over two years devel- a series of special recording sessions of Shure M100 maximum performance music re- oping this remarkably compact and natural Norwegian music conducted during 1950 creation system. It is especially designed for sounding high- fidelity /stereo system. The result by the BBC for the Norwegian Perform- the music lover who wants the caliber of sound will astound you. ing Rights Society TONO. David Hall, President Features the renowned Shure Bi-Radial Matched (Shure-designed) total- range, Composers Recordings, Inc. Elliptical stylus in the famed V -15 Stereo ultra -compact speaker systems New York, N.Y. Dynetic 15° cartridge. Provides incredible Dual's finest performance at record -saving ultra -light precision Model 1009 auto- matic turntable tracking forces of Y, to 11/2 grams Price Correction All -solid -state Shure preamplifier /ampli- Can be used with AM, FM, Multiplex fier with greater useful music re- creation tuners, or can be used as a public address SIR: power than any other compact system system The prices of the RCA Victor Othello, were LIMITED QUANTITIES TWO SUPERB MODELS TO CHOOSE FROM: reviewed in your December issue, erroneous. The monophonic set is $15.00, Because of the detailed craftsmanship, THE M100W LIBRARY SYSTEM Impres- (Above). the stereo $17.00. large amount of hand labor. and rigid sive solid walnut cabinetry. Takes far less space than Helman quality control and inspection tech- "consoles" -yet gives true, room -filling high fidelity Herb niques involved, the number of M100 performance. $450.00. RCA Victor Records New York, N.Y. systems manufactured will necessarily THE M100L PORTA- be few. They will be available only TIVE SYSTEM (Right). through the most experienced high In two instrument cases. fidelity consultants and dealers. De- For serious listening tailed specifications and literature: among music lovers on Shure Brothers, Inc., 222 Hartrey Av- the go: armed forces enue, Evanston, Illinois. members, boat owners, college students, school MANUFACTURED UNDER ONE OR MORE OF THE music directors, anybody FOLLOWING UNITED STATES PATENTS: 3.055.908: 3.077.521: 3.077.522: D193.036: 0193.934: OTHER given to travel. Or cottage PATENTS PENDING. owners, of course $389.00. M.,CD Oo

MAXIMUM PERFORMANCE COMPONENT STEREO MUSIC RE-CREATION SYSTEM CIRCLE 63 ON READER -SERVICE CARD 70 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Two features of the new Ampex 2000 stereo tape recorders are unique. Automatic threading. And automatic reverse. The rest are merely Ampex exclusives.

Then there are the specifications. They're Ampex specs. That's why Ampex guarantees them. 20 years of successful experience in every area of magnetic tape electronics, in- strumentation products, video tape television recorders, and professional studio recorders, backs up the guarantee. Here's a sample: Frequency response at 71/2 ips: average (production run): ±2db, 30- 18,000 cps guaranteed minimum: ±3db, 50- 15,000 cps Signal -to -noise at 7'/2 ips: average (production run): 52 db guaranteed minimum: 49 db Wow & Flutter at 7'/2 ips: average (production run): 1/13 of 1 1/4 (.0007) guaranteed minimum: 1/8 of 1 °/o (.0012) Since styling is a matter of personal preference, let your MODEL 2070 (complete recorder with self- contained speakers, solid state power amplification and power own eyes be the judge. Form here, truly follows function. supply, dynamic microphone, all in one portable And under all that styling, these new units are built like carrying case-$4991 the proverbial truck. That's why we offer a full year war- ranty on all parts and all labor. Anything else? Yes. Each of these new Ampex units \ comes with an unusual "Owner's Kit," which includes a \ i vivid stereo "demo" tape, plus a reel of Ampex record- -.st EFL ing tape, also a complete Operator's Manual. Before you invest in just any tape recorder, plan to see, hear, try and evaluate an Ampex at your Ampex Franchised dealer. There's one near you. MODEL 2080 (deck only, MODEL 2050 (deck only - 'Manufacturer's suggested list price with walnut case -5469') 5 -I39'1 r Ampex Corporation Asia anyone who knows. With automatic threading you can now thread tape in just Consumer Products Division 2 seconds. We call that simplicity of operation! And with 2201 Landmeier Road automatic reverse, you add a subsonic signal at any point Elk Grove Village, Illinois 60007 on the tape (no fuss, no foil) for unlimited, uninterrupted, AMPEX unrepeated music. Now for the exclusives (some tape recorders have got Please send me all available Ampex literature since I realize you them, but the way Ampex makes them -that's exclusive!). couldn't cover all the details in this ad - details on accessories like the two matching speaker systems, details on the Automatic Slumber Switch, Fingertip manual reverse -merely flip a switch and the the microphone, the machined aluminum die -cast frame, all the speci- unit reverses. Dual capstan drive-permits extra long play fications, and anything else you can name. recording at 33/4 ips with fidelity crowding 71/2 ips. No pressure pads increased head life. Automatic shut -off -for Name (of everything- recorder, motor, amps, everything!). 3 speeds. 3 heads (Ampex heads). Optional automatic slide Address synchronization. Rigid -block head suspension -for con- stant alignment under any conditions (like dropping!). City State Automatic lifters. And solid state power amplification. L J CIRCLE 8 ON READER -SERVICE CARD JANUARY 1965 2I

www.americanradiohistory.com Wan SCCOnd FROM esil(at $30 less OUR than GORRTSPONDEr1Ts best)

It might appear at first you learn. And after all, what is a sym- glance that when a phony but an orchestrated sonata ?" NEW YORK pianist chooses to un- His long involvement with the Mozart dertake an entire con- concertos has led Mr. Anda to the con- certo cycle sans con- viction that very little in the way of ductor, taking on the ornamentation need be added to the chores of leadership written score. "Most of the ornamenta- himself, he is simply adding trouble to tion in Mozart's time was done as a an already difficult task. This, of course, concession to the audience. You know is what Géza Anda decided to do with the slow movement of the Concerto the concertos of Mozart almost six years K. 451 exists in two versions -the origi- ago for , and it is nal unornamented one, and another in a pleasure to report that halfway through which Mozart added embellishments be- the project, with five years of recording cause his sister told him to. And the still to go, Mr. Anda shows no signs of second one is not good -even though it DUAL being in trouble at all. "Why shouldn't I is Mozart. It sounds as if there are things conduct ?" he asked rather indignantly, in it which don't belong. But these fel- Auto /Standard Turntable when I talked with him during his Amer- lows -these scholars -write books about ican tour not long ago. "It is only the this kind of thing. And our friends the only $69.50 twentieth century that says a man must critics, they read Einstein, for instance, do just one thing. Now if you have a and repeat whatever he says because he Says Julian D. Hirsch pain in the left side of the heart you go is supposed to know everything. In one in Dec. HiFi /Stereo Review: to one doctor, and if it is on the right of the Concertos now everybody plays side you go to a different CC In my review of the Dual 1009 . . . doctor. But four movements-an extra minuet -be- its performance was comparable to look at Liszt. He composed, he played, cause Einstein says it belongs. But it the better manual arm and turntable he conducted, he taught, he transposed- doesn't. I will let my my head be cut off combinations. The Model 1010 ... is he thought no one would know , if it does!" designed to deliver essentially the per- for instance, so he wrote the Rigoletto When it comes to recording, Anda is Paraphrase. formance of the 1009, but at a con- His letters fill up twenty -five strictly a leave -the -dials -alone man. "I siderably lower price. volumes, and he had an amazing number want to hear on tape what I hear in the of women," Mr. Anda finished with ap- hall. I don't want the engineer to play .. can be used with practically any preciative emphasis. around with the controls to bring up cartridge on the market. the bass, for instance. It is none of his busi- With the 1010 on the bench next to The Resolute Mr. Anda. At forty -two, ness! Do you know my recording of the the speaker, I was unable to induce this Budapest -born and -trained pianist Schumann and Grieg Concertos? We any acoustic feedback, even at high looks as if he might match Liszt in any spent, for the Schumann, four and a volume and with maximum bass boost. of these fields, and play a good game half hours for rehearsing and recording, "(speeds) unaffected by line voltage of tennis besides. He made it clear, how- and for the Grieg, three and a half. This ever, variations from 95 to 135 volts. that his concerto conducting is done is the way I think recording must be neither in imitation of historical prece- done: all in one piece. If you have to .. low rumble figure is approxi- dents nor as an artistic whim, but as as 1 measured mately the same on a means of achieving a closer sense of Continued on page 27 the 1009. ensemble between soloist and orchestra - . wow (0.06% at 33 rpm) and and among members of the orchestra Clutter (0.02 %) were very good." themselves. "The men must listen to each other as if they were playing chamber music," he This astonishing performance in a $69.50 pointed out. "It makes them turntable is possible only because it play better. What I am doing is nothing shares the precision engineering and new, of course. It's been done many many advanced features of the incom- times before, by Bruno Walter and parable DUAL 1009 itself ... including Leonard Bernstein, for instance. But the the renowned Continuous- PoIeTM motor. difference is that they were conductors For example: automatic and manual playing the piano. In such cases the pi- single play, Elevator- ActionTM changer ano playing is apt not to be good spindle, feather touch slide switches. enough." went acoustically damped soft spring footings. Mr. Anda on to say that For more, see your United Audio dealer. he has never studied conducting per se- a fact which worries him not at all. "Con- ductors are not trained, they are born. UNITED AUDIO DUAL f;"\II I have played with many of the world's 12 WEST 18th ST., NEW YORK, N 1 :0011 first -rate and DUAL S THE FINEST THE RECORD.RUvE, IT NCE 1900 conductors. many of the In Canada: DUAL OF CANADA. 24 Milford Ave.. Toronto IS. Ontario second -rate and the third -rate. From this, Géza Anda: pianist and conductor. CIRCLE 69 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE

www.americanradiohistory.com a I fdrmeAy used QL1Fti1Ta £YCr,G r TD My occupation Is Qf%Y FOR , r

- ráu 1 flsnesgr weed s 1PE - r- le ow esselssrss is 4.44'4P CF/fGtY

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wood to an automatic

,z from a rr purces..d ' It bemuse JL/I MTfD G-PAT CN1N,I 11/!TN manual turntable? TvRNjB

- used -.1 RQ RE.ÌÚS I formerly 1009 D11r11:CSS F actual warrant), carcards s sfr,t in b ) DUAL ] owners. All are anulable lur examination upon nyl My octupctl.n

..... OW'O r purchased it becalwe L_ U'C

1 cAlt r rte Tip e,, ß.elá-_ rArdesis,sa

eftl[A Iltl*e ,1 ' 7tie píARKC ..ít4r used e asallon. t,,,,,, 740_ .rpr 1/t We e (34JJeS ,8 t because 4.'4. srs .Ia . 9 A. cf, t ieerly e oArws a,, g used !/-/r e».' .aRrt .+.- Twa.E ,a li .6`'.....g.../ _--derwhid 1,, . , . A Mera...,t zooid, t * aurchasad s letupettee is r...././ c J rWit ) I rt feCauee ,.11r-ZS C efOleec.rAn j. ' 2 i04Mt'rf v rr1] .v f- pltMr lJ - /U a al beceu a I twch. 'd /d ... k,. DUAL 1009 r"'o7 weed 4.1,44._c_44_4:_' fy xwoM;orl Auto /Professional Turntable ,o `1

, purdl. tracks flawlessly t _ as low as 1 gram >Eo hovo 41¡ &rfurs,s Eq dynamically bal- RSSFgh/ anced tonearm TpH%L ' y°rcC t b fine -thread adjust f---- rim /1 counterweight $t4ssT1[4 / ¡la, itSrc.g,r continuously var- I fOrmerly Q ¡ uNd slllif7AR tMr,tye iable direct -read- Ì'T1. LL u` MyM M 11a steay, ing stylus force occupation is 4 C1001.8111611i purchased from O grams up automatic and manual single play Elevator -Action '. changer spindle constant speed sa I purchased It because Ar44-l-LiM, - Continuous -Pole" motor 71/2 lb. dynamically bal- t J anced platter anti- skating compensation and Vari- !' °yalaser'c Pitchr° speed control ( -3%) for all four speeds!

UNITED AUDIO DUAL ne-11 12 WEST 18th ST.. NEW YORK, n N.Y. 10011 1 a I't? fo DUAL 'S THE FINEST . THE RECORD PROVES IT SINCE 1900 I formerly used a I y/ +Zk66i :c upat,on In Canada. DUAL Of CANADA. 24 Milford Ave.. Toronto 15. Ontario ,. n CIRCLE 69 ON READER -SERVICE CARD My occupation Is íDá !YJ N 7.) xrlr mention in: 1 q www.americanradiohistory.com STEREO: 1965 Edition -which, like its five predecessors, is published by HIGH FIDELITY Magazine -sparks ideas that help you achieve the best stereo reproducing system at the price you decide to pay.

Or it helps you get the most out of your present High Fidelity, Publishing House, stereo system, if you are that far along. Great Barrington, Massachusetts, 01230 There's much more, of course, but this gives you Send me STEREO: 1965 Edition for the an idea of the scope of this annual of about the size dollar enclosed. of this issue of HIGH FIDELITY. AND Name IT'S YOURS FOR ONLY $1 If you're particularly interested in high fidelity Address reproduction of music, can you afford to be without STEREO: 1965 Edition? City State Want a copy conveniently delivered to your Zip Code home? Just fill in and mail the order form with your ST 165 or dollar. Do it now -while you're thinking about it!

24 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com u ) `Hey- who shrunk yer tuner?'

To lots of people, there's trauma in a small stereo Eighteen a pleasure to tune. With Zero Center Tuning, tuner. Traditionally, the multiplex tuner has been a big there's no `maybe area'. The meter tells you when you're heavy monster. It's hard to accept that a unit that sits tuned in and when you're not. The planetary tuning sys- easily in the palm of your hand can outperform most of tem we've used is mechanically the most accurate and its bulky and cumbersome predecessors. trouble free. The tuning vernier has the silky yet positive KLH's brand new Model Eighteen multiplex tuner feel that marks high quality engineering. The Stereo is just about nine inches long. And no matter how you Indicator Light automatically identifies multiplexing sta- look at it, that's small for a high performance stereo tuner. tions as you tune. But the Eighteen isn't small just so that you can But there is no vacuum tube tuner, at any price, amaze your friends. It's small so that it will be the perfect with the ultimate reliability of the Model Eighteen. Be- mate for the KLH Model Eleven, Model Fifteen, Model yond the fact that the Eighteen runs cool; beyond the Sixteen or any other good amplifier. It's small so that it fact that transistors don't age, the Model Eighteen has won't waste precious space in today's homes and apart- 4 IF stages employing transformers of extremely low ments. It's small so that it's less likely to be damaged mass. The slugs are less subject to jarring and misalign- or thrown out of alignment in normal handling and ment when the Eighteen is shipped from the factory, or transportation. handled, than with heavier instruments. As a result, And it's small because it works best that way. Model Eighteens in normal use will require substantially Judged on an absolute basis, the performance of the less maintenance and service than old fashioned tuners. Model Eighteen is comparable to that of tuners costing There's one more way the Eighteen differs from ex- much more. When its price is taken into consideration, its pensive tuners. It's not expensive. About $130. Hear it performance can be described as truly incredible. at your KLH dealer's and judge for yourself. Like the most expensive tuners, you'll find the Just don't call it cute. It's very sensitive.

KLH RESEARCH AND DEVELOPMENT CORPORATION 1111111111111 I 1111111111111111111111111111 30 CROSS STREET, CAMBRIDGE 39, MASSACHUSETTS CIRCLE 45 ON READER SERVICE CARD JANUARY 1965 25

www.americanradiohistory.com SIX HEADS ARE BETTER THAN THREE! No matter how you look at it, six heads can outper- Entirely self- contained. Twin speakers. Two micro- form three anytime. And only Concertone's incom- phones. Three motor system. Echo control. Sound on parable 800 has them. Six heads let you record or play sound. Center capstan drive. You will be astounded four -track stereo tapes in both directions- without at what you get with Concertone's incomparable 800. reel turnover. And Reverse- o- matic® gives you con- And it costs less than $399. For complete details and tinuous music programming at the push of a single the name of your nearest dealer, write Concertone, button. No one in the industry can give you six heads P.O. Box 3246, South El Monte, California 91733. and Reverse- o- matic®. No one in Concertone's Series C O N C E R T O N E 800 price range can give you these features either. C

IN CANADA:HARTONE ELECTRONICS, 298 8RIDCELAND, TORONTO, ONTARIO,CANADA CIRCLE 24 ON READER -SERVICE CARD 26 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com NOTES FROM OUR CORRESPONDENTS Continued front page 22

repeat, repeat the whole movement. None of this snipping and cutting and fitting little bits together. This is death, inside." Featherweight 4 0 The Gospels Dramatized. A million -dol- lar recording project reached completion a few weeks ago when LOR Productions of Los Angeles announced the release of a six -disc album dramatizing the Life of Christ. "Journey to Bethany," pur- posely nondenominational in concept. employs nearly two hundred anonymous actors and actresses: a script (based on the four Gospels) by English -born novel- ist Cecil Maiden; and a score by Irvine Orton. performed by the Copenhagen National Symphony. Walter X. Boeckley. a Cincinnati businessman who conceived the undertaking, felt the need for an "audible representation of the Bible in the home." and has devoted the past three years to seeing his plan to fruition. The set, which sells for $59.95, is avail- able from LOR Productions. 9129 Sun- set Blvd., Los Angeles, Calif. S.F.

Long before the open- ing of the season at ROME the Teatro dell' Opera (this year on Novem- her 28. exceptionally early). the Rome mu- with a wallop sical year began with the first concert in the annual subscrip- tion series of the Accademia Filarmonica. KLH Model Sixteen is the This inaugural concert is always a great The probably smallest social -and musical- event: in the past integrated stereo amplifier in its power class. Hindemith and Stravinsky have appeared, We designed it that way. Small enough to fit into conducting new works: and this year, any room. Handsome enough to be welcome there. was interest equally high. thanks to the looks only the begin- appearance of pianist Arturo Benedetti But small size and good are Michelangeli. At forty -four. Benedetti ning. The Model Sixteen really delivers all the advan- Michelangeli is already legendary: his tages of transistor design that you've been promised fast cars, his taciturn misanthropy. his for so long. fondness for canceling concerts, his re- This is a full powered, full performance amplifier, luctance to make recordings -all these myth -making elements guarantee that with 70 watts of wide -band steady state power - 200 when he does appear in Italy, the hall watts of peak power. is sold out. This is clean power ... KLH clean. Distortion levels are insignificant from 25 to 20,000 cps. The New Michelangeli. His Roman re- cital confirmed another part of the This is reliable power, far beyond the potential of legend: he is. indeed, a very great artist. any tube amplifier. (There is no known aging process The program included a great deal of in a transistor.) The Sixteen can't be shorted out or D.::hussv and the Beethoven Opus I I I. burned out in use. A unique electronic circuit, designed underlining this pianist's range of sym- by KLH, eliminates the need for fuses or circuit break- pathies. It would also seem that this ap- pearance marks a new decision on Mi- ers in the speaker outputs. chel :ng :Ii's part to concertin more fre- We saved the best for last. The price is a feather- quently and more widely. He has a new weight, too. manager (the American Jacques Leiser, Just $219.95. The cabinet is optional at $19.95.* formerly with EMI /Angel, and one of the prime movers of the "Great Record- That's less than you'd pay for one of those big ings of the Century" series of reissues). heavy old- fashioned jobs. With Leiser handling his engagements, Michelangeli has already signed contracts for concerts in Paris and for an extended We designed it that way. tour in Japan. According to Leiser, the pianist will also make from eight to ten records within the next twelve months. *S gh ly higher on he west coast. The tapes will probably be made private-

9R

44 Continued on page 30 IIIIIIIIII IIII tIt II III II IIIIIl l 39,MASSACHU EI7TS CIRCLE 46 ON READER -SERVICE CARD JANUARY 1965 27

www.americanradiohistory.com Mr. Miller is an audiophile. He listened He listened He's also a cost -conscious to Brand X. to Brand Y. accountant who wants a $425. $31995. new stereo receiver.

Then he saw the new Bogen RF35, a 35 watt FM-stereo re- ceiver. "Interesting," he said, "What are the specs ?" The sales- man told him. "Hmmmm," said Mr. Miller, "35 watts will drive most any speaker system." The salesman nodded: "Thirty -five clean, useable watts." "It sounds like 60." "That's right; distor- tion is almost unmeasurable." "And," said Mr. Miller, "20 to 20,000 cycles is more than anyone can hear." "Unless your name is Lassie." "How about that 0.85 uv. sensitivity for 20 db. of quieting? The RF35 actually meets broadcast - monitor standards." "That's Bogen. All that performance," said the salesman, "for only $234.95." Mr. Miller computed rapidly. "Wrap it up," he said decisively. "And add," his voice trembled, "the new Bogen B62 stereo turntable. The $64.95 model with variable speed control and automatic cueing." The audiophile/ accountant wore a smile all the way home.

For complete details on the remarkable RF35 and the new illustrated Bogen catalog write Bogen, Dept. A -1, Paramus, New Jersey. B O G E N 4 LEAR SIEGLER, INC. COMMUNICATIONS DIVISION PARAMUS. NEW JERSEY 33 years of leadership in audio technology CIRCLE 14 ON READER -SERVICE CARD 18

www.americanradiohistory.com We aim ¡ t

KLH makes speaker systems that sell from $50 to $1140. Each of these systems delivers the cleanest, best balanced performance you can buy for the price. But the one by which we judge every new product we make is the Model Six. How does such a modestly priced speaker become the standard bearer for an entire line? It isn't just that the Six is a magnificent speaker. More than any other speaker we have ever made, the Model Six embodies the qualities that the name KLH stands for - an engineering approach that separates the trivial from the important; cuts through the accepted to find the exceptional -a patient, painstaking effort to give you cleaner, finer performance at lower cost. We aim at the Six because it gives you the highest quality of performance, per dollar, of any speaker we make. Or anybody else makes. That's why we call the Model Six: the lowest priced speaker you can be satisfied with for the rest of your life.

EL/1 RESEARCH AND DEVELOPMENT CORPORATION

IILIIIJIIII I I ti I I II II111IIIIII III III IIIIII111 30 CROSS STREET, CAMBRIDGE 09, MASSACHUSETTS CIRCLE 47 ON READER-SERVICE CARD JANUARY 1965 29

www.americanradiohistory.com NOTES FROM You can't tell the OUR CORRESPONDENTS Continued from page 27 difference between the ly, then sold or leased to some major company. Negotiations, at this writing, are in progress.

Oki 555 Opera News. At least two events sched- uled for the current opera season will be reflected in forthcoming recordings. and any other The much heralded Traviata at La Scala, staged by Franco Zeffirelli, conducted by Herbert von Karajan, and starring Mirel- stereo tape recorder la Freni as Violetta is- according to rumor -the prelude to a new Traviata recording by EMI /Angel, also with Miss Freni and Karajan (rumor doesn't ex- plain how this fits in with the conductor's exclusive Deutsche Grammophon con- tract). And Régine Crespin's debut at the Rome Opera in Tosca is, naturally, linked with her recording of that opera. Origi- nally scheduled for last summer, the until: Tosca sessions will be held later this year, with Tito Gobbi as Scarpia.

You lift it. It's the lightest portable stereo tape system in the At RCA Italiana. The mammoth studios world. Under 25 lbs. out on the Via Tiburtina have not been idle since RCA's opera recording ac- You check for tubes. It has none. It's solid state (all tran- tivity ceased at the end of summer. From opera they have become the scene of sistors ... 27 of them). other, more adventurous projects. In October the Società Corelli, one of You hear it. It has 2 unique two -way speaker systems for Italy's finest chamber groups and well cleaner stereo sound reproduction. (4 speakers.) known to American concert audiences, recorded the complete Concerti grossi You check its dependability. It's guaranteed for 1 full year.t of Francesco Geminiani. Like the So- cietà Corelli's earlier Vivaldi and Co- relli recordings, the three -disc Geminiani set will no doubt be exported. From the eighteenth century, RCA Italiana then turned its attention to the music of today. Under the guidance of conductor- composer Bruno Maderna, RCA has prepared three records of con- temporary music. Italian composers like Luigi Nono (and Maderna himself) are represented along with the leading names in international avant-garde circles: Stockhausen, Boulez, Krystof Penderecki, Roman Haubenstock -Ramati, and the American composer Earl Brown. Ma- derna conducted elements of the Rome Radio Orchestra, including its first flutist, that pillar of all far -out music Now you can tell the difference. Oki 333: 4 track full festivals, Severino Gazzelloni. The rec- The Oki 555 surpasses all previous stereo record and playback. ords will be issued both separately and three -disc album limited to achievements in tape recording and $289.95.* in a special one thousand copies -the latter with a stereo sound reproduction in its price Oki 222: 4 track monophonic record cover by the Venetian painter Emilio range. It has full solid state circuitry, and playback. $179.95.* Vedova and an essay by Massimo Mila, which assures cooler operation and Oki III: 2 track monophonic record one of Italy's leading critics. more complete reliability of perform- and playback. $129.95.* WILLIAM WEAVER ance. And its price is less than you'd Like the Oki 555, they are guaranteed

expect to pay. $349.95.* for 1 full year. See and hear these su- Oki has a fine choice of other solid perbly engineered tape recorders now The idea of recording state tape recorders. at your Oki dealer. serious music in the stereogen- LONDON spectacular r ics of Decca /London's Please send information to: Phase 4 system may make purists appre- Name Chancellor Electronics, Inc., hensive, but Leopold 457 Chancellor Ave., Address Stokowski's new London Symphony/ I Newark, New Jersey Phase 4 account of Rimsky- Korsakov's City State Zip #_I Scheherazade stands a good chance of L HFM 165 j Continued on page 34 lone year parts, 6 months labor manufacturer's suggested list price CIRCLE 18 ON READER -SERVICE CARD 30 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Which Stereo Receiver Is Your Best Value? BRAND IHF POWER TUNER CIRCUIT PRICE A 70 Watts AM -FM Transistor 5369.95 FM Stereo AM -FM B 80 Watts FM Stereo Tubes $374.50 C 100 Watts AM -FM Transistor $619.95 FM Stereo D 70 Watts FM Stereo Tubes $429.90

E 66 Watts AM -FM Transistor $195.00 FM Stereo

F 60 Watts FM Stereo Tubes 5354.45 G 60 Watts AM -FM $273.90 FM Stereo Tubes H 100 Watts AM -FM Transistor $579.90 FM Stereo

I 70 Watts AM -FM Tubes $269.95 FM Stereo IF YOU CHOOSE E GO DIRECT TO THE COUPON & COLLECT $75 TO $425 SAVINGS!

"E" is the Heathkit AR -13A All- Transistor, simultaneous adjustment of volume, bass, Lc, Mss than 1% ® 20 kc. Intermodulation distortion: (at riled output) Less than 1%, 60 6 6,000 cps signal mixed 4:1. - and treble 3 All -Mode Stereo Receiver. It's the first all of both channels; stereo in- Hum i noise: Mag. phono, 50 db below rated output; Aux. transistor stereo receiver kit. It costs from puts; and a separate control for balancing inputs. 65 db oelow rated output. Ch I separation: 40 db. Input sensitivity: Mat. phono, 6 MV. Outputs: 4, 8, 6 16 $75 to $425 less than the finest stereo receiv- both channels. The AM tuner features a ohm and low impedance tape recorder outputs. Controls: 5- ers on the market today. This alone makes high -gain RF stage and a high Q rod nosition Selector; 3-position Mode; Dual Tandem Volume; P + + 6 Treble Controls: Balance Control; Phase Switch; Input the AR -13 unique. But dollar savings are antenna. The FM tuner has a -in built line I Cocho's; Push -Pull ON ¡OFF Switch. FM: Tuning only one reason why it's your best value. cord antenna plus external antenna con- range: 88 me to 108 mc. IF fr : 10.7 mc. Frees response: t3 db, '20 to 15,000 cps. Capture ratio: 10 db nectors. Antenna: 500 ohm balanced (internal for local reception/ Even you can afford to buy the costliest Quieting sensitivity: 3,, us for 30 db of quieting. Image if reiection: 30 db. IF rejection: 70 db. Harmonic distortion: In addition, there's a local- distance switch model, you can't buy better performance. L t pan 1%, STEREO MULTIPLEX: Channel separation: Start with the AR -I3A's 43- transistor, 18- to prevent overloading in strong signal (SC A Filter Oft) 30 db. 50 to 2.000 cps. 15 KC i 3$ KC suppres- sion: 45 db down. SCA rejection: 35 db down from rated areas; a diode circuit. It's your assurance of cool, squelch control; AFC for drift - output. AM: Tuning range: 535 to 1620 kc. IF it 455 instant, "hum- free" operation; long, free reception; plus flywheel tuning, tuning kc. Sensitivity: 30 uv Es 600 kc: 9 us O 1000 kc. Image re- meter, jection: 40 db. IF rejection: 55 db ® 1000 cps. Harmonic trouble -free life; and the quick, clean, un- and lighted AM & FM slide -rule distortion: Less than 2% with 1000 as input. 400 cps with modified response of "transistor sound" dials for fast, easy station selection. The 30% modulation. Hum and noise: 40 db. Overall dimen- sions: 17' L . 5Y' H r 14 %' D. ... characteristics unobtainable in tube secondary controls are concealed under types. the hinged lower front gold aluminum FREE CATALOG panel to prevent accidental system setting Send for your Free copy to- changes. Both of the AM and FM "front - day) Fully describes over 250 Next, there's wide -band AM, FM, FM exciting Heathkits at savings Stereo tuning for distortion -free reception ends" and the AM -FM I.F. strip are pre - of 50% or more! Choose from to delight the most critical ear. It has two assembled and prealigned to simplify the world's largest selection preamps. And its two construction. of quality instruments in easy - power amplifiers to- assemble kit form! provide 66 watts of IHF Music Power, 40 watts of continuous sine -wave power. And Compare its impressive specifications. it's all housed inside one luxurious, com- Then go direct to the coupon, and order the AR -I3A. Now sit back and relax . . . HEATH COMPANY, Dept. 84 pact walnut cabinet . . . just add two Benton Harbor, Mich. 49023 speakers for a complete stereo system. you've just saved $75 to $425 without compromising! Enclosed is $195.00 plus freight. Please send Model AR -13A Stereo Receiver. There are plenty of operating conveniences, Kit AR -13A, 34 lbs $195.00 El Please send Free Heathkit Catalog. too. Like automatic switching to stereo; Name automatic stereo indicator; filtered tape SPECIFICATIONS -AMPLIFIER: Power output per channel 20 Address recorder outputs (Heath Rating): watts /8 ohm load. IIHFM Music for direct "beat- free" Power 33 watts /8 load. 1 Output): ohm Power response: t db City State Zip stereo recording; from 15 cps to 30 kc @ rated output. Harmonic distortion: dual- tandem controls for H F -173 (at rated output) Les than 1% @ 20 cps: less than 0.3" Caf 1 I. CIRCLE 40 ON READER -SERVICE CARD JANUARY 1965 31

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EXPORTS: Elpa Marketing Industries / New Hyde Park / New York / 11041 / USA DARIEN / CONN / 06821 CIRCLE 15 ON READER -SERVICE CARD

www.americanradiohistory.com "Until just recently, I have been somewhat skeptical about low priced transistor amplifiers. However, after testing and listening to the Heath AA -22, I feel it is time to revise my opinion. This remarkable amplifier can easily hold its own against any amplifier - tube or transistor anywhere near its price range." JULIAN D. HIRSCH, Hi Fi/Stereo Review, Nov. '64

Heathkit® 40 -Watt Transistor Stereo Amplifier $9995! Mr. Hirsch Went On To Say: "It is the gloves. I operated it at full power for long "WILL GET ANY STATION THAT embodiment of the so-called 'transistor sound' periods, and frequently overdrove it merci- CAN POSSIBLY BE PULLED IN" - clean, sharply defined and transparent. lessly, without damage to the transistors, and It has the unstrained effortless quality that with no change in its performance measure- is sometimes found in very powerful tube ments" "One of the best things about amplifiers, or in certain expensive transistor the Heath AA -22 is its price, $99.95 in kit amplifiers." "The AA -22 is almost unique form, complete with cabinet." o among amplifiers at or near its price, since Let's Look Closer! The -22 it delivers more than its rated power over the AA provides 40 watts continuous, 66 watts 1HF music power entire range from 20 to 20,000 cps" ... Matching AM /FM /FM Stereo Tuner at +1 db from 15 to 30,000 cps. Features 5 "The power response curve of this amplifier The above quote comes from July '64 issue of stereo inputs to handle mag. phono, stereo- Radio-Electronics. is one of the flattest I have ever measured" . . . mono tuners, tape recorders, & 2 auxiliary The matching AJ a built -in "Its R!AA phono equalization was one of the -33 tuner features sources. There are 4, 8 & 16 stereo demodulator; AGC for steady volume; most precise I have ever measured" "In- ohm speaker ... outputs plus tape recorder a AFC for drift -free reception; stereo indicator termodulation distortion was about 0.5% up outputs; 5- position selector switch; 3 position mode light; stereo phase control for maximum separ- to 10 watts, and only 1% at 38 watts per ation, minimum distortion; filtered stereo out- channel, with both switch; dual -tandem control; bass & treble channels driven" ... "The controls. puts; tuning meter; flywheel tuning; voltage hum and noise of the amplifier were inaudible" regulated power supply; illuminated slide -rule "Hi Fi/Stereo Review's kit builder reports Get Full Details Free! Simply use coupon dial; and pre- built, prealigned FM "front - that the AA -22 kit was above average in "build- below. Or better yet, order both the AA -22 end' tuner and AM -FM I.F. circuit board ability" . "In testing the AA -22, I most Amplifier & its matching AJ -33 tuner now! for fast, easy assembly. appreciated not having to handle it with kid Kit AA -22, Amplifier, 23 lbs $99.95 Kit A.1-33A, Turner, 17 lbs $99.95 r HEATH COMPANY, Dept. 11-1 Benton Harbor, Michigan 49023 In Canada: Daystrom, FREE 1965 CATALOG! Ltd., Cooksville, Ontario See these and over 250 other Enclosed is S plus shipping. Please send Kit (s) Please send Free 1965 Heathkit exciting Heathkit: available in Catalog. easy -to -build kit form. Save 50% or more by doing the easy as- Name sembly yourself! Send for your (Please Print) free catalog today! Address

Coy State Zip Prices 8 specifications subject to change without notice. HF 179 L J CIRCLE 40 ON READER -SERVICE CARD JANUARY 1965 33

www.americanradiohistory.com NOTES FROM OUR CORRESPONDENTS Who Says Continued from page 30 proving among the most dramatically separation and clarity. Broadly speaking, Great Stereo exciting on discs. Not that sonic gim- the violins were taped on one of the two micks have been allowed to dominate: left -hand tracks and the brass minds the Components Tony d'Amato, the man in charge of horns on one of the two right -hand Phase 4 recordings, asserts firmly that tracks; the other instruments were divided Aren't no electronic tricks have been used, at between the remaining two tracks. This least not of the kind distinguishing Phase system makes it easy for the engineers Decorator 4 issues in the pop field. to boost the violins separately if neces- sary, and conversely, to tone down th_ Designed? Stokowski and the Engineers. The ses- brass. which quickly tends to dominate. sions were held at Kingsway Hall, and With the arrangement of instruments D'Amato's preparations for the occasion described above, the famous call and included marking tip a miniature score answer between trombones and trumpets with some hundreds of cues, blue for in the second movement of Sclteherazade the left -hand tracks, red for the right. would, of course, have been entirely over The Phase 4 system uses up to twenty on the right. What more obvious for tie channels (i.e. separate microphones) Phase 4 people than to bring the trumpets Meet the new Empire Royal feeding into four tracks. The instruments over to the left during this crucial pas- Grenadier...first speaker are so grouped as to emphasize clarity sage- something which many a conductor system designed and engi- and separation even if this means dou- would like to be able to do in the con- neered in sight and sounc bling up on some instruments. Taking an cert hall? You will be able to hear the for stereophonic reproduc- obvious instance, D'Amato points to the results early this year. fact that bassoons are commonly used in tion. Lets you sit arywhere two distinct ways. either as part of the Unique Churchilliana. Decca /London is lits -hear everything. regal woodwind choir or as a reinforcement elated to have brought off a contract with shape projects a majestic to the cello line. When the bassoons Sir Winston Churchill, who celebrated sound unlike any you've perform the latter function from their his ninetieth birthday on November 30. ever hearc before. A 15" usual position with the other winds. the There have been plenty of Churchill mass loaded woofer, cello line comes from both left and records in the past -the major war world's largest ceramic right and thus clouds the directional speeches came out in Britain on HMV stereo. D'Amato has done at the time; later there were LP reis- magnet structure and die- effect of What in this and other recordings is to use sues; and then there was Ed Murrow's cast full dispersion acous- one pair of bassoons alongside the cellos symposium taken from a CBS broadcast. tic lens allow you to enjoy and another with the winds, each as- What makes this new set of twelve discs the highest fidelity of mu- signed to a separate role. of great historical interest is that it is sic plus phenomenal stereo Stokowski was very ready to go along largely based on a series of tape- record- separaticn from anywhere with this sort of approach. He has. after ings made by Churchill personally. with in the room.Speaker place- all, been in the forefront of such ex- the help of an engineer, just after the perimenting for forty years or more. war when he was out of office and in ment non -cr tical. For a He agreed to D'Amato's suggestion for opposition. At the time he was busy sound demonstration go putting the violas over to the right with writing his war memoirs, and many of 'round to your dealer or the cellos, he boosted the number of the tapes consist of readings from those write for comple:e color violins, and he asked for an extra harp. memoirs, particularly the summary of brochure. In the sessions themselves he was the the interwar period, when he played perfect mediator between the men and such a vital part in alerting the world the music. not dominating any more than to the danger of Hitler. he needed to (when things were going Historically, the most important items well he sometimes even stopped moving on the tapes are Churchill's readings of his hands) but keeping very firm dis- two speeches given in the House of cipline. He did not interfere with the Commons in 1940. The first, nude on details of engineering. but delighted the May 13, only three days after he be- recording team when after a false start came Prime Minister, contains the fa- he simultaneously signaled the orchestra mous statement, "1 have nothing to offer to prepare for an immediate restart and but blood, toil, tears and sweat." The through the intercom ordered the engi- second, of August 20, includes his tribute neers to "Keep running!" Only an old to the Battle of Britain pilots: "Never in hand would have had this presence of the field of human conflict was so much mind. owed by so many to so few." It may surprise some to learn that Multichannel Miracles. Following D'Ama- these speeches have never before been to's heavily annotated score, Arthur heard outside the Commons in Church- Lilley in the control room constantly ill's own voice. It was -and is -a strict adjusted the levels of the various chan- rule of the House that no recordings nels in the interest of stereophonic should be taken of addresses delivered there, and Churchill did not repeat these particular speeches afterwards on the ra- dio, as he did some of the others. Now we shall be able to hear two of the most resounding Churchillian statements as spoken by the great man himself. Sir Winston seems to have enjoyed himself with the tape recorder, and the engineers have done wonders with what can hardly have been high fidelity re-

Eirrirr SLii rrril, Crrrtr Ii45 Slvw.,rl. C.rrrlr rr CiIY. L I N Y production. EDWARD GREENFIELD CIRCLE 34 CN READER-SERVICE CARD 34 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Mr. Saul Marantz discusses his revolutionary new model 10 -B FM Stereo Tuner

which Marantz, your new 10 -B tuner is ode mixer -a technique used in modern variation of stereo demodulator, Q. Mr. to maintain a quite revolutionary. Do you feel it will sensitive radar designs to eliminate a permits phase correction advanced order of stereo separa- obsolete all other tuners? major source of noise, harmonic distor- very tion and other spurious interference. tion throughout the whole audio band. Mr. Marantz: In one sense, yes. The per- The whole RF circuit is balanced- tuned, is so and formance of this tuner dramatically using a precision tuning capacitor with Q. What is the purpose of the tuning superior to conventional tuners that four double sections, for further reduc- multipath indicator? anyone who wants or needs perfect FM tion of spurious images. Mr. Marantz: This oscilloscope device is reception today has no choice but to use For the critical IF strip, we've devel- however, so versatile its single trace tells many the model 10 -B. Its superiority, oped the first commercial application of conven- easily understood stories. It shows when does not necessarily obsolete the "Butterworth," or phase-linear fil- tuners. Rolls Royce, of course, a station is tuned exactly to the center tional ter. This new concept provides a number The of pat- makes superior cars, but they haven't of the passband. height the of distinct characteristics essential for shows the signal strength. The in- obsoleted Chevrolets. tern good results. The passband, for example, dicator shows how much multipath is low distor- Q. this superior performance discern- is phase -linear for extremely present, making it easy to adjust the Is frequencies ible to the average listener? tion - especially at high - antenna for best reception. It shows if and it remains essentially phase -linear the station is creating distortion by over - so. The differ- Mr. Marantz: Very much at all signal levels. Also, technically informed As you know, modulating. ence is quite dramatic. Cutoff slopes beyond the passband are check stereo separation of never been users can conventional tuners have extremely steep, allowing unprecedented transmissions, discs and other sources. able to pick up and reproduce broadcasts selectivity; it is much less subject to the which could match the quality of a fine doesn't re- effects of multipath, and it Q. And how soon will the model 10 -B be disc or tape playback system. This has or quire realignment with tube changes available in quantities? often been blamed on broadcasting qual- aging. The old standby coupled IF cir- ity. But the new 10 -B disproves this the- cuits currently in use do not have any of Mr. Marantz: The Model 10 -B is a labo- ory. It reproduces the broadcast of a these characteristics. ratory instrument of extremely high disc or a tape with the same clarity and quality which will never be mass pro- separation as if played through a play- Q. Are there any innovations designed duced in the usual sense. However, pro- back system - proving that broadcast specifically for multiplex? duction has been stepped up fourfold and excellent. quality is generally Mr. 3larantz: Yes. For multiplex recep- all back -orders are now being filled by Marantz franchised dealers. Q. Is this true with weak broadcast sig- tion we've developed our own unique nals also? Mr. Marantz: Yes. In fact the model 10-B will reach 55 db quieting at only 3 microvolts! This is better than most con- ventional tuners will reach at 1000 microvolts. With a 25 microvolts station the Model 10 -B reaches a phenomenal 70 db quieting which is about 20 db better than most conventional tuners can achieve at any signal strength. This MARANTZ MULTIPATH TUNING INDICATOR means that with the Model 10 -B there IF Passband retains Conventional mutually - Station tuning is simply Multipath (Ghosts) shows up as 'wiggles' on the will be excellent reception even in fringe phase linearity and sharp coupled IF circuits and accurately adjusted change characteristics by centering the trace. tuning trace. Antenna is slopes at any signal trace areas, particularly so because of the tun- strength for low distor- drastically depending on simply rotated until er's high sensitivity, its extremely sharp tion, sharp selectivity. signal strength. is smooth. selectivity and reduced susceptibility to multipath effects, which on other tuners cause distortion. Q. How are such improvements accom- plished? Mr. Marantz: The answer to that ques- tion is very complex, because the 10 -B is far more than an improved tuning sys- tem; it is a completely new design con- cept with many technical innovations aftilay developed by Marantz engineers. Q. Can you give us some examples? mtirPwkmaR Ar Yes. The RF section, m Mr. Marantz: for MARANTZ, INC., SUBSIDIARY OF SUPERSCOPE INC., SUN VALLEY, CALIF. example, contains a balanced- bridge di- J CIRCLE 51 ON READER -SERVICE CARD JANUARY 1965 35

www.americanradiohistory.com The new Sony 500 -A: A magnificent stereophonic tape system with the amazing new 2.5 micron -gap head that produces a flat frequency response from 40 to 18,000 cps -` 2 db: A remarkable engineering achievement; a complete four track stereo tape system with detachable speakers''` and two new award winning F -96 dynamic microphones. All the best from Sony for less than $399.50.

Outstanding operational features distinguish the amazing 'Rave Review: The NAB playback characteristic of the 500. new Sony Sterecorder 500 -A: Two bookshelf type as measured at USTC, was among the smoothest and clos- acoustical suspension speaker systems combine to form est to the NAB standard ever measured." - High Fidelity Magazine, April 1964. °`Rave Review: One of the strik- carrying case lid 4 -track stereo /mono recording and ing features of the TC 500 is the detachable speakers, playback Vertical or horizontal operation Special ...they produce a sound of astonishing quality. " - Hi F: /- effects with mike and line mixing and sound on sound Stereo Review. April 1964. Available Soon: A sensational Two V.U. meters Hysteresis -Synchronous drive motor new development in magnetic recording tape, SONY Dynamically balanced capstan fly- PR -150. Write for details about our special introductory offer. (Sorry -only available to Sony wheel Pause control Automatic owners.) For literature or name of sentinel switch Multiplex Ready nearest dealer write to Superseope, with FM Stereo inputs. Inc., Sun Valley, California. Dept. 11. CIRCLE 65 ON READER -SERVICE CARD 36 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com HIGH FIDELITY B Y N O R M A N E I S E N B E R G NEWSFRONTS

Short -Changing on Long -Term Pur- performance characteristics and manu- that by using it about once every two chases? The purchase of a high fidelity facturers' reputations? or three months, the owner of a playback system is hardly ever made lightly. For In truth, there is no clear answer to system can discover and then correct most of us it represents a substantial this question. Individual speaker systems, small departures from optimum perform- outlay of funds; the returns -in terms of whatever their origins, must be judged ance. It should make a useful and hand- performance and reliability -are antici- on their own merits. Some help, however, some addendum to the library of any pated for years to come. In view of this may be found in the laws of physics and serious listener, whatever his technical long -term investment aspect, we wonder the laws of economics. The full, clean level -and is an excellent choice for a about a recent marketing trend. Exact sound of high fidelity is not likely to be belated seasonal gift. data is impossible to obtain. but it seems realized by using cheap replacement that some retail dealers have been push- speakers, no matter how artful the "box Literature, Mostly Free. Multiple power ing speaker systems of their own design, magic" that is employed with them. The outlet boxes, including some with con- using unbranded dri ier units installed sow's ear still, even in our age of tech- trols and circuit breakers, are described in cabinets of their own making. This nical miracles. cannot be made into the in Brochure No. 564, available on re- practice in itself is of course legal and silk purse. Drivers that are ordered to quest to Waber Electronics, Inc., Han- in accord with our notions of free enter- specification, and which in addition may cock and Somerset Sts., Philadelphia, prise and competition. If carried out be modified by a speaker system de- Pa. 19133.... The New Fisher Hand- conscientiously, it can even result in very signer, of course represent something book offered by Fisher Radio, 21 -21 44th good speaker systems; after all, a good else. These fall into the category of cus- Drive, Long Island City 1, N.Y., includes part of the original impetus to the high tom -made speaker systems, fairly costly, four articles on stereo as well as descrip- fidelity idea came from hobbyists and recognized by experts as unique products, tions of products and attractive photos. experimenters installing individual drivers and -in any case -are never offered as ... More than 250 kits -including audio and home -made crossover networks in minimal substitutes for the real thing. products as well as a transistor organ "cut-and-try" boxes. But the "cheapy," the atypical "bargain and a genuine computer-are described There is, however. a very real danger speaker" should be suspect to the quality - in Heath's new catalogue; for a copy in the commercialization of this practice, minded listener. It may, indeed, repre- write to the Heath Co., of Benton Har- and it is inversely proportional to the sent "value for the dollar spent," but bor, Mich. . A colorful brochure is- honesty of the dealer and the technical then, so too does a $15 table -model sued by Pickering & Co., Plainview, L.I., sophistication of the buyer. For instance, radio. Whether this product concept N.Y., describes this company's new series an unwary purchaser may be sold high - really has anything to do with genuine of V -15 phono cartridges and specifies performing, well -known components up stereo or high fidelity sound is quite an- the models of turntable or changer to the speaker systems, at which point other matter. recommended for use with each cartridge. his attention is diverted to an anonymous An illustrated booklet on "How To and impenetrable box that is purported New Test Record. CBS Laboratories, Clean, Maintain, and Protect Records" to be "all that you need" to realize the known for its professional test records written by the British authority Cecil E. full potential of all the other equipment on which the signals are designed for Watts, is available for 25 cents from that precedes it in th° stereo -reproducing metering by laboratory instruments, has Elpa Marketing Industries, New Hyde chain. The "felony" that is possibly com- issued a release intended for use by the Park. N.Y. The booklet contains pointed mitted at this point. while not one of nonprofessional ear. The new disc, advice on stylus pressure, dirt, groove statute, could well be one of sonics. In "Seven Steps to Better Listening" (STR- wear, and such -and has some of the any given line -up of audio components a 101; $4.98 at Columbia record dealers'), best photomicrographs of record grooves better speaker system almost invariably contains readily conducted tests for chan- we have ever seen. makes everything "sound better." Thou- nel identification, loudspeaker phasing, sands have discovered this simply by con- balance, tone control adjustment, channel Booked for Stereo. A very literal inter- necting the sound output of a TV set to a separation, buzzes and rattles due to mis- pretation of the idea of a "bookshelf speaker better than that supplied with tracking of the pickup or defects in the installation" is embodied in a new prod- the set. When dealing with the response speaker, and stylus adjustment for re- uct concept announced by Eric Elec- capabilities of today's high fidelity pro- duced record wear. All manner of exotic tronics, West Coast audio manufacturer. gram sources, pickups. and amplifiers, tones are used, including the relatively Solid -state design has enabled Eric to the need, and acoustical justification, for new one known as "pink noise." Ac- produce an FM stereo tuner and a 20- using the best speakers one can afford companying the record is a detailed and watt (rms) stereo amplifier -each so becomes quite obvious. The very notion lucidly written sixteen -page booklet by compact that it can be fitted into the of discouraging the serious music listener Edward Tatnall Canby. Our only real space normally occupied by a good -sized from seeking such quality, and urging criticism of this record is that in the first book. Accordingly, Eric has packaged him to settle for "something less," is test, for left -right identification, it could the two components in book bindings, inimical to the meaning of high fidelity. be the signal cable leads ( between turn- and labeled the set Dictionary of Music. It also can make for some "disorder and table and preamp, or between preamp Anyone seeking musical definitions, how- early sorrow" in the listening room. and power amp) that are reversed; the ever, will be in for a surprise inasmuch If the unsuspecting buyer is thus short- explanation mentions only the speaker as the binding of "Volume 1" opens on changed sonically. what about his being leads. Aside from this minor omission. hinges to reveal tuner controls, and that short- changed in terms of hard cash as STR-101 is a carefully engineered and of "Volume 2" hides the front panel of well? How can he be sure, if he buys well -planned guide for setting up, or the amplifier. Two compact speakers an unbranded speaker system, of getting checking out, a stereo (or monophonic) complete the system which ought to ap- his money's worth, vis -à -vis what is avail- system. In fact, Dr. Benjamin B. Bauer peal strongly to the most hidebound ex- able in brand -name speakers of known -who engineered this record -told us ponent of equipment camouflage.

JANUARY 1965 37

www.americanradiohistory.com "Can serve admirably to help you derive greater enjoyment from records or broadcasted programs. It covers almost every aspect of high fidelity reproduction with special emphasis on stereophonic equipment." HARVEST YEARS

PARTIAL CONTENTS The ABC's of Stereo Stereo for the Man Who Hates Stereo Music and Stereophony Stereo Recording Today Cabinets for Components The Music Wall Improvements in Cartridges and Arms S.6 From One Speaker to Many FM Stereo in the Marketplace Antennas for FM FM for Motorists Anyone Can be a Sound Engineer A Mike or Two Around the House High Fidelity Servicing Noise -the Uninvited Guest -and many more!

For more than a decade, readers tell us, the most literate and informative writing on sound reproduction in the home has appeared in HIGH FIDELITY. Wyeth Press, a division of Now, for those who may have missed some of HIGH FIDELITY's top audio High Fidelity Magazine articles (plus a few from sister publications) and for those who requested they he Great Barrington, Mass. 01230 preserved in a hook, we have selected 31 of them for inclusion in the First High Fidelity Treasury. Please send me a postpaid copy of the It's not a "layman's guide" to high fidelity, but it tells you just about everything First High Fidelity Treasury for the $2.5C you need know for achieving good sound reproduction in your home. enclosed. Each piece was selected with these qualifications in mind: Will it help today's reader understand the principles of recording and reproduction. including stereo? Will it help the reader plan a new reproducing system to suit his needs at a price he Name_ is willing to pay? Will it help the reader get the most out of that system or his present system? Address This new, illustrated flexible cover hook of 132 pages. measuring 61/2 x 91/2 inches, will stimulate and inform anyone who has ever thought about owning his own "rig." If audio perks up your interest -fill in and mail the coupon here-before we sell out. Payment with your order, please, to prevent bookkeeping expense. But satisfaction guaranteed or your money back! 165

38

www.americanradiohistory.com The AR -4 -$51 to $57, depending on finish

Excerpt from a column by Robert Marsh, music editor of the Chicago Sun - Times. A reprint of the complete AR-4 review is available on request.

The AR -4 is a best buy in any comparative shopping survey. It is going to attract a lot of interest in the low -price bracket, but, more than this, it is going to raise a big fuss in the next bracket up, competing with its own big brothers the AR-2 and the AR-2a.

Development work on the AR -4 has made possible an improvement in the AR -2 and AR -2a speakers as well. The AR -2a has a new mid -range unit of improved smoothness and dispersion, and has had its name changed to AR -2ax. The AR -2, with the same new unit installed as tweeter, has become the AR-2x. These new models are entirely compatible in stereo with the original speakers. The grille cloths are new, but the older grilles are still available. The AR -2 and AR -2a speakers are also still available for those who want exact matching, or the owner of either of these speakers can convert to the corresponding new model for $15 and about half an hour of his time. Conversion kits are available at your AR dealer or direct from Acoustic Research. The AR -2ax is $109 to $128, depending on finish, and the AR -2x is $89 to $102. These prices are the same as for the original models. AR's five -year speaker guarantee (covering all costs including freight) applies, of course.

ACOUSTIC RESEARCH, INC., 24 Thorndike St., Cambridge, Mass. 02141

I'lease send me conversion kits AR -2a to AR -2ax AR -2 to AR -2x with complete instructions. I enclose in cash or check ($15 postpaid per kit), and /or

Please send me literature on AR products.

NAME

ADDRESS

L CIRCLE 2 ON READER- SERVICE CARD JANUARY 1965 39

www.americanradiohistory.com Finely adjustable Dynamically Needle Adjustable Calibrated stylus Integral Lightweight counterweight balanced pinots anti-skating pressure scale cueing plug-in shell cushioned tone arm of compensator with V4 gram device with extended in rubber Afrormosia wood click settings finger lift

The tone arm system of Garrard's new Lab 80 Automatic Transcription Turntable is a masterful combination of developments...all of them needed to achieve full benefit from the most advanced ultra -sensitive cartridges

-IN hiclt cartridge It provides a precise method of setting have an inherent tendency to move in- do you recommend ?.. the tracking force specified by the car- ward (skate) toward the center of the 'Tall 1 ii a the- tridge manufacturer, no matter how light record. This tiny side pressure must he modcl ?., cancelled out accurately. to permit the "Ii4M Iightl and arm to track sensitive cartridges with- precisely will it out distortion. The Lab RIl accomplishes track?" this with a patented adjustable anti -skat- "11'ill it get the ing compensator. making it possible to hest performance use cartridges with the highest compli- and most from tic pick up ance delicate stylus assemblies. select ?" These are certainly the most commonly asked (and misunder- stood) questions con- cerning record playing equipment. Now they have been resolved with the devel- opment of the Lab 80 tone arm system. ...to the correct fraction of a gram. Distinguished in appearance...as well as Because of today's featherweight track- performance...this unique tone arm is ing. the slightest interference with free the ideal transport for cartridges of pro- arm movement may affect the cartridge's fessional calibre. including those origi- performance. To avoid this. the Lab RO nally designed for use with separate um moves on needle pivots. set into tiny arms. It is built of Afrormosia, the least hallhearings. Flat arm geometry cancels resonant of all woods. held in precision warp/ wow: low center of gravity elimi- alignment by an aluminum stabilizer nates sensitivity to external jarring. along its entire length. The knurled coun- The lightweight removable shell is This total performance tome arm sys- terweight can he finely adjusted to put compatible with all crtridges... most tem. plus an ingenious c icing control the arm in perfect dynamic balance. particularly the low mass professional 1 built into an automatic unit for the first The built -in calibrated stylus pressure types. The shell slides into the arm on time) and the other advanced features gauge has click adjustments. each click which distinguish the Lib RO, are de- representing one- quarter of a gram. tailed. illustrated and explained in the Garrard 32 -page Comparator Guide covering the entire line. For your complimentary copy. write: Garrard. Dept. GA -'5. Port Washington. N.Y.

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www.americanradiohistory.com AS high fidelitysEEs IT

The New Conductor

THE ELOQUENCE of conductor George SzeII has While the presence of the ensemble leader is felt in never been confined solely to the podium. Unlike the way the ensemble plays, the idiom of the com- some of his colleagues, who can say it with music poser is more conspicuous than the individualism but are verbally at a loss, Szell has always been able of the re- creative artist. Earlier conductors professed to articulate his musical purposes and principles in this goal, especially Toscanini, but their personalities words as precise and illuminating as his platform were too strong to permit any real self-effacement. gestures. It is thus with particular pleasure that we In Szell's ideal of playing symphonic works by the provide this month an opportunity for readers to ground rules of chamber music, we find a key to eavesdrop on George Szell, in conversation with an the new type of conductor. Primitive autocracy old friend, critic Paul Henry Lang. has been replaced by self-imposed artistic discipline. What Szell is largely concerned with -and what Thus, just as the conductor came out of the he himself represents -is the concept of a new type eighteenth- century orchestra, he is now tending to of conductor. one who seems likely to dominate fade into the collective skill of the twentieth- century the scene for the balance of this century. The role symphonic group. Conductors of the older genera- of the man with the baton has, in fact. been evolving tion could breeze into town, whip the local band steadily since the conductor became a well- defined into shape, and put on their show. The new conduc- part of orchestral performance about 150 years ago. tor is heard at his best with orchestras that he has At that time, and for many years subsequently, stand- directed for long enough to have established a bond ards of instrumental playing made it inevitable that of mutual understanding, for he works from within he should be a ruthless lawgiver. As ensembles im- the ensemble rather than from without. proved, he appeared in a different manifestation: Conductors of the new persuasion can be stimu- the virtuoso orchestral builder who played on his lating performers on both the intellectual and emo- complex, symphonic instrument as a virtuoso violinist tional level, as George Szell has so brilliantly demon- might play on a violin. The apogee of this develop- strated in his American career. Unfortunately, for ment was reached with Toscanini. Mengelberg, those reared on the virtuoso conductors of the Stokowski, and Koussevitzky in the eastern United Thirties, some apostles of the new school appear States, with Beecham in England, with Walter and too bland and self- effacing in their approach to Furtwängler in Central Europe. Their epoch seemed music. They are high on scholarship but low on the final evolutionary phase in the history of orches- magic. One misses from them the vitality and tral music. magnetism that audiences once expected as a matter It was not. of course. Splendid as were the of course. achievements of these men, one could also say that All this has had its effect on the box office, as this species of conductor often superimposed him- concert managers and the a & r men at record com- self between the music he was supposedly transmit- panies will attest. The public is searching for some- ting and the composer who wrote it, between the thing out of the ordinary -and it is not always printed score and the playing of it. A change in finding it. But as the outlook and method of the the conductor's role was in the offing, and in recent new conductors become more widely understood, years that change has defined itself. The new con- these musicians will gain in confidence and begin ductor has become a peer among peers, a synthe- to put forward a more distinct artistic profile. In- sizer, a point of focus in an orchestra that has both creasingly, they will show, as Szell has already shown, a personality of its own and a gift of tongues allow- that it is possible to speak for the composer and ing it to communicate a variety of musical styles. yet possess the boldness in concept and execution With the new conductors, the emphasis is not which make for the strongest ties between the on Maestro's Beethoven Fifth, but on Beethoven's. conductor and his public.

JANUARY 1965 41

www.americanradiohistory.com "A _Mixture of instinct and 7ntellect"

Some revealing shop talk on the fine art of conducting between

GEORGE SZELL and PAUL HENRY LANG

LANG: Mr. Szell, I shall not ask you about your the choreography is really not essential-and some- favorite dishes, nor about whom you consider your times it's even harmful because aimed primarily at ten favorite composers. Since this is an opportunity the audience, not at the player -the posture, the for HIGH FIDELITY'S readers to be admitted to the gestures, and the facial expressions of a conductor workshop of a conductor, let us engage in shop talk. are of tremendous importance -as you yourself rec- Conducting, like other forms of executing music, ognize, because as I happen to know, as a very young relies, of course, both on instinctive musical feeling man you played in an orchestra. and on technical mastery of a craft. But. unlike a solo performer, a conductor is engaged in making LANG: And on one occasion under you -when you others carry out his wishes. Therefore. another di- were also a very young man. mension is involved. Would you care to comment on this? SZELL: And under me! Even that! After more than fifty years' experience as "conducting" conductor SZELL: To make an orchestra -to make players - and as "observing" conductor, it still seems to me realize the diverse characteristics of various styles miraculous how the sound of an orchestra can change and to transfer this realization to their music making from one minute to another according to what -is one of the most important tasks of a conductor. type of person stands in front, and according to what The means to this end are, of course. partly of a type of hand the players watch, and what type of technical nature. I personally like complete homo- eye looks at them. I found in our tests for the Ford geneity of sound, phrasing, and articulation within Foundation's project for young conductors a very each section, and then -when the ensemble is perfect vivid demonstration of this miracle, when one con- -the proper balance between sections plus complete testant stepped up and conducted for ten minutes flexibility -so that in each moment one or more and then another took over and the orchestra principal voices can be accompanied by the others. sounded completely different. Now, I wish I could To put it simply: the most sensitive ensemble play- explain this to you, but I think that it is really inex- ing. Perhaps I can best characterize my idea when plicable-we just have to put it down to the mirac- I say it should be a chamber music approach, not a ulous little residue that remains probably in each hundred men playing while looking, like slaves, at artistic discipline and which can fortunately never the stick, but a hundred men playing, each of them be explained. listening. so far as possible, to the ninety -nine others, and Trying to make music together the way a string LANG: While you are catholic in your tastes, you quartet does. Because of the size of an orchestra have acquired a reputation as a specialist in the it has to be done under the guidance of a conductor. works of the so- called classical composers of the but not under his knout -if I may put it that way. eighteenth and nineteenth centuries. Would you com- Does this give you an answer? ment on the widely shared hit of nonsense that this music must he doctored for modern audiences? What LANG: It certainly does -and it's an interesting coun- are your beliefs in this regard, and how did you terbalance to the widespread belief that the conduc- bring your men to so felicitous an understanding of tor elicits sounds from the players solely by his this music? choreography. SZELL.: Well, I'm certainly of the opinion that this SZELL: Now here I must go one step further. While i ,usic does not have to be, and should not be, doc-

42 HIGH FIDELITYITY MAGAZINE

www.americanradiohistory.com tored. I think it is perfectly possible and even LANG: I have noticed that, and I have wondered how necessary to play it without any doctoring. What is you arrived at these differences. Here you reduce, essential is a feeling for the style of the music. The there you add, and the statements are always clear. approach, particularly on the part of the strings, will have to be a little bit different from the approach SZELL: It's a question of balance. You see, it is the that some take to Tchaikovsky and Rachmaninoff balance I pre -hear that I go after -and if you ask and which they then like to apply to older literature. me how I do that, what I do, then perhaps the best The works of the eighteenth and early nineteenth answer is, I have a conception; I have an aural image centuries demand a distinct curbing of exhibitionist of what I want, and I go after it coûte que coûte, tendencies, at the same time that the delivery must with all the means at my disposal. not be allowed to become cold or dry or doctrinaire. It should be very warm, yet chaste, graceful, and LANG: Well, it's very interesting because clarity, of elegant-yet not affected. It's the man of a different course, is the first thing in this music and you get it period who expresses himself. And then, there are by balance. technical questions that come into play, as to how many strings.... You have another question? SZELL: Absolutely. But let me add one thing. Though I don't want to reflect on my colleagues, I LANG: Yes. It is understood that in our large concert feel that not very many present -day conductors are halls the typical eighteenth-century orchestra would basically and constitutionally attuned to polyphonic be somewhat lost. Some conductors just go ahead hearing, if you know what I mean. For my part, I and play Mozart with the standard modern com- have been trained to hear in my mind the whole plement, which of course does not do, while others texture and I hear the various parts and voices in reduce the strings, which in itself is not an ideal their relationship and proportion before I hear the solution. You seem to employ a much more subtle actual sound. Then I try to match the actual sound procedure. Would you describe it? with this preconception.

SZELL: Yes, I think I can give you a very exact LANG: I have a concrete example in this regard. In answer. In some works, in some of the more majestic one of your recent recordings, Mozart's Piano Con- or festive works, where we know that even Mozart certo No. 19 with Serkin, the complicated polyphonic himself was enchanted by performances with a big passages came out with exceptional clarity. How string choir and with doubled woodwinds, I proceed do you approach this situation, the most difficult in the same manner. With other works, I reduce the task in orchestral playing? number of strings, but then I have a variable reduc- tion scheme. Supposing I take a standard comple- SZELL: I think I have given you the main answer ment of strings in a given composition: twelve first, but I have to add something. If an orchestra is ten second violins, eight violas, five or six cellos, trained to honest chamber -music -like playing, with three or four basses -I like, incidentally, to lighten the result that every player in every section plays up the basses for obvious reasons. This probably will every note with the proper articulation and emphasis give me the proper balance for most of the piece. in dynamics ... if that is the case, the task of the But if I find that in some spots it does not, I reduce conductor is made very much easier. Then he can all sections or some sections even further, albeit often put together a few strands which already are clean only for certain passages. and balance them properly. Now, how does one train an orchestra to do this? By simply not putting up with anything less.

LANG: And if the players are constantly reminded to listen to each other. . .

SZELL: It becomes second nature for them.

LANG: But you see, in our youth, you and I were brought up on chamber music. That's missing today.

SZELL: Unfortunately, yes. There has been a greater and greater separation between chamber music and orchestral music. Today you have elite chamber music players who never play in an orchestra. and you have orchestral players who never play chamber music except sometimes for their own entertainment -and then most of the time it's pretty awful. I would remind you that the Rosé Quartet -which was for a generation probably the best string quartet in

JANUARY 1965 43

www.americanradiohistory.com LANG: I asked this because the other day I heard a recording by a very distinguished conductor of ad- vanced years who brought out every little detail with the utmost clarity -to the point where eventually it seemed merely meaningless precision.

SZELL: Because probably the big general line was lost. Well, there are also aesthetic questions involved. You see, one term which was used one hundred and fifty years ago so very, very frequently and which is not used any more except very rarely is the term "taste."

Central Europe and which studied the repertoire LANG: Yes, its curious-everything is technique and with a certain Gustav Mahler who happened to be precision and volume, and other things are forgotten. the brother -in -law of the first fiddler. Rosé -this Rosé Quartet was nothing but the section leaders of SzEI.L: But this term "taste" was used in the most the Vienna Philharmonic and the Opera. serious evaluations of musicians.

LANG: Our musicians have become specialists. LANG: What is historically wrong is nine times out of ten aesthetically wrong. Do you find it imperative SZELL: Yes, but this is a very dangerous type of to keep abreast of the serious literature on music specialization. The divorce between chamber music and new critical editions of the great masters? and orchestral playing is ruinous. I stoutly maintain that whatever is possible to attain in the way of per- SzEt.L: Yes. indeed. I find it extremely important to formance clarity and purity and cleanliness in cham- keep abreast of all these things, hut-and here I may ber music is possible with an orchestra if you know step into a hornet's nest -I have my reservations how and if you devote enough time and attention about some of the musicologists. Many of them are to this end. not musicians. The trouble is that many performing musicians have absolutely no musicological back- LANG: Attention to detail is always the mark of a ground and many musicologists are dry -as -dust good conductor. But fullness of detail is not always scholars without any live contact with real music a merit. In your own work it seems to me that you and music making. never miss the thematically relevant passages but are averse to the kind of clinical examinations some LANG: And then the trouble is that they edit. conductors are fond of. Is this instinctive or planned? SZELL: Exactly. They edit; and even if they edit SZELL: I suppose it is both. Altogether. if I may Urtexts, they are apt to go much too far in dogmatic digress for one moment, I think that what we should adherence to a manuscript, without taking into ac- aim at is the perfect mixture of instinct and intellect count that in many cases the first printing super- in the application of what we are able to do. and vised by the composer may be more authentic than sometimes I am tempted to tell my students that the the manuscript -he might, for example. have made ideal thing would he if we could arrive at the point changes which he did not bother to incorporate in where we think with our hearts and feel with our the manuscript. Also, I have found that some prob- brains. But to answer this question a little more lems of authenticity simply cannot be considered as specifically, I believe that awareness of the re- finally solved: later versions, later authenticated lationship of details to the whole is what is copies may very well be found and our understanding most important. If details are lifted out of pro- of the work changed. So, while I'm certainly in portion simply because the conductor is proud to favor of knowing as much as can be known about have discovered something which seems to have these things and following every bit of musical re- been hidden, then the performance can very easily search, there comes a moment when I feel -and I become a travesty or a caricature. But every detail may be a heretic here -that my instinct and judg- in its proper place and with its proper emphasis will ment as an experienced performer must he the guid- enhance the effect -and by effect I mean not an ing and, at last, the determining factor. outward effect but the result desired by the com- poser. I start out with the assumption that everything LANG: You are right. a good composer writes down is supposed to he heard except in obvious cases where a coloristic im- SZELL: Simply because if I cannot perform some- pression is intended, as for instance the violin figura- thing with complete conviction. I cannot make it tions in Wagner's "Magic Fire Music." sound convincing to the listener.

44 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com LANG: What do you do with scores, such as Chopin's we have spoken about the separation between cham- concertos, where even a conductor with abiding re- ber music and orchestral music, why don't we speak spect for the composer's intentions must take hand about the regrettable separation between the corn - in rectifying miscalculations? poser and the performer? And why don't we say that actually every performer should he trained as a SZELL: Well, I would like to answer this question composer even if he has no talent for composing, in two parts. If we take Chopin's concertos in par- so that he at least knows what the music universe ticular, I am afraid that there is no remedy except looks like from the composer's vantage point? complete reorchestration. Now, if we talk about certain other scores, I must confess to some retouch - LANG: In the old days they didn't teach conducting; ings, but I try to make them so discreetly that they they taught music, and then you started to conduct. are not really noticeable -at least I hope they're not. Now, if I may, I'd like to ask you a few concrete In Schumann's symphonies, for instance, in order to technical questions. The phrasing and bowing of clarify the real intent of the composer it is absolutely your strings is such as cannot be ascribed solely to a necessary to retouch. One must exercise a careful knowledgeable concertmaster. To what extent do hand, of course -that is, acting as if Schumann had you control your strings in this regard? had as much skill as an orchestrator as Weber but not making his work sound as if it had been orches- SZELL: A hundred per cent, my dear Paul. You trated by . I think you'll agree with know that I own the complete orchestral materials that. of the whole standard repertoire. I take these orches- tral parts everywhere, and they contain all the bow - LANG: Yes, I do. As long as the retouching is imper- ings and phrasings marked by me. I sometimes con- ceptible and sounds natural, it is fine. But how do sult with my concertmaster. not to learn what is you feel about these cadenzas foisted on great feasible but to find out what his personal preference concertos? may be in cases where there is more than one solu- tion to a given problem. Basically, my bowings and SZELL: I'm afraid that we could get into a real phrasings are completely my own -and have been argument here. If you mean only the bad cadenzas for the past thirty -five or forty years. I have made that violin and piano pedagogues made for these this a study as long as I have been connected with concertos, I'm all with you. But if you say that orchestras and strings; and I have found that not cadenzas should be abolished altogether, I'm afraid being a string player myself but having intimate I would not go along. knowledge of how technique makes me less hide- bound in habits and conventions. As a result, I LANG: I wouldn't say that ... but some of these sometimes can invent highly serviceable if unortho- cadenzas are a third again as long as the movement dox bowings for certain passages, which then enhance itself. the effect, the plasticity, and the clear articulation.

SZELL: That of course is very bad, but let's not LANG: I asked the question because I noticed it. forget one thing. The cadenza was thought of by the composer as something that should he happening. SZELL: Well, I'm glad you did. Just what, and to what length, was left originally to the taste of the performer. There is a juste milieu LANG: And the woodwinds. Yours sing. They are for this as well. If the cadenza has too little specific in perfect tuning. and the chord -defining tones are weight, it is not good. If it is exaggeratedly long and always on top. How is this done? verbose, it is also bad. So how do we decide this question? SZELL: Here I must give very great credit to my woodwinds. I can think of no orchestra having a LANG: It would be ideal if the performer still could finer set of first wind players than the Cleveland improvise. Orchestra -and I don't want to overemphasize the word "first" because the sections as such are really SZELL: Exactly. distinguished. Of course, these players are not only highly competent; they are real artists. They have LANG: Some can. been working together and with me over a period of fifteen, eighteen years. And we have grown to- SZELL: I have always been a bit skeptical about this gether, we have adjusted to each other... . sort of improvisation because I have often found, particularly after repeated listening to the same or- LANG: Their intonation is marvelous. ganist improvising, that there are a few stock for- mulas on which he falls back, no matter what the SZELL: Also as far as phrasing is concerned, they thematic material imposed upon him is. Now, since aim at the homogeneity Continued on page 110

JANUARY 1965 45

www.americanradiohistory.com

r N N ,, 4s. Masters ,%k `%# (fir M Production

A look at what's involved these days in making records by the millions. by Shirley Fleming

WOULD BE A PROSAIC SOUL indeed who failed self, coating an aluminum base fourteen inches in to marvel at the process by which sound-that diameter, is soft (relatively speaking) and volatile. It most fleeting and intangible of natural phenomena must be capable, in recording engineers' parlance, -is captured literally out of thin air anzi stored on of "throwing the chip" -that is, giving off in one records for future use. Here we propose to take up continuous and unbroken strand the waste thread the story in medias res: that is, at the point at which that is to be sheared away by the cutting stylus: it the electromagnetic patterns "frozen," as it were, must be free from the tiniest imperfection, for on an edited master tape are ready to be converted cutting differentiations can be made on the order into the physical form of grooves cut into a lacquer of one millionth of an inch and the slightest ir- disc. From there the story leads on to the mechanical regularity could wreak havoc; it must be com- operations involved in producing thousands (or paratively free from oil, which will interfere with millions) of commercial records from the original the subsequent silvering process (hearing in mind set of lacquers. that too much washing, to get rid of excess oil, And so, plunging into this modern tale of high will make the surface rough). And it must, of adventure, we find ourselves in the cutting room course, be as flat as human ingenuity can make it, and concerned first with the new, untouched lacquer with an absolute minimum of warp or unevenness -or more accurately, acetate -disc which is to be to interfere with the path of the cutting stylus. the progenitor of countless offspring. The material it- This stylus is an instrument of the greatest delicacy.

46 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com A chisel -shaped cutting point measuring less than mounted in one of two ways: either borne on a .0002 of an inch in diameter and made of ruby s:ab!e arm which spans the lacquer disc from center (formerly sapphire), it is heated to a temperature to outer edge; or held on a movable structure which which will soften the acetate just enough to faci!itatc follows the inward spiral of the cutting path. In the cutting and will polish the walls of the groove as first case, the stylus is suspended over the disc; in the stylus moves through. The shank of the cutter the second, its minute weight actually rests upon too, microscopic though it is, is critical, for it the disc, and is preceded by a tiny, counterbalanced must be strong enough to resist the tremendous "advance ball" which "feels" the terrain just ahead force brought to bear on it as the stylus bites into of the cutter and enables it to follow any slight the lacquer. Any measurable amount of bend or deviations in the plane of the disc. In both cases, sway would, of course, change the angle of the stylus the stylus is kept in a constant position in relation in relation to the surface of the disc. to the grooves it is cutting: it does not, like the This last matter brings us to a third crucial factor playback stylus, turn at an increasing angle across in the cutting process: vertical cutting and tracking the grooves as it approaches the center of the angles. As anyone who has followed recent discus- disc. Herein, of course, lies an inevitable source sions of this subject is doubtless aware, the angle at of lateral tracking error when the disc is played which the cutting stylus tilts forward from the back with an arm that is mounted on a pivot; but vertical becomes a source of distortion when it this particular discrepancy has been well known for differs substantially from the angle at which the years. and has been compensated for by the design playback stylus tilts forward in tracking the record. of modern tone arms. This differential is most critical with stereo records; Two other aspects of modern microgroove cutting since the grooves incorporate the differing signals are, however, of particular importance. One is the of left and right channels, the stylus must move ability to "warn" the cutter ahead of time to vary not only from side to side (as on monophonic discs) the depth of the groove -so that, for example, a but vertically as well. (For those who have never segment involving wide side -to -side swing may be had the experience of viewing a stereo groove cut deep enough to prevent the stylus from jumping through a microscope, let me digress for a moment out of the track entirely. This is known, logically to say that it is like peering into a V- shaped canyon enough, as variable depth cutting, and is used in each wall of which runs in its own varying pattern making most classical records today. The other of bends and curves.) The over -all shape of the feature is "variable pitch," which refers (not so groove is the result of a combination of two factors, logically, to the layman) to the ability to vary frequency and loudness: low frequency signals cause the number of grooves per radial inch. Sections of a the cutter to move in a wide side -to -side excursion, groove with wide excursion require more space, nat- high frequencies in a much smaller one; loud urally, than those with narrow motion; yet the passages cause greater "agitation" than soft passages. land between grooves must be broad enough at all In a stereo recording with a loud bass passage in times to prevent adjacent groove walls from inter- the right channel, for example, the right groove fering with each other. The number of grooves per wall will he bent out in response to this signal, inch can run as high as 420; the usual standard, while the left may make very little excursion at all. where length of playing time is not important, is Since the curvature of the two walls differs, the 210. The "warnings" which prepare the cutter depth of the groove also differs-hence the stylus' to vary both depth and pitch are transmitted by a vertical movement (though it should be noted that prehead, attached to the cutting room tape deck. the playback stylus properly picks up left and right The prehead monitors the contents of the tape about channel signals by riding along the walls of the 1.8 seconds ahead of the regular head activating groove; it should not touch bottom). the cutter, and its message is duly received and It is easy, then, to see that the angle at which obeyed by the cutter. this complex V- shaped groove is cut should, for An additional feature has been added to these the greatest fidelity, correspond to the angle at which standard cutting procedures by RCA Victor as part it will be played back. As it happens, however, many of its Dynagroove system. RCA's development (perhaps most) playback pickups differ from the stemmed, in part, from the fact that while a disc cutting stylus in this respect. Of recent years this is cut by a chisel-shaped stylus, it is played by a discrepancy has been somewhat modified by the round (or in more recent instances, elliptical) stylus. adoption on the part of the major record companies This means, of course, that the playback stylus fits of a 15- degree cutting angle for stereo discs, and the groove in quite a different fashion from the cartridge manufacturers are currently giving the cutting stylus, and that the signal as picked up problem new attention. in playback may vary slightly from that transmitted by the master tape. The Dynagroove approach is to alter the shape of the grooves ever so slightly so that THE CUTTING APPARATUS is a complicated affair, the motion of the playback stylus will reproduce and I shall here consider only its basic features. exactly the original signal; in short, a minute The cutting head itself, carrying the stylus which discrepancy is introduced into the cutting to counter- is activated electronically by the master tape, is act the discrepancy in playback, and the two are

JANUARY 1965 47

www.americanradiohistory.com intended to cancel each other out. RCA's Dynamic the door of the pressing plant, is treated as if Styli Correlator, as it is called, is claimed to reduce it were a fine jewel -and with good reason. The distortion by a substantial amount, particularly flick of a fingernail across a groove could be fatal, in a record's inner grooves. and a further hazard arises from the fact that with In the cutting room, the various interacting the passage of time certain volatile components of elements of the operation are adjusted with hairs- the acetate evaporate, leaving the disc dry and brittle. breadth precision on equipment worth, in the ag- Most companies do not even bother to store a gregate, about $20,000. The place itself is as austere lacquer for any length of time when its purpose and aseptic as a hospital laboratory, and a visitor has once been served. is apt to find himself involuntarily whispering. (He Taken at bird's -eye view, there are four steps is actually cautioned not to speak if he leans close leading from the lacquer disc to the finished com- to the turntable to look at the lacquer, for the con- mercial record. First, a mold of the lacquer is made densation of breath can be harmful to the surface.) -which is, of course, a negative impression; this is The rack of amplifiers supplying power for this called the master. Second, a mold of the master is critical phase of record making stands six feet or made, which is positive, called the mother or matrix. so in height, and combines in one chassis the cut- Third, a mold of the matrix yields another nega- ting amplifier (with a potential power output of tive -which is the stamper put directly into the 75 watts), a feedback amplifier (which enables the hydraulic press. There, like the proverbial cookie engineer to audit the signal from the quarter -inch, mold, it stamps out finished discs by the hundreds. 15 -ips master tape) and a jack panel (which can ac- The record on the home turntable, in short, is a commodate any additional switches needed in the fourth -generation descendant of the original lac - circuit during a particular operation). The cut- quer cut from the master tape. ting lathe itself bears a massive 17 -inch turn- One may wonder why four generations are neces- table, over which a microscope is mounted. This sary instead of only two -why, in other words, the microscope, let us note, is in many cases the only first negative impression made (the master) should means of "auditing" a lacquer intended for produc- not go directly onto the press. The answer lies tion use: stereo lacquers in particular are never in the necessity for mass production; since only actually played, for the grooves must be in pristine a limited number of masters can be made from the condition for plating. An engineer's prime concern, delicate lacquer, it would be dangerous to consume as the cutting proceeds, is to check the grooves by these masters on the presses, where they are subject sight, and an experienced operator can tell at a to damage and wear. Much better to use them to glance if the cutting is too deep, too close, or too create matrices, which in turn can produce scampers shallow. He must also keep careful watch over the in limitless quantities. In this way the master -the behavior of the "chip," which can damage both lac- closest living relative, so to speak, of the short - quer and the stylus if it becomes tangled. A small lived lacquer -is preserved intact. suction tube is mounted very close to the stylus One of the impressive aspects of the system as to draw this waste strand away into a closed con- a whole is the minute and thorough inspection tainer of water mounted behind the lathe. Since it which occurs each step of the way. The Manager is highly flammable, there are jokes in most cutting of Quality Control in the modern record plant is rooms about "the last time we had a good blowup." perpetually on the hunt for scratches, pops, ticks, It is the aim of most record companies to pro- dents, dust, and other despoilers of the microscopic duce a disc that is sonically identical with the hills and valleys of a disc surface. At no point in the master tape, and therefore all adjustments are made entire process does a disc -lacquer, master, matrix, at the start of the cutting operation; the engineer or stamper- change hands without undergoing a leaves his control settings untouched once the check, either visual or auditory. In the area of tape is rolling, and his only manual chore during Quality Control the human eye and ear still reign the cutting is that of regulating the groove spiral over the machine, and one major company estimates between bands. that 40 per cent of every production dollar goes into Before working lacquers are shipped to the press- the maintenance of these demanding standards. ing plant, one important step remains: a sample On its arrival at the pressing plant the lacquer disc is turned over to the a & r man who was in undergoes a very thorough examination by micro- charge of the recording session, and passed upon scope and is then washed with equal thoroughness by the artist himself. With their approval, the (through two cycles, with a mild detergent). Next, second phase of production can begin. since it is to be subjected to electroplating and is itself a nonconducting material, it must be sprayed with a fine coating of silver. This can be done either FOLLOWING the new lacquer from the cutting room by hand or automatically in a silvering machine, to the pressing plant, we leave an environment that the entire operation taking no more than three is primarily electronic and enter one that is primarily minutes. In either case, the coating must be uni- mechanical. The job remaining, put succinctly, is form and even; any spot too thinly covered will fail one of duplication. to respond properly to the plating process. The lacquer disc, from the moment it enters After silvering, the disc, mounted on a rack

48 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com through its center hole, is immersed in the churn- The matrix inspector (they were invariably ing green nickel solution of the plating vat, where, women, I noticed, at the plants I visited) is estab- in the course of approximately three hours, it is lished in a tiny soundproof listening booth fitted coated with a substantial deposit of nickel. It is out with stereo playback equipment, a beam of then rinsed, and the two sides of this imposing light centered on the record grooves, and a sup- sandwich are carefully (by hand) peeled apart: the ply of water -soluble crayon or plain Ivory soap original lacquer is left intact on one side, the silver sharpened to a point. The playback assembly is facing with its backing of nickel is on the other. designed specifically not to flatter the record: The lacquer is ready to be used all over again; the flat response is used, speakers are of the infinite silver -faced master, bearing the negative impression baffle variety (bass reflex is avoided because a strong of the lacquer, is ready to be plated, in turn, to bass tends to cover defects), and playback level produce a positive matrix. can only be described as loud. In this no- nonsense The master, therefore, after a series of chemi- setting, the nickel matrix is placed on the turntable cal rinses, is duly coated with nickel. That fac- and first spot -checked to ascertain if it is worth ing too is peeled away, and the resulting matrix a full twenty -five minutes of the inspector's time. (a replica of the original lacquer) is ready, af- If the answer is affirmative, the inspector sets to ter steam cleaning, for what is perhaps the most work at Groove 1 and listens with a concentration critical phase in the process of quality control: which any music critic might respect. the Ordeal by Audio Inspection. She may be guided (as was the case in one

In the photograph at left an engineer inspects through a microscope the pris- tine lacquer disc as the cutting head is borne across it and a suction pipe draws off the "chip." Below, the lac- quer has been shipped to the pressing plant: here it is sprayed with a fine siker coating prior to electroplating.

RCA Valor Records

Columbia Records

www.americanradiohistory.com RCA Victor Records

I Columba Records Above, the silver-faced master is peeled away from the nickel matrix, a replica of the original lacquer. After steam clean- ing, the matrix is subject to a rigorous audio test and then passed on to a repair man for correction of minute flaws. From the matrix is made the stamper, final pro- genitor of the vinyl disc. At left, operator places hot vinyl compound in hydraulic press, where it will be molded into shape by top and bottom stampers. A last inspec- tion is given the finished records as they pass through conveyor -belt assembly lines and are slipped, by hand, into their inner protective envelopes and outer jackets.

RCA Victor Records

Columu a Record, www.americanradiohistory.com plant) by a check sheet tacked to the wall bearing This compound, purchased from outside manu- the interesting vocabulary listing: "echo, pop, swish, facturers, arrives in the form of black, shiny crys- specific they pit, grit, zip, scrap, dash, break, stain" . . . and tals. When heated to a temperature last but not least, "clean better." When a flaw is dissolve into a hard though pliable doughlike detected, the inspector moves the turntable back mass; this substance is ejected in a series of measured and forth under the stylus by hand in order to coils, emerging one at a time like monstrous mounds pinpoint the spot; she then touches the tiny area of black taffy, onto a platter adjacent to each press. with soap or crayon and once again allows the stylus The operator places the mound of plastic into the to travel through the faulty groove. As the stylus press at the start of each stamping cycle. moves, of course, it takes the soap with it, leaving a The press itself, with A and B stampers locked single clean groove at the outer edge of the marked top and bottom, operates like a giant waffle iron. area. Thus the offending spot is indicated. The At the beginning of each cycle (which, incidentally, matrix is then handed over to a repair man who, takes less than a minute) the operator inserts with the aid of a microscope, cleans the groove with the proper labels against each stamper and places a brush or a fine -pointed instrument. Sometimes the the wad of vinyl in the center. The press closes correction is simply a matter of removing a finger- automatically, and the stampers (heated to about print or a stain left from the steam washing. If 300° F.) mold the vinyl at a pressure of roughly the flaw cannot be eliminated, the matrix is de- one ton per square inch. The temperature is al- stroyed and the master rechecked. Or if necessary, most immediately reduced to about 90° so that the a matrix may be sent to the cutting studio for com- vinyl hardens; the press opens, and the operator parison with the master tape, in order to determine moves the still hot disc (with labels actually whether flaw occurred in the tape itself, or in the molded into the surface) to a trimming device which lacquer. cuts off excess material at the rim and produces a Once a matrix passes this rigorous examination, it smooth finished edge. This excess material is is pronounced fit to produce the third- generation eventually remelted and used again, having been in the record family, the stamper. The matrix itself is demoted from first -grade to second -grade rating; plated with nickel to a thickness between .008 and three grades are acceptable for record manufacture, .01 of an inch, and this plate is peeled away to form though only the first is used for classical recordings. the stamper. The back side of this stamper is smoothed The new -born discs are stacked on a spindle carefully on a rotating wheel, using emery cloth which is constantly spot -checked by a roving in- of increasing fineness; then, after exact centering spector. (One record per spindle is weighed, and by means of microscopic measurement of grooves, a should be close to 140 grams.) At any hint of "pilot hole," one inch in diameter, is punched dead imperfections, most of which are visible at this center. Next, the edge is trimmed and "coined" stage, the disc is taken to a listening booth for (shaped into a small ridge all the way round to audio test. It a fault is confirmed and proves to enable the disc to be locked into the press). Fi- have originated with the stamper, the stamper is nally, the stamper is cleaned, inspected as to destroyed along with any imperfect discs it may weight, thickness, accuracy of centering; and last have produced. A stamper, it was pointed out to of all it is coated with chrome to increase its strength me, seldom actually wears out. It is, however, and resistance. It is then ready to be fitted into the subject to damage from a stray hard particle in the large hydraulic press, where (with its companion, vinyl compound, or from accidental slippage in the the stamper of the reverse side of the commercial press, or from the pressure of a bit of dust on the disc) it is plunged full tilt into the operations of back side which may push a dent into the sur- mass production. face (in this respect, the pressing of stereo discs, with their critical hill- and -dale dimension, is particu- larly delicate). THE PRESS ROOMS in the two plants I visited The new discs, once passed by the roving inspec- were approximately the same size: one housed tor, are sent on for the final lap of their trip to ninety -eight machines, the other ninety -four. (And the outside world. Through a series of conveyor -belt if you have ever stood amidst a forest of hydraulic assembly lines, each is inspected, slipped by hand presses going at full roar, you can appreciate the din into a plastic or paper envelope, placed in its jacket, which surrounds the actual birth of a high fidelity and, in some cases, run through a "shrink- wrap" record.) It is in the press room that the disparate machine which encloses the entire package in a tight, elements of the final record package come together: heat -sealed, polyethylene wrapping. Once boxed labels (printed on large sheets in an adjacent room, with dozens of its kind, the disc is now ready to he cut apart, center -holed, and then brought into the shipped by truck, train, and even plane to the points press room for a final drying in electric ovens so of distribution. that no possible moisture can mar the vinyl disc); Produced in quantities vast enough to fill the paper or plastic inner sleeves; cardboard album demands of a mass market yet maintaining a stand- covers (shipped in from an outside source); and - ard of quality worthy, in most cases, of limited most important of all -the vinyl compound which editions, the modern microgroove recording is surely becomes the finished disc itself. an achievement of no mean proportions.

JANUARY 1965 51

www.americanradiohistory.com Recent refinements in pickup design make your system's smallest component a major factor in upgrading sound.

by Albert Sterling

TO RAISE THE QUALITY of his music system, the brating in step with the sounds from the original audio enthusiast has always had an effective leverage tape. To follow those grooves, the tip of the play- in the replacement of an existing phono cartridge back stylus must make the same rapid and complex with a better one. The pickup is basic to the quality weavings as the cutting stylus -quite a trick, inasmuch of the sound; it is also relatively inexpensive, and as these original sound vibrations often reach as in most systems one cartridge can fairly easily be high as 20,000 cps. A mechanical part that vibrates substituted for another. Right now, making such a at 20,000 cps, incidentally, must accelerate as much change can be more rewarding than ever. Pickup as 1,000 g (i.e., 1,000 times the force of gravity). design is currently undergoing a spate of activity, Beyond this feat, the stylus must serve as part centering on such features as very high compliance, of a miniature electrical generator that will produce very low mass, the 15-degree tracking angle, ellipti- electrical signals in step with the stylus vibration. cal styli, and new magnetic circuits. All of these de- Such generators, or cartridge movements, can be velopments, in sum, are producing lower distortion designed in any of several ways, and pickups are in sound and longer life for records. usually classified according to the generating system. The pickup is, of course, intrinsically a near One major group is the magnetic, which includes miraculous device, performing almost the impossible several types-the moving coil, the moving magnet. in getting the patterns of sound out of a record. and the moving iron or variable reluctance. Another These patterns, or microscopic wiggles, are contained family of pickups is the piezoelectric, crystal or in grooves cut into the master disc by a stylus vi- ceramic. As far as superiority of performance goes,

52 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com is not too severe, the wall the generating method per se is unimportant; what contact. If the indentation back the stylus passes. As the stylus is matters is the skill with which the method is adapted snaps after the depth of to the cartridge's over-all design and functioning. made sharper or narrower, however, the indentation increases because the total force exerted by the stylus is applied over a smaller area. To MAKE CLEAR just what is involved, consider Then, distortion rises, and the wall is more likely to first the action of the stylus. It would appear that be permanently deformed or broken. A stylus tip, since the tip of the stylus is held between the two therefore, should be neither too large ( for low trac- walls of the groove, the stylus must perforce go ing distortion) nor too small (for minimum groove wherever the groove guides it. Unfortunately, not deformation). "Total stylus force," however, depends so-the tendency of the stylus to disobey the groove not only on the tracking force ( "needle pressure ") constitutes the main focus of the pickup designer's but also on the very design of the pickup (more of effort. For instance, one effect of the stylus-versus- which further on). It would then seem that for each groove conflict is "tracing distortion." The stylus pickup there must be a best stylus radius. For most used to engrave the master record is chisel-shaped, current stereo pickups, tracking at 1 to 3 grams, so that it will cut. The playback stylus, however, is I would say that the 0.5 -mil stylus is about optimum. rounded, so that it will slide. A chisel cuts a trough One cannot be dogmatic on this point, though, and with a slightly different shape from that which a many engineers would argue my conclusion. rounded tip needs to duplicate the cutter motions. An even more recent attack on tracing distortion The difference becomes greater as frequency in- in stereo disc playback is represented by the elliptical creases, as loudness rises, and as the linear speed of (oval, or biradial) stylus. This stylus-with a the record surface under the stylus decreases -which, smaller dimension along the groove than across it- of course, is what happens necessarily as the stylus has the shape of the chisel that cut the record origi- travels towards the label. Thus tracing distortion is nally. The narrower edges or radii at the sides of at its worst on loud, high treble notes at the inner the tip allow the stylus to "reach into" smaller grooves of a record; it is in fact a main cause of groove undulations, while the broader width across inner groove "muddiness," accentuated by the fact the groove keeps the tip from hitting the bottom of that musical works often end on a sustained cre- the groove. Just how effective the elliptical stylus scendo -right at the inner part of the groove. To will prove to be in the complex interaction among some extent, the advance in tone quality that stereo pickup and record design factors is still too early generally represents has led us to overlook the rather to say. Certainly, the idea is at least a highly promis- high tracing distortion. Yet it would be patently ing one, and the first cartridges that have appeared desirable to eliminate it. with an elliptical stylus all are top performers. One obvious way to reduce tracing distortion is Yet another attack on tracing distortion is im- to make the stylus tip narrower or sharper (reduce plicit in one aspect of the RCA Dynagroove system the radius of the tip). Exactly this was done when for cutting records. According to RCA, signals go- we went from mono discs to stereo -the standard ing into the cutting equipment are "predistorted" tip radius was reduced from 1 mil (0.001 -inch) to in such a way that the cutting chisel produces the 0.7 mil, because tracing distortion in the stereo kind of groove "needed by" a conical stylus. While groove, with its complex wiggles combining both many Dynagroove records have indeed sounded ex- lateral and vertical movement, was found to be ceptionally clean on the inner grooves, many records higher than in the purely lateral mono groove. Later, of other makers also sound clean on the inside many designers further reduced stylus tip size, and grooves -which would indicate that tracing distor- the 0.6- and 0.5 -mil stylus appeared. Most recently, tion can be controlled in some measure by careful a 0.4 -mil stylus has been offered. While the narrower attention to recording levels and by other methods. stylus sounds a little cleaner on many stereo records, Again, more experience is needed to learn just how it will result in high distortion on many mono discs. decisive the Dynagroove attack on tracing distortion The mono groove is often wider at the top, and more will prove to be. rounded at the bottom, than the stereo groove, and a tip as narrow as, say, 0.5 mil may ride on the bottom of the groove instead of being held between As NOTED EARLIER, a large part of the force ex- the two side walls. It can, in effect, "rattle around," erted against the record by the stylus depends on and the result is shattery sound in loud passages. the pickup design. The more this part of the force Since tracing distortion is still measurable on is reduced, the better; the stylus tip then could be stereo records even with a 0.5 -mil stylus, should the made sharper, for instance, with a reduction in tip radius be reduced even further? There is no clear - tracing distortion. Aside from this, the refinements in cut answer to this question. Unfortunately, the design necessary to reduce that force improve per- smaller the stylus tip, the more pronounced grows formance in other fundamental ways -frequency re- another problem: the record material, as the stylus sponse, for one. This aspect of design divides neatly "sees" it, is not hard and rigid but more like a stiff, between highs and lows. In reproducing the lows, a springy jelly. As a result, the stylus tip indents the crucial factor is the tension of the spring that re- two side walls of the groove at the two points of turns the stylus to center. If this spring pulls too

JANUARY 1965 53

www.americanradiohistory.com REPRESENTATIVE STEREO CARTRIDGES

Cartridges, or pickups, are specified in terms of various performance IMF Mark III is a "summation variable reluctance" type made by characteristics, such as compliance, rated output (sensitivity), and so Decca Gramophone Co., Ltd., of England and distributed in the U.S.A. on. Actually, the methods used for deriving, and expressing, these and by IMF Products. Cost, $70; rated compliance (specified as dynamic), other figures vary among manufacturers. Compliance, in particular, 15 lateral, 4 vertical; stylus, 0.8 -mil by 0.3 -mil elliptical; vertical seems one of the least standardized of measurements. It may, for angle, 6 degrees (considered by manufacturer to be compatible with instance, be obtained "dynamically" (the pickup's behavior while any cut record); weight, 12 grams; output, 6 mv at 5 cm /sec; tracking tracing a test record), or "statically" (the maximum displacement of force, 1 to 2 grams. Mark II: cost, $60; rated compliance (dynamic), the stylus while the cartridge is held rigid). In general the static 10 lateral, 2 vertical; stylus, 0.5 -mil; vertical angle, 6 degrees; weight, figure will be much higher than the dynamic; for this reason, some ex- 12 grams; output, 6 mv at 5 cm /sec; tracking force, 2 to 31/2 grams. perts hold that static compliance is an unrealistic measurement; they Either cartridge is for use in integral IMF arm or, with adapters ($5.00 favor the dynamic test. On the other hand, proponents of static com- each), for use in SME arm or in Garrard Lab -80 and A -70 players. pliance insist that their approach yields a more meaningful figure inasmuch as in a dynamic test the compliance of the pickup can be MICRO M- 1007/D is a Japanese model influenced by the nature of the test signal on the record, the tone arm moving -magnet cartridge made by Micro Seiki Company, Ltd., hoiding the cartridge, and other confusing factors. Tokyo, and included here as a point of general interest. Cost, in Japan, 7000 One manufacturer has suggested, and at least two others partly yen (less than $19); rated compliance, 10; stylus, 0.4 -mil; weight, 10 grams; agree, that compliance figures in general have been overemphasized tracking force, 1/2 to 1 gram in high quality arms; /2 to and that, in any event, since they can be derived by different methods, It 21/2 grams in "changer - type tone arms." they serve little useful purpose. Again, the signal output, or sensitivity, of a cartridge is usually stated in terms of the reference level of 5 cm /sec. Yet many are ORTOFON moving -coil cartridges are made by Ortofon of Denmark specified in other terms. Another area for variation is in stylus tip and distributed in the U.S.A. by Elpa Marketing Industries. The tiny measurements: a "0.5 -mil" stylus actually may describe a stylus that transformer in this design is housed in the body of the cartridge itself. measures from 0.4 mil to 0.6 mil. For all this, the data shown here Model SPU /GT: cost, $50; rated compliance, 10; stylus, 0.7 -mil; ver- cannot be taken as an absolute comparison amor.g different makes but tical angle, 18 degrees; weight, 17 grams without shell; output, 7 mv; rather as a general reference guide and, perhaps more to the point, tracking force, 1 to 2 grams. Supplied installed in shell for Ortofon or as relative indications among several models offered by the same SME arms. Available also as Model SPU/T for use in other arms, same cost. manufacturer. Note: compliance figures are given as (x 10. "cm /dyne). Model SPE /GT is the same except: cost, $75; stylus, 0.8 -mil by 0.3 -mil elliptical Supplied in shell for Ortofon or SME arms. Avail- ADC cartridges are induced magnetic types. Model Point Four: $50; able, same cost, for use in other arms as Model SPE /T. rated compliance, 30; stylus, 0.4 -mil; vertical angle, 15 degrees; weight, 6.5 grams; rated output, 5 mv per 5.5 cm /sec; tracking fcrce, PICKERING offers four versions of its V -15 moving- magnet cartridge. 3/4 to 11/2 grams. Point Four /E, same, except: cost, $60; stylus, 0.8 -mil V -15 AC -1: cost, $15.95; compliance, not specified; stylus, 0.7 -mil; by 0.2 -mil elliptical. Model 660E: cost, $39.50; rated compliance, 20; vertical angle, 15 degrees; weight, 5 grams; output, 7.5 mv at 5 stylus, 0.8 -mil by 0.3 -mil e:liptical; vertical angle, 15 degrees; weight cm /sec; tracking force, 3 to 7 grams; recommended for use in any 6.5 grams; rated output, 7 mv; tracking force, 1 to 3 grams. Model changer. Model V -15 AT -l: cost, $17.95; stylus, 0.7 -mil; vertical 770: cost, $29.50; rated compliance, 15; stylus, 0.7 -mil; vertical angle, 15 degrees; weight, 5 grams; rated output, 7.5 mv; tracking 15 angle, degrees; rated output, 8 mv; tracking force, 2 to 6 grams; force, 1 to 5 grams; for use in automatic turntables. Model V-15 cartridges recommended for use in any arm capable of tracking at AM -1: cost, $21.95; stylus, 0.7 -mil; vertical angle, 15 degrees; weight, indicated forces. 5 grams; output, 5.5 mv; tracking force, 3/4 to 3 grams; recommended for use in manual turntables. Model V -15 AME -1: cost, $29.95; stylus, ASIATIC offers its Model 45D, a ceramic type supplied with matched elliptical (dimensions not stated); vertical angle, 15 degrees; output, plug -in equalized networks for connecting to magnetic phono inputs. 5.5 mv; tracking force, 3/4 to 11/3 grams; recommended for use in Cost, $44.50; rated compliance, 10; stylus, 0.7 -mil; vertical angle, manual and late model automatic turntables. 11.5 degrees; weight, 5.7 grams; rated output, 0.2 volt; tracking force, 2 to 4 grams. SHURE cartridges employ the moving- magnet design. V -15: cost, $62.50; rated compliance, 25; stylus, 0.9 -mil by 0.2 -mil elliptical; DUAL DMS -900, offered by United Audio, is a moving- magnet type. vertical angle, 15 degrees; weight, 11 grams; output, 6 mv at 5 Cost, $34.50; rated compliance, 4 horizontal, 3 vertical; stylus, 0.7 -mil; cm /sec; tracking force, 3/4 to 11/3 grams. Model M55E: cost, $35.50; rated output, 6 mv; tracking force, 11/2 to 5 grams. rated compliance, stylus, vertical angle, output, and tracking force same as V -15; weight, 7 grams. Note: according to Shure, the M55E is similar DYNACO STEREODYNE cartridges are moving -iron designs, made by to the V -I5 except that the V -15 is literally handmade, while the 880 of Denmark, and distributed in the U.S.A. by Dynaco, Inc. M55E is made under standard quality control conditions. M44 -5: cost, Stereodyne III: cost, $19.95; rated compliance, 12; stylus, 0.7 -mil; $21.95; rated compliance, 25; stylus, 0.5 -mil; vertical angle, 15 vertical angle, 15 degrees; weight, 12 grams; rated output, 7 mv at degrees; weight, 7 grams; output, 6 mv; tracking force, 3/4 to 11/2 5 cm /sec; tracking force, 1 to 3 grams. Stereodyne II, same, except: grams. Model M44.7: cost, $19.95; rated compliance, 20; stylus, cost, $17.95; rated compliance, 5; vertical angle, 25 degrees; tracking 0.7 -mil; vertical angle, 15 degrees; weight, 7 grams; ouptut, 9 mv; force, 2 to 4 grams. According to Dynaco, the Model III has less tip tracking force, 11/2 to 3 grams. Model M7 /N21D: cost, $17.95; rated mass than the II; either cartridge is recommended for use in any type compliance, 9; stylus, 0.7 -mil; vertical angle, not stated; weight, 7.9 of arm that will track satisfactorily within the indicated range of grams; output, 4 mv; tracking force, 2 to 21/2 Model stylus forces. grams. M3D: cost, $15.75; rated compliance, 4; stylus, 0.7 -mil; vertical angle, not stated; weight, 8.5 grams; output, 5 mv; tracking force, 3 to 6 grams. ELAC moving- magnet cartridges are made in West Germany; distrib- Cartridges may be used in arms -manual or automatic -capable of op- uted in the U.S.A. by Benjamin Electronic Sound Corporation. Model erating at recommended tracking forces. 322: cost $49.50; rated compliance, 14; stylus, 0.52 -mil; vertical angle, 15 degrees; rated output, 7 mv at 7 cm /sec; tracking force, 11/2 to SONOTONE's Velotitone Mark IV cartridges are ceramic types sup- 3 grams in most arms, 1 gram in some; offered primarily for stereo discs. Model 222: cost, $39.50; rated compliance, 8; stylus, 0.7 -mil; plied with a pair of plug -in equalized networks for connecting to vertical angle, 15 degrees; tracking force, 2.4 to 4.5 grams; offered magnetic phono inputs. Model 9TAFHC -D77V: cost, $24.25; rated com- for both mono and stereo discs. pliance, 15; stylus, two 0.7 -mil diamond styli on turnover assembly; vertical angle, 15 degrees; weight, 3.2 grams; rated ouput, 7 mv; EMPIRE has three models of its 880 moving- magnet cartridge. Model tracking force, 1'/2 to 3 grams in professional type arms, 3 to 4 grams 880: cost, $17.95; rated compliance, 15; stylus, 0.7 -mil; vertical angle, in changers. Model 9TAFHC -SDV: same cartridge except supplied with 0.7 -mil diamond and 3 -mil sapphire stylus assembly; 15 degrees; weight, 10 grams; rated output, 10 mv; tracking force, 3/4 cost, $20.25. to 6 grams. Model 880P: cost, $19.95; rated compliance, 15; stylus, 0.6 -mil; vertical angle, 15 degrees; weight, 10 grams; rated output, STANTON 481 series employ the moving- magnet design. All are sup- 8 mv; tracking force, 1/2 to 4 grams. Model 880PE: cost, $29.95; rated plied with calibration curves for professional use. Model 481EL: cost, compliance, 20; stylus, 0.9 -mil by 0.2 -mil elliptical; vertical angle, $49.50; compliance not stated; stylus, elliptical, dimensions not stated; 15 degrees; weight, 10 grams; rated output, 8 mv; tracking force, vertical angle, 23 degrees; weight, 11 grams; output, 5 mv at 5 1/2 to 4 grams. Note: all styli are interchangeable in all three models. cm /sec; tracking force, 3/4 to 11/2 grams; recommended for use in high quality, professional type arms. Model 481AA: cost, $49.50; GENERAL ELECTRIC VR 1000 series contains two variable reluctance stylus, 0.5 -mil; vertical angle, 23 degrees; weight, 11 grams; output,

pickups. Model VR- 1000 -5: cost, $29.95; rated compliance, 6 lateral, 5 mv at 5 cm /sec; tracking force, 1 to 3 grams; recommended for same 9 vertical; stylus, 0.5 -mil; rated output, 1 mv per cm /sec minimum; type arm as 481EL. Model 481 A: cost, $48; stylus, 0.7 -mil; vertical tracking force, 1 to 3 grams. Model VR- 1000 -7: cost, $24.95; rated angle, 23 degrees; weight, 11 grams; output, 5 mv at 5 cm /sec;

compliance, 4.5 lateral, 4 vertical; stylus, 0.7 -mil; rated output, tracking force, 1 to 3 grams; recommended for use in same arms as same as VR- 1000 -5; tracking force, 3 to 7 grams. Recommended for use 481EL and 481AA plus late model, high quality automatics. in arms capable of indicated tracking forces. WEATHERS stress -generator pickups employ ceramic movements. GRADO MODEL A is moving -coil design. Cost, $50; rated compliance, Model LDM: cost, $22.50; rated compliance, 2C; stylus, 0.7 -mil; 12 (specified as dynamic and claimed to be equivalent to 37 static); vertical angle, not specified; weight, 4 grams; output, 5 mv at 7 stylus, "twin -tip" radius, each 0.3 -mil spherical and separated by 0.6- cm /sec; tracking force, 1.9 +_0.15 grams; supplied with plug -in mil area (both tips ground on a single tip); vertical angle, 15 degrees; equalized networks for matching output to magnetic phono inputs. weight, 6.5 grams; output, 4 mv at 5 cm /sec through transformer Model PS -11 pickup system (includes tone arm and solid -state equal- supplied; tracking fcrce, I gram in light arms, 11; to 2 grams in other ized preamp for direct connection to high -level inputs): cost, $99.50; arms. Cartridge supplied with tiny, wide -band transformer. Same pickup, rated compliance, 30; stylus, 0.5 -mil; vertical angle, not specified;

with complete calibration curves, available for $75. output from preamp, 0.5 volt; tracking force, 1 gram.

54 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com mass, the higher this resonance is on the scale. In hard, it will pull the tip up the side wall of the modern pickups it is above 8,000 or 9,000 cps. groove -in other words, the wall acts like a wedge, most resonance is untreated, it causes a large peak sliding under the tip. Or the wall may be temporarily If the above which the response falls away or permanently deformed. In either case the result in response, rapidly towards zero. is a severe muddiness or shatter on loud bass and can be treated, of course -the some midrange notes. Of course, the stylus tip can The resonance response can be flattened by circuit design, be kept down in the groove by heavier tracking peak in using the right load resistor with the force; but if this force is allowed to become exces- often simply by But although this method reduces the most sive, it will itself become a cause of record deforma- cartridge. of the resonance, it does not alleviate tion and distortion. obvious effect the fighting against the groove at the What is needed, then, is reduced stiffness in the its basic cause: there, and it now seems that this spring, or "high compliance." With it, the tip can resonance is still the main causes of record wear. It first be kept in contact with the groove at a low tracking is one of equipment, as a slight fuzzi- force; as a consequence, at low frequencies record shows up, on top -grade The action at the resonance also deformation and wear are reduced, and distortion ness in the highs. controlled by friction deliberately introduced is low. Yet too much of a good thing is to be can be ( "), but the amount of avoided: if compliance is too high, the pickup be- into the stylus "damping the resonance out fairly com- comes unstable, tending to flop around from side to damping that can take the stylus more resistant, and thus side rather than stay firmly over the center of the pletely also makes middles and lows. groove. "Too high" a compliance depends on the less responsive, to the answer to this problem is to mass of the arm and other factors. In general, the The most desirable so small that the resonance lighter the arm, the higher the compliance can be. make the stylus mass 30,000 The fine performance of some current pickups occurs at some very high frequency -say, not become a factor in proves that a number of interdependent factors in cps -where its effects will not relate to the arm and pickup design can be controlled to permit the audible response, or at least A pickup so designed very high compliance with very low tracking forces. signal engraved on the record. wear and extremely "Very low" tracking force, incidentally, translates should result in low record A of pickups are very close, generally to no less than 11/2 grams -which is re- smooth highs. number to 20,000 -cps range, markable enough-and with some cartridges forces with resonances in the 12,000- gives results nearly indistinguishable from of 21/2 to 3 grams provide highly refined perform- which advantage of the wider ance. The point is that you do not necessarily get the 30 -kc resonance. The come to better and better sound by simply lowering the track- response is very small, but it will probably as the audio art in general ing force on the pickup ad infinitum. If it is set so seem more important it likely that most top -grade low that the stylus tip begins to slide around the advances, and seems move into the ultrasonic groove, the result is high distortion and increased pickups will fairly soon record wear; and as the force approaches the "break- resonance class. away" value, the listener gets an uncomfortable sense of instability in the music. In this case increasing the tracking force will help the middles and lows sound IN ADDITION to having a stylus tip of the right size firm, and this force should be maintained. For stereo (and perhaps shape, if the elliptical stylus proves records, however, tracking force should never have essential), high compliance, and low mass, a cartridge cor- to be more than about 4 to 5 grams. also needs a stylus that meets the record at the Compliance is most relevant to the reproduction rect vertical angle. If the line along which the stylus of low frequencies; in reproducing the highs, it moves up and down, when viewed from the side, scarcely matters. The stylus moves such a short dis- makes a different angle to the record ( "vertical track- tance (at the top frequencies a few millionths of an ing angle ") from that of the cutting stylus, distortion inch!) that the spring is hardly put under tension. can be high. It is much like viewing a drawing from What does matter for high frequency reproduction a sharp angle to the paper; a circle will look like an is the effective mass of the stylus and of everything ellipse, for instance. An analogous change in the that vibrates with it. At accelerations as high as geometry of the playback stylus vis -à -vis the cutter A 1,000 g (corresponding to 20,000 cps), even the means a change in the path that the tip follows. tiniest mass has high inertia, which resists the push good deal of attention has been focused on this of the groove, with consequent groove bending, high problem in the last two years, and with some rea- distortion, and accelerated record wear. son. Both cutter angles and playback stylus angles These effects are at their worst at the high -end have varied throughout the industry, and various resonance of the cartridge, the frequency at which studies of the resultant discrepancies have shown the springiness of the groove wall and the mass of distortion figures that are astonishingly high. Ap- the stylus combine in a strong natural vibration. parently we haven't been acutely aware of this dis- This resonance is responsible for several bad effects. tortion for several reasons: it tends to be masked Not only is groove- bending apt to be high, but by other kinds of distortion, especially tracing dis- channel separation may disappear, or the two chan- tortion; we are used to hearing it; it is not very nels may even change sides! The smaller the stylus troublesome unless a record Continued on page 112

JANUARY 1965 55

www.americanradiohistory.com by John T. McClure

The Cheerful Ghost of Eisenstadt

Wily monks, roaming chickens, and W. Blickenstaff authentic goulasC. can all be involved in recording Haydn on his home grounds.

THE cliché that Austria us the crypt and cloister, but our stiffening jaws is a poor country acquires the hard crunch of truth and lowered heartbeat warn us to move on. if one drives a Volkswagen Microbus over her roads The impressive Piaristenkirche has a bigger, more in early spring. E. Power Biggs and I survived this promising instrument in breath -taking acoustics, but, undulant fever last year, searching for an organ on as with many old and ill- maintained tracker organs, which he could record, with orchestra, works of playing a simple scale reveals some keys that sound Bach, Haydn, and Mozart. Bach's Leipzig lying in- with a touch and others that need a stiff -armed jab. accessible behind the Iron Curtain, we steered in- Moreover, the organ is inexplicably a full tone flat. stead for the Vienna of Haydn and Mozart, with They are thinking of restoration; after all, Bruckner its pregnant resources of recording equipment, had taught organ here for a time: " Vielleicht die musicians, and historic organs. berühmten Amerikaner möchten uns unit der Res- In April the city has not yet acquired its crawly tauration helfen. Wir brauchen nur hundert tausend covering of tourists and it is still possible to hear Schillinge." We promise to send them something from German spoken. Mindful of the imminent invasion America. Our separate breaths mingle visibly as we and accompanying price spiral, we begin our quest stand baroque -shocked, reluctant to leave. I wonder and immediately encounter the Supreme Truth of how organists can manage to play even with the the Austrian Church: COLD -sinister, penetrating, usual four electric heaters, two on the manuals, two damp, and supernatural chill. (How much quicker on the pedals. The quarter -inch thickness of the and cheaper Napoleon's defeat had he marched on monk's habit over layers of undergarments, his hands Austria's cathedrals instead of Moscow.) We are tucked in opposing sleeves, seems a natural survival met at the door of the ancient Franciskanerkirche technique. by a wonderfully gentle and preoccupied Franciscan The remaining Viennese organs are either quasi - monk who never speaks above a whisper (to conserve modern electropneumatic instruments, inappropriate body heat ?). The tiny sixteenth- century organ he to our repertoire; or are in unplayable condition; shows us intrigues our historical sense, but produces or have no surrounding gallery where musicians sadly prehistoric noises and keyboard action. Our might be placed. So our search broadens. Our guide, unable to sell us an organ, volunteers to show Microbus bounds like a crippled but determined Pegasus over the Austrian cobbles to the famous The author is Director of Masterworks at Columbia Records, which is this month releasing the Biggs- Eisen- cathedral of Klosterneuberg, one of the baroque's stadt recording of Haydn's organ concertos. greatest treasure houses. We are shown a distin-

56 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com guished organ with ample orchestra space, and the inition. Biggs looks depressed. The cold and the dis- smiling sacristan who accompanies us says that his appointments are beginning to get to him. superiors will grant two hours to record the organ for 500,000 Austrian Schillings. We play along with the joke and point out that it takes two hours Now THERE IS only one more possibility before just to set up equipment. Then buy another two we must return to Vienna and demand our money hours to record, he answers. Our friendly smiles back: the Parish Church (Stadtpfarrkirche) in Haydn's recede like water down a bathtub drain. "You've own town. Eisenstadt lies in Austria's fertile made a mistake," we say, "500,000 Schillings is Burgenland, a plain which runs south between the $20,000." "Ja, wir wissen dass. Zwanzig tausend Hungarian border and the eastern foothills of the dollar. Ja. Nicht zuviel fur eine grosse Amerikanische Austrian Alps to Yugoslavia. It is genial country Gesellschaft." Repeated attacks of incredulity pro- of farming and wine making with frequent Slavic duce only inflation, so- sadder and wiser -we revise outcroppings in the faces and accents. The town is our thoughts about the decline of the Church in immediately likable: open and unpretentious. If Austria and bound farther west through agricultural any tourists are visible, they seem to be Austrians. countryside to the cloister of Herzogenburg. Throw away your crutches: no English spoken here. Although only thirty miles from Vienna, the We pass the architecturally unbelievable Bergkirche streets of the town are unpaved and, in places, without even a pause to pay our respects to Haydn's hubcap -deep in mud. Chickens roam about trying restless bones, so anxious we are to see if our to look intelligent. Great bundles of straw and last bubble will burst or soar. fagots sway by on the backs of antique peasant The Stadtpfarrkirche is architectural antacid women. Bicycles and horse carts together outnumber after a gluttony of onion spires and baroque excess. the automobile. The decrepit cloister, stucco falling It is pure, square, clean, Middle -Aged Gothic. We off, paint peeling, grass and trees completely un- walk inside with the Pfarrer, the parish priest, who manicured, holds the typical Austrian surprise: a speaks the clearest, most careful German I have beautifully gilded and painted interior; altars, pul- yet heard in Austria, allowing several cramped audi- pit, frescoes, and statues immaculately and lov- tory nerves in my brain to relax. The interior ingly maintained. Alas, the high water mark of has been beautifully restored and is of a spare maintenance stops short of the organ. Six pedal Protestant severity. The priest leads us through a notes don't speak and everything else is screamingly low door and up some stairs, across a dusty and out of tune. " Wunderbare Orgel, nicht wahr? Sie cluttered room and out onto a small choir loft on war in dem achtzehnten jahrhundert gebaut." And which the organ sits. I decide, rather than be untouched ever since, I mutter. We follow the defeated by them later, to eliminate potential dis- brother's swishing robes back along the fifteenth asters prima vista. In silence we listen for Aus- century. through dark galleries of closed doors and tria's peculiarly penetrating motor scooter and truck echoing stone passages unrelieved by any hints noises. Naught, thanks to a side -street location. of later, more comfortable ages. In emerging from Biggs switches on the organ blower, and though it this cold, underpopulated silence into the shabby, is somewhat audible we can quiet it with a heavy sunlit present, we jump five centuries in a step. quilt. With breath held, he plays a chord on the At Hollabrun, to the north, a superb new tracker compact but healthy -looking console. There are not and a new problem: the church is in constant use many stops for the two manuals and three divisions, from morning until nine in the evening, seven days but they speak promptly and brightly, and with a a week. Total defeat. We bounce back to Vienna distinct character. Moreover, the church is live and bone -cold and disgruntled. adds a clean bloom to the sound. The third day is pleasanter. South of Vienna We hardly dare smile for fear the Pfarrer will we climb through lovely Mödling into the mountains demand the national debt for two hours of recording. -Mayerling country. Ruined castles and abbeys With elaborate negativism I say to Biggs (deliberately (looking just like Frankenstein's) sprout from wild in English), "Well, the sound isn't too bad, but rocky crags as we approach the famous monastery I don't see how we can pack twenty -five musicians of Heiligenkreuz. Once a self- contained city, its into this choir." Very difficult: shaking the head several thousand inhabitants supplying all their own slowly and frowning, while jumping up and down needs, it is now the target of two dozen tourist inside. "Pfarrer," we begin, "wenn wir einige buses daily. As one enters through wooden doors Aufnahmen hier machen werden, wieviel miissen old as the Ark and proceeds along the gloomy wir der Kirche bezahlen?" Pfarrer is waiting for this. Gothic nave to the famous choir of carved wooden In the same slow careful German he explains that heads, the impression is of a mean and limited when they heard we were coming, his bishop had building. Then suddenly at the transept, the cathedral called all the Viennese recording studios to make plunges violently upward and outward in a blaze of an average of their prices. They would charge us jeweled windows and a forest of fluted columns. accordingly. Ah, simple, pastoral little Eisenstadt, The very barococo organ stands to one side looking still naïvely napping in the eighteenth century. Had as splendid as we hope it will sound. Alas, it is dis- I at this juncture pointed out the lack of facilities appointingly mild and asthmatic with no bite or def- here and the expense of bringing everything down

JANUARY 1965 57

www.americanradiohistory.com The organ in the Stadtpfarrkirche at Eisenstadt, Haydn's own town. He played the dedicatory recital on the organ's completion in 1770.

by truck from Vienna, I would have had no argu- Haydn's cheerful, matter -of -fact ghost lies lightly ments available when the church tried to raise the on Eisenstadt and on his cozy low -ceilinged house, rates halfway through the week's sessions. Relief now a museum. Less gracefully lies the weight being a primary emotion, I merely nod agreement, of the palace of the Esterházys, a monstrous yel- scarcely noticing the Pfarrer's gift of the sacristy for low pile where Haydn directed his winter seasons the installation of our Technik. of , Masses, and symphonies. Schloss Ester - The thirteenth- century walls of the church tower házy is also a museum, supported by the government, are eight feet thick at ground level and the windows which houses a summer music festival complete seen from inside are tunnels ending in narrow slots. with musicians in period costumes. Across the main The Pfarrer explains that throughout Austria's his- street, more towards the center of town. the Berg - tory of bloody battles with Bohemians and Hun- kirche rambles down the hill under the improvised garians and even occupation in the 1680s by the protection of a most comical undulating tile roof. Ottoman Turks, the fortified tower, entered by a peppered with statues. It is here that Haydn lies small tunnel, served as refuge for the town when in a marble sarcophvgus seemingly more formal than under attack. He shows us the four overhanging its inhabitant. Haydn is now complete. His skull, bartizans in the top corners of the tower, each with which was stolen by a grave -robbing fanatic three its keyhole -shaped halistraria through which cross- days after his burial in Vienna. was finally sur- bows could he shot or hot pitch poured to keep rendered and returned in 1951 to Eisenstadt. where things lively down below. The Turk's response to Prince Esterházy had moved the composer's body this unfriendliness was to camp around the tower in 1820. for a month and starve out the unfortunates. During the arrival of the recording equipment we discover new treasures in the dus :v room behind the choir gallery: an ancient contrabass and two WE DECIDE to stay on in Eisenstadt while an or- miniature kettledrums wearing the dust of ages, chestra is recruited from the and obviously part of Haydn's orchestra. which used the the equipment brought down and set up. The church as a rehearsal hall. We feel as moved as Schwechaterhof. without calling Vienna for averages, Haydn scholar H. C. Robbins Landon did when he gives us room and breakfast for four dollars a day found the rain -drenched music of an unknown and introduces us to the excellent local red wine Haydn motet. signed by the master, lying on the from Rust on the nearby shore of the Neusiedler See. floor of this same room in 1951. In the adjoining a vast shallow lake. Fortified with superb veal and corner. half -buried in religious props and piled real goulash. we set out to explore a hit. high with Continued on page 113

58 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com New Scott Solid -State Amplifier Passes Rugged Torture Tests Now you can own a powerful 80 watt solid state amplifier life and showing up any components that might fail; constructed to standards unique in the high fidelity in- applying a unique "surge and zycle" test, normally per- dustry. The new Scott 250 uses rugged pre- tested heavy - formed only on rugged military equipment, to simulate duty components, including massive heat sinks, heavy stresses the amplifier may be subjected to under the printed circuit boards and new silicon output transistors. most severe home conditions elaborate pre -test and Critical electrolytics are hand selected and have operating checkout of all components, including transistors, to in- capabilities far exceeding circuit requirements. sure that components will not fail in service. To insure the thoroughness of its quality control pro- As a result of these extensive procedures, the 260 cedures, H. H. Scott called in transistor specialists with now combines the amazing virtues of transistors ... their many years experience .in the design of critical military compactness, cool operating temperatures and fine sound components. Rugged tests were devised to subject the ... with the ruggedness and reliability that the audiofan amplifier to conditions far more severe than encountered has come to expect of finest Scott vacuum tube com- in normal use. These "torture tests" include: Applying a ponents. Backed by Scott's unique 2 -year guarantee, the "step- stress -test" to a selected sample of all components 260 will give you countless hours of trouble -free fine used, simulating hundreds of hours of normal operating listening. Less than $260.

SPECIFICATIONS: Sine wave power, 30 watts channel; music power, 40 watts /channel y NEW (8ohms); all-transistor design with direct -coupled silicon output stage. Harmonic distortion 1965 CATALOG less than 0.8 %. Frequency response 20 to 20.000 cps. Damping factor greater than 20; FREE . AND GUIDE TO STEREO : Load impedances: 4, 8 or 16 ohms; full tape facilities including tape monitor and direct tape head input. Operating features: Derived center channel output; rumble filter; scratch . H. H. Scott, Inc. 111 Powdermill Road filter; impedance selector switch. Matches all Scott tuners. Department 226 -01 Maynard, Mass. (1) Rugged silicon direct -coupled C Please send me your new 20 -page full -color transistor output stage (2) Pre - 1965 Stereo Guide and complete catalog. amps on separate modular -type Send me complete information on new con- printed circuit boards (3) Stereo soles by Scott . . component quality in headset output (4) Master vol- beautiful, hand -finished cabinets. ume control (5) Seoarate bass :111E1 Name and treble controls (6) Complete a a OF% 4 tape recorder input and output Addess facilities (7) Massive power sup- hAAr. ply provides high power surges City Zone -. -. State %\"_ when music demands it (8) Hand- e \ some styling matches Tran- 5 3 Scott sistor Tuner model 312 0 SCOTT Export Scott Internat ,nal III Por,dermilI goad, Maynard. Mass. Canada Atlas Radio Corp, SO Wingold Ave., Toronto. Cable MM. Price slightry higher West of Rockies. Subject to change without nonce.

CIRCLE 100 ON READER -SERVICE CARD JANUARY 1965 59

www.americanradiohistory.com HOBSON'S CHOICE? NEVER AGAIN!

If, in 1631, you went to rent a horse from Thomas Hobson at Cambridge, England, you took the horse that stood next to the door. And no other. Period. Hence, Hobson's Choice means No Choice.

And, as recently as 1961, if you went to buy a true high fidelity stereo phono cartridge, you bought the Shure M3D Stereo Dynetic. Just as the critics and musicians did. It was ac- knowledged as the ONLY choice for the critical listener. Since then, Shure has developed several models of their Stereo Dynetic cartridges -each designed for optimum performance in specific kinds of systems, each designed for a specific kind of porte -monnaie. We trust this brief recitation of the significant features covering the various members of the Shure cartridge family will help guide you to the best choice for you.

THE CARTRIDGE ITS FUNCTION, ITS FEATURES ... IS YOUR BEST SELECTION , The ultimate! 15° tracking and Bi- Radial Ellip- If your tone arm tracks at 1'/2 grams or less tical stylus reduces Tracing (pinch effect), IM (either with manual or automatic turntable) - and Harmonic Distortion to unprecedented and if you want the very best, regardless of lows. Scratch -proof. Extraordinary quality con- price, this is without question your cartridge. trot throughout. Literally handmade and in- It is designed for the purist ... the perfection - dividually tested. In a class by itself for repro- ist whose entire system must be composed of ducing music from mono as well as stereo the finest equipment in every category. Shure's V-1 5 discs. finest cartridge. $62.50.

Designed to give professional performance! If you seek outstanding performance and your Elliptical diamond stylus and new 15° vertical tonearm will track at forces of /4 to 1' /2 grams, tracking angle provide freedom from distor- the M55E will satisfy -beautifully. Will actually tion. Low Mass. Scratch- proof. Similar to V -15, improve the sound from your high fidelity except that it is made under standard quality system! (Unless you're using the V -15, Shure's M55E control conditions. finest cartridge.) A special value at $35.50.

A premium quality cartridge at a modest price. If you track between 3/4 and 11/2 grams, the 15- tracking angle conforms to the 15° RIAA M44 -5 with .0005" stylus represents a best -buy s and EIA proposed standard cutting angle re- investment. If you track between 11/2 and 3 . # cently adopted by most recording companies. grams, the M44 -7 is for you ... particularly if IM and Harmonic distortion are remarkably you have a great number of older records. low . cross -talk between channels is ne- Both have "scratch- proof" retractile stylus. M44 gated in critical low and mid -frequency ranges. Either model under $25.00.

A top -rated cartridge featuring the highly For 2 to 2'/: gram tracking. Especially fine if compliant N21D tubular stylus. Noted for its your present set -up sounds "muddy." At less sweet, "singing" quality throughout the audi- than $20.00, it is truly an outstanding buy. ble spectrum and especially its singular re- (Also, if you own regular M7D, you can uer creation of clean mid -range sounds (where grade it for higher compliance and lighter most of the music really "happens ".) Budget- t rackki ng by installing an N21D stylus.) priced, too.

If floor vibration is a problem. Saves your A unique Stereo -Dynetic cartridge head shell records. Models for Garrard Laboratory Type assembly for Garrard and Miracord automatic "A ", AT -6, AT -60 and Model 50 automatic turntable owners. The cartridge "floats" on turntables and Miracord Model 10 or 10H counterbalancing springs ... makes the stylus turntables. Under $25.00 including head shell, M99 scratch -proof . . . ends tone arm "bounce." .0007" diamond stylus.

A best -seller with extremely musical and trans- If cost is the dominant factor. Lowest price of parent sound at rock- bottom price. Tracks at any Shure Stereo Dynetic cartridge (about pressures as high as 6 grams, as low as 3 grams. $16.00) ... with almost universal application. M3D The original famous Shure Dynetic Cartridge. Can be used with any changer. Very rugged.

® -- HVRE 5k3tree, f/f1FGe- HIGH FIDELITY PHONO CARTRIDGES... WORLD STANDARD WHEREVER SOUND QUALITY IS PARAMOUNT Shure Brothers, Inc., 222 Hartrey Ave., Evanston, Illinois CIRCLE 63 ON READER -SERVICE CARD 6O HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The consumer's guide

to new and important II 1' high fidelity equipment

high fideli III f. EQUIPMENT REPORTS

Ampex Model 2070 Tape Recorder

THE EQUIPMENT: Ampex 2070, a three -speed (71/2, 1/2-track stereo tapes. It operates at any of its three 33A, and 1 %s ips), four -track stereo /monophonic tape speeds in either the normal (left to right) direction or in recorder supplied in an integral carrying case with the reverse (right to left) direction. The change from built -in speakers and one Ampex Model 2001 high - one direction to the other during playback-which takes impedance microphone. Dimensions: 19 inches wide, 131/2 only a few seconds and is much faster than the change- inches deep, 71/2 inches high. Price, $499. Other models cycle of a record changer -may be made automatically in the 2000 series: Model 2050, same as 2070 but with- once a 20 -cps "reversing signal" has been recorded on out built -in power amplifiers, speakers. or carrying case, the tape -by means of a switch on the deck. This suitable for custom installation, $439; Model 2080, signal can be added anywhere along a tape, as well as at same as Model 2050 but supplied in oiled walnut cabi- its end, so that automatic reversal is possible for an net base, $469. Manufacturer: Ampex Corp., Consumer entire tape or for portions of it. Two reversing signals- and Educational Products Div., 2201 Landmeier Rd., recorded at the ends of a tape or at any desired spots Elk Grove Village, Ill. 60007. along it -will cause the tape to be played indefinitely, or until the machine is shut off manually. When playing COMMENT: One of the recent products from Ampex's a commercially recorded ( "prerecorded ") tape -which new consumer manufacturing division is the Model would appear to be the most immediate practical use of 2070, a uniquely and handsomely styled tape recorder this feature -the signal will cause the tape to reverse which is loaded with features. What's more, according itself automatically, without the need to flip reels and to reports from United States Testing Company, Inc., rethread. The reversing signal of course may be re- the 2070 is built to Ampex's usual high standards and moved from a tape by recording over it. The automatic offers unusually fine performance in both playback reverse feature, incidentally, operates only for playback. and recording. The recorder's unusual appearance is due to the fact The 2070 is designed to record and play quarter -track that only the left reel (nominally the supply reel) is visi- (four- track) stereo and monophonic tapes. It also will ble during normal use, the right (or take -up) reel being play half -track and full -track mono tapes, and the older enclosed under plastic covers. To thread the tape on the

Equipment reports are based on laboratory measurements and listening tests. Data for the reports on equipment other than loudspeakers, is obtained by the United States Testing Company, Inc., of Hoboken, New Jersey, a completely independent organization not affiliated with the United States Government which, since 1880, has been a leader in product evaluation. Speaker reports are based REPORT POLICY on controlled listening tests. Occasionally, a supplementary agency may be invited to contribute to the testing program. The choice of equipment to be tested rests with the editors of HIGH FIDELITY. No report, or portion thereof, may be reproduced for any purpose or in any form without written permission of the publisher. No reference to the United States Testing Company. Inc., to its seals or insignia, or to the results of its tests, including material published in HIGH FIDELITY based on such tests, may be made without written permission of United States Testing Company, Inc.

J I() 1965 61

www.americanradiohistory.com NAB PLAYBACK FREQUENCY RESPONSE AT Ph IPS (Tope Running from Left to Right) Ampex Model 2070 Recorder ° +5 0 [JI!) 7'e'! I)Y/tn Zero DB= HO VU Recording Level Left Channel Performance on Ampex 31321 -01 Test Tape Right Channel - - - characteristic Measurement 20 50 100 300 500 1K 3K SK 10K 20K

FREQUENCY, CPS Speed accuracy, 71 í ips 0.96% slow 33/4 ips 1.1% slow 17/8 ips 1.3% slow (all at 117 volts AC; no change in NAB PLAYBACK FREQUENCY RESPONSE AT 7'/1 IPS speed due to line voltage change of m Tope Running from Right to Left) ± 10 %) +5

Wow and flutter, 71/2 ips 0.04% and 0.07% i 0 Zero DB= -10 VU ------5 33/4 ips 0.06% and 0.06% á Recording Level on Ampex Left Channel 1 0.06% Ve ips 0.12% and °C 31321 -01 Test Tape Right Channel -

20 50 100 300 500 1K 3K 5K 10K 20K Rewind time, 7 -in., 1,200-ft. reel 1 min, 45 sec at all speeds FREQUENCY, CPS

Fast forward time, some reel 1 min, 45 sec at all speeds

RECORD /PLAYBACK FREQUENCY RESPONSE AT 71/; IPS NAB playback response (ref Ampex test tape No. 0 31321.01, 71/2 ips) 15 kc Left Tape Used for Test: tape running from I to r I ch: +2, -1 db, 50 cps to Channel to 15 kc r ch: +3.75, -0 db, 50 cps Right Channel Scotch --,11 1 VU 15 kc Recording Level --10 tape running from r to I I ch: +2.5, -1 db, 50 cps to r ch: +4.25, -0 db, 50 cps to 15 kc 20 50 100 300 500 1K 3K 5K IOK 20K

FREQUENCY, (PS Max output level, 700 cps, test tape: with 0 VU signal I ch: 385 mv; r ch: 395 mv with -10 VU signal I ch: 130 mv; r ch: 132 mv RECORD /PLAYBACK FREQUENCY RESPONSE AT P/; IPS + 5 Record 'playback response, VU recorded signal, -10 5 `s`' 26 to 15.5 kc -! Scotch 1 1 1 tape: 71/2 ips I ch: + 1.5, -4 db, cps Left Channel Right Channel 10 r ch: +1.5, -4 db, 27 cps to 15.5 kc óc Tope Used for Test- Ampex Recorded at -10 VU level

33/4 ips I ch: +1, -3 db, 36 cps to 9 kc 20 50 100 300 500 1K 3K SK 10K 20K r 2 db, 34 cps to 8 kc ch: ± FREQUENCY, CPS

1 V. ips I ch: +1.5, -5 db, 29 cps to 4.6 kc r ch: +2, -5 db, 29 cps to 4.4 kc

tape: 71/2 ips I ch: + 1.25, -4 db, 30 cps to 17 kc Ampex KORD,PLAYBACK TOTAL HARMONIC DISTORTION AT 7'/: IPS r ch: + 1.75, -3 db, 30 cps to 17.5 kc Recording Level= -10 VU

S/N ratio (ref 0 VU, 2 test tape): playback I ch: 49 db; r ch: 47 db I 44 db; r ch: 42 db record /playback ch: 3 Left Channel Right Channel Sensitivity for 0 VU 20 50 100 300 500 1K 3K 5K IOK 20K recording level: mic input I ch: 2.2 mv; r ch: 2 mv FREQUENCY, CPS line input I ch: 74 mv; r ch: 71 mv

THD, record playback (for -10 VU recording): 71/2 ips either ch: less than 2% at 1 kc PS.0 ORD /PLAYBACK FREQUENCY RESPONSE AT 33/4 IPS I ch: less than 3 %, 30 cps to 12.5 kc ° + 5 r ch: less than 3 %, 36 cps to 10 kc = 0 W _ J;f 33/4 ips either ch: less than 2% at 1 kc kc Left Channel I ch: less than 3 %, 35 cps to 7.6 -10 -'' -- Right Channel Recording Level= -10 VU r ch: less than 3 %, 40 cps to 7.2 kc óc --- -ii; 20 50 100 300 500 1K 3K SK 10K 20K 17/e ips either ch: less than 2% at 1 kc I ch: less than 3 %, 40 cps to 3.5 kc FREQUENCY, CPS r ch: less than 3 %, 40 cps to 3.3 kc

IM distortion record /play- back VU -10 VU recorded level I ch: 1.8 %; r ch: 1.9% Recording Level= -10 4 -5 VU recorded level I ch: 2.8 %; r ch: 3% I ch: 4 %; r ch: 4.5% 0 VU recorded level Left Channel o Right Channel Recording level for max 3% THD I ch: +7.6 VU; r ch: +7.2 VU RECORD/PLAYBACK TOTAL HARMONIC DISTORTION AT 334 IPS 20 50 100 300 500 IK 3K 5K 10K 20K Power output, built -in amp I ch: clips at 6.8 watts r ch: clips at 6.3 watts FREOUIN(Y, (PS

1IIt:I I int i 111 \I t,\i11_ 62

www.americanradiohistory.com channel which operates for recording and playback. Re- RECORD /PLAYBACK TOTAL HARMONIC DISTORTION AT 11/2 IPS cording level indicators, found between the mode and Recording Level -10 VU tone controls, are neon indicator lamps. Microphone input jacks are on the front panel; high -level input jacks Left Channel and the speaker and preamp output jacks are at the rear Right Channel - - -- - of the machine. A special output jack also is provided 50 100 300 500 1K 3K 5K 10K 20K for connecting an Ampex slide projector actuator to the recorder for synchronizing sight -and -sound showings. FREQUENCY, (PS Circuitry in the Ampex is solid- state. In USTC's tests. the 2070 provided excellent perform- RECORD FREQUENCY RESPONSE IPS ance. °+5 /PLAYBACK AT 11/8 meeting its specifications with ease. The recorder was tested using Scotch I I1 magnetic tape. which -for LL 0 purposes of standardization -is used in all of USTC's -5 tape recorder tests. However. the 2070 came supplied -10 with a short reel of Ampex brand unidentified Recording Level= -10 VU tape- by number but apparently a 1 -mil polyester (Mylar) type 20 50 100 300 500 1K 31( 511 10K 20K -which USTC used for a repeat of the frequency re- FREQUENCY, (PS sponse measurements at 71/2-ips speed. The response, using the Scotch tape, was fine enough. but slightly im- machine, the free end from the supply reel is brought proved at the high end with the Ampex tape -which around in front of the heads and then up through a slot would indicate that the unit's record /playback charac- between the plastic covers. A push of the play /record teristics are closely matched to those of the company's lever then starts the transport and the tape winds itself own brand of tape. onto the take -up reel automatically. The secret here Playback response was about the same in either direc- is a specially designed take -up reel under those plastic tion of tape travel, or good any way you looked at it- covers which -combined with the automatic reverse indicating that the 2000 series is eminently suited for feature -makes the playing of reel -to -reel four -track high fidelity playback of prerecorded tapes. Both har- stereo tapes about as easy as playing a tape cartridge, monic and IM distortion were low, and signal -to -noise or even a disc. The plastic cover, incidentally, can be ratio favorably high. Specific measurements, at all three removed and the special reel replaced with a standard speeds, are given in the accompanying charts and table; 7 -inch reel to permit the machine to be used in the more they are, in sum, among the best found in a machine conventional manner. This removal and replacement of this price class. The 2070 also proved to be a top would, in fact, be necessary when recording a tape on mechanical performer; speed accuracy was high, wow all four tracks inasmuch as the 2070 records only in and flutter were low (these characteristics, in our tests, the left -to -right direction. were better than specified), and tapes were handled posi- The 2070 has three heads and two drive capstans, tively and gently. The machine obviously has been located under the head cover. At the left of this as- designed to serve as a flawless and convenient device sembly are the capstan and the quarter -track head for for playing prerecorded stereo tapes, with the added the reverse. or right -to -left, direction of tape travel. To option of being able to make excellent recordings as well the right are the erase head and the quarter -track record/ -the latter function requiring perhaps a little experi- playback head for the normal, or left -to- right, direction menting with recording levels as shown on the neon of tape travel. tube indicators. The machine's operating controls are simple to use As a reliable, versatile, clean- sounding, smooth -running and the recorder responds to them perfectly. In the tape recorder for use in a high quality home music sys- center of the head cover is a direction -lever which can tem the new Ampex, in sum, leaves little to be desired. be operated manually or automatically and which de- It may, of course, be hooked into a component system termines in which direction the tape will move for either for top results on playback, although its own power play /record or fast wind. The play /record and fast amplifier is capable of supplying better than six clean wind controls themselves are located just above this lever. watts per channel, and its built -in stereo speakers do Electronic controls, arranged in a vertical line to the sound remarkably good. A final fillip: the entire 2070 right of the transport, include, top to bottom: a stereo/ may be used as a public address or "general purpose" mono switch, a mode selector (which furnishes the sound system; in the PA position of the mode switch, reversing signal). a tone control that serves simultane- signals (from mikes or other sources) connected to the ously for both channels, and a volume control for each recorder will be heard through its speakers.

Scope /Castagna Model A Tone Arm

THE EQUIPMENT: Castagna Model A, a professional COMMENT: In this day of ultrarefined designs in tone arm for use with manual turntables. Maximum which the turntable and tone arm are "integrated," one length, 13-7/16 inches. Price, $125. Manufactured by would think that the separate tone arm would have gone Castagna Research and Development Corp., New York, the way of the buggy whip. Yet, the separate arm, sup- N.Y. Distributed by Scope Electronics Corp., 235 East plied without cartridge and intended for installing on 42nd St., New York, N.Y. 10017. one's own turntable, still has its unique appeal -to those

JANUARY 1965 63

www.americanradiohistory.com who want to experiment. either professionally or for attached to the arm tube through a rubber isolation their own edification, with different setups as well as mount that helps reduce the low -frequency resonance of to those who care to incorporate the latest developments the arm. The arm tube itself is narrow in diameter and into their own systems. Such products, virtually custom - filled with a rubber -like potting compound to further built and selling in smaller quantities, understandably reduce its resonance. In actual tests, the arm had no are higher -priced; the Castagna is, at this writing, the resonance above 10 cycles, which is excellent. costliest tone arm yet reported on. The arm is mounted through a neat -fitting collar which The arm, to begin with, is precision -made of brushed itself fits into several holes that must be predrilled aluminum. Its most novel feature is a pair of ring by the owner on the turntable mounting board. Connec- magnets mounted within the pivot system so that their tions to the leads from the pickup are made via a sturdy forces are in opposition. This design is intended to cable- and -plug assembly that is supplied with the arm. suspend the complete weight of the arm, including that The cartridge shell contains a snap -in mounting board of whatever cartridge is installed in it. Vertical and that greatly simplifies the installation of any cartridge. horizontal pivots utilize precision jeweled bearings. Instructions -for installing both arm and cartridge -are According to United States Testing Company, Inc., the unusually clear, well presented, and amply illustrated. pivot system is, for all practical purposes, friction -free. Indeed, our only criticism of this arm has to do with the In addition, the arm is provided with adjustments for location of the screw for adjusting stylus overhang; it both vertical and lateral static balance, stylus overhang, would be easier to get at if it were a little nearer on top vertical azimuth angle, and -most unusual -lateral track- of the arm rather than toward its underside. ing angle. As is standard practice with all arms, this The Castagna arm, correctly installed and with all last adjustment is preset at the factory for minimum adjustments properly made, will afford any cartridge a tracking error across a 12 -inch record. However, there smooth and flawless ride through the record groove. Its are detailed instructions for varying this angle for over -all tracking ability was found to be extremely good, experimental purposes. In our view, such variation certainly above average. What constitutes "average" in should not be attempted except by an experienced pro- this day of generally refined design is hard to specify; fessional for a specific purpose, inasmuch as the mini- the Castagna, in any case, joins the class of the best mizing of tracking error over one portion of a record separate arms now available. This was verified with a will necessarily increase the error over the rest of the number of different cartridges, using the lower limits of record. As supplied, the error is minimized over the tracking force recommended by the cartridge manu- largest possible portion of a 12 -inch record. facturers. The connections are hum -free, and the total Stylus force is set by a knob which, when rotated, record -playing assembly using the Castagna arm proved varies the tension on a spring. This adjustment is cali- immune to the effects of external shock and mechanical brated in increments of one gram up to five grams; feedback. What's more, the arm -because of its design USTC found it to be accurate to within 0.1 gram over and damping -will not exaggerate, by transmission, the its range. The arm is counterbalanced by a rear weight, effects of turntable rumble.

Knight KN -999 Integrated Amplifier

THE EQUIPMENT: Knight KN -999, a solid -state between these is a series of four push buttons for integrated stereo amplifier. Dimensions: front panel, selecting input signals: tape, phono, tuner, and auxiliary. 14-1 /8 by 4 -3/16 inches; chassis, 13 -5/8 inches deep On the rear of the amplifier are five sets of stereo including clearance for knobs. Price, less case. $179.95. input jacks (tape head, phono, tuner, tape monitor, and Manufacturer: Allied Radio Corp., 100 N. Western auxiliary) plus a pair of output jacks for feeding signals Ave., Chicago, Ill. 60680. to a tape recorder. There also is an output jack for feeding a derived "A + B" signal to a separate am- COMMENT: The KN -999 is the highest -rated of the plifier. Level controls are provided for the tuner and recent line of Knight solid -state amplifiers. Built around auxiliary inputs so that they may be equalized with 19 transistors and 8 diodes, the circuit employs a pair respect to a given setting of the volume control and to of driver, but no output, transformers. The front prevent overloading of the amplifier's input stages by panel is made of gold -colored anodized heavy -gauge an extra -strong signal. Speaker connections are made by aluminum on which a full complement of controls are a four -conductor jack- and -plug rather than by the neatly and logically arranged. Across the top are eight familiar individual terminals. No impedance ratings slide switches in two groups of four each. The left -hand are indicated, and the same set of speaker outputs are group includes switches for: tape monitor, stereo'mono, intended for use with various speaker impedances. channel reverse, and low- frequency filter. The right - In addition to the fuse, the KN -999 is protected by hand group contains the switches for high- frequency a thermal circuit breaker which shuts off the amplifier filter, loudness contour, phase reverse, and power off /on. if ambient temperature gets too high, that is, from A pilot lamp and a low- impedance stereo headphone about 112° upward. The amplifier is designed for full jack flank the row of switches. The lower half of the performance up to 100° F. panel contains control knobs for bass and treble (ganged The KN -999 is rated by the "music power" method and operating simultaneously on each channel), a balance at 50 watts per channel. In tests conducted at United control, and the loudness or volume control. Centered States Testing Company, Inc., using the more rigorous

MAGAZINE 64 HIGH FIDELITY

www.americanradiohistory.com "continuous power" method, the amplifier -with both adjustment taps on its power transformer. These channels driven simultaneously -produced a little better taps permit the transformer to be connected for optimum than 25 clean watts per channel. This much power, operation with varying -input AC line voltages. Thus, in by any standard, is quite respectable and puts the locales where the supply voltage is known to run high KN -999, conservatively speaking, in the "medium- power" (relative to the nominal 117 -volt rating). the transformer class, capable of driving virtually any speaker system in may be connected accordingly, and the amplifier will most size rooms. produce higher output power. This was verified by On the subject of power, incidentally, the KN -999 USTC in a special test in which the power transformer has an unusual and useful feature in the line voltage was connected for 127 -volt operation, and the input voltage to the amplifier was varied. Audio output power then was measured at 1% harmonic distortion with the following results: at 117 volts AC line input. the KN- 999 produced (on one channel) 31.2 watts; at 120 volts, it produced 32.4 watts; at 127 volts, it produced 36.1 watts. (This variation in output power, with regard to available line voltage, also would help explain the differ- ence in the manufacturer's rating of the amplifier and our own lab measurements, which are made at 117 -volt line input.) Equalization for disc playback was satisfactory; the NAB characteristic (for direct playback from tape Square -wave response to 50 cps, left, and 10 kc.

0 2 Power Knight KN -999 Amplifier . Bandwidth 4 at 1% THD 6' . Lab Test Data e 4-. THD Curve at 36.1 Watts 10 -+`: Performance 12 ' THD Curve at 18 Watts characteristic Measurement 14 16 Power output (at 1 kc into 18 Frequency Response at i Watt 8 -ohm load): 20 Zerc DB 50 Watts (IHF Music Power I ch at clipping 36.1 watts with 0.67% THD 22 = Rating) I ch for 1% THD 39.5 watts 1 10 100 1K 10K 100K r ch at clipping 33.2 watts with 0.72% THD FREQUENCY, (PS r ch for 1 ;b THD 36.1 watts +5 Both chs simultaneously at RIAA ó clipping: I ch: 26.6 watts with 0.74% THD -5 l-I- r ch: 26.6 watts with 0.76% THD EQUALIZATION CHARACTERISTICS'., Power bandwidth for 1% 0 + 5 d NAB THD 50 cps to 15 kc W 0 -5 Harmonic distortion 20 100 50 300 500 1K 3K 5K 10K 20K 36.1 watts output under 2 %, 25 cps to 12 kc

18 watts output under 1 %, 50 cps to 20 kc FREQUENCY, CPS

6 IM distortion INTERMODULATION DISTORTION CHARACTERISTIC 8 -ohm load 6% at 1 -watt output; 3.4% at 10- watt output; 2.4% at 30 -watt out- put; 2.8% at 37 -watt output

4 4 -ohm load 8.2% at 1 watt; 3.9% at 10 watts; 6.4% at 30 watts; 14% at 36 watts 3 16 -ohm load 4.7% at 1 watt; 2.9% at 10 watts; 1.9% at 30 watts; 9% at 36 watts 2 11'11111111* Frequency response, 1 -watt ±2.2 db, 5 cps to 20 kc; down to :ea output -3.6 db at 25 kc Load: 8 Ohms u Signal: 60 and 7000 CPS, 4:1 Ratio RIAA disc characteristic +3, -0.8 db, 20 cps to 20 kc o 2 4 6 8 10 20 40 60 NAB tape head character- ±2 db, 40 cps to 20 kc; down to istic -5 db at 21 cps POWER OUTPUT WATTS Damping factor 1.6 +15 TONE CONTROL AND FILTER CHARACTERISTICS Bass Boost Treble Boost Sensitivity for full output phono 2.65 mv ó+10 tape head 3.1 mv Loudness t5 tape monitor 300 mv o Contour tuner 220 my Z." low ° -5 Cut aux 400 my Hi Cut D-10 S/N ratio phono 55 db Bass Cut 41811.1111* -15 tape head 60 db tape monitor 70 db 20 50 100 300 500 1K 3K 5K 10K 20K tuner 65 db aux 67 db FREQUENCY, (PS

JANUARY 1965 65

www.americanradiohistory.com heads) was smooth from about 40 cps upward. Square - pattern that seems typical of many recent solid -state wave response was about average for an integrated amplifiers -varied with the load and the power output amplifier: the 10 -kc response had a moderate rise time demanded of the amplifier. In general, the lowest [NI but no ringing or tilt; the 50 -cps response showed some was measured with the highest impedance load (16 distortion in the deepest bass. The stability of the KN- ohms), although at 8 ohms output -the load that repre- 999 was very good, and there was no tendency toward sents most of today's high fidelity speaker systems-the oscillation with capacitive loading. IM was not much higher. In any case, as with other The amplifier's response frequency, tone control, and amplifiers of this type, the IM was not discernible filter characteristics were adequate. although the high when listening to normal program material reproduced, filter reduced the midrange too much for our tastes. via the KN -999, over speakers that were moderately Harmonic distortion was low, but Ihl- following the efficient and fairly well damped.

Acoustic Research AR-4 Speaker System

to resist THE EQUIPMENT: AR -4, a compact full -range speaker that "doubling" begins; in fact, the AR -4 seems the bass even when enor- system with integral enclosure. Dimensions: 9 by 10 by this tendency to distortion in power are fed into it. The 19 inches. Cost: in oiled walnut, $57: in unfinished mous amounts of amplifier speaker's lower pine, $51. Supplied with hardware to facilitate hanging bass simply is produced cleanly to the then disappears. Upward from the the speaker on a wall with ordinary picture hooks rated design limit and response is consistently level; there are no for a 30 -1b. load. Owners of AR -4s who did not re- bass region. seems very ceive this hardware may write to the manufacturer significant peaks or dips and everything widely dispersed. A 5 -kc test tone was for a free set, stating serial numbers of their speakers. smooth and Manufacturer: Acoustic Research, Inc., 24 Thorndike St., clearly audible from all around the system, and this as 10 kc. There Cambridge, Mass. 02141. effect remained perceptible to as high seems to be a rolloff just above 11 kc; a 12 -kc test COMMENT: Since its introduction by AR some years tone still was audible but noticeably diminished in was moderately smooth ago as the first compact speaker system of sonically strength. White noise response authoritative caliber, the acoustic suspension reproducer and fairly well dispersed at the recommended setting (about "10:45 o'clock "); has become quite popular -in its original form as well of the tweeter level control settings this control, the white noise became as in many variations and applications. AR's own opti- at higher of mum system of this type, of course, is the AR -3, re- somewhat "harder." the AR -4 sounded viewed in this journal some years ago and generally Reproducing program material, a speaker of its size and cost. regarded as one of the finest, most natural -sounding definitely superior for was more and much "bigger" systems available. The new model, AR -4, is AR's first The sound in general "open" than 1 venture into the under -$60 price bracket. It employs than one might expect from a system of less with something as the same operating principle as the AR -3: the woofer cubic foot in size. If by comparison the heft of the deepest is housed in a completely sealed, internally padded good as the AR -3, ultimate the top highs were missing, cabinet to "stiffen" the unusually loose suspension of bass and the elusive "air" of by the AR -4 sounded to us the cone, and a specially designed 31/2-inch tweeter the range that was covered response, in disperses midrange and highs. Input impedance of the smooth, natural, and musical. Transient percussives and plucked strings, was AR -4 is 8 ohms; efficiency is moderately high and the the handling of hint boxiness colored AR -4 can be driven by a clean amplifier in the 15- to crisp and clean. Virtually no of regardless the size of 20 -watt (rms) -per- channel power class. the sound of this speaker, of was auditioned. Our tests of the AR -4 indicate that although it room or where in the room it -4 is exemplary of many speaker does not reach as far down into the deep bass, nor as In general, the AR that are designed to high up into the extreme treble, as the AR -3, it never- systems in the under -$60 class priced system. To say theless is an extremely clean -sounding reproducer of serve in a compact, modestly is the "best" of this class would be to music with a nice, open tone and very good balance that the AR -4 individual listener within its range. fhe bass holds up cleanly and without presume too much in the way of be more to the point to audible distortion to below 40 cps; some rolloff begins preference; it would perhaps so far at least, higher than that frequency and dips to inaudibility below say that we have heard nothing better, it. There is no definite frequency at which one can say in this price class.

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HIGH FIDELITY MAGAZINE 66

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www.americanradiohistory.com f reviewed by HARRIS GOLDSMITH PAUL AFFELDER ROBERT C. MARSH BRODER NATHAN ecords CONRAD L. OSBORNE O. B. BRUMMELL ALAN RICH R. D. DARRELL evaew DENIS STEVENS SHIRLEY FLEMING ALFRED FRANKENSTEIN JOHN S. WILSON

by Conrad L. Osborne

Stravinsky: as composer and as conductor, a sure hand.

The Rake's Progress "An Opera That Insists Upon Analysis"

IHAVE MET no more than a half -dozen bal coin also reminiscent of moribund theatrical convention. We have two people capable of making up their minds usages. A second obvious thing is the names drawn from fable (Mother Goose, about The Rake's Progress. I once had a eclecticism of the score. In his interesting Baba), and the others from Goldsmith or standee friend at the Met, an elegant album notes, Kallman recalls the accusa- Fielding (Truelove, Rakewell, Nick and impassioned Egyptian whose gods tion by certain Italian critics that Anne's Shadow). Then we have the Bunyonesque were Donizetti and Verdi, who classified first -act aria was a mere imitation of basis for a plot that is a fable -the three it "music of the devil," though not as another composer. Each critic, alas, se- wishes, and the protagonist's almost hellish as : and I have literary lected a different composer: Handel, Faustian progress, a continual descent acquaintances who love it for what seem Gluck, Mozart, Rossini, Weber, Verdi. which is also a gradual awakening, cul- to me vaguely irrelevant reasons. But, of course, they are all there, they minating in a madness which is also a The rest of us are stuck with an am- and some others -if not in the aria, then profound vision (and it is engaging that biguity. The Rake is a work of genius elsewhere in the score. To say this is the symbols of the descent /awakening and integrity, head and shoulders above to say nothing. The point is: why are proceed in this order: Whoring, Love- anything else we've been given for many they there, and to what use are they put? less Marriage. Salvation through Social years -yet we cannot quite decide on Handel. Gluck, Mozart, Rossini, Web- Good). And behind this, implicit from its greatness. It is twelve full ounces. but er, Verdi. Add Donizetti, add Monteverdi. the start and explicit at the end, is an- doesn't quite hit the spot. And even if But there is another composer whose other fable, that of Venus and Adonis. we judge it a total failure (which it aesthetic (unbidden, we may be sure) G. Wilson Knight, that exasperating and surely is not), we find that it challenges creeps into bar after bar: Kurt Weill, or fascinating Shakespearean critic, ob- us to a dozen intellectual games: I know more accurately, Weill /Brecht. Weill too served that Macbeth ascends, not de- of no opera that focuses our attention was an eclectic, an intellectual. a com- scends, to tragedy. Tom ascends to his more sharply on questions of form. on poser concerned with form. Most im- Adonis -ship. In his progress be becomes the matter of just what constitutes an portantly, he found a musical style more fully human, until finally he is opera. Consequently, it must be heard analogous to the theatrical style of his quintessentially human, the figure of a and studied by anyone who fancies him- most famous collaborator -and here we myth. self a student of the lyric stage. approach the very sort of ambiguity Since it is a fable, the characters must The first obvious thing about the Rake that governs our feelings towards the fulfill the demands of the fable. Tom is is its neoclassicism -the conscious use Rake and its characters. I do not mean the one who must be acted upon, for it by Stravinsky of a series of conventions to force a parallel; Stravinskÿ s music is the moral of his story that is being (the ABA aria; the cantabile /cabaletta sometimes sounds like Weill's, but more drawn. The others remain constants, aria; secco recitative: the Mozart orches- often not. In none of his operas is embodiments of their classical positions. tra, including harpsichord) that had been there a hint of Stravinsky as a social(ist) The entire point of a fable, of course. ignored, disenfranchised by the ascend- artist. I am concerned for the moment is its clarity, its reduction of what are ancy of the opera- into -music -drama with the relationship of the audience in real life hopelessly complicated mat- school of composition, and the con- to the characters. ters to a symbolic level for the purpose of scious use by Auden and Chester Kall- The characters of the Rake are those accurate vision. In theatrical terms, this man of a dramatic structure and a ver- of a fable, clothed in eighteenth- century implies a certain distance from the sub-

JANUARY 1965 69

www.americanradiohistory.com ject, a disengagement -or, to use the the form is carefully calculated to keep pose behind every bar. The old pros are term made fashionable by (here we are) our minds working, Tom emerges as a at work, a:id the others may pack up Brecht, alienation. person, too. And while all the operatic and go home. Here is technical command That is the key to Brechtian method, hocus -pocus is being pointed at and even that invariably nails down the effect it so far as he was able consciously to ribbed, it is working the old tricks on goes after; here are scenes that are recog- control it. It is the aesthetic basis for us; it uses the old forms for their own nizable as polished theatrical entities. the Brecht /Weill operas and the ballet sakes, as well as for purposes of framing. not simply rough drafts with an exploit- Die sieben Todsünden -as much so This leaves us at something of a loss. able core. Above all, here are musical for Weill's music as for Brecht's librettos Should we laugh or cry? Snicker or ideas that strike fire and burn themselves -and the techniques used are similar to cheer? Remain detached, or give in? into the consciousness right from the Auden /Kallman / Stravinskÿ s. In Der It is not exactly a problem of cate- start, gaining power with familiarity; an Jasager: a Noh play, adapted as socialist gorization, as it is with atmosphere. a stage universe, belong- parable, to a score based on elemen- (the opera so clearly evoked at many ing to this work and no other. Of what tary compositional discipline, literally a points by the Rake; anyone worrying other opera since Wozzeck can these "school opera." In Dreigroschenoper, a about whether Don Giovanni is a com- things be said? parody -fable based on another parody - edy or a tragedy must recognize that There is something magnificent in fable, again adapted as socialist parable, this is his hang -up, not the opera's). It every scene, and at least three scenes to a score based on conscious use of is a problem of response, of deciding are successful from first note to last: forms such as the Bach chorale, and on which layer of meaning in the music the Mother Goose scene, with its swing- Gay's original ballad -opera, which was we choose to heed. When we hear the ing chorus of Whores and Roaring Boys, in turn identifiable, datable, a take -off at harpsichord, we are immediately con- Tom's little catechism and his exquisite once on the popular ballad and the Han - scious of the anachronism -that is un- cavatina "Love, too frequently betrayed," delian opera. In Mahagonny: another avoidable. Yet Stravinsky has chosen the and finally the superb "Lanterloo" cho- parody- fable, "original" this time and harpsichord not merely for its status as rus; the Graveyard Scene, with its black based more closely on what might be an antique or even its functional value prelude, the game between Tom and termed the stuff of contemporary fable, in accompanying secco recitative, but for Shadow for Tom's soul, and Shadow's to a score remindful of many other forms its descriptive coloration as well, and in melodramatic curse; and the Bedlam -Mozartean opera, cabaret song, bad this role it creates a chilling effect in Scene, with the genuinely heartbreaking barroom piano (dus ist die ewige the graveyard scene. When Anne launches duet for Anne and Tom, the mutterings Kunst "). And so on. her cabaletta, we are aware that a fine of the madmen, Tom's death, and the In The Rake's Progress: a fable in tradition of romantic opera is being sent little choral dirge. juxtaposition to another fable, adapted up, as the English say; but we also This is really only the beginning of to certain datable theatrical and poetic respond to the genuine impetus of the the score's riches. The duet in the open- conventions to a score composed of writing, and wait for this high C as im- ing scene; Tom's aria "Vary the Song ": evocations of operatic practice of the patiently as for any in Verdi. Or again, the enormous fun of the writing for eighteenth and nineteenth centuries (as when the quintet of the Epilogue is Baba, and the subtly worked trio for often "neoromantic" as "neoclassical "), launched, we are conscious that a device Baba, Tom, and Anne; Sellem's auction sometimes parodied, sometimes not. In of the comedic tradition is being used song-all these are among the finest all these cases, the form is deliberately to pull us back from the brink of the things in modern opera. There are strik- chosen as expressive of a point being catharsis attained in the Bedlam Scene. ing theatrical ideas too. among which made, it does not simply well up from We have to accept this bothersome one must mention the terrible moment a central musico- dramatic theme. And blur of feeling. Probably it is intended. when the spring light filters into the in each case, the audience is asked at What is not intended (I am fairly cer- blackout after the winter graveyard once to go along with the characters tain) is the sense we have of being scene to disclose Tom, mad, singing his and to remain at a distance from them, manipulated, of being trifled with, of ditty. the better to comprehend their qualities both admiring and resenting the extraor- An opera that provokes thought, that and actions. In consequence whereof: dinary cleverness of it all. We know, almost insists upon analysis, that re- the dramatic structure of the Rake is a of course, that all operas are consciously fuses total satisfaction. It is an extremely series of tableaux, each descriptive of a constructed to elicit some hoped -for re- important work. phase of the rake's descent /ascent. action, but when the formalistic bones Columbia's new recording is the It was, of course, suggested by the show so clearly, we become aware of opera's second. The first, of course, was Hogarth Rake's Progress engravings, and the tampering, and resist it. Personally, I the Metropolitan Opera version, recorded in fact proceeds almost in a series of know which opera I wish had been shortly after the first Met performance panels; but as Kaltman points out, it is written: I wish the Epilogue had gone of the Rake in 1953. It was also re- not "based on" Hogarth -it simply uses uncomposed, that the tone of parody in corded by Columbia and was also led Hogarth as suggestion and, hopefully, so much of the writing (particularly by the composer, though Fritz Reiner for associative significance. for Anne, who is really too close to had conducted the Met performances. Its verbal language is an elevated Polly Peachum) had been suppressed, Stravinsky has reportedly been much poetry, not prose or stream-of- conscious- and that the muted agony and fulfill- displeased with the first version; we ness verse. It is good, sure-footed libretto ment of the Bedlam Scene had been left may thus assume that he regards the writing -compact verse that does not to stand. As it is, the end result is in a second as something of a corrective. waste time duplicating the functions of limbo. If the Rake is intended purely as It is the better production, without the music or the stage. Once in a while parable, as a piece from which we are doubt, though in some respects I find it uses literary figures that cannot be to remain disengaged, then it is betrayed the margin of superiority narrow, and expected to hold their printed value in by the genuinely moving and exciting even in hindsight it does not seem that a theatre. But by and large, the best scenes it contains. If it is intended ab- the Met version is all that bad. Good. thing about Auden and Kallman's work solutely "straight," with everything to up -to -date stereo sound is a distinct ad- is not its undeniable value as writing per be taken at face value, then it is be- vantage- passages that didn't sound like se, but its recognition of its function trayed by its all too calculated form. much of anything on the old recording vis -à -vis the score and the theatre, as And if the intention is to present a situa- emerge with a fresh lucidity and point on opposed to its "word value." Its musical tion in which we will be at once emotion- the new. And there is no doubt that the language is that of the twentieth cen- ally involved and clear -eyed, then it is general flow of the music seems more tury taking a look over its shoulder. simply unnecessary, because that is what natural, more musical in the new per- The source of our ambivalence in feel- any stage work does, willy -nilly. formance. This is especially true in the ing towards the opera (I say "our" and At any rate. the opera that has been recitative, which is difficult stuff be- mean "my," but apparently it's a wide- written contains reward enough. In the cause it often insists on making a musical spread reaction, to judge from the quizzi- quality of its inspiration and execution, point independently of the textual one cal stutterings of most critical response) it leaves its contemporaries in the dust. (a sure -fire device for forcing one's at- lies in the fact that while the characters What a pleasure to sense mature minds, are placed in the perspective of fable, and serious dramatic. poetic. and musical pur- Cunt' 'd on page 90

70 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com by Denis Stevens

Songs of Life and Love in Ancient Nuremberg

,rAGNER'S magnificent evocation of sichore told him that he could not be gurdy, bagpipes, organ, and drums. Praise life. love. and Lieder in sixteenth -century released from his obligations as long as is due to the singers for their clear enun- Nuremberg has become so much a part he lived. Faithful to the goddesses, ciation and vivid interpretations, and to of operatic experience that few who Sachs continued in his creative vein, and the instrumentalists for their colorful listen ever give a thought to the truth earned (as they prophesied) "fame, accompaniment. Yet the most powerful behind the fiction. The plot of Die Meis- praise. and honor from many a noble factor of all is the vitality of the music tersinger was certainly fiction, but the mouth." itself. The tender, flowing phrases of poet- singer Hans Sachs really did exist In Dichter and singer he compares the Der wallt hat sich entlawbet ("The and he composed music and lyrics well lot of the creative artist and the inter- woods are bare and leafless "), the viva- worth hearing today. Nuremberg, how- preter: the former is free to invent "new cious pulse of lch spring an disem ringe, ever. was only one of many cities in poems and fresh songs at all hours," and the wildly orgiastic Es fur ein pawr Germany where singing guilds and song whereas the latter can only tread the gen holcz ( "A farmer went to the contests kept alive the monophonic art paths marked out for him. This was of woods ") display a more than musical of the medieval troubadours. The rules course very true of the mastersingers, gamut of emotions, and it is much to for entry into this musical club were although their less hidebound contem- the credit of Dr. Hans Hickmann and strict in the extreme, and the almost poraries, whether singers or instrumen- his Archive collaborators that this music malicious marking of mistakes by Beck - talists, could and did take great liberties comes to life so magically and so well. messer, as the young Walther sings his with what was written down. Sachs shows This disc indeed is so fine as to rank first song. is not too much of an exag- us his moralistic side in Der verwunt as one of the best medieval programs I geration. Indeed, Walther may have got tigierter, a diatribe against slanderers have heard in the last decade. off lightly since it was usually the cus- borrowed from Aesop; his religious feel- If it whets the appetite for Nuremberg tom to have three or four "markers" ings in Geheimnis der Gotheit; and his and its musical past, a fascinating and busy with slate and pencil. sense of humor in a saucy tale about a complementary record may be found Hans Sachs. who lived in Nuremberg Venetian mariner whose wife pretended in the imported Odeon "Musik in alten from 1494 until his death in 1576, wrote she became pregnant from swallowing an Stadien rind Residenzen" series: "Nürn- well over four thousand master -songs, icicle (Ein eiszapf). berg, die freie Reichstadt" (STC 91 110). the great majority of them character- Nuremberg, the city of Sachs and The program includes music by the ized by florid melodic passages called Dürer, of Krafft and Vischer the sculp- Nuremberg composers Kindermann, Sta- Blumen occurring at the beginning and tors, and of Henlein the inventor of the den, Johann Krieger, J. P. Krieger, end of a song. or (in simpler guise) over watch, nevertheless resounded with the Pachelbel. and Wecker, and the perform- some significant word in the body of a clamor of lesser mortals, with street ances are generally of excellent quality. verse. Many of the texts were based on songs and folk songs more venerable Particularly attractive is the Partita in D the Bible. but Sachs and a few of his than the twisted streets leading down for Harpischord by Johann Krieger colleagues broadened the scope in order from the squares and churches to the (though recorded in far too resonant an to bring in biographical material, para- Pegnitz. Some of these anonymous songs, acoustic and the Quodlibet on Nuremberg bles of contemporary life, and lengthy written down in a manuscript book about street cries by Kindermann. A wider aphorisms. Five of Sachs's songs can now the middle of the fifteenth century, ap- appeal would be ensured if Odeon had he heard -and studied in the original pear on the same Archive disc in vivid translated the accompanying booklet into German text and an English translation - performances by the Nuremberg Gam - English. thanks to an Archive release actually bencollegium, directed by Josef Ulsamer. recorded in Nuremberg. The Locheimer Liederbuch, or "Old The songs are sensibly shared between Nuremberg Song- Book" as it used to be MUSIC FROM NUREMBERG a tenor, Friedrich Brückner-Rüggeberg, called, contains a variegated collection of and a . Rudolf Aue. who succeed pieces (only nine of them harmonized) Hans Sachs: Songs (5). Songs and Instru- in conveying the rather stiff but un- that reflect something of the violent con- mental Works from the Locheimer Lied- deniably sincere quality of both verse trasts of late medieval Germany. Courtly erbuch (14). and music. In Bal and suns meiner love songs share pages with coarse gedieht auf dise zeit ( "Volume and peasant humor. dance songs mingle with Friedrich Bruckner- Rüggeberg, tenor (in Number of my Works at this Time ") the moralistic ditties and borrowings from the Sachs): Rudolf Aue, baritone (in the sixty -year -old Sachs tells the touching Burgundy. Sachs); Nuremberg Gambencollegium. story of how he decided to stop compos- These have all been scored in a lively, Josef Ulsamer, cond. (in the Locheimer ing and spend his remaining years in imaginative. yet scholarly way for an Liederbuch). peace and quiet. But the Nine Muses ensemble of voices, fiddle. lute, psaltery, ARCHIVE ARC 3222. LP. $5.98. appeared to him in a dream, and Terp- recorder, cornet, krummhorn, hurdy- ARCHIVE ARC 735222. SD. $5.98.

JANUARY 1965 71

www.americanradiohistory.com STRAVINSKY BY STRAVINSKY well represented on records as the St. Matthew. Two of the better performances are now relatively old, and are avail- SI ra tusk, C. luck able on mono only, while the more recent The Rake's Progress stereo versions have had some drawbacks to weigh against their considerable Classical merits. The same can be said of this latest stereo recording. It is presum- ably intended to replace the older Archive version, one of the two mono recordings mentioned above. Richter,

among the more skillful Bach conductors ENeaaa,a'R Caen aChntn/Anne *se eylraSDadeYy active in the studios nowadays, achieves The Rine PhewmpcDehrsoa The Safest WYE O,ceChan a good deal of eloquence. The great M3L 310/ M3S 710' 3Record Set opening movement has a tragic intensity, the crowd scenes are dramatic, the won- BACH: Concertos: for Violin, Flute, cShavinsug 8onducts derful chorales are varied in mood ac- CI cda/lel clltusie Harpsichord, and Strings, in A cording to the situation, and the final minor, S. 1044; Harpsichord Jeude&arles for lullaby is deeply affecting in its tender- The Cleveland Orchestra and Orchestra, No. 6, in F, S. 1057 ness and sorrow. alue6ir3-c?as de deux ne Calume,a Ernst Häfliger is an SETTPheen Orchestra excellent Evan- &ones de cJallel Anne -Marie Beckensteiner, harpsichord; gelist. His voice reflects the moods of the CBC Symphony Orchestra Huguette Fernandez. violin; Christiane the narration, and it seems richer in Larde, flute; Jean -Marie Leclair Instru- quality than formerly. In "Ach, mein mental Ensemble, Jean -François Paillard, Sinn" it is vigorous and moving; seldom cond. does it relapse into the "whiteness" of MUSICAL HERITAGE SOCIETY MHS 535. the average oratorio tenor. Of the other ML 6049/ MS 6649' LP. $2.50. male soloists, Hermann Prey as Christ MUSICAL HERITAGE SOCIETY MHS is steady, and the color of his voice in- 535. SD. $2.50. vites sympathy; and while Kieth Engen Stravinsky Conducts sings the arioso " Betrachte. meine Seel' " Hia Choral Music All the soloists sound like able play- only adequately, he handles the difficult Mabel Mar Ceases. bNnear ers, but their efforts are vitiated by problems of pitch in "Eilt." his big aria zwadsre Y. ow me stake the conductor and the recording. In with chorus, quite skillfully. Though the ebereN- VaAatlarrea: -Vern HawNY aka' both works there is a certain brusqueness ladies sing ably, they are not very mov- no Dow Descending Breaks Oka Air Word* by T. S. Dot in the fast movements. The Harpsichord ing. Miss Lear is more effective in "1ch A Sermon, a Narrative and a Prayer Concerto, which is a very interesting folge dir" than in "Zerfliesse mein Shafer Vmmen. Meaao-sopreno Loren Drl*coR.Tenor recasting of the Fourth Brandenburg, Herze," and Miss Topper's "Es ist voll- lohn Horton. Spoaaer The CSC symphony O.W aha has always struck me as having a bracht" is properly grave yet somehow The Festive Sk,aers dlireale pastoral quality, but for the present misses fire. Omer kW.. Metter performance one would have to imagine The chorus has a good tone, but much ML 6047/ MS 6647' high- strung, neurotic shepherds. Es- of the time the sopranos push the other pecially in the Triple Concerto there parts into the background. Choral bal- seem to be only two levels of dynamics, ance is at its best in "Lasset uns den C=- Stravinsky Conducts mezzo -forte and forte. The bass is tubby; nicht zerteilen" and in "Ruhet wohl." Favorite Short Pieces and in both works the harpsichord, The continuo instrument, an organ when it is not playing alone, is fre- throughout, struck me as sometimes quite quently covered up. It is perfectly effective, at other times-as in the many true that this instrument does not have long sustained chords in recitatives- much carrying power and never did, but as rather tiresome. Aside from ques- does anyone maintain that Bach would tions of choral balance, the sound is have wrought those finely detailed first -rate. There is still room for a St. harpsichord parts, thematically as im- John recording that will stand out above portant as the other solo parts, so all the others. N.B. Mt. 6048/ MS 6648' carefully if in performance they were going to dissolve into a silvery tin- kling in the background? The microphone BACH: Suites for Orchestra: No. 1, permits us to ignore concert hall acous- in C, S. 1066; No. 2, in B minor, tics and bring the harpsichord up to its S. 1067; No. 3, in D, S. 1068; CONDUCTSJ proper level in the instrumental dis- No. 4, in D, S. 1069 course. It is one of the few advan- FIREBIRD tages of electrical recording over the Paillard Chamber Orchestra, - real thing, and more use should be Jean PE François Paillard, cond. made of it. N.B. EPIC SC 6407. Two LP. $9.96. EPIC BSC 147. Two SD. $11.96. ¡THEpF BACH: St. S. 245 OF 7r"RIIV7SPRING John Passion, Cl7ullrBlA SvhtflFlOrrv oRCtESiRa BACH: Suites for Orchestra: No. 2, M3L 305/ M3S 705' 3Record Set Evelyn Lear, soprano; Hertha Topper, in B minor, S. 1067; No. 3, in D, contralto; Ernst Häfliger, tenor; Her- S. 1068 mann Prey, baritone; Kieth Engen, bass; ON Munich Bach Choir and Bach Orchestra, Stuttgart Chamber Orchestra, Karl Mün- COLUMBIA , cond. chinger, cond. [from London LLP 848, RECORDS ARCHIVE APM 198328/30. Three LP. c. 1950.] $17.94. RICHMOND B 19102. LP. $1.98. ARCHIVE SAPM 198328/30. Three 0 SD. $17.94. The Paillard performances are straight- forward and rather literal. Groups of The St. John Passion has not been as eighth notes are played as even eighths, 'Stereo e COIUMewa BMORC.US REG PRINTED N U S a CIRCLE 21 ON READER -SERVICE CARD 72 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com HOW TO RAISE THE CEILING, PUSH OUT THE WALLS AND FILL YOUR OWN STADTPFARRKIRCHE WITH THE SOUNDS HAYDN MADE 200 YEARS AGO ML 6082/MS 6682' In the centuries -old Stadtpfarrkirche (parish church), which wears a patina of cit'asidot - C. na...ez Haydn's time and his music on its walls, E. Power Biggs succeeded in evokirg not Ike 7:aaee flayc.. ewrcvnlo.t merely the music of Haydn but the very sounds Haydn himself made 200 years ago. Mr. Biggs travelled to Eisenstadt, Austria, where Haydn spent Dart of his life. There, for the first tme on the organ that Haydn himself played and composed for, E. Power Biggs has recorded in the r entirety Haydn's Concertos Ncs. 1, 2 and 3. A new Columbia Masterworks album brings this experience to you at home. 7t will impart any room with the lofty dimensions of Haydn's own Stactpfarrkirche. E. POWER BIGGS ON COLUMBIA RECORDS 1 Ti.. L'.L..:.e Sy.y,/ ; atels.asa. ,je11 ^ k°Yo-y.; Soon to be released CIRCLE 21 ON READER -SERVICE CARD

www.americanradiohistory.com mercurial performance than it receives BEETHOVEN: Concerto for Piano here. The best of the Barlow is the and Orchestra, No. 5, in E flat, Op. score with the most wit and least pre - 73 ( "Emperor ") tention: Mon ami Pierrot, the preface to an opera written on behest of Sacha Mindru Katz, piano; Hallé Orchestra, Guitry in 1934. The Lamoureux perform- Sir John Barbirolli, cond. ances all seem to be quite sympathetic, VANGUARD EVERYMAN SRV 138. LP. but, like the Icelandic ensemble, the $1.98. orchestra is given only so -so recording. VANGUARD EVERYMAN SRV 138SD. R.C.M. SD. $2.98. BEETHOVEN: Concerto for Piano BARTOK: Sonata for Two Pianos and Orchestra, No. 5, in E flat, Op. and Percussion 73 ( "Emperor "); Egmont Overture, tDebussy: En blanc et noir; Six Op. 84 épigraphes antiques Karajan: in Brahms, muscular poise. Julius Katchen, piano (in the Concerto); and Casadesus, pianos; London Symphony Orchestra, Pierino and there is no hint of double dotting. Robert Gaby -Claude Casadesus and Jean -Paul Gamba, cond. One consequence is that the opening of Jean Drouet, percussion (in the Bartók). LONDON CM 9397. LP. $4.98. Suite No. 1 is pleasantly smooth and less 6041. LP. $4.98. LONDON CS 6397. SD. $5.98. ponderous than it sometimes is. Other- COLUMBIA ML out- COLUMBIA MS 6641. SD. $5.98. wise there is nothing particularly Two more Emperors following hard on set. The in standing about this flutist the heels of RCA's recent Rubinstein/ is excellent, the The present team approaches the ever No. 2, Maxence Larrieu, Leinsdorf issue, and both containing the side, but by absorbing Bartók work with tightly coiled tempos are on lively many salient virtues. They present an not as rhythmic thrust and spare monochro- and large the performances are interesting comparison. as those in the Menuhin maticism, seldom suggesting color or at- imaginative Mindru Katz is a young Rumanian Richter (Archive), or Mün- mosphere and making one always con- (Angel), pianist who has gained quite a bit of sets, to mention the scious of a sec linearity. The percussion chinger (London) recognition on the Continent. The best the recordings available in both punctuates with short, sharp commentary, of Vanguard disc, his first record to be stereo. neither as mellow as on the recent per- mono and released in this country, was recorded Münchinger's old recording of Nos. 2 formance by Farnadi, Antal, J. Schwartz, by Pye and has been available in Great among the best in its and O. Schwartz (Westminster) nor as and 3, considered Britain for several years. From both is now quite dated with respect to vibrantly resilient as on the edition. by time, musical and pianistic standpoints, Mr. the quality of its sound. N.B. Votapek, Vosgerchian, Firth, and Press (Cambridge). The xylophone, in particu- Katz gives an impressive demonstra- his abilities here. The artist lar, has a bright ring and assertiveness as tion of favors a clarion assertiveness and sharply BARLOW: Mon ami Pierrot: Over- set forth here. By virtue of its obvious interpretative defined attack, His tonal and dynamic ture; Cortège from Sardo; Circus range is exceptionally varied, ranging Overture intelligence and superior order of execu- tion, Columbia's entry should have many from feathery delicacy to bronzen tClaflin: Concerto giocoso for Piano massiveness. He adopts a courageously and Orchestra adherents. For me, however, this reading lacks the requisite poetry and barbaric slow tempo for the second movement. emotional strength, and I prefer the West- and although he runs the risk of splin- Lamoureux Orchestra, Robert Cornman, minster (a perverse choice, perhaps. for tering the linear continuity with undue cond. (in the Barlow); Gisli Magnússon, that edition often departs from Bartók's deliberation, he avoids that peril and William Strick- piano, Iceland Symphony. very specific instructions -he even in- emerges triumphantly. Indeed, Mr. land, cond. (in the Claflin). cluded stop -watch timings). My own Kati s performance of this section has COMPOSERS RECORDINGS CRI 178. feeling (with which many will dis- an air of gravity reminiscent of what LP. $5.95. agree, I am sure) is that this evocative Schnabel used to evoke from the music. opus is strongly emotional, making its I also like very much the weighty Samuel Barlow was born seventy -two compelling effect from acoustical tex- energy and pounding momentum of the years ago, studied music at Harvard, and tures and sonority as much as from outer movements. Barbirolli leads a subsequently was a resident student in formal logic per se. To play it with forthright, alert -sounding accompani- Paris and Rome. It helps to know these Brueghel coloration and a touch of ro- ment and the Hallé ensemble, while not facts, but they could almost be inferred mantic license does it no harm; to per- particularly luscious in sonority, does from this music, which is militantly form it graphically and impersonally (as its work well. Here is an Emperor to characteristic of its time and place. Avery the foursome here inclines to do) robs share first place with the Rubinstein/ Claflin, now sixty -six, is another Har- it of much of its potency. Furthermore, Leinsdorf (RCA Victor), Fleisher/ vard product who got to France, but as the Columbia recording is marred by an Szell (Epic), and Schnabel /Sargent an ambulance driver rather than a corn- obtrusive tape hiss which precludes the il- (RCA Victor, deleted). In the economy position student. Even so, the influence lusion of live performance (so aptly category it heads the list. of the Gallic school is felt. Both com- conveyed by the Cambridge, in particu- Julius Katchen, for London, also posers are good craftsmen who-at lar), and in the stereo pressing almost turns in. one of his best efforts to least in these scores -lack the capacity everything emerges from the right chan- date. It seems to me that he is far to generate and develop big musical ideas nel. more suited to the extrovert bravura worthy of their technical accomplish- The overside Debussy cryptograms rep- of the Emperor than he was to the sub- ments. Their schooling and their in- resent a stereo remake of excellent dued bravura of No. 4, issued a few fluences have been well assimilated, but decade -old monophonic recordings. Rob- months ago. His is an essentially light- there is no sense of powerful individual- ert and Gaby Casadesus are right in their weight reading, with fast tempos and ity in musical thought to turn this back- element with this dry, steel -point en- gleaming sonority. While he never ground into a distinctive means of self - graver's type of music (late Debussy is plumbs the emotional depths of the expression. not at all "impressionistic "), playing it score, he always avoids the tricky Both. I suspect, have a well -developed even better today than they did ten years phrasing and unwanted flashiness which flair for humor. The Claflin piece pro- ago. Here the reproduction is superb in have sometimes marred his perform- ceeds in a good -natured fashion that every way. ances. There is much to be said for ought to win it a place in the proms The music contained on this disc is having the Concerto moving smartly and pops of summers to come. It would fascinating and will well repay investi- along without fuss or bother. Further- benefit, I think, from a slightly more gation by those unfamiliar with it. H.G. more, some of the technical execution is

74 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ravishing. One detail worth special melody; the Spanish ensemble on MHS mains a fine performance, but one has mention is the long chain of trills in the handles things with greater flair, though only to hear a bit of the new recording to second movement. which are realized the players hurry through the E minor note how much more subtle Ferras' with exemplary evenness and lovely finale so fast that some notes on the playing has become. Karajan, though tone. Anyone who has played the piano guitar scarcely have time to sound. always considerate of his soloist's wishes, will know how difficult a passage like Stereo spread is more pronounced on projects an eminently symphonic (as this can be. Pierino Gamba conducts in MHS. S.F. opposed to Schuricht's chamber music) the same spirit as his soloist. Although point of view. The tuttis are large- scaled the conductor does not produce a and assertive, with superlative attention deeply burnished or subtle ensemble BORTKIEVICH: Concerto for Piano given to instrumental balance and rhyth- tone from his forces (the brass, especial- and Orchestra, in B flat, Op. 16- mic impetus. Moreover, the recorded ly, have a rather raw sound), he leads See Busoni: Indian Fantasy, Op. 44. balance is the closest thing to concert the music with taut energy and refreshing hall realism I have yet experienced from verve. A splendidly forthright reading a record. It is extraordinary to hear of the Egmont Overture is an attractive BRAHMS: Concerto for Violin and how much detail comes through in an bonus. Orchestra, in D, Op. 77 unobtrusive, perfectly natural way. The Sonically, the Vanguard disc is ad- solo violin can be plainly heard, but to mirable, the London exceptional. Despite Christian Ferras, violin: Berlin Phil- the massive orchestral forces. the greater quantity of music on the harmonic Orchestra, Herbert von Kara- Both Szeryng editions (particularly latter, the reproduction is uncommonly jan, cond. the slower -paced Mercury one with Do- sleek and without any of the slight DEUTSCHE GRAMMOPHON LPM 18930. rati), the Oistrakh /Klemperer (Angel), constriction in forte passages heard in LP. $5.98. and the Francescatti /Bernstein (Colum- most other recorded Emperors. H.G. DEUTSCHE GRAMMOPHON SLPM bia) all merit hearing. but for sheer 138930. SD. $5.98. elegance, warmth, and breadth combined, this DGG is in a class of its own. BOCCHERINI: Quintets for Guitar Excellent versions of this repertory staple Kreisler's cadenza is played by Ferras, and String Quartet: No. 1, in D, are available in abundance. Nevertheless. by the way; most of the others use the the Op. 37; No. 3, in E minor, Op. present reading is so exceptionally Joachim. H.G. 50, No. 3 distinguished in every respect that one could justifiably place it at the head of Spanish National Chamber Music En- the list. BRITTEN: Albert Herring semble. The combination of Ferras' Kreisler -ish MUSICAL HERITAGE SOCIETY MHS 575. tone and richly lyrical interpretation Sylvia Fisher (s), Lady Billows; April $2.50. with Von Karajan's beautifully poised, Cantelo (s), Miss Wordsworth: Catherine MUSICAL HERITAGE SOCIETY MHS muscular conducting is an unqualified Wilson (s), Nancy: Sheila Amit (s), 575. $2.50. success. The violinist's older version for Emmie; Anne Pashley (s), Cis; Stephen London with Carl Schuricht and the Terry (boy s), Harry; Johanna Peters BOCCHERINI: Quintet for Guitar Vienna Philharmonic, currently available (ms), Florence Pike; Sheila Rex (c), and String Quartet, No. 3, in E on the inexpensive Richmond label, re- Mrs. Herring; Peter Pears (t), Albert minor, op. 50, No. 3 Herring; Edgar Evans (t), Mayor Up- 1-Haydn: Quartet for Guitar, Violin, fold; Joseph Ward (b), Sid; John Noble Viola, and Cello, in G, Op. 2, (b), Mr. Gedge: Owen Brannigan (bs), No. 2 Superintendent Budd; English Chamber NEXT MONTH IN ' Orchestra, Benjamin Britten, cond. Karl -Heinz Böttner. guitar; Günter Kehr LONDON A 4378. Three LP. $14.94. and Hans Kalafusz. violins; Günter Lem - LONDON OS 25883. Three SD. men, viola; Siegfried Palm, cello. $17.94. Vox DL 1010. LP. $4.98. high fidelity Vox STDL 501010. SD. $4.98. Albert Herring follows The Rape of Lu- cretia in the catalogue of Britten's operas; With virtuoso guitar players heard more The Prima Donna written as the initial presentation of the and more frequently these days, it is At Work English Opera Group, it received its easy for us to imagine the guitar as a first performance at Glyndebourne on bright participant in the instrumental June 20, 1947, with Britten conducting conversation of chamber music. In the An Interview with and Peter Pears in the title role. Since present works, alas, it seldom gets a then, it has had a number of productions thought in edgewise (except in the On the scene at a new in England, on the Continent, and in finale of the Boccherini E minor), and recording of Carmen. the United States. and in terms of its is forced to spend most of its time reception by audiences and critics, it by Esther Gelait providing its companions with support I must be reckoned as one of the more of the most genteel sort. Since neither Die Nilsson and La Nilsson successful operas of the last quarter composer here actually wrote for the century. instrument, however ( Boccherini made In one short season in the studios Since my first acquaintance with the his own transcriptions from works for Birgit Nilsson moves from opera is through this recording, I cannot standard string quintets, and Haydn Götterdämmmerung to Macbeth. presume to judge its effect in the theatre. wrote for the lute), it is perhaps unfair Still, we have it here as a piece to be to bemoan the modesty of the guitar's by William Weaver listened to, unseen, in one's living room, role at a series of parties to which it and it will no doubt remain in this te Boadicea was not really invited! The Boccherini in Walthamstow context for most American collectors. works are quite rewarding otherwise: the For Joan Sutherland, Bellini's On this basis, I would have to rate it Fandango finale of the D major builds Norma provides the latest something of a disappointment, despite to a remarkably full climax and the challenge. the presence of many attractive passages part- writing throughout is always alert. and despite the all -round excellence of On the other hand, the early Haydn by Robert Ketlowiti the performance. piece is just too early to provide much The root of the problem -to get more than historical interest. New Trends in Stereo Kits straight to it-is that for all the musical Vox's performers are a stiffish lot I inventiveness and intermittently enter- who are apt to give as much importance by Ives R. s.rpr taining byplay, Britten and his librettist, to accompaniment figures as to the Eric Crozier, have left out an essential

JANUARY 1965 75

www.americanradiohistory.com ingredient of stage comedy, operatic or him tell of it, colorlessly, later ... but suggest a slight unctuousness without making the Vicar repulsive on the sur- otherwise: people. By this 1 mean not that's spilt milk. the are good too. The merely recognizable stage types, but in- The music, as I have already indicated, face. But others weak piece dividuals in whom we are compelled to has its points. Each of the villagers is only of casting, unfortu- take interest, whose fortunes we feel we recognizable as a type, and there is a nately, is that of Sylvia Fisher in the role Miss must follow. It is probably gratuitous to good deal of fine descriptive music, important of Lady Billows. point out that in every great comic opera descriptive of everything from the bustle Fisher is a veteran of such sopranic from Nozze di Figaro to Rosenkaralier, in Lady Billows' home to the wooziness battles as Isolde and Sieglinde, but she is past with any and in every merely good one, from La of Albert's way home on the morning evidently singing Sirva padrona to L'lleure espagnole, after (a lovely melody for alto flute). measure of control, and her vocalism here is almost unpleasant. She has a there exists a group of people for whom It is this very facility in describing it is we harbor concern, towards whom we gesture and atmosphere that constitutes good hold on the character, but all to listen to. feel affection; no matter how foolishly, a pitfall for the composer, for it results just too hard misguidedly, or even cruelly they may in music that is almost constantly busy, The recording is splendid, beautiful behave. Even an Ochs or a Beckmesser unrelievedly ingenious, continuously in sound and expert in the use of such niceties as the sound a commands a share of our compassion, talking about things that in the long run stereophonic of ball bouncing across the shop floor. to say nothing of a Sachs or a . don't matter much. And since Mr. have But we must search hard among this Crozier is constantly supplying Britten Perhaps more Americans will an to see Herring. Most crew of selfish, pinch -brained, sancti- with little opportunities for such con- opportunity Albert monious types for someone whose part trivance, the work finally becomes tire- comedies are better off seen than heard. we can take: we do not want to return some. C.L.O. to the village of Loxford, or see any Still, there are fine things along the of these people again, ever. It is con- way. The Act 1 cantabile for the Vicar ceivable that a workable comedy might ( "Is Albert virtuous ? ") and the ensuing BRUCKNER: Symphony No. 8, in he built around the central situation, ensemble is a charming inspiration: so C minor drawn from a De Maupassant story. is the little duet for Sid and Nancy. The villagers, represented by their vicar, Nearly all the ensemble passages are at Berlin Philharmonic Orchestra, Eugen schoolteacher, police superintendent, and least well worked and clever, and some- Jochum, cond. patroness, search for a blameless girl times quite exhilarating -particularly DEUTSCHE GRAMMOPHON LPM 18918/ for the title of May Queen. In this engaging is the Threnody sung by the 19. Two LP. $ 11.96. provincial town, as in Atlantic City, the villagers when Albert can't be found. DEUTSCHE GRAMMOPHON SLPM1 qualities looked for are primarily nega- The interludes between scenes in the 138918/19. Two SD. $11.96. tive -the candidates must he innocent last act are quite beautiful, reminiscent of partaking in most of life's pleasanter of Ives, of all people, and the recitative The task in performing Bruckner is not pursuits, such as smoking or making problem is respectably solved, though merely that of interpretation but of or- love. Since no local girls fill the bill, many of these lines (to understate the ganization as well. For this composer's sometimes Albert Herring, a naïve and suppressed case) do not cry out for lyric treatment. extended musical designs and mama's boy, is chosen May King in- In short, there is a good measure of loosely knit structures must be given stead. He proceeds to fall from grace, charm and invention in the score, and firm bonds of meter and accent so that however: after downing some spiked while rather too much of it is "busy" the progression of his musical ideas can lemonade. he spends his prize money music, it is by no means all description be seen as a logical development. Up on an evening of pub crawling and and gesture, which is very nearly the to now, the conductor who had done wenching. While he is missing, the case with Midsummer Night's Dream. this best in the Eighth Symphony was villagers presume him dead, and are As for the performance, it is almost Eduard van Beinum, whose edition with furious when he returns, not only alive unexceptionable. The execution of the the Amsterdam Concertgebouw has re- but relatively unabashed. But he con- chamber orchestra is impeccable, Brit- tained a loyal audience, despite aging founds them by rejecting their judgment ten's leadership is vivacious and affec- sound and the appearance of stereo sets as and picking up life as a man -his ex- tionate, and nearly everyone in the from such distinguished Dirigenten perience has strengthened him. large cast manages to sing well and Karajan and Knappertsbusch. Clearly, Albert is intended as the create an aurally believable character. Not surprisingly, the stereo recording worm that turns, a simple figure of Pears does everything that could be done which best realizes the high standard. of ridicule who finally resists the goad for the title role, playing it with an Beinum's achievement comes from the and rises above his erstwhile tormentors. engaging naturalness and singing it with man who succeeded him in Amsterdam, John Culshaw states the case in his notes: remarkable ease. His enunciation of the . Here too are the soar- the grand, "Albert Herring is much more than (a text is superbly clear without sounding ing lines building resolutely to figure of fun).... His outburst towards like "diction." Of the others, I especially climactic pages which are Bruckner's Here. as well, is the special the end of Act I ... immediately makes like April Cantelo's flibbertygibbety hallmark. sense a theme to unfold him a three -dimensional character, and schoolteacher and the ripe portrayal of that allows convolu- his dismissal of all except Nancy, Sid, Superintendent Budd by the always slowly, through the miraculous invention, and and the children at the end of the enjoyable Owen Brannigan. John Noble tions of this composer's at all times a sense of opera strikes a correctly serious note and Joseph Ward both handle their high yet to retain while still remaining within the bounds baritone roles smoothly and with a good motion. This takes an old hand. The conductors of comedy. He has become a man." sense of character; Noble manages to primary fault of many young But simply stating this does not make is that they cannot put a firm rhythmic it believable in theatrical terms, and pulse into a slow passage, and Jochum's be taken to heart. simply giving Albert a scene or two in lessons here could the slower pages are, which he all but tells the audience, Excellent as key skill is his aware- "You see, I may be a figure of fun but the to Jochum's contrast in Bruck- hang around, I'll turn serious in Act Ill ness of the need for he is equally adept in his for sure" does not make of him a three - ner. Thus tempos. You hear dimensional character. Partly because employment of fast movement and the Mr. Crozier's scenes of self- revelation this in the opening that follows. but perhaps most and character study are so unsubtle and scherzo of all is the vigor Jochum partly because there is little in the music remarkable brings to the finale and the great skill to make us feel anything at all towards with which he handles the pitfalls of the Albert, the opera's central character fails shifting themes in the coda. to justify all the hubbub. Perhaps if we Stereo is a major asset in a Bruckner had actually seen Albert on his night recording and the high standard of of nights, rather than merely hearing

76 HIGH FIDELITY MAGAZINE

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CIRCLE 28 ON READER -SERVICE CARD

I \Ni \u) I vt,, 77

www.americanradiohistory.com orchestra performance here, coupled that seldom performed work to appear on DEBUSSY: La Mer: Prélude d l'après- with the high technical level, results in the label. The piece could well have midi d'un faune a version that will probably dominate been a forerunner for the rondo of the (Ravel: Daphnis et Chloë: Orchestral the listings for some time to come. E minor Concerto: both utilize the same Suite No. 2 R.C.M. sort of bouncing duple-time, and both have in common certain devices of mod- Berlin Philharmonic Orchestra. Herbert ulation (such as the sudden, momentary, von Karajan, cond. BUSONI: Indian Fantasy, op. 44 but totally unexpected transposition of DEUTSCHE GRAMMOPHON LPM 18923. tBortkievich: Concerto for Piano and the main theme near the end). LP. $5.98. Orchestra, in B flat, Op. 16 And both require the same high finesse DEUTSCHE GRAMMOPHON SLPM and stylistic elegance from their inter- 138923. SD. $5.98. Marjorie Mitchell. piano; Vienna State preters -alas for the Krakowiak, which Opera Orchestra. William Strickland, is usually treated patronizingly by the Devotees of Karajan's earlier recording cond. best Chopin players. Frankl, an intelli- of La Mer with the Philharmonic Orches- DECCA 10100. LP. $4.98. gent artist who has given me consider- tra (Angel) will find his new one to be DECCA DL 710100. SD. $5.98. able pleasure on other occasions, misses very similar as an interpretation. The the point here. He has the sheer digital conductor favors rather broad tempos Fully aware of the implications of what velocity to cope with the tricky figura- and a low- keyed, soft -focus treatment of tions, but his general mode of execution I am saying, I would nevertheless pro- detail. Some might feel that his reading efficient, noncommittal, tonally nounce these the two worst pieces of -briskly is a bit too subdued, not quite virile and inflex- music to be introduced on records in monochromatic, rhythmically enough, but there can be no denying elusive at- the last year, perhaps even since the ible- causes the charm and the exquisite poetry and masterful negoti- beginning of phonographic history. They mosphere of the slight work to vanish to ation of tempos. Furthermore, for all pianist are both so bad, in fact. that every event the winds. The young Hungarian its refinement, Karajan's treatment of is at a disadvantage in being becomes a discovery of sheer delight, further the score is always resilient and con- suppoi t. and I would therefore recommend this hampered by inferior orchestral cise: he never is guilty of the excessive record most enthusiastically. The Innsbruck ensemble has a turgid, un- languishing which to some extent mars The sophistication and complexity of focused sound and its rhythmic pulsations the otherwise admirable Giulini per- his major works notwithstanding, Busoni are ambiguous, to say the least. More- formance. And since DGG's sound. created in his Indian Fantasy a hodge- over, the orchestra is often a fraction though distant in its microphone place- podge of the most naïve gestures. Work- behind its soloist. A similar state of ment. captures the vivid, glowing tones ing with material supposedly based on affairs obtains for the other two compo- of the superb Berlin ensemble with stun- authentic American Indian chants, he sitions here recorded, but the Liszt war- ning impact, this reading is conveyed manages to transform every tune into horse can at least withstand a certain with exemplary force. If you find the something Stephen Foster might have amount of battering. Szell and Toscanini La Mer recordings harmonized. The working -out of this Fortunately, there is a beautifully essentially to your liking but would pre- material has a certain surface virtuosity, authentic and sensitive recording of the fer slightly more mist and atmosphere and it sounds as if it might be fun to Krakowiak by Stefan Askenase and Wil- in the orchestral fabric than those con- play, but it hardly shows the creative lem van Otterloo (for DGG) and a simi- ductors obtain, this new Karajan will gifts that could also produce such a larly bewitching account of the Hungar- probably suit your requirements per- work as the Fantasia contrappuntistica. ian Fantasy by Shura Cherkassky and fectly. It is one of the very best on Serge Bortkievich (1877 -1952) is a Herbert von Karajan (for the same com- records. shadowy figure in Russian post- roman- pany). For the Andante Spianato et Incidentally, this conductor continues ticism, and from the evidence of his Grande Polonaise brillante, we are of- to utilize the 1913 edition of the score the First Piano Concerto ( 1912) the shadows fered a multitude of fine editions to rather than that of 1905. One of are well deserved. It is a sad compen- choose from: Rubinstein (RCA Victor) major differences between the two ver- dium of clichés from the Tchaikovsky and Vásáry (DGG) have made out- sions is the later interpolation of brass era, with a certain superficial virtuoso standing recordings of the orchestral fanfares at one point in the third move- appeal and little else. One can amuse version while Hofmann (Columbia, de- ment. Karajan is in company with oneself counting the specific works from leted), Horowitz (RCA Victor), and, Munch, Monteux, Ansermet, and Désor- which this Concerto is cribbed, but I again, Rubinstein (RCA Victor) excel miére (among others) in his use of can recommend far more enlightening in the solo alternative. the later score, while Szell, Toscanini, party games. Every artist has an off -day now and Giulini, Cantelli, and Inghelbrecht ad- Marjorie Mitchell is certainly up to then, and Mr. Frankl has more than here to the earlier text. the limited demands of both works; in proven his capabilities in other assign- The Faune is an exquisite performance fact, she is a better musician than the ments. Vox's sound is unalluring. H.G. in a style -precious, dainty, languishing music gives her a chance to demonstrate. -for which I have a certain antipathy. The same is true of William Strickland The more robust, detached treatments and the orchestra. The sound is sharp, CLAFLIN: Concerto giocoso for of Monteux, Cantelli, and Pedrotti (not well defined, and a shade harsh. A.R. Piano and Orchestra -See Barlow: to mention the exceptional one by Tos- ilion aeri Pierrot: Overture; Cor- canini, which RCA Victor may finally tège f ron: Sardo; Circus Overture. make available soon) are far more to my taste. Daphnis et Chloë can better CHOPIN: Rondo for Piano and withstand Karajan's brand of sophistica- Orchestra, in F, 14 ("Krako- O. Six - tion, especially as the recorded sound et DEBUSSY: En blanc et noir; épi wiak"); Andante Spianato Bartók: given him has exceptional presence. Can - brillante, Op. 22 graphes antiques -See Grande Polonaise Sonata for Two Pianos and Percus- telli's monophonic Angel disc, though. }Liszt: Hungarian Fantasy, for Piano is still very much in the running. H.G. and Orchestra sion.

Peter Frankl, piano; Innsbruck Sym- phony Orchestra, Robert Wagner, cond. Vox PL 12500. LP. $4.98. Vox STPL 512500. SD. $4.98.

My enthusiasm for Chopin's charming and early Krakowiak is evidently shared by Vox, for this is the third version of

78 HIGH FIDELITY MAGAZINE

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CIRCLE 28 ON READER -SERVICE CARD JANUARY 1965 7`)

www.americanradiohistory.com FROBERGER: Organ and Harpsi- MAHLER: Symphony No. 2, in C chord Pieces minor ( "Resurrection ")

Gustav Leonhardt, organ and harpsi- , soprano; Jennie Tourel, chord. mezzo; Collegiate Chorale; New York CAMBRIDGE CRM 509. LP. $4.98. Philharmonic. Leonard Bernstein, cond. CAMBRIDGE CRS 1509. SD. $5.98. COLUMBIA M2L 295. Two LP. $9.96. COLUMBIA M2S 695. Two SD. Johann Jabok Froberger (1616 -67) oc- $11.96. cupies an honorable place in music as one the first of the great histories of I am almost coming to regard the Resur- German composers for the keyboard, but rection Symphony as unrecordable. The we seldom get a chance to hear any complexity of this music is such as to his music. The present disc is there- of preclude the success of any mono edi- very welcome. five works fore It offers tion; and while none of the four stereo played on the organ and six on the versions we have been given is so lack- harpsichord. They are full of interest. ing as to be dismissed from serious con- There is a good deal of chromaticism. into the jubilation. Charles Bressler, who sideration, none is so good as to be In the Toccatas elaborate improvisatory has most of the solo work, sings with completely satisfying. made sections alternate with skillfully spirit and style, and spins long phrases The outstanding vocal performances sections. Fantasia I con- contrapuntal in "God is a constant sure defense." in are Elisabeth Schwarzkopf's in the tains imaginative variations. and there Anthem Ii. Helen Boatwright sings the Klemperer edition ( Angel) and Maureen noble Suites. The general mood are two music allotted to her with skill and in the Walter (Columbia), is rather serious. Sometimes it deepens attractive tone. and Alfred Mann keeps and conductors Klemperer and Walter to almost tragic intensity; sometimes, an his excellent forces going nicely. Very both have the personal authority to pro- especially in fuguelike sections, it lightens good sound. N.B. vide distinguished accounts of the score. considerably. Unfortunately, neither man was given Leonhardt. a Dutch musician Gustav the engineering he deserved. The Walter who specializes in baroque keyboard HAYDN: Lo Speziale could have used a more spacious acousti- music, seems to be in complete command cal environment and a wider dynamic plays the of the style. He improvisatory Mozart -Sängerknaben; Chamber Orches- range, while the Klemperer has space sections freely, adds embellishments quite tra of the Vienna Symphony, Erich to spare and is weakened by overly the im- discreetly, and in general gives Schwarzbauer, cond. remote microphone placement. pression that he not only knows what AMADEO AVRS 6318. LP. $5.98. The Bernstein is primarily notable he's but enjoys doing it. I found doing AMADEO AVRS 63I8ST. SD. $6.98. for its sound. The sonics are slightly the harpsichord more enjoyable than the artificial, to be sure, but this is the here. the great Schnit- organ The latter, Haydn's little three -act opera. based on closest we have yet come to the effect ger instrument at St. Michael's in Zwolle, a play by Goldoni and first given at of the work in concert. Musically, the enough on does not come through clearly Prince Esterházy's private theatre in new edition is more open to debate. Lee this record. Either because of the regis- 1768. is a work full of charm and in- Venora gets very short shrift from the trations or, more likely, because chosen genuity. Much of it might have been engineers and is sometimes buried in the microphone placement, of problems of written by any competent composer of chorus. (To prove that this need not the sound the organ is not as clean of the time. but some parts, especially a be, listen to what the EMI people did for or transparent as it has been in other very funny "Turkish" scene near the end, Mme. Schwarzkopf.) The choice of recordings. N.B. are clearly the work of a very special Miss Tourel, I fear, was probably based talent. more on respect for her past achieve- Charming music demands charming ments with Mahler than on her present HANDEL: Chandos Anthems: II, In performance, but "charm" certainly does ability to cope with the more exacting the Lord put I my trust: III, Have not mean the mincing, overly cute man- portions of this work. mercy upon me, O God ner in which the music is set forth here. Bernstein remains one of the best of Although the all -boy cast might have the younger generation of Mahler con- Helen Boatwright, soprano; Charles been fun to watch-indeed, many tour- ductors, and he works hard to get things Bressler, tenor: instrumentalists: Col - ing children's choruses from Europe right. You cannot fault him for this, legium Musicum of Rutgers University, put on this sort of thing in costume to but the simplest comparison of his ver- Alfred Mann. cond. fine effect -on records the performance sions of the second movement with CANTATE 645202. LP. $5.95. just sounds like a bunch of inventive Walter's points up the fact that Bern- CANTATE 655202. SD. $6.95. kids at play. stein offers a studied interpretation while There is an older recording on Epic the late maestro was doing what came An interesting project inaugurated by which, while not particularly well sung, naturally -and achieving a much closer the recent issuance of Chandos Anthems at least respects the style. The one likeness of what Mahler had in mind. IV and VI is continued here. Both of advantage of the Amadeo disc is that it Again, listen to the offstage band at the present works are of high quality. includes an overture (which Haydn may Number 22 in the final movement They are not Handel of the "big bow - or may not have intended for this opera). (Klemperer is the conductor most suc- wow" but intimate, and in the case of The sound is clear, but the stereo sepa- cessful here). Bernstein either failed to III, even subdued. More important, they ration is so vast that one gets no sense grasp the intended effect, or the engi- are very beautiful. Anthem 11, based of movement at all. A.R. neers simply did not get it on tape. Cer- mostly on Psalm 11, begins with an tainly the conductor is at fault for failing expressive "sonata" and hits several high to observe the warning signals in the spots, such as the strong and lovely HAYDN: Quartet for Guitar, Violin, tempo markings. chorus "Behold! the wicked bend their Viola, and Cello, in G, Op. 2, No. So what do you do if you want a bows" and the affecting tenor aria "But 2 -See Boccherini: Quintet for Mahler Second? At the moment you God, who hears the suff'ring poor." Guitar and String Quartet, No. 3, resign yourself to the fact that the Anthem III, the text of which is from in E minor, Op. 50, No. 3. biggest climactic pages (such as the Psalm 51, maintains a mood of thought- monumental coda of the final move- fulness and prayer except in one move- ment) are still apparently too big to ment, "Thou shalt make me hear of LISZT: Hungarian Fantasy, for Piano manage on a record -and you buy the joy and gladness." Here Handel man- and Orchestra -See Chopin: Rondo Walter set before some merchandising ages to fit a broken unison line on "the for Piano and Orchestra, in F, Op. expert has it cut out of the catalogue as hones which thou hast broken" smoothly 14 ( "Krako:ci..k "). a needless duplication. R.C.M.

80 HIGII FIDELITY MAGAZINE

www.americanradiohistory.com AND THE THREE SPEAKER SYSTEMS

nce upon a time, Jason Golden - for the bedroom! Certainly, it was O ears was wandering through the superior to larger and costlier sys- city in search of a miracle. To be tems he had heard. But could he precise, he was looking for a mod- afford it? erately priced speaker system free of As if he had read his mind, the distortion, coloration, peaking and dealer said: "It's only $49.50. And boom. it carries University's exclusive five - He was not having an easy time year warranty, just like the Classic of it. If his super- sensitive append- and the Medallion Monitor." The dealer, apprised of his prob- ages could not hear the bowing of And so Mr. Goldenears bought lem, said, "I have exactly what you're two Medallions, one Mini -Flex, and looking for. Listen!" And he began lived with them happily ever after. to demonstrate the new University Medallion Monitor. "Yes," mumbled Mr. Goldenears as he listened to it. "No distortion, no coloration or peaking. Instru- ments clearly defined. And feel that bass." "25 to 40,000 cps," said the dealer with a smug little smile. "It can fit the bull -fiddles, if brass did not bite, on a shelf and," he paused dramat- if drum -beats were heard as a blurred ically, "it's only $129!" This one was roll instead of well- separated beats, just right! For the complete story on all the he sneered. He was an acoustic "I'll take two, if you please," said "Goldenears- qualified" speaker sys- malcontent. Mr. Goldenears, and it was done. tems, send for the new University Because of his limited budget, he Almost, that is. On the way out, he catalog and the 1964 Component had been listening to dozens of "bar- heard the new University Mini -Flex Stereo Guide. Write: Desk P -15, gain- priced" off -brand systems. Now, Il. Only 15" x 9" x 6 ", but it sounded LTV University, 9500 West Reno, sadder but wiser he vowed: "I will so big! And no distortion. Perfect Oklahoma City, Okla. no longer shop for price. If neces- sary, I will sell the children into white slavery." New Medallion Monitor, 12" three -way professional In the very last store he entered monitor bookshelf speaker system. Oiled walnut, a he was met with sound to delight $129.00. the ears. "You're listening to the University Classic Mark II," said the dealer. It was magnificent, thought New Mini -Flex II, ultra - Mr. Goldenears, and looked it, too, compact three -way speaker in its new Provincial cabinet. Though system. Oiled walnut, $49.50. only $325, it exceeded his modest budget. Nevertheless, had he felt Renowned Classic Mark II, 1111 that his small living -room could ac- 15" three -way speaker sys- tem in its new Provincial commodate two Classics, our story cabinet. Fruitwood, $325. Modern (oiled walnut), LTV would be over. "The devil take mid- S295.00. dle- income housing!" UNIVERSITY thought Mr. A DIVISION OF L ING TEMCO -VOuGN r. INC. Goldenears. 9500 West Reno, Oklahoma City,Okla. CIRCLE 70 ON READER -SERVICE CARD JANUARY 1965 81

www.americanradiohistory.com MOZART: Symphonies: No. 31, in and his fine orchestra. Everything is able. Klemperer's playing of the Andante D, K. 297 ("Paris"); No. 34, in C, beautifully balanced, and in the opening is highly refined without being fussy- K. 338 movement the development is particu- an object lesson in the kind of conduc- larly effective in the stereo version be- torial art that conceals art. The finale Philharmonia Orchestra, Otto Klemperer, cause the first and second violins, re- could be a bit faster, but the veteran cond. corded on different tracks, engage in director makes a good case for his view ANGEL 36216. LP. $4.98. fascinating conversations. One small of this movement. Excellent sound ANGEL S 36216. SD. $5.98. puzzle: why is a little connecting tissue throughout, in both versions. N.B. in the horns cut out in the Andante? The Paris Symphony, written to impress With the DGG recording conducted by the French public, contains a lot of Leitner, there are now two excellent POULENC: Mass in G: Eight Motets festivity and bustle but every now and versions of this Symphony to choose then, as in the development section of from. Whikehart Chorale, Lewis Whikehart, the first movement, there are unexpected K. 338 is to my mind one of the most cond. turns and progressions, as well as some delightful of the uncelebrated symphonies LYRICHORD LL 127. LP. $3.98. contrapuntal writing of a surprising seri- by Mozart. Its delicate and lovely slow LYRICHORD LLST 7127. SD. $4.98. ousness for such surroundings. All of movement, for strings only, and its this is splendidly conveyed by Klemperer tarantellalike finale are especially enjoy- According to the jacket notes, the Whike- hart Chorale is a hand -picked group of twenty -five professional singers organized in 1963 by Lewis Whikehart of Illinois Wesleyan University in Bloomington. New 1 ?eleases Folk and Popular Critics' Accolade Choral groups don't come any better, and JAN PEERCE ON 2ND one looks forward with enormous inter- AVENUE - Love Songs from the Golden Era of est to future recordings and concert tours the Yiddish Theatre with by this ensemble. Orchestra conducted by Gershon Kingsley The Mass in G may well be Poulenc's VRS -9166& VSD -79166 finest choral work. This is the only re- ALMEDA RIDDLE - cording of it currently listed, but an- Ballads of the Songs and other one will not be necessary until Ozarks VRS -9158 they invent some process of registration whereby the actual. physical presence of the singers can be brought into your living room. Even then.... In any case, HAYDN THE VIRTUOSO TRUM- the Mass is a completely angelic work PET- Concertos & Sonatas demonstrating that brevity is not only Symphony No. 39 in G by Torelli, Purcell, Vival- minor di, Pert', Gabrieli, Corelli, the soul of wit but the soul of worship Symphony No. 73 in D, etc. too. It is modern music nurtured in "La Chasse" I Solisti di Zagreb; An- Gregorian chant and Renaissance polyph- The Esterhazy Orchestra; tonto Janigro. conductor; David Blum, conductor 4 trumpets, Helmut Wo- ony. As bright and colorful as the VRS-1123 & VSD -71123 blsch 1st tr pet famous illuminations in the Duc de BG-617 & "BGS -5041 VANGUARD Berry's Book of Hours, it is a rare and THE VIRTUOSO "Uncommon brilliance and PIANO EVERYMAN clarity of recording ... add perfect thing -and this interpretation CLASSICS the inexhaustible attrac- does full justice to it. An awesome and breath- tions of the music and the Monaural & Stereo - The Mass occupies most of one record taking compendium of One Price-51.98 performances and one has temperamental and spec- "Noble, eloquent, beauti- a release that provides the side. For the rest, there are four motets tacular concert pieces by fully proportioned read- utmost rewards in record- for the Nativity and four motets for Herz, Hummel. Thalberg, is rich and ed music." R. D. Darrell, Rubinstein, Godowsky and ings ... sound full -bodied . wholly ir- High Fidelity Lent. They are also very beautiful, al- Paderewsky. affectionately resistible." Alan Rich. though listening to all eight of them in and. brilliantly performed High Fidelity, on Barbi- THE VIRTUOSO TRUM- by Earl Wild rolli's recording of Sibe- PET, Vol. 2- Haydn: succession may be a bit too much be- VRS -1119& VSD -71119 lius' 5th Symhony & Poh- Trumpet Concerto & cause of their consistent blandness. The jola's Daughter works of Biber. Manfre- recording is excellent, but unfortunately (SRV -137 & SRV- 137SD) dini, Alberti, Torelli & L. PROKOFIEV Releases Mozart. the texts of the motets have not been Symphony No. 3, Op. 44 Latest John Barbirolli conducting 1 Solisti di Zagreb; Antonio provided. A.F. Le Pas d'acier-Ballet suite the Halle Orchestra Janigro, conductor; 6 Utah Symphony Orches- BEETHOVEN: trumpets; Helmut Wob- tra; Maurice Abravanel, SYMPHONIES NOS. 1, 8 isch. Ist trumpet conductor SRV -146 & SRV-146SD BG-641 & BGS -5053 VRS-1122 & VSD-71122 TCHAIKOWSKY: PROKOFIEV: Quintet for Winds and SYMPHONY NO. 6, "Vanguard has another Strings, in G minor, Op. 39 "PATHETIQUE" winner . .. highly recom- HANDEL mended." tShostakovich: Quintet for Piano and Alexander's Feast SRV-148 & SRV -148SD BARBIROLLI CON- I. Kipnis. HiFi /Stereo Strings, in G minor, Op. 57 Sheppard. Worthley, Bev- DUCTS WAGNER (Pre- an; Oriana Concert Choir lude & Liebestod from and Orchestra; Deller con- "Tristan and Isolde"; Pre- NETANIA DAVRATH Lamar Crowson, piano (in the Shosta- ductor SINGS RUSSIAN ART 2 discs BG -666/7 & lude to " "; "Fly- kovich); Members of the Melos En- BG S- 70666/7 ing Dutchman" Overture; SONGS with Erik Werba, "Meistersinger" Suite) piano semble. ARIAS SRV -149 & SRV -149SD VRS-1115 & VSD -71115 OISEAU -LYRE OL 267. LP. $5.98. FAMOUS also OF BACH & MOZART: PIANO CON- "An enchanting singer, OISEAU-LYRE SOL 267. SD. $5.98. HANDEL CERTOS IN D MINOR. and weaves her spell more K. 466 & C MINOR, K. irresistibly with each rec- Maureen Forrester and I pi- ord ... beg, borrow, steal Both these works are early in the chro- Janigro. 491. Denis Matthews, Solisti di Zagreb; ano; . or otherwise acquire this nology of their respective composers and conductor conductor wholly exceptional record. BG -669 & "BGS -70669 SRV -142 & SRV -142SD You will wear it out in both are exceptionally fine. Prokofiev's VIVALDI: 4 VIOLIN short order." Quintet dates from 1924, the time of MUSIC OF CONCERTOS FROM Alan Rich, High Fidelity (with "LA CETRA". Paul Ma- Le Pas d'acier and L'Ange du feu MEDIEVAL kanowitzky, violin; Vladi- which it shares a strong stylistic simi- FRANCE, mir Golschmann, cond Stereo larity). It is icy, sardonic music, bril- 1200-1400 SRV -159& SRV -159SD liantly terse and emphatic in its Secular Sacred and THE DELLER CON- VANGUARD statement and development of ideas. Deller Consort; Concentu.s SORT'S ALBUM OF BE- Musicus, Wien LOVED SONGS Recordings for the There is little in it that might be BG-656 & BGS -70656 SRV -141 & SRV -I41SD Connoisseur called beautiful, but it virtually never flags. The Shostakovich, written in CIRCLE 71 ON READER -SERVICE CARD 82 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 1940, also has some of this ice and wit, RAVEL: Daphnis et Chloë: Orches- from the London orchestra, and vivid especially in the fantastic scherzo. In tral Suite No. 2-See Debussy: La close -to engineering from Mercury. The the main, however, it is a lyrical work Mer. Tchaikovsky benefits from this approach of great intensity and, for Shostakovich, as well as it does from the more elegant, an original and well -developed one. indulgent romanticism bestowed upon it Performances, by a flexibly consti- SAINT -SAENS: Concerto for Cello by Rostropovich and Rozhdestvensky in tuted London group of wide -ranging skill, and Orchestra, in A minor, Op. 33 their DGG edition. In the Saint -Saëns, I continue to prefer Starker's are adept and imaginative, and have been ! Tchaikovsky: Variations on a Roco- however, recorded with a chamber music intimacy. co Theme, Op. 33 earlier Angel recording with Giulini and All told, this is an exhilarating disc. A.R. the Philharmonia. On that disc, his objec- Janos Starker, cello; London Symphony tive account is modified slightly by Orchestra, Antal Dorati, cond. mellow acoustics and by the subtlety of RACHMANINOFF: Concerto for Pi- MLRCURY MG 50409. LP. $4.98. Giulini's conducting. Be that as it may, ano and Orchestra, No. 2, in C MERCURY SR 90409. SD. $5.98. the Mercury coupling is a good one and minor, Op. 18; Rhapsody on a can be heartily recommended. H.G. Theme of Paganini, Op. 43 Starker's razor -sharp, ultrabrilliant cell - ism is coupled with brisk, no- nonsense from Dorati, solid playing continued on next page Gary Graffman, piano; New York Phil- conducting harmonic, Leonard Bernstein, cond. COLUMBIA ML 6034. LP. $4.98. COLUMBIA MS 6634. SD. $5.98.

Gary Graffman and Leonard Bernstein A 10- MINUTE COURSE ON MICROPHONES TO EXPO -' AL SUCCESS STORY are a good tonic for one another. Long may they play concertos together! The conductor's inherent romanticism and extrovert personality apparently lend the pianist a greater flexibility and infuse him with added vigor. Conversely, Graffman's steely brilliance and cool- headed sense of proportion seem to serve as a check upon the well -known Bernstein excesses. It is a pleasure to realize how well the Philharmonic is capable of playing. What one hears on the present disc is the usual Bernstein ripeness of tone coupled with crystalline attacks, rhythmic control, and a sense of impelling line more commonly associated with George Szell or the late Fritz Reiner. No finer modern performances of these standard pieces can be found on Why the new 8000 disc. The Rhapsody, in the present poised, gaunt, slightly understated interpretation, is the most demanded gets its best recorded statement since the Kapell /Reiner of 1951, while the read- (of its kind!) ing of the Concerto in its details of microphone tempo and accentuation strongly resem- bles the classic Rachmaninoff /Stokowski edition of hallowed vintage. Tonally, however, Graffman's dry -point mono - New University 8000: $29.95. chromaticism is more akin to Horowitz With slide switch (the 8100): $31.50. Model DS -10 Desk Stand: $6.95. (in the Third Concerto) than it is to the composer's own more yielding sonority. It will be noted that Columbia's Its a cardioid. It's dynamic. It's Tape Recording. Cardioid mikes are essential engineers have managed to encompass shock- mounted. It offers variable for quality recordings. They pick up only the impedance and uniform wide -range the entire 33 minutes and 45 seconds of performer over a wide frontal area. They pre- response. It's designed and made by output of speakers from affecting the the on a single stereo side vent the Concerto LTV /University and its less than mike, thus eliminating feedback squeal, and with Less than any other cardioid! no more than a slight cut -a $50.00. permit recordists to work from far or near. For The It's only $29.95. And it's sold with the miracle of advanced disc cutting. world's only five-year microphone stereo, only cardioids can assure proper bal- stereophony, moreover, is well used, with warranty! ance, if both are matched. University quality excellent deployment of the various sec- The new University 8000 is a "first" control makes any two 8000's absolutely tions of the orchestra. This disc deserves and "only." For those who like to be ex- identical "twins" to assure full stereo effect. to become a best seller. H.G. clusive, that's one reason for buying it. The Realism. The new 8000 offers wide -band important reasons may be found in the follow- response, extremely uniform to eliminate ing microphone buyers' guide! sibilants (hissing S's), bass boom and tinny There Are Cardioids...and Cardioids. All car - treble. Its reproduction quality is virtually in- dioids are essentially "deaf" to sounds origi- distinguishable from the live performance. The nating from the rear. They're invaluable for 8000 has variable impedance -30/50 to eliminating background sounds, for use in noisy 20,000 ohms, and comes with a 15 -foot cable. and reverberant areas, for reducing feedback For complete specifications, ask your dealer and for permitting a higher level of sound rein- for literature or write LTV /University, 9500 W. would forcement before feedback normally Reno, Oklahoma City, Oklahoma , Desk P -15M. occur. BUT -not every cardioid uses rugged dynamic generating elements. There are crystal cardioids which offer high sensitivity and out- put. But their response is limited; deterioration is rapid due to heat, humidity, rough handling. UNIVERSITY. OF LIND I(MCO.VODGNI, INC. The University 8000-a cardioid dynamic -is A DIVISION virtually indestructible. 9500 West Reno, Oklahoma City, Okla. CIRCLE 70 ON READER -SERVICE CARD JANUARY 1965 83

www.americanradiohistory.com SCHUBERT: Mass No. 6, in E flat two -channel tricks. All of this is to the both versions) and the orchestra and good, but the work is late Schubert, chorus have reserves of power which Helen Boatwright, soprano; Betty Allen, stemming from the same furious activity Waldman's group cannot muster. R.C.M. mezzo; Alva Tripp, tenor; Leo Goeke, that brought forth the "Great" C major tenor; Chester Watson, bass; Music Symphony and the equally great Quintet. Aeterna Chorus and Orchestra, Frederic It is not just a practical Mass; it is a SIBELIUS: Symphony No. 2, in D, Waldman, cond. musical drama, a choral symphony on the Op. 43 DECCA DL 9422. LP. $4.98. sacred text. A sense of theatre is thus DECCA DL 79422. SD. $5.98. as important as a sense of reverence. Orchestre de la Suisse Romande, Ernest The latter element is what one finds Ansermet, cond. LONDON CM 9391. LP. $4.98. Waldman's performance is simple, lyric, r in the Leinsdorf version with the Berlin and reverent, with capable soloists and 4- Philharmonic (for Capitol). Recorded in LONDON CS 6391. SD. $5.98. a well- trained choir and orchestra, and St. Hedwig's Cathedral. the spacious it recorded in an acoustical acoustics of the Leinsdorf edition can be, has been SIBELIUS: Symphony No. 4, in A environment that allows detail to be at times, just a hit too spacious, but its minor, Op. 63; Tapiola, Op. 112 heard, both in the mono and the stereo soloists are quite a bit stronger than those versions. Indeed, the latter is notable heard in the newer set (save only Orchestre de la Suisse Romande, Ernest for its spaciousness and freedom from Betty Allen, who contributes strength to Ansermet, cond. LONDON CM 9387. LP. $4.98. LONDON CS 6387. SD. $5.98.

The unexpected disc debut of Ansermet as a Sibelius conductor might lead one to expect special sympathies that he has been longing to demonstrate, but this does not prove to be the case. Hampered somewhat by the unresponsiveness of his orchestra (the winds are especially bothersome and the brass are some- what lacking in body), he manages only CALLAS a respectable but uneventful approach to this specialized repertory. The Fourth, a particularly difficult work to control, id sounds even grayer than usual. The work of such dedicated Sibelians as Barbirolli, Collins. and (surprisingly) Karajan is not CARMEN?% eclipsed by the present performances, de- spite their excellent recorded sound. A.R. -Hi -Fi /Stereo Review SHOSTAKOVICH: Quintet for Pi- ano and Strings, in G minor, Op. 57 -See Prokofiev: Quintet for Winds and Strings, in G minor, Op. 39. STRAUSS, RICHARD: Alpensin- fonie, Op. 64 Bavarian State Orchestra, Richard Now you can own Strauss, cond. ODEON E 80824. LP. $5.98. the single most dramatic recording in all opera, STRAUSS, RICHARD: Dance Suite after Couperin; : "Callas is the Carmen of Waltzes; Capriccio: Interlude our day... hers is a Carmen Orchestra of the Bavarian Radio (in as perfect as we are likely Capriccio); Bamberg Symphony, Clemens Krauss, cond. to hear." (The Atlantic, AMADEO AVRS 5033. LP. $5.98. Herbert Kupferberg) Both of these recordings are historic sets, the first from one of the great "...her recording composer- conductors of this century, the is a lush and passionate second from one of his oldest friends and most sympathetic interpreters. interpretation." (Life) Strauss collectors will want both discs: not only do they have great documentary value, but the Odeon constitutes the only available edition of the Alpine Symphony Maria Callas r.1 Carmen. Nicolai Gedda - Don José. and the Amadeo includes one of the Robert Massard - Escamillo. Andrea Guiot -Micaela. few recordings of the so- called First version) from Conducted by Georges Prêtre with the Chorus and Waltz Sequence (1944 Angel Rosenkrn'alier. None of the concert ex- Orchestra of the Paris Opera. 001=101=1 tracts from the latter work are wholly A deluxe set with the original novella, libretto. satisfactory, but this performance has Also available on 4 track stereo tape. and photographic essay of the recording session. greater merit than most. What you get here, then, is unfamiliar CIRCLE 9 ON READER -SERVICE CARD 84 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Strauss repertory in near definitive per- are the real dramatic protagonists; you tales of the period of Nicholas I, when formances. What you don't get is high may come away unconvinced about the forced recruitment in the army was the fidelity sonics. The Alpine Symphony, a Soldier, the Princess, and the Devil, who order of the day. But Stravinsky and 1941 recording, is severely compressed are the only characters one sees on Ramuz transformed their story into a in both dynamics and frequency range. stage, but you certainly do not come burlesque morality play, with pessimistic This is too bad, for while the piece is away unconvinced by the clarinet, the implication. The Soldier sells his violin not major Strauss, it is not minor either, trombone, the trumpet, drums, bassoon, to the Devil. The Devil raises him up and for anyone who climbs mountains and double bass. Most important of all until he ultimately marries a king's and has a good musical imagination, it is the violin, for whose "drasty fiddling" daughter. But the Devil gets him in the yields some remarkable evocations of Stravinsky invented a new technique. end. high places. The best sound is in the Close to the frog of the bow, scratchy, There is a great deal more text than Couperin Suite, taped in 1954 and played scrubby, and vehement, one might call music, and the present recording is the with more than usual felicity. Krauss this the technique of violinistic percus- only one I recall to be issued with a was a collaborator in Capriccio, and sion. The Histoire is its greatest embodi- pamplet containing it. Unfortunately, the both in this and in the 1953 studio re- ment, but Stravinsky made much use of pamphlet was carelessly edited. A head - cording of the Rosenkaralier material he it in later works, and other composers note says "For the recording, certain displays the insight and light touch of a have taken it up as well. speeches were altered slightly, others seasoned man of the theatre. R.C.M. The story is derived from Russian folk were divided among the several speakers

STRAVINSKY: L'Histoire du soldat

Jean Cocteau, Narrator; Peter Ustinov, Devil; Jean -Marie Fertey, Soldier; Ma- noug Parikian, violin; Ulysse Delecluse, ecords bassoon; Mau- Discount clarinet; Henri Helaerts, at rice Andre, trumpet; Roland Schnorkh, trombone; Joachim Gut, bass; Charles through our Special Membership Plan Peschier, percussion; Igor Markevitch, cond. BUILD YOUR RECORD LIBRARY INEXPENSIVELY, QUICKLY, CONVENIENTLY PHILIPS PHM 500046. LP. $4.98. NO "AGREE TO PURCHASE" OBLIGATION CHOOSE RECORDS YOU WANT PHILIPS PHS 900046. SD. $5.98. - THE CITADEL RECORD CLUB is a unique kind of membership club that entitles its members to purchase singles, hi-fi and stereo albums at discount prices; all categories of music are available du Inasmuch as Stravinsky's L'Histoire including classical, popular, jazz hits, folk, children's records etc. Prices never vary from soldat is the most notable piece of music our published price list. There are never any "list price" purchases through Citadel. associated with the country around CITADEL MEMBERSHIP -A com- Switzerland's Lake Geneva, it is not plete record service. Whether your surprising that Igor Markevitch chose music interests are classical, pop- to program it as a special gala concert ular, jau, show hits, folk-wheth- er you prefer one label or a vari- Vevey in October 1962. The he gave in ety of labels and artists ... all ¿+ recording of that performance, now are available through Citadel. t issued by Philips, provides us with a CITADEL MEMBERSHIP THE PROVEN METHOD Bonus benefits make your Citadel remarkable interpretation (which includes - Membership the most valu- OF RECORD BUYING USED BY THOUSANDS OF SQet;fa the presence of the late Jean Cocteau as able club you ever joined. SATISFIED CLUB MEMBERS BECAUSE ... on DIAMOND NOODLES EIFT CERTIFICATE OPTIONAL Narrator) and the only complete one PRERECORDED TAPE YOU DECIDE ON YOUR PURCHASES You are not SERVICE American -released records. - DIVISION obligated to purchase any particular quantity of MEMBERSHIP Stravinsky, it will be remembered, was records. marooned in Morges, not far from Ve- YOU HAVE COMPLETE FREEDOM OF SELECTION - Membership dues is $3.00 a year 41.00 more vey, by World War I. He spent much Virtually any record or album by any artist on any for tape division membership) . . . a nominal label is available including Angel, amount if you reflect for a moment on the time in the company of the poet C. F. Atlantic, Capitol, record and tape purchases have Columbia, you made Ramuz, who lived in Lausanne, and Command, Decca, DGG, Folkways, London, within the past year and the prices you have RCA. Vanguard, Verve, and hundreds of others as paid. AS A CITADEL MEMBER BUYING RECORDS together they conceived a stage piece well as most imports. We do not limit your choice AND TAPES AT DISCOUNT PRICES, YOUR DUES adapted to the grimly minimal facilities in any way. WILL BE PAID FOR WITH VIRTUALLY THE FIRST wartime PURCHASE YOU MAKE THROUGH THE CLUB. available in Switzerland in -a PROMPT SERVICE - Many orders are shipped the Additional savings quickly mount up, permit- narrator, two actors, a ballerina, seven same day received, rarely later than the next sev- ting you to buy many more LP'S and tapes. eral instrumentalists, a conductor, and no days. May we suggest that you give Citadel an op- portunity of proving its value to you. You special scenery required. Shortly after its PERIODIC SPECIALS - Periodically you receive a enter no obligations, take no risks . list of hit simply premiere in Lausanne. the new work was albums from all categories of music at complete the coupon below, enclose your prices up to 55 °c off list. Again. you are under no yearly membership dues and upon receipt we stopped in its tracks by the great flu obligation to purchase any of these selections. shall immediately forward all club member- ship material to you. We cordially invite epidemic of 1918, which closed all the FREE! SCHWANN you RECORD CATALOG - With your to join thousands of other satisfied Citadel theatres in Europe. In recent years, membership you receive this quick reference to members who are purchasing their records however, L'Histoire has been given very over 25,000 albums. This easy -to -use catalog con- and tapes at discount price through their often, partly, I suspect, because the tains separate sections for classical, popular, bal- Citadel Club membership. let, opera, musical shows, folk music, lounging, informal, unpretentious staging jazz, etc., and lists a separate section it demands goes well with the atmosphere for all new releases. CITADEL RECORD CLUB Fifth H -I5 of cabaret and intellectual night club 100% GUARANTEE - All records Citadel 545 Avenue, New York, N.Y. 10017 which has come back strong since World supplies to members are guaranteed Enroll me for one year. I am under no obligation to purchase any particular quantity of records or tapes, factory fresh and free of defects or War I1. The best performance of it I ever but those that I do purchase will be at discount price. damages of any sort. saw was at the some I am to receive a current Schwann catalog immediately Ubtit`tt88Y99tSat' and subsequent periodic lists of specially priced hit years ago, with Dimitri Mitropoulos, OtSATISFACTIONfW albums. If after trying membership for 30 days I am not WGUARANTEED then conductor of the New York Phil- - Trye d IV completely satisfied, I can get my full membership Ot membership in the 1 n C [ Retord dues back immediately. Also, include the free quality harmonic, directing Juilliard students $t Citadel Record Club 0 L K`L record cleaning cloth as a gift. and wearing a turtle -neck sweater and an k for 30 days. If ate 1 cleaning 53.00 enclosed. Record membership only. se the end of thate enclosed. Both record engineer's cap. be time you are note Cioth 54.00 and tape membership. That is the kind of piece the Histoire Y. completely satis- se d (Complete Harrison tape catalog as well as the Otfied, simply re-14 Schwann catalog sent) is. Its musical idiom is consistently Fill out cou on close dues and we satirical, making use of -and mocking e bershipydues back s! FULL NAME - .and it will bee will include a free every kind of popular style, while the V- immediately re o quality record clean- STREET ing cloth as a gift. text by Ramuz drawls on inexorably in est funded. u Ee>creresetertseteseul CITY STATE its artful doggerel. The seven instruments L. CIRCLE 19 ON READER -SERVICE CARD JANUARY 1965 85

www.americanradiohistory.com for a more dramatic effect." This greatly Stravinsky calls it a "50- second -long minimizes what was actually done. primer of canonic writing for very What Many lines preserved in the printed text young kiddies and critics." It is that and are dropped out in the performance; con- a good deal more; in fact, it alone is versely, some lines recited in the re- worth the price of the record. cording do not appear in the book. Next is the Dumbarton Oaks Con- do you hear Many of the stage directions are also re- certo of 1937, a piece for fifteen instru- cited. Lines spoken by the Narrator in ments which is modeled on the Branden- direct quotation of the Soldier or the burg Concertos of Bach and which quotes Devil have been taken out of his mouth the Third Brandenburg in its first move- from your and given to those characters, which is ment. There is no neater, tighter, more rather literal -minded and in keeping with effervescent and perfectly organized piece the totally uncanonical effects -thunder, in the modern literature than this one, marching sounds, and such -which have and no finer performance of it is ever FM? been interpolated behind the speech at likely to come your way. various points. The text is recited in Bach is also recalled in the Eight In- French and is printed in that language, strumental Miniatures, which follow. with the excellent English version of These were originally composed in 1921 Michael Flanders and Kitty Black along- as five -finger exercises for the piano, side. but have recently been transcribed for Just as much as your FM Markevitch is probably the only con- a group of fifteen instruments. The tran- ductor alive to play a major work by scription adds weight and color, and so, antenna lets you hear 1 Stravinsky faster than Stravinsky himself. I suspect, does the present interpreta- The performance is remarkable for That's a fact. its tion. At all events these are mostly clarity, sharpness, and razor -edged ob- rather serious, objective studies in coun- The antenna built into your FM jectivity. It is an interpretation etched terpoint, and in this respect they are receiver can pull in only very close with acid. Not one trace of human quite different from the somewhat paral- stations. And it may not do that with feeling obtrudes anywhere, even in those lel Suites for Small Orchestra, Nos. 1 always complete clarity. If you'd like places where a little "give" of sentiment and 2. to tune in more (and more distant) might be desired. Everything is flawless - These Suites were first conceived, com- FM stations clearly, you definitely including the engineering. Until Stra- posed, and published as Eight Easy Pieces need a high gain outdoor FM vinsky makes his own complete record- for two pianos. They are all satires, bur- antenna. Kitchen table model or ing of L'Histoire du soldat, this one will lesques, take -offs, using popular dance expensive stereo rig, the story's the do very nicely. A.F. rhythms -polka, waltz, galop, and so on. same. Dating from 1915, they would go well with the FM stereo, in fact, is a weaker contemporaneous comedies of Mack Sennett. Actually, they foreshadow signal than monaural it STRAVINSKY: The Rake's Progress FM; "cries much of what Shostakovich was to for" an A do antenna. directional later on- Stravinsky as one of the antenna, too, for clean FM stereo Judith Raskin, Regina Sarfaty, Alexander Young, John Reardon, et al.; Sadlers founding fathers of Soviet music is an reception, since your built -in antenna exceedingly fetching idea. pulls in signals from all directions Wells Opera Chorus; Royal Philharmonic Orchestra, Igor Stravinsky, cond. The new record also includes the negli- and may lose your stereo effect. gible Circus Polka and the superb Four Inexpensive, lasting solution! The Etudes for Orchestra. The first three of totally new RCA 500 FM antenna For a feature review of this recording, these études are based on the famous just developed by experts with long, see page 69. Three Pieces for String Quartet. They long electronics experience. This should perhaps be described as colossal 8- element yagi -type antenna receives STRAVINSKY: "Stravinsky Con- miniatures. The phrase is not a Gold - 88 to 108 MC, has a VSWR of 1.25:1 ducts Favorite Short Pieces" wynism; what I mean is that the pieces, and a flat -frequency response across although very short, contain a heavily Prelude; the entire band with an average 8 db Greeting Concerto for Fifteen concentrated essence of musical meaning gain. Acute directivity removes Wind Instruments, in E flat ( "Dumbar- in the same way as do the short instru- interference. ton Oaks "); Eight Instrumental Minia- mental works of Webern; indeed, Stra- Your RCA dealer will happily tures; Four Etudes for Orchestra; Circus vinsky here comes very close to Webern Polka: Suites for Small Orchestra: No. 1; essential idiom, although the explain in words one syllable what in his quar- of No. 2. far back better things tet pieces were composed as as you'll hear from your 1914 and Stravinsky did not join the FM with an RCA 500 FM antenna. Members of the Columbia Symphony Or- Viennese axis until many years later. Listen! chestra (in the Concerto); Members of Some of these pieces are here recorded the CBC Symphony Orchestra (in the for the first time. Others have not been Miniatures and Suites); Columbia Sym- previously available in the composer's phony Orchestra (in Greeting Prelude); own interpretation, which in my opinion CBC Symphony Orchestra (in the Etudes is always the most authoritative, liveliest. and Circus Polka). and best. The recording leaves nothing COLUMBIA ML 6048. LP. $4.98. to be desired. A.F. COLUMBIA MS 6648. SD. $5.98.

The title of this album suggests a sort TCHAIKOVSKY: Symphony No. 5. of "Sing Along with Igor," but some in E minor, Op. 64; Marche slave, of these pieces are actually very little op. 31 known, and while they may qualify as favorites with the composer, they can Hallé Orchestra, Sir John Barbirolli. RCA Parts and Accessories scarcely be described as such in terms cond. of the general public. VANGUARD EVERYMAN CLASSICS SRV The disc opens with the marvelously 139. LP. $1.98. The Most Trusted Name witty and ingenious Greeting Prelude. VANGUARD EVERYMAN CLASSICS SRV based on the melody of Happy Birthday 139SD. SD. $2.98. in Sound to You and written in 1955 in tribute to the late Pierre Monteux's eightieth. I continue to be delighted with the high CIRCLE 59 ON READER -SERVICE CARD 86 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com sonic quality of Vanguard's low -priced series of Everyman Classics. This newest there is natural- release is no exception; of AKAI TAPE RECORDER !! ness throughout the tonal range, and the Announcing to the owners stereo setup is ideal. I wish as much could be said for Barbirolli's reading. After -services are available at the following His is a workmanlike account of the service facilities throughout the United States. Fifth Symphony but little more. Tempos in the first two movements are too fast, while the finale lacks passion and excite- ment and becomes downright heavy - COMPANY 2900 4th Ave . South Birmimgham handed at the end. The stereo editions ALABAMA NELCO SERVICE 602 N. 3rd Street, Phoenix of Szell, Ormandy, Mravinsky, and Mon - ARIZONA SIGMA ELECTRONICS 1282 Market Street, San Francisco teux all do greater justice to the music. CALIFORNIA SAN FRANCISCO RADIO & SUPPLY COMPANY As for the Marche slave, it too sounds SERVICE 321 University Ave., San Diego pretty weighty most of the way through, AUDIO REPAIR 1531 Locust Street, Walnut Creek picking up momentum only at the end. STEVENSON ELECTRONICS 1150 Solano Ave., Albany 6 Worst of all, Barbirolli makes two big ALBANY TELEVISION SERVICE 383 40th Street, Oakland cuts and omits the repeat in the coda - PRO -AUDIO ELECTRONICS B. & K. SERVICE, INC. 1459 -61 Sq. Pearl St. Denver a practice I thought went out with 78s. COLORADO A. P.A. FLORIDA SOUTHERN AUTHORIZED 62 N. W. 27th Ave, Miami FACTORY SERVICE INC. HI Fl SERVICE CENTER 25 W. 12th, Jacksonville TCHAIKOVSKY: Variations on a MUSIC CENTER 7863 Blind Pass Rd. St. Petersburg Rococo Theme, Op. 33-See Saint- Beach Saens: Concerto for Cello and Or- GEORGIA NORMAN'S ELECTRONICS 4049 Peachtree Rd. Atlanta chestra, in A minor, Op. 33. HAWAII MR. H. A. GRACE 2223 Aloha Dr. Honolulu ILLINOIS ELECTRONIC ENGINEERS. INC. 5615 W. Division St. Chicago IOWA DECKER BROTHERS INCORPOR- 19 Fourth Street, N. E. Mason City VIVALDI: The Four Seasons, Op. 8, ATED 2810 53rd St. Shawnee Mission Nos. 1 -4 KANSAS THOMASON RADIO AND West ELECTRONIC SERVICE Ruggiero Ricci, violin; Stradivarius KENTUCKY JOHNSON RADIO & T. V. 1012 Clark Lane, Louisville Chamber Orchestra, Ruggiero Ricci, MINNESOTA ECKLEN RADIO & T. V. 114 Lyndale Ave., North Minneapolis cond. 3, Minn. Louis DICCA DL 9423. LP. $4.98. MISSOURI A. A. KELLEY RADIO & ELECTR- 4181 Manchester Ave., St. DI:ccA DL 79423. SD. $5.98. ONIC SERVICE MICHIGAN A -1 EAST TAPE RECORDER 8512 Mack at Burns 5 Blocks East SERVICE of Van Dyke Detroit Fourteen Stradivari instruments were TAPE 15736 W 7mile 2' /2Ulks West of together for this recording of A -1 NORTHWEST gathered RECORDER SERVICE Greenfield, Detroit the chamber orchestra, the Seasons: for 1356 S. Inkster Rd Ink, Between for A -1 SOUTHWEST TAPE six violins, two violas, two cellos; RECORDER SERVICE Michigan & Cherry Hill, Detroit the soloist, a different Strad for each NEW MEXICO ED'S T. V. & HI -FI 301 Maple, N. W. Albuwuerque season, beginning with an early product NEW YORK SIGMA ELECTRIC COMPANY 11 East 16th Street, New York 3 of the master's workshop (the "Spanish" AUTHORIZED FACTORY SERVICE 97 Reade Street, New York Strad of 1677) and working through COMPANY, INC. of progressively to the "Ex Kreisler" SONORA ELECTRONIC CORPOR- 261 Wyckoff Ave., Brooklyn 37 1734. An interesting essay on the instru- ATION ments by New York violin dealer Jacques TAPE RECORDER SERVICE 1650 Fillmore Ave., Buffalo 11 Français equates the stages of Stradi- OKLAHOMA JONES -TV -RADIO 2710 Classen Blvd, Oklahoma City varius' output with the seasonal implica- OHIO TELEVISION LABS, INC. 1771 South Taylor Road Cleveland tions of Vivaldi's concertos (a light, deli - Heights cute -toned instrument for Spring, a fuller, OREGON HIGH FIDELITY UNLIMITED, INC. 2816 S. W. Sam Jackson Park Road more powerful one for Summer, etc.). Portland 1 was predisposed to discount some of this WILLS MUSIC STORE 432 State Street, Salem as poetic fancy until I was struck in- PENNS YL V- HAAS ELECTRONIC TELEVISION 215 South 45th Street, Philadelphia 4 advertently by the exceptionally rich, ANIA SERVICE full, low register of the instrument used APPEL VISUAL SERVICE INC. 963 Liberty Ave, Pittsburgh 22 in Autumn, a product of the maker's so- TENNESSEE NORTHSIDE RADIO & 313 N. Market Street, Chattanooga called Golden Period -a time when he APPLIANCE CO., INC. had achieved a maximum degree of DINK'S TELEVISION & 1382 Overton Park Ave., Memphis warmth and power. APPLIANCES, INC. There is more to this recording, how- FOUNTAIN CITY RADIO -TV 5314 Broadway NE Knoxville ever, than a fine display of string tone. SERVICE Houston 19 Ruggiero Ricci brings to the solo part TEXAS B & M ELECTRONIC SERVICE 3717 So. Shepherd ELECTRO 2806 Canton Street, a tremendous zest and bite; in the third ARCHINAL PHOTO movement of Autumn, for example, his SERVICE COMPANY 225 E. 6th South St, Salt Lake City opening double stops are not so smooth UTAH STANDARD SUPPLY THE AUDIO CENTER 159 East Little Creek Road Wards as Ayo's in the I Musici version VIRGINIA Felix Corner, Norfolk but they take on a kind of gruff power ELECTRO -SOUND 1210 1st Avenue, Seattle 1 typical of Ricci's playing throughout. He WASHINGTON NATIONAL ELECTRONIC 6902 Fourth Street, N. W. digs in with impressive masculinity, and WASHINGTON D. C. SERVICE CO., INC. his orchestra follows suit. There's no WISCONSIN AUDIO -VISUAL 4429 W. North, Milwaukee result WISCONSIN mincing about with accents and the REPAIR SERVICE INC. is a vigor that makes the Solisti di CANADA SIGHT AND SOUND SUPPLY OF 454 West Broadway, Vancouver 10, Zagreb, among others, sound perhaps CANADA B. C. too urbane. Recorded sound is close and bright, and stereo spread is realistic. S.F. CIRCLE 50 ON READER- SERVICE CAN! JANUARY I96? 87

www.americanradiohistory.com Like the recent Archive disc devoted to Incredible the musical repertoire of Maximilian's court in the time of Isaac and Senfl, this New offering from Telefunken fails partly from inadequate care in production, partly KSC -3 from indifferent performance. The same True 360° two great masters reappear in this selec- High Fidelity kcitals tion of music from Munich, together SPEAKER with pieces by Lassus and Ludwig Daser. SYSTEM .... So propitious a constellation should have brought about a celestial concert A clCiscellany of fascinating undisputed masterpieces, performed with new experience reverence, sensitivity, and in sound passion. The reproduction most that can be said for the amateur musicians in this Munich ensemble is Spectacular new KSC -3 3 -way system provides that they possess great enthusiasm. Both startling 360° "big system" sound of unbe- lievable quality and incredible realism ... 1111M111.1 singing and playing are rough and un- retains all the brilliance and depth of the CANBY "O Mys- subtle, with a poor internal choral bal- original performance ... achieves full 3 -di- SINGERS: Great mensional "living presence "... surrounds you tery" ance further emphasized by unsatis- with the most satisfying performance you factory microphone techniques. The ever heard outside a concert hall. A new revo- lutionary development incorporates adjustable Victoria; Morales; Byrd: O Magnum sopranos in consequence stand out from mid -range and tweeter speakers, radiating mysterieun. Guerrero: Canile tuba in the rest as if they were members of a 360 °, plus front mounted woofer, to provide reproduction that defies comparison! Exclu- Sion. E. T. Canby (arr.): Josef lieber, completely different choir somewhere sive record for balancing speakers in your Josef mein. Lassus: Resonet in laudibus. else in Bavaria, or perhaps even across own home included. Hear it and be amazed! Waelrant: Musiciens qui chantez. Schütz: the borders. The sound never jells, and Fabulous KSC -1 Superb! Selig sind die Toten. Handel: O admir- this is fatal for polyphonic music. Sensational compact 3 -way system, "Easily abile commercium; Mirabile mysterium. In the Senfl Magnificat, the roles of the finest speaker in its price class that I have heard "... Larry Zide, American Record Schein: Mein Schifflein lief im wilden plainsong and polyphonic verses are ex- Guide Only $100.00 Meer. M. Franck: Iltr lieben. Monteverdi: actly reversed: the former should of Low Cost KSC -55 Extraordinary! Sfogava con le stelle. course be sung by several voices, but Defies comparison in its price class. Includes they are here intoned by a soloist. This wide range speaker Only 655.00 superb 10" Canby Singers, Edward Tatnall Canby, is put right in time for the hymn Christe EXCLUSIVE! New Stereo /Mono Speaker Balancing Record for adj "sting sneakers for maximum perform. cond. qui lux, though Isaac's suave polyphony ance. Included with KSC -3 above. At all KSC dealers. NONESUCH H 1026 LP. $2.50. receives a thorough jolting from the write for literature name of nearest distributor NONESUCH H 71026. SD. $2.50. male chorus. D.S. KSC SYSTEMS, INC. P.O. Box 303, Knickerbocker Sta., N.Y. 2, N.Y. This disc takes its title from the first three items, all settings of the text O CIRCLE 67 ON READER -SERVICE ANTONIO CORTIS: Operatic Re- CARD magnum nysterium. Juxtapositions of cital this kind are welcome when the mu- sic is sung sensitively and well, as This Superb Recording it Donizetti: La Favorita: Una vergine. is here. The only point that has been Verdi: Rigoletto: Questa o quella; Parmi of BAROQUE MUSIC overlooked is Byrd's use of the respon- veder le lagrime; La donna è mobile. sory form, and the consequent necessity Ballo in maschera: Di tu se fedele. Otello: is yours for ONLY S1"I of singing the verse and repetenda: in Si, pel ciel. Massenet: Werther: O natura; this performance only the first section Ah, non mi ridestar. Marron: Ah! dispar, is heard. Josef lieber and Resonet in vision. Puccini: Fanciulla del West: Or laudibus make use of the same tune, SEND NO MONEY NOW son sei mesi. Gianni Schischi: Avete and once again there is a chance to torto -Firenze è come un albero fiorito. compare versions -that of Mr. Canby, GEORG PHILIPP TELEMANN (1681.1767) Turando!: Non piangere, Liù; Nessun who stresses the folk -song element, and Concerto for Trumpet and Orchestra in D -Major dorma. Giordano: Andrea Chénier: Io Concerto for Flute and Orchestra in D -Major that of Lassus, who weaves the tune into non ho amato ancor! Cena delle beffe: Concerto for Oboe and Orchestra in E -Minor a rich polyphonic setting. Handel's diffi- G che tormento; svestii. Concerto for Viola and Orchestra in -Major cult O mirabile mysteriunt taxes the Ahi Mi The Pro Arte Chamber Orchestra of Munich intonation of the choir severely, but they Kurt REDEL, Conductor put up a brave showing and maintain Antonio Cortis, tenor; Enrico de Fran - Winner of the Grand Prix du Disque their fresh, unforced tone. D.S. ceschi, baritone (in Si, pd ciel); or- of France chestra. MRS 518- Available in MONO or STEREO, please specify Rococo 5212. LP. $5.95. The Musical Heritage Society issues CAPELLA ANTIQUA OF MUNICH: about 30 recordings each year of 17th "Music of the Bavarian Court Once again Rococo has done us the and 18th Century music. All recordings Chapel in the Sixteenth Century" favor of giving us a good selection from are only $2.50 each plus a small shipping the recordings of a major singer other- charge. Complete details about our So- Lassus: Domine, labia mea aperies; Ave wise not well represented on LP. Cortis ciety and its endeavors will be sent to renon corpus; Exaudi Dens orationem (1891 -1952) never attained the interna- you along with the trial record. twain; Justoruni animae; Tui sent coeli; tional reputation of a Gigli or Lauri - Gloria patri; De profundis. Daser: Volpi, but he was a very exciting singer: THE MUSICAL HERITAGE SOCIETY, INC. 1991 Broadway, New Sort, N. Y. 10023 Fratres, sobrii escote. Senfl: Carmen - to some vocal collectors, in fact, he is Please send me the 12" Long Playing Record Lamentatio; Asperges nee; Missa ferialis; the tenor. MHS 518. Within ten days after receipt III re- Carmen in re; Magnificat V. toni. Isaac: The voice was forward and pointed, mit $1.00 as payment in full or return the Rorate coeli; Ecce with good metal on top, and occasional record. It is understood there is absolutely no virgo concipiet; Christe obligation on my part otherwise. qui lux es et dies. not unpleasant touches of the nasality Please specify: MONO STEREO so typical of Spanish tenors. But it was

NAME Capella Antiqua of Munich, Konrad also capable of dark coloring, and the a legato ADDRESS Ruhland, cond. technique was founded on firm TELEFUNKEN LP. $5,98. line. No doubt it is true, as A. G. Ross CITY & STATE AWT 9431 -C. TELEFUNKEN SAWT 9431 -B. SD. observes in his notes, that Cortis didn't ZIP CODE HF -1 ' $5.98. have quite the finesse for old- fashioned CIRCLE 55 ON READER -SERVICE CARD 88 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com bel canto; still, the "Una vergine" heard here, while dragged in tempo, is very well controlled, and there is a good deal of !'2!1 grace to go with the exhilarating ring of ITT, AVE Vá CANTO the Rigoletto selections. "Di to se fedele" JOAN SUTHERLAND, MARILYN HORNE, RICHARD is rhythmically rubbery, but vocally CONRAD with THE LONDON SYMPHONY ORCHESTRA, ravishing, and the languishing, dallying THE NEW SYMPHONY ORCHESTRA OF LONDON con- effect is not inappropriate to the char- ducted by RICHARD BONYNGE acter and situation. "Si, pel ciel" is well sung (De Franceschi has a dark, slightly Arias from: Piccinni -"La Buona Figliuola"; Handel woolly baritone) but much too slow. -"Atalanta"; Lampugnani - "Meraspe"; Handel - The rest of the disc is almost unex- "Samson "; Handel - "Semele "; Bononcini - "As- ceptionable. Both Werther arias are mag- tarto "; Arne - "Artaxerxes "; Shield - " Rossnd'; nificent in an Italianate way; and when Mozart - "Il re pastore"; Mozart - "Die Zauber- Cortis gets into the verismo style of flote"; Mozart - "Die Entführung aus dem the Puccini and Giordano selections, he Serail "; Boieldieu -"Angéla "; Rossini- "Semi- is on home ground. These are full - ramide "; Auber -"La Muette de Portici"; blooded performances with interesting Weber - "Der Freischlitz"; Bellini-"Bea- touches of character, as in the light, trice di Tenda"; Donizetti -"Don Pas- crafty sound of the Schicchi aria. The quale"; Donizetti - "Lucrezia Borgia"; Cena delle beffe excerpts, of moderate Verdi-"Attila "; Bellini -"La Straniera" musical interest, are lent conviction by Rossini - "Il Barbiere di Siviglia" Cortis' dramatic understanding; the first, Stereo OSA -1257 Mono A -4257 in particular, becomes a chilling little scene. The sound is listenable through- out, despite occasional blasting on high notes; the originals are about evenly divided among acousticals and early electricals. C.L.O.

PAUL DOKTOR: "Paul Doktor Plays Solos for the Viola Player" T.od.mo,k, 1p U S loi. Off

Paul Doktor, viola; John Wustman, piano. 4inearffrrY WESTMINSTER XWN 19083. LP. $4.98. full f"'OOf*CY "ANGE "'CARDING WESTMINSTER WST 17083. SD. $5.98.

Paul Doktor's published edition of tran- scriptions for viola (G. Schirmer) forms the basis of this fine recital. I admire an instrumentalist of Doktor's caliber This is one of the amazing who is not afraid to include Were You There? and Shenandoah in a collection that also contains Bach's Chorale Prelude Cipher tape recorders from Japan O Mensch, bewein dein Sünde gross from the St. Matthew Passion. And as we listen to the full, dark solidity of wait for those imitations Doktor's viola and the gracious sweep of Don't expensive his melodic phrases, there seems to be no incompatibility whatever among these selections. Mozart gains when the won- derful violin melody from the Andante of the Violin -Viola Duo No. 2 is given to the bigger instrument; and the drama of Brahms's Von ewiger Liebe comes through with no loss of impact. Wolf's Verborgenheit is just as successful -in fact the disc as a whole is one of the best arguments for transcribing I can think of, and the seventeen selections maintain a consistently high standard. The longest piece here (and the only one 1111Plow""-- not drawn from the Schirmer book) is the Sonata in G minor by Henry Eccles, CIPHER VI: a 4 -track stereo recorder with detachable speakers and 2 a serious church -sonata known to every dynamic microphones; speeds 7'2 and 334 ips; 2 VU meters; automatic violist but apparently unrecorded before shutoff; digital index; pause control; plays horizontally or vertically; except in a version for double bass. $239.50. John Wustman is an excellent accom- panist, and the piano is given its fair Your Cipher dealer wil I be glad to give you the full story. Or write Inter - share of weight in the recorded balance. Mark Corporation, 29 West 36th Street, New York, N. Y. 10018. In Sound is first -rate in both versions, and Canada: Inter -Mark El ectronics Ltd., very faithful to Doktor's rich string Ont. tone. S.F. 298 Bridgeland Ave., Toronto 12, CIPHER

Continued on page 91 CIRCLE 42 ON READER -SERVICE CARD JANUARY 1965 89

www.americanradiohistory.com "THE RAKE'S PROGRESS" SEE COLUMBIA RECORD CLUB'S Continued from page 70 DISCOTECA 10th Anniversary tention more closely on the words). "Operatic" declamation is disastrous here, the authoritative Italian -language and the members of the new cast are Offer! review of records and music speaking these lines much more pointedly published monthly in Milan and believably than their older counter- parts. The whole thing is smoother, though at times the relative crudity of edited by: the old version makes for more life. S. p. A. Krachmalnicoff The thing the new singers do not have much of is color. Perhaps that is fitting you to characters in a fable; perhaps that distributed by: is the point. Judith Raskin sings with get S. p. A. Messaggerie Italiane impeccable musicianship, pretty tone, and

Via Lomazzo 52 - Milan good enunciation; Hilde Gueden, though. had more bite and character in her voice, even if the tone was less innocent and recent have included: CLASSICAL RECORDS contributors the musical values not so sharply de- Rodolfo Celletti, Mario Rea, Alberto fined. Alexander Young is infinitely sen- Pironti, Giorgio Vigolo, Gabriele sitive and tasteful as Tom, and most moving in the last two scenes; his voice, Baldini, William Weaver, Goffredo however, has neither the firmness nor Petrassi, Roman Vlad, Fedele d'Amico. the fresh beauty of Eugene Conley's. Re- gina Sarfaty brings much more direc- tion to her FOR ONLY annual subscription $11 ridiculous chatter and to 95 the runs of her fury aria in the break- fast scene than Blanche Thebom. plus n RECORD RACK did Advertising, subscriptions, specimen who, nonetheless, had the freer voice copy on request c/o Italian Publications, and the better high tones. And John Inc., 132 West 43rd Street, New York, Reardon sings with much greater suavity N. Y. 10036 and ease than Mack Harrell; still, for all FREE its leathery throatiness. Harrell's darker if you join now! Via Paolo Lomazzo 52 baritone had a characteristic quality. Milan, Italy You can see the way it goes. The new SEE PAGES 6 & 7 version is better executed musically, more carefully shaped, less Metropolitan CIRCLE 20 ON READER -SERVICE CARD CIRCLE 25 ON READER -SERVICE CARD Opera -ish. Yet the old one had certain individual merits of some value. I think there is no doubt that as an all -round performance, Young's Tom and Rear - don's oily Nick are superior to the ef- forts of Conley and Harrell. About the NOW! EVERY COPY OF others, I could not be sure. The auction- eers are a toss -up, as are the Mothers Goose. The roles of Truelove and the Keeper are taken to better effect on high fideli the new recording. Orchestra and chorus are also better on the new version -not overwhelmingly, but noticeably, and of AT YOUR FINGERTIPS course, they are handily assisted by the superior recording. Some of Stravinsky's WITH THIS BEAUTIFUL own work is also improved; an example is the little woodwind figure that first LIBRARY CASE occurs with Tom's mad ditty. The new tempo is slower, the shaping much clearer 5250 and more delicate. ONLY EACH For those without a Rake, the new one is the choice, and a necessity. For NO MORE LOST ISSUES those with the old one, the new is worth a a KEEPS COPIES IN PERFECT CONDITION hearing, if not purchase.

ATTRACTIVE ADDITION TO ANY BOOKSHELF

LEATHERETTE FINISH -EMBOSSED IN 16k GOLD STRAVINSKY: The Rake's Progress

CUSTOM MADE TO HOLD 12 ISSUES Judith Raskin (s), Anne Truelove; Re- gina Sarfaty (ms), Baba the Turk; Jean SATISFACTION GUARANTEED. ALLOW 30 DAYS FOR DELIVERY Manning (ms), Mother Goose; Alex- ander Young Tom Rakewell; Kevin PREEM ASSOCIATES, INC. (t), 21 E. 40th St., New York 16, N.Y. Miller (t), Sellem; John Reardon (b), Please send me the following binder(s). Nick Shadow; Don Garrard (bs), True- I enclose $2.50 for each. ($3.50 outside Conti- The Keeper; nental U.S.A.) love; Peter Tracey (bs), Sadlers Wells Opera Chorus; Royal Phil- -Binder(s) for HIGH FIDELITY harmonic Orchestra, Igor Stravinsky, NAME cond. ADDRESS COLUMBIA M3L 310. Three LP. $14.98. COLUMBIA M3S 710. Three SD. CITY ZONE STATE $17.98. CIRCLE 74 ON READER -SERVICE CARD

911 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com RECORDS IN REVIEW ation prevails here as to the different Mozart: Il re pastore: Voi che fausti. sects of christians [sic], yet in music Die Zauberflöte: O zittre nicht. Die Continued from page 89 whoever dares to profess any other Entführung aus dem Serail: Ich baue tenets than those of Graun and Quantz ganz. Boieldieu: Angela: Ma Fanchette KING'S CHAPEL CHOIR: "Contem- is sure to be persecuted." These two est charmante. Rossini: Semiramide: Ser- porary Choral Music" were the perfect courtiers (an achieve- bati ognor. Barbiere di Siviglia: Ecco ment of which C.P.E. Bach could hardly ridente. Auber: La Muette de Portici: Ecclesiastes. Flanagan: Chapters from be accused), and their music, though Ferme tes yeux. Weber: Der Freischütz: Rorem: Two Kay: Choral Triptych. stronger and more masculine than their Und ob die Wolke. Bellini: Beatrice di The Psalms and a Proverb. Wuorinen: employer's, reveals something of their Tenda: Angiol di pace. La Straniera: Un Prayer of Jonah. position. Yet Quantz in particular was ritratto ?- Veggiam. Donizetti: Don Pas- capable of following his own deeper per- quale: Tornami a dir. Lucrezia Borgia: Chapel Choir (Boston); Cam- King's ceptions now and then (as here in the 1l segreto (Brindisi). Verdi: Attila: Santo Festival Strings, Daniel Pinkham, bridge long, minor Arioso movement, which di patria; Allor che i forti corrono. cond. takes on a certain pastel poignance). Arditi: Bolero. CAMBRIDGE 416. LP. $4.98. Graun is described by Burney as one CAMBRIDGE 1416. SD. $5.98. of the first Germans to quit fugue and Joan Sutherland, soprano; Marilyn other "labored contrivances," and we All four works presented here owe their Horne, mezzo; Richard Conrad, tenor; may wish that he had quit them a little existence to the conductor, Daniel Pink- London Symphony Chorus and Orches- more reluctantly, for the parallel thirds ham, who commissioned them for his tra, New Symphony Orchestra of London, in his Trio Sonata do begin to cloy. King's Chapel Choir through a Ford Richard Bonynge, cond. he rolls up his sleeves and gives us Foundation grant. He chose his com- But LONDON A 4257. Two LP. $9.96. a contrapuntal passage occasionally, in posers extremely shrewdly, and all of LONDON OSA 1257. Two SD. $11.96. to unexpected modulation them have produced fluent. attractive, addition one most welcome. Even from so and singable works which should go far -both Here is another ambitious potpourri to a sampling of the music of towards raising the standards of present - limited follow up on London's previous Suther- as can be contained day church music. Frederick's court land & Co. albums. Once again there is The Rorem and Flanagan pieces are on a single disc, it is obvious why great variety in the selection of music; at the most immediately attractive. Both C.P.E. Bach felt a certain relief in some lovely things have been unearthed, he stands composers are what one might call con- last leaving to go to Hamburg: along with a few less interesting pieces, servative, which means in this case that head and shoulders above his colleagues, to go with the scattering of familiar they know all about writing shapely and both in the unpredictable character of challenges included. Mme. Sutherland's interesting melodic lines for the voice. his melodic lines (cf. the middle move- covocalists are both American; Marilyn The Rorem is especially fine in this ment here) and in the strength he de- Horne, of course, is well launched on a regard, and his choral textures are varied rived from such labored contrivances as significant career of her own, while and immensely appealing. imitation. Richard Conrad has been brought to the Ulysses Kay's piece i find a little more The performances are of the com- fore by London, presumably because he obvious, set for the most part in a petent, nonvirtuosic sort which are apt can handle the graceful embroidery of bouncy American style with a little mo- to strike us today as merely workman- this sort of music. dality to remind one of church. Charles like, yet which are, I suspect, a fair The drawback to such a release is Wuorinen's work is at the other end of approximation of the approach in Fred- obvious: few collectors will care for the the scale, a clever, somewhat unruly erick's time. The Stuttgart Ensemble is whole range of material programmed, or piece with spoken interjections and other to be congratulated on the use of a even for all three singers-yet interest such up -to -date devices. it strikes modern viola da gamba instead of a cello in in a few selections or in one of the poses without ever seeming to believe the trio sonatas, though I must confess performers must either go frustrated or in them all the way. that its voice in ensemble sounds some- be satisfied by purchase of the whole Mr. Pinkham leads the music with a what blunted to twentieth- century ears. production. To judge from the label copy, sure hand and an obvious feeling of The recorded sound is rather distant I gather that the discs may be made dedication. His choir is far superior to and blended, with almost no suggestion available separately, which is certainly most church groups, and an excellent of stereo directionality. S.F. desirable from the consumer's standpoint. string ensemble does its modest work They seem to have been recorded at well. A.R. different times and places, for the acous- MUSIC FROM NUREMBERG tical ambience on the second record is considerably bigger and more echo -y MUSIC AT THE COURT OF FRED- Hans Sachs: Songs (5). Songs and Instru- than that of the first, and two orches- ERICK THE GREAT mental Works from the Locheimer tras are employed. Liederbuch (14). The real discoveries, to my taste, are Frederick the Great: Symphony in D. the Piccinni and Lampugnani arias, both Quantz: Concerto for Flute, Strings, Friedrich Bruckner- Rüggeberg; Rudolf examples of brilliant florid writing that and Continuo, in G. Johann Gottlieb Aue; Nuremberg Gambencollegium, Josef makes a valid dramatic point and yet Graun: Trio Sonata for Flute, Violin. Ulsamer, cond. exploits the vocalist's resources con- and Continuo, in F. Carl Philipp sciously and cunningly; the extremely Emanuel Bach: Sonata for Flute, Violin, beautiful air from Arne's Artaxerxes% For a feature review of this recording, and Continuo, in D minor. sung by Miss Horne; the first see page 79. superbly of the two selections from Shield's Hans -Ulrich Niggemann. flute (in the Rosins ( "Light As Thistledown "), which Concerto); Stuttgart Chamber Music has immense charm. The scena from Ensemble (in the Trio Sonata and the JOAN SUTHERLAND, MARILYN Attila will also be unfamiliar to most Sonata in D minor); Emil Seiler Cham- HORNE, RICHARD CONRAD: listeners. and it is a fine one, with a ber Orchestra, Carl Gorvin, cond. (in "The Age of Bel Canto" wonderful burst of Verdian melody at the Symphony and Concerto). "Ma aoi, donne italicize" and a stirring ARCHIVE 3219. LP. $5.98. Piccinni: La buona figliuola: Furia di cahaletta. ARCHIVE 73219. SD. $5.98. donna. Handel: Atalanta: Care selve. On the other hand, I was surprised Semele: Iris, Hence Away. Samson: by the dullness of the Samson aria and A cozy peek indeed into the hallowed, With Plaintive Note. Lampugnani: Me- the air from Muette de Portici, though all -powerful, and withal somewhat suffo- raspe: Superbo di me stesso. Bononcini: the latter can surely make a better cating court of the unconquerable Fred- Astarto: Mio caro ben. Arne: Artaxerxes: effect when more blandishingly sung. erick. When Dr. Burney visited Berlin O Too Lovely. Shield: Rosina: Light As The little trio from the Boieldieu piece in 1772 he found that "a universal toler- Thistledown: When William at Eve. is also negligible- pleasant enough, but

JANUARY 1965 91

www.americanradiohistory.com in the "so what ?" category. And there (Idiotic. Smetana: The Bartered Bride: Vincent Youmans is a long, extremely silly scene from Three Dunces. Johann Strauss 11: Blue La Straniera which can go right back Danube Waltz. Receives His Due on the shelf whence it carne. How long is one expected to sit still while Bellini Cleveland Orchestra, George Szell, cond. nurses one of his melodies, however EPIC LC 3891. LP. $4.98. pretty, from one preposterous point to EPIC BC 1291. SD. $5.98. the next? As to performances. Sutherland is The seasoned collector who "has every- THROUGH for the most part in very good form. thing" may glance at this listing and The Piccinni and Shield selections could pass it by with a shrug. If he does, he THE YEARS not be bettered, and her contribution to will miss a real treat. For this is not the Semiramide duet is splendid. glides just another run -through RITE of overworked, and all. It is also wonderful to hear the overrecorded repertoire. Szell doesn't VINCENT YOUMAMS Attila aria sting with such soaring free- operate in that way; everything he con- iO.9tm SILVAN ANNA dom. Perhaps Odabella, one of Verdi's ducts must be letter -perfect. This quality most unpleasant and unlikely heroines, alone sets these performances apart s'4;.. should not sing so beautifully. but one GREAT M, C Y from run -of- the -mill versions, but they - ._;r>,-_,=°"' can't really object. The duet from Don are far more than merely technically Pasquale, though. is ruined by the soupy, correct. There is spirit, sensitivity, even aatMwl. S _.._11P+" lugubrious approach of both Sutherland affection in these interpretations. The and Conrad, as if every phrase were orchestral playing can only be described Ineffable Art, and the La Straniera scene as gorgeous; likewise the engineering. An exciting 2 -LP Album on the new EVER- also suffers from much vocal mooning GREEN label of 36 great show tunes by Altogether, this disc provides an invig- Vincent Youmans - 10 recorded for the first about -coals to Newcastle, without orating ride on four old warhorses. P.A. time in full. You will hear songs from NO, question. NO NANETTE HIT THE DECK, GREAT DAY THROUGH THE YEARS, and FLYING DOWN Both "O zittre nicht" (Die Zauberflöte) TO RIO, plus 9 other show and film scores and "Und ob die Wolke" (Der Freischiitz) spanning his entire career from 1921 to JON VICKERS: Operatic Recital 1933. Included is a Special Brochure with are somewhat better than I had antici- extensive program notes on each show and pated; the former, in fact. is quite stylish reproductions of original sheet music. Ponchielli: La Gioconda: Cielo e mar. and brilliant. topped by a good F. The Flotow: Martha: M'appari. Verdi: Don A Must for Show Tune Buffs! latter does not have all the directness Carlo: lo l'ho perduta. ll Trovatore: Available at Record Stores or by Mail and innocence that it might, but is still - Ah! Si. ben mio. Otello: Dio! potevi an effective rendition. Mi Monmouth Records, MONO $7.11111 scagliar: Nium mi tema. Leoncavallo: Inc., Box 1612, STEREO WM Miss Horne handles everything well. : Vesti la giubba: No, Pagliaccio Oklyn., N.Y. 11202 (POSTAGE INCLUDED) The range and strength of her voice non son! Cilea: L'Arlesiana: E la solita are most impressive. and she can sing storia. Giordano: Andrea Chénier: Un dì runs with the best of them. though all'azzurro spazio: Come un bel di di CIRCLE 54 ON READER -SERVICE CARD there is an awkward gulp for air in maggio. Puccini: Tosca: Recondita ar- "Superbo di me stesso" (Lampugnani's monia. Meraspe). Her voice is a little hard, and so is her temperament, at least on this record -there is no real sense of Jon Vickers, tenor; Rome Opera House fun in either the Lucrezia song or the Orchestra, Tullio Serafin, cond. Arditi Bolero, which is merely a trashy RCA VICTOR LM 2741. LP. $4.98. ORLD WIDE display piece without a helping of real RCA VICTOR LSC 2741. SD. $5.98. joie de virre. Conrad is probably more adept than Jon Vickers is an exciting singer, rapidly NCE 1948 any other contemporary tenor in execu- on his way to becoming a great one. COMPONENTS RECORDERS tion of vocal ornamentation. He has a Lovers of pure, lush vocal production, KITS SPEAKER SYSTEMS TAPE real trill, excellent stylistic sense. and throbbing emotion, and all the other an admirable legato. Regrettably, he also traditional paraphernalia of romantic LOWEST PRICES has a highly covered. almost gummy Italian tenors may feel short -changed by ALL BRAND NEW tone, with no brightness or brilliance at the clean, no- nonsense robustness of his FACTORY SEALED all- plenty in the head. but nothing in style. Those who cling to the revolution- that this sort of music can CARTONS the masque. He also shies away from ary notion make dramatic sense when sung with MFRS. GUARANTEES forte tones at the top. very artfully to be sure, but still too predictably. In passage - intelligent attention to phrase marks and UP TO 5 YEARS work he is a pleasure to hear hut else- dynamics will rejoice. FAST, INSURED where he is wanting. and the final effect I am of the latter persuasion, and SHIPMENTS is monotonous. I find this a thrilling record. Vickers GET 'QUOTES' ON The accompaniments are first -rate still has a few purely vocal faults. The long line ",9 /E! Si ben lido" finds PACKAGE DEALS throughout. 1 do wish Richard Bonynge lyric of AND SAVE MORE would adopt a less woozy approach him a little short of breath, and there SAME DAY REPLY towards those Bellini cantabiles, but are a few other places where he is in similar trouble. But so much of his TO YOUR HI -FI apparently this is how he sees the music. INQUIRY As for the sound. I like the closer, clean- singing radiates an aura of pure excite- er acoustics of the first disc better than ment, and the excitement is so brilliantly PARKING METERS the boomier sound of the second. which attuned to the nature of each aria, that AT PREMISES is sometimes disturbingly hollow. An these flaws seem trivial. To hear the Cilea aria set forth so completely shorn SPECIAL STEREODYNE II DIAMOND elaborate and informative booklet accom- of the gulps and sobs which one had al- $7.25 ppd. panies the album. C.L.O. STEREO CARTRIDGE - ways assumed were built -in is like dis- Send for FREE "MONTHLY SPECIALS" on covering a new and better piece of music. other Cortridges, Topes, and Components. The Otello excerpts are presumably WRITE FOR MONTHLY SPECIALS GEORGE SZELL: "Encore" taken from the complete recording, since / the voices of Cassio, Montano, and the CAR STON *,e , Rimsky- Korsakov: Capriccio espagnol, others are heard at the end of "Nian mi Y 125 T East 88 St , New York 28. N Op. 34. Ravel: Pavane pour une infante to ma." A.R. CIRCLE 17 ON READER -SERVICE CARD 92 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "Cole Porter Revisited." RIC 3002, $4.98 (LP); S ago on Rodgers and Hart (now reissued as Ric 3002, $5.98 (SD). 3001). Bagley had the active assistance of Porter, "The One and Only Lee Wiley." RIC 2002, $4.98 who gave him access to several unpublished songs. (LP); S 2002, $5.98 (SD). The emphasis here is on Porter's comedy material. This was an area in which he had a very personal THE DEATH of Cole Porter last October drew the flair, and several unheralded or long forgotten gems final curtain on a career that had ended, for all have been turned up. But in the Morning, No! from practical purposes, almost ten years earlier. In fact, Du Barry Was a Lady displays Porter's customarily it is surprising that it did not come to an end twenty - enchanted disenchantment with the whole routine eight years ago, for it was in 1937 that Porter broke of sex. It Ain't Etiquette, from the same show, is a both his legs in a riding accident, a mishap which lineal predecessor of his celebrated Brush Up Your left him in such pain for the rest of his life that Shakespeare in Kiss Me, Kate, while Tale of an this onetime flower of international society became Oyster (from Fifty Million Frenchmen in 1929) is a virtual recluse. Despite this, he continued to write one of his most charmingly wry extended lyrics. scores for Broadway, and in 1948 produced what Porter's fascination with burlesque à la Minsky crops many consider to be his masterpiece, Kiss Me, Kate. up in both Come On In (another Du Barry entry), Porter's songs form an inextricable part of the which is virtually a burlesque show in musical minia- life of at least two generations of Americans. Who ture, and I've Still Got My Health (sung by Ethel can imagine our dancing, singing, or listening with- Merman in Panama Hattie) -a zestfully bouncing out Let's Do It, What Is This Thing Called Love ?, opus which includes a brief invocation of Minsky's. Night and Day, Begin the Beguine, and the lyrics Ronnie Graham (who sings Bert Lahr's songs as which brought a totally new note of sophistication though they had been written for him), Kaye Bal- to popular music? Yet these and the other familiar lard, Bibi Osterwald, and Bobby Short are the en- Porter songs are only a fraction of his output. Porter livening performers. Three ballads are included as wrote so much superior material that there is, in- a change of pace; they have the expected Porter evitably, a vast repertory of delightful songs still all touch, but David Allen sings them in a heavily but unknown. A step toward remedying this situation crooning manner which does them less than justice. is taken on "Cole Porter Revisited." It might better Both familiar and less familiar Porter turn up on have been called "Cole Porter Discovered," for there "The One and Only Lee Wiley," a reissue of a is scarcely a song among its fourteen entries that is superb set of recordings of Porter and Gershwin likely to be known to any but a knowledgeable Porter songs made for the Liberty Music Shop in 1939 and collector. The set has been put together by Ben 1940. Miss Wiley has Bunny Berigañ s trumpet Bagley, who arranged a similar collection several years growling behind her on Porter's Find Me a Primitive Man (from Fifty Million Frenchmen) and is set off by Paul Weston's arrangements on Looking for You, Easy To Love, and You Do Something to Me. The Gershwin songs, recorded a year before the Porters, show Miss Wiley at her sensually provocative peak. Backed by Bud Freeman, Pee Wee Russell, Fats Waller, and Max Kaminsky, she is a swaggering perfection on Sweet and Low Down and San and Delilah, and the essence of soul -curling appeal on How Long Has This Been Going On, 'S Wonderful, and I've Got a Crush on You. Together, these two discs supply -in material and in performance -a solid chunk of the very special spirit of the musical theatre of the Twenties and Cole Porter: who could have danced without him? Thirties. J.S.W.

JANUARY 1965 93

www.americanradiohistory.com Barbra Streisand: "People." Columbia familial relationship. In Miss Minnelli has been dividing his time between Latin - CL 2215, $3.98 (LP); CS 9015, $4.98 one can hear the distinctive Garland American material and a rather polite (SD). timbre and the Garland vibrato (along form of jazz. There are touches of both This is Barbra Streisand's fourth solo with a similar difficulty in keeping the in this set of standard popular tunes, album. The fact is worth mentioning latter from wobbling too much at times). ranging from Poor Butterfly to the cur- because a singer who makes her initial And there is the ability to belt a song rent People, skillfully arranged by Claus impression by being deliberately different right over the rainbow -although Miss Ogerman. Ogerman's art is particularly (singing Happy Days Are Here Again Minnelli sometimes finds herself over- notable in those pieces (all but two) on and Who's Afraid of the Big Bad Wolf reaching, resorting to shrieking in her which Tjader plays with strings and a as torch songs, for example) inevitably effort to carry out the line on which she rhythm section: Ogerman has managed loses much of her impact simply through has embarked. This is Miss Minnelli's to use the strings as a rich but buoyant the process of repetition. Then what? first album and it is a most impressive setting for Tjader's pearl -like notes with- Miss Streisand has weathered the transi- debut -not only for what she does, but out letting the strings become a drone. tion by her ability to invest practically for her indication that she can be herself In most cases, a subtle bossa nova anything with a strong, personal, and despite the inevitable reflection of her rhythm breathing under the vibes and valid quality. Most of this collection is mother. Her program is an unusually strings gives the performances a delight- devoted to unusually good songs that well -selected one, mixing fresh, interest- fully easy flow. On two selections, Poor are seldom heard or just coming into ing songs with less frequently heard Butterfly and Just Friends, the strings their own: the very Cole Porter -ish When pieces by Kern, Styne, and Arlen. It are dispensed with in favor of a pair of in Rome by Carolyn Leigh and Cy Cole- reveals too that Miss Minnelli has a flutes which play a rhythmic riff behind man, or Dubey and Karr's How Does the wide range in both voice and style. She Tjader, providing a wonderfully effective Wine Taste. Love is a Bore, and Will is aided by excellent arrangements (un- combination which makes for a partic- He Like Me (from She Loves Me), credited) and a fine orchestra conducted ularly unusual and provocative interpre- There is one reflection of the earlier by Peter Matz. tation of Butterfly. Streisand-her slow and potent rendition of Fine and Dandy. It is not in any Lena Martell: "Someone New. Someone Edmundo Ros and His Orchestra: "The sense a tour de force, but a magnificent Blue." London 3386, $3.98 (LP); 386, New Rhythms of the South." London example of strongly projected popular $4.98 (SD). SP 44054, $5.98 (SD). singing. She can be led astray by her Miss Martell is an English singer with The buoyantly sinuous rhythms of the emotionalism: Suppertime, for instance, a strong. smoky voice who proves on Ros orchestra are well applied here to loses by being overdone. But by and this disc that she can handle almost any- Latin -American tunes in vivid arrange- large, Miss Streisand has a kind of au- thing -from the gentle, folklike quality ments by Roland Shaw. Clean, full - thority rare in a popular singer, includ- of Jerry Bock's Jennie on the Green to bodied recording makes the most of both ing the ability to improve on a good the belting emotionalism of Why Was 1 the arrangements and the orchestra. Ros performance (a new and excellent ver- Born? or the crisp humor of Typically has always had a uniquely light and airy sion of her Funny Girl hit, People, is English from Stop the World. Her dra- manner in this repertory (or practically included here). She has no need of gim- matic projection can beef up any song anything else which he turns into mam- micks, oddities, or other crutches. The suited to this kind of treatment, although bos, sambas, and rhumbas) and even same skill that made her early innova- her very sober approach occasionally with a heavier instrumentation he man- tions seem valid makes these straight leads to an exaggerated display of emo- ages to retain a bright. fluid quality. presentations just as brilliant. tion. But we are spared, at least, the Add to this the impact of Shaw's wide - blandness characteristic of so many pop range orchestrations, plus a multifaceted Connie Francis: "A New Kind of Con- singers. Johnny Keating's orchestra con- rhythm section that raps, taps, shuffles, nie." M -G -M 4253, $3.98 (LP); S 4253, tributes to the interest of this disc. and rattles with gay abandon, and the $4.98 (SD). results are strikingly different treatments This disc apparently marks the turning Michel Legrand: "Plays for Dancers." of Yours. El Rancho Grande, Amapola, point in Connie Francis' career-docu- Philips 200155, $3.98 (LP); 600155, The Breeze and 1, and others of that ilk. menting the switch from her early teen - $4.98 (SD). oriented style to a completely adult one. Behind the bland album title and the Tony Dalli: "And Now the Thrilling Those who may have been worried about liner copy's talk about "big -band beat Voice of ." London 3394, $3.98 the plight of pop singing during the rock arrangements" for the Hally Gully, the (LP); 394, $4.98 (SD). 'n' roll years can be reassured by this Twist, the Frug, and so forth, lies a col- Dalli is a young Italian with a big, ex- collection. Miss Francis is a product of lection of lively and entertaining instru- pansive, romantic tenor voice who is these years, but she is even more a prod- mental pieces. Though undoubtedly serv- quite obviously being aimed by his man- uct of show business. She has matured iceable for twisting, frugging, or hully- agers at the vacuum left by the death of into a polished professional, possessing gullying, they also reveal a lively imagi- Mario Lanza. He sings in Italian and a lithe and limber voice with a provoca- nation that can make silk purses out of English a program that draws to a great tively warm timbre. She knows what musical sow's ears. Legrand, who has extent on Broadway (People, Falling in to do with a big, open torch song like previously found a variety of unusual Love with Love. Dear Friend, Meredith My Man or a casual and sophisticated approaches to other aspects of popular Willson's Dolce far niente); he also ven- number such as Where Did Everyone music, has created tunes and arrange- tures into Tosti, Borodin (via Kismet), Go ?, with an uptempo walloper like Will ments which lift the big beat from its and Weill (Mack the Knife). He has You Still Be Mine? or with the moodiness customary lowering lumber to a blithe the robust voice for songs demanding a of Where Can I Go Without You? -and and gay style, sharpened by some bril- wide -open projection, and he can also she has the vocal equipment to carry liantly glittering string work, by inter- close in to the more intimate, tighter out her intentions. This is pop singing jections of several of those famous vo- style required for People or Mack the of a very high order: Miss Francis' clean, calizers who hang around the studios of Knife or Dolce far riente. His English open singing lights up with a vocal twin- Paris, and by sly and unexpected breaks is strongly accented and has a decided kle from time to time, and excellent by odd instruments. Not all of the charm, though he does not yet seem support is provided by the arrangements twelve selections come off equally well, entirely at ease in it. There are sugges- of Marty Paich. but when they are in high gear-as on tions of the kind of vocal charisma that Hi Girls with its yipping Valkyrie chorus, Pinza projected, but this is still in the Liza Minnelli: "Liza! Liza!" Capitol 2174, or Orange Blossom Special, a mad excur- developing stage. Meanwhile, he emerges $3.98 (LP); S 2174, $4.98 (SD). sion into Arkansas Traveler territory - as an attractive singer, worth keeping an It takes only a few minutes of listening they are great fun. eye on. here to know that Liza Minnelli is Judy Garland's daughter. The similarities do : "Warm Wave." Verve 8585, Mantovani: "The Incomparable." Lon- not stem so much from conscious copy- $4.98 (LP); 6 -8585, $5.98 (SD). don 3392, $3.98 (LP); 392, $4.98 (SD). ing as from the natural closeness of For several years Tjader, a vibraphonist, Mantovani's strings have never swooped

94 I-Iv; H F1...: TTY MAGAZINE

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www.americanradiohistory.com so dazzlingly nor careened with more also used Catch a Falling Star to produce this collection demonstrates how consist- tobogganish impact. Yet no matter how an appropriate cumulative waterfall of ently the Italians have been committed to often one has heard them, there is a dis- strings that is surely the string cascade a more or less unhackneyed approach. Be- tinctive majesty and splendor in Manto- to end them a:l. cause Ortolani's orchestra is one of those vani's handling of them that no other lushly stringed studio creations, the vari- maestro of the popular realm has been Riz Ortolan; and His Orchestra: "Made ety inherent in this music is apt to be able to match. How on earth, after seven- in Rome." United Artists 3360, $3.98 lost under the shimmer of strings. The teen years and untold numbers of LPs, he (LP); 6360, $4.98 (SD). themes from The Four Days of Naples, is still able to produce a program tnat These selections from Italian film scores 81/2, La Dolce Vita, Divorce Italian Style, is both staple and fresh is, I suppose, as remind one of the considerable impact Bread Lore and Dreams. and Ortolani's much his own trick as are the swooping which Italian composers in this genre own Pin -up Girls, More. and The Easy violins. But he has done it on this disc, have exerted on traditional movie music. Life, among others, emerge here with a which includes his mellow, singing treat- Now that American films have followed veneer of sameness. But the lively taran- ments of As Time Goes By. Where You the Italian lead in abandoning the pon- tella from Bread. Lore, and Dreams spar- Are, Long Ago and Far Away, and I'll derou: emptiness and tough posturing kles despite all, while the slightly sour Get By as well as the more contempo- that once were dominant, we are accus- and sad trumpet on La Dolce Vita sug- rary I Left My Heart in San Francisco, tomed to hearing melodiousness, humor, gests the offbeat character that has been Fly Me to the Moon, and More. He has and inventiveness in our scores too. But typical of Italian film composers.

Pete Fountain: "Licorice Stick." Coral 57460. $3.98 (LP); 757460, $4.98 (SD). Fountain's wanderings between diluted jazz and jazz -edged pop performances take him well over into the popular field on this disc. His clarinet concentrates on deep, dark. mellow tones as he glides through easygoing treatments of an odd assortment of tunes -tunes from the country repertory (I Lore You So Much It Hurts, Born To Lose); from the Swing Era (Tippin' In); from modern jazz In qualunque lingua solo TANDBERG offre (Gravy Waltz); from the Latin- Ameri- 'suono migliore, piu can hag ( Estrellita, Maria Elena), and chiaro, piu' naturale:' several originals. Smack in the middle of what is generally a pleasant but bland collection occurs a treatment of Ile/lo, 741`:= W-w 11w5 5ZS Dolly! that is full of swinging bounce and grace; it owes nothing to either 17114 Louis Armstrong or Carol Channing, and it achieves a distinctive attractiveness all n]n its own. A vocal ensemble adds a few touches of color to this piece and to sev- eral others. including a very effective En kiu ajn lingvo nur TANDBERG ofertas tune by Rod McKuen, called Fountain Blue. which gives the clarinetist an op- ''sonon pli bonan, pli klaran, pli naturan:" portunity to play with the special kind of warm lyricism he employs very ef- fectively. 44tit Xavier Cugat: "Plays the Music of Ernes- á4Ck thilgitt: to Lecuona." Mercury 60936, $3.98 (LP); 20936, $4.98 (SD). When Cugat was one of the pioneers of n Mt Latin -American music in the United States his style was distinguished by some identifiable hallmarks. Later his atten- Ha 111060M H3bIKe TOJ1bK0 TAHAbEPf tion veered from lush musical sounds to providing musical background for lush MO)KeT Ilpul10)KNTb BaM (Uly4lllHÑ, young ladies. As a result, his recordings have taken on an anonymous, studio - made quality which varies from good to 6011e2 I1CHbIÑ N BCTeCTBeHHbIÑ 3ByK», mediocre, depending on circumstances. Here he has produced a winner: the works of Ernesto Lecuona, one of the TRANSLATED FROM ANY LANGUAGE: most brilliantly melodious composers of popular songs in the Western hemisphere, ONLY TANDBERG TAPE RECORDERS OFFER are colorfully presented in thoughtful, BETTER, CLEARER, MORE NATURAL SOUND" imaginative arrangements. Barcelona, Malagueña, La Comparsa. Say Si Si, and . . . the last word in stereo and monaural excel- Siboney achieve a broad, wide -open lence the world over. At franchised dealers every- freshness in the hands of first -rate play- where from $208.60 to $498.00 ers. The group makes the most of the unbilled arranger's use of deep wood- ONE YEAR GUARANTEE winds, rich trombone ensembles. glitter- ing trumpets, and an all- purpose organ. o7andherg OF AMERICA. INC.. The last-named adds body to various ensembles and occasionally contributes P.O. Box 171, 8 Third Avenue, Pelham, N. Y. a well -modulated solo voice. JOHN S. WILSON CIRCLE 66 ON READER- SERVICE CARD

9)I' HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Bob Dylan: "Another Side of Bob Dy- lan." Columbii CL 2193, $3.98 1I. P): CS 8993, $4.98 (SD). now i been listenin like a reviewer gotta t bob dylan records "W* tV`- VÉ`41 " for about two years n he writes his own material jus like edgar guest n uncle josh Olt° billings used t n that's creditable Ìc some o bob's early ballads jlfjlIK7lr-M 'ICiC'IGCiC are pretty good like blowin in the wind n with god on our side but these new ones ballads that weep for the Stuart dream for example. her voice is clear, firm, ain't much that died with Bonnie Prince Charlie. and true. To the quiet strum of strings in fact most o them Few Scottish lays can survive the prettifi- she fashions a pure and lovely Lassie sound like he wrote em fast cation of the concert stage, and it is, Wi' the Yellow Coatie. But probably maybe three therefore, all the more curious that they the outstanding selections on this mar- or four find one of their finest interpreters in velous record are a melting Irish air per day Kenneth McKellar, a trained tenor who The Quiet Land of Erin -also sung with- includin bad days specializes in art songs and opera. But out accompaniment -and the eighteenth - McKellar is a Scotsman, and therein lies century English love song Robin Adair. still they come from the north the answer: he brings flaming pride and The crystalline quality of Miss Redpath's n they come from the south deep understanding to the folk songs of soprano lends a haunting, timeless aura from the mountains o his native heath. This release, in some to the ballads she has chosen. Reproduc- the grand concourse respects the most impressive of the seven tion is excellent. n the prairies o he has thus far cut for London, dis- greenwich village plays his way with a ballad to fullest ad- Corinne Bucey: "New Voice in Town." for t listen t bob's ballads vantage. He is wryly witty in The Laird Decca DL 4550, $3.98 (LP); DL 74550, even though bob don't carry o' Cockpen and charges Hey Johnny $4.98 (SD). much of a tune Cope with a boisterous, devastating An unabashed citybilly with a strong, n joan n judy satire. But it is in The Bonnie Earl of bright, appealing voice, Corinne Bucey n even peter Moray that McKellar rises to interpreta- here makes a promising disc debut. In paul n mary tive heights. To the accompaniment of style she is clearly an eclectic, and one sing em dutifully muffled drums, he sings this heartbreak- hears echoes of half a dozen performers cause bob is the laureate o the cause ingly lovely dirge to a young, handsome in her work; but, as exemplified in god help it earl wantonly slain almost four hundred You Gotta Walk It by Yourself and years ago. Here, refined by McKellar's East Virginia, she is striving to shape n now splendid tenor, is a distillate of all trag- her own approach. Miss Bucey is always whenever you buy one o edy. A superlative performance, super- interesting. and her program -ranging bob's releases latively recorded. across the broad spectrum of Anglo -Sax- columbia don't bother with on folk song- reflects a luster of its own. no album notes Jean Redpath: "Laddie Lie Near Me." A wordless chorus occasionally damages they jus fill the sleeve Elektra EKL 274, $4.95 (LP); EKS a ballad, but the singer redeems even with bob's leftover verse 7274, $5.95 (SD). those. n man that's culture In an age when most balladeers would with a capital stand mute without a guitar to extend Sergio Bruni: "My Naples." Capitol T cull their vocal range, Jean Redpath dares to 10370, $3.98 (LP). sing a cappella on many of these selec- Sergio Bruni, himself a Napolitan', spares but bob tions-and she does it with shimmering us the lachrymose bellows most other he got two problems beauty. In the title song of this album, tenors bring to the emotional melodies of small ones Naples. His versions, sunny and airy, the language he writes in preserve the bright light of the Bay and aint english the bright dispositions of those who the measures he beats out inhabit it. Listen to the tripping lilt of aint song Michelemma' (Michela Mine) and the tongue -(or tooth) -in -cheek drollery of n this kind o O Tiramole (The Dentist). Signor inverted intellectuality Bruni's Naples is a long happy jaunt from jus bores the teary backstreets of Core 'Ngrato. the hell out o me William Clauson: "Australia." Monitor MF 424, $4.98 (LP); MFS 424, $4.98 Kenneth McKellar: "Folk Songs from (SD). Scotland's Heritage." London Interna- Since his last recording, William Clau- tional TW 91331, $3.98 (LP); SW son's voice has darkened somewhat, and 99331, $4.98 (SD). some of his characteristic exuberance The glens of Scotland have produced seems to have been lost -although I some of the most magnificent ballads in suspect the melancholy nature of the the Anglo -Saxon body of traditional Australian songs in this collection ac- song: ballads that recall fierce highland counts for the change in spirit. But clans with their raids and their feuds; Clauson serves the ballads of Down ballads that lament the doomed Jacobite Under nobly here: it is, perhaps, the rebellions of 1715, 1719, and 1745; Kenneth McKellar: true Scotsman, he. best -programmed and best -sung collec-

JANUARY 1965 97

www.americanradiohistory.com tion currently available. The selections - can weave a gossamer lullaby, Ye Ke The Wild Colonial Boy, Moreton Bay, Omo Mi. A brilliant program, executed Bold Jack Donahue (in addition, of with magnificent musicianship. and of- course, to the inevitable Waltzing Ma- fered in the most strikingly successful High Fidelity Magazine tilda)- remind us poignantly that Aus- stereo sound that has ever crossed my tralia was first settled by convicts and turntable. on New Acoustech the dispossessed. The echo of those Solid State Kit: lonely, brutal pioneer days rings in Joan Baez: "Joan Baez /5." Vanguard Clauson's voice. VRS 9160, $4.98 (LP): VSD 79160, $5.98 (SD). This "... MAGNIFICENT Cisco Houston: "A Legacy." Disc DL corner has said it all before, and can only repeat it now. Joan Baez is 1 103. $3.98 (LP); DS 1 103, $4.98 (SD). the PERFORMANCE..." A troubadour of the Depression Era, finest American folk singer of our day. the late Cisco Houston brought a Her soprano is heartbreakingly pure, and big virtually heart and a mellow baritone to the every ballad she essays gains from traditional songs of America. In his her attentions. On eleven of the twelve later years Cisco devoted much of his bands of her latest release she time and talent to the songs of his old is heard at her superlative best: here is the sidekick, Woody Guthrie; so much so mixture as before -old English bal- that he has since perhaps become too lads (e.g., The Death of Queen Jane), identified with Guthrie for the viability a few current items (e.g., Birmingham Sunday), of his own reputation. The dozen selec- counterpointed by such lovely tions on this record, handsomely proc- offbeat items as We'll Go No More A- essed from original 78s, show the broad Rot'ing. But on the twelfth band Miss Baez range of Cisco's abilities. Here is fine draws a big blank: with cello a accompaniment. rendition of John Jacob Niles's Vene- she sings the aria from Villa zuela, a tender Blow the Candle Out. Lobos' Bachianas Brasileiras No. 5 Here she sa®aÏi an evocative Molly Malone. No Houston competes with the likes of Elsie Houston, Bidú Say:io, and admirer -and I speak as one -should Victoria 4 6 be without this record. de los Angeles. She loses. Stephen Cheng: "Flower Drum and Other The DePaur Chorus: "Songs of the New Chinese Folk Songs." Monitor MF Nations." Mercury 50382. $4.98 (LP); 420. $4.98 (LP): MFS 420, $4.98 SR 90382. $5.98 (SD). (SD). "...`state of the art'... A spectacular record on every count. Perhaps Chinese song with its delicious Conductor Leonard DePaur guides his dissonances will forever remain a closed one of the truly male chorus through a dazzling array book to most Westerners. But anyone of African and Israeli songs to the exotic willing to meet this exotic musical sys- accompaniment of native drums and per- tem halfway is well advised to seek out `perfectionist' units..." cussion. In Alexander. a Nigerian grass - this release. Stephen Cheng, without sac- cutting song, the Here are further comments from the Novem- African instruments rificing an iota of authenticity, manages ber, 1964 report on the new Acoustech IV capture precisely the sound of a scythe to make this marvelous program of songs solid state stereo control center kit (reprinted swishing through grass, while the voice from all the disparate corners of China with permission): of soloist James Justice limns the lot more than palatable to American ears. . harmonic distortion was literally too low of the happy, scythe -wielding prisoner. Mr. Cheng's success, I suspect, stems to be measured ... IM at the 2 -volt level was The tenor of Earl Rogers soars high not only from his considerable vocal a mere 0.05% . . These figures are among and golden above the chorus in the gifts but also from his years of Western the best ever obtained . Frequency response tender Israeli Agadat Kinneret. And the influence while studying voice in was literally a flat line over the audible range New chorus' massed voices-goaded by York. Probably . the 50 cps and 10 kc (square waves) were unconsciously-but in massed drums- strike a note of frenzy any case virtually replicas of the input test signals .. . effectively-he reaches out to- superior, professional grade construction .. . in the fifteenth- century Ashanti war wards the Western auditor. Listen to listening quality ... 'wide open,' clean, ut- chant Ose Yie. Yet the same singers Narcissus from Kwangtung Province, the terly transparent and noise free. The Acoustech IV, in a word, does credit to its designers .. . and should serve admirably in the finest of music -reproducing systems." For the complete report plus detailed specifi- cations of the Acoustech IV ($149) and its com- panion power amplifier kit, the Acoustech III ($199), mail coupon below.

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The DePaur Chorus: songs of new nations stunningly sung.

CIRCLE 1 ON READER -SERVICE CARD 98 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Some plain talk from Kodak about tape: Bias transfer characteristics and dependent parameters

Ever heard the story about the pilot does is because the sine wave input is providing you have a bias setting of on his first solo flight? Unfortunately affected by the non -linear character- about 4 milliamperes. (Curves for the the engine failed. But fortunately he istics of the gamma ferric oxides. But other magnetic parameters are simi- had a parachute. But unfortunately look closely. Note that while the oxide lar in shape and all peak at about the the chute failed to open. But fortu- performance is non - linear when taken same bias level.) Vary one milliam- nately he landed on a haystack. But over its entire length, we can find pere and you "fall off the curve" and unfortunately there was a pitchfork linearity over selected sections. In suffer severe losses in sensitivity. Now in the haystack. Except for the un- other words, we can get rid of our dis- look at the broader curve. You can happy ending, this might be the story tortion if we can put the signal on the vary a milliampere with hardly any of how gamma ferric oxides respond linear section of the oxide's character- change in performance at all. Here's to magnetic fields. Everything about istic curve. And that is exactly what the point. Kodak tape has that broad it is fortunate with one exception. bias does. It "lifts" the signal away curve. It gives you top performance Linearity. The oxide needles used in from the convoluted central area on even though your bias settings aren't the coatings have atrocious linearity the graph and moves it out to linear perfect. And if your tape recorder is characteristics. Feed in a clean, pure areas. more than a year old, then chances sine wave and out comes a non - are enough shift has taken place to sinusoidal complex waveform that NOW LINEAR we BIAS OUTPUT push you off the cliff. That's why t.a .m..l looks something like a demented snake ;;t;;t;;t;I;;l;t;'-A designed a broad bias curve. And ORIOr. trying to bite its own head off. How CNARACTERY - that's why you need it. It's just one CURVE -H IV: 21: does it sound? About as pleasant as ....TV, AUDIO OUTPUT m- ;4 more way that Kodak tape gives Junior's first violin lesson. ACOIOINPUT you an extra bit of assurance of top N. r. AC BIAS -.. , How then is magnetic recording = performance. possible? Fret not -there's a way out. __ The entire problem is solved by one wonderful, mysterious phenomenon The amount of bias (that is the cur- called bias. The transfer curves tell rent in milliamperes) applied to the story. the head is highly critical if top per-

formance is to be achieved. Bias affects SOUND RECORDING TAPE '' output, high and low frequency sen- OXIDE CHARACTERISTICS sitivity, signal -to -noise ratio and dis- CURVE tortion. This curve explains it.

AUI)IU OL1 1`L'T

--A L'DIO INPUT

The slightly twisting curve at the upper left represents the oxide re- KODAK Sound Recording Tapes sponse. The lower curve is a pure, are available at all sine wave input. At the upper right normal tape out- The steep curve represents low fre- lets: electronic supply we have the result of the response stores, specialty quency sensitivity (measured in db,) shops, department stores, camera curve on the input ... a mess. at varying bias levels for many tapes. stores ... everywhere. The reason it looks the way it Note that you get good performance ®Eastman Kodak Company, MCMLXI

EASTMAN KODAK COMPANY, Rochester, N. Y. CIRCLE 29 ON READER -SERVICE CARD JANUARY 1965 99

www.americanradiohistory.com Mongolian .S'hepherd's .Such, and the anything I have ever heard. Embedded very lovely Meng- Chiang's Sorrow from in this magnificent music are echoes of Kiangsu. harsh Hellene mountains and endless Eastern plains, of the stately towers of Odctta: "Odetta Sings of Many Things." Byzantium and the tents of Islam; even RCA Victor LP 2923, $3.98 (LP); the new colorations provided by the LSP 2923. $4.98 (SD). Western instruments hark hack to a past One of Odetta's happier faculties is the that spans millenniums and that has drawn ability to adapt her marvelous voice equally from East and West. The songs FOR ONLY to the demands of wildly varied ma- themselves represent a neat anthology terial. She can belt out a creditable of Greek popular and traditional forms, blues, and does here in Looky Yonder; ranging from Pedia Tou Pirea (the theme ORFF CARMINA BURANA IN[ /NIIADII /NIA ORCNESIUR VLADIMIR can impart a sense of gathering doom to of the film Never On Sunday), through ORNo¢IS and cloral modern cabaret songs ARON [nnduumI HOROWITZ an old Scottish hallad such as Four like Anapse To Chopin Liszt Marys; and she can even modulate for T.sigaro I Light My Cigarette) to such Rachmaninoff falsetto effects. as in the comic Froggy older folk ballads as Voskopoula (The Schumann Went A- ('ourti,t'. But in the end the most Shepherd Girl ). The thirty -voice chorus affecting hand on this nicely balanced sings with insight and Elan, but the sen- disc is OdCtta's softly lyric version of sual, haunting instrumental background BARTOR. CONCERTO Woody Guthrie's Deportees. Transpar- is the most striking aspect of this release. FOR ORCHESTRA BACH THE LEONARD BERNSTEIN WELL- TEMPERER CLAVIER ent stereo sound. Conductor Frank Desby, a lecturer in N.Y. PHILHARMONIC Book 1 Byzantine music at the University of Preludes and Fugues 1.8 "Songs and Dances of Greece." Philips Southern California, is responsible both GLENN PCC 213. $4.98 (LP): PCC 613, $5.98 for the brilliant performance and the GOULD (SD). brilliant orchestration. Superlative stereo A winsome and completely authentic sound rounds out an exotic, vivacious anthology of Greek folk dances and offering. ballads taped -more or less -in the field. Here is a cross section of a Kurt Englehof and Orchestra: " Hofbray." musical tradition rooted in the Classical Time 52133 $4.98 (LP); S 2133, $5.98 Age of 2.500 years ago. Some of the (SD). IT FREE airs on this record -for example, Anas- An unpretentious but beguiling disc out t if you join the Columbia tasia -still embody the ancient meters. of the beery retreats of 's Record Club during Present -day tavern songs and popular German -flavored Yorkville section. Oom- its 10th Anniversary bouzouki music receive due atten- pah abounds as Maestro Englehof and his Celebration! tion. as do the lighter, more sprightly men tootle through melodies beloved songs of the Greek isles. Excellent in- wherever German is spoken -Du, du formative notes and handsome packag- lieg.st mir im !ter :en . . Doktor Eisen- ing round out another worthy entry in hart . . . Guudeumus Igitttr . . Muss i CIRCLE 20 ON READER- SERVICE CARD Philips' Connoisseur Collection. The denn. My own favorite is an old German stereo sound, reprocessed from mono- Army song, Der gute Kamerad, which re- phonic originals, offers no great degree ceives a swinging, zestful treatment at NOW ...PERFECT FM of separation. Englehofs hands: it is, I think, one of the finest German band arrangements I ELIMINATE Rafael Mendez: "Mendez in Madrid." have ever heard. The liner notes end Rafael Mendez, trumpet; orchestra. with the sentence: "I do hope that you FM Decca DL 4497. $3.98 (LP); DL know the lyrics to these sixteen great INTERFERENCE! 74497, $4.98 (SD). songs." if you don't, you're out of luck Rather syrupy arrangements of Spanish because Time doesn't bother to provide With the Sensational bullfight music cannot quite choke the them. The review disc suffered from a big. golden tone of the Mendez trumpet. mild preecho, but sparkles in every other The Mexican soloist blazes through sonic respect. New.' Falco La Virgen do la Macarena, E.spaiia euiii, FM BAND PASS FILTER and El Gato Monte.s with the style of a Red Arniy Ensemble, Vol. 30. Col. Boris matador executing a classical Mena. The Alexandrov, cond. Angel 36206, $4.98 r orchestra. large and overblown, doesn't (LP): S 36206, $5.98 (SD). help, but these pasodobles were written This formidable battery of singers and with the blare of trumpets in mind and instrumentalists -surely the finest mili- FINCO J nobody can cross horns with Mendez tary musical assemblage ever recorded in this arena. Broad, deep stereo sound -opens its program with a blazing La with the trumpet brightly delineated in Marseillaise which epitomizes the group's the foreground. many excellences. With massed brass ENGINEERED TO sounding Rouget de Lisle's magnificent Byzantine Choral and instrumental En- call to battle, the chorale rises strong and Get only pure FM signals. Use a semble: "A Choral Festival of Greek true and full above the hand. The Rus- Finco FM Band Pass Filter to stop Folk Songs." Frank Desby, cond. By- sians sing a flawless French, perfectly interference and block out un- zantine Society Records 10003, $4.98 enunciated. and the hushed pianissimo of wanted signals from T.V., Citizens (SD). (Available from Greek Sacred their "marchons, marchons" following the Band and Amateur transmitters, and Secular Music Society, inc., 1324 vivid alaruni of "Aux armes, citoyens" motors, autos and fluorescent South Normandie Avenue, Los An- is a stunning tour de force of choral dy- Size: x x lamps. 41/4" 2" 11/2". namics. Nor does the program flag there- Available at your Finco Hi -Fi geles 6, Calif.) dealer. Satisfaction guaranteed! This collection of Greek songs ranks as after. Soloist Konstantin Gerasimov one of the most captivating records of shines in a stirring sailor's song. The Model 3007 Only ;6.95 List the year. The Byzantine Ensemble, a Variag, and Alexei Sergeyev -a basso Los Angeles group, has blended orchestral in the robust Russian tradition -also THE FINNEY COMPANY instruments such as flute, oboe, and Eng- provides two memorable solos. We are 34 W. Interstate St. Bedford, Ohio lish horn with the traditional bouzouki, unlikely ever to hear these military and kymvallon, and santouri to obtain a patriotic songs better sung. sinuous, intoxicating sound quite unlike O. B. BRUMMELL CIRCLE 36 ON READER- SERVICE CARD

I (111 HKai FIDELITY MAGAZINE

www.americanradiohistory.com Kenny Ball: "Plays for the Jet Set." ton session. Of Duke's major soloists, best on the title tune, using passages Kapp 1392. $3.98 (LP): S 1392, only Johnny Hodges seems unable to which are almost direct copies of Ornette $4.98 (SD). take a strong attitude towards the mate- Coleman. When Lloyd and Szabo are This six -piece English band is capable rial. The piano player himself is content playing ensemble passages on this tune of a wonderful slam -bang attack when to stay in the background. Taken as a and on Mallet Dance, the quartet creates it has the opportunity to cut loose. whole, the disc suffers from the fact a very valid and distinctive sound. Stin- Ball is a trumpeter who plays with that the tempos are relatively unvarying son is of the guitar -strumming school of tremendous exuberance, both open and and the general design of the arrange- bassists, and brings a great deal of muted. and backed by the solid momen- ments quite similar throughout. Several sinuous rhythmic strength to the en- tum of his banjoist, he drives his group of these performances would stand out semble. Hamilton, however, is the dom- to some very exciting ensemble work. in a program of differing selections, but inant rhythm man -a bit too dominant On this disc. the band is somewhat taken all at once even the good ones at times for. although he builds tremen- limited by gimmickry -all the tunes tend to diminish in significance. dous velocity with his persistently slam - have geographical titles (The Road to bang attack. it eventually becomes wear- Mandalay, Slow Boat to China, From Bob Florence: "Here and Now!" Liberty ing. Particularly on Child's Play and Russia with Lore, White Cliffs of 3380, $3.98 (LP); 7380, $4.98 (SD). Lore Song to a Baby, the two relatively Dover). But even though some of these Florence has been writing strongly swing- gentle selections in this gut- driven pro- pieces possess an inherent placidity which ing arrangements for Harry James, for gram, a little lowering of the drum Ball and his colleagues cannot trans- Si Zentner, and for his own West Coast dynamics would have been welcome. form, they manage to catch fire glori- studio band for several years. He has ously on Brazil, Alabama Jubilee, The shown himself to be one of the least Ted Heath and His Music: "The New Road to Mandalay, and Hawaiian War cliché -ridden of contemporary big -band Palladium Performances." London Chant (spurred in the last by a brilliant arrangers. The eight pieces he has re- 44046, $4.98 (SD). stop -time solo by Ball, who also man- corded in this set not only confirm this The mixture of musical showmanship ages to work King Oliver's famous Dip - reputation, but indicate further that he is and solid big -band swing that was char- permouth riff into the ride -out ensemble). a fresh and imaginative writer. These acteristic of the Ted Heath band during Such rollicking excursions are consider- arrangements result in some driving big - its heyday at London's Palladium in ably livelier than the normal under- band performances (spiced with stirring the Fifties is caught in heightened form takings of traditional jazz groups: they tenor saxophone solos by Bob Hardaway on this new stereo recording using Lon- contribute towards making this set of and Bill Perkins), as well as several don's Phase -4 technique. Playing before more than passing interest. pieces which are unusually reflective for an invited and properly enthusiastic a band of this type. Florence makes an audience. Heath has revived some Duke Ellington and His Orchestra: "Mary interesting use of long, sustained lines of those favorites of his Palladium days Poppins." Reprise 6141, $3.98 (LP); in his arrangement of Dream, and he which lend themselves to wide -range 9 -6141, $4.98 (SD). ventures into fugue construction in reproduction. Most of them are special- Nothing. it appears. is beyond Duke Fughetta. Here and Now is a relatively ties for individual musicians in the band Ellington. One of the last scores one long piece involving some exotic en- -bassist Johnny Hawksworth on Bass might expect him to choose as material semble voicings and tempo changes; it in the Hole and on a wild and mag- for his band is that of Walt Disney's provides interesting settings for a strong nificently disorderly treatment of Holi- filin Mary Poppins. It is scarcely suit- tenor saxophone solo as well as for day for Strings; clarinetist Henry Mac- able Ellington fodder, but that makes Florence's own dark -toned piano. Flor- kenzie, who plays with precision and very little difference: once the Ellington ence proves that there really is such a neatness on Send for Henry; an unbilled men put their distinctive stamp on a thing as contemporary big -band swing, trumpeter on Memories of You; and a piece. it becomes their property no a genre not dependent on third- stream similarly situated pianist on Lullaby of matter what its source. Tune after tune ideas or modern small -group styles but Bird /and. The full band gets its chances on this disc (and a pretty routine lot stemming directly from the big bands to cut loose on The Man I Love, Flying they seem to be) is transformed by the of other years. Home, and 01' Man River. Heath's vital Ellington personalities- Cootie Wil- band always had a magnificent ensemble liams growling belligerently on his Chico Hamilton: "Man from Two sound, even under "old" recording condi- trumpet, Russell Procope strolling through Worlds." Impulse 59, $4.98 (LP); tions. and it glitters more brightly than the warm chalumeau register of his S 59, $5.98 (SD). ever in the Phase -4 setting. clarinet. Harry Carney building a line This is the quartet in which Charles of rugged solidity with his imposing Lloyd (now with Cannonball Adderley) Gershon Kingsley: "Mozart After Hours." baritone saxophone and, in particular, played tenor saxophone and flute, with Vanguard 9175, $4.98 (LP); 79165, Lawrence Brown, who produces some Gabor Szabo on guitar and Albert Stin- $5.95 (SD). of the broadest, juiciest wah -wah trom- son, bass. It works quite close to the Now that Bach's music has been ex- bone passages to come out of any Elling- "new thing" idiom and, in fact, is at its tensively probed as a jazz source, it ap-

JANUARY 1965 101

www.americanradiohistory.com pears that Mozart is next up (the Swingle Stuff Smith. To c +iscover him in this con- SAVE MONEY on Singers. who started the Bach fad, will text. unheralded, is an exhilarating ex- NATIONALLY deal with Mozart in their next album). perience. The opening gun is a lighthearted but ADVERTISED BRANDS extremely skillful hit of playfulness or- The Modern Jazz Quartet ganized in Vienna by Kingsley, with Laurindo Gershon Almeida: "Collaboration." HI-FI who has written arrangements of Mozart Atlantic 1429. $4.98 (LP); SD 1429, $5.98 themes for a jazz rhythm section, a wood- (SD). wind quintet drawn from the Vienna COMPONENTS The Modern Jazz Quartet State Opera Orchestra, and his own and guitarist Laurindo Almeida unite harpsichord. Drawing upon excerpts from points of view that are quite similar. John Lewis TAPE , Don Giovanni. The has led the MJQ into jazz areas in which Marriage of Figaro, the Piano Sonata in he could use such formal devices as RECORDERS A, and the Symphony No. 40 in G minor, the fugue, while Almeida, basically a clas- this prankish group has produced a lively sical musician, has achieved some his set of performances which, aside from of WI major successes in jazz settings. their innate gaiety, are noteworthy for In his experimentation with jazz sambas a dec- their evidence that these players are real ade ago, Almeida became inadvertently swingers. Not as much can be said for TAPES, a pre -bossa -nova bossa novan. Maureen Forrester, who contributes some Playing ACCESSORIES with the Quartet. he adds an enlivening rather formal vocalizing on two pieces. LEARN KITS touch to three of John Lewis' SLEEP The Vienna Akademie Choir tries its composi- tions-Silver. Trieste, and Valeria MERITAPE hand at some "dooby -dooby -do" singing -and the Quartet in turn seems to find a re- Top Quality Recording Tape in the Swingle manner on a pastiche juvenating effect in joining Almeida on called A Little Night Jazz. but it too Franchised Distributors a pair of bossa novas. The includes shows where its roots are. Those wood- disc Factory Sealed Cartons two classical works, Bach's Fugue in A winds, though- they're something else! Up to 2 yrs. Mfgr. Warranty minor and the slow movement of Joaquin Rodrigo's Concierto de Aranjuez. Both the Bohemian are pieces that lend themselves here to Write for our Ramsey Lewis Trio: "At interpretations which swing persuasively VERY LOW QUOTATIONS Caverns." Argo 741, $4.98 (LP). Lewis' trio has developed its stylized even though the approach is essentially "straight." FREE CATALOG attack to what would seem to be a peak. It is polished, suave, showmanly, imagi- native, and poised at that delicate point Jelly Roll Morton: "Stomps and Joys." DRESSNER at which it could be reduced to caricature RCA Victor LPV 508, $4.98 (LP). by carrying things one step farther. This Victor, which has previously reissued 1523 Jericho Tpke. New Hyde Park 32, N.Y disc shows the group going through its early records by Jelly Roll Morton's Red Visit Our Showroom paces with the assurance and brilliance Hot Peppers. has finally come forth with CIRCLE 27 ON READER- SERVICE CARD that come from years of working to- the band's later works (1928 -30) on gether. They do a West Side Story med- microgroove. Morton was recording with ley which glistens with lush romanticism some oddly assorted groups at this time - and sparkles with swinging excitement. Wilbur De Paris, Rubber Miley, and A pizzicato cello contribution by Eldee Cozy Cole turn up on some sessions - Young proves to be a real rouser. and but the distinctive Morton stamp shines Lewis polishes Fly Me to the Moon to through all these performances. Besides the highest luster. It is all very calculated the band recordings, there is a piano solo and very precisely conceived -an ap- (Seattle Hunch), a trio performance proach viewed with horror in some jazz (Shreveport Stomp with Omer Simeon circles. But it is a pleasure to hear a and Tommy Benford), a quartet (the plan executed with so great a degree of same group with trombonist Geechy skill and aplomb. Fields added on Mournful Serenade), T and two selections on which Morton ac- t Gunnar Lidberg: "A String of Scan- companies singer Lizzie Miles. In these dinavian Pearls." London 91354, $3.98 varied settings, Morton's unusual abilities I (LP): 99354, $4.98 (SD). as a pianist are made strikingly apparent. FREE These Scandinavian pieces are, ostensibly, Not only does his very individual playing folk tunes. played by a group of young style form the cement that holds the Swedes (Lidherg is a violinist. the other band selections together, but he is a members of the group play vibraphone or superb accompanist for Miss Miles (on organ. guitar, bass, and drums). But to I Hate e, Man Like You, in fact. the these modern musicians. jazz is as basic delightful things he composes behind her a part of their musical outlook as the attract more attention than her singing). Fill in coupon for a FREE One Year Sub- folk idiom: and so. though they approach His solos are, with amazing consistency, scription to OLSON ELECTRONICS' Fantas- the graceful melodies with fondness and real events. This disc provides convincing tic Value Packed Catalog - Unheard of LOW, LOW PRICES on Brand Name obvious feeling, they also bring to the evidence that Morton's stomps and joys Speakers, Changers, Tubes, Tools, Stereo performances something of their contem- are among the happiest treasures of jazz. Amps, Tuners, CB, Hi -Fi's, and thousands of other Electronic Values. Credit plan porary viewpoint. As a result, these are availablC. often brilliantly swinging renditions in Orchestra US.A.: "Jazz Journey." Co- NAME the jazz sense -brilliant not only because lumbia CL 2247, $3.98 (LP); CS 9047, ADDRESS of the quality of the improvisation. but $4.98 (SD). because of the degree of subtlety with Orchestra U.S.A. is the thirty -piece group CITY ZONE STATE which it is accomplished. Only the slight- organized in the fall of 1962 by John If you have a friend interested in electronics est little nudge prods the group out of Lewis to play a repertory ranging from send his name and address for a FREE sub- scription also. strict tempo into the purest kind of jazz early classical music to freshly minted groove. Although all the musicians quite jazz, with considerable emphasis on a very naturally in this middle -ground fusing of forms. This disc OLSON ELECTRONICS, INC. obviously move milieu, Lidherg stands out consistently. leans strongly to the jazz side of the is a superb jazz violinist who can be repertory -and fairly unalloyed jazz at 341 S. Forge Street Akron, Ohio 44308 He ranked with Eddie South, Joe Venuti, or that. Four selections conducted by Harold CIRCLE 56 ON READER -SERVICE CARD 102 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Farberman, which make up one side of Just one of the deluxe the disc, emphasize a jazz orientation not only through the composers-Lewis, sets being offered during Benny Golson, Arif Mardin, and Miljen- ko Prohaska (bassist in the Zagreb Jazz COLUMBIA RECORD CLUB'S Quartet) -but through the presence as BULLSEYE! 10th Anniversary Celebration soloists of Coleman Hawkins and Lewis. Surprisingly, it is the latter who provides You'll Score the jazz strength in these performances. BIGGER MUSSORGSKY'S Hawkins' tenor saxophone although SAVINGS brings a great sense of authority to the Boris two pieces on which it is heard. The Everytime You Buy From other side of the disc is given over Godunov Into Jazz, a long, entirely to Journey "DIXIE HI -FI" Starring ponderous, Peter-and -the - Wolf -ish narra- tive with music about a small boy's at- GEORGE tempts to learn to play jazz. LONDON Largest discount High Fidelity Sahib Shihab: "Summer Dawn." Argo in 742, $4.98 (LP). component distributors the Like several interesting LPs by groups South. Wholesale prices on under the leadership of Francey Boland package or individual compo- this set was produced and Kenny Clarke, nents. Latest models in factory CLASSICAL in Cologne by Gigi Campi. Boland and Clarke are both present, but the main sealed cartons shipped imme- RECORDS emphasis is on Swedish trombonist Ake diately from our warehouse. Persson and on Shihab, who plays both 9 flute and alto and baritone saxophones. Special attention given to Audio Clubs, Churches and Schools. 5 Previous Campi- Boland -Clarke sessions have been notable for their inventiveness, and the same characteristic holds true For Special Price Ouote -Write FOR ONL for the present disc. Even when Shihab plus an and Persson engage in long solos, they adjustable are backed by provocative rhythm figures DIXIE RECORD RACK FREE and surrounded by changing tempos. FIDELITY WHOLESALERS IF YOU JOIN NOW! Four of these five relatively long selec- HI tions are better than average perform- 703 HORTON DRIVE SEE PAGES 6 & 7 ances, thanks to the individual skills of SILVER SPRING, MD. the players mustered. But the gem of the CIRCLE 26 ON READER -SERVICE CARD CIRCLE :0 ON READER -SERVICE CARD set is a charming and catchily rhythmic piece on which Shihab (on flute) and Persson play a series of solos and duets that, cumulatively, create a mood piece Business and which is delightfully light and airy. pleasure mix in Roosevelt Sykes: "Hard Drivin' Blues." Delmark 607, $4.98 (LP). CINCINNATI Sykes is a veteran blues singer and pian- Victory Parkway at Taft Road ist who is, happily, still in his prime as a performer. He is not consistent and he The Resort Motor Hotel only 5 minutes has very uncertain taste in choosing his from downtown ... After your business material. But when he is in good form, as he is about half the time on this day relax in pleasant surroundings . . . disc, he displays the kind of vigor and authority that have not been heard TV and air-conditioning, three fine from a blues singer since Big Bill restaurants, two cocktail lounges, Broonzÿ s death. He has the resources to produce a richly glowing blues tone temperature controlled swimming pool when he wants to, his phrasing and in- flection are beautifully executed, and he and, of course, accompanies himself with a simple but FREE PARKING propulsively effective piano style. His Meeting and banquet facilities. performances of Red -Eyed Jesse Bull, Living the Right Life, and New Fire Tel. 961-7600 splendid examples 4Prtgk1'.eG 4 Detective Blues are of sikTWX 513-577-1605 the blues singer's art, while his Ho! Ho! Ho! has a good -time feeling that reveals another aspect of his skill as an enter- tainer. JOHN S. WILSON

CIRCLE 6 ON READER -SERVICE CARD JANUARY 1965 1113

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Roberts 2 -speed e ; ectrically- switched capstan drive them and listen to them at your Roberts Dealer now. motor, the heavy -duty drive you can rely on. It has Or write direct to us for details. our perfect 100 -micro- inch -gap recording head, long- lived, resin -sealed and shock -resistant in an Roberts Electronics, Division of Rheem Mfg. Co., MU metal case protected by a tape lifter. 5922 Bowcroft St., L.A., Calif. 90016. Dept. HF1 As for sophistication, the Model 1630 has auto- matic shut -off, 3 -digit index counter, 2- channel VU meter, pause lever, record interlock, track selector ROBERTS separate Left & Right Channel volume and switch, In Canada: J. M. Nelson Electronics, Ltd.. 2149 Commercial Drive. Vancouver 12, B.C. Prices slightly higher in Canada. CIRCLE 62 ON READER- SERVICE CARD 104 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The following reviews are of 4 -track edition of the Op. 80 Fantasia proffers French -sounding and the conductor's ap- 7.5 -ips stereo tapes in normal reel form. what is likely to be their first encounter proach seldom suggesting the authentic with one of the most peculiar works in Gallic grace and piquancy which Sir BACH: Organ Works the Beethoven repertory. Fascinating in Thomas Beecham so successfully cap- every detail. if scarcely satisfactory as a tured in his 1960 Capitol recording (later Prelude and Fugue in D. S. 532: Trio somewhat amorphous whole, it is partic- issued as an Angel tape). If, on the other Sonata, No. 6. in G, S. 530; Fantasia ularly illuminating for its revelatory hand, you don't demand a "French" and Fugue in C minor. S. 537; Chorale - hints (in the opening section for solo Carmen, you will find substantial' re- Prelude, "Alle Menschen müssen ster- piano) of Beethoven's own improvisatory wards here. While Leontyne P'rice's en- ben," S. 643; Toccata and Fugue in F, style; it gives indications, too, of his pre- actment of the title role is uncertainly S. 540. liminary approaches to the notion of a integrated, her vocalism is virtuoso chorale finale for the Ninth Symphony. throughout and at its best magnificent; Virgil Fox, organ. Needless to say, Serkin plays his vital Franco Corelli's Don José is also vocally COMMAND 11022. 40 min. $7.95. part with characteristic authority and de- impressive in its Italianate style: Mirella clamatory eloquence, but the Westminster Freni's Micaëla is wholly charming: and It doesn't seem to matter much what in- Choir sings somewhat tentatively and the choral and orchestral performance strument Virgil Fox chooses for record - Bernstein conducts with more enthusiasm under Von Karajan is polished in every ing-as long as it's a big one. Whether than care. The performance achieves detail. it's the new Aeolian- Skinner organ in considerable dramatic effectiveness, but When we turn from interpretative to Philharmonic Hall, Lincoln Center: the sadly lacks the necessary contrasts of technical considerations, there is no rebuilt monster in the Palais de Chaillot, more restrained expressiveness and any ambivalence whatever: this is a superbly Paris: or his "home" Aeolian- Skinner or- true pianissimos. expansive and plastic recording (non - gan in New York City's Riverside Much the sanie overemphases, allied Dynagroove, by the way) of extremely Church (which he plays here, as he often with Bernstein's tendency to drag. mars wide dynamic range, with some excep- has before in lighter programs for Capi- the effectiveness of Serkin's muscular, tionally fine pianissimos and consist- tol) -he makes the most of pedal pro- sometimes too vehement playing in the ently effective stereoism. Apart from a fundities and over -all sonic massiveness great C minor Concerto. There is, too, a very few and slight preëchoes, the tape and power. Such grandiloquent "sym- somewhat excessive reverberation in the processing is first -rate too. although there phonic" organ playing. which employs expansive stereo recording which adds to are problems of reel -side distribution, very little of the instrument's potentials the effect of heaviness. There is no seri- including a particularly disconcerting for varied timbres, leaves me lukewarm ous challenge here to the preeminence of break between Sides 1 and 2. Over -all, at best; in the Bach repertory it seems in- the Fleisher /Szell Epic taping of July this must rank high among impressive tolerable. For other tastes, of course, 1963; yet the present reel will interest opera recordings, especially in terms of Fox's performances here, as elsewhere, Beethovenians because of its inclusion of executant and sonic excitement. will be tremendously exciting. Technical- the too seldom heard Fantasia. ly, the reel is outstanding for panoramic breadth, dynamic impact, and the robust COPLAND: Rodeo: Four Dance Epi- solidity of its low -frequency sonic sub- BIZET: Carmen sodes; El Salón México; Danzon stratum. Cubano Leontyne Price (s), Carmen; Mirella Freni (s), Micaëla; Franco Corelli (t), Minneapolis Symphony Orchestra, Antal Don José; et al.; Vienna Boys Choir; BEETHOVEN: Fantasia for Piano, Dorati, cond. Chorus, and Orchestra, C, Op. Chorus; Vienna in MERCURY STC 90172. 36 min. $7.95. 80; Concerto for Piano and Orches- Philharmonic Orchestra, Herbert von tra, No. 3, in C minor, Op. 37 Karajan, cond. RCA VtclOR FTC 8009 (two reels): If I remember rightly, it was Dorati Rudolf Serkin, piano; Westminster Choir approx. 87 and 74 min. $21.95. (with the Dallas Symphony) who was (in the Fantasia); New York Philhar- the first to record the Rodeo episodes monic, Leonard Bernstein, cond. It you insist on essentially Gallic in- towards the end of the 78 -rpm era. Un- COLUMBIA MQ 638. 55 min. $7.95. sights into Bizet's music as he originally questionably, his Minneapolis versions of conceived it, you will, I'm afraid, find For most tape collectors this initial reel the present cast never idiomatically Continued on next page

JANUARY 1965 105

www.americanradiohistory.com THE TAPE DECK Leinsdorf's and Miss Curtin's Wozzeck excerpts also are ably. if less excitingly Continued from preceding page done, but to my mind these are tanta- Why? lizing snippets from an opera that should both this ballet and the no less rowdily be heard in its entirety or not at all. DO THOUSANDS OF HI -FI dashing and wryly nostalgic evocation of a Mexican dance hall have ranked ENTHUSIASTS BUY FROM as leading Copland discs ever since their MOZART: Divertimento for Strings first appearance in 1958. It's remarkable and Two Horns, No. 10, in F, K. AUDIO UNLIMITED how well both readings and recordings 247; Quintet for Clarinet and stand up in this belated tape transfer: Strings, in A, K. 581 Dorati's coolly controlled muscular verve It's Obvious! is still impressive despite some obvious Members of the Vienna Octet. LOWEST PRICES overemphasis, and so too is the rawhide LONDON LCL 80145. 59 min. $7.95. FAST SERVICE quality of the sound, for all its occa- FACTORY SEALED UNITS sionally coarse stereoism. Even so, these Only the second of Mozart's diverti- FULLY INSURED SHIPMENTS versions must yield first place now to mentos to reach tape, the present K. UP TO 2 YEAR MANUFACTURERS' Bernstein and Columbia: Rodeo (coupled 247 contrasts usefully with the Szell /Epic WARRANTY with Billy the Kid) in MQ 397 of K. 131 of last September. It is given PACKAGE DEALS -SAVE MORE 1961; EI Saló,: México and a strictly chamber music performance FRANCHISED DISTRIBUTORS December Appalachian a Your opportunity to win a VESPA Danzo,, Cubano (with (with single instrument to a part) 1963. than of orchestral propor- SCOOTER - except where prohibited Spring) in MQ 559 of October rather one by state or local law. tions. Dating from Mozart's twentieth Write today. year, the six- movement work is engag- MAHLER: Symphony No. 1, in D ingly characteristic of his "occasional" ( "Titan ") music -the particular occasion in this Write for FREE Catalog Today case being a birthday of the Countess SEND US YOUR LIST London Symphony Orchestra, Georg Lodron, sister of the Archbishop of Salz- The two horns have some delec- FOR OUR AIR MAIL Solti, cond. burg. LONDON LCL 80150. 54 min. $7.95. table passages: the string quartet sings QUOTE TODAY alone in the gravely expressive Adagio; and the prominent-sometimes almost Visit Our Showroom and Warehouse No. in C MAHLER: Symphony 5, concertolike -first violin part is ex- sharp minor quisitely played by Anton Fietz. AUDIO unlimited, inc. tBerg: Wozzeck (excerpts) The decisive appeal of the present 715F Second Ave. (Nr. 38) New York 16, N.Y. reel, of course, rests in its major work - 3 blocks from the U.N. Phyllis Curtin, soprano (in the Berg); the incomparable Clarinet Quintet, which Sacred Heart Boychoir (in the Berg); we have had on tape before only in the CIRCLE 12 ON READER -SERVICE CARD Boston Symphony Orchestra, Erich early stereo Concertape version by Regi- Leinsdorf, cond. nald Kell and the Fine Arts Quartet. The RCA VICTOR FTC 7007 (double- new Viennese version is, interpretatively play). 84 min. $14.95. at least, more complementary than di- Ng", rectly competitive: soloist Alfred Bos- ooks et al Since Columbia has not seen fit to pro- kovsky and his colleagues play with less vide a reel edition of Bruno Walter's romantic fervor, but with more restraint, assemble a Mahler First, and the 1959 Boult /Everest lyrical delicacy, and purer if less richly Don't taping now seems to be out of print, nuanced tonal coloring. Clarinet and high fidelity system Mahlerians dissatisfied with the high - strings are more equably balanced and tensioned Leinsdorf RCA Victor taping integrated too, with less suggestion of until you have read of June 1963 have had to wait until now a soloist -with- accompaniment approach. for a really satisfactory version of the The older recording still stands up re- Allison's HIGH FIDELITY so-called Titan Symphony. Solti's reading markably well, but it can scarcely match USER'S is more relaxed and plastically contoured, the superb translucency of this one. SYSTEMS -A far more compassionate than Leinsdorf's, GUIDE. yet it is never lacking in muscular strength either. Sonically, it is superior ROSSINI: La Cenerentola Everyone can benefit from it, but if you think by an even wider margin; vivid and you're too advanced for "the best basic book lucid as was the Dynagroove technology, Giulietta Simionato (ms), Cenerentola; Bruscan- now available on high fidelity" (the quote what may be heard here is far more Ugo Benelli (t), Ramiro; Sesto et al.; Chorus and is from Electronics Illustrated), read Villchur's atmospherically radiant. And, like the tini (bs), Dandini; itself Orchestra of Maggio Musicale Fioren- more technical Reproduction of Sound in addi- earlier release, the tape processing is quiet- surfaced and preëcho- tino, Oliviero de Fabritiis, cond. tion. This is the book that was reviewed in admirably free. LONDON LOR 90084. Two reels: Esquire as "for and away the best introduc- Leinsdorf is better served by his en- approx. 71 and 74 min. $21.95. tion to the subject ever written." gineers in the hitherto untaped Fifth Symphony. The robust recording makes I am not quite as disturbed as Conrad ACOUSTIC RESEARCH, INC. the best of the now familiar spectroscopic L. Osborne was (in his disc review of 24 Thorndike Street. Cambridge, Mass. 02141 qualities of Dynagroove and impressively last September) by the recording idio- Please send me Allison's High Fidelity SyStems- enhances the dramatic effectiveness of syncrasies here, although I must agree A User's Guide for $1.00. the uniquely Mahlerian scoring. Here that the technological approach differs Please send nie Villchur's Reproduction of Sound too the conductor seems both more per- markedly from previous Decca /London for $2.00. sonally involved in the music making operatic practice in its closer auditory Please send me the AR needle force gauge (the and less tempted to italicize details. And perspective strangely combined with same one supplied with AR turntables) for $1.00. if the many vigorous passages still come rather too much reverberation. But I enclose S in cash or check only. off better than the introspective ones (the while this is indeed a "noisy" Ceneren- NAME romantically songful Adagietto falls tola, its title role is sung so beautifully somewhat short of its maximum poign- by Giulietta Simionato, Ugo Benelli ADDRESS._ ance), there is a genuine gusto and proves to be so happy a lyric tenor dis- humor in the exhilarating finale. covery, De Fabritiis conducts with such CIRCLE 2 ON READER -SERVICE CARD I U6 HIGH FIIEI ITY MAGAZINE

www.americanradiohistory.com relish, and the music itself is so con- sistently entrancing that I'm bewitched COMING in January on Audio Spectrum .1 TRACK what are perhaps less into forgiving THE MOST ASTOUNDING SERIES EVER PUT ON TAPE 772 IPS technical flaws than lapses in techno- logical tastefulness. PIPE ORGAN Monty Kelly SOLER: Six Concertos for Two Key- Orchestra boards Ast. 210 PIPE ORGAN Anton Heiller, organ and harpsichord; Swing Dance Bands Erna Heiller, harpsichord. Ast. 211 47 min. VANGUARD VTC 1689. PIPE ORGAN $7.95. Best of American Theatre Sonically, this is so singularly intriguing Ast. 212 a release that its circulation should not be limited to specialists in the baroque. PIPE ORGAN While these so- called organ concertos Sousa Marches X495 (actually they are two -keyboard sonatas) Ast. 213 by Padre Antonio Soler (1729-83), a younger contemporary and possibly pupil UNPARALLELED most difficult audio -musical projects ever of Domenico Scarlatti, are charming One of the Dimension and Fidelity rather than particularly substantial, the attempted. The mighty Wurlitzer interscored and duplicated on 3M tape Astounding range highly stereogenic performances on two mixed with a 60 piece orchestra. The mighty theatre organ has one harpsichord and a in a kaleidoscope of orchestral and organ colors. always been a challenge to harpsichords, or recording engineers. After flutey little positive baroque organ, are an exhaustive study of the a sheer aural delight throughout. And King of the instruments, AUDIO SPECTRUM engineers one's sense of precision is equally well and orchestrators, not only pleased by the exceptional unanimity, to capture the breath -taking WRITE dimension of the World's say nothing of the exquisite balancing great theatre organs but of antiphonal passages, of the husband - FOR have achieved the impossible of interscoring live "pops" and -wife team's performances. CATALOG orchestras to add depth and a myriad of colors to these programs. TCHAIKOVSKY: Symphonies: No. 4, in F minor, Op. 36; No. 6, in B MILLER INTERNATIONAL CO., DEPT. HF -15 RUNNEMEDE, N.J. minor, Op. 74 ( "Pathétique ") READER -SERVICE CARD London Symphony Orchestra, Antal Do- CIRCLE 53 ON rati, cond. MERCURY STP 90312 (double -play). 85 min. $11.95. Eager to sell, buy or swap used How far wrong high fidelity speakers, amplifi- There's excellent value for one's money ers, cartridges, turntables, tun- in this convenient coupling, and al- ers, records, etc.? Turn to our though these recordings aren't the only can you go monthly bulletin: The BUY - four -track versions that avoid mid -work SELL -or - SWAP NEWS- side breaks, they are the only ones of LETTER. recent, thoroughly satisfactory sonic a however, this for Si year? If you want to SELL -classified qualities. Interpretatively, and Fourth doesn't come close to achieving listings of used equipment the momentum and dramatic impact of records cost only $I per ad- version (re- limit 30 words including name the Steinberg /Command ads viewed here in December). Dorati's and address. No dealer reading of the Pathétique has more dis- accepted. tinction: it is consistently songful and If you want to BUY -lots of restrained, and often highly graceful, if bargains offered in the 50 or seldom as somberly passionate as many more ads that appear here every listeners demand in the first and last month. Subscription price: only movements -and as they can find on $1 a year! tape probably only in the Ormandy ver- sion for Columbia. If you're audio-minded, how far wrong can you go for $I? Fill in and mail the form below today! LES TROUBADOURS DU ROI BAUDOUIN: Missa Luba; Congo- lese Folk Songs (7) HIGH FIDELITY, Dept. CE Enclosed is my payment for $ Great Barrington, Mass. Insert the following 30 -word adver- Les Troubadours du Roi Baudouin, Start my annual subscription to your tisement (including name and address) in Guido Haazen, cond. BSS Newsletter with the next issue the next issue of the BSS Newsletter. PHILIPS PTC 606. 29 min. $7.95. (Only $1). (Type or print plainly.) ($1) Name Except in a few essentially pop programs - - by Olatunji and Makeba, there has been Address _ little in the tape repertory to match City State Zip Code Continued on next page

JANUARY 1965 1(17

www.americanradiohistory.com THE TAPE DECK European reading. Curiously, though, neither of these involves true two -piano Continued from preceding page idioms: for the most part the two pian- ists simply alternate in playing (now the novel impact of the ostinato- rhythmed from the left, now from the right) the chanting and jungle percussion playing original solo -piano passages. There is in the seven folk songs here. And prob- somewhat more antiphonal and com- ably there is nothing anywhere to corn- bined pianism in the overside Canadian oi pare with the almost preposterous com- and Brownstone Concertos by Claus bination of primitivism and sophistica- Ogerman and Larry Coleman respec- tion in this improvisatory folk Mass. tively; but while the clean performances It is a genuine musical curio that perhaps and recordings are just as good here, the few listeners will want to repeat often, musical materials (Coleman's in particu- but the tape should certainly not be lar) lack any marked distinctions. missed by anyone at all interested either in folk music as such or in the relation- ship between freely improvised and for- "Fade Out, Fade In." Original Cast Re- mally planned tonal creativeness. Father cording, Colin Romoff, cond. ABC Haazen's chorus consists of forty -five Paramount ATA 840, 46 min., $8.95. Record it for life! boys and fifteen native teachers from If you're a Carol Burnett fan and espe- the Congolese Kamina Central School, cially if you've seen her latest starring and the accompanying ensemble (drum- vehicle on the stage, you probably won't mers and raspers) plays with infectious be bothered much here by the general relish. But I am not as impressed by lukewarmness of the Comden Green the recording itself as most of the disc lyrics and music -or, for reviewers have been. The electronic that matter, by somewhat thin and not reprocessing of a monophonic original particularly stereogenic recording. At has been achieved effectively enough least there's Miss Burnett, and she is well (if with no marked stereogenics) and supported in several duos by Jack Cas- there is no loss of clarity, but to my sidy. Even better is her collaboration ears the over -all sonic qualities seem with Tiger Haynes in the most distinctive rather dry and hollow with a suggestion number in the score: a mannered yet of some echo -chambering. nonetheless amusing take -off on the one- time famous song- and -dance duos of 77 STEREO COMPACT Shirley Temple and "Bojangles" Robin- Enjoy full fidelity perform- son. If only there were a few more such "America on the March." Robert Sharp - moments to redeem this deftly contrived ance on every occasion less and His Band. London LPL but unexciting show! with this low priced mono 74033, 30 min., $7.95. and stereo tape recorder. First prepared some years ago for the So easy, so simple to use Phase -4 spectaculars "Pass in Review," "Getz /Gilberto." Stan Getz, saxophone; "Victory in Review," and possibly others, vocals; it's a "top value" for the Joiio Gilberto, guitar and entire family. these Sharpless arrangements of several Antonio Carlos Jobim, piano. Verve Sousa, service, and other favorite Ameri- VSTC 317, 34 min., $7.95. Two speeds, record /play- can marches (Stars and Stripes Forever, While the performers in this bossa nova back preamplifiers, record The Caissons Go Rolling Along, National program are indeed superb, with first interlock and light, mono Emblem, etc.) are this time played here honors going to the extraordinarily and stereo controls and straight -without crowd noises, mo- subtle contributions of pianist Jobim, VU meters. tional effects, and other stereo razz -ma- what makes this reel especially treasur- tazz. And while some of the overfancy able is its delectable music. Here com- A single lever controls all touches are a bit more obvious now poser Jobim stars, not only for his famil- tape motion for easy ( Sharpless' predilection for piccolo ob- iar Desafinado and Girl from Ipanema operations. bligatos to practically every trio tune, but also for his jaunty So Danco Samba for instance) the performances for the and the poignant O Grande Amor. As A "top value" at $239.95 most part are surprisingly idiomatic as in the earlier Getz /Verve "Jazz Samba" Walnut Enclosure $ 15.95 well as rousing, with special honors going and "Jazz Samba Encore" releases, the See also the portable to a Brobdingnagian- lunged tuba player. recording is magically luminous, further "770" with speakers. The lusty, open, expansively stereoistic enhancing the poetic charms of the music. recording (made in Walthamstow Town Hall) enhances the weight and vigor of the fine seventy- five -man ensemble and "Hello, Dolly!" Louis Armstrong and valuably reminds audiophiles that Phase - the All Stars. Kapp KTL 41078, 36 4 technology doesn't need special trickery min., $7.95. to achieve truly impressive sonic effects. The fabulous Satchmo endows this pro- gram of current pop hits with an en- "Concertos for Twin Pianos." Willi tirely fresh and pungent flavor. Not only Stech and Borislav Rokovic, pianos; the title song but It's Been a Long Long Kurt Edelhagen and His Orchestra. Time, Someday, Moon River, Blueberry M -G -M STC 4230, 50 min., $7.95. Hill, and Hey Look Me Over all profit Gershwin's Rhapsody in Blue and Addin- immensely from the incomparably hoarse MADE BY SKILLED sells' Warsaw Concerto are so often Armstrong vocalizing, and the protean AMERICAN CRAFTSMEN AT subjected to tasteless pops disarrange- personality is scarcely less strikingly re- ments nowadays that it's a pleasure to vealed in his trumpet playing, even praise the straightforwardness of the though that is less extravagantly bravura present treatments. They are perhaps than it once was. From the evidence of Mg OF MINNEAPOLIS, INC. more deliberate than usual, but effective the present tape (a disc best seller by nonetheless, and the Gershwin provides the way) one might guess that as a 9600 Aldrich Ave. So. Minneapolis, Minn. 55420 an additional surprise in its lack of the singing actor Louis is only now reaching \- foreign accent normally expected in any his prime. CIRCLE 72 ON READER -SERVICE CARD 108 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "The Newport Folk Festival 1963: The ment, and its actual acoustic output (as Evening Concerts, Vol. 1." Various well as the acoustic ambience of the artists. Vanguard VTC 1688, 47 min., studios itself) is bypassed entirely. The $7.95. present tape version is remarkable, too, This is a tape transfer of No. 5 in the as a product of slow- rather than the recent six -disc series of 1963 Newport usual high -speed dubbing. Whether or Folk Festival documentations. It repre- not that justifies its premium price, the sents a curiously fascinating variety of reel is indeed outstanding for its wide familiar and unfamiliar artists and ma- frequency and dynamic ranges as well terials, with -for me, at least- wholly as its freedom from surface noise and unexpected successes and failures. The preëchoes. The recording itself is sen- "name" stars fail to impress me here sationally clean -yet the abandonment with strictly routine reprises of such of normal acoustic characteristics seems hits as the Rooftop Singers' Walk Right to result (to my ears, at least) in singu- In and Bob Dylan's Blowin' in the Wind; larly bland sonic qualities. They are fas- Joan Baez is handicapped by excessive vi- cinating, all right, but I have yet to brato in several somewhat overemotional be convinced that they will be satisfactory performances, and the Freedom Singers for serious program materials. Even the are apparently more intent on stirring present barn -dance selections seem some- taped the crowd than demonstrating any musi- what lacking in sonic body and impact. Leisurely cal values in Woke Up This Morning The music itself is delightful, however, and We Shall Overcome. But for com- in these performances starring a true on the ¡ahulodr pensation there is the lovely Canadien country fiddler and rhapsodically lilting errant by Ian and Sylvia; Sam Hinton's fife player. genuinely humorous entertainments; and the low- pressure, almost sotto voce blues singing of the festival's "discovery," the "The Sheriff." Modern Jazz Quartet. seventy-year -old Mississippi John Hurt. Atlantic ALC 1929. 30 min., $7.95. The recording is admirably clean, natural, Inasmuch as all the MJQ's releases ap- and not too closely mcked; its inclusion peal to somewhat specialized tastes, lis- of some extraneous wind and crowd teners had better try this out for them- noises only heightens the effective real- selves. For my part I enjoyed the buoy- ism. In general, though, this is a tape ant Donnie's Theme, the even more most likely to interest folk specialists. sprightly title piece, and the markedly contrasted pathos of Natural Affection I wonder what other purportedly "Oklahoma!" John Raitt, Florence -and 88 STEREO COMPACT Henderson, Ara Berberian, et al.; "jazz" ensemble could capture as well Chorus and Orchestra, Franz Allers, the magic of Villa Lobos' Bachianas Choice of Music- Lovers and cond. Columbia OQ 653, 47 min., Brasileiras No. 5 (with Milt Jackson's Music -Makers. wordless vocal - $9.95. vibraharp taking the Features exclusive "Edit - The prime merit of this revival per- soliloquy part). Most of all, as always Eze" cuing and editing. formance undoubtedly is its straightfor- with the MJQ in my own experience, Superb 30- 18,000 cps fre- I relished the sheerly aural appeal of the wardness. Unlike so many other record- quency response for finest ings of excerpts from this Broadway limpidly recorded, kaleidoscopic, stereo classic, the singers here refuse either to sonics. mono or stereo recording imitate slavishly or to differ violently with three hyperbolic heads. from the original or most famous ex- Monitor- off-tape, Sound on ponents of the same leading roles. Sim- Sound, Erase - Protek, auto- ilarly, Philip J. Lang's new orchestra- matic shut -off, tapelifters, tions are skillfully updated without in- THE 3 -3/4 -ips trend assumes further are but some of the many troducing jarring modernizations. And strength in both its older spoken word features to let you thorough- of course no earlier version could boast and newer mood music repertories with ly enjoy high quality tape such big, bright, and vibrant stereoism the current enlistment of two leading recording. as the it manufacturers under the slow -speed ban- present recording (even though 4 -track model $339.95 makes relatively little use of stereogenic ner. Columbia's 3 -3/4 -ips debut is with a 2 -track model $347.95 staging effects). Despite all these merits, blockbuster trio of its latest dramatic Walnut enclosure $ 15.95 however, the whole hits: Hamlet with Richard Burton performance as a (DOQ For model with falls somewhat short of outstanding suc- 665), the original Broadway cast Who's portable the cess- largely because only Ara Ber- Afraid of Virginia Woolf? (DOQ 667), speakers ask to see berian's Jud achieves notable vocal and and the Broadway production, starring Sir "880." dramatic distinction, partly because the Alec Guinness, of Dylan (DOQ 666). very close -up miking produces an aural The three are so- called 4 -play single perspective which is decidedly in- reels (containing the equivalent of a congruous for so out -of-doors a drama 4 -disc album) and are list -priced at $17. as this one. Capitol's first musical slow -speed en- tries are all (like those earlier, from "Rural Rythm." Norman Whistler, violin; Ampex Stereo Tapes) double -play single - Ted Nash, fife; The Rural Rythm Mas- reel couplings (list -priced at $9.98 each) ters. Repeat ST 300 -4, 30 min., $9.98. of programs available hitherto in sepa- The dropped "h" may be taken as a sym- rate disc releases. The pop artists repre- bol of the abbreviated technique used in sented are the George Shearing Quintet MADE BY SKILLED recording: this is one of several Repeat (Y2T 2143), Norrie Paramour Orches- AMERICAN CRAFTSMEN AT releases (discussed by Norman Eisenberg tra (Y2T 2196), Waring Pennsylvanians in the "Newsfronts" of last September (Y2T 2178), and organist Eddie Dun - and October) which features the Barcus- stedter (Y2T 2177) -the last two in Berry direct -recording process. No micro- Christmas programs. There is also an ing OF MINNEAPOLIS, INC. phones are used: the vibrations of each anthology of light symphonic warhorses, 9600 Aldrich Ave. So. Minneapolis, Minn. 55420 instrument are picked up electronically "This is the Hollywood Bowl!," featuring via a transducer attached to the instru- various conductors (Y2P 8496). 1 CIRCLE 72 ON READER -SERVICE -J

JANUARY 1965 1 0L9

www.americanradiohistory.com TiaoZER ©CM "A .MIXTURE OF INSTI \CT Aio:- INTELLECT" Continued from page 45

which I love and demand, but you don't ferent -way-fr&m- the way the strings have to force it upon them. They work speak, so we have to use a trick. Have STEREO HIFI for it themselves and they listen to each your bow soundlessly, silently on the other and really play with each other. string and the moment you hear the and tape recording il sound, start pulling very slowly LANG: I notice also that the horns, the and you'll be there without the conduc- brass in general, by nature laggards, come tor." Thus you achieve the desired result in with as much precision as your wood- by knowing what trick will result in winds. what effect -by purely musical means. SZELL: That is a matter of training - LANG: The difficulties that arise when ELECTRONICS simply relentless admonition and intoler- one courageously refuses to be a con- FOR EVERYONE 1965 ance of any imprecision. My horn section, formist must have caused misunder- in particular, is now as homogeneous as standing on the part of some of your one could wish for. They all have the critics. Yet you refuse to slow down same schooling, they play the same type for subsidiary themes, to indulge in instrument, they use the same type noticeable tempo variations, to use luft- mouthpiece. pausen before last chords, and to play an allegro as a presto. All this is now LANG: In your recent recording of a being recognized as virtue in a conduc- co-tr, Mozart Divertimento, there is some ab- tor, but you must have had some dis- knight -kit' solutely prodigious horn playing. couraging experiences in the past.

SZELL: I agree with you. I must say that SZELL: The most discouraging experience ALLIED RADIO when heard the record, I said to my- V* . Wm..* M, I is not if one gets a poor review, but ...,_.,....._,_.:.' self: I knew it was pretty good, but I if one is dissatisfied with oneself -and had no idea it was that good. that does happen pretty often. But at the same time one learns from those LANG: In our modern orchestra, nine experiences. bass fiddles seem to be the rule -which to my own mind is too many -but yours LANG: Occasionally, I play an old re- never grumble and . . cording -for instance, something by Mengel berg. EF SZELL: I would disagree with you slightly send today for your money- saving in saying that nine are too many. There SZELL: Well, he was the great distorter. are times when you really need that number, in the works having full orches- LANG: And yet for a long time that tra and much brass, when you want the kind of conducting was considered an /.ILL /ED string bass to help carry the weight of ideal. and anyone who didn't follow suit the total structure. The important thing was called "cold." 1965 catalog is that they play in the appropriate style and with the appropriate dynamic range. SZELL: Of course, Mengelberg aimed at 490 Value- Packed Pages: See the world's largest hi -fi selection, including special a plasticity and a clarity of a very special buys available only from ALLIED. Save on LANG: Now a bit about your general sort, which is obtainable only by wild complete Stereo systems, famous -make musical attitudes. We are still under the exaggeration and by destroying the nat- components, everything in tape record- influence of so- called "content aesthet- ural pulse of a piece of music. The dif- ing. Extra savings on exclusive KNIGHT® ics," as you can see from our program ficult thing is to obtain plasticity without components. For everything in hi -fi, for notes -everything always has a story or destroying the natural pulse of the music. everything in Electronics, send for your some particular feeling attached to it. Free 1965 Allied Catalog. But a Mozart symphony or a work like LANG: Like practically all great conduc- Beethoven's Fourth doesn't have any tors. you grew up in the opera pit. I save most with build- your -own other purpose but music. How do you know that you have trained some tal- e keep your mind free from conceptual ented young men. but will many of them knight -kits diversions? be able to acquire the ultimate in techni- See what's new -see over 90 great easy - to -build kits: Hi -Fi, Hobby, CB, Shortwave, cal finish without that hard but price- Amateur, Automotive, Intercom, Test In- SZELL: I wouldn't know how to permit less schooling of the opera house? strument- savings up to 50%. entry of those conceptual diversions into my mind. It wouldn't occur to me SzELL: I really don't think that the same EASY TERMS: Use the convenient to invent a program or to try to inspire technical finish and the same readiness Credit Fund F Allied Plan. an orchestra by extramusical hints and for any emergency in fractions of sec- satisfaction guaranteed R suggestions. Very, very rarely does it onds is possible without operatic train- or your money back happen that I go very far out in making ing. I really don't think so. E metaphoric suggestions. I might, for in- ALLIED RADIO E stance. ask for a velvety or silky sheen LANG: That is the one shortcoming we in the sound, or a breathless silence, but have in this country -we have talented I ALLIED RADIO, Dept. 9 -A I would be much more likely to tell my young people but there is no place for 100 N. Western Ave., Chicago, Ill. 60680 players something along these lines: them to operate. Send FREE 1965 ALLIED Catalog "Now, look, if we are to come in to- gether with the piano at the beginning SZELL: Exactly, except that in certain Nanie of the second movement of the Beetho- conducting courses -as, for instance, in ven C major Concerto, there is only the Ford Foundation program at Balti- Address one way to do it. We must do it without more- training is offered in some oper- the conductor. The problem is that you atic scenes and excerpts. This is. how- actual opera City Zone_ State must come in together with the piano, ever, very different from an L J the piano speaks in a completely dif- house situation, where you may have to

CIRCLE S ON READER -SERVICE CARD

I Ill HIGH FIDELITY MAGAZINE

www.americanradiohistory.com save the perïoriisance by jumping wildly WIN A NEW over the bars in order to catch up. SOLID STATE Professional Series LANG: Nowadays we have even that once unimaginable specimen -and right in FISHER the Metropolitan Opera House -the con- 600 Transistorized FM -MX Receiver ductor who cannot accompany his singers.

SZELL: In the old days all the opera houses had some conductors who were not really high -class musicians and who * The last time we ran this ad - perhaps couldn't even read a score in July- hundreds of readers awfully well. Yet they had the skill claimed our oyster was a clam. It was. Reason? It takes a lot of to go with an unmusical and unrhythnii- 100 Watts less case clams to buy an oyster in July. $499.50 cal singer through thick and thin and As Always RABSONS offers Only the Best. Check with these fabulous FISHER features: Cool - trou. keep fairly well together hint, And Ible free operation . Fisher Solid State means of course, the orchestra also profited. Euer try to describe Longer Life 100 Watts Total Power Output . 1.WY FM Sensitivity . Compact Size for Cus- While it was not the cleanest type of tom Installations only 11'/e" Deep Direct Tape orchestral performance, it was very flex- what an oyster Monitor . Exclusive Fisher Nuvistor . Golden Synchrode FM Front End AND much more. Write ible, it was very competent, and singers Direct to Rabsons For Complete Free "Specs" and musicians were almost always tastes like? Nothing to buy - to win a Fisher 600 abreast. No one can. The same is pretty much iffee - just write to Rabsons for a "Dollar true if we attempt to describe a sound. Saving" quote on any Hi Fi compo- nent. This alone makes you eligible. LANG: I've noticed time and again, for Particularly the sound of the two new Drawing will be held January 29th, 1965. instance, how that excellent little orches- Jensen shelf systems -the PR -50 and the PR -150. YOU ALWAYS GET SOMETHING EXTRA FROM RAISONS tra in New York's City Center can get "SENSAVABLE PRICES" out of difficult spots where even a first - The PR -50 introduces an outstanding Sky High" inventory Quick Personal Seri/. class symphony orchestra would drown. breakthrough in extremely compact de- ice 59 Years of Reliability Easy Payment sign without loss of performance. It is Plan Up to 24 months to pay New Factory the first effective, full -range high fidelity Sealed Equipment New - Free Mail Order SZELL: is the be- Hi Fi Clinic Service Free Double Packing of all This par for course, system to be completely contained in a Shipments Francised Protection - PLUS! cause every concert orchestra, every sym- E cubic foot enclosure. Its statistics Rabsons own unique guaranty. phony orchestra, is by definition less will impress -such as the exceptionally FREE RECORD CLOTH (=1.00 value) WITH EVERY QUOTE yielding. Why? because they are the pro- flat response: only 3 db down at 48 and ± 57ST.INC tagonists. whereas every pit orchestra 20,000 cycles and 3 db inside this R A B S O N S range. The PR -50 can reproduce 40- 119 West 57th Street, New York, N. Y. 10019 knows that they are basically sub- cycle bass tones cleanly and clearly. Tel. Area Code 212 Circle 7-0070 ordinate. They have to go with what is Because no "shaping networks" are This drawing is not open to residents in any happening on stage. locality whose laws prohibit such a drawing. needed, all available amplifier power goes to drive the speakers. The new CIRCLE 58 ON READER -SERVICE CARD LANG: We shall leave out the living E100 SONO -DOME" gives the PR -50 a conductors, but I should like to ask you unique smoothness of mid -range and of some of the great of high -frequency response with a remark- your opinion uniform radiation pattern. the past whom you have observed. ably MORE and BETTER The PR -150 is best appreciated with eyes closed, ears open. The new sub- who was Szt:LL: Well, there was one sonic 12 -inch woofer, with over 1 -inch my god at the time, and I am not sure total excursion, chemically treated half - FM Stereo Multiplex what kind of a figure he would cut in roll annulus, free air resonance of about our day. That was Artur Nikisch. He 15- cycles, and massive magnet struc- was the great wizard of the orchestra, ture, delivers a window rattling bass. BROADCASTS but those were times when cleanliness Jensen's exclusive new MH -400 aspheric and precision did not count for as much SONO -DOME" covers mid and high fre- quency ranges to deliver the truest pos- FOR YOU as they do now. Whether we would sible sound throughout. tolerate the wild, gypsylike improvisa- tional way of treating music that was We believe you'll find the sound of the the PR -150 akin to finding a wtha we PR -50 and characteristic of Nikisch, whether pearl in an oyster. Both are priced much would tolerate it now after having gone lower than other bookshelf speakers that through the Toscanini epoch is a little don't do nearly as much for the sound. doubtful in my mind. Still, I think FINC PR -ISO we would be enchanted with the spon- Oiled Walnut AWARD -WINNING FM Antenna taneity and with the wonderful sound watn MH -400 and freedom of the orchestra. What SONO-DOME W .-a, Nikisch did was very, very rhapsodic and unpremeditated, and in the best Model FM 4 sense hypnotic and magnetic. You could $24.90 List not extricate yourself from his spell. I once sat on the platform behind the ARS1 orchestra facing him in the old Berlin PR -50 World's Most Complete Philharmonic Hall and when I saw his Oiled walnut line of HI -Fl Phased eyes -his heavy eyelids and then the lightning of his eyes was fascinated. with E -TsE -I SO NO -DOME " i I felt: I don't know what he wants, but

I J E S E N FM I am sure that as a player would do N Í111 ANTENNAS exactly as he wants. Write for Catalog 20 -213. JENSEN MANUFACTURING COMPANY LANG: Can you think of some others? D,usron of THE MUTER COMPANY

THE FINNEY COMPANY 6601 S Laiamie Ave . Chicago is. nl,nois 34 W. Interstate St. Bedford, Ohio Szet-t.: In his own way Richard Strauss Canada Radio Speakers of Canada. Ltd . Toronto Dept. HF nr¢enlma Ucoa Radio. S A . Buenos Arres Continued on next page .UUD1P1akIR1 Mexico Fapailel. S. A. Naucaipan. Mea CIRCLE 36 ON READER -SERVICE CARD CIRCLE 75 ON READER- SERVICE CARD JANUARY 1965 IIi

www.americanradiohistory.com "INSTINCT AND INTELLECT"' PURCHASING Continued from preceding page A HI -FI was a very great conductor when he really felt like exerting himself. He could SYSTEM? be extremely dull if he wasn't interested. TRADE -INS OK -TIME PAYMENTS ¡Wow& And he had the great advantage of being Up to 2 years to pays the great Richard Strauss, which made Altec Lansing the attitude of the orchestra different Electrovoice Send Us Jensen Hallicrafter 110 right from the start. USL Citizen Band Texas Crystals Internat'I Crystals LANG: But he was interested in precision. Your List of University Review Acoustic Research Janssen Viking SZELL: Yes, very much, and he had a Wharfedale Iligh l'idclit Annual very small clickety, precise beat with Components Concertone The Ninth B ell G.E. always another little upbeat inside his Weathers wrist. My conducting technique was orig- Harman- Kardon For A Eico Pilot inally fashioned after his, because he Sherwood' was the nearest to a commanding influ- Crown Recorders Super scope years. I worked ence in my formative Package Dual C anger for two years under him as his assistant Bogen RCA Dynakit Fisher at the Berlin State Opera, then the Royal H. H. Scott Leak' Opera. There are many others whom I Ouotation ECI Roberts De Wald National could mention, of course. No one could AIREX WON'T Sony Challenger Browning leave a man like Toscanini unmentioned. BE UNDERSOLD G d Whatever you may think about his inter- All nacrch.uadi,c Miracord pretation of a specific work, that he is brand General Radio new, Rek.0 -Kut changed the whole concept of conduct- factory fresh & Polytronics MONEY that he rectified many, many guaranteed. Norelco Finer) SAVES ing and Fairchild arbitrary procedures of a generation of Visit our N. Y. Showroom. Pickering Sonar Free cabinet brochure conductors before him is now already ADC Cartridges RECORDS IN REVIEW -1964 edition brings 6 Hi -Fi Catalog Audio Tape you in one convenient book hundreds of authentic history. That at the same time Magnecord reviews of stereo and mono records which he has served as a not too useful model AIREX Rockford Cabinets ADC Speakers appeared in High Fidelity Magazine in 1963 - for a generation of conductors who were KSC Speaker classical and semiclassical music exclusively. so fascinated that they were unable to RADIO Systems This hardcover book will save you countless follow him with some sense of discrimi- CORPORATION Fun' Trrnitrl listening booth or ear- hours in your dealer's nation is equally true, I believe. 85-HF Cortlandt St., N.Y. 7, WO 4-1820 phone corner. And it will help you build a distinguished collection of music YOU enjoy, i LANG: to conclude, how do you CIRCLE 4 ON READER -SERVICE CARD for it is the most complete and authoritative Now, book of its kind -the standard reference work feel when. after so many years of con- that gains in value as the years roll by. No ducting that Mozart, or Schumann, or duds on YOUR shelves! Brahms symphony, you have to dust it Each reviewer discusses the composition, off once again? performance and fidelity, often comparing pages. new discs with earlier ones. 539 SZELL: Unless one has the hope of WRITE FOR You'll find the reviews organized alpha- progress until one's last day, one by composer for quick, easy reference making betically wrong attitude. Never work from -and in the case of composers frequently has the further subdivided by such categories routine, never repeat a performance you QUOTATION recorded, FACTORY SEALED CARTONS as Chc,mber Music, Vocal Music, etc. You'll have given. One must retain the feeling DISTRIBUTOR find, too, a special section on recitals and -the wonderful feeling -that every FRANCHISED Miscellany -and a comprehensive Performers time you pick up that Mozart or Schu- QUICK SHIPMENT Index. mann or Brahms symphony it is a brand - And you may as well order, also, the earlier new adventure. editions still available, some at a special price, as shown on the form below. the STEREO CARTRIDGES 'MOST' IN THE WYETH PRESS 145 A Division of HIGH FIDELITY Continued from page 55 Publishing House Great Barrington, Mass. 01230 DISCOUNTS has very high vertical modulation (ex- ON ANY HI -FI I enclose $ Send me postpaid the treme channel separation). books checked. Whatever the audible results of ver- COMPONENTS Records in Review 1964 Edition ..$6.95 tical tracking angle distortion, it now Records in Review 1963 Edition ..$5.95 perforce becomes important to elimi- Records in Review 1962/61 Edition nate because we are certain to be Regularly $6.95. Now only $4.95 it- more and more bothered by it as tracing Records in Review 1959 Edition Regularly $5.95. Now only $2.97 and other forms of distortion are re- Records in Review 1958 Edition duced. There is now fairly wide accept- SOUND Regularly $5.95. Now only $2.97 ance- though no official ratification - of 15 degrees as the angle for both cutter REPRODUCTION Nome _- and pickup, and practically every lead- INC. ing now offers a 15- degree manufacturer Street, Newark, N.1. (07102) Address pickup. 34 New City The frequency response of a pickup, (201) Mitchell 2 -6816 as suggested before, is established ap- State proximately at the high end by its high Foreign orders sent at buyer's risk. Add 250 per book for shipping on foreign orders. resonance -above the resonance, or peak, CIRCLE 64 ON READER -SERVICE CARD 112 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com response falls off. At the bass end an- table from all external sources of shock other resonance is the marker, a reso- or jarring. COLUMBIA nance depending on the compliance of Good transient response (as in any the stylus and the mass of the tone arm. component of a system) depends on an RECORD CLUB'S The higher the compliance and the absence of severe peaks and on ex- heavier the arm, the lower this reso- tended high frequencies- another reason BEST OFFER EVER! nance. With current high compliance for getting the high resonance up out of pickups, bass resonance is almost cer- the way. Pickups with a resonance at tain to be below the audio spectrum - least as high as 12 kc or 15 kc can be below 20 cps, say -even with a light depended on to have good transient re- arm, and the arm should be as light as sponse: those in which the resonance is possible to make the assembly respon- at 30 kc or beyond ought to have excel- sive to the rise and fall of a warped lent transient response. record, among other things. All told, the continued reduction of A bass resonance below about 20 cps distortion in the stylus- groove relation is desirable not only for full bass re- is under active attack as never before sponse, but also because groove jump- in high fidelity history. But what about ing or distortion can result when the the distortion in the electrical generator CLASSICAL resonance is in the reproduced range of action of the pickup? Although always frequencies. Too low a resonance, how- less of a problem, it is by no means RECORDS ever, around 3 cps to 5 cps, is not de- negligible. In the best designs it may sirable because the resonance of the be very low, perhaps less than 2 %. Of turntable suspension may lie in this course, as tracing distortion, tracking range, in which case the two resonances angle distortion, and the other slippages For the can reinforce each other to cause groove in the transfer of groove pattern to jumping when there is vibration in the stylus are reduced, more attention will room, as from heavy footfalls. Inasmuch be centered on generator distortion. Gen- Price as the frequency of the resonance depends erally speaking, current design trends on the combined mass of both pickup point to higher compliance, lower stylus and arm, a very heavy pickup (say, one mass, and lighter arms. In the mean- of One weighing over 10 grams) ought not to time, we have already at hand a whole he used in a very heavy arm -unless class of pickups that follow the groove plus an adjustable special care is taken to isolate the turn- with a truly remarkable fidelity. Record Rack Free THE CHEERFUL GHOST OF EISENSTADT if you join the Club during its 10th Anniversary Celebration! Continued front page 58 SEE PAGES 6 & 7 broken stained glass windows, we un- podium, listening with a bemused smile cover the original organ console. With to the musicians' eternal complaints about CIRCLE 20 ON READER -SERVICE CARD a little investigation we learn that Haydn lack of room and helping them work out had not only helped Georg Mallon, Or- the seating compromises that are ritual gan Builder to the Viennese Court, with before performances (and recordings). the instrument's design and specification, When our conductor Zoltan Rozsnyai E over 4 00/o but had played the dedicatory recital at raises his baton and music fills the SAY hi fi its completion in 1770. Schuke, who church again after so long, I close my restored the instrument in 1942, had been eyes and am quickly swept back two hun- COMPONENTS & TAPE RECORDERS meticulous in leaving the sound unaltered dred years. The buzz of soft Viennese Easy- Pay-Plan -Up to 24 months to Pay. while replacing the console and adding German floating down from above per- 15 -day money-back guarantee. 6- month guaranteed repurchase plan. an fects the 1 electric blower. illusion. find it almost Full 2 -w. warranty -parts & labor. In the interval, spring has caught up impossible to tear myself away and re- Franchised all lines. We ship from stock. Trade-ins- highest with us we have sume my contemporary preoccupations allowance-send your list. and taken advantage Shipments double packed & fully insured. of the time to open the small church in the control room. The Pfarrer beams: 20th yr. of dependable service -World Wide. We guarantee "we will not be undersold and warm it up. None too soon, as the " Unglaublich, nicht wahr? Genau wie in musicians are arriving from Vienna. With den alter) Zeiten." Write far our price -You'll he glad you d'd. the tangible presence of Haydn's bones The sessions themselves go so smoothly only 1,500 feet away and the tracks and they are an anticlimax to the odyssey traces of his life we have been uncov- that preceded them. Bach's "Music of BEST BUY- ering, we become aware of a growing Jubilee" and Mozart's Church Sonatas -HI'FI historical involvement with him. I con- seem to benefit as much from Haydn's vince the skeptical timpanist to use the ambience as do his own offspring, the Reg. Special Fisher X1008 50W Stereo Amp. 169 50 119.50 old instruments, which he manages to three organ concertos in C major. Of Fisher X202B 80W Stereo Amp. 249.50 149.95 prop up on a table. The contrabass, alas, these three, coming roughly from 1765- Fisher FM -1008 FM Tuner.. 249.50 149.95 has Garrard "A' w;' Shure M3D cart. 59.45 an unfortunate buzz and cannot be 60, one has been available for some Sony 500 Tape Recorder .. 450.00 279.00 used. There seem to be many more mu- time; another, supposed lost, was dis- Sony 464D Tape Deck 119.50 I Transceiver sicians than we have space for, and on covered and published in 1959; the third, RCA MK -VI C.B. 149.95 99.95 the first day a half hour goes just to only recently published, is receiving All above disc. seating. When the larger groups play, we its first recording under composer- All merchardise brand new and in factory sealed cartons. Please write for price on any 11641 not only must fill an unused side gallery approved conditions. equipment. separate from the choir loft, but must The days blur together in a haze of We own the sharpest pencils in the USA. persuade reluctant trumpet players to enchanting music, superb seventy -five- inch themselves out on a dangerous cent lunches, and memorable bottles of BEST BUY HI -FI LIST FREE ledge, where they sit hypnotized by the Sierfandler, Gumpoldskirchner, and Stier - church floor twenty -five feet below. blut. We begin to understand why Haydn Since Haydn had made a practice of always came home to Eisenstadt after HI- FIDELITY holding public dress rehearsals of his summers in Esterház, visits to Vienna, or CENTER Masses in this same spot, several hours triumphs in England. Though drenched The House of Low Low P,,c es" before performing them at the Bergkirche in history, the city keeps its homelike 1797 -H 1st. Ave. or the Schloss, I can visualize him stand- attraction. Haydn could not resist it New N. Y. 10028 ing just where I am, on the same little even after death. York, CIRCLE 41 ON READER -SERVICE CARD JANUARY 1965 I 13

www.americanradiohistory.com ADN ERTISING INDEX BUYER's Key No. Page No. Key No. Page No. GUIDE TO 1 .. Acoustech, Inc. 98 41 . Hi- Fidelity Center 113 2 Acoustic Research, Inc. .. 39, 106 COMPONENTS 42 Inter -Mark Corp. 89 3 Acoustical Manufacturing Co. Ltd.. The 8 TRADING 4 ... Airex Radio 75 Jensen Mfg. Company .. 111 Corporation 112 TUNERS, RECEIVERS & AMPLIFIERS ... all leading makes and models. WHY BUY? 50 AKAI Electric Co., 43 . . Kenwood WHEN YOU CAN TRADE ... and receive Ltd. 87 Electronics, Inc. 16 the highest trade -in allowance. 45 .. KLH Research and 5 Allied Radio 110 Development Corp. .. 25 6 Alms Motor Hotel 103 THO EN 46 ... KLH Research and 7 Altec Lansing Development Corp. .. 27 Corporation 5 pi. 47 .. KLH Research and 8 Ampex Corporation . 21 Development Corp. .. 29 Angel Records 84 67 KSC Systems, Inc. 88 10 Audio Dynamics Corporation 12

48 . 11 Audio Exchange 114 Lafayette Radio Electronics 10 12 Audio Unlimited, Inc. 106 McIntosh London Records 89

III . -- - III. 13 Benjamin Electronic 51 .. Marantz 35 RECORD PLAYBACK SYSTEMS, AND TAPE Sound Corp. 9 52 McIntosh Laboratory RECORD /PLAYBACK ... all leading makes 14 .. Bogen Communications Inc. 95 and models. Unmatched guarantees free Division parts and labor within 90 days. 75% al- 28 53 Miller International Co 107 lowance in trade -back within 6 months. 15 Bozak, R. T., Mfg. Co. 32 54 Monmouth Records 92 16 .. British Industries Corp. 40 55 Musical Heritage Society, Inc., The 88

.Tandberg ' ..- . 17 Carston Studios 92 56 18 . Chancellor Electronics, Olson Electronics, Inc. 102 Inc. 30 19 ... Citadel Record Club 85 57.. Pickering & Co., Inc. 2 20 .... Columbia Record Club Preem Associates, Inc. 90 6, 7, 90, 100, 103, 113 21 .... Columbia Records ... 72, 73 58 Rabsons -57 St. Inc. 111 Columbia Stereo Tape JJ 22... 59 RCA Parts and Club 17 -19 Accessories 86

23 . 68 Command Records 61 . Rek -O -Kut 14 24 Concertone 26 62 Roberts Electronics 104 SPEAKER SYSTEMS, Wall, Large Enclosure and Bookshelf ... all leading makes and models 10 guarantee ... day money -back 25 . . Discoteca 90 33 Scope Electronics Corp. 11 on USED components. New components (over 100 brands). 26 .... Dixie Hi -Fi 103 100 Scott, H. H., Inc. 59 27 Dressner 102 60 Sherwood Electronic FREE -"TRADERS HANDBOOK " -a color- .... ful 16 -page booklet that explains every- 69.... Dual 22, 23 Laboratories, Inc. Cover IV thing about trading. The Hi Fi Stereo 28... Dynaco Inc. 77, 79 76 Shure Bros., Inc. . 20 components your ear is yearning for will not only cost you less when you trade by 63 .. Shure Brothers, Inc. 60 mail with Audio Exchange (or in person at 64 .. Sound Reproduction, our New York showrooms), ITS SAFER. 29 Eastman Kodak Company 99 Write for free copy. Inc. 112 30 Electro- Voice, Inc.. Cover III 65 Superscope, Inc. 36 33 EMI, see Scope Electronics 34 Empire Scientific Corp. 34 YIORI O S FIRST ANO I fORIMOSI HI Ii 511100 66 .. Tandberg of America, uoio TRADING ORGANIZATION I Inc. 96 xcHanGe 01; 36 Finney Co., The 100, 111 PLEASE MAIL ALL ORDERS AND INQUIRIES TO 1 35 Fisher Radio Corporation 69 United Audio 22,23 JAMAICA 153.21 Hill.ide Ave.. Jamaica 32. N. Y. Dept. H1. AXt.l 7.7577, WHITE PLAINS. N. Y., Cover II, 1, 13, 15 70 University 203 M:,,,, .iron,ck Ave. BROOKLYN. N. Y.. 1065 1. Flath.,.h Av. MANHASSET. N.Y.. 451 PlandOme Rd. Loudspeakers 81, 83 PLEASE SEND ME FREE BOOKLET 16 Garrard 40 NAME 71 Vanguard Records 82 38 . Greentree Electronics 4 ADDRESS 72 Viking of Minneapolis, CITY STATE Inc. .... 108, 109 39. Harman- Kardon, Inc. 67 .... 1 40 Heath Company 31, 33 Wyeth Press 38. 112 CIRCLE I1 ON READER -SERVICE CARD 114

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Now listen -not to the speaker, but to the music -as you put an E -V Deluxe A Return to the Fundamental component speaker through its paces. Note that bass notes are neither mushy nor Concept of High Fidelity: missing. They are heard full strength, yet in proper perspective, because of the opti- SOUND OF mum damping inherent in the E-V heavy- UNCOMPROMISING QUALITY! magnet design. And whether listening to 12 -inch or 15- Before you make the final choice of inch, full -range or three -way models, speakers for your high fidelity system, take Modern Ceramic you'll hear mid -range and high frequency a to review your goals. What Efficient Magnet Glass Cloth moment Magnetic Coil Form response exactly matched to outstanding comes first -size, cost, or performance? Assembly bass characteristics. In short, the sound of If performance is of prime importance, every E-V Deluxe component speaker is then you owe it to yourself to look at- uniquely musical in character. and listen to- Electro -Voice Deluxe com- The full potential of E -V Deluxe corn- ponent speakers. Granted, they are not ponent speakers can be realized within the smallest or the least expensive speakers remarkably small enclosure dimensions you can buy, but their design is predicated due to their low- resonance design. With on the need for quality reproduction ingenuity almost any wall or closet can above all other considerations. become a likely spot to mount an E -V Your ear is the final arbiter of speaker Deluxe speaker. Unused space such as a system quality, but it may help you to stairwell can be converted to an ideal en- know what's behind the unequalled popu- closure. Or you may create custom cab- larity of E-V in the component speaker inetry that makes a unique contribution field. It begins with the finest engineering to your decor while housing these remark- The is, the choice laboratory in the industry, finest not only able instruments. point in equipment, but also in the size of its is up to you. staff and in its creative approach to electro- Edgewise Specially With E -V Deluxe component speakers Treated Ribbon Controlled you can fit superlative sound to available acoustics. Voice Coil Surround Cone space, while observing The basic design for E -V Deluxe com- Material still reasonable budget limits. example, a -range ponents was laid down over a decade ago, For full speaker such as the 12 -inch SP12 can be and, despite numerous detail improve- edgewise- ribbon voice coil. This unusual the initial investment in a system that ments, this approach is just as valid today. to 18% more structure adds up sensitivity eventually includes a T25A mid- It begins on a firm foundation: the rigid /8HD than conventional designs. Production tol- range assembly, and a T35 very-high- die -cast frame that provides a stable basis erances on this coil and gap are 'held to frequency driver. Thus the cost can range on which this precision instrument can be inch! The voice coil is wound on a ±.001 from $72.50 up to $254.70, as you prefer assembled. It is this frame that assures - form of polyester- impregnated glass cloth, and every cent goes for pure performance! that each E -V Deluxe speaker will forever chosen because it will not fatigue like maintain its high standard of perform- aluminum and will not dry out (or pick up Write today for your free Electro -Voice list the E-V ance by maintaining perfect alignment of excess moisture) like paper. In addition, high fidelity catalog and of nearest you. They will be all moving parts. the entire voice coil assembly can be made audio specialists you how E -V Deluxe - Added to this is a magnetic assembly of unusually light and rigid for extended happy to show corn generous proportions that provides the high frequency response. ponent speakers fulfill the fundamental concept of high fidelity with sound of un- "muscle" needed for effortless reproduc- In like manner, the material cone for compromising quality! tion of every range at every sound level. E -V Deluxe components is chosen care- In the case of the SP15, for example, four fully, and every specification rigidly main- ELECTRO- VOICE, INC. pounds, ten ounces of modern ceramic tained with a battery of quality control Dept 154H. Buchanan, Michigan magnet (mounted in an efficient magnetic tests from raw material to finished speaker. assembly weighing even more) provides A specially- treated "surround" supports the force needed for perfect damping of the moving system accurately for predict- the 15 -inch cone. ably low resonance, year after year, with- Within the gap of this magnetic system out danger of eventual fatigue. There's no .vr 14 /> - 1 rides the unique E -V machine -wound breaking -in or breaking down! tCcs /SETTING NEW STANDARDS IN SOUND CIRCLE 30 ON READER- SERVICE CARD

www.americanradiohistory.com Should Sherwood's new solid -state amplifier be rated at 150 watts? ... 300 watts? ... or 100 watts?

Audio power should be one of your major criteria of am- plifier performance. The important thing is to use the same yardstick of comparison. Among responsible component manufacturers, the commonly- accepted expression of audio power today is "MUSIC POWER"- the amplifier's output capability across the full spectrum of orchestral sound. If you simply like to play with bigger numbers, multiply Walt till you hear MUSIC POWER by two (the way some manufacturers do) Sherwood's new Tan - glewood 4 -way and you get "PEAK POWER ". It's exactly the same rating speaker system! but it looks twice as powerful. Each six- speaker system handles 75 But the really important measurement is "CONTINUOUS watts of program material. Unique de- SINE -WAVE POWER" with both channels operating sign of dual, 10" is meaningful measurement, used unifies woofers simultaneously. This the achieves unprece- in laboratory work. It separates the wheat from the chaff. dented 34 -cycle closed -box reso- nance. Overall re- Sherwood's new S-9000 delivers 150 watts of MUSIC sponse: 29- 17,500 cps ± 21hdb. POWER ... 300 watts of PEAK POWER ... and 100 ;219.50 watts of CONTINUOUS SINE -WAVE POWER at less than 1/2c/0 harmonic distortion. (At normal levels, distortion never exceeds 0.15%). Unequalled power - by any standard - is just one of the important engineering advances built into the new Sher- wood solid -state amplifiers. Here are some more :

Military -type Silicon Transistors. Used exclusively throughout Sherwood circuitry. Twice the heat -reliability of ordinary ger- manium transistors. Safe for even the most confined custom 1 installations. Exclusive transistor short- circuit protection. (Pat. Pend.) New system virtually eliminates transistor failure or fuse replace- ment due to shorted speaker terminals or other improper op- eration. Additional features: Phono input noise less than -65db., with no microphonics or hum Professional Baxandall tone controls Tape monitoring and tape -head playback facilities Stereo headphone jack with speaker disabling switch Glass epoxy circuit boards Compact size -14" x 4" x 12',s" deep.

SHERWOOD S -9000 ISO WATT SOLID -STATE AMPLIFIER

/REM f LOUDNE SS eAIAN(E

JO 111,' 1114,,,

Model S -9000 / solid -state, integrated stereo amplifier / $299.50 Also available in a 50 watt Music Power version as the Model S -9500 / $179.50 Walnut- grained leatherette cases for either model, $8.50 Prices slightly higher in Far West

For complete specifications and new catalog, write Dept. H -1. HIGH --V=5/teltIVOOCI: FIDELITY

SHERWOOD ELECTRONIC LABORATORIES, INC., 4300 NORTH CALIFORNIA AVENUE, CHICAGO, ILLINOIS 60618

CIRCLE 60 ON READER-SERVICE CARD

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