Scintilla Peaker

DECEMBER 1985 $2.00

YAMAHA R-9 RECEIVER SUPER EXAMPLE OF THE AUDIO ART NEW TESTS FOR COMPACT DISC

YAMAHA INAll II IA:. IILILINI .1 1\1.11 II

SRJUTATER VIDECI 2 VIDECI 1 N hT.IT irs, II r FM /El 2. 'APE 2 TAPE I VIDEO TUNER IA fr 11.1

MEMORY RECEIVING FMMINING MODE FINE TUNING TUNING PLIANL/4 MODE '-" ma/rt.:Wm/4y -

SA -50 AMP & PREAMP SCINTILLA PEAKER

27030 THE HARMAN KARDON HD500 COMPACT DISC PLAYER

ARTISTIC INTERPRETATION AND apTECHNICALACCURACY

The gymnast, poised on the balance beam, knows that in order to achieve a perfect score, there has to be total attention given to detail in artistic interpretation as well as the mastering of technical accuracy.

While all gymnasts aspire to perform the most intricate of routines, not all have the ability. The° same is true of compact disc players. The digital sections of most CD players are similar to com- pulsory exercises: They're all basically the same and all basically adequate. The analog section are where the quality of the performance and the differences between competitors are detemin The analog section of the Harman Kardon HD500 compact disc player has been design with attention to subtle details, using only the 2.1111 most sophisticated circuitry and highest quality discrete components. The result is breathtaking dynamic range, startling realism and a worl class performance every time.

Visit your local Harman Kardon dealer and judge for yourself-The!, HD590 receives

halm.% luidon 110500

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11.11111111111111111111111Mew Ef BWE'd 40 Crossways Pa k West, Woodbury New York 11797 Call Toll -Free 1 800-633-2252 Ext. 2

A Harman Internaional Company . 0111111111111111111111. Escape to Reality Escape from the ordinary. Escape to the realism of Nakamichi Sound. The Nakamichi CR-7A Discrete -Head Cassette Deck -the most convenient-and sophisticated- recording instrument conceived by man. It selects equalization automatically- yet you can override the choice. It adjusts azimuth, level and bias automatically- yet you can match azimuth to any tape -from your armchair- with a wireless remote control. Its real-time counter reads elapsed time -and time remaining. It will even fade out a recording just before the end-if you'd like. The Nakamichi CR-7A and CR-5A Cassette Decks- Your escape from the ordinary. Your escape to Nakamichi reality! nkNakamichi Nakamichi U.S.A. Corporation19701 South Vermont AveTorrance, CA 90502(213) 538-8150 In Canada: W. Carsen Co., Lid, 25 Scarsdale Road, Don Mills, OntarioM3B 3G7 DECEMBER 1985 VOL. 69, NO. 12

1113 STSG,F0 9ECE1VEN I, YAMAHA NATURAL arOCl041.

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See page 60 See page54

FEATURES THE AUDIO INTERVIEW: MITCH MILLER, PART II Ted Fox 42 A NEW CD TEST STANDARD Leonard Feldman 54 1985 ANNUAL INDEX 135 EQUIPMENT PROFILES YAMAHA R-9 RECEIVER Leonard Feldman 60 MISSION DAD -7000R COMPACT DISC PLAYER Leonard Feldman 70 NEC T-6 TUNER Leonard Feldman 78 AURICLE: APOGEE ACOUSTICS SCINTILLA LOUDSPEAKER L. L. Greenhill and Hy Kachalsky 84 AURICLE: KRELL PAM -3 PREAMP AND KSA-50 POWER AMP Anthony H. Cordesman 92 AURICLE: INTRACLEAN S-711 HEAD CLEANER AND C -911A CASSETTE CLEANER Howard A. Roberson 96 MUSIC REVIEWS ROCK/POP RECORDINGS Michael Tearson, Jon & Sally Tiven 100 CLASSICAL RECORDINGS Edward Tatnall Canby.. 108 JAZZ & BLUES 114 DEPARTMENTS SPECTRUM Ivan Berger 9 WHAT'S NEW 14 BEHIND THE SCENES Bert Whyte 17 AUDIO ETC Edward Tatnall Canby 21 TAPE GUIDE Herman Burstein 26 AUDIOCLINIC Joseph Giovanelli 30 DIGITAL DOMAIN Ken Pohlmann 34 The Cover Equipment: Yamaha R-9 receiver. The Cover Photographer: ©Bill Kouirinis.

Audio Publishing, Editorial and Advertising Offices, 1515 Broadway, New York, N.Y. 10036.

Subscription Inquiries, (800) 525-0643; in Colorado, (303) 447-9330. Seepage 42 technologicalAt thePrecisioncomplication. very pinnaclebreakthroughs ofwithout Aiwa's theformance.inprecision.resides Aiwa human AD-F990B. Aa newengineering.newA new standardlevel achievement of It ofis per- If can't tell whether it's a Stradivarius et Thedemandsmeetdigital AD F900B'cthe and dynamicof analog the ability best andsource toof texturalboth or a Guarneri,you it isn't an Aiwa. ThematerialsAD-F990B ease with is makes whichunprecedented. thethis out- ablestandingD.AtheAt the AD-F990B's TAis touchunbelievable. system performance of a automatically uniqueslnyle avail- button, toandareselected.analyzes the automaticallythen original. instantlytheReference tape Once rncordiad youcompared signalsthe have analysislevelstionF990B16 and seconds, adjusts sensitivityis complete, bias,the Aiwato equaliza- inoptimum justAD- DolbyThroughAD-F990B HX the Pro, use then the of I musicadjustsdynamicallyin response you bias record. levels to the It even 41: TAPE Etkr 1011181.,111111111iblii 10 $VSTERA adjusts the bias levels - 01P .4 il CU AUTOM 0E1ECTOR separatelyeven lomore make for effortless each perfect channel thepet font lances km, 4 8 5, 11114106011110 11111.1.11110{.6 10 AUTO REC01100.0 LEVEL AD-F990B also offers an auto - autonoise -recording reduction leveldetector, control, F-990 woo limlik mmo andauto auto -demagnetizing -intro -play facility. system "EC BALANCE The Aiwa AD-F990B. Perfec- totion achieve. has never been so easy MUM LIEr; POCINT SIMPLYADVANCEDIA I VIII ,t DolbyT is a trademark of Dolbyhe Laboratories Aiwa AD-F990B. Simply the best cassette deck we make. Aiwa America Inc., 35 Oxford Drive, Moonachie, New Jersey 07074 Enter No. 3 on Reader Service Card In Canada, Shriro (Canada) Ltd. I. WHY ARE THESE THE WORLD'S

EugenePitts Ill BEST-SELLING HEADPHONES? Editor Art Director: Cathy Cacchione Technical Editor: Ivan Berger Managing Editor: Kay Blumenthal Copy Chief: Elise J. Marton Assistant Art Director: Linda Zerella Assistant Editor: Andrea Lynne Pieper Associate Editors: Edward Tatnall Canby, Bert Whyte, B. V. Pisha Senior Editors: Leonard Feldman, Richard C Heyser, Howard A Roberson Senior Editor/Music Features: Ted Fox Editor -At -Large: David Lander Contributing Editors/Artist: Herman Burstein, David L. Clark, Anthony H Cordesman, Ted Costa. John Diliberto, John M. Eargle, Joseph Giovanelli, Laurence L. Greenhill, Bascom H. King, Edward M. Long, C. G. McProud, Peter W. Mitchell, Jon Sank, Donald Spoto. Mchael Tearson, Jon & Sally Tiven, Paulette Weiss Business Services Director: Mary Anne Holley Production Director: David Rose Production Manager: Patti Burns Special Projects Coordinator: Phyllis K. Brady Ad Coordinator: Susan Oppenheimer

Stephen Goldberg Associate Publisher

ADVERTISING National Sales Manager: Stephen W Witthoft Ask someone who owns them. (212) 719-6337 Account Managers: Lesa Rader Giberson Or your Sennheiser dealer. (212) 719-6291 ©1985 Sennheiser Electronic Corporation (NY) Nick Matarazzo (212) 719-6346 Enter No. 36 on Reader Service Card Western Manager: William J. Curtis Regional Manager: Randy Patton (818) 784-0700 Classified Manager. Laura J LoVecchio (212) 719-6338 THE FINE SCIENCE OF Classified Assistant Mary Jane M. Adams (212) 719-6345 CBS MAGAZINES EXECUTIVE STAFF President: Peter G. Diamandis COMPONENT CABINETRY Exec. V.P.: Thomas M Kenney Exec V.P. Magazines: Albert S. Traina HIGH PERFORMANCE: Designed to Exec. V.P., Operations: Paul H. Chook the sound principles of audio and Sr. V.P., Advertising: Michael J. O'Neill video performance, all CWD cabinets V.P., Editorial Director: Carey Winfrey are hand-crafted from select hard- Sr. V.P.: Robert F. Spillane woods and lovingly hand -finished. V.P., Finance & Admin.. Robert J. Granata V.P., Circulation: Bernard B. Lacy A SYSTEM THAT GROWS WITH YOU: V.P.V.P Mfg. & Distribution: Murray M. Romer Add on, arrange and rearrange for Pres.. CBS Magazine Mktg. Robert E. Alexander virtually any configuration. Easy to tailor, our cabinets fit both your AUDIO (ISSN 0004-752X. Dewey Decimal Number 621.381 or 778.5) is published monthly by CBS lifestyle and your audio/video com- Magazines. A Division of CBS Inc.. at 1515 Broadway. ponents, even big screen. Add a wine New York, N.Y 10036 Printed in U.S.A. at Nashville, rack, drawers, stunning glass doors. Tenr. Distributed by CBS Magazine Marketing. Second class postage paid at New York, N.Y. 10001 REMARKABLE QUALITY: From the arid additional mailing offices. Subscriptions in the precision hardware to the natural U S. $17.94 for one year. $32.94 for two years. $45.94 oiled finish, every CWD cabinet is for three years, other countries, add $6.00 per year. a fine piece of furniture you'll cherish AUDIO is a registered trademark of CBS Inc. ©1985, for years. But see for yourself. CBS Magazines, A Division of CBS IncAll rights reserved. Editorial contributions are welcomed but CALL TOLL FREE 1-800-323-2159 shcurd be accompanied by return postage. for the dealer nearest you (in Illinois Submissions will be handled with reasonable care, but call 312-563-1745). the Editor assumes no responsibility for safety or return of manuscripts, photographs. or artwork. The Publisher, in his sole discretion, reserves the right to This fully modular, flexible cabinet system in relecr any ad copy he deems inappropriate. Natural Oak features our wine rack, bronze Subscription Service: Forms 3579 and all CvvD tempered glass doors, solid oak doors and subscription correspondence must be addressed to interior cabinet lights. AUDIO, P O. Box 5316, Boulder, Colo. 80302. Please CUSTOM WOODWORK & DESIGN INC. allow at least eight weeks for the change of address to All CWD cabinets and accessories available become effective. Include both your old and your new in handsome Dark Oak (shown below), address and enclose. if possible, an address label contemporary Natural Oak, and classic from a recent issue. If you have a subscription Natural American Walnut. problem, please write to the above address or call (800) 525-0643, in Colorado, (303) 447-9330.

4 AUDIO/DECEMBER 1985 High performance modular furniture that keeps pace withyour electronic system DECEMBER THE COLUMBIA TREASURY OF THE AMERICAN MUSICALTHEATRE RICHARD JULIE ROBERT BURTON ANDREWS GOULET 0_1;111 CiOt A74°) A#3 FEE reti9 Gte CO STARRING RODDY McDOWALL BOOK AND LYRICS BY MUSIC BY ALAN JAY LERNER FREDERICK LOEWE Barbra Streisand PRODUCTION STAGED BY MOSS HART A Christmas Album 12 15 ESSIA ik;PH E Mort. A New Musical

. EILEEN FARRELL MARTHA LIPTON NNINGHAM .1.1ANI WAR:FIELD 'ORIGINAL BROADWAY CAST RECORDING

; .. .. ' 11Zraall;11117.171DZE;17;17011i1lro Hubert Laws PIE[ A S'E:D i\Dalir GIRL Quincy Jones Chick Corea21BE 22 BARBRA OMAR Blanchard: New Earth Sonata WYNTON MARSALIS SIRDSMO tli %%RIF Telernunn: Suite in A Minor "Black Codes (From The Underground)" THE CHARLIE DANIELS BAND "A Decade Of Hits" PERCY FAITH "Christmas Melodies" ANDY WILLIAMS "Merry Christmas" LIONA BOYD "A Guitar For Christmas" "A Camden Brass Christmas" "We Wish You A Merry Christmas" Domingo, Home, Rampal EN COMPACT UM a DIGITAL AUDIO

Enjoy today's revolution in sound with CBS Compact D,scs. Our rapidly-growiiig catalog features over 500 titles by superstar artists in all categories of music. Two illustrated catalogs-one showing CBS classical selections, the other featuring our contemporary musk titles-are available. Send 504 per catalog* for postage and handling to: CBS Records, Compact Disc

Dept./1070, 51 W. 52nd Street, New York, NY 10019. (SPECIFY WHICH CATALOG.) ISO is a trademark or CB 1985CBS Inc

Enter No. 9 on Reader Service Card The question isn't whether to buyaCD player. It's which one?

Ouranswer: The AdconiR GCD-300.

triple beam lee°, tracking system play pause atora/claar l7 00 0 linear phase correCtIrigwCircult"

-track obeillorY AEXDOMgcd-300 The GCD-300 features Adcom's exclusive Sound Phase -Correcting Circuit eliminates this form of dis- Window' Frequency Contour Selector and Linear tortion-and its effect or stereo depth and imaging. Phase -Correcting Circuit that fulfill the Our other concerns. musical promise of compact digital Listening tests have also revealed discs. tremendous variation in the spectral The question about which CD player to energy balance embodied in some CDs. buy is important to everyone-especially We believe this problem originates in part those "golden ear" music listeners who've with some recording engineers-those long known and enjoyed the musicality who've not yet mastered the different of the LP, but with a love -hate relation- demands of this new medium in which ship. That's because of the background the high frequencies can easily be dis- hiss and noise in soft passages, the clicks proportionate in the musical balance. and pops and the gradual wearing down go* Other recording problems can occur in of their prized records. the transfer of musical sounds (essentially analog) into the digital format. Musical nirvana not yet reached. These music lovers welcomed the Remote control: This remote con- And our ether solution: trol provides access to all func- The Sound Window' Contour Circuit. promises of the vast technological ad- tions: track/time, track selections, vance that digital recording claimed over indexing, play, pause, stop, clear Our research indicated that the sound analog recording: crystal-clear, noise - and memory. The numerical key- quality of many vocal and instrumental pad allows random access to all CDs could be greatly improved by intro- free reproduction of music with wide programs. dynamic range. And wear -free life for the ducing corrective frequency contouring Other features of the GCD-300. to compensate for the unnatural sonic CD itself. But when it came to critical Triple -beam laser system, repeat energy balance present in many CDs. listening, their ears told them that some- play of any selected portion of A three -position switch provides a thing was wrong. disc, forward and reverse indexing, 15 -selection memory. choice of playback response curves What they detected in many CDs was which can be used to improve the spec- Specifications: lack of depth, an unmusical graininess Frequency response: tral balance of those CDs that need it. and stridency. And they suffered listening 5 Hz -20 kHz ± 0.5 dB As a result, such CDs can emulate the fatigue in a relatively short time. There Dynamic range: 92 dB musicality of the finest analog recordings went the endless hours of pleasure de- Signal-to-noise ratio: while maintaining the low noise and 95 dB (IHF-A) dynamic range advantages of digital rived from listening to recorded music. Harmonic distortion: And they wondered about so many of the 0.0040/0 (at 1 kHz) technology. critics who raved endlessly about the new Wow and flutter: <0.0010/0 A logical suggestion. technology and heard nothing amiss. Channel separation: 92 dB (at 1 kHz) We don't know which musical camp Our solution to this problem: Output voltage: 2.0 V you belong to: those who find no fault Sampling frequency: 44.1 kHz whatever with any CD, or those who Linear Phase -Correcting Circuit. Quantization: haven't been satisfied with what they've First, we chose to use a single digital - 16 bit linear/channel heard so far. If the latter, that may be why to -analog (D/A) converter. Its advantages: Dimensions: 3-5/16" H, 10-3/4" D, 17-1/8" W you don't yet own a CD player. (Or why when properly designed, it can have less you are disappointed with the one you mistracking of reference voltages and Also available: GCD-200. Same specifications as GCD-300, but do own.) lower digital clock interaction than dual without remote control features. If so, visit an authorized Adcom dealer D/A converters. and audition the moderately -priced However, most players using single converters have Adcom GCD-300 against any other CD player at any suffered from phase distortion resulting from the price. Chances are you'll again be enjoying those long switching delay between channels. Adcom's Linear hours of musical listening pleasure. ADCOM® 11 Elkins Road, E. Brunswick, NJ 08816 U.S.A.Telephone: 201-390-1130 Telex: 844430 Distributed in Canada by: PRO ACOUSTICS INC Pointe Claire, Quebec 49R4X5

Ente No. 2 on Reader Service Card t.

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AUDIO ON RADIO recorded selections usually follow a theme, such as "The Piano on Compact Discs" or recordings with surround -sound capabilities. The interviews cover such topics as FM broadcast -signal processing, the use of ceramics in audio components, and the work of various audio designers and pioneers. PCM on NPR analog dub, as is usually the case. Sometimes, the recordings and the Radio's a natural medium for (According to Sunier, his show was interview are built upon a common audio discussions and some the first to be transmitted this way, theme. For example, a show might demonstrations, and about 100 though the St. Louis Symphony feature synthesizer music and an National Public Radio stations around broadcasts have since followed suit.) interview with Wendy Carlos, or the country now carry a show The associated equipment used in Broadway music and a discussion of devoted to it. Audiophile Edition, the preparing the show includes a audio restoration work going on at the creation of John Sunier, is carried on mouthwatering list of audiophile Rodgers & Hammerstein Archives. the NPR satellite on Sundays at components too long to be c.ted The December 15 show, built 2:00 p.m. Eastern Standard Time; here-Talisman cartridge, Electron around just such a theme, should be some stations use PCM digital Kinetics Eagle 2 power amp, that sortof special interest to Audio readers recording for delayed broadcasts. of thing. within reach of the program. It will be Why bother using PCM? Because The show, which is underwritten bythe show's second annual binaural Audiophile Edition is recorded Telarc Records and Maxell, began program, "For Headphone Listening digitally to start with, and sent up to more than four years ago in San Only," and will feature both binaural the satellite system directly from the Francisco. It offers a mix of interviewsmusic and an interview with PCM digital master, not from an and audiophile recordings. The Bert Whyte on his binaural work.

Audio on a Wedding Eve you compare an nth -generation you want to tape part of a cut, you I recently spent a day selecting andaudiophile turntable system with a can use the CD player's time display taping 22 cuts of music to precede first -generation CD player. as an exact guide to when the and follow my wedding. It made me Still,ifI could have done it all from desired section will begin and end. more aware of where CD and LP CD, I would have-and gladly. (On some players-though not stand in relation to each other, and of Records are a lovely nuisance. I don'tmine-you can even preset start and the differences between the two want to purify my records and my end points and let the player do your which don't show up on spec sheets stylus every time I play a disc, edits for you.) but help define our experience of the especially when my newly cleaned This sort of dubbing-all from two systems. records still come out sounding hissy commercial records-is part of what On repertoire, LP wins, hands and still get my stylus grundgy the record companies are up in arms down. At best, a fourth of the 22 cuts halfway through.I guess I need a about. Yet what alternative had I? I taped could have been assembled record -cleaning machine, but even There was no way I could have from CDs, if I'd had them, but about the cheapest ones are hardly cheap. segued all those records neatly in three-quarters were on LPs now in A damp cloth to clean my CDs costs real time, and as the groom,I would print, the rest on older LPs. As it less and takes up less space. have been unavailable to try. And happened, I had one of the albums When you cue up a cut on CD, youwhile rd gladly have bought a on both LP and CD, so I used the don't have to worry about denting thecommercial tape of what I wanted, latter for one cut. disc or chipping the stylus, should where would I have found one? My ultimate selections ranged from Bach There is far more satisfaction, I you let the arm slip. When you're admit, in playing records than in taping from CD, you don't have to to Basie and came from 14 separate playing CDs. With LPs you get the start with the last few seconds of the albums, most from different record pleasure of what Anthony Cordesman previous cut so you can gauge when companies, at least one from a record calls the purification rituals (one for the cut you want will actually begin. Ifnever sold in the U.S.-and all discs I disc and one for stylus), and an already owned. intimate involvement with precision Yet how much pleasure my guests machinery as you swing your tonearm and I got from all the record over to the cut you want and set it companies' and musicians' work- down, gently and precisely, in the and from mine, assembling i:!It's the lead-in groove. Sometimes, even, music that matters. We of the audio there is more fidelity, especially when industry are just here to help.

AUDIO/DECEMBER 1985 9 New research suggests that headphone listening isn't much more likely to cause deafness than TV caused blindness, or the waltz an epidemic of sin.

Portable News words of warning: Users in high -noise Every public pleasure is proclaimedenvironments should be warned of a plague-you may remember the potential hearing loss. Managers of warnings of incipient blindness aimed noisy facilities should conduct annual at early TV owners, and you should audiometric tests of headphone users have heard the cries of sin at the and non -users, to check for signs of introduction of the waltz! So it's no headphone -induced hearing loss. surprise that, when the Walkman and And listeners who already show its imitators grew ubiquitous, we significant, permanent noise -induced started hearing dire warnings that hearing losses should not use continued use would cause deafness.headphone portables. New Arrival And people do play them loud-often Do the headphones attenuate New -product announcements enough so that you can make out, outside sounds significantly? If so, usually go in our "What's New" from yards away, just what they're while perhaps protecting the users' section. But this one, submitted by hearing. I've often warned such loud hearing, they might endanger Mitch Kawasaki of Rotel, seemed to listeners to protect their hearing by listeners by isolating them from belong here: turning down the volume. outside warning sounds. This, Kawasaki-Mitch and Darlene (nee It seems I'm only half right in this. however, Royster and three Spencer) are pleased to announce Sound and Vibration recently reportedcolleagues report, is unlikely. Supra - the safe arrival of Rebecca Kiyoko that the cries of doom may be aural phones (the typical Walkman and Katelyn Miyoshi. This exclusively unfounded. Dire early reports, says type, which sit on the ear) had a limited -edition pair of twins weighed contributing editor Larry H. Royster, modified noise -reduction rating of in at 4 lbs., 13 oz. and 4 lbs., 12 oz., presumed full-time use at full volume. only 0.3 dB for straight -ahead or side respectively. After 37.5 weeks of In practice, distortion limits usable sounds. Circumaural (ear - detailed preparation, the diminutive output levels (even for average surrounding) phones attenuated pair was born simultaneously on listeners, who tolerate a lot more straight -ahead sounds by 1.9 dB and May 11, 1985, at McMaster Medical distortion than most Audio readers), side sounds by 1.2 dB. Semi -aural Centre. They exhibit twin absolute and listening is not quite continuous, (in -the -ear) phones had attenuation phasing, with direct/reflecting time - either. Royster's measurements of figures of 0.6 and 2.6 dB. aligned coherency, having been actual listening show that moderate Good news for headphone listeners meticulously matched to within levels are most common: For average may also turn out to be good news for ±- 1 oz. Both left and right channels (50th -percentile) listeners, average those who'd rather not hear their are water-cooled, with no warmup levels are equivalent to external neighbors' music, ifit encourages necessary. For peak performance, diffuse -field sound levels of 52 dBA inthose nearby to listen privately-not breast milk at on -demand frequency quiet interiors, 71 dBA outdoors, and that the average loud -portable listener has been selected. They have already 83 dBA with typical, on-the-job has any care for incipient deafness, exhibited excellent dynamic range background noise levels of 80 dB. near as I can tell. and frequency bandwidth. SPL has The top tenth of the people New York City has now set aside been measured to be 105 dB. surveyed-those who listened to the areas in some parks and beaches loudest music-used levels equivalentwhere, to quote the newly erected to 64 dBA indoors, 83 dBA outdoors signs, "Playing of radios or tape and 92 dBA with 80-dBA background players without earphones is Respiratory Failure noise. "For the most sensitive 5% of PROHIBITED." Violators are subject to In stating, correctly, in the August [the industrial] population," says $50 fines and risk having their 1985 issue that using Dolby B NR Royster, "the expected increase in portables impounded. There were and dbx NR together would eliminate hearing loss over 20 years of noise some grumbles; The New York Times the tatter's "breathing," I stated, exposure would be 4 dB at 4 kHz, an reported one man as saying, "As long incorrectly, that that breathing was effect that is most likely acceptable toas you're not annoying someone else, proportional to noise in the input the employees in the type of work you should be allowed to play your signal. Actually, it's proportional to the environment investigated, where the radio. It's soothing," and cited a noise in the recording medium- job function is very repetitive." mother's fears that headphones would which is why the problem is more I'm not sure that music lovers and prevent her from hearing her young often heard in dbx cassette audiophiles would accept this hearingson. But overall, the restricted areas recordings than in open -reel tapes loss as readily, especially if added to are quieter. made with dbx. the other hearing losses we can Why not just prohibit loud radios? expect from aging in a mechanized Because that would either involve Wrong Number environment. But at least we need notpolice in judgments that might not The price quoted for NEC's AV -300 issue blanket condemnations of stand up in court, or require that they surround -sound processor in the headphone listening. carry-and know how to use-sound- September column was incorrect. Royster does, however, have some level meters. The correct price is $499. 10 AUDIO/DECEMBER 1985 Perreaux audio -tech

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Enter No. 29 on Reader Service Card of IN ACCURACY..by In an Analyzer/Equalizer It's what separates the Precision Instruments from the Electronic Toys!

CHANNEL A C HANNEL B

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O. IS 15 , 0 311Ir 60 1/0 146 410 HU MAO 15140 10111 60 120 00 111 19/1 3140 /6410 1,160 . 0 AE2000REAL-TIME SCAMALYZER/EOUALIZER i0 1120 H40 11,0 11101 05110 mato, 111,01/11111111 (.5avielleierere 111:1117a1111110 14011111111 WIN NOIRPUI 114401111 HAN MAY VIA 6 4 6 AUTO 100001 11001 1111.

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AE2000 AUTO-SCAN-ALYZER-WORLD'S MOST ACCURATE (0.1dB) REAL-TIME ANALYZER-EQ The First and Only analyzer with Two independent real-time analysis systems.. Like others, the Soundcraftsmen AE2000 utilizes a Full Fre-is generally considered to be the ultimate in octave equaliz- quency Spectrum Display System for broad (2dB) adjust-ers. The Differential/Comparator® system assures TRUE ments. But it is the ONLY DUAL -SYSTEM Analyzer/EQ!UNITY -GAIN within 0.1dB, regardless of the EQ curve It also includes our EXCLUSIVE Differential/Comparator®selected. This guarantees maximum headroom for wide - System which is accurate to within 0.1dB. TEN TIMES ASdynamic -range material, highest gain, lowest noise, without ACCURATE AS ANY OTHER SYSTEM! No other Analyzer/overloading. With the AE2000 the peaks and valleys found in Equalizer AT ANY PRICE can equal THE 0.1dB READOUTevery listening environment can be effectively "neutralized" ACCURACY of the Differential/Comparator" System. The quickly and easily to realize the full potential of your sound AE2000 employs a superb 10 -band precision -coil octave system. equalizer (no "artificial" IC's), identical to the DC2215, which Enter No. 30 on Reader Service Card FOR A DEMONSTRATION, VISIT NEAREST DEALER LISTED BELOW However, many additional Dealers-too numerous to list here-are located throughout the U.S. with many models on display. If no dealer Is shown near you, or you encounter any difficulty, please phone us at 714-556-6191, ask for our "Dealer Locator Operator!'

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reached, so it's unlikely to be turning at full speed unless music is being played loudly. The rated Naim Amplifier specifications (75 watts The Naim Audio NAP135 continuous into 8 ohms, mono power amplifier pays 500 -VA transient capability, unusual attention to some noise and distortion of all real -world problems. Its types less than 0.1%) are cooling fan does not come measured with speakers on until the chassis rather than test loads. temperature reaches a Frequency response is +0, preset value. The fan starts -3 dB from 5 Hz to 40 slowly and speeds up until kHz. Price: $2,990 per pair. thermal equilibrium is For literature, circle No. 100

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Enter No. 32 on Reader Service Card See dealer listing on page 126 BEHIND THE SCENES BERT WHYTE

WHIRLED PREMIERES

Wnen Iattend the annual Sum mer and Winter Consumer Electronics Shows and the convention of the Audio Engineering Society,I quite naturally get caught up in the excitement of new audio prod-

ucts and technologies. I also get involved with alotof other matters among the most pleasurable being the inevitable bull sessions with engineers and manufacturers. People who know my background invariably ask me about the recording business, especially with respect to classical music. They want to know how to become a recording engineer, how to break into the business. They very often ask technical questions about a specificre-

cording I have made, such as what mikes I used. Others are more interested in the musical aspects of a recording. They want to know what it's like to work with certain conductors and orchestras, and are eager to hear my anecdotes about the trials and tribula- tions of record making. I've promised a lot of nice folks that from time to time I would write about the often frustrating, always fatiguing, but endlessly fasci-nations of music and artists, makingcording engineer has works he is par- nating business of record making. Thiscertain they are recorded with such*.icularly proud of.In my case, I feel month I'll keep that promise. superior engineering that success isvery pleased thatI was able to make In some major record companies,assured in the marketplace. If fortunesix world premiere recordings of im- the production of classical recordingssmiles, and the recordings are critical-portant new music. can involve a lot of people. There is thely acclaimed, a good reputation is es- Probably the world premiere record- recording producer, the director of art-tablished. With this reputation comesingI am most proud of is the Ninth ists & repertoire, the recording engi-respect, and a certain degree of pow-Symphony of Ralph Vaughan Williams, neer, and the music director. I've worner. Power enough, in fact, to be a fac-generally recognized (along with Ben- all of these hats.I was music directortorin the highly competitive recordjamin Britten) by musicologists to be at RCA, and I was director of A&R andworld. Thus, when The New York Timesone of the most important English com- recording engineer at Crystal Clear. Atpraised my firstEverest recordingsposers of the 20th century. Although Everest,I chose the music that was towith such remarks as "unhackneyedVaughan Williams wrote music in many be recorded, the conductor and or-repertoire"and"superbstereoforms, his major works were his sym- chestra who would perform it, and thesound," it gave me extra leverage inphonies. These distinctivelystyled hall or locale in which the recordingdealing with the movers and shakers insymphonies were widely acclaimed,

would take place; I also engineeredthe world of music. This included theand had been well represented with the recording, and even negotiatedmusic publishers. It was very gratifyingmany finerecordings,notably from artists' contracts and handled otherwhen such giants as Boosey &Decca and EMI. I use the term "dis- pertinent business matters. Additional-Hawkes, G. Schirmer, and the Oxfordtinctive" because his music is as instantly recognizable as, for example, ly, I have been an independent engi-University Press became very cooper- neer/producer,like Marc Aubort ofative and offered me some choice mu-the music of Copland or Mahler. It was Elite Recordings and Jerry Bruck ofsical plums. Thereby hangs a tale. also generally acknowledged that con- Posthorn Recordings. As you might expect, a recordingductor Sir Adrian Boult was the defini- Needless to say, all of these jobs areengineer feels very paternalistic abouttive interpreter of Vaughan Williams' highly demanding, and the major rec-his recordings. They are indeed hismusic. The people of Oxford University ord companies usually maintain sever-creations, his children. He may evenPress knew I was coming to England al teams of highly qualified people tobe forgiven for thinking of them as afor a series of recordings with Sir Adri- handle them. It is a far greater burdennoble legacy that can bring joy andan and the London Philharmonic Or- on an individual who wishes to estab-pleasure to thousands of people forchestra. After considerable discussion lish a record catalog from scratch. It ismany years, even after he has shuffledabout various choices,I was fortunate he who must choose the right combi-off this mortal coil. Naturally, every re-enough to arrange for the first record-

AUDIO/DECEMBER 1985 17 I DON'T DISTORT THE TRUTH AND I DON'T DISTORT THE MUSIC.

I'M A PIONEER AND I'M PROUD OF IT

"The first time I got caught lying was also "Nothing but the truth. That's all I want. the last. It had to do with skipping school. And From my friends. From my family. From when my old man found out, he laid down the my music. From my life!' law. 'Son, you gotta play it straight, you gotta THE PIONEER® ELITE HIGH- tell it straight: Then he took me out back to FIDELITY COMPONENTS. Impeccable make sure I'd never forget. integrity. Utter truth. "I've never lied since. Oh, I know it's how ©1985 Pioneer Electronics (USA) Inc. some people get by. But it's not my style. For your nearest dealer call (800) 421-1404. CATCH THE SPIRIT OFATRUE PIONEER. CD PIONEER' Enter No. 31 on Reader Service Card A recording engineer feels PIONEERS very paternalistic about ELITE HI -Fl his recordings. They are COMPONENTS indeed his children, his creations-and his legacy. A -88X (BK) NOn-SwitchingTM Stereo Amplifier - Three transformers, sevenpower supplies for low impedance drive capability. - lIvin mono -construction design for ing of their newly published Vaughan clear, precise imaging. Williams Ninth Symphony. - 120 watts per channel, continuous aver- The recording was to be made in age power at 8 ohms, from 20-20,000 Walthamstow Town Hall, my favorite Hz with no more than 0.003% THD (300 recording locationinallof England watts dynamic power at 4 ohms). The day before the recording, the Green Room in Walthamstow was set F -99X (BK) up with specially modified, three -chan- Digital Direct Decoder FM/AM Miner nel,half -inch Ampex tape recorders - Pioneer -developed ID MOS FET front and a custom-built Westrex mixing end for ultra -low noise, low distortion console. Gilbert Briggs, the "grand old and high sensitivity. man" of Wharfedale, had loaned us - Unique digital interference -rejection three of the big monitor speakers he circuitry (DDD Type II). had used in his famous "live versus - Signal/noise ratio (94 dB) is ideally recorded" demonstration at Carnegie suited to digital audio performance. Hall. These were powered by special

McIntosh amplifiers. I also used a PD-9010X(BK) three -channel spaced array of omnidi- Compact Disc Player rectional Telefunken U-47 micro- - Digital filters eliminate "sampling phones. Three discrete audio channelsfriend, Ralph Vaughan Williams, would noise" without causing phase delay. were recorded on the Ampex units,have been with us in the studio while - Audio circuitry uses hand -selected and we employed direct three -channelwe were recording this symphony, but components. monitoring. his death took place seven hours be- - Three beam pickup with Linear Servo With all technical matters under con-fore we began our work on it.It's a System prevents mistracking or drop- trol,I was very pleased and honored towonderful thought that many musical outs from dirty or scratched discs. learn that Ralph Vaughan Williamsfriends in the United States will be en- would be at the recording sessions. Onabled to hear his last symphony by CF-A9X (BK) the morning of the recording day, I wasmeans of this record." 3 Head Cassette Deck met at the back door of the Green Contrary to my foreboding about the - Quartz-PLL direct -drive servo motor Room by Sir Adrian, a tall, spare, rath-effect of this news on the orchestra, the and closed -loop dual -capstan for less er austere man with an imposing caval-musicians and Sir Adrian provided an than 0.018% wow and flutter. ry mustache. A gentle man with a rath- mpassioned, heartfelt, virtuoso perfor- - Pioneer's AUTO BLE (Bias, Level and er formal manner, he greeted me bymance. The recording was acclaimed Equalization) system with MOL balance exclaiming, "Oh, Mr. Whyte, a terriblein numerous reviews and very well re- control adjusts for differing tape types thing has happened!" Well, there areceived by classical music enthusiasts. for widest dynamics/lowest distortion certainly plenty of things that can goThere have been several other record- on every type of music. wrong in any recording session. How-ings of this great symphony over the ever,Sir Adrian informed me thatyears, including a remake with Sir Adri- DSS E10/DSS E6 Ralph Vaughan Williams had died justan Boult and the London Philharmonic 3 -Way Bass -Reflex Speaker Systems seven hours before. This was indeedOrchestra. I greatly treasure the dis- - Newly developed LDMC (Linear Drive distressing news, and I hoped it wouldtinction of having made the first record- Magnetic Circuit), DRS (Dynamic Re- not prove to be a bad omen. Now, youing of it and will never forget the emo- sponse Suspension) and EBD (Electronic must understand that the London Phil-tionally charged atmosphere of that Bass Drive) for accurate reproduction of harmonic Orchestra was very familiar1958 recording session. digital program material. with the music of Vaughan Williams, In subsequent sessions with Sir Adri- - New exotic materials such as Polymer and had not only performed his worksan Boult and the London Philharmonic GraphiteTM woofer, boron midrange many times but had also made record-Orchestra, I recorded Vaughan Wil- and direct radiation beryllium ribbon ings of his symphonies. The membersliams' "Job (masque for dancing)," a tweeter are used to deliver high of the orchestra knew that Vaughanmost powerful and evocative work. Sir linearity, high power and extended Williams was supposed to be presentAdrian's affinity for the music of frequency response. during our sessions. Thus it was a veryVaughan Williams is evidenced by the - Sold in matched mirror -image pairs. stunned group that heard Sir Adrianfact that the composer dedicated this score to him. I chose to record "Job" in - Rounded baffle for reduced diffraction announce the composer's passing. and improved dispersion. If you happen to have heard my Ev-London's Royal Albert Hall oecause I erest recording of Vaughan Williams'wanted to use its great pipe organ. Ninth Symphony, you will know that SirThis hall is very large, seating nearly Adrian made a rather unusual tribute to8,000 people, and has notoriously diffi- (1,0 PIONEER' the composer. Before the music be-cult acoustics due to its reverberation ©1985 Pioneer Electronics (USA) Inc. gins, you can hear Sir Adrian sayingperiod of more than 3 S. In the music, that "We had hoped that our belovedin the climactic scene where Job

AUDIO/DECEMBER 1985 19 I treasure having made SONEX looks the first recording of as good as it Vaughan Williams' great Ninth Symphony, and won't sounds. ever forget that emotional SONEX traps sound four times better than rich, thick carpeting, so just session in 1958. a few squares can tune your room like recording engineers tune their studios. It's easy to hang, and it curses God, there is a tremendous for- looks good. Write for our color tissimo outburst from the full orchestra brochure, or try a box today. Four and organ. I wanted the massive 24" squares per box. weight and sonority of this organ rather Send $48 to: 3800 Washington Ave. than the electronic pipsqueak I would have had to use if No., Minneapolis, MN 55412. I had recorded this For easy, factory -direct orders, piece in Walthamstow. It was neces- call toll -free 1-800-662-0032. (In sary to use an array of old wooden MN call (612) 521-3555) doors behind the orchestra to serve as reflectors, and to position acoustic re- MasterGard flecting "clouds" (baffles) above the orchestra for better projection. Here again, the spaced array of three Tele- funken U-47 microphones was used in Enter No. 15 on Reader Service Card an ominidirectional pattern, and the signals fed into the three -channel Am- pex tape recorders. Using the Albert Hall involved a lot of extra work, but the spectacular sonics justified all the effort.I should add that, Try Audio's Classifieds were I to record this work now, the ideal place to make it would be in the new Davies Symphony Hallin San The marketplace for Hi-Fi gear! Francisco, which has a wonderful Ruf- fatti organ and a reverberation time of slightly over 2 S. Only one of my six world premiere recordings was uneventful. This was the Hindemith "Concerto for Violin and Bush makes furniture and other selected woods Orchestra" performed by violin virtuo- that fits your home and veneers will last for so Joseph Fuchs withSir Eugene entertainment system. years. No matter what Goossens conducting the London Modular cabinets and kind of components Symphony Orchestra. Fuchs, often re- stands that go together you own, they belong ferred to as the "violinist's violinist," in minutes. But the in a Bush. This is has made this work his own, and his styling and beauty the way sound performance of it may safely be con- of solid oak should look. sidered definitive.I coupled this work with his equally effective performance of Mozart's lovely "Third Concerto for Violin and Orchestra." As always, Sir Eugene had the London Symphony Or- chestra playing at the top of its form in WOULDN'T IT ALL LOOK an appropriately sympathetic accom- paniment. Fuchs' clean, smooth tone BETTER IN A BUSH? and the sound of the orchestra were greatly enhanced by the flattering acoustics of Walthamstow. The recording sessions went very smoothly, posing ,no problems either musically or sonically. The recording was well received by critics and public alike, and if you are a bit tired of the Tchaikovsky, Mendelssohn and other concertos in the standard violinrepertoire, you might want to try this interesting Hinde- mith concerto for a refreshing change. At another time, I will provide "behind the scenes" glimpses about the four other world premiere recordings I was privileged to make. A

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The home movie, pretty much in warming up. Video movies with audioyour own risk. You can go on and on eclipse these late years whatattached are surely here to stay. All wewith your pictures and, oh boy, can with so much else to distract us, have to do is to learn how to makethat be boring. Take care. is coming back in a new form-video. them, and, in particular, how to use the No more need, you see, for those Product ads are already in the full -sound that has become obligatory. quick, challenging,inspiringlittle page stage. Not really for this Xmas, Yet look at the ads! Astonishingly,scenes on the old film, where days of though you can try any of three incom- there is hardly a mention of sound. Youtravel,camping, children's doings,

patible types, if you want. But soon, I could almost think it didn't exist-likewere compressed into a few expert think, home video will indeed be every- the old movies. Maybe that is the idea,minutes. We learned to do that, some where, at reasonable cost. And thisand for good reason. Nobody, andof us, and it was very satisfying to all timeitcomes with sound-audio. least of all the manufacturers, has anyconcerned, both the taker and the ta- Now that was just as I had figured,clear idea as to what we amateur pho-kees, a genuine art in its special way. some years back, when I tried out onetographers are going to do with thatBut what will you do now, with so much of the earlier home video cameras andsound. In an area where professionalstime? And so much sound? a full-sized VCR to see what I could do.have spent 60 years, with their fabu- Yeah, I can imagine. I see a 15 -

I had been an early home -movie ad-lous equipment, their elaborate studiosminute static shot of Niagara Falls, fall-

dict, way back, and I still go for theand sound trucks and so on, working ing,falling some more,stillfalling, idea. Home movies do things that noto reach the present state of sound -while the soundtrack projects a loud still pictures can do. plus -pictures that we know on theblast of white noise (water) that drowns As some may remember, that try atscreen and TV, we are going to be leftout the people in the foreground who video was premature. It filled my livingto manage things by ourselves in muchare trying to say something intelligible. room with a maze of cables and auxil- simpler ways, to work out our ownSome picture! Get out your still cam- iary gear to feed the hefty camera andsound/picture match. It will indeed beera;it'lldo better. Or how about a play back its product. We never gota new way of movie life, and not easysound -shot of Times Square? One min- the camera itself more than a few feetat all. Easy enough to take the pic-ute of that kind of sound is enough, outside the door in the direction of Na-tures-just press the button and letthanks. The old short shots, in such ture,all around us, due to so muchautomation take over. But will anybodycases, would be about perfect. For the trailing entanglement and all the extrawant to look at the result that we get?long, long haul you need better ideas, black boxes. Then we found that, if soAnd listen to it? and newer ways to carry them out. much as a corner of bright blue sky got Even beyond sound, everything elseWhat ways? None of us knows-yet. into the camera lens, the entire picture is different. For most of us itwill be Sound and pictures have very differ- foreground turned a dark purple. Sovirgin territory, a new experience. Col-ent requirements. Sound, especially we took our pictures downhill, aiming or video pictures are remarkably unliketalk, needs to be close-up and minus at the ground. Nor would that camerathe old film movies when you get tobackground interference. But do you focus further out than about 10 feet,"take" them on your own. Are you setwant nothing but upper body halves, which was its idea of Infinity.I could gofor lumens and luminance, chromi-talking, minus legs? Your zoom lens on, but why bother? Istill felt that it was nance, white balance and a thousandonly makes this worse. Nice faces, just a matter of more time. And a lotother new items? And can you copetalking faces. But what else forall more R&D. with a suddenly huge running time,those minutes and hours? Maybe we Well, time has passed, and alsoperhaps 10 times as long per loadingcould use a reverse zoom, a fisheye R&D, and now we are getting some-as film, perhaps much more than that?lens, to put the people off where we where. It's not quite Heaven (as the And with it, a cost per minute that is farcould see them whole, not in pieces, ads want to suggest). But the differ-lower than the same for the old homeyet get their talking close-up. Or a su- ence is huge and the competition ismovies? You can really splurge-atpercardioid mike? Or a lot of detached

AUDIO/DECEMBER 1985 21 To hear why Stevie Wonder records on Sony Digital equipment, play himback on a Sony Compact Disc Player. When it comes to capturing the experience of live music, no audio equipment delivers the performance of digital audio. That's why, for one musician, its played a critical part in virtually every aspect of the creative process. Stevie Wonder has insisted on this revolutionary digital mastering equipment since 1979. And the name this music industry leader chooses, interestingly enough, is the leader in digital audio. Sony. ) Shown is the CDP-302, a full -featured, Not only has Sony led the way in professional digital programmable home player that uses recording equipment, we also invented the digital system Sony's third -generation digital technology. for playback-the compact disc player. Sony introduced the first home, car and portable CD players. And Sony So why not do what Stevie Wonder does? Play the sells more types of compact disc players than anyone top -selling compact discs back the same way they were else in the world! mastered. On Sony Digital equipment. But whichever Sony Compact Disc Player you Once you do, you'll choose, each allows you to hear everything the artist wonder why you listened originally intended. to anything else. THE LEADER IN DIGITAL AUDIO - 01985 Sony Corporation of America. Sony is a registered trademark of Sony Corporation. The Leader in Digital Audio is a trademark of Sony Corporation ofAmerica Enter No. 37 on Reader Service Card Sound -plus -video won't fail Buy any as it failed with film, Sony Compact because sound is inherent in video, it fits, and it's of Disc Player better quality. and save up to

$200 on100 mikes, not on the camera but hidden innews on TV with the sound turned off. the nearby shrubbery? Here we go! But will it be the same failure again? I great CD I'm all for automation (just soI candoubt it. This time will be different. Big override it), and we will have it in thesechanges in a medium make for big titles. video/sound movies. Everything. Butchanges in technique. In video, sound Sony's just found a way to give willautomation solveallproblems?is inherent,built-in.Itfits,itdoesn't you a compact disc library on a sil- Hardly.Itwill help with good imagescost "extra." And, with pictures, it ties ver platter. and maybe uniform sound, and savento so much of your present home Starting September 1, when you precious time in getting ready to shootequipment: TV, VCR, and of course buy any Sony® home, car or por- or in changing scenes. But the job ofaudio components. The new sound will table compact disc player, you'll be picture making, any sort, still calls forbe good, too, as in the newer genera- entitled to receive a Sony Compact brains, ingenuity, inspiration, imagina-tion of VCRs. So we are going to learn Disc -Count Coupon tion and advance planning. Especiallyabout movie sound, learn to use it as Book good for up 411a.:X. with sound attached. It's a real chal-an unquestioned part of the medium, to $200 in dis- r ffrEWLTLITal lenge, as I see it. A new body of tech-however tough things may be at first counts on your nique, not yet explored, just beginning.while we are finding out what to do. choice of 100 select You, too, can be a charter member. It's like the difference between the compact disc titles.* Yes, of course, we have had homeLP and the CD. The LP is ever so Each coupon is worth $2.00 off the sound movies before, on film, and forclearly a manual, hands-on system, regular retail shelf price on select many years. In fact, it was just 50 yearsand was so designed, even if automa- CD titles.** ago that the first sound film reachedtion has lately come toit. Automated Just look for the discount certifi- the home market, with associatedoperation is never easy with the LP, cate inside specially marked Sony gear, not long after it had hit the big-however ingenious. One senses the cartons. With it, you'll be able to build time theaters. In 1935 Scientific Ameri-clumsiness. On the other hand, the CD a complete CD library in no time. can, noting the innovation, observedwas born automated and can never be. But hurry, because this offer is that "sound -on -film, which revolution-"manual"-we have not yet tapped all for a limited time only. So see your ized motion pictures in the theatre, nowthe possibilities inherent in that auto- local Sony dealer or these Sony promises to do the same in the ama-mation. For the CD, it is right and easy.

Compact Disc -Count Centers for teur home -movie field. . . ." SoundsFor the LP itis uncomfortable. So it is details on the best offer in compact good, doesn'tit? But what actuallywith sound -on -film in the home versus discs you've heard in a long time. happened? Did sound work out forthe video home movie with sound. DISC -COUNTS AVAILABLE AT ALL home movies? Sci Am thought it would.Same sort of difference. Video -with - LOCATIONS OF THESE PARTICIPATING "Anyone can now make his own talk-sound is going to be okay. RETAILERS: BOSTON COMPACT NEW WORLD RECORDS ies," it chortled optimistically. Yel so much will carry over! Don't DISC (Buffalo Area) Things didn'tturnout that way.underestimate the old movies. That (Boston Area) ODYSSEY BUDGET TAPE & (Las Vegas) Sound -on -film for the amateur was notwas a wonderful medium when you RECORDS RECORD BAR a raging success. Too expensive, tootickled it in the right places. I took silent CAMELOT MUSIC RECORD FACTORY 8mm movies for many years (until col- DISCOUNT RECORDS (N. Calif) tricky, too bulky and clumsy, and the FLIPSIDE RECORD TOWN/ sound was bad. Instead, the silentor), beginning with the original Cine (Chicago Area) RECORD LAND home movie went right on because itKodak Eight in early 1933-one of the GOOD VIBRATIONS RECORD WORLD/TSS (Boston Area) RECORDS HAWAII was much cheaper, much easier tobest engineered and thought-out HARMONY HOUSE RENAISSANCE use, and it led to a lot of real satisfac-home systems I ever hope to see, and I (Detroit Area) MUSIC MEDIA tion for those who tried it. Here was atrust Kodak can do as well today in I & R MUSIC WORLD (Dayton) (New York City) SOUND SHOP case where audio was a burden, notvideo. We have a lotto learn from KEMP MILL RECORDS SOUND WAREHOUSE those older pictures, even minus (Baltimore/Washington) an asset Audio, we must humbly ad- SPECS MUSIC mit, is not always an added attraction.sound. A beginner then was much like LAURY'S RECORDS (Florida) (Chicago Area) STREETSIDE RECORDS It can easily sink a new -launched en-a beginner now, and we are mostly all LICORICE PIZZA (Missouri) tertainment ship. Or drive a man crazy,beginners with video.I made the same LISTENING BOOTH/ TAPE WORLD WALL-TO-WALL SOUND like loud rock music in a mountain wil-idiot mistakes then that you will be TURTLE'S LISTEN UP RECORDS & TAPES derness (a recent experience of mine),making soon with your video camera, (Denver Area) VINYL MANIA and, gratifyingly, I developed, in the MUSICLAND/ (New York City) or one of those slickly synthetic auto SAM GOODY voices that tell you when you've madeend, a sort of expertise, exploiting the a driver's flub. Too much! De trop, asmed.um to its best advantage.I am SONY the French say. For these last 50 years,hopeful you will attain the same, some THE LEADER IN DIGITAL AUDIO sound on home movies has been peril-day n the future. I was good, ifI do say

*Compact Disc Players must be purchased ously close to that. De trop. so. I put on sizable shows for a lot of between September I and December 31, 1985. **All coupons must be redeemed prior to Well, this time, with video, you willpeople. I had to please them as well as March 31.1986. have no choice. Sound will be there, allmyself, and I did. It's nice to learn. You © 1985 Sony Corporation of America. the time You'll have to use it, unlesshave to learn. Or else. Sony is a registered trademark of Sony Corporation. The Leader in Digital Audio is a trademark of Sony Corpora- you act like the man who watches the Take a friend, circa 1935, who was tion ofAmerica. AUDIO/DECEMBER 1985 23 If you're not careful with video, you'll hit the same old home -movie pitfalls, and your added sound will be addled, too.

planning a research trip in her car and Just as soon as that film started, I Can you imagine that film with wanted a record of that trip on film-began to laugh. I was soon in stitches.sound? Well, take my own first movie, movies, she decided. She wantedThis was the zaniest movie ever made! 1933. Different problem: A big Atlantic sharp pictures, not only of people butAll those separate scenes were nowstorm, huge waves crashing against a

of places, so she rightly bought thetelescoped, one right after the otherhalf -mile sea wall. I wanted allthe expensive 16mm camera for the job,without a break. You see, there are waves, not just one or two. So I panned

not the Eight. Of course, she had nevermovie conventions which we all know,sidewise. And panned some more. I taken a movie nor thought about one,straight out of Charlie Chaplin and thenever stopped panning and always in but off she went, full of enthusiasm. like. If you see a man running and then the same direction. When the film was When she got back I was invited toa shot of a pond, you know that theprojected, those waves skittered by at the show. The lady had been reason-man will end up in the pond-or that hefull speed, sidewise, and in a zigzag able enough in her approach; that filmis already in the pond. A head blur; I had panned too fast!In mo-

cost four times as much as 8mm andemerges at the surface. . . . ments the dizzy motion led to unease, she wanted to make it go as far as The film was an endless series ofthen distress and near -seasickness. possible, to cover all the points shemiscontinuities of that sort, all too vivid, Dreadful, all that water lurching past.

had in mind. She was faultless, too, inabsolutely unintended. Cars slammed So I learned to pan only some - her exposures; she didn't waste ainto the sides of barns (it seemed),times-and slowly, with rests for the frame. She stood herself before eachpeoplefelloffcliffs, cows becameeyes in between. And to pan in both scene and shot a precise and correcthorses, buildings converted from Vic-directions!Stops theseasickness. 15 or 20 seconds, just enough to regis-torian to old Colonial in seconds,Such pitfalls! You'll fall into them again ter the required detail for later inspec-mountains slumped intoplains andtoday ifyou're not careful with your tion. Much more lively than a still pic-erupted into different mountains, peo-video movies. And your added sound ture, she figured. Then she wouldple vanished into thin air or suddenlywill be addled sound, too. move on to the next scene, an hour, appeared out of nothing.I was in hys- But it will be fun and interesting, this maybe a day later. Very sensible, you terics.It was marvelous! Film tech-new development, a big addition to the might think. nique gone berserk! audio scene.I look forward to it. A

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Slow Stop the transport stops, itis likely that noachieve very fine performance: Fre- Q.I am happy with my cassetteharm is being done.If the interval isquency response isessentially flat deck except for one peculiarity. Whensubstantial or getting longer, it is prob-from about 30 Hz to 20 kHz. Distortion the end of the tape is reached in fast-ably wise to take your deck to a corn-is less than what is usually audible on wind mode, the tape drive does notpetent service shop for repair. program material. Signal-to-noise ratio stop for several seconds. This period is can be as high as 75 to 80 dB with accompanied by a moderate amountCassettes vs. CDs Dolby C NR and about 85 to 90 dB with of squeaking from the deck.I have Q.Isit worthwhile to continue in-dbx NR; once S/N gets to about 75 dB, writtento the manufacturer to askvesting in cassette tapes, consideringfurther improvements tend to make lit - about this, but they did not reply. Is thisthat CDs are beginning to become fair-tle perceptible difference, unless one sound normal? If not, should I have thely inexpensive and have higher soundplays at thundering levels. However, deck repaired?-Craig Steinfeld, Silverquality?-Brian Barth, Cambridge.tape's motional stability (speed accu- Spring, Md. Mass. racy, flutter, etc.) is not as good as A.I have found that cassette decks A. Presumably, you refer to invest-what is achieved by CDs. differ in the alacrity with which theyingin prerecorded cassettes. While Listen to both formats at their best respond to tape run -out. Some will re-the CD format offers superior frequen-and compare. But also compare their spond promptly in normal operatingcy response, signal-to-noise ratio, dis-relativeutility to you.If you already mode but less so in fast wind, whiletortion and motional stability as corn-have a portable and/or car cassette others do the opposite, and still otherspared to cassettes, not all CDs live upplayer, and you decide to switch to respond promptly in both modes or notto the promise of the format. And thereCDs, you could get by with just a por- at all. Although I cannot say that theare people-albeit a minority-whotable OD player (which can be used in behavior of your deck is "normal" inhold analog recording in higher es - the sense of operating as the manufac- II you have a problem or question on tape teem than digital, claiming that the lat- recording, write to Mr. Herman Burstein at AU- turer intended, it is within the range ofter has sonic defects which present DIO, 1515 Broadway, New York, N.Y. 10036. All common experience. measurement techniques do not show.letters are answered. Please enclose a If a very few seconds pass before The top-quality cassette decks stamped, self-addressed envelope.

What other audio tapes fail to hear. the home and car, with suitable adap-azimuth alignment with fixed headsextremes. Also, some decks do handle tors) but will probably want home andthan with swivel ones, so what youtapes more gently than others. in -dash CD players, too. (Editor's Note:were told is not mere "sales talk." On You might consider, in that case, buy-the other hand, tape -deck technologyTaping 78 -rpm Records ing CDs and dubbing them to cassettekeeps improving, and the accuracy of Q.I am a Frank Sinatra buff. There for portable and mobile use. With goodswivel -head azimuth keeps gettingare 150 or so Sinatra recordings which tape, a good deck and an NR systembetter. You may want to read my arti-were issued only on 78 -rpm shellacs such as Dolby C or dbx, the resultscle, "How ImportantIs Tape Azi-between 1939 and 1949, and I want to can be impressive. -1.8.) muth?", in the September 1984 issue,dub them onto open -reel tape. I have a for a more thorough explanation. general idea of what is involved but Swivel -Head Azimuth need some guidance in terms of Q.In shopping for a cassette deck,Cassette Longevity equipment, choice of styli, and basic Ivisited a dealer who was intent on Q. As my cassettes get older,ittechniques. Would you suggest the impressing me with the problem ofseems that their sound quality deterio- use of a transient -noise -reduction sys- maintaining azimuth alignment of therates. Is longevity affected by the num-tem? I have an SAE 5000A impulse - swivel heads in.the current crop ofber of times the tape has been played,noise reducer, which I thought would reversible machines. Is this just salesthe age of the cassette, or the type ofhelp remove some of the ticks and talk?-Coy L. Lay. Washington, D.C. tape?-Brian Barth, Cambridge, Mass.pops inthe old shellacs.-Charles A. Maintaining correct azimuth A. Tape quality is one of the chiefGranata, Bloomfield, N.J. alignment of the tape heads is crucialfactors in maintaining good sound re- A. Yes, an impulse -noise reducer in order to preserve high -frequency re-production over a long period of time.should be helpful. In addition, provid- sponse. To preserve response out toA high -quality cassette is capable ofed the two are not incompatible, a dy- 20 kHz or so, azimuth must be main-500 or more passes before deteriora-namic noise reducer could cut down tained to within about 6 minutes of 1° oftion sets n. Storage conditions are an-on hiss and similar noise; the Burwen arc, and hence, there is very little roomother factor; one should avoid exces-DNF 1201A has a switch position spe- for error. It is easier to maintain precisesive heat or cold, as well as humiditycifically calibratedfor78s, and the

One audio tape is sc sensitive it can hear a pin drop. Or the full crash of a cymbal. To no one's surprise, it's made by Sony. Designed with our widest dynamic range eves, the UCX-S can pick up the soft- est softs you've never heard. Or the loudest loids. Without distortioru' And since we pack smaller, more uniform particles on our tape, yo i can pack more music in it. And go from one extreme to the other. So pick Sony. Anc_ hear what you've been missing.

SONY ewe.' THE ONE AND ONLY., C 19135 Sony Corp of Amen. Sony u a recpsteted trademark of Sony Corp 'The One and Only, ma retiTc'red laden., ttt Otany Enter No. 38 on Reacer Service Carc Frank Sera fine- Motion ?icture Sound Designer/Musician Credits: /}on, Star Trek I. aigd III, Brainstorm, Ice Pirates .

IanEalet") Recording Engineer Steve Gilbard- Studio City Sound Concert Sound Engineer, Credits: Al I u Tasco Sound Ltd. Sheena Las Credits: Madonna Enter Nikko's Si9ht, & Sound Sweepstakesvim The `Power of rThchnology' will take you on a 'tour de force' of the real world. Four grand prize winners will take home theto experience the real world-first hand selected works of Gilbard, Eales, and Serafine -and at home. We don't think your compo- concerts, records, tapes, and videos they helpednents should arbitrarily color the sights you engineer. Plus, a Nikko Home Entertainment see or the sounds you hear. System to bring it all to life. So stop by your participating Authorized And, since there's only one thing better Nikko Dealer for an official entry blank, than the sights and sounds of a Nikko System,and complete details. we'll give you that, too...the sights and soundsThen experience the of the real world. real difference clean, Like a week for two at the Sunsplash Festivalpure, accurate, unadul- in Jamaica. Or an exciting week in Paris. terated components How about the Oktoberfest in Munich? Or a can make in your week-long Hawaiian luau? European travel world of sight and arrangements by Sabena. sound. Experience Sound good? It is. You see, Nikko wants youNikko.

= = I==JPI= =I = SARgrf.4 The power of technology. Enter No. 25 on Reader Service Card 5830 South Triangle Drive, Commerce, CA 90040 Nikko Audio and Video components are available exclusively through Authorized Nikko Audio Dealers. Entries must be received by midnight, January 5,1986. No purchase necessary. Void where prohibited by law. For dealer nearest you call toll free 800-633-2252 ext. 221. Most tape heads in use today last for a very long time, so automatic search is probably a minor factor in reducing head life.

Packburn 123 has elaborate facilitieser (Audio, November 1985) is specifi-small distance away from the heads, for coping with 78s. cally designed for this use. so no head wear will occur.In any Correct equalization-precisely You will definitely need a differentevent, most heads in use today last for complementing the bass boost andstylus for playing 78s. Shure, Audio-a very long time-something like treble cut used in making a record-Technica, Pickering, Stanton and per-20,000 to 200,000 hours of use-so ing-is another problem. The standardhaps other cartridge makers offer vari-automatic search (a feature found on RIAA equalization used for all of to-ous styli designed for the purpose;the majority of tape decks) is probably day's records does not match theShure even offers a hyper -elliptical ver-a minor factor in reducing head life. equalizations used for 78 -rpm recordssion. Check your cartridge's manufac- (which varied with the maker and theturer to see what's available. since fewDemagnetization Alternatives year), butitis the only equalizationstores will carry these items in stock. Q.I use a demagnetization cassette position available on the phono stagesBecause old record groove widths andfor my car deck and would also like to ofmost modern amplifiers andshapes also varied, some companiesuse it for my home deck, since it de- preamps. (The Ockyo P-3030 pream-specializing in items for collectors offermagnetizes the capstan as well as the plifieris the only modern preamp I a variety of special stylifor recordsheads. My home deck has automatic know of with both RIAA and 78 -rpmwhich require them. demagnetization. Would the cassette phono equalization settings.) The main demagnetizer harm it or be unneces- difficulty is excessive treble cut. Search and Wear sary?-David E. Jones, Mt. -abor, N.J. While tone controls can often be Q.I have heard that using automat- A. Use of a demagnetizer, either a used to touch up equalization for play-ic search on a tape deck causes extracassette or probe type, will do no harm back, they usually do not affect a re-head wear.Isthis correct?-Dave ifinstructions are carefully followed. cording because they are wired after Hoover, Iowa City, Iowa Even though your home deck has an the tape output jacks. Better results A.In some decks, the tape isinautomatic demagnetizing circuit, this can be obtained by using an equalizer contact with the head during automaticwould not demagnetize the capstan, between your system and the tapesearch, and this will cause extra headso the use of an external demagnetizer deck. The Esoteric Sound Re -Equaliz- wear. In others, the tape is held a veryis a good idea. A Volume for Volumes...

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SCA Interference since it was used to cut the disc mas- in the intermittent operation you have Q. Have you ever heard of multiplexter. Because the turns of tape are indescribed. Most likely, a component signals from an FM tuner causingintimate contact with one another,(possibly the motor) becomes erratic "beats" in recordings made off the air?some of the magnetic data contained after it heats up. To locate this compo- What does this noise sound like? Andon one turn was transferred to the nextnent, wait for the turntable to stop turn- can I adjust my tuner's SCA filter justone. This effect can be hastened if theing. Then look underneath or inside by listening?-O. 0. Callaway, Carls-tape is stored in a warm room. Be-and spray each component on the p.c. bad, Cal. cause of this transfer of magnetic infor-board with a coolant made for this pur- A. Yes, I have heard problems relat-mation, there is a faint echo or maybe pose. You will likely find one compo- ed to bias beating with SCA signals. a faint pre -echo, or "ghost." nent which, when the spray is applied, The sound, however, is not a steady will permit the proper operation of your tone, because the frequency of theLinear -Tracking Tonearm Noise turntable. SCA subcarrier is constantly shifted by Q.I own a linear -tracking tonearm Itis also possible that the speed the signal modulatingit.Thus, thewhich makes an audible "kloonk" onbuttons need a contact cleaner. If ox- sound heard is a kind of "swishing." soft passages and between songs. ide has formed, heat buildup might re- It is possible to adjust the SCA filterCould this noise be related to the mo-sult in intermittent contacts. (Naturally, by listening, but only if your cassettetor that drives the tonearm? Can it beif these are momentary -contact switch- recorder has simultaneous record/stopped, or will I just have to accept es, contact problems are unlikely.) Or it playback capability. Adjust the tuner'sit?-Steve Wallace, Dillon, Colo. may be that there are hairline cracks filter for minimum background noise. A.I have limited experience with lin-on the circuit board or poorly soldered Note that there are times when theear tonearms. With my own rather inex-connections which act up when they subcarrier will not be present. Do notpensive one,I do not hear any noise become heated. be misled by this into thinking that theresulting from the stepping motion of adjustment is correct. the arm servo motor. This does not rule Tape Loops and AUX Inputs The more conventional alignmentout the possibility of such a sound oc- Q. My cassette deck is plugged into process involves the use of a signalcurringif the motor makes its moves one of my equalizer's two tape -monitor generator and other equipment totoo quickly or in too -large jumps. loops, and the equalizer is plugged modulate an FM carrier with a 67 -kHz Before deciding the motor is causing into one of the two tape -monitor loops subcarrier. Once this is set up, followthe problem, check your cartridge.If on my receiver. There are, therefore, the tuner manufacturer's alignment in-the tracking force is too great, the car- two unused tape -monitor loops in my structions. tridge body may drag on a record, system, one on the receiver and one If you never hear such interference,especially if the disc is slightly warped. on the equalizer. My receiver also has no matter which station you are tunedThis warp could cause the cartridge to an unused AUX input which, according to, then follow the advice of the well-strike the disc; such contact could be to the instruction manual, can be used worn proverb: "Ifitain't broke, thentranslated by the cartridge as output. for any high-level source, such as a don't fix it." Assuming that the noise you hear is tape deck. the result of servo motor problems, I I plan to add another cassette deck Pre -Echo on CDs can't believe you should just have toand a CD player, connecting the cas-

Q. On a few tracks of one of mylive with it. I suggest you have it fac-sette deck to the equalizer's second CDs, I hear "pre-echo"-a faint hint oftory -serviced. tape -monitor loop. But where should I the music before the music actually connect the CD player if I want to be begins. Until now,I had heard thisIntermittent Turntable Operation able to equalize the music-to the AUX phenomenon only on phonograph rec- Q. My three -year -old turntable re-input or the receiver's second tape - ords, and associated it with the styluscentlystopped operating properly. monitor loop?-Victor Orellana, Culver playing the groove next to the one con-Now, after a few minutes of operation, City, Cal. taining the music. How is this possiblethe platter stops turning. After 30 S or A. By all means connect the CD on a Compact Disc? Could it be fromso, the platter will accelerate to the player to the AUX input. This will en- print -through caused by the masterright speed, run for a few seconds, able you to route its output to any of the tape being wound too tight in storage?and stop. The power light remains lit,components you have mentioned-the Is the CD defective?-Edward Bau-which rules out any difficulties with theequalizer or either cassette deck. En- man, San Diego, Cal. a.c. wall outlet. The tonearm remainsgaging the appropriate tape -monitor A. The "pre -echo" you mention ison the disc's surface rather than rising switch on your receiver will pass sig- the result of print -through, just as youas it would at the end of an album, nals from your CD player through the suggested. The master analog tapewhich rules out a lead -out adjustment equalizer, just as it now passes signals must have been wound tightly; this isproblem. I have looked into the unit forfrom your other signal sources. always done to avoid edge damageburned components and found none. I If you have a problem or question about audio, during storage. Added to this is thewould appreciate any information you fact that the tape was probably record- write to Mr. Joseph Giovanelli at AUDIO Maga- may have.-Douglas Comstock, Ban- zine, 1515 Broadway, New York, N.Y. 10036. All ed at a high signal level. Chances are, gor, Maine lettersare answered. Please enclose a too, that this tape had not been played A. A number of factors could result stamped, self-addressed envelope.

30 AUDIO/DECEMBER 1985 With any equalizer, this setup willhave described by touching some me-bookcase or cabinet, or in any location also allow you to equalize the signalstallic object other than part of your ste-with restricted ventilation. What will re - from either cassette deck in playback;reo system before operating the equip-suit from too much heat if I leave the with some equalizers,it will also give1 ment. Of course, what you really needamp in a cabinet, where it is presently you the option of eaualizing the signalsis a substance to spray on your carpet-situated? Will the heat harm nearby going to the two decks in recording. ing which can eliminate the staticequipment? Can a small a.c. fan, in - buildup in the first place. stalled in the rear of the cabinet to pull CDs and Static Discharge Humidifying your home is a goodair through, solve the problem? And if Q.I am about to purchase a Com-idea.I do it in my home, but Ilive in anot in a bookcase or cabinet, where pact Disc player but am concernedclimate where it's only necessary dur-can I place the amp safely without sub - about how static electricity might affecting winter months. Itis likely that injecting it to too much dust, etc.?-John its performance. My home is plagueddrier climates this is necessary even inS. Cates, Atlanta, Ga. with lots of static; when I walk acrossthe summer. I am not a heating/humid- A.If you use your amplifier for ex - my living -room rug and touch my ste-ity expert, but it seems to me that un-tended periods and allow the heat to reo equipment, I invariably get a shockless you have a hot-air system, humidi- build up. there is a risk of damage to its from the static charge, and I hear it infying a home is a difficult task. Evenoutput stages. Excessive heat can also the loudspeakers. What suggestionswith hot air, I have found that someshorten the lives of other components, do you have for alleviating this? Wesystems just cannot put out enoughnotably electrolytic capacitors. This is already humidify our house.-Andrewmoisture to make a difference. why the manufacturer of your amplifier Hinds, Fort Collins, Colo. recommends that it be used where air

A. I do not believe that the staticHeat Buildup in Amplifiers flow is not restricted. discharges you have described will Q.I recently purchased a new pow- If you are forced to keep the amplif i- damage your CD player or the discser amplifier which becomes quiteer in an enclosure, the use of a fan, as used with it. warm to the touch soon after it hasyou have suggested, can help greatly. Without actually curing anything, youbeen turned on. The owner's manualYou may have to cut a hole in the rear can eliminate most of the "clicks" youadvises against placing the unit in apanel of the cabinet so that cool air

YOU CAN KE FOREVER .

ML -12A preamplifier shown in optional wood cose. Available with PLS-124 separate power supply.

MARK LEVINSON products are distributed worldwide by MADRIGAL LTD., PO. Box 781, Middletiwn. CT 06457 ITT TLX 49421 58 VCRs can record audio BASS THAT'S CLEAN. signals for hours at a stretch. However, editing POWERFUL. and cueing are more PHYSICAL. cumbersome than with audio tape decks.

can be sucked intoitsinterior and digital tracks on some of the newest 8 - made to flow over the amplifier. Most of mm VCRs have similar performance, the heat is generated at the heat -sinks, except for frequency response limited usually at the rear of the amplifier but to 15 kHz. All these machines can re- sometimes at the sides. So be sure cord in stereo, and some can also re- that the fan directs cooler air onto the cord stereo television broadcasts off heat -sinks. the air. There are meters and manual Additional heat will develop in the (as well as automatic) level controls to power transformer and other compo- help you in setting proper recording nents. You may, therefore, need to take levels. added steps to ensure that any vent These decks all have conventional openings in the amplifier's case re-audio tracks as well, for compatibility ceive a cooling air flow, too. This might withexisting tapes and players require the use of a "muffin" fan if the (though "conventional," in 8 -mm's Announcing the Velodyne one used to cool the heat -sinks does case, means monophonic AFM).In ULD-15- Subwoofer System: a not force enough air over the rest of the some VHS and Beta machines, even technological breakthrough amplifier. the conventional audio track has been Although heat dissipates with dis- improved, with wider, flatter frequency in bass reproduction! tance, it'sstill possible for an amplifi- response, stereo recording and player's radiated heat to affect other audio There's an exciting new product back, and noise reduction. components, which will, awaiting audition at your Velodyne theoretically. There are both advantages and shorten their life. This applies not only dealer. Its called the Velodyne ULD-15 problems in using these decks to re- to electronic devices but to the drying Subwoofer System and it represents cord audio alone. The Hi-Fi decks, at out of lubricants in turntables and cas- the most significant advance in loud- least, do a superb job of recording, speaker technology in well over a sette decks. and all VCRs can record for hours at a Putting the amplifier on an open stretch, with no breaks for tape -chang- decade. Even if you are happy with the shelf often reduces the amp's proximi- bass in your current speakers, you owe ing. But editing and cueing are more ty to other components and ensures acumbersome than with open -reel or it to yourself to hear the ULD-15 and clear air flow to all parts of the amp what it can do to improve your system's even audio cassette machines. Most itself.I believe that dust is far less of a capabilities. modern VCRs move the tape back- problem than heat. It would be a good In addition to its 15 inch cone, wards a bit when the pause button is idea, moreover, to vacuum the equip- pressed, to avoid loss of sync and pic- 221b. magnet structure and 3/4" travel, ment occasionally, and toroutinely the ULD-15 contains our proprietary ture breakup when recordingisre- dust its outer surfaces. High Gain Servo"' technology. An sumed. Thus, pressing the pause but- independent sensor attached to the ton too soon after the end of a piece of VCRs and Conventional music will cut the last note off. cone reports cone motion information Audio Recording Audio recording quality is indepen- to a comparator circuit within the 350 Q.I have heard that VCRs can de- dent of tape speed with AFM and PCM watt Power Servo Controller (included), liver higher fidelity than cassette re- recording. With conventional (linear) which instantaneously adjusts the output signal to correct for any corders can. How can this be, when a audio tracks, the best recording speed VCR has no level meters, noise reduc- for audio is the fastest one available on erroneous cone motion. The result is tion, etc.? What do you recommend the VCR. deep, powerful, and perfectly accurate as the best recording speed for au- If you are purchasing a VCR with the bass never before possible in any con- dio on a VCR? Is fidelity increased sig- idea of using it for stand-alone audio ventional loudspeaker. And since the nificantly by using a PCM converter recording, be sure the machine has ULD-15 comes complete with its own when recording?-Steve Wallace, Dil- the built-in sync necessary for this ap- amplifier, the bass load from your satel- lon, Colo. plication. Although most models are so lite amp and speakers is removed. A. The "Hi-Fi" stereo soundtracks of equipped, I have seen one or two The ULD-15 merits your attention. Beta Hi-Fi and VHS Hi-Fi VCRs, which which required video input to provide Call 1-800-VELODYNE for the work by Audio Frequency Modulation this sync. Velodyne dealer nearest you. Don't (AFM) rather than straight, linear audio A PCM converter records digital miss the opportunity to hear for your- recording, have flatfrequencyre- sound in place of the audio sound self the bass technology of the future. sponse throughout the audio spec- tracks. This system has better fidelity trum, with S/N ratios of perhaps 80 dB. than any of the systems described Wow and flutter are virtually unmeasur- above-dramatically better than the Velodyne able, and distortion is extremely low. standard linear tracks-and can be For more details, see "Beta Hi-Fi: Bet- used with any VCR. When a Hi-Fi ma- 2565 Scott Blvd. ter Audio for Video" (Audio, May 1983) chine is fitted with a PCM converter, it Santa Clara, CA 95050 and "VHS Hi-Fi:Five Units Tested" can record four high-fidelity (and two (800) 835-6396 (408) 748-1077 (November 1984). The PCM stereo low-fi ) channels simultaneously. A Enter No. 47 on Reader Service Card 32 AUDIO/DECEMBER 1985 We'vebottled a little bit of America. With their imaginative styling and unsurpassed craftsmanship, Beam Decanters represent Americana at its best. And inside every fine porcelain decanter is 750 ml of Beam Bourbon- distilled and aged in the same slow, careful way since 1795.

1. Legend on Wheels -Could American cars be sporty and affordable? The success of the Ponycar proved that the answer was "Yes:' Now you can own Beam's compact version of the classic 19641/2 Mustang -with 750 ml of Beam Bourbon and fine porcelain craftsmanship as standard features. 2.First Class-We've recreated the charm of the observation car used in the late 1800s by the Central Railroad of New Jersey -from the facsimile wrought iron grillwork on one end to the veranda on the other. Executive Material-The 1986 Beam Executive Decanter emulates the graceful lines of a fine marble vase from the Classical Age. A pleasure to give-an even greater pleasure to receive. 4. The Great Outdoars -Beautifully detailed down to the Pintail Duck's distinctive tail feather, this limited edition porcelain decanter honors the waterfowl conservation work of Ducks Unlimited. 5. Safe and Sound- A true-to-life model of emergency ambulances used throughout America in the 1930s. With real rubber wheels, its always ready when the call goes out for thirst aid. For the Beam Decanter retailer nearest you, call toll free: 1-800-622-6306 (Continental U.S. and Hawaii). In Wisconsin, 1-800-942-2326. To send a Beam Decanter as a gift, call 1-800-CHEERUP. 0 ftt1444A VI

750 ml Kentucky Straight Bourbon PROMO!)%RP Whiskey. 100 months old. Executive A MI RI( A Decanter Whiskey is aged 140 months. SO proof. Bottled by James B. Beam Distilling Co., Clermont, Beam, KY. stp" itikANI DECANTERS DIGITAL DOMAIN KEN POHLMANN SHOP TALK

Do hi-fi salesmen give you a pain in the neck? They rank second on my list, close runners-up to used -car salesmen. (After 16 weeks of

looking, I stillhaven't found a good used Corvette-anybody out there know of one?) Anyway, stereo salesmen give me a pain. There are just two types-the dud who spends 15 minutes looking for the on/off switch, and Mr. Techno, the walking glossary of audio gibberish. With the advent of digital audio, the situation has gotten a lot worse. Everywhere you shop for a CD player, you have to endure nonin- formation (e.g.,"Wait and ask Biff when he gets back from his lunch hour") orfrankly wrong information (e.g., "They're the same as LPs, only the grooves are 60 times smaller"). With Christmas almost upon us, and CD players at the top of practically everybody'slist,the situationin the showroom is serious, indeed. Thus I have compiled a list of effective maneuvers for smart CD shopping-considerations that will separate the great players from the merely good and, more importantly, communicatemajor manufacturer of Compact Discsply synthesizes data to the best of the to the salesman that you need neitherand has thoroughly researched CDcircuit's ability. Because not all optic/ his help nor his hindrance. Don't wor-technology, both in terms of disc man-servo systems are equal, players have ry-this text has been specially en-ufacture and player design. Their bud-differing success in reading disc data crypted so you and I can communicateget Model CP660 player has soundaccurately; the poorer the data read freely without stereo salesmen listen-that rivals the best. from the disc, the more concealment ingin. They think they're reading a 2. How good is the error handling?must be used. And concealment cir- column on their favorite topic-salesDiscs aren't indestructible, especiallycuits aren't equal, either. The bottom commissions. as they enter the car- and portable - line is audible errors. On some players Are all CD players alike? The answerplayer environments, and they also getyou hear something funny once in a is definitely no. First, some players aredirty. Unfortunately, consistent specifi-while-not a mute or a click, just badly a lot more expensive than others. Sec-cations for error -handling performanceconcealed data, and it sounds weird ond, some sound better than others.are still not available. Even without afor an instant. On good players, you And the correlation is sometimes thespecial test disc, you can gauge adon't hear this very often. inverse. I recently auditioned a $300player's ability to play through errors 3. Does the player have dual D/A player and a $2,000 player with awithout mistracking. Take a strip ofconverters? When the output data is group of recording engineers, and weopaque, black tape, perhaps 1 mmmultiplexed through a single D/A, the agreed that the less expensive onewide, and lay it radially across a disc. audio signal must be alternately sounded better. So, exactly how doA good player should play through it. switched between the stereo chan- you shop for a CD player? There areNow try two strips, on opposite sides of nels-and that switch (another analog seven important questions to ask: the center hole, and see if the disc stage) can cause distortion. Moreover, 1. Who is the manufacturer? This isplays. Keep loading the tape on untilan 11-4 difference between left and the best overall measure of quality inthe player capitulates. An excellentright channels will be created. Al- CD players. In my evaluations of play-player will have no trouble with sixthough this can be compensated for, it ers,I have found that certain manufac-strips of tape. is difficult to provide linear compensa- turers deliver consistent quality, Of course, even a normal disc con-tion across the frequency band; the whereas others apparently haven't gottains errors, and the player's error -cor- result is often an interchannel phase the hang of it yet. Do your homework,rection and error -concealment circuitry difference at high frequencies. Dual and ascertain exactly which compa-must prevent their audibility. Correc-D/A converters guarantee zero phase nies have the required expertise; it isn'ttion strategies yield absolutely correct error between channels. always obvious. There are some sleep-data, so errors become nonexistent Unfortunately, not everything is sun- ers out there. Sanyo, for example, is aand inaudible. Error concealment sim- ny in dual D/A land. A pair of convert -

34 AUDIO/DECEMBER 1985 The evolution continues...

tPQ , The new ML -7 Preamplifierintroduced June 1985 MARK LEVINSON® produi ts die distributed worldwide t Available for demonstration at all Mark Levinson b MADRIGAL, LTD., 110 Box /81, Midletown, CT 0645/ Dealers. 117- TLX 4942158 Error -correction varies from player to player, but the bottom line is what's audible. On some players you just hear something funny once in a while.

ers might mistrack due to fluctuations in their reference voltages or to anoma- lies in the chips themselves; the result could, again, be phase error. Sooner or later, manufacturers will solve both problems by offering dual D/A converters on a single chip. Until then, the evidence weighs in favor of dual D/A converters. 4. Does the player have digital output filtering (oversampling)? In theory, there should be no audible difference between analog and digital output fil- Autosound enters The Compact Age. ters. In practice, the audible difference is slight, but significant. Primarily be- Full-bodied bass ... smooth, effortless mids and highs... heo cause itis much easier to design a superior imaging...no-holes installation...The KICKER COMPACT" is good digital filter than a good analog the ideal speaker system for today's new generation of autosound gpeuEn. filter, the former technique tends to de- electronics. liver consistently good sound. In addi- The KICKER COMPACT" combines underseat subwoofers with door - tion, a digital filteris contained on a IMPACI mount midbandtigh frequency satellites for a sonic experience you'll have chip, whereas an analog filter is com- to hear ...and feel...to believe. Available nationwide at better car audio stillwater prised of many discrete components. specialists. designsT. Thus, the digital design yields greater reliability and long-term stability, and 1212 South ManStillwater OK 74074 (405) 624-0451 lower power consumption. Enter No. 39 on Reader Service Card Also, oversampling is considerably cheaper to produce. That means the manufacturer can invest some of the EVERY MUSIC SYSTEM HAS ITS POTENTIAL savings in other facets of the player, beefing up subsystems such as the THE audio output circuitry,including the gentle low-pass filter necessary to re- BRYSTON .56 move extreme high -frequency components present at the output of a digital LETS YOU REACH IT! filter. Of course, it also means the manufacturer might have simply beefed up his profit margin. 5. How does the THD measure up? Specified THD and measured THD sometimes are worlds apart. The problem is supersonic artifacts(atleast Bryston's less expensive alternative to our IB/MC above 21 kHz). "Beat" frequency com- displays the same startling clarity because it uses ponents caused by clock interactions, and other high -frequency junk, can in- the same active circuitry with a simplified switching crease in -band measurements of THD. arrangement. Therefore, some manufacturers mea- Either preamp will let you... sure THD with a 21 -kHz "brick -wall" filter between the player's output and thedistortionanalyzer'sinput.This EXPERIENCE THE DIFFERENCE guarantees that the supersonic junk does not raise THD. But is that really kosher? Ifyou're In the United States: measuring harmonic distortion at 20 Ds SMIE on VERMONT kHz, and you put in a 21 -kHz filter, of RFD#4, Berlin. Montpelier. Vermont 05602 course you're going to get a great (802) 223-6159 reading. Besides, some players don't In Canada: have any of that junk;is the use of filters fair to them? For example, with a [ A_A_ILAALOAARKETING LTD low-pass filter inserted, I recently mea- 57 Westmore Dr.. Rezdale, Ontana Canada M9V 3V6 (416) 746-0300 sured a THD of 0.0022% at 1 kHz and

Enter No. 8 on Reader Service Card 36 AUDIO/DECEMBER 1985 Ifyoucan't afford it, spareyourself the heartache of listening to it.

We are all aware flat money aside, it is an easy matter to upscale our quality of life, but di6cult to lower it. In this regard, ignorance is bliss ar_d strict abstinence is sometimes better than a tasteof something finer that we can't have. So it is with Concord high-fidelity, high performance car audio One listen, one taste, will significantly alter your demands for mobile high-fidelity. Uncompromising performance; the Concord story begins and ends -with it. Concord's performance engineering over the years has resulted in a list of mesmeriz-ng characteristics that, as you become aware of them, will change your perception of car stereo. F07.'instance: A sound critics claim is the best they've ever heard in a car stereo-home high-fidelity sound. 0 Superb stereo imaging, wide hand fre- quenc. response, and very low distortion levels are just some of the qualities of Concord's exclusive Matched Phase Amorphous Core Tape Head. 0 Electronic DC Servo tape drive for extended life and accurate control of tape speed. 0 A cleaner souncing FM than you ever believed possible, thanks to the exclusive Concord FNR FM ncise reduction system. 0 High powered inboard amplifers-rated at 5J watts -and the abil _ty to

CONCORD' An .thing else is a compromise.

Concord Systems, Inc. 6025 Yolanda Avenue TarzEna, CA 91356-0010 A Penril Company Enter No. 11 on Reader Service Card It's tough to evaluate sound in a showroom, and with CD players it's even tougher. The trick is to concentrate on one aspect of sound at a time.

0 dB on a Sony CDP-102, and THD ofis careful to state the conditions of theings-as measured the old-fashioned, 0.0030% on another big -name player. measurement and the presence of any unfiltered way. Without the filter, the Sony measuredsupersonic components. 6. Are there vibration problems? CD 0.0029% and the other player mea- When evaluating Compact Disclisteners tend to play their discs at sured 0.35%. Sure, the junk is super- players, look for a single master clock,louder levels than others, and there is sonic, but I'd prefer it to be absent.as opposed to several unsynchronizedaugmented bass response. This can That's where Audio comes in handy:clocks; this tends to reduce superson-lead to airborne and structure -borne when Len Feldman measures THD, heic junk and provide good THD read-vibrations from loudspeakers, which tend to cause vibration in discs which are not tightly clamped. As the disc flutters, the pickup servos cannot keep track,the error -concealment circuits cannot cope and the result is added distortionat loud listeninglevels. Revox Remote (That's why users of some players have learned to put in two discs simultaneously for better gripping.) Remote Control Checking for this problem in stereo Ordinaryinfrared remote control is okay, as long as showrooms is one of my favorite pas- you're not too remote from what you want to control. times.If you crank up the amplifier Example: You are listening to your downstairs audio system level, the problem may occur, butit through extension speakers upstairs, but the music doesn't might not audibly manifest itself be- fit your mood. You want to change FM stations, lower the cause of amplifier or loudspeaker (or volume, switch to the CD player, select CD tracks, or record a concert from FM to your cassette room) overload masking the problem. deck. Your remote control probably You have to crank up the level, then can't help up here. listenwith closed -ear headphones. Unless you have a multi -room re- This is guaranteed to drive salesmen mote system from Revox of Switzer- crazy. But listen closely: On some land. With Revox "remote" remote players you'll hear a deterioration of control, you can op- sound quality as the error -conceal- erate your comment circuits go into overdrive. It's diffi- plete system from cult to describe the effect, but you'll rooms throughout your home. The know it when you hear it,if you keep an palm -sized 8205 open mind-remembering thatit's transmitter something you've never heard before beams your com- in analog equipment. mands-up to 30 7. Does the player sound good? in all-through This question is tougher to answer than space to a 8206 you might think.Ingeneral,all CD remote receiver, players sound okay. A showroom has which sends always been a tough place to listen to them along to your living room To complement our multi -room remote anything (except the salesman's system. So you technology, we've introduced a pitch). With digital audio,it's even can match music new line of compact, full -fidelity tougher. The trick is to concentrate on to the moment, V extension speakers, like the one aspect of sound quality at a time. whether in bed Piccolo/Subwoofer system shown Listen for badly corrected errors. Lis- or bath, by here. No matter where you listen to ten for stable localization. Listen for patio or Mt your Revox system, you will experi- high -volume disc instability and for full pool. ence music reproduction remarkably ambience. Listen for naturally warm faithful to the original performance. sound. It isn't easy, and it takes time. You'd expect nothing less from a world leader in both professional and home Sometimes it takes me days of com- audio technology. parison before I can reliably choose Revox audio. For European craftsman- the better player. Of course, you might ship, impeccable performance, and ultimate have a better pair of ears. And as all of remote control convenience. us become more familiar with what we're listening for, we'll get better at it. Okay, I'm already over my word quo- 3TCI [2,01- R EVOX ta. Go out there and hit those show- Studer Revox America 1425 Elm Hill Pike Nashville, TN 37210 (615) 254-5651 rooms, holiday shoppers. And watch out, you salesmen! A

Enter No. 40 on Reader Service Card 38 AUDIO/DECEMBER 1985 AT LAST.

:?'% Harman Kardon's striking new line of car audio products leads you to a 0, higher fidelity on the road. Elevating car audio Etan-

. dards, these dynamic componeits smoothly ouldi3tance the competition by reflectirg the excellence so finely honed by Harman Kardon in their home audio products for over thirtyyears. Three new in -dash cassette/tuners and three power arrpl fiers blaze new trails. Each in -dash un t incorporates the renowied Harman Kardon design philosophies that enable them to deliver an exceptional frequency response orf 20Hz to 20kHz ± 3dB. Eaci amplifier boasts H gh instantaneous Current Capability, Low Negative Feed- back ancUltrawidebandwidth. The previously unexplored realms of car audio are now within reach, for those tuned to a higher fidelity. From Harman Karcon.

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240 Crossways Park West, Woodbury, NY 1179'; In Canada, Gould Marketing, Montreal. c H/K 1985 For more information :all toll -free 1-(800) 633-2252 ext. 250. Imagine a car audio system that could and you. Imagine the deliver music as rich and full as the live JBL, the recognized leader in concert you just attended. Music that professional loudspeaker design, has concert continuing surrounds you with solid basses, been delivering breathtaking sound in your car with crystal clear highs and subtle in concert halls, theaters and movie overtones. A high fidelity audio system houses for over forty years. In the ultimate that delivers concert hall realism to fact, today, over 70% of the world's you and all your passengers. top recording studios use JBL high fidelity Ford and JBL have taken this music loudspeakers. lover's dream and turned it into a Ford expertise in electronics and music system. reality. They have combined their audio engineering speaks for itself with efforts and resources to develop a over 50 years of audio design. In remarkable high fidelity audio system addition, Ford maintains one of the exclusively for Lincoln Continental- most technically advanced audio The1986 Lincoln Continental is shown at the Los Angeles Music Center, both equipped with JBL loudspeakers. 'Supplied by 4 amplifiers, each 35 watts per channel into All in all, an amazing audio system. development and test facilities in the 4 ohms at 1 KHz with less than .07% total harmonic world. distortion. But it's still almost impossible to Together, they have provided for Advanced audio features including imagine how good it really sounds Lincoln Continental, the Ford JBL full electronic tuning, Automatic until you hear it for yourself. audio system which features: Music Search, Dolby® B and DNR® 12 speakers strategically located noise reduction systems and throughout the car that have been automatic tape equalization. Dolby is a registered trademark of Dolby Laboratories adjusted and equalized to the Licensing Corporation. surrounding acoustics. DNR is a registered trademark of National 140 watts of total system power* Semiconductor Corporation. that has been designed with Plus a low frequency control extremely low distortion for computer for continuous loudness comfortable listening even at high compensation and reduced volume for long periods of time. distortion. AUDIO SYSTEMS THE AUDIO INTERVIEW TED FOX

Mitch Miller: A Hidden

We were speaking about pickingWhere did these charges come from? Rose" and all those rhythm songs.If songs and so forth. Let's talk about this What would prompt Sinatra to make you ask me, I think he just couldn't face whole brouhaha with Frank Sinatra. Hecharges like that? the fact that he was responsible for the was at Columbia from 1950 to 1953. I think he just didn't want to take re- drop in his career. He was under your direction at Colum- sponsibility for the dip in his career at This is when he was involved in an bia, and he left the company, chargingthat time, which had nothing to do with affair with Ava Gardner? that he was forced by you to sing whatme. He had lost his motion picture con- Yes. he called "inferior" BMI-publishedtract. He had lost his television show. But Sinatra did suffer then. You did tunes instead of ASCAP tunes. He felt Look,I have to preface this-the guy'spick songs for him, right? his career suffered as a result. In fact,a great artist. I never said that heYes! And we had advanced him mon- he even sent a telegram to a Housecouldn't sing. But physically, heey to pay his income taxes. So the antitrust subcommittee investigatingcouldn't sing well at that time. president of Columbia, Wallerstein, the networks in 1956. How did this all I risked my neck with the union.I can said to me, "You've got to make this come up? say it now and everyone will laugh, but money back." Some of the songs we

There were two reasons, I guess. In the I wanted Frank to sing some rhythm did-"I'm a Fool to Want You," "Why first place, let's start with the fact thatsongs. He had done "It All Depends on Try to Change Me Now," "Blues Frank Sinatra had a BMI firm of hisYou"; otherwise, they were all ballads Azurte"-we couldn't give those rec- own. Also, ASCAP did not allow coun- he had recorded.I had an idea for an ords away. But as soon as Frank did try writers in, nor rhythm and blues. Italbum, Sing and Dance with Frank Sin- the movie From Here to Eternity it was was shortsighted; they got smart after- atra. I got George Siravo to do the his resurrection. wards. ASCAP as an organization was arrangements. One of the sessions, That was right after he left Columbia. 2...) never involved in these charges. It was Sinatra never even showed up. So un- Yes. His being stomped to death in a just certain writers who felt they wereder the guise of balancing,I made athat movie was like he did his public a being slighted, writers testifying in front track of the orchestra alone. I just kept penance. You know, priests were tell-LU, of a Congressional committee. Whenthe tape going. Then he came in an- ingkids, "Don't buy his records be- 19-, this came out, the CBS attorneys de- other time and his voice was off.In cause he's immoral." scended on me and looked at every-other words, the whole eight sides Because he was having an affair with c) thingI had ever recorded. As it turned were tracked. Then weeks later,at Ava Gardner? out, 95% of the songs I did weremidnight, we snuck into the studio withWell, whatever. Don't forget this was in g.;) ASCAP. Only 5% were BMI. And of the Frank and finished the recording. You the early '50s. Now, people have ba- BMI songs Sinatra did, two were pub- can hear that album today andit's bies without getting married and no- c.? lished by his own company. pretty damn good. "American Beautybody cares. Look what happened to Ingrid Bergman when she had Rossel- lini'schild. She couldn't even get a POP PRODUCER MITCH MILLER describes movie. So that was the morality at the time. They reacted against Frank. working with artists like Frank Sinatra and Johnny Underlying this whole thing, though, you and Frank obvious- Mathis, talks about his own success on records and ly had a pretty stormy relationship at Columbia. I television, and defends his reasons for resisting in- believe he said he barred you from the volvement in rock 'n' roll. This is the conclusion of a studio at one point. two-part interview. No.I was never barred from a Sinatra session. Look, he can say what he wants. He still sings good....

42 AUDIO/DECEMBER 1985 PART II

Classic But this is your opportunity Fa- out! Since they were together on to say what you want. the stage, I said, "Why don't you try it?" AllI have to say is, take Sinatra's contract said he had approv- responsibility for your al of everything and it also said nothing failures as well as you - co_ild be released without his approv-

successes. He said I tried al. So how could I hurt him? Imagine to make him do a song with ant/body taking Sinatra and saying, Dagmar. At the bottom of "YDu dc this song." Or what? What his career, he was at the could I do to threaten him? Right? Hit Paramount Theater-Jackie him with a pizza? Come on! Gleason, Dagmar, and The guy had complete control of Sinatra. They used to co these what he did. He refused to do "My bits on stage where Dagmar Heart Cries for You" and "The Roving

reacted to them in her charm- Kind" back to back. I had arrange- ing, dumb way. A song came ments made and the session all set. in where a kid's trying to make He was flying to Spain to see Ava; he out with his girl and then the girl came into the office that Monday morn- says, "Mama will bark." Crazy title. ing, listened, looked at Hank Sanicola listen to Tommy Dorsey play trombone, you can hear Sinatra singing. You worked with a number of the mas- ters of the Swing Era in the '50s at Columbia. That was one thing Goddard Lieberson was marvelous about. He said, "We make a lot of money on certain things; we must also have a history of the great music of our time." Everyone agrees that Ellingtonis a fantastic composer and musician. And when he wasn't selling in the '50s, we kept recording him.It was a joy to come to work because many times he would put it together in the studio. I did Sarah Vaughan's "Corner to Corner" and "Perdido," I did all those records. She was very easy to work with, she was a wonderful artist. Except she was married to the wrong guy then. I forget who her husband was, but he always tried to get the songs of publisher friends

recorded. I had to give in to him a couple of times. You know you don't have the last word if someone goes to bed with your artist at night. I worked with Benny Goodman once, and it didn't turn out well. We didn't hit itoff. He's a fabulous artist, but this was at a time when he wasn't selling.

The few suggestions I made, he ignored. So I just asked John Hammond Sarah Vaughan; her "Corner to Corner" andmake back the money that Columbiato take over after that. Benny's a great 'Perdido" were produced by Miller, who saysloaned him, but he got about a quarterartist,but there isn't anybody who's she is 'very easy to work with" and "a to a half million dollars above it in royal-been a part of his musical life who wonderful artist." ties! The records are there for anyonehasn't gone through a time when they to hear. So if you look at the overallcouldn't get along. But that's all right, work, don't just take the one song that Ihe has his way! It's what comes out in and Benny Barton, and said, "I won'ttried as a novelty with his permission.the end that counts.If you meet the do that crap." Here I was, stuck withAfter all, he could have walked out ofgreatest writers, you may find people musicians hired and the chorus. Therethe studio if he didn't like it. He couldyou hate. But if their writing is good, was a kid who I had auditioned on aalso have said"Idon't wantitre-that's all you judge them by. record. His name was Al Cernick, thenleased" if he didn't like it. But he had You contributed to the folk craze of the Al Grant. I put him in the studio and'nothing to lose at that time, and we putearly '50s. Did you work with The rehearsed him all day. He had a two-it out. His friends said, "How could youWeavers at all? sided Number One record with thosedo a record like that?" But it's veryNo. But I covered "Tzena, Tzena,0 tunes and became Guy Mitchell. Butinteresting he did one with his daugh-Tzena" and "Goodnight Irene." Every-0 the point is,if Sinatra did it and did itter, sort of novelty rock 'n' roll, "Thesebody covered those. I had Terry Gilky- perfectly . . . . I think Mitchell's hit wasBoots Are Made for Walking." Then heson; he had "Cry of the Wild Goose"(.) a stroke of luck for me. At that timewent right back to what he does best. and then he wrote other things that people wouldn't have bought it if FrankSinatra has never really been a bigwere ripped off. Dean Martin took a0) had done it. He was persona non gratarecord -seller, has he? couple of his songs and they became with the public and the Church. Funnily enough, he never has had avery big hits. I never tried to follow Now he leaves Columbia, does Frommillion -seller, even at the height of hismuch. The sales department would Here to Eternity, and starts selling rec-career. But he sold well. Look, he's thecome and say, "So-and-so has this hit. ords again at Capitol. Suddenly all hisTommy Dorsey of the voices. He andWhy don't you make it with Doris Day?" records at Columbia start to sell-allJo Stafford. They learned from singing I'd say, "Wait a minute. Let's make0 those that I made with him. We repack-with Tommy Dorsey, the long phrasesomething with Doris Day where she'll0 aged and put them out. Not only did heand the inflection of the notes.If youhave the hit,not be chasing some - 0...

44 AUDIO/DECEMBER 1985 YOUR STRENGTH WILL BE YOUR WEAKNESS, TOO: If a good song comes along that doesn't suit your standards, you'll miss out on it.

body." There again we get back to thethe background and it won't fight theher well. He wasn't with Columbia then. bullet theory: If you only have so manydialog. The more of that you have, theHe said, "Mitch, she likes you." She to shoot, you have to husband yourmore you can use the theme and thewas being ripped off by the small la- munitions. We covered very few rec-more you can sell it, see? So I calledbels. I just talked to her. I said, "Look, ords. You also find, if you look up theup Hill and Range and said, "Now thatyou can do it the way you want it." She statistics, that we had more hits in pro-the song has hadi is chance, will youwas af-aid that we'd try to mold her into portion to releases-way more-thanchange it?" In a half hour they hada pop artist.I wish I could have, some- any other record company. Becauseguys up in the office. They came overtimes, for certain songs. But she was a we didn't do the borderline things.with a lyric called "Let Me Go, Lover." Itrue original.I didn't even try, because Sure, I'd miss out on some things.I'll got this young kid because I didn'tI knew you couldn't get to step one never forget a guy who came in with awant anybody identifiable recording it.with that approach. She had to be in

song called "Till I Waltz Again withIt would have taken away from the dra-the mood, she had to have her grapes You" in 2/4 time. I said to the kid, "How matic use on the show if they had Ro-and fruit in the studio while she was can you write 'Till I Waltz Again withsie Clooney or somebody well known.working. Had to feelright. But we You' and it doesn't have waltz time?"So there was this gal, Joan Weber,made some wonderful records.

He says, "Man, that's the kicker!" I who sounded like she worked in theWhen she made records, did you have didn't do it, and he went and gave it tofive-and-dime, like the kid down theeverybody in one big room like she did Teresa Brewer and she had a big hitblock. She did that and boom, that wasin a church? [laughter]. And that's the only hit hethe firsttelevision smash, made byThe studio on 30th Street was an old ever wrote, too. television. The record sold about 2Y2Greek church, so we were in church. What I'm driving atis that yourmillion. That was the best studio. Columbia strength is going to be your weakness,You signed the great gospel star Ma-sold it, and there's an apartment house too. By that I mean you're looking for ahalia Jackson to her first major record -there now. She was successful, and certain quality.Ifsomething comescompany contract in 1955. How didshe got royalties for a change. that doesn't suit your standards, you'llthat come about? When Alvin Barkley died and I was miss out on it. There was a song, "LetAt John Hammond's urging; he knewdoing the music for the Democratic Me Go, Devil," a song written by Jenny Lou Carson. [He sings:] "Let me go, let me go,let me go, devil." Then the middle: "The drinking and the gam- bling, and the bottles of rye." Hill and Range [music publishers] broughtit

over. I said, "The song's marvelous, but who's going to listen to this? Only recovered alcoholics and down-and- outers. Why don't you change the lyrics?" They said, "No, this is the story of her life," this lady country songwriter. They went to her and she wouldn't

change it. I said I'd give her Johnny Ray. She wouldn't. And Decca made it, and it was played on every radio sta-

tion. I never heard so much play. I

thought, "Boy, did I ever blow this." But it was a turntable hit. Everybody

played it and nobody bought it. So I was right and wrong. It died. Now, a year or two later, Studio One is doing a show and they want a song. The director comes to me and asks, "Have you got a theme song we can use?" Iim- mediately thought of "Let Me Go, Dev- il" because it's got lots of holes init, lots of long notes, so you can use it in

Gospel star Mahalia Jackson, whom Miller signed to her first major record -company contract at the urging of John Hammond.

AUDIO/DECEMBER 1985 IN DRAMA, SONG OR WHATEVER, the writercomes first; without writers we're all dead. It's true-imagine no Gershwin,no Berlin.

Convention in 1956, I used her. TheWhy was she unsuccessful at Colum-young singer. Then, we were having place was dark, and on television therebia? Was it just that John had put her in this convention in Estes Park in Colora- was just a pin spot on her. There werea jazz vein? do. Everyone at Columbia was high on 20,000 people in thathall and youYeah. Maybe now in a jazz vein she'll this album. Everyone was screaming could hear a pin drop. The place was sell, too, but to break through to theand yelling that he was a new star. I spellbound by her singing. public . . . . Look, nobody can second- had my reservations, but I kept quiet. Let's talk about another great singerguess John Hammond. If you look at Look, I've done things that weren't my who at least started in gospel music, thelistof stars, the people that he taste thatI thought people would like,

Aretha Franklin. Everywhere you readfound, everybody else pales in com- and I thought this could be like that. about soul music, you hear the story ofparison over the years. There was a big hoopla, big promotion how Aretha was brought to ColumbiaLet's talk about another great blackand everything, and no sales. As usu- by John Hammond, and Mitch Millerpop star, Johnny Mathis. How did you ally happens when everybody is for wanted to make her into a pop star. Isfirst hear about him? something and thenitdoesn't work, that true? He was found by George Avakian, nobody really wants to talk aboutit That's baloney! I never had a chancesinging in a bar in San Francisco. As isafterwards. Nobody! to record her. Never! Look it up. usual when a guy gets a recording So nobody had any plans for John- You never picked songs for her? contract, who's the manager? The ny. Only Helen Noga; I've got to give Nothing, absolutely nothing.Infact,owner of the bar, who turned out to be her credit, she was persistent. Avakian John put a jazz band behind her. HeHelen Noga. George recorded Mathis. couldn't make another album because wanted her to be a jazz singer.I couldSee, I had this staff and when theythe first was a failure, so she kept see why he tried to do that, but it didn'twanted to do something,ifit washounding me. Literally, she came in work. So then when she went to Atlan-something original and unique, they and cried. She said, "You've got to do tic and Jerry Wexler recorded her with had absolute freedom to do it. George something with him, you've got to!" I big success, John asked, "What didcame back and said he found this told her,"I'lltell you what, Helen, I'm you do?" Jerry said,"Iput her inwonderful singer and I said fine, do an going to listen to that album and I'm church." So that explains it. Not only isalbum. He produced it, he did every-going to find out what he has that is the story [about my working withthing. Out of that album you could hear unique, and I'm going to look for Aretha] not true, but I've never metMathis' talent. But as with all young songs. IfI find songs that are good for Aretha Franklin, to this day! I admiresingers, he was influenced. One song him,I'll do a session with him." She her and I'll go anywhere she's singing, was completely influenced by Ella Fitz- kept bugging me. Months went by. I but I've never met her. gerald, another by Lena Home. In fact, just kept listening for songs. There was he even did a Lena Home song, "Let'sa song called "Wonderful Wonderful," Do It," and Lena said, "He stole every- these guys rewrote it maybe two dozen Percy Faith (standing), whose arrangement thing but my gown!" [Laughter.] Eachtimes. It sounded like Debussy, that's of "On the Street Where You Live" helped performance on its own, you couldn'twhat attracted me to it at first. Another make that song a hit for Vic Damone. At leftfind anything wrong with it, but it wasguy came in with "Scarlet Ribbons." is engineer Jack Lattig. all derivative, which is not unusual in a Frank Loesser had a song called "The Twelfth of Never." The fourth one was "It's Not for Me to Say." After about four months I realized I had a session. Mathis came in and I told him what was attractive about his voice. It'd be very interesting for you to hear that first album and then hear these four releases, because it shows what direction I gave him. As I've said, you cannot put in what isn't there, you just have to take the wrapping paper off and show a singer what is there. Three out of those four songs became hits. Then Bob Al- len wrote "Chances Are" for him, and he was off and running. Now, get this: The Felds, the guys who own the circus, got to be big rock 'n'roll promoters. They had a touring show and they wanted to give Mathis $5,000 a week to be one of 20 performers. In arenas. That's the complete an- tithesis of what Johnny Mathis is. But he was hot, and Helen Noga had him

46 AUDIO/DECEMBER 1985 signed. Hetrue. Imagine no Gershwin, no Berlin.

was with General With Mathis Idid all sorts of things. I Artists Corporationdid an album called Open Fire, Two

I then, Tom Rockwell's group. I said, "IfGuitars. We improvised the session. you take that, I will not record him." wanted to get that intimate feeling

Why? Johnny has. After that I did Johnny Because that would have destroyedMathis' Greatest Hits, and it was on the him!I didn't want him in arenas. Ididn'tchart longer than any other record. want him surrounded by a bunch ofThat was the first greatest -hits album groups like . . . TheFour Nosebleeds!by anybody. You know, people are al- The people on that tour, you wouldn'tways taking bows.Inour business know who they are today! what they do is they copy, they imitate You didn't want him stigmatized byand they callit a trend. No one is a rock 'n' roll. pioneer.

No, I didn't want him . . . He was aHow was the greatest -hits idea re- long-term artist. He was in the categoryceived within the company? of Nat Cole.If you compare him toAt that time I could do anything I want- anyone, you have to compare him toed to. There was no fight.It cost them Nat. These are the artists that defynothing, ust the packaging. whim, fashion-excellence is what ac- Finally,I had Bob Allen write a song counts fortheir enduring success.for Mathis, and Bob Allen had his own That's what I'm proudest of about mypublishing company. Johnny wanted work at Columbia. Here 30 and 35to do the song and Helen Noga said, "I years later, Rosemary Clooney, Tonywant to publish it." I didn't care who Bennett, Frankie Laine, Vic Damone,published it, but Bob Allen said, "No,

Ray Conniff, Johnny Mathis, and if Per-I'll keep it for myself." She said, "If I cy Faith were alive, and Erroll Garnercan't publishit, we won't do it." So I were alive,ifthe original Four Ladstold her."Ifthat's the case, I won't were working-they're all top perform-record Johnny. You'll have to get an- ers. They may not have big records,other producer. If I'm going to produce but they sell out everywhere they per-him,I have to be the guy who chooses form and make big money. They last.the material. I'm not going to be a yes

So anyway, I just didn't want Mathis inman for you." that milieu. Helen screamed and yelledBut producers today don't necessarily and I said, "Well, you take yourchoose material. choice." She opted not to go [with theProducers today are carpenters, most- Felds]. The funny part was, threely. With the multi -tracks they come in months later he was making $10,000 aand they get their name on the album. week [laughter]. If I had my name on every hit album How long did you keep producing histhat was produced by me, I'd put them records? allto shame. So what if you've pro- Helen Noga-she said this-she said,duced even a dozen albums? I've pro- "I'm Armenian, and it takes three Jewsduced a hundred best-selling albums to beat an Armenian in any business[as well as 75 Top 10 singles, more deal."[Laughter.]Right away shethan a third of which went all the way to started a publishing company. So I No. 1-Ed]. But in those days we nev- said, "Fine, Helen, but the songs haveer put the producer's name on.I want- to be good." What would happen ised to put the engineer's name on just that writers would come in . . IfI didfor his glory and ego, but the company what she told me to do, I'd go out withsaid no because it'd set a precedent. only one side of a record. The writersNow even the guy who sweeps the would come with a song that suitedfloor has his name on the cover. Johnny and I'dsay, "Giveitto herYou feel that what you were doing is publishing firm." Which they did. Prettywhat a producer should be doing? soon she wanted two sides of the rec-That'sright. You have tofollowit ord published by her. Of course, I re-through. Pick the arranger, go over the fused that. People don't realize thatmusic with him. When you came in the whether it's drama, song or whatever,studio, the whole thing had to be done, the writer is first. Without writers we'refour sides in three hours. Everyone was all dead. Performers come and go. It'simportant.Ifone of the connecting

AUDIO/DECEMBER 1985 47 There are a lot of people who don't like to go to a record store. Reader's Di- gest sells millions of records so quietly nobody knows. And they do itall by mail order. Were record -club sales figured in when they computed whether a record was a hit or not? No. The record became a hit, and then it would become a record -club choice. Talking about selling records that way, a phenomenal success thatIthink most kids of my generation grew up with was the Little Golden Records series. I think you sold 33 million of these. More. Al Massler owes me so much in

royalties and I can't even find him [laughter]. How did all this come about? These were little six-inch recordings of classical music, specifically for children. And we did some popular music. We did "A Child's Introduction to the In- struments of the Orchestra." Alec Wild- er wrote it;it's a gem. We took Bach, the Badinerie of his "Suite in B Minor," and calledit "The Flute Dance" and Johnny Ray (left), whose many recordings hook for the listener's ear. It became aput dancing flutes on the cover. We with Miller spanned a wide range of styles bighit.It became a bigger hit thanhad top musicians play it.It worked. from country to mainstream pop to gospel. anything else in the show. Everybody See, Simon & Schuster had Little Gold- began to record it after Vic, includingen Books, and they had Pocket jazz people. Books-the only paperbacks available A producer has to have the ability toin 1948. They were in candy stores on links broke down, you were up thechange and the people talented and the corner, in racks. They were put in creek. Sometimes you had to changeflexible enough to do it.I couldn't do iton consignment. If you sold them you something.I'llnever forget one timemyself. You had to have a wonderfulpaid the publisher,if you didn't they with Percy Faith and Vic Damone. Peo-staff.I was lucky that I did. took them back. Paperbacks went for a ple don't realize that "On the StreetYou were certainly a phenomenal hit - quarter. They were not in bookstores at Where You Live" is just a thing done inmaker, at Columbia especially. In your all. They wanted to put in another rack My Fair Lady while they changed thefirst year and a half there, sales in popwith Golden Books and Golden Rec- scenery. The guy's singing to a house.went up 60%. ords, which would also be a quarter. It was just filler. But I saw it as a hitYeah, I guess so. Then it went up evenSo George Duplaix, who was the editor song for Vic Damone. Percy wrote themore after that. We would sometimesof Golden Books, had thisidea. Al arrangement and everything, and wehave eight out of the top 10 in theMassler used an injection mold with came into the studio and suddenly itcountry if you look at the charts. Also, yellow vinyl. Well, it wasn't vinyl, it was occurred to me that everything falls onthis made the success of the Columbiadung [laughter].If the cartridge was the strong beat. The record didn'tRecord Club. Stop to think.If you're heavy,it ground the disc down intoz seem to get going.Itdidn't take offgoing to put out the record of theyellow powder. But the kids loved0 0 until the middle, when Vic sang "Ooohmonth, if you have two or three artists, them, and they only cost a quarter. Wea) that towering feeling." So I went out towhat are you going to do every month?did not play down to the kids. We0 Percy quietly. I never talked throughThe same two or three artists? We had didn't itsy-poo them at all. Kids keep the loudspeaker to give suggestions. Ithe classical part, we had the Philadel-being born, so they keep buying the said, "Percy, let's start the record rightphia, the New York Philharmonic and records. The Little Golden Records are0 there, that'll be the introduction. Kill thethe Cleveland-the three top orches- out on LPs now. other introduction." Percy was so fast;tras. In pop we had all these hit artistsI read that your royalty on that was an ca he took five minutes. You hear the rec-who could be offered. eighth of a cent. Let's talk about theLL ord now, and the sound goes up andHow many club members were there?changes in royalties and how artists0. you hear "Oooh that . . . " and every- I don't know; it was all done secretly.are paid. 0 one's ears perk up. Then you don'tThey were afraid dealers would com-Well, the eighth of a cent . . . I'lltell0 mind the strong beat. You need theplain.It was found money for CBS.you why I took an eighth of a cent. Ifit

48 AUDIO/DECEMBER 1985 I CAN'T THINK OF A PRODUCER TODAY who takes the talent and develops it. It's the lawyers and accountants who make the deals.

retails for a quarter,it wholesales fortheir heads. But that goes to show-in Germany and Japan than it did here. 110, 120.If they're going to give you when the lawyers are making the deci-Then they used it to play in the inter- the space in the store, you've got tosion, and a lawyer is president of themission at the picture. David Lean [the

give them that little profit. So Georgecompany instead of a musician . . . . director] told me they saved about two Duplaix said, "Look, if these sell in theWhen I was at Columbia, we were allmillion dollars in publicity thanks to that millions, there is no room for a penny musicians. Sure, we had lawyers to tellrecord. royalty. If you sell a million records it'llus about the contracts, and account-Did you make some sort of deal with be $1,250 [at an eighth of a centants to watch the budget. But theyDavid Lean? each]." weren't making policy. They weren'tNo, with somebody who wrote the con- Was that good, $1,250? making the aesthetic decisions.I'mtramelody. They had the copyright. It's better than a kick in the ass [laugh- sure, though the president of ColumbiaNowadays the producers would have ter]. Don't forget, this was 1948.I was is taking bows for Michael Jackson, I that all locked up. just starting at Mercury at the time. The would bet my bottom dollar that there'sOf course. Another one thatI saw the regular royalty on pop records was 5%someone on the staff who found Mi-same way was High Noon.It was a of 90%. I have a suit now at Columbia.chael Jackson, who nurtured him orfantastic picture. I was alone in the They tried to take the cost of the covergot the idea. Maybe he got a goodColumbia screening room. In the mu- off -50¢ for a cover. All these lawyersbonus, but not the credit. sic, the lyrics were telling the story. I are in there; they won't let me in theLet's talk a little about your career as acalled the publisher up and said,

books. This is an ongoing thing that I pop artist. Everyone remembers your"Look, change the lyrics, make it a love started five years ago. big hit, "Yellow Rose of Texas." Howsong. Because itis a love story be- How do you feel about the multi -mil-did you decide to become a pop per-tween Grace Kelly and Gary Cooper." lion -dollar deals recording stars areformer, and how did you choose theAt first they said they wouldn't. But I getting now? Is that out of control? material you did, which certainlysaid, "If you do,I'll give you Frankie No. I'll tell you why. Because whatever wasn't highbrow? Laine." So they couldn't resist. Ned is coming in, these people are making No, it wasn't, but on the other hand itWashington wrote the words over and it became a love song: "Do Not For- themselves. Offhand, I can't think of awasn't lowbrow either. "Yellow Rose of producer at any record company to-Texas" was a Civil War song. In thesake Me Oh My Darling." It became a day who takes the talent, develops it. original, likeallsoldiers' songs, theybig hit and that helped sell High Noon. Today the lawyers and the account-were talking about women. They wereProbably the biggest controversy in ants make deals. They give them socomparing the "high yaller" girls ofyour long career was your stand on much, and the record is made some-Texas to the black belles of Tennes-rock 'n' roll. You produced some rock where else, and they deliver the re-see. Of course, that doesn't go now,precursors-certainly not rock music, cord. Of course, they spend more on aand they changed two words and thebut precursors like Johnny Ray's video than I ever did on a whole record girls became flowers. But the idea was"Cry," which many feel was one of the session. So if the artist is bringing it all you certainly couldn't do that with an-forerunners of rock, and even Frankie in, let them get as much as they can. other artist.I was using choruses withLaine's "Mule Train." Yet you vowed No one forces the record companies. I Guy Mitchell and a lot of people, so Iwhen you were head of A&R that Co- know that after Simon and Garfunkelthought, "Why not just use the choruslumbia would never record rock 'n' roll. left Columbia, to make up for what theyitself?" They would be the star. ThatYou called rock 'n' roll, among other called their lost sales, Columbia gave awas a song that got covered very fastthings, "musical illiteracy" and just a deal to . Wings, to Paul McCartney, by a lot of companies. phase. Now, 30 years later, would you where they gave him ownership of the I was called in many times to screen-care to eat those words? Frank Loesser music company as an ings. Bridge on the River Kwai, I was inNo, no! Let me tell you. With the artists advance. Now Columbia, just by sittingthe room alone while the picture ranI had, I couldn't have them turn around on its fanny, would take in a million andI'llnever forgetit. My stomachand do rock 'n' roll. Secondly, most of dollars a year justin performanceliterally knotted at the opening of thatthose rock 'n' roll artists-you can eu- rights on Frank Loesser's catalog. picture. What a masterpiece it was. I'llphemistically call them that; some de- They were so hot to show sales, theytell you what happened. The soldiersserved the term but others didn't. They got McCartney and Wings for two al-are whistling "The Colonel Bogieneeded such nurturing and caring and bums and they gave him the FrankMarch." Of course, I didn't even knowrehearsing. I'm sure if you talk to Jerry Loesser catalog. Of course, Lee East-myself then thatit was 'The ColonelWexler, he'll tell you he would spend man is Paul's father-in-law, and he en- Bogie March." This was their act ofdays with groups to get the songs gineered it-he knows the value ofdefiance. [He sings:] "Hitler, he has noright, and they wrote the songs. I didn't copyrights. IfI was a Columbia stock-balls at all. Goering has some but veryhave time for that because I was su- holder,I would sue for dilution of as-small." They couldn't say the words sopervising all this other stuff. But also, I sets. And those Wings records didn'tthey whistled the tune. My stomachsaw what was going on in that deal do well at all, either. knotted at this and Isaid, "This has tolong before the scandal came out. But to Paul McCartney you would saybe a record." I went in and I did it withPayola. Pay to play.I asked Columbia, mazel toy. the chorus.It came out and was an"Look, are you ready to pay? Because Of course. Look, no one held a gun toimmediate hit. In fact, it sold even moreif you don't . . . . Are you ready tobuy

AUDIO/DECEMBER 1985 49 WHEN I CRITICIZE ROCK, I'm not talking about the beat! I'm talking about the content, the literacy and musicality, that's all.

time on the stations? I prefer if you buy pay. Payola took all sorts of forms. ANo, quite the contrary. I had no com- time. Buy a spot and they'll play apayoff in the toilet, for example. Someplaintswithrecord companies who record for three minutes." They said diditin a corporate way. Some hadmade rock 'n' roll records.I had com- no. They couldn't afford to; they owned pressing plants, some had musicplaints with radio stations. Before FM a network and had to keep their handsstores, some had publishing compa-we had Top 20 and Top 40 and didn't clean. They didn't even want to go intonies. Some had all three. listen to anything else, and played only the publishing business. Now, ofWho were the big players? one kind of thing, and the hippy-dippy course, they're a big conglomerate, I The record will speak for itself.don'tdisc jockey was king. AllI said was.. . but in those days they were very wary. care to start a whole big thingagain.program a balanced diet of music- What did you see in payola that wasThere are very respectable people outdon't abdicate to the very young. I nev- any different from what had alwaysthere today who were big players in it.er complained about any of the record happened before, when a song pub-You must go back further.In thosecompanies. lisher would come to an A&R man anddays, certain radio stationslike FM didn't come into its own until the try to romance him into taking a song?WNEW-you never could have payolaearly '60s, when the FCC decreed that How is payola any different? there, because they had musicians.manufacturers had to put in an FM It'sdifferent becauseifa guy tookThey had librarians who listened totuner along with an AM tuner. Now you money from a publisher to record asongs. Those disc jockeys had tastehave every choice of music that you song and the song was not good, thatand they still do. There are other sta-want, from jazz to symphonic to dentist song would never get anywhere, notions, the same. But there were certainmusic to rock 'n'roll.In fact, it's very matter what. stations that didn't pay their guysinteresting that the best rock 'n'roll But at least it got a chance to get outenough. They were looking for a faststations are on FM, and AM has gone there, which it normally wouldn't have.buck themselves, and as long as theyto the news. Allright, but he's defeating his ownhad the audience they didn't care whatYou came down very strong in con- purposes. I think any A&R man whowent on. demnation of disc jockeys in a speech did that was a fool.I know it happened,Are you saying that rock 'n' roll wouldin March of 1958. You said they had and there are all kinds of stories. Sonot have caught on had it not been forabandoned adults in favor of what you that made it easier for me. To me, inpayola? called the sub -teen 8 to 14 -year -old payola nothing was being judged on No. I'm saying that I couldn't get intogroup. You said these kids had no quality.I mean, before payola, you putthe field because of the payola.I hadbuying power. First of all, where did a record out and got it started and gotone experience where I went to a guyyou get this 8 to 14 -year -old figure as reaction and other guys had to play it,who had a big television show. We hadbeing representative of a rock 'n' roll whereas with most rock'n'roll youa rock -flavored record that we madeaudience? Second, if they had no buy- couldn't get the first play without thewith The Four Lads using anothering power, then how come rock 'n' roll name, which we put out on the OkeHrecords took off in such a big way in label.It was a damned good recordthe late '50s?

Blues artist Dinah Washington may have that was making noise, and we wanted I said no buying power for products, sung "with a rock 'n' roll heat," hut, unlike to get it on this program. After keepingTed, that were advertised. God help rock artists who came later, according to us waiting about an hour and a half,them they should buy a bar of soap. Miller, 'she sang great songs." the guy suggested that the publishingBut they buy soda and candy and

rights be given to him. I told him weclothes and complexion cream. What's didn't own the rights. So that was that.the difference? The radio stations So that experience turned you off? could sell that junk. I couldn't operate in that milieu. See, ifI had no argument with that. My argu- you were a small company and youment was with the lists.If you read the

had your one or two records, you'd gowhole speech, I said the stations out and you'd fight and scratch. I had aplayed the same songs over and over job to do.I mean, Columbia sales didlike an automated jukebox. not go down in that period. Hell,I soldWhich they still do today. more albums in the midst of all this!Very few do. Top 20, the stations still Along came the Sing Along albums,have that? and they sold 22 million copies. So itNow you have Contemporary Hit Radio goes to prove that there's room for allwhich is probably the most important kinds of musicifyou don't run andformat in radio. Album Oriented Rock chase after what everybody else is do-is on its way out. Top 40 is back, Mitch. ing at the moment. Look, my contention was, they were But you know, it sounded like sourthe 8 to 14 -year -old group then and grapes. It seemed like: Mitch Miller isthey got older as they went along. But feeling that this new generation is I'lljust come back with a rhetorical passing him by, and he does not wantquestion: Where are the artists of those them to succeed. days now?

50 AUDIO/DECEMBER 1985 Let's talk about the staying power of effect? I know one effect it had on you Elvis Presley, Buddy Holly, Ray was that a number of radio stations

Charles .. .. banned you for a while after that Ray Charles is a fabulous artist! speech. Don't call him rock 'n' roll! Kids Storz stations banned all Columbia today would not call Ray Charles records. Sure.I have a feeling rock 'n' roll. some of his guys were the big- You're right that there was gest payola -takers of all. I don't a lot of junk, especially in the think with his knowledge, though. early days of rock 'n' roll. But I wasn't looking for effect. But there was a lot of junk What I was objecting to in the type of pop music was being dismissed from you were involved with in a list, as simple as that. By the '50s. I mean, "I Saw the way, if you look at what Mommy Kissing Santa Claus"? went on, we didn't do badly Don't you think the percentage at Columbia without Storz. of junk was really about the same We did tremendously. There in all eras of pop music? is also the idea of not running Not what was played on the radio. and chasing after something Also, there's the idea of repeating the that somebody else is successful at. same four words over and over in the But Mitch, wasn't this abrogating your same song. reach to a whole new generation? What about Johnny Ray's "Cry," Didn't you kind of miss the beat? This which you produced? was- not just a new music. This was a I'm not talking about rock 'n' roll treat- generational revolution happening. ment of songs! I'm talking about the Yesbut the generational revolution songs! Hell, Miles Davis, he did jazz has suddenly turned around. You have with a rock beat. Fine! I'm not talking Linda Ronstadt doing standard songs. about the beat! I'm talking about the Same for Carly Simon. That's happen- content. The literacy and musicality, ing now. Why? Who said there's no that's all. How many of those songs futureinrock'n'roll? The Rolling can stand that kind of scrutiny? Stories. The politics of rock 'n' roll. No- But frankly, what you were saying body knows it better than they do became off sounding like censorship. cause they've worked it to the bone. Let's keep the times in perspective. Perhaps no future for them after a cer- Rock 'n' roll then was coming under tain point, but there are new people vicious attack from all sides-the coming up all the time. Church, public authorities, schools. ... I'm sick and tired of British -accented

I youths ripping off black American art- I never attacked it for those reasons. attacked it only for its utter lack of liter- ists and, because they're white, being acy. And the thing that bothered me accepted by the American audience. most was the ripping off of the blacks. It's as simple as that. Michael Jackson, You take a guy like Little Richard, what whatever reservations you might have, a shafting he got. Pat Boone doing I'm delighted to see him making a pile white versions, buckskin -shoe versions of money because he's the first black of his songs, and getting all the airplay. artist who's able to go out and do the Hell,I recorded Big Bill Broonzy. Don't arenas and the stadiums and clean up. tell me about blues singers.I recorded The whites have been doing it on black Dinah Washington. Hell, Dinah Wash- music for a long, long time. ington wasn't rock 'n'roll! She was a In the late '50s, the record business singer who sang with a rock 'n'roll really began to expand and explode. beat. But she sang great songs and More people bought hi-fi equipment. sang them in a wonderful way. Aretha Why did records become so important Franklin is not a rock 'n'roll singer. all of a sudden, especially since TV Listen to any one of Aretha's songs was becoming so important at the and you'll find a literacy and a feeling same time? that you won't find in 99 out of 100 rock It was the improvement in the repro- 'n'roll songs that are being played duction of sound. It's very interesting today. because many of the records made Do you think your protests had any years before sounded sensational on

AUDIO/DECEMBER 1985 51 IN CONDUCTING ORCHESTRAS LIVE, you strip all the crapolaaway. If people don't like you, you won't be re-engaged. Sell out the house, great!

the new equipment. The new equip-group on CBS every day called thecess. Weren't they killing the goose ment is what did it. So after you had theLandt Trio and White; they'd do a sing -that laid the golden egg? house and the car, the next thing youalong. Mine came out of a suggestionThey blamed the demographics; NBC took pride in was the stereo set. Thefrom a staff guy named Stan Kavanclaimed we weren't getting enough LP-suddenly you were able to hearWe were sitting around the office andyoung people. They were looking for performances of Mahler. There isn'the said, "Why don't we do some of thethe 12 to 20 -year -old group, but they anything you can't find on LP. I thinksongs the guys sang in the service anaweren't home anyway on Friday nights that's the success of the record busi-callit 'Barracks Ballads'?" So Isaid, [laughter]. Sure, we went out with a 34 ness. The variety that you can choose"Hey, it's not a bad idea." I alwaysshare. Would you believe it? from. Some of the most obscure thingsliked to play devil's advocate and askAfter the TV show, you went to MCA are available. People like to have it atwho's going to buy a record, and why.briefly. You were trying to develop mu- hand to play for themselves. And notI reasoned that the guys who'd been insicals for Broadway? only great reproduction, but reason-the army wanted to forget about it, andAnd music for films. A vice president at able cost. For $200 or $300 you canthose who weren't servicemen couldn'tMCA, Berle Adams, hired me. He had get a stereo set that's not bad. I thinkcare less. But the idea kept nagging atpreceded me at Mercury. He thought that television had a tremendous ef-me. I began to ask Boy Scouts, GirlMCA could use the talent that I had fect, too, by showing the orchestras. I Scouts, Kiwanis and Rotary members,shown at the record company. He wish they had more imagination in the"What are the songs you sing whengave me an office and a good salary, way they showed them, and I wish theyou get together at a party?"I madeand after the investment of a project sound was better on television, butcolumns like a Chinese menu. All thewas recouped,I would share in half of they're getting there. Stereo is comingsongs that appeared in everybody'sall the profits.I didn't want to go out to and they are paying more attention tocolumn Iput on the first album. Then Ithe Coast;I thought I could do it from the sound. got the idea of making it sound impro-New York. But I didn't figure that the Having your Sing Along with Mitchvised, which is not easy. Ukulele, gui-Coast just wouldn't listen. All the ideas show on television must have been antars, drum, accordion, and harmonica. I had just got ignored-they weren't incredible boost to sales of those SingJiggsy Carroll worked out simple butshot down, they just got no reaction. Along records. interestingharmonies because weIdeas for musicals, for television No. Quite the contrary, because it con-wanted people to be able to sing in theshows -1 told them about a great fused the public. I had so many al-right key and tempo, and, if they didn'tyoung French composer that they bums out. When I was on the air, thewant to sing, we wanted them to enjoyshould use for films, Michel Legrand. people weren't sure what records theylistening. The tempo and feeling had toThis was 1965. They didn't buy Michel didn't have. They kept selling, but theybe right. And the records took off like athen. I told them about a book-I took didn't sell any more. rocket in the midst of rock 'n' roll. the option myself because I thought it How did the idea for the Sing AlongDo you think Sing Along could comewas so good-about a black medical records come about? back? student coming home, and there's a It's an old idea. After all, Milton BerleOn television? Hell, yes. murder, and he picks up a hitchhiker. didit on radio with Community Sing.What happened? They cancelled theThe scene was set in Arizona. They During the '30s and '40s, there was ashow abruptly at the height of its suc-said, "Oh, no." Lew Wasserman [now the chief executive officer of MCA] said, "It's all right, butI know the governor of Arizona, and I don't want any bad reflections. And besides, it's con- troversial." Two years later In the Heat of the Night came out. Without risk there's no success. It's the old story here. Then I urged them to think about making cartoons into movies. Did you feel there was a place for you in the recording business in the '60s, after the TV show? Everything was quite different then, wasn't it? Yeah, but during the TV years CBS

Earlier this fall, Miller received a Governor's Award from the National Academy, of Recording Arts and Sciences' Neu, York Chapter. With him are Jim Conkling, former president of CBS Records (center), and Milt Gabler, member of the Neu' York Chapter's Board of Got,ernors (right).

52 AUDIO/DECEMBER 1985 Records kept an office for me. I didn't get paid, butI had a secretary. They told me, "We just want to be able to pick your brain, that's all." That lasted until the mid -'60s. Wasn't the direction into rock that Clive Davis took CBS Records in, in the late '60s, a direct repudiation of your philosophy? Or was he, maybe, just changing with the times? Ifit was a repudiation, let him repudi- ate the profits that come from that catalog that stillsells like mad, repack- aged over and over again. Ifit's a repudiation, let him say so. Well, he made a pretty big point, both in his book and when I interviewed him, in saying that Columbia was a fuddy-duddy company. That he came along and discovered, after the Mon- terrey Pop Festival, this whole resur- gence in rock 'n' roll in the late '60s. Well,I was out of Columbia from 1961 on. Monterrey was six years later. Clive Davis is my candidate for the most self-serving guy you will ever find. Why ask me to answer the comments of a man who has no credentials, as far as I'm concerned? If you ask me, the only credential he hasis when people laughingly would say he's tryingto make himself another Mitch Miller in the studio. But didn't he have astounding success with Columbia after he took over, much as you did when you first took over as Classical music once again occupies most ofartists are Melissa Manchester and the head of A&R? Mitch Miller's professional life, as he Barry Manilow, both of whom are my What success? conducts major symphony orchestras in kind of artists. Commercially, with people like JanisAmerica and abroad. And for you now, you're doing a lot of Joplin, Sly and the Family Stone, Chi- guest conducting. cago, and so on. I've come full circle-back to sympho- Chicago is a good group.If I had deals. Where's Laura Nyro today? Askny orchestras.I conduct all the major

heard Chicago I would have signed him. I could take a list of people whoorchestras in America, Italy, Canada, them. But that was way later, long afterwere promoted with four-color posterssome in Mexico. I'll tell you why I'd like I had left. as the second coming of the Lord whoto keep doing this. It's live. You strip all He never was a studio man, but he didcouldn't ad lib a burp after a radishthe crapola away. No editing, no re- have great success as a record execu-dinner.Ifhe's going totalk about,takes. People have to pay to hear you. tive, didn't he? quote, "his" successes,I want him toThey have to like you or you won't be How about some of the performers show you his failures, too. Why, for himre-engaged. Sell out the house, great! who weren't successful? Come on! Ato be successful, does he have to putYou come to an orchestra and you record executive must be a nurturer, in somebody else down? It's very inter- have to communicate fast, you have to the mold of Conkling and Lieberson,esting. He always sought me out to sitget the music ready. There's no room and not take credit that rightfully be-on the dais when he was given thosefor fakery. And Ilike that k)id of atmo- longs to his staff. phony, self-serving honors. You know,sphere to work in, with consummate There was a great deal of success atthe Man of the Year for this and that.pros. The people are talented and we Columbia. Wouldn't you have to giveYou never saw me as Man of the Year, respond to each other, and we create him his share of the credit? and it hasn't been because Ihaven'tan emotional experience that takes No. I wouldn't give him any of the cred-been offered it. As far as I can see, his3,000 or 4,000 people out of the here it. There's guys in the field who broughtego comes first, his talent comes last and now, which only symphonic music the stuff to him, and the rest were allAnd itis ironic that his two enduringcan do-and Ican't ask for more.A

AUDIO/DECEMBER 1985 53 A NEW CD TEST STANDARD Leonard Feldman Ever since the first Compact Disc(Matsushita ElectricIndustrial Co.), should be made when evaluating a CD player reached my lab in 1982, itand Denon. (In fact, Denon has issuedplayer's performance. The standard

has been clear that measuringa second test disc for which I was tells how to perform the tests and how the performance of such devicesasked to write the liner notes.) Some ofto report the results in a consistent would involve techniques and test sig-these discs include not only test sig- manner. The EIAJ's document No. CP- nals not normally used in testing ana-nals but musical selections, ostensibly308, "Test Disk [sic] for CD Players," log audio components. The makers ofto tax the capabilities of a CD player ordescribes a standard test disc that CD players were quick to see that spe-of an entire audio playback system. Inshould be used in performing the tests cially made Compact Discs containingaddition to the dozen or so discs whichlisted in CP-307. The disc is to contain test signals would be needed to evalu-these companies offer for testing the16 tracks, with a total playing time of ate their products. These test discs,electrical performance of CD players,approximately 63 minutes, but at this originally prepared for manufacturers'there are discs designed to uncovertime itis not yet available. However, in-house use, eventually became avail-tracking or error -correction limitations.most of the signals that would appear able to testing and service laborato-While some test signals can be foundon this disc are available on some of

ries. But there was little agreement onon more than one of the available testthe test discs issued earlier. Table I what signals the discs should contain.discs, certain signals are unique toitemizes the contents of the proposed

The first test discs I acquired wereonly one disc. Clearly,if Test Lab Atest disc and which of the 13 tests supplied by the Philips company ofuses one disc while Test Lab B useseach test signal is used for. The Table Holland, the co -developer of the CDanother, their measurements of a givenalso shows which currently available format. Not surprisingly, the other part-player may or may not be identical. test discs contain similar or identical ner in CD development, Sony, came About 18 months ago, the Electronictest signals. The following paragraphs up with a test disc of its own. ShortlyIndustries Association (EIA) decided todescribe the individual tests, how they thereafter, Sony offered yet a secondsponsor a committee to develop uni-are to be performed, and how the re- test disc, which contained some addi-form standards for measuring CD play-sults are to be reported. tional signals left off the hurriedly is-ers. John M. Eargle, the well-known

sued first version. Since then, I haverecording engineer, design engineerFrequency Response acquired test discs from such diverse and audio consultant (he As is true of any audio component, sources as the German Hi Fi Institute, heads his own compa-frequency response measurements the Japan Audio Society, Technics ny, JME Associates,are of primary importance in testing and also works withCD players. The methods used to mea- JBL),assumedthesure frequency response of a CD play- chairmanship. The com-er are much the same as those used mittee has met four times,for any audio component, except that thus far, and reached somethe test signals are supplied by the test agreement on what should bedisc instead of a signal generator. Re- tested and what test signals wouldsponse measurements may be made be needed to conduct these tests, butusing either 17 spot frequencies, re- has not yet issued any formal reportscorded at maximum (0 -dB) level and or recommendations. ranging from 4 Hz to 20 kHz, or by Meanwhile, the Electronic Industries using a sweep -frequency signal that Association of Japan (EIAJ), which hasextends from 16 Hz to 20 kHz. Accord- been actively working on the sameing to the proposed EIAJ standard, if problem, has issued a complete testthe maximum deviation over the range standard, in the form of two reports.of frequencies tested is less than 1.0 Document No. CP-307, entitled "Meth-dB, the deviation need not be stated in ods of Measurement for CD Players,"the manufacturer's published specifi- details some 13 individual tests thatcations.I suspect, however, that most

54 AUDIO/DECEMBER 1985 From the beginning, makers of CD players knew that test discs would be needed, so they made their own. Now there's a proposal from the EIAJ for a single standard test disc and uniform measurement standards. But do they go far enough?

manufacturers (and,for that matter, most testers and reviewers) will continue to state the deviation in decibels, "plus or minus," as is the usual practice for this specification.

Signal -to -Noise Ratio Figure 1 shows the test setup recommended for S/N measurements. The EIAJ approach re- solves a couple of questions and does away with a couple of ambiguities that have been bothering me since I began testing CD players. You will notice that both a filter and a weighting network are included in the signal path. The weighting network is specified as having an A -weighted curve; the filter called for has cutoff frequencies of 4 Hz and 20 kHz, with an attenuation of 60 dB or more at 24.1 kHz. (The EIAJ document refers to this both as a band-pass and as a low-pass filter. While its low -end roll -off does make it, technically, a band-pass, the roll -off is so close to d.c. that it can be considered a low- pass filter for all practical purposes.) An alternative filter, having a slope of only 18 dB per octave and a cutoff frequency of 30 kHz,is also allowed "unless any question arises in measurement." In the past, I've wondered what to do about out -of -band noise components, which, though inaudible, are nevertheless quite measurable and significant in the absence of filtering and weighting networks. Now, if we can all agree to use A -weighting and the recommended type of filter, we should all come up with consistent S/N figures for CD players. Of course, the reference

AUDIO/DECEMBER 1985 55 I'm perplexed when specs are given for S/N and dynamic range. The new standard clarifies the latter and dictates how both parameters should be measured. dB resultsin a figure for dynamicon the proposed standard test disc range of 90.5 dB. Once again, band-(and on several existing test discs) are pass and A -weighting filters are to benot quite the ISO frequencies; these used in measuring the residual THD forare also shown in Table II. The differ- the -60 dB level signal. You can seeences are small, as the Table shows, that dynamic range, as quoted bybut extremely important. makers of CD players, need not neces- The problem is that certain of the sarily be equal to the S/N specificationISO standard frequencies are integral level from which noise is measured isfor a given player. sub -multiples of the CD's 44.1 -kHz maximum output level (0 dB), which sampling frequency. While a 16 -bit gives the most favorable S/N number.Total Harmonic Distortion digital encoding system can theoreti- Like the S/N test tracks on current test The EIAJ recommends that THD becally have as many as 65,536 (216) discs, the S/N track on the proposedmeasured at 14 test frequencies, alldistinct codes, representing that many disc would be digitally recorded as areproduced at maximum recorded lev-different signal values, the number of succession of samples of zero ampli-el. A low-pass filter is inserted in thedistinct codes actually used will be lim- tude (16 zeros per sample) over itssignal -measurement path,effectivelyited when the ratio of the recorded entire length. This simulates an infinite-taking care of any out -of -band compo-frequency to the CD sampling frequen- ly attenuated signal. nents that might otherwise upset thecy is an integer. The number of distinct readings observed on a distortion me-codes is also reduced when the re- Dynamic Range ter. Personally,I would have preferredcorded signal level is low-and many I continue to be somewhat per-that the use of a spectrum analyzertest tones are recorded at low levels. plexed by manufacturers who quotewithout a filter had been proposed, in-Using too few different codes can both S/N ratio and dynamic range. Of-stead of a distortion meter. The use ofcauseartificiallyinflateddistortion ten the two figures are the same, butspectrum analysis discloses the pres-readings. These would obscure the im- occasionally they differ. The new stan-ence of any nonharmonically relatedportant differencesin D/A linearity dard clarifies the term "dynamicbeats, noise, etc., all of which are not,which distortion tests are basically de- range" and dictates a specific way tostrictly speaking, THD but which maysigned to measure. measure it. Dynamic range is definednevertheless be audibly annoying to a For example, if a test signal of 315 as the level of total harmonic distortionlistener. Hz (1/140 of 44.1 kHz) were used at a plus 60 dB when a 1 -kHz signal at 60 Another important point should belevel of -20 dB, only 71different dB below maximum (0 -dB) recordednoted about the THD measurement or,codes would be used in a period of levelis reproduced. As an example,more specifically, about the test fre-100 mS. Maintaining the level at -20 suppose during playback of a 1 -kHz,quencies used. The EIAJ standarddB but shifting the frequency up by - 60 dB signal you read a THD ofcalls for the familiar ISO test frequen-only 2 Hz, to 317 Hz (a bit less than 3.0%. Translating that to dB yieldscies shown in the first column of Table1/139 of 44.1 kHz), would yield 3,282 - 30.5 dB. Adding -30.5 dB to -60II. The actual frequencies to be foundcodes over the same 100 mS! We are indebted here to Robert A. Finger of the CBS Technology Center, who stud- ied this problem and came up with CD PLAYER LOW - PASS WEIGHTING TEST DISC UNDER VOLTMETER detailed test -frequency recommenda- FILTER FILTER TEST tions. His findings were transmitted to the EIA's CD measurement standards Fig. 1-Test setup for measuring S/N ratio, as committee, which, in turn, notified the recommended by the EIAJ. Using a "low-pass" filter (see corresponding committee of the EIAJ. text) eliminates all out -of -band noise from the measured As a result, the EIAJ's published re- results. ports make due note of the problem, and the frequencies shown in the middle column of Table II are recommended for all future CD test discs, instead CD PLAYER LOW - PASS TEST DISC-111.UNDER of the ISO frequencies shown in the FILTER LEVEL METER TEST Table's first column. Most of the nominal ISO and actual test frequencies differ by less than 1%. While the true SPECTRUM ANALYZER ISO frequencies could be used for frequency response and other measurements not related to distortion, in prac- Fig. 2-Test setup for measuring channel separation, as tice the frequencies for distortion mea- recommended by the EIAJ. By using the filter and a surements on the proposed test disc spectrum analyzer, only fundamental crosstalk products will probably be used for these param- will be measured; harmonics will be ignored. eters as well.

56 AUDIO/DECEMBER 1985 For stating the THD results, the EIAJ document declared that when no frequency is stated, a test frequency of 1 kHz (actually 998.7 Hz) is to be under- EIAJ-recommended CD test signals, and currently available test discs from stood.Otherwise,the specification which they may be obtained. should read: "Total Harmonic Distortion _% or Track No. of Corresponding Track Numbers on less (_Hz) (EIAJ)." Specification Proposed Disc Alternative Discs Frequency Response 1 and 6-10, or 11J/8-38, P/2, S,/2-11, S2/2-11, T/L-16 Channel Separation Signal -to -Noise Ratio 4 D/6, P/18, S1/21, S2/23, T/19 I've wondered for some time why I Dynamic Range 5 P/7 & 11, S1/18, S2/20, T/30 am unable to confirm the consistently THD 6-10 P/4 or 8, S1/2-11, S2/2-13, T/4-16 high figures of channel separation Channel Separation 2-3 P/4 or 8, S1/26-29 or 30-33, S2/29-36, quoted by most manufacturers. Oh, it's T/24-41 not that my measurements have slight- De -Emphasis Error 12 S1/36-38, S2/37-41, T/48-50 ed the CD players (80 to 85 dB of Wow and Flutter 15 J/30, P/19 IM Distortion 13 J/46 & 47, P/16, S1/22 & 24, S2/25 & 27, channel separationishardly inade- T/42 & 44 quate); it's just that I have been unable Phase Difference 10 S1/11, S2/13, T/16 to measure the 90 and sometimes 95 Between Channels dB quoted for this spec. If manufactur- Level Difference 1 J/25, P/4 & 8, S1/1, S2/1, T/1 ers have been using the technique out- Between Channels lined in the EIAJ report,I now under- Output Voltage 1 J/25, P/2, S2/1, T/1 stand why the minor discrepancy has Pitch Error 10 J/38, P/4, S1/11, S2/13, T/16 existed. In the EIAJ standard, a spec- Access lime 1, 2, 15, 16 Any disc with multiple tracks trum analyzer is used to compare the outputs of the two channels when a Notes: Alternative discs are specified by a single letter, as follows: D = Denon Catalog No. 33C39-7441 test signal appears at full (0 -dB) ampli- J= Japan Audio Society Catalog No. YDDS-1 tude on one of the channels. The stan- P = Philips Catalog No. 410-055-2 dard specifies that in measuring the S1 = Sony Catalog No. YEDS-2 ratio of the desired and undesired out- S2 = Sony Catalog No. YEDS-7 puts,the "leak" or crosstalk signal T = Technics Catalog No. SH-00001 should be that of the fundamental frequency alone, and should not include Tracks for alternative discs are indicated following the slash (/) identifying the disc. For harmonic components. A filter is rec- example, P/19 means use track 19 of the Philips disc as an alternative to the proposed test disc for the particular measurement. ommended (Fig. 2) to ensure this. I don't use the filter. Two methods of specifying separa-perfectly flat frequency response when quency normally used to measure wow tion are suggested. The first simplypre -emphasis and de -emphasis areand flutter in tape decks and analog would state: used, it is essential that the de -empha-turntables -and manufacturersare "Channel separation _dB or more (EIAJ) " sis curve be the exact reciprocal of thegiven a choice of publishing the

A frequency of 1 kHz is understood.pre -emphasis curve. A track on theweighted peak figure obtained or sim- The second, more specific methodproposed CD test disc would containply stating that the wow and flutter is would state the frequency or frequen-five test frequencies (125 Hz, 1 kHz, 4below the measurement threshold.If cies at which the separation measure-kHz, 10 kHz, and 16 kHz) to determinethe latter statement is used, it means ment was made, and would be ex-the amount of de -emphasis error,if that wow and flutteris±0.001% pressed as follows: any, produced by a given player underweighted peak or less. "Channel separation _dB or more test. The de -emphasis error is quoted (_kHz) (EIAJ)." in dB. If a manufacturer does not stateIntermodulation Distortion the test trequency, it is assumed to be Two types of IM measurement are De -Emphasis Error 10 kHz. called for in the EIAJ standard. The The Compact Disc format provides firstis the familiar SMPTE IM, which for a system of pre -emphasis and de -Wow and Flutter involves the use of 60 -Hz and 7 -kHz emphasis not unlike that used in FM Although most manufacturers havesigrals in a 4:1ratio. The second IM broadcasting.Discproducers haveelected to describe the wow and fluttermeasurement, the so-called CCIF IM, the option of boosting high frequenciesof their CD players as "below measur-is measured by using two high -fre- during recording, following a fixedable limits," the EIAJ standard makesquency signals (11 and 12 kHz would curve, and attenuating those high fre-provision for measuring this parame-be available on the proposed standard quencies during playback, automati-ter, however small the resulting figuretest disc) and noting the percentage of cally, to reduce any residual noise tomay be. The proposed test disc would1 -kHz signal beat appearinginthe still lower levels.In order to maintaincarry a 3.15 -kHz steady tone -the fre-player's output. Once again, a low-

AUDIO/DECEMBER 1985 57 Although electromechanical considerations have beenslighted, the EIAJ is to becommnded for its excellent efforts in standardizing specs for Compact Discplayers.

that it be performed using only a 1 -kHz Missing Measurements TABLE II test signal at 0 -dB (maximum) record- As far as it goes, the new EIAJ rec- ed level. Results of the test are to beommendations do an excellent job of ISO standard frequencies stated in dB, as follows: standardizing the way measurements compared with recommended test of CD players are to be made and frequencies for use in CD player "Level difference between channels _dB or less (EIAJ)." reported. As readers of our "Equip- performance. ment Profiles" know, however, some of the major differences among CD play- Output Voltage ers are related more to their electrome- ISO The specification for output voltage chanical than their purely electrical Nominal Actual Difference, is intended to assist the user when performance. The ability to track a disc Freq., Hz Freq., Hz Percent connecting a CD player to other audioaccurately, even ifitis scratched or components. The EIAJ standard re- dirty,varies greatly among current 8 8 quires that a CD player's output volt-models. So, too, does the ability to 16 17 +6.250 age be stated for signals at maximum maintain good tracking in the presence 32 31 -3.125 recorded level. The player's volume or of vibration or mechanical shocks ap- 63 61 -3.175 output -level controls, if any, should beplied to all plane surfaces of a player. 125 127 +1.600 set either at maximum or,if the player Error -correctioncapability(whichis 250 251 +0.400 has a single detent or reference markpurely electrical) affects a player's per- 500 499 -0.200 on its level control, at that referenceformance in these areas, too. There 1,000 997 -0.300 level. Output voltage specifications are 2,000 should also be some sort of test to tell 1,999 -0.050 to include a "plus or minus" tolerance, 4,000 4,001 +0.025 what kind of filtration is in use, and a 8,000 7,993 -0.088 e.g., "Output voltage, 2.0 ±0.5 V." test to determine phase error within a 10,000 10,007 +0.070 single channel. The phase test would 12,500 12,503 +0.024 Pitch Error not be easy to accomplish (no test disc 16,000 16,001 +0.006 Contrary to popular notion, slight er-yet has properly accomplished it), but 18,000 17,989 -0.061 rors of pitch can be introduced duringit would quantify a property which 20,000 19,997 -0.015 playback of a Compact Disc. To deter- many critics blame for unpleasantness mine pitch error, the highest availablein CD sound. Perhaps separate stan- frequency on the proposed test disc, pass filter is inserted in the measure- dards for measuring these qualities of 20 kHz, is measured with a frequency ment chain to eliminate any out -of- CD players are required. In any event, band components. counter. In reporting pitch error, thethe EIAJ is to be commended for com- difference between the measured re-ing up with a workable measurement sult and 20 kHz is expressed as astandard so soon after the introduction Phase Difference percentage by using the formula: of Compact Discs and CD players. A Between Channels (F, - Fo) x 100 (%) This test, as its name implies, simply Fo measures the phase difference between two high frequencies, each re- Access Time corded on opposite channels.If 20 The only measurement in the entire kHz is used, the phase difference be-EIAJ standard that addresses the me- tween channels, statedindegrees, chanical rather than the electrical per- need not be accompanied by a state-formance of a CD player is access ment of the test frequency used. Thistime. Two types are defined: Short ac- testwilleasily differentiate betweencess time and long access time. those players which use a single, multi- Short access time is the number of plexed D/A converter and those which seconds that elapse from the time the use two separate D/A converters. Theplay button is pressed (in the middle of former will always display a phase dif-a track or in a ready -to -play state) until ference between left and right chan-the next adjacent track begins to play. nels corresponding to approximatelyLong access time is the number of 82° (assuming 20 -kHz test signals onseconds elapsing from the time the each channel), owing to the time delayplay button is pressed while the first of about 12 µSS between sample D/A(innermost) track is playing until the conversions from the left- and right -time the last (outermost) track begins channel digital signals. to play. Both access times are measured with an ordinary stopwatch. In Level Difference Between Channels specifications, this measurement is un- The purpose of this test is obvious,derstood to be long access time, un- and the new EIAJ standard requiresless otherwise stated.

58 AUDIO/DECEMBER 1985 Improving on the sonic performance of the Denon Better still is Denon's DCD-1100. This full-sized machine DCD-1800 was no easy task, considering that reviewers in the has the same high-performance DDAC, the same Real Time U.S.,West Germany, and Japan claim "never to have heard a phase correction, and adds wireless remote control w th a better sounding CD player." Yet Denon set out to build players 10 -key pad for direct track access. that exceed our original performance level and make them The deluxe DCD-1500 uses two separate 16 -bit DDAC more affordable. convertors (one for each channel), and computer -analyzed We began with the compact DCD-1000, a Denon CD linear -phase filtration for perfectly flat frequency response. Its Player at an unthinkably low $359.95! Yet it includes Denon'swireless remote even features volume adjustment. unique DDAC, the world's only digital -to -analog convertor Now, no matter how mcch or how little you plan to spend that's hand -tuned for reduced D/A transfer distortion. And it for a CD Player, you can own ore from the Company that has Denon's Real Time phase correction circuitry. invented digital audio in the first place. Denon.

'Suggested retail price. Denon America, Inc., 27 Law Drive Enter No. 12 on Reader Service Card EQUIPMENT PROFILE

1.f. Rejection: 90 dB. Damping Factor: 60 at 8 ohms. AM Rejection: 55 dB. Input Sensitivity: MM phono, 0.22 Spurious -Response Rejection: mV; MC phono, 14 µV; high level, 70 dB. 13.4 mV. Capture Ratio: "Local,"1.2 dB;Phono Overload: MM, 110 mV; MC, "DX.' 2.5 dB. 8 mV. Stereo Separation: 50 dB at 1 kHz, Frequency Response: MM phono, 45 dB at 100 Hz, 45 dB at 10 kHz. RIAA ±0.3 dB; MC phono, RIAA Frequency Response: 30 Hz to 13 ±0.5 dB; high level, 20 Hz to 20 kHz, ± 0 5 dB. kHz, +0, -0.3 dB. Output Level: 500 mV for 100%S/N Ratio: MM phono, 75 dB; MC modulation. phono, 74.5 dB; high level, 80 dB. Residual Noise: 120 p,V. AM Tuner Section Subsonic Filter Cutoff: 10 Hz, 12 YAMAHA R-9Usable Sensitivity: 250 p.V/m dB/octave. Selectivity: 24 dB. Tone Control Range: Bass, ± 10 RECEIVER S/N Ratio: 50 dB. dB at 50 Hz; treble, ± 10 dB at 20 Image Rejection: 40 dB. kHz; midrange, ± 12 dB at 1 kHz. Manufacturer's Specifications Spurious -Response Rejection:Loudness Control Range: 40 dB FM Tuner Section 50 dB. at 1 kHz. Usable Sensitivity: 8.8 dBf (seeTHD: 0.3% at 400 Hz. text). Output Level: 150 mV for 30% mod-General Specifications 50 -dB Quieting Sensitivity: Mono, ulation. Power Requirements: 120 V, 60 14.8 dBf; stereo, 37.3 dBf. Hz, 500 watts. S/N Ratio: Mono, 85 dB; stereo, 81 Amplifier Section Dimensions: 171/8 in. W x 5-15/16 dB. Power Output: 125 watts continu- in. H x 165/8 in. D (43.5 cm x 15.1 THD: Mono, 0.05% at 1 kHz, 0.05% at ous per channel, 20 Hz to 20 kHz, 8 - cm x 42.2 cm). 100 Hz, and 0.1% at 6 kHz; stereo, ohm loads; 145 watts continuous perWeight: 26 lbs., 7 oz. (12 kg). 0.07% at 1 kHz, 0.07% at 100 Hz, channel, 20 Hz to 20 kHz, 6 -ohmPrice: $799. and 0.15% at 6 kHz. loads. Company Address: 6660 Orange- Alternate -Channel Selectivity:Rated THD: 0.015% at 8 ohms, thorpe Ave., Buena Park,Cal. 85 dB. 0.03% at 6 ohms. 90620. Image Rejection: 40 dB Dynamic Headroom: 1.58 dB. For literature, circle No. 90

.)0 AUDIO/DECEMBER 1985 Yamaha describes the Model R-9 as an audio/video re-

ceiver. I can't deny that itis able to handle and switch STEREO S/N x 7448 signals from two video program sources, including both STEREO THD ("DX") 1.0% STEREO THD ("LOCAC). C075% video and audio (stereo or mono) signals, and to direct MONO THD ("DX"). 0.42% those signals to a connected video monitor. Nevertheless, I MONO THD ("LOCAL"). 006;:. wish manufacturers would agree on precisely what constitutes an AN receiver. I've seen some that simply provide a couple of extra inputs for the audio tracks of a VCR or other video program source; at the other extreme are those which switch a variety of video program sources and even have built-in TV audio tuners. The R-9 falls somewhere in between these two extremes.

In terms of its sound capabilities, the R-9 is a superb WATTS) example of the audio art. Most of the features that have SIGNAL INPUT POWER- dB1 (0 dfit impressed me favorably over the years in earlier YamahaFig. 1-Mono and receivers have been carried over into the R-9. For example,stereo quieting it has a legitimate loudness -compensation control; that is, acharacteristics in separate, continuously variable control adjusts the degree"Local" (wide -band) of compensation according to the requirements of yourmode, and distortion in actual maximum listening levels, speakers used, etc. Anoth-both "Local" and "DX" er excellent feature-and one which Yamaha was among(narrow -band) modes, the first to introduce-is a separate "Record Out" selectorFM section.

which allows you to record one program source while listen- 4 ing to another. In addition to its high power rating at low distortion levels, its excellent frequency -synthesized tuning CO system and its 16 -station preset capability, the R-9 has a

wireless remote control.In some respects, I found that having a remote module for a stereo receiver is even more 60w useful than having one for a TV or a video recorder. 7 Another interesting innovation, found in the receiver's amplifier section, is its dual mode of operation. At the user's 6_1 discretion, the amp will operate in true Class A up to around 20 watts per channel, automatically switching to Class AB if 80 100 10k 206 1001, signal levels exceed that power output. Of course, in the Class -A mode, power consumption-even with no signal FREQUENCY - Hz applied-is much higher than in Class B, so you are givenFig. 2-THD vs. the option of having the system operate in Class AB at allmodulating frequency, times if you feel that the sonic improvement offered by Class"Local" mode, A isn't worth the extra power drain. FM section. The tuner has its share of innovative circuitry, too. What Yamaha calls a Computer Servo Lock Tuning System sam- Most of the controls that are always in view are pushbut- ples incoming signals and determines which of :wo tuningtons. There are buttons for on/off switching, audio and video methods will yield the best and clearest sound. A synthe-program selection, audio muting, and activation of the auto- sized, phase -locked -loop tuning circuit is used for weak ormatic Class-A/Class-AB selector. There is also a row of 15 noisy stations; for stronger, clearer signals, the R-9 uses antuner controls. These include eight preset buttons (plus a "infinite resolution" FM servo tuning circuit-that is, oneshift key for selecting any combination of 16 AM or FM which locks onto the station signal rather than the station stations), and others which activate the preset "Memory" or frequency. "Local" or "DX" settings can be selected man- select the band (AM or FM), the "Receiving Mode" ("Local," ually or automatically, and the new digital fine-tuning ar-"DX," or automatic switching between them), and the "Tun- rangement permits you to tune in increments as small asing Mode" (manual or auto scan). Rockers for regular and 0.01 MHz in FM or 1 kHz in AM. fine tuning complete this group. The only rotary controls normally visible are the "Volume" knob and the "Loudness" Control Layout ring surrounding it. The continuously variable loudness con- The R-9 is a rather tall receiver, its front panel standingtrol has a full, 40 -dB range, as opposed to the 20 -dB range nearly 6 inches high, which gives it a somewhat heavy look.on earlier versions of Yamaha's separate loudness control. But the height is needed,iffor no other reason than to Visible at all times, at the upper left of the front panel, is accommodate the great number of controls and switches on the digital display for AM or FM frequency and a 10 -seg- the front panel. Many of the less often -used controls andment "Signal Quality" bar -graph display. Additional indica- switches are hidden behind a hinged flap so that the paneltions in this area show the current tuning and receiving doesn't look quite as cluttered as it otherwise might. modes and which, if any, of the 16 preset stations is current-

AUDIO/DECEMBER 1985 61 With 2.3 dB of dynamic headroom, the R-9 can deliver more than 200 watts per channel, in short bursts, without clipping!

ly selected. Lights to the right of the display show the status"B" and "C" speaker terminals inseries, to maintain a of the "DNC" (Dynamic Noise Canceller) and "Simulatedreasonably high net impedance across the amplifier output Stereo" circuits. In addition, tiny indicator lights illuminateduring use with three sets of speakers. Operating speakers above the program selectors when each is activated. in series will, of course, seriously compromise the amplifier's Opening the hinged flap on the lower section of the R -9'seffective damping factor, and should be done only for casu- front panel reveals a headphone jack; three speaker -selec-al listening in secondary locations. When either the "B" or tor pushbuttons; a "Tone Bypass" switch; bass, midrange,"C" speakers are used alone or in combination with the "A" and treble rotary tone controls with detented center posi-speakers, the impedance problem does not arise. tions; a balance control; pushbuttons for "DNC" (a single- ended dynamic filter along the lines of the more familiarTuner Measurements DNR), "Simulated Stereo," "Stereo/Mono," and "MM/MC" In testing the R-9 s FM tuner section, I quickly established phono, plus a rotary record -out selector. that the major difference between the "Local" and "DX" Functions of the wireless remote control are limited totuning modes was not so much in sensitivity as in selectivity. input selection, power on/off, selection of any one of the 16In other words, the "Local" setting corresponds primarily to preset AM or FM stations, audio muting, and volume adjust-a wide i.f. bandwidth setting on other tuners and receivers; ment. These functions are the ones you would most likelythe "DX" setting provides higher alternate -channel selectiv- want to control from the comfort of your listening position. ity, useful for zeroing in on weaker stations that might other- A diagram in the owner's manual, depicting how variouswise be interfered with by strong stations broadcasting at external components would be connected to the R-9, givesfrequencies near the desired signal's. some idea of just how much of a "control center" this Figure 1 shows mono and stereo quieting characteristics receiver really is. Shown are a pair of videocassette record-in the "Local" mode. It also shows harmonic distortion for a ers (one of which could just as easily be a videodisc player),1 -kHz modulating signal, in mono and stereo, for both the a TV monitor (which must have a video input jack; connec-"Local" and "DX" modes. With the tuning set to "Local" tion via the antenna input will not do), a Compact Disc(wide) mode, best S/N ratio in mono was 78 dB; in stereo, it player, a turntable equipped with either a moving -magnet orwas 74 dB. Usable sensitivity measured 12 dBf, improving a moving -coil cartridge, two audio tape decks, and threesomewhat to 10.8 dBf when I switched to the "DX" position. sets of loudspeakers. Yamaha's claim of 8.8-dBf usable sensitivity in mono is Few amplifiers or receivers have three sets of speakermeasured for a 30 -dB signal-to-noise ratio. The IHF stan- outputs, because the net load impedance could fall danger-dard usable -sensitivity measurement is for a 30 -dB ratio of ously low if all three were connected across the amplifier'ssignal to noise plus distortion. Hence the apparent discrep- outputs at once. Yamaha gets around this by connecting theancy between my reading and Yamaha's. Our testing methods were obviously the same when it came to 50 -dB quiet-

A Fig. 3- ing sensitivity, however. I measured exactly 14.5 dBf in Frequency mono and 37.0 dBf in stereo, close enough to Yamaha's response published figures. (upper traces) Figure 1also shows how distortion rises when tuning is and separationswitched to the "DX" (narrow) i.f. mode. In the "Local" vs. frequency mode, harmonic distortion decreased to a low of 0.06% in (lower traces) mono and an almost equally low 0.075% in stereo. Using the in "Local" (A) "DX" setting,I measured 0.42% THD in mono at all signal and "DX" (B) levels above about 40 dBf, and stereo THD rose to around modes, FM 1.0%. Figure 2 shows how THD varied with frequency, for section. mono and stereo, again in the "Local" or low -distortion mode. Even at 6 kHz, in stereo, THD was only 0.17%. .toQualtcY 11.9G1I Tuning mode ("Local" versus "DX") had a great effect upon FM stereo separation, too, as you can see by looking at Figs. 3A and 3B. Both of these spectrum analyses were B made for strong -signal conditions and cover the range from 20 Hz to 20 kHz in a logarithmic sweep. The top trace in each case represents desired output from the modulated (left) channel, and therefore constitutes a frequency response plot over the stated frequency range. Deviation from flat response was never greater than 0.3 dB in the "Local" mode (Fig. 3A) and was down 1.5 dB at 15 kHz for the "DX" mode (Fig. 3B). Separation was superb in the "Local" mode (bottom trace of Fig. 3A). It was 58.5 dB at mid -frequencies, nearly 50 dB at 100 Hz, and in excess of 40 dB at 10 kHz. In the "DX" mode, with its higher selectivity but more restricted bandwidth, separation decreased to less than 30 dB across the entire audio spectum (bottom trace of Fig. 3B)-still

62 AUDIO/DECEMBER 1985 LIGHTS It'sawholenewworld.

@Fake), LIGHTS

Today's Camel Lights, unexpectedly mild.

SURGEON GENERAL'S WARNING: Quitting Smoking Now Greatly Reduces Serious Risks to Your Health. mg. "tar", 0.8 mil nicotine ay. r cigarette by Frc method. The 82 -dB S/N ratio on phono would be very good for a separate preamp. When you consider all the possible noise sources in a receiver, it's remarkable.

adequate for good stereo imaging, but nowhere near aschannel at 20 Hz and 139 watts per channel at 20 kHz. The high as with the "Local" setting. receiver's rating of 125 watts per channel is, therefore, very Figure 4 shows output products observed from the un-conservative. In fact, at rated output of 125 watts per chan- modulated channel's output when the opposite channel isnel, THD at mid -frequencies was a mere 0.0028%, and at fully modulated by a 5 -kHz signal. The sweep extendsthe frequency extremes of 20 Hz and 20 kHz, THD mea- linearly from 0 Hz to 50 kHz, and the tall spike at the left issured only 0.009% and 0.007%, respectively. Distortion as a the desired 5 -kHz signal (the shorter one within it representsfunction of power output and frequency is shown in the the crosstalk at the opposite channel's output). A ratherthree-dimensional plot of Fig. 6. high -amplitude, 19 -kHz subcarrier product can be seen to Damping factor of the power amplifier section was 79, the right of these spikes. Still further to the right is a shortreferred to 8 ohms, using a standard 50 -Hz test signal. spike representing residual 38 -kHz output, surrounded byDynamic headroom was very high, measuring 2.3 dB above sidebands which are 5 kHz above and below 38 kHz. the rated continuous power level of 125 watts per channel. I measured a capture ratio of 1.1 dB in the "Local" mode;This means that for short, music -like bursts of signal, the R-9 in the "DX" mode, capture ratio increased to 2.5 dB, ascan deliver in excess of 200 watts per channel without claimed by Yamaha. Both i.f. and spurious -response rejec-significant clipping! Twin -tone or CCIF distortion was no tion were 90 dB, AM rejection was 57 dB, and alternate -more than 0.0026% at rated output power. channel selectivity (measured in the "DX" mode) was 87 dB, Phono input sensitivity for 1 watt output was 0.23 mV for a bit higher than the published spec of 85 dB. the MM phono input and 15 p.V for the MC input; 15 mV of AM frequency response, plotted in Fig. 5, extends frominput signal was required for the high-level inputs to pro- around 50 Hz to 4 kHz for the -6 dB points. Best signal-to-duce 1 watt of output. Phono overload measured 145 mV for noise ratio in AM was exactly 50 dB, as claimed, whilethe MM cartridge input and 14 mV for the MC pre -preampli- harmonic distortion at 30% modulation measured 0.35% forfier input. Frequency response for the high-level inputs was a 1 -kHz modulating signal. flat within 1 dB from 20 Hz to 50 kHz. Yamaha has opted to use a nondefeatable, subsonic filter with a nominal cutoff Amplifier Measurements point of 10 Hz. This accounts for the slight drop at the In the "Auto Class A" mode, the R -9's power amplifierextreme low end, which, in the sample I tested, reached the section operated in Class A until output power into 8 -ohm-3 dB point at 12 Hz. High -frequency cutoff (the -3 dB loads exceeded 20 watts, at which point it smoothly madepoint) occurred at 100 kHz. All of these measurements were the transition to Class -AB operation. Maximum output formade with the tone -control circuits defeated. The range of rated THD was 144 watts per channel into 8 -ohm loads forthe three tone controls is shown in the multiple -sweep spec- most of the audio spectrum, decreasing to 136 watts pertrum analysis of Fig. 7. Signal-to-noise ratio for the MM phono inputs was 82 dB,

A -weighted, referred to a 5 -mV input signal and 1 watt Fig. 4- output. That would be a very good S/N ratio even for a Crosstalk separate, high-priced preamplifier. When you consider all of and distortion the possible noise- and hum -generating circuits in a receiv- components er as complex and comprehensive as this one, 82 dB for a 5 -kHz, seems all the more remarkable. The MC phono input did FM modulating almost as well, with a measured S/N of 76 dB referred to a signal. 0.5 -mV input and 1 watt output. This figure, too, is excellent and compares favorably with results obtained for the very best separate preamplifiers having MC inputs. Signal-to- noise ratio for all of the high-level inputs measured 83 dB, referred to 1 watt output and 0.5 V input. Translated to rated output, this means that if a 2.0-V maximum signal (typical of CD player outputs) were fed to the high-level inputs and the volume -controlsetting were increasedto produce 125 Fig. 5- watts, the effective S/N would be about 33 dB higher, or 116 AM frequency dB. Clearly, this receiver is not going to impose any limita- response. tions on the dynamic range or signal-to-noise ratio achieved by even the very best CD players. RIAA equalization was accurate to within -0.4 dB from 30 Hz to 20 kHz. At 20 Hz, response was off by 1.0 dB, but that can be attributed to the presence of the subsonic filter, which is in -circuit at all times. Figure 8 shows the action of the separate, continuously variable loudness control at several settings. The control attenuates the midrange, rather than boosting bass and treble. In use, the listener first sets the "Loudness" ring- which surrounds the "Volume" knob-to its maximum (flat)

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Mission Electronics Corp. of America 5985 Atlantic Drive, Unit 6, Mississauga, Onta-io L4W 1S4 Phone: (416)673-3777 Erter No. 23 on Reader Service Card The R-9 is, without a doubt, one of the most flexible, well -thought-out central audio components I have encountered.

setting, adjusts the knob for realistic, live -performance listening levels, and then uses the ring to lower the sound to levels more comfortable for home listening. This calibrates

0.005% the loudness compensation setting to match the sensitivity of your speakers and the acoustics of your room. At the t P 0.000% ring's minimum position, mid -frequency levels are attenuat- 201411111111111111111111111111111111111101!!0 ed by around 40 dB regardless of the volume -control set- 100 Hz400 ting; this would be suitable for background listening. Hz1 kHz W 125 W 5 kHz 10 W Use and Listening Tests 20 I have already commented on the excellent performance Fig. 6-Power output of the R -9's FM tuner section. The choices of tuning and vs. frequency vs. THD. reception modes made by the tuner's microprocessor were Perspective exaggerates almost always the same ones I would have made myself. the corner point The tuner section rarely switched into the "DX" mode in my representing 125 watts at listening location, so I benefited from the extremely low 20 Hz, where distortion is distortion and the excellent stereo separation afforded by only 0.009%. The R -9's the wide -band "Local" mode. distortion remains below I used a variety of audio and video program sources with its rated 0.015% until the R-9, and found that it served as an excellent multi -media above 135 watts control center. Even when playing CDs selected for their (see text). wide dynamic range, the R-9 never ran out of power when driving low -efficiency reference speakers. I did try using the "Auto Class A" mode at lower listening levels and, frankly, could detect no difference between sound quality in Class A and Class AB at those levels. I'd like to think that this speaks well for the low -distortion circuitry of Yamaha's Class -AB 4 amplifier rather than implying a lack of critical perception on my part. The stereo synthesizer circuit did wonders for some of my video home movies which have only monophonic soundtracks. This circuit, like many others of its type, utilizes a comb filter to convert a monaural signal into simulated stereo. Of course, if you listen carefully, you know that the results are not true stereo, but the spread of sound is pleasing and effective nevertheless. The Dynamic Noise Canceller circuit is similar in principle Fig. 7-Tone control to the DNR circuit widely used in car stereos, tape decks, range. and videodisc players. Essentially, DNC is a sliding low- pass filter which follows the upper -frequency limit of program content and removes noise above that frequency. The three tone controls provided just about all of the tonal compensation I would ever need. For those who feel that a narrower band multi -control equalizer is needed, the R-9 even has an accessory output loop to which an equalizer or other signal -processing component can be connected. This effectively puts the additional accessory in series with the signals passing through the R-9; the accessory loop acts as a third tape monitor loop but is not switchable. The Yamaha R-9 is, without a doubt, one of the most

flexible and well -thought-out central audio components I have enountered. My only fear is that for some, perhaps, it may actually turn out to be too flexible. People assembling an audio system for the first time may not need all of its features. On the other hand, audio and video enthusiasts Fig. 8-Loudness who like to plan ahead may well find that, even though they contour curves for may not use all of the R -9's extensive facilities at first, more several settings of the and more of the rear -panel jacks will be occupied as their continuously variable involvement in audio and video increases. loudness control. Leonard Feldman

66 AUDIO/DECEMBER 1985 JENSEN UNLEASHES 80 WATTS OF ELECTRONIC FURY.

Introducing the Jensen Power Amplified Car Speaker System. Find out how many watts of power speakers and you get 40 watts of in the doors or side panels of most your car stereo receiver puts out. If power. Or, buy a system of four and automobiles without additional it's like most standard receivers, it's you get 80 watts of electronic fury in modification. As an extra bonus, between 5-10 watts. And that's fine your car. The extra power actually each speaker can also be tuned dur- for easy listening. But if you want helps your system reproduce more ing installation to match your taste, to hear all the vividness, all the of the signal contained on today's or your car's acoustic environment. excitement, all the energy of rock better tapes or compact digital discs. Take it from the experts at and roll, jazz, and classical music, You'll hear more realistic sound at Jensen, don't buy your car stereo you need the Jensen® Power Amplified low or high volume levels than pos- system backwards, buy your speak- Car Stereo Speaker System. Espe- sible without the extra power. ers first. And now you can buy the cially if you're using good tapes or The crisp, sharp sound is the speakers with built in digital -ready plan on adding a compact digital result of more than 71 discrete elec- power amplifiers instead of investing disc player. tronic components mounted in the in additional costly components. The extra power comes from base of each speaker. The sound is The new Jensen Power the fact that each Jensen Power rich, clear, and perfectly balanced. Amplified Speaker. Amplified Speaker has a built in Yet the low profile design of these The only thing quiet about it is 20 watt amplifier. Buy a pair of these speakers allows you to place them its price! DIGITAL

READY JENSEN® 01985 International Jensen, Inc. When you want it all Enter No. 17 on Reader Service Card "CARVER CD PLAYER: SUPERB SOUND PLUS THE DIGITAL TIME LENS" AUDIO MAGAZINE

"Leave it to Bob Carver to come up withfiltering technology and, very importantly, nal is passed through a shift register which a CD player designed to please both those Carver's unique distortion reducing dither sig- delays the samples, so that the weighted aver- who love CDs and those who still have nal that effectively removes the low level quanti- age of a large number of signals is generated. reservations about their sound quality." zation distortion existing in all other CD players. Through a complicated process, frequency -Leonard Feldman Except for features like display and pro- bands are suppressed between 20kHz and AUDIO MAGAZINE gramming, the real determining factor in CD 160kHz, eliminating harmonic distortion prob- player quality is its ability to reconstruct music lems early on before the complicated D/A 16 from digital information bits. And that is not an bit translation. easy job nor one that can be effectively achieved The same oversampling process also dis- while skimping on circuitry. tributes the same amount of noise over twice as wide a frequency range, resulting in half as IMPROVED TRACKING mucs,h noise in the final signal. Then affer trans- The Carver Compact Disc Player reads discs lation to analog, the signal is once again fil- with more precisely focused laser power than tered for a gentle roll -off above 20kHz. This The Carver Compact Disc Player answers most other models, resulting in improved track- yields a marvelously natural musical sound to the audiophile's demand for a CD Player which ing and less chance of drop -outs when dust or the final output. provides not only the greater dynamic range smudges are encountered on a CD. ABSENCE OF PHASE ERROR and richer bass expected from compact disc technology, but also the musicality, spectral One of the important tests applied to deter- balance and spatial qualities of well executed mine the effectiveness of digital -to -analog analog high fidelity recordings. translation circuitry is the reproduction of a square wave. LOGICAL How logical it is for a physicist dedicated to delivering music with maximum dynamic impact to offer a state-of-the-art CD player. The Digital Time Lens circuity restores Anyone who ever wondered why Carver makes the octave -to -octave balance originally intended by the musician and record- amplifiers capable of delivering hundreds of ing engineer. wattsof power needwonder no longeraffer they have heard the Carver Compact Disc Player as DIGITAL FILTERING a sound source. Along with a potentially audible signal There are dozens of models of compact ranging up to 20kHz, there are endless images disc players now available, many of them demon- of the signal at 40kHz, 80kHz and 160kHz. strating little regard for the finer points of dig- While they are above the range of human ital playback technology. Bob Carver was in no hearing, they must be removed from the signal hurry. He wanted to do digital right. And he did. to prevent harmonic problems which could turn The state of the art has advanced consid- into audible distortion. Earlier CD models erably since the first players appeared several placed an anti -imaging filter after the digital/ years ago. The Carver Compact Disc Player analog converter stage. Carver uses DIGITAL fil- makes use of the latest triple laser beam pick- tering ahead of the D/A converter through a ups, sophisticated oversampling, digital process called multiple oversampling. The sig- 1111M CARVER POWERFUL

Corporation, PO Box 1237, Lynnwood, WA 98046 "Reproduction of a I kHz digitally gen- when compared with the amount of L -R signal With the Carver Compact Disc Player's erated signal was as close to a true square found on the corresponding analog disc. Programmable Random Access Playback Sys- uuve as I have ever seen from a CD player tem, track search and programming of differ- that used digital filtering. (The Carver ent selections is a snap, as is automatic repeat Digital Disc Player) shows a virtual ab- of a previous selection or an entire CD. For clas- sence of phase error." sical music lovers, the Carver Compact Disc AUDIO MAGAZINE Player has complete indexing capabilities as well. The large, easy -to -use feather -touch con- A. Lissajous pattern showing spatial detail trols include pause, fast forward and reverse. (L-R)I(L+ R) ratio from an LP record You can even monitor music at high speed to find a certain portion of a selection. B. The same instant of music but taken from the CD version. Note the decreased We know you really enjoy music so, you (L -R) content, as shoal: by the nar- owe it to yourself to begin your digital experi- mud trace. ence with the only full feature CD player that A. Square-aave reproduction, 1 kHz. Carvers circuitry corrects the ratio of L -R has the Carver touch. The only CD player that B. 77tH -tone phase test signal (200Hz and can actually improve on what isalready the best 2kHz) with Digital Time Lens off to L+ R by performing one extra, but important mathematical operation on the signal playback medium ever offered. stream that all other CD players fail to perform. Audition the Carver Compact Disc Player PLUS THE DIGITAL TIME LENS This final operation makes all the difference. with DigitalTime Lens at your Carver Dealer. On top of this unerring ability to produce The result is a natural sound with more of natural, real -sounding music from the CD's the three-dimensional information that places digital bits, the Carver Compact Disc Player has us in the same space with performers. You won't the remarkable Digital Time Lens circuit to in- need the Digital Time Lens on all CDs. But it is sure your listening enjoyment. there when you need it. The Carver Compact Disc Player is the In the beginning, Carver hoped, inceed he world's only compact disc player to address expected, that once recording artists and engi- the problem of the bright, hot, harsh sounding neers became more experienced with CD tech- midrange and a lack of ambience and spatial nology fewer and fewer CDs would require the A. Ultm-lowlez,,e1(4 significant bits) 1 kHz detail characteristic of the majority of com- Digital Time Lens. But both laboratory and lis- signal as reproduced by conventional pact discs currently available. tening tests reveal that the great majority of CD players. When Bob Carver obtained his first com- even the most recently released CDs benefits B. Same signal with dither added before pact disc player, he was surprised at the sound significantly from the Digital Time Lens. DIA conversion by Carver CD player. derived from most of the compact discs he pur- Note that dither has caused the distorted EASY TO USE step -wise approximation of the 1 kHz chased. The three-dimensional musical per- tone virtually to vanish. Quantization dis- spectve which his analog system provided in Ease of operation is a hallmark of Carver tortion has been reducedtoin,h,,iiticance lush abundance on phono discs evaporated components and the Carver Compact Disc into a flat, brittle wasteland. After extensive Player is no exception. A su btle but easy -to -read IF YOU ALREADY HAVE A CD PLAYER testing, Bob uncovered two fundamental flaws LCD display not only shows selection n umber, in almost all compact discs: 1) An unpleasant.. elapsed time and total time of the CD, but also I iy buying a CD Player you made a harsh spectral energy balance. The overall "talks" to the user. Turn on the Carver Compact commitment to vastly improve your sound octave -to -octave energy balance was shifted Disc Playerand the displayasksfora disc.When source, now you can go the short extra step on the CD towards more midrange above the disc tray is open, the display reminds you that lets digital realize its true potential 400Hz; 2) The amount of L -R signal (which with an OPEN readout. When a CD has com- That step is the CARVER Digital Time carries the spacial detail of the music) on thi?, pleted playing, the multi -function display Lens. Simply connect it betzveen your CD CD was inexplicably, but substantially, reduced reads END. player and your preamplifier or receiver.

MUSICAL \C CURATE

DISTRIBUTED IN CANADA BY Er OLLITION TECHNOLOGY Enter No. 10 on Reader Service Card EQUIPIVENT PROFILE

Manufacturer's Specifications Frequency Response: 2 Hz to 20 kHz, ±0.3 dB. THD: 0.003% at 1 kHz. Dynamic Range: 96 dB. S/N Ratio: 96 dB. Number of Programmable Se- lections: 20.

Channel Separation: 94 dB at 1 kHz. Line Output Level: 2.0 V. Power Requirements: 120 V. 60 Hz, 30 watts. Dimensions: 12.6 in. W x 3.54 in. H x 11.8 in. D (32 cm x 9 cm x 30 MISSION cm). Weight: 15.4 lbs. (7 kg). DAD -7000R Price: $749. Company Address: 5985 Atlantic COMPACT Dr., Unit 6, Mississauga, Ont., Cana- da L4W 1S4. DISC PLAYERFor literature, circle No. 91

Mission Electronics Ltd.is a British firm whose audiolisted the service centers of NAP Consumer Electronics. components have earned a fine reputation throughout Eu-(NAP, in case you hadn't guessed, stands for North Ameri- rope and North America. The company's products are dis-can Philips.) tributed here by Mission Electronics, based in Ontario. While the major internal assemblies may have their origin From the outset,it was clear to me that at least thewith Philips, the external layout and, in fact, the audio -output mechanism of the Mission DAD -7000R was produced bystages of the DAD -7000R are entirely of Mission's own Philips, co -developer of the Compact Disc. What made it magnificent conception and design. With as sparse a con-

clear was the inclusion of a bulletin for U.S. purchasers thattrol layout as I have seen on any full -function CD player,

70 AUDIO/DECEMBER 1985 NO OTHER HIGH -BIAS CASSETTE CAN MATCH THESE NUMBERS: 1011110 0Oil

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Other Type II (high -bias) cassettes are a long saturation, while deivering unsurpassed way from home when it comes to reproducing sensitivity throughout the audio spectrum. the pure, dynamic sounds of digitally encoded Additionally, HX-S excels in retemion of high music sources. frequency MOL, which no other high -bias for- But, number for number, TDK HX-S audio mulation attains. cassettes are number one. And HX-S su,pericrity is not just numerical. Their exclusive metal particle formulation To maintain its dyra-nic performance, HX-S is reproduces a wider dynamic range and higher housed in TDK's specially engineered, trouble - frequency response. This enables HX-S to free Laboratory Standard mechanism. It's your capture all the crispness and purity of digital assurance of unerring reliability and durability, performance on any cassette deck with a backed by a Lifetime Warranty. Type II (high -bias) switch. For optimum results with Type II (ugh -bias) With four times the magnetic Kan i Digitally -sourced record - storage ability of other high - incs get TDK HX-S. You'll feel bias cassettes, HX-S virtually ® more at home with it, wherever eliminates high requency THE MACHINE FOR YOUR MACHINE. you go.

Enter No. 41 on Reader Service Card

FR L- 1.4dB R- 1.5dB20.0kHz Mission has managed to provide just about every programming and music -accessing feature that you would want. +2 Furthermore, the wireless remote control supplied with the DAD -7000R is equally unencumbered by needless buttons 0 L and switches, managing nonetheless to duplicate every function of the few front -panel controls. Of course, the sim- 2 plified front panel and the ease of operation did require omitting some less often -used frills and features found on other machines. +2 Specifically, this player can be programmed to randomly access and play up to 20 tracks. It can repeat -play an entire 0 disc, a specific track, or a previously programmed group of R tracks. You can review your programmed selections, and -2 you can fast -search at three progressively increasing 20 50100 200 500 1k 2k 5k10k 20k speeds, albeit without an audible cue. You can access any track manually, but there is no provision for accessing index FREQUENCY - Hz points within a track. When a disc is first loaded, the display Fig. 1-Frequency shows the number of tracks and total playing time until you response, left (top) and initiate play or programming. During play, only the track right channels. number and elapsed time within that track are indicated by the display.

Control Layout -60 The left half of the Mission DAD -7000R is occupied by the RESULT OF -BEd, very solid and sturdy disc drawer, which, when activated, moves slowly but with a solidity that is in marked contrast to -30d0 LEVEL I: L. the flimsy disc trays I've seen on some less costlyma- *** - 24 dB LEVEL chines. The display area to the right of the drawer, in 80 addition to showing the track numbers and time, also indi- cates the tracks stored during programming and during a

0,1B LEVEL review of programmed steps. Two small pushbuttons below the display are used to call up previous and succeeding track numbers while programming, and a third key,cen- L±.1. Li_ 60 tOk 50k ICOk tered between these two, stores the track numbers. A "Re- peat" key and indicator are just below the "Store" key, and to the right is an "Error" indicator which lights up if you make Fig. 2-Distortion vs. mistakes while operating or programming the unit. Flanking frequency (see text). the "Repeat" key are the "Open/Close" drawer -control and "Stop/Clear" buttons. The latter stops playback or clears the program memory. The diamond -pattern arrangement of four keys at the right of the panel reminded me of the cursor -key layout on many personal computers. Those keys at the left and right points of the "diamond" are used for fast search or to jump ahead or back to the nearest track beginning; above them is the play key, with the pause key below. When the machine is in pause mode, an LED below the pause key illuminates. Instead of the usual rear -panel output jacks, the DAD- 7000R comes with a fixed, 36 -inch twin audio -output cable which is terminated in phono-tip plugs.I can foresee problems in installations where the player is more than 3 feet from the amplifier input. Of course, audio extension cables are available, but that means two more connection junctions Fig. 3-Spectrum analysis which, in time, can become intermittent or develop a finite from 0 Hz to 50 kHz resistance. The only other CD player I have run into recently shows 20 -kHz signal that supplies such a fixed output cable is the Bang & (large spike) and out -of - Olufsen CD X. Is this approach peculiarly European, I won- band beat component der? Or is there some good reason why these manufactur- (small spike). ers deny us the freedom of choosing the grade and length of connecting audio cables that we want?

72 AUDIO/DECEMBER 1985 When you put a satellite in orbit, you want every possible assurance that it will perform. That's why corporations and governments al over the world ask NEC to build their satellites. Even if you don't launch objects into outer space, it's comforting to know that NEC puts mach of our satellite PCM digital technology into our Compact Disc players for the home. While mcst high fidelity companies have only two or three years of experience with PCM cigital audio, NEC has been at it since 1965. Sc it comes as no surprise that other manufEcturers are now imitating the digital filtratior and high-speed s.ivitching our CD players have had from the beginning. And it's no surprise that independent critics in America, Europe and Japan have awarded NEC's players top ratings. You see, building satellites is not enough for NEC We feel obligated tc ta

NI C liome Electronics (U Inc., 1401 Estes Avenue, Elk 3Eove v,11.16,11 6000 We bring high techno ogy home. Enter No 24 on Reader Service Card With A -weighting, the S/N ratio could not be measured; the noisewas simply too low. I'dguess that the overall A -weighted S/N exceeded 110 dB!

NS FT L-100 dB Measurements -60 Frequency response of the Mission DAD -7000R (Fig.1) 0 was close to flat over the entire audio frequencyrange, -70 measuring -1.4 dB at 20 kHz for the left channel and 20-1 -1.5 "' dB at the same frequency for the right channel.This is > 1 -80 somewhat more attenuation than is typical for J 40-1 most CD O > - 90 LLI players, but I don't consider it a serious flaw. The slight 0 -j 0 ripple in response, noticeable particularly in the left-channel W-100 60 Z -1 curve, is probably caused by the gently sloping analog -J 1- z0 output filters, which must be present even when digital -110 80 m.rz filtering is used prior to D/A conversion. Note that theverti- -120 cal scale in Fig. 1is only 2 dB per division. 100 2050 100 200 500 1k 2k 5k 10k 20k As has been true of so many CD players thatuse over - FREQUENCY - Hz sampling and digital filtering, simple distortion readingscan be deceptive. Careful observation and interpretationof the output components of the player while it reproduces B high - frequency test signals is necessary. Therewere high orders NS SIGNAL TOO LOW of out -of -band components, the result of "beats"between -60 the sampling frequency and the actual desired CO audio frequency. Until I introduced a band-pass filter, these spurious -70 20 high frequencies were clearly visibleon my oscilloscope. -80 Once the band-pass filter was introduced,I was able to 40 record and plot the distortion values shown in Fig. 2.Under -90 these conditions, THD at 1 kHz for 0 -dB levelwas a very low 0 60z 0.0025%, or a bit lower than Mission's claimed 0.003%.The - 100 -J three plots of Fig. 2 are only meaningfulup to 10 kHz -110 80 cc because of the presence of the band-pass filterin the measurement chain. Since this filter cuts out everything 0 -120 100 above 20 kHz (the second harmonic of 10 kHz), readingsof 2050 100 200 500 lk 2k5k 10k 20k THD above 10 kHz would beerroneous. The curveof FREQUENCY - Hz shorter dashes in Fig. 2, beginning slightly below10 kHz, Fig. 4-S 'N analysis, represent the out -of -band, nonharmonically relatedbeat both unweighted (A) and components. Though not as strong as those I'veseen on A -weighted (B). some other players, they still contribute to the "distortion" A -weighted noise was too readings above 10 kHz or so. To document whatwas happening without the band-pass filter in the low to be measured. test setup, I used a spectrum analyzer to sweep linearly from 0 Hzto 50 kHz while a 20 -kHz tone was being reproduced bythe DAD - 7000R. The results of this sweep-the test tone anda single beat frequency-are shown in Fig. 3. Unweighted signal-to-noise ratio measuredan unusually high 100 dB (Fig. 4A). My test instrumentwas unable to read residual noise when the A -weighted networkwas added; the noise was simply too low to be read (Fig. 4B).This is -60 one of the very few times I've been unable tomeasure nil..Ir.sAs uses signal-to-noise for a CD player. Based 111111 solM upon the individual Awl 111"' 1111" third -octave noise "blips" seen in Fig. 4B, I wouldhave to guess that the overall A -weighted S/N exceeded 110 dB! SMPTE-IM distortion measured 0.004% at maximumre- 80 corded level, increasing to 0.025% at -20 dBrecorded SEPARATION, L to R level. CCIF-IM distortion (twin -tone, using 19- and20 -kHz 1111111111111-- -":0011111111 tones at the equivalent of highest recorded level) rt::-C.::667%=-J11-liellii1111111=1111 swn 111Ax was a very 11.11111M11111111111111111111111111111111 low 0.0012% at maximum recorded level and0.0044% at 11 -10 dB recorded level. Stereo separation, plottedas a -100 tl 1111 1 III function of frequency in Fig. 5, ranged from 61.9 dBat the 10 00 10k 20k 1006 high -frequency extreme to 86.6 dB at mid -frequencies. I FREQUENCY - Hz attribute the decrease in high -frequency separationto that Fig. 5-Separation vs. 3 -foot audio cable supplied by Mission; it has nothingto do frequency. with the player's digital circuitry. The cable isa twin -conductor type. Although each conductor has itsown shield, the

74 AUDIO/DECEMBER 1985 THE NEW JBL "L SERIES" SETS T TAGE

* '.7" .-1) )1111Mi J3L, the most respected name in profession- - al sound for over 40 years, is today's speaker of --- choice. At live concerts, where 125,000 Watt3 drive over 600 speakers, and in 70% of the worlds

reccrding studios, JBL is the speaker chosen oy professionals-performers, engineers and producers- who cepend on the highest quality sound and reliabdity. Now, for those who demand the same superior perform ance, JBL introduces the new "L Series." Each speaker in tha "L Series" has a direct twin in the JBL professiona studio monitor line. For the first time, the speakers relied on by recording engineers to prix the music, are available for your living room. All of these speakers share the technology that is the come -stone of JBL's Professional Speaker Systems-all use titanium dome tweeters, filled and lamilated polypropylene and Aquaplas drivers, as well as cast frames for sonic accuracy, reliability and power handling. Visit your local JBL dealer today and listen to professional sound -or the home, made in the USA, by the sound professtonals...JBL. The New JBL "L Series"...Bringing Pro Sound All The Way Home.

For your nearest JBL dealer call toll -free 1-800-633-2252 Ext. 150 or write JBL, 240 Crossways Park West, Woodbury, New York, 11797 A Harman International Company The DAD -7000R is one of the finest -sounding players I've heard. Its magnificent, low -noise analog stages complement and enhance the digital circuitry.

which use oversampling and digital filtering. The unit pulse in Fig.7, as reproduced from a Philips test disc, further, confirms the use of digital filtering and oversampling in this player's D/A circuitry. So does its perfect phase linearity (shown by the two curves' simultaneous crossing of thezero axis in Fig. 8). As I have stated in other "Equipment Profiles," it is becoming almost (but not entirely) pointless to check out error correction and tracking stability using my admittedly anti- quated "defects" disc. Philips created this test disc when CD players and CD technology were in their infancy. Almost every player I have tested in the past six months has zipped right through the disc's simulated scratch (up to 900 mi- Fig. 6-Reproduction of a crons in width), simulated dust circles (up to 800 microns in 1 -kHz square wave. diameter), and simulated fingerprint smudge (which extends over two complete musical tracks). The DAD -7000R joins the ranks of the most stable and shock -resistant players I have tested, as it had no trouble whatsoever playing right through these defects. The unit's resistance to rather substantial vibration and external shock was also excellent.

Use and Listening Tests The Mission DAD -7000R, like the Philips (or Magnavox, if you prefer) players upon which its digital circuitry is based, is one of the finest -sounding CD players I have listened to. Mission has taken the best of what Philips offers in Compact Disc technology and added magnificent audio -output stages whose low noise complements and enhances the sound quality of the circuitry preceding it. Add the extremely stable disc -tracking mechanism, the sturdy chassis and the simple control arrangement, and you have a CD player that Fig. 7-Single-pulse test. will certainly appeal to the audio purists among us. I have no hesitation in accepting Mission's suggested price for this player. While the DAD -7000R lacks a few convenience features that other manufacturers incorporate in their top -of- the -line models, it more than makes up for those omissions by its clean, authoritative sound quality and its rugged construction. This player could well become one of the cult products whose value increases with time. Leonard Feldman

Fig. 8-Perfect phase linearity is exhibited in the phase -error test. proximity between the left- and right -channel cables and, perhaps, inadequate shielding probably account for the obvious capacitive coupling between channels at high frequencies. I mention this only as another reason why Mission should have left the choice of output cables to the user; after all, the test result of approximately 60 dB of separation at 20 kHz is certainly nothing to mourn over. The Mission DAD-7000R's reproduction of a 1 -kHz squareThe DAD-7000R's sturdy -looking disc -loading drawer wave (Fig. 6) is typical of that produced by CD playersmoves with an impressive, if slow, solidity.

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BEYOND CONVENTIONAL A/V CONTROL Onkyo's new TX-RV47 receiver permits the total integra- Onkyo's acknowledged leadership in amplif er design tion of today's audio and video technologies into one forms the foundation of the TX-RV47. It features True Low control center. It combines the sonic quclities our audio prod- Impedance Drive Capab litand Delta Power, insuring max- ucts are known for with exciting, new features certain to imum dynamic range from any source. Superb FM perform- please the most ciscriminating videophile. ance and tuning convenien:e are Onkyo hallmar

S/N: Mono, 83 dB; stereo, 78 dB. Dimensions: 16.9 in. W x 2.0 in. H THD: Mono, 0.06%; stereo, 0.08%. x 12.2 in. D (43 cm x 5 cm x 31 Capture Ratio: 1.0 dB. cm). Alternate Channel Selectivity:Weight: 8,6 lbs. (3.9 kg). 80 dB. Price: $229. Image Rejection: 80 dB. Company Address: 1401 West Es- I.f. Rejection: 100 dB. tes Ave., Elk Grove Village,Ill. Spurious Response Rejection: 60007. 100 dB. For literature, circle No. 92 Stereo Separation: 55 dB at 1 kHz. Output Level: 0.7 V for 100% modu-

lation at 1 kHz. AM Tuner Section NEC T-6 Usable Sensitivity: 300 µV/meter. S/N: 52 dB. Image Rejection: 50 dB. TUNER Selectivity: 40 dB. Manufacturer's Specifications Output Level: 0.2 V for 40% modula- FM Tuner Section tion at 400 Hz. Usable Sensitivity: Mono, 9.8 dBf. 50dB Quieting Sensitivity: Mono,General Specifications 15.9 dBf; stereo, 36.8 dBf. Power Consumption: 120 V, 60 Hz.

78 AUDIO/DECEMBER 1985 MICROVOLTS, ACROSS 300.OHM ANTENNA TERMINALS I tested two samples of the NEC T-6 tuner. The first one didn't work at all; the second, though it performed reason- 74 5.5 55 174 550 978 740 5500 ably well in most respects, was slightly misaligned, possibly due to damage in shipping. (NEC normally ships equipment STEREO S'N ' 75dB in batches, by truck; ours was a single -unit delivery via -20 ICC Z

1 STEREO ITHD ;OAS% UPS.) My measurements and listening tests were conduct- MONO TRD= 0.07% 0 ed on that second sample, with no attempt to optimize its N -40 1 0 alignment. I am convinced that a carefully aligned unit would have been outstanding in every way, and that this model could be a real winner. 7- Q The electronic tuning system uses a digital phase -locked - vONO 5/5=81dB loop frequency synthesizer controlled by a 4 -bit microcom- 0 01 puter. The combination allows you to tune in stations man- 0 20 SC 40 50 60 65 70 90 ually, or automatically using the memory presets provided. SIGNAL INPUT POWFP- dBf (0 dBt 1 x 10- 5WATTS) Up to seven AM and seven FM stations can be assigned to the presets. Fig. 1-Mono and stereo A low -noise MOS-FET and 4 -gang, twin -type varicap di-FM quieting and odes are employed in the FM front-end section of the tuner.distortion characteristics. The i.f. section consists of five stages of differential amplifiers and ceramic filters. A phase -locked -loop multiplex -decoder IC demodulates composite stereo signals. Ladder - type ceramic filters are used in the AM i.f. stages for wider - than -usual frequency response. 40 meant-iiiimi-i mem

Control Layout E. 11111 11111.1sTERrimmo The very slim front panel, barely 2 inches high, neverthe- MUM less provides ample room for the few controls needed and 4.011 0 .1.1ft .. 60 for the visual displays which make the tuner so easy to use. A rectangular "Power" button is at the lower left of the panel. Nearby is a frequency display which changes in 200 -kHz increments when tuned to FM and in 10 -kHz increments on "11111I'dm OW= the AM band. An "FM Stereo" indicator light and a five - 00 80 segment LED signal -strength indicator are positioned be- 100 114 i0k 100k tween the frequency display and the "Up" and "Down" FREQUENCY - Hz tuning buttons. The seven numbered memory preset but-Fig. 2-THD vs. tons and a "Memory" set button are near the center of themodulating frequency, panel; to their right are a "Mono/Stereo/Mute" button, an "Auto/Manual" button, and the "AM" and "FM" band selec-FM section. tor buttons.In the manual setting of the "Auto/Manual" pushbutton, one touch of the "Up" or "Down" button will change the tuned -to frequency, one step at a time. Holding either of these buttons down will advance tuning more rapidly. With the "Auto/Manual" switch set to "Auto," touch-was set at 22 dBF, so s gnals of lesser intensity cannot be ing the "Up" or "Down" button will tune the T-6 to the next received in stereo by this tuner. usable incoming signal on the dial. The 50 -dB quieting point was reached with a signal input The rear panel of the T-6 is equipped with an F -typeof 16 dBf in mono anc a rather unimpressive 43 dBf in coaxial connector for 75 -ohm FM antenna cable connection; stereo. Best signal-to-noise ratio, with strong signal inputs, there are also screw -type 75 -ohm, 300 -ohm, and externalwas 81 dB in mono and a respectably high 75 dB in stereo. AM and ground antenna terminals. An AM ferrite bar anten-Quieting characteristics of the FM tuner section are shown na at the center of the rear panel can be swung out and in Fig. 1, along with plots of harmonic distortion as a function away from the chassis for best AM reception. The usual pair of input signal strength THD for mono reached a low of of left- and right -channel output jacks complete the rear - 0.07% with strong signals applied; in stereo, the THD mea- panel layout. There is no output level control. sured 0.13%. Both readings were taken with a 4 -kHz modulating signal. Measurements Figure 2 shows how harmonic distortion varies with modu- Although usable sensitivity of the T-6 was not quite aslating frequencies for both mono and stereo FM operation. good as claimed,I was satisfied with the mono sensitivity In mono and stereo, THD measured 0.1% at 100 Hz. At 6 reading of 11.0 dBf. Stereo usable sensitivity was limited bykHz, mono THD was 0.23% and stereo THD measured the muting threshold of the tuner since, in the stereo setting, 0.19%. Figure 3 shows FM frequency response and stereo low-level muting is always engaged. That muting thresholdseparation over the audio range from 20 Hz to 20 kHz. (The

~~AUDIO/DECEMBER 1985 79 I liked the automatic tuning, especially since the muting threshold was just high enough to eliminate stations you wouldn't want, anyway.~~

Fig. 3- test tone, and 38 dB for the 10 -kHz test tone. Certainly, Frequency these are not poor results by any means. In fact, they are the response results shown in the 'scope photo of Fig. 3. They merely (upper trace) indicate thatif the multiplex decoder section had been and separation properly and symmetrically aligned, separation for either vs. frequency, channel would have met the manufacturer's claim of 55 dB FM section or better for a 1 -kHz test tone. Left -to -right crosstalk would (see text). have been reduced somewhat, while right -to -left separation would have increased untilit was approximately equal to left -to -right separation. Figure 4 shows the results of my spectrum analysis of the distortion and crosstalk products that result when a 5 -kHz signal modulates one channel of the FM signal. The tall spike at the left is the desired 5 -kHz output; contained within itis the 5 -kHz signal seen at .the unmodulated channel output. To the right are very small harmonic distortion com- Fig. 4- ponents observed at the unmodulated channel output, as Analysis of well as a couple of spurious but inaudible output compo- 5 -kHz distortion nents related to the 19 -kHz pilot signal and the 38 -kHz and crosstalk, suppressed carrier signal. Also noticeable in this photo is a FM section. rising noise characteristic above 5 kHz; this may account for the tuner's inability to reach the ultimate S/N figure of 78 dB which the manufacturer claims for it in the stereo mode. Capture ratio for the FM tuner section of this receiver measured 1.2 dB and alternate -channel selectivity was 82 dB, slightly higher than claimed. Image rejection measured 80 dB, exactly as claimed, while i.f. rejection measured 95 dB, falling somewhat short of the 100 dB claimed. Spurious response rejection measured better than the 100 dB claimed. Figure 5 'is a spectrum analyzer plot of the AM tuner section's frequency response. Despite the rather elaborate AM circuitry used, AM frequency response did not extend Fig. 5- much beyond the usual 2 to 3 -kHz cutoff point typical of Frequency most AM/FM tuners and receivers. response, AM section. Use and Listening Tests I found the T-6 easy enough to use, though I must say that

when I held down the "Up" and "Down" buttons for fast tuning, the tuning was so fast that it was almost impossible to stop or let go before passing the desired station frequency. The auto -scan tuning mode operated more to my liking, especially since the muting threshold, at about 22 dBf, was just high enough to eliminate stations that you wouldn't want to listen to, anyway, because of their background hiss. The NEC tuner was certainly sensitive enough for use in my suburban location and, hooked up to a decent outdoor directional FM antenna, it would more than likely be sensitive enough to serve fringe -area listeners as well. frequency plots are logarithmic, and vertical sensitivity is 10 My reservations about this tuner stem more from my dB per division.) It was in making the separation measure-having had to test two samples to get an almost -perfect

ments that I first suspected some misalignment of the tun- one. I don't know whether the sets are being quality -con- er's stereo decoder section. With a signal modulating thetrolled only in their country of origin or whether at least some left channel only,I read amazingly high separation figures in Q.C. sampling is taking place once they reach local NEC the right channel: 68 dB at 1 kHz, 59 dB at 100 Hz, and 56headquarters near Chicago. I've had some experience with dB at 10 kHz! Suspecting that something was amiss (theseNEC video products, allof which have' performed in an numbers are too good to be true),I switched things around exemplary fashion. NEC can expect to be a similarly serious so as to modulate only the right channel, while readingcontender in the audio product sweepstakes if they can output from the left channel. Now, the separation figuresassure customers of equally high product performance. were only 44 dB for the 1 -kHz signal, 47 dB for the 100 -Hz Leonard Feldman

80 AUDIO/DECEMBER 1985 What do Beethoven's Ninth, the destruction of the Death Star, Mozart's laugh and rock video's latest thriller have in common? Uncommon sounds. Sounds that makefavorite films special. And do it through exceptional demands on your audio system.a receiver so advanced it uses discrete cir- Because from the crescendo of a massed cuitry like that found in Yamaha's finest chorale to the detonation of proton torpedos,separate components. the sounds of modern entertainment reward The R -9's AM/ FM stereo tuner fea- audio high-performance as never before. tures digital tuning with a unique 5 -digit And nothing performs like Yamaha. capability that allows you to fine-tune in Yamaha's sophisticated new R-9 re- increments of 0.01 MHz (FM). ceiver is designed to make the most of This is particularly helpful in obtaining today's home entertainment possibilities. maximum signal quality when tuning rela- With seven audio and three video hookups,tively weak stations interfered with by the R-9 can serve as the control panel for stronger adjacent stations. your entire home audio/video system.And Combined with our new Computer because it has a separates -quality 125 -watt -Servo Lock Tuning System, it gives you per -channel* amplifier with Auto Class the best of both digital and analog tuning A Power amplification, it provides the highcapabilities. power and wide dynamic range thatadd a The R-9 includes a multi -function in- whole new dimension to your home enter-frared remote control. And it is just one in a tainment experience. complete line of advanced Yamaha receivers. Now you can hear digital recordings Now that's entertainment. and compact discs reproduced with the full*125 watts RMS per channel, both channels driven into 8 ohms, from 20 to 20,000 Hz, at no more than 0.015% Total Harmonic Distortion. clarity and resonance demanded by serious Yamaha Electronics Corporation, USA, P.O. Box 6660, Buena Park, CA 90622. audiophiles. Experience the high -decibel impact of the sound effects that make your *YAMAHA

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~~ma] TAAL., IOALANGre MN!,..1.1,A4T.1 011?s use C On r5e 0 oft bran . .11 If you don't believe our compact disc player has the best sound reproduction,consult a couple of experts. Your ears.~~

o 1985 NAP Coresumer Electrorocs Corp A North American Philips Company. Our compact disc player's combination of features reproduces sounds other players can't. When a reviewer at Digital Audio magazine listenedto one Magnavox compact disc player he was so impressed by the quality of the sound reproduction, he wrote, "...one of the best I have heard!' "...I could even pick out an individual vllolin in the orchestra!' He then went on to say, "...the big features don't appear on the outside, they're inside." And at Magnavox, we believe it's what's inside that counts. That's why every Magnavox compact disc player features separate digital to analog convertors for each channel to eliminate interchannel time delay commonly found in ordinary CD players. Four times oversampling and digital filtering to reduce system generated noise. Plus a separate analog filter to ensure accurate conversion of the digital signal. With this combination of features every Magnavox disc player has the ability to reproduce a bright, clear, accurate, exceptional stereo image. The Magnavox compact disc player shown here (No. FD 1041 BK) also offers innovative features like three -speed audible search. So you can find your favorite tracks with ease. Plus LED function indicators and the ability to program up to 20 tracks in the order that you wish to hear them. Magnavox compact disc players. They reproduce sound so perfectly, you won't believe your ears. THIS IS MAGNAVOX

~~Enter No. 20 on Reader Service Card AURICLE~~

~~APOGEE ACOUSTICS SCINTILLA LOUDSPEAKER~~

~~Company Address: 35 York Indus- trial Park, Randolph, Mass. 02368. For literature, circle No. 93~~

Rumors about the Scintilla, Apo- gee's mid -sized, $3,500 ribbon loudspeaker, began to circulate in our local, New York group of audio buffs (the Audiophile Society) shortly after the Summer CES of 1984. Returning from the Chicago show, several claimed they preferred this "baby Apo- gee" to the company's top -of -the -line, $6,600 Apogee. The Scintilla's sonic coherence and naturalness drew raves, as did its fast, tight bass. Now, more than one year later, this review confirms those first impressions. The Scintilla is a rugged, beautifully engineered speaker which is a must inclusion in any discussion of exotic speakers configuredintolarge,flat panels. Planar systems can sound more open and natural than many box - speaker designs, generating a highly detailed, wide sound field with great depth. The Scintilla has been carefully designed to maximize these strengths while overcoming a number of panel - speaker problems.In our tests, the Apogee design showed none of the inefficiency, low sound output, restricted dynamic range, or coloration found intoo many screen loudspeakers. Deep bass response was solid, and dispersion patterns were even. Fur- thermore, the Scintilla, although not di-translates into very fast transient re-trated manual. Other drawings depict minutive, does not physically dominatesponse. Crossover points are aboutthe electrical configuration of the a room, so one can have a normal500 Hz for the woofer -midrange transi-speaker terminals for low- or high -im- complement of furniture without a feel-tion and 3 kHz for the midrange -tweet-pedance (1- or 4 -ohm) operation, and ing of clutter or crowding. er, with 6 dB/octave slopes. for biamplification. Leo Spiegel, Apogee's senior de- Technology aside, the Scintilla is a Sonically, the Scintilla easily com- signer, claims that the Scintilla's maxi-visually stunning product. Weighing in petes with (and betters, in co-author mum output is very high-greater thanat 140 pounds per side, the system Kachalsky's opinion) the best electro- 105 dB peak SPL at 4 meters, whenconsists of two 57 x 30 x 31/2 -inchstatic and dynamic designs. Prior to driven by a stereo amplifier rated atpanels on metal baseplates, which areworking with the Scintillas, the authors 100 watts per channel into 8 ohms. Thescaled -down versions of the "big" (84 had conducted listening tests with manufacturer also claims amplifier -inches tall) Apogee speakers. Deco- speakers from Plasmatronics and quick rise -times for the Apogee's driv-rated in beige or gray fabric, the Scin-VMPS, and the "big" Apogee, Snell ers, with under a microsecond speedtillasfeature an attractive,slanted, Type A/Ill, Vandersteen 4, and Quad for the tweeter, 5 p.S for the midrangedark trim which lowers their effectiveESL -63 (electrostatic) designs. The and 50 µ,S for the woofer! According tovisual height. Setting up the massive Scintillas reached and, in many cases, Apogee, speeds for the Scintillapanels on their baseplates is well ex-surpassed the performance of these should be similar. This performanceplained in the excellent 13 -page, illus- excellent speakers. This favorable

~~84 AUDIO/DECEMBER 1985 A Music is a demanding master. Nowhere does it ask more of amplifiers than in the reproduction of musical peaks. It's in this area of dynamic range that conventional A~~

amplifiers fail They simply run out of 3 PROTON energy before the sound does. Now, with the increased dynamics of digital audio INTRODUCES discs and hi-fi video sound, there's more than ever to hear... or miss. DYNAMIC DPD lets you hear it all. Dynamic Power on Demand* is a radical new design that POWER uses two different types of circuits to supply power. The first is ideal for most of the ON DEMAND. signals that music produces. The second circuit stores power; and au- '0 tomatically takes over when the loudest musical passages require the big reserves; and, it provides power as long as the musical peak lasts. That's what only DPD can do - deliver its reserve capacity up to 20 times longer than other amps! The result is performance that's fanatically faithful to your favorite Benatar or Beethoven. With more realism and dynamics 171 than you've ever heard before. But even Ill BECAUSE DPD is just the beginning of our remarkable D540 integrated amp. Add to that a unique 111 MUSIC dual action volume control, phono circuitry for either moving magnet or moving coil DEMANDS IT. cartridges, complete record -playback flexi- bility, and the ability to bridge to mono. This r I is the Proton D540 with DPD. The demands of music have never been I better fulfilled. Proton Corporation 737 West Artesia Blvd Compton, CA 90220 (213) 638-5151

~~Enter No. 33 on Reader Service Card * Patent Pending~~

~~1=2 The Apogee Scintilla delivers great, deep bass. Its midrange excels, and its highs are extended and clean.~~

conclusion was reached after a number of intense listening sessions. Asso- ciated equipment included a Koetsu Rosewood Signature moving -coil car- If you value sound as much as Dave tridge; an Eminent Technology air- Belles does, listen to his high -end audio bearing, linear -tracking tonearm and separates and hear sonic fidelity! The Sumiko's Premier MMT tonearm; a Belles 1 Power Amplifier withits no - SOTA Star Sapphire turntable; a pair of compromise, massive power supply, its Levinson ML -6A preamps (L3A phono precision -designed circuitryand its sections), and Discrete Technology in- hand -matched transistors and film terconnects and speaker cable. Re- capacitors delivers the most demanding cords were used exclusively, and verti- transient response continuously without cal tracking angle was adjusted to op- fadeordistortion.Only highquality timize the system's treble response. materials and components are used and Like the Snell Type A/III, the Scintilla all manufacturing, including machining, delivers the feeling of great, deep bass circuit board assembly and testing,is power, an energy that couples to and done on premises. Dave Belles believes moves the listening room. Organ and "You don't have to spend a small fortune synthesizer music play with remark- toget performance thatisrealistic, natural and faithful." Ma.de able definition and no audible distor- the USA. tion,while possessing great solidity Belles and mass. Bass -drum beats have natural timbre and great speed. Among Research planar systems, only the larger Apo- Corporation gees, which we have testedinthe A-1 Country Club Road, P.O. Box 307 same listening room, were capable of East Rochester, New York 14445 delivering more deep -bass power. Enter No. 7 on Reader Service Card The midrange excels in this loudspeaker. While reviewing, Kachalsky commented that he found the Scintil- Now - an Advanced la's sonics had a physically relaxing effect, due in part, he felt, to their mid- PREAMPLIFIER range naturalness, low distortion and absence of fatiguing effects. The Scin- tilla's speed and detailing allowed it to pass our acid listening test:It clearly decoded the overlapping lyrics in Gil- bert and Sullivan's tortuous "Mikado" With Remote Power Supply trio at the end of Act II, where three male voices (Ko-Ko, Pooh -Bah, and Pish-Tush) each sing (simultaneously!) Kinergetics KPA-1 different lyrics about justice and exe- Dual -Mono Preamp cution. Air and reverberation were exemplary, equalling the outstanding performance of the Quad ESL -63s. For 86 Db phono gain and phase co-author Greenhill, clarity and timbre inverting switch with our approached, but did not quite equal, patented processing. the Quads. Piano music, female vocals, and male vocals emerged with a minimum of coloration and a great deal Truly Uniquel of naturalness. Dynamic range was striking, second only to that of the Snell Type A/III system. On several occa- sions, both authors experienced Gor- don Holt's "hackle" effect (described in Stereophile, Vol. 7, No. 4, pg. 38) by See our full line of electronics at developing "involuntary goose bumps" your nearest Kinergetics Dealer. during loud, dramatic orchestral passages. Holt interprets this reaction as a gut -level, unconscious connection to LIdKINERGETICS 103INCORPORATED Enter No. 14 on Reader Service Card 86 AUDIO/DECEMBER 1985 3029 Reseda Blvd Tarz na, CA 91356 (8181 345-2851

Enter No. 18 on Reader Service Card FOR E SHEER LOV- \/,JC There's a big difference between real Naim Nait Integrated Amplifier at $395, music and "hi-fi". Unfortunately, even with the Linn Basik Plus Arm and Cartridge at the most expensive systems all you $160, and the Linn Sondek LP12 Turntable usually end up with is spectacular "hi-fi", at $795. The total price of the system is $1,675. not music. This doesn't have to be the Whether you plan to purchase an case. When proper attention is paid to entire system, or simply improve your the hierarchy of the components, even a existing system, we suggest that you visit moderately priced system can provide your Linn/Nlairn dealer. He will see to it music in your home. that your purchase does indeed bring The system above features Linn's new you more enjoyable music, rather than Index Loudspeaker at $325 a pair, a simply more spectacular "hi-fi".

Distributed in the United States and Canada by: AUDIOPHILE SYSTEMS, LTD., 6842 HAWTHORN PARK DRIVE, INDIANAPOLIS, INDIANA 46220 ALDBURN ELECTRONICS, LTD., 50 ROLARK DRIVE, SCARBOROUGH, ONTARIO M1R 4G2 See dealer listing on page 129 Enter No. 6 on Reader Service Card The Scintilla's speed and detailing allowed it to pass our acid listening test, clearly decoding the overlapping lyrics of a tortuous "Mikado" trio.

the music.Incidentally, these large-discerned. The Scintillas did not exhib- ularities in the sonic perspective-both scale dynamics often cause the mid-it the apparent rise in the upper mid-width of field and depth of field were range ribbon to flap about in the enclo-range and treble often heard on othernatural. Center -fill was excellent, and sure, a very unusual sight! planar designs. Cartridge VTA adjust-the image was evident from a number The Scintilla's highs are extended, ments were readily heard. of positions in the room, giving evi- clean, and effortless. Ambience cues Imaging on the Scintillas was excit- dence of the Scintilla's wide disper- and reverberation effects of recordinging, as with a number of other planarsion. Voices and instruments, on a studios and concert halls can easily bespeakers. Even so, there were no irreg- popular album with an overdubbed female vocalist, seemed to float. Low- level, soft passages were reproduced with the identical balance and quality heard atfull volume, a feature best described by Anthony Cordesman as Don't Waste Your Money. a strength of the Quad ESL -63 (Audio, January 1985, pg. 120). We were swept away by the Scintil- las. They sound truly glorious, rich and romantic, with none of the sonic problems that can afflict planar speakers. No plastic, midrange graininess or glare was heard-only speed, naturalness, and effortless dynamics. They worked well in a number of listening positionsina normally upholstered room measuring 27 x 15 x 9 feet, and played at levels that would be considered very high for any type of speaker design, except a horn. For now, both authors find the speaker's technology and sonics state-of-the-art, and its visual design stunning. The ultimate testimony to the Scintil- las' quality occurred when our jaded and skeptical group of audiophiles suddenly fell into a "My-broker-is-E.F.- Hutton" silence at the first demonstration, and even listened (without talking) for the next hour. This appeal has not dimmed since that December 1984 Audiophile Society meeting. However, this gorgeous sound comes at a price. Presented with the If you've shopped for audio equipment without talking to the people at DALI, then Scintilla's1 -ohm load, distinctly out- you've wasted your time and money. DALI offers state-of-the-art audio components at the side manufacturers' ratings, a number lowest possible prices directly to your home. How do we do it? Through a unique distributor program which eliminates the of fine amps took on unpredictable middleman and passes the savings on to you. To prove how cost-effective DALI products sonic characteristics. Greenhill's refer- are, we're offering a special Christmas bonus with every pair of DALI speakers we sell. ence Levinson ML -9 stereo amplifier- You can't lose. The highest quality audio products. Delivery right to your door. And a which usually plays with a neutral mid- free gift with purchase. But you'll have to call, and you'll have to call before supplies run out. range and a big, dynamic bass-be- It's our nickel . . . came sweeter, tube -like, and mellow For information on DALI speakers and audio products, including test reports, call (not unwelcome, by the way!) until its 1-800-251-DALI TOLL FREE /in Calif. 805-252-7203) or return the coupon and take your chances with the holiday mail. current limiting cut in (at clipping) with a spray of static. The dual -mono Tand- berg 3009As, which Greenhill had found to be fast, detailed amps with etched highs, took on a bass emphasis and acquired a stronger midrange presence. Both amps can deliver more than 400 watts into 4 ohms, and Tand- berg claims more than 800 watts out -

F 88 AUDIO/DECEMBER 1985 Y RIVERS APPLY. Only one kind of driver should De reading this It adds up to serious performance. That's ad. One who's serious about performance. why you'll find our t res under some of the top Because Bridgestone's low profile Potenza performers on the road today. is one serious performance radial. Shown below-left to right-are the Potenza V- and H -rated radials, available in Potenza 137V original equipment tire, and the 50 series and up, are born from the same 50/55 series Potenza RE91 and 60/70 series serious high-speed technology we've put into 147V for replacement use. action on the racetracks of the world. Maybe time you got serious about your A straight -groove, water -channeling tread driving. If you already are, maybe it's time you pattern and racing -like compound give got Potenzas. Pctenza a firm hold on the road. And a unique See your Bridgestone retailer. reinforced hard -rubber insert around the rim allows the sidewall to be flexible for even contact pressure during hard cornering and braking. 2111DGESTORE ftrifly,ton. lir. (.rorlparly r111,,r1,1, 1111 forGirif We were swept away by the Scintillas. They sound truly glorious, rich and romantic, with none of the sonic problems that can afflict planar speakers.

put at1 ohm. But neither could driveseparate terminal strip within the en-help of Mrs. Kachalsky) to place the the Scintillas on peaks to more than 88closure.This 30 -minute procedurepurple, green, and gray wires on the dB (at 1 meter) in Kachalsky's normallymust be done carefully for each speak- correct terminals. At 4 ohms, the au- upholstered living room. er, since the hardware can easily slip thors heard no sonic aberrations in the The speakers were then reconfig-down into the nylon sock that coversamplifiers, but the Scintillas lacked the ured to a 4 -ohm load. Seven color -the rear of the enclosure. It also helps ultimatenaturalness,air,openness, coded wires were repositioned on theto have good color vision (both authorsand midrange clarity heard with the 1 - rear of the speaker terminals and on aare colorblind, so we acknowledge theohm configuration. You won't realize this unless you have heard them driven at the lower impedance setting. We preferred the very expensive Krell mono KMA-100 ($4,900/pair) and 200 - The New PRO MCD, a descendent of watt KMA-200 ($7,500/pair) amplifiers the Meridian MCD which has set new for driving the Scintillas. We used them standards for musicality in CD in a biamplified fashion (a pair of KMA- reproduction, has been developed with the help of major recording 100s for midrange and tweeter, a pair The PRO MCD studios - designed to be a sonic of KMA-200s for the woofers), which reference in the production of new produced the widest dymanic range. all CD players compact discs. The MCD Pro At 1 ohm, the KMA-100 is claimed to are not created recovers more of the musical details deliver 800 watts per channel and the recorded on a CD than many critics KMA-200 puts out 1,600 watts per equal... have considered possible. The channel. A single pair of Krells were Meridian dealer can tell you the "bi-wired" (two speaker cables con- technical reasons why the MCD Pro is nected to each amplifier output termi- capable of such resolution, but your nal) to each Scintilla's double set of own ears will tell you how much better speaker posts; SPL measurements it sounds. showed Scintilla output peaks of 94 dB (KMA-100s) and 98 dB (KMA-200s) at BOOTHROYD STUART audible clipping. No change in tonal character or sudden presence effects /MERIDIAN were heard at 1 ohm-just sweet, open, detailed sound. Dan D'Agostino, the Krells' designer, uses the Apogees as a test load. The Classe Audio DR -3 amp also performs beautifully at the low -impedance setting. Although the Scintilla works well at its 4 -ohm setting, it really shines when the speaker is configured as a 1 -ohm load. A number of companies (including NAD, Adcom, and Belles Re- search) are now offering less expensive solid-state designs that can deal with this load. A few tube amplifiers can drive the Scintilla at its 4 -ohm setting, but they were not available for our review. The consumer should audition several amps to find the one he likes best with these speakers. For now, we have to go with the Krells or the Classe Audio. Isit worth spending so much on the amps for this speaker? We think so. After all,if you own a Ferrari, you should not be surprised at the high prices for parts and repairs. But every audio buff must decide how far to go with a beautiful and exotic product like the Scintilla. Laurence L. Greenhill Exclusive U.S. Distributor MADRIGAL LTD., PO. Box 781, Middletown, CT 06457ITT TLX 4942158 and Hy Kachalsky

~~90 AUDIO/DECEMBER 1985 at _-v 1111.A111111111111t 1111114111111 Mit MN 111111111.11111 ter- OMB 11111111111111111111111 --~~

imitiosamimiaarr- In 1967 we started making a host of new speaker technologies And we've used the results of moist.aP014.110milmram loudspeakers in a garage with we've developed. We immodestly that research to improve sound "ice:00 nothing to guide us but a know- dubbed these systems Reference reproduction in a multitude of ledge of physics and a passion for Standards - as indeed they must applications and at virtually music. Our first product was an be since many aspects of their every price point - from under instant classic, a loudspeaker designs have been widely copied 540 a pair for our A32 auto caged the Servostatic I, which in the industry. speakers up to about $35,000 =or was considered by many to be No company in audio can our fin& system, the infirrity the ultimate audio transducer of claim a greater commitment to Reference Standard. Today we're its time. significant research, developing in the home, the automobile and Since then we've always had practica: and accurate polypro- now in video. an ultimate loudspeaker in our pylene woofers. midranges, But our research doesn't stop at product line, and we've used tweeters and state-of-the-art ;he laboratory. We still Listen' to these dream systems to showcase EMIT and EMLVI planar drovers. music, and we still get excited by it.

111111444-411,it=it=sg-as= '141*' -'4141". 41 -**11"" "111111L" ilM1.111164in edirral Infini +411:111.111.1UMMIONME An1011101. "lira 1111" Infinity Systems, Inc. 9409 Owensmouth Avenue Chatsworth, CA 91311 (818) 709-9400 ADO11111"1"1".."1.'"air :IIIINFAIMPW/11/

~~Enter N'o16- on Reader SeNice Card AURICLE~~

you owe yourself a listening session ments to load cartridges with various KRELL with this gear. I don't mean by this that impedances, and has an adjustable Krell lacks competition for the top of phase filter to improve the sound of CD PAM -3 the heap; I know from personal experi- players. The construction is beautiful, ence that the latest Klyne, Threshold, both internally and externally, with a Audio Research, and conrad-johnson unique mix of gray finish and brass PREAMP gear is equally worth a trip to one of the screws and logo panel. and KSA-50 few high -end dealers who can properly The sound is not perfect, but it is so demonstrateit.Nevertheless,these neutral and detailed that I find itdiffi- two Krell units are a unique sonic state- cult to say much about the sound char- POWER AMP ment by a top designer and make the acter of the PAM -3. There is no trace of high prices of the high end worthwhile. upper -midrange hardness, tizziness or hardness in the highs, or alteration in KreII PAM -3 timbre. The Krell passes unchanged Company Address: 20 Higgins Dr., The PAM -3 preamplifier sells for virtually every nuance and detail in the Milford, Conn. 06460. $2,850, and is a pure Class -A, dual - input signal; its only "fault" is that it lets For literature, circle No. 94 mono design. It is a basic preamp only so much detail through that it demands in that it has no tone controls.It uses superb source material. Good or bad, If you want to hear just how goodtwo separate external power supplies, you get the music you put in, with re- transistor equipment can get, you real-has an extraordinarily flexible set of markably little alteration. ly need to listen to the Krell PAM -3inputs that can accommodate even the In fact, the only way I can put the preamplifier and KSA-50 power ampli-most complex system, has the gain foroverall sound character of the Krell fier. In fact,if you want to know howlow -output moving coils, provides a PAM -3inany perspective, without good any audio equipment can get,very wide range ofinternaladjust- drowning youinsuperlatives,isto

92 AUDIO/DECEMBER 1985 compare it to the SP -10 II from Audiomore "holographic" in its imaging, andbest from any cartridge, but ,t definitely Research. The PAM -3 and SP -10 IIil- handles transient detail in a way thatdemands the best cartridge. lustrate the difference between top tran-gives it a more forward or front -of -the - The Krell's special CD input pro- sistor and tube designs. The solid-statehall character. The Krell PAM -3 hasduces some fascinating improvements Krell is more extended in the highs androck -solid imaging and sound -stagein CD sound. This is not just a renamed

benefits fromitssuperiorsignal-to-stability that I have never heardAUX input;it includes a high -voltage noise ratio. It can be used with virtuallyequaled, a mid -hall sound, and an al- buffer and a phase filter which can be any low -output moving -coil cartridge,most uncanny purity. Both the Krelladjusted to match various players, or while the SP -10 II prefers a minimum ofand Audio Research preamplifiers aredefeated altogether. This input config- 0.2 to 0.5 mV. The dead silence of thesuperb vintages, but they come fromuration cannot soothe the savage CD Krellis apparent, however, even ondifferent vineyards. player, butit does add a marvelous high-levelinputs and particularlyin The Krell's phono stage is also wort)coherence to a good one and eases very low passages. You can listenspecial mention. It allows a wide rangethe upper -octave pain of a mediocre down into the noise floor of analogofdifferent impedance and capaci-one. The upper octaves in a good CD source material better on the Krell thantance settings, using easily adjustable,player like the Meridian come into on the Audio Research SP -10 II or oninternal DIP switches. Coupled to themuch better focus with the midrange, any other unitI have yet heard. Krell's purity,it virtually demands longrather than leading the midrange with a Both preamps have excellent basslistening sessions to choose the exactslightly irritating edge. The sound and upper octaves, but listening solelyadjustment suited to your system. Thestage widens, and depth is significant- to a subwoofer shows that the KrellPAM -3 also has the kind of purity thatly improved. Once again, you will prob- PAM -3 is slightly superior in the deep-makes you all too well aware of a mov-ably want to experiment with the vari- est bass. The SP -10 II has a slightlying coil's rising high end or a movingous adjustments you can make by us- more open sound stage, is a little bitmagnet's tendency to blur transienting the internal DIP switches. Don't ex- warmer in the midrange, is somewhatdetail. The Krell PAM -3 can get thepect dramatic differences, but do

~~AUDIO/DECEMBER 1985 The Krell is the first pure Class -A power amp I've heard that delivers the full promise of Class -A design. It sounds consistently natural and integrated.~~

expect to end up with a much moreself-even if you can't afford one to- any tube or other transistor power am- natural sound stage and less listeningmorrow. The PAM -3 is one of those few plifierI have heard in this regard. This fatigue in the highs. reference -quality units around which means the Krell is exceptionally pleas- You also,incidentally, should payyou can build the rest of your system ant to listen to at low volume levels or careful attention to the placement ofwith absolute confidence. with softly played solo instruments. your speakers and the interaction be- Speaking selfishly, the Krell KSA-50 tween this placement, cartridge load-KreII KSA-50 joins the Futterman OTL-3 and the Au- ing, and the combination of vertical The Krell KSA-50, which sells fordio Research D-250 II as one of the

tracking angle (VTA) and stylus rake$2,300, is an excellent match for the three basic amplifiers I have audi- angle (SRA). The Krell PAM -3will PAM -3.It has the same superb work-tioned that allowed my Quad ESL -63s sound a bit "closed in" if you place themanship and styling, and is definitely a to reproduce what really sounded like speakers as close together as is desir- luxury -class power amplifier.At the live music in my home. I should note, able with most other equipment. Isus-same time, it is a true Class -A design, however, thatI used different records pect this is partly due to its exceptional rather than one of the host of quasi - in each case, and that the Krell KSA-50 silencing and image stability.In anyClass -A circuits. Its nominal 50 watts benefits from a slightly warm moving case, widen the spacing between yourper channel turn into 100 watts at 4 coil such as the Kiseki Purple Heart or speakers to open up the image. Youohms, 200 watts at 2 ohms, and one of the new Koetsus. Within its pow- will find that the Krell has exceptionalenough power at 1 ohm to drive a pair er range, the Krell KSA-50 is by far the center fill, and that it provides a soundof Apogees. No matter how hard you best basic power amplifier in the deep stage that combines both opennessdrive it, the KSA-50 will get warm butbass I have heard in the last year.

and stability. not hot. I have been playing around with Similarly, the Krellis exceptionally This Krell amp rivals the Audio Re-subwoofers recently, and it is amazing revealing of the imaging and sound -search D-250 Mk II and conrad-john- how few transistor amplifiers can really stage impact of VTA/SRA and car-son Premier 5 in terms of its ability to drive them properly (no tube amplifier tridge loading. You can take advan-resolve detail from the music. It is simi-can). Most transistor amplifiers that do tage of this to adjust VTA/SRA and lar to the PAM -3 in that its sound -stage manage to perform well have at least natural soundperspective is one-third back to mid - 100 watts per channel. With a good stage possible from your listeninghall, as well as extraordinarily stablelow -impedance speaker cable,the room and speakers. Lowering theand well controlled. By comparison, Krell locks in a good subwoofer and tonearm base tends to move your lis-the Audio Research and conrad-john- offers an extraordinary combination of tening position slightly back in the hall,son have a slightly more open sound power and control. while raising the tonearm base, so theand give the impression of slightly fast- The Michelin Guides rate best res- cartridge tilts slightly up in the rear, willer handling of transients-although taurants as "worth a detour." The Krells move the sound stage forward. Higherany technical measurement probablydefinitely qualify as that kind of audio loading impedances on moving coilswould disagree. The Krell has a morecuisine. In an ideal worldI would ask open up the sound stage, while lowerliquid sound that suits its hall perspec- the chef for more power (he has 100 - impedances improve center fill. tive, but has the "air," or fine musicaland 200 -watt designs on other burn- I should probably stress that movingdetail, that is normally found only in ers), and a slightly more open sound. I the speaker is the superior means oftube equipment. would also ask that this sound be sea- adjusting the sound stage.Ideally, The Krell is also the first pure Class - soned with the transient speed of VTA/SRA and cartridge loading shouldA power amplifier I have heard that tubes while retaining all the unique vir-

be set for maximum upper -octave de-delivers the full promise of Class A. tues listed above. I have this sudden tailat the point where upper -octaveNormally, there is always somethingtaste for a transformerless Class -A timbre is most natural. Nevertheless,wrong in the integration of the highs,tube amplifier with at least 40 tubes these adjustments are an important al-and the purity at low levels does not and with the tube filaments replaced

ternative to getting just the right soundhold up as the volume increases. The by transistors. . . . stage in the many rooms where thereKrell has a rare quality in any power More seriously, however, this is the simply aren't that many options foramplifier: It sounds consistently natural kind of equipment that is worth a seri- speaker location. and integrated in all its sonic charac- ous appointment with a high -end deal- As for other details of the PAM -3, theteristics. er, to whom you can bring your own only thing missing, other than tone The KSA-50 is also one of the few records, tapes, or CDs and listen long controls and filters, is a second phonotransistor power amplifiers that lets you enough to see just how much really input. The control functions have thelisten to the faintest musical informa-good electronics can do for music. smooth touch of luxury; the quality oftion on lowest level sounds without Once you have sampled KreII and the the RCA jacks is superb; etc., etc. Inhaving the feeling that the room has best competing brands, you may find short, this is one of those vintage high -suddenly grown smaller or a veil pulled you have vastly improved your taste for end products that convinces you thatacross the music. This seems to bemusic. Be careful, however; few con- the high end is not simply hype andpart of signal-to-noiseratio, whichverts to gourmet living can ever go money. It also has the kind of sonicmakes the Krell a remarkably unobtru- back to a steady diet of junk food! merit you really need to hear for your-sive and neutral design. It outperforms Anthony H. Cordesman

~~94 AUDIO/DECEMBER 1985 LUCKY STRIKE~~

~~LIGHTS ONLY erng TAR~~

~~SURGEON GENERAL'S WARNING: Quitting Smoking Now Gr3atly Reduces Seric us Risks to Your Health. Lights: 3 mg. "tar', 0] mg nicotine ay. per cigErette by FTC method. AURICLE~~

~~INTRACLEAN S-711 HEAD CLEANER AND C -911A CASSETTE CLEANER Company Address: A & B Enter- prises, P.O. Box 3592, Simi Valley, Cal. 93063. For literature, circle No. 95~~

With all the excitement over the introduction of trend -setting major components, it's easy to overlook those minor accessories which we all need. And sometimes it's difficult to make the best choice among them. Anyone who uses a tape recorder, even if only on rare occasion and even lirliZAACLEdn if high -quality recording is not the primary goal, must accept cleaning the CAS.SE: Ann .1 various parts along the tape path as a regular chore. The format of the recorder and its quality make no difference: Cleaning is a necessity to ensure IrC.1gar good tape motion and to get the best record and playback performance. The advertised claims for the various cleaners available are quite similar, even though there are chemical differ-

ences. A large group of cleaners isworry about, I ran a series of compari-this product might damage certain based upon isopropyl alcohol, whichsons of Intraclean S-711 versus myplastic parts, my own experience can do quite a good job provided it isbest TF-type cleaner. At the time, I wasshoweditto be the most effective nearly pure and does not include addi-making a number of copies on open - cleaner atallpoints along the tape tives that might leave deposits on thereel recorders using a mediocre tapepath. In a way,I was even more im- heads or elsewhere. Alcohol -basedformulation that left noticeable depos-pressed by the way S-711 revived the cleaners are not good to use on pinchits with each pass of the tape. Thisappearance of pinch rollers thatI had rollers, however, and they may leaverequired careful cleaning after each ofthought ready for replacement. residue that most users would havethe four tracks was recorded. Ifelt that Intraclean S-711isavailablefor difficulty detecting. Another sizablemy TF-type cleaners had done a good home use in a two -ounce size at a list group of cleaners is based on DuPontjob in the past, and Ididn't really ex-price of $6.95. (This is somewhat more Freon TF solvent. These are very goodpect to see superior results with theexpensive than the TF-type cleaners, cleaners which do not attack pinchIntraclean product-but Idid. but Intraclean is very effective per ap- rollers (or plastics, for that matter). To compare the two cleaners, I used plication.)It is also available in larger When Ifirst got the Intraclean S-711 both for each head cleaning. When Isizes, for studios and duplicators. head cleaner, identified as a halogen-used S-711 first, the cotton swabs ob- Intraclean also makes the C -911A ated hydrocarbon, I mistakenly consid-viously removed much more of the de-cassette -cleaning device, which has a ered it a TF type. The chemical make-posits, and the pinch rollers improvedlist price of $11.95. It is built in a cas- up is different, however; the manufac-in appearance, leading me to con-sette shell for direct insertion into any turer emphasizes its low surface ten-clude that even subsurface contami- cassette recorder or player. The clean- sion and "excellent wetting," and cau-nants had been removed. There was ingshell contains three basic ele- tions that Intraclean S-711 should notno additional benefit apparent from re-ments: A cleaning tape that runs for be used on PVC or styrene plastics. (Ifcleaning the same head with the TF-about 15 S in play mode, two reser- your deck has plastic parts, make atype cleaner. When I cleaned the tapevoirs that supply cleaning fluid to the

test application on a small, unimpor-path with the TF-type cleaner first, I tape, and two pairs of capstan/roller tant area. Intraclean also makes S-721,could always remove more from thecleaning pads, one set for each possi-

~~a TF-type cleaner, for use where S-711 heads, guides and rollersif I then re- ble capstan position. A half -ounce bot- should be avoided.) cleaned with S-711. tle of S-711 with a special, easy -open~~

~~Not having any such plastic parts to While I caution potential users thattop is used to dampen the two reser-~~

~~96 AUDIO/DECEMBER 1985~~

The precision of digital electron es has revolutionized the art of musk reproduction. A signal-to-noise ratio of 90 dB. Perfectly flat frequency response throughout the audible spectrum. Wow and flutter so low it defies measurement. And over 90d11 of dynamic range to widen your music horizons. Akai has made the dream of rmsical purity a reality with Comact Disc players that o.eryone will en job.

~~Enter No 4 on Reacer Service Card S-711 definitely does the best cleaning job of anything I've tried, both in direct use and with the C -911A in cooperative tape decks.~~

voirs and the capstan/roller cleaningsuch an in -shell cleaner is particularly the pads to ensure that the transport pads before the C -911A is placed in agood for use with car tape players,would move the cleaning tape. The C - deck. The left pinch -roller pad is nor-where there is no access for direct911A always ran well with the Technics

mally positioned out, but it can, andcleaning. I ran my checks, however, RS-B48R and the Akai GX-R99 decks, should, be retracted for use with three -with several standard decks of variousautomatically reversing and cleaning head cassette decks that place thedesigns to observe the cleaning cycle. in the second direction. The cleaner erase head at this spot. I determined in the first few tries that Iworked most of the time with the Aiwa Intraclean makes the valid point thatneeded to saturate the reservoirs andAD -M700 and the Teac V -500X. It was most uncooperative with the Nakami- chi 582Z, usually dropping out of play after just a second or two of cleaning. With the last three decks, the reservoirs and pads had to be soaked to get Saveup to$2500onthe a complete cleaning cycle;I judged that the somewhat higher tape drag quickest stereo improvement during use with less fluid actuated the end -of -tape sensors. The results for all of the decks were same with each you can make. of the three cleaning cassettes which I tested. Shure's Holiday Savings Rebate on Cartridges and Styli. I found that with some three -head decks, it was important to retract the A new Shure phono cartridge on the end of your tonearm is the best movable left pad, as expected from the investment you can make to improve the sound of your stereo system. caution in the instructions. There were And from now through December 31, 1985, you can receive a cash rebate some problems at the right -side pad on a variety of Shure's most sought after cartridges- like the world -acclaimed because the V 15Type V -MR. follow a straight path in front of the If you already own a Shure Cartridge and Stylus Savings capstan, but actually cuts across part cartridge, you can "tune it up" $25 REBATE $10 REBATE of the shell opening. When the cleaner with a genuine Shure replacement V 15 Type V -MR MIII HE Cartridge did not work on one of the problem Cartridge M I IOHE Cartridge - or upgrade stylus, and earn a decks, I saw that the pad had been $20 REBATE VN5MRStylus rebate too. VI5 'Type V -B VN5HEStylus pushed in and it looked as if the tape Whether it's a gift to yourself Cartridge $5 REBATE might even have ended up behind the V 15 'Type V -P VN45MRStylus or someone you love, a new Shure Cartridge VN35MRStylus capstan. cartridge or replacement stylus $15 REBATE N97HEStylus On the decks where it worked con- ML 140HE N95HEStylus can really bring the sounds of the Cartridge N95EDStylus sistently, the C -911A cleaner did an season alive. For the name of your ML 120HE N91 EDStylus excellent job of removing all sorts of Shure Dealer, call (312) 866-2553 Cartridge residue along the tape path.I expect that the device would work well on

most car decks, but I recommend a SHURE trial to make certain that the cleaning SteedkiOggeraleeiVaalf4 tape makes its full run. To check this, manually rewind the tape to the beginning, saturate the pads, insert the cleaner and put the deck into play. If it is an auto -reversing unit, the change in direction should occur after 15 S. If the deck does not have auto reverse,it should stop after the same period of time. Remove the C -911A and make certain that the cleaning tape travelled its full length. Intraclean's S-711 head cleaner def-

~~initely does the best job of anything I have tried, both in direct use with cotton swabs and with the C -911A in co-~~

~~operative decks. After my checks, I have concluded that S-711 is the best cleaner to use, where the deck's mate- i rials permitit. Howard A. Roberson~~

~~98 AUDIO/DECEMBER 1985 Because You Can't Tell The Players Without a Scorecard~~

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~~this coupon! City~~

~~State Zip ' Please add your applicable sales tax. Please allow approximately 6-10 weeks for delivery. ROCK/POP RECORDINGS MICHAEL TEARSON JON & SALLY TIVEN CAT WITH CONVICTIONS~~

The Heat: Nona Hendryx RCA AFL1-5465, $8.98. Sound: B Performance: B Nona Hendryx stood out as the wild creature in the group Labelle, and on her own she's continued in the same high -intensity vein. Although she hasn't had a huge hit yet, she has established herself as a highly visible personality. With this album, she's aiming for a somewhat wider audience. Nona's always sung well and projected a strong image, but her albums have suffered from weak material and indulgent production. Most of The Heat has been produced by Bernard Edwards and Jason Corsaro, with a few cuts done by Arthur Baker. Nona wrote most of the songs on The Heat with a bit of help from Ellie Greenwich, Jeff Kent, and Jean Beauvoir. Much has been made of the fact that Keith Richards plays guitar on one track, and it's a rather amusing contri- Scarecrow: John Cougar Mellencampabout small farmers being forced off bution. The rock/funk groove is cook- Riva 824 865-1 M-1, $8.98. their land by foreclosures. He sings, ing on "Rock This House" when all of a "When you take away a man's dignitysudden a classic Keith Richards riff- Sound: B Performance: Ahe can't work his fields and cows."with shades of "Brown Sugar"- As one who has not been critically"Minutes to Memories" is one of thechimes in as if the song was written kind to John Cougar Mellencamp, it isbest cuts.Itis about coming of agearound it. Then this digitally delayed especially satisfying to report what aand learning to do your best in the facesolo blares out a blues feast, and you fine piece of work his Scarecrow is. Heof adversity.I only hope that this song know that Mr. Richards is having a has been very careful to follow throughdoesn't get co-opted for a U.S. Army great time putting his distinctive stamp on all the elements that made his previ-ad campaign. ous outing, Uh Huh, one half of a great Concerns widen on side two as album. Picking up courage from his"R.O.C.K. in the U.S.A." salutes the own experience and,I dare say, frommusic John grew up on, and "You've the success of Bruce Springsteen'sGot to Stand for Somethin' " recapitu- Born in the U.S.A., John speaks hislates the pivotal events in politics, rock mind more freely and pointedly than he'n'roll and culture that helped shape ever has before. Even more important,the singer/songwriter. "Justice and In- he has shed the snotty -rich -kid imagedependence '85" is a bloated allegory which was the undoing of the weak halfthat spins a tale of America corrupting of Uh Huh. itself. "Between a Laugh and a Tear," The cast and crew on Scarecrow isfeaturing guest vocalist Rickie Lee the same as last time, as MellencampJones, is about life after paradise has has the same band and, in Don Geh-become the real world and childhood man, the same producer. The album,has gone. And of course there is the hit recorded in Mellencamp's home statesingle, "Lonely 01' Night," which quite of Indiana, away from distractions, hassimply is one splendid song. a gritty, raw-boned feel that suits the The big difference on Scarecrow is singer's material well. There is a lot ofthe strength of conviction John Cougar life to the recorded sound here. Mellencamp can muster. He doesn't The chief concern of the songs onindulge in dumb songs to fill out the side one are small-town and ruralalbum; his material has muscle. He America, things Mellencamp saw first-shows real maturation both as a song- hand while growing up. "Small Town"writer and an artist. What I hoped he'd celebrates the peculiar joys oflifedo after Uh Huh he has done-and there, while "Rain on the Scarecrow" isdone well. Michael Tearson

~~100 AUDIO/DECEMBER 1985 RACHMANINOFF SYMPHONY ra2 ROYAL PHILHARMONIC ORCHESTRA ANDRE PREVIN ANDRE PREVIN ROYAL PHILHARMONIC ORCHESTRA RACHMANINOFF: Symphony No. 2 CD -80113 DG -10113~~

~~3ZNEWL MOZART BEETHOVEN PI AND 61. AVM VIENNA WIND SOLOISTS INTETS IN FL ANDRE PREVIN MOZART BEETHOVEN VIENNAWOID SOLOISTS Piano & Wind Quintets in Eb CD -80114 DG -10114~~

~~SCIILIBFRT CHRISTOPH VON DOHNANYI 51 VIP116N). NO9TF CRI 1111( \ EIANDORmsllt CHRIS-OPH NUN THE CLEVELAND ORCHESTRA DOMNAN) I SCHUBERT: Symphony No. 9 "The Great" CD -80110 DG -10110~~

fs-spJ 311:11,111. ELLY ELLY AMELING DEQUOZ-LLSACIM I' pruidti rrpiutiNnf 1 ATLANTA ,SYMINIONY O ATLANTA SYMPHONY ORCHESTRA 1:206ELIT61.1WPOILATI2A 10 ROBERT SHAW BERLIOZ: Les Nuits d'ete FAURE: Pelleas et Melisande CD -80084 DG -10084

ERICH KUNZEL CINCINNATI POPS ORCHESTRA Orchestral Spectaculars LISZT - Les Pieludes WEINBERGER - Polka & Fugue from Schwanda the Bagpiper DUKAS - Sorcerer's Apprentice SAINT-SAENS - Bacchanale from Samson and Delilah RIMSKY-KORSAKOV - Procession of the Nobles from Mlada, Dance of the Tumblers from The Snow Maiden CD -80115 DG -10115

~~COMPACT Telarc underwrites "Audiophile Audition," broadcast live Sundays on many National Public Radio stations. TELARC Check your local NPR listings for time. DIG TAL AUDIO~~

~~11111111 111111111 illA~~

Enter No. 44 on Reader Service Card Eddie Kendrick, John Oates, Daryl Hall and David Ruffin Live at the Apollo is inspired but technically far from flawless, with an embarrassing number of bum vocal notes.

bum by Kendrick and Ruffin, as they may, it would be infinitely more interesting than what we have here. This album is okay as a souvenir of their performances, but not a memorable recorded statement per se. They have been capable of making great records, so why not do it again, fellas? Jon & Sally Tiven

The Power Station Capitol SJ-12380, $8.98. Sound: B Performance: B For an album from the oft -disap- on the song. Yeah, the song's prettyto bring up Eddie Kendrick and David pointing supergroup genre (like The good, too, but it's Keith's moment asRuffin to render updated versions of Firm, for instance), The Power Station much as Nona's. their greatest Motown moments? delivers the goods, though not consis- As for the rest of the album, the Sound familiar? What worked with tently. Core members John Taylor and tracks produced by Edwards work; theSpringsteen/Gary U.S. Bonds and Mel-Andy Taylor of Duran Duran have pro- ones by Corsaro are okay, though theylencamp/Mitch Ryder can work again ducer Bernard Edwards to thank for have been mixed in a way that doesn'tfor Hall & Oates. Why not? Shouldn'tthe album's share of hits, including really suit the material, and Arthur Bak-the millionaires of today be responsi- "Some Like It Hot," "Murderess," and er's production is trendily vacuous, asble, at least to some extent, for main- "Bang a Gong." Although Nile Rod- usual. The multiple -producer methodtaining the natural treasures that gers is popularly considered the mixer may work for Tina Turner, but in Ber-helped them sharpen their craft? with the golden ears, it was as a cre- nard Edwards, Nona has found a pro-Chances are Ruffin and Kendrick ative rhythm section/production team ducer who worksforher.Shemade next to nothing from their hits,that he and Edwards pioneered a should've completed the record withand now they'll finally get a shot atsound and style for their group, Chic, him. Maybe next time. collecting a decent royalty. Gestures which every pop artist soon wanted for Jon & Sally Tivensuch as this remind us allthat,for his or her own,it seemed. Edwards some, the music business can be a deserves mucho kudos for the sound Daryl Hall & John Oates Live at thegentleman's pastime. of this record, a powerfully conveyed Apollo with David Ruffin & Eddie As for the music itself,it is inspired presentation of a heavy pop band fil- Kendrick but technically far from flawless. Even tered through the Chic sensibility. His RCA AFL1-7035, $8.98. taking for granted that these are live golden gloves are largely responsible performances, the amount of bum vo- Sound: B Performance: B for the punch of all these songs, which, cal notes gets embarrassing after athough minimal as compositions, are One can't really question Hall &while. You wish that they'd cranked up squeaky -clean. Oates' motives in wanting to familiarize the Harmonizer in post -production and Drummer Tony Thompson, orat the public with their version of Hall'sbrought the clinkers up a halftone. And least his gated snare sound, is the sol- "Everytime You Go Away," but inall if this is a farewell package from Hall & id foundation (and in the case of the fairness, this is one time they should'veOates (as is the rumor), they could more marginal tunes, the raison d'être) kept quiet. When Paul Young decidedhave come up with more excitingof a very drum -oriented LP. Robert to cover it, he truly made the song histunes. Only on "Adult Education" isPalmer sings well, though he falls a bit own. Hearing H & 0 once again, it callsthere any indication that the band can too much attention to the fact thatrock. Daryl and John have put together Young not only came up with an inter-a hot group, but unfortunately they are esting arrangement, but his phrasingafraid to be known for it. They are fear- on the chorus is what made it a num-ful of a repetition of the first reviews, ber -one hit. which glorified the backing musicians Now let's get to the point of this proj-more than the front people. Not even a ect, which is not just to release yetpicture of drummer Mickey Curry ap- another live greatest -hits album(it pears on the package, and this is a bit wouldn't be the first for H & 0). Theannoying considering what a star point is that The Temptations' two leaddrummer he is (Bryan Adams, Elvis singers (who were idolized by DarylCostello, and Marshall Crenshaw are and John) are now buddies with Ameri-but a few of the artists he's played for ca's white -soul sweethearts. And whatrecently). better way to cement a friendship than If Hall & Oates produce a studio al-

~~102 AUDIO/DECEMBER 1985 LIGHTS:1) mg. "tar", 0.8 mc. nicotine, KING:17 mg. "tar", 1.3 mg. mmtine, ay. per cigarette by FTC method.~~

SURGEON GENERAL'S WARNING: Quitting Smoking Now Greatly Reduces Serious Risks to Your Health. Bob Marley's children, The Melody Makers, have made one of the best reggae albums I've ever heard. They take up social issues right where Bob left off.

flat as a lyricist, while the axe -playingmaican standards, must have been Andy Taylor sets out to prove that he'sperverted by American rock, and re- learned a Van Halenism or two. Luckilymoved from the kinds of daily experi- there's a magician at the console (and,ence that annealed Bob Marley into a if you saw this group's performance onfirebrand of social justice.I expected Saturday Night Live, you know howsome kind of nightmarish, bubble -gum pertinent the old fix -it -in -the -mix theoryreggae, especially after seeing that the can be). For the brilliance of selectedback cover of the album was printed tracks on this album we can only say ofwith a board game. Bernard Edwards that no fee's too After hearing the first few songs, my much for him to ask. doubt gave way to amazement: Play It's quite appropriate that membersthe Game Right is one of the best reg- of Duran Duran, which was primarily agae albums I've ever heard. The Roxy Music -influenced band, are nowsongs, aided and abetted by some of working with former members of Chic,reggae's top sidemen, including Earl also a musical aggregate highly in-Chinna Smith and Sly Dunbar, cover debted to Bryan Ferry and company.the bases of reggae styles. There's the But one wonders if poor Bryan is labor-gospel -rooted"Revelation";the up - ing hard on his new album (recordingtempo "Reggae Is Now," with a stop - at the studio for which this group wasand -go horn break that would make

named), trying to sound more . . . likeStevie Wonder proud; the tastefully this? Jon & Sally Tivenmodulating title track, and one of Bob Marley's songs, "Children Playing in Play the Game Right: Melody Makersthe Streets," which features a poi- EMI America ST -17165, $8.98. gnantly placed a cappella choir. The backup vocals, performed by young Sound: B- Performance: B+Cedella, Sharon and Stephen Marley,

It was with trepidation that I beganowe a lot to the I -Threes and have the listening to the debut album of Bobsame effect-angelic smoothness Marley's children. I figured that thethat'slikea sheer curtainfluttering Bob Marley certainly made some Marley brood, super -rich kids by Ja-within a solid but sinuous framework. concessions to Anglo-pop, and The Melody Makers, with their crack ar- rangers, make many of the same ones. There's the expanded role of guitar, which is given bluesy leads along with rhythm duties. Hooks are given as much attention as grooves, and they're accentuated with various keyboards. The band uses a lot of synthesizers but is careful to keep them atmospheric. As with all great reggae, nothing con- tends with the rhythm section; lead singer/songwriter Ziggy Marley's voice is an urgent counterpoint to the rhythmic roots. As a lyricist, Ziggy takes up with social issues exactly where Bob left off, focusing on basic social problems with one eye on those responsible and the other eye fixed firmly on a heavenly vision of peaceful justice. The board game, as it turns out, is like Revelation Parcheesi, with goals labelled Ethio- pia, Jerusalem, Babylon and Zion. Its tree point, and that of the album, is expressed by Ziggy in the title track, where he insists that "this time we're not playing for a trophy, we're playing

~~for a life . . . . We've got to play this game right." Susan Borey~~

104 AUDIO/DECEMBER 1985 On Like a Rolling Stone, Mitch Ryder sings up a storm. He deserves credit for shining up an old Its double CD player lets you play chestnut with great style. the hits and skip the misses.

Like a Rolling Stone: Mitch Ryder Personal P49820, EP, $6.98. Sound: B Performance: A Ever heard that a good song could be covered any number of ways by any sort of artist, as long as that com- position was a sound one? Mitch Ryder seems to be out to prove that publisher's maxim with his current EP version of the Bob Dylan tune, "Like a Rolling Stone." Not that hisrendition owes much to the original. Only the lyrics escape adaptation, and it's quite possible that the song's identity could escape the first-time listener who would naturally be caught up in this version's awesome groove. Imagine James Brown doing this Toshiba's mini stereo system offers an optional double CD player that song and you'd get the drift of Ryder's lets you program up to 30 selections at a time. The system includes a dual dance extravaganza. With state-of-the- cassette deck with double -reverse, AM/FM stereo receiver, automatic turn- art sound courtesy of producer Don table, 2 -way bass reflex speakers and a 5 -band In Touch with Tomorrow Was, a rhythm track that would do graphic equalizer. The Toshiba System V-11. It TOSHIBA dance -rock Wunderkind Nile Rodgers not only sounds great, it even takes requests. Toshiba America Inc.82 Totowa Road. Wayne NJ 07470 proud, and heaps of punctuating R&B guitar riffs that sound straight from the Enter No. 45 on Reader Service Card chitlins circuit, this is the most inspired arrangement and production to come across our turntable in months. Ryder as usual sings up a storm and should be credited for shining up an old chestnut with great style. Jon & Sally Tiven

Greatest Hits: Billy Joel LINFARP°"P OE tN Columbia C2 40121, two -record set. $ Sound: B Presentation: A MODEL 212 This retrospective is a reminder of 240 WAT S RMS several things. First,it shows just how BIAMPLIFIEb STEREO consistently good a songsmith and POWER performer Billy Joel has been for the CLEAN, AMPLIFIER last 12 years. It shows how very fine a CRISP, producer Phil Ramone is, too, and how The MODEL 2121 isPOWER the first car audio product to use a PHASE much Billy has benefited from their col- COHERENT ELECTRONIC CROSSOVER making it the most laboration. Ramone's hallmark is ex- flexible and sophisticated lahamplification, expandable to a cellent, technically meticulous sound, trl-amp system. and it's evident here. Linear Power engineers developed a Phase and Amplitude Two new songs are included on the album, in order to generate some new Compliment Circuit, (PAC) that looks at and compares output signal to input and adds the inverse to make them identical which hits, I suppose. "You're Only Human (Second Wind)" addresses the trage- eliminates phase distortion. The MODEL 2121 contains a 60 watt dy of teenage suicide, and "The Night RMS per channel stereo amplifier to power the main speaker Is Still Young" is an autobiographical system and, a 120 watt RMS mono subwoofer amplifier with a reflection. PHASE COHERENT CROSSOVER that is infinitely adjustable This is an excellent hits package. between 45Hz and 200Hz. Just one consumer alert: The CD version offers a bonus, as it increases the Designs for the demanding listener ... song count from 21 to 25. Michael Tearson DeWitt Center 11545 D Avenue LINEAR"' Auburn, CA 95603 (916) 823-7891 CAR AUDIO MADE IN USA In Canada call (416) 828-1210 AUDIO/DECEMBER 1985 105

~~Enter No. 19 on Reader Service Card The Rhythmatist shows Stewart Copeland's skill with atmospheric sound, as he links Western rock with African tribal music.~~

duced The Doobies from the beginning),it has a big sound with a hot mastering job thatreallyhits hard. Nearly any record that follows No Lookin' Back onto my turntable sounds puny by comparison. The tracks have a lot in them, adding up to a full, sophisticated sound. They get better the louder you play them. The album starts with the title track, a hard -charging, aching song that immediately charmed me. While nothing else quite matches the lead-off's ur- gency, other songs have other kinds of appeal. This is one classy album, with The Rhythmatist: Stewart Copeland rock and African tribal music, Cope-solid songwriting buttressed with ex- A&M SP 5084, $8.98. land neatly dovetails the two forms in a cellent instrumental support, especially few songs. In "Gong Rock," the call from the exemplary rhythm section of Sound: B Performance: Band response of tribal voices sets theJeff Porcaro and Willie Weeks. From Documenting theprimalrhythmicpace and forms the song's core, which the hard charge of "No Lookin' Back" secrets of African tribes must haveis built upon by a loping lead guitar. to the sweeter, softer touch of "Any been thrillingfor Stewart Copeland, It's amazing how Copeland can turn Foolish Thing" and "Our Love," they who helped push an extended rangevirtually anything into an instrument ofare the base upon which the album's of acceptable rock rhythms into therhythm. In his hands, voices, synthe- sound is built. pop mainstream. The purpose of hissizers, strings and birdsong allrein- This album figures to wear well over pilgrimage, charted on this album, wasforce the pulse. Even his articulatetime; it's the kind you like more and to discover patterns of rhythm-fromacoustic guitar sound is percussive, more as you get to know it. Class acts the cycle of life he observed on thewith no sustain leaking through. Hework that way. Michael Tearson Serengeti plains to the modern Africandemonstrates how rhythm can usurp pop form known as lingala-and to linkthe role of melody on songs such asA Secret Wish: Propaganda them with his own Western sensibility"Coco," where the shifting balance ofZTT/Island 90288-1, $8.98. to show the universality of the Beat. patterns set forth by the players' dy To the recorded drumming andnamics catches the listener's attention Sound: B Performance: A chants of the tribes, Copeland says hemuch more than variations in pitch. Intellectualismisa risky enough "couldn't help but add some drums of Although the recording is quite clearstunt without trying to put it onto vinyl. my own, and a little electric guitar." Hisand cohesive, perhaps the greatest But these crazy guys 'n' gals of Propa- additions also include sundry key-compliment that can be paid to theganda-so serious! So Hegelian! So

boards,percussion, and computer -composer/player/producer has noth- . . . so . . . melodic and lyrical. You at generated sounds. But the marks ofing to do with technical acumen. It'shome shouldn't attempt this on your high technology are invisible here;often impossible to distinguish Cope - own; these folks are professionals. So most of the instruments were recordedland's drumming from that of the Afri- much so that by the time you finish dryly, without effects. can tribesmen, which means that hislistening to A Secret Wish, you'll be This album, also a soundtrack,understanding of these rhythmic rootshumming the dialectic. shows Copeland'sskillwith atmo-goes beyond what was captured by spheric soundscapes. He draws fromhis tape recorder. Susan Borey an extensive range of notes, blending the brittle high end of cymbals withNo Lookin' Back: Michael McDonald very low, near -subsonic bass or syn-Warner Bros. 25291-1, $8.98. thesizer tones, especially on "Brazza- ville," which opens with tribal chantingSound: B Performance: B and lumbers off into one of several Every one of The Doobie Brothers'

lingala collaborations with Ray Lema, asongs I like was written by Michael musician from Zaire. On "Kemba,"McDonald and sung in that sexy, hon- Copeland uses the lingala form toey -and -smoke voice of his. After The stretch his reggae sense a few stepsDoobies broke up, Michael did well further;amidst typical calypso key-with his first solo album, I Keep Forget- board rhythms, he punches up andting, although it left me cold. around the beat to produce an even No Lookin' Back, his second effort, more sprightly, insistent pattern. does more for me. Produced by Mc- To cement his linkage of WesternDonald and Ted Templeman (who pro -

106 AUDIO/DECEMBER 1985 Now obviously, very few bands are adept at turning a thesis into an antith- esis and letting you savor the synthe- sis,not to mention the synthesizer. Even more amazing is that this German quartet (stable -mates of Frankie Goes to Hollywood on impresario Trevor Horn's ZTT label) makes its American debut LP so accessible. Synthesizers and drum machines predominate, but they don't overwhelm. This means that voices, blues saxophones and some serious trumpets splash all the more forcefully, and producer Steve Lipson scrapes and shapes all these layers into what seems like a brooding metallic sculpture. s small untilyou turn it on. "Jewel," for instance, is that no -no of This AM 'FM stereneighs only 2.1 ounces, DIA you wort tav choice of sounds so appropriate, you here's r o:h rc small at DUlt TOSHIBA don't even notice "Jewel" is wordless the way they sound. until it's over. When Propaganda does turn its collective hand toward lyrics,it Enter No. 46 on (leader Service Card draws blood with something between a stab and a probe. "Dr. Mabuse" rein- carnates that German cinematic villain as a metaphor for what women's groups sometimes call "the allure of WATTS the rat." "P -Machinery" begins with fu- turisticsteel -town noises before as- THE DIFFERENCE. cending into a robotic world that re- Clear c em sound b gins with clean eluio-neic. EtropeanshEl.c kr owr :hat for callslie -detector tests, personal -data over 3C 9 -2ar s. And thEy*.ie made the prodec^:s of Ce E. Watt; the r cl c ice. warehouses, urine checks-not in the ImForted from Engl-&-Id. the Watts Manual Parastat II is coi.. improving future, we suddenly realize,butall Amer can sa and syste-is with around us now, here, today. impressi.te. rasults. The Parastat This concern with present realities II actually "washes" climt separates Propaganda from other, far impurities and pollutio - from records without harm' /I Mud more science-fictiony high-tech bands build-up. like The Alan Parsons Project. Propa- ganda is closer to a European Talking Heads, neither warning nor predicting but simply observing and metaphori- cally commenting. Yet the effect is almost undercut by the philosophical ramblings printed on the album sleeve. Not only did some of them show up previously on a Frankie album cover, but ask yourself: Who takes his philosophy from a record jacket? Propaganda seems strong enough

to overcome such posing, though I can't see A Secret Wish cracking AM radio. Just as well. The album's sonic depth turns its nose at the midrange, and its lyrical and musical depth turns its heel on the middle -brow. Frank Lovece Est- buted in the U.S. b4 e.,K 3 AC -3t. sues. 77 Selleck Street Eta-rford. CT O2302 C AKG Acoustics AUDIO/DECEMBER 1985 107 CLASSICAL RECORDINGS EDWARD TATNALL CANBY

~~LOST & FOUND SOUND~~

Brahms: Clarinet Quintet, Op. 115; Mozart: Clarinet Quintet Fragment, K.91/516c. The Sequoia String Quar- tet; Michele Zukovsky, clarinet. Nonesuch 79105, digital, $11.98. The big news on this record, for all Mozart fans, is the unpretentious inclusion, at the end of side two, of the first movement of another Mozart clarinet quintet, out of his very late period; this now joins the incomparable music of the "Quintetin A for Clarinet and Strings," K.581, and the equally memorable "Concerto in A for Clarinet," K.622. This fragment is like many an unfinished work, complete up to the development, the beginning of the second half. The music has been completed, admirably and faultlessly, by Robert D. Levin. This was possible because most of the necessary material was already there, by the very nature of the Mozart -period musical construction, the "sonata form" that domi- ozart was often Beethoven -like (with - years of our business. This, too, is the nates much of the music of that time'Lit knowing it,of course) in his lastessential, very late work of a master, and later. seriod-rather, Beethoven was Mo- since (curiously) Brahms, too, discov- The musician who finishes the job, of art-likein the following years. Bothered a favorite clarinetistinhislast course, must be consummate in his en followed the august precedent ofyears and composed a burst of music hearing of the Mozart idiom, not merely ranz Joseph Haydn. for him, just as Mozart did. The near - the style (as in too many supermarket This "new" Mozart, then, can be tak- impressionism of this work-as near as Mozart imitations!) but the exactingen as 99% the real thing. Those few Brahms could come to that French idi- means of construction, the keys andwho may carp are merely jealous, I'd om-is not emphasized by these play- the sequence of ideas, the use of thesay. As the somewhat ponderous mu- ers; itis more matter-of-fact, less mor- instruments. Astonishingly, Mr. Levinsicological evidence now suggests, it bid. No criticism! There is room for a did this work as part of his undergrad-is evidently later music than even AI - warm, relaxed, less frowning interpre-

uate music thesis at Harvard. Talent, red Einstein, the re -evaluator of the tation. I liked it. even genius, flourishes at all ages and ozart catalog back in the '30s, decid- This is no speaker -buster disc. But in all specialties! -d when he assigneditthe new for those who want both splendid mu- What Mr. Levin had to do came in .516c. Anyone with a Mozart ear will sic and splendid engineering, tops in two parts. He had to write a develop- now it in a moment. This is from those both fields, this is it. Digital-and let us ment section, the central moving -keyriceless last months of Mozart's life, hope it will be out in CD soon. portion of the structure, not long but:long with The Magic Flute, the Mason - furnishing contrast for the return to the c music, the music for mechanical beginning. Then he had to reorder the lock, and more. Lukas Foss Baroque Variations: Mu- opening (exposition) section so that Michele Zukovsky is a warm and hu- sic of Bach, Scarlatti, Handel. The the second idea comes not in the dom- an clarinetist, neither too "romantic" Buffalo Philharmonic conducted by Lu- inant key, F, but in the "home" key of B or of the hard and squealy school kas Foss; Baroque ensemble conduct- flat. Not really difficult for the mind that.ften heard today. She presides at theed by Joshua Rifkin; John Finney, or- hears that kind of music. In this case, os Angeles Philharmonic, plays plen- gan; Sergiu Luca,violin; John Gib- Mozart wrote out three measures of the y of modern music, and clearly under- bons, harpsichord. development on the last existing page.tands the classics, too. The Sequoia Nonesuch 71416, $5.98. (more may have been lost), indicating..tring Quartet is similar. In the Mozart, This is a rebottling of a wonderfully exactly what idea he was going to use he first violin is occasionally a bit wa-fizzy 1960s extravaganza, out of the subsequently, before returning to thevery, sort of fading in and out, but it well -remembered timesof Happen- opening key. Thus, the gist of Mr. Lev-oesn't seem to matter. ings, Woodstock, sing-ins-don't think in's work was already in hand-again, Brahms? Well, of course!Itis the that pop music was all of it! Mod clas- for the ear that can understand. His ain part of this recording and a major sics were just as wild and zany, from development is perhaps a bit Beetho- ew addition to a celebrated recorded John Cage & Co. to Lukas Foss. It may venish in the sequence of keys, but epertory going back to the earliest seem distant already, but that was a

108 AUDIO/DECEMBER 1985 time of real breaking away in every area. Even the normally stodgy pro musicians concocted a name for it- aleatoric. A professorial way of saying that you made it up as you went along; what happened was (maybe) pure chance. The "pure chance"inthis Foss music looms mightily, butitis very well calculated, let me tell you. The performance,ofcourse,is unique-it could never be done quite the same again. Hence this reissue of the only "score," the actual sound of that performance! Odd role for the art of recording, at least among the supposed classics. Foss takes three well-known Ba- roque pieces, fortuitously by the three 1985 300th -birthday composers (why else reissue the recording?), and plays 1960 games. He "erases" much of the Handel, writing out small notes which the players are to bow but not actually play-except here and there, faintly. He adds weird echoes of the music in the typical mod sounds, including chimes, as well as macabre disso- nances. Yet throughout, if one knows that Handel piece, it can be heard, in and out-as though doors were being opened and closed in a large recording studio, emitting familiar bitsof sound, mixed with other bits at random. Could anything be more typical of our century? Or, if you wish, imagine the haphazard turning -up and turning - down of volume controls on the com- WHERE EVER WE LOOK in Jack Daniel's ponents in a large hi-fi store. Then there is Bach's familiar "E Ma- Hollow, there's a bit of Christmas in the air. jor Prelude" for solo violin, and its rein- carnation by the old composer as an orchestral intro, with organ, to a large-Jack Bateman (he's the boss of our rickyard) is scale cantata, complete with trumpets and drums. Old Bach could turn any- getting a nice gift from two of his barrelmen thing into anything else (so why shouldn't we?). The "Prelude" gets afriends. And if we know Mr. Bateman, he's got marvelously complicated Foss treatment. Fragments of the Bach are flung a gift for them somewhere around in the wildest, zaniest confu- close at hand. It's just sion and yet the old piece is always audible somehow or other. This is the another sign that the ending segment; it could be a sequel to Ravel's "Bolero." But here the con- Christmas spirit has ductor (and composer,of course) ...UR MIAS. points at random, aleatorically, to thisarrived. And, no matter WHISKEY 80-90 Proof Distillei&Bottlei group of players and that, who read Ey Jack Daniel Distillery Lem Motloo Prop. Inc., bits off a "Bach sheet"-no score. It is where you live, we hope Lynchburg, Tennessee beautifully calculated for a sense of o (Pop 36:) 37352 ordered total destruction! What else, in you've got it, too. our times?

~~AUDIO/DECEMBER 1985 109 CHARCOAL MELLOWED DROP BY DROP This recent work from William Schuman is more uncompromisingly complex and dense than ever, very dissonant and full of dry, academic syncopation.~~

Between these Handel and Bach mayhems comes a gentle Scarlatti so- George Crumb: A Haunted Land- nata for harpsichord, heard offstage, scape; William Schuman: Three Col- which the annotations fail to say is the loquies for Horn and Orchestra. The "Cortege" sonata once made famous New York Philharmonic, Arthur Weis- by Wanda Landowska, the first harpsi- berg and Zubin Mehta. New World NW 326, digital, $9.98. chordist of modern times. I was brought up on the glories of that pro- New World is no small label, though cessional music, and still own a it is of the sort that depends on grants (cracked) 78 -rpm Landowska record- from allover. This company is very ing made in Paris. Lukas Foss under- much in the Lincoln Center and Juil- stands and is affectionate, for all theit as the same music. Harpsichordist liardleague, the high -prestige Per-

tomfoolery going on. I lovedit.TheJohn Gibbons' Scarlatti is also poetic,forming Arts milieu, and it already has faint tingle of the original music off-seeming to deny the "Cortege" ideasome hundreds of releases, a large stage is a marvelous effect. entirely, though a valid performance onpart of them in the nonclassical "Amer- Alas, Nonesuch's bright thought inits own. And the gentle Handel is icana" area. You will note the participa- this reissue was to devote side two toplayed in a series of shapeless waves,tion not only of the New York Philhar- the original music-Bach (two ver-minus melodicline,by Rifkin's Ba-monic but of its present conductor, Zu- sions),Scarlatti, and Handel. A fineroque ensemble. bin Mehta; also note the fact that Wil- idea, but the result is a shambles, a It should be noted that these record-liam Schuman has been president of ghastly mismatching. The Bach canta-ings, spread out from 1967 to 1985,both Lincoln Center and Juilliard. So- ta opening is played outrageously fastare remarkably equal in sonic quality,as an audio person you can take it or in a ham-fisted, bang -bang mannerthe best perhaps being the earliest, the leave it.

under conductor Joshua Rifkin, but theFoss variations. That shows where the I suggest you take it,if only for the violin solo by Sergiu Luca is poeticallyindustry has been these last years,George Crumb, on side one. This com- Romantic. You will scarcely recognizedigital or no. poser is a well-known sonic radical of

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~~Enter No. 27 on Reader Service Card George Crumb's wispy traces are stunningly contrasted with sounds that explode like cannons. Phew! What a recording.~~

the provocative sort-what a man forsounds. I have never heard fainter thanto. It is enormously competent in every sounds! And they are beautifully re-here (on an absolute acoustic scale, of technical sense but somehow chilly corded here. Now George, one of yourcourse), but these wispy traces areand academic -10 symphonies, for in- tricks here is really provoking to anystunningly contrasted with sounds that stance. But in this mature and recent audio fan! Outrageous, indeed. Whatexplodelikecannons-they'll blowwork-the man is 76-could there be a is that faint sound I keep hearing all theyour audio mind and perhaps your skillful mellowing? It often happens. way through? Don't tell me-my hi-fi isspeakers, too. Phew! What a recording If so,I do not hear it. This music is acting up again? Worse, isit possiblejob. Only digital,I expect, could have more uncompromisingly complex and that New World's engineering hasdone it quite so faultlessly.I found this dense than ever, extremely dissonant slipped? A 60 -cycle hum? From start toall -acoustic piece remarkably interest- (though ending on a near -platitudinous finish. ing in recorded form, though apparent-batch of plain old chords) and full of You know what it is? This devil com-ly that was not the thought; it is a con- the same dry, jazzy, academic synco-

~~poser has set up two acoustic double -cert piece. I liked the expert but fairly pation that has dominated so much~~

bass players who alternate and over-simple and open organization, and I professional composing hereabouts. lap, first one and then another, to de-was fascinated by the extremely faint Not necessarily a criticism,I'll admit. liberately produce a continuous 60 -cy-sounds, so nicely audible-even via aThose who approve of such music will cletone throughoutthispiece.(very quiet) LP-and neatly located atnot find it lacking, but I couldn't keep it. Howzat? Haven't I always said thatvarious distances in space. Georgemy mind on Lincoln Center elite, "classical" music was bound to bor-Crumb may write "live"; nevertheless, that's what I heard. row, sooner or later, from the new elec-he has the ear for our kind of sound. Moreover, there is in this music ab- tronics? Well, there's nothing like start- William Schuman has always been solutely no hint of other than straight ing at the bottom. what you might call a musical achieverconcert -hall composing. Recorded Actually, there is much more, and toand long ago achieved just aboutmusic? What's that? As usual, the engi- interesting effect. Crumb's idiom hereeverything, as a composer and a big- neers have done nobly to transfer that borrows a lot from old Edgar Varese,time administrator. Frankly,I have nev- sound to these grooves. But the but Crumb tends toward very fainter found his earlier music easy to listenGeorge Crumb transfers a lot better.

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~~ELECTRONIC TONICS~~

Structures from Silence: Steve Michael Stearns Roach Fortuna Records FOR-LP024. (Avail- able from Fortuna Records, Box 1116, Novato, Cal. 94948.) Sound: B Performance: A - M'Ocean: Michael Stearns Sonic Atmospheres 109. (Available from Sonic Atmospheres, 14755 Ven- tura Blvd., Suite 1776, Sherman Oaks, Cal. 91403.) Sound: B Performance: A Mosaic: Richard Burmer Fortuna Records FOR-LP025. Sound: B Performance: A+ There was a time when most creative electronic music was coming out of Europe. Tangerine Dream, Klaus Schulze, Jean -Michel Jarre, and Van- gelis seemed like emissaries from another world of sound. Their synthesized excursions often fell under the rubric of "space" music because oftured immeasurably since his 1977 LP Mosaic issubtitled "Electronic Vi- their electronic instruments and sci-debut, Ancient Leaves. That record's gnettes," a phrase that gives no indi- ence -fiction imagery. monochromatic drones and added cation of the broad scope of Burmer's Now in the 1980s we have a surge ofnatural sounds only hinted at the depth music. True, he doesn't work in the electronic music in the United States.of his more recent work. extended forms of Roach and Stearns, Here it oscillates under the banner of M'Ocean (as in "motion") was origi- but rather compacts it all into a briefer New Age music, but the same ele-nally released as the cassette Light - time span. These aren't vignettes, ments are present: Lengthy composi-play, but it's been digitally remixed and they're miniature symphonies. tions, sequencer -derived ostinatomastered for CD and LP on the audio- In "Physics," Burmer creates a man- rhythms, new sounds, and cosmicphile Sonic Atmospheres label.It ac- dala of metallic cycles that suddenly themes. There are hundreds of Newcentuates the depth of "Marriageexplodes in a rush of whispering Age artists and thousands of their re-Chords," composed for Stearns' own voices and thudding bass chords. Just cordings. Just breaking the water'swedding and a long way from "Here as suddenly, it returns to the peace of surface are California musicians SteveComes the Bride." Rather than a walk the mandala as if the chaos was only a Roach, Michael Stearns and Richarddown the aisle, this sounds like a step brief rupture in time. Burmer, who are united in an aestheticoff the edge of the world. Based on a Burmer is a master of modern syn- that brings warmth and expression tosimple, four -chord progression,it thesizer technology, including the deft synthesized keyboards. growsinintensity with sympathetic use of the Emulator, an instrument that Steve Roach's Structures from Si-overtones, synthesized cascades and digitally records natural sounds so that lence is like riding the perfect wave ingrumbling eruptions.It's a harrowing marimbas, percussion, and flutes all slow motion. Though his last album,yet ennobling performance. emerge from his keyboard. On "The Traveler, was a high-energy, sequenc- Both Roach and Stearns seem toHill" he takes an uncanny flute solo er -rhythm foray, Structures operatesslow down time. Their music evolves that's filled with nuance. The spacious on a more meditative level. The side-rather than changes. The pristine cy-dynamic range of the recording pre- longtitlepiece has the lumberingcles of Stearns' "Lightplay," the MObi- sents a contrast between the Emula- movement of the earth's rotation asus strip patterns of "Fireflies Delight," tor's natural flutes and the smoky flute Roach builds a methodically directed,and the symmetry of "M'Ocean" have choirs of the hoary Mellotron. inward spiral of sweeping chords. Hiswithin their layers subtle variations and On "The Serum" he pulls out all the "Reflections in Suspension" is a heroicaudio treats. stops. An explosion and screaming threnody. As if sculpting liquid, Roach Richard Burmer, on the other hand, voices send you careening on a roller carefully shapes his sounds into acompresses time, filling each moment coaster of voodoo electronic rhythms stately crescendo for an eternal dawn.with a carnival of sights and sounds. and clanking melody. Arabic flutes Michael Stearns also operates onHis LP, Mosaic,is one of the mosttwist in the background while voices the panoramic scale of Roach, but withimpressively conceived debuts I've whisper in your ears. There is another more sonic detail. His music has ma-ever heard. explosion, then peace and the calm of

~~114 AUDIO/DECEMBER 1985 It leaves nothing to be desirec.~~

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Meets a pulsing rhythm and sustained strings. Voices weep as in the after- math of a disaster. But hold on, be- Ribbon cause another explosion sends you off on a stalking sequencer line with Den- nis Baglama wailing an avenging saxo- phone solo. So much New Age music mistakes harmony and atmosphere for medita- tion and substance, but Burmer is not afraid to bring some aggression into his tone poems. "The Serum" is cathar- tic, yet it makes the quiet calm of "Win- ter on the Wind" and "Under Shaded Water" all the more soothing. The ele- ment that sets all of these artists apart is a maturity of vision and experience that goes beyond the wide-eyed won der and rhetorical pablum marring so cord at all in two years, still displays his much of the New Age. Steve Roach,flying fingers, but the music is quite Michael Stearns, and Richard Burmer different from the flashing fusion that are creating the instrumental sound- his name brings to mind. tracks of an era. John Diliberto Cielo e Terra is a quiet, reflective album, definitely a change of pace for Unaccountable Effect: Liz Story the veteran of Chick Corea's best edi- Windham Hill WH-1034, digital, $9.98. tion of Return to Forever. Here he plays acoustic guitars and Synclavier guitar, Sound: B Performance: A upon which he synthesizes the album's The second Windham Hill album ofvoice effects. Of the nine selections, In 1972, Magnepan received a patent Liz Story's piano music is a wonderful four are solos, two are duets with him- on a full -range, planar/magnetic type piece of work. Her compositions and self (via overdubbing), and the others of loudspeaker which became the most performances radiate a warm friendli- feature Di Meola on his various guitars ness, and the selections become old successful esoteric speaker in the with Airto Moreira supplying percus- friends quickly. As on Solid Colors, her sive effects.Itis true that Di Meola's history of high -end audio. Other com- excellent debut album, her music is for technical mastery receives its share of panies have introduced speakers with solo piano, but there are two devi- display space, but what really endears similar drivers (sometimes called "rib- ations. At the album's open, Markthe album to me is how much heart (sham adds airy synthesizer effects toDi Meola has been able to invest in the bons"), but Magneplanars', with over the title track, and on the finale, "Deep- music. This is most evident in the si- 100,000 sold, remain the choice of er Reasons," Story and Bob Conti addlences. Playing fast is one thing; it al- audiophiles. percussion. ways works as a crowd pleaser. How- Then, in 1982, Magnepan received The sound is as excellent as Wind-ever,to be effective when playing ham Hill sound almost invariably is. All slowly, you must play from the heart, a patent on a true, line -source ribbon solo pieces were recorded direct to and Di Meola shows more of that than speaker. The combination of these two digital two -track; the other two were he ever has before. The cover photo of technologies, as shown above in the done on digital multi -track and mixed desert, rocks, and sky is a perfect indi- to digital two -track. Though digital re- Magneplanar MG -111a, reconfirms cation of the coloring of the music cording has been known to give piano found inside. Magnepan's position as innovators of a brittle, almost metallic sound, the pi- Coproducer/engineer David Baker audio products. ano sound here is naturally woodenhas done a wonderful job on Cielo e Send a postcard to Magnepan for and resonant. Terra. The soundisluminous and Unaccountable Effect is one lovelywarm, and his miking has brought out an assortment of reviews. album. Michael Tearson the richness of the classical guitars which Al is using. Cielo e Terra: Al Di Meola Al Di Meola's guitar technique, al- Manhattan ST -53002, $8.98. ways undeniably masterful, wedded to III MAGNEPAN soulful playing and lovely sound, has Sound: B Performance: A 1645 9th Street made this a very satisfying album, one White Bear Lake, MN 55110 Al Di Meola's first album for EMI's thatI expect to play a lot. new Manhattan label, his first new re- Michael Tearson See dealer listing on page 131 116 AUDIO/DECEMBER 1985 Enter No 21 on Reader Service Card . theMt I ntoshhas the best sound yet of any COMPACT DISC PLAYER..." McIntosh has earned world renown for its technological contributions for improved sound. Wher you buy a McIntosh you buy not only HIGH TECHNOLCGY that leads to superior sound reproduction, you buy technological integrity proven by time. The McIntosh Compact Disc Player is the newest evidence of McIntosh technological integrity. For more information o the McIntosh MCD 7000 Compact Disc Player anal other industry -leading McIntosh products write:

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If the first of the month falls on a ACOUSTAT AND PS AUDIO-SUPERB! nization, Watts. Single Speaker Demonstrations Exclusive- weekend or holiday, the closing date is the last busi- Free shipping! Fast service! Also Sota, Thorens, Talisman, ly. Call for details. (415) TO MUSIC. ness day preceding the first. ADS RECEIVED AFTER Audire, Hafler, Klipsch, Adcom, Quad, SAE, Compact Digi- THE CLOSING DATE WILL BE HELD FOR THE tal Players. READ BROTHERS STEREO, 593 King Street, Charleston, South Carolina 29403. (803) 723-7276. NEXT ISSUE UNLESS OTHERWISE STATED. A BRAND NEW PRODUCT! FREQUENCY DISCOUNTS -3 times less 5%, 6 times less 15%, 12 times less 20%. These discounts apply to ALCHEMIST & TALISMAN MOVING COIL CAR- line ads only. Ads submitted for a three -time frequency TRIDGES. MOST MODELS IN STOCK. CALL TOLL -FREE WONDER are unchangeable. Frequency discounts not fulfilled FOR ORDERING AND PRICES. 1-800-222-3465. WE will be short -rated accordingly. Agency discounts do CAN'T BE BEAT! HCM AUDIO: 1-916-345-1341. VI- not apply to line advertising. SA/MC/COD SOLDER THIS STUFF IS MAGIC! It even improves the sound of all BLIND ADS-Audio box numbers may be used at $8 NAKAMICHI, CARVER, REVOX, CROWN, BANG & the old solder joints in your system. Write for FREE infor- extra for handling and postage. OLUFSEN, TANDBERG, KYOCERA, N.A.D., THORENS, mation on our Wonder Caps® and Wonder Solder.. GENERAL INFORMATION-Ad copy must be type- HARMAN-KARDON, B & W, E -V, kD.S., DCM, KLIPSCH, TRT, Box 4271, Berkeley, CA 94704 written or printed legibly. The publisher in his sole AND OTHER QUALITY COMPONENTS. BEST PRICES - discretion reserves the right to reject any ad copy he PROFESSIONAL CONSULTATION. ALL PRODUCTS deems inappropriate. ALL ADVERTISERS MUST COVERED BY MANUFACTURER'S USA WARRANTY. AMERICA'S LARGEST dealers in HIGH END USED ste- SUPPLY: Complete name, Company name, Full street AMERISOUND SALES, INC., P.O. BOX 24009; JACK- reo. We BUY by PHONE. STEREO EXCHANGE 687A Broadway, between 3rd and 4th St. (opposite Tower Rec- address (P.O. Box numbers are insufficient) and tele- SONVILLE, FLORIDA 32241. EAST: (904) 262-4000; ords) NYC 10012. (212) 505-1111 and (800) 833-0071. phone number. Classified LINE ADS are not acknowl- WEST (818) 243-1168. edged and do not carry Reader Service Card Num- bers. AGENCY DISCOUNTS do not apply to line advertising. FREQUENCY DISCOUNTS not fulfilled will be short rated accordingly. Only those advertisers who have prepaid for their entire contract time will be RATE PROTECTED for the duration of that contract, in the WHAT MAKES THE NEW SYRINX LE -2 event of a rate increase. TONEARM SPECIAL? CLASSIFIED DISPLAY RATES A cigar profile non -resonant arm tube. 1 col a1 inch $295 1 col a 2 inches $465 VTA, azimuth and alignment are fully adjustable. 1 col x 3 inches $666 The collet -mounted detachable headshell is more 2 cols. x 1 inch $530 2 cols. x 2 inches $895 rigid and more adjustable than a bayonet mount. One column width is 21/2". Two columns wide is 41/4". The calibrated arm pillar for repeatable For larger display ad rates and 6, 12, 18 and 24 times VTA settings. frequency rates call (212) 719-6338. The graduated bias is linear across the record DISPLAY ADVERTISERS should make space reser- surface for improved tracking and transparency. vation on or before the closing date. Ad material (film or velox) may follow by the tenth. DISPLAY ADVER- The calibrated, locking counterweight couples TISERS MUST SUPPLY COMPLETE FILM NEGA- over a wide bandwidth for better energy transfer. TIVE READY FOR PRINTING OR VELOX. PRODUC- TION CHARGES WILL BE ASSESSED ON ANY AD High quality, specially -purified internal wiring. REQUIRING ADDITIONAL PREPARATION. A suggested retail ALL DISPLAY CORRESPONDENCE should be sent of only $400. to: Laura J. Lo Vecchio, AUDIO MAGAZINE, Distributed by Syrinx 1515 Broadway, New York, NY 10036 FOR ADDITIONAL INFORMATION: CLASSIFIED ASSEMBLAGE LINE ADS: Mary Jane Adams-(212) 719-6345. P.O. Box 815, Branford, CT 06405 (203) 488-8099 CLASSIFIED DISPLAY ADS: Laura J. Lo Vecchio- Meitner Audio Miyabi Koetsu (212) 719-6338

118 AUDIO/DECEMBER 1985 FOR SALE You may be damaging every record you play... Quality Tapes ARLO,/ WHO PRICSS ...if you haven't replaced your stylus V10190 APPALLING? ISN'T IT? TOM MAXELL TI76 1-120 4.49 How many esoteric audio products look and feel as if (needle) in the past year. D 60 85 UR 60 New 99 TD6 T-120 FAG 5.99 they were made by orangutans with screwdrivers. If you D 90 99 UR90 New1.09 MAXELL 1-120 4.69 Finding theproper Shure replacement AD 60 1.39 00-5 II 601.39 MAX. T-120 AGO5.99 are fed up with sacrificing reliability, aesthetics and quality styli is easy. Call toll -free1-800-257-4873 AD 90 1 59 UD-S II 90 1.69 MAX T.120 GOLD7.99 of construction to obtain purer sound, don't despair! SA 60 1.39 XL II 60 1.59 SONY 1120 . 4.69 (Illinoisresidents call1-800-624-8522) 5A90 195 XL II 90 199 SONY T120 UHG .5.95 There are many high -end audio components built by ADO 60 2.09 XL IIS 60 2.19 SONY 1750 . 4.69 small yet solid professional companies which not only ex- for the location ofyour nearest Shure ADO 90 129 XL IIS 90 . 129 SONY 1750 UHG5.95 press the utmost in musicality but also reflect the high level Stylus Replacement Center. Your dealer SAX 60 /19 MX 60 3.39 SCOTCH T120 4.99 of design integrity, craftsmanship and quality control. At SAX 9C 2.39 MX 90 3.69 SCOTCH 1120 HG6.49 will show you a stylus that's precision HXS 60 3.39 UD 35-90 4.89 Sound By Singer we select and blend only such compo- HXS 90 399 XLI35.9066.39 PUJI designedto maximize the sound of MA 60 3.49 FR METAL 90 3.39 nents into systems designed to extract the most music from SONY FR 1190 1 75 your audio dollars. your system. MA 90 3.99 14F 60 .75 MAR 6D 4.69 HE 90 95 DISCW Call today. Don't let a great record MAR 90 5.75 HE 120 .. 1.59 29.95 ACOUSTAT ADCOM AKROYD APOGEE AUDIO - collection go to ruin. TAC HES 90 ....1.69 DISCSET 14_49 QUEST AUDIO NOTE AUDIO INTERFACE AUDIO CDC 90 2.99 UCOS 60 1 65 D'MAG 12.49 VOIS B&K BERNING BEVERIDGE COUNTER- SHURE® CRC 90 3.29 UCOS 90 1.75 TAPE CARE 9 49 POINT CWD DYNAVECTOR FUSELI ER GRACE CALL MOW 71R-434-3417 OR AV MAIL SHIPPING COST IS ONLY $4 50 FOR ANY ORDER IN USA GRADO KISEIKI KLOSS KOETSU KRELL LINN NSTITUDONAL ORDERS WELCOME NO EXTRA CHARCE FOR VISA MC SONDEK LIVEWIRE MC LAREN MONSTER CABLE NAIM AUDIO NITTY GRITTY NOVAK NYAL QUALITY (MOSCODE) PRECISION FIDELITY PRO,,C PRO- SUlast RA Streit, Dept. A12, Ilnrokbl, NY 11238 TON RANDALL RESEARCH RAUNA REGA ROB- ERTSON SNELL ACOUSTICS STAX SYMDEX FOR SALE SYRINX TALISMAN

SOUND BY SINGER ATTENTION MAGNEPAN OWNERS -Coming in January 165 E. 33RD STREET for your Magneplanar speakers: a family of refinements New York, NY 10016 that couple Silicon Valley technology and audiophile sensi- HIGH PERFORMANCE AUDIO KITS (212) 683-0925 bilities. The results transform your "Maggies" into a speak- WE SHIP ANYWHERE er system that will amaze you. At a cost that won't bankrupt *Enjoy Surround Sound at home.. you. For information writeto: TOPOLOGY, P.O. Box P -250 -DL $249 assem/$179 kit AT LAST, A HI -END AUDIO SALON IN RI! B&K, NYAL 13038, Oakland, CA 94661. * Reduce tape noise 30 dB Moscode. Futterman OTL, ROTEL, Superphon, SOTA, P -522 -NR $139 assem/$79 kit Systemdek Eminent Technology 2, Premier-MMT, Profile, AUDIO BASICS CLAREMONT, CA Call or Write for a FREE full line catalog SUMIKO, Talisman, Andante, Dayton Wright, Spectrum, LINN, NAIM, CONRAD-JOHNSON, PS AUDIO, ROTEL, PHOENIX SYSTEMS Dept 302 MX &VISA Spica, Vandersteen, Wharfedale, StraightWire, Peterson, SUPERPHON, JSE INFINITE SLOPE, ROGERS, P.O. Box 338-B (404) 934-9626 Tweek and Tiptoes. FREE NEWSLETTER, TRADES, VI- QUATRE, SYSTEMDEK & MORE!! Send stamp for list, Stone Mtn ,Ga 30086 add $1 for First Class SA MC. OCEAN STATE AUDIO, 985 Cranston St., Cran- including demo & used SPECIALS!! 976 W. Foothill, #139, ston, RI 02920. 401-943-2580. Claremont, CA 91711. (714) 593-9946 or 593-1411.

ATTENTION: BERNING, SOTA, AR TURNTABLE, AU- DIOQUEST, PETERSON, STRAIGHTWIRE, DYNAVEC- TOR, KOETSU, SHINON, ELECTRON KINETICS, AUDI- BLE ILLUSIONS, ALPHASON, STAX, SPECTRUM, SAEC, MCINTOSH, FULTON, MONSTER, WALKER, rinoGEE MCOUSTICS, INC. MOSCODE, GOETZ, OTHERS, TRADES, COD. (713) 728-4343, MAURY CORB.

ATTENTION SAN JOSE AUDIOPHILE!! PS Audio and Adcom GFA-555 are available through Presto Audio: (408) 374-0292. Definitive Stereo- Southern Style! Apogee Mark Levinson Audionics Meridian Audio Research N.A.D. Bang & Olufsen Nakamichi Cello Nitty Gritty Duntech Phase Technology Entec Polk Audio Goldmund Quad Janis Rega KEF Signet Linn Spectral McIntosh Stax Magneplanar Yamaha Factory Authorized Service Consultation, Design and Installation Quality Stereo and Video Cabinetry On -Location Master Recording Service DESIGNERS & MANUFACTURERS OF THE WORLD'S FIRST FULL RANGE RIBBON SPEAKER SYSTEM BRING YOU OUR THIRD GENERATION SPEAKER: "DUETTA" audition EXPERIENCE RIBBON TECHNOLOGY WITH ITS ABILITY TO REPRODUCE 2829 18th Street South MUSICAL CLARITY AND SOUNDSTAGE OVER THE ENTIRE AUDIO SPECTRUM. Birmingham, Alabama 35209 CONTACT YOUR HIGH END DEALER OR WRITE: (205) 870-3554 Tues., Thurs.: 10-8; Wed., Fri., Sat.: 10-6 rlflOGEE ricousTics, INC. 35 YORK AVE., RANDOLPH, MA. 02368, TELEX 928121 APOGEE RAND

~~AUDIO/DECEMBER 1985 119 Listen to the Music! FOR SALE~~

AUDIO CONNECTION in Northern New Jersey TURNTABLES: Goldmund, Heybrook,Merrill, VPI, Systemdek TONEARMS: ET, Grado, Lurne, MMT, Well Tem- High Gain -Low Noise -Great Sound pered CARTRIDGES: AudioQuest, Decca, Grado, Pro- GK -1 methean (stylus retipping for all cartridges) A Vacuum tube preamp priced under $1200 ELECTRONICS: (TUBE) Audible Illusions, Me- Call or write for information: los, MFA Systems (Luminescence). Quicksilver (SOLID STATE) Electrocompaniet. FM Acous- tics, Jordan, Leach, Magnum, British Fidelity MELOS CD PLAYERS: Melos Audio, Harman Kardon ilinumilimuounabiummiffintioutimmuuur SPEAKERS: Kindel, Princeton Acoustics, Rauna, mgmamiammummig...73, 723 Bound Brook Rd. Dunelien NJ 08812 Spendor, Vandersteen (201) 929-2613 ACCESSORIES: Goldmund, LiveWire, Last, Kin- ergetics, Kimber, NG, Peterson, Sims Vibration Dynamics, Sonex, Tiptoes, Torumat, Tweek, VPI 1-201-239-1799 FOR SALE 615 Bloomfield Ave., Verona NJ 07044 AUDIO CONNECTION also has for sale: occasional close-outs, some used equipment and display pieces. AUDIO ELITE IN WISCONSIN!!! Single speaker demonstration; record cleaning; audio- REGA turntables reflect a DENON, CONRAD-JOHNSON, HAFLER, BELLES, VAN- phile discs. HOURS: Mon, Tues, Fri 12 to 7, Thurs 12 splendidly simple British DERSTEEN, ACOUSTAT, SOTA, PS AUDIO, BOSTON to 9, Sat 11 to 6. Closed: Sun, Weds. PLEASE, CALL ACOUSTICS, MIRAGE, PROTON, JBL and any others you FOR AN APPOINTMENT! design philosophy: use only desire. 414-725-4431. Menasha, WISCONSIN. what is necessary & make it AWESOME NEW MODEL YAMAHA: B2X AMP AND C3X of the highest quality. The PREAMP, perfect. $1500. Also, SONY 501ES PCM, never result is a handsome source AUDIOPHILE START used, $350, and YAMAHA CD -X1, $250. All $2000. Write: Michael Mason, Box 367, A.P.O. San Francisco, CA of beautiful music, at a UP SYSTEM 96328. proper price. ($800) You are invited to hear your Turntable: Dual 505 MK II BEAT THE PRICE FIXERS WITH low discount prices and full U.S.A. manufacturers warranties on: Nakamichi, Re - favorite recordings on a Integrated AmplifierNairn Nait vox, Carver, Bang & Olufsen, ADS, Kyocera, HK, Crown, REGA. Please address con- Speakers Wharfedale Diamonds Hafler, B&W, NAD, Tandberg, Polk. Island Audio, Inc., sumer & dealer inquiries to: SOUND BY SINGER 1122 Riverside Drive, Holly Hill, FL 32017. (904) 253-3456. 165 E. 33rd Street BEL, B&K, KLYNE, MORRISON, Dayton Wright, VPI, import audio New York, NY 10016 Ariston, Souther, Veritas, and Straightwire. Hear these and (212) 683-0925 3149 shenandoah, st. louts, other fine components at Audio Abode, Dallas, Texas. In home auditions available. (214) 369-2092. mo. 63104 314-773.1211 AUDIOQUEST, B&K COMPONENTS, LIVE WIRE, Rotel, Superphon, Pulsar Acoustics. Hickory Audio, Route 3 164A-7, Winder, GA 30680. 404-867-5414. Evenings & Weekends. BEST SOUND PER DOLLAR SYSTEM (UNDER $2100) Turntable: Linn Sondek Lp-12 The Science Of It All Tonearms/Cartridges:Linn Lux + /Basik The Absolute Sound is the sound of unamplified music occurring in real space, Integrated Amp: Naim Nait usually a large room, or concert hall, small or large. That music can be bluegrass,1=1 Tuner: Adcom GFT-2 folk, jazz, big band, or classical. It is the real thing and provides a philosophical Speakers: Linn Kans absolute, thus effectively removing a careful description of attempts to reproduce it from the subjective. It is a point widely misunderstood, even by us at first. The SOUND BY SINGER 165 E. 33rd Street basic descriptions of any given components' performance is, if scrupulously at- New York, NY 10016 tended, objective and observational. CI (212) 683-0925 The Absolute Sound, No. 34 (Summer '84) BEST TRADES OFFERED. Acoustat, AR, Apt -Holman, Issue 39 Is Out Berning Glasse, Connoisseur, Distech, Duntech, Futter- The second American audio revolution: Transparency (HP reports) ...Special Digital man, Goetz, Hafler, JSE, Lazarus, Moscode, Mordaunt- Supplement: The lowdown on CD players, why they are so bad and what the new CLI Short, McLaren, M&K, MCM, Micro-Seiki, PS, Quicksilver, generation of High End players will do to make them better; the strengths and Rauna, Revox, Robertson, SOTA, Spendor, Spica, STAX, Symdex, Superphon, Tannoy, VPI, VSP, Celestion, Hey - weaknesses of digital sound; finally, an explanation of digital you can understand, brook, and all cartridges and accessories. For honest ad- one that tells you why it can really be better than analogue and why, for now, it vice call: AUDIO DOCTOR, 1518 Commercial, Box 390, isn't; the economics of digital and how the big boys are using it to eliminate the Buffalo, MO 65622. 417-345-7245. VISA -MC. Free News- letter. small companies that still make good -sounding recordings...J. Gordon Holt reviews Church Windows; Tom MiiIler reviews arms, including the dazzling Emi- BUY -SELL quality USED MID to HIGH END STEREO nent Technology II; the high tech Luminescence preamp; a showdown between components. Instant quotes by phone. RE BUY HI FI, 3561 Homestead Rd., Santa Clara. CA. (408) 985-0344. the highly touted Meridian and Mission CD players;.1= the classic Mercury Living Presences and so much B&W 801F, TEAK FINISH, INTERNAL wiring with Monster more that we can't fit into this ad. CD Cable powerline II, can be bi-amped, tri-amped or driven with one amplifier-$2,600. Tandberg TCA-3002A pre -am- The Search Ends Here plifier with rosewood side panels, immaculate condition- To sample a single issue, send us your check for $7.50; CLI $485. Phone: (312) 343-8553, after 5:00 PM CST. to subscribe (six issues/year), send $33 ($55 in US funds for readers outside North America). You can CALL TOLL FREE 1-800-826-0520 FOR: Hatter, Dahl- fit 1 quist, Denon, dbx, 3D. Proton, Tandberg, Moscode, Belles, also call our business office at (516) 671-6342 and Oracle, M&K, Grado, Nitty-Gritty, Audioquest, Duntech, order The Absolute Sound with your Visa, Mastercard, Monster, CWD, B&W, DCM, Thorens, VSP, Stax, Grace, or Am.Ex. Astatic, Pro -Ac, Dynavector, Talisman, Snell, Tiptoes. The Sound Seller, 1706 Main St., Marinette, WI 54143. (715) 735-9002.

120 AUDIO/DECEMBER 1985 FOR SALE FOR SALE Four SimpleWays to Improve the Sound CASH for all types of USED STEREO EQUIPMENT. We EMINENT TECHNOLOGY TONEARM $365 AIR pump BUY by PHONE. STEREO TRADING OUTLET, 320 Old $90. (616) 456-6060. of Your Music York Rd., Jenkintown, Pa 19046. 215-886-1650. EXCEPTIONAL AUDIO REPRODUCTION SYSTEMS C.F. AUDIO has MICRO SEIKI turntables, SAEC and REGA, HEYBROOK, LOGIC, THORENS, AR, DUAL turn- SOUTHER tonearms and cartridges, GRADO SIGNA- tables; ZETA, REGA, PREMIER, LOGIC. GRACE tone - TURE, ENTRE and HIGHPHONIC cartridges and accesso- arms; ADCOM, ARCAM, AUDIRE, CREEK, KENWOOD ries, ORSONIC and NAMIKI accessories, COUNTER- BASIC, KYOCERA, ROTEL, SHERWOOD, VSP LABS POINT, NYAL MOSCODE and SUPERPHON equipment, electronics; FRIED, HEYBROOK, MORDAUNT-SHORT, CLEMENTS and MCM SYSTEMS speakers, HITACHI LIN- MAS, REGA WATKINS loudspeakers; TALISMAN, SU- EAR CRYSTAL speaker wire and interconnect cable. PEX, GRADO & SIGNATURE, PROMETHEAN, REGA, SPEICALS-MICRO RX-1500 Basic tt,List $895, Now PREMIER, ARCAM cartridges; AUDIOQUEST, DECCA, $695. RX-1500VG tt,List $1495, Now $1250. HIGH - NITTY GRITTY, THE PIG, LIVEWIRE and other accesso- PHONIC MC -D15 SIGNATURE cartridges, Diamond canti- ries. EARS, P. 0. BOX 658-U, W. COVINA, CA 91790. lever, List $1200, Now $895. MC -A6, List $475, Now $395. 818/961-6158 EVENINGS, WEEKENDS. MC VISA. MANY HITACHI LC twinaxial interconnect,List $5.50 ft, Now MONTHLY SPECIALS! (SEND STAMP) $4.25 ft. Visa, MC. We Ship Immediately. C.F. AUDIO, 415 W. Imperial Hwy, P.O. Box 2305, La Habra CA 90631. Phones (213) 691-0967 or (714) 871-5670. NAKAMICHI, CARVER, REVOX, CROWN, BANG & OLUFSEN, TANDBERG, KYOCERA, N.A.D., THORENS, Monster Cable's Interlink Reference A and Interlink Special HARMAN-KARDON, B & W, E -V, A.D.S., DCM, KLIPSCH, DIAMOND NEEDLES and STEREO CARTRIDGES at Featuring "Bandwidth Balanced®" Technology DISCOUNT PRICES for SHURE, PICKERING, STANTON, AND OTHER QUALITY COMPONENTS. BEST PRICES - ASTATIC, GRADO, AUDIO TECHNICA, ORTOFON, TIP- PROFESSIONAL CONSULTATION. ALL PRODUCTS Interlink Reference A® Our Finest Cable TOES, SONUS, DYNAVECTOR and LAST, send S.A.S.E COVERED BY MANUFACTURER'S USA WARRANTY. free catalog. LYLE CARTRIDGES, Dept. A., Box 158, AMERISOUND SALES, INC., P.O. BOX 24009; JACK- Design lets you Re -discover your Favorite Music. Valley Stream, NY 11582. For fast COD service Toll Free SONVILLE, FLORIDA 32241. EAST: (904) 262-4000; Interlink Reference A is recognized worldwide as 800-221-0906. N.Y. State (516) 599-1112. 9AM - 8PM WEST (818) 24301168. the best sounding interconnect available. Winner except Sunday. VISA/MC of International Audio Review's "Engineering FREE catalog -LOWEST DISCOUNT PRICES on ste- Achievement Award" and flagship of the Interlink DRAMATICALLY IMPROVE YOUR "NEW" AR reo esoteric components for home and car. Sony, Bose, TURNTABLE. We guarantee the following products to Series, Interlink Reference A sets a new standard JVC, SAE, Crown, other 'high quality' brands. Audio Unlim- for audio cable performance. The finest example improve your AR's transparency, detail and smooth- ited,12031/2B Adams, LaGrande, OR 97850, 503 963- ness or we will refund the purchase price. 5731, 10-6 M-Th Pacific time. of our "Bandwidth Balanced®" design features 1). AudioQuest Sorbothene Mat $35 3 wire networks to provide ultra -wide bandwidth 2).Predrilled Aluminum Armboards and absolute phase coherency over the entire MMT, Linn, or AR arms $30 FRIED SPEAKERS & KITS 3). Hum -shielding for AR Platters: State-of-the-art sound. Try our prices! Free shipping. Also audio spectrum. Audiophiles agree. The sonic Platter shield $39 Sota, Hefter, SAE, Audire, Thorens, Adcom, Dynavector, improvements are worth every penny. The Audio Advisor, Inc. Box 6202 Grand Rapids, MI. CD players. READ BROTHERS STEREO, 593 King Street, Charleston, South Carolina 29403. (803) 723-7276. Standard "Bandwidth 49506. (616) 451-3868. Shipping $3/item. Coaxial Balanced" Construction Construction GENE RUBIN AUDIO -LOS ANGELES: LINN, NAIM, Two "Balanced" DYNACO KITS & PARTS. -World's largest inventory . REGA, THORENS, AR, HAFLER, CREEK, ROTEL, CON- Center over 4,000 part numbers stocked! Stamp gets latest listing. RAD-JOHNSON, WHARFEDALE, CELESTION, STAX, Conductors SCC, Lock Box 551 (AOM2), Dublin, OH 43017. SPENDOR, AKROYD, B&W, PRECISION FIDELITY & Mid Frequencies MORE. PRE -PAID SHIPPING (818) 571-1299 (PAC. Bass TIME.) High Frequencies FREE BARGAIN NEWSLETTER -Savings to 65%! Fa- mous brands, wholesale and below. Stamp gets latest electronics deals. Our 10th year. SCC, Lock Box 551 Interlink Special® High Technology Puts ELITE MUSIC SYSTEMS Big Performance into a Small Package. (AM03), Dublin, OH 43017. Central Florida's newest high -end audio dealer. Specializ- ing in products of renowned performance and lasting value. Based on the same "Bandwidth Balanced" Featuring the LOGAN LABS-KRELL-SYMDEX SYS- technology incorporated in Interlink Reference A. ELECTRONIC CROSSOVERS: 6, 12, 18dB/octave. Kits TEM: the ultimate in sonic purity! Also offering: VPI, Alpha - Interlink Special is smaller and more flexible. Ex- from $116. Transient -Perfect Crossover, $175. Subsonic son, BEL, Berning, Audible Illusions, Moscode, Belles Re- Filters, Bandpass Filters from $25. Free Folder w reviews. search, Supe-phon, Shinon, Miyabi. Dyiavector, Grado tended frequency extremes, superb transients, ACE AUDIO CO., 532 -5th Street, East Northport, NY Signature Products, Randall Research, Systemdek, Profile, incredible instrument clarity, and an outstanding 11731-2399. (516) 757-8990. C.J., Walker. (305) 629-9161. 3 -dimensional image, make Interlink Special second only to one. Interlink*4 A Price/Performance Breakthrough... Now Monster Cable's "Bandwidth Balanced" technology is yours in a very affordable, compact package. Using dual inner conductors, each with VANDERSTEENAUDIO DIMENSIONAL PURITY 2 wire networks, Interlink 4 delivers sound quality that other "audiophile cables" can't match at any Vandersteen Audio was founded in 1977 price. We invite comparison with the competition. Itailemmilimimmame with the commitment to offer always the Interlink*CD Fulfilling the Premise of Digital finest in music reproduction for the dollar. Conventional cables run out of breath when trying Toward this goal there will always be a to cope with today's digital sound. The detailed high degree of pride, love, and personal resolution, awesome dynamic range, and power- satisfaction involved in each piece before it ful bottom end available from digital are lost when leaves our facilities. Your Vandersteen dealer you use ordinary interconnect cables. Interlink CD shares in this commitment, and has been controls high frequency phase shifts to produce carefully selected for his ability to deal with a richer musical sound while minimizing the harshness found in some CD program material. the complex task of assembling a musically Connect yours with Interlink CD. satisfying system. Although sometimes hard to find, he is well worth seeking out. VTtaink Write or call for a brochure and the Write for a freebrochure. name of your nearest dealer. Monster Cable® Products, Inc. VANDERSTEEN AUDIO 101 Townsend, San Francisco, CA 94107 0 470584MCSYUI 0 116 WEST FOURTH STREET Tel: 415 777-1355 Telex: HANFORD, CALIFORNIA 93230 USA Available on GSA Contract. 0 (209) 582-0324 mousratmair

AUDIO/DECEMBER 1985 121 mcLAREN FOR SALE AUDIO 602 Straight Line Preamp HAFLER-HIGH QUALITY, LOW COST We stock all of the following components: DH -100K $175, 402 DH -100A $225, DH -110K $360, DH -110A $440, DH -120K $260, DH -120A $320, DH -160K $275, DH -160A $375, DH - Full Feature Preamp 220K $400, DH-220KE $410, DH -220A $500, DH-220AE (pictured) $510, DH -330K $385, DH -330A $460, DH -500K $675, DH- 500KE $695, DH -500A $850, DH-500AE $870. Accesso- 702 ries too! Three year warranty on assembled units. Visa and MasterCard. Free delivery to ALL zip codes (PR and 100/100 Watt Stereo APO/FPO too). WORLDWIDE EXPORTING. OXFORD Amp AUDIO CONSULTANTS, INC., Box 145, Oxford, OH k 45056-0145, 513-523-3333, TLX427791. 0 ) 902 250 Watt Mono Amp HAFLER OWNERS REJOICE! Musical Concepts has improved our classic power amp modifications! All Distributed by: 1002 Hafler amplifier modifications have undergone signifi- AM/FM Digital Tuner cant topological changes resulting in dramatically superior sound. "Tubelike", "great depth", "dramatic fo- audioquest cus", "pure tonality" are among the descriptions offered by our customers.Stillavailable: M-110SN 629 Camino de los Mares, #306, San Clemente, CA 92672 (714) 240-0604 (Hatter DH -110), highly regarded by both The Absolute Sound and Audiogram (best solid state preampff, ,to- roid transformers for all Hafler amps, dual mono conversions and too many other services to mention, including our pacesetting CD player mods. Write for brochure/review packet. Musical Concepts, #1 Pater- 1114` son Plaza, Florissant, MO 63031, 314-831-1822, 1- I eu I Lit 41 4 11%4 111141 4PM central.

IMPACT AND HIGH END EQUIPMENT All American, Japanese, French, English, German audio- DEFINITION phile products like: Accuphase, AKG, Alphason, Braun, Bass impact and Burmester, Canton, Cabasse, Denon, Dynavector, EMT, At SOUND SIALkE you can*It talk to a Elac, Esoteric, Goldmund, Harman, Hiraga, JVC, Ken - knowledgeable salesperson who will advise definition called wood, Krell, Koetsu, Linn, Luxman, Mission, Meridian, you on the best audio or video equipment "astonishing!" Magnat, McIntosh, Nakamichi, Oracle, Perreaux, Quad, that meets your needs and budget. From Reproduction of Revox, SAEC, Spectral Stax, SME, Sennheiser, Thorens, our large selection you con compare "remarkable many others at lowest export prices. 110V/220V, 50Hz/ performance specifications and prices 60Hz available. Ask for latest price list and shipping details. realism!" Hi.Fi. Systems, Herzogsfreudenweg 16, 5300 Bonn, West ALL SOUND STAGE equipment Includes: best - 30 -day best price protection "Obvious Germany. Tel. 0228-253111. Tlx. 886646 hfss d. free 3 -year warranty with parts & labor buy status:" free delivery -stereophde- JINGLE BELLS, JINGLE BELLS!!! The Holiday Season is P 0 Box 1948 here again and so is Direct Sight and Sound....Five years PLEASE, NO MAIL ORDER Santa Fe. NM NEC ALPINE ENERGY TALISMAN THE UNGO 80X Vol9. No 5. 1/83 and 40,000 customers later, we continue to otter the best in ADS SIGNET WXMAN AU010-PRO AUDIOCONTROL audio, video, and auto sound including esoterics at incredi- DCM HAFLER ALLISONCJ WALKER BEYER DYNAMIC The SPECTRUM 208A, ble prices! We sell and service only U.S. warranty mer- STAX GRACE PROTON NOTY GRIM DEIX SOUNDFIELD affordable, high. KLOSS FOSTEX DUNTECH JENSEN VIDEO BANG & OLUFSEN chandise!!! Our staff is not only knowledgeable, but helpful AMBER DENON CUFFORD 3D ACOUSTICS SURROUND SOUND resolution sound. and courteous in choosing the right component for you. Call for store hours For information or Call 404-351-6772. Direct Sight and Sound, 3095 Bolling (718) 961-9888. dealer inquiries. write Way, Dept. A, Atlanta, Ga. 30305. MCNISAJAMEX. COD 173 Broadway with deposit. Free catalog. NYC. NV 10007 (NW corner of JORDAN AMPLIFICATION-if sonics are your priority in- B'way & Cortland' spectrum mum Enter on Cortland' stead of brute power and weight, don't pass up these gems One flight up ) PO BOX 2774, TOLEDO, OHIO 43606 (pre- and power amp) from one of the most honest design- OR ers of this decade. 201-239-1799. 4E410 Horace Hording Expwy

Fresh Meadow rcr IFIhr Itot 25 L [ KLH 9 ELECTROSTATIC SPEAKERS, two pairs, excellent condition, among last pairs made, $1750. Futterman H3aaa mono tube amplifiers, one of last made by Julius himself, $1250 pair. Beveridge 2 speakers, $3500. 203- 776-6840. THE KOETSU TRADITION LEASING INSTEAD OF BUYING? Discover how good our Since the introduction of the first Rosewood in program is.Presto Audio, 3125 Williamsburgh Dr., San the late 1970's, Koetsu cartridges have been Jose, CA 95117 (408) 374-0292. synonymous with realism in the reproduction of LINN & NAIM-NEW PRODUCTS fine recordings.. capturing the hearts of music Visit our SINGLE SPEAKER DEMONSTRATION ROOM lovers worldwide with their portrayal ofwide and hear these remarkable new Linn products: Index dynamics, natural harmonic balances and lifelike Speaker $325/pr., K-9 mm cartridge $150, Preamp, Power - amp. Visa and MasterCard. Free delivery to ALL zip codes. soundstage. WORLDWIDE EXPORTING. OXFORD AUDIO CONSUL- TANTS, INC., Box 145, Oxford, OH 45056-0145, 513-523- Largely hand-crafted from the most elegant (and 3333, TLX427791. the most appropriate) materials both nature and current technology have to offer, Koetsu LINN SONDEK, Mission 774 arm, 773 hi -output, moving - cartridges are the result of a unique blend of coil cartridge, latest specifications, manufacturers cartons, little used, mint. $1100 ono. Ortofon MC20 cartridge, un- science and art. Science, because of the never- used $195. Audiophile owner emigrating. N.D. (701) 746- ending search for state-of-the-art quality. Art, 9853 after 6pm. because only the human ear canhe the judge of what is truly faithful to the NAKAMICHI, CARVER, REVOX, CROWN, BANG & a OLUFSEN, TANDBERG, KYOCERA, N.A.D., THORENS, original music.... HARMAN-KARDON, B & W, E -V, A.D.S., DCM, KLIPSCH, Distributed by AND OTHER QUALITY COMPONENTS. BEST PRICES - PROFESSIONAL CONSULTATION. ALL PRODUCTS COVERED BY MANUFACTURER'S USA WARRANTY. ASSEMBIAGE AMERISOUND SALES, INC., P.O. BOX 24009; JACK- P.O.B.815, Branford, CT 06405 (203) 488-8099MeitnerAudio MiyabiSyrinx SONVILLE, FLORIDA 32241. EAST: (904) 262-4000; WEST (818) 243-1168.

122 AUDIO/DECEMBER 1985 FOR SALE Singles or Systems HAVE YOU EVER LOW PRICES -HIGH END EQUIPMENT!!! We've mastered the art of truthful LISTENED TO A DENON, CONRAD-JOHNSON, HAFLER BELLES, VAN- sound. And the science of meeting a DERSTEEN, ACOUSTAT, SOTA, PS AUDIO, BOSTON CLEAN RECORD? ACOUSTICS, MIRAGE, PROTON, JBL and any others you price. Visit or call to order. Video too! desire. AUDIO ELITE, 414-725-4431. Menasha, WISCON- AdcomApogeeARBB KCon rad JohnsonCWIDDayton Prot ably not.If you could see the micro- SIN. WrightElectrocompanietHarmon KardonInfinityRS1 b scopic garbage in your record's grooves you'd JSE Melos M ssion Monster Morrison NEC NYAL MoscodeRoteiShinonSoutherSpendorSpicaStax be shocked. LUCKY LA AUDIOPHILES! Superthon Thc rens Vandersteen VPI and many more' It's t-ue. Your trusty hand held record brush The entire Kindel speaker line is available at Audio by is NOT: getting the particles of dust out of the John Dudley. In a relaxed environment you can listen OPEN: TUE, WED, FRI: 11-7, MRS: 11-8 records tiny grooves. And it's not cleaning to the legendary Phantom with Kindel Sub -woofer, as SAT: 11-5; OR BY APPOINTMENT. away Inger grease or static charge. either. well as the new Mk. II P-50, 100 & 200 high definition This.gabage is preventing you from hearing speakers. Call (213) 395-0511. AUDIO1060 Massachusetts Avenue ruining Arlington, MA 02174 as much as 30% of the music And it your records and stylus prematurely. MARANTZ, MAC, BEVERIDGE, J.B.L. LEVINSON, Wha to do? Nitty Gritty Record Care Products A.R.C. bought & traded. Wanted: Paragon, Metragon, VISION, 617-648-HIFI manufactures state of the art record cleaners Hartsfield, Olympus, raw Altec drivers. W.E., Brook and for discriminating music lovers. Nifty Gritty Regency amps, any condition. Will pay high prices current- systems completely clean a record'ssurface. ly, call for quote. Selling: Beveridge 2SW2 b/o over $2650. Yes" Nit ty Gritty record cleaners eliminate Marantz 10B like new and alligned $795. Model 2 amps b/o FOR SALE dust. crease. and static charge. And Anyone over $750. Thorens TD224 b/o over $250. Thorens TD124 can hear the immediate improvement in a w/arm $125. Series 20F26 tuner and F28 tuner. D23 X retort cleaned on a Nitty Gritty. over, A&E (osawa) E2000 phono preamp w/meter, rare MCINTOSH C28 $375, C32 $900, MC2205 $1150, Recommended by Audio Magazne. Ster- $295. D.W. XG 1OMKII, latest b/o over $1900. Double MX113 $399, MR57 $250, MR71 $289, MR78 $799, MI3 eophils. Sensible Sound. International Audio Strathers in oak $600 pr. ARC D150 b/o over $1850. $399, MARANTZ 10B $750, 7T $149, BRB10 PREAMP Review. Audio Amateur. Son Hi Fi. Fanfare. Strelioff 200W amp $895. Karg crystal FM turner w/NY $250, QUAD2 $125, 22 $175, ALTEC604 $200, MAC and ALdio Video International. Write orcall for stations (8) $100. Argent MC110 ruby $125. Deccaplum MC3500 $1250, EV 18WK $149, COUNTERPOINT SA3 info and a list of dealers. and export carts. FR7 cart. unused $180. FRT-5 X'fmr, and $499, BERNING EA230 $480, 713-728-4343. AGT 5X transformer (orig. $1600) $375. Revox A700 $1095. Other unusual items. N.Y.S.I. Noon till 3pm. (718) MCINTOSH, MARANTZ, AUDIO RESEARCH. Buy -Trade - NITTY GRITTY 377-7282. Sell, Maury Corb. 713-728-4343, 11122 Atwell, Houston, Texas 77096. MARANTZ 10B $800, MCINTOSH MC -70'S $775-875, -X wl.e MC -60% $650, MC -2105 $500, MC -225 $300, MC -240 MCINTOSH MCINTOSH MCINTOSH MCINTOSH Ipay RECORD CARE PRODUCTS. INC. $425, MI -75 $500, MR -71 $350, MR -67 $200, 1900 $500, retail for your used McIntosh Call or write for quotes AUDIO MX -100°s $325-425, C26 $300. R.C.A. 77DX ribbon micro- RESOURCE #1 Metairie Ct. Met, La. 70001 504-833- 4650 Arrow Hwy. #F4 phones $500, BK-11A ribbons $200, 9289-B tube power - 6942. Montclair, CA 91763 amps 200 watts $600pr. Boothroyd-Stuart Meridian system 714/625-5525 $600. Dyna PAT -5 factory sealed kit $150. Crown CX-844 MICRO -ACOUSTICS' TOP -RATED CARTRIDGES, brand w/counter, tracsyncs, DBX-155, rack $2,000, D-75 $225. new: 830csa $125. 3002 $50; 309 $25; S-1 $35; S-2 $25. Braun TG -1000 $400. Tandberg TR-1020 $200. Deltalabs (401) 421-7430. DU -5, DU -4, ADM -512 demos 70% off. Onkyo sealed TX - 25 $140. Pioneer SD -1100, $600. Marantz 7T preamp $165. KUH 1 absolutely pristine w/original cartons $1,000. MUSICAL CONCEPTS MOVES TO LARGER Hitachi DA-1000CD $400. Sony Ferrichrome elcaset tape QUARTERS! $11, mint Sony EU-7 $299. Teac AU -700 elcaset machines We say thanks to all of our supporters! We hope to serve FOR SALE sealed originally $1,100 now $299, RX-10DBX for elcaset you better with expanded lines and faster service. New brochure/review packet available. NEW ADDRESS: Musi- sealed $225, 234 Syncaset new $625, demo $575, MB -20 MUSICAL IMAGES OF KENTUCKY meterbridge $100. ARXA $70. Mitsubishi demos: UT -30 cal Concepts, #1 Patterson Plaza, Florissant, MO 63031, Rotel, B&K, Sumo, PS Audio, Crown, Lazarus, Magus, $325, DA -M30 meter $140, DA -F30 $225, DA -R8 $150, 314-831-1822, 1-4PM central. Melos, Moscode, Music Reference, Quicksilver, Berning, mini system: MT -04, MA -04, MF-04, MP -04, $600. Advent Mordaunt, Spendor, MCM, Kindel, Goetz, Sound Lab, A -R, 500 SoundSpace delay $375. Lux D-110 integrated $550. MUSICAL CONCEPTS MC -1 PREAMP Rock, Micro Seiki, VPI, Audioquest, Grado, Shinon, Alpha, EV 7445 quad encoder $475. Revox B-790 turntable $400, Finally ready in kit form, this dual mono preamp on one Koetsu, SAEC, Alphason, E.T., Distech, Music Link, oth- G36MK3 $350. Many Teac remote controls $50. Laser board offers truly outstanding performance for the Haller ers.Newsletter. 11027 Buckeye Trace, Goshen, KY., video player VP1000 $250, new video discs 40-60% off. DH -101, Dyna PAT -4/5, and scratch built units. Audiogram 40026 (502) 228-3200. 10.5"x.5" reels $3.50. DBX 224 $225, 400 $200. Ortofon says this the best solid state preamp period! Write for STM-72 transformer $25. 600 prerecorded r/t/r $7, 1/2track details. Musical Concepts, #1 Patterson Plaza, Florissant, NITTY GRITTY RECORD CLEANING MACHINES & SUP- $18. Want collections pre-recorded Mr, Pioneer TAU -11, MO 63031, 314-831-1822, 1-4PM central. PLIES. MOST ITEMS IN STOCK. CALL TOLL FREE FOR JT-2044T, Mcintosh, Marantz (tube) units, Sony, Teac, ORDERING & PRICES. 1-800-222-3465, WE CAN'T BE Advent Dolby units, oddball pieces, accessories. Want high PRECISION -FIDELITY C8A PRE -AMP, $375. Also M7A BEAT! HCM AUDIO: 1-916-345-1341 VISA/MC quality units to sell on consignment. Everything money amp, $500. (313) 335-9526. back guaranty. Shipping worldwide-Martin Gasman, 779 Worcester Street, Wellesley, Mass. 02181. Phone: 617 - CELTICS, 617-235-8427. Shown: The Legendary Audio Control C-101 MARANTZ 7C PREAMP FACEPLATESI Restore your classic tube preamp with a new faceplate for $69.95. Send Check or Money Order in U.S. funds for $69.95 plus $3. Shipping to: KNELLER AUDIO SYSTEMS, 1401 Bristol Avenue, Westchester, Illinois 60153.

~~MARK LEVINSON ML2 AMPS ($4500) PAIR. New and mint. (415) 831-1155 weekdays; (415) 283-2815 after 6PM and on weekends.~~

MARK LEVINSON ML6A PREAMP WITH L.2 cards. Fac- tory updated Aug. 85. Excellent condition. $4275. Breuer Type -8 tonearm, $1000. (415) 283-1369. Equalizer Hater? MCINTOSH AND OTHER PRE -OWNED HIGH END AU- If you're biased against equalizers, we think that a octave equalizer / analyzer system for under $250. And DIO EQUIPMENT BOUGHT -SOLD -TRADED. CALL OR few minutes spent with an Audio Control equalizer the famous C-101 Real Time Spectrum Analyzer / WRITE FOR YOUR FREE CATALOGUE. AUDIO CLAS- could change your mind. Because we specialize in Equalizer with a built-in pink noise generator. As well SICS, POB 176, WALTON, NY 13856. 607-865-7200. audiophile analyzers and equalizers, we've considered as five other American -engineered and manufactured the valid and not -so -valid problems associated with models with innovative features such as paired sliders, 18dB/ octave Tchebychev infrasonic filters and solid, MCINTOSH MC6O'S, MI3SCOPE, C26, C28, 2505, 2105, conventional EQ's and then designed solutions that give MC225, MC240, MC275, over 40 pieces in stock. ONE you the advantages of precise tone control without five year warranties. No matter how rampant your skepticism, write us for complete information and the YEAR TRADE -UP POLICY, NO MINIMUM! Call or write for causing tonal problems. location of your nearest dealer. Because all equalizers quotes AUDIO RESOURCE: #1 Metairie Ct., Metairie, La. We offer a half -octave bass equalizer with analyzer do not come from the Land of the Rising Trade Deficit. 70001. 504-833-6942. and electronic crossover. An astonishingly accurate

MCINTOSH SOLID STATE COMPONENTS. Bought, AuclioControl Sold, and Traded. Also wanted Mac 3500 or MI 350 for 6520 212th S.W. P.O. Box 3199 Lynnwood, WA 98036 personal use. 313-229-5191 Aft. 7PM EST. (206) 775-8461

AUDIO/DECEMBER 1985 123 Audio Exposure FOR SALE NAKAMICHI, CARVER, REVOX, CROWN, BANG & OLUFSEN, TANDBERG, KYOCERA, N.A.D., THORENS, Audible Illusions AudioQuest Eminent Technology HARMAN-KARDON, B & W, E -V, kD.S., DCM, KLIPSCH, LiveWire McLaren Melos Rauna Vandersteen V.P.I. AND OTHER QUALITY COMPONENTS. BEST PRICES - PROFESSIONAL CONSULTATION. ALL PRODUCTS 629 Camino de los Mares, #306, San Clemente, CA 92672(714) 240-0604 COVERED BY MANUFACTURER'S USA WARRANTY. AMERISOUND SALES, INC., P.O. BOX 24009; JACK- SONVILLE, FLORIDA 32241. EAST: (904) 262-4000; WEST (818) 243-1168.

ROBERTSON: DELIGHT YOUR EARS! ASTONISHING AMPLIFIERS, peerless preamplifiers, sensuous sound, FOR SALE magnificent music. Audio Nexus, NJ, (201) 464-8238, (201) 730-2409. NEW QUALITY RECORD TREATMENT. One three -min- "...the most successful ute application thoroughly cleans and PERMANENTLY design", J. Gordon Holt protects your records with an anti -static film. At least 70 to SIDEREALKAP 80 surfaces. $21.95. Source T&A, 40 E. 9th St., #3D NOT JUST ANOTHER GENERIC CAPACITOR WITH A Stereophile July, 1985. (AU85), NYC. NY 10003. WONDERFUL NAME, THE SIDEREALKAP WAS DE- SIGNED FROM ITS INCEPTION TO BE THE FINEST NORTHERN CALIFORNIA AUDIOPHILE!! We carry Fine SOUNDING CAPACITOR AVAILABLE FOR AUDIO TO- Audio equipment you've never seen locally. Superphon, DAY. MCM, JSE, Souther, Straight Wire, Gold Ribbons and FIND OUT WHAT THE MUSIC LOVER'S CAPACITOR more. Presto Audio: (408) 374-0292. DOESN'T SOUND LIKE. CALL (619) 722-7707, OR WRITE TO: SIDEREAL AKUSTIC, 1969 OUTRIGGER ONKYO P3060R PRE -AMP AND M5060R amp; KEF WAY, OCEANSIDE, CA 92054. 104.2 speakers, Proton 450 tuner. All like new-Penna. FREE LITERATURE AND PRICE INFORMATION UPON (215) 567-4626, eves/weekends. REQUEST. ASK YOUR DEALER ABOUT SIDEREALKAPS. ORDER TOLL -FREE! 1-800-222-3465. ALCHEMIST * AR * AUDIOQUEST * AMBER * B&W * DYNAVEC- SOUNDLAB RENAISSANCE R-1 ELECTROSTATIC TOR * GRACE * GRADO * HARMAN/KARDON * LOUDSPEAKERS: Mint condiqpn. $1500 or best offer HAFLER2 * LAST * LIVEWIRE * MONSTER * NITTY ($3300 new). (201) 464-8238, (201) 730-2409. GRITTY * PREMIER * SHURE * SOTA * SPICA * STAX * SUPERPHON * THORENS * TALISMAN * ACCESSORIES, CABLES, AND MUSICAL CONCEPTS HAFLER MODIFICATION KITS. CALL FOR LOWEST SOUND SERVICE CO. PRICES & FREE CATALOG. VISA/MASTERCARD WEL- We proudly represent: COME. HCM AUDIO, 1600BB MANGROVE, CHICO, CA Accuphase Goldring Proton Video 95926. (916) 345-1341. Acoustic Research Grace PS Audio Mr. Holt elaborates further: "of all the Adcom Grado Rega Planar PHASE INVERSION CIRCUITS. Many high -end amplifiers Akroyd Heybrook Revolver speakers in this price class that I have put the two stereo channels in opposite phase before the Argent Infinite Slope RH Labs heard, I would say that Siefert's Maxim is power amplifier stage and then correct polarity (phase) at Ariston Kimber Kable Robertson the speaker outputs. This provides more peak power and Astatic Kinergetics Rogers probably the most successful design of tighter bass. With our phase inverter circuit you can do this Audioquest Koetsu Scott all . .. The system is beautifully balanced to your receiver or amplifier. Installs on the tape monitor Beyer LinnIsobarik Sennheiser and almost perfectly neutral.. .. the low loop or from preamp to amplifier. Only $49. Also available, Bryston Linn Sondek Shinon inverters for absolute phase. Check, m/o, charge or send Burwen Livewire Soundcraftsmen end from these is just amazing! ... these lit- for specifications and details.Phaseinverters, 16724 Celestion Micro Seiki Spectrum tle speakers will play loud! Unlike most Stuebner Airline, Spring, Texas 77379. (713) 251-2924. Creek Audio NAD Spica Dynavector Nagatron Stax small systems .. . they have the most ac- PLANS, CIRCUIT BOARDS, AND KIT parts for home Electrocompaniet Naim Audio Talisman curate middle range I have heard from any audio projects. Power amps, preamp, pre-preamp, and ESB-USA Nitty Gritty Thiel loudspeaker. SASE for information to Custom Compo- Fuselier Pioneer Laserdisc Wharfedale speaker ... the high end sounds as if it goes nents, P.O. Box 33193, Decatur, GA 30033. Sound Service Company

out almost indefinitely . . . I would gladly 8010 Bustleton Ave. Philadelphia, PA. 19152 take this high end in preference to that of PREAMPS-ONKYO P-303. New in box. MC head amp. (215) 725-1177-78 Bank Cards Accepted Gold contacts. Warranty. $95 prepaid. Eric Fleetwood, most over -$2000 speaker systems I have 20235 Keswick St., Canoga Park, CA 91306. PS AUDIO ELECTRONICS: PRECISION CRAFTED, de signedformusic. Audio Nexus, NJ, (201)464-8238 auditioned in recent years . . . The Maxim reproduce massed violin sound superbly- PREMIER TONEARMS BY SUMIKO. HIGH DOLLAR (201)730-2409. PERFORMANCE AT A LOW LOW PRICE! IN STOCK. with not a trace of steeliness, yet with all CALL TOLL -FREE FOR ORDERING & PRICES 1-800- SOUTHER OWNERS, OBTAIN THE ULTIMATE perfor- the resinous sheen of the real thing...1 222-3465, WE CAN'T BE BEAT! HCM AUDIO: 1-916-345- mance from your system with the Veritas cartridge. The 1341. VISA/MC/COD Veritas is designed to achieve optimal performance in the have never heard strings on good CDs Souther tonearm. Audio Abode, Dallas, Texas. (214) 369- RCA-JVC-MAGNAVOX-PIONEER. VCR'S-CAMERA'S- 2092. sound more natural .. . the imaging and CAMCORDERS. MONITORS -HOME & CAR AUDIO. THE soundstage presentation from these are ex- STEREO FACTORY, 1010 TENTH ST., HUNTINGTON

cellent. They do not sound small .. . It can W.V. 25701. 1-800-GET VCRS-ORDERS ONLY. KANSAS CITY AREA AUDIOPHILES: The Music Room is 1-304-526-0132-INFORMATION your source for: Alphason, Acoustat, AR, Counterpoint, make most audiophiles (and practically all Creek, Goetz, Heybrook, Kimber, Robertson, Talisman, music lovers) quite happy for an indefinite REVOX 8710 MICROPROCESSOR CASSETTE DECK, Walker, Etc. Trades welcome, Visa/MC. Hours are by ap- period of time. Recommended." DBX 224X. Both absolutely perfect. $1700 for both or make pointment, evenings and weekends. Call today (913) 631- offer. Mr. Vermont, 201-532-5105 weekdays. 2887.

Send for a reprint of the entire review along with complete specifications. Save $100 from $499 dealer price. Buy the Maxim Ills for $399 factory - direct, including shipping. 30 -day, satisfaction - MOVING, LEGENDARY SOUND. guaranteed return privilege. Chestnut Hill Audio is moving around the corner to expanded facilities. Our legends go with us: Accuphase. Acoustic Electronics, Amber. Apature. Apogee, Audio Pro, Audioguest, B&K, Berning, Cabasse. CWD. Counterpoint. DB. Distech, Duntech, Entec, Euphonic, Fourier, Grace, Hafler, ITC. Janis, Koetsu. Kyocera, LAST, Linn Soncek, Live Wire. Logic. Levinson. Meridian. Miyabi, Michell, Mordaunt Short, Music Reference, Nitty Gritty. SIIEFERT NAIM, NYAL, Oracle. Origin, Pyramid, P.S. Audio, Quad, Rauna, RGR, Signet, Sony. Souther, Spectral. Spendor, Symdex, Talisman, Tandberg. Thorens, 3-D Acoustics, VPI, VSP Labs, Vandersteen, Zeta. RESEFIRChl 149 North Third Street, Philadelphia. PA 19106. (2151 923-3035 31212 Ballard Rd. Malibu, CA 90265 CHESTNUT HILL AUDIO Mk

124 AUDIO/DECEMBER 1985 Hearing is Believing! GREENFIELD EQUIPMENT DIMENSIONS At $550/pair ESOTERIC AUDIO SYSTEMS UNHEARD our EA -3 will 0-- Jr,ANON/Pdllin § 1111 provide the ACOUSTAT ACCUPHASE ADCOM ARISTON audiophile on AUDIO INTERFACE BEVERIDGE BERNING COUNTERPOINT DECCA DISTECH DYNAVECTOR a budg et with EAR ELECr ROCOMPANIET ELECTRON KINE- -40G. -1 years of total TICS ENTEC GRACE GRADO HAFLER ITC enjoyment. JSE KISEKI KIMBER KABLE KOETSU MICRO Samarium Cobelt ii SEIKI MIT MONSTER PRODUCTS 011SONIC leaf tweeters, European dome PRECISION FIDELITY PROFILE REGA SIDEREAL midranges, end Call or write for Information: ACOUSTIC SHINON SOUTHER SPICA STAX SUPERPHON SUPEX TRIAD VPI VAN DEN HUL 1:',r'cVerrrolot;coupled tro.at Phu. cot. Auditions by appointment Shipping and export facilities cro by 7805 Greenfield Street River Forest. Illinois 60305 nigh cafinl- ELPHONIC ALDIO don cable 312/771-4660 7/85 and21K Gold RR1 BOX 266 NEW EGYPT NJ 08533 binding posts (201) 929-2613 S*.e-etite-,/(e't

FOR SALE FOR SALE --rwida.,6eak,-,Ty.grenz& HAFLER IN THE SOUTH! BIAMP CAPABLE TEN YEAR WARRANTY In stock, the superb Hatter pre -amps, amplifiers, tuner and TRADE-INS WELCOME distributed exclusively ay: equalizer. Immediate FREE shipping. Also Acoustat, Ad- REEL TO REAL DESIGNS, 2105 CLAREMONT FREE SHIPPING SPRINGFIELD, IL 82703 com, Audire, Dynavector, Fried, Klipsch, Mirage, Monster Acoustat, Carver, Nakamichi, conrad johnson, Superphon, (217) 529-8793 Cable, PS, SAE, Superphon, Talisman, Thorens, CD play- harman/kardon, Grado Signature, AR, Sapphire turntable, ers. READ BROTHERS STEREO, 593 King Street, Clements ribbon speakers, VSP amplifiers,Haller, VPI Charleston, South Carolina 29403. (803) 723-7276. turntable, NEC video and lots more! Demo specials- Acoustat TNP preamp $459, NEC Beta Hi-Fi VCR $499 (New). THRESHOLD AUDIO, 409 So. 22nd St., Heath, START WITH Ohio 43056. 614-522-3520. FOR SALE SEPARATES TRADE INS WELCOME-AUDIO ELITE!! SYSTEM 1 DENON, CONRAD-JOHNSON, HAFLER, BELLES, VAN - GOETZ GRAND MASTER SPEAKERS, NAD 2200 amp, (UNDER $2700) DERSTEEN, ACOUSTAT, SOTA, PS AUDIO, BOSTON 1155 preamp, 5255 compact disc player. System 3 months ACOUSTICS, MIRAGE, PROTON, JBL, and others you old, perfect, $3000, OBO ($3900). Also Bose 901 series V. Turntable: Rega Planar 3 desire. 414-725-4431, Menasha, Wisconsin. less than 20 hrs. $595 ($895). Rich, evenings, 717-532- 3642, office, 717-532-7371, Penna. Cartridge: Adcom XC/LT II Preamp: Adcom GFP-1A TUBE SPECIALS-Mullard (Germany) EL34/6CA7, $19.95/matched pair; Mullard (Britain): 6L6GC $19.95/MP; GOODWIN'S MUSIC SYSTEMS Tuner Adcom GFT1-A 12AX7/12AT7/12AU7, $4.95 ea; Tungsgram (Hungary): Amplifier: Adcom G FA -2 12AX7, $2.99. Stamp getslist.$15.00 minimum/$2.00 In New England, Goodwin's is recognized as the lead - shipping. SCC, Lock Box 551 (AM01), Dublin, OH 43017. er in high performance audio. Along with the finest in Speakers: Snell Type E II components, we can provide the most sophisticated custom nstallation tailored to your individual needs. SOUND BY SINGER VANDERSTEEN-NEW POWERED SUBWOOFER We offer: 165 E. 33rd Street The Model 2W subwoofer is the perfect complement to the New York, NY 10016 renowned 2C. However, its universal design will allow its Mark Levinson,Spectral,Magneplanar, Apogee, (212) 683-0925 use in almost any system! IN STOCK at $1200. Free Soundlab, Quad, Entec, Goldmund, Linn, Tandberg, delivery to ALL zip codes. WORLDWIDE EXPORTING. Nakamichi, Bryston, Haller, Adcom, Celestion SL, Em - AMERICA'S LARGEST dealers in HIGH END USED ste- Visa and MasterCard. OXFORD AUDIO CONSULTANTS, inent Technology, Nitty Gritty, Walker, AR, Ariston, reo. We BUY by PHONE. STEREO EXCHANGE 687A INC., Box 145, Oxford, OH 45056-0145, 513-523-3333, Thorens, Infinity, H -K, Proton, B & W, Camber, Es - Broadway, between 3rd and 4th St. (opposite Tower Rec- TLX427791. sence, Janis, Velodyne, Koetsu, Van den Hul, Audio- ords) NYC 10012. (212) 505-1111 and (800) 833-0071. Quest, Monster, Favorite, Stax, Astatic & Grace. UHER, Sennheiser, Sony, AKG, (Shure), E ectro-Voice, 2-MCINTOSH 60 TUBE AMPLIFIERS $650. C-26 $295, Goodwir's Music Systems, 16 EliotSt., Harvard Audio-Technica, Beyer, Bose, etc. Portable Recorders, Mi- Square, Cambridge, MA 02138 Tel. 617-492-1140 MR67 $290, 2105 $580. M.A. Wright, Box 9201, Metairie, crophones, Mixers, Line, AN. Carpenter (GHP), P.O. Box LA 70055 1321, Meadville, Pa. 16335-0821

PREMIER By SUMIKO THE TRADITION CONTINUES PREMIER FT -3 From the creator of the MDC-800 (THE A RM) comes the Premier FT -3. Continuing the tradition of providing the best tone arm performance at any price, David Fletcher, with the FT -3, again defines the state of the art. The FT -3 offers features and performance found on only the best: Die cast magnesium head shell Adjustable azimuth UNLEASH YOUR Adjustable VTA (unique rigid no compromise design) Ultra rigid arm tube TONE ARM PIB-1 Universal interface box Now you can use the connecting Advanced bearing design cable of your choice with your Unique tone arm tube damping tone arm. The P18-1 Universal Adjustable viscous damping at user's option intetfaceboxprovidesanoptimum Decoupled counter -weight electrical and mechanical link Precise proportional anti -skating between any tone arm and the outside world. P. 0. Box 5046 Berkeley, CA 94705 415H43-4500 0111111111011111

~~AUDIO/DECEMBER 1985 125~~

~~polk The Speaker Specialists s~~

AUTHORIZED DEALERS Noirniust Mt, Prospect: Simply Stereo River. ZiVEWiR CANADA Call Evolution Technology lor nearest del,: Stereo Designs Springfield: dealer 416/33S-4422 Sundown One Peoria Team Electronics CONNECTICUT Elmewlch, Hartford: Al INDIANA South Bent Classic Stereo The new 4th generation of cable from AudioQuest is now available. Franklin5 Musical World New linen: Audio Blutton: Eley TV 8 Stereo Greenwood, Den Fairfield: Audio Design Norwalk: Indianapolis, Lafayette, Muncie: Hi Fi Inter- &Matrons Aron, Newington: Hi Fr Stereo Buys Tern Haute, Bloomington: Hoosier Speaker cable from $ 50 pe' foot to $6.00 per foot. House Groton, New London: Roberts The Electronics Music People IOWA Quad Cities: Audio Dimensions connecting cable from $45 per 3 fcot pair to $95 per 3 foot pair. MAINE Camden: Harbor Audio Video Sioux Cily: Audio Emporium On Moron: Sanger Sound Source Audio Labs MASSACHUSETTS N. Hartman& Creation KANSAS Overland Park: Audio Electronics Sound Systems Gloucester. Glass Sailboat Junction City: Audio Junction Wichita: Waltham (betel: Waltham Camera 8 Audio Visions Emporia, Topeka: Nelson's Stereo MICHIGAN Ann Arbor, Royal Oak Absolute Distributed byaudioquest NEW HAMPSHIRE Concord, Laconia: Au- Sound Birminghem, Dearborn. Farm- dio of New England Salem, Coomot New ington Hills: Almas Hi Fi Saginaw: Audio London: North Star Electronics Shoppe Saginaw: Court Street Listening 629 Camino delosMares306, Sia Clemente. CA 92672 (714) 240-0604 NEW JERSEY Raritan: AC Audio 8 Video Room Petoskey: Pun Iron Mountain: Este Brunswick: Atlantic Stereo Maple Sound North Grand Rapids, Portage: Shade: Bryn Mawr Stereo Franklin Latin: Sound Room Lansing, Traverse City: Franklin Lakes Stereo Shrewsbury: Mon. Stereo Shoppe mouth Stereo Monteleir, West Caldwell: MINNESOTA Brooklyn Center. Burnsville, Perdue Radio Toms River: Rands Camera Edina. Minnetonka, Minneapolis, Rose. Ridgewood: Sounding Board rite: Audio King Duluth: Mel's TV & Audio NEW YORK Wale: Absolute Sound New Alexandria. Detroit Lakes: Sound Shop York City, Huntington, Manhasset: Audio Mankato, Rochester. Sound World Breakthroughs Glens Falls: Audio Genesis MISSOURI Columbia: DAM Sound St. Utley, Syracuse: Clark Music Nur York Urals: Sound Central Cape Girardeau: City: Electronic Workshop Vestal: Hart Elec- Stereo One tronics Rochester JR Sound Scarsdale: NEBRASKA Lincoln, Omaha: Stereo West LOUDSPEAKERS LOUDSPEAKERS Listening Room Newburgh, Wappingers NORTH DAKOTA Minot: Mithvest Audio Fails: Randpn's Electronics Fredonia, Bismarck: Pacific Sound Jamestown: Studio One OHIO Cleveland, Fairlawn. Findlay, May- PENNSYLVANIA Philadelphia area. Bryn field Heights, Toledo, Westlake: Audio A&S SPEAKERS CARRIES THE WIDEST selection of BLOWN SPEAKER(S)? SAVE $s BY RECONING. Guar- Mew Jenkintown. Frazer, Craft Lime: Classic Stereo Toledo: Jamie. high -end speaker kits,speaker components and auto anteed work. For information, pricing send $2 (applied to Montgomeryville. Quakertown, Allen- sons Dayton: Micro Computer Center speaker systems from the world's finest manufacturers: reconing). TFH AUDIO, 1705 W. Fayette St., Syracuse, NY town, Camp Hill: Bryn Mawr Stereo Cincinnati. Columbus: Stereo Lab Lancaster, Reeding: G'n'T Stereo Blakely, Audax, Dynaudio, Scan -speak, Focal, Seas, Jordan and 13204. (315) 468-4031. Kingston: Hart Electronics Windber. Pro SOUTH DAKOTA Slow Falls: Sound World Audio Williamsport: Robert M Sides. Rapid City: Team Electronics several others. Free catalog. A&S SPEAKERS, Box Altoona. Indiana: Sound Concepts WISCONSIN Rhinelander Audio Broker 7462A, Denver, CO 80207. (303) 399-8609. Natrona Heights: Stereo Land Selins- Milwaukee: Audio Emporium Madison: BLOWN SPEAKERS? We rebuild most brands of woofers grove: Stereo Shop Erie: Studio One Happy Medium Marinette: Sound Seller to -like -new condition. For more information, call or write to: RHODE ISLAND N. Providence: Appleton, Green Bey, Leman: Sound ATTENTION AUDIOPHILES: JSE INFINITE SLOPE World Universal Sound, 2253 Ringling Blvd., Sarasota, FL 33577, Eastern Audio Loudspeakers are available from us. Inquire about our (&13) 953-5363. VERMONT Burlington: Audio Den SOUTH CENTRAL 7 Day-NO RISK auditioning program. Authorized ARKANSAS Little Rock: Leisure Electronics SOUTNEAST Searcy: Sound Room Hafler and Thorens dealers. We pay shipping. Sound ALABAMA Birmingham/Homewood: DAYTON WRIGHT'S LCM-1 LOUDSPEAKER CHAL- LOUISIANA Shreveport: Audio Fidelity Audition Huntsville: Campbell's Audio video Unlimited, 178 Main St.,Bristol, Conn. 06010. Est LENGES any minimonitor ... and wins! Audio Nexus, NJ, West Monroe: Audio West Lefeyette, Mobile: Fidler Hi Fr lbscaloosa: Gaytert 1959. (203) 584-0131. (201) 464-8238,(201) 730-2409. Montgomery: The Record Shop Opelousas: Sound Electronics Baton Rouge, Gretna. Metairie, New Orleans: DISTRICT OF COLUMBIA Myer Emco Stereo village FLORIDA Miami: Audio By Caruso Ft. OKLAHOMA sill.: Audio Advice Lawton: ATTENTION: SPEAKER SYSTEMS AND COMPONENTS ELECTRO-VOICE and ALTEC-LANSING-E-V in stock at Lauderdale: Audio Insight Ft. Walton Hi Fi Shop Stillwater Sound AdViCe wanted-JBL, Hartsfields, Paragons, E.V. Patricians, Al- low prices: T350's ST35OB, T35A, 1824M, 8HD, X8, X36, Beech: Audio International Altamonte Springs, Orlando: Audio Spectrum Jock - TEXAS Dallas, Garland: Arnold 8 Morgan tec, Tannoys etc. Contact me with anything of interest. all SP/EVM/MC and Force woofers, BBIA, BB4B, micro- Austin: Audio One Temple, Were: Audio tautly Orange Part: Audio Tech Tampa: Charles Dripps, 4331 Maxson Rd., El Monte, CA 91732. phones, electronics, plus stage, studio, sound re-inforce- Audio Vision Boca Raton, Ft Lauderdale, Tech Longview: Audio Techniques College Miami: Capt Video W. Palm Beach: Station: Arnim Video Beaumont. Brock (818) 444-7079. ment speakers, Interface, CD35i. Free pricelist.Altec Audio Wichita Falls: Hamilton Bryan Electronic Connection Pensacola Fidler Hi available quickly. Rick Marder, (201) 561-8123. H Clearwater Pyramid Audio Ft Pierce, Galveston: Island Audio Huston: Sheffield Lakewortt: Sound Shack Melbourne, Audio Texarkana: Sound Towne El Paso: BETTER THAN ELECTROSTATICS? Soundquesl Lubbock: Ultra Electron. Sae Merritt island: Southern Audio Tallahas- Angelo: Walker Audio Find out about our new ribbon speakers and sophisti- see: Stereo Store Dayton. Beach, Holly cated dynamic systems. New catalog has details plus Hill: Stereotypes Miami: Sympathetic Ear WESTERN litahmtvIlle: Tech Electrons kits, parts, electronics and much more. $1 (bill) to: New GUSS 3-D ALASKA Fairbanks: Hain Music GEORGIA Smnnah: Audio Warehouse Anchorage: Shenekt York Acoustics, 578 Nepperhan Avenue, Yonkers, NY Augusta: Stereo City Atlerna, Duluth, ARIZONA Hodson: Audio Emporium Meu: 10701, (914) 476-4900. Morrow, Smyrna, Nicker Stereo Village Hi Fi Sales Fluter,: Sound Pro Tome: SPEAKER KENTUCKY Owensboro: FM High Fidelity Sounds Great Louisville: Hi Ft Buys Lexington: Stereo CALIFORNIA Orange: Absolute Audio Ar- J.B.L. USED SPEAKERS, COMPONENTS, LITERA- Shoppe cata: Arcata Audio Lou Angeles: Beverly SYSTEMS MARYLAND Frederick: Evergreen Audio Stereo Fairfield: C8M Stereo Unlimited TURE, and blueprints. Bought, Sold, and Traded. 313-229- From $3000. Audio perfectionists who are unhappy with Rockville: Myer Emco Baltimore: Sound - Santa Barbaro, Santa Marla, Thousand 5191. Aft. 7 PM EST. scope Annapolis, Spaceways Sound Oaks, Venture: Crealive Stereo Redding: their $3000 to over -$30,000 speakers "top -rated" by the MISSISSIPPI (rollout, Pascagoula: Clyde's Home Entertainment Walnut Creek: "experts" are welcome to a spine -tingling demonstration. Empress Jackson: Walters Audio High Fidelity Shoppe Sonia Monica, Wood- (212) 580-7401. NORTH CAROLINA Raleigh: Audio Buys land Hills: Sheney's Stereo Bakersfield: PAWN.. Mr Toad's Stereo Video Jack Sound A.cNice San Diego: Sound Company swills, Wilmington: Southeastern Napa: Sound Connection Campbell: Sound E ledrons Charlene: Stereo Video Chapel Goods Berkeley: Sounding Board Chico: A SINGER'S DREAM! ACCURATE & AFFORDABLE, OVER 30 PROVEN DE- HIII, Greensboro, Raleigh, Winston Sounds by Dan Sew Francisco: Stereo SIGNS for audiophiles, speaker kits for home, car, sub - Salem: Stereo Sound Store Santa Cella: Stereo Solution Re- dondo Beach: Systems Design Group woofer & pro. JBL, AUDAX, SEAS, HAFLER, polypropyl- SOUTH CAROLINA Anderson: John Brookshire s Greenwood. Spartansburg, Fresno. Visalia: Valley Stereo Devi., Sac- ene drivers & crossovers, $2.00 Gold Sound, Box 141A, ramento: World Electronics Mill Valley. Columbia: Stereo Shop San Francisco: World of Sound Englewood, CO 80151. TENNESSEE Chatteneoga, College Hi hi Nashville. S. Madison: Hi Fi Buys COLORADO Anode, Aurora Boulder, Knoxville: Lindsey Ward Johnson City, Denver, Littleton: Soundtrack Colorado Kingsport: Mr. Toad's Stereo Video Springs, Pueblo: Sunstvne Audio Boulder Memphis: Opus II Wavelength Stereo VIRGINIA Roanoke: Audiorronics Virginia HAWAII Honolulu: Stereo Station Beach: Digital Sound Leesburg: Evergreen IDAHO Twin Fells: Audio Warehouse Sand- Home & caroN4 Audio Richmond: Gary s Steed Rich- point: Electracrall Boise: Stereo Shoppe mond: Lindsey Ward Bristol: Mr Toad's MONTANA Greet Falls: Rocky Mountain STEREO Stereo Video Fella Church: Myer Ernco Hi Fr Missoula: Spectrum Bozemen: Charlottesville: Sound Machine Thirsty Ear tuxman et* WEST VIRGINIA Barboursville, Beckley, NEVADA Rano: The Audio Authority Las Huntington: Pied Piper Morgantown, Harman Kardon Vegas: UPI., Ear Princeton: Sound Post Meiling: Wheeling Marantz Sound NEW MEXICO Carlsbad: Beason's Santa REMOVES VOCALS FROM RECORDS) ree Fe: Candy Man High Fidelity Shop Boston Acoustics NORTH CENTRAL OREGON Eugene: Bradlord's High Fidelity Now You can sing with the world's best bands! ILLINOIS Bloomingdele, Northbrook, Audio Control Hafler Pendleton: Royal Mobile Sound Klamath The Thompson Vocal Eliminator can remove Sheumberg, Vernon Mills, Waukegan: Fells: Sound Chamber Beaverton, Port- Sony ES Thorens Alps Creative Stereo Moline: Audio Omen. most or virtually all of a lead vocal from a standard land: Stereo Superstores sions Debit: Audio Plus Buffalo Grove, Infinity ADS We Deliver UTAH Salt Lake City: Broadway Music stereo record and leave most of the background Highland Park. Rockford: Columbia Audio Vernal: Dirk Labrum CO Logan store only untouched! Record with your voice or perform live Video Champaign, Normal: Glenn Poort Denon AIWA Free Villa Perk: Hi Fl Hutch Sterling: Midwest Stokes Brothers with the backgrounds. Used in Professional Perfor- Kenwood Car 680 Anywhere F, Crystal Lake: Northwest Audio Video WASHINGTON Seattle: Definitive Audio mance yet connects easily to a home component Spokane: Electracrall (Halt) Bellingham, Ortofon And Morel in The U.S. Mt. Vernon, Oak Harbor DC Stereo Center stereo system. Not an equalizer! We can prove it Bellevue, Lynnwood, Seattle, works over the phone. Write or call for a Free Northwest Audio Video Richland: Tin Ear Brochure and Demo Record. The SOUND Approach Stereo WYOMING Riverton: Sound Room LT Sound, Dept. AU,P.O. Box 338, 6067 Jericho Tpke., Commack, NY 11725 Cheyenne: Team Electronics Stone Mountain, GA 30086 (404) 493-1258 Charge It ... Call (516) 499-7680 24 HOUR PHONE DEMO LINE: 14041493-6879

~~126 AUDIO/DECEMBER 1985 LOUDSPEAKERS LOUDSPEAKERS~~

JSE INFINITE SLOPE LOUDSPEAKERS. Combine the PROAC SPEAKERS ANNOUNCES REVISIONS TO the TURNTABLE Infinite Slope crossover and patented phase shift bass Tablette and EBT. The best small speakers in the world are loading for unexcelled imaging, detail and tight dynamic now truly "state of the art". Called Super Tablette $575, OF THE YEAR bass response. Alternative Audio, Massapequa, L.I., NY. and Super EBT $795. For dealer list write -MODERN FEDERATION OF BRITISH A JDIO (516) 541-7025. AUDIO, 2888 Bluff, #210A, Boulder, Cob. 80301. 303- 449-1440. Distibuted in the United States and Canada by: JSE LOUDSPEAKERS: THE SECRET IS THEIR INFI- THE BEST QUALITY/PRICE SELECTION from 70,000 NITE SLOPE, phase -coherent crossovers. Audio Nexus, Music Hall Plurison Inc. NJ (201)464-8238, (201)730-2409. audio components!!! SPEAKERS: JSE InfiniteSlope!!! AMPS, PREAMPS, TUNERS: Belles, Perreaux, VSP!!! 108. Station Road P.O.B. 537 Youville Sta. CASSETTE DECKS: AIWA!!! CD PLAYERS: AIWA!!! TON- Great Neck Montreal LOWEST PRICES ON BRAND NAME LOUDSPEAKER MEISTER-exclusive Metropolitan DC showroom. (301) New York 11023 Quebec H2P2W1 DRIVERS. Crossovers,parts,kits.Quantity discounts 229-1664. available. Send $1 for catalog (refundable with order) to: (511) 487-3nR1 (514) 384-0174 KDS ELECTRONICS, Dept. AM 1285, P.O. Box 907, Rye, ALPHA ELECTRONICS ACTIVE CROSSOVERS: 24d13/ NY 10580. Desler inquiries invited Octave, amplitude, phase correct. Two through six way, perfect for subwoofers. Boards $29.95, kits $99.95, up- MOUNT YOUR TONEARM ON A SOTA turntable and gradable cardrack $299.95. Alpha Electronics, Box 15026, smile, smile, smile. Expert setups and installations. Audio Detroit, Michigan 48215. Nexus, NJ. (201) 464-8238 or (201) 730-2409. AMERICA'S LARGEST dealers in HIGH END USED ste- NAKAMICHI, CARVER, REVOX, CROWN, BANG & reo. We BUY by PHONE. STEREO EXCHANGE 687A OLUFSEN, TANDBERG, KYOCERA, N.A.D., THORENS, Broadway, between 3rd and 4th St. (opposite Tower Rec- HARMAN-KARDON, B & W, E -V, A.D.S., DCM, KLIPSCH, ords) NYC 10012. (212) 505-1111 and (800) 833-0071. AND OTHER QUALITY COMPONENTS. BEST PRICES - PROFESSIONAL CONSULTATION. ALL PRODUCTS COVERED BY MANUFACTURER'S USA WARRANTY. AMERISOUND SALES, INC., P.O. BOX 24009; JACK- ATTENTION MAGNEPAN OWNERS -Coming in January SONVILLE, FLORIDA 32241. EAST: (904) 262-4000; for your Magneplanar speakers: a family of refinements WEST (818) 243-1168. that couple Silicon Valley technology and audiophile sensi- bilities. The results transform your "Maggies" into a speaker system that will amaze you. At a cost that won't bankrupt POLYPROPYLENE CAPACITORS FROM MADISOUND you. For information writeto: TOPOLOGY, P.O. Box BREATHTAKING SONIC IMPROVEMENT AT AFFORD- ABLE PRICES. 1 MFD: $1.85 * 2 MFD: $2.05 * 3 MFD: 13038, Oakland, CA 94661. $2.15 * 4 MFD: $2.50 * 5 MFD: $2.75 * 6 MFD: $3.05 * 7 MFD: $3.25 * 8 MFD: $3.50 * 10 MFD: $4.20 * 12 LOUDSPEAKER COMPONENTS -KITS. Audax, Dynau- MFD: $4.30 * 15 MFD: $5.30 * 20 MFD: $6.80 * 25 dio, Eclipse, Focal, Peerless, Morel, Vita, and more! 1µf - MFD: $7.55 * 30 MFD: $8.90 * 35 MFD: $10 * 40 MFD: 80µf polypropylene capacitors. Catalog 500. Meniscus, $11.10 * 50 MFD: $13.25 * 60 MFD: $15.50 * 70 MFD: 3275W Gladiola, Wyoming, Michigan 49509. $17.60 * 80 MFD: $19.75. 250 working volts; add 10% for shipping costs. MADISOUND SPEAKER COMPONENTS, 8982 Table Bluff Road, Box 4283, Madisound, Wisconsin 53711. (608) 767-2673.

SPEAKER CABINETS UNLIMITED COMPUTER DE- SIGNED speaker cabinets now available for: Dynaudio, Keff seas, Peerless, Morel & Fried speaker kits. Complete kits also available for the hobbyist. Send $3 for literature. The Most Knowledgeable Advanced Sound, 610 W. Baxter Ave., Knoxville, TN 37921. (615) 637-6694. Audio Dealership Many audiophiles who desire high quality audio systems are misled by well-meaning but misinformed friends, salesmen, and magazines, IS.THE whose understanding of acoustics is superficial or compromised in MOD SQUAD some other regard. As a result, many expensive "mistakes" are made. GALA SOUND, located in Rochester, N.Y. INTRODUCES and established by pianist/acoustician lames TIPTOES' Gala, sells musically accurate and superbly CARTRIDGE COUPLER crafted audio components. optimizes mechanical interface between cartridge and headshell Audiophiles, music lovers, and recording TAPPED TIPTOES studios interested in achieving the highest level replaces the feet on your Oracle, of sound reproduction now rely on GALA SOTA or VPI Turntable SOUND for state-of-the-art audio systems LINE DRIVE custom designed for their specific needs, a passive system control center for listening environments and budgets. your CD Player, tuner, tape deck These systems are second to none. and video sound. If you're serious about sound, you can own the finest: a custom Available at Tiptoes' Dealers designed audio system from GALA SOUND. everywhere. Or direct from The Mod Squad. For a complete cata- Phone, (do not write) Jim Gala at (716) 461-3000. log, send S2 postage/handling KEF BuW QUAD MAGNEPLANAR THRESHOLD (refundable with order) to MARK LEVINSON McINTOSH PERREAUX BRYSTON REVOX BELLES crtio izad GALA SOUND Department A, 542 Coast Hwy 101 Leucadia, CA 92024 3122 Monroe Avenue, Rochester, New York 14618 (716) 461-3000

AUDIO/DECEMBER 1985 127 THESOUTHER CD PLAYERS THE COMPACT DIGITAL PLAYERS! LOWER SLA-3 tipJUNIOR In stock! Fast, FREE shipping. Also: Klipsch, Acoustat, PS, LOUDSPEAKER IMPROVED (.01SUPERB SOUND Quad, Spica, Fried, and more. (See our Haller ad.) READ REPLACED Vt.% SWEET PRICE BROTHERS STEREO, 593 King Street, Charleston, South DISTORTION BY THE NE ,A/ Carolina 29403. (803) 723-7276. TRIQUARTZ SUPERIOR SOUND $550 MUSICAL CONCEPTS CD MODS! SAME PRICE Outstanding modifications are now available for the Philips $850 O based CD players, i.e. Magnavox, Sylvania, Marantz, etc. THE CLEARAUDIO IMPORTER Why pay for fancy nametags and luxury refinishing when great sound is your goal? Our extensive, proprietary modifi- SIHE LEPER III ONE. PHONO TRACKING SOUTHER ENGINEERING CORPORATION cation now available. $180/installed only. Musical Con- 429 YORK STREE 1 CANTON MASSACHUSETTS, cepts, #1 Patterson Plaza, Florissant, MO 63031, 314- 617 828 5050 , TELE A SOUTHER 940 53680S ,I 831-1822, 1-4PM central.

J.S. AUDIO OFFERS A LARGE selection of CD players at competitive prices. For more information Mon. PARTS & ACCESSORIES thru Sat. please call 301-890-3232. J.S. Audio, One 3 Childress Court, Silver Spring, MD 20707. We honor Visa & M/C. LOW DCR AIR CORE INDUCTORS ARE OUR ONLY - PRODUCT! Wide selection of coils wound with twelve and E sixteen gauge wire! Custom orders welcome! Lowest NAKAMICHI, CARVER, REVOX, CROWN, BANG & a) prices! Rush C.O.D. orders accommodated! Free Informa- OLUFSEN, TANDBERG, KYOCERA, N.A.D., THORENS, tion! Wilsonics, 2510 47th Street, Suite AA, Boulder, Cob - HARMAN-KARDON, B & W, E -V, A.D.S., DCM, KLIPSCH, Its redo 80301, (303) 530-1067 evenings AND OTHER QUALITY COMPONENTS. BEST PRICES - - co PROFESSIONAL CONSULTATION. ALL PRODUCTS LCI) COVERED BY MANUFACTURER'S USA WARRANTY. cp TUBES & ACCESSORIES WITH ADVICE on tubes, AMERISOUND SALES, INC., P.O. BOX 24009; JACK- 3It) mods., system design, new & used components. Amperex, EE, GE, Gold Lion, Mullard, Sylvania, Tungsram. Exclusive SONVILLE, FLORIDA 32241. EAST: (904) 262-4000; WEST (818) 243-1168. cn .- US rep. Siemens/Telefunken. Great prices. Consultant 0. suppliertomanufacturers, dealers,clubs,individuals. 2 Douglas Kent Smith Consulting, 1792 Perrysville Ave., cn Pittsburgh, PA 15212 (412) 322-1693. TAPE RECORDERS rl tu .o f-fA DB-3 ACTIVE ELECTRONIC CROSSOVERS ARE AVAILABLE at any frequency, with Gaussian (6,12 dB), AMERICA'S LARGEST dealers in HIGH END USED stereo. We BUY by PHONE. STEREO EXCHANGE 687A The VMPS Towerllis a six -way, low distortion, highButterworth (18 dB) and In Phase (24 dB/octave) slopes. Also custom versions. Level controls, less than 0.0008% Broadway, between 3rd and 4th St. (opposite Tower Rec- efficiency floor -standing loudspeaker system of THD, five year warranty. Frequency change at factory or in ords) NYC 10012. (212) 505-1111 and (800) 833-0071. outstandinglinearity, bass extension, and field, generous credit for exchanges. DB SYSTEMS, Main spaciousness of imagery at a most affordable St., Rindge, NH 03461. (603) 899-5121. NAKAMICHI, CARVER, REVOX, CROWN, BANG & price. OLUFSEN, TANDBERG, KYOCERA, N.A.D., THORENS, HARMAN-KARDON, B & W, E -V, A.D.S., DCM, KLIPSCH, Like itslargersiblings,the VMPS Super MOD SQUAD PLAYS AND OTHER QUALITY COMPONENTS. BEST PRICES - Tower/R ($699eakit, $969ea assem) and SANTA CLAUS PROFESSIONAL CONSULTATION. ALL PRODUCTS Super Tower Ila/R ($1099-1299ea kit, $1499- What always fits and never needs watering? High quality COVERED BY MANUFACTURER'S USA WARRANTY. 1699ea assem), the Tower II features the unique audio accessories from The Mod Squad-perfect gifts for AMERISOUND SALES, INC., P.O. BOX 24009; JACK- your favorite audiophile! Tiptoes $7 (11/2") $5 (1/2"), Mod SONVILLE, FLORIDA 32241. EAST: (904) 262-4000; QS0 Holosonic image enhancement circuitry, an Squad Compact Disc Damper $20, TWEEK Contact Condi- WEST (818) 243-1168. ambience recovery system which keys on the true tioner $15, Electronic Stylus Cleaner $30, LAST Record phase information of the signal source, rather than Cleaner $9, Preservative $17, Stylus Cleaning Fluid $8, generating an "everywhere and nowhere" sonic StyLAST $20. PLUS a Tune selection of audiophile records PRERECORDED TAPE miasmacharacteristicofphase matrixand and compact discs. Order early to guarantee Christmas omnidirectionalsystems. Separate subbass, delivery! The Mod Squad, Inc., 542 Coast Highway 101, Leucadia, CA, 92024. (619) 436-7666. lowbass and midbass 12" drivers provide a -3dB DIRECT -TO -TAPE RECORDINGS: REAL TIME DUPLI- point of 22Hz with THD not exceeding 0.7010 (1W CATED REELS (2/4 track, Dolby B/C, TypeX), CAS- drive). Recent press comment on VMPS includes: SETTES, PCM DIGITAL CASSETTES, and BETA HIFI "World Class" (High Fidelity, Ap 84 on the AUDIO from MASTER TAPES. We also sell CD's. SEND STIIa/R); "A whale of a good buy and highly $1.00 for CATALOG and NEWSLETTER. Direct -to -Tape recommended" (Stereophile on Recording, 14-R Station Avenue, Haddon Heights, NJ VIII/4, the 08035. VMPS Subwoofer); "A superior combination of excellent dynamic response and overall accuracy" (Audio, Aug 851 Also available are the new Smaller Subwoofer, ($199 eakit, $299ea hafler assem), the Larger Subwoofer ($439 ea kit, LIMITED QUANTITY $549ea assem), the MiniTower II ($329ea kit, SPECIAL PURCHASE $439ea assem), and the GISO Series of bookshelf speakers. Hear VMPS at the dealers listed below, DALLAS and write us for full reviews and test reports. Kits AR Nitty Gritty Acoustat CnkYD are supplied with fully assembled cabinets and all Audible Illusions PS Audio prices include free shipping in USA. Audio Source ProAc Audioquest Randall Research Belles Reference Recordings VMPS AUDIO PRODUCTS DH220A Power Amp CJ Walker Robertson div !tone Audio DH100A Preamplifier Conrad -Johnson Sheffield Electrocompamet SOTA 3412 Eric Ct. El Sobrante Ca 94803 Assembled only, no kits. Grace Sonographe Combination ot)4 (415) 222-4276 $500.PR. Grado Souther 0 Audio has made a special purchase of this famous Harman-Kardon Spica Hear VMPS at: The Listening Studio, Boston; Custom Haller preamp. amplifier combo. and now offers it to Kimber Kable Sumac° Products Talisman Entertainment Systems, Oyster Bay NY: Sound Stage. you at incredible savings. This is an offer not soon Live Wire to be repealed. Act now and save up to31% off lost' Thiel Syracuse Ut; Strictly Speakers. W. Palm Beach, Fl; Arthur Magnepan Threshold Morgan, Altamonte Springs Fl; Efficient Stereo. Torrance MAS Monster Cable VR Ca; Sounds Unique. San Jose Ca; 'tone Audio, El Sobrante Send 53.00 for our new catalog. Ca; Praise Audio, Powder Springs Geo; Walker Audio, San Omni Sound Angelo Tx; Eclectic Audio, Livermore Ca; Mountaineer 95 vassar st. 4833 Keller Springs Rd. Telephone, Beckley W Va. Cambridge. ma (617) AUDIO Dallas, Texas 75248 02139 547-2727 (214) 931-6664

~~128 AUDIO/DECEMBER 1985 Authorized COMPACT DISCS gieiyieweirti, Linn/Naim~~

~~Western Mass - Dealers CD &Components at a ckede4 ~474 you ALABAMA MICHIGAN~~

I 1 =:c;:=. °,c,°:f:'..:;:,'%,=,:.,- Audition Homewood* Absolute Sound, Anr Onevo integre moron PS Pewo 5.re So. Rich Mansfield Audio, `4,-. Campbell Audio Video, 'Sound & Music Huntsville Grand Rapids 92 Kr no 51Noilnampron.413-584.547 Sound Room, Grand ARIZONA Rapids* Listening Post, Tempe Dr. Goodear's Audio, Mt. ARKANSAS Pleasant Sound Investments, Absolute Sound, Royal Oak JOIN THE CLUB: Hundreds of used CDs. $8.49 to $9.49. . Harrison USED CDs WANTED. Sell for cash or trade your unwanted MINNESOTA . Audio Perfection, CDs for other CDs or Stereo equipment. Audio House, - CALIFORNIA

Minneapolis 4304 Brayan, Swartz Creek, Michigan, 48473, 313-655- Audio Basics, Claremont Exclusive Sound, St. 8639 Classic Audio, Carlsbad Cloud* Musical Images, Fresno* Havens & Hardesty, MISSOURI REFERENCE RECORDINGS Huntington Beach Music Systems, St. Louis COUNTERPOINT SA -12 Christopher Hansen, Los Our newest and best recordings are now available on TUBE/MOSFET POWER AMPLIFIER NEBRASKA Compact Disc! RR-12CD "Delos" featuring Mickey Hart; Angeles* Sound Environment, RR -13C0 "Tafelmusik," Popular Masterworks of the Ba- Gene Rubin Audio, Lincoln roque; RR-15CD "Church Windows" by Respighi (also Monterey Park (under $10001 Sound Environment, includes "Poems Autunnale" with Ruggiero Ricci); RR- Audible Difference, Palo Omaha 16CD "Facade" Suite by Walton; RR-17CD Stravinsky's Alto* "L'Histoire du soldat" Suite; and RR-18CD "Reflections" Keith Yates Audio, NEW JERSEY with Jim Walker, flute, and Mike Gerson, piano. All CD titles Counterpoint.. nothing between the musk and you. Sacramento* Professional Audio $17.98 each, postpaid in U.S. (Add 6% tax in CA.) Quanti- P.O. Bon 12294 Dept. A. La Jolla. CA 92037 16191153-9090 Stereo Design, San Diego* Consultants, Milburn ties at present are limited! At fine audio & record stores, or House of Music, San CSA Audio Design, Upper direct from Reference Recordings, Dept. A, Box 77225X, Francisco* Montclair San Francisco, CA 94107. (415-355-1892) Visa/MC wel- Access to Music, San NEW YORK come. FREE catalog/reviews. Dealer inquires invited! Francisco Ears Nova, Great Neck COMPACT DISCS Systems Design Group, Innovative Audio, Brooklyn Sherman Oaks Sound by Singer, New York N. CAROLINA COMPACT DISCS-MOST TITLES $11.99-$13.99. COLORADO Audio Alternative, Fort Audio Salon, Charlotte --:-.VEltk_ _,./.4IffilliSIC... 3,000 plus titles in stock. Free catalog plus monthly up - Collins Stereo Sound, Chapel Hill dates. Oz Records, 5246A Memorial Drive, Stone Moun- 't111) VOIll EARS" ',.'. Stereo Sound, Greensboro tain, GA 30083, (404) 292-5452. CONN. Stereo Sound, Raleigh Free Catalog of CD's. ..- Carston Stereo, Danbury* Stereo Sound, Winston- .* Same day shippingityou order LOWERING PRICES-$9.95 year membership, purchase FLORIDA Salem - before 12Thoon..EDT.. , CD's for a year at wholesale cost. Prices start at $6.95. slo° DISCOUNT per disc on orders Classical, Jazz, Popular, Imports, and Domestic selections. Sound Components, Coral OHIO $2 for catalog and further details. Tivoli Entertainment, 725 Gables* Hoffman's Stereo, of 10 or more. " - Sound Components, Ft. 1250for UPS Cont. U.S, shipments. S. Gilbert, Iowa City, Iowa 52240. (319) 338-9158. Cleveland* Lauderdale* Custom Stereo, Columbus Call Toll,Free to order: Sound Source, Marathon Stereo Showcase, Dayton USA 1-800-232-3687 COMPACT DISCS Audio Gallery, Sarasota Oxford Audio Oxford NYS 1-800-537-7303 - Audio Visions, Tampa P.O. Box 616, Clifton 'ark, NY 12085 OM AND ACCESSORIES OKLAHOMA 518-664-2550 Call for FREE catalog. HAWAII Audio Dimensions, (1--7. Requests welcome Audio Design Ltd., Oklahoma City Honolulu* ,..1.--ift OMR4CT ORICIt ALL DISE NUNSK,INC: 24 hours a day. PENN. Audio Shoppe, Honolulu* (ip DISC Retailer prices available Abbie's Audio, Dormont, PA OUR tADIS CT call ENTRE PIRO° 1-452-0205 ILLINOIS Chestnut Hill Audio, Phil. 1 1 -800 -ALL DISC Media Room, Chicago Sound Service Company, 41 Monroe Turnpike, Trumbull, CT 06611 Pro Musca, Chicago Phil. Victor's Stereo, Chicago* PUERTO RICO Sound Choice, Lisle . Precision Audio, Rio Absolute Audio Systems, Piedras Rockford S. CAROLINA INDIANA British American Sound, enigma Audiotrend, Evansville Charleston' by sound associates Inc. Hi-Fi Buys, Indianapolis* John Brookshire Entrmt. Hi-Fi Gallery, Indianapolis Sys., Anderson Classic Stereo, South eng-re renerne nomas IL. TEXAS 11.'1941- a perdo,no. trattlIng. or Bend' SOOTP yintepleade mew et High Bias, Austin SYN. see MYSTERY KENTUCKY Audio Distinctions, Corpus Accurate, powerful 20 Hz bass response in a Hi-Fi Buys, Louisville. Christi freestanding, enclosureless. dipole array. MARYLAND Audio Concepts, Dallas Audio Concepts, Houston Inconceivable? To be the most accurate low Listening Room, Concert Sound, San frequency subwoofer system ever designed, SykesmIle. the Enigma Array HAD to be enclosureless. Antonio MASS. VIRGINIA The Enigma designers would like to tell you Natural Sound, why, and a great deal more about the Enigma Framingham' High -C Stereo, Leesburg* System. Matrix Audio Video, West WASHINGTON If you demand the best and have never Hatfield Definitive Audio, Seattle* experienced articulate, yet concussive bass reproduction, we'd like to hear from you. Unless otherwise indicated, dealers listed A complete full color product brochure and sell both Linn Products and Naim Audio. zapDisclosures" is availablecomprehensive for technical 55.00. manual, "Acoustic Dealers marked with an asterisk sell Linn Send to: Products only. Sound Associates, Inc. 1.''''' Suite A 11112 North Port Washington Road Mequon, Wisconsin 53092 If you prefer a return phone call to discuss. the Enigma, Call TOLL FREE 1-800-331-6677 In Wisconsin call: 414-242-3301 audiophile and have your name and phone number Nhill Complete system: $2895 tystems (11). 6842 Hawthorn Park Drive AUDIO/DECEMBER 1985 129 Indianapolis, Indiana 46220 C -D. CARRYING CASES INC. BLANK TAPE 1925 Pine Ave Niagara Falls, N.Y 14301 NEW way to store Compact Discs TAPE WORLD 1-800-245-6000 SPIRITS!' CALL TOLL FREE 1-800-21334506 (24 Hrs.) O Low:FOR For American Express, Master Charge, or Visa Telephone orders only 03 VI101 Olgistoss 522.2, le r9 L. 4 59 S ONS 12C , 89 MA 00 Se Ow most WI Stores up to 50 Audio Compact Discs in a dust.tree environment. See,00(110- S OSO 12,2-20 T help you eve Will also store up to 5 double discs 213-110 210 semen, 6 25 5 0,2 suet TM. el Oor &els SOW CO'el° C° "'d D'c Provides for easy access to your C O. collection ',nen 2 40 Tenn 2101.0- 1 MI Men 90 T Ace .0 ox....8.,....,..,,, Serves as a carrying case la portability. 2 00 4 10 5 In SA. *leen 120 n ISAMO 511 10 day money back guarantee SAMO ia VISA 'e"1*;:5r;'5,t,::::ik, MARAflapP;r° (cut out for mail orders only) 0 EXTRA Please send me. Compact Oise Carron' Cases @ 549 95 each 90 CHARGE ''9,i':iiiM:''F ;.7a::::' ?::;"'a=l':11ZI'o'r'wirc'ci:S plus $6.00 stopping and handling in 0 Brown or O WO Mr a total once ol S 0 Enclosed Is my cneck Of money order. 40 MR IMCITCAMLenTm=2:42"ar TIC C.K4"AGE°."3 1 U" -$349 FFzne.....,.,, Oldie Me ,,,, size (Allow 3-4 weeks la Weary) SHIPPING %Ewen..44 SATS.. An HT CIALMA C OCO ADO I " TECHNICS- '''' '". , v.,,0,., 'IT Cens....'s $269 MUTTS MIMI ..y. Name (please print) O COMPLETE LINE OF TOO AND MAXELL IN STOCK 0

Address (no P.O. Boa NUMMI MOST PRICES ON , City State ZiP Code AMPEX PROFESSIONAL SERIES AUDIO TAPE SALE. LOWEST CALL FOR -fl VIDEO! OR Charge to account NO 0 American Express 0 Visa co 0 Masterchsrge High quality open reel 1800' or 2400' on 7" reels, used BRAND HI once. Case of 40, $45.00. 101/2 X 3600' and Cassettes. MAJOR `, Card No Expiration Date MCNisa. Valtech Electronics, Box 6A, Richboro, PA 18954 ,1 Signature PA -I (215) 322-4866. 00-22a-11656 US Funds only Ontano Residents add 7% Sales Tar Dealer Inquiries invited ONLY 94 ORDERS i i AUTO SOUND

NAKAMICHI, CARVER, REVOX, CROWN, BANG & ... al OLUFSEN, TANDBERG, KYOCERA, N.A.D., THORENS, HARMAN-KARDON, B & W, E -V, kDS., DCM, KLIPSCH, - Registered Design AND OTHER QUALITY COMPONENTS. BEST PRICES - PROFESSIONAL CONSULTATION. ALL PRODUCTS COVERED BY MANUFACTURER'S USA WARRANTY. AMERISOUND SALES, INC., P.O. BOX 24009; JACK- SONVILLE, FLORIDA 32241. EAST: (904) 262-4000; COMPACT DISCS WEST (818) 243-1168.

AUDIOPHILE RECORDS EtfteL Enterprises DISCOUNTED PRICES on all Audiophile recordings: Featuring Mobile, Reference, Sheffield, Wilson, Telarc plus CD's, Last cleaners, VPI, Distech Wire and more CD'S EXCLUSIVELY at HUGE savings. FREE catalog: CLASS -A -UNDER- GROUND, 35 North Greenbush Road, West Nyack, COMPACT DISCS Over 1100 Classical, Opera NY, 10994 or call (914) 638-4089 (10-4 EST). QUICK & Jazz Titles in stock. delivery, Visa/Mastercard. MOBILE FIDELITY CHRISTMAS SALE!! Sealed BEA NORTHEASTERN COMPACT DISKS & CASSETTES. TLES collections available. U.H.O.R.s! Out -of -prints at un Lowest Prices. Widest Selection. Order Today! CALL TOLL Detailed Catalog $1 believable prices! Fly Like An Eagle $15; Magical Mystery FREE 1-800-231-5811(In Connecticut 1-452-1490). 7 Tour $20. Accommodations for Christmas shipping. Nauti- days -week: 9 A.M.-11 P.M. EST. VISA/MC/COD accepted. lus, Sheffield, American Gramaphone. Call the proud dis- Northeastern Compact Disks & Cassettes, 29 N. Hillside P.O. Box 3301, Dept. A tributors of Imaged Stereo's "Imager"' loudspeaker, Ln, Monroe, CT 06468. See our ad in the front of this issue. Falls Church, VA 22043 SOUND ADVICE, (816) 361-2713.

~~MOBILE FIDELITY UHOR Sealed out -of -print copies-Dark Side, Sgt. Pepper, Finger Painting, Crimes of Century. Best offers. (612) 824-1444.~~

REFERENCE RECORDINGS New Prof. Johnson all -analogue recordings, now available ALANSBASS SYSIEV in highest quality 45 rpm pressings: RR -18 "REFLEC- TIONS," soothing, peaceful music in the Windham Hill vein for flute and piano featuring members of Free Flight. Jim FOR MANY YEARS A Walker and Mike Garson. RR -17 "L'HISTOIRE DU SOL- DAT" Suite by Stravinsky and "Capriccio Espagnol" by REFERENCE STANDARD FOR SUBWOOFER'TRFORMANCE Rimsky-Korsakov in brilliant performances by the CHICA- GO PRO MUSICA. $16.98 each, postpaid in U.S. (Add 6% ITS THE CHOICE WHEN ONLY THE BEST WILL DO tax in CA.) Reference Recordings, Dept. A, Box 77225X, San Francisco, CA 94107. (415-355-1892) Visa/MC welcome. FREE catalog/reviews. Dealer inquiries invited!

~~KIMBER KABLE HIGH PERFORMANCE SPEAKER WIRE~~

~~ASK YOUR DEALER OR CALL FOR DIRECT SALE ASK FOR OUR COMPLETE LITERATURE THE JANIS BASS SYSTEM KIMBER KABLE 2058 Harrison Blvd. JOH\ VAROVS~~

~~130 AUDIO:DECEMBER 1985 AUDIOPHILE RECORDS ACTIVE ELECTRONIC~~

~~OUT -OF -PRINT MOBILE FIDELITY CROSSOVERS RECORDINGS make a thoughtful present for the audio- NEW DESIGN! MODEL 120 phile or music lover on your Christmas or Hanukkah gift list. NOW AVAILABLE~~

Factory -sealed SINGLE discs, DOUBLE discs, U.H.Q.R.s ' and COLLECTIONS. Call BOB (818) 845-9238 Monday - Made to order in bi-amp, tn-amp, and quad - Friday after 7 PM (PST) and all -day weekends for more amp configurations with optional level con- Known by the company we keep. info. trols, subsonic filters, or summers. Filters, MAJOR AUDIOGrado Souther VISAand MASTERCARD accepted. regulated power supplies, equalizers, also Acoustat Signature Spica available. ADS LAST Stax Livewire UHOR SGT. PEPPER SALE. Mobile Fidelity's ultimate Free catalog and price sheet Alpha Sumiko Magnepan recording of the ultimate Beatles' record. $175 each. Also Audio Tandberg Interface Martin -Logan MFSL 002,003 (Mystic Moods) and 005 (Supertramp) $29 Threshold Deed Eng. Lab. Audio Pro Mission each. All records factory sealed. (516) 747-3376. Vandersteen 11828 Jefferson BI. Culver City, CA 90230 Audioquest Mod Squad VPI PHONE (213) 397-9668 Boston Monster CableWin Labs MIT RECORDS Bryston Yamaha NAD Yamaha Carver Nakamichi Audiophile Counterpoint RECORD COLLECTORS SUPPLIES. CARDBOARD RE- Niles VIDEO PLACEMENT JACKETS, 12" & 10". PLASTIC LINED WANTED TO BUY CVVID Oracle NAD SLEEVES, OPERA BOXES, 78 RPM SLEEVES. COM- Devon Proac NEC PLETE CATALOG. CABCO, BOX 8212, ROOM 660, CO- Dyrravector HIGHEST PRICES PAYED FOR MARANTZ, MAC, W.E., Robertson Pioneer LUMBUS, OHIO 43201. Eminent Altec, Brook and Regency amps. Also want J.B.L., Altec, Technology Signet Proton Tannoy and E.V. speaker systems. N.Y.S.I., (718) 377- Grace Snell Sony SERVICES 7282, Noon till 3pm. SOTA Modem Demo Facility, Specialty Records, MCINTOSH, MARANTZ TUBE, MCINTOSH S.S. equip- Accessories and CDs, In-store Service, AUDIO PULSE SERVICE. Factory trained technicians. ment, Thorens, Western Electric, Tubes, Speakers, etc. Custom Cabinetry. No Mail Orders Please Write us about Model One update kits. White Labs, 10528 Scott Dowling, 9908 Daines Drive, Temple City, CA 91780. Lower Azusa Rd., Suite 192A, El Monte, CA 91731. (818) (818) 286-9122, evenings/weekends. 446-5346. MCINTOSH, MARANTZ TUBE COMPONENTS, Western AUDIO PULSE SPECIALISTS. Repairs-Modifications- Electric, Altec, JBL. John Conrad, 1178 Blackbird St., El Updates-Sales. WALT'S AUDIO SERVICE, 111 East Ri- Cajon, CA 92020. (619) 449-9155. alto Ave., Rialto, Calif. 92376. (714) 875-0776. 105 Whitney Ave., New Haven, CT (203)777-1750 MCINTOSH, MARANTZ TUBE AMPS. Olc Jensen triax- ials, woofers. Tannoy coaxials. Western Electric Equip- Mon., Tue.,Wed.,Fri., I 0-6 ,Thurs., 10-8,Sat., 10-5, WANTED TO BUY ments. Hartsfields (150-4C, N500). Patricians. Thorens MC/VISA/AMEX/TAKE 5 Charge TD -124. Garrard 301. David Yo, PO Bx 832 Monterey Park, Ca. 91754. Tel: 818/576-2642. AMERICA'S LARGEST dealers in HIGH END USED stereo. We BUY by PHONE. STEREO EXCHANGE 687A Broadway, between 3rd and 4th St. (opposite Tower Rec- ords) NYC 10012. (212) 505-1111 and (800) 833-0071.

ATTENTION: WANTED, MCINTOSH, MARANTZ, AUDIO RESEARCH, Western Electric, Berning, Altec, Tannoy, tube & solid state, amplifiers, speakers. 713-728-4343. MAGNEPLANAR® DEALERS Maury, 11122 Atwell, Houston, Texas 77096. AL HOMEWOOD-Audition AZ MESA-HiFiSales TUCSON-AudioEmporium CA BER KELEY-SoundingBoard ENCINITAS-NoCoStereo FAIRFIELD-C&M StereoUnitd LA- HARTSFIELD SPEAKER, will pay top $$$ for J.B. Lansing Signature 2 -way corner enclosure. L. Malin, (619) 365- ChrisHansen MONTEREY-MontereyStereo ORANGE-AbsoluteAudio PALO ALTO- 8356. AudibleDifference SACRAMENTO-KeithYates SAN DIEGO-StereoDesign SAN FRANCISCO-AudioExcellence SAN JOSE-GarlandAudio SANTA BARBARA- AudioVIsion WALNUT CREEK-HighFidelityShoppe WOODLAND HILLS-Shelley'sStereo CO DENVER,BOULDER-LostenUp CT NEW HAVEN-Take5 FL ALTAMONTE SPRINGS-ElectronicCreations CORAL GALES FT LAUDERDALE- audio-technica AI III SoundComponents FT PIERCE-SoundShack JACKSONVILLE-AudioEtc TAMPA- AudioVosions HI HONOLULU-AudioDesign ID BOISE-StereoShoppe SAND PT- Electracraft IL BELLEVILLE-AudioMusicale CHAMPAIGN-GlennPoor's CHICAGO- DIAMONDS ARE NOT FOREVER! PaulHeath EVANSTON,HINSDALE,LIBERTYVILLE-AudioConsultants IA DAVENPORT-AudloOdyssey DES MOINES-AudioLabs KS KANSAS CITY- When was thelasttime you BeattyElect KY LOUISVILLE-SoundGallery MA CAMBRIDGE-Goodwin's ME changed your stylus? If you can "t s FALMOUTH-HiFiExchange MD BALTIMORE-DiscerningEar ROCKVILLE-MyerEmco remember, then it may already MI GRAND RAPIDS, KALAMAZOO-ClassicStereo ROYAL OAK-AudioDimensions be too late!! MN MINNEAPOLIS-AudioPerfection MO STLOUIS-Flip'sStereo MT BILL- r. INGS-New Horizons GREAT FALLS-RockyMountain KALISPELL-LogicalChoice NE We specializeIn phono cart- LINCOLN,OMAHA-SoundEnvironment NJ LAWRENCEVILLE-HarsS:ereo ridges, factory original replace. RIDGEWOOD-SoundingBoard WOODBRIDGE,W LONG BRANCH-WoodbridgeStereo NM ALBUQUERQUE-Soundldeas CARLSBAD-Beason's NY BUFFALO -Stereo - ment styli, headphones & record Emporium GLENS FALLS-AudioGenesis LAKE GROVE-AudioDen NYC,WHITE care items only!! PLAINS -LyricROCHESTER-GalaSound SYRACUSE,ALBANY-ClarkMusic NC ASHEVILLE-SoundConcept RALEIGH-AudioAdvice OH AKRON-GoldenGramo (800) 221-0906E, phone COLUMBUS-CustomStereo OK TULSA-PhonographLtd OR BEND -Stereo Plant EUGENE -Bradford's PORT -Hawthorne PA HARRISBURG-HiFiHouse JENK- CALL TOLL -FREE FOR FREE PRICE QUOTES TOWN, BRYN MAWR,WHITEHALL,MONTGRYVILLE,PHIL-Sassafras READING- VISA/MC/C.O.D. ORDERS VISK DSAudio SC CHARLESTON-BritishAmerican TN JOHNSON CITY,KINGSPORT- N.Y. State (518) 599.1112 SoundConcept KNOXVILLE-HiFiHouse MEMPHIS-Opus2 TX AUSTIN-AudioFile SEND SELF ADDRESSED BEAUMONT-BeaumontSound CORPUS CHRISTI-AudioDistinctions EL PASO -Sound STAMPED ENVELOPE FOR Quest DALLAS-OmniSound VA BRISTOL-SoundConcept FALLS CHURCH -Myer OUR FREE CATALOG. Emco RICHMOND-AudioArt VA BCH-DigitalSound WA SEATTLE-DefinitiveAudio A SPOKANE-Hal'sStereo WASH,DC-MyerEmco WV CHARLESTON-HiFiClinic WI LYLE CARTRIDGES MILWAUKEE-AudioEmporium WY CASPER-CasperSound CANADA CALGARY- BoutiqueOfSound EDMONTON-AudioArk HALIFAX,DARTMOUTH-Glube'sSound Dept. ABox 158 Valley Strewn. N.Y 11582 MONTREAL-OpusAudio,Studio1006 OTTAWA-OttawaStudioSound QUEBEC- C.O.R.A. SASKATOON,SASK-CustomStereo THORNHILL,ONT-StereoFactory VAN- COUVER-SoundPlus VICTORIA-SoundHounds WHITBY,ONT-WhitbyAudio WIN - Phones Open Mon.Sat. 9am 8pm NI PEG,MAN;REGINA,SASK-AdvanceStereo OrrOrOn SNARE sTaNTon

AUDIO/DECEMBER 1985 131 WANTED TO BUY IF YOU LOVE MUSIC... QUADRAPHONIC OPEN REEL TAPES, RECORDS (whole collections), select equipment. Michael Robin, 120 Atlanta Place, Pittsburgh, Pennsylvania 15228. (412) 341- 1686. Mounting your speakers on WANTED: PIONEER D23 CROSSOVER network & Pio- HERCULES, the RIGID neer U-24 Source Selector. Don Abele, Box 76180, Bir- mingham, AL 35223-6180. SPIKED STABLE, WANTED: YOUR UNWANTED CD, classical and jazz. speaker stand, is the least Prices determined by quality. Presto Audio, 3125 Williams- expensive way to burg Dr., San Jose, CA 95117. (408) 374-0292. DRAMATICALLY improve BUSINESS OPPORTUNITIES your systems performance. ELECTRONIC REPRESENTATIVES NEEDED!! UNLIM- ITED PROFIT POTENTIAL! LOWEST POSSIBLE PRICES!! OVER 100 BRANDS! AUDIO-VIDEO-CAR STEREO & COMPUTERS! -ELECTRONIC EXPERTS, YES, YOU CAN UPGRADE 1000 ORANGE AVE., WEST HAVEN, CT 06516 SPEAKER STANDS! JPW LOUDSPEAKERS LTD., OF PLYMOUTH DEVON ENGLAND seeks profit minded dealers and aggressive reps. Visit us at C.E.S.-Suite 7116, Sahara Hotel or con- h icagoSpeaker_Sla tact: Power Audio Distributors, 4632 Cross Roads Park THE AUDIOPHILES CHOICE Drive, Liverpool, NY 13088. (315) 451-5721. 1-800-882-2256 SALES PROFESSIONALS: MYER/EMCO, Washington's leading stereo store, is seeking career oriented, technically expert salespersons. Enjoy exceptional pay and benefits with sane hours and a civilized work environment. Send resume to Myer/Emco, 2930 Patrick Henry Drive, Falls Church, VA 22044 or contact: Mr. Johnson at (703) 536- 2900.

~~MISCELLANEOUS~~

~~INVENTIONS, IDEAS, NEW PRODUCTS WANTED for presentation to industry and exhibition at national innovation exposition. Call free 1-800-528-6050. In Canada, 1- 800-528-6060. X831.~~

~~SATELLITE TV-INSTALL YOURSELF AND SAVE. Do- it-yourself installation manual, your personalized computer- I ized aiming coordinates. Discounts. Lee Beeder Cameras,~~

~~18 I 1/ I 151 O I ' II 4670 Hollywood Blvd, #141, Hollywood, CA 90027. 213/666-9778.~~

TEW YORK WHOLESALL MAIL ORDER UNBEATABLE PRICES PROFESSIONAL SERVICE AMERICAN, BRITISH, AND JAPANESE HIGH END: FLEXIBLE PAYMENT PLANS IMMEDIATE DELIVERY SHAMEFULLY LOW PRICES, Nakamichi, Mission, B&W, HIFI.STEREO Nakamichi TD700 633 IBM PC1DD 1525 KEF, Revox, Sumo, NAD, Denon, Plus Over 100 Other DBX 4BX 5597 Sony XR75B 281 Commodore.. C128 256 Brands. Information SASE Required. VISA/MC, COD. Seri- Infinity RS7B 185 ous Buyers Only. East 1-202/723-7404, West 1-206/325- Aiwa ADWX220 297 RECORDING TAPE TELEPHONES 7601. AudioWorkShop, Box 18009, Seattle, WA 98118. AR Turntable 209 Noxell XLI190 51.62 ANSWERING MACHINES Linn LP12 693 TDK SA90 1 58 Sanyo TAS3100 582 Nakamichi 2X7 791 Panasonic T120 4.37 Panasonic KXT2425 168 AMERICA'S LARGEST dealers in HIGH END USED ste- Sony L750 4 37 Onkyo TX65 ...... 338 Phone Mate.... 8000 119 reo. We BUY by PHONE. STEREO EXCHANGE 687A Revox B225 964 Sansui SX1130 566 VIDEO/TAL RADAR DETECTORS Broadway, between 3rd and 4th St. (opposite Tower Rec- Denon DRM33HX 392 Sony KV1972 $397 Whistler Spectrum 5196 ords) NYC 10012. (212) 505-1111 and (800) 833-0071. 294 Yamaha R8 468 RCA VKT385 Fox XK60 78 Sharp 13J370 215 Akai AAA45 188 Cobra RD3100 94 ABARGAIN: TECHNICS 205CMK4 $1 55, 100CMK4 $285, DM220 218 Sony SLHF400 485 B&W TECHNICS STYLUS GUAGE $49, EPA500 $275, EPA250 Denon DRA755 429 Panasonic PV1540 438 Dual 505-2 134 JVC HRD235 425 SPECIAL SALE $269, PRO LAMBDA $519, SRM1 /2 $279, SIGMA $199, Altec. 150w Prof Monitor ... S199pr Harmon Kardon 4951 356 Fisher FVH840 578 LAMBDA $162, SRX/3 $129, SRD7 $68, SRE15 $25; VCR4010 197 009 $600 Luxman R406 444 Sanyo Altec.. 100w Studio Monitor .. 127pr GRACE FOE $99, F9E RUBY $155, F9E STYLUS $58, Mission 737 234 Ong $300 RUBY STYLUS $109, 747 $125; ACCUPHASE AC2 $235, Sony CDP102 351 TYPEWRITERS/ Canon PC20 copier.... 598 AC3 $229; LINN ITTOK $385; DENON 103D $149, 103C Technics SL5 99 COMPUTERS Yamaha A400 amp 128 Celestion SL600 487 Royal 2001 5198 Casio CZ1000 keyboard .. 397 $99, DL303 $169; DYNAVECTOR 23RS(MR) $149, Panasonic RK400 249 Sharp 7750 microwave .. 165 17DS(MR) $299, 17DII $149, 10X $85, 20811 $159; CAR STEREO Brother CE58 381 Yamaha PS300 organ... 139 KOETSU BLACK $450, FR64fx $299, 64s $550, FR1MK3F Denon DCR5500 $392 Sharp PA1000 149 $139; FR44MC $165; ORSONIC AV101B $22, AV1b $21; Kenwood KRC929 467 Canon Typestar 5 139 Chess Challenger 69 Hewlett Packard HP11C 67 Alpine 7146 392 SCM Electra XT 168 HITACHI INTERCON 1.5' $25, 3' $30, 4.5' $40, SSX101 Yamaha YCR550 313 Epsom FX85 345 SPKR WIRE $3.5/FT, NAMIKI DIRCT FNDR $45; DIRECT EXCHG STYLUS REPLCMET: DYNAVECTOR 100R & Free Subscription- t he amaung international Wholesale ga;ette 23R FOR 23RS $120, 17DS $240; AC2 $195, AC3 $170; NO MEMBERSHIP FEE REQUIRED! 103D $120, DL303 $140; SGT. PEPPER (UHOR) $175; Installment Payment Credit Plan Friendly, knowledgeable sales people SHIP COD; ALL UNUSED & FULL MFG WARRANTY; 7 All products brand new and carry U S A warranties YRS IN BUSINESS; BOX 6312, L.I.C., NY 11106, ALL DAY (718) 784-2939 OR (305) 487-1048; DAY (212) 619- HOURS: 9AM-7PM EST. 2888. (212) 684-6363Monday -Saturday MERRILL TURNTABLE: For more information, con- or Write Direct: 2 PARK AVENUE, Dept. 11, New York, N.Y. 10016 tact UNDERGROUND SOUND, 2125 Central Ave., Prices Subled to change without notice We reserve the right to limit quantities Offer may be withdrawn anytime Memphis, TN 38104 (901) 272-1275.

~~132 AUDIO/DECEMBER 1985 AillWORLD 2.3 PARK ROW, MEW YORK, N.Y. 10038~~

~~ORDER TOLL-FRII I,CANADA CALI 800.221.8180 2) .19e EL=CTROCOMPANIET Shop at home and save 10% to 50% and more...on quality merchandise -fully guaranteed~~

'TOP 10' 'TOP 10' RECEIVERS AUDIO ACCESSORN5 Sherwood 5-2660 discwasher Affordable and reliable amplification designed to reveal 11OUDAY SPEC& RECORD WE SYSTEM InCluCIPS 04 Cleaning every musical subtlety and the full range of dynamic impact 490 04 09910,19 5,21,4024 990 Dean, found on the best source material. BruSil PlPS NEE Onc ladrialer 50409115 per Channel Pece,ver e, 495 Value Call or write for more information. 919995 $10" 9619000 SMAID vin c. 4.495249.95 41-5011 71300 dse ked0 Ciea, 9.99 AM. 4.4.435 MN m 0444 49'44,3995 cutT04.4 Lar,oge +q DR. 911940494 0,94 ,641140/911.95 900499419 MONT to. 049,49 Srxer,, `94/95 Electrocompaniet, Inc 149919422 NON 0, 9,349.95 11295111.469141191.44414, pair ,22.9s NNW 911111,269 29,42rts 01944 9.- '9935 4245119 Cal OREM Poe pair *1495 NIRO 99730. 0,4 269,9's 9. 249.95 oar MCC SCA* tredernelt ,13.95 44.95.9, 444.99111. 41.ette Rt. 202, Box 127 Hollis, ME 04042 (207)929-4553 414, 91130,94. 0545 '12.95 110490154410 524 CI,J24d 4019,495 MalVE2 PreswreC C4.44 '1.95 MOOS 59919 DO On Da0 RPAlid TON 4001 Cassette Hex/ emaq '12.95 'TOP 10' 'TOP 10' CASSETTE DECKS HI-FI VIDEO RECORDERS TEAC 2-9:00 PAIMMOni0 PV -1545 MAIL ORDER MAIL ORDER ei mew vieS ei RecOrae .1 -Heap mastenra a9serne Deck .../ Day /21Gunes V0rele51,2emore:,en 1111.1W $5799$ ANA, 0(11110 mak, II :I,. 179 95 MEM AUDIO DISCOUNTS OFFERS THE FINEST lines of TIM 195559,, 9 Co.91, 13995 59.0 .7254 5.0.494.a....,379 T9.44 A000 S.Mx Do 57r. 599 95 SNNO PIN=Sete Ne Steve 7.4,399 95 MERRILL AR MODIFICATIONS 5044 5.0.115,3 95 audio components (ESOTERICS INCLUDED) at T61:4996 MON 2 Door 9 31-.. 74.95 5,9602 9.0.52., 69995, COMPETITIVE PRICES. If you're in the market for Tonearm Replacement Subchassis Kitfor old AR DOOM MOM, 09495 $95-Subchassis for sonic improvement of AR-XE 5/19391 01910 se Nth CNSDNO '340.95 11v510r45S46650 speakers, receivers, cassette decks, to the best in WOW OWN My 0 C WIN Srtn 029495 6S0.k1i 4.D.4le.a4 8.,999.9C,a4P.,9957493799999 9oNr4t.0CA4 9 $95. Following modifications are for all models: Platter 6C0H4 4 separate components inducing amps, pre -amps, turn- TOM 93924,4 C 33,..9592 01.04711.05 Coating $15. Replacement Spindle $25. Spring Kit $8. 94 V9T d 17.144,44,92995 tables, cartridges etc. or a new CAR STEREO, our 'TOP 10' 'TOP 10' High Torque Motor $45. Platter Balancing Service $12. knowledgeable sales staff will be glad to assist you. CARTRIDGES & ILYIKTABL/3 VIDEO TAPES Foucault motor shieldfor AR-XE $15. UNDER - For more information Monday thru Saturday PLEASE SWIM BASF GROUND SOUND, 2125 Central Ave., Memphis, TN V.1S TYPE WAR BASF CALL 301-593-8833 or write to AUDIO DISCOUNTS, T.120 38104 (901) 272-1275. wc, Ridge srvius TOO 1026 McCeney Avenue, Silver Spring, MD 20901. We honor VISA -MC and COD for your convenience. $13495* $441

~~a u,. D500 Rellate area. Rom SRiRf Tow 40,4 Cost . 95~~

NOM T901164.6 15209 RVoum ,79.95 MNT.120 979 NAKAMICHI: 8X125 $339, BX150 $359, BX300 $579, 191241111196 6250109c use 1993 NC T 120 949 J.S. AUDIO OFFERS AN EXTENSIVE product selec- MOM Pm Type vs WU,. -7924,03 , ,., a. '6 49 RX202 $529, RX505 $869, DRAGON $1399, OMS7 STANTON MIL WC wen SI,Ns 94.95 NIMNIONEN 2.120 999 tion of HOME AUDIO, CAR STEREO, esoterics and TICIONICS 3312906 CO 049,,, ,2119.95 RCNT. TICNNOCI ROW, 44olnange, 50,139.95 SCO0TO1I 2 1..73099C EN, eign Craoe;i» the new DIGITAL DISC PLAYERS AT EXTREMELY $1099, OMS5 $799. TIMM WM vies ',4-.0.4111 06,299.95 SONV 1.799 99 T90.91CS RON Au0 OM/ Dir Nike99.95 TON 1450 969 COMPETITIVE PRICES. We provide six years of au- YAMAHA: R9 $659, R8 $499, R7 $399, CO2 $499, GE60 1104193 SOY= 44o MOT'. 41',139.95 TON T1 Erre Kan Vale ,5 69 dio sales experience, candid honest advice and full $299, A720 $389, A1020 $499, A500 $199, A1000 $429, 'TOP 10' 'TOP 10' warantee on all products we sell. For pricing and stock Synthesizer DX7 $1499. SPEAKERS & HEADPHONES AUDIO TAPES information call: 301-890-3232 or write to: J.S AUDIO, TASCAM: 34 $1149, 246 $999, 38 $2399, M30 $1079 ADVE\TSPEAKIMS maxell. SONY: TCD5M $549, WMD6c $249. One Childress Court, Silver Springs, MD 20707. We 4 re.roWas Speaker, XUSSIO honor Visa/MC and COD. Monday -Friday 11AM- New, Full USA Full Warranty, VISA/MC/AMEX/Diners/ 504datts keakinsurn Skieer Voul4 BLAS OR 7PM, Saturday 11AM-4PM. COD. 206-221-2977, 24 hrs. 206-361-2455, TASKAMICHI Audio PO Box 25583, Seattle WA, 98125. $139". XU -S90 $

.0559099A0 1i9^' Negri/ 94.95 11.45F 09990.29N ,3.99 9095 .042 44.170,,,,, 94.1191 6.3.90 Neal 9.99 314410 5041109405.0art 49,13 IfoWr 95L9et0 s.w44 17.96 1 Rom 3,44.9 MINA. 994.52 10 144 pair '99.95. TON 903.90 Sum, Noe -Di Six In 349.32 10"1 way 091,129.95 TOle UM. Hutu 11044:2119313 1,44, 4.rpm pair ,199.95 MC °Aso Nrx-rni wiriaso u e s c Naas pp 125 CeC90 7/5,-Seei Ca 1`140 THE INFINITE SLOPE 'TOP 10' 'TOP 10' EQUALIZERS & MINERS COMPACT DISC PLAYERS AudioSource TINchnics MODEL 1 10.111101 SL -P131 Just one of four extraordinary Infinite Slope speaker systems designed for NUM0.w Cnannel 1.411115 Piave/ Macs rInISn -71rorw`' those seeking something truely special. $249" $19995 ADC 551159 C100,V5e ra nLri i7e AKA! CDAll AMOACY 1A53N1 3 , 19.9 APOIONC11101 CD/0 Features: 94015:40 Niel49404 EC 149.95 111,1C111 04500 WNW= 6611400... 9,94,4 (-C,269.95 SAXSOI PDV750e 4044119 102400 ,265 DIECs, '169 95 SHERWOOD C12210 349.95 100 11011103 9145229 '114,0 0,ar4e, SONS 09DELD11 729.99 Infinite Slope Crossover ( re..0141C3 999055 +An 0, fp 44,919.95 TEAC P0500 '969 95 TECHNICS 99)065 11. ft, HI '349.95 1-501559 779.95 db/oct, pat. pend.). 76041. gag '290 rood,,41,319.95 '77999 Phase Shift Bass Loading (Pat. #4403112 ). Ca PIONEER' SONY. Specially constructed hand 411'4 f oioNces nense cep co wen. me Due crafted cabinets. NOTEWI Wen RAI LAW Cf 40040, 4060 MO 03944.119115 IN 69699 MAJOR 94.940 11115 EATING 5 JUST .41 WIRE ied Metalized polypropylene capa- OM '10400400 INVINTCRY VIEW MI th 741 Fieff 09 WRITE TO 5 9099.91,5 C4 43515 NOT LIMO IN TM NO citors and specially wound AIL PRODUCTS CARRY U.S. WARRANTIES low saturation inductors. ALL DEFECTIVE PRODUCTS EXCHANGED WITHIN 30 DAYS Limited lifetime warranty -trans erable to each successive owner. !iv, For literature, rave reviews and IN cur ouL Ana AWL U our dealer listings please phone AUDIO, 1,10.0, or write us. CLECTROMICI CAM°, 3 FREE vCII4/111211 CATALOG 1440120. Colinern ATALOCS

J SE CORPORATION E agnq, L JOE 519 East Middle Turnpike Manufactured under license by Modafferi 23 PARK ROW, DEPT. Al2, NYC, N.Y. 10038 NAME. Manchester, Connecticut06040 AcousticalLabs -patents granted and pending. EI I

~~(203) 643-2160 I ADDRESS' EI I CITY. STATE, /11 ,"9" 70.°ctra"L;f:W11''''~~

AUDIO/DECEMBER 1985 133 NAKAMICHI KOETSU ACCUPHASE LUX MICRO SEIKI GRACE EUREKA AD INDEX ALL JAPANESE HIGH -END x 4 r DISCOUNTED C America's Largest Selection 0 I- OVER 100 CARTRIDGES, 50 TONEARNIS, 30 TURNTABLES, U a 100 ACCESSORIES, & MORE 52 PAGE CATALOG -53.00 2 2 JAPANESE STEREO 0 930 N. La Coenega Blvd., Los Angeles, CA 90069 (21316599550

SAEC HIGHPHONIC SONY ES ESPRIT ENTRE STAX OENON ORSONIC Firm (Reader Service No.) Page A KG 107 Accuphase (1) 24 Adcom (2) 6 & 7 MAIL ORDER Aiwa (3) 3 Ertrified Akai (4) 97 BEAT THE PRICE FIXERS WITH low discount prices and AudioSource (5) 15 full U.S.A. manufacturers warranties on: Nakamichi, Re - Audiophile Systems (6) 87 vox, Carver, Bang & Olufsen, ADS, Kyocera, HK, Crown, Hafler, B&W, NAD, Tandberg, Polk. Island Audio, Inc., Belles Research (7) 86 203-937-0106 1122 Riverside Drive, Holly Hill, FL 32017. (904) 253-3456. Bridgestone 89 Lowest Possible Prices !! Brystonvermont (8) 36 SONY PCM UNITS: PCMF1 $1599; PCM501ES $649. Bush 20 MOST MAJOR AUDIO BRANDS!! Catalog of over 50 PCM recordings (Beta/VHS) $1.00. CBS Compact Disc 99 CO 'S - HI END AUDIO - CAR PRODUCT Send check/money order: DIRECT -TO -TAPE RECORD- CBS Records (9) ING COMPANY, 14 Station, Haddon Heights, NJ 08035 5 COMPUTERS - IHARDWARE-SOFTIVAREI- VIDEO 609-547-6890. Cabasse 29 FULL WARRANTY - FAST DELIVERY Camel 63 SEND FOR OUR CATALOGS?? NAKAMICHI, CARVER, REVOX, CROWN, BANG & Carver (10) 68 & 69 OLUFSEN, TANDBERG, KYOCERA, N.A.D., THORENS, Cerwin-Vega (48) 113 996 ORANGE AVE. HARMAN-KARDON, B & W, E -V, kD.S., DCM, KLIPSCH, Concord (11) 37 4:10) 'WESTHAVEN, CT.065161 AND OTHER QUALITY COMPONENTS. BEST PRICES - PROFESSIONAL CONSULTATION. ALL PRODUCTS Custom Woodwork & Design 4 COVERED BY MANUFACTURER'S USA WARRANTY. Dali 88 AMERISOUND SALES, INC., P.O. BOX 24009; JACK- Denon (12) SONVILLE, FLORIDA 32241. EAST: (904) 262-4000; 59 WEST (818) 243-1168. Finlandia 8 MAIL ORDER Ford JBL 40 & 41 YEAR-END SPECIAL DEMO CLOSEOUTS!!! SONY Harman/Kardon Cover II, 39, 75 PCM-701ES $795, TCK-555ESMK2 $465, CDP- Hifidelivision (14) 86 610ES $500, CDP-620ES $795; TOP-QUALITY LC- Illbruck (15) 20 THEY DON'T DISCOUNT IT? WE DO! Get LOW OFC INTERCONNECTS ONE METER $34. LC-OFC Infinity (16) 91 PRICES on ALL types of audio equipment-including SPEAKER WIRE $2.50 PER FOOT STAX ELS-F81 high -end and even esoteric products not normally dis- $1750, PRO SET $495; NAKAMICHI 700ZXL $1800, Jack Daniel's 109 counted! Now we can save you money on the equip- 1000ZXL $2400, RX-505 $795, ZX-7 $740, ZX-9 Jensen (17) 67 ment you REALLY WANT. Extensive selection-no $995; MICRO SX-5000 MK 2 $3995, B-31 $99, DQ-44 Jim Beam 33 need to settle for second choice. Thousands of satis- $185, SX-555FVW $895; ESPRIT TA -86 SET $1000, fied customers nationwide. Call us for price quotes or CLASS -A TAN -901$1350, NEC CD -705 $595, Kinergetics (18) 86 friendly, expert advice. Catalog $1. 616-451-3868. KOETSU BLACKMK2 $395; HIGHPHONIC MC -A6 Levinson 31, 35 VISAMC AMEX. THE AUDIO ADVISOR INC., BOX $395; KYOCERA DA -910 $1095; YAMAHA R-90 Linear Power (19) 105 6202, GRAND RAPIDS, MI 49506. $375, K-700 $325; LUX PD -300 $795, SAEC WE - Lucky Strike 407/23 $325; AUDIOCRAFT MC -3000 (UNIPIVOT) 95 $195; NAMIKI OF -100 $45, ACCUPHASE E-303 Magnavox (20) 82 & 83 WHY PAY MORE FOR LESS?? NEW USA Warranted $995; AND WE DISCOUNT ALL NEW HIGH -END Magnepan (21) 116 Nakamichi Home And Automobile Products. SHAMEFUL- EQUIPMENT ... CALL OR WRITE JAPANESE STE- McIntosh (22) 117 LY Low PRICES. Serious Buyers Only. Information SASE REO, 930 NORTH LA CIENEGA BLVD, LOS ANGE- Required. East 1-202/723-7404, West 1-206/325-7601. LES, CA 90069.(213) 659-8550. TUESDAY Meridian 90 AudioWorkShop, Box 18009, Seattle, WA 98118. THROUGH SATURDAY. Mission (23) 65 NEC (24) 73

Nakamichi 1 Nikko (25) 28 Onkyo 77 046147GUARANTEED SAVINGS Ortofon (26) 25 iqc "WhySettle For Less When You Can Own The Best" Perreaux (29) 11 4q Pioneer (31) 18 & 19 Offering Professional Advice FREE Delivery & Polk (32) 16

Set Up Relaxed "NO RUSH" Showroom C7.0 Proton (33) 85 Trade-ins Accepted Financing/Leasing Rogers (34) 136 FEATURING Salem 103 ADS Adcom Advent Alphason Audioquest Amber AR Bose Sanyo (35) 115 Celestion SL6/SL600 & DL series Denon DCM Time Window & Time Sennheiser Electronics (36) 4 Frame Dual Energy Grado Harman/Kardon JBL Kyocera Shure Monster Cable Proton Robertson Rauna Signet Soundcraftsmen 98 Sony (37, 38) Sony Systemdek Tandberg Thorens Tiptoes Triad VPI VSP Labs 22 & 23, 26 & 27 C. J. Walker Warfedale and other fine lines ... Soundcraftsmen (30) 12 & 13 Stillwater (39) 36 Call or write Harold Minto. Proprietor Studer Revox (40) 38 TDK (41) 71 (performanceaudio/video) Tandberg (42, 43) 110, 112 Technics (27, 28) 111, Cover IV 3655 Bayview Ave. (Corner Atlantic Ave) Freeport. Long Island. New York 1 1520 Telarc (44) 101 MC Tel (516) 378-4389 Retail Toshiba (45, 46) 105, 107 VISA Just 35 min. from Manhattan by car or railroad Mailorder Velodyne (47) 32 AMEX Showroom Hours: Mon. -Fri. 12 noon to 7 p.m. Sat. 11 a.m. to 6 p.m. Export Winston Cover III Yamaha 81

~~134 AUDIO/DECEMBER 1985 t. 198)ANNUAL INDEX~~

Nakamichi OMS-7 Compact Disc Player, Aug., 70. SUBJECT INDEX NEC T-6 Tuner, Dec., 78. Onkyo T-9090 Tuner, May, 68. 130, 372; Digital Processors, 133; Com- Parasound DR40 Receiver, April, 99. Addendum pact Disc Players,134;Preamplifiers, Pioneer SX-V90 AudioNideo Receiver, Jan., Frequency Contouring for Image Enhance- 142; Amplifiers, 156; Tuners, 171; Receiv- 102 ment, Richard J. Kaufman (Feb. 1985, ers, 175; Turntables; 179; Tonearms, 191; Pioneer CLD-900 Compact Disc/Laserdisc 34), April, 37. Phono Cartridges, 194; Cassette Decks, Player, Feb., 52. 205; Open -Reel Tape Decks, 212; Blank Pioneer FEX-95 Car Stereo, May, 80. Amplifiers Tape, 215; Microphones, 218; Head- Pioneer F -99X Tuner, Nov., 52. The Perfect Amp: Zero Distortion, George V. phones, 228; Equalizers, 234; Signal Pro- Proton 440 Tuner, July, 70. Dajan, April, 42. cessors, 242; Hi-Fi VCRs, 245; Cross- Quad ESL 63 Loudspeaker, June, 110. overs, 247; Loudspeakers, 251; Compa- Revox B215 Cassette Deck, July, 44. Book Reviews ny Addresses, 299; Audio Ye low Pages, Rotel RC -870 Preamplifier, Aug., 96. Spatial Hearing, Jan., 154. 306. Sansui C-2301Preamplifier and B-2301 Catch a Fire: The Life of Bob Marley, Jan., Amplifier, April, 82. 169. Equipment Profiles/Auricles Shure V15 Type V -MR Phono Cartridge/Nak- Unsung Heroes of Rock 'n' Roll, Jan., 170. Acoustic Research AR98LS Speaker, Jan., amichi Dragon -CT Tonearm, April, 70. POPS: Paul Whiteman, King of Jazz, April, 94. Signet TK1OML Phono Cartridge, Feb., 65. 110. Acoustic Research SRC Stereo RemoteSignet TK1OML Phono Cartridge, Feb., 65. Album Cover Album 3, April, 110. Control, Jan., 112. Sony D-5 Portable Compact Disc Player, The Record Producers, April, 111. ADS CD3 Compact Disc Player, June, 88. March, 42. All You Need Is Ears, April, 111. Akai GX-R99 Cassette Deck, June, 94. Sony CDP-650ESD Compact Disc Player, Showtime at the Apollo, June, 14. Amber Model 7 Tuner and Model 50b Am- July, 56. New Rock Record, June, 16. plifier, Aug., 76. Sony DAS-702ES D/A Converter, July, 58. Slowhand, The Story of Eric Clapton, June, Apogee Acoustics Scintilla Loudspeaker,Sony CDP-620ES Compact Disc Player, 16. Dec., 84. Sep.., 62. Apt Holman Preamplifier Two, Aug., 90. Sony PCM-501ES Digital Audio Processor, Car Stereo Audiovox/Hi-Comp HCC-1250 Car Stereo, Sept., 84. Car Stereo: Getting the Noise Out, Daniel May, 74. Stax SA -Lambda Professional Earspeaker, Sweeney, May, 60. Bose Roommate Loudspeaker, Nov., 90. Jan., 116. 11th Annual Car Stereo Directory, May, 89. Bryston 4B Amplifier, Nov., 80. Streets Electronics Model 950 Power Ampli-

The Carver Compact Disc Player, March, fier, Jan., 80. Construction Projects 74. Technics SP-10MK3 Turntable, Feb., 58. Frequency Contouring for Image Enhance- Celestion SL -600 Loudspeaker, Feb., 78. Technics RS -B100 Cassette Deck, March, ment, Richard J. Kaufman, Feb., 34; Ad- Crown PZM-180 Microphone, March, 88. 94. dendum, April, 37. dbx 10/20 Computerized Equalizer/Analyz-Technics SL -P3 Compact Disc Player, Aug., The DNR Noise Reducer: How It Works and er, Jan., 90. 84. How to Build It, Leonard Feldman and R. Electron Kinetics Eagle 2 Amplifier, Sept.,Thiel CS3 Speaker, Nov., 60. Aryana, Feb., 40. 70. ULTRX R100 Receiver, April, 104. Build a High -Performance Noise Reducer, Esoteric Sound Re -Equalizer, Nov., 70. Yamaha R-9 Receiver, Dec., 60. John H. Roberts, Feb., 46. Hitachi DA -600 Compact Disc Player, Feb., Tailor -Made Bass, Richard J.Kaufman, 71. FM Reception Aug., 56. Intraclean S-711 Head Cleaner and C-911 FM Fidelity: Is the Promise Lost?, Dennis Cassette Cleaner, Dec., 96. Ciacura, March, 48. Designs for Listening, David Lander, JBL Ti Series Loudspeakers, Aug., 100. FM Fidelity: One Station's Response, Gor- March, 60. Kenwood DP -1100B Compact Disc Player, don S. Carter (of WFMT), March, 53. Jan., 84. The Problem with FM, Eric Small and Robin Digital Sound & Equipment Krell PAM -3 Preamplifier and KSA-50 Am- Lanier, March, 56. Living with CDs, Leonard Feldman, Jan., plifier, Dec., 90. 68. Mark Levinson ML -10A Preamplifier andGray Market: Is It Worth the Price?, Daniel A New CD Test Standard, Leonard Feld- ML -9 Amplifier, Aug., 60. C. Sweeney, Sept., 54. man, Dec., 54. McIntosh MC 2002 Amplifier, April, 56. Meridian MCD Compact Disc Player, June, Interviews Directories 100. John Hammond, Ted Fox, Jan., 56. Car Stereo Directory, May. Mission DAD -7000R Compact Disc Player,John Charles Cox, F. Alton Everest, Jan., 74. Radios/Tape Players, 89; Amps/Equaliz- Dec., 70. Jerry Wexler, Ted Fox, Part I, May, 52; Part ers/Crossovers,100; Speakers, 108; NAD 7130 Receiver, Sept., 76. II, June, 62. Company Addresses, 131. Nakamichi Dragon -CT Turntable, April, 62. Clive Davis, Ted Fox, Part I, July, 28; Part II, Annual Equipment Directory, Oct. Nakamichi Dragon -CT Tonearm/Shure V15 Aug., 50. Introduction, 129; Category Color Codes, Type V -MR Phono Cartridge, April, 70. Nile Rodgers,Ted Fox, Sept., 42.

~~AUDIO/DECEMBER 1985 135 RogersANNUAL INDEX BRITISH --In HIGH FIDELITY~~

~~MUSICALLY ARTICULATE LOUDSPEAKERS FOR OVER A DECADE~~

Mitch Miller, Ted Fox, Part I, Nov., 40; Part Obituary II, Dec., 42. Norman Eisenberg, Nov., 10. London Letter Phono Cartridges Pengelly Cylinder Player, Donald Aldous; Controlling MC Cartridge Response, Mile HFNRR Awards Reinstated; May, 47. Nestorovic and Glenn White, Jan., 71. Nestorovic's MCC Network: On the Test - Loudspeakers bench, B. V. Pisha, Jan., 72. Forum: Woofing It Up, Gregory R. Jones, April, 30. Psychoacoustics The Magic Speaker from Acoustic Re-Frequency Contouring for Image Enhance- search, Kenneth L. Kantor, July, 34. ment, Richard J. Kaufman, Feb., 34; Ad- Tailor -Made Bass, Richard J.Kaufman, dendum, April, 37. Aug., 56. The Magic Speaker from Acoustic Re- search, Kenneth L. Kantor, July, 34. Microphones Microphones: Start with the Basics, Robert Tape & Tape Recorders F. Herrold, April, 46. The Whys and Hows of Cassette Equaliza- tion, Herman Burstein, June, 72. Noise Reduction Cassette Quality: What Is the Industry Do- The DNR Noise Reducer: How It Works and ing?, Mike Jones, June, 82. How to Build It, Leonard Feldman and R. Aryana, Feb., 40. Testing Build a High -Performance Noise Reducer, A New CD Test Standard, Leonard Feld- bet you our 7 We'll compactyou'll John H. Roberts, Feb., 46. man, Dec., 54. discs that love Rogers loudspeakers! Better sound is hard to find. hear AUTHORINDEX ARnodgetros amt athkeei rsbuerset,Youwe'll give You up to three DigitalMusic Herrold, Robert F., Microphones: Start ' Products compact discswith Aldous, Donald, London Letter: Pengelly with the Basics, April, 46. Cylinder Player, May, 47. Jones, Gregory R., Forum: Woofing It your purchase. Aryana, R. and Leonard Feldman, The Up, April, 30. DNR Noise Reducer: How It Works andJones, Mike, Cassette Quality: What Is How to Build It, Feb., 40. the Industry Doing?, June, 82. ell) Burstein, Herman, The Whys and Hows Kantor, Kenneth L., The Magic Speaker til"c of Cassette Equalization, June, 72. from Acoustic Research, July, 34. firited .,\Oirefitber t°- Carter, Gordon S., FM Fidelity: One Sta- Kaufman, Richard J., Frequency Con- 1186 challr tion's Response, March, 53. touring for Image Enhancement, Feb., 34 lota Ciapura, Dennis, FM Fidelity:Isthe and Addendum, April, 37;Tailor -Made 4.crarcft. Promise Lost?, March, 48. Bass, Aug .56. (ctoirertakeit - .8 ,i6) , °LL Dajan, George V., The Perfect Amp:Lander, David, Designs for Listening, b3oi °Y° Zero Distortion, April, 42. March, 60. 19 Everest, F. Alton, The Audio Interview: Lanier, Robin and Eric Small, The Prob- 0 isc is 61:hc.t :s John Charles Cox, Jan., 74. lem with FM, March, 56. I/icli Feldman, Leonard, Living with CDs, Nestorovic, Mile and Glenn White, Con- iatalicil si)e,,akersON' Jan., 68, A New CD Test Standard, Dec., trolling MC Cartridge Response, Jan., 71. 54. With R. Aryana, The DNR Noise Re- Pisha, B. V., Nestorovic's MCC Network: tc r'e. :fretdiscs ducer: How It Works and How to Build ft, On the Testbench, Jan., 72. ctlif kja:a)ikbic Feb., 40. Roberts, John H., Build a High -Perfor- ;. iqbeteAral Fox, Ted, The Audio Interview: John Ham- mance Noise Reducer, Feb., 46. - mond, Jan., 56; The Audio Interview: Jer- Small, Eric and Robin Lanier, The Prob- ry Wexler, Part I,May, 52 and Part lem with FM, March, 56. 0-qe June, 62; The Audio Interview: Clive Da- Sweeney, Daniel C., Car Stereo: Getting vis, Part I, July, 28 and Part II, Aug., 50; the Noise Out, May, 60; Gray Market: Is It FOR MORE INFORMATION CONTACT na13,-, BOX MAO BRANTFORD ONTARIO CANADA NOT WM The Audio Interview: Nile Rodgers, Sept., Worth the Price?, Sept., 54. 1/ BOX 1050 FALLS STA NIAGARA FALLS NY USA 14303-0250 42; The Audio Interview: Mitch Miller, Part White, Glenn and Mile Nestorovic, Con- 755.60 I, Nov., 40 and Part II, Dec., 42. trolling MC Cartridge Response, Jan., 71. Enter No. 34 on Reader Service Card

~~136 AUDIO/DECEMBER 1985 SURGEON GENERAL'S WARNING: Smoking Causes Lung Cancer, Heart Disease, Emphysema, And May Complicate Pregnancy.~~

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*Stereo TV sound where available_ * * 70 watts per channel at 8 ohms. 20Hz-20kHz with 0.007% THD.tStereo VCR squired.t1 -Cable TV converter required. Enter No. 28 on Reader Service Card