MUSIC OGDON AND SORABJI

HAGEN QUARTET

HPFI KLEIBER IN VIENNA BERNIE TAUPIN NS MORE ROCK REVIEWS RECOR EV IEW

STEVEN ISSERLIS

INPUT SELECTOR

CO direct

weft nght MAGAZINE

SPECIAL ISSUE HOUSE LINK

AIRTIGHT: TUBES IN THE A DJAPANESE TRADITION

CHICAGO SHOW REPORT AMPLIFIERS NAIM ARCAM MARANTZ BITSTREAM SONY CD PLAYERS TECHNICS AKAI AIWA ii LOUDSPEAKERS ROGERS ACOUSTIC RESEARCH MONITOR AUDIO 646 o Chandos

"AN ENGLISH COLLECTION"

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CD: CHAN 8610 LP and MC: ABRD/TD 1298 ELGAR ENIGMA VARIATIONS THE SANGUINE FAN Incklental Music & Funeral March from GRANIA & DIARMID Jenny Miller The London Philharmonic BRYDEN THOMSON

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Les Illuminations

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,et MC c i" cruh.evt - ANTHONY ROLFE JOHNSON leel h. eeer, taws MICHAEL THOMPSON SCOTTISH NATIONAL ORCHESTRA 13 A X BRYDEN THOMSON IA N O- DUOS ta for Tm,o Pianos Red Autumn rcianser The Poisoned Fountain CD: CHAN 8657 The Devil thai Tempted St Anthony LP and MC: ABRDTID 1343 May Mell JEREMY' SETA BROWN TA NYEL

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AUGUST 1989 VOL 34 No 8 RECOR EV IEW

COVER EQUIPMENT

An exquisite audiophile tube amp, firmly in the tradition of the classic Lux designs, themselves inspired by 'Golden Age' US models ( photo by Tony Petch). Can END AirTight turn back the clock? See page 41 43 VACUUM PACKED: The Heading this month's music section, Air'Fight ATC1 pre- and ATM1 tube cellist Steven Isserlis talks to Sorrel amplifier combination reviewed by Breunig: page 83. ( Photo: Roy Carnegie. I Ken Kessler

47 ORACLE ALEXANDRIA III/SME R EGULARS 309 turntable and arm reviewed by Steve Harris 5 COMMENT by Christopher Breunig 49 DAX VOSISCUM: Ken Kessler 7 VIEWS letters to the Editor on Apogee's extraordinary £4500 Dedicated Active Crossover, known 11 NEWS to Apogee fans as the DAX 83 17 TECHNOLOGY by Barry Fox STEVEN ISSERLIS 50 CONRAD JOHNSON DF1 CD player: atechnical and subjective 21 RADIO by Trevor Butler talks to Sorrel Breunig review by Martin Colloms 23 HEADROOM by Ken Kessler 87 THE HA GEN QUARTET; 52 CARTRIDGES: The top flight. 33 ACCESSORIES CLUB talk to David Nice Summary reviews on 15 quality moving- coil designs 41 BOOKS 89 116 REGIONAL DEALER GUIDE SORABJI SESSIONS 55 MIDDLE-GROUND SPEAKERS: Richard Black reports Acoustic Research AR142, Monitor Audio 109 ADVERTISERS' INDEX R300MD and Rogers IS4a speakers tested 91 and compared by Martin Colloms 120 CLASSIFIED ADS RECORD REVIEW INDEX 61 TWOS TO THE POWER OF THREE: 93 'Mark II' Arcam Alpha, Marantz PM64 and FEATURES RECORD OF THE MONTH Naim NAIT tested by Chris Bryant

93 25 THE WAY THE WIND BLOWS: the CLASSICAL REVIEWS Summer Consumer Electronics Show, The BeecharniTortelier Don Chicago. With news and pictures of ahost Quixote; Kleiber's New year's Day of new products, plus some predictions Concert; Weller's Beethoven for the coming season, K9i Kessler reports from what is the largest and most 105 influential hi-fi trade show in the world: REFLECTIONS New-style Noun NAÎT: page 6! starting with the Quad CD player! classical reissues 67 BATTLE OF THE BITS: Aiwa XC-004, 34 ' AUDIO IN DIGITAL TIMES' was the 107 Alcai CD-62 and Technics SL- P555 CD theme of the Toronto Audio Engineering ROCK/POP/JAZZ REVIEWS players. By Martin Colloms Society convention, with anumber of McCartney Bowie, Lou Rawls researchers presenting new findings on 74 TECHNICS SE-M100 ' digital direct several important aspects of digital audio. 113 drive' power amp tested by Chris Bryant Timothy Palmer- Benson reports CAPSULES 77 SONY TA-F630ESD: aPDM preview. 37 VOICE OF VERSA: John Bicht, former 115 Paul Miller tests the BitStream Sony amp racing driver, designer of the milestone REISSUES Mission 774 tonearnt in the 1970s, and 80 POT POURRI: Castle Warwick the man behind the Versa Dynamics • 122 speaker; Harman/Kardon PM635i amp; turntable, talks to Laura Dearborn about BACKDOOR Audiolab 8000P update; Musical Fidelity his sometimes offbeat approach the work of Bernie Taupin A370; Rolcsan Shiraz lab results

Link House Magazines Ltd Link House, Dingwall Avenue, Croydon, Surrey CR9 2TA Tel 01-686 2599 Fax 01-760 0973

III -FI NEWS & RECORD REVIEW AUGUST 1989 3 Everyone but Mrs Rodie is delighted with our latest batch of awards.

It's enough to make us blush. Ti) win one What Hi-Fi? Award is avery gratifying achievement ... to win two is positively heartwarming... but to win three (including the universally coveted Grand Prix Award) in one year!. . we really don't know what to say. Admittedly the Arcam mantelpiece is by no means astranger to the odd trophy or two, but never before has it groaned under such an embarrassment of riches. First in our 1989 haul is the Best Budget Amplifier Award ... for our Arcam Alpha Plus. Aprevious winner in 1987, the Alpha Plus moved the 1989 What Hi-Fi? judges to declare: " The Alpha Plus rightly deserves the Best Budget Amplifier tag. Though undergoing some improvements, it is now in its third year — and still selling for the original price. It is truly abudget hi-fi amplifier, setting excellent standards for design, input flexibility and, of course, sound quality" Never ones to rest on our laurels, we've already made afew small adjustments and improvements to the Alpha since the Awards; it's now the Alpha 2 ... Best Budget Amp of 1990 peut-être? Our second Award was for the Best Loudspeaker under £300: the Arcam Two Plus. Apparently "there was little disagreement among the judges that the Plus revision has pushed this worthy speaker far ahead of the competition". Cripes! " The overall picture is of agenerous, warm-sounding loudspeaker with an above average bass pesformance ... a delight to live with in the long term ... very communicative ... with quality where it counts': Without wishing to sound immodest, we couldn't agree more. Last, but by no stretch of the imagination least, our Arcam Delta Black Box

" won unanimous acclaim" and scooped the 1989 Grand Prix Award ... the highest honour What Hi -Fi? can bestow. Linked to any CD player with adigital output, the Black Box dramatically improves its sound. Or to use What Hi-Fi?'s words: Ms ever, our ultimate accolade goes to aproduct able to bring superior sound quality to awider audience at an affordable price... the first UK designed and built out- board digital to analogue converter ... it is able to inject grace and space into the sound of many an older generation CD player ... offers stunning upgrade potential." Naturally, everyone here at Aram is delighted to have received such awelter of commendations. So when you're listening to your Award- winning Arcam components, spare athought for our cleaning lady. We may have swept the board, but it's Mrs Rodie who dusts the mantelpiece. ARCAM audiophile products from . 4&R Cambridge

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A&R CAMBRIDGE LIMITED, DENNY INDUSTRIAL CENTRE WATERBEACH, CAMBRIDGE CB5 9PB, ENGLAND, TELEPHONE (0223) 861550 (24 HOURS)

IN THELS.4 Aril/DINH" XCORPORATION PO. DO X381. HIGHLAND LWS', NEIF JERSEY 0742243FL TEL 201-764-895A. CANADA 4141.0 , Al:010117X UNIT 17, 97.5 cime:11 HUHLINGION.ONTAIU0 L71. 4X8.711.- AM 333 4413 COM MENT f it were feasible to ' New Noise' a recent historic CD transfer — that is, to Z" • refurbish the sound making it indisting- t e • uishable from a 1989 digital orchestral recording — and to issue it under a

+ pseudonym, then Isuspect that the per- Editor Steve Harris formance would receive a critical maul- ing, for the arbitrariness and wilfulness of Music Editor Christopher Breunig , expressive effects applied, and inorganic Editorial Assistant Trevor Butler tempo changes made. The CD Ihave in

Sub-Editor Karen Douthwaite mind is of Brahms's Fourth Symphony in a pre-war concert performance under Tos- Contributing Editor Ken Kessler canini ( for it is He!). The point here is that Consulting Editors John Crabbe the performance by no means conforms Donald Aldous to the ' image'. And image has become

1Technical Advisers Angus McKenzie MBE paramount in selling records. It also has a Martin Colloms preconditioning effect on the listener. Stanley Kelly In the early days of LP, the sleeves CHRISTOPHER BREUNIG Malcolm Hawksford tended to be rather drab abstracts (eg, Rex Baldock some Decca LXTs from the ' 50s) or, with Brahms Fourth) is amatter for jubilation. Design Consultant Flick Elcins HMV, there was just a ' classical' lettering One of the pleasures of historic record-

Design Assistant Sue Daniels design around the dog and trumpet motif. ings on CD is that you don't have to worry Later on, of course, artist portraits became about the nature of the imperfections Editorial Secretary Clare Furey predominant ( some performers insisting heard, le you don't sit anxiously trying to Advertisement Simon Taylor that they figure on sleeves, however decide if the clicks and distortions come, ' Manager ill-advised). Ancillary to that are the not from the original, but from the condi-

' Advertisement Beverley Simpkins promotional brochures, which project tion of either your LP copy or stylus. Sales Executives Sophia Meliniotis and glamorize the image of players, old There's always the possibility that pur- and new. Indeed, Ican think of two new chasers will get side-tracked into a ' histor- Ad Copy Manager Tim Daly young violinists so lacking in — for want of ical cul-de-sac', feeling that artists today Ad Sales Secretary Carol Walker a better word — charisma that one won- cannot possibly match their pre-war

Publisher Colin Gamm ders how their careers can prosper at all; equivalents. But standards of orchestral talent doesn't come into it. performance have certainly risen since This is not a puritanical swipe at the the ' 50s, and with pianists like Ovchinikov Editorial and Advertising offices: record companies: although they, emerging, or cellists like Isserlis [ inter- Link Flouse. Dingwall Avenue. Croydon CR9 2TA. Telephone: 01-686 2599. Fax: 01-760 0973. perhaps, should be thinking more along view p831, there's much in prospect to get Telex: 947709. the lines of looking after their protégés excited about. Along with such artists, Hi-fi News & Record Review incorporates: when it comes to public exposure. Image there's anew generation of record critics, Stereo, Tape & Tape Recorders, Audio News, and selling have become twinned in too, less willing to become a part of the Record News, Audio Record Review, The Gra- political, sporting and artistic ventures. promotional and selling machinery. + mophone Record. Member of tbeAudit Bureau of Recently, much has been made of the Circulations 'power shifts' in the classical recording Next month: Hi-Fi Show Guide Microfilms & Indexing industry, with speculation on the long- Free with the September issue ( UK Microfilm and microfiche copies of HEN/RR or term effects of, say, the redistribution of articles therefrom arc available commercially copies) will be the complete catalogue from University Microfilms International. North catalogues like the Erato, Deutsche Har- and guide to The Hi -Fi Show, which is American applications to: 300 N. Z,eeb Street, Ann monia Mundi, and Teldec, and the move- sponsored by HFNIRR and will be held at Arbor, Michigan 48106, USA; UK and rest of world: White Swan House, 60 High Street, GocLstone, ments of key figures Günther Breest, now the Heathrow Penta Hotel on 14-17 Surrey 1019 8LW. Technical articles of full page with CBS/Sony, or Michael Emmerson, September ( around 90 companies repre- length or over appearing in Hi-Fi News & Record Review are detailed in the Current Technology who set up amassive programme for BMG sented). Note that the first two days are Index. then suddenly left ' to pursue other for Trade visitors: the show opens to the Binders interests'. And, after years at EMI, Peter public at 4-8pm on Friday 15th and Loose-leaf binders for annual volumes of HEN/RR Andry has gone not into retirement but to 10am-6pm on the Saturday and Sunday. are available from Binders. 78 Whalley Road, Wilps. hire. Blackburn. Lancs. BB I 2LE 1971 to WEA, where he has become Repertoire September issue equipment reviews 1982 are covered by two binders (Jan-June/July- Senior Vice-president. One doubts will cover two technically- intriguing CD Dec ); subsequent years required one binder each. Price £4 50 each ( post paid). For earlier years, whether these appointments will prove all players, Denon's flagship 3520 and the please ask for quotation. that momentous for the collector ( though new TF.AC 470 ( with UK design input). the fate of the Berlin Philharmonic is Further reviews of affordable speakers Hi-Fi News Cr Record Review is published monthly on the another — if related — matter). will cover KEF. Wharfedale and Energy. third Friday of the month preceding cover date by Link House You would judge from the listings that British- made amplification features in Magazines Ltd, Dingwall Avenue, Croydon CR9 2TA UK. Lid: House Magazines is amember of the United Newspapers historic transfers were all the rage with several reviews. Technical articles include Group. (g Link House Magazines Ltd 1989, all rights today's classical collector. Such CDs are a definitive explanation of the new PDM reserved. Reproduction in whole or par! uforbidden, save with the pennieion, in writing, of the publishers. Distributed by now more sensibly priced than, say, the 'BitStream' ( one- bit) and MASH D/A con- tVewstrade Link, 1Benwell Road, Holloway, London N7 early Ansermet/Deccas or Furtwangler/ verter technology for CD. September's 74X. Tel: 01-607 7374. Typeset by Marlin Graphics, Sidcup, Kent. Printed by Passniore International, Tovil, Maidstone, EMIs ( you can still pay through the nose music section will include an interview Kent. ISSN 0142-6230. for Japanese or American imports, of with Mitsuko Uchida, and of course, more Subscriptions course). Whilst there are even better CD and LP reviews than any comparable HFN1RR Subscriptions, 1201126 Lavender Avenue, bargains to be found in EMI's ' Laser', publication. The September issue is out Mitcham, Surrey CR4 3HP. Annual surface mail subscription rates £ 19.20 ( UK) and £27.80 ( overseas), except USA which is RCA's ' Papillon' series, or by shrewd on Friday, 18 August. 545. Overseas airmail: £46.00 USA Postmaster please send examination of PolyGram reissue labels, address corrections to US mailing agent: Expediters of the Printed Word Ltd, 11-35 45th Avenue, Long Island City, NY the restoration of material on DG Note: overseas readers who would like a copy of The 11101. Second-class postage paid at New York, NY or 'Dokumente' or EMI Références ( where Hi-Fi Show Guide should send £2.00 to the editorial additional entry. you will find the 1935 BBC SO/Toscanini office, and the guide will be sent airmail by return. hIFI NEWS & RECORD RES . IFA\ Al lit ST I989 5 AUDIO RESEARCH atrue classic

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Such amplification warrants anew level of preamplifier performance. To meet these needs, Audio Research is proud to announce the SP-9and SP-I4, the first beneficiary of the technology introduced in the SP- 11 and SP- 15 — the world's reference preamplifiers. Audio Research: the only choice for the connoisseur.

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'I have the simplest of tastes... 1am always satisfied with the best' Oscar Wilde VIEWS Sound advice Fiddian-Green suggests that amore Dear Sir, I'm surprised that you're still sophisticated ' curve fitting' technique be publishing articles denigrating CD in spite employed. Unfortunately, any such of its critical and popular success. second-order interpolation would Like many other readers of your introduce distortion because of its non- magazine Ienjoy listening to CD and linearity. A better approach ( the one used therefore Iresented the article about Mr by Philips and Sony) is to use afinite Moffat. It was patronising and pompous impulse response filter, with linear because it implied that Mr Moffat is the coefficients. Within the constraints of the only one who can put CD right and no CD sampling rate this technique questions about whether it's wrong in the reproduces the input signal to an first place. It also implies that Philips, Sony accuracy limited only by the length of the and all the other manufacturers of filter and its resolution. hardware and discs are grossly While the general purpose 32- bit chips incompetent — an argument which is mentioned have not got the processing patently absurd. power to cope with digital audio filtering Anybody who uses music as some sort (perhaps twenty million 16- bit by 16- bit of aural wallpaper as does Mr Moffat (' I multiplications per second for astereo require it probably six hours aday in the oversampling filter), there are many background') must be suspect. Ibelieve specialist DSP chips that could be used to sessions on weekdays. However Radio that music should get your full attention explore more advanced algorithms. Scotland uses FM only for Gaelic whether it's live or recorded. If recorded However, to do this, the ' high end' broadcasts in the evenings from 18.30 music doesn't demand that degree of manufacturers would need to employ until about 20.00 and reverts to medium attention then there is something wrong unfamiliar design techniques — something wave for English language broadcasts. with the system. they show little sign of doing. The There is avery low power MW But Idon't think Mr Moffat is making a investment would not have to be transmitter in Dumfries. proper criticism of CD. Like all its other enormous ( there are commercial units In this area medium wave reception is critics he is saying it is ' different' from that can be used to develop the bad normally, but impossible after dark. I analogue. Regardless of whether one appropriate techniques for under £2000) cannot imagine there is much of an system or the other is demonstrably and Iwould join A Fiddian-Green in audience ( any?) in the Sandale reception better they argue that because it is urging some of our high end companies to area of the South of Scotland/North of different from the one they like, it must be take amore adventurous (anarchic?) England for the Gaelic programmes but in worse. To put it another way, CD critics approach. spite of the fact that the English have grown up with, and very obviously Julian Dunn, Cambridge broadcasts could be routed to Sandale like, analogue sound with all its faults and through Dumfries nothing is done. So because CD sounds very different from Another Marlene much for pushing FM. analogue it is wrong. Dear Sir, While agreeing with most of Ian Hamilton, Dalbeattie, None of these critics has, so far as I Robin Moss's remarks (HFN/RR May Kirkcudbrightshire know, compared CD or analogue 1989) about Susannah McCorkle, Lucy recordings with the original sound. This is Ann Polk and, especially, Marlene Ver The BBC replies: probably impossible with modern ' pop' Planck, Isuggest that the lack of reviews is The current policy of BBC Scotland is that recordings because it is difficult to know not necessarily the fault only of the portion of Radio nan Gaidhears what the original sound was supposed to magazines. Idon't know the policy of output that is broadcast at these times is be. ( And that is no criticism of ' pop' music HRR/RR butJazzJournal International, done on anational basis. The remainder of which is carefully put together with all for instance, generally offers to review the output is broadcast during the rest of sorts of recording techniques.) only those records which companies the day only in the highlands, although Wouldn't it be possible to engage a decide to send them. there is aconstant demand from Gaelic pianist or guitarist or flautist and sit him, In Marlene Ver Planck's case, although listeners elsewhere. or her, between two loudspeakers and she's had 10 LPs and aCD released, she Whereas medium wave reception, then listen to successive versions of the received her first- ever review in Jazz particularly after dark, can be difficult. same piece of music — CD, vinyl disc and a Journal only last January and then those in the service area of the Sandale live performance? This at least would give another in April, because, as far as Iknow, transmitter currently have Radio Scotland, amore objective view of the ro systems. they had been supplied witft the records Radio 2, Radio 3and Radio 4available on Come to think of it, wouldn't this be a by Audiophile, at last. FM, and will, from early next year, also good method of reviewing all equipment? Along with an increasing number of have Radio 1as an FM service. Despite the Instead of comparing the sound of one enthusiasts Iregard her as today's finest fact that it is not possible to reconcile piece of equipment with another why not interpreter of the popular song and totally the requirements of all of Radio compare it with the original sound? worthy of far greater recognition. Scotland's listeners throughout the day, E T Gascoigne, London W2 Lastly please note that her name, which the BBC does provide awide range of is of Dutch origin, should include a ' c' but programmes from which FM listeners in Anarchy rules! was printed incorrectly. the South West of Scotland can choose. Dear Sir, Iwould like to correct some Keith Prior, Sheffield BBC Engineering Information misunderstandings that were expressed in A Fiddian-Green's letter published in May. Gaelic pushover Factual errors The digital signal processing ( DSP) chips Dear Sir, It was nice to have aradio Dear Sir, With reference to Arthur Jacobs' produced by Sony and Philips represent a section in HFN/RR again. Iwas particularly review of our Cabaret Songs CD with considerable amount of computing interested in your item ' BBC pushes FM'. Sarah Walker and Roger Vignoles ( CDE power. These digital filters do not In this part of the country we receive 84167), can Iplease point out that it reconstruct the analogue waveform by Radio Scotland from the Sandale FM contains some factual errors. Mr Jacobs straight-line interpolation. That would be transmitter which is actually located in states that only some of the songs were quite simple, but would not be very good England on the other side of the River recorded live, and that the majority of at attenuating the high frequency ' images' Solway. We have alocal BBC station in them were recorded to alive London produced in the oversampling process. A Dumfries which inputs for two 30m in audience. The statement in our booklet

1.11.F1 NEWS & RECORD REVIEW Al GIST 1989 7 DAX FANTASTIC! There has never been a crossover like the Apogee DAX. Far more than just an elegant way to sculpt the perfect tonal balance, this extraordinary device imparts a transparency and naturalness to the Apogee ribbon loudspeakers that is marvellous to hear. Designed as a dedicated active crossover for the Divas, Duetta Signature and Caliper Signature, the DAX gives you control down to 0.2db, yet achieving the right balance for your room and system is quick and easy. A beautifully crafted piece of equipment, from its separate power supply to areally sexy six- window Hewlett-Packard display, the DAX realises the full and awesome potential of the Apogees. It is expensive, and you need to bi-amp — but the DAX is so flexible that you can mix amplifiers, match their sensitivities and employ balanced or single ended operation. And because it imparts an extra 3db sensitivity to the speakers, you can achieve wonderful results on comparatively modest amplifiers. Apogee Acoustics took two years to develop the DAX — atribute to the already very fine passive crossovers in their speakers. But the DAX's superiority is immediate in aquite stunning way — even with the controls set for aflat balance. And its inclusion in your system will allow you to obtain fantastic results in asmall room — even from the Diva. If you own Apogees you must hear this lovely device as soon as possible. It is without doubt one of the most exciting additions to the high end for many years. Telephone Brian Rivas for a demonstration.

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that five of the songs were recorded live music listening. The result is music should know, but no-one seems willing to at the Blackheath Concert Halls in 1988 robbed of all vitality. Ivery much doubt if admit, is that enthusiasts buy expensive and the remaining twenty-two were commercial recording companies are tuners and cassette recorders for recorded live at Dartington in 1982 is happy to hear their products treated this recording radio broadcasts, live or correct. way. Instead of listeners seeking out the otherwise. And in my opinion, if so-called Issuing aCD of live performances is a recording they enjoyed when they hear it experts were willing to listen and put risky business, particularly if there is only on the radio, they may wish to buy a aside their prejudices and hi-fi snobbery, one performance to record, as there is no different recording of the same music, in and judge the sound from their speakers chance to re-record and correct mistakes. the hope that some other recording will on its ' music' as distinct from its snob It is only with artists of the calibre of Sarah not be so gutless as the offering which had value, they would agree that live music Walker and Roger Vignoles that such a been broadcast. Let us hope that all the broadcasts are immeasurably more project is feasible. One still has the recording companies will recognise this musically satisfying than the contrived problem that there is no way of trying out danger and take avery strong line on this. stuff on records and the synthetic, arecording balance before the concert, as Last year the BBC went to agreat deal unmusical muck on CD. the acoustics in an empty hall are so of trouble to reasssure us that they do not But what of the law? The law of completely different from those in the intend to lower standards for Radio 3. If copyright, so far as it relates to records same hall with apacked audience, as was this is not lowering standards, then what and CD, is no less potent when copying the case in both these concerts. One can is? The thinking seems identical to that for use in cars, which everyone knows is only make an intelligent guess as to the which has caused all radio information in practised widely and no-one seems to fear difference between the two, and hope for the new-look Radio Times to be tucked talking about, than when copying from the best. Neither did we have any choice away separately where it can be forgotten. radio, which is taboo. The recording of in the pianos used, as we had to accept the The compression at the moment is for live, or studio recordings of live ones chosen for the concerts without car radios but your readers, with or broadcasts presumably presents different consideration being given to their without car radios, should recognise the legal considerations. For example, do suitability for recording. danger. If compression is good for car foreign broadcasters have the same As far as audience reaction is radios, so it must also be for trannies. Just protection from British recording concerned, the recording engineer has to think of all those millions of small, simple enthusiasts as that given to the BBC? Does put up with what he gets at the time, and radios all over the country which would the possession of aradio licence entitle the only alteration he can make after the give better results from compressed the holder only to ' listen' but not to copy? concert is either to add canned laughter broadcasts. The owners of such radios will However, these complications are all and applause — thus reducing the whole be writing to the BBC saying how entirely academic. Everyone knows that thing to the artistic merit of atelevision commuter time reception is so good that copying of records, CDs, radio and TV situation comedy — or, when the audience they want it like that all day long. Of broadcasts is rampant and illegal, and that do not start to applaud until the end of the course it will sound acomplete mess on the remedy in law rests with the die- away of any particular item, some good audio systems but some would say copyright owner, upon whom the law applause can he edited out. In both these that it is numbers that matter. It is a places the impractical onus of identifying concerts the packed audinece applauded slippery slope. each and every offender and offence and vigorously between each item or group of The silliest example that Ihave noticed requiring him to institute civil items, and we decided to eliminate some to date was in aThis Week's Composer proceedings for the recovery of damages of the applause where possible, as programme of music by Ravel. Before for financial loss which would be virtually otherwise we felt that the listener would playing the Bolero, the announcer told us unquantifiable. So why all the fuss? find the ratio of applause to music too how it was astudy in crescendo. It started The quality of the BBC's reproduction great. fairly quietly. Then it was turned up afew and broadcasting equipment far Apart from this, we had no chance to notches and the electronic compression transcends anything to which the most correct verbal or musical faults, and we ensured that never mind what dedicated amateur could aspire, and there feel that the fact that there are so few is a instruments were playing, or how loudly, is avariety of quality tuners and recorders great tribute to the professionalism and the music never got any louder. It just which enable that original signal quality artistry of the two performers. went though all the repeats at the same to be captured faithfully. By that means, I John Shuttleworth, Meridian Records, level. The music was not only robbed of have acquired alibrary of music, much of London SE9 life but also its very purpose. Ihope that which Iwould not have bought on the BBC will get agreat many letters records, which has given me far more Manic compression asking for normal service to be resumed. pleasure than Iever attained through an Dear Sir, Trevor Butler's ' Radio' page Charles Cater, East Grinstead expensive turntable combination. The (May 1989) dealing with dynapic total absence of irritating surface noises is compression of Radio 3programmes Recording from the radio arevelation, and the freedom from the during commuter times has clarified From: Peter Williams, Essex constant problems of static and dust something that had puzzled me for some Dear Sir, Ihave been aregular reader of associated with records is abonus worth time. On the occasions when Ihad Hi-Fi News, and Record Review, since some sacrifice, though Ido not believe I switched on to those programmes Ihad before amalgamation and Ihave had to make one. wondered if it was just acoincidence that frequently purchased other magazines. In Therefore, in gratitude to the BBC, I so many of the recordings were so all those years, Ihave never once read any would happily pay aspecial licence fee chronically compressed. Sadly, most comment upon the merits or otherwise of which would enable me, legally ( although recording companies employ adegree of recording radio broadcasts. What is the Ido not now lose any sleep), to record compression, usually in the form of explanation? Is it bias; do the magazine broadcasts of every description. manual gain riding and BBC concerts are editors genuinely believe that radio Peter Williams, Essex treated the same way, but this was much broadcasts are not sufficiently to more severe. The question was, were warrant their attention or worth Readers' Letters these just bad recordings or was the BBC recording, and if so, what is their criteria? Letters for publication should be addressed to the messing about with them? Well, now we Or is this silence due to fear of the law? If Elitor and must contain no other material or know the truth of the matter! radio broadcasts are not worth listening enquiries. Letters seeking advice on technical The degree of compression used by the to or recording, why do editors imagine matters will be answered, resources permitting, at BBC for commuter time broadcasts is that enthusiasts pay mre than £ 1000 for a our discretion but we regret that we are unable to obviously decided by the dynamic range tuner and almost twice that sum for a answer questions on buying specific items of Hi-fi suited to in- car listening, which is very cassette tape deck? equipment. narrow — really too narrow for classical The truth, as everyone with any sense

111-11 NEWS & RECORD REVIDX AUGUST 1989 9 ARO

WE ESTIMATE THAT THERE i,tt\RE OVER 500 MILLION \'41,NYL RECORDS IN USE;: KOW FIND OP ,TYCI.Yi FIRST TIMEII

ncm (Jucio SALISBURY, ENGLAND SP1 2LN TEL ( 0722) 332266 NEWS

CEC NIKKO FIND UK DISTRIBUTION SONY STORMS AHEAD WITH DAT Despite growing fears that DAT is ILK at the Al'RS trade exhibition. not suitable as aprofessional Weighing 1.8kg, the design recording format ( News, July), complements Sony's existing DAT Sony's pro division is launching line-up, and boasts functions not new digital audio tape hardware. seen on ' consumer' versions. ( The Its TCD-D10 is alow-cost portable TCD-D10, then independently DAT recorder and was shown imported, was reviewed by Tony officially for the first time in the Faulkner in HFN/RR,July 1988.)

After a false start two years ago, Nikko has found a UK distributor for its extensive range of hi-fi components. Zenonlec will be handling the line and has announced a range of products for the UK market including four power amplifiers rated between 140 and 330W/channel at £ 299 to £999, two pre-amplifiers at £ 225 and £299, four integrated amplifiers between 30 and 120W,ch at £ 129 to £399 and an A/V integrated amplifier for £349. The company also offers AM-FM tuners ranging in price from £ 139 to £299, two AM/FM receivers at £239 and £299, a two-head cassette deck for £239 and athree- head model at £ 299 ( both with HX Pro), a 16- bit, 2- times oversampling Cl) player with remote control for £ 179 and three graphic equalizers. Of particular interest is the flagship Alpha 2000 power amplifier rated at 330W/channel and deemed by one French reviewer to be the best amplifier in the world'. In bridged mode, the Alpha 2000 produces 650W. TANNOY IMPROVES SOUND AND ADDS NEW MODEL GEC's range consists entirely of CD players and turntables, Responding to constructive veneer at £599.90 and in including the 540CD basic CD player (£ 139) and the 640CD with suggestions and criticisms voiced rosewood for £699.90. The design remote control (£ 159). Both are full-sized and finished in black. by the consumer press and from includes an 8in dual concentric The company offers four turntables, including the ST310 semi- customers, Tannoy has automatic belt-drive deck with T4P cartridge (£69), the ST730 incorporated various refinements fully automatic belt- drive with '/ in mount cartridge (£ 109) and (gold plated terminals, finely the ST930 flagship model supplied without arm but with SME tuned crossover, improved cutout (£599 plus £35 for dust cover). The latter offers 78rpm surround to the LF drive unit, playback in addition to 33 and 45 and uses a brushless FG servo extended horizontal bracing) into motor with outboard power supply. Also available is the D4000 its DC1000 and DC2000 speakers disco model, adirect- drive design with instant start-up, calibrated with no price increase. pitch control, stylus illumination and two headshells but no The company is also launching cartridge (£ 199). For further details, contact Zenonlec Ltd, 10A anew model — the floor-standing The Broadway, Newbury, Berkshire RG13 IBA. Tel ( 0635) 528636. DC3000, available in black ash

HIGH END GETS AHEAD SONANCE FLUSH- MOUNT SPEAKERS REACH THE UK

A high end audio industry group The originators of the modern consisting of leading members of flush- mount loudspeaker, Sonance the American hi-fi community of California, can now offer their has organized to form the extensive line-up of full- range and sub-woofer speakers to UK con- Academy of High End Audio sumers. Designed to provide high- Design (AHEAD). Its purpose is quality sound without robbing the to recognize exceptional user of precious floor or shelf achievement in the field of sound space, the Sonance systems are mounted in the wall or ceiling and reproduction. The steering can be decorated to match their committee, which was appointed surroundings. All Sonance speak- by Harry Pearson of The ers are offered with a choice of Absolute Sound, includes removable cloth or metal grilles. Wendell Diller (Magnepan), Sonance speakers require a wall cavity depth of only 3.5M for Joyce Fleming (Mod Squad), flush- mount installation. Models Kathy Gornik ( Thiel) and Karen available in the UK include the Sumner (Transparent Audio Sonance M30, a two-way design speakers to a single amplifier, Marketing). Following the featuring a 1in polycarlxmate guaranteeing a safe 4ohm impe- tweeter and 4in polypropylene- dance when used with four pairs committee's meeting asthe DMT driver supplemented by an coned woofer. Weatherproofed, of Bohm speakers. Sonance speak- Summer CES in Chicago, 8in bass unit driven below 400Hz the M30 can be installed in bath- ers can be installed in both new information about the rooms, saunas and exterior and existing homes through the venting through aslotted port organization is being sent to environments. Dimensions are use of frames which are included system. Tannoy Ltd, The Bilton prospective members. For further 9x6.5in. Recently added to the in the purchase price. Prices on Centre, Coronation Road, line is the SDS4 Speaker Distribu- application. Sound Ideas, Unit 1, details, interested parties should Cressex Industrial Estate, High tion System, acompact switching Briar Close, Wye ( nr Ashford), Wycombe, Bucks HP12 3SE. Tel contact Kathy Gornik on (0101) network which allows the user to Kent TN25 5HB. Tel ( 0233) 606-254-9427. connect as many as four pairs of 813246. (0494)450606.

111.Ft NEWS & RECORD REVIEW' •citsT 1989 THE NATURAL CHOICE

Rogers

Manufactured by Swisstone Electronics Limited, 310 Commonside East, Mitcham, Surrey CR4 1HX, Tel No: 01 640 2172, Fax No: 01 685 9496, Telex: 893980 Rogers. Distributed by Audio Influx Corp. N.J. USA, Plurison PO. Canada, Audio 2000 NSW Australia, Excel Hi Fi Hong Kong, Denco Audio New Zealand, Atlas Hi Fi Singarme.

XERXES • ARTEMIZ • SHIRAZ

NOW YOU HAVE READ THE REVIEW . . . . RING US AND COME FOR A LISTEN

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SOUND ADVICE, DUKE ST, LOUGHBOROUGH, LE11 lED TELEPHONE: ( 0509) 218254 NEWS

MUSICAL FIDELITY LAUNCHES B1 INTEGRATED Musical Fidelity has launched an under-£200 integrated amplifier, said to continue the company's tradition of exceptional sound quality while offering good build quality, styling and finish at a popular price. Rated at anominal 32W/channel but with amuch higher peak output capability, the £ 199 B1 uses quasi-com- plementary circuitry developed by Tim de Paravicini and Musical Fidelity's managing director Antony Michaelson. Facilities include switchable moving- coil and moving-magnet inputs. The high-precision metal casework for the B1 is sourced from Germany. Musical Fidelity Ltd, 15-16 Olympic Trading Estate, Fulton Road, Wembley HA9 OTF. Tel 01-900 2866.

INFINITY NEW RS SERIES Infinity has anew generation of its moulded bass driver cones new RS series loudspeakers comprising dome midrange and tweeter units six models from the bookshelf {have been developed. l'he MANA STANDS RSI001 at £ 119.90 to the floor diaphragm of these polyspherite standing RS6001 at £ 749.90. The drivers consists of an ultra- thin Mana Acoustics' glass Sound rings in order that the spikes will designs are based on the recent skin of polypropylene reinforced Table (f175) will enable afar contact the glass within the rings. development of the company's by a bonded coat of hollow superior sound quality to be These rings also to retain the state-of-the-art IRS Series. graphite spheres. The material obtained, it is claimed, than glass on the frame in case it is Special attention has been paid gives the diaphragm damping to the bass driver, polyspherite whilst the graphite spheres pro- other types. Adjustable spikes accidentally knocked. Mana dome midrange and tweeters, the .vide superior stiffness. Gamepath support the smoked glass top- Acoustics, 59 Jubilee Close, crossover and cabinet construc- Ltd, 25 Heathfield, Stacey Bushes, plate. The glass is equipped, on Pinner, Middlesex HAS 3TB. Tel tion. To match the speed of the Milton Keynes MK I2 (HR. Tel its under-surface, with locating 01429 0118. new ' curvilinear' injection- (0908) 317707.

BRIEFING

ALLISON ACOUSTICS' correct from: BATRC, 193 Ashdown amplifiers, tuners and CD players. address is 20 Cleveland Way, Creasent, Cheshunt, Waltham QED has announced anew range Shelley, Huddersfield, West Cross, Hens EN8 ORL and of ` active' accessories entitled mini- Yorkshire HD8 8NQ. from Playback Studios, Music amps. Each unit — microphone, The BSI has made available the Labs and Raper& Wayman in headphone and RI AA disc pre- following standards paper: BS London. amp — is asmall stereo amplifier 4584: Part 4: 198911EC 249-2-2: KOSS has increased its range of module. Average price is £49 and 1985 Metal-clad base materials for headphones with new models. The the designs require an outboard printed wiring boards Part 4: TD60 at £20 is alightweight, 12-24V power supply. QED Specification for economic quality closed design featuring Pneumalite Audio Products Ltd, Unit 12, supplied with an AC mains phenolic cellulose paper copper- ear cushions for deep bass. Ashford Industrial Estate, Shield adapter. The fully featured design clad laminated sheet. Available Additions to the Pro range are the measures 161x 134 x37mm and from BSI Sales, Linford Wood, Pro75 at £ 75 and the £99 Pro99 weights 496g. Ross Consumer Milton Keynes MKI4 6LE. Price with large single diaphragm International Ltd., Silver Road, £18.20. element and high energy anisotropic Wood Lane, London W12 7SG. BCP is anew company offering a ferrite magnet for deep bass and Tel 01-740 5252 TDK has announced the service to CD users. In the belief extended high end. HW availability of anew MA Metal that listeners are easily confused by International, 3-5 Eden Grove, the various ways of titling CD London N7 8EQ. Tel 01-607 Tape with amagnetic energy four times greater than that of TDK spines record companies have 2717. Road, Ashford, Middlesex TW IS SA. This has been possible with adopted Alan Russell is able to NIMBUS has won two of the • ¡AU. Tel (0784)24636. supply printed labels in auniform awards given by the Music major improvements to the company's unique Finavinix metal format for ease of reading, thereby Retailers Association; they are ROSS has announced the magnetic particles and their higher making identification simpler. A Category 1: Symphony for availability, of the world's first packing density. An excellent low large, Dutch typeface printed on Beethoven Symphonies 1-9, the clock radio/cassette recorder/CD combination giving convenience frequency response is claimed: white card has been adopted, and Hanover Band directed by Roy complete replacement inlay cards Goodman and Monica Huggett and musical clarity at the the (315kHz)MOL of + 6dB, an improvement over previous MA, are supplied. BCP, 33a Shepherds and Category 13: MOR Non- bedside. The R1 Anthem will cost with low bias noise. The 90 minute Green Rd, Erdington, Birmingham Vocal for Sousa Marches and around £200. Ross has also made B24 8EX. Tel 021-350 2193. Incidental Music/The Wallace available apersonal CD player for version will cost £2.99 while the THE FBTR Collection._ under £ 100. This special C60 will be £2.39. TDK UK Ltd, (FEDERATION OF PHILIPS will be visiting .55 towns promotional launch of the RCD- TDK House, 5-7 Queenrway, BRITISH TAPE with its Sound in Motion '89 2000 player brings together apair Redhill, Surrey RH1 lYB. Tel RECORDISTS) amateur promotion aimed at the 8-10 age of RE-2.560CD stereo headphones (0737)773773. tape recording contest is now group, where the company is in apackage canying a open. The closing date for anxious to consolidate its position. recommended retail price of £ 120. entries is August 15th. Further PROTON now offers athree-year The portable player operates on details and application forms parts and labour guarantee on all rechargeable batteries and is

111-11 NEWS & RECORD REVIEW ACCI ST 1989 IS MUSICAL FIDELITY THE BEST KEPT SECRET IN BRITISH HI-fl?

prtalrLplillel Jt,age is LEIG U. pre._ L„. „ The MC- 2 is an exceptional and Superb sound and highly recommended . . . painstaking design which offers liveliness, The MC- 4is fast, assured and refined. clarity and articulation along with very fine •nefitin e 1 9dvarnes ils

LF resolution in the context of a slightly Hi-Fi Choice eValblf bright, light- weight presentation - clear Best n' Buy material.

Hi-Fi Choke A consistent factor was the seemingly effortless power delivery - it sounded like a big amplifier... • • Os' Priced at the quality end of the budget The MA- 50 has a sound quality rating in sector, the B200 provided amusical standard the very top class. Like the other A- series of sound quality rather beyond the asking products there is a degree of idiosyncracy price. It could easily form the basis of afine about this design, while the remarkable audio system, and handsomely qualifies for subjective performance demands strong Best Buy rating. Recommendation. • Hi-Fi Choke

Hi-Fi Choke

stagt. _ The Al can now be regarded sonically as a The Al and Reference 2 are literally class leader in its price group, well settled in made for one another. The sweet music production and benefiting from the advances that results is a real eye opener for the also apparent in the rest of the Musical money freaks who feel they must spend Fidelity range. lashings of cash on state-of-the-art hi-fi before they can enjoy music. The lucidity

Hi-Fi Choke of the Al is matched ideally by the crisp, efficient ways of the Reference 2. Can now b^—^ ,•ded -,n;e211v

Hi-Fi Answers

a. •• ... 6a lit... The Digilog is nothing less than remarkable... Now its no secret that the Musical Fidelity range offers great sound and great Hi-Fi News & Record Review value for money. Hear it for yourself at a hi-fi shop near you.

b The A370 is the best solid-state British amplifier I've ever heard. MUSICAL

-•&-t-zerAtiza.ead.1..apreefLand..,2429.. (WI aiele-: (1 J leiedsii.;1141/14 1 2.041 FIDELITY Hi-Fi News & Record Review

Al • 4100 • B200 • PREAMP 3 • P100 - P172 MVT • MVX • P140. P170 - P270 • A370 • SA470. MA50 - MA100 • DIGILOG EYELINE • MC- 2 • MC- 4 • REFERENCE 2 . REFERENCE 4 • LIFELINE

MUSICAL FIDELITY, 15/16 OLYMPIC TRADING ESTATE, FULTON ROAD, WEMBLEY HA9 OTF. TELEPHONE: 01-900 2866. NEWS

TRUE CLASS AFROM KELVIN PARTNERS, THEMES & Southampton-based Kelvin Labs VARIATIONS WINNERS

is to unveil atrue Class A A near- record number of entries integrated amplifier, which offers was received for the Swing Your Partners competition featured in 20W per channel with claimed the May issue. The correct answers were: 1.C; 2.A; 3.B; 4.D and 5.B. exceptional load tolerance and First prize of the AV- 1powered high current delivery. Both partners goes to Michael Bruce of Glasgow. Mr JMacLean of London moving- coil and moving-magnets NW wins the AV- 5Party Partners are catered for. Price is £350. while the third prize of the AV- 3 Environmental Partners goes to Kelvin Laboratories Ltd, 6 David Punshon of Surrey. The Shanklin Crescent, Upper eleven runners up in this Acoustic Research competition receive a Shirley, Southampton SOI 2RB. pair of AV- 6Active Partners. Six prize-winners tied in our May Tel (0703)785123. CD Supplement competition. Sixteen Deutsche Grammophon GOLDMUND'S HEAVY METAL compact discs of their choice went Goldmund of Switzerland has introduced what the company to Ms Williams, London 5E3; D de Camp, NW7; W Cole, Winchester; P believes to be the heaviest amplifier ever built. The Mimesis 9, Well, EC4; R Sears, Southampton: I) which weighs 100kg, is rated at 200W/channel and was developed Walkerley, Leigh-on- Sea. Answers were 1(a) 80, 1(b) Eliette von especially for low sensitivity speakers. The Mimesis 9incorporates Karajan. 2 ( Maazel) Romeo & Juliet. 3Stroboscope ( but 78rpm!). 4 ultra- fast circuitry ( 1MHz at 200W) and features mechanical Mekher/ Voss ( players' names). construction based on the company's ' Mechanical Grounding' 5(a) Stravinsky, ( b) (Les Noces) English Bach Festival Chorus, ( c) techniques. Chassis details include transformers and output Petrushka's ( pianists in DG stages mounted on the conical feet of the amplifier to evacuate recordings). 6Resonance/ Collection/Privilege/Favorit/ spurious signals, input circuitry which is flexibly attached to the Accord. ( Debut was not areissue output devices and chassis to avoid vibrational capture, and acase label!) 7Harpsichord continuo (Don Giovanni). made of 6mm steel damped by absorbing material and which is decoupled from the circuits and the three rigid feet by special EVENTS Teflon insulators. Protection circuitry includes safety from oscillation, DC offset, overheating and short circuits. Absolute Sounds, 318 Worple Road, London SW20. Tel 01-947 5047. 25 AUGUST-3SEPTEMBER 18-21 SEPTEMBER 1989 1989 International Audio and MediaVisie, audio-visual media CD PRICE CUTS RULED OUT HOME AMBISONICS FROM Video Fair, Berlin. Contact: (030) trade fair. RAI International TROY Cheaper CDs in the shops have 30 38-22 74. Technical and Exhibition Centre, Amsterdam, Following the recent increase in been ruled out by the chief of a scientific programme now finalized Holland. For information, phone demand for Ambisonic surround major record company. Any and covers current technological Yjjoustra on (0)20-549 12 12. sound decoders, Troy has developments. 3-9 OCTOBER 1989 Hi-Fi announced its intention to launch prospect of immediate price cuts Cologne. KolnMesse, Meseplatz 1, a domestic unit. The company has was firmly squashed by David 27-29 AUGUST 1989 East Coast been making in- car decoders for Fine, president of PolyGram Electronics Expo, Jacob Kjavits Postfach 21 07 60, D-5000 Koln some time. International. Speaking at the Convention Centre, New York 21 (Deutz), W Germany. Tel Troy Ambisonic's Paul Selby group's annual managing Cie, USA. Contact Larkin- (0221)821-0. told HEN/RR that a prototype of 6-8 OCTOBER 1989 National the new domestic design is up and director's conference, Mr Fine Pluznick-Larkin, 100 Wells Ave, running at the company's show- warned against ahasty move: PO Box 9103, Newton, MA Sound& Vision Show, sponsored room and production is poised to 'We only have ourselves to blame 02159-9103 USA. by Clearione Hi-Fi. Last Drop begin. Troy Ambisonics, 70 if we erode our profitability with 7SEPTEMBER Arcam Roadshow Village Inn, Bolton. Chobham Road, Sunningdale SI.5 at Audio Counsel, 12 Shaw Road, 7-12 OCTOBER 1989 Korea ()PG. Tel ( 0990) 291150. ill-considered price reductions'. Oldham OU 13LQ. Tel 061-633 Electronics Show, Korea KESSLER WINS ' FAVOURITE WRITER' AWARD AT BADADAY 2602 for tickets. Exhibition Centre, Seoul. 25-28 OCTOBER 1989 Ken Kessler, who writes Department. Steve Reed of 14 SEPTEMBER Naim Audio exclusively ( in the UK) for HEN/RR, Cambridge Audio Systems was Best Evening at Audio Counsel, 12 Broadcast 89, Frankfurt was named Favourite HI-Fi Company Representative, and the Journalist when the British Audio Industry Personality Of The Year Shaw Road, Oldham OUI 3LQ. Fairground, Frankfurt, W Dealers Association ( BADA) held award, this sponsored by trade Call 061-633 2602 for details. Germany. For details contact its first annual awards ceremony in magazine Private Eye-Fi, went to Birmingham on 25th June. The BADA's own Publicity Officer, 8-17 SEPTEMBER 1989 Wilhelm P Hosenseidl on (069) Michael Lewin. BADA Trainee of votes in all 15 award categories had Montreal International Music 7575-6452. been cast by BADA shop staff. The the Year was Paul Oakman dealers Favourite Hi -Fi Magazine (previously with AT Labs, now at Festival, Montreal, Quebec, 2-5 NOVEMBER 1989 was Hi-Fi Review, with Hi-Fi News TRAC), while the final award was & Record Review and Hi-Fi Choice for the Most Professional Supplier, Canada. Reproduced Sound Conference, named as runners-up, while the taken by Linn Products, with a 20 SEPTEMBER Linn Products Hydro Hotel, Windermere. Fifth award for best Manufacturer large majority over runners-up Advertisement went to Linn Yamaha, Quad and Naim. After the evening in Oldham at Audio annual week-end conference in Products and Best Dealer Awards ceremony, acheque for Counsel. For information call 061- collaboration with the AES, Advertisement ( sponsored by £1000 ( first instalment from Haymarket Publishing) to AT Labs. BADA's profits- to- charity scheme) 633 2602. EMAS, APRS, SCIF and Next came equipment awards. was presented to Miss Ruby Turner ABTT. For details contact Ian H Favourite Source went to the Linn for the Nordoff-Robbins Music 14-17 SEPTEMBER 1989 The LP12 ( no-one fell off their chair in Therapy Centre, acheque for Hi-Fi Show, sponsored by HFN/ Flindell, The Universiry, £1500 going to Malcolm Allison, a shock) and the Arcata Alpha took Southampton SO9 5NH . Tel the amplifier award, with Musical young violinist from the Yehudi RR. Heathrow Penta Hotel. Fidelity's MC2 Favourite Menuhin School, to help him Trade only 14-15 September. 01- (0703)595000. Loudspeaker and Quad being continue his studies. Accompanied voted the Most Reliable Product by his mother on piano, Malcolm 686 2599. 3-5 NOVEMBER 1989 Zeus Hi- Range. The BADA Chargecard Best played Wieniawski's Polonaise in A 14-18 SEPTEMBER 1989 22nd F i Show, Stormont Hotel, Belfast. Dealer award, sponsored by and commanded an attentive Lombard Tricity Finance, was won audience, unusual at hi-fi Sim-Hi.Fi Ives audio fair, Milan, Tel (0232)332522. by Audio Excellence. The Best functions. Later the disco was Marketing Back-up award to Linn courtesy of Acoustic Research, and Italy. Products, and Quad received their later still the Steve Gibbons Band second award, for the Best Service played. John Seabuty

111-11 NEWS & RECORD REVIEW' (.1 'T 1989 I5 EXPENSIVE TUNER?? SICOMIN THEN HAVE THE AERIAL IT DESERVES Ultra low mass Kevlar/Carbon Fibre, spiked You spend many hours and quite alot of money choosing that new tuner, so don't ruin the whole effect isolation platforms, and composite CD by fiddling with bits of wire or old aerials. Have the full benefit of the dampers. for the ultimate in resolution. multipath free, clean signal which only awell designed and properly installed unit can achieve. If D.X. is your scene, then go for the ultimate in rotatin9 high gain narrow beam systems like our G.23. with 19dB forward gain, 38dB F. to B. and Acc. Ang. down to 15 Degrees or have a "one off" special built, up to 32 elements. GALAXIE CIRCULAR 17 ELEMENT STEREO GAIN 15 9dB F to B 33 7dB L24"

WE DESIGN, MANUFACTURE, SUPPLY AND FIT

* FM. arrays from 4to 23 Element. TV from 10 to 136 element. * British built and designed to withstand our weather for 5guaranteed years. * Interested D.I.Y. advice freely given, backed by our complete range of masts, brackets, rotors, cables, and aerials. Systems available for chimney, loft, wall, or through roof mounting. * Professional installation service available within a nominal 150 mile radius of LUTON. Full details of this service available on receipt of a large S.A.E. which will bring you our complete " Aerial Guide" which is much more than just alist of our products and prices, and carries details of all our services, including MAIL ORDER and site surveys.

SEE THE REST, THEN FOR THE BEST, CALL

Send SAE for catalogue and list of dealers. RON SMITH AERIALS ABSOLUTE SOUNDS 98 ASH ROAD LUTON BEDS. 318 WORPLE RD. LONDON, SW20 8OU. Day - - Luton 36561 9.0 to 60 Eve - Luton 29560 after 7.30 pm TEL: 01 947 5047 Shop Hours: 9.0 to 6.0. Closed Wednesday TELEX: 894800 Absol G. 5 Minutes from M1 Motorway Turnoff No. 11

See us at the Heathrow Penta Hi -Fi Show September 89 Today most of the known loudspeakers have no problems with DYNAMIC power handling when operated under normal conditions.Yet little attention has been paid to the dynamic response of speaker drivers. RESPONSE. Even if the stated power handling of adriver is several hundred watts peak, the acoustic power is not increasing at the same rate as the increased input power. Many tweeters, for example, can convert only about 50 watts into their maximum SPL. When they DYNAUDIO receive higher levels, more and more of the power is converted into heat, and more distortion is produced. The tweeter is now COMPRESSING. Midranges and woofers start compressing at a later stage. The frequency response now is dependent on input power level. The DYNAMIC RESPONSE of a standard DYNAUDIO tweeter shows no compression even at 1000 watt peak: the frequency response is exactly the same at any power level.

Shown curves are measured with TONE BURSTS, signal/break ratio is 1/10 O.

DYNAUDIO. Manufacturer of dynamic speakers.

, OWf Br uel Poto•nt.orneter Range. 50 c1F1 ¿MS .12 • O. IAL,i 50,7 • , 11 •".• 1-• e f • • 0.75 LEVEL VR51', Measurong Ob,ect de :,, • : MOB tri inyy 8460 lone Burst 401, 1000 63 4,7uf 300 34 liurst/Palts00.-1 64,45 1/ 1,11 100 20 vgAr o 4 30 30 11 15 Ohm 10 6.3 H... No lOr 5 215 3 3.4 SIgn o oj o 1 2 10 Hz 2 0 500 Ig1-1, 2 10 20 40 DA BC , n OP 0124 Multply F,eti Scale by Zero Level 80 (1012/2112) A B C Ltn

DYNAUDIO • PB 440 • DK 8660 Skanderborg • DENMARK • Phone: + 45(0)6-523 411 Telex 63126 dynaud dk • Fax: + 45(0)6-523116 DYNAUDIO • PB 54 05 45 • 2000 Hamburg 54. GERMANY -.Phone: + 49(0)40-858 066 Telex 215 489 dyna d • Fax: + 49(0)40-859 035 TECHNOLOGY

t looks as if the record industry has beginning of May the main HMV store finally killed digital audio tape as a near Oxford Circus had stopped stocking 1domestic format. Broadcasters and CDV. Promised feature film discs have professional users are likely to be the never materialized. It looks as if some of long-term winners. With the exception of the new CDV players will not play old the Nakamichi deck, all the 'pro' DAT Laservision discs with analogue sound units now being sold through selected tracks. They will only play CDV discs with outlets are firmly based on the unsold digital tracks. domestic designs. After the initial eu- The high irony of the situation is that phoria, there is mounting awareness of while Philips has taken the side of the the limitations inherent in the domestic record companies against DAT, and designs, particularly the tape transport recordable CD, those same record com- mechanisms. The format now looks likely panies have shafted Philips by failing to to evolve with genuinely professional support CDV with software as they loudly models, still at relatively low cost. DAT promised when the format was first an- may never become a replacement for nounced. These days it pays to know who formats with fully professional pedigree, you are bedding down with. BARRY FOX but it will make digital recording available With DAT dead for domestic use the to film, radio, TV and record producers Japanese are already turning their atten- being made by Dolby ayear ago, perhaps who could not normally afford it. tion back to the analogue cassette. For a to sound out reaction, was this. Although Despite rumours of ' continuing talks', while there was ashortage of high quality the highly compressed SR signal can never the Japanese now seem to have lost three- gap heads, because the manufactur- be described as ' compatible', the com- interest in persuading the record industry ers had run down production in anticipa- pression effect created by non-SR replay to bless DAT. Their Government, always tion of a digital take-over. Now head may be an advantage in cars where wide under attack for trade imbalance, sees production is back on stream and we can dynamic range is just what the listener DAT as a minor issue. The electronics expect to see new developments — per- does not want. industry is happy to go along with Gov- haps at long last adecent FM stereo radio And, even as I write, news comes ernment policy, and not rock the boat by cassette recorder that works in the same through the industry grapevine that Dolby pushing DAT, because there is another, far way as a video recorder, with built-in is now offering the industry S- type — a more important battle to be fought. tuner, timer and auto- reverse. domestic variation of SR. All the major electronics companies Also now that the Philips patents on the The main difference between SR and have, for at least ten years, been working musicassette are long since dead and the S- type is the latter's partial compatibility on erasable optical disc. The technology is royalty-free licences on them no longer with Dolby B. Dolby will formally an- on sale as a computer data store but has enforceable, companies are free to modify nounce S- type any day, and expects to so far been too expensive to offer as a the cassette format if they wish to do so. have the first samples of integrated cir- domestic product. Now the record indus- Remember that although metal tape for cuits available by September. Cassette try, along with Tandy in the US, has audio cassettes has never really caught on recorders with the new system, and pre- changed the rules of the game. as a consumer product, recorders now recorded cassettes, will be made available Last year, in an extraordinarily inept have heads which can record and play first in the United States, probably in move Tandy promised that Thor, a low back at much higher levels without satura- 1990, and later in Japan and Europe. cost erasable CD, would be available by tion of whatever tape type is used. Whereas Dolby B reduces the level of the end of this year. Although few people With DAT out of the way, it was an unwanted RF noise by around 10dB ( a believe that Tandy will deliver the goods odds-on certainty that Dolby Labs would subjective halving of noise level), S- type (and the company is now in asilly sulk as cook up adomestic version of the profes- reduces RF noise by up to 24dB. But a result of criticism), Tandy's announce- sional SR ( Spectral Recording) system. SR unlike Dolby's previous domestic systems, ment on Thor convinced the Japanese was developed for studio use, as adirect and like the professional SR system, S- type that they could no longer afford to coast alternative to digital recording. So far has a bank of variable filters. These con- on erasable CD technology. So they are no-one has talked seriously about using SR tinually monitor the sound and adjust the now beavering away at erasable CD sys- as a domestic format, but this has been signal processing circuits so that only tems which will do everything that Tandy largely because the advent of DAT seemed those parts of the music spectrum which promised, plus a lot more besides. a foregone conclusion. need protection against noise are proces- At the same time electronics companies The SR system compresses — and then sed. Stronger signals in other parts of the round the world are working on data expands — the signal by 24dB, to give a spectrum are left untouched. compression techniques which will let dynamic range similar to CD. This could When a tape recorded in S- type is CDs store digital video. Although this is give the analogue cassette a new lease of replayed on arecorder with S- decoder, it very tricky technology, complexity is life, and make half- speed recording a gives the full benefit without compromise. cheap in the electronics industry once it practical possibility. The key question, of When the tape is replayed through a has been built into a silicon chip. course, is compatibility. How would an cassette recorder with Dolby B-type cir- When a CD can store a reasonable SR-encoded tape sound when played back cuitry, the reproduced sound is com- duration of video pictures in digital code, without an SR decoder? pressed, with the music sounding in a natural progression from CD audio The answer is, very compressed. Low squashed in volume range. This will often and CD ROM, the idea of CD Video level background noises, like the sound of be acceptable, especially for music played (digital sound but analogue video) starts a musician breathing into a flute, are in anoisy room where quiet passages are to look wholly pointless. This is why boosted unnaturally. Ambience is ex- otherwise lost in the background noise. Philips had to get the analogue CDV aggerated, and reverberation prolonged. When an S- tape is replayed on a re- format on the market as soon as possible. But because SR works by processing the corder without any Dolby circuitry at all, Although Philips still makes brave noises signal flexibly, across a wide frequency the result is a significantly squashed about CD Video being a viable pro- range, the effect is nowhere near as bad as sound. As expected, Dolby argues this position, sales of players have been piti- you get from DBX recordings — which the may well be an advantage in some cases, fully small, mainly because the choice of system designers have to their credit for instance where tapes are played in a software has been even more pitiful and never suggested was in any way compat- very noisy environment, such as a motor most shops are not interested. By the ible with non-DBX equipment. The point car. And it may very well be true. +

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hen we say " State of Heart", we mean just that. The Gryphon phonostage W Because each Gryphon product is designed to This true minimalist preamplifier with no internal cut right through to the heart of the musical wiring offers aphonostage, where passive RIAA experience, to reveal every delicate strain, to lay equalization does away with several gain bare all the rythmic complexities that make music stages and selectors, asingle line- level input live and breathe. and apassive resistor volume control with 72 To achieve this high goal, Gryphon audio designs settings. A bypass switch for the volume control created arange of fine audio instruments incorpo- makes it possible to use the Gryphon phono- rating select premium-grade components and stage in con¡unction with another only the best engineering concepts. preamplifier.

• Uncompromising dual-mono configuration "...It is, quite simply one of the finest blends of with independent power supplies, dc conditio- luxury and sonic excellence available today" ning and separate ac cords for total galvanic Hi -Fi News & Record Review, March, 89 channel separation with minimal crosstalk, maximum channel separation and improved stereo perspective, better focus and greater dynamic stability • Zero negative feedback virtually eliminates Sid und Tim, for cleaner, faster transients and sweeter, purer high frequency response. • No ac coupling capacitors or compensating capacitors in the signal path for superior bass performance and more airy open reproduc- Gryphon Preamplifier tion of fine detail. "The Musical performance is pure state of the art..." LAudiophile, France, March, 89

The Gryphon head AMP The Gryphon head AMP, with solid Silver internal wiring, incorporates the Gryphon design philo- sophy of flat megabandwidth frequency re- sponse in alow noise, high gain, active step-up device with 30 DB of gain and asignal-to-noise ratio of 80 DB unweighted. Gryphon Phonostage &Head Amp

• Pure class Amode with huge capacitor bank for smoother, more coherent reproduction, without grain or suppression of dynamics.

The Gryphon preamp The Gryphon preamp is housed in anon-magne- tic chassis and incorporates fully discrete circuitry dc coupling, 1% metal film resistors, polypropy- lene capacitors and pcb mounted WBT sockets. The Gryphon preamp has no internal wiring (fewer contacts, fewer solderings and ashorter signal path). Components specially built for the preamp include the C core transformers and the Swiss made 24 position passive resistor volume "...The quietest, most coherent MC step-up rye controls. The Gryphon preamp is amodular mainframe used" HI-FI News & Record Reviev% UK, March, 89 design available in aline- only version, an MM version ( with the RIAA circuitry of the Gryphon phonostage) or an MC version ( with RIAA "This product marks anew high, which is currently circuitry and the MC stage of the Gryphon Head unrivalled" Amp). Suono Magazine, Italy, Oct. 88

"I have never been so deeply impressed before" "There is none of the unnatural characters that Sonic review, Hong Kong May 89 normally reminds you that you are listening to Hl- Fi..." Stereo Sound, Japan, August, 87

Gryphon Audio Designs APS, Hermodsvej 3A, 8230 Aabyhoej, Denmark, Phone 4586151588, Fax 4586150533

Gryphon Distributors: Nonva% Sweden, Denmark: 2R Marketing 54 8615 1588 France: Excelence Audio: 140470254 Italy: Esoter 24693849 Spain: Nova Systems 232 28 91 Saudi Arabia: Audio — Tech, 26656702 Hong Kong, Taiwan: Audio Supplies, 5249377 Korea: Bando-pro 5881815 Japan: Noah Corporation, 38331721. USA: Paul Heath Marketing, 7162624310 Benelux: Rhapsody 35284644 RADIO t's official — the BBC is to end its eccentric but technically expert'. On this continuous ball- by- ball commentary of last point there can be little doubt, as the Icricket matches on Radio 3 at the end team is the envy of commentators world- of next summer, so marking another wide. Perhaps the most attention is paid cultural degeneracy in British broadcast- when rain or other interruption has stop- ing policy. The cessation of this landmark ped play and the commentary turns to of English culture and of English life will other entertaining details like watching be a bitter blow — whether or not one umpire Dickie Bird and the people in the likes cricket. crowd — things which make cricket the That Test Match Special would be made game it is. All that will be spoilt if the to draw stumps has been rumoured for a proposed changes' go ahead. while, but now it has been announced, While one of the new commercial the protests will begin in earnest. Within channels may opt to cover cricket in a just a few hours of the revelation, Roy similar way to the BBC, the commercial Hattersley MP announced that he would concerns may use their benison for broad- he fighting the proposal through Parlia- casting pop music — and this would be an ment, while the veteran broadcaster, outrage. We need more broadcast pop Brian Johnston ( in his 44th year as aBBC music like we need a random nuclear commentator), put his feeling on record. strike. The present abundance of local` TREVOR BUTLER 'We'll have two lovely summers and by radio stations radiate little else day and the time this all happens Imay not still be night — even the BBC services which wen. the biggest library of its kind in the world. around', he said. He is urging people to supposedly ' speech-based' seem to Ix l'he cheering news comes from BBC write to their MPs about the change: ' It's concentrating more and more on ' music' Enterprises — the commercial wing of very sad. It will never be the same again, as they find it easier and cheaper to Auntie which has announced more titles although the BBC is putting a very brave produce. If the shelving of Test Match in its taped Radio Collection series includ- face on it'. Special leads to pop entrepreneurs ing A Tale of Two Cities, Emma, Wind in The move has become necessary becoming even richer it must raise some The Willows, and Bradman — The Don because the BBC is having to relinquish basic questions about the cultural state of Declares. Eventually it is hoped that every two medium-wave allocations to make the nation as perceived by the BBC and, as area that has been illuminated by the way for new national commercial chan- controllers of broadcasting, by the Gov- magic of BBC Radio broadcasting will be nels. Radio 1 is now largely available on ernment. But whatever happens this will captured on the talking tapes which make FM so there should be no upset audience be a severe test for the belief that the up the BBC Radio Collection. here; indeed Iwould think that most of private sector can offer asuitable alterna- The project began late last year when the popular- music lovers will positively tive to public service broadcasting. the first of the cassette twin packs were enjoy the improvement in quality — Writing to one's MP may be the answer announced. Each gives two or more hours assuming their ghetto- blasters are capable to prevent this act of cultural vandalism, of high quality listening of the widest of it. l'he Third Programme, on the other although addressing the Minister variety of material. Every taste seems to hand, presents more of aproblem because responsible for Broadcasting at the Home have been catered tor in all areas of sound of its split- frequency programming: the Office, Tim Renton, or even to the Home broadcasting. Comedy classics like The music/drama combination will continue Secretary, may prove more effective. One Goon Show, Hancock's Half Hour, Round on FM, but the separate cricket commen- thing is certain — the fight ain't over yet. The Home, ITMA, and The Al Read Show taries will lose their home frequency. The are among the gems. Children have been BBC has already said that it will use the IBA mourned by trade catered for with 5 o'clock treats of days existing Radio 2 MF frequencies for anew The President of BREMA, Lord Chapple, gone by including two Toytown plays service: Radio 5 — an all sport network has hit out at the ' fragmented, unco- featuring Larry the Lamb ( Derek McCul- under the direction of Pat Ewing, and due ordinated and incompatibility associated lough) and Dennis the Dachshund ( Pre- to go on air in September 1990. Radio 5 with the introduction of satellite televi- ston Lockwood). will encompass the cricket to the best of sion in Britain', and said that a similar Drama fans will be delighted with its capabilities; but since cricket is approach to the new channels and ser- Vintage Archers: two and a half hours of regarded as a minority interest, the BBC vices advocated by the Government's highlights from the longest running serial can be relied upon to broadcast very little White Paper on Broadcasting could in the world which saw its ten- thousandth of it while other major events are in threaten developments like NICAM. edition on 26th May, having first seen progress, and once football starts again He said his association would ' mourn light of day on New Year's Day 1951. The each August, that will be that. Miss Ewing the passing of the IBA' but would 'hope to tape provides a potted history of the has already stated that: ' there will be see many of our friends in the garb of the programme and captures momentous occasions when major sporting events new ITC'. Lord Chapple welcomed the occasions in the history of Ambridge, will clash, although we'll do our best to prospect of more broadcast channels and including the night Grace Archer died in a maintain ball- by- ball commentary'. Imust services, but hoped they would be ' better fire at Grey Gables, Nelson's trial and say though that the prospect of continued inaugurated than the unhappy mess acquittal for murder, Jack's alcoholism, uninterrupted commentaries from John which now surrounds satellite broadcast- the shock of Jennifer's illegitimate baby Johnners' Arlott, Christopher Martin- ing, with its plethora of different stan- and the chance to hear Pru Forrest's voice Jenkins, Sir ' Frederick' Trueman, Iienry dards, encryption systems — and the need on that exceedingly rare occasion when 'Blowers' Blofeld, ' The Alderman' Don for planning-permission for dishes'. Lord she actually spoke. Vanished voices which Mosey and statistics from ' Bearders' Bill Chapple suggested that the answer may can be heard include the original Dan and Frindall, looks rather bleak. be a competent European Broadcasting Doris Archer, Walter Gabriel and Jethro. Although many regard the whole con- regime to ensure that Governments and Other drama highlights from the Col- cept of the programme as rather pom- others acted responsibly in future. lection include King Lear starring Sir Alec pous, it has certainly become an art form, Guinness, Othello with Paul Scofield and and the service is regarded with affection Archives released Macbeth starring Dennis Quincy and Han- by many both at home, and abroad, via the From Ambridge to Arkville, from Elsinore nah Gordon as well as Hamlet featuring World Service. As Brian Johnston admit- to East Cheam, the cream of more than Ronald Pickup. This %enture provides us ted: ' We're just like schoolboys really, four decades of Radio has been released with the chance to listen to the best years making jokes, eating abit of cake, slightly from the BBC Sound Archives, which is of Radio and to enjoy them for keeps.+

111.1.1 NEWS & RF.( REVIEW Al ' GUST 1989 21 TEAC SEPARATES

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TEAC UK LIMITED 5 MARLIN HOUSE. THE CROXLEY CENTRE. MASTERS OF TEAC W ATFORD, HERTS. WDI 8YA TEL 0923 225235 FAX: 0923 36290 SOU N IC) WHERE ART & TECHNOLOGY MEET

1:10%VeS C,ssette 1-1,y:os C 1-11-1,y:os HEADROOM lime flies when you're having fun. If two more cables? Because it's what I'm that's true, then trick cables must be supposed to do. Considering that cables 'an absolute barrel of laughs because are such agamble anyway, increasing the — believe it or not — it's well over adecade odds by 2 isn't going to make much since Saburou Egawa in Japan and Jean difference, and — if you've read the pre- Hiraga in France introduced to us the ceding paragraphs — you still have to make wonders of wire. The impact of specialist up your mind. But these cables are cables has been enormous, despite the interesting enough and worthy enough to continued presence of reactionaries who justify the attention. still think that it's all a big hoax. Which The first is Quantum Audio's YFERE leads me to the current cable malaise. If cables and YBLENT connectors, and yes, I any part of the market really is flooded to agree with you that the names are clumsy the point of absurdity, it has to be the and sound like some obscure accessories cable sector. Why? Because it's the easiest from a 1936 Leica catalogue. That's where sector to enter if you're a real cynic — the clumsiness ends, because these cables confirming the reactionaries' thoughts. All are slick and professional and really you do is find an OEM cable, print your deliver. But let me start with the ends, if name on the insulation and make up some you please. KEN KESSLER wonderful story. The YBLENT connector is one of the Because cable reviewing is such a more complex phono plugs I've seen, a manship aside?'. Since these were pitched time-consuming and thankless task, maga- patented design employing symmetrical to me by a known cynic rather than a zines tend to concentrate on the main shells to form the inner body. They create starry-eyed tweak, Ifigured I'd give them a components. And even if cables were a four-part earth contact collar with try. Looking exactly like the optical leads reviewed on atruly comprehensive basis, exceptional grip and self-cleaning action supplied with the Marantz CD- 12 save for these reviews still wouldn't help the to remove, and then prevent, the build-up the colour of the sleeve ( blue to the consumer, and for two reasons: cables are of oxides at the point of contact. The Marantz's black), the YFERE optical cables entirely system-dependent ( which means shells extend back over the solder area really did sound more opal and ' sweeter'. that they must be auditioned as they will and virtually enclose the entire centre That was madness enough. Then I be used) and they're absolute hell from a contact. The whole rear section of the received some coaxial cable from HFN/ retail standpoint. The latter is connected plug acts as a cable clamp, gripping the RR's US distributor which purported to to the former, so hear me out. wire at 18 pressure points. The YBLENT improve on other coaxial cables when In order for a retailer to sell expensive plug is machined from oxygen-free cop- used for digital transmission. And sure cables, he has to demonstrate and occa- per and is entirely finished in hard gold enough, again using the Marantz CD- 12, I sionally loan them out in the same manner plate. Yes, it's pretty luxurious, but then was able to obtain markedly superior as whole components. It means either what else would you expect for £ 52.17 performance from Master Link Premium stocking expensive cables in innumerable for a set of four? silver/Teflon interconnects over ahost of combinations of lengths and connectors, Between the YBLENTs are lengths of other top coaxial cabks. Remember: this or cutting up fresh cable and preparing it YFERE cable which consists of two pairs is while transmitting digital information, with the risk that the customer won't of colour-coded LC-OFC conductors, each not analogue. And when the time came to want it. He then has to put that odd, made up of 20 strands plus an LC-OFC compare the two — the Quantum optical unsold length into stock, hoping that multi- strand, helically wound screen. The versus the Master Link coaxial — the latter someone will come along needing, say, a four conductors are laid in parallel and was so close to the former that it suggests 2.8m pair of solid silver cables terminated separated by aPTFE insulator. The cables hope and relief for those who own CD in seven-pin DIN connectors. In other are directional and are assembled using players with coaxial- only digital outputs. words, he's out acouple of hundred quid YBLENT silver solder. A run through the In other words, don't bother upgrading a because the tailor-made pair for that literature suggests that quiet operation player just because the new model fea- home demo didn't sell. As a result, many and resistance to interference were high tures optical output. Just try the Master retailers are reverting to pre-packed priorities and, indeed, the cables are Link. ( And it's unlikely that aftermarket lengths of cable terminated in conven- among the ' quietest' I've ever tried. Used DIA converters will be issued with tional plugs, and then only from the between CD player and pre-amp, or pre- optical- only inputs for some time). best-known brands. amp and power amp, the YFERE ' Quad' Again, the donor of this cable is a Some shops specialize in custom cable leads revealed themselves to be thorough- renowned cynic. He's as staggered as Iam supply, but most have been burned and breds easily worth the £70 for a 1m pair. that a coaxial lead can operate within are wary of exotic cables. In turn, they've Also available is a twin version and OFC such proximity to optical fibres. And so either adopted a few key brands simply leads in myriad lengths and combinations. opens another can of worms... because they know and like them and can OK, so we've another source for worthy The Masterlink leads, used in analogue recommend them in all sincerity, or they cables, but the real surprise in the package mode, are now serving in my system let the consumer buy on faith, je influ- was a 1m length of fibre optic 7- core between pre- amp, DAX and power enced by reviews or adverts. It may be a cable. I'm thinking — ' How can there be amplifiers, with Mandrake still unmatched bit much to expect aconsumer to buy on differences between optical cables, work- for source- to- pre-amp duties. 1have the word of mouth, but Idon't think that any ..a• Quantum fibre optics in between the Quantum retailer would expect you to keep £300 Marantz chassis and Lieder leads connect- interconnects which didn't suit your sys- ing amps to speakers. A mish-mash? No. tem. ( On the other hand you can't expect It's simply a combination that took me a a retailer to rip apart his demo room and mere two years to arrive at. hand it over to you for afour-hour session 19 Now do you see why recommending for six metres' worth of 79-strand.) <4. 1 cables is such a pain?+ Reviewers also have preferences and

unique systems, as do their readers, and es Quantum Audio Lre Po Bar 26, Kilmarnoc/14 11 s \ they cannot expect remarks about a cer- Ayrshire Scotland £A3 7RN Tel (0563) 71122 \ le Music &Sound Imports, 30 Snouyeke Rote tain cable to apply to all installations. ••• Huntingdon Valley, Pennsylvania 19006, USA Tel So why even bother you with tales ot (0I0 1)(215) 357-7858

HI-FI NEWS & RECORD REVIEW AU'(.1ST 1989 23 H.L. SMITH & CO.LTD 287-289 EDGWARE RD LONDON W3 1BE Telephone: 01-723 5891/7595

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H.L. Smith, 287-289 Edgware Rd., W.2. Tel: 723 7595 THE WAY THE WIND BLOWS The Chicago winds of change 1sLI WEST »

e.1...;,./ swept through the hi-fi section of

the Consumer Electronics Show,

as manufacturers unveiled

next season's new model ranges

by Ken Kessler

— there is no better gauge of hi-fi especially since this is aBritish magazine. the Quad LE) player and the matching trends than the Consumer Electro- UK manufacturers gave an incredible Quad 66 pre-amp are bristling with a 1nics Show. Idon't mean What's the show of strength, with most makes repre- number of features that might even help next tweak?' or what makes are in the sented and offering not just new goodies the venerable company to steal sales away ascendant/descendant. What CES tells you but exciting new goodies. So 1might as From B&O. Their facias are control-free, is what the real world is or isn't buying. well kick off this report with an absolute everything being handled by arather nifty That's my wordy way of saying that — earth- shaker, one which caught all of us remote controller which looks like the sorry, fellas — analogue is dead. How do 1 by surprise and was important enough to handset for a state-of-the-art computer come to make such afinal statement at the compensate for the fact that the manufac- gante. Some of the touches are gimmicky, beginning of a report? Because it just turer wasn't an ' official' exhibitor: Quad like avisual display of the volume setting dawned on me that this is the first CES launched a new pre-amp and ( sound of in the form of a circle un the pre-amp's which I've attended where all of the trumpets) the long-awaited Quad CD LCD panel, but the main intention of the software review samples were on CD. player. Yes, 34 and 44 owners, you can design is to dispel technofear Quad main- What's more, Ican only think of acouple turf those ageing Mission/Philips dino- man Ross Walker was overheard saying of analogue components launched at the saurs because there's now aperfect match that his wife had it all figured out in 10 show — the Rod Herman-designed Onyx for your small, grey stack. minutes while it took him only 15. All of turntable, the formal showing of Max the commands are carried by the infra- red Townshend's latest Rock. And when you controller, including setection of seven consider that the show produced some- inputs, volume, balance, the traditional thing like a dozen new outboard D/A Quad tone-shaping operations and stand- converters or ' digital' pre-amps or line- by. Selecting any source automatically level- only pre-amps, well, you'd have to switches the system on from stand-by, have shares in PVC to be even remotely urremafflaggir fading the volume up to the previous optimistic. .eifflogiggging, setting. The volume control on the Despite this and apositively evil bout of remote is an ergonomically- Familiar rotary food poisoning on Day 4, Istill enjoyed control rather than the horrible press the 1989 Summer CES, and not just buttons used by others. And to show just because 1 love Chicago: despite what how much Ross Walker hates nasty jolts, anyone tells you about the drop in traffic he's even had the unit programmed to or the lack of action on the part of the fade down rather than cut sharply when dealers, there were enough new products stand-by is selected at the end of the on show to fill a report three times the session. length of this one. The best news of all the UK prices and delivery are still to be trends revealed at CES was amove down- finalized and it's too early to say how the market by many of the high-end makes. In slightly unusual styling will sit with the an industry where each new model seems traditionalists ( the actual dimensions will to be dearer than the last one, it's a cause no upsets) but Ireckon that the CD pleasure to report that some makes have player, if not the pre . arnp, will be one of decided to lower the tariff at the entry the fastest-selling products in UK hi-fi level end of the catalogue. Surprue ofshe show, as far as UK brands were contened: history. Quad dealers: order your Ferrais. Yet another trend deserves mention, the new Quad CD player and model 66 pe-ankoh) ter Or should that be Aston-Martins?

HI- F1 NEWS & RECORD REVIEW AUC.UST 1989 25 SHOW REPORT

BIT BY BIT

The breakdown is almost complete, with tubes to a D/A! The $8000 DAC-Xlt, in yet another cluster of analoguists relent- addition to satisfying residual valve crav- ing and admitting that, hey, maybe ing ( I've given up on ever seeing avalve digital doesn't make you break out in Walkman or cassette deck), offers three boils. Here are some of the purely digital coaxial and three optical inputs, polarity highlights of the Summer Season. inversion in the digital domain, 20-bit Krell Digital, whose production- ver- ultralinear DACs for each channel and a sion CD transport and outboard D/A whole A4 page's worth of details, but the main novelty is the — quote — 'Hybrid MOSFET+ I2AX7 Super cathode fol- lower output for the sake of system isolation between next amplification devices...' Players were proliferating at an alarm- ing rate, the main impression Ireceived being that of new confidence from the specialists who base their designs on Philips transports. In addition to much Almost there: Krell showed its finalised ' CD turntable', better aesthetics — few now have the and added anew lower-cost converter unit . . . nerve to display Philips or Magnavox players with only a badge to show the converter were seen at the Paris Show, changes — there seemed to be more unleashed a second converter dubbed confidence in the reliability of the basic the SBP-16X, for those who can't quite mechanism. Kinergetics introduced a manage the $ 10,000 SBP-64X. As the new upmarket model called the KCD-40 Madrigal's CD player the Proceed, embodies much high numbers suggest, this one uses 16- times Gold Series, a $ 2000 machine featuring technology and much SILAS circuit know-how oversampling, but shares with its dearer patented hysteresis distortion cancelling sibling the same plug-in upgradability. circuits, 8- times oversampling, volume Price, if my ears weren't deceiving me, is and balance controls, high output vol- ulated power supplies and a host of well under $ 3000. Theta expanded the tage for superior operation when other detail refinements, at $ 1295. catalogue to include ( with the new directly driving a power amplifier, four Probably the most radical player laun- facias arriving only 12 hours before the 18- bit D/A converters and enough com- ched at CES was the Madrigal Proceed, show opened) a budget version of its pliments from their competitors to sug- the first product to bear that brand gest that this one could carve out anice name, from the corporation which pro- chunk of the market. duces Mark Levinson ( MLAS) amplifiers. Meridian has at last made available a For one thing, it's an upright model, a version of its CD player without the layout previously seen only on a few pre-amp section, the savings equalling a upmarket pro models from Japan. Using couple of hundred dollars in the US; I'd an 18- bit monolithic DAC from Burr- guess areduction of about £ 100 will be Brown, the Proceed featuresextra-rug- seen here. Crafty Bob Stuart — a man ged construction, rear-mounted audio whose eyes have adevious twinIde even boards to shorten the paths to the . . as did Theta, with anew version of the DSPre when they're closed — said that there connectors, right angle mounting of digital:pre-amp shown here called the DSPre Basic were some circuitry tweaks as well but boards to minimize interaction between didn't elucidate. Meanwhile, John Daw- the circuits, two master power supplies DSPre digital pre-amp, called the DSPre son of Arcam cornered me to impart the and eleven ' distributed' power supplies, Basic, to sell for $2395. Probably of news that the company had launched cast aluminium transport baseplate, alu- greater appeal for those who already the Alpha CD player, a 16- bit, 4- times minium structural members coated in own top-flight pre-amps is the unveiling oversampling machine with two trans- gold-iridate to prevent corrosion and of the DSPro Basic, a DA converter-only formen, areal metal case and aprice tag tripod mounting and a real marble slab unit with a price tag of $ 1995. of only £350. Even further down the under the transport to attain optimal Wadia, too, introduced adownmarket price scale is an entry-level audiophile stability. Advance whispers suggest that version of its widely-acclaimed Digital- player from Rotel, the £250 RCD-855. 2000 processor, the new Digital- 1000, In the ' High End For Poor Folks' but nothing Icould find suggested that category, California Audio Labs anyone in the USA is ready to match showed two new players for those who Arcam or Musical Fidelity when it would but can't be Tempestuous. The comes to making truly affordable out- Icon, complete with truly luscious face- board decoders. However, Aragon, who plate, 18- bit Burr-Brown D/A converter, showed a Mike Moffat-designed DIA star earthing, five separate, regulated converter, the D2A ( neat name, eh?) power supplies, CAL 24- bit digital filter, with styling to match their wedge- custom clock module and digital output Nakamichi launches its alartst-clocki radio! There is also a fronted 24K pre-amp. The price isn't (coaxial and optical) will sell for a CD- based ' midi' estate finalised yet, but it won't be expensive. piddling $695. That, my friends is mass- Details include 8- times oversampling market money. Alongside it and looking this machine could win alot of friends in with I8- bit resolution, circuit upgrades just as fetching was seen the Tercet Mk the high end and not just because of the (à la Krell) via replaceable ICs. HI, which features CAL's servo-control- sounds: the US price is a mere $ 1650, At the other end of the scale is the led DC coupled output stage, all-discrete well below that of most current high- processor which had me in adither ( no analogue section, separate 18-bit D/A end players. This debut also signals a 'Groan' inserts please, Steve), the Stax converters, optically coupled analogue promising future for other Madrigal- DAC-Xlt hybrid which — YES! — adds and digital sections, 23 separately reg- branded components.

26 111 -FI NEWS & RECORD REVIEW AUGUST 1989 SHOW REPORT

If that wasn't enough to rock thc Audiolab showed the long-awaited FM Anglophiles, Rega announced its entry tuner and that it's absolutely gorgeous? into the production of speakers and elec- That Meridian introduced a new CD tronics ( signalling less than total confide- player and that KEF showed awall- mount nce in the future of the LP). The speaker speaker with Uni-Q? How about B&W was seen and heard at CES, dubbed the entering the wall- mount market? ELA and looking not unlike aNaim IBL. A But CES is an international gathering two-way, floor-standing design, it features and the main reason for attending ( at least asloped upper baffle, mirror- imaged driv- for the Press) is to discover the latest from ers and a price tag of under £.500 in the the brands which don't live ashort drive UK. The electronics aren't ready yet, but away. Idon't know if the proliferation of We guessed is was coming: KEF applies us Unl-Q word has it that the designs are courtesy exotic American goodies should ease any- Coincident Drive Unit technique to the wall-mount of a former Creek employee. one's fears about the state of the market situation in these two neat designs Another British company set what must but I'm all for optimism. I mean, what be a record in hi-fi circles. Cambridge, other word describes McDonald's selling now owned by Hi -Fi Markets, showed an Chicken McNugget sandwiches with voc- entirely revamped line, complete with als courtesy of blues giant BB King? 'Woke new models and a restyle, mere months up this morning and found myself too after the change of ownership. Hot pro- poor to eat at the Golden Arches' would ducts seen behind closed doors included make a refreshing change from Ronald the new P50 and P70 integrated McDonald. amplifiers, the A70 stereo and A100 Chicago may be the home of the blues monoblock power amps, the C70 and but that didn't set the tone this year. C100 preamps, the sexy new CD3 CD There were prestige launches galore, the player with ' 16x 16' oversampling at CD2 usual run of mouthwatering, mortgage- prices, and the DAC3 outboard D/A con- stretching audiophile fantasies, and any- verter. All of this was accomplished with one who tells you that the show lacked the help of the recently appointed ' digital Apogee's new baby: president Jason Bloom looks delighted sparkle just didn't look in the right places. engineer' Mark Norton, whose handiwork with visitors' response to the new Stage 1loudspeaker Members of the press had received will also be evident in two rumoured advance invitations to two showings Cambridge products: atransport- only CD Harewood. Both feature titanium tweeters which would introduce us to potential player ( for early 1990), and a digital good for 25kHz and mineral- filled champions at either end of the price scale. pre-amp, possibly ready for the Hi-Fi Show homopolymer bass drivers. US prices sug- Magnepan had a full house for the first in September. And you thought that gest that these models are the new demonstrations of the new flagship, the Musical Fidelity was prolific... flagships of the line. Iknow it's crazy to MG- 20, which breaks new ground for the Ariston added the next unit in their get worked up over agrille- cloth, but the company in two areas. The first is that it's system line-up, a £310 16- bit 4- times new Wharfedales sport the most novel equipped with amid- range ribbon as well oversampling CD player matching the covers I've seen since Gale went into the as the ribbon tweeter already found in black Perspex of the existing amplifier, cheesegrating business. existing models. This makes the MG- 20 a while Linn demonstrated a new speaker, Much more conservative but just as ribbon down to 300Hz, the bottom fre- the 'Caber. Because speakers proliferate at exciting are the new mini-monitors from quencies being covered by a traditional CES, Ifind it hard to get worked up about ATC. The first small speaker from this Magnepan bass panel. Also new is the any but the most unusual ( of which there firm, the SM20 is primarily a studio look, the first Magnepan product in 20 are always plenty) but the new Linn monitor like its larger brethren. Although years to depart from the wood ( or brass/ model deserves notice because it bridges I expected an IS3/5A-sized mini. ATC chrome) frame and fabric which is so the gap between the Isobarik and the opted for aslightly larger enclosure hous- identified with the make. To take the more conventional, smaller models. Lin - ing a6.5in woofer and 25mm tweeter in brand into the 21st-century, Magnepan nies who have lusted after the ' Banks will order to provide a modicum of bass for has produced a gloriously modern gloss find these compact bi-/tri-wirable speak- reasonable assessment of the programme black panel split by two full height grey ers a godsend. ( Or should that be ivor- material in mastering situations. The cloth sections. It's simple but elegant, and send?) As ever, the hottest news came in speakers are built like battleships and will I'd be surprised if it didn't find its way the form of rumours: Linn is said to be probably part you from about a grand. down through the range. The MG- 20 is readying for release an integrated Mordaunt-Short introduced the new 3 still undergoing the fine-tuning process so amplifier and a new turntable which will Series, these models running from MS3.10 delivery dates haven't been announced sell for less than the Axis. to MS3.50. The wee MS3.10 was seen in and the company would be no more Mission, as if spoiled by the deliriously gloss-white form, this mini-monitor look- specific about price than ' between $ 5000 high price tags which its computers can ing like M- S's answer to the Wharfedale and $ 10,000', which is some latitude! command, released a most un-British Diamond and Goodmans Maxim. The Before the official start of the show, the speaker, the 767. What other way is there MS3.20, 3.30 and 3.40 increase in size and press met to hear Acoustat's new Spectra to describe a floor-standing, five-driver flip-flop the reflex port ( the even suffixes 11 electrostatic hybrid, and Idon't think design standing neck-high and bearing a are forward firing while the odd suffixes anybody was blasé when the price was £4000 price tag? feature rear- mounted openings), but the revealed. The Spectra 11 stands 72in tall, Lord knows where they were hiding, flagship floor-standing 3.50 is a transmis- is only 15in wide and amere 14in deep at but I couldn't find Wharfedale in the sion line design, which should amuse TDL the base. It's an electrostatic down to time allotted. ( Covering this show alone and Fried. The four smaller models can be around 300Hz, where an 8in felted paper in four days is like trying to read War And supported by M-S's new 3.1S stand, a woofer takes over. The Spectra had a Peace the night before the exam.) But as I segmented adjustable design made from a sweet, seamless sound, the ' hot-seat' effect wandered through the press room, abold dense, highly inert polymer. was minimal, the styling decidedly mod- yellow-and-red press release with the Other British CES -goers included ern. The price: under 81000 apair in the familiar ' W' logo caught my eye. Stapled to Revolver, Monitor Audio, SME, Rogers, USA. Even with the strong dollar, this is it was a picture of the most refreshingly Celestion and just about every other one American electrostatic which might styled two-way boxes I'd seen in many a important make, but if Ispill too much I'll be able to withstand the penalties of an moon and the story that Wharfedale had only blow the whistle on some sensational Atlantic crossing. And it signified the released the Coleridge two-way, stand- scoops best saved for The Hi-Fi Show. Do trend Imentioned earlier in this report, mounted speaker and the floor- standing Ispoil the surprises and tell you now that that certain high-end makes were doing

HI- F1 NEWS & RECORD REVIEW AUGUST 1989 27 SI IOW REPORT something at the entry-level stage. And there was more to come. Beyond any doubt, the hottest new product at the show was Apogee's Stage 1, with which the company removes three obstacles preventing would-he ribbon fan- ciers from acquiring its products. 1) It sells for under $ 2000 per pair. 2) It can he driven with any good 50-watter. And 3) the speaker barely stands waist- high. Apogee exhibited in a positively vast room, the sort you'd expect to fill with a Cambridge Audio Diva or Duetta. Visitors arrived finding (above) took the lid off this dwarf speaker in the middle of the its new electronics range; room. Expectations were what you'd Thiel finally showed its assume of too small aspeaker in too large marble-fronted flagship an area. Ipulled out the ' biggest sounding' (left); while Clements CD in my arsenal, ' Assassin of Love' by demonstrated its stunning ribbon hybrid Willy DeVille. The 'Apogeena' rose to the (right), the RT7 occasion, handling the subterranean bass with aplomb. Not quite so real-world hut just as much fun were the new ' half-price' ( $ 25,000) Goldmund Analogues, two- enclosure versions of the heart- stopping Apologue launched last year. Like the $50k predecessor, the Analogue has aes- thetics courtesy of Claudio Rotta-Lauria and look exactly like Apologues minus the extra enclosures. Too cheap for you? Then order apair of Immortals ( honestly) from Classical Design and Engineer- ing. These Chinese- lacquered chest- height Dalek lookalikes consist of a huge bass enclosure housing two upward- firing 10in bass drivers and ' steerahle' upper enclosures containing two Sin midrange IOW" '1411111111111111.' units and one forward- firing 1in tweeter. If ever a speaker screamed 'Japanese hi-fi casualty' it's the Immortal, reminding me of every cult classic from the Klipschorn WHAT'S UP, DOC? to the mega-Bozaks of yore. Every show throws up something so Clements, now based in Canada, bizarre that you have to ask, ' Has it all demonstrated anew ribbon hybrid called gone too far?' This time, as if to show the Reference RT7 in a handsome floor- that the Americans could out-Belt Peter, standing enclosure and featuring their attendees were treated to ear- extenders signature dispersion lens running the which accomplished the wonderful task length of the ribbon. Thiel released the of making any wearer look like either a long-awaited CS5 flagship model, an abso- rabbit or Mr Spock, depending on your lutely beautiful floor- standing design with preference for cartoons or sci-fi. sloped, time-aligned front baffle ( made Called Serious Listeners, the ear from a marble/polymer composite) and extender kit consists of two nicely- made featuring what looked like the most com- leather cutouts which you fold and snap plex crossover ever produced. Then together, hooking one over each ear. again, it does have to control six drivers. They form cups which turn your pinnae Price is just under $ 10,000. Martin- into constructs not unlike the scoops Logan showed the awe-inspiring State- used at my local coffee bean emporium ment with Krell, Basis and Day-Sequerra, and they're said to: 1) Reduce the the gigantic four-part system sounding undesirable effects of poor room acous- better than ever. ( Idle chatter: Imet more tics; 2) Improve the focus of the stereo owners of M- L Sequel Ils than any other image; 3) Increase dynamic contrast. speaker.) Nelson-Reed unveiled a sub- What the packaging does not tell you woofer system which included a 400W is that wearing Serious Listeners will controller/amplifier/crossover ( usable also: 1) Make you smell like a leather with other makes of subwoofer) for fetishist; 2) Add ambient effects not $2700 complete. Other exciting speakers unlike holding ashell to the ear; 3) Make included a smaller Avalon, a mini- moni- the user look like anything hut aserious tor of the truncated pyramid variety from listener. Selling for around $ 20 per pair, French maker CASO called the Metro- Serious Listeners are available from PO nome ( no prizes for original nomencla- Box 565, Burlingame, California ( where ture), two handsome floor- standing sys- else?) 94011, USA. You can telephone tems from Syndex at $ 1600 and $ 3000 the company for more information on Serious Listeners: auxiliary ear-flaps modelled here bv per pair, the ' unusual' Wolcott Omnis- (415) 344-1200. Tell them that Peter - Tom Gillet of Stereophile. He has even wons them to a phere ( at $4500) featuring a distinctive Belt or Rabbit - sent 'ya. Carnegie Hall concert, which raised many eyebrows! big black hall on top of a pyramidal bass

28 Ill FI RF( ( SRI) FtF1'IFW '( I'WI SHOW REPORT

enclosure, the updated Waveform ribbon hybrid pyramid system for $9800, two MORE EAR CANDY affordable new Snell models, the FAH ( $980) and J/III ( $680), and another Among the CD treasures Icollected at best way to introduce unfamiliar artists. speaker from Hales, the company which the Show was an absolute gift from The DMP disc is bound to find its way dazzled so many at Las Vegas. Called the Mobile Fidelity, two Beach Boys titles into most show-goers' Carry-Disc bags. System Two Signature, the new model is a on one gold Ultradisc. MFSL combined New to me is the Californian label floor-standing beauty at $ 3700 or so. Surfin' USA and Surfer Girl (UDCD 521) Bainbridge, who have a catalogue Another launch about which I'm not to create a bumper display of early covering everything from archive certain I have clearance to write but Beach Boys music, a fine companion to releases to new material, sound effects, frankly can't sit on is the fetching Modulus See For Miles' recent reissue of Shut train noises, classical, show tunes — you 'concept system' from Infinity. Check Down Vol H. Chesky followed the name it. A distinctive feature of the discs this out: the Infinity Modulus system universally acclaimed jazz CDs with is that they employ the Colossus record- consists of speakers which you build up in another pair, this time opting for Latin- ing system, promising awesome sound component form, starting with the two- flavoured material. The discs are Ana quality worthy of the material. Among way, stepped baffle, EMIT-equipped main Carma's Rio After Dark OD 28) and Luiz the fistful of titles which Isecured are speaker in its acoustically- inert, resin- Bonfa's Non-Stop To Brazil OD 29). such disparate releases as Johnny Smith finished enclosure. This rests on triangu- Again, the Cheslcys have released discs and the new Ink Spots' I'll Still Be lated, spiked isolating feet which can be with standard-setting sonics and per- Loving You (BCD6281) — recent used with vinyl cups for table or shelf formances to match. recordings from that legendary group. placement or on the next component in Reference Recordings offered two the Sonic Booms sound effects CD the range, the Modulus pedestal ( too new titles, Albert Fuller on harpsichord (BCD6276), the breathtaking quasi- New much like avariant of the Celestion SL700 with Rameau's Pieces de Clavecin/Suite Age Fresh Out Of Nowhere by Michael stand to inspire cries of ' Genius!', but it's in A ( RR-27CD) and an absolute delight Lee Thomas ( BCD6281) and Percussion nice to see an American giant taking for lovers of retro-MOR, Eileen Farrell 90's Rhapsody In Blue & Gold notice). Also available are special fixtures Sings Harold Arlen (RR-30CD). (BCD2104). Bainbridge is looking for for wall- mounting pivoted brackets which Sheffield Lab released Clair Marlo's UK distribution as Iwrite, but I'd suggest will allow Modulus to find space in studio sensational vocal showpiece, Let It Go you contact them directly for the time conditions for near- field monitoring. Then (CD- 29), which deserves to rank with being. They can be reached at PO Box there's the 200W servo-amplified 12in- the label's audiophile faves from Amanda 8248, Van Nuys, California 91409, USA driver'd subwoofer. McBroom. Digital- only label DMP or on ( 01-0-1) ( 213) 476-0631. Ask released a pair of discs from two of its them about the steam train CDs! Amplifiers: more tubes! most popular charges, Bob Minzter's In case you are feeling despondent CASO's little pyramid speakers were seen Urban Contours (CD-467) and Warren about the dea(r)th of vinyl, please noie and heard on either side of the company's Bernhardt's Heat Of The Moment (CD- that the analoguists have organized! quite astounding monster Class-A monob- 468) as well as a 13- track sampler Write to The Analog Society, PO Box lock Atmosphere tube amplifiers, but one dubbed A Taste of DMP (CD/466). I 7028, Westlake Village, California of a host of new, glow- in- the- dark wish more labels would do the same, 91359, USA to find out what you can do amplifiers. VTL, which has more models because a well-compiled taster is the to help stem the digital tide. than Airfix, showed the ultimate in down- sizing, pocket-sized monoblocks called preamplifier; YBA showed its new flagship as freshly styled as the earlier ' cubist' the ' Tiny Triodes'. Selling for $ 1000 the pre-amp, the remote-controlled Signature; products, but selling for awhole lot less, pair, these babies put out about 25W each Ariston introduced a 100W/channel pre/ the 911 pre-amp and dual mono-power and weigh in at 9.51b per channel. At the power combination ( and tuner) to match amp. Also seen were an m-c step-up ( the other end of the scale, Conrad-Johnson the new CD player, Creek introduced the 944, would you believe) and the 911 produced a massive hybrid called the new 5050 integrated amplifier; Naim loudspeaker. Can we expect a917, a959 CTF200 ( $ 5000) with MOSFETs deliver- restyled its entire range and unveiled the or — God forbid — a Carrera or Speedster? ing 200W/channel. Taking a page out of NAC 72 top- of- the- line pre- amp; and Under the ' general' heading, Sequerra the Lux 'Brid Guide to Amp Aesthetics', Krell went into the modular field with a showed a new, budget version of the C-Jplaced the two driver valves behind a separate 6- input line stage pre-amp, the classic tuner, selling for $ 3000 but look- window on the facia. The company also KBI., and matching PA phono pre-amp. ing just like the legendary predecessor. showed the all-MOSFET MF80 ( $ 1395), Acoustic Research showed a very early The pile of literature is still two inches designed to mate with its CD/Pre-amp. prototype of its genuine Class-A 20-wat - thick. I could tell you about the new Sticking with tubes, though, Audio ter, switchable to 200W A/B. Shades of the Monster cables ( one especially for bi- Research showed the SP-9 Mk II, with a PM- 4... Iadmit it: my heart belongs to wiring), the hot new Master Link mains host of ( retrofittable) improvements; Peinare, the Danish company which cables, Cardas and MIT products; various Lazarus added two more pre-amps to its proved conclusively that aesthetic perfec- damping rings; the $ 50,000 Sony TV, a range of affordable tube designs, including tion in hi-fi equipment is an attainable Cellnet phone the size of apacket of Silk the Balanced Classic and Balanced goal. After a bit of a shaky time, the Cut and a thousand other products. but Deluxe; US company Atma-Sphere company has reappeared with a new I'm going to relax now; I've earned it. And showed an impressive all- triode, 100W/ pre- amp and stereo power amplifier just that means a visit to... channel Class-A amplifier, the MA- 1, Melos offered the CD-T/B pre- amp and Hy's Society CD-T IIB tube CD player; and MFA had a SH and Ispent an evening in New York in line-up including the tasty two-box the company of the most committed Luminescence pre-amp, M-120 and M-200 audiophiles in the USA, The Audiophile monoblocics and Magus pre-amp. Society and its head honcho Hy The solid-state brigade wasn't sleeping Kachalslcy. This mob meets once amonth either, with Rowland introducing a new at Hy's home in Rye, Westchester, NY to two-box pre- amp, the $ 3000 Consonance, share hi-fi experiences. To witness such with remote control and the Model 1 rampant audiophilia is to learn that, yes, power amplifier, rated at 60W channel or there are a bunch of crazies out there — 240W into 8ohms in mono form. Sumo Kachalsky's a shrink, no less — but their produced a new baby called the Ulysses, Inside the Sequerra: The classic high-end tuner is back, hearts are in the right place. They even also a60-watter; Klyne uprated the SK-6 with anew model at under $3000! Finish matches Krells made me forget my food poisoning.4-

111-F1 NEWS & RECORD REVIEW AUGUST 1989 29 Beethoven's greatest turn a deaf ear to.

masterpieces were corn- A conventional system uses just one DAC

posed after 1819 when (or Digital Analogue Converter) to cope with

he was totally deaf. both the positive and negative halves of both

His sense of isolation and adesire channels.

to rebel against his affliction resulted Rather like a one - armed orchestra

in classic symphonies. conductor this creates confusion and

•<, It is therefore asad irony that distortion. it^ many people who listen to these masterpieces The SL- P999 actually has four DAC's. Each

are also deaf to their subtleties and nuances. channel has two. One for the positive and one

Their compact disc players are simply not for the negative half of the signal.

sophisticated enough to process the weaker So that even the softest pianissimo piano

signals from the disc. phrase can be heard.

The new Technics SL- P999 is adept at From musical parts to bits.

processing these signals. The 20 Bit 8 times oversampling on our

Information that most C.D. players would C.D. means that the information on the disc is t›-wies0: .

ON MOST COMPACT DISCS, THE SUBTLETIES OF HIS MUSIC ARE FALLING ON DEAF EARS.

actually evaluated eight times between At design stage, the Shuttle Search also

samples. received agreat deal of input.

Ensuring that the smallest changes in the It enables you to look for the piece of music

music are faithfully reproduced. you want forwards or backwards at up to 76

So that the high tessitura of the chorus times normal playing speed.

sopranos in the Missa Solemnis are a joy to There is also a43 key remote.

listen to. ihmehnle• • Which is exactly

.11.111131P ., M.. - 5 1"....1 ID* III! II The double basses . how Beethoven must

in the fifth will take you - - have felt in those silent, .1111. to seventh heaven. lonely days writing.

And the thunder of the Appassionata piano Perhaps he would have taken solace in the

sonatas will reach your ears like lightning. composition of our C.D. players. which enable

The signals from the C.D. also travel every note that was written to be heard. allegro style to the amplifier. Technics And as there are both analogue and digital For Music Lovers THE SL- P999 IS ONE OF THE RANGE OF TECHNICS C.D. PLAYERS.

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Use this form to order any of the current HFN/RR accessories. Please indicate quantity required. All prices include post & packing. HFN/RR 001 Fluxdumper: black- ash box £22.00 0 HFN/RR 003 Test CD: left, right, sweep, even music! £ 11.95 D SUMMER HFN/RR 004 Blackhead: m-cstep-up transformer; £59.95 O HFN/RR 005 spikes: timber 0 steel 0, inc fixing kit, set of 8, £ 10.00 El HFN/RR 006 Flutterbuster: 33.3/45rpm. 220/240 only, OK for most synchronous t/t ( specify type); black- ash case £79.95 HFN/RR 007 Carrydisc: 14 CD's in a40mm travel pack! £ 11.95 D SPECIALS HFN/RR 009 Headcase: headphone amplifier. 40mW Class A unit Our Accessories Club 'catalogue' now includes a dozen allows use of headphones; black- ash case; 220/240V- only £79.95 0 HFN/RR 010 News Stand: 19in/430mm housing, 36in high, complete HFN/RR originated items, with more on the way, so we with 5shelves ( 3adjustable) black finish £ 139.95 O HFN/RR 011 Mushcrusher: 220/240V mains filter. 5A rating £ 24.95 thought that this would be a good time to remind you of HFN/RR 012 Software Storage System: satin black timber ( Medite), what our ' think tank' has produced to date stackable, supplied in kit form. LP unit ( 120 capacity) £37.50 D CD/cassette unit ( 40/25) £ 19.50 D singles unit ( 200) £29.50. 0 HFN/RR 013 Wallnut: wall mounting two- level turntable support complete with two shelves; finish, black £49.95 D HFN/RR 014 Stylus Cleaner: ultrasonic cleaner; £ 14.95 EJ Mission Isoplat: 17in x13in Medite isolation platform; £28.00 0 Tweek: contact enhancer; clean all signal connections £ 15.95 Nagaoka LP inner sleeves: pack of 50 £6.95 High Performance Loudspeakers: Martin Colloms' book on the theory of speaker design £ 18.00 D Tape head de- magnetizer: electronic cassette de- magnetizer £ 12.95 D Michell Tenderfeet: aluminium cones for isolation, set of 3.Small £5.45 El Large £8.45 0 tdidn't enter our heads, when we conceived the Accessories Club Cobra Indoor FM antenna: indoor aerial, built-in amplifier £39.95 0 back in 1984 that we would end up with 'own brand' products. Slcomin CD damper: best CD damper we have come across £27.50 0 IAfter all, there's never been ashortage of accessories to choose Extra rings for Sicomin, pack of 20. £2.50 from; we thought our task would be - simply - to find the best of :tudioquest vacuum tube dampers: set of 4 £ 11.95 D each type. But the deeper we got into the subject, the more we found .‘udioquest damping sheet: sorbothane, 6in x6in self-adhesive £ 11.95 D Good Sound: Laura Dearborn's paperback £ 10.95 D ourselves wishing, ' What if ....?' or ' How about a...?' VP! HW16.5 record cleaning machine: the ultimate record cleaning First fruit of our collective brainstorming was, of course, HFN/RR system £375.00; cleaning fluid for the VPI system, per 51: £ 12.50 0 001 - The Fluxdumper. No apologies for this one! We'd heard HFN/RR self- build loudspeakers: details available for DC! & Bassett about the wonderful VP! Magic Bricks which American audiophiles kits, please indicate were using to eliminate both mechanical buzzing and the sonic Audiophile records: Cantate Domino £6.95 0 Jazz at the Pawnshop £ 13.95 0 effects of stray eddy currents. Unfortunately, the transatlantic journey Saint-Saëns £6.95 0 Close-ups; Kabi Laretei, piano. £6.95 El !Nibs ( 45rpm) £ 12.95 Chcsky Schehcrazade £ 11.950 Marni Nixon/Gershwin £ 13.50 0 Appalachian priced these wooden-clad lumps of laminated steel right out of the Spring £ 13.50 D Beethoven Appassionata ( RDCE4) £7.50 El Vintage Tenor ( RDCE market, so we produced our own version. Results vary according to 11) £ 7.50 El Romance d'Amore ( RDCE8) £7.50 0 the amplifier's design, but valve gear tends to benefit spectacularly. Aureum gold-plated mains plug/socket: twin unswitched socket, flush HFN/RR 004 - Blackhead. The best bargain we've ever offered, a mounting, complete with two 13Amp plugs. £25.00 El Harrison Cassette Alignment Tape wow! or not wow? El£18.50 fixed- value, £ 59.95 version of genius Tim de Paravicinfs classic m-c Last Formula 1 £ 11.95 I:Formula 2 £ 16.50 DFormula 3 step-up from EAR. One of the finest and most cost-effective £7.50 DStarter pack £ 12.50 D transformers ever realized. Alphason Tonearm Lifter: Yes, it really does! £ 13.95 D HFN/RR 006 - Flutterbuster. We wanted ( roughly speaking) to PAS- 01: Passive control unit kit £86.50 do for other AC synchronous motor turntables what the Valhalla kit Blacktak: £2.00 El did for Linnies. Not only does the Flutterbuster clean up the mains Recut Records: Beethoven Symphony 5 £7.99 0 Ravel & Bartok Concertos and improve stability, it also adds 33/45 rpm at the flick of aswitch £7.99 D Beethoven Piano Concerto 1/Choral Fantasy ( 2LP) £ 11.99 0 Point-of- View: stylus magnifier £ 7.95 0 instead of the flick of abelt. Turn your AR Legend or similar deck into abudget high- ender. CD Feet: Audioquest Sorbothane. Pack of 4 £24.95 HFN/RR 009 - Headcase. Quite simply, the solution for all of you Michell Surelock 4mm locking speaker plugs, set of 4, £ 18.95 D with adesperate need to use headphones but with apre- amp lacking Breakfast Plugs, phonos, pair, £5.95 O the necessary socket. This 40mW Class-A headphone amplifier will Stax binaural CDs: The Space Sound, £ 15.95 D; Glenn Miller, £15.95 0 also appeal to those who don't rate the sound quality of the built-in headphone amplifiers in integrated amps, CD players and cassette Chesky jazz CDs: one £ 13.45 0; two £25.90 D; three £37.80 decks. Another de Paravicini masterpiece. NAME (caps please) HFN/RR 010 - News Stand. The answer for those with amix of 430mm and 19M wide hardware and apenchant for changing ADDRESS components. The equipment rack will hold just about any component you can name bar aheavyweight (eg Krell, Rowland, Audio Research) power amplifier. The shelves are made from Medite, the turntable shelf is high enough to ward off back problems and the Ienclose PO/Cheque/M0 5 styling is strictly utilitarian. KK would he lost without his. Iwish to pay by AccessIVisalDinerslAmex* My card number is HFN/RR 012- Software Storage System. Designed by an Expiry date incurable collector ( no prize for guessing who - Ed], HFN/RR 012 1 11 1 1 1 1 1 1 1 1 1 1 1 1 1 consists of modular, stackable units for LPs, CDs/cassettes and 7in Signature singles/7in open reel tapes, Manufactured from black-finished Medite, Please send orders to HFNIRR Accessories Club, PO Box 200, Bedford, MK40 1YH the units feature dividers ( LPs, 7in singles) and two types of feet: hard Cheques should be made payable to HFN/RR Accessories Club. Delivery subject to availability. Accessories Club hotline II 0234 741152 rubber cones for the floor or carpet and small white 'plugs' for NON UK SALES VAT FREE BUT WHERE APPLICABLE positioning units on top of each other. The LP cubes will also hold SUBJECT TO ADDITIONAL CARRIAGE CHARGES. 430mm hardware. Neat, rugged and wholly practical.4- Photo copies of this form are acceptable. E&OE 'Please delete as necessary.

33 TECHNICAL AUDIO IN DIGITAL TIMES'

while still in the digital domain. ' Unless The merits of DACs, dither and explained that such adigital audio record and play/back system is capable of the digital dithering is added', say Lipshitz and compression were analysed by same quality of sound transparency as a Vanderkooy, ' the beneficial effect of the super analogue system because all the original analogue dithering will be AES papers in Toronto . . . digital artefacts have been eliminated. negated. Distortion will be re- introduced Dwarfed by a table full of equipment, into the signal in any re- quantization the two researchers treated their audi- process such as conversion from an 18- bit by Timothy Palmer-Benson ence to piano music recorded at a very ADC to a 16- bit DAC.' low level with quantization errors due to The Canadian researchers were quick any papers presented at the non- dithering. A buzzing sound appeared to defend reduced signal-to-noise ratios Audio Engineering Society four- attached to each note. Amplified so that saying that the slight amount of wide- day Toronto conference everyone could hear it, the effect was band noise introduced into arecording by expressed concern about the audible dis- obvious — and unpleasant. However, when digital dithering ( a noise penalty of approximately 3dB) is perceived by the tortion that digital technology can pro- a small amount of analogue white noise, duce with some types of signal processing (or what is called Gaussian dither) was ear as being a benign sound. They point out that although wide-band noise has (DSP). The quality of 16- bit and 18- bit added to a level equivalent to I/2 a least DACs appearing in CD players was also in signification bit ( LSB) rms, the buzz in the about the same total power as a — 90dB question. As aconsequence, a number of piano notes disappeared — replaced by signal, the high ' Q' filtering action of the solutions for preventing distortion in DSP wideband noise. ' Undithered signals are ear allows it to resolve sinewaves clearly were proposed, most notably the use of pernicious', Lipshitz told his audience well below the noise in much the same dither. At the same time, it was obvious after it had endured several undithered way as a spectrum analyser can. from almost 50 papers presented for piano excerpts from Mussorgsky's Pic- Vanderkooy spoke extensively about a 'Audio in Digital Times' that we will hear a tures at an Exhibition at high level. special form of digital dithering to main- lot more about techniques to compress The researchers went on to point out in tain signal quality while it is still under- the digital signal for use in such areas as their second paper entitled Digital dither going processing. Dubbed triangular- digital FM stereo broadcasting and cable Signal processing with resolution far probability density function dither, the transmission. As well, there is now yet below the least significant bit; that dither toggles over more bits and helps another erasable computer-style digital recording studios had better be aware of improve DAC linearity, thus resulting in audio disc system possibly vying for the non-dithered digital fades. 'These are less distortion. It also eliminates the residual noise modulation which simple market. equally pernicious', Lipshitz told the con- Two papers by Stanley Lipshitz and ference. The two scientists say that even if rectangular pdf dithering leaves behind. John Vanderkooy, ( widely respected for analogue dithering has been used in (Both rectangular and triangular pdf their work on A/D and DIA conversion) recording an analogue signal, digital dither are small white-noise signals whose were among the first to offer scientific dithering must also be used whenever statistics are specified by the pdf.) proof that all is not quite perfect in the there's a level change during the proces- Also mentioned by Vanderkooy were 'dithered noise-shaping quantizers' that world of consumer digital audio. sing of the signal in the digital domain. In their paper entitled The principles of 'Digital gain reduction ( or fading) without reduce the audible effect of digital dither- digital audio, a lecture demonstration, dither is highly susceptible to signal dis- ing by introducing feedback. Noise-shap- Lipshitz and Vanderkooy brought AES tortion, noise modulation and non- uni- ing is a method of taking the digital members up to date on their earlier work form signal output gain variation', say the round- off noise energy in the audio band by giving a graphic as well as an audible researchers in their paper. For example, and moving it to higher frequencies out- demonstration of the difference between there could be changes in level while a side the band. Noise shaping by itself in distortion caused by aliasing, and distor- piece of music is undergoing equalization the playback domain is hardly new: it was tion caused by quantization error. They quietly used in the early Philips players OUTPUT such as the CD100 in order to get 16-bit showed why digital audio needs its sam- pling rate of 44.1kHz, the necessity for S/N ratio performance out of a I4- bit DAC. analogue filtering, or digital oversampling, DISIORTED Lipshitz and Vanderkooy's idea is to take r CUiRfr and they explained that these methods are things one step further by re- introducing used to prevent distortions generated in dither to the noise shaping in order to eliminate all final vestiges of distortion left power amps or to prevent tweeters from cler self-destructing from out-of- band energy over from the noise shaping circuits. 90 NPUT Dithering to prevent distortion assumes resulting from the sampling process. They SIGNAL 41 showed how poor filtering can cause perfect operation of ADCs and DACs. These don't yet exist in consumer aliases, or mirrors, of the original to 25 machines and to make up for converter appear back in the audio band; and went -135 111M101,1 10111000 on to explain how even perfectly linear FroptenCe errors, Lipshitz says one could add more A/D and D/A converters have inherent dither, but this would mean unacceptable distortion. They demonstrated that b‘ S/N ratios. More feasible alternatives Figure Ishows the result of anoiseless input signal adding asmall amount of analogue noise, included anumber of improved converter which is applied to aquantizer, such as an ADC. systems, such as ones using built-in noise during the recording process, distortion The output of the quantizer is the distorted signal shaping filters, ones that use psycho- can be prevented, and how distortion shown. The frequency spectrum of the distorted acoustics to fool the ear into thinking that products of quantization become broad- signal is shown below. band noise when dithered. They conversion error is not there, and of TECHNICAI

course the one- bit data stream from Phi- noise is shifted outside the audio band, A different approach for compression, lips now being introduced by Sony. but these distinct frequencies will fold along the lines of the BBC's well know Carillon Technology of Newton, Mas- back into the upper part of the band. NICAM, was shown by Stanley Quinn and sachusetts, unveiled an IC chip set for If all this seems distressing to Jeffrey Frederiksen from Frederiksen and 20- bit AID conversion. It's claimed that audiophiles consider apaper from AT & T Shu Labs in Arlington Heights, llinois. The the converter can achieve a S/N ratio of Bell Labs in Murray Hill, New Jersey. ' I'he 'SuperSound' system is based on changing 114dB and with a 1kl lz dithered signal paper says that research has proved that the 16- bit system into a non-linear one shows no visible harmonics down to even ' golden cars' cannot tell the differ- where level changes are applied to blocks —70dB. Burr Brown also showed the ence between ' apsycho- acoustically com- of digital words rather than individual design of its new dual monolithic, 18- hit pressed' digital signal based on a 4- bit samples. Its proponents say that the ori- system and one based on a perfectly ginal data is compressed by 30 per cent. CS, OUT operating 16- bit one. In a paper entitled SuperSound uses complicated algorithms, CUTPUT SIGN, Digital Audio: Future trends in quan- noise shaping and masking. Quinn says tization, storage and compression, James extensive listening tests have proved that Johnston paints a picture of what some people cannot hear the difference digital audio might be like in the future. between music heard directly from a CD According to Johnston, a smaller bit sys- and music that has gone through Super- aB tem is quite satisfactory if spectrum analy- Sound compression and expansion. sis of the ear's critical bands is used to Then there was the special case of determine what will be recorded and Nakamichi. After deliberately irritating what will be discarded. ( This ' masking the RIAA with its megabuck DAT machine effect' relies on our hearing characteris- at the Las Vegas Consumer Electronics tics. Proponents of compression also say Show, Nakamichi is showing a second Prepsoncy we don't hear distortion if it is masked or system for direct copying of digital audio. Figure 2shows the result of anoisy (real) input hidden by a stronger signal.) Johnston signal which is applied to alinear ( analogue)circuit maintains that by converting to the digital whose transfer function is shown top left. The output domain in such a way that the signal is the undistorted but noisy signal shown right. The optiminally masks the quantization distor- frequency spectrum of the undistorted signal is shown tion and noise, it is possible to achieve in below. almost audible perfection with a greatly reduced number of bits. Such a system would have an audio bandwidth of 201Iz Pes ADC that produces 1% TI1D for a 1kHz to 20kliz as well as dynamic range and signal down at — 60dB. The converter has separation equal to the compact disc. This the familiar pot for adjustment of the MSB. was not the only pyscho-acoustic com- Figure 4a is the background noise spectrum of a Company spokesman, Jimmy Naylor, pression system discussed. There was also digital system. Figure 4b is the background noise admitted that the converter does not have aproposal by Karlheinz Brandenburg and spectrum of anoise- shaped digital system. 18- bit accuracy, but is called 18- bit for Dieter Seltzer from Erlangen University, reasons of ' specmanship'. 'Ibis prompted FRG. They showed a number of low- bit Ube unit is called a ' Magneto- optical disk sessions chairman, David Haynes, to coding schemes and said that coding of digital audio recorder' and it can record/ observe drily that John Vanderkooy had high quality digital audio with bit rates playback for up to 20 minutes using shown how a 16- bit converter can down to 64k- bits is now possible. constant linear velocity ( CIN ) discs. After achieve 18- bit linearity and Naylor had presenting a paper on the technology, a

shown how an 18- bit converter can be Os ,P, COPERED demonstration of the prototype was OUTPUT WPM,. degraded to 16- bit resolution! Wax . 1k. given. The Nakamichi unit resembles a PULSO PRESENT) The Philips presentation of Fist Carel large computer with asingle disc- drive on Dijkmans and Peter Naus almost seemed Ommy,„ the outside. Inside things are totally diffe- to say that for commercial purposes it's a rent: the drive uses an 89mm, magneto - waste of time trying to achieve perfect optical ( MO) disk that looks similar to the linearity with 16- bit, 18 and 20- bit DACs, ubiquitous 3.5- inch floppy, except that it and that it is time to move on to some- is about twice as thick. Its lifespan is said thing else. In their paper entitled The next to be about ten years. The unit contains a step toward ideal /VD and DIA conver- laser that focuses from underneath the 1 ters, the two suggest that interpolative disc to aspot approximately 1 gm in size t1Ui conversion or bit stream conterters ( the j1 and heats up a magnetic layer of recording '" average of the bit stream is the informa- FreesseMe film sandwiched between a protective

tion) are a better choice because they PEI dielectric layer. Simply put, the film provide inherently perfect low-level changes its slight reflection characteris- 001114400 SCPP. linearity without the need for high preci- tics in the recording or writing process sion. Dijkmans, who delivered the paper, and this is detected by an optical pickup said that in theory there is no limit to the unit on playback. The magnetic layer msperty LOW Pots FUTUR TO dynamic range of aone hit converter and REPICN( Ps 1k. must be erased and he in a uniform state SAW.. PUSES there is no linearity problem either. Dijk- before anything can be recorded on it: a mans revealed that there is at least one process that also takes about 20 minutes. potential problem with bit stream: the I was left with the impression that system produces a significant amount of digitalaudio technology is moving very Figure 3 shows the result of applying adithered noise outside the audio band because of rapidly to the point where almost the signal to the quaruizer of Fig. 1. The input signal is the necessity to use dithered noise shap- the same as that of Fig. 2. The output of the entire audio chain will be digital. Some ing. lie says that there could be aproblem quantizer is an undistorted but noisy signal which audio purists will be alarmed by such with parasitic coupling. ' When we put DC contains the sampling rate pulses. This signal is news and, Isuspect, particularly incensed on the input of the converter and look at applied to alow-pass filter and the filtered output is over digital compression; but as confer- half the sampling frequency, distinct fre- shown bottom right. Note that it is the same as the ence chirman Ken Pohlmann remarked: quencies will be there', explains Dijk- analogue output signal of Fig. 2with the same 'digital audio is the context in which the frequency spectrum. mans. Ile says this doesn't affect low entire audio industry finds itself: it has frequencies because the quantization become the centre of audio'.

III -FI NEWS & RE(OR1) REVIEW AUGUST 1989 35 THOROUGHBREDS

Since 1962 we have received eighteen prestigious awards for our precision pick-up arms. One of the models shown here could well transform the performance of your deck and cartridge, realising, probably for the first time, the full potential of your L.P. records. Glance through one of our instruction books, sometimes 24 pages with more than 40 illustrations, to appreciate the attention to detail. Only SME arms provide the precise adjustments essential for true cartridge performance and the build quality to minimise sound colouration. Insist on SME, the thoroughbred arm, to update your present equipment.

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erEcInm Ew owes much to Series V technology. Although at alower price, it retains the unique one-piece magnesium tone arm, dual lock base and other advanced features. Selected for the Federation of British Audio Source Component of the Year Award, 1988.

oLg ,,E[go, mcDp embraces three models: the 309, 310 and 312. The influence of the classic V will be clearly seen but here the aim has been to meet the needs of abroader market in which price, alternative arm lengths and an interchangeable shell facility are important considerations. The Series 300 offers performance and manufacturing excellence unmatched by many more expensive arms.

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ohn Bicht had no formal training as an really decent, competent pickup arm. So good things, that unfortunately reveal industrial engineer. While this is not he did. He had stopped racing, had some something else not so good. jsuprising amongst audio designers, it time and money on his hands, and had 'Designing record players is a piece of is still interesting because his engineering started exploring audio equipment. cake once you decide: okay, Iwant the accomplishments to date have The Mission arm had some serious thing as still as possible. The fundamental undoubtedly exceeded those of many innovations; viscous damping; a very nar- quality of record players is stiffness, not other industrial engineers. His designs row headshell making for high contact energy transfer — as is so popular an idea include the emergency doors of the Hong mounting forces between headshell and nowadays — because if you make it stiff, Kong commuter trains; an electric car cartridge; a Sorbothane decoupled coun- you reduce the energy input. Of course, which remained for ten years the most terweight which was its first use any- the problem with making things stiff is advanced of its kind; and exotic semicon- where in any engineering application; and that they ring. That's the second half of ductor assembly equipment. His formal two sets of zero-clearance bearings. the problem. You can't damp within the training was a sculptor; his first love and His introduction to audio beguiled him structure — put squishy pieces in the great skill was racing ( he was one of the into continuing his work by designing a structure — because you've defeated the top three racing car drivers in Nbrtheast turntable to suit the arm, and pursue stiffness. Damping has to be done exter- America for formula cars). The need to serious fundamental research. nally. Half the pieces of the Versa Model 2 build race- cars himself was the spur that 'I hate all the mystery surrounding the chassis and platter, and a number of the gained him detailed knowledge of design of record players. More than any pieces of the Model 1 have externally engineering and high performance preci- other part of our industry, pseudo-science applied damping elements. sion mechanical systems. predominates the discussion of record 'Then the record itself is another prob- He has continued ever since, designing players. Idon't know if the designers are lem. All this stiffness is awaste of time if things he's never designed before — and misled, or if they are consciously trying to the record flops around. Essentially what that others often tell him cannot be done make for clever sales jargon. Of course, happens is that the record moves — not — asking questions, sticking his neck out, I've got to point out we had to make many internal wave reflections, impedance mis- and refusing to let them fail. He cross- less dollar- value compromises than almost matches and stuff but record flexure — it connects, seeing as everyone else ( we moves bigtime. And so you hear the sound an artist but focus- said let's make it of this disc of PVC sitting on whatever ing too on linear, Former racing driverJohn Bicht, and see how much kind of mat; and on top of that you hear logical design. it costs) and the the sound of the record moving up and He built the Mis- designer of the original Mission compromises end down, and you hear the sound of the sion arm in up so you can make platter. Of course, the rigidity of the mat response to English 774 toneann, discusses his Versa it sound just so will determine how much force is reviewers of that good, and then you imparted to the platter causing it to ring, Dynamics turntables time, saying it have to back up, and and likewise how much you will hear would be nice if tune it to sound back through that mat. Put the record on someone sat down musical by actually the player, drop the stylus on the unmov- try Laura Dearborn and designed a eliminating some ing record, turn up the sound and tap

"-MN.

VOICE F JOHNVERS BICHA:_

ten NEWS & RECORD REVIEW AUGUST 1989 BEFORE ANYTHING ELSE...

TARGETI mi

'fell PRODUCTS THE SOUND BASE TO YOUR SYSTEM

specialist speaker stand and rack manufacturers

FOR FULL LITERATURE AND DETAILS OF YOUR LOCAL STOCKISTS PLEASE CONTACT:

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(with something hard — use ajunk record, which is not hard to find) — it's all there. 'So you have to use vacuum, and enough to pull the record down real fiat. It's the only way to get sufficient force across the recorded area. If you don't use enough force, the record is still raised on little PVC bridges sitting on ahard surface, and tapping you hear clack, not a quiet clonk. 'Of course, pulling the record down tight is awaste of time if the platter is a bell. To damp the platter, as with all the potentially noisy parts of the turntable, we use the most exotic of damping techni- ques — constrained layer damping. With this technique, you provide a second piece of structure ( remote from the real structure) with a piece of high-polymer material glued between the real and the pseudo- structure. As the real structure moves, it tries to move the pseudo- structure ( through the elastic layer between them). The elastic material, which is purpose- designed, turns the motion into heat, and you can knock 15 to 20dB off resonant peaks. 'Now connect the platter to the chassis with a bearing that is very rigid and doesn't wander around in asoup of oil or whatever. Connect the rigid chassis to the rigid arm, and then isolate all this from the outside environment. 'More obviously than all the other parts, the suspension is alow-pass filter. Actually Stiffness of Me armtube is the whole rationale (Model 2.0) all the parts of arecord player behave like bad filters, but that's another story. floor movement but you must have the Remember that a graph of the filtering vertical, the fore and aft, and the lateral section of asuspension should look like a modes all at the same resonant frequency, classical resonant system. Below the or else what will happen is that as you resonant frequency all inputs are outputs excite one of the modes, the other modes (so as the player base moves, the chassis will in turn be excited, and you will have moves equally); at the resonant fre- essentially intermodulation distortion. quency, inputs are exaggerated ( so the Due to the non-linearities of the suspen- amplitude of input at the base becomes sion, not only will the two different greater at the chassis); and then above frequencies show up, but also the sums resonant frequency, motion at the base and differences of all the different basic doesn't get through to the chassis. resonant frequencies of the suspension. 'Now, any other resonances in the The result can be asuspension that is not suspension will show up as bumps in this very effective to several octaves above its graph and, worse, they will tend to defeat design frequency. So akey to good record the suspension if they are in the frequen- player suspension design is realizing that cies one is trying to filter out. For exam- these other resonances can defeat what ple, if the suspension is designed to filter otherwise is a good design. 20dB out at 30Hz but there is àresonance 'Tuning athree-point suspension, like a in this frequency of say 15dB, then the Linn, is in effect trying to decouple the effective filtering is only 5dB — not too various resonant modes of the suspension effective. These resonances might come so that one mode can be excited without from spring surge — where the weight of exciting the others. Since this is abit of an one coil of the spring will vibrate on the art, we decided to design a suspension The new Model 1.0 with matched granite stand compliance of the coils above and below with no adjustments, and that was it — to having different resonant frequen- inherently more correct. Text book plain necessary to have low lateral frequency) cies in the directions of motion of the and simple requirements that the centre is 2.5 Hz. All quite easy — except you have chassis. of gravity can't change ( easy since we to measure each spring to match them let me explain that a bit. Where most don't have to suit more than our own arm, into sets, and still do some final adjust- designers err, in my opinion, is that they or you end up with lead weights that have ments. The whole thing actually drives us consider only the vertical component of to be tuned), four springs, once again crazy — but it means the dealer and the the suspension. Whether attached to a straight textbook, and then as low a user don't have to think about it. wall or afloor, the player will experience resonant frequency as possible — which in 'Okay, so all of that — stiffness, damping both vertical, and fore and aft disturb- the case of compression coil springs — is what we consider the primary things ances, like nodding one's head — it's going (chosen for cost over complicated air about turntables. Within all I've said, I forward and down. So the suspension has suspension, and compression because must admit that while designing a good to function in two planes simultaneously, extension springs behave like pendulums sounding player is easy, making it agood both vertically and fore and aft. Lateral is in the lateral direction and therefore are product is hard, but I'd rather not have to not important from the point of view of ungainly to deal with at the proportions remember all that. It wouldn't have hap-

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MORCH DP- 6 - UNIQUE CONCEPT OF TONE ARM The only tone arm allowing for optimum adaptation to any standard cartridge by the use of interchangeable arm tubes.

A rm tubes of 4 different masses - from lightest in the world. This is important • The bearings are mounted so that they PI ultra light to extra heavy - can be for cartridges using a low tracking force, are level with the record. Therefore in the supplied. The unavoidable fundamental as they have ahigh compliance. For cart- case of warped records the motion of the resonance is partly determined by the ridges using a high tracking force having stylus will be completely vertical when bumps are negotiated, so that no warp compliance and the weight of the cart- a low compliance, one of the heavy arm wow will be heard. ridge that is to be used and partly by the tubes should be chosen. Users that own • Complete stability and freedom from any weight of the tone arm ( known as the " ef- more than one cartridge can mount each tendency to resonate. fective mass"). However, the frequency of of them in its own arm tube. Changing a • New dual bearing concept combines a the fundamental resonance can be cartridge becomes a simple swap be- silicone damped high precision ball bear- moved up or down by altering the weight tween arm tubes, and the mass of the ing for the horizontal mode of motion of the tone arm. Thus simply by choosing arm is always optimized for its cartridge. and two precision sapphire bearings for an arm tube out of the 4masses available the vertical mode of motion. Indepen- the fundamental resonance can be dent damping of the two modes of mo- tion is possible. moved to a frequency, where it does no See U.S. Magazine • Especially developed internal silver wir- harm. ing for perfect transmission of the tiny With the lightest of the arm tubes The Absolute Sound signals. you get the lowest effective mass, and vol. 12, issue 49, fall 1987, p. 113/114 • Supplied in 24 carat hard GOLD finish or with this arm tube the tone arm is the in Chromium finish.

"

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pened at all had it not been for Wayne what a disaster arm tubes are. They start bearings with little preload or little bear- Johnson who has been of enormous help to flop around in the low hundreds of ings with a lot — either way, to end up shepherding this product from the very hertz and there is nothing anyone can do! with little enough friction, the bearings beginning and is presently in charge of 'I started looking at some quite fun- are still quite small. The functional part of manufacturing, and Tim Wentz who was damental equations and realized that these bearings is the contact point the major visual designer and sample within the weight constraints ( due to between the ball and the race which is customer for both our products. Even cartridge stiffness and desired arm/car- really tiny, a minute point of contact. closer to the core of it, none of this would tridge resonant frequencies), arm tube When you push on the bearing, the ball have taken place if it hadn't been for fundamental resonances could only be and the race deflect a little. The measure- Fran's ( my wife's) support over the years pushed deeper into the hundreds of hertz ment of the stiffness is the amount of force of all my crazy jousting at windmills and — where, of course, the ear is more necessary to move something a distance. then in the last year- and- a- half her becom- sensitive. It was really clear, here were 'Now, several things happen with real ing a real mainstay of the business. By the these equations in front of me and they air bearings. One is, the area is enor- way, we developed most of our technol- said " Well if you make a tube bigger, it mously larger than it is in a ball bearing, ogy back in 1979 and '80. After leaving will be a lot stiffer", but if you look at the so that although the medium is softer, England, we went back to the US and did change in the resonant frequency ( due to there is a great deal more of it. Secondly, more research on why turntables and the mass of the cartridge at the end of that because of the very small clearances, the arms sound like they do, and by- the- by tube) you find that it had gone up very air begins to act in some strange and quite designed aturntable for Mission, who had little. Iwas at a loss — what could one do? helpful ways. The wonderful result is that bought the design for the 774 arm. The Well, fundamentally the job is to move a the bearing for the Versa arm is so stiff whole trick is being able to decide when cartridge from point A to point B across that it requires in excess of 5 pounds of you hear the effect of achange that you've the record, with very little friction — so it force to move it a distance of 250 done on a mechanism — because all of a just sort of wants to get from one place to millionth of an inch. That's stiff. The icing sudden you can make your system sound another. Iwas astiffness freak, so to speak, on the cake is the bearing is non-resonant. nastier but you've actually made an and therefore this job had to be done with Well designed air bearings are critically improvement — you've just revealed the great rigidity in certain planes: except for damped ( aresult of the thin air films )— an nastiness that was hidden — that's where sliding towards the spindle and being able impossible thing to achieve with metal you have to resort to logical thinking and to pivot up and down. bearings which, because they ride on the scientific measurement and say, " I'm posi- 'I was at that time working for a tips of steel balls, are very resonant. tive I've made an improvement". Because company designing machines to make 'The platter bearing for the Model 2 is a otherwise you get led down the garden semiconductors. One of the most amazing great deal stiffer than the arm bearing. It is path. Idon't think that anyone else had things that Ihad been introduced to there amuch more complex device, which ends had that opportunity and none of this was air bearings. Not the soggy, floating up 10 times more rigid — as it should since would exist if not for all that time — which things that are commonly used on hi-fi it had an 11 pound platter sitting on it. back then appeared to have been wasted products but enormously stiff things 'The English way of doing things, of since Mission didn't want my turntable which are used for the most exotic design and innovative ways of thinking design and I couldn't get anyone else equipment — in place of metal or oil bath about things, had a big effect on my interested. bearings — because they are more rigid, designing, and I don't think it's ever "Che whole rationale for the arm on the non- resonant, and have greater accuracy stopped. Models 2 and I is not one of linear of motion. The rigidity issue comes as a England has more, I think, inventive tracking or the lack of friction of air great surprise to most people. After all, designers than anywhere else in the entire bearings — it's one of stiffness of the arm here is something supported on air and world. The problem is the design is not tube. In about 1982. I was developing it's stiff! First of all, you have to remember always brought to the proper degree of another pickup arm design. I had that everything has some compliance, it finish. What would be really good is if you designed an even better bearing assembly doesn't matter what it is, steel, diamond, could combine American business with (which I had always thought to be the whatever, if you push on it, it will English design, have it styled in Italy and strong point of the 774) and finally, after a compress or deflect. Now, rolling element made in Japan, that'd really be the ticket. few weeks spare time, Igot to work on the bearings ( like balls) have to be quite small And have a Frenchman in there just arm tube. What a fool Ifelt. All that time to have low enough friction levels to twisting the design just enough to really about the bearings, and Ifinally realized pickup arms. You can use either bigger keep the pot boiling'. +

BOOKS

THE MUSIC LOVER'S LITERARY COM- being fine places to sample. Here one ing for any disgruntled white fan to tell the switches from one sort of music to another. I PANION compiled by Dannie and Joan Ahse. likes of today's triple platinum black artists 330pp. Hardback £ 14.95. Published by Robson Books. can well imagine picking the volume up just that they've sold their soul(s)s ) to the corpo- 28 Poland Street, London W IV 3DB. for the sake of the poems, although it's rate devil, but George — Black Music Editor For the purposes of their wide-ranging undeniably useful to have — in one volume — of Billboard — has no such restrictions. By anthology, Dannie and Joan Abse have such invaluable documents as Beethoven's combining what is an excellent history of gathered together an impressive variety of Heiligenstadt Testament and ( on a different black music in American with some tart pieces ( poems, stories, factual reportage, level, admittedly) Elias Canetti's wry, aphor- criticisms, George has come down on the criticism) covering the major periods in istic anlaysis of The Orchestral Conductor'. side of the blues and soul musicians of the serious music development. We therefore This is an enjoyable volume and should past as being much truer to the racial have a large number of prose items, includ- pave the way for any number of similar heritage. It's arguable that George is too ing Wagner's humorous though somewhat enterprises: the potential for imaginatively harsh, expecting performers to give up fame, ingratiating account of his visit to Beeth- juxtaposed pieces dealing with music is fortune and — however shallow it may be — oven's house; Roald Dahl's ingenious almost endless. Robert Cowan respect for pride, but he's got a point that Edward the Conquerer; Shaw's reminisc- anyone can understand if they play Otis ences about his early years as amusic critic; Redding followed by virtually any current THE DEATH OF RHYFIIM AND BLUES by opera pieces by Tolstoy, and Bernard Levin; 'soul' crooner. Having been dubbed a Nelson George. 222pp plus My: photos. Hard covers. and Stravinsky on Church Music. For me, Price: £ 12.95. Published by Omnibus Press. 8/9 Frith 'wrinkly' because I find more of worth in though, the poetic interludes are by far the Street, London wiv 5Tz. Sam & Dave than Run DMC, Ican only say best passages in the book: Peter Porter's At last, abook telling black musicians where thanks to the author for writing, Compare 'from Three Poems for Music' and DJ they've gone wrong. It would be too pre- early Aretha Franklin to Whitney Houston'. Enright's The Master Kung at the Keyboard' sumptuous and in many ways racistipatronis- That, soul fans, says it all. Ken Kessler

111-F1 NEWS & RECORD REVIEW AI '( 1l ' ST 1989 41 er •

teif NEWSLETTER August 1989. •e.-4 It is no new discovery that the £1,800 a bargain from Town- from America, notably Audio accept the assurance of a skep- finest record playing system shend right up to the Gold- Research and Krell and we have tic converted. Compared to gives unrivalled musical satis- munds for those who wish to come to the conclusion that another expensive and touted faction. If you own a Roksan or commit their full allegiance to substitutes can be false eco- optic Iink, the improvement was a Linn turntable, now is the time the Long-playing record. nomy. We are selling on behalf huge. CD has taken a major to consider your final upgrade The world's best sounding of afriend aThreshold Stasis Ill jump closer to musical authen- motor/arm/pick-up cartridge. It tonearm ( the most dynamic, £895! This is a classic amplifier ticity. is significant that the two lead- detailed, open and natural at an attractive price. The LAST range of record ers in British turntable sound) is the elegant and fabu- Especially for users of Audio cleaners and preservatives engineering should both intro- lous original hand- made Triple- Research, the MIT music lines which we import from America duce thoroughbred no- com- nar II. We still have one demon- are the ultimate loudspeaker also tends to arouse skepticism promise tonearms which are strator available for only £ 1,200 cables, but this technology of until people either read up on capable of extracting the best (saving £ 795). Write or tele- Bruce Brisson design does not the technical side, or try them. from their respective turntables. phone for details of this lifetime come cheaply. They are not The starter kits at £ 12.95 are investment. We also have for discontinued, but we must turn now back in stock, and we The Roksan Artemiz could fill sale a Koetsu Gold Signature over our demonstrators at apologise for the shortage. The a book let alone this advert, and with guaranteed less- than- run- under half-price: £ 250 for the demand for LAST is enormous indeed the fortunate new owner ning- in hours: listed at £ 2,038, MIT and £500 for the Shotgun now that many records re- gets a full description of the we will let it go for £ 896, the version; both 8- feet optimal appear, if at all, on CD or soni- philosophy of the tonearm price of the plain " Red". Do not pairs designed for the power- cally inferior re- issues. LAST design and the Shiraz cartridge. hesitate for too long here; this amplifiers to be close to the removes dirt and grime and Typically this too is a revolu- is a real and unique oppor- loudspeakers. Home- approval hardens the LP surface against tionary product which offers tunity. is available on receipt of a ten- elastic deformation. STYLAST quality of sound dramatically in day post-dated cheque plus £5 coats the stylus tip and substan- excess of what could be AMPLIFIERS to cover costs of carriage. Our tially reduces friction, heat gen- expected for the price. It is not a The British have for long been home loans have increasingly eration and stylus wear; we badgepengineered product but acclaimed for economic but been treated as library services, emphasise substantially and a small milestone in Hi -Fi his- thoroughbred amplifiers and or worse! But when you hear could also add audibly. • tory. We congratulate Roksan we offer what we believe must what the MIT cables reveal, you on this definitive statement be the widest choice of the most will not doubt their value for record-player. The Artemiz highly acclaimed. ITL is a new money. COMPACT DISC tonearm, underpriced at £ 450, company and their MA80 is an Musical transparency is avail- and the Shiraz pick-up cartridge outstanding integrated ampli- ACCESSORIES able only from the best CD at £489 fulfil the Roksan pledge fier which costs £ 169. It is a Better plugs and cables remove players which are carefully not to sell for the price the mosFET design with MC/MM opaque veils. The new Scottish designed using discrete compo- market would pay to equate inputs. ITL has been taken over company QUANTUM manufac- nents. We have in our summer demand and supply. Hence a by Nakamichi-B&W Ltd. So ture state-of-the-art at very low sale one Kinergetics KCD-30, a waiting list. expect some stylish advertis- prices, notably the finest set of bargain at its List Price of £ 1,695 We now admit to being much ing! The strong competition four precision gold-plated but our demonstrator is barely more enthusiastic CD stockists: includes the scarce- as- hens' speaker plugs we've seen yet: run-in and yet costing £ 1,150 is let's face it, the value and qual- teeth Cyrus One, now manufac- at only £ 9.95 for aset of two red the best proposition a CD ity available are far superior to tured in the Far East to Mis- and two black, money- back if audiophile could consider. the early products. But vinyl sion's high specification, and not delighted! They also make Once again the pattern is Amer- sales are holding up thanks to the new B- at £ 199 from Musical sets of four neat brass tiptoes ica designs the ultimate, but its true merits and resilience. Fidelity. for £ 12.95 and an interconnect Britain dominates the more The Music Room still offers the Under one roof, The Music which features the finest cable affordable market. This month greatest experience and choice Room gives you comparison of and phono -plugs ever made; we focus on news from as specialists in the world's best all the best from East and West! the price is again, very reason- ARCAM: hot on the heels of turntables, arms and cartridges For the best value we have able, at £79.00 for a stereo their Delta 170 CD transport and at all price points from the Ans - ARCAM, ALJDIOLAB, CYRUS, metre pair. Finally, from the their Black Box (£249/299 with ton 0- Deck, through System- QUAD, CAMBRIDGE and Quantum range we mention optical link) comes a Music deks, Michell Synchro and MUSICAL FIDELITY but we are their digital optic link at £ 130. If Room Newsletter ' scoop': the Gyro-deks, SME, Audio-Tech- also experienced dealers in the you won't believe that this, too, Arcam Alpha CD Player; at nica, the Avalon and the amaz- uncompromising reproduction can give a definite and vast £350; we anticipate a waiting ing new Rock Reference at of music. Here we have the best sonic improvement then please list, so don't delay! l ome ."4...oserwm. e

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ever, if you value your sanity, thumb through a Japanese hi-fi Nmagazine. If you're an inveterate hi-fi casualty, the pictures you'll see will haunt you the way a girlie mag tortures Adrian Mole. Inever take my own advice, so I pore over these exotic journals whenever they come my way ( hi-fi and girlie). And for the past four years, I've been waiting impatiently for astab at the electronics from Air Tight. Iadmit that the charm of the name, the absolute perfection of that moniker for a brand of valve amplifiers, caught my attention as much as did the obviously exquisite manufacture. The price, too, appealed, considering that these ampli- fiers promised peerless construction and attention to detail you just don't find this side west of a Jadis. At last, there's a UK importer, so my wait is over. Air Tight has produced what has to be the audio equivalent of aFabergé Egg. The ATC- 1Valve Control Amplifier and ATM- 1 Valve Power Amplifier contain all of the right ingredients for rampant audio delirium. Common to both units are PCB-free circuits, with everything hard- wired à la Golden Age hardware or our own Croft products. The valve bases are ceramic, with gold-plated sockets. The chassis are copper plated and the gorgeous, grey ' almite treatment' face- plates are machined from 8mm alumi- nium. All of the valves are genuine brand- name items, like Siemens and Pentalab rather than whatever-you-can-get throw- aways from China. They're the closest things to jewellery that this industry has produced, in terms of finish, appearance and attention to detail. In other words, they've been assembled with the kind of fanaticism you find only in Tokyo or Teheran. The pre- amp is deceptive because Few specialist Japanese valve spare set for feeding asecond power amp it's so petite, measuring only and apair of sockets tagged ' EQ out'. The 430x90x325mm ( whd). As with Counter- amplifiers ever leave Honshu; we latter takes the phono signal from input point and other makers of slimline valve through RIAA circuitry and straight out pre- amps, Air Tight mounts the five try the long-awaited Air Tight again, for feeding directly into the ATM- 1, 12AX7s ( ECC83s) horizontally. And as bypassing every unnecessary switch and with Lux, which couldn't resist mounting stage in the pre-amp. This can be used in by Ken Kessler the valves on the front of its hybrid 'Brid tandem with the standard outputs for series integrateds, Air Tight mounts three some curious purist combinations. of the little beauties so that they can be among the smoothest, most luxurious I've The circuit itself is based on vintage seen from the left-hand side of the case. experienced, but I must resist the sala- concepts, just like the PCB-free construc- The gorgeous front panel provides source cious adjectives which come to mind. tion, and consists of a three-stage low- select for phono ( m-m only), tape moni- At the back, all is gold-plated, with impedance equalizer described as ' once tor, mono/stereo select, attenuate ( full inputs and outputs corresponding to the employed by the Marantz 7'; this is the muting), balance, volume and on/off, plus front controls, but with two extras. In stage fed straight to the EQ Out sockets. an orange tell- tale. The controls are addition to the main outputs there's a The single stage line amp is devoid of tone VACITUM=PAC K hD TE ART GI" AMPLIF ER HI.F1 NEWS & RECORD REVIEW AUGUST 1989 43 elf(rà

KRELLS are more than lust amplifiers — they are astatement of excellence. With metalwork that looks as though it's about to go to war, these massive but elegant creations are capable of unrivalled power coupled with a delicacy, precision and muscianship that is quite heavenly. The present range was introduced last year and quickly became established as Pinewood's best-selling amplifiers, popularity being shared between the stereo KSA-80 and KSA-200, with alucky few opting for the KMA mono versions with doubled power and current output. For those seeking the absolute ultimate, there are the extraordinary Krell Reference Series of balanced monoblocs. They are vast, with a build quality and musical capability that is out of this world. For those with Apogees, there is no better power source than aKrell — but many have found there is no better amplifier anyway, whatever their speakers. Remember: Krells are creatures of unlimited power — they can do anything. If you would like to hear them doing anything, telephone Brian Rivas at Pinewood Music.

'Martins', Church Lane. Goodworth Clatford. Andover, Hampshire SP11 7HL Telephone Andover ( 0264) 57536 Seven days aweek service

Agents for: Air Tangent, Apogee, Audio Research, California Audio Labs, Counterpoint, Dun tech Audio, Goldmund, Jadis, Koetsu, Krell, Madrigal, Magneplanar, Mandrake, Martin- Logan, Micro Seiki, MIT, PS Audio, Randall Research, Sicomin, Somis Faber„Symo, Well Tempered, WBT

Pinewood Music is aspecialist dealer for ABSOLUTE SOUNDS Ltd HUI END controls or filter circuits and features more practical for the models they're softness — however enticing — that might low- impedance cathode follower output. importing, like Michell or Monster multi- be too romantic for those weaned on The power supply employs a solid-state way binding posts. Anyway, there are transistor equipment or current era valve ripple filter circuit for suppressing mains three terminals per channel rather than powerhouses like the big EAR, Audio hum and noises. Despite the size of the two, which allow for the selection of Research or Beard amplifiers. But I'll be enclosure, which would suggest the use of either four or eight ohm operation. damned if I'm going to apologise for the acompact toroidal transformer, Air Tight (A couple of other details of the review Air Tight because Iloved the lushness. It opted for an El core type because it samples will probably be changed when reminded me again and again of adescrip- provides 'sharper attack of sounds'. The regular stocks start arriving. These tion John Atkinson gave me of the smaller cores are wrapped in silicon steel plate include three- core, blue/brown/green-yel- Sonus Faber speaker. ' Ken', he said, ' it and copper plate to ensure perfect shield- low mains wiring, the blocking off of the definitely has its flaws, but it's just so ing. The power supply, phono and line extra two-pin mains outlet and the provi- damned musical.' stages are totally independent and the sion of agrill or cage to cover the valves Playing both modern, glassy recordings latter two are fully shielded. The chassis and protect them from prying brats.) and sonic masterpieces of the era of the was made deliberately heavy to help Iused the Air Tight combination with Air Tight's inspiration, Inoted an unerring minimise vibration and component the Oracle Delphi Ill turntable, SME V facility these products have for sweeten- interaction. All tubes are pre-aged and tonearm and Audio-Technica ART- 1 car- ing whatever sounds they are fed. Is it fitted to the aforementioned gold-plated tridge, the Marantz CD- 12 CD player and accurate? Hell, no. But neither is it offen- sockets in ceramic bases. the Sonus Faber Electa Amator and Celes- sive in the way that identifiable distor- The ATM- 1power amplifier is based on tion SL700 loudspeakers, with avariety of tions or wild colorations are. The Air Mullard research and employs four 6CA7 wires including Master Link, Mandrake, Tight amplifier doesn't really add anything output valves from Siemens for a rated Lieder, Sony LC-OFC and Monster MI. which would annoy; it merely shaves off output of 36W/channel. For protection to And Iimmediately hit on two mismatches. the edges which could become nasty. This the output tubes, Air Tight uses 5AR4 in Trying to think like the kind of was identifiable whether Iused the front parallel at the rectifying stage instead of a anachrophile who would have designed sockets with a direct- injected line level diode, to better cope with large current. these items, I'm assuming that the com- source or via the pre-amp through the (I don't have my RCA or Babani guides pany anticipated use with high-output rear sockets. Despite my description of handy, but Ithink they're equivalents to vintage cartridges like Deccas or m-cs like the ATM- 1 as some kind of lavender- the GZ34 in my cherished Dynaco...) Ortofon SPUs with onboard transformers. scented granny of an amp, it remained The output transformers, deemed by Sure, Icould get some sounds, but head- transparent and coherent enough to many current amp builders as harder to room and maximum level were in short reveal the benefits of the various bypass find than good tubes, are the highly- rated supply, so Idid my ' quiet' listening with modes. Tamuras, used in the Japanese broadcast- the ART- 1 fed straight in and my head- And then it hit me. Although Ididn't ing industry. banging with the Glassic step-up in place. have the gear to hand, I'm absolutely Air Tight operate the amplifiers for 100 The other mismatch was the Celestion certain that if these items were used with hours before they're ' retuned' and dis- SL700, which needs more juice than this the kind of audiophilia which is so cher- patched. Aside from a valve cracked in baby can muster. Again, Icould get some ished in Japan, the sweetness would offset transit, these pieces have proved the most positively dandy sounds out of the ' 700s, the sharpness which Iattribute to Decca trouble-free and ghostly silent tube pro- but no way would it cope with the odd cartridges and horn- type loudspeakers. ducts I've used in recent memory. It also crescendo. But because the sound — if not As the ATM- 1 can be modified for explains why Air Tight insisted on air- the levels — was so enticing, I spent as monophonic 80W, 2ohm operation, the mailing to me a selected 12AU7 rather much time driving the ' 700s with the power shortage is not aproblem. ( Indeed, than risk any sonic compromises from my ATM- 1 as Idid the easier Sonus Fabers. the company already manufactures abeast iffy stock of mystery-brand tubes. Thinking like the Japanese, though, would called the ATM- 2 which uses four KT88s The amplifier features a bit more than lead to most of these ending up driving for 80W/channel from one chassis.) But the minimum socketry and on/off switch. some hyper-sensitive classics like Lowther £2059 is afair chunk of cash for what is Across the front are two sockets and three horn systems. Mind you, Ihad so many the audio equivalent of arebuilt- from- the- rotary controls in addition to an on/off combinations to try out, what with the ground-up Jag Mk II. The pre-amp, at button and tell- tale to match the pre-amp. bypass mode and the CD Direct inputs, £1769, has to compete with the better- These sockets accept aCD player straight that I stopped worrying about it and equipped, far more precise Audio in, while the first rotary chooses between treated the reconnections like a daily Research SP- 9, among others. But that's the front panel inputs and the main inputs chore. Like shaving. missing the point. With that attitude, at the rear. The other rotaries are left and Fortunately, the long build-up between there'd be no more Leica rangefinder right volume controls for the source fed the time Ifirst learned of the Air Tight and cameras, only Canon EOS auto-every- in via the front sockets. These sockets, by the first listen was rewarded with some of things. There'd be no more mechanical the way, bypass certain parts of the the most gloriously lush and musical Rolexes, only throwaway Swatches. No, amplifier's circuitry, connecting the input sounds I've heard since running an SPU ownership of the Air Tights requires abit directly to the first stage valve. into elderly Marantz and Dynaco tube more than money. It requires aweird and At the back are the main inputs and the electronics through the AR 2AXes. Talk wonderful blend of nostalgia, an apprecia- speaker terminals; the arrangement with about a blast from the past... Actually, tion for hand-crafted mavericks, asense of the front panel ' front/rear' selector allows that's unfair, because the pre-amp sounds aesthetics which deems a Bristol more purists to feed the CD player into the 'younger' than the power amplifier. As I righteous than aPorsche, tastebuds which front sockets, with the pre-amp and there- tried the pre-amp with the Aragons into prefer Nova Scotia salmon to that stuff fore the other sources are left per- the Divas and drove the amplifier both from Scotland. The Air Tights are to me manently installed at the back. Naturally, directly from CD and with the Audio simply the nicest products around for using the pre-amp in its EQ Out mode for Research SP- 9, it was easy to attribute powering classy little boxes like the Sonus optimum phono playback would require characteristics to the pair's respective Fabers, for satisfying acraving for the past the use of the front sockets and hence the halves. without the risk of running elderly com- volume controls. What both share sonically, are ghostly ponents. The ATC-1 and ATM- 1 aren't My only complaint about the presenta- silences by both valve and solid-state really hi-fi products after all. They're the tion involves the diabolical speaker ter- standards, phenomenally wide and open stuff which dreams are made of. -IL minals, those daft constructs which only sound stages and absolute freedom from accept bare wire. Considering the prices edginess. But while the pre- amplifier is Supplier: Audio Concepts Ltd, Unit 9, Belfont of these units, I would imagine that detailed and precise enough to be Trading Estate, Mucklcrw Hill, Haksowen, West importers could specify something a bit regarded as modern, the power amp has a Midlands B62 8DR. Tel 021-550 7387.

111-F1 NEWS & REcoRD REVIEW AUGUST 1989 45 aragon ISTODIC PRE

When the impossible becomes reality, history is made. The Aragon 24K preamplifier don't take our word for it - try it for yourself. PATH GROUP PLC

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ay ' Oracle' and most people will take A natural partnership: the newest longer assisted by the adhesion of a ' tacky' it that you are referring to the rubber mat. The motor is the usual Oracle SOracle Delphi. Although the much- SME tonearm with the classically- 12V DC type, fed by a small outboard revised Delphi is still essentially the Cana- power supply. Switch-on is by touching dian company's original design, and as named, classically-styled Oracle the neat '33' or ' 45' buttons, while the such dates back to the end of the 1970s, middle ' 0' button switches off. Start-up Alexandria turntable there are other models in the range. was always quick and smooth. Oracle's flagship is the Premiere, listed at Visually, the SME V proved to be the £2750 and so somewhat rare, while the perfect partner for the Delphi, and the by Steve Harris least expensive model in the line is the SME 309 looks just as much at home on Alexandria, which we chose to partner contains a pillar, surrounding and the Alexandria. The judicious mixture of with the SME 309. As it happens, we had attached to the top of which is the conical black and silver parts seems just right just got the 309 installed when we suspension spring. While the plinth is here. This new SME arm ( which will learned that SME would in future be supported by the three underside cups, receive a kill review in a future issue) is supplying arms to Oracle; according to each arm of the subchassis is supported related to the Series IV and V but with the Oracle's UK importer Gamepath Ltd, on the skirt of a spring by means of a convenience of adetachable headshell. It these ' OEM' arms be not be identical to polyethylene adaptor ring and a decou- lacks the ultimate luxury of the Series V: any existing SME arm but will combine piing ring of ' tacky' rubber. As supplied, counterweight setting and locking is by elements of the 300 series, Series IV and the three springs are of different strengths hex-key adjusters rather than by the Series V designs. to compensate for the greater load on the incredible thumbwheel and lever of the The Alexandria has been around for one nearest the tonearm, but each spring Series V, and the option of spring-applied more than five years, but like the other can be adjusted by screwing it in or out of tracking force is omitted. models is now in Mk III form. There has the polyethylene ring around its base, been significant evolution since the ear- thus reducing or increasing its effective Sound quality liest version, which was offered primarily number of turns. This adjustment techni- Tried with a number of cartridges ( pri- as apackage with the Oracle Prelude arm, que is rather more fiddly than it sounds marily Ortofon MC3000, Denon and the most obvious outward change being (you would normally expect your dealer Audio Technica moving-coils) in the SME the move from metal top-plate with wood to set the turntable up for you) but is arm, the Oracle certainly maintained the trim to solid acrylic-finish plinth. clearly much less cumbersome than the brand's reputation for neutrality and free- Like other Oracle designs, the Alexan- old Oracle practice of supplying a whole dom from all the usual ' turntable colora- dria is a belt- driven subchassis turntable range of interchangeable springs. tions'. Any initial prejudices against the in which the subchassis is suspended from Earlier Alexandrias had a cast metal combination of felt mat and clamping three long springs in tension. Although platter with arubber `wave- trap' damping were dispelled by listening; the bass the subchassis is concealed, it is very ring at the periphery; in the Mk III this has seemed solid and tuneful, while the mid- similar in shape to that used in the Delphi, been replaced by a one-piece platter range had the clarity and depth you being avery strong webbed alloy casting; (with integral drive- belt hub underneath) should expect at this price. Although 'arms' extend from the centre ' body', in avery ' dead' material. The usual Oracle there may be some sonic penalty to be which is the foundation for the turntable's 'tacky' rubber mat has been replaced a paid for the 309's detachable headshell, main bearing, to provide mounting points rather thick felt one, made from two the effect must be pretty slight, since the for the springs. The subchassis extension grades of felt laminated together. The sound still has the transparency and ambi- which supports the tonearm ends in acast well-established Oracle record-clamp sys- ence- recovery which speaks of low-level ring to which a turned wood adaptor is tem is used; a small washer around the detail resolution. bolted: this arrangement provides a rigid spindle raises the centre of the record If the Alexandria, at £950 without arm, but versatile mounting which follows the from the mat, so that when the screw-on still seems expensive in terms of its visual design theme of the whole. A clamp brings pressure further out ( around material content, the price penalty is not cut-out in the underside of the main the edge of the label), the playing surface exceptional among imports, and home- plinth closely follows the shape of the of the disc is forced flat against the mat. I grown models are not getting any subchassis while allowing clearance for must say that with some very thin discs, cheaper. Sonically, this ' entry-level' Ora- suspension movement. this did not seem as effective as expected, cle does deliver the goods: Perhaps the The three spring assemblies are con- perhaps because the clamping was no Alexandria does not ' boogie' the way a structed within the housings which also Roksan does but it certainly plays music. form the turntable's feet ( the feet them- It may not be aDelphi, but it is recogniz- selves have screw adjusters for overall ably, even triumphantly, an Oracle. 4- levelling): essentially, each foot consists of astrong metal inverted-cone cup which RACLE ALEXANDR A / SME 309

Suppliers: Gamepath Ltd, 25 Heathfield, Stacey Bushes, Milton Keynes MK12 6HR. Tel (0908) 317707. SME Ltd, Steyning, Sussex BN4 3GY. Tel (0903) 814231

111-F1 NEWS & RECORD REVIEW AUGUST 1989 The Dynamic Duo

"Holy headphones! These Prolites are the work of abrilliant but fiendish mind." "Yes, they're for real professionals but they're super- light.., and super-comfortable too!" "So, who's the Joker that designed them?" "Well . . . only one organisation in the whole world has the years of technology and expertise to know how to put these together." "Holy super- sounding stereo . . ." "It must be Koss!"

The word on everyone's ears I1W International Ltd, 3-5 Eden Grove, London, N7 SEQ. Tel: 01-607 2717 Please send me full details of the Koss headphone range, plus the address of my nearest dealer:

Name Address Postcode

NOTTINGHAM ANALOGUE STUDIO oudiCZxehge (Located 3mins. from M1 junction 27) AUDIO CONSULTANTS Reach afurther step towards the illusion of live music.

SME Audio Technica Jecklin Float Kiseki AMPLIFICATION — Croft Acoustics' micro pre- amp — Alphason Cambridge Croft supermicro — Croft supermicro A — Deltec Clear Audio Series 4amplifiers — Series 4S — and the fabulous OTLs — Esoteric Audio Research Sumo Gryphon amplification by Tim de Paravicini — Albarry YBA Albany music amps — Michell ProAc SPEAKERS — Klipsch Horns— Spendor — Quicksilver Voyd TURNTABLES — Voyd — Mentor — Space Deck — Spica Alexander CARTRIDGES — Garrott Decca — Audio Note — Mod Squad CD — Marantz — Audio Dynamics — and more . . . Ortophon, MC 3000 Chesky Records & & cartridge other well known For demonstrations of the above Testing Service reference recordings. products and advice HOME DEMONSTRATIONS A PLEASURE please contact For an enquiry or appointment regarding these and many other leading products ring: Mr Tom Fletcher on (0773) 762947 Guildford 0483-276439 128 Cordy Lane, Underwood, Notts., NG16 5FC. flIGn END DAX VO SC U

dIthough a number of companies, competition. Anyway, we put on some like Audio Reseach and Krell, pro- serious music — Billy Cotton's Wakey A uce active outboard crossovers Wakey Show and George Melly on C5 of a ' universal' nature, the design team at Records — and he just looked at me, Apogee accepted the premise that the uttering aBritish expletive which rhymes best crossover is dedicated to the speaker with `buckshee' and grinning from ear with which it will be used. In addition to toear. We fiddled with the knobs, cranked offering attenuation of up to 6dB in ldB up the volume, dug out some naff mono steps for the woofer and the mid/tweeter, CDs of ultra- thin- sounding British pop the DAX ( Dedicated Active Crossover) from the 1960s. We rocked. And we heard allows the user to adjust the balance the Kinks' Waterloo Sunset' like it's never between woofer and mid/tweeter in been heard before. Apogee's latest is a dedicated 0.2dB steps and to adjust the ' rake angle', The most blatant manifestation of the asort of ' hinge' in the tonal balance which active crossover for the Caliper, DAX is the way it allows the Diva to tips the midrange above 1kHz in Q/-0.5dB present deep bass notes. Iadmit that, on steps at around 5kHz. The DAX also Duena and Diva. Is it the ultimate occasion, the Diva can sound a bit over- provides facilities to match the crossover whelming, with bass which thunders and to the amplifiers for input impedance Apogee upgrade? roars. DAX'd, the Diva's extension loading, gain characteristics ( for using remains constant but the bottom octaves different amplifiers top and bottom) and acquire a sensation of greater control. for using single-ended or balanced opera- by Ken Kessler Equally chilling are the gains in sound- tion. Because of the way the various DAX stage creation, image placement and spe- controls interact, the unit can vary the tions for setting the controls amount to cificity. The Diva, sans DAX, is simply one group delay, important when sculpturing little more than doing it by ear. I did of the best imagemakers I've used; the the gain vs phase relationship — so one manage to find out the order in which DAX opens the sound and removes and aspect of DAX-equipped Apogees is near- Apogee's Jason Bloom approaches the last vestiges of texture to the silences perfect phase response. problem each time he sets up a DAX and between instruments and players. What By addressing both the requirements of his advice means less to-ing and fro-ing. the controls do is allow you to dial in the only three specific loudspeakers ( you Future DAX owners, take note: most realistic stage depth in amanner not order your DAX preset for Caliper Signa- 1) Adjust the mid/tweeter attenuator, unlike that of the control unit for the ture, Duetta Signature or Diva) and allow- which is an aother way of asking yourself, Infinity IRS Betas. And the more you learn ing for matching to any amplifier, the DAX `Do Ineed to cut the upper frequencies?' about the controls and their capabilities, provides what amounts to total control 2) Adjust the balance between the the more they take on the nature of a for bi-amplifying these speakers. In the woofer and the mid/tweeter. This man- focusing ring on a camera lens. case of the Diva, the DAX takes over from oeuvre attenuates either portion in 0.2dB But here's where Ifind myself at cross the passive box with its four toggles for steps. You won't believe it until you hear purposes with the whole concept of boost or attenuation at four frequencies, it, but this operation is audible enough to active crossovers. Until the DAX arrived, I but the switch for the tweeter on the change the character of the system from though of trick crossovers as a way of passive box remains operable. This is forward-sounding to muted. optimising the speaker, something to set because the DAX is a two-way crossover 3) Adjust rake angle. By tipping the once and leave alone. Ifound myself using while the Diva is athree-way system. The response up or down in 0.5dB steps, it's the DAX to compensate for the recordings DAX sees the tweeter and midrange as possible to compensate for brightness or rather than the hardware or the room. I one section. dullness without any loss of information. don't want to give the impression that the The Diva's passive box therefore takes I've afeeling that owners of Quad electro- DAX works like a dream-world equalizer on a different role and no less than nics will find this not a little familiar. or even like the rather splendid Cello three- and- a- half pages of the owner's 4) Adjust woofer attenuation. This is Palette. The adjustments to the sound are manual deal with converting it for use especially useful for those who would too subtle and too precise to suggest any between the DAX and the Diva. You don't have Apogees in small rooms. ( No, there's gross tampering. What it becomes, then, have to worry about this because your no woofer boost because it's unlikely that for an Apogee owner is the ultimate dealer will undertake the conversion. Still, anyone would ever need it. And if they do, surgical instrument. if you enjoy spending a couple of hours they can always go back to steps 2and 3). In the year I've been using the Divas, inside a nest of wires, be my guest. With But here's where it gets bizarre. Word I've tried them with single amplifiers ( in the Duetta, instructions are also supplied had reached me that the DAX, even with bi-wired mode) running to over £ 10,000 for user conversion, but the Caliper must everything at ' 0', improved the perform- per pair. The DAX offers such a trans- be modified by the dealer. ance of the Divas beyond the gains that formation with even the affordable Ara- The DAX itself is one of the most you'd expect from mere bi-amping. That gons that two Aragons plus DAX at a attractive pieces of high-tech hardware struck me as odd until Iaccepted that the grand total of £8100 is preferable to any I've ever seen. Left- to- right, the groups of DAX — two amplifiers instead of one other non-DAX combo Ican name. As it knobs include woofer attenuation, notwithstanding — is a vastly more soph- stands, the DAX is nothing less than the woofer-mid/tweeter balance, mid- tweeter isticated crossover than the passive box most exciting development yet for attenuation and rake, with separate knobs supplied as standard. But the reason it Apogee owners, a device so clever that I for each channel. With this bank of bothered me is because Ipreferred the wish other manufacturers would offer controls and the display confirmation, it's DAX at ' 0' on four out of five recordings. similar units for their bi-ampable speakers. possible to set up the system for sonically Listen: When Iset up the DAX, Iwas £4.5k for ablack box? Yes. And it's worth asymmetric rooms using test tone gener- also playing host to somebody who has no every single penny. 'id' ators and spectrum analyzers. reasons for wishing success on this pro- Apogee presupposes that its customers duct. Iwon't embarrass him by revealing Supplier: Absolute Sounds, 318 Wort)le Road, London know what they want to hear, so instruc- his name; all I'll say is that he's from the SW20. 01-947 5047.

111-F1 NEWS & RECORD REVIEW AUGUST 1989 -49 HUI END

CONRADIOTINSON DE CD PLAYER he Conrad Johnson range of pro- Following the early acceptance of was below the rating for aMarantz CD85, ducts are newly distributed in the and that although the DF1 was entertain- UK by Audiofreaks, and following the Sonographe, Conrad Johnson ing, it fell a little short on bass speed and something of ahead-on clash with Audio extension, as well as stereo focus and Research in the early days of UK availabil- has finally brought out its ' own' depth. It was therefore surprising to find ity, Audiofreaks director Branco Bozic is that the sound was improved via the main now taking aphlegmatic view and letting CD player, the DF1 or line output, despite the interposition of CJ components speak for themselves. This another amplifier and a volume control long-awaited CD player comes finished in (yes we did correct for phase- inversion by Martin Colloms classic CJ champagne gold, with a black via this output). l'he explanation must lie enamel case. In fact, the first Conrad in the improved matching obtained Johnson design was the Sonographe, pre- amp has three effective inputs: CD- between the high- impedance ' CD direct' which established a good reputation for internal, aux -1, and tape/aux-2. Sensitivity output and the line buffer stage. In any musicality. It was based on a reworked is sufficient for even the lowest-output event, the perceived soundstage was Philips CD player chassis — a version of tuners. broader and deeper, while the bass the CD350 — but this new model contains acquired more extension and power and a much higher original design content, Sound quality the treble and mid were both more including the all- metal case. Installed as part of the Krell Apogee dynamic and better focused. In fact, the This well- trimmed player has the poten- Duetta Signature system, reference play- rating improved to an audiophile grade of tial for rack mounting, and carries an array ers included the Marantz CD12 and CD85, 88% and with direct coupling to the of push-buttons for all the usual facilities, these themselves referenced to the power amplifiers ( bypassing the test- sta- including ' open- close', pause, play, stop Accuphase DP8O/DC81. tion pre-amplifier) it went up to 92% — in and on/off. The latter deserves a mention When first switched on, the results CAL Tempest territory. since it controls only the CD section were not particularly impressive. Over a Where the Tempest was laid-back and while leaving the pre-amp permanently period of minutes, it was clear that the spaciously ambient, the cj DF1 was more engergised ( less than 5 watts are con- sound was improving in clarity and sweet- immediate, with afaster pace, though the sumed in this ' standby' mode). Further ness; accordingly it was put aside for tonal quality was not without flaw. buttons cover forward and reverse audi- several hours to warm up properly. Then, Throughout the auditioning there was a ble music-search, track- skip (' next' and when conditioned, some hint of the mild mid- range emphasis, slight glare and 'previous' ) and ' prog' for programming up Sonographe sound was present, but the some thinning of vocal weight, with a to 20 tracks. The small display will show DF1 showed improved definition, with touch of brittleness and wiriness in the times or track numbers, one or the other more speed and slam in the bass as well as lower treble apparent, for example, on selected via the time button. These facili- a more open, more transparent treble. strings. This touch of'character' indicated ties are also present on the simple remote The mid- range had a clear, projected that the DF1 should be auditioned care- hand- set, which has one additional fea- character that somehow enhanced the fully before purchase, and cannot be ture; a repeat button, controlling the quality of singing voice. Via the fixed regarded as entirely neutral. whole disc or a programmed section. output, a creditable rating of 71% was l'he pre-amp controls include tape- achieved — with the Accuphase as a Design and technology monitor/aux-2 selection, CD or aux -1 notional reference. In opening up this model Icould not at selection, and volume. Thus this line In context, it is fair to point out that this first work it out, since it was a couple of

50 111.11 NEWS & RECORD RINIEVI . AuGusT 1989 L HIGH DiD years since Ihad last seen the digital IC signal- level reduced by 10 dB, the distor- wave form at — 90dB shows some trian- chips which it uses. But at last the penny tion improved by 10dB, showing the gulation visible through the noise ( this dropped with recollection of the earlier effect to be in the low- feedback analogue can be seen in Graph 4). CJ Sonographe CD player. This model is electronics and not in the digital or Little difference was observed between based on the Philips CD350, with its convertor section. The I-IF twin- tone the test results via the line buffer and the original 4- times oversampled 14- bit con- intermodulation results were a little bet- direct output, and this section gets aclean version, and low-level resolution ter, though some imbalance in distortion bill of health. The resemblance to the enhanced by noise shaping. between channels. For — 10dB modula- Motif FET pre- amplifier is not accidential! Considerable development has taken tion the average difference- tone level was Sufficient gain and output is provided to place at cj, and the two TDA 1540 DACs —68dB, considered just satisfactory from drive most cable runs and combinations are now allotted a separate PCB sur- a subjective viewpoint. The correspond- of power amplifiers, and this would be the rounded by an array of huge polystyrene ing — 10dB spectrogram is shown in preferred mode of use. Line- gain was capacitors for decoupling the chain of Graph 2, where the difference products close to 26dB ( or 20 times), with atypical bit- weighting current sources. Digital are clearly evident. 'A' weighted signal-to-noise ratio of 80dB filtering is accomplished by the usual SAA Via the fixed output the level was rather referred to a nominal 0.5V output. 7030. The transport is the CDM2 mechan- lower than usual at 1.12V, sourced from a ism, not noted for its long-term reliability; high 820-ohm impedance. Via the main Conclusion it comprises a drawer- load design which output, up to 10Vrms was available from a On the face of it, this is an interesting requires an adaptor for 8cm single discs. more robust 390-ohm source. De- emph- audiophile contender. With this good asis correction was accurate, while the sounding CD player, from arespected US Lab report transport returned the established, mod- source, you also get a neat straight-line With CJ's their valve ( tube) background it erate access- rate of 4 seconds, with fairly FET pre- amplifier of known pedigree, was not too surprising to find many of the good error- correction — but somewhat which allows for direct connection to measurements looking more like those for below modern players which can cover 2 power amplifier( s ). Compared with the a traditional valve pre-amp. For example, or even 4mm gaps. Mechanical noise CAL Tempest II it looked good value, and via fixed CD outputs the channel separa- rated as average; the mechanism ' chirps' a although the much cheaper Marantz tion never bettered 62dB, and fell to 50dB little more than recent designs. Signal-to- CD85 offers asimilar standard, it requires by 20kHz. In truth these results were noise ratios were satisfactory, but like the an additional pre- amplifier. The nearest satisfactory, but far below what is possi- other results remained unexceptional. equivalent is the Meridian 207 pro, which ble, typically 100dB. However, channel Taken overall, 86dB was a typical figure now attains a similar standard — plus the balance was fine and the frequency for the DFI; 118dB is possible. advantage of afull remote control on the response was typical of the earlier genera- Interestingly, the — 90dB resolution pre-amp section, optional disc inputs, and tion Philips digital filters ( Graph 1). No error was reasonable at an average of a more advanced CD transport. On its phase-difference was present between —2,2db, andwhile the specification is only home market the CJ is the better buy, channels, and the output was polarity- 14- bit, the linearity graph shows a sub- while in the UK it looks rather expensive. correct at the fixed output but inverted stantially good performance down to Neither the technology nor the build by the line amplifier feeding the ( vari- — 100dB with a dithered test signal quality are particularly impressive, and I able) output. (Graph 3). Below — 90dB some regular expected alittle more than this from CJ in At full- level, the total harmonic distor- ripple appears on the slope, but this is 1989, after waiting so long for the CD tion was pretty mediocre at atypical 0.3% very unlikely to be audible, and was 'statement.' In awell- matched system the mid- band ( — 50dB), and a little better probably a function of the noise- shaping DF I can give fine results, but in my than 0.1% at 20k1 lz, remembering that process. Here is modern proof of the opinion this design is not sufficiently these results refer to noise products in the inherently good ' 16- bit' linearity of the up-to-date to hold acompetitive position audible range, ie, below 20kHz. With the original Philips technology, although the for very long. It-

CONR A I) JOHNSON

Test results 20Hz 1{,11, 201.11/

Channel balance 0.13 0 Ut 1121 Channel separation ( dB) 62 61 SO R it Channel phase difference (*) o 0 Total harmonic distortion Cinc noise) 0(111 Fixed oip —50 — 51 — 62 (20k1 lz bandwidth ) — I —60

dithered — 70d11 — 35tYP Intermodulation ( dB) L+R OdB; 19, 20Idlz —50/57 (- 50/54) variable L+R — 10dli; 19, 201illz —62/74 L+R 04113; IS, 16kIlz ree,_ .1 e Frequency response ( dB) I. 0 0 — 1.07 2011z-201dIz R 0 0 — 1.14 Graph I. Conrad Johnson DF I : Frequency response, Graph 3. Conrad Johnson DF I : Linearity plot below Output level, OdB, ( V) L12V fixed, up to 10V variable where vertical divisions represent 0.5dB —60dB Output impedance ( ohms) 820 fixed 390 variable De- emphasis error ( DB) 'kHz 51cliz 161(Hz 0 0 — 0.57

R IBC, 1 B ii.BuS. Bou5B4 Yrack access time ( secs) DRIO0- 4 Bs 4,0•51/ [Track I 5 YEDS2 j -Is 1 RANGE: i4 410, STRTUB, P.U5CD Mechanical noise average AIRG 'Joe, 111-1051 40BR Rm5t50 I Error correction ( am) to: gap: > i MM al:tCoo II i Signal to noise ratio with without (no emphasis) emphasisemphasis a) 2011z-20kHz unwtd ( dB) 85/86 85

5 hi CUR ARM ( MHz ref) ( dB) 86/91 86/90 Spuriae ( to 100k11z) ( dB) >- 60 ( refilalli) Resolution ( dB) at — 90dB [linearity! L=-2.6 R-= — 1.8 \ i headphone socket no 't 1 Price typical inc VAT £ 1900

-BO 1 , V.,. 5,01, 4 454, R.:j0,10 IT

Seeil See But 3.5 5,5 ,4 :BO 500 42 Graph 4. Conrad Johnson DF!: Waveform from dithered Supplier: Graph 2. Conrad Johnson DF!: Intermodulation spurwe IkHz smewave at — 90dB Audio Freaks, 15 Link Way, Ham Middlesex. from ¡ 9/20kHz tones at — 10dB, log scale 500Hz — Tel 01-948 4153 100.5kHz

111-F1 NEWS & RECORD REVIEW .(11 .1.1 . 1989 51 III _C RDGES: TITE TOP FL GIIT

ver the past twelve months, HRN/ detail, body and richness. For further ing holes and easily identifiable rear pins. RR has reviewed a number of information, contact: Clearaudio Electro- Neodymium magnets are used and the moving- coil cartridge models nic GmbH, Weberâckerweg 10, 8520 output is high at 0.5mV. KK found it one which can justify high-end status. For this Erlangen, Germany. Tel. 09131/59595 of the least fussy types he'd tried, and the third edition of The High End, we bring readers up to date with summaries of Dynavector XX-1 these reviews, which cover models over Coming from a low profile, Dynavector £200... bounced back with awhole range of new cartridges last year including a model of Audio Technica AT-0C9 an all- new concept. While the company A company which has perhaps had greater led the charge towards higher outputs for impact recently than ever before, AT has m-c designs its XX-1cartridge includes a ensured high-end credibility with its 0C9 virtual switched flux- dumper through a and PC-OCC wiring. Rivalling the famous front- mounted switch which activates a four- figure and more models, this costs shorting wire mounted on the front yoke. weight of 8.5g and low to medium com- just £ 300. ' On paper arefined 007' wrote Ken Kessler found (Analogue Supple- pliance made system matching easy. The Ken Kessler in his appraisal (Analogue Excel worked to spec. straight out of the Supplement, November 1988), ' enabling box and delivered an unusual mix of a far greater number of audiophiles to strengths and weaknesses. One of the approach true top end performance with- widest and most consistent soundstage out breaking the bank'. At home on an spreads without compromising depth was SME V or Air Tangent with a Goldmund, accompanied by an inability to handle Oracle or a Roksan, its sonic character 'wall-of-sound' material, which became was said to be: ' of apiece from the lowest muddled. In conclusion: ideal for classical registers to the middle of the treble and country material but out if you want region.' Supplier: Audio Technica, 11 to boogie. Supplier: Goldring Products, 8 Lockwood Close, Leeds LS11 5111. Tel ment November 1988) that bass- heavy Greyfriars Road, Bury St Edmunds, Suffolk (0532) 771441 recordings were made tighter, or ' drier' IP32 7DX Tel ( 0284) 701101. sounding, using the facility; although the Clearaudio Signature ability to switch the sound character Kiseki Purpleheart Sapphire The £995 Signature is the ' budget' version according to the music was a benefit. At The alloy structured Sapphire, adevelop- of the acclaimed Accurate. Attached to its £ 399 price point, the XX-1 was ment of the Purple, has its suffix attributed the minimalist frame is a hollow boron thought to be a fine performer, working to the cantilever — the design with its tube cantilever which carries a uniquely- well into 47k-ohm inputs. Tracking was dyed hardwood sides is now priced at profiled stylus. Ken Kessler found (High considered exceptional while being easy- £699. A flat metal mounting base is End December 1988) that the design on-the- ears. Supplier: Dynavector Sys- threaded to take bolts. Test results were requires a substantial run-in period; after tems, 32 Reading Road, Woodley, Read- mixed; the response showed a treble lift which it proved to be adelight to use. It ing, Berks RG5 3DB. Tel ( 0734) 699159 and separation was only just satisfactory. was clear- sounding, aided by an output The unit was well made and fitted with a high enough to use into 47k-ohm without Goldring Excel fine, predominantly elliptical stylus. On background noise or dynamic compress- This £ 500 design was tested by Ken the listening tests, conducted in Decem- ion. Superb tracking kept distortion at Kessler in February 1989. The Excel ber 1986 by Martin Colloms, the Sapphire bay. The only noted spatial weakness was employs two gold- tinted aluminium side scored better. It was worthy of recom- an inability to reveal maximum stage pieces bolted together to form the body, mendation and had a high standard of width, but the depth almost made up for while the frontpiece is made of rosewood. stereo focus, good bass, well- maintained this. Vocals were found to be life- like with The fiat top is solid with threaded mount- performance down to the lowest register

52 I NEWS & RECOR1) REVIEW AUGUST 1989 1E11 END 117 and detail were evident at once. It was reviewed by Alvin Gold in June 1989. palpable, coherent and convincing. Avail- Based around the heart of an EMT, the able from: Presence Audio, The Old Post- exotic and prestigious Swiss- made low house, Plummers Plain, West Sussex RH13 output m-c, the cantilever is fitted with a 6NU. Tel ( 0403) 891777 `micro linear' stylus. This is sourced from Fritz Gyger and its shape is related to the Milltek Aurora van den Hul 1. The body clamps the A Kiseki under another name, the Aurora generator in position using three spikes. and it excelled in the treble: vocal sibi- was examined by Paul Miller in January Tracking at 2.2g, output was found to be lants were pure and well defined. Avail- 1988. Its £ 11 price increase since, to on the high side for alow- output cartridge able from: Presence Audio, The Old Post - £209, just qualifies it for this survey. and loading of 100ohms is recommended. house, Plummers Plain, West Sussex RH13 Output is enough to avoid the use of a 'A lot of bottle and class', summed up the 6NU. Tel ( 0403) 891777 step-up. Channel balance and distortion auditioning, while the unit worked well lab tests were satisfactory while a lively on Rega arms and Rolcsan's Artemiz. Sup- Koetsu Black K overall balance was found in listening. plier: Roksan Engineering Limited, 21 This was the first ' budget' all- metal bodied The very lowest frequencies were con- Ddole Road, Llandrindod Wells, Powys. Koetsu, although it sells for £ 577. The trolled well, rhythms accurately painted, Tel ( 0597) 4911 moving- coil was found to be excellently without any unnecessary bloom. Vocal wound when the unit came under scru- reproduction was withheld, maintaining a Rowland Complement tiny from Martin Colloms in December laid-back and relaxing presentation. The Not a new design as such, the Comple- 1986. This well-built and well-aligned full feeling of ambient space was not ment was conceived in 1985 by Mr Ikeda design gave agood performance in the lab conveyed but the design breathed life into who was briefed to ignore cost con- with a well- controlled frequency most recordings with abuoyant sparkle. A straints. His £ 2250 design was examined response backed by excellent channel detailed and likeable rendition of music uniformity. Fine channel separation was from vinyl was achieved. obtained, with good tracking. The sound quality rating was substantially good, Milltek Olympia thought to suit ' laid back' speakers. This model was reviewed in January 1988 by Paul Miller and has risen only margi- Koetsu Red Signature nally in price since, to £299. Multiple This £ 1298 model is still seen by windings with beefy samarium-cobalt audiophiles as something of aflagship. No magnets maintain ahigh-ish output. After commercial release challenged its track- run-in the Olympia afforded a consistent ing ability, no large work proved too but not entirely neutral tonal balance. in October 1988 by Ken Kessler. As there majestic, no small work too subtle. From There was abeguiling richness about the is no cantilever, arod protrudes from the top to bottom this Koetsu is seamless and upper bass and midrange, encouraging an bottom of the body at an angle with the betrays no part of the spectrum. KK wrote unusual transparency. It tracked well stylus pointing straight downward in in April 1986, ' the Koetsu will astound enough. A fine sense of ambient detailed 'Decca style' and aiding VTA/SRA adjust- you in its ability to convince you that the extended from the deep bass extension, ment. With a cartridge weighing 15.5g, event is occurring in that space around successfully re-creating the sensation of tonearm matching could be restrictive, your speakers'. Supplier: Absolute Sounds, space. There was a wealth of subtle 11F although the Rowland was used success- 318 Worple Road, London SW20 8QU. Tel detail, precisely focused and easy to fully with the Alphason HR-100-MCS. 01-947 5047 locate. Supplier: Presence Audio, The Old Described by KK as having the best of Posthouse, Plummers Plain, West Sussex both worlds, the Complement was Krell KC- 100 RH13 6NU. Tel ( 0403) 891777 adjudged to have impact, sparkle, attack This is achunky cylindrical design which and control: shining in its portrayal of comes in a machined brass box — all Ortofon MC3000 ambience and soundstage. In conclusion included for £700. The tapered cantilever This is a high-output version of the KK felt the model would suit Decca sports a special elliptical diamond of original MC2000 moving- coil; it arrives refugees rather than m-cusers looking for semi- line contact profile with a lowish complete with straw packing, gold-plated an upgrade, since some may find it aggres- compliance and high ( 13.5g) mass. Ken screws and stylus balance plus screw- sive on first hearing. Supplier: Gamepath Kessler found that arun-in of an hour was Ltd, 25 Heathfield, Stacey Bushes, Milton sufficient in his review (High End Decem- Keynes MK12 6HR. Tel ( 0908) 317707 ber 1988). The output was sufficient to negate the need for astep-up, although it Spectral Moving- Coil Reference was thought that the sensitivity to temper- Not available in the UK this model has to ature was greater than other designs. The be ordered from abroad. This didn't stop uppercmidband to top end was 'shimmer- Ken Kessler testing it for The High End in ing' — being ' fast' like aribbon tweeter. It December 1988. Made for a Californian was described as powerful, able to deliver amplifier manufacturer, the Spectral slam and handle dynamics well, with would cost around £650. The cantilever excellent sound staging. Supplier: Abso- driver in return for the £800 outlay. Ken is aluminium, fitted with a ' super-polished' lute Sounds, 318 Worpole Road, London Kessler tested the MC3000 in February Line Contact diamond. Compliance was SW20 8QU. Tel 01-947 5047 1988 when he found reproduction pro- found to be lowish, at 8cu, and the weight duced with near-mastertape accuracy. is 9.5g. Because of its 0.21mV output a London Super Gold The design has greater consistency across pre-amp with high-gain input is required. Reviewed under its Decca name, the the board than most and overall a high Thought to be almost immune to the cartridge now costs £279; little else has rating was given to the unit. Supplier: vagaries of system matching the MCR had changed since the July 1986 appraisal by Ortofon UK Ltd, Chiltern Hill, Chalfont St exceptional coherence, blinding trans- Decca freak Ken Kessler. The big differ- Peter, Bucks SL9 9UG. Tel ( 0753) parency — rich without being sluggish, ence noted when compared with early 889949. detailed not clinical and fast without Deccas was the replacement of the ori- sounding breathless. In conclusion accu- ginal elliptical stylus with a van den Hul Roksan Shiraz rate and musical. Manufacturer: Spectral variety. Entering the high-end category on One of the latest designs to come under Audio Associates, PO Box 4475, Mountain subjective test, its information retrieval HFN/RR's scrutiny, the Shiraz was View, California 94042, USA. ,44-

111-F1 NEWS & RECORD REVIEW AUGUST 1989 53 cl) I I 4z Radlett Audio (7) "THE -GREATEST LITTLE SHOP IN THE COUNTRY" 8 4 NORWICH • aybe it's just an opinion (we're too modest to suggest otherwise), but during our 11 years here we have been told many times by importers, CAMB.PIDG' M manufacturers and customers, that we are " The best little shop in the country." Being small has advantages. Without the vast overheads of alarge, flashy

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on either clarity or transparency, and hese three loudspeakers have been Medium-sized loudspeakers from drawn from amuch larger HFN/RR found the dynamics rather ordinary. Tgroup test, employing amore com- three well-known names: the Stereo images were satisfactory in terms of width and focus, but showed little pact format than previously to allow a Acoustic Research AR142, Monitor substantial number of models to be depth. Perspective was not well handled, but on the plus side it remained fairly tidy covered in depth. The scheme uses full Audio R300MD and Rogers LS4a laboratory test evaluation as well as exten- at higher listening levels. The overall sive, unsighted panel auditioning. Further score was 44%. groups of speakers from the survey will be by Martin Calkins included in the coming months covering a Design and technology wide variety of models, from large panel Nominally athree-way model, the 210mm designs to small, compact bookshelf bass and 170mm bass- mid units work in cabinets. The median price for models in parallel up into the midrange, coupled to the overall survey is £ 350, so the three a sealed- box of 30 litres. The effective here sit below the group average. The diameters are 165 and 130mm respec- AR142 is the most expensive at £300. tively, with the flared diaphragms comprising athree- unit design, while the employing a stiff, graphite- loaded polyp- others are both two-way models, £ 200 for ropylene cone material. The tweeter is a the Monitor Audio and £ 220 for the 25mm plastic diaphragmed dome unit, Rogers LS4a, manufactured by Swisstone ferro-fluid damped/cooled. Electronics. l*he Acoustic Research AR142 is built of Auditioned in test sessions which span- the usual 15mm chipboard, while the ned some 65 speaker models, a varied speaker's enclosure is enhanced by a programme was employed, from rock to double thickness laminated driver baffle, classical, choral works to orchestral considerably helping to reduce traces of pieces, and over arange of volume levels. unwanted driver/chassis vibrations which The main drive system was rather may be generated. The few crossover heavyweight, with its Krell amplification parts in evidence are of normal commer- and Goldmund turntable, but back-up cial quality, and the final slope measured tests were made using a Cyrus One is 6-12dB octave, this depending on the amplifier and a Philips CD 582 player. particular transition. Some experiment was also undertaken to Lab report determine the best stands and room positioning for each model. Measuring a high 90dB/watt sensitivity, but with alow 4-5ohm impedance loading (Graph lc), the 142 reference response ACOUSTIC RESEARCH AR142 (Graph la) shows amild bass rise, with a fairly even frequency response to the With the model 132 undergoing revision, upper crossover. This is followed by a the 142 is presently the contender at the sharp phasing notch and an excess of larger end of the new Acoustic Research upper treble, + 3dB or so referred to "Spirit' range. This is a three-way model, 1kHz. The grille had very little effect, as with a stocking type integrated fabric largely expected, but the pair- matching grille and a low-diffraction drive baffle. was nothing special at ± 1dB. The — 6dB Glued- in trim rings are used to addi- described as uneven in frequency point was 4911z, with the response tionally smooth the contour from friver response, with noticeable colorations and extending to 30Hz in- room. mounting to baffle, an idea first seen in unexceptional stereo. In the bass it pro- With 'à-octave help at 2metres ( Graph this form on the B&W Matrix series. duced a mixed reaction, at times sounding lb), the forward energy response looks Subscribing to a minimalist crossover untidy and yet in the main quite well more respectable — atouch of ' boom and approach, the drivers are direct- coupled balanced. With the bass and mid units tizz' but well integrated, particularly on to the speaker terminals as far as is working together at LF, they appeared to the lateral axes. Some response promin- practicable in a system of this type. The trip each other up. The mid was unexcep- ence is seen in the 1-2k1 iz range, and this design also aims for a high sensitivity, tional, showing some hardness on piano, is also apparent in the room-averaged partly achieved at the expense of amplifier while moderate box coloration was also response as outlined in Graph 1f, where loading, the 142s being nominally 4- ohm heard. the curve also suggests a fairly good types. Finish is a vinyl print, and connec- The treble from this model rated below overall balance. This agreed with the tions are made via 3-way binding-posts. average and was generally, considered to listening results we obtained, while the The proportions are slim, the suggested have dull ' presence', while the high treble presence dullness and subsequent treble position for use being free-space on a came 'forward' with grain and breathiness. recovery reported subjectively was also matching stand, clear of the back wall. Violins were thought to be wiry and nasal apparent. in presentation. At 96dB the distortion was pretty aver- Sound quality Despite its part ' direct- coupled' design, age: Shown clearly on Graph le, though Scoring below average, this speaker was the panel did not rate this speaker highly the rise at 11F doesn't look very impress-

HI -FI NEWS & RECORD REVIEW AUGUST 1989 55 it an above-average score of 54%, they ive. However, at the lower 86dB sound very promising. While the 142 perform- had mixed feelings about this design, level ( Graph Id) matters are much ance was no disaster, it was not recom- finding in it a blend of virtues and flaws. improved to a ' good' level throughout. mendable. But the flaws were not all that serious. With a 100W maximum input, up to Concerning tonal balance, the sound 105dBA should be possible in an average room — a decently high sound level and MONITOR AUDIO R300MD was mid centred, but so broadly that it was more of a character effect than a sufficient for most environments. With several successful speaker systems in specific narrow- band prominence. By Conclusion its range, all using metal-dome tweeters, comparison, both bass and treble seemed Monitor Audio's designer has fought hard mildly depressed, but not enough to draw At this price level, one is entitled to expect more in terms of clarity, stereo to deliver this lower cost model which serious criticism. nonetheless retains the metal- dome con- In the bass the 300MD was dry and fast, depth and dynamics. Here, the direct- not extended to the lowest register but coupled principle alone is not sufficient to cept. A sealed- box system which can deliver the required standard. The 142 tolerate aposition nearer to the back wall respectably tuneful and, if driven hard, than most designs, its placement on a capable of delivering good slam. The mid can play to loud levels, but it did so at the showed mild coloration, some 'wooden' expense of heavier- than- average amplifier good stand is worthwhile, one 45-50cm loading and could sound abit harsh when high. Uncritical of position, it is likewise and ' cone' sounds plus amild ' nasality'. Its uncritical of amplifier type owing to its driven hard. Stereo images lacked sufficient depth easy loading, while agood working sensi- tivity also helps in the wider choice of and transparency, and while the general amplifier. sound was quite well balanced and inter- faced cleanly with the listening room, Typical of the Monitor Audio line, the elements of mid hardness and treble grain finish is in a fine grade of real- wood veneer, while the cabinet design is com- were not appreciated. The bass did not come together as aunified whole, lacking pleted by a properly rebated, detachable real slam and speed. On axis, the refer- grille. Electrical connection is made via normal 3-way combined binding-post/ ence frequency response looked lumpy, 4mm sockets to the speaker's rear. with the phase problem at 6kHz leading to some audible variation of sound quality on the vertical axis. Sound quality To summarize, neither the results of the While the results from the listening panel listening audition nor the lab tests were agreed closely on this model and awarded

ACOUSTIC RESEARCH AR142

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131. 3 •. il oi. • 1 ,,,, Graph Ja . AR 142. on-axu response at Im ..”.. Graph le. AR 141: distortion a 96dB spl II strength lay in apleasing level of clarity as well as an ability to portray musical 45 LATERAL dynamics in an interesting manner. The treble was not particularly even, Graph lb. AR 142 one-thud octave response family suggesting exaggeration in the upper at 2m range, and a touch of ' grain' and ' breathi-

56 ness' on vocals. But the main treble range — sounded clear and musical. Stereo soundstages were well focused,

Is showing good width. Depth was not very

56 Graph If. AR 142: room-averaged response• (RAR) good, but the 300MD's innate clarity gave

11 agood impression of the recorded acous- Graph lc. AR 142: modulus of impedance, ohms Test results AR 142 tic, lending a proper sense of space and Size ( height xwidt hx depth, cm) 65X23x28 ambience. Recommended amplifier power 10-100W per channel Recommended placement On matching stand, Design and technology t% free- space Frequency response within 5511z-20fillz With the cabinet produced by Monitor 3RONARMENE ±-313(2m) lx Audio themselves, the 28 litre carcase is MON rolloff ( — 6d8) at Im 4911z bass frequency extension 3011z made from high-density 15mm chipboard (typical in- room ) six Voltage sensitivity ( ref 2.83V• at 90dWiV and, encompasses longitudinal bracing on Im ) Approximate maximum sound 10SdBA each side panel for extra rigidity. The Ilx level ( pair at 2m ) driver baffle thickness has been increased Impedance characteristics ( ease Average. Graph Id. AR 142: distortion at 86dB spi of drive) to 19mm to reduce vibration. A sealed- Forwanl response uniformity Fairly good Typical price per pair ( inc VAT) £:100 box design using an acoustic foam lining, 'le, IW Into &ems the bass/mid-range in the Monitor Audio R300MD is supplied by a 220mm steel- Supplier: frame driver, custom-made, and fitted Teledyne Acoustic Research, High Street, Houghton Regis, Dunstable, Bedfordshire LUS SO. Tel with a 160mm paper-pulp cone with a (0582) 867777 flared contour and coated with adamping

Sc- Ill- Fl NEWS & RECORD REVIEW Al'GUST 1989 LOUDSPEAKERS

layer. The treble is produced by a 19mm ing. Signs of a mild mid plateau are characteristic. Thus the 300MD will not SEAS unit, an aluminium version of the apparent, and were confirmed by the unduly stress any amplifier. popular soft polyamide model, and is room average response ( Graph 2f), which Build quality and finish was very good — ferro-fluid damped. is nonetheless seen to be fairly well and the overall performance prompts a The normal-quality crossover is 1st- balanced overall. recommendation. order electrical for the bass and 2nd-order Distortion, especially the more critical for the treble or high-pass section. The 3rd- harmonic, was particularly good with system is hard-wired and employs multi- this speaker ( Graph 2d and e), and it also ROGERS LS4a strand cable throughout the design. handled power well. With up to 100W peak allowed, it could produce up to This could well be one of those rare Lab report 103dBA from a stereo pair. 'natural' designs where everything falls From the standard reference measure- neatly into place: specification, perform- ment, the sensitivity was near the average Conclusion ance and price. This compact example of at 88dB/W, and in practice is aided by the Mildly mid-dominant, a trend seen in British loudspeaker design uses up-to-date very kind amplifier loading this speaker different measurements and confirmed by drive- units including ametal- dome twee- presents. With an impedance minimum of the listening, the 300MD survived this ter in ahigh- quality sealed- box enclosure. 8ohms, and arating of ' 12', it was easy to imbalance by delivering alively, informa- Standing at a height of 43crri, the recom- drive ( Graph 2e). Under anechoic condi- tive sound containing considerable mended placement is on 50-55cm high tions the bass extended to 60Hz for musical detail, and a degree of pace and stands in free- space, with the speakers —6dB, an early rolloff, byt the room natural dynamics which held the listening arranged so that their axes cross just in measured response indicated a practical panel's attention. Coloration was not par- front of the listener. extension to a frequency of 40Hz. ticularly low, yet it did not get in the way Electrical connection is via 4mm Reference response data showed very of the music; but it is fair to say that this socket/binding-posts and the grille is good pair- matching to ± 0.4dB, plus a speaker was liked more on rock then on designed to stay in place ( it is pretty hard respectably fiat response ( Graph 2a), classical material. to remove in any case). Amplifiers in the though with mild lift in the final treble Technically, the low distortion levels 15-100W range are suitable, and it should octave. The grille imposed some minor were exceptional for a speaker of this be both easy to drive and offer a healthy disturbance. At 2 metres the 15° vertical type, and reflected the special high- linear- sensitivity. resposne shows more loss in the cros- ity motor design employed in the MA- sover range than usual ( Graph 2b), but designed bass- mid unit. Its healthy sensi- Sound quality the lateral off- axis responses are rather tivity was worth more by virtue of the Scoring an almost immediate hit with the

better, the 45° output being most interest- easy loading imparted by the impedance. members on the listening panel, the LS4a jumped straight into the ' good' class with a rating of 61%. Possessing an audible MONITOR AUDIO R300MD BBC 'monitor' pedigree, the LS4a quickly demonstrated an excellent tonal balance coupled with a wide frequency range. 100B GR ccrOt Coloration was controlled to the point that it attracted very little attention, and O 250 liRRI.ONC L ÇORRECTM;IN in audition most programme was repro- • GO duced with a natural sense of weight; however, it did not fall into the trap of a. sounding too thick or chesty as can Graph 2a MA R300MD: on-axis' response at 1m sometimes be the case. Graph 2e MA R300MD • distortion at 96dB spi The bass was fine, even and tuneful, 30' TERM. with quite good extension to the lowest

• 43V V.., PAUSED register, though rock fans might note a 8,1'3 OC, 110.11.11.10e1D rag). ORIS44 mild slowness in the bass and wish for a • 45'LATERAL I I11111 15' touch more dynamic slam. Little can be ILF—Lu r " said about the mid- register, so unobtru- Graph 2b. MA R300MD: one-third octave response sive was its working. It showed good family at 2m levels of musical detail in the midrange, blending smoothly with the treble, which sc was nicely balanced and again held no si nasty surprises. ". Is Stereo images from the Rogers LS4a Graph 21. MA R300MD: room- averaged response were presented with good depth, stable, 54 (RAR) confident focus, and good width. Ambi- si ence was nicely captured, and the general Test results MA 300MD Graph 2c. MA R300MD: moduhu of impedance, scale of the soundstage was decently ohms Size ( height xwidth xdepth, cm) 43x 25.5 x24 5 Recommended amplifier power 15.100W large, in fact rather better than usual for per channel Recommended placement On 50cm stand, free- space this class of speaker. Despite its ' classical' Frequency response within 65Hz.20kliz tonal quality the LS4a was considered ix ±.313(2m) LF rolloff ( — 6dB ) at Im 54Hz even-handed in its replay of both rock and 250HARP-Cs Bass frequency extension 33Hz Ix (typical in ) classical material played through it, Voltage sensitivity ( ref 2.83V* at 88dWN indicating a generally fine balance of im Approximate maximum sound MARINONIC 103dBA subjective quality factors and with good • level ( pair at 2m) life and pace shown on all material. Impedance characteristics ( ease Good tlx \Jr of drive) Forward response uniformity Very good Graph 2d. MA R300MD: distortion at 86dB spi Typical price per pair ( inc VAT ) £220 Design and technology lc, IW Into 8ohms Evolved from the earlier LS4 design, the ' a' version denotes an improvement in the Supplier: tweeter type; apure piston is now fitted, a Monttor Audio Ltd, Unit 34, Clifton Road, Cambridge, CBI 4ZW. Tel (0223) 242898 19mm aluminium- dome model from SEAS. The bass unit is a Rogers 210mm

HI-FI NEWS & RECORD REVIEW AUGUST 1989 57 Kensington Showrooms PAUL GREEN London Road Bath, Avon. CZMJ HI Fl LIMITED Tel: Bath 316197

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158 Ombersley Rd., Worcester, WR3 7HA Tel: WORCESTER ( 0905) 58046 Demonstrations by appointment OPEN MONDAY-FRIDAY 9.30 to 8.30 — SATURDAY 9.30-5.30 LOUDSPEAKERS steel-frame with a strong, flared polyp- Conclusion strong performer on comparison tests in ropylene cone of 170mm active diameter Nearly every speaker designer has experi- any company at anywhere near the price. and a surprisingly compliant surround enced the phenomenon. Years of study Successfully exploiting metal-dome twee- termination. A complex 8- element cros- and careful work produce range after ter technology, it offered afine balance of sover is employed and this blends the range of dependable models, and then technical performance and sound quality driver outputs at 31cHz, with approxima- occasionally a star is born — a model factors, with high build quality; in conclu- tion to a 4th- order acoustic rolloff. where everything in the design quite sion, the value rating must be ' very good'. A sealed-box 20 litre enclosure, the simply falls into place. The new Rogers In the case of the Acoustic Research 15mm thick carcase is unbraced but has LS4a is such a speaker. AR142, its heart was quite clearly in the panel damping together with an acoustic The panel agreed closely on its merits — right place, but the design was not in our foam lining. The interior is hard-wired this speaker's watchword was balance. view well enough balanced or sufficiently and, given the high performance seen in Not just tonal balance, which was one of refined for it to overcome some basic this review, perhaps designer Ross would its trump cards, but also atotal balance of flaws. The listening panel was pretty also consider bi-wiring for the LS4a? We all the key subjective parameters. Nothing tough in its assessment, however, and in await with baited breath. sticks out, nothing was missing. It could truth the end score for the listening tests play to decent volume levels, and it coped was not all that far below the group Lab report with all classes of programme. The average; the group including very much Checking out at a healthy 88dB/W, the amplifier loading was also straightforward, more expensive speakers as well as many reference response was at its best with the while sensitivity was good, with moderate cheaper ones. grille left in place in accordance with distortion. Monitor Audio's 300MD must be rated Rogers' own recommendation. The plot in The LS4a was a genuine all-rounder, a success. It has some ' character' — a Graph 3a reveals the whole story. With uncritical in so many respects that it may degree of midrange projection and for- only aminor fall- away of impedance in the be expected to deliver a good perform- wardness — but otherwise it proved lively high treble ( Graph 3c), the amplifier load ance under a wide range of conditions, and dynamic, achieving an above-average from avariety of sources. A strong recom- score at a well-below-average price. The mendation was assured for this model. bass response was found to be rather limited, but it was fast and articulate in GROUP CONCLUSION this range, and afirm recommendation is Of the three models, included in this small appropriate. -0- test group, the Rogers was clearly out- standing. Indeed, the indications were Next month: three more moderately- that this compact model would be a priced models come under scrutiny.

ROGERS I.S.4 a

Gditlè,V 10013

250 HARMON TION F CORREC E ON 3i2D HARMONIC

I.\• """' • Or/ e 'fr, Graph 3e. Rogers LS4a: distortion at 96dB spl

30.LÁTERAL

0 100. V1 ,3 OCT II • ••••

45eLATERAL 15 ABOVE J JI LL. Graph 36. Rogers LS4a. one-third octave response Jinni& at 2m rating was 'good' for this nominally 8ohm 56 model. Fine power-handling allowed for 12 up to 103dBA from a stereo pair under ' 'TOP, 40 000 14T normal conditions, and the distortion Is Graph 3f. Rogers LS4a: room-averaged response results were also most respectable, parti- cularly at the ' cruising' 86dB sound level 11 (Graph 3d). At 96dB the 2nd-harmonic Test results LS4a Graph 3c. Rogers LS4a: modulus of unpedance, ohms predominated, which was as it should be Size ( height xwidth Xdepth, cm) 47X25x 30.5 Recommended amplifier power 13-100W (Graph 3e). per channel The reference response is nicely uni- Recommended placement Not critical Frequency response within 80Hz-201cHz form, with a — 6dB point at 54Hz and a ±-313(2m) 25 HARMONIC LF mlloff ( — 6dB)at 1m 60Hz slow rolloff below. In- room this translated Ix Bass frequency extension 40Hz to 33Hz, and the speaker interfaced well 3R5 HARMON (typical in- room) Voltage sensitivity ( ref 2.83V* at 88dWN with my room, resulting in a tidy, well- 11% 1m) Approximate maximum sound 103dBA balanced response strongly confirming level ( pair at 2m) the panel opinion ( Graph 3f). At 2metres, 111. Impedance characteristics ( ease Easy of drive) the output near crossover dipped as usual Graph 3d. Rogers LS4a: distortion at 86dB spl Forward response uniformity Good Typical price per pair ( inc VAT) £200 on the 15° vertical axis ( Graph 3b), but 9e, / W into 8ohnts taken overall the off- axis responses showed good consistency, with the main trend also in agreement with subjective Supplier: panel data which was derived from the Swisstone Electronics Ltd, 310 Commonstile East, Mitcham, Surrey CR4 1HX. Tel 01-640 2172 listening test sessions.

59 Rupert maintains that holidays are all very well, but to ensure that you really enjoy yourself, endeavour to bring your Chew & Osborne equipment with you.

7 C-40 Chew & Osborne \ HI-FI - TELEVISION • VIDEO COMPACT DISCS • CASSETTES

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The Professional Sound Storage System Direct from the Manufacturer ST1 Holds 600 records price £ 192 00 Whether your collection is Records, Cassettes or CDs the ARJAY system ST2 is just for you. In fact, at many music studios, stores and libraries through- Holds 480 records out the country ARJAY is considered essential equipment. price £ 162.00 Its classic and original design makes the best possible use of available space to provide the ideal storage and display conditions.

You have a choice of the "Record Collection" which consists of five different sized units, designed specifically for record only collections or "The Combination" which has three different sized units, designed for a ST5 mixed collection of Records, Tapes & Compact discs. There is aunit just Holds 120 records right for you. price £ 50 00 The ARJAY System is British made and is available in a choice of five functional finishes - Rosewood, Mahogany, Teak, Black or White - to look good wherever you choose to keep them.

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Name ST3 Holds 360 Address ST4 records Holds 240 records price £ 131.00 price £ 97.00 Tel No All prices are ex- works and inclusive of VAT. AMPLIFIERS Twos TO THE POWER OF THREE

Affordable British and Japanese ARCAM ALPHA II PCB, while the case forms the heatsink with the output transistors screwed on integrateds, all ' Mark H' models, While the Black Box digital processor has aluminium mounts. The transformer is at from Arcam, Naim and Marantz been gathering attention, Arcam has been the right-hand end and the disc input busy redesigning its range of amplifiers. stage at the left. Thus hum problems may are put through their paces The Alpha II is the latest upgrade from the arise if the unit is stacked with a CD established range, and retains much of its player. earlier aesthetics and a reasonable price. The inputs available ( via phono-sock- by Chris Bryant The alloy case is finished in matt- black, ets) are disc, CD, aux and tape, with the with white decals, a green 'on' LED, and speaker outputs available from six 4mm mplifiers are the heart of a good blue highlighting for the control positions plugs. This allows either direct or hi-fi system, the control and inter- and Alpha insignia. The facia is divided switched speaker connection, with the ...face centre for everything. It's into two, the top being devoid of controls; common terminals shared by both. irrelevant how good your ancillary equip- these are left to fill the lower section. ment is if the amplifier doesn't measure There are full bass, treble and balance Sound quality up, as the rest of the system can then facilities ( not defeatable), tape monitor, a The Alpha is a competent amp in most never realize its full potential. When rotary source selector, and a headphone respects. It doesn't mind being driven choosing an amplifier it is also important output. The finish and workmanship are to hard, and at 30W per channel it gets fairly to make sure that it is compatible with the a high standard inside and out, with loud. At this price it is hard not to make rest of your system in terms of input and commendable panel fit. comparisons with the slightly more matching requirements, and that it has a The disc stage is based on a single expensive and less versatile Mission Cyrus power output which will attain the low-noise NE5532N op-amp which sets I, which has been grabbing a lot of volume levels you desire with your the gain for moving-magnet cartridges, attention of late. In comparison, the Alpha chosen speakers. Then it only remains to with a plug-in module available to cater lacks abit of drive, the bass is alittle soft choose one with the sound you like! for moving- coils. The tone controls use and it doesn't focus as well. It may lack This month we have found three afford- the ubiquitous NE5534 op-amp, with some of the depth, width and ambience, able models covering a spread of tech- ± 15V supplies coming from 78/79 chip but in tonality terms ifs more relaxed nologies and a range of prices stretching regulators. The power amp employs dis- than the Cyrus. The 'rhythmic quality from £ 160 up to £350 — two British and crete transistors, with TIP output devices could also be better: bass notes lack one Japanese. Marantz has been doing conforming to the usual complementary impact. The treble shows atouch of grain well with its CD players recently, so it's pattern. The power-supply is based on a and there is ageneral lack of air. On LP the time to put one of its amps through its substantial toroidal transformer, with split story is much the same — if anything the paces, Arcam has provided alittle budget rails used via 6800µ,F 35V Rubycon elec- bass loses control to the extent that there Alpha box, and after along absence from trolytics. Protection involves 2x2A fuses. is some perceived overhang. these pages Naim makes a showing with The whole is mounted on alarge single The Alpha is never hard or aggressive, the Nait II. The reference system and ancillary equipment were chosen from compo- nents suited to this price band. I used Goodmans Maxims, Celestion SL6S and, ultimately, the price- mismatched Celes- tion SL700 loudspeakers. LP sources were served by Rega Planar 2 with A&R P77 cartridge, and Linn Sondek/RB300NDH MC10, while CD signals came from Phi- lips CD582, a Marantz CD85, and a Meridian 207.

111-F1 NEWS & RECORD REVIEW AUGUST 1989 61 AMPLIFIERS but it lacks the life and pace of the best midrange, with very slight treble lift. into 4ohms. Thus it should drive most designs. Still, it's very competent for the Likewise, the line/CD response was band- speakers without difficulty. price, and in its latest guise the Alpha limited ( less at LF, more at HF), with Conventionally finished in satin- black, maintains acompetitive edge in compari- -3dB points at 10Hz and 46kHz ( Graph with gold lettering used throughout, it sits son with similarly priced products. Given 1). Power output held up across the on the ever-present large round feet. £160, there is little around that Iwould normal 20Hz-20kHz limits, with 14.8dBW Front-panel advertising is limited to rather have. achieved at ' kHz ( 30W into 8ohms). This Linear-drive power-supply and Quarter-A, fell by almost 3dB when both channels indicating design aspects of the power Lab report were applied to a 4ohm load, but with a amp section. Control knobs cover sepa- Though showing band- limited character- peak current capability of ± 7.7A and rate bass and treble adjustment for each istics, the frequency response of the 14.7dBW available with aburst signal into channel, plus volume, balance, and source phono stage was accurate through the a 2ohm load, it shows decent load toler- and tape record/out selectors. These are ance for a little amp. arranged in two square blocks of four at Total harmonic distortion at rated either end of the front panel. A vertical ARCAM ALPHA II power output was arespectable - 67dB in row of LEDs behind a Perspex panel the midband ( 0.04%), rising slightly to indicate operational status. Push-buttons 0.1% at the band limits. Intermodulation are arranged along the base of the panel, was well suppressed on both the line and covering power, speaker switching, tone- phono inputs, while the supply modula- defeat, tape copy, tape monitor, disc gain, tion test is relatively free of artefacts, with loudness, mono, and CD/phono direct. the 100Hz component 74dB down The latter doesn't by-pass the tone con- .0 (Graph 2). trols, which must be switched out separ- 1. The signal-to-noise ratio on the disc ately. input was an honourable 72dB, but that of All back-panel inputs are RCA phono- the line input improved on this by only sockets, with those for gram and CD being Ide ' 5dB, and could have been better. The gold-plated. Other inputs are available for 4. 1 output impedance rose slightly with fre- tuner, TV/aux 1 and video/aux 2. Two quency, but with a maximum of only tape recorders are also provided for. The two sets of speaker outputs comprise • --- 0.16ohms it's fine. The DC-offset was low

1 a_ ede on the speaker terminals and non-existent large plastic binding- posts, and there is a Mt 100elz IOU 101ffix 100111 ow..., on tape, which would give an astonishing headphone socket on the front panel. When using both sets of terminals at the Graph I. Arcam Alpha II: frequency responses at 14.2V output before clipping, enough for CD &eta (plain line) and via RIAA correction on . any domestic requirement. same time the speakers should be limited gram ( dashed line) Overload margins were fine on all to those of the 8ohm variety, unless of inputs, and volume balance tracking was course you are bi-wiring and the extra set - . sleibb °° ' it /ti very good for a budget amplifier. Stereo of terminals comes in handy for connec- .. separation was good on the line input, tion to the other set of leads. falling from 84dB in the bass to 60dB at The interior is typically Japanese. No 20kHz, and was only alittle worse via the fewer than 14 separate PCBs are i' phono stage. Input sensitivity and loading employed, and it looks as if the layout has of the disc stage were judged to be been dictated by stylists rather than I sensible, and will match most m-m car- engineers. A large transformer is used to I tridges well; but the line inputs were only feed 63V 12,0001e capacitors for the moderately sensitive and may require the power amp supply, with aseparate wind- Graph 2. Arcam Alpha II: power-supply modula- volume to be tweaked a little high with ing for the lower voltage supplies tion spuriae from 35Hz test- tone some sources. required by the preamp circuitry. A sub- stantial finned extruded alloy heatsink ( to Test results Conclusion which the power transistors are Power output Rated power into 8ohms (' pee) 30W ( 14.75dBW ) A&R Cambridge continues to offer well- mounted) divides the power amp from 20Hz HcHz 20kHz made, sensibly priced equipment which the low-level stages. One chnl 8ohms ( dBW) 14.2 14.8 14.5 Both chnl 4ohms ( dBW ) 10.8 11.8 11.6 should give along service life. While they The 64 ll's ' Quarter-A' circuitry is based One chnl 2ohms pulsed ( WAX' ) - 14.7 - Instantaneous peak current + 7.7A - 7.7A are not making any great leaps in sound on paralleled fast bipolar transistors. This Distortion quality, the amps are improving. Whether is designed so that the amplifier is running -nii) 20Hz 'MHz 20kHz at rated power, aux/CD, dB -60 - 67 - 60 this is enough in an ever- more-competi- in Class-A for the majority of listening, Intermod 1°)i2OkIlz, rated power, aux - 79d11 tive market will be decided by you and only switching into the Class-AB mode for 10/20kliz. at OdBW, non - 79dB the competition. high-level peaks. Copper-plating is used 1°)/20kIlz. at OdBW, m-c - 82dlt Noise on many of the components to eliminate Disc (m- m ) input ( 11IG C(:1R w'ted ) - 72dB MARANTZ PM64 II electro -magnetic distortion - including Aux/CI) input ( 11IF, C(:IR ',Vied) - 77dB the screws which hold it all together! Residual, unwIed ( min vol) - 80dB Although Marantz's amplifiers have gener- IX: output offset L - 6mV; II - 5mV The disc stage consists of a couple of Input overload 20Hz MHz 20kHz ally been slightly less well received than Disc ( mm ) input ( 111F)d0 29.9 27.3 27.0 low- noise FETs and a dual op-amp, with Aux ' Cl) input ( 111F)dB > 28 >28 > 28 its CD players, this does not mean that some decent Cerefine electrolytics in Stereo Separation they're uncompetitive. They are just not Disc input ( m- m ) dB 60 68 60 coupling and decoupling roles. Input Aux2C1) input dB 84 80 60 the sonic bargains that their digital part- Output impedance ( damping) 0 10ohm 0.11ohm O. 16ohm switching is remote on this board, and a Volume/balance tracking OdB - 20dB - 60dB ners are. The PM64 II is called a digital complex wiring harness ( which gets a Aux/CD input dit 0.3 7 0.07 0.26 monitoring amplifier, but there isn't any- Input data sensitivity loading little messy in parts) links it all together. A Disc ( m- m) input 0.44mV 46k- ohms thing remotely digital inside; the aim is 140pF good- quality Alps volume control is used, Aux/CD input 65mV 22k- ohms obviously to bring attention to bear on but the rest of the potentiometers are 430pF Marantz's heavy CD player involvement. Output, pre- amp ( tape) 14.2Vmax pretty ordinary. The power amplifier is Disc el error 3011 z-15kHz + 0.3dB - I.9dB In contrast with the two British Typical price, including VAT £ 160 complex, reflecting the Quarter-A design, amplifiers in this review, the Japanese and is based on a mixture of IC, hybrid, Supplier: Marantz is adorned with an abundance of A&R Cambridge Ltd, Pembroke Avenue, and discrete transistor circuitry. knobs and facilities. It is also the most Denny Industrial Centre, Waterbeach CR5 powerful of the three, with aDIN rating of Sound quality 9PB. Tel (0223) 861550 I15W per channel into 8ohms and 170W During listening, the amplifier was

62 Ill- F1 NEWS & RECORD REVIEW AUGUST 1989 AMPLIFIERS

allowed to warm up for a few hours before it was put to the test, and warm up MARANTZ PM64 Il it did, with the Quarter-A output circuitry giving off a considerable amount of heat. Test results It was first auditioned though the CD input on ' CD- direct', with the tone con- Power output Rated power into 8ohms ( spec ) 115W ( 20.5dBW trols defeated, and Iadmit to being just a 20Hz 1kHz 20kHz One chnl 8ohms ( dBW ) 21.7 21.7 2t.7 little disappointed in its performance. The Both chnl 4ohms ( dBW ) 19.4 19.9 1975 treble was rather obvious, with grain and One chnl 2ohms pulsed ( dBW ) - 22.5 - Instantaneous peak current +19A - I9A aconsequent lack of detail. It didn't focus Distortion 1111) too well, somewhat smearing what had 20Hz lkHz 20kHz at rated power, aux/CD, dB -82 - 81 - 76 been pin-point on some of the better lntermod 19/20kIlz, rated power, aux -100dB ...,., t., . v ...,, ttl)54 pOW S!!,olySi PAUSED reference amps into amorphous areas of 19/201d1z, at 0(113W, m- m -82dB ;IL 19/20kHz, at OdBW, m-c -83(1B considerably larger dimensions. The mid Noise sounded strangely coloured, alittle larger Disc ( m- m ) input ( 11-1F CCIR wled -71dB than life but lacking some detail and pace. Disc ( m-c) input ( IHF, CCIR Wted ) -64i1B ilv Strings could be alittle sour on occasion, Aux/CD input ( IHF, CCIR wiled -75dB with an overall hardening of the sound. Residual, unw'ted ( min sol) -82dB DC output offset l. 10mV; R: The voices of sopranos in particular could Input overload 20Hz lkilz 20kHz become a mite hard and forced. Disc ( Iinput ( 111F)dB 28.0 29.0 28.0 11.1i ,911 ... 5TOP t Zee Disc ( m- c ) input ( 111F) dB 33.6 33.0 32.6 The low frequencies were similarly Aux/CD input ( 111F)dB >28 >28 > 28 Graph 3. Moronic PM64 II: power- supply Stereo Separation unspectacular. There was adistinct lack of Disc input ( m- m ) dB 54 65 43 modulation spuriae from 35Hz test-tone Aux/CD input dB 78 72 65 speed and slam, bass notes tending to slur Output impedance ( damping) 0.15olun 0.14ohm 0.14ohm into one another, muddying and thicken- Channel balance disc at ' kHz 0.23dB Volume/balance tracking OdB - 20dB - 60dB ing the sound. Although the amplifier has Aux/CD input dB 0.17 0.21 (I34 Input data »diet sensitivity loading 7-p prodigious power and is capable of going Disc ( m- m Iinput phono 0.220mV 55k ohms very loud, it tends to clog- up when driven Disc ( m- c ) input phono 164nV 120ohnin hard and was always preferred at lower Aux/CD input phono 15mV -' 4k-ohms Hopi: volume settings - even though there was Output, pre- amp ( tape ) phono 95 max a tendency to turn it up louder to regain 50( k Amt. Disc eg error 3011z-I5kliz +0.4dB - 0.25dfl the lost detail. Typical price, including VAT £350 The soundstage was wide, but rather Supplier: restricted in depth. It isn't particularly -8011 1014. 1001te an. 1011ft 100.i Marants Audio UK Limited, 15116 Saxon Way transparent either. As noted earlier, the Free.0.0Y Indistrial Estate, Moor Lane, Harmondsworth, stereo focus also was rather ordinary, and Graph 4. Marantz PM64 II: frequency responses West Drayton UB7 OLW. this is on loudspeakers which focus parti- via RIAA correction on moving-magnet input Tel 01-897 6633 cularly well. With the tone controls switched in, things got even worse, and stereo focus all hut vanished when these cause for concern, with good figures and ahealthy power output aren't enough were altered. Taken off CD- direct, the returned everywhere. Stereo separation to rescue this design. The separate tone bass got boomier, the treble grainier and on the disc input was arespectable 65dB controls for each channel are amarketing the mid thicker, shedding more detail. in the midband, but fell at the frequency indulgence rather than an aid to serious The disc input was tried on m- m from extremes; on aux input the story is rather listening, while with all those facilities the Rega/A&R P77 ( disc- direct, with tone better. The sensitivities and input impe- available the PM64 Il will surely appeal to controls defeated), and much of the char- dances of all the inputs are sensibly people who like tinkering with the sound acter found on the CD input was still chosen and will mate with most equip- rather than hi-fi fundamentalists. I'm sure present. Stage-width was good, but depth ment well. that aless elaborate form of construction all but disappeared. The bass didn't show With asingle channel driven, the power would bring benefits in sonic perform- good control and the treble was splashy output into 8ohms easily exceeded its ance. With the simplest signal- path and imprecise. Driven into the moving- rating, with 21.7dBW ( 150W) recorded employed ( CD-direct and tone controls coil input from my Linn Sondek/Rega from 20Hz to 20kHz. into 4ohms ( both defeated) the sound just about survives; RB300NDH MC 10 combination, things channels) the output stood up well, with but with plenty of stiff competition in this improved a little, but presentation of the almost 20dBW ( 200W) achieved at IkElz. price range Ifeel that - given its track sound stage wasn't good enough to show The one-channel pulse output into 2ohms record with CD - Marantz is capable of off the superior front-end. was 22.5dBW, and 19A is available for better. current peaks. The supply modulation Lab report spectogram is particularly clean ( Graph NAI1VI NAIT II Total harmonic distortion on the line 3), with only a slight 50Hz artefact seen inputs was low, with a worst figure of some 104dB down. Naim is a highly respected British manu- -76dB ( 0.015%) recorded at 20kHz. The frequency response of the line facture with afirm following. It originally Full-power HF intermodulation distortion stage showed some slight tailoring, with specialized in amplification, but in recent was exceptionally good at - 100dB, and mild roll-offs in both directions but within years has expanded the product line-up to likewise the IM on the disc input at both -0.5dB limits over 20Hz-40kHz and cover speakers and tone-arms. However, gain settings. Disc signal-to-noise ratio on -0.2dB 40Hz-20kHz. The m- m response following apolicy of evolution rather than the m- m setting was a competent 71dB, (Graph 4) shows a slight bass boost revolution in circuit design has provided but that of the m-c input was only just (+0.4dB) and an ultrasonic rise ( + 1dB) steady progress for the mainstay line, about acceptable at 64dB. The Aux/CD after a minute treble trough, but the wherein the Nait represents the Naim inputs were only a few decibels better important midband is almost flat. No approach to abudget amplifier. Launched than for the m- m disc stage, and should ultrasonic rise or appreciable bass lift was some four years ago as an inexpensive have been a little quieter. DC output seen on moving- coil, but this had amore integrated model with low output power offset was identical on both channels at a severe subsonic roll- off and aslight treble and a minimum of facilities, the Nait's low 10mV, while amaximum of 9V signal recess to - 0.25dB above 4kHz. basic recipe remains the same. The styling was available from a 300ohm source for has been reworked to resemble the recording. Conclusion expensive NAC32 pre-amp, but inside the The input overload margins show no Good lab performance, clever circuitry design philosophy is still a straightfor-

111-F1 NEWS & RECORD REVIEW AUGUST 1989 63 CO TGARDEN RECO

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ward, no-nonsense one. the midband ( 22.5W against the specified The regular Naim extruded alloy case I5W ) with the output falling slightly at NAIM NAIT II with ablack textured finish and satin front the frequency extremes. Into 4ohms with panel are used, with the Naim logo now both channels driven the output went back- lit green to denote operation. The down by only 2dB, suggesting fair load front- panel push- buttons have been tolerance. The peak current delivery is replaced by rotary selectors. The large perfectly adequate for the power avail- volume and selector knobs, traditional able, substantiated by the 2ohm pulsed Naim and taken straight from the 32, are output test. Harmonic distortion was little joined by small balance, power on/off and more than adequate at the frequency mute/normal/monitor controls. Inputs are extremes ( — 50dB = 0.3% ), but the mid- Level 5-pin DIN, except LP disc which uses band figure of — 73dB is respectable. IIF gold-plated phono -sockets ( m- m only). intermodulation was adequate on the aux Other inputs are aux, tape and tuner. The input at full power, but on gram the IkHz speaker outlets are 4mm sockets. difference- tone rose to — 46dB ( 0.5%). The interior is exceptionally neat and Noise performance was passable, with the well laid- out. The output stage is of the disc input returning — 67dB and the aux direct- coupled complementary bipolar —71dB, with no benefit gained by reduc- variety, while the pre- amp uses Naim's ing the volume control to minimum. -bee discrete transistor single- rail capacitor- 10e9 100ele * NE 11:10•He DC output offset was 17mV on the left Frequency coupled stages. and 10mV on the right channel. Input Graph 5. Naim Not: LI: frequency responses overload margins were merely adequate aux input Sound quality for the disc stage, whereas the aux over- When fed from either CD or LP sources load figures were excellent over the the Nait delighted with an easy, tuneful whole frequency range. Stereo separation flow of music. Rhythmically coherent at fell as the frequency increased, but the all times, the perceived integration of worst figures returned at 20kHz are still bass, mid and treble was excellent. It has decent, with aux slightly better than disc. an easy, musical way about it, interesting Output impedance was fairly low and strong. The bass drove tunefully throughout. The volume/balance tracking along, underpinning the rest of the amp's must be considered good, with just over able performance. In its best areas the 1dB aberration at 60dB below maximum Graph 6. Naim Nait power- Nait II puts many a more expensive level. However, sensitivity is fairly high, supply modulation spuriae frorn 35Hz test-tone product to shame. which means that when listening to CD Up through the midband there was the lower end of the volume control Test results plenty of air, with reasonable levels of range is important, hut a balance control revealed detail. Stage width and depth is provided anyway. Power output were both very good. It drew listeners' Rated power into Hohms ( spec ) IS ( I1. 7 ScRiVr ) The disc input sensitivity is sensible and 20Hz MHz 20kHz attention in a way hard to credit at this the amp should mate with most moving- Onc chnl tiohms(dBW ) 13.2 13.5 1i.3 Both chnl cohms ( dBW ) 10.2 11.5 11.3 price. Indeed, it goes some way to achiev- magnet cartridges. Frequency response One chnl 2ohms pulsed ( dBW ) — 13.1 — ing high-end status in specific areas, for Instantaneous peak current + 8OA - 7.5A measurements showed both the line and Distortion while it doesn't have the nth degree of disc stages to he carefully tailored, with DID 20Hz MHz 20kHz at rated power, aux/C1), dB - 50 - 73 - St detail or extended bass, it presents the —3dB points at 33Hz and 28kHz, and Intermod information it gives in a convincing, if 19,20kHz, rated power, aux - 64tIB steep roll- offs at either end ( Graph 5). 19/20kHz, at OdBW. m- m - 46dB somewhat individualistic fashion. It will The gram response differed from aux by a Noise Disc 1m- m) input ( IH() CC1R not suit everybody. Power output is low, mere 0.2dB in the 3-10kHz region. The eted ) - 6-c18 but it clips well and goes louder than its Aux]CD input ( Ii-IF, CCIR w'ted ) - - 1c111 supply modulation test ( Graph 6) shows a Residual, untv'ted ( min vol ) -- - 1dli measurements might suggest, and would fairly strong 10011z artefact at only 56dB 1X:output offset la - 17mV; R: - HMO' Input overload 20Hz ' kHz 20ItHz. obviously suit speakers of high sensitivity. down, and in essence the lab performance Disc ( m- m) input ( IIIF)dB 230 26 7 2-1.6 All music benefits from the Nait's Aux/CD input ( 111F)d8 > 28 > 28 >28 is only fair. Stereo Separation behaviour. It has drive, integrity, coher- Disc input ( nott ) dB 58 50 it) Aux/C:I) input dB 90 57 33 ence, and a measure of space and ambi- Conclusion Output impedance ( damping) 0 12ohm 0.1ohm ( Il ohm ence. Have Iperhaps gone over the top Channel balance disc at IMa 0.3dH The Nait II is small in more ways than one. Volume/balance tracking OdB - 20dB - 60d13 about it? Well, why not? This is the first Its size and its power output are both Aux CD input dB 0 ( 19 I(II I 2 Input data socket sensitivity loading reasonably priced amp I have had this diminutive, while the minimalist design Disc ( m- m) input phono 06 LnO . L-1,ohms year which kept me listening. In a small ISOpr and lack of amoving- coil input restrict its Aux/CD input Spin 26 8mV 61k- ohms room it worked exceedingly well with my application. It is quite expensive in terms DIN —pi' Output. pre- amp ( tape ) Villas 700s, as long as Ididn't ask too much of it of available watts, and the lab perform- ohms in terms of level. Disc ey error 3011r-151dt, + 1511t - 3.2dB ance hardly suggests state-of-the-art, Typical price, including VAT £320 It's not all perfect. The bass is slightly although construction is to a high stan- Supplier: odd, alittle over-emphasized at times and dard. It has good load tolerance, even if it Nairn Audio Limited, Southampton Road, somewhat coloured, even boxy in its does require fairly sensitive speakers. For Salisbury SP 12LN. Tel (0722) 332266 upper regions — probably the effect of LF all this, in some respects the Nait cur- band- limiting. But I always found it rently defines the sound quality possible low power output. few controls and only interesting and lively, with fine differentia- from small amplifiers, and as such it earns just about passes muster in the lab tion. The treble has more than just ahint my respect and recommendation. However, within the constraints of its of grain, and it throws away some of the operating capability the Nait is the clear inner detail available from more transpa- winner where sound quality is concerned. rent amps. Focus wasn't one of its strong GROUP CONCLUSION and it deserves recommendation. Ile features either. Nevertheless, in its own Although the Marantz is similarly priced Arcam Alpha continues to improve, and way it is currently the best sounding amp to the Naim, the approach adopted by the although outclassed by the Naim it must in its price range. What more can Isay? two firms is conspicuously different. The he remembered that it is only half the Marantz is much bigger, offers plenty of price. Currently, for integrated amplifiers Lab report power, lots of controls and a fine labora- at under £ 200, the Arcan Alpha is most The power into 8ohms was 13.5dBW in tory performance. The Naim is small, has definitely up among the leaders. +

NEVI'S & RECORD REVIEW AUGUST 1989 65 0 Xf 0rd Audio Consultants

HI-FI SPECIALISTS GLASGOW Our shop facilities are like no other. Glasgow's newest hifi store can be Our equipment is without peer, from found at 145, Bath St., Glasgow (Diag- the affordable to the very expensive! onally opposite the entrance to the Our superb service is the same, Sauchiehall St Centre). regardless of price. DON'T MISS OUT INTEREST FREE CREDIT We are taking orders on Quad's new 0% APR compact disc player as well as offering Interest Free Credit on selected systems LICENSED CREDIT BROKER for a limited period only. (0% APR, Featured systems this month licensed Credit Broker — written details including the stunning new on request). Krell KSP 7B Our reputation for straightforward OXFORD ACOUSTICS CRYSTALETTE advice is growing daily and when you KRELL KSP 7B see the package that we can offer you it's KRELL KSA 80 SONUS FABER ELECTAS hard to imagine that anyone can beat us. MICRO SEIKI CDM-2 * Superb choice of selected products and from: THORENS TD 166 MARANTZ CD 583 Quad, Cyrus, Mission, Revolver, CAMBRIDGE C/A 50 Yamaha, Denon, Rotel, Allison, SHAN ACOUSTICS SHIMNA Ruark, Wharfedale, Celestion, and Formal opening hours: 10am-6pm, more. Tuesday to Saturday; closed Monday * Quality accessories from Monster, Individual consultations bookable Home demonstrations apleasure Beyer, Sennheiser and others. Custom Home Installations * Probably the best demonstration faci- Full service back-up Part Exchange lities in the city. Instant Credit * Glasgow's only Meridian stockist. Major credit cards accepted * Room to Room hifi installers. Agencies include: Oxford Acoustics, Audio Research, Apogee, Air Tangent, Counterpoint, Koetsu, Krell, Magneplanar, PS Audio, Sonus Faber, Aragon, * Fourteen day exchange if not entirely Audio Technica, Cambridge Audio, Goldring, Linx, Marantz, Micromega, happy. Ortofon, Rogers, SD Acoustics, Stax, Thorens, Wharfedale, Allsop, Discwasher, Foundation, Hunt EDA, Kimber, Lift, Sennheiser, Slate Audio, We feel that this package is unbeatable Target, That's Tape, QED, van den Hut, Tara, Shan Acoustics, Nakamichi. anywhere in Scotland and if you haven't PART- EXCHANGE AND EX-DEM BARGAINS. paid us avisit yet, don't miss out. including: Audio Research, D7011 £ 950, Musical Fidelity P270 OPEN SIX DAYS — 10am-5.30prn. £850, Krell PAM7 £ 1395, Counterpoint SA12 £ 995, PS46 £ 595, Krell KC- 100 £495, Accuphase E-205 £ 525, Linx Quasar £ 399. Plus many more- ring for details. ER E Oxford Audio Consultants BRITA1NS LEADING SPECIALIST FI EPI RETAILER

Cantay House, Park End Place, Oxford OX1 1JE Telephone: Oxford ( 0865)- 790879 ( 24hr. service) 041-226 4268 Write or telephone for appointments or our comprehensive 145 BATH STREET GLASGOW G39HE information pack Three mid-priced CD players: AIWA XC-004 was handled without significant confusion or congestion, and clarity was maintained CD62 Aiwa XC-004, Akai and There is not much to distinguish the down to low volume and modulation XC-004 from other similar players. Up to Technics SL-P555 levels. Stereo images were well focused, 20 tracks can be programmed in any and both stage width and depth were chosen order, with buttons for tracks above average, even if that last touch of 1-10 available on both the player and the by Martin Collons transparency was absent. hand-held remote control panels. Index Some of the impression of good mid points may be accessed, while functions definition was associated with a trace of hese three machines are all com- such as random- or shuffle-play, and full- hardness noted on piano, while the rendi- petitive products, sufficiently dis- track or programmed A—B phrase repeat tion of musical transients as awhole was Ttanced from the budget region to are provided. To aid cassette recording, a poorer than for other machines in its offer further improvements in build qual- peak search facility finds the loudest class. Edges were dulled and slowed, ity, finish, facilities and technology. All are portion on the disc and holds it on repeat while the feeling of rhythm and bass was full-width machines with drawer loading, to give record- level calibration; and if a downbeat — the general effect somewhat remote control, and a headphone socket matching Aiwa cassette recorder is used, a closed- in and lacking air. Conversely, the complete with its own level control. connection is provided to link it to the CD player did demonstrate good control Unusually, the Aiwa has no digital output player. The fluorescent display offers the throughout the frequency range, and no facility, optical or wired, but the Alcai has usual information, with simultaneous single area could be singled out for both and the Technics an optical output readout of track number, index, and the criticism. In this respect it remained easy only. The Aiwa is built in Singapore, while various available timings ( remaining, to listen to, with a low incidence of the other two are made in Japan. elapsed, total and track) all accessed via listener fatigue. All three sport comprehensive front the time button. The XC-004 has no panels with a daunting array of control digital output. In this test the Aiwa is the Technical details buttons. The pricing puts them in the lowest priced at £229. The inside of this machine is straightfor- same class as the Maranta CD 65SE and ward, comprising asingle PCB with little 75SE, current performance leaders which Sound quality evidence of audiophile grade compon- are proving hard to beat. Standards are Following comparisons with the Maranta ents. Dual 16- bit DACs are used, with the however continuing to rise, and some CD85 and several other references, the ubiquitous Burr Brown PCM 56s serially designers are seeking a competitive edge XC-004 emerged as pretty average these driven, while the panel logo refers to via the exploitation of modern micropro- days for a better example, but in truth, 18-bit conversion at a 4- times resample cessor technology, this being quite agood sound at 60%. It possessed a rate, with digital filtering. The extra 2- bit implemented with the aim of providing as good level of clarity, revealing resolution is achieved by digital ranging at many user operation facilities as possible. instrumental lines well. Complex material the filter stage, followed by variable ana- HI- F1 NEWS & RECORD REVIEW AUGUST 1989 67 the corresponding sinewave and spectro- gram ( Graph 3) confirms the good behaviour at low levels.

Conclusion Aiwa has produced a machine which offers a good presentation, but has fewer facilities than many. In the lab, the ultraso- nic interference level, and some other aspects could be improved. On sound logue gain- switching and D/A conversion. quality, it achieved acompetent standard, Thus the louder modulations carry 16 and although the player is not outstand- AIWA XC-004 bits, while quieter signals have the equi- ing, it is good enough for arecommenda- valent of 18- bit resolution. Pre-set resis- tion due to its competitive price: one of tors at the DACs allow for offset and the best Aiwa players to date. OILY I I. 4 linearity trimming. .1 A chain of dual ICs come next (JRC AKAI CD62 NJM 20821s), while de-emphasis and mut- ing are accomplished by solid-state cir- Alcai is taking a serious interest in the ;eV I 7 It I II I I' cuitry. The main microprocessors are budget-end of the CD market and making predictably supplied by Sony, and include an impression in the UK by leading on the I It nu r•• mri •-.- • rw on W441111.41 IMMMilarra niii`' WI; II the established CXA 1082B and CXA 1081 essential requirement: high sound quality. .... ,...- ...... control chip. Power-supplies are quite Like its competitors, the Akai CD62 is Graph 1. Aiwa XG-004: Spuriae up to 10kHz limited and the tri -beam transport has well finished in the usual satin- black, and associated with a ¡ kHz tone at OdB (plus some minor only mild suspension decoupling. Mains carries a good array of features. Some print-out errors, for which we apologise) supply is via 2- core, with exposed live cassette dubbing facilities are provided - MEASURED 1.101/ -8083 terminals inside the casing. a fashionable move these days - for example, ' auto-space' to apply a4- second 70811 Lab report pause between tracks to aid track-seeking Although many results were more than cassette players, and a timed-programme -810411 satisfactory, this player suffered from a feature. In this mode the tape playing time can be entered into the CD player and it 100411 silly design fault: it just entered clipping at MSB or full modulation. Fortunately this will adjust its replay for a best fit in the was not so serious as to affect listening- tape running time, pausing when it is time -MCI test results significantly, due to the rarity to turn over or reverse. -OW -70d9 - We - 80dB - 100811 - 11001 - 11,0dB REQUIRID UM of true peak- level modulation on music Billed as an 8- times oversampled 18- bit player, the Alcai employed aquick- operat- Graph 2. Aiwa XC-004: Linearity below - 60dB discs. Flat-out, the distortion averaged -20dB or 10%, the resulting spectrum ing transport mechanism using a linear- .. sroots MR Aeel °94088 ". q8i74 ".. showing afull quota of harmonics ( Graph motor drive, an indication of the impro- 1). The two-tone intermodulation test ving level of technology used by the , signals also clipped, giving an average independents. Up to 20 tracks may be programmed in any chosen order, via a A difference- tone distortion of - 22dB...... I 0 144 MO 41.40, Ms 870•• 18 'DUHz Upon reducing the test level by 10dB numeric array on the front panel or a le these problems were removed, and the key-pad on the infra- red remote control. The latter has the usual facilities, includ- . q1Fv better ( LH) channel then scored - 91dB ' . (0.003%) for midband distortion. But a ing A-B music phrase repeat and full ;LI .ell 9.c SIOPt 4 mi•c UR discrepancy still gave - 47dB ( 0.44%) programming. On the display there is a Graph 3. Aiwa XC-004: Dithered ¡ kHz sinewave at on the other channel. track programme calendar, with both -90dB, waveform below, distortion spectrum above Good results were obtained at lower track numbers and timings presented. CD modulation levels; for example, - 35dB singles ( 8cm discs) can be played without Test results distortion at - 70dB ( lIcHz dithered). The an adaptor, and the CD62's price is £ 325. 2» Iltat 201diz corresponding spectrogram was decently

Channel balance ( dB) 0.07 0.04 0.08 clean right up to 100kHz, with spuriae in Sound quality Channel separation ( dB) 99 93 70 this region rejected by 1I5dB down to The sound of this player was a touch Channel phase difference( *) 0.5 0.3 0.9 Total harmonic distortion approximately 4µY. Further up the fre- untidy, but it nevertheless manages a ( • inc noise) OdB - 22/17 - 23/18 - 46/44 sufficient degree of dynamic life and pace (20kliz bandwidth) - 10dB - 91/47 quency range things were not so good, as -50dB - 35 this player delivered an excessive 20mV to help lift it above the ordinary. This, Intermodulat ion distortion ( dB) L+R Od13; 19, 201d1z - 26/18 peak to peak in the 40MHz range even together with a well-balanced perform- L+R - 10d13; 19, 201cHz - 91/47 Frequency response ( dB) I. - 0.09 0 - 1.94 into a 75-ohm termination. In the audio ance, resulted in a strong sonic score of 2011z-201d1z R - 0.03 0 - 1.99 band, however, signal-to-noise ratios were 71%. Compared to many of its compat- Output level. OdB ( V) 2.0 Output impedance ( ohms) 220 fine, with accurate channel balance, while riots, the Alcai CD62 generated interest &Hz 5Idh 161d1z De- emphasis +0.05 +0.44 + 0.60 stereo separation was more than satisfac- among the listeners - it sounded faster Track access time ( secs)1Tr15 YEDS21 4secs and livelier, more open and more involv- Mechanical noise low tory. The frequency response was very flat Error correction to gap: >0.5mm almost right up to 20IcHz, at which point it ing. These benefits easily outweighed Signal to noise ratio sib without (no emphasis) emphasis emph.b dipped sharply to - 2dB. Error-correction minor objections concerning a mild loss a) 2011z-20kIlz unwtd ( dB) 106 10) was unimpressive at a maximum gap of of focal precision in the treble, with a b)CCIR ARM ( IkHz ref) 100 96 (dB) 0.5mm; some players get up to 4.0mm touch of ' zing' and forwardness also appar- Spuriae ( to 1001c111)(0B) relOdB - I15 Resolution ( dB) at - 90dB L.= - 88.85 R= - 90.6 these days. ent at this end of the spectrum. Headphone socket Yes, variable Tested for linearity, the result for the The bass showed good slam and arti- Dimensions ( wdh ) 43a34a11.6an T)pical price inc VAT £229 left channel ( Graph 2) shows amild slope culation, while mid definition was also Supplier: shift below - 80dB, but is otherwise well well above the usual standard. Perform- Aiwa ( UK) Ltd., Unit 5, Heathrow Summit controlled down to - 110dB. Less than ance was also enhanced by impressive Centre, Skyport Drive, West Drayton, Middx. ldB of resolution error was noted for the recovery of the natural acoustic ambience UB7 OLY. Tel: 01-897 7000 average of the two channels at 90dB, and present in many good recordings, helping

HI- F1 NEWS & RECORD REVIEW AUGUST 1989 68 CD PLAYERS

AKAI CD62

•e".4 migulaerM;OW ' Ilreg e;

10 41 •Ill

,

. ; et 0 mb ed. 0$.40, ma STOP. 10 000 M. to give a good impression of depth and of spuriae at 881cHz — twice the sampling Graph 4. Akai CD62: Spuriae up to 10kils space to the stereo soundstage. Good rate but at alow peak amplitude of — 95dB associated with a ¡ kHz tone at -70dB ( better levels of detail were maintained over a relative to full level. channel) wide dynamic range, regardless of the Down at — 90dB modulation ( IkHz mrbiCbire%i1: 1 "" ele% " U"' complexity of the material, and the over- dithered) the analysis shows a high level all impression was one of an effusive, of 2nd and 3rd harmonic distortion as , confident approach to digital replay. well as an irregular sinewave shape (Graph 6). At — 90dB the output level was Technical details 6dB below par ( well matched between Using 8- times oversampling technology, channels), while the linearity plot ( Graph via a digital filter clocked at a rate of 7) shows aslope error between — 75 and

342.81c.Hz, the two 16- bit Burr Brown —95dB. It then attempts some corrective b;otel tom. ell 375 Kr SiOP , MI 000 Ms PCM 56P D/A converters are worked action, and the result is considered not Graph S. Akai CD62: Smaiae up to 100kHz pretty hard in this player, and are unlikely too bad down to — 110dB. associated with alkFly tone at - 70dB (worse to deliver full resolution at and below De-emphasis was respectably accurate, channel) —90dB. Following the 56Ps, the circuitry while the output was 2.24V from a 600- iiiuPAUSO'sumo axerclocrie!ifili "" itel; looks rather like that in one of the Marantz ohm impedance. Error-correction was not • 'SE' series, with those green `Cerafine' outstanding, passing only a 0.5mm gap; s , electrolytic capacitors of selected audio this is adequate, but more reserve would ,e,, ',.,-,.... -.N." ...... -11.,-•-•••"...,•%-.....---y...,...ne ..p.-...... ,- quality, plus a sprinkling of copper-foil be to this player's advantage. Signal-to- -lee START. O Wt . 01.11 03.405 Ms 0T01.1 10 MI Mr .e: boll 11 polystyrene filter capacitors. noise ratios were fine at typically 100dB.

Many aspects of the mechanical Some 7mV p—p of RF was present at the 211 at, engineering show that attention has been output; considering the prime frequency •3IY

paid to detail, even though the case lid is of 50MHz, such outputs should be better Se'ret. • Sec S.': • •••• filtered. undamped. Specific points include strong Graph 6. Akai CD62: Dithered ¡ kHz sinewave at mountings for the main PCBs, and separ- -90dB, waveform below, distortion spectrum above

ate fixings for the mains transformer to Conclusion MUM» ME reduce transmitted frame vibration. The While some aspects of its lab- measured transport is a high-quality linear- motor performance could be improved, this type, well mounted on a damped, high- player provides good build quality, a compliance, coil- spring suspension. Good comprehensive specification, versatile NNN ...s..._....„ disc clamping has been provided, and live digital outputs, and a lively, up-to-date mains connections are properly shrouded. sound quality. Akai has tried for a good A separate headphone amplifier is fitted. sound with this design, and has suc- ceeded. Strongly recommended. -....» iiittil Lab report - IOU - ?049 mod,. - val - 100d) - 11143 - 120.18 R1,111111, LEVU The Alcai's near-flawless channel balance TECHNICS SL-P555 Graph 7. Akai 01)62: Linearity plot below - 60dB and flat mid-range was slightly marred by a trace of treble lift, although + 0.2dB at An impressive-looking machine, the 555 is 20kHz is unlikely to have any audible presented in Technics' usual high-quality Test results consequences. Channel separation was charcoal gunmetal finish complete with a 20111 Ildiz /Nab 112dB at midband, declining to a still solid aluminium front panel. It is disting- (lame! balance ( dB) 0.01 0.00 0.01 superior 88dB at 20kHz, while with dual uished by alarge display accompanied by Channel separation ( dB) 125 112 88 DA converters no inter- channel time- Channel phase difference (°) 0 o 0 a sizeable control knob derived from the Total harmonic distort ion delay was observed. Despite a high over- SL- P999 design. Comprehensive tape- edit , (' inc noise) Odll -90 -89 - 90 sampling rate, the DACs produced good (20kIlz bandwidth ) - 10dB - 78 facilities are also provided to aid dubbing -70dB - 33/24 results for HF intermodulation, with an Intennodulation distortion ( dB) to tape, including apeak search meter to L+R 04111; 19, 20IdIz - 102/91 average of — 96dB at peak level and aid setting the maximum recording level. L+R - 10dB; 19, 2Ndlz - 98 Frequency response ( dB ) L +0.06 o +an —98dB at — 10dB modulation. A 10-key array plus ' 10' multiplier is 2011z-20kHz R +0.07 0 + 0.19 Measuring close to — 90dB at full level Output level, OdB ( V) 2.24 present on the conveniently angled fascia, Output impedance ( ohms) 600 over the 20Hz to 20kHz frequency range, while this is also duplicated as a numeric Ildlz 51tilz 161dit 1k-emphasis +0.09 + 0.10 to.» the peak- level harmonic distortion results keypad on the remote. Track access time ( secs) ITr15 YEDS2I 3secs were very good, and there was no indica- The latter has superior ergonomics, Mechanical noise low Error correction to gap: > 0.imm tion of compression. The — 78dB distor- achieved by its neat differentiation of Signal to noise ratio with without (no emphasis) emphasis emphasis tion result ( 0.012%) at — 10dB modula- functions using clear labelling, colour a ) 2011z-201/Hz unwtd ( dB) 98 103 tion suggested that some tiny linearity b)CCIR ARM ( lilts ref)(dB) 102 98 differences and button size. A full facility Spuriae ( to 1(t0kIlz)(dB) ref OdB - 95 errors were present, while the results for design, the remote transmitter also in- Resolution ( dB ) at - 90dB 1=-96 R-% Ileadphone socket Yes, variable —70dB dithered 1kHz tones confirmed cludes control of the output level over a0 Dimensions ( wdh ) 42.5s 34.5X 11. Ian this with a linearity difference between to — 12dB range: helpful for fine tuning of Typical price inc VAT £325 the channels and a mean distortion level volume level but of no great use other- Supplier: of — 29dB. Graph 4 is for the better wise. This is atraditional Technics feature Akai ( UK) Ltd., Haslemere Heathrow Estate, channel, while Graph 5 shows the full and is accomplished in the digital domain. Parkway, Howtslow, Middx TP74 6NQ. Tel: 01-897 6388 spectrum out to 100kHz, including aburst All the usual facilities are provided,

HI- H NEWS & RECORD REVIEW AuGus-r1989 69 Made to measure Hi-Fi

To get the perfect suit, you wouldn't walk into the first shop you see 14 day exchange period. and buy the first one you saw. We are 100% confident that you will be absolutely delighted with And if you were discerning, and required asuit to fit you perfectly your system. so much so, that we promise you can exchange it without you'd probably try made to measure. Just as every human body is quibble. within 14 days if this shouldn't be the case. different, so is every human ear. That's why we believe the closest thing possible to Made to Measure Hi Fi is the Hi Fi Experience. 2year guarantee. An incredible selection of the finest systems. Finally, in addition to your statutory rights, well give you afull We've the greatest selection of the very best systems technology has comprehensive two year guarantee regardless of any manufacturers to offer. guarantee. To measure you up for one, we'll sit you in one of our demonstration We think you'll now agree, were avery different type of hi-fi rooms where you can hear asystem or any combination of separate company. So if you have good vision, an ear for music and anose for good value, call in imb pieces of equipment in private. to see us for the most sound advice. Free Fitting. Most retailers will deliver apile of cardboard boxes to your home. THE ULTIMATE IN we won't! We have ateam of trained installers who will not only deliver SOUND ADVICE your system. they will also install it to your satisfaction before they go.

Mel o NC E godlike Me gomild LONDON Tottenham Court Road, London W1 Alfred Place. London WC1 YORKSHIRE Lion House. 227 Tottenham Court Road 32/34 Alfred Place. Store Street Tel: 01 631 4917 Bradford Rawson Square ( near John St Market) Tel: 0274 309266 Tel: 01 580 3535 Camden. London NW1 2./4 Camden high Street Tel: 01 388 1300 ( round corner MIDLANDS Open as usual during refurbishment. form Mornington Crescent tube) Birmingham Superfi. 67 Smallbrook Tel: 021 631 2675 Leamington Spa 49 Park Street Tel: 0926 881500 Our Lion House branch is currently being extensively refurbished to be the hi'fi store for the nineties. SCOTLAND Glasgow 145 Bath Street Tel: 041 226 4268 Don't be put off by the scaffolding. most of the new stock is already in. and we're open for business as usual. CD PLAYERS

including A-B phrase repeat, random- or registering an extended ( if very slight) -110dB, the transfer- function looks shuffle- play, and programming for up to shelving ( Graph 8). Note that there is a pretty good down to the - 120dB test 32 tracks in any desired order. And 3m. minor phase difference between the two limit. Each intersection meets perfectly (8cm) discs can be played. The large channels at 20kHz due to the use of the (Graph 9), while the single measured fluorescent display deserves special men- time-shared DAC. At a normal code rate, figures tallied exactly, showing negligible tion. It signals when emphasis is present, 90° is the resulting shift for atime-shared resolution errors at - 90dB. In further indicates the various edit modes, shows design, but the raw 64- times oversam- confirmation, the double plot for a low- whether the digital output is operative, pling produced avalue here of 2.4 ° - too level sinewave and its spectrum ( Graph and varies the other settings. In addition small to be of any significance. 10) shows a textbook result. to the track programming section, it also Full- level harmonic distortion was fine. The performance was also impressive at has a signal line- level indicator, to aid The figure of - 86dB distortion at - 10dB high frequencies. 11F intermodulation was programme assessment prior to modulation was state-of-the-art, and also excellent. Peak white- noise was hand- recording. pointed to mild peak- level compression. led without clipping and error-correction Indeed, no distortion harmonics as such was very good, while both shock and Sound quality were visible on awide- band display, just a vibration were handled well. Scoring an above-average 64%, the SL- slightly coloured noise spectrum. No P555 presented an interesting blend of specific spuriae were evident up to Conclusion qualities. There was no question concern- 100kHz and down to - 120dB, while RF While MASH hasn't resulted in astartling ing the excellent treble, which sounded analysis showed only lmV p-p at around uplift in subjective sound quality, the pure and grainless - airy, delicate and 1.2MHz, which the 75-ohm load sup- sonics were nonetheless very presentable. informative. No blurring of treble focus pressed. The SL- P555 is an excellent example of a was evident, a common fault with CD Investigating linearity, the one-on-one mainstream player offering fine build and replay. Vocal sibilants were accurate and perfection of Technics' low- bit conver- finish, with a very good lab performance. clearly defined. The bass was good, clean sion was clearly seen, and taking into Every facility worked well, and the player and well extended, sounding generally account some noise contribution below is undoubtedly good value. + tidy. Through the mid- range the sound was consistently neutral, while stereo focus was very good. Transparency rated a little above average. The 555 tended to sound polite and rather too even-tem- pered, although it was classed as offering very good ' high fidelity'. More brio would have helped raise listener interest, and the reproduction was considered to lack suf- ficient drive and life to match its good performance in other areas.

Technical details A remarkably small PCB and relatively few visible components have been fitted. 'The reason is simple: the ICs are all surface mounted directly on the underside of the TECHNICS SL- P555 board. As regards decode technology,

Technics is suffering from a marketing .....01V.. 020 problem here. Having led the research datu field with the low-bit, high-oversampling MASH system, it was decided to conceal it _14 .

ST00, 0 214. 03.40S STOP , 10 0•• . in domestic players because of the minor 1.1. shortfall in measured signal-to-noise ratio.

The first domestic player, the SL- P200, 20 e\ ;\itirjr147. therefore concealed its true identity, and r now we have the same state of affairs. - [mods 10001 CMOKS ST00/1 0 Sec S,OFt • .. S•c The front panel says ' 4 DAC linear 101.4 100.12 000 10002 MI« Graph 10. Technics SL-P555: Dithered 1kHz 18-bit', but this is not the case. The 555 is Graph 8. Technics SL-P55.5: Frequency response sinewave at - 90dB, waveform below, distortion a MASH technology player, using pulse- spectrum above

width modulation to decode ahigh over- ItEASURED LEVEL Test results sampled, digitally filtered signal at a 64- 2011z Iltflz 201d1z

times rate. The DAC is single- bit, -7043 Channel balance ( dB) 0.01 0.03 0.07 augmented by a second bit to improve Channel separation ( dB ) 110 98 75 -11043 Channel phase difference (') 0 0.3 2.4 accuracy, and in theory at least it should Total harmonic distortion (' inc noise ) OdB -90 -84 - 90 -0049 deliver near-perfect monotonicity and (20Idlz bandwidth) - 10dB - 86 -70dB - 44 linearity. In this player the MASH chip is 10043 Intermodulation distortion ( dB ) time-shared between the two channels, so L+ ROdB; 19, 20kIlz -100 11048 L+ R - 10dB; 19, 20kIlz -100 only one DAC is present rather than the Frequency response ( dB) L + 0.03 o -0.28 four proclaimed on the panel! The trans- 20Hz-201(11z R + 0.05 O - 0.24 - 7043 - 0043 - 00•10 - 10040 - 11043 - 12060 Output level. OdB ( V ) 2.26 port is an excellent Technics design, with 1323.01,311 LEVEL Output impedance ( ohms) 660 Ildtz 5kHz 161dtt a fast- response linear- motor drive plus Graph 9. Technics SL-P555: Linearity plot De emphasis + 0.15 +0.23 - 0.13 fine suspension and good disc clamping. below - 60dB Track access time ( secs ) ITr15 YEDS21 2.5 secs Mechanical noise low The base-plate chassis is aheavy mineral- Ernie correction to gap: > 2.4mm Signal to noise ratio with without loaded anti- resonant moulding. (no emphasis) trig:basis emphasis a ) 2011z-20k1iz unwtd ( dB) 99 98 b)CCIR ALM ( ' kHz ref) 96 96 Lab report Supplier: (dB) Spuriag ( to 100kHz )( dB ) ref OdB - 104 The 555 has superb channel-balance and a Panasonic Consumer Electronics UK, Resolution ( dB ) at - 90dB L=- 90.l R-90.25 Willoughby Road, Bracknell, Berks, RGI2 Headphone socket Yes, variable decent if not perfectly flat frequency Ihmensions ( wdh ) 438338 11.4cm response, the latter unusual these days in 4FP. Tel: (0344)862 444 Typical price inc VAT £290

111.FI NEWS & RECORD REVIEW Al ' GUST 1989 71

TECHNICS SE MOO 'DIGITAL DIRECT DRIVE' he race to produce new and Following aspate of amplifiers struction with independent heatsinIcs at interesting products is hotting up. either side. The two transformers have TTechnics' engineers have with on-board digital processors, oxygen-free copper windings, and special developed adigital power amplifier which high-speed supply capacitors are used. is something more than astandard power variations on atheme are arriving Also, OCC wire is used in critical applica- amp with an on-board processor. tions. A further PCB is located vertically for the new season . . . The first striking feature takes the form behind the front panel, taking care of of a large, semi-shrouded volume control switching, volume control, and line ampli- set in the centre of the front panel. Below by Chris Bryant fication. For analogue inputs astage with this are four digital input selector buttons, 45dB of gain is employed after the volume covering two optical sources, one coaxial, claims innovation is that this signal is control to feed the unit- gain current amp. and aDAT coaxial input. To the left is the provided by employing a high-voltage operation mode selector: digital, variable current- to- voltage converter at the DAC's Sound quality analogue, and a fixed analogue input output stage. By making this converter a Equipment used for listening tests com- which allows the device to be used as a variable- gain device, the volume control prised Celestion SL700 loudspeakers and normal power amplifier. On the right is is kept out of the direct signal path, being Meridian 207, with a Marantz CD85 CD. the speaker switching: off ( useful for in the feedback loop of the converter Through its internal digital processor headphone listening), set A, set B, or both instead. In this way the signal-to-noise the SE-M100 delivered a very detailed together — handy for bi-wiring. ratio is increased to that inherent in the sound. The bass was fairly extended but a Gold-plated RCA phonos are used for all amplifier and is independent of volume shade heavy, and given the right ( wrong) inputs with the exception of the opticals, control setting. Technics claims a S/N material it became a touch boomy. The which employ Toslink fixing. The speaker ratio of 112dB, providing a very large mid-range was thinned on voice and had outlets are binding-posts only, and case- dynamic range. traces of exaggerated sibilance. Strings work is up to the normal Technics stan- The D/A converter uses four DACs to could sound squeaky, with some glare: dard. The case panels are made from steel provide 20- bit resolution in conjunction slightly thin without enough body and and, continuing the fashion, large feet are with an 8- times oversampling digital filter. texture. The treble was precise, with employed. This eliminates zero-cross distortion as in images well constructed and exhibiting Technics is claiming some innovative Technics current CD players. The Yamaha fine focus. The amp does have some technology for this amp. Borrowing from ADIC is used for digital acquisition, fol- measure of transparency and the stage the long-running Class-AA system, it has lowed by aTechnics digital filter and Burr width was good; but it was a touch taken an interesting route in the search Brown PCM56P 16- bit DACs. 'mechanical' in its rendering, unable to for improved signal-to-noise ratios. The Internal construction is complex. The preserve fully the intricate relationships output stage is aunity- gain current ampli- converter sits in its own screened box between various strands of the music, fier fed from a voltage which must above the main body of the power ampli- especially when things became complex. obviously be the same as that appearing at fier. Remove this, and the power amp is Fed through the analogue circuits from the speaker terminals. Where Technics laid out beneath, using double-mono con- a normal CD player, the sound produced AMPLIFIERS

was decidedly different. From the Meri- well preserved up to 20kHz. Channel level linearity test ciemonstratcs almost dian and the Marantz the treble was separation was slightly better at low and perfect resolution down to - 110dB somewhat lazier - it lost that precise mid frequencies than on the line input, (Graph 3), the - 90dB sinewave is well imaging and huge stage width, but at the but worse by 5dB at 20kHz. Harmonic constructed ( Graph 4), with a corres- same time it became easier to live with distortion was low, with about - 90dB ponding resolution error of only 0.3dB, and to my mind more musically enjoy- recorded for afull- level signal right up to and dynamic range, as claimed, is large. able. Rhythm seemed improved to some 20kHz, while the - 43dB THD measured extent, and although things weren't all at - 70dB level was particularly praise- Conclusion sweetness and light, it made avery brave worthy for a digital device. HF intermo- Technics has ahabit of making amplifiers effort. Strings could still turn abit acid at dulation was as clean as a whistle. which measure exceeding well and have a times, a trace of glare persisted, and the The frequency response was fiat from touch of novel circuit design. To this end bass remained a mite ploddy. But the the bass through the midrange, but shows it has produced a more than interesting sound was still reasonably detailed and some asymmetric roll-off in the high product. At £560 it offers reasonable lively, gaining more natural dynamics, treble ( Graph 1). The signal-to-noise ratio power output, a good lab performance while retaining ambience depth, space (ref. OdBW) was better than 100dB under and excellent build quality. Sound quality and transparency. The top has some grain all measurement conditions, fulfilling makes this one of the best Technics and tizz, and as this appeared irrespective Technics' claims. Turning the output up power amplifiers ever, with or without of source it must be attributed to the to 20V for a OdB reference revealed the the digital converter in use. In compari- power amplifier proper. ultrasonic spuriae for a - 70dB level of son with its competitors it is better than IkHz tone to be 125dB down, and Graph average, but it does fall alittle short of the Lab report 2 shows this clean behaviour. The low- best available in this price range. + The power amplifier part can obviously be treated as a normal PA, but there is a TECHNICS SE- M 100 line- amp as well. The digital processor was tested like any other, but with the 2.111 audio output taken from the speaker Test results terminals. Ide Manufacture's Rated Power output into litatims 20.6-dBw Ode Power Output 20Hz IkHz 201(Hz Power amp section One Channel, Bohm load 2I.3dbW 2I.5dBW 21 3dBW Both channels, 4ohms load 19.8dBW 20.0dBW 20 ( kIBW The specified 100W output was easily IdE1 One channel, 2ohm, burst 22.5 Instantaneous peak current achieved into an 8ohrn load, and with just +I9A - I9A 2d0 one channel driven over 135W was Distortion Total harmonic distortion 20Hz ikliz 201tHz attained before programme clip. Into 'dB at rated power, aux/CD input -81 dB - 85dB - 82dB - tin Mu». • puma Intermodulation, I9/201d1z, rated power, aux input - 9641B 4ohms the power limited at 20dBW .1d0 Noise (200W), but this time both channels were 10113 t199 10911. 201.. Aux/CI) input ( IHF, CC1R wtd) - 84dB working. Burst signal into 2ohms with a Residual, inroad ( vol control at Graph I. Technics SE-M100: frequency response of digital min) - 92dB 20% duty-cycle saw 22.5dBW, with ± 19A processor DC output offset LOmV R.OmV of current available. DC-offset was negligi- • Input overload 20Hz IkHz 20kHz Aux/CD input ( IIIF) >28dB > 28dB > 28dB ble on both channels. Stereo Separation Total harmonic distortion was very low AWL/Cl) input 83dB 83d 80dB at all frequencies, while HF intermodula- Output impedance 0.18olun 0.17olun 0.23olun (damping) tion products at rated power measured Volume/balance tracking OdB - 20dB - 60dB Atuc/CD input 0.04dB 0.7IdB 2.00dB -96dB - a fine result. The line- input, Input Data Socket type sensitivity loading referenced to 0.5V for OdBW output, had Aux/CD input phono104mV 20kohms 2.50p( Power amp phono 104m1l 20K.ohms 240pf an 84dB signal-to-noise ratio, and - 92dB of residual hum and noise with the Test results digital processor volume set to zero. Input overload was Graph 2. Technics SE-M100: spuriae up to lOOkHz 20Hz (kHz 20kHz greater than 28dB ( ref. 0.5V), stereo Channel balance ( dB) 0.68 0.68 0.71 associated with a ¡ kHz tone at - 70cU3, measured via the separation was maintained at better than Channel separation ( dB) 86 85 75 digital processor Channel phase difference 00 80dB across the audio range, and the low TIM 1.12ASURID LiVEL OdB -89dB -90dB -90dB -00.10 output impedance increased slightly with - 10dB -82dB frequency from 0.18ohms at 20Hz to -70dB -45dB -70d1 Intermoduiation distortion 0.23ohms at 20kHz. Volume balance OdB, 19/20kIlz -10IdB -10dB: 19/20kHz -80d9 -94dB tracking strayed alittle at low levels, with De-emphasis error lkilz 51cliz 16kHz 2dB of error at - 60dB. Both the fixed and +0.09 +0.06 -0.20dB -90dB Signal to noise ratio with without variable inputs had asimilar sensitivity at emphasis emphasis 100dB 22Hz - 22kilz unwtd 106dB 100,10 approx 105mV, which may be a little CUR ARM ( IkHz rd) 104dB 102tlit insensitive for some products - perhaps Ultrasonic spuriae to 100kilz (ref OdB) making aseparate pre-amplifier necessary. -70dB signal -I25dB 120dB Resolution ( dB)) at - 90dB The loading of 20k-ohms and 250pF is - 70d9 - flOde - 90dB - 1000 - 110dB - 120.111 L-90.30dB R - 90.27dB reasonable, and 1.22V for clip. REQUIBED LEVEL White noise ( full level ) Slight clip Size ( width Xdepth xMet ) mm 430 x 161 X 380 The frequency response was slightly Graph 3. Technics SE-M100: linearity plot below - 60dB Typical price inc. VAT £560.00 rolled-off in the extreme treble, actually down 0.3dB at 20kHz, but extended fiat to below 20Hz in the bass. A supply OJO modulation spectogram taken at two- thirds power level with both channels

-lee driven into a 4ohm load was very clean, STOP, . wr 191,9r,d, with only a slight 50Hz residual some 82dB down.

Processor section 1 0 , 4 oSec Supplier: Panasonic Consumer Electronics, The channel balance was dependent on Graph 4. Technics SE-Ml00: dithered ¡ kHz sinewave at Willoughby Road, Bracknell, Berkshire. volume setting, but for 2.83V output -90dB, waveform below, distortion spectrum above. Tel: (0344) 862444 (=OdBW ref) it was only 0.68dB out and

HI-FI NEWS & RECORD REVIEW AUGIIST 1989 75 "AWARD WINNING HI-FI AWARD WINNING DEALER"

'It was years ago but, Ican still remember buying my first real hi-fi turntable. Iwas astudent working weekends in the local take-away, it took about six months to save the money for that turntable. You see, I'd set my sights on one of those reviewer legend beasts, carved out of the living rock. Geez, it looked and sounded pretty. Ihopped the train to Cardiff. It was one of those drizzly, grey days that Cardiff wears so well. Panic, Icouldn't find the shop. A cute blonde with drop-dead looks set me straight. It was atiny, cramped affair jammed full with real hi-fi. Imet the owner, "Tall Tony", he was busy but, not too busy to help. Well, the Living Legend sounded right, looked right and Iparted with the cash. But, how was Igonna usson get it back home. It weighed in like Orson Welles in leg-irons. Tony ELECTROrlID had an idea, he's deliver it, set it up and check it over before leaving me to it. Man! That guy was aSaint. A couple of days later there we were in my sleazy room, Billie singing the Blues and Tony doing the fine tuning. Well, I've gotten out of the take-away business and Tony's got Audio Excellence into three new shops and the Blues, well, the Blues plays on:

134/6 CRWYS RD, CARDIFF ( 0222) 228565 9 HIGH ST, SWANSEA ( 0792) 474608 58 BRISTOL RD, GLOUCESTER ( 0452) 300046 audio eXcellencc AMPLIFIER

estled amongst a new range of 11141101111r — • Sony ES products is the TA- NF630ESD amplifier. Modelled on the cheaper TA-F530ES, but equipped with aproprietary 1- bit D/A converter it is the first product to employ the fruits of Philips' BitStream PDM technology. Aside from the converter, this amplifier is exceptionally well built for the price and offers a total of four standard line inputs ( including two tape) in addition to both m- m and m-c disc stages. Bass, treble and balance knobs are com- plemented by a huge rotary volume control and peripheral features such as source direct, —20dB mute, mono/stereo SONY 630ESD: mode, and full rec-out switching. Separate optical digital inputs (plus one output) are provided for CD and DAT sources as an alternative to the standard APDM PREVIEW 75ohm coaxial input. Each of the While PDM ' BitStream' CD players words output by the 4- times FIR filter are appropriate 32kHz, 44kHz and 48kHz only truncated to 3.46 bits, this satisfying sampling frequencies is indicated by a are still in the pipeline, Sony the 11 quantization levels ( 0, ± 1, row of LEDs mounted on the top of the ±2... ± 5). black anodised facia. has become the first to offer the Lab report one-bit technology Technology Viewed as a conventional amplifier the At the heart of this outboard D/A conver- Sony TA-F630ESD offered afull 128W into ter lies Philips' new PDM CMOS IC, the by Paul Miller 8ohms with an increase of + 1.8dB into SAA 7320, which effectively replaces the 4ohms. TFID rose to a maximum of established SAA7220/TDA1541 chip- set at MHz sampling frequency but is reduced 0.0089% but, as shown by the ultrasonic a lower cost using new technology. Sony by around 102dB throughout the audio distortion plot, was principally odd-order has also elected to use the reliable band. in nature. Noise was low, stereo separa- YM3623B digital interface IC from Finally the 1-bit data stream is output to tion poor via m- c ( — 40dB to — 50dB) and Yamaha which provides aseparate output the integral PDM DAC. This is aswitched the output impedance a trifle high at for subcode data ( de-emphasis switching, capacitor device that responds to each 0.215ohm. Sony's TA-F630ESD also dis- etc). 16- bit serial data is addressed by the logic signal ( either a ' 0' or a ' 1') by played afair sensitivity to the AM RF test, SAA7320 IC via a delay- line RAM and producing afixed- width, fixed- height ana- demodulating IM RF signals in the 1-4 subject to 4- times oversampling using an logue pulse. These + 1/-1 pulses emerge MHz and 22-35 MHz regions. The fun- integral FIR transversal filter. The gain of as acontinuous variation in signal density: damental resonance of the input RC net- this filter is modified to redress the 0.5dB any variation in signal density between work was put at 28 MHz, resulting in loss ( at 20kHz) encountered using the the ' upper' and ' lower' pulses therefore some + 22dB peak noise modulation — subsequent 32- times interpolation filter. represents both a change in amplitude clearly audible as a roughness and mud- Having increased the oversampled fre- and frequency of the reconstructed wave- dling via the line input. quency to 5.6448 MHz a very high level form. The PDM D/A converter offered a dither signal ( 352kHz at — 20dB) is intro- Peak output waveforms are represented linearity of some 15.3 bits but, though this duced and is accounted for by the addi- by asuccession of full scale density pulse is exceeded by many multi- bit DACs, the tion of afurther MSB. The clock frequency trains occupying the + 1 and — 1 transi- PDM converter remains fundamentally of the 17- bit data is further doubled to tions in succession. An internal integrat- monotonic to this level. Passband ripples 11.2896 MHz by a 2- times sample and ing op-amp time-averages this stream of peaked at around 0.08dB while ripples in hold filter before being addressed to the analogue pulses and restores the original the stopband amounted to 12dB, both noise shaper/quantizer. passband waveform intact. Therefore an functions of the aperture effect in the FIR Noise shaping is pivotal to the success equal density of + 1and — 1pulses repre- filter. The latter is visible on the 3D of the PDM system and is used to redistri- sents no net output after filtering. spurious output plot which demonstrates bute the mounting quantization noise Philips' BitStream or PDM system the 2nd-order stopband images typical of produced by the truncation of these should not be confused with Technics' a Philips oversampling filter despite this 17- bit words to a 1- bit data stream. Each MASH/PWM scheme. MASH is a parallel integrated FIR filter offering an improved error incurred as a by-product of the technology but utilizes acomposite of 1st stopband rejection of 54dB. THD reached truncation of abit- word is fed back to the and 2nd order integral noise shapers a minimum of 0.0034% at peak level but next, thereby averaging the error together with arestricted 32-times over- its odd-order characteristic appeared between the two. In fact Philips reintro- sampling to effect much the same more to do with the integrating op- amp duces double the original quantization improvement in passband S/N ratio. The than the DAC itself. Not shown is the error so that the time-averaging or noise- process is aided, furthermore, by the peculiar elevation of the noise floor shaping process takes on a 2nd-order constraints of the Pulse Width Modulation around the base of peak- level, high fre- characteristic. DAC which requires a minimum of 11 quency signals — this appears to be a Theoretically the accumulated error is residual quantization values at the input peculiarity of the PDM system. reduced to zero by this time-averaging, a to generate 11 different pulse widths at process that is complete before the signal the output. Sound quality has reached the 0-20kHz passband. As a These pulses are of a fixed height (cf Listening fairly briefly via the disc phono result the quantization noise ( produced PDM) but are analogue and so cannot inputs I felt that deep bass notes were by truncating each 17- bit word to a 1- bit strictly be called 1- bit; they are in fact 1 restricted both in extension and impact, word) reaches amaximum at the 11.2896 level. So, in the MASH system, the 18- bit just as atrace of sibilance was introduced

NEWS & RECORD REVIEW AUGUST 1989 77 Bartlett mane savm • recommended s stems s. eokers Turntable Speakers Free cartridge, cable, 2-year guarantee, carriage • Wharfedale Heybrook AR 122 - Heybrook Tanna)' All systems supplied with cartridge, speaker cable and 2-Year Parts and Delta 30 Point 5 8&W H81 M208 Labour Guarantee. Carriage is FREE For UK Mainland *. Please 'phone Goodmans Tannoy Ell DM550 AR 132 for competitive carriage rates overseas. Maxin AR 112 Gale GS210 Price guarantee Mission 761 li you can buy cheaper - including leads, carriage and 2-Year Dual CS430 AR A03 279.95 314.95 339.95 356.95 382.95 407.95 Guarantee - we will match it. Dual CS430 AR A0.5 314.95 348.95 373.95 390.95 416.95 44l.95 Prices correct for the life of this magazine, but ore subject to change. Dual CS430 11+ ARCAM Al a 288.95 322.95 348. 95 364.95 391.95 416.95 Stockists of A & R, AR, Ariston, Audiolab, 8 & VV, Denon, Dual, Dual CS430 Denon PMA 250 249.95 284.95 348.95 326.95 352.95 377.95 Exposure, Gale, Heybrook, Inca Tech, KEF, Linn, Marantz, Musical Dual C5430 Marantz PM 35 271.95 305.95 331.95 447.95 373.95 398.95 Fidelity, Mission, NAD, Nakamichi, Quad, Revolver, Ratel, Tannay, Dual C5430 Marantz PM 45 314 95 348.95 373.95 390.95 416 95 441.95 Wharfedale, Yamaha. Dual CS430 NAD 3020E 246.95 280.95 305.95 322.95 348.95 373.95 Improved turntables (inc. cart) Dual CS430 NAD 3130 288.95 322.95 348.95 364.95 389.95 414.95 Dual CS 505-1 Extra £21.00 Dual CS 505-3 extra £42.00 Dual CS430 NAD 3240PE 356.95 390.95 475. 95 432.95 458.95 483.95 Ariston Q Deck Extra £50.00 Ariston Icon/Epic etra £ 124.00 Dual CS430 NAD 3225 271.95 305.95 331.95 447.95 373.95 398.95 AR E8101 Extra £119.00 Revolver Rebel extra £60.00 Dual C5430 Rotel RA810A 254.95 288.95 314. 95 330.95 356.95 381.95 Revolver extra £93.00 Dual CS430 RoteIRA820A 279.95 322.95 348.95 364.95 391.95 416.95 CD instead of turntable front end Dual CS430 Rotel RA8208X3 322.95 356.95 382.95 398.95 424.95 449.95 AR CD06 extra £ 246.00 Denon DCD 610 Extra £93.00 Dual CS430 Rate! RA8408X3 419.95 454.95 479.95 496.95 522.95 567.95 Denon DCD 810 extra £136.00 Denon DCD 910 extra £ 179.00 Dual CS430 Rote! RA8708X 229.95 263.95 288.95 305.95 331.95 356.95 Denon DCD 1520/2 extra £348.00 Marantz CD 583 extra £52.00 DuctICS430 Yamaha AX300 271.95 305.95 331.95 347.95 373.95 398.95 Marantz CD 65/2 extra £136.00 Marantz CD 65/2 SE extra £179.00 Dual CS430 Yamaha AX400 3/4.95 348.95 373.95 390.95 416.95 441.95 Marantz CD 75/2 extra £ 175.00 Marantz CD 75/2 SE extra £ 221.00 NAD 5220 extra £ 119.00 NAD 5240 extra £162.00 NAD 5320 extra £68.00 Ratel RCD 8208 extra £102.00 Rotel RCD 8208 x2 extra £ 136.00 BARTLETTS Yamaha CD x630 extra £ 136.00 Yamaha CDX 710 extra £ 153.00 175 HOLLOWAY ROAD, LONDON N7. TEL:01-607 2296/2148 Yamaha CDX 810 extra £ 179.00 Access, Visa cards accepted i\NIPLIFIER with most vocals. Its presentation was less. Incredible as it may seem, CD could ogy, cost-effective CMOS chips designed gentle, subtle rather than brash or forward have sounded like this from the very to run with cheap crystal oscillators on an and in this respect very listenable. Never- beginning. equally basic 5V supply. Limited only by theless those who have a desire for an the speed of commercial CMOS chips it is immediate or hard-hitting sound from Conclusion conceivable that the current 11.2896 disc will be disappointed. Iwould scarcely have thought it possible MHz sampling rate may be elevated by Via the conventional analogue CD input but, assuming this PDM D/A converter is increasing the degree of oversampling. If, (using a Musical Fidelity Digilog), this at least partially representative of the at the same time, the order of the noise amplifier sounded notably rough through- breed, all multiple- bit CD players, high- shaping was also increased ( say from 2nd, out the upper octaves while also slightly end or otherwise, are likely to become 3rd to 4th order) then the potential leaden in the lower registers. However, obsolete over avery short period. A bold resolution of such a converter could using the digital input with an Arcam statement, perhaps, but all who have easily exceed 20- bits or more. All this D170 transport mechanism brought about heard the potential of PDM will not easily while still retaining the undoubted a welcome improvement in both the forget its subjective prowess. Clearly Sony benefits of a monotonic 1- bit converter. delicacy and poise of subtle treble details. is less convinced of the potency of this At £ 350 Sony's TA-F630ESD is a gift. Odd as it seemed, the 630's analogue conversion system, otherwise they would Think of it as quite the best outboard D/A input actually sounded more ' digital' than surely not have hidden it away in an converter yet built but accompanied with the digital ( PDM) input! For instance, this integrated amplifier! afree integrated amplifier, and few listen- quality was highlighted by the improve- Today's PDM is rock-bottom technol- ers could fail to be delighted. ment in timbrai definition of the solo clarinet from the gold CD of Art Blakey & the Jazz Messengers' IWant to Talk About You. Through the analogue input, the light texture of this instrument appeared slightly rough and flat, despite sounding fuller and more natural via the PDM converter. Nevertheless these compari- sons served to reveal no profound differ- ence between either analogue or digital input, implying that the subsequent ampli- fier section was acting as an effective mask. Consequently the reconstructed PDM o • so • o ..... signal was routed via the tape output of OUTPUT FREQUENCY QrSel the '630 and into my usual reference Graph l . Sony F630 ESD ultrasonic distortion Graph 2. Sorry F630 ESD RF noise floor modulation system comprising PIP pre- amp, Deltec

- DPA5OS power amp, and Magneplanar -- AmPL ITUOE 2.5R loudspeakers. Listening tests were also performed with an experimental, - outboard, version of the PDM converter, removed completely from the influence of the Sony amplifier. The amplifier itself warmed up fairly quickly; however, the PDM converter optimizes only after a couple of hours of actual use.

Via this ' isolated' PDM converter the „ r 1 10 100 SOS 0' 10 00 30 40 30 00 10 01 ISO powerful, dynamic sound of Yello's Race FREQUENCY ( Hz) OUTPUT FREQUENCY (kHZ ) was portrayed as never before. Bass of Graph 3. Sony F630 ESD disc equalisation graph Graph 4. Sony F630 ESD PDM spurious output plot exceptional extension and power ripped from the loudspeakers as stereo images of Test results Test results: D/A section startling clarity sprang to life tens of feet 20Hz Ildiz 20kHz Channel Balance 20Hz 0.04dB behind and to the sides of the ' expected' Maximum Continuous Power IkHz 0.06dB Output, 20kHz 0.07dB soundstage. Percussive sounds were parti- Channel Separation 100Hz 82.IdB 8 ohms 119.5W 128.3W 1217W IkHz 86.6dB cularly realistic, the clack of wood blocks 4ohms I75.9W 194.1W 180.9W 20kHz Dynamic Headroom ( IHF) +I.26dB ( 171.7W ) 82.9dB UR Phase Error at lOidiz 0' and the metallic ring of cymbals were Output Impedance 0215011m 0.2I2ohm 0.25Iohm at 20kHz Damping Factor 37.1 37.8 31.8 projected with incredible purity and real- De-emphasis Accuracy IkHz +0.14dB CD/Aux m-m 5Idiz ism. All who heard it thought the MF Stereo separation ( 20Hz) 76.5dB 58.3dB 52.6dB +0.I8dB (IkHz) 64.5dB 53.9dB 51.7dB 16kliz +0.24dB S/N Ratio ( A-wtd) w/o emp 96.7dB Digilog sounded dull and compressed by (20kHz) 39.3dB 40.0dB 39.8dB Channel Balance ( IkHz) w emp I00.7dB comparison: lacking both the extension THD ( at ' kHz, I/R) OdB ( -20dBV) 1.34dB I.12dB 0.84dB -89.4dB - 10dB and profound spaciousness revealed by ( - 60dBV) 0.34dB 0.28dB 0.23dB -87.5dB - 30dB -70.9dB THD(OdBW ) -89.4dB - 93.7dB - 95.1dB -60dB this ' primitive' PDM converter. (43 power) -8I.2dB - 84.6dB - 85.1 dB -39.1dB -90dB CCIR Intermod. Dist. ( OdBW) -90.5dB - 72.6d13 - 73.4dB - 6.95dB Similarly, the timbrai purity and stereo Dithered - 90dB -7.91dB CCIR IM Dist. ( 24 power) -89.4dB - 74.1dB - 74.3dB CCIR IMO, OdB focus of the trumpet from Freddie Hub- Rise Time 2.3µsecs - 83.3dB SMYTE IMD 50Hz/7kHz Power bandwidth (< 1% THD) 5Hz-451cHz -90.6dB 400Hz/7kHz bard's Hub Tones was equally startling in Squarewave linearity - I05.6dB -88.4dB Suppression of stop- band IMD -54.2dB Phase shift ( 20Hz) 10°5' 352°5' 352°0' its conviction. I thought the track Resolution at - 30dB -0.01dB (MHz) 0* 309'36' 309°36' -40dB -0.015dB sounded both impressive and detailed via (20kHz) 348°28' 277'12' 270°0' -50d0 -0.05dB Noise ( A wtd, OdBW ) -81.3dB - 80.1dB - 71.9dB the Digilog, but this PDM converter (4,3power) -94.7dB - 88.4dB - 72.8dB -60dB -0.I7dB Residual noise ( unwtd) -77.7dB - 77.5dB - 77.8dB -70dB -0.85dB hauled the recording to new heights. In -80dB Input Sensitivity ( for OdBW ) I8.65mV 309.9µV 18.75µV -3.48d11 many respects it seemed that the PDM (for full output) 2I3.2mV 3.485mV 212.7µV L/R - 90dB -5.85dB Peak Output Level Disc Overload (20Hz) 17.64mV I.123mV 1.899V converter was able to reveal the ambient ('kHz) I41.4mV 9.880mV 1.911\ Output Impedance 2.00kohm and emotional charge that had been cap- (201diz) I235mV 88.I6mV ( 50kHz) 845.8mV 121.7mV tured on tape and finally transferred to CD Tape Output/Impedance 8.928V ( disc )/2.00kohm Input loading Supplier: some 28 years later! 35.5kohnV 32.3kohnt/ 102.8olun/ 1.W 19.6pF 1.4nf Sony ( UK) Ltd, Sony House, South Street, The instances of hearing music ' anew' DC offset, left/right -25.6mV/-22.8rnV Typical price ( incl VAT) £350 Staines, Middx. TW18 4PF. (0784)467000 with this PDM DAC were almost count-

Ill- F1 NEWS & RECORD REVIEW AUGUST 1989 79 CASTLE WARWICK the ambient information necessary to LOUDSPEAKER bring him to life. By this test, the mid- range was thought reasonably neutral if lacking ultimate lucidity, but there were How much loudspeaker do you expect to signs of some ' reedy' and hollow-sounding get for £ 169? At 465x250x230mm colorations and there was clearly a limit (hwd), the Warwick is asomewhat bigger to the amount of low-level detail that the box than is currently fashionable at the speakers could produce. price; and once the neat, wooden-framed Inevitably, the Castle Warwick has to be grille has been removed, the speaker compared with the Wharfedale 505.2, looks very much the traditional Castle which offers alittle less box if rather more product, due to the company's continued technology for the same money. Only use of its own drive units. Behind the marginally less sensitive ( 86dB/W as 'warmth' is also somewhat improved. gauze- like cover, the tweeter has adome against Castle's 88dB/VV), the Wharfedale There is absolutely no discernible dif- element of around 17mm active diameter, offers good dynamics and a generally ference in the conventional closed-loop while the bass/mid ( a new soft rubber punchier sound, which, combined with its measurements between original and mod- surround replacing the old Castle plastic neutral and detailed midband, make it the ified 8000P amplifiers. Nevertheless there foam type), has an effective cone diameter better all-rounder. But the Warwick's dry is a considerable subjective difference of about 110mm. The enclosure is reflex and even 'polite' quality did suit most between the Id and the new 8000Ps, a loaded by a 55mm diameter port posi- classical programme material, refusing to difference that correlates firmly with a tioned on the front panel immediately get too muddled or harsh with large change in the RF noise-modulation plot below the bass/mid driver, while the orchestral forces. Apart from this, the first published last month. This second enclosure is lined with slabs of acoustic Warwick offers a light-footed rhythmic plot highlights Audiolab's excellent sup- foam. Cabinet work is up to Castle's usual clarity which made chamber music and pression of the original 117MHz reso- very high standard, and the rear terminals solo piano very enjoyable too. In fact, the nance while still betraying some 2-3dB of are solid- looking 4mm socket/binding freedom from sluggishness in the lower the earlier 70MHz breakthrough ( note posts. No provision is made for bi-wiring registers means that the Castles will help that the z-axis should be calibrated in but ( with export markets in mind, almost any music will bounce along divisions of 20MHz from 0-200MHz). perhaps) the connnectors are spaced at happily. The exceptions are the categories The upshot is that Audiolab's highly- 19mm to accept paired 4mm plugs. of rock which rely on the visceral impact respected 8000P now sounds even better; On listening, it was immediately of heavy bass. That neat gold Castle badge existing owners can also benefit from this obvious that the overall balance was a is hardly going to be gothic enough for very simple but effective upgrade: contact little on the lean side, but it was not Metallica fans anyway; those with less Audiolab for details. over- bright. The speakers proved quite wild inclinations should be satisfied. Paul Miller Steve Harris good at resolving clues to the size of a Supplier: Audiolab, Cambridge Systems Technology Ltd, recorded acoustic, and, on reasonably Supplier: Castle Acoustics Ltd, Skipton, North Yorkshire 26 Roman Way Industrial Estate, Godmanchester, Hunt- BD23 27'7'. Tel (0756) 5333 reverberant recordings, conveying the ingdon PE18 8LN. Tel: (0480) 52521 sense of space around solo instruments AUDIOLAB 8000P POWER reasonably well too. On a BBC Radio 3 ledi AMPLIFIER: AN UPDATE Redeliver male spoken voice, though, the Castles now door Ode made the presenter sound lightweight and Following my recent study of Audio Fre- slightly thin- toned, failing to provide all quency/Radio Frequency Intermodula- tion, Audiolab the quickly confirmed RF resonance, centred on 117MHz, which I had noted (HFNIRR June '89) by plotting the line input impedance vs frequency across the UHF region. The inherent series inductance of the twisted-pair input cabling plus the inductance of the capaci-

tor in the input RC network was found to log Fneduancy0tO be responsible for an RF bandpass of Audiolab 8000P power amplifier (earlier production): 80-170MHz, resulting in a noise-floor RF noise floor modulation modulation of + 22dB ( max) between

2-201cHz. node door This breach of the input filter has been Od closed with a further RC network, com- prising a very low value polystyrene cap and Roederstein metal film resistor, mounted at the very input to the 8000P amplifier. This is a 1st-order filter with a —3dB point set at 6MHz! My initial listening tests indicate that the revised 8000P benefits from a swee- ter, smoother treble that is both less grainy and less fatiguing while also appearing to offer agreater detail resolu- Same test on current-production 800P, showing tion throughout the upper octaves. The suppression of noise-floor modulation effects sensation of stereo depth and musical

80 111-F1 NEWS & RECORD REVIEW AuGusr 1989 SHORT REVIEWS

resistive load. If the amplifier cannot MUSICAL FIDELITY deliver this, dynamic range will be A370 REVISITED . reduced and distortion increased. It has to be said that most manufacturers now do The A370 has enjoyed several years pro- not boast of high-current capability, con- duction, with the serial numbers sidering it intrinsic in their designs. approaching 450 at the time of writing — a H- K's quoted 18A instantaneous cur- pretty successful run for an amplifier in rent for the 635 is presumably now seen this price and power class (£2250, 185W/ as overkill, since the figure is reduced to channel). Fully reviewed in HFN/RR in 15A for the 635i. Outward changes affect Sept ' 86, it was reassessed in Jan ' 88, and the control knobs, now of a ' squashed' design improvements through 1988 have design, and the use of rotary selector lead to this reappraisal for the '89 series switches instead of push buttons. Some basic power checks have been There are new input/output facilities, carried out, but the bulk of the assessment including tape dubbing and a sparate concerns new listening tests and acheck an A370, the sound of the latest model video input: a pity H-K could not have on the standing output-stage current. was forthright; by comparison, the MA50 added a moving-coil phono at the same Originally and erroneously presented as sounded laid-back The 370 was strong, time. Smoothing capacitors have been a Class-A 185W/channel power amplifier, forceful, confident and dynamic. The char- increased from 6800 to 8200µ.F, and this description has been amended, and a acteristically generous headroom gave a other components have been uprated. fairer one would be ' enriched Class-A/W, sense of unbounded peak sound levels, In terms of sound quality, the old implying a higher-than-usual level of while it could deliver high levels into PM635 was very good, with an ' accurate' Class-A bias for low-level signals. A check loads unacceptable to the MA100. sound that seemed to encompass the on an output device showed a60mV drop The bass was high-class, with real slam whole musical spectrum wihout strain; across the 0.47ohm sensing resistor, rep- and depth, a sound which comes from a however, it could sound slightly hard for resenting a current of 128mA. Given the massive power-supply properly exploited. some tastes. Turning to the new 635i, the push-pull 'totem' configuration, with five Articulate and tuneful, the bass was also differences were small and not output MOSFETs per phase, this allows for correctly dry and controlled. The tonal immediately obvious. It has a slightly an equivalent standing-current reserve of quality was improved through the mid, brighter quality; when pressed to the 0.9A RMS, or 6.5W into 8ohms. The A370 with string- tone increased in sweetness limit, the new model seems slightly more in consequence runs a little cooler than and definition. Overall tonal balance 'composed' than the older. Very high before, but 6W or so is still quite alot of remains slightly thin and forward — an instruments ( such as triangle) sounded Class-A power. Typical MOSFET amplifiers aspect clearly illustrated by MF's own cleaner, but the effect was regarded as with a paralleled pair of output devices MA100. The treble was also considered to slight. However, the PM635i's new facili- run to 0.25W of Class-A, thus legitimizing be of equally high quality, with very good ties are useful enough to make it a the label ' enriched' for the A370. detail resolution, alow incidence of grain, thoroughly good replacement for what Power checks on this heavyweight edge, or sibilance, and only amild loss of was already avery reasonable product. showed excellent power-bandwidths at a precise registration and focus with the Michael Powell generous 250W per channel into 8oluns. matching formant sounds. Compared with Some 400+400W was delivered into 2x4- the new top references, the treble was Supplier: Harman (Audio) UK Ltd, Mill Street, Slough, ohm loadings, with 760W on pulsed considered slightly 'lazy'. Stereo sound- Berks. Tel (0753) 76911. programme into 2ohms, and 1250W into stages had very good width, fine depth, ROKSAN SHIRAZ LAB 1olun. Although not quite in the Krell and pretty good perspectives. The whole MEASUREMENTS class, this was a genuine, heavy-duty presentation was imbued with a sense of performance. The peak-current capability driving power and good instrumental Following the review by Alvin Gold of was fine, measuring agenerous ± 34A, and definition. Roksan's Shiraz Cartridge (HFN/RR, June the unit was clearly load- tolerant. As an example of a mainstream 1989: see also the summary on page 53 of Checks on the interior revealed amplifier, the current A370 is admirable. this issue) which included Chris Bryant's improvements to wiring, plus employ- Competitively priced for its considerable measurements on acurrent Artemiz arm, ment of asuperior grade of op-amp in the power output and dynamic range, it con- we are now able to complete the picture input circuitry, augmented by a discrete tinues to set an enviable standard which by including Chris's measurements on the differential input used in a novel con- suits all kinds of programme, and has the Shiraz itself. figuration. A double-mono design, two ability to maintain this performance over massive toroidal transformers are fitted, awide range of loadings. Martin Colloms RESPONSE SEPARATION which accounted for much of the weight! 008 Build quality and finish were really good, Supplier: Musical Fidelity Ltd, 15-16 Obenspic Trading both inside and out, though the blue Estate, Fulton Road, Wembley HA9 OTF. Tel 01-900 1008 switch-on button did glow a dirty off- 2866 white when illuminated. Perhaps afew of HARMAN/KARDON PM635i 20dI3 those exotic blue LEDs would help. AMPLIFIER On listening tests, the previous A370 would grade at 57% using our revised 'High Instantaneous Current Capability' 30d8

1989 scale ( see Krell review, March), (HCC) remains the byword for Harman/ — — 0eueretN. -MS while the current version was unmistak- Kardon's amplifier range, in which, after 1.1.111 I I 111111 I I 1111.1 4000 ably improved at 63%, this equalled at a some small but possibly significant design 2014: 10011: IAN: SONNa lower power level, and with afar poorer changes, the popular PM635 was replaced Roksan Shiraz cartridge: frequency response and stereo separation load- tolerance, by MF's own MA50. by the PM635i. Perhaps MF should not have thrown in the High current capability is said to allow Cartridge test: Roksan Shiraz A370 for review with the MA100 for the instantaneous changes of impe- Output L5 cm/sec 0.7mV Output R 5cm/sec 0.7mV (covered in June), since it could well dance in a loudspeaker during music Channel balance OdB have looked better in isolation! Pre- reproduction, which ( according to the Channel separation L 28.2dB Channel separation R >30dB MA100, D125, new KSA's etc, the '89 results of research carried out some years Tracking ability L 75µm Tracking ability R >80µm version A370 would actually be a class ago by Matti Otala) can result in ademand LF resonance 12Hz winner and can take on the likes of the for three to six times more current than Wad 400pF, 0.1k-ohm Operating temperature 22 degrees C Goldmund Mimesis Three. Recognizably that needed to drive the nominal 8olun

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Cellist Steven Isserlis is the grandson of Julius lsserlis the distinguished Russian pianist and composer, who, born in Moldavia came with his wife and son from Vienna to settle in England in 1938; he was ten years old when his grandfather died in 1968. Growing up in a musical family — both bis sisters Annette and Rachae4 are professional string p1ayers his father an enthusiastic amateur— nurtured his love of chamber music and this has led to his reputation as a brilliant soloist with a particularly fine gift too, for ensemble work allowing him to express his wide- ranging musical interests. STEVEN ISSERLIS Gut reactions, keeping things Andras Schiff Or, for instance, Murray Pera- used to think "God, I mustn't make a hia, somebody who's respected by all musi- mistake". That's the point of a good pro- fresh, and spruced Boccherini, cians: there's a lot of publicity about him, ducer, it sort of frees you, and you don't but it refers to the music.. Both of the have a have to think about that. He notices the special understanding of certain sorts of mistakes, you just think about the music. So I by Sorrel Breunig music and it's all to do with that.' do as many complete takes, big chunks, as I Beginning his recording career compara- can — most people hate patching. I'm just tively late has meant that he did not have the trying to give performances.' tis impossible to categorize Steven Isser- pressure of being ' hyped' when very young, You chose the Elgar Concerto for your lis, and that pleases him. ( Attempts have and for that he is grateful. first recording with Virgin. It is, presumably, Ibeen made, of course, ranging from 'a 'I suppose the pressure was on me more a work you were very familiar with from cellist's cellist', to ' the Rupert Everett of the to play a different way. Igot a bit labelled, your concert performances? cello!) The natural exuberance and quiet when the Brahms Sonatas came out, with the `Yes. It was an obvious first choice for reflectiveness of his personality combine to gut-strings thing. Igot abt of flack about it. Virgin. We planned it together, I can't make him an artist of great diversity. Well: I had some good and some bad remember whether Ior they suggested it.' He made his recording debut in 1985 with reactions and, again, it was pigeon-holing me How do you decide when you are ready to the two Brahms Cello Sonatas for Hyperion. so I made sure it wasn't mentioned again. record a work like that? The signing of an exclusive international Nobody can criticize me now for that, 'I suppose when you don't come off the contract with Virgin Classics last year means because nobody knows what strings Iplay concert platform seething with frustration that he now has a busy schedule — with the on. No critic ever mentions it.' everytime you play it! Its original coupling possibility of three or four recordings ayear About not recording earlier in your career was going to be the Schumann: that was my — bringing his work to a much wider — did you deliberately hold back from it? idea, which Virgin talked me out of; they audience but with it, publicity. He has 'No — it just didn't happen really. It wasn't didn't think it was agood coupling. I'm still particularly strong views about that, and is for a long time that Iwas thinking about not sure that it isn't a good coupling, but I reluctant to become involved in the current recordings. Well — Iwas very nervous about am very glad that they talked me out of it, trend for marketing artists. it for along time, Isuppose. But then when I because Idon't think that Iam ready just yet 'I think people can be marketed. recorded the Brahms Sonatas, it was with to record the Schumann. I certainly don't Obviously, you need people to know about Andrew Keener producing, which was very feel ready to record the Bach Suites or you, to know your records are being made. nice [ a collaboration, which happily, was Beethoven Sonatas. But Elgar, I suppose I You need a certain amount of publicity — able to continue with later Hyperion record- just felt that Ihad something to say about it, how it's done is the main thing. Ithink artists ings, and on EMI: the Britten Cello Sym- that I wanted to say.' ought to be careful. Idon't want to sound phony with Bridge's Oration] and Isuppose You had very specific ideas about it? self-righteous, and then for an awful adver- I've relaxed abit after that and each time it `Yes — very specific. In the score and the tisement to appear of me! But Ithink one becomes easier. Basically, Ienjoy it now. If it piano reduction, which Iactually prefer to should make sure that all publicity is some- goes well, very much! I used to be very the score — Iprefer the markings — there's thing to do with what one is. It is possible to scared of microphones for a long time. Still just a lot of tenuti and largamentes. People write interestingly for everybody about scared of cameras; maybe I'll get used to have mostly ignored them or taken them music, but clothes and that sort of thing have them, but of course I don't face them as with alarge pinch of salt. But within the last got nothing to do with music. A person I often. Isort of freeze up with cameras, and I five years or so, Iwas working on the piece refer to, who has an almost ideal career, is used to be abit like that with microphones. I and Ijust decided to try taking them very

IR -F1 NEWS & RECORD REVIEW AUGUST 1989 83 Kim Walker — Bd Canto Bassoon 'Bel canto' literally ' beautiful singing', is the Italian vocal art characterised by beauty of tone, lyrical and graceful phrasing, and a seemingly effortless technique. The bassoon, with its kaleidoscopic palette of tone- colour, ranging from rich and vibrant to expressively plaintive, together with its large compass, have made it one of the most versatile of instruments, and one of the most appropriate for the realization of bel canto ideals in an instrumental guise. This collection of nineteenth and twentieth century works, brings together both original bassoon pieces and sympathetic arrangements, to reveal the instrument's unique singing qualities, together with its underestimated capabilities as a virtuoso performer in brilliant showpieces. The ever- popular Saint-Saëns Sonata and Elgar Romance are joined by six original works receiving their first recording, and four transcriptions including astunning ' Flight of the Bumble Bee'.

Just a few of the critical plaudits showered on Kim Walker's performances and recordings: '... in smoothness of line and seductive tonal plangency she outclassed many an operatic rival!' The Times 'Kim Walker is asuperb modern bassoonist. .. her tone is so sweet and refined . . . beguilingly THE BEL CANTO BASSOON expressive' Qramophone Kim Walker — bassoon . . . the performances are quite delightful — play them Julius Drake — piano once and you're hooked!' Classical Music REGCD104 ( CD) REG104 ( MC)

Recent releases

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KODÁLY: MISSA BREVIS POULENC: MASS IN G, FOUR THE VIRTUOSO HARP CHRISTMAS MOTETS — Rachel Masters — PANGE LINGUA, LAUDES ORGAN! LANGLAIS: MESSE SOLENNELLE REGCD102 ( CD) REG102 ( MC) Regent Chamber Choir, Regent Chamber Choir, This brilliant début recital recording by one of John Scott ( organ), Gary Cole Adrian Lucas ( organ), Gary Cole the most accomplished and well-known of the REGCD101 ( CD) REG101 ( MC) younger generation of British harpists, REGCD103 ( CD) REG103 ( MC) presents abreathtaking new account of the A unique coupling of the two greatest French Britten Suite, and major works by Handel, The Regent Chamber Choir had a great Masses of the twentieth century. Pierné and Salzedo new to the catalogue. success with Poulenc and Langlais. This new disc confirms and extends that artistic BBC Radio Three Record Review promise. Fine singing in an excellent church 1st choice recommendation for Poulenc Mass acoustic make this a highly attractive offering. Recommended' (Classical Express) ' . . . their recording of the Poulenc would certainly be my choice' (Organists' Review)

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REGENT RECORDS LIMITED PO BOX 524 LONDON SE25 6AN TELEPHONE: 01-771 5552 FAX: 01-653 9734 MUSIC seriously, and doing them all. And, it just and beautiful they are, incredibly beautiful. I am never going to do another music festival! worked — for me. That's not to say it's wrong have played them in concert with harp- And then of course, at any of the ones Ihave not to do them as much as Ido them but ... I sichord. The concertos, but particularly the been back to, there is always a moment of was recently listening to a very famous sonatas, are my cause. The lovely sonatas.' elation, it's great. Ijust click with somebody, musician talking on television, saying that to You then went from Boccherini to record? it's really something very special.' observe all the markings in an Elgar score — 'Kabalevsky! I'm just scared of being There was a splendid example of this at he was especially talking about the Cello pigeonholed — Ijust never want to be in one the Wigmore Hall in June. The young Concerto — is ridiculous, they were just a sort of music. I'm not aparticular Kabalevsky American violinist Joshua Bell's highly suc- guide. Iagree that with some composers... freak, Ijust loved that piece [ Cello Concerto cessful debut there was enhanced by Steven 'And there are recordings. With Beatrice 2] and the Prokofiev on the other side Isserlis's presence, together with pianist Harrison. Elgar did actually take a lot of [Concertino Op.132]. It's his last work, Jean-Yves Thibaudet in a superb perform- notice of his own markings; but of course a which was actually completed by Rostropo- ance of the Ravel Piano Trio. [ Immediately lot of them are in the cello part and he vich and orchestrated by Kabalevsky. That recorded for Decca, at Abbey Road.] wasn't playing the cello, I doubt that he seemed a nice tie-in. But Idecided Ihated 'Josh and Imet at one of these festivals and would have decided every inflection. But I the orchestration. The piece is tuneful, it so happened we got on — it's a festival do hope that I took everything that Idid simple. It's very accessible; it's certainly not which is very nice, Spoleto ( South Carolina), from the text; every mark in it somehow grand — there's something intimate about it. a nice atmosphere — so we decided to do affected every phrase.' Kabalevsky came along and looked at his things outside of the Festival. There was no Because Elgar is an essentially English Concerto: it's razzmatazz, full of excitement pressure on us, we just decided because we composer, does that influence the way you and colour, which is great for him. But then got on wee approached the work? he tried to apply this to his orchestration of In ayear . that is not yet over, and already `No, not really. It's the piece. The piece is the Prokofiev Concertino: it just doesn't with many high spots, there must be two English, therefore it calls for adifferent sort work, it smothers it. It wasn't possible to do things which stand out as being particularly of playing. But I wouldn't approach it another complete orchestration for copyr- special for Steven lsserlis: in April, a recital differently because it was English; it's just ight reasons, but we did change quite a bit tour of the USSR ( his third visit there); and that it needs a different interpretation.' and Ihope it has improved it. Ihave since in May, his chamber-music festival, 'Schu- Is it possible to put into words what that met ( since Idid the recording) Oleg Pro- mann and his Circle' where he organized interpretation is? kofiev. He said, Iwish you had come and sixteen programmes, bringing together 'I'm not sure. But Imust say that the one spoken to me. He was very interested, more than 30 musicians, and resulting in word that always comes into my mind when because I played at Madame Prokofiev's packed houses. Iplay it is ... regret. Regret of its time — all funeral at the beginning of the year — the 'Two years ago, Idid the normal Goscon- that was lost in war. I'm not thinking " regret" filler on the record. It is something Idon't cert State Agency tour. This time I went every time Ilook at any bar in the piece.' think has ever been recorded: a movement through an agency in Armenia, a new co- There is a connection there of course, from an unaccompanied cello sonata, which operative. Iinvited Levon Chilingirian, who with the Britten and Bridge you recorded. he was writing when he died. He had written is Armenian; Isuppose that Iam closer to 'Well, in fact, those three works — and I most of it, and it was completed very well by Armenia because of him. He is agood friend wouldn't normally bring such extra- musical somebody. Oleg Prokofiev had never heard of mine. He and his wife spent about two associations to works necessarily — are all it. Strange circumstance for him to hear a weeks working in the aircraft hangar [ at elegies for war, I think. But that's coinci- new piece by his father. Heathrow] so it was great to be out there. dence. I really don't think that of a lot of 'I love all 19th-century Russian music too. Basically, we were giving concerts because music. The Poulenc Sonata, for instance; that Ihave aproject with Virgin to do quite alot of all the troubles there. Not for money, just was was written in the middle of the war, of that. Again, it's unknown stuff. It's not to go and play for them. It was very exciting.' but it's certainly not a war- like piece at all. great music, but music that gives pleasure, Did you notice a change there? It's wonderful, but not elegiac! wonderful music in its way. 'In the Soviet Union? I wouldn't say 'It's silly to say there's no English School, 'I suppose my enthusiasms spread! Ialso dramatically, but it has definitely changed, because there obviously is. But it's not love contemporary music. John Tavener has the openness. But whether that's going to something I'd apply to the piece; it is written apiece for me — The Protecting Veil change our basic problems, Idon't know.' something the piece would call forth for me. — it's agorgeous piece, stunning music.' That Would you describe yourself as political? That those particular harmonies, combina- work will be given its first concert perform- 'I don't judge. Ijust play the cello, just tions of notes, produce certain set sounds, ance at the Proms on September 4th with shut up and play my cello. Iwouldn't go to a which could sound English ... it's like the Oliver Knussen conducting. place where I felt I was playing for the Bloch Schelomo on the other side could And there is always time for chamber wrong sort of audience. It's difficult in sound Jewish. But again, I didn't go in music. He is afamiliar figure at the Wigmore Armenia, there are lots of different prob- thinking " I must sound Jewish".' Hall; during András Schiff's Haydn Festival lems. At the moment, they are looking for For his second recording for Virgin, he there last September he performed in eight morale boosts, people from outside coming asked to do works by Boccherini. 'The consecutive recitals. ' I played 20 Haydn and playing, and showing that they care. The orchestra's unknown. The music — well, he's trios, not one of which Ihad done before. concerts Idid were televised there and Idid not exactly ahousehold name — that is arisk. Hard work! But Haydn Ifind a total genius. television interviews, where they asked me But it was something I felt very strongly Those piano trios! He [ András Schiff] said what the British people thought of Armenia. about. The chance to share your enthusiasm they were wonderful, and I believed him; But that's not being political: 1e- with more people. So, Virgin let me do it. It's but Ithought it would be mixed and some of just another interest Ihave: earlier music. I them conventional. But they were totally just love Boccherini! He is very underrated. I wonderful. Not so much the trios with flute think people don't know him because he has — Istill like them — but violin, piano and been in such bad editions. His most famous cello, there's some amazing things in them.' cello piece, the concerto in B- flat, is abso- It must widen your horizons as amusician. lutely unrecognizable from the original, like 'At least about Haydn in particular it did, alot of his work. Grützmacher came and did yes. Well — that's why Iplay chamber music, the 19th- century version. It should not go it expands one's repertoire. The cello reper- under Boccherini at all. The notes, keys, the toire, much as Ilove it, it does get stale after tempi have been changed. Imean, it's just a bit.' Is there much adjusting to do after different music! doing solo works? ' It's not so different. The 'For this record Iplayed two concertos volume might be, or the actual finger-work. with the Ostrobothnian Chamber Orchestra You have to keep in trim practicing concer- — my friends from Finland — and three tos. Imean, Idon't just accommodate other sonatas with Maggie Cole. We had good people. Ilisten. Irespond. But it would be editions for the concertos. Iwas given by a the same in aconcerto: you listen to what's friend some photocopies of contemporary going on in an orchestra, what the conduc- copies of the manuscript, of the sonatas in tors bring out — it's all chamber music.' particular. I started looking at these and 'Yet, I do love chamber music. Well, thinking these are not the pieces Iknow, the sometimes Ihate it! You know, Igo to lots of impression is completely different. The chamber music festivals these days, and more you get to know them, the more subtle every time there is a moment when Isay I

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hanges of personnel within a string Playing second fiddle to quartet can be traumatic — especially, Cyou might think, when the new- the Salzburg family ensemble . . . comer faces two brothers and a sister who have been making music together since childhood. Offset that, though, against youth by David Nice and the vicissitudes the Hagens have already encountered — not least the contrast between a happy Salzburg upbringing and had in Salzburg. He tends to lead the the dynamic interchanges they encountered discussions and make us think more about at Gidon Kremer's Lockenhaus Festival — and the music.' Rainer adds: ' Cincinnati changed this fresh encounter seems only part of the my outlook completely. It wasn't just a developing process. Rainer Schmidt, the matter of studying the score. Walter Levine Quartet's new second violin, has been [formerly a member of the LaSalle Quartet ] through a refining fire of quite a different was so special because for him music- sort in his year at Cincinnati, and that has making was a matter of ethics, a philo- evidently kindled new sparks in the way the sophical problem. What he has left me with four now play together. is a feeling that Ican never spend enough The Quartet began life as a kind of time looking at the music we play. Some- string-playing edition of the Von Trapp times Ifeel sick because Ican't always know Family Singers; all its members were chil- exactly what it is about. But trying to dren of Oskar Hagen, principal viola in the understand is so important. It doesn't mean Salzburg Mozarteum. Angelika Hagen soon that we always have to discuss before we left to follow a separate career as a solo rehearse. Often it's just by playing that you violinist, her place taken by Annette Bik can begin to tell the direction the music (Schmidt's predecessor) who has featured must take. That's the most effective way. on all the DG recordings until now. In 1981 Because sometimes discussion just makes the Hagens won the quartet competition at matters worse.' the first Lockenhaus Festival, and returned Putting the music first means that the four over the next few years as guests. Did had no time to waste worrying about ' the rehearsing it intensively, you can come to Lockenhaus, governed by the pioneering Hagen sound'. Rainer: ' Ithink this " corporate convincing results.' He thinks this has been a communal spirit of Gidon Kremer, change style" business is overrated. After all, we are conspicuous problem with some of the their outlook? They seemed reluctant to four people who have our own views, and older quartets. ' I've heard some who spent admit it at first. Veronika poined out that it's only when we work together that we 20, 30 years together and never came to they had already explored some of the begin to form some clear idea of what we are anything which you thought they under- byways of the 20th-century quartet reper- playing. Perhaps four people who come stood. Sometimes it's lack of examination, toire at Salzburg in their performances of from completely different backgrounds may sometimes a quartet imposing itself too works by Apostel, Lutoslawski and Ligeti. `To have to work on their technique to form a much on the work in question. You can't look at the concert programmes, you'd think "style", asound of their own, but we don't.' have the same approach to modern music that Salzburg means only Mozart. After all, Veronika puts it differently: ' Maybe one of us that you have to Mozart, because the aesthe- there are 15 ensembles which only play his is suffering badly from nerves, or someone is tics are completely different. And that's music. But it's like every city, there's room playing not so well, but after a while you where many string quartets fail in my for the less familiar and we had plenty of realize that it's all on the side of the music opinion in modern music: because they have encouragement in that direction. Lock- and you come together again'. the wrong approach. As soon as you form a enhaus didn't change us. The great joy for That means, too, that the Quartet can veer clear vision of the piece, it doesn't hurt the me was the way they accepted us there and easily from Haydn to Schoenberg. After a listener so much. Schoenberg needn't be liked the way we played.' cautious start, Deutsche Grammophon is difficult — there's no sound that wasn't Later, though, the brothers concurred happy to indulge their range: a complete thought of before Beethoven, it's simply put when Rainer suggested that the influence cycle of the early Mozart quartets is to be another way. And perhaps if you talk a little must have been enormous, even if only on offset by Ligeti and Lutoslawski. The hori- about it, as Idid with the Second Quartet in an unconscious level. Clemens noticed the zons seem boundless, but they have to look Salzburg, then the audience will come to it change suddenly. ' Ididn't see it at the time. very carefully at everything they do. ' We afresh too, and will hear the commitment in But after three or four years of having played have no time for Shostakovich at the your performance.' at Lockenhaus, Irealized that my technique moment,' says Lukas, ' but that's not because Once again, it's a matter of preparation. had altered completely. I didn't change it we're afraid of him, it's just that we need to Veronika admits stupefaction at tales from consciously. But there came apoint when I work intensively on the quartets — which we her orchestral colleagues. ' They have at the knew it had happened.' Lukas: ' It was impor- will do, eventually.' The late Beethovens? most three rehearsals — for modern music! tant for me to listen to such a lot of Rainer: 'There is this terrible preciousness It's incredible! And perhaps because they are music- making, watching how the other about late Beethoven. Of course, it's incred- good sight- readers they get by. But they just artists rehearsed and working with them ibly mature and "difficult" music, and so on. play the notes and complain that they can't sometimes, seeing how the performance But if you don't start to work on these understand it.' Which is why Rainer is happy gradually takes shape and how the prog- quartets now, how will your view on them to settle into aquartet. He relished his time ramme fits together.' Although Clemens had have matured by the time you are sixty? Of with the COE, where he feels there is an already given solo recitals at the Salzburg course, if we play them now, they will be atmosphere of music- making quite different Mozarteum, Lockenhaus provided a signi- very different when we play them in middle from most other orchestras. But he says he ficant opportunity for the Hagens and Bik to age, and there will be another big difference has no longing for a solo career. ' Quartet step out of their corporate identity and when we are old. But you must begin early playing comes first. The repertoire, for a perform in other combinations. and grow with the music, like Beethoven start, is by far the best. And you can keep the Ftainer's Cincinnati experience has given grew as a composer. freshness. Orchestral players get over- tired, him an added perspective which means a 'Once again, Idon't see the problem if you the rehearsal time is poor. Here we can have change in outlook for the Quartet. Privately, look carefully at the scores. In Beethoven, as much preparation as we want. The con- he expressed some doubts over the previous everything is so clearly marked; just take cert managements are much happier now team's Mozart — ' rather ordinary; Icould not your time and look at it. If you don't, it will about letting us play what we want to play. always tell what they were trying to say'. be really bad and unconvincing. It's the same And so long as we have respect for each Veronika points out that he has ' a better with Webern and Schoenberg: with the same other, we can reach an agreement on just schooling in looking at the scores than we amount of thinking about the music, and also about anything.'+

HI.F1 NEWS & RECORD REVIEW AUGUST 1989 87 Buying Hi -Fi can be a HI-FI in nightmare

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one of the most SESSIONS complex works in fmusic is, as most people would agree, an art based on communication, the case of 20th- century piano literature IKaikhosru Shapurji Sorabji is indeed a strange one. He had never actively sought performance of his works, and in 1936 by Richard Black forbade any performance without his express permission. Until his death in 1988, that permission was granted to only ten played without dynamic inflection. Rice pianists — two of whom ( Petri and Cortot) pointed to the way Ogdon shapes the fugues never played any of his music in public — as an example of the clear implications of three organists and three singers. Yet his the score. No words are necessary to direct music has aroused the highest admiration in this long-term flow of the ideas. many musicians who have read the scores, The sonorities of OC are its most striking and in the few people who, to date, have and memorable feature. They operate in a heard any of it. So why the silence? similar way to those of Messiaen, and have a Sorabji was born in 1892 in Chingford, comparable transcendental quality. Ogdon Essex. Privately educated, he began piano finds them particularly interesting; ' In work- lessons with his mother at the age of six and ing on OC, Ihave tried to develop a more was mostly self-taught from his mid-teens incisive sound to deal with the complex on. His musical tastes were broad, and he chords and make the counterpoint work. was familiar with much new music of the Use of the pedals is very important, too. Iuse early 20th-century long before it became as little as possible in the fugues, to keep the widely known. He began composing around textures clear. Some of the textures remind 1914, and his early works were influenced me of Brahms, in fact.' Brahms? ' There are by ( among others) Scriabin, Szymanowski, also echoes of Hindemith in places, which is Godowsky, and Busoni. Performances of probably coincidence.' these, mostly by himself, were rare, but Why did Sorabji not wish his works to be many commentators were much impressed section straight through four times in suc- performed? Hinton knew Sorabji well for by his compositions. cession, with hardly a pause. The listeners many years, and found that ' He didn't seem In June 1930 he completed Opus Cia- appeared to have reached exhaustion; very interested in performance, and vicembalisticum, 252 pages in manuscript Ogdon might just have played a Clementi although he helped those who wished to of some of the most extraordinary piano Sonatina. Never have Ifelt so strongly that play his music and whom he thought cap- music ever written. The composer himself the piano had become apart of the pianist. able of doing so, he had no wish to attend said of the final sections 'The harmony bites The sessions were alow-key affair, involv- their performances and risk " making a like nitric acid and the counterpoint grinds ing only Ogdon, Rice ( engineer and pro- spectacle of himself'. I once commented like the mills of God'. Four fugues, a theme ducer), longtime Sorabji devotee and advo- that one of his works would fit well in a and 49 variations, a passacaglia and 81 cate Alistair Hinton ( executive producer) concert programme, and he merely said, variations, a chorale prelude, a fantasia and and me ( page- turner). Work was intense, "Oh, I suppose it would." He was just two cadenzas, framed by an introit and a and included as ' light relief' recordings of indifferent to the idea.' Rice found this hard coda stretta, make up the work, in a other works; a recital disc of Liszt, Chopin, to accept; ' Idon't believe that he was never structure not unlike Busoni's Fantasia Con- Busoni, Dohnanyi and Balakirev (AIR- 2- interested in performances. He was princi- trappuntistica. Playing for some hours, it is 9073, praised in HFATIRR) and Busoni's pally concerned about bad performances not to be taken lightly, but what really sets Fantasia Contrappuntistica. Recording giving people the wrong idea of the music.' OC apart is the perfectly unique sound equipment was two microphones, two mic- Indeed, Sorabji wrote about his music being world it occupies. rophone amplifiers ( custom), and a recor- 'unsuitable for performance under present, In 1957, while at the Royal Northern der. The piano was a Büsendorfer Imperial, or indeed any forseeable future, conditions. College of Music, John Ogdon was given a and the location a large church in North No performance at all is preferable to an score of OC by Peter Maxwell Davies, then a London. Work proceeded with hardly a obscene travesty: And when faced with fellow student. Ogdon's phenomenal techni- hitch; on one occasion the piano was deli- performers capable of meeting the chal- que and musical vision soon absorbed the vered to Cornwall by mistake, and one day lenges of the music, he readily gave consent work, and in 1959 he played it to its was disrupted by apolice search for armed to performances — as to John Ogdon. dedicatee, the great Scots poet Hugh Mac- robbers, but the schedule was maintained. The conversation turned to the general Diarmid. Twenty-five years later, Chris Rice Much tricky editing later, the recording is at issue of unfamiliar music. Ogdon is a noted of Altarus Records came across OC and, last available. champion of new music, but, he said, ' If you much impressed, asked composer Ronald Iasked Ogdon if he felt particularly drawn programme an unfamiliar modern work in a Stevenson if he would record it. Stevenson to large works. He did, he said. ' Ilike the London recital, it does tend to reduce the did not have the time to learn the work for large scale of the argument in OC, although audience. Because of this, concert agents are performance ( although he has studied the it is certainly hard to grasp at first, particu- less keen to promote it ...' A vicious circle, score and written a detailed analysis of it), larly in the fourth fugue. I had to add in many ways. But surely, 20th- century but suggested Ogdon instead. In three ses- interpretation marks throughout that sec- music should be thé most vital to 20th- sions in 1985 and 1986, possibly the single tion, to remind myself of the structure. I century ears. Why not approach the music of most remarkable piano recording ever made have tried to find a musical architecture in the past through that of the present? Hinton was completed. the work; the way the fugues get progres- cited the case of Kevin Bowyer, the brilliant It was necessary to record the work in sively longer suggests building.' young organist who has recently recorded three blocks to give Ogdon time to study Interpretation of OC is in fact left very Sorabji's First Organ Symphony for Con- each section thoroughly; not, however, to much to the performer; indications in the tinuum. When Bowyer first met Sorabji, he limit the amount of work he had to do at score are rare. Hinton commented 'Sorabji said he had the feeling he had just met JS each session. Iwas privileged to attend those did not find it necessary to put many Bach. And interestingly, since studying the recordings, and Ithink the most astonishing markings in his scores. He felt that anyone Sorabji he has started playing Bach, which aspect of them was Ogdon's sheer energy. who understood the music would know previously he did not perform.' A case of The fourth fugue and coda stretta comprise what to do with it'. Perhaps in two hundred Sorabji's profound understanding being some 50 minutes of music, fantastically years, we imagined, ' authenticity' experts communicated through his own music? Let difficult. At the third session, he played this would declare that Sorabji's music should be us hope that the miracle will spread.+

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A Link House Magazine RECORD REVIEWS

CLASSICAL 1111 Suite on Michelangelo Pi ients ANINDO CHATTERIEE COUNTRYJOE McDALNALD

BALAKIREV ( Eischer•Dieskau Reimann I Rag Lalit 113 Viet Nam Experience 94 Sonata I Smith I SORANI NENEH CHEIHIY BARRY MANILOW BARTOK 93 Opus ( laticemba)isticurn ( Ogdon 1 10 - Raw lake Sushi 109 Barry Aland( ne 93 Siring Quartets 3-5 ( hilingirian Qt 1 R STRAUSS CLANNAD RICHARD MARX

BEETHOVEN I02 I Sin Quixote. etc ( Beecham) 115 Peen-sent 1111 Repeat 1lffcndcr 93 Si inphonies 1.11/. etc ( Weller) 99 Duet ( lc incen im ( Frit her ) NATALIE COLE KATHY MATIRA 'Il - Piano ( Oncertos Opp.3 I53 9 81a 102 Violin Sonata ( Zukerman Neik rug 1 113 Good To Be Back 10 -. Willem- in The ind ( Pollini SUCHON CONCRETE BLONDE JOHN COUGAR MELLEN(:AMP BERLIOZ Serenade ( W archal tir Eree 110 Big Daddy 9. Funeral & Triumphal Si mph, my TCHAIKOVSICY COOKIE CREW THREE Mt STAPHAS THREE ( Wallace) I02 Symphony-i. etc ( Ahhado I I3 Born 'Ibis Way 113 Heart Of Uncle BRITTEN VIVALDI DALIK i LITTLE NEMO 9 I Simple Symphony ( Warchal ) 102 Reoirder Concertos ( lolstag H oltman 1 115 Compass Kiimpas 109 Sounds in The Attic 95 Alberi I lerring ( Britien ) VIC DAMONE PHILL OCHS 95 Billy Budd. etc ( Britten) I15 " Ehe BCM (W The 1:apito) I15 Gunfighi Ai Carnegie Hall 95 Prince id the Pagodas etc ( Britten ) COLLECTIONS THE DICKIES TILE 03AYS 95 lesIlluminat ions. etc ( 'toxin 1 113 Second Coining 113 Serious CHERUBINI 103 NEW YEARS CONCERT 1989 DILLARD & CLUJ( ONSLAUGHT it Victor, II ymm ( Wallace ) ( Strauss family 1 II S The Ilinta‘tit. Expedition If Dillard & 113 In Search Of Sanity COPLAND 103 GUILDILUL STRINGS (larkIhri nigh lute Niorning Through OS.T.

96 Appalachian Spring. etc I Orpheus) ( Britten TippettWalton 1 lite Night 113 Chimes ... 'the Cavil ILead 96 Clarinet Iomen, eic ( S)ien, st 116 arz ) 103 JAMES BOWMAN ( composers) DEAN DILLON 0.S.T 99 Clarinet Coneerio ( IIt6tord Vise Berl 1113 JOSEF LIIEVLNNE ( 1920 30t. 11 3 Slick Nickel 113 1969 DOIINANYI recordings I DESPERATE DANZ BAND PERE [ BU

96 ham, Qui met. etc ( Manz Gahrieli Qt 105 HERMANN SCHERCHEN II 3 Send Unix And Emirpence... We're 110 Climell.d DVORAK ( Tchaikovsky Rintsky • Korsaki iv ) (Ming To A Dance TOM PETTY 96 Symphi in y 8. eh: (fell ) DESTROY ALL MONSTERS 110 1611 Moon Fever ELGAR 113 Live POP WILL EAT ITSELF 90 Violin ( ego Concertos ( Menuhin REFLECTIONS CIIAMPIONJACK DUPREE 11(1 This 1,111e Day ... liti. Is lhellour

Elgar I 115 And 116 Blues Band Th ThiN' 96 Violin ( cll. Concertos ( Simmons BAR RAMBLIN'JACK ELLIOTT PREFAB SPROUT Wi squirellarty 1115 Piani I(loncerto 3. ear ( Kocsis isc her 1 I 15 Talking Dusi Bowl 11 o Prinesi Songs GERSHWIN BEETHOVEN MARIANE FAITHFUL QUEEN

96 Pore. & Bess ( Rattle 1 11)5 Symphonic, & ( Furtm angler I 115 Marianne Faithful' III Elie Miracle GOSSEC BERLIOZ TENNESSEE ERNIE FORD (jt EST Militari. Symphoni . etc I Wallace 105 Beatrice & Benedict Overture I Munch) 115 Farmyard Hi logic Ili Natural Selection HANDEL DRAMS FRIENDS AGAIN llIIE IDLE RACE 9- Messiah ( Scherchen 105 Serenades I & 2 ( Kcrit.,) 115 ' trapped And inn rapped 115 l'he Birthdai Parti 9- Carmelite Vespers ( Parrott I CHOPIN BILLY FURY LOU RAWLS HAYDN 105 Piano mod:, ( Ashkenazi . I3( 1). 1 IIS Billy 1lo Si Iasi 9- string (Nang:v.0pp. I to I I( I lawn Qt DEBUSSY JEAN PAUL GAULTIER 111E REMAINS FILNDEMITH 105 La Mer ( Tiecanini 1 1I 4 Aim. Tou Don lai 115 ille Remains lit. Nush-Niechi ( Alisen) D'LNDY ROBERT GORDON KID RENA/BI'NKJOHNMES/OSCAR 911 Cardillac ( Aillen 1 105 Symphony ( m French Mountain Air 10 -live At Lone Star CELESTLN JANACEK ( Munch ) DENNIS GRFAVES & 111E TRI ill l1 Down ( M lhe Delta 98 Ear. Botha. etc ( Nazareth) ELGAR 113 Jump STAN RIDGWAY

98 Diary of One Who Disappeared. tic 11)5 Enigma Variations ) 1.•eseanini 1 BORIS GREBENSIIIKOV III Nlivatuitoek ( Abbado) FRANCK 10- Radio Silence TILEY ,CASTRONARI/MAR.511 91 Nolte ( Warchal 1115 Symphony in 1).minor ( Monti:us THE GR(11 .NDHOGS Ill leather, JARDIN HAYDN I 15 110›,,,1•11 TOM ROBINSON

9 # Overture in 1r( Wallace ) Ills Symphi inns 6.8 ( (it "i II I Iasi Tango LEFEVRE MENDELSSOHN 10 -' Taking th in e World SIDO ROMANO 105 Si mphonies & -1( Mani 9, Agricultural Hymn ( Wallace) HELLOWEEN III Ritual LEIGHTON 105 Symphonies # & ) Sanallisch 113 live In The 1% ILIANA ROSS 98 Piani. nuMe ( Parkin NIELSEN THEJACKSONS III Workire Overtinle MARTINI: 105 Symphony 5. etc ( orenstein 1)-• 2300 Jackson ',greet TODD RUNDGREN 98 telk) Sonatas( Isserlis Evans) RIMSKY-KORSAKOV DRJOHN ill Nearly Human MEDTNER 105 Scheherazade. etc ( Amernirt 1 In A Sentimental Mood DINO SAI.1721 98 Fairy laic, eic ( Milne) 105 Antar. etc ( Scherchen JUNKYARD 112 Andina 98 Sonatas ( Milne I SCIIUBERT iir Junkyard DEL SHANNON 98 Ti # rgi men Melodies. vie ( Wild) 105 Symphonies 3 6 ( Beecham) ERNIE K-DOE I 15 tile 1Km Shannon 1.ollet MOZART TCILUKOVSKY I 15 Burn., K.Doe. Burn SHADES OF KENTON Clarinet Concerto ( Ilosford Schneider ) 105 Symphony 6 etc Giulini SALIF KEITA 112 ' Round Midnight Concert 100 Fine Kleine Nachtmusik ( Stamp ) 1(15 Rom., & Juliet. etc ( Scherchen 111 - Ko-Van GEORGE SHEARING and HANK 90 Opera & Ciincen Aria. ( Bar Sunk 1 T LAvrrz AND THE BAI) HABITZ JONES MUSSORGSKY I 13 T tacit, And Bad I lahits 112 'the Spirit 1/1: I -6 93 Pictures at an Exhibition ( Smith) ROCK/POP/JAZZ LIVED AND nie BLUES IMPERIALS SHEELEYANN ORPHAN ORFF 11 3 Chicken, ( Wavy & 112 ( Flour, 99 ( arnutna Burma ( IWu. / JOHN ABERCROMBIE LISA LISA & Cl'LTJAM PHOEBE SNOW PROKOFIEV 10 - John Abercrombie Marc Johnson 0cter 11r Straight To The Si) t il Something Real 99 Piano Concertos 1 & etc ( Feltsman Erskine LIL1LU THE STRANGLERS Tihani llnimas) ARTHUR ALEYANDER 115 Something To SIM Mx 111( 113 Radio ( Sessions 100 Peter & the Wolf (( iielgud Mamp ) I IS Arthur Alexander MAN SWING 01.:T SISTER

1 02 Violin Sonaia 2 I Zukerman Neikrug) CHRIS BARBER & DRJOHN I 15 Maximum Darkness 112 Kaleidoscope World RACHIMANINOV IlS March Gres At The Marquee !MANFRED MANN TIN MACHINE 1110 Piano (.ontent, 3. etc ( Iclisman Mehl. ) 111E BEACH BOYS 115 Ep Collection I 12 l'in Machine REIMANN I 15 shut D4PA II VOI 2 PAUL McCARTNEY TRANSVLSION VAMP I o I Michelangelo Poems ( lischer•Dieskau BLUE MURDER 109 Flowers In The Dirt 113 Velveleen Heimann 1 114 Blue Murder DELBERT McCLINTON THE TROGGS ROSENBERG BLUE RODEO II 3 lave From Ausiin 115 Villd Thing, I10 Siring Quartets I 6 I2 I variou, 1 I Diamond Mine SUSANNAH McCORKLE VARIOUS 1011 String Quartet. f & ( various) HARIPRA.SAD CHAURASIA & 109 No More Blue. 115 Country Music / lootenanni- ROUGET de LISLE VARIOUS 9 f la Marscillaise ( Wallace) 113 Jazz Today Vol. 1 SAINT-SAENS BEST OF THE MONTH VARIOUS loi Carnival tit Animals 1 Stamp) 115 The Original Nlemphis Mlues Brothers SATIE VARIOUS 11111 Pianti pieces ( Quefife)ec 1 I 13 Nile Elite 2 SCARIAITI Britten song-cycles 95 VARIOUS loie Sella) 113 Night Of The ( initar - Live SCIII:MANN Janacek's Taras Bulba 98 VOW WOW 100 Cantaval. etc ( d'Ascoli ) Gielgud narrates Peter and the Wolf 100 I 13 Helier Milieu. 1(11 Carnaval. etc ( Larrocha / JOE WILLIAMS SCRULISIN de Larrocha's Schuman recital 101 115 Having The Mues IOder European Ski 93 Sonata 9 Smith ) Vivaldi Recorder Concertos 102 LORI YATES SHOSTAKOVICH 113 CanT Stop ' lite 101 Nymph( my ( ravinsky ) ZEPHYR 1(11 Mring Quartets # /1. II ( Conn Qt 1 115 Zephyr INFORMATION

CLASSICAL REVIEWS arc based on the Compact Disc, unless indicated • ( LP). The catalogue number is followed by total Recording: Performance playing time, and equivalent LP/MC ( Musicassette) numbers. eîe = monophonic recording. (a) indicates date of first UK release, cg. on LP — now CD, or LP reissue. ROCK/POP/JAZZ REVIEWS arc based on the LP, unless shown: CD. A I Very Good Equivalent MC number is given in brackets. (NB. Musicassettes arc not reviewed in HFNIRR.) RATINGS Recording and 2 ( Mini Performance are separately graded as asummary of each review. In Rock/Pop/Jazz the numerical rating also reflects musical C 3 Moderate content. An additional star — A* or 1* — denotes outstanding quality. C) Hi-Fi News & Record Review I) 4 Poor H H Historical

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SORAMI: Opus Clavicembalisticum one might say hurricanes, of notes, yet the seemingly inexhaustible invention of John Ogdon (pno) although OC is tightly packed with inci- his piano writing. Altarus AIR-CD9075 ( 4CDs, 284m 39s) dent it contains passages of the most Even when we have made progress in striking simplicity, such as Variations 60 absorbing the sometimes densely concen- This is spoken of as Sorabji's masterpiece, or 74 of the Passacaglia. There are others trated and original contrapuntal thinking which seems rather glib considering how again, like Variation 63, which are not of the fugues, and the bewildering little of his music we know and how much simple but are completely unadorned. In diversity of the variations, problems he wrote after it. Sheer size is no criterion, fact virtuosity in any ordinary sense is not remain both for listeners and for this of course, yet one does wonder about, say, an issue in OC's four Fugues, which composer's as yet few interpreters. These the 1000-page lane Symphony or the include what are, musically speaking, this arise from OCs (and his other works') Symphonic Variations for piano, said to work's most difficult- to- comprehend lack of an evident background. In part this last for six hours. Actually, the first idea to pages yet also finally its most rewarding. is a matter of our ignorance of Sorabji's be et rid of is that Opus Clavicembalisti- Fugue III, nearly the longest movement, is output as awhole, but also of our lack of cum is an unending orgy of post- Romantic particularly demanding and I had to go knowledge of the origins of his style and hyper- virtuosity. In view of Allcan's Etudes back to it repeatedly in the course of methods. No.18 in the first variation set Op.39, or the 1838 version of Liszt's preparing this review. Though scarcely always reminds me of one aspect of the Etudes d'Exécution Transcendante, it providing the score's most spectacular music of Bernard van Dieren, yet such cannot be said that the executive moments, these fugues contain Sorabji's echoes from elsewhere are precious few demands it makes are quite without pre- most original thinking here, and, while in these 252 pages. Except for Busoni. cedent — although length is indeed each Etas acharacter of its own, each rises It would not apply, 1think, to Sorabji's another factor. Something approaching to great intensity. Ogdon's projection of other pieces, but if one crucial work five hours ( with intervals) is not consi- the form of these pieces, especially Fugues provides abackground to OC it is Busoni's dered excessive by listeners to certain III and IV, is probably the most remark- Fantasia Contrappuntistica. Certainly operas, but an immense strain is here able single aspect of his interpretation of important aspects of OC are missed if one imposed on a lone pianist ( even with this often sparsely marked score. is unacquainted with that earlier work intervals). Whether we are thinking of If OC is anything to go by, Sorabji's Even if oblique, Sorabji's repeated refer- Ogdon's concert performance in London fugues are very much a question of ences to it are significant and clearly last year, or the above recording, done in counterpoint first, and harmony second. deliberate — comparable in fact to the only three sessions, this is one of the great At the opposite pole to them are the two allusions to Beethoven's Hammerklavier pianistic feats of our time. huge variation movements, which at the in Barraqué's Piano Sonata and Brahms's But it is important to grasp that it is far deepest level arise out of harmonic con- Sonata Op.1. As traced by Ronald from being apianistic triumph only. OC is siderations. Although the Adagio which Stevenson's helpful analysis of OC in the an exceedingly difficult work not just to forms the second part of the second accompanying booklet, Sorabji's refer play but also to understand as a whole, Interlude contains what is perhaps, in any ences go beyond the Fantasia to Doktor and if there is something more astonishing conventional sense, the work's most Faust and Violin Sonata 2. I find myself here than Ogdon's performance it is his beautiful music, newcomers to OC — reminded of Busoni's Elegies at some musical insight, sustained over vast which means practically all of us — would points also. Whether Sorabji had these stretches of terrain. True, he has been do best to start by repeatedly listening to other Busoni pieces consciously in mind, playing OC for a large part of his life, and the twin sets of variations. One, a theme as he unquestionably did the Fantasia, is, the admirable ( also sizeable) booklet with 49 variations, makes up the first of course, another matter. But he in no included with this boxed set has photo- Interlude, while the Passacag,lia, which has sense worked in Busoni's shadow, for one graphs taken at aprivate performance that 81 variations (cf the first movement of can hardly imagine a score of more he gave 30 years ago for, among others, Organ Symphony No.1, reviewed here in disconcertingly complete originality than the work's dedicatee, Hugh McDiarmid. May), follows the Adagio. With great OC. The need to know other major Some passages, such as the second immediacy they present very many compositions of his becomes urgent. section of the fourth Fugue, are storms, aspects of Sorabji's composing, not least [A*:11 Max Harrison RECORD OF THE MONTH

BALAKIREV: Sonata/MUSSORGSKY: Pic- exactly the right mood of bold directness, in persuading us that these are not difficult tures at an Exhibition/SCRIABIN: Sonata and most of the pieces are vividly characte- works, as, for example, the Emersons did. 9 rised, good examples being ' Gnomus' and Perhaps we should be more aware of the Ronald Smith (pno) 'Bydlo'. There is very fine piano playing technical problems; they may well reflect Nimbus NI 5187 ( 65m 58s) throughout, as in ' Limoges' or ' The Ballet of the stresses inherent in Bartok's music. the Unhatched Chicks', but it is the ferocity Certainly, one does get afeeling of struggle, The Ninth is the most concentrated of of ' Baba-Yaga' or the weight and dignity of especially at the outset of 4 and during the Scriabin's sonatas and as such it remains `The Great Gate of Kiev' that create the imitative exchanges that occupy much of 5. beyond the grasp of many pianists. While strongest impression. IA:11 Max Harrison Occasionally, too, the near-perfect unani- producing abeautiful sound, as in the molto mity of the four players falters at the fastest meno vivo section, Smith is sometimes just a BARTOK: String Quartets 3-5 speeds — and some are very fast indeed. With bit too literal. Yet it is enlightening to hear Cbilingirian Qt the recent reappearance on CD of the such an exact account of Scriabin's very Chandos CHAN 8634 ( 67m 40s) ( also I.indsay recording, and existing sets by the original, complex and volatile textures, and LP/MC) Takacs and Alban Berg, lovers of these to have the continuity of innovatory con- quartets are well catered for. These C.hilingi- structive thinking that lies behind this The Chilingirian's Bartok series is being rian performances stand very high on the list music's outward diversity demonstrated so released in sequence — Quartets 1 and 2 though still surpassed in all-round brilliance decisively. were reviewed last August, Six is promised by the Emersons. [A:1] Kenneth Dommett There are no such reservations about this with the unpublished 1904 Piano Quintet. version of Balakirev's splendid Sonata, Meanwhile the three central pillars of the BEETHOVEN: Symphonies 1-9 0 Sym- Smith's performance identifying completely canon, and the toughest, incidentally, are phony 10, 1st movement D Overtures — with the spirit of this music — whose mode here in very persuasive performances, Prometheus & Coriolan D Rehearsals — of expression and formal organization are clearly if somewhat forwardly recorded in Symphonies 6 & 10 admittedly far less recondite than Scriabin's. surroundings that give the string sound Josephine Barstow (sop)/Linda Finnie A substantial four- movement work lasting pungency and an acceptable vibrancy. The (con)/David Rendall ( ten)/John Tomlinson over 25 minutes, Balalcirev's Sonata ought to technical challenges posed by these quartets (bass)/CBSO & Chi Weller be in the regular repertoire. Far more are less fearsome to players nowadays, it Chandos CHAN 8712/17 ( 6CDs, 413m familiar are Mussorgsky's Pictures, which, seems, and here for the most part they are 43s) ( also 6LP/6MC) like the Balakirev Sonata, Smith has recorded admirably met — though it cannot be said before. The initial Promenade' catches that the Chilingirians are wholly successful My very first experience of Walter Weller as

111-1,1NEWS & RE(;oRI) REVIEW AUGUST 1989 93 CLASSICAL reviews a conductor involved Beethoven. That was frequencies, while the mid-bass is somewhat which takes the listener on a comprehend- at an LSO performance of the Eroica in the emphasized, which tends to thicken the ing journey. And only the ending of the very Royal Albert Hall, heard from the front row, texture right across the right-hand half of the last recitative in Op.31:1 ( i) [ 155-81 really an occasion which prompted some editorial orchestra. This is especially noticeable on 'speaks'. Someone defined architecture as musings on preferred listening perspectives sustained tutti fortissimos — eg, in 6(iv) — 'frozen music'. Here, we seem to have (HhN/RR, June ' 73 p1109). But, spatial which need to be played quite loud if one is 'frozen music'. Whatever the misgivings, an considerations apart, I remember being to accommodate all of Weller's pianissimos important release must be acknowledged — impressed by Weller's powerful enthusiasm without volume adjustments. Ikept feeling one with magnificent sound, though Pollini's for Beethoven's heroic music, by afiery and that the violins were under- represented, not occasional exhalations may disturb. thrusting involvement which now seems to allowed to contribute their full quota of [A*:1(*)] Christopher Breunig have subsided. In these readings, consuming brilliance to the tonal picture. Note their passion has largely given way to loving relative ' distance', for instance, when singing BERLIOZ: Symphonie Funèbre et affection. But of course this great corpus of the Hymn of Thanksgiving in 6. But having Triomphale/GOSSEC: Symphonie Mill- music is full of beauty and interest, sadness said that, the sound is often very fine, and to taire El Marche LugubreCARDIN: Over- and joy, quite apart from Beethoven's fun sample it at its best I would suggest the ture in F/CHERUBINI: Hymne à la Vic- and fury, and listeners without a special Allegro parts of 10. The sonics there plus the toire/LEFEVRE: Hymne à l'Agriculture/ attachment to the defiant turbulence which I music in 2(i) might well convince anyone ROUGET DE LISLE: Hymne à la Liberté so admire in the composer should not be too that this whole review is unreasonably (La Marseillaise, arr. Gossec) biased by my disappointment. negative. The Wallace Collection/Leeds Festival Ch/ For astart, Ifound very few oddities of the One final point. The extra brightness and Wallace sort which can seem immediately wrong'. A analysis provided by headphones seems to Nimbus NI 5175 (57m 16s) little slow or fast ( more often the latter) in suit these CDs very well, imparting some this or that movement, an occasional unex- sonic bite to offset the slightly dim balance, The Davis and Dutoit recordings of Berlioz's pected touch of rubato, but nothing very and also perhaps to compensate a little for Funeral & Triumphal Symphony are fillers radical. Except, that is, in the Allegretto of 7, Weller's lack of Beethovenian assertiveness. on 2CD sets, while Dondeyne's single- disc where Iwas not convinced by a change of And the soundstage is opened out as prop- Paris performance ( without chorus) is tempo towards the end. Dynamics receive osed in that 1973 Editorial. [A/11:3/11 unconvincing. So, knowing of the Wallace much careful attention, especially those John Crabbe Collection's rising reputation in the brass/ pianissimo passages which build anticipa- wind/percussion field, my hopes ran high for tory tension — as just before the great BEETHOVEN: Piano Sonatas — in d, this Nimbus version. However, while John trombone outburst in 5( iv ). Ialso particu- Op.31:2 'Tempest' D Waldstein D Les Wallace's team play with more professional larly noted the opening of 4(i), the Adieux 0 in G, Op.79 aplomb than their French counterparts, and reverently hushed start to 7( ii ), and the Maurizio Pollini (pno) devote as much attention to the work's Coriolan Overture's very quiet ending. DG 427 642-2 (72m 03s) ( also LP/MC) instrumental detail as to its mighty climaxes, Most of the performances are well shaped, their brisk overall manner is disappointing. but otherwise fairly conventional in a mod- A thicket in the path of the analyst, this disc The opening March takes 4m less than ern ' big' Beethoven manner, with some offers sonatas we know and love in perform- Davis/Dutoit and 8m less than Dondeyne, repeats honoured, some not, while the ances where the pianist's rationalization of thereby abandoning all funereal dignity; and Birmingham players are superb throughout. every aspect of the music ( most notably, despite Dudley Bright's fine trombone play- Symphonies I & 6 evoked no special posi- perhaps, its translation into terms of the ing the Oration is also rather hasty. As for the tive or negative reactions, 9followed style in modern instrument) turns them into pieces Apotheosis, while its choral ending is asser- failing to overwhelm, 3 is perhaps granted which we find we don't know, after all, and tively triumphant, the movement's jaunty rather more stature than the other odd- which emerge as unloved, in aconventional pace suggests more jollity than majesty. A numbered works, and a superb opening sense. There is a hint of the analogy of the newcomer to the work might well be movement for 2 provides in my view quite Grand Prix driver pitting his skills against a impressed, but the general mood suggested the best Beethoven in the whole set — once familiar course, driving the most up-to-date here is hardly one of ceremonial homage to the Allegro starts up. There is a disappoin- machine available. Areas like the octave the revolutionary dead of 1830. tingly ' steady' and undefiant 5(i), much theme passing from I/R with triplet semi- That was aminor revolution, but over half liveliness but little fire in the potentially quavers, or the page leading to the Prestis- of this CD's time is devoted to an intriguing exciting 4, a lot of energy but again no real simo in the Waldstein finale, excite by the collection of music associated with the great zest in 7(iv ), but some real assertiveness sheet infallibility of Pollini's execution. And 1789 event. The six pieces employ similar (though not for long) at the start of 8, which his fastidious care for, and discrimination 'open-air' instrumentation, but feature a also receives a lively finale. between sonorities in the ' Tempest' and mixture of styles stretching back to the Regarding the Barry Cooper realization of Waldstein slow movements suggest that Mozartian wind serenade. All are played 1001 in the absence of a performing tradi- only by thinking for years has he arrived at with conviction and precision, plus fine tion one can only compare this with the these performances. The CD may last 72m, contributions from the Leeds chorus in the Wyn Morris version. Weller is generally but since it reflects hours of searching three celebratory ' Hymnes'. brisker, less expansively ' earnest' than Mor- preparation it's too much to take in at a Sonically, the All Saints Tooting setting ris — which makes the opening Andante sitting; although, paradoxically, the longer adds aspacious envelope of stony brightness seem structurally more convincing. But I one listens the more Pollini's performances which may incline some listeners to tilt miss the powerful angularity of Morris's communicate. down the treble when the trumpets play Allegro, and also note that despite Weller's Pollini has discarded accretions of senti- fortissimo. But instrumental balance is con- penchant for pianissimo effects, he fails to ment in Beethoven performance; yet what vincing, the huge percussive outbursts are give anything like as hushed alead-in to the remains tends to leave an empty feeling — handled well, and the chorus is positioned to central recapitulation. especially those slow movements, and the give real impact — with astriking division of This ' No.10' is joined on Disc 6 by the two quite joyless Les Adieux finale. There, the parts in the final Marseillaise. [A:3/11] Overtures and some 33m of rehearsal ses- Poco Andante is the most questionable thing John Crabbe sions. The latter are of only slight interest, on this CD; it sounds like a musical box. I and it strikes me that the spare time could think the beginning of the little Sonata BRITTEN: Simple SymphonyjANACEK: well have been used for some further Op.79 will shock; it is brusquer even than Suite/SUCHON: Serenade Overtures. Indeed, if Disc l's 76 /12 m is taken Bacichaus's Beethoven. And yet the reading Slovak CO/Warchal as a reference, I calculate that Chandos's as a whole is a revelation. Opus 9350 1773 (46m 5s) ( Rare Records) package could have accommodated at least Some details Idisliked, subjectively: the eight of the eleven Beethoven Overtures, treatment of all the turns in the slow An attractive programme, abit short on time which would have made a very fulsome movement of the D-minor. These make me perhaps, but imaginatively put together and collection. think of carpet unrolling: surely the slight very well recorded. Opus is the Slovak What about the recording? The Birming- stress/elongation on the last semitone rise is record outlet based in Bratislava and is quite ham Town Hall provides a reasonably spa- preferable (eg, as Kempff takes it)? And independent of Supraphon/Panton which is cious orchestral setting, but Ifelt that the there's apersistent drop to apiano dynamic centred in Prague. Their set of Schmidt chorus in 9would have benefited from more which, for me, introduces a caesura in the symphonies some while back alerted collec- reverberance — although the vocal quartet is argument. Indeed, Pollini's fragmentation of tors to alargely untapped source of potential nicely presented. However, the hall seems Adagios, whilst sharply delineating the com- quality. These performances under Bohdan not to have a very lively ambience at high ponent motifs, lacks that necessary flow Warchal confirm expectations, and are

94 111-F1 NEWS & RECORD REVIEW AUGUST 1989 reviews CLASSICAL further evidence of the excellence of Tchaikovsky's skill at effecting transforma- providing a malignant counterpoint to Clag- Czechoslovak string playing. Britten's little tions with simple means. A curate's egg, in gart in the awesome climax of ' A Poison frolic is agreat favourite there, and this is a short — and that doesn't even begin to take Tree'. [A:11 Herring,1A111:112] Budd. shapely and engaging account of it. Janacek account of the gamelan music, which is on David Nice being aMoldavian is claimed by both sides, another level altogether, and cunningly but his sympathies lay closer to the Slovaks fused with the action. [A/(B):1] BRITTEN: Les Illuminations D 4 Chan- than to the more Westernised Bohemian The two operas show Britten's conducting sons Françaises D Serenade for tenor, Czechs, and this early Suite, not too often respectively at its incisive peak and ( under- horn & strings heard because it lacks much of the indi- standably) reticent second-best, which is Felicity Lott (sop)/Anthony Rolfe Johnson viduality of the later music, is both attractive still very good indeed. One marvels afresh at (ten)/Michael Thompson ( hrn)ISNOI and skilfully set out. So is Eugen Suchon's the rich textures of the chamber forces in Thomson Serenade. Suchon, together with his contem- Albert, with never an accent missed or a Chandos CHAN 8657 (58m 55s) ( also porary Cilcker, is among the few Slovak punch pulled. The lad's apronstring angst LP/MC) composers to have penetrated far beyond becomes something to take seriously: Pears the borders of the state. He used to be is at his fullest in the expansive longings of 1 Beautiful, stunningly accomplished perform- represented on record by his opera Svato- (ii), and when his disgust after the fete ances are combined here with a subtly- pluk but this Serenade is now his only seems almost too clean- as- a-whistle still, the balanced recording which conveys just the showing on British lists. Opus have several instrumentalists powerfully urge his busting- right degree of nearness to voices and important examples on record so perhaps out. Little wonder, perhaps, that Britten the orchestra. The result is an outstanding disc, the distributor can persuade them to release conductor shirks the murky depths and one of the best ever made of Britten's music. arepresentative sample. [A:11 shining peaks of Billy Budd as if he were Never since Peter Pears and Dennis Brain Kenneth Dommett almost afraid of what his unconscious has have any pair of artists, in my experience, brought forth. The hint of reserve in the imparted such magic as do Anthony Rolfe BRITTEN: Albert Herring disturbing twilight of Herring 2 ( ii) is Johnson and Michael Thompson to the most Pears/Fisher/Cantelo/Peters/Brannigan/ extended here to the first E-flat clearing of celebrated of all Britten's smaller- scaled Ward/Wilson/ECO/Britten the clouds in ' Blow her away' and Vere's works, the Serenade for tenor, horn and Decca 421 849-2 (2CDs, 137m 56s) C) delusive confidence before Claggart's strings. Indeed Iam not sure if Pears himself 1964 accusation of Billy. Even so, the unerringly ever ventured the subtlety of inflexion precise writing for woodwind and brass is which Rolfe Johnson lavishes on Tennyson's BRITTEN: Billy Budd El The Holy Son- clearly etched and remains in the mind long echoes, ' dying, dying, dying'. nets of John Donne El Songs and after the immediate impact of the perform- Felicity Lott takes on the French song- Proverbs of William Blake' ance. cycle Les Illuminations, to poetry by Rim- Pears/Glossop/Langdon/*Fischer-Dieskau/ Pears, sounding much less secure in the baud, with its sinewy and brilliant accom- Ambrosian Opera Ch/LSO/Britten upper reaches now, rises to Vere's crisis paniment for string orchestra. From her Decca 421 428-2 (3CDs, 204m 55s) C) with a memorable fluctuation between rep- initial entry with its marvellously ringing 1967, * 1965 ression, dark authority and anguish; Glossop, attack ( as the poet proclaims his ownership too, reserves the gamut of his tonal palette of the key to the ' savage parade' which he BRITTEN: The Prince of the Pagodas D for Billy- as- redeemer. Michael Langdon's describes), she maintains a closely control- Diversions for piano and orchestra* bass may be the colour of Claggart to the life, led yet thrilling artistry. The composer's Royal Opera House Orch/Britteni•Julius but at neither dynamic end of the scale does optional low notes, reckoned too perilous Katchen (prto)/LSO/Britten he manage to suggest Forster's poisoned for some sopranos, are confidently taken. As Decca 421 855-2 (2CDs, 124m 45s)* Q C) sexual discharge. Perhaps, in a clearer- abonus, Felicity Lott adds the four unfamil- 1957, • 1954 speaking age, we have been spoilt for more iar French songs with orchestral accompani- powerfully explicit characterizations. The ment which Britten composed before he CD transfer for Decca's Britten discography supporting casts for both operas reinforce was 15 ( but which have only recently been seems like a slow process, but at least it Britten's skilful characterisations — espe- published). They have an almost cloying ought to be a complete one. That much is cially Robert Tear, fresh- voiced in the richness which the composer discarded clear when The Prince of the Pagodas is part Novice's music ( haunting, all of it) and John later, but who would wish to sacrifice them of the latest batch. It was the first of Britten's Shirley-Quirk's First Lieutenant on HMS now? recordings to be made in stereo ( the Diver- Indomitable, Sylvia Fisher and Owen Branni- Dryden Thomson is not the first name I sions, recorded in 1954, are in plain sturdy gan combining humour and menace in equal would have mentioned among Britten con- mono, without electronic trimmings, though measure as Loxford busybodies, set against ductors, but no one could outrank him in his that isn't made clear anywhere in the notes) the flexible lovers of Catherine Wilson and sensitivity here, nor in the response which and sets an honourable precedent for the Joseph Ward. There is the chilling presence, he gets from the Scottish National Orchestra. Culshaw delights to come. Only the string too, of Fischer-Dieskau in the Blake settings, [A*:11 Arthurjacobs sound and tape hiss give any hint of its vintage, and the bass is fuller now that I remember it on the Ace of Diamonds reis- sue. The performance — energetic, sharp- edged and not without a certain wide-eyed magic for the Salamander's mysterious man- ifestations — belies the composer's poor opinion of his ballet, and it's probably the nearest we shall come to a full assessment now that Michael Lankester's substantial selection has established itself outside the concert hall ( there are a few cuts here). Your response will depend upon how authentic a ' Britten experience' you demand from the score. Idon't recognize his per- sonal stamp on much of the music, but it is fascinating to hear brilliantly orchestrated pastiche which takes into account early as well as late Prokofiev, Bartok's Wooden Prince as well as his Miraculous Mandarin, the Stravinsky of the Rite, Apollo and Agon. The Four Kings' dances show the collage- method at its most dazzling; exuberance has run decidedly thin, though, in the tepid parody of the Act 3Pas de Six. The dramatic scenes offer instrumental colour without much substance ( the elements of Act Two, Scene One), or inspired tributes to

HI.FI NEWS & RECORD REVIEW AUGUST 1989 95 CLASSICAL reviews

COPLAND: Appalachian Spring D Short again. This is the second account of his hin Elgar Concerto, with the composer Symphony D Quiet City D 3 Latin Amer- youthful and very impressive quintet to conducting: it's been fairly constantly avail- ican Sketches appear in the last six months ( Schiff/Talcac's able. The Sammons and Harrison sets have Orpheus CO Decca version was reviewed in April). What- also been transferred to LP ( by EMI). At this DG 427 335-2 (61m 27s) ( also MC) ever the influences operating on the com- stage, it is difficult to say anything fresh poser — and Brahms's was astrong one — the about the Menuhin; but Ido find Sammons's This is the suite Copland made in 1958 from individuality and power of the work are account with Henry Wood even finer. It is his original ' pit orchestra' version of Appa- undeniable. Decca's team, being Hungarian, quicker in all three movements than the lachian Spring written for 13 players and brought acertain Lisztian dash to the piece, Menuhin and, whilst unsentimental, the designed to fit comfortably into atheatre. Its which the British team translates into amore soloist's lofty manner and wonderful techni- advantages over the more familiar orchestral generalised though no less persuasive pas- que enthral the listener. version are evident in the genuinely vernal sion. The Quartet, in the uncomfortable key It is a pity that Squire seems utterly to luminosity of the music and its touching of D-flat, is another early work — dating from miss the nature of the Cello Concerto — intimacy, much of which is distanced by 1906 — and a more typical example of treating it as a routine virtuoso piece, and large orchestras. The Symphony, with its Dohnanyi's work than the Sextet which phrasing narcissistically. His distortion of heavy complement of winds, would seem to Decca offers. It is an impressive and large- pitch is hardly convincing today. Beatrice call for weightier strings than an orchestra of scale piece in the Brahmsian tradition, full of Harrison was the composer's favourite inter- the size of Orpheus could supply, but in the surprises and unexpected touches of a kind preter; she is far subtler than Squire, and ( for event the mix is remarkably effective, and that make Bartok's admiration for the period) her use of portamento is conforms to the composer's idea of it having Dohnanyi's music, as well of his organizing unusually discreet. Apparently she was not the sound 'of an enlarged chamber ensem- abilities, perfectly understandable. There is satisfied with some of the first 78 sides, and ble'. Quiet City is more poised and atmos- listed an alternative LP version by the Vienna (iii) were redone later that Spring — pheric than in the St Luke's version recently Arts Qt on Schwann coupled with the first something of a precedent for what was to on ASV; and the soloists, especially the Quartet which has not come my way. Few, become a common technique. So, the EMI trumpeter, are more secure and better however, need be disappointed by this disc must have prior claim; but Sammons's, placed. It is also marginally preferable to the present generously rich interpretation and though the most dimly reproduced in these new Schwarz performance on EMI, again recording from the Gabrieli- Chandos part- four recordings, I think remains unsurpas- primarily because it has a stronger sense of nership. [A:11 Kenneth Dommett sed. 1H:1(H)1 1H:! */3/4J atmosphere. 'Ibe Latin American Sketches, Christopher Breunig Copland in asombrero, are, however, more DVORAK: Symphony 8 1:1 The Wood substantial than El Salon Mexico or Danzon Dove Cubano, and less familiar. An admirably SNO/Jdrvi played and recorded programme. [A:1] Chandos CHAN 8666 ( 56m 36s) ( also Kenneth Dommett I.P/MC)

COPLAND: Clarinet Concerto 0 Music This brings to a conclusion Járvi's series for the Theatre D Quiet City O Dance devoted to the symphonies, tone-poems, and Panels some overtures, a series distinguished by David Shifrin ( c11)1NY Chamber Symphony/ some memorable performances and fine Schwarz recordings. Not all the CD versions have EMI CDC 749 0952 ( 71m 41s) reached me, but those in that format have shown up awealth of detail enhanced by the 'I'he first three works seem to he undergoing conductor's generally well thought-out an unprecedented revival. Presumably with tempi and his always sensitive approach. All the composer's 90th birthday in the offing these qualities are to be found in the they present typical and readily assimilable symphony, Dvorak's sunniest and most examples of his work. Their proliferation, Czech in feeling. There have been many however, makes choice difficult — particu- excellent accounts of this, but Jârvi's is a larly where the Concerto is concerned. very serious contender for a place among Shifrin's is yet another good, idiomatic per- the finest. To some ears maybe it is a ' careful' GERSHWIN: Porgy and Bess formance to set against three of the most reading, sounding just a bit too precise. Soloists1Glyndebourne Ch/LPO/Rattle recent: Stoltzman's glowing RCA version, However in sum it captures most of the EMI CDS 749 5682 ( 3CDs, 189m 32s) ( also Janet Hilton's sharply focused Chandos atmosphere and spirit, and everything is 3I.P/3MC) recording, and Richard Hosford's attrac- securely cemented together. It may not be tively scaled performance on ASV. Shifrin's the ultimate interpretation for the Desert Here the listener is confronted by two strength lies in the astringency of his attack Island, but which is? There is a beautiful shibboleths, the presumed perfection of on the second, jazz- inspired movement clarity and immediacy to the sound which in Gershwin's opera, and, critically speaking, where the staccato phrases have a sharp itself is exciting. The Wood Dove, the most the infallibility of Simon Rattle. That both are cutting edge. The lyric first movement finds pastoral of the tone poems, receives a open to question may be argued from the more persuasive advocates in Hilton or surprisingly subdued performance, and is present recording, which is a studio re- Stoltzman, who both have the added advan- not quite as transparently recorded. It is enactment of the Glyndebourne stage per- tage of warmer orchestral sound. Program- very poetic, but perhaps here one would still formance. There, this Porgy was apparently a mes too must affect choice. This one has a go for Kertesz's extra sense of drama. Gre- success, but embalmed on record, it is only good mix of the witty, the spiky, and the gor's Supraphon versioa is also worth con- intermittently so. Rattle has fashioned a lyrical Copland, and the bonus of Dance sidering. Altogether a memorable achieve- performance of indulgence, designed, one Panels, aneglected example of his later, still ment for both the SNO and Chandos. feels, as much to reflect his own preoccupa- highly personal music. Music for the Theatre [A/A*:1] Kenneth Dommett tion with certain aspects of Gershwin's score is duplicated on the ASV release, but this as to present to us a cosmic view of it. His performance with its bright, rather edgy ELGAR: Violin Concerto III Cello Con- singers, led by Willard White ( who now sound has atouch more bite and sparkle; the certo surely is the artistic personification of the nocturnal Quiet City is less crepuscular than Yehudi Menuhin ( vin)ILSO/Beatrice Harri- titular hero), Cynthia Hayman, a capable if Orpheus's on DG, whose programme, if you son ( vlc)/New SO/Elgar not wholly ingratiating Bess, with Damon don't specially want the concerto, arguably EMI CDH 769 7862 ( 75m Ils) 03 record- Evans as an invigorating Sportin' Life, carry has the greatest musical value of all. [A:1] ings from 1932, ' 28 out their conductor's commands, even Kenneth Dommett where, as in several of the more lyrical Albert Sammons ( vin)/Queen's Hall Orchl passages — 'Summertime' is a specially apt DOHNANYI: Piano Quintet Op,1 WoodIWH Squire ( vlc)/Hallé/Harty example where Hayman labours to support String Quartet 2 Novell() NVLCD 901 (74m 51s) (g, record- the sagging tempo — one imagines their Wolfgang Manz (pno)/Gabrieli Qt ings from 1929, ' 28 sympathies lie in generating some of that Chandos CHAN 8718 ( 61m 125) (also zipp which, pace those operatic assump- LP/M(: ) Ideally, one would like a cross-coupling tions, Gershwin's music always demands. from these two CDs. There can be no Here such music is set to make its point so Dohnanyi's star is clearly in the ascendant recording more famous than the first Menu- deliberately as to fail almost to make it at all.

96 111.F1 NEWS & RECORD REVIEW AUGUST 1989 reviews CLASSICAL

On the other hand, the more 'show-y' side by Mozart's or Prout's additions; it is abso- her fellow- soprano soloists ( I do not so gets the full Rattle razz-a-ma-tazz, and the lutely complete; and the sound, with prom- much care for Jill Feldman's tone) find their music picks up accordingly — though the inent harpsichord throughout, is excellently highest notes marginally eased by the fact chorus is not especially well focused. balanced. that low baroque pitch is used, while Mar- This brings one to the question of Ger- In 1954 it could not be expected to have garet Cable's confident contralto is outstand- shwin's equivocal score. If, like Maazel, one today's fashionable restoration of Handelian ing: yes, females replace choirboys as well as goes for the full operatic treatment, one can practices: double-dotting to make sharper castrato, with complete musical justification. be easily convinced that the piece really has rhythms, appoggiatura to avoid note- repeti- The choral singing hardly ever fails the pretensions to ' grand' opera; whereas if one tion, elaboration of melodic lines with trills daunting test of instrumental- style virtuos- listens to the equally authoritative RCA and cadenzas, etc. Though Ipersonally miss ity, and the performance on ' authentic' version by DeMain, one is quite happy to these, and find the recitatives slightly dull in orchestral instruments is lithe but never settle for ' Super-Broadway' status. His is a consequence, Irevel in much of this per- scrawny. view favoured by many Americans, and it formance with its keen edge of sensitivity. The recording in a London church, pro- certainly has its advantages, not least 'And there were shepherds ...', slow and fiting by the experience of a previous because it persuades us to overlook DuBose meditative, is followed by ahuge excitement performance at the 1987 Bath Festival, suits Heyward's sadly dated dialogue. Rattle at 'And suddenly there was with the angel'. the music marvellously with a resonant but seems to see it as America's Carmen but Margaret Ritchie fairly bubbles with enthu- never cloudy sound, and picks up solo would like it to become Glyndebourne's siasm at ' Shout, O daughter of Jerusalem'. instruments particularly well. Iset liturgical Show Boat — the cynical might say musical Classification is hard: it would have been speculations aside and happily award an comedy trying to become musical tragi- [A:1] in the 1950s, but ... [ perhaps B/C then? [A*:1]. Arthurfacobs comedy. Had he opted wholly for one or the — Mus EcIJ Arthurfacobs other, preferably the latter, he might have HAYDN: String Quartets in B Op.!:! D been more successful. As it is, either of the HANDEL: Carmelite Vespers In D, Op.64:5 'Lark' 0 in g, Op.74:3 alternative versions seems preferable, and Jill Feldman, Emma Kirkby, Emily Van 'Rider' dependent on where in the scale you place Evera (sops)/Margaret Cable, Mary Nichols Hagen Qt Porgy and Bess. [A:2] Kenneth Dommett (con)Joseph Cornwell (ten) /David Thomas DG 423 622-2 (54m 41s)

The Hagen Quartet have been criticised for playing that is considered almost too refined. I can only say that I am impressed and delighted by their performances here of three nicely contrasted works. The earliest dates from Haydn's twenties; it is a five- movement divertimento ( with two minuets), and the players neatly combine liveliness and high spirits with the elegance needed for the central Adagio. 'The Lark' and 'The Rider' precede the composer's first and second visits to London. Here the playing takes on due weight and depth, though without sacrifice of the marvellously assured poise and precision. The leader relishes the challenge to his virtuosity posed by the D- major work; the G-minor one very prop- erly brings out the individual qualities as well as the corporate excellence of the team. The recording, resonant yet not lacking intimacy, is natural in sound, allowing awide range of tonal nuances to make their due effect. IA:11 Peter Branscombe

HINDEMITH: Das Nusch-Nusciii Soloists/Berlin RSO/Albert Wergo WER 60146-50 (59m 50s)

Das Nusch-Nuschi is the second of the 1111111.111111111111Mr. trilogy of sexually- motivated operas Hinde- HANDEL: Messiah (bass)/Taverner Ch & Players/Parrott mith wrote immediately after the first World Ritchie/Shacklock/Herbert/Standen/ EMI CDS 749 7492 (2CDs, 121m 43s) War. The other two, Murder, Hope of ISO/London Phil Ch/Scherchen Women and Sancta Susanna have already Nbm NDCCD 1003 ( 3CDs, 171m 72s) (I.4 ® The young Handel in Rome set quite a few appeared in this Wergo series devoted to 1954 Catholic church texts including the Dixit Hindemith, and were reviewed earlier in the dominus — a substantial psalm-setting for year. Gerd Albert has given ample evidence Iwas incredulous. What point, Ithought, in soloists, chorus and orchestra which fairly in previous Hindemith recordings of an reissuing — in these days of intensified blazes with musical exuberance, and which uncommon sympathy with the composer's Handel scholarship and the cultivation of has been several times recorded. Collectors work, especially that of this early period. early instruments — a performance of 35 will differ on whether to have that standing Das Nusch-Nuschi, a marionette play set in years ago under a conductor remembered on its own, or to have it incorporated ( along Burma, involves the seduction of the King's mainly for the 20th-century repertory? And a with other Handel works and passages of wives by his general and that luckless mono recording at that! Low expectations plainsong) into a supposed Vesper Service Lothario's subsequent castration. For it Hin- were accented by the wretched CD packag- for aCarmelite church — which may or may demith provided a score of, for him, unsur- ing: the items are not even listed, so that the not have been the original context. Oh well, passed opulence and diversity, full of colour provision of tracks is almost useless. if you are of my mind you can always and spectacular displays of compositional But not at all! Unless you reject mono de-programme the plainsong tracks, or treat techniques. This recording, the first of the absolutely, here is a recording which them like commercial breaks on TV and rush complete work, allows us to relish its deserves a place at least as the ' other' for coffee. youthful precosity. It amply realises the Messiah on an enthusiast's shelf It shows a The other Handel contributions, including promise of the Matisse odalisque who deco- fine musical mind guiding a performance the Laudate pueri, admirably support the rates the box cover, and though the cast is with four of the best soloists of the time and Dixit dominus: the religious words are no not uniformly excellent, the principal roles a chorus of whizzing accomplishment: try bar to operatic pathos or dance- like lilt. It is are well cast and characterised. The piece 'And he shall purify', as stunningly fast as the all brilliantly brought off by Andrew Parrott, caused astorm of protest at its first produc- final 'Amen' is curiously ( but not heavily) with notable agility in fast tempos but with tion under Fritz Busch in Stuttgart in July slow. The score is real Handel, unmodified sensitivity throughout. Emma Kirkby and 1921 because of a quote from Tristan in a

HI-FI NEWS & RECORD REVIEW AUGUST 1989 97 CLASSICAL context which made it seem derogatory to Ljubljana in 1926. In 1943 Ota Zitak and by far the most popular and most frequently champions of the ' purity' of German Art. The Vaclav Sedlacek, two people closely associ- heard, but the other two, dating from 1939 producers have provided an English transla- ated with Janacek, contrived an orchestral and 1941 respectively, are equally interest- tion of an informative note on the genesis of transcription of the composer's piano score ing and representative. The First is aparticu- the opera, but, surprisingly, no synopsis or which keeps unusually close to the original larly powerful and emotional work, compa- translation of the libretto. IA:11 and retains much of the original flavour rable with the Fourth quartet. They are Kenneth Dommett without trying to ape the individuality of its currently represented only by one other CD style. Zitek was the orchestrator and Sed- recording, by Chuchro and Hala on Sup- HINDEMITH: Cardlllac lacek, who was Janacek's copyist, helped. raphon — apparently no longer easy to come Soloists/Berlin RSOIAlbert The transcription was made for another by. However this new duo have done all Wergo WER 60148/9-50 (2CDs, 88m 30s) stage performance given in Pilzn but it has three justice in performances rich in tone, not to my knowledge been recorded before. full of fire and lyric expansiveness. Hyperion Das Nusch-Nuschi may be Hindemith's most Despite having been modified by Janacek, seem to be about the only company pre- opulently scored opera, but Cardillac the solo tenor line remains fiercely deman- pared to sponsor Martinu at the moment. (1926) is possibly his most intellectually ding and Langridge sounds under strain at This is the third record of his chamber music satisfying, the later philosophical dramas times but his performance has style. The they have so far released, and like its Mathis der Maier and Die Harmonie der Sinfonietta makes an odd coupling really, predecessors, is admirably recorded. The Welt, or the serio -comic Wilder piece The though it is hard to see what else of Janacek's two instruments are nicely spaced and Long Christmas Dinner notwithstanding. would have made a better. It receives a sufficiently forward to give the perform- This tale of the goldsmith, so besotted by his good, straightforward, though not especially ances natural presence. [A:11 love of the material of his craft that he inspired reading from Abbado, but perhaps Kenneth Dommett murders because of it, has echoes of a listening to it after Nazareth's splendid Opus fictional Cellini, but Ferdinand Lion's lib- recording worked against it. IA:1/21 MEDTNER: Fairy Tale Op.9:3 D Dithyr- retto is more intense and more concentrated Kenneth Dommett amb Op.10:2 ID Fairy Tales Op.14:1, 2 D than that which De Waily and Barbier Fairy Tale Op.26:2 D Fairy Tale Op.35:4 provided for Berlioz's opera on a similar LEIGHTON: Sonatina 1 , D Conflicts, D Forgotten Melodies Op.39:1, 3 D 3 theme. Cardillac was recorded several years Op.51 D Five Studies, Op.22 D House- Hymns in Praise of Toil OpA9 D Elegy ago by DG with adistinguished cast headed hold Pets, Op.86 D Fantasia Contrap- Op.59:2 D Fairy Tale in d ( 1915) by Fischer-Dieskau. This new recording, part puntistica, Op.24 of Wergo's Hindemith Edition, can boast no Eric Parkin (pno) MEDTNER: Sonata Triad Op.!! D Sonata star names — Siegmund Nimsgern, the Cardil- Abacus ABA 402-2 (65m 07s) ( Harmonia Op.25:2 'Night Wind' lac, comes closest to being one — but the Mundi) Hamish Milne (pno) cast generally acquit themselves well, CRD CRD 3338 (54m 56s) CRD 3339 (60m extracting from the composer's often angu- That I knew none of Kenneth Leighton's 22s) lar vocal lines passion as well as anguish. output before receiving this disc was clearly Some of the women, Gabriele Schnaut is very much my loss. There is some fine music MEDTNER: Forgotten Melodies Op.39 one, can be squally, but on the plus side is presented here, music at once tough, attrac- 2nd Improvisation, in the Form of Varia- Albert's ardent direction which draws excel- tive, and pianistic ( in the sense of suiting the tions Op.47 ID Sonata-Idylle Op.56 lent playing from the orchestra, and record- piano from all points of view), in which a Earl Wild (pno) ing which puts everything in realistic pers- distinct flavour of Bartók, a healthy admix- Chesky AD! (66m 29s) pective without sacrifice of colour or detail. ture of other influences and a strong indi- The absence of an English translation of the viduality are all evident. Leighton ( who died Medtner's is not music for pianists who seek libretto is adrawback common to this series in 1988) was apianist himself who was not facile success, least of all the Op.25 Sonata which could easily have been avoided. IA:11 afraid to present technical challenges to the (1911), one of the outstanding sonatas from Kenneth Dommett player or to exploit the piano's virtuosic and the early years of the century and among his sonorous possibilities. On this disc we have greatest achievements. Grove's mention of JANACEK: Taras Bulba D Sinfonietta awell balanced selection of works, from the 'overladen' textures applies only to the Slovak PO/Nazareth charming miniatures in the ' Household Pets' earliest works and to almost nothing here. Opus 9350 2013 (47m 55s) suite to the large-scale ' Conflicts', subtitled Indeed, the links with Brahms and Schu- 'Fantasy on Two Themes'. Pianists take note: mann have also been exaggerated and, Daniel Nazareth is an Indian conductor who this is good concert material! despite an occasional hint of Medtner's graduated from the RCM, but Iam ashamed Eric Parkin is a devoted and respected friend Rachmaninov, as in Op 11:2, all this to say that Ihad not previously heard of him. English music advocate, and his work in music has a personal tone. His is a highly After listening to this record though Ishall bringing this music to our attention should disciplined art yet one prolific in imaginative be on the look out for him, for these two not be undervalued. On the other hand, Ido fantasy and, again with the Sonata Op.25 as Janacek staples, ideal companion pieces, not always feel that his performances bring an excellent illustration, some of its singular have seldom sounded so thrilling, even at out the most in Leighton's writing. Parkin is force, its feeling of constant growth, its the hands of Mackerras or Rattle, or so generally technically secure and accurate' grandiloquently recorded. The sound, (barring the odd misreading), but manages engineered in Bratislava and polished in to sound less than fully involved. Rhythmic Austria, is extraordinarily vivid, as befits the drive, essential to much of the music, is most lavish of Janacek's scores. As it happens sometimes allowed to slip, and dynamics, we also have a new Sinfonietta from DG both long- and short-term, become a little with Abbado this month, but on pretty well blurred with piano tending to mezzo-forte all counts this more modestly packaged and fortissimo lacking power. The central version wins hands down, though of the two climax in Conflicts, for example, is not pieces it is perhaps Taras Bulba which frenetico— Il più forte possible, as marked, makes the greater impact. The ingenuity of and the third of the ' Five Studies' could do Janacek's orchestration seldom has achance with being alot more delicate. Some pieces to reveal itself so completely as here, where work better than others; the Sonatina comes its carefully chosen grotesqueries are able to over very well. make their point in glorious Technicolour, The recording has a dull ' thud' accom- so to speak. [A*:11 Kenneth Dommett panying every note, and this and the close balance do not help maintain dynamic range. JANACEK: Diary of One Who Dis- Overall, strongly recommended for the appeared D Sinfonietta music, with slight reservations about per- Philip Langridge ( ten)/Brigitte Baileys formance. 111:21 Richard Black (sop)/BPOIAbbado DG 427 313-2 (58m I6s) MARTINU: Cello Sonatas Steven Isserlis ( vlc)/Peter Evans (pno) This version of the Diary is a curiosity. Hyperion CDA 66296 (55m 25s) Janacek apparently considered staging the work, and such aperformance was given in The third of Martinu's three cello sonatas is

98 III -FI NEWS & RECORD REVIEW AUGUST 1989 CLASSICAL

strong sense of direction, arise from the Giovanni, Zaide, Cosi and Zauberfliite, plus and the brazen, Stravinskian splendour ()I tension between these two. Given that his two interpolation arias ' Mentre ti lascio' 'Ave formoissima' is spectacularly realised. style is admittedly a conservative one, it is (K5 13) and ' Un bacio di mano' ( K541), But in the long run the performance is too possible to miss the very high rate of musical show off the talents of this accomplished uneven to bare repeated hearings; and mat- and pianistic invention, which is a constant singer admirably. His characterizations — ters are not helped by what sounds like factor. Yet in performances like these by Figaro, the Count, Giovanni, Guglielmo, some blatent knob-twiddling three bars Wild and Milne, which are at once dedicated Papageno and the rest — are varied and well before fig.139. [ B/C:2] Simon Cargill and virtuosic, one can scarcely be unaware thought-out. He manages the upsurges of of the full-blooded and Romantic character Almaviva's frustration and Papageno's vola- PROKOFIEV: Piano Concertos 1 & 2 111 of these pieces, their vitality and rhythmic tility very cleverly, and gets areal snarl into Romeo & Juliet — excerpt variety — not least in the matters of syncopa- Figaro's bitter resentments. Hans Vonk is not Vladimir Feltsman (pno)/LSO/Tilson tion and cross- rhythms — or of the contra- a conductor one automatically thinks of in Thomas puntal skill which shapes the rich textures. the context of Mozart, but his contribution CBS CD 44818 (54m 185) ( also LP/MC) The range is from Ophelia's despairing, here is generally positive and shapely. Good dislocated lament Op.14:1, with its harmo- spacious sound with lots of presence. (A:1] Prokofiev's acid wit in his First Piano Con- nic strangeness, to furious outbursts like Kenneth Dommett certo suits Feltsman's lean, whip- lash sonor- Op.35:4. Again, in either Milne's or Wild's ity ideally, and here this currently much- interpretation Op.39:3 surges like a spring ORFF: Carmina Burana celebrated Russian virtuoso is in his ele- tide, as does Op.26:2, while Op.39:1 is Edita Gruberova (sop)john Ater ( ten)/ ment. There are none of those tiny casings of introverted like Busoni or late Liszt. Medt- Thomas Hampson (bar)/BP0 & Ch/Ozawa tempi that betray insecurity, and the mix of ner's Sonata Op.25 is the main exhibit, Philips 422 363-2 (60m 33s) high-speed whimsy and athleticism is stun- however, making great interpretative and ningly impressive. Feltsman's rubato, too, in technical demands and lasting 35 minutes. A perennial favourite, Orff's spectacular set- the meno mosso is a bold and idiomatic Milne surpasses himself, and one can only ting of Medieval lyrics in praise of wine, reflection of both ' blue' rhapsodizing and regret that he had not had the career to women and song has received many record- pulverizing chordal virtuosity. The record- which his gifts entitle him. The phenomenal ings over the years. The problem with this ing is finely balanced, and in the monstrously Wild has not exactly been greeted with open one is that it sounds as if some of the demanding Second Concerto Feltsman again arms by the major companies either, but, participants are past this sort of thing and meets every technical demand with alpine with his vast technique and sensitive range ready for amore sedate life. Perhaps sensing ease. His performance may be less memor- of colours, he is ideally suited to Medtner. this, Ozawa responds by setting some fastish able or monolithic than Jacob Zalc's, in his This is most apparent in Op.47, which tempos; but this only partially compensates old MK recording, largely because his cool though described as an improvisation is for a general lack of youthful spring and and sardonic view of Prokofiev's punch- another major piece, lasting 26 kaleidosco- bounce, particularly in the choir. drunk brilliance ( in the first- movement pic minutes. Indeed the Sonata Op.56 and The opening sets the tone of the record- cadenza/development, for instance) reduces the particularly fierce Sonata Tragica, last of ing. Ozawa positively attacks the poco the full impact of such writing. But the the Op. 39 set, are also of notable weight and stringendo in bars three and four, and then modern CD format allows us to hear every substance. sets a breakneck tempo — at least twenty facet of the composer's malignant humour in Iwould not be without any of these CDs, beats a minute too fast — for the famous both these wildly nonconformist Concertos but recommend CRD 3339 first, because of `semper cresis' section. Inevitably the results with crystal clarity. Michael Tilson Thomas Op.25:2, then the Chesky because of Op.47. sound rushed. provides asuave and exemplary partnership, [A:1] Max Harrison The problems are not only of tempo, and Feltsman's encore (' Romeo bids Juliet however. There is some wayward orchestral farewell') is magnificently played. Readers MOZART: Clarinet Concerte/COPLAND: tuning in ' Omnia Sol temperat' and 'Amor curious about this pianist should also investi- Clarinet Concerto/STRAUSS: Duet Con- volat undique' and the sound of distinctly gate a 2CD set ( also on CBS) of his New certino matronly women in ' Floret silva'. The news York debut recital, adaunting occasion that Richard Hosforti ( clL b ce)/Matthew Wil- is not all bad of course. Thomas Hampson's mirrors some hyper- tense but hauntingly kie ( bsn)/COE/Schneider*/Fischer drunken abbot is a joy, and Edita Grubero- individual performances. A record of ASV CD COE 811 (66m 19s) va's ' In trutina' is deliciously sexy. Apart Schubert's Wanderer Fantasie and six from afew uncertain moments in 'Veni, veni, Moments Musicaux is also available in the A most effective piece of programming into venias' the choir improve as they go along, States. IA:!] Bryce Morrison which Copland's concerto fits surprisingly well. Its reflective opening blends nicely with Mozart, and its angular finale makes a good foil for Strauss's creamy harmonies. For Mozart Hosford takes up the basset- clarinet and gives a performance of style, less intro- verted than some but with a poised slow movement and a bright finale. Schneider is the conductor here, and a very sympathetic one, with the C()E in excellent form. The rest of the programme is conducted by Thierry Fischer. Copland receives similar treatment, luminous and intimate to begin with, the cadanza flowering convincingly into the ' crudity' of the finale. Balance between soloist and orchestra is particularly good here, where the edgy tone demanded of the soloist tends to throw him into high relief. Strauss's intimate little Concertino is mellow and restrained, with some lovely playing by Wilkie. This kind of Strauss is not to all tastes, but the assertion that his late work tended to be a tired attempt to recreate past glories is scarcely borne out by this delightful music. [A:1] Kenneth Dommett

MOZART: Opera and Concert Arias Olaf Bdr/Dresden Staatskapelle/Vonk EMI CDC 749 5652 (54m 25s)

A well-balanced recital of 14 baritone arias, from La finta giardiniera, Figaro, Don

NEWS & RECORD REVIEW AUGUST 1989 99 CLASSICAL

PROKOFIEV: Peter and the Wolf/SAINT- the finale by acut that is — thank goodness — note. Her Gnossiennes are as hypnotic as SAENS: Carnival of the Animals/ no longer fashionable, by alacklustre accom- her Gymnopédies, elegant and indolent MOZART: Eine Kleine Nachtmusik paniment and indifferent engineering. Felts- evocations of a timeless past. Her Le Picca- Sir John Gielgud (nar)/Acactemy of Lond/ man chooses the less elaborate and arguably dilly struts and cavorts with the masterly Stamp better of the two cadenzas; but there is little aplomb of a true Paris, rather than London, Virgin Classics VC 790 7862 ( 66m 55s) here to rival legendary recordings by Rach- roué. And she is amost seductive chanteuse (also 12/MC ) maninov himself, Horowitz ( his first two in Je te veux, an amusing exercise in discs, with Coates and Reiner, at any rate), vaudeville nostalgia. Sports et divertisse- You may think the Mozart sits oddly with Gilels and Cliburn ( now on CD in America). ments is given complete, and is most Prokofiev/Saint-Saens ( it once backed The Paganini Rhapsody, a studio per- delicately and acutely characterized; so all &ohm's VPO Carnival, on DG) but the formance this time, is also — most oddly — these performances give one food for thought occurs only because Isuspect most cut. A tame unfocused start to Variations 7 thought. If Anne Queffelec is so successful in listeners will tend to play this CD from and 8 in particular, and alack of character in Satie, what of her Debussy, Ravel and Fauré, beginning to end, so pleasing is it. With Sir general hardly encourages comparison with her Poulenc and Chabrier? These are, of John engaged for Peter, Isuppose the sheer other recordings, most notably by Earl Wild, course, composers of another order and charm of the enterprise might have been Vladimir Ashkenazy and Julius Katchen. ambition, but Miss Queffelec's individuality anticipated ( he ' ties' with his old friend [B:3] Bryce Morrison certainly raises a question. The recordings Ralph Richardson as the most engaging are of demonstration quality and the sleeve narrator on records). You just snuggle into a ROSENBERG: String Quartets 1, 6 8c 12 design, of apainting by Paul Gildea, is more comfy chair and become achild once more. Kyndel/Gotland/Copenhagen Qts than eye-catching. [A*:1] Bryce Morrison But, the telling of the story is in the music Caprice CAP 21352 (69m 35s) 0 1956, too. And Richard Stamp, with his orchestra '75, ' 80 SCARLATTI: 15 Sonatas largely comprising American- trained musi- Andras Schiff (pno) cians, directs three winning performances in ROSENBERG: String Quartets 4' and 7 I=1 Decca 421 422-2 (73m 14s) ( also MC) a row, the Prokofiev making you realize 6 Moments musicaux anew just what a little masterpiece it is. FresklBerwald/Golland Qts Did Scarlatti ever write adull Sonata? Listen- (Tellingly, Stamp seems to bring into focus Caprice CAP 21353 (69m 32s) s® 1973 ing to Andras Schiffs enterprising selection all the Prokofievian fingermarks — like the it is difficult to imagine music of a more ice- cracking Nevsky reminder, just before These two discs, largely comprising reissues concentrated essence, quirkiness and the the duck goes for ' anice swim'.) Any drama of historical importance, are part of aseries strangest prophecy. Alive with the sort of student will, however, be envying the of four CDs containing all Hilding Rosen- harmonic and rhythmic ambiguity that can aplomb with which Gielgud modulates the berg's quartets. The wide exposure of Shos- throw all expectations, there are even fore- ends of his interjections so that we are eager takovich's contribution to the genre earned tastes of Bartok. ( The crunching dissonances to hear the following musical episode. him a reputation which, had his work and ornamentation of K175 in A- minor look There is no speech with the Saint-Saens: received equal recognition, Rosenberg forward to the ' Musettes' of the Out of an excellent performance which matches might well have shared. Indeed, as the six Doors Suite.) In K513 in C whimsical the high standard of the fascinating Kremer/ works represented demonstrate, his range is pastoralism dissolves in a burst of laughter, Argerich ( Philips), yet is less intellectually quite as wide as Shostalcovich's, wider in K115 is boldly declamatory and, all in all, it contrived. The soloists are not so well certain respects since he possessed avein of is hard to choose from this cornucopia of known here, but that proves meaningless. humour unvitiated by the sardonic strain treasures and musical surprises. Arguably Stamp tries to do alittle too much that colours that of the Soviet composer. With outstanding advocacy from Horo- with the Mozart Serenade, although I Rosenberg does not perhaps plumb the witz, Dubravka Tomsic, and Maria Tipo ( of enjoyed his account. The Academy strings depths of despair which inform Shostako- whom more next month) on record we are aren't in the Vienna or Berlin class for the vich's most personal quartets, but then hardly short of quality, but Andras Schiff's is sound that they make, but the most striking Rosenberg was spared the rigours of the surely the equal of any. Many performances feature of this disc is that there's acomplete Russian artistic climate. Nor does he go in reduce Scarlatti's daring to little more than a absence of that routine, or rushed, feeling of for the faux-naif manner into which Shosta- resounding tinkle, but Schiff is wonderfully a record being completed to a deadline. kovich lapsed from time to time. That said, alive to the composer's range, his sheer Everyone seems to have time and feeling for however, the energy of the First Quartet fullness of expression, to the most far- the pieces. And the sound- quality in this (1920 rev 1955), the ethereal character of reaching romantic and modern implications. Abbey Road studio production Oohn West/ No.12 ( 1957), a tautly conceived two-part And of course, his legendary lightness and Mark Vigars) is exceptionally good. Giel- work subtitled Quartetto riepilogo, and the articulacy make you thankful rather than gud's part blends well with the hall acoustic, largely reflective Seventh ( 1956) ought to ungrateful for his modern instrument. (A:1] and one can imagine the spot in which each suffice to confirm Rosenberg's claims to Bryce Morrison instrumentalist sits, spread in the hall. There wider exposure. is a deep, and precise image. The notes are most informative and the SCHUMANN: Carnaval D Papillons Finally: sales royalties are for the Chailey transfers to CD have been extremely well Fantasiestücke, Op.111 Heritage, a centre for disabled children. Sir done, especially that of the genuinely his- Bernard d'Ascoli (pno) John waived his fee, and he sounds as if he toric Kyndel Quartet recording for Swedish Nimbus NI 5170 (56m 18s) had fun — ' clarion« indeed! (A*:11 Radio of No.1 in 1956 which shows almost Christopher Breunig no sign of age. Mostly [A/B:1]. Shortly after his triumph as a finalist in the Kenneth Dommett 1981 Leeds piano competition Bernard d'As- coli recorded an absorbing Liszt and Franck RACHMANINOV: Piano Concerto 3 D SATIE: 6 Gnossiennes D Véritables Pré- album for Classics for Pleasure. Eight years Paganini Rhapsody ludes flasques D Vieux sequins et vielles later his Nimbus debut is no less thought- Vladimir Feltsman (pno)/Israel PO/ Mehta cuirasses D Chapitres tournés en tous provoking, though not in any obvious sense. CBS Cl) 44761 (64m 54s) ( also LP/MC) sens D Trois GymnopédiesElEmbryons His Carnaval is sensitive and robust, essen- desséchés CI Je te veux D Sonatine tially individual rather than self-serving. In In 1987 Valdimir Feltsman arrived in Amer- bureaucratique D Heures séculaires et 'Eusebius' his move from sotto voce to ica to a hail of publicity after years of Instantanées I=1 Le Piccadilly D Avant- molto teneramente suffuses the music's oppression and neglect in his native Russia. dernières pensées 1=1 Sports et Diver- character with a varied and distinctive But Idoubt whether this recording will do tissements emotional life, and in ' Coquette' his dancers much to enhance an already uncertain repu- Anne Queffelec (pno) leap upwards before landing firmly on their tation. The Third Concerto is taken from a Virgin VC 790 7542 (76m 14s) ( also feet (p

100 ME! NEWS & RECORD REVIEW AUGUST 1989 CI AS SICAL

The recordings, when you bother to notice yet resonant in tone. They are eloquent and them, faithfully capture an immense range of restrained; but there is something missing. sonority. Piano records of this calibre are a Just what this is becomes apparent in the rare event. Even in her matchless perform- stormy second movement. The resonant ances of the Spanish repertoire Alicia de acoustic throws a sonorous veil over the Larrocha has seldom confirmed her status sound, taming the sfff chords and robbing more magisterially as one of the world's the viola of its bite. Combined with the 11111 greatest virtuosi. [A:11 Bryce Morrison Coull's reluctance to submit to the music's almost hysterical depth of feeling, the result SHOSTAKOVICH: Symphony 8 is acurious remoteness, adetachment from Leningrad PO/Mravinsky harsh reality. Philips 422 442-2 ( 59m 35s) Recorded live Yet as one listens to the Fourth and 1982 Eleventh quartets which follow, it becomes obvious that this reticence is not an affecta- Authenticity, as such, can be overrated. The tion or a consequence of a lack of commit-

Barda) importance of this issue is not that Mra- ment, but a considered philosophy. For the vinsky conducted the work's première but Coull, Shostakovich is a man of perpetual

Clive that he was agreat musician who, in the 36 ambiguity. Thus, while one could argue that years between that première and the per- they fail to make the most of the sardonic formance presented here, clearly developed Jewish wit in the Fourth's finale or the photo: the sort of kinship with it that minor talents ecstasy in its slow movement, their reading never achieve, and major talents, only some- remains so integrated, so consistent that it

Ascoli ( times. And what better instrument for Mra- forces you to re-examine your presupposi- vinsIcy's genius that the Leningrad Philhar- tions. monic, which he conducted for over 40 Any lingering doubts are displaced by years and brought into the top handful of their performance of the enigmatic world- class orchestras? Eleventh. To begin with, it is brilliantly Larrocha's new Decca recording, is omitted. Shostakovich's 8th is not an ' easy' work. played. The Coull capture perfectly the Papillons, with its subsequent cross-pol- On the contrary, it is foreboding and unset- mood of vague foreboding in the brief lination of ideas, makes an apt companion tling. From the very first notes, the dark Scherzo and Etude, while avoiding injecting for Carnaval. In the presto of 4 d'Ascok is a orchestral colours at which these perfor- into the music asense of inevitability it does little lacking in lightness and fantasy, and in mers excel show strongly that this is no light not have. This is odd, sometimes grotesque the Op.111 Fantasiestücke he is surely 100 entertainment. But even in the most catac- music, and the Coull's unassuming literal- plain and simple in the Eusebian intimacy of lysmic climaxes, here taken to what must ness drives home its ambiguity. This will not 2 - a gallic over-reaction to possible sen- surely be the limit of orchestral power, suit all tastes. If you are looking primarily for timentality? Overall these are endearingly pessimism never takes over; for all its a recording of the Eighth, you may be safer honest performances and, more successfully trauma, this symphony is ultimately the with the Borodin or Fitzwilliam. But if it's recorded [ these are productions in Nimbus's victory of the ' still, small voice' and Mravins- the others you require, the Coull have much controversially resonant house- style for ky's achievement is in presenting the full to offer. [A/B:1/2] Simon Cargill pianoforte - Mus Ed], they could be wel- scale of the conflicts in the music in its comed with open arms. A second Nimbus incredibly short space of one hour. ( Long? SHOSTAKOVICH: Suite on Poems by record will be devoted to Chopin, ad'Ascoli The symphony is amiracle of compression.) Michelangelo/REIMANN: Tre Poemi di speciality, and this will be awaited with keen Playing is everywhere utterly beyond Michelangelo interest. IC:1/2] Bryce Morrison reproach, and I must single out the hair- Dietrich Fischer-Dieskau ( bar)/Aribert raisingly apocalyptic trumpet solo in the 3rd Reimann (pno) SCHUMANN: Carnaval El Fasching- movement for especial praise. Teldec 8.44138 (59m 02s) sschwank aus Wien D Allegro in b, Op.8 In the light of the above comments, it is a Alicia de Larrocha (pno) pity I cannot recommend this CD. The Magnificent, indefatigable, Fischer-Dieskau Decca 421 525-2 (64m 55s) original tape was obviously recorded on a at the age of 64 is still recording new slow- running tape recorder, and since Phi- repertory and, as in this case, bringing to it Criticism falls silent when faced with pian- lips did not check speeds when they trans- both richness of tone and intensity of ism and musicianship of this order; one can ferred to digital tape the performance feeling. The 11 Shostakovich settings, desig- only sit back and marvel. This is Alicia de sounds about 3% fast ( half a semitone nated for bass voice, now suit him admir- Larrocha's second, and far more successful, sharp). This alters the whole character of the ably. They are almost the composer's last Carnaval for Decca, a performance of rare sound and performance - Icopied the disc work, and deal with such subjects as parting, musical wisdom and maturity, serenely to avariable speed cassette deck for review- night, death and immortality: the musical purged of all fuss or mannerism. There is, ing purposes. MK's sound is a little coarse treatment is stark, often with only a single above all, a sense of nostalgia for youthful but quite passable, but speed error is some- melodic line of accompaniment against gaiety and introspection recollected, not in thing one cannot compensate for mentally, words declaimed one-syllable- to-one- note. tranquillity, but in pain and happiness. In and until Philips reissue the performance at There is no song-form in the sense of other words Miss de Larrocha's performance the correct speed ratings must be [D:11. pleasantly recognizable stanza-patterns, but is quintessentially Schumannesque with Richard Black it is a work of power. 'Florestan' and ' Eusebius' - Schumann's two The matter of language, however, makes most dearly cherished fictions - characte- SHOSTAKOVICH: String Quartets 8 in c, me uneasy. Shostakovich set Michelangelo's rized with the greatest insight and lucidity. Op.110 CI 4 in D, Op.83 0 11 in f, Op.122 Italian verse in fairly free Russian translation. 'Pierrot' moves with unusual stealth, the un Coull Qt Though the titles on the CD package are poco maestoso of the Valse noble is given ASV CD DCA 631 ( 63m 41s) given in German, the performance is in with a caressing tonal warmth, ease and Italian, with an attempt to fit Michelangelo's flexibility and, moving to the other 'Carnival' Every so often recordings come along original text to the music. Musical changes (the Faschingsschwank aus Wien, this time which, through no fault of their own, must inevitably be made, mostly repetitions a first recording for Alicia de larrocha). it prompt areconsideration of acomposer. On of notes and filling- in of rests. More impor- would be hard to imagine playing of a the surface the Coull's account of these tantly, the stresses come out wrongly. In the greater authority, of amore lavish coloration three works is eminently commendable and composer's setting, Not eta noch' (' Here is or ultra-precise articulacy. Rarely can the would disgrace no record collection. Yet the night') naturally stresses the last syllable. Romanze have emerged with such glowing comparisons with, say, the Borodin on EMI, Fischer-Dieskau sings ` La notte, che' (' The eloquence, the Scherzino with more springy beg questions about just what sort of com- night, which') and the stress cannot help rhythm; and in the final pages Miss de poser Shostakovich was. coming on the 'which' no matter how Larrocha's virtuosity is overwhelming as she From the Borodin, and indeed most quar- carefully the singer tries to smoothe it over. carries all before her. tets which tackle the famous Eighth, he is a Iwould understand entirely if Fischer-Dies- Finally the B- minor Allegm: like Carnaval man of big gestures and deep passions. kau had chosen to sing in German, to atext previously recorded by this artist but once Beside them the Coull's account seems written to fit the composer's metre; but this more excelled in a performance of the curiously underplayed. Their opening is procedure seems quite wrong. greatest imaginative daring and vividness. smooth and controlled, sparing in vibrato Aribert Reimann, the composer of the

111 -FI NEWS & RECORD REVIEW AUGUST 1989 101 CLASSICAL

Lear seen earlier this year at the English National Opera, has dedicated to Fischer- Dieskau three further Michelangelo settings (in this case actually composed to the Italian words!) in the same starkly declamatory style — the second song 10 minutes long. I found them wearisome. But Reimann is an excellent accompanist. Occasionally the placing of the microphone in relation to the piano picks up some unwanted harmonics in the loudest passages, but the sound is otherwise highly acceptable. [B:1] Arthurfambs

R STRAUSS: Don Quixote D Le Bourgeois Gentilhomme — excerpts Paul 7Ortelier ( v1c)/PRO/Beecham EMI CDH 763 1062 (66m 23s) @) record- ings from 1947-8

It was this 1947 recording of Don Quixote which launched his solo career, Tortelier avers. At the time of the Beecham centenary (when the seven movements from Le Bourgeois Gentilhomme Suite chosen by Sir Thomas reappeared on LP) it was passed over by EMI in favour of a 1932 Don Quixote Beecham made with Wallenstein/ NYPSO. Icannot imagine anyone who ( as I did ) came to know this work through either of Tortelier's later versions with Kempe would think any other cellist so well matched temperamentally to the role. This 1947 version is — typically — less drawn out than Strauss performances are (although the recording is so close that il ticrlioz's ' Witches' Sabbath', or a premoni- today. The Karajan 1976, for instance, is impossible to tell whether this is Neikrug's tion of manic Russian finales to come in the overall 10.5% longer; only in the Battle with dynamic or the balance engineer's), and he symphonies of Prokofiev and Shostakovich. the Sheep is Beecham markedly slower. But uses some questionable rubato. The symphonic rhetoric is unusually Beecham's swifter Knight's vigil, and Don On the other hand, there are certainly clear, too, in this Romeo and Juliet. Once Quixote's Death are no less moving ( though things to admire in both pieces, and the duo again, detailed dynamics and careful phras- Tortelier's ' last breath' became more affect- make apersuasive case for the worth of the ing freshen familiar themes, and the keen ing in his Kempe recordings). In fact, there Strauss sonata. The third movement in par- forward impetus of the development leaves is some stray intonation and ensemble ticular works well, and the balance between me in no doubt that this is as remarkable an which contemporary record- producers instruments seems better there too. The exercise in form as anything in the Fourth or would not have let pass, but what matters Prokofiev is played very lyrically, which I Sixth Symphonies. CBS's sound is dry but by more is Beecham's acute perception of the like, despite its slow tempi, and in the fourth no means as coarse- cut as it was for Abbado's scoring: his is a far lighter, sharper colour movement Zukerman makes an excellent recording of the Second. [A/B:1/11 palette than post -Karajan conductors use. job of the many fast arpeggiated figures; I David Nice But whilst this historic Don Quixote is have never before been so easily able to complementary to more modern versions, distinguish the notes and hear their exact VIVALDI: Recorder Concertos — in c, Gentilhomme is simply unsurpassed: for pitch. Zukerman's tone is kept lyrical, never RV441 DInC,RV444Dina,RV108Dln style, for the sheer wholeheartedness of it, aggressive. An interesting comparison with a, RV445 D in F, RV442 D in C, RV443 for the way in which it flows. Just listen to many another interpretation of the piece. Peter Holstag ( recs)/Parley of Instr/Holman the glorious vulgarity of the rasping brass Sound is fine except for the balance, Hyperion CDA 66328 (59m 59s) attack in ' The Fencing Master', the hilarity which is close and therefore vague as to that ensues. Or the sweetness of Oscar instrument position. [11:21 Richard Black These performances use sopranino or treble lampes violin solos in ' Dance of the Tailors'. recorders, with single period strings, ie Lyndon Jenkins's note gives the fascinat- TCHAIKOVSKY: Symphony 4 D Romeo quartet plus contrabasx viol, and organ or ing background to these characterful and and Juliet harpsichord continuo. Player/director Peter significant reissues. Keith Hardwick has Chicago SO/Abbado Holman explains this in his exemplary note. done afine job on the preparation and digital CBS CD 44911 (65m 09s) ( also MC) I suppose that, after the pleasure of remastering. [H:1/11 Christopher Breu mg encountering again the delightful concerto The Tchaikovslcy Fourth has always been for sopranino recorder RV443/P79, which I R STFtAUSS: Violin Sonata Op.18/PRO- one of Abbado's most charismatic interpreta- first heard in I.inde's old Archly recording, KOFIEV: Violin Sonata 2, Op.94 tions, and comparisons both with his Vienna and finding that 442, with its Siciliano Pinchas Zukerman ( 110/Marc Neikrug recording on DG and subsequent live per- middle movement, is the original of the Fifth (/no) formances in his early days at the helm of the of the Op. I() Flute Concertos ( timings here Philips 420 944-2 ( 55m 285) ISO show how seriously he now takes it — very consistent with those of the English though not with any undue exaggeration in Concert recording), then two aspects of this Iwas ever so slightly disappointed by this tempi or dynamics. This is high tragedy, not new disc struck me most. One was the disc. The combination of ' rarity' and old self-pitying melodrama. The first subject of incredibly seamless breathing of the agile favourite. played by Zukerman, seemed (i) reaches a muscular, vigorously sprung Amsterdam soloist; second the richness of auspicious, hut the performances never climax, offset by unexpected subticies in sound in this Mowatt/Faulkner production. quite convinced me. For one thing, both the lugubrious waltz ( strings treading in The venue is not stated, and there is quite a pieces are taken ahit on the slow and heavy pianissimo thirds over thin ice) and level of ambient noise, but the sound does side for my liking, hut this is amatter of taste tremendous breadth for both development have that full-bodied glow suggesting Faulk- and mine could be wrong. Rather more battle and the final devastating statement in ner's predilection for valves somewhere in palpably. Zukerman's intonation is not all it the coda. Abbado plumbs the depths, too, in the chain. In sum, this is a release which, might be in places, and the Prokofiev in an awesome manifestation of the brass whilst conforming to authenticist require- particular is full of exposed places where 'motto' in the finale, augured by full melan- ments, must appeal equally to the general this tends to show up. Neikrug produces a choly potential in the ' birch tree' melody. collector with its crisp but warmly express- rather monochrome sound, not much varied After that, the return of the dance is no facile ive playing, and attractive programme-con- in dynamics and sometimes too loud final optimism; rather an ugly echo of tent. [A*:1*1 Christopher Breunig

111.11 NEWS & RECORD REVIEW AI la•sor 1989 reviews CLASSICAL.

of this 1989 version, it is Boskovsky who, mack's manner in that song, but at least his when the tempo hots up, really conjures up recording tells you what it's about! Bow- the wild rhythms and exhilaration of this man's distorted vowels ( especially a as in NEW YEAR'S CONCERT 1989 character piece. 'hath' and ' valley') and smudged consonants J STRAUSS (jnr/snr")JOSEF STRAUSS*: Listening to the Vienna Philharmonic prevail, and in another Vaughan Williams Accelerationen D Bauern-Polka D Bei under these interpreters, and to Böhm, song the line ' Is this a life? Nay, death you uns z'Haus D * Die LiebeIle El Die sedate but nonetheless relaxed even under may it call' loses its structure altogether. Fledermaus — overture D Künstkrleben studio recording conditions, is rather like Everything is presumably sacrified to keep- *Moulinet D Ellen a Magyar D Im sampling expensive chocolate from different ing ahomogeneous, instrumental- type tone. Krapfenwald! D Frühlingsstimmen El confectioners. Kleiber's tastes highly indi- In songs specially written for Bowman by Pizzicato-Polka D Ritter Pazman — Csar- vidual, but his recipe lacks the ' glow', the Alan Ridout and Roger Steptoe, alittle more das D * Plappermáulchen Ill 'Jokey- chocolatey, creamy richness. The know-how care is taken of the words, but the musical Polka El An der schnnen blauen Donau ingredient. If you want live atmosphere, quality of these songs is disappointing. Two "Radetzky-Marsch orchestral virtuosity and conducting bra- of them are elegies — believe it or not, VPO/Kleiber vura, then this special-price set will certainly Steptoe asks us to listen seriously to ' Who CBS CD 45564 ( 2CDs, 86m IIs) ( also satisfy. Strauss connoisseurs will be critical killed Cock Robin?' — and the total sequence 2LP/MC) of it. Incidentally, no descriptive notes are of 26 items is almost unrelievedly slow. Even included in the leaflet. [A:1*/211 so, Vaughan Williams's Twelve Blake Songs Oddly, the sound in this Unitel production Christopher Breunig for voice and oboe prove worth rediscover- comes closer to the Decca 1979 Concert ing ( here transposed downward, with an with Boskovsky ( their first digital release), GUILDHALL STRINGS oboe d'amore as accompanist). The various having a similar dryness, than to the DG/ BRITTEN: Simple Symphony/TIPPEIT: composers' piano-accompanied songs are Unitel 1987 Karajan, with its honeyed sweet- Little Music/6 Variations on an Eli- subjected to a re- scoring for string orches- ness. Comparing the three shows just how zabethan Theme (Sellenger's Round)/ tra, the point of which escapes me. The much a conductor puts his stamp on the WALTON: Sonata for String Orchestra recording is agreeably managed, except orchestra — even in repertoire which you Guildhall String Ens momentarily for a too-close-miked violin, might think they could play perfectly well RCA RD 87846 (69m 18s) but it will take aparticularly uncritical fan of standing on their heads. Carlos Kleiber is James Bowman's to accept these perform- best in fast pieces like the Csardas, or the To paraphrase Cardus on Sibelius, glasses of ances. [B:3] Arthurfacobs 'Jockey' Polka. Even without making com- pure cold water rather than cocktails are the parisons, the rather chilly character of the order of the day here. The forces have JOSEF LHÉVINNE: Complete recordings music- making stands out. There's something something to do with it ( six violins, two Piano music by Mozart', Schumann, faintly obsessional about Kleiber's conduct- each of violas and cellos, and adouble bass), Chopinj Strauss, Debussy*, Beethoven, ing; he drives the music hard, creates alot of but so has the approach, sparing on vibrato Tchaikovsky, Rachmaninov tension. And he seems compelled to draw and ( dare one say it) very British in its Josef Lhévinne, *Rosina Lhévinne (pnos) attention all the while to what he is doing reticence, with only a handful of rich cli- Novell° NVLCD 902 (71m 03s) recordings with the orchestra and the pieces. With the maxes to show what this group can manage from the 1920s/1930s traditional side-drum volleys cut, Radetzky- when it chooses. Slow movements are subtly March is distinctly Prussian — with none of done — wonderful Elgarian introspection in Essential listening for anyone interested in Karajan's easy way of letting everything the middle section of Britten's ' Sentimental fine piano playing. Lhévinne was one of the speak for itself. Boskovsky cuts from a Saraband', cool control for the two Tippett giants of the ' golden age of pianism', for coarser cloth ( compare 'At Home with us' ), Andantes — while their faster counterparts reasons which are here made obvious. An but if he doesn't match Kleiber's precision at are clean and airy, a little light on bass astonishing finger dexterity — not merely the the beginning of the piece he beguiles — as perhaps, but that too seems to be a con- ability to get from one note to the next he does in the polka Moulinet — in a way scious decision. Some perplexing questions quickly, but to give each note exactly the that is foreign to Kleiber's nature. hover over the Walton, since it is astraight- right force at exactly the right time — Predictably !Gelber is quicker than Kara- forward reworking of the 1947 Quartet, and coupled with a high degree of musical jan in the Fledermaus Overture, and at first excellent work from solo forces at the start sensibility accounts for the ravishing tone his reading excites. Yet I am afraid that makes you wonder whether anything is and sheer lyrical beauty of the playing, 'diminishing returns' has to be the conclu- gained from just acouple more instruments unmarred by even the smallest technical sion here ( for this whole set). Take the per part [ the first recording was from ASM/ slip. Ritter Pazman item, recorded in 1967 by Marriner — Mus Ed]; the first movement Not quite as billed, this CD contains all the Boskovsky ( with solo violin and cimbalom Fugue and the subsequent Presto are cases issued disc recordings Lhévinne made in the in the introduction, not done in the CBS). in point. But there are crackling ricochets in 1920s and 1930s; he also made many piano- For all the energy and whiplash excitement the finale, the slow movement is once again roll recordings. Included are the Mozart searchingly done, and the dark undertow of 2-piano sonata and Ravel's 2-piano version of melancholy is skilfully suggested. I'm not Debussy's ' Fêtes', both with Rosina Lhé- sure that I would have guessed Walton's vinne, Josefs wife. These are perhaps less hand in his contribution to the six ' Sellen - successful than other pieces, though not as gees Round' Variations — Oldham/Tippett/ far as I can tell due to any inequality Berkeley/Britten/Searle/Walton — save between the players; they seem to be less perhaps for five bars, but neat distinction is Lhévinne's type of music. made between the offerings, with a good Most powerful for me are the four Chopin gutty sound for the Elizabethan theme. studies, in performances which uniquely Recording is appropriately clean and full of reveal the logic, magnificence and beauty of presence. [A*/1] David Nice Chopin's conception. The full extent of Lhévinne's technique is shown in these, as in JAMES BOWMAN Anatoly Shulz-Evler's breathtaking transcrip- Songs by Vaughan Williams, Howells, tion of the ' Blue Danube' waltz with its Warlock, Ridout & Steptoe technical difficulties not only mastered but James Bowman ( c-ten)/Paul Goodwin (ob played sempre cantabile, and in the Schu- d'amore)/Tina Gruenberg ( vin)/Lionel mann Toccata in which the sudden dynamic Handy ( v1c)/Downshire Players/Ash contrasts are for once not smudged over. Meridian CDE 84158 (70m 34s) Liszt's transcription of Schumann's ' Frühling- snacht' is a model of song transcription From an artist with such a distinguished performance. career, a recital of English song might well Ward Marston's transfers from 78s are earn praise, particularly one which has the excellent. Only the presentation warrants courage to embrace two little-known living criticism; there is no information on record- composers. Alas, the lack of clarity in the ing dates and little background detail. Other- words torpedoes it — worst of all in Vaughan wise, full marks to Novello — can we have Williams's famous Linden Lea. Ido not ask the Lhévinne piano- rolls now please? [H:1*] that modern singers imitate John McCor- Richard Black

HI- F1 NEWS & RECORD RE\ AUGUST 1989 103 Still thinking about that new bili?

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BARTOK: Piano Concerto 3 12 Scherzo ELGAR: Enigma Variations/DEBUSSY: La Horenstein preserves the assurance of order, (1904) Zoltan Kocsis (pno)1Budapest Fest Mer BBC SO/Toscanini EMI CDH 769 7842 snare-drum notwithstanding. Fine, transpa- Orcb/Ivan Fischer Philips 416 835-2 ( 53m (51m 21s) €1) live recordings from 1935 rent sound ( Barking Assembly Hall; Hodg- 04s) ® 1988 These Queen's Hall concert performances son/Auger) helps. The tone-poem is similarly The Scherzo is scarcely recognizable as were caught on 78rpm cutting machines in impressive. [A/A*:1*] Bartok, but strongly influenced by Strauss. A relay — but Toscanini refused even to listen powerful, confident performance, supersed- to the results. First published on LP/MC in RIMSICY-KORSAKOV: Scheherazade* ing the earlier, dimly-recorded Tusa/Hungar- 1987, Keith Hardwick's transfers rightly Sadko D May Night — overture LSO/ oton version ( Bartok Edition). Musical clar- caused asensation then. Levels matched, CD Monteux/Suisse Romande/Ansermet Decca ity is explicit, but atmosphere in Concerto 3 and dmm LP prove indistinguishable: it's the 421 400-2 (59m 20s) (g) 1959-60 is vitiated by some shallow Biisendorfer usual factors here of price, vs. access and Listening objectively, one wonders now at piano- tone and shifting balances. [B:1] durability over the years ( and of individual the acclaim for Monteux's Scheherazade responses to the two media). IH:11 when first issued ( on RCA). As a piece of BEETHOVEN: Symphony 6 ` Pastoral' D history it's interesting: Hugh Maguire Symphony 8 VPO/Stockholm P0/Fun- FRANCK: Symphony in cis/BERLIOZ: (uncredited) was the likeable soloist; but wangler EMI CDH 763 0342 (70m 50s) Qi Beatrice and Benedict Overture/D'Indy: the orchestral playing sounds uncoordin- recordings from 1952, ' 48 Symphony on a French Mountain Air ated, scrappy. Ansermet's conducting is not Furtwangler conducts a veritable blitzkrieg Nicole Henriot-Schweitzer (pno)/Boston at all laissez-faire — but all this material has on the Eighth, in this 1948 concert perform- SO/Munch/Chicago SO/Monteux RCA GD dated chronically. For those with a will to ance. It is coupled with the later studio 86805 ( 71m 30s) recordings from • 1961, persevere [D:2] 'Pastoral' ( not the one transferred to LP in '58 June ' 86). I have to confess, this time, to The Chicago Franck Symphony was one of SCHUBERT: Symphonies 3, 5 & 6 RPO/ reacting against the very drawn-out, rather RCA's technically ( and musically) outstand- Beecham EMI CDM 769 7502 (78m 18s) laboured first movement. The Eighth is very ing productions; it was half- speed mastered 1960, ' 56 crumbly, with heavy surface noise, clicks — not very convincingly — for the ' 0.5' Few Schubertians will not have owned the and ' explosive' fortes. A compact disc recou- audiophile LP series. On CD it re-emerges as delectable Beecham Third/Fifth coupling in piing only for the devoted. It certainly a recording of majestic weight and marvel- one form or another: but the CD brings a illustrates the contrasts between his studio lous transparency. The fillers come from surprise by disclosing that both recordings and live recordings! 1C/H:H] Munch's classic Berlioz overtures disc, with were from sessions spread over awhole year the D'Indy a rare three- movement work and held in two different halls, each with its BRAHMS: Serenades 1 & 2 LSO/Kertesz with an important role for pianoforte. ( This own balance engineer ( Salle Wagram/Abbey Decca 421 628-2 (76m 10s) ® 1968 'Papillon' CD does have programme notes.) Road). The earlier production of the weaker Compared with Cantelli, Kertesz was widely These vintage Boston recordings have come Symphony 6, with its Beethoven-ish Scherzo, recorded before his accidental death. These up well too, although there is a hint of was first coupled with Grieg, on Columbia. two Serenades were highlights, and, if they coarseness in the Berlioz climaxes. Exem- This tape is dim, with some feeling of make an unexpected choice as 'Weekend plary conducting. [A/B/C:1*/11 congestion, and tape-coloration; the later Classics' one can but revel in the bargain. A pair are cleaner, brighter — though not as pity there are no programme notes. ( These HAYDN: Symphonies 6-8, ` Le Matin', engaging as the old mono LP [ ALP 17431. are Brahms's first published orchestral works Midi', le Soir' Philh Hungarica/Dorati Beecham's performances are weighty and — 2 scored without violins. Joachim com- Decca 421 627-2 (71m 25s) 0 1973 dramatic, with nuances and sometimes agait mented on the 'symphonic' nature of 1.) In Another unexpected reissue on 'Weekend that simply make you smile. In Schubert he both the ISO sounds fully at home with the Classics'. Weightier in manner than Pinnock succeeds just where Barenboim ( seemingly music, with marvellous wind parts, spirited [Archiv], whose textures are delicate, Dorati striking for similar effect) failed. 1C/D:1 1 rhythms. The remastered coupling is a little keeps arather tight hold on these works: he dim and enclosed, although one soon adjusts doesn't let them smile, or surprise, as Risten- TCHAIICOVSKY: Symphony 6 'Pathéti- to this. [B:11 part did in his old Nonesuch LP coupling. que' D Francesca da Rhnini* Philharmo- Slow movements and trios seem to have nialGiulini/WPOIBarbirolli EMI CDZ 762 CHOPIN: Piano Works — Ballades D engaged Dorati most. There's a nimble, 6032 (71m 30s) (D 1961, ' 71 Études D Impromptus D Mazurkas D uncredited, flautist, and harpsichord con- Apart from the question: why not Giulini's Nocturnes D Polonaises D Preludes D tinuo is present. A generous hall sound; solo own Francesca as coupling? this recoupling Scherzos D Sonatas 0 Waltzes D Barcar- strings rather edgy. [A/B:2] of aclassic Sixth and acharacteristic Barbir- olle D Berceuse III Fantasy in fD Varia- olli interpretation can only be acclaimed. tions and miscellaneous pieces Vladimir 1WENDELSSOHN: Symphonies 3 & 4 NPO/ Especially at budget price. The Sixth finale is Askhenazy (pno) Decca 421 185-2 ( 13CDs, Muti EMI CDM 769 6602 (73m 35s) ® all the more moving because of Giulini's special price) ® 1977-85 1976-7 restraint and the orchestral refinement he No other artist of comparable international Muti's spacious and serious account of 3(i) — seeks; the earthier, more sombre Barbirolli standing has recorded so much of Chopin's with repeat, and avery steady pacing of the reading confirms an equally valid but con- music for solo pianoforte ( there's also the Allegro — commands attention. The ' Scottish' strasting approach to Tchaikovsky's music. piano duet Variations, with Vovka Ashke- is indeed one of his most successful sympho- [B/A:1/1*] nazy, here). The cycle began on LPs prog- nic recordings; the coupled ' Italian', though, ramming the music chronologically; but the is aflashy affair — good for ashowy start to a HERMANN SCHERCHEN CD remasterings — five single discs and four concert, perhaps, but not for records. Poor- RIMSICY-KORSAKOV: Antar El Russian 2CD packs, each available separately — ish sound too. [B/C:1*/11[C:3] Easter Festival Overture D Capriccio brought together the genres in the conven- Espagnol/TCHAIKOVSKY: Romeo & tional way. Roger Bowen and Iwelcomed MENDELSSOHN: Symphonies 4 & 5NPO/ Juliet D Marche Slave D Capriccio Italien with enthusiasm some of these in Dec '86, Sawallisch Philips 422 470-2 (59m 34s) D 1812 LSO/Scherchen Nixa NIXCD 6021 Feb ' 87. The recordings, some ADRM, come 1968 (66m 06s) and 6022 (65m 29s) €410 1954 from half- a-dozen locations. Clearly, such a Excellent sampling from Sawallisch's sensi- Two uncommonly interesting reminders of a project can only form the basis of aChopin tive and exhilarating 1968 Mendelssohn German conductor who tended to specialize collection: one would want to hear some cycle — still unsurpassed. Sound now alittle in contemporary music. ( He also devised a Arrau, Cortot, Lipatti, Pollini, Rubinstein, dated: excellent brass and winds, but strings Stereophonee, an electronic two-channel Zimerman and others, besides. However, a little muzzy and, with full orchestra, simulation device, in the late ' 50s.) 1812 surpassing Magaloffs earlier 16LP traversal, mufti-mie. techniques ruthlessly exposed by includes the Band of the Irish Guards — the Ashkenazy's set is enormously satisfying. His CD. [B/C:11 original Nixa/Westminster label was prized playing is occasionally strenuous, in the heat for its engineering, and these remastered of the moment, but ranges to the meltingly NIELSEN: Symphony 5 D Saga Drom, Tchaikovsky tapes are quite impressive for tender; and when Chopin's pieces require Op.39 NPO/Horenstein Unicorn-Kan- pre- stereo material. Scherchen obviously the greatest imagination — for example the c.hana UKCD 2023 (44m 57s) 0 1969 favoured extremes of speeds within apiece; Fantasy Op.49, or the Op.61 Polonaise- Horenstein's masterly performance of this but even where the tempi are very deliber- Fantasy — then AsIchenazy meets those great symphony more than holds its own ate, eg Marche Slave, opening of R &f, the challenges. The litmus test here is, perhaps, against later versions — I like the way the phrasing always compels close attention. I that the more you dip in, the more you are lyrical lines run free over the rigidly held wonder if PRT can get their hands on the encouraged to explore further. [A*/B:1*/2] ostinato figure in ( i) and, at the climax, Beethoven symphony tapes! [C:H]

HI-FI NEWS & RECORD REVIEW AUGUST 1989 105

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KATHY MATTEA: JOHN ABERCROMBIE: WILLOW IN THE WIND JOHN ABERCROMBIE/MARC Mercury 836 950-1 JOHNSON/PETER ERSKINE K.D. LANG: ECM 1390 ABSOLUTE TORCH AND TWANG Of all the jazz guitar bands on Sire WX 259 the go at the moment, Aber- GEORGEJONES: crombie's is perhaps the most ONE WOMAN MAN integrated and dedicated to the Epic 465186-1 sublety of tune-dissection. They play with something much Not for Kathy Mattea the glitzy, more than good taste, although synth- swathed trappings of there's no denying the classy modern-day Nashville. She side to their playing. There is so elects instead to dress her much space in this trio. Bassist songs Best Western style Johnson plays with economy, though there's none of the and drummer Erslcine's style has syrupy, pedal- steel sodden set- developed over the past couple tings that make some other of years or so, arriving at ajazzy old-style country records so looseness which is at its best on indigestable. True, there are this album. What Abercrombie reasons to put handerchieves does is interesting and absorb- to use — ' She Came From Fort ing, but where many other Worth', a song about a fading guitarists have jacked in the rose given more hope in life guitar synthesiser, he perse- than merely years in aroadside veres. The synthesized instru- diner, is the best of its genre ment strikes me as distant and since Dan Loggins tender ' Mag- dehumanized. As a band, they gie's Dream', while Wendy achieve the rare distinction of Waldman's 'True North' again making jazz standards sound expresses hope to come, fresh and new. [A*:1] despite a love affair that Ken Hyder evolves around calls and cards from cities far away. But there MEMORIES OF THE OLD COUNTRY HARIPRASAD CHAURASIA & is always this element of ANINDO CHATTERIEE: expectancy, of dreams being Music City pickers, the Canuck Coffee' idiom and Walkin' In RAG LALIT fulfilled, in Mattea's world. No- has fashioned yet another And Out Of Your Arms' pro- Nimbus NI 5132 ( 69m 02s) CD one is down forever. And when album that crosses borderlines vides Lang with an opportunity she wends a western swing and blends various aspects of to work with yet another There are other ways to relax way through ' Burnin' Old country music with the sounds legendary act in The Five Blind and become transported, but Memories' or harks back to the stemming from a late night, Boys Of Alabama. Not that the Chaurasia works for me every back-porch happy hour, as she 40's jukebox. Her bout of such name support is required. time. He's a virtuoso on the does on the dobro-lifted title Western Swing comes via a The Reclines sound as vital as simple bamboo flute, but in track, then it's evident that sprightly picked versions of any existing Nashville hit keeping with the Indian clas- there's not much wrong with Leroy Preston's ' Full Moon Of squad, with guitarist Gordie sical tradition, he's a virtuoso Kathy Mattea's world or the Love' and Willie Nelson-Faron Matthews catching the ear on with soul. This early morning people who inhabit it. [A:1] Young's Three Days', the for- virtually every track. And if one raga teases gently with a lazily Surprisingly, KD. Lang's fourth mer featuring the drumming of searches for a fault it can only stretching beginning. About half album is even better than Mat- redoubtable jazzman Ed Thig- lay in Lang's tendency to way through, the tabla enters tea's offering. Now reunited pen, ' Pulling Back The Reins' slightly oversell on occasion. with the early morning alarm with her Reclines after that trip once more demonstrates her Even so, [A*:11 without a call. Then both musicians hit to Nashville to work with the mastery of the Peggy I.ee ' Black doubt. George Jones' latest the groove, building on it until offering isn't so wonderful. they shift agear to an up tempo With only eight out of ten new workout of dazzling interplay. tracks, it forms adoubt that the The sound quality is what you'd one-time undisputed king of expect from Nimbus, but the country, who has so many only problem is that the room problems with live appear- does not smile on percussion. ances these days, can actually [A:11 Ken Hyder get it together in the studio anymore. Not that he sings badly on this Billy Sherrill pro- NENEH CHERRY: duced set. But the old RAW LIKE SUSHI accepted formula of mainly Circa 8 routine goodbye songs made KIRSTY MACCOLL: KITE magical by that crying voice, Virgin KMLP 1 has lost the charm it once possessed. But 'Just Out Of Two contrasting ladies in popu- Reach' acts as a reminder that lar music, but two records well composer Pappy Dailey is no worth your time. If you remem- longer with us. And if the line ber Kirsty's ' There's A Guy The milkman whistles softly as Works Down The Chipshop he comes up to my door', Swears He's Elvis', then you'll causes a chuckle amid 'My have a fairly good idea of what Baby's Gone', then 'Ira Ba Da Ba to expect here. Miss MacColl is Do ( So Are You y should prom- amistress of all forms of popular ote alaugh- in, linking George's music, investing them with the drinking, Elvis and Graceland, kind of sharp wit which is and Fred Flintstone. A track fit scarcely an overabundant com- for instant reprise. But Icould modity. Apart from a so-so have done with more of the cover of Ray Davies"Days', the same. [A:2] Fred Dellar material here is all original, written by the lady herself or

111-11 NEWS & RECORD REVIEW AI ST 1989 107 together with Johnny Marr Jeff Pocaro, and the production of whack with the West, a SAUF KEITA: KO-YAN (who also guitars) and Pete credits are ace right down to vodka- swilling approximation Island CIDM 1002 ( 42m 10s) Glenister. It's all produced by the mastering chores, which of a rocker who learned his CD Mr MacColl, superstar producer were, thankfully, placed in the chops from smuggled Presley Steve Lillywhite, and while he capable hands of Doug Sax. platters. Wrong. Grebenshilcov, For those of you not familiar doesn't exactly stretch the mis- Flaws? None really. I'll admit in the capable hands of Euryth- with Keita, the man from Mali, sus, there's plenty to get that John's duet with Rickie Lee mic Dave Stewart, comes off his music is a blend of tradi- worked up about. [A:1] Jones on 'Makin' Whoopee' is more like a Russki who has a tional West African griot praise- Neneh Cherry is the wild- not as slyly wonderful as Ray good line in contraband indie singing, African and Western child stepdaughter of Don of Charles classic rendition. But 45s. Maybe the foreknowledge dance music and tightly phrased that surname, and while her 'Candy' possesses an abrasive of Grebenshikov's struggle to brass. His Soro album was one music shares nothing with his in beauty right from Paich's ' Cher- produce pop behind the Iron of the classics of last year, and form, it is illuminated by ajazzy okee'- borrowed intro, while Curtain has softened my atti- was so stunningly fresh that this delight in non-conformity. This John's tumble- rumble tude and maybe I'm hearing as follow-up raised a lot of hopes. is best shown by the two sing- instrumental version of ' Love much of Stewart as I am of In one sense the singer doesn't les, Buffalo Stance' and ' Man- For Sale' is guaranteed even to Boris, but the material tears disappoint. His appealing child', chalk and cheese but make cats smile, if only for through the speakers, posses- declamatory voice drawing the both effortlessly memorable. Paich's employment of a string sing an energy coupled with listener into the music. And Elsewhere, Cherry has fun nob- section keen on playing a back- intelligence which I haven't many of the production techni- bling the icons of pop/rap/hip- drop for Mission Impossible. sensed since the last time Pete ques which embellished Soro hop, while working firmly Hip cats? Well, of course. What Townshend got angry. Don't are here too. The sound, and the within that territory. [A:21 other sort would be seen hang- you dare regard this guy as a mixture of electric and acoustic Pete Clark ing around a Dr John album? novelty. [A:1] Ken Kessler instruments is strong and pun- [A*:1*] Fred Dellar CONCRETE BLONDE: FREE IRS Records CDP 241003 2 ROBERT GORDON: (33m 25s) LIVE AT LONE STAR New Rose ROSE 173 Promising a little more than New Rose ROSE 173CD they can actually deliver Con- (39m 48s) CD crete Blonde seem to fall just short of exciting. I know I Gordon was the oddball spinout should feel more of abuzz than of New York's 1976 new wave Ido because the songs build up scene. For he wasn't really new so well, but sadly I am left wave at all but merely a rock- frustrated. The production, by abilly rebel, out of time but well the band, tries to break the ready to make the most of his indie mould a little but leaves seeming misfortune. A draft the music without a strong dodger with a failing marriage foundation. I'm not seeking the and acouple of kids to support, commercial smothering of raw he was a beautiful loser. He music, just straining for some teamed with guitar legend Link satisfaction which I feel sure Wray and was promptly hailed this group can offer. America is as the man who would make the GUN: producing more interesting sounds of Sun as trendy as those TAKING ON THE WORLD chy. But maybe the songs just music than it has in years and of the New York Dolls. Bruce A&M AMA 7007 aren't quite as good, and the IRS has released much of it, but I Springsteen wrote ' Fire' for him JUNKYARD:JUNKYARD tunes not quite as catchy. don't think these California and it seemed that no-one Geffen WX 266 924 227-1 Keita's trouble is that he's set musos will stun like REM yet. would ever step on his blue himself very high standards, and They're also unlikely to endear suede shoes. But he proved to Boys do love to play with their anything that falls short tends to themselves to people for only be yet another flavour to savour guitars ... Gun are first timers be a disappointment. Having recording just over half an hour. momentarily. As the ' 80s moved from Scotland, Junkyard from said that, this is still an impress- So near and yet so far. [ B:2] in, Robert Gordon moved out. the States. Taken as apair, these ive release, and its impact leaves Neville Farmer And, this, his first record for two records are a graphic Mus- most rivals standing. [A*:1] seven years, perhaps indicates trat toil of the differences Ken Hyder DRJOHN: why his star shone so briefly. between Brithardrock and its INA SENTIMENTAL MOOD For, though he obviously American cousin. Gun take LISA LISA & CULTJAM: Warner Bros 925889-2 believes that Elvis lives and themselves pretty seriously STRAIGHT TO THE SKY (40m 38s)CD Eddie Cochran is his next door (just have another look at the CBS RECORDS 463446 1 neighbour, he sounds too man- LP title) and their taut and Incomparable stuff. The gris nered, too reverent, lacking in satisfying guitar attack is over- A little less street than earlier gris gumbo era is now long true rockabilly inhibition. So, laid with the sort of lyrics which work, this is probably going to gone and the good doctor has though he knows a songbook can't accept the concept of get- be LL&CJ's best seller to date mellowed into a provider of that includes 'Twenty Flight ting raucous as an end in itself, but is where they risk their cult elegant evergreens, songs by Rock', ` Lonesome Train', ' Rock- but havé to introduce a bum following and go for the main- Cole Porter, Johnny Mercer, abilly Boogie', ' Black Slacks' note of hoggish spirituality to stream. Moulded into shape by Vincent Youmans, Duke Elling- and, of course ' Fire', he lacks the the proceedings. [B:2] composers, arrangers and pro- ton and others who turned Tin conviction of a Carl Perkins or, Junkyard have no truck with ducers Full Force, they risk less Pan Alley pure platinum. But come to that, even a Shalcin' whatever molecules make up a than most, but somehow I Mac Rebbenack's way remains Stevens. Consequently, this live thought process. From the doubt their chances on the Brit- pure New Oreleans. His singing shot, recorded at New York's opening and entirely derivative is gritty and nearer Waits than Lone Star Cafe in the company 'Blooze', the group blast away at weight-watchers, his piano play- of Chris Spedding, proves to be anything that moves, motivated ing still the stuff that keeps one of New Rose's less reward- purely by a desire to make a visions of Professor Longhair ing releases. [ B:3] Fred Dellar joyous racket. There's even the ever in mind. No-one's skimped obligatory soul barer, ' Simple on the support either. The BORIS GREBENSHIKOV: Man', which spells it out. I'm arrangements are by Ralph RADIO SILENCE • stupid as a pot plant, but my Burns and Marty Paich, pastmas- CBS 465083-1 guitar's loud as abitch. The only ters both in the art of the chart, caveat here is a surprisingly the musicians include Abe Or Glasnost rocks. Yeah, I, too, muted production job by Tom laboriel, Marcus Miller, Fathead expected some klutzy bohunk Werman, who should know bet- Newman, Hugh McCracken and peasant sounding 30 years out ter. IC:21 Pete Clark

108 HI-FI NEWS S RECORD REVIEW AI (, 1sT 1989 reviews ROCK/POP/JAZZ

SUSANNAH McCORKLE: of the much-praised modern SCHIZOPHRENIC WHITE BOYS, PART 97 NO MORE BLUES fusionists and the like? [A:1*] Concord CCD 4370 ( 50m 52s) Denis Argent The Inmates, who had the mis- THE FABULOUS THUNDER- CD fortune of appearing during the BIRDS: POWERFUL STUFF from New Note Distribution BARRY MANILOW: height of New Wave, still make Epic 463382 1 BARRY MANLLOW hard- driving British bar-band THE INMATES: FAST FOR- Welcome return of asinger who Arista 209 927 boogie, like the Thunderbirds WARD has been too little recorded. moved 5000 miles east. With a Sonet SNTF 1016 There are star accompanists By current standards, Barry label sympathetic to the cause, BIG JOE LOUIS & HIS BLUES here too: Ken Peplowski, him- must rank as middle- of- road this could be more than afluke. KINGS: BIG self recently reviewed here in a rather than chart pop, and with (A:1/21 JOE LOUIS & HIS BLUES tribute to the new clarinet stars, the sort of worldwide fan club The revived Blue Horizon KINGS and such guitarists as Bucicy he has, he should be proof label is back in full stride now Blue Horizon/Ace BLUH 008 Pizzarelli and Emily Remler. It against losing ground on the so it can do the same kind of SAVOY BROWN: KINGS OF was 12 years ago when Ibought strength ( or weakness) of one talent scouting as experienced BOOGIE Susannah's first solo British poor record. This new issue first time around. Big Joe Louis Sonet SNTF 1017 recording of Harry Warren strikes me as monotonous, all at and the gang are yet another songs. much the same tempo, in much bunch of R&B revivalists intent Just as fish and chips survive But then she disappeared; and the same tone of voice, on of keeping the genre alive, but the burgerization/pizza-ization now she's back with a richer much the same sort of unhappy of the UK, so do white R&B they do it better than most. voice and a more varied reper- theme, and some of the songs Blue Horizon's Mike Vernon acts continue to flourish toire. She revives neglected bal- (not his own 'You Begin Again', still has taste. [A/B:1] despite the dehumanization of lads such as ' PS, I Love You' and not Jimmy Webb's) sound This is Savoy Brown's 22nd popular music. Foremost (typical Mercer words) and like collections of all the clichés LP, and they're still chooglin' among these reactionaries are 'Everything's Been Done Before' of modern songs, with the pre- along, Kim Sinunonds' band is the Fabulous Thunderbirds, and she takes exciting liberties dictable phrases and intervals. the only one of the original who managed to revive Texas with ' Sometimes I'm Happy'. I It's silly to complain about Bar- R&B and even flirt with the blues boom bands which hasn't charts. The dust has settled forgotten its gloss-free, gritty since their flurry with the sing- roots. And it's come full circle, les market a couple of years because this is one bunch of back and it hasn't tainted the brontosaurs which have just band, so it's reassuring to find the right stuff for one of the that the latest LP isn't the same subdivisions in today's hard kind of post-celebrity release rock scene. And who'd've which signalled the end of theJ thought we'd one day say that Geils Band. This is traditional the world caught up with T- Birds fare, hard, lean and Savoy Brown? [A:1/21 How serious. [Ad] well these records sell I just A more than pleasant sur- don't know, but I sure am prise is the unexpected return grateful for this not-quite-flood of the spiritual link between Dr of bar-band epics. Ken Kessler Feelgood and the Godfathers. ish dance market with this, their PAUL McCARTNEY: third album. Almost everything FLOWERS IN THE DIRT herein misses the target and Parlophone CD PCSD 106 lands squarely in no man's land. (53m 44s) CD The songs don't get you on your feet, other than to head for the Sigh of relief: this is the firm kettle. The production does lit- McCartney LP in years which tle to help and try as Imight, I hasn't been preceded by nerves just can't sit and listen to it all at on the part of his fans. We'd once without wondering already had a glimpse of Macca whether the testcard is on '89 through his guest appear- BBC2. [ 11:31 Neville Farmer ances on Elvis Costello's Spike, and he sounded like he really LI1TLE NEMO: was having fun collaborating SOUNDS IN THE ATTIC with Elvis. LIVELY ART RECORDS Wisely, this is repeated on ARTY 8 Flowers In The Dirt. the Elvis connection resulting in the best Blow me Ithought this would songs in the pack. This shows never thought that Armstrong's ry's style because he isn't Tony be aduffer and it turns out to be quite clearly that McCartney is absurdly simple theme of 1936, Bennett or Vic Damone, but pretty good. Swinging from not comfortable as a loner; the 'Swing That Music' would be even putting one's preferences lively guitar- based indie rock to sparks fly in a way I haven't worth serious attention all these aside doesn't make this record some pretty heavily orches- witnessed in McCartney's work years later, but Susannah gives it one to play over and over trated synth ballads, there is no since late '69. more than it's worth. The sup- except out of asense of review- shortage of talent or variety Elsewhere McCartney does port includes an acoustic guitar er's duty. from this little box of Frogs. some stock- taking, dipping into solo by Bucicy in a style which Nothing to do with the music, This production is pretty cheap his bag of hooks to remind you could have been Lee Blair in the but why does the man have to at times and Iwouldn't expect of his facility with pop, rock and 1936 Luis Russell band that appear on the sleeve all stubbly Billboard to pick up on them schmaltz, even returning to the supported Satchmo. There's — especially as the list of dozens this year and doubtless their mildly African sounds of Band period piano too from Dave of credits on the inner sleeve Frenchness precludes any possi- On The Run (released adecade Frishberg, and lots of Ken includes a gentleman credited bility of daytime British airplay, and a half before the roots Peplowski, on tenor and clar- for grooming? but I'm quite glad I've heard revival). This is aman recording inet — and his sax style fittingly Perhaps one of these days this. If you are looking for some- just for the hell of it, because resembles Scott Hamilton. there will be arecord on which thing a little different and are whichever way you look at it, Altogether, McCorkle's No the star will not thank anyone. willing to buy something for commercial pressures can More Blues is a record of sheer On this one, some of the under- more than sonic perfection, hardly bother a squillionaire; enjoyment. It sounds as if it was lings give fulsome thanks to check zis one out, mes enfants. then again, Paul's earned that fun to make — and can that be Barry! [AB:1/2] [B:1/21 Neville Farmer privilege. [A:1] Ken Kessler equally true of records by some Denis Argent

109 HI-FI NEWS & RECORD REVIEW AUGUST 1989 RICHARD MARX: 2 QUEEN: THE MIRACLE REPEAT OFFENDER Parlophone CDPCSD 107 EMI USA CDP-7-90380 é ( 52m 21s)CD (49m 26s) CD Queen may be unfashionable Debut solo album from one among those who always move who has sung for Lionel Richie. on and up. Nevertheless, they The album's extremely Amer- remain a class act. The Miracle ican sentimental ballads are no is their strongest release for surprise; and they're just beg- many an eon and proof that, for ging to be singles, like ' Right the time being at least, Freddie Here Waiting'. It's obvious Mercury has forsaken dallying though that Marx's own taste in with divas in order to strut and music is for boppy, swinging, rock convincingly, while Brian jiving rock ' Real World' style. May, freed from thumbs-down He sings well and there's some associations with soap stars, nifty keyboards, sax and guitar once more wants to be a true thrown in, but the lyrics lack guitar hero. The signs are too, real depth. The generally quite that more than a little thought uninspired backing means that a PERE UBU: CLOUDLAND POP WILL EAT ITSELF: went into the album's structure. whole facet of the songster's Phonogram 838 237-1 THIS IS THE DAY... THIS IS Some of the best rhythm pat- craft has been left unexplored. Phonogram 838 237-2 ( 49m THE HOUR... THIS IS THIS! terns in rock have been ripped Despite a sprinkling of good 20s) CD RCA PD 74106 ( 51m 30s) CD off and refurbished in best tracks, the album declines the Queen fashion, the mixture of opportunity to be remarkable Pere Ubu are an idea whose Virtually invented by the media chromium-plated harmony voc- and slips instead into the categ- time has well and truly come. A (their very name is derived als and heavy- in- a- hurry riffs ory of anonymous background little chart success has belatedly from an article by NME scribe proving irresistible when music. 113:2/3] brought their godlike name David Quantick) for the media, grafted so professionally. All Karen Douthwaite before a wider public in the PWEI grabbed the front pages as right, so Queen are the Status shape of 'Waiting For Mary', but Grebos bearing gifts. Now, with Quo of the Filofax generation. JOHN COUGAR the gems on this record will initial publicity and indic suc- They neglect to take things too MELLENCAMP: BIG DADDY open the ears of anyone but a cess behind them, Clint Poppie seriously and sound as if they Mercury 838 220-1 Flowerpot Man. Working within & Co have moved on — major enjoy what they do. But if you Mercury 838 220-2 ( 42m 08s) afairly straightforward rock for- label, major deal, major think think there's anything wrong in CD mat, the Ubus bring more wit etc. But their diet of used metal that, you're reading the wrong and panache to the business of riffs, rap claptrap and sampling magazine. [A:11 Fred Del lar Though he's still afraid to drop making music than adozen pop can prove wearisome over the the ` Cougar' name he's alleged lamebrains. Just glue your ears long course, though I'd be QUEST: to hate so much, Mellencamp to the likes of ' Breath'. ' Bus almost the first to admit that NATURAL SELECTION can now relax. The Lonesome Called Happiness' or ' Love, their well- established ` Def Con LINE RECORDS COCD Jubilee from 18 months back Love, Love' ( acomposition from One' Big Mac monster mash is a 9.00748 0 ( 54m 35s) CD established him with such their earliest years which shows track to relish, while 'Wise Up authority that he appears to how good they've always been) Suckers', with its ' she loves me' Beautiful, floating jazz piano, have created the niche he's and become a blissful convert. soft centre, and ' Not Now rich warm double bass and soul- occupying. But Mellencamp is [A:1] Pete Clark James, We're Busy', afrantic tear ful, soaring soprano sax and not so much an originator as he down a Redneck highway in shuffling percussion open this is a clever magpie; what he's TOM PETTY: pursuit of the Soul Godfather, collection of almost free jazz offering yet again is simply an FULL MOON FEVER possess their fill of energy and numbers. Dave Leibman, Richie appealing brew of rock and MCA MCG 6034 entertainment value. So, while Beirach, Ron McClure and Billy country laced with enough salt- STEVIE NICKS: I'm still not fully convinced, I'll Hart can play and late at night of- the- earth, Waltons shtick to THE OTHER SIDE OF THE hang onto This Is The Hour till they can transport you into a suggest that Mellencamp might MIRROR the inevitable ' Best Of even- smoky New York club. They even be happier as Faulkner EMI EMD 1008 tually comes our way. [A:1/21 aren't afraid of the odd synth- than as Guthrie. But remember: Fred Dellar esiser and they have enough it isn't everybody who has the The sound of Californian brains hidden away for a fast and nerve to cover the Hombres' boiling in the sun. Actually, PREFAB SPROUT: PROTEST furious finish. But they're also 'Let It All Hang Out' while not that's abit unkind — Petty has a SONGS self-indulgent and don't attempt crediting it on the CD. Still, it's way with those oh-so-familiar CBS/Kitchenware CBS to break any barriers. This is all good music and it bears chords which melts cynicism. KWLP4 strictly for the devotee and repeated playings, especially sit- He's well served here by a should be avoided by the unin- ting in abath as you shrink your smooth Jeff Lynn Production What is one to make of dear old itiated. Nice, but not that nice. 50 Is. [A:1/21 Ken Kessler (but this is a cut above any Paddy MacAloon? This record [A:2] Neville Farmer aimless Wilburying), but what was recorded some years ago stands out are the songs, rock- and was originally intended as a ing out on ' Runnin' Down A freebie for faithful fans. That LOU RAWIS: AT LAST Dream' ( great guitar from never happened and it is now Blue Note B1 91937 Heartbreaker Mike Campbell), released as a proper record, or waxing droll on 'Yer So Bad' which seems fair enough as it How long it's been since Iheard or 'Zombie Zoo'. IA:1] was recorded in aproper studio anew Lou Rawls LP Ijust don't Stevie Nicks could never be and is not some kind of live know, but this more than makes accused of having a sense of throwaway. But whatever the up for his time away. Harking humour, but despite her insist- genesis of the record, it offers back to earlier Capitol releases ence on filling the studio with the usual Sprout conundrum — rather than the more soul- candles for the sake of atmes- how is it possible to play it all oriented hit material, At Last phere, she's well capable of the way through without either shows us Rawls- as- jazzman/ turning out the kind of mel- going to sleep or coming over bluesman, with delivery worthy lifluous soft rock as evidenced nauseous? Paddy starts well, as and reminiscent of Billy Eck- on 'Rooms On Fire', the first usual, but as the tracks succeed stine and Joe Williams. Rawls single. For those evenings when one another, beat and bounce follows Aretha in filling the disc you just have to leave your make way for the clever whimsy with duets; Dianne Reeves, brain at the door, there are which infests all the group's George Benson, Bobby Hutch- worse things that can ooze into activities. Feed this man some erson, Ray Charles and others your ears. [A:2] Pete Clark steak, now! [B:2] Pete Clark feature prominently. The result

110-F1 NEWS & RECORD REVIEW AUGUST 1989 reviews ROCK/POP/JAZZ is the classiest, sexiest release Perkins if he could sing. The version of Glad To Be Gay, it is ad infinitum) goes the lead-in since McFerrin's last outing and only problem with Stan is the by no means uncommercial to ' Bottom Line'. Mind you, Di, easily one of the best I.Ps of the material, which can veer music. And for a live CD it is being Di, sings these things year. The performances are dangerously away from the well recorded. But it's Tom rather well. She's always sang chilling, the material faultless — muted Gothic ( in the real Robinson so it won't sell — better in her bathtub than 'Room With A View' will des- sense) pop at which he is unpa- unless you buy it, of course. Madonna's ever sung on record troy you — and the band is the ralleled, to some kind of godaw- [A:1] Neville Farmer (not that I've personally ever kind we only dream about. The ful show music which can intro- had the pleasure of scrubbing score, therefore, is [A*:1***]. duce the top and bottom teeth ALDO ROMANO: RITUAL Di's back). Also, to guarantee a Buy or die. Ken Kessler in impromptu grinding. IB:21 Owl OWL050CD ( 51m 39s) fair margin of quality, the name Pete Clark CD of Nile Rodgers is appended to Distributed by Harmonia Mundi the production and music-shap- RILEY/CASTRONARI/MARSH: ing credits. Which means that FEATHERS Romano is one of those under- the overall sound and the Spodite SPJ 536 sung European drummers rhythm settings are superb. So, (Spotlite Records, 103 London whose playing is usually spot despite a number of basically Road, Sawbridgeworth, Herts) on, without necessarily being lacklustre songs — give or take a innovative. Here, he's assem- 'This House', a Rodgers com- It's good to receive aBritish jazz bled an impressive quartet with position which could easily album and be able to rave about Paolo Fresu, trumpet, Franco have fell out of Smokey's book it without any undue chauvin- D'Andrea, piano and Furio Di of wispy wonders — 'Workin' ism clouding judgment. Of the Castri, bass. From the first num- Overtime' is far from an three players, Howard Riley has ber, the band gets into agroove unhappy experience. And even perhaps received the most reminiscent of the classic Col- if you feel unhappy about mak- KID RENA/BUNK JOHNSON/ attention to date as an innovator trane rhythm section. The ing an outlay for the album, then OSCAR CELESTIN: in the difficult field of freely trumpeter uses a studio gizmo- you will still have something DOWN ON THE DELTA improvised playing. This album thing to create adazzling, shim- you can dance, dance, dance to. Esquire 331 shows how well he does in a mering trumpet sound which In the streets, of course. [A*:21 variation on that approach — he uses effectively. But mostly Fred Dellar Even at the height of the swing free playing with an ear for the music is straightforwardly era the old jazz never com- rhythm and structure. British acoustic. They play acontrolled TODD RUNDGREN: NEARLY pletely disappeared, but the players are especially strong on kind of modern mainstream jazz HUMAN eight Rena tracks date from the this, turning in spontaneous which finds support among Warner Bros 925 881-1 first time, in 1940, that anybody pieces you'd think were pre. those who choose to frequent went to the southern states to composed tunes. Drummer winebars at the weekends. Pass As apt a title as TR has ever find and record some of the Tony Marsh comes into his own the Frascati, Jimmy. [A*:21 used: Despite producing the early players. Yet what exactly on this album. He's aworkman- Ken Hyder kind of heart-wrenching pop is this relaxed, airily bouncing like player who turns in efficient which wouldn't be out of place music? At the time it was performances in a variety of DIANA ROSS: on aSqueeze LP, Rundgren still assumed to be an exact recrea- settings, but his imaginative WORKIN' OVERTIME possesses an other- worldliness tion of the beginnings of jazz, a playing has been often under- EMI EMD 1009 which renders the material message from the days of Buddy rated. He manages to play with EMI CDP 792543 2 ( 43m 22s) almost too perfect. This Bolden. The truth is likely to be, both precision and looseness, CD machine- like precision ( also however, that Rena and his men and he makes the music breathe common to early 1Occ and Roy were presenting New Orleans as aconsequence. It all adds up Oh dear! Di has forsaken the Wood) is hardly the kind of sin I music of 1940, with lots of solos to an absorbing album, with Avenue ( Fifth, of course) for the can't forgive; I'd rather listen to and little emphasis on the more character than most streets. Which means that, these songs crafted with the skill of a ensemble work that was sup- recent British releases. LA:11 days, she comes clad in studded watchmaker than to indic slop. posed to be one of the glories of Ken Hyder leather jackets and ripped jeans Still, it makes Nearly Human the original Crescent City jazz. à la Bros moss. And, having seem like an LP produced for Heard nearly half a century TOM ROBINSON: studied the problems of the Goldmine readers, one of those later, it still has a considerable LAST TANGO lower income world, she has all overly- eclectic releases appeal, as in the touching ' Low LINE RECORDS LICD 9.00588 the answers. Well, one answer, designed as much for the brain Down Blues'. Johnson's 1945 0(45m 30s) CD actually. ' Keep on, keep on, as for the heart or feet. But I session has much greater keep on dancing, so you don't love this deliberate approach, intensity, though, and his music It takes more than the inspira- have to feel the pain', she weaned as Iwas on Merseybeat, is clearly not the result of an tion of an emotive subject to advises in best Marie Antoinette so I can handle the irony of antiquarian quest. In fact the make someone write asong like 'let them eat cake' mode. Note Bobby Womack, aguest on one drive and imagination of his `Glad To Be Gay'. It takes an the repeated phrase ' Keep on, track (' The Want Of A Nail') or trumpet playing are the best enormous amount of talent, and keep on, keep on'. Obviously a perfect Hall & Oates pastiche things on this LP. The 1950 when the lyrics of the song can street- people are really into ('Can't Stop Running' ). But as Celestin date is dangerously be updated regularly without repetition. ` La la la la' (ad with everything else Rundgren close to tourist dixie, although losing any of the original bite infinitum) goes the opening to has issued since Nazz I, this LP is Alphonse Picou plays far better that talent has to be gargantuan. 'We Stand Together' and ' Ibis too good for mass consumption. clarinet here than he did with Tom Robinson may not be House'. ` Na na na na' ( equally [A/B:1] Ken Kessler Rena. [ H:1/2/3] Max Harrison everybody's favourite writer or campaigner, but he runs rings STAN RIDGWAY: round most songwriters. So why MOSQUITOES has this live recording come out IRS EIRSA 1010 on a German label? Could it be IRS EIRSCD 1010(41m 03s) that the British upper lip is even CD stiffer than the German? Surely the greatest music nation in It seems an age since Europe must recognise its sons' `Camouflage', let along the talent. Well not if the sales don't balmy days of Wall Of Voodoo impress more than the music, and ' Mexican Radio', but ol' Stan no. Tom Robinson does not sell keeps plugging away with his many records, but he makes soundtracks to some American great records, and if this live set dream gone wrong. His voice is of his greatest near- misses is still his calling card, a marvel- anything to go by, he's pretty lously expressive instrument of good on stage, too. With 2468 sadness and danger — Anthony Motorway, War Baby and an 87

III -FI NEWS & RECORD REVIEW AUGUST 1989 Ill ROCK/POP/JAZZ reviews

DINO SALUZZI: ANDINA from Hank every night'. Shear- got Bacharach to add the ECM 837186-2 ( 43m 15s) CD ing style nowadays is protean, as "2 finishing touches, then at least Concord releases reviewed Jimmy Webb is on hand to Argentinian bandoneon players here in recent years have 0- arrange and conduct on a cou- have an extra edge missing from shown. Whatever the influ- ple of tracks. You've- doubtless most folksy accordionists. They ences, one on the other, the two heard `You On My Mind', the have the knack of playing some- play together here on two first blast from the past hit thing simply to catch your pianos with wonderful under- single from this album. And the attention, then they pull the rug standing; it's impossible to work rest, in the main, reflects that away. Anyone familiar with the out who is playing the lead. The same era, when Alpertized work of Thelonious Monk will tunes are good, too, a nice trumpet duos flicked in and out know the trick, and bandoneon mixture of standards and newer of the vocal choruses, when players often do find themselves tunes, from composers as varied arrangements closed with anod at home with jazz musicians. as Monk, Parker, Mary Lou Wil- in the direction of jazz waltzes Saluzzi has recorded with emi- liams and Gene de Paul — and (yes, Factory fans, that really is nent jazzers, but on this release my own favourite, the opening Vim Reilly swinging his way he plays solo. The tango is not track written by another great really changed. Her opening through 'Where In The World') just the rhythm ( forget Come pianist, Joe Bushkin — the lovely title track is as attractive an and when back-up orchestras Dancing): exponents would say Lee Wiley hit, ' Oh, Look At Me offering as is likely to come our provided employment for at it's a way of life. Undoubtedly Now'. The piano tone ( Baldwin way this year, a loping, jazz- least 40 hungry musicians. [B:1] it's the Argentinian blues. instruments credited) seems tinged affair that denotes that if you're under 35. Add astar if There's loneliness here, passion, harsh and percussive, but these Snow has little to learn in the art you're older. Fred Dellar and longing, and you don't have two pianists, both now in their of song projection. Thereafter, to be Argentinian to hear it. 70s, are keeping the flag flying the whole thing becomes just TIN MACHINE: [A*:11 Ken Hyder for understandable melodious one well-worked but ultimately TIN MACHINE jazz. [A:1] Denis Argent immemorable record, bound EMI USA MTLS 1044 SHADES OF ICENTON: for the FM dumper. Perhaps its EMI USA CDP 791990-2 ( 56m 'ROUND MIDNIGHT CONCE- SHELLEYANN ORPHAN: fatal, seeking new meetings 50s) CD RT CENTURY FLOWER with old friends. Often there's Hep CD2043 ROUTH TRADE ROUGH 137 little to ta& about after the first Tin Machine marks the much five minutes. [A:2] Fred Dellar trumpeted return of David A decade after his death Stan Shelleyann Orphan are a band Bowie: astripped- down rock ' n' Kenton's music retains its fol- to know. Robert Smith of The SWING OUT SISTER: roll band, bristling with guitars lowing, and the Shades of Ken- Cure loves them and, risking KALEIDOSCOPE WORLD (Bowie and newboy Reeves ton band was inevitable. This sending his audience to sleep, Fontana 838 293-1 Gabrels) and bass ' n' drums 63-minute CD is from aconcert takes them on tour. Shelleyann Fontana 838 293-2 ( 59m 40s) (Tony and Hunt Sales, the at Queen's Hall, Edinburgh, in Orphan are strange and interest- CD rhythm hurricane which fuelled the summer of last year, and ing. The voices sound deliber- Iggy Pop's Lust For Life). The they interpret the original Ken- ately slowed down, string Suddenly Ifeel like H.G. Wells. opening shot, ' Heaven's In ton scores with skill and sym- instruments give the music a The Time Machine is working Here', tells you most of what pathy. These are by Gerry Mulli- whimsical but human feel and again and here I am dumped you need to know about this gan, Bill Holman, Lennie the latest addition of electric back in the late ' 60s. Burt outing — the ghost of a song Niehaus, Bill Russo as well as guitar and drums almost seems Bacharach is writing those saved by Bowie's always intri- Kenton himself Most of the like a bit of a cop out. But twisty, curled- edge songs and guing vocals, which evolves/ chosen items, such as ' Painted Shelleyann Orphans are Hal David is snucicing lyrics into degenerates into a massive and Rhythm' or ' Intermission Riff', talented and, forgoing the usual odd corners, while outfront archaic guitar workout com- go back a very long way in the heads down no nonsense mind- there are singers like Dusty plete with stop- starts and Kenton story, and the choice of less boogie, genuinely innovate Springfield, Dionne Warwick hammy drum crescendoes. programme is in fact rather without aggravating. Century and Madeline Bell, all ready to There are better songs on the LP conservative. Nothing wrong Flower has taken two years to test trusty tonsils on the deli- — ' Crack City' and ' Under The with that, but Ido wonder if we make — which is not impressive. cious results. ' Cept that this isn't God' — but the basic thrust is shall ever hear live perform- But if you are broad-minded and '69 but '89 and the writers are Bowie consciously shredding ances of such things as the enjoy something strangely not Bacharach and David but the arty cobwebs which have pieces written by Robert Graet- soporific in between bouts of Corinne Drewery and Andy clogged up his latest couple. tinger for the Innovations in Queensr?che, relax and drift off Connell. And the outfront voice Depends on how much time Modern Music edition of Ken- to this. [A:2] Neville Farmer is not that of Dust, Di or Maddy you have for Bowie — if you ton's band. Meanwhile the but rather that of the Mod- follow his every tic, you'll lap it Shades offer devoted accounts PHOEBE SNOW: cropped Ms Drewery. Not that up. If not, you'll reach for your of his more conventional reper- SOMETHING REAL you'd know it. For Swing Out old meathead blues/rock toire, and good luck to them. Elektra EKT 56 Sister have cloned the genre to records from the beginning of There are some attractive perfection. And if they haven't time. [A:2] Pete Clark soloists among them, too, such Another day, another come- as Doug Whaley ( trumpet) on back. Phoebe Snow was always `Chiapas' and Ivor Deach ( alto) one of those singers who on ' Intermission Riff' and else- seemed on the verge of deliver- where. [A:2] Max Harrison ing something terrific. She recorded some superior mate- GEORGE SHEARING AND rial, worked with all the right HANKJONFS: people and often sang in a THE SPIRIT OF 176 manner more beguiling than Concord CCD ( 55m 33s) CD most. Somehow or another, from New Note Distribution though, little proved entirely satisfactory. Her eight, or so, George was not yet an American albums frequently included citizen in 1948 when, on his unforgettable moments but first job in the USA, he was these were submerged amid intermission pianist at a club other performances and mate- where the main attraction was rial that mattered little. Now, the Ella Fitzgerald Trio, with after stints with Shelter, CBS Hank Jones on piano. For this and Mirage, the New York sin- CD's notes, Nat Hentoff quotes ger has linked with Elektra in George as recalling ' Hank is my order to influence awhole new mentor. I absorbed a lesson range of listeners. But nothing's

112 HI-FI NEWS & RECORD REVIEW AUGUST 1989 capsules ROCK/POP/JAZZ

BLUE MURDER: loopy as they did in ' 79 with T LAVITZ AND THE BAD THREE MUSTAPIFIAS THREE: BLUE MURDER only a slight slowing of the HABITZ: T LAVITZ AND HEART OF UNCLE Geffen WX 245 tempos to mark the march of ME BAD HABITZ Globestyle/Ace CDORB 043 A glimpse at the track listing and time. The trademark non- Intima/Enigma ENVLP 525 (60m 03s) CD lyric sheet might put you off this sequitur covers are there, A pleasing variation on the cros- What looked like a remarkably HM cliché, which finds veteran including a timely massacre of sover/fusion jazz-rock formula: prescient piss- take of world Carmine Appice acting exactly Pitney's 'Town Without Pity' lean and clean, basic and funky. music turns out to be an act like that which inspired Spinal and ahilarious ' Hair'. The 1980s No, this won't set alight aworld with real staying power. Now Tap. But Blue Murder are just may be ending in drag mode, that's been Sanborn'd to death, offering up samples of every heavy enough to let you ignore but some guys just wanna have but it beats the hell out of ethnic genre likely to be the words to Sex Child'. [A:2] fun. [A:1*] Contemporary Instrumental. favoured by Andy Kershaw or [A:1/2] Time Out, the Mustaphas really BLUE RODEO: DEAN DILLON: do live up to their slogan, ' For- DIAMOND MINE SLICK NICKEL DELBERT McCLINTON: ward In All Directions!'. [A*:1] Risque Disque/WEA 256268-1 Capitol/EMI CDP 748920 2 LIVE! FROM AUSTIN Absolutely gorgeous guitar (33m 35s)CD Alligator AL4773 TRANSVISION VAMP: band epic which calls to mind Debut from one already known McClinton's first live LP and his VELVETEEN everything jangly from Dylan to for ace songwriting abilities. first of any sort in nearly a MCA MCG6050 Petty to REM to the Eagles, but New Country with deep roots decade, a set of tracks defying They've survived the hype, with atwang all its own. Here's in the Old, worth owning for a classification. Too blues-y and they've managed to maintain hoping that it benefits from the cover of ' IGo To Pieces' and his soulful for New Country, too their dignity despite Wendy's success of Brickell and the rest. own 'You Sure Got This 01' country to be mistaken for penchant for saucy attire and [A:1/1*] Redneck Feelin' Blue'. [A:1/2] uptown R'n'B and too good to they're making some of the best be ignored. [ 13:1] pure pop of any type in the UK NATALIE COLE: JEAN PAUL GAULTIER: today. What more do you want? GOOD TO BE BACK AOW TOU DOU Z4T COUNTRYJOE McDONALD: [A:1] whether it's hip or not. EMI CDP 748902 2 ( 46m 54s) Fontana 838 271-2 ( 52m 17s) VIET NAM EXPERIENCE CD CD Line/TM/PRT LICD 9.00418 VARIOUS: NIGHT OF THE Nat's kid plus a load of hot Yes, that JPG. And no, we can't (73m 02s) CD GUITAR — LIVE! producers who present her in a resist pointing out that his atti- Still around and singin' about IRS EIRSACD 1005 ( 71m 17s) manner befitting Soul Train's tude toward clothing is 'Nam. A folkie anachronism CD Vocalist of the Year. This set reflected in this, his version of which drifts in and out of the The natural follow-up to the might be just too refined for ultra- deep, nay subterranean New Age both musically and magnificent Guitar Speak, today's rappish market and she house music. Fashion victims: conceptually. It was more fun another showcase for some of ain't no Aretha, but she's this is your anthem. [A:1/2] when he got you to swear. [A:2] rock's most-respected axemen. definitely her daddy's daughter. Highlights of this live version And that means [A:1]. DENNIS GREAVES & THE THE 0)AYS: SERIOUS include Randy California's ' Hay TRUTH JUMP EMI-USA CDMTL 1041 ( 45m Joe', Robbie Krieger reprising a COOKIE CREW: IRS EIRSACD 1003 ( 44m 53s) 33s) CD Doors classic, and the all- BORN THIS WAY CD 30 years on and the sound still together- now 'All Along The ffrr/London 828134.1 Forget that Greaves has fore- works. This is pure, high-gloss Watchtower'. [A/B:1/2] The most notable aspect of this saken the retro-R&B movement circa 1989 discofied soul, yet rap effort is that it's British and that he looks like he has the there's no mistaking that these VOW WOW: . rather than American. The usual worst case of attitude this side guys have been around the HELTER SKELTER clever lyrics and heart-stopping of Hue & Cry. He and his band block. Listen closely and you Arista 259 691 ( 51m 04s) CD transients, good enough to keep rock hard, rock well and can still make out the smooth Original material bar the title a few quid on this side of the deserve more than four lines in sensations of the original Back- track, the most heavy metal'd pond and maybe bring some the back of a hi-fi mag. [A:1] stabbers. [A:1] song in the entire Beatles dollars back. [A:2] canon. This Japanese outfit HELLOWEEN: LIVE IN THE ONSLAUGHT: offers afrantic version, but they DESPERATE DANZ BAND: UK IN SEARCH OF SANITY sound like aslavish copy of the SEND THREE AND Noise International/EMI CDP ffrr/London 828 142-1 perfect HM band. Flawless FOURPENCE... WERE 792371 2(47m 215) CD Bristol's Numero Uno thrash act heavy metal ... a contradiction GOING TO A DANCE There's solid UK metal and then challenging the status quo by in terms, huh? [A:2] Happas Records HAPPAS 1 there's Eurometal as only the allowing melody to creep in (Happas Records, 129A Germans can translate it. What past the monotonous drumming LORI YATES: Hamilton Place, Aberdeen it lacks in originality is compen- and puerile posturing. The sub- CANT STOP THE GIRL AB2 4BD) sated for with power and enthu- title should be, of course, ' But CBS 463288-1 Everything has accelerated: siasm. [A:2] You Won't Find It Here'. [A:2] Divine country warbling from a Only acouple of years into the Canadian Who Would Be South- roots boom and here we have THEJACKSONS: 2300 0.S.T.: GHOSTS... OF THE ern. Rocking rather than rueful, retro folk/dance music. This is JACKSON STREET CIVIL DEAD with an appeal that should defy so creaky that it makes Morris Epic EPC 463352 Mute Records IONIC 3 the country classifications. [A:1] dancers look like Yazz Wan- Jacksons LPs are always slick Suitably gloomy score for a nabees. For traditionalists. [A:2] and professional but rarely dar- prison film. About as bleak as it ALSO RECEIVED: ing, so is it any surprise that this gets, but Nick Cave's fans might DESTROY ALL MONSTERS: one simply reflects the state of find it just about right. [A:21 THE STRANGLERS: LIVE the soul ( ch)art? Actually, it RADIO ONE SESSIONS Fan Club/New Rose FC050CD says more about the influence of 0.S.T.: 1969 Strange Fruit/Nighttracics (45m Ils)CD Bobby Brown. [A:1] Polydor 837 362-1 SENT 620 The antidote for those who With a title like that, you can The Stranglers heard live on the think Iggy sold out when the LIL'ED AND THE BLUES anticipate and do receive a Beeb in 1982. [A/13:1] Stooges split. Ron Asheton IMPERIALS: package of evocative classics. thinks it's still ' 69 and the Pis- CHICKEN, GRAVY & BISCUITS Hankies out for the Thirtysome- VARIOUS: tols are nothing more than a Alligator/Sonet AL 4772 thing brigade, with Cream, JAZZ TODAY VOL.1 nightmare. Vicious, anarchic Long-awaited follow-up to the Creedence and others reelin' in BGP/Ace BGP 1026 rock for the faithful. IC:11 staggering Roughbousin' of a the years. Collectors note: Jesse 10 tracks from the new Fantasy couple years back. Ill' Ed makes Colin Young provides a jazz catalogue. [A:1/2] THE DICKIES: modern blues music with no gorgeous update of ' Get SECOND COMING concessions but you could Together', while the Pretenders VARIOUS: NITE 1FLITE 2 Enigma ENVLP 526 almost swear this is some long- appear to show that record CBS MOODCD8 ( 61m 41s) CD The original surf/punk/speed lost golden age boogie epic. As companies can't even spell TV-advertised smoochers from merchants return, sounding as before, this was live. IA:1/11 'authentic'. [A/11:11 Sade, Vandross, etc. [A/13:2]

HI.FI NEWS & RECORD REVIEW AUGUST 1989 113 THE MUSIC SHOP

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ARTHUR ALEXANDER: collaborator here is Mickey Move- era Jeff Lynne. Fairly ing. Contains the first-ever US ARTHUR ALEXANDER Baker adding guitar and vocals; typical late 1960s paisley pop, cover of a Beatles tune. [A/11:11 Ace CH 270 overall feel suggests that every- with no hints of future Wilbury- The soul legend's hard- to- find body was having a good time. ness, but much better than a THE TROGGS: WILD THINGS 1972 Warner solo plus apair of Great Dupree originals plus a mere artefact. Find out why he See For Miles SEE 2% rare tracks only available on dandy ' Caldonia'. [A/A*1] was headhunted for Roy Wood's Absolutely hilarious package singles. Mellower and less mob. [B:1/21 which proves that the Troggs pained than his golden age RAMBLINUACK ELLIOTT: actually were more stupid than - material but still above the rest TALKING DUST BOWL ERNIE K-DOE: BURN, K- even Spinal Tap. 15 cover ver- of the pack. [A/13:1/1*] Big Beat/Ace WIK 86 DOE, BURN sions butchered as never Ace continues its run of US Charly CR11 1218 before, only the Troggs don't CHRIS BARBER & DR JOHN: folkie LPs with this link Desperately needed set from a know it. A priceless party LP for MARDI GRAS AT THE between the genuine Dust Bowl New Orleans fixture oversha- the over 35s. [A:5] MARQUEE singers like Woody Guthrie and dowed by the rest. Not one but Timeless Traditional the 1960s protest/coffeehouse two versions of ` Mother-Inlaw' VARIOUS: TDD546/547 ( Dist by New crop. Generically a melange of and 15 others, including his COUNTRY MUSIC Note) country, acoustic folk and even take of 'A Certain Girl' for all HOOTENANNY Amazing double LP with the good old Jimmie Rodgers- styled Yardbirds loonies. [A/B:1] See For Miles SEE 254 two giants doing aNew Orleans yahoo. A righte9us compilation. How the country crowd partied set in London in 1983. Blessed [A:1] LULU: in 1963, amagical concert with mix of Rebennack faves and trad SOMETHING TO SHOUT the likes of Roy Clark, Merle standards. (A/A*:1] MARIANNE FAITHFULL: ABOUT Travis, Rose Maddox and MARIANNE FAITHFULL London 820 618-2 others. Irresistable, especially THE BEACH BOYS: London 820 630-2 ( 53m 05s) (50m 26s) CD the bumpkin chit-chat. [A*:1] SHUT DOWN VOL 2 CD Her debut LP beefed up with C5 C5-535 The superb liner notes tell the four extra tracks. It's easy to VARIOUS: EMI wouldn't do it so here's See full story behind this, roughly forget that Lulu was jailbait THE ORIGINAL MEMPHIS For Miles showing how you half of her debut material from when she recorded ' Shout'; BLUES BROTHERS restore long- unavailable Beach 1964/5. Historic importance here's a reminder that she was Ace CHAD 265 Boys epics to the racks. Prime aside, it's an exceptional kick-off Britain's Brenda Lee. [A/B:1] Soulful R&B set offering awhole surfiedrivin' material from ' 64, to apatchy career, her quavery bunch of early Bobby Bland and with sound quality you will not voice just fragile enough to set MAN: MAXIMUM DARKNESS Earl Forest tracks, plus some believe. Budget- priced, no less. hearts athumpin' around the BG0 BGOLP 43 Junior Parker and — real trea- sures this — two from Johnny [A*:1/11 world. Eclectic mix of material BGO's second Man reissue, pro- makes this [A/A*:1/1*/2] and ving that 1CK isn't the only fan of Ace. The usual stellar Ace DALEK i: COMPASS KUMPAS mandatory. the Welsh psychedelicists. This Records effort with learned Fontana 836 894-2 ( 54m 25s) live set from 1975 finds them at notes, but just wait for the CD TENNESSEE ERNIE FORD: their peak, with added credibil- consumer complaints about the Exceptional late 1970s Liver- FARMYARD BOOGIE ity in the form of guest guitarist Presley front cover... 1A/B:11 pool band which would pro- See For Miles SEE 262 John Cipollina of Quicksilver duce members of the Banshees, Continuing the label's assault on Messenger Service. 1A:11 JOE WILLIAMS: OMD, Teardrop Explodes, etc. the country reissue market, a HAVING THE BLUES UNDER Groundbreaking post- punk revealing 20- track set which PHIL OCHS: EUROPEAN SKY synth pop worth more than makes you wonder why the guy GUNFIGHT AT CARNEGIE Denon DC-8535 ( 45m 47s) academic acknowledgement. is only remembered for ' 16 HALL CD [A:1/11 Tons'. Brilliant vocal textures Mobile Fidelity MFCD 794 The most musically rewarding from the kind of rich voice (47m 19s) CD set yet in Denon's series of jazz VIC DAMONE: which comes along only once in The sharp-tongued protest sin- reissues, Williams working THE BEST OF 'THE CAPITOL a generation, like Willie Nelson ger's wizard wheeze, shocking through a set of bluesy stan- YEARS' without sinus problems. [A:1/ the hell out of the faithful by dards which he interprets with Capitol CDP 792449 2 ( 45m 1*] playing astraight rock'n'roll set. absolute cool. A voice for the 33s) CD Fortunately, most of this audi- gods. [B/C:11 16 wonderful tracks from a tra- FRIENDS AGAIN: ence was hip enough to realise ditional MOR-ist of the Old TRAPPED AND UNWRAPPED that, hey, the music cooks! Pre- ZEPHYR: ZEPHYR School. A reassessment is Fontana 836 895-2 ( 61m 21s) sley and Holly medleys show BG0 BGOLP41 deserved; the verdict will be CD where Ochs' heart was, while An absolute treasure: long- lost, that Vic was much more than a Puzzling failure this, another his `Okie From Muskogee' could major-league collectable featur- Sinatra clone. All standards, case of aband ( Glaswegian) too be mistaken for the real McCoy. ing Tommy Bolin, later of Deep with Damone revealing a deft far ahead ( 1983/4) of the trend IA:1] Purple. Sounds like a blissful touch with stage tunes. (A/11:1] (hyper-professional red-eyed marriage between Rough Trade fashion-victim soul-funk). If you THE REMAINS: and Big Brother ( with Janis). DILLARD & CLARK: like Hue & Cry, Wet, Wet, Wet ME REMAINS Fine example of a boogie-ish THE FANTASTIC EXPEDITION or any of the other Hall & Oates Fan Club/New Rose FC 012 band with a torch singer up OF DILLARD & CLARK/ Wannabees, dig in; Friends CD ( 70m 06s) CD front. [A/11:11 THROUGH THE MORNING, Again were better than most of An archivist's dream, 26 tracks THROUGH THE NIGHT the current crop. [A:2] from one of the most revered ALSO RECEIVED: Mobile Fidelity MFCD 791 'critics' choice' bands of the (68m 12s) CD THE GROUNDHOGS: 1960s. Sharp, straightahead CLANNAD: PASTPRESENT The bluegrasser Dillard and ex- HOGWASH rock which fills the gap RCA PD74074 ( 64m 58s) CD Byrd Clark's late 1960s country/ BGO BGOLP44 between garage band and pro. Their best, amusical and asonic rock pair on one CD. ( Edsel The band's sixth LP, circa 1972, The most important of Boston's delight. [A*:1*] reissued these in vinyl.) As good with the blues roots struggling might-have-beens. [A/B/C:1/1*1 as anything the genre ever pro- for dominance over the power- BILLY FURY: BILLY duced, but especially one for trio/nascent-HM mentality. DEL SHANNON: London 820 625-2 pre- Eagles devotees. [A:11 Sounds less dated than it might, THE DEL SHANNON (47m 18s) CD owing to the current domi- COLLECTION 20 more tracks in digital, CHAMPIONJACK DUPREE: nance of metal over other rock Line/TM/PRT IMCD 9.00436 including rarities. [A:1] AND HIS BLUES BAND forms. [B:1121 (34m 40s) CD London 820 569-2 ( 45m 48s) Excellent 15 track collection M.ANFRED MANN: CD THE IDLE RACE: representing one of the few EP COLLECTION Another Mike Vernon- pro- THE BIRTHDAY PARTY shining lights of rock's gloom See For Miles SEE 252 duced, late 1960s set for the C5 C5-536 period ( 1959-63), with slight 20 tracks from their now-pricey wizard blues pianist. Primary highly desirable LP for fans of changes from Edsel's vinyl offer- four-song 7-inchers. IA:1]

111-F1 NEWS & RE(:()R1) REVIEW Al7GINT 1989 115 SPECIALIST GUIDE

BEDFORDSHIRE D E V 0 N E N

eDUALITY SOUNDS CANTERBURY HI-FI CENTRE from ARCAM, CASTLE, DE NO N, INCATECH, QUAD, ROKSAN, MANTICORE ETC. 50 BUR GA TE at CANTERBURY KENT SPECIALIST AUDIO EQUIPMENT SPECIALIST GOLDRING DEALERS BRITAIN'S PREMIER DEALER FOR E1-OEMONSTRATION All0 SECONDHAND 16 SILVER STREET, BARNSTAPLE, TEL: 0227 — 65.315 •Our prices are as low as those in the private ads - but we also offer a full 12 months partsAabour guarantee, part exchange, nail order and \N. DEVON EX32 8HR. Tel: 0271-46172f credit facilities •We buy all unmarked Hi Fi equipment for cash •This is what the FINANCIAL rums said about us 'Attractive discounts are available at Sound Deals Friendly service, if you are interested in atrade-in do talk to them ' DORSET LANCASHIRE •Please phone for an appointment es we like our clients to take advantage of our demonstration facilities lit you come by train, we will arrange for you lo be collected from eiggleswade station) •These ere afew of the reasons why in lust over three years we have built up a massive clientele of regular customers and friends Phone for details now on (0767)312249 and ask dawsons for the secondhand sales dept. 548 SHORTIMEAD STREET, BIGGLESWADE. SPECIALISTS IN HOME ENTERTAINMENT BEDFORDSHIRE SG18 OAP FOR OVER 60 YEARS PS M25 vm AI to our door is only ' um over 35 menu,. Sony E.S. Technics, Denon, Aiwa,

LT.L., Dual, Mordaunt Short, Gale, Castle A & R Cambridge MONITOR •• Large range of Accessores B&O MBE. W BUCKINGHAMSHIRE SOUND Castle • Celestion 23 Seamoor Road, II Denon U Dual • Marantz Westbourne, Bournemouth. Tel: ( 0202) 764965 II Mission U Monitor Audio • Mordaunt-Short U Musical Fidelity Aylesbury Hi- Fidelity • Nakamichi II Pioneer • Philips CD Ill Quad U Rogers IN Role) U Revox E E • Sony • Spendor U Tannoy U Technics • Thorens U Trio al Yamaha etc Two-year guarantee THE real HI-FI specialists in Buckinghamshire Private listening room Aiwa. AKG. Alphason. Audio Technica ( CD Players also). ADC. AR. Excellent comparator demonstrations A&R. Beard. Boston. BLQ. Castle. Celestion. Denon. Diesis. Dual. CLONFY Exposure. Gale Goldbug. Goldring. Grado. Gynxlek. Heybrook. Harmon Kardon. KEF. Logic. Linn Arms. Monitor Audio. Michell. MIMI re 54 Chapel St., Chorley, Lancs. Magnum. Manea. Musical Fidelity. Meridian. Mission. Mordaunt- Short. Marantz. Monster. Myst. Nakamichi. Nagaoka. NAD. Ortofon. ri Telephone ( 02572) 71935 Paragon. Philips ( CD only). P.S. Audio. Proton. Quad. QED. Rata Rotel. Revox. Revolver. Roksan. Sennheiser. Something Solid. Sondi, Stand & Deliver. Spendor. Systemdek. Tannoy. Target. Teac CD. 55 Main Street, Blackrock Thorens. Trio CD. Walker. Wharfedale. Yorkshire. Yamaha. Zeta Dublin. Tel: 0001-888477 LONDON

98 Cambridge Street, Aylesbury, Bucks. 0001-889449 0296 28790 Linn, Rega, Creek, Naim, Castle, ANALOG AUDIO Aragon, Quad, Nakamichi, (HI -Fi Specialists) OPEN 10am-6pm. Monday- Friday, 9.30am-5.30 Saturday 849 High Road, London N12 redut uand au litres mailable Arcam, Tannoy. Closed all day Mon/Thur & Fri open till 9pm Tel: 01 445 3267 Major credit cards welcome Finchley's Centre for ( (lea inn, I )nnon, Dual, Marantz , NAD, Onkyo, Pioneer, Proton, Rote), Yamaha. CHESHIRE Stockist of full range of speakers and E S S E electronics for all major manufacturers. Please phone for details. ASTON AUDIO 7 THE HI- Fl CONSULTANTS 11111 1MARKETSJ MUSICAL FIDELITY The plar eus here pe,eple rare about hi- ii 4 West Street COMES TO COLCHESTER Alderley Edge, Cheshire Tel: 0625 - 582704 The sensational BI now avail- Open: Tues-Fri 10-6pm able. 3,000 Classical/Jazz CDs Sat: 9am-5pm sta & Tapes always in stock all at t Kilo , Closed: Lunch 1-2pm. Discount Prices. EG. Full Price AUDIO' "ENUE new releases £ 9.99. AUDIO CONSULTANTS AND RETAILERS II Your CDs taken in part DERBYSHIRE 24 CHURCH ROAD, CRYSTAL PALACE, exchange. Large selection of LONDON SE192ET — TEL: 01-771 7787

sale CDs for personal callers. Stockists of: Linn Hi -Fi, Naim Audio, Creek, Active Mail order service available. Audio Tech, Epos, Denon, Dual, Revolver, BLQ, Yamaha, Marantz etc. sound systems THE COMPACT DISCOUNT CENTRE, 2 single speaker demonstration rooms, Audio Instant Credit Facilities ARCAM U AR1STON • CELEST1ON • DENON • HEYBROOK 5, HEADGATE BUILDINGS, All equipment delivered & installed. KEF U CYRUS U MUSICAL FIDELITY • MARANTZ REVOX U ROTEL • ROGERS• ETC. ETC. SIR ISAACS WALK, COLCHESTER, Comprehensive turntable rebuilds etc Demonstration And Home Trial Facilities. Account and Credit Interest Free Credit. 2 year warranty Cards. Ring For Opening Times And FREE ' FACT PACK' ESSEX C01 1JJ. (JUST OFF HEAD STREET). Open 10-6pm. — Closed all day Wednesday Active Audio, TEL: 0206 — 762422. 29, Market Street, Tannvorth, Staffordshire OPEN MON-SAT (CLOSED WEDNESDAY). 11 (0827) 53355

I16 MU NEWS & RE( WI) ATTa NE 1989 SPECIALIST GUIDE

L 0 N D 0 N

Garrott Microscanned Deccas Garrott P77. Croft Acoustics, SD Acoustics, Klipuh Horn Speakers and Space 50 Speakers and Space Deck, Esoteric Audio Research Amplifiers, Mentor Turntable + Arm. 0771-76I947

NEW 8. RECONDITIONED EOUIPMENT FULLY GUARANTEED COMPETITIVE PRICES TECHNICAL ADVICE GIVEN EXPORT ORDERS WELCOME FULL BACK UP AND REPAIR SERVICE FOR PERSONAL & PROFESSIONAL SERVICE CANAL BRIDGE AUDIO VISUAL 172 CALEDONIAN ROAD LONDON N1 08G

ROYO, MORDAUNT SHORT, ARCAM. LINN. MONITOR AUDIO. EPOS. NAM. MISSION,. REGA, DUAL, ROTEL, CYRUS, CREEK. NAKAMICHI, DENON. MARANTZ, vevet RE VOX, QUAD 4' IU 9 4 BRISTOL ST.. BIRMINGHAM 6 9 2 1359, TUE -SAT 10sm - 6pm

STOCKISTS OF Acoustic Research. Alexander. Alphason, Ariston, Audio Technica. Beard, B & W. Carver, Castle Acoustic, Celef, Celestion, Chord, Denon. Dual, Gale, Harman Cardon, Heybrook. Hunt. Jecklin, JPW, Kelvin Lab, Lino, Manticore, Maranta. Musical Fidelity, Nakamichi, Preso, Proton, QED, Quad, Rotel, Ruark, O X F ) 1 ) SD Acoustic. SME, Sony, Spendor. System Dek. Tannoy, WEST MIDLANDS Target Audio, Orell, Technics, Thornes, Van Den Hal, Yamaha 35-37 Harshen, Street London SINIP ALA. TN: 01-2330774 Fax: 01-2330773 "Hi -Fi System Optimisation" Westwood& Mason ( Oxford) Ltd Real time frequency analysis by computer ISLEOF WIGHT Send sae for details HI-FI SPECIALISTS Acoustic Response Limited SELECTED PRODUCTS FROM: A&R CASTLE CREEK DEAN DENON DUAL HEYBROOK 34 Francis Road, KEF LINN SONDEK MISSION MONITOR Acocks Green, AUDIO MORDAUNT-SHORT INCA TECH NAIM QUAD REGA ROTEL SPENDOR 11-1iFi Birmingham B27 6LX. THE ISLE OF WIGHT'S ONLY HI- Fl SPECIALIST AUDIO TECHNICA 'TANNOY WHARFEDALE Tel: 021-708 1835 YAMAHA BEYER FOUNDATION AN) TARGET STOCKISTS OF: STANDS NAGAOKA QED ORTOFON HARBETH SENNHEISER MARANli LOGIC EPOS ARCAM El AUDIO INNOVATIONS Demonstrations strictly by appointment CAMBRIDGE El DENON H DUAL FIVE WAYS HIGH FIDELITY 46 GEORGE SWEET, OXFORD MARANTZ D REVOLVER C] S.D ACOUSTICS A&R, ADC, AKG, Alphason, Audio-Technica, Tel. Oxford ( 0865) 247783 Closed Thursday B&W, Beyer, British Loudspeakers, Castle, L SNELL El VOYD El YAMAHA + OTHERS Celestion, Creek, Denon, Dual, Dynavactor, Elite (Inc. Rock), Glanz, DELIVERY AVAILABLE Goldring, Hunt-EDA KEF, Lowther, STAFFORDSHIRE Meridian, MFSL, Michell, 93 HIGH ST., RYDE, I.O.W. 0983 63993 Naka- Monitor Audio michi, Musical Fidelity, Ortoton, Philips Nagaoka, (CD. only), Quad, Active LIVERPOOL o Revox, Rogers, Sennheiser, Shure sound systems * A R * DENON * REVOLVE * EPOS * HEYBROOK * LIN Sondex, Spendor, Tannoy, Audio TDK, TDL, Thorens, KT DC, Zenn. ARCAM • ARISTON • CELES110N • DENONU HEYBROOK • KEF • CYRUS • MUSICAL RDEUTY • MARANTZ Five Ways Hi- Fidelity Ltd, 12 Islington Row, BETTER HI-FI Edgbaston, Birmingham B15 1LD REVOX • ROTEL • ROGERS • ETC. ETC. Telephone: 021-455 0667. Demonstration And Home Treat Facilities. Account and Credit 16 COOK STREET Dernonstrations by appointment Cards. Ring For Opening Times And FREE FACT PACK' 9.30-6.00 Tuesday-Saturday Active Audio, LIVERPOOL 12, Oirraston Road, The Spot, Derby rert.ursix 051 — 227 — 5007 Sol NO MN ouAuni HI Fl SPECIALIST e( 0332) 380385

e 15104 • NO11.5313D e ZINVRIEW e WHIN e * SUSSEX EAST MIDLANDS Warstones CONSULTANTS LINN PRODUCTS * CROFT (32 WESTERN ROAD, IST.LE051A3UX3. (0484) 448975. ) ACOUSTICS • SPENDOR st .Selected II i-1 MONITOR AUDIO • INCATECH from EXPOSURE, MUSICAL FIDELITY, HARMAN KARDON • EXPOSURE Lian ELECTRONICS. QUAD QUAD, NAKAMICHI, HARMAN, KARVON, •R ATA. JPW • ION • SENNHEISER MONITOR AUDIO, ROGERS, TAIYNOY, CYRUS, TANNOY • DENON • ORTOFON • NAD, REVOLVER, MANTICORE, GALE, NAD • MORDAUNTSHORT • SYSTEMDEK MARANTZ, AUDIOPHILE, ELITE, TtIORENS, • CREEK AUDIO* CELESTION • CELESTION, HEYBROOK, Hours of Opening & Many more. Mon Tues Wed Sat 10am-6pm II OPEN FION-SAT 9.00-6.00. Thurs En 10an7-9pm • FULL DEMONSTRATIONS- IN STORE it III HOME 54a Warstones Road, Penn, Wolverhampton Tel: Wolverhampton 345114

III II \ IN.N`,& RI( () RI) RIN II V. NI 1,1 ', I 1989 117 SPECIALIST GUIDE SUSSEX WARWICKSHIRE YORKSHIRE

The most respected names Audio Projects 45 Headingley Lane, Leeds in hi-fi are here etinrsl LS6 1DP. BOWERS WHAMS) Expensiye Tel. 0532 304565. Open Tues. —Fri. 9.30-6.00. WORTHING Sat 2.50 — 5.30. Littlehampton Road Tel Worthing 641 ,41 HiFi SPECIALISTS.

GEle WILEY CAST LE Font) RING NICK ON 0788-540772 64 8. 85 BEANCROFT ROAD CI-1114CIVIESTIEU AGENTS FOR ABM - Alphason - Audio Tech nice - Cambridge Audio - CASTLEFORD 111-114G1r1 Castle - Celestion - Dual - Denon - Grado - Goldring - WEST YORKSHIRE WF10 5BS Hellus - Heybrook - Maranta - Meridian - Monitor Audio - Tel ( 0977) 553066/556774 Mordaunt-Short - Musical Fidelity - Myst - Nagaoka - Ortoton - QED - Clued - Ftbtel - Sansui - Sennheiser - SME Stockist for All Leading Retailers of quality audio equipment -Sony - Spendor - Tannoy - Thorens - Trio - Yamaha. Manufacturers -- Full Demonstration 7 St. Pancras, Chichester, West Sussex F019 ISJ For Demonstrations, Installations and Expert Advice. Facilities Telephone 0243 776402 Closed Mondays 12 Regent Street, Rugby, Works. closed Wednesday

AKAI • MUSICAL FIDELITY • HITACHI H AIWA • YAMAHA • DENON • ARISTON • ITL ROTEL • QED • NAD • SONDEX • MARANTZ KEN WOOD • HARMAN KARDON • TRAC E ONKYO • PROTON • THORENS • DUAL • ¡ BL For further information on Advertising in KEF • TANNOY • HEYBROOK • ROGERS 3 CELEF • WHARFEDALE • SPENDOR MORDAUNT-SHORT • AUDIO TECHNICA the Specialist Guide, Call Sophia H • SENNHE1SER • GOLDR1NG 01-686-2599 Ext. 472 53 Brighton Road, Worthing, Sussex Tel: Worthing ( 0903) 206820 ADVERTISER'S INDEX Absolute Sounds 6,16 Hampshire Audio Ltd 82 Regent Records Ltd 84 Active Audio Ltd 104 Heinitz T Mr 92 Rogers 12 Alternative Audio 88 H.H Morch 48 Roksan Ltd IBC Arcam 4 Hi Fi Care Retail Ltd 92 Ron Smith 16 Arjay Interiors 60 Hi Fi Experience 70 Audio Excellence 76 Hi -Fi Corner 66 S.M.E Ltd 36 Audio South 92 The Hi-Fi Show 90 Sevenoaks Hi -Fi Centre 72,73 Hi-Way Hi Fi ( Smiths) 24 Sound Advice 12 Bartletts Hi Fi 78 Sounds Exclusive 48 Billy Vee Sounds 106 Midland Hi -Fi Studio 40 Spaldings Electrical Limited 86 Bose ( UK) Ltd 18,19 Musical Fidelity 14 Music Room, The 42 Target Audio Products 38 Chandos Records Ltd IFC Teac 22 Chew & Osbourne 60 Naim 10 Technics 30,31 Covent Garden Records 64 Nottingham Analogue Studio 48 Virgin Records 106 Datasound 88 Oxford Audio Consultants 66 Decca OBC West Midlands Audio 58 Dynaudio 16 Path Group (Aragon) 46 Wilmslow Audio 92 Paul Green Hi Fi 58 Woodside Electronics 54 Gryphon 20 Pinewood Music 8,44

H.W. International ( Koss) 40 Radlett Audio 54

118 HI- F1 NEWS & RECORD REVIEW AUGUST 1989 CLASSIFIED Advertisements for this section must be pre- paid. The rate is 46p per word ( private), minimum £ 12.00 incl. of VAT. Box Nos. £3.00 extra. Trade rates 55p per word, minimum £ 15.00 incl. VAT. Copy and remittance for advertisements in October issue must reach these offices by 15th August addressed to: The Advertisement Manager, Hi -Fi News & Record Review, Link House, Dingwall Avenue, Croydon, Surrey. CR9 2TA. Please include name and address. Cheques made payable to Link House Magazines Ltd. NOTE: Advertisement copy must be clearly printed in block capitals or typewritten, illegible copy will be returned.

Classified Lineage Advertisements cannot be accepted over the telephone

Replies to Box numbers should be addressed to the Advertisement Manager, Hi-Fi News & Record Review, Link House, Dingwall Avenue, Croydon CR9 2TA, and the Box No. quoted on the outside of the envelope. Sex Discrimination Act 1975. No job advertisement which indicates or can reasonably be understood as indicating an intention to discriminate on grounds of sex ( cg. by inviting applications only from males or only from females) may be accepted unless; 1 The job is for the purpose of aprivate householder or 2 It is in abusiness employing less than six persons or 3 It is otherwise excepted from the requirements of the Sex Discrimination Act. A statement must be made at the time the advertisement is placed saying which of the exceptions in the Act is considered to apply.

ONE PAIR 1ST SERIES QUAD ELEC- FOR SALE- Private TROSTATIC SPEAKERS. Bronze Grille. £00. 0.n.O. Tel: 0590-672822. ( H) PIONEER 1,91 TUNER TOP OF THE RANGE. Less than three months old £250. 0532 442124 day. 0924 451066 evenings. ( H) BEARD CA506 VALVE PRE-AMP. Top of the range model. £ 1,200 new, offers near Falcon DIY SPEAKERS MUSICAL FIDELITY MVX/A370. Less than a year £650. Celestion SL6000 Sub- Woofer Sys- old. Perfect. Any demo, given. Will split. £ 30(10. No tem wanted. 01-22-3604 evenings. ( H) I-/Send for our FREE price list offers. Tel: 0206-762422 day. 0245 381066 eve. Crom- PL18 & Focal data sheet, bie. ( H) we ask for is alarge S.A.E. AUDIO RESEARCH. SPIO £990. D-70 £ 1390 o.n.o. NA.KAMICHI RX505 AUTO REVERSE (26p stamp) or $ 2bill ( air) overseas) Both MKII Spec. boxed, mint, superb sound. Tel: 051 £450. Counterpoint SA12 £850. P.S. 924 1591 evenings. ( H) Audio 4.5 £350. Magnaplanar MG2B's £950. Sony £295. Carver Tuner cost £700 MAGNUM ASO MONOBLOCK POWER AMPS P200 sell £250. No offers ' sounds superb'. Whole PS100 Prcamp MC250 Prcamp Gyrodeck FRS64 Zeta System £3000. Tel: ( 0303) 893525.(H) toncarms. All in good condition. Will demonstratec. Tel: 0272 730819.(H) AMP-01 AUDIOPHILE VERSION - one of the world's DNM PREAMP (TWIN P/SUPPLY), 8 months old best preamplifiers and never surpassed. Handbuilt by £750; Robertson 4010 Power Amp, 12 months old the designer with full magic included. Comprehensive £450; Van Den Hul MC one cartridge. 1(10 hours use facilities. External circumstances force sale. £850. £4(X) Tel: ( 01) 672 4582 evenings ( H) Rauch DVT505 150 watt high specification professional power amplifier. Similar quality, same designer. £450. Tel: ( 0272) 874024 ( Bristol) ( H) APOGEE DUETTA II RIBBON LOUDSPEAKERS HIGH TECHNOLOGY (with special custom Diva stands). Immaculate condi- LOUDSPEAKER UNITS tion and superlative sound. Upgrading to signatures. so MUSICAL FIDELITY A100 Amplifier, three months a( agenuine bargain at £995 (£3700 new, without stands!) old. Guaranteed. £349.00. New £479. Audio Technica KITS Tel: 0727 50460 ( evenings). ( H) AT009 Cartridge, unused, brand new. Normally £400 Dome tweeters with sensitivity of 95.5dB YAMAHA TC800 GL. Very rare cassette deck styled only £320. Tel: ( 0582) 504560. ( H) Double voice coil units to give easier design, by Mario Bellini. Hardly ever used and absolutely as ARE YOU INTERESTED IN LIVE MUSIC. Must sell lower phase shift and higher efficiency, new condition. Quite possibly the finest example quickly this superb collection of Audio Research pre NEW KEVLAR cones for lower colouration. available. Please phone 0733 44532 evenings. ( H) amp, the amazing SPIS; the awesome Audio Research pre amp, the amasing SPIS; the awesome Audio LINN LP12 (black), black look. KIN brand new, set up TRADE ENQUIRIES WELCOMED. Research M3(Xls Power Amps; Goldmund ST4 Trans- and installed but unused, unwanted gift, save £350 on FALCON ELECTRONICS cription Turntable and Koctsu 80th Anniversary Car- retail. £850. Tel: 0442 50414 ( Herts) weekends. ( H) tridge. Magneplaners MGM Speakers. For informa- Tabor House, Norwich Road, ORACLE DELPHI MK I. Excellent condition com- tion Tel: 01-679 6801 evenings. ( II) Mulbarton, Norfolk NR14 8JT plete with manual. Also Quad 33 control unit sensible (0508) 78272 (Proprietors. Falcon Acoustics Ltd ) offers please. 01-582-1285 Mr. Wright. ( II) FOR SALE- Trade MARK LEVINSON ML1OA PRE AMP £ 1750. MLI2A Pre Amp £ 1000 ML9 Power Amp £2500. Pair Tresham NEW! QUAD 33 - ULTIMATE UPGRADE SR402 ( Tannoy) Power Amps tv1pno bridgeable 1000 Introduced in 1983. ( tir Soundlim 58101 upgrade boards lime WPC £ 1000. Oracle new Mechanic Arm Koetsu Red modernised and enhanced Quad 33s around the world. Our new £1350 or split. Tel: 01 226 2359. ( H) 58707 plug in circuit hoards exceed the iferformance of men the tift101 especial') for distortion, freguencx response and noise SONY ESPRIT TA- E901 Pre- amp and TA- N901 power performance SM)Main the full use of the tone, filter and balance enfin ils CLEARANCE amp. £950 o.n.o. Boxed Teak case 0563 33565. ( H) M hen upgraded with the new 58707 the Quad 33 will challenge ans AUDIO RESEARCH M100 MONO BLOCKS SH £3500 >modern design her transparencx and bass firmness AUDIO RESEARCH D70 Mk2 AMP XD £1299 B & W 801 MATRIX SERIES II SPEAKERS. Cost 511707 C) pair - £ 63.00 SST AUDIO RESEARCH D115 AMP XD £2400 £2500 accept £ 18(10. Revox B77 Tape Recorder. 7/12 IS QUAD 33 disc board u • • rode AUDIO RESEARCH SP11 Mk2 PRE- AMP XD £3495 ips. Only 4 hours use, £900. Nakamichi Tuner/amp Replacing llic internal pitail disc amplilier mint stilt the ne, quino AIR TANGENT MkI TONEARM XD £1199 £350, 0903-61213 or 0860 347718. ( H) greatlx i infirm es 1.1' reproduction Ole Sliti00 C) has a more natural BEARD CA506 PRE-AMP SH £595 perspecthe and a sweeter top- end lespeciallx on strings). CELESTION SL12si SPEAKERS XD £479 SR600 C)- £ 38.50 + V1T PRO-AC EBS SPEAKERS £ 50. Audio Research Dl IS COUNTERPOINT SA 20 AMP XD £1750 LINN KAN SPEAKERS SH £179 MKII £1850. Tel: 0825 3544. ask for Mike. ( H) COMPACT DISC ATTENUATORS Otcrload ri -tilts Iroin IIIIS111.111 II LINX STRATOSPREWOWER XD £499 belNI,11 plaxers 2 foltsI and txpical radiffaux .unp inputs. LYRIC MODEL 3SPEAKERS SH £499 ONE PAIR 1ST SERIES QUAD ELECTROSTATIC (100e) SL, Quads'. This glues a hard gritt) treble. a softened bass MAGNEPLANAR MG1C SP'KRS XD £799 SPEAKERS. Bronze Grille. £300. 0.n.O. Tel: 0590- and an uncomfortabls high oil ... Our Cl) attenuators eliminate MAGNEPLANAR SMGA SP'KRS SH £495 672822. ( H) these distortions and restore the natural sound •S‘ailable In- line or MARTIN LOGAN CLS SP'KRS XD £ 1995 as complete 13m tails, liber sensithitieWmatches mailable MERIDIAN M2 SPEAKERS SH £399 BLACK LINN ISOBARIK LOUDSPEAKERS. Six $18200 ( ISIS) - £ 15.00 $ 15235 C) ( phone) - £ 17.00 NAIM ALL DEMSTOCK XD P.O.A. months old, latest model £ 1200. also Naim mono block $18265 (C:) pin& to phono sockets) - £ 20.00 ORACLE DELPHI Mk2 1/TABLE XD £ 895 ROGERS STUDIO IA ( ODD VENEERS) NEW £ 450 amp £ 1000. Tel: ( 0865) 248755. ( H) Leads: $152.15 © (phono plugs.phono plugs) - £23.30 SUMO NINE PLUS AMP XD £ 899 $18285 11)15 plug./ phono plugsi - L2:1.30 %LI . + 51 MARANTZ CD94 CDA94 combination. 6 months old. XD=Ex-dem; SH=Second Hand; NEW=New boxed. Superb sound, mint condition £600 each or sensible SOUNDBOX, 3ENTERPRISE PARK, offers. Tel: Thanet ( 0843) 584030 after 6pm. ( J) K.J. West One 26 New Cavendish Street, London Vtillyt 7LH LINDFIELD, WEST SUSSEX, RH16 2LX. Telephone: 01-486 8262/8263. Fax No: 01-487 3452 ONIX FM TUNER as new hardly used £295. Tel: TEL: 04447 4371 Open: Monday- Saturday 10am-6pm. Thurs. until 7pm. Rowlands Castle ( 0705) 413327. ( H)

ItIFI NEWS & RECORD REVIEW Al ' CiUST 1989 119 CLASSIF ED LATEST CD PLAYER UPGRADES available tor all FOR SALE- Trade HIGH QUALITY Philips/Marantz 16- bit players. The new " Pro II" modification uses components of the highest quality plus an additional circuit board for £ 149. For those REGA RB 300 / RB 250 VINYL PRESSINGS seeking the ultimate in quality there is the new "Reference" upgrade, available for full- width machines VAN DEN H UL WILL COMPLIMENT AND ENHANCE YOUR PLAYING only. This incorporates a power supply unit of the REWIRIN G EQUIPMENT TO THE FULL! highest quality with the above upgrade. Discrete AND ARE AVAILABLE FROM:- regulators and a dedicated toroidal transformer are If you own one of these superb arms, why not used to power the D/A converter and analogue stages upgrade the performance by rewiring with Van BE CKENHAM RE CO RD CENTRE _ • - independently. This produces amachine with the very den Hul cable? finest sound for £250. Owners of " Pro" modified DIRECT GUT. ORIGINAL MASTERS. , 2SPEED. JAPANESE ETC. Our engineers will replace the internal wiring machines may upgrade to " Reference" standard for with VdH MSS7 and lead out cable with VdH REFERENCE. PROPRIUS. OPUS 3. CHEÎKY. eiretuNN £149. Enquiries to Geoff on 01-379 7427 x 126. Covent A MC- D502. SHEFFIELD LAB. MOBILE FIDELITY ETC. S?0CALKOE .DLYRITA Garden Records, 84 Charing Cross Road, London We will fit high quality phono plugs and our SEND A 6. x9 SAE FOR OUR NEW CATALOGUE. WC2. work is fully guaranteed, parts & labour, for TRY JAZZ AT THE PAWN SHOP' DOUBLE LP £ 13.99 APOGEE CALIPERS, taupe, mint condition, £ 1150; 12 months. LIGHT GOOD-TIME JAll - THE FAMOUS YOU ARE THERE PRESSING Martin- Logan CLS, £ 1650; Infinity IRS 2B, perfect, £1900; Krell KSA-200. perfect, four years' warrantly Our price for this skilled conversion is just WE ARE SPECIALIST VINYL RETAILERS AND IN CONJUNCTION remaining, 0800; apogee Duetta Mk 2, mint, £2200; £79.95. inc. p&p, and we will return your arm WITH OUR SUPERCUT DEPARTMENT WE STOCK AND HAVE ACCESS Magneplanar MG lb, £375; Krell PAM- 7, £ 1500; PS within 21 days. TO AFULL RANGE OF RECORDS COVERING - BLUES, R&B, UK AND Audio 4.6, £450; Counterpoint SA- 12, £850; Tandberg Details sent on request, or simply package the IRISH FOLK, ELECTRONIC, NEW AGE, JAll, FUSION, COUNTRY 3003 preamp, £250; Quad 606, £400; Koetsu Black K, arm properly and send it to us by insured post. ETC. ETC. AND BACK CATALOGUE OF ALL KINDS £250; Koetsu Red, f450. All these items arc either IF YOU HAVEN'T GOTA GOOD LOCAL SHOP- WHY NOT TRY US? ex- demonstrators or trade-ins. Pinewood Music, Mar- • BLACK 12mm MDF ISOLATING PLATFORMS EENDEAVOUR TO OFFER APROMPT AND HELPFUL MAIL ORDER SERVICE tins, Church Lane, Goodworth Clatford, Andover, All except ESS4 utilise 3downward facing spokes, glued & screwed ALL MAJOR CREDIT CARDS WELCOME BY PHONE CAREFUL PACKING Hampshire SPI I 7HL. Tel: (0264) 57536. ( H) directly into platform for best Sound Quality OVERSEAS CUSTOMERS MOST WELCOME A SELECTION of ex dem and prototype SD speaker ESS1 - 210mm x 300mm 1/2 Width ( Cyrus 1 & 2size) £8.95 POSTAGE RATES ON APPLICATION systems for sale at reduced prices. Tel: 01-949 1623 for E552 - 420mm x 300mm CD/ Amphi er size f12.95 details. ( K) E553 - 454mm x 355mm Turntable/ large .'.np size £ 14.95 ES54- 454mm o 355mm SO 81 Target TT2 replacenient £ 12.95 WE ARE OPEN FOR BROWSING MON -SAT 64 BECKENHAM RD, BECKENHAM. KENT, BR3 4LS EXECUTIVE SOUND SYSTEMS INTERCONNECTS 01-658-3464 FAX. 01-650-0374 Excellent quality direction marked leads with RS nickel silver STO P plated plugs. These leads sound great so why pay more. Unconditional 5year guaranteel the noise from domestic electrical equipment eg. fiourescent E.M.I.?, R.F.I.?, T.V.I.?. That ' I' stands tor 1.2m Phono - Phono £9.95 1.5m Din - 4 Phono £ 14.95 lights, televisions, fridges, etc, affecting your Hi -Fi system 1.5m Din - Din £ 12.95 Other lengths built to order. INTERFERENCE. The SUPA 7 mains filter will by fitting aLynwood Mains Filter. This results in:- drastically reduce the MAINS BOURNE interference * Huge increase in soundstage width, height and depth. FELT MAT same size/quality as Mantra/LP12 etc. E8 95 infiltrating your Audio sustem, improving sound stage, * More space around each now clearly distinct instrument. dynamics, resolution, bass and treble clarity. Rated at All prices include VAT and Postage. * Much deeper, extended bass with better control and Access / Visa telephone orders accepted I.6kW, suitable for Turntables, pre- amps, Tuners, focus. Tape Decks, CD's and videos. Available on asale or SOUND DEALS: 52-54B SHORTMEAD ST. * More natural, relaxed sound especially with CD. return basis for only £35.00 inc. P&P from AUDIO BIGGLESINADE BEDS SG18 OAP ENGLAND * Cuts out RF interference. TEL: 0767 312249 FAX: 0767315714 PROFILES, Dept. HI, 44 Romsley View, Alveley, lincIgnorth. Salop WV15 6PJ. ( H) This is the only unit we have found which accomplishes these things without degrading the music in anyway. The Lynwood filter will supply over 1KW of clean power and is SUMMER SALE PRECISION TEST CASSETTES fitted into an expanded mains plus to replace the ordinary plug on your equipment leads or extension sockets. Avail- LOTS OF BARGAINS - Each Harrison Test Cassette is individually digitally mastered in real time able on asale or return basis for everything half price or less. Phone or write for Dolby Level £3.50 Azimuth Alignment £ 5.85 £44.00 incl P&P list - but HURRY, our last Summer Sale Sold Speed Accuracy £4.75 send acheque or SAE for further information to out in 7 days! LevekAzimuth £8.25 Level/Azimuth/Speed £11.15 WENTWORTH AUDIO Level/Azimuth/120us eq 30Hz-15KHz Frequency Response £ 13.50 Coley Lane Farm, Wentworth, Multi- Purpose 120us eq. 6testa Dolby Level, Azimuth. 30Hz-15KHz Frequency Response. Dolby B/C Tracking, speed/Wow nFlutter. 8ms Rotherham S62 7SQ AUDIOPHILE QUALITY COMPONENTS Meter Tone- Burst £ 18.50 "Everyone who's serious about cassette playback and recording or who's •SicJerealKops The finest mystified about servicing cassette decks needs thus tape checking system " HI- Fl News, December 1988 summarising the mats- purpose test cassette Polypropylene capacitors with Kimber Kable Postage U K 75p/Tape. Europe fI Elsewhere £2 Teflon leadout. Expensive but the best. ORDERS ENQUIRIES TO . IAN HARRISON. 7. MILL HILL. REPTON. SERVICES • SOLEN CHATEAUROUX Polypropylene caps. DERBY. DE6 6G0 TEL 0283 702875 Inexpensive and only second best. ODNM SLIT FOIL Electrolytic Capacitors- Stunning RESTORATIONS OF CLASSIC EQUIPMENT by SPEAKER BUILDING OR UPGRADING? We offer a Electronics Engineer, suitably qualified ( Degree/ •KIMBER KABLE'speaker range of selected quality drive units from Seas. Audax, MAES) and nearly 40 years experience. Quad service cable, Interconnects. Internal wiring. Clean - including the famous Elac M.D.Tweeter and a full agent and specialist knowledge of Radford, Leak, open - transparent - smooth. range of cabinet accessories. Also six new speaker kits, Rogers, Armstrong etc. Extensive workshop enables eLearn more about these superb products. Don't including advanced features such as quality crossover original design standards accompanied by detailed build with less than the best. components and bi-wiring, Range includes: 4/12 "mini- reports. 7 days. Woodford, Essex. Tel: 01-504 5467. •Write for NEW Price list for 1989. monitor to uniquely designed 3 way floor standing (X) system, also 8" bass with Elac M.D. - All at sensible DON'T RISK YOUR EQUIPMENT. The Metropoliton RUSS ANDREWS TURNTABLE ACCESSORIES LTD prices. Send S.A.E. for brochure to I.P.L. Acoustics, 2 EDGE BANK HOUSE, SKELSMERGH, KENDAL Police have thousands of unclaimed stolen goods that'll Laverton Rd, Westbury, Wiltshire, BA13 3RS. ( H) 0 CUMBRIA LAB 9AS TEL: SELSIDE (053 983) 247 never be recognised by their owners. ABBEY SECUR- SAVE UP TO SO% - MATISSE PRE AMPLIFIER ITY keep acomputerised file of all your serial number £1495, E.A.R. 549 Mono power amps £ 1499, Sugden + other security records. For as little as £5 subscrip- AU51P power amp £450, Celestion SL600 Si ( latest) tion. For free information send a large S.A.E. to: £595, FORTE Model la ( 50 watts class A) £ 1095, Naim ABBEY SECURITY, 57 Manor Farm Road, Alperton, 110 ( serviced) £ 185, Sumo Polaris £395, ADC 2000E Wembley, Middx. HAO IBN. (If) CD £265 ( new), Roksan ( rosewood, SME board) £445, CLEARANCE BARGAINS lots of cables etc at cost! Save on Demo stock from: HI-FI ROOM ACOUSTICS Up to 50% off one-off ex-derr -stration/clearance Acoustic Energy, Audio Technica, Denon ( 1only 1520 POSTAL ADVISORY SERVICE bargains. Items from Albarry, mudiostatic, Decca, CD only £495) Deltec, Aragon, THRESHOLD ( very For 27 page information pack including useful tips, Glanz, Gryphon, Kiseki, Nuance, Odysset, Omega special prices) Mark Levinson, ACCUPHASE ( 1only send cheque for £2to:. Point, Opus 3, PhonoAmp, Vecteur and YBA. 80/81L, Rec. Ret. $ 13,000, now £5250) Target, etc etc. ROOM ACOUSTICS SERVICES Only one of each. Offers also on Chesky, Reference, Proprius, Sheffield 3, Queen Elizabeth Way, BARTON-upon-NUMBER, Phone for more details and nearest dealer. Lab, Waterlilly, and more. Send for free list. PURE South Hurnberside, DN18 6A1. Presence Audio ( 04031 891777 SOUND, the "True Fidelity" dealer! Tel: 051-645 Proprietor.- R.E.Bunis, B.Sc.(Eng). M.Sc., C.Eng., M.R.Ae.S. 6690. ( H)

I211 III -FI NEWS & RECORD REVIEW AUGUST 1989 CLASSIFIED SERVICES W A N TED INTERNATIONAL

TURNTABLES, ARMS, CARTRIDGES, STYLI. SONY STA7B Tuner. Any condition considered. HI-FI NEWS is now available in Australia, CONNOISSEUR: GARRARD: GOLDRING: LENCO: Taylor Tel: (0263) 721804 or ( 0751) 72868. (H) ORTOFON: SHURE: SME: THORENS. within 2 weeks of publication. Also back All available, Genuine Spares. Service. Repairs. Overhauls issues are available. Cartridges & Specialist styli for Early Recordings- 78s & LP. GOLDMUND MIMESIS 3 for cash. Please write box Please contact: PLEASE NOTE OUR NEW ADDRESS No. 0748. ( H) TECHNICAL & GENERAL PO BOX 53. Audio Q Imports, Ma Bunvood Road, CROWBOROUGH. E.SUSSEX, TN6 2BY Hawthorn 3122, Victoria, Australia. TELEPHONE: 08 92 65 45 34 Tel: (03)813-3691 WANTED — VINTAGE VALVE HI-FI Amplifiers: Quad, Radford, Leak Stereo 50 & 60 Turntables: Thorens 1D124 & 10224, Garrard 301 & 401. LAKELAND HOME MUSIC offers a caring service Pickup Anus & Heads: Decca FFSS, SME3012 etc supplying to special order Quad, Sugdcn. Castle, Loudspeakers: Tannoy 15' - Monitors and 11112, Axiom 80, Wharfedale Spendor, B & W. Nakamichi and most leading makes. Goodmans etc. ATTENTION: ALL U.S.A. AND CANADIAN HI- Fl Illustrated 22 page " Wanted List" available upon request. Phone: Ian Bewley ( 08536) 235 ' Fair Place' Watermil- Buyer collects in areas on aregular basis DEALERS. HI Fl NEWS AND RECORD REVIEW lock, Pcnrith, Cumbria. ( X) The Vistate Wireleu Company Ud., Tudor House, Caesium Street, IS NOW AVAILABLE FOR SALE IN YOUR STORE. Mangotsfield, Bristol, BS17 3124. Telephone (0272)545472 high... COPIES ARE DELIVERED WITHIN 1WEEK OF PUBLICATION DATE. FOR INFORMATION NEW LAMPS FOR OLD. Not really we manufacture CALL STU WEIN, speaker cabinets of well known makes, ever thought of MUSIC AND SOUND IMPORTS changing your cabinet and giving them aface lift? Give 30 SNOWFLAKE ROAD, HUNTINGDON VALLEY us a ring on 01-985 1646. ( H) EQUIPMENT MODIFICATIONS PA 19006 U.S.A Readers should be aware that any modifications phone: 215-357-7858 FAX 21 5-953-0360 to proprietary equipment. carried out without PUBLICATIONS the original manufacturer's knowledge or approval, will invalidate any warranty or BERLIOZ & BEETHOVEN. Strange bed- fellows, but guarantee. Readers having equipment modified they were both full of ideas and opinions which AUDIOPHILE ALBUMS & CDs. Mobile Fidelity. Nautilus. Sweet by third parties do so entirely at their own risk Thunder, Century. Japanese; also Reference. Sheffield. Chesky. influenced their music and helped to shape the Roman- and while many companies offering Proprius, M & K. Crystal Clear. Umbrella, Super Disk. Wilson. tic Age. The thoughts beliefs and attitudes of each are Lyrita. EMI. Decca. Opus III. RCA Living Stereo. Mercury Living modifications do provide an excellent service, examined in highly praised biographies-with- a- differ- Presence. Casino Royale. Linn. Odin. North Star. Super Analog. neither the original manufacturers nor Hi -Fi Concord Jazz. Three Blind Mice CD. Ultradisc 24E Gold CD. Dealer ence by one-time HFNIRR editor John Crabbe. Hector inquiries invited. One stop distributor prices for audio stores. Berlioz - Rational Romantic and Beethoven's Empire of News & Record Review will accept Accessories by AudioQuest, record- cleaning machine by Nitty Gritty. the Mind are available from bookshops at f5.95 each, responsibility for equipment so modified, should and Last record-care products. Chad Kassem, P.O. Box 2043, Salina, ILS 67002, USA. Tel: ( 913) 825-8609. and if your stockist doesn't have copies on his shelves, it become unserviceable. tell him that each can be .ordered from Messrs Kahn & Averill. Or you could try your local library. Either way, they make an intriguing read. ( XIS)

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ALINK HOUSE MA CA Z/NE 12 1 BACK DOOR Taupin's obsession with the true- life women, ' Raised to be alady by the golden squalor of the 'Wild West': American rule/Alice was the spawn of a public frontier history. Tumbleweed Connection school/With a double-barrel name in the is where Bernie and Elton first demons- back of her brain ... Reality it seems was trate their adaptable, chameleon- like just adream ..' to which Elton composed instincts; qualities which have helped a rhythm which builds in a series of them weather arid periods of glitter, then climaxes over a marching 4/4 tempo. soul, punk, disco, new romantics, rappers Caribou is widely regarded as a weak and amillion- and-one other musical ( and album, its quality thinned by the strain of not- so- musical) fashions. shoe-horning the recording into 4 days With Madman across the Water their amidst arduous touring. Still, it contains rate of ascent falters momentarily. Having what would become one of the best- loved unexpectedly taken the USA in one night ballads ' Don't let the Sun go down on me'. at the Los Angeles Troubadour Club, the Captain Fantastic and The Brown Dirt team found themselves touring US and Cowboy (representing EJ and BT respec- having to write this album 'on the road', to tively) chronicles more of the Wild West meet their contractual obligations. It had alongside their early adventures around BEN DUNCAN all gelled again by the time Honky Soho. The lyrics are now more focused, Chateau was recorded ( at Chateau d'Her- but also more introspective and even nJuly '67, two young men replied to ouville), with the effervescent ' Honky- melancholy. By the time Blue Moves was an ad in the New Musical Express. A Cat': ' How can you stop/when your feet released in 1976, the songwriting rocket small record company, Liberty, had say go?' Honky Chateau contains ' Rocket had burned off its first fuel tank. Two parted from EMI, and was seeking aroster Man', the nearest Elton's come to having a years later, Elton ' terminated' his rela- of songwriters and artistes. One of the No.1 single in the UK. The lyrics, ostens- tionship with Bernie and turned to other respondents had been playing keyboards ibly about the boredom and detachment songwriters to produce more overtly in aband called Blues°logy. They had just of yer' nine to five astronaut, also hint at commercial songs. After a much needed split and he was desperate for work. The Taupin reflecting on elements of his new rest, the winning partnership re-formed in other, just turned 18, was occupied on a life in the jet- setting orbit. In ' Mona Lisa time to produce astring of classy albums chicken farm in ahamlet 160 miles north and the Mad Hatter' Taupin expresses spanning the 1980s. He has also written of London, deep in England's second social outrage at having first encountered occasional songs for other artistes, not- largest and predominantly agricultural downtown NYC. The butterfly electicism ably (Jefferson) Starship's ' We built this shire. A natural writer, he had ambition continues into the ' 72 album, Don't shoot city ...'. and dreams but no musical ability, no me — I'm only the Piano player Today, Taupin's devotees can enjoy A melodic accompaniment, and no previous In October 1973, Goodbye Yellow Cradle of Haloes, a recently published experience. Fearing rejection, the would- Brick Road was released to universal book in which Taupin relates the events be songwriter developed cold feet and acclaim. At the time, Bernie was shut away and experiences of his childhood and stuck the letter behind the clock on the with his first American wife in a tiny adolescence, including his musical and family mantlepiece. The next day, Fate cottage not far from the town of Market literary influences. My own interest is pointed a finger: his mother found the Slaten where 6 years earlier he'd been intensified by the fact we attended letter. Twenty-one years later, the man king of the local wide-boys. Maybe the schools at the opposite ends of the same himself wrote ' her innocent gesture ( post- cottage is the site of ' The Roses in the small market town. Against all the odds, ing it) both saved and changed my life'. window box', where ' Love lies bleeding'? he emerged from the secondary modern In the following week an encouraging For, within the year, he would be leaving school (' I only farmed in schools/that reply arrived. Soon afterwards, the young to live in Los Angeles. were so worn and torn') and narrowly Bernie Taupin was heading on atrain that To this day, GBYI3R remains one of a excaped following his peers into picking would lead to London and, eventually, to handful of thematic double Rock albums cauliflowers in the surrounding fields. + success. Arriving at the same audition, the where every song is strong and polished bespectacled keyboardist-composer was and independent. By now, Taupin's lyrics From humble beginnings to teamed- up: he went away with abundle of are flitting between the romantic vignet- Taupin's lyrics. Bernie returned to his tes drawn from life in ' 60s rural England Elton John's Top 40 hits — parent's farmhouse, sending Elton further (Saturday Night's All Right ...), to con- lyrics in the post. It was six months later trasting reflection on the sharper, wider the story of Bernie Taupin that Taupin began a prolific partnership and more harrowing experiences of life with Elton John ( ex-Bluesology) which around Soho's Denmark Street; and more

would sell over 100 million albums in the songs indulging in times past of rural Music following ten years, and which continues

America, coupled with a nod or two at Pig to this day. Hollywood. In what must be the duo's Big Bernie's first lyrics, the ones he was most widely admired song, Bernie lays a ni faint-hearted about sending to Liberty, wreath for Marilyn Monroe (née Norma ¡ were ' Procul Ilarumish'. For a while, the Jean) with the superb 'And it seems to me duo were employed by Dick James on a you lived your life like a candle in the PolyGram £25/week retainer writing commercial wind/Never knowing who to cling to trash. Their luck turned when they met /When the rain set in'.

A&R man Steve Brown who introduced On GBYBR there's a developing bold- courtesy them to producer Gus Dudgeon, and John ness, as Bernie shows his defiance at the Reid, who became their manager. The hitherto accepted scope of rock lyrics. A Lyrics early albums ('69 to ' 71) have been good number of the songs are etched by described as ' Scattergun psychedelia'. For perceptive, poignant and cunningly obli- Preston most fans, these early works are crowned que social comment. Three songs deal by a poignant song beginning with the with downtrodden and disadvantaged Neal lines ' It's a little bit funny, this feeling women. After the destitute and the prosti- Pic inside'. In the subsequent album, the tute, Taupin relates the tragic tale of a songs are country while the lyrics betray misfit who became a call-girl to other 122 NEWS & RECORD REVIEW AUGUST 1989 ARTEMIZ

SHIRAZ ROKSAN

ROKSAN ENGINEERING LIMITED. 21 DDOLE ROAD LLANDRINDOD WELLS POWYS UNITED KINGDOM TEL: ( 0597) 4911 FAX: ( 0597) 3617 To mark the forthcoming • London visit cif Sir Georg Solti . and the Chicago Symphony Orchestra, Decca is releasing superb recordings cf two contrasting orchestral masterpieces. Sympnony No 6 (with Leonora Overture No3) is the latest addition to Solti's new Beethoven symphony cycle while Shostakovic Ws Symphony No 8, which will be featured in the orchestris final London concer. i 5 SOW s first recording of music by the great Soviet composer..

The standards set by Solti and by Dec ca are of the highest. These newfecordings combine insight and integrity with technical biltiance ánd are the fruits of the uncompromising commit/merit we expect of the unique partnershi of Solti and the Chicago Symphony Orchestra.

Sir Georg Soles remarkable partnership with the Chicago Symphony Orchestra has produced many outstanding Decca ,ecordings to say nothing of Sir Georg's unprecedented 29 Grammy awards! A new discographyleaturing Sir Georg's recordings with the Chicago Symphony Orchestra is aypitable from your dealer orfrom Decca Classics.

Sit Georg Sotto and the Chica Symphony Otehestra appear at Albert Hall Pion's on August 2 and at the Royal Festival Hall September 17th.