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EQUIPMENT STEREO CAR NEW ROAD: THE FOR READY

FIDELITY HIGH INCORPORATING Review® Stereo Believeit or not, compact disc for the car has been around awhile. There are even a chosen few who could actually afford to buyone. Well, now car CD is really here. Because Pioneer has advanced the technology so far and createda line of players so extensive thatnow it's possible for anyone to afford the clarity of digital CD sound.

It begins with our new single- play CD systems. You'll love the high power as

price. But try that puts multi -play CD, AM -FM tuner not to overlook the detachable and cassette all atyour fingertips faceplate. An innovative security with a remarkable wireless remote. feature we recently developed There's much more, ofcourse. for added convenience. And to And while we'reon the sub- find out, ject of convenience, Pioneer's call us 6 -disc multi -play changers let at 1-800-421-1404. We'll sendyou a you enjoy hours of uninterrupted free copy of ournew brochure. As music while you drive. well as direct you to a Pioneer dealer near you, who will be glad to showyou Plus they can be easily added to our complete line of car CD systems. your car without replacing your After all, he's been waiting for this existing audio system. moment just as long as you have. For those who want it all,we also offer an incredible 3-source system (y)PIONEER' CIRCLE NO. 31 ON READER SERVICE CARD ANNOUNCING THE ARRIVAL OF CAR CD. FIVE YEARS AFTER IT WAS INTRODUCED. Wdre Han A Rare

One of "America's Ten Best Designs' among all products produced in the U S A in 19881 Fortune Magazine "Superb sound and virtual invisibility" At least S100* for "Side by side with speakers costing three to your old speakers, five times as much, the AM -5 consistently regardless of produced the more exciting and listenable sound..." condition, when you Stereo Review Julian Hirsch trade up to the revolutionary Bose" Acoustimass:5 Direct/Reflecting 'speaker system.

A technological breakthrough exclusively from Bose! Patented Acoustimass speaker technology is the key to large speaker performance from a package so small, you can hold one in the palm of your hand.

Bose Acoustimass-SE5 styling alternative.

System cor sists of two cube arrays and an easily corcealable Acoustimass bass module.

Bonus Offers!

Free! Limited Edition CD! Mail a copy of your receipt to the address below when you buy a Bose Acoustimass-5 system.

Bose 101®speakers 1/2 -price when you buy a Bose Acoustimass-5 system and any surrourd sound receiver! (Bose 101 quantities limited.;

For details, and the name of a participating dealer, call DOSEBetter sound through research. 1-800-444-BOSE.

Call between 9AM and 9 PM. Monday though Fnday 9AM through 5 PM. Saturday and Suaday EST 'Amount determined by dealer .Offer vald Monday. April 16 through Wednesday. May 16. '990 at participating deales. Lest one trade per purchase Olter apples to the Bose Acouskmass-5/565 Direct/Reflectin0 speaker systems only. CD requests must be removed by Bose by June 30.1990 Copyrtght 1990 Bose Corporation. Dept CD. The Mounts in. Framingham. MA 01701-S168 Covered by patent rights issued and or pending Stereo Review Incorporating High Fidelity®

BULLETIN 5 TECHNICAL TALK 34 LETTERS 10 POPULAR MUSIC 91 NEW PRODUCTS 13 CLASSICAL MUSIC 105 SIGNALS 30 THE. HIGH END 120 AUDIO Q8cA 32 EQUIPMENT THE. BASICS: RIBBON OF RUST 23 The ins and outs of tape recording by Ian G. Masters HIRSCH-HOUCK LABS EQUIPMEN'I' TEST REPORTS 39 Sony CDP-X55ES Compact Disc Player, page 39 ADC Soundshaper 3025 Speaker System, page 44 PAGE 80 Luxman R-114 Receiver, page 48 Acoustic Research Spirit 162 Speaker System, page 58 WHAT'S NEW IN CAR STEREO 66 Today's equipment provides better sound and more flexibility than ever by David Simon SYSTEMS 72 Toyota's hi-fi option for the 1990 Celica and a custom installation in a Jeep Cherokee by Michael Smolen DOLBY S 77 A new standard for cassette recording? by Craig Stark MUSIC THE. ALARM 80 PAGE 77 "If there's a story worth telling, audiences are prepared to listen" by Rick G. Karr BES'I' RECORDINGS OF THE MONTH 85 Joan Jett, Schubert's Ninth, J. J. Cale, and Bach's Mass in B Minor BEETHOVEN IN BERLIN 110 Bernstein and Barenboim lead performances to celebrate the collapse of the Wall by Eric Salzman

Corer Detail from a 1966 Mustang restored by Mustang Ranch. San Jose. Calilbrnia; owned ht' Norman Kenneally. For a fuller view, see pages 66-67. Design by Sue Llewellyn, photo by Bill Ashe Studio.

COPYRIGI IT C) 1990 BY DI AM A N IDS COMMUNICATIONS INC. All rights reserved. Stereo Review, May 1990, Volume 55,Numlxr 5. ireic Review (ISSN 0039-1220) is published monthly by Diamandis Communications Inc. at 1633 Broadway, New York, NY 10019: teleph (212) 767-6000. Also publishers or Car Stereo Review. Stereo Buyers' Guide, Compact Disc Buyers' Guide, and Video Buyers' Guide. One-year subscripli llll ratefor the U d Sums and its ixisia ss' $13.94: Canada. $18.94: all other countries, $21.94, cash orders only, payable in U.S. currency. Second-class postage paid at NewYork. NY 10001. and at additional mailing °Hill,. Printed in the U.S.A. Authorised as second-class mail by the Post Office Department. Ottawa. Canada. andher payment of postage in cash. POST- MASTER SUBS( ni Prim' Si-RI'/CE: Please send change -o laddress forms and all subscriptum correspimdencv toStereo Review, P.O. Born 55627, BOulder, CO 80322-5627. Please allow at least eight weeks for the change of address to become effective. Include both your old and your newaddress, enclosing, if possible, an address label from a recent issue. If you have a subscription problem, write to the above address or call (800) 876-9011.PERM/SS/DNS: Material in this publication Inc., may not reproduced in any form without permission. Requests for permission should be directed to: The Editor. Sttreo Review, Diamandis Communications 1633 Broadway. New York, NY 10019. EDITORIAL com-RmurioNs must be accompanied by return postage and willbe handled with reasonable care, but the publisher assumes no responsibility for return or sale') of unsolicited art, photos. or manuscripts.

Vol_ 55 No. 5 STEREO REVIEW MAY1990 3 TOYOTA AU DIO

Nowyou can experience two flawless performances at thesametime.

If the completely your budget-offer you the same redesigned 1990 Toyota high standard of automotive audio Celica blows you away, quality. Also most models are you'll love what the available with compact disc remarkable "System 10" decks. And there's no audio* does for you. This arguing about the breakthrough system convenience and establishes Toyota's lead- warranty security ership position in car audio. of an original -equip- The unique "System 10" has a ment system that's premium AM/FM digital radio, auto- ergonomically and acoustically reverse cassette and compact disc player. designed for your car or truck. Plus it features such audiophile treats So test drive the exciting "System10" as a hefty 220 watts maximum power and a or any one of Toyota's other quality audio total of ten ideally positioned, component -style systems today and get an idea of just how speakers with incredibly dynamic bi-amplified high Toyota performance levelscan go. sound. And it leaves Call 1 -800 -GO TOYOTA for more informa- competitive, premium- tion and the location of your nearest dealer. priced, original -equip- Get More From Life ...Buckle Up! ment systems in the *Available as a factory option on Celica GE GTS, and dust with its superior Dynamic ten -speaker layout. All-Trac Turbo. volume levels, extended frequencies, smooth response and minimum distortion. Actually, like this top -of -the -line system, TOYOTA all Toyota audio systems-no matter what "I love what you do for me:'

by Rebecca Day and single -circuit surround -sound the second album from Boy Meets William Livingstone technology later this year. SRS Girl, which gave us the song technology is currently available Waiting for a Star to Fall.... DAT TO CONGRESS in certain Sony XBR Tv's.... Bose British conductor Roger The Digital Audio Tape Recorder has designed a music system that Norrington has accepted the post Act of 1990 was introduced in is standard equipment on the of music director for the Congress at the end of February 1990 Infiniti Q45 four -door sedan Orchestra of St. Luke's in New by representatives including and M30 sports coupe. Both York. Angel plans to record him Henry Waxman (D -Calif.), Al Swift packages include a cassette with St. Luke's. (D -Wash.), Jim Cooper (D -Tenn.), receiver with DNR and Dolby B Don Ritter (R -Pa.), and Joe noise reduction and two pairs of AFFORDABLE CAR CD Barton (R -Tex.). The bill proposes speakers with built-in digital After years at the exclusive end that all DAT recorders sold in the switching amplifiers.... Technics of car stereo showrooms, CD U.S. be equipped with the Serial has incorporated Multi -Stage tuners and receivers have broken Copy Management System, which Noise Shaping (MASH) the $500 barrier and are starting allows users to make one digital technology into its new high -end, to move into the mainstream copy of a CD, but not a digital copy two-piece SL-Z1000/SH-X1000 CD price range in both fixed -mount of the copy. player ($8,000).... At the Berlin and removable configurations. In support of the new bill, Rep. Hi-Fi Show, MB Quart was Sony's new fixed -mount CDX-620 Swift said: "For years, we in proclaimed the best-selling cn tuner has a suggested retail Congress have held hearings and loudspeaker in West Germany. price of $449.95. Alpine has commissioned studies about the introduced two lower -price CD march of technology and our GREAT CONDUCTORS tuners, the fixed -mount Model inability to keep abreast of it. In BMG Classics has launched the 7904 ($500) and the removable this instance we asked the Toscanini Collection, the entire Model 7903 ($550). Sparkomatic industries that developed the approved discography of RCA is selling its SR600 CD receiver for technology to work out a recordings made by the great $399, and Kraco has a $349 reasonable compromise on some Italian conductor Arturo fixed -mount CD receiver. very difficult issues, and they Toscanini (1867-1957). The first have actually done so.... This bill releases will be made this spring, ANALOG VS. DIGITAL represents a noble yet safe and when completed in 1992 the Thorens's U.S. distributor, BLR experiment. Those who care about collection will include more than Electronics, is sponsoring an applying the law to advanced eighty CD'S or cassettes. In essay contest on the technologies have every reason to addition, BMG will present ten "Timelessness of Analog." wish it to succeed." hours of Toscanini in video. Contestants are requested to write Sony Classical, the successor to a 500 -word essay on the virtues of MUSIC BY MAIL CBS Masterworks, will release on LP'S versus CD'S (analog versus The Express Music Catalog, a laserdisc the video legacy of the digital), and the grand prize is a leading mail-order music great Austrian conductor Herbert Thorens Model 2001 turntable company, has been acquired by von Karajan (1908-1989). The with an Audio-Technica AT -0C9 Bose Corporation, the audio collection includes forty-five cartridge. Entry forms and manufacturer best known for its productions personally supervised regulations are available from speakers. The Express Music by Karajan, and the first releases Thorens dealers. The contest ends Catalog lists 100,000 recordings are expected within a few months. July 30, with the winners to be on LP, CD, cassette, or music video, announced at the end of August. and its musical range covers rock, MUSIC NOTES jazz, classical, country, and more. The French government has A copy of the comprehensive conferred the prestigious title of catalog costs $10, but anyone can Commander of Arts and Letters order from the company's toll -free on singer/songwriter Bob Dylan. number, (800) 233-6357, or by Another American musician also fax at (212) 627-2613. The singled out recently was operatic mailing address is 50 W. 17th St., soprano Jessye Norman, who New York, NY 10011. received the French Legion of Honor.... Michael Jackson was TECH NOTES honored by CBS Records as the Hughes Aircraft is licensing its top -selling musical artist of the patented Sound Retrieval System .1980's, with a total of 110 million (SRS) to several consumer records and tapes.... May releases electronics companies, which are from RCA include Michael expected to market products Bolton's "The Early Years," a new incorporating the two -channel, album from Mister Mister, and

tiiikruRI11.

"The Polk set is the best sounding system we have tested.

It played loudly and cleanly, and it projected excellent imaging.

In -car measurements were superb."

CAR STEREO REVIEW November December 1989

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Where to buy Polk Speakers? For your nearest dealer, see page 113.

CIRCLE NO 90 ON HE ADER SERVICE CARD The Art of Speaker Design..i Stereo Review LOUISE BOUNDAS Editor in Chief MICHAEL SMOLEN Executive Editor SUE LLEWELLYN Art Director CHRISTIE BARTER WILLIAM WOLFE Music Editor Technical Editor DAVID STEIN Managing Editor REBECCA DAY, WILLIAM GOLDMAN ROBERT ANKOSKO Senior Editors ARINDA J. SEGARRA Assistant Editor BARBARA AIKEN, ROCCO MATTERA MARYANN SALTSER Editorial Assistants MICHAEL RIGGS WILLIAM LIVINGSTONE Editors at Large Contributing Editors: Robert Ackart, Chris Albertson, Richard Freed, Phyl Garland, David Hall, Ron Givens, Bryan Harrell (Tokyo), Roy Hemming, Julian Hirsch, Ralph Hodges, Stoddard Lincoln, Ian Masters, Louis Meredith, W.* Alanna Nash, Mark Peel, Henry Pleasants (London), Ken Pohlmann, Parke Puterbaugh, Charles Rodrigues, Eric Salzman, Steve Simels, Craig Stark, David Patrick Stearns Production Director: Karen L. Rosen Production Manager: Michele Lee

WINSTON A. JOHNSON Vice President and Publisher ADVERTISING Advertising Director: Nick Matarazzo National Manager: Charles L. P. Watson (212) 767-6038 Consultant: Richard J. Halpern (212) 767-6940 Account Manager: Sharon Dube Great sounding speakers are not an accident. They require the perfect (212) 767-6037 integration of the best components and design techniques. Great speakers Corporate Account Manager: Tom McMahon (212) 767-6025 are acoustic works of art that reproduce rock & roll with a vengeance and Assistant to the Publisher: Nadine L. Goody Classified Advertising: (800) 445-6066 symphonies with delicate precision. As the most important part ofan audio Midwestern Managers: Arnold S. Hoffman, Jeffrey M. Plaster, (708) 679-1100 system. your speakers are an investment. Your purchase should be an Western Managers: Robert Meth, informed decision. Paula Mayen, (213) 739-5130 Tokyo Office: lwai Trading Co., Ltd. 603 Ginza Sky Heights Building, 18-13, Ginza 7-Chome, Chuo-Ku, Tokyo, Japan 104 Japan Representative: J. S. Yagi, (03) 545-3908 To help you understand how a speaker works and why. we've prepareda je. :.,, handbook that objectively defines and explains everything you'll need to 3P1 STEREO REVIEW is published by Diamandis know when buying automotive speakers. When the factsare known. we're Communications Inc., a subsidiary of Hachette confident you'll find Kicker' to be the best investment you could make. Publications, Inc. President & CEO: Peter G. Diamandis Executive Vice President: Robert F. Spillane Senior Vice President, Finance, & CFO: Arthur Sukel Senior Vice President, Manufacturing & Distribution: Murray Romer Senior Vice President, Operations & Administration: Robert). Granata For Your Free Copy of "The Vice President, Controller: David Pecker Speaker Buyers' Handbook" Vice President, General Counsel: Catherine Flickinger Vice President, Circulation, Leon Rosenfield CALL TOLL -FREE Vice President, Communications, Phyllis Crawley Gates Vice President, Marketing, Anthony F. Incalcatera Vice President, Research, Bruce Gershfield 1-800-256-5425 A TIVE Stillwater Designs, 5021 N Perkins Rd, Stillwater, OK 74075 Seeking International Distributors CIRCLE NO. 171 ON READER SERVICE CARD Ralph's house. Ralph's house. Ralph's house.

Ralph's house. Ralph's house. Ralph's house.

Ralph's house. Ralph's house. Ralph's home theater system.

Ralph actually lives in their bags and headed out to sample Then they added seven channels a one bedroom condo. a variety of entertainment environ- of amplification, Dolby®Surround Sound, That is, until he starts ments all over the world. Dolby Pro Logic and YST technology. pressing the buttons on his Opera houses, stadiums, jazz And put it all into one component. Yamaha DSP-A700 Digital clubs, concert halls, movie theaters, All the jet lag and hard work paid Soundfield Processor. discos, cathedrals and amphitheaters. off because they came up with one of i sT-SE10 Then he starts turn- And after several months of test- the most advanced, yet simplest home DeeP bass effects ing his place into all ing, recording and eating strange food, theater components on the market. channel speaker* different kinds of enter- they brought home actual acoustic But don't take our word for it. tainment environments. samples of dozens of these types of en- Drop by a Yamaha dealership and How? vironments. Digitally recorded them press a few buttons yourself. And find Well, a few years ago, our engi- onto a computer disk. And put them out just how big neers and sound technicians packed all onto one tiny computer chip. your place can be.YAMAHA 1. Movie theater. 2. Outdoor stadium. 3. Cathedral 4. Amphitheater. 5. Indoor stadium. 6. Music hall.7. Disco. 8. Jazz hall. *Our compact YST-SE10 wall/shelf speakers will enhance the performance of your effects channels with deep, powerful bass. 01990 Yamaha Electron. Cirpuration, USA PO. Bus 6660, Buena Park. CA 90622. Dolby is a registered trademark or -Dolby Laboratories Inc. LETTERS

y and pumping effects from dbx with sonic quality of compact discs when the How to Bu a Cassette Deck music. Straight voice recordings are an- indelible ink is applied to the outer (and David Simon offers invaluable advice other matter, but how often does one inner?) edge? on evaluating wow -and -flutter perform- use a three -head, high-fidelity cassette JEFF NELSON ance in his March article, "How to Buy deck to record speech only? Also, I have Astoria, OR a Cassette Deck." I have found pipe- encountered far fewer problems with organ recordings with sustained tones dropouts using dbx than with Dolby. As far as we know, there's been no "de- to be even more sensitive to pitch fluc- The article largely glosses over the finitive research," but there are a couple tuations than piano music. For exam- chief failing of the cassette format. With of reasons why this peculiar home reme- ple, the first cut on Michael Murray's the possible exception of very costly dy can't work. One is that the marks are Telarc album "The Ruffatti Organ in decks with automatic azimuth -align- not made any place where the laser pick - Davies Symphony Hall" is especially ment circuitry, I have yet to see a cas- up reads data from the disc. The other is revealing.Carefulauditioning of a sette deck whose heads can stay in that even if the ink could affect the data number of high -quality decks demon- alignment for much more than three read from the disc, the only thing it strated that only one with a dual -cap- months. How often have you made a could do is to increase the number of stan transport could reproduce the or- great recording of a favorite song, then uncorrectable errors. If the degradation gan without audible wow and flutter. six months later it sounds like hash? No were severe enough to become audible, it ROBERT WADSWORTH matter what noise -reductionsystem would be as an increase in distortion- Richmond, VA you employ, the cassette deck will sabo- hardly an improvement. What's at work tage your recordings because the blasted here are some overactive imaginations. I have been reading the rubbish about heads stray out of alignment. limitations of the dbx noise -reduction CARL ORTH system for years now. Your March arti- Carmel, IN Cover Kudos de "How to Buy a Cassette Deck" once For the first time in over ten years as again talked about the pumping and a subscribertoSTEREOREVIEW, I breathing effects that mightbepossible Green-LiningCD's looked at the contents page to find out with dbx. I have been recording with Has there been any definitive re- who designed the cover and did the dbx for more than eight years, and I search done on the remarkable ability of photography. Art Director Sue Llewel- don't recall a time I heard breathing and a green Magic Marker to improve the lyn and photographer James Porto did a

MasterMind. Finally, A Universal Controller That Doesn't Requirea Rocket Scientist to Operate. Before MasterMind, it took hours of needed to operate infra red controllers frustration to program a universal used with over 1000 top components. controller for your system. Now you can MasterMind can instantly control TV, kiss all your old remotes goodbye! CABLE, VCR, CDV, TUNER, AMP CD Everything is easily under control and DAT. with the MasterMind PreProgrammed No other controller is remotely Memory Remote Control. MasterMind comparable. For your nearest has already memorized all commands MasterMind dealer call 516-496-3400. CIRCLE NO. 40 ON READER SERVICE CARD

CABLE VCR CDV TUNER AMP CD ABLE VCR CDV TUNER P CD DAT TV CABLE VCR CDV TUNER AMP CD DATTV CABLE VCP N TUNER AMP CD DAT TV CABLE VCR CDV TUNERAMP CD DAT 7- INN LETTERS

beautiful job in making the February 180 degrees .from the phase -shift plot. and continue to enjoy STEREO REVIEW. 1990 issue an exceptionally original and The schematic informaion supplied by Each month I turn first to the essay by striking one. Counterpoint makes it plain that the SA- Julian Hirsch. These brief "Technical MARI() J. SFvu.i.A 3000 is a noninverting amplifier and Talk'' articles are always informative Rhein -am -Main, West Germany that the information in the manual is and invariably well written. correct. We apologize for the error. You should consider publishing a No credit for the fish? volume reprinting them. It would pro - a valuablehistory of trends in rD Cleaning vdeaudio.i The columns rarelyreferto Counterpoint P r e a in p 1 ifi e r Rebecca Day's February article on ut) ephemeral details. The changes in Mr. Julian Hirsch's kind words about the care recommended using mild soap and Hirsch's viewpoints on an issue over a Counterpoint SA -3000 preamplifier in water or a commercial ci) cleaner for period of time would be of interest in his April test report were most gratify- wet cleaning. I have been using 91 per- themselves and would not need to be ing, but I fear he made an error while cent isopropyl alcohol as mentioned on edited out.(Incidentally, I am not measuring the signal polarity of the line page 63 of the April 1983 issue of STER- related to Julian Hirsch.) R()LANt) F. HIRSCH stage. He said that ". . .there was a FO REVIEW. Is this practice still consid- polarity reversal from the Cl) input to cred safe? Germantown, MD the main output (contrary to. . . the JOE ZOI.LNER specifications in the manual)." It ain't Milwaukee, WI so! There is no way that the line stage Roots of Rock-alid-Roll can invert polarity. The information side of a (1) is covered Rhino's "The Best of 'The Best Ofs " MIKE ELLIOTT with a very tough plastic.Alcohol. sampler Cl) offered in the April issue of President, Counterpoint though less inert than water, is unlikely STEREO REVIEW comes with a coupon Electronic Systems to damage it. that is good at Musicland/Sam Goody Vista, CA stores for $2 off the price of any of the "Best of ..." collections represented in Julian Hirsch replies: Mr.Elliottis Technical Talk the sampler. Information about the $2 right. Apparently, I incorrectly assumed I have been a subscriber and reader coupon was inadvertently omitted from that my measurement was subtracting for more than twenty-five years now the special STEREO REVIEW offer. D

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qs, . ,s. '`),), Vriiir .. .,6 voJk harman/kardon (;,_ I, % .11 AMP CD DAT TV CABLE VCR CDV TUNER

# c. is, dCR CDV TUNER AMP CD DAT TV CABLE VCR C

,5, AT TV CABLE VCR CDV TUNER AMP CD DAT TV C Buckle up and get ready to experience the sonic energy and pure power of Pyle PRO woofers. Pyle engineers have reinvented the heart and soul of loudspeakers - our new woven fiber IronCloth voice coils make Py e PRO woofers virtually indestructible. When combined with polymer laminate cones, vented pole pieces, massive motor structures and heavy duty housings, you get the most dLrable speakers available at any price. Now you can dive to the deepest lows and accelerate to the highest peaks with new found confidence. You'll feel the power as your skin tingles, see the force as your car moves to the beat and hear sounds you've never heard before. Break the sound barrier with Pyle car stereo speakers and electronics.

Powerful Enough To Be Pyle! Dollar for dollar, the most dynamic speakers you can buy. Perfectly Pyle!

For the name of the Pyle dealer nearest you write Pyle Industries, Inc Huntington, IN 46750

HA Harman International CDmpany CIRCLE NO94 ON READER SERVICE CARD NEW PRODUCTS

YAMAHA TheYamaha DSP-E300digital sound -field processor includes a five - channel,I 5 -watt -per -channel amplifier and is designed for users who have an existing stereo system. It offers front and rear effects channels and a Dolby Pro Logic center channel. There are twelve preset DSP (digital signal processing) ambience -synthesis programs, including concert halls, opera houses, and jazz clubs, and the user can make as many as twenty-one program variations. Additional features include test - tone generators for DSP and Dolby Pro Logic and a center -mode switch for off, normal, and phantom settings. Price: $799. Yamaha Electronics, Dept. SR, 6722 Orangethorpe Ave., Buena Park, CA 90620. Circle 120 on reader service card

HAFLER The Hafler SE130 AM/FM tuner incor- impulsenoise -blankingcircuit.Fea- porates Delco receiver circuitry. Its FM tures include twelve FM and six AM pre- section has a dual -gate MOSFET RF am- sets, bidirectional seek tuning, scan, and plifier and double -balanced mixer in- preset scan. Price: $299. Hafler, Dept. puts that are said to cancel even -order SR, 613 S. Rockford Dr., Tempe, AZ overload products. The AM section fea- 85281. tures a four-varactor diode tuner and an Circle 121 on reader service card

KLIPSCH PROTON The Klipsch Forte II is a redesign of The Proton RS -420 clock radio can be built-in battery back-up. The extension the original Forte loudspeaker. The sec- used alone or with the RS -421 exten- speaker has a 3 -watt amplifier, a 5 -inch ond -generation speaker uses a hybrid sion speaker for stereo sound. The main speaker, a preset -search control, and an midrange horn that's said to provide a module has a 3 -watt amplifier, a 5 -inch independentalarm. Price: RS -420 more open and detailed sound than pre- speaker, six FM and six AM presets, a alone, $160; together with the RS -421, vious horn -loaded designs. Frequency stereo headphone output, an auxiliary $250. Proton Corp., Dept. SR, 5630 response is rated as 32 to 20,000 Hz ± 3 input for a tape deck or CD player, a ter- Cerritos Ave., Cypress, CA 90630. dB, and sensitivity is rated as 99 dB SPL. minal for an external FM antenna, and a Circle 122 on reader service card It uses a new vented -voice -coil woofer and a larger passive radiator that are said to increase output by an average of 2 dB. Walnut or oak cabinets have either oiled or lacquered finishes; black lacquer is also available. Dimensions are 353/8 x16'/z x 12V4 inches. Price: $1,300 a pair. Klipsch & Associates, Dept. SR, P.O. Box 688, Hope, AR 71801. Circle 123 on reader service card

STEREO REVIEW MAY 1990 13 The Orchestra. The Conductor.

You're looking at something The LCD readout is instantly updated with unusual in the audio spectrum: a signal from the tuner/preamp, giving you a complete visual report at all times. a series of high-end components and an integrated remote that Program your 5 -disc CD changer with dig- truly work in concert.Intro- ital optical output and 4X oversampling. ducing the Mitsubishi" E-5200 lint have control of .360 degrees of Dolk audio system. A system de- Surround -sound. Because you can adjust signed so that the amp, tuner/ he volume of two 4 -way speakers with !aminated drivers up front, plus the two preamp, graphic equalizer,dual speakers in the rear. cassette deck, CD changer and speakers on the left are under You can men make adjustments to your total and complete control by the seven -band graphic equalizer. programmable remote on the right. In fact, we call it a "re- sponding" remote, because un- Hate complete control of a dual auto-retenc eascette deck featuring Dolby- B, C, HX Pro like other remotes ours features and full logic controls. an LCD that not onlyshows you what the system is actually doing ItS also compatible with all Mitsiihishi tido, produfts, so you can program your \ 'CR here. hut also confirms that the tuner/ preamp has executed your com- 1980 Mitsuboht Electric Saito A merbAz IncI )oltr,I ),,dr,. Surround and HX Pro areMil/11417404.4 1)( /117N LtlhOrati mands. So you and your orchestra Corp "15C -watts per channel rnaurnurn RivIS both channel, driterl mu, 8 ohms from .51 lz-.14(Hz14ith no morn (kin e C' 77, `;', total hal r MIL-distortum For the nanu.t s.ne are always inperfect harmony. a ut/um dealer ,a II i 800i c 27 tit,tit e t 245

Art MITSUBISHI ELECTRONICS TECHNICALLY, ANYTHING IS POSSIBLE

CIRCLE NO 22 ON READER SERVICE CARD NEW PRODUCTS

ONKYO Onkyo's DX -C200CDchanger is a discs, and five -mode repeat, which can five -disc carousel model. It uses a sin- extend the normal5 -hour playback gle -beam laser assembly, a four-times- time. The twenty -seven -keyremote oversampling digitalfilter, and dual control can also operate any Onkyo RI digital -to -analog converters. Operating (Remote Interactive) tape deck. Price: featuresincludethirty -six -trackpro- $330. Onkyo, Dept. SR, 200 Williams gramming, random play of track and Dr., Ramsey, NJ 07446.

PIONEER Pioneer's CLK-V900 LaserKaraoke player is a self-contained combi-player/ singalong system with aI5 -watt -per - channel amplifier that drives two full- range 4 -inch speakers and a 20 -watt CARVER amp for the system's 8 -inch subwoofer. It has a 16 -bitD/Aconverter with a four- The Carver CM -I090 integrated am- monitoring with dubbing capability, times-oversampling digitalfilter and plifier is rated at 100 watts per channel analog power meters, motorized vol- into 8 ohms from 20 to 20,000 Hz with can play 12- and 8 -inch laserdiscs, S- ume control, pre/main jacks, and a and 3 -inchCD'S,and co-v's.It also no more than 0.1percent total har- built-in Sonic Hologram generator. Its plays special LaserKaraoke discs that monic distortion (THD). It has five au- suppliedremotecontroloperates have standard songs, a "mood" video, dio and two video audio inputs and Carver tuners andCDplayers. Price: and the song lyrics. A Vocal Partner fea- bass, midrange, and treble tone con- $599. Carver, Dept. SR, 20121 48th ture enables users to substitute their trols. Other features include dual tape Ave. W., Lynnwood, WA 98036. voices for the vocals on LaserKaraoke discs and on mostCD'S.A nine -step digital key controller adjusts music to the pitch of the singer's voice. It includes a digital echo and a multiplex balance control to control the lead vocal without disturbing the instrumental tracks. The built-in cassette deck can also be connected to a home system.Price: $1,600. Pioneer Laser Entertainment, Dept. SR, 22010 S. Wilmington Ave., Suite 201, Carson, CA 90745. Circle 125 on reader service card

SAE SAE's E102 ten -band graphic equalizer comes with a unidirectional condens- er microphone to measure frequency response, which is represented on the ninety -segment real-time analyzer display. The display also has a peak -hold mode. The E102 includes a tape -monitor loop, an EQ-record feature, and a pink -noise generator, and its twenty octave -band sliders have a defeatable illumination system. Price: $499. Scientific Audio Electronics, Dept. SR, 1703 Ste- wart St., Santa Monica, CA 90404. Circle 124 on reader service card

16 STERF.o REVIEWMAV1990 c -L 1,E1lafti* ANY CDs FOR ONLYIC Kenny GLive t.. '0AbOt Plus shipping and handling, with membership 011C199 CsUr- sg9. CHhaaPPYzlietnznrow Michel Artists (GRP) Varioustr PLUS A CHANCE TO GET ONE MORE CD-FREE! (f pnC) A^^- :86 Dave Grusin Collection Take 6 (Reprise) 372.680 David Newman -Fire! Grover Washington, Jr. - Time Out Of Mind (GRP) 378.398 Najee-Day By Day (EMI) Live at the Village 371.856 POPULAR HITS Vanguard (Atlantic Jazz) (Columbia) 383.539 Joe Sample -Spellbound (Warner Bros) 378.224 Stanley Clarke -It This Rush -Presto (Atlant,, Tracy Chapman - 387.563 Jean Luc Ponty-In The 401.695 Crossroads (Elektra) Fast Lane (Columbia) Gerald Albright - Bass Could Only Talk Don Cherry -Art Deco (Portrait) 371.823 387.951 (ABM) 387.548 383.521 Bermuda Nights (Atlantic) Chicago -Greatest Hits Miles Davis-Amandla 377.903 Kenny G -Silhouette 1982-1989 (Reprise) Billy Joel -Storm Front Elaine Elias -So Far So (Warner ) 381.756 Al Jarleau-Heart's (Arista) 371.559 401.166 (Columbia) 387.902 Close (Blue Noie) 387.530 Steps Ahead-N.Y.C. Horizon (Reprise) 376.186 David Sanborn -Close Barbra Streisand-A Rolling Stones -Steel Vicki Balley-3ottom's Up (Intuition) 381.681 Michael Brecker-Don't Up (Warner Bros ) 370.304 Collection: Greatest Hits... 387.464 Wheels (Rolling (Atlantic Jazz) Kirk Whalum-The Try The At Home Bobby McFerrin -Simple And More (Columbia) Stones Rec ) 387.738 Freddie Hubbard -Times (MCA/Impulse) 374.769 369.306 401.141 Promise (Columbia) Pleasures (EMI) Don Henley -The End Of are Changing t Blue Note) 380.436 Robert Palmer - Stanley Jordan -Flying Basis -Time And Tide The Innocence (Geffen) 387.449 Wynton Marsalis-The Home.(EMI) 373.860 (Epic) 388.043 Addictions, Volume One 383.802 (Island) 400.937 Stanley Turrentine-La Majesty Of The Blues Bird -Original Motion Oscar Peterson -The Trio Place (Blue Nile) 387.159 (COlurnbi a) 380.394 367.268 Linda Ronstadt-Cry Like Gloria Estefan-Cuts Picture Soundtrack (Pablo) Both Ways (Epic)382.341 Harry Connick,Jr. The Chick Corea (Columbia) 373.332 The Manhattan Transfer A Rainstorm, Howl Like Akoustic Band (GRP) The Wind (Elektra) 389.874 Tom Petty -Full Moon When Harry Met Sally - Dianne Reeves -Brasil (Atlantic) 363.648 Fever (MCA) 382.184 Music From The Motion 379.891 (Blue Note) 372.953 Duke Ellington Orch.- Elton John -Sleeping Picture (Columbia) 386.821 With The Past (MCA) Richard Marx -Repeat George Duke -Night After Bob James -Ivory Coast Digital Duke (GRP) 357.350 387.993 Offender (EMI) 380.915 Chet Baker -She Was Too Night (Elektra) 379.719 (Warner Bros) 372.789 Chuck Mangione-The Good To Me (CBS) 386.771 Hiroshima -East (Epic) Ornette Coleman -Virgin Best Of Chuck Mangione Original Sound Track - McCoy Tyner -Revelations 379.321 Beauy (Portrait) 372.722 ARM) 340.547 Mike Stern -Time Will Tell Strait No Chaser Music (Blue Ni 4e) 386.763 (I ntima) 403-501 from the Motion Picture New York Voices (GRP) Ahmad Jamal-Pittsburgh Thelonious Monk 386.292 LEGENDARY JAZZ PERFORMANCES (Atlantic) 403.279 400614 Benny Goodman - Charles Mingus-Mingus (Columba) Rippingtons -Tourist In Thelonious Monk -The Dave Grusin -Migration Composer (CL Jazz Sextet -Slipped Disc 1945- Ah Um (CI Jazz Dave Grusin -The Paradise (GA°) 385.658 Masterpieces) 354.795 Fabulous Baker Boys (GRP) 400.044 Masterpieces) 377.770 46 (CL Jazz Masterpieces) Soundtrack (GRP) 402.958 Earl Klugh-Solo Guitar David Murray-Ming's 377.531 Samba (Portrait)384.875 Randy Crawford -Rich (Warner Bros) 389.932 Greet Moments In Jazz - And Poor (Warner Bros ) Quincy Jones -Back On George Benson -Tenderly Venous Artists (Atlantic) 401.950 The Block (Owest) 389.577 (Warner Bros) 384.214 376.582/396.580 Dizzy Gillespie -The Miles Davis -Aura Dr. John-tr A Omens Coleman -The Symphony Sessions (Columbia) 389.312 Sentimental Mood Shape of Jazz to Come August 25, 1989 (Pro Jazz) John Zorn -Spy vs. Spy (Warner Bros) 384.040 (Atlantic) 371.641 401.943 The Music of Ornette John Coltrane -Giant Coleman (Elektra/Musician) Diane Schuur-Collection 371.591 Jon Faddis-Into The (GRP) 383.919 Steps (Atlantic) Faddisphere (Epc)401927 388.884 The Gil Evans Orchestra Yellowjackets-The Spin Pat Metheny Group - Charlie Parker-Bird/The -Out Of The Cool David Benoit. -Waiting 388173 Letter From Home (Geffen) Savoy Recordings, Vol. 1 Miles Davis -Kind of Blue 401.901 (MCA) (MCA/Impulse) 370.072 (CL Jazz Masterpieces) For Spring (GRP) T Levitz and the Bad 383.901 (Savoy Jazz) 383.950 Spyro Gym -Point Of The Best Of Chess Jazz 353.045 Do The Right Thing - Habitz (Int,ma) 387.688 Duke Ellington -Blues in -Various Artists (Chess) Original Sound Track View (MCA) 383.737 World Saxophone Orbit iCL Jazz 383.937 The Dave Brubeck Featuring:Branford Marsalis Quartet -Rhythm & Blues Larry Carlton -On Solid Masterpieces) 377.648 Billie Holiday -From The Quartet -Time Out 401.117 (Columbia) (Nonesuch) 387.605 Ground (MCA) 383.661 Bill Evans -Waltz for Orig. Decca Masters (CL Jazz Masterpieces) 353.060 Lee Rittenour-Color Rit Lou Rawls -At Last Branford Marsalis-Trio Debby (Riverside) 376.335 (MC,A) 354.985 (GRP) 400.051 (Blue Note) 387.589 Jeepy (Coiumbia) 381.830 ECOLUMBIA HOUSE, 1400 N. Fruitridge Ave. 201/S90 From Charlie Parker to Kenny G-ond without having 10 days to decide, you may return it at our expense P.O. Box 1129, Terre Haute, Indiana 47811-1129 all the jazz in between -now oil avail- Please accept my membership application under the terms outlined in this advertisement. able on CDI As your introduction to the The CDs you order during your member- for all ship will be billed at regular Club prices, Send me the 8 Compact Discs listed here and bill me 14 plus shipping and handling Club, you can choose any 8 CDs listed in eight.I agree to buy six more selections at regular Club prices in the coming three this ad for N. Fill in and mail the applica- which currently are $12.98 to $15.98 -plus years - and may cancel my membership at any time alter doing so. tion -we'll send your 8 CDs and bill you for shipping and handling. (Multiple -unit sets SEND ME THESE 8 CDs FOR 14 (write in numbers below): a penny, plus shipping and handling. You may be somewhat higher.) After complet- simply agree to buy 6 more CDs (at regular ing your enrollment agreement you may Club prices) in the next three years -and cancel membership at any time; if you de- you may then cancel your membership cide to continue as a member, you'll be anytime after doing so. eligible for our money -saving bonus plan. It lets you buy one CD at half price for each My main musical interest is (check one): may always choose (loin any (dew/ How the Club works. About every four CD you buy of regular Club prices. weeks 113 times a year) you'll receive the 10 -Day Free Trial: We'll send details of Cl Jazz LI Soft Rock 0 Classical Club music magazine, which describes the WU, Gloria Estelan, Vladimir Horowitz. the Club's operation with your introductory RPr hort I Mot PlorgluDomoqo Selection of the Month...plus new hits and shipment. If you are not satisfied for any old favorites from every field of music. In reason whatsoever, just return everything Mr. Extra Bonus addition, up to six times a year, you may within 10 days and you will have no further ri receive offers of Special Selections, usually Mrs Offer: also send obligation. So why not choose 8 CDs for la Miss me this CD for which I at a discount off regular Club prices, for a right now? will be billed an addi- total of up to 19 buying opportunities. tional $6.95. Extra Bonus Offer: As a special offer to Address Apt If you wish to receive the Selection of the new members, take one additional CD Month, you need do nothing -it will be right now for only $6.95. This discount pur- shipped automatically.If you prefer an chase entitles you to choose an extra CD icy ...and I'm entitled to alternate selection, or none at all, fill in the as a bonus FREE. Just indicate your choices this extra CD FREE! response card always provided and mail it in the coupon, and you'll receive your dis- by the date specified. You will always have State Zip counted CD and your bonus CD with your 8 Do you hoveVCR? (04) 0 Yes 0 No F73/F6 at least 10 days in which to make your introductory CDs -a total of 10 in all! Do you have o credit card? (03) 0 Yes 0 No decision. If you ever receive any Selection F74/59 u,a.v.,0K0,.... con,, mence.,, The,. not oroloble A{3. VP( IA ,( 1990 CBS Records Inc. Sore -e idle, canoar,rewlen, se, r./ elf bum Toronto Apple able A31e, to. oddcd Seleo.ons with ,we numbers c,,,om 2 CDs ond c o.,m as 2so wr,re rn both number, Wee:. Pae/ re Rea rode aeepb al alt., no,, (1()11 1 III t )1 SE: Terre 1 laule, 1 \ 47811 311 0.der NEW PRODUCTS

CAMBRIDGE SOUNDWORKS The Model Eleven from Cambridge Sound Works is a transportable component music system with a miniature three -channel, 36 -watt integrated amplifier, a pair of two-way satellite speakers, and the BassCase, which serves as a subwoofer as well as a carrying case. The amplifier can operate anywhere in the world on 110 or 220 volts AC (50-60 Hz) or 12 volts DC. Each satellitecon- tains a 3 -inch midbass/midrange driver and a 3/4 -inch dome tweeter in a housing made of heavy ABS plastic. The Bass- Case has an inner 5/8 -inch rigid -foam core and outer layers made of textured, luggage -grade plastic; it contains a 7- inch acoustic -suspension woofer. The case measures 161/2 x 191/2 x 61/4 inches and weighs 23 pounds with the satellites inside. Connecting cables are supplied. Sold factory -direct with a 30 -day money -back guarantee. Price: $599. Cam- bridge Sound Works, Dept. SR, 154 Cal- ifornia St., Newton, MA 02158. Circle 126 on reader service card

JBL The JBL ProPerformer Plus three- piece speaker system has shielded drivers, which enable them to be used on or near video monitors and Tv's without interfering with picture quality. Each satellitehas two 41/2 -inchfull -range speakers in an enclosure made of acoustically damped polymers. The subwoofer uses a long -excursion, dual -voice -coil driver and a passive internalcrossover. Frequency response is rated as 40 to 18,000 Hz, sensitivity as 88 dB. Nomi- nal impedance is 8 ohms, and recommended amplifier power is 10 to 100 watts. The satellites measure 6 x 61/2 x 51/2 inches, the subwoofer 20 x 71/2 x 111/2 COMPONENTGUARD inches. System price: $435. JBL, Dept. SR, 240 Crossways Park West, Wood- ComponentGuard extended -warran- bury, NY 11797. ty service contracts are now available in Circle 128 on reader service card off -the -rack packages at audio/video stores. Customers who buy a contract are issued a ComponentGuard credit card that can be presented at any of 1,200 service centers across the country. LINEAR POWER Warranties are available for all catego- ries of audio/video products, including Linear Power's Model 2652 car stereo CD players, receivers, and camcorders, amplifier has two 30 -watt channels, a and warranty periods are from 3 to 5 60 -watt subwoofer channel, and an elec- years. Products muststill tronic crossover. Total harmonic dis- be under tortion (THD) is rated as 0.04 percent manufacturer warranty when the Corn- with a 4 -ohm load. Designed to fit in ponentGuard extended warranty cover- age begins. Prices range from $25 to tight spaces, it measures 73/4 x 2 x 91/2 inches and weighs 4 pounds. It comes $319, depending on product category with a one-year warranty (two-year if and length of warranty. Component- Guard, Dept. SR, 100 Summit Lake installed by a Linear Power dealer). Dr., Valhalla, NY 10595. Price: $450. Linear Power, Dept. SR, Circle 127 on reader service card 11545 D Ave., Auburn, CA 95603. Circle 129 on reader service card

18 STEREO REVIEW MAY 1990 PATTERN

"Hearing the Atlantic Technology Pattern was one of the most unexpected experiences I hive enjoyed in some time... It is hare to imagine a pair of conventional biamplified speakers of this quality and their amplifiers selling for t nywhere near $500... the Pattern is an exceptional bargain. Listen for yourself if you don't believe me." -Julian Hirsch Stereo Review Magazine

A New Dimension in Sound From tlantic TECHNOLOGY Boston London Geneva Totally powered three-piece speaker system with dual -mode inputs for use with virtually any source, including portable stereos, computers, televisions, home stereo systems, etc. True high-fidelity sound with surprisingly powerful bass, accurate midrange, and brilliantly clear highs. Patented dynamic equalizer/ limiter in the bass moduleex- tracts maximum output from the woofers but protects them from overdrive. Inconspicuous 4x4x7-inch sat- INTRODUCING PATTERN... ellite speakers don't intrude on the decor of your living room. Separate bass cabinet can be Pattern is a new kind of stereo amplifier/loudspeaker placed out of sight in a corner. system. It was created and developed by an international consortium of engineers and designers with Easy to use with convenient over 50 years combined experience in the audio, com- three -step hookup. munications and defense industries. While this cate- Transportable: Provides great gory of product has been available in one form or sound in the den, classroom, another in the past, the Pattern system establishesa sales meeting, or vacation cot- new standard of sonic performance, versatility and tage. value. The perfect add-on for a stereo The Pattern system is powerful enough to fill the TV: amplifiers, a bi-amplified largest living room with sound. Its powerful bass,ac- subwoofer and magnetically curate midrange and clear highs provide a listening shielded satellites. experience comparable to bulky amplifier/speaker combinations costing two or three timesmore than Pattern. Yet, because of its convenient three-piece format utilizing built-in amplifiers and tiny satellites, the Pattern system takes up very little space.It is the perfect way to add high -quality sound toany environment where a full size stereo won't fit-a studio apartment, college dormitory, home office, den, video editing studio, etc. Hookup is easy: just plug the connecting wires into the satellites, and insert the ACpower plug into a wall socket. PATTERN has inputs for up to four signal sources. There's no need to select the input you want to hear; an active mixing circuit automatically amplifies whichever source is turnedon and playing. Placement is non -critical. The bass modulegoes With the optional PATTERN tote bagyou can on the floor, out of the way - in a corner, behind the carry the system to a classroom, sales meeting, vaca- TV set, under a table, etc. Put the satelliteson a desk, tion cottage or anyplace where you want exciting table, or shelf; attach them to a wall or cabinet with sound on a temporary basis. In full-bodied richness, brackets (included); install them on matching stands clarity, and accuracy, it is utterly unlikeany "port- (optional). able" stereo product you have ever heard. THE MANY USES OF PATTERN

Using Pattern for Music Pattern's unique dual -mode inputs give you the flexibility to turn a portable CD or cassette player into a powerful room -filling sound system as well as being the main speakers for your home stereo system. An adapter cable feeds the PATTERN system from any stereo headphone socket, so that your portable CD player, Walkman or boom box becomes a full sounding system. The sameRCA inputs also allow you to enjoy wide -range stereo from a tabletop CD player, tape deck, radio tuner, tuner /preamp, stereo TV, VCR, or laserdisc player without the added expense of an amplifier or receiver. If you already own a system, Pattern can also add new life to an older system whose recordplayer and other components work well but whose speakers are unsatisfactory. The fine details make all four sides of the Pattern Satellites attractive. Using Pattern with Computers Hear brilliant wide -range music from a synthesizer keyboard, drum kit, or the sound synthesizer in a Using Pattern with Stereo TV Macintosh, Amiga, or other computer. The PAT- You haven't experienced the full excitement of stereo TERN satellites are small enough to place on the TV until you have heard it with a wide -range sound computer desk or monitor shelf; magnetic shielding system like PATTERN. The speakers in a stereo TV ensures that they won't endanger floppydisks. The set give you only a fraction of the tonal range and PATTERN system is also the ideal complement for a virtually none of the stereo effect. computer -controlled CD-ROM player or for the new The PATTERN system connects easily to any CD -I (CD Interactive) medium. stereo TV, using either its Audio Out jacks or its speaker terminals. The bass module goes behind the Using Pattern with Surround Sound TV or in a corner, out of the way. The PATTERN PATTERN speakers and a digital surround -sound satellites are magnetically shielded, so you can place processor are the perfect add-on for an existing stereo them close to the TV set without distorting its color. system, providing thrilling "you are there" presence Or you can space them two or three feet away on each and realism. The small size of the PATTERN satel- side of the TV to obtain a broad, panoramic stereo lites makes them easy to install and conceal; and their effect.Television becomes a far more involving, adjustable radiation pattern helps to distribute the more theatrical experience when youfeel the power ambient surround -sound uniformly about the listen- of the bass, understand every word of dialog, hear ing area. the smallest sounds clearly, and enjoy the entire tonal spectrum of music. The Full Spectrum of Sound- Even in the Quietest Moments With most speakers, and most 3 -piece systems in particular, a large amount of power is required to generate deep bass. However, thanks to the pat - tented dynamic equalizer in Pattern, you always get the full rich spectrum of music-even at the lowest volume levels. The level of volume and the frequencies are measured and calculated constantly, assur- ing proper bass response at all times. This unique circuitry not only enhances the bass at low volume but also protects the speaker from overdrive at loud volume levels. THE INSIDE STORY: ceiling reflections and deliveringa precisely focused THE MAGIC AND SCIENCE OF ACOUSTICS stereo image to the listener's ear. 1 The two speakers in each satellitecan be rotated How can this small, affordable system produce such to any angle. This gives you immense flexibility to adapt their radiation pattern to the acoustics of big, clear sound? Part of the answer has to do with the your room. Two options are described in detail in the in- division of responsibilities. Middle and high fre- struction manual: quencies, which define most of the action in music (and all of the recorded stereo image),are handled by 1.Angling the speakers inward, with one driver in small "satellite" speakers, while a strong bass foun- each pair offset from the other by about 45 degrees, dation is supplied by dual 6.5 -inch woofers ina provides a stable stereo imageover a wide seating separate cabinet. area.This technique, called "time/intensity trad- Woofers in ordinary stereo speakers requirea ing," is especially valuable with stereo TV sound large enclosure; but mounting the tweeter in the since it keeps dialog centered to match the picture. same cabinet tends to reduce the spaciousness of the 2.A 180 -degree rotation provides "bipole" (bi-di- stereo image. And while woofers benefit from near - rectional) operation to fill a largeroom with balanced the -wall placement, the clearest midrange sound is stereo for a party, or to provide stereo simultane- obtained away from the wall. The three-piece PAT- ously in two adjoining rooms. The bipole mode is TERN design optimises each function separately. also useful in surround -sound installations. In an ordinary stereo system an amplifier handles all frequencies; then a costly "crossover" network in ATLANTIC TECHNOLOGY each speaker divides the power, sending lows to the woofer and highs to the tweeter. PATTERNuses a Atlantic Technology is proud to present Patternas its more efficient "bi-amplification" system: one ampli- debut product. The Pattern system is the beginning ofa fier drives the woofers, and a separate stereoamp brand new way of enjoying music. There hasnever been a drives the satellites. Since a precise electronic filter speaker quite like it-its flexibility, performance and price separates lows from highs at the input, they cannot are unparalleled. interact to produce intermodulation distortion. The result is sound that remains clear even at the highest volume levels. The dedicated bass amplifier also containsa patented dynamic signal processor that extends the low- frequency response, producing bass thatyou can feel as well as hear. A matched excursion limiter pre- vents the woofers from being overdriven by strong bass peaks. At any volume level the woofersauto- matically deliver as much bass as theycan, without damage or distortion. The PATTERN system's remarkable combination of performance and value was made possible by the design of its satellites, in which pairs of 3 -inch speakers span the middle and high -frequency range. The two speakers in each satellite are only 3.7 inches apart Alantic TECHNOLOGY vertically, but the upper cabinet rotates, allowing the Boston London Geneva two speakers to be aimed in the same directionor angled differently. Acoustic "coupling" of their sound Marketed and distributed by Lincolnwood, Ltd. waves in the air doubles the sound intensity and 575 University Avenue/P.O. Box 9124 Norwood, MA 02062-9124 quadruples the sound pressure. Consequently the Tel. (617) 762-0202 PATTERN satellites can play loud with onlyone- Developed and manufactured by fourth as much power as conventional speakers Pacific Engineering Services require. Among the obvious benefits is a substantial Distributed in Canada by Lenbrook Industries, Ltd. reduction in cost. 633 Granite Court When the two drivers are both aimed forward, Pickering, Ontario acoustic coupling also narrows the vertical radiation Canada L1W 3K1/Tel. (416) 831-6113 pattern at high frequencies, preventing floor and Inside photography by Stanley Studios Boston, MA CIRCLE NO. 178 ON READER SERVICE CARD `L.LL L L L,_

111111 1\1

do, it is necessary to look at some The ins and outs of fundamentals. Any piece of wire with an electric current flowing throughitis sur- tape recording- rounded by a magnetic field. Bend- ing such a wire into a coil concen- the eighth in a trates the field inside the coil, and if an iron bar is placed within the field it becomes magnetized for as long as series on the the current is flowing. The combination of bar and coil is called an basics of audio. electromagnet, anditsfieldfluc- tuates in step with variations in the electrical current fed to the coil. If the bar is bent into a crescent, so that the ends almost touch, the mag- BY IAN G. MASTERS netic fieldis concentrated in the small gap between the two ends. TAPE recorders have been That is what happens in a tape around for more than forty recorder. Theelectromagnet is years, but only in the last called a recording head, and it trans- decade or so has tape be- lates an audio signal fed to its coil come the leading source of music into a magnetic field that fluctuates for most listeners. The popularity of in step with variations in the signal. both portable tape players and au- If some material capable of being tosound systems was mainly re- magnetizedismoved pastthis sponsible for this revolution. A lot changing field, it will pick up mag- of people bought theirfirst tape netic patterns that correspond to the decks mainly so they could feed original audio signal. In audio, the their Walkmans and car stereos but magnetic material is a thin plastic soon began to use them for listening tape coated with millions of metal at home. less -loop tape, the eight -track car- or metal -oxide particles, which act The shift to tape would probably tridge, which enjoyed considerable as tiny bar magnets whose magnetic never have happened,however, popularity in North America for (not physical) orientations shift as without the development of the some years. Ultimately this format, they move through the field at the cassette in the early Sixties. Prior to like open -reel, was supplanted by gap of the recording head. that, tape recorders were mainly the cassette.All three share the Tape recorders work because the open -reel (or reel-to-reel) machines, same operating principles, however; process is reversible. If a recorded which offered very high quality but only the details differ. tape is passed by the gap in a head, were expensive and cumbersome to the magnetic patterns on the tape operate. This format is still widely ,VlagtietizitigMusic will induce a changing magnetic used in professional audio, and a Tape recorders are among the field in the head, and the coil will few pricy semi -pro models are still most complicated pieces of audio translate this into a varying electric availabletoconsumers.Almost gear you are likely to encounter, as current that corresponds to the orig- from the beginning, however, man- they combine highly sophisticated inal audio signal. In this case, the ufacturers sought some way to make mechanical devices with electronic electromagnetic assembly is known tape easier to use. One of these was circuits. To understand how they as a playback head. Most cassette an adaptation of a professional end - work and what the various features recorders are two -head decksin

S i ERIoltryIEW MAY 1990 23 which the same head is used for accomplished either by a slight back signal. Open -reel machines don't both recording and playback, plus a tension on the feed reel (a technique have as much of a problem with this separate erase head (see below). restricted to open -reel decks), by as cassette decks because of their Three -head machines use separate stretching the tape slightly between greater track width: The tape itself is heads for the recording and play- a pair of capstans, one placed before usually a quarter of an inch wide, backfunctions, which can give and the other after the heads (this is and in critical applications, almost somewhat higher performance and called a closed -loop or dual -capstan half of this width is used for each also permits monitoring off the tape transport), or by pressure pads that channel (a configuration called half- during recording (that is, listening hold the tape physically against the track recording). Even quarter -track to the tape as it is being recorded). heads.In cassette machines, the recording, which divides the open - Early in the development of tape pressure pads, feed reel, and take-up reel tape into four tracks so that two recording, it became clear that the reel are contained in the cassette stereo programs can be recorded, recording process is not linear- shell, whereas they are separate ele- one in each direction, offers greater tape responds differently at low and ments in an open -reel recorder. track width than a cassette, where high levels. But it was also known the tape is only about two-thirds as that thereisa certain operating Cassette Solutions wide. The solution to cassette hiss range for any given tape in which The "Compact Cassette" was not has been electronic noise reduction. the process is linear, and that if the originally designed for high-fidelity The first noise -reduction system whole signal-even the silences- music recording but rather as a stan- for consumer tape decks was Dolby could be boosted into that range, dardized medium suitable mainly B, which attenuates tape hiss by low -distortion recording would be for voice, as in dictation machines. approximately 10 dB, and it is vir- possible. To do this, an AC bias sig- Its virtues were seen to be its ease of tually standard on today's cassette nalis added to the audio, high decks. It boosts soft high -frequency enough in frequency that it is inau- sounds during recording and atten- dible and at exactly the right level to uates them by the same amount in push the overall signal into the lin- playback, reducing the level of the ear range. Frequencies of 100 kHz or tape hiss in that frequency range at more are used so as not to interfere the same time. This basic system with the high frequencies in the pro- has been joined in most recent ma- gram material. chines by the more powerful Dolby If a high -frequency signal is ap- C, and an even more advanced sys- plied to the tape at an extremely tem called Dolby S is coming (see high level, it tends to scramble the page 77 in this issue). A few decks magnetic patterns recorded there, also include a different system, dbx, and the randomness that results which offers greater noise reduction translates into a faint hiss when the than Dolby B or Dolby C but is not tape is played back-any signal on nearly as widespread. the tape is erased. Tape recorders contain special erase heads that sit Holding the Highs in the tape path before the recording One of the most difficult things to and playback heads, automatically achieve in any analog tape format is erasing any existing signal just be- good high -frequency performance, fore a new one is recorded. which depends primarily on the One of a tape recorder's most number of magnetic particles that important tasks is to move the tape pass the heads in a given period of past the heads at exactly the same time. With open -reel, the solution is speed when recording and playing to use higher tape speeds, measured back and to do so as smoothly as in inches per second, or ips. Many possible (that is, with minimal flut- use and small size. Once cassettes professional recordings are made at ter). This job falls to the mechanical came to be used widely for music 15 or 30 ips, and 71/2 ips is usually part of a tape recorder, called the reproduction, however, the com- considered a minimum for good re- tape transport.Itpulls the tape promises that had been necessary to production. Although double -speed stored on a feed reel past the heads make them small, and the need to cassette recorders have appeared oc- by squeezing it between a capstan, a follow the very strict standards set casionally (as have half -speed ones), finely machined shaft that rotates at down by theformat's inventor, these have been little more than a constant speed, and a pinch -roller, Philips, posed one of the major curiosities;virtuallyallcassette a rubber "puck" that holds the tape challenges in audio: how to over- decks today operate at the standard firmly in contact with the capstan. come the various inherent limita- speed of 17/8 ips, only one -quarter of After passing the heads, the tape is tions of the tape-recording process the open -reel "minimum." wound onto a take-up reel. without altering the basic cassette To facilitate packing more infor- Forgoodhigh -frequency re- format. mation onto the tape, thereby en- sponse, the transport must maintain One problem is that tape record- hancinghigh -frequencyperform- good tape -to -head contact. This is ing tends to add noise or hiss to the ance, tape manufacturers turned to

24STEREO REVIEW MAY 1990 INVESTING IN SOUND? rsz rg-3-11 fris 0 0 El El 0 El El 0EJ 000 CI El 0 0 0 0 0000

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Stereo Review is written for people You'll appreciate our straightforward who want to make smart buying explanations of audio technology. Tell- decisions. We'll help you find the ing you how to get more out of your right stereo equipment-the first equipment. Announcing important time you buy-and show you how to breakthroughs. Clueing you in on pro- use it the right way. Because sound fessional maintenance tips. The kind information is the key to getting of inexpensive know-how that can an audio system thatwill make a million -dollar dif- give you what you really ference in how your system want. sounds. We test over 70 stereo Even if you already have products in all price the perfect system, you'll ranges each year. Stereo value Stereo Review's Review's product evalua- record reviews. An average tions tell you how the com- of 30 a month, in all cate- ponents sound ... identify gories of music. They'll unique features ...compare ensure that your system's models to others in the power isn't wasted on same price bracket. We inferior recordings. warn you about design Subscribe to Stereo quirks, distortion, potential problems.Review at up to 62% OFF. It's one of We make the components suffer- the best sound investments you'll so you don't have to. ever make! 1 YEAR (12 issues) JUST $13.94 -SAVE 54% 2 YEARS (24 issues) JUST $24.94 -SAVE 59% 3 YEARS (36 issues) JUST $34.94 -SAVE 62% STEREO REVIEW P.O. BOX 52033, BOULDER, COLORADO 80322-2033

Orders outside the US.: in Canada please add $5 per year for postage, foreips orders add S8 per year. Payment in U.S. funds must accompany order. Annual newsstand cost is S30.45. The hill one-year subscription price is SI3.94. Please allow 30 to 60 days for delivery of first issue. GREAT BUYS -AT A GREAT BUY: SAVE UP TO 62%! the development of higher -quality termine and set the bias that will worse medium: the audio tracks on magnetic materials in the tape itself. yield low distortion and flatfre- videocassettes. The tape speed is At first, this meant refinements to quency response. much slower even than a cassette's, the material then being used, ferric- For a number of reasons, obtain- and the conventional audio track oxide (inits natural form, that's ing flat frequency response and low along the tape edge (called a linear rust). Finer milling of this oxide noise requires equalization (EQ) in soundtrack) is narrower-and to get allowed some improvement in re- both recording and playback. There stereo sound, performance has to be sponse, and it is still used in what are two standard playback -equaliza- degraded even further by splitting are called normal or Type I tapes. tion curves for cassettes, one for the track, although this loss can be There appeared to be a limit to Type I tapes and another for Type II offset to some extent by the use of what could be done with iron ox- and Type IV tapes that takes advan- Dolby noise reduction. ides, so eventually an entirely new tage of their better high -frequency Conventional video soundtracks chemical was introduced-chromi- performance to reduce noise. The were probably beyond fixing, so the um-dioxide, or Cr02-which could recordingequalization,however, VCRdevelopers came up with a sys- be milled into much smaller parti- can be whatever is necessary to get tem using audio -frequency modula- cles. Chrome formulations are also flat response with a given tape in a tion (AFM) for hi-fi Vol sound. The known as high -bias or Type II tape. given machine with the appropriate threeVCRformats accomplish this Soon, however, advanced ferric- playback equalization. in slightly different ways, but the oxide formulas were developed that Decks that automatically opti- effectis the same: The audio is had similar performance character- mize bias for a specific tape often turned into anFMsignal, not unlike istics. These chrome -equivalent trim the recording equalization at FMradio, that is recorded on the tapes are also classified as Type II. the same time, but machines that tape diagonally along with the vid- A dual -layertapecalledferri- lack such a facility usually make do eo. The wide bandwidth required chrome, or Type III, was briefly with fixed curves for each tape type for picture information makes this available, but it has disappeared. that will yield approximately cor- technique possible, and the result Some years after the introduction rect results. (If the deck has a bias - approaches digital sound quality. of Type II tapes, manufacturers de- trim control, it can be used to make veloped formulations using pure fine adjustments to the resulting fre- By the Numbers metal powder in the magnetic layer. quency response.) With rare excep- The bandwidth required for video The superior magnetic properties of tions, the switches that set the bias can also accommodate digital re- these metal, or Type IV, tapes give for each tape type also set the appro- cording, andVCR'Shave been com- them outstanding performance, es- priate recording and playbackEQ. bined with outboard digital encod- pecially at high frequencies, and A very recent enhancement to the ers to accomplish this for some practically all cassette recorders can recording process is Dolby HX Pro, years. More recently, the major Jap- accept it. Although metal tape is which varies the bias current ac- anese audio companies developed a expensive, it is often the medium of cording to the amount of high -fre- tiny, stripped -down version of a choice for dubbing cps. quency energy in the signal being VCR mechanismspecificallyde- The problem is that these formu- recorded. As the treble content of signed for audio. Digital audio tape, lationsall requireadifferent the signal increases, HX Pro reduc- orDAT,recorders have been avail- amount of bias from the recorder, es the bias level proportionately, able overseas for several years, of- and if the bias level is not correct for making more of the tape's limited fering a recordable medium with the tape, sound quality will be seri- high -frequency capacity available the same quality level as the com- ously compromised.Allcassette for the music. The result is more pact disc. The version that has been decks now offer a range of bias lev- extended frequency response at high produced is technically calledR- els, the minimum being three switch signallevels and lower high -fre- DAT,the "R" indicating a rotary positions for the three common quencydistortion. Fortunately, head like the ones in video record- types of tape. In many decks, bias high -frequency audio signals have a ers. An alternative system, S-DAT switching is automatic, based on biasing effect as well, so the reduc- ("s" for stationary head), has been sensing special cutouts in the cas- tion in ultrasonic bias when they are demonstrated only in prototype. sette shells. Manual or automatic, present does not result in the in- Political problems have keptDAT the adjustmentisrather coarse, creased distortion and diminished decks from these shores except in sincethe optimumbiasvaries headroom at lower frequencies that very limited numbers, but the inclu- somewhat even among formula- one would otherwise expect. sion of a circuit that will restrict the tions within the same tape type. number of direct digital copies that More advanced decks augment Your Head Spins can be made from a digital source- their tape -type switching with con- By open -reel standards, the origi- called the serial copy management tinuous bias -trim controls that en- nal cassette was a hopelessly inferi- system, or scms-may change this able more exact matching to the or system, and the ability of the tape situation, making digital recording particular tapebeing used. The and recorder manufacturers to turn readily and conveniently available most elaborate tape -matching sys- it into a true high-fidelity medium to audiophiles. tems are totally automatic, using has been nothing short of remarka- built-in test oscillators under the ble.Recently,they have turned NEXT Adding on-electronic acces- control of a microprocessor to de- their attention to what is an even sories to extend audio possibilities. 26STEREO REVIEW MAY1990 BLAUPUNKT'S NEW YORK. THE SOUND NEVER SLEEPS. 41111 to.

Night and Gay, the city stays gritty, but noth ng can Fidelity and purity cf reception are phenomenal. stop the Blaupunkt sound. Tne New York SC D 08 CD To experience al of Blaupunkt, get to k low the Tuner's transport is prepared for all urban hassles, system totally, 1-1cluding .4C,S Advanced Component absolutely faultless in its tracking without skipping. Series Speakers - now w th advanced ARL acrylic In a great metropolis you demand performance - resin laminated cores -a ld the Power Source 350 and protec-ion. Car power amplifier, Stereo Re ve w says described by the New Ycrk sets Car Stereo anew standard RevAew as for car audio "one of the electronics... most we II - _ . "close totl-e ILLAUPUNKT Calecwramilwamis 4'1..ff YAK Sal 03 executed limits of auto - inn OLD Flol 3T AMI-2 411111 -r -t -n -3 ct products" sound ecstasy:" ' 1015.5 they have

; ') The New ( r FE ever tested. York's digital TFEBLE ar Of course, reproduction Blaupunkt technology employs a 3 -beam laser CD Players aren't confined to New system, oversampling and a dual York Listen to the New Orleans, 16 -bit DiA converter. Track Prog-am the Atlanta. Ihe CDPC1, or the Memory can recall the progra-nmed iewCDC01, a uniqL e 12 -disc order fcr L p 7o 18 separate CDs CE changer with Remove Cc m - and the wnole system is secured by man d ar. For the ocation of the a 4 -digit personal code, wth Dptional 3utho-rzed dealer nearest ycu cal shuttle. Tune in the trendy or exotic. The 1-300-23'i-7999. No matter w here you ive, HI-FI tune- y elds extraordinary frequency Braupunki creates the Big City sound. response from 20Hz to 18k1 -z, practically the range of human hearing. BLAUPUNKT d\A BoschTelecom The Blaupunkt name and BLUE DOTsymbol are registered 7rademarkso Blaupunkt-WerkeGi-nbH BoschTelecom 990 Roper Bosch Corporation CIRCLE NO 67 ON READER SERVICE CARD Cruise '1 Town Missing

BA SS 0 TREBLE Take your time about it because Sherwood channels of built-in amplification, and up to EJECT cassette -receivers give you a lot of music twenty watts of power per channel. along the way. We pull in stations you Sherwood receivers have an exceptional LOUD VOL/BA IIPUSH) wouldn't hear otherwise, and we provide you range of convenience features. We offer auto DOB BAND 1 with 30 station presets to keep track of them presets, full logic, automatic loudness com- (Th MS - all. We made the world's first digital tuner RE pensation, auto -reverse, automatic noise 4 back in 1973, and we're still a leader in tuner control, and an automatic memory system. technology. You can let the top down too, And we don't neglect performance features. Whatever you drive, we've got a deck to because Sherwood receivers have the muscle Metal tape capability and Dolby' are fit your system. We make shaft mounts, Din to make themselves heard. Most have four standard in many models. mounts, and slide -out security mounts. kough Without 1.Si a1.

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by Ken C. Pohlmann But no matter how many bits are negative values would create a net converted, or at what rate, the tech- value of zero, but if the positive niques are all quite similar. The pulses predominated, the waveform waveform is constructed sample by would have a positive amplitude. In sample, with each sample repre- practice, the output from the D/A senting the amplitude of the wave- converter can take any of several form at that moment. One way of different forms, such as pulse -densi- understanding that processisto ty modulation (PDM), as just de- think of astaircase of building scribed, or, more commonly, pulse - blocks: The height of each step can width modulation (PwM). In any be defined by the number of blocks case, the beauty of the method is used to build it. This method works that every pulse is either of exactly well, but the height of a step may the same duration (in PDM) or of a not correspond to what you would duration that is an exact multiple of expect from multiplying the height a pulse one unit wide (in PwM). Lin- of an ideal block by the number of earity is thus essentially perfect at blocks used to make the step. In all levels. particular,problemsoccurwith But one more step is required to very short steps. When the number make1 -bit conversion practical- of blocks is few, an error in the size anequallyamazingtechnique of any one of them would result in a known as noise shaping. Requantiz- relatively large error inthe step ing the 16 -bit data from a CD to a height. The same is true for audio signalconsisting of many more conversion: Low-level nonlinearity "smaller" data packets, as is neces- is the bane of conventional conver- sary in 1 -bit conversion, introduces siontechniques.WhenJulian a large amount of noise. As it natu- JUST ONE BIT Hirsch measures a CD player's low- rally occurs, this noise is more or level nonlinearity at -90 dB, the less evenly distributed across the typical error of several decibels is bandwidth of the system. Noise JUSTwhen you thought you the tell -tale sign of converter non - shaping pushes down the noise level were getting a grip on what to linearity. in the audio band at the expense of look for in a compact disc To overcome this problem,1 -bit increasing it at ultrasonic frequen- player, they had to go and converters take an entirely new ap- cies.But noise above the audio reinvent everything. Suddenly proach. Instead of using 16 or more band doesn't bother us; we simply thereare two radicallydifferent bits, they use 1 bit at a very fast rate filter it out. The result is a marked types of CD players to choose from, of perhaps 11 MHz -256 or more decrease in noise below 20,000 Hz, and that means more confusion for times faster than the data output where it counts. The bottom line is buyers. There are, however, some from the CD itself. But how can a apparent: With 1 -bit D/A conversion very real consumer benefits to be single bit construct an audio signal? and noise shaping we get both excel- derived from the new technology. After all, a bit can represent only lent linearity and very low noise. Known generically as1 -bit digi- two values, such as zero and one or If techniques like this are so good, tal -to -analog (D/A) conversion, this positive and negative. One way to why didn't anyone use them before? new approach is coming to market understand the method is this: Vis- Simple. The technology didn't exist in several more or less distinct vari- ualize a white paper disc mounted untilrecently.Inparticular,the ations and under an even larger on a pencil point. Spin the disc amount and precision of number - (and growing) number of trade quickly, and it appears white. Now crunching performed inside these names. Far from a mere marketing draw a few black spokes on the disc; systems is awe-inspiring. The meth- ploy,1 -bit technology tackles the when it spins it will appear some- od is so complicated that manufac- Achilles heel of digital audio-the what gray. Add more spokes, and turers vehemently disagree on how minute errors that occur when ana- the gray becomes darker. Cover the best to implement it. Philips, Mat- log signals are converted to digital disc with spokes and it will appear sushita (Technics and Panasonic), ones and then back again. black. Depending on the ratio of Sony, and JVC alluse different Until now all CD players used PCM spokes to paper, we can get any kinds of output signals, with vary- (pulse -code -modulation) converters shade from white to black. ing oversampling rates and degrees in which 14, 16, 18, or more bits are A 1 -bit audio D/A converter works of noise shaping. As usual, that kind simultaneously converted into an in much the same way. For exam- of diversity creates heavy competi- analog voltage. A rapid succession ple, the single bit could form either tion between manufacturers. Better of digital -to -analog (D/A) conver- a positive or negative pulse, with yet, however, is the impetus it gives sions at a rate of 44.1 kHz-or, in the varying ratio of positive to nega- to continued rapid technological de- oversampling players, some even tive pulses determining the shape of velopment. And the ultimate bene- multiple of that rate-shapes the the final analog waveform. In this ficiaries of that development? We, output waveform. system,alternatingpositive and the music lovers.

30STEREO REVIEW MAY 1990 kT

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CONCERTS, FULL-BLOWN any electronic parts store or from Radio by Ian G. Masters Shack. OPERAS AND THE LATEST Most such supplies are fairly limited as to the amount of current they can MUSIC VIDEOS, provide, however, so it's usually not a good idea to try to run an autosound REPRODUCED WITH power amplifier from one. I would sug- UNMATCHED SOUND gest you buy either an amplifier designed to run on AC or a pair of powered AND DELIVERED RIGHT TO speakers. You could still use the amplifier built into your car stereo unit, if it YOUR DOOR? has one, when listening in your car. Driving a Sub'woofer QIuse a small amplifier to drive a single subwoofer. Right now, the amplifier reproduces the entire musical spectrum. Is there any way I can filter JOIN THE CLUB. out the higher frequencies before the amplifier's input so I can use all of its power for the low bass? For the biggest selection of laserdiscs CHRIS LIVINGSTON available all you have to do is pick up Sumter, SC the phone. Isn't technology wonderful? It should be fairly easy to buy or build a simple low-pass filter to do 1800 322 2285 what you want; even easier would be to purchase an inexpensive graphic equal- LaserDisc Fan Club" Speaker Deterioration izer and use it to attenuate everything QMy speakers are ten years old, and above yoursubwoofer'soperating recently I began to notice a 'fuzzi- C LamOle FcmCS.01990 range. Neither is likely to offer much ness" in the bass from one of them. benefit however. Your headroom might When I removed the grille, I noticed that increase by a couple of decibels or so, several bits of the woofer's foam sur- but you probably wouldn't notice the round had loosened and become crum- difference. It would hardly be worth the bly. The same was true with the other trouble or expense. speaker. Is this usual? MOST LASERDISC PLAYERS THOMAS E. ABBOTT Spartanburg, SC Off -Speed Recordings ARE MISSING QAfter synchronizing identical re- AUnfortunately, it's not at all un- cordings on my CD player and my AN IMPORTANT COMPONENT. common. The material used for quartz -locked turntable. I have .found some of the early foam surrounds several CD'S that run slower than their turned out to be unstable after a num- analog counterparts, and their pitch is ber of years, although the manufactur- thus noticeably lower. Which source is ers who used it didn't know it at the likely to be correct, and why is there a time. The only solution is to replace the difference? woofers; the modern versions generally MAX CHRISTOFFERSEN use different materials and won't deteri- Washington, DC orate in the same way. A I have never encountered this particular phenomenon, so I can only Autosound at Home hazard a guess as to what is going on. QSince car stereo components are so Engineers who master vinyl records compact, and therefore convenient have been known to take considerable for small apartments, is there any feasi- liberties with the source material, either ble way to use them with ordinary AC to offset some of what they believe to be power and some sort of adaptor? the limitations of the medium or simply MARTIN LEVINE to fit the whole recording on the disc. Brooklyn, NY One way to do the latter is to roll off the low frequencies, which typically take up Now thousands of movies, concerts, and It's fairly simple to do and has the operas are iust a phone call away. Find more surface area than other parts of advantage not only of saving space the spectrum, with the result that many out what's missing. Pick up the phone. at home but also of allowing you to use LP'S exhibit weak bass compared with the equipment in your car as well, their cassette or CD equivalents. Anoth- assuming you buy pull-out compo- er, more drastic measure is simply to 1 800 322 2285 nents. Most autosound gear can be pow- speed up the master tape a bit; that may ered effectively by a regulated 12 -volt be what happened in the instances you LaserDisc Fan Club power supply, which is available from discovered. With the greater recording

32 STEREO REVIEW MAY 1990 O laser011e Fan CubMO CIRCLE NO. 173 ON READER SERVICE CARD Motley Crue Tears For Fears. Dr. Fee good The Seeds Of Love 13928 33653 A Great offer just got better!

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Pavarotti: Passions Title song, Era de Mag- etc. MCA 00621 For Now, etc. Atco 64257* gio, more London Digital 15441 The Stetter Brothers: Ghostbusters II/Soundtrack Bobby Brown. Live And Sold Out Alabama: Southern Star Song Of The Mercury 70440 South. title song, etc. RCA 00914 Run -D M C . more MCA 51964 The B -52's: Cosmic Thing L. A. Guns: Cocked And Loaded I Wanna Jerry Lee Lewis: Great Balls Of Fire Channel Z. Dead Beat Club. 64121 (Original Soundtrack) Polydor 54320 Be Your Man. etc Vertigo etc. Reprise 14742* The Judds: River of Time One Man Woman, Van Halen: OU812 Feels So Good, Cabo The Doobie Brothers: Cy- Young Love, etc. RCA 01027 Wabo. etc. Warner Bros 50913 cles The Doctor, One Chain. Randy Travis: No Holdin' Back Its Just A The Empire Brass: A Bach Festival Jesu. more. Capitol 73187 Matter of Time, etc Warner Bros 34766 Joy of Mans Desiring, etc Angel Digital 64211 Perlman: French Violin Showpieces New Ziggy Marley And The Melody Makers: One Great Love Songs of The '50s & 60s. Vol. 1 York Phil ,Mehta. DG Digital 15457 Dirty Dancing/Original Motion Picture Soundtrack RCA 82522 Bright Day Virgin 54093 Original hits' Laurie 20768 Starship: Love Among The Cannibals Its Beastie Boys: Paul's Boutique Hey Ladies. Winger Headed For A Heartbreak, Seven- Not Enough. etc. RCA 44488 The Cult: Sonic Temple Fire Woman. Sun King, etc. Sire.'Reprise 01015 Egg Man. etc. Capitol 53976* teen, more. Atlantic 00830 White Lion- Big Game Atlantic 30143 Ronnie Milsap: Stranger Things Have Hap- Barry Manilow Please Dona Be Scared, etc Rock, Rhythm & Blues Rick James. Elton Melissa Manchester: Tribute Walk On By. Arista 01049 Travis etc Warner Bros.92499 pened Houston Solution. etc RCA 01028 Tenderly. etc Mika 7G403* Dolly Parton, Linda Ronstadt, Emmylou Anderson. Bruford, Big Daddy Kane: It's A Big Highway 101: Paint The Town Who's Lonely Wakeman, Howe Brother Daddy Thing Smooth Oper- Harris: Trio Wildflowers, etc. Warner Now, etc. Warner Bros. Dig 14820 14804 01 Mine. etc. Arista 01115 ator, etc. Cold Chilli 34675* Bros Edie Brickell & New Bohemians: Shooting Tors Tore: Surprise Attack Walkin Shoes. Led Zeppelin IV (Runes) Rubber Bands At The Stars Geffen 00789 Stairway To Heaven. etc Jane Jrrk sons 28 Days. etc MN 44197* Atlantic 12014 Nation Del Leopard: Hysteria Armagedcon It. Olivia Newton -John: Warm And Tender Animal. Rocket, etc. Mercury 00927 Reach Out For Me. etc Geffen 21993 K.T. Dalin: This Woman -2386 Hold Me, Money, title song. Anne Murray: Greatest Hits, Vol. 2 IfINever Heiletz: Decca Masters, Vol. 2 Summer- more. RCA 00579 Fall In Love Again, etc. Capitol 33332 time. more MCA 00605 Horowitz Plays Mozart 10.000 Maniacs: Blind Man's Zoo Trouble Neil Young: Freedom Rockin In The Free Concerto No. 23 in A, more Me. Headstrong, etc. Elektra 30236 World, more Reprise Digital 54012* DG Digital 15436* Earl Klugh: Solo Guitar Its Only A Paper Poco: Legacy Original Call It Love. When It Bon Jovi: New Jersey 111 Be There For You, Moon. etc. Warner Bros 63942* All Began. etc RCA 54060* others. Mercury 00516 Kiss: Hot In The Shade Mercury 53475 ZZ Top: Afterburner Sleeping Bag. Woke Up With Wood. etc. Warner Bros. 64042 lee I YOUR SAVINGS START HERE-Complet?, And Mail This Card Today!I Billy Idol: Vital Idol. Mony Mony, White Wed- ding. etc. Chrysalis 54038 r YES, please accept my membership in the BMG Music Service and send me the four hits I've Great White: Twice Shy Once Bitten Twice Shy, etc. Capitol 01100 indicated here, billing me for just shipping and handling under the terms of this ad. I need buy just Rickie Lee Jones: Flying Cowboys Satel- one more hit at regular Club prices during the next year-after which I can choose a 6th hit FREE! lites. etc. Geffen Digital 94110* And, ifI select compact discs, I also get to choose 2 extra CDs free. (A shipping & handling charge Love And Rockets So Alive.I Feel Speed, others. RCA 01083 is added to each shipment.) The Duke Ellington Orchestra: Digital Duke I am most interested in tne Satin Doll, etc. GRP Digital 63356 SEND MY SELECTIONS 1 EASY LISTENING (Instrumental Vocal Moods) ON 'check one only) musical category checked here- George Strait: Beyond The Blue Neon Title but I may always feel free to 2 COUNTRY 3 HARD ROCK hit. etc. MCA Digital 01025 COMPACT DISCS" choose from any} 4 POP SOFT ROCK 5 CLASSICAL Prince: Batman/Sdtk. Batdance, Electroc CASSETTES (check one only) Chair. etc. Warner Bros 60344 RECORDS MR. RUSH ME MRS TWIN Double the music First Name rnirial Last Name (PLEASE PRINT) THESE 4 HITS MISS SETS Count as one! (Indicate by number) Address Apt. U2: Rattle And Hum When Love Comes To Town, more. Island 00596 Zip The Jimi Hendrix Experience: Electric City State Ladyland Voodoo Chile) etc Reprise 23362 Sting: Nothing Like The Sun We It Be Telephone I Together, etc A8M Digital 73965 A ea Code The Beach Boys: Made In U.S.A. Good Vibrations, etc Capitol 64143 Signature Dokken: Beast From The East Unchain The Have you bought anything else by mail in last 6 months year never Night. etc Electra 00717 Nitty Gritty Dirt Band: Will The Circle Be 'Members who ;elect compact discs will be serviced by the BMG Compact Disc Club current BMG CD Club 93648 NESAMF-1. members not eigible Full membership details will follow Unbroken, Vol 2 tiniver,.11 with same 10 -day, no -obligation privilege MAI Nine U9V ZEU9V The Who: Who's Better. Who's Best My Selections marked (x) not available on record. Generation. etc. MCA 00790 IIVE I. al Ili We reserve the right to request adlitional information or reject any applicationLimited to new members SERVICE= if any will be added Selection marked l I not available on record continental U S A only One membership per family Local taxes Aerosmith. Pump Enjoy Spectacular Savings On Tracy Chapman. Compact Discs, Cassettes Or Records! Crossroads 42456 63678

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MS379A BMG Music Service 6550 E30th St Indianapolis. IN 46219-1194 TRADEMARKS USED IN THE ADVT ARE PROPERTY OF VARIOUS TRADEMARK OWNERS 'Selection marked I.) not available on record. 1.1..1.111111.111111111111111111111111111111111111111 AUDIO &A time of the CD, there is no need to take them onto the other deck at its higher Also, if you can find one of the few such actions for fit, so I suspect that the speed (71/2 ips, for instance). When you early cassette decks capable of operating digital recording is correct. play this copy back at the machine's at double speed, you can eliminate one slower setting (33'4), the pitch should be generation of copying. Play your origi- correct, although you may hear some nal at 33'4 ips on the open -reel machine Duplicate MTh degradation in the high frequencies and and copy it on the cassette deck at its QI'm contemplating adding stereo a slight increase in noise. Still, that's higher speed. The copy should then play TV to my system. Is it necessary to better than nothing. This version can be normally at the slower speed on any have MTS stereo capability in both the dubbed directly onto a cassette. other cassette deck. television set and the VCR. or can I get away with just one being stereo? ERIC J. WEDEL Tulsa, OK

AThe only time you need MTS capability in both is for recording one stereo program while watching another. If that isn't important to you, one MTS decoder should be enough. Whether it should be in the VCR or the Tv set depends largely on how the rest of your system is set up. If, for example, you listen through a separate stereo system, then either would work, although it is often more convenient to feed the stereo signal from a VCR. If you prefer to listen through stereo speakers in the television itself, the set will probably have an MTS decoder as well; as long as there are audio outputs on the set and your VCR can record stereo, there's no need for the recorder to have its own decoder. You would, however, have to leave the TV on when you wanted to record stereo.

Open -Reel Conversion QIhave an old open -reel tape recorder that includes the speed of 174 ips. The machine is beyond repair, and I have been unable to find a replacement deck that includes the slow speed. I have tapes recorded at 174r that I would like to transfer to cassettes. Can you suggest Aff-1 any way to do it? PETER BOYD La Romain, Trinidad and Tobago FINALLY, YOU DON'T AThe 17/13-ips speed was fairly rare even in the heyday of open -reel (it NEED A DUAL INCOME is, of course, the cassette standard), although a number of manufacturers did offeritinthe early Seventies. TO AFFORD DUAL WOOFERS. Almost all of these were European: Phil- ips (Norelco), Braun, Uher, Tandberg, The new Advent® Heritage loudspeakers offer handcrafted pecan and Ferrograph all had such decks. You cabinetry and digital -ready, dual -cone technology. might be able to track one of these down in the secondhand market by placing a Two 8 -inch, high -excursion woofers produce low frequencies, classified advertisement in STEREO RE- while the ferrofluid filled, polyamid tweeter provides wide dispersion VIEW or another hi-fi publication. and imaging of higher frequencies. If you can't find a deck that will play THE HERITAGE BY your tapes directly, however, there is a So when you get a pair, you way to cheat. You will require two won't spend a fortune. It will only open -reel decks, both of which have at ///A D V E least two operating speeds; one of these sound like you did. Sound as it was meant to be heard must offer 33'4 ips and have the same (g), .1990 Intemabonal Jensen Inc track configuration (quarter- or half- Advent. is a registered trademark or Intemabonal Jensen Inc track) as your tapes. Play your tapes MUM back on this machine at 334 and record CIRCLE NO. 30 ON READER SERVICE CARD STEREO REVIF.W MAY 199033 TECHNICAL TALK

To appreciate why this is so, con- from the speakers, has been re- byJulian Hirsch sider what a speaker does and what flected from one or more room the listener actually hears. A speak- boundaries (walls, floor, or ceiling) er generates a series of pressure as well as from objects in the room waves-compressions and rarefac- before reaching your ears. The re- tions of the air surrounding it-that flected sounds travel a longer path move outward from its driver dia- than the direct sounds and arrive phragms and propagate through the later. Also, the absorption of differ- listening area. When these waves ent frequencies by room boundaries impinge on a person's ears, they are and furnishings gives the reflected perceived as sound (analogous to sound a different frequency content the original source program, one than the direct sound has. There is hopes).Anotherfactor,perhaps good reason to think that direct more important than the speaker sound provides the directional clues itself, is the interpretation of those you need to locate the source of the sounds by the listener's brain, which sound, while the delayed compo- is undoubtedly different for every nents flesh out the acoustic picture human being, wherever he may be by conveying the sense of space that located. is so important to realistic music Most speakers radiate their sound reproduction. in a directional beam whose width How does one deal with this situ- decreases with increasing frequency. ation when attempting to measure Low frequencies arepropagated the frequency response of a speaker? more or less uniformly through the Frankly, I know of no really satis- room, but high frequencies are at- factory solution to the problem. MEASURING tenuated for listeners not located on Speaker designers and manufactur- SPEAKER RESPONSE the speaker's forward axis. Clearly, ers may use costly anechoic (echo - no single frequency -response plot free) rooms, which essentially elimi- can completely define the response nate reflections. This approach is OST audio measure- of such a speaker (which category excellent for developing or testing mentsarereasonably includes virtually every speaker sys- drivers or making certain engineer- easytoperform and tem ever made). A family of curves, ing evaluations of complete sys- AIL V yield meaningful results, measured atdifferenthorizontal tems, but it tells us little about how assuming the availability of suitable and vertical angles to the speaker's a system will sound in a normal lis- test instruments. For instance, ra- forward axis, would come closer to tening room. A popular and more dio -frequency (RF) measurements, providing this information, but they economical alternative is the use of particularly on FM tuners, can in- would be time-consuming to make fast -Fourier -transform (FFr) analy- volve some rather critical proce- and difficult to interpret, especially sis, which can perform quasi-ane- dures, but they are still relatively in subjective terms. choic measurements in a normal repeatable and often correlate quite There is a further complication: room environment, but this comes well with the listening quality of the The sound emitted directly from the no closer to measuring actual sound component under test. speaker is not the only sound that a quality. In fact, only the human ear/ Acoustic measurements are quite listener hears. In fact, it may be a brain combination can truly gauge another matter. No matter how it is very small fraction of the total sound quality, and then only for the derived,a "frequency response" sound field at the listening location. individual whose ear and brain are plot of a speaker's output does not Most of the sound you hear, assum- doing the analysis. necessarily convey a sense of its ton- ing you are at a reasonable distance Is the task hopeless, then? Not if al balance (as does, say, the frequen- you are willing to set your sights a cy -response curve of an amplifier). bit lower than the ideal of measur- Even without considering the meas- Tested This Month ing sound quality in some absolute urement conditions, the truth of sense. Accepting the impossibility this statement is obvious. A given of making a rigorous and meaning- speaker will sound different in each ful measurement of a speaker's out- room in which it is installed. Fur- Sony CDP-X5 5ES put, I have for many years used a thermore, it will sound different at Compact Disc Player composite method involving meas- every placement within a given ADC Soundshaper 3025 urement of the speaker's room re- room, and for each placement it will sponse plus a close-miked measure- sound different at every listening Speaker System ment of its low -frequency output locationintheroom.Clearly, Luxman R-114 Receiver (up to about 300 Hz or so). The lat- speaker frequency -response curves ter half of the procedure, developed must be interpreted with more than Acoustic Research Spirit by renowned speaker engineer Don a grain of salt. 162 Speaker System Keele a number of years ago, gives

34 STEREO REVIEW MAY 1990 Lossmamomommiminmomull Old Records, New Life

Iwanteda better cassette deck. So one Saturday I dropped by a hi- fi store. The salesman took me into one of the sound rooms for a demonstration. Racks of equipment were everywhere. He started to make a recording and I immediately fell in love with the music. It was so clean, so rich, so dynamic. "What CD is that?" I asked. He didn't hear me over the music but it didn't matter because I quickly saw that I wasn't listening to a CD at all. It was a record. I made quick mental notes of the system I was hearing. I walked over to the wall of speakers and discovered that KLIPSCH® kg4s® were playing. That was the first time I had truly heard wide dynamic range. I didn't buy a cassette deck that day. I spent less money and bought a new pair of kg4s. They've put new life in my old record collection. My CDs sound simply awesome. I never heard music so dearly.

For your nearest KLIPSCH dealer, look in the Yellow Pages or call toll free, 1-800-395-4676.

klipschA LEGEND IN SOUND' P.O. BOX 688 HOPE, ARKANSAS USA 71801 CIRCLE NO. 2 ON READER SERVICE CARD L 0 U D S P E A K E R S TECHNICAL TALK

AUTHORIZED DEALERS the equivalent of the anechoic re- roughly approximates a speaker's CANADA Cii Canada 1416) 151-4520 sponse in a frequency range where total power output in the forward AL Birmingham. Audition AZ Phoenix: Buzz Jensen's Sound Advice. Hassler s Tucson: Wilson anechoicchambersareprohibi- hemisphere, and the close-miked Audio tively large and expensive. woofer curve is equivalent to its CA Alhambra: Valley T V Berkeley: Honkers Sound Beverly Hills: Sound Center Capilola: Capitola Audio Claremont: Omega High Fideli- I measure the room response with anechoic response, they represent ty Culver City: Audio Video City Dublin: Stereo Plus Encino: Sound the speakers in a normal stereo con- somewhat different aspects of the Factor Fresno: Boot's Glendale: Marconi Radio Irvine: Sound Quest Lancaster: California Sound Works Los Angeles: Henry Radio. figuration at the front of the room speaker's performance. Neverthe- Hollytron.Radioactive Sound Monterey: Monterey Stereo N. and the microphone about 12 feet less,I combine the two curves to Hollywood: Sound Factor Palo Alto: Audible Difference Pasadena: Sound Factor Redondo Beach: Systems Design Group Sacramen- away on the axis of the left speaker. obtain what I call the "composite to: Paradyme San Diego: Sound Company. Breier s Sound Center The speaker outputs are plotted, corrected frequency response." San Francisco: Stereo Plus. Harmony Audio San Gabriel: Audio Concepts San Luis Obispo: Audio Video Concepts San Raphael: one at a time, on a single chart. Thereisabitof art(actually Catania Sound Santa Rosa: Catania Sound Sherman Oaks: Sher. Since the simultaneous presence of informed guesswork) involved in manidyeo0aks Camera Tustin: Digital Ear Woodland Hills: Wilson Audio direct and reflected signal compo- splicing the two curves together, but CO Avon: Mountain Music Boulder: Listen Up Colorado Springs: nents produces an extremely irregu- the goal is to create a curve that rep- Listen Up Denver: Listen Up CT Danbury: Hi Fi Stereo Consultants Fairfield: Audio Design Hart- lar frequency -response plot in a live resents, as well as possible, the total ford: Stereo Shop New Haven: Audio Etc Norwich: Sound One room, the sine -wave test signal is DC Washington: Myer Emco power output in a 2T space for fre- FL Coral Gables: Sound Components Ft. Lauderdale: Audio Center simultaneously "warbled" infre- quencies above about 300 Hz and Largo: Sound Creations Melbourne: Sound Gallery Pod Ste. Lucie: quencyover a one -third -octave Southern Audio Video Tampa: Audio Visions Tequesta: TV & Audio the anechoic response below that Center Vero Beach: Audio Images Winter Park: Absolute Sound range asitis swept from 20 to frequency. To the extent that this GA Atlanta: Sounds of Distinction Marietta: Music Audio Savan- nah: Audio Warehouse 20,000 Hz over a 15 -second period. process works, it indicates the gen- HI Hilo: Hilo Audio Honolulu: Media Systems. Sam Sung Electronics This smooths the plot, leaving two eral nature of the speaker's response IA Iowa City: Woodburn Sound Service Sioux City: Pllanz Electronics IL Aurora: Stereo Systems Bloomingdale: Audio Visions Cham- curves that vary slightly but have in a normal room and the approxi- paign: Glenn Poor's Chicago: Paul Heath Evanston: Audio Con. generally similar shapes. An average mate limits of its bass response, sultants Hinsdale: Audio Consultants Joliet: Stereo Systems Kankakee: The Shoppe Libertyville: Audio Consultants Naperville: line drawn through the two curves is which will usually be a little deeper, Stereo Systems Springfield: The King's Stereo the speaker's averaged room re- if not as smooth,ina normal KS Overland Park: Audioport Ltd Prairie Village: Golden Stereo Wichita: Custom Sound sponse. room. KY Louisville: Musical Images To reduce the test room's in- I freely admit the weaknesses of LA Baton Rouge: Art Colley's Audio Specialties New Orleans: Wilson Audio fluence on speaker measurements as this technique, which sometimes MA Boston: Goodwin's Braintree: Nantucket Sound Danvers: much as possible, I have calibrated Tweeter Etc Framingham: Natural Sound Hyannis: Nantucket Sound suggests a sound quality thatis N. Attleboro: Audio Concepts Northhampton: Sound and Music the room using a pair of reference totally at variance with what I hear Shrewsbury: Tweeter Etc speakers whose acoustic power re- ME Camden: Harbour Audio Video Scarborough: New England Music from a speaker. On the other hand, MD Baltimore: Soundscape Rockville: Myer Emco sponse into a 27r space (the forward thecomposite curve sometimes MI Ann Arbor: Stereo Shoppe Dearborn: Almas Hi Fi Farmington hemisphere) is known, based on Hills: Almas Hi Fi Flint: Stereo Center Lansing: Stereo Shoppe comes surprisingly close to "looking Royal Oak: Almas Hi h Saginaw: Stereo Shoppe Stevensville: Stereo hundreds of measurements made by like" the sound of the speaker. The Shoppe MN Minneapolis/SI. Paul: Hi Fi Sound. Sound Center the manufacturer at various angles best justificationIcan offer for MO SI. Louis: Antech Labs. Flip's Stereo Place relative to the speakers' forward usingitis simply that no other MS Starkville: Ideal Acoustics MT Great Falls: Rocky Mountain Hi Fi axes. Correcting room -response measurement method I have seen NC Charlotte: Higher Fidelity Morgantown: Mac's T V Raleigh: measurements using this calibration or used has been able to generate a Audio Advice Wilmington: Atlantic Audio Video NE Omaha: Custom Electronics adds a slight boost above 10,000 Hz single response curve whose shape NH Nashua: Tech Hi Fi Portsmouth: State StDiscount to a speaker's measured output. matches a speaker's sound quality NJ Cherry Hill: Soundworks Kinnelon: Sound City Lawrenceville: Hal's Stereo Montclair: CSA Audio Design Paramus: Leonard Radio Inasmuch as the room response as well as this one does. Princeton: Woodbridge Stereo W. Long Branch: Woodbridge Stereo Woodbridge: Woodbridge Stereo Wyckoff: Conklin Audio NM Albuquerque: Hudson's Audio Carlsbad: Beason's Santa Fe: The Candyman NV Las Vegas: Union Premiums Reno: Audio Alternatives NY Albany: Altair Audio Batavia: Unicorn Audio Boonville: Adiron- dack Music Lynbrook: American Audiophile Mamaroneck: Audio 4W4' Experts Merrick: Performance Audio Video Nanuel: Ear Drum New York City: Leonard Radio. Lyric Hi Fi. Park Place Audio. Stereo IA:17 CIL Exchange Orchard Park: Stereo Chamber Patchogue: Square Deal *52)11,i0liT: Radio Queens: Leonard Radio Rochester: J8 Sound Southhamp- ton: Charos Custom Sound White Plains: Lyric HiFi OH Cincinnati: Audible Elegance Dayton: Carlin Audio Dublin: Audio Encounters Heath: Threshold Audio Toledo: Jamieson s Stereo Warrensville Heights: Hoff man's Stereo OK Oklahoma City: Audio Dimensions Tulsa: K -Labs OR Beaverton: Chelsea Audio Corvalis: Northwest Audio Labs Eugene: England Audio. Oregon Typewriter Portland: Chelsea Audio PA Fairless Hills: Audiolab Pittsburgh: Better Sound Concepts Philadelphia & Suburbs: David Mann Audio. Sassafras. Soundex Shill- ington: Phoenix Hi Fi York: Audio Clinic RI Providence: Stereo Discount Center. Middleton: Soundings SC Charleston: Audio Warehouse Columbia: Sound Advice TN Knoxville: Lindsay Ward Memphis: Modern Music TX Amarillo: Sound Systems Austin: High Fidelity Dallas: Preston Trail Audio Denton: Bob Bell Audio Video Ft. Worth: Marvin Elec- tronics Houston: NM Electronics. Groove Audio Video. Sheffield Audio Laredo: Metex Intl Lubbock: Sound Wave UT Salt Lake City: Audition Audio VA Charlottesville: Preferred Sound Falls Church: Myer Emco Rich- mond: Audio Systems Ltd Virginia Beach: Digital Sound Warren- ton: Artistic Audio . . . Note. too, the rather large wonfers on these modest -size speakers. . . ." VT Brattleboro: Scientific Stereo Barre: Ormsby's WA Bellevue: Home Entertainment Olympia: The Audio Experience Seattle: Definitive Audio WI Eau Claire: EME Audio Green Bay: Hi Fi Heaven Madison: 3ti S i I RI ()RI \ II 55 MAN' 1990 Specialized Sound Milwaukee: Audio Emporium WV Wheeling: Sterling Sound JUST LISTEN...

And you have a chance to listen again... as B & W's guest atABBEY ROAD STUDIOS in London, England.

The world's most famous Just visit your nearest author- The Abbey Road recording studio, Abbey Road, ized B&W dealer and experience Cassical Collection- employs B&W loudspeakers for the sound preferred by the B&W's special relationship with all classical music recordings, as world's most demanding listeners. Abbey Road and EMI do most of the world's major You may then qualify to win a makes possible this record companies. trip (for two) to London, very special CD, B & W's Matrix 801 Series 2 England and to receive a including some monitor is the only moving coil special V.I.P. tour of Abbey of the finest, dynamic loudspeaker to be cur- Road Studios as B&W's hon- award winning, rently designated "Class A" by ored guest.* classical selections ever re- Stereophile magazine. (Best corded at Abbey Road. It's yours for attainable sound, without any 121:33 just $5.00 (a $15.95 value), now, practical considerations; "the state only at your authorized B&W dealer. of the art.') LISTEN AND YOU'LL SEE Stereophile, "Recommended Components," Vol. 12 No. 10, Oct. cc 66e y roofa 1989 = = 'No purchase necessary. See your authorized B&W Dealer for details. P.O. Box 653, Buffalo. N.Y. 14240 In Canada: 104 Carnforth Rd., Offer expires July 31, 1990. Void where prohibited by law CIRCLE NO. 49 ON READER SERVICE CARD Toronto. ON M4A 2K7 Adcom's GFP-565Preamp: Pure and Simple.

In Search of Sonic Perfection, Adcom Three Sets of Outputs for the Perfect Took the Path of Least Resistance Balance of Performance and Flexibility

The fewer circuits a musical signal encounters on its You can use one or more sets of outputs: I) BYPASS- way to your loudspeaker system, the greater its muscial direct -coupled before tone controls, filters, etc. for the most purity will be. Now, through obsessive attention to detail direct path to your power amplifier while retaining control and design ingenuity, Adcom has created the GFP-565- of volume and balance. 2) LAB- direct -coupled with no the world's first affordable preamplifier with direct, linear output -coupling capacitors yet with tone, filter and loudness gain path circuitry. By combining the GFP-565 with any controls. 3) NORMAL- same as LAB but with highest of Adcom's power amplifiers, you can experience the quality output capacitors for use with amplifiers needing exceptionally lifelike sound which has astonished even the extra protection of ultra -low -frequency roll -off. the most demanding critics. Bi-amped and tri-amped systems are easily accommodated by this flexible arrangement. From Input to Output, Pure Convenience The minimalist aesthetics of the GFP-565 are the Signal Pathis deceptive in their simplicity. Without being overly complicated to use, this preamplifier is able to integrate as Direct, Pure and and control all of the components in the most sophisticated of music systems. There are five high-level inputsas well Simple as Possible as a phono input. A separate front -panel switch allows the use of an external processor, only when needed, leaving both tape circuits free. And, of course, you may listen to one input while recording from another. More Sound, Less Money- Adcom stereo components have a reputation for sounding superior to others costing two and three times more. Keeping faith with this tradition, Adcom took the path of least resistance. Why not do the same? Askyour authorized Adcom dealer for a demonstration of this remarkable stereo preamplifier. Please write or call fora fully detailed brochure. You'll discover the best value in high performance 8 By gold plating all input and output jacks, and then directly preamplifiers. mounting all jacks, switches, potentiometers and other laboratory grade components on a double copper -plated, glass epoxy printed Pure and circuit board, signal losses and noise are dramatically reduced. simple. details you can hear

II Elkins Road, East Brunswick, NJ 08816 U.S.A. (201) 390-1130 Distributed in Canada by PRO ACOUSTICSINC. Pointe Claire, Quebec H9R 4X5 CIRCLE NO. 60 ON READER SERVICE CARD TEST REPORTS

1 -bit digital -to -analog (D/A) conver- SONY CDP-X55ES sion, which is being used in many newCDplayers. Unlike a conven- COMPACT DISC PLAYER tional multibitD/Aconverter, which re-creates the analog waveform as a Hirsch, Hirsch -Huck Laboratories series of voltage steps, an HDLC converter transforms the digital signal into an extremely high -frequen- SONY'S CDP-X55ESCDplayer tional twenty -four -track random-ac- cy stream of constant -amplitude, is a new member of the com- cess programming mode is unusual variable -width pulses. A low-pass pany's ES series of deluxe au- in that the programmed tracks can filter removes the ultrasonic energy dio components. In its cir- be located on as many as six discs. in the pulse train, leaving the recon- cuitry and operating features, it rep- After each disc is played, the display structed audio waveform. resents a distinct advance over pre- prompts you to load the next disc in Whereas the distortion of a multi - vious Sony models. the sequence. There is also a Time bit converter usually increases at Like other ES components, the Edit feature that automatically se- low signal levels because of nonlin- CDP-X55ES is mechanically rug- lects tracks for tape dubbing so as to earity and zero -crossing distortion, ged, with a heavy cabinet and a cop- fit the maximum number on each HDLC and other1 -bit conversion per -plated metal chassis. For maxi- side of a C-46, C-60, or C-90 cas- systems are inherently very linear mum immunity to vibration, the sette. and distortion -free throughout their playing mechanism is mounted on a The CDP-X55ES features Sony's range. Any 1 -bit conversion process special base of a marble -like resin Custom File system, which enables results in a higher noise level, how- reinforced with glass fiber. The disc the user to store in the player's ever, which Sony reduces by means tray is constructed of the same ma- memory a variety of programming of noise -shaping technology devel- terial, and the mechanism itself is instructions and preferred control oped by NTT (Nippon Telegraph an aluminum die-casting. settings for individual discs, recall- and Telephone). The Sony HDLC The electronicfeatures of the ing them automatically every time D/Aconverter operates at a clock CDP-X55ES are equally unconven- one of those discs is loaded and speed of about 45 MHz, some 1,024 tional. Sony's fourth -generationLSI played. For instance, you can store times theCDsampling frequency of (large-scale integration) chips pro- the desired output setting at the 44.1 kHz. The converter chip also vide a number of special and useful variable -level and headphone out- includes a "direct digital sync" cir- functions. For instance, the Peak puts for any disc at the touch of a cuit that is said to eliminate "jitter" Search feature scans a disc rapidly button, and Custom Index lets you byaccuratelysynchronizingthe to locate the highest peak signal lev- set and memorize as many as ten master clock with the various stages el in the recording. It then plays a index points anywhere on a disc of theD/Aconverter. few seconds of the portion contain- that lacks indexing. The CDP-X55ES shares the dis- ing that level a number of times so One of the key circuit refinements tinctiveandtastefulstylingof that playback or recording levels of the CDP-X55ES is its High -Den- Sony's other ES components, with can be set. sity Linear Converter (HDLC) sys- clearly marked, legible control but- The player's otherwise conven- tem, Sony's proprietary version of tons on its black panel and wood -

STEREO REVIEW MAY 199039 TEST REPORTS

grain -finished side panels. In nor- The disc drawer, which is acousti- andthemusiccalendar,step mal operation, the principal visible callysealedtoexclude external through index points, and search controls are the transport buttons noise from the disc compartment, slowly or quickly in either direction, and a matrix of buttons numbered opens and closes at the touch of an vary the volume setting (the front - from 1 to 20 for direct access to adjacent button. The display win- panel control is motor driven), in- tracks. A small knob adjusts the vol- dow below it shows track and index sert a silent interval between tracks, ume at the headphone jack and the numbers and elapsed playing time. and repeat any selected portion of variable -level output jacks on the It can be switched by one of the the disc (A -B repeat). The remote rear apron, which also has a pair of Custom File buttons to show the track -selection number matrix also fixed -level outputs and an optical time and number of unplayed tracks includes a >20 button that enables digital output. A vertical row of remaining on the disc. A music cal- you to key in tracks up to No. 99. play -mode buttons are markedCON- endar shows the numbers of the The Sony CDP-X55ES measures TINUE(normal operation),SHUFFLE unplayed tracks (to a maximum of 18111 inches wide, 14 inches deep, (random -order playback), PRO- twenty). The display also provides and 43/4 inches high. It weighs 271/4 GRAM(for user -selected track se- information about the settings of pounds. Price: $900. Sony Corp. of quencing), andC INDEXfor the Cus- the special operating features. America, Dept. SR, Sony Dr., Park tom Index function. A narrow door The CDP-X55ES is supplied with Ridge, NJ 07656. at the bottom of the panel hinges a wireless remote control that dupli- down to reveal thirteen buttons, cates all of its main front -panel Lab Tests most of which operate the player's operating controls plus a few of the Output voltage from a 0 -dB re- special features. Among them is a Custom File controls.It includes corded test signal was 2.46 volts repeat button that toggles between buttons that open and close the disc (fixed or maximum variable level). off and repeating a track, the entire drawer, blank the display or have it Frequency response was+0.01, disc, or the programmed sequence. show only the current track number - 0.02 dB from 20 to 20,000 Hz, with channel levels balanced within FEATURES 0.02 dB. The de -emphasis equalization error was ± 0.005 dB from 125 High -Density Linear Converter Can store as many as ten to 16,000HZ. in digital -to -analog (n/A) stage Channel separation was about Rugged construction to disc (Custom Index) 125 dB from 100 to 1,000 Hz, 121.5 eliminate mechanical noise and Shuffle play (random mode) vibration Timer -controlled operation with dB at 10,000 Hz, and 116 dB at Independent D/A converter and external clock switch 20,000 Hz. Total harmonic distor- analog circuit for each channel O Front -panel headphone jack tion (THE) plus noise at a 0 -dB level Separate power transformers for Fixed and variable -level analog was less than -94 dB (0.002 per- analog and digital circuits outputs and optical digital Peak -search to find maximum output cent) from 20 to 20,000 Hz. Whereas volume level on disc Motor -driven volume control for most CD players exhibit greater dis- Programmable to play as many headphone jack and variable - tortion at high audio frequencies as twenty-four tracks on as many level outputs than at low ones, the CDP-X55ES as six discs in any order O Display of track and index Repeats track, entire disc, or numbers, elapsed time in track, hit its minimum of 0.0015 percent programmed track sequence remaining unplayed tracks, distortion at20,000 Hz.At 1,000 Hz, Time Edit selects track sequence status of special features the distortion was about 0.0015 perfor efficient dubbing Wireless remote control with cent at all levels below -10 dB and Fade-out/fade-in; time interval volume adjustment, auto -space, adjustable from 2 to 10 seconds A -B repeat, direct keypad access reached a maximum of 0.0018 per- Can store preferred playback to any track up to No. 99 cent at 0 dB. level for each disc in Custom The low-levellinearity of the File memory Sony HDLCD/Aconverters was exceptional. At -70 and -80 dB, the error was a mere -0.3 dB. At -90 LABORATORY MEASUREMENTS dB, it was +0.2 dB, and at -100 dB Maximum output level: 2.46 volts Frequency response: +0.01, it was only +0.1 dB. A spectrum Total harmonic distortion at -0.02 ,111 from 20 to 20,000 Hz analysis of the CDP-X55ES's noise 1,000 Hz: 0.00164% at 0 dB, ow -level linearity error (with output showed it decreasing from 0.00148% at -20 dB, 0.00135% dither): -0.3 dB at -70 and - 120 dB at 20,000 Hz to -140 dB at at -80 dB -80 dB, +0.2 dB at -90 dB, Signal-to-noise ratio (A -weighted): +0.1 dB at -100 dB 300 Hz. At lower frequencies, the 120 dB Speed error: -0.0012% average value continued to drop, to Dynamic range (EIAJ): 99 dB Slewing time: 1.4 seconds about -145 dB at 30 Hz, with mod- Channel separation: 125 dB at 100 Cueing accuracy: A erate variations around the average. Hz, 125 dB at 1,000 Hz, 117 dB Impact resistance: top and sides, A Power -line hum was almost unde- at 20,000 Hz Defect tracking: tracked tectable, -135 dB or less. Maximum interchannel phase 2,000 -micrometer defects on shift: 0.3 degree at 20,000 Hz The player's interchannel phase Pierre Verany #2 test disc shift varied only ±0.3 degree from 20 to 20,000 Hz. Its dynamic range

40 STEREO REVIEW MAY 1990 S free spirit loves rslc crd drives aFord JBL AJDlio SysteT

She enjoys the freedom of a lifestyle that is about as predictable as the weather. Music is an important part of that lifestyle. And because she loves music as much as she loves life, she drives a Ford JBL Audio System. Designed by Ford and JBL to be one of the most impressive sound systems on the road. The Ford JBL Audio System is quickly becoming a sound standard in automotive audio. Hear it for yourself at your Ford or Lincoln-Mercury dealer. The optional Ford JBL Audio System, the Sound of Quality in selected Ford, Mercury, and Lincoln vehicles.

The Sound of Quality Up CloseNumber 2

When you listen to Clair Mario,you knoll, exactly where

Get an 1 p Ckee 10 -song CI) sampler featuring Inn Clair larlo songs and eight other selections h. Sheffield lab artists. Send check or money order for S3 It .S. funds),to cow

On her debut album, Let It Go, Away, an emotion -filled ballad Clair Mario takes up a posi- co -written by Mario and Steve tion. In your living room. Porcaro of Ibto, the advan- AccurateO recreating Sheffield Lab recordings That's because her music, tages of live -to -two -track tests the limits of man, played through professional - become clear. Close your eyes speakers. But for the T830 It's simph a chance quality components, create - and Clair appears to be singing a true sense of space -a at arm's length. Her delicate, picture in which Mario and breathy voice comes forward other musicians can be and surrounds you. located sonically. Behind her and slightly to The technique used to both sides are four supporting to shoe off. Our (Ti 3 create such realism is called voices. As the music swells in I -Inch dome tseeter. "live -to -two -track" recording manufactured to the intensity, you feel the vocalists Industry's tightest - pioneered by Marlo's record move toward you. In reality. tolerances, recreates label, Sheffield Lab. each singer, including Clair, On 'TI! They Take My Heart was choreographed to step she stands.

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closer to the microphone, The result: an image that creating this effect. closely mirrors reality. And highs with clarity and Live -to -two -track recording we control exery step in that reality adds energy to the smoothness. While the ou' speakers' design and impressive collection of emo- 31/2 -inch copolymer isn't easy. Let It Go required manufacture. In all. the midrange and 8 -inch over a year of preparation, and tional ballads, uplifting gospel some amazing recording equip- anthems and surprising ment and microphones that instrumentals on Let It Go. were specially modified by Visit a Boston Acoustics Sheffield Lab. dealer and ask to hear Clair It also represents the work Mario on a pair of Boston of some incredible players, in- 1830 tower speakers. woofer reproduce the cluding Jeff and Steve Porcaro, Music this good should be depth and color of your heard on speakers this good. music without distortion. Leland Sklar, Luis Conte and T830 typifies the Bosto nlike most competitors, Randy Kerber - all performing sand: tight. clean. smooth. live in the studio and mixed in real time. Boston Acoustics TEST REPORTS

(EIAJ) was 99 dB, with wide -band noise (A -weighted) at -120 dB and quantization noise at -96.4 dB. The frequency (speed) error was -0.0012 percent. The CDP-X55ES trackedthe 2,000 -micrometer calibrated defects of the Pierre Verany #2 test disc with only a single barely audible tick, and it tracked two successive interruptions of 1,500 micrometers without audible errors.Itslaser transport was fast, requiring only 1.4 seconds to move from Track 1 to Track 15 of the Philips TS4 test disc. Resistance to physical shock was very good, with no audible mis- tracking from rather hard knuckle raps or fist blows (a hard slap with an open palm on the top of the cabinet produced only a momentary interruption of the program). Comments ADC SOUNDSHAPER 3025 Our test results leave no doubt that the Sony CDP-X55ES repre- SPEAKER SYSTEM sents the current state of the art in Julian Hirsch, Hirsch Houck Laboratories CDplayers. Virtually every measurement surpassed those of the best players we have tested in the past. THESoundshaper 3025 three- dual voice coils are driven from the Although perhaps a couple of its piece speaker system from stereo outputs of the system ampli- individualmeasurements have ADC employs the "crossfire fier. The bass cone faces into a been matched or slightly exceeded imaging" driver configura- closed volume, approximately one by other units, no other has come so tion developed and patented by dbx third of the volume of the entire close to overall perfection as the (ADC and dbx are both owned by cabinet, anditsrearsurfaceis CDP-X55ES. But it would be unrea- Carillon Technology, Inc.). This de- loaded by the remaining two-thirds sonable to expect that the superior sign is intended to provide stereo of the cabinet volume. The sound measuredperformanceobtained imaging over a wide range of listen- emerges from thelarger section from the technical advances em- ing locations. The system consists through a duct 31/2 inches long and bodied in this player would yield of a pair of Model 3010 satellites 21/2 inches in diameter. The 3015, better sound than that of other good and the Model 3015 subwoofer, whose frequency range is rated at 45 CD players with normal recordings. which can be purchased separately to 165 Hz, also contains a 6 -dB -per- Maybe with carefully selected discs if desired (the satellites, which have octave crossover that channels fre- and ideal listening conditions, keen - a rated frequency response of 85 to quencies above 100 Hz to the satel- eared listeners could detect some 20,000 Hz, can be used as extension lite speakers. differences. They will have to make speakers in other systems). Each Model 3010 satellite, their own judgments. The ADC 3010 satellites are con- formed of black plastic, measures Anyone, however, can appreciate structed as mirror -image pairs, each 111/4 inches high, 7 inches wide, and the special features built into the being a miniature two-way speaker 51/2inches deep. Weightis41/2 Sony CDP-X55ES. Many of them system. The molded -plastic cabinet pounds. Spring -loaded input con- are not unique to this product, but has a triangular cross section. The nectors are recessed into the back the totalversatility they provide inward -facing panel contains a 1/2 - surface. The 3010's can be placed on would be hard to match. With the inch polycarbonate hard -dome a shelf or table or mounted on a wall Custom File controls concealed, the tweeter with ferrofluid cooling and a by means of optional brackets. The player's appearance is as unthreat- 4 -inch cone "woofer"; the outward- 3015 subwoofer is constructed of ening as could be desired, but lower- facing panel holds a 51/4 -inch pas- black particleboard, with one end ing the hinged door reveals its un- sive radiator cone. The passive cone containing the input terminals for equaled operating flexibility. Con- normally radiates in the range from both channels and output terminals sidering all the CDP-X55ES does, 100 to 150 Hz, and the crossover to for connection to the satellites (like and how well it does it, this beauti- the tweeter takes place at 5,000 Hz. the satellite connectors, they accept ful product is an excellent value. The Model 3015 subwoofer con- only stripped wire ends). The other Circle 140 on reader service card tains a single 8 -inch driver whose end of the cabinet, fitted with a

44 STEREO REVIEW MAY 1990 *ON CFAB VOL se

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molded black plastic cap, contains the room curve, resulting in an phasis on male voices that mars the the port that radiates its acoustic overall response of ± 5 dB from 55 sound of so many speakers. The sat- output. to 20,000 Hz, including the shelved ellites sounded quite well balanced Thesubwoofermeasures 11 high -frequency characteristic of the by themselves, although they did inches high, 71/2 inches wide, and 17 room curve. not produce any significant amount inches deep, and it weighs151/2 The system's controlled -directivi- of bass below 100 Hz. Few other pounds. It can be placed on any of ty design resulted in some rather speakers of comparable size would its sides (as long as the port is not unusualquasi-anechoic FFTre- be likely to do any better, however. blocked) and almost anywhere in sponse plots. In general, they dis- The Model 3015 subwoofer was the room, since the low frequencies played the salient features of the both audibly and visually unobtru- carry virtually no directional infor- room plots, including the level step sive, and we were never able to mation. Like all similar units, it will at about 3,000 Hz and a tendency locate it by ear. Corner placement deliveritsstrongest bass output toward "notchiness" (especially off - was best, but no matter where it was with a corner placement and the axis). As we have found when mea- located the 3015 added a subtle but least output when it is placed well suring other speaker systems that definitesense of basspresence. away from room walls, but in any use controlled directivity to stabi- With some program material, this event its location is not critical. lize a stereo image, the sound was system sounded remarkably like our The specifications of the complete generally much better than the mea- much more expensive reference sys- ADC 3025 system include a fre- surements would suggest. It was in- tem, although in general it did not quency response of ±3 dB from teresting to find that, despite the quite match the smoothness and below 45 Hz to above 20,000 Hz and irregular frequency response, the ease of the reference speakers. a sensitivity of 88 dB sound -pres- phase characteristics of the system The stereo imaging of the satel- sure level (sPL) with an input of 2.83 were excellent, with a maximum lites was very similar to what we volts. Nominal system impedance overallgroup -delayvariationof have heard from other controlled - is 4 to 6 ohms, and the speakers are about 0.5 millisecond from 400 to dispersion speakers from dbx and rated for use with amplifiers deliv- 20,000 Hz. other manufacturers. The sound - ering from 20 to 150 watts of mu- The minimum system impedance stage width was limitedtothe sical program material. Price: Mod- was 4 ohms between 70 and 100 Hz, speaker spacing, but the apparent el 3010 (or Model 3016, in white) with peaks of 6.8 ohms at 60 Hz and sound sources remained essentially satellites, $269.95 a pair; Model 8 ohms at 140 Hz and a gentle rise to in place as one walked from one 3015 subwoofer, $229.95; optional 10 ohms at 4,000 Hz. Overall, the 4 - side of the room to the other. This wall -mount brackets, $7.50 a pair to 6 -ohm rating is reasonable. The property of imaging stability distin- (plus $2 postage and handling). impedance of a satellite speaker guishes the ADC 3025 from other ADC, Dept. SR, 707 E.Evelyn measured alone ranged from a low three-piece systems (as well as con- Ave., Sunnyvale, CA 94086. of 5.8 ohms in the 200- to 400 -Hz ventional systems) that we have range to a maximum of 18 ohms at tested lately. Lab Tests 60 and 120 Hz. Although the ADC 3010 satellites We placed the Model 3010 satel- The system sensitivity was 86 dB are certainly compact, they are larg- lites at approximately ear level, 7 SPL at 1 meter with a 2.83 -volt input er than most others we have seen. feet apart and 2 feet in front of a of pink noise. The distortion was Their vertical orientation requires wall. For response measurements, measured at a 4 -volt input, corre- about 12 inches of headroom for the subwoofer was placed midway sponding to a 90 -dB SPL. The sub - shelf mounting, which may pre- between the satellites and along the woofer produced a maximum dis- clude their use in some installa- line joining them; for listening, we tortion reading of 20 percent at 30 tions. Wall mounting would pro- also placed it against a wall and in a Hz, decreasing to 5 percent at 46 Hz vide some of the installation flexi- corner. and 1 percent or less above 90 Hz. bility enjoyed by more conventional Theaveragedroomresponse At the same level, the satellite dis- small satellites, although we did not from the system was relatively uni- tortion was 10 percent at 80 Hz and try it to determine its effect on the form in the low and middle ranges, between 0.5 and 1 percent from 200 system's stereo properties. varying ±4 dB from 57 to 3,000 Hz. to 1,000 Hz. All in all, we found the ADC 3025 The higher frequencies were also In power -handling tests, the driv- system to be quite comparable to quiteflat,within ±2.5 dB from ing amplifier clipped(at 900 to other three-piecesystemsinits 3,000 to 20,000 Hz, but "shelved" 1,000 watts output) before the satel- overall listening quality, and itis about 5 dB below the average lower - lite drivers distorted at 1,000 and very competitively priced. The sep- frequency level. A close-miked re- 10,000 Hz. At 100 Hz, the satellite arate pricing of the satellites and sponse measurement of the sub - cone reached its excursion limits subwoofer adds even more flexibili- woofer output showed a double - with a 165 -watt single -cycle input. ty to the application of this system; peaked response, the peaks at 67 a pair of satellites in a den or similar and 155 Hz (the lower one was 3.5 Comments room can be easily and inexpensive- dB larger than the upper peak). A The ADC 3025 sounded easy and ly upgraded by adding a subwoofer composite frequency response was well balanced in our listening tests. at a later date. constructed by splicing this curve to It had none of the upper -bass em- Circle 141 on reader service card

46STEREO REVIEN' MAY 1990 Simple Impression. Ergonomically simple, technologically impressive.

Our new 700 Series car radio/ cassettes epitomize Coustic's 4,4 =I/ commitment to PRODUCT EXCELLENCE. A balanced syn- OC thesis of technology, functionality Mr and ergonomics aptly describes the 700 Series, which is the best LI D zT selection of car radio/cassettes available today. A full range of models boast- RX-738 CAR RADIO/CASSETTE ing the techiologically Advanced and delivers a 3 -dimensional Blending technology and sim- FM Optimizer IV Circuitry incor- "life -like" sonic performance. plicity the 700 on'DOLBY 13C NRI porating a QUASI 4 -GANG series feature HI -GAIN, LOW NOISE TUNED THERE IS MORE... Preset Scan, Dolby B & C Noise FRONT END. This circuitry Reduction Systems, Tape Pro- continuously monitors FM signal Cellular Phone Interrupt - You gram Search (TPS), Metal Tape strength to selectively adjust will never miss a call on your Equalization (MTL), CD/AUX Input for digital pro- EJECT r"'"c--1 ON VOLUME TUNING C =ADM, BASS gram source, Radio iilat Monitor (R.MON), DIGITAL AUDIC 461bs. aocadarat_ Active Bass & Treble Tone

1-MTL 4 MOM CD TPS MT. Controls, Front/Rear Pre -Amp II I_in CO SCA LOW FL Outputs for flexible system TPS PAVAN MC expansion and removeable coustsc R5.]28 chassis option. A custom oversized Liquid RX-728 CAR RA DIOCASSETTE Crystal Display (LCD) provides

.111ICILTS easy stereo separation and audio identifi- bandwidth. Automatically P.SCAN MEN RELAY cation eliminating signal overload and (NOT PROVIDED) day or FPI? r the picket -fencing effect of multi night ILI -I.-I path interference to produce the ACM ST BLUE of fre- CALL MOBILE RX-738 LCD DISPLAY YELLOW CELLUAR best stereo performance and WIRE ALERT PHONE quency cleanest FM reception possible. FEATURE settings and each accessed The Auto - function such as TPS, MTL, DO, RX-73/1 Aligned Azi- Oil ALIGNED CAR STEREO CD, etc. UNIT muth (A3)1" "STEM The 700 Series - simply System is standard on all 700 impressive! Series auto -reverse cassette mechanisms. This unique A3 CELLULAR PHONE INTERRUPT System employs a 2 -track (instead of mobile phone (with "Call Alert") a fixed again! Our new I-SENSIm Cir- TAPE HEAD RAISES & four - cuitry instantaneously mutes the 4111111 COU.Stieg LOWERS 4 track, audio system when it detects an rzni tr-tri invoMtRleflt. crosstalk incoming call. 4260 Charter Street prone) tape head that shifts Vernon, CA 90058-2596 linearly (up or down) into perfect CO P. SCAN BAND ST/M0 O4OUD MEM 213-582-2832 azimuth alignment whenever tape direction is changed. This minimizes high frequency loss 1 TPS DO 2 Dolby is a registered trademark of Dolby Laboratories RX-738 MULI-FUNCTION CONTROLS Coustic 1989

CIRCLE NO. 113 ON READER SERVICE CARD TEST REPORTS

shown by a five -segment sloping in- L U X MAN R-114 RECEIVER dicator. There is also a sensor window for the supplied infrared re- Julian Hirsch, Hirsch Houck Laboratories. mote control, which operates the input selector and the motorized volume control and switches the re- THELuxman R-114, a com- those sources with arear -apron ceiver on and off. The compact pact, 50 -watt stereo receiv- slide switch. There are also record- remote control has a "mute" button er, offers most of the fea- ing and playback connections for (not present on the receiver's panel) tures of larger and more ex- two tape decks. The input source is that reduces the volume by 20 dB, pensive units. Its digital -synthesis selected by pressing one of seven causing the redLEDin the volume AM/FMtuner has twentypreset buttons on the panel, lighting a red knob to blink, as well as several but- channels selected by ten buttons LEDabove it. A knob switch selects tons dedicated to operating a com- that store and recall two different the source to be sent to the tape- patible LuxmanCDplayer, record frequencies, eitherAMorFM.Manu- recording outputs, independently of changer, or tape deck through Lux - al (single-step) and auto -scan tuning the listening selection. In addition man's multiroom remote system or modes are provided aswellas to its source settings, this switch has a cable connection to the receiver. switchable mono/stereoFMopera- an off position and two dubbing The rear apron of the receiver tion. A preset -scan feature samples positions. contains the various signal input each stored channel for 5 seconds The front panel also includes de- and output jacks plus several con- before proceeding to the next one. featable bass and treble tone connectors for use with other Luxman The amplifier section is rated at trols, a balance control, and a large components in a multiroom instal- 50 watts output per channel into 8 - volume knob. Small pushbuttons lation. There are binding posts for ohm loads, from 20 to 20,000 Hz, activate an infrasonic filter and a the suppliedAMwire -loop antenna with no more than 0.05 percent loudness -compensation circuit. The and an F -type coaxial jack for a 75 - total harmonic distortion. Dynamic two sets of speaker outputs can be ohmFMantenna feeder. The two power ratings are 70 watts into 8 connected by separate front -panel pairs of speaker outputs are insu- ohms, 100 watts into 4 ohms, and buttons. lated binding posts, which also ac- 130 watts into 2 ohms. The display window shows the cept dual banana -plug connectors. The R-114 has inputs for two station frequency, band, and preset There are threeACoutlets, two of high-level sources (A/v andCD)and channel number. RedLED'Sshow them switched. The Luxman R-114 a combined phono/auxiliary input the status of the tuner control but- measures171/4inches wide, l 4:V4 that can be assigned to either of tons, and relative signal strength is inches deep, and 41'4 inches high and

48STEREO REVIEW MAY1990 CARD SERVICE READER ON 98 NO CIRCLE

213-582-2832 90058-2596 CA Vernon. Street Charter 4260 coustic® -axis". "oft mounted when even ance perform- frequency YOU. impress to system high crisp produces your for is takes it All system. your which tweeters nent impress doubt no will speakers compo- Logic Power component Logic Power Our - re transient faster in resulting the on TECHNIQUE LOADING imaging. -dimensional 3 displacement cone accurate more WAVE SYMMETRICAL our and clarity superior with ance with capability, handling power by wowed be will system Your perform- musical -like life of sion extreme and dissipation heat illu- the short, In imaging. stereo maximum for built STRUCTURE precise and handling power MAGNET STRONTIUM ERGY instantaneous superb bass, low -EN-HI and COIL VOICE MINUM -free distortion and tight midrange, ALU- TEMPERATURE HIGH of sumptuous response, quency combination the appreciate tainly cer- will tem 0 30 10 (Hz) Response Frequency sys- amplifier distortion. 5000 2000 1000 B2. a power Your minimum with requirements speakers. (SPL) level pressure sound and 11111:0=1111111 Illrill11 it) component response frequency any for ready AXIS FF NIOUE 0. Logic Power are speakers component Logic LOADING de 65 on our ETRICAL all standard Power systems, speaker is material -driver multi and tweeters super MI1111111 de ,0 cone This to mid/woofers, powerful to ers 1111111111111%111111111iiiill ae quality. sound subwoof- monstrous 15" From &KM, !ruel best the manifesting fre- high crisp environment, tive characteristics, distortion automo- -acoustic anti an in duces, harmonic third and second pro- rigorously series speaker lowest the carries CONE PER component Logic Power The PA- -RIGID DOUBLE DRIED, distortion. lower and sponse AIR -LAYERED, PYLENE POLYPRO- DENSITY, -805-WOO HT -606. WOO !D HIGH that findings research our with concur will system Your power. high to subjected when distortion minimize significantly and integrity structural ensure to tweeters you. nating the into built are PHRAGMS discrimi- the impress WILL system DIA- YMIDE POL that find your and speakers component to surprised pleasantly be of series Logic Power our with will amplifier power Your system audio car your Impress

you! impress will system your And system. your Impress You've never heard emotion like this in your car before. This isa promise! The Eclipse EQS-1000 DSP Sound Processor takes everything you'vecome to expect about top -of -the -line car audio . .. and explodes it. This isn't just a new technology; it's a new way of . experiencing recorded music. And this is the reason: Eclipse has developedan ultra -sophisticated 24 -bit chip that digitally processes audio signals at a rate of 15 million instructions per second- that's faster than most mainframe computers! The end result - and joy for you- is the acoustical recreation of space, not just music. You can now sense the height of CIRCLE NO. 159 ON READER SERVICE CARD atestdrive.

"...a remarkable product that sets a -N"- milestone in the evolution of car stereo components." - Car Stereo Review, March/April, 1990

Notre Dame Cathedral, the width of Carnegie Hall, and the cavernous dimensions of the Meadowlands. As well as the closeness of an intimate jazz club. And the music? Imagine your favorite vocalist hovering over your hood ornament. With a section of strings sweeping across a 180 -degree spectrum. And a thundering crowd completely encircling you, whistling, clapping and cheering up to 200 feet away. It's that different. It's that intense. It's that real. The Eclipse EQS-1000 -ECLIPSE CD you won't believe what it does for your car. And for you. By FOTSU TEN Division of Fujitsu Ten Corp. ot America19600 S. Vermont St., Torrance, CA 90502(213) 327-2151 TEST REPORTS

weighs just over 17 pounds. Price: 56 dB from 400 to 1,500 Hz. The FM volts, or µv). The more important $550. Luxman, Dept. SR, 19145 frequency response varied less than 50 -dB quieting sensitivity was 14 GramercyPlace,Torrance, CA 0.6 dB between 30 and 15,000 Hz. dBf (2.8 Av) in mono and 36 dBf 90501. Although the receiver itself accepts (34.7 Av) in stereo. The stereo and only a 75 -ohm input, it is provided muting thresholds were both 33 dBf Lab Tests with a separate 300- to 75 -ohm (24.6 Aiv). The R -114's stereo channel sepa- transformer to match the majority TheFMtuner's distortion meas- ration was exceptional, better than of FM antennas in the United States, ured about 0.35 percent in mono at 50 dB from 50 to 5,000 Hz and so we chose to express its voltage signal levels greater than 35 dBf (30 exceeding 40 dB over the full 30- to sensitivity referred to a 300 -ohm Av). In stereo, as sometimes hap- 15,000 -Hz range. The maximum impedance level. The mono usable pens, it was lower, reading about 0.2 separation was an impressive 55 to sensitivity was 13.5 dBf (2.6 micro - percent at input levels of 65 dBf (1,000 tiv) or higher. The tuner noise level was quite low, however, FEATURES measuring -83 dB in mono and -76 dB in stereo at 65 dBf. Since the O Digital -synthesis AM/FM tuner OPre-out/main-in jacks (joinedbs with twenty station presets removable jumpers) noise at all levels was substantially O Auto -seek or manual tuning O Display of tuner frequency, lower than the total harmonic dis- O Preset scan band, and preset channel tortion (THD) plus noise, the result O Input for 75 -ohm coaxial FM number was very clean and quiet FM recep- antenna feeder (300- to 75 -ohm 0 LED indicators for status of tuner antenna transformer supplied) controls, relative signal strength tion (the distortion being inaudible OPivoting, detachable wire -loop O Two speaker outputs, separately under actual listening conditions). AM antenna switched by pushbuttons Most other tuner measurements O Selector buttons for seven O Front -panel headphone jack were equally gratifying. The capture program sources, knob to select O Connectors for integration with source for recording outputs Luxman multiroom system ratio of 1.4 dB was very good, as was O Connections for two tape decks, O Wireless remote control for the 66 -dBAMrejection, and alter- with dubbing in either direction basic receiver functions; can nate -channel selectivity, at 60 dB, O Auxiliary input switchable to operate compatible Luxman was good. Only the 47 -dB image - moving -magnet cartridge input cassette deck, turntable, and CD O Bass and treble tone controls player through multiroom with defeat switch control system or via direct cable tothereceiver's otherwise high O Switchable infrasonic filter and connection to the receiver standards, although it surpassed its loudness compensation 45 -dB rating. TheAMtuner section's frequency response was down 5 dB LABORATORY MEASUREMENTS at 20 Hz and 6 dB at 2,700 Hz. The R-1 1 4's audio section was CI Tuner Section (all figures for FM 0 Amplifier Section very good, especially for a basic 50 - only except frequency response; watt receiver. A 1,000 -Hz output measurements in microvolts, or 1,000 -Hz output power at clipping: /.1v, referred to 300 -ohm input) 67 watts into 8 ohms, 135 watts waveform (both channels driven) into 4 ohms, not measurable clipped at 67 watts into 8 ohms and Usable sensitivity: mono, 13.5 dBf into 2 ohms (see text) at 135 watts into 4 ohms. We could (2.6 µv) Clipping headroom (relative to 50 -dB quieting sensitivity: mono, rated output): 1.27 dB not make a 2 -ohm measurement, 14 dBf (2.8 µv); stereo, 36 dBf Dynamic power output: 83 watts sincethe amplifier oscillatedat (34.7 µv) into 8 ohms, 170 watts into 4 about 200 kHz when we reduced the Signal-to-noise ratio at 65 dBf: ohms, 170 watts into 2 ohms loadresistance below about 2.5 mono, 83 dB; stereo, 76 dB (79 Dynamic headroom: 2.2 dB ohms. This should present no prob- dB at 85 dBf) Maximum distortion (20 to 20,000 lems in Harmonic distortion (THD + Hz into 8 ohms): 0.025% at use with actual speaker noise) at 65 dBf: mono, 0.34%; 20,000 Hz and 50 watts output loads, however (we used the R-114 stereo, 0.21% Sensitivity (for a 1 -watt output into with a pair of speakers whose im- Capture ratio at 65 dBf: 1.4 dB 8 ohms): CD, 21 my; phono, pedance falls below 3 ohms at one AM rejection: 66 dB 0.37 my point and heard no signs of distor- Selectivity: alternate -channel, 60 A -weighted noise (relative to a tion at any listenable level). In dy- dB; adjacent -channel, 4.6 dB 1 -watt output): CD, -80.5 dB: Stereo threshold: 33 dBf (24.6 µv) phono, -76 dB namic power tests, the power output Pilot and subcarrier leakage: 19 Phono-input overload: 130 to 160 at clipping was 83 watts into 8 kHz, -62 dB; 38 kHz, -64 dB my from 20 to 20,000 Hz ohms, 170 watts into 4 ohms, and Hum: -83 dB Phono-input impedance: 47,000 170 watts into 2 ohms (the 20 -milli- Stereo channel separation at 100, ohms in parallel with 230 pF second bursts of this test apparently 1,000, and 10,000 Hz: 50, 56, Tone -control range: ± 10 dB at and 44 dB 100 and 10,000 Hz did not trigger the instability we had Frequency response: FM, +0.6, noted with continuous input sig- -0dB from 30 to 15,000 Hz; nals). The slew factor exceeded our AM, -5 dB at 20 Hz, -6 dB at measurement limit of 25. 2,700 Hz The1,000 -Hz audio distortion with8 -ohm loads was typically

52S 'ERFlo REVIEWMAY 1990 AT THE VERY EDGE.

The latest in audio circuitry. Electronics Digital Compact Disc Engineered into a system computer - Player can take you out. lb the edge. matched to your car's or That's how Delco Electronics is set- truck's interior. lb give you pure. ting standards in automotive enter- unencumbered sound. tainment. Available in select vehicles That's a Delco Electronics from Cadillac. Buick, Oldsmobile, Music System. Designed into your Pontiac, Chevrolet and GMC11-uck. GM vehicle, so an advanced Delco 1989 Delco Electronics Corporation. All Rights Reserved. Delc ctroni Subsidiary of GM Hughes Electronics id Life Style. Pioneer's new 40" projection monitor was des gned witha very simple philosophy. A big -screen television should overwhelm you, rotyour room. Our new projection monitor is everything you would expect from a big - screen TV It's sleek. Stylish. Unabashedly modern. And because it takes up less floor space, it fits easily into virtually any size room. But its beauty ismore than skin deep. Turn it on and discover why Pioneer keepson setting The standard for big -screen performance. It features a wider screen anda v ewing angle that delivers a picture as bright and sharp from the sidesas it is head oi. The new 40" projection monitor by Pioneer. Finally,a Dig -screen TV you'll want to look at even before you turn it on. PIONEER We Bring The Revolution Home:

Actual Pioneer SD -P403 picture from The Criterion Collection "Wizard of Oz" laser videodisc 19139 Pioneer Electronics (USA) Inc., Long Beach, CA For more information, call 1-800-4214404.

CIRCLE NO. 89 ON READER SERVICE CARD

TEST REPORTS

about 0.005 percent from 20 watts ucts meet the needs of almost every display tells you what you need to to beyond the rated 50 -watt output. potential customer, and one result know, omitting the more trivial With 4 -ohm loads,the readings has been large, clumsy units whose (and possibly confusing) informa- were about the same up to more panels were studded with buttons tion. Even the remote control is as than 100 watts per channel. Distor- and lights, most of which would simple as it can possibly be, yet for tion measurements at rated power probably never be used by the aver- those who have a Luxman multi - and half power into 8 ohms showed age buyer. room system it can be more versa- a maximum reading of 0.025 per- Every once in a while, a receiver tile than some other, more complex cent at 20,000 Hz and 50 watts out- comes along that simply tries to be remote units. put, but typical readings were 0.006 as good as possible within its price In fact,I have only one opera- to 0.008 percent from 20 to 5,000 Hz tional criticism of this fine receiver, at full power and slightly less at half which could be easily remedied. Al- power. We also made power -band- The Luxman R -114's thoughtheexceptionallylegible width measurements with our Au- control panel is as simple as white -on -black panel markings are dio Precision test system, which excellent, most of the knobs lack plotted the maximum power output they come, yet it does just about visible index marks. There is a mi- versus frequency for a distortion everything one could ask of nute dimple on the front of each of level of 0.1 percent. Into 8 ohms, a stereo receiver. the small black knobs, but it cannot the output was between 65 and 67 be seen (or felt) under normal oper- watts from 40 to 30,000 Hz. Into 4 IPA ating conditions. The tone and bal- ohms, it was between 85 and 90 ance controls have light center de - watts from 40 to 40,000 Hz. constraints and not necessarily all tents, but there is no reasonable way The input sensitivity for a 1 -watt things to everybody. The Luxman to determine which source has been reference output was 21 millivolts R-114 is a good example of this selected for taping without using (my) through a high-level input and approach. Its panel is about as sim- cross -lighting to see the dimple on 0.37 my through the phono input. ple as they come in this high-tech the REC OUT selector knob. White The respective A -weighted noise age, yet it does just about everything dots in place of the dimples would levels were -80.5 and -76 dB. The one could ask of a stereo receiver. solve this problem, and I hope Lux - phonoinput'sterminationwas The has to man will add them to future units. 47,000 ohms in parallel with 230 be good (capture ratio, noise, chan- In every other respect, our tests picofarads, and theinput over- nel separation), and the amplifier and use of the Luxman R-114 left loaded at levels from 130 to 160 my power is more than adequate for me with a thoroughly positive reac- over the 20- to 20,000 -Hz range. The most people. The preamplifier has tion. It would be hard to find anoth- RIAA phono-equalization error was all the input/output flexibility that er receiver at its price with the same +0.25, -0 dB from 20 to 20,000 most users will ever need, yet all of combination of virtues and freedom Hz. these functions are controlled by a from significant faults. The tone controls had a maxi- few plainly marked buttons. The Circle 142 on reader service card mum range of approximately ± 12 dB. The bass control shifted the turnover frequency between100 and 400 Hz, and the treble curves were hinged at about 1,500 Hz. The infrasonic filter began to roll off the response at about 60 Hz, to -3 dB at 20 Hz and -7 dB at 10 Hz. The loudnesscompensationboosted both low and high frequencies; below a -20 -dB setting of the volume control the maximum bass boost was 10 dB (beginning at about 300 Hz), and beginning at 5,000 Hz the highs were boosted to +4 dB at 20,000 Hz. Comments Most competitive receiversre- semble each other to a considerable degree, making it difficult to estab- lish a preference on the basis of performance qualities alone. I have felt for some time that receiver designers were trying to make their prod- "... psssst, Pemberton. It's audiophile, not audiophiliac ...."

56 STEREO REVIEW MAY 1990 Harman Kardon TC Series.

Buckle Up. TEST REPORTS

91 dB sound -pressure level WO at 1 meter with an input of 2.83 volts. The rated impedance of the system is 4 ohms, and it is recommended for use with amplifiers delivering from 10 to 175 watts per channel. According to AR, the midrange driver has been designed with a nat- uralhigh -frequencyrolloffthat complements the tweeter's range and eliminates the need for a low- pass crossover element between it and the tweeter (which does require its own high-pass filter to prevent burnout from excessive low -frequency input). The low -frequency and mid/high-frequency sections of the system are brought out to separate pairs of input terminals in the rear of the cabinet, normally joined by metal links. By removing the jumpers, the system can be operated in a biwired or biamplified mode. The rigid design of the cabinet is illustrated by the front speaker baffle, which is laminated from two panels of medium- and low -density particleboard to form a highly rigid, damped speaker board about Oh inches thick. The speaker has no conventional grille frame, avoiding the common effect of diffraction and reflections from the frame that color the sound. Instead, an acousti- callytransparentclothgrilleis stretched over the front and fitted into a slot around the perimeter of the baffle board. To further minimize reflections,allthe speaker mounting bolts are covered to give a smooth acoustic transition from the drivers to the baffle surface. ACOUSTIC RESEARCH The cabinet is available finished in either walnut or black -ash wood - SPIRIT 162 SPEAKER SYSTEM grain vinyl. Each speaker weighs Julian Hirsch, Hirsch Houck Laboratories just over 43 pounds. Price: $1,199 a pair. Acoustic Research, Dept. SR, 330 TurnpikeSt.,Canton, MA COUSTICRESEARCH'S new ers. A pair of 8 -inch polypropylene - 02021. Spirit series of loudspeakers cone drivers, mounted one above consists of six models, rang- the other, share a common enclo- Lab Tests ing from minispeakers and sure with a volume of 1 I/3 cubic feet. Acoustic Research recommends bookshelf -size units to the top -of - Above them is a 6 -inch polypropy- placing the Spirit 162 speakers at the -line Model162, a columnar lene -cone midrange driver in a sepa- least 1 foot in front of a rear wall three-way system measuring 36% rate enclosed volume of *4 cubic and 2 feet from a side wall. We put inches high, 91/8 inches wide, and foot, and at the top is a1 -inch them about 2 feet in front of the rear 131'4 inches deep. The AR 162 is treated -cloth -dome tweeter with fer- wall and 4 feet from the side wall, designed to be floor standing, but it rofluid cooling. The specifications toed in slightly toward the center of can be placed on a low stand or base do not list the crossover frequencies the room. if desired. but claim a frequency response of The averaged room response of Like all AR speakers, the Spirit 45 to 22,000 Hz at the -3 -dB points the two speakers was generally 162 uses acoustic -suspension woof- and a relatively high sensitivity of smooth andflat,although there

58 STEREO REVIEW MAY1990 Cool Power: Introducing Transverse Tunnel cooling. A cool solution to a hot issue: High power, high current in a ear environment. That was the challenge. TC Series amplifiers are Harman Kardon's answer.

TC 600 -600 watts continuous parer, 200wx2 channels @ 4 ohms, 300w x2 channels @ 2 ohms, 600w x 1 channel @ 4 ohms. TC 300 - 300 watts continuous power, 100wx2 channels @ 4 ohms, 150wx2 channels @ 2 ohms, 300w x1 channel @ 4 ohm,. 'IC 304 - 300 watts continuous power, 50w x4 channels @ 4 ohms, 75w x4 channel @ 2 ohms, EOw x2 channels @ 4 ohms + 150w xl channel g 4 ohms, 75w x2 channels @ 2 ohms, + 150w x 1 channel @ 4 ohms, 150wx2 channels @ 2ohms. All heat producing components are mounted directly onto a low profile heat sink and enclosed in a special cooling tunnel. TC Series amplifiers can produce 600 watts of continuous power. They can be installed virtually anywhere, even in enclosed spaces or under a seat. And they still r.m cool tothe touch. Workhorse ruggedness is matched with musical excellence. A Harman Kardon guarantee. All discrete circuitry including inputs and outputs, ultrawidebandwidth and high current capability (up to 100 amps in the TC 600) are design elements that havemade Harman Kardon amplifiers the choice of car stereo competition enthusiasts and audiophiles, worldwide. Simultaneous bridged mono/stereo satellite operation for multi -speaker high power, one -amp systems. Continuously variable balanced inputs handle anything from the "weakest" preamp outputs to direct speaker connection. 50Hz variable boost equalization.

harman / kardon MUSICAL EXPER ENCE H A Harman International Company 240 Crossways Park West, Woodbury, New York 11797 CIRC _E NO 40 ON READER SERVICE CARD n designing the new LS 400

luxury sedan, Lexus engineers 1were as preoccupied with fre-

quency response and harmonic distor- A remote 6 -CU auto -changer is tion as horsepower and handling. Their optional.

aim, you see, was to create car audio as

advanced as the LS 400 itself. Tweeters are located high and forward for accurate imaging. The Engineers At LexusWere Just As Concerned With Impressing Stereo ReviewAs Road & Track. They began by setting perfor-

mance goals beyond the best premium

level systems available. In the end, 4 door -mounted extended -range speakers are they'd created two of the finest audio housed in bass -reflex enclosures systems ever engineered for the for superior power automobile. handling.

The first is the standard Lexus

7 -speaker high -output audio system

with bi-amplified subwoofer. Its

continuous average

of both the casual listener and the

confirmed audiophile.

The optional Lexus/Nakamichi

output is 65 watts, with a maximum of Premium Sound System is simply car

140-enough power to please the ear audio without compromise. Car audio without compromise: the Lexus/Nakamichi ANT DEFT SYSTEM 1137,..... 3$o Nak,w11( Premium Sound System. Lexus is AM F M1/2 TAPE CD the fust to offer Nakamichi as original equipment.

PROD REW FF APS SKIF RPT

SCAN 1 2 3 4 5 6 The power mast antenna even ;CAN DISC < -RACK > RPT RANDOM adjusts to 3 posi- BASS MID TREBLE EAI.ANCE FADER tions for ideal

I AM and FM I I reception.

The LS 400 audio system ts pre - BASS equalized to the interior's unique acoustics. The Premium ETR radiolauto- reverse cassette includes an FM diversity tuner with dual antennas.

The Lexus/Nakamichi system is

even equalized for the difference

between cloth and leather trim. A bi-amplifted 8 -inch subwoofer punches out deep, tight bass.

7 speakers are ideally -located for accurate balance and sound staging

Electronic cross -over networks feed specific frequencies to each. -

Its RMS output power is nearly And with its more sophisticated But then, doing what's never been

doubled to 126 watts: with a maximum specifications, refined circuit design done before is what I,exus is all about.

of 220. The result? Bass response and advanced speaker technology,

so deep, so tight, you don't just hear it. you'll hear sound reproduction like`

You feel it. you've never heard before in a car. The Relentless Pursuit Of Perfection. TEST REPORTS

were a couple of peaks of 2 to 4 dB tem's average, or "typical," imped- its with a "knock" at a single -cycle between 700 and 2,000 Hz. The ance was not far from 4 ohms, it input of 620 watts into its 2.9 -ohm close-miked woofer response (the might present a difficult load to impedance. At 1,000 and 10,000 Hz, two drivers had essentially similar some amplifiers. We also found a the amplifier clipped before speaker responses in their designed operat- strange behavior in the impedance - distortion became obvious, at re- ing range) reached a maximum at phase plot, which reached -180 de- spective inputs of 1,320 watts into 5 85 Hz, falling off above and below grees at 20 Hz but remained between ohms and 1,500 watts into 4.4 thatfrequency. The wooferre- ± 30-40 degrees from 200 to 20,000 ohms. sponse overlapped smoothly with Hz. In the woofers' range, from 20 to the midrange response and room 200 Hz, there were also a number of Comments curve to form a composite frequen- sharp phase discontinuities sugges- The AR Spirit 162 had a distinc- cy -response curve flat within ±4 dB tive of cone resonances, although no tive sound of its own, especially in from 55 to 20,000 Hz. corresponding effect appeared in side -by -side listening comparisons Quasi-anechoic response meas- the impedance -modulus plot. Both with several other speakers we had urements with the IQS FEr analyzer speakers gave identical results in on hand. It generally favored the confirmed the presence of the mid- this test. bright, or crisp, side of the acoustic range peaks and the general con- The system's sensitivity was even scale, with a "forward" character tours of the overall response curve. higher than rated, with a 93 -dB SPL that seemed to be associated with its The response curves measured on - measured at1 meter with a pink - emphasis in the 1,000 -Hz region. axis and 45 degrees off -axis showed noise input of 2.83 volts. We meas- Perhaps because of this quality, its that the frequency response did not ured the woofer distortion at a drive lower registers frequently did not change materially over that angle at level of 2.0 volts, corresponding to a seem as audible as one might expect frequencies up to 10,000 Hz, al- 90 -dB SPL. From a maximum of 4.5 from its driver complement and though the two curves diverged rap- percent at 20 Hz, the distortion size. idly above thatfrequency. The decreased to 2 percent at 50 Hz,1 Much of this "recessive bass" ef- phase -shift linearity was good, with percent at 72 Hz, and between 0.3 fect was illusion (like everything a group -delay variation of less than and 0.5 percent from 100 to 200 Hz. elseinhi-fireproduction), since 0.2millisecondfrom1,500to At a constant 100 Hz, the distortion program material with a significant 20,000 Hz. decreased from 18 percent with an bass content was reproduced quite The system's impedance modulus input of 20 millivolts to a minimum satisfactorily. Nevertheless, the sys- (its numerical value) was among the of 0.6 to 0.7 percent from 1 to 2 tem's specifications as well as our lowest we have measured on a volts and rose to about 2 percent at measurements suggest that its de- speaker, reaching a minimum of 2.9 7 volts (corresponding to a mid- signers favored high sensitivity over ohms at 60 Hz (its DC resistance was range SPL of about 100 dB). a strong lower -bass response (there 2.7 ohms). The impedance varied In addition to its high sensitivity, is a fundamental tradeoff between between 2.9 and 7 ohms over the the Spirit 162 was able to handle these qualities). In a bass -shy listen- frequency range from 20 to 1,500 Hz very large short-term power inputs ing room this could be a disadvan- and reached a maximum of 11.5 without distortion. At 100 Hz, the tage, but in a fairly warm room ohms at 3,500 Hz. Although the sys- woofer cone hit its suspension lim- (acoustically speaking) the speaker should be very much at home. We were never aware, in our relatively dead room, of any lack of bass except in comparison with other speakers that had a deeper bass extension. On the plus side, the Spirit 162 was virtually free of the

1.4 chestiness that most speakers im- part to male voices. E. As with any other speaker, we strongly recommend that the AR Spirit 162 be auditioned before pur- I chase, preferably in a room not too I different (acoustically) from its intended environment. Also like any I other speaker, it will sound different in every room in which it is placed, but because its bass performance is unusually sensitive to room acoustics, the kind of room you have could be a more significant factor than usual in its selection. .. Will that be the smoking or nonsmoking demo room, folks?" Circle 143 on reader service card

62 STEREO REVIEW MAY1990 Celebrate America ong

3O's

v 09-1C.P. c 0 -

with the show -stopping $92double -length hits of Cole Porter... .9,CDs or cassettes George and Ira Gershwin (see details below) Irving Berlin... Rodgers and Hart... and more!

They wrote some of the greatest songs ever- Start Your Collection with the Legendary Classics of and now you can hear their classics again, performed COLE PORTER by legendary recording artists like Fred Astaire, Mary Pt rformA by Legendary Artists Martin, Tony Bennett, Billie Holiday, Johnny Mathis, NIGHT AND DAY, by Doris )ay JUST ONE OF THOSE THINGS, by Tony Doris Day, and Mel Torme, to name just a few, in... Bennett BEGIN THE BEGONE, by Johnny Mathis ANYTHING GOES, by Mary Martin EASY TO LOVE, by Billie Holiday WHAT IS THIS THE GREAT AMERICAN COMPOSERS Series THING CALLED LOVE?, Ly The Dave Brubeck Quartet ALWAYS TRUE TO YOU IN MY FASHION by Dinah Shore LET'S MISBEHAVE, by from The Columbia Music Collection. Eileen Rodgers and Kenneth Mars ALL THROUGH THE NIGHT, by Start your collection with the magical music of Johinie Ray SO IN LOVE, by Dinah Shore IN THE STILL OF THE 2 NIGHT, by Robert GouletI'VE GOT YOU UNDER MY SKIN, by Mel "Cole Porter," featuring overhours of his greatest Tome YOU'RE THE TOF by Hal Linden and Eileen Rodgers WHERE songs on2double -length CDs or2double -length cas- HAVE YOU BEEN?, by JAly Holliday MY HEART BELONGS TO 42 DADDY, by Mary Martin I GET A KICK OUT OF YOU, by Mary Martin settes...that's landmark recordings, each digitally EV RY TIME WE SAY C OODBYE, by Tony Bennett ANOTHER remastered to meet CBS Records' demanding standards. OP'NIN', ANOTHER SHOW, by The Norman Luboff Choir YOU'D BE SO NICE TO COME HOME TO, by Buddy Clark FROM THIS MOMENT Plus, you'll receive a fascinating booklet describing ON. by Rosemary (looney-and many more! Cole Porter's life, music and achievements. Audition "COLE PORTER" Risk -Free If you're not delighted, return it within 10 days and THE GREAT AMERICAN COMPOSERS owe nothing. Or keep it at our Special Introductory Special Introductory Offer Price of only$9.95 (plus $2.50shipping and handling), Mail today to: The Colimbia Music Collection, for your choice of two double -length CDs or two double - Dept. L-61, P.O. Box I 34,Terre Haute, Indiana 47811 length cassettes. "Cole Porter"to audition for 10 4-6 El YES! Please send me Then, approximately every weeks, we'll send days risk -free. It's mine to keep if I choose at the Special you a new volume in The Great American Composers Introductory Price of only$9.95 (plus $2.50shipping and series at the regular price of just$24.95for two double - handling). Future volumes will be sent to me under the length CDs or$19.95for two double -length cassettes terms described in this ad. (plus $2.50shipping and handling) always on a 10 -day risk -free examination basis. Each will be devoted to a Please send my recordings in (choose one) single American composer, like Irving Berlin, George 0 Compact DiscsEl Cassettes and Ira Gershwin, and Rodgers and Hart. And each will Name include over two hours of classic American songs performed by leading recording artists, as well as a hand- Address some booklet about the composer and his music. City State Zip There's no risk, and you may cancel your subscription Note: We reserve the right to reject any application or cancel any at any time. So kick up your heels...or sit back and relax ... subscription. Applicable sales tax will be added to all orders. to some of the greatest songs ever written. Send for your Please allow 4-6 weeks for deliver 10 -day risk -free audition of "Cole Porter," today! SEND NO MONEY NOW MAIL TODAY AtAltec Lansing, we think it's time you had a hand in what you hear. That's the idea behind the new Altec 511 Tower, the first loudspeaker that gives you total control of amplification, tonal balance and imaging for each midrange, tweeter, upper bass and woofer. The result is a sound system that lets you mold the music AN precisely to your taste, UNHEIRD OF so everything from Mozart to ADvAml Motown will sound exactly the way you want it.

Five years in theAUDIO TECHNOLOGY making, this towering achievement lets the discriminating audiophile STEAKEp RSchoose between single, bi, tri or quad amplification and an impressive range of tonalTI-IAT LISTEN balance levels, all through a simple TO yOT T control panel. So now, you can tell VT the philharmonic how to conduct itself. The remarkable 511 Tower is one of twelve new Altec Lansing speakers, all designed to reproduce sound with unheard-of accuracy. If the new 511 sounds good, call 1-800-Altec 88 for the dealer nearest you. Then take a - pair home and tell them what you want to hear. "113M LOUDSPEAKERS FORTHE WELL TRAINED EAR. CIRCLE NO. 80 ON READER SERVICE CARD C 1989 Altai Laming 11111rtPnAlucts. Mdk,d. PA 1833, AUTOSOUNDis threatening to become the tail that wags the dog. From car stereo's humble beginnings in eight -track players and equalizer/boostersa mere twenty years ago, sophisticated mobile sys- WHITS RNtems have begun to rival the best that even high -end home audio has to offer. Auto - sound has flourished to the point where, by some estimates, it accounts for nearly 40 percent of today's hi-fi purchases. The reason for this growth is not hard to find. The average American commuter I CAR ENOspends hours on the road each day-often his or her only significant chunk of solitary today's equipment Rides belief Hued andtime-adding up to weeks or even months each year. And what better sweetener than mote flexibility Iv the biopsy lhao OM music for the bitter pill of those desolate trips up and down the freeway or through urban gridlock? BY DA VID SIMON With the arrival of the 1990's, the tendency of Americans to spend a lot of time in their cars accompanied by sophisticated hi-fi equipment is stronger than ever. In- deed, with the infusion of digital audio (most often spelled "cD") into the car, the involvement of high technology with auto-has a dual-MOSFET front end for better mobile travel can only increase. reception, and its audio output can be faded from front to rear between its own D/Wing amplifier (front) and a second unit (rear) or Any survey of the latest developments in between two outboard amplifiers. With a car stereo equipment must surely beginmodest $599 price, the Coustic CD -3 sug- with the compact disc. The first car CDgests that CD sound is not just for the players were bulky, two -chassis designs BMW/Jaguar/Mercedessetanymore. with four -figure price tags. All that hasThere are also models from Kraco and changed today as dozens of affordable sin-Sparkomatic that have broken into the gle -chassis models have come to market. A under -$500 price range. format that many once doubted could sur- At the other end of the spectrum, Na- vive in the automotive environment has be- kamichi has taken the audiophile high come de rigueur in high -end car systems. ground by introducing the first outboard Recently, CD players have reached more mobile digital -to -analog (D/A) converter, popular price levels, with all -in -one CDthe DAC-101 ($495), for state-of-the-art receivers that integrate player, radio, and digitalquality. Separate D/A converters amplifier sections for "plug -and -play" ca-have figured for some time in high -end pability. One such is Coustic's new CD -3, a home hi-fi, and Nakamichi's rationale for single -chassis, removable AM/FM radio and the DAC-101 issimilar: elimination of CD player packed with extras such as aintercomponent noise problems, multi - built-in two -channel amplifier, rated for 15sourcecapabilities-asingleDAC-101 watts per channel with 1 percent distortion,could serve both a CD and a DAT player- and sixteen -track CD programming plusand unrestricted design freedom to pro- shuffle and repeat play. The CD -3's tunerduce the most accurate converter possible. Complementing the DAC-101 are -- tical sound in both directions. Dol- the CD -760 ($1,295), an in -dashCD by B and Dolby C noise -reduction tuner equipped with the requisite - systems are included, as is the DNR digital output, and the CDC -101 playback -only scheme. The Wash- amsimi 1.111"" compact disc changer ($895). ington's amplifier section can func- Speaking ofDAT,after the initial, tion in a two- or four -channel mode, perhaps premature, introductions of and its Flex Fader lets you use any mobile digital audio tape decks by combination of internal and out- Kenwood and Clarion, among oth- the automobile, with its boardamplifiers.The$649.95 ers, enthusiasm has cooled consid- imomfecl acoustics, Washington offers a raft of conve- erably. But with the promise of leg- nience features, including forty-two islatively sanctioned homeDATre- is an ideal candidate for radiopresets,cassetteprogram corders and wider software availa- search and blank skip, and variable bility this year, we could see serious ambience enhancement loudness compensation. incursions into mobile hi-fi. Pioneer traditionally offers a wide IHEREare plenty of other spiffy range of cassette -based car sound in -dashCDsystems. Yamaha's systems. An affordable new mid - YCDT-720featuresanew digital ambience processors, audio linemodel,theICEH-6100QR "flex -load" design that permits signals from any source-CD, tape, ($370), is well suited to simple sys- discs to be loaded either in a or radio-are sent to a digital pro- tems thanks to its high -power on- Yamaha CD cartridgeor cessor (after digitization where nec- board amplifier section (25 watts "nude." Another uncommonly essary), which derives rear- and cen- per channel for two channels). Built useful feature is digital com- ter -channel signals. These signals re- into a quick -removal chassis so that pression, which reduces the wide produce the delayed and reflected you can take it with you and pre- dynamic range of music by 18 dB to sounds present in real -life listening vent theft, the KEH-6100QR incor- make it more listenable in the pres- environments such as a concert hall porates the firm's Supertuner III FM ence of road noise. The YCDT-720 or night club. Naturally, the auto- circuitryforbetter reception of is a four-way preamp-output unit mobile,withitsless -than -ideal weak or interference -prone radio (no amplifiers on board) with an acoustics, is a perfect candidate for signals; it also features tape music antitheft chassis.Itslistpriceis ambience enhancement. search and Dolby B. $599. The first automotiveDSPsystem Nifty as newCDand tape develop- From the outset, remote -mounted on the market comes from Eclipse. ments may be, the fact is that much CDchangers (usually in the trunk) The EQS-1000 sound processor re- if not most mobile listening is radio have rivaled the popularity of in - quires a six -channel setup: front and listening. Fortunately, today's dash designs. The convenience of rear speaker pairs, a subwoofer, and quartz -locked FM tuners are better loading six, ten, even twelve discs, a center -fill speaker-plus ampli- than ever at coping with weak or depending on the changer model, fiers for all but the last (the EQS- distant stations. Still, new and im- for automatic play on an extended 1000 includes a 10 -watt center am- proved models are on the horizon. trip is a plus for many listeners. plifier). Eclipse also makes a clever LAUPUNKThas shown a pro- Changers are operated either by center -channel speaker that mounts totype tuner design that em- small, dedicated handheld remote on a rear-view mirror, the ESG- ploys no fewer than four foil controls or by the increasingly pop- 3000, for $159.95. The EQS-1000 antennas, concealed in a car's ular integrated in -dash head units lets you choose among four stan- bumpers. Using phased -array andCDcontrollers. dard environments-jazz club, con- technology, these are said to There are dozens of carCDchang- cert hall, cathedral, and stadium- improve reception while ers on the market today. Sony, the or program four of your own. It has eliminating visible antenna genre's originator, makes several standard RCA inputs and outputs whips. A signal -monitoring com- models, among them the new CDX- for use with any head unit and puterelectronically"steers"the A3ORF ($699). The ten -disc changer amps. List price is $999.95. Tech- four receptors to provide maximum and its hand-held controller come nics and Sanyo, among others, are instantaneous signal strength, with a radio -frequency (RF) modu- also readying automotiveDSPsys- which should greatly reduce such lator, which permitsCDsound to be tems for release later this year. car -radio defects as fading signals reproduced through existing car ra- and "picket -fencing." The technolo- dio systems without extra compo- Tuner/Tape Dreams gy should find its way into factory - nents or wiring. Sony also offers a While carCDplayers have gar- option systems first, then into fu- variety of in -dashCDcontroller/cas- nered most of the dashboard glory ture Blaupunkt aftermarket radios. sette receivers, such as the XR-7500 recently, cassettes remain the most A more immediately available ad- ($650), which includes anAM/FM popular music medium, and mobile vance is found in Proton's CV -460 tuner, a cassette player with Dolby tape technology has hardly stood cassette tuner ($329). Its antitheft B and Dolby C noise reduction, and still. Blaupunkt's new Washington chassis houses a road -going version a wireless system remote control. cassette receiver is a good example. of the firm's highly regarded Schotz Suddenly,CDandDATare not the It features a "super -laminated" tape II tuner design, created by audio only digital audio acts in town. Dig- head claimed to have improved engineer Larry Schotz. Instead of ital signal processing (DSP) will be- high -frequency performance, better the usualMOSFETfront end, the FM come the trend of the decade for channel separation, and deeper bass section uses a gallium -arsenideFET sophisticated car sound. Using the response; the autoreverse deck is circuit, which is said to give a 3 -du same principles found in home hi-fi also said to provide essentially iden- increase in sensitivity and a wider

68 STEREO REVIEW MAY 1990 dynamic range at the same time, providing improved overload immunity. The new Proton tuner is coupled with an autoreverse, Dolby B -equipped tape player. One of the most intriguing radio developments is the Technics ID Logic tuning system, which stores the broadcast frequency, call letters, and format (jazz, classical, country, etc.) of more than 9,000AMandFM radio stations nationwide. Once in- The Boston Acoustics ProSeries iicludes a 10 -inch subwocfer, formed of the traveler's direction- ElP2- and 51,4 -inch woofers, a 4 - north, south, east, or west-the sys- inch driver that can be used as a tem will continuously locate the six bass or midrange unit, a tiny 1- strongest stations playing the de- iich dome tweeter, and match - sired kind of music. The first ID frig crossovers. Logic product from Technics is the in -dash CQ-ID90 ($799), which includes a feature -rich cassette deck. Using sophisti- catedDSP(digital The High -Powered Highway signal processing) .71 7 =1 With high -qualityCD,tape, and _J I L C- r EP r7 technology, the radio program sources, powerful DEF Ur, Eclipse E0S-1000 uu + 0LI and musically accurate amplifiers Sound Processor ($999.95) brings and associated electronics are no a 2 longer luxuries. The trend in today's V A high-performance systems is increasingly toward mul- ambience synthe- tiple amplifier channels and high- sis to the car. levelelectronic crossovers before the amp stages. This results in pro- The Washington gressively more complex and costly BL AUPL MIA SOR 49 ($649.95) Ii i - systems, a problem many manufac- combines I 1 Li I . turers are beginning to address. Blaupunkt's latest , 3 75 2 ..m2V 2, EA, t.C. A good example is Altec Lansing's tuner and cas- COM AMOTECIED

ALC-15 Ambiographic component, sette technology. PAL BASS MERLE NADER 2 3 4 5 6 a combination electronic crossover a two- or four - and equalizer for assembling and channel power tuning a multichannel system.It amplifier, and a provides adjustable crossover number of anti- points for front and rear speakers theft features in a and a subwoofer, with two -band pa- pull-out DIN -size rametric equalization for each one. chassis. The $350 ALC-15 offers four inputs to maintain head -unit control over Coustic's $599 CD -3 comple- balance and fader functions. ments its AMFM At the amplifier end, multichan- tuner and 15 -watt - nel designs offering four,six, or per -channel amp even more separate channels are with a versatile CD sweeping the roads. American mak- player. Cellular - er a/d/s/ was one of the pioneers in phone interrupt this sort of system and has several circuitry mutes current multichannel models. The the audio system PH -15 produces six discrete chan- for incoming calls. nels rated for 50 watts each into 4 ohms with less than 0.05 percent distortion from 20 to 20,000 Hz. It The Clarion Audia could meet the needs of even a 8100 ($2.299) is a sophisticated system, as it can pro- DIN -s ze tuner/DAT vide two channels for front speak- player that can ers, two for the rear, and the last two also control the corn any's Audia for trunk -mounted subwoofers. 610C co changer. High power-some might say ex- It incorporates a cessively high power-is another 16 -bit o A convert- current trend. Once the exclusive er, four -channel province of American firms such as line outputs, and Precision Power and Rockford Fos - antitheft system. gate, to name only two, monster has a new incarnation of its now - NE more leading -edgecar amplifiers are now coming from off- classic 300/320i series. In their new, stereo concept: the addition shore powerhouses like Kenwood as fifteenth -anniversary "i/s" editions, of center -channel speakers to well.The KenwoodICAC-1021 the 300i plate speaker and 320i dis- rectify the hole -in -the -middle ($949) boasts 220 watts each into crete -componentspeakerbenefit effect so tough to beat in two channels (20 to 20,000 Hz with from recent a/d/s/ technology ad- autosound. Besides the cen- less than 0.08 percent THD into 4 vancesderivedfrom computer - ter -channel -equipped Eclipse ohms), which can be bridged to aided design and innovative materi- EQS-1000 DSP system men- makeita mammoth, 440 -watt als. Dubbed "unison," the enhance- tioned earlier, several other prod- mono amp. This big Kenwood amp mentsincludecopolymerdia- ucts make center -stage provisions. includes a built-in subwoofer cross- phragm materials for the1 -inch Fosgate's Gavotte ($400) is an ana- over (another recently popular sys- dome tweeter and 51/4 -inch woofer log surround -sound processor that, tem -simplifying feature), eliminat- common to both models and newly among many other features,in- ing the need for an external elec- designed magnet structures of bar- cludes a center line output. Well- tronic crossover. ium -ferrite and samarium -cobalt. known equalizer/processor maker Benefits claimed include reduced Audio Control recently introduced Sophisticated Speakers distortion,lower coloration, and a dedicated center -channel device, As with any hi-fi system, car ster- improved dynamic range. Prices are the $299 EP -3. The need for such eo sound can only be as accurate as $360 (300i/s) and $570 (320i/s). center -fill provisions in the "impos- the loudspeakers used to reproduce Deep down in the bass, sophisti- sible" automotive acoustic has long it.Fortunately, car speakers have cated car audio installationsin- been recognized, though no speaker come a long way from the days of creasingly call on dedicated woofer company as yet offers a single, cen- the 6 x 9 -inch whizzer-cone. Mod- systems, often labeled subwoofers, ter -specificmodel.Nevertheless, ern automotive speakers use high- to reproduce the bottom two or many installers are taking up the tech driver materials and exotic three octaves of musical sound. challenge by raiding the parts bin magnet and voice -coil designs to These low -frequency speakers come and wiring up simple speaker -level achieve excellent sound-as well as in sizes and shapes to complement or line -level summed -mono circuits the ruggedness needed in the car. most automotive interiors as well as for center drivers, ingeniously in- MULTIWAY, multichannel most budgets and tastes. stalled in dashboards, headliners, systems require numerous One of the most interesting devel- and even ventilation outlets. separatetweeters,mid- opments in rolling low frequencies Hi-fi gear is not the only type of ranges, and woofers, and comes fromInfinity,which has electronic wonder being added to manufacturers the car these days. Cellular tele- quick to meet the need control technology for mobile use. phones are available from several with discrete driver arrays. Servo control, also called motional stereomanufacturers.Inmost But the diverse mounting feedback,incorporates a motion cases, the hi-fi and telecommunica- restrictions of car interiors impose sensor in the voice coil to generate tions subsystems can be mated so severe limits on the choice and an electrical analog to the speaker's that phone activity automatically installation of speaker drivers. The physical motion. This signal is com- mutes themusic. Another late - ProSeries from Boston Acoustics pared with the source signal, and twentieth -century icon, the fax ma- addresses these problems while rais- any difference between the two (by chine,is also now taking to the ing performance to higher levels. definition, distortion) is subtracted roads; several of the newest portable The line-up consists of three models from the amplifier's output, effec- fax units are specifically designed pairing a 1 -inch dome tweeter and a tively controlling the driver's mo- for automotive use. All this com- 4-, 51/4-, or 61/2 -inch woofer; all are tion for reduced distortion and ex- plexity suggests that car electronics designedtofitmany standard tended deep -bass output. Infinity, systems may soon become over- speaker locations. The tweeter, dub- by the way, is not the first manufac- loaded. The solution? A standard- bed the Neo It, employs a very turer to put servo control in the car: ized digital "bus" system to manage compact, neodymium magnet struc- Linear Power has done so for some the flow of voice, data, security, and ture of unusually high magnetic time, and Yamaha's YST (for Ya- even music signals. Although no strength. Thus, it's incredibly small, maha Servo -Technology)woofer single standard currently exists, sev- accommodating some unusual in- system exploits a similar concept. eral proposals are under considera- stallations. The corresponding Infinity'sfirstservo -controlled tion by Japanese industry commit- woofers use copolymer cones and car stereo design is the SCS-Pro 12, tees, and individual firms-Clar- rigid, nonmagnetic die-cast alumi- which combines a pair of servo - ion, for one-are busily developing num baskets that serve as efficient equipped 12 -inch woofers with a their own, one -brand bus lines. heat sinks, improving power han- massive, 500 -watt amplifier. The So the future of mobile music-as dling. Each of the three models- company claims that the system not wellas telecommunications and the ProSeries 4.2, 5.2, and 6.2- only provides remarkably extended even, before long, video-is intrigu- includes a model -specific crossover and accurate bass but that it does so ingly bright. No matter what tech- module; prices are $380, $400, and without requiring elaborate, careful- nological marvel you want in the $430, respectively. Boston Acous- ly tuned woofer cabinets that can car with you, it's available. About tics also offers a matching 10 -inch quickly eat up trunk space. The sim- the only remaining bugaboo is the subwoofer, the 10.0LF ($200), in 4 - ilar SCS-8 (8 -inch, 350 watts) and environmental problem of dispos- and 8 -ohm versions. SCS-6 (6 -inch, 100 watts) will be ing of all those old eight -track car- The company that first popular- along later in the year; no prices tridges,players,and under -dash ized car speaker separates, a/d/s/, have yet been announced. boosters. 1=1

70 STEREO REVIEW MAY 1990 ci/ 44) is Mu Conceived in total dedication to the pursuiT of excellence, the time required to develop the research program for ths system has spanned at least two decades. The elusive combination of var.ables required to yield a unForm field has been tantalizing researchers for many years. Finally, after McIntosh built one of the mos: advanced and test instru- mented acousticat laLcratories in the world was it possible to fo low the many theoretical leads to their conclusion Then, after this extensive effort of analyzing sc many different approaches to uni- formity of field, Was it possible to snytiesize al of this knowledge and ir. one flash of intLitive genius the director of oar acoustical laboratory saw a seemingly simple so.utian in the correct matching of diameters, masses and complianc?.= and what evolveds a new measure of accuracy and realism. -he intellectual and eriatioia experience of listeni-ig to the XR 10:1: is something you sinp y must enjoy in -/cur own home.

For info-mati3n on McIntosh products and product eviews please send your name, address and phone number to: Ill McIntosh Lab3ratory Inc. Department 2905 & SONS. STEIMAY and the LYFE Device are PO Box 96 East Side Station Filesittered Trademarks cf Swinway, Inc. and St-tin.vly & Binghamton, PIT 13904-0096 Sces and are used with permission of Ste nvai. CIRCLE NO 23 ON RE I3DER SERVICE CARD Handcrafted with pride in the United States by dedicated, highly trained craftspeople. VV

3H 1 E

C Ll'A Toyota's axio opt&for 1990

TAKINGa"clean -sheet" The System 10's speaker approach to car audio, the array includes two 8 -inch designers of the 1990 Toyota subwoofers mounted in the Celica GT-S joined with the doors. Special sealing meth- Fujitsu Ten Corporation to ods, including a double -laby- develop a first-rate automo- rinth seal at the base of the tive stereo system. Design window glass, are used to goals for the system were turn the entire door into a simple: To appeal to typical giant subwoofer enclosure. Celica buyers-young peo- Each subwoofer is powered ple for whom music is a pri- by its own 50 -watt (maxi- ority-the audio system would have to be able to pro- mum) amplifier, which is housed in a remote chassis so duce wide -dynamic -range music at "concert" levels, that there is room for more sophisticated electronics and with deep, tight bass, crisp highs, and excellent balance better heat dissipation. To provide even greater power - overall. A particular challenge was to achieve these goals handling capability, two 6142 -inch speakers are located in in the Celica's liftback models, which do not offer con- the rear side panels. In front, a pair of 5 -inch midrange ventional trunks for mounting subwoofers. drivers are mounted at the outer sides of the instrument The Celica's new audio system, dubbed the System 10, panel, and the four high -frequency drivers are located in consists of ten speakers powered by six separate ampli- the forward corners of the window frame and in the rear fiers with a total of 220 watts maximum output. In the of the cockpit. All four tweeters are angled toward the dash are anAM/FMtuner using a diversity -reception driver and passenger to provide the best possible stereo (dual -antenna)FMsystem, an autoreverse cassette deck imaging. with automatic pinch -roller release, and a compact disc Toyota claims that the System 10 is capable of higher player, all protected by a digital "lock -out" antitheft sys- volume levels than competitive premium sound system. There is also the Acoustic Flavor graphic equalizer, tems, with a smoother frequency response and lower dis- a Toyota exclusive, with presets labeled Classical, Jazz, tortion. I had an opportunity to take the Celica for a fast Popular, Rock, and Talk. Other features include a pre - test run, and I have to say that the System 10 achieved equalization circuit that fine-tunes the frequency re- the "concert" levels, the bass, the highs, and the balance sponse to the car's specific interior acoustics, direct - Toyota was aiming for. access controls and individual lighting for each source The System 10 is available as an $1,800 upgrade component, separate battery -supply lines, and 16 -gauge option on all 1990 Celica GT, GT-S, and All-Trac Turbo premium wiring. models. The 1990 Toyotc Celica GT-S is a low -slung rocketship. Details (clockwise from right): In -dash co-nponents provide natural f t and finish to theI GT-S interior; a C61/2 -inch full -range speaker is moulted in the rear side panel; the rear tweeter in the liftback Imodel is mounted atop the shock tower; a 1 -inch tweeter, 5 -inch midrange, and 8-ino subwoofer are located up front.

STEREO RF.VIEW MAY 1990 73 n it n

A -endc,sto obtrnteaves rooT forcargo

OB GRAFFY,vice- minimum. The rear tail- president of Cookin' Au- gate was reinforced with dioVideoinNashua, 1/2 -inch solid -oakbaffle New Hampshire, had a board to improve the low - specific objective in de- endresponseofthe signing the audio system speakers.Theoriginal for his 1989 Jeep Chero- factoryfront -doorand kee. He wanted to create a lower -dash speaker cut- moderate -price car audio system that would be accept- outs were filled with the components from a pair of the able to high -performance -minded customers who need 400i/s speakers. The remote sub -bass shelving control full use of the vehicle's interior. The idea was to put replaced the cigarette lighter, and the PQ20 amp was together a system that left the Jeep's appearance and installed under the rear passenger seat. The crossover is ergonomics intact, yet could deliver near -live music lev- mounted under the passenger's side of the dash. els without the use of subwoofers, add-on enclosures, Overall, Graffy says, his new audio system provides a equalizers, or other space -robbing components. dramatic improvement in frequency response, imaging, Working with Cookin' Audio Video's installation and dynamic range over the Cherokee's stock equip- team of Paul Silva and Paul Gauthier, Graffy outfitted ment. The use of factory speaker cutouts maintains the his Jeep with an Alpine Model 7903 removableCDtun- vehicle's original look. Traditional mid -bass equaliza- er, an a/d/s/ 642CSi signal processor/crossover, an tion problems associated with car stereo systems are a/d/s/ PQ20 amplifier, two pairs of a/d/s/ 400i/s full - addressed by using the "underlapped"-crossover-point range, plate -mounted home speakers (with61/2 -inch feature of the 642CSi; no narrow -band equalization was woofers and 1 -inch tweeters), an a/d/s/ AC500 remote needed. The Constant Bass circuit allows front/rear fad- sub -bass shelving (level) control, and a/d/s/ AC204 and ing without loss of sub -bass output from attenuated AC205 DIN signal cables. The system delivers up to 320 speakers so that an appropriate bass level is maintained watts of power to four channels. Thanks to the Constant even with the system fully faded in either direction. Bass circuit in the 642CSi processor, the four 400i/s The total cost of the audio -related components in the speakers offer the extended response of a subwoofer/sat- Jeep Cherokee came to $2,728. The $560 charge for 16 ellite arrangement with the simplicity of a full -range hours labor and $40 in miscellaneous hardware and wire four -channel architecture. (Monster Cable) brought the system's cost to a not -so - Custom fabrication in the Cherokee was kept to a grand total of $3,328.

BY MICHAEL SMOIEN The Alpine 7903

CDtuner looks as if it truly belongs in the Jeep's dash; the factory front -door and dash cutouts spo drivers removed from a pair of ald/s/ 400i/s home speakers; supported by a solid -oak barn board, th Cherokee's rear hatch door holds another pair of 4001/s speakers.

STEREO REVIEW MA) 199075 Who else offers 228 action -packed days. And an education.

With the cost of college getting higher and higher, local Army National Guard Recruiting Office, today. it's great to know that someone is willing to help foot Just return the coupon, or call us at 1-800-638-7600. the bill. The Army National Guard. Giving you what it As part of the Army National Guard we'll give you takes to get ahead. the training and skills you need to do a job. From systems maintenance and computers, to communi- Mail to: Army National Guard, PO Box 564, Hanover, Maryland 21076-1 cations and electronics, you can even use these skills in your full-time job. Name OM OF We'll also give you all the excitement and adventure Address you seek while sharing new experiences with friends City State Zip both in college and in the Guard. Phone Number ( To join it takes about two days a month and a few weeks a year. In return, you could be eligible for up to U.S. Citizen 0 Yes 0 No Date of Binh $5,000 in tuition assistance through the Montgomery Soc. Sec No. GI Bill. You may also qualify for an additional $2,000 l am: 0 In High School 0 In College 0 H.S. Graduate 0 College Graduate enlistment bonus. Finally, you'll earn a minimum Prior Military Service: 0 Yes 0 No salary of $11,000. It adds up to $18,000 you can put Branch towards your education. th,,,...... b1100un. Them4 urnat Ion xtbm tarth incluting !Au, sonal sa-curUN number. xil be us.ed kr re, r purws.111111 Your ti..titi .11 be u..etllt, anah re If you're serious about your future, contact your 1-1.4143114, Athn, 11Nl. FAR Americans At Their Best.

, AlSRDA-050NP 11)401AIIII S

A NEW STANDARD FOR CASSETTE RECORDING?

CCORDINGto a recent announcement from Dolby Laboratories, the introduction of the new Dolby S noise -reduction system and the imposition of tighter performance standards upon its licensees than those for Dolby B and Dolby C will soon result in homemade and prerecorded cassettes that sound cleaner and provide better treble performance. These improvements are intended to keep the analog cassette medium sonically competitive in the developing age of digital audio. The Dolby S system provides more than 20 dB of noise h% 4 'vas ig Si is ri. reduction in the middle high fre- bilities: no noise reduction, Dolby quencies, where tape hiss is most B, Dolby C, and Dolby S, listening objectionable. Roughly the same for the characteristic drop in noise amount of noise reduction in this at each step. range is provided by the Dolby C Dolby B markedly reduced the system already incorporated in to- hiss, as usual. After switching in DOLBY S DERIVES day's high -quality cassette decks, Dolby C, there was relatively little but Dolby S achieves it with tech- identifiable tape hiss left, but at our niques that minimize the possibility very high volume level all manner FROM THE WIDELY of audible side effects, techniques of low -frequency garbage (tape -par- deriving from the widely acclaimed ticle noise and even some identifi- Dolby SR (Spectral Recording) pro- able motor rumble) was still quite fessional system. Moreover, unlike audible. When we switched in Dol- ACCLAIMED DOLBY Dolby C, the new Dolby S system by S, however, all remaining back- adds 10 dB of noise reduction in the ground noise dropped away so dra- lower midrange, where "grunge" of- matically as to seem to disappear SR PROFESSIONAL ten detracts from the clarity and completely! While the measured smoothnessofthereproduced noise -spectrum curves shown in the sound. The accompanying graph graph document what we heard, shows the comparative noise reduc- they cannot fully convey the start- SYSTEM. tion provided by the different con- ling subjective effect that switching sumer Dolby systems. in Dolby S had in this initial listen- To gauge the effectiveness of Dol- ing test. by S at first hand, we obtained a pre- We then proceeded to more nor- production sample of the new three - mal listening tests, using a variety of head Teac V-10000 Esoteric cassette musicalselectionsanddifferent deck, which will be one of the first tape types. Could we verify the Dolby S -equipped models on the claim that the techniques used in market. We started by simulta- the new Dolby S system resulted in neously recording and playing back less sonic degradation than those a cassette using no input signal, used in Dolby C? turning up the volume control so With some selections, frankly, we that the recorded tape noise was could detect no difference at all clearly audible. We then stepped between Dolby C and Dolby S through the record -playback possi- With quite a number of selections,

,,,

20 -NO NOISE ifClICTION 30 - DOWY 8 Da8Y C 40 -0018Y 5

70 ------....,... 80

10_

The upper traces show the record -playback responses with DolbyB.DolbyC, DolbyS, and no noise reduction, at the 0 -de level, of a top-quality deck using metal -particle tape. Flat response is achievable with both Dolby C and Dolby S. but without noise reduction or with Dolby B the response falls off in the top octave (10,000 to 20,000 Hz). The lower traces show the residual tape noise under the same four conditions. In the range where the ear is most sensitive (approximately 2,000 to 4,000 Hz), Dolby B lowers the untreated noise level by 10 dB, and Dolby C lowers it by 20 dB. Dolby S lowers high -frequency hiss slightly more than Dolby C and also provides up to 10 dB of noise reduction in the low- to mid -frequency range, where most musical fundamental tones are produced.

78 STERN.) REVIEW MAY 1990 The Dolby S system attempts to realize this "principle of least treatment" through a combination of two cascaded sets of fixed and sliding -bandhigh -frequencycircuits. The arrangement, called"action substitution," minimizes the effect MEN WE SWITCHED that higher -level (dominant) signals can produce on the noise reduction that is applied to lower -level signals. IN DOLBY S THE Gain changes on frequencies higher than the dominant frequency are minimized by the fixed -band circuit, those on high frequencies that 3ACKGROU \D NOISE are lower than the dominant frequency by the sliding band. A single however, immediate, direct corn- fixed -band circuit is used for the DROPPED AWAY parisons between the original CD, low frequencies, which are not sub- the Dolby C recording, and the Dol- jectto as much complementary by S recordingdiddisclose audible compression and expansion. differences. In cases where the in- Extensive modulation -control cir- DRAVATICALLY strumental layout on the sound cuits are also employed in Dolby S stage of the Dolby C version seemed to prevent the possibility of over- slightly smeared when compared shoot effects caused by very high- with the original, the Dolby S ver- level transients. Added to all of sion, though not perfect, was detect - these precautions are circuits that ably clearer. Where Dolby C con- minimize thesensitivityof the tributed a certain hardness to the noise -reduction system to errors at upper -midrange and treble sounds the frequency extremes and that re- of a harpsichord, the Dolby S reduce the effective treble recording cording seemed only mildly brittle. boost for high-level high frequen- Organ notes were more easily heard cies. These latter provisions, "spec- as coming from the actual pipes tral skewing" and "anti -saturation," rather than simply from a recording are shared by Dolby C and are with Dolby S, and the Dolby S responsible for improving the sys- recording was noticeably less harsh tem's frequency response at 0 dB than the Dolby C version with the (see graph). rather sharp -sounding violins in the Realizing the benefits of such so- Telarc CD of Vivaldi'sThe Four phisticated circuitry, however, de- Seasons.Indeed, in one very quick mands a very high level of perform- doublet in a piano selection played ance from the cassette deck itself. by Horowitz we could distinguish Regular readers of our tape -deck the two notes as distinct only on the test reports will know that even CD and with Dolby S; they blurred smallazimuth -alignmentdiffer- together into a single sonic unit with ences between machines can cut off Dolby C. high frequencies like a knife. Thus, Such differences are very subtle, all Dolby S licensees will be re- of course, but so are the techniques quired to align their machines to the used to insure that the operation of same standard, a special BASF test thenoise -reduction systemitself cassette that is as close to perfection will not obscure them. For example, as is achievable. (BASF was kind a sudden percussive sound can enough to supply us with one of cause the gain of a noise -reduction these cassettes, which we will use in system to shift up and down so that allour subsequent testreports.) changes in the background noise Wow -and -flutterstandardshave level itself become audible, a rela- also been tightened, as have re- tively gross effect known as "pump- quired overload margins in the re- ing."Inasubtlerform,signal cord -circuit electronics.Bias and changes in one part of the spectrum sensitivityfine -trimadjustments can cause noise -modulation effects will becomede rigueuras well. that affect the clarity of soft mid- With a new generation of better - range notes. The less a noise -reduc- sounding,better -performingcas- tion system is required to do as it sette decks on the immediate hori- processes the signals going through zon, it's an exciting time for the it, the better. quality -conscious cassette user. 0

STEREO REVIEW MAY 1990 79 1

HE Alarm suggests an analogy from film: the "If there's a storg worth sleeper. A product of distinction, praised in hushed voices by critics and fans alike, it fights against bad luck, bad timing, and not a few mis- telling, audiences are takes to prove that quality and sincerity are enough to guarantee success. prepared to listen, and in Bassist Eddie Macdonald, who talked with me in New York at the end of the Alarm's recent "Change" tour, looked back over what had turned out to be the Welsh our case it is quartet's most successful solo tour since their appearance on the U.S. scene in 1983. Despite lukewarm response from a storg worth telling:' radio programmers and solid but uninspiring album sales, the band played to near -fanatic capacity crowds. "One thing this album has done is bring a large new audience to the band," Macdonald said. "I like the idea of

80 STEREO REVIEW MAY 1990 BY RICK G.KARR educating a new audience." New Macdonald said. "T -Rex did the ba- were in English, those in "Newid" audience and current strength aside, sic tracks for their albums with in Welsh. however, the Alarm has yet to make Tony in two days." ini Macdonald noted that the Welsh - the jump to star status on album- Macdonald added that working language songs are often more pop- oriented radio.Early successes- 11111 with a producer of Visconti's caliber ular with audiences than the others college -radio hits and a support slot was made easier by the band's expe-HIllin the band's live performances, de- on the Pretenders' 1984 tour-were rience of touring with another rock spite barriers to understanding. Pe- followed by a period of silence and legend: Bob Dylan. ters explains the Welsh translations invisibility. Elliot Roberts, manager of the1'before performing them,atthe "There were a few [wrong] moves, Roxy night club in Los Angeles, same time explaining the motiva- to be honest," Macdonald admitted. played Dylan a tape of the Alarm tionfor Welsh nationalism. "If "We had a bad manager. We took shortly after hearing them for the there's a story worth telling, au- too long between albums." It took first time in his club. Roberts ended diences are preparedtolisten," another several years' hard work- up managing the band. Dylan ended Macdonald remarked. "And in our caseIthinkitis a story worth and a few lucky breaks-to bring up inviting them along on hisIIII about the success of "Change." The American tour. telling." biggest break, Macdonald recalled, "I think we enjoyed it more than IIII But can American audiences ap- was landing the veteran studio wiz- 11111 other people I've heard talk about preciate the drive for autonomy by and Tony Visconti (David Bowie, T- it," Macdonald said of touring with a people who are usually ignored, Rex) to produce the project. the ostensibly difficult Dylan. "I lumpedinwith"theEnglish"? EVERAL producers talked found him to be very shy, very "People are more worldly-wise than with the Alarm (Macdon- quiet. He doesn't always outwardly they were five or ten years ago," ald, guitarist Dave Sharp, show it, but he does get into it." Macdonald said. "Thingsget frontmanMikePeters, Despite Dylan's near -mythic sta- around the world because you've and drummer Twist) tus, at least one gig attracted nearly got cable, you've got information about the project. Most twice as many Alarm fans as Dylan hour after hour in your living room, didn't have the experi- supporters. At Jones Beach, near and if you want it, it's there." That ence to record live in the studio New York City, nearly two-thirds of surge of informationleaves au- with the level of energy the band theAla crowdnshtneedirthe tstaoyelwanhen the Idiences more willing to understand was seeking. Still fewer could deal Mac- the plight of an ethnic minority with their prolific intensity. Mean- donald said, understood the fans' within a larger nation-if not well while Visconti, who was working enthusiasm. "People of our genera- informed about thespecifics of with the New Age Celtic folkies react differently from people in Welsh -English tensions. Clannad, sent them a tape. his generation. In his day people HE relative isolation the "He's got very good managers. used tosit cross-legged throwing Alarm faced in the early They don't believe in living on his flowers in the air. In 1989 people days in northern Wales pastrecord,"Macdonaldsaid. tion11111 come down in front and throw their meant that they had to "Tony said, 'I know how you want fists in the air. It's much more out- do much of the ground- to record, and I think I can do it.' ward." work of their career for "We made his task very difficultPI The Alarm has always been a themselves. "Hard -luck because we recorded the album on fists -in -the -air band, sculptors of stories are one thing. Doing some- an incredibly old mixing desk. All anthems worthy of their Celtic heri- thing about itis something else," kinds of people have recorded on it, tage. They share with Tom Jones itMacdonald said. "There was always like the Stones on 'Beggar's Ban- theonly distipnctsiuoencesof sort of a scene in Wales but no out- quet.' It used to break down a lot, successes. Thehe baalneds''ss let. We made the outlets. which was reallyfrustratingforInVIII Welshness-a streak of fiercely in-II II "That's one thing that the new everyone." Yet Macdonald saw a dreenpee ndeenettVrodue, resiliency,gh anedoseu-t Iwave/punk ethic brought to us- parallel between the back -to -basics IIIthat you could do it yourself. Punk equipment and the band's revital- with unexpected force in "Change." said that you didn't need to be an ized approach: "It was the bareVIII IIIIout-and-out guitar hero to make a bones of the band. It's not gim- 11111 VtheWliesltsh languagetkePetersrelatendlZ Irishil living." Contemporary bands like micks.It'snot overdubs. What illayenadrScotftoirseh Ctneelticaldnivantlectws)eanbot iunttoaIIIIthe U.K. press darlings the Stone people hear on the record is the Roses, despite being less than vir- Alarm playing pretty naked." III production, a learning experience II tuoso performers, show the same AlthoughVisconti'sreputation Hill,t,hcantarnesu,ltaendd inits aaltedro_eugbole,,Nreelweaised.:, 111energy and enthusiasm, according was built on the meticulous studio to Macdonald. And bands that are perfection of his early work with (Welsh for "change"). The albums HIcontinuing that tradition tend to David Bowie and Brian Eno, the 11111VIII shared backing tracks and themes of 111take their inspiration from urban live approach showed him at his Wales'sdecayingse.ericeoan otnm Lcc andnan music. best. "That's not really unusual," 11111 cialba "Change"1111 "I think that at the moment black

STEREO REVIEW MAY 199081 IImusic is much more powerful than efforts was "the Poor Man's U2." white music, becauseIfeel black The comparison still haunts them. music speaks to its audience much in"That's a blow, because all the good more fluently.Punk pre-empted work you do can get put down in modern-day aggression [like that in one line. For some reason, whoever American inner cities].I think it's iugets compared to U2, it hampers IIji been taken to extremes, obviously them. I suppose it's always been a III way beyond any kind of music." iuuderogatory term. I really like U2 as The Alarm itself has been a har- II a band,o Baunt diIt reallytermsflai kcea rteheerm, a s

: binger of trends to come-maybe ' not influential, but certainly ahead IIIing compared to them] is absolutely of the pack. Its early -Eighties urban - death's door. bumpkin image showed up years "Everybody needed a handle," later in the unlikeliest of Los An- Macdonald said of the early com- geles metal acts. "The way we used parisons. "A lot of people saw us the Ito dress in about 1984, with the wild first time without even hearing the hair and everything-if you look at record. People either loved us or IMTV now, there's a lot of that same hated us, and they still react that sort of thing." way. That doesn't bother me.It The band's early fascination with bothers my bank manager." III111 acoustic instruments in a solid rock So the Alarm, the underdog, the

! setting has becomede rigueur.Yet sleeper, continues to get the short its pioneering spirit was more an end of the stick. Critics, the general he Alarm in concert: at top. vocalist Mike accident than anything else: "We public, and radio give them mini- Peters (left) and guitarist just did it because it was natural," mal respect. Fate gives them none. Dave Sharp (photo by Scott Macdonald said."Every time I Peters nearly lost his eyesight in a Weiner/Relna): bottom. from plugged into an electric guitarit stage -lighting accident late in 1988. left. Sharp. Peters. and sounded hideous, but I could put on Morerecently,personaltragedy bassist Eddie Macdonald IIII an acoustic guitar and play until my struckPeters'sfamily,throwing (photo byEbetRoberts). 1111 fingers hit the floor. plans for the remainder of the tour II "It never pays to be first.I was into turmoil. Yet Macdonald re- talking to [U2's] Bono last year, and mains hopeful. Even defiant. ,iiii he was saying that if it hadn't been "Now Ifeel we're much more II" for some songs we did, likeThe responsive to our own emotions. tandB, ltohoegneverh a: el td,n e Sun That's why I think we're a band that 1dayS Sunday. ironic,- people will still be able to listen to in given that the epithet most fre- five years, because they'll see us IIIII quently appliedto the Alarm's early growing as people." I=1

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punksters of yore weren't that much Stereo Review's critics different from bubblegum schlock- A FRESH LOOK choose the outstanding meisters like the Ohio Express, and AT SCHUBERT'S current releases she blasts through the Chambers Brothers'psychedelicrelicTime NINTH Has Come Today both with complete conviction and with tongue JOAN JETT'S ever so gently in cheek. \ RLY in1989Deutsche "HIT LIST" In short, a splendid time is had by Grammophon issued a five - allconcerned (including,besides disc set of all the Schubert Jett's usual supporting players, head symphonies, plus the Joa- JOAN JETT cut her musical Kink Ray Davies, who turns up on chim orchestration of the Grand teeth during the Seventies, the backing vocals), and the fun is infec- Duo (D. 812) and the Rosamunde sorriestmusical decadein tious. If this is hardly the most pro- Overture, performed by Claudio memory, so one might be ex- found album of 1990-something Abbado and the Chamber Orchestra cused for dreading a roots - I'm not sure we need to begin of Europe. Aside from the remark- rock tribute album from her, espe- with-it is already among the most able responsiveness of the young cially when you consider how many endearing. In fact, if there's a "Hit players to Abbado's baton, a distin- other artists-DavidBowie,the List Volume II," I for one will not guishing feature of these recordings Band, John Lennon-have come up complain one whit. Steve Simels was the use of performing materials short in attempts at re-creating their based on a restudy of Schubert's own early musical influences. JOAN JETT:The Hit List. Joan Jett autograph scores by one of the Against all odds, however, Jett's (vocals, guitar); Ray Davies, Darlene orchestra's musicians, Stefano Mol- new genre essay, aptly titled "The Love (vocals); Ricky Byrd, Kasim Sul- lo. The New Schubert Edition pro- Hit List," turns out to be among the tan, Thommy Price(instrumentals); other musicians.Dirty Deeds: Love jected by Barenreiter had over- most consistently entertaining al- Hurts; Pretty Vacant: Celluloid Heroes; hauled only the first three sympho- bums this underrated young woman Tush: Time Has Come Today: Up from nies from autograph sources, but has ever made, a collection of most- the Skies: Have You Ever Seen the Mollo discoveredsignificantdis- ly memorable songs thatfither Rain?: Love Me Two Times: Roadrun- crepancies between the published basic, no -frills rock style like the ner USA (1990 Version). BLACKHEART/ andautographversionsof the proverbial glove. That not all of CBS Z 45473, @ZT 45473, ZK 45473 Fourth, Sixth, and Ninth. Now the them stem from the Have a Nice (36 min). Abbado recordings are being rere- Day decade probably proves something. Jett: haste. in-frilin style Of course, Jett has never been the most subtle or introspective of performers; her own songs invariably have little on their mind beyond good times,likingrock-and-roll, and what my mom used to refer to as "X -E -S spelled backwards." So it's no surprise that the one or two tunes that deal with issues a tad more sophisticated-Creedence's Have You Ever Seen the Rain?, the Kinks' Celluloid Heroes-catch Jett out of her depth; the readings are workmanlike and not much more. But just about everything else here sounds terrific, and in the case of primal screamers like AC/DC's Dir- ty Deeds or ZZ Top's Tush, Jett actually,iftemporarily,erases memories of the originals, a feat that in an album like this is basically the point. Jett also demonstrates a dry sense of humor and a lack of intimidation about attacking supposedly "classic" songs. Her take on the Sex Pis- tols'Pretty Vacant, for example, makes clear that the angry young BEST RECORDINGS OF THE MONTH

Symphony has more spontaneity moves . . . no time for hitting no than the acclaimed period -instru- grooves." He alsodemonstrates ments version by Charles Macker- here what's lacking in most modern ras on Virgin Classics, though some pop music-that magical balance of may prefer Neville Marriner's taut- deliberation,skill, and spontane- er treatment on Philips to both of ity-by hitting a groove that's a these.Icould live happily with monster. His crack band, which in- either the Abbado or the Marriner cludes drummer Jim Keltner and recording, and so much the better bassist Tim Drummond, falls in be- with both. David Hall hind the flinty scraping of a bottle- neck guitar. The drums lasso the SCHUBERT:Symphony No. 9, in C ensemble into a toe -tapping blues Major (D. 944, "The Great'); Rosa- that's good for the soul yet deadly, munde Overture (Die Zauberharfe, D. too, like a gloriously messy plate of 644). Chamber Orchestra of Europe, ribs and barbecue. ClaudioAbbadocond. DEUTSCHE GRAM MOPHON ©423 656-4, 0 423 656- Cale comes across as a plain- 2 (72 min). spoken Okie with a knack for divin- ing cosmic messages from common- place things. His haiku -like verse opens up into whole worlds of J. J. GALE HITS meaning, as in the smoky, jazz - shaded cabaret blues End of the Abbado: spontaneity A MONSTER Line, in which he sings, "Trains GROOVE don't run forever,firegoes out leased on individual discs and cas- sometime/Gottatellyoubaby, settes, where the corrected versions we've come to the end of the line." will no doubt gain a wider audience. THE extended absence of J. J. He could be talking about any- The Ninth, especially, is worth fresh Cale during the latter half of thing-the end of a relationship, a attention. the Eighties is a pretty reli- career, or the winding down of some The two episodes in the Great C able clue as to how he felt larger Zeitgeist, depending on how Major that will immediately prick about that lost, Republican decade. you choose to read it. In Hold On up your ears are the middle section The laconic,inscrutable Oklaho- Baby, he sings, "Hold on babe, of theslowmovement's main man took five-years, that is-to you're moving too fast for me" (is theme, where the melody line as- make his new album, "Travel -Log," hetalking about agirlorthe sumes quite a different guise from emerging every so often to lay down world?), as the music swirls around the usual, and the four bars of inter- a track or two at one of several Los him, threatening to break loose of jection by the brass in the main Angeles studios. Despite this scat- the orbit that anchors and stabilizes body of the scherzo, which had been tershotapproach, thefourteen it. His guitar solos are marvels of cut by the editor (Brahms?) of the tracks add up to something surpris- articulation, cleanly fired with the original published version. More ingly coherent. The songs are re- precision of a Zen archer. important than these musicological lated by mood (meditations on a considerations,however,isthe world that's moving too fast), tem- Cale: worlds of meaning quality of the musicianship lavished po (mostly bluesy shuffles), and sty- on this recorded performance by listic signatures (low-key, conversa- conductor and orchestra alike. All tional vocals and a singular guitar repeats are included, but the pacing technique, much copied by Eric and flow of the interpretation, the Clapton and Mark Knopfler). In finely nuanced solo work, and the short, "Travel -Log" is a joy from careful attention to balances, in the start to finish. woodwind passages especially, Whether Cale and company are makes the62 -minute "heavenly playing laid-back folk blues on slide length" of the symphony a pleasure guitars and harmonicas or rocking from beginning to end. The popular out with a little more electricity, the Rosamunde music coupled with it stress -free grooves are as natural as fares equally well, and the recorded they come. Vocally, Cale can't be sound achieved by Deutsche Gram- bothered to shout his messages; mophon's engineers in the Great you've got to lean in and let him Hall of the Vienna Konzerthaus is whisper them in your ear. For the altogether pleasingin body and most part, he's vexed by the acceler- warmth throughout. ation in the pace of living in today's To myears, Abbado'sfine- world, lamenting (in No Time) that grained performance of the Ninth there's "no time for making no

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True to its title, "Travel -Log" is rus and orchestra are outstanding. an album of snapshots from all over For example, in the openingKyrie NOW ON CD the world. There'sTijuana,whose the subject, rather than being sung Compact Discs of beat -generation verse sounds like in a long legato, is articulated so as premously released LP's Jack Kerouac's memoirs of Mexico, to bring out the recurring sighing and the colorful, musical -postcard figure. As a result, you can hear each rendering ofNew Orleans,and the of the five individual parts distinct- POPULAR

Chinese accents ofShanghaid.After ly yet in its place within the com- JULIE ANDREWS AND CAROL all the miles logged, however, J. J. plex musical fabric. The orchestral BURNETT: Julie and Carol at Carnegie Hall. COLUMBIA CK 2240. Cale leaves you feeling that the best articulation is perfectly matched to The 1962 television soundtrack. trips of all are the ones made at that of the chorus, yielding a rare THE BEACH BOYS: Surfin' home, when life allows ample time unity of phrasing between the in- U.S.A.; Surfer Girl. MOBILE FIDELITY and opportunity for reflection. strumental and choral forces. In the UDCD 521. Two pop classics, both Parke Puterbaugh obbligatos to the various arias, too, recorded in 1963, on a single instrument and voice are equal so gold-plated CD.

BROOK BENTON: 40 Greatest J. J. CALE: Travel -Log. J. J. Cale (gui- that you hear a balanced, true duet. Hits. MERCURY 836 755-2 (two CD'S). tar,bass,vocals);othermusicians. (The"Laudamus te"is one of many Includes all of Benton's Mercury chart Shanghaid; Hold On Baby; No Time; examples of this technique.) hits from 1958 to 1965 and his best- Lady Luck; Disadvantage; Lean On Me; The soloists are all strong. Mezzo- selling Atlantic single. Rainy Night in End of the Line; New Orleans; Tijuana; soprano Marjana Lipovgek blends Georgia, of 1970. That Kind of Thing: Who's Talking; THE BOY FRIEND (Sandy Change Your Mind; Humdinger; River hervoicewithsopranoUlrike Wilson). RCA 60056-2-RG. The 1954 Boat Song. SILVERTONE/RCA1306-14, Sonntag's in the duets and brings a original -Broadway -cast recording, with © 1306-4-J, 1306-2-.1 (43 min). richness to her solos, especially in Julie Andrews. the heartfeltAgnus Dei.Andreas RAY CHARLES: Greatest Country Schmidt is the rare bass capable of & Western Hits. DUNHILL DZS-040. Twenty tracks from the early Sixties: both the low, dark sonorities of the "Performances worth savoring" (A.N.). A SATISFYING "Quoniam to solus sanctus"and the CHARLES MINGUS: Three or higher and lighter ranges of the"Et Four Shades of Blue. ATLANTIC 1700-2. NEW BACH in Spiritum sanctum."Not to be "Very Mingus, very fine" (May 1978). B MINOR MASS overlooked is the tenor, Howard LEON RUSSELL: Carney. SHELTER Crook, whose smooth vocalism in SRZ-8006. Leon Russell and the Shelter People. SRZ-8005. "A little scary, a the"Benedictus qui vend'copes little sad, and damn good" (December HELMUTH RILLING'Snew nicely with a rather mannered flute 1972). reading of Bach's Mass in obbligato. He is also excellent in his B Minor with the Stutt- duet with the soprano in the"Domi- CLASSICAL gart Kantorei and Kam- nus Deus." BEETHOVEN: Piano Concerto merorchester not only demonstrates Rilling's pacing is well thought No. 3. SCHUMANN: Fantasy. Op. 17. out and brings a cohesiveness to the Moiseiwitsch, Sargent. INTERNATIONAL Baroque performance practice on PIANO LIBRARY IPAM 1109. modern instruments to perfection; work as a whole that,as Bach Recordings dating from the early it also makes immensely satisfying assembled it, it does not really have. Thirties, released on license from EMI.

listening. Throughout the work, the A neat trick. The slow sections, such FALLA: Nights in the Gardens of clarity and articulation of both cho- as theKyrieand theCrucifixus,are Spain. LISZT: Piano Concerto No. 1. on the slow side, but they always SZYMANOWSKI: Symphonic concertante. Rubinstein, Jorda/Dorati/ Conductor Helmuth Rilling move with a noble spaciousness. Wallenstein. RCA 60046-2-RG. And the faster ones, such as theGlo- "Virtuoso interpretations, youthful and riaandResurrexit,truly dance with exuberant" (January 1961). thesplendorof trumpetsand GLUCK: Orfeo ed Euridice. Baker, drums. Speiser; Leppard. MUSIC AND ARTS 295 (two CD'S). Janet Baker's last operatic The problems of performing the B performance, recorded live in London Minor Mass are manifold, but Ril- in 1982.

ling comes to grips with all of them RACHMANINOFF: Solo Works and leads his Stuttgart musicians and Transcriptions. Rachmaninoff. through an exalted performance. RCA 7766-2-RG. Twenty-five tracks Stoddard Lincoln dating from 1925 to 1942. RAVEL: Concerto for Left Hand. DEBUSSY: La Mer; L'Apres-midi d'un BACH: Massin B Minor (BWV 232). faune. Wittgenstein, Walter. AS Ulrike Sonntag (soprano); Mariana Li- Disc/QuALrroN AS 418. A 1937 povkk (mezzo-soprano); Howard recording of the concerto featuring the Crook (tenor); Andreas Schmidt (bass); pianist Ravel wrote it for, Paul Gachinger Kantorei Stuttgart; Stuttgart Wittgenstein. Kammerorchester,HelmuthRilling cond.INTERCORD/KOCH INTERNATION- AL INT 885.855 twoCD'S (115min).

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T H EL EA DE RINA R CHIT EC T UR A LA UDI CY" CIRCLE NO. 59 ON READER SERVICE CARD Andrew Lloyd Webber

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Featuring"Love Cianges Everything" On Polydor compact discs, chrome cassettes and records. I!REALLY Sill I

CIRCLE NO. 15: ON FEADER SERVICE CARD POPULAR MUSIC

Discs and tapes reviewed by Chris Albertson, Phyl Garland, Ron Givens, Roy Hemming, Alanna Nash, Parke Puterba ugh, Steve Simels

JOHN ANDERSON: Too Tough to Tame. John Anderson (vocals); instrumental accompaniment. Too Tough to Tame; Guitars That Won't Stay in Tune; The Tears That I Cry; Tryin' to Make a Livin' on the Road; Maybe Go Down; Who's Lovin' My Baby; and four others.CAPITOL C1-76008,©C4-76008, C2-76008 (30 min). Performance: Getting closer Recording: Okay John Anderson looked like the Second Coming with his remarkable debut in the late 1970's, and with the crossover success of Swingin' in 1983, it seemed that nothing could stop him. Since then, AIM however, his career-and his records- have been unfailingly schizophrenic. JULIA FORDHAM While Anderson was originally dubbed an acolyte of hard -country guru Lefty Frizzell, many of his most popular songs-Swingin',BlackSheep,Let Two years ago, Julia Fordham's discovery a Girl- Somebody Else Drive-rocked out a la debutalbumintroduceda friend. Chuck Berry. Somewhere along the line young artist of uncommon fa- Unlike her first album, "Porcelain" Anderson lost his direction, his market- cility with language, mood, and finds Fordham as effective in one style ing niche, and his audience. melody, a jazz -pop eccentric who nev- as she is in another, serving up the shiv- Now, in "Too Tough to Tame," An- ertheless occasionally watered down herery samba of Genius one minute, turn- derson tries to strike a happy medium. power in Sade-like stylings and mus- ing out the lush, piano -bar jazz of For Between the weepy, barroom ballads ings. It was apparent that if Fordham You Only for You the next, and later set- and the hard-core honky-tonk, he man- could harness her developing personal tling on the yearning and aching ballad ages to sandwich three songs that ad- style-hone her melodies to a sharper style of Your Lovely Face. dress the funkiness of his early career: point and define the audience for her Charming and intriguing in the blush- She Worships the Quicksand That I bright-eyed but thematically scattered ing early stages of a relationship, Ford - Walk On, in which a lazy, good-for- lyrics-she could emerge as an exqui-ham becomes utterly compelling as a nothing slug somehow draws a devoted, sitely seductive performer, a significant woman steeled by disappointment and hard-working wife; Bamboo Annie, a and savvy voice for the Nineties. the strength of her own character. She is swampy tale of a World War II soldier Happily, that's exactly what's hap- never more attractive or in control of and a gullible female; and Guitars That pened in "Porcelain," the British sing- her art than in Island, where she uses Won't Stay in Tune, a laundry list of the er's follow-up album. In this extraordi- tough love to instruct an embittered girl things Anderson hates, including "only narily accessible and voluptuous offer- friend to shape up. one way out of a hotel room" and "paying, Fordham turns her voice-moist As involving as her songwriting is, ments on a Cadillac." And then there's and smooth as the inside of a coconut- though, it is Fordham's rapturous voice Tryin' to Make a Livin' on the Road, the to ten stylistically diverse but compati-that remains lodged in the memory, an album's one real kicker and another of ble takes on romantic and platonicinstrument at once feminine and mas- his Chuck Berry -styled boogies. love. culine, dense and ethereal, unsettling Anderson's voice still sounds less like Driven by the same quest for mythic and uplifting. It is not unlike, one imag- a human being's than like something love that propelled Joni Mitchell's early ines, the voice of the muse itself. that crawled out of the Okefenokee career, Fordham, who also employs the Alanna Nash Swamp (and that's a compliment), but same kind of vocal leaps and textured what's missing here is at least one truly background choral washes, finds herselfJULIA FORDHAM: Porcelain. Julia alternately beset by giddy emotional Fordham (vocals); vocal and instru- rushes (Porcelain), vulnerability (Tow- mental accompaniment. Lock and Key; F X XN XI ION Ol SN Ml Ots: erblock), bittersweet resolves (Manhat- Porcelain; Girlfriend; For You Only for tan Skyline), and, finally, protective You; Genius; Manhattan Skyline; Did I =DIGITALLY RECORDEDLP wisdom (Island). Along the way, there is Happen to Mention?; Towerblock; Is- © =TAPE CASSETTE confusion, far-flung desperation, and land; Your Lovely Face.VIRGIN91325- = COMPACT DISC (TIMINGS ARE ultimately head -leveling sense, as in the 1, © 91325-4, CD 91325-2 (47 min). '10 NFARFST MINUTE)

STEREO REVIEW MAY 199091 VHS tr Kt cy).1 +Jur (.1)s Kit lortrung at did.' 11111 xrfinrunghb. rwte by &aruµ the mire uptzmal lad with this

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TECHNOLOGY. CIRCLE NO. 165 ON READER SERVICE CARD great Anderson song-another Wild and Blue or I'm Just an Old Chunk of Coal-and some semblance of the edge that formerly drove his music. Still, this comes closer to the mark than many of his previous efforts. And it's good to know that his sense of humor remains intact. A.N. ART OF NOISE: Below the Waste. Anne Dudley, J. J. Jeczalik (instrumentals); other musicians. Dan Dare; Yebo!; Catwalk; Promenade I; Dilemma: Is- land; and eight others. CHINA/POLY- GRAM 839 404-1, © 839 404-4, 839 404-2 (53 min). Performance: Innovative Recording: Excellent Since1983, the musical aggregation known as Art of Noise has been experi- menting with musique concrete, cross- cultural hybridization, and overlays of pop and classical sensibilities.Its recordings ask the question, what is the entertainment value of noise organized into unfamiliar yet playful and intriguing musical patterns? In "Below the Waste," human voices do percussive things in African dialects, electronic dance beats mix it up with conventional string sections, and melodies play hide andseekincomplicatedrhythmic thickets. The album exhibits an irrepressible sense of play within a framework of "serious" composition. Imagine a sen- tence made up of randomly chosen words uttered so as to resemble traditional syntax. The results would be nonsense while still having the rhythm of Art of Noise. an irrepressible sense of play speech, and the combination of words might actually have meaning in some And again. He could barely hit some of another world, yet the tunes portray an accidental, cosmic way. Art of Noise is the high notes, but then the lead singer astonishing variety of human moods. doing much the same sort of thing in of the Blue Nile was straining as well. I Maybe it's because the electronics aren't the realm of rhythm and pitched sound. had never heard such pure, desperate meant to imitate conventional instru- It's got a good beat, and you can dance feeling on a record before. I bought the ments but to create wholly new musical to it, but you'll be straining to make single, took it home, and yelped along impressions. Most of the songs barely intellectual sense of it as well. myself. The Blue Nile made me fall in creep along. They convey a stillness, an The passwordis"disorientation." love with love that day, as if the idea emptiness that can only be redeemed by Just when you've typecast Art of Noise were new and hopeless. feeling. Even the uptempo songs, dance- as willfully weird, its musicians will hit The Blue Nile's romance -drenched able despite their minimal riffs, convey you with an unambiguously gorgeous debut album, "A Walk Across Roof- an overpowering need. piece of musical impressionism, such as tops," came out in the U.S. in 1983. Of course, there is no such thing as Island or Catwalk. Regardless of what And now, after a seven-year itch, we ideal love. But that doesn't stop the you think of "Below the Waste," one have the follow-up, "Hats." Again, the Blue Nile from trying to capture it. Or thing is for certain:It's got as many Blue Nile seems on the edge of an emo- us from hoping they succeed. R.G. twists, turns, and surprises as a slalom tional breakdown. Lead singer Paul Bu- course. P.P. chanan sounds obsessed, his plaintive J. J. CALE: Travel -Log(seeBest of the crooning barely in control. He mum- Month, page 86) THE BLUE NILE: Hats.The Blue Nile bles, he swoops out of his range for a (vocals and instrumentals). Over the high note, he spits out syllables like a JOAN JETT: The Hit List(seeBest of Hillside; The Downtown Lights; Let's dying faucet. In The Downtown Lights, the Month, page 85) Go Out Tonight: Headlights on the Pa- he takes hold of a phrase and cannot let rade; and three others. A&M SP -5284, go. "How do I know you feel it?" he KAOMA: Vorldbeat.Kaoma (vocals © CS -5284, CD -5284 (39 min). moans. Then again, and again. He is and instrumentals). Lambada; Lamba- Performance: Hyper -romantic possessed by these songs. When he sings reggae; Dancando Larnbada; Lamba- Recording: Very good them, there is catharsis. But the pas- mor; and six others. EPIC E 46010, ©ET sions are never really exorcised. He 46010, EK 46010 (42 mins). Ifirst heard the Blue Nile in a Green- mustsing again. And again. And Performance: Dirtier dancing wich Village record shop in 1982. The again. Recording: Good clerk was playing the group's import The music that drives this so -human single, Tinseltown in the Rain, and sing- voiceismechanical. From the pro- Like the oily patter of a car salesman or ing along at the top of his lungs. He did grammed drums and bass to the synthe- the feeling of cheap polyester against the this once, and then again. And again. sized melodies, these are sounds from skin, there's something vaguely annoy-

SIIREO REVIEW MAY 1990 93 "CambrieSoundWorksMayHave The Best Value IniheW9s14.,Anyr

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Plus Reprinted with the permission of Audio Magazine, © 1989 freight ($7-$25). Delivery time usually 2-7 days. Diamandis Communications. value on today's speaker market. CIRCLE NO. 157 ON READER SERVICE CARD because the system is biamplified, Model Eleven delivers a vol- The Fitst Component ume of sound that will leave most listeners astonished. Model Eleven can be Music stemYou used virtually anywhere in the world -115- or 230 - volt, 50 or 60 Hz AC. It can also be powered by a car, van Can Take Serious or boat with a 12 -volt DC system (a cigarette lighter adapter is provided). In addition, a 9 -volt output jack and convenient cord are provided for powering your ONLY portable CD or tape player. MODEL Model Eleven can be used ELEVEN with three line -level program sources such as a CD player, tape player, FM tuner or stereo 'N. DOES Because the entire system fits under an airline ALL THIS: seat -or can be checked as baggage-you can take it just about anywhere. 1. Fits under airline OEM seats. But Model Eleven's sound is so good, so "big',' you may Plawmom 2. Can be checked want to keep it home. It's hut has- n*A:viemou as luggage. an ideal second (or first) .Wbrks on all music system for a study, bedroom or kitchen. Placement electrical systems. oi BassCase for mere bass reinforcement. Delivers the full Itasslirquencies are essentialp range of music. non-darctional soyou can place BossCase Aar it sowids best M the . Isbacked by a rwm. Themkt and WI frequencies. Placement and the stereo Oa are reproduceda ,yltassCaseliv unique 5 -year pak of small "satellite spe most bac; rrirgotrement.

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nwirreljaz an acoustic suspenRan nafer satellite speaker system FOR IMMEDIATE SERVICE: 1-800-AKA-HIFI. ah ttsztre to reproduce realA dap ba.cs. That Ht7S We ship worldwide, including APO and FPO. the inspoutiohlor Bazcizse. Alotlel Eleirn:s bass is tailored s cally MA residents add 5% sales tax. Tealar encloArre dineh doubles as the man- f Plus freight ($5-$14). Delivery time usually 2-7 days. .ststern :scam* case to the s and -J CIRCLE NO. 157 ON READER SERVICE CARD ing about the music of Kaoma. What three others. GADFLY G-111859, © C- l, who named their act after the land- the band calls "worldbcat" isn'tso 111859 (from Gadfly Records, P.O. Box mark country -rock album recorded by much an integration as a dilution of 6603, New York, NY 10128). the Byrds in1968. They take their musicalcultures.Horizons arenot musical salute two steps farther in "Buf- broadened but lowered in an effort to Performance: Means well Recording: Fair falo Zone," their third album. The first find a commercial common denomina- step is in the album art, a clever take -off tor among African, Caribbean, and Ichabod Stowe is a man out of time. on the original Byrds LP cover. The sec- South American music forms. The re- Most of the numbers in his seven -song ond is more substantial: a commitment sult is an album of globally palatable indie-label album "It's My Turn" are to a broader musical framework-in disco Muzak. At least in Europe, people about not fitting in and feeling out of this case, meatier ballads and wider - of all races, creeds, and colors are mer- sync with the world. The album reeks of ranging stylistic influences, such as the rily dancing the lambada to the song of homemade production, which is charm- textured, Bruce Hornsby -inspired Blue the same name (and umpteen desultory ing in some places (This Train Is Run- Sky, the South of the Border saga of variations upon it). As for the dance, ning Out of Track) and so-so in others. Como Se Dice (I Love You), and the imagine doing the Wild Thing standing His musical orientation, further remov- chicken-pickin'guitar framework of up-you've got it! Synthesizers and syn- ing him from the modern world, is less Uphill All the Way. drums serve as a hollow substitute for of a "college music" sound than a As before, the Sweethearts concen- nativeinstruments,maintaining a straightforwardSeventiesapproach. trate on their strengths-angelic famil- mindlessly cheerful beat that never lets His material is earnest, heart -on -your - ial harmonies, sinewy ballads, and in- up, even when you cry uncle. Essential- sleeve stuff, bred in home -town bars fectious rockabilly toe-tappers-but in ly, "Worldbeat" is the ethno-musical and clubs and probably destined for a "Buffalo Zone," which Gill co -pro- equivalent of a pu-pu platter. P.P. measure of regional popularity, a la duced with Steve Buckingham, Arnold some of the Springsteen also-rans from proves herself a lead singer to rival MIDNIGHT OIL: Blue Sky Mining. New Jersey who have devoted cult fol- Wynonna Judd, and Gill shows signs of Midnight Oil (vocals and instrumen- lowings. P.P. evolving into a songwriter to reckon tals). Blue Sky Mine; Stars of Warbur- with. If several of the songs sound a lit- ton; Bedlam Bridge; Forgotten Years; SWEETHEARTS OF THE RODEO: tle too much like the Judds or Rosanne Mountains of Burma; and five others. Buffalo Zone.Sweethearts of the Rodeo Cash, the overall program nonetheless COLUMBIA 0 C 45398, C) CT 45398, (vocals and instrumentals); Albert Lee presents a compelling portrait of a CK 45398 (38 min). (guitar); Ricky Skaggs (background vo- woman struggling through the various Performance: Zealous cals); other musicians. Uphill All the stages and incarnations of love, from a Recording: Very good Way; He Doesn't Tell Me Anything; fantasy romance (What It Does to Me) You Look at Love That Way; This to the craziness of infatuation (Don't If nothing else, Midnight Oil is political. Heart; Hard Road to Go; and five oth- Wake Me Up) to intellectual seduction "Blue Sky Mining," like the albums that ers. COLUMBIA C 45373, OCT 45373, (You Look at Love That Way) to a preceded it, takes strong positions. Its CK 45373 (32 min). wife's loyalty and discontent (I Don't attitudes are evangelical. Here are the Want You to Know) and, finally, to issues we care about, say the songs, and out Recording: Very good marital alienation (He Doesn't Tell Me these are the issues you should care Anything). about, too. Sweethearts of the Rodeo are two real - "Buffalo Zone" is by far the Sweet- Midnight Oil's views come through life sisters, Kristine Arnold and Janis hearts' most well-rounded and tuneful loud and clear, even if their arguments record, but they still have to distinguish are often oblique and discursive. We Tanita Tikarain: fascinating images themselves as more than a subgenre of know that Blue Sky Mine is attacking Eighties country music. Can they do it? the exploitative nature of capitalism As they sing in Uphill All the Way, "It's and voicing the desperate plight of the not the destination/It'sthe journey working class, even if we don't always makes you strong." A.N. understand the specifics. We understand the attack on rapacious develop- TANITA TIKARAM: The Sweet Keep- ment in Mountains of Burma, even er,Tanita Tikaram (vocals, guitar); Rod though the mystical symbolism of the Argent (keyboards, bass); other musi- mountains themselves may escape us. cians. Once & Not Speak; Thursday's But what does that matter if we're car- Child; It All Came Back Today; We ried away with the beat? Almost Got It Together; Consider the And that's what Midnight Oil does Rain; Sunset's Arrived;Little Sister over and over-carries us away with the Leaving Town; I Owe All to You; Love beat. Starting with a supple, propulsive Story; Harm in Your Hands. REPRISE rhythm section, Midnight Oil builds 26091-1, 0 26091-4, 26091-2 (48 upon the pulse of its songs in simple, min). straightforward ways. The chimy guitar riffs or keyboard sweetenings never in- Performance: Arresting terfere with the forward momentum of Recording: Very good the songs. In fact, the passionate ser- Twenty -year -old Tanita Tikaram sold monizing only flags when the music gets 31/2 million copies of her debut album, diffuse.Fortunately for the political "Ancient Heart," probably as much for mission of Midnight Oil, that only hap- her throaty alto and authoritative Brit- pens a couple of times in "Blue Sky ish -with -an -ethnic -accentdeliveryas Mining." R.G. for her intense songs of romantic soul- searching. Now, in "The Sweet Keep- ICHABOD STOWE: It's My Turn. er,"thesinger -songwriter continues Ichabod Stowe (vocals, guitars, key- carving her profile as an intense and - - ,r boards); other musicians. This Train Is . tough -to -manage lover, shoring up her Running Out of Track; All Grown Up - original sparse sound with heavier bass with Nowhere to Go; A Dreamer Never - 44. and strings. Sleeps; I'd Like to Be the Doctor; and Tikaram is an intellectual rather than

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"STEREO REV EW" is a registered trademark of Diamandis Communications, Inc. an emotional writer and performer, and Harm in Your Hands, which sounds she draws some fascinating images ("I like a declaration to a dying friend, know the young man with a century's Tikaram is usually more affecting musi- JAZZ face/A philosopher king") to convey her cally than lyrically. Producers Rod Ar- stories of conflict and love. But to call gent, of the Sixties pop group Argent. her "the female version of Leonard and Peter Van Hooke have dressed her GARY BURTON: Reunion. Gary Bur- Cohen," as a London newspaper did, narrow -range melodies with light but ton (vibraphone, marimba); Pat Methe- seems stretching it by a couple of soccer hypnotic pop -jazz arrangements that ny(guitar);MitchelForman(key- fields. Tikaram's confessional lyrics are bestow a sexy panache and cerebral boards); Will Lee (bass); Peter Erskine smug where Cohen's are cruel, teasing glow not necessarily inherent in the (drums). Autumn; Reunion;Origin; where his are warmly passionate, and words. Still, one wonders: If Tikaram is Will You Say You Will; House on the she's often abstruse under the guise of this musically sophisticated at twenty, Hill; Panama; and four others (five oth- complexity.Withtheexceptionof where will she be at twenty-five?A.N. ers on co). GRP 0 GR-9598, GRC- 9598, GRD-9598 (59 min). Performance: Captivating Recording: Very good Gary Burton first met Pat Metheny in 1973. A year later the vibist hired the guitarist for his band. Three years later, IN LIFE WE HOPE Metheny left to start his solo career. From 1977 to 1988, the quiet, thought- ful Burton and the sweet, expansive TO FIND TRUE LOVE Metheny had almost nothing to do with each other. Burton steadily produced AND TRUE SOUND. his understated chamber jazz. Metheny became a best-selling fusion hero who tookoccasionalavant-gardeforays. Then, in 1988, the two musicians per- PHASE LINEAR GRAPHITE formed together at the Montreal Jazz Festival. GUARANTEES YOU Thanks to that reunion, we now have the album "Reunion." Itis clearly a Burton album, with allthe studied ONE OF THEM. charm we've come to expect from this intelligent guitarist, but there is also a relaxed, swinging quality that we haven't heard from him for quite a while. Perhaps that's Metheny's influence, as his own solos in this album have a lean, clean structure. Burton the classicist and Metheny the romantic have found common ground. If we're very lucky, it won't take another eleven years to get these two men together again. R.G. STAN GETZ: Anniversary! Stan Getz (tenorsaxophone);KennyBarron (piano); Rufus Reid (bass); Victor Lew- is(drums). El Cahon: ICan't Get Started; Stella by Starlight; Stan's Blues; PL$12093127,Sub and three others. EMARCY/POLYGRAM © 838 769-4, © 838 769-2 (70 min). PL3690 6"x 9" 3 9, Performance: Good Getz -.6-r-t,./11111 -t Recording: Good remote Phase Linear' speakers use ratings of any speaker available. When Stan Getz spent a few years living graphite in a special, patent -pending With Phase Linear speakers, your in Denmark, he left an indelible mark on the local jazz scene, which centers process developed here in the U.S. car will he flooded with a new, aroundCopenhagen'sCafeMont- by our acoustical engineers. true sound. Will you also find true martre. Getz had a lot to do with the It adds a faster 'attack' time. An love? Hey, we only deal with the Montmartre coming into being, so it exciting liveliness to the was only fitting that he would celebrate sound part. his sixtieth birthday on its stage. At music. With less For free in- least that is what is suggested in the coloration, less formation and notes accompanying his new album, distortion. And the name of "Anniversary." But his birthday falls on February 2, and this live performance the highest peak your nearest took place July 6, 1987-a small dis- and ILMS power dealer, call crepancy. What really counts, however, l-800-28-GRAFITE. is the music, and that is completely on C 1990 1'1.x. I mum- EM3111:511 rcputtall trAlcnurk the mark, a 70 -minute, laid-back lesson ,I1Intant.itu nub It'llsa nIrk THE TRUE SOUND OF GRAPHITE' in fine musicianship. Getz is one of the last saxophonists whose tone is truly his CIRCLE NO. 85 ON READER SERVICE CARD own, a slightly thin, somewhat ethereal

98STEREO REVIEW MAY 1990 ME BESTOF

1111'11 Pita unit IN %1000111, I 1101 01,1 Tommy James & The Shondells Anthology -iN2C

THE 'AVIV SPOONFUL

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"Rhino Records-the masters The Kinks of retrospectives." Greatest Robert Hilburn, L.A. Tim's Hits -Mho

Rev Up: on sale at: The Best Of Mitch Ryder & The Detroit Wheel SamGooc*, 70941 APRIL 18-29 RHINO REISSUES... FOR THOSE WHO KNOW CIRCLE NO 151 ON READER SERVICE CARD THE DIFFERENCE sound that delicately cuts a melody into close to a million dollars to make, but something it never was before and nev- can you trust a blurb that speaks of sax- er will be again. These performances ophonist JohnCoaltrain?Klemmer has were taped for broadcast over Danish always leaned toward jazz, and Coltrane radio and television, but the technical was indeed an early influence on him, quality exceeds that of most such re- but his fascination with rock and elec- cordings. C.A. tronic effects has never been a secret. He was among the first to connect an THE HARPER BROTHERS:Remem- Echoplex and a Wha-Wha to his saxo- brance.Philip Harper (trumpet); Win- phone, and he used these attachments ard Harper (drums); Justin Robinson effectively, with a commendable meas- (alto saxophone); Stephen Scott (piano); ure of control. Now, in his first new Kiyoshi Kitagawa (bass).Hodge Podge; album in eight years, he seems con- In a Way She Goes; Somewhere in the sumed by it all, aimlessly adrift in a sea Night; CB;and six others.VERVE ©841 of sophisticated technology. 723-4, 0 841 723-2 (72 min). "Music" is an oozing amalgam of AudioNideo, Car Stereo, Telephones sounds previously heard from Barry AT LOW DISCOUNT PRICES! Performance:Very good White, Weather Report, Stevie Won- Recording:Fine remote der, a rapper or two, and just about any YouII find the most helpful shopping infor- The Harper Brothers' second album is a fusion band you can name. Have you mation in the 116 page Crutchfield catalog. live set from New York City's Village ever taken a sip of, say, coffee, thinking Vanguard in which the young players it was cocoa? I experienced a similar pay tribute to such inspirations as The- taste shock when Ifirst took "Music" lonious Monk, CliffordBrown, and for a spin, but my ears made a remark- Horace Silver. The deepest bow, how- able adjustment. This album, or parts of FREE ever, is to jazz itself, for here is yet it, will probably do well as BMW travel- another group of new players with tradi- ing music, andit just might move tional values. Jazz has not moved in a Klemmer back into the spotlight he Stereo significant new direction since Ornette enjoyed a few years back. The compact Coleman came on the scene over thirty disc version includes four tracks that years ago, but if it is to find fresh, fertile are either remakes or updates from his Catalog soil, musicians like these will be the successful 1975 album, "Touch," on ones to cultivate it. Meanwhile, "Re- ABC. With Klemmer pulling out all the Refer to the Crutchfield catalog membrance" represents no bold ad- stops (or do we now say pushing all the before buying your next car stereo, vances, but you have to learn to walk buttons?) and Ellis Hall's vocals con- home stereo, or video product: before you can dance, and the Harper tributing mightily, "Music" is good for Brothers band is strutting along very what it is: souped -up contemporary pop 116 pages of helpful articles, consumer nicely. with an engaging jazz flair. C.A. tips, charts, and installation guides. It should come as no surprise that at Color photos, complete descriptions least one member, trumpeter Philip BOBBY SCOTT:For Sentimental Rea- and technical specifications on Harper, was in Art Blakey's Jazz Mes- sons. BobbyScott(vocals,piano); hundreds of the finest brand name sengers, but the musical training began Bucky Pizzarelli (guitar); other musi- products. at home for both Harpers. Their older cians.Night Lights; What'll I Do; Love - You get more value shopping at brother, Danny, had a rock band, and wise; For Sentimental Reasons; The Crutchfield: their late father-to whose memory this More I See You; Gee Baby. Ain't I Good album is dedicated-was a jazz fan who to You;and five others.MUSICMASTERS lbll-free product advice, ordering, and saw to it that his sons heard the right © MC -60229, 0 CIJD-60229 (71 min). customer service. sounds. Saxophonist Justin Robinson is also someone to watch, and I am partic- Performance: Silky sandpaper 24 hour shipping. Recording:Excellent Absolute satisfaction guaranteed. ularly taken by pianist Stephen Scott, who combines technical skill with im- Pianist/composer Bobby Scott's accom- Full 30 -day return privileges. pressive creativity. This is a band from plishments exceed his fame, but this set Discount prices on Sony, Pioneer, which much good will come. C.A. of intimate performances might help JVC, Jensen, Proton, Advent, Clarion, remedy that. In the Fifties, while still a Kenwood, AR, Infinity, Bose, and JOHN KLEMMER:Music.John teenager, he worked with the bands of many more! Klemmer (tenor saxophone, piano, syn- Louis Prima and Gene Krupa. In the r thesizer, kalimba, percussion, vocal ef- Sixties, he was responsible for some of Call or send this coupon now fects); vocal and instrumental accom- the work Quincy Jones received credit for your FREE Catalog paniment.High Love; Music; Yester- for at Mercury Records. He also wrote day, Today and Tomorrow; Get Hip; the score for the filmA Taste of Honey, and six others (ten others on CD). MCA including the title song, and the Neil 800-336-5566 MCA -6246, © MCAC-6246, 0 MCAD- Diamond hitHe Ain't Heavy, He's My Be sure to mention Stereo Review when calling 6246 (58 min). Brother.In this album, Scott honors the work of Nat "King" Cole, singing and Performance:Wayward playing eleven songs, including not only Name Recording:Quite good material that will forever be identified Ican hear them saying, "Let's have with Cole(Nature BoyandMamselle) Address Apt. some fun with these gadgets," and then but also such lesser -known tunes as proceeding to make an album with syn- Night Lights, Lovewise,andI Keep Go- City State Zip thesizer and sampling effects galore but ing Back to Joe's.This is the kind of Optional - Are you in the market for: no perceptible musical direction. That's album that sends goose bumps down PC products fax/copiers probably not how John Klemmer's lat- the backs of the romantically inclined.

security products est album came about, butitsure Its whispery, raspy, come -hither sound sounds that way. According to MCA's maintains a delicate balance between promotionalmaterial, "Music" cost jazz and pop. C.A.

CRUTCHFIELD 100 STEREO REVIEW MAY 1990 Crutchfield Park, Dept. SR, Charlottesville, VA 22906 .:<

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Discs and tapes reviewed by Robert Ackart, Richard Freed, David Hall, Stoddard Lincoln, Eric Salzman, and David Patrick Stearns

BACH: Mass in B Minor (see Best of the Month, page 88) BEETHOVEN: Piano Sonatas: No. 30, in E Major, Op. 109; No. 31, in A -fiat Major, Op. 110; No. 32, in C Minor, Op. 111. Rudolf Serkin (piano).DEUT- SCHE GRAMMOPHON ®427 498-4, 427 498-2 (67 min). Performance: Exalted. mostly Recording: Good live take No music could be more illustrative of PIRES: RIGHT TO THE HEART the qualities that have made Rudolf Serkin the uniquely valuable artist he has been for so long than the last three sonatas of Beethoven. He has been pro- THEPortuguese pianist Maria zos,D. 593-is inthe same vein: gramming them together in the last few Joao Pires's very attractive re- straightforward, well balanced, crisply years, and these new recordings were cordings of Mozart concertos, articulated,unassuminglyinvolved. taped by the Austrian Radio when he for Erato, were issued here by You feel that Pires bends her effort gave such a recital at the Konzerthaus the Musical Heritage Society about fif- toward letting the music speak for itself in Vienna in October 1987, at which teen years ago, and her complete survey as much as possible. In the opening time he was eighty-four. of the Mozart sonatas appeared a bit lat- movement of the sonata she takes the Like Beethoven's late quartets, these er on DenonLP's.Now another pianist, exposition repeat, not as a matter of sonatas are music that is on the one IngridHaebler,is making her way emphasis but of proportion. Purity of hand "idiomatic" enough in respect to through Mozart on Denon, and Pires line and resistance to extraneous effects its intended medium, and on the other has just turned up, without advance sustain an impression of starkness, an hand conceived and set down with announcement, on Deutsche Grammo- outlook more resigned than tragical. apparent disregard for the limitations of phon. One of her first two releases for When the energy is at last unleashed in the actual instruments used to play it. DG is a collection of Mozart sonatas; thefinal movement itis dark and What it demands from the performer is the other is devoted to Schubert. admonishing, and the softer second not so much "interpretation" as clarifi- The Mozart may or may not be thetheme is the more poignant for not cation. This, to my ear, has always been start of a new cycle (there is no word on being coaxed to sing. Serkin's approach, and by now he that in the annotation, and none on The shorterpiecesarepresented would appear to have scrubbed away Pires herself), but it is a handsome pro- somewhat more expansively, but never every last trace of anything that might gram-stylishlyplayed,vividlyre- at any point overindulged. Other pian- have been regarded as the slightest corded. The three sonatas-K. 310 in A ists may put more of themselves into encumbrance. As listening experiences, Minor, K. 333 in B -flat Major, K. 545 in this music; I found it refreshing (that some portions may be more fetching C Major-are laid out in a sequence word does come to mind with some fre- than others, but the entire sequence that makes especially good sense, and quency) that Pires is willing to set it seems as much an essential part of Bee- Pires goes right to their heart. She does before us plain. This is Schubert, and thoven's own testament as of Serkin's. not seek to overlay out -of -scale pathos Pires never clutters it up or gets in the The weak link here is Op. 109, which on the splendid A Minor, and she way. That seems to be more or less the comes across as not only austere but a doesn't go at any of the music with that sound engineers' approach, too, and it little dullish-more a sort of meditation enervating "studied simplicity" that has works just fine. Richard Freed on the music than a realization of it. made some of her colleagues tiresome The two subsequent works, though, are cult figures. She plays the sonatas for MOZART: Piano Sonatas: No. 8, in A realized fully and nobly. Within a some- the life that is in them, crisply and clear- Minor (K. 310); No. 13, in B -fiat Major what restricted range in terms of both ly, with due regard for color and line- (K. 333); No. 15, in C Major (K. 545). color and dynamics, Serkin conveys the occasionally less than rock -steady, but Maria Joao Pires (piano).DEUTSCHE essence of these sonatas-not with fire, realizing the seldom -acknowledged sub- GRAMMOPHON 0427 768-2 (61 min). stance of K. 545, the endearing wit of K. 333, and a good deal more with a SCHUBERT: Piano Sonata in A Mi- ANA I ION OF SYMBOLS: refreshing vitality that comes from the nor, Op. 143 (D. 784); Moments mu- a = DIGITALLY RECORDED LP heart as well as the fingers. Not the last sicaux, Op. 94 (D. 780); Two Scherzos (2) = TAPE CASSETTE word, perhaps, but deeply pleasing. (D. 593). Maria Joao Pires (piano). 0 = COMPACT Disc (TIMINGS ARE The Schubert-the A Minor Sonata, DEUTSCHE GRAMMOPHON 0427 769-2 ToNEAREST MINUTE) the Moments musicaux, the Two Scher- (63 min).

STEREO REVIEW MAY 1990 105 perhaps, but with a fine rhythmic stea- diness and a subtle sense of unexagger- ated drama. His intellectual grasp of the material does not overlook or seek to MORE THAN A CLEANER... avoid the real emotion that is part of the substance, and the great expansive ar-

FinyrsScientific Formula Utilizes Optical Impedance Matching ietta that concludes Op. I11 is truly cli- For Enhanced Laser -Read Playback mactic in the deepest, most convincing sense. No single performance of such Maximum playback fidelity If a CD isn't FINYLIZED works can mine all that is in them, but I begins at the CD's surface! you haven't really heard it! shouldn't want to be without these of Improves dynamics and Improves low-level detail Improves timbral accuracy Opp. 110 and 111. R. F. transient response Improves image specificity Decreases harshness Improves bass articulation and depth and noise BERG: Lulu -Suite, Symphonic Pieces Science in the Service of Music Easy Process Treats approximately 200 CD s from the Opera (see SCHOENBERG)

BERLIOZ: Requiem, Op. 5. Keith Lew- '2995 is (tenor); Chorus of the North German If your dealer does not yet have FINYL, call 1-800-24 FINYL(In Maine 929-4553) Radio; Frankfurt Radio Orchestra, Elia- Dealer inquiries invited. hu Inbal cond.DENONCD -73205 (72 min). Distributed by Transparent Audio Marketing, Inc., Box 117, Hollis, ME 04042(207) 929-4553 Manufactured by Digital Systems and Solutions, Inc., Box 3640, San Diego, CA 92103 Performance: Just right Recording: Near perfect Eliahu Inbal's Berlioz cycle got off to a shaky start with a fairly uninteresting recording of the Symphoniefantastique, FINYL but the conductor's Harold in Italy was THE DIGITAL SOLUTION" excellent, and this Requiem sets a standard of sorts. Charles Munch's old CIRCLE NO 111 ON READER SERVICE CARD recording for RCA (now on CD) remains the reading that best ignites this piece, but Inbal's is the best one in digital sound. That's partly because of a characteristic that made Inbal's recently A DIFFERENT KIND completed Mahler cycle so laudable: He OF MUSIC CLUB knows how to contain expansive mu- FREE TOTAL sicalgestures without making them sound simply tame. He brings off tricky TREMENDOUS SAVINGS ,..t1ARMOWC INCLUDING COMPACT DISCS ... musical moments with clearly delin- on every record, tape and CD in print- eated phrasing, and he imparts a rhyth- no "agree -to -purchase" obligation of any kind. 1471STORTION mic spring to almost everything he DISCOUNTS OF 20% TO 73% does. off mgf. suggested list ... special DMC catalog by Charles Rodrigues! lists thousands of titles and hundreds Unlike Colin Davis inhis Philips of artists in all musical interests ... This handsome, 128 -page paper- recording of the Requiem, Inbal basi- Super Sale Specials! back-with 118 classic cartoons, cally treats the chorus as a homogen- MOST LABELS AVAILABLE eous whole, though he still insures that including most imports a foreword by William Living- the layers of color in Berlioz's writing -satisfaction guaranteed stone, and an illustrated autobi- emerge as they should, and Denon's res- FREE SUBSCRIPTION ographical sketch by Rodrigues onant production gives the singers a to quarterly newsletter himself-is only $7.95. Enjoy CUSTOM ORDERING & SEARCH SERVICE luminous halo. Keith Lewis would not Thru our special custom service you can order your favorites again, catch the be my first choice as the tenor soloist, any title or artist whether listed in our catalog gems you missed, and share the but he has an attractive voice and is or not ... We'll search and custom order for you if available! laughs with friends' attentive to the music's needs. In sum, this recording is close to a triumph and QUICK SERVICE Makes a great gift! suggests that Inbal's Berlioz cycle could same day shipping on many orders . . rarely later than the next several days. be quite an important one. D.P.S. 100% IRON -CLAD GUARANTEES TO ORDER:Send check or money on all products and services-your total order for $7.95 per copy, plus $1.50 BRAHMS: Symphony No. 3, in F Ma- satisfaction is unconditionally guaranteed for postage & handling to: jor, Op. 90; Tragic Overture, Op. 81. Discount Music Club is a no -obligation membership club that guarantees tremendous dis- Perfectbound Press Bavarian Radio Symphony Orchestra, counts on all stereo records, tapes and CD's Suite 4118 P Colin Davis cond. RCA 60118 -4 -RC, and lets you buy what you want ... when you 1120 Avenue of the Americas 601 18 -2 -RC (55 min). want .. or not at all if you choose. New York, NY 10036 These are just a few of the money -saving Performance: Broad -gauge reasons to write for free details. You can't lose so why not fill out and mail the coupon below Type or print mailing address with Recording: Spacious for immediate information order. New York State residents add If you want your Brahms broad in 6542 sales tax per copy. Outside U.S.: phrase and deliberate in tempo, these ass DISCOUNT MUSIC CLUB, INC. 009-0590 add $1.75 postage & handling for 481 Main Street. New Rochelle, N.Y. 10801 readings from Colin Davis are for you. Name _ first copy and 5042 for each additional My own preference, especially in the Address copy (U.S. bank funds only). Allow six to eight weeks for U.S. delivery, opening movement, is for the kind of City longer outside U.S. ardor and tension associated with, say, NaState Zip George Szell in his prime. Davis fares best in the lyrical slow movement and CIRCLE NO 71 ONREADER SERVICE CARD in the intermezzo -like Poco allegretto,

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CIRCLE NO 184 ON READER SERVICE CARD where he brings to bear an unobtrusive That requirementis met here, and voice encompasses Rossini's fioritura but effective rubato. The finale, though Tennstedt pulls it off. The applause at as easily as if the passage in question weighty, has ample momentum. The the end of the recording may seem were the C Major scale. He also projects Tragic Overture, for my taste, needs intrusive but is well deserved. D.H. with humor the appealing character of more ferocity and relentlessness than it the protagonist. The lady he pursues is gets here. And while the sonics are spa- ROSSINI: Le Comte Ory. John Aler the Comtesse Adele, sung here by Sumi cious, there is an extended decay time (tenor), Ory; Gilles Cachemaille (bari- Jo, a coloratura soprano whose admira- that tends to blur the bass line, most tone), Gouverneur; Diana Montague bly trained voice is sure, accurate, and noticeably in the final movement of the (mezzo-soprano), Isolier; Gino Quilico very flexible. Like Aler, she conveys the symphony. D.H. (baritone), Raimbaud; Sumi Jo (sopra- personality of her role with charm and no), Adele; Raquel Pierotti (mezzo- playfulness. Gilles Cachemaille's Gou- MAHLER: Symphony No. 5,in C - soprano), Ragonde; Maryse Castets (so- verneur is hearty and complaining, a sharp Minor. London Philharmonic prano), Alice; Francis Dudziak (tenor) good foil to the irrespressible, flam- Orchestra, Klaus Tennstedt cond. EMI/ and Nicolas Rivenq (baritone), Cheva- boyant Ory. Gino Quilico's full, rich, ANGEL CDC 49888 (73 min). liers. Orchestre et Choeur de ('Opera de supple baritone imbues Raimbaud with Performance: Lyric emphasis Lyon, John Eliot Gardiner cond. PHIL- a winning personality. Indeed, the en- Recording: Good live pickup IPS 422 407-2 two CD's (133 min). tire cast re-creates the youthful, often Performance: Ebullient zany frolic of the characters with un- This live recording of Mahler's Fifth usually engaging effect. And the Orches- Symphony by Klaus Tennstedt and the Recording: Crisp and clear tra and Chorus of the Lyons Opera London Philharmonic, made at a De- Le Comte Ory comes as close as we respond smoothly to John Eliot Gardi- cember 1988 concert in Royal Festival have in opera to French bedroom farce. ner's nicely paced direction. R.A. Hall, may not boast quite the sonic rich- having, as it does, a libretto co-authored ness of the 1979 Angel recording of the by no less a writer than Eugene Scribe. SCHOENBERG: Five Pieces for Or- work by the same forces, but it displays Rossini borrowed much of the sprightly chestra, Op. 5. WEBERN: Six Pieces greater sureness and spontaneity of ex- music from his // viaggio a Reims, a for Orchestra, Op. 6. BERG: Sym- ecution. piece d'occasion celebrating the corona- phonic Pieces from the Opera "Lulu" Tennstedt here maintains the full dra- tion of France's Charles X, which the (Lulu -Suite). Arleen Auger (soprano, in matic tension of the stormy sections of composer realized would have a short Berg); City of Birmingham Symphony the first two movements, but he also box-office life once the state event was Orchestra, Simon Rattle cond. EMI/ pays more careful attention than usual past. The resulting work is as funny, ANGEL ©CDC 49857 (66 min). to their lyrical elements. In the succeed- airy, and melodic a bit of nonsense as ing scherzo he brings the fantastical only Rossini, himself a man of enor- Performance: Excellent aspects of the music very much to the mous humor, could effect for the lyric Recording: First-class fore, and the solo horn player sounds stage.If Le Comte Ory lacksthe Records combining works by Schoen- glorious in his long solo toward the end superiorimaginationof IIviaggio, berg, Berg, and Webern-the so-called of the movement. The famous adagietto which depends entirely upon character Second Viennese School-are almost a is treated as a study in suspensions and relationships for its story-there is no cliché by now, but it makes for good suspense as Tennstedt lingers lovingly action per se-the later opera moves programming: the romantic Berg and over each phrase, almost to the break- swiftly,titillatingly, and always with the still -far-out Webern together with ing point. disarming musical invention through their mentor, Schoenberg, who is now The intricately polyphonic finale can its tale of disguises and attempted se- almost mainstream. become pretty deadly unless the orches- ductions to the final comeuppance of its Schoenberg's Five Pieces for Orches- tra players have it so wholly in their fin- lusty hero. tra, dating from 1909, belong to that gers that the conductor can make the As the rascally count, John Aler sings early period of free expressionism when music into a sort of exuberant game. with a beautiful, easy, lyric tone. His anything was possible. This is the ultimate Freudian fantasy in music, about Klaus Tennstedt: a sure hand in Mahler as intense and colorful a score as was ever conceived. The Webern pieces date from the same year, but they are highly concentrated, aphoristic meditations on death and other gloomy matters. The Berg Lulu -Suite, mostly orchestral but including two vocal excerpts from the opera, dates from a couple of decades later. While itis technically a twelve- tone composition, it is at least as lush and fevered as early Schoenberg. All of this is excellent music to show off the dynamic range of digital recording and the compact disc-and of the conductor and his orchestra. Simon Rattle does not try for subtlety; he delivers even the sparse and laconic Webern pieces as if through clenched teeth. But these strong and dramatic readings are nevertheless all highly effective. E.S. zC.; SCHUBERT: Symphony No. 9 (see Best of the Month, page 85) SHOSTAKOVICH: Symphony No. 4, in C Minor, Op. 43. Scottish National (Continued on page 112)

108STEREO REVIEW MAY 1990 COMPETITIVE PRICING. .CALL NOW

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CIRCLE NO.1 ON READER SERVICE CARD BEETHOVEN IN BERLIN

MONG the many events and cir- stein treats the venerable score as if it flee and reconstitute their lives and cumstancessurroundingthe were a living history of the last half -cen- careers-German artistsrepresenting crumbling of the Berlin Wall tury. When he gets to the "Ode to Joy" the great tradition of German culture last November, not the least finale, he literally changes it to an "Ode but exiled from their native land be- extraordinary were cultural. It is one of to Freedom" by changing the word cause they were Jews. (Other exiles, like the great ironies that the concept of a Freude to Freiheit, and it is a very emo- Bertolt Brecht, Paul Hindemith, and united Germany has very little political tional moment. Thomas Mann, were political oppo- history behind it but is based almost Barenboim's concert-the First nents or otherwise personae non gratae entirely on language and culture: Lu- Piano Concerto and the Seventh Sym- with the regime.) ther, Goethe, Beethoven, and so on. phony-was alsoahighlycharged In a very real sense, Bernstein and No wonder, then, that when the Wall event. It, too, was recorded, and it has Barenboim are the modern representa- came down the music of Beethoven now been released on CD by Sony Clas- tives of that tradition. In the case of provided an instant common bond. sical. The performance of the concerto, Bernstein, there is also a bit of old Rus- Within days-during that first tremen- in which Barenboim both plays and sia and a lot of new America in his dous surge of East Berliners into the conducts, is astonishingly fluent and, music; Barenboim was born of refugee western part of the city-the (West) especially in the rather idiosyncratic parentsinArgentina and raisedin Berlin Philharmonic, under the leader- finale, quite personal. The man is sim- Israel. Both embody a kind of continu- ship of Daniel Barenboim, offered a free ply one of the great pianists of our time. ity and modernization of the great Cen- Beethoven concert to the newly liber- None of this is to say that he is not also tral European tradition-a cultural tra- ated visitors. By Christmas, barely six a major conductor; the Seventh Sym- dition that, in great part, had to leave weeks later, the Bavarian State Radio phony has an excitement that is rarely Germany in order to return. had organized, with Leonard Bernstein, captured in studio recordings. There was, and is, a lot of unfinished performances of the Beethoven Ninth The same comment can be made cultural business in this area.It has in both West and East Berlin-with about Bernstein's reading of the Ninth, been easy to see and understand the musicians and singers from both Ger- a piece that is notoriously difficult to political legacy of fascism, World War manies as well as from the countries record under studio conditions. This is II, and the Cold War as long as the two allied against Germany in World War not a Ninth with a high, glossy finish, Germanies and theBerlin Wall re- II.The Christmas -morningconcert but who wants or needs another such mained. It has not been easy to under- from East Berlin was broadcast on an right now? What Bernstein delivers, stand the meaning of the cultural dias- international hookup and recorded by better than any other living musician, is pora that took place at the same time. Deutsche Grammophon, which has just a kind of energy and commitment, a In a deeper sense, then, these concerts released it on CD and tape. zeal that crosses the boundaries and and recordings mark something more Beethoven's Ninth has been used makes the emotion and fervor of the than a break-out from East Germany many times before to mark solemn or moment transcendent. and a cultural reunification that pre- celebratory moments in German his- Many commentators have noted the cedes thepolitical.They mark, or tory: most notably, performances by political significance of these concert should mark, the survival of that aspect Wilhelm Furtwangler in the last dark events, but there are other, less -noted of German culture and music that has days of the Third Reich and again to aspects that ought to be mentioned. changed the world and for which the reopen Wagner's Festspielhaus in Bay- Among the first acts of the Nazis when emigres, reviled and exiled by Hitler reuth after the war. But here is a Bee- they came to power in the mid -Thirties and the Nazis, truly carried the torch. thoven Ninth, marking a great cross- was the removal of Jewish artists from Artists like Bernstein and Barenboim roads in German history, led by a non- culturallife.In no field were those and events like those marked here are German-an American musician of purges more far-reaching than in music. creating the final chapters of one history Jewish background, no less!-in an at- ArtistslikeBrunoWalter,Arnold and the opening pages of another. mosphere of celebration and joy. Bern- Schoenberg, and Artur Schnabel had to Eric Salzman Leonard Bernstein: Ode to Freedom BEETHOVEN: Piano Concerto No. 1, in C Major, Op. 15; Symphony No. 7, in A Major, Op. 92. Daniel Barenboim (piano); Berlin Philharmonic Orchestra, Daniel Barenboim cond. SONY CLASSI- CAL 01-045830-10 (77 min). BEETHOVEN: Symphony No. 9, in D Minor, Op. 125. June Anderson (soprano); Sarah Walker (mezzo-soprano); Klaus KOnig (tenor); Jan-Hendrik Roo- tering (bass); Bavarian Radio Chorus, members of the East Berlin Radio Cho- rus, and Dresden Philharmonic Chil- dren's Chorus; members of the Bavar- ian Radio Symphony Orchestra, Dres- den Staatskapelle, Orchestra of the Ki- rov Theater, Leningrad, London Sym- phony Orchestra, New York Philhar- monic, and Orchestre de Paris, Leonard Bernstein cond. DEUTSCHE GRAMMO- PHON © 429 861-4, © 429 861-2 (78 min).

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The piano sound has an especially live quality,too.Imust say, READER PAGE Performance: Powerful though, that on the basis of these per- SERVICE NO. ADVERTISER NUMBER Recording: Same formances I would not regard the nine- The Shostakovich Fourth is a work that teen -year -old Aleksei Sultanov as the 60 Adcom 38 was, almost literally, banished to Siber- best of the lot. The young Soviet pianist 30 Advent 33 80 Altec Lansing 64-65 ia. In the mid -1930's, the composer's has bushels of technique but little,it - Army National Guard 76 opera Lady Macbeth of Mtsensk was a appears, in the way of subtlety or refine- 178Atlantic Technology 19-22 huge success-until Stalin went to see ment. His idea of "expressiveness," - Audiophile Auditions 92 it. The work and its composer were then throughout the disc devoted entirely to roundly and bitterly condemned. The him, seems to be exaggerated dynamic 49 B&W 36,37 27 Blaupunkt 27 grants from the Soviet equivalent of the contrasts,frombarelyaudibleto - Bose 2 National Endowment for the Arts were pounding, and he seems curiously un- - Boston Acoustics 42-43 withdrawn, and the composer was pub- willing to let his instrument sing. I sus- licallydisgraced. Shostakovich with- pect, alas, that it is more a matter of 157 Cambridge Sound Works 30-31 temperament than of youth: Sultanov's 5 CBS Records, Sony Classical 84 drew his new symphony, then in re- - Columbia House CD Club 17 hearsal, and it was not heard again until even younger compatriot Evgeny Kissin - Columbia House Music Collection 63 1961. does have all the qualities one misses 188 Coustic 45 Good socialist works were supposed here, and that, of course, is what makes 113 Coustic 47 98 Coustic 49 to be "realistic" (whatever that means). him an interesting musician instead of - Crutchfield 100 They were also supposed to be optimis- just an "exciting young pianist." tic, and this symphony-tragic mostly, The thirty -year -oldBrazilianJose - Delco 53 sometimes ironic and satiric-is any- Carlos Cocarelli, winner of the second 71 Discount Music Club 106 thing but.Itis huge, sprawling, and prize, also took part in the 1977 Cliburn highly dramatic, but not the least bit Competition,butwithoutplacing 159Eclipse 50-51 optimistic. Like much of Shostakovich, among the prize winners. More than 1 Electronic Wholesalers 109 itis rough-hewn and epic but also Sultanov, he shows an altogether ap- 1 1 1 Finyl 106 intensely personal, with a kind of ago- pealing sense of maturity and balance in - Ford Audio 41 nizing outward display of inward emo- his Schumann, Brahms, and Chopin, tion. It is, beyond a doubt, one of the and there is no stinting on excitement, 165 Geneva Group 92 composer's most original works. either. Third -prize winner Benedetto The Scottish National Orchestra led Lupo is a twenty -five -year -old Italian; 40 Harman Kardon 10-11 by the Finnish conductor Neeme Jarvi he plays the revised version of Rach- 40 Harman Kardon 57, 59, Cover 4 might seem an odd source for obscure maninoff's Second Sonata and plays it 73 Hifonics Cover 3 Shostakovich, but, in fact, this team has with stunning authority. Illinois Audio 104 been giving us a major Shostakovich For each Cliburn Competition an - series, of which this recording may be American composer has been commis- 39 J&R Music World 102-103 the most important entry to date. It is sioned to write a brief piece that all the not an easy work to take, but, as power- semifinalists are required to play, and a 2 Klipsch 35 fully realized here, it emerges as a major special prize is awarded for the best per- 154Lexus 60-61 document of the century. E.S. formance of it. Since Lupo received that prize for his performance of William 29 McIntosh 71 22 Mitsubishi 14-15 WEBERN: Six Pieces for Orchestra Schuman's Chester Variations, I'm at 109 Mobile Fidelity 101 (see SCHOENBERG) quite a loss to understand why we were given Sultanov's performance instead - Perfectbound Press 106 of his. One can imagine how the piece 85 Phase Linear 98 COLLECTION might sound under the hands of a pian- - Philip Morris -Marlboro 31 - Philip Morris -Parliament 50-51 EIGHTH VAN CLIBURN INTER- ist who cares about it, but it just lies 31 Pioneer -Car Cover 2, 1 NATIONAL PIANO COMPETI- there under Sultanov's. 173Pioneer-Laserdisc Club 32 TION 1989: The Winners. Beethoven: The whole question of who really 89 Pioneer -Video 54-55 - Pioneer -Book 97 Piano Sonata No. 23, in F Minor, Op. deserved to win this or that competi- 90 Polk Audio 6-7 57 ("Appassionata"). Schuman: Ches- tion, and the related one of how much 153 PolyGram 90 ter: Variations for Piano. Chopin: Piano competitions mean to a career in the 93 Proton 83 Sonata No. 3, in B Minor, Op. 58; Etude long run, make it especially interesting 94 Pyle 12 in C Minor, Op. 25, No. 12. Rachmani- to scan the lists of prize winners from - Radio Shack 87 noff: Etude -tableau in E -flat Minor. Op. the seven previous Cliburn Competi- - RCA-BMG Direct 32a,b 39, No. 5. Aleksei Sultanov (piano). tions, which are included in this set's 193Rhino Records 99 Schumann:Variations on the Name handsomely produced booklet. Win- Abegg, Op. I. Brahms: Variations on a ners of the first prize have been Ralph 103 Sherwood 28-29 Theme by Schumann, Op. 9. Chopin: Votapek, Radu Lupu, Cristina Ortiz, 184 6th Ave. Electronics City 107 59 Sonance 89 Ballade No. 4. in F Minor. Op. 52. Jose Vladimir Viardo, the late Stephen De 5 Sony Classical 84 Carlos Cocarelli (piano). Rachmaninoff: Groote, Andre -Michel Schub, and Jose 171Stillwater 8 Piano Sonata No. 2, in B- flat Minor, Feghali. Cecile Ousset placed fourth the Op. 36. Chopin: Scherzo No. 2, in B -/!at year Votapek took the prize; Rudolf 98 Toyota 4 Minor, Op. 31. Benedetto Lupo (piano). Buchbinder came in fifth when Lupu TELDEC ©246 103-2 two CD's (141 won. The remarkable Minoru Nojima - Wisconsin Discount Stereo I 1 1 min). placed second to Ortiz, as Alexander Toradze did to De Groote; in the latter - Yamaha 9 Performances: Prize-winning competition Jeffrey Swann, Michel Dal- Recording: Vivid berto, and Ian Hobson were among the This is quite a souvenir of last year's lesser prize winners. And the year Fe- Van Cliburn competition: two very gen- ghali took the gold medal, Barry Doug- MAY erously filled discs of actual competi- las came in third. R.F.

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(718) 871-7600 006ccowcrocoon0:Dm 3 oz 3 oz 1_w ->w-mcs,it cri'L 6 w0 a , Csi DECK. 2-1 WAY SPEAKERS 6 REMOTE SUPER SAVINGS WASTURNTABLE, 799.99 MUM STEREO REMOTE, AND DEMO CO MAYER NOM ONLY 119.11 ILCT: OCO C. /2>QC C CI 1 cc4O 4EI:EC >5° ENERGIZEDFMPARSEE ANTENNAS. LS -4 ANTENNA DIRECTIONAL ANTENNA, STEALTH 21.41 BATTERYCORDLESSSONY MDR4F51( LASTS HEADPHONES UP TO 6 HOURS WITH RECHARGEABLE LOW Er6-1 0 CW1 !-w 36 z) : z' c 06; CD 0. ! ;:2U c c L09 a cr . 08L: AUTO REV. - TEAC - LOW /0400C mX600 419.99 40 WATTS RMTlOW-SAR.177 LOW CTS -1100 W/SPKRS.LOW CTC5500 . . LOW KT -4038-4029 AUTO3 BAND REV.LOW 00.10W >= -10OT0_ z d 0 : ., <= nu. , :co v2, 1 r, .1 oz : Z SLP-370 NEW - TECHNICS - LOW V -215C DOLBY P6069.00 mX000 - YAMAHA - 55 N 9LOW SA -160 40 LOWEST 7158 - ALPINE - 259.99 KT4529 DIGITAL LOW w0 L ! zu .1(.1 : , 2, , CHANGERLOADSLPC-30SLP-170 S NEWDISC NEW WITH ROTARY FRONT FULL 139.99 PIX11430KX300KX230KX-200 279.99. 190.99 AX.430 LOW AX -300 - AMA A - 159.99 LOW SAR -477 WITHA V RECEIVERS- TECHNICSREMOTE - 100 WATTS 3210 GRAPHIC EOLOW 726071607159 289.99 LOW HST&NST-220 EQUALIZER -210-370 AUTO AUTOCOMPACTLOW REV.REV.LOW - AIWA - LOW wcrcro-71-occzm,73 z_w-a CO EC < U. 0 D /0 03 ?11110-43.1SUOUL OVERSAMPLINGSLP-555FUNCTION 18 RMT.. BIT 4 TIMES LOW KXW-500KXW302KEW -202 LOW AX.700AX500 85 W - TECHNICS - LOW 4254637745 KEY REMOTE RMT. 80 WATTS AMP LOW 35173530 POWER AMPLOW 129.00 Hs,.1151900W DIGITAL RE DIGITAL LOW t_.00...... caowwoi-a-r,o OS SLR -222 18 SIT 4 TIMES KXW-900 LOW SUV.660 90 WATTSLOW SAR 277 60 WATTS 5950 CD.RmT. LOW tr;' (3 C 7 OVERSAMPLING LOW - PIONEER - 32 KEY RMT LOW - MEMOREX ;11 O ggr;sEr.: g i-Ls-g Ix SLPC-20 S DISC ROTARY CTM-6R MULTI TAPE SPECIAL I 0 1.IK. . ci SLPCIOCHANGER W/RmT LOW LOW CTW.300CHANGER 129.99 INTEGRATEDNEW AMP TECHNICS WITH SUV-4.50 SLD13.20 DELT DRIVELOW DcA.3500 - TECHNICS - '' 1 'I 7177 fPRRSGRFAT WT - DEN .N - EDM-330MONITORED/4410 EXPANDEDEXPANDED DIG. .29.99 2 E t74 2 g 2-..,ii,,,--rx,-.7>-:,--.3. 4 ee CO .-i g WO CC 4 sc cn as . CTW-910 LOW HERSUP K o. 6 7 C I__ Ne 4 * 20 uu OMS-3A - NAKAMICHI - - DEPION - 649.99 CTW-600RCTW-710 LOW - YAMAHA - SLDD22 DELT DRIVELC)w POWER AMP POWER AMR LOW QUALITYEDm-770MONITOR EXPANDEDSTUDIO DIG. 4699 CC-< I 0 CC 8 esi a E3 0.5 1 -.1uj 4a '- X1 DCD1400 309 CTw-510 LOW TX -1000 LOW 511-911 WD 419.99 EA - 1V MONITOR 69.99 w o //i Fs/ 218 -m 0 2 cc -- CD DCD-150011 DEMO 466 CTS -605 LOW TX.300 129.99 PINNACLE - - DCR-5320 STEREOLOW VHS -100 SURROUND ff 2 r (*i CD sc CD DCD-600DCD1700 249.99 LOW CTW.405NEW TDV.1010 489.99 xPA1010 DIGITAL799.00LOW SOUND PROCESSOR pwl15E_ST SUS WOOFERSTOCKiER IN STOCK Cx rs "2.86 2wISPKRS12- SONY 999- 429.99 SYSTEMSOUND HEADPHONE W/VHS-100 199 uj 0m o 2,cc ::L.uj c, 1... 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LOW KENKE-5454 ".5656 -7670 ' LLOOWWLOWLOV wm701 - SONY - LOWEST179.99 CDY-474 - MAGNAVOX- PIONEER - - 599.99 dC -cdVS 03 XLV.411XLV.222 219.99159.99179.99 PmAPMA9NA152° 720520 . 12,9ATZ VSX4.100LOW SX-2700SX-2600 NEWIN NEW...LOW STOCK TS.6944 KEN:8686 STYLE LOW 44/ w:AAF-23 MAF64 MEGA BASS F-48 SAVE S CLD-2070 LD-T070 0,70.... THE ZEST IN STOCK LOW XLV.611 319.99 PmA920 - 1VC - PUM LL. ANED OU RENZIT BO X wmAF54 SAVE S SAVES LOW NEW RX.i010 929 WMAF59 1011.'137Flige-.239.99 XLm01 PRE AMPS MAI O, R X.701x.999 489.9349 . W OlUICK ANTI THEFT CAIWIET wmAF-60i RELEASE, wmF.73 SPORTS SAVE S KvTOFMR20v-64010 10 LOW EM O SI RSTR.155 DUAL -ONE CX.1000 - LOW R K.777 319.99 CHM WAS 54.99 NOM wmAF-604 SAVE . 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"The Quick Connection" lo...e0 -3. .1 NemNIB.J. AUDIO The mark of a true Denon. 3230 Vollmer Ave Cincinnati, OH 45238 t ' I his sticker tells you who is an authorized (513)6623351 Denon dealer and who isn't. HOME Some people who offer Denon products are ' NAKAMICHI HiK ' ONKYO ViRESEARCH LUXMAN not authorized dealers. That can lead to problems. CARVER' AIWA' DESIGN ACOUSTICS' ONKYO First, only authorized dealers offer you the SImpL Resign and high-tech materials Lumbine to CELESTION ADCOM' YAMAHA' NAD protection of a Denon warranty with your arm : ..itich allbutdisappears when CAR

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So before you buy your Denon. look for this oo S&H ORDER NOW Denon Authorized Dealer Sticker. It assures you of the authentic Denon tech- 1-800-535-6504 nology and support you expect. And nothing less. 5I,I41 A,. k.,L)AfiA." MADE IN THE USA 401011-)41 To find your nearest AUTHORIZED Denini rk.iler call: *Ade Eleauate Mumma. 1-201-575-7810 (9:00am-5:00 pm EST) DENON 43 Racal Court S.I. NY 10314 CAR STEREO/. SPRPS

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HOLLYWOOD NOR- HOUSE OF MUSIC. BOX 388759. DEPT. SR. CHICAGO, IL ME PLE*0 TH ENTERTAINMENT SERVICES. 840 Piner Rd.. Santa TAPE 1.11. 60638. EPE Ftcsa, Ca. 95403. (707) 575-3280 FAX (707) 575-3629. WE WILL BUY YOUR UNWANTED COMPACT DISCS. COM- WORLD POO PETITIVE PRICES! FAST SERVICE. WRITE CDCS, 551 VAL- MISCELLANEOUS FREE SEIY100 MTH EVERY AUDIO ORDER LEY ROAD, SUITE 124, UPPER MONTCLAIR, NJ 07043 . o.my. et verso.. Youl Sc E...EE-14E 11111110.0.1.1 *Mr COO*. 30 CLASSICAL MUSIC LOVERS' EXCHANGE '. Nationwide link CD -SINGLES, CD-EP'S, CD PICTURE DISCS-EP'S AND LEIANIU ELE TappEp. US 110*** Es*. pELEEL* ea between unattached music lovers. Write CMLE. Box 31, Pel- TAPE WORLD 220 SPRING ST EUTLER.PA111001 RARE CD'S. For catalog call (305) 594-1811 Music Service, O COMPLETE ow or [woos AND ham, NY 10803. (800) 233-CMLS. 8309 NW 66TH St., Miami, FL 33166 BUSINESS OPPORTUNITIES Classical discs at discount prices. Knowledgeable. courte- TEN AMPEX 1800' REELS -USED ONCE, $25.00 Sample: ous. personnel. Starting prices: $5.99. Schwann publications. $2.50. Also: New MAXELL Reels Cassettes. AUDIO MAILORDER OPPORTUNITY! Start profitable home business S8I3 Classical Compact Discs,141 Memory Lane. Orange. MA. TAPES. Box 9584-A, Alexandria, VA 22304. (703) 370-5555 without experience or capital. Information Free. Mail Order 01364-9693. (508) 575-0317. VISA MC. Associates. Inc.. Dept. 634. Montvale. NJ 07645. GET PAID for mailing letters! $200.00 daily. Write: PAASE - TR5, 161 Lincolnway, North Aurora, IL 60542 Prices subject to change RETAIL MART Prices exclude shipping charges WE HAVE THE FINEST SHOWROOM in our area with the best err selection of audio video components available. We represent Not responsible for Adcom, Infinity, Thorens, NAD, Polk, Yamaha, Canton, NEM' YORK WHOLESALE typographical errors Luxman. Klipsch. SONY ES. and more. CONTINENTAL SOUND. 98-77 Queens Blvd., Forest Hills, NY 11375 (718) 459-7507. FOR FASTEST (iz, (212) 684-8046 SERVICE CALL(212) 684-6363 TIPS FOR MAIL ORDER HOURS: MONDAY -FRIDAY, 9AM-7PM EST SATURDAY 10AM-5PM or Write Direct: 2 PARK AVENUE, DEPT. 15, NEW YORK, N.Y. 10016 PURCHASERS We sell authorized U.S. branded merchandise and parallel imports. All prockets covered by manufacturer's warranty or New York Wholesaler's exclusive limited warranty. Manufacturer's rebates may not apply. Ask for full details at the time of purchase. It is impossible for us to verity all of the claims CD Pt AYERS RECEIVERS CASSETTE DECKS' CAR STEREOS CAR STEREOS of advertisers. Therefore, the following infor- HARMON KARDON PHILIPS NAKAMICHI NAKAMICHI DENON 429 329 mation is provided for your protection: 1107300 229 FR780X CR1A RD260 New 269DCR4170 159 499 CR2A 419 1107400 259 FR880X RD360 New Call DCR5170 199 H07500 329 FR980X 799 CR3A 669 RD460 New 489 DCR5370 329 1.Confirm price and merchandise informa- 1107600 449 RX202 669 PIONEER C0760 999 DCR5470 389 tion with the seller, including brand, model, color JVC YAMAHA VXS9500S 649 CDC101 699 DCC8970 529 569 TDW203 149 TD560 699 or finish, accessories and rebates included in the CDC605 259VSX7500S DCC1570 529 CDC610 469 459 TDW303 179 PA304 389 VSX5500S DCA3180 159 price. CDX530 239VSX3300 279 TDW503 209 PA301 389 3ag DCA3400 299 CDX730 349VSX3300S 329 TDW901 PA204 249 2.Understand the seller's return and refund - TDV521 279 DCA3500 429 CDX830 469 SX2700 229 SP200 209 TDR431 189 policy, including the allowable return period and CDX930 589 SX1700 169 SP10 149 SOUNDSTREAM TDX331 14 SP40 109 who pays the postage for returned merchandise. DENON NAD TDV1010 489 MC140 349 DCD520 189 7000 449 NAD SP50 119 06011 179 3. Understand the product's warranty. Is there DCD620 249 7225 279 29 SP80 199 010011 279 635 149ea a manufacturer's warranty, and if so, isit from a DCD820 329 7240 429 6340 SP1010 020011 399 SP65 259 DCM444 369 7100 629 6300100 419 TC301 269 199ea U.S. or foreign manufacturer? Does the seller DCM777 649 7600 1099 6 759 EC200/EC200H TC303 339 itself offer a warranty?In either case, what is DC01420 Special 399 7400 899 AIWA ALPINE TC306 Call covered by warranty, how long is the warranty DCD1560 589 LOUDSPEAKERS ADWX999 299 7168 199 MO 269 DCD3520 999 ADWX505 '39 period, where will the product be serviced, what ADVENT 7269 259 SS10 299PR SONY ADWX808 299 7179 299 SS510 249 HERITAGE 499 do you have to do, and will the product be repaired CDP190 159 ADF800 299 7180 329 469 99 ADS CDP470 189 MAESTRO ADS27 7280 359 or replaced? You may want to receive a copy of ADWX707 199 149 CDP670 229 LEGACY 349 7288 399 62 ADWX888 309 the written warranty before placing your order. CDP770 289 PRODIGY 249 7289 429 642csi 199 ADWX333 119 CDP970 369 BABY 159 7380 289 200 229 ADWX777 259 4. Keep a copy of all transactions, including CDP500 269 MINI/SUB 139 ea 7390 469 PH12 269 ADS37 129 CDP400 239 149 P010 389 cancelled checks, receipts and correspondence. Outdoor PIONEER 7903 449 CDP900 349 5952 499 P08 189 For phone orders, make a note of the order includ- AR CTS605 259 PIONEER 5953 189 PH15 519 PARTNERS 259 CTS705 339 ing merchandise ordered, price, order date, ex- CLD1070 449 1390 189 PS5 219 ROCK PARTNERS 179 CTW510 21 pected delivery date and salesperson's name. CLO3070 889 309 3308 109 P020 589 BOSE CTW71OR PDM710 439 CTW91OR 449 3321 219 SB7 299 5. If the merchandise is not shipped within the PDM610 329 101 159 3501 69 5810 489 PDM510 269 Roomate II 259 3522 139 30015 299 promised time or if no time was promised, 30 YAMAHA PDM410 239 901 1149 3523 199 320IS 419 429 days of receipt of the order, you generally have the P01503 219 AM5 629 3525 249 AM3 479 MX800 679 3543 429 INFINITY right to cancel the order and get a refund. PHILIPS MX1000 949 3552 309 RSA62K 149 C050XX 249 B&W MX35 229 3554 389 RS4636 169 6.Merchandise substitution without your ex- CD60XX 349 MATRTIX 311 1849 AX900 549 99 RSA42K 69 CDV487 749 MATRIX 211 t229 AX700 4496205 press prior consent is not allowed. CS2K 289 CDV488 949 MATRIX ill 999 AX630 3696265 129 RSA52K 109 7. If you have a problem with your order or the NAD DM550 329 CX600 3596266 79 79 RSA692K 149 5325 249DM560 439 CX800 559 6256 merchandise, write a letter to the seller with all Call 189 5340 329 0M570 519 CX1000 949 6392 RSA693K 179 the pertinent information and keep a copy. 5100 419 0M580 729 TX530 269 6394 CS1K 299 5170 589 V201 219 TX1000 449 SONY BOSTON 8. If you are unable to obtain satisfaction from 469 5300 7591202 299 E01100 CDXA30 399 E0630 379 703 35 the seller, contact the consumer protection agen- JVC CANTON CDXR77 399 E0330 149 704-705 55 XLZ1010 499 GL260 349 X96180 199 cy in the seller's state or your local U.S. Postal DSR100PRO 449 707 39 XLZ6tt KARAT20 579 XR7050 229 339 AVC70 429 741 149 Service. 699 XR7400 399 XLZ431 219 KARAT30 AVX100 559 751 179 XLV231 149 KARAT40 1029 DSP100 399 XR6380 249 757 89 1289 XR6150 199 XLM303 219 KARAT60 NAD 797 159 XLM403 279 CT80 1349 CDXR79 449 1700 679 763 229 XLR202 219 PLUS S 279 XE8 249 2600A 599 761 189 PLUS C 479 XE90 149 MAGNAVOX 2200PE 529 767 99 FONUM 400 Call XR7180 329 ATTENTION CDB496 199 3225SPE C700 159 CDB490 139 329209 XR7280 389 CELESTION 3240PE C793 259 COB610 199 SL12SI New 1179 3400 679 PIONEER KICKER CLASSIFIED CDB630 299 SL600 SI 1499 ADCOM KE3737 139 SL6S 1 749 GTP400 309 KE5757 189 Kicker 199 MIEMEM New 749 GTP500 489 Super Kicks 249 HARMON KARDON DL12 KE1550 149 DL8 II 399 GFP555 449 KE16000R 169 Kicker2 199 ADVERTISERS H1(330 229 289 DL6 II 329 GFA535 KE26000R 189 Super2 249 HK440 309 DL4 II 249 GFA545 429 KE36000R 209 HK550 369 SAS -BAZOOKA Model 3 229 GFA555 629 KEH51000R 239 HK880 599 GCD575 489 152 139 DESIGN ACOUSTICS KEH61000R 259 HK990 829 GFP565 649 KEH8100OR 339T16 159 The CLASSIFIED MAGNET attracts prime 449 YAMAHA PS3 699ea KEHM50000R 429118 229 249 prospects for your mail order products and RX330 239 PS5 DENON CDX4 299T62 159 PS10 369 RX530 329 PMA920 499 KEXM800 499T82 229 189 services. 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by Ralph Hodges propositioned included Roy Allison pressed strong preferences for two - of Allison Acoustics, Henry Kloss of ways. Petite said thatit was fre- Cambridge SoundWorks, Andy Pe- quentlypossibletoachievea tite of Boston Acoustics, Fred Yan- smoother, flatter, "more musical" do of KEF, and Dr. Floyd Toole of designwiththatconfiguration. the National Research Council of Kloss noted that he had used a Canada. midrange driver only once in his 0Small woofers are faster, hence long career, and the experience more accurate, than large ones."At hadn't enhanced his affection for what frequencies?" was the almost three-way systems. universalrejoinder,indicating a Allison opined that a good three- consensus that it wasn't really the way system always beats a good job of a woofer to be fast. Allison two-way, because driver directivity remarked that to get a faster speaker characteristics can overlap more you add a bigger magnet structure, smoothly and hence the designer is although this approach may not be not obliged to choose between flat appropriate for other aspects of a on -axis response and flat power re- system's design. Petite pointed out sponse. Toole essentially said that that a small woofer's cone may the choice depended on how big a actually be heavier than a larger room you have and how loud you one's. Since a small woofer must play the speakers. perform longer excursions for the Yando archly remarked that if same result, the voice coil gets big- you do not have an elaborate com- ger, and the coil is the major deter- puter program for system design, minant of cone weight. Toole added you cannot be competitive in three - IS BIGGER BETTER? that making the voice coil longer or -more -way systems and are better positions much of it out of the gap, off sticking with two -ways. He add- reducing sensitivity, which can be ed that KEF regularly uses smaller AREADER,now re-entering the related to speed if one is inclined to woofers, in multiples, to achieve market for some equipment argue that way. Ultimately, Kloss performance equivalent to that of updates, wrote to me to and Petite asserted that it is not real- larger woofers but with smaller baf- say: "Twelve -inch woofers ly the woofer itself that dictates fle sizes, in part to avoid expansive have gone the way of the LP record. speed, but the "Q" (resonance char- enclosure panels that would "talk" In addition, midrange drivers have acteristics) of the entire woofer/ (resonate) without extravagant died out, and most systems use only crossover/enclosure system. bracing for stiffness. In other words, woofers and tweeters." ULarge woofer cones break up. for the required internal volume, Well, it hasn't quite come to that Again, at what frequencies? Any smaller woofers accommodate a yet. There are still plenty of 12 -inch cone breaks up when the wave- greater variety of enclosure shapes woofers around and more than a lengths of the sound it's called on to and even sizes. smattering of 15 -inch ones. Also, produce become small relative to its Is there a winner here? I think systems usingmultiplebig woofers diameter. If a large cone breaks up everyone wins, according to his own are perhaps more numerous than early, then cross it over early-to a criteriaof loudspeaker perform- ever. But not every dealer is going suitable midrange driver. ance. But thereis an additional to handle these behemoths. Modest - 0 A three-way system(woofer, issue that was never directly raised: size systems that might have been- tweeter, and midrange) is inherently diffraction by the speaker mounting and oftenhavebeen-designed for superior,because one driver (the panel. Roughly, this concerns the small English sitting rooms are eas- midrange) handles the most impor- tendency of the edges of speaker ier to sell, have achieved high visi- tant frequencies and the other two enclosures to behave as secondary bility, and have been praised by just add the boom and sizzle. Much sound sources, potentially blurring audiophiles for sounding more open debate here, but with two points of and otherwise interfering with the and, well, perhaps "exquisite" is the agreement:1) A woofer/midrange outputs of the drivers themselves. word. crossover at a few hundred hertz is In theory, the effect, while not sub- These products are indeed a de- actually a riskier proposition than a ject to total elimination, becomes parture from the American high - two-way system's woofer/tweeter less audible with smaller enclosures. end hi-fi tradition, and I thought it crossover at 1,000 Hz or so, because Does this explain why many avid might be interesting to explore their it falls right in the middle of the fun- listeners find certain small two-way merits and drawbacks by posing a damental frequencies of the human speaker systems more open, airy, series of propositions to a panel of voice. 2) A three-way system pro- and divorcedfrommechanical - loudspeakerauthorities,proposi- vides greater power -handling capa- sounding artifacts than their larger tions that I, and perhaps you, have bility and greater sound output than brethren? often heard advanced with confi- a two-way. I invite you to explore the issue dence in audiophile circles. Those Otherwise, Kloss and Petite ex- for yourself.

120 STEREO REVIEW MAY1990 Itvimr,v1.

11111,1Milri

iTPITTIrT :1

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