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The Breakthrough.

The original Adcom GFA-555 power amplifier.

The New Breakthrou

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The new Adcom GFA-55511 power amplifier.

Upon its introduction, the Adcom GFA-555power amplifier was considered a breakthrough inaudio technology. Rated superior to amplifiers cost-ing two and three times as much, some critics haddifficulty in naming a better component at any price.

Now, after years of using the GFA-555 as theirmodel of superior performance and value, Adcomengineers announce another breakthrough. The new,upgraded GFA-55511, rated at 200 watts perchannel*, offers greater stability, superior heatdissipation and less distortion. It is everythingwhich made the GFA-555 "...one of the best sellingamplifiers of all time,"** and more.

With the GFA-555II, Adcom begins a new gener-ation of amplifiers, designed to set a new standardfor performance at a reasonable price... giving more

and more music lovers the opportunity of experiencingthe thrill of sonic perfection without the shock ofexorbitant costs.

Visit your Adcom dealer and listen to the newGFA-555II. Then ask its price. You'll hear how goodthis new breakthrough sounds.

*Power output watts/channel, continuous both channels driven into 8ohms, 20 H: - 20 kH: at less than 0.04% THD.

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AUGUST 1992E%l41/0 A

VOL. 76, NO. 8

Bryston Amp, page 42

FEATURESSRS: SURROUND SOUND

WITH ONLY TWO SPEAKERS Arnold I. KlaymanLISTENING AND EXPERIENCE V. Hansen and S. K. Pramanik

32

38

EQUIPMENT PROFILESBRYSTON 4B NRB AMPLIFIER Leonard Feldman 42FORD JBL CAR AUDIO SYSTEM . L. Feldman & I. Berger 48TANNOY 615 SPEAKER D. B. Keele, Jr 58AURICLE: THIEL CS2.2 SPEAKER .. Anthony H. Cordesman 68AURICLE: THETA DSPro

PRIME D/A CONVERTER Anthony H. Cordesman 70

MUSIC REVIEWSCLASSICAL RECORDINGS 74ROCK/POP RECORDINGS 82JAZZ & BLUES 88

DEPARTMENTSSIGNALS & NOISE 4TAPE GUIDE Herman Burstein 6AUDIOCLINIC Joseph Giovanelli 9WHAT'S NEW 12AUDIO ETC Edward Tatnall Canby 14BEHIND THE SCENES Bert Whyte 19CURRENTS John Eargle 22ROADSIGNS Ivan Berger 26

The Cover Equipment: Bryston 4B NRB ampThe Cover Photographer: John Wilkes

Audio Publishing, Editorial, and Advertising Offices,1633 Broadway, New York, N.Y. 10019.

Subscription Inquiries, (800) 274-8808;in Canada or other foreign countries, (303) 447-9330.

TheAuditBureau

Listening and Experience, page 38

SRS Surround Sound, page 32

Annie Lennox, page 82

A D ETROSPECTIVE VIEWFROM WINDHAM HILL

ott CossuAs an accomplished

composer, pianist and leader, Scott Cossu has

successfully forged a place of his own at the

top of the jazz world. Scott's Retrospective repre-

sents the best from his five critically acclaimed

Windham Hill albums.

With the purchase of all three Retrospective CD's,

you will also receive a limited -edition, numbered,

collector's CD case.

Available exclusively

through this offer.

The joy of rediscovering an old favorite is in

experiencing its original enchanting power.

It is the timeless quality of three of our most

acclaimed artists that inspires the Windham

Hid Retrospective Sends. Thus series high-

lights the celebrated musical careers of Scott

Cossu, Nightnoise and Alex de Grassi.

Alex de GrassiConsidered one of the

most important finger -

style guitaris:s recording

today, Alex de Grassi's original, lyrical pieces

are full of resounding character. His impressive

career is documented in this collection spanning

his five Windham Hill albums.

NightnoiseIn their seven years with

Windham Hill, this Irish -

American quanet has

built one of the sf5gest, most loyal followings at

the label. The Nightnoise Retrospective highlights

the group's distinctive celtic-influenced sound.

To order The Windham Ha Retrospective Series

featuring Scott Cossu. Nightnoise, and

Alex de Grassi along with the Collectors CD

Case for $39.98 plus $4.00 shipping, return

the coupon or call roll -free 124 hours).

1-800-222-6577Ext. 107The Retrospective Series are alsc sold individ-

ually. Each CD is $13.98 plus $4.00 shipping

per total order.

7.2

The Windham Hill Retrospective Series Order Form

Nears

Address

cry. State/lip

Daytime Phone

Method of Paymem

Check or Money Order enclosed (US Oollarsl

0 Mastercard visa American Express

Card Combat Elevation Owe

Signature Print Name

Mail coupon to:

Windham Hill Retrospective Series

PO Box 610160. San Jose. CA 95161-0160

IITY Price Total

The Windham Hill Retrospective Series $39.98

Scan Cossu 51 3.98

Nighinome $ I3 98

Alex de Grassi $I 3 98

Total price of dams

'Sales Tax

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$400

'For shipment to the hollowing state, please all sales lea to the appropriate rateIstele and, 11 any, local; II shipment is to a Nam marked please apply oak todelivery charges as well CA. NY', IL. no, MO

Dipping lee applies is US shipments only for lamp shopping chews.please wan TO us

Allow 2-3 weeks for delivery Otto aspires September 30.1992M 1992 Windham ma Pinduciens Inc

SIGNALS & NOISE LT1.114;".".A.AZIV.P./Editor-in-Chief: Eugene Pitts III

Masur Looks Good in ProfileDear Editor:

Robert Angus' article about Kurt Ma-sur (December 1991) was a terrificlook at the man and his musical priori-ties. His projected series of over 30recordings with the New York Philhar-monic on Teldec has already begun,so I'm sure your readers found the pro-file timely as well as informative.

I thought it was curious that JohnEargle's sidebar on Masur's recordingof the Tchaikovsky Fourth referred toits Eterna release. That CD, issued bythe former East German state-ownedrecord label, received virtually no dis-tribution in the United States, but it isidentical to the widely distributed Tel-dec release (it was a joint venture).That selection (Teldec 43339) is stillvery much available and is part of acomplete Masur Tchaikovsky Sympho-ny cycle on Teldec.

Keep up the good work!Robert S. Goldfarb

Director of U.S. OperationsTeldec

New York, N.Y.

New AccustomsDear Editor:

I read my friend John Eargle's "Cur-rents" in the March issue ("Data to theMasses") with interest. I have been fol-lowing the progress of compression al-gorithms closely for several years onbehalf of a client and, perhaps, amprivy to some information otherwise notwidely available.

Although I agree with many of Ear-gle's comments, I do not agree thatsystems with reduction factors greaterthan four -to -one "are generally relegat-ed to speech applications." I have ex-perienced perceptual encoders-Iprefer that term to "data reduction"-operating at data rates as low as 64kilobits/S (12 -to -1 "compression"compared with 16 -bit PCM with a 48 -kHz sampling rate, approximately 11to 1 referenced to CD sampling) thatare capable of very fine music repro-duction and certainly better than thetypical commercial broadcast. Atslightly higher data rates-say, 88 kil-obits/S-certain algorithms approachCD quality now and should achieve itin the relatively near future. Thesestatements are based on double-blindtesting with a wide variety of sti-

muli, using technical people andmusicians.

Unlike linear PCM encoding, onwhich sampling rate and quantizationerror impose unalterable theoreticallimits on quality, perceptual encoderscan be improved after a standard isestablished. As psychoacoustic knowl-edge increases, improved encodingalgorithms can be created that are fullycompatible with the decoders alreadyexisting in the field. Eargle's concernabout "How much work can be donelater to 'clean up' a marginal systemafter it has been accepted?" may beunfounded in reality.

I wish to point out that perceptualencoding requires a new way of think-ing. We must free ourselves of thecomfortable assumption that preserva-tion of "waveform" or other easily mea-sured technical parameters is the routeto the Holy Grail. Like the perception ofthe sound of a tree falling in the forest,the perception of music exists onlywhen it is heard-and the ultimate cri-terion of sound quality has alwaysbeen the human ear. In the case ofperceptual encoding, the ear is, at pre-sent, the only criterion. We engineeringtypes are just going to have to getaccustomed to that.

Edward J. FosterDiversified Science Laboratories

West Redding, Conn.

Author's Reply: I appreciate Ed Fos-ter's added insights into the subject ofaudio data reduction. "Perceptual en-coding" is an appropriate term in that itpositions this new technology in a spe-cial light. Instead of merely reducingdata requirements for audio transmis-sion, the aim is to optimize that trans-mission through application of whatpsychological acoustics tells us aboutthe perception of sound. I certainlyagree that traditional numerical notionsof what constitutes "channel capacity"must be retired in favor of phenomeno-logical ones.

Regarding bit -rate reduction well inexcess of four to one, the examples Ihave thus far heard fall short of reason-able expectations for music. But weare in a rapid development phase ofthis new art and science, and I wouldexpect many of the remarkable stridesthat Ed states are already here.

John Eargle

Art Director: Cathy CacchioneAssociate Art Director: Linda Zerella

Technical Editor: Ivan BergerManaging Editor: Kay Blumenthal

Associate Managing Editor: Teresa CarrieroAssociate Managing Editor: Douglas Hyde

Directory Editor: Ken RichardsonAssistant Editor: Joe Wiesenfelder

Assistant Editor/Music: Michael BieberAssociate Editors:

Edward Tatnall Canby, Bert WhyteSenior Editors:

Leonard Feldman, D B Keele, Jr., David Lander

Contributing Editors/Artist:M. Aldred, H. Burstein, D. L. Clark,

A. H. Cordesman, T. Costa, J. Diliberto, F. Driggs,J. Eargle, S. Elliott, E. J. Foster, J. Giovanelli,

B. H. King, E. M. Long, F. Lovece,J. W. Poses, J. R. Sank, M. Tearson,

J. & S. Tiven, M. Wright

General Manager: Greg RopertiProduction Director: David Rose

Production Manager: Kerry TonningResearch Manager: Dru Ann Love

Office Manager: Nadine GoodyOperations Manager: Sylvia CorreaAd Coordinator: Linda Neuweiler

V.P./Group Publisher: Nicholas Matarazzo(212) 767-6035

ADVERTISINGRegional V.P./Ad Director, East Coast:

Charles L. P. Watson (212) 767-6038Regional Account Mgr.:

Christine B. Forhez (212) 767-6025Regional V.P./Ad Director, Midwest:

R. Scott Constantine (212) 767-6346Regional V.P./Ad Director, West Coast:

Bob Meth (213) 954-4831Western Mgr.: Paula Mayeri (213) 954-4832National Record Label Sales: MAG Inc.

Mitch Herskowitz (212) 490-1715Steve Gross (212) 490-1895

SIIraaoChairman and CEO: Daniel FilipacchiPresident and COO: David J. Pecker

Exec. V.P. and Editorial Director: Jean-Louis GinibreSr. V.P./Dir. Corp. Marketing: Paul DuCharme

Sr. V.P./Dir., Corp. Sales, Mag. Network: Jay BurzonV.P./Dir. of Strategic Planning,Adv. & Circ.: Patrice Listfield

V.P., Chief Financial Officer: Paul De BenedictisV.P., Corp. Communications: Jolie Cross Doyle

V.P., General Counsel: Catherine FlickingerV.P., Mfg. & Distribution: Anthony Romano

V.P., Circulation: Leon Rosenfield.

AUDIO, August 1992, Volume 76, Number 8.AUDIO (ISSN 0004-752X, Dewey Decimal Number621.381 or 778.5) is published monthly by HachetteMagazines, Inc., a wholly owned subsidiary ofHachette Publications, Inc., at 1633 Broadway,New York, N.Y. 10019. Printed in U.S.A. at Dyersburg,Tenn. Distributed by Warner Publisher Services Inc.Second class postage paid at New York, N.Y. 10001and additional mailing offices. Subscriptions in theU.S., $24.00 for one year, $42.00 for two years, $58.00for three years; other countries, add $8.00 per year.AUDIO® is a registered trademark of HachetteMagazines, Inc. 01992, Hachette Magazines, Inc.All rights reserved. Editorial contributions shouldinclude return postage. Submissions will be handledwith reasonable care, but the Editor assumes noresponsibility for manuscripts, photos, or artwork. ThePublisher, at his sole discretion, reserves the right toreject any ad copy he deems inappropriate.Subscription Service: Forms 3579 and allsubscription correspondence must be addressed toAUDIO, P.O. Box 52548, Boulder, Colo. 80321-2548.Allow 8 weeks for change of address. Include both oldand new address and a recent address label. If youhave a subscription problem, please write to the aboveaddress or call (800) 274-8808; in Canada or otherforeign countries, (303) 447-9330. Canadian GSTNumber 126018209. Back Issues: For information,write to P.O. Box 7085, Brick, N.J. 08723.

4 AUDIO/AUGUST 1992

Columbia House.The face of jazzThis is the place where the biggest namesin jazz come together.

From the soaring classics of JohnColtrane to the virtuoso stylings of ChickCorea, only Columbia House has theexpertise and heritage to bring you face toface with today's greatest artists.

Look to Columbia House -where thejazz is.

On Next Exit, jazz great Grover P.Washington, Jr. celebrates two legendarydecades by bringing together a diversity of

artists and styles in amusical explorationof home, family, loveand roots.

Acoustic Alchemy -EarlyAlchemy (GRP) 434.464Best Of The Gerry MulliganQuartet with Chet Baker(Capitol/ Pacific Jazz)

419.671

The Dave BrubeckQuartet -Jazz Impressionsof Eurasia (CL Jazz Master-pieces) 439.364

George Howard -Do IEver Cross Your Mind(GRP) 438.564

Miles Davis -The Best OfMiles Davis -TheCapitol/Blue Note Years(Blue Note) 435.206

Abbey Lincoln -YouGotta Pay The Band(Verve) 432.708

Grover Washington,Jr. -Next Exit (Columbia)

435.396

Ornette Coleman -Change Of The Century(ATCO) 436.998

Various Artists -BlueVocals, Volume One: TheBest Male Vocals (BlueNote) 435.966

Max Roach -To The Max(Bluemoon)

436717/396.713Bebop & Beyond WithDizzy Gillespie -PlaysDizzy Gillespie(Bluemoon) 436.709

Harper Brothers -YouCan Hide Inside TheMusic (Verve) 436.022Harry Connick, Jr. -BlueLight, Red Light(Columbia) 429.191

The advantages of jazz at Columbia House.By choosing any 8 CDs for only a penny (plusshipping and handling), you become a memberof the Columbia House Jazz Club. Once you'reenrolled, you agree to buy just 6 more CDs atregular Club prices (currently $12.98 to $15.98,plus shipping/ handling) within the next threeyears. You may cancel your membership at anytime after doing so.Free Music Magazine: As a member we'll keepyou current with the best jazz by sending you theColumbia House Jazz Magazine about every fourweeks (up to 13 times a year). Inside, you'll find de-scriptions of Regular Selections plus hundreds ofalternatives to choose from. We'll also send you 6Special Mailings. In a year, you'll enjoy a total of 19convenient opportunities to select your favoritemusic.Buy Only What You Want If you choose theRegular or Special Selection, it will automatically besent Or, if you prefer an alternate selection -or noneat all -simply mail the Response Card always provid-ed by the date specified. You'll always have 10 daysto decide. If not, you may return the Selection at ourexpense.Bonus Offer: Join right now and get an additionalCD at the super -low price of only $6.95. That allowsyou to take another CD for FREE. That's 10 CDsin all. And if you're not satisfied, just return every-thing within 10 days -with no further obligation.Half -Price Plan: Remain a member after fulfillingyour obligation and take advantage of our money-saving Bonus Plan. It lets you buy any CD at halfprice for each one you purchase at the regularClub price. For selection, convenience and price,Columbia House is the best place for jazz. So getin the ere( vi. Sign up now.

Where the jazz is.

1400 North Fruitrulge AvenueTerre Haute, Indiana 47811.1129

LEGENDARY JAZZ CLASSICSThelonious Monk -SoloMonk (CL JazzMasterpieces) 439.356

The Best Of Chet Baker(Pacific Jazz) 433.680

Betty Carter -'RoundMidnight (ATCO) 436.980Ella Fitzgerald And LouisArmstrong -Ella & Louis(Verve) 430.710

Dinah Washington -Compact Jazz (Mercury)

429.613

Josephine Baker (DCCCompact Classics)

420.729/390424

The Best Of Art Blakey &The Jazz Messengers -The Blue NoteYears (BlueNote) 416.016

The Divine SarahVaughan -The ColumbiaYears 1949-53 (Columbia)

374480/394488

Herbie Hancock -MaidenVoyage (Blue Note)408.724

John Coltrane -GiantSteps (Atlantic) 371.591

Billie Holiday -From TheOriginal Decca Masters(MCA) 354.985

Duke Ellington -EllingtonAt Newport (CL JazzMaster.) 354.662

The Dave Brubeck Quar-tet -Time Out (CL JazzMaster.) 353.060

Miles Davis -Kind OfBlue (Columbia JazzMasterpieces) 353.045

Benny Goodman -BennyGoodman Live At CarnegieHall (CL Jazz Master.)

347448/397.943

Count Basle & His Orch.-The Best Of Count Basle(Roulette Jazz) 435990

The Best Of CannonballAdderley Quintet -TheCapitol Years (Capitol)

419.671

Holly Cole Trio -Blame ItOn My Youth (Blue Note)

435982Abbey Lincoln -AbbeySings Billie (Erija) 436.741

Eric Marienthal-Oasis(GRP) 434.878

Joe Henderson -LushLife: The Music Of BillyStrayhorn (Verve)434.696

Nelson Rangell-1n EveryMoment (GRP) 434.118

Richard Elliot -On TheTown (Manhattan) 433.771

Various Artists -TheBest Of Blue Note, Vol.One (Blue Note) 433466

Stanley Jordan -StolenMoments (Blue Note)

433.417

Cornell Dupree -Can'tGet Through (Amazing)

433.011

Ellis Marsalis-Heart OfGold (Columbia) 432278

Gerald Albright -Live AtBirdland West (Atlantic)

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Stan Getz/Kenny Barron -People Time (Verve)

434.597/394.593

Bobby McFerrin & ChickCorea-Play (Blue Note)

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John Scofield -GraceUnder Pressure (BlueNote) 438.085

Bud Powell -Jazz Genius(Verve) 430.744

David Benoit -Shadows(GRP) 430.652Kim Penayl-3 Day Week-end (GRP) 436.113

Best Of Sonny Rollins(Blue Note) 419.473

Feel the heat of Yellowjackets' sizzling liveperformance with Live Wires. More thana retrospective, Live Wires is an exciting

journey through thegroup's many musicalidentities and talents.

VELLOINJA C

Yellowjackets-LiveWires (GRP) 435.388

Fourplay (James, Rit-enour, East & Mason)(Warner Bros.) 428.334

Nancy Wilson -With MyLover Beside Me(Columbia) 429.225Geozge Benson/EarlKlugh-Collaboration(Warner Bros.) 356.501

Various Artists -TheCole Porter Songbook,Vol. 2 (Verve) 430.603The Earl Klugh Trio(Warner Bros.) 430.561

Joe Sample -Collection(GRF') 430.280Branford Marsalis-TheBeautyful Ones Are NotYet Born (Columbia)

428.078Rippingtons-CurvesAhead (GRP) 426.874

Ella Fitzgerald -The ColePorter Songbook, Vol. 1(Polydor) 426.692

Diane Schuur-1n Tribute(GRP) 436.097

Spyro Gyra-Collection(GRP) 420.950

Original Soundtrack -Bird(Columbia) 373.332

Charles Mingus-Let MyChildren Hear Music (CLJazz Master.) 439.414

Natalie Cole -Unforget-table (Elektra) 422.279

Best Of Herbie Hancock(Blue Note) 419.408

Best Of Dexter Gordon(Blue Note) 409.243

Best Of George Benson(CTI) 403246Louis Armstrong -Star-dust (Portrait) 382.580

The Dave GrusinCollection (GRP)376.398Al DiMeola-Kiss My Axe(Tomato) 435.453

Duke Ellington Orch. &Count Basle Orch.-FirstTime: The Count MeetsThe Duke (CL JazzMasterpieces) 353.078

Ds for GET ONE MORE FREE!SPeLeUdeStaAilsC.HANCE

TO

170LUMBIA HOUSE, 1400 N. Fruitridge Ave. 445/F92P.O. Box 1129, Terre Haute, Indiana 4781 1-1 1 29Please accept my membership application under the terms outlined in this advertisement.Send me the 8 Compact Discs listed here and bill me 1¢ plus shipping and handling for alleight. I agree to buy six more selections at regular Club prices in the coming three years -

Iand may cancel my membership at any time after doing so.

2I

I Send my E JAZZ CDs to the following address:

fv I

5I

El Mr.Mrs. Age

I

E miss Print First Name Initial Last Name

112 I Address Apt.

8 b"§

I

City

2 2 IState Zip

? I Do you have a VCR? (04) D Yes D NoiE 2 I Do you have a credit card? (03) D Yes 171 No

mNote: we reserve the right to reject any application or cancel any membership. These offers notI available in APO, FPO, Alaska, Hawaii, Puerto Rico; write For details of alternative offer.

Canadian residents serviced from Toronto. Applicable sales tax added to all orders.

r--1 Extra BonusI Offer: also send

me one more CD now,for which I will be billedonly $6.95.

ssnd I'mextracoioentitid tothi

DJG-F6-59

TIPS FOR MAIL ORDERPURCHASERS TAPE GUIDE

It is impossible for us to verify all of the claimsof advertisers, including product availabilityand existence of warranties. Therefore, the fol-lowing information is provided for your pro-tection.

1. Confirm price and merchandise informationwith the seller, including brand, model, color orfinish, accessories and rebates included in theprice.2. Understand the seller's return and refund -policy, including the allowable return period andwho pays the postage for returned merchandise.3. Understand the product's warranty. Is therea manufacturer's warranty, and if so, is it from aU.S. or foreign manufacturer? Does the seller it-self otter a warranty? In either case, what is cov-ered by warranty, how long is the warranty period,where will the product be serviced, what do youhave to do, and will the product be repaired orreplaced? You may want to receive a copy of thewritten warranty before placing your order.4. Keep a copy of all transactions, includingcancelled checks, receipts and correspondence.For phone orders, make a note of the order in-cluding merchandise ordered, price, order date,expected delivery date and salesperson's name.5. If the merchandise is not shipped within thepromised time or if no time was promised, 30days of receipt of the order, you generally havethe right to cancel the order and get a refund.6. Merchandise substitution without your ex-press prior consent is not allowed.7. If you have a problem with your order or themerchandise, write a letter to the seller with allthe pertinent information and keep a copy.8. If you are unable to obtain satisfaction fromthe seller, contact the consumer protection agen-cy in the seller's state or your local U.S. PostalService.

If, after following the above guidelines, youexperience a problem with a mall order adver-tiser that you are unable to resolve, please letus know. Write to Nick Matarazzo, Publisher ofAudio Magazine. Be sure to include copies ofall correspondence.

DENONAUTHORIZED DEALER

The mark of a true Denon.This sticker tells you who is an authorized

Denon dealer and who isn't.Some people who offer Denon products are

not authorized dealers. That can lead to problems.First, only authorized dealers offer you the

protection of a Denon warranty with yourpurchase: at other dealers, you may have nowarranty at all.

Authorized Denon dealers stock onlycomponents designed for the U.S., and have thetraining to help you select the one right for you.

Authorized dealers know Denon technologyinside and out and stock factory parts for yourDenon to preserve true Denon sound.

So before you buy your Denon, look for thisDenon Authorized Dealer Sticker.

It assures you of the authentic Denon tech-nology and support you expect. And nothing less.

HERMAN BURSTEIN

Shortening a TapeQ. Where can / get a kit for splicing

audio cassettes? What kind of adhe-sive should I use? What procedure canbe used to shorten the tape in a cas-sette?-Ricardo Cueva, Monterrey,Mexico

A. Many audio stores sell splicingkits to repair breaks in cassette tapesand the special splicing tape requiredto do so. Use of conventional transpar-ent tape is a no -no.

To shorten the tape, wind some ofthe tape onto the right-hand reel sothat you are past the leader, which isusually transparent or white. With atoothpick or such, pull some tape outfrom the center opening of the cas-sette. Cut the tape. Pull out as muchtape as desired from the left reel,which holds the bulk of the tape. Cutoff the undesired tape. Splice the endssticking out from the left and rightreels, using your splicing kit and splic-ing tape. Finally, rotate the right reel,using your little finger or the rubberend of a pencil, so as to remove slack.

Dangers of Alcohol?Q. Does the use of 91% isopropyl

alcohol cause a tape deck's rubberpressure rollers to dry out and crack?Does it accelerate the drying/agingprocess of the pressure roller? I havenoticed in my old tape player that myuse of alcohol has caused the rollers tobecome dry and cracked, and the cot-ton swab even becomes black after allthe brownish tape oxide has been re-moved. I'm afraid that the alcohol iseven removing the rubber in additionto the oxide. Is there an alternative toalcohol? I just got a new tape playerand don't want to make the same mis-take again.-Name withheld

A. A solution of 91% isopropyl alco-hol has been widely recommended asa cleaning agent for a tape deck'sheads, guides, capstans, pressurerollers, etc., although some deck man-ufacturers specifically advise using an-other solvent. It may be that somemakers' pinch rollers are adversely af-fected by this cleaner.

To date, I have received from "TapeGuide" readers only one other adversecomment on 91% isopropyl. The read-er recommended S-711 by Intraclean,available at some audio stores. Moststores sell special tape deck cleaners,

often containing trichlorofluorethane, asubstance recommended by some.

Inasmuch as your tape deck is anolder one, perhaps the condition ofyour pressure rollers essentially re-flects the normal results of wear andaging. In my own experience, I haveused 91% isopropyl for many years onseveral decks and never encounteredadverse effects on the pressure rollers.This may reflect that my decks havebeen of high quality, employing high -quality parts, and that my use of alco-hol has been sparing.

When you do purchase a new deck,find out what cleaning agent(s) themanufacturer recommends.

Headphones vs. SpeakersQ. Every time I tape an LP, the tape

sounds very nice through my head-phones but sounds a little bit flat whenI switch to my speakers. Please helpme solve my problem so that I hear thewhole sound through the speakers. Ifthe sound is good through the head-phones, then the speakers should beeven better-Eric Bailey, Chicago, Ill.

A. It is difficult to help you because Idon't know what speakers you are us-ing or what you mean by "flat." Dull?

Quite a number of people feel thathigh -quality headphones outperformhigh -quality speakers in many cases,and outperform virtually any speakersof middle or lesser quality. The $400speakers in my secondary music sys-tem don't sound as good as my $240headphones, but the $3,000 speakersin my primary system do.

Inasmuch as you are getting satis-factory sound via headphones, it ap-pears your deck is working satisfactori-ly-unless by rare coincidence a fre-quency aberration of your deck is off-set by an opposite aberration of yourheadphones. However, there could bea problem in your receiver (or separatepreamplifier and power amplifier) orspeaker or your room's acoustics.

Perhaps you can improve the soundby judicious use of the tone controls orequalizer in your audio system or byengaging the loudness control. A

If you have a problem or question on taperecording, write to Mr. Herman Burstein at AU-DIO, 1633 Broadway, New York, N.Y. 10019. Allletters are answered. Please enclose astamped, self-addressed envelope.

To find your nearest AUTHORIZED Denon Dealer call:1-201-575-7810(9:00 am -5:00 pm EST) DENON 6 AUDIO/AUGUST 1992

A trip for two to the 1993 JVC Jazz Festival in Nice. Round-trip airfare, 5 days/4 nightsaccommodations, rental car - even VIP seats and backstage passes! ($5,000 Value)

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CALL 1-800-344-4JVC(Only one call permitted per line telephone number. Use a touch-tone phone. You must be 18 or older.)

Then visit a participating JVC dealer and match your number with the winning numbers on theJVC Jazz Festival Match & Win Game display. You might win a 1st, 2nd, 3rd, 4th or 5th prize!

Unclaimed Match & Win prizes will be awarded in the Second Chance Sweepstakes.

You can also win one of these exciting prizes.

5 pi:IlstEs

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400 - 4th Prizes: Official JVC Jazz Festival T -Shirts ($20 Value)800 - 5th Prizes: JVC Jazz Festival Compact Discs ($15 Value)

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Watch for the Grand Prize winner announcement onOctober 6 at 9:00 pm EST on

1E_Home of the JVC Jazz Festival

Stereo Review JaalimesImer %lag,

ELIGIBILITY: NO PURCHASE NECESSARY TO ENTER OR CLAIM PRIZE.Open to U.S. residents 18 years of age and older. Employees of JVC Company of America, its subsidiaries. agencies,affiliates, participating retailers, and members of their families living in the same household are not eligible. Void in PRand wherever else prohibited. To enter the Grand Prize Sweepstakes and receive a Match 8 Win game number, call1-800-344-4JVC (1-800-344-4582) iron, a touch-tone phone by 9/30/92. After a beef message. you will be asked toenter your home telephone number and you'll be given a Match 8 Win Game number to write down Then visit yournearest participating JVC dealer and compare the tame number you were given over the phone to the winning numberson the JVC Jazz Festival Match 8 Win Game displ.iy. This otter is subject to specific restrictions, qualifications andconditions as described in the official ruses available at participating retail stores from 6/1/92 to 9/30/92.OH, MI and CA residents only may receive complete official rules and a facsimile of thewinning game numbers by sending a self-addressed, stamped envelope to be received by9/25/92 to, JVC Jazz Festival Entry Information/Rules, PMI Station. P.O. Box 3571. Southbury.CT 06488-3571. Odds of winning a Grand Prize or a Match & Win prize will depend on thenumber of telephone entries received. Odds of winning in the Second Chance Sweepstakeswill depend upon the number of unclaimed Match & Win prizes and the number of entriesreceived. Prize winners may request a statement showing how the odds of winning were determined and how winnerswere selected Sponsored by JVC Company of America. 41 Slater Drive. Elmwood Park, NJ 07407, manufacturers ofAudioNisual hardware and software.

Enter No. 9 on Reader Service Card

N--) 30

REFERENCE DIGITAL PROCESSOR

PRIDE IN THE DETAILS . . .

Mark Levinson® components have earned a reputationfor their rugged reliability, uncompromising fit and finishand, above all, superior sonics. We at Madrigal AudioLaboratories are understandably proud of this reputation.

The presence of "high technology" in our society has, forsome, come to mean the absence of craftsmanship. Mass-produced look-alikes are everywhere, even in the realm ofso-called high -end audio. The quality that you see and hearin a Mark Levinson component is not the result of automatedmass production-rather, it is the result of pains:aking atten-tion to the details of design, and of pride in the art o:7craftsmanship.

Mark Levinson components are handcrafted in limitedquantities and to exacting specifications. All who participatein their production share the feeling of pride that comesfrom knowing that they contribute to a product thatdefines quality.

It is with great pride, then, that we intro-duce the Mark Levinson Nu 30 ReferenceDigital Processor. Five years of exhaustiveresearch into digital audio yielded aprocessor worth waiting for, deserving ofthe Levinson marque.

The NQ 30 is a true reference: it neitheradds to nor subtracts from the music. Itbrings to your home the accuracy as wellas the essence of the performance. Finally,the promise of digital audio is fulfilled.

The NQ 30 is proof that state-of-the-art digital and analogtechnology can coexist with craftsmanship. The subjecthere, however, ultimately is music, and the heart ofmusic is in the listening. To fully appreciate the qualityof the N1230, we recommend that you visit yourMark Levinson dealer for a full audition.

mar-HirLevinson

Mark Levinson® products are designed and manufactured byMADRIGAL AUDIO LABORATORIES P.O. Box 781, Middletown, CT 06457 FAX (203) 346-1540

AUDIOCLINICJOSEPH GIOVANELLI

Power Dissipation and OutputQ. My amplifier is rated to deliver

330 watts per channel continuouslyinto an 8 -ohm load. This seemsstrange to me. There are eight outputtransistors in my amplifier-four perchannel. I checked their ratings in asemiconductor guide. Each transistoris rated at a maximum dissipation of150 watts, and four times 150 is 600watts. As I see it, that should be theoutput per channel, not the 330 wattsshown in the instruction manual for myamplifier.-Name withheld

A. I can see how you arrived at yourconclusions. You will notice that yourtransistors are shown as having a pow-er dissipation of 150 watts each. Powerdissipation refers to the maximumamount of power that can be wastedwithin each transistor in the form ofheat. Notice that I said "within" a tran-sistor. When rating power amplifiers,we are interested in the amount ofpower delivered from the transistors tothe load, not the amount wasted withinthem as heat. And even when youramplifier is delivering its 330 watts perchannel, the transistors are probablynot dissipating 150 watts apiece-notif the designer left any safety margin toprotect those transistors against burn-ing out. In fact, dissipation probablyremains under 150 watts per transistoreven when the amp is feeding 4 -ohmloads, which draw more current andtherefore heat the transistors more.

Connecting Video andStereo Systems

Q. / have a television set and a VCRand I would like to know how to con-nect these devices to my stereo system.-Jim Haberlin, Nutley, N.J.

A. Not knowing details about yourequipment, I can only provide a gener-al answer-which should serve in mostcases.

Most VCRs and many TVs have au-dio line outputs, which can be fed toany high-level input (such as AUX, tun-er, or tape) on your stereo system.Some TVs have two sets of outputs,one designed to feed a home enter-tainment system and the other de-signed to feed a VCR. The difference isthat the audio output to the VCR isusually at a constant level, while thelevel from the other audio output canbe controlled by the TV's remote. If

your stereo system has a remote con-trol, you might prefer the "VCR" con-nections; otherwise, you'd probablyprefer the controlled outlets. The audiooutput from your television shouldautomatically match the video on thescreen, whether you're watching an in-coming program or playing a tape orvideodisc.

If your TV does not have stereo lineoutputs, you can use the outputs fromyour VCR. When you watch a tape,these outputs will automatically feedthe audio from that tape, but whenyou're watching an incoming program,you'll have to be sure the VCR is onand tuned to the same channel to feedappropriate sound to your stereo sys-tem. When you're watching one showwhile taping another, you'll just have tolisten through the speakers on the TV.A VCR can be hooked into your stereosystem's tape loop, just like an audiocassette deck. You will then be able touse it to record the FM stereo audiofrom TV/FM simulcasts along with thepicture, if such simulcasts are still be-ing done in your area. If the VCR is aHi-Fi model, this type of hookupwill also let you use it as an audiorecorder.

If you're feeding audio from your TV,check your TV set's instruction manualfor further details. You may have toselect some option from an on -screenmenu, and you'll probably have toswitch the TV's own speakers off orturn them down when listening to TVsound through your stereo.

More About Noisy Volume ControlsThis is just a quick note about your

reply to a question in the January 1992issue about a noisy volume control. I

have found that problem is, as often asnot, caused by an electrolytic capaci-tor (used to block d.c.) becomingleaky. The symptoms can be very simi-lar, with the small d.c. component be-ing modulated by the control rotation,causing noise. I recommend checkingfor d.c. around the control pot beforereplacing it.-William Kindel, San Cle-mente, Cal. A

If you have a problem or question about audio,write to Mr. Joseph Giovanelli at AUDIO Maga-zine, 1633 Broadway, New York, N.Y. 10019. Allletters are answered. Please enclose astamped, self-addressed envelope.

AUDIO/AUGUST 1992 9

NlanticTECHNOLOGYPATTERN 200

HOME 'THEATRE SYSTEMTurn any Stereo Television intoDolby Pro Logic HomeTheatre.

The Pattern 200 is a 6channe1,120watt system withtwo 8" subs and four satellitespeakers with two centerchannel speakers.The Dolby Pro Logic decoderis included with the Multi-function Remote Control.

Regular Price $1299Gth AE's PriceNow*896Save $ 403

SPEAKER STANDS$99per pair

A warning to those with toupees, small

vulnerable house pets, and a fear of flying:

Maxell has taken high bias tapes to an even

higher level of performance.

Compared to other tapes, XLII-S has ahigher density of magnetic particles.

The tape is

XLII-S. The power

behind it is Black

Magnetite-aunique magnetic

material recently

harnessed by Maxell engineers.

With 13% greater power than the

magnetic coating on all other high bias

tapes, Black Magnetite helps XLII-S

deliver higher maximum output levels and

wider dynamic range.

HIGH BIASDuring manufacture, conventional

Black Magnetite's tiny magnetic par- tapes run through a magnetic field where

tides are not only more powerful than con-

ventional gamma ferric oxide particles,

they're smaller and

more uniform in shape.

This enables us to

pack more particles

more densely onto the

surface of the tape.

Many tapes'magnetic

particles go anin a snar'.

many of the magnetic particles adhere any -

old -which -way. Like flies on flypaper.

Mardi

onentaticntechnology iets

the portieresstraight

But at Maxell,

we employ a complex

process called "multi -

orientation" to set

the particles straight.

The result is a

BLACK MAGNETITEsmoother magnetic coating, which pro-

duces less AC bias noise.

Unwanted noise is further reduced by

our patented dual -surface base film. One

side of the film is super -smooth for closer

tape -to -head contact. The other is rough,

deliberately so, for a stable ride through

your transport mechanism with the least

possible friction and tape jitter.

These innovations, however, are no

more remarkable than the cassette shell

that houses them.

More rigid and weightier than standard

cassettes, the XLII-S

high resonance -

damping cassette has

been precision en-

gineered to reduceXL/FS vibration -damping cassette

shell has five support points forincreased rigidity and durability.

modulation noise. By making the window

smaller, for instance, we were able to build

in more anti -resonant material and five

support points instead of three.

All of which helps XLII-S maintain

phase accuracy as well as an extremely

low noise threshold.

You can feel a difference in XLII-S just

by picking up the cassette. Of course, it's

nothing compared to what you'll feel the

moment you press 'play'.

TAKE YOUR MUSICTO THE MAX.

Enter No. 11 on Reader Service Card

WHAT'S NEW

Stillwater WoofersThe Kicker Solo-Baric

woofers are designed toperform as well in small butsimple boxes asconventional woofers do incompact but complexisobaric enclosures. To dothis, they have double themoving mass and beefed-up magnets andsuspension compared toequivalent drivers.According to the makers,the resulting woofers workwell in enclosures that areonly half the volume ofconventional sealed -boxsystems and can be 30%

Linear PowerPreamp/Equalizer

The PA-IIR preamp/equalizer is designed to bebuilt inconspicuouslyinto car dashboardsand consoles.Its controls andindicator lights(including aclipping -levelindicator)can bemountedindiv-idually,in anydesiredarrangement.The separate electronicsmodule incorporates apreamp stage with up to32 dB of gain, a patchbackfader, and a four -bandequalizer with bands at

smaller than isobaricsystems of equivalentperformance. Prices: S8,8 -inch, $169; S10, 10 -inch,$249;'S12, 12 -inch, $299.For literature, circle No. 100

CousticCar D/A Converter

A small but growingnumber of car CD and DATplayers have digitaloutputs, and the CousticDA -55 outboard D/Aconverter canaccommodate three. Itautomatically selectswhichever of its inputs (twocoaxial and one optical) isreceiving a signal; a presetpriority scheme comes intoplay if two or more signallines are active. The D/Acircuit, designed in

45 Hz, 180 Hz, 5 kHz, and16 kHz. Impedances are100 kilohms in and150 ohms out, and S/N is105 dB. Price: $500.For literature, circle No. 101

conjunction with KinergeticsResearch, uses separateone -bit decoders for eachchannel. The convertedsignal is then fed throughClass -A analog circuits to abalanced output. Price:$499.

For literature, circle No. 102

NAD Power AmplifierThe 2400THX is the first

amplifier in production toachieve certification forhome THX theater systems.To accomplish this, NADhad to meet Lucasfilm'sstringent specifications forlow electrical andacoustical noise, lowdistortion and phase shift,and stability under all loadconditions. Rated poweroutput is 100 watts rms perchannel into 8 ohms, withno more than 0.03% THD,from 20 Hz to 20 kHz, andpeak current output of50 amperes. A rear -panelswitch can be used tooptimize performance for2- or 4 -ohm loads. Bridgedto mono, the amplifier issaid to deliver 300 wattsinto 8 ohms. Dynamicheadroom is 5.7 dB, andthe 2400THX can produceup to 370 watts ontransients lasting 0.25 S orlonger. The Adaptive SoftClipping circuit preventsclipping from becomingaudible during anyanticipated use. Signalsthrough the "Normal" inputsare filtered to eliminate low -frequency noises such asLP warp, but signalsthrough the "THX" inputs

are unfiltered, allowing abandwidth of 3 Hz to 100kHz. Price: $599.For literature, circle No. 103

12 AUDIO/AUGUST 1992

Hint: The answer ison everyone's lips.

THE PLEASURE F EAGRAM'S GIN.IS IT HIDDEN OR RE f R SHINGLY OBVIOUS?

Seagrant'sExtra 'I NT

- GinDISTILLED err

,:hordAWR ENCeSuRG.SO Mt ALC 40%

ND.Br VOA.

KO% 'if SW SPIRTS COLO MOM

446441C-7,.

AUDIO ETCEDWARD TATNALL CANBY

ON THE OTHER HANDS

We are about to plunge into an-other era of "multi -media" au-dio for the consumer, a multi-

plicity of new products or systems thatreminds me strongly of the early "hi-fi"era, the war of the three speeds -33,45, 78-the battle between LP and 45(it resolved itself-everybody madeboth kinds, for as long as the demandcontinued) and-can you remem-ber?-the great war of the tape car-tridges. You think the little CompactCassette was the only contender? Farfrom it. We had a choice between 4 -track cartridges, 8 -track cartridges,cassettes and more, all aiming at thesame and quite legitimate goal, to"automate" the clumsy reel-to-reel au-dio tape for consumer use.

Not only was there a bewilderingchoice of equipment for these sys-tems, mostly incompatible type fortype, but there were other issues for usto face-the ability to record on thetape as well as play, for instance. Eachversion had its own answer to that one,which in the end was a lot more impor-tant than some manufacturers realized.And then there was the simple matterof size and playing speed. In that un-memorable welter of "availabilities,"the big 8 -track, with its single roll ofquarter -inch tape, looped so that as

tape wound on the outside it waspulled out of the inside, was the mostextraordinary. It was a perpetual won-der to find that this worked at all. Haveyou ever tried to unravel a ball of stringby pulling out the inside end?

Nobody is very good at guessing thewinners in these big contests, least o'all the manufacturers and designers.The public, as usual, swims in a sea ofpublicity almost impossible to pene-trate. And yet, the public, in the end,still speaks and is heard.

I've always thought that the Philipspeople grossly underestimated the po-tential of their little Compact Cassettein its earliest mono format. The systemwas indeed strictly on the low-fi side tobegin with, and quite honestly so. Butthere were built-in values in that sys-tem that began to impress the publicas soon as the first cassettes were onthe market. The biggest value, o'course, was unparalleled small size,flexibility, convenience, a 50-50 abilityeither to play prerecorded material orto make recordings, a two -directionfast wind, and the turnover two-wayrecording system of reel-to-reel tape.In comparison, the other cartridgetapes were clumsy monstrosities.

What sustained the cassette victorywas the engineering-the advanced

tape technology-recording at the un-heard-of speed of 1 7/8 ips on an incred-ibly tiny and thin ribbon, the ingeniousreel -less hubs that allowed the two rollsinside to graze each other throughoutand thus save space with no compro-mise in the winding, the neatly de-signed windows that allowed a quickmiddle view of the two rolls as theyturned, and, of course, the mechanicalingenuity that somehow kept the tinytapes from mistracking, snarling,breaking-all the old and unpleasantattributes of home reel-to-reel recorderoperation.

But most of all, I think the cassettesurvived because the specificationsPhilips set up ahead of time were ultra -careful and were rigidly enforced.Thanks to them, the system survives tothis day, with only minor modificationsto the original conception, and has al-lowed enormous advances in perfor-mance over the many intervening years.

Even stereo was no block for thecassette. Two tracks became four-onthat tiny tape-but cleverly rearrangedfrom the interleaved tracks of the reel-to-reel four -track system so that eachstereo signal occupied one-half of thetape; thus a mono tape was played byboth stereo heads, compatibly. At thebeginning, that was vital, though it's nolonger important.

Most of us still can be astonished atthe recording of four separate trackson the little cassette tape, with a re-markably low level of crosstalk be-tween them, and that almost entirelybetween the pairs of mixable stereochannels. How often do you hear anyechoes of "side B" as you play "sideA"? Rarely.

Out of the confusion of that long firstperiod of multiple systems, the cas-sette and the LP emerged as standard.Further improvements, for years, wentinto these already established areas,and one might say that peace and har-mony reigned. Competition in playing/recording settled down within familiarparameters, and progress progressedvery nicely.

You can see where I'm aiming. To-day. again-a wild and bewilderingflood of new systems for consumeruse, to record sound, to bring record-ed sound to the home, car, and maybethe bathtub and the flower garden. It'sthe digital age, and putting a mere four

14 AUDIO/AUGUST 1992

What, good is the convertible, leather interior,

cruise control, turbo 200 horse -power, CD player,

quad -speakers, the exceptionally attractive passenger,

open highway. unreal sunset or balmy evening,

if you haventgot the right music?

Music to take you where nothing else will.Enter No. 22 on Reader Service Card

Pat MethenySecret StoryAt 19, he was -playing with1e0ends. By 24, he- was beingcalled one. Nclw the Granuny\vs;t1,1 \ 1 I ming. master

guiiii.i.t/composer delivtnlo-t ambitious and

i work yet.

METHENYGROUPPROQUCTIONS

The 8 -track, with its oneroll of quarter -inch tape,was extraordinary, likeunravelling a ball of stringby pulling the inside end.

tracks on a little ribbon of tape is noth-ing. Now, in digital, you can lay downliterally dozens of discrete recordingsbetween and around the existing fourtracks, leaving them intact and stillplayable. (Similarly for Dolby digitalmovie sound, placed somehow aroundthe film sprocket holes-see BertWhyte's account in "Behind theScenes" in the February issue.)

So once again we have a wholegroup of new systems for home -type orconsumer audio recording, as usualnot compatible with each other thoughvariably compatible with existingequipment. The presence of video,around the edges of these systems, ofvisual information as well as audio, is aserious complication-if and when putinto actual practice. The interactivemovement adds still another area ofimmense possibility-and immenseconfusion as well. How do we go aboutgetting a grasp on all these fascinatingnew media?

I can tell you one thing. We will haveto move away from that good oldAmerican tradition, bipolar thinking. Ei-ther-or. Yes or no. This or that. A two-dimensional confrontation, and winnertakes all even when the score is almost50-50. It is an admirably decisive wayof thinking, whether in politics, sports,or Oscar winning, and in a way it isunique to us in the United States. Otherparts of the world think differently-they are multi -polar. Most of the otherdemocracies have multiple politicalparties, and progress is by coalitionand compromise. We prefer a muchquicker resolution and so almost al-ways still stick to the two-party system,as well as we can. So it is in most areasof our life, including audio.

Yet as anyone can see, the multi-polar approach is eating its way intoour thinking everywhere, perforce.True, we haven't yet gotten to fielding

three football teams on one field tofight it out, but in plenty of other re-spects we are shifting to a multi -polarstance as the only possible way tothink in a world of utter complexity. Solook at the new audio, and act like themulti -pole a.c. motor or alternator! I

can suggest a pole or two to get thingsstarted.

Count 'em, three radical new record-ing systems, digital, to add to the al-ready ancient CD. One, DAT, is on themarket and defining its place; the oth-ers, DCC and MD, lavishly described,are about to be available. There arealso assorted peripheral systemssemi -attached to those we alreadyknow, such as the extended CD familyof discs.

One pair of poles to consider is thelittle matter of read and write, as thecomputer people put it. Record andplayback. Either a system is able torecord or it isn't. A bit of Hamlet in that.To be or not to be? Simple and utterlybipolar. But also quite wrong. In anoth-er past epic battle of systems, the vid-eo cartridge, a third pole was involvecthat determined the billion -buck out-come of that particular war-the abilityto copy. Sony's original videocassettesystem beat many others simply be-cause it so obviously offered homecopying of video as a primary feature,even if this was carefully clothed infancy language. I remember the pressdemos. Unwisely, I thought that Sony'swas the least enterprising among a va-riety of systems from an engineeringviewpoint. Maybe Sony blundered intoa bigger success than it had countedon-no matter. The public got the mes-sage: Video at home, by choice, prere-corded, but also home copied. Thethird pole. Too many audio designersoverlooked it, to their enormous cost,including the CBS EVR system (Elec-tronic Video Recording), which wasstrictly play -only. (As I see it, the sub-sequent Beta versus VHS rivalry waslargely a bipolar fight between relative-ly similar systems.)

It was then that the first big flap overcopyright material, taped or filmed,erupted with violence, effecting hugelawsuits and protracted argument-allthanks to this third pole. As anybodyknows it was victory for Sony and forvideo copying. The principle also ap-plied to the audio cassette, but this

area came to a boil only when the DATcassette appeared, offering literalclones of copyrighted material indistin-guishable from master tapes. Dyna-mite! This problem is now ingeniouslycompromised via .the one -copy -onlyDAT system, and peace is restored. Ifyou want the ultimate in cassette, youbuy DAT, at a price.

On the other hand, a new consider-ation. The other new systems, soon toappear, make high -quality home -based copies like the older cassette,but these are not commercially (or ille-gally) usable clones. Instead, via re-markable compression or simplifica-tion they reduce the digital content ofthe signal by an astonishing amountand offer a great saving in space. Toput it crudely, if a sound isn't there or isunlikely to be heard, it isn't recorded.This unlikely compression of audiosense, taking advantage both of theear's characteristics and that of thesignal, particularly music, seems towork. Most accounts so far say listen-ers can't tell the difference. If so, formany of us this is an important factor.An improvement, definitely, over theregular analog cassette, and yet not aclone. Good, safe ground, unlikely tostir up any new tempests.

Ah, but some of us, as is well known,will have only the best. That means,among the new systems, DAT. It isalready widely used by professionals.But the demanding audiophile isn't go-ing to leave it to them, no matter thecost! Maybe one perfect clone isenough? I'd say so.

So gather up the poles, by the doz-en, be careful about bipolar oppositesthat may not tell a fraction of the wholestory, and have fun. A

16 AUDIO/AUGUST 1992

Red Hot Chili Peppers:Blood Sugar Sex Magik(Warner Bros.) 11127Melissa Etheridge:Never Enough(Island) 25435INXS: Live Baby Live(Atlantic) 52528Gerald Levert : PrivateLine (East West) 63366Horowitz At Home(DG) 25211Bon Jovi: New Jersey(Mercury) 00516Dave Grusin: TheGershwin Connection(GRP) 10620Boyz II Men:Cooleyhighharmony(Motown) 10930Depeche Mode: Violator(Sire) 73408The Doors/Sdtrk.(Elektra) 54289Kathy Mattea:Time Passes By(Mercury) 44575Skid Row: Slave To TheGrind (Atlantic) 54433Pet Shop Boys:Discography -The Complete SinglesCollection (EMI) 05605Eagles:Greatest Hits 1971-1975(Asylum ) 23481

George Strait:Ten Strait Hits(MCA) 25425ZZ Top: Recycler(Warner Bros.) 73969Van Haien(Warner Bros.) 14620The Steve Miller Band:Greatest Hits 1974-1978(Capitol ) 33199Heart: Rock The House"Live"! (Capitol) 05603The Very Best Of TheRighteous Brothers:Unchained Melody(Verve) 44658Jesus Jones: Doubt(SBK) 44654Pogues: Essential(Island) 15459Traffic: The Low SparkOf High Heeled Boys(Island) 25169Bobby McFerrinChick Corea: Play(Blue Note) 05634

Tears For Fears:Tears Roll Down(The Hits 1982-1992)(Fontana) 80162Spinal Tap: Break LikeThe Wind (MCA) 54301Color Me Badd: C.M.B.(Giant) 25479

Heartbreakers: Into TheGreat Wide Open(MCA) 35409They Might Be Giants:Apollo 18(Elektra) 54283P.M. Dawn:Of The Heart, Of TheSoul & Of The Cross(Gee Street/Island) 15156Lou Reed: Magic 8 Loss(Warner Bros /Sire) 15470Squeeze: Singles 45's &Under (A&M) 35208Slaughter: Stick It Live(Chrysalis) 20666David Sanborn:Another Hand(Elektra) 54527Anthrax:Attack Of The Killer B's(Megaforce/Island) 25154Supertramp:Breakfast In America(A&M) 25246Dire Straits:On Every Street(Warner Bros.) 74151Marky Mark And TheFunky Bunch:Music For The People(Interscope) 53860Kenny Rogers: 20 GreatYears (Reprise) 25449Best Of Miles Davis -The Capitol/ Blue NoteYears (Blue Note) 11000Fu-Schnickens: F.U.-Don't Take It Personal(Jive) 10484Linda Ronstadt:Mas Canciones(Elektra) 50090Van Halen:For Unlawful, CarnalKnowledge(Warner Bros.) 10016Frank Sinatra: SinatraReprise/The Very GoodYears (Reprise) 80304Marcus Roberts: AsSerenity Approaches(Novus) 05654Snead O'Connor:I Do Not Want What IHaven't Got(Chrysalis) 33512

Bryan Adams: WakingUp The Neighbours(A&M) 35175Prince & The N.P.G.:Diamonds And Pearls(WB/Paisley Park) 63372Travis Tritt: It's AllAbout To Change(Warner Bros.) 64147Horowitz: Horowitz ThePoet (DG) 25258Extreme: Pornograffitti(A&M) 43557Marc Cohn(Atlantic) 82983Southside Johnny &The Asbury Jukes:Better Days(Impact) 61604The Best Of DollyParton (RCA) 51583New Edition:Greatest Hits, Vol. 1(MCA) 83623Peter Murphy: HolySmoke (RCA) 64612Pixies: Tromp LeMonde (Elektra) 80319

r

Enya: Shepherd Moons(Reprise) 53190The Judds:Greatest Hits, Vol. 2(RCA) 74054Rod Stewart:Downtown Train(Warner Bros.) 10708The Beach Boys: PetSounds (Capitol) 00513Styx: Paradise Theatre(A&M) 25243Judy Garland: The BestOf The Decca Years,Vol. 1 (MCA) 10497Vanessa Williams:The Comfort Zone(Wing/Mercury) 25066Amy Grant: Heart InMotion (A&M) 25182Hank Williams, Jr.:Maverick(Curb/Capricorn ) 05647Paula Abdul:Spellbound(V rgm) 73320N.Y. Rock & Soul Revue(Gant) 63189Kiss: Double Platinum(Casablanca) 25149

R.E.M.: Out Of Time(Warner Bros.) 24762Fourplay(Warner Bros.) 10723The Best Of StevieNicks: Tlmespace(Modern) 10940Williams: By Request...(Philips) 25360Bell Biv DeVoe: WBBD-Boot City! -The RemixAuburn (MCA) 54360The Best OfThe Double Brothers(Warner Bros.) 43738Boogie DownProductions: Sex AndViolence (Jive) 10053The Mambo Kings/Sdtrk. (Elektra) 80250Little Texas: First TimeFor Everything(Warner Bros.) 10009Lyle Lovett:Joshua Judges Ruth(MCA) 10508John McLaughlin Trio:Oue Alegria(Verve) 10527Emmyiou Harris & TheNash Ramblers At TheRyman (Reprise) 25475

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sMG. please accept my membership in the BMG Compact Disc Club and send myCOMPACT 5 first four CDs (check box below for cassettes) as I have indicated here under0111111.44 the terms of this offer. I need buy just one more CD at regular Club prices during theWIN% next year - after which I can choose 3 more CDs FREE! That's 8 CDs for the price of

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Carreras, Domingo,Pavarotti: 3 Tenors(London) 35078Rosette: Joyride(EMI) 10473Ian McCulloch:Mysterio(Reprise/Sire) 54452Deee-Lite: World Clique(Elektra) 52050AC/DC: The RazorsEdge (ATCO) 33379The Cars: Greatest Hits(Elektra) 53702Spinal Tap/Sdtrk.(Polydor) 34691Joe Jackson: LookSharp! (A&M) 25192Bebe & Cece Winans:Different Lifestyles(Capitol) 15528Donna Summer: On TheRadio-Gt. Hits Vol.' & II(Casablanca) 24715Alice Cooper:The Alice Cooper Show(Warner Bros.) 11103Primus: Sailing TheSeas Of Cheese(Interscope) 64171

BEHIND THE SCENESBERT WHYTE

EVERY LITTLE BIT HELPSIn the June issue, I described someof the testing and evaluation of Digi-tal Compact Cassette (DCC) tapes,

particularly in respect to the PrecisionAdaptive Sub -band Coding (PASC)system for data compression. At issuewas whether the action of PASC is au-dible. Exhaustive tests at Decca Re-cords in London seemed to indicatethat PASC encoding had reached sucha high degree of refinement and tech-nical sophistication that it could notreliably be detected in NB compari-sons of master tape versus PASC-en-coded/decoded DCC tapes.

As a result of these tests, there wasquite a bit of speculation that DCC (arecording format) is better than CD (aplayback -only format), based on thewider dynamic range of 18 -bit DCCtapes. Some of this speculation proba-bly arose because the parameters forCD technology and replication are allcast in concrete and invariable, as dic-tated by the Sony/Philips Red Book.This may foster the impression that CDsound quality cannot be improved be-yond the optimum levels achieved byadherence to the Red Book standards.Although we are certainly not going tosee 24 -bit digital recordings with asampling rate of 125 kHz, as fanta-sized by some audiophiles, there havebeen improvements in CD sound quali-ty. The earliest CD players had brick -wall, 90 -dB anti-aliasing filters whichcertainly degraded sound quality,causing high -frequency spuriae thatgrated on perceptive ears. The contin-ually evolving D/A converter technol-ogy-multi-bit, MASH, one -bit, bit -stream, and other variants-has ex-punged most of the offensive sounds.In fact, D/A converter technology hasoutpaced that of the typical A/D con-verters used in professional digital re-corders. Studies have revealed thatthese recorders' ND converters help.create digital distortions and artifacts.

Recognizing this, manufacturershave been working to develop a newbreed of ND converter to address digi-tal signal distortions. Most of these NDconverters are stereo units, acceptingtwo signals from the mike preamps,and their circuitry provides 128 -timesoversampling and dither applicationsat various levels. Several new ND con-verters, such as one from Sony and theWadia 4000, afford 20 -bit resolution.

O

Some converters will be offered as aneight -input module on a single chassisand then be used in multiples accord-ing to the number of tracks employedin the digital recorder.

In addition to new ND converters,recording engineers are placing in-creased emphasis on high -quality mi-crophone preamps and improved on -location and in-house monitoring facili-ties. With all these new devices in theirarmamentarium, I asked three highlyrespected recording engineers to de-scribe their current digital masteringtechniques.

Tom Jung is justly famous for thesuperb, ultra -clean pop/jazz digital re-cordings he engineers for his dmp la-bel. Tom has been making digital re-cordings since 1978 and is known as atireless experimenter and innovator inhis quest for sonic realism. Currently,he feeds various mikes (types and pat-terns are chosen for particular record-ing applications) into high -quality mikepreamps. He often feeds his main ste-reo mikes into FM Acoustics' Class -Amp M-1 mike preamp. The output ofthe ClassAmp M-1 and the outputs ofthe "sweetener" mike preamps are fedinto four Wadia 4000 ND converters.The digital output of the converters isfed into the eight input channels of a

Yamaha DMR-8 mixer/digital recorder.This 20 -bit linear digital recorder hasstationary thin-film heads and allows40 -channel redundancy recording onmetal tape. It provides 22 minutes ofrecording, but slave -unit serial record-ers switch on at 211/2 minutes, takingover from the main unit. When theslave unit reaches 211/2 minutes, it

automatically switches back to themain recorder, so Tom can continue torecord as long as he wants! The Ya-maha DMR-8 allows him to mix in thedigital domain. Since the Yamaha met-al -tape cassette is not configured forCD mastering, the recorder's digitalAES/EBU and SPDIF outputs are fedinto a professional R-DAT recorder,and this tape is used for CD mastering.Tom also makes extensive use of PeterD'Antonio's RPG Diffusor and Abffusoracoustical panel treatments in his ses-sion monitoring and, whenever possi-ble, in recording venues. This cutting -edge -of -the -art digital recording tech-nique is expensive, but Tom's pristine -clean recordings speak eloquently forhis dedication to high-fidelity sound.

Tony Faulkner is one of Britain's pre-eminent recording engineers' for clas-sical music, and the countless record-ings he has made for many labels aredistinguished by the sheer musicality

AUDIO/AUGUST 1992 19

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of his soundscapes. Tony is alwaysinterested in new recording technologyas long as it appears to advance theart, but basically he takes a purist ap-proach, which is to say that he firmlybelieves in minimal miking for mostclassical recordings. Over the years hehas employed Blumlein and other ste-reo pair techniques. He generally likesthe warmth and musicality of tube mi-crophones and favors near -coincidentpairs of Neumann M49c and M50cmikes as well as the AKG C24 stereomike, all modified for low noise. Tonydoes much of his recording on anopen -reel, 20 -bit Mitsubishi PDX-8620digital recorder. Also aware of theproblems with conventional A/D con-verters, he has upgraded to Meridian's607 and has already mastered five al-bums with the Wadia 4000.

Tony is quite enthusiastic about hisnewest digital recording technique,which utilizes CD -R. He feeds his mikepreamp into his A/D converter, thenoutputs the digital signal into a Merid-

uses pre -grooveddye -polymer discs. The disc is editedon a Sonic Solutions digital worksta-tion, then rerecorded on CD -R to cre-ate the digital master. Tony has foundtwo CD mastering plants in Englandthat accept the CD -R discs and usethem directly to the CD glass master.He asserts that CD -R is presently themost transparent digital recording for-mat, with the lowest error rate, and thatit provides digital masters of excep-tional clarity and cleanness. Not theleast of CD -R's attractions for classicalrecordings (which are usually done onlocation in various halls) are its verylight weight and easy portability. Theseare major pluses, compared to the bigMitsubishi PDX-8620 open -reel record-er or the Sony 1630 U-matic. Tonyreckons he has now mastered morethan 20 albums using CD -R.

John Eargle, colleague and Audiocontributor, is responsible for most ofthb remarkable digital recordings onDelos and is well known for his bookson recording engineering and micro-phones. Over the years he has devel-oped a recording philosophy based onhis technical expertise and his insightsas a trained musician. John's record-ings are a distillation of his understand-ing and application of microphones,acoustics, and the characteristics of

Find out how good we are: experts on call 8AM-midnight (ET) every day 1-800-AKA-HIFIEnter No. 4 on Reader Service Card

20 AUDIO/AUGUST 1992

Engineers say that using20 -bit A/D converters givesextra headroom and ensuresthat all 16 bits of the CDare exercised to the LSB.

the instruments in the symphony or-chestra. The musical balances heachieves between the various orches-tral choirs, and his placement of theorchestra in accordance with theacoustical characteristics of the re-cording hall, are major contributorsto the stunning sonic realism of hisrecordings.

John favors a modified near -coinci-dent ORTF pair of cardioid mikes ashis main pickup, flanked by omnimikes, with minimal use of stereo -pairsweetener mikes. He has been experi-menting with A/D converters and cur-rently is using the Wadia 4000. Johnfeeds the output from his mikepreamps to a specially modifiedSoundcraft 200B mixer. The mixer'stwo output channels feed into a Wadia4000, and its digital output is recordedon a professional Fostex R-DAT re-corder. This tape is later transferred toa Sony 1630, and subsequent editingis done on a Sony 3000 to make a CDmastering tape.

Other recording engineers have rec-ognized the A/D converter problemsand have been experimenting withnew units. Jack Renner of Telarc hasbeen using a proprietary A/D converteras well as the Wadia 4000. John New-ton, who has made many recordingsfor Philips, EMI, and other labels, hasbeen using Apogee Electronics A/Dconverters and the Wadia 4000. Ofcourse, Sony Classical uses Sony'sown 20 -bit A/D converter, and DeccaRecords and other companies are us-ing various new A/D converters, in-cluding 20 -bit models. In all of this, youwill note the trend to 20 -bit A/D con-verters. A logical question is: Why use20 -bit converters, since the CD stan-dard is a 16 -bit system? The engineerssay it gives them extra headroom andensures that all 16 bits are "exercised"down to the least significant bit (LSB).

At my deadline for this column, Sonyannounced a new technique, calledSuper Bit Mapping (SBM), for transfer-ring 20 -bit masters to a 16 -bit CD toyield sound quality beyond 16 -bit reso-lution. SBM uses noise -shaping to shiftquantization noise away from the fre-quencies the ear is most aware of.Sony's white paper states:

In order to shape the noise in thismanner, the actual error at each point

must be tracked. This requires that thesignal be quantized with more bits thanwill actually be used. For example, whileCD -quality audio is quantized at 16 bits,SBM requires a higher number, such as20 bits. Each sample then consists ofthe most -significant 16 bits, with thequantization error consisting of the least -significant 4 bits. Once the quantizationerror (noise) is identified, it can beshaped by a noise -shaping filter and fedback into the original signal, thus pro-ducing the desired noise soectrum.Note that the total noise power remainsunchanged; only the spectrum is differ-ent.

An added benefit of SBM is a signifi-cant reduction in transient harmonicdistortion, and there is much more tothis Sony technology that will be re-vealed in due course. In the meantime,16 -bit transfers from the new 20 -bit A/Dconverters will likely be improved bySBM and give us further enhanced CDsound.

(Editor's Note: At a press conferenceat the recent Consumer ElectronicsShow in Chicago, I heard A/B demon-strations of CDs made the standardway and a second set of discs madewith SBM. Two recordings were used,ones with which I fortunately was famil-iar: Dave Brubeck's "Take Five" andBob Dylan's "Just Like a Woman." Ittook me a little while to tune into thedifference, which at first sounded like itwas merely some sort of equalization.Some, but not all, of the intrusive old,analog tape noise was reduced, butmore importantly the size of the musi-cal illusion behind that "gray wall' oftape noise increased and becamemore three-dimensional. Further, thesize of each instrument in Brubeck'sgroup was reduced, and its place inthat newly enlarged space was clari-fied. With the Dylan, his voice wasmuch less harsh and sibilant, but yetmore "voice -like" and realistic. This isa premium -quality sound from the CDmedium, and I must confess I hadthought CD's sonics were not to beimproved upon. These SMB CDs are tobe initially released on Sony Music'sLegacy Series, and the best thing I cansay about them is that I will searchthem out and pay the extra dollars tohave them, for they are that much bet-ter. -E.P.)

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AUDIO/AUGUST 1992 21

Enter No. 5 on Reader Service Card

CURRENTSJOHN EARGLE

TURNING BACK THE PAGES

HARRY F. OLSONhen I was learning the profes-sional recording business atRCA Records during the '60s,

Harry F. Olson was still a commandingpresence at the RCA Sarnoff ResearchCenter in Princeton, N.J. Most of usreferred to that organization simply asRCA Labs, but in a more familiar waywe considered it first and foremost tobe "Harry's lab."

Olson's career was unlike any otherin audio. It was all spent with RCA, andmuch of his landmark work was doneso many years ago that later refer-ences often overlook it. It is said thatthe original Acoustic Research patenton the acoustic suspension loud-speaker was invalidated by a refer-

ence from one of his books. I knowfirsthand of an Olson -devised play-back -only noise -reduction system thatis conceptually the father of some oftoday's digital techniques for cleaningup old recordings.

Most of the applied research work ofOlson and his group was product -ori-ented and provided the basis for whatthe various manufacturing divisions ofRCA produced. Other studies of hisare in internal company reports, andthese may never see the light of day.Fortunately for us, Olson the teacherand explicator maintained a busy writ-ing schedule. He produced a numberof books.that are as sought after todayas when they were first published.

His major work, Acoustical Engineer-ing, was originally published in 1957by the D. Van Nostrand Company. I amnot sure when (or why) the book wentout of print, but for the last couple ofdecades it has been virtually impossi-ble to find. (I'm an avid collector ofbooks on audio, but it has only been inthe last two years that I received acopy of Acoustical Engineering, cour-tesy of two good friends in the indus-try.) Happily, the book is now availablethrough Professional Audio Journals,Inc. (P.O. Box 31718, Philadelphia, Pa.19147; $53.95 including shipping andhandling) in a hardbound format with arugged binding worthy of its 718pages. Jesse Klapholz is the man re-sponsible for this, and he deserves ourcompliments for a job well done.

Before I get into a description ofAcoustical Engineering, I would like toexplain why I think it may be importantfor many readers of Audio to have acopy. Principally, Olson covers hissubject matter on several levels at thesame time, emphasizing the underly-ing physics along with clear, functionaldiagrams that are models of their kind.

As an example, consider Olson's de-scription of a capacitor microphone.First, there is a description of the de-vice, complete with pertinent physicalequations governing its performance.For many readers, this description canstand alone, conveying as it does thebasic operation. The figures accompa-nying the description include a de-tailed sectional view of the micro-phone, an equivalent mechanical cir-cuit keyed to the elements shown inthe sectional view, the pertinent electri-

cal circuit, and a graph of frequencyresponse that shows the mike's typicalbehavior. Olson certainly knew the val-ue of concise but detailed graphics.

Thus, in a single to -the -point exposi-tion, Olson satisfies all readers. Theengineer walks away with a view ofhow the microphone is designed (com-plete with differential equations), andthe non -mathematical novice gains anintuitive view of how the microphoneworks. The same approach is used inOlson's description of complete sys-tems, such as loudspeakers, record-ers, reproducing systems, and mea-surement setups.

The book begins with a short mathe-matical discussion of how sound ispropagated, which leads directly to adetailed discussion of basic radiatingsystems. Included are point sources,line and circular .sources, acousticlenses, tapered arrays, and the like.The fundamentals are thus set downfor how loudspeakers and micro-phones should be "shaped" if they areto do their respective jobs well. If you have ever wondered how and why theB & W 801 loudspeaker took on itsbevelled midrange enclosure shape,you'll find the answer in Olson (page23). This particular geometry ensuresvery smooth on -axis frequency re-sponse. If you read this section, youwill find out why certain other shapesare generally avoided. It is safe to saythat most of today's loudspeaker bafflegeometry is a direct outgrowth of 01 -son's pioneering work in this area.

Mechanical vibrating systems arethen discussed in their role as founda-tions of all acoustical devices. Follow-ing this is an explanation of dynamicanalogies. This is the discipline Olsonuses to set up the equivalent acousti-cal and mechanical circuits which heuses throughout his writing. Next is alengthy chapter devoted to acousticalelements-horns, various slits, tubes,and juxtaposed media-and how theyinfluence sound travelling throughthem. By this point, Olson has provid-ed the foundation for the understand-ing of practical real -world devices.

We then move on to a favorite sub-ject, the direct radiator (cone) loud-speaker. Here we immediately get intodiscussions of particular designs inwhich we can see the effects ofchanges in parameters on output, dis-

22 AUDIO/AUGUST 1992

In case you missedour preamp/tuner reviews,

here's a few highlites.

PRODUCT REVIEWS

"High quality... extremely low distortion and

noise... FM frequencyresponse among th best Ie

have ever seen."

- Leonard Feldman, Audio, Dec., 1990.

"Carver demonstrates brilliant technological inno-

vations... ACCD tuning delivers FM signals with

stunning effect."- David Doll, syndicated audio writer, 1991.

"Qualifies as the control center of any music sys-

tem... impressively compact... a full array of Carver

innovatio-Julian Hirsch, Stereo Review, Nov.,

1990.

Why separate components and not areceiver? How about cleaner FM reception,more power, and far superior sound.

Why Carver separates? How aboutSonic Holography®,ACCD tuning, and inour flagship CT -17,

Dolby Pro Logic and the ability to play twodifferent music sources in two differentrooms, simultaneously. Whew! That's enough.

You'll have to hear the rest for your-self. Check out our fullrange of separates at yourCarver dealer.

reprints available on request

Distributed in Canada by Evolution Audio, Oakville, Ontario (416) 847-8888

CAR\ ERPowerful Musical Accurate

P.O. Box 1237 Lynnwood, WA 98046(206) 775-1202

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Olson covered his subjecton many levels, stressingthe underlying physics andproviding diagrams thatare models of their kind.

tortion, and directivity. Even the mostcasual Audio reader will find items ofinterest here.

The next major section is devoted tohorn loudspeakers, which are giventhe same depth and detail as conedevices. Though only a few of you mayhave horn loudspeakers in yourhomes, they are a mainstay in movietheaters and in speech and music rein-forcement.

Perhaps Olson's crowning achieve-ment in acoustical engineering was hiswork in microphones. Although notcommonly encountered today, his ba-sic ribbon microphone provided thebroadcast and recording industrieswith their fundamental tool during the1930s and 1940s. The subsequentpopularity of capacitor and low-costdynamic microphones put the ribbondesigns in the background, but this inno way diminishes Olson's overall con-tribution. His work in higher order di-rectional microphones is fundamental.The chapter on microphones covers alldesigns, including a few exotic itemssuch as the electronic and "hot wire"mikes.

A chapter discussing various othertransducers, including phonographcutter heads and pickups, telephones,magnetic recorders, and basic noise -cancelling systems is next. Followingchapters deal with such diverse sub-jects as measurements, architecturalacoustics, psychoacoustics, and com-plete sound reproducing systems. Ofspecial importance here is Olson's fun-damental work in relating psycho -acoustics to the parameters of play-back systems. The author's listeningtests regarding noise, distortion, andbandwidth in home music systemswere probably the first of their kind andestablished consumer expectations inhis day.

Acoustical Engineering's final chap-ters cover general information sys-tems, underwater sound, and ultrason-ics; as such, they may be of relativelylittle interest to the typical Audio read-er. For engineers and physicists, I

must state that the book expressesunits. basically in the cgs (centimeter -gram -second) system and not in theSI, or metric, system we use today.Conversions are simple enough tomake, so this should not be a problem.Happy reading!

1992 NordicTrack. Inc A CM1. Compar) Sulu) lei r. a registered trademark 01 Soloilex. In, All rights reserved.'

Enter No. 13 on Reader Service Card

24 AUDIO/AUGUST 1992

Contrary topopular opinion, you can

please everyone.

PRODUCT REVIEWS

"Deliciously liquid... breathtaking dynamic

range... superb basshandling." - Steven Baird,

- The Sensible Sound,Fall/Winter, 1991.

"Astonishingly musical...upperbass rich and

potent... highs sweet sounding and clear."

- Inner Ear Report, Fall/Winter, 1991.

"An excellent example of digital audio done right."

- Daniel Kumin,High Performance

Review, Summer, 1991.

"Everythingexpected from a top-quality CD play-

er... superb low-levellinearity.. full complement

of features." - Julian Hirsch

- Stereo Review, April, 1991.

A hard bunch, those critics. So pardon ourdelight at such universal acclaim for our CDplayers. It's true, Carver's classic tube tech-nology and the latestwonders of singlebit D/A conversion

make for "astonishingly musical" CDsounds. But please, hear them for yourself.Take your favorite disc to your Carver

dealer today. And audi-tion the full line ofCarver CD players.

reprints available on request

Distributed in Canada by Evolution Audio, Oakville, Ontario (416) 847-8888

CARVERPowerful Musical Accurate

P.O. Box 1237 Lynnwood, WA 98046(206) 775-1202

ROADSIGNSIVAN BERGER

SWEETER TWEETERLook, Ma! No Crossover

Jensen's new Advent car speakerline features that rarity, a new driverdesign, Inductive Coupling Technol-ogy (ICT). Invented by Goodmans ofEngland, the ICT is a true coaxial de-sign requiring no crossover networkand having no wired connections tothe tweeter. The tweeter element, alight aluminum dome whose voice -coilis one shorted turn of wire, picks uphigh -frequency energy by inductionfrom the woofer's voice -coil. This in-duced current reacts with the fieldof the woofer magnet to drive thedome. A bullet -shaped phase plug,in front of the dome, balances theradiation impedance of the domewith that of the woofer's voice -coilformer surrounding it to smooth fre-quency response; a horn -like waveguide surrounding the assemblysmooths acoustical coupling to theair and helps control directivity.

With the tweeter at the base of thewoofer, sharing the same acoustic

plane and central axis, the ICT sys-tem should have about the same sta-ble, coherent imaging as a true point-

source speaker, slightly better than acoax in this regard. An ICT speakercan also be physically shallower thana coax, allowing easier installation inmany tight spots, such as behind acar's original speaker grilles. Adventsays that the design is likely to bemore reliable and easier to build con-sistently than conventional designs,and that ICTs weigh less than

coaxial speakers of equivalentperformance.

An ICT's efficiency will be lessthan that of an equivalent coax,

due to the wider voice -coil gapand to increased woofer Q. But Ad-

vent says its ICT speakers are moreefficient than most of the speakerssupplied as part of factory -installedsound systems. That may not be astrue in Europe, however; Goodmansnow supplies ICT speakers to somecar makers over there.

0

SPARKOMATIC

it I

Free ThoughtGood performance costs money,

but good ergonomics need not raisea product's price. Take, for example,Sparkomatic's $110 Model SR339 carstereo, which appears to haveexcellent human engineering. Somepanel designations could be a bitclearer, but the layout is a gem. Thesix station buttons, instead of beinglaid out in one long string (whichmakes middle buttons very hard toidentify by touch), are grouped in tworows of three, where your finger caninstantly find any of them. The otherbuttons are also laid out in a 2 x 3matrix. The volume and manual tuningcontrols are big knobs old-fashionedbut ergonomic as all get -out. The onetape control (fast forward/eject) isright by the tape slot, and the displayis reasonably big.

There are limits, of course, to what$110 will buy. The tape section hasfewer features than the tuner (noDolby NR, for instance), andperformance specs are, as you'dexpect for this price, modest ratherthan spectacular. But at least thosespecs are fully disclosed; forexample, while low -end car stereosoften carry nominal power ratingsbased on an unstated THD level of10%, Sparkomatic not only specifiesthat distortion level for its nominal 10 -watt power output but also gives apower rating at a more tolerable 1%THD (8 watts, total).

Improving a low -end unit'sperformance usually costs money.But, as the SR339 demonstrates,improving its ergonomics usuallytakes just a bit more thought at thedesign stage.

Woofer WondersCar woofer systems with bandpass

and isobaric enclosures are bothgaining fast in popularity. Bandpasssystems cut off woofer upper frequen-cy output acoustically, effectivelysharpening the low-pass crossoverslope and making woofer distortionproducts less audible. And becauseyou hear fewer mid -frequencies froma bandpass woofer, you're less likelyto notice that the bass is coming froma separate place. The virtue of isobar-ic systems is their compactness, amajor asset in a car. Polk's C4 sub -woofer uses both techniques-and itimpressed me with its low, cleanbass.

Blaupunkt, meanwhile, has comeout with a new use for dual voice -coils, which they call Electronic BassInjection (EBi). One of the woofer'stwo voice -coils is wired to the speak-er's crossover. The other voice -coilcan be driven separately by a secondamp and active crossover, addingadditional energy in the deep bass. Ifthe second amp is hooked in beforeyour front/rear fader or to both faderoutputs, you'll also get constant bassregardless of the fader's setting.

26 AUDIO/AUGUST 1992

ARC ---I I T E C T U R AL MONITO Z SERIES

THE FINEST IN -WALL SPEAKERS

Deriving music from in -wall speakers has been a virtually impossibility. They certainly are convenient. Butno matter haw much you spend, you always seem to end up with mediocre sound... until now!

Architectural Monitor Series (AMS) in -wall speakers redefine the state-of-the-art. Advanced design conceptsthat specifically address the wall's acoustic shortcomings results in performance that is nothing short ofamazing... at Iasi, in -wall speakers that sound like music!

PARADIGM speakers offer a level of performance that is unmatched at the price. In national dealer surveys,conducted by a leading trade publication, PARADIGM ranks #1 in price/value!

PARADIGM'S product excellence is widely recognized with numerous rave reviews, Sound&Vision's Critic'sChoice Awards and Audio/Video International's HiFi Grand Prix Award.

Specifically, AMS products have received multiple Sound&Vision Critic's Choice Awards and a Best BuyAward from Consumer's Digest!

AMS speaker development included a complete study ofthe wall's unique acoustic properties along with the soniccontribution of each individual component in the speaker.The interaction of all of these elements is very complex -there is never a single magic solution to good speaker de-sign. However, when the best possible combination is de-termined the whole can exceed the sum of the parts andprovide truly "magical" results. Although this method ofR&D is very time consuming, it pays off in speakers capableof extraordinary musical performance.

BETTER BY DESIGN One-piece diecast aluminum chassis - a vast improve-

ment over plastic - minimizes mechanical vibration,ringing and flexing. They also provide a heat sink forthe drive units for increased power handling.

Full -perimeter diecast aluminum mounting bracketsensure strong, rigid installation in the wall to minimizewall vibration and flexing.

PARADIGM designed and built bass/mid-frequencydrive units have smooth colouration-free response andlow distortion. Mineral -filled polypropylene coneshave very high stiffness -to -mass ratio and excellent in-ternal damping. Synthetic butyl suspensions are specif-ically designed to eliminate "edge -hole" distortion - a type of distortion thatoccurs when the suspension begins to resonate in an uncontrolled manner.Voice -coils are longer than the magnetic field in which they operate, re -suiting in linear response regardless of cone excursion. Advanced adhesivetechnology ensures long-term reliability under conditions of extreme stress.

The AMS-200 high -frequency drive unit uses a treated -textile dome radi-ating element which has extremely low mass and very high internal damp-ing. The dome shape and size promotes maximum dispersion for balancedmusical performance throughout the listening room. An oversized magnetassembly, along with a precision wound voice -coil and ferro-fluid cooling,ensures superb dynamic response and long service life.

The AMS-300 utilizes the spectacular Q25TM pure -aluminum -dome high -frequency drive unit from the PARADIGM Monitor Series. This highly praiseddesign has all of the benefits of treated -textile plus even lower levels ofdome break-up distortion and higher power handling. The result is out-standing clarity throughout the entire listening room.

Precision quasi -Butterworth dividing networks are time- and frequency -aligned to provide seamless coherent performance.

The AMS-200 is a supremely musical in -wall speaker that simply outperforms allothers, except, of course, the AMS-300... here is an in -wall speaker that must beheard to be believed. The AMS-300 is a revelation in music... it sets an entirely newperformance standard for in -wall speakers!

BEST BUY!PARADIGM'S design principles are based on the vast body of speaker researchconducted by the world-renowned National Research Council of Canada. Ex-tensive in-house R&D facilities allow PARADIGM engineers to evaluate many gen-erations of prototypes before a design is put into production. The goal of thisenormous commitment to R&D is to offer a performance/price ratio second tonone. AMS speakers offer incredible performance and yet actually cost less thanmany other designs - they are clearly the Best Buy!

USE THEM ALMOST ANYWHEREAMS speakers can be used in a wide variety of applications. The main chassis ismade from non-magnetic aluminum that will not warp or crack. Polypropylenecones and textile or metal domes are unaffected by age or changes in tem-perature or humidity. They can be used inside virtually anywhere, and becausethey are water-resistant (not waterproof) AMS speakers can be used outside inweather -protected areas. Outside operation does, however, require a tem-perature of at least 10°C/50°F (no harm occurs below this, but the speaker willnot sound correct - see owners manual).AMS speakers take no floor space and are very easy to install. They are at-tractively finished in ceiling white to compliment most rooms. They can also bepainted to match specific decors.

GUARANTEED PERFORMANCEPARADIGM guarantees the performance of AMS speakers for a full 5 years fromthe original date of purchase. Within this period PARADIGM will correct any de-fect in materials or workmanship that causes deviation from original per-formance (see owners manual).

The precisionone-piece diecastchassis andfull -perimeterdiecast mountingbracket provide avastly superiorin -wall installation.

This highlyengineeredmounting systemdramaticallyimproves musicalperformance.

SPEC

DESIGN

CROSSOVER

DRIVERCOMPLEMENT

PERFORMANCELow Frequency ExtensionFrequency ResponseOn Axis (0°)Off Axis (30°)Sensitivity-Room/AnechoicSuitable AmplifierPower RangeMaximum Input PowertNominal/MinimumImpedance

PHYSICALMinimum Mounting DepthMinimum InternalVolume RequiredHeightWidthDepthWeightFinish

DESIGN

MATERIAL

APPLICATION

SHIPPING WEIGHT

AMS speakers are precision engineered for the uniqueacoustic enviornment of the wall.

Installation is easy. For existing nulls simply use thefull -perimeter diecast bracket. For new constructionadjustable "L" brackets are included to allow forpre -installation of the diecast bracket.

F IC A TIONSAMS-200 AMS-300

2 -driver, 2 -wayacoustic suspension

2nd order electro/acousticat 2.0kHz

One 25mm (1")treated -textile -domehigh -frequency driver

One 165mm (6-1/2")mineral -filled polypropylenebass/midrange driver55Hz (DIN)

±2.5dB from 70Hz-20kHz±3dB from 70Hz-13kHz88dB/85dB

15-100 watts80 wattst

8ohms/6ohms

7.4cm/2.9in

12Iitres/.4cuf31cm/12in20cm/8in9cm/3-3/sin5.5kg/12Ibs per pairCeiling White EpoxyPowder Coat. Paintable.

2 -driver, 2 -wayacoustic suspension

2nd order electro/acousticat 1.5kHz

One 25mm (1") Q25/300pure -aluminum -domehigh -frequency driver

One 210mm (8")mineral -filled polypropylenebass/midrange driver45Hz (DIN)

±2dB from 60Hz-20kHz±2dB from 60Hz-20kHz89dB/86dB

15-150 watts100 wattst

8ohms/4ohms

8.3cm/3.25in

201itres/.67cuf33(.412-7/sin2243A/8-3/sin9cm/3-3/sin6.4kg/14Ibs per pairCeiling White EpoxyPowder Coat. Paintable.

AMS-200 KIT AMS-300 KIT

Full perimeter flangedesigned for maximumstrength and rigidity.High-pressure diecastaluminum.Retrofit into existing walls ornew construction with "L"brackets (included).1.8kgs/4Ibs per pair

Full perimeter flangedesigned for maximumstrength and rigidity.High-pressure diecastaluminum.Retrofit into existing walls ornew construction with "L"brackets (included).2kgs/4.41bs per pair

DIN 45500. Listening rooms reinforce bass. Thus, in most listening rooms, this reasonably indicatesthe audible (approximately -3dB) low frequency performance that can be achieved.

t Maximum Input Power indicated is with typical program source, providing the amplifier is clipping nomore than 10% of the time.

Paradigm Electronics Inc. AudioStream, Div Baron Corp. For distribution informationFor More Information 101 Hanlan Rd.,

Woodbridge, ON L4L 3P5

M.P.O. Box 2410

Niagara Falls, NY 14302outside the U.S. and Canada,

contact Paradigm Export Division:Arm%Canada U.S.A. Phone: (Access Code1+1 416 850 2889Call 1-800-451-2248416 850 2889 416 632 0180 FAX: (Access Code)+1 416 850 2960

Enter No. 14 on Reader Service CardParadigm is a registered trademark of Paradigm Electronics Inc.

Paradigm Electronics Inc. reserves the right to change specifications/features without notice as design improvements are incorporated Copyright © Paradigm Electronics Inc.+Bavan Corporation. All rights reserved. AMS060492.2 Printed in USA

Dashboard designers arebeginning to acknowledgehow often drivers reach fortheir volume, memory, andseek tuning controls.

Re: Search (et al.)From 1992 on, the factory -installed

stereo systems on the Ford Taurusand Mercury Sable have extravolume, seek, and memory buttons,placed where the driver can reachthem without taking a hand off thewheel. That wasn't done just fromlogic, whim, or personal experience,but from market research. Surveying1,200 owners of competitive cars (ofwhom about half responded), Fordfound that these three controls andon/off (which is less necessary to useon the road) are the ones most oftenused in highway listening.Specifically, volume controls are used86% of the time, memory buttons 80%of the time, and seek tuning 32% ofthe time. Scan tuning is used in only21% of all listening sessions, the basscontrol is used 30% more than thetreble control (13% versus 10% of thetime), the balance control another10%, and the fader tied with manualtuning at a dead -last 8%.

Other consumer preferences alsoemerged from Ford's study.Confirming the importance of memorybuttons, 78% of those surveyed saidthey wanted the ability to

automatically load station frequenciesinto preset memories (and 68% saidthey wanted six memory buttonsversus only 18% for five-almost noone wanted any fewer). But despiteits low rank in usage studies, 74% ofrespondents wanted scan-morepeople would use it if they had it, I

guess. Memory (or preset) scan wasranked only about half as highly,(40%); I wonder why it's far morecommon than regular scan, thesedays. Scan's cassette equivalent,music search, was wanted by 69% ofthose polled.

Half of all respondents wanted anti-theft coding, even though it doesn'tdo much good. (As long as codedradios aren't clearly andunequivocally marked, thieves canstill sell them.) Half of those surveyedalso wanted automatic volumecontrol, to compensate for road noise.

Half of all listeners want Dolby Bnoise reduction, as opposed to 39%who want Dolby C NR and an equalnumber who want DNR. (Dolby S NRwas too new to have been worthincluding in the.survey.) Only 32%showed any interest in Type II tapeequalization. Only 22% wantedmultiple FM bands, while 37% wantedAM stereo. Nonetheless, moremanufacturers seem to include theformer than the latter, probably due tocosts.

Nearly a third of those surveyeddisliked the sound quality of theirsystems, while only 10% complainedabout their radio reception.Ergonomics accounted for more thanhalf the grievances, with complaintsabout small graphics (2%), small

displays (4%), small controls (16%),and the location of the radio (25%).Modern dashboards leave little roomto change radio location (though Fordhas moved it above the heater insome of their vehicles), but cardesigners can at least put basiccontrols where the driver can reachthem easily-as on the current Sableand Taurus.

Courtesy CallCar stereo's popularity in Britain

may be catching up with its popularityin the U.S. One sign of this comesfrom the Polite Society, of Newcastle -Under -Lyme, which ranks loud carstereo systems Number 3 on its Top10 list of bad-mannered nuisances.(Littering is Number 1.)

Updated Drive -InsDrive-in movies in America may

have been disappearing for decades,but Britain just got its first. Located inHackney, the theater broadcasts themovie soundtracks in FM stereo, soviewers (and perhaps closeneighbors) can pick them up on carradios or portables.

AUDIO/AUGUST 1992 29

©1992 Lexus, A Division Of Toyota Motor Sales, U.S.A., Inc. Lexus reminds you to wear seat belts and obey all speed laws. For more information, call 800-8724398 (800-USA-LEXUS). *Maximum power.

1, o hear the hum of the Lexus SC 400's Four Cam, 32 -

valve engine is definitely a pleasure. But you have to

admit, there will probably be times when you'll want to

hum along with something a bit more musical.

Enter the optional Lexus/Nakamichi Premium Sound

System with twelve -CD auto -changer, perhaps one of the finest

audio units ever to be installed inside an automobile.

Dare we say, even a living room.

A total of seven speakers occupy the cabin: two tweeters,

four extended -range speakers, and a ten -inch subwoofer. Each

one placed in a distinct location to enhance sound imaging.

Turn up the volume and the first image that comes to mind

is front row seats, thanks to 280 watts* that, at your

discretion, can send a musical note to a place

about four inches beneath the sternum. But

power is nothing without finesse. That's why

r

active high- and low-pass crossovers feed

El ht Reding Cylill

TROL DECKN104

1-1a:KILLSPREMIUM SOUND SYSTEI:

Nokamichi

CD CM P

1-1 im, 1-1

LI

APS SKr

3 4 5 6

< TRACK > RPT RANDOMTREB BAL FADE

specific frequencies that match the optimized operating range of every

speaker. Equalization circuits (we'll spare you the details) are also

used to tailor sound reproduction to the interior design of the car.

In English,

this means phenomenal sound quality. "The finest system you can buy

in a new car" is how Car Stereo Review translated it (Motor Trend mag-

azine, on the other hand, took a more direct approach by simply

naming the entire car 1992 Import Car of the Year).

Of course, if you ever decide to turn off

the stereo, you can always listen to how well

real Sound Of Rthec4engim ekntkss Pisua Ogeifectwna

tune.

dersWere111 Enough.Enter No. 10 on Reader Service Card

Early in the 1970s, long before I joined my present employer, HughesAircraft Corp., I ran a consulting and production firm concernedprimarily With acoustics and speaker design. While I was designing

speakers as best I could, I recognized certain shortcomings in them and, forthat matter, in all stereo systems that I had heard over the years. Stereosystems, no matter how well designed or expensive, presented a two-dimensional image without any real depth. Even worse, sounds were almostalways confined to the space between the speakers. If speakers wereplaced, say, 8 feet apart, then the apparent stage was 8 feet wide and no

ARNOLD I. KLAYMAN

/

(

SURROUND SOUND WITH ONLY TWO SPEAKERSwider. Another shortcoming of stereo systems at that time, I felt, wasrelated to a well-known characteristic of human hearing-the so-called pre-cedence effect. So long as I positioned my chair exactly midway betweenthe speaker and at a sufficient distance in front of them, the monophonicportion of any stereo program-that portion involving a vocalist or a fea-tured soloist-remained fixed or centered between the two speakers. How-ever, if I moved closer to one speaker or the other, those sounds thatshould have remained centered drifted along with me. I began to wonderwhether there was some way to correct these flaws.

When I went to work for Hughes in1986, I was asked to work on a projectinvolving stereo systems for commer-cial aircraft, the kind you listen to withheadphones when flying in an airliner.As anyone who has had that listeningexperience (or, for that matter, anyonewho listens to portable radios or cas-sette players through headphones)can confirm, no matter how good thequality of the headphones, sounds stillseem to be coming from inside your

Arnold I. Klayman is a senior scientistat Hughes Aircraft Company in RanchoSanta Margarita, Cal.

head instead of from up front, wherethe aircraft's motion picture or TVscreen is located. My colleagues and Iwere assigned to come up with a sys-tem that would get the sound out of thelistener's head and, if possible, ex-pand the stereo image to a more real-istic dimension. So, I began reading avarie..y of scientific papers spanningmore than 50 years of acoustic andpsychoacoustic research. (A bibliogra-phy of the papers and books that I

used is found at the end of this article.)After a great deal of experimenta-

tion, I came up with a system thatseemed to solve these problems. I filed

for my first patent for the system onNovember 12, 1986, and it (PatentNumber 4,748,669) was granted onMay 31, 1988. As issued, the patent,assigned to Hughes Aircraft Co., con-tained no fewer than 159 grantedclaims. Additional patents, involvingfurther improvements to the system,have also been granted. Audio readersmay gain a better insight into the sys-tem that was subsequently called SRS(Sound Retrieval System) if I quote afew paragraphs from the section of thepatent headed "Background of the In-vention."

The disclosed invention generally re-lates to an enhancement system for ste-reo sound reproduction systems, and isparticularly directed to a stereo en-hancement system which broadens thestereo sound image, provides for an in-creased stereo listening area, and pro-vides for perspective correction for theuse of speakers or headphones . .

. . . Another consideration in stereo re-production is the fact that sound trans-ducers (typically speakers or head-phones) are located at predeterminedIcoations, and therefore provide soundsemanating from such predetermined lo-cations. However, in a live performancethe perceived sound may emanate frommany directions as a result of the acous-tics of the structure where the perfor-mance takes place. The human earsand brain cooperate to determine direc-tion on the basis of different phenome:na, including relative phase shift for low -frequency sounds, relative intensity forsounds in the voice range, and relativetime arrival for sounds having fast risetimes and high -frequency components.

As a result of the predetermined loca-tions of speakers or headphones, a lis-tener receives erroneous cues as to thedirections from which the reproducedsounds are emanating. For example, forspeakers located in front of the listener,sounds that should be heard from theside are heard from the front and there-fore are not readily perceived as beingsounds emanating from the sides. Forheadphones or side -mounted speakers,sounds that should emanate from thefront emanate from the sides. Thus, as aresult of the placement of speakers orheadphones, the sound perspective of arecorded performance is incorrect.

There have been numerous attemptsto spread and widen the stereo imagewith mixed results. For example, it isknown that the left and right stereo sig-nals may be mixed to provide a differ-ence signal (such as left minus right)and a sum signal (left plus right) whichcan be selectively processed and then

32 AUDIO/AUGUST 1992

ILLUSTRATION: DOUG BOWLES

200 Ik 10k 20FREQUENCY -Hz

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Fig. 1-One way we recognize thedirection of a sound source is

through the ear's differing re-

sponse to sound arrivals from dif-ferent directions. The SRS circuituses frequency shaping to simu-late these directional cues.

mixed to provide processed left andright signals. Particularly, it is well knownthat increasing or boosting the differ-ence signal produces a wider stereo im-age.

However, indiscriminately increasingthe difference signal creates problemssince the stronger frequency compo-nents of the difference signal tend to beconcentrated in the midrange. Oneproblem is that the reproduced sound isvery harsh and annoying, since the earhas greater sensitivity to the range ofabout 1 kHz to 4 kHz within the mid-range . . . . Another problem is that thelistener is limited to a position that isequidistant between speakers, since themidrange includes frequencies havingwavelengths comparable to the dis-tance between the listener's ears (whichhave frequencies in the range betweenabout 1 kHz and 2 kHz). As to suchfrequencies . . ., a slight shift in the posi-tion of the listener's head provides anannoying shift in the stereo image. More-over, the perceived widening of the ste-reo image resulting from the indiscrimi-nate boosting of the difference signal issmall, and is clearly not worth the atten-dant problems.

Some known stereo imaging systemsrequire additional amplifiers and speak-ers. However, with such systems the ste-reo image is limited by the placement ofthe speakers. Moreover, placing speak-ers at different locations does not neces-sarily provide the correct sound per-spective.

With other systems, fixed or variabledelays are provided. However, such de-lays interfere with the accuracy of thereproduced sound since whatever de-lays existed in the performance that wasrecorded are already present in the re-cording. Moreover, delays introduce fur-ther complexity and limit the listener'sposition.

Much of what happens when SRS isworking involves psychoacous-

tics. Many of the studies and researchperformed by those whose papers I

read revealed that we perceive the di-rection from which sounds come by atleast three different means. We detectthe relative phase of sounds in thecase of low frequencies (betweenabout 20 and 200 Hz.) For midrangesounds (300 to 4,000 Hz) we detectrelative intensity: Sounds coming fromthe side sound louder to the nearer earand sound softer to the ear on theother side of our head. For higher fre-quency sounds-those having fastrise-times-we judge direction by therelative time of arrival. Those soundsreach the closer ear sooner than theyreach the ear that is further away fromthe source of sound.

There is, however, a fourth factorthat governs the way we judge the di-rection from which sounds originate. Itis this factor that, until the developmentof SRS, had been ignored in stereoreproducing systems. It has to do withthe way our hearing system's frequen-

cy response varies, depending on theangle from which sounds reach ourears. The outer ear, known as the pin-na, has an effect on the spectrum ofsound reaching the eardrum, while theconcha (the section of the ear leadingto the ear canal) has an effect on thefrequency at which the ear canal reso-nates. Together, these two parts of ourears control the spectral shape (fre-

With just two speakers

SRS makes surround

material seem as if it

is coming from all

around the room.quency response) of the soundsreaching the eardrum. In other words,the system functions as a sort of multi-ple filter, emphasizing some frequen-cies and attenuating others, while let-ting some get through without anychange at all. Response changes withboth azimuth and elevation and, to-gether with our binaural (two -ear) ca-pability, helps us determine whether a

34 AUDIO/AUGUST 1992

sound is coming from above, below,left, right, ahead, or behind. Examplesof the response of our hearing systemto frontal sounds, and to sounds com-ing at us from behind, are shown inFig. 1. Our ears would exhibit still an-other frequency response for soundscoming at us from either the left or rightside.ik A uch of what I read in connectionIV !with my development of SRS wasclear about these phenomena. Let mequote from the introduction of the 1977paper by Robert A. Butler and Krys-tyna Belediuk, "Spectral Cues Utilizedin Localization of Sound in the MedianSagittal Plane."

Spectral cues provided by the pinnaeare essential for localization of sound inthe median sagittal plane (MSP). Distortthe pinnae or occlude their cavities, andthe listener is unable to locate at a levelof accuracy exceeding that expected bychance (Roffler and Butler, 1968;Gardner and Gardner, 1973). Localiza-tion performance in the MSP for soundsrecorded via an acoustic manikin andplayed back through headphones hasbeen shown to be distinctly inferior tothat associated with free -field listening(Damaske and Wagener, 1969). Searleand his associates (1975), however,placed insert microphones into the earcanals of five subjects and recorded theoutput when noise bursts emanatedfrom the MSP. Four of the five partici-pants were able to identify, with reason-able accuracy, the loudspeakers whichhad originally generated the sound cur-rently being played back via head-phone.

The importance of the outer earstructure and the ear canal in the abili-ty to judge the vertical location of asound had also been researched overthe years, as is evident from the follow-ing introduction to a 1974 paper byJack Henbrank and D. Wright, "Spec-tral Cues Used in Localization ofSound Sources on the Median Plane."

Auditory perception of elevation in-

volves a complex interaction of severallocalization subsystems. For sound lo-cated off the median plane (positionhaving nonzero azimuth angles), audi-tory localization cues comprise inter -aural time differences (ITD), interauralamplitude differences (IAD) and direc-tional filtering of the external ears [em-phasis mine], as well as changes in allthese cues during head motion. Thoughthe IAD and ITD mechanisms have been

investigated and explained through azi-muthal localization experiments, thegeneration and processing of externalear filtering cues are poorly understood.

Finally, in one of the most significantpapers on the subject of spatial per-'ception, E. A. G. Shaw, in his 1974paper "Transformation of Sound Pres-sure Level from Free Field to the Ear-drum in the Horizontal Plane," states inhis introduction:

The transformation of progressivewaves by the head and external ear is ofrecurring interest in psychoacousticsand audio engineering. It is intimatelyconnected with the spatial perception ofsound, provides the essential link be-tween aLditory measurements in the freefield and with earphones, is relevant tonoise control, and is an underlying factorin architectural acoustics.

From the abstract of the same pa-per, "Sheets of data are presentedshowing transformation to the ear-drum, azimuthal dependence, and in-teraural difference as a function of fre-quency from 200 Hz to 12 kHz at 45 -degree intervals in azimuth. Othersheets show azimuthal dependenceand interaural difference as functionsof azimuth at 24 discrete frequencies."

Dwring my studies of these andL./many other scholarly papers, I be-gan to realize why the usual signalchain from microphones to reproduc-ing loudspeakers could never hope toaccurately reproduce sound fields aswe hear them in real -life situations. Mi-crophones used in making recordingsdon't behave like human ears. As canbe seen in Fig. 2, omnidirectional mi-crophones have relatively flat frequen-cy response for sounds coming fromall directions. Cardioid, or directional,microphones have flat response forsounds coming from the sides andfrom the front, but are "dead" to rearsounds. So, during playback, if soundsthat originally came from one side orthe other are reproduced by speakerslocated up front, those sounds areheard with incorrect spectral re-sponse, since they are no longer com-ing from the sides but from in front. Theresult is a spatial distortion of thesound field. We are prevented fromhearing the proper spatial cues of whatwas originally performed.

The SRS technique helps to correctthese problems by processing theelectrical signals so that spatial cuesare restored. A block diagram of thesystem, Fig. 3, is derived from thegranted patent itself and shows muchof what takes place in the SRS circuit -

Fig. 2A-Microphones alsochange response for off -axissound, but not in the same waysas the ear does. Response staysrelatively constant for off -axis

frontal sounds but exhibits no-ticeable treble roll -off, midrangedips, or irregularities at the

points of minimum sensitivity.

Fig. 2B-Microphones' polarpickup patterns affect their fre-quency response as well as theiroverall sensitivity. Omnidirection-al microphones have the mostconstant response to sounds fromall directions. Bidirectional mikeshave identical response (but op-posite polarities) for front andrear sounds. Minimum sensitivity,and greatest change in frequencyresponse, occur at the sides of abidirectional mike or to the rear ofa cardioid.

1_5 dB

T 0.10°

20°3040°50°

I I111

AMEN IIIIIIIIIIIIIIIII

20 50 100

OMNIDIRECTIONAL

1k

FREQUENCY - Hz

BIDIRECTIONAL

10k 20k

CARD1010

AUDIO/AUGUST 1992 35

UNPROCESSED LEFT SIGNAL

L SERVO

LEFT LEFTL R CENTER -

PROCESSING CONTROL

SPLITTER MIXER

ORIGHTRIGHTL -R

PROCESSINGSPACE

CONTROL

L R SERVO

UNPROCESSED RIGHT SIGNAL

Hughes AK -100 Sound Retrieval

System Decoder

Fig. 3-A block diagram of theSRS circuit. Incoming stereo sig-nals are matrixed to form sumand difference signals (includingR - L, not shown), which arespectrally shaped to fool the ear'sdirectional sense. The output con-tains both processed and unpro-cessed signals.

ry. SRS takes the available left (L) andright (R) signals and first combines theleft and right channel signals (L and R)to create a sum signal (L + R). It thentakes one from the other to get differ-ence signals (L - R) and (R - L).These two types of signals are thensubjected to various formsing and equalization. Ambience andspatial characteristics are derived fromthe processed difference signals. Dia-log, vocalist, and soloist sounds arederived from the processed sum sig-nal. Once the complex and dynamicprocessing sequence has taken place,the revised (L + R) and (L - R) or(R - L) signals-perhaps we shouldcall them (L + R)', (L - R)', and (R - L)'signals-are matrixed back together inthe familiar fashion used in stereo FMand in stereo TV. That is, using simplealgebra, (L + R) added to (L - R)yields a new L signal (actually 2L, butthe "2" is simply an amplitude coeffi-cient and can be ignored), and thenew (R - L) signal is added to the new(L + R) signal to form a new R signal.

In stereo, sounds coming from upfront produce equal -amplitude soundsin both channels and are thereforepresent in the sum, or (L + R), signal.Ambient, reflected, and side signalsproduce a complex sound field andare present primarily in the differencesignals (L - R) and (R - L). TheHughes Sound Retrieval System pro-cesses the difference signals to bringback the missing spatial cues and di-rectional information. The differencesignals are then dynamically increasedin amplitude to increase the apparent

image width. However, since the earhas increased sensitivity to midrangefrequencies, selective emphasis of thedifference signals is necessary in or-der to produce a realistically wider ste-reo image without introducing any an-noying image shifts.

What is uniqueand

different about SRS

is that it requires

no special encoding

of the software.

his selective emphasis, or boost,I of certain frequencies in the differ-

ence signal accomplishes severalthings. For the quieter difference -sig-nal components, it further enhancesthe stereo image by restoring the am-bience of the live performance-ambi-ence that, in a recorded performance,is ordinarily masked by the louder, di-rect sounds. It also provides for amuch wider listening area. Listenerscan walk about the room and still retaina sense of direction of all the instru-ments and soloists in an orchestralwork. There is no more having to sit in

that "X marks the spot" location mid-way between the two loudspeakers!-There's a lot more going on in the

I SRS circuit than what I have brieflydescribed. There are any number ofelectronic servo -control systems thatdetect the content of the music anddynamically adjust both the levels andthe spectral content of the sum anddifference signals. The selectiveboosting of the difference signal, forexample, is automatically adjustedwhile music signals are applied so thatthe perceived stereo effect is relativelyconsistent. Without such automatic ad-justment, the amount of enhancementprovided would have to be manuallyadjusted for different program materi-al. For instance, to avoid inappropriateexcessive boosting of the artificial re-verberation that is sometimes added tostereo recordings, the enhancementcircuit of SRS de-emphasizes the fre-quency range in which excessive re-verberation of a center soloist is mostlikely to occur. This area is then rein-forced by appropriate injection or ad-dition, under servo control, of the(L + R) signal. The perceived effect ofthis correction is that the amount ofartificial reverberation does notchange appreciably when the SRS cir-cuit is turned on and off.

Initially, it was the intent of Hughes tosimply license the SRS technology tovarious manufacturers of audio and/orvideo equipment. It was clear to us thatwith the emergence of stereo televisionsound (which was just becoming pop-ular at the time SRS was perfected), TVsets containing a pair of necessarilyclosely spaced speakers could benefitfrom SRS. The first manufacturer to ob-tain a license from Hughes was Sony,which has since incorporated SRS intomany of its high -end stereo TV models.A second licensee, whose SRS -equipped TV sets have become avail-able more recently, is Thomson Con-sumer Electronics; their sets are mar-keted in America under the RCA brandname.

In the Sony and RCA televisionsequipped with SRS, there is no needfor user controls other than an SRS on/off switch. That's because the speak-ers are at a predetermined, known dis-tance apart inside the TV and becausestereo TV broadcasts are generallyhandled in a fairly predictable manner,with dialog channelled to the "center"of the sound field while special effectsand background music are generallygiven the full stereo treatment. Rightfrom the start, Sony wisely elected to

36 AUDIO/AUGUST 1992

provide the on/off option so that own-ers could easily compare stereo per-formance with and without SRS activat-ed. From what I have been able todetermine, most owners leave SRS onall the time, preferring the more spa-cious imaging that the system pro-vides. It offers the kind of stereo en-hancement that's very easy to get usedto. Not only is there a fantastic spreadof stereo sound, but when videotapesor videodiscs intended for surroundsound reproduction are played, muchof the illusion of sound coming at youfrom all around the room is maintainedwithout having to add any loudspeak-ers besides the pair in the TV!

Hughes markets a stand-alone SRSsignal processor, which has been

assigned the model number AK -100. Ithas several front -panel controls thatare necessary because of the varietyof program material available fromCDs, tapes, videodiscs, and radio andTV broadcast and cable sources. If thegiven signal source has good -qualitystereophonic sound with good separa-tion between left and right channels, auser need only press the SRS andpower switches on the front panel ofthe unit. The AK -100 also includes astereo synthesizer circuit that I consid-er unique, a control for subtly reducingreverberation on vocalists and de-creasing ambient information in quietpassages, plus a filter to reduce therumble that can be heard in some pro-grams. (For a full description of the AK -100, see the "Equipment Profile" in lastApril's issue.)

In addition to the SRS, several othercompanies have introduced stereo -en-hancement systems. Most of these areintended for use by recording studioswhen they create their software in thefinal mastering or mixdown 'process.What I feel is unique and differentabout SRS is that it requires no encod-ing or processing during software cre-ation. Virtually any conventional stereoprogram source will benefit whenplayed back on a system in which SRShas been incorporated. I would em-phasize, finally, that contrary to manyother stereo -enhancement systems,SRS neither employs any sort of timedelay nor manipulates the phase rela-tionships of the signals being pro-cessed. In effect, it recognizes andidentifies what portion of the programbeing passed through it requires modi-fication to restore proper spatial cues,and it performs such selective modifi-cation on a dynamic and continuingbasis. A

BIBLIOGRAPHY(Partial)

Angell, J. R. and W. Fite, "The MonauralLocalization of Sound," Psychology Re-view, 1901, Vol. 8, pp. 225-246.

Angell, J. R. and W. Fite, "Further Observa-tions on the Monaural Localization ofSound," Psychology Review, 1901, Vol. 8,pp. 449-458.

Batteau, D. W., "Characteristics of HumanLocalization of Sound," Final Report, May1961, prepared under Contract No.N123-(60530) 23545A for U.S. Naval Ord-nance Test Station, China Lake, Cal.

Blauert, J., "Sound Localization in the Medi-an Plane," Acoustica, 1969, Vol. 22, pp.205-213.

Bloom, P. J., "Creating Source ElevationIllusions by Spectral Manipulation," pre-sented at the 53rd Convention of the Au -do Engineering Society, Zurich (unpub-lished).

Bothe, S. J. and L. F. Elfner, "Monaural vs.Binaural Auditory Localization for NoiseBursts in the Median Vertical Plane," J.Aud. Res., 1972, Vol. 12, pp. 291-296.

Butler, R. A., "Monaural and Binaural Local-ization of Noise Bursts Vertically in theMedian Sagittal Plane," J. Aud. Res.,1969, Vol. 3, pp. 230-235.

Butler, R. A. and N. Planert, "The Influenceof Stimulus Bandwidth on Localization ofSound in Space," Percept. Psychophys.,1976, Vol.

Butler, R. A. and K. Belediuk, "SpectralCues Utilized in Localization of Sound inthe Median Sagittal Plane:" J. Acoust.Soc. Am., 1977, Vol. 61, pp. 1264-1269.

Damaske, P. and B. Wegener, "Richtung-shorversuche Uber Einen Nachgebilde-ten Kopf," Acoustica, 1969. Vol. 21, pp.30-35.

Flynn, W. E. and D. N. Elliott, "Role of thePinna in Hearing," J. Acoust. Soc. Am.,1965, Vol. 38, pp. 104-105.

Gardner, M. B. and R. S. Gardner, "Problemof Localization in the Median Plane: Effectof Pinna Cavity Occlusion." J. Acoust.Soc. Am., 1973, Vol. 53, pp. 400-408.

Hartley, R. V. L. and T. C. Fry, ''The BinauralLocalization of Pure Tones," Phys. Rev.,1921, SecOnd Series, Vol. 18, pp. 431-442.

Hebrank, J. H. and D. Wright, "Are TwoEars Necessary for Localization ofSounds on the Median Plane?" J. Acoust.Soc. Am., 1974, Vol. 56, pp. 935-938.

Hebrank, J. H. and D. Wright, "SpectralCues Used in the Localization of SoundSources on the Median Plane," J. Acoust.Soc. Am., 1974, Vol. 56, pp. 1629-1634.

Hirsch, I. J., The Measurement of Hearing,McGraw-Hill, New York, 1952, pp. 105-110.

Jonkees, L. W. B. and J. J. Groen, "OnDirectional Hearing," J. Laryngol. Otol.,1946, Vol. 61, pp. 494-504.

Mehrgardt, S. and V. Mellert, "Transforma-tion Characteristics of the External Hu-man Ear," J. Acoust. Soc. Am., 1977, Vol,61, pp. 1567-1576.

Pratt, C. C., "The Spatial Character of Highand Low Tones," J. Exptl. Psycho!., 1930,Vol. 13, pp. 276-285.

Roffler, S. K. and R. A. Butler, "Factors ThatInfluence the Localization of Sound in theVertical Plane," J. Acoust. Soc. Am.,1968, Vol. 43, pp. 1255-1259.

Searle, C. L., L. D. Braida, D. R. Cuddy, andM. F. Davis, "Binaural Pinna Disparity:Another Auditory Localization Cue," J.Acoust. Soc. Am., 1975, Vol. 57, pp. 448-455.

Shaw, E. A. G. and R. Teranishi, "SoundPressure Generated in an External EarReplica and Real Human Ears by a Near-by Point Source," J. Acoust. Soc. Am.,1968, Vol. 44, pp. 240-249.

Shaw, E. A. G., "Acoustic Response of Ex-ternal Ear with Progressive WaveSource," J. Acoust. Soc. Am., 1972, Vol.51, p. 150.

Shaw, E. A. G., "Acoustic Response of Ex-ternal Ear Replica at Various Angles ofIncidence," J. Acoust. Soc. Am., 1974,Vol 55, p. 432.

Shaw, E. A. G., "Transformation of SoundPressure Level from Free Field to the Ear-drum in the Horizontal Plane," J. Acoust.Soc. Am., 1974, Vol. 56, pp. 1848-1861.

Shaw, E. A. G., "Physical Models of theExternal Ear," 8th Intl. Cong. Acoust.,London, 1974.

Shaw, E. A. G., "The External Ear," in Hand-book of Sensory Physiology, edited byW. D. Keidel and W. D. Neff, Springer-Veilag, Berlin, 1974, Vol. V, Chap. 14.

Teranishi, R. and E. A. G. Shaw, "ExternalEar Acoustic Models with Simple Geome-try," J. Acoust. Soc. Am., 1968, Vol. 44,pp. 143-146.

Thurlow, W. R. and P. S. Runge, "Effect ofInduced Head Movement on the Local-ization of the Directional Sounds," J.Acoust. Soc. Am., 1967, Vol. 42, pp. 480-488.

Trimble, 0. S., "Localization of Sound in theAnterior, Posterior and Vertical Dimen-sions of Auditory Space," Brit. J. Psy-cho!., 1934, Vol. 24, pp. 320-324.

Wallach, H., "The Role of Head Movementsand Vestibular and Visual Cues in SoundLocalization," J. Exptl. Psycho!., 1940,Vol. 27, pp. 339-368.

Wiener, F. M., "On the Diffraction of a Pro-gressive Sound Wave by the HumanHead," J. Acoust. Soc. Am., 1947, Vol.19. pp. 257-263.

Wiener, F. M. and D. A. Ross, "The PressureDistribution in the Auditory Canal in aProgressive Sound Field," J. Acoust. Soc.Am., 1946, Vol. 18, pp. 401-405.

AUDIO/AUGUST 1992 37

Listeningand

Experiencen our pursuit of higher fidelity,objective tests have so far been

unable to replace subjective test-

ing as the ultimate judge of re-produced sound quality. As the pur-pose of recording and reproducingsound is for it to be heard by human

ears, the need for subjective testingmay seem so obvious as to be trivial.

What is less obvious is that the hu-

man ear is not always a true and con-

sistent evaluator. This fact was brought

home to researchers at Bang & Oluf-

sen some years ago, in 1978 specifi-cally, while we were doing a compre-

hensive set of listening tests that wewere conducting in as scientifically rig-

orous a way as possible. The listeners

in the tests were generally regarded as

qualified, being the engineers and

technicians who design our audioproducts. The purpose of the testingwas to determine whether moving -coil

phono cartridges are inherently better,

as is sometimes claimed, than othertypes of cartridges. We used several

samples of different types cf car-tridges.

One of the simple out comprehen-

sive tests spanned th-ee whole days.

We played a short excerpt from a mu-

Villy Hansen is Manager of Barg &Olufsen's Acoustic.; Department,which started the listening panel dis-cussed in this article and S. K. Pra-manik is Manager of Product Technol-

ogy. Both are based in Struer, Den-mark.

VILLY HANSEN and S. K. PRAMANIK

THE ULTIMATE JUDGE

OF FIDELITY IS THE TRAINED

LISTENER, BECAUSE HE FORMS

MORE ACCURATE JUDGMENTS.

sical selection three times, randomlyselecting one cartridge for one playand using another cartridge for the oth-er two plays. The listeners were askedto identify the two excerpts that hadbeen played with the same cartridge,and to give their preference regardingoverall sound quality. The tests wererepeated for all listeners with all possi-ble cartridge pairs and with differenttypes of music. All the cartridge pairsand music types were repeated as adouble check.

While one can always draw a con-clusion based on an average in suchtests, results are only meaningful whenlisteners are able to negotiate the checks andcontrols that should bebuilt into any properlydesigned test proce-dure. In the test just de-scribed, for example, itwould be pointless todraw any conclusionsabout overall quality ifthe user was unable toidentify the excerptplayed by the cartridgeused only once. Similar-ly, there must be a cleardisplay of consisten-cy-from one test to thenext and from one typeof music to another.Otherwise, it must beassumed that the re-sponses depend moreon chance, whim, or-at best-some imag-ined difference insound quality rather than an actualperceived difference. Statistically, thedifferences in responses are mea-sured as standard deviation, which is atest of the "goodness" of the results(but a little too mathematically compli-cated to go into here).

Unhappily, in the tests using some ofour engineers as judges, the deviationbetween individual tests was so largethat the result was judged to be mean-ingless. After thinking about this for awhile, we repeated the same tests butthis time used professional listeners, agroup of reviewers for British audiomagazines. The results were not per-fect but showed substantially betterconsistency, that is, a significantlysmaller deviation between repeatedtests. This was the trigger we neededto start a professional listening panel atBang & Olufsen, and the group startedfunctioning in 1982.

For practical reasons, such as find-ing time to listen during working hours,the panel was chosen from among the

istening tests

are conclusive

only with listeners

40

who can consistently

perceive differences

between sounds.

staff of Bang & Olufsen who respond-ed to an advertisement in our companymagazine. From that group, we select-ed from those who had an interest inlistening to music or playing an instru-ment and who were willing to spendsome time listening outside of work inaddition to the time spent during work.Finally, we chose so as to have a rea-sonable distribution of age and sex.

Seven regular members and one re-serve were selected for the panel.

They then started a program of trainingto achieve the level of professionalismwe required for our purposes. It wasnot our intention that the panel mem-bers become qualified to make com-parative judgments between the differ-ent technical qualities of two or moreproducts. Similarly, we did not intendthat they make judgments regardingthe value of products, that is, the per-ceived quality versus price. The prima-ry aim was to give the panel the abilityto make judgments and to point outreproduction errors, both on an abso-lute scale.

Absolute judgments are, of course,also relative judgmentsbut where the referenceis a sound in naturerather than some repro-duced sound, howeverhighly regarded. To beable to make absolutejudgments, it is neces-sary to have a firmly es-tablished reference tothe sounds of variouskinds of music andspeech as they areheard in real life. There-fore, one of the require-ments for being a mem-ber of our listeningpanel is attending liveconcerts regularly, andthe cost of attendanceis considered a compa-ny expense. The panelmembers are alsourged to play an instru-ment, and Bang & Oluf-

sen sponsors a brass band, thoughthis is a free -time activity.

Selection of the material used for thetests is a primary factor in any proce-dure that requires absolute judgments,and this is no less true for the music forlistening tests. To make judgments onthe fidelity of recordings is not easy,but it is part of the responsibility of thepanel members. Recorded music ischosen as a group decision, followingdebate and criticism of potential mate-rial. This is one of the facets of compul-sory general training. Occurring oncea week, training sessions are intendedto increase the level of knowledge andawareness of detail in the chain of re-produced sound. For example, onesession might focus on a specific in-strument in an ensemble, on access-ing microphones, or on evaluatingroom acoustics.

Members of the listening panel arenot asked to do NB testing, that is,they do not attempt to decide which oftwo or more products is the best. On

AUDIO/AUGUST 1992

the contrary, each member attempts topoint out specific faults or deficienciesin the sound of each product they au-dition. The goal or focus of the test isgenerally not known by the listener, beit a loudspeaker, a cassette recorder,or a pair of signal cables. This is imma-terial to the test procedure. What is ofimportance is that the listeners areable to convey a precise impression ofwhat they hear to the engineers in theresearch and development depart-ments. Training in the ability to findthese faults or deficiencies, and toconvey them precisely to the engi-neers, is comprised of the listeningand discussion ses-sions. We aim for thedevelopment of an ex-act descriptive jargonfor communication be-tween listener and tech-nician.

It is then the job of theengineers to translatethese impressions toimprovements in theproduct. Provided engi-neers know the exactcause, any error can beremoved, though not al-ways without giving riseto side effects. In addi-tion, not all subjectiveimpressions can betranslated into engi-neering models, butsuccessive trials canlead to a better under-standing of cause, er-ror, and remedy. Continued trials thus help to establish rela-tionships between subjective impres-sions and objective measurements. Ifat any time this correlation becomesperfect, the listening panel will havemade itself redundant.

One of the pitfalls of a permanentlistening panel is that it can become avehicle for a particular kind of sound.This situation could very well be one ofthe contributors to "regional" prefer-ences or ideal models in sound quality.It can be partially avoided by constant-ly refreshing the members' memory byexposure to live sound. In addition,each panel member is provided with afull set of Bang & Olufsen equipment,which is updated with the latest prod-ucts. Any equipment that is purchasedfor review is circulated to the mem-bers, to make them aware of strong orweak points of competing equipment.Joint listening exercises and panel dis-cussions by members also help.

Listening tests are done blind ordouble blind, with only an individualAUDIO/AUGUST 1992

he panelists

convey impressions

to our engineers, who

then must translate

these impressions into

product improvements.

listener in the listening room in any onesession, so as to avoid results by con-sensus. In all cases, the operator andthe person conducting the test are out-side the listening room. Considerablecare is taken to ensure that no inadver-tent clues are available to the listenersabout the purpose of the test.

Finally, the listeners in such carefullyconducted tests need the support ofan equally carefully thought-out listen-ing room. Such a room was speciallyconstructed for our listening tests, fol-lowing the principles laid down in the

I.E.0 's 1985 publication, No. 268-13,"Sound System Equipment, Part 13:Listening Tests on Loudspeakers."Built on a flexibly mounted concretefloor, the room is completely isolatedfrom the rest of the building in order toavoid transmitted sound. A double wallis used. The outer wall is of plaster-board, while the inner is of brick, andthey are separated by 250 mm (9.8inches) of insulating material. With thedouble doors closed, the room issoundproof. A glass window and a mi-crophone in the room allow the listenerand the operator to communicate witheach other.

The room itself has afloor area of slightlymore than 6 x 5 metersand a height of 2.85meters (19.7 x 16.4 x9.4 feet). Note thatthese dimensions werechosen so as to avoididentical resonances inany two dimensions. Acarpeted floor, a wood -panelled ceiling, and liv-ing room furniture helpto simulate the environ-ment of a home listen-ing room. Thin, acousti-cally transparent cur-tains can be drawn atabout a third of the dis-tance from the end wall.When lit from the listen-er's side by small ceil-ing spots, the curtainsare optically opaque.All source equipment is

placed in the operating room, ratherthan inside the listening room, with sig-nals transmitted at line level from alow -impedance source to sockets inthe end wall. From here the signalsare amplified as required and fed tothe loudspeakers via short cables.

The reverberation time of the room isabout 0.4 S at mid -frequencies, fallingslightly at high frequencies. However,care has been taken to ensure thatthere are no peaks or abrupt changesin reverberation at any frequency.Small absorbent panels are placedspecifically to damp flutter echo, whichis often a problem in rooms with paral-lel hard surfaces. Rigid walls are nec-essary to avoid selective absorptiondue to surface vibration at specific fre-quencies.

The combination of a well-defined,consistent listening environment and apermanent, well -trained listening panelallows the facility to be used as a truemeasuring instrument for product eval-uation and development. A

41

EQUIPMENT PROFILE

BRYSTON4B NRBAMPLIFIER

Manufacturer's SpecificationsPower Output: 250 watts/channel

into 8 ohms, 400 watts/channel into 4ohms, or 800 watts bridged modeinto 8 ohms.

Rated THD or IM: Less than 0.01%at 250 watts, from 20 Hz to 20 kHz.

S/N: 100 dB below full output.Crosstalk: Below noise level, 20 Hz

to 20 kHz at 250 watts.Slewing Rate: More than 60' V/µ3;

more than 120 V/ILS in bridgedmode.

Power Bandwidth: From below 1Hz to over 100 kHz.

Damping Factor: Greater than 500at 20 Hz, re: 8 ohms.

Input Sensitivity and Imped-ance: 1.25 V for rated output, 50kilohms.

Longtime readers of Audio may be puzzled by the modelnumber of this Bryston power amplifier. After all, the widelyacclaimed Model 4B has been a Bryston staple since thelate 1970s, and I tested one for the November 1985 issue.According to Christopher Russell, Bryston's vice presidentof engineering, the current Model 4B (with its added NRBdesignation) represents the fifth generation of this poweramp. Much of the design has changed.

Dimensions: 19 in. W x 51/4 in. H x151/2 in. D (48.3 cm x 13.3 cm x39.4 cm).

Weight: 42 lbs. (19 kg).Price:: $2,095.Company Address: 57 Westmore

Dr., Rexdale, Ont. M9V 3V6, Cana-da.

For literature, circle No. 90

To begin with, the power supply now employs multiplesmall filter capacitors rather than a single pair of large filtercapacitors per channel, as in previous versions. This makesfor better high -frequency response and a reduction of pow-er loss in the supply. Bryston has added a proprietary soft -start circuit, using Triacs, that is in series with the powertransformers (which, incidentally, are now toroids). Thecompany feels that this circuit is needed for starting up such

AUDIO AUGUST 1992

a high -power, high -current amplifier without blowing circuitbreakers or fuses. The NRB does not have the previous 4B'swiring harness, so its channels plug directly into the powersupply's circuit board, reducing resistance for improvedcurrent flow and filtering.

An input buffering circuit has been added, which linear-izes the signal when driven from moderately high sourceimpedances, according to Bryston. The buffer is also usedfor the balanced inputs (another feature new since theoriginal 4B) and as the inverting input for bridged operation.

Even such simple functions as the front -panel clippingindicators have been improved. These LEDs now indicateany deviation from linearity, including shorted outputs orstrong out -of -band information such as r.f. or d.c. The LEDsturn red in the presence of any distorted or inappropriatesignal, however brief that signal may be, right down to themillisecond level. After transient overloads or other prob-lems that go by too fast to be seen, the LEDs glow amber fora quarter of a second. For persistent conditions, the LEDsglow red.

The front panel of the 4B NRB has only the power switchand clipping indicators. The rear panel has a socket for thedetachable grounded line cord at the left, output terminalsand related switches in the center, and inputs at the right.For two -channel operation, speaker connections are madeto each channel's red and black binding posts: ii bridgedmode, one speaker load is connected between the two redbinding posts.

Further to the right are sets of unbalanced phono andbalanced XLR input connectors. A tiny toggle switch is usedto choose the type of input desired. Another small toggleswitch selects dual -channel or bridged operation. A thirdtoggle switch, "Ground Lift," can be used to break theconnection between the signal and chassis grounds ininstallations where external ground loops cause hum prob-lems. The switch is normally left in its shorted position. Forsafety's sake, the switch does not disconnect the chassisfrom the ground prong on the power cord.

MeasurementsFigure 1 shows overall frequency response of the 4B NRB

amplifier when driven to a nominal 1 watt per channel.Obviously, Bryston's engineers believe in ultra-widebanddesign. Response is flat down to 10 Hz (the lowest'frequen-cy available from my test equipment) and down a mere 1.3dB at 100 kHz.

AMPLITUDE idED VS FREQUENCY (Hz).

2.0000

1.0000

0.0

1.000

2.000

10

Fig. 1-Frequencyresponse, at 1 watt output.

BRYSTON MODEL 40 AMPLIFIER

Ap

salmbool .110.111.0

100

THO 4. NOISE oa VS. FREQUENCY (Hz):

0.010

0.001

.0005

1k 10k

BRYSTON 48 AMPLIFIER

100k

/4p

20 100

Fig. 2-THD + N vs.frequency at rated output.

1k 10k 20k

For Fig. 2, generator input was varied dynamically tomaintain a constant power output of 250 watts per channelinto 8 -ohm loads. Total harmonic distortion plus noise re-mains below the rated 0.01% level at all audio frequencies,measuring approximately 0.007% at mid -frequencies andan even lower 0.0058% at the high end of the spectrum.

When testing amps for THD + N as a function of poweroutput, I nearly always find that distortion rises more rapidlyat either 20 Hz or 20 kHz than at 1 kHz. However, this wasnot the case with the Bryston (Fig. 3), whose THD + Ncharacteristics are virtually the same at the frequency ex-tremes as they are at 1 kHz. Clipping occurs at about 280watts per channel for all three test frequencies!

Figure 4 shows how SMPTE-IM distortion varied as afunction of power output. In this case, the SMPTE-IM testsignal consisted of a 60 -Hz and a 7 -kHz tone in a 4 -to -1amplitude ratio. The SMPTE IM remains under 0.01% foroutput levels below 100 watts per channel and rises to a stillinsignificant 0.025% before actual clipping occurs at anequivalent output level of about 300 watts per channel.

I made some additional tests using 4 -ohm loads, and theBryston 4B NRB delivered 423 watts per channel, with bothchannels driven, for the rated THD level of 0.01%. Limita-tions of my lab prevented me from operating the amp atrated output into 4 -ohm loads for extended periods. After all,400 watts per channel into 4 -ohm loads represents a currentflow of 10 amperes per channel (20 amps for both chan-nels), a bit more than the Variac that I use to maintain aconstant 120-V line voltage can take for long periods.

I made another quick check of power output for rateddistortion with the amplifier operating in bridged mode.Before my noninductive 8 -ohm load began to overheat, I

was able to observe a power output level of 828 watts atmid -frequencies for the rated distortion level of 0.01%.

43

From the dynamic openingbars, the 4B pumped powerinto my speakers withoutany perceptible distortionor overload.

THO + NOISE (%) VS. POWER OUTPUT/CHANNEL;

3

01

0.010

0.001

0.2

Fig. 3-THD + N vs.power output per channelinto 8 ohms at 20 Hz,1 kHz, and 20 kHz.

BRYSTON 4B AMPLIFIER

A

MI11111111111111111MM111111INIIMMEMONNIMMIIMI==.1111=11111 M IMI I=MEMli=MMENSI=MIEMMI

MEMMINMOMMEMINEEManiiii.111111111111111111111.1111111111M1

Il-===EEEE=====EE2:==a====::lmmmomili nimmmmi;==moreria.;;;IMMIM=MEN111111M1111111111=WEIMONIIMI=MEMENNIMIMENIIIIIIIIIMINI11118611111i=1111

MEHEEEEF=.-M7.--EEEEE-M-MEEEEEEE-FaIIMIMMIES11111-11-1=1111111111111111111NOM=Iii...:".MFIMIB:.--.,..,

10 100

SWPTE-IN DISTORTION (B) VS. EQUIVALENT POWER OUTPUT/CHANNEL. BRYSTON 4B

5

0 1

0.010

0.001

0005

0.2

Fig. 4-SMPTE IM vs.power output per channelat 8 ohms.

300

11111711111111111111111165111111611111M1

=E.BEEEEE--=-EBEEEELM==EEEEE==i==MMMIMIIMMI.MIN1.111IMMIMM=MMENIIMMINIMIMINNIMIIMM

II===irtEE.E5E ==EEEE:: ===NIMINIMIld MIM=M1==

MME11111111 MIME

.111111111.1.11111111.111111111M1.1

1111111111.11111111M11111111111111111111

10 100

SPECTRUM ANALYSIS, RESIDUAL NOISE (08) VS. FREQUENCY (Hz) BRYSTON 48

-90.00

-100.0

-110.0

-120.0

500

Ap

-130.0

30 100

Fig. 5-Spectrum analysisof residual noise, referredto an output of 1 watt.

1k 10k 20k

Returning to the dual -channel mode, and with 8 -ohmloads connected, I measured the damping factor of theamplifier as 520 at a reference frequency of 50 Hz. OverallA -weighted S/N ratio measured 93.9 dBA for the left channeland 94.2 dBA for the right when referred to 1 watt output,which corresponds to 117.9 and 118.2 dBA, respectively,when referred to the full rated output of 250 watts. Brystonclaims an S/N ratio of only 100 dB, which I suspect is anunweighted figure rather than the A -weighted one specifiedin the EIA Standards I use. Figure 5 is a spectrum analysisof residual Noise as a function of frequency, plotted with athird -octave bandpass filter, again referred to 1 watt out.Notice that even the worst power -supply hum, at 180 Hz, isattenuated by nearly 100 dB.

Use and Listening TestsMy recollection of the earlier Bryston 4B is that it sounded

superb, and I would have liked to have had it on hand forcomparison. One can hardly be expected to remember thesound of a component evaluated almost a decade ago! Toeliminate as many variables as possible, I connected myreference CD player directly to the amp and used theplayer's variable outputs to control loudness levels.

I chose a couple of new discs for use in evaluating thesound of this latest incarnation of the Bryston 4B. The firstwas a Delos release (DE 3109) featuring a suite from Rich-ard Strauss' Der Rosenkavalier, the same composer's Bur-leske for piano and orchestra, and a suite from his opera DieFrau Ohne Schatten. The dynamic opening bars of this lastselection, following on the heels of the hushed final bars ofthe Burleske, were an ideal test of the amplifier's ability topump power into my less -than -high -efficiency KEF speakerswithout any perceptible distortion or overload. As for CarolRosenberger's piano playing in the Burleske, her YamahaCFIII concert grand never sounded better. Of course, credithere must go to John Eargle, who serves as recordingengineer for all De os projects, but I have no doubt that thetransparency of sound and the remarkable musical realism Ienjoyed was also attributable to the excellent design of theBryston 4B NRB.

The second disc I used in my evaluation was Classics forAll Seasons: Spring (Telarc CD -80321), which has 16 briefexcerpts from previously released Telarc discs. I was espe-cially impressed by the Schubert excerpt Scherzo: Presto,from the Piano Quintet in A Major, the "Trout" (track 9),where the chamber ensemble and John O'Conor's pianocame through with an intimacy that seemed to bring theplayers right into my listening room. Another excellent selec-tion on this disc (and one that I think would be useful inevaluating any piece of audio equipment) was the Allegrofrom Vivaldi's Mandolin Concerto in A Major (track 14). Theovertones produced by a mandolin are quite complex andneed to be reproduced in perfect amplitude relationships-a task not easily achieved by lesser amplifiers.

All in all, I could not fault this latest version of the 4B in anyway. Of course, not everyone is prepared to spend inexcess of $2,000 for a power amplifier, but I have comeacross some esoteric amps that cost considerably morewithout offering any significantly better area of performancethan this latest contribution from Bryston. Leonard Feldman

44AUDIO/AUGUST 1992

SLASH

WIN THE GUNSIN GUNS N' ROSES

3 RCUISIVE T! -STS

MCA'S fINKS

t used to be simple. You had a car. It came with a radio.

You listened. Period.Now you've got options. So many options, it's easy

to get blown away just trying to find components that

t together-and fit your budget tooSo what do you do when it's time to upgrade your

ar stereo?

Tune in to CAR STEREO REVIEW!

hether you like your sounds big and boomy or tight and

ell controlled whether you own a Ferrari or a Hyundai,

AR STEREO REVIEW lets you drive away with a system

at's custom built for the way you Ike to listen.

You'll get head -to -head comparisons of CDs, players and

hangers, cassette decks, tuners, amplifiers, crossovers,peakers, equalizers, security systems, cellular phones, and

ore, in every price range.Plus, every issue brings you complete test reports. User's

evaluations. Reviews of the hottest, state-of-the-art equip-ment. A do-it-yourself course on installation. And there's abonus: the most complete, up-to-date buyers guide availableanywhere in the world.

So, if you're ready to treat your ears to great sound at a

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to CAR STEREO REVIEW Do it today!

Listening in the 90'sToday people have become more and more space

conscious. Many apartment dwellers don't want togive up valuable floor space for large speaker systems.Others who are planning a surround sound orhome theatre system simply don't have theroom for more speakers in their listeningrooms or hesitate to committhe floor or wall space to a goodsounding pair of speakers.

Until now, serious musiclovers have had little, ifanything, to choose fromthat would produce a large,bigger -than -life sound in a

small, compact size.Systems that fit one's spacerequirements have beenwoefully disappointing insound quality.

The RM 3000Three Piece System

Polk's engineers had determined long ago thatthere were indeed certain technical advantages in

The RM 3000's satellites measure 7"H x 41/4"W "x 5 318"D andare available in black matrix, gloss black piano or paintable white.

The subwoofer is 12 112"H x 20"W x 12 112"D and is availablewith black wood grain sides and a black, mar -resistant

sonic performance.The small satellites can be located on shelves,

mounted on a wall or placed on their own floorstands. They are very attractive and yet small enoughto be hidden from view if desired.

The RM 3000 subwoofer is also smallenough to sit behind your furnitureand can be used on its side to fit

into tight spaces. And since it isbeautifully finished, it can beused as a piece of furniture.

The LegendarySound of Polk

In the tradition of PolkAudio, Matthew Polk and histeam of engineers weredetermined to make the RM3000 sound better than anyother speaker of its type.

Initial reactions have beenfilled with superlativesincluding Julian Hirsch of

Stereo Review magazine who says, "...they soundexcellent...spectral balance was excellent-smooth andseamless."

War 111W

S s big asAl&

life froirri spealiersdam&

small speaker systems. Both high and midfrequencies could be faithfully reproduced withsuperior transient response and dispersioncharacteristics, and the convenient, more flexibleplacement of small enclosures within the listeningarea could create an ideal sound stage.Unfortunately, reproducing the life -like, full body ofthe lower frequencies could not be achieved in a trulycompact enclosure.

Polk's RM 3000 replaces the traditional pair ofspeakers with three elements, two compactmidrange/tweeter satellites and one low frequencysubwoofer system. This configuration makes it easy

to properly and inconspicuously place the systemwithin your listening room while offering superior

Behind these accolades is an impressive technicalstory.

The Technical Side

The big sound of the RM 3000 is due, in part, tothe unique arrangement of the tweeter and midrangeelements. This "time aligned system" delivers the highand mid frequencies at precisely the same instant.The result is a clear, lifelike and expansivepresentation.

The cabinet materials selected for the satellitesical enclosures.are over four times as dense as

The black matrix finish is a non -resonant polymeraggregate (FOUNTAINHEAD®). The gloss black pianoand paintable white finishes are rigid ABS

PolL R113y

- thamaiAll:1"--1(1301.1g1-1_ LC)

surrounding a mineral filled polypropylene innercabinet. Polk engineers have all but eliminated any"singing"or resonating of the satellite enclosure. Youhear the effortless, free sound of a much larger system.

Most subwoofer systems look alike on the outside,but the Polk is worlds apart on the insiae. Utilizingtwin 6 1/2" drivers coupled to a 10 inch sub -bass

For More Inforrnction

051111i=i .M1111.

For deep. well definedbass, Polk uses twindrivers coupled to asub -bass radiator.Normally, one sub -woofer system is usedfor both channels. Forthose desiring evengreater low frequencyperformance, a secondsubwoofer can beadded, one fed by theleft channel, the otherby the right channel.

radiator, the bass is tight and well defined. There isno tuned port to create "whistling" or "hoominess"

of the bass frequencies.

You Have To Hear It To Believe ItYou really won't believe how good the RM 3000

sounds until you hear it. We invite you to yournearest authorized Polk dealer for a demonstration.You'll hear sound as big as life...from a speaker youcan live with.

You'll hear the next generation of loudspeakers.

[he Speaker Specialist

5601 Metro Drive, Baltimore, MD 21215 (301)358-3600

Call 1-800-992-2520 Enter No. 17 on Reader Service Card

EQUIPMENT PROFILE

Manufacturer's SpecificationsAmplifier SectionMain Output: Four channels, 15

watts per channel at 2.0% THD + N,13 watts/channel at 0.08%, bothfrom 200 Hz to 20 kHz into 4 -ohmloads with all channels driven.

Subwoofer Output: 85 watts at2.0% THD + N, 80 watts at 0.08%,from 20 to 200 Hz into 4 -ohm loads.

General SpecificationsPrices: Ford JBL Audio System, $526

for non -luxury vehicles and $577 forall Lincolns (see text); dealer -in-stalled digital signal processor,$449; trunk -mounted CD changer,$833 factory -installed (1992 LincolnTown Car only) or dealer -installed.

Not too long ago, the only way to ge high-fidelity stereosound in your car was to install you own system, withcomponents made by companies that specialized in carstereo equipment. Now auto makers such as Ford not onlyoffer high -quality audio systems of their own but also teamup with well-known audio manufacturers to create custom-ized sound systems that rival "aftermarket" car audio. Thesesystems are often equalized to suit particular cars' listeningenvironments-which, of course, the car makers have theadvantage of knowing in advance. For the system reviewedhere, JBL designed the speakers and served as consultantsto Ford during development.

As usual with factory -installed stereo systems, the realprice is hard to state succinctly. The Ford JBL Audio Sys -

FM 1 11 1 CI

AtI1110

Company Address: Ford AudioSystems, 16800 Executive Plaza Dr.,Suite 209, Dearborn, Mich. 48126.

For Iiierature, circle No. 91

tem, which includes special speakers and separate pre -equalized amplifiers matched to each . car model, costs$526 more in non -luxury vehicles than a simpler stereosystem (and $577 more in Lincolns). However, counting theprice of the simpler system-whose price, in turn, dependson what comes standard with the car model you buy-thetotal cost will run approximately $1,028.

In the 1992 Lincoln Town Car, the system is available withan optional digital signal processor, and trunk -mounted CDchangers are available in most models. Since bench tests ofa DSP will yield nothing much beyond wild -looking curves, Ileft this evaluation to Technical Editor Ivan Berger for his"Behind the Whee " report and tested only the head unit andfour -channel amplifier in my lab.

Alli UMAI ILDNIt Cab

REW FF

PLAY EJCTPROC

SCAN

TUNE

48 AUDIO/AUGUST 1992

Control LayoutAll controls are pushbuttons or rockers and are grouped

by function-tape controls at the upper right, tuner controlsat bottom center and lower right, and the remaining controlsjust below the display at the left. Pressing the "Audio"button changes the function of the "Volume" rocker to adjustbass, treble, balance, and front/rear fading. During theseadjustments, the display spells out what function is in use,and the illuminated bar below the readout of station frequen-cy changes to show that function's setting.

The volume control lowers the level quickly but raises itslowly, so as to double as a muting control when you needsome instant quiet while you ask directions. After loud listen-ing, if the system is turned off by the ignition switch (but notif it's turned off by its own switch), volume 's automaticallylowered to a preset moderate level when the system isturned back on again. This feature should appeal to parentsof teenagers, as they won't be blasted by sound if their kidsused the car last. Incidentally, the volume control might alsobe considered a loudness control, as lowering its levelautomatically boosts the bass.

Several tuning options are available. Pressing the "Seek"rocker finds the next station up or down the dial. If you press"Scan Tune" before you use the rocker, the tuner will runthrough all listenable stations in the direction you select,stopping for 5 S to sample each; scanning stops when thesame side of the rocker or "Scan Tune" is pressed again.For manual tuning, you press the "Scan Tune" button twice,then press the "Seek" rocker to move in the desired direc-tion; if the rocker is held down, the radio zips through thestation frequencies until the rocker is released again. If youleave the rocker alone for 5 S, normal seek tuning willresume.

There are 18 station memories, for six AM and two sets ofsix FM stations. To set a single memory, you tune a station inand hold down the desired memory button for 2 S. Pressing"Auto Preset" loads all six memories on the currently select-ed band; if you use this feature while travelling, you canrestore your home settings by pressing the button again.Holding the button down for 3 S will load all 18 memories, afeature largely used by dealers to preload the radio beforeit's sold.

At night, when AM signals carry farther and can interferewith one another, the seek circuit's sensitivity automaticallyswitches to local mode on AM. (How does it know it'snighttime? It senses when you've turned the headlights on.)If no stations are found, however, it will switch back todistant mode and try again.

Two noise -reduction systems are included. In AM or FM,DNR noise reduction will turn on when the signal is weakand turn off when the signal becomes strong again: And fortape, of course, there's Dolby B noise reduction.

In addition to the dedicated tape controls at the upperright, some radio buttons also have tape functions. The"Seek" rocker moves the tape forward or back to the start ofa selection, while pressing both "Scan Tune" and the"Seek" rocker plays through the first 8 S of each track in theindicated direction.

The tape can be loaded whenever the ignition is on butonly plays if the "Power" switch is on. Pressing the "AM/FM"

AMPLITUDE (08) VERSUS FREQUENCY (Hz). FM TUNER SECTION,

4.0000

2.0000

0.0

-2.000

-4.000

Ap

LEFT

RIGH r

20 100

Fig. 1-FM frequencyresponse.

QUIETING CHARACTERISTICS< FM TUNER SECTION;

0.0

-10.00

-20.00

-30.00

-40.00

-50.00

-60.00

-70.00

-80.00

-90.00

1k 10k 20k

Ap

0.0 10 00 20 00 30.00 40.00 50.00 60.00 70 00

Fig. 2-FM quietingcharacteristics.

DISTORTION 1. NOISE (8) VS. FREQUENCY (Hz); FM SECTION

3

0.1

80.00)

HMI .11111111I

MONO 111111111AMMO

AMMO -1111111111 6311HEMINON MENEM

MENEM STEREO =11111III11111

1111 1111111150 100

Ap

Fig. 3-THD + N vs.frequency, FM section.

1k 10k 20k

AUDIO/AUGUST 1992 49

The tuner is quite sensitiveon both frequency bands,and AM reception wasespecially impressive.

SEPARATION (06) vs. FREQUENCY (Hz); ( -MODULATED CH., -- --umm00.CH.)

10.000 10 00

0.0

-10.00

-20.00

-30.00

-40.00

-50.00

-60.00

1111165 dBf

AP

0.0

20

30/

40

50

en

,

ill-ir--

65 dBf IIII /..-. _ ..-. . _

30 100

Fig. 4 -FM frequencyresponse and channelseparation.

SEPARATION (08) vs. FREQUENCY (Hz)

10

5.0

0.0

5

-10

-20

-2

-30

-3

-40

1k

(_-MODULATED CH.,

10k

.0

.0

.0

.0

.0

.0

20k

. UNMOO.CH.)

,,,,,,,,

000

000

.00

.00

.00

.00

.00

.00

An

Alp.u.

5.0

0.0

5.

10

15

20

25

30

35

_......-

1

1

V----\/ (

l //l,/' \ 1An

30 100

Fig. 5 -AM frequencyresponse and channelseparation.

FREQUENCY RESPONSE, TAPE PLAYER

-10.00

-15.00

-20.00

-25.00

-30.00

1k 10k

00

00

00

.0

.0

.0

.0

.0

.0

.020k

TYPE 31

20 100

Fig. 6 -Tape frequencyresponse.

1k 10k 20k

button during tape play stops the tape without ejecting itand turns on the radio. Fast forward and rewind can beoperated during radio play. The tape is automatically tight-ened when a new cassette is inserted.

The tape controls also can be used to operate a CDchanger if that changer is factory -installed. For 1992, thisoption is only available on the Lincoln Town Car, though itwill be available on the Lincoln Mark VIII and Ford CrownVictoria for '93.

Tuner MeasurementsFigure 1 shows the frequency response of the FM tuner

section of the head unit. Response is down about 1.0 dB at20 Hz and exhibits a slight rise of no more than a dB or so atthe high end. Figure 2 is a plot of the FM section's quietingcharacteristics. Unlike many car stereo tuners, this oneattains full audio output with dnly 20 dBf of signal applied. Inmono, 50 -dB quieting requires a signal level of about 17dBf, while in stereo, 50 -dB quieting is attained with signalinputs as low as 22 dBf. It should be noted that at such lowsignal levels, a good deal of "blending" takes place, result-ing in substantially reduced channel separation (as will beseen shortly). Usable sensitivity, the signal level at whichTHD + N reaches 3%, was about 15 dBf in mono and 22dBf in stereo. (The 22-dBf figure for stereo 50 -dB quietingjust cited includes noise alone, not distortion.)

Figure 3 is a plot of THD +. N versus frequency for monoand stereo FM reception -Over much of the frequencyrange, THD + N is actually lower in stereo than in mono. At1 kHz, THD + N measures 0.41% in stereo and 0.72% inmono.

Figure 4, channel separation for input signal levels of 65and 45 dBf, shows the effect of stereo blending. At thestronger signal level, separation is slightly more than 30 dBat 1 kHz, 100 Hz, and 10 kHz. At the weaker signal level,separation decreases to around 7 dB -still enough to offersome semblance of stereo imaging but reduced significant-ly to cancel some of the background noise that wouldotherwise be heard.

A spectrum analysis (not shown) disclosed high levels of19 -kHz pilot tone, 38 -kHz subcarrier, and sidebands of 38kHz. This is typical for car audio, but these components areinaudible (even 19 kHz is inaudible under most car listeningconditions) and car stereo outputs are not fed into taperecorders. (Home receivers must filter out these frequenciesso as not to interfere with the proper operation of Dolbynoise -reduction encoding circuits in tape decks connectedto them.)

I next measured the frequency response of the AM tunersection, and results are shown in the top curve of Fig. 5.Clearly, Ford Audio did not build this AM section in accor-dance with recently adopted NRSC-1 voluntary standards(which calls for response out to 7.5 kHz), but the attenuationat high frequencies seems no worse than what I've found inmost home "hi-fi" tuners and receivers that do not haveimproved bandwidths. Response between the -6 dB roll -off points extends from 50 Hz to 3.3 kHz.

Since this tuner can receive Motorola C-QUAM AM ste-reo, I went a bit further than usual and measured THD + Nover the AM tuner's useful frequency range, with modulation

50 AUDIO/AUGUST 1992

Cassette playback responsewas better with Type I thanType II tape, but even withthe latter, response wasonly down 5 dB at 15 kHz.

AMPLITUDE (dB) VS. FREQUENCY (Hz)

10 000

5 0000

0.0

5.000

-10.00

-15.00

-20.00

AP

REAR

20 100

Fig. 7-Frequencyresponse of front and rearamplifiers, showingcustom equalization;see text.

TONE CONTROL RANGE (dB) VS. FREQUENCY (Hz)

30.000

20.000

10.000

0.0

-10.00

-20.00

-30.00

20

lk 10k 20k

imiumusiminumioimminimmignosimmichoim minahouri

100

Fig. 8-Bass and treblecontrol range.

1k 10k 20k

THO r NOISE (0) VS. PONES OUTPUT/CHANNEL

5

0.1

0.010

02

NT II 11111111 11111"i

MINA --arinu;

Fig. 9-Amp THD + Nvs. output; see text.Measurements were madeonly at 1 kHz due to amps'built-in equalization.

10 50

levels of 30%. From 200 Hz to about 1.7 kHz, it was 2% orless in mono and about 1.5% or less in stereo. Above 1.7kHz, THD + N rose, until at 3 kHz it was nearly 6% in monoand 5% in stereo. Typically, at mid -frequencies THD + Nwas just under 3% for mono and about 2.5% for stereo. I

also measured channel separation and included that in Fig.5. This is a strange curve indeed! Although separation at thelower frequencies is minimal (less than 10 dB), it suddenlyincreases at mid -frequencies to around 34 dB and thendecreases once again to around 16 dB at 3 kHz. PerhapsFord has found that this type of characteristic works best inthe AM band, taking into account the fact that localization ofsounds is minimal at low bass frequencies.

Tape Player MeasurementsI measured the performance of the tape player section

using calibrated Type I (normal -bias) and Type II (high -bias)test tapes supplied by TDK. These tapes contain frequen-cies only up to 18 kHz and were recorded at a -20 dB levelreferred to 250 nWb/m. Figure 6 shows the excellent fre-quency response obtained with the Type I tape and thesomewhat poorer response obtained with the Type II sam-ple. Even with the Type II cassette, however, response isdown approximately 5 dB at 15 kHz-not at all bad for a carplayer!

A -weighted signal-to-noise ratio was 56.4 dB withoutDolby noise reduction (referred to a record level of 250nWb/m) and 65.6 dB with Dolby NR turned on. The IEC peakweighted wow and flutter measured around 0.2% on aver-age, while weighted rms wow and flutter (the specificationmost often listed by tape deck makers) was 0.12%, a veryrespectable figure for a car tape player.

Amplifier MeasurementsIt really doesn't matter much whether the amplifiers of a

complete car audo system deliver 10 or 500 watts perchannel. What's important is how much clean sound poweryou can achieve within the vehicle, given the chosen combi-nation of amplifiers and speakers. Furthermore, in a systemsuch as the Ford JBL, amplifier response is generally equal-ized to compensate for the unusual (and generally hostile)listening environment. Despite this, I was still interested inchecking out the main four -channel amplifier, as it repre-sents a major component of the overall system.

Figure 7 shows the frequency response of the front andrear channels. Note the roll -off at the bass end, allowing theseparately powered bass driver mounted in the trunk of the

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Ford cleverly mixes buttonshapes and surfaces foreasy operation by touchalone, so the driver cankeep his eyes on the road.

vehicle to take over the job of amplifying any signals below200 Hz.

At this point, I returned to the head unit of the system andapplied a signal directly to the inputs, where auxiliary equip-ment such as Ford's optional CD changer signals would beapplied. This enabled me to plot the range of the bass andtreble tone controls, shown in Fig. 8. If you ignore the bassroll -off when the bass control is set to its mid -point, therange of the bass and treble controls is about what youwould expect from a well -designed tone -control circuit.

Ford has wisely added a limiting circuit to both the frontand rear channels of the main amplifier. As a result, onceinputs reach levels that attempt to produce more than therated 15 watts per channel, no further increase in poweroutput is obtained. More importantly, distortion barely rises,even with double or triple the input level required to producea nominal 14 or 15 watts. This feature is not apparent fromFig. 9, the usual plot of distortion as a function of outputpower, but was quite obvious when I attempted to push theamplifier into clipping. It would not, be pushed! Outputwaveforms remained nicely sinusoidal rather than assumingthe appearance of clipped or square waves. At the lowestsignal level required to produce 14 watts per channel at 1kHz, THD + N is 0.07%; doubling that input results in adistortion level of just 0.23% and only a minute powerincrease, to around 15 watts per channel. Much the sameholds true for the rear channels. Again, THD + N for anoutput of 14 watts is around 0.07%, while doubling the inputsignal level results in only a slight increase in power outputand a rise in THD to just above 0.3%.

To determine whether the readings taken from Fig. 9 wereactual distortion and not dominated by residual noise, I

analyzed the spectrum of a 1 -kHz signal adjusted to pro-duce an output of just over 14 watts per channel. Thedominant distortion components were a second harmonic at- 64 dB, a third harmonic at -67 dB, and a fifth harmonic at- 68 dB, all referenced to the 14 -watt output. These levelscorrespond to an overall THD figure of 0.087%.

At this point, I turn the reporting over to Ivan Berger. I'll beinterested to learn if the fine user-friendly features and thebetter -than -average lab measurements of the Ford JBLhead unit translate to equally good sound on the road.

Leonard Feldman

Behind the WheelI'd expected to miss the outstanding ergonomics of

Ford's previous head unit (reviewed in the May 1988 issue),sacrificed to the added crash safety and visual appeal ofthis flat -faced design. But I didn't. While the tuning buttonsare now far off to the right, the resulting control grouping isvery logical. All is easy to see from either front seat, thebuttons are angled slightly upwards toward the user, andFord mixes button shapes, concave and convex buttonsurfaces, and raised identification dots to allow easy opera-tion by touch alone. Station buttons are grouped in a 3 x 2matrix rather than lined up in an endless row. As in Ford'slast unit, the volume -down control works much faster thanthe volume -up, for quick muting. Night illumination is good,with the tape slot outlined brightly.

Controller forFord JBLdigital signalprocessor.

The digital signal processor, a dealer -installed option, isoperated by a small wired remote control. You can tell itscontrols apart by touch, but yoU can't figure out their set-tings without looking at the remote's tiny display or remem-bering the current setting and counting button pushes untilyou reach the one you want. On the other hand, mostpeople pick settings primarily by ear anyway. The remote iseasily concealed for security and can be placed anywhereyou find it handy.

If you have the optional trunk -mounted CD changer in-stalled by your dealer, it will be operated by a similar smallremote. If factory -installed, it is controlled by the head unit.For the most part, all CD functions use the analogous tape -control buttons (e.g., "Rew" and "FF" to change discs,"Seek" for track selection). Pressing the Dolby NR buttonduring CD play activates the compression circuit-hardly asobvious as the other CD controls but logical nonetheless.

My one problem with the head unit was that, after press-ing the "Audio" button to select such functions as balance,bass, and treble, I tended to try varying those functions bypressing the adjoining "Power" and "AM/FM" buttons ratherthan the rocker down below. But this might be just myidiosyncrasy rather than a glitch in Ford's ergonomics.

The radio's performance matched the level of the ergo-nomics. The tuner is quite sensitive, on both AM and FM, butblending on weak stereo signals seemed slow. For instance,turning one rocky corner that I use as a reception test, I gotboth more noise and greater separation than I'm used to inthat place-but once I'd gotten around the corner, receptionremained pretty good for a mile or two more than usual.However, I did suffer from some unexpected station break-through at one point, a deficiency in either adjacent -channelselectivity or capture ratio.

I was especially impressed by the AM section. In my oldConnecticut stamping grounds, I heard New York AM sta-tions as clearly as I had when I grew up there, despite thedecades of growing interference since then. When bridges

54AUDIO/AUGUST 1992

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How good the DSP soundsdepends on how well youmatch its ambience and"Seat" settings to the musicand the recording.

and tunnels made the AM fade, it did so cleanly, withoutcrackles. The AM stereo image seemed to wander a bit inlate -night distant listening.

My test car, a Lincoln Town Car, was very quiet, whichmade the sound easy to evaluate. Even so, the compressioncircuit was a must to preserve low-level details in any musicthat had wide dynamic range.

Bass extension was good, and the bass sound was richwithout being clunky. Using the Autosound 2000 test disc, I

could detect frequencies as low as 18 Hz but could notclearly hear them until 51 Hz. Bass output became increas-ingly loud and smooth between about 60 and 80 Hz, andthere were no audible peaks.

Overall, there seemed to be excessive warmth (commonin car stereo) that rounded off the corners of the sound, andinstruments generally seemed to lack dimensionality. Thesound was eminently listenable but didn't quite sing.

Ford's digital signal processor offers six ambience simu-lation modes that are fairly self-explanatory ("Hall," "Orch,""Opera," "Church," "Club," and "Stadium") plus a "Talk"setting. Ford says "Talk" eliminates spatial enhancementand rolls off the bass and nonvocal harmonics, for greatervocal clarity; it also seemed to lower level a bit, maybe 3 to 6dB. "Talk" has its own pushbutton, and the "Mode" rocker isused to cycle through all the rest. The "Seat" rocker doesnot relate to listener positions within the car but to listening

position within the simulated ambience-in effect, it variesthe ratio of direct to reverberant sound.

How well the DSP works depends on how well you matchthe setting to the music. The most welcome setting for mewas "Talk," as it kept announcers from sounding like theywere in a felt -lined cavern. As with other car DSP units, themost extreme setting, "Stadium," was too muddy for any-thing I listened to. (Users of car DSP systems should havethe chance to program out undesired settings, the way youcan program out TV channels you never watch.) Operasounded best on either "Church" or "Orch," depending onthe recording. A Judy Collins recording sounded muffled onthe "Club" setting, most natural on "Hall" and "Opera." Oldmono recordings sounded pretty good on "Opera" or"Hall," again depending on the material. With the fadercentered, I found all DSP positions too muddy when listen-ing to a duo -piano recording of music by Percy Grainger,but when I changed the fader setting to full front, all DSPsettings (except "Stadium") improved the sound, with"Orch" giving the best -centered image. "Hall" worked wellwith a guitar quartet on an Opus 3 test disc.

Overall, I have unstinting praise for the head unit's ergo-nomics and FM performance. The DSP system was a defi-nite enhancement, though neither this nor any other carstereo DSP I've heard has convinced me that ambienceprocessing has totally fulfilled its promise. Ivan Berger

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TANNOY615SPEAKERManufacturer's SpecificationsSystem Type: Two -and -a -half -way

floor -standing system with passive -radiator enclosure.

Drivers: Dual -concentric coaxial driv-er with 8 -in. cone woofer and com-pression -driver horn tweeter, 8 -in.cone woofer, and 8 -in. passive radi-ator.

Frequency Response: 41 Hz to 30kHz, ±3 dB.

Sensitivity: 92 dB at 1 meter with2.83 V applied.

Crossover Frequencies: 400 -Hzlow-pass on separate woofer, 2.5 -kHz low-pass and high-pass be-tween dual -concentric tweeter andwoofer.

Crossover Slopes: First -order, 6dB/octave.

Impedance: 6 ohms nominal, 4ohms minimum.

Recommended Amplifier Power:10 to 175 watts per channel; maxi-mum, 300 watts/channel peak.

Dimensions: 383/8 in. H x 121/2 in. Wx 93/4 in. D (97.5 cm x 31.8 cm x24.8 cm).

Weight: 46.2 lbs. (21 kg) each.Price: $1,599 per pair in black ash or

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Company Address: c/o TGI NorthAmerica, 300 Gage Ave., Unit 1,Kitchener, Ont. N2M 2C8, Canada.

For literature, circle No. 92

Tannoy, one of Britain's oldest loud-speaker manufacturers, pioneered theuse of dual -concentric drivers back inthe 1930s. Most of the models in theircurrent "Sixes" line have dual -concen-tric drivers whose woofer magnetsserve as horns for compression tweet-er drivers, while their woofer conesserve as horn extensions. The Model615 is the top speaker in this line.

Tannoy's latest 8 -inch, dual -concen-tric driver, used in the 615, has both an

improved horn design and a structurethe company calls a "Tulip" wave -

guide, said to produce truly sphericalwavefronts, just in front of the tweeter.The horn is driven by a compressiondriver with an aluminum -alloy dia-phragm and a Ferrofluid-cooled voice-coil. Coaxial or dual -concentric drivershave excellent coverage of the listen-ing area because of their inherentlycoincident acoustic sources. The highand low frequencies emanate from the

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The tonal balance ofcoaxial or dual -concentricdrivers changes minimallywith different listeninglocations and distances.

same point in space, thus providingwell -controlled symmetrical coverage,that is, identical both vertically and hor-izontally.

Coaxial drivers come quite close tothe acoustical -radiator ideal of con-stant directivity over a substantial fre-quency range. (I am intimately ac-quainted with such radiators, havingdesigned constant -directivity horns forseveral manufacturers, and I holdthree patents in this area.) A constant-directivity source, which has the sameon- and off -axis frequency response,also has the unique advantage of hav-ing a power, or reverberant -field, re-sponse that is identical to its axial fre-quency response. This makes thesource behave much more uniformly indifferent environments or locations in aroom, resulting in a sound whose tonalbalance changes minimally with differ-ent listening locations and distances.

In addition to the dual -concentricdriver, the 615 includes an additional8 -inch woofer and a passive radiatorthat Tannoy calls a mass -tuned pas-siVe cone. The low -frequency portionof the system is a vented -box designwith a passive radiator taking the placeof the port. The passive radiator actual-ly uses the same cone and suspensionas the 8 -inch woofers, but without amagnet or voice -coil, and thus has thesame air -moving capabilities as eitherwoofer does. At low frequencies, thetwo woofers operate in parallel, butabove 400 Hz, the separate woofer isrolled off by the crossover. The cabinetforms a single cavity in which bothdrivers and the passive radiator oper-ate. The cones of all three units areinjection -molded of a mineral -loadedolefin copolymer plastic and arethicker near the neck section for in-creased rigidity at the driven point.

The enclosures are six -sided, whichincreases the cabinet's strength andminimizes wall vibration. This designalso improves lateral dispersion by re-ducing edge diffraction. Identicalgrilles cover each of the three soundradiators on the front, and are attachedwith projections that fit holes on thecabinet front and hold the grille slightlyoff the cabinet's surface. The systemswere supplied to me with optionalmolded -plastic bases that increase thefootprint of the 615 to improve stabilityand also serve as attachment points

100

90

Cirs3

80_J

70

6020 100 1k

FREQUENCY-Hz

Fig. 1-One-meter, on -axisfrequency response.

+180

o

-ISO

-360

10k

-54020

TEF

208

.10

GROUP

00

-as EPHASE,'

100 1k

FREQUENCY-H2

Fig. 2-On-axis phaseresponse and groupdelay.

0SO

70

10k 20kLO

1 T0101117 RANGE TEF

13 TO 22012 RANGE

4 6 10

TIME - nIS

Fig. 3-One-meter, on -axis energy/time curves.

for either the mounting spikes or padsprovided. These pads and spikes canalso be screwed directly into thespeaker cabinets.

The inside of the low -frequency en-closure is partially filled with a whitepolyester absorptive material. Most ofthe enclosure is constructed from 3/4-

inch -thick medium -density fiberboard.The top and bottom panels (Tannoycalls them end caps), and the portionof the enclosure separating the dualconcentric's enclosure from the bottomportion of the cabinet, are made frominjection -molded, mineral -filled poly-propylene. The enclosure is reinforcedvery well with an internal top -to -bottombrace, which provides even greaterstiffness beyond the multi -panelledconstruction. The drivers actually buttup against this brace for support, witha small amount of putty added be-tween to eliminate vibrational contact.

The crossover of the 615 is of mini-malist design and has only five parts:Two inductors, two capacitors, andone resistor. Parts quality is high, andiron -dust core inductors and polypro-pylene capacitors are employed. Allconnections use heavy -gauge wireand connect to the drivers with clips.The crossover is wired on a p.c. boardattached to the rear -mounted inputconnection panel.

The connection terminal panel at theback of the system allows bi-wiring butalso includes a unique captive assem-bly that slides out to connect the twosets of input terminals when the systemis not bi-wired. The terminal wire holesare even large enough to handle aheavy cable in addition to the slidingconnection straps.

MeasurementsFigure 1 shows the 615's anechoic

on -axis frequency response, alongwith the effect of the dual -concentricdriver's grille. Measurements were tak-en on the center axis of the dual -con-centric driver, at 2 meters with 5.66 Vrms applied, and then referenced backto 1 meter. The response below 300 Hzwas derived from 2 -meter ground -plane measurements with the input re-duced to 2.83 V rms to compensate forthe ground plane's 6 -dB boost.

The on -axis curve, although some-what rough, is well extended and re-veals a high sensitivity of 91.6 dB(close to the 92 dB specified) aver-aged over the four -octave range from250 Hz to 4 kHz. A sharp, high -Q dip of20 dB at 17.3 kHz is exhibited in theon -axis curve, although the tenth -oc-tave smoothing of the axial curve inFig. 1 partially masks the dip's severity.Excluding this dip, the curve fits within

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The Tannoy 615's coaxialconfiguration pays off invertical off -axis responses sowell behaved as to look justlike the horizontal curves.

a window of ±3.7 dB from 50 Hz to 16kHz (referenced to 1 kHz) and there-fore does not quite meet the manufac-turer's specification. Below 40 Hz theresponse rolls off at about 18 dB/oc-tave and is 10 dB down at 35 Hz fromthe 1 -kHz level. The notch in the re-sponse at 110 Hz appears to be relat-ed to some internal resonance mode,because it was apparent even in anear -field measurement of the coaxialdriver's woofer.

The right and left units matchedclosely, within ±0.6 dB, below 16 kHz.Because of the significant responsechanges caused by the grille, theseand all subsequent measurementswere taken with the grilles off.

Figure 2 shows the phase andgroup -delay responses, referenced tothe tweeter's arrival time. The phasecurve stays within a compact, 180° en-velope from 200 Hz to 20 kHz. Thegroup delay is fairly flat above 1 kHzbut exhibits minimum -phase irregular-ities at 105 and 650 Hz due to dips inthe axial response (and hence irregu-larities in the phase response) in thesesame areas. If these dips were equal-ized flat with a minimum -phase equal-izer, the phase and group -delay re-sponses would become much betterbehaved.

Figure 3 divulges the system's 1 -

meter, on -axis energy/time responsefor 2.83-V signals in two frequencyranges. For the left-hand curve, thetest parameters were chosen to accen-tuate the system's response from 1 to10 kHz. The main arrival, at 3 mS, iswell behaved but broadens at thebase, and there is a single significantdelayed arrival, at 3004, about 21 dBdown. The other curve, which hasbeen shifted to the right by 4 mS forclarity, shows the results of the sweepcovering the range from 13 to 22 kHz,where the tweeter exhibits severepeaks and dips. The curve reveals twosharp peaks of roughly equal levelseparated by about 200 S. This be-havior could be due to an internalacoustic problem in the construction ofthe tweeter's compression driver and/or horn. Fortunately, the aberrationsare high enough in frequency so thataudible problems are minimal.

Figure 4 displays the normalizedhorizontal off -axis responses of the615. Normalization has been carried

0 FRONT

5 OFF90 SIDE AXIS -

135 DEGREES180 REAR

200 2k 20k

FREQUENCY -Hz

Fig. 4-Normalizedhorizontal off -axisfrequency responses.

`:." .1%.18.,-kai," Ailo_kz--- -,14...:-,.. t

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-45 OFFAXIS-1itIiIDEGREESd

90 REAR200 2k

FREQUENCY-Hz

20k

Fig. 5-Normalizedvertical off -axisfrequency responses.

100

90

180a.

70

100 1k

FREQUENCY- Hz

Fig. 6-Mean horizontalresponses, from Fig. 4data; see text.

10k 20k

out only up to 16 kHz; normalizing theon -axis dip above this frequencywould create a misleading hump in theoff -axis response, shown at the rear ofthe graph. The horizontal coverage isvery well behaved.

The normalized vertical off -axis re-sponses are shown in Fig. 5. In thecenter of the graph (front to rear), the

on -axis response is in bold, and theabove -axis responses are in the frontof the display. The 615 exhibits excel-lent vertical off -axis behavior, withoutany aberrations in the crossover re-gion. The curves are so well behavedthat they could be mistaken for thehorizontal off -axis curves. The coaxialconfiguration of the Tannoy's mid- andhigh -frequency drivers pays off abun-dantly here.

Figure 6 shows the NRC-style meanhorizontal on- and off -axis responses.The mean vertical responses are notpresented because they were essen-tially the same as the horizontal re-sponses (except for some greater di-rectivity below 1.5 kHz), a very raretrait. The mean axial (+ 15° to - 15°)horizontal response is very close to theon -axis response. The 30° to 45° meanresponse is also close to the axialcurve but has reduced level above 7kHz. The 60° to 75° mean responserolls off relatively smoothly above 3kHz, reflecting the smooth increase ofdirectivity of the dual -concentric driverin this region. Neither the horizontal northe vertical mean curves had the sharppeaks, varying with direction, thatspeakers with spaced drivers exhibit atcrossover. The individual curves (notshown) that were averaged to makeeach mean curve were all quite closelypacked, also a rare characteristic.

A low -frequency, high-level sine-wave sweep disclosed a solid enclo-sure with minimal cabinet resonances.Only a moderate top -panel resonanceat 300 Hz was evident. The woofersdid not exhibit any dynamic -offset ef-fects up to their excursion limits ofabout ± 0.25 inch. Below 400 Hz, theexcursions of the coax woofer coneand the lower woofer were essentiallyequal. With an input level of 5 V rms,the coax and the lower woofer exhibit-ed a sharp reduction in excursion at 29Hz, which indicates the tuning point ofthe passive -radiator vented box. At thisfrequency, the passive radiator's ex-cursion was quite large. However, athigher levels below 35 Hz, the passiveradiator ran out of excursion at about0.6 inch, peak to peak. At levels above5.3 V rms, at and near 29 Hz, thesystem's distortion increased suddenlywhen the passive radiator reached itsexcursion limit. Above this level, bothbass drivers also rose to their excur-

62 AUDIO/AUGUST 1992

"Krell... Threshold... Madrigal... Rowland...

Research... Coda... Parasound. What'll

RAVE REVIEW RAVE REVIEW RAVE REVIEW

Parasound?How does Parasound manage a mention with

the above said heavy hitters of the transistor

amplifier world? Easy, the new 2200 power

amplifier from Parasound has the type of power

and performance that would be expected from

the big guys, were they to build an amplifier at

the two grand mark. The fact that the 2200 only

costs $1,585 certainly sweetens the deal,

making it a ridiculously great bargain.

But why Parasound?

Actually, this is the amplifier that I had been

expecting to see from PS Audio, Superphon or

Aragon; a real high calibre audio product that reeks

of power, engineering savvy, and bang for the

buck. Instead, a small firm from northern

California had the sense to recruit one of the best

minds in the business - John Curl - to design

for them a product capable of superior perfor-

mance without a typically prohibitive price tag to

go along with it. John brought with him a full

suitcase of engineering and design experience that

few others in the industry could match or even

dream of. Remember the "JC" designation on

some of the Mark Levinson designs of the 1970's

- that's John Curl. More recently, John has

enjoyed great critical success with his Vendetta

phono section electronics, it being declared "State

of the Art" by several of the glossy mags...

THE AMP. The 2200 weighs in at 58 lbs.,

that's 6 lbs. more than the Krell KST-100 ($2,700),

and only 2 lbs. less than the Madrigal No. 29

($2,800)... It has balanced and single ended inputs

(XLR & RCA), with a switch to convert to mono

operation. The rear of the amp also has two sets of

speaker terminals for those who desire to bi-wire...

Both sides of the amp are flanked by an impressive

array of "Rowland -like" heatsinks... to dissipate the

considerable heat generated by the 12 high -bias

(over 6 wpc in pure class A) bi-polar output

devices per channel. Considering that nearly all

listening is done at one or two watts per channel,

the 2200 delivers a lot of class A -biased power.

Inside you'll find two 1.2 kva toroidal transformers

(one per channel) and 100,000 mfd of filtered

power storage...bypassed by smaller film caps for

improved performance... the first amplifier I have

seen in a long time that goes so far as to even

bypass the larger filter caps in the power supply...

Parts quality throughout is good...

HCA-2200 Power AmplifierDesigned by John Curi

the transformers, filtering caps,

chassis, output devices and

resistors are just about as good as

you can get.

OPERATION. ...Preamps

that worked great with the amp

included the Cary SLP-70, the Muse

Model One and the Counterpoint

Solid 8... However, the 2200 was

quite capable of driving, with ease,

any speaker tied to its outputs. I have operated

this amplifier under grueling and strenuous

conditions for almost three months without so

much as a hint of trouble or breakdown....

THE SOUND. It sounds balanced. No aspect

of its operation unduly draws attention to itself.

The highs aren't grainy or smeared; the bass isn't

bloated; the midrange isn't recessed, or forward for

that matter; the stage isn't cramped; and dynamics

aren't compressed. What we have here is an

amplifier that flat out refuses to do much wrong,

while doing almost everything right. ...

The 2200 is one of the most powerful

amplifiers you will ever come across, controlling

loudspeakers with such aplomb so as to seem

effortless. Transients with the 2200 can be

awesome... Without seeming forward (remember

the balance referred to), the 2200 extends into the

bass region with incredible authority. Combining

this amp with the Chapman T-7 loudspeaker, I was

able to shake loose the neighbors fillings

and send the dog running for cover under

one of the kids beds... but the bass wasn't

there unless it was supposed to be...

Clarity and the sense of

space on a three dimensional

stage were very good.

Without effort I could pick out

the location of instruments

and vocals. Saxophone on

"Jazz at the Pawnshop" had an

excellent sense of presence, the

sax standing clearly apart from the

other instruments on the stage.

Drums at right rear had perfect placement,

and there was a nice feeling of left and

right, up and down, as the drummer

worked his way around the drum kit ...

this amp has some pretty remarkable

abilities when it comes to reproducing

the feeling of a live event in the listening room.

Resolution of inner detail was natural and very

revealing, without seeming hyped or exagger-

ated. Images at the back of the stage were crisp

and easy to locate

CONCLUSION. When I first listened to the

Parasound 2200 I got a funny feeling... regarding

how to evaluate it. I'm sitting here with the Allegro

Cantata and the Krell KST-100 thinking how they

defined high -end performance at prices that were

starting to be accessible to "Blue Collar Audio-

philes", even if it was still a stretch dollar -wise...

I will continue looking for and examining products

of quality and value so that we can talk about them

on these pages, and yes, I prefer talking about

Parasound and Fried products... because the

Parasound and Fried are not aimed at people with

mere money than brains.

So this is how I'm going to approach the

review of the Parasound 2200 power amplifier.

I want you to add it to the list of truly fine products

that have something special to offer in terms of

value regardless of what it's compared to or what

anyone else says about it. It stands on its own in

terms of build and performance, being basically

as good (accurate) as any amplifier that I am

aware of, and better (more accurate) than most...

- Martin DeWulf -Excerpted with permission fromBound For Sound, November, 1991.

Atter such praise, all we can say is...

Hear It Now.

mop

PARASOUNDaffiodable anal o fir lb critical listener

Parasouna Products. Inc.. 950 Battery StreetCan Francisco, CA 94:11

800-8.22-8402 / 415-397-7100 /FAX 415-397-044

The 615's high sensitivityand high efficiency wereapparent from the momentI began my listening.

sion limits, because the loading effectof the passive radiator is negligiblewhen it reaches its limit. Everythingwas okay at 5.3 V rms, but the systemwent bananas at 5.4 V rms, an in-crease of just 0.2 dB! The level mustbe reduced below 5 V rms to stop thisnonlinear behavior. At 25 Hz and be-low, the input cannot be raised aboveabout 3.5 V rms (only 2 watts into therated 6 ohms) without the passive radi-ator running out of gas!

The air -moving capability of the615's passive radiator is actually quitesmall in comparison to the capability ofthe main woofers. A good rule ofthumb for system design of passive -radiator vented boxes is to use a pas-sive radiator that has at least two timesthe air -moving capability of the mainradiators. Assuming equal excursioncapability, the size of the passive radi-ator in this Tannoy system should be inthe range of four 8 -inch woofers, orroughly the size of a single 15 -inchwoofer!

The crossover consists of all first -order filters with a series RC imped-ance -correcting network in parallelwith the separate woofer. Near -fieldmeasurements of the lower woofershowed that its acoustic output rolledoff above 400 Hz. Separate measure-ments of the individual high and lowacoustic outputs of the coax (made byseparately driving the bi-wire inputs)revealed that the upper crossover is at1.75 kHz rather than the stated 2.5kHz. These individual output measure-ments (not shown) indicated that theacoustic roll -off slopes of the coax areabout 12 dB/octave down to the -10dB point. Beyond this, the outputs rolloff much faster. Phase measurementsindicated that the individual outputsare essentially in phase at crossoverand are 6 dB down. Lobing does notoccur in a coax, no matter what thephase relationships of the individualdrivers are, because the acoustic cen-ters of the high and low sections areessentially coincident.

The 615's impedance, plotted overthe extended range of 10 Hz to 20 kHz,is shown in Fig. 7. Three low points areevident, with the lowest a relatively low2.8 ohms at 190 Hz. A minimum of 2.9ohms at the 29 -Hz vented -box reso-nance of the passive radiator system isalso noted. The impedance reaches a

100

2

V

29 OHMS TEF

118 OHMS

8.6 OHMS /

5 2 OHMS2.9 OHMS 2.8OHMS

0 100 lk

FREQUENCY - Hz

Fig. 7-Impedance.

RESISTANCE -OHMS

Fig. 8-ComplexImpedance.

90

BO

700.N

60

50

10k 20k

30

TEF

20 100 1k

FREQUENCY - Hz

Fig. 9-Three-meter roomresponse.

10k 20k

high maximum of 29 ohms at 3.25 kHz.The total curve thus has a high max/min variation of 10.4 to 1 (29 dividedby 2.8). The system will be quite sensi-tive to cable resistance because of thisvariation and the relatively low mini-mum impedance. Cable series resis-tance should be limited to a maximumof about 0.036 ohm to keep cable -drop

effects from causing response peaksand dips greater than 0.1 dB. For astandard run of about 10 feet, wire of12 gauge or larger should be used.

The 615's complex impedance, plot-ted over the range from 5 Hz to 30 kHz,is shown in Fig. 8. The phase of theimpedance (not shown) varied consid-erably, reaching a maximum angle of+50° (inductive) at 18 Hz and a mini-mum angle of - 45° (capacitive) at 5.5kHz. The Tannoy will be a moderatelychallenging load for some amplifiersbecause of its low and relatively reac-tive impedance.

Figure 9 shows the 3 -meter roomresponse with both raw and sixth -oc-tave smoothed curves. The 615 was inthe right-hand stereo position, aimedat the listening location, and the testmicrophone was placed at ear height(36 inches, essentially on the dual -con-centric driver's axis) at the listener'sposition on the sofa. The system wasdriven with a swept sine -wave signal of2.83 V rms (corresponding to 1.33watts into the rated 6 -ohm load). Thesweep's parameters were chosen toinclude the direct sound plus 13 mS ofthe room's reverberation. Between 2and 16 kHz, the smoothed curve is wellbehaved and fits within an envelope of±2.5 dB. Excluding roughness from 1to 2 kHz, above 500 Hz the smoothedcurve is actually quite close to the on -axis response. This indicates that thereverberant -field power response ofthe speaker is close to its axial re-sponse, a direct result of the smoothon- and off -axis response of the dual -concentric driver.

Figures 10 to 12 show single -fre-quency harmonic distortion versuspower level for different musical notes.The power levels were computed us-ing the rated system impedance of 6ohms and run from 0.05 to 50 watts in30 steps of 1 dB each.

Figure 10 shows the El (41.2 -Hz)harmonic distortion. At full power, thesecond and third harmonics reach sig-nificantly high levels of about 10% and27%, respectively. Higher order har-monics also reach significant levels.Some compression above 20 watts isnoted in the fundamental and in thesecond and third harmonics. Even in-cluding compression effects, at 50watts the Tannoy generates a fairlyloud 99 dB SPL at 1 meter at 41.2 Hz.

64 AUDIO/AUGUST 1992

Rule #23All drivers

are notcreated equal.

p

The speakeron the left is designed with Injection -Molded Polypropylene (IMPP') cone technology. The speaker on the right,is paper. The speaker on the left offers cleaner, richer bass. The one on the right doesn't. Theone on the left can handle extraordinary amounts of power without distortion. The one onthe right can't. The one on the left is from a full line of new high-performance component speak-ers from Pioneer.' The one on tie right isn't. To find out more, call 1-800-421-1604, ext. 441

ca PIONEER'The Art of Entertainment

© 1992 Pioneer Electronics (USA) Inc.. Long Beach. CA.

Enter No. 16 on Reader Serice Card

On vocals, the Tannoyspresented a very lifelike,up -front sound that wasquite pleasing.

In Fig. 11, the A2 (110 -Hz) harmonicdistortion, the second harmonicreaches a moderate 5% or so at 50watts, with the third at only 1.3%. Curi-ously, the third harmonic reaches anintermediate peak, falls, and then risesto its final value as power is increased.At 110 Hz with an input of 50 watts, thespeaker generates a fairly loud 105 dBSPL at 1 meter.

Figure 12 shows the A4 (440 -Hz)harmonic -distortion data. The secondharmonic reaches only 2.6% at fullpower and the third harmonic only0.44%. At 440 Hz and 50 watts, thesystem generates a loud 108 dB SPL.

Figure 13 shows the IM created bymixing 440 -Hz (A4) and 41.2 -Hz (E1)tones of equal input level. The IM dis-tortion rises to a significant 22% at 40watts. Interestingly, the IM distortiondoes not drop very quickly with de-creasing power, remaining at a fairlyhigh 6% even at 1 watt. Overall, the615 exhibited substantially high distor-tion in the El (41.2 -Hz) harmonic mea-surement and in the IM test but reason-able distortion at higher frequencies.

The Tannoy's short-term peak -powerinput and output capabilities areshown in Fig. 14. The measurementswere made by applying a 6.5 -cycle,third -octave -bandwidth tone burst ateach third -octave frequency. The peakelectrical input power, seen in the low-er curve, was calculated by assumingthat the measured peak voltage wasapplied across the rated 6 -ohm imped-ance. From a low of 2 watts at 20 Hz,the peak input power rises with fre-quency. It reaches a plateau of about550 watts at 100 Hz, drops somewhatto 350 watts, and then rises to 2,400watts above 1 kHz (120 peak voltsacross the rated 6 -ohm load). The de-pression near 300 Hz was likely due toinductor overload in the woofer portionof the crossover.

The upper curve in Fig. 14 shows themaximum peak sound pressure levelsthe system can generate at 1 meter forthe input levels shown in the lowercurve. Also shown here is the "roomgain" of a typical listening room at lowfrequencies, which adds about 3 dB tothe response at 80 Hz and 9 dB at 20Hz. The peak acoustic output risesrapidly with frequency up to 200 Hz,where it reaches a level of about 120dB. After a slight dip, the output rises

00-

a10 -

cn

a 1.0 -

50 -

POWER -5oWATTS

2,10,99%

00_

MAXIMUM POWER. 50 WATTS

3,d. 2T Y.

51h,49%

6111,09%I2d8

50 100 150 200 250

FREQUENCY- Hz

Fig. 10-Harmonicdistortion products for El(41.2 Hz).

at 100

Q .1.0

50

POWER -WATTS

150

MAXIMUM POWER, 50 WATTS

250 350 050 550

FREQUENCY-Hz

Fig. 11-Harmonicdistortion products for A2(110 Hz).

100

2,103 65,.

I.

a50

50 -POWER -WATTS 05

005

MAXIMUM POWER. 50 WATTS

Xra. 0 44%

500 1k 1.5k 2.0

FREQUENCY -Hz

Fig. 12-Harmonicdistortion products for A4(440 Hz).

650

_LI2d8

T

2.5k

to a maximum near 125 dB and essen-tially follows the ups and downs of theon -axis response. Although this speak-er's peak power handling is on the lowside, its relatively high sensitivity (effi-ciency) results in high peak outputs.

Quite usable levels of 100 dB SPL orhigher can be attained with one speak-er at 35 Hz and above, with room gain,and a stereo pair can reach even high-er low -frequency levels with bass ma-terial common to both channels.

Use and Listening TestsThe 615s are quite attractive. The

black ash finish of the samples I testedfit in well with the furnishings of mylistening room, though I find the walnutversion even more attractive. For mylistening, I used the optional stands(whose large footprint adds stabilityand which can be filled with lead shotor sand to lower the center of gravity)and the supplied spikes.

Tannoy sent me several very exten-sive, informative white papers describ-ing many aspects of their "Sixes" line,including such topics as industrial de-sign, materials technology, dual -con-centric features, and bi-wiring. Thefour -page owner's manual, coveringthe use and installation of the "Sixes"line, suggests that the 615s be placedaway from walls and corners andspaced 2 to 4 meters apart, and thatthe listener sit a bit further from thespeakers than they are from each oth-er. The company algo suggests remov-ing the grilles for serious listening,which I did. For the best stereo image,the speakers should be pointed eitherdirectly at you or with their axes cross-ing in front of you.

I placed the 615s in my customarylocations: 10 feet from the sofa, sepa-rated by 8 feet, and well away from therear and side walls. The speakers wereaimed towards my listening positionand not tilted back, which placed myears directly on the axis of the dual -concentric drivers. The equipmentlineup consisted of my usual Jeff Row-land amplification and Onkyo and Ro-tel CD players. Listening was donewith and without bi-wiring, usingStraight Wire Maestro cables.

On first listening, the high sensitivityand efficiency of the 615s were imme-diately apparent. These speakers pre-sented a wide, very realistic sound -stage with an excellent uniformity ofcoverage. The speaker's tonal quali-ties are quite independent of listeningposition. On the pink -noise stand-up/sit-down test, the 615s actually hadslightly better vertical coverage than

66 AUDIO/AUGUST 1992

The Tannoy 615s deliverexcellent stereo imagingand soundstaging plusclean reproduction ofhigh-level transients.

my B & W 801 reference systems,which are very good in their own right!

On pink noise, the Tannoys added atonal coloration that was not presentwith the B & Ws. Because of the 615s'evenness of coverage, however, thecoloration remained the same no mat-ter where I listened from! Equalizationshould work well here, because the615s' unusually uniform directionalitywould ensure that the equalized signalwould sound the same to all listeners. I

wish I had had the time to investigatethis further.

On program material with high-levelbass passages, the 615s tended tomuddy the higher ranges when thebass was present. This effect wasquite evident on high-level pedal sec-tions of The Organ Works of J. S. Bach,Vol. 4 played by Jean Guillou (DorianDOR-90151). On most other programmaterial, the bass level and extensionwere quite adequate. As long as thefrequency range of the program mate-rial was limited to 35 Hz and above,these speakers did quite well. Onband -limited third -octave pink noise,they could not generate any usable lowend on the 20- and 25 -Hz bands ifdriven at a level that did not overloadthem. With the low -frequency band -limited noise, the onset of overload oc-curred quite suddenly as level was in-creased. At higher frequencies, how-ever, the Tannoys generated quite us-able levels.

On vocals, such as soprano JulianneBaird singing with Colin Tilney playingharpsichord on Musica Dolce (DorianDOR-90123) or Linda Ronstadt on MasCanciones (excellent traditional maria-chi music, Elektra 61239-2), the 615spresented a very lifelike, up -frontsound that was quite pleasing.

The Tannoys' high efficiency andsensitivity serve them well in reproduc-ing program material that has highcrest factor (ratio of peak to continuouspower). This was demonstrated on therecording of fireworks on the PierreVerany Digital Test CDs (PV.788031and PV.788032). The aerial explosionscould be turned up to truly realisticlevels on the 615s, but my Rowlandamplifiers ran out of gas trying to getthe B & Ws up that loud! The 615s alsodid extremely well on producing therealistic levels and the "horn bite" typi-cal of live trombones and trumpets on

25

20

ep 15

10

5

001 10

POWER-WATTS

Fig. 13-IM for 440 and41.2 Hz mixed in equalproportion.

130

120

110

100

90

80

WITHROOMGAIN PEAK ACOUSTIC\

OUTPUT TEFWITHOUT 10kROOMGAIN

PEAK INPUT POWER lk

100

10

7020100 lk

FREQUENCY -Hz

Fig. 14-Maximum peakinput power and soundoutput at 1 meter on axis.

10k 20k

100

The Age of Swing, Vol. 1 by the BBCBig Band (a super big -band recording,Bainbridge BCD 2511).

To sum up, the Tannoy 615s presentquite a package of contrasts. On onehand, they have excellent stereo imag-ing and soundstage capabilities due totheir superb evenness of coverage,and they also provide clean reproduc-tion of high-level transients due to theirhigh sensitivity and efficiency. On theother hand, they exhibit moderatelyrough frequency response and are vul-nerable to overload on high-level, low -frequency program material. Yet onbalance, I feel the pluses far outweighthe minuses. These speakers' goodlooks and reasonable price make themgood competitors and quite worthy ofaudition. D. B. Keele, Jr.

AUDIO/AUGUST 1992 67

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NOVI" TO ORDERMON- U 10-7

D3

AURICLE

THIEL CS2.2SPEAKERCompany Address: 1042 Nandino

Blvd., Lexington, Ky. 40511.For literature, circle No. 93

The new Thiel CS2.2 is priced at$2,250 a pair, making it very much ahigh -end speaker, although it is pricedonly midway in this company's line. Infact, the Thiel CS2.2 costs only about aquarter of the price of the Thiel CS5,which I use as one of my referencespeakers, although I suspect that formost audiophiles, the CS2.2 will be thebetter loudspeaker as well as the bet-ter buy.

The CS2.2 is a floor -standing speak-er about 42 inches high, 121/4 incheswide, and 13'/4 inches deep. It standshigh enough to deliver the midrangeand treble directly to the ear when thelistener is seated, but low enough sothat the speaker does not dominate theroom. The relatively narrow front, at-tractive front slope, and excellentwoodwork also make the speaker easyto place.

As for basic design features, theCS2.2 uses a very rigid enclosure thatis solidly built to reduce energy stor-age, and it weighs about 70 pounds.Even at very high sound levels, theenclosure is very well damped and un-usually free of any sign of vibration.

The CS2.2 uses four drivers. Thethree active ones include a 1 -inchhigh -output metal -dome tweeter thatoperates above 3 kHz, a 3 -inch mid-range driver that operates from 800 Hzto 3 kHz, an 8 -inch very -long -throwwoofer that operates up to 800 Hz, anda 6 x 9 -inch passive radiator. Thetweeter and midrange are close to-gether and are carefully integrated toprovide an apparent point source. TheCS2.2 uses a complex crossover net-work, and in what is virtually a Thieltrademark, it's designed for time andphase coherence. The Thiel CS2.2 in-cludes such a wide range of othertechnical features that they all cannotbe covered in a short review, but theyare discussed in depth in a Thiel whitepaper.

The frequency response specifica-tion is set at a very demanding ±2 dBfrom 35 Hz to 20 kHz, the phase re-sponse specification is 5°, and timeresponse is 150 µS for -20 dB.

The tweeter is a metal -dome designwhose resonance is out at 26 kHz,while the woofer is a completely newtwo -cone design that reduces dia-phragm resonance and low-level vi-bration. The front baffle is curved toreduce reflection and diffraction (thusproviding cleaner sound and moreprecise imaging), and sloped to cuttime error to less than 0.5 mS.

Specifications are one thing, and ac-tual sound is another. The Thiel CS2.2shows that a cone speaker design cancompete with ribbons and electrostat-

ics for apparent speed and transpar-ency. At the same time, properly posi-tioned, the CS2.2 smoothly integratesits outstanding treble and midrangewith a level of bass dynamics anddeep bass that few speakers any-where near its price can touch.

Extended listening to the CS2.2'smidbass, midrange, and treble makesit clear that this is a very flat design. Itsounds consistently natural with a verywide range of well -recorded classicalmusic, and is also free of any tendencyto favor one type of voice over anotheror one instrument over another. TheCS2.2 also blends the frequency ex-tremes smoothly into the midrange. I

have criticized some past Thiel speak -Continued on page 72

68 AUDIO/AUGUST 1992

Season tickets for a lifetime.

The season begins tonight. In the comfort ofyour own home. No parking hassles. No babysitter.

No annoyances from the guy in the row behind you.

With the D400 stereo power amplifier coupledto your speakers, your favorite performers will be right

there with you, as you've never heard them before.Palpable. Holographic. Immediate. With the most

explosive dynamics heard cutside of a concert hall.

Simply put, the D400 will transport you.Thanks to the enormous reserves of musical powerlurkng within the D400's classic, understated exterior.And to sophisticated -_eading-edge circuitry thatfocuses and clarifies instrumental timbres as onlya great seat or the finest tube amplifier could dobefore. Without maintenance.So, why not enjoy the best seats in the house?Your house, every night of the year. Audition the D400soon at your nearest Audio Research retail specialist.

audio researchHIGH DEFINITION*

5740 Green Circle Drive / Minnetonka, Minnesota 55343-4424 / Phone: 612-939-0600 FAX: 612-939-0604Enter No. 2 on Reader Ser4ce Card

AURICLE

THETADSPro PRIMED/A CONVERTERCompany Address: 5330 Derry Ave.,Suite R, Agoura Hill, Cal. 91301.For literature, circle No. 94

The Theta DSPro Prime, a $1,250D/A converter, is basically a one -bitsystem and is designed to correct foursonic problems that have caused suchsystems to disappoint many people.The first of these problems is that theimage size one -bit systems presentseems constant, almost regardless ofthe performance, which magnifies soloinstruments and singers. There is alsoa tendency to center the image, com-pressing its spread from right to left.The soundstage is shallow, often two-dimensional. And finally, there is a lackof harmonic detail, or "air." Notes arenot harsh, yet they lack overtones andsubtle detail, especially with cymbal,

flute, and sometimesvoice. Occasionally the term MASHseems all too appropriate.

According to Theta, all one -bit sys-tems to date have used full, 16 -bit digi-tal input filters, purchased as chipsfrom Philips, Sony, Yamaha, and oth-ers. Such chips seem to be rede-signed annually, but their improve-ments are only incorporated into newunits, not those already in the field.

The Theta DSPro Prime is the firstaudio product to combine true pro-grammable digital signal processingwith one -bit D/A conversion. It uses aROM -driven Motorola DSP56001 mi-croprocessor to provide the first 20 -bit,four -times oversampling function. Thisallows freedom from obsolescence byallowing inexpensive software up-grades. The "four -over" signal is sentto a Signetic/Philips SAA7350 one -bitD/A converter that provides the noiseshaping, the one-bit/64-times over -sampling, and the conversion. Thetabelieves the ROM -driven microproces-sor provides a digital filter that allowsthe time domain as well as the frequen-cy domain to be optimized. The sonicbenefits Theta seeks from this ap-proach are a fully extended high -fre-quency response as well as superiorimaging, depth, detail, and sound -stage realism.

The Prime has other important fea-tures. It has large power supplies for

isexceptionally well shielded and free of.hum fields, and has a pilot light toshow that it is receiving a digital signal(which may seem like a minor featureuntil you try to trouble -shoot a unit with-out one). It uses some 71 bypass ca-pacitors per unit to reduce digital hashand noise. The analog section hasbeen specially designed to match therequirements of one -bit D/A convert-ers, rather than adapted from otherplayers, and it has been isolated fromthe r.f.-generating digital circuits.

While a mix of advanced design fea-tures should be provided in an out-board decoder in this price range, I

have seen a number of similar unitsthat are far less sophisticated and wellmade. Several also generated memo-rable hum fields and required place-ment well away from phono unitsand-in one case-from other digitalequipment.

We all have heard countless claimsabout the technical merits of differentdigital processors, but the real issue iswhether a given unit actually deliverssuperior sound quality. The DSProPrime does, and this-not Theta'stechnical claims-is why I have cho-sen to review it.

The DSPro Prime does not eliminateall of the problems in the other one -bit

and reduced -bit machines I haveheard to date, but it does provide sig-nificant improvements in each areawhere the others have fallen short:

Image size is fully realistic. Whileall CD players exhibit variations in im-age size, and only the producer of agiven recording can know what imagesize accurately reproduces the original'sound, the DSPro Prime is both realis-tic and exhibits the proper variation inimage. size to provide a credible illu-sion of realism. Unlike other one -bitand reduced -bit units I have heard, thePrime also reproduces the kind of sub-tle imaging characteristic of top -priced, high-performance DACs.

The overall soundstage and imag-ing are still slightly centered, but not tothe unrealistic extent of many ma-chines using one -bit technology.

The depth is good to very good,although it does not rival that of top -of -the -line decoders from Krell, Wadia,and even Theta.

70 AUDIO/AUGUST 1992

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For the price, I've neverheard a processor combinethe DSPro Prime's level ofupper octave excitementwith these sound attributes.

Harmonic detail, or "air," is alsovery good. Once again, the more so-phisticated decoders that cost wellover twice the price of the DSPro Primedo better. The Prime is, however, fullycompetitive with any of the other de-coders in its price range that I have yetheard in its ability to reproduce theessential subtleties of music. It man-ages to provide an exceptional degreeof upper midrange and treble detailwithout hardness or a loss of harmonicrichness.

More generally, the Prime has a well-balanced mix of sound characteristics.Unlike some separate decoders thatseem to try to sound different, ratherthan accurate, there is no exaggera-tion of the size of the soundstage. Mu-sical dynamics are very well handled,at both low and high levels, and thesound is consistently good with choralmusic, grand opera, and symphonieslike Mahler's Eighth. There are manyCompact Disc players that produceminor sonic oddities when playingcomplex large-scale music.

If I were shaping the sonic palette ofthe Prime, I would like a touch morebass energy and musical depth. I alsomight choose an upper midrange andtreble balance that is slightly softer andthat sounds a bit less forward. This,however, is a matter of personal tasterather than proper performance. I

should also note that I have yet to heara 'D/A converter anywhere near thisprice range that could combine such amix of sound characteristics with thelevel of upper octave excitement pro-vided by the Prime.

The Theta DSPro Prime is one of ahandful of units I have heard in the$1,000 to $2,000 price range that reallyjustifies its price. I have also been im-pressed with the Sony CDP-X777ESand the Proceed PDP-2 and PCD-2,but there is no question that the ThetaDSPro Prime offers a unique mix ofsound attributes. Further, the Primemakes a major improvement in thesound of many LaserDisc players, andits built-in upgrade capability is a tre-mendous asset. Digital sound is con-stantly improving, and any unit that canalready deliver outstanding sound-and take advantage of the changes inthe state of the art-offers exceptionalvalue for the money.

Anthony H. Cordesman

THIELIcontinued from page 68

ers for providing a bit too much trebleenergy and for appearing to tilt theoverall spectrum toward the upper fre-quencies. This is not a complaint thatanyone is likely to make about theCS2.2. Few speakers provide treblethis clean and extended.

Similarly, this really is a very differentkind of bass than I've heard from pastThiel speakers. It measures very deep,and the CS2.2 can move a great dealof air in real -world listening rooms. Fartoo many speakers cannot really deliv-er deep or consistently tight bass atmusically realistic power levels. TheCS2.2 may not have the low -frequencyextension of the CS5 in this regard, butits bass is both more realistic and bet-ter integrated with the midrange. It alsoadds a natural warmth lacking inThiel's previous small and mid -sizedspeakers. The only caution I wouldmake is that this kind of bass requirescareful attention to placement. Puttingthe CS2.2 near a room boundary willproduce too much bass, and experi-mentation is needed to avoid room in-teraction and standing -wave prob-lems. As is the case with all speakerswith this kind of bass power, the CS2.2is not suited for a boomy room. Further,as a 4 -ohm speaker, it naturally putshigher demands on the amplifier, andboth the bass and the dynamics bene-fit a great deal from using a high -pow-er high -current amplifier with excellentdamping.

The most impressive aspect of theCS2.2 is its level of clarity and defini-tion. I spend a great deal of time listen-ing to ribbons and electrostatics, and,prejudiced or not, I generally find theyprovide more speed and detail thanconventional speakers, and do so withmore coherence and integration. I wasalso listening to a well -regarded elec-trostatic while I was auditioning theThiel, however, and the CS2.2 consis-tently revealed more harmonic andtransient detail.

Although it may not be important tothe average user, I was also surprisedto find that the CS2.2 revealed some ofthe differences between cartridgesand digital decoders better than its bigbrother, the CS5. I was particularlystruck by its ability to resolve the finerdetails in low-level passages with larg-er midrange content and on solo gui-tar. The acoustic guitar is an instru-

ment that virtually all good speakerscan reproduce reasonably well, butfew can reproduce very well. The ThielCS2.2 is in the latter category.

The speaker's soundstage and im-aging are also very good, as they havethe normal characteristics of a mono-

polar speaker configured to provide anapparent point source. With the speak-ers positioned about 7 feet apart andangled slightly toward the listening po-sition, the soundstage was wide with-out any tendency to leave a hole in themiddle or to cluster the sound aroundthe speaker. The apparent depth wasthe apparent depth on the recording;the CS2.2s do not add any depth oftheir own or lack any of the CS5's abili-ty to reproduce the depth that is actu-ally on a recording.

The size of the soundstage wasmoderate, at least compared to bipolarand planar speakers. There also wasno extra hall effect of the kind you getwith speakers with rear radiation, al-though the clarity of the CS2.2 benefit-ed from the lack of extra reflectionsand the apparent soundstage was verynatural.

The imaging was very precise, withno exaggerations or subtractions, andwas stable over a relatively wide listen-ing area. The arc of left -to -right imag-ing was excellent, with instruments andvoices reproduced at the size appro-priate to the recording. Back-to-frontimaging was good, although some oth-er high -end speakers do a better job ofreproducing layers of depth.

Musical dynamics were very goodfor a speaker of this size, and theCS2.2 reproduces complex and de-manding dynamic passages with noapparent trade-offs of frequency rangeor clarity. This is an outstanding speak-er for romantic symphony, grand op-era, jazz groups, and the increasingamount of well -recorded power rock.At the same time, it does equally wellwith chamber music, solo voice, andsolo instruments.

If you give proper attention to roomplacement and the choice of poweramplifier, the CS2.2 is a superb choicefor real -world audio systems-provid-ing outstanding performance in a mod-erate -sized speaker that only requiresa single amplifier per channel. This isnot only Thiel's best product yet, but abest buy. Anthony H. Cordesman

72 AUDIO/AUGUST 1992

In 1986, Yamaha developed what manyindustry experts consider the most significantaudio advancement since stereo. 'We're referringto Digital Soundfield Processing.

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CLASSICAL RECORDINGS

MILAN EASE

Vivaldi: Concerti da Camera, Vol. 1. IIGiardino Armonico; Giovanni Antonini,recorder.Teldec/Das Alte Werk 9031-73267-2,CD; 47:36.

Sound: A Performance: A+You're due for a shock on first hear-

ing if you expect more "cookie -cutter"Vivaldi from this CD. The first thing tograb your attention is the breaknecktempi of the fast movements; wide con-trasts in dynamic level are next. Thereis an overwhelming energy andbouncy optimism about these perfor-mances that lift them into a whole dif-ferent area of early -music interpretivestyle, because this is an original instru-ment ensemble based in Milan ofabout 11 players-the only such groupin Italy.

Elements that may seem excessiveare the exaggerated crescendos anddecrescendos, similar to the perfor-mance style of the Mannheim School,which came a bit later and in anotherplace. The idea of "terraced dynam-ics" central to performance practice ofbaroque music is thrown in the canalby II Giardino Armonico, and the ex-citement of the music is tremendouslyraised by that. Also ditched is the ideathat the ensemble sound of these origi-

nal instruments must be thin, wiry, na-sal, anemic, and without any founda-tion in the bass end of the spectrum.Here, the bass will knock you on yourhiney. The recording acoustic is veryclose up, but the instruments' "soundeffects" are not intrusive. There is depthand width to the stereo stage and afeeling for the venue's ambience.

Several of the concerti indulge in"sound painting." Opus 10 is oftenidentified (as it is on the cover of theCD booklet) as "La Tempesta di Mare"concerti, and the storm at sea happensquite visually in the Concerto No. 1.Soloist Giovanni Antonini is superbthroughout, and he makes a convinc-ing case for the recorder versus othertypes of flutes used in competing ver-sions. His sweeping "whoops" on thefinal movement of the first concertomust be heard. If that's historial perfor-mance practice, they had more of asense of humor about the music backthen than we do now! John Sunier

20th Century Harpsichord Music,Vol. III. Barbara Harbach, harpsi-chord.Gasparo GSCD 280, CD; 66:18.

Contemporary music on the harpsi-chord? Unlikely. But here is Barbara

Harbach, a fetching young lady whocan play anything on her keyboards,no matter what. Not surprisingly, then,some of the music here was composedfor her fingers. It often happens.

Which does not mean that the vari-ous composers really know the harpsi-chord, or what it can do, or could dofor a contemporary idiom. It is as yetunwise to judge most contemporarymusic as to quality. But I was a bitdistressed at the prevailingly harshsounds (not helped by a somewhatclose-up mike position) that seemed tome more for show, enormously fastand complex, than for a real use of thepeculiar sound of the plucked stringinstrument. Just an impression. Thecomposers will violently disagree, ofcourse.

No use describing the quite differentcontributions, ranging from longishand effusive in title-"Expansive, Re-flective, Frantic"-to short and con-cise. The important composers areDaniel Pinkham, the Boston celebritywho writes learned and very neoclas-sic counterpoint out of Bach, and theveteran Samuel Adler, whose two tinypieces are a refreshing conclusion.

No question that Harbach is a fan-tastic technician. Maybe it's good justto hear how fast she really can makeher harpsichord go.

Edward Tatnall Canby

Victoria de los Angeles, RecordedLive at the Wigmore Hall. Victoria delos Angeles, soprano; Geoffrey Par-sons, piano.Collins 12472, CD; DDD; 61:41.

Victoria de los Angeles is amazing.All voices, however well maintained,become increasingly intransigent withage. De los Angeles obviously has tak-en care of hers, but time is inexorable.What makes this recording so over-whelming is, in fact, the wit and artificewith which she triumphs over the inev-itable. She is utterly the mistress ofboth her voice and the occasion, aLondon recital in May 1990.

On the disc (which may omit somenumbers of the concert) she beginswith five Italian art songs, then singsseven Brahms Lieder. Four Catalansongs are followed by Granados(three), Obradors (three), and De laTorre (one). I suspect that the recital

74 AUDIO/AUGUST 1992

proper ended with this Spanish group.It is followed by "Clavelitos," "Blow theWind Southerly," and the "Seguedille"from Carmen-all of which appear tobe encores. Texts and English transla-tions are included.

There is an earthiness to De los An-geles' singing now that may jar thosewho remember her for the relativechastity of her style 30 or more yearsago. If she can no longer sustain thetonal purity that was her hallmark, shehas substituted for it something thatmay be even more remarkable. Herpresent style makes one yearn to hearher do Falla's Seven Popular SpanishSongs, for instance.

Her management of the audience isequally remarkable. The decorouswarmth of the applause that greets herentrance is built into visceral howls ofapproval by the end of the final encore.Greater focus might have been

achieved in the otherwise admirablestereo sound had Collins recorded herin the studio, but it would not havebeen worth the loss of the audiencereaction.

If this CD is not an object lesson inmasterful singing, then none exists. It

is mesmerizing. Robert Long

Bell' Italia: Four Centuries of ItalianMusic. Eliot Fisk, guitar.Musicmasters Classics 01612-67079-2, CD DDD; 66:55.Sound: A Performance: A +

Eliot Fisk untiringly champions newrepertoire and generally shines an in-telligent light on the too often staid andstuffy world of classical guitar. Nowyou can get a taste of this on Bell'Italia: Four Centuries of Italian Music,undoubtedly Fisk's most mature andstimulating recording to date. Othershave tackled Italian repertoire, butnone with such a spirited commandspiced with mildly iconoclastic wit.

Unlike typical guitar programs, inthis one Fisk juxtaposes transcriptionswith guitar originals, a piece from onecentury with one from another. He be-gins with a set of sonatas by DomenicoScarlatti, delightfully buoyant miniaturesymphonies that sound difficult andreally are. Fisk moves on to a sweep-ing, moody aria by Girolamo Fresco-baldi that unfolds with an increasingcomplexity and power. After two wildcaprices by Locatelli, he pauses for adarkly colored, introspective readingof Goffredo Petrassi's very modernSuoni Notturni, then leaps into Pagani-ni's exhilarating Sonata No. 4 in D Ma-jor, followed by Mario Castelnuovo-Tedesco's bubbling "omaggio a Paga-nini," the "Capriccio Diabolico," Op.85. After another modern psychodra-ma by Petrassi, Fisk concludes withthe exciting, lushly melodramatic 17 -minute "Le Rossiniane," Op. 119 byone of the guitar's great Romanticcomposers, Mauro Giuliani.

Fisk's execution is consistently in-spired as he balances dynamic flairand expressive rubato with precisetonal clarity. Too many recent classicguitar recordings have regressed intosafe rehashes of familiar chestnuts. OnBell' Italia Eliot Fisk has taken risks thathave paid off in a superb work of reve-latory art. Michael Wright

William Lawes: Consort Setts for 5 &6 Viols and Organ. Fretwork; PaulNicholson, organ.Virgin Classics VC 7567-91187-2,CD; DDD; 69:30.

William Lawes (1602 to 1645) wasone of those "lost" composers stuck inan in-between period of change,quickly forgotten yet clearly a first-ratemusical mind. He composed very eso-teric and complex contrapuntal musicfor the last of the old absolute mon-archs in England, the unfortunateCharles I, who was too absolute for hisnation-he lost his head, literallyspeaking. Yet that king was a remark-able connoisseur of the arts and espe-cially of music, like so many of theEnglish royalty, and the handsome andwell-disposed Lawes wrote for theking's inner court circle. When the kingwas gone, Lawes was out. A minortragedy in the midst of a far greaterturmoil. When music returned to favorwith Charles II, out of France, it was anew sort altogether, very French.

What can we, the general classicallisteners, make of this heretofore very

AUDIO/AUGUST 1992 75

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private court music for a despotic mu-sical king? It isn't easy. But those whoknow a bit of Elizabethan music, and onperhaps to Orlando Gibbons, will find ittasty. The "consort" is our "chambergroup" and a nicer name, too. Similarinstruments of different sizes andranges. The viols, except for the bass.also went out of style when the morepopular violin came in. But today, therelatively chaste, nonvibrato sound ofthe consort of viols has come back andis unique, a kind of humming accor-dion sound, very blended and smooth.

These are excellent players-Fret-work-and lively enough for the lighterparts of these works, which are "sets"of dance pieces like the later suite.One work, that for two basses, in-cludes the organ, rather incongruous-ly. Lots of breathy sounds, the so-called chiff. Edward Tatnall Canby

Weill: Street Scene. Josephine Bar-stow, Jerry Hadley, Samuel Ramey,Angelina Reaux, et al., vocals; ScottishOpera Chorus and Orchestra; JohnMauceri.London 4333712, two CDs; DDD;2:28:26.

His Berlin masters, Engelbert Hum-perdinck and Ferrucio Busoni, had

AUDIO/AUGUST 1992

Top opera houses wouldcovet the cast of superbartists on this recordingof Weill's Street Scene.

made Kwit Weill a consummate crafts-man, so it was entirely in character forhim to make a wrenching stylistic ad-justment when he immigrated to thiscountry. Less than 10 years earlier, DieDreigroschenoper (a.k.a. The Three -Penny Opera), to Bertolt Brecht's grittytext, had made Weill world-famous,and the works following it had contin-ued in a sardonic, almost cynical vein.Never again would he enjoy a geniusas a collaborator, but his new, lessworld-weary, infinitely more optimisticenvironment itself made a different mu-sical style advisable. As his Americanyears passed, Weill yearned to createtrue American opera, and in StreetScene, with Broadway's Elmer Rice aslibrettist and Harlem's LangstonHughes as lyricist, he came closest toit.

Top opera houses would covet thiscast; two superb artists, Arleen Augerand Della Jones, drop by for one num-ber lasting a mere 4:10. When suchmajor stars as Josephine Barstow, Jer-ry Hadley, Samuel Ramey, and Ange-lina Reaux start singing, they do bril-liantly. When they speak the copiousdialog included here, it reminds you ofthe gap between dramatic and operat-ic realism. But the singing itself, fromsuch superlative voices, compensatesfor a lot. John Mauceri conducts ex-pertly, and Decca/London has record-ed it with its customary radiant sheen.

Paul Moor

Beethoven: Symphonies Nos. 6 and8. Royal Philharmonic Orchestra; ReneLeibowitz.Chesky CD 69, CD; 67:09.

I remember Rene Leibowitz, back inthe early '60s, as one of those up-and-coming modern younger conductorswho often took over recordings andconcerts from the famous veterans,and the orchestra on this CD is the onethat belonged to Sir Thomas Beecham.Today, Leibowitz's sound in Beethovenis exactly what I would expect, the veryessence of the neoclassic approach inits final period. Which means always abit dry, concise, and minimal, playingdown the Romantic "excesses" as theysaw them in those days. Yes, Beetho-ven's instructions are followed; thereare no flamboyant eccentricities. (Theolder conductors indulged in those,

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out of an earlier time.) But instructionsfollowed with the least possible "free-dom." Small crescendos, minimalslowings-down, very brief pauses, ageneral and intentional lack of dramat-ics. Nothing that can be called"wrong." But this is a very emphaticand noticeable manner of perfor-mance, 1961 style. If you buy the CD,you buy this approach too.

Interesting. Our young neo-Roman-tic classical fans will undoubtedly dis-like the play -down, the un-Romanticfeel, the somewhat chilly beat, the hur-ried tempi throughout. But the veryyoung may like it, as minimalism-sortof. Those who still go for Vivaldi andBach and early rock and jazz will ap-prove. They enjoy the big beat, evenwhen it is a little beat. As for us olderlisteners who have lived through it all,we can understand what we hear, andprobably remember it with nostalgia.That's my viewpoint. But indeed I havechanged-I really prefer a bit more ex-pressive playing, even Romantic!

Edward Tatnall Canby

Prokofiev: Piano Music, Vol. 1. BorisBerman, piano.Chandos CHAN 8851, CD; DDD;65:59.

Volume 1 of Chandos' projectedcomplete Prokofiev piano music con-tains his Piano Sonata No. 5 (Op. 38 inits revised form, as Op. 135); FourPieces, Op. 32; piano versions of theScherzo and March from the operaLove for Three Oranges, and a suite of10 numbers derived from his Romeoand Juliet ballet. To place one majorwork with several lesser ones on each

The fifth piano sonataby Sergei Prokofiev mightbe described as classicismseen through a kaleidoscopeof polytonality.

volume of such a complete set makeseminent sense, though it sometimescauses pieces to sit somewhat awk-wardly together.

The suite and the opera are nearcontemporaries of the original versionof the sonata, but the version recordedhere is considerably later than eventhe ballet. The sonata also is consider-ably more "serious" than anything elseon the disc. It might be described asclassicism seen through the kaleido-scope of polytonality. It certainly hasmore facets and structural complex-ities than any of the other selections onthe disc, whose simple dance formsallow them to be a great deal moreaccessible.

Because of this, it's a shock to bedumped into the familiar extroverted-ness of the Love for Three OrangesScherzo at the end of the sonata's fina-le. This is a recording that could haveprofited materially from the original CDrandom-access plan: Banding for theoverall works and indexing for theirconstituent movements. Failing that,Chandos might have placed the sona-ta last, so that it could more easily beplayed all by itself. The only way to doso with the present, fairly standard lay-out is to program its three movementsin sequence.

Boris Berman is an excellent choicefor a complete Prokofiev piano discog-raphy. There is a certain robustness ordirectness to his playing that suits thecomposer admirably, and Berman'scommand of tonal color is exceptional.This is particularly evident in the operaand ballet pieces, where Prokofiev'sorchestral scoring rings in our ears. Allin all, this is an auspicious beginningfor the series. Robert Long

J. S. Bach: The Works for Lute. LutzKirchhof.Sony Classical (Vivarte) S2K 45858,two CDs; DDD; 1:41:22.

Bach for the lute? Not many Bachlisteners (or performers) are aware ofthis surprisingly large literature, inmany familiar formats including no lessthan four suites, a partita, and a pre-lude, fugue, and allegro. Not far fromtwo hours of lute music, here per-formed on two different lutes.

Your surprise will be less (if you areinto the whole range of standard Bach)

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Will AckermanIn his first new album in four years, WindhamHill guitarist/co-founder Will Ackermancharts new musical territory with a record fullof diversity, beauty, and musical exploration.Complementing his strong signature guitarsound is a diverse cast of supporting playersthat includes:

Paul McCandless-English Horn, OboeMichael Manring-Fretless BassBuckethead-Electric GuitarPhilip Aaberg-PianoTim Story-KeyboardsMichael Spiro-Percussion

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The Cleveland Orchestra andVladimir Ashkenazy balanceincisive rhythmic vitalityand the sensual lyricalelements of Ravel's music.

when movement after movement,whole suites, turn out to be familiarfrom other formats, the works for violinor cello solo, for example. Bach, thegreat transcriber! He could turn any-thing into anything else, and did soalmost daily, to meet the demand forhis services. No loss, either. Each tran-scription, no matter how far-fetched, ismusically better than its model. Muchof the B -Minor Mass, you may know, is"borrowed" from earlier works with en-tirely different texts.

There is much accounting in thebooklet's notes, written by this lutenist,of the incredible difficulties in playinglute Bach, which Lutz Kirchhof is thefirst to say is NOT idiomatic. Bach wasno lutenist. Much of what he wrote (inordinary notation, not in the special lutetablature) is extremely difficult for thefingers, sometimes impossible. He waseven caught (so to speak) writing twonotes at once for the same string! Tun-ings must be changed in all sorts oftortured ways, pitch and key altered-a music nightmare. No wonder we donot often hear these works in their luteform.

After all the talk, Kirchhof's perfor-mance is almost an anticlimax, gratify-ing withal. Not a trace of difficulty ap-pears anywhere: The music is steady,sharp, ultra clear. And more communi-cative (if less colorful) than guitarBach, due to the solid lute bass stringsand the much greater flexibility in com-plex passages -10 courses, two stringsapiece, with frets. Classical guitaristswill find this CD set fascinating. Mighteven go out and buy a lute.

Edward Tatnall Canby

Ravel: Ma Mere L'Oye; RapsodieEspagnole; other works. The Cleve-land Orchestra, Vladimir Ashkenazy,conductor.London 430 413-2, CD; 67:12.

The enduring popularity of Ravel'smusic is evident in the number of CDsavailable. Many of these are quite sat-isfactory both sonically and musically,but this London Compact Disc issuehas special virtues. The world -classplaying of the great Cleveland Orches-tra along with Vladimir Ashkenazy'sfine performance balance the sensuallyrical elements with incisive rhythmicvitality. Above all, there are the splen-

didly luminous, rich tonal palette of therecording itself and the wonderfully ex-pressive dynamics.

The London engineers have trulymastered just the right placement ofthe orchestra in the warm acoustics ofCleveland's Masonic Auditorium. Theinternal orchestral balances reveal ev-ery strand of Ravel's colorful orchestra-tion, and the high definition delineateseven the most complex orchestral tex-tures. If these pieces are not yet in yourCD library, this is the recording ofchoice. Bert Whyte

Dvorak: Piano Trios Nos. 2 & 4. TrioFontenay. Teldec 2292-46451-2.

Dvorak: Piano Trio No. 4; Brahms:Piano Trio No. 1. Rembrandt Trio. Do-rian DOR-90160.

A difficult choice! DvoraK's last trio,No. 4, "Dumky," gets sensitive, appro-priately reflective readings in both re-leases here, though the Fontenay'ssupple and touching wistfulness givesTeldec an edge. Its fine studio pickupsuccessfully suggests a good cham-ber music venue but lacks the ripebloom of Dorian's Troy (N.Y.) hall. Theearlier Dvofek's trios are underrecord-ed, but even as played by the Fon-tenay, No. 2 is no match for the rich-ness and fervor of the Brahms as real-ized by the Rembrandt, which is utterlyin its element here. The Trio Fontenayhas recorded all the Brahms (and,now, Dvotak) piano trios. Let's hopethe Rembrandt Trio will follow the Fon-tenay's musical lead. Robert Long

Jan DeGaetani in Concert, Vols. 1

and 2. Bridge BCD 9023 and 9025.

These live Aspen recordings will becherished by the late soprano's host ofadmirers. Her outstanding musician-ship shines through best, perhaps, inVolume 1's Faure cycle (La Chansond'Eve, coupled with Jacob Druckman'sDark upon the Harp cycle), but herwarmth and humanity were never moretelling than in Schumann's Frauenfiebe

and Leben in Volume 2 (with "Mond-nacht" and a Brahms group). The as-sisting artists, superbly led by pianistLee Luvisi, are all first-rate. The pick-ups are good but not quite up to studiostandards, even ignoring the occa-sional intrusion from the audience.Texts and English translations are in-cluded. Robert Long

AUDIO/AUGUST 1992 81

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SOUL SURVIVOR

Diva: Annie LennoxArista 18704-2, CD; 50:04.Sound: A Performance: B

Titled with as humorous an attemptat self -definition as John Lennon andYoko Ono's Two Virgins, this first soloalbum by Eurythmics' former betterhalf is a paradox-intensely soulful vo-cals but somewhat soulless produc-tion. With her slightly reedy yet pan-ther -slick voice and a quite hauntingmusicality, Lennox weaves and insinu-ates like the bluesiest of torch singers:The dark and plaintive "Cold" will besung in champagne -filled rooms foryears to come, and the crystalline ten-sion of "Why" could push a broken-hearted lover to suicide (or therapy, atleast). As phenomenally as Lennoxsings, the production isn't warmenough to complement her.

Swaddled in synth that constructs asterile world at odds with her smokyvoice, Diva posits Lennox as an other-worldly queen whose pain and comfortplay out on a different, grander scalethan ours. Lennox is both lead singerand background singer, majesticallyoverdubbing herself from song tosong. Sometimes this heroic designwashes over you magnificently, as in"Why" and the utterly beautiful, con-templative "Primitive." When it fails, thedissonance between the power of theexpression and the banality of the ex -

82

pressed is disheartening. Immenselytalented, Lennox occasionally seemsas removed from the common man asGeorge Bush does: She claims in apress release that the title Diva ismeant to be ironic, but she also be-lieves the gorgeous cover shot of her ismeant to depict faded beauty. Yeah,right. See for yourself.

Lennox wrote eight of the 11 songshere, co -writing two of the others andcovering the old Al Dubin-Harry War-ren tune "Keep Young and Beautiful"

with a scratchy old -record sound. Shesounds delighted and delightful on it-the most human thing on a powerfullysung album. Frank Lovece

Little VillageReprise 26713-2, CD; 46:24.Sound: A Performance: A

Little Village is comprised of JohnHiatt on guitar and occasional piano,Ry Cooder on guitars, Nick Lowe onbass, and Jim Keltner on percussion.The band played together before whenthey recorded Hiatt's excellent Bringthe Family in an intense four -day blitzin 1987. Everyone wanted to playagain, but business got in the way andit took a few years to happen. Once thecontractual wrinkles were ironed outand the guys finally got down to theirreal business of making music, theydid a sparkling job.

The 11 songs here are all co -writtenby the four Villagers. Hiatt sings leadon six, Lowe on two, Cooder on one,and the three singers share the re-maining two. This allows a healthy di-versity, as each has a distinctive stylethat complements the others.

"Solar Sex Panel" is a slinky rockerrunning over a sinewy Cooder riff,while "She Runs Hot," the most upbeatsong here, features Cooder's signatureslides. "Take Another Look," with asmart Nick Lowe vocal and some swellwide-angle stereo, has a shimmery feel

and fun, quirky time -figures. "Don'tBug Me When I'm Working" is a hoot. Itfeatures one of Cooder's best solos,some tricky vocal trade-offs, and acameo "appearance" by Sonny BoyWilliamson, whose sampled voice actsas "preacher."

"The Action," with Cooder singing,faintly echoes Huey "Piano" Smith's"Don't You Just Know It" in melody andCaptain Beefheart (who Cooderplayed with early on) in feel. Hiatt'smost soulful vocals illuminate the al-bum's three slow songs-the tender"Don't Think About Her When You'reTrying to Drive," "Do You Want MyJob," with its subtly Hawaiian melodyand guitar style, and the six -minuteburner "Big Love."

Little Village is an album that getsbetter with each listen, as its depth andsubtlety are revealed bit by bit. Therecorded sound is excellent (withsome fun stereo effects) and the play-ing is first-rate, as it should be withthese four. The mutual admiration thatthey have for each other is obvious,and it brings out the best in each. Bestof all, the material here is terrific, byturns funny and touching, sweetly sadand tartly rocking. Michael Tearson

Deserters: Oyster Band. RykodiscRCD 10237.

With its distinctly Northern Englandsound-fierce, ancient, drivingly per-cussive-plus harmonies that woulddo The Everly Brothers proud, the six -year -old Oyster Band is as gloriousand largely undiscovered as Antarcti-ca. Deserters' songs of figurative andliteral escapees from political and per-sonal persecution ring with a chillingmoral conviction. "What we wantedwas: To be sure no friends were lost invain" goes one song about democracyturned banal and horrible-played re-gretfully yet rocking like thunder. Theband's 1987 release, Wide Blue Yon-der, is even better. Check that outas well. Frank Lovece

Dark Sneak Love Action: Tom TomClub. Sire/Reprise 9 26951-2.

The musical lovechild of Chris Frantzand Tina Weymouth (Talking Heads'rhythm section) returns with moresongs about being cute and clever.Since album one (1981's Tom TomClub), they've functioned according to

blueprint of innocuous kitsch that-ounds all too much like Japanesesop. In fact, if the Tom Tom Club were

place, it would be in Tokyo. But-omehow, this stuff seems to work, asong as it remains lighthearted andarefree. A song about a "sex kiss" is

iven a disclaimer in its title that it's an'Innocent Sex Kiss," while somethings inane as party dip takes on neweaning after being honored by Frantz

nd Weymouth in "Irresistible PartyDip." To the listener's relief, excessutesiness on any Tom Tom Club rec-

rd (there's always some) is balancedy the fact that Frantz and Weymoutheem to always have fun with the proj-

-ct-and the fun is contagious.Michael Bieber

-olace: Sarah McLachlan. Arista8931-2.

Nova Scotia native Sarah McLachlanreads demanding territory, not too farrom the likes of Peter Gabriel and Kate:ush. Her songs are passionate-in-ensely so. You feel her heart is abouto burst, and this leads her into mo-

ments of arch preciousness. Yetthey're overshadowed by the glories ofher accomplishments. Solace isMcLachlan's follow-up to her striking1989 debut, Touch. Opening with itsmost direct and best songs, the newalbum gradually becomes more intro-spective and nearly opaque before re-solving into a celebrative finale of Don-ovan's "Wear Your Love Like Heaven,"which serves as a welcome release.So/ace is not an easy album, but it's arewarding one. If you're willing to meetit on its own terms, there are wonderfulsongs and moments to be savored.

Michael Tearson

Five Guys Named Moe (Original Lon-don Cast Recording). Relativity/FirstNight 88561-1104-2.

I once saw that rascal Louis Jordana couple of years before his death, andit was a wonderful entertainment expe-rience. So, too, is the show that ClarkePeters has assembled to celebrateJordan's music and wit. The humorand musicality of his songs are empha-sized by the energetic performances

AUDIO/AUGUST 1992 83

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of the six -man cast, ad captured in thisthoroughly enjoyable recording.

Michael Tearson

Nonsuch: XTC. Geffen GEFC/D-24474.

With Nonsuch, XTC demonstratesthat experience does indeed count forsomething. One of the best and oldestpost-punk/New Wave bands still ac-tive, XTC has created an album thatqualifies as the group's definitive work.Nonsuch features quality and quanti-ty -17 songs, to be exact-with theuse of harmonies a pronounced plus.There are several nods to The BeachBoys' Surf's Up period (approximate-ly), and primary songwriter Andy Par-tridge's enthusiasm for this genre ishighly contagious. Producer Gus Dud-geon has done a fine job of bringingout the most tuneful and commercialaspects of the band without abandon-ing its artistry. Jon & Sally Tiven

Down in the Shacks Where the Satel-lite Dishes Grow: The Judybats. Sire26801-2.

For their sophomore effort, TheJudybats have assembled a dozenbright, bouncy songs about enigmaticwomen, mistakes with lost lovers, andambivalence about the ones they'vegot. Though the band includes a fe-ma'e (Peg Hambright), women remaina mystery on Down in the Shacks. TheJudybats' biggest enemy may be theelegance in lead singer/lyricist JeffHeiskell's voice: It doesn't match theirpuckish wit and cozy, strummy music,and it hints that observant men arehiding inside indecisive boys. TheJudybats do get points for honesty,though On "Our Story," Heiskell con-fesses, "I want you/I know it's crazy butI rea ly want to leave you, too." Hefurther reasons, "Though I hale it whenyou wake, I still love to watch yousleep." Toby Haber

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Me Phi Me comes acrosslike a dub poet surroundedby funk grooves, 12 -stringguitar, and sound bites,carrying serious messages.

while contribut.ng to the macrocosm ofthe human race. Yet as a young Afri-can -American, Me Phi Me isn't unreal-istic about the questions we're facingin society, since African -American uni-ty and issues of race receive equaltime on this album as well.

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King of Hearts: Rick Vito. Modern/Atlantic 91789-2.

Rick Vito, the newest member of theFleetwood Mac Alumni Society,checks in with a solo album that packsmore punch and wit than expected. Agood portion is midtempo rock a la theBig Mac ("Desiree," a duet with StevieNicks, is particularly strong), but thereis some tasty blues in "I Still Have MyGuitar" and a lot of very fine guitarplaying, especially in the instrumentalshuffle "Walking with the Deco Man."

Michael Tearson

Charcoal Lane: Archie Roach. High -tone HCD 8037.

Archie Roach's songs translate ahopeful optimism amidst the appallingdespair and misery suffered by hispeople, the Australian aborigines.There is a rich and subtle eloquence inhis mournful voice. Produced in afolksy style by Paul Kelly, himself aterrific songwriter, and Kelly's guitaristSteve Connolly, Roach paints vividlyhaunting stories and portraits in song.Charcoal Lane is a most auspiciousdebut. Michael Tearson

Live at the Hollywood Palladium:Keith Richards and The X -Pensive Win-os. Virgin 2-91808.

This live recording offers a stripped-down and off-the-cuff performance fullof charm and personality. Keith's vo-cals are -surprisingly on, and there is aconsistency to the band's grooves thatwas lacking on Talk Is Cheap. Al-though The Stones' guitarist and back-bone doesn't play with the muscularitythat he once did, his Fender -isms stillhave an unmistakable voice. Guitaristsand rockologists may look to this al-bum as a definitive study of where ag-ing guitar heroes go when they can'ttrash themselves or their equipmentanymore. Jon & Sally Tiven

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JAZZ & BLUES

BOSSA NUEVABrasileiro: Sergio MendesElektra 61315-2, CD; 52:41.Sound: A+ Performance: A+

Brasileiro is a stunning achievementin every possible way-from its coverartwork and recording quality to its mu-sical documentation -cum -fusion of var-

ious Brazilian styles, composers, play-ers, singers, and percussionists. Thealbum defines a new high point in Ser-gio Mendes' career and is a summa-tion of America's 30 -year love affairwith the music and culture of Brazil.

Mendes spent over a year assem-bling this album, with five months de-voted to finding and recording some ofthe most powerful and musical percus-sionists ever documented. This is im-mediately evident in the opening andclosing "Fanfarra," a dialog betweenan individual percussionist and a 100 -strong group of drummers playing avariety of instruments. The dialog con-tinues with the addition of a choir, sing-ing in a circle samba. The call andresponse of this magnificent choir, as-sembled by Mendes and heardthroughout the album, is splendidlyjuxtaposed with Vai Quem Vem, a 15 -piece Bahian percussion ensemblethat seems to have as many tonal col-ors as a pianist with an extra 88 keys ateach end of a Steinway.

88

Brazilians seem to share a charac-teristic with jazz musicians in their abili-ty to take other musical forms andcompletely make them their own. Onecut, "What Is This," written and sungby Vai Quem Vem member CarmenAlice, fuses South American rhythms, aflute synth sound, and the traditionalberimbau with a beat box for a Bahianrap song, in English nonetheless.

If you're a fan of Quincy Jones, youmay be aware that he's a fan of thegreat Brazilian composer Ivan Lins.Along with his lyricist Victor Martins,Lins contributes the most beautifulpiece on the album, "Lua Soberana."Here is a perfect marriage of Mendes'style of North -South American arrang-ing, top L.A. session players, and theLins/Martins songwriting team.

Other contributions come from Car-linhos Brown, whose "Magalenha" isdriven by a triangle played in the hold -release style reminiscent of northeast-ern Brazilian folk music. Brown's othercompositions, "Barabare" and "Ma-gano," both exemplify the strong Bra-zilian vocal tradition; the former isbased on the Bahian "ijexa" rhythmand the latter on a Yoruban chant."Magano" is especially uplifting, withits rising choral exhortations. The clas-sically oriented composer Guinga con-

tributes "Esconjuros , its Portugueselyrics convey a power and majesty thattranscend linguistic barriers. So, too,Guinga's "Chorado," sung in the ex-traordinary tenor of Claudio Nucci.

Mendes' final masterstroke was toinclude a contribution from the greatmulti -instrumentalist and somewhat id-iosyncratic composer -performer Her-meto Pascoal. On "Pipoca," the sambathat Mendes commissioned from Pas -coal, singer Joe Pizzulo's voice nicelyunderlines the female voices.

With Brasileiro, Sergio Mendes hascreated one of the most important rec-ords of the year. It's not only a summa-tion of his career but a high point in ourenchantment with Brazil. Al Pryor

Watcha Gonna Do for the Rest ofYour Life: Dirty Dozen Brass BandColumbia CK 47383-2, CD; AAD;55:08.

Sound: A Performance: B

New Orleans' Dirty Dozen BrassBand manages to combine some ofthe strengths of groups like LesterBowie's Brass Fantasy and The WorldSaxophone Quartet into a CrescentCity wind and horn ensemble withoutpeer. Initially they were part of a waveof off -center artists pushed into the

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limelight during the early '80s by craftyindependent labels. Watcha Gonna Dofor the Rest of Your Life, their thirdrecord for Columbia, is a sassy collec-tion of mostly originals composed andarranged by the group's members.

Because their music is not per-formed with a conventional rhythmsection, the Dirty Dozen Brass Bandseems to be better at creating vehiclesthat showcase the artistry of its mem-bers, who play what we normally thinkof as non -soloing instruments. Sousa-phonist Kirk Joseph is remarkable. Inone moment, lines are whimsi-cal echoes of something between Mo-town and Tower of Power. Elsewhere,he seems to defy the limitations of thesousaphone by using his embouchureto conjure up an endless variation ofsounds.

The Dirty Dozen Brass Band's soundis jampacked with African, CentralAmerican, and South American cul-ture. Bearing testimony to the historicallegacy of New Orleans itself, this diver-sity is wonderfully reflected in the mu-sic that the ensemble has chosen torecord. "Eyomzi" and "Use YourBrain," written by the late South Africanbassist Johnny Dyani, are the onlycompositions contributed from outsidethe band. They demonstrate the DirtyDozen's ability to bump, grind, androck with the best bands of the NewOrleans tradition. "The Lost Souls (ofSouthern Louisiana)," written by trum-peter Gregory Davis, is a six -part suitewhose movements flow from a dirge -like overture to spiritual elements thatevolve into the more rambunctious Lat-in -tinged section.

Another piece that comes to mind is"Charlie Dozen," a radio -ready con-temporary track written by trombonistCharles Joseph. It opens with a funky,second -line back beat and follows withthe horns quickly moving from a unison

statement to an ever-growing crescen-do of counter melodies. These melo-dies reach their zenith as a collectivelyimprovised statement, only to return tothe original ensemble melody line.

Watcha Gonna Do for the Rest ofYour Life is another excellent contribu-tion from an ensemble that has man-aged to instill a sense of joy and revel-ry into their music. It took some cour-age for the group to step away fromusing well-known guest soloists andcrowd -pleasing standards, as theyhave done on previous records. How-ever, they and we arewith a fresh and engaging contributiorto the jazz idiom. Al Pryor

44th Street Suite: McCoy TynerRed Baron AK 48630, CD; ADD;37:29.

Sound: B+ Performance: B+

Sunrise Sunset: The Bob Thiele Col-lective featuring David Murray, JohnHicks, Cecil McBee, and Andrew Cyr-illeRed Baron AK 48632, CD; ADD;60:53.

Sound: B+ Performance: A -

McCoy Tyner has been rather prolif-ic the last 18 months, and additionalsessions are scheduled to be releasedthis year. Although saturation maycatch up with "John Coltrane's pian-ist," his continued intensity and floral -like approach make his work seduc-tive. It's difficult not to relish delvinginto 44th Street Suite, one of four rec-ords veteran producer Bob Thiele hasissued simultaneously in launching hisnewest label, Red Baron.

44th Street Suite is a quintet record,with Tyner joined by tenorman DavidMurray and altoist Arthur Blythe (bothof The World Saxophone Quartet).bassist Ron Carter, and Tyner's regular

McCoy Tyner's intensityand floral -like approachcontinue to make his workseductive on the quintetdate 44th Street Suite.

drummer, Aaron Scott. The date is amixture of structure and improvisation,covering the likes of Coltrane's "Bes-sie's Blues," Duke Ellington's "Blue Pi-ano," Rodgers and Hart's "Falling inLove with Love" and the 12 -minute,two-part title suite, written by Tyner,Blythe, and Carter. What's here is terrif-ic, save a few end -of -song fade-outs-an outdated technique if ever therewas one. The CD, however, runs ascant 37 minutes, which is hardlyenough time for this formidable ensem-ble to get its engine motoring.

Thiele's initial release schedule alsoincludes Sunrise Sunset, delivered bya group that goes by the name of TheBob Thiele Collective." This appella-tion arguably overextends the produc-er's prerogative, particularly when thesession fuses the talents of the afore-mentioned Murray, pianist John Hicks,bassist Cecil McBee, and drummerAndrew Cyrille. This quartet hasworked together and in sections previ-ously; musically, each owns equal stat-ure. In that sense, this is a collective.

The fearsome foursome latches onto "Body and Soul," which allows Mur-ray to interpret Coleman Hawkins, oneof his mentors, and " 'Round Mid-night," where, thankfully, the grouptakes the " 'Misty' of the '80s" to higherground rather than allowing it to wad-dle amidst the all -too -many hackneyedrenditions preserved to date. With thetitle track, the Fiddler on the Roof stan-dard, Murray and Hicks respectfullybend tradition. Regardless of material,this quartet always offers the real deal.

Jon W. Poses

In Walked Thelonious: Walter Davis,Jr. Mapleshade MHS 51263H. (Avail-able from Mapleshade Productions,2301 Crain Hwy., Upper Marlboro, Md.20772.)

The late Walter Davis, Jr. (who diedtragically of untreated diabetes), was aprotégé of Thelonious Monk. Here hereinterprets 14 of his favorite Monktunes, recorded using Mapleshade'spurist analog approach on a restoredalthough rather tinny sounding 1911Steinway. In his treatment of titles suchas "Crepuscule with Nellie," Davis nev-er smooths over the jagged -edgedMonkisms, while in hard -driving num-bers like "Bye-Ya" and "Off Minor," helets every note stand in sharp relief.

90 AUDIO/AUGUST 1992

Davis' pregnant little pauses beforesome of the more unexpected harmo-nies sound so exactly like Monk him-self it's almost eerie. John Sunier

Rhythm in Mind: Steve Coleman.RCA,'Novus 63125-2.

On Rhythm in Mind, Steve Colemanmethodically melds old and new com-positions as well as veteran musiciansand relative newcomers-Ed Black-well, Von Freeman, Tommy Flanagan,Kevin Eubanks, and Marvin "Smitty"Smith, to name a few. His conceptionis praiseworthy, but the music is evenbetter. There are orchestral -soundingreadings of two Thad Jones pieces("Slipped Again" and "Zeo") and Cole-man's own gorgeously rich yet intro-spective small -group entry "SweetDawn," seemingly written with Flana-gan in mind. Bassist Dave Hollandcontributes the semi -raucous groove"Pass It On," which allows Freeman tosound ultra -modern despite his near70 years and also gives us the enjoy-ably incorrigible Smith, who bowls astrike. Jon W. Poses

Straight Street: Harold Mabern. DIW/Columbia CK 48961.

Harold Mabern is an often underap-preciated pianist who's been playingjazz for more than 30 years. Born andreared in Memphis (as was his mentor,Phineas Newborn, Jr.), Mabern hasgreatly influenced a trio of established,home-grown pianists who are a gener-ation younger than he: Donald Brown,Mulgrew Miller, and James Williams. Itwas Williams who took it upon himselfto produce Straight Street.

Mabern is a powerful but delicatekeyboardist, falling on the right side ofbombastic, for instance, in his reading

of Coltrane's "Crescent." His fluidity isexceptional, and at times he can belightning quick. But his building ofchordal structures centered on octaveintervals-a la Wes Montgomery-re-mains his calling card. The sessionplaces Mabern with bassist Ron Carterand drummer Jack DeJohnette and isexceptionally tasteful throughout. It

also serves as a fine example of Ma-bern's succulent, blues -drenched jazz.

Jon W. Poses

Kenny Drew, Jr. Antilles 314-510-2.Jazz fans will immediately be drawn

to the name of pianist Kenny Drew, Jr.,whose father played piano with every-one from Dinah Washington to BuddyRich. On Drew's American label debut,after a couple of records for a Japa-nese label, legendary procucer JerryWexler and John Snyder successfullyshowcase the breadth of his musicaleloquence. This album is typical insome respects-a mixture of stan-dards and originals, ballads and up -tempos, and solo, trio, and group set-tings. As a composer, though, Drewdisplays a wonderful penchant for fullmelodic development, with lines thatare always fluid and complete and withideas that flow throughout thechanges. As a pianist, he has the re-laxed self-assurance of a gifted jazzplayer and the kind of sublime virtuosi-ty and aplomb most often associatedwith classical players. Al Pryor

Open Letter: Ralph Towner. ECM 314511 980-2.

Departing from some of his moreethereal inclinations, guitarist RalphTowner delves into a more melodic vo-cabulary. Playing classical and 12 -string guitars and synth, and accom-panied only by drummer Peter Erskine,Towner ranges from cool jazz intro-spection to neo-Romantic contempo-rary classical composition and lighter,Latin -inflected expressionism. On "In-fection," ripe with deft interplay be-tween guitar and percussion, Townereven gets down with some fairly pro-gressive polyrhythmic improvisation.Lyrical fingerstyle jazz arrangementsof Bill Evans' "Waltz for Debby" andSammy Cahn's "I Fall in Love Too Easi-ly" round out Towner's most relaxedand genuinely entertaining set in quitea while. Michael Wright

AUDIO/AUGUST 1992 91

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KRELL STUDIO DAC

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Put some POWER in your portables!The Personal Amplifier pc -16 delivers 40W/chmax into 8 ohms @<.005%THD, all from a classy7"x6"x1.75" black aluminum box. This uniqueintegrated amp has a built-in portable audio powersupply and nicad battery recharger. Top qualitywith 5 gold-plated stereo inputs. List price: $349. Your priceonly $299 with free shipping and Frontier Audio T-shirt.

CALLebout our new Personal Sobwoofers-perfectfor email system.Products quality -made in Michigan with a 3 -year warranty on parts and labor.

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BOSTON' PPI*7915 $439 5.2 $279 Fe. 2050AM $2757914 399 6.2 299 pr. 2075 AM 375

7294 439 851 185 M 2150AM 4893331 199 861 175 pr. 4200 AM 4103555 395 10.0LF 160 ea.

7292S .. 2995957 469 Eqx $239

7803 469 XLG2000 $229 Epicenter 109

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XTR 12 $99 ea. KSRG8 Cd115 ea.

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KICKER'C15 $110 ea.C12 80 ea.CIO .......... 79 ea.

NAKAMICHI' PA RASOUND' INFINITY'CD 2 $645 HCA-1100 II $339 Sir 112 $429 pr

CD 3 485 HCA-1200 649 R.12 239 pe

REC I 765 HCA-2200 .... ..... 1245 Ref 5 529 pr

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CASS 2 325 C/PT-1000R 459 Sal 82 249 pr

PARADIGM' NAD' JVC3re $239 pr. 1600 $319 RX707 __Authorized9ter II 535p.2400 TrIX 479 F0(1050 Dealer

See II ..............349 pr 5000 399 AVX1050 Cal7,811 ..............389 pr. 7240PE 385 XLZ 1050 Cal11es II 639 pr 2100X 345 FOC 807 VTN ....CalTitan....._160 pr. 7225PE 265 TDV 541.........Today

YAMAHA' PINNACLE CARVER'RXV 850............$649 PN8. $296 p r . CT -6 $450

RXV 1050 ............969 PN5. 146 pr. CT -17 . .. 629

DSPA 1000 1199 PN2* 119 pr. TFM25 559

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ANNOUNCEMENTSANNOUNCEMENTSACT AUDIO gives good sound!

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AUDIO CLASSICSBuys -Sells -Trades -Repairs -Modifies. AMPLIFIERS: Ar-agon 200411$1099; Audio -Research D40 $795, D52B $449,D115 $1395; Berning EA230 $399, EA2100 $1999; CarySLA7ODLH $1075; Classe DR8 $1825; conrad-johnsonMF80 $899, MF200 $1399, MV50 $1099; CounterpointSA12 $899, SA220 $2549; Dynaco Mark Ills $699, 120$199; Forte 3 $899; Hafler XL280 $349, XL600 $1099;Heath W4AM $199; Jadis Defy 7 $4575; Krell KSA80 $2545,KSA250 $4699; Lazarus H1 $499, H1A $1050; Marantz 8$999; McIntosh MC2125 $1299, MC2150 $1299, MC2250$1099, MC240 $1199, MC250 $429, MC2500 $2500,MC2600 $3995; MC275 $3-5000, MC4Os $999, MC5Os$559, MC75s $2499, MC754 $699; Motif MS100 $1999;Precision Fidelity M7A $399; PS Audio 200C $1199; Quad

$599;306 SAE 2205 $499; Sonograph SA120 $599 ; Sound-craftsman ProPower 10 $799; Sumo 9+ $499. CD PLAY -ERS: Adcom GCD575 $359; Arcarn Delta Black Box $299;B&O 4500 $499; conrad-johnson DF1 $699; DenonDCD1500 $230, DCD3520 $899; Kinergetics KCD40$1499; Krell MD2A $2375, SBP32X $2395; McIntoshMCD7000 $749, MCD7005 $1099; NAD 5240 $249, 5300$ Philips DAC960 $499, LHH1002 $699; Wavetrace540;Technologies CD50 $399. CROSSOVERS: KinergeticsSW200 $499. EQUALIZERS: McIntosh M0101 $149,M0104 $199; SAE DC2215 $199. HEADPHONES: SfaxDemos ED1 $475, Lambda $199, Lambda Pro 3 $839,Sigma $379; Signature $1499, SR34 Pro $149, SR84 $149.INTEGRATED AMPUFIERS: Amber 50b $249; McIntoshMA6100 $499, MA6200 $1099; Soundstream RA100 $349.UNE CONDITIONERS: Tripp

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$1399; Sound Technology 1000A $600, 1400A $500,1700B $1999. TUNER PRE MPS McIntosh MX110 $499,MX112 $449, MX113 $550, MX117 $1199. TUNERS: Am -ber 7 $125; Carver TX11 $288; Creek T40 $299; SE130$264; Magnum Dynalab Fit 1 $375, FT101 $465; Marantz10B $1699; McIntosh MR500 $699, MR510 $839, MR55$199, MR65B $299, MR67 $599, MR7082 $1199, MR74$549, MR77 $749, MR78 $1199, MR80 $1299; Phase Lin -ear 5000 $199; Sansui TUX701 $299; Yamaha TX400U $75.TURNTABLES: VPI HW19 JR + PT6 $895, HW1911 $695,HW19111$889. FREE Catalogue. 8AM-5PM EST Mon.-FrI.,AUDIO CLASSICS, POB 176 AAA, Walton, NY. 13856.

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UNIVERSITY AUDIO SHOP, MADISON, WI... Best soundfor dollars? We have many solutions! Dealer: B&K, KEF,Paradigm, Vandersteen, Parasound, Micromega, Audi-oAlchemy, Rega, Roksan, AudioQuest, Symphonic Line,Modsquad & others. (608) 284-0001.

THE LNPA 150 MONOBLOCK POWER AMPLIFIER; clari-ty, immediacy, and accurate harmonic content never beforeheard in high end audio. Designed to please a musician'sears and built for longevity: "Some of the best solid state Ihave ever heard." Brian Cheney; 'VMPS Audio Products.R.E. DESIGNS, 510 Western Avenue, Lynn, MA 01904.(617) 592-7862. Available to audition at The Listening Stu -dio, Boston, MA.

ELECTROSTATICSPEAKERS

Latest technology, full range design. "Risk free" thirtyday home trial. Uncompromised performance at factorydirect pricing. West coast dealer inquiries invited.DAVID LUCAS, INC., 924 HULTON ROAD, OAKMONT,PA 15139. (412) 828-1967.

Hardbound AUDIO, annual bound volume editions, justlike the ones in the Editor -in -Chiefs office. Various yearsavailable in limited quantities, $30.00 each. Also available:Hardbound October Annual Equipment Directories. Years 1 1989, 1987, 1985, $15.0 each, and hardbound MC990,ar Stereo Directories for years 1991, 1990, 1989 and 1985,ay$8.00 each. All prices include postage and handling. Allorders postpaid. Check or money order only payable toAUDIO MAGAZINE. Send orders to AUDIO, 1633 Broadway,New York, NY 10019. Attn: Michael Bieber, Or call212/767-6301 for further information.

CALL USFOR QUALITY AUDIO

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UDIO (914) 666.0550--UTLET PO Box 673

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THE ABSOLUTE POWER Seriesof wholly transparent Power Line Purifiers will absolutelygive your greatest improvement in sound quality per dollarinvested. The finest consummate, technologically refinedpower conditioning products ever conceived. The audibleimprovements are simply breathtaking, not subtle. Will notdegrade your sound or limit your dynamics like other prod -ucts will. Hear what you have been missing, your systemsounding its absolute best! Many affordable models avail-

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CA$H PAID FOR AUDIO & VIDEO EQUIP -MENT. AUTHORIZED: DENON, HARMON KARDON, RO-TEL, SUMO, ACURUS, ROGERS, CELESTION, ENERGY,SIGNET, ETC. STEREO CLASSICS, 75 CHURCH ST.,NEW BRUNSWICK, NJ 08901. (908) 220-1144, FAX: (908)220-1284.

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SOUND CONNECTIONS INTERNATIONAL, INC.203 Flagship Dr., Lutz, FL 33549 PH: (813)948-2707

96 AUDIO/AUGUST 1992

ANNOUNCEMENTSTHE STEREO TRADING OUTLET

WE BUY SELL AND TRADE QUALITY USED AUDIOCOMPONENTS. AMPLIFIERS: ADCOM GFA-565 MONO -BLOCKS $1195, B&K ST140 $419, B&K ST202 + $619,B&K M200 $1695 DEMO, CARVER M1.51- $459, CARVERTFM-6C $279, CARVER TFM-15 $445, COUNTERPOINTSA -20 $1399, CROWN 0150 $279, ELECTROCOMPAIENTAW-75 BAL $1595, 2CH AMP 395, SON OF AMPZILLA$279, KRELL KSA50 MKII $1795, HAFLER XL600 $849,MOSCODE 60011$1249, NAD 2600PE $479, PARASOUNDHCA2200 $1195, PIONEER M90 $495, ROTEL RB-960$289, ROTEL RB980 $519(B), ROWLAND #5 $3259,THETA MONO AMPS $859. PRE/AMPS: ADCOM GFP-565$495, ARC SP-15MKII $3895, B&K CS115 $265, B&KCS117 $309, B&K PRO1OMC $629, CARVER C3 $309,CARVER C1 $225, CITIATION II $129, CJ PV7 MC $495, CJPV8 $995, LEVISON ML1 $989, CAT SL1 $2249, LUX C12$169, MAC C26 $225, MAC C24 $195, MODSQUAD LINE -DRIVE $299, NAIM 32 W/HICAP PWR SUPPLY $895, SO-NOGRAPH SC1 $389, NAD 1300PE $229, PIONEERSPEC -1 $295, ROWLAND COHERENCE 1 $1795, SONYTA100ESD $669, YAMAHA Cl $495. CD/PLAYERS: CAR-VER SDA-410 $249, CARVER SDA-490t $625, DENONDCD-610 $179, DCD-810 $159, DCD 1500 $199, MCOR-MICK SIG $1995, NAD 5000 $339, NAK CDP2A $215,PIONEER PD91 $525, ROTEL RCD865 1 BIT $379 (b) 5YEAR WARR LIMITED OTY!, ROTEL RCD955 $395, SONYCDP-C715 $315, YAMAHA C DX820 $269, YAMAHA C D910$225. SPEAKERS: ALTEC LANSING 511 $1949, AUDI-OSOURCE VS1 $85, B&O S45 $149, CELESTION SL3000$995, DALQUIST DO -10 $475, DQ-12 $649, GEOSTATG120 $249, INFINITY RS 2.5 $849, INFINITY KAPPA 8$995, KEF C80 $595, KEF 104/2 $1469, MARTINLOGANCLS-MKII $2495, OHM WALSH 4 $699, TDL MONITOR$2095. PROCESSORS/MISC: ARAGON D2A W/IPS $595,AUDIOALCHEMY $399, WADIA X32 $1495, DBX NX40 $29,FOSGATE DSM36OB $495, HUGHS AK100 $249, PI-ONEER RG1 $79, PIONEER SP700D $375, YAMAHADSR100 $369, AUDIOSOURCE SS -FOUR $289. TUNERS:ADCOM GFT2 $195, CARVER TX12 $395, TX11 $249,DENON 460 $169, LUX T12 $165, ROTEL 860 $190,YAMAHA T700 $169. WE OFFER THE LARGEST SELEC-TION OF PRE -OWNED AUDIO COMPONENTS, FULLYGUARANTEED. HIGHEST PRICES PAIDSS FOR YOURUSED AUDIO GEAR. ALSO, CALL ABOUT SPECIALDISCOUNT ON OUR FULL LINE OF NEW AUDIO COM-PONENTS & ACCESSORIES. Come see the largest selec-tion of audio at our three upper level show rooms: 320 OldYork Road Jenkintown, PA 19046. Send name & address forFree Mail list. Layaway credit cards welcome. AuthorizedDealer For: AR, B&K/SONATA, EMINENT TECHNOLOGY,PARASOUND, PARADIGM, PHILIPS, ROTEL, STRAIGHT -WIRE, TARA LABS, SUMIKO ETC..

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CALL (215) 886-1650Best prices! Featuring: Forsell turntablesand CD transports, L.A. Audio, and Sym-phonic Line. AUDIO AMERICA (Virginia).Call 1-703-745-2223.AUDIO UNLIMITED In Colorado offers Acoustic Energy,Acrotec, AirTight, Audio Note, Aural Symphonics, Benz -Micro, Bitwise, Chario, CODA, Dynavector, Ensemble,Ikeda, JM Labs, Lazarus, Magnum Dynalab, Musical De-sign, ORACLE, Muse, Roksan, Roomtunes, SOTA, Tice,Unity Audio, Wheaton Triplanar, & more... Call John Barnesat (303) 698-0138 or Fax (303) 922-0522. 2341 West YaleAve., Englewood, CO 80110.

FOR SALECALL TOLL FREE! 1{800) 826-0520. NAD * ONKYO *HARMAN KARDON * CARVER * VELODYNE * HAFLER* M&K LEXICON * CELESTION AUDIOCONTROL *TARGET * ATLANTIC TECHNOLOGY * PROAC *ACOUSTAT CWD* FRIED MONSTER CABLE * NILESAUDIO THORENS * STAX * GRADO DAHLOUIST *KINERGETICS * NITTY GRITTY PROTON * APATURE TERK *. SOUND SELLER, 2808 CAHILL RD., MARINETTE, WI 54143. FAX (715) 735-5838, PHONE (715)735-9002.

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FOR SALEBEST TRADES OFFERED! WE BUY, SELL, TRADE, CON-SIGN MOST HIGH -END PRODUCTS. AUDIO DOCTOR,1518 W. COMMERCIAL, BUFFALO, MO 65622. (417)345-7245. CODA/ISA/MC.

AUDIO BY VAN ALSTINE = AUDIOPHILE QUALITY ataffordable prices because we sell direct to you. Our new500V/US slew -rate Omega amplifier circuits, our patentedFET-Valve hybrid tube-mosfet components, and our com-plete new Super Pas Four hybrid preamplifier kits areoriginal engineering designs that eliminate transient distor-tion, are durable and rugged, and sound closer to live thananything else al a rational price. Our B&W crossover up-grades are famous -check with us if you want a much better801 Matrix, 803 Matrix, or DM640. Complete wonderfully -musical factory wired amplifiers, preamplifiers, tuners, andCD players. Dynaco owners - our rebuild kits for all Dynapreamps and the St -70 are $195 each, including all new PCcards. Check our ratings in Stereophile, The AbsoluteSound, and Sensible Sound. We design new circuits formost Dyna and Hafler solid-state components too. Nowultimate musical enjoyment is much less expensive. Write orcall for our new illustrated catalog. Audio by Van Alstine,2202 River Hills Drive, Burnsville, MN 55337. (612)890-3517.

VMPS SPEAKER KITS/ASSEMBLED - Former VMPS em-ployee - quality audio components/accessories also, irresist-able prices, personal service, modifications. CUSTOMAUDIO (707) 765-1992.

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AAA -CALL US NOW!!! Luxman, Carver, ADS, Na-kamichi, Denon, Boston, NAD, KEF, B&W, Adcom, Polk,Hafler, B&K, Onkyo, Snell, DCM, Counterpoint, Spica,M&K, VPI, Nitty Gritty, Sumiko, Thorens, Velodyne.414-836-2942. FOR THE LOWEST PRICES!

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ABARGAIN: STAX SIGN/LAMBDA $1,395; SIGN/SRM1 -II$859, PRO/LAMBDA(#1) $459, SIGN/LAMBDA SRD/7$599; GRACE F9ERUBY $199; F9E $125; FR1MK3F $169;ALL UNUSED (212) 966-1355.

NITTY GRITTY& LAST RECORD CLEANING MACHINES& SUPPLIES IN STOCK AT LOW PRICES! HCM AUDIO,1-800.222-3465,1-916-345-1341.

Premium Parts & AccessoriesThe largest selection of audiophile capacitors,resistors, connectors, chassis wires in NorthAmerica. MIT MultiCaps, Wonder Caps -solder -wire, Solen cap, Rel-Cap: Vishay, Holco, Caddock,Resista resistors: MIT, Cardas, XLO, & silverchassis wires, custom cables & terminations: alltypes of audio connectors and adaptors: silvercontact toggle, rotary switches & attenuator kits.Tubes, feet, damping sheets & compounds, toolsand many accessories. Best prices & best service!Phone 415 669-7181 or fax 669-7558 for a catalog.Michael Percy, Box 526, Inverness, CA 94937

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JBL-XPL LEXICON MELOS ROTEL JEFF ROWLANDSHAHINIAN SUMO VAC WADIA AND MORE

AUDIO/AUGUST 1992 97

FOR SALE FOR SALECD STORAGE -FStore 300 CD's behindglass doors. Five adjustableshelves with brass bookendshold single & multiple CD's,Videos and Cassettes - in anycombination. Comes in SolidOak, Walnut, Teak or Cherry.Can stack or wall mount.

No. A300

SORICA

Nutley, NJ 07110P.O. Box 747-1

FREE Literature and Prices:Call 1-800432.8005FAX 1-201448-2592

Patent pending

STORADISC"Fine -furniture quality CD storage systems withangled shelves & non -slip surface that holds asingle CD upright. Solid hardwoods & texturedfinishes. 360 & 576 capacity shown. Smaller sizesavailable. Write or call 1 - 8 0 0 - 8 4 8 - 9 8 1 1.

Davidson -Whitehall Company555 Whitehall Street Atlanta, Georgia 30303

AUDIO BEST: LA, ORANGE, SAN BERNADINO, CALI-FORNIA. HOT COMPONENTS: CELESTION 100, COUN-TERPOINT, TARALAB, PS DIGITLINK; AUDIBLE ILLU-SIONS; MODSQUAD; ACOUSTAT; SPICA; VMPS;MAGNUM; FOSGATE; B&K, SUPERPHON, MUSIC REFERENCE, SOUNDLAB, MAPLENOLL, SYSTEMDEK,GRADO, MONSTER, STRAIGHTWIRE, MUSIC CON-CEPTS, (714) 861-5413, APPOINTMENT.

AAA -LOW PRICES -HIGH END EQUIPMENT!!!PS AUDIO, HAFLER, B&K, CARVER, NAKAMICHI, LUX -MAN, THORENS, M&K, SNELL, ONKYO, GRADO, FRIED,SUMIKO, DCM, VELODYNE, ADS, VPI, and many others.AUDIO ELITE, Menasha, WI. (414) 725-4431.

OUR PRICES CAN'T BE BEAT!!!

CALL 1-800-222-3465 FOR: AUDIO ALCHEMY ARCICI&sb ACURUS ARAGON AUDIOQUEST B & K NAD -CELESTION COUNTERPOINT DAHLQUIST E.A.D. FRIED GRADO LAST LEXICON LYRA MONSTER MUSICAL DESIGN MUSIC REFERENCE NITTY GRITTY OCOS PARASOUND POWER WEDGE SIGNET SME SOTA STAX STRAIGHTWIRE SUMIKO TARA LABS VMPS FREE SPECIALS LIST, HCM AUDIO1-916-345-1341.

TARA LABS CABLES & ELECTRONICS IN STOCK. CALLFOR PRICING & MONTHLY SPECIALS. HCM AUDIO,1-800-222-3465, 1-916-345-1341.

STRAIGHTWIRE CABLE CLOSEOUT! LSI 1 -METER IN-TERCONNECT $39.95pr. ALSO STOCKING MAESTRO,RHAPSODY & ENCORE. I-1CM AUDIO, 1-800-222-3465,1-916-345-1341.

DYNACO ST70 UPGRADES: Gold EL34 Sockets, 1215Microfarad on -board solid state B+, triode output, more.DoReTech Audio Services, Box 6054, South Hackensack,NJ 07606-4354. Phone/Fax: (201) 843-0488.

Cable TV Descramblers, Converters, Accessories. NameBrands. Lowest prices. Best service. Call CABLE READYCOMPANY, (800) 234-1006 for FREE 16 -page color catalog

UPGRADE FOR LESS! ROGERS' AUDIO IS OFFERINGBEST PRICES ON USED AUDIO COMPONENTS. BUY -SELL -TRADE. CALL (509) 966-4431.

HIGH QUALITY AUDIO CABLES AT HALF THE COST OFCOMPARABLE CABLES. 3 FT. PAIR FOR $50. EACHADDITIONAL FOOT $5 PER PAIR. SATISFACTION GUAR-ANTEED. SEND CHECK/MO TO: DES, 6108 SPRING-BORO PIKE. DAYTON, OH 45449.

SPEAKER COMPONENTS

MAVISA

MAUDIO

Warm

) 1

morel

*Hessp- ,-Ayclax

scanspeaK

(seas)

CROSSOVER COMPONENTS

FAST CAPACITORSMetallized Polypropylene (Non -Polarized)Values from 1.0 mfd to 200 mfd.Voltage Rating: 250 VDC / 150 VAC

SOLEN INDUCTORSPerfect Lay Hexagonal Winding Air CoredValues from .10 mH to 30 mH,Wire Sizes from #20 AWG to #10 AWG

HEPTA-LITZ INDUCTORSSeven Strands Litz -Wire ConstructionsValues from .10 mH to 30 mHWire sizes from #16 AWG to #12 AWG

SOLEN CROSSOVERSCustom Computer DesignPassive Crossover for Professional, Hi-Fi and

p,

Car Hi-Fi, Power up to 1000 Watt.

oi Le CROSSOVER, SPEAKER PARTSGold Speaker Terminals, Gold Banana PlugsGold Binding Posts, Crossover Terminals,Power Resistors, Mylar Capacitors,Plastic Grill Fasteners, Nylon Ty -WrapsGrill Cloth, Car Speaker Grills, Misc. Parts.

SOLEN INC.4470 Thibault AveSt -Hubert, OC J3Y 7T9Canada

Tel.: (514) 656-2759Fax: (514) 443-4949

COMPUTER AIDED DESIGN FORENCLOSURE AND CROSSOVER

AVAILABLE TO CUSTOMERProduct specifications and prices

available upon request.

B & K AMPUFIERS & PREAMPS.THE FINEST VALUE INLOW-PRICED AMERICAN MADE ELECTRONICS! WESTOCK ALL MODELS. HCM AUDIO 1-800-222-3465,1-916-345-1341.

AUDIO DEN Authorized Sales and Service. ADCOM,ARAGON, ARCAM, B&K, CAL, CELESTION,CONRAD-JOHNSON, KINERGETICS, KLIPSCH,MAGNEPAN, MIRAGE, MIT, MONSTER CABLE, NAD,NAKAMICHI, PARADIGM, ROGERS, SHURE ULTRA,SONOGRAPHE, SOTA, STAX, THETA DIGITAL, VE-LODYNE, VTL & YAMAHA. Audio Den, 2021 SmithHaven Plaza, Lake Grove, NY 11755. (516) 360-1990.

FOR TWENTY YEARS WE HAVE BEEN THE SOURCEFOR ALL OF YOUR BLANK AUDIO VIDEO TAPES ANDACCESSORIES, EVEN REEL-TO-REEL TAPES FOR STU-DIOS, AT DISCOUNTED PRICES. CATALOG AVAILABLE.SOUNDD INVESTMENT CORPORATION, 3586 PIERCEDRIVE, CHAMBLEE, GA 30341. (800) 659 -TAPE (8273), INGA (404) 458-1679. FAX: (404) 458-0276.

AUDIO SOLUTIONS is Atlanta's Hi -Endsource for Audio Research, McCormack,Theta, Vandersteen, CODA, Straight Wire,Acurus, Snell, Music Metre, Classe, Musi-cal Design, B&K, Magnum Dynalab, Rotel,& VPI. 4880 Lawrenceville Highway. (404)381-0778.

DESIGN & INSTALLYOUR OWN CUSTOM AN or MULTIROOM SYSTEM withour informative cataloge of installation supplies. CompleteSystems, Parts, Text, Diagrams, & Full Technical Support. -Cataloge $3.00. R. Gladwin, P.O. Box 221666, Carmel, CA93922 or Call: 510-655-6653.

INFINITY BETAS, $6895; MAC MR80, $1395; COUNTER-POINT 5.1, $895; DYNA ST70, $125; FOSGATE 3602 SUR-ROUND, $395; ADS -10 SURROUND, $125. (801)224-4809.

MCINTOSH Bought -Sold -Traded -Repaired. FREE Cata-logue. See our ad at the beginning of the classifieds. AUDIOCLASSICS, POB 176MB, Walton, NY 13856.607-865-7200. 8AM-5PM EST Mon. -Fri.

-Audio Advertiser for over a Decade -

PAUL HEATH AUDIOVIMAK, UNITY, AUDIOSTATIC, CONVERGENT AU-DIO, PS AUDIO, MUSE, VAC, GENESIS, B&K, STAX,MERLIN, AUDIBLE ILLUSION, NEAR, MAPLENOLL,CROWN MACRO, MUSIC REFERENCE, QUICK-SILVER, XLO, CARDAS, ENLIGHTENED AUDIO, SIM-PLY PHYSICS, MFA, MAGNUM DYNALAB & MEN-TMOR. 217 ALEXANDER ST., ROCHESTER, NY14607. (716) 262-4310.

STEVE'S AUDIO ADVICE &HI-FI FARM

Thanks to our customers we're setting records! Specialsummer pricing on VMPS, McCormack, B&K, Quad, &introducing the incredible tube sound of Woodside Ra-dford. Always great buys on our other products - usedequipment also available. ONE PAIR ONLY: SNELLTYPE -A3. Considered Class -A by many reviewers &audiophiles. Call Tollfree Nationwide: 1-800-752-4018.

AA/SOUND ADVICELOW PRICES/FAST DELIVERY! DENON, NAD, KEF,B&W, ADCOM, CARVER, NAKAMICHI, BOSTON,WXMAN, HAFLER, ADS, M&K, ONKYO, B&K, DCM,SNELL, FRIED, VELODYNE, POLK, SPICA, COUN-TERPOINT, AND MORE! 414-836-2942.

FULL WARRANTY!!MOST ITEMS IN STOCK!!

OPEN SUNDAYS!!

CALL US!!WARNING! BUY NO AUDIO EQUIPMENT until you give usa call! Special prices on demo units from Coda, Cary,Symphonic Line, Parasound, Muse, Creek, Superphon, Lin-aeum, Ryan, Museatex, Spectrum, MIT, & More! SimplyPhysics Darkstar Signature Turntable w/stand ($5000), now$2250. MIT 10ft. 750 CVT Terminator cables ($4700), now$2350. SOUND CONSULTANT, Albuquerque, NM (505)821-9626.

98 AUDIO/AUGUST 1992

FOR SALE FOR SALE"ANALOG RAINBOW" The affordable spectrum of sound.Hybrid stranded and solid core interconnects. Designed bySenior Audio Tech/Sound Engineer. Equivalent to highpriced brands. Fully burned -in. 30 -Day Money Back Guaran-tee. 3 Ft./Pair. Only $89.95 Complete. The Westwood Group,1115 Inman Avenue, Suite 330A, Edison, NJ 08820. (908)548-6700.

DYNACO TUBEAMPLIFIERS

We offer an entire upgrade of the venerable 5170 to anexceptional 35W pure tube based amplifier. The kit includestotally redesigned power supply and a triode based driverboard. We also offer Peerless/MagneQuest hand woundhigh performance output transformers for all Dynaco tubeamplifiers. WAVELENGTH AUDIO, 4539 Plainville Road,Cincinnati, OH 45227. (513) 271-4186.

EXPERIENCED, FRIENDLY ADVICE! FREE SHIPPING!MIRAGE, PS, CWD, STAX, KINERGETICS, KEF, PHIUPS,AUDI °QUEST, FRIED, MONSTER, QUAD, SPICA,STRAIGHTWIRE, MORE!! READ BROTHERS, 593 KING,CHARLESTON, SOUTH CAROLINA 29403. (803)723-7276.

YAMAHA B2X-$600. DENON2400-$400. ACCUPHASE-E202, T100-$500. TAN DBERG3008 PREAMP-$295.GSI5TP, TUBE -$450. ARAGON -24K $600. LINN AXIS$500. YAMAHA BX-1 MONOBLOCKS-$1200. TRADESCONSIDERED. MUST MAN BE BORN AGAIN? JOHN3:1-18. HOSANNA AUDIO. (313) 471-1223.

AUDIO CABLES & MOREDON'T PAY EXORBITANT PRICES FOR TOP QUALITY.WE HAVE YEARS OF EXPERIENCE IN WIRE MANUFAC-TURING AND HAVE SIMULATED THE HIGH PRICEDBRANDS. HIGH PRICED EQUIVALENTS AS LOW AS .35/FT. WE DEMYSTIFY WIRE TECHNOLOGY, SEND FOREXPLANATION LITERATURE WHICH ALSO INCLUDESALL OUR AUDIO PRODUCTS PRICE LIST OR CALL OURLITERATURE REQUEST # (800) 321-2108, 24 HRS/DAY.L A T INTERNATIONAL, DEPT A, 317 PROVINCETOWNRD., CHERRY HILL, NJ 08034.

ARIEL...SPECIALIZING IN COST EFFECTIVE HIGH -END: B&K, NEAR, Musical Design/Concepts, Straightwire &Many More. Authorized Dealer. Carmel, IN. Visa/MC. (317)846-9766, 5-10PM.

HI Fl CLASSICS- USED HI END- HUGE SELECTION ofcomponents, cables, etc. Competent & helpful salespeople& the best prices around. WE BUY SELL & TRADE, INVENTORY LIST AVAILABLE. TEL: (718) 318-9618, FAX: (718)318-9623.

ATTENTION MUSIC LOVERS! Alon, Altis, Arcici, AudioStatic, Boulder, Coda, Clavis, Crown, EAD, IDOS, Jadis,NBS, Power Wedge, PS Audio, Roksan, SimplyPhysics,Sound Labs, Soundwave Fidelity. Straight wire, VMPS, XLO,& more! Trade-in accepted. Call (313) 342-2475 or (313)459-5454 for prices & info. Gil Morrison.

CLOSEOUT SPECIALS!! CALL FOR LISTING OF NEWAND DEMO SPECIALS ON OVER 100 BRANDS OF HIGHEND AUDIO EQUIPMENT AND ACCESSORIES. ORDERLINE: 800-438-6040. INFORMATION LINE: 704-889-9223

ATTENTION AUDIO BUYERS!!!AUTHORIZED DEALER FOR ADS, ALPHASONIK, BA-ZOOKA, BOSE, CARVER, DENON, HAFLER, INFINITY,KICKER, KENWOOD, JVC, NHT, NILES, ONKYO, PI-ONEER, POLK, SONANCE, AND OTHERS. THE SOUNDAPPROACH, 6067 JERICHO TPKE, COMMACK, NY11725. (800) 368-2344.

BEST $1,000 SPEAKER Plus B&W+ BANG & OLUFSEN + NAKAMICHI r DENON + ON-KYO + VMPS + TRIAD + REVOX & Many More High EndLines -BARGAINS -HONESTY! TECH ELECTRONICS904-376-8080.

ADCOM, B&K, HAFLER and CD MODS...by MUSICAL CONCEPTS deliver elegant sound. Ba-sic circuit redesigns for preamps and amps, inexpensiveor "all-out"-Toroids, huge filter caps, Dual -Mono con-versions. MC -3T (Teflon") drop -in replacement preampboard for most Adcom, B&K, and Haller! NEW! PA -1front-end boards for HAFLER amps -incredible musi-cality on a budget (kit available)! SuperConnect IVinterconnect and DlglConnect-the best or yourmoney back! We modify most PHIUPS, ROTEL, MAG-NAVOX, PIONEER CDs, also AUDIO ALCHEMY, AL-TIS DACS. MUSICAL CONCEPTS, 1832 BORMANCT., SUITE ONE, ST. LOUIS, MO 63146. (314)275-4925.

BANG & OLUFSEN, B&W, CARVER, REVOX,NAKAMICHI, ADCOM, DENON, H/K,YAMAHA, CELESTION, KEF, ADS, POLK,INFINITY, JBL, KLIPSCH, ETC. MANUFAC-TURER'S WARRANTIES. AUTOMATEDPRICING 24 HRS, LIVE ASSISTANCE 10-6EST. AMERISOUND SALES, INC. (904)262-4000.

CD PLAYERS

MUSICAL CONCEPTS = CD MUSICALITY"The Musical Concepts players are not about fancyfacepiates, nor unsupportable hype, they're about satis-fying musicality!" -ENIGMA IV, "The best CD value,period, outperforming $3000-$4000 transporVDACs",for only $595, ERA IV, "Rich, warm, delicate, tube -likeliquidity" $795, EPOCH IV, "More musicallynatural thanany transport/DAC combination -breakthrough natu-ralness and musicality!", $995. All players use 384Xoversampling! Try our CDT -hear the difference atransport can make($595)1We modify most Rotel, Phi-lips, Magnavox, Pioneer -plus Allis and Audio Al-chemy DACs. MUSICAL CONCEPTS, 1832 BormanCt., Suite One, St. Louis, MO 63146. (314) 275-4925.

COMPACT DISCS

DISCOUNT COMPACTDISCS

Telarc $11.99/cd; Chesky $10.99/cd; DMP, Reference &Sheffield $11.99/cd! Hundreds of other labels at lowprices. Send SASE for catalog or your order with Visa /MC / Disc / Check + $4 shipping to: THE ACMECOMPACT DISC COMPANY, P.O. BOX 7004, EVAN-STON, IL 60204.

Compact Discs! Superb Service! Large Selection! Cornpetitive Prices! Invoiced Accounts! Order: (9am-5pm E.S.T.).(800) 843-3472. NATURAL SOUNDS; 250 Beverly Boule-vard; Suite A-106; Upper Darby, PA 19082-4506.

LATIN MUSIC LOVERS. Your 1 stop source. CD's & videosfrom Latin Countries. JPR LATIN RECORDS, P.O. Box,4155-B, WP, FL 32793.

RECORDS

ACTIVE ELECTRONICCROSSOVERS

MODEL 120 CABINET & NEW 120-R"RACK AND PANEL" DESIGNS

Made to order in Butterworth bi-amp,tri-amp, or quad -amp configurationswith optional level controls, subsonicfilters, or summers. Filters, regulatedpower supplies, equalizers, are alsoevadableNew catalog and price sheet. Free!

neotetau, Eng. Lab.11823 Jefferson BI., Culver City, CA 90230

PHONE (310) 397-9668

Sometimes Great Sonics Come inSmall Packages!

The MulliCap Son, Music Interface Technologies &re.

The lowest ESR & ESL Lowest dlelechfc absaption Lowest phaseaevlatIons Most stable phase cbaracterlsitcs Greatest haradentperformame Reliable a consistent bug -lean performance ona ..

MORE USABLE BANDWIDTH

Musical Translation?The greatest dotty across the frequency range.

41111

. NE MIT MuMCcipThe most at capacitor In the world.

US InquIriew CVTL Inc. MN Grcm Voir, lichwoy. /Album CA E1603Tel: (916)823-1186 Fax: (916)823-0810

lnrl Inqukka: MIT Components 760 wane Read. UV 19. GAMY. Ort.CANADA EAE dA6 Tel: (416)847-3277 Far (416)8475471

CAARare Records Ltd.

We buy and sell

LP vinyl recordsOver 100,000 titles in stock

139 West 72nd StreetNew York, NY 10023212 877-5020

LV/CD/RECORD COLLECTOR'S SUPPLIES. Jewel boxes,record jackets, sleeves, storage boxes, 78 sleeves, dividers,much more! Free brochure: CABCO PRODUCTS, ROOM663, ROB 8212, COLUMBUS, OH 43201. (614) 267-8468.

GLIDING PLATTER'" +. Fits Nifty -Gritty & Record Doctorfor effortless record turning! New Vac -aligned platter. $15PPD.78 -RPM DISC SWEEP. "Stylus -sized" filaments uncovergroove -floor for optimum stylus clearance & superior sound!$17.95 PPD.STYLUS SWEEP. Soft, bushy Nylon gently removes dust.$3.00 PPD.

CAIGNITTY-GRITTYSTANTONCATALOG!Send CHK/MO: KAB Electra -Acoustics, Box 2922A-08,Plainfield, N.J. 07062-0922 (908) 754-1479.

RECORDS BY MAIL! LP/CD BARGAINS. DELETIONS/SURPLUS. ALL STYLES EXCEPT CLASSICAL. GREATPRICES/GREAT SELECTION. FREE CATALOG -LP ORCD. RPM SALES, DEPT SRC, P.O. BOX 1348, SOMER-VILLE, MA 02144.1-800-388-1386/FAX 1-617-776-2514.

WANTED TO BUYMARANTZ, MCINTOSH, HARTSFIELDS, WE., PATRI-CIANS, TANNOY, KRELL, LEVINSON, ARC, ETC. CallLAST for absolutely highest collector prices on mint equip-ment. Act before market weakens. N.Y.S.I. (718) 377-7282,2-6P.M., WEEKDAYS.

To get a good idea

of what a great

idea we havein Image

Watches,

paste your

color logohere.

IMAGE WATCH'is a registered trademark.

OR EVEN BETTER. . .

SEND US YOURCOLOR LOGO

(Any size letterhead, business card or finished logo designwhich need not be returned.)

along with $14.50* each(Special 1/, Price Introductory Offer)

and we'll rush you a personalized workingquartz watch sample as our convincer!

Your company logo in full color on the dial of adeluxe, water-resistant wristwatch. 18K Goldplatedcase, water-resistant leather strap, battery poweredquartz movement with a 3 -year limited warranty.Other models as low as $10 per watch.'Tax and shipping included (Limit 2 samples per company 5 814.W each)

IMAGE WATCHES,' INC.Attn: Mr. Tader

9095 Telstar Ave., El Monte, CA 91731-2809

(213) 726-8050 (800) 344-8050

LOGO WATCH LEADER FOR OVER 10 YEARSIMAGE WATCHECIMG. All Rots Reserved

4mim Unconditional Money Back Guarantee aiiL

AUDIO/AUGUST 1992 99

r, TDK ,5 PARTS AND ACCESSORIESWANTED TO BUY,trzallCAT In 80 Min. am WIN an LinisCAS laiLli0 3 0"" '" '''''''.." ".".* ...... ...inn 2n MinIn lin Resit` Ai on ni,tinIn.L100 in inLI.80 3.01. OLTMI ovER Li in iniENT ........ 2,.:r. ..,.. ..: 2......'- .. .08 00.0,0. 0.8T r, 2..24.'" ' """ '" ''' ' '' "K "". - = Ir.On 110

STOP CHOKING YOUR EQUIPMENT. Cheap recepticleslimit power! We carry the finest hospital grade outlet in theworld. Stainless -steel, bronze/nickel contacts. The ultimateconnection. Better power, tighter bass, increased definition.$27.95 CKA40. REVELATION AUDIO ACCESSORIES, 209McTavish Lane, Winston-Salem, NC 27103. (919)659_8591.

TOP PAYING FOR MCINTOSH, MARANTZ TUBE AMPMcIntosh Solid state, Western, JBL, Altec, Tannoy, EV,Jensen, Speakers & Horn, EMT Turntable, Ortofon Arm,Temma--(516) 942-1212, (516) 496-2973.

tin in MHO InMOO TAPE 1 ....., .,..In TIM inJ=1« tz OM lin In 7.10

Ninn i n...CO i T. WORLDA ma in.= 80M0,1300. t.20

Fin na0 inni 7.89.c.yy.n. k Inn II . Ann inin .. . .

HI-FI SUPPLIES --PAYS CASH FOR LEVINSON, ARC, C.J.,KRELL, SPECTRAL, ROWLAND, THRESHOLD & OLDMARANTZ, MCINTOSH TUBE EQUIP. (212) 219-33527 DAYS 10AM-6PM (NY).

DISC VISA LIcOiNO EXTRA :"=;7r,,17,.,,........

CHARGE c c v N. titrwtrmc:...7.7., '''''in. WORLD 228 Man In 01 ni. MIER, ii nonain

Cam 1 onun Minna [Inn 0.00,o0 ° AUDIOPHILE RECORDSWANTED: WESTERN ELECTRIC, JBL, MARANTZ OLDEQUIPMENT. SUNLIGHT ENGINEERING COMPANY:213-320-7020, 22130 SOUTH VERMONT AVENUE, #A,TORRANCE, CA 90502.

AUDIOPHILE RECORD WAREHOUSE! Out -Of -PrintDirect -To -Disc, Halfspeed, Ouiex II & Import Pressings.Great selection of In -Print Records & CDS. Quantity Dis-counts! Call for Free Catalog. Elusive Disc, 5346 N. GuilfordAve., Indianapolis, IN 46220. (317) 255-3446.

t. Analoue Productions

ON- Mobile Fidelity- WilsonReference Recording - ClleskY

Ji)Nov Sheffield Lab - Harmonia Mundicl Proprius - RCA Living Stereo Klavtar

Mercury Living Presence - plus many morein and out of print recordings!

Catalog S3 In USA, S5 elsewhere - refundable

ACOUSTIC SOUNDS 1-800-525-1630Visa P. O. BOX 2043 SALINA, KS 67402-2043

MasterCard 1-913-825-8609 FAX: 1-913-825-0156

Audio City Always Paying top for: Studer, Levinson, Mcin-tosh, Marantz, CJ, ARC, Quad, Leak, Western ElectricTelefunken, Siemens, Neuman. Vintage speaker systems.raw units by Tannoy, WE., EV, JBL, Altec, Jensen. Audiotubes by Telefunken, Genalax, etc. P.O. Box 802, North -ridge, CA 91328-0802. Tel: 818-701-5633. David Yo. CLASSIFIED

ADVERTISERS:You can reach millions of primeprospects for your mail order productsor services through low-cost Market-place Classified advertising in thisor other titles of the

H AC H ETTEMAGAZINES,INC.CLASSIFIEDMAGNETTo place an ad, or for further infor-mation including rates, ad styles, sizesand multititle discounts, call Toll -Free:

(800) 445-60669 am to 5 pm EST

WANT -JBL Mansfield, EV Patrician, Singles OK, Mcln-tosh, Marantz & other tube equipment. Larry Dupon, 2638 WAlbion, Chicago, IL 60645. (312) 338-1042, evenings.

INVENTIONS WANTED

SPEAKERCATALOG

ttParts Express is a full -linedistributor of electronic partsand accessories, geared toward .the consumer electronicsindustry, and the technicalhobbyrst.Ken-Stocking an extensiveline of speaker drivers and e.

accessories for home and car.Send for your FREE 148 pagecatalog today. -

Parts Express EtrAilss340 East First Street

, ' 4. -: 11R/CM[81. rilll

INVENTIONS / NEW PRODUCTS / IDEAS WANTED: CallTLCI for free information & Inventors Newsletter,1-800-468-7200, 24 hours/day--USA/CANADA.

CAR STEREO

"STEREO WORLD" is your discount sound sourcewith great deals on car and home stereo: Panasonic,JVC, Sony, Uftimate, Phillipssound Labs, Pioneer, Sher -wood, Hi-Fonics, Blaupunkt, MTX, Pyle, Orion,wood, Scosche EFX, Autotek, JBL-Car, Clarion andmany others. We Carry alarms and a full line of installa-tion kits. Please call or write for FREE catalog. FREEUPS in 48 states. Visa/MC; COD accepted. P.O. Box596, Monroe, NY 10950. (914) 782-6044.

SERVICES

This publication i Savailable inmicroform from UMl.

ACCUPHASE (KENSONIC) REPAIR. We do repair for allAccuphase (kensonic) equipment. Amplifier, Tuner, CD Play-

er, etc. 9am-4pm. Mon -Fri. ACCUTECH, 206 E. Star of India

Lane, Carson, California 90746. Tel(310) 324-7406,Fax(310) 324-7422.

AUDIOPHILE GRADEPARTS

For the last 4 years, SONIC FRONTIERS INC. has beenoffering audiophile hobbyists from Ground the world, thehighest quality electronic ports for their audio electronicprojects. We have continued to expand our brie of portsand components to satisfy the needs of our demandingclientele. We are pleased to feature the following lines:

CAPACITORS:

MIT MulliCap - Film /Foil or Metallized.World's best FILM CAPACITORS!

WONDER CAP - new Seam IT. wonder wYtt Mods.REL. CAP 11M1/ ICI PC.nlnine. add leas.MINA - compoct matt:906d and filrn/toll polypropylene. radiol lead.SOLE

ENS rnN - metallted

etolldedoo ratYPtoPYMtm. Va 10 MOO

5Cd 'CM°

DC.SIEM - PalYPcrlena horn 1pf to .01of at 030V

RESISTORS:

VISHAY utilizing a gatoprlototy BULK FOIL technotogy. these highpteclalOn resistces arty the best available! We havea IMIted tong. ofVIA series (axial lei:M.0.5%) values In stock. Ahowe ore pleased toIntroduce the StO2K Seam Dada! lead. 0.25%) resaton which ore./I:Noble In any value 67 to 2513k. in any quantity. in under 2 weeks)HOLCO - 0.696 6Optarn metal 1111, reM1011.10C41-ningnenCconstnictIon.W9 stock a cornpreheroNe tango ol value. In 1/4. 1/2and 1 wort ratings.

ADDITIONAL PRODUCTS:

GOLD AIRO - of I ering tested and selected tubes in 3 grades (Standard,Gold and Platinum) for the dtscrlranatIng tubeophlte. 4 month war-rontyl; RAM TubeWceks, CARDAS RCA Mcks. plugs. hookup wire andtheelded Cobb.. WRY TIFFANY, EDISON PRICE Music Posts. ALPS, BURNSVann. and Balance Controls; NEUIME KIR plugs, GRAYH1LL rotaryswitches, TEFLON hke (many gauges and `°b ANALOG IXVICESAD8271N. A13847JN: PEARL Tube Coolers. Colo s). CAE (CurcioAudio Engineering) DANIEL PreAmp Ms (MIS and MKID and DYNACORebuild Kitt SONIC FRONTIERS (nano ladder alienuata Ms (MC SOK.10Ck. 2SCK). best volune control ow:Rabbi plus tube sockets, sernecon-ductors. electioNtic capacitors eta.

SPECIALIZING IN INTERNATIONAL SHIPMENTS

DISCOUNTS UP TO 30% AVAILABLE!Please CALL. WRITE or FAX for out FREE 1992 PRODUCT CATALOGUE!

DON'T DEGRADE, UPGRADE! Make Your Old EquipmentSound Better Than New. Call For Pricing After 6PM CDT.MUSICAL INTEGRITY DESIGN. (204) 339-9889.

gpi

rub. 111

VA kb gi

1,rii hi. .r et..17. R.ArIblt I..!I ef-LIIRI. -

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