january february 1980 buyers'lj i cd in/stereo › archive-all... · january february 1980...

JANUARY FEBRUARY 1980

In/stereoBUYERS'LJ I CDSOUND SAVERSADD-ON COMPONENTS THAT PUT NEW LIFE IN YOUR HI-FI

TUNER TRYOUTSWHAT TO LOOK FOR IN YOUR STEREO'S AM/FM

MULTI -TRACK TAPE RECORDINGPRO TECHNIQUES TO USE IN YOUR HOME STUDIO

MICROAUDIOGOOD THINGS [10QCOME IN SMALLPACKAGES

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Why Yamaha speakerssound better than all the others.

Even before you hear them.To make a speaker that produces accurate

sound is not simple. It requires painstaking attentionto detail, precise craftsmanship, and advancedtechnology.

And that's where Yamaha comes in. We build allour speakers with the utmost precision in every detail.

As the premier examples of Yamaha loudspeakercraftsmanship, read what goes into the two speakersshown, the NS -69011 and the NS -1000M. Then you'llunderstand why Yamaha loudspeakers sound better.Even before you hear them.

Precision Yamaha crafted cabinetry - (1) Thewalls on these, and all Yamaha speaker cabinets,are sturdily braced and crossbraced at everypossible stress point. (2) The corner seamcraftsmanship is so fine that it looks like the cabinet ismade from one continuous piece of wood.

The back panels on these speakers areflush -mounted for maximum air volume within thecabinet. (3) Inside, a 3/4" felt lining "decouples" thecabinet from the drivers to achieve acoustic isolationof the woofer from the cabinet. (4) Thick glass -woolalso aids in damping the woofer for maximumperformance.

Lift one of these Yamaha speakers. It'suncommonly heavy and sturdy. (5) We even glue andscrew the woofer cutout from the baffle to the insiderear panel for greater cabinet rigidity.

Now knock on the cabinet. It will sound as solidand subs'antial as it is.

Precision Yamaha Drivers - (6) The drivers aremounted on computer -cut baffle boards withexacting, critical tolerances to insure precision fit. AllYamaha speakers are acoustic suspension design,and this precise fit is critical for an airtight seal andoptimum woofer recovery.

The drivers on these, and all Yamaha speakers,are flush -mounted on the baffleboard to avoid un-wanted diffrac-tion of the soundwaves. (7) This isespecially im-portant becauseall our tweetersand mid -highrange driversare the maximum -

dispersion dome type for the most naturalreproduction of voice and instruments.

(8) We use chrome -plated machine screws(rather than wood screws) with two washers (regularand lock) to insure an unyielding mounting.

(9) The speaker frames shown are die cast ratherthan stamped. That's so they won't twist and alter thevoice coil alignment during assembly and use.

Other Precision extras - All terminals are quickconnect, screw -mounted assemblies.

(10) The wire leads are carefully soldered, notclipped.

All our speakers use full LRC crossover networks.These crossover networks are among the mostadvanced available.

Precision that stands alone - There's more.Much more. But, there is another fact of Yamaha loud-speaker construction that simply stands alone in theindustry. Each component used in the two Yamahaspeakers shown is manufactured by Yamaha. Fromthe hefty die-cast speaker frames to the unique, ultra -low mass beryllium dome diaphragm.That's a statement no other manufacturer can make.

And therein lies Yamaha's story. If we put thismuch care and craftsmanship into the making of ourcomponents and cabinet structures, then imagine thecare, precision and craftsmanship that go into thequality of the final sound. A sound built uponYamaha's unique 98 -year heritage as the world'slargest and most met culous manufacturer of musicalinstruments. From our most economical loudspeakerto our top -of -the -line models shown here, Yamaharetains the same attention to detail and craftsmanship.

Look before you listen. You'll be convinced thatYamcha loudspeakers sound better than the rest.Even before you turn them on. Then ask for a personal

demonstration of these andother Yamahaloudspeakers atyour YamahaAudio SpecialtyDealer, listed inthe Yellow Pages.Or write us:Yamaha, AudioDiv., P.O. Box 6600,Buena Park,CA 90622.

Circle No. 26 On Reader Service Card

At last a moving coilcartridge you canrecommend toyour bestfriend!New AT3OEStereo Phono Cartridgewith Vector -Aligned"Dual Moving MicroCoils"and user -replaceable Stylus

The subtle, yet unique characteristics of mov-ing coil cartridges have had their admirers foryears. A top-quality moving coil cartridge ex-hibits remarkable sonic clarity and trans-parency. This performance can be attributedto the very low mass, and low inductance ofthe tiny coils used to sense the stylus motion.

But until now, moving coil cartridge popu-larity has been limited by three major prob-lems which seemed almost inherent to movingcoil designs.I) It seemed impossible to make a user -replaceable stylus assembly without com-promising performance; 2) most moving coilcartridges exhibited relatively low trackingability due to rather stiff cantilever mountingsystems; and 3) output of the cartridge wasbelow the level needed for commonly avail-able amplifier inputs.Introducing the new Audio-Technica AT3OEand the end to all three problems ! Our designapproach is simple and direct. Rather thanlocate the coils in the cartridge body, theyare integral with the stylusassembly. If the stylus be-comes worn or damaged, theentire moving system, coilsand all, is simply unpluggedand replaced, just like a mov-ing magnet cartridge. Large,gold-plated connectors insureloss -free connections so vitalat the low voltages generatedby a good moving coil car-tridge. The result is easy fieldreplacement with no penaltyin terms of performance.Careful research indicatedthat good tracking and mov-ing coil design were indeedcompatible. By controlling effective massand utilizing a radial damping system similarto our famed Dual Magnet"' cartridges, wehave achieved excellent tracking ability

throughout the audio range. Compliance isindividually controlled during manufactureof each assembly to optimize performance.This extra step, impossible with most otherdesigns, coupled with our unique radialdamping ring, insures excellent tracking ofthe high-energy modulation found in many ofthe top-quality recordings now available.

Each coil is located in the ideal geometricrelationship to reproduce "its" side of therecord groove. This Vector -Aligned"' designassures excellent stereo separation, minimummoving mass, and the highest possible effi-ciency. It's a design concept which isexclusive to Audio-Technica, and is a majorcontributor to the outstanding performanceof the AT30E.

We can't take credit for solving the lowoutput problem. The AT3OE output is simi-lar to many other fine moving coil cartridges.But an increasing number of amplifiersand receivers are featuring built-in "pre -preamplifiers" or "head amplifiers" to

accommodate moving coilcartridges directly. Thus thenew systems buyer can makea cartridge choice based onsonic characteristics ratherthan on input compatibility.In addition, Audio-Technicaoffers the Model AT630Transformer for matchingto conventional amplifierinputs.

The new Audio-TechnicaAT3OE Dual Moving Micro -Coil Stereo Phono Car-tridge. With the introductionof this remarkable new de-sign, every important barrier

to full enjoyment of the moving coil listeningexperience has been removed. Progress insound reproduction from Audio-Technica...a leader in advanced technology.

audio-technicaINNOVATION PRECISION INTEGRITY

hi-fUstereoi.u,.F.,, L_1 I I=Associate PublisherJulian S. Martin

EditorGordon Sell

Editorial AssistantCynthia McClean

Art DirectorRalph Rubino

Cover Design DirectorIrving Bernstein

Associate Art DirectorDavid Pindar

Assistant Art DirectorMichael Vessio

Production DirectorCarl Bartee

Production ManagerCarole Dixon

Production AssistantAnnette Simon

Advertising DirectorEdmund M Lassus

Subscription Circulation DirectorRobert B. Enlow

Subscription Circulation ManagerEugene S. Slawson

Newsstand Circulation DirectorDonald L. Gabree

Marketing DirectorJames C Weak ley

President and PublisherJoel Davis

Vice President and General ManagerLeonard F. Pinto

Vice President and TreasurerVictor C. Stabile

HI-FI/STEREO BUYERS' GUIDE is published bi-monthly by Davis Publications. Inc. Editorialand business offices: 380 Lexington Ave.. NewYork, NY 10017. All subscription orders and mailregarding subscriptions should be sent to P.O.Box 1855 GPO. New York. NY 10001. One-yearsubscription (six issues) in the U.S. and its posses-sions: $7.95. Outside U.S. and its possessions, add$1 per year. Advertising offices: 380 LexingtonAve., New York, NY 10017. 212-557-9100. Chicago:Didier & Broderick, 550 Frontage Road, P.O. BoxN 337. Suite 288, Northfield. IL 60093. 312-446-9571.Los Angeles: Montague Bass Media 5900 WilshireBlvd.. -1145. Los Angeles. CA 90036. 213.933.9217For change of address, please advise 4 to 6 weeksmoving. Send your current mailing label with newaddress to HiFi Stereo Buyers' Guide. P.O. Box1855 GPO. New York, NY 10001. Second classPostage paid at New York. NV and at additionalmailing office. Copyright 1979 by Davis'3ublications. Inc ISSN 0018-1218

AUDIO-TECHNICA U S INC.. Dept. 10BG, 33 Shiawassee Avenue. Fairlawn, Ohio 44313

2 HI-FI/STEREO BUYERS' GUIDE

111

hillstereoBUYERS' 1_1 I C)CONTENTS: JANUARY/FEBRUARY 190 Vol. 15 No. 1

FEATURES EQUIPMENT TESTS PARTICULARS

TUNERTECHNOLOGY

by William S. GordonAn in-depth look at the lates: trends ittuner design one engineering.

MULTI-TRACKRECORDING

by Larry BlakelyA review of the techniques and new low-cost equipment used by amateurs toproduce profess onal quality tape recordings.

41 EXPANDYOURSYSTEM

by Fred PetrasAdd audio dimension to your sound systemwith these hi-fi-add-ons.

SIZING UPMICROCOMPONENTS

by William S. GordonOur intrepid investigator finds out thatmicro size doesr't mean microperformance.

TEST REPORTSOur own electronics laboratory takesthe best the manufacturers have :o of.erand puts 'am through the wringe-.

RECEIVERSYamaha CR-840

TUNERSOptonica ST -4405

PREAMPLIFERSYamaha C-6

INTEGRATEDAMPLIFIERSNikko NA -790Optonica SM-4305

AMPLIFIERSCrown SA -2SAE 2300

EQUALIZERSNikko E0 IISAE 180

CASSETTE DECKSAwia AD-L4OUJVC KD-A6Kenwood KX-550Pioneer CT -F1250Sanyo RD -5372Sharp RT-1199Sony TC-K45TEAC A-550RX

SOUND PROBEby Hans Fantel and Christopher GreeliealOur talented listeners share their ears andtheir thoughts in reviews of tha c assicBose 901 and the KEF-101 min -speeke-.

AUDIOSHOWCASE

A capsule summary of the last new productntroductions from tt-E manufactures.

JAZZby J.R. TaylorLennie Tristano-an innovator better knownfor the students he taught thin his ownperformances.

CLASSICALRECORDINGS

by Thomas D. KelleyA look at what's new in the world ofclassical music. witt some apt commentsabout the technical sid mus cal quality

OPERAby Speight JenkinsWicolai Gedda. a SwEdish teior whosesame has become synonymous withoperatic taste and style.

POP DISCSby Ken IrsayOur ever -witty disc spinner takes tne goodwith the bad and lets you know which heMinks is which.

Cover photo: Dave Merl°Kennedy/Nledo Studio

For details on the cover. see page 67

cot

MFA

JANUARY/FEBRUARY 1980 3

THELATEST HI-FICOMPONENTSIN OUR...

SHOWCASE

4

Analyzer/EqualizerSoundcraftsmen's AE2420 EqualizerAnalyzer is claimed to be a "revolu-tionary breakthrough" in enabling ac-curate analysis of a room's "imperfec-tions," as well as compensating forsystem imperfections. A new conceptis used to apply differential/compara-tor circuitry to equalization. analysis.By sampling the complex waveshapesof a pink noise input signal on theone hand, and the speaker output sig-nal on the other hand, the circuitryof the device converts the complexwave shapes to DC levels; these arethen compared through the differen-

Clean look,clean sound.

The Crown Power Line One amp andthe Straight Line One pre -amp aredesigned for people who delight in

accurate sound reproduction, whosejoy is in listening and for whom

simplicity of operation is important.They are obviously easy to operate, yet

all the basic controls you need foraccurate reproduction and monitoring

of fine quality sound are there.Your greatest enjoyment will surely

come from the unusual sonic accuracyof these units. Frequency response

±0.1 dB, 20 Hz -20 KHz on both units.IM distortion below .001% on both.Signal to noise down a phenomenal

110 dB on the amp. Both units areacoustically as transparent as can be

imagined.Achieving that purity of sound and func-

tion wasn't simple. We've had years ofexperience in building state-of-the-artaudio components, such as the world-famous DC -300A high -power amp andthe newer DL2 digital logic pre -ampli-fier. We've learned a great deal aboutwhat can and cannot be done with cir-

cuit design, with transistors and with IC's.That experience is reflected in newcomputer -aided circuit designs. In theStraight Line One phono pre -amp sec-tion, for instance, internal noise is so lowthat thermal noise from your cartridgewill be the dominant source of noise.This circuit technology has also madepossible other features you're bound toenjoy. The phono pre -amp is a sepa-rate module, much like the systemdeveloped by Crown in the DL2. Iteliminates troublesome RFI. Note alsothat Crown put distortion indicatorson both units. The amplifier has boththe unique Crown IOC circuit plusnew peak output voltage LED's. Front -panel speaker switching and a newconcept in DC speaker protectionprovides flexibility of layout and securityof operation at high levels.Visit your Crown dealer soon. Listento the clean, full range sound of theStraight Line One and the Power LineOne. That experience should simplifyyour buying decision. Or write us nowfor the full printed story.

crown1718 W. Mishawaka Road, Elkhart, Indiana 46514

Innovation. High technology American. That's Crown.


tial/comparator circuit to provide areadout of the exact differential be-tween these two complex waves shapes,


with an accuracy of 1/10th dB. Evenif the pink noise input amplitude isvariable across the spectrum. there isno effect on the analyzer's dB read-ings because the analyzer is actuallylooking at both the selected frequencyspectrum signals simultaneously, with-out regard to amplitude. Any goodquality low- or high -impedance micro-phone may be used, regardless of themike's response curve. The calibratedcurve supplied by the microphonemanufacturer can be programmed intothe obtained Hat response curve throughuse of the "computer charts" the makerof this device provides. Price: $499.

Deck With Unique Head

Yamaha's new "Natural Sound" Tf920E top -of -the -line stereo cassettedeck is said to feature an exclusive"Purr Plasma Process" Sendust recordplay head. The Plasma Process devel-oped by the company is claimed toyield magnetic Sendust heads of 99.97purity or better, to offer the followingpractical advantages: improved sensi-tivity and playback efficiency; very highmaximum flux density, with large sig-nal -current handling capacity; superiorsignal-to-noise ratio; very stable tem-perature characteristics; improved lowfrequency reproduction; less wear onboth the head and the tape. Anotherunique feature is a Sound Focus switchthat lets the listener control tonal quali-ty during playback. One position pro-vides optimum frequency responsewhile the other gives priority to thesignal's phase linearity at high frequen-

AIMCircle No. 101 On Reader Service Card

cies, making reproduction. particularlyvocals, seem more realistic. Other fea-tures include: a high -efficiency Double -Gap Ferrite erase head; smooth two -motor tape transport which ends reeldrag; only 0.037. (WBN1S) wow andflutter; three -position bias equalization:fine bias adjustment for differentbrands of tape; and a low -noise FE]'input to minimize low frequency noise

H1FI/STEREO BUYERS' GUIDE

Ohm'sLaw 9It is possible to make a loudspeakerthat gets loud and still sounds good.

Ohm introducesanother new loudspeakerthat defies the traditionallaws of loudspeaker design.The new Ohm I.

It used to be, if youliked listening to music asloud as life in your home, youhad a tough choice to make.You could buy high efficien-cy "monster" systems, andput up with the boom andshriek. If you wantedsomething smoother (withreally deep bass), you couldbuy low efficiency systems,but then you'd need anamplifier big enough topower Toledo.

The Ohm I solvesthe problem. It can achieve

concert hall levels inyour home effortlessly,with no sacrifice n band-width, linearity, or imagingabilities. While the Ohm Igets amazirgly loud withas little as 10 watts input,it can handle 1000 wattscomfortably.

It's the world's firstgood and loud loudspeaker.

Inside the Ohm I, you'llfind everything we'velearned about multi -driverdynamic loudspeaker de-sign. It uses a total of fivedrivers, including a 12 -inch,optimally -vented sJbwooferwith an incredible 72 ounce

magnet. Voice coils arecooled by magnetic fluid toincrease power handling.The Ohm I's beautifully -finished, floor -standingenclosure is compactenough to fit gracefully intoany home.

The new Ohm I's arealready earning rave re-views from stereo critics.After listening to them, The

or

Ohm

Complete Buyer's Guideto Stereo/Hifi Equipmentsays. 'The volume levelwas approaching thethreshold of pain, but thespea-cers were showing nosign of strain. The response,regardless of level, wassmooth and free fromannoying colorat ions. .Toooften a loud loudspeaker isdeficient in many otherareas. Fortunately, this isnot the case with theOhm [..."

According to HitiStereo Buyer's Guide(8/791, the new Ohm I has"...a combination of effi-ciency and power handlingthat, as far as we know,is unmatched." They con-tinue: "(The Ohm I) is cne ofthe finest speakers we'veever heard. There is nothingit cou dn't do and do itsuperbly...it thundered outthe lowest pipe -organpedal notes in a way thatmade us feel we were in agreat cathedral...Whenapprcpriate, the bass was

discreet. It was all there,without saying 'Here I am'....The treble filled the roomwith a spacious sweetnessthat seemed...downrightseductive...(The Ohm I) willbring out the best from anyprogram material and willalso do justice to the comingglories of digital recording...this is a speaker with afuture - for the future."

For a listening exper-ience you ve never enjoyedbefore except at a live per-formance visit your localOhm dealer. Ask to hearthe world's first good andloud loudspeaker: the newOhm I.

For 16 complete reviews,and full specifications,please write us at: OhmAcoustics Corp., 241 TaaffePlace, Brooklyn, N.Y. 11205.

We make loudspeakerscorrectly.


A,DSHOWCASEand phase irregularities. Mode changein the TC-92013 is fully electronic. Alogic circuit in a highly integrated ICwith solenoids has a built-in time de-lay to prevent tape/transport damage,permitting changes directly from onemode to another without going through"stop." A fast -response, fluorescent bargraph, peak meter monitors peak levels.Price: $600.

Audio Pulse Digital Time Delay is pos-sibly the greatest advance in soundreproduction since stereo. A strongstatement indeed, but we feel stronglyabout it. By means oftime delay, the ambi-ence of the live per-formance is returnedto the music in a waynot possible withordinary stereo repro-duction.

Stereo gave us leftand right imaging-Audio Pulse gives usthe realism of depthand spatial percep-tion by digitally pro-cessing, delaying and

Top -of -the -Line Receiver

Vector Research offers a top -of -the -linereceiver, Model VRX-9000, that pro-vides 80 watts per channel with totalharmonic distortion of 0.08% at ratedpower and FM sensitivity (IHF) of 1.9AV. The unit features a digital -synthe-sizer tuner, preset memory for six FMand six AM stations, a three -secondhold scan for both FM and AM sta-tions, variable loudness control, lowfilter, tone defeat and tuner remotecontrol capability. It also has powermeters, a switchable meter range, aDolby de -emphasis switch, mid -rangecontrol, tape copy switch and higli

recirculating program material througha secondary set of rear speakers. Theapparent size and acoustic treatmentof that area can be adjusted by simple

front -panel functions.Digital time delay

must really be heardto be appreciated...but once you do, youwon't want to listenwithout it.

Audio Pulse offerscomplete digital timedelay systems. ModelTwo, the new Model1000 and two sets ofspecially designedsecondary speakers.

PulseYOU WON'T MISS IT UNTIL IT'S GONE...

© 1979 Audio Pulse, Inc., 4323 Ardcn Drive, El Monte, CA. 91731 (213) 579.4873

Awls 1111

1111 Pulse

,..411114. DIGITAL MN -DELAY SYSTEM

&GILA!. 77/14E-OELOY SYSTEM

Circle No. 4 On Reacer Service Card

filter. Audio section specifications: fre-quency response at 1 watt, 10 to 50,000Hz +0.5'-1 dli; IM distortion at 8ohms, 0.1%; damping factor (1000 Hz,8 ohms), 50; input sensitivities, 2.5mV phono, 150 mV aux, 150 mV tape1 and 2. FM tuner section specifications:Mono and stereo frequency response,

PM= =111111114114,'`.'-`4,


20 to 15,000 Hz ±1 dB; distortion at65 dBf and 1000 Hz, mono 0.08% ,

stereo 0.25%; capture ratio, 1.1 dB;alternate channel selectivity, 65 d13;spurious rejection, 72 dB; image re-jection, 100 dB; IF rejection, 100 dB;AM suppression, 59 d13; stereo separa-tion at 1000 Hz, 46 dB; carrier sup-pression, 65 d13; 50 dB quieting sensi-tivity, 19 dBf mono and 40 dBf stereo,Price of the VRX-9000 is $750.

Auto -Reverse Cassette Deck

Technics offers a new auto -reversestereo cassette deck with four track SXhead, memory auto -play, and two-color FL peak meters. The RS -M68features a choice of three separatetransport modes: Cont plays the tapeendlessly until it is stopped manually;Rev plays or records one completecycle of the tape and then stops auto-matically; Non -rev disengages the auto -reverse mechanism after one side isplayed. To play or record the otherside, when the non -reverse mode is inuse, just press the key for the oppositedirection since there is no need to turnthe cassette over. Outstanding featuresinclude: cue/review operation (whichis rarely seen on auto -reverse units);FG servo DC motor and twin, dynami-cally -balanced flywheels; separatethree -position bias and equalization se-lectors; a Dolby NR system with MPXfilter; friction -coupled L/R input level

Y.

5 6 s e'C

Circle No. 98 On Reader Service Cardcontrols; oil -damped soft loading andfloat -up ejection. Still other featuresare: large tape -direction indicators;memory on/off indicator lamp; tinierstandby switch; pause control; remov-able cassette compartment door; recordindicator lamp; mic/line input selec-tor; left and right channel mic input


At least not in the sicNx -oom. Chancesc re they've already heard them- or c tleast heard all aboLr then. From a friend.F-om a consumer maqazIne. Or perhapsfrom an audiophile pubkation. Whenyou've sold over 1/2 m Ilion, the wordcets around.

What's made the EP 100 such ac assic?

The fact that forcround $110, they caricive you EPI's amaz nc' _near Sound." Sou -idthat's remarkably accu-rate, uncolored onothat's delivered to everyparr of tie room.Because of their uniq_eone -inch air -springtweeter; you get nedryhemispherical dispemoiN.vith EPI 100's.

The highs come a:-_--cc_s1-)arp and clear;r--ge lows deep and ancot. And unlikenearly every speaker yot.. can listen forhours without suffering; iste.ning fatigue.There's virtually no d

These are some of re easons why thePI 100 has become -he industry standardfor bookshelf loudspeakers.

And rest assured, while oftentimesoeople may not bother to listenro them in the showroom. theymore than make up or it whentrey get them home

En110ap -zure Product: Incorporated Newbur-p MA :1950pcure produce Europo) GmbH Mun.h Gernc-- ysobs.doory of Fenn! Corpororton

4.

MOST PEOPLE WHO BUY EPI 100'sDON'T EVEN ASK TO LISTEN TO THEM.

Circle No 34 On Reader Servi:e Card

A,D10SHOWCASEjacks; output level control (line andheadphones); stereo headphone jack:stop/eject combination key and an il-

luminated tape compartment. $550.

Three -Way Speaker System

Ultralinear believes that even the mo,iserious music listener will appreciatcthe crystal clear. wide -band frequen(reproduction of this efficient three -N.

Circle No. 109 On Reader Service Cardspeaker system. The specially -designed12 -inch long -excursion, low frequencydriver features a large diameter high -temperature voice coil. The higher fn.-

quencies cross over to a fully -enclosed6 -inch foam suspension ni;dr:mge trans-ducer and a I -inch soft -dome, high -frequency radiator. Front mountedlevel controls for midrange and highfrequencies allow precise adjustment ofthis air suspension system to match:my room's acoustical properties. Powerhandling has been increased by 20 per-cent. The enclosure features "MushFront" styling available in simulatedwalnut veneer finish. Grille chokesinclude super -sheer black Transpara-coustic" or brown double knit fabric.Price: $299.95.

Professional Phono Cartridge Series

Shure's new line of phono cartridges isesIkcially designed for broadcasting,recording, disco and other professionalapplications. Called the Shure. SC39Series, the cartridges emphasize resis-tance to stylus damage, even when sub-jected to the rigors of slip -cuing, back -cuing and the abuses of the stylus (c-casioned by "fast -paced" situations.Each SC39 cartridge has an internalsupport wire and special elastomerbearing that insures stable and accur-ate backruing without groove jump-ing. There's also a lateral deflectionassembly to guard against damagecaused by side thrusts. Yet anotherfeature is an exclusive lever -operated

8

THE CELESTION DITTON 332.

ITS RANG Y HITS YOURIGH EARS.

From the incredible bravura of a diva'shigh C to the seemingly subliminal lowE of a string bass From the explosionof a faraway cannon to the fragile tangof a triangle floating across the room.

That's Range -ability" in the CelestionDitton 332

Celestion's Range -ability is also purepronouncement at any volume-froma level barely perceptible to an over-powering 107dB. Through it all, theDitton 332 maintains exceptionallinearity, imaging, dynamic range andhigh efficiency.

Celestion manufactures each com-

ponent for its speakers. The result is anintegrated acoustic suspension systemof superblyefficient elements backed byover 55 years of speaker manufac-turing craftmanship.

Your pair of Ditton 332 cabinets willlook as good as they sound. Finishes ofoiled American walnut or elm areavailable.

Range -ability. Finally, listeningbecomes an experience.

celestioninternational

Celestion Industries, Inc., Holliston, MA 01746 (617) 429-6706


locking guard that protects the stylustip against drops, bumps, or accidentalmishandling when not in use. In theplan ing p )ition, when the guard is up.a V-Silapcli e ntnut ()II the control lever

zr.

39E-0


provides a highly visible cuing aid forprecise groove setdown. Model SC39ED(photo) offers an essentially flat fre-quency response that compares favor-ably with top quality hi-fi cartridges,says Shure. It has a recommendedtracking force of .75 to 1.50 grams,biradial (elliptical) stylus. Price $80.

Metal -Capable Stereo Cassette Deck

Toshiba's PC -X40 stereo cassette deckis a fully featured unit with an AS (All-Sendust) record,/playback head andferrite erase head. It can play metaltapes. Also incorporated are: a digitalIC controlled programmable multi -music quick sensor system able to pro-gram up to six different selections.There's also a skip 'play function, twoLEI) peak meters with changeablebar clot readout, auto -repeat functions,cue and review, and soft eject mechan-ism. Frequency response is put at 20

MOM *211iiigir4 S .1:

1 -IL:


to 18.000 I lz ±3 (111 at an input levelof 20 dB. \Vow and flutter is 0.05';WIIMS. Signal-to-noise ratio with metaltape is 72 dB with Dolby on, 62 dliwith Dolby off; with Cr0.2 tape, 68 dllwith Dolby on, and 58 dB with Dolbyoil. Price, including a new slim linecabinet, $380.

In -dash Cassette AM/FM Stereo

"The quality of home stereo" is claimedfor 'Terra's deluxe in -dash auto reversecassette AM FM stereo unit, ModelC-3039AR. The system comes with pre -amp output so that increased amplifierpower call be achieved without distor-tion or complicated rewiring. Installa-tion is said to be easy because of fullyadjustable shafts and a universal nosesize, short (-Pi inch) chassis that makesit easy to fit in most cars including

HI-FI/STEREO BUYERS' GUIDE

Why we createdour own

total system.We simply had to.Because no chain isstronger than its weak-est link. And no musicsystem is better thanthe distortion or noisecoming from any of itscomponents.

We wanted to make surethat when you chooseone Revox you get allthat it has to offerThe total Revox systemdelivers virtually dis-tortion -free music fromevery source and in anymode-music reproduc-tion so true that it is un-matched by any othersystem available today.

All the components in the Revox system are de-signed to meet the professional quality standardsthat have been set by the Revox B77 open reelrecorder with its ingenious logic control system.The B750 integrated amplifier; for example, is re-nowned for its fast transient response to all musicalsignals and for its low TIM. It is paired with theincredible B760 digital synthesizer FM tuner withthe unusual capability of prol.,rramming 15 stationswhich you can recall at the push of a button. TheB790 direct drive, quartz contrelled turntable re-duces tracking distortion to an absolute minimumusing a revolutionary new system called Linatrack.

For an unmatched musical experience, listento our matched components at your

franchised Revox :lealer.Or write to us

for details.

RevoxAudio-Rad:

R EVOXREVOX America, Inc.

1819 Broz-.iN as-. N. hvill,.. TN ::7_11:: 1;15329-9576% In Canada: Studer Revox Canada, Ltd.

Ci-cie No. 22 On F'eader Service Card

= It soundsCog like music..c.cp Interface:C Series IICl) is the fulfillment of

our six -year asso-ciation with optimallyvented speakers basedon the theories of

0 A.N. Thiele - speakerdesigns first introducedby Electro-Voice in 1973.The lnterface:C offersyou a unique combination0 of high efficiency andhigh power capacity- theonly way to accuratelyreproduce the 120+ dBpeak sound pressurelevels found in sometypes of live music.

The SuperDomeTMtweeter, an E -V exclusive,and the VMRTu vented

NI=midrange driver, the firstto apply optimally venteddesign to mid frequen-cies, ensure your musicis reproduced withoutthe coloration normallyfound in other high -efficiency drivers. Anhonest 30 Hz low endtotally eliminates theneed for expensive sub -woofer assemblies.

4ipWhen you spend $1,000for a speaker system,

Cget your money's worth.Audition the Interface:CSeries II at your nearestInterface dealer. If youwant a speaker thatsounds like music, theInterface:C Series II isthe one you'll buy.

IN II

Ey EledrOlkiCe° gultan company

600 Ceci Street. Buchanan. Michigan 49107

Circle No. 16 On Reader Service Card10

A,DISHOWCASE


foreign models. The unit features ad-justable FM muting, separate front torear fader and balance controls, dial -in -the -door and selectable end -of -the -pro-gram eject or continuous play. It alsohas tape direction, mono/stereo, local/distance and AM /F\1 switches pluslocking fast -forward and rewind con-trols. Specifications: stereo power, 10watts RMS; 3 watts per channel mini-mum RMS at 4 ohms from 40 to 20,000Hz with no more than 1% THD bothchannels driven; output impedance, 4ohms; pre -amp output, 100 mV at 10 kohms: Tape section specifications: wowand flutter, 0.25% \VRMS; channelseparation, 35 dB; crosstalk, 50 dB;frequency response, 40 to 12,000 Hz(3 dB); S/N ratio, 50 dB; rewindspeed, 70 seconds for C-60 tape. FMsection specifications: sensitivity, 3µV(max.), 5µV at 30 dB S/N; S/N ratio,better than 50 dB; stereo separation, 25(I13; frequency response, 70 to 12,000I lz; IF rejection, 70 dB; image rejec-tion, 50 dll. Price: $199.95.

Digital Tuner With Memory

Described as "the first radical depar-ture in tuner design in four decades,"Sanyo's PLUS T55 tuner combines anelectronically tuned front end and digi-tally programmable quartz crystal ref-erence oscillator to provide "superb"audio performance. And there's another


unique benefit: it's impossible to mis-tune a station. As long as the station'sfrequency appears in the bright fluores-cent digital display and the center tuneindicator is lit, the receiver is perfectlytuned at the exact point of minimumnoise and distortion. PLUS T55 has apassive four -pole LC filter that is dou-ble -tuned to reject not only the 19 kHzmultiplex pilot tone, but also the 38kHz multiplex subcarrier. Thus thehigh frequency subcarrier cannot inter-act with the bias frequency of tapedecks. The band /mode selector lets youchoose AM or either of two FM modes:auto, with automatic switching to stereo

mode in the presence of a multiplexsignal; and mono, which suppressesstereo information in all signals, al-lowing noisy stereo signals to be heardwith improved quality. FM specifica-tions: frequency range, 88-108 MHz;usable sensitivity, 10.3 dBf (1.8 AV);frequency response, 20 to 15,000 Hz+1/-2 dB; THD mono, 0.15% /0.09r,-; at 1 kHz; THD stereo, 0.2% /0.1'4 at 1 kHz; AM suppression ratio,60 d13; spurious response rejection (98MHz), 80 dB; image rejection ratio,70 dB; IF rejection ratio (98 MHz),90 dB; muting threshold, 5V. $349.95.

Hypersonic "Class A" Power Amp

Scientific Audio Electronics (SAE) in-troduces a premier product line calledthe X -series. The first items in this lineare three Hypersonic "Class A" poweramplifiers. The primary "foundation"for these new amplifiers is a balanced,


fully -complementary design with mirrorimaged amplifier sections for positiveand negative waveforms. The hyper-sonic power stage, which uses an "ex-tensive number" of output devices, hasa combined power capability of overten times the rated power output ofthe amplifier. The result: no VI limit-ing and a power bandwidth over fivetimes greater than required for audio(hypersonic). The following threemodels each have the same THD(0.02%) and IM (0.02%) values: X -10A, 100 watts ($800); X -15A, 150watts ($1100); X -25A (photo), 250watts ($1500).

In -Dash Cassette With DolbyPioneer's KP-8500 Supertuner in -dashcar stereo and cassette deck with Dol-by noise reduction for both tape and


FM was designed as the Dolby versionof the firm's Supertuner cassette deck,the KP-8005. The new unit allows

(Continued on page 14)


ANIS NEW L150:ITS BOTTOM PUTS IT ON TOR

JBL's new L150 takes youdeeper into the low frequenciesof music without taking youdeeper into your budget.

This short -tower, floor -standing loudspeaker systemproduces bass w:th depth,power and transparency thatcomes incredibly close to alive performance.

A com-pletely new 12"criver was createdfor the L150. It hasan innovative

magnetic assembly,the result of years ofresearch at JBL. It

uses a stiff, heavy conethat's Teen coated with anexclusive damping formu-lation for optimum massand density.

And it has anunusually large 2"voice coil, which aidsthe L130's efficiencyand its ability torespond to transients

(peaks, climaxesand suddenspurts) it mus c.

There's evenmore tc the LL50'sbottom-a 12"passive radiator. It

looks like a driverbut it's riot. We use

it to replace a la-_-gevolume of air andcontribute to the produc-

tion Df true, deep bass. Basswithout boom.

If you're impressed with theL150's lows, you'll be equallyimpressed with its highs and irids.Its powerful 1" high -frequency

dome radiator provides wide disper-sion throughout its range. And a 5"midrange transducer handles highvolume levels without distcrting.The maximum power recom-mended is 300 watts per ci-annel.

The L150's otter attributesinclude typical JBL aruracykind that recording pulessionalsrely on. Maximum power/fatfrequency response. High effi-ciency. And extraordinary time/phase accuracy.

Before you believe that youcan't afford a floor system,1 stenan L150. While its bottom is tops,

price isn't.James It Lansing Sound,

Inc., 8500 Balboa Boulevard,Northridge,CA 91329.


Even themostenlightened

consumer canget eaten alive inthe hi-fi jungle.till ."111. There are probably In terms of power. for example. the V55

tI

emptor"- let the buyer channel at 8 ohms from 20 to 20,000 hertz, with

I few places wherethe phrase "caveat

offe rs ample wattage to till almost any size livingroom with clean, crear sound. (55 watts per

)eware-is more applicable than in high fidelity. less than 0.03(7( total harmonic distortion.)The average consumer walks into a hi-fi store It has absolutely no audible distortion.

only to he confronted by a morass of receivers. - ,..: sti, It features a Pulse Powerturntables and tape decks, running the gamut _Mir._ Supply which is more efficientfrom the Onaffordable to the unpronounceable. and stable than conven-And to make matters worse. the salesman seems tional power supplies at onlyto speak sonic bizarre dialect about megahertz a fraction of the size andand transient response. weight.

At Sony. we sympathize with the plight of E.; -1111

And most importantly.the music lover caught in this rather distressing 1

Rs. it features a micro -processor -situation. And to this end we offer some LI j = r r S controlled, quartz -lockreassurance: I he two Son micro frequency -synthesized. digital

Clummocnts: small in e%erthingSince 1949. Sony has been at the very fbrefront hut performance. tuning section that lets youof high fidelity (In fact. our name is derived from preprogram up to eightthe Latin woril"sonus"for sound.)

And while the technolop VIVILW"111.7441Wkiro.:-..L AM or FM stationstor either push -

has changed. one thing hasn t: ...y button memory

put our name on anything thatICH (E'

scan tuning.Since the beginning we've never r or automatic

wasn't the best. ( r 4r-( ( All of

The V55 receiver:You don't need (4,which explains

an engineering degree to why if you payunderstand what makes it superior. Ihe V.5.5 receiver: the latest from the Company that founded a few ({collars

the era of transistorized high fidelit.Put as clearly as possible. the V55 less for one of

was designed fOr people who are as interested our competitor's receivers. it's probably becausein getting good value as they are good sound. you're getting less receiver.

19,4 soli, Ind...Kw...I do poon ot Sons orr of America. Nest 57th Sired.


.111111111111111111111111111

The X30 turntable:

I\

Vila

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.1 '''''''''''non ''''' nmstientnuuntenn:`dlitt10110111111111111110dttt111111111010IIIIIN

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slielisti7iti11.11/111.1.

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I he law of the jungle:Survival of the smartest.

Proof, once again, that Sons is the. Obviously, we don't have enough

real pioneer in high fidelity. space here to tell you the whole Sony hi-fi story.Today. virtually all of the world's most Like the way our new micro components use

expensive turntables feature "quartz lock:' An Sony developed "pulse power su plies that reduceelectronic circuit that works like a quartz watch to distortion almost to the point of beingensure perfect turntable speed. ssi1-2070 speakers: Sony remains unmeasurable.

Now Sony has improved on this7,17`,.;:7.7,!ilkhei;fic,`,::::!7:

companiesunits! Or the way our new SSU-2070

incredibly accurate system in the only was' and men the cabinets themselves. speaker system guarantees you'll hearpossible: by making it less every part of the music withexpensive. But to buy the X30 distortion -reducing carbon -fiberon its price alone would be speaker cones. And a computer -selling it short. designed speaker arrangement

Like today's most that makes sure you hear theexpensive turntables. the X30 music exactly as it was recorded.features a direct -drive motor The point of all this, however.that eliminates pulleys and is that for over three decades Sonyunreliable belts. But unlike has built superior audio equipment.models built by Pioneer and Extraordinary products whoseTechnics. our direct -drive motor reputation for quality, value andis both brushless and slotless- reliability is unsurpassed.which means it's more accurate. So even if you don't know

Instead of using an inexpensive watts from ohms, at least you'll beparticle -board base like many of our able to survive in the hi-fi jungle bycompetitors. the X30's base is knowing Sony.made of a Sony patented "bulk The X30 For more information, or the name ofmolding compound- that re- dtrectpeltuclubie,:atesy. your nearest Sony dealer, write us atduces acoustic feedback. for warped records. Sony. PO. Box CSI -04050. Trenton. N.J. 08650.

And we've even made the X30's platter mat SONY AUDIOslightly concave-so if your records are a bit warped.We've never put our name on anythingthey won't sound that way.

that wasn't the best.Sew York, \ Inapt Sons is a rcgtstcrett trademark of the tittrt ( orror.tht,11

Circle No. 6 On Reader Service CardJANUARY/FEBRUARY 1980 13

A,DOSHOWCASE(Continued from page 10)five -button pre-set pushbutton tuningfor AM or FM stations, and also hasautomatic muting for FM stereo, local 'distance switch, stereo mono switchand locking fast forward and rewind.The unit automatically replays a tapeafter rewind and can activate any fullyautomatic power antenna. Controls in-clude volume, tone and balance. Sug-gested retail price: $279.95.

New Pickering CartridgePickering offers the XSV "4000 phonocartridge to expand the Stereohedronseries and to incorporate some of thebest features of the "acclaimed" XSV,'3000 to deliver totally new and im-proved performance. The new cartridgehas the patented expanded contact areaStereohedron stylus tip for gentle treat -


meat of the record groove. The massof the Stereohedron stylus assembly isappreciably lighter than that of ordi-nary pickups, thus allowing an opti-mum frequency response from 10 to36,000 Hz plus the ability to accuratelytrack groove modulations at high velo-cities, according to Pickering. A low -mass, powerful, samarium cobalt mag-net assures more accurate reproductionof sudden transient peaks. Tracking at1 gram or less, the cartridge is con-sidered ideal for the most critical ofapplications. The sound is said to beneutral, without added coloration.Hinged &rectly to the stylus assemblyis Pickering's exclusive Dustamaticbrush. Suggested retail price of theXSV/4000 is $140.

Full Automatic Turntable

Philips' model AF829 turntable is frontoperated, direct control, and fully auto-mated. Direct control is a new systemcombining the advantages of measur-ing the actual speed at the turntableand the well-known advantages of beltdrive, in combination with the subchas-sis principle used in earlier Philips turn-tables. The major achievement, accord-ing to Philips, is that it brings the spe-cifications to the level of direct drive.

14


but without the inherent problems ofdirect drive which requires extremelyfine construction to avoid rumble, sup-press microphony, and decrease sensi-tivity to shocks. Direct control beginsrotating the motor at 33 or 45 RPM,as selected. The belt transfers the rota-tion to the turntable. The speed of theturntable is continuously sensed by thetacho-generator and converted into avoltage, the output of which is fed intothe control unit where this voltage iscompared to a reference voltage. Theresulting difference voltage is used asa control signal to adjust motor speed.Thus in this system all external influen-ces are compensated, including changesin tracking force, different recordweights, use of a dust bug, changes inenvironmental temperatures and rela-tive humidity, mains voltage, and fre-quency fluctuations. Wow and flutteris put at 0.03f,'; WRNIS. On this turn-table, touch switches are located out-side the dust cover, on the front ofthe turntable. A bar of 9 LEDs indicatespeed accuracy in 0.5'7, increments.Price: under $300.

Noise Reduction System

Nakamichi and Telefunken have joinedforces to produce "Hi-Com II," a high -quality cassette noise reduction systemthat can be used as an "outboard pro-cessor" with any tape deck. However,the circuitry has been optimized forhigh -quality cassette decks. Ili -Corn His so -named because it processes thesignal in two frequency bands. Bothbands use a 2:1 compression/expan-sion ratio to achieve a 20 dB improve-ment in the cassette deck's dynamicrange. The use of a relatively highratio and the use of separate com-panders (Telefunken's IlighCom corn -pander IC) for the low and high fre-quencies results in virtual elimination


of noise modulation (pumping), whichplagues most simple compander circuitsparticularly when applied to a mediumwith inherently limited range. Thesystem is said to be especially free fromcoloration with transient signals, a vul-nerable point with many -other noise

reduction systems. Nakamichi recom-mends that the Hi-Com II be used withstate-of-the-art equipment and the fin-est quality cassette tape. Suggestedretail price: $420.

Tuner With Opto-Lock TuningOptonica's Model ST -7405 slim -styled,ebony tuner features what the com-pany calls Opto-Lock hming, an exclu-sive feature said to optimize tuning ac -


curacy by reducing haphazard tuning,poor reception and interference. Otherfeatures include digital frequency dis-play, multipath monitor switch, IFband selector and indicator, pilot can-celer, air -check calibrator, seven -ele-ment signal strength meter, seven -LEDtuning meter, Opto-Lock tuning indica-tor, hi -blend switch, FM muting switch,mode switch and variable output ter-minal. Specifications: FM IHF sensi-tivity, 1.7 AV; FM IHF selectivity, 35dB/80 dB; FM THD, 0.1/0.2%(wide), 0.2 0.3'; normal; FM signal-to-noise ratio, 75/70 dB (Mono/Stereo); FM frequency response, 30to 15,000 Ilz ± 1.5 dB; stereo separa-tion, 50/45 dB at 1 kHz. Price: $400.

Satellite Speakers

Satellite -I speakers were specifically en-gineered for use with Miller and KreiselSound's line of subwoofers, especiallythe NI&K internally amplified servo -feedback subwoofer called the "Volks-woofer." The Satellite -I retails for $185each, but the company says "greatestenthusiasm" has been for the $795


package called Satellite-VolkswooferSystem. The Satellite I handles fre-quencies above 100 lIz and the sub -woofer those below 100 Hz. The Satel-lite also operates separately as a com-pact, high -quality full -range speaker

(Continued from page 67)


JANUARY/FEBRUARY 1980

1 fact: professional studiotechnology comesto home hi-fi!

There is a new phono cartridge line that is the talk of the recording andbroadcasting industries the Shure SC39 Series. It is the first professionallyoptimized combination of true high fidelity performance, superb trackability,resistance to stylus damage under grueling conditions, and prolonged recordlife. These unique features make the SC39 ideal for high quality homeapplications as well.

if you transfer discs to tapeUse the cartridge developed for professional recording studios. The SC39 Serieshas a special strengthened internal stylus -support wire and elastomer bearing toimprove stability when professional backcuing and slip -cuing techniques areemployed.In addition, the SC39 offers a unique stylus tip not available on any other cartridge.the MASAR tip, designed for playing even delicate lacquer masters, withoutobjectionable noise buildup or "cue -burn" damage. It even helps when playing discswith high surface noise, or 45 rpm records made from reprocessed, substandardvinyl or polystyrene.

if youngsters have access to your hi-fiI his cartridge also conies close to being butterfinger-proo' " Most stylus damage is caused either by dropping thecartridge o' by pushing the stylus sideways against theedge of a record. To protect against this. the SC39 isequipped with two remarkable features. The first is theLever -Operated Stylus Guard. which locks the stylus guardin safety position when not in use. Wan the flip of a thumbthe guard snaps up and the operating lever turns into ahandy cuing aid.In addition. the SIDE -GUARD Stylus Deflector protects thestylus shank from damage by withdrawing it safely into thecartridge b3dy in response t.) siceways impacts.

if you prefer professional responseThe transparent sound of the SC39 S is due to its optimizedprofessional response which is virtually !i,it through the upper mid -rangewith a smooth and gentle rolloff at the highest frequencies. It is especiallypleasant when used with loudspeakers that tend to exaggerate the highfrequencies.

There are three models in the SC39 Series SC39ED-Biradial (Elliptical)stylus for 3/4 to 11/2 gram tracking, SC39EJ-Biradial (Elliptical) stylus for t1/2to 3 gram tracking; and SC39B-Spherical stylus for 11/2 to 3 gram tracking.

Send for brochure AL620

z

tI 1

Lever -Operated Stylus Guard

SIDE -GUARD Stylus Deflector

MU.1111.111.111111 SC39ED 12111.1MININI111111 IMOMINOMM1111111111 I 1,11EI

pi.. do SC39EJL

I"IIMO1000 q 000 20000

Typ.ca Frequency Response

SC39 series professional phono cartridges.Ire S U FR

.. by

Shure Brothers Inc , 222 Hartrey Ave t_v instcn. IL 60204In Canada A C Simmonds & Sons Limited

Outside the U S or Canada. write to Shure Brothers Inc Attn Dept J6 for information on your local Shure distributorManufacturers of high fidelity components, microphones sound systemsana related circuitry


McIntosh"A TechnologicalMaaterplece "

McIntosh C 32

"More Than a Preamplifier"

McIntosh has received peerless ac-

claim from prominent product

testing laboratories and outstand-ing international recognition! Youcan learn why the "more than apreamplifier- C 32 has been

selected for these unique honors.

Send us your name and addressand we'll send you the completeproduct reviews and data on all

McIntosh products, copies of theinternational awards, and a NorthAmerican FM directory. You will

understand why McIntosh productresearch and development always

has the appearance and tech-

nological look to the future.

Keep up to date.Send now - - -

McIntosh Laboratory IncBox 96 East Side StationBinghamton. NY 13904

Name

Address

City State Zip

It you are in a hurry for your catalog pleasesend the coupon to McIntosh For non rushservice send the Reader Service Card to themagazine


Le fi nie Tristcno/by J. R ToylorIf Lennie Tristano had never

recorded a note of his music-evenif he had never held a public per-formance-he would still be asignificant figure in the history ofjazz. Through most of his career,Tristano disseminated his style notto his audience, but to his student-musicians-some of whom becamehis colleagues-and to their stud-ents in turn. Turning most of hisenergies to teaching, Tristano be-came the first significant jazzpedagogue, an innovator not onlyin techniques of instruction, butalso in the very act of training jazzmusicians on general principlesrather than the requirements of aspecific performing situation.

Ironically, Tristano's course lefthim poorly represented in the LPcatalog. Today, most of his recordsare out of print; but even if theywere all available, Tristano wouldstill have a sparser discographythan his best-known students, saxo-phonists 1.ec Konitz and WarneMarsh.

Born in Chicago in 1919, Tristanolost his sight gradually duringchildhood, reaching total blindnessbefore age ten. By then his studieson piano were already under way(he performed on saxophone andclarinet as well) and he turnedprofessional at twelve. After stud-ies at the American Conservatoryof Music, he became influentialamong Chicago's younger whitemusicians, and this brought him tothenotice of several \\'oodv Her-

man bandsmen, who encouragedhis move to New York in 1946.

In the late 1940s Tristanoformed a group that reflected hismusical ideas. Its principals wereKonitz and Marsh (both born in1927 in Chicago and Los Angelesrespectively) and guitarist BillyBauer, a Herman veteran born inNew York in 1915. Their oppor-tunities for work were few, and bymid -1951 Tristan() had decided toteach full-time. Konitz and Marshtaught too, but altoist Konitz kepthis career going fairly steadily byworking in a variety of situations,from Stan Kenton's band (1952-1954) to his own groups. Bauerbecame a recording -studio regular,while terrorist Marsh preferrednon-musical work to music that in-volved artistic compromise.

Tristano would twice regroupwith Konitz and Marsh, late in the1950s and again in 1964. This lastreunion ended with a break be-tween Konitz and Tristano, andlittle was heard from the pianistthereafter. A 1965 European trip(his first) produced almost the lastof his recordings and public ap-pearances. At his death in Decem-ber 1978, Tristano had not been


J. R. Taylor is with the Smithsonian Insti-tution's Jazz Program. He has written onmusic for the Washington Post BookWorld, the Village Voice and others.

HI-FI/STEREO BUYERS' GUIDE16

The new Sansui G-4700.

A double -digital receiverwith all the right numbers.

Digital readouts and digital circuitry. Greatspecs. And the best price/performance ratio in thebusiness. All the right numbers. That's the new SansuiG-4700. Just look what we offer:

Double -Digital Design: The front panel ofthe G-4700 has a bright electronic digital readoutthat shows the frequency of the station you'veselected; and behind the front panel is one ofthe most advanced tuning systems in the world.

SIGNAL 111110111111111111

TUNE II Ill FM B EiPEAK POWER LEVEL WA' TS/80as 005 NOS (wir, (11.-, as

Sansui's patented Digitally Quarz-LockedCircuit uses a precise quartz crystal time base tokeep your station locked in, even through manyhours of listening or if you turn the receiver off andback on again.

Conventional quartz -controlled receivers useanalog phase comperison circuits that can becomeinaccurate because of harmonic interference. Oursystem uses a new LSIC (Large Scale Integrated Cir-cuit) digital processor that actually courts the vibra-tions of the quartz crystal to compare to -he tunedfrequency. The frequency is perfectly locked in the in-stant you find the station you want.

With this unique Digitally Quartz -Lockedsystem, the G-4700 de ivers high sensitivity (15dBf,mono); a better signal-to-noise ratio (75dB, mono);

and a better spurious rejection ratio (70dB).DC power amplifier: Power is ample for

almost any speaker made, with 50 wafts per chan-nel, min. RMS, both channels driven into 8 ohms from20 to 20,000Hz with no more than 0.05% THD.

And the wide bandwidth DC power ampcircuit responds quickly to transient music signals forthe most accurate and pleasing music reproduction.What you hear is clean and sharp, just the way it wasrecorded.

Electronic LED power meters: Don't worry ifyour present speakers can't handle 50 wafts. Thearray of fast -acting LED's (Light Emitting Diodes) onthe Sansui G-4700 lets you monitor and control theoutput level so you don't damage your speakers.

Electronic tuning meters: Two fluorescentreadouts help to zero -in on each station with accu-racy and ease. Both the signal strength and center-tune indicators operate digitally for precise stationselection, and the nearby LED verifies that the quartzcircuit has locked in your station.

Superb human engineering: A full com-plement of genuinely useful knobs, switches andjacks gives you complete control over what you hearand how you hear it.

Ask your authorized Sansui dealer to de-monstrate the G-4700. Listen to the music. You'll lovewhat you hear. Look at the numbers. You'll love whatyou see.SANSUI ELECTRONICS CORP.Lyndhurst. New Jersey 07071 Gardena. Ca. 90247SANSUI ELECTRIC CO.. LTD.. Tokyo. JapanSANSUI AUDIO EUROPE S.A., Antwerp, BelgiumIn Canada Electronic Distributors S ansuiCircle No. 8 On Reader Service Card

loirrSUBiStit FRI' , npyr Ar.,ent nil an

% INTSUMINIR %IA

177 ST ,PlegOWEP ANIPLIFIE to01

IntroducingMeI Bitsy

Mits ishi.Mitsubishi has put big

audio performance into a se-ries of precise little packages.

Microcomponents.Stereo components that

are compact. But can hardlybe called compacts.

They have the same high-performance characteristicsas our regular size compo-nents. They have to. They'reMitsubishi.

The Micro FM tuner, forone. It's the teeniest tuner inthe world. A mere 105/8x23/4"x 93/4 "big. However, fewtuners can measure up to itsstandards. It has, among other

things, a quartz-PLL synthe-sizer tuning system so sophis-ticated that it has absolutelyno drift. Zilch.

We were no less frugalwith features on our MicroCassette Deck. It has an Auto-matic Spacing Pause System,Dual Capstan Drive, Sepa-rate 3 -way Bias and Equaliza-tion FeatherTouch Controlsand of course, Dolby7Yet mea-sures only 105/8"x 51/2"x 95/87

For power, the MicroAmp is unbeatable at this size.The little"direct coupled"powerhouse puts out 70 wattsper channel.Total harmonicdistortion is only 0.01%. For30 watts per channel. it's aninfinitesimal 0.004%.

Our Micro Preamp ismade to complement the

amp. And faithfully conductany signal source that goesthrough it. It has a built-inmoving -coil head amplifier.With a signal-to-noise ratio of77dB even for 100µV inputand 0.005% THD, it obvi-ously does the job better thancomponents twice its size.

Small wonder the finaltouch was to finish them withChampagne Gold face plates.

The new Mitsubishimicrocomponents.

Now bigger isn't better.Only bigger.

MITSUBISHIAUDIO SYSTEMS

Mitsubishi : Microcomponents. Micro FM Timer, M-FOI. Micro Cassette Deck, M -T01. Micro Amp, M -A01. Micro Preamp.For more information write Melco Sales, Inc., Dept. 44. 3010 Etst Victoria Street, Compton, California 90221.

Distributed by Superior Electronics Inc. in Canada. *Dolby is a trademark of Dolby Laboratories.Circle No. 23 On Reader Service Card

A GUIDE TORECENT

STEREORECORDINGSby THOMAS D KELLY

An avid record collector for nearly 20years, Thomas D. Kelly has a keen earfor both live music and full-fi sound.Mr. Kelly played the records he reviewshere on equipment consisting of anEmpire 39 transcription system with aShure V15 III cartridge, a C/M Labs911 stereo amplifier, a Marantz 7T pre -amp. and two Bozak 13-400 speakers.

C) Bartok: Concerto for Orchestra.Philadelphia Orch., cond. Eugene Or-mandy, RCA Victor ARC1-3421.

According to the glowing liner noteson this disc, Eugene Ormandy, afterlistening to the playbacks during therecording sessions in April 1978, indi-cated there is "no comparison!" be-tween the new digital process and re-cording techniques of the past. It is dif-ficult to believe that Mr. Ormandy was

l'ofortunate failurelistening to what we hear on this newLP, the first digital recording to bereleased by RCA. The digital Sound -stream system is, of course, state of theart recording equipment, offering pro-ducers a wider dynamic range thanever possible before, with a total lackof hiss, background noise and distor-tion. But this system cannot do theimpossible. It can only record what hasbeen put into it. RCA's jacket notesstate that 26 microphones were used fortheir Bartok sessions. One might expectsomething impressive sonically to comeout of all this, but the end result is arecording that is decidedly inferior in

every way. Somewhere along the linethe richness and beauty of The Phila-delphia Orchestra have been totallylost. The orchestra's lush strings hereare particularly thin and characterless,woodwinds are shallow, only brass andpercussion conveyed with any degreeof realism. Throughout there is a totallack of warmth, resonance and pres-ence. Just about every other recordingof Bartok's concerto currently availableis preferable to this, particularly thoseby Bernstein, Boulez, Karajan, Kubelik,and particularly the budget -priced FritzReiner -Chicago Symphony versionmade more than two decades ago whichstill sounds infinitely superior to RCA'sbrand-new digital disaster. The faulton the new LP obviously is with theproducer and engineering staff. RCA'stechnical problems with the Philadel-phia Orchestra have always existed,ever since their first dismal recordingsin 1968. Since that time they have im-proved, but never have they truly cap-tured the resplendent sound of ThePhiladelphia Orchestra. This new Bar-tok LP is a major step backwards.

© Chopin: Polonaise in A Flat, Op.53; Berceuse in D Flat, Op. 57; Im-promptu in A Flat, Op. 29; Ballade inA Flat, Op. 47 No. 3; Nocturne in CMinor, Op. 48 No. 1; Fantasie Im-promptu Op. 66; Scherzo in B FlatMinor, Op. 31 No. 2; Waltz in C SharpMinor, Op. 64 No. 2. Earl \Vild, pian-ist, Quintessence PMC 7131.

These are recent recordings, made inRCA's New York studios in Septemberof 1978, here released for the firsttime. Wild created a sensation in NewYork with his Chopin recitals, yet onthis recording much of his playingsounds quite mannered. In particular,the delicate "Waltz in C sharp Minor"is given a rather strange accent, withrubato far beyond any accepted norm.There are many moments of glisteningfiligree, particularly in the "Berceuse,"but these generally athletic perform -

""".".!r:"7"*"

ances miss much of the introspectivequalities of the more gentle pieces,while the more heroic works ("Polon-aise in A Flat," "Scherzo in 13 FlatMinor') are rather rushed. \\'ild hasmade some spectacularly successfuldiscs, notably many concerto recordingsincluding all of Rachmaninolls, andsome remarkable Liszt interpretations.This new Chopin release falls consider-ably below Wild's usual performancestandards.

© Mozart: Violin Concerto No. 3 in GMajor, K. 216; Violin Concerto No. 5in A Major, K. 219. Anne -Sophie Mut-ter, violinist; Berlin PhilharmonicOrch., cond. Herbert von Karajan,Deutsche Grammophon 2531 049.

What an extraordinary opportunityfor a young instnimentalist, to be in-vited by Karajan to appear with the

MOZUIT:110LINKONZERTFA1(M IN (1)M'ENTOSN., ...VA., marI 1.0

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Berlin Philharmonic when only fifteenyears old! Mutter was born in 1963 andfirst studied the piano, soon thereafterswitching to the violin, a year laterwinning her first prize on the instru-ment. Karajan heard her at the LucerneFestival, which resulted in his invita-tion for her to perform with the BerlinPhilharmonic in 1978, at which timeshe was enthusiastically acclaimed forher mature artistry. She is a lovely,poised and aristocratic young lady, andon this recording repeats the concertoshe played for her remarkable debutwith the Berlin Philharmonic, the Con-certo No. 3, with the more familiarTurkish concerto on the reverse side.Mutter's playing is indeed eloquent,perfect in intonation and beautifullyphrased. This is a most auspicious re-cording debut, which has been won-derfully captured by the DG engineers.

© Mussorgsky -Ravel: Pictures at anExhibition. © Mussorgsky-Rimsky-Korsakov: A Night on Bald Mountain.Cleveland Orch., cond. Lorin Maazel,Telarc Digital 10042.

This is quite an astounding recording

20HI-FI/STEREO BUYERS' GUIDE

All your records will sound betterwith Dual's new ULM tonearm and cartridge system.

t \It ey look ipven 41 this.

Although none of your records maybe in such bad shape, many areprobably warped enough to presentserious problems to conventionalturntables.

The high inertia of a typicaltonearm and cartridge combination,with approximately 18 grams totaleffective mass, causes the stylus todig in riding up the warp and to takeoff on the way down. Tracking angleand tracking force vary widely-as much as 30 percent. And a warpas small as 1.5mm (which isbarely discernible) can generateharmonic distortion of 2.7 percent.That's audible!

These problems have now beensolved by Dual's new Ultra LowMass tonearm and cartridge system.

The potential for this solution hasexisted ever since the developmentof Dual's dynamically -balancedtonearm with its gyroscopic gimbalsuspension and straight-linetubular design.

Dual's research into the effectsof mass on record playback led toa collaboration with Ortofon.A cartridge was developed withsubstantially less mass than any inexistence. It weighs just 2.5 grams,including mounting bracket andhardware.

At the same time, the mass ofthe Dual tonearm was furtherreduced so that a perfectly matchedtonearm and cartridge systememerged. Its total effective mass isjust 8 grams. That's less than halfthe mass of conventional tonearmand cartridge combinations.

Tracking a record with the same1.5mm warp, the ULM systemreduces harmonic distortion toonly 0.01 percent. That's 270 timesless than that produced by theconventional tonearm and cartridge.

Not only is the overall soundaudibly improved, but stylusand record life are significantlyextended.

To experience the demonstrableadvantages of ULM, bring a badlywarped record to your Dual dealer.Listen to it played with the ULMtonearm and cartridge. (All ninenew Dual turntables feature thissystem.)

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STIRFORECORDINGS(Continued from page 20)

in many ways. The Soundstream digitalrecording process is capable of accu-rately reproducing the full dynamicrange of a large orchestra, far more ac-curately than was possible with conven-tional recording methods. This is thefirst digital recording on Telarc of amajor, large orchestra, and the engi-neers involved are to be commendedfor their expertise in capturing the richsounds of the Cleveland Orchestra. Therecording was made in Cleveland's Ma-sonic temple in October 1978. This hallobviously is very satisfactory for re-cording purposes, although there mighthave been a touch more of reverbera-tion to add more warmth to the strings.Otherwise, all is quite spectacular, andsonic buffs doubtless will play repeated-ly the final movement of "Pictures,""The Great Gate of Kiev," with its re-sounding percusssion, particularly theincredibly -reproduced tam -Lim, thatgets louder and louder at the climax.Both of Mussorgsky's scores are pre-sented here in incredible orchestral de-tail, and this disc easily could become

the display LP of the year. Maazel al-ready has recorded "Pictures" twice,for Angel and London Phase Four. Heis hardly one of the more exciting con-ductors on the contemporary orchestralscene as illustrated by the somewhatprosaic performance on this LP. How-ever, the Cleveland Orchestra playslike the great orchestra it is. Collectorsseeking more interpretively from "Pic-tures" might look to competing versionsby Leibowitz and the Royal Philhar-monic on Quintessence, Giulini and theChicago Symphony on Deutsche Gram-mophon or Muti and the PhiladelphiaOrchestra on Angel. It is understand-able that direct -to -disc recordingswould have a high price tag; there is alimit to the number of pressings thatcan be made because of the process.But this Telarc LP is digital, and thecompany can press as many copies asthey wish. Because of this it wouldseem that the $17.98 list price is ratherexcessive, although there is no questionthat it does sound superior to just aboutany other recording in my memory.

Orff: Carmina Burana. Milada Subr-tova, soprano; Teodor Srubar, tenor:Jaroslav Tomanek, baritone; CzechPhilharmonic Orch. and Chorus, cond.Vaclav Smetacek, Quintessence PMC7122.

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22

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GIN le No. 25 On Reader Service Card

This performance was recorded bySupraphon in 1961, available for someyears on the Parliament label and isnow restored to the catalog on thisbudget -priced Quintessence label. Itis a worthy return, as this performanceis extraordinarily effective in manyxvays. The Czech Philharmonic Orches-tra is superb, and the chorus, particularlythe male voices, quite outstanding.Carmine Burana is Orff's vivid settingof a group of poems- written by Bene-dictine monks, with texts that are oftenmore bawdy than you might think pos-sible for men of the cloth. CarmineBurana is an audience pleaser, and forgood reason. It is the first part of atribigv that includes Catulli Carmineand The Triumph of Aphrodite, andeasily surpasses the others in originalityand freshness. Unfortunately, the threesoloists on the Quintessence reissue arconly adequate. They are enthusiasticenough but all suffer from that type ofwobble typical of Slavic voices, and thismight be too much of a distraction forsome listeners. Even though this re-cording was made in 1961 the repro-duction is very fine and well-balanced.The percussion, so important in thisscore, strongly punctuates the setting.

@ Rachman inof f : Rhapsody on a

Theme of Paganini, Op. 43; © Doh-nanyi: Variations on a Nursery Song,Op. 25. Julius Katchen, pianist; LondonPhilharmonic Orch., cond. Sir AdrianBoult, London STS 15406.

Julius Katchen was one of the mostpromising of the younger pianists onthe international scene until his untime-ly death in 1969 at the age of forty-two. Some of his finest recordings,particularly of Brahms, still are in thecatalog, and it is good to see this Rach-inaninoff-Dohminyi coupling availableonce again. These are among the finestperformances of both works, scintillat-ing in their brilliance, yet sensitive tothe score's more lyrical moments. Theaccompaniments are marvelous, and thequality of reproduction belies the factthat these are not new recordings. Ifyou haven't heard the Dohnanyi varia-tions, you should investigate this in-ventive set of variations on the song"Ah, VOUS dirai-je, maman," in whichthe composer set: this simple familiartheme in treatments ranging from aViennese waltz to a fugue. There isanother superlative budget -priced per-formance of this score, on Quintessence,with Earl Wild accompanied by the

Philharmonia Orchestra conductedby the composer's son, Christoph vonDohnanyi, coupled with Listz's "Hun-garian Fantasy" and "Mephisto Waltz."You could not go wrong with eitherrecording. A


LAUNCHING A NEW ERA IN THEREPRODUCTION OF MUSIC FROM RECORDS.A strong claim, but true. The Concorde combinesa cartridge and headshell in a single form, butweighs less than most headshells alone. Thereduction in record wear and distortion, and theability to track accurately despite warpage, payincalculable dividends to music lovers.


Ortofon dealers are now ready to demonstrate theConcorde. It's worth a visit just to see and hearthis remarkable cartridge that stands at the veryfrontier of music reproduction technology. Forcomplete information write: Ortofon, 122 DupontStreet, Plainview, New York 11803.


orroion23

in *eight Jenkins

The name Nicolai Ged-da, to anyone who lovesopera, means taste andstyle. The Swedish tenor(whose mother was Rus-sian and so gave him adouble national heritageat home) has been knownon the international scenesince 1953, and this fallhas another new produc-tion at the MetropolitanOpera, the exacting roleof Belmonte in Mozart'sEnt fiihrung aus dem Ser-ail. Some tenors are knownfor their sensual soundwhile others for their ring-ing high notes. Gedda hasbuilt his career on beingable to handle high notesas easily as they exist andon his ability to sing idio-matically in as many lan-guages as there are operasto fill them. Also rare withGedda is his effective andeasy mezza voice-the softkind of singing vital in belcanto operas and spectacu-lar in more dramaticworks. Cedda can filedown the size of his voice

In a scene from Smetana'sThe Bartered Bride, Geddaplays Jenik opposite Te-resa Stratas' Marenka.

and seem to float it on alight column of air, mov-ing high into the vocalstratosphere without evergoing into falsetto. Even athis present age of 54, thetenor can sing with bril-liance and subtlety, show-ing less age in live per-formance than in some ofhis more recent records.

Gedda's voice began asa very light tenor-a trueleggiero-and his first famecame from an opera ofAdam's, Le Postilion deLongiumeati. The work isnot a great one, but it hasone aria in it that is tan-talizing for any tenor.Again and again the tenormust vault from the staffup to high C, ending witha true, full -voiced high D.Cedda did this easily inParis at the Opera in 1953,and he was launched. Iremember well hearinghim for the first time therein a very unusual opera,\Veber's Oberon, in whichhe played the fairy kingwith brilliance and theeasiest, high -flying voice Ihad ever heard. In 1957he made his debut at theMetropolitan Opera inFaust, and his brilliantlyric tenor was preciselyright for the part. Ceddahad a wide range, a youth-ful sound and a surenessof production rare in anysinger, let alone a tenor.

Though Swedish andRussian are his two nativelanguages, his facility inFrench, German, Italianand English is as perfectas a native's. This state-ment has been made inthe past of other singersand some could fault it.But with Cedda the clarityof words he sings in ourown language gives one

Nicolai Gedda portrayedLenski in Tchaikovsky'sEugene Onegin at the Met-ropolitan Opera House.

an idea of what he cando in the others. And ithas been the same sincehis beginnings in the U.S.In his first MetropolitanOpera season he sang Ana-tol in the world premiereof Samuel Barber's Va-nessa, and many pointedout that his English dic-tion was the clearestthough he was the onlynon -American in the cast.

What Gedda lacks isthe rich, sensual qualityof so many Italianate ten-ors, and he does not reallyhave the typical Italianvocal production that canbe heard in the work, say,of Luciano Pavarotti. Thishas not stopped him fromtaking on and recording aworld of Italian roles, butout of the bel canto reper-tory, despite his grasp of

the style, he has notproved as satisfying toaudiences as those tenorswith a richer voice. Thisis said with some hesita-tion for two reasons: Ged-da can sometimes surpriseyou and sing a Puccini orVerdi role with the ardorand passion of the Italiantenor, and further, it isnot at all clear that audi-ences are quite as finickyabout the special kind ofvoice for certain parts asare critics.

In all repertories, Ged-da has had a distinguishedcareer at the MetropolitanOpera. In the 22 seasonsas a first tenor at the househe has sung 28 roles over250 times. As of a fewyears ago his most per-formed role was one hehardly sings now at all:Don Ottavio in Don Gio-vanni. Included in the listof widely heard roles arehis Des Grieux in Massen-et's Manon (denied ussince 1964 because theMet has not performedthe opera), Hoffmann in

(Continued on page 681

The role of Ernesto in Don -Pasquale by Donizetti wasone of Gedda's most suc-cessful accomplishments.


EXP \SV SOINEXPENSIVELY

the new0A -5Afrom

Pickering itt,

With the introduction of the OA -5A Pickeringadds a new dimension to an already great lineof headphones. The OA -5A combines thedynamic performance of low mass, highenergy samarium cobalt drivers found in ourtop -of -the -line stereophones. with the benefitsof open -audio design. assuring an acousticallyperfect listening environment and the ultimatein listening comfort. without isolating you fromyour surroundings. And the OA -5A delivers fullrange frequency response everywhere you go.because Pickering includes a special adapterplug for portables. Suggested retail for the Pic-kering OA -5A headphone is $60 For furtherinformation write to Pickering and Co.. 101

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PICKERING-for those who can hear the difference"'

Above left is the Pickering 0A -3A, an advanced headphone thatdelivers impressive sound qualry. With adapter plug. Suggestedretail $45 Our finest example of open -audio design and engineer-ing. the OA -7 ha,--; superb listening characteristics and featherlightwearing COM1Ort Suggecled retail $70

JANUARY/FEBRUARY 1980 Circle No. 14 On Reader Service Card25

ens gunMBEouPuriu ncluDE

Almost everyone agrees that the only meaning-ful way to judge loudspeakers is by ear. So it'stoo bad we can't actually invite you to come andlisten with us. But by giving you an account ofour subjective impressions along with a descrip-tion of the basic design principles of the speakerswe review, we hope to enable you to form anidea of what these speakers are like.

f i:\NS ana (),W;;k


Bose 901 Series IV

We scratched our collective headswhen the Bose speakers arrived. Theylook like no other speakers and theysound like no other speakers. How onearth were we going to describe them?

Maybe the best way to characterizethe Bose 901 is to call it a collection ofmaverick ideas that seem far-out at firstglance. But when you put them all to-gether, they work out splendidly.

This radically unorthodox speaker isthe brainchild of Dr. Amar Bose, a pro-fessor of electrical engineering at theMassachusetts Institute of Technology,a top -rank researcher with a flair forthinking of things from the ground up.So Dr. Bose began by throwing awaymost established notions about loud-speakers. In fact, he went all the way

sound, making ananalytic study of sound propagation inthe concert hall. He found that mostof the sound heard at a live perform-ance does not reach the listener direct-ly. As the musicians play on-stage, only


KEF-101

The recent appearance of mini -components is good news for musicaldwellers in cramped quarters. By usingminiaturization methods developed forspace electronics and computers, theminis happily reverse the trend towardneedless bulk in audio equipment. Butthese methods apply chiefly to purelyelectronic components, such as ampli-fiers, tuners, and receivers. The effortto shrink size without shrinking per-formance has not been equally success-ful in the area of loudspeakers, andmany of the mini -speakers that haverecently been sounding off in the mar-ket were not entirely satisfactory.Granted, mini -speakers by reputablemanufacturers usually have clear, un-distorted sound, and the net result isby no means unpleasant. But some ofthem seem notably weak in bass, whichis not surprising, considering their size.

One way of mitigating this inherentdeficiency of small speakers is to make


fact:


a Genuine Shure upgradestylus is unquestionablythe biggest bargain in hi-fiWe strongly urge you to check your stylus for wear at least once a year toprotect your records and maintain the highest standards of listening pleasure.Regardless of when (or where) you purchased your Shure cartridge, there is aGenuine Shure replacement stylus available which will bring your cartridgeright back to its originat specifications. Even better, you may actually be ableto improve its performance significantly over the original with a Genuine Shureupgrade stylus... at surprisingly low cost! For example:

IF YOU OWN:

V15Type III

.. SERIES

M95SERIES

-

UPGRADE Vs. I I H:

liti ....

VN35HE//.0' ,..14,,

Hyperelliptical ------.1.'411162111111111."

stylus

N 95HE* / \/1111

Hyperelliptical k Astylus ' Pliii''

THIS IS THE RESULT:

A dramatic reduction of harmonicand intermodulation distortion(formerly available only to ownersof the incomparable V15 Type IV) isnow possible with the V15 Type IIIand the M95 Series of cartridgessimply by replacing the stylus. TheHyperelliptical stylus configurationcontacts the record groove in a"footprint" that is longer andnarrower than the popular Biradialtip design, making it pre-eminentfor reproduction of the stereo -cutgroove.

i

1170Mb SERIESL i -A......

N72EJ ii

Biradial (Elliptical) 01

stylus s...

N72B l'.1Spherical stylus

Improved trackability, especially athigh frequencies, due to a new,redesigned low -mass N72stylus assembly.

ANY N191,1192, M93 ti9lED*stylus

Much improved trackability due tothe lower effective tip mass of thenuce Biradial (Elliptical) stylus tip.Less tracing distortion comparedwith a Spherical stylus tip.

ANY M71, M73, NI75 N75 TYPE 2*Series styli

Improved trackability at higherfrequencies due to a stylusassembly with a lower effective tipmass

ANY M44 Series N55E*sty us

Lower tracking force with a Biradial(Elliptical) stylus, lower distortion,lower effective tip mass.

113D, 117D N2ID*Sty us

-

Improved performance at lowertracking forces

Before purchasing any replacement stylus be certain your turntable is compatible with the tracking force of the stylus you select.

Always insist on a Genuine Shure replacement stylus.Look for the name "Shure" on the stylus grip.

Genuine Shure upgrade styli bySHUREE (rE

1, I ' r ler; Inc , 222 Hartrey Aye,. E,ansIon, IL 60204in Canada A C Simmonds & Sons Limited

Outside the IJ S or Canada. write to Shure Brothers Inc , Attn Dept J6 for informal on on your local Shure distributorManufacturers of high fidelity components. microphones, sound systerrs and related circuitry


(Continued from page 26)

Circle No 66 On Reader Service Card

about 20 percent of their sonic outputtravels straight out toward the audi-ence. The remaining 80 percent reachthe ear by way of wall reflections, some-what like a carom shot bouncing off theedge of the pool table before hittingthe pocket. Dr. Bose therefore resolvedto design a speaker that would dupli-cate this pattern.

The Bose 901 radiates most of itssound away from the listener towardthe rear and the sides of the room.Where the rearward and sidewayssound hits the walls, it reflects as froma mirror. This produces an odd effect.When you look in a mirror, your re-flection appears not in the mirror planebut behind the mirror. Likewise, thesound reflections seem to be comingfrom behind the walls. This creates theimpression of sitting in a large concerthall even when you are listening in asmall room. To some degree, this is trueof most multi -directional speakers usingreflected sound. But in sheer spacious-ness-giving a sense of sonic enlarge-ment to the acoustical environment-the Bose is without parallel.Description:

This speaker is unique in other ways,too. There are no woofers and tweeters.The sound is generated by a total ofnine identical four -inch cone speakers,

each separately chambered in an odd -angled enclosure, and each pouring outfull -range sound. A special electronicequalizer, connected as an outboarddevice, creates the desired responsecurve by shaping the amplifier outputto the requirements of the speaker.

John Wawzonek, a Bose engineer, ex-plains it this way: "Most speaker de-signers try to get flat response bystretching the capabilities of the speak-er materials. \Ve think it's easier tocompensate electronically for the me-chanical properties of the speaker. \Vepush the signal in those parts of thefrequency spectrum where the speakeris naturally weak, and we weaken thesignal where the speaker is naturallyefficient."

Bose uses a computer to match thenine drivers in each speaker. A testsignal sweeps each driver through theentire frequency range from 20 to20,000 Hz, and the computer "listens"through a calibrated microphone tocheck the speaker response. "This auto-mated analysis," says Wawzonek as-sures that every element in the array iscompatible with the others so as toproduce peak -free overall response."

Another unusual feature of the 901Series IV are two nozzles projecting



sure that they have extremely smoothresponse above the cutoff region. Thehuman ear has the ability to inwardlyreconstruct at least some of the missingbass as long as the upper frequenciesare presented in their exact relative pro-portion. Nobody quite understands whythis is so. Intensive investigation of thisphenomenon at the Harvard Psycho -acoustic Laboratory has yielded noclear answer; but apparently the humanear "synthesizes" the missing bass fromthe structure of the upper harmonicswhich are reproducible even by a verysmall speaker.

The net effect of this illusory bass isnot quite the same as that of genuinebass. It lacks the sense of depth andweight. But if the response of a speak-er is truly linear from the mid -bassregion upward, the listener gains somefeeling for the bass that isn't there.Description:

This lengthy preamble is necessaryto explain the sound of the KEF-101,which is unquestionably one of the verybest little speakers ever to come to ourattention. Its British designers havetaken uncommon pains to assure itsuncommon quality. For one thing, everyone of its elements is computer -match-ed. As in the case of the Bose speakers,discussed above, the response curves of

all drivers are analyzed by computersto assure a smooth matching of wooferand tweeter without any discontinuitiesof response in the crossover range, andmatching of speaker pairs to assureidentical sound projection from left andright. Not only the drivers are com-puter -matched; every circuit elementin the crossover networks is also sub-jected to computer analysis so that tighttolerances are maintained and the twospeakers in a pair are absolutely alike.

When you measure the KEF-101 inthe lab, you'll find its response astonish-ingly linear: within 2 db from 90 Hzto 30 kHz. It is this linearity whichaccounts for the smoothness of soundas well as for the psychoacoustic effectpreviously described: the illusion ofbass not actually reproduced. Of course,the speaker does in fact reach below90 Hz, even though its response belowthat point is no longer linear. Its tightacoustic suspension allows it to acceptbass boost from the amplifier and re-ceiver without becoming boomy, andin this manner considerable output canstill be obtained in the region around45 Hz-not at all bad for a little boxmeasuring a mere 12i inches high, 6inches wide and 6% inches deep.

One of the most astonishing aspects(Continued on page 68)


NOBODY CAN MATCHOUR PERFORMANCE

BECAUSE NOBODY CAN MATCHOUR TECHNOLOGY.

Kenwood gas consistently made thesignificant technical advancements thatmake a diffe-ence you can hear. Likethe first introJuction of DC into inte-grated ampldiers.

And now, Kenwood does it again.Our exclusive Hi -Speed amplifier hasactually changed the standards bywhich high fiielity measured. It re-acts much faster to changes in themusic, particularly in the mid to upperfrequencies. So all the subtleties of themusic come through-even an indi-vidual singer in a back ip vocal group.

In our tuners, we've developed Pulse -Count Detector circuitry to digitally re-duce FM distortion by half while signifi-cantly reducrig background noise. You'llhear the difference in your FM receptionas a more distinct, clearer sound. Andonly Kenwoc d has it.

In fact, every Kenwood component hasexclusive features that improve soundquality. Like turntables with resin -concretebases that virtually eliminate unwanted vi-brations, anc an extra-leavy, high inertiaplatter that keeps the record speed con-stant. And ot_r dual -belt cassette decks thatuse a unique, extra -heavy flywheel for con-stant tape speed and better reliability.

Your Kentnood dealer can demonstratehow these features actually improve thetonal quality of your music.

And that's what great performance isall about.

KENWOODFor the Kenwood dealer nearest you, see your Yellow Pages,or write Keiwood, PO. Box 6213. Carson, CA 90749.In Canada: Magnasonic Canada, Ltd.

CommitYourself.

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Mitsubishi Car Audio.Funny thing this stereo business. The world's

full of advanced technology -so how do youmake a better unit? More features? More power?

Not necessarily so.Our equipment stands on its own merit as being

reliable, rugged, and the highest in quality caraudio. Mitsubishi has never had to rely on the easyway out.

AM/FM cassettes and 8 -track. In -dash. under -dash units. Speakers. And something were espe-cially proud of ... the Mitsubishi component separates.Tuners, tape decks, amplifiers. amplifier/equalizers.All engineered as separate units designed to ulti-

mately come together in an awesome collec-tive system.

See your nearest Mitsubishi dealer and point to,poke at and above all. listen to our exciting newline of car audio products.

Shown here are the RX 79 in -dash cassette with AM/FMMPX. the CV -23 control amplifier and equalizer. the CX-20component cassette deck. the SX-30SA 2 -way speakerenclosures and the SB-2SA super tweeters

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by William S. Gordon

/f we're to believe statistics, more timeis spent listening to FM than to anyother program source. Before you dis-count that statement completely, tote

up the hours you spend listening to radio andcompare the figure with the number of hoursyou spend listening to discs or tapes. When Idid, the results were surprising. That tuner ison more than I thought. Sure, I may not be

listening to it seriously for all that time-likeright now when I'm writing-but I am listen-ing, t_nd when the sound is distorted orgarbled, I react immediately and with an-noyance.

Fortunately, tuners have gotten pretty good.Top models are actually better than the equip-ment used at most broadcast stations! They areable to handle the full band transmitted (30


MI IN I'For those who like a traditional dial display but with push-button tuning, Ken -wood's KT -413 may be the answer. This AM/FM tuner is said to have a sensitivityof 1.9 microvolts and a signal-to-noise ratio of 72 dB in stereo and 77 dB Mono.The distortion is .15°0. Circle number 75 on the Reader Service Card. Price: $250.

TUNERWHIIMIOGY

Hz to 15,000 Hz) uniformly and with admir-ably low distortion. And, stereo separationactually exceeds that of most program sources.(A phono cartridge is lucky to achieve a 30 -dBseparation figure, but such an achievement isnow duck soup for a tuner.) Sensitivity, oncea criterion that separated the men from theboys, now closely approaches the theoreticallimit on many tuners.

Real -World Performance. But a tuner attainsits specifications only if it is "tuned" precisely.If you're a little off the target, distortion in-creases precipitously, sensitivity diminishes,separation goes to pot, and the noise level in-creases. And sometimes, you don't know thatyou're slightly mistuned until a sudden cres-cendo elicits a raspy choke at its peak. Recenttuner advances seem to be devoted more toimproving performance in the "real world"than on the test bench, and that's all to thegood.

Many design techniques and features thatonce were available only in top -of -the -linemodels are now quite commonplace. Chalkthat inflation -fighter up to the economies ofmass production and the availability of inex-pensive integrated circuits that combine a slew

.00-441' 4101_

Onkyo's T-4090features quartz -locked tun-

ing with a large flywheel tuning knob.It has front -panel controls for de -emphasis,

output level, mute lock and a noise filteramong others. LEDs show station lock and

signal strength. Circle No. 80. $339.95.

of circuitry in a single chip. A prime exampleis the phase -locked -loop (PLL) multiplex de-coder. Most tuners now feature this type ofcircuitry-one that improves stereo separationespecially near the ends of the audio band.But before the IC was developed, a phase -locked loop was impossibly complicated to im-plement in a reasonably priced tuner.

Along the tuning line, many FM sets havesome sort of "lock" system. (Don't confuse thiswith a phase -locked -loop MPX decoder.) Onceyou've dialed in close to the station, the tunertakes over and pulls in the rest of the way.Modern automatic tuning systems are far bet-ter than the old AFC (automatic frequencycontrol) that frequently produced distortedaudio and would "pull" towards the strongerof two adjacent stations. The new systems com-pare the IF frequency with that of a quartz -locked oscillator and make the adjustment ac-cordingly. Essentially, the tuner attains thestability and approaches the accuracy of thequartz reference, and that is mighty good.And, it needn't cost you a fortune either. Toput over the "stability" idea, many such tunerspush the word "quartz" (or some variantthereof) in the promotion. We're all supposed


Sansui's new TU-X1 is an im-pressive looking machinethat has separate AM andFM controls and metering.On FM the signal strengthmeter can be used as sensi-tive multipath-distortion me-ter. Both IF amplifiers can beused in the narrow or widemodes. Circle No. 89. $980.

Sanyo's Plus 135 is a quartz -

locked AM/FM tuner with adigital channel indicator andan analog reference dial. Italso has a variable band-width IF amplifier, switch -able de -emphasis, two -levelmuting and a five LED signalstrength meter. Sensitivity is1.8 Circle 102. $299.95.

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to know that quartz implies accuracy.Syntheized Tuning. Although "quartz -

locked" tuning assures that you're very closeto the money, theoretically, it's not perfect.The tuner must always be slightly off the mark,for it is this "error" that actually does thetuning. (Practically speaking, this needn't con-cern you for the "error" is miniscule-muchless than you'd achieve by hand tuning unlessyou're incredibly lucky.) To eliminate this lastvestige of inaccuracy, we have "digitally syn-thesized" tuners. These are a good deal morecomplex (and expensive) than the quartz -locked variety.

A quartz crystal forms the heart of a synthe-sized tuner too, but it's used in a different way.Rather than being a reference to which thesignal frequency is compared, the crystal gen-erates the local -oscillator signal for etery con-ceivable station and (usually) only for thosestations. There is no comparison and correc-tion; in a sense, the tuner is pre-programmedto line up only with stations that are at thedesignated FM frequencies. In this country,

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Mitsubishi's top -of -the -line DA -F20 FM -only tun-er has cuartz-PLL tuningfor low drift. The stereosignal-to-noise ratio is 75dB wide -band, total har-monic distortion 0.08°0wide ba-id. Circle 78 formore information. $430.

OMR

FM stations are spaced at 200 -kHz intervals, so only those chan-

nels need be tuned. (In other partsof the world, FM channels are spaced differ-ently, so some synthesized tuners provide forchannels in 50 -kHz increments.)

Tuning a synthesized tuner really comesdown to switching in the right oscillator fre-quency. It can be done via pushbuttons, pro-gramming "cards," by knob, or in many otherconceivable ways. The ability to "preset" anumber of your favorite stations and switchbetween them instantly is thus easy to ac-complish, and most synthesized tuners affordthis facility. Usually too, the station frequencyis displayed on a digital readout. Although it'snot needed, a conventional slide -rule dial maybe used as well. The digital display takes sometime to "update," and, when you are spinningrapidly through the band, the old slide -ruledial is actually a more convenient rough indi-cator of where you are.

Be aware that a digital display by itself doesnot mean that the tuner has a "digitally synthe-sized" oscillator. Some designs use a conven-tionally -tuned oscillator and have a built-in"frequency counter" to indicate the frequency


JVC's T -M1 micro,synthesized tuneris only 9 in. widebut it has plenty offeatures. Its digi-tally synthesizedtuning is precise.and set manuallyor with 5 program-mable presets. Thedigital display is

also a clock. Cir-cle 74 for more in-formation. $499.95.

JVC

TUNER

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Hitachi's FT -8000 quartz -digital synthesized FM tunerhas a digital display, six programmable preset sta-tions and built-in clock. Signal-to-noise ratio is 72 dBmono, 68 dB stereo. Circle Number 72. At $459.95.

of the station that is being tuned. Althoughsuch a display is a more accurate indicator ofwhich station you're receiving than a slide -rule dial, it does not assure that you areproperly tuned to that station.

Preset Tuning. The inclusion of "presets"may indicate digital synthesis, but you can'tcount on that fact either; some tuners use"varactors" to provide the preset ability. Avaractor is a voltage -controlled capacitor; bychanging the DC voltage across the device, itscapacitance changes and accomplishes thesame purpose as a conventional mechanically -driven "tuning capacitor." Thus, tuning can beachieved by strictly electronic means whichsimplifies implementation of the preset feature.Actually, varactors are used in a synthesizedtuner too, but not to adjust the oscillator fre-quency. They are used to replace the mechani-cal tuning -capacitor sections that adjust theRF amplifiers. Varactors are no better than amechanical tuning capacitor; in fact, in somerespects the mechanical jobbies beat themhands down. However, they are a very con-venient means of achieving electronic tuning.At least one tuner we know of uses a servo-motor -driven mechanical tuning capacitor to

achieve presets without the theoretical limita-tions of varactors.

Meters. Tuning accuracy is the sine qua nonof FM reception, and, most tuners and re-ceivers have some form of tuning "aid"-meters, LEDs, or whatever. Traditionally, thebetter tuners have been equipped with twometers, one indicating signal strength, theother showing when you are tuned preciselyto the center of the channel. The recent trendis to replace these meters with LED displays.A three -LED configuration does a pretty goodjob of replacing the center -of -channel meter;one LED indicates when you're tuned toolow, another when you're tuned above thestation. The center one tells you when you'reon the money. Combined with some sort of"lock," such a display is all you need as atuning aid.

LED signal -strength indicators frequentlyleave something to be desired. Usually theyconsist of a five -light array, and the greater thenumber of LEDs that are illuminated, thestronger the signal is. If you're using the arrayto serve as a guide in orienting an antennafor strongest reception, you may find it inade-quate. The "steps" between successive LEDs


Aiwa has an FM digi-tal tuner with analogand digital displays,model AT -9700 U. Hasvariable output levelfor taping. Please cir-cle number 103. $520.

rt

JVC's T -40P synthe-sized AM/FM tuner JVC

has digital channeldisplay. 8 program-

%ANDO 41441.141. rrrmable preset stations.Circle 74 for moreinformation. $369.95.

1

REVox

may be so large that you don't get any differ-ent indication even when rotating the antennathrough a substantial angle. Of course, somemeters are more sensitive than others in thisregard.

Especially in an urban environment, theantenna orientation for best reception may notcoincide with that for strongest reception. Fre-quently, it is more important to rotate yourantenna for minimum multipath pickup thanmerely to pick up as much signal as possible.Some tuners are equipped with multipath-reception indicators. One of the meters maydouble up for this function-usually it's thesignal -strength meter. When in the multipath-indication mode, you rotate the antenna forminimum indication-or the tuner may presentthe distorted multipath signal aurally throughone of the speakers. Obviously, you turn theantenna for minimum garbage. Some tunershave output jacks that connect with an externaloscilloscope display that shows multipath; atleast one, has a built-in oscilloscope display.Some form of multipath indication is espe-cially helpful in and near a city, although this

1 II 11 I I I I I I

With 15 touch -selectchannels the ReVoxB760 is great for theaudiophile who likesconvenience. It hasnoise reduction cir-cuitry. Separate sig-nal strength. centerchannel meters. Cir-cle No. 86. $1,649.

author hasn't found the meter -type particu-larly effective.

While on the subject of meters, some tunersfeature a modulation or "deviation" meter thatdisplays the percentage of modulation beingused at the station. Usually, the signal -strengthmeter doubles up for this job. Since stationsare not suppmed to exceed a modulation levelof 100e; , such a meter may serve as an aid insetting the recording level when taping off theair. Presumably, when the meter is hitting100'; on peaks, your tape-recording level me-ter should be peaking to 0 or slightly above.Other than serving that purpose (and amusingthe inveterate meter -watcher), we're not sureto what practical use such a meter can be putto in the home.

Dolby FM. Many tuners now feature a"record -level check"-a built-in oscillator thatputs out a test tone at a level corresponding tosome fixed percentage of modulation. Usually50(' modulation is the benchmark since this isthe "Dolby -FM Level," and the tone can beused to calibrate a Dolby decoder even whenthe station does not transmit a Dolby -calibra-tion tone. (Check the tuner manual, however,



The TEAC model 2A is a six -input, Jr -outputEach input has switchable Ink/line level inpter,-"- 12 dr: herrand treble controls, color -coded output reierfe switches, endslide fader. The unit shown includes the MI3-21 meter bridgewhich monitors the input level sensitivity end hi level of theoutput signal. The mixer has a master output inwl control anda pan control that lets you more the image from left to right.Model 2A sells for riI7.5 and MB -20 for $250. 7.:1-cle 121.

Mix professional -quality recordingsin your own studio

o longer igs;lightly

amateur recordistiduivie:lvconsideredlthtooito

be ar -

ormuch noney to spend on a basement full ofelectrodes and acoustic insulation. All across

the country there are thousands of audiophiles andmusicians who are turning out increasingly sophis-

ticated recordings on comparatively inexpensiveequipment. Using techniques similar to those

used in professional studios these amateurrecordists are producing high -quality

le' --' :apes, many of which have been pro-.,.----V=: ...--- duced as commercial record albums.

The most useful technique used...0"' in both professional and amateur

studios is multi -track tape re-cording. Understanding how itworks and how it can be used is

vital to anyone considering settingup a home studio.

How it Started. Multi -track re-cording was developed by the re-cording industry to overcome the

difficulty of making a perfect "realtime" recording. Real time means that a group

will perform and the recordist must record everything inone pass. If any rerformer makes a mistake you just haveto live with it. If circumstances allow, you can re-recordthe entire selection) and hope the performer doesn't makethe same mistake or a worse one. If the recordist is reallyskilled, he may lie able to re-record only the section ofthe performance where the mistake. was made and spliceit into the original tape recording with a razor blade orscissors. Whatever the circumstance, you must still recordall the performers at one time and live with what youget. If one person, makes a mistake or the recordist goofs,everyone goes back to square one.

The professior al recording industry faced the sameproblems with to re recording until the 1950's. They were

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recording in mono and stereo during this tins;much the same way. If Nat Kin4 Cole was recording with a full orchestra and r rade a mistake,the entire selection would have b be re-recorded.If any performer's playing or singing was marg.nal in a giver: musical selection, the producerswould have to determine if th-?y felt every3necould do a better job if t. re entire selection wereto be recorded again. Sometimes only partialsof a selection would be re-recorded and spikedinto the origitral recording. This was the typicalrecording process in the professimal recordingindustry throughout mos: of the 1950's.

During this same time period a musician bythe name of Les Paul, of "Les Paul and MaryFord" fame, had an idea that was to later chargethe face of the entire recording industry. Heconceived a process whereby, certain portions ofthe music coif(' be recorded during one sessionand other musical parts could be added at alater time in other recording sessions utilizingdifferent channels (tracts) on the same tape.For example, the orchestra could re recorded ontwo tape tracks and the Vccalist cmld be recordedon a third track. If during a rxfording session(with orchestra and voculist performing, therewas a good performance by the orchestra andthe vocal was unacceptable the vocal part couldbe re-recorded at a later time.

During this re-recording proct ss the vocalist would listento the orchestra recording (tracks) on headphones whilesinging the new vocal port into a microplume. The newvocal recording would again be re:orded on the third track(erasing the original vocal recording). This process justdescribed is (tree track multi -track tape recording.

You may a*, why can't I do this with my reel-to-reeltape recorder? Well, there is (312 big drawback. Let usanalyze it!! Regular tape recorders utilize three tape heads,

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teni ig to tie recorded orchestra tape tracks (Track Land Track 21 they wan Id be played from the playback head.If the vocaist were recording a new vocL1 track (Track3) it wmid be recorded on tape ly the recordhead. Sine_, the playback head is located some distancefrom the record heal, there is a time difference (lag) be-tween the signals of she record head and the playback head.If a rocorc:hg were made by this procedure the vocalist


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back head is not aligned with the record he I Ii) 't' it ott::rack whi e listening to another, thr 1. I. !. will lag the

would be out of time (synchronization) with the orchestratracks.

Synch. Les Paul's idea was a method where additionalparts could be recorded on the same tape (by using addi-tional tape tracks) and still remain in synchronization.Ampex Corporation reduced this idea of Mr. Pauls' to prac-tice. The answer looks simple on the surface. You simplyuse the record heads for playback (Figure 2). If Tracks 1& 2 are being played back from the record head while Track3 is being recorded on the record head all tracts will re-main in synchronization (sync). Ampex developed thisidea and named this feature Sel-SyncTM. Today other

manufacturers have this same fea-mt Ott ture, and since the term Sel-Sync isIt t Nett. t I trademarked by Ampex other corn -qv! Ili). lit 11Itirli, panies commonly refer to it simply(11.111. it c I. I t cot Ot l as "sYNc." The definition of a1;it I cola t multi -track tape recorder is a tape

.1 lit recorder that has two or more tracks1.:.1 i t lit II (channels) with a Sync feature. ItVit. pt t:t I 1st;

lilt can now be seen why the standardt.iillt tilt tit ctiehict tape recorder will not perform thisI It ii. Oit et;st I t t t.- so called multi -track function.

..(A. lit 11..1 Three track tape recorders with1.1m tot tilt Sync were common in professionalt. cola . (*c h. recording studios in the late 1950'stimid.: I W. and early 1960's. Musicians and

record producers alike found themulti -track recording process a useful and creative tool. Inthe middle 1960's professional four -track tape recorders be-came available. Rock and Roll was coming into full swingby this time and pop recording artists and their recordproducers saw even greater potential for multi -track re-cording. It was at this time that multi -track tape recordingcame into its own.

How It's Used. When making rock and roll recordingswith four -track multi -track tape recorders, the bass anddrums could be recorded on Track 1, the guitars, piano ororgan could be on Track 2, the lead vocal could be cnTrack 3, and the background vocals on Track 4. However,the recording process would usually start by recording whatis commonly referred to as a "bed" or "instrumental bed."This bed is typically the bass, drums, and rhythm instru-ments (guitars, plat -A), or organ). As mentioned earlier theseinstruments for the 'ned would typically be placed on Tracks1 and 2. The musicians have the ability to record and re-record this "bed" until they are pleased with the musicalperformance as well as the sound of the recording on thosetracks. When a satisfactory instrumental bed was obtainedthey listened to these recorded tracks on headphones andsang the lead and background vocals which were recordedon the open (un-reeorded) Tracks 3 and 4. This procedureof listening to recorded tape tracks and recording addi-tional tracks is called "overdubbing." I have just explainedthe basics of four -track (multi -track) tape recording. Thereare many other variations of different instruments and vo-cals on different tracks as well as additional procedures.

When one has recorded all of the tracks on a multi -tracktape recorder the tracks are said to be "full." Now the"mix -down" process begins. The multi -track tape is playedand the signals from all of the channels are routed to a

HI-FIASTERIO BUYERS' GUIDE

mixing console. Sopa fron the four -track (multi -track)tape will now be record.nl at to a stereo tape wh ch will becalled the "stereo master taps:. or "two -tract master tape."

During the nisi -1g poxes: each track of the nulti-tracktax can be played left miter, or right ''.o even degreesin between) in the ste petspec:ive, when waking thestereo master tape. Also at this tine special sigial condi-tit nu g or processi-g cat Ise < ca e such as etp alization, echore:erberation. etc Thee ate a large number of specialefiecIN that can be added during the mixdowu process withthe use of siQui processicg.

Thu : use of four -track (mi Its -track) tare recording wasvery popular in 63 professional recording industry by themid 1960's. Py s time the atsts and lecitrd mxlucersfound that they needed more tracks on thek tape -ecorders.In approximatel, :967 -hc cight-track (rim:Ai-track) taperecureer was intrieinced to the inlustry. This allowed evengreater versatility since the instruments (-mild now bebreken into smaller groups 01 more availcble tape tracks.

`Vali this additi 'nal fesib lit)/ the recording procedurelx'uw e a proses, of "cu: and poste." Recording was doneir. tin ding black-. The iustninteural bed eartH be recordedand. re-recorded 117 til e-'eryme was pleased. In anothersession, brass itstroment.: could he added or opcn tracks.In yet anothe'T session the sni tgs could be added. Thevocals could then 7z -se ad.led at yet another time. In eachof t lege overdt blintz sess ons, all attention would I.e placedspan :he tracks that were being recorded at tl at time.This allows grearew perfection to be obtained fpm eachrecord d track. One Call nave see that di.? mult -trackrelx.rd lig process is- very complex Because oF this corn-pbsity and the ctt and caste methods, the music some-times becomes more mechanical in nature and lacks thespontaneity that ear often happen when musicians areall pla7ing together at the same time.

Fron 1967 foray: rd the pn feiional recording indus-try enrered the `Croat Trac: Race." In late 1968the 16 -track te.pe rzeorder wis introduced, and inearly L970 the 244 -sick tope recorder came donTod w there are str _loos -hat ta...e the ability tosync two 16 -track. tape recorder; together tohave 32 tracks to tecsord on. Ot to studios havetwo 24 -track tape sec mkt; in s nal ronization.There is talk now of = 32 -track tare recorderthat us?s 3 -inch tape. Aside from the re-cordng industry's ..-tve for tacks, themulti -back record nle process is indeeda valuable tool. It prov:dc inth mu-sician. and reel:mkt a creative t.tolwith flosibility wed as a ereatiNeability that could -tot be oh-taimml From conventional taperecordit g methods.

TI e preced:ng informationshould 1 ave greath inereasd .yawknowlec ge of the Enda-track taperecoriiiw, process. We .hrveMud eel this sub:ect i its most has eform-

Ncov, how does ..11 of th s relitethe meerage audiophile? For -many au-diophile: this is just a little ?xtra. knowl-edge and none cf it will apply :o theirparticuli r needs. Tho-e wh t do live re-cording or wish to it the futive mayfind f tat multi -tract will be the perfectanswer to their -teeth. On -location re-cordit g can he made with a for r -track

(in _hi -tract) tape recorder. Solo instnmaet is or vocal soloscan now boe their own track. If mistakes Are made in thesoh pants these tracks could he re-revoided at a later time.

lirofessional, studio multi -track tape xoorders ar? veryexp naive a m6 will eost front $8,000 to 35(',0(K1. However,ni Lone last fe w wear; some companies. Lave introducedeconomy multi -track tape 'recorders thx: t are well withinthe financial grasp a most muliophles and musicians.Thow mow my recorders will range in tri:a. from $1.5(()


Nino 2. On a multitrack recorder !ha r awn' hlid n31.1 iia playtack binatt 30 111.1 the monitored Inc% is sinchronizedwith the track that is Wing rocordoil on. This i3 ill d synch.

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Tie Sound Workshop 12808-8E6) is asemi -pro recording cons° e wilt 12inputs and 8 outputs. Est* of the inputs hasthree -band equalizatior, 35 dB tins controlfu I panning, straight -lire fader, 26 dB rib padand many other features loo num:penis to rr en-ticn. The unit sells for WOO. gic13 123.

oft

JANWIROPEORUAllf 11180 39

popdiscsA review of the test 00oulcr music roloc SOS

by KEN IRSAY

Herman Brood: "Herman Brood & HisWild Romance." Ariola. $7.98.

Now that the New Wavers havemade their point on numerous albumsthat are about as commercial and ap-pealing as the Ford Edsel, a new, morepalatable incarnation of basic, effer-vescent rock is coining to the fore. Thisalbum certainly moves, but with moreattention to disciplined arrangementsand musical technique.

Debby Boone: "Debby Boone." WarnerBros. $7.98.

At the risk of sounding uncool, I

must admit to a case of goosebumpsas I listened to the marvelous voice,beautiful tone and superb control ofDebby Boone. Producer Brooks Arthurhas resisted the temptation to drown

Debby in strings and other angelic ap-purtenances. keeping the arrangementsclean and uncluttered. "I'll Never SayGoodbye" places her in the Streisandclass.

Frank Zappa: "Joe's Garage-Act I."Zappa. $7.98.

This funny futuristic fantasy (com-plete with libretto) about the govern-ments abolition of music is done in theusual non -air playable Zappa style.There's no doubt that Zappa is an ac-quired taste. Those who've acquired it

tell me this is a superior album. Theiazz 'rock instnimental segues are cer-tainly top drawer.

Led Zeppelin: "In Through the OutDoor." Swan Song. $8.98.

The masters of heavy metal comecrashing back into the recording scenein their first new album since' 1976.But there's no need for aspirin. Thegroup offers a surprisingly diverse setof songs of many genres. Country!rock is represented in "Hot Dog" andif you've been aching for some goodcalypso there's "Fool In The Rain."A ten-minute extravaganza into eth-ereal, cosmic rock called "Carouselam-bra" is an instrumental tour de force.In the midst of all this diversity, the1)oys have found room for more of theirfamous heavy metal riffs.

Bob Dylan: "Slow Train Coming." Co-lumbia. $8.98.

Vastly superior technically to hislast studio album, "Street Legal," thisset has more stereo separation and abetter instnimental mix than just aboutany of Dylan's past releases. GuitaristM ark Knopfler and drummer Pick

\'itliers, both of Dire Straits, bringtheir super -successful pop -blues soundto Dylan's always thought -provokinglyrics. A

40

Equalizers, time delays, dynamic range enhancers, reverbs,noise reducers, cushion woofers, timers and much, much more

by FRED PETRAS

ne reason that music lovers buy component high fidelity systems is that suchsystems are supposed to offer more in the way of capability and flexibilitythan a modular "compact" or console stereo.

Some hi-fi system owners find that after a certain period of time they're nottotally happy with their systems. Something seems to be missing. Perhaps a

greater degree of flexibility, perhaps another sonic dimension, perhaps the opportunity tofine-tune the sound to suit personal tastes.

The cure for such malaise need not involve discarding your old system and starting overagain from scratch. Sometimes all you need do is add on a single performance booster such asthe ones described below.

One of the most effective, fascinating and creative ways to enhance a worthy componentsystem is with an equalizer. \Vhile they've been around as a consumer product since 1969(JVC Model 5011 equalizer/preamp), it's surprising how many audio buffs and music loversdon't own one. A key reason is that only a relatively small number of companies make them;another is that they have not been widely promoted-both of which add up to a wide lackof awareness. A third is that where an awareness of equalizers does exist, it is accompaniedby avoidance based on the idea that they are too complicated and "sticky" to operate. Yetanother is that "name -brand" equalizers have been somewhat expensive. But you no longerneed dig deep into your money bag; as of now you can buy one for as little as $90 (Superexbrand).

Essentially, an equalizer is a device which, in the words of major proponent/producerBSR/ADC, gives music lovers and audio buffs "absolute control ... lets them alter everythingthey can hear ..." The following are some of the many important uses for an equalizer:Compensating for room size, shape and furnishings, and p:acement of audio equipment withinthe room. Eliminating background noise on records, hiss on tapes. Compensating for fre-quency imbalances in speakers and phono cartridges. Changing the instnimental or frequencybalance of poorly engineered phono or tape recordings. Creating special sound effects. "Re-creating" the sound of ancient 78 RPM records and old radio show recordings. Improving thesound of broadcasts from stations that tamper with the sound spectrum (by their rolling offthe high end, the low end, or both). Improving prerecorded tapes by equalizing them in play-

back and re-recording them.All of the above boils down to this: you can

actively take part in and control the musiccreation/reproduction process-rather thanpassively accept what comes out of your com-ponent rig's speaker systems.

UWith a few exceptions, equalizers look like most audio componentsand fit nicely into a component setup. Contrary to an erroneous "mys-tique" that has built up around them over the years, they are not hardto connect or operate. Once you study the operation manual and do a

COMPONENTSYSTEM

The ATD-1 time delay,from Nikko, enables theuser to recreate the am-bience of just about anyroom with two or fourspeakers. With twospeakers the delay issimulated and mixedback in to the amp. Price:$450. Circle number 79.

RaMCIE TAP/ TAPEade 11.314 MOO.

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The ADC Sound ShaperThree is a paragraphicequalizer 12 dB con-trol over 12 center fre-quencies, each of whichcan be increased or de-creased in frequency byabout 20 percent. Thisallows full boost or at-tenuation at specific fre-quencies. Price: $500.Circle number 61.

Sansui's SE -7 is a

straight -forward 10 -bandgraphic equalizer with

12 dB control overeach of the bands. Withthe controls flat the fre-quency response is-1 dB from 10 to 100kHz. It allows the userto compensate for sys-tem short -comings. Price:$300. Circle number 89.

EXPAND bit of experimenting, you'll find that they are actually easy to operate.Many buffs/music lovers start off with a five -band graphic equalizer, experiment

with it, and learn how valuable it is in enhancing their listening pleasure. They.1/0 (1>aftesroil:11:-

frequencies.ailillre IS7Plleils,ti(:ftici'gsospoeurndBocontrolaoraraelpterfautrtiohnerof01pOtioogr 12for bandspa

EMmetric or paragraphic models that provide an even wider range and precision ofI requency control. The most common range of alteration capability is plus or minus12 decibels. A few models offer boost/cut of up to 16 dB.

About 25 audio component companies import or manufacture equalizers for consumer (asopposed to professional/industrial) use. Their equipment ranges from $70 to beyond $1,000.To delineate all their products would be beyond the scope of this article. Instead, we'll brieflydiscuss and describe a batch of recently introduced models.

Breaking the old high price barrier in major brand name equalizers is Superex, key manu-facturer of stereo headphones. The company entered the equalizer field with the Gem -1,priced at $89.95. The Gem -1 is a wedge-shaped five -band graphic model covering the 60, 240,1,000, 3,500 and 10,000 Hz ranges, for 12 dB of boost/cut. It comes with an "EQ-Card"system for permanently tabulating many equilization combinations of records and tapes.

Audio Control's redesigned Model 520 is one of the few equalizers that use rotary controlsinstead of sliding "pots" (potentiometers). It covers a five -band range from 36 Hz to 15.5kHz in a plus/minus 12 dB gain range.

Hotel's most recent equalizer is the seven -band RE -700 at $180. It offers 12 dB of boost/cutfrom 40 Hz to 15 kHz. Another entrant at $180 is Technics Model SH-8010, operating from 100I lz to 10 kHz in five increments continuously variable in gain from plus 12 to minus 12 decibels.

Sansui's SE -5, an eight -band combined -channel model priced at $200, sports an output gaincontrol. Range, 80 to 10,000 Hz, plus/minus 12 dB gain. It comes in black finish cabinet with"pro" rack -mounting handles. Another black -finished model at $200 is Nikko's EQ-Two, a low -silhouette six -band model operating from 60 to 12,000 Hz, plus/minus 12 dB gain range.

Audio Control's Model C-22, priced at $250, is said to be the first 10 -band equalizer on theAmerican hi-fi market to feature an 18 d13 -per -octave subsonic filter and special bass summingcircuits. It offers 15 dB attenuation from 32 Hz to 15.5 kHz. It comes in a black cabinet withrack -mounting handles.

Sansui's second recentoutput gain control, and

entrant is the SE -7,jacks and switching

a 10 -band model tagged at $300 featuring anfor dubbing and monitoring with two separate

tape decks. Frequency adjustments ofplus/minus 12 dB are possible from32 Hz to 16 kHz. It is finished inblack and has rack -mount handles.

Twelve bands of frequency controlin a plus/minus 10 dB gain range areoffered in the U.S. Pioneer SG -9800,priced at $395. It features an LED atthe tip of each of the 12 level controlsfor each channel, to provide the usera visual indication of his equalizationsetting from across the listening room-even in the dark. Frequency rangeis 16 Hz to 32 kHz. The unit also hasline attenuators (minus 3 and 6 dB)for professional use with a light to

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indicate overload conditions, and tape monitor receptacles.BSR calls its ADC -brand "Sound Shaper Three" a paragraphic frequency equalizer. It

is said to offer "the advantages of both graphic and parametric equalizers-without theirinherent limitations." Which in this instance means that the unit solves sound prob-lems more precisely by offering 12 primary slide -pot frequency controls, and 24 ancillarycontrol positions, per channel-in effect, 36 frequency ranges. Two -position flip switches belowthe frequency control sliders allow any given frequency to be raised or lowered by nearly 20percent. The Sound Shaper 3 has two LED signal level meters for easy monitoring and bal-ancing of both left and right stereo channels. Used with optional accessories-the SLNI-300sound level meter, R-2300 one-third octave pink noise record, and 20 -foot extension cable, youcan obtain actual sound pressure readings on the sound level meter. The equalizer goes for$500; the sound level meter/pink noise record package for $70.

Phase Linear's new Model 1100 is a parametric equalizer priced at $600. It offers not onlycut or boost (plus/minus 12 dB), but also adjustment of bandwidth (0.18 octaves to 1.8 oc-taves) and center frequency. Its five center frequencies are 63, 250, 1,000, 4,000 and 16,000Hz, continuously variable in a range of 9:1, with center detent. It has a gain of plus 6 dB maxi-mum with separate overall level controls, and overload indicators.

Audio Control, in its Model C-101, priced at $550, offers a built-in real time spectrumanalyzer. This enables the listener to actually see music broken down into 10 separate frequencybands and watch the effect of equalizer controls and visualize what his stereo system is doing.The spectrum analyzer display features 92 LEDs. The unit also has a built-in pink noisegenerator, which is used with a calibrated microphone for room acoustic analysis, tapebias and speaker adjustments. Also featured is an 18 dB -per -octave subsonic filter, along with arumble -reducing circuit for reduction of rumble, phase and intermodulation distortion below200 Hz. The EQ range is plus/minus 15 dB. Available in rack mount form.

JVC also offers a built-in spectrum analyzer display and pink noise generator in its deluxeSEA -80 equalizer, listed at S600. This 10 -band model displays the dB level of each on 10. brightfluorescent bars. An eleventh bar charts over-all volume. Each display bar is designed to riserapidly and fall slowly, for further visual representation of what your ears are hearing. Thefluorescent spectrum analyzer display covers the frequency range from32 Hz to 16kHz over the range from 0 dB to 26 dB. The SEA -80can reduce distortion by lowering high frequency levelsduring recording. Raising these levels duringplayback provides high frequency con-tent without distortion.`JVC

Another satisfying way to raise theperformance and pleasure levels ofyour hi-fi system is with "ambienceenhancers." These come in a variety offorms, ranging from mechanical re-verberation units on up to complexelectronic time -delay systems requiringa second amplifier and second pair ofspeaker systems. The equipment, ineffect, enables you to change the ap-parent character of the listening room.You can "convert" your listening roominto a concert hall, a stadium, anintimate close -in cocktail lounge-

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The JVC SEA -80 stereographic equalizer has10, --12 dB frequencybands and a bar -graphspectrum analyzer thatlets you 'see' the unit'soutput. Bar graph displayindicates signal level inone -dB increments. Italso has a built-in pinknoise generator. Price:$600. Circle number 74.

The Phase Linear 1100Series II is five -bandparametric equalizerwith center frequenciesof 63, 250, 1000, 4,000and 16,000 Hz that areadjustable to provide fullcoverage. The range ofeach band overlaps ontothe next one. Bandwidthvaries from .18 to 1.8octaves. $600. Circle 124.


EXPAIMDYOUR

SYSTEM

The Pioneer RG-2 is a

dynamic range expanderand noise reduction unitthat boosts dynamicrange by up to 16 dB (10dB boost and 6 dB noisereduction). A Fluroes-cent meter keeps trackof the output. This unitcan be rack mounted fora professional installa-tion. $195. Circle No. 85.

Sanyo's Plus E55 com-puterized componenttimer will turn your hi-fiequipment on or off atany preset time. It canalso control your houselights. $250. Circle 102.

Audio Control's Spec-trum Analyzer/Equalizercombines a ten -bandequalized. a 99 -LED an-alyzer and pink -noisegenerator. S550. Circle118 for more information.

virtually any acoustic environment, in a matter of seconds, by adjusting a few controls.The simplest and least expensive of recent offerings of this kind is U.S. Pioneer's

SR -303 reverb amplifier, with a list price of $195. It's an all -electronic reverberation/time delay device using "bucket -brigade" circuitry that breaks an analog signal intosegments and passes each segment through a sequence of storage bits. This shiftingthrough the sequence causes a time delay, the length of which is determined by howfast the shifting occurs. The speed control is located on the front panel, labeled "timedelay." A portion of the delayed signal is re-entered into the delay line again,

\vith the undelayed signal. This produces a smooth, longer lasting ambience. The amountof the delayed signal to be re-entered is determined by the reverberation time control. Reverbera-tion effect indication is seen as rings of green in a special display. Pioneer describes effectsachieveable as "from a subtle, silky concert hall sound to that of a mirrored room."

Nikko's ATD-1 time delay synthesizer priced at $450 can be used in an existing stereo systemwith the delayed signal mixed with the original signal in the main amp and speakers, or with anextra amp and second pair of speakers as a four -channel ensemble. Three pushbuttons adjustto create the acoustics of small, medium and large halls. Three more are used to compensate forthe acoustical character of the hall relative to furnishings, and characteristics of walls, floor andceiling. Five pushbuttons control the degree of reverberation in steps of up to two seconds. Astage /distance control changes front /rear balance.

ADS-Analog & Digital Systems-recently introduced a derivative of its total -ensemble ADS10 time delay system in the form of the Model 10 01, a lower priced ($675 versus $995) set forthose who already own the required second amplifier and second set of speakers. It is a third -

generation time delay system employing a proprietary audio -to -digital encoder/decoder systemwith delays of up to 1.6 seconds. ADS says the system "allows you to select the hall size andambience and offers controls for stage depth and listener's seating distance from the pros-cenium. When used with electronic or disco music, the full bandwidth of the delayed rearchannel output offers complete delayed 'surround sound.' "

Every audio buff/music lover knows there's a big d:fference between the sound of "live" musicand recorded music. Live music has a wide dynamic range-louder "bonds," softer "softs." Inthe recording process-no matter how excellent, the dynamic range of the music must becompressed, to no more than the range of the of the recording medium, record or tape. The endresult is a recording whose quiet passages are lilt as quiet as they should be, whose loud burstsof sound are suppressed, a recording lacking in realism, transparency and depth.

To the rescue, a dynamic range expander. The latestin such devices is U.S. Pioneer's RG-2 dynamic

range expander, priced at $195. It can addfrom four to 16 decibels (in 3 dB

andto the range of your records and tapeswith no negative effect on the fre-quency response, noise, or distortionlevels. Quiet sounds became quieter,including noise levels. Loud percus-sive sounds or deep bass are boostedback to live levels. At the same timethe RG-2 reduces inherent noise con-

r--- tent, to improve the signal/noise ratio(Continued from page 70)

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Explore the high-performance world of micro-fi

They may be small and,to some people, ratherplain looking, but thecurrent generation of"micro" componentspack plenty of audiopunch and have all the

right numbers. A year after theirintroduction, the fate of microcomponents is still to be decided.Initially only two of the Japanesegiants-Technics and Mitsubishi-tried out their miniature compon-ents this side of the InternationalDate Line. The other big nameskept their tiny tots in the wings,waiting to see how their moreadventurous siblings would fare.Evidently, they are doing prettywell for at least three more of thebrethren have joined them in thiscountry-Aiwa, JVC, and Toshiba.

Micro components existed inJapan well before they wereshipped over here, and visitors hadno trouble finding lots of themalong Tokyo's "Radio Row" morethan a year ago. But, what ap-peals to Japanese tastes may notjibe with American predilections.Thus, the caution exhibited bymany Japanese electronics housescan be well appreciated. After all,would the American audiophilepay as much (or more) forsmaller, more subtly styled gear?Is there a market for understatedstyling?

For certain, not all microcomponents are budget busters,and those that command premiumprices, by and large, are char-

Dy William S. Gordon

SIZING acterized by state-of-the-arttechnology and specifications thatwould cost as much or more hadthey been in conventional -sizepackages. With certain types ofcomponents, size has nothingto do with performance.

Micro Tuners. Take JVC's T -MItuner for example. It may be only9 by 3% inches and weigh in atless than 83 pounds, but it offerssome pretty advanced innards.It's a digitally -synthesized design,so its tuning precision is beyondreproach. There's no need for a"tuning" meter, for it simplycan't be mistuned. No need fora large slide -rule dial-a digitalreadout is more accurate.(The display also doubles asa clock!)

Five station frequencies canbe preset into its digital memory,so you can hop from one toanother at the press of a button.For manual tuning, just presseither the Up or Down button,and the T -M1 scans the bandautomatically-not only con-venient, but it saves the size andbulk of a conventional tuningknob. Specs are on a par withother first -line tuners-10.3-dBfIHF sensitivity, 75 -dB monoS/N, 0.08% distortion, etc. A newPTL (phase -tracking -loop)multiplex decoder yields a 50 -dBmidband separation figure with0.12e; distortion.

Toshiba's F15 also uses thedigital -synthesis principle andoffers 10 presets. It features the

COMPONENTSULIMPURNI3

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MICROCOMPONENTSsame idea in pushbutton scanning withdigital readout, drops the clock featurebut adds a "record -calibration" tone.Aiwa's SA-R22U is a bit more conven-tional as far as tuning goes-regularknob type but with digital display andAM as well as FM reception. Mitsu-bishi's \l -F01 manages to squeeze in aconventional knob -and -slide -rule -dialtuning mechanism with quartz lock, rec-ord -level check, and outputs for an os-cilloscope multipath display. TechnicsST -001 takes a similar route-knob andslide -rule dial-with servo lock and AMas well as FM capability.

Amps and Preamps. In preamps,there's Technics SU-001. Not only doesit have the normal bass, treble, volumeand balance controls, but a high filter,subsonic filter, and loudness contour aswell. And, there's a built-in moving -coilhead preamp. Most full-size preampsdon't have that!

?Mitsubishi's M -P01 also has a mov-ing coil head amp and pushbutton se-lection of the tone -control action youdesire. Two-way tape dubbing is alsopossible with the M -P01. Toshiba'sC15 features an overload -proof phonofront end and LED indication of switchsettings. Aiwa's SA-C22U offers mostof the conventional preamp functions inmore or less the conventional way-butit's smaller in size.

Most micro -component lines are"separates" all the way-tuner, preampand power amp. JVC is the exceptionin offering an "integrated" amp in a"micro" package. The A-Mi is an un-usual design! The bass, treble, volumeand balance controls lie hidden behinda drop -down door. (The speaker -selec-tion switch, loudness button, and head-phone jack are located there too.) Ifthat sounds like a crazy place to putthe volume control, look again. There'sa five -button volume "switch" on themain panel. With it, you can increaseor decrease the volume by 3 dB (fromthe "normal" as set by the conventionalcontrol), drop it 12 dB (sort of amute), or kill the sound completely.Another five buttons select the source(indicated by LEDs), and anotherpowers up the unit. Very neat andstylish.

The really dicey part of micro -com-ponent design comes with the poweramp. How do you cram a lot of ca-pacity into a small box, and, assuming

Sony's Avatar micro cornperent syslerrs come with a tuner, turntable, preamplifierand a pair of combination spea(eriarrplif ers. The GG-20F ($1,795) is capable of55 watts -per -channel output with 0.2% THD. The GG-10F ($1,295) has 20 watts -per -channel with 0.25% THD. Optional cassette deck ($550). Circle 94 for information.

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Toshiba's C-15 DC stereo preamplifier has high -gain dual FET DC amplifiers. Thephono preamp circuitry is said to handle up to 300 mV without overload for high -output cartridges and direct -cut discs. The unit has an EQ-Direct switch that allowsbypassing the tone controls when used with an equalizer. The C-15 is 10.1 in. wide,2.1 in. high and 8.2 in. deep. Price: $300; with black finish (sltown) $310. Circle 99.

Another of Toshiba's series of micro components is the F-15 Digital SynthesizerStereo FM tuner. It has automatic scan and manual tuning plus 10 programmablepresets. PLL digital synthes's is claimed to give it an accurac, of 0.0025%. Specifi-cations: sensitivity, 0.95 uV. S/N ratio 58 dB stereo and 72 dB mono; image rejec-tion, 50 dB; and AM rejection 50 dB. $360 ($370 with black finish). Circle 99.

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The Mitsubishi microcomponent system in-cludes: the M-AO1power amp with 70watts per channelRMS and 0.01% THD($500), the M-FO1quartz -lock tuner($340), the M-PO1preamplifier with a

moving -coil head pre -amp ($370), and theM-TO1 cassette deckwith microswitches tocontrol the mechani-cal parts ($560). Thestack is only 161/4inches high, 10%inches wide, weighs54 lbs. Circle 78.

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Technics line of micro components includes a power amp, a preamp and an FM/AMtuner, each of which is only 12 inches wide, 2 inches high and 814 inches deep. TheSE -001 is a 40 -watt -per -channel amplifier with 0.02% THD ($360). The SU-001 pre-amplifier has a moving coil amp ($260). The ST -001 tuner costs $260. Circle 98.

The M-15 DC power amplifier from Toshiba has a power output of 40 watts minimumRMS per channel driven nto eight ohms, with no more than 0.02% THD. Frequencyresponse is essentially flat from DC to 70.000 Hz and the signal-to-noise ratio is 115dB. Has a one-piece die-cast aluminum body. $340 ($350 black finish). Circle 99.

1.04141./1 AMOIPLOW.4H001 K -VW

;on get it there, what do you do tomet rid of the heat that is generated?JV(:'s approach is to use a "digital-:)ower supply. This is the so-calledX: -to -DC converter you've read about.

By converting the AC power line intoDC immediately, using the DC to runa high -frequency power oscillator,.ou've moved the line frequency (60

) up into the ultrasonic region.\ow, a small transformer can handleas much power as a large one at thenormal fre(piency. And. once theoscillations are rectified hack into DC,only small filter capacitors are needed

smooth them out. Combine this tech-nology with a high -efficiency. comput-er -designed heat sink, and JVC's engi-neers were able to cram a 50-watt-per-1flannel amp into the A -Ml.

Technics also takes the "digital- orpulse- power -supply route in their SE-

( :01. The package is very tiny, sportsi()-watt-per-channel rating (at 0.03';

TIID) and is IX: coupled throughout.Response etends from DC (0 11z) to100 kilt! .1od, the two channels can.)e strapped for mono operation to yielda 55 -watt rating. A color -coded LEI)Misplay indicates the power being de-livered at any 111111'.

SA -1)221: manages 30 wattsper channel at 0.06'; distortion andalso has ail LED power indicator andIX: design. Aiwa has stayed with the-conventional- power -supply design ashas Toshiba and Mitsubishi.

The Toshiba NI15 delivers 40 wattsper channel at an impressive 0.02';TIID. Thanks to its BTI, ( BalancedTransformer -Less) design, it will de-!iver 90 watts in mono. For sheer stereo)omph, Mitsubishi holds first place withhe NI -A01. Conventional in many re-

spects (but small), the NI -A01 delivers0 watts per channel at an incredible

TIID! It's a DC design using aow -noise FET input and has a peak -level indicator to warn you should yourun out of that TO watts.

Cassette Decks. Micro cassette decksire offered by Aiwa, Mitsubishi, andToshiba. Aiwa's is only T.'. inches high.Nonetheless, it offers most normal fea-ture's: Dolby noise reduction, ferric-brume selector switch, mike and lineaiputs, and a peak -level meter consist-ing of five LEDs per channel. There'seven a "tape -running" LED. You canattribute Aiwa's miniaturization to aslot -loaded cassette mechanism similarto those on car -stereo systems.

Compared with Aiwa's super micro-miniaturization, the Toshiba and Mitsu-lAshi units are big. (But, by conven-tional standards, they're still mightysmall.) The Toshiba 1315 is a two -motor deck with dual -flywheel design.

47

MICROCOMPONENTSIt's a front -loader with open cassettewell and touch -pad 1C -logic controls.Despite its small size (4.2 -inches high),it offers monory rewind. auto play and(optional) remote control. Flutter isspec'ed at 0.04'; . Bias and equalizationswitching between ferric and chromeis automatic (keyed by the identifica-tion notch on chrome-and chrome-equivalent-cassettes) with an overridebutton for ferrichrome. A Sendust R Phead provides a response front 20 Ilzto 18 kHz ( dB) on chrome tapewith a 05-dll S N ( on). LEI)peak -level meters indicate the signalstrength.

The Mitsubishi \I -T01 is also anopen -well front -loader with closed -loop.dual -capstan drive. Flutter is 0.045e; .

It features mic line mixing and an out-put -level control. Separate three -posi-tion bias and equalization switches pro-vide a wide range of combinations oneof which should suit almost any com-mon tape. There's Dolby, of course,with or without a 19-kIIt multiplexfilter. The \l -T01 can be timer -startedin either record or play and has mem-ory rewind and memory play. AnASPS (Automatic Spacing Pause But-ton) inserts timed 3 -second blanks be-tween musical programs. (There's a

regular pause as well.) Peak -readingmeters indicate the recording level.That's a lot of goodies in such a smallpackage.

Mix and Match/Pros and Cons. Canyou mix and match micro componentsfront different manufacturers? From atechnical standpoint, sure, why not?But aesthetically, you Illay not want to.The components in any one line havea similar appearatict and a similar siteand shape-at least as far as width anddepth goes. (Height varies in accord -:Mee with the complexity of the in-sides.) They're designed to "stack,"and, if you move out of the line,chances are von'll lose this feature.

Are micros really that much smaller?On a onuponent-by-component basis.they sure ate. But, if you were to toteup the total dimensions of the separatetuner, separate preamp, and separatepower amp and compare that with oneof the IIVW rcrcirers-say, the(hnkvo TN -20 or Hotel Macro 1000-the microminiaturization is less start-ling. Vliat you do get is the ability tochange the "form factor.- Yonr final

(Continuer) on page 73)

POVII

11 rl rl 11 11 11 11 11

The JVC A -M1 micro power amplifier delivers 50 watts -per -channel RMS into an eight -ohm load. The total harmonic distortion is 0.03°h with a frequency response from 20to 20,000 Hz. It features a push-button volume control with five levels. This is done be-cause the primary volume controlling would be on the preamp. Price: $600. Circle 74.

Typical of Aiwa's series of micro components are the SA-R22U AM/FM Tuner (top)and SA-P22U Amplifier (bottom). The tuner has a four -digit LED display and a quartzcrystal oscillator. The SA-R22U Tuner costs $200. The SA-P22U amplifier has a poweroutput of 30 watts -per -channel RMS into an eight -ohm load, with no more than 0.04%THD. It has a 'power bandwidth' of from 5 Hz to 30 kHz. Price $210. Circle number 103.

The Aiwa SD-L22U cassette deck is unique in that it has an automobile type tape drivesystem, and measures only 25/8 inches in height. It has a Dolby noise reduction system,an LED peak level meter and a normal/chrome selector. Frequency response is said tobe from 25 to 16,000 Hz. Wow and flutter is 0.09% (WRMS). Price: $260. Circle 103.

Wharfedale. First and everlasting.

The Wharfedale Es are the newestspeakers in an unequalled tradition ofexcellence that goes back to the earlydays of music reproduction.

In those days. our speakers-likethe unique sand -filled designs of Gil-bert Briggs-were received with wideacclaim despite the limited technicalresources of that era. Today's Wharfe-dale E's benefit from our space-agetechnology, and hold a special posi-tion of leadership in acousticengineering.

The design goal for America'sWharfedale E's was to achieve thatelusive combination of crystal -likeclarity, strong bass and extremelyhigh efficiency. We met this objective

using computer optimization andholographic research, developingspeakers with extremely widedynamic range and no coloration.They've won the praise of lovers ofevery kind of music. And seem des-tined to keep that praise for yearstc come.

A Wharfedale E can fill a roomwith just a couple of watts. Or handlehundreds for unusually large areas.At any level, with any music, youwon't detect any of the harshness orroughness inherent in lesser speakers.

Each Wharfedale E goes througha stringent Quality Control procedurethat rejects all but the most perfectspeakers. Those that pass represent

VI! RANK HI Fl Inc., 20 Bushes Lane. Elmwood Park. New Jersey 07407 (2011 791-7888

JANUARY/FEBRUARY 1980Circle No. 30 On Reader Service Card

the highest attainable audio technol-ogy, enhanced by the skills of old-world craftsmen who make each pairof perfectly matched hand -rubbed,fine wood veneer cabinets.

Many speaker makers have comeand gone in the nearly 50 years sincethe first Wharfedale was made. Andwhen you listen to the Es you'll knowwhy Wharfedale lasts.

The new E90 measures 45-3 8"H x 15-3 16"Wx 14-3 4"D and has a typical frequency response of30- 18.000Hz t- 3dB The E70 is 32" x 13-1 2" x14' with frequency response from 35- 18,000Hz

3dB The E50 measures 25" x 13-1, 2" x 13-1 2"with a frequency response of 40 18.000Hz 1- 3dBThe new E30 is 22-3, 4" x 13-3 16" x 10-5 16" witha 45- 18.000Hz ±3dB frequency response Efficiencyis 94dB at 1 watt and 1meter for the E30.and 95dB for theother models y AIAI

WHARFEDALE

49

Our pressurepad is locked intoa special four-sidedretainer to maintainperfect tape -to -headcontact.

Our slip sheet ismade of a substancethat's so slippery, evenglue can't stick to it.

Our leadernot only keepsyou from makingrecording errors,it also keeps yourtape heads clean.

Our cassette is heldtogether by steelscrews to assure precisealignment and evendistribution of pressureon all sides of thecassette.

Our special guiderollers make sure ourtape stays perfectlyaligned with your tapeheads.

Our standard cassette shellis finished to higher tolerancesthan industry standards.

Our recording tapeis considered by mostaudiophiles to be the

world's finest tape

Our tape windowis welded it to keep

dus cut

Our tape is anchoredto our hub by a soeciclclomping pin that rr akasslippage impossible

There's more tothe world's best tape than

the world's best tape.Our reputation for making the and more work into our cassettes

world's best tape is due in part to than most manufacturers put intomaking the world's best cassettes. their tape.

In fact, we put more thought We do all this, because at Maxell

we believe in a simple philosophy.To get great sound out of a

cassette takes a lot more than justputting great tape into it.

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RECEIVERS


YAMAHA CR-840AM/FM RECEIVER

A 60 -watts -per -channel AM/FM receiver with aflat output at as high as 72 watts -per -channel andless than 0.02% THD at any frequency. Has twodegrees of FM selectivity which can be preset foroptimum performance. $495 in a metal cabinet.

DESCRIPTION: An AM FM stereo receiver FTC -ratedfor 8 ohms at 60 watts RMS per channel, 20 to 20,000Hz, at no more than 0.02% THD.

Features include: a stereo beacon, FM center chan-nel and AM FM signal strength tuning meters, narrow(DX) and wide (local) FM I.F. selectivity that may beautomatically switched to the optimum mode by thecharacteristics of the received signal or can be lockedto the wide mode, FM automatic frecuency control(called OTS-for Optimum Tuning System). a midbandtone control, continuously variable loudness compen-sation, a subsonic filter, front panel switched break-in"adaptor" connections (for noise reduction system,graphic equalizer, etc.), a separate input signal selec-tor for the recorders, automatic dubbing to and fromeither of two recorders, a subsonic filter, and an output

hold -off that prevents power supply turn -on transientsfrom being fed to the speakers.

There are inputs for magnetic phoro, aux, adaptor,and two recorders. Outputs for two speaker systems,adaptor, two tape, and phones.

Controls are provided for: tuning, volume, balance,ganged bass, ganged midband, ganged treble, inputselection to the amplifier, input selection to the re-corders tape dub selection, and speaker selection.There are switches for: power, low filter, high filter,stereo mono mode, adaptor on -off, local (wide) autoFM selectivity, FM muting OTS (OTS is off when FMmute is off); anc AM FM tuner selection.

The FM antenna input is 300 ohms or a 75 ohmcoaxiai connector. A loop assembly, affixed by theuser to the chassis or an adjacent surface through aself-adhesive hinged mounting, connects to the AM an-tenna terminals.

One switched and two unswitched AC outlets areprovided.

Overall dimensions are 20 in. wide x 6-9 16 in.high x 151/4 in. deep. Weight is 30 lbs.PERFORMANCE-FM TUNER: For 300 ohm and "tee"antennas, full limiting was attained with 5 uV. Themonophonic high ficelity sensitivity (60 dB quieting)measured 11 uV. The stereo high fidelity sensitivity(55 dB quieting) was 95 uV. Full mute release wasattained with 5 uV.

At standard test level with LOCAL (wide) selectivity,the stereo frequency response measured -40 -0.1 dBfrom 30 to 15,000 Hz, down 0.4 dB at 20 Hz. Mono-phonic distortion measured 0.06% THD. Stereo dis-tortion was 0.12% THD. The signal-to-noise ratiomeasured 83 dB. Stereo separation was 40-4- dB.

In the AUTO (DX) narrow selectivity mode, the mono-phonic distortion measured 0.15% THD. Stereo dis-


TEST REPORTS/ RECEIVERS

tortion was 0.2%. The selectivity is always in the localmode unless the received signal strength is less than120 uV, at which point the selectivity is automaticallyincreased to eliminate alternate channel interference.In the stereo mode an mpx noise filter (stereo blend)is also switched in which reduces separation to 8 dB.(Note that the local DX switching sensitivity is almostthe value required for high fidelity FM reception -55dB quieting.)

Even if the selectivity is wide for reception of astrong signal, but there is interference caused by an-other strong signal on an alternate channel, the selec-tivity will shift to the narrow mode to eliminate as muchinterference as is possible. If desired, selectivity can belocked in the wide mode by setting the selector switchto LOCAL.

In the local mode selectivity is fair. In the DX modeselectivity is excellent.PERFORMANCE-AM TUNER: Overall performance

was average with the loop antenna affixed to the backof the receiver. Best reception was attained with theantenna sticking straight out, which adds another sixinches to the overall depth. The loop appears to bemore complex, and more trouble, than the more orless commonly used rod antenna.PERFORMANCE-AMPLIFIER: The power output at theclipping level with both channels driven 20 to 20,000Hz into 8 ohms measured 72 watts RMS. The frequencyresponse at 72 watts 8 ohms measured ruler flat from20 to 20,000 Hz at a distortion no higher than 0.02%THD at any frequency.

The tone control range measured: ±11 dB at 50 Hz;+6 "-7 dB at the 3000 Hz midband center frequency;+8 -9 dB at 10,000 Hz.

The subsonic filter was down 1 dB at 30 Hz; 4.5 dBat 20 Hz.

The magnetic input hum and noise measured -62dB; stereo separation was into the noise level. A

TUNERS


OPTONICA ST -4405AM/FM STEREO TUNER

An unusually thin tuner; particularly suited whereheight is at a premium. Has tape recorder cali-bration output tone. $300, in a metal cabinet.

DESCRIPTION: An AM 'FM stereo tuner featuring astereo beacon, LED FM center channel tuning indi-cator, 5 -step LED signal strength indicator, and an FMAir Check 400 Hz output tone for presetting of a re-corder's level controls. One set of variable line leveloutputs is provided.

The front panel has only one control: for tuning. Theoutput level control is located on the rear apron. Frontpanel switches are provided for power, AM, FM mono,FM Auto (mono/stereo), FM muting, hi -blend (mpxnoise filter), and Air Check.

The FM antenna input is 75 '300 ohms. A rod anten-na and external connection are provided for AM. Oneunswitched AC outlet is provided.

Overall dimensions measured in. wide x 22'2in. high x 151/2 in. deep. Weight is 11 lbs.

PERFORMANCE: Full limiting was attained with 4.8uV. For 300 ohm and 'Tee" antennas the monophonichigh fidelity sensitivity (60 dB quieting) measured 10uV. The stereo high fidelty sensitivity (55 dB quieting)was 70 uV.

At standard test level the stereo frequency responsemeasured +1/-1.8 dB from 20 to 15,000 Hz. Distortiondepended on the tuning adjustment because the "cen-ter channel indicator" illuminates over a relativelylarge tuning range. Monophonic distortion ranged from0.15% to 0.25% THD. Stereo distortion ranged from0.15% to 0.3% THD. The signal-to-noise ratio meas-ured 71 dB. Stereo separation was 40+ dB. Selectivitywas good.

The maximum output level corresponding to 100%modulation of the transmitter was 0.8 volts.

The Air Check output level was 0.55 volts; 3.5 dBbelow the stereo and mono output level correspondingto 100% modulation of the transmitter. For particularlyclean recordings we suggest the recorder be adjustedto indicate no higher than -4 dB (below 0 -VU /O -dB)when feeding the Air Check signal.

Though stations can be received (with considerablenoise) below 3.4 uV input, the LED FM center channelindicator requires at least 3.4 uV before it turns on.The 5 -step signal strength indicator requires at least5.5 uV before the first (lowest value) step illuminates.PERFORMANCE: AM TUNER: Generally average, withhigher than average sensitivity to signals on the highend of the dial.

Please note: All prices listed in the test reports section, as well as prices listed elsewhere in this issue, areapproximate and subject to change. Use them only as a ballpark guide to what you can expect to pay for a pieceof equipment. It is assumed that prices vary and that advertised prices may change without notice.


TEST REPORTS, PREAMPLIFIERS


YAMAHA C-6STEREO PREAMPLIFIER

A very versatile unit with superb performance. Itincludes a parametric equalizer that can func-tion as a standard tone control. It has a ruler -flatfrequency response from 20 to 20,000 Hz with nomore than 0.007% THD. $450. metal cabinet.

DESCRIPTION: A stereo preamplifier featuring para-metric tone controls, and a separate input selector forthe tape recorders that permits recording of one signalsource while listening to another. There are two para-metric equalizers: for the low frequencies (31.5 to 600Hz) and high frequencies (600 Hz to 12.5 kHz). Bothare calibrated in 1/3 -octave increments. Each equalizerhas its own level and bandwidth controls. The para-metric equalizers can be defeated, switched to thepreamplifier output, or switched to either of the twotape recorder connections.

Other features include automatic dubbing to andfrom either of two recorders, a switched head amplifierfor one of two phono inputs allowing direct connec-tion of an MC (moving coil) pickup, a subsonic filter,and an output hold -off that mutes the preamplifier'soutput for several seconds after power is applied.

There are inputs for two magnetic phono, tuner, aux,and two tape. Outputs for line level, two tape, andphones.

Controls are provided for volume; balance; low fre-quency parametric frequency, level and bandwidth;

and high frequency parametric frequency, level andbandwidth. There are switches for power, tone controlmode, recorder input selection, amplifier input selec-tion, 20 dB audio mute, preamplifier output on -off, lowfilter. high filter, stereo mono, phono input selector,and MM MC (moving magnet moving coil) selectorfor the No. 1 phono input.

One unswitched and two switched AC outlets areprov ded.

Overall dimensions are 171/8 in. wide x 41/2 in. high x131/4 ir. deep. Weight is 13.7 lbs.PERFORMANCE: (Note: This unit is rated for 2 voltsoutput so all tests were conducted at 2 volts.)

At 2 volts output, the frequency response from 20 to20,000 Hz measured ruler flat with a distortion nohigher than 0.007% THD at any frequency. The outputclipping level was 14 volts, and there was no effectiveincrease in distortion up to the clipping level.

When the parametric frequency controls are set totheir low and high frequency extremes and the band-width controls are set for maximum "width," the equal-izers function as standard tone controls (by adjustingthe LEVEL controls). In the "standard" tone controlmode, the equalizers' tone control range measured±12 dB at both 50 and 10,000 Hz. In the parametricmode, the maximum equalization was nominally ±12dB at any center frequency.

The subsonic filter has essentially no effect at 30Hz, and is only 1.5 dB down at 20 Hz.

The magnetic input hum and noise measured -66dB. Stereo separation was 50 dB.

The parametric ecualizers are well designed. Thebandwidth control has a more or less constant ex-pansion contraction and the level control transitionsare proportional to the degree of rotation. The equal-izers proved extremely useful at taming unusual roomacoustics and reprocessing old recordings that suf-fered from unusual tonal characteristics. They area nice feature for the serious stereophile. A

INTEGRATED AMPLIFIERS


NIKKO NA -790STEREO AMPLIFIER

A 53 -watts -per -channel stereo amplifier withlow distortion and good frequency response.Nothing spectacular-just a nice small packagethat sounds real good. $279.95 in a metal cabinet.

DESCRIPTION: An integrated stereo amplifier FTC -rated for 8 ohms at 53 watts RMS per channel, 20 to20,000 Hz, at no more than 0.04% THD.

Features inc ude: a head amplifier that can beswitched into the phono input for moving coil (MC)pickup, a subsonic filter, an output hold -off that pre-vents power supply turn -on transients from being fedto the speakers, and a subsonic filter.

There are inputs fcr MM MC phono. tuner, aux, andtape. Outputs for two speaker systems, tape, andphones.

Controls are provided for volume, balance, gangedbass, and ganged treble. There are switches for


TEST REPORTS INTEGRATED AMPLIFIERS

power, speaker system A, speaker system B. subsonicinput selection, and MM MC magnetic phono input.filter, high filter, loudness compensation, tape monitor,input.

Switched and unswitched AC outlets are provided.Overall dimensions are 165/8 in. wide x 33/4 in. high

x 13 in. deep. Weight is 15.2 lbs.PERFORMANCE: The power output at the clipping levelwith both channels driven 20 to 20,000 Hz into 8 ohmsmeasured 57.8 watts RMS. The frequency response at

57.8 watts 8 ohms measured -1-0 -1 dB from 20 to20.000 Hz at a distortion no higher than 0.018% THDat any frequency.

The tone control range measured ±12 dB at 50 Hz;+11 -10 dB at 10,000 Hz.

The subsonic filter was down 1.5 dB at 30 Hz; 2.5 dBat 20 Hz.

The magnetic input hum and noise measured -68dB; stereo separation was 53 dB.

Circle No. 81 On Reader Service Cud

OPTONICA SM-4305INTEGRATED STEREO AMPLIFIER

An unusually thin amplifier; particularly suitedwhere height is at a premium. A useful machinefor the tape recordist. $300, in a metal cabinet.

DESCRIPTION: An integrated stereo amplifier FTCrated for 8 ohms at 40 watts RMS per channel, 20 to20,000 Hz, at no more than 0.02% total harmonic dis-tortion.

Features include a subsconic filter, automatic dub-bing to from either of two recorders, and an outputhold -off that prevents power supply turn -on transientsfrom being fed to the speakers.

There are inputs for magnetic phono, tuner, aux,and two tape. Outputs for two speaker systems, twotape, and phones. Preamplifier outputs and main am-

plifier inputs are available on the rear apron.Controls are provided for volume, balance, ganged

bass, ganged treble, and input selection. There areswitches for power, speaker system A, speaker systemB, subsonic filter, high filter, mono stereo mode, dubtape No. 2 to tape No. 1, dub tape No. 1 to tape No. 2.tape monitor No. 1, tape monitor No. 2, source monitor,loudness compensation, and 20 dB audio mute.

Two switched and an unswitched AC outlet areprovided.

Overall dimensions measure 16151'6 in. wide x 2'32 in.high x 151;6 in. deep. Weight is 17.7 lbs.PERFORMANCE: The power output per channel at theclipping level with both channels driven 20 to 20,000Hz into 8 ohms measured 46 watts RMS.

The frequency response at 46 watts 8 ohms meas-ured -1-2 -0.4 dB from 20 to 20,000 Hz at a distortionno higher than 0.015% THD at any frequency.

The tone control range measured 4-13 dB at 50 Hz;±9 dB at 10,00C Hz.

The subsonic filter produced an attenuation of 6dB at 20 Hz, 4 dB at 30 Hz, 2.5 dB at 40 Hz.

The magnetic phono input hum and noise measured-76 dB; stereo separation was 60 dB.

AMPLIFIERS


DESCRIPTION: A stereo power amplifier FTC -ratedfor 8 ohms at 220 watts RMS per channel, 20 to 20,000Hz, at no more than 0.08% THD, or 700 watts RMSmonophonic at no more than 0.12% THD.

CROWN SA -2STEREO AMPLIFIER

A 220 -watts -per -channel brute of a power ampli-fier. Produces full power across the audio spec-trum with no more than 0.08% THD. The signal-to-noise ratio is a full 92 dB referenced to 240watts into 8 ohms. $1,595 with rack panel mount.

Features include: automatic overload output disable;user selected instant start or 4 -second output hold off(amplifier's response goes down to DC); a low fre-quency overload sensor that disables the output if theoutput voltage attempts to exceed 26 volts at 5 Hz into

S4HI-FI/STEREO BUYERS' GUIDE

TEST REPORTS AMPLIFIERS

8 ohms; an output indicator that provides both a peakhold of the maximum signal in conjurction with a"running light" indicator for the signal immediatelyfollowing the peak. After approximately 1 second, thepeak hold indicator releases and locks onto the nextsignal peak. The output indicator for each channelconsists of a series of LEDs calibrated from 0 (maxi-mum output) to -42 dB in 3 dB increments. Above the0 LED is a red LED indicating overload of the channel.

One set of line inputs and output are provided.There are controls for right gain, left gain and

power. The rear apron has slide switches for stereomono operation, 4 -second output delay, and 'ow fre-quency protection.

Overall dimensions are 19 in. wide x 7 in. high x143/4 in. deep. Weight is 57 lbs.PERFORMANCE: The power output per channel at theclipping level with both channels driven 20 to 20,000Hz into 8 ohms measured 240 watts RMS. The fre-quency response at 240 watts 8 ohms measured +0-0.4 dB from 20 to 20.000 Hz at a distortion no higherthan 0.025% THD.

The input signal needed for 240 watts output mea-sured 2.2 volts.

The signal-to-noise ratio referenced to 240 watts 8ohms was 92 dB.

The output indicators are very effective. The highestLED, representing the peak signal power, holds forabout 1 -second while the signal lights under it, repre-

senting lower output power, presents a running pat-tern of the signal level. much like the peak volumeindicators used in film and sound studios. (It gives avery accurate picture of what's taking place as far aspower levels are concerned.) Each LED represents ap-proximately 3 dB. The output meter frequency re-

sponse is flat 20 to 20,000 Hz in the sense that theLE-) display does not cha-gar with frequency (themaximum meter variation can be only ±1.5 dB).

Above the output indicators are red LEDs whichindicate overload. The protection circuits are fast andeffective. At system overload, the red LEDs light in-stantly and the amplifier goes into STANDBY mode,recyclirg to ON i1 about 4 seconds. At signal overload,the red LEDs simply light to show the amplifier is

driven beyond its capacity. If continuous overloadcauses the amp;ifier :o overheat (almost impossible),the system overload will shut down the output forabout 4 seconds. All in all, an effective safety andindicator arrangement.

Note: Though the amplifier's response goes downto DC, unless used fcr laboratory applications requir-ing response down to DC the use of the low frequencyprotection is recommended to prevent possiblespeaker overload caused by turntable rumble pro-ducing excessive amplifier output. The low frequencyprotection circuit has no effect on normal soundfrequencies.

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SAE 2300STEREO AMPLIFIER

A 150 -watts -per -channel stereo amplifier that wetested as capable of 163 watts with ruler -flat fre-quency response and no more than 0.015% THD.At full power the signal-to-noise ratio was 96dB. $700 in metal cabinet for 19 -inch rack mount.

DESCRIPTION: A stereo power amplifier FTC -rated for8 ohms at 150 watts RMS per channel, 20 to 20,000Hz, at 0.05% THD.

Unit features: one speaker output and two lineinputs per channel-one line input that is flat to almostDC (NORMAL input), another that is 6 dB down at 20Hz (NARROW input). Also included are left and right15 -step LED output power indicators for 8 ohm loads

calibrated 0.03 to 300 watts and -36 dB to 3 dB with0 -dB representing 150 watts; and an output hold -offthat prevents power supply turn -on transients frombeing fed to the speakers.

There aren't any controls or switches. Power iscontrolled by the associated equipment.

Overall dimensions are 19 in. wide x 5.25 in. high x12.5 in. deep. Weight is 35 lbs.PERFORMANCE: The power output per channel at theclipping level with both channels driven 20 to 20,000Hz measured 163 watts RMS. The frequency responseat 163 watts 8 ohms was ruler flat from 20 to 20,000Hz at a distortion no higher than 0.015% THD at anyfrequency.

Maximum output power was attained with 1.8 voltinput.

When feeding signal through the NARROW input, theresponse rolled off below 100 Hz: down 0.8 dB at 100Hz; 2.5 dB at 50 Hz; 5 dB at 30 Hz; 8 dB at 20 Hz. (Theinstruction manual gives no practical use for thisinput. We suggest the average stereophile use theNORMAL input.)

The signal-to-noise ratio referenced to 163 wattsoutput measured 96 dB.

The LED -power indicators are acceptably accurateup to 0 -dB, or 150 watts. At 150 watts, however, be-cause of the frequency response of the circuit, the

JANUARY/FEBRUARY 1980 SS

TEST REPORTS/ AMPLIFIERS

output power indication can be 300 watts when theactual output is 150 watts. The smallest measurementstep between LEDs is 3 dB, and the frequency re-

sponse will vary 1 step high and low from 20 to 20,000Hz; hence, we can assume the response is within±3 dB limits from 20 to 20,000 Hz.

EQUALIZERS


NIKKO EQ-IISTEREO GRAPHIC EQUALIZER

A six -band graphic equalizer with -±12 dB equal-ization and a flat response when the controls arecentered. Distortion: 0.005% THD. A very goodbudget equalizer. $199.95 in a metal cabinet.

DESCRIPTION: A stereo graphic -type equalizer withsix center frequency controls per channel at 40, 125,400, 1,200, 4,000 and 12,500 Hz providing ±10 dBequalization. Unit connects to an amplifier's tape re-corder jacks, with the recorder connections moved tothe equalizer. Equalization is applied only to theamplifier input; the tape output is always "flat."

There are five linear equalizer controls for eachchannel. Switches for power, equalizer in out, andtape monitor. The unit provides unity gain, same signallevel out and going in).

One unswitched AC outlet is provided.

Overall dimensons are 165/e in. wide x 33/4 in. high x13 in. deep. Weight is 10.8 lbs.PERFORMANCE: Note: Unit was tested at its ratedoutput of 1 volt.

With the equalizer controls at their center (noequalization) position, the frequency response mea-sured -1 0 -0.3 dB from 20 to 20,000 Hz at a distortionno higher than 0.005% THD at any frequency.

The output clipping level with full boost applied was4.8 volts.

The equalization range for each control was nomi-nally ±12 dB.

Because there is no input, or sensitivity control, theuser must be careful to prevent overload by insuringthe input signal does not exceed 1 volt if full boost isused at any frequency. While this is normally not aproblem, some equipment, particularly tape decks,have a maximum output level greater than 1 volt, andthe user must adjust the level into the equalizer so it isbelow 1 volt if minimum distortion is to be attained.

While this device offers greater equalization possi-bilities than stardard tone controls, its six center fre-quencies are somewhat limiting when compared with afull -octave graphic equalizer. But it is a good compro-mise at a budget price. A


SAE 180STEREO PARAMETRIC

EQUALIZERA stereophile version of a studio type parametricequalizer in a home compatible cabinet. Doeseverything you'd expect an equalizer to do anddoes it well. $250, metal cabinet with wood trim.

DESCRIPTION: A stereo parametric equalizer consist-ing of two identical but independent sections withcommon switching that can connect the equalizer to

the amplifier input, a tape output, or a tape input. Eachsection has two frequency selectors covering the ap-proximate range of 40 to 1.2 kHz and 1.2 k to 20 kHz,two ±16 dB attenuators, and two bandwidth adjust-ments covering 0.3 (narrow) to 3.6 (wide) octaves, anda level control that provides output level adjustmentfrom unity gain (no amplification; output level equal toinput level) to full OFF.

The equalizer connects to an amplifier's tape jacks,with the tape connections moved to the equalizer.

Switches are provided for: equalize amplifier, equal-ize tape output, equalize tape input, and tape sourcemonitor. There is no power switch. Power is controlledby the associated equipment.

Overall dimensions are 18.1 in. wide by 4.4 in. highx 3.5 in. deep.PERFORMANCE: Note: Tests were conducted at therated output of 2.5 volts.

With the equalizer's level controls centered (remov-ing equalization from the circuit, the frequency re-sponse measured +0 -0.8 dB from 20 to 20,000 Hz

S6HI-FI/STEREO BUYERS' GUIDE

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TEST REPORTS/ CASSETTE DECKS

at a distortion no higher than 0.015°0 THD at anyfrequency.

The output clipping: level was nominally 9 volts.With maximum equalization applied, the worst -case

distortion just below the clipping level of 9 volts meas-ured 0.15 THD. When the output level control wasadjusted so that the output level with full equalizationdid not exceed 2.5 volts, the distortion was no higherthan 0.015%.

The frequency calibrations on the equalizer fre-quency controls are approximate and serve to get theuser close to a desired frequency; then it's up to theuser to fine-tune the control for personal preferences.

Since there are no overload indicator devices, it'sup to the user to make certain heavy equalizationdoes not result in clipping. This will normally not bea prcblem with preamplifiers whose output voltagedoes not exceed 1.4 volts. However, to be certain ofminimum distortion it's best to adjust the parametric'slevel control(s) so that the equalized signal appearsto the ear to be the same volume as the unequalizedsigna'. IThis is not a particularly accurate "match,"but it is good enough to keep distortion as low as ispossible.)

Overall. the SAE model 180 is relatively easy to useand can serve as a stereophile's equalizer. A

CASSETTE DECKS


AIWA AD-L4OUSTEREO CASSETTE DECK

A straight forward deck that's a real winner for theprice, particularly when using metal tape. $490.00,in a metal cabinet with wood trim.

DESCRIPTION: A front loading Dolby stereo cassettedeck for Normal, ferrichrome, chrome -bias and metaltapes. The coding notches built into modern chrome -bias tape shells automatically switches the bias andequalization for chrome -bias tapes. A bias adjustment,calibrated specifically for many popular tape brandsand types, is provided for the Normal tape selector(it's inoperative for other tape types).

Other features include: left and right bar -graph typemeters that can be switched to the VU or peak -levelmode; a record mute that disables the input signalwhile the tape continues to drive; a record mute timerthat flashes at one -second intervals while the muteis applied; automatic end of tape stop disengage; tapemechanism pause control release that permits auto-matic play or record start-up controlled by an optionalprogrammable timer; and a reset timer.

There are inputs for microphones and line. Outputsfor line and phones.

Controls are provided for concentric-clutcied leftand right record level, ganged output level, and nor-

mal fine bias adjust. There are switches for power,Dolby Dolby with mpx filter, tape bias, tape equaliza-tion, input selection, and record mute.

The tape mechanisn has lever controls for the rec-ord interlock, REW review, play, FF cue, stop eject,and pause timer control.

Overall dmensions are 17'116 in. wide x 578 in. highx 117i, in. deep. Weight is 19.9 lbs.PERFORMANCE: The playback frequency responsefrom a standard test tape with a 40 to 12,500 Hz rangemeasured 4 0 -1.6 dB.

Using Maxell UD XL Type I tape: Without Dolbythe record play frequency response measured +1-1.8 dB from 40 to 15,000 Hz; down 3 dB at 33 Hz.Distortion at the meter indicated 0 -VU record levelwas 1.1% THD with 9 dB headroom to 3% THD.The signal-to-noise ratio referenced to 0 -VU recordlevel measured 49.5 dB.

With the Dolby active the record play frequencyrespcnse measured +0 -3 dB from 33 to 13,000 Hz.Distortion and headroom remained the same. Thesignal-to-noise ratio measured 54 dB wideband. 61dB narrowband.

Using Sony Duad ferrichrome tape with Dolby, therecord play frequency response measured - 0 -2.5dB from 40 to 15.000 Hz. Distortion at the 0 -VU recordlevel was 0.9% THD with 7 dB headroom to 3% THD.The signal-to-noise ratio referenced to a 0 -VU recordlevel was 54 dB wideband, 61 dB narrowband.

Using TDK-AD chrome -bias tape with Dolby, therecord play frequency response measured 4 2.5 -2dB from 40 to 15.000 Hz. Distortion at the 0 -VU recordlevel was 1% THD w:th 5 dB headroom to 3% THD.The signal-to-noise ratio referenced to 0 -VU recordlevel was 55 dB wideband. 60 dB narrowband.

Using Scotch Metafine metal tape with Dolby, therecord 'play frequency response at 0 -VU record levelwas 4-0.6/-3 dB fro -n 33 to 12.800 Hz; down only5 dB at 14,000 Hz. (Outstanding performance for a

JANUARY/ FEBRUARY 1980 59


0 -VU level recording.)At the standard cassette tape test level of -20

dB the record play frequency response was +3.3/-3dB from 33 to 15,000 Hz. (This machine needs aslightly better Dolby tracking alignment.) Distortion atthe meter indicated 0 -VU record level was 1.2% THDwith 7 dB headroom to 3% THD. The signal-to-noiseratio measured 54 dB wideband, 61 narrowband.

The maximum output level corresponding to a 0 -VUrecord level was nominally 0.5 volts.

Wow and flutter measured 0.12% with peaks to0.14%.

The bar -graph level indicators are unusually largeand have good calibration. The peak mode has a fastrise and a moderate decay, allowing relatively easytracking by the eye. We recommend all recordings bemade using the peak -level metering mode.

A decal on the front panel indicates the recom-mended fine bias adjustment for most popular tapes.The calibrations proved unusually accurate. For thosewho are not satisfied with factory suggestions, an FMinterstation noise adjustment procedure is suggestedin the manual. (A recording is made of FM interstationnoise and then the playback is compared with directmonitoring of tie noise.) Because the machine doesnot have simultaneous record play it is a time con-suming procedure which at best did not produce betterresults than simply setting the fine bias adjustmentto correspond with the front panel calibrations.

Special commendation was given by the listeningpanel to the metal tape performance. According to thepanel, the high frequency performance at high volumelevels is unusually clean, as would be expected fromthe 0 -VU record/play measurements.


JVC KD-A6STEREO CASSETTE DECK

A top performance cassette deck that does justabout everything well. Gives remarkable perform-ance with budget -priced tapes. Works with nor-mal, chrome, ferrichrome and metal tapes.Suggested retail price: $479.95 in metal cabinet.

DESCRIPTION: A front -loading stereo cassette deckwith JVC.s ANRS (Dolby compatible) and Super ANRSnoise reduction systems. Features include: selectorsfor Normal, ferrichrome, chrome -bias, and metal tapes;left and right VU meters with five peak -indicatingL.E.D.s at -10 dB, -5 dB, 0 -VU, 4 3 dB and -4 5 dBintegrated with the VU scale; a five -step fine-tunerecord equalization selector, and an equalization chart(in the manual) for the most common and populartapes; a ±-10% metal tape bias adjustment switch; a±10% pitch (motor -speed) control; automatic end oftape stop disengage; a record mute that disables theinput signal while the tape is driving; a memory resetcounter; and a record play timer control switch foruse with an optional programmable timer.


Controls are provided for concentric -clutched leftand right record level, ganged output level, and pitch.

There are switches for power, input selection recordmute, ANRS Super ANRS on -off, tape selection, metaltape selection, record equalization, record play timercontrol, and counter memory on -off. A switch on therear apron provided -1()% bias variation for metaltape.

The tape mechanism has touch buttons for therecord interlock, play, REW, FF, stop, and pause. Thereis a push button for eject.

Overall dimensions are 173/4 in. wide x 43/4 in.x 121/2 in. deep. Weight is 18 lbs.PERFORMANCE: The playback frequency responsefrom a standard test tape with a 40 to 12,500 Hz rangemeasured 4 0.5 -1 dB.

Using TDK-D tape: without ANRS, the record playfrequency response measured -1 dB from 40 to 14,000Hz; down 2.8 dB at 28 and 15,000 Hz. (Outstanding per-formance from a budget tape.) Distortion at the meter -indicated 0 -VU record level was 1.2% THD with 9dB headroom to 3% THD. The signal-to-noise ratioreferenced to 0 -VU record level was 47 dB.

With the ANRS active, the record play frequency re-sponse measured +0.3;/-1.5 dB from 40 to 13,000 Hz.Distortion and headroom remained the same. Thesignal-to-noise ratio referenced to 0 -VU record levelwas 50 dB wideband; 56 dB narrowband.

Using Sony Duad (ferrichrome) tape: with ANRS, therecord play frequency response measured 4 1.5 -3dB from 25 to 13,000 Hz. Distortion at the meter -indicated 0 -VU record level was 1.1% THD with 7 dBheadroom to 3% THD. The signal-to-noise ratio refer-enced to 0 -VU record level was 54 dB wideband; 60 dBnarrowband.

Using TDK-SA (chrome -bias) tape: with ANRS, therecord play frequency response measured 1.5 -1dB from 40 to 14,000 Hz; down 3 dB at 28 and 15,000Hz. Distortion at the meter -indicated 0 -VU record levelwas 1.1% THD with 6 dB headroom to 3% THD. Thesignal-to-noise ratio referenced to 0 -VU record level


TEST REPORTS/CASSETTE DECKS

was 55 dB wideband: 60 dB narrowband.Using Scotch Metafine metal tape: with ANRS, at

0 -VU record level, the frequency response measuredan unusually wide range (even for metal tape) 0.2-3 dB from 28 to 13,000 Hz; down only 6 dB at 15,000Hz. At the standard cassette test level of -20 dB, therecord play frequency response measured 4-0.2 -2.5dB from 29 to 15,000 Hz. Distortion at the meter -indicated 0 -VU record level was 1.2% THD with 8 dBheadroom to 3% THD. The signal-to-noise ratio refer-enced to 0 -VU record level was 52 dB wideband; 58dB narrowband. Using Super ANRS, which reduceshigh frequency saturation, the sound quality from themetal tape is almost awe-inspiring.

The maximum output level corresponding to 0 -VU

KIMIWOOln

" 1 1 '

record level was nominally 220 mV. (This is about 1/3to 1/2 the usual cassette deck output level, but even sois more than is needed for high fidelity equipment.)

Wow and flutter was a rock -steady 0.06%.The peak indicating L.E.D.s are precisely calibrated.

They are integrated into the VU meter scale-ratherthan being a separate indicator-and provide an ex-cellent "picture" of the average -to -peak ratios of theinput signal. (Makes it much easier to adjust levels foroptimum recording. A particularly well thought outfeature.)

The pitch control provided a speed variation rangeof ±12%. (About the only useful purpose of this fea-ture is to correct speed variation-if it exists-of pre-recc rded tapes.)

11111111111


KENWOOD KX-550STEREO CASSETTE DECK

This cassette deck gets very good performancefor the money. Best results are with high-pricedtapes. Uses normal, chrome and ferrichrometapes. Retail price: $235 in a metal cabinet.

DESCRIPTION: A front -loading Dolby cassette deckfeaturing: bias and equalization selectors for normal,Ferrichrome, and chrome -bias tapes; two calibratedVU record level meters; automatic end -of -tape stopdisengage; and a reset counter.

There are inputs for microphones and line Outputsfor line and phones.

Controls provided are concentric -clutched left andright record level. There are switches for power, biasselect, equalization select, and Dolby on -off.

The tape mechanism has lever controls for therecord interlock, rewind, play, fast forward, stop, andpause. The cassette is directly loaded and removedby hand.

Overall dimensions are 153/4 in. wide x 61/4 in. high x11-1 16 in. deep. Weight is 11.9 lbs.

PERFORMANCE: The playback frequency responsefrom a standard test tape with a 40 to 12,500 Hz rangemeasured 4-2.1 (-2 dB.

Using Maxell UD 'XL tape: without Dolby, the recordplay frequency response measured 0 -1.5 dB from40 to 14,000 Hz. Distortion at the meter -indicated 0 -VUrecord level was 1.2% THD with 9 dB headroom to3% THD. The signal-to-noise ratio referenced to 0 -VUrecord level was 48 dB.

With the Dolby active, the record play frequencyresponse measured +0/-3 dB from 40 to 12,000 Hz;down 3.5 dB at 13.000 Hz. Distortion and headroomrema'ned the same. -he signal-to-noise ratio measured54 dB wideband; 58.5 dB narrowband.

Using Sony Ferrichrome tape: with Dolby, therecorc play frequency response measured 4-1 -1.2dB from 30 to 14,000 Hz. Distortion at the meter -indicated 0 -VU record level was 1.4% THD with 5 dBheadroom to 3% THD. The signal-to-noise ratio refer-enced to 0 -VU record level was 56 dB wideband; 62.5dB narrowband.

Using TDK-SA (chrome -bias) tape: with Dolby, therecord play frequen:y response measured +0/-3 dBfrom 40 to 14,000 Hz. Distortion at the meter -indicated0-VJ record level was 0.08% THD with 7 dB headroomto 3% THD. The s gnal-to-noise ratio referenced to0-VJ record level was 55 dB wideband; 61 dB narrow -bard.

The output level corresponding to a 0 -VU recordlevel was nominally 450 mV.


Readers often ask what we mean when we say that the performance of a piece of equipment is average. We haveestablished high critical standards for all pieces of equipment that are reviewed on these pages. After all, we areconcerned with high fidelity components-not just any gear that produces sound. An average rating means that thecomponent meets our rigid performance standard and is a good buy in its price range. For example, if a $1000receiver is rated average, this means that it is the equal of other average $1000 receivers. superior to an average$600 receiver, and far superior to an average $200 receiver.



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PIONEER CT -F1250STEREO CASSETTE DECK

This unit wrings outstanding performance fromlow-priced tape and even better performancefrom the high-priced formulations. It is a front -loading deck with three heads and simultaneousrecord/playback head. $695 in a metal cabinet.

DESCRIPTION: A front -loading 3 -head system (simul-taneous record play), dual capstan. Dolby cassettedeck for normal, ferrichrome. chrome -bias, and metaltapes. Features include: individual adjustments and acalibration system for tape bias, equalization, andlevel; 4-6% pitch (motor speed) adjustment; left andright fluorescent display bar -graph level indicators thatcan be set to indicate average, peak, or peak -holdrecord playback level; an electronic memory counterproviding auto stop disengage rewind play, repeatplay, and play from counter zero to end; microphoneline input mixing: a record mute that disables the inputsignal while the tape drives; and a control switch thatpermits record or play start-up to be controlled by anoptional timer.


Controls are provided for concentric -clutched leftand right microphone level, concentric -clutched leftand right line level, concentric -clutched left and rightoutput level, pitch, bias level, tape sensitivity level, andtape equalization. (The bias, level, equalization, andpitch controls are detented at their "normal" adjust-ment.) There are switches for power; tape type; DolbyDolby with mpx filter; tape source monitor; averagemetering; peak metering; peak -hold metering; countermemory stop, play, repeat, end, off and reset; timerstart mode; meter display dim; meter display bright.

The tape mechanism has touch buttons for therecord interlock, forward. REW. FF, stop, pause, andrecord mute. The tape is loaded and unloaded directlyby hand.

One unswitched AC outlet is provided.Overall dimensions are 16-9 16 in. wide x 73/8 in.

high x 14'/2 in. deep. Weight is 24 lbs.

PERFORMANCE: The playback frequency responsefrom a standard test tape with a 40 to 12,500 Hz fre-quency range measured -1.5 -2.3 dB.

Using TDK-D tape: without Dolby, the record playfrequency response measured +0.2 -2 dB from 40 to15.000 Hz; down 3 dB at 30 Hz. Distortion at the meter-

indicated 0 -VU record level was 1.2% THD with 5 dBheadroom to 3% THD. The signal-to-noise ratio refer-enced to 0 -VU record level was 46 dB.

With the Dolby active, the record play frequencyresponse measured +0 -3 dB from 30 to 13.000 Hz.Distortion and headroom remained the same. Thesignal-to-noise ratio referenced to 0 -VU record levelwas 52 dB wideband; 58 dB narrowband.

Using Sony Duad ferrichrome tape: with Dolby, therecord play frequency response measured ---1 -2 dBfrom 40 to 13,000 Hz; down 3 dB at 30 and 14,000 Hz.Distortion at the meter -indicated 0 -VU record level was0.07% THD with 7 dB headroom to 3% THD. Thesignal-to-noise ratio referenced to 0 -VU record levelwas 54 dB wideband; 60 dB narrowband.

Using TDK-SA tape: with Dolby, the record playfrequency response measured -:+_=3 dB from 30 to15,000 Hz. Distortion at the meter -indicated 0 -VUrecord level was 0.09% THD with 8 dB headroom to3% THD. The sicnal-to-noise ratio referenced to 0 -VUrecord level measured 53 dB wideband; 61 dB narrow -band.

Using Scotch Metafine metal tape: with Dolby, at0 -VU record level, the frequency response measured+0.5 -1 dB from 31 to 9000 Hz; down 3 dB at 30 and10,500 Hz. At the standard cassette tape test level of-20 dB, the frequency response measured +2.5 -3dB from 30 to 15.000 Hz. Distortion at the meter -indi-cated 0 -VU record level was 0.09% THD with 8 dBheadroom to 3% THD. The signal-to-noise ratio refer-enced to 0 -VU record level was 51 dB wideband; 58 dBnarrowband.

The maximum output level corresponding to 0 -VUrecord level was 680 mV. (The detented setting of theoutput level control results in a nominal output of420 mV.)

Wow and flutter measured a rock -steady 0.03%(among the very lowest values we have ever measuredfor cassette equipment).

The pitch control range measured 9%.PERFORMANCE-CALIBRATION SYSTEM: The bias,level, and record equalization is accomplished by ad-justing the appropriate control until a set of associatedL.E.D.s have equal illumination or "flicker." There issome interaction between the bias and equalizationand it's possible to go back and forth, changing ad-justments, and never finish-this is particularly true ofthe metal tape calibration. The best method is to setall controls at fuTI counter -clockwise and bring themup until the L.E.D. indicators match. Do not change anadjustment after you have moved to the next control



regardless what the indicators show if you go back torecheck a prior adjustment. Following this procedure,the system is excellent, taking but a few seconds toprecisely calibrate the machine for any tape. Becausethe single set of adjustments affects all tape types, formaximum convenience it is suggested the user moreor less standardize on one brand or type of tape.PERFORMANCE-METERING: Top notch all the way.In the average mode, the bar -graph display has similarballistics to a standard VU meter. In the peak mode.the maximum value is held for about two secondswhile the light -bar tracks the peak value of lower levelsignals. If the program peak suddenly exceeds theholding value the display instantly indicates the higherpeak value. In the peak hold mode. the meter continu-ously displays the absolute maximum signal until it is

exceeded, at which point the new peak value is main-tained. The peak hold mode is most effective whenpresetting record level adjustments for a record ortape dub as the program can be sampled for themaximum peak signal before recording.PERFORMANCE-COUNTER: The four -digit electroniccounter indicates in units of 1 -second; i.e., if the dis-play indicates 0120 the recording is 120 seconds (ortwo minutes). When the tape mechanism is shifted tothe fast wind modes the counter tracks the higherspeed so it is always precisely on the correct countwhen the tape drive is stopped, or started in the playor record mode. Regardless of the number of starts,stops, or fast winds, from beginning to end of a C-90tape tie counter accuracy was within 1 -second. (Youmust use this counter to fully appreciate its value.)


SANYO RD 5372STEREO CASSETTE DECK

A microprocessor controlled three -head cassettedeck with automatic repeat rewind and auto -play modes. Bias adjustable for normal, chrome,ferrichrome and metal. $499.95, in a metal cabinet.

DESCRIPTION: A front loading, 3 -head system (simul-taneous record 'play), Dolby cassette deck for Normal,ferrichrome, chrome -bias, and metal tapes. Featuresinclude: left and right VU meters; an electronic mem-ory reset counter providing continuous repeat play ofthe complete tape, automatic rewind and stop at thebeginning, automatic rewind and stop at coulter zero,automatic rewind and replay from counter zero, auto-matic end of tape stop disengage; peak record levelL.E.D. indicators; record level limiter; control switchesthat permit record or play start-up to be controlled byan optional timer.


Controls are provided for concentric -clutched leftand right record level and concentric -clutched left andright output level. Switches for power, tape type, tapesource monitor, Dolby, mpx filter, record level limiter,counter memory on -off, counter reset, continuous re-peat play, auto rewind and stop (or replay at counterzero), timer control of record, timer contro of play,and timer control off.

The tape mechanism has touch buttons for therecord interlock, play, REW. FF, stop. and pause. Thereis a pushbutton for eject.

Overall dimensions are 17.7 in. wide x 5.5 in. high x11.8 in. deep.PERFORMANCE: The playback frequency responsefrom a standard test tape with a 40 to 12,500 Hz rangemeasured +1 -2 dB.

Using Scotch Master I tape: without Dolby, therecord play frequency response measured +0 -3 dBfrom 30 to 14,500 Hz. Distortion at the meter -indicated0 -VU record level measured 2°'. THD with 8 dB head-room to 3% THD. Tie signal-to-noise ratio referencedto 0 -VU record level measured 45 dB.

With the Dolby active, the record play frequency re-spcnse measured +0.8/-3 dB from 30 to 12,000 Hz.

Distortion and headroom was essentially the same asfor non -Dolby. The signal-to-noise ratio referenced to0 -VU record level measured 48 dB wideband; 57 dBnarrowband.

Using Sony Duad ferrichrome tape: with Dolby, therecord play frequency response measured +01-3 dBfrom 40 to 3.000 Hz. Distortion at the meter -indicated0 -VU record level was 1.5% THD with 8 dB headroomto 3% THD. The signal-to-noise ratio referenced to0 -VU record level was 46 dB wideband; 58 dB narrow -band.

Using TDK-SA c'irome-bias tape: with Dolby, therecord play frequency response measured +0.1/-3dB from 30 to 10,000 Hz. Distortion at the meter -indicated 0 -VU record level was 1.3% THD with 7 dBheadroom to 3% THD. The signal-to-noise ratio refer-enced to 0 -VU record level was 49 dB wideband; 61dB narrowband.

Using Scotch Metafine metal tape: with Dolby, therecord play frequency response at 0 -VU record levelmeasured +0 /-3 dB from 30 to 10,500 Hz. At thestandard cassette tape test level of -20 dB, therecord play frequency response was 0 '-3 dB from40 to 10.000 Hz. Distortion at the meter -indicated 0 -VU



record level was 1.9% THD with 9 dB headroom to3% THD. The signal-to-noise ratio referenced to 0 -VUrecord level measured 46 dB wideband; 58 dB narrow -band.

The maximum output level corresponding to a 0 -VUrecord level was nominally 800 mV.


The limiter cut in hard at 0.5 dB below 0 -VU and

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had a fast release, providing a full -limiting (no com-pression) characteristic. The peak record level indica-tors faded in from slight to full brightness over therange of +3 to +4 dB above 0 -VU.

The electronic four -digit timer was relative, similarto the mechanical type in that each change of digit didnot represent 1 -second. As with almost all timers,mechanical and electrical, it tracked correctly throughthe fast wind modes.

SHARP RT-1199STEREO CASSETTE DECK

A programmable cassette deck which can auto-matically locate up to ten separate programs ona section of tape. Can use normal, chrome,ferrichrome and metal. $329.95, metal cabinet.

DESCRIPTION: A front loading Dolby cassette deckfor Normal, ferrichrome, chrome -bias and metal tapes.Features include: Auto Program Locate Device (APLD)that fast winds to any of ten selected programs andthen automatically resumes play; automatic locationand play of the previous or next program; automaticend of tape stop disengage; left and right peak indi-cating bar -graph level indicators with user -selectedpeak -hold feature; microphone line input mixing; anda reset counter.


Controls are provided for concentric -clutched leftand right microphone level, concentric -clutched leftand right line level, and ganged output level. There areswitches for power, Dolby, bias select. equalizationselect, metal tape, level indicator peak -hold, and nineAPLD selectors (providing 10 searched programs).

The tape mechanism has lever controls for therecord interlock, REW, play, stop, FF, pause, and eject.The mechanism is placed in the APLD mode, or thenext or previous program is played, when either fastwind lever and the play lever is depressed.

Overall dimensions are 16-15 16 in. wide, 5-11 16in. high x 9-11 16 in. D. Weight 13.2 lbs.PERFORMANCE: The playback frequency responsefrom a standard test tape with a 40 to 2,500 Hz rangemeasured 0.4 -1.5 dB from 63 to 12,500 Hz, rising

to -i 4 dB at 40 Hz.Using Maxell UD tape: without Dolby, the record

play frequency response measured -+-2.1 '-2.6 dB from30 to 13.000 Hz. Distortion at the meter -indicated 0 -dBrecord level was 1.1% THD with 5 dB headroom to 3%THD. The signal-to-noise ratio referenced to 0 -dB

record level was 52 dB.With the Dolby active, the record play frequency

response was +2.1 -3 dB from 30 to 11,500 Hz. Dis-tortion and headroom remained the same. The signal-to-noise ratio referenced to 0 -dB record level measured58 dB wideband; 64 dB narrowband.

Using Sony Duad ferrichrome tape: with Dolby, therecord play frequency response measured -f 1.6 -3dB from 30 to 15,000 Hz. Distortion at 0 -dB record levelwas 1.9% THD with 4 dB headroom to 3% THD. Thesignal-to-noise ratio referenced to 0 -dB record levelwas 58 dB wideband; 65 dB narrowband.

Using Maxell UD XL II chrome -bias tape: with Dolby,the record play frequency response measured +1.9-3 dB from 30 to 12.000 Hz. Distortion at 0 -dB recordlevel was 59 dB wideband; 65 dB narrowband.

Using the recommended TDK MA-RO metal tape:with Dolby, the record play frequency response at

0 -dB record level measured +1.8 -3 dB from 30 to11,000 Hz. At the standard cassette tape test level of-20 dB, the record play frequency response measured--2.5 dB from 30 to 15,000 Hz. Distortion at 0 -dBrecord level was 1.5% THD with 4 dB headroom to3% THD. The signal-to-noise ratio referenced to 0 -dBrecord level was 57 dB wideband; 63 dB narrowband.

The maximum output level corresponding to a 0 -dBrecord level measured nominally 0.9 volts.


The bar -graph meter is always peak indicating. Whenplaced in the peak -hold mode it "permanently freezes"any reading that exceeds 0 -dB record level, continu-ing to track the program level below the peak value. Ifanother peak exceeds the peak value the new peakvalue is held. This permits a prerecorded program tobe easily checked for maximum recording level beforethe recording is started. All values above 0 -dB, whetherheld or allowed to track, indicate as rectangles ratherthan as light bars (a very convenient way to keep trackof excessive recording level).



The APLD works by counting the pauses betweenprograms while in the fast wind mode. If the userprograms APLD with a "2" the mechanism will runahead, skip past two pauses. sense the third pause,and switch to the play mode. For depencable operationthe APLD requires a pause of approximately 4 secondsbetween programs. Prerecorded records and tapeshave the required pauses, the user must add them if

making "live" home recordings. If the pause is lessthan 4 -seconds the APLD can miss it. Also, the APLDwill sense as a program pause natural pauses in re-corded speech, and low level signals and or lulls inclassical music. It proved most effective with pop androck which generally have no musical pauses. Overall,the APLD works very well.

NNW


SONY TC-K45STEREO CASSETTE DECK

A full -feature cassette deck with automatic stop/disengage at the end of a tape and automaticreplay at the end of rewind. Has peak indicatingbar -graph level meters. $320 in a metal cabinet.

DESCRIPTION: A front -loading Dolby cassette deckfeaturing: bias and equalization selectors for Normal,ferrichrome and chrome -bias tapes; left and right peakindicating and peak reading bar -graph level indicators;a record mute that disables the input signal while thetape continues to drive; automatic stop disengage atthe end of the tape; automatic replay after rewind; anda memory reset counter.


Two concentric (not clutched) controls are providedfor the left and right record level. There are switchesfor power, microphone line input selection, bias select,equalization select, Dolby, and counter memory on -off. The record mute is a spring -return position of theinput selector.

The tape mechanism has lever controls for therecord interlock, REW, stop, play, FF, pause, and eject.Automatic replay after rewind is provided when boththe REW and play levers are depressed.

Overall dimensions are 17 in. wide x 51/2 n. high x111/2 in. deep. Weight is 12.8 lbs.

PERFORMANCE: The playback frequency responsefrom a standard test tape with a 40 to '2.500 Hz rangemeasured 2.5 -3 dB from 40 to 10,000 Hz, down 3.5dB at 12.500 Hz range measured 2 c - 3 dB from

40 to 10,000 Hz, down 3.5 dB at 12,500 Hz.Note: The bar graph meters are calibrated in abso-

lute peak level, or 0 -dB, and VU, with 0 -VU being 4 dBbelow the 0 -dB peak record level. All tests were refer-enced to 0 -dB, which provides optimum signal-to-noiseratio coincident with protection against excessive re-cording levels. Note there is no "headroom" for dis-tortion measurements because 0 -dB is already atmaximum record level.

Using TDK-D tape: without Dolby, the record playfrequency response measured +1 -1.5 dB from 40 to15,000 Hz, down 3 dB at 30 Hz. Distortion at 0 -dB peakrecord level was 2.5% THD. The signal-to-noise ratioreferenced to 0 -dB record level was 46 dB.

With the Dolby active, the record play frequencyresponse measured +1 -3 dB from 30 to 11,500 Hz.Distortion remained the same. The signal-to-noise ratioreferenced to 0 -dB record level was 49 dB wideband;56 dB narrowband.

Using Sony Duad ferrichrome tape: with Dolby, therecord play frequency response measured +2/-2.1dB from 30 to 15,000 Hz. Distortion at the 0 -dB recordlevel was 2.7% THD. The signal-to-noise ratio refer-enced to 0 -dB record level was 50 dB wideband; 60 dBnarrow band.

Using TDK-SA c-irome-bias tape: with Dolby, therecord play frequercy response measured - 2.8 -2.5dB from 30 to 15,000 Hz. Distortion at the 0 -dB recordlevel was 2.8% THD. The signal-to-noise ratio refer-enced to 0 -dB record level was 48 dB wideband; 59 dBnarrowband.

The maximum output level corresponding to a 0 -dBrecord level was 0.8 volts.


The bar -graph incicators "hold" the peak level forapproximately two seconds, while the bar -graph belowthe peak value tracks the program level. If a programpeak exceeds the "holding" value the bar -graph tracksupwards to the new peak value, which again will holdfor two seconds. The indicators are calibrated in bothdB and VU, with 0 -VU being 4 dB below 0 -dB. Since0 -dB represents the standard saturation level for tape,it is suggested that recording levels be adjusted sothe program peaks are as close as possible to 0 -dB. A



I 00 0


TEAC A-550RXdbx/DOLBY CASSETTE DECK

A dbx noise reduction system produces record-ings that are really "dead quiet" and almost freefrom high frequency saturation, even with con-ventional tapes. Price: $550 in a metal cabinet.

DESCRIPTION: A front loading cassette deck featuringboth dbx and Dolby noise reduction systems, and biasand equalization selectors for Normal, chrome -bias,and metal tapes. Other features include: left and rightpeak -reading record level meters; solenoid operationwith built-in prewired socket for an optional full -func-tion remote control; automatic end of tape stop dis-engage: memory reset counter, play and record controlby external timer; a record mute that disables theinput signal while the tape drives.


Controls are provided for left and right record levelwith tandem operation provided by a friction -lockedbelt drive (adjusting one control simultaneously ad-justs the other), and ganged output level. There areswitches for: power, timer control. counter memoryon -off, tape bias, tape equalization, microphone lineinput, and dbx Dolby noise reduction selector.

The tape mechanism has touch buttons for the re-cord interlock, forward, REW, FF, pause and recordmute. There is a push button for the cassette ejection.

Overall dimensions are 17-5 16 in. wide x 53/4 in.high x 131/2 in. deep. Weight 22 lbs.PERFORMANCE: The playback frequency responsefrom a standard test tape with a 40 to 12,500 Hz fre-quency range measured -, 0.7/-1.7 dB.

Using TDK-D tape: without Dolby, the record playfrequency response measured nominally 3 dB from25 to 11,500 Hz with a 3.5 dB peak at 50 Hz. Distor-tion at the meter -indicated peak record level of 0 -dBmeasured 1.5% THD with 5 dB headroom to 3% THD.

The signal-to-noise ratio referenced to 0 -dB recordlevel was 46.5 dB.

With the Dolby active, the record play frequency re-sponse measured 3 dB from 25 to 10,000 Hz with a3.5 dB peak at 50 Hz. Distortion and headroom re-mained the same. The signal-to-noise ratio referencedto 0 -dB record level was 55 dB wideband, 64 dB nar-rowband.

Using TDK-SA (chrome -bias) tape: with Dolby, therecord play frequency response measured +1.5/-2dB from 30 to 15.000 Hz; down 3 dB at 25 Hz. Distor-tion at the meter -indicated 0 -dB record level was 1.4%THD with 5 dB headroom to 3% THD. The signal-to-noise ratio referenced to 0 -dB record level was 54.5dB wideband, 63 dB narrowband.

Using Scotch Metafine metal tape: with Dolby, therecord/play frequency response at 0 -dB record level,was +2/-3 dB from 30 to 8.500 Hz. At the standard-20 dB test level, the frequency response measured+2/-3 dB from 30 to 15.000 Hz. Distortion at themeter -indicated 0 -dB record level was 1.4% THD with7 dB headroom to 3% THD. The signal-to-noise ratioreferenced to 0 -dB record level was 54 dB wideband,64 dB narrowband.

The output level corresponding to 0 -dB record levelwas nominally 560 mV maximum.

Wow and flutter measured 0.08%.PERFORMANCE: DBX NOISE REDUCTION SYSTEM:The dbx system s independent of the Dolby-the twocannot be switched in together. It is a compressionexpansion system, hence, it provides both noise re-duction and protection against transient peak signalsdriving into tape saturation. Effectively, it expands the0 -dB record level high frequency response.

Used with Metafine tape, the dbx system resulted inan absolutely dead quiet output with a signal-to-noiseratio referenced to 0 -dB record level of 70 dB wide-band, 77 dB narrowband. Further, the compressionproduced a 0 -dB high frequency response down 3 dBat 10.000 Hz and 5.5 dB at 12,000 Hz, in contrast to-5 dB and -10 at the same frequencies without thedbx compression. Similar advantage is attained withother tape formulations. At the standard -20 dB testlevel, the Metafine frequency response was essentiallythe same as atta ned using Dolby.

Overall, the noise reduction of the dbx system isphenomenal, or spectacular, depending on one's pointof view. The system is particularly effective when re-cording live through microphones. A

Worst case: The test results that we report within these pages are always the worst case measurement for thepiece of equipment being evaluated. For example, if the frequency response of an amplifier's left channel is 20 to20,000 Hz, ± 2 dB, while the response of the right channel is ± 3 dB from 20 to 20,000 Hz, the test report will showthe worst case measurement, that is, ± 3 dB. Similarly, if an FM tuner's stereo separation measurement is 40 dBleft -to -right and 32 dB right -to -left, the test report will show a separation figure of 32 dB. This method of reportingallows you to be certain that performance in all other cases was equal to or better than the published results.


SHOWCASE(Continued from page 14)

and provides 4 to 10 dB higher effi-ciency than most other satellites, ac-cording to the company. Each speakercan be driven to normal room levels byas little as 10 watts, yet the Satellitecan handle 200 to 400 watt peaks perchannel, and can produce output soundpower levels 6 to 14 dB higher thanmost satellites. The radiating system ofthe S -I is a four driver, phased arraywith a critical group delay alignmentfor the drivers and crossover networksto provide high efficiency, precise imag-ing and sharp transient detail. Uniquewith the S -I is the inclusion of fourseparate input networks to provide thedifferent sound characteristics of Eng-lish, German and American speakers,plus two high frequency contours.These are available by simple selectionof input terminals on the S -I. The con-trolled vertical dispersion pattern meansless wastage or smear by unwantedceiling and floor reflections.

British Amplifier/PreamplifierZephyr Electronics Group is now im-porting the Boothroyd/Stuart Meridianrange electronics products from Eng-land. A model 101 preamplifier is anall -discrete, low feedback unit. All sig-nal processsing electronics are carriedon three plug-in modules that permit


periodic update or extension of theequipment. Phono modules to matchvirtually any magnetic or moving coilpick-up are available. Price of thepreamp is $475. Model 103D amplifieralso features low feedback, and usesan individual toroidal power supply todeliver high current into any loud-speaker load. The amplifier is rated at45 watts per channel. It's priced at$640. Specifications for the 101 pre -

amp: frequency response, 20 to 20,000Hz; radio/tape response, 5 to 50,000Hz; distortion, less than 0.01%. Speci-fications for the 103D amplifier: out-put, 35 watts per channel into 8 ohms;input, 0 dBm (775mV) over 10k for35 watts; distortion, less than 0.1%, 20to 20,000 Hz at all powers up to 35watts and typically less than 0.01% at1 kHz; noise, less than -90 dB CCIR.

Metal Audio Cassette Tape

Fuji claims that the company's newmetal tape offers twice as much, insome cases much more, output than doother tapes, depending on the frequen-cy used for comparison. Measurementsare said to confirm that the new tapedelivers 7 to 12 dB more MOL (maxi-mum output level) than do typical"chrome" tapes, and 3 to 9 dB morethan Fuji's own FX-11 tape. The new


tape can be played with "excellent"results on equipment having chromeplayback facilities. Manufacturer'ssuggested list pricing for the new Fujiproducts will be $8.80 for the C-46cassette and S10 for the C-60, one hourcassette. A

COUNTERFEIT TAPES

Beware of bargain -priced TDK SA -

C90 cassette tapes, they're prob-ably counterfeits. Many of thesetapes have been offered throughnewspaper ads at $2.59 per tape inboxes of 10 tapes. Real TDK SA-C90 costs $5.69 per tape so anysuch extreme bargain is almost sureto be a fraud.

You can recognize the counter-feits by the smudged printing onthe index liner card, a nonfunctionalcellophane opening strip on theouter wrapper (the real thing hasno strip) and the lack of a finger -indentation at the top of the boxfor opening. The 10 -cassette cartonfrom the counterfeiters is printedonly in brown instead of brown andgreen, and it will not have a lotnumber stamped on top. Needlessto say, the performance, reliabilityand sound reproduction quality issignificantly inferior to the realTDK SA -C90.

ON OUR COVERHigh performance in a small pack-age-that's what micro -componentsare all about. Sony's top -of -the -linemicro's are shown on this month'scover. On the bottom is the TA-P7Fintegrated, 50 -watts -per -channelamplifier with less than 0.01% THD($500). On top of it is the ST-P7JQuartz crystal locked FM tunerwith digital display and eight pro-grammable presets ($500). The di-rect -drive, quartz -locked turntable,model PS-P7X has low wow andflutter, and nimble spec's ($450).Rounding off the system is a pairof SS-5GX speakers that are only9% inches high, have a 5 -inch woof-er and a 1 -inch dome tweeter, anda voice -coil cooling system ($600per pair).

SOUND PROBE: BOSE 901 SERIES IV (Continued from page 28)

from the rear, looking somewhat likethe business end of a jet plane. Theyare in fact air jets to relieve the backpressure generated by the pumping ac-tion of all those speaker cones in a sur-prisingly compact enclosure (measuringa mere 12 inches high by 21 incheswide by 13 inches deep with a slightlycurved front and a triangular apex inthe rear). The air flow in these ductsis so powerful that it will blow out amatch held near the opening when themusic hits a low note. Thanks to its

vented design, the Bose 901 Series IVis far more efficient than earlier ver-sions of the Bose, needing a mere 10watts to drive it to ample volume. Yetit will handle as much as 1000 wattsof power-and that third zero is nomisprint' It is interesting that-unlikein ordinary bass ports-no sound issuesfrom the air vents. Their resonantfrequency lies below the audible spec-trum. As a result, they can relieve backpressure and assure efficiency withoutcreating a false bass boom.

To obtain adequate reflections fromthe back wall, the Bose 901 must belocated at least 12 inches away fromthe wall in back of it. Attractive speak-er stands are available for optimumpositioning; or, thanks to its compact-ness, the speaker can also be conve-niently hung from the ceiling so thatit takes up no floor space at all.Performance:

In terms of sheer musicality, thisspeaker ranks with the finest, and inspaciousness of sound it is unsurpassed.


Yet despite the enveloping character ofthe sound presentation, there was noloss of stereo localization because notall of the sound is reflected. One of thenine drivers in each speaker aims di-rectly forward to assure accurate stereoimaging. Yet at the same time, we wereable to walk all over the room withoutever losing the stereo effect, and thedispersion of all frequencies is quite

uniform, so that the frequency balanceremains .the same in any location.

The Bose 901 sounded totally con-vincing with any type of music. Fromsolo piano to massive symphonic scores,everything sounded airy, open, andsmooth, with pristine highs and a bassso solid you could almost touch it.Sharp transients etched every tonalnuance, but nothing ever sounded

harsh. Of course, these are qualities ex-pected from any first-rate speaker.What gives the Bose its unique dis-tinction is a sense of sonic size-an ef-fortless bigness of sound that makeseven, a large orchestra believable inyour living room. In all, it is a speakerwell worth its, $810 -per -pair price ($950with equalizer) and one we could livewith happily.

SOUND PROBE: KEF-101 (Continued from page 28)

of the KEF-101 is the power handlingability of this little bantam with its434 -inch woofer. It will take as much as100 watts amplifier power, producingpeak sound -pressure levels of 100 db-enough to handle the biggest orchestraor the hardest rock. But with that kindof power pouring into the little speaker,special overload protection must be pro-vided. The KEF-101 contains a self -

powered circuit-called the S-Stop-containing sensors which monitor theimput to each drive unit. Wheneverthe signal level exceeds safe limits, theS -Stop attenuates the signal fed to thedrivers. Unlike a fuse, it never cuts offthe speaker entirely, so the sound goesuninterrupted. The circuit then con-tinues to monitor the incoming signal,and as soon as it drops back to a safelevel, the attenuator is bypassed andthe full signal is restored to the drivers.

A red light on the front panel lightsup to let you know whenever the at-tenuator is in action. As for minimumpower, the manufacturer recommendsat least 20 watts per channel.

KEF is one of the few companies topublish distortion specs for speakers.In case of the 101, second harmonicdistortion is less than 1 percent from120 Hz to 20 kHz, and third harmonicdistortion less than 1 percent from 70Hz to 20 kHz, measured at a distanceof 1 meter on axis at a mean soundpressure level of 90 db.Performance:

This little speaker simply charmed uswith its complete naturalness, butnaturally we like it better in light -tex-tured music that doesn't require heavybass. Thanks to its unusually linear re-sponse, the sound of string instrumentsis particularly sweet and smooth. A

string quartet, for example, sounded asbeautiful as we ever heard it on anyspeaker, regardless of size or price. Thesame was true of small jazz groups,with the sax and clarinet soundingsplendidly warm, reedy and all there,while the drums were marvelouslysharp and accurate in their transients.For heavier orchestrations, we turnedup the bass control on our Sony re-ceiver and the resulting balance was sogood that we missed the bottom fre-quencies only when we deliberately re-minded ourselves about the low end.As for volume levels, this little speakercould match the big ones decibel fordecibel. Treble dispersion is superb.We could go anywhere in the roomwithout losing the highs. In sum, here'sa bantam that lets you forget its size,and it's the best mini we've heard sofar. It costs $250 per speaker. A

OPERA: NICOLAI GEDDA (Continued from page 24)

Les Contes d'Hoffmann, Tamino in DieZauberflote, Dmitri in Boris Godunov,Nemorino in L'Elisir d'Amore, Elvino inLa Sonnambula, Don Jose in Carmenand last season's two arduous additions,Jenik in The Bartered Bride and Er-nesto in Don Pasquale. The success ofthe last role is worth mentioning. Herewas a man 53 years old taking on forthe first time in any house the, presen-tation of a light, high -flying bel cantorole of a juvenile character. Geddabrought it off with panache-maybe notwith the complete ease he might havehad when he was a young tenor, butwith all the style imaginable as well asa strong voice and great vocal produc-tion ease. Gedda still vaults up to highnotes with accuracy, precision and thekind of security that has long been thedelight of his audience.

On the negative side, his voice nowcan sound hard and pinched. Lackinga cushion of sensuous sound, it canshow age in its dryness and occasionalasperity. Any regular opera goer hasheard this from Gedda. But in the rightrepertory or on the song platform thereis still no more elegant nor stylish anartist.

Fortunately, he has a long and im-611

portant legacy of records. Early on inhis career he was signed by EMI whichin the United States is Angel Records.Though he has recorded for other com-panies, the greatest wealth of his ma-terial is with Angel, and his discog-raphy still continues to grow. At themoment he can be heard on 44 com-plete recordings of opera and operetta,a number that is even more staggeringwhen one realizes that there are notmore than 80 or 90 operas in the work-ing repertory of most internationalopera companies.

His work can be divided easily intoperiods. The young Gedda can be heardin all his easy, debonair manner withMaria Callas in her recording of Ros-sini's gay comic opera, Il Turco in Italia(Seraphim 6095) and also with thesoprano in the slightly later MadamaButterfly (Angel 3523). The two re-cordings show the clear dichotomy inthe tenor's career. The first has every-thing going for it. He is perfect forcomedy, even though his voice is notmellifluously Italian in the manner ofTito Schipa's or Ferruccio Tagliavini's.He handles the ornaments easily and isfluent throughout. In the Butterfly he iscertainly not bad-the role has rarely

been done more brilliantly. But themelting sensuality that characterizesthe Italian tenor's way with Puccini isnot his. Still, a few years later in his"middle" period, he recorded a formid-able La Boheme (Angel S-3643) withMirella Freni. Gedda may not be theperfect Rodolfo, but he has all theyouth and ardor needed, plus flawlessmusicianship. His treatment of the thirdact recitation with Mimi hiding behindthe tree has the right kind of pathosand feeling without once dipping intobathos. From the early days comes hisexemplary Faust, with Victoria de losAngeles as Marguerite and Boris Christ -off as Mephistopheles (Angel S-3622).This recording of Gounod's masterpiecehas never been equalled for its genuineFrench feeling and its quality singing,and Gedda is as close to an ideal Faustas anyone since Jussi Bjoerling. Fromthe same period comes his recording ofBarber's Vanessa (RCA ARL-2-2094).This gives an opportunity to hear Ged-da's commendable English (just afterhe learned the language) and his waywith a non-standard opera. He entersinto whatever he sings with a grasp ofthe style and a feeling for the métier.

Other records could be cited fromHI-FI/STEREO BUYERS' GUIDE

the early period, but in the middleperiod (besides the Boheme) can befound his famous Don Jose with MariaCallas as Carmen (Angel S -3650X).Here the tenor has the familiar clarityof voice which is so right for a Frenchopera, but he has added to it the powerand strength that makes the denuncia-tion of Carmen in the third act so tell-ing. Gedda in a role such as Don Joseis more effective on disc than in thehouse, where his stage attitude lackssome dramatic involvement. He is mar-velous for comedy or for any aristo-cratic type role but not as good for ahero-mythic or political. It was aboutthis time that one of his famous recordswas made: "Evening Bells and OtherFavorites" (Seraphim S-60225), onwhich one can hear his marvelous lyri-cism within pure Russian style and hismastery of the Russian language. Manyof the operettas were recorded in thisperiod and best reflect the lightness andbuoyancy of his tenor. Also on recordat this time was his wonderful readingof the Italian tenor in Der Rosenkava-fier (Angel S-3563), a performancethat he often gave at the Metropolitanduring the '60s.

His alliance with Beverly Sills, whichhas characterized much of the music hehas recorded in the last decade, has one

marvelous high-point-the Manon (ABCATS 20007). With Julius Rudel con-ducting, this is one of the really satis-fying opera recordings. His voice is per-fect for Des Grieux: he can spin outthe Dream aria; the high B -flats of thearia in the St. Sulpice Scene are easy,and the ensuing duet in that scene is aspassionate on records as it was when Isaw the two play together at the SanFrancisco Opera in 1971. Unfortunate-ly, many of their other combinationsare not so happy. In The Barber ofSeville (Angel SX-3761) he has thestyle, but he sounds older and some-what strained for a young nobleman,and in I Puritani (ABC ATS 20016)he is better, but not really up to thedemands of Arturo. He can sing thenotes but the wanted sheen and ease ofbel canto in the ornaments and thehigh notes is not present. Even lesssatisfying is his work in Bellini's ICapuletti e i Montecchi (Angel SX-3824) in which frankly, he sounds tired.Charpentier's Louise (Angel SCLX-3846), again with Miss Sills, was a mis-take for both artists. Gedda never hadthe kind of heroic quality ideal forJulien, and at the stage of his careerwhen he recorded this, he was muchovertaxed. Again style is there, but notthe right sound.

All accomplishments recently havenot been unpleasant, however. He washeard as Dmitri in an otherwise not tooimpressive recording of Boris Godunov(Angel SX-3844) in which the qualityof his voice has the right brilliance andpower for the role, and his treatment ofthe language is beyond criticism. Geddacan sing Russian in such a way as tomake it one of the most musical oflanguages, never sounding nasal inquality. And finally, again in Russian,one of his latest recordings is splendid:Shostakovich's Lady Macbeth ofMtsensk (Angel SCLX 3866). Here hisstyle and use of language come togetherto make a powerful portrayal of theworthless betrayer of Katerina Ismai-lova. His voice does not sound tired,and the role does not demand the easy,flowing lyricism not readily available toa tenor who has been singing for over25 years. It is a wonderful album, mar-velously conducted by Mstislav Rostro-povich with his wife, Galina Vishnev-skaya, as an unforgettable Katerina.

As Gedda goes on, his career, fortu-nately well documented, will testify toall future generations that in the 50s,60s and 70s there was at least oneartist, and a tenor at that, who based agreat international career on style, ele-gance and a taste that never failed.

JAZZ: LENNIE TRISTANO from page 16)

bet ore an audience in more than adecade. But in that same decade,Marsh played frequently-with his owngroups, with Konitz, and with theSupersax ensemble. And Konitz's play-ing became increasingly personal; heperformed and recorded prolifically(after a record silence from 1961 to1967), and was recognized as an in-fluential voice, essential in his ownright.

Tristano's first records were made in1944 as a sideman with a WoodyHerman -based group led by trombonistEarl Swope. Unissued for more thanthirty years, these recordings are nowon The Lost Session LP (Jazz Archive)along with piano solos of similar vin-tage. They show Tristano's early style,clearly descended from Art Tatum, butmore limited in texture. Other very-early-Tristano (mostly solos, or trioswith Bauer and a bassist) is out ofprint, but Savoy will issue its holdingsin an anthology of several pianists'work.

The classic Tristano-Konitz-Marsh-Bauer sextet appears on half of Cross-currents (Capitol). (The other sidehas an absorbing big band piece byGeorge Russell, but otherwise onlycollects some of the least worthy DizzyGillespie on record.) Here are the es-sentials of the Tristano style-the long

JANUARY/18811811AR9 1980

unison lines, phrased assymetricallyover subdued drumming; the cool, vi-bratoless, almost breathless tone. Fea-

tured here are "Intuition" and "Digres-sion," totally improvised pieces thatforecast the "free jazz" movement bya decade. Tristano, Konitz and Bauerhave four selections on First Sessions1949-1950 (Prestige), including "Sub-conscious Lee," and Konitz heads an-other groun made up of Marsh andpianist Sal Mosca.

The bulk of Tristano from the 1950sand 1960s is also out of print; collec-tors should watch for Lennie Tristano(Atlantic) and especially The NewTristano (Atlantic), a solo tour de forcefrom 1961-long before the solo pianocraze. In catalog from the same period,however, is Descent into the Maelstrom(Inner City). This collection varies inrecording quality, but ranges fromworks from the early 1950s (includingthe linear inventions "Ju-Ju," "Pas-time," and the prophetic title track, afree improviation) through unusedtakes from The New Tristan to thelast known Tristano on record.

The earliest Konitz, with the ClaudeThornhill band, is on The MemorableClaude Thornhill (Columbia). Duringhis first Tristano period, he alsoworked with the celebrated Miles Davisnine piece "nonet" on The Original

Birth of the Cool (Capitol). Konitz andDavis appear in a smaller setting onhalf of Ezz-Thetic (Prestige); the otherside has an unusual Modern -Jazz -Quar-tet -like group with Teddy Charles onvibes and Jimmy Raney on guitar.Konitz with Kenton is perhaps bestrepresented by Contemporary Concepts(Creative World), but can also befound on New Concepts of Artistry inRhythm, Sketches on Standards andPortraits on Standards (all CreativeWorld). The extensive 1955-1961Konitz discography is all out of print.Of special interest to collectors areLee Konitz and Warne Marsh (Atlan-tic ), one of the best "Tristanoless" re-creations of the original Tristano groupsound, and Motion (Verve), a piano-

less trio with Elvin Jones on drums.The Lee Konitz Duets (Milestone)

recorded in 1967 is Konitz at his mostdaring, in a dozen different settingswith nine diverse musicians. Furtherduets, featuring the unbelievablyoblique time sense of the mature SalMosca, are on Spirits (Milestone).Satori (Milestone) presents a quartetwith the Algerian pianist Martial Solal,one of the wittiest of musicians. AndPiecemeal (Milestone) is by a quintetwith trombonist Marshall Brown,Konitz's most frequent partner of theearly 1970s, but not a compelling solo -

69

ist.Konitz's late 1970s records in inti-

mate settings have always beenthoughtful, but too bare of texture forcasual listening. They include the soloalbum Lone Lee (Inner City); duetswith pianist Hal Galper on Windows(Inner City) and bassist Red Mitchellon I Concentrate on You (Inner City);and a trio with pianist Paul Bley andguitarist Bill Connors on Pyramid(IAI). From the same period, his rec-ords with conventional small groupsare less even, but sometimes morereadily enjoyed. The Lee Konitz Quin-tet (Chiaroscuro) pairs him with BobMover, a young altoist often comparedto Konitz, while the more "Tristano-esque" Figure and Spirit (Progressive)with tenorist Ted Brown is equallygood. But Crosscurrents (Fantasy)with Marsh and pianist Bill Evans is

surprisingly listless; and Tenorlee(Choice), despite some moving play-ing by Konitz and pianist JimmyRowles at slow tempos, finds Konitztoo tentative on the relatively unfamil-iar tenor sax.

Konitz's current nine -piece band ismore or less based on the Miles Davistdnonet" mentioned above. The LeeKonitz Nonet (Roulette) will be harderto find, but has more adventurouswriting; The Lee Konitz Nonet (Chi-aroscuro) is as spirited in execution,equally imaginative in solos, and asbalanced in program.

Marsh's best work apart from Tris-tano and Konitz is on an import re-issue, Jazz of Two Cities (French BlueNote), which preserves the work of alate -1950s group with the aforemen-tioned Ted Brown. The best -distributedMarsh is Apogee (Warner Brothers),

a collaboration with sharply contrastingfellow tenorist, Pete Christlieb. A sim-ilar group without Christlieb appearson All Music (Nessa); on Warne Out(Interplay), the focus is even moredirectly on Marsh, the only solo voicein a pianoless trio. Both of these areoutstanding, but there can be toomuch of even so good a soloist asMarsh; as illustrated in The Art ofImprovising and The Art of Improvis-ing Volume Two (both Revelation).These recordings are entirely com-posed of Marsh solos snipped out oftapes of live performances from thelate 1950s, and the effect (accentuatedby the packaging which presents theexcerpts as a scholars' guessing -game)is to exaggerate the stock clichésand mannerisms that form part of thework of even the most artistic of im-provisors as Warne Marsh.

EXPAND YOUR COMPONENT SYSTEM (Continued from page 44)

at the output by as much as 6 decibels.The unit features twin fluorescent in-dicators for accurate range and leveladjustments.

Virtually every cassette recorderclaiming to be "high fidelity" has somesort of built-in noise reduction system,with the Dolby system by far the run-away favorite. Excellent signal-to/noiseratios are attainable-high enough tosatisfy even critical buffs and musiclovers. But you may be super critical.If so, you're in luck thanks to severalnew add-on noise reduction units thatwill be on your audio dealer's shelvesby the time this appears in print.

Sanyo's Model N55 Super D noisereduction system is said to offer up to10 dB more noise reduction than isavailable from the best consumer units,and to overcome the problems of vari-ous existing systems such as "breath-ing," the audible switching in and outof a noise reduction circuit. The N55is a compander system in which signalsare compressed during recording, ex-panded in playback. Its 2:1 "compan-sion" ratio is said to effectively doublethe dynamic range of the tape machineused, which need have only a 50 dBminimum signal-to-noise ratio to achievethe full 40 dB of noise reduction pos-sible with the N55 Super D. Featuresinclude fluorescent peak -reading signallevel meters, source/tape switch per-mitting off -the -tape monitoring withproper decoding, and defeatable 19kHz multiplex filter.

The first product using Telefunken's"High Com" U401B proprietary audiointerference suppressant broadbandcompander circuit is Nakamichi's Hi-Com Two outboard noise reductionsystem, priced at $420. It was designedspecifically to improve the signal-to-noise ratio of high quality cassette

decks. The new unit uses a two -to -onecompression/expansion ratio to achievea 20 dB improvement in cassette signal-to-noise ratio. While its use need notbe limited to such, Nakamichi notesthat optimum results will be obtainedwith state-of-the-art equipment, andthe use of metal tape. The system canalso be used with reel equipment. Theunit's cabinet comes with rack -mounthandles.

For those who never boarded thefour -channel bandwagon, or want toimprove an existing quadraphonic out-fit, there's an excellent opportunity todo so in the form of a deluxe-and ex.,pensive ($995) -add-on, the Fosgate"Tetra Two." Looking somewhat like asmall recording studio console, the unitutilizes the famous Tate DirectionalEnhancement System four -channel ma-trix 'decoder that not only decodes SQ-encoded material into four -channelsound, but can take an ordinary stereorecord, analyze its signals to deter-mine the intended direction of thevarious musical elements, and convertthem into a four -channel format. TheTetra Two develops a minimum of 35dB channel separation with less than.05% THD. It features an elaborateLED display that is fun to operate.The display shows the directions inwhich the sounds are going-and whichspeakers are getting what sounds. Aset of controls enables you to "playaround" with the sound placement, tosuit your pleasure or musical whims.

One of the most new add-on items isthe Centrex Bodysonic system intro-duced by Pioneer Electronics of Amer-ica. It is a two-part device that con-nects to any home stereo system toexpand your musical listening experi-ence by adding feeling to it. The com-pany said Bodysonic was developed

for the music lover who wants to be"totally immersed in his or her favoritemusic." Pioneer calls the process toachieve this bone conduction of sound.The Centrex Bodysonic consists of acushion for placement on a sofa orchair, and an amplifier that connects toyour stereo rig. The cushion has trans-ducers in both its back and seat sec-tions which transmit the bass impulsesof the music being heard directly to theperson sitting against it. A control dialis part of the cushion, allowing you toadjust the intensity of the impulses.Pioneer recommends that headphonesbe used for optimum Bodysonic en-joyment.

The basic Bodysonic systems-cush-ion and amplifier-has a suggested priceof $200. One amp will regulate twocushions; an additional cushion can behad for $100.

Imagine a gadget that can recordprograms off the air in your absence(with the aid of a tuner and tape re-corder). It will also remind you to lis-ten to preselected programs by switch-ing them on automatically for you, andwill wake you up not only to yourfavorite disc jockey or choice of FMstation, but also with a disc or recordedcassette selected the night before. Thereactually is such a device. It is theSanyo E55 microprocessor program-mable timer that looks like a piece ofdeluxe hi-fi gear, including rack -mounthandles. Priced at $250, it offers in thecompany's words, "possibilities limitedmainly by your imagination and crea-tivity in finding chores for it to do."

In another vein, it can protect yourhi-fi rig by acting as a burglar deter-rent; it can switch lights on and off atpre-programmed times when you'reaway from home. It can also be anenergy (physical & electrical) saver by

70 HIFI/STEREO BUYERS' GUIDE

LITERATURE

LI3RARY303. JVC's color brochure on theirvideo product line covers a widespectrum of the latest achieve-ments in video technology -1/2"color videocassette recorders, 3/4"cassette players recorders, cam-eras, TV monitors and accessories.A comparison chart of differentrecorder and camera models isincluded.

307. Nautilus Recordings supplies a booklet calledThe Superdiscs-There is a Difference. It explainsin detail the differences between analog -to -discrecording (used to make most recordings). direct-to -disc recordings, and digital -to -disc recordings.The sonic advantages of direct -to -disc and digital -to -disc recordings are explained-questions abouttheir limitations and relatvely high cost areanswered.

317. Empire has introduced five professioral careproducts into their Audio Groome line and they'reall explained in a handy pocket -sized leaflet."Revolutionary" record and stylus cleaningdevices such as their Disco Film album cleanerand the Static Eliminator, which neutralizes acharged record before it attracts dust, arefeatured.

318. Audio-Technica refers to itsstereophones as "Personal Trans-ducers." A brochure on the subjectprovides a glimpse of the attentionthat goes into the manufacturing oftheir products. Included in theirbrochure are the advances that havebeen made in the performance,comfort and appearance of both theelectret condenser and dynamicmoving coil stereophones. Technical data andspecifications as well as suggested retail pricesare provided.

auelo-Qhrice

319. AcoJstic Research tells how to make a moreinformed judgement when buying speakers in theirTruth In Listening brochure. Practical considera-tions such as price, design, and engineering arenoted, as well as technical information such assound waves and their relationship to speakerplacement. All this is provided to make selectingspeakers trouble free.

320. Aud o Control's booklet. How To Hook Up AndEnjoy Your Stereo System, compiles sound adviceon how and where to set up your hi-fi. A separatesection cn equalization-what it is and why itmakes mus c sound better-is given for thestereo enthusiast.

324. Yamaha capsules all there is to know aboutreproducing sound in thei- latest brochure, AnIntroduction to Stereo. It gets down to basics as itoffers clear descriptions and illustrations of everycomponent in a sound system.

325. Bose has cataloguedtechnical and general in-formation on the SpatialControl Receiver and thematchinc 901 Series IVloudspeakers. The questionand answer format lendsitself to easy comprehen-sion of the facts on theirnew advancements.

326. Nortronics recorder care manual containsup-to-date developments on products and tech-nology needed for the care of your tape equipment.The principles of magnetic recording are spelledout with the aid of diagrams and charts, while therecorder maintenance section of the brochureoutlines how each part of the unit should be caredfor. A recommended recorder care program pro-viding a time schedule and list of products is given.

HI-FI STEREO BUYERS' GUIDE, Dept. LL -20 BE SURE TO ENCLOSE MONEYBox 1849, G.P.O., New York, NY 10001 January 'Feoruary 1980Please arrange to have the boiklets whose numbers I have encircled sent to meas soon as possible. I enclose 25c for each group of 5 items to cover handling (nostamps, please).303 307 317 318 319 320 324 325 326

Are you a subscriber to this magazine? Yes No SPECIAL 50% -OFF 5C0 Enclosed is $5.95 for E issues of HI-FI /STEREO

SUBSCRIPTION OFFER BUYERS' GUIDE. :Outside U.S.A. $E.97). Allow 6to 8 weeks for delivery of first copy. HOA167

NAME (print clearly)

ADDRESS

CITY STATE ZIPThis offer expires June 26, 198C Allow 4 to 6 weeks for delivery

71

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insertion, minimum ad $15.00 payable in advance. Capitalized words 40$ per word additional. To be

included next issue, write to R. S. Wayner, DAVIS PUBLICATIONS, INC., 380 Lexington Ave., N.Y. 10017.

AUDIO EQUIPMENT FOR SALE

GRAPHIC EQUALIZER KIT only $100. Twelvebands channel, superior specifications. Send $2.50(refundable) for comp:ete instructions w.th review.or write. Symmetric Sound Systems, Dept. (H), 912Knobcone Place. Loveland, CO 80537.

GENALEX, S.emens, Telefunken. Amperex andother quality Audio tubes at great prices. Jim Wal-lace. 1203 Success St., Pit tsbur gh, PA 15212.

RECORD Jackets. Replace old, torn, LP Jacketswith clean, pure white Jackets, 35e each. Plasticlined sleeves, 15e each. Postage $1.25. Send for com-plete list. Cabco-BG, Box 8212. 33 East 4th Ave.Columbus, OH 43201.

TAPES: ASF-C66, ASF-C96. and Direct Type 11

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DYNACO COMPONENTS ,' ACCESSORIES QD- IAmbience Recovery Unit. $19.95 'kit. Postpaid. FREELIST. SCC, Box 8014, Canton. OH 44711

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NEW CRAFT PRINT CATALOG -Choose from over100 great easy -to -build plans. Send 41.50 (completelyrefunded w.tir your first. order). BOAT BUILDER,(CP Div.) -380 Lexington Ace,New York, NY 10017.

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BUSINESS OPPORTUNITIES-Cont'd

STEREO REPRESENTATIVES NEEDED", Lowestpossible prices,' Over 100 brands', Krasco Rep.,998 Orange Ave West Haven, CT 06516.

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$2000.00 Monthly mailing commission circulars.Experience unnecessary. Free details. American, 1108Colonial, Inkster, Michigan 48141.

$650 weekly CASH. Beat inflation! Advance avail-able. Guaranteed earnings. Dept. H, Box 1489,Spring, Texas 77373.

CASH ADVANCE $500/Thousand envelopes stuffedavailable. No Limit! Information: Rexson 36-02. Box1060, Orangepark, FL 32073.

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$480 WEEKLY MAILING OUR CIRCULARS!'CENTURY, Box 41023DP Tucson AZ 85717.

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CB RADIO

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EDUCATION & INSTRUCTION

BECOME ENGINEER, DJ. Start your own radiostation, receive FCC license, equipment, records. Freedetails. "Broadcasting," Box 130-GH1, Paradise, CA95969.

EMPLOYMENT INFORMATION

JOURNEYMAN LEGITIMATE CREDENTIALSGRANTED' Write: National Craftsman Union, 210Fifth Avenue, Suite 1102, New York, NY 10010

FOR THE HOME

PORTA-VAULT. The Portable Safe that's "Impos-sible to Steal!" Protects valuables at Home, Office,and while traveling. No installation regaled. GUAR-ANTEED. Older Now. Send $45 to Magic City Dis-tributors, Box 1692, Florence, SC 29503. Dealer in-quiries Invited.

WHAT'S going on in housing" Get advice on howto economize in modernizing or improving or addingspace from idea to completion. Working blueprintsavailable. Send $1.50 for 110 Better Building Ideasto' Davis Publications, Inc., 380 Lexington Ave..New York, NY 10017

GIFTS THAT PLEASE

FREE GIFT catalog, UNIQUE gifts from aroundthe world. Gifts, Box 11588-TH, Spokane, WA 99211.

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HI-FI EQUIPMENT

SCANDINAVIAN SPEAKER KITS by SEAS. Com-plete kits from $59. Raw drivers, crossover networks,minikit and subwoofer kit. For literature and infor-mation send $1, refundable upon purchase. to: TheSpeaker Works, Dept. HF, Box 303, Canaan, NH03741.

REK-O-KUT drive belts. Specify model $10.45 de-livered. QRK Electronic Products, 1568 N. SierraVista, Fresno, CA 93703.

SAVE 50, BUILD YOUR OWN SPEAKER SYS-TEM. Write McGee Radio Electronics, 1901 McGeeStreet, Kansas City, MO 64108

GO To Bed With Music: Control I Automaticallyswitches your system off. Works with Records, Tapes,Tuners. $60.00. Electromedia, P.O. 26B, Livingston,NJ 07019.

HYPNOTISM

FREE Fascinating Hypnosis Information' Startling'DLMH, Box 487 Af,he.rn CA 921300

INVENTIONS WANTED

INVENTIONS, patents, wanted cash, royalty. Auto,electro-mechanical, mechanical devices, Housewares,etc. We develop. finance, manufacture and marketfrom an idea to perfected product. Free evaluationand brochure. Request Kit DP, Pixonic Corporation,22 Walter Street, Pearl River, NY 10965.

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BORROW $25.000 "OVERNIGHT." Any purpose.Keep indefinitely! Free Report' Success Research,Box 29263-SM, Indianapolis, IN 46229.

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Classified Advertising Manager, Davis Publications, Inc., 380 Lexington Avenue, New York, NY 10017.


ClassifiedContinued

MISCELLANEOUS-Conf'd

FREE Chiropractor's Secret to End Pain. Zelda's,Box 11155. Santa Ana, CA 92711.

FREE Information about CANADA'S FABULOUSLOTTERIES. Joe Davis, BI -2590 Granville, Van-couver. Canada V6H 3H1.

INFORMATIVE HANDBOOK-For people with aninterest in electronics and desire to know more.Covers basic electricity, resistors, capacitors, micro-waves, facts on frequency, about fuses, circuit break -era, crystals and much more. Send $1.50 for yourcopy (includes postage) to: Electronics Theory Hand-book, 380 Lexington Ave., N.Y., NY 10017.

MONEYMAKING OPPORTUNITIES

WIN labu:ous prizes entering the greatest milliondollar sweepstakes ever! Free details: Contests, Box.469-DvB. rhiladelphia, PA 19101.

MAKE YOUR CLASSIFIED AD PAY. Get "Howto Write A Ciassified Ad That Pulls" Includes cer-tificate worth $2.00 towards a classified ad in thispublication. Send $1.50 (plus 25e for postage) toR. S. Wayner. Davis Publications, Inc., Dept. CL,380 Lexington Ave., New York, NY 10017.

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CRITICAL RECORD REVIEW. Si -monthly news-letters reviewing all direct to disc records. $6.00year. P.O. Box 8766. Jacksonville, FL 32211

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WHAT's going on in housing. Get advice on howto economize in modernizing or improving or addingspace from idea to completion. Working blueprintsavailable. Send $1.50 for 110 Better Building Ideasto: Davis Publications. Inc 380 Lexington Ave..New York, NY 10017.

WANTED TO BUY

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letting you stay in bed rather thangetting up and turning off your system.It can be set Via its 24 -hour digitalclock system to switch off the systemautomatically when your listening isover.

For the audio buff who likes to knowabout the inner workings of his rig foran extra measure of pleasure, H. H.Scott has dreamed up just the productto satisfy that inquisitiveness. It isScott's Model 830Z "Audio Analyzer."This device, priced at $600, can visu-ally demonstrate the effects of tonecontrols, loudness contour, and filterson its 110 LED display when hookedinto a receiver, preamp or amplifier.Used with a turntable, you can verifycartridge frequency response, tape bias,equalization, recording levels, as wellas tape compatibility. The device canalso check speakers for acoustic ad-justment, efficiency, volume levels, andeven optimum speaker placement.

Now, assuming you've become in-trigued enough to want some of thegoodies described above, you mightwonder how you're going to connectthem into your system. Adding one or

two would pose no problem, but let'ssay-just for the fun of it-that you'regoing to buy several add-ons. Youmight find yourself fighting a rat's nestof patchcords and wiring, which, ofcourse, would upset the listening roomdecor, and perhaps irritate other mem-bers of the household.

Dubie Corporation comes to therescue. Noted for its products in thesound control field, Dubie has come upwith the CD -35 Sound Control Systemwhich, it says, "transforms your soundsystem into a music center with your-self and Dubie as talented 'Conduc-tors.' " List priced at $400, the unit canaccommodate six recorders, two turn-tables, amplifier/receiver, and fourpieces of signal processing equipment.In essence, the company says, theDubie has the distinct and uniqueability to allow an audio enthusiast toswitch from dubbing, mixing, record-ing, playback, monitoring, addingsound -on -sound, and fading with noneed to change patchcords. It has 23rotary controls-enough to satisfy themost ardent buff wanting to play therole of audio engineer.

SIZING UP MICRO COMPONENTS (Continued from page 48)

system can be tall and narrow insteadof short and squat. And, of course, youget the regular advantages of separatesand, in many cases,specs.

Do micros have any user or technicaldrawbacks? Well, perhaps a few. Me-ters-where there are any-tend to besmall and more difficult to read. Fre-quently, LEDs are used to replacethem; in the mind of some, LEDs area less felicitous indicator than the tra-ditional meter. Knobs tend to be smalland closely spaced, which makes themmore difficult to manipulate than thoseon conventional -size gear. A particularfeature that you want might be miss-ing, but, of course, that can he true on

any component. Super -power is un-available, although the ratings seemadequate for normal use, and the fa-cility to strap the stereo formono operation zaps up the rating forthose who can afford to double up ontheir power amps.

Obviously, you don't lose in terms ofspecifications with a micro. Many full-size components would have difficultymeasuring up. If you're tired of givingup half your living space to your hi-fiaddiction, or if you prefer understatedcontemporary styling, micros may bethe answer. They're the obvious out insetting up a high -quality apartment ordorm system. Good things can (anddo) come in small packages!

MULTI -TRACK RECORDING (Continued from page 39)

to $10,000. Prices on all multi -track re-corders will vary according to the num-ber of tracks and available features.Many fine sounding recordings havebeen made on these low-cost multi-track tape recorders. In fact some com-mercially released record albums havebeen made on economy tape recordersin home or private recording studios.Inexpensive mixing consoles, signalprocessors, and various other types ofrecording equipment is also available.

In the last few years a new rage hasbeen sweeping the country. Manyaudiophiles and musicians have beenbuilding inexpensive recording studiosin their homes. Economical professional

recording equipment can be found inthe pro -sound department of many hi-fi stores and music stores, or in specialtypro -sound shops. A number of commer-cial courses and books are available onprofessional recording as well as coursesthat are available from a number ofuniversities. Many musicians who wishto record a master tape for a record arefinding that the same amount of moneythey would spend in studio time willpurchase the equipment for their ownprivate recording facility or studio.Likewise many audiophiles who have adesire to be professional recording en-gineers can now find it within theirfinancial reach to have their own re-


STATEMENT OF OWNERSHIP

Statement of ownership, management and circulation(Act of August 12, 1970: Section 3685. Title 39.United States Code) of Hi-Pi/Stereo Buyers' Guide(Publication No. 103730) published bimonthly at 380Lexington A , New York, NY 10017 for October1, 1979. Annual subscription price: $5.95 for 6issues.General business offices of the publisher are locatedat 380 Lexington Avenue, New York, NY 10017.Names and addresses of publisher, editor, and man-aging editor: Publisher, Joel Davis, 380 Lexington Ave-nue, New York, NY 10017; Editor, Christine Regale,380 Lexington Avenue, New York, NY 10017; Man-aging Editor, Christine Segal*, 380 Lexington Avenue,New York, NY 10017.Owner is: Davis Publications, Inc., 380 Lexington Ave-nue, New York, NY 10017, the names and addressesof stockholders owning or holding 1 per cent or moreof total amount of stock are: Joel Davis, 380 LexingtonAvenue, New York, NY 10017; B. G. Davis Trust, 380Lexington A , New York, NY 10017; Carol DavisTeton, 380 Lexington Avenue, New York, NY 10017.Known bondholders, mortgages, and other securityholders owning or holding 1 per cent or more of totalamount of bonds, mortgages, or other securities: None.The average number of copies of each issue duringthe preceding 12 months are: (A) Total number ofcopies printed: 101,602; (8) Paid circulation: (1) Salesthrough dealers and carriers. street vendors andcounter sales: 30,692; (2) Mail subscriptions: 17,314(C) Total paid circulation: 48,006; (D) Free distri-bution by mail, carrier or other means-samples,complimentary, and other free copies: 855; (El Totaldistribution (sum of C and DI: 48,861; (F) Copiesnot distributed; (11 Office u -e, left-nver, unaccounted,spoiled after printing: 2,680; (2) Returns from newsagents: 50,061; (G) Totals: 101,602.The actual number of copies of single issue publishednearest to filing date are: IA) Total number of copiesprinted: 111,234; (8) Paid circulation: (1) Salesthrough dealers and carriers, street vendors and countersales: 32,350; (2) Mail subscriptions: 22,726; (C)Total paid circulation: 55,076; (D) Free distributionby mail, carrier or other means-samples, com-plimentary, and other free copies: 875; (E) Totaldistribution: 55,951; (F) Copies not distributed (1)Office use, left -over, unaccounted, spoiled afterprinting: 2,298; 121 Returns from news agents: 52,985(G) Total: 111,234.I certify that the statements made by me above arecorrect and complete.

(signed) V. C. StabileVice President and Treasurer

For optional completion by publishers mailing at theregular rates (Section 132.121, Postal Service Manual).39 U.S.C. 3626 provides in pertinent part: "No per-son who would have been entitled to mail matter underformer section 4359 of this title shall mail such mat-ter at the rates provided under this subsection unlesshe files annually with the Postal Service a writtenrequest for permission to mail matter at such rates."In accordance with the provisions of this statute, I

hereby request permission to mail the publicationnamed in item 1 at the reduced postage rates Pres-ently authorized by 39 U.S.C. 3626.

(signed) V.C. StabileVice President and Treasurer

HI -Fl STEREO BUYER'S GUIDEINDEX TO ADVERTISERS

RUDER PAGE

SERVICE NO. ADVERTISER NUMBER

4 Audio Pulse- Audio Technics

11 Bose29 Celestion21 Crown- Discwasher

16 Electro-Voice25 GC Electronics

5 JBL

- Kenwood15 Maxell28 McIntosh23 Mitsubishi-Home24 Mitsubishi-Car13 Ohm

9 Ortofon12 Panasonic14 Pickering30 Rank

22 Revox

8 Sansui17 Shure

18 Shure6 Sony

- United Audio26 Yamaha

74

29

2

CV3

8

4

CV2

10

22

11

2950

16

18, 1930

5

23

CV4

25

36

9

17

15

27

12, 13

21

cording studio.If the subject of multi -track record-

ing interests you or if this type ofequipment will fill your current needs,

take the time to investigate. You willfind a whole new world of sound andcreativity in the world of professionalmulti -track recording.

INNOVATIONS IN TUNER TECHNOLOGY (Continued from page 35)

since some tones are not set to corre-spond with 50% modulation.)

Even if there are no Dolby -encodedbroadcasts in your area, the test toneis useful to set the recording level whentaping. Merely switch on the test toneand set your record -level controls for areading of about -6 dB on the tape -deck meters. If the tone corresponds to50% modulation, the music level willbe peaking to 0 dB at maximum(100%) modulation.

If you wish to receive Dolby -encodedbroadcasts properly, your tuner mustbe equipped with a second equaliza-tion (25 microseconds as opposed tothe "standard" 75 microseconds) anda Dolby -B decoder. Many tuners affordthe choice of equalization, but rela-tively few have a Dolby decoder builtin. Without a self-contained decoder,you must use an external Dolby system(and there are precious few of themon the market!) When receiving a Dol-by broadcast on a system withoutDolby decoding, use the "standard," 75-microsecond equalization. You won'tget the noise -reduction benefits ofDolby, but the response will be morenatural than had you used 25 -micro-second de -emphasis without decoding.

On the subject of external "blackboxes," some tuners have a "detector -

output" jack. This is meant to feed anexternal discrete -quadraphonic decoderif and when discrete quad is approvedby the FCC. Considering the over-whelming lack of interest in quad rightnow, we wouldn't hold our breath!

Band Width. Many tuners now offer achoice of wide or narrow IF bandwidth.A few years back, this was a rarity in-deed. Distortion is lower in the wide-

band mode, and the capture ratio isbetter too. But, in urban areas wherethere are many FM stations on the dial,the selectivity of a wideband IF ampli-fier is insufficient to separate them.Here's where the narrowband modecomes to the rescue. By offering you achoice of bandwidths, you can set upyour tuner for best reception under anyconditions-wideband when the stationis "in the clear" narrowband when thereis a station at a nearby frequency. Sometuners make the choice for you andautomatically switch to narrow.

Noise. The old "stereo noise filter" iscoming back, frequently under a newname (high -blend or some such desig-nation). Such a "filter" is not usuallya filter at all but merely a blending ofthe two channels at high frequencies.

This reversion to mono in the trebleregion reduces the noise on weak stereobroadcasts while preserving some sem-blance of stereo imaging. With mosttuners, you decide when to use theblend; others decide for you and gointo auto -blend on weak stereo signals.

Don't confuse the blend or "stereonoise filter" with the MPX (or 19 -kHzpilot) filter. All modern turners havecircuitry to eliminate the 19 -kHz pilotthat accompanies a stereo broadcast.Although inaudible in itself, the pilot"confuses" Dolby -equipped tape decksand so must be removed. Many tunersuse a sharp filter to kill the pilot; othersuse a more modern "cancellation" cir-cuit that subtracts out the pilot with-out recourse to a filter that might im-pair the high -frequency amplitude andphase response.

Almost all tuners now have some sortof muting circuit to suppress the inter -

station noise when tuning. Most tunershave a fixed muting level (the signalstrength required to bring the tuner tolife), others afford a choice of severallevels. Still others offer you a continu-ously -adjustable muting point, usuallyvia a rear -panel control. That's nicesince it allows you to set the muting toan optimum level for your receptionarea. If there is a trend in muting cir-cuitry, it seems to be towards combin-ing the muting and stereo/mono switchinto one. When the muting is switchedoff, you're in mono, like it or not.

State of the Art. Along the techno-logical front, we should mention at leasttwo sets (Philips AH-673 and SansuiTU-919) that offer much better -than-average AM sections. On most high-fidelity tuners and receivers, the AMcircuitry is a sorry excuse indeed. Inanother technological area, Kenwoodhas developed a new "pulse -counting"FM detector circuit. This technology,which has heretofore been used mainlyin the telemetry field, provides an in-herently linear, wideband detector. Dis-tortion is theoretically extremely low,and tuning becomes less critical. Ken-

wood is using the new technique onseveral products, and we'd not be sur-prised to find others abandoning tra-ditional detectors for this approach.

FM tuners and receivers have reach-ed a high level of technical excellence.We can expect future innovations, ofcourse, but they will likely be alongthe lines of features and improved per-formance under adverse reception con-ditions.

14141/STIIII0 BMW OWN

Why do we make more than one speaker?

Just about everyone whorecognizes the name Bose°also knows the Bose° 901°Direct/Reflecting° speaker.They know it as the very unconventional speaker that,soon after its introduction,became internationally themost highly reviewed speakerregardless of size or price. Andnow, more than 300 designimprovements later, it is thestandard bearer for the state-of-the-art in our technology.

So why do we manufactureany other speakers? Becausewe appreciate that not every-one is able to acquire the 901system as his first investment.And we would like that invest-ment to be in Bose. Towardthis end we have adopted adefinite design goal for each ofour speakers.

Our continuing goal for the 901is to produce the best speakerregardless of price and our ob-jective for each of our otherspeakers is to produce thebest speaker for its price. Wepursue these goals by identify-ing three price points belowthe 901 speaker and putting asmuch of the 901 system tech-nology into each design as theprice will allow. Each is aDirect/Reflecting® speakerand each offers a measure ofthe spaciousness and clarity ofsound for which the 901speaker has become famous.

The Model 601Direct/Reflecting° speaker issimply the finest speaker weknow how to make usingwoofers and tweeters (rather

A live performance

Bose Mocel 501 speaker

Bose Model 301 speaker

than the more -expensive full -range drivers used in the 901speaker). In its elegant walnutenclosure are two high-performance woofers and fourtweeters, arranged to providethat balance of reflected anddirect sound most suitable fora floor -standing speaker.

The Model 501Direct/Reflecting° speaker isthe Bose economy floor -standing speaker. A long ex-cursion 10" acoustic suspen-sion woofer, two tweeters anda control for directing theenergy from one of thetweeters combine to provide aspeaker of exceptional value.

The Model 301Direct/Reflecting° bookshelfspeaker represents one of ourmost challenging designs. Theobject was to provide a clearand spacious musical soundfrom an enclosure that fitscomfortably on a bookshelf.Youcan imagine our pride whenan independent market surveyfound the 301 to be the bestselling speaker in the U.S.A.

Whatever your price range, ifyou cannot start with the bestspeaker, you can own a sub-stantial portion of the tech-nology that makes it the best.And you can own a measure ofthe special performancebenefits that only a BoseDirect/Reflecting° speakercan provide.

Better sound through researchCovered by patent nights issued and Pending


Give it a Technics frequency -generator belt -driveturntable. Each has the ingredients to knock rumble,wow and flutter and speed inaccuracy for a loop withoutknocking your budget for a loop.

Model Wow L Flutter(WRMS)

Rumble13(DIN ,

Price'

SL -B1 Manual 0.045% - 70de $100

SL -B2 Semi -Auto 0.045% - 70c1B $130

SL -113 Auto 0.645% - 70dB S150

Technics recommended price. but actual price will be set by dealers.

They'll all whip pair stereo system into shape,because they all combine an FC, servo -controlled DCmotor with electronic speed selectior..What it all meansis these turntables rotate accurately regardless of load orAC line fluctuations. And since speed selection is doneelectronically instead of mechanically, you can changespeeds without stretching the belt.

But whatever speed you choose,Technics lets youchoose it precisely. Because all three models have anilluminated stroboscope and servo -controlled variablepitch controls for both 331/3 and 45rpm.

And whether you're playing oldies or newies, yourrecords are in good hands with a TechnicsIonearm.Especially since its gimbal -suspension S-shaped designoffers minimal bearing friction and precise lateral balance.There's also viscous -damped cueing. An anti -skatingcontrol for all types of styli. And front -panel controls thatcan be operated even with the dust cover down.

How do you improve your stereo? It's easy when yougive it a good belt. A Technics belt-drve turntable.


january february 1980 buyers'lj i cd in/stereo › archive-all... · january february 1980...

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