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MARCH 1995 VOL. 79, NO. 3

Rykodisc'sBootsyCollins,page 42

departmentsFAST FORE -WORD Eugene Pitts III

WHAT'S NEWAUDIO ETC Edward Tatnall Canby 8CURRENTS John Eargle 14SIGNALS & NOISE/ERRATUM 16AUDIOCLINIC Joseph Giovanelli 26

recordingsCLASSICAL 84JAZZ & BLUES 88

The Cover Photographer: Bill Kouirinis StudioThe Cover Equipment: JVC XM-D1BK MiniDiscrecorder, Marantz SR -92 Mk II A/V receiver, andParasound D/AC-1000 D/A converter andC/DP-1000 CD player/transport

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

Subscription Inquiries:Audit

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featuresBUILD A MONO, 100 -WATT CLASS -A AMP,

PART III Dr. Norman E. Thagard 34THE AUDIO INTERVIEW: RYKODISC'S BIG FOUR

Michael Bieber and Michael Tearson 42

Marantz, page 50

equipment profilesMARANTZ SR -92 Mk II A/V RECEIVER Edward J. Foster 50PARASOUND D/AC-1000 D/A CONVERTER AND

C/DP-1000 CD PLAYER/TRANSPORT Bascom H. King 58JVC XM-D1BK MINIDISC RECORDER Edward J. Foster 66KLH V-01 REAR -CHANNEL SPEAKER David L. Clark 72

auricles.MARK LEVINSON NO. 30.5 D/A CONVERTER

AND NO. 31 CD TRANSPORT Anthony H. Cordesman 76CAMBRIDGE SOUNDWORKS BY HENRY KLOSS

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FAST

ith a good deal of brotherlyadmiration, I would like to callyour attention to the 50thanniversary of CQ magazine.Why "brotherly"? Well, thereare two answers, one long and

one short, and I'm going to give you theshort one.

Fifty years is a rather long time for amagazine to be alive, and most don'tlast anywhere near that long.In fact, magazineindustry pundits saythat as many as a third ofall newly started magazinesfail within their first threeyears. The cause, they usuallysay, is lack of funding sufficientto carry them through theirinfancy. While I would certainly

agree that adequate funding isessential during those early years, Ithink that there is another, morepowerful process at work then-a sort ofnatural selection of magazines. What thefounding publisher and editor may see asan essential niche, readers and advertisersmay see as redundant or-worse-irrelevant.

But why "brotherly"? Because both CQand Audio were started by the samepublishing house, Radio Magazines, CQ in1945 and Audio in 1947. But indeed, the

whole publishing house can make alegitimate claim to be nearly 80 years old,since it grew out of a magazine, PacificRadio News, which was started by the SanFrancisco Radio Club in 1917.

FORE -WORD

"CQ" is the ham radio operator'sinvitation to talk over the airwaves, and isquite appropriate as the title for amagazine covering the field. The January1995 issue of CQ is their 50th anniversaryissue, and contains some photos we ran inconjunction with an article by JohnWolkonowicz in May 1982 when weturned 35.

Audio was purchased during the late '40sby C. G. "Mac" McProud, who was owner -

editor -publisher until 1966, when he soldthe magazine to North AmericanPublishing of Philadelphia. Mac hadbought a curious magazine, aimed mainlyat broadcast, recording, and soundreinforcement engineers. Its original title,Audio Engineering, was as appropriate asthat of its older brother, but when theAudio Engineering Society started its

Journal in the early 1950s, there wasobvious confusion. It's worth

noting, too, that the Society wasbegun because of an exchange

of letters that appeared inAudio Engineering. But

clearly, Audio no longer

is aimed principally atound engineers;rather, we are for the

most -committedhi-fi enthusiasts,those who feel

more reasonably at homewith science than marketing, but

who also can enjoy owning a piece ofaudio gear simply because it is physicallywell made.

If you would like to see what that 50thanniversary issue of CQ looks like, write toCQ Communications, 76 North Broadway,Hicksville, N.Y. 11801 and enclose a checkfor $5.50, which includes shipping.

AUDIOV.P./EDITOR-IN-CHIEF

Eugene Pitts III

ART DIRECTORCathy Cacchione

ASSOCIATE ART DIRECTORLinda Zerella

TECHNICAL EDITORIvan Berger

MANAGING EDITORKay Blumenthal

ASSOCIATE MANAGING EDITORSTeresa Monge, Douglas Hyde

DIRECTORY EDITORKen Richardson

ASSISTANT EDITOR/MUSICMichael Bieber

ASSISTANT EDITORGerald F. McCarthy

ASSOCIATE EDITOREdward Tatnall Canby

SENIOR EDITORSD. B. Keele, Jr., David Lander, Edward M. Long

CONTRIBUTING EDITORS/ARTISTSMichael Aldred, David L. Clark, Anthony H. Cordesman,

Ted Costa, John Diliberto, Frank Driggs, John Eargle,Edward J. Foster, Joseph Giovanelli, Dawn Joniec,

Ken Kessler, Bascom H. King, Robert D. Long, Paul Moor,Jon W. Poses, Jon R. Sank, John Sunier, Michael Tearson,

Jon & Sally Tiven, Michael Wright

V.P./GROUP PUBLISHERTony Catalano 212/767-6061

V.P./ADVERTISING DIRECTORScott Constantine 212/767-6346

GENERAL MANAGER Greg RopertiBUSINESS MANAGER Christine Z. MailletPRODUCTION DIRECTOR Silvia Coppola

PRODUCTION MANAGER Lynn 0. OnoyeyanRESEARCH MANAGER Dru Ann Love

OFFICE MANAGER Aline J. PulleyOPERATIONS MANAGER Sylvia Correa

AD COORDINATOR Linda Neuweiler

ADVERTISINGREGIONAL V.P./AD DIRECTOR, EAST COAST

Charles L. P Watson 212/767-6038REGIONAL ACCOUNT MANAGER

Christine B. Forhez 212/767-6025MIDWEST ADVERTISING MANAGER

Jerry Stoeckigt 312/923-4804REGIONAL V.P./AD DIRECTOR, WEST COAST

Bob Meth 213/954-4831WESTERN MANAGER

Paula Mayeri 213/954-4830NATIONAL RECORD LABEL SALES

MAG Inc. Mitch Herskowitz 212/490-1715Steve Gross 212/490-1895

1-TTTRIYEehetm

CHAIRMAN Daniel FilipacchiPRESIDENT, CEO, AND COO David J. Pecker

EXEC. V.P. AND EDITORIAL DIRECTORJean-Louis Ginibre

SR. V.P./GLOBAL ADV. Paul DuCharmeSR. V.P./DIR., CORP. SALES Nicholas Matarazzo

SR. V.P./CFO & NEW BUSINESSDEVELOPMENT Paul DeBenedictis

V.P., GENERAL COUNSEL Catherine FlickingerV.P., MFG. & DISTRIBUTION Anthony Romano

V.P., CIRCULATION David W. LeckeyV.P., RESEARCH & MKTG. SERVICES Susan Smollens

V.P., COMMUNICATIONS & SPECIALPROJECTS Keith Estabrook

V.P., MAGAZINE DEVELOPMENT Marcia SacharV.P., DIR., CREATIVE SERVICES, CORP. SALES

Lynn Chaiken

AUDIO/MARCH 19954

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TDK uses a new cyanine dyematerial, a new high -precisionstamper, and an advancedinjection -molding processto produce CD -Rs that aredesigned to operate in all typesof audio CD -R and CD-ROMwriters, including double- and

CT Consolidated TechnologyRemote -Control Holder

"Where's that confoundedremote?!" If your home echoes to

that refrain, you may want toinvestigate the CT -Tower --

which not only holds remotes

but also accepts, according to

CT Consolidated Technology,

"calculators, timers, alarms,

flashlights, and radios, as well as

note pads, clips, photos, and

more." Whatever the items,they're held in place with hook -

and -loop fastener strips. Small,

smooth pads allow the holder tobe rested upright withoutmarring a tabletop. Price: $19.95.

For literature, circle No. 100

quadruple -speed designs.Improved recordingsensitivity is also used tocompensate for theshorter exposure time inhigher speed recording.

The CD -R74 has acapacity of 650 MB of data

storage or 74 minutes ofdigital audio; also available are

the CD -R63 (550 MB or63 minutes), the CD -R21(180 MB or 21 minutes), andthe CD -R18 (150 MB or18 minutes). The discs have alabel area for writing notes withpermanent -ink markers. Prices:CD -R74, $31; CD -R63, $30;CD -R21, $28, and CD -R18, $27.For literature, circle No. 101

AT'S N EW

Pioneer EliteCassette Deck

The CT -W54 twin autoreverse cassette deck, fromPioneer's Elite line, hasDolby S NR to reducelow -frequency noise by 10 dBand high -frequency hiss by asmuch as 24 dB. A proprietaryfrequency -level expander isused to restore highfrequencies and deliverclearer sound from old or

poorly recorded tapes. Eachtransport has Super AutoBLE, which-via threecalibration frequencies-provides individualoptimizing of bias, level, andequalization duringrecording. Other featuresinclude synchronized CDplayer start, for dubbing, anda mike input with volumecontrol. Price: $475.For literature, circle No. 102

Ring-a-LiteTelephone Signaler

You've got headphones on, andthe phone rings. You might nothear it, but you can see it withhelp from the Ring-a-Lite, whichinstalls with phone cords betweenthe telephone receiver and thewall outlet. Plug a light sourceinto the unit's two -prong, 110-Vreceptacle, and with each ring ofthe phone, the light will flash; if the light isalready switched on, it will flicker. Price:

$39.95 plus $5 shipping and handling.For literature, circle No. 103

Niles Amp

Niles Audio bills the SI-1200 asa "systems integration amplifier"that can simultaneouslydistribute stereo, mono, andsurround sound to differentrooms. Each of the unit's 12channels delivers 25 watts andhas an individual level control, aswell as independent thermal andshort-circuit protection. For largerooms or power-hungry speakers,the SI-1200 bridges to sixchannels at 50 watts each. Price:$799.95.For literature, circle No. 104

AUDIO/MARCH 19956

Sacrifice Nothing.B&W's Matrix HTM Home Theater Speakerresolves the movies versus music debateonce and for all. COREY GREENBERG, Home Theater Technology

WHAT STARTED OUT

HERE B&W PRESENTS

AS A RAG 'EBAT END WITH RA REVIEWS.

THE CONSIDERED OPINIONS OF TWO RESPECTED CRITICS.

COREY GREENBERG of Home Theater Technology [Nov 1994 issue)

AND TOM NOUSAINE of Sound & Ima&e (Fall 1994 issue].

GREENBERG: "The main reason the HTMsare so superior to any movie speakers I'veheard is solely because these are musicspeakers first and foremost."

NOUSAINE: "This speaker is accurate.Dialogue and vocals are always intelli-gible and natural. Music sounds sweetand clean."

GREENBERG: "The sound of the B&W

Matrix HTMs is so much better than anyof the movie speakers I've heard, evensystems costing many times the price ofthe HTMs, that it's a joke."

NOUSAINE: "The Matrix HTM is atremendous performer. It makes a terrificcenter speaker and a pair of them would

even do a great job as mains in a music -only system. I'd be proud to own one."

GREENBERG: "This is the best sound I'veever had in my home theater, bar none.Whether I played movie LDs or musicCDs, the sound of the B&W Matrix HTMwas honest, accurate, and the verydefinition of the term `high fidelity.' It'sa speaker system you'll want to live withfor a long, long time."

What else can we say?For the name of a B&W dealer nearyou, call 1-800-370-3740. And hear why

the critics' choice inmusic speakers is thecritics' choice in moviespeakers.

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Listen and You'll See

AUDIO ETCEDWARD TATNALL CANBY

ARTISTSVS. ARTISANS

o you know the differencebetween an artist and an ar-tisan? It is the 19th century!In Europe. What a crazytime still to serve as ouroverwhelming background

in so many ways. I mean, of course,crazy as we look back today; itseemed plenty reasonable to thepeople who lived in it.

Short of slavery among the an-cients, the 19th century's early yearsin Europe were the worst of all forhideous exploitation and impover-ishment of the supposedly liberatedmultitudes caught up in the Indus-trial Revolution. And simultaneous-ly-don't we always have oppo-sites?-it was the most flamboyantera for Great Art, as a thing madesacred. And for the Artist, who sud-denly became) a demigod (if eccen-tric and usually unhealthy!) far

above other human beings, includ-ing kings and emperors.

Previously, in times before the eraof grim coal mines and hideousindustrial sloth, there had been artof every variety, needless to say;just go look in a museum. Also ge-nius, and tospare, fromthe early "re-birth" (Re-naissance)years to the18th -centuryAge of En-lightenmentwhen, foolish-ly, men thought that they had atlast solved all the problems ofknowledge and human existence.And from Giotto to Leonardo andMichelangelo and Raphael, toRubens and Van Dyck to . . . . And

from Dufay and Machaut to Mozartand Haydn, not to mention Bach.But these great people, over cen-turies, were not artists in the 19th -century manner! They were, wemight say, high -end artisans.Supremely skillful workers. Theword "art" originally meant skill.That is precisely where they operat-ed, not in a world apart but simplysurrounded by an aura of reverencefor their particular superiorities.And therefore not different fromother people, including all sorts ofartisans without distinction.

That is where the 19th century,industry and all, changed things for-ever or, rather, unto the present.And that is why art versus artisanhas a lot to do with audio-theequipment, the microphones andspeakers, the reproducing skills-and the music, equally, from the in-audible background to commercials,on to every kind of pop, musical,film and video, opera, and-anotherbit of strictly 19th -century terminol-ogy-classical. All just part of thewhole. Our thousands of "artists"(including directors, producers,composers, performers) are, in plainreality, artisans-whatever they maythink. Or would be if they could seeit my way. How good it would be ifall of them could get this ideathrough their heads! Like scientistsand engineers.

Those are people who have alwaysworked in teams, who honor theirown in terms of skills, not Art. Have

you ever readRichard Feyn-man? What awonderfully or-dinary guy hewas, if super -concentrated,one of the greatscientific andmathematical

minds of our day. He was the very 5,essence of an artisan, stratospheric- vct'

rank: Skillful at many things highand low, including his favorite (anduseful) side skill, picking supposedlysecure locks for the Atomic Energy

IN AUDIO,WE HAVE BOSSES AND

TEAMS OF WORKERS,

FORCED TO COOPERATE

AS ARTISANS.

AUDIO/MARCH 19958

High -revving, 120 -horsepower,fuel -injected engine (hey, this car'sfor driving, not just looking at)

5 -speed transmission - you expectthat on a real set of wheels, but onefor around $12,500? (yep)

Power steering - (we told ya lots ofgood stuff is standard)

Great sporty looks, inside 8out, that soy 'Hey, ya wannahave fun?" (say yes)

INTRO ILJ C.. I

Tubular rear axle with spring -over shock sport suspension and progressive ridetuning - (means it's great on curves - you'll understand once you drive it)

Instrument cluster has microprocessor -based design - meaning fewer wires8 connectors (that's a good thing)

Dual airbags - two things you don't need until you really need 'em(and always wear those safety belts, even with airbags)

Anti -lock brakes - why should only big, fancy,expensive cars have all the cool stuff?

Safety -cage construction -hey, we like you

PONTIAC CARES - call an 800 number;get free Roadside Assistance - for flattires, dead battery, even if you run out ofgas or lock yourself out (Pontiac"wants to see you 8 your Sunfire" driving)

Oh, Courtesy Transportation -that's part of PONTIAC CARES too(see? we really do care)

Corrosion protection - tells rust togo chew on someone else's car

1)11Erke

Aluminized stainless steelmuffler and tailpipe (see above)

Air conditioning -Air conditioning?? For around12,500?? (we told ya i7 was a cool car)

Watch "LIVE FROM THE HOUSE OF BLUES PRESENTED BY PONTIAC

Finally, a real set of wheels for $11545 MSRP including dealer prep and destination charge. Tax license and other optional equipment extra. Prices higher in CA and NY Price as of 9/28/94, subject to change.

PC) NTIACDelay wipers - when

Mother Nature can't decide whetherto rain or just sprinkle

Interior roominess (room like abig car inside, only it's not a big car

- go figure)

Fold -down rear seats -in caseyou win some 9 -ft teddy bear at the

carnival (hey, it could happen)

Theater dimming of interior lights - theyturn off slowl y, like at the theater

AM/FM .-adio - what you mean it's not standard on every car?(nope. it's not) (you wanna spend a little more, you can

hove a built-in CD player)

Battery rundown protection - you accidentally leave theinterior lights on, the Sunfire will turn 'em off - so you

don't walk home (remember to say "thanks,

A HUGE glovebox - big enough for a 12 -packof sodas (or some really, really big gloves)

Dual outside mirrors - so youcan see folks in other cars who spent

more and got less

Single -key locking - one key locks &unlocksdoors, trunk and all the fun of Sunfire

Clearcoat paint - paint youcan't see keeps the paint you can see

looking good (see?)

Cup holders (you supply the cups)

Tachometer - those pricey carsgot 'em, and those owners don't even

know what they're for

Great sporty looks, inside & out. that say "Hey,ya wanna have fun?" (that one's worth men-

tioning twice)

-<./ Your choice of a great -looking coupe (shown) or sporty four -doorsedan (both so good-looking - you might have a tough time choosing)

.SUNFIRE" every Friday and Saturday night on TBS midnight Eastern/9:00nm Pacific.

around $12,500'ic 1994 CM Corp. All nghrs reserved.

PONTIAC.SUNFIRE

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For more information, call 1-800-2PONTIAC.Enter No 27 on Reader Service Card

Commission! Also playing Latin music inlocal Latin bands. An inveterate pranksterwith a huge sense of fun (unlikeBeethoven). Read him, and rejoice.

You surely can see, then, that we in au-dio are really returning to the pre -19th -century idea of the artisan. Any art, skill, ortrade, just as then: It could be anythingfrom wheelwrights (Joseph and MichaelHaydn's father) to jewelers, cooks and bot-tle washers, dramatists, and even poets. InEngland, both Shakespeare and GeorgeFrederick Handel were canny managers,businessmen, fund-raisers, patron -chasers(not foundations but princes, dukes,queens and kings, or newly wealthy mer-chants). In Italy, the composer Palestrina,whose music the 19th century enshrined aspure and otherworldly, actually did quite abit of heavy real estate dealing on theside-just an extra helpful skill-as a mat-ter of course. As most of us know, the greatmind of Leonardo da Vinci was mainly oc-cupied with the business of designing forthe military (weapons, forts, redoubts, ve-hicles, almost anything) and on the side, afew li'l items like an aeroplane. Michelan-gelo, Leonardo's near contemporary, was

frescoes onwet plaster church walls, one of the tough-est and most backbreaking of all the skillsof his day. Sixteen hours at a time on hisback, high on a scaffold? That's art?

Of course, in those days, unlike ours,there were not a hundred thousand diverg-ing specialties, every one moving furtherand further from the rest and ever moretechnical, like the expanding universe.Nevertheless, coordination between skillswas just as vital then as for us in audio. Thefamed bottega, the artist's (artisan's) work-shop, was a hive of creativity and plainmanual labor-and never forget that mostof the big painters et al. farmed out the ac-tual detail work to their more gifted ap-prentices, just as architects and SupremeCourt judges do today. So it goes in ourrecording studios, film productions, and soon-not just one Great Genius off in hisspecial world, but dozens of team workersand even a lot of bosses, forced to cooper-ate as artisans even if they still think theyare sheer Genius itself! Just a leftover 19th -century conceit, that.

Then there is the 19th -century sense ofhigh dramatic tragedy. Ah, take pity on the

poor Artist, doomed to die for his art!Chopin, dying of consumption, i.e., tuber-culosis-how appropriate, all in all, forthose times! He surely couldn't have donebetter. A robustly healthy composer al-most had to waste away before anyonewould pay the slightest bit of attention tohim. Late in the century, when opera final-ly began to catch up with all this, that fa-miliar character Mimi (La Boheme), the

THERE IS NOTHING

MORE DIFFICULT

TO UNDERSTAND

THAN THE OBVIOUS.

Bohemian Girl living in a Paris attic,dies soulfully on stage of-what else?-consumption. Just like Chopin. Art, as theysaid, imitating Life? Actually, in this case itwas Art imitating Art. We aren't above thatourselves today. How about Interactive im-itating Interactive? All over the place, andever so serious, just like Mimi.

So, you see, it is worlds within worlds, asusual. Our audio area is essentially an arti-san world, and increasingly so every day.But there remain among us the holdouts,those who, by the thousands, are blissfullyunaware of any change, who live with theGreat Art concept as if it were eternal. Theyare not to be blamed-rather, they shouldbe admired, staunchly aboard their slowlysinking ships, though this they will surelydeny. How can it be otherwise? Adapt orperish! Believe me, they will adapt, inge-niously. They are, if as the snail and thetortoise.

Yes, I know, I am serving up a passel ofbig generalities that may seem obvious tosome of our readers. Yet there is nothing

more difficult to understand than the obvi-ous-difficult to see in perspective, toughto integrate into daily life. I think that ifeach reader of these words will take a mo-ment to provide the details of my picture,to visualize specifically his own audio ex-perience, whether pro or consumer, he willsee the truth of what I am promoting. Isyours an artisan shop? Do you sense that itis indeed an artisan audio world, in spite oftoo many would-be geniuses therein? Isyour home and car listening receptive tothe artisan viewpoint? Are you able to ap-preciate real skills rather than fathomlessGrrreat Arts?

I am sorry to say that the most unrecon-structed performers in respect to this arenot the audio people, not the musicians,but that legion of office workers who sup-posedly keep us all in business, the publici-ty people. As you may know, one of theirfavorite terms is "Creative." I rememberseveral top-level Directors of Creative Ser-vices in one of our biggest (former) recordcompanies. In fact, the bulk of this "cre-ative" work is precisely the opposite-sec-ondhand, thirdhand, from any source thatseems to know what it is talking about. Soseldom an original-i.e., creative-idea!This is not good for ongoing change in ourthinking, though change will surely go on,even so.

Take me, as an outside "authority" justwaiting to be put to use. I am now, to mywonderment, quoted right and left in allsorts of CD releases and even in live con-certs; I hit the jackpot recently as "that as-tute musicologist" (which I am not) in aprogram booklet for a Carnegie Hall con-cert! Little do they know, these quotingsouls, that the words they quote were writ-ten 30 or 40 years ago, in the '50s and '60s,from a spate of LP liner annotations I didat the time. Am I now out of date? I thinkthey think I'm writing today. Very strange.Luckily, the notes have stood up prettywell, thank heavens. They have been inher-ited, of course, by the present owners of theoriginal tapes, who are busily doing CDreissues. So am I now forever? I do hopenot. I'd really prefer never to be a cat withnine lives.

Nor should the audio profession and themusic world. We've used up eight of ourlives already, and time flies, as I say, like thesnail and the tortoise. A

AUDIO/MARCH 199512

Adcom wouldlike to make

this perfectlycleat

Regardless of how sophisticated your stereoand video system is, it may never achieve

its full performance if plugged directly into anAC outlet. Raw and unprocessed AC power canseverely diminish the clarity of audio signals andreduce the resolution of your video picture.

ADCOM's ACE -515 AC Enhancer significantlyimproves the performance capabilities of yoursystem by filtering and processing raw AC power,unveiling a pure, noise -free power source.

Listen To The Critics-... the effective suppression of AC `RF hash' by the

ACE -515 improved clarity and lowered noise in all three CDplayers. . . . the significant improvements in instrumental andvocal harmonic retrieval and hall ambience are superb. . . .

it simply appears to allow musical information to be passedthrough to the listener with less veil and electronic 'haze.' "

-Lewis Lipnick, Stereophile, Vol. 11 No. 4, April 1988.

Recommended accessory in Stereophile, Vol. 12 No. 4,April 1989.

Line Protection: It Pays For ItselfThe ACE -515 also protects your valuable

equipment from harmful high -voltage spikes andsurges. And, its sequential turn-on/turn-offcontrol circuit guards your speakers fromdisturbing, damaging thumps.

Again, The Critics Agree"Electronic equipment (especially digital audio gear) is

vulnerable to both annoying and catastrophic power -lineproblems. Your stereo gear should have line spike andsurge protection, with hash filters thrown in too. Lineprotection-you can pay a little for it now, or you canpay a lot for it later."

-Ken Pohlman, AUDIO, November 1987.

For a modest investment, the ADCOM ACE -515enhances both audio and video clarity whileprotecting your equipment from damaging linevoltage disturbances. Once again, ADCOMlives up to its reputation of offering superiorperformance at a reasonable cost. For completetechnical data, please visit your Adcom dealer.You'll discover the ACE -515 is more than anaccessory. It's a necessity.

ADCOM®details you can hear

11 Elkins Road, East Brunswick, NI 08816 U.S.A. (201) 390-1130 Distributed in Canada by PRO ACOUSTICS INC. Pointe Claire, Quebec H9R 4X5 ©1989 ADCOM


CURRENTSJOHN EARGLE

THE NAME IS CD:CD INTERACTIVE

hilips' CD -Interactive for-mat has made a number ofstrides in recent years, andthe added option of VideoCD playback is a great ad-vantage. I commented on

this last year when I first saw amovie played back from a CD (see"Currents," October 1994). At thattime, I was looking at a relativelysmall screen in a very bright displayarea. The picture looked good, but Iwas anxious to take a system homeand judge its performance underbetter conditions and on a largerscreen.

Recently, a Magnavox CDI450 in-teractive CD player arrived for eval-uation, along with a sampling of ap-propriate discs. Of these, only twowere pure video: The James Bondclassic Goldfinger (in a two -CD set)and a Pete Townshend promotional

*music program. The remainder ofthe discs were games of varioussorts.

The Magnavox player is extremely

lightweight, has a low profile, and ispowered by a plug-in ±5 V powersupply. An additional accessory is asmall r.f.unit thatassigns theplayer'soutput tothe channel3 or 4 carri-er frequen-cy, for easein interfac-ing the system with a typical stand-alone TV set. The r.f. unit also ac-cepts the normal antenna (or cable)feed, so the player does not interferewith everyday use of your TV set.The top of the player has two corn-

partments. One accepts a multi -pinmodule that "programs" the unit tohandle Video CDs. The other com-partment contains the CD playermechanism itself. In addition to in-teractive CDs, the Magnavox unitalso plays standard audio CDs andPhoto CDs.

The video and audio encodingmethods used are the MPEG-1 (Mo-tion Picture Experts Group) Stan-dards, and the video portion oper-ates at an astounding 140 -to -1data -reduction ratio! The actualvideo data rate is 1.15 megabits/sec-ond, and that of the stereo audiotracks is 224 kilobits/second. (SeeRobert A. Finger's excellent articlein the December 1994 issue for de-tails on this encoding technology.)

As with all forms of perceptualencoding, whether for audio orvideo, the designers who set the pa-rameters for the system make cer-tain assumptions regarding the play-back environment. For example,when audio is perceptually encoded,established masking thresholds areassumed, and this implies that theplayback in the home will not ex-ceed a certain level. If it does, thenthere is a chance that somethingwhich should have been maskedmay not, in fact, be masked. So it iswith video. The visibility of certaindata -reduction strategies may de-pend on picture size and brightness.

Some of the techniques used inVideo CD data reduction are fairlybenign. For example, horizontal and

vertical resolutionhave been cut inhalf, to 352 lineshorizontal and240 lines vertical.The eye does notreadily observethis, but if therewere an adjacentmonitor showing

CD -I's PICTURE QUALITY

IS CLEARLY BETTER

THAN THAT OF

MASS -DUPLICATED

VHS VIDEOCASSETTES.

ts,the original, unreduced video signal, :1)the difference might be quite visible.

On the other hand, there may betelltale signs of data reduction that .swill be visible to anyone, trained orotherwise. This is precisely what Er.,

AUDIO/MARCH 199514

happened when I first viewed Goldfinger. Iwas bothered by a phenomenon calledmacroblocking. This is the appearance ofdistinct blocks, or squares, in the picturethat stand apart from each other in overallluminance value. These, of course, varyfrom frame to frame, and in Goldfingerthey were apparent primarily in dimly litscenes. A knowledgeable friend of minestated that the "psychovisual annoyance"of this artifact can usually be minimized byadjusting controls on the TV set, makingthe dark scenes a bit darker. Taking this ad -

THE VISIBILITY

OF DATA -REDUCTION

STRATEGIES MAY DEPEND

ON PICTURE SIZE

AND BRIGHTNESS.

vice, I carefully adjusted the brilliance andcontrast controls, and sure enough, the ef-fect was minimized. I could then get onwith the movie without being bothered.However, if I made an effort, I could stillspot the macroblocking.

The Pete Townshend disc presented theartist in a 30 -minute program, filmed inNew York. The notes stated that the discwas compatible with a standard audio CDplayer. Obviously, the disc was encoded intwo 30 -minute sections: The first was stan-dard CD linear encoding of audio, whilethe second was in the MPEG-1 audio andvideo formats.

Of course, with movies there is notmuch available in the way of user interac-tion. A plug-in CD -I controller lets you callup a control strip at the bottom of thescreen. Here, you can fast -forward, freeze-frame, change volume, or go into a varietyof slow-motion modes. Since all of this isdone digitally, there is none of the ragged-ness that you have probably become accus-tomed to with your VCR. The Video CDsare indexed, so you can go directly to anypoint in a movie.

Overall, I would say that the picturequality of these Video CDs was clearly bet-ter than that of mass -duplicated VHSvideocassettes-in other words, very good,but not up to the standard set by theLaserDisc.

Will the Video CD ever unseat theLaserDisc? Perhaps not in its present form.But there is sure to be a standard that will.The LaserDisc has the disadvantages of be-ing analog, bulky, and hard to manufac-ture. A replacement for it will be smaller,and it is possible that it will require ashorter laser wavelength in order to packmore information on the small disc. Butfor the purposes of interactive CD, the pre-sent standard is quite good enough.

There are many things to be consideredin setting new video standards: Ultimate

quality of performance must be balancedwith considerations of compatibility, man-ufacturing convenience, and the impact ofHDTV. We won't know for perhaps a yearor two what direction things will go.

Incidentally, judging from the remainderof the Philips CD -I discs sent for evalua-tion, things have generally improved overthe last couple of years. The booklets (read:operating instructions) have certainly im-proved, and it seems to me that the gamesthemselves are better executed. You mightask your teenagers for their comments. A

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"Planning a Home Theater System":Erratum ... and ExpansionDear Editor:

I like your magazine and would like tostart a subscription. However, I have no-ticed some mathematical discrepancies thatyou may want to know about.

The first is in William R. Hoffman's"Planning a Home Theater System: WhereDo You Begin?" (November 1994), most ofwhich I enjoyed. I was confused, however,by the method of determining amplifierpower, particularly in relation to the expe-rience I have had with my own system. Atfirst, Mr. Hoffman says to find my speak-er's sensitivity on the horizontal scale ofFig. 3. I have the Martin -Logan CLS Ma,whose sensitivity is about 86 dB. This givesme a power ratio of about 11. My room is1,650 cubic feet with average absorption,which, according to Fig. 4, gives me a pow-er multiplier of about 0.6. According toFig. 5, comparing the power ratio to thepower multiplier, I need less than 30 wattsper channel to run my system (since thechart does not go below a multiplier of 1).Now, I might agree that most people donot need as much power as they think theydo, but 30 watts? Have you ever drivenMartin-Logans on 30 watts? Did I misssomething?

I have a Lexicon CP-3 preamplifier feed-ing an Adcom GFA-555 amplifier (rated at200 watts per channel) into the loudspeak-ers. A second GFA-555 amp powers sepa-rate subwoofers. Only powering frequen-cies above 80 Hz, I still cannot set the THXreference level with the Martin-Logans.They will not put out that much volume.How can I expect them to be sufficientwith 30 watts?

The other discrepancy I noticed has todo with your subscription rates. Accordingto the Business Reply postcards that areinserted into your magazine, a one-yearintroductory subscription is available for$12.97. A three-year subscription costs$38.97; that's 6 cents more than the one-year subscription renewed two times.Since the postage is paid, how, then, is the

three-year deal a better value? Please signme up for a one-year subscription.

Mike Wood

Lafayette, Cal.

Author's Reply: Regarding my article,"Planning a Home Theater System," an er-ror did indeed creep into the values forpower shown in Figs. 5 and 6. Also, I haveheard from some readers who have men-tioned that these same graph scales, whenused to find values for small rooms (withlow power -multiplier [M] values), are verydifficult to read accurately. In order to ac-commodate both changes in one set ofgraphs, I have resealed them, and they arereproduced here. Please use these graphsinstead of the ones in the original article.

600

500

000

300

200

100

5 10 15

POWER RATIO

Fig. 5-Curves for determining amplifierpower requirements.

600

tl 500

000

I 300

200

Ft; too

2

112

AIVAZW"/NM0 LL L

0 0 15

POWER RATIO

20

Fig. 6-Curves for determining bass powerrequirements.

I apologize for any inconvenience the er-ror may have caused. If there are any fur-ther questions or comments on the article,please feel free to contact me through theseeditorial offices.-W.R.H.

Editor's Reply: Regarding the introductorysubscription prices, our circulation staffsays the prices should have been $12.97 for

a one-year subscription, $25.94 for twoyears, and $38.91 for three years.-K.R.

Dear Editor:

I want to expand on William R. Hoff -man's "Planning a Home Theater System,"in particular the section relating to audio.

Surround sound for the millennium willactually begin in 1995 with the introduc-tion of Dolby AC -3 and DTS Zeta homeentertainment systems. These platformsfollow the SMPTE 5.1 discrete audio chan-nel format and also recommend full -band-width performance from the primary fourchannels, i.e., left and right front as well asleft and right surround. The center, orscreen, channel is also to have full -band-width performance, even though its prima-ry function is for augmentation in order tolock mono dialog onto the screen. With re-gard to the .1 special -effects channel, it isno longer accurate to refer to it as a sub -woofer channel, in view of the fact that thefive main channels already are capable offull -bandwidth performance from 20 Hz to20 kHz. The idea that low frequency isnondirectional is now a myth from anyviewpoint.

With regard to loudspeaker choice andplacement, it is not the role of surroundsound hardware to diffuse (and confuse)the surround sound image. That is a cre-ative decision that must be in the hands ofthe creative person at all times, and not de-ferred to loudspeaker design or placement!It is assumed, of course, that motion -pic-ture soundtrack creators will learn to takefull advantage of surrounds that are on allof the time with full frequency response-and that some music and sound creatorshave never forgotten how to do it in thefirst place! Thus, it seems obvious to methat the Dolby/THX recommendations fordipole surround loudspeakers, diffused ar-ray and/or side wall locations, based uponthe original Schrieber SQ quadraphonicmatrix scheme of the '70s, are obsolete.

If one is interested in getting the opti-mum performance from a 5.1 system, thefollowing guidelines will prepare you forthe surround sound for the millennium,and will also allow for the current crop ofmatrixed surround -sound tracks to be re-produced without degradation from theoriginal mix beyond what the matrix hasalready done to it.

AUDIO/MARCH 199516

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We are now pleased to introduce newversions of our Ensemble and Ensemble IIsystems, as well as our new, ultra -compactEnsemble III system.

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A second, high -frequency switch hasthree positions:

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The New Ensemble II.New Ensemble II is an improved version

of our best-selling speaker system, EnsembleII. It's more affordable than New Ensemblebecause it uses one cabinet to house bothsubwoofer speakers. Its satellite speakers areidentical in every way to those used in theNew Ensemble, including the new high -frequency and midrange balance controls.

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New, flared subwoofer port. NewEnsemble Il's subwoofer cabinet enclosestwin 6 1/2" long throw woofers mounted ina sealed "acoustic suspension" chamber.They project into a second chamber fittedwith a single, flared port. The new portprovides smoother air flow, virtuallyeliminating the generation of any extrane-ous noise on strong, low bass notes.

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One should create an audio space that isgenerally square or rectangular and usepoint -source loudspeakers of equal power,voicing, and bandwidth. They should beplaced in each of the four corners of thatlistening space. A good rule of thumbwould be to face the speakers inward atabout 45°, each producing about 90° dis-persion with a frequency response of 20 Hzto 20 kHz (include a subwoofer with eachspeaker if necessary). The remainder ofyour system requirements will become ap-parent depending on personal choice withregard to the center -channel loudspeakerand the .1 special -effects bass channel.

Be advised that audio -only multichannel(surround) programming is on the way,and none of it has been mastered with theTHX EQ curve that is so prevalent in mo-tion -picture soundtracks (and one of thereasons that some of these soundtrackssound so .. . ah, digital?). Therefore, makecertain that you have a THX EQ defeatswitch in your system and use it accordingto personal preference.

It seems to be rather clear that we do notwalk around our own little worlds with ourhands cupped behind our ears, shutting offphase- and frequency -coherent ambientsound. Why should our surround soundentertainment programs be any different?

Brad S. Miller

Mobile Fidelity International

Incline Village, Nev.

Directory DiscourseDear Editor:

I am upset with the coverage your An-nual Equipment Directory (October 1994)gives to digital recorders. Pioneer Elite,Panasonic, Tascam, and Fostex all havecurrent offerings on the digital recordermarket; none were mentioned. The linesoffered by Marantz and Sony are only par-tially mentioned. Tascam is not even listedamong the manufacturers, while some thatretail only one product to audio consumersare included.

Your Directory does mention amplifiersand D/A converters that cost a small for-tune, so I can't believe that editorial policydictates omitting those machines that aredesignated "professional models:'

Digital recordings are obviously themedium of the future. Digital recorders area necessary and wonderful addition to the

AUDIO/MARCH 199520

stereo of the future. If the average audio-phile cannot record music, then he is limit-ed to what the music industry puts in frontof him, and this is no audiophile. If a pub-lication such as yours were generatingrather than stifling interest in digitalrecorders, perhaps more models would beavailable, and the prices would be comingdown faster. Also, the whole question ofD/A and A/D conversion, as it relates todigital recorders, is important to me, and Iwould like to see it addressed in your pub-lication. Does one need a converter forrecording/playback? Which decks havegood built-in converters? What wouldmake them better? Do a series on digitalrecording, please.

Your failure to mention commerciallyviable digital recorders is, in my opinion,irresponsible.

Martin P. HanlonSyracuse, N.Y.

Editor's Reply: We do indeed have an edito-rial policy not to list products of profes-sional -only companies. This doesn't meanyou won't find any pro models at all in theDirectory; a consumer manufacturer maymix one or two pro models in a listing, orthe company may include a product in-tended for both markets. But companiesthat cater to the pro market are not listed,as Audio is aimed primarily at the con-sumer market. This explains the absence ofFostex and Tascam.

This, too, likely explains Mr. Hanlon'sview that the other companies he mentionsare underrepresented. Suffice it to say thatthese companies supplied us with all theproducts they chose to list in the Directory.It is impossible for us to verify each manu-facturer's submitted listing for complete-ness of models in all 18 product categories;that responsibility must remain with thecompany when it fills out our forms.

In response to Mr. Hanlon's implicationthat Audio is "stifling" rather than generat-ing interest in digital recorders, let me saythat I personally, as Directory Editor, havecalled and reminded certain companies tosend us that specific form when they obvi-ously overlooked it. (After all, the stakesare higher today, now that our former"Digital Recorders" category has blos-somed into "DAT, DCC, & MD Player/Recorders.") And articles that we have

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published recently that relate to digitalrecording-in addition to this issue's re-port on JVC's XM-D1BK MiniDisc deck-include an interview with digital -recordingpioneer Tom Stockham and a report on theSony MDS-501 MD deck (both November1994), as well as reports on Sony portableand home DAT units, the TCD-D7 (June1994) and the DTC-2000ES (January1995). The latter begins with a lengthy dis-cussion on the current state of home digitalrecording and recorders.-K.R.

Dear Editor:

I'm a longtime subscriber to Audio mag-azine, and I am very pleased to receive theOctober Directory issue every year. For me,this is my bible, and I rely heavily on it. SoI wish to know if the Directory is availablein software form or in a database format.

I use my computer regularly for refer-ence. In the past, I used to type all the in-formation of your Directory into a data-base file, and it took me forever tocomplete. But when the database wasready, I could cross-reference all the data,which is very practical.

I'm sure that lots of people who own acomputer would agree with me: A databaseAudio Directory could be used as a refer-ence by the entire industry, or simply bypeople like me.

Marc Dehandschutter

Kihei, Maui, Hawaii

Editor's Reply: For quite some time, wehave been discussing the possibility ofmaking the Directory available on CD-ROM. Over the past year, Audio and allother publications of Hachette FilipacchiMagazines have completed the changeoverto desktop publishing, so the prospect of aDirectory CD-ROM is now more realistic.In fact, one of our sister publication's di-rectories, the Car and Driver Buyers Guideto 1995 New Cars, is expected to be avail-able on CD-ROM by spring. We'll keep youposted on our own progress.-K.R.

Dear Editor:

As a longtime subscriber to Audio, andas one who looks forward to the AnnualEquipment Directory, I have several sug-gestions concerning the latter.

Inasmuch as the Directory is intended tobe a year-round reference work, would itnot be better to print the page numbers atthe lower outer edges of the pages, ratherthan in the center? After referring to thecontents page to find the desired section, itwould be so much easier to locate that pageif the number were at the outer edge.

One more thing: I realize that reel-to-reel tape recorder/players are almost an-cient history, but are there none beingmanufactured currently? If there are, howabout some listings?

Also, you have never listed small,portable analog cassette recorder/players,such as the great Marantz PMD series orthe Sony TC-D5M. A section on this cate-gory would be very welcome.

Ray Van Steen

Chicago, Ill.

Editor's Reply: The last time we listed open -

reel tape decks was in the 1991 Directory.The following year, Editor -in -Chief Eugene

Pitts explained our decision to make "an-other change away from pro -orientedrecording" by dropping open -reel decks

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Sound&Vision Critics' Choice Awards'AudioVideo International Grand Prix Awards

: Are there car speakers that soundgreat and install easily?

A: Sure. Advent Mobile speakersfit the bill. Here's why:

You get true high fidelity sound-anexclusive design suspends the tweeter inthe acoustic center of the speaker for greatermusical realism and improved stereo imaging.

And installation couldn't be easier-Advent®Mobile speakers fit behind virtually everyfactory grille with no cutting or modifying.

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"Few speakers at any price havedone this well in my listening room."

That's John Atkinson of Stereophile. He continues, "That the$795 Spica can do it is a testament to the talent of its designer[John Bau]...Every audio reviewer lives for the moment when he orshe hears true high -end sound quality emanating from affordablecomponents. Which is why I got excited by the Spica TC-60."

Tony Cordesman of Audio says, "...the TC-60 does an excep-tional job of creating the illusion of a live performance from a smallenclosure...a properly set up TC-60 is one of the rare exceptionsthat can make you forget its size and lose yourself in the music."

Martin DeWulf of Bound For Sound says, "On absolute terms,the strongest performance aspect of the Spica has to be its abilityto flat out physically disappear in the listening room...It too haslegend potential."

DICC

from the Directory: By 1991, the recordershad become "almost totally devoted to stu-dio or location use by the music industry."

A few companies still make open -reeldecks, and we suggest you write to themfor more information. They include: Fostex(15431 Blackburn Ave., Norwalk, Cal.90650), Nagra (240 Great Circle Rd., #326,Nashville, Tenn. 37228), Otari (378 VintagePark Dr., Foster City, Cal. 94404), Studer(1865 Air Lane Dr., Suite 12, Nashville,Tenn. 37210), and Tascam (7733 TelegraphRd., Montebello, Cal. 90640).

The portable/desktop analog cassetteunits you mention are, again, primarily forprofessional purposes (note that the SonyTC-D5M is marketed under the company'sPressman line). These units shouldn't beconfused with their smaller cousins, theWalkman -type personal stereos, which wealso don't include in the Directory. We do,however, list portable formats of more con-cern to our audiophile readers-namely,CD, DAT, DCC, and MD.

When it comes to the placement of pagenumbers, you're in Art Department terri-tory-i.e., page design. The centered pagi-nation is not new; it was introduced in Jan-uary 1993 as part of a redesign of Audiointended to give the magazine a cleaner,more modern look. No matter how manymonths are spent laboring over a redesign,it's always difficult to ensure that every ele-ment will please our readers, not to men-tion ourselves!-K.R.

McIntosh ManDear Editor:

I would like to suggest that you do a re-view of the McIntosh commemorative-

issue Gordon J. Gow MC -275 tube amp.It is an incredible piece of equipment. Also,I would like to know if you plan to do anyreviews of McIntosh equipment in 1995.Thank you.

Phillip R. McCreary

Columbus, Ga.

Editor's Reply: No doubt you were pleasant-ly surprised when, shortly after mailingyour letter, the January issue of Audio ap-peared with a report on the McIntoshMC500 amplifier and C40 preamplifier.You should also go back to the February1994 issue for our cover report on theMC1000 mono amp.-K.R.

3425 Bryn Mawr NE Albuquerque, NM 87107 I /is ision of Parasound Products 415-397-7100Sirreanhile, Deccmber, 1994, Vol. 17, No 12. Audio, January, 1999. Hound ForSound.11A-94 AUDIO/MARCH 1995

24

At one timeyou understood how

this worked.FIVE BLOCKS MADE A COTTAGE, ten acastle, and a hundred your own privateempire. With Linn components, it's just

hat simple. You can start out with the system that'sright for you today and, using our building-blockapproach, improve and ex-pand your system over timein affordable steps. Somesteps will improve the per-formance of your system,others will expand your sys-tem throughout your home, but each and every stephas one thing in common. It delivers more music.PEOPLE NEED MUSIC. Music is important. Explor-ing the world of music in the comfort of your ownhome is therapeutic. It will help you relax, stimulateyour imagination, change your mood, and provideentertainment and pleasure for your whole family.

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ity simply not possibleon a production line.And, with your Linn re-tailer on hand to provideassistance long afteryour initial purchase,

you can expect your hi-fi to last a lifetime. Peoplewho love music have built our business, so we lookafter them. MUSIC FOR YOUR LIFE. To learnmore about Linn Hi-Fi and the many ways inwhich Linn can make music a more importantpart of your life, phone Audiophile Systems,Ltd., our U.S. distributor, at 1-800-546-6443.

AUDIO CLINICJOSEPH GIOVANELLI

CD Tracking ProblemQI recently purchased a CD that one ofmy three players consistently refuses to

play. When I load this disc, the unit displaysthe track and time information. When Ipress "Play," that button blinks indefinitely,as though the machine is in "Pause" mode.On those rare occasions when the music does

play, it is accompanied by a noise thatsounds like crumpling cellophane. All otherCDs continue to play properly. What's caus-ing this strange problem?-David A. Ber-trand, Aurora, Colo.

AI once had a similar problem. In mycase, the belt that moves the laser

carriage had stretched. But before you lookfor this, make certain the CD is clean.Then, as a check, attempt to play the prob-lem child. Immediately after pressing"Play," use the forward -skip button (notfast -forward or cue) to skip to the secondtrack. If the player finds it successfully, usethe reverse -skip button immediately to goback to the start of the first track. Shouldmatters work as they did for me, you willsuccessfully play the first track. If yourproblem is the same as mine (which itstrongly resembles), you will eventuallyfind that more and more of your discs failto play. All will be well when you replacethat defective belt.

A dbx ProblemQMy cassette deck includes both dbx

and Dolby noise reduction. When Irecord with dbx NR (especially on certainmusical passages such as solo guitar and,sometimes, when dubbing from other tapes),the background noise on the tape increasesdramatically when sound is not present. I donot find this rise and fall of noise when usingthe Dolby system. In fact, it is not alwayspresent when I use dbx NR. Why is this?Even more important, what can I do aboutit?-John R. MacLaren, Dedham, Mass.

AYou're experiencing the phenome-non known as noise pumping,

which is common with systems that useheavy compression and expansion, as dbxNR does. Noise pumping occurs when the

spectral content of the music being record-ed fails to mask the spectral content of thenoise. This happens most often when youhave a sound with narrow -band energy,such as acoustic guitar. Also, it's easy torecord a guitar at a low level, so that its en-ergy is not sufficiently higher than thebackground noise for masking to takeplace. You can help the situation by record-ing at a higher level.

If you're dubbing from tapes that don'tincorporate dbx NR, noise pumpingshould not occur. But when you're dub-bing a dbx-encoded tape, the noise fromthe two tapes may be just high enough tobecome unmaskable. You'll probably getbest results if you copy dbx-encoded tapesstraight, without decoding and re -encod-ing. (This is, of course, precisely the oppo-site of what you must do when dubbingtapes encoded with Dolby NR.)

I've occasionally had problems whenmaking dbx-encoded recordings fromhigh-level signals, such as those from CDplayers. (Where some components produceperhaps 0.1 or 0.3 V, a CD player mightwell produce I V or more.) In somerecorders, the signal feeds into the dbxchips ahead of the volume control. If thesignal's level is too high, the dbx circuitrymay have trouble handling it. The cure isto use a voltage divider of some kind be-tween the output of the program sourceand the input of the recorder; try 6 to 12dB of attenuation.

Tape Deck MotorQWhen the motor of my 1969 -vintage

Astrocom Marlux 407 open -reel taperecorder warms up, its speed decreases. Ican't find a replacement for its hysteresis -

synchronous, dual -speed, bidirectional cap-stan motor. Can you help?-Name withheld

AI have no idea where you might ob-tain a replacement motor. My first

thought is that you should place an ad inour Classified section, asking for such amotor. My second thought is that you ac-tually might not need a new motor-youmight be able to repair it.

First, look for a bipolar electrolytic ca-pacitor wired in series with one of the mo-tor's field windings. (Such "motor -startingcapacitors" bring about a 90° phase differ-ence between two magnetic fields, whichmakes the motor work.) If this loses capac-itance over time or loses capacitance whenit heats up, the motor won't run at properspeed. Determine its value, and replace it.Shops specializing in motor repair are of-ten a good source for these capacitors.

Also, your motor's bearings might needrelubricating. (These bearings are sup-posed to be permanently lubricated, butnothing is permanent.) There is no obvi-ous way to add more lubricant without dis-mantling the motor. What I have done is totake the motor apart, removing the upperand lower sections of the housing and care-

fully removing the rotor. Any pulleys fixedto the rotor shaft must be removed beforeyou can remove the rotor assembly. Liber-ally lubricate the shaft bearings. (I tem-porarily plug up one end of each bearingso that the light oil can stay insideovernight. This allows time for the bear-ings to absorb the oil.) Do not soak theelectrical windings! Reassemble the motor,and all should be well again.

Testing with EqualizersQI understand that some people maketests and adjust their eqiiipment by

using equalizers. What is involved?-Namewithheld

AI suspect you're talking about people

whose equalizers include real-timeanalyzers, or RTAs, which use a bank ofLEDs to show signal or sound levels ineach of several frequency bands. If yourequalizer has no RTA, you should obtainone that does or get a separate RTA. Eitherway, the device should come complete witha properly calibrated microphone. The mi-crophone is placed in your favorite listen-ing position. The analyzer can producebands of "noise" that will be fed into yourloudspeakers and eventually be picked upby the microphone, and the RTA display

If you have a problem or question about audio,write to Mr. Joseph Giovanelli at AUDIO Maga-zine, 1633 Broadway, New York, N.Y. 10019. Allletters are answered. In the event that your let-ter is chosen by Mr. Giovanelli to appear in Au-dioclinic, please indicate if your name and/oraddress should be withheld. Please enclose astamped, self-addressed envelope.

AUDIO/MARCH 199526

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will show your system's frequency responseat the microphone position. (Response atother mike positions will vary.) This willlet you test the entire listening system, in-cluding the loudspeakers and the acousticsof the room in which the equipment ishoused. Most analyzers can also be pluggedinto some output on your system, in orderto check the performance of individualcomponents.

If you like, the equalizer can be adjusteduntil the response shown on the RTA dis-play becomes flatter. (In the real world, youcan never get response to be completelyflat.) Check each adjustment from severalmike positions to make sure the correctionyou're adding for one spot in the roomdoes not make things worse in other spots;equalize only those frequency irregularitiesthat are found generally throughout the lis-tening area. And start by cutting down thepeaks, before you try filling in the dips;dips which can't be filled should be leftalone.

Personally, I don't bother with all of this.I listen to a program. If the sound isn't

right and I feel like tinkering, I make a fewsmall adjustments to the equalizer's con-trols till that particular program soundsbetter, and I leave it at that.

Editor's Note: Some authorities feel thatthis sort of equalization is worse than theproblem it supposedly cures. These equal-izers can easily add phase shift and ringing,while often having too coarse an adjust-ment to fix one band without hurting an-other.-E.P.

Noisy Lecture RecordingsQI record lectures. Unfortunately thequality of my recordings is frequently

poor; the voice levels are poor, and there's alot of background noise. Can I re-record myoriginals to improve them? Is there some dig-

ital signal processor, not too expensive, that I

can use to achieve better quality, one thatwill remove background noise, etc.? Must Iuse a conventional graphic equalizer? Should

I use Dolby B or C NR? Would using high -bias tapes help? I would also appreciate anyhints that would help me improve my first -generation recordings.-Name withheld

AIf a lecture is poorly recorded tostart with, there are very few ways to

clean it up. I do not have a lot of experi-ence with digital processors, but it is myunderstanding that the noise which theyare sometimes successful in treating issteady-state noise-such as buzzes frompower -line interference, tape hiss, etc.

In dealing with poor recordings of lec-tures, I have used some relatively sophisti-cated filters as well as graphic equalizers.Neither of these tools will remove thesound of chairs scraping along the floor,loud coughs, the roar of a slide projector,or who knows what. If most of the back-ground noise is air-conditioning rumble orthe like, you can roll off the bass with ei-ther an equalizer or a filter. You can some-times make the speaker's words a bit moreintelligible by adding highs, for added clar-ity and to make the speaker's voice standout from the background noises. My ef-forts have not always been rewarded withsuccess, especially when I've had to dealwith an overly reverberant room on top ofthe background noise.

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McIntosh THX Components.

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Equall7 surprising is that genuine, American -built McIntosh

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Home THX Audio is a registered trademark of Lucasf am Ltd. Dolby Surround, Pro Logic and the Doable -H Symbo are registered trademarks of lolby Laboratories Imersim Corporal),

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With Cinema DSP, you'll be amazed

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Bats screech overhead. Wolves howl in the distance. And footsteps crunch across yourliving room floor. No, it's not your imagination. You're hearing sounds placed around theroom, just as the director intended.

All courtesy of Yamaha Cinema DSP. The home theater technology that gives dialoguemore definition. Music, more dimension. And sound effects, more graphic detail.

Only Yamaha Cinema DSP creates phantom speakers that fully replicate the experienceyou get in multi -speaker movie theaters. It sounds so real, in fact, you'll swear you hearsounds in places you don't even have speakers.

As you might imagine, a breakthrough like this is no small feat It's accomplished bymultiplying the effects of Digital Sound Field Processing and Dolby Pro Logic.®

Digital Sound Field Processing is Yamaha's unique technology that electronicallyrecreates some of the finest performance spaces in the world.

© 1994 Yamaha Electronics Corporation, USA. Cinema DSP is a trademark of Yamaha Electronics Corporation. Dolby Pro Logic is a registered trademark of Dolby Laboratories licensing Corporation.

at what comes out of the woodwork.And Dolby Pro Logic is the technology responsible for placing sound around the room, matching the dialogue and

sound effects with the action on the screen.Together, these two technologies allow Yamaha to offer a complete line of home theater componentsthat outperform

other comparatively priced products on the market.Stop by your local Yamaha dealer for what could be a very eerie demonstration. Maybe

we can't talk you into a system, but that doesn't mean we can't scare you into one.For the sales location nearest you, call 1-800-4YAMAHA. YAMAHA

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Considering that your original tapes areoften noisy, I do not believe that Dolbynoise reduction or the kind of tape usedwill significantly improve your second -

generation copies, though either of thesecan keep the copy from gaining much ad-ditional noise. The main advantage of asecond -generation copy is that it lets youedit out long pauses and short bursts ofnoise and lets you add comments about thelecturer's visual aids and such. This mayclarify a point being made in the lecture.

The main thing is to make better first -

generation tapes. It is always important toplace your microphone as close to the talk-er as possible. Use directional mikes, whichpick up less room noise. The best mikes forthis purpose are "shotgun" types. These arehard to use because they must be preciselyaimed at the talker-which seems simpleenough, until you run into a lecturer whowalks around the room as he speaks. I havealso found that recording lectures in stereomakes the words more intelligible. Con-denser mikes are very popular, but somehave noisy preamplifier stages, as do the

mike inputs of many recorders. If yourmike is noisy, get a quieter one, preferablywith high output, to minimize input -pre-

amp noise. If your mike input is noisy, usea mixer with quiet mike circuitry.

Some recorders can be switched to an"automatic level" mode. Although this is

IT IS ALWAYS IMPORTANT

TO PLACE YOUR MIKE

AS CLOSE TO

THE LECTURER

AS POSSIBLE.

not a useful tool when recording music, itis quite useful when recording lectures.However, the level of noise from the room,your mike, or your preamp will seem torise as the lecturer speaks more softly andfall when he gets louder. (All too manyspeakers "do a slow fade," and this will beannoying during playback when you hearthe background noise rising and falling.)

While room noise is the main enemy,anything you can do to minimize tape hisswill still help. It can help to use Dolby Band C NR in your original recording. Bet-ter yet, use DAT, which offers long record-ing time (up to 2 hours) without interrup-tions for turning or changing tapes. If youcan find a DAT machine that lets yourecord analog sources at the 32 -kHz sam-pling rate, you can get up to 4 hours ofcontinuous recording. This sampling ratewill reduce high -frequency response some-what, to about 14 kHz rather than 22 kHz,but for lecture applications this is still ex-cellent response.

Adding a SubwooferQI want to use a subwoofer with mynew receiver, which has no subwoofer

output. I suppose that I must somehow routethe signals from both the left and the rightchannels into the subwoofer so that it canwork properly. Since I only want to use onesubwoofer, I would guess that it would needtwo separate voice -coils if I am going to drive

it from both output channels.

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My satellite speakers are 8 ohms. Shouldthe subwoofer also be 8 ohms? And should I

use my receiver's 4- or 8 -ohm output setting?

Would it be better to use a separate poweramp to drive the subwoofer?-LeonardShedler, Folsom, Cal.

ABecause most subwoofers have in-puts for both channels, plus high-

pass crossover outputs to feed satellitespeakers, the easiest hookup is usually toconnect your receiver's speaker terminalsto the subwoofer's inputs and the satellitesto the subwoofer's high-pass outputs. Itwill probably simplify things and ensurethat the crossover works at its designatedfrequency if you get an 8 -ohm subwooferand use your receiver's 8 -ohm setting.

There are three methods subwoofers useto deliver both channels' bass. Some sub -woofers have dual drivers, one per channel,in a single box (though that box may be di-vided into two enclosures). Others, as yousurmised, have one driver with dual voice -coils, each fed by a separate crossover. Mostadd the bass from the two channels togeth-er, to feed one driver with one voice -coil.

Many subwoofers (especially the single -driver type without dual voice -coils) havetheir own amplifiers built in or are sup-plied with external amplifiers. (The imped-ance of a self -powered subwoofer is notcritical; the subwoofer and the satellites arenot tied together by a passive crossovernetwork.) Either way, there will usually beboth speaker -level inputs, which you con-nect to your receiver's speaker terminals,and line -level inputs for use with sub -woofer outputs or the main outputs onpreamps. Most power amps, however, onlyhave line -level inputs, which means youcan only use them if your receiver has anoutput jack whose level varies with vol-ume -control setting-such as the sub -woofer jack you lack.

Where practical, I prefer a separate pow-er amplifier because it frees the amplifier ina receiver from the need to handle the fullaudio spectrum. Most self -powered sub -woofers have level controls to take care ofany imbalance between the satellites' andthe subwoofer's efficiencies. If you arethinking of using a passive subwoofer with-out such a control, try to get one whosesensitivity (sometimes called "efficiency,"in spec sheets) is within 3 dB of that pro-duced by the satellite loudspeakers. A

AUDIO/MARCH 199533

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dr. norman e. thagard

:n tae Frier installments of this con-struction project : described the amp'scesign phiksaphy and circuitry. In this fi-r al instalrunt, I will detail how to build,set up: and trouble -shoot this 100 -wattCass -A any, and the parts you will need.

I would expect that builders would usevarious coruction ideas based on expe-r eice, individual tastes, and, frankly,mailability c f chassis, heat -sinks, awl oth-

harawere. The amplifier, built in accor-dance with this artide and using the com-ponents s?ecified, should be fairly tsferanto'lvariations in layout. Component substi-tutions may well -squire changes thecompensatian scheme to ensure stability. I

recommend a p.c. board for the front-end;the pattern provided (Fig. 4) worked verywell. Printed -circuit boards were also usedfor the voltage doubler/regulator and forthe outpu-. MOS-FETs and associatedomponents. These patterns are also pro-vided (Figs.5 and 6).

There are not many absolutes, but I;hall mention the potential problem areas.Foremost importance is that :seat is theenemy of electronic equipment, ar.d a 100 -watt Class -A amplifier can double as aspace heater! The output stage o: this amp

Norman E. Thagard, M.D., i! a NASAastronaut .rho has been select' c' as theprime crew member for a three-monthflight on the Russian space station Mir this

spring.

PHOTOGRAPH: CARL ZAPP

UDIO/MARCH 199535

SIGNAL IN -SHIELD GROUND -

FIG. 4A-Front-end component arrangement.

- SYSTEMGROUND

+ 20 V- 55 V

- - DRIVE- +DRIVE

- +55 V- - 20 V

SYSTEM- GROUND

is constructed from very rugged devicesoperating at only a fraction of their ratedcapability-even when derated for theiroperating environment in this application.Nonetheless, I recommend large heat -sinksfor Q36 through Q47, since they collective-ly dissipate about 200 watts. Unless you useforced air cooling, I recommend buildingthe amp as a mono unit. Although thismeans two enclosures and two power sup-plies for stereo, Class -A amps at this powerlevel are not well suited to stereo construc-tion if only passive cooling is available. I do

not like cooling fans in a sound system,and this unit dissipates more than 0.25kilowatt per channel. On the prototypes,heat -sink fin area was 840 square inches forone channel. The fins were 1/16 -inch alu-minum, painted black. Even so, the hottestdevice rose to 60° C above ambient. Thefollow-on units used commercial heat -sinks with significantly more fin area andcommensurately lower temperature in-creases. I would try to provide an area of atleast 100 square inches for each outputbipolar transistor. Constant -current source

1 transistors Q22 and Q23dissipate about 10 wattseach. They can be placed onthe same heat -sink as theoutput transistors or evenon the chassis. The MOS-FETs are in TO -220 pack-ages; I found it convenientto mount them on theirown common heat -sink,placed at the rear of thechassis. The ones I usedwere black anodized 1/16 -inch aluminum with 150square inches of fin area.

AUDIO/MARCH 1995

The driver transistors Q19 and Q20 dis-sipate about 4 watts, so they definitelymust have heat -sinks appropriate for thispower level. Although not strictly required,I used small heat -sinks on second -stage,common -base transistors Q11 throughQ14. As discussed, Q21 should be placedon a heat -sink to avoid excessive sagging ofthe output bias level.

You should note that the front-end p.c.board pattern grounds all of the heat -sinks,which were solderable-pin types made forp.c. board mounting. Because the heat -sinks are grounded, you must ensure thatthe transistors mounted on them are elec-trically insulated with mica insulators. Useplenty of thermal grease to restore thermalconductivity across the insulators. Becauseseries -pass regulator transistors Q101 andQ102 dissipate about 4 watts, they need thesame sort of heat -sinking used for the dri-ver transistors.

With all of the heat -sinking, it is stillnecessary to ensure that the internal vol-ume of the enclosure is ventilated. I recom-mend that the top and bottom covers haveports or louvers, or be built from metalwith a mesh or grid pattern. Obviously, it

36

FIG. 4B-Foil pattern of front-end board shown 90% of actual size.

is not advantageous to place this amp in asmall, closed space. If you intend to dothis, you should use some form of forcedair cooling.

Having said all of this, with a total of 10years combined failure -free operation withfour of these units, I am emboldened to saythat they are probably tolerant of someamount of abuse. After all, the prototypeshave woefully undersized heat -sinks, wereplaced near the ceiling directly under 300 -watt light bulbs, and got painfully hot(with no apparent ill effects). I do not rec-ommend such abuse, however. Conser-vatism in design and use are the keys to ex-tended, trouble -free operation. If you areworried about your particular installation,thermal fuses can be placed on the heat -sinks to remove power, thus protectingagainst overtemperatures. Thermal fusesare available in various ratings; for in-stance, 84° C devices can be specially or-dered through Radio Shack (although Ididn't use them in my amplifiers).

Minimize wire lengths between the dri-ver and the MOS-FET gates, between the

Despite abusingthe bit,

I'VE I 1 TEN10 year uie-iree

US MY

MOS-FET drains and the power bipolaremitters, and between the power bipolarcollectors and the supply rails. The leadlength between driver and MOS-FET gateshould be the first priority. The impor-tance of physically separating input andoutput was previously addressed.

Gate resistors R40 through R51 shouldbe attached right at the MOS-FET gates.The MOS-FET heat -sink should begrounded to the chassis, as should the out-put bipolar transistor heat -sinks. This isautomatically accomplished with all -metalconstruction, but double-check with anohmmeter. Bipolars Q36 through Q47 andMOS-FETs Q24 through Q35 should be in-sulated from their heat -sinks with mica in-sulators and silicone grease, as describedfor the p.c. board -mounted heat -sinks.Again, double-check with an ohmmeter tobe sure that there are no shorts from tran-sistor to heat -sink. This, unfortunately, caneasily happen in the course of mountingthe transistors, especially if you shouldovertorque the attachment screws or have afaulty insulator.

Initial Adjustment ana"Operai014

Only two adjustments are required ininitial operation. Before initial power up, itis a good idea to recheck all wiring. The

AUDIO/MARCH 199537

3,_

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FIG. 6A-Output MOS-FET component arrangement. FIG. 6B-Foil pattern of output MOS-FET board,shown 90% of actual size.

TO MJ15024 EMITTER t, FOIL SIDE UP

IRF511 r IRF9521

I-1zz 77////7/7///////7777/)/);-1HEAT - SINK

Fig. 6C-Mounting details for output board.

TC MJ15025 EMITTER

AUDIO/MARCH 199539

This 100 -watt Class -A amplifier is con-structed as a monaural unit, so these partsare for one channel only.

Audio CircuitryAll resistors are 0.25 watt, 1% metal film

unless otherwise specified.RI, R29-2.0 kilohms.R2-51.1 kilohms.R3 -R6---300 ohms.R7, R8-1.1 kilohms.R9, R10-1.2 kilohms.RI 1, R15 -R18--68.0 ohms.R12-682 ohms.R13, R14-43.0 ohms.R19, R20, R31, R32-10 kilohms.R21, R23-30.1 ohms.R22, R24-332 ohms.R25, R26-36.5 kilohms.R27, R28-3.0 kilohms, 2 watts, 5% metal

oxide.R30-120 ohms.R33-16.9 kilohms.R34-1.0 kilohm.R35, R36-2.2 kilohms, 2 watts, 5% metal

oxide.R37, R38-3.9 ohms, 2 watts, 2% metal mc-

ide.

R39--10 ohms, 2 watts, 5% metal oxide.R40 -R51-470 ohms.R52 -R63--0.22 ohm, 1 watt, 5% metal ox-

ide.R64, R65-44.2 kilohms.R66, R67-27 ohms, 2 watts, 5% metal ox-

ide.R68-10.0 ohms.

P1 -200 -ohm, p.c.-mount trimpot.P2 -100 -ohm, p.c.-mount trimpot.

All capacitors are 200-V metal film unlessotherwise specified.C1-3 µF.C2-390 pF.C3, C4-47 pF, silver mica.C5, C6-10 !IF, 16 V, electrolytic.C7, C13-0.1 µF.C8-5 pF, silver mica.C9, C10-10 [IF, 35 V, electrolytic.C11, C12-47 µF, 100 V, electrolytic.

D1 -D9 -1N4148 signal diode.D10, D11 -1N4004 rectifier diode.

Z1, Z2-5.1 V, 1 watt, 5% zener.Z3, Z4-10 V, 1 watt, 5% zener.

ICI-LM334 adjustable current source(National).

Q1 -2N5912 matched dual n -channel 1-FET (Intersil).

Q2-AH5020 analog switch (National);contains monolithic dual p -channel J-FET.

Q3, Q10 -2N2920 matched dual NPN(Motorola).

Q4, Q9 -2N3811 matched dual PNP (In-tersil).

Q5, Q6, Q15, Q16-MPSA92 PNP (Mo-torola).

Q7-SK9428 dual PNP (RCA replacementseries).

Q8-SK9427 dual NPN (RCA replacementseries).

Q11, Q12-SK9467 PNP (RCA replace-ment series).

Q13, Q14-SK9466 NPN (RCA replace-ment series).

Q17-2N2905A PNP (Motorola).Q18-2N2219A NPN (Motorola).Q19-SK9042 PNP (RCA replacement se-

ries).Q20-SK9041 NPN (RCA replacement se-

ries).Q21-TIP29 NPN (TI).Q22-NTE332 PNP (NTE replacement se-

ries).Q23-NTE331 NPN (NTE replacement se-

ries).Q24-Q29-IRF511 n -channel MOS-FET

(IRF).Q30-Q35-1RF9521 p -channel MOS-FET

(IRF).Q36-Q41-MJ 15024 NPN (Motorola).Q42-Q47-MJ15025 PNP (Motorola).

Fl-Fast-blow speaker fuse (see text).

FB1-FB4-Ferrite beads.

Miscellaneous PartsMetal chassis.Panel -mount RCA phono jack.Heavy-duty, five -way binding posts (two,

one red and one black).P.C. boards (two, one for front-end and one

for MOS-FETs).Solderable-pin TO-126/TO-220 heat -sinks

(three).Mounting hardware and insulators for heat -

sink -mounted transistors.Other miscellaneous hardware (stand-offs,

solder lugs, wire, etc.).

SourcesMJ15024/MJ15025 transistors and solder -

able -pin heat -sinks from Arrow Electron-ics (25 Hub Dr., Melville, N.Y. 11747;800/777-2776).

2N2920/2N3811/2N5912 transistors andWakefield heat -sinks from Newark Elec-tronics (see Yellow Pages for local listing).

AH5020, MOS-FETs, resistors, caps, in -rushcurrent limiters, diodes, rectifier, andtransistor sockets from DigiKey (P.O. Box677, Thief River Falls, Minn. 56701-9988;800/344-4539).

Power transformer from Toroid Corp. of

Maryland (2020 Northwood Dr., Salis-bury, Md. 21801; 410/860-0300).

Power Supply and Voltage RegulatorsAll resistors are 0.25 watt, 1% metal film

unless otherwise specified.R101, R102-470 ohms, 5 watts, wire -

wound.R103, R104-47 ohms, 5 watts, wire-

wound.R105, R106-1 kilohm, 0.5 watt, 5% metal

oxide.R107, R108-4.99 kilohms.R109, R110-47.5 kilohms.R111, R112, R117, R118-7.68 kilohms.R113, R114-1.5 kilohms, 2 watts, 5% met-

al oxide.R115, R116-12.1 kilohms.

C101-0.01 µF, 1 kV, disc ceramic.C102-50 µF, 50 V, electrolytic.C103, C104-Computer-grade electrolytic

filter cap (see text).C105, C106-470 µF, 63 V, electrolytic.C107, C108-1,000 µF, 150 V, electrolytic.C109, C110-0.1 [IF, 100 V, film.

D101 -D104 --1N4004 rectifier diode.

Z101-24 V, 1 watt, 5% zener.Z102, Z103-75 V, 5 watts, 5% zener.

Q101-TIP29C NPN (TI).Q102-TIP30C PNP (TI).Q103, Q107-MPSA05 NPN (Motorola).Q104, Q108-MPSA55 PNP (Motorola).Q105, Q106, Q109, Q110-MPSA92 13-1,43

(Motorola); substitute 7-V zener as neces-sary.

BR1-600 PIV, 25 -ampere rectifier bridge.

Ti-Power transformer, 80 V, center-

tapped, at 5 amperes.

TM1, TM2-KC011L thermistor in -rushcurrent limiter (Keystone Carbon Co.).

F101 -3 -ampere slow -blow fuse.F102, F103 -4 -ampere fast -blow fuse.

RL1-24 V d.c., 4PDT, 10 -ampere relay(Sigma 76R4-24DC-SCO or equivalent).

S1-SPST, 10 -ampere power switch.

Miscellaneous PartsThree -conductor a.c. power cord.Fuse -holders for F101 -F103 (three).P.C. board for doubler/regulator.Solderable-pin heat -sinks for Q101, Q102

(two).Other miscellaneous hardware (nuts, bolts,

stand-offs, wire, etc.).

AUDIO/MARCH 199540

fusing used should give reasonable protec-tion against many pitfalls, but the best pro-tection is care and caution. Because thisamplifier uses dangerous voltages, youmust exercise care when testing and mak-ing the adjustments. (Editor's Note: Pleasebe careful, as we cannot be responsible ifyou make an error.)

Trimpot P1 should be preset at its ap-proximate midpoint, while P2 should be atits maximum resistance. Maximum resis-tance can be fully clockwise or counter-clockwise, depending on the trimpot'smanufacture. You will have to double-check this with an ohmmeter. Since P2 setsoutput bias level, excessive current can flow

if it is misadjusted. This should only blowthe d.c. fuses, but why tempt fate?

Place a voltmeter across one of the out-put source resistors R52 through R63. Thevoltmeter should be on its 200 -mV range.If you have a second voltmeter, set it to the1- or 2-V range and connect it to the out-put terminals. These initial adjustmentsshould be performed without any loadattached.

Turn power on. If the voltage across thesource resistor is greater than 50 mV, pow-er down and recheck P2 for maximum re-sistance. (The prototype ran about 35 mVat power up.) Measure the voltage acrossall 12 source resistors. They should matchwithin 20% or so; if they don't, either the...... IMO IM NM .......

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MOS-FETs are poorly matched or there is afailure or wiring error. It is prudent topower down the amplifier before movingthe voltmeter probe from each of the vari-ous test points to the next one. One slip ofthe probe with power applied could ruinyour whole day!

Next, measure the output offset voltage.If it is more than a few hundred millivolts,power down and verify that P1 is in themiddle of its adjustment range. If you didnot use the matched J-FETs specified forQ1 and Q2, you may simply have inade-quately matched input transistors. Youmust, however, rule out some other prob-lem before proceeding. If the voltage offsetis reasonable,

MIN

null it to zero by adjustingP1. It is normal for thisvoltage to fluctuate a fewmillivolts, even duringshort time periods.

Now you are ready to setthe output bias to Class -Alevels. Again, place yourvoltmeter on its 200 -mVrange, and again connectthe probes across a sourceresistor. Since R52 throughR63 are 0.22 -ohm devices,the current through them isabout five times greaterthan the level of voltage youmeasure. This is simplyOhm's law: I = V/R =V/0.22 = 4.54 x V. Since wedetermined earlier that weneed 2.5 amperes throughour output, each of the sixparalleled legs should con-duct one -sixth of this, or

about 420 mA. We want our voltage, then,to be 92 mV (420 divided by 4.54); slowlyadjust P2 until the voltmeter indicates this.

Allow the amplifier to come to operatingtemperature; 30 minutes or so should do.Again, readjust P2 for a 92 -mV reading (itshould have decreased somewhat belowthis level during the warm-up). It is not abad idea to recheck the currents throughall 12 output transistors to ensure that nocurrent hogging is occurring. If matchingwas reasonable before, then hogging is un-likely. It is possible for it to occur, however,

especially if one of the MOS-FETs is notfirmly attached to the heat -sink.

At this point, re -zero the output offsetwith P1. With PI set for zero offset follow-ing warm-up, I obtained 50 and 60 mV ofoffset for the two prototypes at power on.This is an acceptably low d.c. drift.

This completes the initial adjustments. Irecommend periodic checks of bias andoffset, but none of my four units have everrequired a readjustment. If you replaceanything other than the fuses, you maywell have to reinitialize these adjustments.

If you have an oscilloscope, a signal gen-erator, and an adequately rated 8 -ohmdummy load, you might want to check outthe amp on the test bench before connect-ing a speaker. However, if it performed asdescribed in the initial adjustment phase, itis unlikely that serious problems exist.Place a fast -blow fuse rated at no morethan 1 ampere in the speaker fuse -holder.Connect a loudspeaker to the output ter-minals and a signal source set to minimumvolume to the input. Power on the amplifi-er; the turn -on transient should be barelyaudible. If the speaker fuse does not blow,carefully turn up the signal source volumeand listen. If it sounds okay, then you areall set.

Commercial amplifiers capable of 100 -watt pure Class -A operation are few innumber-and all of them are very expen-sive. I hope that this project can help peo-ple who, like me, have hi-fi tastes on a mid-fi budget. At the least, I hope it serves togive you some insight into modern poweramplifiers. The project occupied much ofmy spare time over two years and resultedin an amplifier whose objective perfor-mance is superb. The critical test for per-formance, however, will be in the mind and

ears of the listener. A

AUDIO/MARCH 199541

byMichael Bieber and Michael Tearson

e than a decade after its origin.sc stands unique as a major recordny without benefit of distribution.h one of the Big Six companies

%, BMG, Sony, MCA, PolyGram,EMI); in the past decade, the Big Six

rchased virtually all the great inde-

pendcat labels ... Virgin, Geffen. A&M.When it was founded in 1983, Kykodiscwas the only label to offer CDs emclusive-ly, a ...old move, since no record ausinessvisim_ary could then see how totally theCD would replace the vinyl album.

Early releases in-cluded anthologies ofRounder Recordsmaterial and a seriesof several environ-mental albums calledA DLy on Cape Cod.But what put Rykodisc

on tie map as a realplayer was the deal itcut i- early 1986 with F:ank Zappa toreissi_e his back catalog oil CD. Zappascommitment to the fledgling Rykodiscconvinced many industry wags that Frankhad lost it, but the highly -especCul treat-ment his material received and :he pro-ject's marketplace success made ot lets take

notice. Indeed, Rykodisc has purchasedthe appa catalog outright. A year later,Rykcclisc released the previously unissued

The _rFmi Hendrix Experien:e: Live at Win-

terla2d followed by a set Df the HendrixExperience from performances cn RadioOne of the BBC.

The label's class, musicianship, andtreatment of Zappa were key Ectors in

convincing David Bowie to sign his 16 -album catalog over to Rykodisc, where itwas bonus -tracked and released under theSound + Vision ribric.

:n 1991, Rykodisc acquired Hannibaland Carthage Records and associated pub-lishing holdings from Joe Boyd, who then

became director of project developmentand Euro?ean point man for Rykodisc.His labels' catalog of Richard Thompsonalbums and reissaes of Sandy Denny, Fair-

port Convention, Nick Drake, and Kate& Anna McGarrigle classics, plus a variety

of world music andBritish artist titles, was aperfect complement toRykodisc's own holdings.

The next key acquisi-

tion was the ElvisCostello catalog, former-

ly on Columbia. Theinitial release includedCostello's first three al-

bums plus an incendiary 1977 live setrecorded at Toronto's El Mocambo club.

While these titles might give the im-pression that Rykodisc/Hannibal is essen-tially an archivist venture, Rykodisc hasb=n aggressive in releasing new record-ings at the cutting edge, including an earlyrelease by Living Colour's guitarist Vernon

Reid and jazz guitarist Bill Frisell. Texassongman Jerry Jeff Walker remains ex-tremely p:easet with the label.

Other notable artists include Nils Lof-grm. Bootsy Collins, Lloyd Cole, MartinZellar, Mouth Music, Native Americansongwriter/poet John Trudell, and MickeyHart of The Grateful Dead. Husker DU

OPPOSITE: JOE BOYD,

ROBERT SIMONDS,

1THEAUDIO INITERVIEW1

ARTHUR MANN,

AND DON ROSE

AUDIO/MARCH 199543

I LIKE

TO THINK WE PUT OOOOO RI CORDS OUT

BECAUSE WE THINK THE NIUSIC

IS IMPORTANT. - MANN

R 0

founder Bob Mould'scurrent band, Sugar,and Boston's Mor-phine are two of thelabel's most recentsuccesses.

The label's con-science has had animpact in the Ameri-can marketplace. Thecampaign to elimi-nate the CD longbox,the costly and waste-ful outer packaging,began with sales &distribution vice pres-ident Rob Simonds.Several of the label'sreleases have benefit-

ed various causes. Adozen or so years

along, Rykodisc is a diverse, vital, thriving labelwith terrific releases in many genres.

In addition to Boyd, Rykodisc's current Big Four includes three ofthe four gentlemen who drafted a plan for success on a cocktail napkinat the 1983 Cannes MIDEM music industry convention: Presi-dent Don Rose, business affairs VP Arthur Mann, and Simonds.Doug Lexa was the only founder to move on to other projects,though his influence lives on in the company's dealings, and itsname. It was Lexa who suggested "Ryko," a Japanese wordmeaning "sound from a flash of light." Recently, Audio Con-tributing Editor Michael Tearson and Music Editor MichaelBieber spoke with the current Big Four at the label's quarterlysummit meeting at Mann's Ardmore, Pennsylvania offices.

Tearson: The place to start is that infamous story abouthow this collaboration began. Don, tell us about thatscene in Cannes, where you wrote up your businessplan on a napkin.Rose: Well, we usually refer to it as the "sacred nap-kin" because there were four of us from different areasof music industry background who found ourselves atthe same café table talking about the advent of the Com-pact Disc.Tearson: This was 1983?

Rose: Yeah. And Rob was looking to expand his audio-phile Japanese import business, for which he was a distributor, intothe world of Compact Discs. We were sharing a room, and he beganto ask me about the label side of things, essentially what's involvedin getting the rights to X, Y, or Z project, because he sensed the de-mand, in the very early days, for a whole lot of stuff that wasn'tavailable at that time. So that discussion expanded to include a cou-ple of other guys, Arthur Mann and our original fourth partner,Doug Lexa, who was involved in Japanese music products . . . im-port, export. And he became our connection to manufacturing be-cause six out of seven of the world's Compact Disc plants were inJapan at that time.

Tearson: At that point, none yet in the U.S.Rose: Correct. And the association was respon-sible for our initial leg up as an independentin being able to even manufacture CDs.

So, to get back to the cocktail napkin.There were four of us having lunch. Rob and Iwere talking about perhaps acquiring some rights tomanufacture CDs. Arthur had his background and contacts inthe legal and agency end of the music business and had a lot of ma-jor label contacts to bring into the picture. So, we had the essentialingredients, we felt anyway, for the foundation, and we wrote themdown on the napkin. The fact that we lived in four completely dif-ferent cities never really occurred to any of us as a difficulty at thatmoment.Tearson: Where is that napkin today?Mann: It's in the vault.Bieber: The first time you heard a CD, or even digital audio, wereyou immediately taken with what you heard or at least with the con-venience of the technology?

Simonds: Well, I brought in a player from Japan, a Sony CDP-101,when they were first introduced-at great expense-because I wasdoing business with Japan, bringing vinyl in. It wasn't like a revela-

tion when I first heard it, because all I had to listen towas a demonstration disc for about four or five

months. But it was very clear to me that forthe audiophile market-the peoplewho were buying high -quality vir-gin vinyl, which was the bulk of thebusiness that I was in-this was go-ing to make that market, the vinylside of the market, quickly obsolete.The fact that it was expensive andthe discs were hard to get wasn't re-ally that significant. It was quiteclear from the outset that this endof the market was going to be verymuch attracted to the new format.As I spent more time with it, it be-came more and more clear to methat it was going to be dramatic, theconvenience aspect, the amount ofmusic, the sheer sonic quality. Eventhe Sony CDP-101, which cost me$1,200, plugged into my relativelycheesy stereo, gave me sonic quality

that my system had never had before, onecomparable to a much more expensive sys-

tem. So, it was pretty clear that there wassomething dramatic about it as well. None of us really imagined thatit would catch on with the mainstream consumer anywhere near asquickly as it did.

Bieber: So, that's quite a gamble when you think about it. Both thehardware and the software, which wasn't readily available in the ini-tial stages, were so expensive but you still wanted to try and launch abusiness based on the CD.

Simonds: Well, it wasn't a gamble at all, actually, though it looks likea gamble in the context of the size of the business we now have.

B

O

O

tS

y

C

O

n

When we started this, it was a modest business that was secondary,really, to all of what we were doing. We had other businesses. Westarted it with the idea that we already knew that the market was outthere to be able to sell "X" number of hundred pieces of almost any-thing that we put out on CD. We didn't have a lot of capital up frontto invest, so it's not like we were risking a lot of money. It was aniche market. But the fact that CDs became as successful, and asmainstream, as fast as they did actually made it riskierfor us. When we started the company we were perfect-ly happy to have this limited, very audiophile -orientedapproach to what we did. That it became so successfulmeant that the idea of starting a CD -only label wasgoing to quickly become irrelevant because everybodywas going to be making CDs.Rose: The success of the company was not at all basedon the mainstream dominance of the Compact Disc.Simonds: But that created more challenges, I think.Rose: Yeah, and you could argue it's a bigger gambleto go into a huge market with lots of intense competi-tion than to be automatically in a position of promi-nence in this tiny market.Tearson: When this whole thing started, did you haveany kind of preconceived idea of where you wanted totake this musically?Bieber: And how tough was it to come up with titles?

Rose: Well, from the very beginning we were distinctfrom almost any other independent label in that wehad already defined our niche as the format. General-ly, the way any label gets started is as being specialistsin a particular type Since we had already definedthe niche as the label, the musical niche was wide open, and just be-cause there were four of us from four different backgrounds, wewere pretty democratic about these things in the beginning. But wetook our inspiration from labels like Island Records in the '70s,which had a vast range of musical styles, all bound together by someperception of quality or value. So we wondered, why couldn't we dothe same? It was really hard because for every time you put out anew release, you had to completely redesign your outreach and mar-keting campaign to encompass different writers, radio station for-mats, and media. So it was a liability in certain respects, but in thelong run it's proven to be a strength.Tearson: This seems to have presented some special problems for dis-tribution in getting the recordings out to the people who would be in-

terested in them. Did it?Rose: Yeah, sure. Because you can't necessarily follow up somethingthat you just did successfully with something that's aimed at a simi-lar target.Tearson: You've set up a distribution company, the REP Company.Has this helped solve the problems in getting the music out there, orhas it created new problems?Simonds: It's given us more control over our ability to get it out

there and, I think, it solves more problems thananything. It's still a challenge. There are still a lot

of records being put out by a lot of companies,and there's a lot of competition for shelf

space. Most record distributors are fueled byhaving hit records regularly; they sell mil -

h

S

lions of copies that don't require our type of education and work.They have their superstar artists, known quantities, that are guaran-teed to sell "X" amount. That really finances the company's abilityto distribute other things, or overshadows, in some cases, their effec-tiveness in doing other things. Our advantages are that we have a

specialized distributor for the type of mu-sic that we put out and control, that we

can hire the types of sales reps thatare more music -oriented, and thatthe distribution company isn'tlooking at other people's priori-

ties and other types ofproduct.Tearson: Increasingly, thisbusiness is a global busi-ness, rather than Americanor British. Joe, a lot of yourfocus is on Europe andmuch of the rest of theworld. Have there been anyspecial problems in gettingRykodisc out beyond theStates?

Boyd: When Rykodisc tookover the Hannibal label,which was my label, Hanni-bal's orientation as a com-pany was very much basedaround Europe. I would say

we were selling 60% of our records in Europe and 40% in NorthAmerica. And I have been based in London off and on, primarilymore on than off for many years, and Hannibal has always had aLondon office since it was formed in 1980. My theory about Europehas always been to try and treat it like the United States of Europe,although that's an oversimplification because there are so many dif-ferent cultures that you can't really do it the same way. You aspire tosimultaneous release in all European territories, to try and basicallyuse the model of jazz labels, manufacture in one place, distributeand don't license, and the whole catalog is always available in everyterritory. That's the approach Rykodisc has taken in Europe as partof its acquisition of Hannibal. I would say it's moderately successful,and we hope it will get more successful.Tearson: Is this eventually going to expand to a global setup?

Mann: No. REP is a U.S.-only distribution setup.Boyd: We use other distributors around the world.Mann: We were very successful in establishing a base in other partsof the world where our repertoire cannot be considered a tradition-al, Western music -oriented catalog. We represent music from allover the world; sounds trite, but the artists that we represent arefrom Hungary, Bulgaria, certain African countries....Tearson: The Mickey Hart series.Mann: Well, certainly the Mickey Hart series. But there are otherworld music titles, on the Hannibal label in particular, that in thosecountries represent the hit in that territory or a very respected musiclane. You can transplant that into other parts of the world and pre-sent it as important music. There's a different process that you gothrough in selling music in different parts of the world.

AUDIO/MARCH 199545

Tearson: What's easier to sell, the hands -down best folk singer in allof Hungary or another rock album of four white guys playing guitar?Simonds: Four talented white guys.Rose: Joe has an acronym, WPSIE projects, which stands for WhitePeople Singing in English. And that's something Hannibal decidedlydoes not specialize in on the basis of that theory.Tearson: Obviously, r-"" rr 4._there have been majorthrusts with key cata-logs-the Zappa, theBowie, the Costello, anda couple of key Hendrixrecordings. The catalogshave been helpful inproviding volume andgive you more ability togo after some of the un-known artists. How im-portant is it, then, to make new artists successful, andhow is the energy split?

Rose: Well, it's all part of being a well-rounded entity.The availability of catalog is limited. On the other hand,it's just as scary from our point of view to be dependent oncreating hits or having breakthroughs with new artists, be-cause so much of what happens in that process is so far out of con-trol. Our M.O. has been to increase our abilities. Our reputation isstaked on the high -profile catalogs. But at the same time it's becomeimportant for us to develop the new -artist side.Bieber: How tough is it breaking new artists?Rose: Real tough.

Bieber: In the video markets, as well as for radio?Rose: Well, anything that pits us head -to -head against the majors-the primary activities of the majors, I should say-takes us furtheraway from developing niches, where our small size and sensibilitymake us be better than they can be.

Mann: Well, we just have

WE'RE NOT LIKE

A SMALL VERSION

OF A MAJOR

RECORD COMPANY;

WE'RE SOMETHING

COMPLETELY

DIFFERENT.

Ct. -ROSE

to find and try to signnew artists that aren't go-ing to be promoted withmainstream radio andvideo. Because we alreadyknow going into it thatwe're up against somevery, very big and power-ful people that have a lotmore money than we doto spend. And the typesof artists that we tend tosign either have estab-lished a base that we canbuild on or have a certainunusual approach thatmight get us some non-

traditionalpublicity or

C)media at-tention.

It's not that we don't want one of our artists to have a video or hisown taped show on MTV and to be prominent on radio. It's theroute you take to get there that's different for us than for a major.Boyd: We need something to be unique, the only one of its kind, sothat we're not actually in competition. There is nobody else doingwhat Mickey Hart is doing. John Trudell is a completely unique

artist. There is nobody else like Outback or Morphine.Tearson: From my own experience of working at a main-stream rock 'n' roll radio station, I know that a lot of thestations' thinking of what they're going to pick comesfrom label support of a given record. So this again putsyou right up against the Big Six in a tough way.

Rose: I think it even puts us at a disadvantage just be-cause of the perception of the kind of support that we'reable to give. Just because we're independent, it's pre-sumed to be lower than that of the majors. I still believe

that the mainstream media will have reservations about the abil-ity of an independent company to support a mainstream rock

act to the level that the majors do.

Simonds: When we signed Bob Mould, we signed withouthaving heard the Sugar record, and I think that it wasn't

under the idea of "Let's sign Bob Mould because he's the kindof artist that could make a great mainstream rock record that wecould successfully sell to mainstream rock radio and get a video onMTV." Arthur's point is that if an artist delivers that type of arecord, we're going to work just as hard, if not harder, as any otherrecord company to get those things for that artist.Boyd: I think one of the reasons Bob Mould came to a parting of theways with Virgin and came to Rykodisc was because Virgin was try-ing to be major label-ish with him and say, "Your last record onlysold X; you need to multiply that, so therefore you need this type ofproducer." A lot of heavy major -label A&R-ing was going on, whichhe had no interest in. The main thing was that we gave him the free-dom to do the record that he wanted to do.Mann: The majors put music out to satisfy the pipeline that's beenestablished by major radio and the TV outlets. I like to think we putrecords out because we think the music is important.Bieber: Here's a hypothetical situation: Michael Bolton has deliveredhis last record to Columbia. . . .

Rose: No. Next question.

Bieber: He says, "I want to sign with Rykodisc; they do great work"Here's a guy who could contribute immensely to the bottom line, andhe singles you out.

Rose: We could debate forever, you know, why Michael Bolton? Heis good, he is bad; is he fish, or is he fowl? But I think the questionthat's really important here is "Why Rykodisc?" And I would say,"No," not out of something snobbish about that kind of a main-stream artist, but about knowing who we are. And just knowing thatto realize the fullest potential of an artist of that character does notcorrespond with the abilities that we've developed here at Rykodisc.Tearson: This is then one way in which Rykodisc maintains its inde-pendence and its own character in the marketplace.Rose: Knowing who we are, you know.Tearson: And knowing who you aren't.

Rose: Yeah, good point. I mean, we're not like a small version of amajor record company; we're something completely different. We'rea medium-sized record company and proud of it.

S

U

a

Tearson: Regardless of their status right now, what in your variouscases might be a dream artist's catalog that you would like to acquire

or work with?Rose: I would have answered that question at almost any point overthe last 10 years with "Elvis Costello."Simonds: There are, also, the types of artists that we think wouldlend themselves very well to the types of things that we do and whomay not be our individual personal favorite artist.Boyd: One of the prototypical things that we would have liked tohave done was the Jimi Hendrix catalog. That would be the kind ofthing that we would be really proud to be associated with.Tearson: You've done real well with the two Hendrix releases youhave. Are they going to stay here, or are they ultimately going to bemoving over with the rest of the catalog?Rose: Ultimately they'll be moving over. It was a whole catalog MCA

purchased.Tearson: Now, suppose an important jazz, blues, or R&B catalog be-

came available. Would that be of interest?Rose: Sure. It's not so much the genre. You have to look at the spe-cific thing and compare it to our marketing strengths and see ifthey're compatible. Does that extend to R&B? Sure, insome cases, and probably not in others.Tearson: Jazz has been a very small part of what you'vedone. Is that just a matter of fate?Rose: For us, there are fewer opportunities in those genres,whereas we can jump into world music and do very well init. We're perhaps the most successful group of labels with-in the world music genre. Jazz and classical, I think, aretougher that way.Boyd: We're all jazz fans.Simonds: That's probably the one genre that we all sharethe most enthusiasm for. But we did try some things in theearlier part of the company's history and really found thatthe label identity to a jazz consumer is so significant thatfor us to really get serious about jazz, we would have to ei-ther put in a tremendous amount of effort and build a cat-alog and build a name for ourselves, or ...Tearson: Or possibly start a separate label.Simonds: Possibly a separate label. Or even better, as you suggest-ed, if an established label catalog became available to us, thatwould be probably the ideal way to get into the jazz market. [Editor'sNote: Rykodisc has since purchased the Gramavision catalog.-E.P.]Tearson: The visual aesthetics of the company over the years have been

quite innovative. The green jewel box tray has become a trademarkand helps the label's identity in the store because it stands out. Andthe box sets you've done have been very distinctive and very vibrantdesigns-a Grammy for Bowie's Sound + Vision box. The box setsare obviously a higher ticket in the store. How hard is it to come upwith a design that will catch the eye and, hopefully, the imagination?Rose: It's not hard at all.Simonds: The hard part is coming up with a design that is afford-able, even with the higher priced box set, because you can go nuts, ifyou want, with design. The challenge of the Bowie box, in particular,was we had an incredible genius design given to us by a very talentedgraphic designer. When we first saw it, it was like, "It looks incredi-ble, but how the hell are we ever going to make this thing so that itwill be affordable once the product actually gets out there?"

Ma

t

n

r

ze

Tearson: Rykodisc started as a CD label and eventually added vinylfor a while, and occasionally cassettes as well. Now we have the other

emerging formats, digital tape and the MiniDisc, neither of whichhave really taken off rapidly, yet you've been active with them. Willthey have a chance to take off and become as important as the CD? Isthere something else on the horizon that will be more successful than

these things have been?Rose: Well, you know, the CD had a real need in the marketplace de-fined for such a thing. Lifestyles were changing; the baby boomerswere growing up, and people were moving into smaller spaces. Thewhole digital information thing was on the cusp; the CD walkedright into it, and people responded to it because it met a lot of needsthat preexisted. There's much less of a need from a consumer'sstandpoint to go beyond that at this moment. We're involved on thebasis of being intrigued by the technology, and we like to have asmuch experience with the emerging technologies as we can. Howev-er, I think that combined with the lack of consumer need, thebiggest problem with the success of either DCC or MiniDisc is thatthere are two formats that are being promoted simultaneously.

Tearson: Competing forthe same niche.

Rose: It adds up to totalfrustration and even hos-tility, I'd say, on the partof the consumer, whosays, "What are these guys

trying to sell us now?"And meanwhile the com-plete read/write CD sys-tem, at a popular price,might just be around thecorner. That would solveall the format compatibil-ity issues. There is reallyno rush that we foresee.Bieber: So you were plan-ning to release your titleson DAT when the wrenchwas thrown into the ma-chinery?

Mann: We had the first commercially available DAT, did we not?

Rose: First sampler.Bieber: Were you hoping that DAT would be a format that wouldhave presented itself to the marketplace?Rose: We didn't really have a hope that DAT would succeed; we werejust prepared to deal with it in the event that it did.Tearson: Summing up here, five years from now do you foresee a ma-

jor change in Rykodisc, in its philosophy?

Rose: I hope not.Bieber: Are you happy with the current state of the company, regard-ing size, amount of business that you're doing, things like that?Rose: Of course. Do we hope to expand our opportunities and shareof influence? Of course.Simonds: There are certainly days when we feel like we've created amonster, but all in all, we're quite happy.Mann: We're very optimistic.Simonds: No, ecstatic. A

AUDIO/MARCH 199547

Sunfire

Poet Liicrgt"

Suu 200 :SOO

""

Load Invariant High Fidelity Stereo Power Amplifier

Imagine. A muscular 600 watt amp with the soul

0

Current output:

0The new Sunfire stereo amp:

It's not a 9 watt triode of course, and we wouldn'twant it to be, but it does share a very importantcharacteristic with one. It incorporates the current -

source (high output impedance) property of a triode-- the very property that is the dominant factor (per-haps ninety percent) of the sonic magic that makeslistening to classic vacuum tube amplifiers so muchfun. So when you choose our current-source outputconnections for your system, you'll have a sumptuoushigh end, and a midrange that positively glows.

Sunfire Corporation

sonic magic by Bob Carver.

At the same time, the new Sunfire amp, with itsuncanny tracking downconverter, has the ability toraise goose bumps with its awesome power. Using 12herculean International Rectifier Hexfets, it candrive any load to any rationally usable current orvoltage level.

A choice of outputs.

You can connect most speakers to the voltage -source

from the mind R soul of Bob Carver

* F.T.C.: 300 watts continuous per channel, both channels driven into 8ohms from 20 Hz to 20 kHz with no more than 0.5% THD

of a 9 watt triode.

Voltagc output:

404.

output, with its near zero impedance, to experience

the powerful dynamics and tight bass you've alwayswanted more of.

Or let's say you own electrostatic, planar magneticor ribbon speakers, then connecting the higherimpedance current -source output can coax forth asensuous, delicately detailed musical voice associatedwith low -powered classic tube amplifiers.

Or if you're able to biwire, you may just arrive atthe best possible interface: voltage output to woofer

Price: $2,175

Inputs are gold XLR balanced and gold RCA standard.

for incredible bass whack, current output tomidrange and treble for a huge three-dimensionalsoundstage with detail retrieval so stunning thatyou will often hear musicians breathing.

Each choice will reveal the delicate musical soulthat complements this amp's astonishing muscle andcontrol. And each will lead to a multilayeredsoundstage so deep and wide it will take yourbreath away.

Performance that's difficultto believe.

The basis for all this is designer Bob Carver'sversatility. He's worked successfully for over twentyyears with both tube and solid state designs, and heunderstands the intrinsic subtleties of each.

For the new Sunfire, he insisted on an enormous138 ampere peak -to -peak output current capabilitywith 600 watts rms per channel continuously into 4ohms* and 2400 watts rms into 1 ohm on a time -limited basis. Courtesy of 24 massive Motorolatriple -diffused output devices, each capable of 20amperes without taxing current reserves.

Imagine all that in a single amp. Or better yet, visita Sunfire dealer. That's where you'll hear for yourselfhow it all comes together.

Dealer inquires invited. (206) 335-4748 Ask for Bob Carver.

For more information on the Sunfire, and especially the uncanny tracking downconverter, use the readerservice card or write to Sunfire Corporation, PO Box 1589, Snohomish, WA 98290


EQUIPMENT PROFILE

MARANTZSR -92 Mk II

A/V RECEIVER

...M -

Ile IP1-F1 f.A1.40 OP .0 .1111 MP .116nit

INS

min 110

Ma.

1111111111111111111111111

Many audiophiles view au-tomation with a jaundicedeye. I don't subscribe to thatnotion, but there are timeswhen you can do for yourselfbetter than some automaticthingamajig can do for you.Take the case of adjusting in-put balance on a Dolby ProLogic decoder. Most products

do the job automatically, presumably onthe manufacturers' assumption that con-sumers are too lazy or too dumb to do itthemselves. That may be true for the massmarket, but it doesn't necessarily apply to'philes of the audio or video persuasion.Marantz apparently counts itself in the lat-ter camp, for the SR -92 Mk II is the firstA/V receiver to come my way in some timewith user -operated input level and balancecontrols. I doubt that this is a matter ofsaving a few pennies; gain -control chips areprobably far cheaper than potentiometersand knobs.

Proper input balance is essential for ob-taining best separation among the five ProLogic sound channels; a proper mating ofinput level with processor circuitry gain,while less critical, impacts the dynamicrange you can expect from the finalpanoply. Today'sgain -control chipscan probably obtainclose to .optimumdynamic range, butthe same can't besaid for their han-dling of channel bal-ance, where DolbyLabs' permitted tol-erance can reduce separation from up-wards of 40 dB to, perhaps, 20 dB.

The Marantz SR -92 Mk II distinguishesitself from run-of-the-mill receivers in oth-er respects as well, especially with its tuner,which harkens back to the good old dayswhen audiophile receivers were expected tohave close to state-of-the-art tuners. Alas,

many of today's AN receivers are pedestri-an at best in this area, which makes mestand up and take notice when one thisgood comes my way. But I'm getting aheadof myself.

The SR -92 Mk II is rated at 110 watts ineach main front channel, 75 watts in thecenter, and 35 watts per channel in the sur-rounds-all with 8 -ohm loads. With 4-

ohm loads, power bumps up to 140 wattsper channel in front, 120 watts in the cen-ter, and 55 watts per channel in the sur-rounds. Receivers today lean toward pro-viding equal power for all three frontspeakers, but Marantz contends that this isunnecessary; they say that most customersuse a small center speaker and so theprocessor should be operated in the "Nor-mal" center mode, which redistributes bassenergy from the center to the main frontspeakers. Argument noted-if not neces-sarily bought completely. Marantz alsosuggests that some receivers specifyingequal power for the three front channels atlower rating than for a standard stereo pairactually have similar power distribution tothe SR -92 Mk II. No matter, because thepower difference (front sides to center) inthe SR -92 Mk II is less than 1.7 dB, not ex-actly overwhelming. And Marantz providesa decent total of 70 watts for the sur-rounds, somewhat more generous thanmany other A/V receivers.

Control LayoutIn addition to Dolby Pro Logic surround

for movies, the SR -92 Mk II has two musicsurround modes ("Matrix," which sends a

delayed difference sig-nal to the rear, and"Hall," which routes adelayed summed signalrearward) plus simu-lated stereo to jazz upmonaural programs.Modes are chosen bytapping the "Mode/Surround" button

(second from left in the array above the in-put control knobs) until the desired legendappears in the display. The "Mode/Center"button, just to the right, chooses among -c?°four center options: "Normal," "Phan-tom," "Wide," and "Off." (The last is used

wl

when adjusting the input balance control 12situated below and to the right of the mode 4

THE MARANTZ

DOES A FINE JOB

OF DECODING

AND DELIVERING

MOVIE SOUND.

AUDIO/MARCH 199550

buttons. The idea is to switch off the centerand adjust balance for minimum dialog inthe two main channels.) The input levelcontrol, to the left of input balance, is ad-justed until the input level "Peak" indicatorflashes occasionally on loud passages.

To the left of "Mode/Surround" is a"Multi Room" button that, in conjunctionwith Marantz accessories, permits listeningto the same (or a different) source in an-other room. Above the "Multi Room" andmode switches are buttons to engage eitheror both of two pairs of main speakers. Sim-ilar buttons to the right allow dubbingfrom tape to VCR 1 or from VCR 1 to VCR2. A final small button engages the "TestTone" sequencer for balancing the fivespeakers.

Physically similar to the mode and"Multi Room" buttons, and clustered to

their right, are the input selectors. The firstthree-"FM/AM," "CATV," and "Mode"-affect the tuner, which has inputs both fora 75 -ohm FM antenna and for cable televi-sion. The "FM/AM" button toggles be-tween AM and FM reception using the FMantenna, "CATV" switches to the CATV in-

put, and "Mode" toggles between automat-ic stereo and mono reception. Three audioselectors come next-"Phono," "CD," and"Tape MONI"-followed by four A/Vchoices: "LD," "VCR 1," "VCR 2," and"Video," the last of which selects the front -panel inputs at the extreme lower right. Be-low the input selectors are bass, treble, andbalance controls and a "Bass EQ" switch,which engages a boost that is centered atroughly 60 Hz.

Sandwiched between the display and themotorized volume control are a cluster of

SPECSAMPLIFIER SECTION

FTC Power Rating, Stereo Mode (BothChannels Driven, 20 Hz to 20 kHz):110 watts/channel at less than 0.09%THD into 8 ohms, 140 watts/channelat less than 0.1% THD into 4 ohms.

Power Rating, Five -Channel Mode:Front left and right (both channelsdriven, 20 Hz to 20 kHz), 110watts/channel at less than 0.09%THD into 8 ohms, 140 watts/channelat less than 0.1% THD into 4 ohms;center, 75 watts into 8 ohms, 120watts into 4 ohms; surround, 35watts/channel into 8 ohms, 55watts/channel into 4 ohms.

S/N, A -Weighted: MM phono, 75 dB;line, 82 dB.

Input Sensitivity: MM phono, 3.5 mV;line, 220 mV; front main (left, right,and center), 1.5 V; surround main,1.0 V.

Input Impedance: MM phono, 47kilohms; line, 40 kilohms; maininputs (front, center, and surround),20 kilohms.

Preamp Output Level and Impedance:1.7 V from 0.5-V input; 1 kilohm.

Subwoofer Crossover: 12 dB/octave at70 Hz.

Phono Overload, 1% THD: 120 mV at1 kHz.

FM TUNER SECTION9411111w

Usable Sensitivity: Mono, 13.5 dBf(1.3 µV at 75 ohms).

SIN at 65 dBf: Mono, 76 dB; stereo, 68dB.

Capture Ratio: 1 dB.Alternate -Channel Selectivity: Wide,

60 dB; narrow, 70 dB.Stereo Separation: 40 dB at 1 kHz.THD at kHz: Mono, 0.2%; stereo,

0.5%.Image Resection: 50 dB at 98 MHz.Output Level: 940 mV at 1 kHz for

±75 kHz signal deviation.

AM TUNER SECTIONSensitivity, Loop Antenna: 500 µV/m.Selectivity, ±20 kHz: 70 dB.

S/N: 50 dB.

Distortion at 1 kHz and 30%Modulation: 0.5%.

GENERAL SPECIFICATIONS

Power Ccnsumption: 640 watts.Power Supply: 120 V a.c., 60 Hz.Dimensions: 1778 in. W x 53/4 in. H x

15 in. D (45.4 cm x 14.6 cm x 38 cm).Weight: 34.1 lbs. (15.5 kg).

Price: $1,149.Company Address: 440 Med-_nah Rd.,

Roselle, Ill. 60172.For literature, circle No. 90

IT'S BACK TO THE

GOOD OLD DAYS, WHEN

AUDIOPHILE RECEIVERS

HAD STATE-OF-THE-ART

TUNER SECTIONS.

buttons that operate the tuner and certainother functions. The 10 -button alphanu-meric keypad is used to set the clock, to en-ter station names, and to recall presets; the"0" also serves as a "Clear" button in sever-al modes. To the left of "0/Clear" is a"Memo" button to memorize what you'veentered, and to its right is an "F/P" buttonthat toggles between displaying stations byfrequency or preset number. Below arethree larger pads-"Down," "Tuning/P -Set," and "Up"-that change tuner fre-quency, switch preset channels, and, when"Delay" is pressed, adjust delay time in allsurround modes.

The "IF" button above "Delay" togglesbetween wide- and narrow -band FM re-ception, while the "N.R" button above itactivates a high -frequency blend to quietnoisy stereo stations. "Clock," which is thetop button, displays the time on the frontpanel. "Sleep," to its right, activates a sleeptimer, while the button below it, "AM/PMS./%1,". serves two functions: It toggles be-tween a.m./p.m. and 24 -hour clock displayand also is used to load station names. Tothe right of "IF" is "PS," which scansthrough the preset memory. The final but-ton, "Timer/Check," can be used to setand check the timer and to cancel previoussettings.

On the back panel are F connectors forthe two FM inputs and binding posts forthe (supplied) AM loop. Audio inputs andtape recording outputs have gold-plated

AUDIO/MARCH 199551

marantt SM-9211.11 - FM Quieting G 1-kair Separation vs Fe Level man

mo

20

-40

60

-800

7 OUTPUT '4pAUDIO

CROSSTALK (NR ON)

CROSSTALK (NR OFF)

(..STEREO NOISE (NR ON)

',\S -1r0 NOISE (NR OFF)

si...

MOND NOISE

20 40 60

SIGNAL LEVEL - dBf

Fig. 1-FM quieting andcrosstalk.

mare, z 5P-9.0.11 -

at

0.01

80

runr /..01,1 v 111.1 ea 65 OW

-WIDE I F.

- - NARROW I F. 1111111111111O111111=...=lifEEMENCON-=-MEMEETSTEREO

EsesimmEmosmmmEssos111111111111111111.1111011l111111111111M1111

111111.11111.1.111M.111111111.150 100 lk

FREQUENCY - Hz

Fig. 2-FM THD + N vs.frequency.

-'50

10

'L-1 20

30

-40

100

10k 20k

A11 II. RESPONSE.),

AM RESPON't- r\C HC SST A_

(NODE :, NR ONI re

NMIi

-...... r' .i',S 1 i.,_0. F ) ;7 -,:-41, . , JR

R I `,TAt ...,

t Nia,,,,J\tv t- /20 100

Fig. 3-Tunerfrequency responseand FM crosstalk.

k

FREQUENCY- Hz

10k 20k

...... z Sn-e3 k, 0 ono 5.w,, soorm - smo laB, vs era, O.

2

O

2SI Woo FE

I MIMIPHONO TO SPEAKER

PHONO TO TAPE OUT

I MilliCD TO SPEAK

1

ER

10 100

FREQUENCY- Hz

Fig. 4-Frequencyresponse, CD and phonoinputs and subwooferoutput.

10k 100k

RCA jacks; composite -video con-nections are standard RCA jacks.The LaserDisc, VCR 1, and front -panel video inputs have S -videoconnectors as well as pin jacks forcomposite video, and there's an S -video output to record on VCR 1.Of course, an S -video connector isprovided for the main monitoroutput, and there are composite -video phono jacks for it and a sec-ond display.

Each of the five preamp out-puts-front left/right, center, andsurround left/right-is externallylinked to its power amp input, soyou can readily upgrade to a morepowerful front amplifier and usethe internal front amps to providemore drive to the surrounds. Con-necting a powered subwoofer isequally simple, thanks to a filteredline output for that purpose.

A pair of RCA jacks near "Sub -woofer Out" permits the SR -92Mk II to be daisy -chained withcomponents that use Marantz'sD -BUS (RC -5) remote control toprovide integrated control of anentire system. A "Multi Room"jack is provided to interface withMarantz's multiroom accessories.Reasonably heavy-duty multiwaybinding posts are provided for twopairs of main front speakers; how-ever, the posts are not on standardcenters, so GR-type dual -bananaplugs can't be used. The surroundand center speakers connect tospring -loaded clips; a second set of

clips (below the surround termi-nals) powers speakers in an outly-ing room when the receiver is inthe multiroom mode. Threeswitched outlets (100 watts totalpower) and one unswitched outlet(150 watts maximum) completethe back panel. The Marantz SR -92 Mk II comes with an imposing70 -button, three -switch, universalprogrammable remote.

MeasurementsAlthough the SR -92 Mk II is,

first and foremost, an "A/V" prod-uct, I can't help beginning the dis-

cussion of my bench tests with the tunersection, since I find it impressive comparedwith most others in today's market. It'srather rare, these days, to be offered achoice of i.f. bandwidth and a noise -reduc-tion (blend) option to trade stereo separa-tion for lower hiss. Even with the wide i.f.,however, Marantz's tuner is more selectivethan average. I measured adjacent -channelselectivity of 9.4 dB and alternate -channelselectivity of 65.5 dB in that mode and 15.5and 82.5 dB, respectively, in the narrowmode. Image rejection (51 dB) wasn't af-fected by i.f. bandwidth, but capture ratio

THE AM SECTION'S

WIDEBAND RESPONSE IS

AMAZING, ACTUALLY

MAKING IT ALL THE WAY

OUT TO 10 kHz.

and, to a lesser extent, AM rejection were.Capture ratio clocked in at a very good 1.1dB with the wide selection and degraded toonly 1.7 dB with the narrow choice. TheAM rejection figures were arguably betterthan average, too, at 63.2 and 62.7 dB, re-spectively. Overall, this tuner should han-dle multipath conditions unusually well,especially in wideband operation.

The FM front-end also had excellentsensitivity, with 50 -dB quieting achieved at16.1 dBf in mono and 39.2 dBf in stereo-figures that weren't affected by i.f. band-width. The i.f. can affect IHF usable sensi-tivity (really, IHF unusable sensitivity),which measured 13.8 dBf in the narrowmode and 14.5 dBf with the wider band-width. Marantz's NR (blend) option im-proved 50 -dB quieting sensitivity in stereoby almost 2 dB (to 37.3 dBf) but had anegligible effect on stereo signal-to-noiseratio at 65 dBf (which came in at 67.3 dBwith NR off and 67.5 dB with it on). Inmono, ultimate quieting just topped 70 dB.The i.f. bandwidth usually affects distor-tion rather severely, but that didn't seem tobe the case with the SR -92 Mk II-perhapsbecause even the wideband mode is reallyquite narrow. With NR off, stereo -modedistortion was virtually the same regardlessof i.f. setting: 0.40% at 100 Hz, 0.46% at 1kHz, and 1.95% at 6 kHz. In mono, the i.f.

AUDIO/MARCH 199552

A speaker good enough to be appreciated by almost no one.

The new Infinity Reference

Standard Epsilon is designed to

appeal to an exceedingly small

segment of the population:

the impossible to pease, highly

critical, uncompromising

listener. Revolutionary in design,

Epsilon performs in a league

previously occupiec only by the

most exotic, and much larger,

multi -enclosure systems.

An entirely new generation of

Infinity's unique EMIK' EMIT

and LEMIM" planar drivers

respond instantaneously to even

the most complex musical

passages. And Epsilon's new

Servo -Controlled IMG woofer,

acoustically isolated within the

enclosure, delivers exceptional

low -frequency response. For a

personal demonstration,

visit your Epsilon dealer or call

I-800-8EPSILON.

InfinityThe I.R.S. F Ion , conaboretton between Infin,n. and 111-eistio Design. H A Ha, ban InternatIonal

- Enter No. 14 on Reade- Servi:te Card

Marnti 9R-9.2.11

5g 10

`:

105

15

n G BOWS GO ROSPOPISO - mspl Ider) ei-eG11421

Ap

7XAS E0

TREBLE CONTROLBASS N

20 100 1k

FREQUENCY -Hz

Fig. 5-Tone-control and"Bass EQ" response.

I-

10k 20k

mentz 30-.1.1[11 1.0. MI re Fr....,t 111. IOW intO an.0.I

001

0.001

MEEEEi.i.---MSEEliii02:1INEIEmmEmelimoimmissonm...11.1=1...11.1.mm....gmahamummommummiompriiiw,111111111111101NIMIIIMMIC1111111110TzREEliii 10 WATTS .ar.mi:::.7;:r.ir.-.4::::=.1.1110,11=MEMiniiiiii=11111.1.1111.M1.1.111111 11ATTS

MINIM 1111111111111111.20 100 1

FREQUENCY - Hz

Fig. 6-Amplifier THD + Nvs. frequency.

al' alz

0.01

0.00102 10

10k 20k

--..EEE=i===-MEEEE11.2a..°M=1511'--===1:111-MEiliiiiffiEMMMIINN=EZINIIIIm=sominomertimm

wasrallimn:;;;;;;ii ==1:11111--ZE

OUTPUT - WATTS

Fig. 7-THD + N vs. output.

2

0

2

-620

100 300

Ap

FRONT

o' CENTER /( WI E

CEONRTMEARL,

II

REAR

1

100 lk

FREQUENCY - Hz

Fig. 8-Frequencyresponse, Dolby Pro Logicmode.

10k 20k

Wean" G.S1-02.4k11 - ProLopic T.10.1111 [rep DOI Srlotned Dat

z a 1

0.0120

gazinuommoolrminalnuiMEM _ 1

RillFRONT (110 WATTS)

tfiggiiiifflIMMESEMigrAT=1TIECIMEZINENIMBEIMI=11111111111111111111111111111111M

100 lk

FREQUENCY- Hz

Fig. 9-THD + N vs.frequency, Dolby Pro Logicmode.

10k 20k

bandwidth did have a slight effectat 1 kHz, where distortion rosefrom 0.11% in wideband mode to0.14% in the narrow band. At 100Hz and 6 kHz, however, the figureswere close to the same-about0.14% and 0.21%, respectively.

What did affect distortion instereo operation was the NR cir-cuit, which, by blending the highs,cancelled many of the noise anddistortion products that were gen-erated in the demodulator. WithNR, THD + N dropped by abouttwo-thirds, to 0.14% at 100 Hz,0.13% at 1 kHz, and 0.41% at 6kHz (although the narrow i.f. in-creased 6 -kHz THD + N a trifle, to

0.52%). But if you're willing tosacrifice separation and choose thestereo NR mode, the tuner quietsfaster, and distortion is little worsethan it is with mono reception.

These results are plotted in Figs.1 and 2. Figure 1 is the normal FMquieting curve, on which I've over-laid the crosstalk (1 kHz) you canexpect with the NR off and on.There are separate stereo quietingcurves for each condition as well,albeit the two are identical from 70dBf up. These measurements weretaken with the wide i.f. setting butwere almost identical in the nar-row mode. Figure 2 is a plot ofTHD + N as a function of frequen-cy (65-dBf input) for all combina-tions of i.f. and NR settings. Since,with NR off, stereo distortion isunaffected by the choice of i.f.,only one stereo curve is given forthe NR -off condition.

Figure 3 shows FM stereo fre-quency response and crosstalkwith a 65-dBf input. Response isonly slightly affected by NR set-ting: +1.06, -0.66 dB from 20 Hzto 15 kHz with NR off (solidcurve) and +1.06, -1.30 dB with iton (broken curve). The i.f. band-width had no meaningful effect onresponse, no effect on crosstalkwith NR on, and a relatively minoreffect on crosstalk with NR off.Three crosstalk curves that did dis-play a difference are shown. In

general, separation with the NR (blend) offis upwards of 24.5 dB from 100 Hz to 15kHz in the wide mode and better than 23dB over that range with the narrow i.f.From 350 Hz up, separation is more than30 dB (wide) and 29.4 dB (narrow). Sepa-ration at 1 kHz is slightly better in narrow(39.8 dB) than in wide (37.6 dB). Activat-ing the NR blends left and right signalsprogressively above 350 Hz, but there's adecent 16.8 dB of separation at 1 kHz and11.1 dB at 2 kHz even with NR on. By 5kHz, separation has diminished to 5.6 dBand drops to 3.6 dB at 12 kHz. Figure 3also shows the AM tuner's amazing wide-

band response. This is the first AM tuner Ithink I've ever measured that really makesit out to 10 kHz. Response is within +3.4,-2.3 dB from 20 Hz to 11.5 kHz!

All tuner measurements were made tothe tape output and so were not affected bythe tone controls. I also checked pilot andsubcarrier levels there (which is where theycount), with great results. The 19 -kHz pi-lot was at -54.3 dB, and the 38 -kHz carrier

THE NUMBERS SHOW

A POTENTIAL

MAIN -CHANNEL

DYNAMIC RANGE

OF 100.3 dB.

was 52.8 dB down. This is a tuner you cantape from without having the recorder'sDolby circuit mistrack, even on cassettedecks that lack effective filters of their own.

I made a point of mentioning that thetuner measurements were taken at the tapeoutputs because all other measurementswere made to the speaker terminals and in-clude the effect of the tone controls. Unfor-tunately, the tone controls can't be defeat-ed-one of my few quibbles with theMarantz SR -92 Mk II.

Figure 4 shows frequency response fromthe CD and phono inputs (the latter cor-rected for the RIAA curve, of course), aswell as the characteristics of the low-passfilter on the subwoofer output. The curvesshown were taken on the left channel; theright responded in the same fashion.

Including the effect of the tone controls,response from the CD input is flat within

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+0.56, -0.30 dB from below 10 Hz to 20kHz, with a -1 dB point at 27.5 kHz and a-3 dB point at 43.7 kHz. Phono responseafter RIAA correction is roughly similarover its expected range, except for a bitmore low -end roll -off. It's within about±0.75 dB from 26 Hz to 20 kHz and down1.42 dB at 20 Hz. (Although the curve isn'tshown, I also checked phono response atthe tape output. It was a good bit flatter:±0.35 dB from 42 Hz to 20 kHz, -1 dB at26 Hz, and -1.65 dB at 20 Hz.) Crossoverto the subwoofer occurs at 71 Hz (the -3dB point) and attains an ultiniate slope of12 dB/octave.

Figure 5 shows the tone -control rangeand the effect of the "Bass EQ." The latteris a resonant circuit tuned to 53 Hz, with a"Q" of approximately 1.7. When activated,it boosts 53 -Hz response by 13.2 dB andmay be helpful in restoring a bit of bass tosmall bookshelf speakers that can take thegaff. Both tone controls offer a bit moreboost than cut. The bass EQ has a range of+10.1, -8.6 dB at 100 Hz, below which itshelves to a maximum of +10.6, -9.1 dB at20 Hz. The treble EQ elicits an 8.7 -dBboost or a 7.9 -dB cut at 10 kHz, with an ul-timate range of +9.9, -9.5 dB at 20 kHz.

Figures 6 and 7 show, respectively, THD+ N versus frequency (at 1 watt, 10 watts,and rated output) and THD + N versusoutput (at 20 Hz, 1 kHz, and 20 kHz). Fig-ure 6 shows both channels; Fig. 7 was takenon the left, which, at 20 kHz, was slightlyless capable than the right. These measure-ments were taken with 8 -ohm loads, bothchannels driven, in stereo. I also ran curveswith 4 -ohm loads, but they proved so simi-lar to the 8 -ohm curves (except for extend-ing to higher power) that they are notdisplayed.

The general shape of the curves in Figs. 6and 7 suggests that, except at the highestfrequencies, midrange THD + N is morenoise than distortion at up to 80 or 90watts. Above about 5 kHz, distortioncreeps into the 10 -watt curve (Fig. 6), and,at rated power, distortion predominatesfrom about 800 Hz up -but the distortionremains well under 0.02% at 10 watts andpeaks out at 0.04% at 15 kHz and ratedpower.

Output power at clipping measured 145watts (21.6 dBW) per channel with 8 -ohmloads and 190 watts (22.7 dBW) per chan-

nel with 4 -ohm loads. With the IHF toneburst, dynamic power reached 150 wattsper channel into 8 ohms and 215 watts perchannel into 4 ohms, which computes tobe dynamic headroom ratings of 1.3 and1.8 dB, respectively.

Damping factor measured 150 at 50 Hz,and output impedance remained reason-ably well contained over the audio range:50 milliohms at 1 kHz, 80 milliohms at 5

THD + N MEASUREMENTS

INDICATE EXCELLENT

PERFORMANCE FOR

AN A/V RECEIVER.

kHz, 135 milliohms at 10 kHz, and 185milliohms at 20 kHz. It required a 24.8 -mV

signal at the CD input to produce 1 wattinto 8 ohms, 260 mV for rated output.Corresponding figures at the phono input(1 kHz) were 0.42 and 4.40 mV, respective-ly, which is about typical. Input imped-ances were 46 kilohms for CD and 49 kil-ohms in parallel with 165 pF for MMphono, and input overload occurred withan 8.1-V signal at the CD input and with a128 -mV signal (1 kHz) at the phono input.No problems here. Channel balance withthe IHF volume setting was within ±0.024dB, and there was adequate signal at thetape recording outputs: 0.5 V from a 0.5-VCD input, 0.29 V from a 5 -mV (1 -kHz)phono input, and 1.02 V from a fully mod-ulated FM transmission. Tape output im-pedance was a bit high, at 2,850 ohms.

Channel separation from the CD inputswas better than 47 dB from 20 Hz to 5 kHzin either direction and, worst case,dropped to 36 dB at 20 kHz. A noise -spec-trum analysis revealed small, power -line -related hum components at 60 Hz and itsfirst five harmonics, but the greatest ofthese (at 180 Hz) was only -95 dBW. Onthe whole, the SR -92 Mk II's noise spec-trum was as much as 10 dB below that ofsome receivers I've measured. On an A -weighted basis, noise (CD input) was -88.6dBW, which implies an excellent S/N ratioof 109.0 dB re: rated power. The phono fig-ures weren't bad either: -74.1 dBW for anS/N of 94.5 dB.

After adjusting input balance, the DolbyPro Logic system delivered excellent chan-nel separation. I checked all combinationsat 1 kHz; even the worst of them, surroundto center, was a superb 41.6 dB. The bestcombination, interestingly, was the otherway about, center to surround, whichclocked in at 65.7 dB.

Figure 8 shows the response of the de-coder channels in the "Normal" and"Wide" center modes. Main front -channelresponse is within ±0.6 dB from 70 Hz to20 kHz and, at lower frequencies, risesgradually to +2.7 dB at 20 Hz. The centerchannel has about the same high -end re-sponse and doesn't display the low -endrise. In the "Wide" setting, its response iswithin +0, -0.75 dB from 46 Hz to 20 kHz(-3 dB at 21 Hz). In the "Normal" centermode, high -end response is the same, andthe lows roll off at 6 dB/octave below 98 Hz(-3 dB point) as per the Standard. Sur-round -channel response is within ±0.5 dBfrom 35 Hz to 5.7 kHz and rolls off rapidlyabove 6.8 kHz (-3 dB point), with an ini-tial slope of about 36 dB/octave-on themoney. Surround -channel response isdown 1.7 dB at 20 Hz.

Figure 9 shows THD + N versus fre-quency for the various Dolby Pro Logicchannels. The center and surround mea-surements were taken at rated power (8 -ohm loads) using the "Wide" center mode,but I'm showing two curves for the mainfront channels -one at rated power, theother at 25 watts. During my tests, the SR-

92 Mk II would not deliver rated power inthe front channels (with maximum volumesetting) without lighting the "Peak" inputlevel indicator. It would deliver 25 wattswithout firing a warning, so I ran the sec-ond curve at this level. I should point outthat, had Marantz not included the indica-tor (other companies do not), I simplywould have accepted the results of the full -

power measurement. They're not unusual.In fact, THD + N of under 0.065% from 67Hz to 20 kHz (the result for the full -powerfront -channel measurement) is excellentperformance from an A/V receiver! Center-

channel THD + N remains below 0.095%at rated power over the full frequencyrange (again, excellent!), and distortion inthe surround channel, although substan-tially higher (0.6% from 20 Hz to 1.5 kHz),is certainly not atypical.

AUDIO/MARCH 199556

With 8 -ohm loads, front -channel outputpower at clipping (ignoring the indicator)came in at 130 watts (21.1 dBW) per chan-nel; the center topped out at 98 watts (19.9dBW) and the surrounds at 45 watts (16.4dBW) per side. The A -weighted noise levels

with Dolby Pro Logic processing measured-79.2 dBW in the left front, -77.1 dBW inthe center, and -75.0 dBW in the surroundchannel. Tie it all together, and you havepotential dynamic range figures of 100.3dB in the main front channels, 97.0 dB inthe center, and 91.4 dB in the surround.

Use and Listening TestsProperly adjusted, the Marantz SR -92

Mk II does a fine job decoding and deliver-ing movie sound. Its music surround

THE SR -92 Mk II

DISTINGUISHES ITSELF

IN MANY RESPECTS

FROM RUN-OF-THE-MILL

RECEIVERS.

modes are modest but pleasing. Its remotecontrol is complex but competent (with alearning ability that means you're not lim-ited to using particular products whosecodes have been preprogrammed). This re-ceiver's tuner is exemplary. Its power re-serve is adequate, delivering clean, quietsound. Its input complement should satisfymany audio/videophiles (although I, forone, would have liked to have seen thefourth video input replicated on the back,where it would also be useful for perma-nent connection to, say, a satellite receiver).And the SR -92 Mk II is easily upgradable.It's a fine product.

In deciding whether the Marantz is foryou, you have to ask yourself these twofundamental questions: Will you, in fact,adjust input balance and level (from thefront panel, as the controls aren't accessiblevia the remote) whenever you change pro-gram sources? If not, automation will startlooking mighty nice! And if you are the"I'd rather do it myself" type, will youspend your time watching movies or wait-ing for the peak indicator to flash? Onlyyou can answer these questions; I can't.

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AUDIO/MARCH 199557

EQUIPMENT

PARASOUND D/AC-1000D/A CONVERTERAND C/DP-1000

CD PLAYER/TRANSPORT

Parasound has quite an impres-sive and extensive product lineupthese days, including several pre -amps, power amps, CD players andtransports, D/A converters, and awidely discussed subwoofer. Underreview here are the C/DP-1000 CDplayer/transport and the D/AC-

1000 D/A converter. Both are rack -mountwidth and about 3 inches in height.

The C/DP-1000 serves both as a stand-alone CD player with its own built-in DAC(an 18 -bit Burr -Brown PCM67) and as atransport to feed an external D/A convert-er. (It is relatively easy to equip a CD player

with a digital output, which is a smartmarketing move: Start with the CD player,and later add one of our external D/A con-verters!) In addition to the standard high -quality, RCA coaxial phono jack for S/PDIF digital output, my review sample ofthe C/DP-1000 included the AdvancedDigital Adapter Module (ADAM), a $225option that adds an AES/EBU balancedXLR output connector and an AT&T (ST)optical connector. Parasound says that thisis the only user -installable output modulewith AES/EBU and ST outputs they areaware of and that the insertion can be donein less than two minutes. Besides the digital

and analog output connections mentioned,the rear panel of the C/DP-1000 also has anIEC a.c. power cord connector and a spe-cial mini phone jack to accept input froman external infrared remote -control re-peater to allow control from other rooms.Parasound now has a CD changer version,the C/DC-1500 ($650), with all the fea-tures I've just mentioned.

Similar in appearance to the C/DP-1000,the D/AC-1000 D/A converter is one notchdown from Parasound's top -of -the -lineD/AC-1500. At the left end of the frontpanel is a rocker -type a.c. power switch. Tothe right of that, sampling frequency is in-dicated by separate LEDs for 32, 44.1, and48 kHz. A data -error indicator completesthe left section of the panel. To the rightare four momentary -contact switches. The"Polarity Invert" switch is separated by a"De -Emphasis" indicator light from theswitches that select the three digital inputs(two optical, one coaxial). All four switcheshave status -indicator lights. Among therear -panel connectors are the aforemen-tioned three digital inputs (a high -qualityRCA phono jack for coaxial, and Toslinkand ST optical connectors). An IEC line -

cord connector and a pair of RCA phonojacks for analog output complete the rear-

panel lineup.

Looking inside the D/AC-1000, it is easyto see that the designers were pretty seriousabout power supplies, which take up halfof the internal space. One p.c. board hasthree power transformers along with asso-ciated rectifiers, filter capacitors, and filmbypass capacitors. A smaller board sportsfive voltage regulators (all with big heat-

sinks), more electrolytic capacitors, andmore film bypass capacitors. A pair ofsmall p.c. boards behind the front panel in-terconnects or carries the front -panelswitches and LEDs. Finally, we come to themain circuit board. Again, plenty of filmbypass capacitors are in evidence. Thismain p.c. board is populated with numer-ous high -quality parts. All of the rear -panelconnectors are mounted directly to it, withthe exception of the IEC a.c. socket. Theoverall build quality of the D/AC-1000 isreasonable and adequate to the task.

Circuit DescriptionIn the D/AC-1000 D/A converter, the se-

lected digital input signal is applied to the

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When matched with a Carver amplifier(models from basic stereo to multi -channel),the CT -27v lets you direct power to any array ofspeaker combinations -a task for which a merereceiver is woefully undermanned. So you'llachieve wider frequency response and have thedynamic headroom necessary for those explo-sive moments in great movie soundtracks.

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SPECSD/A CONVERTER

Type: 20 -bit, push-pull, eight -timesoversampling; independent for eachchannel.

Frequency Response: 2.5 Hz to 20kHz, ±0.25 dB.

S/N: Greater than 105 dB, typically110 dB.

Channel Separation: Greater than100 dB at 1 kHz.

THD: Less than 0.0015% at 1 kHz.Amplitude Linearity: Greater than 95

dB, typically 98 dB.

Phase Linearity: ±0.1° at 20 kHz.Maximum Jitter (IHF): Less than 50

pS, rms.Absolute Polarity: Selectable, 0° or

180°.

Dimensions: 19 in. W x 3% in. H x111 in. D (48.3 cm x 9.2 cm x 29.2cm).

Weight: 15 lbs. (6.8 kg).

Price: $775.

CD PLAYER

Converter Type: Hybrid, one-bit/18-bit linear.

Frequency Response: 3 Hz to 20 kHz,

±0.2 dB.S/N: Greater than 110 dB, A -weighted.

Dynamic Range: Greater than 100dB.

Channel Separation: Greater than115 dB at 1 kHz.

Low -Level Linearity: ±1.5 dB downto -90 dB.

THD: Less than 0.002%.Wow & Flutter: Unmeasurable.Interchannel Phase Shift: Less than

0.6° at 20 kHz.

Disc Defect Tracking: Up to 2,000

Dimensions: 19 in. W x 41/4 in. H x10 in. D (48.3 cm x 10.5 cm x 25.4cm).

Weight 16 lbs. (7.3 kg).Price: $495.

Company Address: 950 Battery St.,San Francisco, Cal. 94111.


input of the now almost universallyused Crystal SemiconductorCS8412 input receiver. Recoveredoutput signals from the CS8412 arepassed on to an NPC SM5813eight-times-oversampling digitallow-pass filter. Outputs from thefilter feed two Burr -BrownPCM63P multibit DACs, one perchannel. Current -to -voltage con-version is handled by an AnalogDevices AD841 op -amp. A passiveRC de -emphasis network is con-nected between the output of thecurrent -to -voltage converter andthe input of an AD845 wired as avoltage follower. Next, a third -orderanti -imaging low-pass filter is im-plemented in the form of a fre-quency -dependent negative -resis-tance (FDNR) filter. (A morethorough discussion of this type offilter appears in the August 1993 is-sue of Audio, in my review of the PS

Audio UltraLink D/A converter.)These filters use an AD712 dual op -amp for each channel. A finalAD845, wired as a voltage follower,buffers the output of the FDNR fil-ter and drives the outside world.

As previously mentioned, power -supply circuitry in the D/AC-1000is extensive. In addition to thethree -terminal regulators that pro-vide regulated +18 and -18 V, eachsignal channel has a pair of Dar-lington -connected capacitance -multiplier circuits. These circuitsreduce and also filter the 18-V sup-plies to about +12 and -12 V forthe analog circuitry.

MeasurementsMeasurements were first made

for the D/AC-1000 D/A converter.Frequency response with and with-out de -emphasis is plotted in Fig. 1for instrument loading. (IHF load-ing gave substantially the same re-sults.) Since the two responsesshown are so close, one could saythe de -emphasis error, from thepoint of view of the difference be-tween the curves, is essentially zero.However, the way I see it, it's betterto say that the response with

LW6(48r) (Ns)

I f 111

1,

1111:; 4p:

1

WITHOUT DE -EMPHASIS

WITH DE -EMPHASIS

10 100 lk

FREQUENCY - Hz

Fig. 1-Frequency response,D/AC-1000; solid curves arefor left charnel, dashedcurves for right.

0.t

0001

11111. 11 1

80 -kHz BANDWIDTH

20 100

22 -kHz BANDWIDTH

1111 IF I

1k

FREQUENCY - Hz

Fig. 2-THD + N vs.frequency at 0 dB (digitalfull scale), D/AC-1000.

-70

-80

-90

-10020

THD+11(d0r) w 1Hcl

100

Fig. 3-THE) + N vs.frequency and level,D/AC-1000.

-90

11041fillk) (111/S)

I k

FREQUENCY - Hz

-.1101.1

-100 -80 -60 -40 -20

SIGNAL LEVEL - 48

Fig. 4-THD + N vs. signalamplitude at 1 kHz,D/AC-1000.

10k 20k

106 20k

10k 20k

AUDIO/MARCH 199561

DARIMIS3(dbr) w (dEFS)

8

1

z 40

0

-120 -110 -100 -90 -80 -70 -60SIGNAL LEVEL-dB

Fig. 5-Input/outputlinearity, D/AC-1000, for500 -Hz signal.

+1

0

-2

LO/II(42r) w 1/1001.)

LE 11111WITHOUT DE -EMPHAS S,

-" WITH DE -EMPHASIS ''

10 100 lk

FREQUENCY - Hz

Fig. 6-Frequencyresponse, C/DP-1000.

0

0.1

0.01

0.001

I1IMI101) w 77/SaIlia)

10k 20k

20 100 Ik

FREQUENCY - Hz

Fig. 7-THD + N vs.frequency at 0 dB (digitalfull scale), C/DP-1000.

111/81.043(dir) w LIMILIOr)

RECORDED LEVEL - dB

Fig. 8-Deviation fromlinearity, C/DP-1000, usingCBS CD -1 test disc.

10k 20k

de -emphasis is deviant from flat, inthe manner shown. Square and im-pulse waveforms had the usual lin-ear -phase appearance-symmetryabout the center of the impulse or avertical center line of a square -wave

half cycle. Additionally, the ab-solute output polarity was correctwith the front -panel switch in itsnormal setting.

Total harmonic distortion plusnoise versus frequency at digitalfull scale is shown in Fig. 2 formeasurement filter bandwidths of22 and 80 kHz. This technique isgood for seeing how much thewider bandwidth raises the in -banddistortion values, due to out -of-

band noise. In the case of theD/AC-1000, the great similarity be-tween the curves in the area from20 Hz to 1 kHz, where distortion islowest, shows that the out -of -bandnoise contribution is very low. Thiswill also be evident in the wide -

band S/N figures. Figure 3 showshow THD + N versus frequencyvaries with signal amplitude near

full scale (0, -5, and -10dB). To make the presentationmore meaningful, I have chosen toshow THD + N in dB relative tofull scale so that the noise floorwon't vary as a function of thereading-as it would if I were mea-suring it as a percentage of signalamplitude, the way I did in Fig. 2.(For reference, -80 dB is 0.01%,-90 dB is 0.00316%, and -100 dB is0.001%.) As can be seen, the rise inhigh -frequency distortion goesaway pretty quickly with decreasing

signal amplitude. The curves forTHD + N versus signal amplitudeat 1 kHz (Fig. 4) show good behav-ior in this test. Input/output linear-ity looks quite good in Fig. 5,which is a plot of deviation for a500 -Hz signal.

Another look at low-level linear-ity is a noise -modulation test de-vised by Dr. Richard Cabot of Au-dio Precision, which uses alow-level 40 -Hz signal at input lev-els of -60, -70, -80, -90, and -100dB full-scale. For each of these in-

put levels, the output is analyzed by sweep-ing a third -octave f r over the range from300 Hz to 20 kfl; If things are in order,these five curves t isically overlie each oth-er. This was the a- se for the D/AC-1000.

Interchannel crosstalk was outstanding.Crosstalk was equal to or better than 115dB from 20 Hz to 20 kHz.

Signal-to-noise ratios, quantizationnoise, and dynamic range results for theD/AC-1000 are given in Table I. Out -of-band noise is very low, as can be seen in the"Wideband" data. In -band noise was lowenough that one can easily see the three -

state (+1 LSB, 0, and -1 LSB) nature of a-90 dB, undithered 1 -kHz signal on anoscilloscope.

I was unable to get the sampling -

frequency lights on the D/AC-1000's frontpanel to respond to changes in the actual

I WAS ABLE TO GET

SOME OUTSTANDINGLY

GOOD SOUND OUT OFTHE PARASOUND PAIR.

incoming sampling frequency or to mychanging the value of "byte 3" in the datastream's channel -status block to the propercodes for the various sampling frequencies.The 44.1 -kHz light was always on. Para-

sound says this was due to shipping dam-age, which seems reasonable.

A few final measurements for the D/AC-1000: Output voltage at digital full scalewas 3.242 V, somewhat higher than thestandard 2 V for CD players; Parasoundsays current units are set at 2.75 V. Outputimpedance for both channels measuredabout 47 ohms. The a.c. line draw wasabout 200 mA. Overall, the D/AC-1000 ex-hibited very good measured performance.

The performance of the C/DP-1000player/transport was not quite the samecaliber as that of the D/AC-1000 D/A con-verter. (The tests to follow were done withthe CBS CD -1 test CD.) Frequency re-sponse, with and without de -emphasis, isshown in Fig. 6; IHF loading didn't affecthigh -frequency response but did start tohave an impact in the region from 10 to 20Hz. Total harmonic distortion plus noise is

AUDIO/MARCH 199562

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Table I-Signal-to-noise ratios, Parasound D/AC-1000 D/A con-verter. Quantization noise was -92.1 dE in the left channel and-91.1 dB in the right; dynamic range was 95.4 dB in the left chan-nel and 95.8 dB in the right.

S/N, dB-120 dBfs Signal Digital Zero Signal

Bandwidth LEFT RIGHT LEFT RIGHTWideband 91.8 91.9 97.5 96.822 Hz to 22 kHz 93.2 93.5 104.2 105.0400 Hz to 22 kHz 93.6 93.8 107.0 107.6A -Weighted 95.4 95.7 108.7 109.3

plotted in Fig. 7; the high values of distor-tion near 20 kHz are real and are a result ofdifference tones starting to appear, due toaliasing. (Parasound's design decision wasthat a separate anti-aliasing filter would di-minish sound quality.) Deviation from in-put linearity is depicted in Fig. 8. Square -wave and impulse responses (not shown)had linear -phase characteristics. As withthe D/AC-1000, the absolute output polari-ty of the C/DP-1000 was correct. Outputresistance was a rather high 1 kilohm. Aswould be expected, when one repeats thesetests with the D/AC-1000 decoding theC/DP-1000's digital output, the results aregenerally similar to those from the D/AC-1000 itself when fed from the Audio Preci-sion digital generator.

Use and Listening Tests

The C/DP-1000 was used as a CD playerand also as one of the transports (alongwith a Counterpoint DA -11A and a PS Au-dio Lambda) feeding the D/AC-1000, aswell as the Sonic Frontiers SFD-2, Resolu-tion Audio Reference 20, and other (exper-imental) D/A converters.

Analog source equipment used in mysystem during the review period includedan Oracle Audio turntable fitted with aWell Tempered Lab arm and a JVC X-1moving -magnet pickup, used with my owntube phono preamp or a Quicksilver Audiopreamp. Other analog signal sources in-cluded a Nakamichi ST -7 FM tuner and250 cassette recorder and a Technics open -reel recorder. Preamplifiers used included aQuicksilver Audio Unit and Forssell tubeline drivers (and in some listening, I usedno preamp at all). Power amplifiers usedwere a Crown Macro Reference, Quicksil-ver M -135s, and a pair of Cary Audio De-sign CAD -805s. Loudspeakers used wereB & W 801 Matrix Series 3s, augmented

from 20 to 50 Hz bymy stereo subwoofersystem using a JBL1400Nd driver in a5 -cubic -foot portedenclosure for eachchannel.

When I initiallygot the Parasoundequipment, I triedout the C/DP-1000as a CD player first,

because I couldn't get signal lock whencoupling the Counterpoint DA -11A trans-port to the Parasound D/AC-1000 D/Aconverter through an ST glass optical cable.It turns out that the Counterpoint and PSAudio transports have unusually high SToptical output levels, according to Para -sound, who supplies a little adaptor thatspaces the end of the incoming cable out abit from the ST input connector on theD/AC-1000; it took care of this difficulty.

My impression of the sound of theC/DP-1000 as a CD player was quite favor-able. I was able to play certain recordings,which tend to sound irritating on my high-er resolution gear, in a refreshingly listen -able manner, albeit with some loss of ulti-mate resolution.

When I fed the D/AC-1000 from theC/DP-1000 with an ST glass fiber cable, Iwas happier yet. Overall, the C/DP-1000and D/AC-1000 combination had goodbalance from top to bottom, excellent senseof space, well-defined and "tuneful" bass,and an airy, generally low -irritation sound.An especially good -sounding combinationresulted when feeding signals to the CaryAudio CAD -805 single -ended triode poweramps, through the signal selector/attenua-tor in my tube phono preamp. In otherequipment combinations, I was able to getsome outstandingly good sound out of theParasound pair.

Operation of the Parasound equipmentwas pleasurable and easy. I especially likedthe way the C/DP-1000's drawer operated.No problems were encountered save theaforementioned need for the ST opticaladaptor (supplied with the D/AC-1000) foruse with some CD transports.

In concluding, I very much enjoyed mytime with the C/DP-1000 and D/AC-1000.Go out and give these products a listen.

Bascom H. King

AUDIO/MARCH 199564

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EQUIPMENT PROFILE

JVC XM-D1BKMINIDISC RECORDER

Part fish, part fowl, JVC'sXM-D1BK MiniDisc recorderis an intriguing product. If d.c.operation qualifies a device asbeing portable, the XM-D1BKis definitely portable; it comeswith a 6-V, rechargeable nickel -

cadmium battery. But com-pared with some other MDportables, this one is large,and, weighing in at 29 ounceswith battery installed, ratherhefty. Yet its size is what makes

it interesting; this is a small MD deck thateven fumble fingers should find easy touse. To top it off, it is packed with "big -deck" features.

For one, this is a recording deck-notjust a player-that handles both analogand digital sources. The latter must comeat a 44.1 -kHz sampling rate (which is finefor copying CDs but not home -brewedDATs) and arrive by way of an opticalToslink input, since no wired digital input

is provided. Digital copies from the XM-D1BK also are possible via a Toslink out-put, but with the SCMS copy -managementsystem, only first -generation digital -to -dig-ital transfers are permitted. Stereo mini -

jacks on the back (where the Toslinks are

JVC'S XM-D1BKSTRIKES ME AS BEING

A REASONABLY SOLID,

FIRST -GENERATION

MINIDISC SYSTEM.

also located) serve as line -level analog in-puts and outputs, and stereo mini -to -phone -plug adaptor cables are provided.Another back -panel jack, "Compu Link -3Synchro," provides unified system controlif the other components are compatiblewith the "1," "2," and "3" versions of JVC'sCompuLink interface.

The battery snaps into place on the backof the deck, with the connections protectedby a cover when the battery is not used.The battery/cover "Release" button is un-derneath the deck. The supplied a.c. adap-tor (110 to 240 V) serves to charge and/or"refresh" the battery. The refresh cycledrains the battery before recharging, a pro-cedure that helps extend its life and avoidsthe notorious "memory" of nickel -cadmi-um batteries. It takes 31/2 hours to refresh abattery and 11/2 hours to charge it. A fullycharged battery is claimed to provide 100minutes of playback or 80 minutes ofrecording. The a.c. adaptor can also powerthe XM-D1BK via an umbilical cord thatplugs into the back of the deck.

What first attracted my attention to thisdeck was its microphone input, once againby stereo mini -jack (but I can live withthat), and a three -position "MIC LC/MICATT" switch. According to the manual, thefirst two switch positions give a choice ofmike-preamp gain (full or attenuated by 20dB) with unadulterated dynamic range.The third position, "LC On," is chosen "forautomatic sensitivity adjustment," which

SPECSFrequency Response: 20 Hz to 20kHz, ±1 dB.

Wow and Flutter: Less thanmeasurable limit.

Rated Input: Line, 500 mV rms;microphone, 7 mV rms.

Minimum Input: Line, 100 mV rms;microphone, 1.4 mV rms.

Output: Line, 1.2 V rms into 10kilohms; headphones, 10 mW into16 ohms.

Power Requirements: Using suppliednickel -cadmium battery, 6 V d.c.;using supplied power adaptor, 110to 240 V a.c., 50/60 Hz.

Power Consumption: Power on, 9watts; standby mode, 2 watts.

Dimensions: 73/8 in. W x 21/4 in. H x51/2 in. D (18.7 cm x 5.7 cm x 13cm).

Weight: 1.8 lbs. (0.8 kg).

Price: $1,299.95.

Company Address: 41 Slater Dr.,Elmwood Park, N.J. 07407.


AUDIO/MARCH 199566

implies activation of some type oflimiter/compressor to set recording levelautomatically. This would seem to offer thebest of both worlds-unattended recordingwith automatic level control when neces-sary, clean dynamics when you can adjustrecording level yourself.

A reasonably sized "Input Level" thumb -wheel makes it easy to set the recordinglevel, but there's no way to adjust channelbalance. With only seven segments span-ning a 60 -dB range, the dual recording -lev-el indicators leave something to be desiredby way of precision, but the display is gen-erous in size and has good contrast. It isalso well backlit, which makes it easy to

AMONG THE UNCOMMONFEATURES ARE

A DISPLAY THAT TILTS

FOR EASY VIEWING

AND A BUILT-IN TIMER.

read. You can pivot the display up from thecase, so it can be viewed at an angle. Al-though there are only three fixed detents,the display nevertheless remained at anyangle I set it for.

Headphone output is set by a thumb -wheel to the left of the "Input Level" con-trol, and the headphone mini -jack is to theleft of the microphone input. (The latter iscolor -coded, with a red ring to distinguishit from the headphone jack.) An "Input Se-lector" chooses the active input, "Analog"or "Digital," and an adjacent "Hold"switch permits you to lock the current op-erating mode.

The controls described above are on theright side panel; the front carries an"On/Standby" power button and the mainoperational controls: "REC," two-way"Auto Search," "Pause," "Stop," "Play,"and "Eject"-some of which serve dualfunctions. On top is a jog dial and a num-ber of buttons used for editing, displaycontrol, and title entry. During playback orpause, the jog dial permits you to advanceor return to any point on the disc, guidedby the display's indication of track time.When recording a title, a mode selected bypressing the "Title" pad, the jog dial scansthrough the available character set. If you

don't wish to use the jog dial, youcan go through the character set bypressing the "Scroll" key, the sec-ond function of the transport"Pause" pad. Characters can betoggled between upper and lowercase by pressing "Display/CHARA" and entered by pressing"Set." If you happen to make amistake, you can erase a characterby advancing to it with the "Cur-sor" buttons (the second functionfor the two-way "Auto Search"pads) and erasing it with the"Cancel" button (the second func-tion of the transport "Stop" key).

Tracks can be joined, divided,renumbered, or erased by tappingthe "Edit" key until the desiredfunction appears in the display."Join" combines two adjacenttracks, "Divide" splits one trackinto two, "Erase" deletes a track,and "Renumber" rearranges tracksin any desired order. Nothing ispermanent until you press "Enter,"which causes the changes to bewritten to the table of contents.

When recording, tracks can bemarked manually or automatically.The "Track Marking" key choosesthe mode and, when manualmarking is selected, new tracknumbers are recorded by pressing"Set." With auto marking, a newtrack number is recorded for each3-S break in the signal. In play-back, the XM-D1BK offers 32 -track programming with randomplay and the ability to repeat oneor all tracks. There's also an "In-tro" mode that plays the first 15 Sof each track.

The JVC XM-D1BK's internalclock is used not only for unat-tended recording and playback(wake up to music!) but also totime and date recordings as they'remade. This feature is accessibleonly via the infrared remote con-trol, a slimline 24 -button devicethat accesses all transport func-tions and gives direct access to anytrack by its number. (Direct trackaccess is also possible from numer-

ic pads on the XM-D1BK's top

-

L>

'EE'

0

Daaar0/Plav It Iolanda laSrl vs Fratuarney OLD - DSL

Alp

DIGITAL INPUT

ANALOG INP UT

- LEFT------ RIGHT

10 100 k

FREQUENCY - Hz

Fig. 1-Record/playfrequency response.

10k 20k

JVC Su -DIM

az,

1

Z 01

I-

0.01

- gssodda,s, td0LNDO vs freauancv mr1 st 0 dB - OSL

INPUTmmonutimminumem ANALOG

ELIIIIIIMIIGITAL INPUT

NUMMIMOMMIIIIMMEMINMENI11111111111101111111.111111111.

20 100 lk

FREQUENCY - Hz

Fig. 2-Record/play THD + Nvs. frequency.

J. -am 01Bit -

60

70

-80

Reced0/Plat 7140.1,091 vs Laval WM, at 1 kda

10k 20k

Ad

LEFT-RIGHT

ANALOG

DIGITAL INPUT

-100 -80 -60 -40RECORD LEVEL -dB

Fig. 3-Record/play THD + Nvs. record level.

JVC DION -

ce +I

O 0

5O'

-100

-20

neddrO/Plas L aaaaa1tV Errol -WO vs Level 100,1

0

OSt

Aga

ANALOG INPUT

DIGITAL INPUT

-BO -60 -40RECORD LEVEL-d8

Fig. 4-Record/playlinearity error.

-20

The snap -on

battery canhandle up to100 minutesof playback,80 minutesof recording.

AUDIO/MARCH 199567

m-DiSs - Ssa-to-Sals sits entn - Error 10BI v Ler. - OSL

+8

Eg

1 +4

6o

5LLIo -4

B

Ap

-120 -1 0 -100 -90 -80

RECORD LEVEL-dB

Fig. 5-Fade-to-noise test(dither applied).

!VC .-011.04

60

80

>'

J-100

rc

12030 100

-70

Ss ****** nalsis ISsnr ..... Test I Coscl

-60

RESIDUAL NOISE

lk 10k

FREQUENCY -Hz

Fig. 6-Spectrum analysisof test -tone andresidual -noise tracks.

JvC r0.1 OlIfs -

Cei -40

.1 60

BO

100k 200k

Record/Ploy Coons. croei v ....... cy 04,1 - OSL

Ao

ANALOG INPUT

DIGITAL INPUT

20 100 lk

FREQUENCY - Hz

Fig. 7-Record/play crosstalk.

surface.) Clock time is maintained for only10 minutes after power is lost; if the a.c.supply is unplugged or the battery runsdown, you may have to reset the clock. Theclock, which functions on the 24 -hour mil-itary system, can gain or lose up to 2 min-utes a month. Therefore, you should checkit when you set up for unattended record-ing of an important broadcast.

MeasurementsI have a penchant for live recording, so

the JVC XM-D1BK particularly intriguedme. Few consumer recorders sold in thiscountry have microphone inputs, and thisone, being reasonably small and batteryoperated, struck me as ideal for "in cam-era" taping. (Whoops! Discing.) But whenI exercised the microphone inputs in the

10k 20k

lab, I was chagrined to find thatthe overload points were barelyabove the minimum signal neededto make a 0 -dB recording. For ex-ample, with the input attenuatorset at 0 dB and the recording -levelcontrol fully advanced, the XM-D1BK needed 3.18 mV to reachthe 0 -dB level. However, with therecording -level control turneddown, the input circuits stillclipped at 4.26 mV, barely 2.5 dBhigher. With the 20 -dB attenuatorswitched in, the minimum signallevel and clipping point were pre-cisely the same, 29.7 mV. Thismeans that unless you operate therecorder with the level control ful-ly advanced, you'll not be able toobtain a 0 -dB recording level priorto clipping!

The "LC" switch setting essen-tially prevents input overload (it'sa whopping 900 mV in this posi-tion) but at the price of com-pressed program dynamics. Lim-iter/compressors like this are greatfor casual recording but hardlyideal for music. JVC's manual sug-gests that the recording -level con-trol should be advanced fullywhenever you use the limit-er/compressor. Under this condi-tion, I found that the XM-DIBKrequired 1 mV to reach a -10 dBrecording level and that, as signallevel increased, the limiter

clamped the maximum recording level to-0.85 dB. The calculated sensitivity of themicrophone preamp in the "LC" mode istherefore the same as that in the 0 -dB posi-tion, 3.18 mV.

The line inputs are free of overloadproblems (they handle levels in excess of 10V), and my analog measurements weremade from these. The minimum input re-quired to obtain a 0 -dB recording was arelatively high 0.226 V, and I decided tomake all measurements with the recording -level control fully advanced to avoid thechannel imbalance that occurred when thecontrol was turned down.

Frequency response from these analogline inputs is shown in Fig. 1. Ripples inthe right -channel response can be seen athigh frequencies, but the response is still

within +0.43, -0.62 dB from 20 Hz to 18kHz. The left channel is relatively free ofripple, and its response is more uniform.

Left -channel THD + N (in percent) atthe 0 -dB level is plotted as a function offrequency in Fig. 2. It's well under 0.1%over most of the band-with the exceptionof a region surrounding 3 kHz, where dis-tortion and noise jump to a peak of 0.27%.Overall, I rate distortion from the analoginputs as being no more than 0.27% from20 Hz to 16 kHz at maximum recordinglevel.

Figure 3 shows THD + N (in dB relativeto recorded level) as a function of level, us-ing a 1 -kHz test tone. Here, the resultsfrom both channels are shown, since theright channel exhibits different characteris-tics from the left channel near the maxi-mum recording level. At 0 dB, right -chan-nel THD + N hit -50.4 dB (off the scale ofthe plot, and equivalent to 0.30%) whileleft -channel THD + N was about -64 dB(approximately 0.06%).

Figures 1 through 3 also show the resultswhen the XM-D1BK does a direct digital -

to -digital copy via the Toslink input. These

THE JVC XM-D1BK

LOOKS GOOD,

FEELS GOOD, AND HAS

GREAT PERFORMANCE.

tests were made by copying the CBS CD -1test Compact Disc to the XM-D1BK. Asyou can see from Fig. 1, the left and rightresponse curves are almost identical in thedigital transfer, so the rippling right -chan-nel response with the analog inputs isprobably caused by the A/D converter'santi-aliasing filter. Why this should differon the two channels remains a mystery.

The digital transfer posed a puzzle too.When I transferred the frequency sweepfrom the CD -1 to the XM-D1BK, therecorder didn't seem to respond correctlyto the pre -emphasis flag. The CD -1 sweepis recorded without pre -emphasis, i.e., thelevel remains at zero across the entiresweep. The XM-D1BK's display indicatedconstant level in both channels, but therecorder apparently decided to set its own

AUDIO/MARCH 199568

pre -emphasis flag, since, when the disc wasreproduced, the response rolled off in thehighs exactly as one would expect from de-emphasizing a recording that was not pre -emphasized.

The "Digital Input" curves you see inFig. 1 were taken by copying the CD -1'sdiscrete set of test tones instead of thesweep. These tones are also recorded with-out pre -emphasis, but the XM-D1BK hadno trouble deciphering the preambles ofthis set. As you can see, response is quiteflat: +0.41, -0.08 dB from 20 Hz to 18 kHz(-0.74 dB at 20 kHz). I have no explana-tion for why the XM-D1BK had troubleunderstanding the sweep track's pre -em-phasis flag but not those of the tone set orany other transfer I made from the CD -1.However, the error occurred time andagain, and I used two different test discs.When I played a disc that I had transferredfrom the CD -1 using a different recorder,the XM-D1BK's response was flat. There-fore, the problem obviously occurs inrecording, not playback.

As you can see in Fig. 2, THD + N with adigital transfer parallels the results with theanalog inputs except that distortion re-mains low from 2 to 5 kHz with digitaldubbing. In general, it's no more than0.087% from 20 Hz to 17 kHz. The curvesin Fig. 3, of THD + N versus level, are alsobetter with digital dubbing than when theanalog inputs are used. In the digital trans-fer, the two channels perform identically,with a THD + N of less than -63.7 dB(0.065%) from 0 to -70 dB-and if you ig-nore the 0 -dB point, the contamination isno greater than -65.7 dB (0.052%) from -1to -70 dB. The higher levels of THD + N atreduced recording levels with the analoginputs are to be expected because of analogcircuit noise.

Figure 4 shows linearity error whenrecording from the analog and digital in-puts. The error is negligible to as low a lev-el as I could measure; noise precludedlocking onto signals below -62 dB with theanalog inputs and below -70 dB in the dig-ital transfer. To probe deeper, I transferredthe fade -to -noise track of the CD -1 onto aMiniDisc and reproduced the MD. The re-sults, shown in Fig. 5, suggest excellent lin-earity down to -90 dB (although the errormounts considerably at lower levels). Goodlinearity to -90 dB jives well with the mea-

surements I made of dynamic range. Thesecame in at 89.7 dB (unweighted, 93.3 dBwith A -weighting) when dubbing a CDdigitally and 90.0 dB (unweighted, 95.3 dBwith A -weighting) when playing a prere-corded test MiniDisc (Sony MD Audio Test

1 Disc).Although dynamic range and linearity

measured up pretty well, the XM-D1BKleft something to be desired by way ofquantization noise (-67.0 dB from the pre-recorded test disc, -64.0 dB when I dubbedthe CD -1) and in A -weighted S/N ratio,which was actually a trifle better whentransferring the CD (88.3 dB) than whenplaying the test MD (87.5 dB).

Figure 6 is a spectrum analysis of resid-ual noise and of a -60 dB, 1 -kHz tone, twotests contained on the Sony test MiniDisc. Iused the a.c. line adaptor to power the XM-D1BK; hum -related components are con-spicuously absent. The rise in noise power

I EXPECT THAT

THE VAST MAJORITY

Of PEOPLE WILL BE

QUITE HAPPY WITH

THE XM-Dl BK'S SOUND.

above 20 kHz reflects the "noise shaping"used in the XM-D1BK's D/A converter.

Figure 7 shows crosstalk. With the ana-log inputs, separation is greater than 41 dBfrom 100 Hz to 10 kHz; with digital trans-fer, it is greater than 57 dB from 125 Hz to10 kHz.

Among the more mundane tests, outputlevel from a 0 -dB recording was approxi-mately 1.3 V (open circuit) at either theline or headphone output. Output imped-ance was 1,370 ohms (line) and 42 ohms(headphone), which implies a rather gen-erous power output to headphones: 10.8mW into consumer -like, 50 -ohm 'phonesand 2.65 mW into a professional, 600 -ohmheadset. Line input impedance was 43 kil-ohms and that of the microphone preampwas 31 kilohms.

Use and Listening TestsIn my listening room, JVC's XM-D1BK

did a pretty good job on prerecorded Mini -Discs. Put it this way: Without direct corn-

parison to a CD, I expect that the vast ma-jority of people would be quite happy withthe sound. So was I, pretty much, but thenagain, I don't have the world's largestMiniDisc library-and much that I dohave is (shall we say) not all that taxing.

Furthermore, I'm convinced that thesound quality of any perceptual encodingsystem depends, in large measure, on thecomplexity of the encoding algorithm. Isuspect that studio encoders used to createMiniDiscs for commercial release are moreadept than the ones found in consumerrecorders. Certainly, I found more faultwith the discs I dubbed than with the com-mercial genre-but then again, I had theoriginal CDs for comparison. (For therecord, the flag problem that arose on thetest bench did not occur on any of the discsI copied in the listening room.)

Admittedly, the material I tried to dubwas meant to tax a perceptual encodingsystem: Some of it was solo instrument in anonreverberant environment, while otherwas commercial fare of the type thatstrains the wits of an encoder, e.g., fingercymbals buried in a sea of sound. And alsoadmittedly, my tests were neither double-blind nor conducted with a listening panelof sufficient depth to yield scientificallyvalid results. However, the couple of pairsof ears I was able to drum up could distin-guish original from copy fairly reliably on anumber of instruments, particularly thoseof a percussive or bell -like nature (glocken-spiel, castanets, harpsichord, piano, andthe like). Depending on the instrument,the difference could be characterized as adulling of the transient or as an accompa-nying noise puff or "echo." In general, thesound of MiniDiscs made on the XM-D1BK seemed "heavier" and less open thanthat of the original CDs. And often, low-level highs, such as on the finger cymbalsmentioned above, were either absent ornotably dulled when other sounds preoc-cupied the encoder.

All in all, the JVC XM-D1BK strikes meas a reasonably solid, first -generationMiniDisc system. I find it good lookingand good feeling, and I think it has greatergonomics. Its stumbling on the testbench, together with somewhat datedMiniDisc sound and a relatively heftyprice, preclude my giving it the most en-thusiastic support. Edward J. Foster

AUDIO/MARCH 199569

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T

EQUIPMENT PROFILE

KLH V-01REAR -CHANNEL

SPEAKER

he V-01 surround speaker is themost unusual component of theKLH Video Series, which also in-cludes matching front left, right,and center loudspeakers. Each up-ward -sloping side panel of the V-01

holds an 8 -inch woofer and a 1 -inch dometweeter. Billed as a "dipole" speaker (partof the requirements for Lucasfilm's THXcertification), the V-01 is really two speakersystems sharing a common box. In order tobe a dipole, the two systems would have tobe wired in opposite polarity, and this isnot recommended in the instruction sheet.Dipole speakers, when placed on the sidewalls, can provide a very diffuse surroundsound. Wired as directed, the V-01 couldbe called a "bipole" speaker, which is prob-ably a better design for the system's intend-

ed location-behindthe listeners, radiatingsound to the sides.

The rear floor lo-cation should ap-peal to those whowant to avoidmounting a pairof speakers on therear or side wallsand runningwires to them.Here, at last,is a speakerdesigned to beplaced wheremost non -audiophileshave alwayswanted topositionthem-behindthe sofa.

It would be agood idea to pull the sofa out

from the wall a couple feet, so the soundcan reach the side walls to reflect back.

The KLH V-01 hasan attractive trape-zoidal shape, with de-tachable black fabricgrilles on the sides andtextured black vinyl onthe top, front, andback. The back con-tains the two spring -loaded terminal sets,intended for stripped wires, and a singleport, 1.9 inches in diameter.

though the Dolby Pro Logic surround sig-nal is mono. Paralleling the speakers wouldresult in a difficult -to -drive, 4 -ohm load.(Never parallel the outputs of two poweramplifiers to avoid the extra wire run.) Avalley in the impedance curve, centered at46.3 Hz, indicated the cabinet tuning fre-quency and also the frequency below whichcone excursion increased rapidly. No prob-lem here, however, because surround in-formation is attenuated below 80 Hz or so.

The usual anechoic frequency response,measured on the axis of either of the sidepanels, revealed a fairly smooth and ex-tended curve. However, that does not rep-resent the manner in which this speakerwould be used. The frequency response,shown in Fig. 1, was measured in my lis-tening room as it would be heard by a nor-mally seated listener. The V-01 was placedjust above the floor, near the center of the13 -foot -wide rear wall, and the micro-phone was placed at listener height-about5 feet forward into the room and on thecenter line. The response shown has beenaveraged by a third -octave filter; otherwise,dense peaks and dips caused by the roomreflections would obscure the trend. Wetend to hear the spectral balance of thethird -octave measurement, whereas thepeaks and dips are heard as roomacoustics. The curve shows good bass, apeak at 140 Hz, and a treble roll -off.

The Dolby Pro Logic surround signalcuts off above 8 kHz, and a slight roll -off isdesirable anyway for surround sound, sothe treble roll -off is okay. When first mea-

110,

HERE IS A SURROUND

SPEAKER DESIGNED

TO GO WHERE

OST PEOPLE WAN

BEHIND THE SOF

MeasurementsThe impedance, which is not given in

the instruction sheet, would be rated at 8ohms for each section. In most cases, two Use and Listening Testsseparate wire runs will need to be made to The KLH V-01 was installed in place ofthe power amplifier or A/V receiver even my usual pair of dipole surround speakers

sured, the peak at 140Hz was nearly 20 dB!Most of this turnedout to be due to inter-action with my specificroom and listeningposition. I moved theV-01 slightly off thecenter line, raised it offthe floor by 20 inches,

and moved my microphone forward in theroom. The result is the 6 -dB peak seen inFig. 1, which I believe to represent the av-erage of what may be expected in a listen-ing room.

AUDIO/MARCH 199572

CONRAD-JOHNSONPF2 AND MF2300

Solid-StateComponents

Without Solid-StateSound

Too solid-state auto compc,nents

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distort:Jras are not inhoult insolid-state

device-- instead,they are a corsequence

of circtit design and imp-emerniton.

Throu.:h innovative Cir.:Alitdesign and

the use-o= highestquality -parts we have

develord a range ofco-rad-jd-ur.on

solid -slat: products that prove the point.

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er No. 1.)or ReaderService Card

95

90

85

80

75

70

65

6020 100 lk

FREOUENCY- Hz

Fig. 1-Frequency responsemeasured in listeningroom; see text.

10k 20k

in my Dolby Pro Logic audio/videosystem. LaserDiscs were used forthe program material. The testnoise function of my audio/video-receiver was used to set the soundlevels of left, center, right, and sur-round speakers to be subjectivelyequal at my listening position. Inoted that the test noise seemed tocome from directly behind mewhen it cycled to surround. Thesurround delay time was set to20 mS.

FEEL

THE

F THE WORLD'S MOST MUSICALTUBE COMFONENTS

Because I found the amount of per-ceived surround effect to be lacking onLaserDisc material, I increased the sur-round gain by 6 dB. The relative loudnessand the spectral balance of the surroundeffects were then quite pleasant, but thesurrounding spatial effect was lacking. Itsounded as if there was a loudspeaker be-hind me (and, of course, there was). WhenI closed my eyes, I could imagine soundsources arrayed in front of me and just be-hind me, but not to the sides. My dipolespeakers, as well as left and right conven-tional monopole speakers, have done a bet-ter job of creating surround.

The KLH V-01 has its place, however, asa solution to a common installation prob-lem. If you cannot accommodate a pair of

'.111111111111

COMPARED TO MOST

SURROUND SPEAKERS,

THE KLH V-01

HAS FAR GREATER

SENSITIVITY.

surround speakers well off the floor and tothe sides or rear of the listening area, it isworth looking into the V-01. Also on theplus side, the V-01 has far greater sensitivi-ty and sound output capability than mostof the small individual surround speakersnow on the market. David L. Clark

SPECSType: Two-way, floor -standing dipole

surround speaker.Drivers: Two 8 -in. woofers and two

1 -in. dome tweeters.

Frequency Range: 40 Hz to 20 kHz.Sensitivity: 90 dB SPL at 1 meter for

2.83 V.

Crossover: 1,800 Hz, L -C.

Dimensions: 161/2 in. H x 10% in. D x

61/2 in. W at top (41.9 cm x 27 cm x16.5 cm); 151/4 in. W at base (38.7cm).

Weight: 21 lbs. each (9.5 kg).Price: $200 each.

Company Address: 11131 Dora St.,Sun Valley, Cal. 91352.


AUDIO/MARCH 199574MADE IN U. S. A.

YAKOV ARoNov AUDIO LAO, INC. TEL 213.653.3048 FAX 213.937.6905

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MARK LEVINSONNO. 30.5

D/A CONVERTERAND NO. 31

CD TRANSPORT

The Mark Levinson No. 30.5D/A converter and No. 31CD transport are difficult toreview, for a number of rea-sons. First, these products of-fer more technology and fea-

tures than can be described in anyreview of reasonable length. Theynot only have exceptional features asstand-alone items but offer the abili-ty to directly interface, or "link,"with Mark Levinson preamps and

Company Address: do Mad-rigal Audio Laboratories, P.O.Box 781, Middletown, Conn.06457.


amplifiers, allowing one componentin the chain to control various fea-tures in an entire system. Second,Mark Levinson's great strength-perhaps its sonic signature-lies inits search for

neutrality andlack of col-

oration. Thus,it becomes a

challenge for me

to write aboutMark Levinson

equipment.Describing a product as slightlymore neutral or more accurate isscarcely dramatic prose, although itis what the high end is all about.

The No. 30.5 D/A converter costs$15,950, and the No. 31 CD trans-port costs $8,495. It is almost alwaysan expensive trip to go from verygood to excellent, but these pricesmake it clear that it's a very expen-sive trip from excellent to state ofthe art. If you are to keep things inproportion, you must recognize thatyou will pay a great deal of thismoney for small and subtle im-provements. The sonic differences inhigh -end equipment are often de-scribed as if the sound improvesfrom bad (mid-fi) to nirvana (thetop of the line). In reality, diminish-ing returns set in relatively early inthe high end, as they do in manyother hobbies. Sound quality im-proves from good to state of the artin slow steps, with steadily increas-ing jumps in price for steadily small-er improvements in performance.

So many competing claims arebeing made about the technical as-pects of digital sound that they tendto recede into the noise level of a re-view. The firms that are producingthe best -performing D/A convertersand CD players use very differentmixes of digital and analog tech-nologies, and each firm claims thatits approach alone piovides themost sonic benefits.

It is worth noting that MarkLevinson is one of the few high -endfirms that actually designs its digitalequipment from the ground up. Theextremely high level of technical so-phistication is clearly apparent inthe Levinson brochures and whitepapers on the No. 30.5 D/A convert-er and No. 31 CD transport. These

papers are notfilled with gen-eralized claims,and they are allworth readingsimply to un-derstand whatmanufacturers Eactually have to

state-of-the-art digitalequipment. Opening up the 30.5and 31 is also quite an experience. Ifyou want to see why components "4

THE NOS. 30.5 AND 31MAKE A STATEMENT

ABOUT JUST HOW GOOD

THE HIGH END CAN GET.

do to create

AUDIO/MARCH 199576

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like these are so expensive, look inside.You'll find electronic luxury, laid out in aform that might easily qualify these unitsfor installation in an art museum.

In terms of key features, the No. 31transport is a highly automated top -load-ing device that has virtually all of the pro-gramming features known to man, excel-lent vibration isolation and damping, andoutstanding decoding, laser -servo, andpower -supply technology. Equally impor-tant, it has very advanced output circuitry,providing AES/EBU (XLR), S/P DIF coaxi-al (RCA), and ST (optical -fiber) outputs.You get full remote control plus the abilityto link the No. 31's control and display fea-tures to other Mark Levinson components.

The No. 30.5 D/A converter is an up-grade of the No. 30, which has been recog-nized as one of the three or four best con-verters at any price. (Leonard Feldman andI reviewed it in the January 1993 issue.)The No. 30.5 preserves the No. 30's out-standing power -supply technology and thediscrete audio circuitry in the "towers" oneach side of the unit. After extensive com-parative listening tests, Mark Levinson alsodecided to retain the proprietary dual, bal-anced UltraAnalog 20 -bit DACs used in theNo. 30.

Most of the digital technology in thecenter of the No. 30, however, has changed.For $15,950 (or for only $3,000 if you havea No. 30 to upgrade), you get one four -lay-er p.c. board, which replaces three separatedigital circuit boards in the previous mod-el. The new circuitry has much shorterrouting, and elements that can provide upto 24 -bit resolution. The 30.5 has substan-tially less internal jitter and is much lesssensitive to the jitter from an external CDtransport or digital tape deck.

The 25 -MHz pulse transformers in theNo. 30 have been upgraded to 125 MHz, toprovide greatly improved time resolution.The record and monitor digital outputs arenow driven by low -skew RS -485 chips toimprove the symmetry of the leading andtrailing edges of a digital signal-whichimproves compatibility with all types ofdigital recorders as well as the sound quali-ty of digital tapes made with the 30.5. Theselected differential signal is sent to a Crys-tal digital interface receiver (DIR) for de-coding. After decoding, the signal is sent toa microprocessor -controlled NPC5842 dig-

ital filter that has a 24 -bit throughput capa-bility, instead of to a filter limited to an 18-

bit word length. Regeneration of the sam-ple clock uses far more sophisticatedcircuitry, based on a DSP-controlled FIFO(first in, first out) data buffer that incorpo-rates custom-made, voltage -controlled os-cillators operating at reference frequenciesof 256 times the sample frequencies. Thisfeature allows the No. 30.5 to reclock inways that are far less sensitive to the inputfrom a given CD transport, DAT deck, orLaserDisc player. The No. 30.5 can adjustitself in seconds to the long-term clock rateof given discs, and can suppress incomingjitter to the 20-pS level or better. It is alsonow far easier to reprogram the nameshown on the display for each input.

TO SEE WHY

THESE COMPONENTS

ARE SO EXPENSIVE,

JUST LOOK INSIDE THEM.

One of the discoveries I remake often inreviewing high -end equipment is howmuch the state of the art can advance ineven the best equipment. This is definitelythe case in comparing the No. 30.5 to itspredecessor, the No. 30. When I auditionedthe earlier D/A converter, I thought it wassuperb but that its upper octave clarity andtransparency were provided at the cost of abit of dynamic life, midrange warmth, andlower octave energy. The changes in theNo. 30.5's digital circuitry have improvedon the strengths of the No. 30 and correct-ed virtually all of its weaknesses. Low-level

definition and upper octave clarity andtransparency in the No. 30.5 are even bet-ter than they were in the No. 30, which Ihad regarded as providing the best low-lev-el definition and transparency I'd everheard. The No. 30.5 is also significantlymore dynamic, and this added dynamic lifegives its midrange better balance andwarmth. Although its deep bass energymay not be quite as strong as that in myreference units, Krell's Reference 64 andTheta Digital's DS Pro Generation V, theNo. 30.5's deep bass definition is superb.The deep bass is so good and so musically

natural that even bassaholics are unlikelyto register a complaint.

The more I listened to the 30.5, the moreI became convinced that it provides moreupper octave resolution and detail than anyother D/A converter I have ever heard. Thispurity and transparency were particularlyapparent with the No. 31 transport, andsome synergy exists between the two units.To be frank, this synergy was limited, andvaried from disc to disc. The sound of theNo. 30.5 is normally only slightly betterwhen it's used with the No. 31 than whenit's used with another transport, such as PSAudio's Lambda ($1,795). I also was struckby the fact that the Mark Levinson No. 30.5has the ability to provide this purity andtransparency without affecting the life andwarmth of the music. Do not misunder-stand: This component will not add life orwarmth to close-miked recordings, it willnot change steel strings into gut, it will notadd depth to a shallow soundstage or stu-dio recording, and it will not age a modernconcert hall by a century. The No. 30.5,however, does not have the slight trace ofleanness that was a problem in the No. 30,and the dynamics are excellent.

You hear sound that makes low-level dy-namics seem to rise out of total silence,without a hint of vague electronic haze.The 30.5 then offers similar accuracy atevery higher level of musical dynamics, al-ways providing the same natural dynamicenergy in the bass and lower midrange thatit does in the upper midrange and treble.No converter or converter/transport com-bination I have yet heard does quite sogood a job of convincing you that you arehearing all of the detail on the recording.This is as true with naturally recorded DATmasters as it is with CDs. Further, the 30.5has a striking ability to open up and sweet-en the sound of older CDs and of CDs thatseem to have closed or congested soundeven on other top-quality converters-andit does this without rolling off or blurringthe highs. As a chamber music fan, I amoften struck by the fact that some olderCDs seem to lack the openness or air oftheir analog equivalents, and that somecurrent CDs still seem to have problemswith groups of string instruments or evensmall choral voices. As a former (and trulyawful) drummer, I am often struck by how

Continued on page 82

AUDIO/MARCH 199578

Satellite and Subwoofer Speakers:The "Overnight Success" of the '90s.

Overnight, it seems, virtually

everyone has discovered

the advantages of the satel-

lite-subwoofer speaker con-

cept-especially for use in

the home theater.

1994 marks M&K Sound's

twentieth year at the fore-

front of this technology.

After two decades of devel-

oping and refining this con-

cept, we are flattered to see

satellite and subwoofer

speaker systems become

the dominant choice for the

multichannel home theater.

M&K, speakers have been

found in Hollywood screen-

ing rooms (the earliest home

theaters) since the 1970s.

Long acknowledged as

the deep -bass specialists,

we've also been pioneers in

direct -to -disc and digital

audiophile recording with

our RealTime Records

label-the first U.S.label to

release compact discs.

TWENTIETH

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S 1C SatelliteSpeaker

ANNIVERSARY

We celebrate our twentieth

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Combine the S -1C with an

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MILLER 8 KREISELSOUND CORPORATION

10391 Jefferson BoulevardCulver City. California 90232310 204-2854. FAX: 202-8782


CAMBRIDGESOUND WORKS

BY HENRY KLOSSSPEAKER SYSTEM

(ambridge SoundWorks' ini-tial advertisements and pro-motional materials featuredpictures of Henry Kloss, theengineer responsible for themany loudspeaker products

offered by the company. I first metHenry years ago, when KLH was in-troducing the Model Six at the NewYork Hi-Fi show; I tried to take hispicture, and like most engineers, hewas very reticent. I'm sure that hestill prefers to remain behind the

Company Address: 311Needham St., Newton, Mass.02164.


scenes doing what he does best-creating exceptional loudspeakers.But Henry is a member of the AudioHall of Fame because of the manyclassic loudspeaker systems he de-signed, and he should take a fewbows. He engineered the originalAcoustic Research AR -1 based onideas by Edgar Villchur. He co-founded KLH with Malcolm Lowand Anton Hoffinan, and designedthe classic KLH Model Six and otherexcellent products. Later, at Advent,he designed the Advent Loudspeak-er, which is probably the best-sellingloudspeaker of all time. Henry hasalways seemed to be able to get themost out of small, and even tiny,

loudspeakers. I still have a tiny, full-range loudspeaker driver from aKLH Model 8 FM radio that Henrydesigned back in the 1960s; it's aclassic.

When Henry Kloss designs a

loudspeaker system, he is always

able to achieve the seemingly impos-

sible; the Cambridge Sound Works byHenry Kloss is no exception. TheSound Works is a three-piece, full -range, self -powered system with two31/2 -inch cube satellites and a woofer

that measures 8 x 5 x 91/2 inches. It is

designed to be used with CD andcassette players, computers, and oth-er components that have an outputlevel control.

The 4 -inch woofer driver is

loaded on one side by a sealedchamber and on the other side by aported chamber; the bass is pro-duced from the port on one end ofthe cabinet. The control panel, be-low the port, has a power switch, apilot light, a 12-V d.c. input jack, astereo mini -jack input, a bass levelcontrol, and push terminals for thewires that feed the signal to thesatellite speakers.

The three power amplifiers,which are inside the woofer cabinet,include equalizers and crossover fil-ters. With music signals, the wooferamplifier is able to produce about 33watts, and the two satellite ampli-fiers can produce about 8.5 wattseach. The Sound Works system can be

operated from a 12-V battery as wellas from a normal 120-V a.c. powerline. The crossover between thewoofer and the satellites is at about180 Hz.

The nine -page manual has a lot ofgood information, but it doesn'tspecify what sound pressure levelyou can expect for a given inputvoltage. I made a number of mea-surements on the Sound Works sys-tem, and the sensitivity was about84 dB SPL at 1 meter with a 100 -mV

input. This is more than adequatefor the intended use of the system.You can adjust the amount of basswith the level control on the woofercontrol panel; it was never necessary

AUDIO/MARCH 199580

EMOTIONThere are many 'oudspeakers available that do a credible

jcb of reproducing sound. Few, however, are faithful to

music's inherent emotional character - to the human

qualities of music which make it much more than just

an ordered progression of sounds.

The Hales Design Group research and development

program extends beyond the plans and specifications

of ordinary eng neering into another dimension - into

the realm of musical expression and human feelings.

As a result, the introduction of the Concept Three

has stunned the industry by setting a new standard

for musical accuracy.

Visit the finest audio retailer in your area to

audition these exceptional new loudspeakers.

Hales

...the new reference for sonic realism.

HALES DESIGN GROUP

16812 Gothard Street Huntington Beacn California 92647Voice: 714 841 6884 Fax: 714 841 2427

0 1994 HALES DESIGN GROUP ALL RIGHTS RESERVED

NJ

0

0

0

0

03CD

CD

C.000zvs

0CD

VI

7)k

11

I I

for me to turn it full up during my evalua-tion of the system.

The maximum output of the woofer is at75 Hz; I measured about 3% second har-monic distortion at 90 dB SPL with the mi-crophone at 1 meter and the woofer cabi-net on a shelf against a wall. You can expect

more output when you place the woofer onthe floor and near a wall, as the manualrecommends.

The manual also suggests that, becauseof their treble characteristics, you shouldaim the satellites straight out or even awayfrom your listening position. I agree; I

measured a rising high -frequency responsewith the microphone directly in front of asatellite and an almost flat response at 45°off the axis.

After I finished testing the SoundWorkssystem in my lab, I moved it to my officeand used it with a CD player, a portable ra-dio, a TV, and a computer. The satellitespeakers are magnetically shielded, so theywon't distort a video image. Also, they areso light that they can be attached to thesides of a television or computer screenwith Velcro strips. If you use the satellitesthis way, I suggest that you tilt them up at a45° angle.

I listened to the SoundWorks speaker sys-

tem with a Turtle Beach sound card in mycomputer, and it sounded very good. Thesounds that had been held prisoner by thespeakers inside the portable radio and thetelevision were really amazing. Although Ididn't conduct a formal evaluation with alistening panel, as is my usual practicewhen I report about products, I did asksome people to listen to the SoundWorkssystem while I played Schemes and Dreamsby Pat Coil (Sheffield Lab 10042-2-F) andAngelic Voices by The Daughters of Mary(Renaissance Endeavors CD -102; phone,800/747-7486). Everyone who listenedagreed that the sound was exceptionallygood.

Because SoundWorks by Henry Kloss issold directly by Cambridge SoundWorks, itprobably should be compared to loud-speaker systems that cost about $300; eventhen, it more than adequately holds itsown. Considering that it costs only $199,has a 30 -day money -back guarantee, andsounds terrific, I can recommend it highly.Congratulations, Henry, you've done itagain! Edward M. Long

LEVINSON, continued from page 78

unnatural the cymbal can be on manyCDs; as a Bach fan, I am struck bythe continuing problems I hear in harpsi-chord recordings.

The Mark Levinson 30.5 and 31 do not,of course, perform magic. A bad recordingis still usually a bad recording, and nohigh -end component ever made can sal-vage a bad performance. Yet the 30.5 doesimprove many mediocre -sounding CDsthat have good or great performances tothe point where you can really enjoy them.If you love music (particularly acousticmusic) as much as you love sound, and ifyou really care as much or more about theperformance as you do about the record-ing, then audition the 30.5 not just withgood recordings but also with a range ofseemingly ordinary or mediocre ones.

Nonetheless, I do not want to exaggeratethe extra level of clarity and transparencythe Mark Levinson No. 30.5 and No. 31can provide, or give the impression they donot have competitors. Theta Digital's DSPro Generation V comes very close to the30.5, at about one-third the price. Krell'sReference 64, which rivals the 30.5 in price,comes closer still and almost rivals it interms of sheer detail. The Mark Levinsonand Krell are also typical in illustrating thekind of nuances that distinguish top con-verters. The Krell has a more mid -hallsound than the Levinson, with slightly lessdynamic energy but more space and depth.

The answer to "Who's on first?" is some-thing I prefer to leave to Abbott andCostello. I obviously have not heard everytop -of -the -line D/A converter, and furtherimprovements will almost certainly havebeen made in competing transports andconverters by the time this review appears.However, if you are truly seeking the bestin digital sound and are seeking pure accu-racy rather than some particular kind ofeuphonic coloration, I doubt that you willfind a better combination than the MarkLevinson 30.5 and 31. These componentsmake a statement about just how good thehigh end can get. Yes, you pay a lot to gofrom mere excellence to the state of the art.Yet if you are a true high -end perfectionist,then you really must audition the MarkLevinson No. 30.5 D/A converter and No.31 CD transport. They are a true referencestandard. Anthony H. Cordesman


AUDIO/MARCH 199582

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CLASSICALRECOR

Tod Machover: Bounce;Chansons d'Amour

Robert Shannon, Yamaha Disklavier,grand piano, computer,

synthesizers, et al.BRIDGE BCD 9040, CD; 55:01

ere's an incredibly forcefuland dissonant contempo-rary composer for piano(Machover) and anothersteely fingered young pi-

anist (Shannon). The Bridge CD labelhas them galore. I took one look andthen made a point of listening straightthrough without first reading thebooklet notes-after all, direct audioimpact is still what counts. Let me tellyou, it took all my ear tolerance to sur-vive, at least in the extremely loud anddissonant parts. Poor piano! I beganwith the "Chansons d'Amour," com-posed way back in 1982. My CD play-er, now in respectable middle age, alsohad trouble with the unbelievablystrong sound; it constantly repeatedshort segments, which didn't help myunderstanding at all. But the music ismore than interesting; it is over-whelming. On first play, I particularly

DINGS

liked the long, quiet middle segment,and so did my player-not a singleglitch. After an ear rest (for quite awhile), I played the same all overagain, and this time both the playerand I went right through, unscathed.It's such strong music that it knocksyour teeth out.

Only then did I get to the more re-cent composition, "Bounce," from 10years later and full of electronic ad-

vancements. It's more ingenious, but Ilike the earlier piece, "Chansons," bet-ter. "Bounce" has too many stunts (de-signed, as always, to show what can bedone), but it has its moments, even so.

Both pieces are played on theDisklavier for this recording. This, assome readers know, is a sophisticatedelectronic "player piano" system, tak-ing down everything the pianist does,probably a lot more accurately thanthe systems of the early century. Themusic is played live, but two interest-ing quirks may intrigue audio people.First, the "takes" for "Bounce" wereedited not from the recording butfrom the Disklavier playback data onthe same piano, with the composerand the pianist present. For "Chan-sons," a difficult passage was playedinto the Disklavier at half speed,played back full speed, recorded, andedited into the whole. These engineersand musicians know what's what.

"Bounce," the less serious work,may be a bit affected and contrived,but it's fun. This one is full of othersounds as well as piano (the sameYamaha plus a second MIDI keyboardand all manner of connected audiogenerators). I was caught red-handed,for instance, when a long, tinkly high -note passage seemed to me to be fault-ily recorded, with too much piano -action noise, the tap -tap of themechanical action. Imagine my sur-prise when the piano sound stoppedbut the tapping went right on! Have towatch your step in this kind of review.

Because of all this, I do recommendthe CD to just about anybody withsome listening enterprise and curiosi-ty-but don't try it for backgroundmusic. Edward Tatnall Canby

H 0Piano Trio, Op. 8;

Cello Sonata, Op. 65;Polonaise Brillante, Op. 3Pamela Frank, violin; Yo -Y) Ma,

cello; Emanuel Ax, piano;Eva Osinska, piano (on piano -only

version of the Polonaise)SONY CLASSICAL SK 53 112

CD; 72:26

Anyone who admires theplaying of Yo -Yo Ma willwant this CD. It is hisshow from the outset,

though the music is not wha: you'dthink of as his repertory. The trio is

P I Na lovely piece, the sonata perhaps abit more of a vehicle, and Ma makesthe most of every note. But for sheerpanache, the Polonaise is the show -stopper. A recently discovered pi-ano -only version of the Polonaise,played by Eva Osinska, is includedhere for reference; as good as her

playing is, shesounds pallidcompared toMa's verve andswagger. Soundis up close andpersonal.

Robert Long

btu* AgPandaYo.vo

AUDIO/MARCH 199584

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Rachmaninoff: Sonata No. 2in B Flat Minor, Op. 36;

Concerto No. 3 in D Minor, Op. 30John Lill, piano; BBC National Orchestra

of Wales, Tadaaki OtakaNIMBUS NI 5348, CD; DDD; 71:53

Van Cliburn's winning the first prize inMoscow's 1958 inaugural International

Tchaikovsky Competi-tion galvanized a hordeof young pianists fromeverywhere, who hopedto emulate that coup. Adozen years later, Eng-land's John Lill did just

that. He first played this concerto at the age of18, so he has his conception of it thoroughlyworked out.

This CD's appeal derives predominantlyfrom the unusual coupling of these twoworks, both big, expansive, even sprawlingexamples of Russian musical Romanticism atits most nakedly emotional. Lill combinesblazing virtuosity with musical sensitivity,and in the concerto, Tadaaki Otaka and hisband give him excellent support. The un-named producer has provided needle-sharpsound. Paul Moor

Gorecki: String Quartets, Nos. 1 and2; Sonata for Two Violins; Genesis 1

The Silesian String QuartetOLYMPIA OCD 375, CD; 74:19

Henryk Gorecki catapulted into the con-sciousness of American music lovers withDavid Zinman and the London Sinfonietta'srecording of the Third Symphony, sung byDawn Upshaw. But in his native Poland,G6recki had long been considered more orless on a celebrity par with his contemporaryand compatriot Krzysztof Penderecki. Thisdisc strides across Gorecki's career, samplingas it goes. All of the music it contains is pun-gent and arresting. Some of it may mystify onfirst hearing, but if you're willing to surren-der yourself to its rhythms and its insistentdissonances, you can easily discover its trueeloquence.

The Sonata for Two Violins is a very earlypiece that, even ignoring the scoring, in-evitably suggests the Bartok of the violinduos. "Genesis" is a tripartite piece forstrings, also quite early, whose opening sec-tion, Elementi per tre Archi, is recorded here.It is scored for violin, viola, and cello, and itsair -raid -siren glissandos and squeaking -hingebowings make it the uncanniest work of thelot. The First String Quartet brings us to 1988and a Gorecki involved with rhythm and tra-ditional Polish music (a perennial interest ofhis). The Second String Quartet, of 1991,

runs a gamut from tenderness to fervor inwhat is the most beautiful music here.

That brings us to the sound. This is a Pol-ish studio recording with a large amount ofwhat I take to be artificial reverb. The feelingit projects is extremelyeffective but hardly sug-gests how any stringquartet of my acquain-tance sounds in a nor-mal venue for chambermusic. At times the ef-fect is that of a string orchestra; at others,G6recki's radical sonorities almost persuadethe ear that a synthesizer is at work. Make nomistake: The reverb doesn't so much blur themusic as place it in an almost lurid spotlight.The end result is exciting, though in moreconventional music I'd question its taste.

How accurately the sound or the playingby the Silesian String Quartet reflects the in-tentions of Gorecki, I'm at a loss to assess.Founded almost 20 years ago, the Silesian isno stranger to international festivals andawards, and its security and virtuosity aremuch in evidence throughout the recording.Perhaps this superheated hyper -reality is justwhat Gorecki wanted; if so, any live perfor-mance of these pieces is bound to disappointboth him and us. Robert Long

Grainger: Country Gardens; BridalLullaby; Handel in the Strand;

other piano selectionsAiiirtiti Jones, piano

NIMBUS NI 7703, CD; DDD; 78:05

Mother Nature apparently broke the moldafter Percy Grainger (1882 to 1961) surfaced

in Australia. His virtu-oso championship of hisNorwegian buddy Ed-uard Grieg's new pianoconcerto enabled it, andGrainger, to conquer theworld. He frequently ar-

rived at hotels sweaty, dirty, and clad in shortsand boots, having hiked all the way from hispreceding gig. He had a passionate love for,and an encyclopedic knowledge of, Britishfolk music, and he made some superbarrangements of it-including several in thisnosegay of Graingeriana.

Martin Jones has technique to spare, withthe result that it sometimes, in less preten-tious numbers, gets in his own way: Old Han-del here doesn't stroll down the strand somuch as he canters. One unexpected highpoint: Probably the best piano arrangementever of what the rest of the world has come tocall the Londonderry Air; it's meltingly beau-tiful, sensitively played, and, like all this as-sortment, splendidly recorded. Paul Moor

AUDIO/MARCH 199587

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JAZZ -BLUESR E C O R DINGS

From the CradleEric Clapton

REPRISE 45735-2, 60:10

Sound: A, Performance: A+

Blues with a FeelingSteve Hackett

PERMANENT CD 27, 46:37

Sound: B+, Performance: B+

ric Clapton almost single-handedly defined the 1960sBritish blues movement withhis passionate playing onJohn Mayall's 1966 land-mark, Blues Breakers. Simul-taneously, back in the States,

bands like The Paul ButterfieldBlues Band, Canned Heat, and TheBlues Project were exploring similarterritory-emulating the rawness ofSouthside Chicago blues-withequal conviction. It was the birth of"white boy blues," laying the ground-

work for the Stevie Ray Vaughansand Gary Moores to come.

One young guitarist who earlyjumped on the British blues band-wagon was Steve Hackett, beginninghis career by playing raucous, honk-ing blues harmonica before joiningan early incarnation of Genesis and

then meandering far down theprogressive -rock trail. BothClapton and Hackett addresstheir own roots on their latestreleases.

Clapton's From the Cradlemarks a riveting return to guitar -hero status. He cuts loose with avengeance on 16 blues classics,recalling the mighty chops heunleashed nearly 30 years ago onBlues Breakers. B.B. King's earlyrecordings (mid -to -late '50s onthe Ace, Modern, and Kent la-bels) are an obvious point of ref-erence on tunes like "Third De-gree" and "I'm Tore Down,"while on "Someday After aWhile" he screams and flingsaround, a la Buddy Guy."Hoochie Coochie Man" is suit-ably gruff and ragged, thanks toformer Muddy Waters harpistJerry Portnoy and drummer JimKeltner's sloppy -loose Chicagoshuffle. And on "Five Long

Years," Clapton kicks into overdrivewith a warm distortion tone that is

hies BreakersJohn Mayan -ci. a Eric ClaptonMOBILE FIDELITt LIXD 616, 37:30

Sound: A, Performance: A+LamarFP

When the authenticity of Britishblues was call ad int question-whichwas often-its saving grace was andremains Eric C apton. During themovement's mid l'?50s heyday, E.C.was the anomalous white English kidwho played electr4 guitar with thesoul of a black Clic go bluesnmon. He

was "bitten by th.s bug," while sony of his counterparts wallowed inck" status as chi itzy Anglo imita-

' of everythinc tf.ey absorbed fromthe great Chess Ibte-ds catalog.

And on BILes Breakers, a recordgd:hn Mayall's, it's

Clapton who out-shines the otherparticipants. He'sclearly a futuredemigod securinghis place in rock gui-tar, as well as in rock 'n' roll history.

Mobile Fidelity's gold CD reissue ofBlues Breakers is currently the onlycomplete edition of the album avail-able domestically in any format.While some of this material exists ona Mayall compilation titled LondonBlues (part of PolyGram's Chroniclesseries), Mo-Fi's release is better if onlyfor its remastering and sonics: Spa-cious, warm, and clear, where previ-ous issues sound harsh and lacking indetail. Mike Bieber

AUDIO/MARCH 199588

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reminiscent of his work on "Strange Brew"from Cream's seminal Disraeli Gears.

Two acoustic numbers, Leroy Carr's "How

Long Blues" and Charles Brown's "Driftin',"sound like holdovers from Clapton's Un-plugged project. And Willie Dixon's "Groan-

ing the Blues" is a guitaristic tour de force forSlowhand.

The sound and overall vibe of From theCradle could be called authentic, although"authentic copy" might be a more accuratedescription. As convincing and full of emo-tion as Clapton's hoarse vocals are, some lis-teners will have a hard time believing that this

British millionaire ever had a job in a steelmill "shuckin' steel like a slave." While hisguitar playing is often transcendent, hissinging, particularly on "Blues Before Sun-rise" and "It Hurts Me Too," smacks of affec-

tation rather than authenticity.

Hackett, on the other hand, does not at-tempt to re-create the phrasing, enunciation,and ambience of classic blues recordings. His

interpretations of Little Walter's "Blues with a

Feeling," Nick Gravenites' "Born in Chicago,"

and Freddie King's instrumental "The Stum-ble," as well as his vocal delivery in general,

are more honest than authentic; there's nouncanny mimicry involved here. Rather thanwail in Muddy-esque "Got mah mojo woikin'but it jes don' woik on you," Hackett is morelikely to express it thusly: "My mojo is in anoperable condition, but its efficacy has yet tobe demonstrated upon you." His own tunes,notably "Love of Another Kind" and "WayDown South," are imbued with blues feelingyet remain refreshingly original.

On harmonica, the former Genesis gui-tarist does honk convincingly in a dirty stylethat recalls Paul Butterfield, though he takesan uncommonly lyrical turn on his minor -key ballad "A Blue Part of Town." As Hackett

so ably demonstrates on two biting instru-mental showcases, "Footloose" and "The 13thFloor," his guitar playing acknowledges theroots of electric blues while also touching onsome of the dazzling technical facility anddistortion tones that are a standard part ofrock guitar today.

While blues purists will undoubtedly digClapton's heartfelt homage to his heroes, they

probably won't be able to deal with the hard -rocking nature of Hackett's Blues with a Feel-

ing, which has more in common with GaryMoore than vintage B.B. or Muddy.

Bill Milkowski

AUDIO/MARCH 19959010e, cesechee da*d .AI dionsmditemaie wdri 10 - d d Ore .. 13 a ItSixkl lee. Items mst .nalcmon arq .aqs^d,


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seal and protect it. Conduction through

a ProGold coated surface occurs inthree ways. First, ProGold is displaced

by electrical arc, shock wave or simple

mechanical pressure and redistributes

itself along the surface when thedisturbance is removed. Second, a

thin insulating film of ProGold is dis-

persed by an electrical field. Finally,

conduction takes place through very

thin films of ProGold by means of a

quantum -mechanical phenomenon

called "tunneling". Simply stated,electrons travel from one side of a thin

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passing through (this is the same effect

that gave the tunnel diode its name).

Why Use ProGold?ProGold increases the performance and reliability of all electrical equip-

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8 interference, lowers distortion and virtually eliminates intermittents.

Unlike other products, it also stabilizes connections between similar and

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all connectors S contacts for maximum performance B protection.

CAIG PRODUCTS ...USED BY THOSE WHO DEMAND THE BEST! I

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Hot, Blue & Righteous!Harry McGonigal

HEAVY HEAT FHB 1994, 57:07

Sound: A, Performance: A

Move over, Slowhand! Flamin' Harry'shere. The liner notes say McGonigal's called

Flamin' Harry because of his airbrush workand his tattoos. I say it's because of his blaze

guitar work. I've heard a lot of flash -guitarists

during my 35 years of listening to blues, butno one is any better than Flamin' Harry when

he's on. That ol' adrenaline rush, with thehair on the back of my neck stickin' straightup! For those who've not heard him live inthe Philadelphia suburbs or at the JerseyShore, the problem's been getting him down

on disc; consider it solved with Hot, Blue &Righteous! The recording engineer, Guy Lutze,

has gotten a wonderfully immediate sound,particularly from the drums. The acousticsare near those of a club concert, but withoutthe rotten balances and muddy crowd noisethat usually accompany venue recordings.The best cut is Harry's version of "I'll Play the

Blues for You," an Albert King tune, but he's

got an honest dozen on the disc, mostly fromhis own pen. Of these last, I like "My BabyBought a Ticket," "Life Under the Gun," and"Rude Shoes," which seems to me like Har-ry's anthem. Some major ought to sign him.(Heavy Heat, 531 Chestnut St., Perkasie, Pa.18944; 215/257-1006.)

These BluesCharles Brown

VERVE 314 523 022-2, 59:19

Sound: A, Performance: B+

At age 72, Charles Brown can boast about a

career that, at one point, rivalled that of thegreat Nat King Cole's legendary trio. Also toBrown's credit is his seminal influence on the

loosely swinging, low-key genre known asCalifornia blues. As with

Cole, however, smoothly

crooning hits is but onecharacteristic of Brown's

multifaceted talent. It'strue that his vocals are as

intoxicating as a bottle of fine, mellow wine,but seldom is he credited with the other sideof his forte-a wonderfully adept piano style.

Backed by an omni-swinging rhythm sec-tion, Brown's sullen voice invariably givesway to heartfelt blues solos on every tune.

AUDIO/MARCH 199592

Clifford Solomon's raspy tenor sax and Dan-ny Caron's twangy guitar add character toThese Blues, but the highlight is alwaysBrown's soulful piano-a stylistic mélangedrawn from the endearing strides of ArtTatum and Fats Waller. James Rozzi

FascinationMichael Shrieve

CMP CD67, 53:22

Sound: A-, Performance: B-

It's hard to imagine Michael Shrieve, for-mer Santana drummer, in an organ trio play-ing unadorned four -on -the -floor rhythms.For the first quarter of Fascination, WayneHorvitz lays down smoky organ chords while

Bill Frisell warps guitar lines that fall liketinsel around Shrieve'sstraight -ahead grooves.

Halfway through,however, the intensityshifts. On a storming,time -shifting "One Na-

tion, Invisible," Shrieve begins drawing upon

the Tony Williams' Lifetime axis of free -fusion instead of Jack McDuff organ jazz.From there, Shrieve stokes the rhythm fires infree -space -jazz improvisations that bring outFrisell's gift for air sculptures and Horvitz'stalent for sonic design. By the time they allget to "Soundings in Fathoms," they're adriftin intuitive space. John Diliberto

OOOOO FAST TRACKS

The Billie Holiday Songbook: Terence Blan-chard and His Quartet (Columbia CK 57793,57:12). Here, the interpretations of adozen songs associated with Billie Holi-day are enhanced by the presence ofsinger Jeanie Bryson and an orchestrathat, considering Blanchard's muted trum-pet, brings to mind the Miles Davis/GilEvans collaborations. Altogether, this is anelegant tribute. J.S.

Live at Maybeck: Sir Roland Hanna (Con-cord CCD-4604, 50:54). Hanna's impro-visational skills, which peak here on athree -song Gershwin medley, offer thekind of spontaneity that makes this al-bum a standout. It's Sir Roland's drive, hisability to deliver ragtime -like runs andswing -influenced rhythms, each with abop -and -beyond sensibility, that help ig-nite this date. J.W.P.

1 -800-CAI G-123Enter No. 6 on Reader Service Card

EMS/BLANK AUDIO TAPES/AUDIO ACCESSORIES/VIDEO RECORDERS/COLOR TELE

4'r6dni1781 P 41/NOSIEN/MONITORS/COMPUT RS/CAR STEREOS/RAD

Receivers

Technics SA -0X170Audio/Video Receiver

100 watts per channel *Special class:ocuit provides greater headroom AM/P'uner with 30 presets *Wireless remote

LOW s 17995Price (TEC SAGO 170)

Sherwood RX- 1 01 035 watts/channel. 30 station presets '109"JVC FIX -315105 watts/channel. remote '199"Technics SA -0X470 .

00 watts/ channel surround sound. remote -7/1/Ligi -Sherwood RV -6030R105 watts/channel, Dolby Pro Logic -a AV"-Technics SA -0X770125 watts/ch w/ home theater features "3999'

Compact Disc Players

Technics SL-PD8675 Disc Compact Disc Changer

*Front -loading rotary design allows changiiup to 4 discs while 1 is playing WASH 1-ts.D/A converter 32 -track prOgramMirii-Wireless remote control

(t$18995Price (TEC SLPDF167)

RCA CD1 051 M20 -track programming. remote 689"

JVC XLV-114.2a oversampling. 32 -track programming $ 1 99'Technics SL -P0440MASH 1 -bit, 20 -track programming, remote 51 --Teac PD -D880.5 -Disc Carousel Changer. remote . $1 44"Technics SL-PD967.5 -Disc Changer. MASH 1 -bit. pitch control - -

Hi -Fl Stereo VCRs

Mitsubishi HS -U69Hi-Fi Stereo VHS Recorder

VCR -o auto programmer with cable box control*Exceptional picture & sound quality .4 -headsOn -screen programming .4-week/8-eventprogrammable timer *Illuminated remote

Price$64995 (MIT HSU69)

Samsung VR8704.4 -heads. 8-even1/1-month programmable '23900General Electric V04235 4 -heads, 8-event/1-yr. programmable 'ACM--Panasonic PV -4451.4 -heads. 1-month/13-event. universal remote $27995

JVC HR -J610-4-heads. 1-year/8-event , remote 529995Sony SLV-720HFVHS Hi -R. 4 -heads. VCR Plus 5369"

.....

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High End AudioPROTON*

Proton AP -2000Preamplifier

Remote control *Active Subwoofer crossover 4Separate listen and recordMC phono input .Headphone lack

Pin $26995Price 961 POT AF 2(7)01

Loudspeakers

'ALJBL 4312

Studio Monitor Loudspeakers3 -way with 12' low frequenr:y driver.5' midrange. and dome tweeter *Front panelcontrols *Black finish .8 ohms 100 wattcapacity

s49995/pairr.e (Jai aliTRK)

JBL Pro III-2-way Mini Speakers shielded pair S 49"Bose RM2Roomate 2 with built-in amp pair $24995Advent Legacy III Floor Standing. 2 -way. 10 - woofer pans 27995Bose 301-111Deect/Reflecting. compact. 2 -way pair $31 8"Cerwin Vega 01. 2 -way. 10- woofer. SPECIAL 66. OFF pair 549995

Maxell Audio/Video Tapes

maxell.

SpecialPurchase

Maxell R-120DMDigital Audio Tape

* Metal particle tape with exclusive bindersystem Micro -smooth tape surface *Highprecision housing for greater dependability

$599/eachPrice (MAY. G 120DM)

Maxell UR-120 $320Low Noise Cassettes for general recording 2 -ph

Maxell XLII-100Hgb Elias Cassettes. for demanding applications 2-pk *4"Maxell P -1200X 6399 13mm Video Tape. for everyday recording each

Maxell TC-30HGXHigh grade VHS -C 2 -ph

-799

Maxell T-120 001d -SPECIAL PACKSo ss 2 -high grade/1 -Hi-fi VHS tapes for only eve

Turntables/CartridgesA TURNTAELE FORSERIOUS RECORD

COLLEC-ORS33/45/78 SPEEDS!

Thorens 1803 -Speed Belt Drive Tiamtable

.33, 45, 78 -p.m. 'Automatic shut-off andauto -retract Synchronous motor -Adjustacieanti -skating Extemal power supply InclubesStanton cadidge

P" 29995Price (TriN 100)

Teac P-5115Serni Auto Belt -Drive Turntable w/cartridg *89"Technics SL-BD20.`ierni-Auto Turn able bell drive '1 Or'Technics SL-BD22K'Semi Auto Ben -Drive Turntable. pitch - I AZu -Audio Tedinica AT-331LPif,artridge univeral mount linear contact stylus

Stanton 680ELrnisco Cartridge wextra StyluS '69"KOSS Headphone Specials

KOSS.

Koss ESP/960Electrostatic Headphones

High -accuracy reference quality for thediscerning audiophile Includes ampiit ercarrying case, and external battery pack*Straight-line response from 8Hz to 35.000Hz

LowPrice 4 (KO;Koss PortaPro

53995*Lightweight, folding, dual plugs

Koss HV/ProHigh velocity ele-nent volume/balance control, s4995

Koss TNT/77Titanrum Senn open design. dual plugs

Koss Pro 4 XTC'Open air deep bass. dual plugs

Koss Pro 4AAxfor home or professional use, great isolation

54995

$7995

$8995

Cassette Decks

tr,:ttrlfxriM-icrirs

JVC TDW -309Dual Cassette Deck

Dual auto -reverse *Deck play. Deck 2record *Dolby B. C & HX-Pro *Pitch contr:,

mic mixing -Full logic silent mechanism Mr.'scan lor up to 99 selections

Z4e $ 1 9 9 "(JVC OW -100)

Teac V-600'Dolby B/C/HX-Pro, conhols $ 14995Technics RS-TR232Oual Deck, 12 auto -rev. Dolby EV(MX-Pro $1599'Teac W-750<Mal auto -reverse, Dolby 8/C/HX-Pro x174°°Technics RS-TR474-Dual auto -reverse Dolby 8/CA1X -Pro $2 1 995Teac W -6000Riftual record/play auto rev pitch Dolby 3/C/07 Pro$4299$

aiura

Aiwa AD -F8303 Head Cassette Deck

Monitor your recordings 2 -motor dualcapstan drive with leather -touch controls *DolbyB&C Dolby HX-Pro Fine bias adjustmentRecord calibration Wireless remote control

Puce$299uce " (AIW ADF050)

Aiwa AD -F450Cassetle Deck. Dolby B/CAIX-Prc $1 69esAiwa AD-WX727Dual Cassene Deck, auto -rev. Dolby 3/C/H7 S1 999'Aiwa AD -11950*Dolby S/B/C/Hx-Pro. 3 -head. line bias 539995Aiwa TS -W6-Powered Subwoofer. 35 watts snielded $1 4995Aiwa NSX-2700Morti System CD Player dual cassette '2699'

Compact Discs

0101elosic°

$1199c0

$799CASS

Also AvailablePisces, Aquarius,Capricorn & Jones Ltd.RHI 71793 $11.99co $7.99cAssInstant ReplayRHI 71796 $11.99co $7.99cAss

RHINO

CALL US TOLL FREE FOR ITEMS NOT LISTED IN THIS AD SE HABLA ESPANOL

SEND MONEY ORDER ,CERTIFIED OR CASHIER'S CHECK, MASTERCARD, VISA, AMERICAN EXPRESS or DISCOVER CARD(include Interbank No. expiration date and signature) To J&R Music World, Dept AU0395, 59-50 Oueens Midtown Expwy, Maspeth,Oueens, NY 11378. Personal and business checks must clear our Authorization Center before processing. Shipping, handling andInsurance Charge (Continental US) is 5% of the total order with a $4.95 minimum for orders up to $500;4% for orders over $500to $1000; and 3% for orders over $1000. For heavyweight/over-sized items, shipment by air. or to Canada, Hawaii. Alaska, VirginIslands & Puerto Rico please call for information. DO NOT SEND CASH. Sorry, no C O.D's. NY reskients please add sales tax.ORDERS SUBJECT TO VERIFICATION & ACCEPTANCE. NOT RESPONSIBLE FOR TYPOGRAPHICAL OR PICTORIAL ERRORS.ALL MERCHANDISE SHIPPED BRAND NEW, FACTORY FRESH AND 100% GUARANTEED. Some quantities may be limited.Copyright 1995 J&R Music World. City of NY 2.117. 410Dept. of Consumer Affairs License Numbers 0900310/0900615/0900616/0900617

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Serving the serious music lover since 1985, w( -have realized that High -End Audio habecome a confusing term. Random matchin:of quality components, will not assure you ofsystem that can reproduce music. A call or vls -to Audio Outlet will. We specialize in productthat offer exceptional performance and valueGive us a call, lets talkmusic. If you just wantto know what we sell, call

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AUTHORIZED

AUDIOPHILE & SCHOLAR (1)UNIVERSITY AUDIO SHOP, MADISON, WI

SPECIAL: Spica SC30-$299. AUDIO RESEARCH, MAR-TIN LOGAN, VANDERSTEEN, Totem, Epos, JMLabs, Para- mdigm, SYMDEX, Spica, NEAR, B&K, AMC, Creek, Aragon,YBA, Boulder, Michael Yee Audio, California Audio Labs,Micromega, Audio Alchemy, Rega, Stax, Magnum Dynalab,Fosgate, Soundstream, Runco, JVC, Grad°, & TaraLabs.(608) 284-0001.

SELL FOR CASH OR TRADE AUDIO & VIDEO EQUIP-MENT AUTHORIZED: DENON, H K, MARANTZ, ACU-RUS, ARCAM, NAKAMICHI, ROTEL, SUMO, CELESTION,DAHLQUIST, ENERGY, KEF, NHT, SIGNET, AUDIO AL-CHEMY, AUDIOOUEST, GRADO, ET AL. STEREO CLAS-SICS, 75 CHURCH ST, NEW BRUNSWICK, NJ 08901(908)220-1144, FAX: (908) 220-1284.

AUDIO UNLIMITED In Colorado offers Accuphase, Acous-tic Energy, Acrotec, AirTight, Airtangent, Audio Meca byPierre Lurne, Audio Note, Basis, Benz -Micro, Bitwise,Chang, Chario, CODA, dpa Deltec, Day-Sequerra, Dynavec-tor, Ensemble, Graham, Harbeth, Ikeda, JM Labs, Kuzma,Magnum Dynalab, Micromega, Mission -Cyrus, Morch, Mu-sical Design, Music Metre, Muse, NBS, NSM, Only, Oracle,RoomTunes, Solid Steel, Sound Anchor, SOTA, Spendor,Tice, Totem, Unity Audio, Vimak, Wheaton Triplaner, YEA(and more...PHONE/FAX John Barnes at (303)691-3407.Audio Unlimited, 2341 West Yale Ave., Englewood, CO80110. VISA and MC accepted.

FOR SALE

STOP! LOOK!! SAVE$$!!NHT, DENON, POLK, CARVER, NAKAMICHI, KEF,PARASOUND, SNELL, B&K, PSB, NAD, VELODYNE,M&K, ONKYO, ACURUS, FOSGATE, PS AUDIO, AU-DIO ALCHEMY, SOUND SHOP 206-692-8201.

HI Fl EXCHANGE. Large selection of quality USED highendcomponents at huge discounts. We buy, sell & trade. Call forinventory list. (718) 423-0400 or visit our showrooms at251-11 Northern Blvd, Little Neck, NY 11363.

YOU'RE ONLY CHEATING YOURSELF IF YOU DON'TTAKE ADVANTAGE OF OUR AU DIOQUEST "F-88" SPEAK-ER CABLE CLOSEOUT SALE! OVER FOUR HUNDREDPAIR AwAILABLE. SAVINGS 50% TO 70% OFF! "F-88"USES SOLIDCORE HYPERLITZ TECHNOLOGY COM-BINED WITH THE OUTRAGEOUSLY SMOOTH ANDDETAILED SOUNDING "FDC COPPER" CONDUCTORS.IIST PRICE ON 10' PAIR $150.00, SALE PRICE ONLY$55.00! CALL FOR OTHER LENGTHS AND PRICES. PLUSMIDNIGHT, CRYSTAL, INDIGO, RUBY, TOPAZ CLOSE-OUTS. MANY OTHER SALE AND CLEARANCE PROD-UCTS INCLUDING AUDIO ALCHEMY, B&K, NAD,KLIPSCH, COUNTERPOINT, POWER WEDGE, VMPS,LEXICON, STRAIGHTWIRE. REQUEST OUR COMPLETELISTING. HCM AUDIO (800) 222-3465, (916) 345-1341,FAX (9 t6) 345-7269.

RACK AND CHASSIS BOXES for construction of electronicprojects. Low cost; quick delivery. Call for free catalog.SESCOM, INC 1-800-634-3457.

BIG DISCOUNTS!!SAVE$$!

NAKAMICHI, PSB, CARVER, POLK, NHT, NAD, DENON,SNELL, VELODYNE, KEF, M&K, B&K, PARASOUND, ON-KYO, PS AUDIO, FOSGATE, ACURUS, SPICA, SOUNDSHOP 206-692-8201.

XXX-TREME DISCOUNTS!!ONKYO-DENON-CARVER-NAKAMICHI-NAD-PARASOUND-FOSGATE- APATURE-SUMIKO-KEF-

SNELL-POLK-MS K-N HT-S PI C A-VELODYNE-

PSB-CHICAGO STANDS. U.S. products. NO GREY! Many

closeout deals! STEREO TECH. 414-836-2942.

FOR SALE AUDIO CLASSICS, LTD.

SAVE 40% ON HIGH -END home speak-ers, subwoofers, amplifiers. FREE CAT-ALOG, 3021 Sangamon Avenue, Spring-field, IL 62702. 1-800-283-4644.

AUDIO BY VAN ALSTINE INTRODUCES OMEGA III buff-ered active feedback power amplifiers and buffered hybridpreamplifiers, high powered Fet-Valve hybrid vacuum tubeamplifiers, and affordable straight-line tube and hybrid pre-amplifiers for ultimate faithfulness to the spirit of the music.Now ready - beautiful new 17" wide ultra -dynamic pre-amplifier featuring switchable tone controls, gold switchcontacts, and gold jacks handling 9 sources and 5 loads. AVAruggedly efficient amplifiers feature striated heatsinks andcareful engineering-no output failures in two years! Com-plete line -only preamplifiers, headphone amplifiers, phaseinverters, and more (wired and kits) starting under $200.Hand crafted in the USA. ATTENTION VINTAGE DYNACOAND HAFLER OWNERS. Economically recycle your equip-ment for better than new performance. Eliminate old prob-lems with our durable, rugged, musically convincing originaldesigns. Complete PAS, PAT -4, PAT -5, and ST -70 rebuilds(kit or wired) from $195 include new circuit cards and preci-sion controls. AVA 300V/uS active feedback amplifier circuitsfor Dyna and Hafler chassis set new standards for transpar-ency, definition, dynamic range, and liquidity. Write, call, orFAX for free illustrated catalog. Audio by Van Alstine, 2202River Hills Drive, Burnsville, MN 55337. (612) 890-3517,FAX: (612) 894-3675.

AUDIO NEXUS= QUALITYFeaturing legendary VANDERSTEEN loudspeakers &ROTEL Components.

AMC Apogee Audio Alchemy Audioquest Audi-oStatic B&K Cardas Cary CWD Dynalab EAD Exposure Fanfare Forte Fried Grado JM Lab Kimber Kinergetics Magnum McCormack Melos Nakamichi Power Wedge PSB Rotel Jeff Rowland Sony ES Vandersteen VPI SUMMIT, NJ(908)277-0333

AUDIO RESEARCH SEVERAL USED UNITS AVAIL-ABLE. MCP -33, SP8, CL 60, D 115, ETC. CROWN MACROREFERENCE AMPS AT HUGE SAVINGS. ALL THELATEST AUDIO RESEARCH UNITS ON DISPLAY. NA-KAMICHI 1000, DUNTECH AND B&W. CALL FOR LIST-INGS AND PRICES ON USED EQUIPMENT. IDEALACOUSTICS, STARKVILLE, MS. 601-323-4001.

AMPEX 4470 1/4" REEL-TO-REEL. 7.5 & 3.75 IPS. WAL-NUT CABINET & PORTABLE LUGGAGE CASE WITHSTEREO AMP & SPEAKERS. MANUAL. 3 CARTONSTAPES. $350. (716) 377-8452.

CABLE T.V. CONVERTERS. Jerrold°, Zenith, Pioneer,Oak, Scientific Atlanta, And Many More! 12 Years Expe-rience Gives Us The ADVANTAGE. Visa/MC, Amex, COD.ADVANTAGE ELECTRONICS INC.; 1-800-952-3916; 1125RIVERWOOD DR., BURNSVILLE, MN 55337. Void whereprohibited.

DJ & NightclubSound & Lighting CATALOGFREE 72 -Page Catalogwith a huge selection ofname brand professionalgear for DJ's, Clubs &Musicians all at discountprices!

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THE FIRST JITTER -FREE TRANSPORT IS AVAILABLENOW! AT $649, THE REFERENCE ONE TRANSPORTREPRESENTS A BREAKTHROUGH IN TECHNOLOGYAND PRICE. ISOLATED STABLE CLOCK MODULE ANDOTL TRANSPORT DRIVER BOARD ALSO AVAILABLE.TURN YOUR CDS INTO MUSIC. G & D TRANSFORMS,(602) 650-1155.

Buys -Sells -Trades -Repairs -Modifies.(Al) - AS IS, (D) Demo, (EX) Excellent, (F) - Fair,(G) Good, (M) Mint, (N)- New. AMPLIFIERS: AccuphaseP102(EX) $1519, P260(EX) $759. Audio Research CLAS-SIC-30(EX) $1519, CLASSIC-120(EX) $3495, M100(EX)$2735; B&K ST140(EX) $265, ST202/BAL(M) $612, ST2020BAL(N) $600; Carver TFM35(D) $627, TFM55(D) $811; ChordSPM 1200(N) $2099; CM Labs 80MRM(AI) $299; Coda 10(D)$1761; Conrad -Johnson MF80(N) $999, MF200(D) $1499,MV100(EX) $1769, PREMIER -8(D) $9995; CounterpointSA12(EX) $699. SOLID -2(D) $1599; Denon P0A5000(N)$922, Dynaco ST400I1(D) $931; Electrocompaniet AW250(G)$1367; Jadis DEFY -7(D) $3799; Kinergetics KBA75(N) $1795;Krell KSA100S $3995. KSA150(EX) $2995; LevinsonML11(EX) $999: Manley EUR0-35(D) $999. STER-EO -75/75(D( $1744; Marantz 5(EX) $2500, McIntosh MC30$299-499, MC40 $379-599, MC50(A1) $106. MC60$243-1000, MC225 $531-899. MC240 $999-1995. MC250(All$227-309, MC275 $2819-9995, MC2100 $227-649. MC2105$303-899, MC2155(EX) $1367; Motif MS100(EX) $1499;OCM500(D) $1916; Rotel RB970BX(N) $360, RB980BX(N)$569. CASSETTE DECKS: Carver TD1770(D) $442; DenonDRM710(N) $361, DRS810(N) $442. CD PLAYERS: Accu-phase DP70(EX) $1329; Carver SDA370(D) $476;DCD3520(D) $953. DCM320(D) $265; Kinergetics KCD40(Di$2115; NAD 5240(AI) $151; Philip:, CD40(A1) $187.CD910PBK(D) $125, CD920(D) $135, CDC925(D) $187; Ro-tel RCD820(A1)$227. CD PROCESSORS: Aragon D2A-11(M)$1212; KrelISTEALTH(EX) $1215, STUDIO -2(M) $1443; Pro-ceed PDP2(EX) $455. CD TRANSPORT: Krell MD2AC(EX)$1975; Proceed PDT(EX) $599-749. CROSSOVERS: Accu-phase Fl5L(EX) $911. EQUALIZERS: Audio Control 0C-TAVE(N) $143, TEN-II(N) $199; McIntosh M0102 $75-99.MQ104 $75-$225, MQ107(EX) $372. GUITAR AMPS: ART490(EX) $493; Peavey MARK-IIIP(EX) $396. SWR BABYBLUE(EX) $455. GUITARS: Fender TELECASTER(M) $1215:Gibson CE-CELEBRITY(M) $987; Rickenbacker 325JL(M)$987; Sigma CR9(NOS) $256. HEADPHONES: StaxED1(EX) $265, LAMBDA-CLASS-MX(D) $651, LAMBDA-SIG(D) $1299, SR34-PRO(D) $162. SR84-PRO(D) $199, SR-SIGMA(EX) $227, 51307-PRO(EX) $113, SRD7SB $50-152.INTEGRATED AMPS: McIntosh MA5100 $151-399, MA6100$379-549. MUSICAL ACCESSORIES: Boss DR550MKII(EX)$151. PHONOGRAPHS: Victor CREDENZA $2000-4000,VV -S -215(G) $375, VVXI(G) $375. PRE-PREAMPS: Mcin-tosh MCP1 $229-399; Threshold M1-MC(M) $113. PRE-AMPLIFIERS: Accuphase C11(EX) $227, C202(EX) $911,

$587, C20V(N) $759: Coda 01P(D) $2089; CounterpointSA2000(N) $1395, SA3000(D) $1642. SA5000(M) $3246;Denon DAP2500 (EX) $299; Dynaco PAT4 $39-99. PAT$37-99; Electrocompaniet PREAMP-II(EX) $299; HeathkitWAP2 $37-99, Krell PAM7(EX) $607, Levinson NO.25(EX)$1139, NO.26(EX) $2887, Luxman 5C50(G) $189; Marantz 7$1995-3995; McIntosh C4 $200-400, C8 $200-400, C8S $500,C28 $299-549, C31V(EX) $1139, C32 $299-999. C37$1277-2001, CR7 $167-399; Meitner PA6I(EX) $759: Preci-sion Fidelity C8-PF(AI) $303, Rotel RC980BX(D) $450.Soundcraftsmen PRO-CONTROL-3(EX) $151. PRO-CESSORS: Audio Pulse 2(G) $75, Bozak 902(G) $75, CarverDP1.20(EX) $211, Fosgate DSM3608(EX) $299, McMartinLR1004C(G) $139. RECEIVERS: Fisher 500B(F) $113, Ky-ocera R461(D) $592, Philips FR920(D) $201, FR930(D) $299;Tandberg TR2040(B?) $75. REMOTE CONTROLS: McIntoshCR7 $167-399, CR8 $129-454. R606(EX) $78, R624 $75-133.R626(EX) $266, R657(EX) $181. SPEAKER SWITCHES:McIntosh P349 $151-249, SCR2A(EX) $106, SCR3(EX)$106-149; Niles MSA6R(N) $75: Rotel RSS900(N) $272.SPEAKERS: Apogee CENTAUR(EX) $999, STAGE-Sub(EX)$1519; BIC REALTA(D) $683, V52 $117-149; Carver AL-III(D)$1062; Dahlquist 00301(D) $1337; JM Lab MICRON(D) $543:KEF 050(D) $574; Linaeum LFX-STANDARD(D) $299; McIn-tosh ML2C(EX) $1118, XD715(M) $433, XR7(EX) $1063,XR230 $455-849, XR240 $683-1199. XR250(EX) $1499,XRT22HF(M) $999-1500, XRT22(M) $4999; Sound Lab PRIS-TINE( D) $3199. Velodyne F1200(N) $878-1095. TAPEDECKS: Astrocom 407 $100-400, Concertone 93-4(AI) $113.TEST EQUIPMENT: EFI TV2C(EX) $406: Hicock 539C(EX)$607; McIntosh AA2 $440-749. M13 $379-550; Sound Tech-nology 1000A $873-1799. 1100A(EX) $499-999, 1200A(EX)$531, 1701A(EX) $1215-1799. TUNER PREAMPS: CarverCT6(D) $518. CT7(D) $429, CT29V(D) $838; Hafler 945(D)$487; McIntosh MX110 $265-699, MX117(EX) $1063; RotelRTC940AX(N) $383. TUNERS: B&K TS108(N) $357. CarverTX11B(0) $671, Magnum-Dynalab F205(N) $249. FT101A(D)$705. FT -R $363-431, Marantz 20B $299-699; McIntoshMR65 $299-599, MR65B $199-799, MR66 $227-799, MR67$227 $189-899, MR71 $227-999, MR75(EX) $1349. MR78$607-1399, MR80 $1215-1519; Perreaux TU3(D) $303: RotelRT950BX(N) $284. TURNTABLES: Sofa COSMOS(N)$2999, Thorens TD125(EX) $151; VPI HW19-JR-PLUS(D)$1375. PLC(D) $281. VIDEO DISC PLAYERS: DenonLA3000(D) $547. FREE Catalogue. 8AM-5PM EST Mon. -Fri.,

AUDIO CLASSICS, LTD.607-865-7200

1rIPS FOR MAIL ORDERPURCHASERS

It is impossible for us to verify all ofthe claims of advertisers, includingproduct availability and existence ofwarranties. Therefore, the followinginformation is provided for yourprotection.

1. Confirm price and merchandiseinformation with the seller, includingbrand, model, color or finish, acces-sories and rebates included in theprice.2. Understand the seller's returnand refund -policy, including theallowable return period, who pays thepostage for returned merchandise, andwhether there is any "restocking"charge.3. Understand the product's warran-ty. Is there a manufacturer's warranty,and if so, is it from a U.S. or foreignmanufacturer? Note that many manu-facturers assert that, even if theproduct comes with a U.S. manufac-turers warranty card, if you pur-chase from an unauthorized dealer,you are not covered by the manu-facturer's warranty. If in doubt, con-tact the manufacturer directly. Inaddition to, or instead of, the manufac-turers warranty, the seller may offer itsown warranty. In either case, what iscovered by warranty, how long is thewarranty period, where will the productbe serviced, what do you have to do,and will the product be repaired orreplaced? You may want to receive acopy of the written warranty beforeplacing your order.4. Keep a copy of all transactions,including cancelled checks, receiptsand correspondance. For phoneorders, make a note of the orderincluding merchandise ordered, price,order date, expected delivery date andsalesperson's name.5. If the merchandise is not shippedwithin the promised time or if no timewas promised, 30 days of receipt ofthe order, you generally have the rightto cancel the order and get a refund.6. Merchandise substitution withoutyour express prior consent is notallowed.7. If you have a problem with yourorder or the merchandise, write aletter to the seller with all the pertinentinformation and keep a copy.8. If you are unable to obtain satis-faction from the seller, contact theconsumer protection agency in theseller's state or your local Post Office.

If, after following the above guide-lines, you experience a problem witha mail order advertiser that you areunable to resolve, please let us know.WRITE to Susan Ross, SpecialMarketing, 45th floor, HachetteFilipacchi Magazines, 1633 Broadway,NY, NY 10019. Be sure to includecopies of all correspondence.

AUDIO/MARCH 199598

FOR SALE FOR SALE FOR SALE

ABARGAIN: STAX SIGN/LAMBDA $1,350; OMEGA/SRMT1$2,900; PRO/LAMBDA (#1) $399; SIGN/LAMBDA SRD/7$499; ED -1 $550; ALL UNUSED (212)966-1355.

AUDIO POWER AMPLIFIERS. 100-500 WRMS/CH. Newamps, custom-built, from only $188.00 to $223.00 each. Satis-faction Guaranteed. Call Electronics Hospital (407)952-3838.

WE BEAT PRICES!!NAKAMICHI, CARVER, POLK, PSB, DENON, NHT, NAD,B&K, SNELL, PARASOUND, KEF, VELODYNE, M&K, ON-KYO, ACURUS, FOSGATE, PS AUDIO, SPICA, SOUNDSHOP 206-692-8201

$$SAVE!!$$CABLE T.V. CONVERTERS, DESCRAMBLERS. ScientificAtlanta, Zenith, Jerrold, Pioneer, Oak. Replacements formost models. Quality, Price & Service. Amex/DiscNisa/MC. Dealer inquiries invited. EAGLE Electronics Inc.,1-800-259-1187, #1, 1301 Railhead Blvd.,Naples, FL 33963.

AUDIO INTERFACING ACCESSORIES (over 300) for broad-casting, recording, sound reinforcement and live entertain-ment. Free catalog. SESCOM, INC. 1-800-634-3457.

HYPE! HYPE! HYPE!You get enough elsewhere! We've delivered somethingdifferent for 15 years -natural, musical results! "Musicallyexciting" Adcom, B&KandHafler modifications. Dual -Mono Adcom GFA-555 mods. Smooth, delicate B&Kmods. PA -1 driver boards for Hefter amps -budget bliss!Don't be high -end pretenders, be contenders, call ustoday! MUSICAL CONCEPTS, 5749 WESTWOOD DR.,ST. CHARLES, MO 63304. (314) 447-0040.

DBX & ADC HARD -TO -FIND PARTS & SERVICE. CALL/WRITE RES, 5462 BUCHANAN PLACE, FREMONT, CA94538. (510) 490-1622, FAX (510) 656-8878.

STEVE'S CONSIGNMENTSHOPHi Fi Farm and Steve's Audio advice now offersconsignment opportunities for the used Audio market. TopDollar Offered. Call for Information. New Equipment also. Call1-800-752-4018.

B&O B&W CARVER DENON FOSGATE H/K KEF LEXICON NAD NAKAMICHI ONKYO POLK VELODYNE 24 HOUR AUTO-MATED PRICING MANUFACTURERS WAR-RANTIES COURTEOUS ASSISTANCE AMERICAN THEATER SYSTEMS (904)321-0100.

SINGERS REMOVEVOCAOLS

Unlimited BackgroundsTMFrom SW Tapes, Records, & CDs with

the Thompson Vocal Eliminator'. Cat Nowfor Free Catalog & Demo Tape.Phone (404)482 -4189 -En 51LT Sound , Dept AU -15,

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DON'T PAY EXORBITANT PRICES! FOR TOP QUALITY !

We have equaled the high-priced brands. Sonicequivalents at a fraction of their cost. We demysti-fy wire technology. Ask for literature.AND MORE! DACS, Anti -Jitter Units, CDPlayers/Transports, Speaker Stands, Speakers,Home Theater, Prologic, Accessories-& MORE.Call 800-321-2108 24hrs./day for free catalog.

L A T INTERNATIONALDept. A 317 Provincetown Road

Cherry Hill, NJ 08034

FOR TWENTY YEARS WE HAVE BEEN THE SOURCE FORALL OF YOUR BLANK AUDIO VIDEO TAPES AND ACCES-SORIES, EVEN REEL-TO-REEL TAPES FOR STUDIOS, ATDISCOUNTED PRICES. CATALOG AVAILABLE. SOUND IN-VESTMENT CORPORATION, 3586 PIERCE DRIVE, CHAM-BLEE, GA 30341. (800) 659 -TAPE (8273), IN GA (404)458-1679. FAX (404) 458-0276.

AUDIO SOLUTIONS is Atlanta's Hi -Endsource for Audio Research, Theta, McCor-mack, Wire World, Cary Audio Vanders-teen, CODA, Straightwire, Acurus, Snell,Sumiko, SOTA, NHT, Kimber Kable, MagnumDynalab, Audible Illusions, Rotel, VPI, Para-digm, Dunlavy, Sony ES, Sony Video, PassLabs, Proac. 5576 Chamblee Dunwoody Rd.(404)804-8977.

Wholesale ConnectionCall Toll Free 1-800-226-2800

Receivers C.D. Players Tape Decks MiniDisc Recorders DAT Recorders HomeSpeakers Mini Systems Laser Disc Players.JVC Technics Kenwood Pioneer HarmanKardon Bose Infinity Advent Pinnacle Aiwa & More.Wholesale Connection, 63-48 108th St.

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MILUOM DOLLAR INVENTORYYEARWARRANTIES AVAILABLE FOR a LtITEMS

:41.,..=;,:rr.a.,=e-rtatoramarinutr.

TEAC X1000R 10 1/7' auto reverse reel deck. $595 rebuiltwith warranty HALL ELECTRONICS, 706 Rose Hill Drive,Charlottesville, VA 22901. (804)984-4255, FAX:(804)984-3299.

AUTHORIZED AUDIONIDEO/CAR1-800-348-7799 FAST DELIVERY

CULL MANUFACTURERS U.S.A. WARRANTYBRAND NEW, FACTORY COMPLETE

ADS CAR JAMO AUDIO PYLE CARADCOLI AUDIO JBL AUDIO POLK AUDIOADCOM CAR JEIL CAR POLK CARADVENT AUDIO JVC AUDIO PARASOUND AUDIOADVENT CAR JVC CAR .RCA L.C.D. T.V.AIWA AUDIO JVC VIDEO ROCKFORD CARALTEC AUDIO KEF AUDIO SHARP T.V.

ALTEC CAR KENWOOD AUDIO SONY AUDIOA. R. AUDIO KENWOOD CAR SON WDEOATL TEO' AUDIO KICKER CAR SONY CARB AZOOKA CAR KLH AUDIO SONY ES AUDIOBEL CAR KLIPLICH AUDIO 804W ES CARB OSE AUDIO LEXICON AUDIO 8HERW000 AUDIOB & W AUDIO MB QUARTZ AUDIO SHERWOOD CAREl & 0 AUDIO MAGNAVOX VIDEO TAPES VHSCARVER AUDIO WITSUIRSHI VIDEO TAPES BETACELEBTI3N AUDIO II II K AUDIO TAPES MenCLAMP CM IND AUDIO TECHNCS AUDIODENON AUDIO MAMBOS AUDIO TECHNCH PRO LINEDUAL AUDIO MAYO AUDIO THCRENS AUDIOG. E. REGO PARADIGM AUDIO TOSHIBA VIDEO

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FOR SALE LOUDSPEAKERS LOUDSPEAKERSHardbound AUDIO, annual bound volume editions, just likethe ones in the Editor -in -Chiefs office. Various years availablein limited quantities, $40.00 each. Also available: HardboundOctober Annual Equipment Directories. Years 1992, 1991,1990, & 1987 $15.95 each, and hardbound May Car StereoDirectories for years 1991, 1990, 1989 and 1985, $8.00 each.All prices include postage and handling. All orders postpaid.Check or money order only (no credit card orders) payable toAUDIO MAGAZINE. Send orders to AUDIO, 1633 Broadway,New York, N.Y. 10019. Attn: Michael Bieber, Or call212/767-6301 for further information.

LOUDSPEAKERSLOUDSPEAKER COMPONENT - KITS. Audio Concepts.Dynaudio, Eclipse, Eton, LPG, Vita, more' Crossover parts.design books & repairs. Catalog $2.00. MENISCUS, 2575 28thSt., S.W. Dept. A, Wyoming. MI 49509. (616) 534-9121.

CUSTOM ACTIVE ELECTRONIC CROSSOVERS, 6 to 36dB/Oct. Also Snell, Magnepan versions. DB SYSTEMS, POB460, RINDGE, NH 03461. (603) 899-5121.

Loudspeaker Sale: ADS L1290: $600; AR M4: $250;Acoustat 1100: $500; Acoustat 1.1: $600; Canton Karat920: $450; Carver Amazing Silver: $1200; Celestion 100:$500; Cerwin Vega AT15: $500; Dahlquist DQ12: $700;Dahlquist DC130i: $1250; DCM Timewindow 3: $600; En-ergy Ref. Con. 22: $600; Genesis Genre 1: $800; HarmonKardon 60's: $1800; Infinity Kappa 8.1: $1000; InfinityRet6: $500; Infinity Video 1: $100; JBL LX55: $200; JamoIndoor/Outdoor: $100; Klipsch Forte: $600; KlipschKG5.2: $550; Linn Isobarik DMS: $750; MB Quart990MCS: $1200; Merlin Sig.III: $1500; McIntosh XR-16:$600; McIntosh XRT-18: $1150; Mirage SM 2.5: $100;Near 50M: $1000; PSB Stratus Gold: $1500; PinaclePN-5: $100; Polk Monitor 10: $250; Polk LS50: $400; Polk4.6: $200; Proac Tablette II: $600; Thiel CS3.5: $1000;Thiel CS2: $1400; Unity Audio Sig III: $995. Call: (217)544-5252.

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Parts Express is a full -line dis-tributor of electronic parts andaccessories geared toward theconsumer electronics industryand the technical hobbyist.We stock an extensive line ofspeaker drivers and accesso-ries for home and car. Sendfor your FREE 188 page cata-log today.

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HEYBROOK DIRECT! Buy direct fromthe Importer & save on England's finest value in speakers. PointFives $198.00/pc, Solo's $298.00/pr, HB100's $398.00/pr.,HB1513's $498.00/pr. D'Asign Source 305-743-7130.

LOUDSPEAKER CABINETS Large selection of excellentquality loudspeaker cabinets for custom builders and dealers.Grenier Cabinets, 189 Jennings Road, Horseheads, N.Y.14845 (607)594-3838.

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HALLADAY ACOUSTICS introduces the ERIN 2.2 full range"Volksmonitor." SANDBAR- Oak cabinet, VIFA silk dome, 8"PEERLESS woofer, and our TRANSILVER" silver wired "per-fect" crossover yield incredible results. Call or write for thewhole story and 1995 catalogue. HALLADAY ACOUSTICS, 73Spring Street, Suite #8, Saratoga Springs, NY 12866. (518)581-8095.

OHM SPEAKERS 800 -ohm -1254Upgrades and service plus complete speakersystems from $200 to $7000 per pair. OhmAcoustics, 241 Taaffe Place, Brooklyn, NY11205.

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"One of the most effective subwoofer demonstrations"Gary Reber, Widescreen Review Vol. 3 No. 1. March 1994

Send for complete information on the HRSWI2Vand our famous HRSW10s.

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BETTERLOUDSPEAKERTECHNOLOGY

The VMPS 'timer II Special Edition, the deluxe ver-sion of an Audio Magazine '-Best Buy" system, isnow available with exclusive handbuilt, phase -pluggedwoven carbon fiber 12" woofers, the finest dynamicdrivers extant.

These high-tech cones are also now standard in ourflags-iip FF-1 Focused Field Array ($6800-$7200pr), four of which made up the VMPS 1994WCES Surround Sound display. After auditioningevery multichannel/Home Theater display at theShow, the editor of Widescreen Review judged theVMPS room best, and by a wide margin. Call orwrite for copies of the full editorial, or for brochuresand tost reports on all VMPS systems including ourfour Subwoofers ($289-$649ea), the 0S0626 andDipole Surround AN monitors ($289-$349ea),OSO Series bookshelf systems, and more. Kit ver-sions of most systems are available, and prices in-clude free shipping in 48 states.

VMPS AUDIO PRODUCTSdiv. !tone Audio

3429 Morningside Dr.El Sobrante, CA 94803

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Hear VMPS at: The Listening Studio, Boston; Sounds Incred-ible, Brookfield CT; Dynamic Sound. Washington DC; Hifi Farm,Roanoke VA; Home Theater Systems, Little Falls NJ; MarkCurry, Las Vegas, NV; AMUG, Phoenix AZ; Rama Audio, SunValley CA; American Audio, Greenville SC; Chattanooga ValleyAudio, Rossville GA; Tech Electronics, Gainesville FL; ArthurMorgan. Lake Mary FL; DNA Audio, Orange City FL: SoundsDeluxe. Clarendon Hills IL; Audio Exchange. Mishawaka IN:Audio Connection, Terre Haute IN; Ruth Industries, St. LouisMO; Shadow Creek Ltd. Minneapolis MN; Audio by GilMorrison, Detroit Ml: Lookout Electronics, Longview WA:Affordable Audio, Fresno, CA; Exclusively Entertainment,Oceanside. CA: Hal Broda, Escondido CA: Christopher HansenLtd.. Beverly Hills CA; Audio Haven, Brea CA; Sounds Unique,San Jose CA; Private Line Home Entertainment, StocktonCA; Golden Ear, Chico CA; !tone Audio, El Sobrante CA:James Romeyn, Petaluma CA; The Sound Room, VancouverBC Canada

AUDIO/MARCH 1995100

LOUDSPEAKERS WANTED TO BUY SERVICES

VMPS factory assembled speaker's. Lowest Prices, shippeddirect to you. Free Price sheet. Arthur Morgan, 886 EastCharing Cross Cir., Lake Mary, FL 32746.

We set out to build the bestthree-way loudspeaker system

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The Model 50

Plin

NSMP.O. Box 326, Garden City, New York 11530-0326

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STATE OF THE ART CROSSOVER NETWORKS. UP-GRADE ANY SPEAKER SYSTEM. DESIGN GUIDE- $2.00(REFUNDABLE} ALLPASS TECHNOLOGIES, INC., 2844CHARMONT DR., APOPKA, FL 32703-5972.

REVOLUTIONARY WORLD CLASS TWEETER: Kryp-tonite"' RIBBED Dome, 20.000 Pia .As, No Basket, no sur-round. GLASSCONE" , RIBBED Woofers, with PARABOLE '`surround. Zero modal break up While Electronics, Box 403,Stanford, IN 47463. FAX: (812) 825-'1'155 SENSATIONAL.

HAL COX (FRIEND OF JIM LANSING), SINCE 1947 BUYS/SELLS "HARTSFIELD", JBL, ALTEC, EV-PARAGON, OLYM-PUS. SPECIAL: JBL 4312 BK MONITORS 8499/PAIR.SHIPS WORLDWIDE. VISA/MC. (415) 388-5711. FAX: (415)388-3359. 164 TAMALPAIS AVENUE, MILL VALLEY, CA94941. SAN FRANCISCO AREA.

THE GOETZ/VANDERSCHAAF SPEAKER COMPANYBUILDS SPEAKERS FOR THOSE WHO RECOGNIZE THEVERY BEST. WE HAVE BEEN FURNISHING HIGH QUALITYSPEAKER SYSTEMS ON A PERSONAL BASIS FOR 15YEARS. OUR PRICE RANGE IS $1200 TO $4500. CALL. USAT (704) 884-9842 (NORTH CAROLINA}

RECORDSLV/CD/RECORD COLLECTOR'S SUPPLIES. Jewel boxes,record jackets, sleeves, storage boxes, 78 sleeves, dividers,much more! Free brochure: CABCO PRODUCTS, ROOM 663,POB 8212, COLUMBUS, OH 43201. (614) 267-8468.

PRESERVE + MAINTAIN + RESTORE '"LP-78RPM-4CH Pickering Stanton Shure Nifty Gritty Vacuum Record Cleaners from $99.95 Special Brushes &Fluids 3 -Speed Turntables Signal Processors Discounts Free Catalog! KAB Electro-Acoustics, P.O. Box 2922,Plainfield, N.J. 07062-0922 (908)754-1479.

HALF MILE VINYL. Quality pre -owned LP's. F/Information,Catalog. SASE: Box 98, East Wareham, MA 02538. (508)295-2508.

WANTED TO BUYTOP DOLLAR PAID FOR YOUR USED AUDIO EQUIPMENT.HI Fl EXCHANGE (718) 423-0400.

WANT - JBL Hartsfield, EV Patrician, Singles OK, McIn-tosh, Marantz & other tube equipment. Larry Dupon, 2638 WAlbion, Chicago, IL 60645. (312) 338-1042, evenings.

MARANTZ & ALL VINTAGE EQUIPMENT, HIGH -END. Noone pays MORE, working or not! N.Y.S.I. (718) 377-7282,2-6pm, WEEKDAYS.

US 1st Exporter, David Yo since 1977 always buying: TubeMarantz, McIntosh, ARC, Quad, Leak, Fisher, Dynaco, Vintagespeakers, units from Western Electric, Tannoy, EV, JBL, Altec,Jensen, Thorens TD124, Garrard 301, etc. P.O. Box 280802,Northridge, CA 91328-0802. Tel: 818-701-5643.

AAAALWAYS PAYING TOP U FOR CLEAN, COLLECTABLEMcINTOSH TUBE AND SOLID STATE, MARANTZ TUBE,WESTERN ELECTRIC, JBL-PARAGON, HARTSFIELDS,ETC. & ALNICO PARTS. EV PATRICIANS, GEORGIANS &MISC. PARTS. M. LEVINSON, KRELL, ARC, SPECTRALETC. CALL ME LAST ONLY WHEN YOU'RE READY TOSELL! JOHN: 1-800-628-0266.

TUBE HIFI, CORNER SPEAKERS, THEATER & AUDI-TORIUM TUBE AMPS, McIntosh, Altec, RCA, Western Elec-tric, Jensen, Marantz, Heath, Dynaco, Craftsman. Eico. Etc.Sonny 405-737-3312.

CASH for USED AUDIO & VIDEO EQUIP. BUY-ING and SELLING by PHONE. CALL for HIGH-EST QUOTE. (215) 886-1650 Since 1984. TheStereo Trading Outlet, 320 Old York Road,Jenkintown, PA 19046.TOP PAYING FOR MCINTOSH, MARANTZ TUBE AMPMcIntosh Solid state, Western, JBL, Altec, Tannoy, EV, Jensen,Speakers & Horn, EMT Turntable, Ortofon Arm. Temma-(516)942-1212, (516) 496-2973.

WANTED: WESTERN ELECTRIC, JBL, MARANTZ OLDEQUIPMENT. SUNLIGHT ENGINEFRING COMPANY:310-329-7020, 22130 SOUTH VERMONT AVENUE, MA,TORRANCE, CA 90502.

Higher offering with CASH for your used Hi -End audio electron-ic equipment. EASTERN AUDIO, (718) 961-8256.11AM-7PM, Mon. -Sat. Fax: (718) 961-8315 (NY).

AUDIO CLASSICS BUYS -SELLS -TRADES -REPAIRS HighEnd Audio Components. CALL for a quote. See our ad at thebeginning of the classifieds. AUDIO CLASSICS, LTD., POB176VVB, Walton, NY 13856. Phone: 607-865-7200. 8AM-5PMEST Mon. -Fri., FAX: 607-865-7222.

AUDIOPHILE RECORDS

Analogue ProductionsMobile Fidelity Wilson

Reference Recording - ChestySheffield Lab - harmonia Mundt

Propnus RCA Living Stereo - KlavierMercury Living Presence- plus many mom

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CABLE TV

CABLE T.V. CONVERTERS: JERROLD, ZE-NITH, OAK, SCIENTIFIC ATLANTIC, ALLBRANDS AVAILABLE. LINK YOURSELF TOTHE FUTURE! VISA, MASTERCARD,C.O.D.'S ACCEPTED. CABLELINX, INC.:1-800-501-0095.CABLE T.V. CONVERTERS! JERROLD, OAK, ZENITH, SCI-ENTIFIC ATLANTA, PIONEER...EXCELLENT PRICES!PERSONABLE SERVICE! 30 DAY MONEY BACK GUAR-ANTEE! INNOVATIVE ELECTRONICS INC. 800-493-5474VISA/MC/C.O.D. ASK FOR JOHN OR BILL"

CABLE TV DESCRAMBLERS/CONVERTERS!WE BUY, SELL, REPAIR ALL MAKES/MODELS! ASK ABOUT OUR INDUSTRY EX-CLUSIVE UPGRADE/REFERRAL PROGRAM!MEMBER UNITED STATES BUSINESS BU-REAU & NATIONAL CONSUMER CABLE AS-SOCIATION! FREE CATALOG: 800-407-4444OR 305-428-8944!

CABLE TV DESCRAMBLERS. SAVE MONEY,DON'T RENT! NOBODY BEATS OUR PRICE!CALL US LAST FOR THE BEST PRICE!! ALLBRANDS 24 HOUR SHIPPING. VCI1-800-677-0321.

SERVICESInexpensive repairs on amplifiers, preamps, receivers andsignal processors. Rat rates on Hefter, Dynaco, and PhaseLinear. Fax/Phone Midwest Power: 614-351-0895.

ACCUPHASEAUTHOR QED SERVICE AND PARTS for all Accuphase prod-ucts. Contact: ACCUTECH, 206 E. Star of India Lane, Carson,CA 90746. TEL (310) 324-7406, FAX (310) 324-7422. Hoursgam-4pm Pacific Time.

Audio Equipment Built, Repaired, Modified and Restoredby Richard Modafferi, independent consultant to Audio Clas-sics, Ltd.. inventor, and former Senior Engineer at McIntoshAUDIO CLASSICS, LTD. FOB 176RTM, Walton, NY 13856Phone: 607-865-7200 8AM-5PM EST Mon. -Fri., FAX607-865-7222.

SPECIALIST, TUBE EQUIPMENT CUSTOMIZATION RepairServices. Vintage military tubes & parts available. Custom andVintage tube equipment for sale.Selected Telefunken12JU(Ts available.BWS Consulting, 5609 N. 23rd Street.Arlington, VA 22205. (703)536-3910.

MISCELLANEOUSANNOUNCING HI -Fl '95, THE STEREOPHILE HIGH -ENDSHOW, in Los Angeles, April 28, 29, 30, 1995. At the Double -tree Hotel, Los Angeles Airport, 5400 West Century Boulevard,(one mile east of LAX), Los Angeles. Our Fourth Show inSouthern California. See and hear the best in high -end hi fi, andhome theater. Enjoy live concerts. Participate in question -and -answer sessions with STEREOPHILE'S editors and writers.Shop from a wide selection of LPs, CDs, and accessories.Tickets by mail, $18; at the door $25. EACH TICKET IS VALIDFOR ALL 3 SHOW DAYS. Write or Fax: The STEREOPHILEHigh -End Show, 208 Delgado, Santa Fe, NM 87501, Fax (505)989-8791.

PARTS AND ACCESSORIES

TUBE TRAP

OVER A DECADE OFACOUSTIC INNOVATIONS

ACOUSTIC SCIENCES CORPORATION offers you thetechnology & a special economy product line for HomeAudio. For recommendations on how to improve yourlistening space, call 1-800-ASC-TUBE. (1-800-272-8823).

ti....

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AUDIO/MARCH 1995101

PARTS AND ACCESSORIES AUDIO VIDEO STORAGE

Premium Grade PartsDon't Pay More!

Absolutely the best selection of audiophile grade partsat fair prices! Extensive deep in sock inventoryfeaturing these vendors and many more. Free catalog!MIT MULTICAP, WONDER CAP, SOI.EN, SCR, REL-CAP,NICHICON MUSE, BLACK GATE, CADDOCK, VISHAY, MILLS,

HOLCO, RF_SISTA, TDK, ALPS, NOBLE, FAR, DEFLEX PANELS,CARDAS, KHMER, ACROTECII, & pure silver chassis wires,HEXERED diodes, Sow foil inductors, all types of audioconnectors, silver contact toggle & rotary switches,stepped attenuator kits, hospital grade plugs, tubes,tools, IC's, super selection of damping materials & feet.InternationaVoverseas orders are especially welcome!Phone (415) 669-7181 or fax (415) 669-7558 for a catalog.Michael Percy, Box 526, Inverness, CA 94937

N.O.S.PAPER/OIL CAPS - SPRAGUE VIT-O, BLACK BEAU-TIES, WESTCAP ETC., N.O.S. ELECTRON TUBES, SOCK-ETS, HARDWARE, ETC. KURWFF ENTERPRISES, 4331MAXSON RD., EL MONTE, CA 91732. 818/4447079. FAX:818/444-6863.

Get on our list -to get closer to this list. MIT MultiCap Wonder Cap Kimber Kap Solo Hovland MusiCap Solen Siemens Wima Holco Rel-Cap Draloric IRC Allen-Bradley Jensen Resista Vishay Caddock Mills Matsushita TKD Noble Cardas Kimber Kable van den Hui* Discovery Aucloquest MIT Alps Boums Shatters Elma Electrosmtch Nichicon Gold Aero RAM Mallory Panasonic HFCI Nichicon Etna New Old Stock Ruby Tubes UltraAnalog Burt -Brown Crystal Linear Technology Analog Devices Edison Price International Rectifier Hitachi Motorola UCC MagneQuest Sonic Frontiers Pearl Tube Sockets WBT Neutrik Sound Coat Curco Audio Engineenng Assemblage and other kits

And it's growing and growing. To order The Parts Connection 1995Catalog 8 Resource Guide, send $10. and mailing information. You'llalso receive a Discount Coupon worth $10 off a purchase over $100or $25 off a purchase over $250 as well as The Breadboard bulletin tokeep you updated on our latest news. information and growth spurts.

.4THE PARTSCONNECTION

or credit card In1,- ,,

2790 BrightonBrighton Road, OakvilleOntario. Canada L6H 5T4

Toll Free Order Line

1-800-769-0747(U.S. & Canada only)

Tel (905) 829-5858Fax (905) 829-5388

OS

250 PAGE CATALOG and DESIGN MANUAL:CHECKOUT OUR KITS!!! MOSFET Power Amplifiers,Single -Ended 300B Triode Amps; Passive, Buffered andClass -A Linestages; Phonodrives, Softstarts, and Ac-tive Crossovers. Largest Selection of Parts and Sup-plies including: Kimber Kap, MIT MultiCap, Solen,WIMA, Wonder Caps, Hovland MusiCap, RAM Labsand Golden Dragon Tubes, Kimber Kable, DH Labs,Vampire, Cardas, WBT, Neutrik, Magnequest- OutputTransformers, Caddock, Holco, and Mills Resistors, etc.Plus Lots of Enclosures and Custom Chassis. Send $12(U.S./Canada) or $16 (International). Or call (303)470-6585, fax (303) 791-5783. Visa/MC Accepted.Welborne Labs, P.O. Box 260198, Littleton, CO80126-0198.

HELP WANTEDEASY WORK! EXCELLENT PAY! ASSEMBLE PRODUCTSAT HOME. CALL TOLL FREE. 1-800-467-5566. EXT. 11325.

CD STORAGE+

soRicePO Box 747.22, Nutley, NJ 07110Credit Cards, Checks and Money Orders accepted.30 Day Money Back Guarantee and a Full OneVear Warranty on all Models.

SORICE SYSTEMS Include...Video, Cassette, LP, Laserdiscand Component Storage Units.

Our A300 Model shown stores 300 CD's.

+ Impeccably crafted in these Premium SolidHardwoods: Oak, Walnut, Teak or Cherry.

+ Adjustable Shelves store any combination ofCD's, Videos & Cassettes - all in One cabinet.

+ Adjustable Solid Brass Bookends keep Discs &Tapes upright and in place.

4. Cabinets can be stacked, wall mounted or leftfree standing.

-) Optional Wood or Glass Doors are available.

Enclosed back provides dust protection.

+ Compact size: 391/2"H x 2.31/2"W x 71/z"D.Cabinet comes assembled.

For FREE Color Literature 6? Priceson our Full Line of Quality Products

Call: 1-800-432-8005Fax: 1-201-667-8688

PUBLICATIONS

MUSIC YOU NEEDNEWSLETTER. REVIEWS OF RECORDINGS: ROCK,JAZZ, ETC. ALL WHEAT, NO CHAFF ENHANCE YOURCOLLECTION. $25 FOR TEN ISSUES. MUSIC YOUNEED, DEPT. A, 655 EIGHT ROD WAY, TIVERTON, RI02878.

BUILD YOUR OWNLOUDSPEAKERSSpeaker Builder the world's bestspeaker periodical shows you how.Send today for your first free copyPO BOX 494, PETERBOROUCH NH 03458

MOVIESOUND NEWSLETTER. The state of film audio tracksin theaters and at home. $8/year (4 -issues). Send $2 for twosample issues. P.O. Box 7304, Suite269A, No. Hollywood, CA91603.

BLANK TAPES

1 -800 -TAPEWe'll beat an

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H1-8-120 5.99witaisc74 10.99

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CD CABINETS

STORADISC See why CD Review picked our LibrarySeries as their "top choice". Fine -furniture quality in a varietyof finishes and sizes. Call or write DAVIDSON-WHITEHALL,555 Whitehall Street, Atlanta, GA 30303. 1-800-848-9811.

BUSINESS OPPORTUNITIES

AUDIO AMERICA is offering an excellentopportunity to start your own audio -videobusiness. With over 25 years experience,we offer expert advice and consultationon all aspects of business planning andoperation. For complete information, call1-703-745-2223.

AUDIO/MARCH 1995102

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Lel Us

blerlainYou!

PARA Home Theater Specialists

When you're buying audio and video components,

its important to understand that its not enough to

buy a good IV and VCR. Components must also be

chosen for how they sound together. PARA is a

professional association of independent specialty

audio/video stores who are committed to the high-

est standards in retailing.

PARA stores will take the time to ask about

what you already own and suggest home

theater components that will integrate into

your current system.

PARA home entertainment professionals are

educated to explain the newest technologies in

clear, friendly language, helping you get the

best value for your money.

11 Let us help you choose the system that's just

right for you.

CALL 1-800 4-PARA 94 to find the PARA

dealer nearest you!

ProfessionalAudioVideoRetailersAssociation

A D INDEX

Firm (Reader Service No.) Page

Adcom (1) 13

Advent/Crutchfield 24

Advent/Sears Brand Central 33

Audiophile Systems 25

AudioQuest 64, Cover IVAudio Research (3) 86

B & W Loudspeakers (4) 7

Bacardi *17

BMG 40 a & bBrystonvermont (5) 21

Caig Laboratories (6) 92

Cambridge SoundWorks (7, 8) .. 18 & 19, 20Carver (9) 60

conrad-johnson (10) 73

Crutchfield (11) 87

Dave's *17, *27

Digital Phase (12) 65

Golden Strings (13) 33

Hales (40) 81

Infinity (14) 53

J & R Music World (15) 93

Kimber Kable (16) 82

Linn Hi-Fi 25

M & K Sound (17) 79

Martin -Logan 89

McIntosh (18) 29

Mirage (19) 59

Mobile Fidelity (20, 21) 85, 91

Mondial/Aragon (22) 3

NEON (23) 70 & 71

New West Electronics (24) 94

Paradigm (25) 23

Parasound Cover II & 1Parasound/Spica 24

Polyfusion Electronics (26) 55

Pontiac/Sunfire (27) 9-11

ProAc (28) 28

PSB Speakers (29) 15

Reel to Real (30) 75

Ruark Acoustics (2) 32

Sanus (31) *27

Sennheiser (32) 22

Sound City (33) 90

Soundwave (34) 63

Southern Comfort 5

Spica 24

Sunfire Corporation (35) 48 & 49

Vandersteen (36) 57

Velodyne (39) Cover IIIWestlake Audio (37) 83

XLO Electric 77

Yakov Aronov (38) 74

Yamaha 30 & 31

*Regional Ad

AUDIO/MARCH 1995103

SUBSCRIBER SERVICE

PLACE LABEL HERE

MOVING? Please give us8 weeks advance notice. Attachlabel with your old address, andwrite in new address below.

NAME

ADDRESS

C IT7

STATE

ZIP

1(303) 604-1464FAX 1(303) 604-7455

AUDIOP.O. Box 52548, Boulder CO 80322

AUDIO, March 1995, Volume 79, Number3. AUDIO (ISSN 0004-752X, Dewey Deci-mal Number 621.381 or 778.5) is publishedmonthly by Hachette Filipacchi Magazines,Inc., a wholly owned subsidiary of HachetteFilipacchi USA, Inc., at 1633 Broadway,New York, N.Y. 10019. Printed in U.S.A. atDyersburg, Tenn. Distributed by WarnerPublisher Services Inc. Second class postagepaid, at New York, N.Y. 10019 and addition-al mailing offices. Subscriptions in the Unit-ed States, $24.00 for one year, $42.00 fortwo years, $58.00 for three years; othercountries except Canada, add $8.00 peryear; in Canada, $32.00 for one year (in-cludes 7% GST; Canadian GST registrationnumber 126018209).AUDIO® is a registered trademark of Ha-chette Filipacchi Magazines, Inc. ©1995,Hachette Filipacchi Magazines, Inc. Allrights reserved. The Editor assumes no re-sponsibility for manuscripts, photos, or art-work. The Publisher, at his sole discretion,reserves the right to reject any ad copy hedeems inappropriate.Subscription Service: Postmaster, pleasesend change of address to AUDIO, P.O. Box52548, Boulder, Colo. 80321-2548. Alloweight weeks for change of address. Includeboth old and new address and a recent ad-dress label. If you have a subscription prob-lem. please write to the above address or call303/604-1464; fax, 303/604-7455.Back Issues: For information, write to P.O.Box 7085, Brick, N.J. 08723.

P aYBack

-1) is c-washei-HydroBath CD (leaning System

.THIEL CS5iMonitor Loudspeaker

original CS5 rapidlybeka e lone of the mostpra ed monitors on them ket, and I have beenusing it as one of myreferences for severalyears. Thiel has nowmade the CS5 evenbetter. The CS5i has a

The Discwasher HydroBath ($59.95) is designed to removesurface contaminants, such as greasy fingerprints, from CDs. Toclean a disc, you put about 2 ounces of CD6+ fluid into theHydroBath, place the CD on the spindle (label side up), close the lid,and press the start button. A 6-V d.c. motor spins the CD and spraysthe fluid on its surface; a replaceable filter screen catches contaminantparticles and keeps the fluid clean. The cleaning and drying takes about45 seconds. A compartment on the bottom holds four AA batteries, butthe unit can also be powered by an accessory 6-V d.c. adaptor.

The toughest thing that can happen to a CD, so far as the laser's ability toread the disc is concerned, is for finger grease to get on the bottom surface. Itherefore gave this unit a worst -case test by putting some butter on a CD withmy finger. Many other cleaners can't handle this, but the HydroBath could after

about six cycles. I repeated the test but

'41§04r6... .-. first wiped off most of the butterwith a tissue; this time the unitremoved the butter film in one cycle.While I don't recommend mixing CDs

and butter, if it

31 -41DE: AGRADE:

does happen,the HydroBathwill clean yourCDs and restorethem to playable

condition. It's a very good investment. E.M.L.

thia

lodireusn

CD tem%OW tact ciconi'"/ srsNen-con-


DGX AUDIODDP-1 DIGITAL PREAMP OOOOOOOOOOOO

as just a matter of time before a product such asme on the market. The DGX Audio DDP-1 ($995) isital deconvolution preamplifier" that provides foreaker-specific equalization. Arrangement is made for

1 in and out, digital in/analog out, and analog in and out. The unit Ied came equalized for the B & W 801 Matrix Series 3 speakers, which Ia reference; according to the provided equalization curves, there are a

of peaks and dips of a few decibels over most of the audio range, with a substantial bass boost of8 dB below 56 Hz. To try out the DDP-1, I simply plugged a CD transport into the digital input andconnected the audio outputs to my power amp. How did this sound compared to the normal unequalizedfeed to the speakers? Disturbingly better in some ways, especially the bass. Many sounds had a morenatural timbre. There was some tendency toward hardness and irritation, but the more I listened, themore nuances I heard and the more I was impressed. (Construction quality, meanwhile, is adequate; thesheet metal is too thin.) In addition to 801 EQ, the DDP-1 is available with equalization for DGX's ownDDL-1 speakers; equalization for other companies' speakers is contemplated.


new set of woofersthat provides betterdynamic range inthe bass, withsubstantially lessbass distortion.This not onlyimproves theoriginalspeaker'sability to"rock" butalso addsa slighttouch of apparent warmthand openness to thesoundstage. The Thiel CS5icosts $12,300 per pair. If

you can convert to the CS5i for $1,200, or-ifthe serial number is lower than 529-you canget new sets of midrange drivers and woofers

for $1,500. A.H.C.

G A

G


A

"PlayBack"mini-revicwsanttheresult of short, sweet, and some-times deadly testing by our all -too -experienced editors and writ-

ers. These hands -and -ears -onlywrite-ups may look like newproduct announcements, but thegrades and text reflect what thereviewer thought after less than an

afternoon's "honeymoon."-L.

AUDIO/MARCH 1995104

Velodyne VAX Subwoofers.

Sound So Real You Can Feel It.

At prices that sound unreal.Sound moves us most when it's built on powerful waves of bass. Because bassis the heartbeat. That steady, pulsing beat than seems to flaw from your homeentertainment system right through your body. Touching, soothing, arousingenhancing your every mood.

When that sound comes from Vilodyne's new VAX Series Subwoofers,it's more than just realistic. It's real. So real you don't simply listen to it. Youfeel And marvel that this high -definition, distortion :Poe (found couldhave such brute force and intensity.

Now it's easy to add VAX Subwoofers to the audio/video home theaterof your dreams. At a price that's music to your ears. To audition a Velodyne,call for the dealer nearest you: 1-800-VELODYNE.

Enter No. 39 on Feader Service Card

VelodyneVelodyne Acoustics, Inc.1070 Commercial Street, Suite 101San Jose, CA 95112(408) 436-727!)

"Clearly thebest soundingaudiophilerecordingstoday."The Absolute Sound Vol. 18, Issue 92

CF.

JAMES NEWTONENSEMBLE

JAMES NEWTON 1023

EOVARD SIMON GROUP BEAUTY WITHIN

ANT :ONE JACKSONMOMCIO 'EL kif 61,t0. 14ERNANDF,

EDWARD SIMON 1025

Dot, 1 AI Le,

DouG MAcLEcio 1027

KEI AKAGI 1028

SUITE FOR FRIDA KAHLO

The award winning flutistand composer celebrates theincredible life and work ofFrida Kahlo."Brilliant!" -Jazz Times"My choice for jazz recordof the year." -Stereophile"*""A gem!" -DownBeat

MIGHTY SAM MCCLAIN 1031

BEAUTY WITHIN

The rave reviews have beenrolling in on this stunningsynthesis of Latin musicand power jazz."A striking statement...thealchemy is audible from thevery first track." -CD Review"""An inner exploration...arelentless present day groove."-DownBeat"Deftly straddles Afro-Cubanwith hard bop." -Jazziz

WORKS OF ART VOL. 3 1029

COME To FIND

AudioQuest Music is proudto add one of the brightestsinging and song writingtalents in blues to its roster.Come To Find is the remark-able sound of a consummatebluesman touching the coreof his art. He is beautifullysupported in an intimatesetting by harmonica aceCharlie Musslewhite andthe Mighty Flyers' rhythmsection, Jimi Bott and BillStuve. Don't miss this!

MIRROR PUZZLE

Pianist and composer Kei Akagihas for many years been oneof the most in -demand artistson the jazz and creative musicscene. He has recorded andperformed with, among others,Miles Davis, Stanley Turrentineand Freddie Hubbard. Kei's work-ing band, featured here, includesfellow Miles Davis alum RickMargitza on sax, bassist CharlesFambrough and drummer WillieJones III. Pure musical magic!

KEEP ON MOVIN'

Mighty Sam's first release forAudioQuest Music received a welldeserved avalanche ofcritical praise. Pulse! magazinenamed it the Blues Album ofthe Year for '93. Rolling Stonecalled it "the R&B comeback ofthe year." How can Mighty Sampossibly top Give It Up To Lore?Listen for yourself. He did.(Jan. 95 release)

WORKS OF ART VOL. 3

Contains selected tracks fromeach of the last ten releaseson AudioQuest Music. Theultimate demo disc!

TO ORDER BYPHONE OR RECEIVE

A FREE CATALOGCALL 800-474-1977

audioquesLMUSICState of the Art Music/State of the Art Sound

Division of AudioQuest, P.O. Box 3060, San Clemente, CA 92674 USA 714-498-2770 Fax 714-498-5112

ve waited in the rain, paid your seven bucks, bought your real buttery -flavor popcorn and snagged...

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