The

Authoritative
Magazine
About
High Fidelity

'

o
MAY 1982 S1.50®F06030

HEADPHONES
HOW THEY WORK
HINTS ON USE
MTV
MUSIC COMES
TO CABLE ' M CBo;

REVIEWED
TECHNICS J
SU-A8 AND
SE-A7 COMBO
NAKAMICHI ZX-7
CASSETTE
CK
HITACHI FT-5500 1

TUNER o/

d .! 1

.1

0
11,_II °J 1 2
710ifi106M111 1111111
 1

The linear tracking tolleann IS wi llout question the .. ,Ir,-_,,

ideal way to recoverink)nnation from a disc. It can vir-
tually reduce horizontal tracking error 10 zero, eliminate
crossmodulation and significantly min_ nizc stylus and
record wear.
But until now there hasn't been a linear tracking
turntable whose overall perlo. nlancc truly measured
up to the technology of linear tracking itself.
Pioneer's new PL-L800 has changed all of that.
THE LINEAR INDUCTION MOTOR
ELIMINATES MECHANICAL CONTACT.
Unlike other linear tracking tonel -ms that
are driven by vibration -producing rollers, worm n
screws or pulleys, the PL-L800)s tonearm is
driven by Pioneer's exclusive linear indi. tion
motor. Through a pr_xcss known as electro-
magnetic repulsion, a nlagnet_c field is svt up
that gently propels tl-e tonearm, allowing it to
track perfectly with no mechanical linkages
to degrade performance. -

THE POLYMER GRAPHITE'

TONEARM DAMPENS VT BRATIONS.
To minimize any tonearm resonance
caused by acoustic vibrations, the PL-
L800's tonearm has been constructed
with an exclusive dampening material -

called Polymer GrapiiteTM The only

thing we want you to hear through our mum
tonearm is music.
Our Coaxial Suspension System,
on the other hand, w absorb vibra-
11

tions that occur when someone walks or

dances too hard in á -oem, oracciden-
tally drops-the dustccver. Bccáuse inside
the cabinet is a free-floating suspension
THE PION
system which isolates the tonearm, platter UNEAR TRAC2
r'

and motor from the rest of the turntable; vibrations that

reach the cabinet are absorbed by the spring-coupled in-
sulators before they can harm the reproduction process.
THE STABLE HANG:NG ROTOR DESIGN
REDUCES WOW AND FLUTTER.
The most advanced Turntable platter motor
wasn't advanced enough 'or the PL-L800. So we
came up with a new direct drive system called the
Stable Hanging Rotor. The problem with the
design cf conventional motors is that the fulcrum
is at the base of the motor, making it impossible "

for the platter motor's center of gravity to coincide

with the fulcrum. And that results in a wobbling
of the platter, known as wow and flutter.
Tie Stable Hanging Rotor system
reduces the cause of this wow and flutter.
Because the fulcrum lies immediately below
the p atter, it coincides with the platter's
center of gravity.
And as if all this weren't enough, the
PL-L800 also is equipped with Pioneer's
exclusive moving-coil cartridge. It has such" "

unusually high output that even a receiver

or amp not equipped to handle most
M nIOruccua moving -coil cartridges can be used with
the PL-L800.
.k-.w.iCIN If you find it hard to believe that a
. _
turntable could be as remarkable as the
III I
V PL-L800,we suggest you visit yóur near-
est Pioneer dealer and see and hear
the PL-L800, along with our entire
line of new turntables, .for yourself.
No other linear tracking turntable

ER PL-L800
deserves your attention more.

G ABLE. PIONEER'
bring back
VVr it alive.
© I4ó2 Prlratr I'kctp nes(USA,) Inc.. PO. flux b00. Iy Ig Beach, CA With
Entar -Jo. 18 on Reader Sery ce Card
 THE
NEW WORLD, MAY 1982 VOL. 66, NO`5-

RENEWED
These classical albums are now
available on dbx discs:
DVORAK: "New World" Symphony.
Batiz, London Phil. Orch. (Varese
Sarabande). PS -1037
TCHAIKOVSKY: "Pathetique"
Symphony. Batiz, London Phil. Orch.
(Varese Sarabande) PS 1038
SAINT-SAENS: "Organ" Symphony.
Tjeknavorian, Royal Liverpool Phil.
Orch. (Chalfont). PS -1033
THE FOX TOUCH: Organ Show-
pieces by Bach and Jongen. Virgil Fox
(Ultragroove) PS -1020
MIKLOS ROZSA: Symphonic Suites
From Epic Films - Ben Hur, King of
Kings and El Cid. (Varese Sarabande). GS 2025
ROSSINI/BERLIOZ: Overtures and
Marches. Rozsnyai, Philharmonic
Hungarica (Real Time) PS -1005
MORTON GOULD: Latin American
Symphonette; Festive Music; Philhar-
monic Waltzes; Gould, LSO (Varese
Sarabande) PS -1009
DANZAS FANTASTICAS: Spanish
Music of Turina, Albeniz, DeFalla, FEATURE ARTICLES
Granados. Gould, LSO (Chalfont) PS 1028
HOLST: The Planets. Susskind, St. THE AUDIO INTERVIEW: RUDY BOZAK .. David Lander 28
Louis Symphony (Vox). SS -3002 AUDIO'S 35th BIRTHDAY John P. Wolkonowicz 33
MOZART: Eine Kleine Nachtmusik MTV: MUSIC COMES TO CABLE Jon & Sally Tiven 36
and other Mozart Serenades. Wins- HEADPHONE HINTS Andrea Lynne Hecker 40
chermann, German Bach Soloists HEADPHONES: HOW THEY WORK Peter Milton 44
(Arabesque). SS -3024
DIGITAL HITS OF 1740: Pachelbel's . EQUIPMENT PROFILES
Canon and Famous Works by
Albinoni, Bach, others. Smedvig, TECHNICS SU -A8 PREAMP and
Cambridge Chamber (Digltech). PS -1017 SE -A7 AMP Leonard Feldman 50
NAKAMICHI ZX-7 CASSETTE DECK Howard A. Roberson 54
dbx discs give you the full HITACHI FT -5500 TUNER Leonard Feldman 58
dynamic range of a live perform- SIGNET SK305 STYLUS CLEANER B. V. Pisha 61
ance with none of the surface SHURE SM85 MICROPHONE Jon R. Sank 62
noise of conventional records. KM LABS SP -100 PREAMP Leonard Feldman 66
The result is clarity, im-
pact, and sonic realism RECORD REVIEWS
like you've never heard AUDIOPHILE DISCS 20
before-even on digital THE COLUMN Michael Tearson, Jon & Sally Tiven 22
"audiophile" records. CLASSICAL REVIEWS Edward Tatnall Canby 26

dbx discs. Demand AUDIO IN GENERAL

them by name.
AUDIO ETC Edward Tatnall Canby 8
WHAT'S NEW IN AUDIO 16
TAPE GUIDE Herman Burstein 18
CLASSIFIED ADVERTISING 69
ADVERTISING INDEX 82
BEHIND THE SCENES Bert Whyte 85
AUDIOCLINIC Joseph Giovanelli 87
VIDEO SCENES Bert Whyte 90
WHAT'S NEW IN VIDEO 92

The Cover Photographer: Robert Lewis.

The Cover Equipment: Sony MDR -80,
Proton, and Denon AH-P5 headphones.

Audio Publishing, Editorial and

Advertising Production Offices.
1515 Broadway, New York, N.Y. 10036.
Music can't live without us. Subscription Inquiries, (800) 525-9511; in
dbx, Incorporated, 71 Chapel Street, Colorado (303) 447-9330.
Box 1OOC, Newton, Mass. 02195 U.S.A.
Tel. (6 7) 964-3210, Telex: 92-2522.
1

2
Enter No. 7 on Reader Service Card
 Introducing TDK AD -X.
The normal bias tape with
Super Avilyn technology.
New TDK AD-X is the first normal new AD -X can easily lb ensure years of
FREQUENCY RESPONSE AND APAXMUM
bias audit cassette to use TDK's handle strong signal OUTPUT LEVEL
reliable use, AD-X is
Avilyn magnetic particle-based input without over- housed in TDK's Iabo-
on the renowned Super Avilyn for- saturation. ratory Standard Mech-
mulation that has kept TDK the When you hear the 20
anism, and protected
leader in audio and videotape brilliant playback re- 30-
by TDK's lifetime war-
technology. sulting from the higher 30
FREQUENCY (Hz)
100 100 20K
1K
ranty. With its distinc-
The Avilyn advan- MOL and iVilyn particle achieves tive packaging, you
tage offered in AD-X _-r-5-3-2-1 hgher saturation and lowrr noise.
O
e lower bias won't miss it.
is demonstrably clear. noise you won't believe So for high quality recordings
You now can record that your deck can in the normal bias/EQ position,
and play back-in the Record at higher levels "improve" so much. snap in the new TDK AD-X. You'll
normal bias/EQ position wilt far less distortion.
The new AD -X has discover that the Avilyn advantage
with complete compatibility for truly versatile applications. Its means superior overall performance

5
any cassette deck over a wider dy- higher sensitivity makes it ideal for for you.
namic range and with far less dis-
tortion. Even at higher recording
levels, the increased headroom in
all-round home entertainment use
and also suitable for any cassette
player.
:-TDK9
THE MACHINE FOR YOUR MACHINE

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 1luclio:
Editor
Eugene Pitts Ill

Assistant Editor
Kay Blumenthal
Editorial Assistant
ct) Andrea Lynne Hecker
Art Director
Cathy Cacchione
Production Manager
Elaine S. Geiger

Associate Editors:
Edward Tatnall Canby, Bert Whyte
Senior Editors:
Richard C. Heyser, B. V. Pisna
Howard A. Roberson

Contributing Editors/Artis::
Tom Bingham, Herman Burs:sin,
Ted Costa, John Diliberto.
If everything were perfect ... a control unit Leonard Feldman, Joseph Gioagnelli,

If would consist of a volume control and a

program selector switch.
Unfortunately this is not the case as any
Edward M. Long, C. G. McProud,
Jon Sank, Walter I. Seigal, Dona d Spoto,
Michael Tearson, George W. T Ilett,
Jon & Sally Tiven

prospective high fidelity buyer-be he neophyte or Vice PresidenVExecutive Pubdsher

Charles Stentiford
hardened campaigner-quickly discovers. Publisher
Jay L. Butler
He is faced with a
everything choice
He can attempt to
AUDIO (ISSN0004.752X) is published mortEly by CBS
Publications, The Consumer Publishing Division of C3S
Inc 1515 Broadway. New York. N.Y. 10036.
,

Robert J. Krefting, President

sift the vast quantities of conflicting information George H. Allen, Senior Vice PresidenVMagazines
Francis P. Pandolfi, Vice President and Group Publisher
gathered from high fidelity magazines, retailers and M chael Brennan, Vice President and Gen. Manager

"my friend who is an electronics engineer and knows Leon Rosenfield. Circulation Marketing Director
John J Miller, Group Business Manager
a bit about high fidelity" ..
were . James Slockbower, Associate Business Manager
quite Karen L Rosen, Production Director
or he can buy a Quad 44.
. ADVERTISING SALES
Audio, 1515 Broadway, New York, N.Y. 10CJ6
In the latter case he can be confident that whatever the Jay L Butler. Publisher
Telephone (212) 719-6330
program sources, he will be able to match them Stephen W. Witthofi, Eastern Adv. Mgr.
Telephone (212) 719-6337
correctly, and apply tonal correction when necessary West Coast Sales Office:
to obtain optimum results. Audio, 3807 Wilshire Blvd.. Suite 1201

perfect... Moreover he can be con-

fident that he need not
Los Angeles. Calif. 90010
Jay Martin, Western Adv. Mgr.
Telephone (213) 487.5880
Classified Advertising:
change his preamplifier to meet future developments. Audio. 1515 Broadway, New York. N.Y. 10C:6
Laura J. LoVecchio, Classified Adv Mgr.
Telephone (212) 719-6338
To learn all about the Quad 44 he only has to write for

OnD
Englund: The Paul Singer -Lawrence Media Group.
a brochure and a list of authorized dealers: 54 Burton Court, London SW 3 SY4, England
Telephone, 01-730-3952
QUAD e7 AUDIO is a registered trademark of CBS Inc. b 1982.
al Sherman Avenue CBS Publications. The Consumer Publishing Divisior of
CBS Inc All rights reserved
Palo Alto, California 94306
Dewey Decimal Number 621.381 or 778.5
In Canada: for the closest approach Editorial Contributions are welcomed out should be
May Audio Marketing Ltée. Ltd. to the original sound accompanied by return postage. Submissions will be
handled with reasonable care, but the publisher ass.mes
Longueuil, Quebec J4G 1P8 QUAD is a registered trademark. no responsibility for safety or return of manscripts,
photographs, or artwork. The Publisher. In res sole
discretion, reserves the right to relent any ad copy he
deems inapprophate.
Printed In U.S.A. at Columbus. Ohio. Second Class
postage paid at New York, N.Y. 10001 and additional
al 6 mailing offices
U.S. Subscription Rates: 1 year $13.94, 2 years $ 94,
3 years $29.94.
Other Countries: Add $6.00 per year.
.) Back Issues, when available. $5.00 postpad.
Audio Publishing, Editorial and Advertising °roducttcn
odices, 1515 Broadway. New York, N.Y 10036.
Audio Subscription Offices, P.O. Box 53'6, 1255
Z
Portland Place. Boulder. Cob. 80322
7 a Postmaster: Send Form 3579 to P O. Box 13t6, 1256
Portland Place, Boulder. Cob. 80322.
©1982 QUAD

4 AUDIOIMAY 1982
Enter No. 17 on Reader Service Card
 .113CtnJCS
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Now Technics lets you hear

nothing but the sound of the source.
Introducing the SV P100 Digital Cassette Recorder.
No tape hiss. No wow and flutter. Not even head decks to a digital application. Tape loading is now fully
contact distortion. With Technics new SV P100, they no autDrnatic. And, frequently used controls are grouped
longer ex'st. The -esult-now you listen to the actual togetner on a slanted panel with LED's to confirm
music... tie source, not the tape or the tape player. operating status.
Utilizing the Pulse Code Modulation (PCM) digital Despite its compact size, the SV P100 recorder offers
process, the SV-P100 instantaneously translates musical per`ormance beyond even professional open reel decks.
notes into an exact numerical code, stores them on any Since the digital signal,isrecorded on the video track,
standard VHS cassette, then "translates" them back into the space usually available for audio can therefore be
music on playback. Duplicate tapes are exactly the same used for editing 'jump", and "search" marks. The unit
as the original. Thus, every recording and every copy is employs the EIAJ standard for PCM recording. And, in
a "master" adCition, editing and purely digital dubbing are easily
The revolutionary size of the new Technics SV-P100 accomplished with any videotape deck employing the
recorder 117"x "x 10") is the result of state-of-the-art
1 1 NTSC format.
semiconcuctor technology. The built-in videotape Technics new SV-P100 is available at selected audio
transport mechanism brings the convenience normally deale-s. To say that it must be heard to be appreciated is
associated with conventional front -loading cassette an incredible understatement.

Technics
The science of sound.
Enter No. 26 on Reader Service Card
 A STEP BEYOND
EIICTRAORO/NARY

SHURE
i

G NE r

Ri vciN
_-.1111

S/OE-is/ARO
PROTECT/ON
SYSTEM

MASAR =POL/SNEO '

SHORE
MYPERELL/PT/CAL
STYLS/S T/P J
OYNAM/C STAB AL/ZER/
OESTAT/C/ZER

BERYLL/i/M
M/CROWALL/BE
SYYLS/S SHANK
 ILillfilke
TECMII/QL.00Y
FEATIR/NG at any
price,
cartridge,
No other these benefits:
high frequency ,
N all accurate revolutionary
offers
cartridge
a Incrediblydue to the mass
new phono ... it's trackabilitystiffness,
low
in design in superior high
only
This revolutionary
new MICROWALL/Be`'
an advance resulting V not Beryllium
just forward V15 Type the shank. STABILIZER UF1E
is not leap The back stylus DYNAMIC
shock
brings such miniature
quantum reproduction. ...it It solves Exclusive like a
warp
-related cartridge
sound the music problems that functionseliminate
to skipping,
performance! warp, groove Simultaneously
re-creates of the record playback record absorber such as
signal
wow.
emotion cartridge problems and electricity.
signals, static tracking-tip.
ever-present, hotrecord wear, bottoming, surface -free stylus
as"Superdisc" breakage. for flawless discharges distortion
electricity,and stylus Its
static optimized force. Accurate, HYPERELUPTICALfriction,first
totally tracking of the -wail the
misalignment, V is region a result record with
gram kHz-plus and Reducedrecord wear tip on
a
The Type at LO 5 is stylus
critical competitor; and
performancein thethe nearest resonance stylus polished
trackability of of this MASAR- cartridge. stylus
that mechanical All -GUARD accidental
is double range. MicrOwall consumer SIDE wear
frequency audible for Unique prevents record FORCE.
its high the Beryllium
specifically
system lowest
with TRACKING
well beyond
to the
incredible
developed
protection
damage. GRAM FREQUENCY
due stylus performance 1.0
is Shure tip contributeshigh Highest for -FLAT sound.
Technology stylus other to optimizing an ULTRA uncolored
array
this cartridge. than any that
due with in natural,
A MASAR'"polished wear This impressive Designedresulting STYLUS
to record performance and
far less cartridge.to give now- RESPONSE ALIGNMENT crosstalk
performance combines was -until is so LEVELING
to minimizeseparation. GAUGE
what performance included channel
of features
far beyondbest. The new, landmark the maximize ALIGNMENT tracking
goes the lateral
entirelywas developed: DUO-POIN1
to minimize
consideredthat an included
improved (TTI). distortion. individual
of measurement
Index error that verifies
system A serialized,
Trackability a certificate PRINT-OUT
performance.
Total receive Trackability COMPUTER
V you'll TTR117 -
V15 Typedeveloped new standard your cartridge's
With the this
newly $15.00,
PLUS! at
for Shure's
Valued FREE! remarkable
good is yours on this
Test
Record. record
test brochure
setting fact -filled
A1694,
for our Ask for US
Send FROM
new cartridge. -
MORE
HEAR
YOU'LL

Shure Inc., 222 reY Ave. Evanston 60204

Brothers
Enter No
Reader Service
20on
AUDIO ETC
EDWARD TATNALL CANBY

first letter from Prof. Dr. Her-

My
mann Scherchen, the eminent
German orchestral conductor
and founder of the world-famous re-
search center for acoustics at Grave -
sano, Switzerland, came to me at
- ;
..,.1. .
:

Audio under the date of December 23,

1959. Dr. Scherchen (whose superb
Westminster records older readers
may recall) was a subscriber and obvi-
ously read us thoroughly, including my
own column. His letter was no secre-
tarial product-it was personally
¡ _- ---""e.
typed, in a species of English, on an
extremely decrepit typewriter with
added scrawls in handwriting. The sta-
tionery was that of his newest sympho-
ny orchestra, the Nordwestdeutsche
Philharmonie, but he wrote to me di-
rect from Gravesano. At the top of the
first page was a large handwritten
CONFIDENTIAL.
"Dear Sir, It is with the greatest inter-
est that have been reading your
I

monthly observations in Audio and I

am delighted each issue to find so develop specifically all those best mu- phase, as were mikes, amp circuits
much that is not only clever but at the sical qualities in playing which lead to and, of course, speakers, not to men-
same time fine and realistic '.... Sure- the finest sort of high fidelity reproduc- tion stereo pickups. You bought a new
ly you know nothing of me [not true!] tion. My [existing] stereo recordings speaker to supplement your old one
but I shall say that if ever I have are entirely compatible, for finest mono and ít usually was a grievous mis-
wished to see any personality here at reproduction; now am going back to
I match. All in all, stereo was no treat for
the Gravesano Studios, it most certain- the beginning of my work: Ihope to most of us (though full of potential for a
ly would be you ...." create a new 'monaural room -sound better future). The well remembered
Well, never made it to Gravesano
I disc.' " "hole in the middle" was rampant-not
but you may be sure that my heart What the Doctor is saying is that, in one but two point sources, thanks to
leapt up at those words. But like most those early stereo days, he felt that a lack of stereo coherence between the
well-known personages, Dr. S. wasted spatial or "room -sound" effect could speakers. Inevitably, plenty of people
no more time and went straight to busi- be created more simply by the ingen- still clung to mono as the more reliable
ness. He wanted to tell me of a device ious use of a split and "doctored" sin- sound source for music. Stereo re-
he had developed in his lavish Swiss gle signal, delivered as in stereo to a leases were also available in mono,
laboratories called the Stereophoner. pair of loudspeakers but out of one and many stereo tapes did not even
"This is the reason [the above kind amplifier. It was, of course, a circuit appear as stereo discs.
remarks] why allow myself to beg
I devised by him and his engineers that But the basic problem with mono
your interest in what follows, after you could do the trick, and the Stereo- sound remained: 95% of listeners
have read the material accompanying phoner, already in production, was the heard a single point source directly out
this letter. My wish and my researches preliminary answer. It could be hooked of a loudspeaker pointed at them. This
have for long been to create a new into any mono sound source; all that was unfortunate. Only a few lucky
kind of monaural disc that would yet was required was the one extra speak- souls had listening rooms that some-
have the effect of a stereo sound. My er, suitably placed. how spread the apparent source by
work in that direction has finally Nuts, can hear you saying. Yes-in
I reflection, for better realism. What we
brought me to the Stereophoner, 1982. But in the late 1950s, when ster- desperately needed (and got in later
which is the result of a lifetime of ear - eo was scarcely beginning and full of stereo) was the obliteration of that ugly
attention to all the directional timbres faults and clumsiness, not to mention point, so 'that music could be spaced
and sound -projection and reflecting expense, things did not look the same out, seemingly, within the entire listen-
qualities of the musical instruments. to serious listeners. There were al- ing area.
"Now-at 68 have once more tak-
I ready hundreds of stereo LPs avail- What if one could indeed liberate
en on the responsibility for the sound - able in late 1959, but stereo equip- music in this fashion and yet maintain
creating function of an orchestra, with ment was still mostly of the conversion the simplicity of the mono system?
which I work for radio in the city of sort and full of bugs, the recordings That was Dr. Scherchen's preoccupa-
Bremen, and with which I intend to were often marginal, even out of tion and a part of the more advanced

8 Illustration: Philip Anderson AUDIO/MAY 1982

 ...and then came
Super Feedforward.
Not many years ago a "high Direct Current) drive circuit. Then, to Wrile Super Feedforward circuitry
fidelity" amplifier delivered 5 watts eliminate the remaining vestiges of pus Sansui's AU -D 11 and AU -D 9
with 5% harmonic distortion.Today. high-level, high -frequency distortion amplifiers in a class by themselves,
distortion levels of 0.05% -or even in the amplifier's output stage, Sansui all our amplifiers are renowned for
0.005%- in amplifiers with hundreds engineers perfected a unique circuit their musicality, versatility, and respect
of watts and a much wider frequency which, though proposed years ago, for human engineering. Add a match-
range are almost routine. has now been realized in a practical ing TU tuner to any of Sansui's AU
Reducing harmonic distortion amplifier design. Super Feedforward, amplifiers and you'll appreciate the
has usually been achieved by using the new Sansui technique, takes the difference 35 years of Sansui dedi-
negative feedback. But too much leftover distortion products present in cation to sound purity can produce.
negative feedback can introduce a even an optimally -designed amplifier, For the name of the nearest
new kind of distortion,TIM (Transient feeds them to a separate, error cor- audio specialist who carries the
Intermodulation Distortion) that audi- recting circuit that reverses their polar- AU -D 11 and AU -D 9 or other fine
bly degrades the musical sound. ity, then combines them so they cancel components in Sansui's extensive
To reduce TIM and other forns of themselves out against the regular line of high fidelity products, write:
residual distortion, Sansui developed audio signal. What's left is only the Sansui Electronics Corp.,1250 Valley
its DD/DC (Diamond Differential; music, with not a trace of distortion. Brook Avenue, Lyndhurst, NJ 07071.

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SANSUI ELECTRONICS CORPORATION

Lyndhurst. New Jersey 07071, Gardena, CA 90248
Sansui Electric Co., Ltd., Tokyo, Japan Sui J Enter No. 19 on Reader Service Card
 Liberating music and yet
maintaining the simplicity
of the mono system was
Dr. Scherchen's preoccupation.

thinking of the .day, which had given men in Europe and their response was
rise to commercial stereo itself. He in- overwhelming.
tended, it seems, to go onward from The chief of research at the French
the Stereophoner to a mono "coded" national radio system wrote, "The suc-
disc-but this evidently never got off cess of this system lies in its ability to
the ground. The Stereophoner, the recreate the differing character of the
halfway stage, definitely did, if briefly. sound spectra on the left- and right-
Hermann Scherchen, then, belongs hand sides of the orchestra, represent-
among the pioneers in our present and ed by the two speakers, where all oth-
continuing interest in room sound - er attempts of the sort have contented
spaces and the "sound field." His mis- themselves with simply separating the
take was to back the wrong horse in bass and treble frequencies, leaving
future terms. Mono. It was no wrong the mid -frequencies spread over both
horse then. channels ...."
Ihad a number of further letters on There speaks the engineer and you
the Stereophoner from the great man, may begin to surmise at the actual
who genially saluted me in his quaint electronics employed by Dr. Scher-
and misspelled English as "Dear Col- chen. Highs on the left, lows on the
lege"-Colleague. Amusing, but since right was too simple a trick-that did a
his intent was entirely serious I have little but not much for sound .separa-
"translated" his words to some extent tion. Many of us tried it and went on to
in these quotes, though the sense of better ideas. The Stereophoner, it
the original is there. Let me continue. seems, was more sophisticated.
M-1.5 Bob Carver's
He had worked on the Stereophoner A German engineer in Frankfurt/
ultimate
Magnetic Field pPo for a number of years; it was demon- Main had this to say: "We have had
Amplifier, the strated in Geneva before many nota- the opportunity of demonstrating the
M-1.5.
bles as early as 1958 and thus must Stereophoner before a gathering of
Because
when it
comes have been in final prototype form. Here prominent acoustic experts [and we
to music,
too is his account to me of the first impact: report that] the Stereophoner effects
not enough, much is
"The first results were astonishing," an extraordinary improvement in the
wrote Dr. S. "The sound no longer quality of reproduction of a sound
350 watts
minimum came direct from the [mono] loud- manifestation .... The source no long-
i continuous
power speaker but was freely located in the er appears to lie in a loudspeaker, as
channel
into 8 ohms,
20 whole room. This effect was impres- heretofore, but to emerge from there
Hz to 20
sive-the clarity of every timbre
1

kHz, with and take up a position in the air."

more than no
0.1% THD. seemed perfect, the entire room Once more, the astonishment is in the
seemed filled, though the sound was creation of a graded sound space, in
And more!
over-all the same [i.e. equally good at place of a point source.
1,1

750 watts
per channel
Dynamic any listening point]. And this even And the composer Rolf Liebermann
' Headroom.
channel
600 watts though this sound analyzed itself ster- (Concerto for Jazz Band and Sympho-
long -time per
+'

-period eophonically into a spatial separation ny Orch.) had this to say, typically: "It
power to of different sources. Nor was it divided was a pleasant and powerful experi-
unclipped
reserve give
punch sharply into right and left sound emis- ence. never thought that should be
the broadest to even I I

transient. sions [the "hole in the middle"]. And prepared, capable and willing to listen
And if you there was no 'best seat' !" Bob Carver to gramophone records for eight hours
think the M-1.5 is and holographic sound, 1982, take and still be enjoying it at the end of
astonishing,
,
tune in next
month for Carver's note. that time." Composers were generally
to tall buildings answer wish could quote you the dozens
I I not fond of "canned music."
in the ether. and ghosts of enthusiastic reports that were Dr. Scherchen also collected a
passed on to me, from England, sheaf of testimonials from ordinary lis-
teners in England, where he had li-
1

Carver France, Germany, Switzerland, in Dr.

Corporation censed the Stereophoner for manufac-
P.O.Box 664
Scherchen's accompanying literature.
14304 N.E. Even allowing for pardonable exagger- ture and sale. These people, without
193rd special engineering or musical knowl-
Woodinville, Place ation of claims, they are impressive.
WA 98072 He was, of course, particularly inter- edge, said much the same things. No
' In Canada ested in radio, where stereo was still question about it, this ingenious "black
distributed remote and reception in the home was box" created a sensation, out of two
Evolution by
Audio, necessarily mono. He was indefatiga- loudspeakers, wherever it was set up,
Burlington,
Ontario ble-he had demonstrated the Stereo- whether before experts or the layman.
r phoner before many of the top radio " In its special way it clearly brought a

12 AUDIO/MAY 1982
Enter No. 5 on Reader Service Card
 HIGH FREQUENCY LEVEL

o
-1 +1

-2

-3

-4

-5

JENSEN SYSTEM C

POWR-COMPTM
POWER OVERLOAD
COMPENSATION MONITOR
MAXIMUM POWER
125 WATTS

MID FREQUENCY LEVEL

o

A +2

'
00

-3

-4

-5
/
-6 -7
MADE IN U.S.A.

FOR CONSENTING ADULTS.

Jensen believes that sound reproduction should be based on listener
preference, not on the sound coloration built into many speakers. And
that makes Jensen speakers unique. With uniform power response and
ultra -precise crossovers, they deliver pure, virgin sound. Jensen System
Series Speakers offer a broad range of adjustment to accommodate dif-
ferences in program material or room acoustics. Listen to uncensored,
virgin sound at finer audio shops. For more information and dealer
locations, call 800-323-0707.

JENSEN
Enter No. 11 on Reader Service Card
Scherchen's mistake was in
backing the wrong horse,
in future terms, but it was
no wrong horse in 1959.

new kind of sonic experience to all passive modifier; it had no power cord stance. That block filled only half of the
kinds of listeners. Again and again, it and there were no batteries of the sort small 31/2 -inch cube. If you are a tink-
was the remarkable "absence" of the then available. It was evidently intend- erer, or especially if you were around
loudspeakers that people noted, and ed as a kind of "Volksstereo," using 1959, you will know, then, that there
the new presence of a sound field, an the simplest means and requiring could not be much of anything inside
ambient source that was entirely re- none of the clumsy and expensive that potting, other than a few standard
moved from the speakers themselves stereo equipment then sold. Yet it did and inexpensive elements for a pas-
as one listened. appear to have subtlety and it was sive circuit. No transistors, tubes, mi-
do not think there is the slightest
I sponsored by a very important man in crochips, mini -batteries. Could this be
doubt that the Stereophoner, as far as the musical and acoustic worlds. nothing more than, say, "10¢ worth" of
it went, was an important and briefly Dr. Scherchen did send me a Ster- cheapie stuff, carefully hidden from
influential device in the history of eophoner. At this point do not re-
I the outer eye? My engineers could not
sound reproduction, though apparent- member what, if anything, said about I be sure. One said a few resistors and
ly confined to the European continent. it in this magazine; nor does it matter, capacitors, maybe. The other, only last
I could go on with a hundred more since we have different ears today. year, told me somewhat lamely that the
quotes-Dr. Scherchen himself de- That Stereophoner has been sitting on darned thing seemed just to have
scribed the reactions of a brace of a nearby shelf for most of the last 22 wires that went straight through and
famous musicians in his later letters to years and now sits beside my typewrit- out the other side. Crazy, real crazy.
me. But all this is only part of the story. er as write. Or rather, its remains.
I Well, this got too much for me. When
What was this Stereophoner? What Twice during the years curiosity I recently ran into Dr. Scherchen's
sort of electronic circuit could it have overcame me and asked a qualified
I original letter resolved to act. There
I

employed, to create such apparently audio man to make measurements, was only one thing to do: Melt the
convincing spatial effects out of a sin- for, you see, the inner components thing down. And so, by golly, I did.
gle mono signal? were potted, buried and invisible in- What a mess! But now Iknow. More
The thing was clearly no more than a side a block of some tarry, plastic sub- about this later. Q

1. Tapered laserhollowed Ruby cantilever

2. Laser -drilled rectangular stylus mounting hole
3. Nude rectangular-shank Straight Line Contact stylus
4. Toroidal coils hand wound of pure Silver wire
5: One-piece "Omega shaped" coil core/pole pieces
6. Three year warranty .

7. $1,200
And if that doesn't .

convince you...listen!
NEWTK100LC
Slljfle1L. 4701 HUDSON DRIVE, STOW, OH 44224

Enter No. 21 on Reader Service Card

 There's More to Noise
Reduction Than Silence.
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50 , 500 1000 2000 5000 10000 .., 20 IC 1000 2000 5000 10000 20000

FIGURE 1: NOISE AND NOISE REDUCTION IN THE ABSENCE OF MUSIC. FIGURE 2: NOISE AND NOISE REDUCTION IN THE PRESENCE OF MUSIC.
Noise from biased cassette tape without noise reduction, the effects of Dolby C -type In the presence of a signal (148 Hz, D below middle C on the piano, recorded at Dolby
noise reduction, and the effects of a wide -band compander are shown in the absence of level), in all cases noise in the region of the signal will be masked by it. However, at
any signal.' Dolby C's noise reduction effect results in an overall perceived noise level higher frequencies, especially between 2 kHz and 10 kHz where tape hiss is clearly audible,
below the ambient noise of many listening rooms, even at high playback levels. In the Dolby noise reduction provides almost as much noise reduction as if the signal weren't
absence of signals, the conventional wide-band compander provides still more electrical
there, while the compander allows the noise to increase to a considerably higher level
noise reduction (but usually no more audible noise reduction). than with Dolby C.

SLIDING BAND -y roviding noise reduction on silence Unlike conventional companders, Dolby
RECORD is not all that difficult. For years, con- noise reduction operates over a constantly
COMPRESSION
ventional wide -band companders changing, or sliding band of frequencies
}
have been available which dramatically (Figure 3). The band extends low enough
GAIN

PLAYBACK
EXPANSION tape or record.
-
reduce noise between selections on a to provide very effective noise reduction
(NOISE on silence. But in the presence of music, the
REDUCTION)
band slides up just out of the way of the
FREOUENCY Yet it is just as -important to have noise music, so that noise at frequencies above
reduction when there is music playing. the music is almost as effectively reduced
FIGURE 3: THE SLIDING BAND PRINCIPLE.
While music will mask noise part ',f the as if the music weren't there.
Dolby noise reduction operates over a band of time, there are times when it wot; .. A bass
frequencies which slides up out of the way of the drum note, for example, cannot hide tape Both Dolby B -type and Dolby C-typé noise
music, resulting in noise reduction just where there is no
musical signal to hide the noise. Thus the perceived
hiss, no matter how loud the drum is: the reduction are sliding-band systems. With
noise level is consistently low at all times. ear can detect both simultaneously. the standard B -type system, noise reduc-
tion begins at 500 Hz and increases to
Conventional noise reduction systems 10 dB at 4 kHz and above, while with the
effect noise reduction at the time of play- new C -type system, noise reduction begins
back by turning down the volume when at 100 Hz and increases to 20 dB at 1 kHz
there is little or no music present. This turns and above. With either system, the presence
down the noise as well. But they also turn of music does not prevent noise reduction
the volume back up again on louder music, from occurring where it is still needed.
and so turn the noise back up at the same
time. Thus the bass drum note is accompa- '70µs equalization, measured with a constant -bandwidth
nied by a burst of tape hiss hiss which
is audible if there is no music at higher
- wave analyzer, and weighted (CCIR/ARM) to reflect the
ear's sensitivity to noise and noise reduction effects.

frequencies to hide it.

This problem is called noise modulation. Dolby

It means that with a conventional NR Dolby Laboratories Licensing Corp.,
system, the noise level is constantly 731 Sansome St., San Francisco, CA 94111,
Telephone (415) 392-0300. Telex 34409.
shifting up and down with changes in
the level of the music. But Dolby noise "Dolby"and the double -D symbol are the registered trademarks
reduction, on the other hand, is free of noise of Dolby Laboratories for its A -type, B -type, and C -type noise
reduction systems. 581/3307/3403.
modulation on virtually any type of music
(Figures 1 and 2).
;WHAT'S NEW IN AUDIO

ti

Mission Electronics
Loudspeaker
The 770 Broadcast
Monitor, a two-way bass
reflex design, features a
motor system in the bass
unit employing "electrical
dynamic damping" to allow
extended low -frequency
response without ringing,
ensure linearity, enhance
power handling, and
minimize Doppler distortion.
The frequency response Ortofon Phono Cartridge specifications include a
extends from 40 Hz to 20 The MC 200 moving -coil response of 20 Hz to
kHz, ±2.5 dB, and cartridge is an integrated 35 kHz, ±2 dB, and
sensitivity (one watt, one headshell design utilizing a channel separation of
meter) is 85 dBA SPL. The miniature ring magnet of greater than 25 dB at 1 kHz
770 is available in either a samarium cobalt and a and 18 dB at 15 kHz. The
black or walnut finish. cantilever of boron, which stylus has an asymmetric
Price: $997.00 per pair. is very light and stiff, for Fine Line profile which,
Enter No. 100 on Reader Service Card low moving mass. In turn, together with the cartridge's
this low tip mass Wide Range Damping
contributes to the system, is credited with
cartridge's tracking ability, improving high -frequency
which is specified as 80 p.m tracking. Price: $420.00.
with a 1.5 -gram tracking Enter No. 102 on Reader Service Card
force at 315 Hz. Other

ammiwZi - w
-Tr-

Stanton Record Cleaner

RC5''' is an all -in -one
record cleaner which
dissolves oily films and
Denon Cassette Deck system, which allows a helps remove dust and
The DR -F7 features wow and flutter debris without leaving
Denon's FTS Flat Tape specification of 0.027% residue. In addition, the
Tuning System of automatic wtd. rms. Other specs are fluid has an anti -static
bias adjustment with any frequency response of property which is
tape type and a refined 20 Hz to 20 kHz with metal heightened by the supplied
Mk II version of the firm's tape and 60 dB S/N without brush's conductive handle.
Tape Tension Servo noise reduction. Price: The brush's working
Sensor, which automatically $500.00. surface is directional so
maintains proper tape Enter No. 101 on Reader Service Card that the maximum amount
tension across the heads of dust and debris is
during recording and removed with a minimum of
playback. Also included is brush motion. The fluid also
Dolby C noise -reduction quiets even virgin records
circuitry for up to 76 dB during play, and a sufficient
signal-to-noise ratio, three amount is supplied to clean
heads for accurate both sides of 150 discs.
monitoring, and a direct - Price: $16.95.
Enter No. 103 on Reader Service Card
drive capstan motor

16
 TDK Cassette Tape
AD -X is a new high -
quality normal -bias
formulation featuring the
firm's high -density, cobalt -
adsorbed gamma ferric
oxide Avilyn particles. The
-v90
new cassette offers 1.5 dB
wider dynamic range than
^
any previous TDK normal -
bias cassette, with up to
2.0 dB greater sensitivity in
the high -frequency range,
and up to 1.5 dB greater
maximum output level.
Prices: C-60, $3.99; C-90,
$5.49. Infinity Loudspeaker
Enter No. 104 on Reader Service Card The RS jr is a two-way
bookshelf -size speaker
system, with a frequency
response of 50 Hz to 32
kHz, ±3 dB. It's for use
with amplifiers or receivers
delivering from 20 to 80
watts/channel rms power.
The speaker is crossed
over at 3.3 kHz and
measures 18 x 12 x 9%
inches. The RS jr has a
61/2 -inch polypropylene
woofer, an Infinity EMIT
tweeter, and is housed in a
vinyl oak enclosure. Price:
$130.00 each.
Enter No. 106 on Reader Service Card

Radio Shack frequency display. In meters, and memory and

Receiver addition, there is instant function indicators. The
The Realistic STA-2290 pushbutton recall of six FM tuner offers superb
AM/FM receiver is a 90 - and six AM stations, all of performance; specs include Black Acoustics
watt -per -channel unit which are stored in a 70 dB selectivity, 0.2% Loudspeaker
featuring microprocessor- battery-protected memory. THD, and 10.33 dBf The Night's three drivers
control circuitry for precise Banks of LEDs act as sensitivity. Price: $599.95. are vertically aligned and
frequency -synthesized output power displays, Enter No. 105 on Reader Service Card have four thermoplastic
tuning and digital tuning signal -strength coatings to aid the
mechanical crossover and
..-. slf.-'.rift!<.:sa-,prr: :a:Pi
;:-,..":::..ió
:aZti.i:R`ti1a>..
' damp ringing. Sensitivity is
rated at 87 dB (one watt,
%..,,.,C ..emu warn. one meter), nominal
impedance at 6 ohms, and
ry_.:_w 111111_
6---8
frequency response from
41 Hz to 19.5 kHz, ±3 dB.
Each 40 inch high x 10
inch wide x 8 inch deep

; 111111 1111111i
cabinet is cloth -wrapped in
a choice of 15 co ors with a
choice of four top f rashes.
Price: $720.00 per pair.
Enter No. 107 on Readei Service Card

AUDIO/MAY 1982 17
TAPE GUIDE
HERMAN BURSTEIN

Meter Meanderings tion manual regarding switch settings taken great pains to extend the high -
Q. I have a 200 nWb/m Dolby cali- for a particular type of tape. If perform- frequency response of such tape as
bration tape. I have adjusted two cas- ance appears satisfactory-as judged well as to improve it in terms of distor-
sette decks so that each shows the by comparing tape playback with the tion, output level, stability, oxide shed-
same output level on its meter when source signal, which can be a phono ding, etc. Further, they have sought
playing this tape and so that a record- disc or FM interstation noise-that is and achieved improvements in the
ing of a steady tone on either deck all there is to it. If performance ap- cassette shell to obtain good mechani-
produces the same output level on ei- pears less than satisfactory when us- cal performance. These efforts have
ther deck. However, music recorded ing a particular brand and type of been very successful, and there is no
on one deck at a level as high as +7 tape, the user should experiment with indication as yet that the potential of
dB shows a maximum of -10 dB on other switch settings to find if perform- cassette has been fully realized.
the other deck in playback. I'm baffled ance can be audibly improved and In the case of open -reel decks oper-
by the agreement between the two then note the preferred settings for fu- ating at 33/4 ips, there has not been a
decks on test signals and the dis- ture reference. similar concentration of effort to obtain
agreement on music.-Larry Morgen, the best that is possible, perhaps be-
Belle Meade, N.J. Magnecord-Where Are You? cause the rewards of the marketplace
A. I believe the discrepancy is due Q. A friend of mine recently came are not sufficiently large enough to in-
to differences in the characteristics of upon a fine Magnecord 1024 tape re- duce such effort.
the meters of the two decks. This corder. I have been unable to find out
would be true if one deck has a peak - what has happened to this company. I Taking a Dubbing
reading meter while the other has an would like to obtain a schematic dia- Q. I own both a cassette deck and
average -reading meter or possibly a gram and service manual for this tape an open -reel deck. I have been copy-
VU meter. The deck with the VU -type recorder.-John Marrett, Montreal ing FM broadcasts and phono discs
meter would give lower readings on West, Quebec, Canada with my open -reel deck and then dub-
music because it does not follow sharp A. I have also lost track of Magne- bing them on cassettes because I feel
transients as faithfully as a' peak -read- cord, which was absorbed by one firm, I have more control over the reel than
ing instrument. Keep in mind that for which in turn was absorbed by another over the cassette. Do you recommend
much program material, the average firm, which in turn,... However, with- this procedure?-C. L. Yearwood, Jr.,
level may easily be 10 to 20 dB below out vouching for the outcome of your Durham, N.C.
peak level. search, have been informed that the
I A. The idea of first putting an FM
following firm caters to owners of "old broadcast or phono disc on open -reel
Switch Settings high -quality audio components": tape and then transferring it to cas-
Q. Mycassette deck has separate Acoustatronic Laboratories Ltd., 140- sette is a reasonable one. In addition
bias and equalization switches. How 11A Cherry Avenue, Flushing, N.Y. to providing greater editing flexibility, it
should the various positions be 11355. (Editor's Note: We will be may give you better protection against
used?-Russell Chang, Philadelphia, pleased to publish the name and ad- the effects of record warp. It appears
Pa. dress of firms specializing in older that the electronics of some cassette
A. Types I, II, Ill, and IV tapes are equipment.-E.P.) decks are more adversely affected by
respectively ferric oxide, chromium record warp than are the record elec-
dioxide and chrome equivalents (co- Speaking of Speeds tronics of open -reel decks. You should
balt-modified), ferrichrome, and metal Q. Since open -reel tape is about recognize, however, that you will add
particle. These formulations require re- twice as wide as cassette tape, and noise in the dub to cassette, and you
spectively larger and larger amounts open reel decks record at least twice may wish to investigate use of a noise
of bias current in recording to minimize as fast (33/4 ips and up), why do good reduction system such as Dolby C or
distortion and maximize the amount of cassette decks sound as good or bet- dbx.
signal recorded on the tape. Also, the ter at 17/a ips than open -reel decks do
amount of treble boost required in re- at 33/4 ips? Using open -reel decks, it It's a Jungle Out There
cording tends to vary among tape would be preferable if one never had Q. While hunting through the jungle
types. Finally, the standard playback to record above 33/4 ips in order to get of new cassette decks, I've found a lot
equalization differs; Type requires
I great sound.-Charles Sampier, Jr., of controversy about frequency re-
120-4 playback equalization (play- Rochester, Mich. sponse specifications. How wide a re-
back bass boost commencing at A. Manufacturers of cassette decks sponse is really necessary and how
1,326 Hz), while the other types re- and of heads for these machines have important is it in comparison to signal-
quire 70-1LS equalization (bass boost diligently pushed forward the technol- to-noise ratio? The deck I'd like to buy
commencing at 2,274 Hz). The bias ogy of these devices to realize the po-
and equalization switches are intend- tential of the newer medium. The fum- If you have a problem or question on tape
ed to accommodate these require- ble -fingered outnumber the nimble -fin- recording, write to Mr. Herman Burstein at
ments. gered, so that the market for good AUDIO, 1515 Broadway, New York, N.Y. 10036.
The best thing a user can do is to cassette decks is large. Similarly, All letters are answered. Please enclose a
initially follow the tape deck's instruc- manufacturers of cassette tape have stamped, self-addressed envelope.

18
 While our one-of -a -kind,
You'lU.Never Buy die-cast metal frame is amaz-
ing, it's our MA-R tape's
Our Metal For sound that will really impress
you. TDK MA -R created a
new state-of-the-art in cas-
Looks Alone. settes. It's metal tape with a
higher energy and a wider
dynamic range.
But the MA-R's looks are
has a response of 30 Hz to 16 kHz and important to the tape's
S/N of 70 dB. Many people claim you sound, too. The metal frame
can't hear the difference between a and Reference Standard
deck of 30 Hz to 16 kHz response and Mechanism eliminate warp-
one of 20 Hz to 20 kHz. Is the differ- ,,, age, reduce wow and flutter,
ence dramatic or audible enough for and withstand environmental
changes.
the average ear to notice?-John The same outstanding
Keyes, Tucson, Ariz. metal tape also comes in a
A. The answers to your questions more economical cassette:
really depend on how far your own : ; --_ \... TDK's MA, in a Laboratory
hearing extends and your personal re- Standard Mechanism.
action to a deck with a lower S/N. I
,,1;. Look for TDK MA-R and
don't believe anyone would say that MA, the metal tapes that
anything less than response to 13 kHz stand alone.
is necessary, and many would claim
that 15 kHz or higher is required. The
response at the low end, that is,
choosing between a deck with re- }
sponse to 20 Hz and one flat to 30 Hz,
is relatively less important. Most seem
to feel that a high S/N is just as impor-
tant as broad, flat frequency response,
and it is certainly easy these days to
find a cassette deck with both.
::TDK©
THE MACHINE FOR YOUR MACHINE.

System Upgrade Enter No. 25 on Reader Service Card

Q. I want to update my stereo sys-
tem by adding a cassette deck and
replacing my turntable. What features
should I look for in purchasing these
items? Which specifications are most
important?-Clarence Beatty, Hous-
ton, Tex.
A. Your questions take in too large a
territory to be quickly covered in this
column. I can only comment briefly
that the most vital aspects of tape
decks and record players are flat, ex-
tended frequency response; high sig-
CLEANS RECORDS
nal-to-noise ratio; low distortion, and ELIMINATES STATIC R
accurate, steady motion. This last also REDUCES
applies to turntables, as does low rum-
NOISE G\-PNE
ble, i.e. high signal to noise. Generally
speaking, price is a guide to quality,
but there are exceptions.
Your best course is to do some re-
search using Audio and other popular \> r
periodicals devoted to stereo compo-
nents. Search for articles that discuss fi
the various available features of the
two components in which you are in-
terested, and check the same periodi-
cals for equipment reviews of cassette
decks and turntables that have ap-
peared in recent months. Audio's An-
nual Equipment Directory, published
1111c
1%t1
or°
etAs
r)
-so ..,`1-,-,
-1,'1,,o9
-
every year in October, should be par- RT TE v7I"
ticularly helpful in this regard, and you
can write to us again or to the maker if
you need specific data. LIl
Terminal Drive. Painvieu,
New. York 11803

STHETdNTppoOI1
--
AUDIO/MAY 1982 19
Enter No. 23 on Reader Service Card
AUDIOPHILE DISCS

rich ambience a welcome relief from

present-day analytical trends in multi-
ple microphone placement. They are
all probably right.
The third A+ area is in care in re-
processing, which is evident at the re-
mastering stage, where most reissues
go wrong. Messrs. Pfeiffer and Begley
deserve credit for exercising musical
and technical restraint of the highest
sort. Since the source was two -track,
"remixing" is of necessity minimal;
6' they have corrected some occasional
left -right imbalances and done no gra-
tuitous gain manipulation. In the equal-
ization department, a subtle rise in the
2.5 to 5 kHz range has given the
sound a little more sheen, at least by
comparison with my old 71/2-ips two -
track reference.
Processing quality also rates an
A+. RCA has seen fit to have all of
their .5 Series reissues processed by
Europadisk (New York) for plating and
matrix work and by Teldec (Germany)
for pressing. These extra measures
pay off handsomely in the tick, pop,
and warpage areas.
The .5 Series liner notes present
something of a logical inconsistency.
They point up the merits of half -speed
(.5) disc mastering in cutting a more
accurate signal on the disc. If this
process is good for a 28 -year -old mas-
ter tape, should it not be an absolute
requirement for more recent master
tapes (especially digital masters),
r which contain even more demanding
high -frequency program detail? There
is no indication that half -speed cutting
Richard Strauss: Ein Heldenleben. stereo in this country, this was a direct - is being generally used by RCA for the
Fritz Reiner, Chicago Symphony Or- to -two track at 30 ips. According to my bulk of their product.
chestra. 17 -year -old notes, the microphone ar- Many early proponents of half -
RCA .5 Series ATL-4100, $15.98. ray consisted of a pair of Neumann speed cutting have made the transi-
U47s left and right, and a pair of RCA tion to real-time. For example, the Tel -
Sound: A+ Performance: A+ 44BXs in the center, each feeding one arc's are now being cut real-time by
Surfaces: A + of the stereo channels. This amounts, IAM in Irvine, California, and JVC,
This glorious reissue rates an A+ in of course, to a modified left -center - once the chief proponent of half -
several areas, and the first of these is right spaced array. In many ways, speed, has developed a new cutter -
the performance Reiner's 1954 Ein RCA's mid -'50s 30-ips recording was amplifier package capable of better
Heldenleben remains one of the very far better than the quasi -noise -re- performance at real-time than their
best in the catalog. It shows the Chica- duced 15-ips AME (Ampex Master earlier systems yielded at half -speed.
go Symphony in top form, performing Equalization) which RCA adopted for a Only Mobile Fidelity remains commit-
in one of the best recording venues time during the late '50s. The advan- ted to half -speed cutting; that commit-
this country has ever known, old Or- tage of the 30-ips technique is its ment is consistent, and all their prod-
chestra Hall, before it was acoustically greater headroom on peaks as well as uct is cut that way. In RCA's case, the
deadened back in the '60s. a relatively low noise level. question is not whether half -speed cut-
The second A+ mark goes to the Some listeners may find this record- ting is better or worse than real-time; it
quality of the original recording. Made ing a bit unfocused, especially during is purely a matter of technological con-
in the very early days of commercial quieter passages. Others will find its sistency. John Eargle

20
 EXPAND
HEADROOM.
With CX.TM
Built into Audio Control's
new D -10X Octave Equalizer.
Get up to 20dB more
dynamic headroom for louder
lauds and softer soft passages,
AND and kiss off hiss when
there's no room for the up-to-date with you play any CX-encoded disc.
this classy trio, there's a six -minute Instead ofasking you
"Madrigal" by David Loeb, full of the to spring a C -note for yet
another add-on gizmo we
quirky arhythmias and apparent dis- offer a feature -packed octave
harmonies of the spunky avant-gardist. equalizer with I8dB/octave
To suggest that this wonderful disc subsonic filter, great specs,
has something for everyone and de- low noise, over-the-counter
serves wide acceptance would be a warranty and real oak end
critical cliché; it would also be the panels... WITH CX BUILT
hard, glorious truth. Donald Spoto IN for under $180 suggested
retail!
The Audio Control D-10X's
Trio Sonata: Music for Flute, Oboe
CX circuitry includes level
and Guitar. Sibelius: Violin Concerto. Saint- adjustments and LED'S, plus
Boston International BI 1202, $8.98. Saens: Introduction & Rondo Ca- a special CX test record you
Sound: A+ Performance: A+ priccioso. Dylana Jenson; Philadel- use just once to calibrate the
phia Orch., Ormandy. circuit
Trio Sonata was formed in 1975 by RCA ATC1-3792, digital, stereo, All for less than you might
guitarist Gary Kessler, flutist Anton $15.98. pay forjust o so-so equalizer.
Kuskin and oboist Donald Bender, and The American -built
Sound: A Surfaces: A Recording: B+ Audio Control D -10X Octave
fortunate recital audiences have heard
Equalizer with CX. Because
them in halls around the country as
well as on the radio. This is musician-
ship of the highest caliber, arranged
all the trimmings -
Here's an RCA digital package with
in a typical tradi-
tional RCA release right out of the
nobody ever gets enough
headroom.

and performed by artists playing in-

struments that might at first seem an
past. Lots of spendid corn or, if you
wish, a couple of well -roasted chest- ----- -` ;.. _ \
odd grouping. But you won't need
much convincing once you hear the
Telemann Trio Sonata in C minor which
nuts. A brand new virtuoso fiddler, fe-
male at that. And an old-line orchestra
and conductor, top drawer. The young
II
` .-.
' 1A." °

shows the natural balance and rich to-

nal variety possible for a transcription
lady is all set to be a female Heifetz or,
better, a Fritz Kreisler. Audio
of these instruments. Perhaps what
strikes most of all is the clarity, the
At 19 Dylana Jenson is indeed an
extremely good violinist. Her ear and
Control In the Heart
rightness of the Baroque tempi. In two her technique are both flawless with of the Northwest Rainforest
interludes by Jacques Ibert, the trio never a slip in the pitch or a hesitation Lynnwood, WA
has transcribed and carried forward its in spite of the familiar but horrendous (206) 775-8461.
uncanny sense of interwoven tech- difficulties of these often -played show-
nique; the dark sonorities of Ibert shift pieces. Her styling and sound are right
and lighten from moment to moment, in the groove, if you see what mean,
I

and the musicians handle them with just like the big old Romantic players
great grace indeed. of yore. She has studied to good pur-
But the range widens further. The pose. Very few violinists could do as
first prelude of Villa -Lobos has a self- well at her age.
contained energy and demands a kind But the musical price is there. She is
of relentless pursuit by guitarist. fiery, yet one feels imitation; she is still
Kessler, who changes keys and learning the tradition, note by note. Her
rhythms unerringly here as he does in performance is a mirror of other vir-
the Vivaldi concerto for two mandolins tuosi, without much of her own self.
and strings-which he has transcribed
for two woodwinds and guitar. Mr.
Bender has turned his own consider-
most, but not quite, convincing
Give her time (even if you buy this
-
Entirely correct, at her age! She is al-
yet.

able talent to the first and third Gymno- record). You have to start somewhere,
pédies of Satie, and this is as airy and after all, even if it is at the top.
tranquil as the dignity he brings to the Very good sound in the old RCA
leitmotif of the haunting "Clear Out of mold, big and rather distant in the or-

r
Touch with Time." chestra (not multi-miked), but with the
Bach's G major "Trio Sonata" and solo violin very much up front and
the finale from the first "Trio" (the so- loud. This do not enjoy, even if it is

r-
I

called "London") of Haydn have a normal for virtuoso recordings. Makes

wonderful delicacy and colors that for hard listening. If you like it, rate the
shimmer. And just in case you think technique an A. can't.
I E.T.C.
_
AUDIO/MAY 1982 21
Enter No. 1 on Reader Service Card
THE COLUMN
.

MICHAEL TEARSON
JON & SALLY TIVEN

ILove Rock 'n' Roll: Joan Jett & The

Blackhearts
Boardwalk NB1-33243, stereo, $8.98.
Sound: B Performance: B+
Joan Jett has cleaned up her act.
With a full-time backing band provid-
ing the support and consistency she
so desperately needs, she has man-
aged to produce one killer cut ("I Love
Rock 'n' Roll," written a decade ago by
Alan Merrill and Jake Hooker of The
Arrows), several very pleasant rock
tracks ("Run Away," "Nag," "You're
Too Possessive"), and some filler
tracks a cut above the usual
throwaways. Her deadpan delivery fi-
nally has a context in which it is effec-
tive, and the production is far more
restrained than on the last album. She
sounds like she's carrying the music
herself, not with help from some stellar
sl
sidemen and a zillion percussion
tracks. Seven years after the debut of
the all -girl would-be sensation The
Runaways, Joan Jett has arrived.
Although she spends most of her
time parading the tough girl persona
we've come to expect, several of the
cuts on this LP showcase the singer as
more than merely macho. Notably,
"(I'm Gonna) Run Away" and "Crimson
and Clover" boast a gentler-and in
the latter's case, nearly ethereal-de-
livery that proves that J.J. can convey
emotions from a feminine point of view.
As a singer as well as a songwriter,
J.J. seems to be improving by leaps
and bounds with each recording. The
selection of cover tunes (an all-impor-
i tant aspect, as she's yet to write her
own hits) shows a lot of smarts and
gives the direction of the album con-
siderable integrity. Straight -ahead rock
'n' roll tailored to a '60s pop model is
an apt context for Jett's blossoming
talents. Watch out, world, this is no
longer just a tomboy guitarist with a
learner's permit. Jon & Sally Tiven

Dr. John Plays Mac Rebennack: Dr.

John
Clean Cuts CC 705, stereo, $8.98.
Sound: A Performance: A -
The title may be a bit misleading, as
Dr. John and M.R. are one and the
same, but there's no mistaking his dis-
tinctive keyboard style. Most people

22
 are familiar with his vocalizations, so's he can do the country harmony
Nick the Knife: Nick Lowe schtick he's so fond of. Nick's draw-
which are lacking on this primarily in-
Columbia FC 37932, stereo, $8.98. back as a recording artist is that he's
strumental album, but the recording is
intended to appeal to a slightly differ- Performance: more skilled than inspired: In conjunc-
Sound: B B
ent crowd. Here Dr. John pays tribute tion with an unfocused talent his craft
to his roots, be they Hoagy Carmichael With the dissolution of Rockpile as a has some purpose, but in and of them-
or Huey "Piano" Smith, and his blues - recording and performing unit, one selves the stylistics fall flat. The pro-
based piano interprets their composi- would expect that the albums of its duction of this LP, with its reliance on
tions as well as ones Rebennack has leaders would reflect the differences in sweetness and space rather than guts,
written in their style. Longtime fans of their preferences rather than the could well be called the featured in-
Dr. John who associate him with New sameness that's pervaded their past strument.
Orleans R&B, the wacked-out arrange- few records. Rockers -to -the-core will The songwriting is extremely limit-
ment on Garland Jeffreys' "Wild in the have to save their money for the next ed-or lazy-depending on your opin-
Streets," or his own spaced -out al- Dave Edmunds album (due any day ion of Lowe's potential to pen some-
bums from the late '60s might find this now), as Nick Lowe has reverted to the thing you haven't already heard (he's
somewhat conventional-nay, almost clever pop formula that distinguished one of the most reliable self -plagiarists
traditional music-a shocking step his earlier work. Not that this is awful in the biz). "One's Too Many (And a
backward. However, the playing is tru- stuff, because as singer/songwriters Hundred Ain't Enough)" almost gets
ly sensational, and although the genre go, Nick can nick a hook with the best off the ground, probably due to a lin-
may be somewhat of a throwback rath- of them, but there's relatively little gering presence of its coauthor, one
er than a progression, the perform- bashing being done here-the main authentic blues crooner named Kim
ance is an honest one. The liner notes instruments are acoustic guitars and Wilson from The Fabulous Thunder-
were written by my colleague, Mr. percussives. The supporting cast in- birds. It's interesting to hear what hap-
Tearson, so if you have any respect at cludes former Rockpiler Billy Bremner pens to "Heart," an upbeat '50s rocker
all for his opinions you should and Terry Williams, but this is more from the Rockpile album, when it reap-
rush right out and score a for appearances than re-enact- pears here: The Lowe treatment turns
copy of Dr. John Plays ing the Rockpile legacy; Car- the snappy to sap. The sole song on
Mac Rebennack. Surely lene Carter has a stronger pres- Nick the Knife that appears to have
there's not an album ence here than those boys. been motivated by a genuine emotion
in your collection re-
corded in the past
r The fact is, Nick Lowe is a
better collaborator than he is
is "Stick It Where the Sun Don't Shine."
The title may be silly but the vitriolic
20 years or so that's a solo act. For example, he attack on Edmunds (we dare to sur-
anything like it. at makes a great Everly Brother mise) is the most forceful statement on
Jon & Sally Tiven (as the Rockpile promo single the album, as it mimics Dave the
makes clear) and substi- Rocker with one hand while giving him
tutes Carlene for Ed- the needle with the other.
munds in several All in all, Nick the Knife is a problem-
numbers just atic album from someone who is genu-
inely talented but essentially a poseur.
H
He'll strike a different pose with each
Nick Lowe cut, taking care not to reveal very
much of himself, and his main instru-
ment is his production rather than his
,
axe. While it has been suggested that

==__ _- :I __
vw`HAMEI1:94".
9

AUDIO/MAY 1982 23
 Lowe is a great producer, it seems that
he's done a poor job of directing him-
self in a way that brings out the best.
Perhaps he should be produced by
ital recording quality? On my own system? someone else who knows talent when
In any lifetime?" he sees it rather than a producer who
sees the task of making a record as an
opportunity to sell records and be
clever. Nick, you've outsmarted your-
Is this too much to hope for?
That one piece of equipment, the dbx
self. Jon & Sally Tiven
Model 224, can deliver recording quality
in the home that's the equal of digital
recording in the studio. Mesopotamia: The B -52's
With more than twice the noise reduc- Warner Bros. MINI 3641, stereo,
tion of Dolby C' type systems. $5.99.
With full dynamic range, preserved. Sound: D+ Performance: D
And that this self-same dbx Model
224 can also play dbx Discs- Rumors abound that Warner Bros.
recognized to be the finest audiophile was not at all delighted when they
discs in the world. heard the new B-52's material pro-
You'll know it when you hear it. At any
duced by chief Talking Head David
hi-fi store that sells dbx equipment. Ask
Byrne. Word also is that the decision to

.
for it by name.
release a mini -album of six songs, in-
L dbx &--t--y,-
-v stead of the normal full album, was a
corporate decision that did not thrill
Dolby C' is a registered trademark of Dolby
Laboratories Licensing Corporation.
the group very much.
It is not too hard to see where Warn-
ers' people came up with the decision
since Mesopotamia is quite a depar-
r ture from the B -52's sound developed

db-ISkSai'tliwwithOutU
, S.
on their first album and made formu-
laic by the second. Obviously, the
band must have felt cornered artisti-
dbx, Inc., 71 Chapel S ., Box 100C, Newton, fe as;. )2195 U.S.A. Tel. (617) 964-3210, In Canada: BSR (Canada) Ltd. cally and chose Byrne as producer to
expand their vision. He is an activist
Enter No. 8 on Reader Service Card producer and plays throughout.
Whether or not their combined expan-
sions and explorations succeed must
THE POWER AUDIO remain an open question.
IS BACK! The element of the band's early work
7/ THE ULTIMATE most thoroughly jettisoned is their hu-
mor, an odd move since that was per-
PLAYBACK haps their chief draw. Mesopotamia
just is not the fun experience the first
SYSTEM two B -52's albums were; indeed, they
are alarmingly deadpan with a metro-
All of AUDIO's 1981 issues have been
nomic beat. Byrne's production never
Bound into an attractive and durable
really jolts the band into the boldness
volume. AUDIO '81 gives you rapid
"playback" of valuable, easy access to vital you'd expect. Add a genuinely lousy
facts, figures, reviews, and articles. mastering job, in which the sound
Refresh your knowledge of speaker keeps breaking up, and you've got
technology, construction projects, distortion Mesopotamia, a disappointing mess
theory, and more. all around. Michael Tearson
Only a limited quantity is available. A few
sets also remain from 1975, 1977, 1978,
1979 and 1980. It's first come, first served, Dare: The Human League
so place your order now. A&M SP -6-4892, stereo, $6.98.
Send a check or money order for $30.00
Penthouse and Pavement: Heaven

m--- r_ --r_1
e powerful Speal.erlab Super 7 -etums. now
plus applicable sales tax.
DO NOT SEND CASH!
17
B.E.F./Virgin (U.K.) V-2208, stereo,
cranatically improved NO an open and clear Sound Price includes shipping and handling in the
mal's so awesome you'll soon understand why we II U.S.A. only. import.
call it "legendary''. me 10" and 12" polypropylene/
Polylam' woofers, a 6-1/2" mdbass/midrange and§
the LT2 I 55 Samarium cobalt leaf tweeter can handle is
r Sound: A- Performance: A
up to 200 watts of power 7 you can. Available in I' AUDIO, CBS Publications, 1515 Broadway,
lacquered oak or rosewood Ciearseal finish. Read New York, N.Y. 10036 During 1981 The Human League,
about the Super 7 and our 15 otne- great speakers in I pioneers in England's post New Wave
our FREE Catalog Send today. A25 1979 1977
1981
I 1975
synthesizer -art rock, splintered into
1980 1978
name two separate groups after their second
I Name album. The split has brought each
address
Address
band greater success than the parent
I band had up to that point.
city state zip
City State_ Zip_
sppakcrlbb I - -1 24

Seattle, Washington 98103

 By last year's end The Human
League had several hits on the English
charts, culminating with "Don't You
Want Me" being No. 1. Their album
Dare had also reached No. 1 and
stayed there well into the new year,
and its success goosed the first two
Human League albums back into
charted positions. Heaven 17 had Now you can afford the most
three major hits, with "(We Don't Need accurate cartridge of all, an Ortofon
This) Fascist Groove Thang" the big- moving coil. Like every Ortofon
gest, and their album was well up in moving coil model, the MC10 MK I I

chartland too. is hand-crafted under a microscope,

expect both to impact seriously on
yet it costs little more than an
I

America in 1982 for several reasons.

To begin with material, which both ordinary cartridge.
bands deliver strongly, The Human When you visit your Ortofon
League tends towards a lyric romanti- dealer, take along a record you like.
cism while Heaven 17 is more political- Like will turn to love.
ly oriented. Second, both have suc-
ceeded in demystifying the synthesiz-
er, rendering sounds from it with a
warmth and humanity very rarely found
previously. Though nearly every non -
vocal sound on both albums is syn-
thetic, the sound is not the cold me-
chanical sound we have come to asso-
ciate with synthesizers. The accents
and subtleties each group achieves
are marvelous.
Highlights of Dare include "Don't
You Want Me" with its clever his side/
orrofon
accuracy in sound
her side storyline of a love gone sour,
122 Dupont Street, Plainview, New York 11803
"The Things That Dreams Are Made
Of," "The Sound of the Crowd," and
the beautiful and inspirational "Open Enter No. 16 on Reader Service Card
Your Heart." The League meshes the
elegance of the best of The Righteous
Brothers with mid -'60s Motown touch-
es of melody in a canny, deft blend
made surprising by the synthetic
sound.
Heaven 17's album is more pointed
and more devilish in its very distinct
IIILIntosh
cleverness. "Fascist Groove Thang" is STEREO CATALOG
a nuclear cautionary fable served up
with verve and zest. "Play to Win" and and FM DIRECTORY
"Let's All Make a Bomb" are catchy
Get all the newest and latest information on the new
little apocalyptic dance numbers McIntosh stereo equipment in the McIntosh catalog. In
about raw ruthlessness. Heaven 17 addition you will receive an FM station directory that
tends to snappier music than The Hu- covers all of North America.
man League, but their political cutting
edge may well limit their appeal, how-
ever unfairly. r
Descending from the original Hu-
man League, both current bands are I ,: © 0ó000 0 L-- -
studio whiz -kids. All these folks know
their way around the recording studio,
Ó°0 .0 ©a1,
1
o F.
.

--
e o_ '
O 0 O
t

0^ 0.
so it is not at all surprising that both
records are state -of -the -synthesizer
with grand clarity and precision of
r McIntosh Laboratory, Inc. A
sound. ! East Side Staion P.O. Box 96
They may well be the shape of Binghamton, N.Y. 13904-0096
sound to come, and then again they
may represent a quick flash. But be-
SEND 1

NAME
cause of the superb songwriting and
the raw savvy and smarts shown, I
suspect we'll be hearing a lot from
TODAY! I
ADDRESS

CITY STATE ZIP

both The Human League and Heaven
17. Michael Tearson
L J
If you are in a hurry for your catalog please send the coupon to McIntosh.
For non rush service send the Reader Service Card to the magazine.
AUDIO/MAY 1982 25
Enter No. 12 on Reader Service Card
CLASSICAL REVIEWS .

EDWARD TATNALL CANBY

as in the Dvoták everything was in fo-

cus, even at the highest levels, an
ideal musical balance and never the
slightest feeling of exaggeration. And
such beautifully articulate stereo sepa-
ration! That, in spite of the four side
and rear channels, which in this re-
spect were, as they should be, con-
sciously inaudible (unless they were
turned off).
No-this was not "the best seat in
the concert hall." It was a thing much
better and more admirable, the best
possible translation of the basic Dvo-
iák score into the audio recording me-
dium. That's what good recording is all
about.
N.B. Because many still question the
companding process as a means for
quality sound reproduction, made a
I

point of asking everyone in sight,

mostly young and with good ears,
whether they noticed any odd "pump-
ing" or other abnormal effects in the
dbx sound. Only one person, a keen
observer, I must say, noticed some
from end to end. All too often the mu- slight background noise in the loudest
Dvoták: Symphony No. 9 ("New sic tends to be coarse, labored and parts of the record-where the mask-
World"). London Philharmonic, Enri- overdone, but not here. ing effect is at its greatest and dbx is
que Batiz. I carried this record, along with a minimal! No problems with sudden
Varese Sarabande VCDM 1000.190, few others from dbx, by hand to San transients, soft passages and so on.
digital stereo, $15.00; dbx encoded, Francisco (the decoder in my suit- And this even though the original dy-
PS1037, $18.00. case), where played it on my favorite
I namic range of the symphony is posi-
The dbx-encoded version of this re- monster hi-fi system. In a spacious tively awesome in its extent, complete-
cording is currently my choice for the converted garage, with six channels, ly realized in this reproduction.
finest all-out classical recording yet, subwoofers, tri-amping, and plenty Frankly, I would give the dbx version
on every count. It is one of those rar- more, plus approximately 2,500 watts at least a three -to -one preference over
ities that is not only a superb example of amp power, this recording came the standard LP digital version, non -
of the recording art, all the way from into its own, and learned some inter-
I coded.
microphones to pressing and dbx en- esting pointers about big -scale home
coding (with full -range dynamics), but reproduction. Many recordings that
Brahms: Piano Concerto No. 1 in D
it is the finest performance I know of are intended for average living rooms
minor. Maurizio Pollini, Vienna Philhar-
this familiar, easy -to -listen -to sympho- and average systems are at a disad-
monic, Boehm.
ny, and mean to include all the big - vantage in a larger scale reproduction
Deutsche Grammophon 2531 294,
I

name conductors. had not known of

I because the microphoning has fa-
stereo, $10.95.
this Mexican conductor, Enrique Batiz, vored solo instruments, or voices, am-
before. Take my word as a veteran plifying them and bringing them for- Reading the advance publicity that
listener that this man, in conjunction ward as compared wth an orchestral goes with this sort of high -prestige re-
with the always enthusiastic British or- backing. A common procedure and lease, one would think that each and
chestra (the English still really relish OK in small rooms, but dreadful on a every example is an overpowering
the Romantic standard pieces!), big system, played wide open! masterpiece of the recording art. True,
makes more of the symphony's big I compared the Dvoták with another quite often! But there are interesting
shape and contour than I could be- favorite recording of mine, the John differences, not usually mentioned in
lieve; this work is anything but easy to Corigliano Clarinet Concerto (N.Y. Phil- the publicity, which are easy for living -
put forth today, with its sometimes harmonic, Mehta, .New World 309), room ears to hear.
near -corny tunes and its enormous cli- now also dbx-encoded, and was as- Thus, anybody who enjoys Brahms
maxes, á la 1894. And the detail work: tonished to find that, in this large lis- can hear the genial persuasiveness of
Faultlessly beautiful phrasing and tening place, it was not good at all- this pianist with the Italian name, an
rhythm, immense care in shaping ev- the solo clarinet was huge, gigantic, expert player of German music who is
ery smallest fragment, perfect synch totally out of scale, far too loud. Where- a real Romantic and yet adds a certain

26
 Italian airiness, a freshness, that is a close, right next to the piano. Accent
big plus. This recording is in effect a mike? Whatever the mike technique, it Mozart: Don Giovanni arranged for
Maurizio Pollini solo, with the legend- provides a somewhat confusing per- Wind Ensemble (Triebensee). Athena
ary Vienna Philharmonic and Dr. spective, though, to be sure, it gives Ensemble.
Boehm distinctly in the background in Pollini's piano maximum exposure. Chandos ABR 1015, stereo, $13.98.
more senses than one. You won't read Note that all this has not a thing to (Sine Qua Non Productions, Charles
1

that in the publicity. do with audio sound quality itself. Re- Street, Providence, R.I. 02904.)
These days the Viennese are not corded balance is a part of the musi- What a pleasure! All sorts of listen-
noted for lightness and air in playing cal aspect, contributing very directly to ers are well served here. If you would
their own masterpieces, and Dr. B. the impact of the like opera if only the voices would go
himself was always of the old re iable
school, very, very thorough, moving
great mountains at a snail's pace with
composer's work
as we hear it. without a voice to be heard -
away. here's the No. 1 opera of all time
just all
the best "tunes," in delightful wind ar-
much feeling but vast deliberation. rangements made back in Mozart's
Frankly, without the pianist this re:ord- own day. If you are fond of "Don G.,"
ing could be a bore. Too much and millions are, this is a novel ap-
heavyweight laboring, drawing t-tings proach to the familiar music, a whole
out and OUT. Maybe OK in a live Vien- hour of the best musical segments in a
nese performance. Not on records, un- new guise, for the easiest listening
less you find it to your own taste. imaginable.
I should quickly say that maybe this Maurizio Pollini But best of all is the original purpose
is all to the good here-since of these arrangements, which suit us
the Concerto, Brahms' first wonderfully well. The fancy nobility of
try, is one of those try - Austria in Mozart's time were opera
too -hard works which if nuts (and paid for it), and for their
pushed at all can be- long, leisurely festive banqueting they
come strained and wanted music, opera tunes, played by
harsh. Some con- live wind bands of eight or nine play-
ductors and/or pia- ers, ine so-called Harmonie. Even the
nists do just that, Emperor had his Harmonie, to play
but not this pair. It while he ate. So this is strictly eating
isn't in either music, and where better to hear it than
'man's nature to in your own dining room! Just try and
make harsh you'll see what mean. No formal con-
I

sounds, or the cert could ever do it justice. You need

Vienna Philhar- a good steak.
monic's. So do
not be afraid.
It's OK.
The audio is DON'T SUBTRACT
grand, especially WHEN YOU DIVIDE ..
the impeccable pi- The addition of a subwoofer often provides
ano sound, but I
many benefits. Problems multiply when one
found the recorded considers that in dividing your signal into its
balance bothersome. low and high frequency components, each
Here we have the tra- usually must pass thru its own active stage.
ditional big concerto But these added stages, particularly the high
sound, the solo piano frequency stage, may subtract from the over
out front and close, always all Integrity of the signal.
dominating the orchestra be- The Dahtquist LP -1 uses an active stage only
hind it. Too close; you hear re- for low frequency control functions, and uses
lentlessly every detail that a totally passive high frequency stage so
should melt into the orchestral nothing is subtracted from your music!
eloquence. The ensemble is THE DAHLQUIST LP -1 CROSSOVER
there but not compelling in its
presence; the hall sound is The Perfect Balance in
the Musical Equation
present but intermittently, and
the piano is simply not "in" Recommended retail price $350

UST
For additional information please write
the auditorium at all. Yet sud-
denly, a solo clarinet is up EDAM ILO
601 Old Willets Path, Hauppauge, NY 11787
AUDIO/MAY 1982 27
Enter No. 6 on Reader Service Card
 THE AUDIO INTERVIEW
DAVID LANDER

1`,
i

.. ,
` dB

.11:00010;41111-

'

-dilA

28
 Sometimes it seems that irony is the consented. He sounded chipper as
pre-eminent governing principle in our ever and, when I asked how he was
universe. Audio's editor, Gene Pitts, getting along, said something that
and I had been talking for some time struck me as very healthy for á man
about interviews for this magazine,' who had not particularly wanted to re-
and we agreed that one of the first tire: "I don't have the time todo the
should feature loudspeaker pioneer things I have to do."
Rudy Bozak. The last lime f d inter-
1 viewed Rudy was shortly before`
Christmas in 1977. He had just sold his
I never did get to Darien. CES inter-
vened, then .some of the century's
worst winter weather. On Wednesday.
company and, though he had planned February 10, t returned home from
to stay on in a consulting capacity it Boston, where I was on assignment for
wasn't long before he grew discontent Audio, to learn that Rudy had died that
with the direction the new manage- Monday, shortly after suffering .a heart
The first professional sound ment imposed and retired. attack at his home. The company he
reinforcement installation Not long before Christmas of 1981, I founded in 1949 had closed its doors
with which Rudy Bozak called Rudy at his Darien, Connecticut in mid-January, only weeks earlrer.
was involved was the home. Though I had a 75 -page tran- Born in Uniontown, Pennsylvania, on
Lagoon of Nations at the script o:` two C-90 cassettes on file July 13, 1910, Rudoph Thomas Bo-
1939 World's Fair. from our last discussion, I wanted to zak, son of a stonemason, graduated
update the interview for this magazine. from the Milwaukee School of Engi-
Rudy always a gentleman, graciously_ neering in 1932. His first job, at Mil-

AUDIO/MAY 1982 29
The ear educates itself in
time, and it seems that age
does to the ear something
that time does to wine and
other things.

waukee's Allen-Bradley Company, was to recreate them. Excerpted from our and it was a very dramatic recording.
designing radio tone controls. In 1936, 1977 conversation, some of these fol- So we played this and we just stole the
he moved to Cinaudagraph in Stam- low.-D. L. show in 1951. The comments! Down
ford, Connecticut, rising to assistant the corridors, from around the corners,
chief engineer in a year. When did you actually unveil the first people would say, "Where are those
Bozak began his work with loud- Bozak speaker? railroad trains?" It was a very, very
speakers at Cinaudagraph, which de- It was either January or February of '49 realistic sound, and that was where we
signed the bass system for the Lagoon that we had our first public showing of took off and started to fly. Cookie stole
of Nations at the 1939 World's Fair, the our 201, which was a two-way system the show again in '52. He, at that time,
first of many sound reinforcement in- incorporating the kettle drum as an en- recorded organs. He also got a group
stallations with which he was involved. closure. That actually was developed of members form the Boston Sympho-
His next job was at a band instrument at Cinaudagraph, where was working I ny-I think it was a gathering of about
company, C. G. Conn in Elkhart, Indi- back in 1937. It was very well -received 30-that made a number of orchestral
ana, where he worked on the develop- so proceeded to go out and peddle
I recordings in Symphony Hall. So we
ment of a speaker line. Rudy Bozak on my own. made a tour from Buffalo
I had organ and symphonic material,
was fascinated by the way instruments to Boston, down the coast to New York but the thing that was so dramatic
were constructed, as well as the peo- and Philadelphia and back home, and about it was that the quality was great
ple involved, and later credited Conn I only made one sale on that trip. This and there was the unbelievable real-
with providing his "maximum supple- was in about mid -year '49. And, of ism of stereo. He called it binaural at
mental education" in "this business of course, in 1949 Harry Reizes got the that time. It used two cartridges. In
sound." bright idea of putting on the first audio other words, he had two bands on a
After nearly five years at C. G. Conn, fair at the Hotel New Yorker. record, and it was the predecessor of
Bozak moved to Wurlitzer, but eco- Did you exhibit there? the stereo that we know today. That
nomic conditions in 1948 led to his I didn't buy any space at the show was the stealer of the show again. And
dismissal, and, at the urging of friends, from Harry, but at that time they had a in '53 he went back to Symphony Hall
he decided to design, build and mar- loudspeaker comparison on stage in and recorded the 16 cycles of organ
ket a loudspeaker of his own. Using the ballroom and we were invited to pipes, so we had to build a loud-
the New York audio fairs of the early participate in this. We put our 201 speaker that was capable of going
1950s as a platform and the advanced there and it stood up with the best in down to 16 cycles-the first loud-
hi-fi records of his friend Emory Cook the business at that time. There was speaker that really went down and pro-
to demonstrate what his speakers Klipsch, Altec's 604, JBL, the names duced a genuine 16 -cycle tone.
could do, he began to attract the at- that prevailed at that time, and we And you did that in 1953?
tention of a burgeoning community of made a definite impression. So made I In '53. And it was a monster of a loud-
audiophiles. another round and still didn't hit off
I speaker. He also recorded a chorus in
The Bozak plant always mirrored its very well, but we struck a couple of Symphony Hall, and that really
proprietor's insistence on quality and places. Little bit by little bit we found stunned people. I remember in one
craftsmanship. Moreover, Rudy felt a dealers here, there, and elsewhere. particular case Saul Marantz walking
strong responsibility to the artisans, How long did it take before you were into the room just as this was going on.
some of whom had been with him from convinced your company would suc- He folded his hands and stood there
the beginning, who built his products. ceed? as somber as all day. It was really a
Visitors accustomed to the loud- The thing that really made Bozak, I stunning and paralyzing type of thing.
speaker assembly lines so common must say, was that struck up a friend-
I The program material that Cook made
these days were treated to the sight of ship with Emory Cook, who at that time available and the work that put intoI

woofer cones being molded from raw was an idealist in recording. The fact the loudspeakers really were perfect
lamb's wool, paper and dye; mid- that was an idealist in loudspeakers
I companionship, and we carried on un-
ranges being stamped from sheet alu- made for a mutual meshing of feeling til Cook finally gave up on doing what
minum and then hand -turned on a there. Emory liked to dramatize things, he called "Sounds of the Times"
lathe, and voice -coils wound by hand. very much so. He came to me and pressings.
If Rudy Bozak's attitude had to be said, "Rudy, we want to steal the show How important has your ear been to
summed up in a word, it might be at the 1951 audio fair. will make some
I your success in designing loud-
"concern." He cared about his em- recordings and you give me a loud- speakers?
ployees and the products they helped speaker with good bass and good Well, that still is one of our basic stand-
create. He cared about the people highs and we'll put this show on." Well, ards, the ear. And yet the ear is a very
who bought these products. His proceeded, and that was the begin-
I queer thing. Our reaction to what we
speakers carried a 10 -year warranty ning of the Concert Grand. Emory went hear is subject to a number of things,
because Rudy thought they should to Harmon on the New York Central not the least of which is our disposition
satisfy their owners at least that long. tracks-two, three in the morning- of the moment. You know, I built my
Not surprisingly, Rudy Bozak had and recorded passenger trains, freight first radio set in 1922, and my loud-
some distinct ideas about sounds and trains coming through, the clonking of speaker system was a soup plate with
the high-fidelity components designed the rails, the horns, what have you, a pair of earphones put in it. We were

30
 If I can do a good job of
recreating symphonic
material, with satisfactory
fidelity, then I have
accomplished my goal.

tremendously impressed about how It seems that age does to the ear can sit and listen to the thing all day
great the thing was, because in that something that time does to wine and long. Nobody says, "Turn that off."
particular instance the novelty other things. What about the rest of the frequency
matched everything else. It's on'y after Speaking of wine, connoisseurs have spectrum?
continued hearing or association that their own terms for describing various In the midrange, the property you must
people begin to be critical. We've no- varieties and vintages. They'll talk have is clarity because, after all, here
ticed this over the years ín the high- about one having a big nose, for ex- is the range where you have the funda-
fidelity business. The neophyte would ample, and another possessing a cer- mentals. The basic frequencies in all of
start with some cheap, pretty poor - tain flinty quality. Like wines, speakers our voices, whether male or female,
sounding thing to us-but great to can be very different from one another. are only an octave apart. Middle C is
him-only to find that six months or a How would you describe the various 256 on the piano, and the octaves be-
year later he wants something better. sonic qualities of the best speakers low and above that are where all these
So the ear can be educated. you've listened to? fundamentals that are demanding of
The ear educates itself in time. It does. In bass, a sense of feel and a sense of clarity are found. They may fringe over
ease. With certain types of percussive a little bit, but that's essentially it. It's
sounds, there's a punch; it puts a feel essentially a two -octave span that
Audio pioneers Saul Marantz (left) into the thing. The sense of ease is a you're working with, and unless you
and Rudy Bozak. very difficult one to describe. It's feel, have freedom from distortion in that
but without being obnoxious. Ease is region, you don't have the clarity. And
best described by the fact that you in the octave above that, from 512 to

AUDIO/MAY 1982 31
1,024, you've got to continue with your certainly not the only factor.
it is
clarity. Now here is the region where Then the importance of the ear can be
you often get into trouble with cone overstated?
breakup. It could be, yes.
And what about treble? What qualities What other criteria do you use when it
do you look for in high frequencies? comes to evaluating one of your
Treble is the area where you have the speakers?
fill-in harmonics, which really do the Well, all the preliminary tests subject
I

final defining of sound. It's mandatory it to.

that this area be devoid of any spur- Such as?
ious sounds or harmonic generation. , Tone bursts, applause ... and the
In the treble range you need a feeling spatial effects ... evaluation of the
of warmth and sweetness. In other spatial coverage.
words, when you listen to the musical Why tone bursts?
instrument, whatever it is, there's noth- Well, the .tone burst is a qualitative fig-
ing grating about it. ure of merit that shows how quickly the
Bozak's Concert Grand Model B410
The woofer you designed for the 1939 Moorish -styled loudspeaker. loudspeaker can respond to the initial
World's Fair, which.you've shown me a impulse that it's excited with, and it
number of times, is more than two feet also indicates how much the loud-
in diameter. Later you turned to multi- A speaker's sense of ease is speaker hangs on once the impulse
ple smaller woofers. Can you say a bit has ceased.
about this? very difficult to describe; And why applause?
You want to move a lot of air, but you it's feel but without being Applause is closest to anything that we
also want to faithfully recreate the sig- obnoxious. have to evaluate a loudspeaker sys-
nal, and it doesn't take very much tem that you might term absolute. In
imagination to realize that, if you have other words, if it's distorted you recog-
a relatively large diaphragm, it must nize it. There's some character about
have a substantial amount of mass. If A 100% proprietary process. And in it. Any of us who have been to a per-
this cone is heavy, it's going to be addition to that there's a varying distri- formance in a hall where we've heard
sluggish. Maybe it can't get up there bution of material from the apex out to applause recognize all the qualities
and move. The analogy used in the
I the edge of the skirt. We deposit more that are in it. Of course, this applies to
beginning days is that it's like compar- material at the apex and it gradually the upper end of the frequency spec-
ing the acceleration of a freight train diminishes as you go toward the edge. trum, not to the overall spectrum.
with that of a passenger train. The With subsequent treatment it's the ba- If we compared one of your speakers
lighter, smaller guy gets off faster. That sis of the variable density cone, which from 1952 with one of your latest mod-
forms the basis for this multiple woofer again is 100% unique to Bozak. What's els, how different would it sound?
approach which, incidentally, was not this variable density system all about? It would be different. To attach a quan-
totally novel to me because Ed Kellog Well, not only is this cone an air pump titative number, it's difficult to say.
proposed the same type of thing about wherein we move air, but each one of Do your speakers sound better with
10 years prior to my design. Of course, those impulses from the voice -coil also one kind of program material than an-
he was proposing eight -inch drivers, a propagates a wave in the material it- other, with a particular type of music?
great many of them, but it was the self. By having variable density we dis- My standard is that if can do a good
I

same basic concept. There are two sipate that wave so that it doesn't go job of recreating symphonic material,
other things that enter into this which out to the edge, where it necessarily where have a vast variety of instru-
I

I've learned over the course of my becomes reflected and gives us prob- ments from fairly deep bass to the
years in the business, and that is, not lems. highest pitch and everything in be-
only do we want to have the cone light, I'd like to get back to the importance of tween, that if can recreate those in-
I

but we also want to have it inert. A the ear in loudspeaker design. In your struments with a satisfactory degree of
hard paper diaphragm will give you opinion, how many speaker designers fidelity, then have accomplished my
I

more apparent sound, but the output have a good set of ears? goal.
of that diaphragm is fraught with some Dave, that's a very unfair question. Do you feel that another person could
inherent characteristics of the material Well, what about your own ear? Surely have designed these speakers?
itself. A Bozak development is a dia- it's been a factor. Had he used the same tools, don't I

phragm of a light material, relatively Well, I think it's been somewhat of a see why not.
rigid in structure and relatively dead. factor. But, you see, in developing a I'm wondering how much the personal-
The reason it's dead is because it's a loudspeaker you go through more than ity has to do with it.
combination of wool and paper fiber. just listening to the damn thing. As I I don't think personality has anything to
You're talking about your variable den- indicated, I had been indoctrinated, do with it. In other words, don't think
I

sity woofer. You mold these yourself, notably when was at Conn, that the
I that my personality has entered into
don't you, by a proprietary process? ear has been a contributing factor, but any of these things. A

32
 los

ilY't
January 1917. With most of the world
U... engulfed in war and only three
r
months left of U.S. neutrality, a new
magazine was quietly born at the San
pACIBCRORDNEWS Francisco Radio Club. Entitled Pacific
Radio News and edited by H. W.
Dickow and Paul R. Fenner, the new
.
'111,
'` - ----
beDa.,rº11..

The Army nrcA. the Arm'-

magazine was launched amid some
pretty stiff competition. Although inter-
est in wireless and radio had not yet
.
developed much past the "amateur"
stage, several magazines devoted al-

_" ...-o
most exclusively to radio/wireless were
already in existence. Wireless Age,
published by American Marconi,
dated back to 1913, while the first offi-
cial issue of the Amateur Radio Relay
i League's QST was published in De-
cember 1915. Scores of useful articles
about wireless could also be found in
Hugo Gernsback's Electrical Experi-
menter, as well as in Popular Science
Monthly, Popular Mechanics and the
Scientific American. None of these
magazines, however, featured West
Coast wireless activities, and because
of this Pacific Radio News found a
ready audience.
Before Pacific Radio News had
much of a chance to grow, however,
the United States plunged into the First
World War in April 1917. Upon enter-
ing the war, the U.S. government sus - John P. Wolkonowicz
AUDIO/MAY 1982 33
 Audio's th Birthday

' á3tcsea. tar as caTc pended amateur wireless activities for cles were always of great interest.

RADI the duration. Thus, publication of Pa-

cific Radio News was temporarily halt-
ed with the May 1917 issue. When
publication resumed with the January
"The Best 45 kc Superheterodyne" be-
came one of the "hot" circuits of the
mid -'20s. Nearly every issue of Radio
contained an article on either a new
1920 issue, a completely new radio and improved version of the "Best Su-
industry had come into existence. The perhet" or plans to improve upon exist-
World War had demonstrated to the ing models.
U.S. the strategic importance of wire- By 1928, however, the amateur ra-
less communication in wartime. As dio boom began to fade. February
servicemen returned home, "bitten by 1928 saw the near -demise of Hugo
the radio bug," interest in amateur ra- Gernsback's once -giant Radio News,
dio surged. Countless new companies while by March 1928 Radio had been
were formed to supply the almost end- trimmed down to a scant 48 pages.
less demand for "wireless gear," and Competitor Popular Radio, published
the new radio industry was off to a since 1922, succumbed in May. Clear-
flying start. ly a change was necessary.
b_ Nineteen twenty-nine saw the slow
;:.` - THE TRMAN`TN-3i0C.CfEC[IYER pacific Radio News grew steadily but steady transformation of Radio into
during 1920, catering strictly to a trade magazine for the radio indus-
the amateur wireless enthusi- try. The transformation was complete
ast. The original 6 x 9 inch format was by September 1929, when the "new"
increased to 9 x 12 inches in August Radio emerged as "The National
1920 (and was continued through Trade Magazine" complete with adver-
1935). With the advent of programmat- tising on the front cover. The idea
ic broadcasting by stations WWJ and looked promising, and the magazine
KDKA in late 1920, Pacific Radio News grew quickly in size-a sure sign of
gained a new audience: The 'B.C.L." success. This growth was short-lived,
or "broadcast listener." October 1921 however, since the stock market crash
saw a change in management and a of October 29, 1929, and the ensuing
new editor, Arthur H. Halloran. Hallo- Depression quickly put a stop to all
ran's first move was to change the expansion in the radio industry. Radio
name of the magazine in November Broadcast, once a formidable com-
1921 to Radio. The new name signified petitor published by Doubleday -Page,
the magazine's emergence as a na- went under in April 1930. Radio some-
tional publication aimed at both the how managed to survive under the
amateur and the B.C.L. The broad- leadership of its new editors, P. S. Lu-
casting boom of 1922 ensured Radio's cas and K. N. Ford, but the magazine
sucess. By May 1922, circulation had became progressively thinner as the
reached 40,000 issues per month and months passed. Publication was errat-
was still climbing. ic in early 1933 and finally ceased with
By 1923, a conflict had developed a combined February/March 1933 is-
between the amateur and the B.C.L. sue-the last of Radio as a trade mag-
- "R/9" and Radio clearly stated its position on the azine.
cover of the April 1923 issue: "An In-
EJ1O dependent Magazine Serving the After merging with Modern Ra-
MERGED! Needs of the Radio Amateur and Com- dio, publication resumed un-
IwI.In
..... .. M
mercial Operator." The editorial page
of the November 1923 issue entitled
der new management with the
June 1933 issue, and Radio became,
"Radiotorial Comment" explained the once again, an amateur radio enthusi-
purpose even more clearly: "Radio is ast's magazine with considerable em-
...,_..,.
?NCI MOi/Mt
primarily the amateur's magazine. It phasis on short-wave radio. The short-
rA4...MI,Yti-IY1.Mr.. contains information whereby any wave craze did much to spark a recov-
... .... -M.. ... . T.. 'B.C.L.' can so perfect himself as to be ery in the radio industry. Unfortunately,
Radio didn't find itself a part of this
.,... ...,. advanced to the 'ham' degree." De-
...... W.....-... spite its statements, however, Radio recovery. By mid -1935, a lack of ad-
ensured a wide audience by publish- vertising caused Radio's size to drop
.mwei,.......,.nr. ing articles of interest to both the to 40 pages.
To. ,1.. n. Iw It w... broadcast listener and the amateur. Rescue came in the form of a merg-
Technical editor Gerald M. Best's arti- er with another amateur radio enthusi-

34
 ast's magazine, R/9, which had been ested in audio engineering had to
published under that title since Sep- gather piecemeal, from a large num-
tember 1932. Under the guidance of ber of sources, such information on the
technical editor R. S. Kruse, R/9 had subject as is published. To render
gained a steady following among ham greater service to our readers and to
operators. With the January 1936 is- the industy we have decided to de-
sue, R/9 and Radio were combined to vote our magazine exclusively to the
form the single publication, Radio. The audio engineering field."
magazine now had over 100 pages
per month, was 7 x 10 inches in size And so, three years before the
and printed on glossy paper. Its ap- emergence of the audio indus-
pearance and content were much like try, its first booster, Audio En-
its competitor QST. During this period, gineering, was born. The first issue,
Radio was published 10 times per May 1947, featured Norman Pickering
year; the summer months were "slow" on the cover. The appearance was
among hams, so the August and Sep- completely new, page count was up to
tember issues were skipped each year 56, and under the guidance of John H. r,1,w 1105_,1. a
between 1936 and 1941. Potts and C. G. McProud, Audio Engi- uu...n....
neering was on its way. Early issues
The new format proved quite were devoted entirely to the audio and
successful, but once again out- broadcast engineer, but with the emer-
side circumstances caused a gence of the audio enthusiast, the
decline in readership-this time in the magazine soon contained hobbyist -re-
lated articles as well.
form of World War II. Due to the enlist-
ment of many of its readers, Radio After the death of Mr. Potts in March BAUDIO
again found it necessary to change its 1949, C. G. McProud assumed editor's
format. The transformation to a radio duties. One of the co-founders of
broadcast and design engineer's Audio Engineering, Mr. McProud
magazine began slowly with the rather would head the magazine for the next
thin February 1942 issue. The April 18 years! After the founding of the
1942 issue was skipped, and by May Audio Engineering Society in 1948 and
the editorial offices had been moved to its excellent publication in /952, AE's
the East Coast. Radio had become a 9 emphasis shifted slowly towards the
x 12 inch magazine devoted to "Radio, audio hobbyist. By 1954, the change
Sound, and Electronics." After a was complete enough to drop "Engi-
f
squabble with Electronics magazine, neering" from the title, leaving simply
this became, in September 1942, "De- Audio. Since 1954, Audio has modern-
sign, Research, Production, Opera- ized its format several times but still
tion."
In April 1944, John H. Potts became
maintains the successful blend of
technical and construction articles,
'
editor of "RADIO-the Journal for Ra- product reviews, and record reviews
dio -Electronic Engineers." Slowly, em- pioneered by Mr. McProud in the early
phasis shifted towards the interests of '50s. Audio's readers have become
the broadcast engineer. During this accustomed to looking first to Audio
period, Radio was not sold on the for the latest: The loudness control,
newsstands as no price appears on Williamson amplifier, and FM -multiplex
the cover. Once again, due to a de-
cline in advertising, the magazine
stereo are only a few of the innovations
reported first in the pages of Audio.
AUDIO
grew progressively thinner-dropping Thus, over 65 sometimes stormy but
to 32 pages by late 1946. Another always interesting years, Pacific Radio
change was necessary. News, Radio, Audio Engineering, and
A letter to subscribers from Editor Audio have reported the birth and
John Potts in the combined February/ growth of both radio and audio. A
March 1947 issue announced the
change: Beginning with the May 1947 (Note: Readers desiring a more de-
issue, Radio would be known as Audio tailed history of Audio since 1947
Engineering. In Mr. Potts' words, the should refer to Audio's 10th, 15th,
change was made "Because there has 20th, 25th and 30th anniversary issues
been no technical magazine devoted of May 1957, 1962, 1967, 1972 and
solely to this field. All engineers inter- 1977.)

AUDIO/MAY 1982 35
 JON & SALLY TIVEN

k "MTV was a result of examining

why music on television did not work,"
explains Bob Pittman, who designed-
or better, invented-the format of the
cable TV program for Warner Amex
Satellite Entertainment Co. (WASEC), a
joint venture of Warner Communica-
tions and American Express. "It's hard
for someone who really loves music to
get excited about just an hour of music
a week. People don't think 'It's eight
o'clock-time for music.' " Pittman's
idea was that music on TV had to be
accessible 24 hours a day, always at

MUSIC TELEVISION T" the viewer -listener's beck and call. So

Pittman, a Senior VP for Programming,
set about finding ways to break the
fixed time -frame mold into which mu-
sic had traditionally been fitted on TV.
Drawing on his previous experience as
a radio programmer, Pittman put to-
gether a group of short video tapes
which irregularly rotate through the
broadcast schedule at the call of the
video jockey, or VJ. Interspersed be-
tween the song segments are music -
oriented movies, concerts or specials.
The second major innovation of the
WASEC folks was getting a true hi-fi
stereo signal available right from the
cable. Andy Setos, the Vice President
of Engineering and Operations for
WASEC, explains:
"What we wanted to do with MTV
was essentially to create a radio sta-
tion with pictures, to be able to play
any tune in any order. This meant we
had to put it together like a radio sta-
tion, but the equipment itself had to be
TV gear. Since it was going to be a
radio station, with every hour fresh
rather than prerecorded, there was no
way we could edit it together like a
conventional program. To do that, we
would have been editing in several
video tape editing rooms for 24 hours
a day just to come up with 24 hours'
worth of program. In order to play any

36
 tune at any time, we selected an Am-
pex cartridge machine, but it was
mono because regular TV sound is
monaural."
Ironically, Setos had been involved
with New York WNET's simulcasts
Top, New Year's Eve celebration at
New York's Diplomat Hotel shown live
on MTV; middle, Anna Bella Lwin,
i

1
r

.
o
a
,
,r,,y
1!

l`n '1171,,',-.:1
7
.

1
(t.

`) VI,..-p
',
..
' , i

when fresh out of college in 1971. At lead singer of The Bow Wow Wow; .

^,
..
that time he had approached Ampex bottom, Nina Blackwood interviewing
about making NET's AVR-1 machines David Johansen at The Diplomat. ..-o ' Y,,n
stereo, and they had turned him down.
Simulcasts then were very difficult to
do, what with trying to keep audio tape
machines in sync with video tape ma-
chines and not having a computer or
time base to check on things. How-
'T"' 71'7r`
A
ever, in 1976 Ampex did modify the /'
WNET machines, essentially by taking
the single monaural channel and split- 1iQL
ting it into two channels. Normally,
such a splitting would have reduced
the signal-to-noise ratio, but through
use of Dolby A -type professional noise
reduction, they actually gained back
more than they lost. This was one of
the first applications of Dolby noise-
reduction technique to television.
For MTV, Setos found himself again
calling on Ampex, this time to modify
the ACR-25, a two-inch quadraplex i

machine, which is also mono in its nor- ,1.

mal configuration. They obliged, and
ae
Warner -Amex now owns the only three
ACR-25s in the U.S. that are stereo .o
capable. Setos believes that there is
one in Japan which handles stereo,
and points out that TV in Japan is al-
ready stereo. Commenting on the re-
' ...
ti' ..
sults of the modification, he says: t
"We were very pleased, as it's not
easy to modify a machine designed in
1970 to do something today. We end-
ed up with a signal-to-noise ratio of
about 68 dB, and that's rather respect-
able when you consider that the origi-
nal material we're getting is not up to
that level. The cart machines are not
the narrowest funnel in the pipe, and
the power they give us to program any k
tune at any time and play all this back-
to-back, together with our animations
and IDs, is used to good advantage.
All those things come off the cart in
real time, actually being selected and
played as you see them."
Most of MTV's programming comes
from promotional video tapes supplied
by various record companies, and a
somewhat wider variety of artists ap-
pears than the usually tightly pro-
grammed FM station would play. Pitt -

AUDIO/MAY 1982 Photos: John Bellissimo/Retna Ltd. (middle and bottom) 37

 man feels that playing older video Ampex Grand Master. All this is done same room as the television set. MN
promo material from a record com- at our expense, about $400 a clip. uses one of the vacant spots in the FM
pany's catalog is not bad, even in the "Then we take the picture, whether it band for their programming, so the
case of a group that didn't make it big. be on film or on 3 -inch, one -inch, or viewer -listener effectively bypasses
He says, "I always contended that you two-inch video tape, and we send it the poor quality of most TV set audio
really couldn't tell what the consumer and the audio tapes out to Image sections.
wants unless you put it out to them and Transform, a Los Angeles company To distribute the MN programming,
gave them a chance to decide. If, after that specializes in making high -quality WASEC uses satellite feed, but the
a month, nothing happens, then it's pictures out of whatever you have, us- stereo signal requires cable compa-
reasonable to take it off." Certain video ing a lot of proprietary techniques they nies to buy a $1,500 black box, which
clips, however, do get a heavier rota- developed in their own labs. In New is inserted between the satellite anten-
tion, such as those from top acts like York, at Regent Sound, the sound is na dish and the feed link to the cable.
The Rolling Stones. mixed using a computer synchronized WASEC's Director of Engineering,
Putting the tapes into the proper for- to match the sound." Dom Stasi, was able to find two
mat for MN carts and play is Setos' The stereo signal is piped down the sources for the down -link box, Wegner
area. He explains that "Many clips are cable in the same fashion as an FM Communications and Learning Indus-
produced for promotional reasons, to radio signal so that the listener -viewer tries. The signal-to-noise ratio on the
be shown in record stores, used as needs to have his FM tuner or receiver link is about 70 dB, according to Se-
advertising or as fillers on Home Box hooked up to the cable in addition to tos, so there is no degradation in that
Office. But they exist in mono, so I having a connection for his N set. Is portion of the chain. However, the FM
have to marry the stereo release to the this the marriage of audio and video transmission is Dolby B encoded,
picture. And we want to make the pic- that industry analysts have predicted which provides a relatively compatible
ture as good as possible. First we con- for so long? Perhaps there has been a form of noise reduction, and a justifi-
vince the record companies to make secret marriage all along, for Setos ably proud Setos thinks this is the first
copies of the master tapes, which is. . points out that WASEC's national re- TV broadcast or TV network distribu-
done at 150 ips on the highest quality search indicates that nearly two-thirds tion done with Dolby B NR.
tape we can get our hands on, usually of their audience has their stereo in the MTV is not all promo films of artists
connected by the VJ, as they have
taken to showing rock -oriented movies
and filmed concerts, as well as doing
some live broadcasts. The filmed con-
cert has been the main staple of MTV's
Adam of Adam & The Ants being special fare, but this has traditionally
interviewed by Nina Blackwood proved to be a difficult format since
few directors and producers appear to
understand quite why the rock audi-
Karla DeVito at the 1982 ence is at a concert. Rarely has the
New Year's celebration excitement or anything beyond the su-
perficial theatrics of a musical per-
formance been captured on film/tape
without the man in charge interjecting
an editorial subjectivism which inter-
feres with the art of the performer. Pitt-
man is intent on proper coverage of
concerts, saying "We're trying to do
something that's never been done on
TV before, trying not to take a concert
and package it as a TV show, but rath-
J. er run it as coverage of an event that's
worth covering."
Pittman and colleagues will have to
be very creative to pull this off, and
whether he-and indeed MTV-will
succeed or will be forced to develop a
new format is best left to future pun-
dits. For the present, it's enough to
ti note that there is an element of cre-
i .. ative spontaneity to the relatively free-
form format that's both interesting to
watch and hear. Q

38 Photos: John Bellissimo/Retna Ltd. (top) and Gary Gershoft (bottom) AUDIO/MAY 1982
 Here's h Alas

kiss the hiss good

BASF Chrome. And like all BASF tapes, PRO II comes
encased in our new ultra -precision cassette
The world's quietest tape. shell that provides perfect
alignment, smooth, P \
With BASF Chrome, you hear only what you even
want to hear-because we "kissed the hiss
goodbye." O,
In fact, among all high bias tapes on the
market today, only PRO II combines the
world's lowest background noise with out- vtr
standing sensitivity in the critical high fre-
quency range for superior dynamic range
(signal-to-noise ratio).
PRO II is unlike any other BASF designed
tape because it's and developed the
world's only Measure-
made like no t7
ment Reference Tape Cas-
other tape. sette. And our new ultra -precision
Magnified t. * While ordi- cassette shell is the logical culmi-

\
\
nation of that development.
15.000 X
- + . nary high tape movement, and consistent high fidelity
bias
tapes reproduction.
T are So when you want to hear all of the music
and none of the tape, turn on to BASF Chrome.

Per-
fectly
shaped
and uni-
formly sized
\ ¡

particles of pure
41,

J
It's the one
tape that
kissed the
hiss good-
bye.
ar

chromium dioxide
provide a magnetic
medium like no other
tape in the world.
made from
modified particles of ferric oxide, only
PRO II is made of pure chromium dioxide.
These perfectly shaped and uniformly sized
particles provide a magnetic medium that's .,
n=
truly superior-so superior that PRO II was
chosen by Mobile Fidelity Sound Lab for their
Original Master RecordingtM High Fidelity
Cassettes-the finest prerecorded cassettes
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PRO II-a tape so superior, a cassette so
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BA
For the best recordings you'll ever make.

Audio/Video Tapes

Enter No. 3 on Reader Service Card

 I a aw
ANDREA LYNNE HECKER
la Pictured here is a
selection of accessories
for use with your light-
weight headphones; the Proton FM stereo receiver
II MI is representative of all the minis
which can use these items
(explained overleaf).
s

r j

40 Photo: Robert Lewis

 -

.7

1
0,
C

1-.

.9
if

I.

AUDIO/MAY 1982 41
 Y -connectorharness (shown below the
speakers [4A1), linking the speakers
with your portable. noticed that
I

when used with the Proton, the

speakers tend to drain the batteries
quickly, so suggest that you use an
I

a.c. adaptor.
Adaptors come in many varieties, and
items 5 through 8 are some of the
most useful and innovative on the
market.
Adapts from a mini jack to a
standard phone plug, the type
probably found on your receiver.
6Adapts two mini jacks to one mini
plug.
7Sony's threaded adaptor is from a
mini jack to a phone plug, with
the threads insuring a solid
connection. The notched plastic tail,
with a threaded portion, allows the
adaptor to be secured when not in
The Koss Sound Partner is "in the plastic box, the exact size and shape use. Available from Sony with some
4I bag," its own leather -like pouch. of a cassette box, providing safe microphones and headphones.
You can see the headphones peeking storage and easy transport. This adaptor is from a phone jack
out, and they are constructed to 3The Sony MDR 80 headphones SO to a mini plug, allowing use of a
collapse into a small circle with a can upgrade your personal regular headphone with a personal
hook -closing, making the unit secure, portable. With its "look ma, one hand" portable. Note that sensitivity
while the pouch protects the design, they are easily adjusted with variations can make this an
headphones from dirt. a slight push of one headphone-up unworkable combination.
2The Denon AH -P5 Pocket tightens and down loosens. 9Jerking phone wires can be
Headphone uses a folding 4AudioSource has small compact eliminated with this clip by
design. Two flicks of the wrist, and speakers that can be used with attaching the wire to the clip and the
the phones change from flat to fully any mini, offering big sound. The clip to your lapel or other piece of
extended. They are housed in a clear LS -One comes with its own clothing. ál

,r

ZX 7.Maximum Performance through Complete Control .

With the Nakamichi ZX-7 you command and optimize the vital record parameters-bias, level, and
azimuth-which bring to life the true potential lying dormant in every cassette. This kind of control,
plus the most advanced technology and features in cassette históry, make the ZX-7 a serious
recordist's dream -come -true.
Maximum Performance...The ZX-7 awaits you now at your Nakamichi dealer.

nkNakamichi For more information, write Nakamichi U.S.A. Corp., 1101 Cclorado Ave., Santa Monica, CA 90401.

rbrmed zx-7......d. . . . . .a, . . . . Air

.É . 4 .
..
. . . .Q
ts)
~..
...
... .

i..ri

liya. gym
..

Enter No. 15 on Reader Service Card

 1

DESIGN INTEGRITY
The same [lnamic Servo Tracer tonearm technology found IMú or"$6,200. DP -100M..
Cutting Lathe Motor AZ. Direct Drive Turntable. /
Jr--: lb
.
."
.er

...can be found on our $525. DP -52E..

Microoprocessor-controlled Fully Automatic AC Direct Drive Turn:able.

t .0 -.

.
mr... I
04.

1
,rfr r
...and on our $199. DP -11F .44
Fully Automatic Flat Twin Direct
. Drive Compact Turntable..
4

J
3
Instead of gimmicks, the Denon
DP -100M1 uses the same cutt ng lathe
mobr that creates d Sc masters. Its Dynamic -r
Servo Tracer system, working in concert with a ..
Denon high -precision, JItra-bwi mass tonearm effect-
ively suppresses resonances while providing the proper
damping for the widest varie:y of cartridges.
The same Dynam c Serio Tracer system is incorporated on -Lb
=

the DP -52F, making it cne of rho most effective playback systems ever
developed for warped and hardrto-trace records. Damping, anti-ska:ing and
tonearm lift/locate a -e all applied through microprocessor -controlled non -contact
electronics. Its AC Servo mobr employes the same drive principle and magnetic tb
speed control found on Denoi's'DP-100M.
The DP-11F introduces Denon design technology to a new price :ategory. It features magnetic
speed detection, a Flat Twin Direct Drive motor and the same Microprocessor -controlled Dynam 4
Servo Tracer tonearn system found at the very top of our line.
Design Integrity: tenor's products share more than name alone.

Enter No 9 3n Reade Sérvice Card

Denon Amer ica.trc..27 _aw Drve1Fautield.N-J 07006
ENON
magine what we'll do next
 1

PETER MILTON

The private world of stereo -

phones has attractions un-
matched by the impersonal and
"accurate" realm of loudspeakers, de-
spite the fact that they have long been
regarded as second-class substitutes
for loudspeakers. This has tended to
delay their recognition as genuine
components instead of mere accesso-
ries to a hi-fi system. Tradition has
forced us to expect that music should
come from a single general direction
and moreover, since music is an exter-
nal happening, to be enjoyed properly,
it should be shared. From this point of
view, listening via headphones can be
regarded as an antisocial activity.
However, there is a different way of
looking at things. Loudspeakers, it is
said, are becoming increasingly accu-
rate, yet they only approximate the
presence of the musicians, themselves
only the means of communication be-
tween the composer and the listener.
Headphones produce sound which is
often perceived as being inside the
head. This is not a fault-music started
out that way. Beethoven did not need
his external physical ears to hear his
last symphony.
Loudspeakers are part of the exter-
nal world and aim to preserve the illu-
sion of the source of music. Head-
phones are intensely personal and in-
ternal. Some can have appalling qual-
ity, but with the best, there can be an
almost ecstatic and mystical joining
with the spirit of the music. The very
young have discovered this and, with
fingers snapping and heads bobbing,
strut their rhythmic way downtown,

44 Photo: © 1981 Allen Laughmiller

 1 E

BAFFLE PLATE PASSIVE DYNAMIC HOUSING

DIAPHRAGMS TRANSDUCER

e
ELECTROSTATIC ACOUSTIC
EAR PAD GRILLE TRANSDUCER RESISTANCES
CROSSOVER
NETWOPK

AKG uses electrostatic and dynamic

transducers, together with passive
diaphragms, in their headphones.

wearing their glittering mini -phones as vibrates the air in the ear canal. The
symbols of their rejection of the real way the diaphragm is driven and the
world of the '80s. method of coupling the air to the ear
Many welcome the spread of the determines the type of the headphone.
new style of headphones, for with each The first stereophones produced by
set sold there is one less transistorized John Koss were, in fact, small loud-
radio to blare its tinny message across speakers sealed at the rear by card-
the quiet countryside. Wearing head- board covers and mounted on a mili-
phones can be seen as a sign of con- tary headband. The modern stereo
sideration rather than as unsociability. headphone is far more sophisticated,
Often, being compelled to share a but there are still inexpensive "off-
symphony second-hand is disliked as shore" models to be found which sim- Cutaway view of the Audio-Technica
much as being surrounded by sec- ply use small loudspeaker drivers as Planar Coil dynamic element.
ond-hand cigarette smoke. the sound -producing elements.
The current trend in headphone styl- It is easiest to understand how the
ing is towards the ultra -lightweight various classes of headphones came
portable type, popularized by Sony into being by thinking in terms of a
with the Walkman series, although complete system, consisting of the
lightweights, such as those made by combination of headphone driver and
Sennheiser, have been available for the human ear.
several years. In a normal hi-fi situation, the loud-
There is a very wide range of styles speakers simulate the presence of the
and prices and, although you could musicians and recreate the original
pick up a pair of surprisingly good pattern of soundwaves which existed
lightweight headphones for $25 or so, in the studio. The sound travels to the Cutaway view of a typical
a set of top-quality electrostatics can listener, where it is modif ed by the Audio-Technica dynamic element.
easily cost more than a good pair of complex folds of the external ear, or Note how the coil extends downward
loudspeakers. The trick in choosing pinna, before it reaches the ear canal. into the gap.
something as personal as a pair of The resonances and acoustic shad-
stereophones, as in most other audio ows produced by the pinna determine,
components, is to know what to expect to a large extent, our perception of
from each type. Audio quality is an distance and direction. Headphones
obvious criterion, but this is not always "short circuit" the pinna, and the out-
the deciding factor. Comfort, portabil- put from the diaphragm is coupled di-
ity, and repeatability must also be con- rectly to the eardrum so that many
sidered. And there is the small matter subtle aural clues are missing. Many of
of the budget, of course. the early designers missed the point
The operating principle of head- (and some still do) that the frequency
phones is similar to that for loud- response of the driver unit must make Cutaway view of a typical
speakers. The signal from the amplifier up for the effect of the pinna. Audio-Technica electret condenser
drives a light diaphragm which, in turn, The shape of the external ear varies element.

AUDIO/MAY 1982 45
 -i.ats
02 time:
be or
Telex he'll
tell us
2-iá,,.ants him:
Our
egress
.
about
much travels
fist
5:35 this
the We know own rules; and
by his women
he plays beautiful
enjoys to recognize.
class; beer.
be, easy
Michelob away.
He should game
are give
the
you,Victor.
the Michelob
the rn
So Don't Find find
andyou'll
Suggestion:
 MIGHELOB
One step ahead
By ANHEUSER-BUSCH, INC. ST. LOUIS, MO SINCE 1896
 o 141

E S

considerably, but it is possible to de- limits of the suspension determine the

fine, within broad limits, the sort of fre- particular combination of sound output
quency response a driver should have and bass extension which is practical.
in order to produce natural sound. Fig- A roll -off starting between 200 and 300
ure 1 shows a response envelope Hz is normal for the new style of head-
based on work done by Dr. A. G. Shaw phones. Fortunately, loudspeakers
of Ottawa, Canada, and Contributing having a well -damped and not over-
Editor Jon Sank. An accurate frequen- powering bass are becoming more ac-
cy response in itself is not enough. ceptable to the general listener so the
Work is still going on to reproduce the open headphones do not lose too
phase changes at the pinna which much by comparison.
/". bring the headphone sound out of the The completely sealed headphones
head. isolate the listener completely from the
The direct coupling between the external world, and all the sounds pro-
diaphragm and the eardrum removes duced in the studio, except those
Cal the effects of the room but introduces which are felt directly, can be repro-
problems of its own. As long as there duced. The 30 to 40 dB of isolation
is a complete seal, the total pressure which can be achieved gives priva-
Y ',r
-~"1.1141. change produced by the diaphragm is cy-in both directions-but many lis-
used to move the eardrum, and the teners prefer to keep in touch with their
response can extend down to d.c. This surroundings and prefer the negligible
is a very useful way to extend the bass isolation provided by the open types.
response and is the basis of the For them, the music provides sufficient
AKG K 340 circumaural type of headphones, masking and the ability to monitor con-
which use a large soft pad surround- versation and background household
ing the complete external ear and act noises.
as a seal. There are several disadvan- Headphones can also be classified
tages to circumaural headphones in according to the principle used to
practice. From the wearer's point of drive the diaphragm. The most com-
view, the completely sealed ear cups mon type is the electrodynamic, or
I and large pads are fairly heavy, and more simply, the dynamic driver,
the lack of ventilation makes them hot which resembles a small speaker. The
and uncomfortable after a very short Koss dynamic stereophones, for in-
``/
time. A more serious acoustical objec- stance, use a molded dome, similar to
\\ig tion is that slight leaks caused by a tweeter in shape, which is driven at
spectacle frames and the user's hair- the edge by a relatively large diameter
' style reduce the bass response se- voice -coil moving in a circular magnet-
verely, and these leaks are quite un- ic gap. The outer suspension is mold-
predictable. ed with the diaphragm and contributes
The situation is avoided by the use to some of the sound output.
CIRCUMAURAL SUPRAAURAL of supra -aural headphones, i.e., ones Electrostatic headphones have the
which rest on the outer ear. The cush- attractive feature of a very low -mass
The two basic methods of fitting the ions are often soft liquid- or foam -filled diaphragm which provides an excel-
headphone to the ear. plastic rings, or they can simply be lent acoustic match to the surrounding
plain foam discs, as in the new air. An electrostatic charge is applied
lightweight types. The back of the dia- to the diaphragm, and the signal is fed

112
T phragm is open so that there is a con-
trolled cancellation between the front
and rear surfaces. In this type of driv-
er, the response is arranged so that
to perforated plates on either side. The
advantage is that the drive to the dia-
phragm is distributed evenly over the
surface, and distortion due to break-
the movement of the diaphragm in- up is eliminated. The clean drive and
8
creases as the frequency is reduced, superb transient response make elec-
making up for the cancellation due to trostatic headphones a natural choice
IN
the huge leakage. The velocity of the for those who wish to have the very
.1 -
diaphragm in this case is proportional best, but the need for an outboard
-
pp
FREQUENCY H[
20
to the amplitude of the electrical sig- power unit makes them more expen-
nal, hence the term velocity head- sive and not as simple to use as other
Fig. 1-The envelope into which phones for this class. types.
headphone response must fall so that Naturally, the bass response cannot Electret headphones combine the
it will sound natural. be extended indefinitely; the physical advantages of electrostatics with the

48
I I
iI A'. P 0 E S

convenience of dynamic types. An even be more time-consuming since MAGNET ANO

electret is a permanently polarized quick A -B comparisons are not possi- POLE PIECES
material, currently one of the fluorocar- ble. Decide on the purpose of the
bons, carrying a permanent electro- headphones first. Are they to be used
static charge-the electrostatic equiv- at home or are they for a portable per-
alent of a permanent magnet. The Ya- sonal system? Lightweight units are
maha electret headphones use a thin best for outdoor use. If the head-
metallized polyester diaphragm phones are to be used with your hi-fi VOICE -COIL

stretched between two perforated system, consider comfort and light-

CONE
electret plates. The system operates in ness versus deep, deep bass and
the push-pull mode, and by separating complete privacy. You might want to
the function of the electret from the try one of each type for a short while to
SUSPENSION
diaphragm, it has been possible to re- see which is most comfortable for ex-
duce the matching requirements to the tended listening.
use of a simple matching transformer. Once the style and price bracket CHASSIS

The search for a uniform drive is not have been decided, the choice will
limited to electrostatic drivers. Toshiba narrow down considerably. At this Fig. 2-The basic parts of a moving-
uses an extremely thin polyester dia- point you could examine the fit of the coil speaker used in dynamic
phragm which carries an integral spi- headband and the ease of adjustment. headphones, as well as
rally wound coil. The coil is divided Some ear pieces are difficult to adjust loudspeakers. (After G. J. King's
into sections wound in opposite direc- and will slip during use. Comfort is The Audio Handbook.)
tions and is stretched between two essential, and a clear favorite style will
waffle -shaped magnets. The poles are soon emerge. Once all but a handful of
arranged so that the lines of magnetic possible choices have been eliminat-
flux pass radially across the surface of ed, the listening tests can begin.
the coil, which ensures an even drive. These should not be conducted hast-
There are many ways to make a ily. The acoustic perspective is usally
good set of stereophones-magnetic, FIXED
completely different from listening with PLATES
electrostatic, even piezo-electric. At normal speakers, and an initial impres-
the moment, there is no internationally sion can be deceiving. Listen for a I I

accepted way of defining the pérfect satisfactory balance between highs

response curve, although envelope re- and lows. The open types sometimes
sponse curves seem to be gaining ac- have a slight peak in the upper bass to
MOVABLE
ceptance. These curves are usually compensate for the lack of true depth. PLATE
made with the driver resting on a rub- As in speakers, a distant sound indi-
ber replica of a standardized human
ear, with a probe microphone placed
cates a lack of middle frequencies.
Many drivers have resonant peaks
II
at the entrance to the ear canal. The which could compensate for the effect I I
mechanical model is not perfect, and of the pinna except that they are dis-
considerable work is being done to placed in frequency and so sound un-
bring the tests in line with actual per- natural. The normal rules of listening
ception. still apply, so look for smoothness and
Even if it were possible to reproduce a good overall balance. As a rough
an actual ear for the purposes of the guide, cross-check in A -B fashion be- POLARIZING
tests, the choice of a set of stereo - tween the speakers and the phones VOLTAGE
phones would still be an intensely per-
sonal matter since ears vary widely in
shape and size. No one design can
while in your favorite chair.
The choice is wide and intensely
personal; there are no absolutes. You
\,1

n
compensate for the elimination of the may opt for perfect, although cumber-
effect of the pinna completely. Conse- some, sound or casual comfort. Head-
quently, no one listener can say defini- phones are getting better all the time.
tively what is right for another. In this, How will you know your choice is PUSH- PULL
the loudspeaker designer has the ad- right? You will not know immediately, TRANSFORMER
vantage since it is only necessary to but have always found, whether the
I

provide a flat response in a given item be a phono cartridge, speaker, a AMPLIFIER

room; any acoustical compensation re- SIGNAL
recording of a particular symphony or
quired is identical for all listeners. a pair of headphones, the best one for
The choice of a set of stereophones me is always the one which remains at Fig. 3-The basic parts of an
should be as thorough as looking for a hand. The rest have usually been giv- electrostatic speaker system. (After
suitable pair of loudspeakers. It could en or put away. LIl King.)

AUDIO/MAY 1982 49
 EQUIPMENT PROFILE

Subsonic Filter: 12 dB/octave below Rated THD: 0.003% at 8 ohms,

20 Hz. 0.007% at 4 ohms or mono.
Loudness Control (Volume at -30 Dynamic Headroom: 1.5 dB.
dB): +9 dB at 50 Hz. SMPTE IM Distortion: 0.003%, 8 -ohm
Power Consumption: 15 watts. loads.
Dimensions: 17 in. (43.18 cm) W x 2- Damping Factor at 50 Hz: 100.
3/32 in. (5.32 cm) H x 14% in. (36.51 Frequency Response: 20 Hz to 20
cm) D. kHz, +0, -0.1 dB.
Weight: 9.9 lbs. (4.45 kg). Input Sensitivity: 130 mV.
Price: $350.00. Power Consumption: 316 watts.
Dimensions: 17 in. (43.18 cm) W x 2-
SE -A7Power Amplifier 3/32 in. (5:32 cm) H x 143/8 in. (36.51
Manufacturer's Specifications cm) D.

TECHNICS Rated Power Output: 60 watts per

channel, 8- or 4 -ohm loads, 20 Hz to
20 kHz (120 watts in mono mode).
Weight: 20.9 lbs. (9.405 kg).
Price: $500.00.

SU -A8
PREAMP
and SE -A7
POWER AMP
Su -A8 Control Amplifier
Manufacturer's Specifications
Frequency Response: MM phono,
RIAA ±0.2 dB; MC phono, RIAA
±0.5 dB; high level, d.c. to 20 kHz,
-0.2 dB.
Maximum Output Voltage: High level,
10 V.
Rated Output Voltage: 1.0 V (150 mV
at record -out jacks).
THD: MM phono, 0.003%; MC phono,
0.01%; high level, 0.002%.
Input Sensitivity for 0.5-V Out: MM SE
phono, 1.25 mV; MC phono, 85 µV; Technics Stereo/Mono DC Power Amplifier
high level, 75 mV.
phones
S/N Ratio: MM phono, 79 dB; MC
,
puSte 'On

phono, 75 dB; high level, 100 dB.

Maximum Phono Input Voltage: MM,
150 mV; MC, 10 mV.
Phono Input Impedance, MM/MC: 47
kilohms/220 ohms.
Main Output Impedance: 2 ohms. ,It.) -A8
Tone Control Range: ± 10 dB at 50 TeCh711L$ stereo Dc control Amplifier
Hz (bass) and 20 kHz (treble).
_.

vía ionº

50
 The SU -A8 control amp and SE -A7 matching power amp The front panel of the SU -A8 preamp has a power switch
represent two-thirds of a new slimline series which Technics at its extreme left, near which is what appears to be the
calls its Studio Collection. The remaining component, the outline of a door. This door defied my attempts to open it
ST -S8 frequency -synthesized tuner, is, like the units tested until read the owner's manual and discovered that it's
I

for this report, only a fraction over two inches high. actually a motor -driven shelf and can therefore only be
The SU -A8 is a preamplifier -control unit that employs opened (or closed) when power is turned on and an adja-
d.c., Class A circuitry from input to output, and FET differen- cent control button depressed. With the shelf ejected, I

tial inputs in all stages for input capacitorless operation. The gained access to slide controls for bass, treble and channel
only coupling capacitor used in the entire signal path is at balance functions, a loucness on/off switch, and a subsonic
the phono equalizer output. A single -ended push-pull stage filter switch. Those audio purists who shun tone controls
is used as the output amplifier of this unit, and the phono and other signal -processing circuitry need never open the
equalizer/preamp stage consists of low -noise dual FETs. little shelf (perhaps that's why Technics took such pains to
The circuitry of the matching SE -A7 power amplifier fea- "hide" these secondary controls inside it) and can, in fact,
tures Technics' version of dynamic output -stage biasing, bypass the tone controls entirely by setting a nearby opera-
which they term New Class A, as well as their innovative tion selection button to "Straight DC." A tape/source button
Linear Feedback circuit. An interesting new feature is called and a tape 1/tape 2 button are to the right of the operation
Auto Load detection. When the SE -A7 is coupled to loads of selector, followed by three larger pushbuttons for tape mon-
less than 6 ohms, for example, the amplifier automatically itor and program selection (MM or MC phono and tuner or
reduces the voltage supplied to the power supply at the AUX, selected as alterrate pairs). Tiny lights above this
power transformer level. This reduction in operating voltage group let the user know which functions or program sources
limits the heat buildup that might otherwise occur when have been selected. Still further to the right is a slide control
driving multiple speaker systems or low -impedance loads. button which is moved horizontally to adjust volume level.

la
7

speakers meter range

~owl speakers range
00 Oh I ] ! OD NO 100

moo.
t- 01
.001
M
N

,,,.t,
' Fl pc" ae oo+W: mcic

é G7
open/dose
laps hilev phom vdurne
6 7 . B 9
lader

--,
mllllllll
n 2 LM w Qhululuwliuuntuou luuul
r 'eradQn roc mode tape selector
-^1C Nova 11001
, 1p. 1.2 11007
.J

AUDIO/MAY 1982 51
Although the goal of audio
equipment must be good
fidelity, there's no harm in
lending a touch of
elegance-as Technics has
done in this pair.

headphone jack. Three buttons near panel -center handle

main or remote speaker selection and peak -power indicator
+ 20 1
range (times or times 0.01). Further to the right, illuminat-
1

ed indicators tell which speakers are engaged, whether

+10 mono operation has been selected (via a rear -panel
ó
switch), and what power range has been chosen for the
w 0 peak-power LED indicators (which occupy the right -most
> section of the front panel). Having a hundred -fold increase
in sensitivity of these indicators enables the user to utilize
them meaningfully, even when listening at background -
ce -20 music levels.
A pair of input jacks are at the left of the rear panel, and
the mono/stereo switch is next to them. Color -coded speak-
20 50 100 200 500 Ik 2k 5k 10k 20k er terminals are of a new type which have seen only a few
I

FREQUENCY- Hz times before. The plastic terminal is turned counterclock-

Fig. 1-RIAA playback wise, and the stripped end of a speaker wire is inserted in a
characteristic, Technics hole in the rotatable plastic cap, which is then turned clock-
SU -A8 preamplifier. wise to "lock" the wire in place. With the speaker wires
stripped the proper amount, it's just about impossible to
cause a short between them. A single unswitched conven-
o
ience outlet completes the rear -panel layout.
+4
Control Amplifier Measurements
+2 ó

Input sensitivity for the moving -magnet phono inputs

measured 1.1 mV for the standard referenced 0.5-V output
0 . -r -- - ---.:-._-_: :.._.:
I
.
at 1 kHz, while the signal level required for that same output
for the MC phono was 75 µV. High-level inputs took a 66 -
-2 mV input level to deliver 0.5-V standard output. Phono
overload (maximum input) was 165 mV for the MM inputs
-4 and 11 mV for the high -gain MC inputs. These figures are
slightly better than those claimed. Figure 1 is a plot of
amplitude versus frequency via the phono inputs and
20 50 100 200 500 Ik 2k 5k 10k 20k shows the familiar RIAA playback characteristic.
FREQUENCY- Hz In Fig. 2 I used an inverse RIAA test signal and an
expanded vertical scale (2 dB per division instead of 10 dB
Fig. 2-Expanded plot from RIAA response,
per division, as in Fig. 1) to show the departure from RIAA
using inverse RIAA test SU -A8 preamplifier.
of the phono equalizer section. Worst -case deviation was
signal shows deviation
+0.5 dB at 6 kHz, but since there were no negative devi-
ations in the response curve, it would be fair to say that
As the slider is pushed to the right, a volume -level scale RIAA equalization was accurate to within ± 0.25 dB. Signal-
illuminates to indicate relative levels selected. Finally, at the to-noise ratio for the moving -magnet phono inputs was an
extreme right is a button labelled "Fader" which, when incredibly high 90 dB-about as high a number as have I

depressed, smoothly fades volume down to barely audible ever obtained for a phono preamp input referenced to 5 -mV
levels for telephone -answering or other listening interrup- input and 0.5-V output levels. Even the moving -coil inputs,
tions. must agree that this fader's action is a lot more
I which normally do not yield as good a signal-to-noise ratio
elegant than the abrupt muting switch normally supplied for as the lower -gain MM inputs, yielded a S/N of 78 dB, which
this purpose. To restore full volume, the fader is simply I consider to be excellent. Remember that in accordance
touched a second time. While the primary goal of any piece with the new amp measurement standards used for this
of audio equipment must be good sound reproduction, test, the 78 dB figure is referenced to a mere 0.5 -mV input
there's no harm in lending a touch of elegance, and Tech- and 0.5-V output. High-level inputs showed signal-to-noise
nics has certainly done that with their motorized tone -con- ratios of 91 dB, while residual noise (with volume control at
trol "drawer" and smooth fader switch. minimum) was 95 dB below 0.5-V output. The subsonic filter
The rear panel of the SU -A8 is equipped with the usual was slightly mistuned in that it rolled off response to -3 dB
pairs of input and tape output jacks, three a.c. convenience at 30 Hz instead of at 20 Hz as claimed. Maximum output of
outlets, and two pairs of output terminals. One output pair is the control amplifier (before noticeable clipping) was 11.0
d.c.-coupled, while the other is intended for connection to volts as against 10.0 volts claimed. Tone control range and
non-d.c. power amplifiers. loudness control action are depicted in Figs. 3 and 4. Note
Turning to the layout of the matching SE -A7 amplifier, we that this loudness control circuit boosts bass frequencies
find that it is aesthetically almost identical to the control unit. only. have always maintained that this is the preferred
I

The power switch is at the left, and adjacent to it is a approach to noncontinuously variable loudness circuits.

52
 The Technics SU -A8 and
SE -A7 are ideally matched
to each other not only in
cosmetics but in terms of
performance, sound
quality, and features.

Power Amplifier Measurements Fig. 3-

Technics notes in their spec sheet for the SE -A7 that it Range of bass
was necessary to use a spectrum analyzer to measure the and treble
low residual harmonic distortion levels it produced. For all controls,
but a few extreme measurements my test equipment was Technics SU -A8.
not up to the task of measuring THD either (the signal
source itself contains 0.002% THD at most test frequen-
cies). Nevertheless, put together as good a graphic plot of
I

distortion versus power output as could, using my distor-

I

tion analyzer and a spectrum analyzer, where necessary,

and the results are shown in Fig. 5 for both 8- and 4 -ohm
loads. Normally, would have drawn separate curves for 1
I

kHz, 20 Hz and 20 kHz power vs. distortion, but in this case,

distortion at the frequency extremes is so close to the
distortion observed at mid-frequencies that all three lines Fig. 4-
(six, if you try to combine 4- and 8 -ohm operation) would Action of

I
have fallen on top of each other, or very nearly so. loudness control
Of perhaps more practical use is the fact that the amplifi- at various settings
er delivered just under 75 watts into 8 -ohm loads before of master volume
noticeably clipping, and precisely 100 watts per channel control on
with 4 -ohm loads for the same degree of clipping. Twin -tone Technics SU -A8.
CCIF IM measured 0.0009%, while IHF IM, usually some-
what higher, measured exactly the same minuscule
0.0009%. Dynamic headroom was precisely 1.5 dB as
claimed, and low-frequency damping factor measured 108,
or a bit better than claimed by Technics. Input sensitivity for
1-watt.output was 130 mV; for rated output (60 watts per
channel), 1.0 V of input signal was required. Slew factor
was greater than 5-or beyond the limits of my test equip-
0.10
---- 9 OHMS
4 OHMS
40

ment. The A -weighted signal-to-noise ratio measured 116

dB below rated output. Frequency response extended way
out to 100 kHz for a -1 dB roll -off and out to 200 kHz for a
-3 dB roll -off. 0.01 60

lam
Use and Listening Tests .I.
The Technics SU -A8 and SE -A7 are ideally matched to
each other, not only in size and cosmetics but in terms of TEST EQUIPMENT LIMITS
performance, sound quality, and features. The preamp- 0 001 80
0.1 1.0 10.0 00.0 1000.0
control unit will appeal to both audio purists as well as those
who want some control over the overall response of their POWI32/CHANNEL- WATTS
equipment. In my use tests, was somewhat perplexed by
I

the fact that when turned off the system and then turned it
I
Fig. 5-Power output Ws.
back on again, the previously selected program source had THD, Technics SE -A7
to be punched in again. consulted the owner's manual and
I
amplifier.
found that this quirk only occurred because my tests were
of such short duration. Normally, when power is plugged in manufacturers who, because of their limited production
and the system is used for more than one hour, the last - runs, charged outrageously high prices for such "purist"
selected source (high-level or phono, tuner or AUX) will components. It's nice to be able to obtain a combination of
come on again for as long as a week later! With the SE -A7 components such as the SU -A8 and SE -A7 for well under
as companion amplifier, was able to use the d.c. output
I $1,000.00, thanks to the purchasing, design and production
jacks on the SU -A8. In doing so, however, would advise
I power of a giant company like the Technics Division of
others to choose a turntable system that exhibits low rumble Panasonic, which is, of course, a division of the even bigger
content. Otherwise, you may find it necessary to operate the Matsushita Electric Company.
system as an a.c.-coupled pair of units or, in more extreme As for the sound quality of this combination, it was simply
cases, with the subsonic filter turned on. That would tend to superb. Highs were open and transparent, while bass was
defeat all the trouble that Technics went to in creating a true as tight as you would want it. With the SU -A8 and SE -A7 as
d.c. system, from the high-level preamp inputs to the the nucleus of your sound system, your main concern will
speaker outputs. be finding speakers and program material that's good
It wasn't too long ago that sophisticated separate compo- enough for these components. Leonard Feldman
nents of this sort were the province of a very few small Enter No. 90 on Reader Service Card

AUDIO/MAY 1982 53
EQUIPMENT PROFILE

Manufacturer's Specifications
Frequency Response: 20 Hz to 20
kHz, to 21 kHz with metal tape.
Harmonic Distortion: 0.8% at 0 dB.
Signal/Noise Ratio: 72 dBA with
Dolby C NR.
Separation: 37 dB.
Crosstalk: 60 dB.
Erasure: 60 dB.
Input Sensitivity: Line, 50 mV.
Output Level: Line, 1.0 V; headphone,
45 mW at 8 ohms.
Flutter: ± 0.08% wtd. peak.
NAKAMICHI Dimensions: 173/4 in. (450 mm)
5/16 in. (135 mm) H x 11-13/16 in.
W x 5-

ZX.7 (300 mm) D.

Weight: 21 lbs. (9.5 kg).

CASSETTE Price: $1,250.00.

DECK

.., o, zxa.,. _. o,. .§ . . . .

a . - r . 4.

54
 Fig. 1-Frequency Fig. 2-Frequency
responses with Nakamichi EXII responses with Nakamichi SX
tape with and without (---) tape with and without (---)
Dolby C NR. Dolby C NR.

The ZX-7 is a very worthwhile addition to Nakamichi's line Rec Mute is also provided with a separate momentary-
of premium cassette decks, and it has a host of useful contact switch. Five rotary switches with small bar knobs
features. Of particular note are the built-in calibration facili- select memory or timer functions; 70- or 120-4 EQ; Dolby
ties for setting bias, record level, and record -head azimuth; NR Type B, Type C, or off; multiplex filter on/off, and moni-
the Dolby C NR; an automated up/down fader; a micro- tor, tape or source. There are separate L and R record -level
processor control, and the 50 -dB record -level metering. pots and an output -level pot, all with medium -size knobs
The front panel is solid black with the exception of the white with good knurling.
designations, which are easily read with any sort of lighting. An unusual feature of this Nakamichi deck is the automat-
The 32 horizontal LED -bar level meters (16 for each chan- ed master fader. When in the record mode, a simple push
nel) are at the top, in the center, covering from -40 to + 10 on the left side of its control bar starts an automatic fade of
for level monitoring and from -20 to +4 for the calibration the level in both channels. With a light push, the fade takes
mode. This is an excellent scheme, not only for the wide about six seconds. A heavier push, which gets an addition-
range covered, but for the increased resolution for the al click from the switch, esults in a two -second fade. Fad-
calibration process. ing up is done the same way by pushing on the right side of
Pushing Level when in record/pause mode initiates cali- the bar. Two wide -bar LEDs above show where the fader is
bration. This button, and many others on the front panel, are at any time by their brightness. Starting calibration causes
wide bars with angled and grooved fronts, making for easy an automatic down fade, and Stop in record mode results in
actuation. They all have status lights, which are needed an immediate up fade-both niceties of the total scheme.
since these microprocessor inputs do not have locking The cassette compartment door contains a small lamp
positions. The calibration requires the selection of tape type which provides good illumination of the tape pack. The
and 70- or 120-µS EQ. Under each of the three tape -type eject button switch is the same design as that for power on -
switches are L & R trim pots for record -level setting and for off and is just below it, which might cause a little confusion
bias. Adjustments are easily made with the small knobs, at times. The four -digit LED -type counter and its reset but-
and slip -over covers forestall diddling by the curious. Status ton are just above. It is quite easily read and has very good
indicators with each set of pots show which ones should be resolution but is rather displaced from the tape -motion con-
adjusted for the desired display. Before Level is set, Azi- trols. The phone jack for stereo headphones completes the
muth is adjusted, and a three -LED display gives immediate front -panel features.
and direct indication of any need to turn the record -head On the back panel are the line in/out phono jacks and two
azimuth-adjust knob. Finally, Azimuth is released, Bias is DIN -type sockets: One for the optional remote control and
selected, and the corresponding trimmers are used lo get a the other for the Nakamichi BlackBox accessory series,
zero meter indication for both channels. A push of Reset, which includes the MX -100 microphone mixer. Removal of
and the deck does a fast rewind to the tape location where the top and side cover revealed three large p.c. boards,
calibration started. each with excellent soldering. All parts were indentified,
The tape -motion button switches are light touch but still and adjustments also had function labels. The transport
have a nice snap -action when pushed. The microprocessor system appeared to be well constructed, and the position-
gains some extra functions, including two -speed cueing, ing of the head assembly under the control of the motor -
flying-start recording, and auto play from either wind mode. driven cam was fast and non-jarring.

AUDIO/MAY 1982
55
The ZX-7 is a very
worthwhile addition to
Nakamichi's line of
premium cassette decks.

,'in ,1 j ( Only two tapes couldn't be matched, and they both were
-s- ' ---r "cheapo" low -bias types. All of the detailed testing that
ó DOLBY followed was done with the Nakamichi samples provided
LEVEL
with the deck, but I did note that the fast -check results were
I
-J rf
W
> especially fine with BASF Professional II, Sony UCX-S and
w
f,il f TDK SA -X.
I- The tests with each tape started with azimuth alignment
-20 and level and bias set. Record/playback with a 10-kHz tone
cr showed that interchannel phase was within ±5° at that
.r frequency-superb results. Phase jitter was 15° total at
1 most, also excellent. Swept responses were run at Dolby
10 100 k I0k 20k level and 20 dB below that both with Dolby C and without
NR. The plots are shown in Figs. 1 to 3, and the -3 dB
I

FREQUENCY - Hz
limits are listed in Table I. The extension of high -frequency
Fíg. 3-Frequency headroom with Dolby C is apparent in all cases a most
responses with Nakamichi ZX worthwhile improvement. Dolby tracking at the lower level
tape with and without (---) was excellent, and the slight peak at 20 kHz with EXII and
Dolby C NR. SX should not be considered significant. With the exception
of those peaks, the plots are within ±1.5 dB from less than
15 Hz to at least 20 kHz, even at Dolby level.
0 NAKAMICHI II
A NAKAMICHI
EX
SX
The output polarity was the same as the input, whether in
O NAKAMICHI ZX Source or Tape. The record sensitivity controls (Level) had
a range of ±4 dB at 400 Hz. The bias controls had a range

-_
{ _ _

from -20 to over +5 dB with SX tape. With the multiplex

100 -- 1-- -ZO filter in, the response was down 3 dB at 16.5 kHz and 31.6
dB at 19 kHz. Bias in the output during recording was
minuscule. The 400 -Hz (393 -Hz actual) and 15 -kHz (14.7 -
kHz actual) oscillators evidenced some distortion, but it
was quite acceptable for the intended uses. Erasure of
- -40 metal tape at 100 Hz was 69 dB, separation at 1 kHz was
43 dB, and crosstalk was down over 80 dB. All of these
figures are excellent and also better than those specified by
Nakamichi.
- 60
Measurements were made of the third harmonic distortion
at 1 kHz with Dolby C NR over a range of levels, up to the
point where HDL3 = 3%. The results were fine for all tapes,
especially so with the ZX metal tape, as shown in Fig. 4.
HDL3 was also determined with recording 10 dB below
Dolby level from 30 Hz to 7 kHz, also with Dolby C NR and
0
-80
+10 ZX tape. Take note of the fact that the distortion was less
METER ZERO than 0.1% from 50 Hz to 3 kHz-quite impressive.
RELATIVE RECORD LEVEL - dB The signal-to-noise ratios were measured with and with-
out Dolby C NR for all three tapes with both IEC A and
Fig. 4-Third harmonic CCIR/ARM weightings. Table II lists all of the results, with
distortion vs. level at references to both Dolby level and the 3% distortion limit.
1 kHz with Dolby C NR. The low noise obtained with Dolby C NR is quite evident,
and the high S/N ratios for ZX tape are indicative of the
excellent magnetic design of the deck.
Measurements The line input sensitivity was 48 mV, and the input over-
The playback responses were checked for both equaliza- load was at least 22 V. The input impedance was about 47
tions, and they were excellent. This was particularly notice- kilohms at midband with the input pots centered. Output
able at 70 µS with a new BASF test tape, with only two clipping appeared at a level equivalent to + 17.4 dB relative
points as much as 0.8 dB off and most within ±0.2 dB! Play to meter zero. The automated master fader introduced at
speed was very accurate, within ±0.05%. Playback of a least 65 dB of attenuation. Line outputs were 980 mV with a
standard -level test tape gave the correct indication, within 0 -dB indication, and they fell to 800 mV with a 10-kilohm
the resolution of the LED meter display. A fast check of the load, indicative of the 2.2-kilohm source impedance. The
record/playback responses at -20 dB was made using headphone output was 52 mW with 8 -ohm loading, and
pink noise and a I/3 -octave RTA. Close to 30 different formu- high volume levels could be obtained from all of the head-
lations were tried with Dolby B, Dolby C and without NR- phones tried. The output pot sections tracked within a dB
following the normal calibration procedure with each tape. from maximum down for about 45 dB, quite acceptable for

56
 The automated master
fader worked very well for
fading in musical intros
and fading out applause at
the end of a performance.

this purpose. The level meter response times were very -40
close to the IEC standard for peak program meters, both for
charge and decay. In general, the meter scaling was quite
accurate, but there were some points that were wayward by 1-'
a dB or so. The frequency response of the metering was 3
dB down at 26 kHz at the high end and at about 28 Hz on
the low end; this seems a bit far for meters to be off on a
recorder with response to 11 Hz.
Tape play speed was very steady, and it did not vary with
changes in line voltage. Flutter was consistent throughout
the lengths of various cassettes, and there was little change 0.01 - 80
10 100 I0k IOOk
from one sample to the next. On a weighted -peak basis, the
flutter was ±0.07%, and it was ±0.05% or less weighted FREQUENCY - Hz

rms. Wind times for a C-60 were 55 seconds. Response Fig. 5-Third harmonic
times for changes in transport mode, including run -out to distortion vs. frequency
stop, were always less than a second, and there was loose - with Dolby C NR at 10 dB
loop take-up with the insertion of the cassette. below Dolby level using
Nakamichi ZX tape.
Use and Listening Tests
Loading/unloading was smooth and easy, and the in-door
lamp helped in observing the tape. Maintenance tasks were
most easily performed with the clear cover removed and the
door half closed. All controls and switches were completely
reliable throughout the testing cycle. It was pleasing to have
flying -start recording and auto play with wind added to the Table I--Record/playback responses (-3 dB limits).
list of features. The automated master fader was used to
With Dolby C NR Without Dolby NR
good effect a number of times. It worked very well for fading Dolby Lvl -20 dB Dolby Lvl -20 dB
in musical introductions, as well as fading out applause at Tape Type Hz kHz Hz kHz Hz kHz Hz kHz
the end of a performance. By pushing the control bar
Nakamichi EX II 12 20.7 11 25.2 12 11.6 11 25.7
harder, it was most easy to speed up a slow fade for a final Nakamichi SX 12 20.4 11 24.8 12 10.3 11 25.6
cutoff. This feature has extra value on the ZX-7 because of Nakamidli ZX 11 22.2 11 25.6 11 14.3 11 26.4
the separate record -level pots. The scheme also allows
keeping the record -level setting for the next piece.
The LED -bar level indicators were quite easy to read
under a wide range of light levels. Peak levels could be set
very quickly, and the intensity of the top -most LED gave
Table U-Signal/noise ratios with IEC A and CCIR/ARM
accurate indication of even very short peaks. The advan-
tage of their wide level range was immediately obvious with weightings.
the recording of classical music, where initial settings had IEC A Wtd(dBA) CCIRARM (dB)
to be made at -30 dB. The calibrations were straight- W Dolby NR Without NR W'Dolby NR Without NR
forward and took little time, and rewind with Reset was of Tape Tye[ @ DL HD=3% t"_a DL HD=3% @ DL HD=3% @ DL HD=3%
definite help. The expanded scale for this process is an Nakamici EX II 65.3 69.6 510 54.0 66 3 70.6 47.0 51.0
essential part of this successful scheme. Nakamicil SX 67.6 :2.1 51.6 55.8 70.4 74.9 51.1 55.3
Nakamicll ZX 67.0 75.3 51.5 59.7 67.8 76.1 49.6 57.8
The owner's manual has excellent text and illustrations. It
contains good calibration instructions, a list of recommend-
ed tapes, and many helpful notes.
Listening tests included sources ranging from pink noise
to virgin discs. The records were primarily from Mobile
Fidelity (such as Days of Future Passed by The Moody initial transients with turn -on. This Nakamichi deck does
Blues) and dbx (Empire Brass Quintet and Baroque Brass lack microphone inputs, but that is easily rectified with a
from Sine Qua Non). The Dolby tracking was excellent, and small investment. The calibration functions are not automat-
only the slightest shifts could be detected with purposely ic as in some decks, but their manual character allows the
high reproduction levels. The advantages of Dolby C NR user to trim responses as desired. Many times improved
showed up both at high levels in the high -frequency region Dolby tracking can be gained with some minor "devi-
and at low levels, particularly with the low -noise dbx-en- ations." Beyond this, the ZX-7 offers other valuable features
coded discs. and excellent to outstanding performance in all areas. For
Record, pause, and stop sounds were all well down into the high-level audiophile or the laboratory/studio profes-
tape noise. Rec Mute was used to advantage a few times. sional, it has much to offer for its premium price.
Timer start put the deck into play or record mode, as Howard A. Roberson
selected, after a delay of several seconds following the Enter No. 91 on Reader Service Card

AUDIO/MAY 1982 57
EQUIPMENT PROFILE

Manufacturer's Specifications AM Tuner Section

FM Tuner Section Sensitivity: External, 12 µV; loop, 250
Mono Usable Sensitivity: 10.8 dBf. µV/m.
S/N: Mono, 85 dB; stereo, 78 dB. Image Rejection: 50 dB.
Frequency Response: 20 Hz to 15 Selectivity: 50 dB.
kHz, ±0.5 dB. S/N: 54 dB.
Selectivity: Wide mode, 45 dB for I.f. Rejection: 40 dB.
±400 kHz; high -selectivity mode, 65 Output Voltage: 165 mV, 400 Hz, 30%
dB for ±300 kHz. modulation.
Image Rejection: 80 dB.
I.f. Rejection: 95 dB. General Specifications
AM Suppression: 65 dB. Power Requirements: 120 V, 60 Hz, 9
Capture Ratio: 1.0 dB. watts.
THD at 1 kHz (Wide Mode): Mono, Dimensions: 171/8 in. (43.49 cm) W x

HITACHI 0.04%; stereo, 0.06%.

Stereo Separation: 60 dB at 1 kHz.
.
23/e in. (6.03 cm) H x 12-1/16 in.
(30.63 cm) D.

FT -5500 Output Voltage: 550 mV for 100%

modulation.
Weight: 8.8 lbs. (3.96 kg).
Price: $350.00.

TUNER
It doesn't seem all that long ago since you had to pay well determine whether or not any adjacent station is preset
over $1,000 to buy a true frequency -synthesized FM tuner which might interfere with the desired station. In addition, it
that could be electronically tuned with crystal -controlled searches further (in frequency) to determine whether or not
accuracy and could "memorize" a few of your favorite any station which can cause r.f. intermodulation interfer-
stations for touch -button recall. Yet here we have a neat, ence is present. (2) It sets the r.f. and i.f. selectivity modes
slim FM/AM tuner from Hitachi costing a fraction of what in accordance with the results of the search. (3) When the
such a unit would have cost five years ago and incorporat- settings are complete, the system memorizes both the fre-
ing additional circuit refinements that no one would have quency of the desired station in one of its preset memories
dreamed about back then. and the settings of r.f. and i.f. selectivity for that particular
The most interesting of these new circuit features is preset station. The next time the station is called up by
called F.C.C.S., which stands for Field Condition Computer means of one of the preset buttons, it is not only tuned to
System. The microcomputer governing F.C.C.S. operation with frequency accuracy, but with optimum selectivity set-
performs the following: (1) After first lighting an indicator to tings for the r.f. and i.f. stages of the tuner.
show that it is in operation, it performs a computer search to Front panel controls include a power switch at the left, FM

u.wv sewn n.wu. .....PT-6CW

QCDHfTM1CNI
' Qn'rr`

,®.e,v..+li
Quartz - - - EM
_r 'l. Li
-Y
w
Mal
-L............ E.od,adi,1... ::' ..... <°.,.^

.. .c ...,.

58
 tuning, FM mode (mute), record level (activating an internal MICROVOLTS, ACROSS 75- OHM ANTENNA TERMINALS
tone for presetting tape recorder levels) and an AM/FM
00.275 0.87 275 8.7 27.5 87 275 489 870 2750
selector switch. Further to the right are the memory switch
(which also functions as the F.C.C.S. operation switch), 10
preset buttons for memorizing as many favorite FM and AM
1

i
20 1 10.0 2
stations, up and down tuning keys, a signal strength meter, STEREO S/N 78dB

and, of course, the digital frequency display associated MONO TMO. 0.06%

j-
'a
with frequency -synthesized tuners. To the left of this display -40 I
1.0 12
0.046% ó
are three more indicator lights which display high -selectivity STEREO TNO

r.f., high -selectivity i.f., and stereo reception when any of ó

ffingli 0.1 f4
¿ 60 11».

these modes is active.

At the left of the rear panel is an AM channel spacing
switch with positions for 9 or 10 kHz. Until recently, it had
W

-80
MONO VP( 82aB= S

001
0 IO 20 50 40 50 60 65 70 80
been thought that countries of North, Central and South
SIGNAL INPUT POWER- dB( (0 dB( x 10- 5 WATTS)
America would join in favoring a 9 -kHz AM channel spac- I

ing, the practice of much of Europe and Asia. However, Fig. 1-Mono and stereo
such a change was indefinitely postponed at a recent inter- quieting and distortion
national meeting, so the countries of the Western Hemi- characteristics, FM
sphere will continue to use 10 -kHz spacing between AM section, Hitachi FT -5500
stations. Still, having this switch on this and some other tuner.
tuners we have seen will allow you to properly tune in AM
stations in other parts of the world if you should relocate to
areas where 9 -kHz spacing is used. (Of course, in that 10 40
event, a step-down transformer would be needed for the
U.S. version of this tuner, since those countries also use I i

220/240 volts a.c. instead of 120 volts.)

..
I '
A coaxial 75 -ohm FM antenna connector, a ground termi- 2
º
nal, terminals for connection of an external AM antenna, a
built-in "loop" AM antenna, and a pair of output terminals O
0I
... I I
-Ixr1../.JIIIx11x.1111
IIIr.111
f
60

complete the rear panel layout of the FT -5500 tuner. N

a
Measurements
Usable FM sensitivity for the FT -5500 in mono measured 001
10 00
80
18 108 20k
11.0 dBf. Since there is only a 75 -ohm input on this tuner,
that translates to 0.98 µV (which is a good illustration of why FREQUENCY - H2

we now quote sensitivity figures in terms of power rather Fig. 2-Distortion vs.
than voltage; dBfs are the same regardless of input imped- frequency.
ance). Stereo sensitivity was governed not so much by the
r.f. and i.f. sections of the tuner as by the threshold setting
at which reception switches automatically from mono to
stereo; this setting was at 24 dBf for the sample tested. mained well below audibility levels at all relevant frequen-
Fifty -dB quieting in mono was obtained with a signal cies in both modes. should point out that this is the first
I

strength of 14.2 dBf, while for stereo, the reading was 35.3 tuner I have tested with the aid of the Sound Technology
dBf. Since was dealing with single -generator measure-
I
Model 1020A FM Generator. This instrument allows measur-
ments in all of these tests, the tuner was automatically ing FM distortion fully one whole order of magnitude lower
working in its "normal" r.f. and i.f. selectivity modes. Signal- than was possible with the Model 1000 generator, which
to-noise ratio in mono, with a 65-dBf signal, measured a could only guarantee THD readings down to 0.1%. In other
very high 82 dB, while in stereo obtained a reading of 78
I words, now have the capability to read FM tuner THD
I

dB, exactly as claimed by the manufacturer. Both of these down to as low as 0.01%! Another new capability afforded
S/N readings are excellent for any tuner, let alone one by this generator is its ability to evaluate a tuner's SCA
employing frequency synthesis (which, until recently, had a rejection capability in accordance with IHF (now EIA) stand-
tendency to compromise S/N results in return for accuracy ards. That is, not only must there be a 67 -kHz subcarrier
of tuning). Quieting and mid -frequency harmonic distortion signal modulating the main carrier to the extent of 10%, but
characteristics are shown in the graphs of Fig. 1. THD for a that subcarrier must, in turn, be modulated with an audio
1 -kHz, 100% modulating audio signal measured a very low signal of 2.5 kHz, to a deviation (of the subcarrier) of ±6
0.06% in mono and an even slightly lower 0.046% in stereo. kHz. The new generator provides such a signal, and, for the
Twin -tone IM (using 14- and 15-kHz signals) measured less Hitachi FT -5500, SCA rejection measured a high 71 dB.
than 0.05% in mono and less than 0.1% in stereo. Figure 3 is a spectrum analyzer plot of frequency re-
Harmonic distortion as a function of modulating frequen- sponse (upper trace) and stereo separation versus frequen-
cy, plotted in Fig. 2 for stereo and mono reception, re - cy for this tuner. Separation measured 58 dB at 1 kHz, 53

AUDIO/MAY 1982 59
The Hitachi FT -5500 costs
a fraction of what a similar
unit cost five years ago and
has refinements no one
dreamed of at that time.

dB at 100 Hz, and 42 dB at 10 kHz. Frequency response

was well within the published limits (± 0.5 dB) from 20 Hz to
15 kHz. AM suppression measured 65 dB as claimed, while
i.f. rejection and image rejection were both higher than
claimed, with readings of 100 and 87 dB respectively.
Capture ratio measured exactly 1.0 dB, as claimed.
It was only whenI began to measure selectivity that was
I

able to "force" the tuner into its high -selectivity modes. The
microcomputerized F.C.C.S. system interpreted the second
generator signal as an interfering signal (which, indeed, it
was in these tests) and "flipped" the circuitry into its alter-
wv<rr+hcw nate high -selectivity mode. Under these conditions meas-
I

ured a selectivity of over 80 dB (for 400 -kHz spacing). I'm

Fig. 3-Frequency not sure how Hitachi measures the "normal" selectivity val-
response (upper trace) ues, unless they use the single -generator method to plot r.f.
and stereo separation vs. and i.f. response directly, on a point -by -point basis, since
frequency; sweep is any attempt to use two generators throws the system into
logarithmic, from 20 Hz to the high -selectivity mode (as it should).
20 kHz. Figure 4 shows the crosstalk and distortion components
arising in the output of the unmodulated channel when a 5 -
kHz signal (tall spike at the left of the display) is used to
modulate the opposite channel. While 19- and 38 -kHz com-
X
ponents are fairly large (the two components near the cen-
00 n 7iM4

ter of the display), other crosstalk components are quite

ti small and separation at 5 kHz (as measured by the differ-
ence in amplitude between the tall spike at the left and the
il shorter spike contained within it) is around 48 dB. Vertical
;. scale in this display is 10 dB per octave.
Figure 5 is a plot of frequency response of the AM tuner
section. The FT -5500's AM tuner section was better than
1

most as far as fidelity is concerned, with useful response

extending up to beyond 4 kHz. Note, too, the "notch" filter
action at around 10 kHz-an added circuit which, unfortu-
nately, all too few AM tuner designers incorporate into their
F g. 4-Crosstalk and products these days.
d'stortion components of
5 kHz, 100% modulated Use and Listening Tests
signal, left channel only. The Hitachi FT-5500 performed extremely well, offering
Horizontal scale is linear noise-free performance on all the stations normally expect
I

from d.c. to 50 kHz. to receive. Stereo threshold might have been set a bit lower
since, by the time stereo switches in, signal-to-noise is
already 40 dB or better. The same holds true for the muting
0 1 i S, threshold, which is set: at around the same 24-dBf point as
the stereo threshold. Still, from a practical point of view, if
you use an outdoor FM antenna (as indeed this tuner de-
serves), you should be as pleased as I was with the clean,
noise -free, accurate signals delivered by the FT-5500. One
interesting final note: The FT -5500 switched over to its high -
selectivity mode (thanks to the action of the F.C.C.S. sys-
tem) only for two stations in my area. One was a local, low -
power station that was only 200 kHz from a more powerful
metropolitan area station; the other was a fairly powerful
station that was 400 kHz removed from another strong
" fwd.), station. Frankly, even in the high -selectivity modes that
resulted, couldn't detect any significant increase in distor-
I

Fig. 5-Frequency tion, nor did separation seem to suffer. All in all, a cleverly
response, AM tuner designed and very well-built tuner at a price that makes it
section. Sweep is affordable for a great many people who are serious about
logarithmic, from 20 Hz to high -quality FM reception. Leonard Feldman
20 kHz. Enter No. 92 on Reader Service Card

60
 EQUIPMENT PROFILE

7A
If

SIGNET
SK305 r
ELECTRONIC
STYLUS
CLEANER
Price: $29.95.
Keeping the phono cartridge stylus
clean is an ever-present problem for
the audiophile. Not infrequently, the
stylus is only partially cleaned be-
a.
cause the user may fear damaging the
stylus and cantilever on an expensive
phono cartridge. This fear may now be
allayed, thanks to an electronic stylus
cleaner from Signet.
The Signet SK305's cleaning head
consists of thousands of tiny nylon fi-
bers gathered tightly together to form
a brush. This brush is vibrated vertical-
ly by a magnetic system driven by an
IC and powered by one AA 1.5 -volt
penlight battery located in the body of cantilever. Also, make certain that the plastic cover over the brush, and store
the device. While the brush bristles are turntable platter remains stationary the device for future use.
vibrating, a light illuminates them so while the SK305 is cleaning the stylus The stylus brush usually supplied
that you can see where to place the as its movement may also damage the with a phono cartridge may be used to
stylus. stylus and cantilever. The platter may period.cally clean dirt or dust from the
Prior to using the Signet SK305, be held motionless by placing the SK305 brush. Although Signet sup-
make certain that the power to the thumb in contact with the platter and plies a stylus cleaner fluid, most any
turntable and amplifier has been turntable base plate simultaneously, or stylus cleaning fluid may be used,
turned off. Place the SK305 on the by using a rubber anti -rattle window suet' as any good commercial cleaner
turntable platter, with the brush facing wedge, gently placed between the or a 60% alcohol solution.
up and towards the platter edge. Next, platter and turntable base. The clean- I have used the Signet SK305 elec-
apply one or two drops of the supplied ing time should not exceed 20 sec- tronic stylus cleaner for many months
stylus cleaner fluid onto the surface of onds at any one time. If the SK305 is and find it to be a safe, high-perform-
the brush. Turn the device on and used regularly (e.g., weekly). then five ance device that removes all dirt and
carefully lower the stylus onto the seconds of cleaning time should be deposits from the stylus within a few
cleaning brush, using only the normal sufficient, either with or without the seconds without the need of removing
cartridge tracking force to keep the cleaning fluid. When the cleaning time the stylus or Cartridge from the tone -
stylus on the brush. Never put any ad- is up, raise the stylus from the brush arm. The end result is a stylus in pris-
ditional downward force on the car- and return the tonearm to its rest. Fi- tine condition. B. V. Pisha
tridge as it may damage the stylus and nally, turn the SK305 off, replace the Enter No. 93 on Reader Service Card

AUDIO/MAY 1982 61
EQUIPMENT PROFILE

Clipping Level at 1 kHz: 800 -ohm

load, -4 dBV (0.63 V); 150 -ohm
load, -15 dBV (0.18 V).
Maximum SPL: 800 -ohm load, 142
dB; 150 -ohm load, 134 dB.
Hum Pickup: -7.5 dB equivalent SPL
in a 1-millioersted field, 60 Hz.
Output Noise (Equivalent SPL): 29
dB typical, A weighted.
Dynamic Range: 113 dB, maximum
SPL to A -weighted noise level.
S/N Ratio: 65 dB at 94 dB SPL, per
IEC 179.
SHURE
SM85
UNIDIRECTIONAL
CONDENSER
MICROPHONE
Manufacturer's Specifications
Type: Cardioid condenser, electret
bias.
Frequency Response: 50 Hz to 15
kHz.
Polar Pattern: Cardioid (unidirec-
tional).
Output Impedance: Rated, 150 ohms;
actual, 85 ohms. Power: 11 to 52 V d.c. at to 1.2 mA
1

Output Level at 1kHz: Open -circuit current.

voltage, - 74 dB re 1 V/microbar Connector: Three -pin professional
(- 54 dB V/Pa). audio (Switchcraft A3M).
Case: Black vinyl -finished aluminum
handle with black Teflon -coated
steel mesh grille.
Dimensions: Overall length, 7-9/16 in.
(192 mm); head diameter, 1-15/16
in. (48.8 mm); handle, 25/32 in. (20.1
mm).
Weight: 6.3 ounces (180 grams).
Cable: 25 ft. (7.6 m), two -conductor
shielded with A3M and A3F type
connectors (cable and mike con-
nectors are black).
Supplied Accessories: Windscreen,
49A57; swivel adaptor, A57E; cable
(Model SM85-CN only), C97CN.
Available Accessories: PS1 and PS1-
E2 a.c. power supplies for two SM85
mikes; PS1 is 90 to 132 V a.c., 50/60
Hz; PS1-E2 is 90 to 132/180 to 250 V
a.c, 50/60 Hz.
Prices: SM85 mike (less cable),
$231.00; SM85-CN mike (with ca-
ble), $252.00; PS1 power supply,
$135.00; PS1-E2 power supply,
$164.00.

62
 fx
oI

U
a 400
200
800lk

100
SM- 85
MIKE

MMIllli111
TWO 9V
BATTERIES
E

1111111111~1111~1
111111 100
216
T k
.I
HA
I

UTC
-
I

108 X

FREQUENCY- Hz
TO MIKE

(200:200n)

11111i11B11111
Ik
PREAMP

I I.

Ii
i0 20
In

_
o
I

a 400
W
a' 200
Ik
800

100
11111

20
i
1111111i1111111111i111111i
1111111111111i11111111111iM1111111i
im
11111111111111~1111111111 11111111i
SM- 85+PS1E2 P.;..

100
SM-85+

I-
11111i11111111111i

UTC HA -108X TRANS

PSIE2 POWER SUPPLY

11_,1

FREQUENCY- Hz
Ik
(200 200n:
rt
1011 20k

Fig. 1-Impedance vs. Fig. 2-Impedance vs.

frequency, Shure SM85 frequency with Shure
microphone, with power supplies
schematic of battery/ (unbalanced test circuit).
transformer power supply
(unbalanced test circuit).

The Model SM85, the second professional -grade electret studies on powering, will offer suggestions for audiophile
condenser microphone manufactured by Shure, is intended use of the SM85.
primarily for hand-held vocal applications. It features highly The electronics in this mike are generally similar to those
durable construction plus a "space -frame" shock mount in the SM81. The block diagrams for the two microphones
that is said to offer resistance to handling noise and mike - are identical, except that the SM85 does not include a
stand vibration by performers. Audiophile applications capacitative capsule attenuator. The SM85, being "perform-
would appear to be geared to voice recording and musical - er -proof," has no operable switches, so the high -input SPL
instrument reinforcement, but the published data hint that rating must be achieved by reduction of capsule sensitivity
the SM85 may be useful in more diverse applications such and/or reduced amplifier gain. Since total dynamic range
as choral pickup and accent of musical instruments (i.e., can only be stretched so far, the noise level (equivalent
brass and woodwinds) plus sound system applications SPL) of the SM85 is 29 dBA compared to 16 dBA for the
where vocal clarity, feedback immunity, and people -proof SM81. Total dynamic range (maximum SPL minus noise
reliability are desired. SPL) is rated at 113 dB for the SM85 as against 119 dB for
The all -black finish is a radical departure for the conserv- the SM81. (My calculation based on Shure specifications
ative Shure firm, but it is a logical choice considering that for the SM81.) As a reference, dynamic range of 110 dB
the musical amplifiers and speakers often used by "pop" should be considered excellent for a professional -grade
groups are also finished in black. (This harkens back to the microphone preamplifier.
days before TV when mikes were finished in black -and - Cable is not included with the SM85. If the user wants a
chrome combinations and were intended to be visible.) The matching black cable with a black -finished connector, Mod-
SM85 handle and grille are all metal, and the plast c fin- el SM85-CN must be ordered. Otherwise, any microphone
ishes seem to be extremely durable. However, compared to extension cable having three-pin connectors (Switchcraft
the SM81 (see Audio, August 1980) which has a vinyl A3M, A3F, or similar) may be used with the SM85.
metallic nickel paint finish, the SM85 gave the impression of
a plastic microphone. This impression is strengthened by Power-Supply Considerations
the indents in the transition piece between the handle and Every time have reviewed externally powered condens-
I

the head, which give the appearance of a molded plastic er microphones, including the air condenser and electret
part. varieties, have used the a.c. power supplies furnished by
I

Powering is by an external supply via the familiar phan- the manufacturers. Each one, have found, is designed
I

tom system which Shure calls "simplex." In this scheme, differently, so that each series of tests begins with a study
ordinary two- or three -wire shielded microphone cable is of powering. My principal concern here is for the audiophile
used, with both audio lines carrying positive d.c. power and who will want to connect the SM85 to an unbalanced low -
the negative power carried by the shield or ground conduc- impedance input found on many tape recorders. Phantom
tor. Phantom powering is basically a balanced -circuit con- (simplex) powering, as mentioned above, is basically de-
cept and is somewhat tricky to adapt to unbalanced inputs signed for use with balanced circuits. When the output of a
which are prevalent in audiophile tape recorders. Some condenser microphone and power supply is connected to
mixers and sound reinforcement amplifiers used by audio- an unbalanced input (one audio line grounded), there may
philes may have balanced inputs but may not have a provi- be a loss of level, hum or noise or, in the worst case, sparks
sion for d.c. powering of microphones. The "Measure- and smoke! The latter problem is less frequent these days
ments" section of this report, in addition to test results and since manufacturers incorporate coupling capacitors that

AUDIO/MAY 1982 63
The SM85 may be of value
for accenting individual
instruments in symphonic
recording.

111:Ílpll111:1111 1111111
block the d.c. from appearing on the output pins; the Shure
power supplies have these capacitors.
KIN
t Electret microphones with internal batteries do not react
badly to unbalancing the output because they have integral
MI 1111
transformers, and the audio output is from a secondary
winding which is isolated from ground. When I've had prob-

III
lems in the past with external power supplies, I've intro-

Iltl,11111SIN
1

112111 N1111N I 1 11
duced an audio line transformer between the supply and
the test gear. This allowed connecting the microphone
audio to balanced or unbalanced circuits and avoided the
100 Ik 10k 20k attendant problems.
FREQUENCY- Hz In general, most, if not all, power supplies having output
transformers may be connected to unbalanced or balanced
Fig. 3-Frequency inputs with impunity. However, the "active" or transformer -
response vs. distance to less supplies may be connected to balanced inputs, but not
source. to unbalanced inputs unless recommended by the manu-
facturer. The PS1-E2 power supply used for testing is an
"active" type, but Shure indicates that the audio output may
be unbalanced. The concern with unbalancing an active
supply is that a short-circuit on one-half of the audio could
cause distortion. This is why the manufacturer should be
consulted before proceeding to unbalance the output.
T1 r
Measurements
When began testing the SM85, lacked the PS1 or PS1-
I I

E2 power supply, so rigged a battery -transformer supply

.....
I

90` as described in the Shure instructions. The schematic of

this supply and the resulting impedance curve are shown in
y
180" Fig. 1. The transformer is an expensive, well -shielded unit
but is not highly copper -efficient, and it adds about 80
ohms to the midrange impedance due to winding resist-
ance. The rise in impedance at low and high frequencies is
100 1k 10k 20k
a characteristic of the SM85 (Fig. 2). The impedance (with
FREQUENCY- Hz
the Shure PS1-E2 power supply, output unbalanced) is
below 100 ohms as per specifications at kHz. When the
Fig. 4-Frequency 1

response vs. angle. transformer is added, the midrange impedance increases

by 80 ohms, as above. Thus, the impedance test reveals no
problems with unbalancing the output of the Shure PS1-E2.
The axial frequency response versus distance to source
shows a flat and very smooth response at 12 to 14 inches
from 80 Hz to 2 kHz. At six inches, some bass boost from
proximity effect is seen; if the performer "swallows" the
40
..iIIIII- kVERAFLAT
NOISE
RES 0 SE N 39 deo
29 de
Hz B/1N
D"'
mike, the bass boost will be considerable. Presumably, the
increased "warmth" or "boominess" will be welcomed by

IIAm
A ' WEIGHTING
30
the performer, for otherwise, a bass roll -off equalizer will be
CO 111111 1111111 required at the mixer. The response rises smoothly from 2

Iow
20 11 1
kHz to a rounded peak of + 10 dB at 8 kHz. This, presum-
ably, is responsible for the "sizzling highs" mentioned in the
z5
11111 11111 Ilifi Shure catalog sheet and which are desired in contemporary
"pop" music.
lo

111111111111111
111111 111111 111111
The frequency response curves (Fig. 4), taken at different
angles of incidence, show the well -controlled cardioid pat-
o Ik 10k 20k tern have come to expect in Shure microphones. The 90°
100 I

FREQUENCY- Hz rejection is 6 dB, as in an ideal cardioid throughout the

useful frequency range. The 180° rejection approximates 15
Fig. 5-One-third octave dB up to 2 kHz. Above this frequency, the rejection is less,
band spectrum of noise probably because of unavoidable diffraction effects, and, of
from SM85 microphone course, room noise and feedback are much less of a prob-
with Shure PS1-E2 power lem at this high a frequency.
supply. The noise spectrum (Fig. 5) shows "a smoothly falling

64
 The microphone performs
as advertised, with
measured data values
meeting or exceeding the
mike's specifications.

characteristic and an overall level of 29 dBA equivalent problem without the foam screen if the performer uses
input SPL, which meets the Shure specifications. For this professional microphone techniques.
test, used the Shure power supply in the balanced mode.
I
The vibration and handling noise sensitivity of the Shure
The frequency response curves were measured with both mike was about the same as the reference with the latter set
balanced and unbalanced inputs using my transformer for "flat" or "Lo -Cut" response. This indicates that the inter-
supply and Shure's power supply. There was no change in nal shock mounting of the SM85 is effective.
frequency response, just small changes in overall output The Shure SM85 performs as advertised, and measured
levels. With a balanced input, sensitivity was -54 dBV/Pa data values meet or exceed specifications. can highly I

with the transformer supply and -53 dBV/Pa with the Shure recommend it as a vocal microphone. Since the frequency
supply. With an unbalanced input, the sensitivity with the response extends more than an octave above and below
Shure supply was -55 dBV/Pa, but the transformer supply the voice range, the SM85 is certain to be used for music
showed no change in sensitivity. pickup where it will enhance the sound of the treble instru-
The clipping level (with transformer supply unbalanced) ments. Obviously, it is not the best mike for recording a
was ±0.4 V (peaks viewed on scope). This is -8 dBV symphony orchestra, but it may be of value in adding clarity
(peak) or -11 dBV (rms), which translates to an input SPL to choral recordings and for accenting individual instru-
of 137 dB. This value is in between the two values Shure ments.
specifies with different loads, and think it is quite sufficient
I The SM85 may be connected to unbalanced inputs of
for the loudest rock vocalist with "mike -in -mouth." tape recorders via the Shure power supplies or a home-
The total dynamic range measured, therefore, is '37 dB
I made transformer supply. By referring to the detailed
minus 29 dB, or 108 dB. This is lower than the specification instructions in the Shure data sheet, the audiophile may be
value, but since the latter is noted as a "maximum," the able to devise other powering schemes to suit his or her
measured number is not contrary to spec. A dynamic range particular recorder or mixer.
of 108 dB is quite acceptable for the intended applications. I highly recommend the SM85 to "pop" music recording
enthusiasts, and hope that classical recordists will try it as
Use and Listening Tests suggested. Jon R. Sank
As in previous reviews, the reference microphone for Enter No. 94 on Reader Service Card
subjective comparison tests was a Nakamichi CM -700 with
a cardioid capsule. This reference microphone was chosen
because of its uniform frequency response and directivity, et
and not because it is a better mike for the application than
the unit being reviewed. For this test, did not have the
I
s
opportunity to compare the two microphones with live mu-
sic as a source; used master tapes of live concerts played
I

7s315r_no,
back over studio monitor speakers. To add some low -fre-
quency noise to the room, turned on an air conditioner.
I

The Shure, as compared to the Nakamichi (flat re-

sponse), exhibited greater rejection of room noise, while
showing greatly increased high -frequency sound with dis- ta

tant voice or music sources. In a quiet room, the self-noise

of the SM85 could be heard as "hiss." (Presumab y, the
Shure will not be used for pickup of very low-level sounds.)
With close-up speech at six inches, and the Nakamichi on the perfect combination...
"Lo -Cut," the SM85 picked up more room noise, but the The musical accuracy of Bryston components is a
voice sound had much more punch due to warm bass plus revelation. Every note emerges with perfect clar-
very crisp highs.
ity from a background of silence, then vanishes.
The magnetic hum pickup of the SM85 as compared to
The progression of musical events seems real,
the reference mike on flat response was virtually nonexist-
i ent (20 dB less?). Thus, the SM85 can be used near high- tangible, almost visual in its presentation....
powered musical instrument amplifiers with little problem. Bryston believes there is a need for reference
Without the supplied accessory foam windscreen, the standards of musical accuracy. That is why we
SM85 was slightly more sensitive than the reference mike to designed our Models 2B, 36 and 46 power ampli-
"pop" or breath -blast sound when each was held very close fiers, and our Model B preamplifier. Their only
1

to the mouth. For this test, the Nakamichi was on "Lo -Cut" reason for existing is to provide the most faithful
and used with its accessory screen. The slight difference electronic rendition of a musical signal possible
seemed to be related to the greater bass response of the within the bounds of available technology. Write
SM85 under these conditions, which caused a low -frequen-
to us and we'll tell you how we do it, and where
cy thump sound. With the foam screen in place, the Shure
was essentially free of pop noise, like the reference. would you can listen to our perfect combination.
I

recommend using the foam screen whenever the SM85 is

used at very close distance. Popping should not be a IN THE UNITED STATES: IN CANADA:
WM swam VERMONT
RFD°4, Benin, MontGeler, Vermont 0564:
:'fillS>tS MARKETING LTD
57 Wesrmore Dr, Resdale Ont, Canada MW 3Y6
AUDIO/MAY 1982 65 (802) 713-6159 1416) 746-0300
Enter No. 4 on Reader Service Card
EQUIPMENT PROFILE

Manufacturer's Specifications Maximum Output: 16 V.

Phono Section Output Impedance: 220 ohms.
Input Impedance: 50 kilohms/47 pF
(adjustable internally). General Specifications
Gain: 32 dB at 1 kHz. Subsonic Filter: -3 dB at 16 Hz, 6
RIAA Accuracy: Within ±0.1 dB, 20 dB/octave.
Hz to 20 kHz. Subwoofer Filter: Low-pass output,
Input Sensitivity: 2.5 mV. -3 dB at 115 Hz, 12 dB/octave;
THD: 0.001% at 0.5 V out. high-pass output, -3 dB at 115 Hz,
SMPTE IM: 0.002% 6 dB/octave.
S/N: 87 dB, A weighted. Maximum Tape Output: 9 V rms.
Phono Overload Level: 420 mV. Gain: -6 dB, tape in to tape out.
Slew Rate: 100 V/µS. Headphone Driver: 9 V rms maxi-
mum.
KM LABS Main Amplifier Section
Rated Output: 0.5 V.
Input Impedance: High-level inputs,
20 kilohms.
SP-100 Gain: 20 dB.
Frequency Response: 3.5 Hz to 2
Dimensions: 19 in. (48.26 cm) W x
23/8 in. (6.03 cm) H x 101/2 in. (26.67

PREAMP MHz, +0, -3 dB.

Slew Rate: 110 V/µS.
cm) D.
Weight: 111/4 lbs. (5.06 kg).
S/N: 107 dB, IHF A weighted. Price: $699.00; optional MC phono
THD: 0.001% at 0.5 V. module, $99.00.
SMPTE IM: 0.0015%.

nO(l ,1U.1
SP too
o1411,

(nI yM1 u`. 1. Z

.. .1. ... me. . . . s

David Stebbings, the president of KM Laboratories, ap- izer, a compressor/expander, or even an SO quadraphonic
pears on the cover of the brochure introducing this superb decoder module for those diehards who still own and play
preamplifier to prospective consumers. He is quoted as four -channel discs.
saying, "I designed the SP -100 with one unwavering goal in The elegantly styled, rack -mountable black front panel
mind: Keep the signal path as simple as is humanly possi- has only three rotary controls (a program selector switch,
ble." Indeed, the signal path in the SP -100 is about as balance control and master gain control), a power on/off
simple and straightforward as it can get, but Stebbings button and indicator light, a stereo phone jack, and a row of
hasn't ruled out the possibility that some listeners (even seven pushbutton switches. These include source/tape se-
avowed audiophile purists) may, at one time or another, lection, tape 1/tape 2 selector, stereo/mono switch, low filter
want to do some signal processing after all. Accordingly, on/off, subwoofer on/off (about which more in a moment),
he's left a lot of room inside the preamp's slim chassis to processor on/off (for introducing optional modules), and a
accommodate such optional drop -in processing boards as mute on/off button.
a rear-channel-Space Expander"'module, a graphic equal- The rear panel of the SP -100 has its inputs and outputs

66
 neatly grouped in separate clusters. Gold-plated ohono
input jacks are provided, with the second pair intended for '1
1
connection of the optional pre-preamp if a moving -coil car- +4
tridge is used. When you stop to think about it, having the .
I

MC input available as an option makes a good deal of +2

I
I
;

sense, since those who are happier with MM pickups I

0

should really not be obliged to pay for a feature they may o

never use. Besides the tape 1, tape 2, main 1 and main 2 I
I
outputs (the latter pair being in parallel), there are a pair of -2
outputs labelled Back for connection to a second amplifier if
the user has incorporated a rear-channel reverb unit or -4
I
. x w
KM's SC) decoder, and another pair of outputs identif ed by
the letters SW, which stand for subwoofer. When the front -
panel SW button is depressed, a built-in electronic cross- 20 50 100 200 500 Ik 2k 5k 10k 20k
over system comes into play, feeding all signals below 115 FREQUENCY- Hz
Hz to these jacks; signals above 115 Hz are channeled to
the main output jacks. Adjacent to the subwoofer output Fig. 1-Deviation from
jacks is a subwoofer level control which permits the user to RIAA equalization using
balance levels in a biamped system even if the associated input through an inverse
power amp used with the subwoofer lacks its own input RIAA network.
level control. In short, if you plan to go to the biamp route in
setting up a component system, choosing the KM Labs SP -
100 would be very practical, since you won't have to pur-
chase a separate electronic crossover unit. net inputs, exactly as claimed, and 40 mV for the MC
Although was not provided a schematic diagram of the
I inputs. Signal-to-noise ratio for the moving -magnet phono
SP -100, I did spend some time examining its internal layout inputs measured 84 dB, A weighted; for the moving -coil
and construction. I
discovered that monolithic FETs are inputs (referenced to 0.5 -mV input and 0.5-V output) it was
used as input stages to the phono and main amp sections just short of 70 dB.
and that cascode differential amplifier configurations are High-level input sensitivity was 46 mV for 0.5-V out, while
used so that load impedances remain absolutely constant, signal-to-noise ratio for the high-level (tuner, AUX, or tape)
regardless of what external sources are connected. The inputs was a very high 98 dB (referred to 0.5-V in and 0.5-V
cascode configuration also permits all of the input -stage out), A weighted. Figure Is a plot of RIAA equalization
1

FETs to operate at optimum low -voltage, low -noise condi- accuracy, from 20 Hz to beyond 20 kHz, in which an
tions, while allowing the total overall voltage to be high inverse RIAA signal is applied to the phono inputs. If RIAA
enough for a superb phono overload factor and high out- equalization were perfect, the plot (which was made using
put -voltage swings. Only one capacitor is wired in series an amplitude scale of 2 dB per division) would be a straight
with the total signal path (used as a safety measure against horizontal line. In fact, a deviation of +0.3 dB was observed
possible d.c. inputs), and it is a polypropylene, 1% toler- at 37 Hz. The slight rise it response at the high -frequency
ance type, as are the capacitors found in the phono equali- extreme actually occurs beyond 20 kHz, which is represent-
zation circuits. Metal -film resistors are sprinkled liberally ed by the right -most vertical line in this video printout. The
throughout the SP -100, and a toroidal power transformer is more familiar RIAA playback curve, plotted on a scale of 10
used in the power supply section. Both the volume and dB per division from 20 Hz to above 20 kHz and using a
balance controls are thick -film, vacuum -deposited stepped constant amplitude input rather than the inverse RIAA sig-
attenuators. All switch contacts are silver-plated. nal of Fig. 1, is shown in Fig. 2.
Figure 3 is a plot of the response obtained when the front -
Measurements panel subwoofer switch is depressed. Main output re-
It almost goes without saying that, having examined the sponse rolls off at the low end at a rate of 6 dB per octave,
published specifications for distortion, saw little point in
I while the output from the SW jacks provides ultra -bass
trying to confirm those readings since my lab equipment frequencies only and crosses over at 115 Hz, where each of
has residual distortion levels of the same order of magni- the two response curves is at approximately the "half pow-
tude. was, however, able to measure and evaluate many
I
er" or -3 dB point.
other operating parameters. The unit tested was equipped
with the optional MC module, and the inputs to this module Use and Listening Tests
had a sensitivity (for 0.5-V output) of 0.11 mV, exactly 20 dB I used the SP -100 preamplifier with both moving -coil and

lower than the 1.1 -mV input sensitivity measured for the moving -magnet cartridges. Results were excellent with the
moving -magnet inputs. KM Labs has not yet adopted the moving -magnet cartridge, but residual noise was a bit high-
standard reference levels of the new amplifier measurement er than I would have liked when using the moving -coil
standards, hence their input sensitivity figure of 2.5 mV for cartridge. If you plan to use an MC pickup with this preamp,
the MM inputs and 0.25 mV for the MC module inputs. try to choose one that has relatively high output so as to get
Phono overload measured 420 mV using the moving-mag- the signal up and away from this residual noise and hum

AUDIO/MAY 1982 67
KM Labs has solved a
problem found in many
high -gain preamp circuits:
The SP -100's phono input
is relatively immune to r.f.
interference.

+20 +10 fr-

+10 0

0 -10

-10 -20

-20 -30

20 50 100 200 500 1 k 2k 5k 10k 20k 20 50 100 200 500 Ik 2k 5k 10k 20k
FREQUENCY- Hz FREQUENCY- Hz

Fig.2-RIAA playback Fig. 3-When used as an

curve with constant electronic crossover for
amplitude input. subwoofers, the SP -100
crosses over at 115 Hz.

"floor." You needn't fear overloading the pre-preamp mod- bandwidth, incidentally, makes this preamp's resistance to
ule since, as noted, 40 mV at 1 kHz is a long, long, way
I
r.f. interference all the more commendable.
from 0.11 mV-the nominal input sensitivity of this module. One word of caution. If you buy this preamp and use it
All switches and controls operated smoothly without in- with a moving -magnet cartridge, make certain that you read
ducing pops or any other form of electrically induced noise. about how to add any needed picofarads of capacitance to
The phono input (even the high -gain MC input) was relative- the cartridge load. Terminal strips inside the unit were made
ly immune to radio frequency rectification-a problem en- specifically for such customizing and load matching, and
countered with many other high -gain preamp circuits. The unless you have a fair amount of capacitance in your turnta-
ultra -wide bandwidth of this preamp may well be responsi- ble cables, chances are you'll need to add a bit of "C" here,
ble, at least in part, for the open musical quality perceived I since the supplied value is only 47 pF.
when listening to some of my favorite program material. I Ifeel that the SP -100 has been carefully designed to do
was told that KM Labs actually measures response and the job that its makers intended it for-conveniently control-
phase shift through the preamp using video test signals and ling and amplifying a variety of input signals with a minimum
video test equipment. didn't go quite that far in my tests,
I amount of tampering with the nature and content of those
but feel fairly certain that any preamp that has flat response signals. The degree to which that goal has been achieved
and minimum phase shift to beyond MHz, as this one
1 justifies the price of the KM Labs SP -100 preamplifier.
does, is not about to have slew -induced distortion prob- Leonard Feldman
lems, audible coloration, or imaging problems. The wide Enter No. 95 on Reader Service Card

the cost will

ty3' re
cartridge
a phono which stylus design you

an When you select

be strongly
choose. Least
can
or conical).
you can P
by
influenced
exp
expensive
A strop le
adial (spherical
is themp1Rmade. Or
design,
hit h freq
frequency
opt for better Its more comp
tip
tracing with
complex
shape
a

(go more. Best

.

y (elliptical) costs
¡Radial Contactquency,
takes longercomes with a
Line
the best highface
shape permits bearing
tip whose whose long. narrow and
yet for longer record shank,
tracing, uare shank,
square
pressure
reduces groovea positively -indexed surfaces
stylus le. Ad of micro-po
available
-beam alignmentli lus design
plus laser finost sty Audio Technica.
you have the with
anc choice
Make your
today. the difference.
square shank You'll hear

Round Shank
BiRadtat
Round Shank
Line Contad
Line Contact
Enter No. 2 on Reader Service Card
audiotechnica
Round Shank
UniRadtal
 CLASSIFIED ADVERTISING

NEVER BEFORE - NEVER A GAIN!

FOR SALE
CLASSIFIED AAAAAAH AUDIOPHILES-FINALLY FOUND YOU! We
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NON BUSINESS ADS-50C per word, minimum KEN WOOD
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OUT ACCOMPANYING CHECK OR MONEY OR- Publications, the Consumer Publishing Division of
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only). AGENCY DISCOUNTS DO NOT APPLY TO terms and conditions of the formal agreement which or write for catalog. JENSEN'S STEREO SHOP, 2202
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DEADLINE -1st of month two months preceding the and a copy of the formal agreement, please write to (612) 890-3517.
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day before the holiday or weekend ADS RECIEVED One Fawcett Place, Greenwich, Connecticut 06830. House of Hi -Ft is now open with Mariah, Polk Audio, DCM
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NEXT ISSUE UNLESS OTHERWISE STATED. delivered to you subsequent to the date of your formal Apt -Holman, Haller, Hegeman, McIntosh, Nakamichi,
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ACOUSTIC TEST INSTRUMENTS Among the top interconnects,

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AUDIO/MAY 1982 69
 FOR SALE FOR SALE FOR SALE

AAA-BUSINESS OPPORTUNITY. Needed independent ASS SPEAKERS has raw drivers, kits and custom mobile ABARGAIN: Technics EPA -100, $235.; Dynavector DV -
sales representatives, car stereo, wholesale-rentall. L.I.P., speaker systems. Specializing in plastic cone drivers, our 17D, $395.; Lustre GST-801, $250.; Dynavector DV -23R,
Wholesale, 486 Locust Street, Brentwood NY 11717, 516- brands include Audax, Daleslord, Dynaudio, JVC, SEAS, $195.; Koetsu Black, $425.; JVC UA-7045, $170., Grace
277-4232. Philips, Falcon -Acoustics, Becker, Great America and F9E, $129., Latest Promethean, $110.; Series -20 Cros-
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price list. ASS SPEAKERS, Box 7462A, Denver, CO evenings.
AAA-COMPONENTS FOR THE AUDIOPHILE. 0/LC
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A BETTER DEAL
AAA SELECTION OF ESOTERIC AND QUALITY COM- AUDIO DISCOUNTS OFFERS A QUALITY SELECTION
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MIN
stereo components - MAYWARE
LUX DBX
SOTA
SPATIAL
SOUND LABS

STRELIOFF
STAX
SUPEX
and the best values
APT/HOLMAN SUMO THE ARM
in Audio Systems MICRO-SEIKI 3D ACOUSTICS
"The sound of this diminutive speaker is
for the audio VANDERSTEEN
DECCA LONDON
nothing less than astonishing. WIN LABS S MORE
purist.
--
BANG & OLUFSEN
"Listen to the Four if you possibly can. MARCOF
since 1974 Audio One has consistently offered the
REVOX
It is worth hearing even if you are not ultimate in musically accurate components-before
just for a dem- KEF SYMMETRY the reviews. Try the 'World Class' audio store for your
shopping for a speaker Please do not next purchase ... there is a difference.
onstration of how good a small box SOUND CONCEPTS
ask for a
can sound."
STEREO REVIEW June, 1978.
Copyright Ziff -Davis Publ. Co.
price list - THRESHOLD POLK
CHARTWELL LS3 5A AUDIO ONE
Hemosa Beach CA 90254 820 Pacific Coast Hwy
we are STAX N.A.D. AKG (213) 372-8888
For literature and information call not a M.A. COTTER JANIS Newport Beach CA By Appointment

The Allison: Four -

(800) 225-4791 or send coupon.
costs $280 each in
oiled walnut, $290 in oiled oak cabinet.
warehouse
or a
DYNAVECTOR
DAVID HAFLER
D.B. SYSTEMS
CROWN
M & K
GRADO
Birmingham MI
(714) 631-8888
48011 1650
(313) 646-6666
South Woodward

mail-
GRACE/SUPEX SIGNET
order
ALLISON firm.
ULTRACRAFT SATTERBURG ABSOLUTE AUDIO: MISSION, RGR, SNELL, NAD,
Leach, V.P.I., Oracle. Thiel, Revox, Marcof, Platter Maher,
Audio File 1202 South Congress Avenue, Austin, Texas

J , ...t2nd Ht~/
78704, (512) 443-9295.

ACOUSTICS
ties en Tech Circle/Natick. NIA 01760,L'.S.A.
ABSOLUTELY AFFORDABLE AUDIO
Many bargains In high quality esoteric "preowned" equip-
ment from such manufacturers as Acoustat, Audionics,
Beveridge, Dahlquist, GAS, Luxman, Marantz, Mark Levin-
792 FRANKLIN AVENUE ` son, Ouad, Threshold, and many others. Call or write for
Name FRANKLIN LAKES, N.J. latest offerings.
AUDIOPHILES SOUND STUDIO
Address (201) 891-4745 330 Westgate Mall
Madison, WI 53711
Zip (608)-273-3211
City State
z

70
 FOR SALE 1 FOR SALE FOR SALE
ABSOLUTELY BEST VALUE S.O.T.A. Buy Direct Tax & ADD IT UP BEST PRICES. Some trades accepted. COD AMBER SERIES 70 5450; Van Aistine Dyne: Superfet
DUTY Free. New model Mayware MkIV tonearm (better shipping. Help with any service problems. Most brands preamp 5350; 416 w/C100 capacitor unit 5600; Super
than Formula 4) U.S. Retail 5325 Direct price only $135 available. Best Value. Call Component Discount (616) 457- Tuner Two $400. Tuner brand new, other equipment little
Mayware MC -2V moving coil cartridge Ogura super-pol- 6465. used. Call Bruce day (212) 935-7596), night (914 763-
ished nude diamond 'Vital' stylus U.S. Retail $295 Direct 8614).
price incredibly only $79. Sounds better than Ittok/Black
AHHH, NICE
Koetsu al. with more punchy bass. VISA/MC accepted.
It's a boy to find a moving coil cartridge that sounds
Professional Literature $1 bill. Mayware P.O. Box 58. Edg- AMPZILLA 400 WATT STEREO AMP. Excellent condi-
ware, Middx. England.
this good and doesn't cost an arm and a leg. The
non, huge VU's, $400. (218)345-6613.
PREMIER LMX with "cutter analogue" stylus has the
transparency, resolution, and tracking your system
ABSOLUTELY THE LOWEST PRICES AVAILABLE on (and your ears) have been waiting fo. Hear it at
hard -to -find audio. SAE, Soundcraftman, Nikko, Phase Lin- VENTURA AUDIO, 2828 E. Main St.. Ventura, CA A FULL GENERATION AHEAD. The F -11L moving
ear, and many others. Prompt delivery. Free Catalogue on 93001. coil cartridge by Grace makes other so-called super
request. DURON DISCOUNT AUDIO 7 South State Street, cartridges sound old fashioned. Extracts more musical
Concord NH 03301 (603) 225-3094 VISA/MC Accepted. information from records than weve ever heard be -
ALL QUAD ELS OWNERS obtain Improved accuracy, fore. Bring your lavonte record and hear why we're
definition & extended bass with proven update. $125/pr. 30 excited. SOUND MILL, 115 Main St., Mount Kisco, NY
ABSOLUTE SOUND day guarantee. For information send SASE to John Koval
10549.
MICHIGAN'S HIGH ACCURACY AUDIO DEALER Linear Acoustics Labs 11521 Cielo PI, Santa Ana, CA.
Will ship postage prepaid anywhere in the United States 92705 (714) 838-6555
AGFA & AMPEX 101h"-7" OPEN REEL TAPES! THE
CONRAD JOHNSON BOSTON ACOUSTICS FINEST CASSETTES-DIRECT II & ASF (C66/C68/C96).
NAIM AUDIO LINN SONDEK ARC FOR SALE. SP6A (2), 5795.: D11OB, $1695.; both DIRECT -TO -TAPE RECORDINGS for mastertape sound.
DAHLOUIST NAKAMICHI $2400. Shipped collect. 206-232-9063, evenings, 206-447- WRITE for FREE newsletter. Direct-to -Tape Recording
MISSION SPECTRUM 1633, days. Company, 14-T Station Ave, Haddon Heights, NJ 08035.
HAFLER GRACE
NAD

VOX
REREGA
SNELL
SPENDOR
THRESHOLD
APT

ON°
DELPHI
BRYSTON
VO

POLK AUDIO
I,l:hLNI)S AS IJSI .
These highly respected names can be found at Chestnt.t Hill Audio' Acoustat, Adcom, Amber,
Apature, Apres. Audio Pro, B&W. Berning, Cabasse, Cotter Dahlquist, Dayton Wright,
HARMON KARDON GRADO SIGNATURE Dennesen. Denon, Discwasher, Dynavector, Fidelity Research, Fourier, Gilmore, Grace,
Or visit any one of our stores in Southeastern Michigan Grado, Haller. Impulse, Janis, Kenwood Purist, Leach. Marcof, Mariah, Monster Cable,
DETROIT -12400 Morang (313) 527-2244 Mordaunt-Short, NAD, Oracle, PS Audio. Quad, R.G.R., Rogers, Signet, Spendor, Stax,
ROYAL OAK -4354 N. Woodward (313) 549-7550 Symmetry, Tandberg, Theta, 3D Acoustics, Thorens, Threshold, VPI, Vandersteen.
ANN ARBOR -312 S. State Street (313) 662-2026 311 Cherry Street. Philadelphia, Pa 19106 (215) 923-3035

(,'Illi S NTTI HILL IJI)I()111).

E. LANSING -1045E. GrandRiver (e17) 351-9300
Mastercard, VISA,

htlew
Diners accepted

ACOUSTAT MK -121 TRANSFORMERS FOR MON. 3 OR

4, $550. 516-667-8056.

ACOUSTIC RESEARCH -9'S SPEAKER's. Brand new,

less than 50 hrs. used. Full 5 yr. warranty in effect. Must
sell for $1300. Call (609) 734-0197 ask for Phillip.
ThankQl
How do we Thank 0? Let us count the ways:
ila-~IN
/, 1il-
CROWN DISTINCTION & HI-FI SERIES COMPONENTS: Thank O for. MI..
FM -1, EO-2, DL -2, SA -2, FM -2, SA -2, PL -2, PL -3, PL -4,
etc, IN STOCK-BEST PRICES-IMMEDIATE SHIP- BEST PRICES ,., '
MENT. (213) 467-5725. '1..
BEST EQUIPMENT ii
.

` III i ' -'

Noknowhyperledge, and ityhe
A few words from MYRON about the GRACE F-11 L.
JET -FAST SERVICE
/ creatiustvity and
creativity
Exceptional detall and accuracy. Incredibly fast, ex- of
treme depth without shrinkage of stage width. Tracks the finest dependability you expect from
anything. Octaves of bass we've never heard before. a dealer who represents these
And nobody sets it up better than we do. Hear the NEW &on USED H I FI manufacturers.
GRACE F -11L moving coil at HI Ft HAVEN, 28 Eas-
in the world, like:
ton Ave., New Brunswick, NJ 08901.
HAFLER GRACE REGA McINTOSH Acoustat KL H
THORENS QUAD PYRAMID ADS LAST
APT/HOLMAN NAD DYNACO ADSPro Magnepan
AFFORDABLE ESOTERICA Apt -Holman Marcof
Central NY State JANIS DENNESEN MICRO ACOUSTICS
CARTALIGN DISCWASHER STAX KRELL
Audel M& K
RGR APT Audio Pro
VAMPIRE MIT LAST AUDIO 7ECHNICA
Monster Cable
OED NAD MISSION
DB DBX FIDELITY RESEARCH FRIED
Bryston NAD
MIRAGE LAST HAFLER KLIPSCH Carver
LIVE WIRE
Nakarnichi
3D ACOUSTICS 1380 M&K
MONSTERCABLE CIZEK KLYNE NITTY GRITTY Cotter Nitty Gritty
BOSTON ACOUSTICS PLATTER MATTER CARTALIGN GRADO SONFX NAKAMICHI Dahlquist Oracle
STELLAR STEREO TANDBERG REVOX SNELL DYNAVECTOR Denon Pyramid
384 Elmira Rd., Ithaca, NY 14850 607-272-2644 MONSTER SOUND CONCEPTS & MUCH MORE...
Thank O Because We DDyCfIaVeCtOr $Upext
Affordable "State of the Art" audio is now available for your delity Research Threshold
audition in the relaxed, comfortable atmosphere of our
BUY SELL TRADE Gem Vandersteen
listening room. We feature: CONSIGN BROKER Grace VPI
Haller Win Labs
Dynavector Thiel Sony
Thank Q for QUEST, the private eye for hifi. Keith Monks Yamaha
PS Audio Grace SME KEF & more ...
Fidelity Research Denon AKG Looking for a particular piece of equipment? New,
Audio Linear Onkyo DCM used or coblectible.lts likely that our vast network of 5 listeningrooms... New
Audible Illusions Grado Epicure sources will enable us to track it down. Hire the best. England's largest Audiophile
Pyramid Amber Genesis Cal QUEST. record dealer... Keith Monks
Rogers Marcof Thorens record sg ments
We'd like to Thank You, our valued customers, who service...
Micro Acoustics Supex Haller anrvn Allni shipments
h pre-paide
have helped
P us become one of the world's finest and insured in the continental U.S.
Satterburg Shure Mayware sources for new and used audio.
free shipping anywhere in U.S.
ONE MORE STEREO STORE-4081946-0500 WORLDWIDE SHIPPING
1231 E. Calaveras Blvd, Milpitas, CA 95035

HARMAN-KARDON HIGH TECHNOLOGY SEPARATES,

Q Audio.
There is no comparison.
- 1=, -- --- _=-_

RECEIVERS, CASSETTE DECKS: ELECTRO -VOICE IN- 95 Vassar St. Cambridge, MA 02139
TERFACE A. B, C, D SPEAKER SYSTEMS: THORENS
TURNTABLES. ALL IN STOCK-IMMEDIATE SHIP- 617.547-2727 105 Whitney Ave., New Haven, CT
MENT. Send 52 for our NEW, expanded Catalog. (203) 777-1750
EAST: 904-262-4000 WEST: 213-243-1168 Mon., Tue., Wed., Fri. 10-6, Thurs. 10-8, 4 ut. 10-5

AUDIO/MAY 1982 71
 FOR SALE FOR SALE FOR SAL E

ATTENTION: USED EQUIPMENT IN GOOD CONDI- AMUSINGLY THE SOUND ABSOLUTE? Can't find one?
Fortunately you can. Unique 1.24 transformer Incorporates ATTENTION NY-NJI I I
TION. Nakamichi 582 cassette deck $475, DBX 224 noise u0NSTER
«DO/
reduction $175, SME 3009 Series Ill tonearm $125, JVC reflected shunt equalization, adapts automatically for any ACOUSTAT
ACOUSTIC ELECTRONICS DEN0N utl51C
OL50 turntable $75, Stax SR -Lambda headphones with low impedance 2ohm/40hm MC or MM cartridge. Better S/
AuDIOtESEARG+ FUT1ERUAN REFERENCE
SRD-7 energizer $175, Sound Concepts IR -2100 image N than headamps. Superb fatigue -free sound. Sold direct
B80 NUIER NAD
enhancer $125, DBX 118 expander $125, Dynaco PAT-4A only 5145 inclusive Airmail. VISA/MC. Professional re- RGR
BOSTON ACOUSTICS INFINITY 4 5
preamp (factory -wired) $60, Marcof PPA-1 pre-preamp views 51 bill. Mayware P.O. Box 58, Edgware, Middx.
Plow KEWOOD "AUDIO PURST SNELL
$40, Koss ESP -9B electrostatic headphones 560. All units England.
CARVER LNN PRODUCTS 9)103
with manuals and cartons. I'll pay shipping in continental
DA1+(011S1 aro more only at
U.S. Gary Hotchkiss, 915 Garden Homes, Colville, WA ANTENNA SYSTEMS -FM. FREE SHIPPING WITH THIS
99114 (509) 684-4696 AD. Our $260. system includes: Winegards' CH6065 FM
yagi, Channel Master 9512B rotor with 9523 rotor bearing,
10 feet of 16 gage Duratube mast, a five foot tripod with all
AUDIO
The Audio Professionals since 972. Only knowledge
1

Pioneer Car Stereo KP1500 9500 Pioneer Car Speakers TS106 3300 hardware, 50 feet of coax and rotor wire (add 400 per foot
for longer lengths), lightning protection, and all necessary
and experience equal superior sound and service.
Pioneer Car Stereo KP2500 10900 Pioneer Car Speakers 15107
Pioneer Car Stereo KP4500 11900 Pioneer Car Speakers 15108 45 u hardware and connectors. VISA/MC accepted. The Lee- Discover high performance stereo with complete
Pioneer Car Stereo UPK220011900 Pioneer Car Speakers TS12t 3000
lanau Audio Works, P.O. Box 1288, Traverse City, MI.
customer satisfaction. For orders and information
Pioneer Car Stereo KP3500 12500 Pioneer Car Speakers TS16224000 (serious inquiries by phone only):
Pioneer Car Stereo KP5500 12900 Pioneer Car Speakers TS167 5000 49684.
2 01-7 4 4-0600
Pioneer Car Stereo UKP420012900 Pioneer Car Speakers TS168 8000
Pioneer Car Stereo KP8500 13900 Pioneer Car Speakers íS694 5500 VISA, Master Charge Accepted
Pioneer Car Stereo UKP520014500 Pioneer Car Speakers TS696 7500 APT: HOLMAN PRE -AMP, MODEL 1 AMP. Call or write CSA AUDIO
Pioneer Car Stereo KP6600 14900 Pioneer Car Speakers TS697 9000 for quotes or information. Designatron's Stereo Stores, 193 Bellevue Avenue
Pioneer Car Stereo UKP72001E5 00 Pioneer Car Speakers TS695 9500 Inc., 260 Old Country Rd., Hicksville, N.Y. 11801, (516)
Pioneer Car Speakers TS69611000 Upper Montclair, NJ 07043
Pioneer Car Stereo UKP560016900
Pioneer Car Stereo 5E2100 16900 Pioneer Car Speakers TSX5 6900 822-5277 Sound system consultations to home music lovers,
Pioneer Car Stereo KP750) 17900 Pioneer Car Speakers TSX6 7500 professional theatrical arts and the audio industry.
Pioneer Car Stereo KE5100 20900 Pioneer Car Speakers TSX9 12900
Pioneer Car Stereo XP8000 13900 Pioneer Car Stereo GM4 4900 AUDIO CONNECTION
Pioneer Car Stereo KPX9500 17500 Pioneer Car Stereo GM120 10900 IN NORTHERN NEW JERSEY
Sony Car Stereo XR25 14900 Sony Car Stereo XR70 27900
Ads Electrocompaniet Pyramid ATTENTION OWNERS OF RACK MOUNT EQUIPMENT
Sony Car Stereo XR35 17900 Sony Car Stereo XR70B 28900
Amber Fuselier Model 3 RG Beautiful walnut/oak cabinets designed to fit all 19" EIA
Sony Car Stereo XR55 239 00 Sony Car Stereo XMAS 6900
Sony Car Stereo XR50 199 00 Sony Car Stereo XM55 100 00 Audio Pro Gem Rogers rack mount components. Send for free details. Wood Tai-
Sony Car Stereo XR508 209.00 Sony Car StereoXM120 20900 Belles Research Grace Grado Rotel loring Box 11314, Portland, Oregon 97211.
Sony Car Stereo XR77 319 00 Sony Car Stereo XME7 12900
Benchmark Leach Spica
Panasonic Car Stereo C05616 11903 Panasonic Car StereoCOS76119900
Panasonic Car Stereo COS66113910 Panasonic Car Stereo COS79121900 Clarke Systems Michell Thiel
Panasonic Car Stereo COS686 t390í1 Panasonic Car Stereo COSE2S 023900 Delphi Magatron VPI ***AUDIO EMPORIUM, MILWAUKEE-a progressive
Panasonic Car Stereo COS75616900 Panasonic Car Stereo COS90031900 Devon PS Audio 8 more alternative. Free catalog. 6914 W. Brown Deer Rd., Mil-
Blaupkunt Car Stereo CR2010 269 CO Sanyo Car Stereo FTC5 63 00 waukee, Wi. 53223, 414-354-5082.
Blaupkunt Car Stereo CR200220900 Sanyo Car Stereo FTC26 9500 615 Bloomfield Ave., Verona NJ 07044
Blaupkunt Car Stereo CR3001 43903 Sanyo Car Stereo FTC18 139 00 (201) 239-1799
Blaupkunt Car Stereo CR5001 32900 Sanyo Car Stereo FTC16 139 00
Fox XK Remote 12500 whistler Z70 9900 AUN: WANTED, MCINTOSH, MARANTZ, ARC, TUBE,
Fox Superfox Remote 24900 whistler 01000 22900 LINN ITTOCK, ASAK, DYNA-
ATTRACTIVE PRICES:
Fuzzbuster Superhel 19900 whistler 01000 Remote 26900 JBL HARTSFIELD 8 ELECTROVOICE PATRICIAN
VECTOR, STAX, DENON, FR, GRACE, FULTON, SPKRS. 713-728-4343, M. CORB, 11122 ATWELL,
DISCOUNT WORLD. P 0. BOX 191, MINEOLA. N.Y. 11501 516-294-6136 KOETSU, QUAD 63, ETC. ALSO SOTA SAPPHIRE 8
Shipping charges are '4.00 per order except orders destined for
HOUSTON, TX 77096.
Puerto Rico. Alaska, Hawaii. APO and FPO (these orders require TUBE CLASSICS. 713-728-4343, MAURY CORB, 11122
shipping charges of 18.60 per order). Write for FREE catalog ATWELL, HOUSTON, TX 77096.
AUDIO HOUSE-FLINT MICHIGAN
Acoustat Leach LSR&D Mordaunt Short
Rogers Symmetry Ariston
Audio Pro Revox
Gonza wire 500 per ft. Keith Monks record sleeves 100-

MEET A HAPPY LISTENER & $25. Samples $1.00. 4304 Brayan, Swartz Creek, Mich.
48473 (313) 655-8639 By appointment

YOU'LL FIND Mark Levinson Linn Products Quad

AUDIO LTD
IN CHAMPAIGN, ILL.
KEF David Haller
KEF Spectral Fu'ilier Quad Carver NAD Linn Sondek

A- FI DELIS Mission Vandersteen Dynavector

Electrocompaniet Dynavector Audio Research 3-D Acoustics Rega
Revox Fourier BEL Sumiko and much more. 115 N. Walnut 61820. 217-359-3774.

Futterman Krell Sound Labs

CLIENT. Koetsu Berning Goldmund AUDIO MODIFICATION MANUAL -230+ pages step-by-
step procedures for many common components. Data ap-
Spica ` Grace D & K Products plicable to almost any unit. Tube circuitry emphasized.
Applauded by AUDIO, STEREOPUS, HIGH FIDELITY,
Sumo Syrinx Nestrovic MIT SOUND ADVICE, et al. Unique information provided no
MonsterCable Audio Interface where else. 525 USA/CANADA, 527 elsewhere. California
tax applicable. Master ChargeNISA Welcome. (714) 278-
Final Audio Research Stax 3310. AUDIO DIMENSIONS, 8888 Clairmont Mesa Blvd.,
Symmetry Van den Hul EMT San Diego, CA 92123

Thorens Goldring Celestion AUDIO NEXUS: EXPERTISE IN NEW JERSEY

Your search has ended. Let us connect you to the world's
finest loudspeakers, Fried Products. (201) 464-8238, 474-
2910.

AUDIO PULSE SERVICE. Factory trained technicians. For

reservations/information, write to White Labs, 10528 Lower
Azusa Rd., Suite 192, El Monte, CA 91731.

audio renaissance, Inc.

audio research *
music reference linn products* *
audible illusion *
theta *
precision fidelity kef * *
Commitment to Musical Integrity mordaunt-short *
dynavector revox *
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meridian *
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chartwell ps audio * symmetry *
* rega *
and more
we stock one of the largest
418 BEACH STREET, SAN FRANCISCO 94133 collections of audiophile albums in mid-america
try our modifications for improved high end
(415) 885-3488 bryston mod -amplifiers ***
dahlquist dg10 mod
4122 broadway kansas city mo
Closed Sunday & Monday 64111 (816) 531.3261

72
 FOR SALE FOR SALE
AUDIO REPLAY is New England's leading dealer In sec- BEST TRADES OFFERED. We carry Acoustat, Bemmg,
ondhand audio. Now you don't have to come to New Futterman, PS, etc. Audio Doctor. 5731 North Pine St.,
Haven to browse through our inventory. Two dollars will Davenport, Iowa 52806, 319-386-8794.
bong you our current listing, typically 100-200 Items long.
We recondition and warranty what we sell, so you can

FI4I
BOSTON BOSTON-Discover lust how good a stereo
shop with confidence. Audio Replay, Dept. AM, 252 Park
system can sound. Hear the new F -11L cartndge In
St., New Haven, CI. 06511
our live -end -dead-end acoustic environment. Put your
music listening in a state of Grace. Auditions by ap-
AUDIO RESEARCH MOD KITS-All Audio Research pointment. please. LISTENING STUDIO, 23 Stlllings
amps need dual mono regulated power supplies to work St,, Boston MA 02110. (617) 482-4349.
right. Complete kits for preamps too. Send $75.
TUBE GOD
CABLE TV DESCRAMBLERS AND CONVERTERS.
33 No. Riverside Ave. Plans and parts. Build or buy. For information send $2.00.
Croton, NY 10520 C&D Electronics, Inc., P.O. Box 21, Jenison, MI 49428.
(914) 271-5145

CALL ME FIRST ABOUT SELLING YOUR HIGH

AUTOMOTIVE AUDIOPHILES TAKE NOTE
END ESOTERIC TUBE EQUIPMENT, KLIPSCH
MIAH sells and Installs all premium brands including
HORNS, E. V. PATRICIANS, HARTSFIELD, AND
ADS, Mitsubishi, Infinity. Concord, Dahlquist, Alpine,
WESTERN ELECTRIC. CONTACT KURLUFF ENT.,
Sony, Altec Lansing, JBL, Visonik, Blaupunkt, EPI,
4331 MAXSON RD. EL MONTE, CA. 91732 (213)
Bose, Linear Power, Monster Cable and many more.
444-7079.
CALL TOLL FREE. MIAH, 6660 Busch Boulevard,
Columbus, Ohio. 43229. 800-848-7383, 614-885-
5298. Visa, MasterCard and American Express ac- CALL TOLL FREE 1-800-826-0520 FOR ACOUSTAT,
cepted. CARVER, NAD, POLK, 3D, ONKYO, AUDIOCONTROL,
B&W, AMBER, BEDINI, MICRO-SEIKI, DAHLOUIST,
DENON, HAFLER. dbx, TANDBERG, VANDERSTEEN,
A WHOLE NEW SYSTEM FOR 529.95
DCM, GRACE, DYNAVECTOR, AND MORE! THE
CART-A-LIGN SOUND SELLER, 1706 MAIN St., MARINETTE, WI
An incorrectly aligned stylus can degrade even the finest
54143. (715) 735-9002.
audio system. Reviewers agree. Cart-A-Lign s unique en-
graved mirror aligns best. You'll think you changed your
whole system for only $29.95. CARVER-PRE-AMPS, HOLOGRAM GENERATOR,
At select audio dealers. Write for reprints of reviews and AMPS, TUNERS Call or write tor quotes or information.
a list of dealers. Designatron's Stereo Stores, Inc., 260 Old Country Rd.,
CART -A -LION RESEARCH CORP Hicksville, N.Y. 11801, (516) 822-5277
60 East 42nd St., Suite 411

t he absence
New York, N.V. 10165 HARMAN-KARDON HIGH TECHNOLOGY SEPARATES,
RECEIVERS, CASSETTE DECKS: ELECTRO-VOICE IN-
TERFACE A, B, C, D SPEAKER SYSTEMS: THORENS
BASS REPRODUCTION AT ITS BEST. The newly devel- TURNTABLES. ALL IN STOCK-IMMEDIATE SHIP-
oped Q/LC Bass Module Is incredibly accurate, cosmetical- MENT.
ly beautiful and reasonably priced. Call or write for more
information on this outstanding product. O LC Audio, 1006
Berkshire Road, Dayton, Ohio 45419 or (513) 293-7287 or
EAST: 904-262-4000 WEST: 213-243-1168

CROWN DISTINCTION & HI-FI SERIES COMPONENTS: a

of colour.
(513) 439-1745. Dealer inquiries welcome. FM -1, EO-2, DL -2, SA -2, FM -2, SA -2, PL -2, PL -3, PL -4,
etc, IN STOCK-BEST PRICES-IMMEDIATE SHIP-
BEFORE YOU BUY -CHECK OUR PRICES. Send for free MENT. (213) 467-5725.
catalog featuring audio and video equipment and accesso-
ries at discount prices. Discount World P.O. Box 191 Min- CROWN: NEW STRAIGHTLINE SERIES: Preamp, Power
eola N.Y. 11501 Amp, Tuner Distinction series: Tuner, Equalizer, Pre -amp,
Power amp. Call or write for quotes or information. Desig-
BENCHMARK-if you are into "time delay", this one is it! natron s Stereo Stores, Inc. 260 Old Country Rd., Hicks-
Set up & stocked at Audio Connection (201) 239-1799 ville, N.V. 11801, (516) 822-5277

BERNARD and GINA invite you to hear the most CROWN SX824 stereo tape recorder $1500. Crown
exciting cartridge in the $200 class, PREMIER'S LMX 30GPB PZM microphone and supply in case, two sets
moving coil with "cutter analogue' stylus. Relaxed $400. Crown IC150A pre -amp $400. EUMIG FL 1000 pro-
atmosphere, friendly people, great sounds. BER- grammable three head cassette deck $900. AKAI GXC
GINE STEREO. 21128 Ventura Blvd., Woodland Hills, 570D three head cassette deck $400. All units perform
CA 91364. perfectly, and are cosmetically excellent. Most warranties
transferable. (219) 293-3763.

YOUR RECORDS
ARE STILL -..,.r .. Affordable Esoterice
DIRTY! for the
. - Distinguished Listener
And (now) there's no excuse.

tiltt
Nitty Gritty of southern California makes For more information contact:
2 economical state of the art record clean-
ing systems that preserve your grooves
and stylii while they clean up the sound Write or call for free literature and
from your hi fi.
No chemical tricks. No Rube Goldberg
mechanisms. Just fast and easy record
cleaning. Don't wait - your records can't
information.
Nitty Gritty Company
P.O. BOX 264
WAUstifs s 1 t 4 I
La Verne, California 91750 1

afford to be played once more in their dirty (213) 823-9935

condition.
1780 Monrovia
Costa Mesa, CA 92627 (714) 645-8877

AUDIO/MAY 1982 73
 FOR SALE FOR SALE FOR SALE

FULTON FOR SALE. Premier P4, biwired w/2 sets, gold FUTTERMAN OTL AMPLIFIERS-The legendary Futter- FOAM RUBBER
CUSTOM POLYACOUSTIC
$2,600. Shipped collect. 206-232-9063 evenings, 206-447- man amplifiers are still the most lucid tube amplifiers avail-
SPEAKER GRILLS MADE TO YOUR SPECIFICA-
1633 days. able. If you haven't heard them on the Quad E163, you are
TIONS. Any size, color, pattern or quantity. Audio-
missing ecstacy. Send for a complete set of technical
phile, speaker builder or manufacturer inquiries invit-
papers about the only tube amplifier that has been under ed. Send SASE for information to Custom Sound,
FULTON PREMIERE SPEAKERS Model P4, $1800.00. continuous refinement for 25 yrs. Algonac, MI 48001.
Technics SL1000 MKII turntable w/EPA 100 arm, $700.00. NEW YORK AUDIO LABS
Audio Research SP6A. $650.00. Audio Research D79B, 33 North Riverside Ave.
53000.00. Klyne MC headamp, 5495.00 Fulton J. Modular Croton, NY 10520 DB SYSTEMS ELECTRONICS AND AUDIOPHILE AC-
Bravura preamp; $450.00. Jim 509-545-4227 weekdays. (914) 271-5145 CESSORIES ARE WORTH KNOWING ABOUT. Ultra -low
distortion Preamplifiers, Power Amplifiers, Active Cross-
overs and more. ACCESSORIES include: DBP-10 Phono
Alignment Protractor $21.95, DBP-6 Phono (capacitance)
Equalization Kit $32.95, DBP-6MC Resistive Loading Kit
532.95, DBP-11 (and 11 MC) Capacitive (and Resistive)

`,
Loading Switch Boxes $79.95, DBP-2J Switch Box $43.95,
, DBP-2JAU with all gold (10) jacks 552.95, DBP-12 Audio
Cable -10 meter, 400 pF $65.95-other lengths $17.00

zr
OJ
v ..4 .
º v i. GGu SECNNOoGv plus $1.75 per foot, DBP-8 Speaker Wire (12 gauge), DBP-

flE jN
CK Cramolin Audio Kit contact treatment $11.95, GOLD
e p Ó C e º :V deh\QdAt\ upha. PLATED CONNECTORS (eight per package) include:
cm DBP-13J VA") Phono Jacks 511.95, DBP-13JR (W)
ENarrC N the
e nam Pt\11c\P Phono Jacks $14.95, DBP-9AU Banana Plugs $11.95,
s.
0019 ette` PGG PNPgE, an DBP-13P Phono Plugs $7.95. DBP-9J Dual Banana Jacks
the 9umP° x
Sh\s \s coom the P *AM no\o9y. (2 per pkg) $14.95. Complete information available at SE-
ha5e horn kted LECTED AUDIO STORES or direct from DB SYSTEMS,
Ac det\ved comaud`o te o\ Po`8et P.O. Box 347A, Jaffrey, NH 03452 (603) 899-5121. Orders

Sonics v+á d
ap.\m o a tace°\e cv P
1
eamPó\Ssoet
and
under $45 add $2.50 handling. Dealer Inquiries invited.

Shep,ccuPhaópetatloet
\ue, DECCA RIBBON TWEETERS, 5150., 516-667-8056.
Ip,IB is, tu ta va
That, in the final analysis, is what
.

\
amP\\t\e
ts ex attm9
counts. d amPt1\te tePte hattd DECCA VAN DEN HUL CARTRIDGE UNMATCHED
o\ --" PERFORMANCE 5650, Decca Mk6 Gold $295, Plum
While Apt can provide you with what is O
nel`r90aK tase P Qumet\ts $249, International Tonearm $249, Ribbon Supertweeter
perhaps the most thorough technical th . C, $495 pair, London Tweeter $395 pair, Decca Record
PccP \aY\t19
explanation of any as to why the
Holman Preamplifier actually sounds
tu\\Y
dtsP _

F' It),1
.-..
I.. r Brush 519.95, Audio Access, Box 385, Whitestone, N.Y.
11357. Dealer inquiries invited (212) 767-4958

better in a high-fidelity system, what C DEMOS PERFECT, NEW WARRANTY CARDS: Technics
matters in the end is how it sounds. Ce^ter Pro SE -A5 Class A amp, $475., SU-A6 preamp, $360.
Used Spendor BC -1, rosewood, immaculate with custom
The differences between preamps are
3 Ste o Goo ° stands, $625. Keith Yates Audio. (916) 441-0443.
not mysterious, and they are clearly
audible. Apt seminars have DISTRIBUTOR PRICING! Audio Research, Robert Gro-
demonstrated this to hundreds of P dinsky Research, Hafler, Electrovoice, B and W, Meridian,
Vandersteen, Onkyo, Technics, Snell, 3D Acoustics, and
people coast -to -coast. Interfacing prob- 2 more ... For information: P. K. Audio, 4773 Convention
lems account for most of the 6 Street, Baton Rouge, LA 70806 or (504) 924-1001.
differences between otherwise fine Power
Q1ilier
equipment, and the Holman Preamp DO -10 REBORN. Modified Panasonic Leaf Tweeters, anti -
has been designed to be especially diffraction felt and complete instructions. Dramatic im-
provement 5150. NEW YORK ACOUSTICS, 578 Nepper-
free from interaction. han Ave., Yonkers, NY 10701, 914-476-4900.
Thus it sounds better in the wide
M'
1
range of conditions encountered in a .
ELECTROCOMPANIET-Audio Connection, (201) 239-
high-fidelity music system. 1799
() more information
Apt Corporation dealers ne ELECTRONIC X-OVERS: 6, 12, or 18d8/octave. Kits from
ooPhonw AmPtrtand ct
nycotcu,
Box 512 Cambridge, MA 02139. M $97.00. Also transient -perfect crossover model 6000-6,
D & K IMPORTS $175.00. Free folder with reviews. ACE AUDIO CO. 532-
146 E. Post Rd. White Plains, NY 10601 .914.9463031 5th Street, E. Northport NY 11731-2399. (516) 757-8990.
Dealer inquiries Invited

FREE LIST OF USED EQUIPMENT FOR SALE. All

e
PuéGa?t.1'y1oas- Types. AVI, Box 264-A5, Buffalo, NY 14215.

o0 5`
FREE SPEAKER CATALOG!
j_(
V 0. Go`Pá\0haecoe\
1p`(1
..
Woofers, mids, tweeters, hardware, crossovers, grille
cloth, plans, kits, information, much more. Discount Prices!
P esea0ut eo
P` " Ja0óG
Jao eQtaosó
`es \a+ UNIVERSAL SOUND, Dept. AO, 2253 Ringling Blvd.,
Sarasota, Fla. 33577 (813) 953-5363.
/.9

9 PG>6`°,
Pcs 6eGS\O'G1a
\
0 ÓaQ;\Gaawa\cas
Pra
"FRESH AIRE" Special Price $12.95 each. All four vol-
umes available (free freight in USA. $4 order to Canada)
Visa, M/C, Am Ex, C.O.D., check. Free catalog of audio-
Record Service. Box 82-A
00 e. 1pr QG yago phile recordings. Supersound
\,o
ot°oPese.?c Pv, Forest Park, ILL 60130.
_Or ; 5
Faew.o
GPdeI
( FRIED SPEAKER CABINET SALE!!! Reduced prices
PG GJ
9`00`gv \JQ while supply lasts. (919) 945-5310.
9°40-1-'O
t9 g,g 9Q,0 6
"Sata

Or-
\
\g J
0 0 G 9,"k

.s\ `ta
ryo

PO
1,'?' y,6
ryA 5
FRIED SPEAKERS & KITS
State-of-the-art sound. Try our prices! Fast, tree shipping.
READ BROS. STEREO, 593 King St., Charleston, S.C.
29403. (803) 723-7276. Also Haller, PS Audio, NAD, Carv-
er, more.

C,-PPG
90- `F ,sow FUSELIER SPEAKERS, SPICA, ELECTROCOM-
PANIET, David Beming, Belles, Sota Sapphire and
VPI in stock THE MOUNTAIN EAR, P.O. Box 774,
Greenwich, CT 06830
177 Sound Beach Avenue, Old Aspen, CO 81612. (303) 963-3269.
Major credit cards honored. Open 10 AM -6 PM Mon -Sat.

74
 FOR SALE FOR. SALE FOR SALE

GENE RUBIN AUDIO-LOS ANGELES GOLD PLATED CONNECTORS; precision capacitors, re-
sistors; calibration service. Details SASE. Reference HARTLEY SUBWOOFERS. 24 inch driver in 24 cubic
PS AUDIO LINN SONDEK ACOUSTAT foot enclosure, This is the same driver used in the
NAD REGA PLANAR Audio, Box 368, Rindge NH 03461.
THIEL exciting Mark Levinson Reference System. Factory
HAFLER PYRAMID LS3 5A direct, from Hartley, established in audio since 1928.
PREMIER GRACE SPENDOR GRACE AND SUPEX Also, featuring raw frame drivers, 7 to 24 inch utilizing
OED DYNAVECTOR CHARTWELL We offer the Grace 747, 707MK2 (Linn Mods for each), waterproof polymer cones on sturdy cast aluminum
Pre -paid shipping (213) 571-1299 (Pacific time) 704, F -9E 8 Supex cartridges. By appt. Free shipping in
frames. Maintain damping ratio and avoid power
U.S. 8 P.R. Visa 8 M.C. OXFORD AUDIO CONSLTS. losses with Hartley Reference Cable, #10 gauge,
INC., Box 145. Oxford, OH 45056, 513-523-3333.
stranded, two conductor, copper, with matte -finished,
GNP pearl gray, vinyl insulation, Discounts. Send for litera-
ture. IN SOUTHERN CALIFORNIA-Demo by ap-
GRACE F -17L in Bellingham. O.C. STEREO presents
OUR LOUDSPEAKERS the super cartridge. Sets new standards for quickness,
pointment only, evenings and weekends. (714) 992-
2925. ATKINSON ENGINEERING, 912 W. Fern Drive,
detail, tracking, focus. Hear it before you buy any Fulérton, CA 92633.
moving coil. O.C. Stereo, 1812 Cornwell Ave., Bel-
In the past live months we have given you a brief descrip-
lingham, WA 98225.
tion of who we are, and of the kind of innovative and
HARMAN-KARDON HIGH TECHNOLOGY SEPARATES,
imaginative thinking that has been instrumental in the de- RECEIVERS, CASSETTE DECKS: ELECTRO -VOICE IN-
velopment of our complete line of loudspeakers. In this TERFACE A, B, C, D SPEAKER SYSTEMS: THORENS
column we would like to discuss with you our loudspeakers GRACE 747: 5200. 412-339-1845.
TURNTABLES. ALL IN STOCK-IMMEDIATE SHIP-
on an individual basis. Please note, however, that the MENT.
systems described below are only suggestions; all GNP HAFLER: AMPS, PRE-AMPS, SPEAKERS. EAST: 904-262-4000 WEST: 213-243-1168
products are modular and may be "mixed and matched" In Call or write to, quotes or information. Designation's Ster-
accordance with individual listening, space, and budgetary eo Stores, Inc., 260 Old Country Rd., Hicksville, N.Y. INTERFACE SPEAKER SYSTEMS BY E.V. BEST
requirements. Of course, this flexibility makes it exception- 11801, (516) 822-5277. PRICES-IMMEDIATE SHIPMENT. 904-262-4000
ally easy to upgrade and Improve your system whenever
desirable.

The LEAD CYLINDER (Pat. Pend.) represents our contri-

bution to the state-of-the-art in dynamic loudspeaker de-
sign. The innovative and functional shape and construc-
tion, designed to both ensure phase coherence and mini-
The SOTA Sapphire: Applied Science
mize diffraction effects and cabinet resonances, are re-
sponsible for its effortless, unstrained, and open sound. To introduce the SOTA Sapphire
Moreover, the LEAD CYLINDER. as with all fine audio turntable, we state three self-
components, is a loudspeaker whose superior qualities
become even more apparent and respected after extended
evident principles:
listening. 1) lssac Newton has been right
all along. The full-scale appli-
The SYSTEM TWO employs much of the advanced and cation of science at last displaces
innovative technology of the state-of-the-art LEAD CYLIN-
DER, including a fully braced, highly damped enclosure for outdated designs based on imitation
the tweeter and midrange drivers. Its sound quality repre- or "mystique"
sents only the slightest of compromises, and even that is 2) America is capable of
audible only in direct comparison to the superlative and
unsurpassed LEAD CYLINDER. The SYSTEM TWO fea-
producing a fully -engin- -11111
tures outstanding clarity, focus, and resolution, along with eered, world -class turntable.
an ability to handle music dynamics in a completely un- The SOTA is the American .

strained fashion. Like the LEAD CYLINDER, the SYSTEM reference for the '80s.
TWO employs the identical woofer system, thus permitting
easy upgrading should your listening requirements
3) Price Inflation is not
change. an inevitable, fixed law of
audio progress. At S695; the Sapphire
The GNP SYSTEM THREE provides outstanding full -
range music reproduction in an especially economical
makes good sense and good sound.
package. The SYSTEM THREE features a highly rigid Up to now, the presence of a turntable combin-
tweeter and midrange enclosure to curtail the spurious ing high technology, handcraftsmanship, and
colorations that come from cabinet resonances. And, as a
result of its smaller size, its minimal front panel area limits
value for money has been an impossible dream.
At SOTA Industries, we are learning that the Snd . t 1-i,
OTAs
diffraction and secondary radiation effects. As with all GNP
products, the speaker is a polarity coherent design, which "impossible" is often our next project. P.O. Box 7075 Berkeley, CA 94707
is one of the reasons for the SYSTEM THREE's open and
natural sound. The SYSTEM THREE brings the unparal- tone arm optional
leled experience of music into the home for those who
appreciate performance, artistry, and sonic fidelity.

In many ways, the SYSTEM FOUR represents our prou-

dest achievement. Its small size clearly belies its perform-
ance capabilities, and first time listeners are startled when
The Class A amplifier: The competition
they hear the clarity, resolution, and focus of music ema- continues to imitate it, intimidate it,
nating from such a compact package. The SYSTEM FOUR
employs many of the technological advances incorporated
into our more expensive speakers. With the addition of two
carefully matched GNP woofer systems, the SYSTEM
FOUR can easily be upgraded to our three-way SYSTEM
THREE. The SYSTEM FOUR is an excellent introduction
to the delights of faithful music reproduction in the home.
r
`"" feed it forward and feed it backward.
- Classé Audio prefers
to define it.
.-
:

We encourage you to listen to our loudspeakers at your tTi arv°w

own specialty audio dealer. For further Information, see Introducing the DR-2
your local dealer or write:
Pure Class A amplifier.
GNP
1244 E. Colorado Blvd. - ' Finally, a solid state amp
Pasadena, Ca. 91106
(213)577-7767 worth getting excited about.
It's like you're really hearing your record collection for
the first time. Depth, detail, tracking, lightning tran- Manufactured in Canada by Classé Audio.
sients, an octave of bass we hadn't heard before. The
GRACE F-11 L moving coil phono cartridge-it will be
16677 Bout. Hymus, Kirkland,
our pleasure to let you listen to it. PROFESSIONAL
AUDIO CONSULTANTS, 182 Essex St., Milburn, NJ
07041.
eassé-lur Québec, Canada. H9H 3L4
Tel.: 514 694-6561

AUDIO/MAY 1982 75
 FOR SALE FOR SALE
AND EVEN MORE
RAVE REVIEWS FOR HAFLER DH -500K 5515. DH -110K $250, unbuilt SAE JANIS WOOFERS
are the best universal subwoofers available. Hear them
3000pre, 2200 amp $550, wan. 30pre, 31Bamp $235
VMPS LOUDSPEAKERS SONY ST-J75 $300, FX6C $280, PS -X600 biotracer
MARANTZ 140 amp $200, BIAMP TC-60 $235, 90W
5288
PIO-
together with the interphase crossover amp at OXFORD
AUDIO CONSLTS., INC., Box 145, Oxford, OH 45056,
NEER SF-850 triamp xover 5235. 203-777-1476. 513-523-3333, telex: 427791, cable: OXAUDCON. Free
shipping in U.S. We ship WORLDWIDE.
HAFLER DH -200 kit $260. DH -110 kit $230. AR NINE
$1250pr. AR Ninety 5925pr. AR 93 S400pr. SAE 3000pie KETCHUM'S PREMIER DEALER
& 2200amp $550 both. MARANTZ 3200pre & 140 amp If you've been thinking of upgrading your phono car-
'$300 both. 203-777.1476 tridge, hear the new PREMIER LMX moving coil be-
fore you decide. Amazing detall, accuracy, and track-
HAFLER IN THE SOUTH! ing. The proof is,in the listening. WOODRIVER SERV-
In stock, the superb Haller DH -101 preamp and DH200 ICE CO., 260 N. Main St., Ketchum, ID 83340.
amp. kits & factory assembled. Also new models. Immeci-
ate free shipping. Also Fried (Speakers, Kits), Carver, Van- LIMITED QUANTITY SPECIAL-Grace 704 tonearms
dersteen, NAD, Mirage, Audire, PS, Klipsch, more. READ $150., Micro Acoustics 2002E $65., Osawa MP -15 570. All
BROS STEREO. 593 King Street, Charleston, S.C. 29403 unused. S.O.TERIC (513)396-6042.
(803) 723-7276.
LINN DISC SYSTEM ALWAYS IN STOCK! GENE RUBIN
HAFLER-NEW PRODUCTS AUDIO (213) 571.1299 (PAC).
We are stocking the following: DH1O1K, $199.95; DH101A
$299.95; DH101AP $399.95; DH102 $55.00; DH103
LINN PRODUCTS, MODIFICATIONS B NAIM
$19.95; DH104 $24.95; DH105 524.95; DH106 $19.95;
We are pleased to offer the complete line of Linn products:
DH110K $299.95; DH110A $399.95; DH110AP 5499.96;
LP12, Asak, Ittok, Basic, PMS, DMS, SARA, KAN 8 Nirva-
DH112 $74.95; DH2O0K $329.95; OH2O0KE $339.96;
na mod for LP12; and, Naim electronics: head amp,
DH200A $429.95; DH200AE $439.95; DH2O1 $24.96;
preamps, & amps. By appt. Free shipping in U.S. & P.R.
DH202 $24.95; DH203 (200 Mod Kit) $11.95 for one kit,
Visa & M.C. OXFORD AUDIO CONSLTS.. INC., Box 145,
$9.95 each for two or more; DH500 5595.95; DH500K
Oxford, OH 45056, 513-523-3333.
$599.95; DH500KE $619.95; DH500A $749.95: DH500AE
$769.95. By appt. Free shipping in U.S. & P.R. We ship
WORLDWIDE. Visa & M.C. OXFORD AUDIO CONSLTS., *
LOGIC DM 101 AND WALKER CJ 55 *
INC., Box 145, Oxford, OH 45056, 513-523-3333, telex: TWO SUPERB BRITISH TABLES WITH THIS DIFFER-
427791, cable: OXAUDCON. ENCE-AN AFFORDABLE PRICE! You can hear these
wonders in Pittsburgh only at BETTER SOUND CON-
CEPTS, 3281 West Liberty Ave., Pgh., PA 15216, (412)
HIGH TECHNOLOGY SPEAKER KITS BY CHICAGO 561-3312.
SPEAKERWORKS. SEND S.A.S.E. TO: CS, DEPT. A,
5125 N. DAMEN, CHICAGO, ILL. 60625, (312).769.5640
"LOWEST PRICES: BOSE, HAFLER, NAKAMICHI, ADS,
ADVENT, DBX, GRADO AND MORE. DYNAMIC SOUND.
IMF ELECTRONICS REFERENCE STANDARD MONI- BOX 168. STARKVILLE, MS 39759. (601) 323-0750 pm- 1

TOR IV LOUDSPEAKER with Polypropolyne and Polycar- 9pm."

bonate crossover capacitors $1,900. Lee Brown (313) 663-
6009.

/ -- IMF ELECTRONICS RSPM MK IV (Improved) loud-

speakers. 51500 607-564-9262
LUX 3045 amp output tube modification -$50.00. Under-
ground Sound, 2125 Central Ave., Memphis, TN, 38104
(901) 272.1275.

B. V. Pisha, Senior Editor of AUDIO, writing in MACINTOSH MPI-4 $1,300 OR BEST OFFER, Altec Lan-
"Stereo & Hifi Times": J.B.L. L150 SPEAKER SYSTEM, mint, $1,050. pr. (215) sing #729A Acousta-Voicette $425. 1.313-229-5191

"Speakers are becoming larger and larger, 628-5306.

MARANTZ: Mod. 9 mint pr. b/o over $1800., Mod. 2
but the behemoth of them is the new VMPS amps w.cases excel. $650., Mod 1 preamps wlcases, ex-
Minimum Phase Response Loudspeaker JBL RARE COLLECTORS OLYMPUS SOR S1650Pr.
Olympus S8 (no front grills) $1,200 Pr. C-50 Studio Moni- cel. $450., Mod. 18 recev. w/scope and case $250. Dayton
Super Tower Ila/R. Being almost 6112 feet tors S8 51,200'Pr., LE 15-A's-$250/Pr., 375's-$600/Pr., Wright XG10 spkrs. Ik new (rosewood & wheat) $1350.
tall, this sytem needs no artificial assist- 075's 5160/Pr., LX5's $100 Pr., 2482 NEW-$600 Pr.. Keith Monks MKII record cleaner $750. Scott: 314 tuner
ance to produce a large apparent sound D 1 30- 5 2501 Pr. 1.313-229-5191 $75; 330D $45.; 350 $40, 310D w/case $100, 335 545,
source, but there is no stretching or dis- Rabco SL8E $75. Stanton Gyropolse T.T. Mod 8005M w/
cart. Ik new $160. S.A.E. MKVI Tuner w/scope & case
tention of the sonic image to our ears: all J.B.L. SPEAKER SYSTEMS AND COMPONENTS $350. mint. E. Schneck, 1401 Ocean Ave., Bklyn, NY
instruments appear lifesize, whether solo, bought, sold and traded. 1-313-229-5191 or 5115 Red 11230, (212) 377-7282
chamber, ensemble, or orchestra. The sound Fox, Brighton, MI 48116.
emanating from this system is breathtaking McINTOSH BOUGHT, SOLD AND TRADED. 1-313-229-
in its opulence. The bass is super with no JUMBO BANANA-BIG MAMA AND BIG PAPA BA-
5191 or 5115 Red Fox, Brighton, MI 48116.
doubling of the low -frequency funda- NANA JACKS-These gigantic banana jacks are de-
signed for 40 amps, with a contact resistance below .01
mentals.... After hearing this speaker per- ohms. If you use super cable, you must use these connec- MIDWEST'S AUDIO OUTPOST-SOTA. GEM and Con-
form there is no question in my mind that it tors. 4 jacks are only 520. noisseur tumtables-Adcom electronics-Mirage speak-
is one of the very few that will be able to TUBE GOD ers-many moving coils and tonearms-Vampire Wire-
handle the dynamic range of true digital 33 No. Riverside Ave. Sonex-S.O.TERIC head amp-and more. S.O.TERIC,
records when they become available in the Croton, NY 10520 5256 Section Avenue, Cincinnati, OH 45212, (513)396-
very near future." (914) 271-5145 6042.

VMPS manufactures nine loudspeaker systems

with lower distortion, wider bandwidth and greater 2 II 11 II it 11 11 II II ILIÍ II II ILIÍII IÍ ILlfll 1111 II 11 II I1 11 II=
dynamic range than any others regardless of WE Accurate 7LOCATIONS IN

price, with accuracy and linearity to match the

_ L
of Audio SOUTHERN CALIFORNIA

finest audiophile monitors. Also available in kit

form are the MiniTower II ($309ea), Tower II NOT BE BEAT! A REFRESHING CHANGE
We offer you a chance to make an intelligent decision

`
($419ea), and the Super Tower/ R ($649ea). 5 SUPER SELECTION. FULL WARR ANTY FAST DELIVERY= about audio equipment in a relaxed, private, pressure-
less environment. Our specialty is getting you the best
Kits come with fully assembled cabinets and their HI FI, HIGH END 8 VIDEO
sound for your audio dollars.
price includes free shipping in USA. Write for
DCM. QUATRE 8000, 'MAD, DENON, PSE, SUMO.
our brochures and copies of reviews by Bert HAFLER PYRAMID. ROGERS, DYNAVECTOR,
Whyte, Hifi News & Record Review, and Hifi PETERSON LIVEWIRE, GRACE KINDEL, STAX,
MARCOF, MUSICAL FIDELITY. NOMADIC, VPI
Buyer's Guide. /9111.411111;15f
SANTA MONICA (213) 399-HIFI
er rk STUDIO CITY (213 766-7478
VMPS AUDIO PRODUCTS ,A01 J1 PASADENA
TORRANCE
(213 792-4444
(21 ) 323-HIFI
a division of (tone Audio VALENCIA 805 255.2487
1 714 494-2030
1016 Contra Costa Drive, El Cerrito, CA 94530 LAGUNA BEACH
CALL (203) 934-5291 NOW! MAC NEWPORT BEACH 714 645-4131

Hear VMPS
(415) 526-7084
at The ListeningStudio, Boston; Mike Hilliard
Audio. Shreveport. LA: Sound Alternative. Ft. Myers. FL:
Star Audio, Oklahoma City, OK: Bedini Electronics, Sylmar,
* AUDIO PEOPLE *
1000 Orange Ave., West Haven, CT 06516
P.O. Box 6231
Laguna Niguel, CA 92677
By Appointment 7 Days a Week
"WE Take You to The Concert, Not the The Cleaners'
11.11.11.11:19.21:111[11.111111
CA: The Long Ear, Big Bear Lake, CA: A-Vidd Electronics,
Long Beach; Itone Audio, El Cerrito. CA.

76
 FOR SALE I FOR SALE
MARANTZ 10B, FLAWLESS. 5900.00.522 Rossmore.
LV, NV 89110. (702) 385-6886. PARAGON OF SOUND presents a combination that
ÁAudiaMó1[1one
surpasses anything we've ever heard -the new F-11 L
MC from Grace matched to Dave Fletcher's THE a new store, with a fresh view
MINT CONDITION SEOUERRA MODEL 1 FM TUNER,
Serial 1183. Get this classic tuner for $3,500.00. Fernán- ARM. If the rest of your system has the resolving on the audio and video horizon
dez; P.O. Box R, Hato Rey, Puerto Rico 00919-3934 capacity, you deserve to hear the pick-up system that
removes the last veil. Audition them at Paragon of At Audio Visions you will find the very latest In technology,
Sound, 7021 Buxton Terrace, Bethesda, MI 20817. combined with truly old-fashioned hospitality.
MIRAGE IN THE SOUTH!
In stock. Free Shipping! READ BROS STEREO, 593 King In-store seminars with noted musicians S. engineers.
Street. Charleston, S.C. 29403 (803) 723-7276. PAST ISSUES PROFESSIONAL MAGAZINES Call us to receive our free newsletter. Discount con-
RE -IEEE-AC. SOC. AM. -,NEC Apply for details M W cert ticket information technical reports. features.
Scheldorf Box 84 Marseilles III. 61341.
MODIFIED PANASONIC LEAF TWEETERS.
The best super tweeter under $500. and sells for $120. per THREE COMPARATOR AUDIO ROOMS
PEAK EXPANDER AND CX DECODER KIT MODEL SX-
pair. Crossovers available. NEW YORK ACOUSTICS, 578 PLEASE NOTE: APPOINTMENTS SUGGESTED
Nepperhan Ave., Yonkers, NY 10701, 914-476-4900. 80 $76.00 plus $2.00 Shipping. Complete plans $1.00. See IN -HOME SPEAKER TRIALS AVAILABLE
Radio Electronics Dec. 81. Sound Concepts, Box 135A,
Brookline MA 02146 electronics
MOVE OVER MARK LEVENSON! DENON HAFLER MARCOF MITSUBISHI TOSHIBA
The RADIANCE PREAMPLIFIER Is here
PHASE LINEAR, AUDIONICS, APT-HOLMAN AND
Ultimate sound, exclusive technology, hand crafted, loudspeakers
superior value. Send for detailed brochure. RADI- HAFLER AMPLIFIER MODIFICATIONS. S.O.TERIC, ACCULAB ALLISON DAHLOUIST
ANCE SYSTEMS 2A, 90 Riverside Dr., NY, NY, 5256 Section Avenue, Cincinnati, OH 45212, (513)396- DESIGN ACOUSTICS INFINITY MAK THIEL
10024 6042.
turntables, cartridges. tape decks
ADC ADCOM DENON GRADO MICRO-ACOUSTICS
MUSICAL CONCEPTS: 64 page catalog of Imported 8 POLK AUDIO SPEAKERS -BEST PRICES -IN SIGNET SUMIKO THORENS
domestic classical/contemporary recordings. $1.00 (re- STOCK-IMMEDIATE SHIPPING.
fundable). Musical Concepts, Box 53AA4, Cedarhurst, EAST: 904-262-4000 WEST: 213-243-1168
N.Y. 11516. WE REALLY LOVE MUSIC. DO YOU?
PREMIER LMX IN HAZELTOH
MAD: RECEIVERS, AMPS, PRE -AMPS, TUNERS, We never expected this kind of all around excellence
TURNTABLE, CASSETTE DECKS Call or write for quotes in a the -orice moving coil. Take a half hour to
WHAT'S NEW? Audio Visions is new. The model DA 30
or information. Designatron's Stereo Stores, Inc.. 260 Old audition the PREMIER LMX, you'll love the detail,
speaker system from DESIGN ACOUSTICS also is new. Have
Country Rd., Hicksville, N.Y. 11801, (516) 822-5277 quickness, and resolution. JANNEN SYSTEMS, 214 you had problems fitting speakers properly, and attractively.
W, 21st St., Hazelton PA 18201. into your listening room? A three-piece(subwooler/satellites)
NAGRA IV -S STEREO TAPE RECORDER, MINT CONDI- system may be the answer Did you read the test report on the
.PRE-RECORDED AUDIO TEST CASSETTES" DA 30 in the November issue of Stereo Review? Watch out
TION-HARDLY USED Includes leather case and power
Exclusive high -quality aluminum cassette loaded with pre - 30 Acoustics: Till now, you had it too easy; you were the only
supply half-track stereo, NAB, Nagramaster. No sync.
recorded test signals which will allow the recordist to main - moderately -priced three-piece system available. The DA 30
Ideal for stereo location recording. Call 305-448-6571
rain his equipment at the ultimate in fidelity reproduction. costs a little more, but delivers so much more dynamic range.
Packaged In a vinyl cassette album with full instructions. and needs so much less amplifier power At Audio Visions. the
NAIM AUDIO AVAILABLE AT GENE RUBIN AUDIO Models available: XR-1 (333 Hz at -10 dB level), XR-2 OA 30 is supplied complete with MONSTER CABLE,
(213) 571-1299. (1000 Hz at 0 dB), XR-3 (3000 Hz at 0 dB Flutter Test including all necessary custom -fitted gold connectors.
Tape), XR-4 (6.3 kHz at -10 dB Azimuth Tape), XR-5 (10
NEW PAIR INFINITY 4.5 SPEAKERS latest model. Dealer kHz at -10 dB High Frequency Equalization Tape)
Demo. List $4500.00 sale $3000.00 full factory warranty. Special Introductory Otter: $12.95 each A MATHEMATICAL EQUATION:
Call Mon-Fri 9:30-6:30 (202) 638-6550. Master Charge or VISA welcomed.
Send to M.I.S., P.O. Box 806, 415 Howe Avenue, Shelton,
AudioVisions = EXCEPTIONAL VALUES
NORTH CAROLINA AUDIOPHILES CT 06484 (203) 735-8551
AudioVisrons CAN MAKE IT SO EASY FOR YOU
Acoustal, Magnepan, Vandersteen, Mirage, Dahlquist, 3D, WITH OUR PERFECTLY INTEGRATED SYSTEMS
Conrad -Johnson, Haller, Denon, Luxman, Kenwood, Dyn- PS AUDIO ar Audio Connection, Verona, NJ ... a OFFERED IN "SOUND SENSE" PRICE RANGES
avector, Grace, Grado, Plexus, VPI, Monster Cable, Cra- rare example of superb sound combined with great For example look at the System we have put together around
molin, Keith Monks, Platter Matter- price. 201-239-1799 the DA 30 speaker system (see above). The DENON PMA
AUDIO ADVICE 770 integrated amplifier (brand-new model, 100
3532 Wade Ave. Raleigh, NC 27607 (919) 828-9221. watts/channel) is included along with the matching DENON
PS AUDIO-FANTASTICI
MC, VISA, AE. In stock, Fast, free shipping. READ BROS. STEREO, 593 TU -75C slim -line digital tuner Turntable is the very popular
King St., Charleston, S.C. 29403, (803) 723-7276. Also DEMON 31L semi -automatic with new "magnefloat" drive and
On a scale of one to ten, THIS IS AN ELEVEN. The isolation -suspension under the tone -arm The ADCOM high -
FRIED KITS.
output HCE moving coil cartridge complements beautifully the
GRACE F-11L moving coil reveals the original musi-
cal event in all its grandeur and delicacy. Gets more
PS AUDIO - -
sound of the DA 30 speakers, and when mounted properly
works very welt in the 31 L table. A System that should satisfy
reality out of a record than anything we've ever heard. Fine audio products at affordable prices. even critical audiophiles, for an exceptional value "package"
Bring your favorite record and be amazed. STEREO the preamps price of 51.575 (a savings of hundreds o1 dollars below the total
UNLIMITED, 3191 Sports Arena Blvd., San Diego, CA PS IV-clearly a winner! 01 the prices of each of the components when sold
92110. PS IVa/VK-ancther winner individually)
PS IIbNK-an excellent sonic value
the amp
ONKYO, JBL, SONY CAR STEREO, PIONEER, TECH- Model 2-a stunning 40 watts THIS MONTH'S SUPER SPECIALS
NICS-The Stereo Factory, Box 1326, Huntington, W. Vir- the pre-preamp
DENON 3.nead DR -320 CASSETTE DECK
ginia 25714. Phone, 304-522-8031. MC & VISA OK. MCA -2 -an unqualified best buy
limited supply. originally 5425. now only 5335
r Call or write for prices and more Information.
The Audio Advisor, Box 6202, G.R., MI 49506. MICRO -ACOUSTICS 2002e CARTRIDGE $65 i i

-!2500
PS AUDIO=SUPERB VALUE 616-451-3868 M-F 10:00-6:30. Visa and MasterCard glad- AKG model K-240 HEADPHONES ONLY 57295
GENE RUBIN AUDIO (213) 571.1299. ly accepted.
SIGNET CARTRIDGES
models 3E. 5E. 7E..5 7SU

I
all at incredible savings
MODEL 1B MOVING COIL AMPLIFIER
. Class A circuit. Ultra quiet.
2500 hour battery life. II
,
..... ~...
111 MODEL 200 POWER AMPLIFIER - Patented
Class A operation 100 W/Ch
SYSTEMS MASTERCARD VISA AMERICAN EXPRESS
Real wood finish (not vinyl) audio cabinets
Cool running by BARZILAY, NAIAD, CWD. etc.

Audiophile records at special prices

'
DESTINED TO BECOME REFERENCE
AFFORDABLY PRICED.
STANDARDS - BY DESIGN ! Pheno needles Microphones by AKG Blank tape
Discwasher products. Monster Cable, etc.
e 1 , \ 1

I I t FINANCING AVAILABLE FOR OUAUFIEDCONSUMERS

Call or write for lull information.
Dealer inquiries near Southern State Parkway & Long Island Railroad
e please call for directions
R

II
SYSTEMS
1 14081 730-1363
SUNNWALE CA 94087
1067 MONTAUK HIGHWAY
WEST BABYLON, NEW YORK 11704
(516) 661-3355

AUDIO/MAY 1982 77
 FOR SALE FOR SALE FOR SALE
PS AUDIO-THE STEREO SHOP has the complete line REFERENCE RECORDINGS REGA PLANAR TURNTABLES IN STOCK!
of PS Audio products-The PSII and PSIV preamps, head- Expect the extraordinary! Treat yourself to the World's First GENE RUBIN AUDIO (213) 571-1299 Pac.
amp and Model 2 amplifier. Reference quality at an affor- half-speed mastered, 45rpm, UHOR phonodisc. "The For-
dable price. Shipping prepaid. 3907 Washington Road, ward Look" captures the legendary Red Norvo jazz quintet HARMAN-KARDON HIGH TECHNOLOGY SEPARATES,
Martinez (Augusta), GA 30907, 404-863-9143. Live In RR's exclusive Direct -to -Tape sonic splendor. ("this RECEIVERS, CASSETTE DECKS: ELECTRO -VOICE IN-
disc is á standout." Billboard) The price is an affordable TERFACE A, B, C, D SPEAKER SYSTEMS: THORENS
QUICKEST AIRMAIL SERVICE DIRECT FROM TOKYO. $25 postpaid (compare other UHOR discs at $50). Order TURNTABLES. ALL IN STOCK-IMMEDIATE SHIP-
All Japanese Cartridges, Arms, Headphones. Micro- RR -8/45 from Reference Recordings, Box 77225X, San MENT.
phones, Tweeters and Turntable Accessories. Ask for Francisco, CA 94107. (408)289-1462. Visa/MC welcome. EAST: 904-262-4000 WEST: 213-243-1168
Price lists with $1 for postage. JAPAN AUDIO TRADING Watch-for news of our first orchestral release coming
CO., LTD. Saikaen Bldg. 4-33-21 Kamimeguro, Meguro- soon! Free Catalogs. Dealer inquiries invited.
Riggle Acoustics Concert Grand Loudspeakers are big
Ku, Tokyo 153 beautifully constructed Four -Way Monitors. Visually and
sonically gorgeous, they cover the Entire audible spec-
RIGGLE ACOUSTICS CONCERT GRAND LOUD- trum, 21 Hz to 20 kHz .3dB, with Deep lows, Shimmer-
RADFORD LOUDSPEAKER DESIGNS
SPEAKERS. FINALLY, loudspeakers with no compro- ing Highs, Perfect Articulation, and Perfect Stereo
Renouned British products now available in kit form, in-
mises!!! Imaging from All listening positions. Features Include
cluding new T.L. and omni-directional systems. Inquiries
also invited for Lowther and Jordan drive units. For further Compact -Vertical -Array® driver arrangement, 1" Soft
details contact British Acoustics, 1011 Meyerside Drive, Dome tweeter, 11/4" Soft Dome upper midrange, 61/2 Low-
RIGGLE ACOUSTICS WORLD -CLASS -LOUDSPEAK- er Midrange, 12" Power Piston -9 woofer/subwoofer,
Mississauga, Ontario, L5T, 1K8, Canada. Telephone:
(416) 671-0982. Exclusive agents for Radford Acoustics, ER- AUDITIONS IN WASHINGTON STATE. Richland, Black Hole" accoustic absorber blanker, Anechoic
call Pete Riggle, (509) 375.3421, any time. Pullman, call Grill7, highest quality crossover components Including
Canada and the U.S.A.
Joel Riggle, (509) 334-3778. Audio Grade Polypropylene Capacitors and 3 -tier
switch adjusted Cumulative Control", tower enclosure
REGAL REGA RESEARCH for most easy integration Into room decor, five cubic feet
We are pleased to offer the complete line of Rega tables: RIGGLE ACOUSTICS NEEDS INDEPENDENT REPRE- for 21 Hz Bass Response. See classified ad in January
Planar 2 & Planar 3, armed or armless. By appt. Free SENTATIVES TO SHOW WORLD-CLASS-LOUDSPEAK- Audio for further details on these remarkable loud-
shipping. Visa & M.C. OXFORD AUDIO CONSLTS., INC., ERS'9 IN THEIR HOMES ON COMMISSION. P.O. Box speakers. Auditions Available in a relaxed residential
Box 145, Oxford, OH 45056, 513-523-3333. 278, Richland, WA., 99352, (509) 375-3421. atmosphere in a number of cities. For complete technical
specifications send $2.00. refundable, to Riggle Acous-
tics, P.O. Box 278, Richland, WA, 99352.

I
EVERY PAIR IS HAND BUILT TO WITHIN IdB RIGGLE ACOUSTICS WORLD -CLASS -LOUDSPEAK-
ER"- AUDITIONS IN LOS ANGELES. Call Dale Tarrant,
& HANDLES 350 WATTS (Peak Program) (213) 882-2567.

'
RIGGLE ACOUSTICS WORLD-CLASS-LOUDSPEAK-
l
I '
ER'W AUDITIONS IN IDAHO. Idaho Falls, call Tom Smith,
. .

-- . :_ iOtt.
Rogers] (208) 529-0093.

RIGGLE ACOUSTICS WORLD-CLASS -LOUDSPEAK-

j
_ BRITISH HIGH'FI DEEITY ER'S AUDITIONS IN DETROIT. Call Joe Burdick, (313)
1

362-0315.
-.2-i\/ 1

I ¡ .
RIGGLE ACOUSTICS WORLD-CLASS-LOUSPEAKER7

51111/01
I
AUDITIONS IN SAN FRANCISCO BAY AREA. Walnut
i Creek, call Curt Chisholm, (415) 944-1451.
50 iW 200 500 1k 2k 10k 20k

ROGERS-NEW SPEAKER & CHARTWELL

The Rogers Studio 1 Is a significant addition to the line of
superb Rogers products. All of the Rogers speakers, elec-
WHO ELSE BUILDS SPEAKERS LIKE THIS? tronics & Chartwell speakers are available at OXFORD
AUDIO CONSLTS., INC., Box 145, Oxford, OH 45056,
AVAILABLE FROM: 513-523-3333. Visa & M.C. Free shipping in U.S. & P.R.
AZ Mesa HI FI SALES (6021169.127E MA Framingham Natural Sound 14171 479-3556
CA Palo Alto Audible Difference (415) 376-1001 MI Birmingham Audio Dimemiom (313) 1424313 SALE ON THE FAMOUS KENWOOD AUDIO PURIST
CA San Diego Audio Directions µI11 2762710 MI Swart. Creek Audio House (313) 4554639
Baltimore
SEPARATE.COMPONENTS! Up to 50% savings! All new,
CA Encinitas North Cnty. Stereo (714) 753-3546 MD Soond,cape 1361) 111111131
CA San Francisco Audio Excellence 14151 433.1335 MD Bethesda Paragon of Sound 1301) 22 -2674 factory sealed. The LO7M mk II mono amps (150w ea.)
CA Sausalito Musk by Design 1415)332-2142 N) Verona Audio Connection (211) 999-1799 were $600. each, now 5395. each. The LO5M mono amps
CA Weans. Audio Today (714)093-4435 NV Reno Tin Ear Sound (752)125-71114 (100w ea.) were $395 ea., now $195. each. Call or write,
CA Burlingame Audio Venture (415) 342.6299 NY Wappinger Falls Arnee Audio (1I1) 217.2242 Designatron's Stereo Stores, Inc., 260 Old Country Rd.,
CA Los Angeles Bel Air Hie (213) 477.1541 NY Lake Grove Audio Den (514) 114-1990
Hicksville, NY 11801, (516) 822.5277.
CA La Puente Exceptional Audio (2131%111511 NY Great Net Ears Nova 13114 464-5474
CA Beverly Hill, Chris Hansen Ltd. (213) 4504111 NY New York Lyric H,1, (212) 535-5710
CA Santa Monica Jonas Miller Sound 12131 426 5613 NY New York Sound by Singer (2121 404025
CA San Diego Stereo Unlimited (4191 2234151 NY Rochester Stereo One (7111 2274111/ SATTERBURG MW2 WOOFERS, new, sealed $450. Ful-
CA Redondo Beach Systems Design GP (213) 3704576 OH Columbus Cotton Stereo (6141 235-3531 ton Premiers as new $4,300., both full warranty (503)-641-
CA Ventura Ventura Audio 1145) 653.5124 OH Oxford Oxford Audio (S13)523-3333
CA Newport Beach Act arate Audio (714) 6454131 OH Toledo Audio Center (419) 4743411 5937. No answer, leave message (206)-747-2894.
CA Encino Sound Factor (213) 501.354E OK OK. City . Young Blood Sound (405) 751-3532
CO Ft. Collins Audio Alternative (3007) 221.1494 PA Philadelphia Chestnut Hill Audio (215)123.3135
SAVE 60% TO 75%, BUILD YOUR OWN SPEAKER
CO Aspen Main St. Music (303) 925-7921 TN Knoxville Altematiee Audio 1615) 5224145
FL Coral Gables Sound Components 1305) 444.1659 TN Memphis Underground Sound 1901) 272-1110 SYSTEMS. P/C CROSSOVERS, WOOFERS, MIDS,
IL Champaign Audio Ltd. 1217) 351-3774 SC W. Columbia upstairs Audio 0531 799.1145 TWEETERS, INSTRUCTIONS. COMPLETE SELECTION,
IL Chicago Vktort Stereo (3121 747-0750 VA Leesburg High 'C' Stereo (7531 777-7799 HI-FI, M.I., PRO, DISCO AND AUTO SYSTEMS. SEND
IN Indianapolis *Hill Gallery (317) 253-5141 WA Seattle Definitive Audio (2161 5244433 $2.00 FOR CATALOG REFUNDABLE WITH PUR-
LA New Orleans Wilson Audio 1504) 064 3457 CHASE. DKI AUDIO, BOX 284, DAVIS, IL. 61019

a step nearer audio perfection SILVER & TEFLON & GOLD = SWL's QUICK-
SILVER INTERCONNECT CABLE. Fine strand silver
6074 CORTE DEL CEDRO CARLSBAD, CA 92008 coated copper cable with teflon dielectric and outer
jacket. Low capacitance, hi cond. & propagation vel.
Highest quality commercial duty heavy gold plate RCA

¡IU1Ci1Vfá1:ilV( au Dio plugs machined to exact tolerances. Available In 1l,, 1,

& 2 meter stereo sets ($25, $30, $45 respectively. Add
S2 S&H. TX res. add 5% sales tax). Custom lengths &
Music for your home. We make It simple. connectors also available. Send SASE for complete
We are experts dedicated to musical excellence. Our demonstrations of audio and video components offer product listing. STEPHEN WORSHAM LABS 3720
personal attention and unlimited time for evaluation. Our extensive library of quality recordings will help you Maplewood Dr., Dallas, TX 75205, Ph. 713-763-6061.
decide which components are a perfect match to your home environment. Our service policies provide
Continued satisfaction. Trode-ins accepted.
APT-HOLMAN, AUDIO RESEARCH, BANG & OLUFSEN, BEDINI, BOSTON ACOUSTICS, B & W, BRYSTON, COTTER,
SNELL TYPE A IMPROVED LOUDSPEAKERS, walnut,
DAHLQUIST, DENON, DYNAVECTOR, FIDELITY RESEARCH, GRADO, INNOTECH, KLIPSCH, KLOSS NOVABEAM, KOETSU,
LS315A, LINN SONDEK, MISSION, NAD, NAKAMICHI, OBELISK, OHM, PYRAMID, QUAD, REVOX, SIGNET, SUPEX, ETC.
$1,450. Threshold CAS-2 amp, 5600. 1-606-273-8877.

182 HENRY STREET BROOKLYN HEIGHTS, NY 11201 (212) 596-0888

SONY MDR -7 HEADPHONES, $29. (404)-633-3822.

78
 FOR SALE FOR SALE. FOR SALE
SNELL ACOUSTICS HARMAN-KARDON HIGH TECHNOLOGY SEPARATES,
DESIGNATRON'S STEREO STORES, INC. RECEIVERS. CASSETTE DECKS: ELECTRO -VOICE IN- THE $64,000 QUESTION! The all new GRACE
Designatron's Stereo Stores are proud to demonstrate the TERFACE A, B. C, D SPEAKER SYSTEMS: THORENS F-11íL Moving coil cartridge Is at least a generation
precision Snell Type A. Type E and Type 1 loudspeakers! TURNTABLES. ALL IN STOCK-IMMEDIATE SHIP- ahead of its competition. Never before have we expe-
Our customers have found that Snell's attention to detail in MENT. rienced master tape replica sound coming from a
both design and construction more than justifies the price EAST: 904-262-4000 WEST: 213-243-1168 phono pickup. The GRACE F-11/L makes the $32,000
of these fine products. Audio magazine said: "If what WAAM speaker system sound like $64,000. Audition it
you're seeking is top-notch sound in a handsome, well for your system at GARLAND AUDIO, 325 S. Monroe,
THE PROMETHEAN
crafted, quirk -free package, the Snell Type 1deserves a One cartridge offers unparalleled performance without
San Jose, CA 95128.
place on your auditioning list." All Snell products shipped
head amps or transformers-the Promethean. Money -
free in continental U.S. Designatron's Stereo Stores, 260
back ten-day trial. Only $155.00 postpaid. The Audio Advi- THORENS TURNTABLES-BEST PRICES-IN
Old Country Rd., Hicksville, NY 11801, (516) 822-5277.
sor, Box 6202, G.R., MI 49506. 616-451-3668 weekdays. STOCK-IMMEDIATE SHIPPING
Visa and MasterCard gladly accepted. EAST: 904:262-4000 WEST: 213-243-1168.
SPEAKER BIBLE. Over 20 pages of vital information for
the speaker builder. Send 52. to NEW YORK ACOUS-
TICS, 578 Nepperhan Ave., Yonkers, NY 10701, 914-476-
4900.

SPENDOR-NEW SPEAKERS 8 LOWER PRICES

In addition to the renowned SA1 8 BC1, we offer TWO
NEW Spendor speakers, the SA2 8 SA3. Lowered pnces
on all speakers. By appt. Free shipping In U.S. 8 P.R. Visa
8 M.C. OXFORD AUDIO CONSLTS., INC., Box 145, Ox-
)))].Audtó b Caruso
ACOUSTAT ARISTON AUDIO PRO AUDIO PURIST AUDI RE BERNING BEARD B 8 W C M LABS.. CONRAD-JOHNSON
ford, OH 45056, 513-523-3333
COUNTERPOINT DAYTON WRIGHT DELPHI DENNESEN CYNAVEC-OR ELECTRO RESEARCH FRIED GRACE HAFLER
HELIUS HEYBROOK KRELL LAST LEACH LIVE WIRE LUSTRE MICHELL MARCOF MICRO NAD PETERSON AUDIO
PINK TRIANGLE POLK AUDIO PS AUDIO RGR R. H LABS SHAHINIAN SOTA SOTA SAPPHIRE SPICA STAX
SPENDOR SPEAKERS AT
STRAIGHT WIRE SUMIKO (The Arm) SUMO SUPEX SYRINX THIEL THRESHOLD VPI WIN LABS
GENE RUBIN AUDIO (213) 571-1299 (PAC)

13831 South Dixie Highway, Miami, Florida 33176 (305) 253-4433

SPICA AUDIO CONNECTION
The long-awaited Spica 3 -way loudspeaker, the SAW- Call or write for literature on specific Items.
1, is just about ready to make its NJ debut. You are
invited to this musical experience in Verona, 201 239-
1799 Adcom Dynavector Nifty Gritty
Here are Ampex
Apt Holman
Esotech
Electrocompaniet
John Marovskis

KEF
Audio Oracle
Proton
SYMDEX LOUDSPEAKERS Bang & Olufsen Fidelity Klyne Pyramid
We are pleased to introduce the further improved Braun Research KMAL Quad Electro-
Symdex Sigma and the new companion subwoofer, a Bryston Fourier Koetsu acoustics
three-way system of unparalleled accuracy and low
Celestion Goldmund Last Ram Labs
coloration. This reference system, which sets new
Daybreak Grado Linn Products Rega Research
standards for definition and transparency, is a result of
thorough optimization of all design factors plus con-
DCM Haller Magnepan Rogers
struction and components of a quality never before
used in loudspeakers. The sonic results of this effort
reasons for De'nnessen
Denon
Hartley
H.Q.D. Reference
Mark Levinson
Milab
Sequerra
Snell Acoustics
have been described by listeners as a redefinition of
the state of the art of dynamic loudspeakers.
For further information, contact: Symdex, 319 A
visiting D & K Imports
Discwasher
System
Insync
Monster Cable
Musical Fidelity
NAD
Sound Connections
Spectral Audio
Stax
Street Rear, Boston, Massachusetts 02210
Current Symdex owners note that factory updates
Sound Components Naim Audio
Nakamlchi
Symmetry
Tandberg
are available.

SYSTEMDEK TURNT, UNUSED, STILL IN BOX. $395.

by Peter McGrath.
Plus a record room featuringa large collection of Imported pressings and specialty records
Sonotron power amp 2x100 watt $450. 213-376-3153,
11 am-6pm.
Plus complete international export facilities Spanish spoken
Plus American Express. Diners Club, Master Card
2710 Ponce de Leon Blvd , Coral Gables,
1-800-245-3986
and Visa accepted Florida 33134 Open Tuesday -Friday
TAPE WORLD 11ÁM-8PM Saturday 11AM-5PM Closed
TDK: SA -C90 2.79 Sunday and Monday
TDK: SAX -C90
TDK: AD-C90
TDK: ADX-C90
TDK: SA -C60
3.79
2.29
3.29
2.19
Córinpon¢nts,lnc. Sales (305) 446-1659
Service (305) 448-6553
TDK: D -C90 1.59
TDK: MA -C90 4.99
11,
TDK: VAT-HG120, L750HG 15.99
Fugi: Metal .C90 5.19
MAXELL, LORAN CALL ACOUSTIC ELECT. HILL PLASMATRONICS PSE
TDK: VAT -120, L-750 12.89 APRES AUDIO JANIS POLK AUDIO
TDK: MAR -C90 7.49 AUDIO PULSE KEITH MONKS PRECISION FIDELITY,
TDK: LX35-90B 5.89 AUDIO STATIC ESL KOETSU PROMETHEAN
TDK: GX35-90B B&W LAST PYRAMID
7.99
THE DAVID BERNING CO. LINN SONDEK, SNELL ACOUSTICS
BASF: PROIII C90 2.25 CRAMOLIN LIVE WIRE SPATIAL
Maxell: HIGrade and Video CALL DAHLQUIST LUSTRE SPICA
TDK: HD -01 (Cass. Head Demag) 14.69 DENON MARCOF STAX
BASF: PRO I, II, C90 2.59 DYNAVECTOR MONSTER CABLE SUMO ELECTRIC
FUJI: FX I or II -C90 2.79 ELECTRO RESEARCH MUSIC REFERENCE SUPEX
Scotch: 207-7R1800 5.59 FULTON NAD TANDBERG
3.75 shipping any size order In US. VISA, MC, COD GOLDMUND NAKAMICHI THETA ELECTRONICS
GRACE NITTY GRITTY VPI

i
no extra charge. PA 6% sales tax. We will honor any
GRADO PLATTER MATTER YAMAHA
price in this book. Dealers Welcome. All orders
HAFLER
shipped within 4 days by UPS. Personal Checks 2
Wks Delay.
220 Spring St, Butler, PA 16001, 412.283.8621

CROWN DISTINCTION 8 HI-FI SERIES COMPONENTS:

the listening room ri

590 Central Park Avenue. Scarsdale, N.Y. 10583

IIII I
,II

FM-1, EQ-2, DL-2, SA -2, FM -2, SA -2, PL -2, PL -3, PL -4,

etc, IN STOCK-BEST PRICES IMMEDIATE SHIP- Mon., Thurs., 10-9 P.M. Tues., Wed.. Fri., 10-7 P.M./ Sat., 10-6 P.M.
MENT. (213) 467-5725. Ample Free Parking Credit Cards Accepted
We Ship FREE Anywhere in the -Continental U.S.A.
THRESHOLD AUDIO is offering Pyramid, PS Audio,
Grado. Sony, Marantz, Infinity, Stax, VPI, YSL and more.
Prepaid shipping. 409 S. 22nd Street, Newark, Ohio 43055
(614) 522-3762
914-472-4558
AUDIO/MAY 1982 79
 FOR SALE FOR SALE FOR SALE
A UNIQUE CARTRIDGE SERVICE VAN ALSTI NE Rebuilt turntable, FET preamp, mint, $325. THRESHOLD'S HOMETOWN DEALER, KEITH YATES
The Weinz parabolic natural diamond styli, acclaimed for each. 303-789-9806. AUDIO, can have your new -generation Stasis amp or FET
its improved and excellent performance with the Decca Stasis preamp shipped DIRECTLY FROM THE FACTORY
Gold, can now be fined to a wide range of moving -coil and VANDERSTEEN IN THE SOUTH! to your door. Also: Acoustat, KEF, NAD, Pyramid, Denon/
other cartridges. Instock, the superb new Mod. 2C. Fast, free Shipping. VPI, Dynavector, more. Keith Yates Audio, 2209 Ninth
For further details contact British Acoustics, 1011 Meyer - READ BROS. STEREO Avenue Sacramento 95818. (916) 441-0443
side Drive, Mississauga, Ontario, L5T 1K8, Canada. Tele- 593 King St., Charleston, SC 29403 (803) 723-7276
phone: (416) 671-0982. Agents for Garrott Brothers. VISA 8 M C OK. Carver, Haller, PS, Mirage TUBE BIBLE Ill IS FREE
This 55 page holier than thou book talks straight about all
tube electronics. How is It that this ancient device is still the
most musical? Learn about regulated power supplies, kits
' Finally Available Nationwide GOLDEN
Ma
pl
Marco)
Products to make your gear work right, Hungarian Tungsram tubes,
12AX7 S5., 12AT7 $5., 12AU7 55., 6DJ8 $7., Wima Poly-
vie the gramophone. Mira propylene cap kits for all tube, T-Adp., 40 amp banana
Mirage

BLACK MARKET Audio Research Dynavector

Fidelity Research
NAD
Nakamichi
jacks, The New Testament Bimonthly, complete schemat-
ics of the NB electronics. What is the best Tube amplifier?
Find out! Are you afraid of the truth? Are you a victim of the

Still a limited
Acoustat Oracle
Adcom Grace Polk Audio update game? Yea, though I walk through the valley of
ADS Grado Prosoma transistors I fear not-You pay the postage, we supply the

quantity of the Apt/Holman

Asiatic
Hater
Kenwood/Purist A
Raga
Signet
book free. Send 75c
TUBE GOD

Black Shadow horning

Boston Acoustics
Kioss Video
Koetsu
Snell Acoustics
Sony
33 No. Riverside Ave.
Croton, NY 10520

available for the Crown

Denneson
Linn Products
M.A. Cohen Tandberg
Sim (914) 271-5145

truly dedicated 2858 W. Markel St. Akron. Ohio 44313 Phone 1218) 604-4411
UNDERGROUND SOUND
The Merrill A.R. turntable mod kit, complete with
listener. ACTIVE
new suspension chassis and bearing, makes your old
A.R. state of the art and allows new tone arm accom-
modation $54.00.
ELECTRONIC Updated GP-1 (glasslead) platter pad-$27.00,
Take advantage of CROSSOVERS Weight -57.00.
Audiophile Quality New 8 Used Equipment. (ship-
this unique Plugin Butterworth (maximally flat) fll-
ters in 6 db., 12 db., or 18 db., per octave
ping 8 handling charges additional)
2125 Central Avenue, Memphis. TN 38104
opportunity, don't attenuation, any frequency specified.
Filters flat beyond 100 KHz.
(901) 272-1275

hesitate to call or Complete crossover in attractive meta4 VERION MKI TRANSFORMER, "S" type, $225. Fontek

write for complete cabinet with all terminations and regu-

lated power supply,
A4 headphones and C4 adapter, $150. Mark Zenon, 2301
S. Jefferson Davis Hwy., Apt. 1231, Arlington, VA 22202.

information. STEREO BI -AMP S139

(703) 521-0836 evenings.

Tri-amp, quad -amp, and monaural types VIBRATION TEST SYSTEMS VG -100-8 electrodynamic
available at comparable prices. Other shakers (perm. magnet field, 100 lb. rated peak sine wave
WON'T LAST LONG! available features: Summer for "single
woofer" systems, Subsonic noise elimina-
force), two available-$950 each. CROWN DC -300A pow-
er amp.-$650. Call Torn Hartvigsen (615) 455-1309.
tion filters supplied with or without bass

t3IitL boost, level controls.

FOR OEM'S AND
HOME ASSEMBLERS
VOCAL -ELIMINATOR, TVE. New. $250.00. 522 Ross -
more, LV, NV 89110. (702) 385-6886.

iVADUstks u 4
500 Series dual filters and/or plug-in fi'-
ters, regulated power supplies.
FREE CATALOG & PRICE SHEET
VOICE-VANNISH
Removes Voice Lead Singers from Stereo Sources. Sim-
ple Hookup comes complete, ready to use (Not a Kit)
Guaranteed. $20 (Shipping included). J.A.M. (Vanish),
IP
I I
//
VL`IC%
,w,sW

trite
to:
ENGINEEIING LABOSATOAY
P.O.B. #3, Bronx, N.Y. 10463.

Want to hear what's really on your records? The F-

1780 Monrovia
Costa Mesa, CA 92627 .(714) 645-8877 11828 Jefferson BI C. lye, City. CA 90230
11L moving coil from GRACE Is the most revealing
phono cartridge. If you settle for the other $600 car-
Phone (21 31 397 9668 tridges you'll be settling for less. Audition the GRACE
F -11L at the AUDIO CONNECTION, 615 Bloomfield
Ave., Verona, NJ 07044.

AMERICAN AUDIOPHILE
We have mixed emotions about the new GRACE F-
WHERE THE DIFFERENCE IS MUSICAL ACCURACY 11 L ... JOY and ENTHUSIASM. There's never been
AND THE GOAL IS TO SATISFY a phono cartridge with this combination of accuracy,

AUDIO INNOVATIONS IMPULSE DED detall, accurate soundstage, dynamics, and tracking.
AUDIO STANDARDS lVIE R G DYNAMICS Even more convincing when heard on David
AUDIO TECHNOLOGY JANIS RGR Fletcher's The ARM. Hear the GRACE F -11L moving
AUOIONICS JMAS SHURE coil. You'll agree it's worth getting emotional about.
AU DIRE KINOEL AUDIO SIGNET AUDIO BY CARUSO, 13831 S. Dixie Hwy., Miami. FL
B8W LEACH SME 33176.
BENCHMARK LUSTRE SPECTRO ACOUSTICS
CIZEK MARCOF SPECTRUM
OCM MARIAN
MORDAUNT-SHORT
SPICA
STAX
RECORDS
DECCA
DEN ON NAO SUPEX
DUNI OPTS YSTEMDEK NEXUS TANOBERG
DYNAVECTOR OCTAVE RESEARCH THETA ARE RECORDS A MAJOR PART OF YOUR AUDIO
GOL DLINE PS AUDIO VANDERSTEEN PURCHASES? A new record care system will protect your
GRACE PLATTER MATTER VPI Investment. Send $1 for samples, literature. Copeck Sales,
H A.P.I. PRECISION FIDELITY WIN LABORATORIES Dept. A, Box 443, Fairport, N.V. 14450
REFERENCE AUDIOPRILE RECORDINGS

AMERICAN AUDIOPHILE Not In a

D.J.s/AUDIOPHILES
Record Pool?? Promos, Plates, New Releases,
5 SUNRISE PLAZA 716 MADISON AVE
NEW YORK. NEW YORK 10021
still yours absolutely Free (Guaranteed)! Format changing
VALLEY STREAM. N.Y. 11581
15161 561.7114 12121 751.9733 fast. Complete details, rush $5 to J.A.M. (Promo), P.O.B.
#3, Bronx, N.Y. 10463.
ALL SHIPMENTS PREPAID AND INSURED
FREE THROUGHOUT CONTINENTAL U.S. PERSONAL AUDIOPHILE ALBUM COLLECTION; Di-
rect -Disc, collectables, limited quantities. Jim 415-861-
MASTER CHARGE & VISA ACCEPTED 1093

80
 RECORDS WANTED TO BUY OR TRADE WANTED TO BUY OR TRADE
PROTECT YOUR LPs. POLY SLEEVES FOR JACKET FREE ADVERTISING FOR YOUR USED EQUIPMENT! TECHNICS SH-905ST PROFESSIONAL RACK WANT-
12c. ROUND BOTTOM INNER SLEEVES 100, SQUARE Pay low commission ONLY IF YOU SELL! Free details: ED. NEW OR USED. CALL TERRY CLIMER (615) 385-
BOTTOMS 6C. POLY LINED PAPER SLEEVES 15c, white AVI, Box 264-A55, Buffalo, NY 14215. 2820 or (615) 366-4300.
jackets 355, POSTAGE $2.00. HOUSE OF RECORDS,
HILLBURN, NEW YORK, 10931.
I'LL BUY OR TRADE FOR CITATION 16, 16A, 16S, THRESHOLD STASIS TWO OR THREE. Call Earl 212-
16SA IN ANY CONDITION. CALL COLLECT FOR 867-4000, ext. 250.
QUALITY EQUIPMENT DEMANDS QUALITY RECOR-
DOUG, 504-866-3457 OR 504-392-7443 OR WRITE TO
DINGSIJapanese, European and private domestic press-
DOUG WILSON, 341 WILLOWBROOK DRIVE, GRETNA,
ings. Familiar titles and esoteric. Catalogue-Illuminatear,
LOUISIANA 70053. WANTED HARMAN KARDON MODEL 430 RECEIVER,
Dept. A., 350 Spear Street #30, S. Burlington, VT 05404
working condition preferred. Call after 6 pm, central time,
MARANTZ MODELS 2, 3, 6, 7, 8, 9 8 10B; McINTOSH C- 314-849-0876.
THOUSANDS OF LIKE NEW LP's and prerecorded
tapes. Catalogue-$2.50. House of Records, Hillbum, New 22, MC240, MC275 8 MC3500. Sam Aberst. P.O. Box
York 10931. 5455. Beverly Hills, CA 90210 (415) 889-7729. WANTED: JBL SE400S ENERGIZER (basic amp). 513-
878-5584 evenings.

SPEAKERS I PAY ATTRACTIVE PRICE FOR McINTOSH OR MAR-

ANTZ TUBE TYPE (any model) pre -amps power -amps. WANTED: 100 -WATT OUTPUT TRANSFORMER, used
ARC SP -3A-1, D -75(A), D-76(A). THORENS TD -124. but good (Chicago Standard "Super Range" BO -14). Joe
GARRARD 301, 401. WESTERN ELECTRIC tubes, amps, Walker, 1101 Mallard, Las Vegas, NV 89108, (702) 646-
ELECTRO-VOICE INTERFACE A, B, C, D, (DUALITY 3329.
drivers, horns, speakers, mixers, microphones, others 213/
SPEAKER SYSTEMS, BEST PRICES-IN STOCK-
576-2642 Davic Yo PO Box 832 Monterey Park, Ca.
IMMEDIATE SHIPMENT
91754.
EAST: 904-262-4000 WEST: 213-243-1168
WANTED 3M1h" PROFESSIONAL TAPE TRANSPORT.
WANTED TO BUY OR TRADE RCA LC1 SPEAKERS. Please state condition and price. J.P. Sammut. P.O. Box 214615, Sacramento, CA 95821,
B. Bates, P.O. Box 183, R.R. #1, Ennisnore, Ontario, 916-726.2263.
Canada, KOL 1'O. Phone No. 705-292-8210.

AAA-TOP PRICES PAID: McINTOSH and MARK LEVIN-

i
SON all models. McINTOSH, MARANTZ, and AUDIO RE-
A SIN GER'S DREA!
PLANAR
SEARCH tube equipment. WESTERN ELECTRIC and
ERPI speakers, drivers, horns, etc. (206) 323-4987

ALLIED RADIO CATALOGS, Altec 724A tuner. (212) 438-

7Y :r, ,r,
r
5714 eves.
REMOVES VOCAL FROM MOST STEREO DISCS
The Thompson Vocal Eliminator can actually remove most or
ASIA AUDIO ASSOCIATION WANTED; MCINTOSH or virtually all of a solo vocalist from a standard stereo record and
MARANTZ TUBE TYPE (any model) Pre-amps, Power -
amps. QUAD 2 8 22. THORENS TD -124. GARRARD 301,
401. WESTERN or NORTHERN ELECTRIC SOUND
EQUIPMENTS; tubes, drivers, speakers, horns, amps.
yet leave most et the background music untouched! Not an
equalizer) We can prove it works over the phone Write or call
for a brochure and demo record below.

Time Delay/Ambience
COST: $295.00 - -19

mixers, microphones, others. WESTREX Amps. JENSEN Superior:

Woofers -18 Inches. RCA Woofers -LC -1A. Contact: 213- Realism Frequency Response The Revolutionary New
576-2642, David Yo, Box 832, Monterey Park, CA 91754.
Versatility Dynamic Range
Record Clamp from France
ATTN. TUBES: MCINTOSH, MARANTZ, ARC. 713-728-
This low mass (50g.) machined nylon
4343, M. Corti, 11122, Atwell, Houston, TX 77096.

AUN: TUBES WANTED-MCINTOSH, MARANTZ, ARC,

1CY '7:.
SWT.917:. clamp is self tightening and can exert up
to 5 kilograms of dynamic pressure on
WESTERN ELECTRIC-ALL PRODUCTS, M. CORB 713- the record, rather than an undesireable
728-4343, 11122 ATWELL, HOUSTON, TEXAS 77096 Time delay s new to consumer aucio. Recording
Studios have been doing it for years. They have dead weight which can damage spindle
BUY MCINTOSH AND MARANTZ
developed much more realistic systems than are bearings. Just exert thumb pressure on
TUBE EQUIP- presently offered for consumer use, with One notable' the spacer, slip on the spindle Est voilal

- -
MENT. Leland 713.772-4653. exception Cur TAD-4.
Call or write for a 24 page brochure or our tine of 18
products. Included will be a product review of the TAD -4 and a Sole U.S. Distributor
GOODWIN'S GROWS demo record wh ch will allow you to compare our TAD-4 with Omni Audio Marketing 101 Townsend St.
other units. At SE50 we aren't cheaper We're Better!
San Francisco 94107 (415) 777-1114
Goodwins Music Systems proudly announces Write to: LT Sound, Dept. AU, Box 338,
Stone N urtt3in GA 30086 Phone r 493-1258 Dealer Inquiries Invited
a new expanded location. Goodwin's now fea-
tures larger listening rooms, additional staff,
and more of the very finest audio components.
Goodwins Music Systems offers sales and ser-
vice for Mark Levinson, Quad, HQD, Li nn, Gold-
mund, Bryston, NAD, MIT, Tandberg, Symdex,
TUBES STILL SOUND THE BEST
Pyramid, Futterman, Magnepan, Stax, Celes-
tion SL -6, Rega, Koetsu, Oracle, B&W,
Soundlab, Astatic, Cotter, Janis, FR, Dynavec-
tor, Grace, Spectral, VPI, Dan Queen, Keith
Monks, Monster, D&K, Esotech, Vandersteen,
Mirage, Live Wire, Hafer, and more. Goodwin's r.
dedication to the purity and integrity of music r'. Zit.,
-,e-.r ., ..11.11{
.... -
reproduction is widely acknowledged.
Goodwin's is unique in New England, repre-
senting products of classic quality, value and
performance. If you would like to avoid the
CLASSIC
CIRCUITRY
yni LIKE A
BUILTacl

BATTLESHIP
planned obsolescence of most stereo compo- We bought the factory's entire stock of one of the greatest amplifiers of all time
nents and are interested in the finest music
reproduction, please call or come visit FAMOUS dynraco MARK VI KIT
The rugged reliability and superior sound of America's 120 watts continuous Into 4, 8 or 16 ohms at less than 1%
16 EUOT ST. EXPORT SPECIALISTS finest mono tube amplifier by the company whose name IM distortion. Distortion drops sharply at lower power lev.
HARVARD SQUARE Is synonymous with excellence In transformer design,
MAIL AND PHONE els. Hum and noise 95 dB down. Frequency response +0,
CAMBRIDGE ORDERS WELCOME and world renowned for perfectionist value. -1dB, 10 Hz to 40 kHz p) 1 watt. Full output from 1.6
MASSACHUSETTS volts into 50K ohms XLR or phono input, with alternative
02138 CABLES MADE low filter. Front panel speaker fuse and large meter which
492-1140 TO ORDER Still In original cartons, with factory warranty. Original is switched for bias adjustment or 3 ranges of output lev-
1978 price was $549.00 kit, $749.00 assembled. el. 19' rack mount x 1O'/, x 9' high. 55 lbs.
GOODWINS
MUSIC
NOW ONLY $395 AS A KIT
SHIPPED COLLEC
CALL FOR QUANTITY PRICES.
215-641-2333
Jeff Goldman SYN-FIN Dept.SB 1400 Welsh Road, North Wales, PA 19454

AUDIO/MAY 1982 81
 SERVICES
BUSINESS OPPORTUNITIES
ATTN: COLLEGE DEALERS for midwest distributor: 20- AUDIO PULSE REPAIR SPECIALISTS. Modification Kits
AD INDEX
40% off list, many brands. Hear Now. Inc., P.O. Box 2008, available for Model One's. WALT'S AUDIO SERVICE, 399
River Grove. III. 60171. 312/685-6435. Granada Street, Rialto, CA 92376, (714)-875-0776.

FOR LICENSE TO PROMOTION MINDED MFR.-

UNIQUE CLOCK WITH copyrighted sound effect sys- CUSTOM RECORDING SERVICE, Tapes, discs, and cas-
tem on tape (digital 7) universal appeal, great conver- settes. Stereo and mono. Live and copies. Editing. Masters
sation piece. Principals only on your L/H. TIM, 328 E. and pressings. High quality at reasonable rates. Joseph
Traube, Westmont, II. 60559. Giovanelli, Audio-Tech Laboratories, 1158 Stewart Ave-
nue, Bethpage, NY 11714. (516) 433-0171

TAPE RECORDINGS DAYTON WRIGHT ELECTROSTATIC OWNERS

DIRECT -TO -TAPE RECORDINGS: REAL TIME DUPLI-
Complete Factory RETROFIT Service available for all Firm (Reader Service No..) Page
speakers built since 1972. ST -300 8 IM -10 rebuilt to XIM-
CATED REELS (2/4 track, dbx II, Dolby) 8 CASSETTES
10, Speakers fitted with New non-piezo tweeter, dia-
(dbx II, Dolby BrC) from MASTER TAPES. FREE CATA-
LOG. Direct -to-Tape, 14-R Station Ave., Haddon Heights,
phragm damping system added 8 speakers regassed .. . Audio Control (1) 21
$850.00 U.S. GRILL CLOTH replaced ... 545.00 U. S.,
NJ 08035.
CONNECTORS updated to .072 pins ... $110.00 U.S.,
Usual turnaround 10 to 14 days. FULL RETROFIT Service Audio-Technica (2) 68
HOW TO RECORD LIVE GROUPS With minimum for Preamps. SPA's ($150.00 U.S.). SPS's ($75.00 U. S.)
equipment, get great results. For sample tape and Instruc- All Prices plus shipping/duty
tions send $2.00 to Dan Austin Recording, Rt. 2, Box All work carries Factory Warranty BASF (3) 39
204A, Big Lake, MN 55309. Customs Documentation sent $5.00 on request. For Infor-
mation Phone (416) 884-8586, or write to:
TAPE AND TAPE RECORDERS THE DAYTON WRIGHT GROUP LTD. Bryston Manufacturing (4) 65
97 Newkirk Road North
AAA AMPEX Richmond Hill, Ontario L4C 3G4
AMPEX MASTER TAPE 7R-1800' 350 Canada Carver Corp. (5) 12
AMPEX MASTER TAPE 7R-1200' 3 00
10th' EMPTY REEL AND BOX 3 50
7 EMPTY REEL AND BOX 75 NASHVILLE RECORD PRODUCTIONS WILL PRESS Dahlquist (6) 27
Shipping 3.50. Russell Kacir 1058 Oakview Dr. Cleve- HIGH QUALITY PURE- VINYL RECORDS FROM YOUR
land, OH. 44143 216-442-2467 TAPES, SEND FOR SAMPLE RECORD AND PRICE
LIST. ALSO FINEST DISC MASTERING. 469 CHESTNUT dbx (7, 8) 2, 24
ST., NASHVILLE TENNESSEE 37203
CASSETTES CUSTOM CUT to your length with or without
boxes minimum order 50 Quantity Discount Send 1.00 for
Denon (9) 43
price list to ZipCode Co. Tape Dept. P.O. Box 1210 Mel- MISCELLANEOUS
bourne, Florida 32901
FANTASTIC AQUARIUM FISH. Filters. Medicines. Discwasher Coy. IV
OPEN REEL TAPE-Mostly Ampex, used once, unboxed, -25%. Catalog 50c (Refundable). 313-627.2877. Aqua -
unspliced. 1800' 50 Reels; $65.00. Sample; 52.00, 3600' discount, 33518 Mill, Ortonville Mich. 48462.
10 Reels; $25.00. Sample: $2.50. New, premium C-60 Dolby Laboratories 15
cassettes, Sample: $1.00. AUDIO TAPES BOX 9584-S
ALEXANDRIA VA 22304.
HOW TO ANSWER BOX NUMBER ADS Jensen (11) 13
SERVICES When replying to an Audio Box Number Ad,
please use this address Box No. Uo Audio
STYLUS RETIPPING-DIAFIX 99, Maple Stream Rd. 1515 Broadway, New York, N.Y. 10036 Kenwood 88
Hightstown, N.J. 08520. 609-443-5765.

McIntosh (12) 25

I l IFuInternational Mark
Sales a Repairs
FONS CQ30 Finest belt drive electronic
1

transcription
QUALITY AUDIO/GREAT PRICES
Get the best in advice, service and price! Meridian (13) 89
turntable. $200 without tone arm. Send $1.00 for our catalogue and handbook.
Send money orders to:
LORD BROTHERS P.O. Box 6430, Denver, Michelob 46 & 47
Colorado, 80206. 303-534-7590. Will ship same day. 1'licAtxli( )A(his( n; Iiic.
Full price $200.00 shipping Included.
Or send 25%- balance plus shipping COD.
Ninety day warranty.
Box 6202, G.R., MI 49506 616-451-3868
Visa and MasterCard gladly accepted.
- Mission (14) Coy. III
Colorado residents add tar.

Nakamichi (15) 42

Ortofon (16) 25
Music Lives Here
Ears Nova presents high quality music Quad (17) 4
reproduction equipment in an environ-.
ment which is relaxed and comfortable.

..
Pioneer (18) Cov. II & 1
With care and integrity we will help °

build a playback system in your home

that is uniquely satisfying. 1,
Sansui (19) 11
_,.

,
1:.
BANG & OLUFSEN BEDINI BRYSTON
Shure Bros. (20) 6 & 7
CONRAD-JOI INSON DAVID BERNING l bdf
DENNESEN GRACE KEF LINN DISC
- rr- .,/.,
[!,4, - © .
PLAYBACK (tunttable-hnuann cartridge) Signet (21) 14
LINN ISOBARIK MISSION MITCI IELL 1. ¡
` r. >l
`
,:' '. .
COTTER NAD NAIM AUDIO. I'SE 'QUAD I,f
REGA PLANAR ROGERS SI IAI IINIAN Ii I Speakerlab Inc. (22) 24
OBELISK SNELL SUPEX TI IIEL VPI ° -r
. , a
T
(5

,, r,
-J 1

Stanton (23) - 19

Ca12S Novi] E. I-..,11,,-;'`e!% a:. -,,,..::.--,i101-__ -+] TDK (24, 25) 3, 19

749 Middle Neck Road, Great Neek New York 11024 (516) 466-5674
Shipping free in Continental U.S. Technics (26) 5

82
 BEHIND THE SCENES
BERT WHYTE

Ihave been working with digital re-

cording since 1977 and have a
profound respect for the entire
spectrum of digital technology. Its im-
plications are enormous and, barring
the unforeseen, it will most likely be the
technology of the future. However,
there is no doubt that it will be quite a
while before we attend the interment of
analog audio. The continuity of analog
audio is reflected in the proliferation of
new products shown at the WOES in
January, especially in the area of play-
back equipment for phonograph re-
cords.
Dynavector introduced two new
moving -coil phono cartridges, the 17D
and the 23R, as successors to their
Diamond Karat and Ruby Karat car-
tridges. The top -of-the -line 17D fea-
tures a diamond cantilever only 1.7
mm in length, said to be the world's
shortest and less than a quarter the
length of conventional cantilevers. The
shortness of the cantilever and the ex- . /1 .

treme hardness of the diamond are ,i.1, -I

intended to afford shorter transit time
and near -perfect phase coherence of cartridge which operates at a tracking other times, receivers are not my cup
frequencies traveling from the stylus force of 1.4 grams. A special boron of tea. However, even the modestly
tip to the coils. The result is claimed to cantilever and improvements in the priced receivers offered at the show
be improved clarity, faster transient re- moving system result in an effective tip have superior performance over the
sponse, and considerable attenuation mass of only 0.25 mg and a vertical best preamps and amplifiers available
of unwanted resonances. In fact, the compliance of 35 microdynes per only 12 to 15 years ago. The horse-
resonant frequency of the 17D is well centimeter. Frequency response ex- power race in receivers is long since
above 70 kHz. Because of this, no rub- tends to 60 kHz, so anyone who still over, with the emphasis now on lower
ber damping is necessary in the mov- plays CD -4 quadraphonic discs could distortion and a multiplicity of features.
ing system and performance should presumably use this new model. Receivers have become increasingly
be unaffected by aging or extremes of Sony has introduced the XL-88D, a complex, and the new champion in
temperature and humidity. By using a very special moving -coil cartridge, as this respect is probably the Pioneer
smaller cantilever, Dynavector re- part of its prestigious Esprit audio sys- SX-8. This 100 -watt -per -channel stereo
duced the size of the diamond, and tem, but it is also available separately. receiver has a microcomputer control
this has brought down the cost from Like Dynavector's 17D cartridge, the center which handles almost every
the $1,000 of the previous model to XL -88D features a diamond cantilever, conceivable function. There are no ro-
$650. The 23R cartridge uses ruby for although the stylus and cantilever are tary knobs or mechanical switches on
its cantilever. Here, too, the 2.3 -mm integrated. Incredibly, the stylus and this unit, because the microcomputer
long cantilever is much shorter than cantilever are laser -machined from a affords control of volume, loudness,
that used in the earlier DV Karat Ruby single diamond shaft, and Sony claims muting, balance, function selection,
model and in conventional cantilevers. faster transit time and transient re- bass and treble levels, and AM/FM
The same benefits afforded by the 17D sponse because of this integrated de- tuning. The SX-8 will even commit
accrue to the 23R. However, the reso- sign. Another advance is the use of a these functions to a memory circuit. If
nant frequency is at 50 kHz, and the figure -eight shape for the coils, result- the likes of "Space Invaders" turns you
transit time through the cantilever is ing in about twice the output voltage of on, this kissin' cousin quite likely will
slower. Its price is $310. conventional coils. The XL -88D is also satisfy your yen for flashing lights and
Many audiophiles like a number of capable of tracking at 1.5 grams, less automatic functions, all for a mere -
the features of moving -coil cartridges, than most moving -coil cartridges. The $800.
but one drawback, the requirement for use of so much diamond in the stylus/ In the area of esoteric electronics,
tracking forces in the range of 2 to 2.5 cantilever assembly is bound to be ex- Audio Research kept the faith for tube
grams, has caused some to reject this pensive, so the $1,000 price is not at aficionados by offering a monster 400 -
type of cartridge. At the WOES, Denon all surprising. watt mono amplifier. At $4,000 each,
introduced the DL 207 moving -coil As have quite candidly admitted at
I this adds up to $8,000 for the most

AUDIO/MAY 1982 Illustration: Marc Yankus 85

Although digital will likely
be the technology of the
future, it will be quite a
while before we attend the
interment of analog audio.

expensive stereo amplifier extant. t

801 heads for the new "F" units, and
Since these units are built in the frigid the exchange price is around $300 per
clime of Minnesota, perhaps they do speaker.
double -duty as space heaters! It is apparent from the foregoing re-
Threshold has brought out a new ' j(1 port that there were quite a number of
line of preamplifiers and amplifiers worthwhile new audio products at the
with updated versions of their highly WCES. It is equally apparent that as
regarded Stasis technique. The amps this new audio equipment enables us
do not employ overall corrective feed- to reproduce music with ever higher
back, and the Stasis circuitry main- fidelity, the need for superior program
tains a constant current/constant volt- material is more compelling than ever.
age linear state of operation. Thresh- I was reminded of this when ran into
I

old has applied the Stasis technology Larry Vittes of Brilly Corp. at the B & W
for the first time in preamplifiers with room. Larry is a veritable storehouse of
the $2,000 FET-One and $1,000 FET- information on phonograph records,
Two. The new Stasis stereo amplifiers especially of the imported variety, and
are the 75 W/channel ST -150 at his company brings many interesting
$2,000, the 150 W/channel ST -300 at foreign label records into this country,
$1,800, and the 250 W/channel ST-500 Meridian three-way speaker. not the least of which is EMI from Eng-
at $2,700. Top-of -the -line is the mono- land. A number of knowledgeable
phonic ST -1000, a brute of an amplifier was one of the best sounds at the audiophiles seek out original EMI re-
putting out 500 watts per channel! This WCES, with the fine electronics doing cordings from England rather than buy
behemoth has 250 -watt power transis- justice to the smoothness and accura- the same recordings pressed in this
tors -72 per module-and allows a re- cy of the Quad electrostatics. country by the affiliate Angel. Almost
serve capability of a staggering Speakers that would want to listen
I invariably, the EMI original is superior
125,000 watts! Slew rate has been in- to a second time were rare at this to the Angel pressing in terms of sur-
creased to 80 volts/microsecond. show. Soundlab had a pair of big face noise, dynamic range, and total
Acoustat, known for their fine elec- $6,000 full -range ES speakers which fidelity of reproduction. Evidently An-
trostatic loudspeakers (at least 15 were very clean and smooth, with gel indulges in some "processing" a
pairs of which were used for demon- good low -frequency response. KEF's which appears to include compression
stration by manufacturers at the Jock- mid -price 303.3 is a very clean and and equalization of the sound on their
ey Club), has now introduced an un- well-balanced loudspeaker. Dick She- cutting master. There is much great
usual power amplifier, the Trans Nova hinian of Shahinian Acoustics had one classical music with superb perform-
Twin 200, priced at $995. Using pat- of the better sounds with his new ances and splendid sound on the EMI
ent -pending MOS-FET technology, three-way Eagle speakers which, at label, but purchasing these records in
with a new feedback circuit, this unit is $450 each, had plenty of punch and this country has been a problem. Orig-
rated at 200 watts per channel. Six great clarity with good imaging. The inal EMI recordings have been import-
power MOS-FET output transistors are companion subwoofer, Diapason at ed by several companies on a rather
used per channel, allowing high cur- $295 each, afforded a solid, tight bass spotty basis, and they are difficult to
rent capability. There is a great deal of extension that shook the room. In the obtain even in New York. Now Brilly
new technology in this amplifier, said Anglo-American rooms, the new larger brings in new EMI releases and, most
to combine the advantages of tubes "active" three-way Meridian speaker importantly, catalog items on a regular
and transistors. I heard the Acoustat produced some very impressive basis. Distribution in key cities in the
Four speakers produce some lovely sound, with exceptionally good imag- U.S. is being set up, but in the mean-
sounds when driven by the Trans ing. Plenty of clean output here, with time, the EMI originals can be ob-
Nova, especially in string tones. 150 watts on the woofer and 75 watts tained directly from Brilly (155 North
Other amplifiers of note at the show each on midrange and tweeter. Details San Vicente Blvd., Beverly Hills, Cal.
were the Krell 200 W/channel amplifi- were sketchy, but the price is tagged 90211; 213/658-5304). If you desire,
er, which is claimed to be pure Class at $3,900 the pair. Also on hand was Larry Vittes will send a list of "audio-
A and is now in production, and Be- the B & W 801F, with the "F" standing phile demonstration quality" EMI re-
dini's 100 W/channel version of their for Fibrecrete. The midrange/tweeter cordings, a group which contains
Mega Hertz amplifier series. head assembly is now made of poly- many sonic blockbusters. Two out-
Spectral demonstrated their new styrene lined with glass fiber rein- standing records are Sir Malcolm Ar-
DMC-10 in Las Vegas, a preamplifier forced concrete, affording more than nold's Symphony No. 2 and English
which uses power MOS-FET transis- 10 dB reduction in resonance, with no- Dances (ASD 3353) and Music of the
tors and is extremely fast. Teamed with ticeably better transient response, bet- Four Countries (ASD 2400) which in-
a 150 W/channel Class A amplifier of ter clarity and definition, and even an cludes the rousing overture, "The
their own design, this setup was used improvement over the vaunted 801's Wreckers." These recordings will give
to drive a pair of Quad ESL 63 electro- imaging and depth perception. Deal- even the most sophisticated audio
static loudspeakers. The combination ers will arrange exchange of the old system a real workout! Gl

86
 AUDIOCLINIC
JOSEPH GIOVANELLI

Continental Divide up to frequencies as high as 100 kHz. A. It may be that the original prob-
Q. While stationed overseas, I pur- I have measured the output voltage of lem stemmed from running your ampli-
chased a European model of an AM/ such transformers for possible use in fier at nearly full output; the 3.2 -ohm
FM stereo receiver. After setting up my projects just like yours and found that impedance is less than the 4 -ohm
equipment back in the United States, I many of them could produce in excess minimum recommended load for many
noticed that, although the receiver has of 1,000 volts of audio frequency sig- amplifiers. This added load will result
a voltage selector switch for use at 117 nal with a relatively modest 15 watts of in increased heat, leading to prema-
volts, there is no provision to switch drive. These transformers were typical- ture failures. suspect that the output
I

from 50 to 60 Hz. Will the use of this ly 8 to 10 kilohms plate -to -plate. stage blew, taking the power trans-
receiver with 117 V, 60 Hz current It is possible that manufacturers of former, but we will never know for sure.
damage it in any way?-Geddes Mac - transformers may produce units ,spe- I also get the impression that, at
Laren, Cascade, Md. cifically designed for your application, times, you have two channels connect-
A. You do not need a means of so checking their catalogs should be ed in parallel. This arrangement might
switching between 50 and 60 Hz most helpful. Newark Electronics, in well damage your amplifier. With some
powerline frequencies. It is safe to say particular, offers a wide variety of program material, one channel would
that a device which has been de- transformers and they have offices in try to drive the other channel in addi-
signed to operate at 50 Hz will also major cities across the country. tion to driving the speakers. The im-
operate properly at 60 Hz. The power pedance presented to the output
transformer will run slightly cooler If at First You Don't Succeed ... stage could be very low at such times.
when operated at 60 Hz than at 50 Hz. Q. I have a problem with my solid- Unless there are specific provisions for
However, it may not be possible to state amplifier. This unit replaced a doing so, never parallel the two out-
operate a device designed for 60 Hz dual 35 -watt tube unit, and about three puts. suspect that this is what led to
I

at 50 Hz. Where a power transformer months after purchase, it failed. the trouble the second time.
runs very hot at 60 Hz, chances are The service center that repaired the The large speaker may also be sus-
that the transformer will burn out if run amplifier said the power transformer pect. Although you state that its im-
at 50 Hz. Sound reproduction will not burned out. The transformer was re- pedance is 16 ohms, you also say that
be affected, regardless of powerline placed, but about three months later the woofer has an unknown imped-
frequency. the amplifier failed again, showing the ance. Should it happen that the woof-
While what have said holds true for
I
same symptoms as before. er's impedance is really 8 ohms or 4
tuners, amplifiers, preamplifiers and I have a multi -speaker setup con- ohms, the impedance of your total sys-
other signal -processing equipment, it trolled by a six -speaker selector tem at low frequencies will not be 16
may not be true of tape recorders, switch. During the first three months of ohms, but 8 or 4 ohms or even less.
turntables, or other devices containing operation I used a combination of Thus, the amplifier may have been
motors. speakers just as I had done with my loaded more heavily than you suspect,
tube amplifier. The lowest impedance both in your original installation and in
Tracking Down a Step -Up used was 3.2 ohms, and most of the the installation which ultimately pro-
Q. I am making my own electrostat- time I was operating with about a 5 - duced the second amplifier failure.
ic speakers and have questions about ohm load. When the unit failed, I was Tube equipment is much more for-
step-up audio transformers. How is it running a pair of 8 -ohm speakers and giving of overloads. Solid-state equip-
possible to have a transformer step up a 16 -ohm large speaker connected to ment is often more forgiving of being
an audio signal to a sufficient voltage one of the channels. operated without a load.
to drive an electrostatic speaker and The large speaker is home built,
not have the transformer cause distor- consisting of a horn midrange, tweeter Ratio Rationale
tion and loss of frequency response? I and a 15 -inch woofer, impedance un- Q. I recently read an old review of
would like my electrostatic speakers to known, with two crossover networks. the Bose 301 speakers. However, the
cover the entire audio range and When the amp came back from be- efficiency was stated as 3.9 watts in-
therefore need a transformer which will ing serviced the first time, I never op- put for 94 dB at 1 meter. All current
permit this. Where can I get such a erated it with less than 5 -ohm loads, speaker reviews state acoustical out-
transformer or how can l make one?- just in case that was the problem. I put referenced to 1 -watt input. Is there
William Hird, Jr., Pawtucket, R.I. also changed the connections of my a simple conversion formula to use?-
A.I suggest using a good output large speaker system. By using the Denis A. Bryan, New Orleans, La.
transformer, the kind used with tube six -speaker selector switch, I paral- A. At 1 -watt input, the Bose 301
amplifiers, between the plates of the leled the two channels. When the am- would produce about 6 dB less than it
output stage and the loudspeaker sys- plifier failed the second time, I was would when driven by the 3.9 watts
tem. This transformer will have the running only the large speaker at low
center -tapped winding needed for a volume.
If you have a problem or question about audio,
balanced speaker system. I have used this same setup for al-
write to Mr. Joseph Glovanelli at AUDIO Maga-
Good output transformers have al- most 20 years with my old equipment zine, 1515 Broadway, New York, N.Y. 10036. All
ways been capable of producing a and never had a problem.-Richard letters are answered. Please enclose a
very wide frequency response, even W. Curdo, Ayer, Mass. stamped, self-addressed envelope.

AUDIO/MAY 1982 87
 you mentioned. Therefore, if the
speaker, as reviewed, would produce
IÇenwood presents 94 dB SPL, with 1 watt feeding into it, it
would produce something on the order
a system whose sum of 88 to 89 dB SPL at 1 meter. Please
is greater than note that the 1 -meter distance must be
held constant for all measurements. All
any single component part. this assumes linearity of output with
input.
To make conversions of the kinds
you need, set up the 1 watt in a ratio to
the power used in the old measure-
ment, 3.9 watts. The ratio is, of course,
1117=i 3.9 to 1. If you look this up in a decibel

h-.:_
.
... ..+.......
table, such as is given in many refer-
ence books, you will find that the dB
difference is 6 dB. This 6 dB is then
simply subtracted from the 94 dB SPL
e
measurement obtained with 3.9 watts
input, and the result is 88 dB.
O O V
v 11lr,
t
May The Force Stay with You
Q. Is it necessary to adjust the anti-
skating and/or tracking forces when
playing records which have been
treated with a record preservative?-
Richard Torres, APO N.Y.
A. There is no reason to adjust ei-
ther the anti -skating or tracking force
because of the use of a record preser-
vative. Even if such adjustments were
necessary, they would be small and
would require the use of very special
test records and test equipment to
make accurately.

Right and Wrong Angles

Q. I just mounted a cartridge in a
turntable recently purchased and I no-
ticed that the headshell, cartridge, and
the stylus don't appear to be set up
properly relative to the record. When
viewed from the front, the stylus isn't at
90° to the disc, and the top of the
headshell isn't parallel to the record's
I
surface.
Is this normal? I thought that the sty-
lus should be at a 90° angle when
a, viewed from this perspective and that
the headshell should be parallel to the
Up to now, the only way for a serious listener to put together a truly great record plane. Is this a defect?-James
audio system was one piece at a time. Eggerman, Seattle, Wash.
Which is why we created the new Kenwood R -1l Audio Purist System. Five A. It is true that the cartridge should
of our most advanced components, matched to perform in perfect harmony. be parallel to the surface of the disc
We think it's the first complete system the purist can listen to seriously. or, to put it another way, the stylus
KA-900 hi -Speed Integrated Amplifier. Features Kellwood's exclusive Sigma should be 90° with respect to the sur-
Drive technology to literally force speakers to behave in perfect synch with face of the disc when viewed from the
amplifier output. angle you mention.
KT -900 AM/FM Stereo Tuner. With touch -activated Servo -Lock tuning for
incredibly accurate, drift -free FM reception. Apparently there is something
KD-670 Fully Automatic Turntable. With high -inertia, quartz-PLL direct drive wrong with the way the shell is mount-
system for precise speed accuracy. ed inside the arm, or perhaps the shell
KX-900 Random Access Memory Cassette Deck. Computerized RAM memory itself was not made correctly. Try to
search control gives complete, automatic access, in any order, of up to 15 cuts
per cassette side, or even the entire side. gently turn the shell; if this doesn't
LS -1000 2 -Way Loudspeakers. Active planar radiator system and unique double work, then try a new one. If the new
baffle construction to eliminate vibration and resonance. shell does not solve the problem, the
R-11 Chrome and Glass System Cabinet. Custom -designed system cabinet arm will probably have to be replaced.
displays all components behind stylish tempered glass doors.
Failure to remedy this will result in
added record wear and degraded
KENWOOD'Audio
purist channel separation. bl
riot all Kenwood dealers carry these products. For the Audio Purist dealer nearest you, wi ile Kenwood,
P.O. Box 6213, Carson, CA 90749 88 AUDIO/MAY 1982
 1i

/MERIDIAN TAKES HIGH FIDELITY BEYOND THE /MUNDANE

Meridian is a unique line of audio compo- unique modular configuration. The modular
nents produced by 3oothroyd Stuart Limited of design provides unusual update capability
London, one of the most prestigious design and maximum system flexibility.
teams in the world. Now in America, Meridian
signals the arrival of a new, beautiful and Meridian InterActive Loudspeakers reflect
unconventional approach to high-fidelity. the world's most sophisticated active loud-
speaker technology and embrace some of the
Meridian products are designed to create most crucial elements of human psycho -
an utterly believable musical experience in acoustics. Each loudspeaker includes two
your home. Meridian's quest for excellence, built-in power amplifiers and special time delay
demands engineering of the utmost sophisti- circuitry which ensures coherent arrival of
cation, but excessive complexity of no redeem- bass and treble information. Despite their com-
ing benefit to the user is carefully avoided. pact, elegant proportions, Meridian InterActive
Meridian form is always dictated by function, Loudspeaker systems can produce substan-
and yet, the components never fail to blend tial deep bass energy. Their slimline styling
gracefully into the most tasteful home settings. actually helps improve dispersion and enables
Above all, Meridian products represent excep- them to reproduce music with astonishing
tional value and deliver performance which, multi -dimensional clarity and detail.
in many respects, is unsurpassed at any price. Meridian products have received rave
reviews from hard -to -impress audio critics
Meridian electronic components are dis- around the world. Find out why. Write for more
tinguished by their appealing visual design, information, review reprints, and the name
absolutely state-of-the-art performance, and of the authorized Meridian dealer nearest you.

/MERIDIAN AUDIO OFAMERICA

A division of Misobanke International Inc.

Dept. AU -582, P.O. Box 653, Buffalo, NY 14240

Models shown: Preamplifier/Control Unit 101, FM Tuner 104, InterActive Loudspeaker M2

Enter No. 13 on Reader Service Card

VIDEO SCENES
BERT WHYTE

Last month in my report on video

activities at the 1982 WOES in
Las Vegas, gave an overview
I

of developments in the videodisc field

and pointed out some of the problems
encountered by both the laser disc
and CED camps. As write, it is just
I

slightly over a month since the show,

and, unfortunately, in this short period
problems in the videodisc industry
have grown. There is little doubt that
the pressures of the current recession
have exacerbated the situation.
It appears that Pioneer is undergo-
t
ing a period of retrenchment and con-
solidation. The updated Pioneer Laser -
Disc player which was to have been
equipped with CX noise reduction,
among other refinements, was not in-
troduced at the WOES. Now the word
is that it has been "postponed indefi-
nitely." For another thing, apparently
the new higher quality LaserDiscs from
Pioneer's Japanese plant will not
reach the U.S. market as soon as an-
r
ticipated. As for RCA's CED videodisc,
I reported on its various problems, in-
cluding that projected sales for the
CED players were below target by
more than 50%. This was particularly
disappointing to RCA because it was
felt that a videodisc player priced just
under the "magic" $500 dollar point
would have no substantial trouble in
the market. Currently, some of New of a cautious marketing decision. will
I really new advanced technology, but
York's more flagrant discounters are keep my eye on this ongoing video- at the WOES a pair of interesting pro-
offering CED SelectaVision players for disc saga. In the meantime, a JVC jection TV systems caught my eye.
$279, and there is said to be consum- spokesman reports that the scheduled The Mitsubishi VS52OUD, a 50 -inch,
er resistance even at that figure. This June 1982 introduction of their VHD one-piece unit with the projector
is quite astonishing, as a little simple videodisc player is on target and it will mounted in a pull-out drawer, is
arithmetic will show. Assuming the be launched with appropriate fanfare. I among the first projection systems to
dealer gets a good 40% discount, his was also pointedly reminded that the feature facilities for stereophonic
cost for the unit would be around VHD player will also play AHD digital sound. This Mitsubishi set is equipped
$300, so one is hard put to believe the audio discs. Apparently, unless there with two 10 -watt audio amplifiers and a
dealer is selling the player for a profit. is an official EIAJ decision to adopt the pair of two-way speakers. There is also
Of course, there is the old dodge of Sony/Philips CD disc as the standard provision to connect outboard speak-
featuring such a dramatically discount- for digital discs, JVC intends to market ers for greater stereo separation, and
ed product as a "lost leader" with the their AHD digital disc. This would give the unit features audio and video in-
expectation of recouping losses purchasers of the VHD player a dual- puts for connection of VCR and video-
through disc sales. However, since purpose machine which conceivably disc players. With a screen brightness
New York dealers are not known for could make selling the entire VHD con- of over 120 lumens, it has the brightest
their magnanimity these days, RCA cept more attractive. picture of any integrated projection TV
must be offering the dealers even Projection TV was supposed to flour- system have seen. Price is around
I

more generous terms and one won- ish in 1981, but it didn't meet expecta- $3,800.
ders what the break-even point is for tions, though sales figures were com- Henry Kloss usually has some inter-
RCA. On top of this, we have yet to see fortably ahead of 1980. While more esting ideas for projection TV, and his
any SelectaVision discs from MGM/ companies got into projection TV, new Novabeam Model Two from Kloss
CBS, and because there don't appear many of their offerings were OEM Video reflects his innovative concepts.
to be any technical problems, one models with a certain "sameness." The Model Two is essentially a porta-
would have to assume this is the result There hasn't been much in the way of ble projection TV system that weighs

90 Illustration: Rick Tulka

 E - ® I

Aw.cJí
i
SUBSCRIBER
SERVICE i

Place Label Here

i

MOVING?
Please give us 8 weeks advance notice.
Attach label with your old address, and
write in new address below.

The Kloss Video RENEWING?

Novabeam Model Two Check box below and attach label with
60 lbs. and opens to a height of 301/2 correction marked. if any.
With the advent of the Sony Profeel
inches when in use. The Model Two component TV system, and others of
uses the Novatron tubes, much like similar design, we will need a whole SUBSCRIBING?
those used in the highly regarded new category of components to inter- Check box and fill in coupon. For gift
Kloss Model One. These tubes put out face the various elements between subscriptions attach a separate sheet
over 200 lumens, which is very bright audio and video systems. Kenwood
indeed, and in fact is brighter than the has taken the first step in this direction
screen in most movie houses. Unique- with their KVA502 50 -watt audio/video Send Audio for year at $13.94 I

ly, the Model Two is designed to pro- amplifier. This $400 dollar unit also
New subscription O Renewal
ject its picture on a flat white wall, so performs multi -interconnections for
there is no screen as such. Its relative- VCR, videodisc, and even standard hi- Payment enclosed Bill me
ly low price of $2,000 (including re- fi sources. It has a built-in r.f. converter
Outside the U.S. add S6.00 per year. Payment must
mote control) is possible because the and a built-in video dubber and en- Iaccompany order.
Model Two is set up as a monitor. In hancer to provide sharper viewing
other words, there is no TV tuner; ei- quality on dubbed tapes. It also has a Name (Please Print
ther a component TV tuner or the tuner denoiser circuit which works on the
in a typical VCR must be used. The audio track of video tapes, and in ad- IAddress
1
Model Two is set up four feet from the dition, there is a phase -shifting circuit city
wall used for viewing. It is recommend- which manipulates the mono TV sound
State Zip
ed that the room be darkened, in spite signal and converts it to a sort of 52SS5
of the high brightness level, so that full "pseudo -stereo" to present a broader For faster service call toll -free any business day.
brightness will be maintained even for sound stage. criticized a "cheapie"
I
7:OOA.M.-7:00P.M. Mountain time.
i
those viewers sitting off axis. The model of this kind of device some
question obviously arises: What if you months ago, mainly because that firm 800-525-9511
don't have a white wall? The wall may was blatantly proclaiming their device on Colorado 303-447-93301
be colored or even wallpapered, but if would convert mono sound to stereo- i
Audio and other direct mail advertisers
the wall is patterned you might consid- with no qualifying "psuedo" or any- take great care to send information about
er using a standard home movie or thing else. For the burgeoning num- products and services only to those
slide projection screen. But be bers of videophiles who are sure to i people interested in them. Products and
warned: Most of these are of the glass - become involved in the new compo- services offered to our readers in the past
beaded variety, and as with slides the nent TV systems, this Kenwood unit have included merchandise and publica-
projected TV picture will be softened, should prove to be a boon. predict tion offers. We believe the distribution of
I i
such information is of benefit to our
diffused, and lose sharpness. One al- we will soon see more equipment of
subscribers but we do respect the wishes
ternative is to use an appropriate size this type. ál of any subscriber who does not want to
piece of white plasterboard rigged receive such promotional literature.
with wire and hung like a picture. Pro-
i
i
Should you wish to restrict usage of your
fessional photograph supply houses Addendu m name simply check here
sell large rolls of "background paper," In the April issue, the photos of
I Please attach a mailing label in the
i
or "seamless," available in plain white. The Plasmatics on pages 40 and 41 indicated area and mail to address below.
If you want the very best, Leica Cam- were shot by Ebet Roberts.
Audio
era Co. makes a slide screen with a
1255 Portland Place

J
surface called "Blankana White."
P.O. Box 5318

AUDIO/MAY 1982 91 L immait

Boulder. CO 80322
111~i Ilig~ ~NS
 WHAT'S NEW IN VIDEO

`_ __ _
Bush Video Center
e The Model CE -1220
combines the look of fine
traditional furniture with a
design specifically tailored
to handle VCRs and
videodisc players. Finished
in oak vinyl veneer, the unit
features a roll -out shelf for i:
the VCR or videodisc
player and a slip -in area for
19 -inch TV units. The
storage area has both disc
dividers and a step -type
shelf, while hidden heavy-
duty casters provide ease
of movement. Overall _-_--_
>1: dimensions are 50 inches
high by 30 inches wide by
193/4 inches deep. Price:
$239.95.
Enter No. 111 on Reader Service Card
Panasonic three picture tubes has its
Projection TV own lens to provide sharp
The CinemaVision Model color and high contrast in
CT-4600 adjusts color normal room lighting.
quality from station to Separate bass and treble
Discwasher Video Cables station automatically and is controls afford higher
Two cables, designed to "cable -ready" for direct quality audio, and video in/
reduce interference and hook-up of 35 cable out and left-right audio in/
breakdown, are offered in channels, in addition to 12 out jacks are provided for
75 -ohm to 75 -ohm or VHF and 70 UHF channels. use with VCR and
300-ohm to 300 -ohm "F" Its washable screen videodisc players. Price:
type N connectors in 1.5- measures 45 inches $3,499.00, including remote
meter lengths. With gold diagonally, and each of the control.
flashing for secure contact, Enter No. 112 on Reader Service Card
the connectors feature the
firm's Studio Shield for
interference protection.
Price: $10.95 each.
Enter No. 110 on Reader Service Card

CAS6EiE tE M4ili-, 1.11

G .S: f0

3§ E
'I^
u
l - r
ttt nuu _ u _ t_ .do (dudu n. duce.. K.wdu

Sony Videocassette loading, high-speed picture settings up to two weeks

Recorder search, multi -speed ahead. The linear tape
The Betamax SL -2500 is bidirectional playback, and counter reads out hours,
an ultracompact unit only freeze-frame capability. An minutes and seconds of
17 inches wide by 3'/e electronic tab market both recording and
inches high by 13% inches indexing system allows playback time as well as
deep, and weighing only random access to nine tape time remaining. Price:,
203/4 pounds. Special positions, while the $1,500.00.
features include front programmable timer allows Enter No. 113 on Reader Service Card

92 AUDIO/MAY 1982
 and when you switch over to the 770's
you will smile and say...it's magic
because there is nothing like it
under the sun!

I
. 41P
tl. .
e

Enter Ib. 14 on Reader Service Card

Mission North America, 89 Galaxy Boulevard, Rexdale, Ontario, M9W 6A4 Canada
Mission Elect-onic s George Street, Huntingdon, Cambridgeshire. PE 18 6BD England
 Protect Your
Stereo System
and Maintain
Its Sound
The D4- Record Care System
The highly active D4 fluid and unique di-
rectionally fibered pad removes harmful
microdust and debris that can cause
permanent damage to your record-
ings.

- ----- f

y
The SC -2 -
Stylus Care
System
SC -2 fluid with the
exclusive nylon fibered
brush effectively loosens
and wipes away stylus contamination,
a major contributor to record wear.

.
The Discwasher®
D4 Record Care System
and the Discwasher SC -2
Stylus Care System are
available separately or
together as DiscSet.M.
iSCWUL.? er®
PRCDUCTS TO CARE FOR YOUR MUSIC
1407 North Providence Road, Columbia, MO 65201 USA
For a free copy of our "Guide To Record Care" write to Discwasher. A VISION OF JENSEN an ESMARM Company