DECEMBER

1950
35:

A1
' .. 11A"\ 1i f Am "\i',/
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 Here's What These

Have Done for You

... to lower the cost and improve
the quality of magnetic recording tape

7úz4í with 704e with

?eta with attractive resale
discounts
red oxide tape
on paper base
liberal discounts
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-enabling radio stations, recording s udios and - and a nation -wide network of helpful, - offering recordists a high -quality tape de-
educational institutions to save as much as cooperative sound-equipment distributors in signed to match the characteristics of the vast
33í1a% on the cost of magnetic tape. principal cities from coast to coast. majority of recorders, at lowest possible cost.

7Gzdt ?era with

?c t e to give extra footage
with on standard
supercalendered all- aluminum size reels
kraft paper base 7 -inch reels
Audio's "full meas- n it
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ure" of 1250 ft., 2500
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rT 4% more tape

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70t4tt to guarantee output ?Gust

uniformity of
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76"/ 70tdt to produce
a splice -free
2500 ft. roll
to develop the
safe -handling
1k. package for professional -size rolls
- to
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T guarantee that the - permitting tape on hub to be transferred to

t/r db from reel to reel
tape is all one piece, with
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or from turntable without danger of spilling -
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lQ the entire length.
and simplifying the attachment of side flanges.

r AUDIO DEVICES, INC.

These "Firsts" are proof of the continuous research
and development that keeps Audiotape foremost in the 444 Madison Ave., New York 22, N.Y.
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That's why you can always look to Audio for the COMPANY

latest developments in the recording art. A trial order ADDRESS

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r-
Successor to I _D1Q ide Range

,dU D 1
Established 1917

N lu afe
Reproduction
UDII
UREAU

ENGINEERING' IRCULATI S

For the Home

C. G. McProud, Editor Ladd Haystead, Publisher

Luci Turner, Production Manager S.L. Cahn, Advertising Director
Lucille Carty, Circulation Manager H. N. Reizes, Advertising Manager

Editorial Advisory Board Representatives

Howard A. Chinn Sanford R. Cowan, Mid -West Sales
342 Madison Ave., New York 17, N. Y.
John D. Colvin James C. Galloway, Pacific Coast Sales
C. J. Le9el 816 W. 5th St., Los Angeles 17, Calif.
J. P. Maxfield Technical Book 6. Magazine Co.
297 Swanston St., Melbourne, C. I.
George M. Nixon Victoria, Australia

Vol. 34, No. 12

Triad Hi- Fidelity
CONTENTS DECEMBER, 1950
Amplifier Kit...
Audio Patents-Richard H. Dorf 2 The Triad HF10 Amplifier, from a circuit
designed in cooperation with J. N. A.
Letters 4 Hawkins, prominent sound engineer, has been
Technicana 8 produced especially for those who like to
build their own sound reproducing systems.
Editor's Report 10 When used with the high quality speakers,
Design, Construction and Adjustment of Reflexed Loudspeaker Enclosures tuners, turntables, and pick -ups now avail-
able, a system can be built that will meet
-David W. Worden 15 the requirements of even the most critical
A Continously Variable Loudness Control-E. E. Johnson 18 music lover. The Triad HF -10 kit supplies
the basic engineering and solves the most
Rapied Attenuator Calculation Using the Vector Slide Rule difficult mechanical layout problems. With
-A. E. Richmond 19 18 db. of feedback, affording a reflected
Determining Unknown Impedances in Transformers-Louis H. Hippe 21 impedance of less than 2 ohms to the 16 ohm
speaker tap, within 1 db. linear frequency
Audio Design Notes response from 20 to 20,000 cycles, and with
Resonant Loudspeaker Enclosures -Bob H. Smith 22 a minimum of distortion over this same
range, the HF -10 is worthy of use in the very
finest home music installations.
AUDIO engineering society SECTION
Convention Report 23 *Features...
The Audio Fair Review 24 Wide Frequency Response: Within one db.
Audiana -High Fidelity-Lewis S. Goodfriend 34 from 20. 20,000 cycles.
Low Distortion: Less than 2% from 50.18,000
Record Revue-Edward Tathall Canby 36 cycles at full 10 watts output. Less than 1%
Pops -Rudo S. Globus 36 from 20-20,000 cycles at 5 watts.
New Products 50 Heavy Speaker Damping: Reflects less than
2 ohms to speaker from 16 ohm tap.
Employment Register 59 Equalization: Continuously variable to +12
New Literature 61 db. or -- 30 db. at 50 or 8000 cycles.
Annual Index 62 High Cain: 74 db. from crystal microphone
or radio receiver; 96 db. (equalized for
Advertising Index 64 magnetic pickup) through preamplifier.
Low Noise: Hum and other noise 60 db. below
COVER maximum output. A -741 equalizing coil has
70 db. shielding.
Mr. Price Fish of CBS General Engineering Dept. is seen with two of the Beautiful Appearance: Cray hammertone
Fairchild Plc -SYNC Magnetic Tape Recorders installed at the WCBS -TV chassis with ivory silk -screened lettering,
Studios (New York). This % -in. tape equipment is the heart of the matching gray Triad transformers.
CBS -TV "Mag -Neg -Tic" TV recording technique of reproducing
sound from the tape in synchronism with motion picture *Prices
film. A Fairchild Plc -SYNC installation at the Hollywood Hí10 kit -- Includes S -31A, R -14A, A -741, and
-10X Triad transformers, chassis, prints and
CBS Studios includes recording and production C
assembly instructions. list Price $39.85
editing facilities for the preparation of magnetic HF -10A kit -Same as above except for sub-
tape sound and TV picture film recordings stitution of HS.81 output transformer for
S31A. List Price $57.75
for release from New York on the
video network. See your dealer or write for Bulletin HF -10,
and Catalog TR-49A which describes
the complete Triad line.

AUDIO ENGINEERING (title registered U. S. Pat. OR.) b published monthly at 10 McGovern Ave., Lancaster, Pa.,
by Radio Magazines. Inc.. D. S. Potts. President: Henry A. Sehober, Vire-President. Executive and Editorial Offices; 342
Madison Avenue. New York 17, N. Y. Suh;cripUon rates -United States. U. S. Possessions and Canada, $3.00 for 1
year, $5.00 for 2 years; elsewhere $4.00 per year. Single copies 35e. Printed in U. S. A. All rights reserved. Entire
eoRtents copyright 1950 by Radio Magazines, Inc. Entered as Second Class Matter February 9, 1950 at the Post 2254 Sepulveda Blvd.
Mee. Lancaster. Pa. under the Act of /*larch 3, 1879. Los Angeles 64, Calif.

AUDIO ENGINEERING DECEMBER, 1950 1

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 FOR
ABSOLUTE TOP QUALITY
... at Popular Prices!
W

Ag
REK -O -KOT
TURNTABLES
RICHARD H. DORF"

CoNDENSER MICROPHONES (or should we V, is connected across the output of the

say "capacitor microphones" these cathode follower V,. Since it is in phase
days ?) ate among the best available with the V, cathode output voltage the total
when they are designed correctly. They feedback of the circuit is greatly increased.
were used for a long time in broadcasting For the circuit shown the effective input
and are now reappearing in improved ver- impedance (at the grid of V,) is
sions. One of the headaches connected with 1
their use, however, is that a "head" ampli- R, =1
fier must almost always be placed within a G
few inches of the microphone because the where G is the incremental gain from input
CONTINUOUSLY VARIABLE SPEED small microphone capacitance would be to output. If Ri is to be large, as is desired,
RECORD PLAYER swamped by the capacitance of leads of G must be very high, close to unity. And
Plays without "wow " t any setting within its any length. if the gain of V, is infinite then
speed range of 25 -100 R.P.M. the indispensa- One solution, of course, is the use of a
ble turntable for TV, AM, FM broadcast sta-
tions, dance studios, musicians, singers, record
cathode -follower at the end of a cable, G= µ
collectors and wherever audio- visual methods since ordinary cathode followers can de- µ -1
are employed. Plays through any amplifier crease the effective input capacitance by as The insertion of V, makes for very large
radio TV set, or phonograph. Operates on 50 much as 100 times. Even this is not suffi-
or 6b cycles. The only turntable to use in incremental gain, which makes the net feed-
areas of varying voltages and frequencies or cient, however, for with the conventional
with portable power plants. pentode cathode follower using a 0.5 -meg. back also very great. Thé effective input
CVS -12 llustratedl $84.9$ NET
grid resistor-without any cable to speak of impedance thus is very much higher than
CVS -12P 111 portable ease with for a conventional cathode follower and the
16" Dual -Stylus Pickup $124.95 NEC between microphone and grid -and a 25 -1.40
microphone the lower cutoff frequency (3 effective input capacitance is correspond-
db down) is about 150 cps. Higher grid ingly reduced.
Famous resistor values make for unstable operation. The inventer's experiments and calcula-
Models The "supercharged" cathode follower il- tions show that with the 25 -µµf microphone
T-12Hand lustrated in Fig. 1, however, lowers the cut- working into a conventional pentode ampli-
fier with a grid resistor of 0.5 meg., the
T-43H lower -frequency cutoff is 13,000 cps. With
an ordinary pentode cathode follower and
Recommended for use the same grid resistor, cutoff is at 150 cps.
with Hi -Fi amplifiers
and speaker systems be- With the supercharged circuit the response
cause of low noise and rumble level, which is is flat to 20 cps. Addition of a shunt grid
maximum -50 db. The only II"
dual speed capacitor of 1,000 µµf, such as might be
turntables equipped with Hysteresis synchron-
ous motors, thereby meeting standards for present due to a length of connecting cable
speed regulation and "wow" content specified between microphone and grid, resulted only
by the N.A.B. Instantaneous speed shift en- in a loss of 1 db below 10,000 cps.
gages either 78 or 33%, R.P.M. idler without
stopping turntable or removing disc. The supercharged circuit, therefore, is in-
T -12H
T -43H
78 - 33'5
45 -33!5
$119.95 NEC
$119.95 NET
creased by a factor of about 300. Points A
and B must be at the same d.c. potential.
Interchangeable idlers for third speed optional
That at A is adjusted by breaking the con-
nection between the points and setting R,.
Model LP -743 Heterodyne Oscillator
Three -Speed
One of the common troubles in beat -
12" Transcription frequency test oscillators is "pulling" be-
Turntable tween the oscillators when they approach
the same frequency. The result is that the
Designed to meet the growing beat value is usable only down to a certain
demand for a good turntable minimum frequency, below which the oscil-
which is priced between the Fig.
deluxe models and ordinary phono motors .
1
lators suddenly lock. The usual solution is
and dimensioned for easy replacement of ob- separation of the oscillators, thorough
solete motors in average consoles. Instantane- off to 20 cps and even allows a 1,000-µµf shielding, and sometimes by adding buffer
ous speed changes - 78, 45, 33yß R.P.M... .
length of connecting cable to appear between isolation between each oscillator and the
without stopping turntable or removing
disc $54.95 net microphone and grid with negligible effects. mixer.
It is the invention of Paul S. Veneklasen Ivor R. Worsley of London, England,
*As attested to by America's top and is assigned to the United States as rep- has designed a beat -frequency oscillator for
authorities on sound equipment. resented by the OSRD. The patent number which the necessary space and cost have been
Reprints on request. is 2,508,586. reduced and which has a special arrange-
The first 1620 in Fig. 1, V,, is a conven- ment to reduce the effects of pulling between
tional cathode follower except that there oscillators. The patent, No. 2,510.165, is
is also a plate load resistor R,. The plate assigned to International Standard Electric
Asl to see REK -O -K UT Products at Music
Stores, Radio Parts Distributors nod Audio -
output of V, is fed in the conventional way Corp. The circuit is shown in Fig. 2.
Visual Dealers, or Write for Literature. to the grid of V,, whose plate load resistor The factor making for the reduction of
is R,. The grid of Vs is directly coupled to
the plate of V,; V, is a second cathode fol- space and cost is the use of a triode -pentode
REK -O -KUT CO., Inc. lower. The output-that is, the cathode -of tube, such as the 6F7 (the inventor did not
mention this tube). The triode section of
38 -01 QUEENS BOULEVARD the tube is used for the fixed oscillator and
LONG ISLAND CITY 1, N. Y. Audio Consultant, 255 West 84th Street,
New York. [Continued on page 47]

2 AUDIO ENGINEERING DECEMBER, 1950

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 -7vees ALTE(
MICROPHONES
V

21B (lapel)
639* 1 218 (chest)
*Formerly i-eonufocluicel by Western Electric Co., Inc.

AMPLIFIERS

Pf

AMPLIFIERS AND SPEAKERS ILLUSTRATED ARE A FEW OF THE WIDE SELECTION AVAILABLE

LOUDSPEAKERS a NFY

400B

755A* 7548*
6008 6048
The Voice of the Theotre
7288* 800

-' *Formerly manufactured by Western Elec/ric Co., 'nc.

REPRODUCERS 1161 N. VINE ST., HOLLYWOOD 38, CALIFORNIA

161 SIXTH AVENUE, NEW YORK 13, NEW YORK

9A* and 98* 109 Reproducer Group*

*Formerly manufactured by Western Electric Co.,

PEERLESS TRANSFORMERS
AUDIO ENGINEERING DECEMBER, 1950 3

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 We CHALLENGE the performance
of any 12" speaker with a
LETTERS
Ground Loudspeakers
Sir:-

It was with great interest that we found

in AUDIO ENGINEERING, October 1949, an
PVVYY1, article on Ground Loudspeakers.
We avail ourselves of this occasion to
draw your attention to the fact that ground
i
loudspeakers have been developed and in-
ROYAL EIGHT" stalled in the Olympia Stadium in Berlin
by Telefunken as early as 1936. A descrip-
tion of the ground loudspeakers, the per-
SAYS PERMOFLUX'S MR. HY-FY formance of which was fully satisfactory,
is to be found, for instance in the period-
ical Telefunken-Hausnlitteilungen No. 79
(1938) pages 66 and 67.
bnias raacvouer

r TELEFUNKEN
Gesellschaft fiir drahtlose
the oh sj r Telegraphie m.b.H.
8T8mof/x Berlin SW 61,
Mehringdamm 32 -34
that it Proves
co
tess of with. Choral Recording
sizee or Price. the est speak__ Sir:
For a long time there has been a con-
Hi -Fi Fans the country over troversy between engineering balance and
have accepted this challenge -have the proper acoustical balance of orchestral
asked their "soundman" for a demonstration -then, and choral groups. Unfortunately this con-
troversy stems from the failure of engineers
have installed a Permoflux Royal Eight" in their and conductors getting together on in-
own audio equipment. Now they possess a magnifi- tel pretation of individual selections.
cent speaker at a reasonable price which repro- We are currently specializing in large
duces sound with superior sensitivity and fidelity as a capella and choral groups including the
famous St. Olaf Choir of Northfield, Minn.,
well as tonal qualities which YOU too will want to the Concordia Choir of Moorhead, Minn.,
add to perfect the excellence of your own equipment. The Notre Dame Cathedral Choir of Paris
(France) recorded in the cathedral itself,
Send for beautifully illustrated catalog No. J201 to The Cathedral Choir of the First Presby-
address listed below for further information in- terian Church of Hollywood, and many
cluding a full page devoted to correct baffling of others. These choirs consist of about sixty
voices, and we have found in many instances
Royal Eight" and other size speakers. that it is necessary to rearrange the music fff
for proper recording balance. There is a
vast difference between a concert arrange-
Cheek These Exclusive &pure ment and a recording arrangement, which
few engineers or musical directors recog-
nize. As a result there is always the tend-
Permoilux's exclusive slotted, treated cone ency to run into shattering or complete
gives the following results which makes loss of balance on high -volume passages.
their speaker comparable to any 12" speaker: It is practically impossible to record con-
secutive thirds in women's voices and main-
Soft- suspended cone and extra -large spider tain proper diction or definition. How-
provide extended low frequency response. ever, if a simple expedient of inversion is
Deeper, curvilinear cone greatly extends applied to the music itself the results are
very gratifying. The foregoing, of course,
high -frequency response. is just one of the many problems to be met
High permeance yoke increases output. on individual selections, and impossible
to get across to some musical directors for
8 ohm -10 watt voice coil. it is treading on sacred ground, so to speak.
Any good director can usually be interested
Big speaker performance in a small frame in the laws of acoustics in recording if prop-
allows smaller more economical baffle. erly approached. Here the engineer should
be thoroughly versed in musical termin-
Here's BIG SPEAKER performance-clean, ology in order to get his point across. A
brilliant, musical reproduction but at a sen- good approach is to point out that film,
PERMOFLUX
ROYAL EIGHT" WITH
THE FAMOUS
sible price level. Your- customers will ap-
prove and buy. Order onefor test today
your money refunded if you do not agree
- radio, and phonograph recording has a dis-
tinct technique of its own to be met and if
the director is given an opportunity to see
BLUE CONE
that it is truly outstanding in performance. what happens when these problems are
DEALER'S PRICE not met, he will correct the situation.
Inquire abort Permoflnx's Complete On the surface, this report may sound
$1050 Royal Blue Line 6' to 15" Speakers ambiguous, but the writer has spent years
in research and study from the viewpoints
AL -MONEY BACK GUARANTEE of musicianship, scoring, and engineering,
and has given many courses in colleges
PERMOFLUX CORPORATION throughout the country in acoustic balance.
4902 W. Grand Ave., Chicago 39, III. It is a highly specialized field of research,
Please send PermoBue Royal Eight.
(81.8 -1)
and is extremely fascinating. To both the
Check Money ord. nclosed engineer and the musical director it opens
horizons in music that have not been
Name of Favorite Distributor touched.
Your Nome -
Eddison von Ottenfeld, Mus.D.
Address Vonna Records,
12129 Hartsook,
Lc7 Zone State
North Hollywood, Calif.

4 AUDIO ENGINEERING DECEMBER, 1950

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 b
va/aBALL
ßv1/ oY
r 4Fj HIGH Q TOROIDS for use in
Loading Coils, Filters, Broadband
OLENU0ER CORES Carrier Systems and Networks-
for frequencies up to 200 K C

For high Q in a small volume, characterize( by low eddy current

COMPLETE LINE OF CORES
and hysteresis losses, ARNOLD Moly Permalloy Powder Toroidal
TO MEET YOUR NEEDS Cores are commercially available to meet high standards of physical
and electrical requirements. They provide constant permeability
* Furnished in four standard
over a wide range of flux density. The 125 Mu cores are recom-
permcabilities -125, 60, 26
and 14. mended for use up to 15 kc, 60 Mu at 10 to 50 kc, 26Muat30to75kc,
and 14 Mu at 50 to 200 kc. Many of these cores may be furnished
* Available in a wide range of stabilized to provide constant permeability (±0.1%) over a specific
sizes toobtain nominal in- temperature range.
ductances as high as 281
mh 1000 turns. r 1 Mm, (n.u,n.( under hamming viri un p,anrvuá ,rr!h Western Electric e,rupunv.

* These toroidal cores are given

ARNOLD ENGINEERING COMPANY
various types of enamel and
varnish finishes, some of
T
which permit winding with SUBSIDIARY OF ALLEGHENY LUDLUM STEEL CORPORATION.
heavy Formex insulated wire
147 EAST ONTARIC STREET, CHICAGO 11, ILJNOIS
without supplementary insu-
lation over the core.
2
AUDIO ENGINEERING DECEMBER, 1950 5

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 Type RT-11A
TAPE RECORDER sec
(2 dbi at 1 5 is sec
50 to 15,000
c.p.s. o
cP s' (= type
50 to 7,500 board, plug-in om
bon
PLETE_ with mctor ploybock
COME-with amplifier,
plug- over supply
recording amp NAB reels, P
wo stcndord
plifier, shelf.
and panel and

Push -button operation

Extremely accurate timing

with synchronous capstan
-

Smooth ta runs -via

"Ptah re guides
A

Automatic tape lift for fast

"forwards" and rewinds

Microswitch "tape-break"
contro -no tape spills, snarls A

Remot? control of all

operai ons
I

Plug -ir amplifiers

Interlo:k system for vital

controls

3 heacs- Erase- Record-

Playbcck ,

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 PUSH -BUTTON CONTROL puts tape recording
facilities at your fingertips.
r

NEW
/Yig/íFide/ity Tape ReCorder
-thee fierest money can bey!
This is the world's And with synchronizing equipment ...
for which pro-
foremost professional vision is made ... timing can be held to 0.3 second on
tape recorder, the one any length program!
recorder that has every- Many more important features, too.
RomoN Control Unit, MI-119411. Availablo mho.
thing- accurate timing,
low wow and flutter, plus quick starting. All operations Self-centering "snap -on" hub adaptors assure perfect
are push- button controlled. All functions -including reel alignment with either RMA or NAB reels. A com-
cueing -can be extended to remote positions. plete system of control interlocking virtually eliminates
the possibility of accidentally erasing a program -makes
Designed for applications where operating TIME it impossible to snarl or "spill" the tape. "Microswitch"
and RELIABILITY are prime factors, the new Type control stops the machine if the tape is severed -applies
RT -11A Recorder offers a number of exclusive features. reel brakes instantaneously. The tape automatically lifts
For example, you can start or stop the tape in 0.1 second. free and clear of heads during fast forward runs or re-
You can jockey the tape back and forth for cueing with- winds. Tape alignment over the heads is held precisely
out stopping. You can rewind a standard 101h -inch reel by a floating casting. Starting wow is reduced to the
in one minute! vanishing point.
A synchronous capstan makes it practical to hold BY ALL MEANS, call your RCA Broadcast Sales
recording time to ..21/i seconds in a 30- minute run. Engineer for complete details. Or mail the coupon.

RCA Engineering Products,

Department 71,
Camden, New Jersey
Send me more information (including price and delivery) on
your new De Luxe Tape Recorder, Type RT -11 A.
AUDIO BROADCAST EQUIPMENT
.RAD /0 CORPORATION of AMERICA NAME
ENGINEERING PRODUCTS DEPARTMENT. CAMDEN. N.J.
In Canada: RCA VICTOR Company l.n.;tad, Monlraal
ADDRESS

STATION OR FIRM

CITY STATE

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 ('pZC ,Aauj
v/- adi9
c

- aë`

'exciting current
test Another in a series which
Tape -Movie Synch Motion Picture Tape
demonstrates The accurate synchronization of 1 -inch Loren L. Ryder reporting in the Inter-
magnetic tape recordings with motion pic- national Projectionist, September 1950,
ture films is covered by Walter T. Selsted states that large savings in the production
PEERLESS in J. Soc. Mot. Pict. Tel. Eng. for Septem- costs of motion pictures are being effected
ber 1950. The equipment was designed to through the use of magnetic recording film
work with the Ampex model 300 and con- systems. Production, scoring, and dubbing
transformer sists of a synchronizing signal generator recordings are largely magnetic-to- magnetic
and differential speed
superiority! detector and power
amplifier. The syn-
Audio and 60- Modulated
18 Kc.Carrie from 18Kc.R ection Filter
Playback O tput
chronizing signal is
an 18 -kc tone mod- Input 600n

I.
Audio Output 600n.
II II
ulated by the sixty
cycle voltage supply IB Kc. 60- Audio Synch. Motor Synch. Motor
for the motion pic- frigid mounted) Rotors (free Stotor)
ture camera. The 18Kc. 60- 10 Watt N2 DC
18 K 60- 'u -c'
audio input and the
modulated 18 kc are
Selective-Lrmiler
Amplifier 60- Detector 10 Watt
mp
60- a Pot.

then recorded on the From115 V 60-

PrOjeCtorSupPly
tape.
tD C
In the playback the
18 kc is filtered from Auto

PEERLESS S -240 -0
the audio output and
fed to an 18 -kc limiter
Synch.
Indicating
Meter
o Manual V F.0
50 Wait
Power
Amplifier
60- á,115V,
50 Watt
To Playback Capstan
amplifier, 60 -cps de- Manual
Drive Motor
Since the 1949 Audio Fair, Speed
tector, and 60 -cps 10-

ïl
Control
comparative square wave watt power amplifier.
tests on transformers shown This approximately
all over the country have 60-cps signal drives a rigidly mounted syn- with only the negative for release printing
demonstrated Peerless chronous motor, the rotor of which drives having a photographic sound track.
superiority ...Now Peerless the rotor of a second synchronous motor In practice, two recorders, each loaded
emphasizes another very with a free stator. The second stator is fed with 2500 feet of film, are assigned to each
important property of from the 60 -cps supply driving the projector. production, eliminating loading delays and
transformers as shown by If there is a difference between the output minimizing run -outs. The recorders are
a>_a the "exciting current test."
from the tape and the projector supply, the fully automatic, being turned over and
Comvl,tar No 1
"killed" by the cameraman as he operates
t.t tt.ttrte An output transformer's second stator will rotate. The second stator
the camera. Synchronization is also auto-
ability to deliver plenty of operates a d.c. potentiometer controlling a matic. When
trouble appears the equipment
clean, low- frequency power variable-frequency oscillator. The oscillator is exchanged.
(the goal of every music output is near 60 cps and is corrected by Such use of magnetic film has eliminated
Competitor No. 2 lover) is inversely propor- the two -motor differential system to syn- much of the film costs formerly required in
NEI tional to the amplitude and chronize the tape. The tape drive capstan dubbing and editing, since the magnetic film
distortion of its exciting is driven from the oscillator through a 50- is never cut and may be used indefinitely.
current. watt amplifier.
Australia Audio
PEERLESS superior low -
Competitor No. 3
frequency power handling ca- Phono -Tape Adapter The importance of high quality audio
equipment in radio broadcasting is the sub-
pacity is illustrated in these The Italian journal Radio for September ject of an article by J. E. Teller in the
comparative oscillograms. 1950 carries the description of an assembly Amalgamated Wireless Technical Review
Write for complete data. to adapt a phonograph-radio into a tape re- (Australia) Vol. 8 No. 4, June 1950. In
corder. this 30 -page paper Mr. Telfer discusses the
Using no motors, the unit derives its fundamental requirements of studio design
power from the phonograph drive spindle and broadcast audio facilities. Various
PEERLESS through a variable speed system. The tape pieces of equipment are described and il-
lustrated. Many of these are of Australian
speed is about 15 in. /sec., and the tape is
Electrical Products driven in both directions to provide a total
design and others are American.
Competitor No. 4 One important phase of the discussion is
recording time of 15 minutes. The radio - the comparison of the land line facilities
Division phonograph amplifier is used for both record in the United States and in Australia. In
and playback, while the assembly contains the U. S. the four major networks employ
1E1 Sixth Avenue the bias oscillator. The general claim for 130,000 miles of telephone circuit, while in
New York 13, N.Y.
the adapter is its low cost, which is made Australia only 8,000 miles of land line are
9356 Santa Monica Blvd. possible by the elimination of any motors. used. However, the Australian lines cover
Beverly Hills, Calif. The quality is said to be adequate for music. [Continued on page 481

AUDIO ENGINEERING DECEMBER, 1950

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r

A SIMPLE
ACOUSTIC CALIBRATOR
for
Your Sound -Level Meter

THE G -R Type 759 -A and -B Sound - ohm potentiometer is -. uired as an

Level Meters have built -in calibrators output control if the o;illator is not
for their electrical circuits; no means are equipped with such a coisrol. An ac-
readily available, however, to check the
to measure the volta
i
curate vacuum-tube volt ter is needed
across the
condition and calibration of their as-
sociated microphones. calibrator.
The new Type 1552 -A Sound -Level The level at which tlt: calibrator is
Calibrator is introduced as a simple, used is such that its op3ation is not
convenient and accurate method for affected by ordinary bsck2round noises.
calibrating both the microphone and This simple device is an :d:al means not
the over -all system. Essentially it con- only for assuring consiste:cy of calibra-
sists of a small, stabilized and rugged tion and locating defec :ivemicrophones,
loud -speaker mounted in an enclosure but also for inter -stag ardization of
which fits over the microphone in the several sound level meters
sound -level meter. The acoustic coupl- The audio oscillator, v -t voltmeter and The Sound -Level Calibrator was
designed for use primarily with
ing between the calibrator and the potentiometer shown in the set-up photograph
the Shure Brothers Type 9898
microphone is fixed and can be repeated are standard G -R items. If you need these microphone as used on the G-R
accurately. Any audio oscillator with a or if you do not know about the complete Type 759 -B Sound -Level Meter.
It cal be used on other microphones
harmonic content of less than 5 %, line of G -R noise and vibration measuring such as the Brush BR2S Sound Cell
supplying 2 volts at 400 cycles, can be and analyzing equipment. WRITE FOR THE Micsaphone and the Western
used to operate the calibrator. A 500- "NOISE PRIMER ". Ele.-ic Type 633 -A Dynamic
Microphone.

TYPE 1552 -A Sound -Level Calibrator $4'.00

Cambridge 39,
GENERAL RADIO COMPANY Massachusetts
90 West St., New York 6 920 S. Michigan Ave., Chicago 5 1000 N. Seward St., Los Angeles 38

DECEMBER, 1950 9
AUDIO ENGINEERING

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 EDITOR'S REPORT

MONITORING SYSTEMS ents' booth in many cases, and it is usual for the number
of persons in the monitoring room to be restricted.
TIIE IMPORTANCE of monitoring systems is often Where such restrictions cannot be imposed, it seems
overlooked by the design engineer or by the pur- desirable that a location be chosen for the loudspeaker
chasing department when a recording studio instal- where changes in room acoustics will have a minimum
lation is being laid out. It is not enough that just any effect. This suggests that the speaker be mounted for-
loudspeaker system be located somewhere in the moni- ward and above the mixing console, where it would be
toring booth, with the hope that it is capable of repro- impossible for anyone to come between it and the en-
ducing the material so that it is possible to determine gineer or the producer.
accurately the balance of an orchestra or between the If a recording system is set up with variable equaliza-
orchestra and a singer, for example. Monitoring sys- tion available to the engineer, it seems logical that the
tems -from the point where the amplifier is tied to the tap -off for the monitoring system should follow that
recording system clear to the acoustic output of the equalization. Between the tap -off point and the record-
speaker into the air-are of tremendous importance, ing cutter, the only equalization that should be permitted
and influence the quality of the entire product. -in addition to the decompensation required for the
pre -emphasis-is that which is fixed or semi -fixed for
As an example, assume that a monitoring system is
compensation of the cutter, or for processing losse,..
deficient in bass. In order to obtain well balanced repro-
Similarly, no variable equalization should be permitted
duction, the musical director may insist upon additional in the monitoring system, except that which is adjusted
equalization of the low frequencies or a change in micro- with the aid of a soldering iron. If level adjustments
phone placement, with the result that the product has are available at the console, some loudness compensation
too much bass if reproduced on a standard system. This should be added automatically. Since the final product is
will not show up on playback because the same system dependent on what is heard in the monitoring room at
is used both times, and the increased bass level on the the time of recording, the monitor system is of prime
recording will appear to be correct when reproduced importance, and should receive at least as much atten-
on a bass -deficient system. tion as any other part of the installation.
Obviously, the same condition can obtain with high Both amplifiers and speakers should be set up on the
frequencies, but an even worse loss may be caused by basis of a standard playback curve, and should be most
the presence of an untoward number of people in the carefully maintained in accordance with those curves if
monitor room during the recording. If a microphone there is to be any standardization of the product. The
setup is made with only the musical director and the Standard Playback Curve recently adopted by the
engineer in the monitoring room and the balance is ap- Audio Engineering Society is ideal for the electrical
parently correct, it should be apparent to anyone that circuits. The choice of speaker, housing, and location
the influx of a number of people who presume to have should be made after thorough tests, and after the
an interest in the recording will most certainly affect acoustic output of the speaker in its selected location is
the acoustics of the room. Changes in balance to carefully assessed. Only by attention to every detail can
compensate for changes in monitoring conditions will be a consistent product be expected from any recording
reflected in the recorded result. studio.
For a variety of reasons, radio stations provide a cli- Beyond that .. .

alp Editur0 anò ftiff

of Aixdiu Enginueri ng
tit* gun a urrg Merry Tiristmas
an.d a liäppg Nrui War.

10 AUDIO ENGINEERING DECEMBER, 1950

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 I,Ii1111//111]
stylus /
pickups
ACKNOWLEDGED BY ENGINEERS
AS THE FINEST AVAILABLE!

The superiority of diamond styli to

styli of other materials has been thor-
oughly established.
Exhaustive tests prove resistance to
abrasion of diamond styli is many
times greater than that of the next
hardest material.
Great resistance to abrasion means a
minimum of record wear, longer rec-
ord life and concert hall quality music
all the time.

Pickering pickup cartridges, equipper with dia-

mond styli, may cost mor? than cartridges with
other stylus materials but the useful life of a
diamond stylus cartridge is so much greater
than is represented in the cost diferential that
from all practical viewpoirts- length of service,
listening pleasure, and record life -
Pickering
diamond stylus cartridges cost less.
The diamonds used in Pickering cartridges are
whole diamonds, not splints. They nre well cut,
gem -polished to high nc:uracy apd precisely
mounted to ride free and smooth in the groove
walls, recreating all the fine tones rind modu-
lations pressed into modern recordings.
The supremacy of Pickering Diamcnr Cartridges
is unchallenged. They meet ever} exacting re-
quirement of the most :-itical reccrd playing
enthusiast who insists upon the Toast musical
reproduction; who wants the ren ism and bril-
liance of a live performan:e and rho is nnxious
to maintain the useful life of his record collection.

PICKERING & COMPANY, Inc.

Oceanside, L. I., N. Y.

DECEMBER, 1950 11
AUDIO ENGINEERING

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 P R O D U C T S C O R P.

1650 BROADWAY, NEW YORK 19, N.Y., PLAZA 7 -0780

del Nù&? gi4Gai,/rs,faw

MAGNETIC TAPE RECORDERS

for
Write
Comprehensive

Illustrated AUDIO & VIDEO PRODUCTS CORP.

IECHNICAM 1650 BROADWAY, NEW YORK 19, N. Y. Plaza 7 -0780
BROCHURE

No obligation

12 AUDIO ENGINEERING DECEMBER, 1950

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 HIGHEST

FOR

Precision Magnetic Tape Recorder

for HIGH - FIDELITY Professional Use

The Jury of Award for the 12th

Annual Electrical Manufacturing
Products Design Competition se-
lected Ampex Model 300 as an out-
standing achievement in product
development, design and engineer-
ing.
We at Ampex were more than
delighted to find our name in the
winning group which included four
other manufacturers receiving simi-
lar top -flight awards.
During the past several months
Model 300 has, performance -wise,
just about revolutionized magnetic
tape recording standards through-
out the world of entertainment as
well as in scientific research. Write
for Model 300 specifications and
the address of your nearest Ampex
distributor.
FOR FULL DETAILS OF AWARD read Oc-
tober (1950) Product Design Issue of
Electrical Manufacturing Magazine.

HIGHEST ACHIEVEMENT
jn
INTEGRATED DESIGN!

OF

II3X.tARD
MODEL 300
S*O
Ak5

rHE GREAT RATO-c'

ADO-

MAGNETIC TAPE RECORDERS

AUDIO ENGINEERING DECEMBER, 1950 13

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 Testing for sound lost between
telephone receiver and ear. Many
subjects were used in these tests.

How to compensate for

a curl ... and add to
our telephone value

Bell scientists know that the telephone is handset. The tube extended through the
not used under ideal laboratory conditions. receiver cap into the ear canal. As sounds
There is never a perfect seal between re- of many frequencies were sent through the
ceiver and user's ear. A curl may get in receiver, the tube picked up a portion, and r
the way, or the hand relax a trifle. And sent it through a condenser microphone to
ears come in many shapes and sizes. So an amplifier. That sampling showed what
some sound escapes. the ear received.
Now, sound costs money. To deliver more As a result, Bell scientists can compen-
of it to your ear means bigger wires, more sate in advance for sound losses -build re-
amplifiers. So Bell Laboratories engineers, ceivers that give enough sound, yet with
intent on a thrifty telephone plant, must no waste. That makes telephone listening
know how much sound reaches the ear, always easy and pleasant.
how much leaks away. They mounted a It's another example of the way Bell
narrow "sampling tube" on an ordinary Telephone Laboratories work to keep your
telephone service one of today's biggest
bargains.

BELL
TELEPHONE
LABORATORIES
Working continually to keep your telephone
service big in value and low in cost.
Automatic recorder plots sound pressures dèveloped in
the ear canal at different frequencies.

14 AUDIO ENGINEERING DECEMBER, 1950

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 .20 ediy#t, eoi2it2uclic41 aid 4djusifneni al
Reflexed Loudspeaker Enclosures
DAVID W. WORDEN

Practical procedure in the planning for a reflexed speaker cabinet,

with constructional hints which will simplify the work of building.

UNI.IKE TILE EXPONENTIAL HORN, present, the acoustical resistance being for more than 20 deg. or so around 60
multiple speaker, and large or "in- supplied by sound absorbent lining inside cps. The phase shift is due rather to the
finite" baffle arrangements, the re- the box and by curtains of burlap or nature of the resonator, which may be
flexed enclosure is a resonant device. If similar material stretched across the considered as a closed organ pipe with
the resonant frequency of the enclosure port. The impedance of such a parallel lumped constants; the enclosed air, V,
is made equal to the frequency of the tuned circuit is maximum at resonance. must always be a node and the air, M,
loudspeaker cone resonance, a cancella- The speaker is also a resonant device. a loop. (Note that no overtones are
tion of resonant effects occurs and the The moving parts (cone and voice coil) possible, in contrast with the organ
result is smooth response down to a fre- and their suspension are mechanically pipe.) One quarter wavelength then must
quency somewhat lower than the loud- equivalent to a weight acted upon by exist between node and loop, which
speaker would otherwise reproduce. a spring. Such a system behaves like a means 90 deg. phase shift. This is suffi-
Furthermore, the speaker diaphragm series resonant circuit, which shows cient to give an additive component, even
works into a favorable acoustical im- minimum impedance at resonance. Hence if the signals from port and cone are
pedance, which means increased effi- if the two systems be connected together equal; however, near resonance, the
ciency, reduced distortion and improved and adjusted to resonate at the same fre- stiffness of the enclosure limits the cone
transient response. The damping char- quency, the impedance "peak" of one amplitude to a very small value, and the
acteristics of this enclosure are inher- fills the "valley" of the other and the radiation is almost entirely from the
ently rather poor, but a liberal use of combination tends toward constant im-
sound absorbents -necessary for good pedance over a broad range of frequen- Rs
cancellation of resonant peaks -results cies. If the resistive element, Q, of one
in excellent damping. A further advan- of these circuits is adjustable, the can-
tage is its compactness and flexibility of cellation of resonant effects can be
physical shape and size. brought about more closely. o
The speaker resonant frequency deter- The simplified equivalent circuit of
mines the low- frequency cutoff of the the combination of speaker and enclo-
system, since there is naturally a limit as sure is essentially as shown in Fig. 2. Sgnol -.I.-Loudspeoker -- ..-Enclosure
to how far the response of the system Source

will extend below this frequency. Hence Phase Effects

the speaker should be chosen which has The question is often raised as to the Fig. 2. Simplified electrical equivalent
a low resonance; if response down to 30 phase of the signal issuing from the port of loudspeaker mounted in reflexed
cps is desired, the speaker should reso- relative to that from the speaker. The cabinet.
nate at around 60 cps or less. Hence for popular belief that phase shift in the port. Furthermore, the output of a loud-
best results 12- or 15 -in. drivers are pre- reflexed box is due to internal reflec-
ferred, although the performance of any speaker contains, near resonance, a
tions, and hence to greater path length, strong component at 90 deg. with respect
speaker will be greatly improved with a
properly designed enclosure.
The reflexed enclosure is nothing more
must be discounted in view of the fact
that -with the usual box dimensions
path length could not possibly account
- to diaphragm velocity, which would be in
phase with the enclosure output. Thus
the phase relations are favorable re-
nor less than a cavity resonator of the
gardless of the shape or proportions of
type developed by H. Helmholtz. Re-
the box.
ferring to Fig. 1, it consists of an en-
closed volume of air V coupled to the The large reduction in loudspeaker-
outside by means of a mass of air M in generated distortion is due to the re-
an open tube, or port. The magnitudes R striction of cone amplitude mentioned
of V and M determine the resonant fre- above. Henney1 shows the maximum
quency. The operation is analogous to distortion in an open -back cabinet of 43
that of a parallel tuned circuit. per cent to be reduced to a maximum of
Enclosed Cr .
12 per cent in a reflexed enclosure.
The volume, V, and the mass, M, of M (Irldur,ve)
air in the exhibit acoustical reactance (CopoUhve)
V This represents a reduction in distortion
(capacitive and inductive, respectively) of over 72 per cent.
just as do their electrical counterparts. Design Procedure
Also, similarly, the Q of the circuit is Lord Rayleigh presents the following
determined by the amount of resistance Fig. 1. Reflexed enclosure reduced to
Helmholtz resonator equivalent, with formula for the frequency of resonance
*Engineering Department, Consolidated electrical circuits corresponding to the "Radio Engineers' Handbook," 3rd. Ed.
Vultee Aircraft Corp. acoustic network. McGraw -Hill Book Co., New York.

AUDIO ENGINEERING DECEMBER, 1950 15

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 (Theory of Sound, Vol. 11), for an en- one times that of the speaker opening. herently stronger and will require less
closure of the type shown in Fig. 3. Past practice seems to indicate this material, the closer its shape is to a cube.
choice; at least, a number of successful To the calculated net volume, V, must
A enclosures have port areas within this be added the volumes of the speaker it-
f (1) range. The larger area is preferable since self, of that portion of the port which
2 r\11 (L + % V,r A)
it radiates more sound energy, but, if it projects within the cavity, and of any
is too large the internal dimensions of other objects to be located within the
where
the box may approach quarter wave- box. The dimensions corresponding to
f = resonant frequency, cps.
length, since the volume increases with the resulting gross volume will be in-
c= velocity of sound, in. /sec.
port area. The area of the speaker cone side measurements, and the thicknesses
r = 3.1416 may be computed from:
A = area of cross section of port, of the enclosure walls and lining must
d, be added in order to obtain the overall
sq. in. A' =rS(D? (3)
V = net internal volume of en- dimensions. The volume displaced by
closure, excluding volume of where the speaker may be estimated by com-
port, speaker, sound absorb- A' = speaker cone area, square puting the volumes of the cone plus a
ents, etc., cu. in. inches cylinder enclosing the magnetic struc-
L= port length, in. S = slant height of cone, inches ture. A table of approximate values is
D= diameter at outer edge of given below for convenience; however,
The velocity of sound is approximately cone, inches (do not include individual speakers vary greatly, and
13,560 in. /sec. at 70° F. Using this corrugations) actual measurements should be used
value, combining constants and solving d= voice coil diameter, inches whenever possible.
for V, the formula becomes : From here on, the following procedure
is suggested. Choose a value for A, say
4.657x10"A
V= (2) A = A' to begin with. Set L equal to the
f! ( L + .886 VA ) thickness of the material of the box plus
the absorbent lining, as this will be
The first step is to determine the de- easiest to construct, then solve for V. E

sign frequency, f, which may be done in z gi.71

Compare this computed volume with the
the following manner: with the loud- space available, or cabinet size desired; 6 10- 20 20 150-200
speaker in open air and connected to the 8 30- 60 38 100-150
and if it seems too large, either increase 70-140 70-100
output of an audio oscillator, vary the 10 60
L or decrease A or both until a satis- 12 100 -200 85 60- 85
frequency slowly from about 30 to 150 factory compromise is obtained. 15 200 -400 115 40- 65
cps. Note the frequency at which the
Box Shape
cone amplitude is greatest. The peak
may be rather broad; so run across Now a word as to the shape of the The actual shape of the enclosure, if
box : the only restriction is that the in-
it several times, noting the frequencies not dictated otherwise, usually develops
side lengths should be kept small in order
above and below the peak at which the in this fashion: the front face area is
to discourage air column resonances
diaphragm motion noticeably decreases, made large enough to accommodate the
and average these two readings. Bits of which may occur at frequencies where speaker and port comfortably, and its
such dimensions are equal to a quarter area computed. The gross inside volume
paper torn up and placed on the cone
wavelength. With the usual proportions,
may assist in observing the amplitude divided by the (inside) area of the
of the cone movement.
these resonant frequencies are high front face gives the required depth. The
enough to be readily absorbed by the frontal area, port depth, or port area
A better method, particularly with
lining of the box, but if the enclosure may be changed, if necessary, to adjust
small speakers, is to isolate the signal
were unusually long, trouble might be the depth to a satisfactory value.
generator and voice coil by means of a
encountered. Also, the box will be in-
series resistance several times the nom- An example may help to clarify the
inal voice coil impedance, and read the foregoing. Suppose a reflexed enclosure
voltage developed across the voice coil is to be designed around a 12 -in. speaker
with a good a.c. rectifier -type voltmeter. which shows cone resonance at 70 cps.
These readings may be plotted against The cone area [A' in. Eq. (3)] is com-
frequency and the resonant peak may puted to be 85 sq. in., and this value will
be read accurately from the graph. This be used for A in Eq. (2). Now, assuming
method is also the best for testing the 4 -in. plywood for the box and 4 -in.
completed enclosure. lining, L=1% in. for the first trial. The
Now that f is known, there remain an net volume as computed from Eq. (2)
infinite number of combinations of V, A is 8355 cu. in. Adding 200 cu. in. for the
and L which would yield the desired re- speaker gives a gross volume of 8555
sult. A value for A may be arbitrarily Fig. 3. Basic arrangement of ported cu. in.
chosen; it should be from one half to cabinet using a port of finite length. The area of the front is estimated as

16 AUDIO ENGINEERING DECEMBER, 1950

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follows : the long side of the port may within the box provided they are not af- Sude, top or bottom
be made approximately equal to the di- fected by the high pressures developed bof enclosure
ameter of the speaker cutout; this is insided the resonator. Output transform-
economical in space and balances the ap- ers and dividing networks may be Bock
--rj: e 2' strip glued to
top, bottom and sides
pearance. The diameter of the speaker mounted in the box, but amplifying panel

opening (and one side of the port rec- stages, for instance, might be subject to
tangle) is 10/ in. The other side of acoustical feedback if placed inside. Fig. 5. Construction detail for corners
the port opening is then 85/10/ = 8.1 Tweeter mechanisms should be well pro- of speaker cabinet.
in., or approximately 8/ in. (Great ac- tected from this pressure.
curacy is not necessary, since the reso- ments are being made, and fastened
the square root Adjustment Procedure down later. The easiest way to lower
nant frequency varies as
of the volumes, areas, etc., [See Eq. Install the speaker in the completed the frequency is to decrease the port
(1)]. Allowing 3 in. edge clearance and enclosure and screw the back into place. area, A, which may be done with strips
Connect an audio oscillator to the loud- of wood cut to fit along one side of the
2 in. between the speaker and port, the
port, the width being equal to the port
inside dimensions of the front will be speaker input, and adjust the signal to
depth, L. These strips may be fastened
(3+8/ +2+ 12 +3) = 28Y8 in. long by a comfortable level. Now vary the fre- in place with screws.
(3 + 12 + 3) = 18 in. wide (speaker di- quency through the range below 200 cps,
noting the frequencies of any peaks When the frequency has been cor-
ameter is 12 in.). The frontal area is rectly adjusted, the damping may be in-
(18) (28h) = 506 sq. in. and the depth, which may appear in the output. One of
creased by stretching porous cloth ma-
then, must be 8555/506 = 16.9 in. inside. terial (burlap, etc.) over the port open-
Allowing 1/ in. for the wall thickness These dtmens,ons ing. Experiment with various weights
used to compute
including lining, the outside dimensions vol me displaced and layers of cloth until the two peaks
become 313 x 21 x 19.9 inches. Suppose,
by port
just disappear. Too much damping will
now, that the front dimensions are sat- cause the single peak at speaker reso-
isfactory but the depth is too great. The nant frequency to appear.
port length L may be arbitrarily in- As an alternative to merely detecting
creased, say to 4 in. The volume, Eq. _I the resonant peaks by ear, a voltmeter
(2), now becomes 6639 cu. in. net; add- Fort may be used as described previously, and
the response curve plotted.
ing 200 cu. in. for the speaker and 289
cu. in. for that portion of the port tube
i

It may be advisable to recheck the fre-

projecting into the enclosure, measured Lmmg
quency adjustment after the system has
been in use for some time. Loudspeakers,
as shown in Fig. 4, the gross internal
particularly when new or recently re-
volume equals 7128 cu. in. The inside
Fig. 4. Reflexed cabinet appearance, coned, tend to show a lower value of
depth, then, is 7128/506 = 14.1 in. or 17.1 resonant frequency after a period of time
showing measurements to compute
in. outside. due to the cone suspension becoming
port displacement.
more pliable with use. The loudspeaker
Construction Notes resonance may always be found by
three conditions is likely to be en- blocking off the port and exploring with
The box should be very rigid in order
countered, as follows: the audio oscillator. The only peak
to resist vibration. All joints, corners,
which shows up with the port blocked is
etc. should be strong and tight, pre- 1. Enclosure frequency too high or too that due to the loudspeaker cone reso-
ferably reinforced with strips, and large low. Two large peaks appear ; one at nance.
panels should be braced. The back should loudspeaker resonance and the other
at enclosure resonance. One more requirement is that the
be attached with a liberal number of
2. Enclosure frequency slightly too high amplifying equipment used to drive this
screws so that it may be removed to speaker system be capable of good fre-
or too low. Two peaks appear, equally
give access to the interior. If a pliable spaced above and below loudspeaker quency response, low distortion, and low
material such as hair felt is used for resonant frequency, but one noticeably output impedance. Then, a correctly ad-
lining the enclosure, it may be attached to stronger than the other. The enclosure justed and well damped reflexed en-
furring strips, thus spacing the lining frequency should be adjusted toward closure will add greatly to the "presence"
the smaller peak. effect by providing extended bass re-
away from the wood and increasing the 3. Correct tuning. Two peaks of equal
low- frequency absorbtion. Take precau- sponse that sounds full and true with-
amplitude, equally spaced above and
out the usual resonant "boom" or "rain
tions against air leakage; the speaker below loudspeaker resonance.
barrel" effect. Percussion instruments,
gasket should seat against the wood, plucked strings and other signals with
wiring should be brought out through a The enclosure resonant frequency can
high transient components come through
bulkhead type of plug or receptacle be increased by decreasing the enclosed clean and sharp because of the excellent
which may be mounted securely with volume, V. A simple method for doing response to such signals. In short, the
screws, and the removable back panel this is to place wooden blocks, such as improvement in overall performance due
should fit snugly. A good method for might be cut from 4 x 4 material, inside to the enclosure is great enough to more
attaching the back is shown in Fig. 5. the enclosure. These may simply be than justify the labor and expense in-
Items of equipment may be located tossed in through the port while adjust- volved.

AUDIO ENGINEERING DECEMBER, 1950

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 A Continuously Variable
Loudness Control
E. E. JOHNSON

A new approach to the problem of adjusting frequency response simultaneously

with changes in level in order to compensate for varying sensitivity of the ear.

cuits. None of these has given the networks. The center section R, forms
performance of a truly continuously vari- one variable leg of a potentiometer cir-
able loudness control. The tapped vol- cuit and the rear section R, forms the

! i'
ume control affords compensation only other leg. Fixed resistor R4 acts as a
when its contactor is at the tap but does limiting resistor to keep the input im-
not provide proper compensation when pedance as constant as possible when the
located away from the tap. To obtain control is set near maximum output.
wider spread of compensation, two or The center control in combination with
three taps are used, but such controls capacitor C, forms the arm of the vari-
are more difficult to manufacture and, able voltage divider network which de-

-
therefore, are more expensive. The creases in impedance as the frequency

0
mmnor tow.
Fig. Schematic of new loudness con-
1.
trol which may be assembled from
loll .,;11 +90
standard parts.

IT IS WELL KNOWN in audio circles t1 fil®® +eo

20
that the human ear is very sensitive CO
o -
to both low and high frequencies at
reduced volume levels. The accepted
standard used in compensating for this
hearing deficiency in audio systems is a
set of curves at different levels known as
the Fletcher -Munson curves. These
curves show the amount of low -fre-
Fig. 2. Response
curves for control
at various level
settings.
7
a

>
I=
a
tal
. 1,!.Ie,io
1
laniz..amasio,
quency and high- frequency boost that is
required above some mid -range level to
make the sound output of an amplifier
.. - IIIIImio:I..;:HOIIi OM
FREQUENCY IN CYCLES PER SECOND
appear balanced at all volume control
settings.
stepped type loudness control does not increases, causing the output voltage to
Many attempts have been made to ob- provide full flexibility of adjustment and rise at frequencies above 1000 cps. The
tain the required compensation by use of is relatively expensive. The bass and response curves for this control at vari-
single or multiple tapped volume con- treble boost circuits require multiple ad- ous settings are shown in Fig. 2. The
trols, stepped loudness controls, and vari- justments with change of volume for monitor level figures represent the ac-
ous types of bass and treble boost cir- ideal compensation. tual listening level at which the compen-
The control described in this article sation most closely follows the Fletcher -
E ngi nc e r, International Resistance is a continuously variable loudness con- Munson curves, one of which is shown
Company. trol that may be assembled easily from dotted for a level of +60 db. (Normal
standard parts available widely from listening level in the average living room
radio parts distributors. It may be wired will range from +65 to +75 db.)
into most audio systems as easily as an The rear section R,, fixed resistor R,,
ordinary volume control. and capacitor C, form the arm of the
variable voltage divider network that
Description
increases in impedance as the frequency
This new loudness control consists of
three variable resistance units
and R3- operated from one common
-R
R2,
is decreased, causing the output voltage
to rise at frequencies below 1000 cps, as
shown in Fig. 2.
shaft and in combination with the proper
This arrangement offers a truly con-
resistors and capacitors, as shown in
tinuously variable loudness control that
Fig. 1.
can be used to improve the sound quality
The panel section R, functions as a
standard volume control supplying a of many radio, FM and TV receivers,
Fig. 3. Pictorial schematic showing variable voltage to the other sections as well as many sound systems. It must
exact wiring of components. which form the frequency- compensating [Continued on page 40]
18 AUDIO ENGINEERING DECEMBER, 1950
((VIDEO
NGINEERIN

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 Put the "655rrthrough the Studio-Test
See Why Audio Engineers Switch to This

SLIM -TRIM SECTION OF

TV DYNAMIC ,dU D 1 O
ENCINEEPINC

Test it for lows!

Test it for highs!
CONTENTS DECEMBER, 1950

Test it for fidelity! CBS Television Studio Intercom-

Test it for voice! munication Facilities
Robert B. Monroe
- V3
Test it for music!
Test it for versatility! Audio Systems for TV Service
W. L. Lyndon
- V8
Test it for ruggedness!
Test it for "non -pop "!
Remote Television Broadcasting
W. I. McCord
- V11
Test it for convenience! New Products V13
Test it indoors, outdoors! New Literature V13
Subject Index for 1950 V15

It's the only Microphone with

all these Features! C. G. McProud, Editor
Ladd, Haystead, Publisher
Slim -Trim Design Dynamic Performance Response
Luci Turner, Production Manager
40- 15,000 c.p.s. ± 2.5db Individually Laboratory
Lucille Carty, Circulation Manager
Calibrated Power Rating -53 Pop -Proof Head; S. L. Cahn, Advertising Director
built-in Blast Filter stops wind and breath blasts H. N. Reizes, Advertising Manager
Exclusive Acoustalloy Diaphragm withstands severest
service Omnidirectional; requires no closely asso-
ciated auxiliary equipment Changeable Low Imped-
ance Removable Swivel 1/2" or Vs " -27 thread Editorial Advisory Board
mounting Cannon XL-3 Connector All parts pre-
cision ground 20 ft. broadcast type cable. Write Howard A. Chinn Robert M. Morris
today for further facts! Model 655. Price.. . $200 Rodney D. Chipp Chester A. Rackey

Representatives
Sanford R. Cowan, Mid -West Sales
342 Madison Ave., New York 17, N. Y.
James C. Galloway, Pacific Coast Sales
816 W. 5th St., Los Angeles 17, Calif.
Technical Book b Magazine Co.
297 Swanston St., Melbourne, C. 1.
Victoria, Australia

COVER
Construction of the new antenna tower
SEND FOR
CATALOG
NO. 110
giewer- WL
400 CARROLL STREET BUCHANAN, MICHIGAN
INC.
for the top of the Empire State Building
is proceeding rapidly, and the antenna
is expected to be in use early in 1951.
Export: 13 East 40th St.New York 16, N.Y., U.S. A. Cables: Arlob
MICROPHONES PHONO PICKUPS
This photograph was taken from the top
SPEAKERS TV BOOSTERS
of 10 East 40th Street by Omar Marcus.

V2 VIDEO ENGINEERING DECEMBER, 1950

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 CBS Television Studio
Intercommunication Facilities
ROBERT B. MONROE

ONE OF THE OUTSTANDING differences A complete description of the facilities required

between an aural and a television to make possible the direction and control of
broadcast is the number of techni-
cal and production personnel required personnel in the production of a TV program.
in the broadcast studio. In the case of an
aural broadcast, as a rule, three or veys intelligence serving to aid, direct, sound effects with studio action. Thus it
four persons are involved. In a tele- or cue a member of the TV staff or cast can be seen that the intelligence trans-
vision broadcast, on the other hand, in the performance of their duties. Ob- mitted via the studio intercom system
a considerably larger staff is required. viously, this includes the spoken words will take the form of spoken words,
Included are the director, assistant di- of the program director as well as other audio program material, and picture pro-
rector, studio floor manager, announcer, key personnel in the control room. Not gram material. All three are needed to
video switcher, audio mixer, cameramen, as obvious, but quite as important to convey the intelligence necessary to co-
camera -control operators, sound -effects many members of the staff, is the audio ordinate the activities of the large group
operator, microphone boom operators, portion of the program material from of technical, production, and performing
studio lighting operator, telecine projec- which many cues are obtained. For ex- personnel.
tionist, telecine camera -control operator, ample, the orchestra leader usually takes The staff in the studio control room,
and others. cues for his music from the dialogue of which includes the director, assistant di-
With such a large staff, it might be the program. The video picture monitor, rector, camera control operators, video
expected that considerable confusion although not commonly thought of as a switcher, and audio mixer, usually carry
would exist in the television studio. conveyor of cues, also falls into the clas- on direct conversation without the use of
However, anyone who has observed the sification of an intercom device. In stu- any special intercom facilities. When the
production of a program in a well de- dio operations most of the staff depend director speaks, all in the control room
signed and well equipped television stu- on a picture monitor for information of hear him, and if necessary, answer him
dio has noted that the operation is unusu- one kind or another ; the lighting op- directly. The monitoring loudspeaker
i ally well coordinated with little, if any,
confusion or misunderstanding on the
part of any of the staff. The reason for
erator to check the effectiveness of light-
ing effects, the audio operator to avoid
boon -suspended microphones or micro-
permits all to hear the audio portion of
the program. If the basic design prin-
ciples of control room layout have been
this smooth functioning and good co- phone shadows in the picture, and the followed, all are seated in a manner pro-
ordination lies in the use of an intricate sound effects operator for synchronizing viding good visibility not only of the
system of studio intercommunication outgoing line picture monitor but also
whereby each member of the staff is cued the monitor associated with each indi-
and directed in his activities. vidual studio camera. Therefore, it can
In the past, the design of TV studio be seen that the intercom facilities serve
intercom facilities has often been looked mainly to convey information to the
upon as a minor task that could quickly staff outside the control room, and in
be dispensed with after all important de- some cases, permit them to talk to the
sign details of the audio and video facil- control room. The staff outside the con-
ities had been completely worked out. It trol room include those in the studio,
is now generally recognized that the TV those in an associated telecine room, as
intercom facilities represent one of the well as those at other points remote from
major elements of the TV studio plant. the studio.
Furthermore it is realized that the equip-
ment arrangement and circuitry of these The Program Director
facilities can become quite complex. The It is at the program director's desk in
TV intercom facilities should, therefore, the studio control room, Fig. 1, that
receive the same careful planning and most of the coordination of a television
attention to design detail as is accorded program takes place. Because of the
to the audio and video facilities of the Robert B. Monroe, Project Engineer many responsibilities of the program di-
plant. CBS General Engineering Department
rector, it is very desirable that he be
It is the purpose of this paper to dis- Born in Brooklyn, New York on October 17.
provided with the absolute minimum of
cuss the philosophy underlying the de- 1908, Mr. Monroe attended Pratt Institute
from 1937 to 1942 while being employed by equipment that he must operate. Ideally,
sign of television intercom systems and all that should confront the director is a
Columbia Broadcasting System. Inc., where
to describe briefly some of the facilities he went in 1934 and where he has since microphone; when he speaks, all con-
which have proven satisfactory in CBS been continuously employed except for the cerned should hear him.
TV studio operations. It must be rec- war years. A TV intercom system should be de-
ognized, however, that television is a From 1942 to 1945 he was associated with signed to conform with this ideal situa-
dynamic, fast growing industry, and the the Radio Research Laboratory, Harvard Uni- tion as closely as possible, however, it
requirements demanded of the intercom versity (sponsored by the Office of Scientific
has proven desirable to make some com-
facilities are likely to change as the art Research and Development). He served suc-
cessively as head of the Planning Depart-
promises and provide a few controls at
progresses. the director's position for several special,
ment, head of the Standards Laboratory, and
assistant to the Executive Engineer. although infrequent, operations described
DESIGN CONSIDERATIONS Mr. Monroe is a senior member of the In- below. In addition, it has also proven de-
The term ""ITV intercom," as used in stitute of Radio Engineers. sirable to provide a telephone jack into
this paper, includes any facility that con- which a telephone headset or handset

VIDEO ENGINEERING DFc.es'R, 1950 V3

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Fig. I (left). The director's position in a CBS -New York television studio. Four of the key switches on the small control panel connect the
director's interphone instrument to various interphone stations in the studio. Two other key switches connect his desk microphone to the studio
talkback loudspeaker and to the telecine room intercom loudspeaker. The assistant director is equipped with identical facilities. Fig. 3 (right).
The type of telephone headset shown is generally used by CBS cameramen and camera control operators. The microphone boom operator in the
background is wearing a pair of split headphones by means of which he receives instructions and cues.

can be plugged to permit the director to with, or being distracted by, other con- Either the headset or hang -up hand-
participate in two-way conversations versations on the interphone system. In set type of instrument may be used by
with the studio cameramen or with other the conference position, where all de- the director, assistant director, switcher,
points equipped with two -way telephone sired interphone stations are paralleled, and audio operator depending upon the
facilities. It is good practice to provide a portion of the audio from the director's extent to which the interphone is used.
the assistant director, who is usually microphone circuit is introduced into the A jack is provided at each of these posi-
seated immediately alongside the direc- interphone system permitting all stations tions to permit the use of either type.
tor, with independent facilities identical to hear the director even though he is Currently the preference seems to be
with those provided for the director. using a desk microphone rather than an for the headset type of instrument.
interphone instrument. It is desirable to
The Interphone System adjust the level from the director's mi- Other Interphone Stations
The only facility usually associated crophone so it reproduces several deci- In addition to the main interphone
with the term "TV intercom" is the bels higher in level than other inter- system connecting the cameramen, cam-
private telephone system mentioned phone conversations. By doing this the era control operators, video switcher,
above which provides two -way communi- director's comments override and take and director, it is often advantageous to
cation between control room, camera- priority over other conversations. provide several interphone branch cir-
men, and at times, other points. To dif- Should the director desire to engage cuits permitting personnel in the con-
ferentiate these private telephone facil- in a two -way conversation with one of trol room to engage in conversation with
ities from other studio intercom facilities, the interphone stations in the studio, he certain members of the studio staff such
the telephone system may be referred to may employ an interphone instrument al- as the studio floor manager, sound effects
as the interphone system. The terminal though this is usually only necessary operator, and lighting operator. Thereby
equipment for these interphone facili- when the studio is on the air. During the director can work out special prob-
ties is usually supplied as an integral rehearsals persons in the studio can be lems with the floor manager or can dis-
part of TV cameras and certain other heard in the control room by means of cuss lighting effects directly with the
video components, such as video switch- the studio microphones and control room lighting operator. Similarly, the audio
ing units. When interphone stations are monitoring loudspeaker. operator can discuss sound- effects levels
required at other points, the components It is customary for the cameramen or other problems directly with the
may be procured and installed as desired. and camera control operators to employ sound- effects operator.
In the case of TV field pick -ups, this telephone headsets of the type shown in As described in the following sections,
relatively simple interphone system often Fig. 3, as this type of headset leaves both the floor manager, sound effects opera-
constitutes the entire and only intercom hands free for the many other operations tor, and lighting operator receive their
facilities. While adequate for intercom they must perform. Some interphone regular communication from other cir-
purposes on the simpler type of remote systems employ headsets with two re- cuits and this telephone is an auxiliary
pick -ups, these basic intercom facilities ceiver units, one used with the inter- facility for use in working out special
must be substantially augmented to meet phone system, the other to reproduce problems, usually during studio rehear-
the additional requirements encountered audio program material. Most camera- sals. For this reason, the hang -up hand-
in TV studio operations. men at CBS, however, prefer the single set type of instrument is preferred at the
Figure 2 shows, in simplified form, a receiver type of headset as this leaves lighting and -sound effects stations. A
typical studio interphone system of the one ear free to hear directly what is flashing light is used for calling, rather
type employed by CBS. It will be noted happening in the studio. In this way they than a bell, to permit the calling circuit
that the switching facilities permit either hear the aural portion of the program to be used when the studio is on the
private camera-to- camera- control con- directly from the performers on the set. air. The floor manager uses the "pro -
versation, or a conference connection be- The camera control operators in the duction" headset jack, which is available
tween all desired stations. The private control room are served well by the in many studio cameras, when it is nec-
camera -to-camera -control connection is single receiver type of instrument as essary for him to talk to the control
useful in the routine alignment and they hear the audio portion of the pro- room.
maintenance of cameras. Should a cam- gram from the control room monitoring As can be seen in Fig. 2, these branch
era fail during a rehearsal or air pro- loudspeaker. For these reasons, the circuits are not a part of the main in-
gram, it is possible for the maintenance single headphone type of interphone in- terphone system. When used, the sta-
staff to work on it without interfering strument has been standardized at CBS. tion in the control room usually is dis-

V4 VIDEO Nt11EERING DECEMBER, 1950

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connected from the main interphone technical and production staff. Both sys- motion picture film and still slides or
system and engages in a private conver- tems, however, require a direct wire con- opaques. This film and slide material is
sation with the branch station. nection and therefore restrict the move- integrated into the live portion of the
ment of the persons at each end of the program in the studio control room. For
Headphone Cueing Circuits circuit. This is not a disadvantage in practical reasons, all projectors and as-
The two -way interphone system, as most cases since most of the studio staff sociated film camera chains are usually
noted above, serves mainly to provide are closely associated with equipment centralized in a special area known as
continuous communication with studio requiring other wire connections such as the telecine room. The telecine room
cameramen and occasional two-way com- a camera, microphone boom, lighting serves all studio units in the plant.
munication with other persons in the panel, or sound -effects console. Other Because of the physical separation of
studio. It is necessary to provide con- persons, however, notably the studio the telecine room and the control room,
tinuous cueing circuits to other person- floor manager, must often be free to it is necessary to provide adequate in-
nel in the studio, such as the microphone move to any part of the studio without tercom facilities between the two points.
boom operators, orchestra leader, an- the encumbrance of a cable yet must re- As the motion picture projectionist must
nouncer, as well as the sound -effects and main at all times within the range of the be free to move about in loading, un-
lighting operators. This is accomplished voice of the director in the control loading, and rewinding film, it is desir-
through the use of headphones which room. A radio circuit is provided for able to provide a loudspeaker reproducer
may be connected into receptacles which these persons. The receiver is an ultra- rather than the telephone headset type
are provided at strategic locations compact battery operated unit which is employed in the studio. In CBS studios,
carried over the shoulder as shown in it is standard practice to provide two-
Fig. 4. way loudspeaker service between control
The radio link employed in CBS tele- room and telecine room. The telecine
vision studios is an amplitude-modulated loudspeaker must be capable of opera-
induction -field system which operates tion at fairly high level, considerably
with a power of a few watts in the higher than the conventional office type
low- frequency range between 100 and intercom systems, because of the high
200 kc. It is necessary to assign different noise level that exists when several pro-
frequency channels to systems operating jectors are in operation.
in adjacent studios to prevent inter- Inasmuch as the telecine room serves
ference. all studios, switching facilities must be
Some television studios have success- provided at each camera to permit the
fully employed radio cueing transmitters projectionist to connect his intercom fa-
and receivers operating in the VHF por- cilities to the particular studio with
tion of the spectrum. Such transmitters which he is working. He must also be
must, of course, be licensed. equipped to select audio program ma-
In TV studio productions, portions of terial, video program material, and head-
tl e program material often originate on phone cue (which may be used in the

Fig. 4. Communication to the studio floor

CONTROL ROOM STUDIO
manager (as well as other studio personnel who LAMERA , I
rCAMERA -1
ut
1

must be free of the encumbrance of a wire

connection) is accomplished by means of a
CAMERA CONTROL
HEADSE T
I
CONTROL -1 I I

LI.Er - I

low- frequency, induction -field radio circuit. TF I CAMESA-

One of the ultra -compact receiver units is CA

ii `- J HEADSET
shown in the above photograph. FLOOR MANAGER

-1> ©IDGE r 1 r CAMERA -2 i

throughout the studio. Unlike the inter-
phone system which employs headsets DIRECTOR I
LIGH
©
©
SOUND EFFECTS
I

I
CAMERA
CONTROL-2 I

I
Ì
'
I
PROD
TF
R
( 1

with a single receiver unit, these head-

L J
phones are equipped with two receiver CAMERA

units which have been wired to permit FLOG AGER L- -- ©-J

the reproduction of different information
in each. These split- headphone cueing
ASSISTANT
DIRECTOR
© ,
©
LIGHT BRIDGE r CAMERA
CONTROL -3
1 I
r PROD
CAMERA -3

©
I I
SOUND EFFECTS TF
facilities are known as headphone cue. I ERG
It is necessary to provide two types 1

of headphone cue. The first type is for

the general use of technical and produc-
V. DEO
SWITLMER -ÜFfif
CO J I

tion personnel and, at CBS, is known as I CAMERA 1 r CAMERA -4 l

P
regular headphone cue. Regular cue re- AJClO
OPERATOR S
¡
CONTROL-4 j

Re'
produces the voice of the director in one ENO <
of the two earphones and audio program I L- -' - - --J
5'_J
i

material in the other earphone. The sec-

ond type of headphone cue is specifically
AUDIO FROM DIRECTOR'S
MICROPHONE BUS
. 6db
HIGHER
I

/T¡
L
1
LIGNT

Lid
BRIDGÉ
<
I

for the use of the microphone boom op- ( I I

THAN N TERPNONE LEVEL)

KEY OPEN FOR PRIVATE I L t
erators and, for that reason, is known CAMERA TO CAMERA
CONTROL CONVERSATION
i ,g01INO EFFECTS,

as boom headphone cue. Like regular NOTE:

TF <
cue, boom cue reproduces the voice of
the 'director in one earphone and audio
program material in the other; how-
RINGING

CC"
LIGHT

HEADSET
CIRCUITS NOT SHOWN.

- T©I
__

KEY SWITCH

INTERPHONE TERMINAL
--
ever, the control room audio operator FACILITIES
LINE
can break into the audio program side of -<
the circuit and talk directly to the mi-
crophone boom operators at any time.
Radio Link
DETAIL OF
INTERPHONE
TERMINAL FACILITIES
PLUG JACK

"'
ANTI - SIDETONE
INDUCTION COIL
-
RETARD
II COIL I // SINGLE JACK

TELEPHONE HEADSET
IE, MICROPHONE A RECEIVER

LEGEND

The interphone system and headphone Fig. 2. The interphone system, one component of TV studio intercom facilities, provides tele-
cue circuits provide communication and phone communication between control room and studio cameras as well as other points in the
cueing facilities for most of the studio studio.

VIDEO ENGINEERING DECEMBER, 1950 V5

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event of an intercom failure) from the Duplicate intercom facilities must be (telops), Fig. 5, which are used for
desired studio. Furthermore, he must be provided at each of the telecine camera - originating opaque as well as transparent
equipped to extend control of starting control units unless these control units slides. This is explained by the much
and stopping motion picture projectors are located immediately adjacent to their closer cooperation required between the
to the desired studio. His switching can associated film camera and projectors operators of these telop machines and
be simplified by ganging as many of these and can therefore make use of the same the control room. In the case of the mo-
functions as practicable on a single se- microphone, loudspeaker, and switch. tion picture projectors, the actual start-
lector. In practice, it has proven desir- These camera- control intercom stations ing and stopping of projectors is done
able to gang the intercom circuits, audio may be equipped with independent studio usually by the video switcher in the con-
program circuit, and headphone cue cir- selecting facilities or, if desired, the in- trol room. On the other hand, the telop
cuit on a single selector, and provide tercom facilities at both camera and operator must set up, change, fade, and
separate selectors for the video monitor camera-control may be switched by a superimpose slides directly from the
and for projector extension control cir- common selector which may be located telop and must therefore carefully fol-
cuits. This permits him to control the at either of the two points. The latter low the director's instructions, as well
projector and monitor the camera locally system is simpler but less flexible than as the program continuity, at all times.
during setup yet maintain his intercom the former method. For this reason, the continuous flow of
connection with the studio. A separate Although loudspeaker intercom repro- cueing information on the regular head- 1

loudspeaker cueing circuit, similar to duction has been found preferable at film phone cue circuit is more desirable, in
those employed on transcription turn - cameras originating motion picture se- this case, than the intermittent instruc-
ables for cueing records, is provided quences, it has been found that head- tions intended specifically for operators
when it is necessary to cue motion pic- phone cue is more desirable for the op- of film projectors on the intercom loud-
ture film aurally. erators of television optical projectors speaker. At the same time, the head-
DIRECTOR

ASST. DIRECTOR
TELECINE

INTERCOM. FROM TELECINE

INTERCOM. TO TELECINE
áO
STUDIO - I

__p - I
O

I
El INTERCOM
MICROPHONE

STUDIO I

INTERCOM
L SPEAKER

STUDIO-
a
L _ -1=1
TO INTERPHONE SYSTEM
pti

pi AUDIO PROGRAM
MONITORING
SPEAKER
TO BOOM AND O
m REGULAR CUE OUTLETS STUDIO
t OO
HIGH Z

DIRECTOR
REGULAR

O
-O
I CUE
TO DRESSING ROOMS STUDIO -
O
ASST OUTLET',

DIRECTOR El RE w -O NOTE :ONLY

A
ONE INTERCOM STATION SHOWN,
17 1.1
EMERGENCY INTERCOM. TO TELECINE STUDIO- SELECTOR SWITON INPUTS ON ALL
STATIONS ARE PARALLELED
A55' T.
DIRECTOR El 4
m MON
EMERGE NC
INTERCOM

,
SPEAKER

STUDIO-
CONTROL ROOM
1

--------IXMTR
RADIO LINK
r STUDIO- 1

TO
STUDIO
UDIO
SPEAKER STUDIO
LS TALK BACK

AUDIO
CI m SPEAKER

CONSOLE
m m
NN
w BOOM CUE
PROGRAM MATERIAL
FROM AUDIO JN T
OUTLETS

CONSOLE
HIGH Z
m BST
AA

MONITORING CONTROL ROOM SPLIT

AMPLIFIER MONITORING Y HEADPHONE
OUTPUT SPEAKER
DIRECTO $4 - - -1
ASST. -JI
WA m REGULAR CUE

DIRECTOP
S4 - OUTLETS

AUD S4 AUDIO 55 _
CONSIOOLI CONSOLE vW
.1I11
LEGEND
AT - Volume Control SI - Telecine Intercom Control Switch T - Bridging Transformer
BST - Booster Amplifier S2 - Emergency Telecine Intercom WR - Wall Receptacle
K - Relay Control Switch - Terminating Resistor
LS - Loudspeaker S3 - Dressing Room Call Control Switch
- Microphone S4 - Studio Tolkbock Control Switch w.- Series Resistor
M
MON - Monitoring Amplifier S5 -Boom Tolkbock Control Switch - -- Relay Control Circuit
PRE - Preliminary Amplifier
ljl Antenna
E - Relay in Energized position
O - Relay in Open position

Fig. 6. A simplified block diagram showing the intercommunication facilities required in a modern televison studio. These facilities augment the
interphone system shown in Fig. 2.

V6 VIDEO ENGINEERING DECEMBER, 1950

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Fig. 5 left ). Operators of telop equipment in the telecine room receive instructions on cues on split headphones. They can talk to the studio control
I

room by means of the microphone mounted near the top of the projector. The intercom control panel, lower right, contains a talkback key switch,
a studio selector switch, and two headphone receptacles. Fig. 7 Iright).The CBS studio floor monitor shown above is a mobile unit containing
a picture monitor, a loudspeaker, and a clock.

phones tend to close out distracting marked TELECINE EMERGENCY is oper- circuits for all technical and production
sounds and permit the telop operator to ated. After the attention of the telecine staff concerned with a television studio
concentrate on his work. The same facil- operator has thus been attracted by his production. Communication to perform-
ities are used to talk to the studio from emergency circuit, he can set up the ers in the studio is accomplished during
the telop projectors as are used in the regular intercom circuit which will pro- radio rehearsals through a talkback
case of the motion picture film projec- vide the desired two -way communica- loudspeaker. This talkback circuit, which
tors. tion. is similar to those employed in aural
broadcasting studios, permits the pro-
Emergency Telecine Intercom Facilities Loudspeaker Talkback to Studio gram director or his assistant to direct
As already described, each film camera The facilities described thus far pro - the activity of the performers at any
in the telecine room is provided with an vide aural communication and cueing [Continued on page V131
intercom system which can be switched
to operate with the intercom facilities in
any desired studio control room. It is
the usual practice for the projectionist STUDIO
SPEAKER
to set this switch to provide communica-
tion with the studio with which he is
to work. A problem often arises when
another studio desires to communicate TO AUDIO MINING NETWORK
with telecine (for example during rou-
tine maintenance or for a special test)
and the intercom selector switch in tele-
cine is not set to communicate with that CUEING
studio. Similarly, the same difficulty SPEAKER

would be encountered had the telecine

operator forgotten to set up this switch LEGEND
or had inadvertently set it to the wrong S0A AT VARIABLE ATTENUATOR
position. OUTPUT
LS LOUDSPEAKER
MONITORING AMPLIFIER
One way of establishing communica- MON
1

504 PRE PRELIMINARY AMPLIFIER

tion under these circumstances would be RU TRANSCRIPTION REPRODUCING UNIT
for the studio to call telecine on the s KEY SWITCH
TRANSFORMER
regular telephone; however, this is not SOX
TI
TE
LINE
BRIDGING TRANSFORMER
desirable as the need for communication OUTPUT 2
INPUT 2
with telecine may well be urgent and
the telecine extension is often busy with DIFFERENTIAL
NETWORK
RESISTANCE
ISOLATION
other calls. For this reason, it has NETWORK
proven desirable to provide an "emer- ,ALUES SHOWN ARE FOR ISO OHM CIRCUITS
gency" telecine intercom system.
The emergency telecine intercom fa- NETWORK DETAIL

cilities consist simply of one or more NETWORK LOSS 1208

loudspeakers installed where they are

clearly audible throughout the telecine
area. These loudspeakers are driven by
an amplifier of adequate size to produce
the necessary sound level. Facilities in Fig. 8. The circuit arrangement employed to transmit transcribed program material simul-
each of the studio control rooms, shown taneously to both a studio loudspeaker and the audio program line. The resistance isolation
in Fig. 6, connect the director's micro- network serves to prevent studio microphone program material in the audio mixing network
phone to the input of this amplifier from reaching the input to the studio loudspeaker amplifier. Without the isolation network,
whenever a control room key switch acoustic coupling between studio microphones and studio loudspeaker would result in singing.

VIDEO ENGINEERING DECEMBER, 1950 V7

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 Audio Systems For TV Service
W. L. LYNDON

A discussion of the equipment necessary for use with a single- studio TV installation
capable of presenting live programs in addition to transcribed and network shows.
THE PREVIOUS ARTICLE in this series 4. Transcription gram is automatically fed into the studio.
was devoted to the description of a 5. Network and Remotes In the audition position the talkback cir-
simple audio -video switching unit, Loudspeaker monitoring facilities are cuit between the control room and the
RCA Type TTC -3A1, which would per- provided in the main control room. studio can be operated. The program
mit a television system capable of han- studio, announce booth, and projection bus contains a program amplifier
dling only film, slides, and network pro- room. The speaker in the studio serves equipped with an interstage master gain
grams to be placed on the air with a as both a cue and talkback speaker. The control and has a normal output rating
minimum outlay of equipment. Con- studio speaker is also tied in on an over- of + 18 dbm with 0.5 per cent distortion
sideration shall now be given to the ride circuit which will permit trans - from 50 to 7500 cps, and a maximum
audio equipment requirements for a tele- scriptions or sound effect records to be output level of + 26 dbm with 1 per cent
vision system having a single studio, an heard in the studio during "on- the -air" rms distortion over the same frequency
announce booth, and facilities for han- operation. range. Across the.output of this amplifier
dling film and remote or network pro- In order to simplify the description of is located a standard VU meter with an
gram service. The lineup of audio equip- this system, reference should be made to adjustable input control. This meter is
ment required for such an installation Fig. 1, a single -line block diagram of the also capable of indicating the plate cur-
does not vary greatly from that of a 76B5 consolette which is employed as the rent of each amplifier tube located in the
comparably sized AM or FM installa- system's basic unit. program channel.
tion; the main differences are the addi-
tional facilities necessary for handling The monitoring amplifier located in
The Consolette the audition channel is provided with
the audio output of the film projectors
and a communication system to be used It will be noted that the consolette considerably higher gain and higher
by the program director for coordinating has four pre -amplifiers feeding into a power output in order that it may be
six -position mixer system. Two of the used in conjunction with a talkback cir-
the program sequences.
This audio system is based on the use mixers are connected through isolation cuit and also to provide sufficient volume
of standard stock speech input units and line coils to six -position mechanically in- for the speaker system. There are three
terlocked line switches. The program speaker control relays located within
consists of three main items:
level from the remote lines, after equal- the consolette and in this TV system
1. One 76B5 Consolette ization, and from the two turntable posi- they are used in conjunction with the
2. One BCS -3A Control Unit tions, is controlled by these two mixers. control room speaker, studio speaker, and
3. One rack of Speech Input Equipment
Each of the six mixers feed into a lever headphone monitoring for the micro-
This arrangement is capable of switch- key which will permit placing the cir- phone boom operator. The additional re-
ing, mixing, and monitoring the follow- cuit to either a program or an audition lays required for the projection room
ing program sources: bus. This feature permits circuits to be and announce booth are mounted on the
1. Studio monitored before being switched to the rack equipment along with the AUDITION
2. Announce Booth program bus. These lever switches as- and ON AIR studio signal light control
3. Film sociated with the mixers are tied in relays.
with the studio cue and talkback circuit. The input to the monitoring amplifier
* Television Terminal Engrg., Engineer- When they are in the PROGRAM position. is terminated in a row of mechanically
ing Products Dept., Radio Corporation of the talkback or cue circuit cannot be op- interlocked push -type switches which se-
America, Camden, N. J. erated. In the normal OFF position, pro- lect the circuit to be fed to the input of
the amplifier. This includes the audition
position, talkback circuit, and five "cue"
rr, line inputs. Two of these "cue" positions
i r`_-

i-
are used in this television audio system
to monitor the output of the two equal-
o-;- ....._..._.,
ized remote line circuits.
The power supply for this consolette
is a self contained unit housed in an
electrically interlocked cabinet with the
rectifier chassis so constructed that it
may be readily hinged out for servicing.
This unit is normally mounted at a point
ó remote from the consolette and inter-
KM
connections macle by suitable shielded
q
leads.
Figure 2 is a single line block diagram
indicating how the consolette and the
?rHrrH rr external units are combined to make
up this TV audio system. The studio
.4^`r'rr Ñr'r' L_
H
is shown as having a total of eight
... a r-'r'í-'r 11'ÌI'I'I'i
microphone circuits. four of which are
normalled through jacks on the speech
input rack to the consolette preamplifier
inputs. The remaining four positions are
terminated on jacks to be patched into
Fig. 1. Block Diagram of 76B5 consolette used for small station operation. the circuits as required.

V8 VIDEO ENGINEERING DECEMBER, 1950

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Fig. 3 (left). Typical station installation employing the audio system diagrammed in Fig. 2. The audio units are located on a higher level in order
that the audio operator has visible access to the video monitors and to the studio. (Courtesy WENR -TV) Fig. 4 (right). This station also employs
the audio system of Fig. 2, but is arranged differen-ly. Note turntables at left, audio TV control at center, program director's console, and camera
units at right, forming a single operating unit.

Microphones much :o offset the disadvantages of pick- directional, bi- directional, and non -di-
The quantity and types of microphones ing up sound at a greater distance from rectional. For boom service it is gen-
to be used is generally determined by the source than is encountered in the erally set in the uni -directional position,
the type of programming that is con- regular AM or FM system of broadcast- which will permit artists to operate at
templated. Simple productions usually ing. In selecting this latter type of a greater distance from the microphone
involve simpler microphone technique stand. consideration should be given to and its directive characteristic will favor
and many presentations can be handled the size of studio in which it is to be reduction of reverberation and back-
very effectively with one microphone operated. In small stations where staging ground noTie level.
placed on a movable boom stand with space is at a minimum, it would be more Monitor and Signal Circuits
possibly one additional floor -stand or practical and more economical to use
the semi -adjustable stand. The studio monitor speaker serves
desk microphone for commentary or an- three functions. namely:
nouncement purposes. Productions of a Microphones that are used for broad-
cast service can also be employed for 1. Talkback
more complex nature -such as dramatic 2. Cue or Monitor
presentations where more than one set television programming. The micro- 3. Effects Speaker
is involved-present a greater problem phone generally recommended for boom The latter circuit permits sound effects
and to do the job effectively and have service is the type 77D. This is basically records or transcriptions to be fed into
the microphone in the right place at the a ribbon microphone operating on a the studio for special effects purposes
correct time requires the use of a quiet, velocity-pressure principle. It has three while it is "on- the-air ".
highly flexible boom stand having a directional characteristics, namely: uni- Relays are included in the rack
large range of extension with a wide
vertical and lateral swing. There are
two types of microphone boom stands in
general use today for television service. 1 1

One of these is a semi -adjustable type I I

which can have its extension and eleva- OMMI I

1..,:....1
1

tion adjusted beforehand and then g B 1741_

wheeled into position. This type of stand i

can be used quite effectively on such pro- I

duction that will permit the microphone

to be placed above the scene being tele-
vised and not requiring any extensive o 41 III= / 1 1

movement of the microphone during the

show. 44
Shows of a variety or dramatic type T ff
where there is considerable movement
of the artists require a boom stand that
will literally permit the microphone to
follow them around the set. This type of
III "-5
stand is in general use in the motion
picture industry and one model recom-
mended for TV programming i$ the
MI- 26574. This particular stand pro-
vides an operating station for the boom
operator and the whole structure is
mounted on rubber tired wheels which
permit it to be readily moved across
the floor. The length of the boom can be
extended from 7 to 17 feet. and the
>
microphone can be "gunned" through an
angle of 280 deg. This boom stand, in the
hands of a trained operator. can do Fig. 2. Block diagram of complete audio installation suitable for a small TV station.

VIDEO ENGINEERING DECEMBER, 1950 V9

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 dom satisfies the complete requirements
of a broadcasting installation, and a
television system is no exception to the
rule. In order to increase the flexibility
of the system and provide additional fea-
tures, a companion unit, BCS.-3A, has
been developed to mount adjacent to the
Fig. 5. A flexible and
consolette. It contains a standard VU
easily operated boom
stand is an invaluable
meter with a calibrated input control and
piece of TV studio a ten -position selector switch. A number
microphone pickup of circuits are normally connected to the
equipme nt. input of this switch, such as the out-
'ourte . .VOR -TV) put of the two line amplifiers, the output
of the spare BA -14A amplifier, and the
regular output of the consolette. Across
this switch is located a jack which will
permit the use of a pair of headphones.
On this panel is mounted the key switch
for controlling the output of the two
transcription turntables for the studio
speaker over -ride circuit and a suitable
volume control for the input of its as-
ment that will permit the operation of equalizing normal program line circuits sociated amplifier.
an ON AIR studio signal and AUDITION up to and including 15.000 cps. The studio A spare 250 -ohm volume control is
lights. amplifiers have sufficient gain to bring mounted on the console and its input and
The equipment required for the an- the equalized line levels up to such an output circuits are terminated in line
nounce booth consists of an announce output that they may be read on a stand- transformers whose 150 /600 -ohm inputs
microphone, a monitor loud speaker, and ard VU meter. This permits the lines to and outputs are terminated in jacks so
ON AIR signal light. Any of the pre- be equalized and level adjusted before that they may be patched into a circuit
viously mentioned microphones may be being placed on the air. The outputs when so required. Located on the right
used for this service. When the studio of the BA -13A amplifiers are fed side of the BCS -3A unit is a six position
is "off-the- air ", program is automatically through a fixed attenuator pad to two ring -down circuit, consisting of six re-
fed into the announce booth. The opera- of the remote line positions on the con - lays, six indicator lights, and six ring -
tion of the ANNOUNCE key on the con - solette, as well as to two of the monitor talk lever key switches. A jack is pro-
solette places the microphone in the inputs, thus permitting complete remote - vided for inserting a standard telephone
circuit, opens the monitor speaker cir- line checking before going on the air. unit. These six input circuits are also
cuit, and turns on the ON -AIR signal light. There are a sufficient number of jacks terminated on jacks on the rack which
The output of this announce micro- located on the rack to permit the termi- permits them to be patched into the
phone circuit may be fed directly through nation of a maximum of 24 remote line incoming lines as required. The power
the consolette to the line as, for example, circuits. for operating the calling signal lamps is
in supplying commentary for slides or V
Transcription service does not play as obtained from the 12 -volt d.c. relay
silent motion pictures, or it may be important a part in television broad- power supply. The ringing current is
mixed with the output of the sound from casting as required for AM or FM not supplied as part of this equipment.
the studio, motion picture projectors, the broadcasting, yet such facilities must be This intercom circuit, placed adjacent to
remote line circuits, or, if necessary, may provided for producing background the consolette, permits the operator to
be mixed with the output transcriptions. music, fill-in for slides and silent motion communicate directly with remote points
The audio equipment for the projec- pictures as well as sound effects. This without having to leave the equipment
tion room is of minor nature. Stations of system employs two type 70D turntables. during a program.
this size would normally use two type The output of each machine feeds into In order that a program director may
TP-16B 16 -mm projectors whose out- a type BA -2C preamplifier and then to successfully produce a show, a means of
put level is +4 dbm. This should be at- the transcription inputs of the consolette. dispatching information to a number of
tenuated to approximately -20 dbm be- Across the outputs of the preamplifiers is strategic points must be provided. To ac-
fore being fed into two of the remote located a two -way lever key switch complish this, a separate talkback circuit
line positions on the consolette. Due to which will permit the signal to be fed consisting of a microphone, BA -I4A
the fact that considerable variation in to the input of a BA -14A monitoring amplifier, four relays and four control
frequency characteristic is likely to be amplifier. This key switch also operates keys, is included as part of this system.
encountered from the various types of a relay which will permit this signal to The four lever key switches are to he
films that may become available for tele- be fed to the studio loudspeaker. This located near the program director's point
vision use, it is recommended that an feature makes it possible for records to of operation. These circuits permit talk -
MI -26313 equalizer be employed in the be used for dance purposes, accompani- back to the following points by interrupt-
audio output of each projector. The ments, and sound effects. The transcrip- ing she program monitor circuit:
equalizer has three bass and three treble tion service can also. at the same time,
boost positions as well as three bass and 1. Projection Room
be fed through the consolette channel to 2. Studio
three treble attenuator positions, in ad- the line. 3. Announce Booth
dition to a flat response position. This The regular line output position of 4. Order Wire Circuit.
equalizer is a "T" network and should the consolette is normalled through jacks
be isolated from the input of the con- and an isolation transformer to the out- The order wire circuit is normally con-
solette by means of a line coil in order going line. This line is also bridged by nected into a video switching unit such
to obtain correct performance from the another BA -13A amplifier which nor- as a TS10A switching panel, which also
equalizer. mally acts as an isolation amplifier to provides a two -way phone circuit be-
The loudspeaker serves as a monitor feed a house monitoring bus. It may also tween the camera operator and the video
speaker and is tied in with the program be used as a spare amplifier when re- operator.
director's talkback system. quired. A spare BA -14A amplifier is The various amplifiers, equalizers, re-
In order to provide facilities for han- provided with its 600-ohm and bridging lays, isolation transformers, and six
dling network and remote program cir- input circuits terminated on jacks. Its jack strips are assembled and wired in
cuits, two type BE -1B line equalizers output is also normalled through jacks a standard cabinet rack which may be
and two type BA -13A studio amplifiers and a line coil to provide a spare line mounted as a single unit or in line with
are included as part of the rack equip- output circuit. other equipment racks that are required
ment. The line equalizers are capable of A standard consolette alone very sel- [Continued on page V14]

V10 VIDEO ENGINEERING DECEMBER, 1950

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 Remote Television Broadcasting
W. I. McCORD

Continuing the description of the DuMont Telecruiser to cover the video

phase of remote pickup operation with this versatile "portable studio."

AT TILE PRESENT TIME, in television equipped with Bendix Westinghouse air

broadcasting, there are many brakes and all other standing road equip-
schools of thought regarding the ment to meet State and ICC regulations.
manner in which various types of pro- All replacement parts are of standard
grams should be handled. After having manufacture available any place in the
carefully studied all of these various country. The vehicle is capable of over -
ideas, we have designed the Du Mont the-road speeds up to 70 miles per hour
Telecruiser which is engineered for effi- and can negotiate rough road conditions.
ciency and versatility. It is a complete In many cases these units have been
television studio on wheels, transporting driven over open fields where one would
men and equipment to the scene of ac- hesitate to take an automobile. The short
tion. Its arrangement is quite flexible wheelbase makes possible getting the
and allows the use of the Telecruiser vehicle into small confined areas and the
either as a mobile vehicle or as an ad- exceptionally low overhead clearance has
junct to studio operations. Many of the many times allowed us to use the Tele-
smaller stations who use the same equip- cruiser in places where it would have
ment for remote operations and studio been impossible to take a higher unit.
Willis I. McCord, Manager,
pickup have made provision for the Tele- The interior of the Telecruiser has
Television Specialties Department of the
cruiser to be driven into the studio area Research Division, Allen B. Du Mont been arranged to accommodate a triple
or adjacent to it and operate the Tele- Laboratories, Inc.
image -orthicon chain transported in
cruiser as a studio control room. This operable condition with all cameras, tri-
manner of operation requires only the Complete equipment is transported on pods, and cables quickly accessible. Three
removal of the cameras from the Tele- the Telecruiser to cope with any condi- main sections divide the interior as fol-
cruiser and the playing out of the neces- tions which might be encountered in lows : (1) Driver's compartment with
sary amount of camera cable to connect this line of work either for daytime or provision for transporting personnel in
with them. Handling of the equipment is night operations. comfortable seats. (2) A control room
thus minimized, and the Telecruiser is Every effort has been made in design- compartment containing the audio con-
ready to roll in a few minutes time mak- ing the unit to minimize the time and sole director's desk and video operating
ing possible close scheduling between labor required to set up for a television console. (3) Storage compartment con-
studio programs and remote pickups. program and to replace equipment in the taining cable reels, camera tripods,
Also, this system makes it possible to vehicle at the close of operations. The microwave relay transmitter and para-
use other large auditoriums or buildings, savings effected by labor- saving devices bolic reflector, lighting equipment and a
such as municipal stadiums, armories, result in less overtime hours and require 5 -kw gasoline- driven generator to pro-
halls, and so on, for studio operations fewer operators than would otherwise be vide 120 -volt 60 -cps a.c. power.
that cannot be accommodated in the necessary. The morale of operators
working in a unit which is so planned The control room is the largest area
small area of the station's own studio.
and arranged is a big factor and results and arranged so that the video console
Television broadcasters who plan to use
the Telecruiser for more than one of in ...letter employer /employee relation- runs crosswise of the vehicle. Seated in
their stations dispatch it from station to ship and improved picture quality. Em- comfortable operating chairs in front of
station as needed. Also, it is possible to ployees take more pride in the appear- this console are three video control ope-
rent out the facilities to stations in the ance of their equipment and will be rators. One of these operators is the
near vicinity thereby deriving some more careful not to damage or abuse it. switcher or technical director, who is
revenue from time when the Telecruiser As a result, there are fewer instances of responsible for the selection of the
would normally be inactive. equipment failure and the station owner proper picture to feed to the phone line
Being completely self -sufficient, the has the satisfaction of seeing his invest- or microwave relay. On the top of the
Telecruiser can readily be used advan- ment and capital equipment being pro- console, four units are mounted. Three
tageously for picking up special events tected. of these units are identical individual
or to cover emergencies at a moment's camera control monitors, each one
notice, providing a source of "on the Description
coupled directly with its associated cam-
spot news coverage," such as the tele- The basic vehicle which is used as our era and displaying the picture coming
vising of a fire, train wreck, floods, Telecruiser is a bus-type vehicle having from that camera. The fourth unit is
flood conditions, or other catastrophies. been selected for its maneuverability, the mixer monitor and amplifier which
These scenes can be transmitted over the riding quality, and streamlined appear-
ance. It is a Flexible Coach, 30 ft. long
contains the switching buttons and can
microwave relay back to the station,
and 8 ft. wide, and with 9 ft. 3 in. over- accommodate up to four cameras.
where they may either be rebroadcast
to home receivers immediately, or head clearance. The wheelbase is 182 in. The special effects are controlled by this
through the use of the tele- transcription with a turning radius of 38 ft. 5 in. It is unit and the switcher can lap fade or
(recording on film) at a later time so as powered with a Buick 150 h.p. Fireball superimpose the pictures. The lap and
not to interfere with a scheduled show. engine mounted in the rear and is fading from one camera to another can

VIDEO ENGINEERING DECEMBER, 1950 VII

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 power. A 250 -foot reel of four conductor
#8 wire has been provided for connec-
tion to commercial power source that
may be distant from the Telecruiser lo-
cation. In the rear compartment, cable
reels accommodate several assorted
Fig. 1. The KBTV lengths of camera cable, microwave con-
Telecruiser in use trol cable, and a.c. power cable. All of
on location with these large cable reels are motor driven
the microwave for ease of rewinding the cable. Other
relay "dish" in small cable reels are provided to ac-
operation on its commodate microphone cable and video
collapsible tower. coaxial cable (RG59U).
The camera tripods are also located in
this rear compartment along with four
250 -watt flood lights for night operation.
Other accessory equipment, adapter con-
nectors, and various spare parts and
tools are also included in this compart-
ment. A removable door in the back of
the video control console gives access
be done either manually or automatically relay transmitter position or to the main from the storage compartment to the
with varying time rate, i.e. instantane- studio or transmitter. The audio man is rear of the camera control units and pro-
ous, slow, medium, or fast, set by merely also connected into this circuit from his vides an easy means of connecting and
turning a knob control to either posi- position as described in the previous checking cables on this equipment.
tion. Underneath the console are located article.
five units: one low- voltage supply and All of the equipment mounted on these Roof Platform
distribution amplifier, three power sup- consoles is equipped with shock mounts On the roof of the vehicle is a deck
plies, and the synchronizing generator. and quick-action releases so that they 20 ft. long and 6 ft. wide, covered with
Each of these power supplies is con- can easily be pulled out for servicing or nonskid rubber material to provide safety
nected by multi- conductor cable directly for removal from the vehicle if it is for the operators. In addition a remov-
to the monitor unit above it, and to the necessary to operate outside of the Tele- able guard rail is also provided to keep
low- voltage supply and distribution am- cruiser. Spacing of the units on the con- the operators from accidentally backing
plifier which distributes composite synch soles has been done with adequate pro- off of the roof. Mountings to accommo-
to each camera unit. The synch gener- vision for ventilation and accessibility date three cameras are attached to the
ator is coupled directly to the low -volt- for changing tubes without removing the deck and a clamping arrangement se-
age supply and distribution amplifier units. This also provides more working cures the camera tripod in place. With
unit. space for the operators. Two large ex- the cameras thus secured, it is possible
haust fans have been provided behind the to drive along while picking up a tele-
Video Circuits vision picture. The microwave relay can
console to exhaust the heat produced by
The output of the camera control the power supplies and other equipment. also be secured to the roof and the pic-
monitor is fed directly to a built -in studio The shelf over the console acts as a col- ture relayed hack from this vantage
type video patch panel. All the video lector hood to conduct this heat into the point. In order to relay the picture back
signals are controlled through the video exhaust fans. Having operated in this to the tower however, it is essential to
patch panel which in turn feeds the sig- unit in very hot weather in Texas and have an unobstructed line of sight air
nal to a picture distribution amplifier elsewhere, we find that these fans are path between the microwave relay trans-
capable of providing up to eight video essential and that we can maintain com- mitter and the microwave relay receiver
channels for line feeds. The output of fortable operating conditions even under position. Sometimes it is necessary to
the picture distribution amplifier is re- extreme sun loading. place the microwave transmitter as far
turned to eight points on the video patch In the Telecruiser, the operators fol- as 1000 ft. from the Telecruiser. In order
panel and from there is distributed to low the modern trend of working blind, to do this, the control unit is removed
microwave relay, line monitors, tele- observing all action on the camera con- from the vehicle to a point closely asso-
phone line, etc. This signal is a standard trol monitors. No provision being made ciated with the transmitter unit and the
2 -volt peak -to-peak. Over the video con- for viewing live action through large video signal is fed to the control unit
sole is a 12 in. air /line monitor receiver, windows which have proved to be a from the telecruiser by RG59U 72 ohm
used to monitor either outgoing signal hangover from audio operating days. It coaxial cable. This cable can be run as
or to check on the signal from the sta- is essential for the video operator to con- far as 2000 ft. when necessary.
tion. A 'scope is also mounted on this centrate on picture quality and the dis- In the WDTV Telecruiser (Pitts-
panel and is used to monitor the video traction of live action will take his burgh) access to the roof is gained
either from the various lines or the out- attention off the television picture. All through a large hatch opening into the
put of the picture relay transmitter. The of the a.c. power distribution is con- control room area. A ladder is provided
director is located in this control room trolled from the control room area by a on the control room wall so that the
area and from his position can view all circuit breaker panel and a Variac com- men can climb up onto the roof deck or
of the picture monitors. He is coupled to pensates for fluctuation in line voltage. pass equipment through the hatch. In
the camera control operators and the A main a.c. power switch is located in the KBTV unit, the access to the roof is
camera men by an intercom system and the rear compartment with provision for by a means of an exterior removable
can direct camera angles or instruct the selecting either the self -contained 5 -kw ladder.
switcher over intercom hookup. Each gasoline driven generator or outside
position is also provided with a field commercial service. This system can STL Relay Facilities
telephone unit which in turn is con- accommodate either single-phase 120-V, On the KBTV Telecruiser, using the
nected to provide phone line to remote single -phase 120/240, or three-phase a.c. [Continued on page V14]
V12 VIDEO ENGINEERING DECEMBER, 1950

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AmericanRadioHistory.Com
 illustrated folder describing and illus-
trating RCA's latest field TV equipment,
NEW PRODUCTS including an improved friction head, a
new tripod, new field desk, and a rotatable
mount and remote control for micro-
wave parabola. Requests should be ad-
Luprured Inputuner. Providing dressed to Department No. 522 at the ad-
greater gain than any previous Du Mont dress above, and should ask for booklet
Inputuner, the new series T3A is de- titled New TV Field Equipment.
signed both mechanically and electrically
for replacement of switch -type tunera in
existing TV receivers. Standard mount- Andrew Corporation, 363 E. 75th St.,
ing holes and identical space require- Chicago 19, Ill. will mail Bulletin 39, fully
ments make interchange of tuners a mat- describing the Andrew Type 738 ultra-
ter of minutes. Electrically the new In- low -loss coaxial transmission cable, free
putuner is designed to work into the i.t. on request of prospective users. Type 738
is a semi -flexible % -in. line suitable for
connecting antennas to transmitters or
receivers at frequencies from 25 mc to
2500 mc.

necessary, the signal being fed directly

from the antenna into Individual isola-
tion boxes. C B S TELEVISION
TV Deflector Yoke Core. Designed for INTERCOM FACILITIES
deflection of wide -angle picture tubes, the
new Westinghouse deflector yoke core is ß.i,ú,,, page i
made of Hipersil, a cold -rolled grain-
time during rehearsal. Talkback micro-
phones are also available to the video
system of TV receivers using a separate switcher and audio mixer permitting
sound Lt. Input impedance is 300 ohms. them to use this loudspeaker circuit to
As in earlier models, the new T3A pro- communicate with members of the tech-
vides continuous tuning covering all TV nical staff who may be away from their
channels as well as the FM band. It has stations and therefore not wearing their
low oscillator radiation and low noise regular headsets or headphones. Inter-
figure. Cost is substantially lower than
any previous Inputuner. Available at locking relays, which disable this cir-
once to both jobbers and manufacturers cuit when the audio console line key
from Electronic Parts Division, Allen B. switch is thrown to the "air" position,
Du Mont Laboratories, Inc., East Pater- are incorporated, thereby preventing ac-
son, N. J. cidental use of the talkback loudspeaker
when the studio is on the air.
TV Monitor. Developed especially When compared to aural broadcasting
for TV station use, the new MTV -12 off- studios, television studios are usually
the -line monitor recently announced by
Raytheon Manufacturing Company, Wal- quite large; as a matter of fact, studios
tham, Mass. is ideal for viewing programs which a short time ago were considered
large are now regarded as medium in
size. The talkback speaker must be ca-
pable of producing quite high levels at
oriented electrical steel. The core is the stage in use, as for example. when be-
wound and bonded in circular form from ing used over the playing of a large
a continuous strip of 5 -mil material. The orchestra. Rather than attempt to cover
resultant thin laminations plus excellent a large studio with a single high power
magnetic characteristics tend to produce talkback loudspeaker and driving ampli-
superior linearity and sharper pictures. fier, it has proven more practical to
The core is entirely free from magnetic employ a small mobile loudspeaker unit
instabilty due to temperature change. which is moved to the area of the studio
Complete data will be supplied by West-
inghouse Electric Corporation, P.O. Box in use. This talkback loudspeaker is one
2099, Pittsburgh 30, Penn. component of the studio floor monitor
described below.

in control rooms, film rooms, announcers' The Studio Floor Monitor

booths and executive offices. Picture tube NEW LITERATURE The studio floor monitor, Fig. 7, is an
size is 12% in. An audio channel and Superior Electric Company, Bristol, indispensable unit of studio equipment.
speaker are included in the unit and may Conn. is now releasing a 16 -page booklet
It is customary to provide at least two
be used for either cueing or monitoring. fully describing the complete line of
Sturdy construction and light weight Powerstat variable voltage .transformers. of these units in each studio. As can
make the MTV -12 well suited for remote In addition to excellent illustrations, per- be seen, this unit combines, in a single
pickup use. Overall dimensions are 16 x formance curves and wiring diagrams, cabinet, a picture monitor, a loudspeaker,
18 x 21 in. the booklet contains a handy rating chart and a clock. As described above, the
which provides engineers and purchasing loudspeaker is normally connected to
TV Demonstration System. As many agents with a quick selector index. When the studio talkback circuit.
as 100 TV receivers may be fed from a writing request Bulletin P550. It is customary to place one or more
single antenna through use of the Taco
master antenna distribution system, re- Allen B. Da Mont Laboratories, Tele- of these floor monitor units at the stage
cently placed in production by Technical vision Transmitter Division, 1000 Main in use in positions where they are visible
Appliance Corporation, Sherburne, N. Y. Ave., Clifton, N. J. is now distributing to the greatest number of persons con-
In operation the signal is fed through an 18 -page illustrated booklet on the cerned with the production. Thus the
a power amplifier into a mixer and then Du Mont industrial color television sys- performers, floor manager, and other
into isolation boxes feeding one or two re- tem. Available to executives writing on studio personnel can see the production
ceivers each. Where no more than eight business or professional stationery.
receivers are to be used the amplifier may exactly as it is leaving the studio.
be used alone without isolation circuits. RCA Engineering Products, Camden Equally important, it is possible for them
In high -signal areas the amplifier is not 2, N. J. has available for broadcasters an to follow the program continuity at

VIDEO ENGINEERING DECEMBER, 1953 V13

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times when the action is originating on For this reason, the design details of at the window just right of the open
another set, on motion picture film, or the intercom facilities should be worked door. The exterior of the vehicle is at-
from a remote point. out with the greatest forethought and
Smaller monitoring units containing care. For dependability, only the most tractively styled to serve as an adver-
only the picture monitor are provided reliable components should be employed. tising medium for the station.
for technical and production personnel In addition, the circuits should be ar- Because of special operating condi-
who must closely follow the program ranged to provide all possible emergency
continuity. Such units are installed at operating facilities including such fea- tions in various parts of the country and
the sound-effects station, lighting panel, tures as a jackfield providing access to specific desires and needs of individual
and in the announcer's booth. all important circuits and components broadcasters there are no two Tele-
and, as well, emergency sources of a -c,
Transcribed Audio Program Material relay, plate, and filament power. If cruisers built alike. Each one is custom
Portions of the audio material used in plug -in amplifiers are used in the audio built to incorporate the features deemed
TV programs often originate on electri- system, the same amplifier types should necessary. These features are established
cal transcriptions or magnetic tape. be employed in the intercom system to by close cooperation
Quite often it is necessary for the per- permit complete interchangeability of between the engi-
formers in the studio to hear this re- amplifiers. As a matter of fact, the in- neering staff of the station and the Du
corded program material. One example tercom facilities should be treated as an Mont Television Specialties Department,
where this would be necessary is in the extension of the audio system and em- so that when the Telecruiser
is delivered
case of a program wherein the inner ploy the same components and construc-
thoughts of a performer are being made tion practices. The essential requirement it is completely equipped and wired for
audible to the audience. This material is is the ability to restore the intercom fa- audio, video, and a.c. having been thor-
previously recorded and is played back cilities to a normal operating condition oughly tested and checked out in all re-
at the appropriate time. It is essential, in a minimum of time in the event of a
of course, that the performer in the stu- failure of any portion of the system. If spects so that it will be operable im-
dio hear this recorded material in order this is not possible, a failure of the in- mediately upon arrival at the station.
to properly coordinate his actions. An- tercom system may easily result in the With a well trained crew of five men,
other example where recorded program complete disruption of an important pro-
material must be heard by the performers gram production. it has been possible in many instances
is in the case of music to which people Intercom facilities of the type de- to leave the studio and proceed to a re-
in the studio are dancing. If this music scribed above have been in operation mote location having a picture for air
is recorded, it is necessary that the in the CBS -New York television studios
dancers in the studio hear the music. for several years and have proven ade- broadcast in less than one hour's time
Appropriate circuits must therefore be quate to handle the requirements of the after arrival at the pickup point. After
provided which will transmit recorded most elaborate programs originating the program has been completed, the
program material to a studio loudspeaker from these studios. The basic design of
when desired, as well as to the regular these intercom facilities is not new but Telecruiser can be ready to return to its
outgoing audio program line. A block has evolved as a result of CBS' many base in a matter of approximately 30
diagram of a suitable circuit arrange- years of experience in television studio minutes.
ment intended for use with transcription operations. Ideas and suggestions which
turntables is given in Fig. 8. A similar resulted in the design described have The two units described and shown in
arrangement will serve for magnetic been contributed by many members of this article are now in active service in
tape reproducers. the CBS television staff. Many contri- Pittsburgh and Dallas and have been
The loudspeaker unit in one of the butions were also made by Howard A.
studio floor monitors may be employed Chinn, CBS Chief Audio -Video Engi- used to pick up many hours of program-
to reproduce this recorded material in neer, under whose direction the design ming for their respective stations. They
the studio. and installation of the facilities were un- have proved through actual operation to
Dressing Room Call System
dertaken. be an indispensable piece of program-
Another branch of the TV studio in- ming equipment, especially in those
tercom system which has proven ex- areas not presently connected with the
tremely valuable in coordinating pro- REMOTE TELEVISION
gram production is a call system between various networks. Heretofore, stations in
the studio control room and the dressing BROADCASTING these areas have been dependent on film
rooms. This call circuit permits the di- or recorded shows for the greater por-
rector or his assistant to call each per- [from page V12] tion of their program material.
former to the studio well in advance of
his scheduled appearance. Du Mont 2000 -mc relay, a permanently
The loudspeaker arrangement em- mast is provided to support the
ployed in the dressing room area will attached
depend on the location and arrangement relay transmitter reflector, as shown in AUDIO SYSTEMS
of the dressing rooms. Usually one or Fig. 1. This reflector is light weight with
two loudspeakers placed in the dressing perforated metal reflecting surface, and FOR TV SERVICE
room corridor will be adequate. At other the ribs are made of a fiber glass ma-
times. it may be necessary to install a terial. When not in use, the reflector [from page 1/10]
small loudspeaker in each of the dressing dish is removed from the mast and
rooms. In either event, the loudspeakers stowed in the rear compartment. The as part of the overall television installa-
should be clearly audible at all points mast itself can be folded back onto the
in the dressing room area. The associ- roof. Figure 1 also shows the tion.
ated circuits in the studio control room
exterior Several of these systems have been
are shown in Fig. 6. features of the KBTV Telecruiser. At installed and are daily feeding programs
the roof level are waterproof outlets
CONCLUSION which provide a.c. to the flood lights or to the local stations and in some in-
stances, to a network. Each has all the es-
It can \yell be realized that a failure to service cords. Also provided is an sential facilities required for
of the television studio intercom system outlet for the announcer's microphone. a small
during the production of a program Looking through the open door, an studio installation, and its circuit flexibil-
would be just as devastating as a break- operator can be seen seated at the video ity has proven its worth on more than
down of the sound or picture facilities. console and the audio man can be seen one occasion.

V14 VIDEO ENGINEERING DECEMBER, 1950

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 Video Engineering
Here's why those in the know
1950
SUBJECT INDEX
Audio
Audio Systems for TV Sers. W. L.
-demand
.
Lyndon, I May, V9; II Dec., 1

CBS -TV Sound Effects Console; R. B.

Monroe and P. E. Fish, I March, V12;
CANNON
II May, V 12.
Steps to Improve TV Audio; Arthur
Davis, March, V14.
Intercommunication Systems Patented exclusive latchlock
PLUGS
TV Intercommunication Systems; R. B. device
Monroe, Dec., V3.
Lighting
Practical Television Lighting; C. A. Shel design saves space. All contacts, machined from solid bar
Rackey, I July, V3; II Sept., V8. stock, electroplated with silver.
Networks
CBS "Loss- Less" Video Isolation Net- Socket contacts are full.floating ...
work; D. E. Maxwell, Sept., V4. turn through 360..
Receivers
Economical 10 "- to -16" Conversion Prac- Gros nd contact mates first;
tices; Vinton K. Ulrich, March, VS. breaks last.
Recording
Mechanics of TV Recording, The; Skip -
with W. Athey, May, Vb. Hand tinned solder cups tinned
Remotes tisice only. Insert retaining screw
Audio Co- ordination in Remote TV threads into metal barrel
Broadcasting; W. I. McCord, July, V7. instead of plastic...inserts
Remote TV Broadcasting; W. I. McCord, can be quickly removed.
Dee., V11.
Sound Effects
CBS -TV Sound Effects Console; R. B.
Monroe and P. E. Fish, I March, 112;
II May, V18.
Studios
Television City; E. Chisholm Thomson,
a Sept., V3.
Systems
Audio Systems for TV Service; W. L.
Lyndon, I May, V9; II Dec., VS.
Basic Video System Planning; C. A.
Rackey, March, V4.
TV Intercommunications Systems; R. B. Compression gland having a soft rubber bushing grips
Monroe. Dec., V3. the cable; fibre washer takes care of bushing thrust.
Laboratory TV System, A; Ralph L. Cable entry has strain relief spring.

Hucaby, Sept., V9.

AUTHOR INDEX
Athey, Skipwith W. No corners are cut ... nothing is overlooked to assure you
Mechanics of TV Recording, The; May,
Vb. outstanding performance with Cannon Plugs. So long an
Davis, Arthur engineer's choice, the words "Cannon Plugs" have become
Steps to Improve TV Audio; March,
V14. part of our electrical language. Continued excellence of de-
Fish, P. E. and Monroe, R. B.
CBS -TV Sound Effects Console; I sign ... ability to meet your changing requirements ... are
March, V18; II May V12.
Hucaby, Ralph L. good reasons why the Cannon line of connectors continues
Laboratory Television System, A; Sept., to excel where specifications must be met. XL Connector
V9.
Lyndon, W. L. Series is just one of the many Cannon types -world's
Audio Systems for TV Service; I May,
V9: II Der.. V8. most complete line. Request bulletins by required type or
McCord, W. I. describe your needs.
Audio Co-ordination in Remote TV
Broadcasting; July, V7.
Remote TV Broadcasting; Dec., Vii.
Maxwell, D. E.
CBS "Loss-Less" Video Isolation Net-
work; Sept., V4.
Monroe, R. B.
TV Intercommunication Systems; Dec..
CAN NON
V3.
and Fish, P. E.
CBS -TV Sound Effects Console; I
ELECTRIC
March, V12; II May, VIP, Since 1915
Rackey, C. A.
Basic Video System Planning; March, LOS ANGELES 31, CALIFORNIA
V4. REPRESENTATIVES IN
Practical Television Lighting; I July, PRINCIPAL CITIES
V3; II Sept, V8. There are 12 items in the XL line. Insert
Thomson, E. Chisholm In Canada & British Empire: Cannon arrangements available 3 -15 amp. con.
:
Television City; Sept, V3. Electric Co., Ltd., Toronto 13, Ontario. tacts, 4 -10 amp. contacts- working volt-
Ulrich, Vinton K. World Export (Excepting British Em- age 250 volts. Zinc and steel plugs with
Economical 10 " -to -16 "Conversion Prac- pire): Frazar & Hansen, 301 Clay St., bright nickel finish are standard. Satin
tices; March, VS. San Francisco. chrome finish also available on steel plugs. -

VIDEO ENGINEERING DECEMBER, 1950 V15

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 o

Wonderful way fo feel !

You certainly can be on top of the world! Start saving right now! Just as much as you
Why not? Your car is paid for and your house is possibly can -and regularly.
halfway there. You're making pretty good money One of the best ways ... one of the safest, surest
... the kids are healthy and happy ...
and your ways ... is to buy U. S. Savings Bonds through
wife just bought a new outfit -shoes to chapeau! the Automatic Payroll Savings Plan where you
You don't owe anybody a red cent. Not only work. Or, arrange to purchase Bonds regularly at
that- you've got a little money salted away for your post office or bank.
the kids' education and your own retirement. U. S. Savings Bonds will bring you, in ten years,
Wonderful way to feel, isn't it? $4 for every $3. And you can count on that!
If this description doesn't fit you -make it! Start your plan today. It's the very wisest way
You can. Here's how: to save!

Automatic Saving is Sure Saving

U.S. Savings Bonds
Contributed by this magazine in co- operation with the Magazine Publishers of America as a public service.

V16 VIDEO ENGINEERING DECEMBER, 1950

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Rapid Attenuator Calculation
Using the Vector Slide Rule
A. E. RICHMOND

A time saving method of arriving at results which often require considerable figure -work.

RESISTIVE ATTENUATORS are used in a other procedures. However, as will be

wide variety of audio circuits. shown, only ten easy steps complete the I, /5011 Line (I)
They find application in audio level side-rule solution of the entire attenator, z, 600J2 Line (2)
adjustment and in impedance matching, and knowledge of the theory of the hy- Loss :15 do tree (3)

and are very widely used in such sys-

tems as recording, public address, and
perbolic functions is not even necessary.
The hyperbolic functions are obtained
,
B 1.727 neeers
110211
639.211
Cm* (4)
Line (5)
Line (6)
broadcasting. by the use of scales Ski. S42, and Th, R, L me (6) - L (5 ) . 5 2 9 . 0 Ji Line (7)
/59.811 Lme (8)
Some attenuator design procedures which are illustrated in Fig. 2. This fig- L(8) -¿V(5)
R, 49.612 Line (9)
have been used which are quite time -con- ure shows one side of the slide rule.
suming and tedious. The procedure given These scales indicate the angles in radi- R,496R R,529011.
in this article, using the "Vector" slide ans whose hyperbolic sines and tangents,
rule,' is comparatively rapid. With this respectively, are given on scale D.
method, attenuating pads having losses The equations used2 as the foundation 150150J 1 Rs: 60017
021i
as great as about 26 db can be calculated of the procedure are:
LossISeE
quickly. \JZLZ2
The very common "T" pad circuit of R3
sink 0 (i)
Fig. 1 will be used as the basis of this
article. Based upon the method shown, Fig. 3. Example of "paper" calcula-
Equations (1), (2) and (3) are from
the reader will doubtless be able to adapt "Reference Data for Radio Engineers," tions. This figure shows the entire
the equations for other attenuator cir- Federal Telephone & Radio Corp., New amount of paper work involved in de-
York, 3d Ed., pp. 158-9, by permission. signing attenuator to meet specifica-
cuits to slide -rule computation.
tions of example in text. The remainder
Equations of the work is done directly on the slide
The equations forming the basis of the rule. Bottom: the completed attenu-
procedure make use of hyperbolic func- ator design required in the example.
tions, the hyperbolic sine sink and the
hyperbolic tangent tanh. At first glance, Z=
R, R9 (2)
these formulas may seem to complicate tank 0
the work beyond that required for some Z,
R, Rs (3)
*Consulting Engineer, Portland, Oregon. = tank O

The article is based on the Log Log Du- where Z, and Z, are the input and out-
plex Vector slide rule No. N4083 of
Keuffel & Esser Co. Illustrations used by Fig. 1. Conventional "T" attenuator put impedances between which the at-
permission. circuit, used as example in text. tenuator is matched, and either Z, or

t
....
L .

l
«o IIHu

iI
I

4-
e I

1l
.

T'
Ì II

"t

Fig. 2. The N4083 Slide Rule, showing the hyperbolic scales. Illustration shows one side of rule. Hyperbolic tangents are
obtained by use of Th scale, while hyperbolic sines are given by use of scales Sh 1 and Sh2. (Copyright by Keuffel & Esser Co.)

AUDIO ENGINEERING DECEMBER, 1950 19

www.americanradiohistory.com
AmericanRadioHistory.Com
 in nepers, by dividing the number of the example is 529.0 ohms, and is entered
decibels by 8.686. Use scales C and D in as line 7 on the calculating sheet.)
the usual manner. The loss in nepers is The procedure for obtaining R, is
Hairline represented by the symbol O. similar to that for Rs, and does not re-
of runner
(In our example, 0=15/8.686 = 1.727. quire additional diagrams, for its ex-
mozz' VT-4.3001L
o
This is entered as line 4 on the calculating
sheet of Fig. 3. Some of the results, inci-
dentally, will be given herein to a slightly
planation.
8. Set the index to Z1 on scale D.

111111111M1 5112
greater accuracy than that obtainable with
(For our example, Z, is 150 ohms.)
9.1.727 the 10 -inch rule.) 9. Set the runner to O on scale Th,
2. (a) If the pad is to match un- just as in step 6. Record the reading of
scale CI at the runner.
(In the example, this is 159.8 ohms, and
is entered as line 8 in Fig. 3.)
Fig. 4. Setting of O on scale Sh2 (cor- 10. From the reading found in step
responds to step 4 in text). (Copyright 9, subtract Rs as determined in step 4.
A A
by Keuffel & Esser Co.) . V
The remainder is the value of R1 for the
R2
Zs may be the source and the other the z, z2 required pad.
3
load; and (In the example, R, is 49.6 ohms. The
0= the loss introduced by the attenuator completed attenuator design is shown at
in nepers the bottom of Fig. 3.)
= the loss in decibels divided by 8.686 For the convenience of those who
The simple procedure for the design
of the "T" pad will now be given, in- Fig. 6. The basic "T" attenuator cir-
cluding a detailed example. In this dis- cuit. Conversion to minimum -loss L-
cussion, it is assumed that the slide-rule pad is made by eliminating R2; values
operator is skilled in the common manip- of R1 and R:, are determined in accord-
ulations of the rule, locating decimal ance with text.
points, etc. Illustrations are included for
those slide -rule operations involving the equal impedances, i.e., is unsymmetrical,
hyperbolic scales. multiply these impedances Z1 and Zs
together on scales A and B, and set the
Procedure runner of the slide -rule to the square
Assume that a pad is required to have root of this product on scale D.
a specified loss and is to operate be- (In the example, 150 X 600=90,000, the
tween known input and ouput imped- square root of which is 300 on scale D. It is
ances. The problem is to find the values not necessary to record either the product
of Rs, R, and R1 for the required "T" or its square root, or even to observe the
pad of Fig. 1. values.)
(b) If, on the other hand, the pad is
(As an example, let Z, be the input im-
pedance of 150 ohms, Z, the output im-
symmetrical (matches equal imped-
pedance of 600 ohms, and the required loss ances), simply set the runner to this
15 db. This information is entered as lines impedance Z on scale D.
1, 2, and 3 on a slip of paper, as shown in 3. Set the index (the end of the scale)
Fig. 3. This figure, incidentally, shows the of the slide to the runner.
entire amount of "paper" work required in 4. Set the runner to O on scale Shl or
the attenuator design, the remainder of the Sh2, and read the value of Rs on the
figuring being done on the slide rule.) CI scale.
The first calculation is the determina- (In the given example, set 0 =1.727 on
tion of the value of Rs, which is a some- scale Sh2 as shown in Fig. 4. If the rule is
what longer procedure than that for Rs now turned over, R, will be found as 110.2
or R1. Proceed as follows: ohms on scale CI. Enter the value of R,
1. Convert the loss in decibels to loss as line 5 on the calculation sheet.)
F'g. 7. Graphical solution for resistors
Next, we find the value of R,. in parallel; a handy device for attenu-
5. Set the index of the slide to Zs on ator design and general audio work.
scale D. (From "Motion Picture Sound Engineer-
Hairline
(In the example being worked, Z, is 600 ing," D. Van Nostrand Co., Inc., New York,
of runner ohms.) N. Y., by permission)
6. Set the runner to O on scale Th, and

D
600 /L
=MEW record the reading at the runner on scale
CI as line 6 on the calculation sheet.
do not have ready access to tables of hy-
perbolic functions, the decimal points of
Th
21111111111M (In the example, set 0=1.727 on scale Th the sink and tanh values can be located
as shown in Fig. 5. The rule is now turned as follows:
C 1.727 over, and the corresponding reading on The value of sinh 0 is roughly equal to
scale CI, 639.2 ohms, is recorded as line 6.) 0 for values of O from 0 to 0.5. Sinh
7. From the reading found in step 6, 0 =1 when 0 is roughly 0.89, and sink
subtract Rs as determined in step 4. The C becomes 10.02 when 0 = 3.0.
Fig. 5. Setting of O on scale Th (cor- result is the value of Rz for the desired The value of tank 0 is roughly equal to
responds to step 6 in text). (Copyright pad. 0 for values of 0 from 0 to 0.4. Tante
by Keuffel & Esser Co.) (The value of R, for the attenuator in [Continued on page 46]

20 AUDIO ENGINEERING DECEMBER, 1950

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 Determining Unknown
Impedances in Transformers
LOUIS H. HIPPE

A simple method for obtaining information

about the characteristics of unknown transformers.

IN MANY AUDIO INSTALLATIONS the ferably of the vacuum tube type) ; a impedance checks on a transformer that
technician is sometimes faced with 1,000 -cps audio oscillator can be built . will eventually be used in the voice -
the problem of determining quickly easily. With these two pieces of equip- frequency range. A 60 -cps test voltage
and with reasonable accuracy the un- ment, plus a few odds and ends, the un- source is somewhat less accurate especi-
known impedances of transformer wind- known impedances of any transformer ally if the transformer has poor response
ings. At other times the technician may winding or choke can be quickly com- at 60 cps.
find himself with a transformer that puted. With the meter and test oscillator we
could be put to good use, but unfor- Figure 1 is the schematic of a 1,000 - can conduct our impedance determining
tunately he is unable to obtain sufficient cps audio oscillator which will prove a experiment on the assumption that volt-
data on the impedance capabilities of the valuable asset to the workshop and lab- age ratio is proportional to the turns
transformer to make it usable in a prac- oratory in addition to the specific use ratio and that the impedance of a wind-
tical application. At other times he may about to be described. It is inexpensive ing varies as the square of the turns.
find that he has available several of the to build since parts are held to a mini- This is expressed by the formula:
400 -cps power transformers of the type mum and may be selected from spare za v
used in surplus military equipment. part components. (1)
Z, V, )
These transformers can often be used in In making impedance calculations, it
Where Z, is the known primary im-
4 audio installations where the power re- is well to remember that one of its con-
pedance.
quirements are not too great -depending, stituents is reactance. Reactance of a
Z, is the unknown impedance.
of course, upon the internal insulation of given coil or transformer winding
V, is the known applied voltage.
the power transformer but "spec" sheets changes with the frequency applied. Be-
and
on winding impedances for audio service cause reactance changes with frequency,
V, is the voltage measured
are not available for this type of trans- it follows that impedance also changes.
across the unknown winding.
former. We are therefore interested in an os-
Once the impedances of primary and cillator as a source of voltage at 400 to Note the statement, "where Zs is the
secondary windings of any transformer 1,000 cps because it allows us to obtain known primary impedance." This value
are known the transformer then becomes a greater degree of accuracy in making [Continued on page 43]
valuable and usable as a component in
construction of new equipment or re-
placement in equipment already in use.
However, unless the technician experi-
ments by cut- and -try, he is not apt to
know, even in a general sense, just what
tubes or other components the trans-
former will allow him to match. Since
cut -and -try requires a lot of time, and
since there is no logical place to start,
the transformer is likely to be relegated
to the junk box where it will kick around
until it eventually finds its way to the
ash can. Good equipment can be saved
from such a fate with a little effort and
a minimum of equipment.

Calculation Methods
There are several possible transformer
impedance calculation methods and tech-
niques available which will give results
of reasonable accuracy. Although not of
the caliber of laboratory measurements,
the tolerances are accurate enough for
average service.
Most audio technicians own or can Fig. 1. Simple 1000 -cps oscillator which can be constructed readily and
borrow a volt -ohm-milliammeter (pre- which is useful in making measurements of the type described in this article.
* 10636 Victory Blvd., CH is small a.c. -d.c. filter choke; SR, and SR., are 60 -ma selenium rectifiers;
North Hollywood, Calif. T, and T, are 6.3 -volt, 1.5 amp filament transformers "back to back."

AUDIO ENGINEERING DECEMBER, 1950 21

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 AUDIO DESIGN NOTES

'
Resonant Loudspeaker
Enclosures

.:: 'r'
BOB H. SMITH'
THIS CHART is based upon the assump- and represents a very heavy load, no oscil-
tions that the dimensions of the enclosure Ca =p= latory transient occurs at this frequency.
are small compared to wavelength, that the However, a new transient of higher fre-
thickness of the port is negligible, and that where V is the volume and c is the velocity
of sound. The resonant frequency of a quency appears. It is caused by the mass
the amount of air moving in the port is Helmholtz resonator is : of the moving system going into anti -reso-
equal to the three halves power of the area nance with the compliance of the box. Thus,
of the port. Thus, the inertance of the 1 _ c Ai the resonant enclosure does not completely
port is : fr
2sV MCa 2n Vi eliminate the production of oscillatory tran-
sients but usually the new transient will be
M = -Ç This expression seems to agree well with
of shorter duration than the one which
VA experiment. In a typical case the error is 5

'
per cent. would have occurred without a resonant
where A is the area of the port and p is enclosure.
the density of air. The compliance of the It is customary to choose the resonant The radiation resistance is proportional
enclosure is : frequency of the enclosure equal to the anti - to the area of the port and is usually too
resonant frequency of the moving system of low for efficient energy transfer. Thus, the
Division of Engineering, University of the speaker. Since the impedance of the
California. resonator is purely resistive at resonance [Continued on page 49]

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22 AUDIO ENGINEERING DECEMBER, 1950

www.americanradiohistory.com
AmericanRadioHistory.Com
 ALIDI() enjineering society
Containing the Activities and Papers of the Society, and pub-
lished monthly as a part of AUDIO ENGINEERING Magazine
OFFICERS
John D. Colvin President Bob Hugh Smith Western Vice. -Pres.
Audio Engineering Society, C. G. McProud Executive Vice -Pres. Lawrence Shipley Central Vice. -Pres.
Box F, Oceanside, N. Y. Norman C. Pickering Secretary Ralph A. Schlegel Treasurer

Convention Report
THE SECOND ANNUAL CONVENTION Of nition of his continued work in further-
the Audio Engineering Society ful- ing the progress of the Society since it
filled the hopes of the Society mem- was founded. Howard A. Chinn received
bers and officers and, along with the the John H. Potts Memorial Award "for
Audio Fair, attracted a large number outstanding achievement in the field of
of visitors from the New York area as audio engineering," a plastic- embedded
well as many hundreds from out of silver medal awarded annually to a per-
town. The five technical sessions were son chosed by the Society. Presentations
well attended, and some of the papers were made by C. J. LeBel, acting on be-
will appear in these pages in future half of W. L. Black, chairman of the
issues. Awards Committee, who was unable to
At the Business Meeting, held on be present.
Thursday morning as the first session Following the banquet and the presen-
of the convention, witnessed the installa- tation of the honors, the diners were en-
tion of the officers for the coming year. tertained by a musical group composed
Theodore Lindenberg, retiring presi- of Johnny Johnson and Harry Lennon
dent, announced the results of the elec- with accordion and bass, and by Lee
tion, and after a brief farewell message Irwin and The Mariners, from the
relinquished the chairmanship of the Arthur Godfrey programs.
meeting to John D. Colvin, newly elected T. M. McCarty
president. The others taking office at SAN FRANCISCO SECTION
this time were: C. G. McProud, ex-
ecutive vice president; Bob Hugh
ELECTS SOUTHERN MICHIGAN
Smith, Western vice president; Law- The San Francisco chapter of the SECTION ELECTS NEW
rence Shipley. central vice president; Audio Engineering Society announces OFFICERS
Norman C. Pickering, secretary ; and the results of an election held recently
Ralph A. Schlegel, treasurer. The latter for officers of the section for the 1950 -51 The Southern Michigan Section of the
two were continued in the offices they term. The results were as follows: chair- AES announces the following results of the
hehl for the past year. Howard A. Chinn, man, Dr. Vincent Salmon, Stanford Re- annual election: Chairman, T. M. McCarty,
search Institute ; vice -chairman, Harold president, Gibson, Inc., Kalamazoo, Micb. ;
H. E. Roys, and Theodore Lindenberg Vice -chairman, Earl S. Stone, chief en-
were elected to two -year terms as gov- Lindsay, Antplex Electric Corporation; gineer WELL, Battle Creek, Mich.; Sec-
ernors. secretary, Frank Haylock ; treasurer, retary- Treasurer, Walter Fuller, chief
The annual honors were presented at Myron J. Stolaroff, Ampex Electric electronics engineer, Gibson, Inc.; director
the Banquet, held on Thursday evening. Corporation; executive board members, (two -year terni), Wade Allen, Allen Elec-
October 26. The Society's own award Walter T. Selsted. Jack Hawkins, and tric Co., Kalamazoo, Mich.; director (one
was presented to C. A. Rackey in recog- Ross Snyder. [Continued on page 59]

II /
Left, C. A. Rackey (left) receiving Society's Award from C. J. LeBel. Center, John D. Colvin, new president, welcomes
visitors to the Convention and the Audio Fair. Right, Howard A. Chinn receives the John H. Potts Memorial Award from
Mr. LeBel.

AUDIO ENGINEERING DECEMBER, 1950 23

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AmericanRadioHistory.Com
 The Audio Fair Review
THE SECOND AUDIO F AIR has come and gone a.c. power was cut off signifying the end
with appreciably more success than of the exhibit hours. Without this drastic
.. s.«. «.. ... .

..... . .
its forerunner, the First Audio Fair. means of signalling the closing hour, it is
Again, for three days, the halls of the fifth doubtful if the visitors would have left at
.a..,. s. and sixth floors of the Hotel New Yorker all -especially on Friday evening, the only
... ... ....«`.. N.. .....
is were more than filled with a milling time many were able to attend. The fol-
throng interested in audio to the extent lowing paragraphs will cover the ex-
that they were willing to spend long hibits in detail, with each exhibitor's
hours on their aching feet to hear the display being described briefly.
newest in speakers, amplifiers, pickups, Altee Lansing Corporation exhibited a
and recorders. And the new items were new corner cabinet housing two 15-inch
there en masse, along with the time - driver units and a multicellular horn,
tested- and -tried devices that are always along with the other more familiar mem-
interesting to the enthusiast when demon- bers of its line -the 800, the 604B, the 603,
strated under what are the best condi- the 600, and the 8 -inch model 800. The new
tions possible, in the opinion of the manu- unit, with the advantage of two
facturers, for their particular equipment. frequency drivers, showed excellent low re-
-
Actually, from the listeners viewpoint, it sponse characteristics, and an extremely
is doubtful if this is an ideal condition, large power handling ability. The interest
because of the background of noise from in this entire exhibit was so great that it
the many exhibition rooms. However, was usually difficult to get into the room,
there is no doubt about the over -all value but nearly everybody did at one time or
of this type of exhibit, because-even another, and the demonstration of the
though the conditions are not perfect - strength of the field magnet used in one
the visitors do get an impression of the of the larger speakers was convincing -
quality of performance of the many items, even to anyone who did not understand
and the interest awakened by it is suffi- what it all meant to the performance of
cient to warrant further investigation the speaker. The always- present -but-
under more intimate conditions. little -seen condenser microphone was also
For the professional engineer, the ex- on hand for display, while others were
hibits of tape recorders were of great in continual service for sound reinforce-
interest, with many types being displayed ment during the technical sessions and
for the first time. Microphones suitable the banquet.
for all purposes were seen, speakers of Ampex Electric Corporation's new
the highest quality for monitoring pur- Model 400 Tape Recorder -of which much
poses, and all types of recording ma-
chines, tape, and discs. One complete months- proved th t
has been heard during the past few
tt lived up to its
display of a broadcast console attracted specifications as to quality. The demon-
the broadcast engineers almost as much stration consisted of playing a tape on the
as the tape recorders-of which there big Ampex, re- recording it on the 400, and
were many more than one. reproducing the output of the playback
On the whole the Second Audio Fair head of the smaller machine on an AB
was a much greater success than the first, test with the signal being recorded. This
with a fifty per cent increase in exhibitors was a truly convincing method of demon-
and in registration -the preliminary fig- strating the quality of a new product in
ures for the attendance indicate that comparison to that of the already well
approximately 4700 visitors were present established performance of the leader of
ARROW FIECTRONKS over the three -day exhibit, with many of the line. After hearing this demonstration,
82CORTLAND ST. them being on hand two or even three the listener had no doubts of the ability
-

Th. .+.,..d Most

rg Compkf days. of the small machine to perform com-
Hatrosk Ports Stock In !M Couefry.. The photographs of the various exhibit pletely In accordance with its specifica-
IaNMn. ®ras PIS mil INS DWI. rooms will give to those unable to tions, which are sufficiently stringent for
rv.d.I' C.tl,..r,r
ti.,,, I attend an idea of the highlights of the practically any professional application.
R .i,.,eoa .,.M..r
^J Fair -every exhibitor has something in- Amplifier Corporation of America pre-
40e..
.1110.1,
.
MI>IIOtK
krJSaks
InSroCK
Mn
M$IOCK: teresting to show, and each one of them sented a 29 -hour, 3 % -in. per second re-
AltieW11IKTlOKICS INC. spent a long and arduous three days of corder with quality considerably better
explaining and demonstrating, so that all than most 7% -inch machines of a year
felt a sense of relief each day when the ago. The improvements in slow -speed tape

From the top, reading counterclockwise: Audio Engineering, Altec Lansing

Corp., Arrow Electronics, Inc., Amplifier Corporation of America, Ampex
Electric Corp., Cinema Engineering Co.

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24 AUDIO ENGINEERING DECEMBER, 1950

www.americanradiohistory.com
AmericanRadioHistory.Com
 recorders has been truly remarkable in or paper tape used on conventional tape
the last twelve months, and for applica- recorders. Types shown included plastic -
tions requiring a high quality source of base tape from 1/ to 2 inches wide,
sound for long periods, a machine of the several widths of paper -base tape, 16 -mm
type exhibited here would certainly serve film with single and double perforations,
the purpose admirably. With such an in- 17.5 -mm film with single perforations,
stallation, hotels and restaurants could and 35 -mm film with double perforations.
be freed from the need for wired services, Ali it takes to bring out a special tape is
and would be able to schedule the kind of to show a need for it, and anything
music or entertainment that was most imaginable can be made.
suitable for the hour or location. In addi- Audio Instrument Company showed a
tion to the long -playing machine, a large new device intended to generate a signal,
number of other types of recorders were composed of both low and high fre-
on display, of sufficiently wide variation quencies, which could be used with any
of cabinet, styling, and facilities to fill oscilloscope to give a qualitative measure-
the needs of most semi -professional users. ment of intermodulation distortion, as
Arrow Electronics, Inc., a New York well as with the Bridger -an instrument
City jobber, kept its display room full of designed to permit the measurement of
visitors during most of the show hours, small audio voltages without appreciable
and well it might, because of the wide loading of the source. This instrument has
variety of components for high-quality fulfilled the need for an a.f. coupling unit
music systems that were on display. The of extremely high impedance, a necessity
jobbers had somewhat of an advantage in development and laboratory work, and
over some manufacturers because they a useful accessory in the service and ex-
have available all types of equipment, and perimenter's shop. The Intermodulation
are therefore able to make comparisons Set offers in compact form a source of
right on the spot. Tuners, turntables, signal for IM measurements which is en-
amplifiers, even television parts, all were tirely suitable for most developmental
on display here. work.
Audak Company, preferring to demon- The Audio 3Iaster Company displayed
strate for quality of sound rather than a number of portable record and tran-
quantity, conducted its displays of per- scription players which fill the need for
formance behind closed doors. To many a small unit suitable for the salesman
visitors, this was a welcome change from who has a product which is best demon-
the somewhat overpowering sound which strated by the use of records, or by a
filled the corridors of the fifth and sixth salesman for the records or transcrip-
floors of the hotel. Using a choice of two tions themselves. These units are also
recognized amplifiers and a high- quality well adapted for p.a. system use, as well
two -way speaker system, the performance as for schools and other educational ap-
of the Audax Polyphase pickup was plications.
shown at normal living room levels, and Bell Sound Systems Inc. displayed for
with the finest of taste in selection of the first time a new amplifier of excep-
program material. Available now with tional merit, Model 2145. This all- triode
special adapters to fit the Webster and unit with an output in excess of 15 watts
Garrard changers, the Audax Polyphase combines a number of useful features,
-with two styli and therefore capable of principal of which is the use of a remote
reproducing all types of home records control unit which is connected to the
without changing arms or heads -is main chassis by a single cable. All inputs
rapidly gaining favor, both for its quality are plugged directly into the amplifier
and for its convenience in use. chassis, and by the use of cathode fol-
Audio Devices, Inc. had only two items lowers the signal can be fed to the control
to exhibit -but each of these was avail- unit by a cable as long as 25 feet without
able in so many varieties that their dis- frequency discrimination. The high -gain
play was still quite elaborate. First, the input employs a two -stage preamplifier
famcus Audiodiscs were there in full on the main chassis, thus Isolating the
force, in many diameters and in all grades low -level signals from the cable. The
from the perfection required for masters selector switch on the remote control
to the smaller and lighter -base types used assembly makes a choice between phono
by the amateur. Second, the variety of and radio signals, compensates for record
magnetic tapes on display was so great characteristics, and adjusts high -fre-
as to surprise those who have previously quency roll -off. Bass and treble tone
known only of the standard ':a -In. plastic controls and a compensated volume con-

From the top, reading counterclockwise: Burlingame Associates, British In-

dustries Corp., Browning Laboratories, Inc., Bell Sound Systems, Inc., The
Audio Master Co., Audak Company, Inc., Audio Instrument Co., Audio
Devices, Inc.

AUDIO ENGINEERING DECEMBER, 1950 25

www.americanradiohistory.com
AmericanRadioHistory.Com
trol complete the remote unit complement, particular interest to the professional, al-
with the slanal being fed back through though the advanced experimenter is
the cable from the output of another also likely to find many uses for the con-
cathode follower in the remote box. In venient chassis available from this com-
all, this unit appears to have had much pany. In addition to these shock -
thoughtin its design, and was apparently mounted, quick change chassis, a wide
planned with the needs of the user well in line of attenuators, filters and equalizers
mind. was shown, all designed with the needs
British Industries Corporation had a of the particular application uppermost
number of imported Items on display, in the requirements for the product.
including the Garrard RC80 record The Daven Company, long established
changer, the Leak "Point One" amplifier, as one of the "standard" manufacturers,
and the complete line of Wharfedale exhibited its newer line of instruments.
speakers. Both the changer and the topped oft by the distortion and noise
amplifier are well known in this country measuring set described in these pages
by this itme, but the Wharfedale Hne last month. The Daven line of laboratory
is relatively new. This group of speakers, instruments is expanding gradually, and
ranging from an 8 -inch model up to a each new addition lives up to the repu-
15 -inch heavy -duty job, provide a full tation of the builder and further en-
range of types for all applications where hances it. The 11 -A Gain Set, announced
quality Is a requisite. Most of the models last year, is now a familiar item, and
are built with cloth surrounds, resulting many of them are in continuous service.
in lowered resonant frequencies, and It is expected that the new distortion
giving an extremely flexible cone mount- measuring instrument will soon achieve
ing. The Point One amplifier, of a type wide use among those who require high
similar to the "Williamson" now so fam- precision in measurements.
ous in this country, derives its name from Electronic Workshop exhibited a vari-
the distortion at rated output, 0.1 per ety of equipment ranging from a cleverly
cent. designed miniature audio oscillator to
Browning Laboratories had on display complete custom equipment for the home.
its entire line of tuners, just recently im- Their own design of amplifier was pre-
proved with the addition of automatic sented in a highly polished chrome plated
frequency control. Two models of the model for the Fair or for those who en-
AM -FM receivers were shown, one with joy having equipment which may be
a power supply on the same chassis and shown off as a prized possession. With
with complete tone control facilities, and a preamplifier having the same knob
another consisting solely of a tuner for spacing as the Browning tuners usually
both bands and designed for systems employed by EW in their custom work.
where the control of tone and volume is the resulting appearance of the installa-
incorporated in a separate amplifier tion is well above average.
unit. The smaller FM -only chassis is Electronics of Staten Island, a new-
primarily intended for use where a suit- comer to the audio field this year, had
able AM chassis is already available, or two new corner speaker cabinets on dis-
for those critical listeners who do not play, one containing the speaker alone
want anything but FM. This unit has its and another with a built -in tuner, ampli-
own power supply, but does not have the fier, and record changer. The perform -
tone controls. All models have exceptional nace from these cabinets was above
sensitivity on the FM band, and the qual- average, indicating the advantage of
ity is above normal on either type of re- using the room corner as an element of
ceiver. the speaker housing by reducing the
Burlingame Associates and Brujac solid angle into which the speaker must
Electronic Corporation exhibited a num- radiate. Cabinetry and finish on both
ber of unusual items, among them being models displayed were of excellent ap-
a Danish importation in the form of an pearance, and because of their relatively
elaborate oscilloscope. The entire stand- small size these units would make wel-
ard line of Hewlett- Packard products come additions to most living rooms.
was shown, with prominence being given Electro -Voice, Inc. displayed its entire
to the newer types of combined gain line of microphones, pickup cartridges,
sets and oscillators. Laboratory power and speakers, the latter including mech-
supplies, high -gain a.f. voltmeters, and anisms only as well as a number of
the versatile Tektronix oscilloscope filled furniture cabinets. Outstanding among
out the line of equipment shown. the line is the Patrician, a massive corner
Cinema Engineering Company had a cabinet constructed under license from
number of useful and practical items of Klipsch, and incorporating a low -fre-

From the top, reading clockwise: Electronic Workshop, Electronics of Staten

Island, Electro- Voice, Inc., The Daven Company, Fairchild Recording Equipment
Corp., Fisher Radio Sales Co., Inc.

26 AUDIO ENGINEERING DECEMBER 1950

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From the top, reading clockwise: Gates Radio Company, Gawlor -Knoop Co.,
Hudson Radio & Television Corp., General Electric Co., Harvey Radio Co., Inc.,
Harrison Radio Corp.
quency horn folded into the corner, two erator, which provides a frequency swept
direct- radiating cones, and two multi - signal over the entire audio range or over
cellular horns, the smaller covering the any selected part of it, was also a hit
range from around 3500 cps as far as with the visitors who are engaged in
the signal source required. any sort of development work.
Fairchild Recording Equipment Cor- General Electric Company exhibited
poration exhibited a complete line of two of its major products in the audio
high -quality disc recording apparatus, line-pickups and loudspeakers. A mam-
together with a rack of equipment de- moth phonograph cartridge efnploying
signed for the better quality transcrip- the quick- change stylus assembly was
tion studio where off- the -air recordings an attractive feature, since It showed
are made as a regular business. Out- the method by which the styli were
standing interest was shown in an equal- changed for standard or LP records, and
izer which featured continuously variable in a form large enough for everyone to
peak frequencies at both low and high see the actual working of the device. The
ends of the spectrum, and with continu- display of a S -1201 speaker actuated by
ously variable amounts of equalization a 60-cps a.c. source and illuminated by
at the frequencies selected. means of a Strobotac gave convincing
Fisher Radio Corporation showed their demonstration of the operation of the
line of high -quality radio receivers and speaker cone under high -level excitation.
amplifiers along with the new Concer- A moving cutaway of one of the same
tone tape recorder, which is the most speakers served to show the features of
compact model yet shown which will the internal construction, with the mag-
handle the standard 10 -inch reels on net, polepieces, voice coil and support
NAB hubs. Incorporating a three-motor being plainly visible when the unit split
chassis of cast aluminum, with the ampli- apart.
fiers mounted directly on the unit, the Harrison Radio Corporation featured
entire recorder can readily be carried the Electronic Workshop A -18 amplifier,
in a single case. This model is made with shown for the first time at the Fair. In
two speeds -7jß and 15 inches per sec -
ond-and with either single or double
track heads, either type of which is
of equipment -
addition, the current most popular lines
including turntables,
phonograph pickups, speakers, and radio
readily changed for the other in a mat- tuners, were all there in abundance.
ter of minutes. Harrison also had a novelty item as a
Gates Radio Company had on display giveaway which was the source of fun
a complete console for broadcast sta- for the visitors all through the Fair days.
tion use, along with several types of Harvey Radio Company, Inc., featured
amplifiers and remote input equipments. the Magnecorder in its various forms,
One model of remote amplifier, designed together with the Lansing corner
for use with either a.c. or batteries, is speaker, Rek-O -Kut turntables, and the
equipped with an automatic changeover Audak Polyphase pick -up, and with this
feature which connects the battery sup- assembly of components which are now
ply immediately in case of failure of the familiar to the music lover and audio
power source. The station console, with hobbyist alike produced a quality of HAS THE
two turntables, is so arranged as to pro- sound which was only to be expected
vide for comfortable operation and has from such distinguished equipment. iitst tectionic ltiorkstw A 1:.-1

facilities for two separate programs, or Hudson Radio & Television Corpora-
for one program and one audition chan- tion, another New York City jobber, ex-
nel. Neatness of design and construction hibited a wide variety of components for
features the entire Gates line, and ac- sound systems, ranging from the Audio
cessibility for maintenance is one of the Pacific, Bell, Electronic Workshop, and
strong features of the equipment. H. H. Scott amplifiers through Radio
Lawlor -Knoop Company, manufactur- Craftsmen AM /FM tuners, a selection
ers' representatives, showed the lines of of speakers, and the Masco tape recorder.
Allen B. DuMont Laboratories, Ballen- The Audio-Pacific amplifier, exclusive at
tine Laboratories, and Clough Brengle Hudson, was shown to have exceptionally
Co., with cathode ray oscilloscopes with flat frequency response and low dis-
attached Polaroid Land camera for per- tortion throughout the entire range.
manently recording the traces under ob- Langevin Manufacturing Corporation,
servation, a product of the DuMont showed a full line of quality transform-
organization. From Ballentine, the new ers along with a number of professional
models of electronic voltmeters -always type plug -in amplifiers and two power
so popular in the field-were shown, to- amplifiers designed for home or pro-
gether with a number of accessories fessional use. One of these latter units,
which extend their usefulness. The encased in a convenient wall mounting
Clough Brengle Audiomatic sweep gen- cabinet, and of excellent quality, is

AUDIO ENGINEERING DECEMBER, 1950 27

www.americanradiohistory.com
AmericanRadioHistory.Com
 first
reels
of a
standard model to handle 10 -inch
on NAB hubs without the addition
special panel for the feed and re-
Panoramic Radio Products, Inc. put a
new note-or rather lots of new notes
into the Fair by showing the frequency
-
LEONARD RADIO wind reels. structure of various signals, such as a
number of musical instruments and a
Proudly presents McIntosh Engineering Laboratory ex- number of human voices. The Panoramic
hibited its two amplifier models, the sound analyzer continually sweeps over
50 -W -2 and the 20 -W-2, along with the the audio spectrum and indicates the
Markham .Williamson Ampli new preamplifier AE -2 which incorpor- amplitude of all frequencies present on
15 WATTS ated the input stages and controls the screen of a c -r tube, thus permitting
Incorporathig a Ranote Catrd Unit necessary for a complete reproducing the user to observe the characteristics
system. The McIntosh amplifier circuit of the signal present or in the case of
adhil kr has been proven more efficient than most amplifier testing, to observe the amount
others, and it is of unquestionable and character of distortion present in
quality. The smaller model, using two the output signal. A number of similar
6V6's in the output stage, has an output instruments for a wide variety of differ-
of 20 watts, which is remarkable for ent purposes were also on display, but
6V6's. The unit is compact, being housed the analyzer attracted the most attention.
in a single chassis unit of unconventional Peerless Electrical Products Division of
design. The 50 -W -2 model, using 6L6's, Altec Lansing Corporation had a large
consists of two similar chassis, the power number of interesting items on display.
supply being separate from the ampli- The now -famous Musicians amplifier,
fier. These models are extremely flexible, described in lE in November 1949, leads

10W

Upper left, Leonard Radio, Inc. Center, left to right, Magnecord, Inc., Langevin Mfg. Corp., McIntosh Engineering Labo-
ratory, Measurements Corp.
especially suitable for use in wired music and are readily adaptable to a wide vari- the line for popularity, and it is now fol-
systems or for p.a. use in such places as ety of requirements. lowed by the Musicians Amplifier, Senior,
restaurants, dance halls, skating rinks, Measurements Corporation displayed which 1s a theatre -type 50 -watt unit em-
and other such locations where the high- its line of precise laboratory instruments, ploying 845's. This unit is intended to be
est quality and reliability are requisite. with the intermodulation meters-two of driven by the original Musicians unit.
James B. Lansing Sound, Inc. had on them and both new -taking the spot- Also shown was a new amplifier using
display one of their largest speaker sys- light. These instruments, which were the space-charge -grid tubes which have
tems for home use, although from its described in last month's issue, incor- finally reached the market. This model
quality and output power it would porate several new and useful features, will be described shortly in these pages.
definitely be suitable for monitoring in and serve to round out the line of meas- and will undoubtedly follow the Mu-
professional applications. This model, the uring instruments designed for the labo- sicians amplifier into the Hall of Fame
D-1005, incorporates two woofers and an ratory or for the advanced experimenter for good audio equipment.
eight -cell horn with a crossover in the -if his needs warrant the most accurate The Permofiux Corporation proved how
vicinity of 1000 cps. It was finished in instrumentation. good their Royal Eight speaker could be,
a light blond hardwood, and presented a Midway Radio and Television Corpora- with performance essentially comparable
very attractive appearance. The entire tion, another New York jobber recently to that from earlier 12 -inch speakers. In
line of speaker mechanisms was also to enter the field, displayed the Radio a small cabinet with a single speaker,
shown, ranging from the 8 -inch model Craftsmen tuner, and offered to visitors the performance was better than would
up to the heavy -duty 15 -inch woofers. a stroboscope disc useful in checking be expected from standard console radio
Leonard Radio, Inc., with a complete accuracy and constancy of turntable receivers, and when four units were
line of radio tuners, amplifiers, speakers, speed. Midway also featured the Rauland mounted in a single housing, the output
turntables, and even a TV console suit- 1825 amplifier with its unique preampli- at the lower frequencies was remarkable
able as an entertainment center for the fier which can be mounted in a number considering the size of the basic cone
home, featured the Markham -Williamson of methods so that the user can select speaker. Also on display were the high -
amplifier, a new 15 -watt unit with a re- the mounting which best fits his require- fidelity headphones, which consist es-
mote control unit permitting adjustment ments. When a relatively small space sentially of a pair of minute cone
of tones and volume to the user's satis- is available for the controls of the ampli- speakers mounted in receiver cases and
faction without the need for him to leave fier, the Rauland is especially attractive. equipped with sound-proof pads to en-
his favorite easy chair. This amplifier is Milo Radio & Electronics Corporation sure good coupling between the units
built along the lines of the entire Wil- offered as its most interesting exhibit a and the eardrums.
liamson circuit-from low -level input to display of the new ModulaR amplifiers Pickering & Company, Inc. presented
output stages -and is sure to be another and components which incorporate a new a modern display showing drawings of
contender for amplifier honors. style of construction which permits the their units in normal position, and aug-
Magnecord, Inc. had several models of joining of several units or component mented with the actual components
its recorders available and all on demon- assemblies together to make a single, alongside. A number of the model 180L
stration, ranging from the portable solid chassis. Thus a power supply can column loudspeakers adorned the room,
PT63J through its various forms up to be placed on a chassis along side the and the choice of music showed off the
the new console PT7 -AX in a cabinet power amplifier, and other parts or sec- performance of the speakers to advan-
which contains all the amplifiers neces- tions of amplifier can be added as re- tage. Most striking of the demonstrations
sary with the machine. This model has quired or as the need for them develops. was the performance of the model 190
attracted considerable attention, largely The Garrard changer was also featured arm playing on a turntable an angle of
because of its mechanical features and by Milo, along with the new Audax head 45 deg. from the horizontal, showing the
the convenience of operation. It is the mounting for this changer. remarkable balance of the arm, with its

28 AUDIO ENGINEERING DECEMBER, 1950

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AmericanRadioHistory.Com
cartridge, during the playing of records formance better than would normally be LP's and other plastic records. The basic
on normal turntables. expected from a study of the cabinet 210 -B amplifier is a complete unit with
Presto Recording Corporation displayed dimensions. provision for phonograph equalization
a full line of recording equipment for Rangertone, Inc. exhibited their lip - and has. in addition. tone controls giving
both tape and disc. A new professional sync system which permits the use of a wide range of variation of both bass
model of tape recorder, designed to mount 1/2-in. magnetic tape with sprocket hole and treble response
either on a rack or on a conventional re- driven motion picture film at a consider- Scully Machine Company displayed one
corder console, was shown for the first able saving in cost over the use of opti- of their famous recording machines. com-
time, and its many features pointed out cal film for the sound recording. By re- plete on its own console table. and with
in detail. The smaller Model PT900 was cording a 60 -cps signal from the camera microscope, elapsed-time meter, and con-
also on display, as were a number of motor supply at the same time as the trol switches This machine, well known
different models of disc recording ma- sound is recorded, it is possible on play- for its reliability and ease of operation,
chines of varying capabilities. The large back to compare the 60 -cps recorded sig- still remains one of the finest instru-
tape machine is designed to operate either nal with the frequency of the power ments of its type. It will cut either in-
directly or remotely, and it provides for supply driving the projector and to vary side -out or outside-in, with both standard
the 10 -inch reels on NAB hubs. Both of the speed of the tape recorder so as to and microgrooves, and has an automatic
the basic Presto chassis are three -head keep the sound track in exact synchro- spiralling feature which contributes to
models, and permit simultaneous mon- nism with the picture. This is an im- its adaptability in recording studios of
itoring of the recorded signal during re- portant improvement in tape recorders, the highest quality.
cording. and is resulting in their widespread use Nark Simpson Mfg. Co. Inc. featured
Radio Corporation of America exhibited in motion picture production. their new Masco Sound -Reel magnetic
two physical arrangements of its tape Reeves Sonndcraft Corporation pre- recorder, with a number of interesting
recorder, one being rack mounted so that sented a modern display of magnetic tape features for a small and inexpenshe ma-

I t
Midway Radio

Reading clockwise; Midway Radio Cr Television Corp., Milo Radio Cr Electronics

Corp., Peerless Electrical Products Div. of Altec Lansing Corp., Panoramic Radio
Products, Inc., The Permoflux Corp., James B. Lansing Sound, Inc.

the functioning of the mechanism could in several dimensions and spoolings along
be studied readily without the necessity with a variety of recording discs ranging
of crawling into a console. Mounted in from 6 inches up to 171 inches in
a console cabinet, the same chassis be- diameter. Newest products of this com-
comes a more -familiar design of recorder, pany include a line of TV picture tubes,
and can be controlled remotely if de- principally of the dark face rectangular
sired by a similar set of operating con- types which are being used almost ex-
trols. Also shown in the room occupied by clusively in current production sets.
the Engineering Products Department With this diversification, the Reeves line
was the new Starmaker microphone, a is now usable in practically all branches
miniature ribbon microphone designed of the electronic entertainment field.
for use on audience participation shows Rek -O -Hut Company, Inc. displayed a
or on television where the performer variety of turntables and disc recording
should not be hidden by the microphone. mechanisms, together with amplifiers for
Two cabinet mountings for the LC1A use in recording and playback. Outstand-
speaker were also shown and, with a ing among the turntables is the heavy -
signal of undoubted quality from the tape duty type with hysteresis motor drive,
recorders, showed excellent character- having the smoothest of drives and a
istics. minimum of external hum fields. The use
In another of RCA's rooms the new of a 6 -inch speaker in an especially de-
model of the duo -cone speaker-the 515S2 signed cabinet was noted as an eye -
-was on display, both visual and aural. opener as to the quality of tone obtain-
This unit is lower priced than the LC1A, able. For applications where an inex-
but gives the listener who wants good pensive monitor speaker is desired-as
quality a high degree of performance in schools or other places where the bud-
with a two -way unit combined in a single get does not permit the use of more
housing. elaborate systems-this model would he
Radio Music Corporation displayed a ideally suited. The Rek -O -Kut line also
number of professional -type transcrip- includes a variable speed turntable, ad-
tion pickups, using a single arm and justable over a wide range, and several
three interchangeable heads. One head transcription players designed for porta-
is designed solely for lateral transcrip- ble use.
tions, another solely for vertical, and a Hermon Roemer Scott, Inc. exhibited
third serves to play both about equally the model 210 -B Dynaural Amplifier,
well. Alai) on display were a number of along with several smaller items of
amplifiers for wired music systems, equipment intended for use with phono-
restaurants, and other such applicaitons graph reproduction systems to reduce
where continuous reliable operation is the needle scratch usually heard from
required. A new line of speakers and shellac records. The new units also oper-
speaker housings were shown, with per- ate to reduce pops and crackles from

AUDIO ENGINEERING DECEMBER, 1950 29

www.americanradiohistory.com
AmericanRadioHistory.Com
 nnww
Left, from top to bottom: Pickering & Cc., Inc., RCA, (Harrison, N. J.), Rangertone,
Inc., RCA (Camden). Above: upper left, Presto Recording Corp.; upper right, Radio -
Music Corp.; lower left, Scully Machine Co.; lower right, Reeves Soundcraft Corp.

chine. Extremely compact, the Sound some suitable spot, permitting the place-
Reel will record at 3% or 71/2 inches per ment of the amplifier at some more con -
second, and is reversible so as to record venient location than is usually available
on two tracks. Also shown was the small at the desired control panel.
tweeter designed to mount in front of a
12- or 15 -inch cone and to be connected Sonar Radio Corporation demonstrated
across the voice coil of the large cone a new tape recorder equipped to handle
without any crossover network. 10 -inch reels and of quality superior to
the usual home -type machine. This model
Somerset Laboratories, Inc. displayed is equipped with three heads, permitting
their new noise suppressing amplifier simultaneous monitoring of the recorded
with a remote control unit designed to tape during the actual recording process.
permit the user to adjust volume, tone, Complete in four panels for rack mount-
and suppression from his easy chair. Also ing, the unit is approximately 24 inches
shown were several models of the noise high, providing for the recorder chassis,
suppressor unit separate from the main record and playback amplifiers, and the
amplifier and for use with existing equip- loudspeaker and power supply panels. In
ment. In one form of the complete equip- another model, the recorder chassis is
ment a separate control panel is supplied separate, and the amplifiers and speaker
which can be mounted in a cabinet at are rack mounted units which may be

Below: upper left, Rek -O -Kut Co., Inc.; upper right, Hermon Hosmer Scott, Inc.;
lower left, Mark Simpson Mfg. Cc., Inc.; lower right, Somerset Laboratories, Inc.

INC
2IOB
DYNAURAL AMPLIFIER

30 AUDIO ENGINEERING DECEMBER, 1950

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AmericanRadioHistory.Com
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intended

Plays all speeds

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Easily and inexpensively installed ,n your present set
Gives f ywheel a;tòn

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rWHARFEIALE 1
rLEAK SPEAKEFS
Magnificent speake's, yel inexpen-
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Bailt by Wharfedale Wirel sas Works
u tiler the direction of worldfamo.rs
etgineer, G. A. Briggs. Biliart pelamrnce
a)proaching living round. Endorsed Ty 3.E.C.
Distortion: 0.1%
A ew model of Br taint lust audio BOOKS by G. A. BRIGGS
amplif er with compensated settings for al type reoriinge.
"LOUDSPEAKER:" ($1 25) and
Triple loop powor amplifier and pre amplifer 'SOUND REPRODCTIOR" ($2.25)
assure clear, undis:crted musical rip -aAret an. written by renowr iid au-rority on
certified tests by E.ritish Nat'l Pays cat Lab. sound, G. A. Briggs.. The cnly such
:equiv. U. S. Burma of Standards) Trove it ser- books written exprsly for the lay-
passes mamlactcre-'s performance claim;. Leak man. A "must" for those interested
"Point One" provides the ultimate it clarity and is finest musical rexoduct on.
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At your cealer or write to

BRITISH FOUS'FIE! CORP.. 164 Duare Street, New York 13, N-1.

AUDIO ENGINEERINC DECEMBER, 1953 31

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 I .

Top row, left to right: Sonocraft Corp.;

Stephens Mfg. Co. Inc.; Sonar Radio Corp.;
at right, Tech Laboratories, Inc. At left, upper,
Sun Radio & Electronics Co. Inc.; lower, Uni-
versity Loudspeakers, Inc. Below, upper row,
left to right: Terminal Radio Corp.; The
Tetrad Corp.; Transit Sound Systems, Inc.;
lower row, Triad Transformer Mfg. Co.;
United Transformer Co.; U. S. Recording Co.
1
located remote from the recorder unit.
Sonocraft Corporation featured the en-
tire line of Magnecorder equipment, for York area, exhibited a new min known
which they are one of the Jobbers in the as the Realist -a corner cabinet incor-
porating a high- frequency speaker di-
New York area. On display were both the
PT6 and PT63 recorder units, the auxili- rected upwards at an angle from the rear
ary chassis for large reels with the NAB of the unit. In usual hard -walled living
hubs, and several models of amplifier - rooms, this model gives a remarkable dis-
speaker -power supply units, along with tribution of sound, and by the very real-
the multichannel mixer for up to four ism of the sound source makes the unit
JMMfNG live up to its name. Another feature of
e microphones.
LOUDSPEAKERS Stephens Manufacturing Corporation this display was the presence of a
exhibited its complete line of speakers shadowgraph unit on which visitors
and cabinet models, with the two -way could compare their own styli with the
systems taking the lead in favor among standard shape for a given type in order
the visitors. The Hy-Son super tweeter, to determine if wear had progressed to a
first shown at the 1949 Fair, is now In degree which would make replacement
complete production, and the addition of advisable.
this unit to a regular two -way system Tech Laboratories, Inc. displayed the
improves the performance in the upper - artificial reverberation generator de-
highs to a remarkable degree. Stephens veloped by Audio Facilities Corporation
models include crossovers at both 600 and and marketed solely by Tech. This unit
800 cps, and multicellular horns are avail- is capable of introducing a controllable
able in a wide variety of sizes and shapes amount of reverberation to any signal,
to fit every requirement. and eliminates the need for costly echo -
Sun Radio & Electronics Co. Inc., one chamber equipment setups for radio sta-
of the most aggressive Jobbers in the New [Continued on page 53]

32 AUDIO ENGINEERING DECEMBER, 1950

www.americanradiohistory.com
AmericanRadioHistory.Com
if it's TAPE...ìt!s PRESTO
if it's PRESTO...it's the BEST

Combining the features of machines costing hundreds of dollars more,

the PT -900 answers the need for a recorder of ultra-high fidelity in a
completely portable, compactly designed unit. Equipped with separate
amplifiers for recording and monitoring; individual heads for erase,
record, playback; three microphone input; dual speed (15" and
7%/sec.). Frequency response from 50 to 15,000 cps.

PRESTO PORTABLE RECORDER RC -10/14

This machine is identical to the RC- 10/24, except for panel size and
selector control. With a panel 19"x14", the RC-10/14 is shown mounted
in a durable, leatherette carrying case. Weighing just 68 pounds, this
tape transport mechanism has all the audio quality, speed regulation
and reliability of a fine console type unit, at a cost far below a studio
recorder. PRESTO amplifier (model 900 -A2), as shown with model
PT -900, is recommended.

The number one choice of engineers seeking the finest tape machine
for relay rack mounting. Rugged construction and precision engineer-
ing combine to bring almost faultless operation. Push- button control,
three magnetic heads, speeds of 15" and 7t/Z" /sec.; fast -forward and re-
wind speed of 250 " /sec.; frequency response to 15,000 cps. Accommo-
dates reels up to 101/s" in diameter. Panel size: 19 "x24'/2". Constant
tape tension assured by torque motors. Illustrated with the PRESTO
900-A2 amplifier, recommended for use with this recorder.

AMERICA'S MOST COMPLETE SELECTION OF FINE TAPE RECORDERS

RECORDING CORPORATION
Paramus, New Jersey

In Canada: Wolter P. Downs, Ltd., Dominion Square Bldg., Montreal, Canada

Overseas, M. Simons & Son Company, Inc., 25 Warren Street, New York, N. Y.

www.americanradiohistory.com
AmericanRadioHistory.Com
 LEWIS S. GOODFRIEND

High Fidelity
IN THE PREVIOUS ARTICLE, the conclu- ripple out of the high -voltage supply, we tortion at normal output levels is greater
defined as the acoustic facsimile -
sion was reached that high fidelity have already used some of their power
capabilities. The unbalance between
can never be attained using single -chan- tubes in a push -pull stage, unless care-
than 1 per cent the builder or purchaser
should reject it as not suited to his need.
The comments made here are not
nel systems. However, it must be ad- fully compensated, will permit an ex- really a criticism of the manufacturers.
mitted that there are many excellent cessive hum level. The distortion caused They are intended only to point out the
sound reproducing systems installed in by unbalance may be less than the need for job- rating amplifiers and de-
rooms and studios. To reconcile these fatigue level. signing them with the acoustic facsimile
two facts an examination of the good A survey of a number of amplifiers in as a goal.
single -channel systems shows that all of the medium price range shows that 31 Other components of the single -chan-
the system components are of the highest out of 55 have no filter choke ahead of nel system from microphone or record-
quality, and that no compromises have the output -stage high -voltage supply. ing through to the loudspeaker are
been made in order to save either space These figures include an FM receiver equally important to the quality. How-
or money. In other words, a single - specifically designed for quality listen- ever, an excellent group of transducers
channel system can be made to approach ing. Without a detailed study of tone is available having far lower harmonic
the acoustic facsimile and thus provide controls and variable equalizers, it is distortion from non -linear elements than
pleasing reproduction. After the multi- still safe to say that equalization is gen- the acceptable minimum. Few individuals
tude of listener tests that have been con- erally achieved without regard to the are in a position to design and build M
ducted to date, there is little doubt left phase delays introduced by most trick their own transducers but here, at least,
that the nearer the approach to the equalizers. And as hard as many have manufacturers agree on most basic de-
facsimile goal the more pleasing is the tried to prove otherwise phase distor- sign requirements. A real problem in the
result. tion changes timbre, the quality or body use of transducers is to make them cos-
No manufacturer or designer can say of sound. These seemingly innocent metically attractive. But this is no topic
that any sacrifice of quality is justified moneysavers are obviously large factors for discussion here.
by the existing inherent spatial distor- in the lowering of the quality level from One problem in high -fidelity, always
tion introduced by a single -channel sys- a near -facsimile to a merely pleasing present, is noise, and most frequently,
tem. Such compromises with cost and system. If there is any question of the record surface noise. Unfortunately, it
quality all tend to decrease the accepta- reduction of power capabilities by the is present in most shellac records, even
bility of the unit. Nonetheless, many filtering action in the push -pull output though they are of the highest quality.
manufacturers and designers continue to stages, a quick check of the equations in A good audio system reproduces the
produce units with inadequate frequency any vacuum tube or electronics text noise. It is up to the listener to decide
compensation for phonographs, insuffi- will give the answer. whether to sacrifice musical fidelity to
cient power before acceptable distortion achieve noise -free reproduction, and
is exceeded, and insufficient power -sup- Power vs. Distortion Curves most good audio systems include cut -off
ply filtering. In listing these three, it is The matter of poster level and distor- filters or noise suppressors. But this
assumed that there is sufficient copper tion have been detailed before, but the noise is part of the signal and the
and iron in the transformers to prevent fact remains that many units have a equipment is not to blame if it repro-
overheating of the power transformer single- frequency distortion rating that duces the surface noise along with the
and to prevent saturation in the output is exceeded at many other frequencies. desired music. Many of the modern rec-
transformer. One way to avoid this is to check the ord pressing techniques have helped re-
According to several tests, the per- maximum output level for the rated dis- duce surface noise and bring our re-
ceptible harmonic distortion for both tortion level. If the power available at corded channel nearer to our goal.
speech and music is one per cent. This all frequencies is not greater than half Finally, no delicate set of electronic
is the point at which the distortion is the rated power the unit does not meet instruments can remain trouble -free in-
perceived during a listener test. A dis- the power rating and obviously cannot definitely. To maintain the quality of
tortion as low as 0.2 per cent may be fulfill the requirements of an amplifier transducers and amplifiers they should
sufficient to cause auditory fatigue over of that rated power. This is the major
long periods of listening. Improperly be properly enclosed, ventilated as re-
stumbling block for most amplifiers in
equalized phonograph (and radio) chan- the high -quality performance group. quired, and subjected to preventive main-
nels and FM de-emphasis circuits cause They are good at low levels, but at tenance.
a response that sounds different. This high level they just do not seem to fill If the acoustic facsimile is considered
means that the listener cannot associate the room. When a power rating and the goal in audio reproducing equipment
what he hears with fact. Thus the lack distortion level are given they should design, it becomes easy to provide pleas-
of proper equalization leads to outright indicate that at the rated power level ing quality and results in a satisfied
annoyance. Finally, if we force our push - the rated distortion will not bé exceeded listener. Compromise with quality com-
pull output tubes to filter the 120-cps at any frequency. In any case, if the dis- promises our objective -high fidelity.

34 AUDIO ENGINEERING DECEMBER, 1950

www.americanradiohistory.com
AmericanRadioHistory.Com
 7¿eui195/ MODEL V -4A
qearkeet
VTVM KIT
HAS EVERY EXPENSIVE 9.
* Higher AC input impedance, (greater than 1 megohm ct 1CCO cycles).
* New AC voltmeter flat within 1 db 20 cycles to 2 megacycles (600
ohm source).
* New accessory probe (extra) extends DC range to 30,000 Volts.
* New high quality Simpson 200 microampere meter.
* New ',4% voltage divider resistors (finest available).
* 24 Complete ranges.
* Low voltage range 3 Volts full scale (l of scale per volt).
* Crystal probe (extra) extends RF range to 250 megacycles.
* Modern push -pull electronic voltmeter on both AC and DC.
* Completely transformer operated isolated from line for safety. OHMS

* Largest scale available on streamline 444 inch meter.

* Burn -out proof meter circuit.
* Isolated probe for dynamic testing no circuit loading.
* New simplified switches for easy assembly. D -

"1
LOW PRICE
'71°A
expensive AC VTVM's. + or -
s
he new Heathkit Model V -4A VTVM Kit measures to 30,000 Volts DC and 250 megacycles with accessory probes
db from 20 cycles to 2 megacycles. Meter has decibel ranges for direct reading. New
-think of it, all in one
electronic instrument more useful than ever before. The AC voltmeter is so flat and extended in its response it eliminates the need for separate
zero center on meter
scale for quick FM alignment.
There are six complete ranges for each function. Four
functions give total of 24 ranges. The 3 Volt range allows
331/4% of the scale for reading one volt as against only
20% of the scale on 5 Volt types.
The ranges decade for quick reading.
Ifeez 30,000 VOLT
mercial resistors available -
New 1,5% ceramic precision are the most accurate com-
you find the same make and
quality in the finest laboratory equipment selling for thou- Beautiful new
DC

sands of dollars. The entire voltage divider decade uses voltage probe. red and black plastic high
to 1100 megohms, Increases input
these 1/2% resistors. reads 30,000 resistance
300 Volt range. High Volts on
New 200 microampere 41/2" streamline meter with Simpson

r/A
for minimum input impedance
quality movement. Five times as sensitive as commonly voltages. Has loading of weak television
large plastic insulator
used 1 MA meters. between handle
and point for rings
Shatterproof plastic meter face for maximum protection. Comes complete maximum
safety with PL55 type
Both AC and DC voltmeter use push -pull electronic volt- High Voltage
meter circuit with burn -out proof meter circuit. Nroob3366
Electronic ohmmeter circuit measures resistance over the
amazing range of 1 /10 ohm to one billion ohms all with
Ppingg Wt
Shipping
2 Pou sidy 6550
internal 3 Volt battery. Ohmmeter batteries mount on the
chassis in snap-in mounting for easy replacement. 'g'eatit4cr
Voltage ranges are full scale 3 Volts, 10 Volts, 30 Volts, R F P R
100 Volts, 300 Volts, 1000 Volts. Complete decading cov- O B E K I T
erage without gaps. Crystal
med1ode mobs kit extends range to
The DC probe is isolated for dynamic measurements. Negli- with all parrs, o
tomes complete
gible circuit loading. Gets the accurate reading without cable and PL55crystal ,
plug. type
disturbing the operation of the instrument under test. Kit
comes complete, cabinet, transformer, Simpson meter, test
leads, complete assembly and instruction manual. Compare
it with all others and you will buy a Heathkit. Model V -4A.
No. 309 RF Probe
'hipping Wt., 1
Kit.
Ib. $550
Shipping Wt., 8 lbs. Note new low price, $23.50

WIRY 0011/
tOLIE INTERNATIONAL (00.
a. NOW .,Ó .iYIrt ne)

. BENTON HARBOR 25, MICHIGAN

AUDIO ENGINEERING DECEMBER, 1950 35

www.americanradiohistory.com
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 EDWARD TATNALL CANBY
Towards Audio Fair III

Pops
THE MANIFOLD BENEFITS accruing from is that these people were also present at the
Audio Fair II, held this October, will Audio Fair, by the thousands. Some were
without the slightest doubt continue to engineers too, professional or amateur;
make themselves felt right up until Audio many had dabbled in technicalia enough to
Fair III bursts upon us next fall, a bigger feel some confidence at the sight of a bat-
and better show as the result of our experi- tering ram woofer, about to give with the
ence this year. So, though this'll appear a bass. Most, on the other hand, were sud- RUDO S. GLOBUS*
bit en retard, constructive remarks seem denly launched into an unfamiliar and de-
definitely in order. SEVERAL WEEKS AGO, I received a letter
cidedly strange environment, to put it boldly typewritten on bold paper by
Let me at once praise the management of mildly.
the Fair as fulsomely as I can, including a bold soul who has made his name in
Think this way : our industry has ex- this world by writing record reviews for
several officers of this sheet who had, so panded enormously in the last couple of whatever bold publications would pay him.
to speak, an enormous hand in the vast years -that, after all, is the very reason Now retired and content without the mantle
quantity of dirty work that had to be done for the Audio Fair itself. But that expan- of glory weighing on his shoulders, he indi-
in preparation. The whole thing was a sion has been largely via conversion of
model of smoothness and efficiency and I cated that he has been out of the business
many music lovers to "hi-fi," about which for a long time, liked some of the conclusions
can't remember a single flaw of any sort in you can be dead sure, almost all of the that I have drawn, and requested that I
that smoothness -all was trouble -free and converts knew nothing whatsoever, previ- get together with some of the big people
easy, even to the pre- fabricated badges for ously. That means that most of them (the
the entire exhibiting personnel in the business and find out how they feel
! ones who are out buying up expensive audio about things.
However, I have a few small bones to equipment) still know very little about the
pick with that personnel, and indeed I sort technical aspects and-here's the point -
of feel, to use the old phrase, that it's my are decidedly awed by the professionals and
Ever willing to comply with all legitimate
requests, I arranged for an interview with
one of the really great men in the business
duty to do so, on behalf of my clients, the the heady shop talk, as any green -horn is, and we talked for well over an hour about
musicians and the music -lovers, since I who suddenly finds himself in the Holy of
represent a passle of 'em in this magazine. Holies, the very temple of Audio! Most of all things pertaining. The interview was
Let's waste no more words. The Fair our converts, then, are given to extreme arranged with the background of a long
was beautifully managed but there wasn't timidity. Which doesn't indicate any lack evening spent at Eddie Condon's and the
a thing the management could do (other of interest ; merely a lack of aggressiveness genius of Edmund Hall echoing in my ears.
than providing virtually sound proof in the presence of audio people. In the history of Condon's, I can't remem-
rooms) to reduce what became by the final ber any group which can top the one that
Now, as I saw it, things went something is now holding forth. Made up of Cutty
day a most frightening bedlam. like this. Most exhibit rooms were crowded Cutshall on trombone, "Wild Bill" Davidson
Look, gentlemen of the Audio profession with on-listeners. (Like onlookers -get on trumpet, Gene Schroeder on piano, and
-this is from the horse's mouth. I know it Up front and aggressive were the Edmund Hall on clarinet, the group is
you had a lot of powerful equipment to engineers, the sales people, the manufac- valiantly putting Humpty Dumpty back to-
demonstrate and the neighbors made so turers, the professionals, the habitués, the gether again. One of the big reasons is the
much noise that you had to whomp up your advanced and long-time amateurs. These
50- watters to drown 'em out. I also know still enlightened and smoldering blowing of
people, very much at home and thoroughly Mr. Hall, who boasts that he never took
that there were thousands of engineers, aggressive did all the talking, asked the a legitimate lesson in his life and won't be
radio servicemen, and others whose interest questions, put out with opinions, looked big
was not so much musical as technical. and important. bothered with all the technical exercises and
practicing that characterizes lesser men.
Those numerous individuals had to be However, perhaps half of the people in
catered to. The dealers who sell audio parts each exhibit were acting mousy. They So ... to get to the point ...
Edmund Hall the leading question
we asked
were there, as well as the makers who snooped around quietly, saying nary a word :

needed to find out what was what outside (for fear of making a boner), listening re- "How do you feel about recording jazz
of their own bailiwicks. All of which is spectfully over peoples' shoulders, hastily under studio conditions,"
conducive to noise. backing out of any argument. These were The answer is scribbled down on over
twenty pages of yellow stock, but it adds up
But as this column has said again and the neophytes, the unsure, audio -wise. They
again (and no further back than the Oc- were, in large measure, the converted music to just one thing ... he doesn't like it.
The reasons are good and are pretty much
tober issue), the business of Audio is music. lovers. And though they didn't say much,
The purpose of almost all Audio in the though they acted mouse-like, they were in line with the stuff I've been writing for
quality field is music. What, then, of the having thoughts, you may be sure. And months. Ed says that he and practically
people who acquire Audio in order to hear they were looking for music. Looking for every other jazz man freezes in a studio.
music? What some of you may not realize audio equipment that could give them the You can't loosen, you can't relax. What
music they wanted. ¡Continued on page 38]
*279 W. 4th St., New York 14, N. Y. [Continued on page 55] *960 Park Ave., New York 28, N. Y.

36 AUDIO ENGINEERING DECEMBER, 1950

www.americanradiohistory.com
AmericanRadioHistory.Com
 BEATEN PATH

90% of those who exhibited at the New York Audio :.

Fair -many of them presenting new models for the first
time and with understandable pride in demonstrating only
-
through the BEST equipment were observed to be using
%,¡#

uda.v
%
'!iA ;;:;
oh
POLYPHASE ` t. t i ;Ç
MAO
'i.`
.%.`1
..,:_4

1
.

rI>troduc crs
What a striking tribute to this super-realistic performer
which, when introduced but a few short months ago, was
}racked only by our own findings as to its overwhelming
; ,/
voL
1s
,

superiority! What a remarkable dramatization of the old

adage about customers beating a path to one's doorstep!

Thousands of visitors, too, came and listened and were

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e3ai;
astonished by POLYPHASE's amazing facsimile realism.
"Never before such amazing EAR.QUAL/TY!" ... was the
unanimous verdict.
I 1
?
... and this must mean something to YOU. `1 Ii/
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Yes
The unique technical story of WHY this sensational repro-
ducer fairly revolutionizes listening, is set down in litera-
'
ture which is yours for the asking; but after you have read
it all- only YOU can decide what sounds best and most
pleasing to your ears. Therefore, see and hear POLYPHASE
yourself- compare it with any other reproducer at any
-
price then YOU be the judge!
¡
:.
I ij
'

/ 1
,

;
,
AUDAK COMPANY
500 Fifth Avenue New York 18
"Creator, of Fine Electra- 4eoust:rat Apparatus for Orer 30 Years"
1¡ ;.Ì4j.
1
*o

i
a
%1y,r ;1 /
!
1
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Available with the veto
07It i.,,1i!
compass-pivoted Audax Arms
as well as for Record Changers

One single magnetic unit

plays all home records.

AUDIO ENGINEERING DECEMBER, 1950 37

www.americanradiohistory.com
AmericanRadioHistory.Com
 [from page 36]
Preferred
IOU Transformers
with green, red, yellow, orange, purple and
blue signal lights flashing at you, with a
time limit to meet, with a pre- arranged idea
of what you're going to do, it just doesn't
work out ... and why?
Hall is very sensitive about recording
technique. When I asked him the usual

geared to TODAY'S
question about the best recordings, his
initial answer referred to recordings that
were "cleanest." His first list included those
that had the least surface noise and the
best balance, and sounded remotely like the
ELECTRONIC original. When we complained bitterly
about such criteria, we got an answer which
was more to the point. The best ones were
impromptu sessions . . , walking into the
CIRCUITS studio cold with no idea of what was going
to happen and then letting loose. And here
Hall gave us the big idea of the moment.
You have to have an audience in order to
play jazz. It just doesn't feel right to sit in
an empty studio and play into a mike. There
isn't a mike made than can respond in the
way a live audience does. No matter how
good some recordings are, they're nothing
compared to the kind of stuff that could
and would have resulted from genuine jazz
Meet The Requirements conditions.
Designed to Types Ed's been in the business for a long time.
Most -Used Tube He made his first recording in 1926 for
of Today's Victor with the "Ross DeLuxe Synco-
pators" from Jacksonville, Fla. The record-
ing was made in a tobacco warehouse with
one mike and some impromptu drapes hung
1. Power Transformers. Famous, advanced- design, indiscriminately around the barn. He has
Sealed -in -Steel construction. Exactly suited to no illusions about the "Great Old Days."
specific requirements -one range of ratings ex- He prefers modern studio conditions, but
pressly designed for capacitor input, another for puts the finger right down the line and
reactor input. points squarely at the people who haven't
learned the big lesson about jazz recording
2. Full Frequency Audio Transformers. For optimum yet. It goes something like this:
performance- high -fidelity ± db from 30 to "It's O.K. to call up any bunch of guys
15,000 cps. Other ranges available: Public Ad- to do a legit date. Any guy who plays good
dress- ± % db, 50- 10,000 cps; Communications
-± j db, 200-3,500 cps.
and can read music will do fine for a regu-
lar recording session. But for this kind of
stuff (dixieland and the rest) you gotta
3. JAN -T -27 Transformers. Now available for quick have the right men. If you don't have the
shipment from stock. Hermetically -sealed units right men, it's no good."
which meet all requirements of Grade I, JAN-T -27 These are the words of a jazz man who's
specifications for Class A operation. Full range of known all the greats in the business, played
Power, Audio and Reactor units available. with all of them, and is not prone to telling
4. Driver and Modulation Units. For Amateur and stories out of school. The right men don't
commercial speech transmitters. Matched sets of grow on every tree. There are only a few
drivers, modulation transformers and reactors clarinet players, trumpet and trombone men,
provide frequency response ±1 db over entire pianists, drummers, etc., who can play jazz.
As Ed puts it .
range from 30- 15,000 cycles. "Any good man can sit in on a session
5. Television Transformers. A complete catalog line cold, and as long as the piano man knows
in a range of designs that are the exact duplicates the chords and the trumpet can blow the
of units used in leading TV sets. Built by CHICAGO melody, we can handle it."
-the largest single manufacturer of original equip- But in this day of the all -wise musical
director, it would not be too far -fetched to
ment TV transformers.
expect to find Jascha Heifetz playing lead
fiddle in a recording session doing a combo
WRITE FOR FREE CATALOGS of Muskrat Ramble and Jazz Me Blues.
You'll wont these two important Catalogs -the New This is not professional snobbery, nor is it
Equipment Line listing Sealed -in -Steel and JAN -T -27 resentment, because all the big men are
units, and the Replacement Line showing a complete making a lot of money. It is simply a state-
range of Radio, TV and Vibrator transformer re- ment of fact which is emphasized by the
placements. Send for these valuable FREE catalogs naming of those (which we can't do here)
today -or get them from your distributor. who have become the leading lights in
modern jazz recording. Hall comes out
openly and says they don't know what it's
all about. They may sell a few records, but
in the long run it doesn't pay off because
the stuff is second rate. Hall agrees com-
pletely with the thesis that the way to
record the stuff is to find the perfect combo
and catch them at the job. Tape record all
3501 ADDISON STREET CHICAGO 18, ILLINOIS night and edit the next day. The men are
really loose during the session and even if
three quarters of the stuff is worthless,

38 AUDIO ENGINEERING DECEMBER, 1950

www.americanradiohistory.com
AmericanRadioHistory.Com
there'll be enough to fill both sides of an
LP. But, with reference to the way things
are now, Ed puts it on the line.
"It's not what you can do ... it's who
you know."
That is the trite but true comment on
the record business set up now. In the old
days, with after -hour sessions when mu-
sicians got together, the big men stood out.
There was never any question about it.
These were the sessions that used to pro-
duce the big moments and were the heart
of good jazz. These were the conditions for
perfect jazz recording. Today, with the
domination of music directors, the powers
that be don't know how to pick the right
men, depend upon pull and reputation, and
what remains is a pretty tired speciman
of a good thing. There is further the prob-
lem of good days and bad days, and the
final decision as to what should be pressed
and what shouldn't.
Hall used to be the standout at Cafe
Society Downtown during the rough and
ready days, and there is no wonder that
his list of "best" recordings dates back to
those days. Heading the list are two discs
that Hall picked out primarily because
everybody was relaxed on the date. The
first was a complete impromptu. Hall and
the men showed up at the session with no
idea of what they were going to do. It was
the first date for Commodore and they de-
cided to do two blues sides. What resulted
was the memorable Uptown and Downtown
Cafe Society Boogie. One side is fast blues,
the other slow. The other select record was
the great Commodore 10 -inch of The Man
I Love, featuring Emmet Berry on trumpet,
Eddie Haywood on Piano, Sid (Big Sid)
Catlett on drums, and of course the great
E. Hall on clarinet.
In the classical group there are the great
12-inch discs that Hall did for Blue Note
b
of High Society and Royal Garden Blues,
all done with the original Cafe Society
THE FIRST CHOICE OF RADIO ENGINEERS
More radio engineers use Magnetorders
crew. If you listen to these, what strikes
than all other professional tape record-
you immediately is the obvious superiority
ers combined. Here's why:
of the 12 -inch over the 10 -inch size. The MAGNECORDER
list is incomplete without the five great HIGH FIDELITY, LOW COST
sides on Commodore that Ed did with
For every purpose .. .

Teddy Wilson. Jazz Quartet, on 10-inch, every purse! Stations are enthusiastic about the life-
produced the superlative recordings of like tone quality and low distortion of
"Night and Day," "Out of Nowhere,"
"Caravan," "Showpiece," and "Sleepy Time
Gal." All the recordings are rare and mar-
response: 50 -
Magnecordings. Magnecorder frequency
1Skc -'- 2 db. Signal -
noise ratio: 50 db. Harmonic distortion
velous manifestations of really great jazz less than 2 %. Meets N.A.B. standards.
PTA SERIES
clarinet playing and pretty much highlight Mos widely used prefes No other recorder offers such fidelity at
the inimitable Hall style. Ed, of course, sional tope recorder in such a moderate price.
disclaims style and points to the fact that the world.
there were things he did fifteen years ago GREATEST FLEXIBILITY
that he wouldn't do the sanie way today. But Mount a Magnecorder in a rack or con-
there is still something consistent through- sole cabinet for delayed studio and net-
out. work shows. Slip it into its really portable
Coming out shortly on the Victor label cases for remotes. Add to your Magne-
are a series of things that Hall points to
with pride. Recently recorded, there is a
cord equipment as you need it-
combine
Magnetorders to suit every purpose.
job on "Walking the Blues" that Ed did PT63 SERIES
with Gene Krupa, Joe Bushkin, Cutty Cut - Three hods to erase, MORE FEATURES
record, ord monitor from
shall, Wild Bill Davidson and Ernie the tape. Your Magnecorder, new or old, can now
Cassires (whom Hall considers the great
have 3 heads (separate erase, record,
baritone sax in the business). The same
and playback) to permit monitoring from
date features a job on "I'm Forever Blow-
ing Bubbles" and "The Kiss my Sweetie tape. Three speeds (15 "-
71/2 " -31/4 "

Gave to Me." The group sounds magnificent -up to an hour on a 7" reel) available
P17 SERIES on both PTA and PT63 equipment. Dual
and it should be a good chance to see what A complete console
progress the big companies are making on track heads also available if desired.
for only $950.00.
the jazz front. Hall says to watch out for Outstanding fea-
them... we will. tures and fleoibil
ity. Models for port.
Write for NEW CATALOG
able or rack mount
MAGNECORD, INC., Dept. A -12
Specialized Pot Luck: also available.
B
360 North Michigan Avenue, Chicago 1, III.
Send me latest catalog of Magnecord Equipment.
For months, gossip colums, magazine
articles, radio programs, et al have been Name
plugging away at something called the Company
"greatest voice in the world." Going by Address
the name of Yma Sumac, the singer has a
range of over four octaves, is a femme fatale City Zone State

AUDIO ENGINEERING DECEMBER, 1950 39

www.americanradiohistory.com
AmericanRadioHistory.Com
 of the old school and according to the blurbs
released by her press agent is the "greatest
singing discovery ever to be found inside
The Finer Recordings Are Made With the frame of the most alluring woman in
the world."
It was therefore with trepidation that I
SOUNDCRAFT Tape And Discs tore off the cellophane covering of a 45-
r.p.m. album called the "Voice of Xtabay."
With trembling fingers I examined the
"alluring" portrait of the Inca singer and
read the blurb which featured such hot bits
of prose as "child of the Andes peaks,"
"thrilling authenticity," "yet it is all one
voice ... one alluring young woman," etc.
The fabulous one is singing 1n:a music
and lyrics by Moises Vivanco, who is said
to be a specialist in this sort of thing and
is assisted by one Leslie Baxter who is re-
sponsible for conducting and arranging the
background. If my memory serves me right,
Baxter is responsible for some other rare
gems, such as "Music out of the Moon."
0004111111111* featuring The Theremin and various other
oddities.
I have listened to all eight sides of this
You are not buying a pig -in -a -poke when album and wish to make the following pro -
nunciamento. I am full of admiration for
you specify Reeves Soundcraft for your Capitol Records and their audacious enter-
recording needs. prise in revealing to the world of ears these
wondrous things. But again, they have
taken something which is essentially good
SOUNDCRAFT MAGNETIC and crummed it up with some of the most
vulgar arranging and trite special effect
TAPE. In all the qualities which deter- recording to be heard in a long time. Sumac
mine tape performance, Soundcraft is indeed marvelous. She does have an ex-
offers distinct improvement over traordinary range and can project dramatic
quality beautifully. She has not been helped
standards of the past. Superior both by ridiculous overorchestration of primitive
music and simply bad orchestral effects.
electrically and mechanically, Sound- The striking quality of the music is lost
craft tape is limited only by the char- under the heavy sway of the lushest of im-
acteristics of the equipment with pressionistic orchestration techniques.
Those who know authentic South American
which it is used. Indian music realize that it isn't helped by
sophistication. The same recording date
with a small native group behind the mar-
SOUNDCRAFT RECORDING velous Yma would have been notable.
DISCS. Long a network standard, Therefore ... cheers to Capitol records
for the enterprise, bravos to Miss Sumac
Soundcraft discs today approach for the voice and "allure," curses to Mr.
perfection in the field of recorded Baxter for poor taste. In any case, you
really have to buy the thing. In its present
sound. Whether you record at 331/3 state, it is a novelty which had marveolus
standard groove, 78, or 331/3 LP- potentialities (Miss Sumac is a significant
combination of Erna Sach and Sophie
you may be certain that Soundcraft Tucker), which can be listened to with open
discs will enhance your recording mouth and dilated nostrils.
quality, at the same time effecting
considerable economy.
LOUDNESS CONTROL
Only by actually using Soundcraft tape and discs can you learn, fo your own satisfac- [from page 18]
tion, how greatly they can improve your recordings. Write TODAY for the Soundcraft
story. Mail coupon below for FREE booklet. Do if NOW! he pointed out, however, that there is
an insertion loss of 6 db which must be
SOUNDCRAFT'S PROOF OF QUALITY LIES compensated for in low -gain systems if
IN ITS PROOF OF PERFORMANCE full output is required. Also, the unit is
not satisfactory for operation in the plate
Dear Soundcraft:
circuits of high -impedance tubes since
Please your recording
its input impedance is not constant at or
send media catalog.
near full volume settings. Impedance is
Our favorite disc distributor is Name
fairly constant if the control is used up
Address
to approximately 75 per cent of its rota-
tion.
REEVES - "20 YEARS WITH SOUND RECORDING MEDIA.
The three -section control required is
readily assembled with a standard IRC
type Q Volume Control and two IRC
REEVES
10
ÇouIu1cwLftIcoRp.
EAST 52nd STREET. NEW YORK 22. N. Y.
Multisections. The Multisections are
rear control sections so designed that
they may be added to Type Q Controls
V u
or to other Multisections in the same
EXPORT -REEVES EQUIPMENT CORP. 10 E. 52ND, N. Y. 22, N Y. manner as switches are attached. Simple

40 AUDIO ENGINEERING DECEMBER, 1950

www.americanradiohistory.com
AmericanRadioHistory.Com
assembly instructions are included with
each Multisection. A pictorial schematic SUPERIOR REPRODUCTION WITH
of the assembled unit is shown in Fig. 3,
while its over -all appearance is shown
in Fig. 4.

Demonstration Unit
Those who wish to demonstrate the
remarkable difference this new control
can make in producing a pleasing, well -
balanced sound output at low volume
levels over the results of an ordinary,

TRANSCRIPTION ARMS
N E rr DAMPED

108-6 ARM
For all records -33 1 !3, 45
and 78 r.p.m. Radically new
suspension development on the viscous damping principle for perfect
Fig. 4. External appearance of com-
tracking of records and elimination of tone arm resonances. Instant
pleted control.
cartridge change with automatic correct stylus pressure. Solves all
transcription problems. Ideal for LP records. For Pickering, new CE
uncompensated volume control may as- (short), old CE (long) cartridges. Write for bulletin. Price, less cart-
semble a very effective demonstrator unit ridges, $56.00 (effective Sept. 1st). Cartridge slides for both CE and
with the use of the new IRC Concentri- Pickering are furnished.
kit, an arrangement which permits the
quick assembly of a wide variety of con-
centric controls. When used in conjunc-
tion with Multisections will provide a MODEL
triple -single concentric control, shown
in schematic form in Fig. 5. 106-SP ARM
The outer shaft of this demonstrator Designed to meet strictest
unit varies the panel section Rr which is requirements of modern highly compliant pick -up cartridges. 3 cartridge slides
furnished enable GE -mil, 21/2-mil or 3 -mil cartridges or Pickering cartridge to
1

Input be slipped into position in a jiffy. No tools or solder! Superb reproduction of

L=1 DPDT
331/3, 45 or 78 r.p.m. records. Low vertical inertia, precisely adjustable stylus
pressure. Write for bulletin. Price, less cartridges, $45.15
rum
Output

OIMeg
EQUALIZERS
R5

82
m PPt

MODEL 603 EQUALIZER

Latest of the universally adopted Gray
0.3
Equalizers used, with Gray Tone Arms, as
standard professional equipment by broadcast stations. High- frequency charac-
teristics obtainable comprise 5 steps -
flat, high roll -off, NAB, good records,
poor records. For both GE and Pickering cartridges. Price, $60.70
Fig. 5. Schematic of demonstrator unit
used to show advantages of the new
loudness control. MODEL 602 EQUALIZER
Has 4 control positions, highly accurate response curves. Price, $49.50
an ordinary uncompensated volume con-
trol. The inner shaft varies the three
rear sections, R,, R,, and R
which Write for bulletins on Gray Equalizers.
comprise the continuously variable loud-
ness control. By means of a d.p.d.t. slide
switch the output is adjusted for the GRAY RESEARCHand Development Co., Inc.
same volume level through each control 18 Arbor St., Hartford 1, Conn.
at 1000 cps and direct comparison may Division of The GRAY MANUFACTURING COMPANY
be quickly made at low level. Appearance Originators of the Gray Telephone Pay Station and the Gray Audograph

AUDIO ENGINEERING DECEMBER, 1950 41

www.americanradiohistory.com
AmericanRadioHistory.Com
 of the completed demonstrator unit is
shown in Fig. 6.
Following are simple assembly in-
structions for both the continuously vari-
able loudness control and the unique
demonstrator unit.
Assemble to the "Q" control the two
specified Multisections, in the order
shown in Fig. 3, using instructions in-
cluded with each. Assemble the addi-
tional parts and make all required con-
nections as shown, solder, and cut shaft
THE LARGEST INDEPENDENT RECORDING STUDIO IN
THE EAST SAYS: "We've been using Fairchild Disc Recorders
to required length. Install and wire into
exclusively for many successful years. They stand the test of any high -gain audio amplifier.
continuous operation with high quality output. That's the inter. To construct the demonstrator unit,
national reputation of the work we turn out -high quality!"
assemble Concentrikit by following in-
Mr. C. L. Stewart, Business Manager,
R Sound Studios structions included using B13 -133 (R1)
as panel unit and B11 -133 (Re) as rear

MERCURY RECORDS SAYS: "R -Fairchild Thermo -Dyno-

mic Margin Control repres ble combination ...
puts Mercury Records at the top in progressive recording tech-
niques".
Mr. David Hall, Musical Director of Mercury Classics

With Fairchild's exclusive features, you too can

be successful in the new markets for low noise
LP, TV and Theatre film sound track recording.
The FAIRCHILD STUDIO RECORDER with
pitch -variable -while-recording is shown on the
OP
right. No lead screws or gears to change. Con-
tinuous pitch change from 80 to over 500 lines Fig. 6. External appearance of demon-
per inch simply by rotating the convenient knob. strator unit.
This is the famous MARGIN CONTROL which
puts up to 25% more recording time in the same unit. Omit cover on rear. Assemble M13-
space -without reducing top recording levels. 137 (R,) and M13 -128 (R4) per in-
70 db dynamic range on disc is now made pos- structions included with each Multisec-
sible with the Fairchild THERMO- STYLUS and tion. Attach this assembly in place of
MARGIN CONTROL -"an unbeatable combi- rear cover on the above Concentrikit be-
nation".
ing sure inner shaft rotates both sections
R, and Re. Assemble the additional parts
and make all required connections to the
Fairchild Synchronous Disc Recorders last three controls R,, R and R4 in
exactly the same manner as described
Accurate Program Timing -Synchronous previously for the loudness control. An
direct to the center gear drive for "shows
on the nose".
additional connection is required be-
tween the most counter -clockwise ter-
Freedom From Wow -No slippage. No minal of the panel section and that of
musical pitch change to make listeners
aware the show is transcribed -extremely the second section to form a common
important at 331/3 rpm. ground.
Assemble d.p.d.t. switch as shown by
Sound on Film Dubbing -Many of the
motion picture sound tracks you hear photograph of completed control, Fig. 6,
and enjoy are first recorded on Fairchild and make necessary connections as
Synchronous Disc Recorders.
shown by schematic, Fig. 5. It is ad-
Microgroove and Standard Pitch recording can be done with any of the visable to ground the metal case of
3 Fairchild Disc Recorders: Unit 523 for the finest fixed installation,
Unit 539 -K for the small budget studio, Unit 539-G (shown above) for switch, if that type is used, to reduce
console performance in a portable case. Fairchild "sync- disc" recorders possibility of hum pickup during opera-
for standard and microgroove recording are made in 3 models, from $715
(less cutter head and pickup). - tion of switch.
FR-119 (All wiring to and from control
Write for should be as short as possible and should
Series DRS be shielded to reduce hum pickup. Use
Literature low- capacitance wire to avoid loss of
Today highs due to shielding. The complete as-
It's Free
sembly can be mounted in a small steel
154th ST. AND 7th AVE. WHITESTONE, L. I., N. Y box to form a well shielded unit.)

42 AUDIO ENGINEERING DECEMBER, 1950

www.americanradiohistory.com
AmericanRadioHistory.Com
 UNKNOWN IMPEDANCES
IN TRANSFORMER
[from page 21]
must, of course, be found first in order
to make the formula operative.
Impedance, being made up of resis- MAGNECORD PT6 -1A
tance, can be determined by Ohm's Law RECORDER &
applied to those circuits having imped- AMPLIFIER
ance. The formula for Ohm's Law in a.c. Portable rig for superb profes-
sional sound reproduction. Easy
circuits is: operating, exceptional high fidel-
ity, the finest in Magnetic re-
E cording. 10 watts output.
Z = (2)
Complete Systems from $548
Where E = e.m.f., in volts
MCINTOSH AMPLIFIERS
I = current, in amperes
Highest quality, efficiency. Full dynamic
Z = impedance, in ohms. range. Frequency range -20 to 20,000
plus or minus 0.2 db; 10 to 200.000 plus
or minus 2 db. Lowest phase shift distor-
Procedure t on: lowest noise level.
Adjust the output of the audio oscil- 50W -2 for less than 10/a distortion
Continuous single freq. rating
lator to about 25 volts on the meter. Ap- 50 watts RMS -Peak 100
ply this voltage to one winding of the $249.50 net
transformer under test and at the same 20W -2 for less than I% distortion
Continuous single freq. rating
time measure the current drawn. (See 20 watts RMS -Peak 40
Fig. 2.) Since reflected impedance from $149.50 net

ELECTRO -VOICE SPEAKER #SP 15

Frequency response 70 -13000 c.p.s. '_ 5db.
Maximum instantaneous power input: 30
watts. Field excitation: 51/4 lb. Alnico V
Orange Streak Magnet. Radax crossover fre-
Fig. 2. Schematic of arrangement used quency: 3000 c.p.s. Base cone resonance:
38 c.p.s. High Frequency cone resonance:
for measuring voltage ratio between 250 c.p.s.
transformer windings preliminary to $57.00 net
calculating impedance ratios.
secondary to primary under load will
have an important bearing on the final
result, the secondary of the transformer ELECTRO -VOICE MICROPHONE #650
under test should carry a load. This can Response ± 2.5 db. 40- 15,000 cps. Extremely
high output level -46 db. Impedance selector.
be a resistor, a speaker or a pair of head- External shock mount. Non -metallic Acoustalloy .111111.11111111111111111h4 1\'
diaphragm. Individually laboratory calibrated.
phones as an example. If a resistor is
$90 net
used it should be of the non -inductive Electro-Voice Microphone, used exclusively at
carbon type to avoid reflected reactance. Robin Hood Dell concerts.
Once two known values are found, the
impedance may be calculated from the
above formula.
A more accurate method of making
the measurements is to treat the primary
of the transformer as a choke, leaving
the secondary unloaded for the moment,
and determine the inductance of the
winding and find its reactance. This can BROWNING FM -AM TUNERS
be done by substitution as shown in Designed for high fidelity receiving ap-
plications in the broadcast band as well
Fig. 4. as the 88 -108 MC. FM band. Incorporat-
ing Automatic Frequency control for
Adjust R so that the voltage drop simplified FM tuning.
across R balances and equals the voltage From $87.75
drop across the primary. The voltage
drop across the transformer primary is, PERMANENT DISPLAY
of course, not due to inductance alone,
Equipment Shown at Audio Fair
but is caused by its impedance. Measure
Literature Available
the d.c. resistance of that section of R in #11170444
which the voltage drop occurs, then
solve for the inductance of the primary
with the formula : L =
f . Once the in-
SOUND & RECORDING COMPANY
1527 CHESTNUT ST., PHILA. 2, PA. - RI. 6 -8388

AUDIO ENGINEERING DECEMBER, 1950 43

www.americanradiohistory.com
AmericanRadioHistory.Com
 ductance is known, the inductive reac-
tance (in ohms) of the primary may be
SW rhTECH LABS found by the formula : XL = 21IL. Then
exdIu5ivewi
'
the impedance may be found by measur-
ing the d.c. resistance of the winding
with an ohmmeter and solving for the
impedance with the formula:
Z= \Rs +X s (3)
ARTIFICIAL REVERBERATION GENERATOR Where Z= impedance
R= d.c. resistance
X= Net reactance.
Since we are substituting XL (induc-
tive reactance) for X in the above for-
mula, it is assumed that the net reactance
is equal to the inductive reactance. This

Test
ose

GIVES HIGH QUALITY REVERBERATION EFFECTS WITHOUT

EXPENSIVE EQUIPMENT
SOUND IS NOT DELAYED AND PLAYED BACK, Fig. 3. (A) Method of measuring volt-
BUT DIES
age ratio of simple transformer. (B)
AWAY NATURALLY! Tapped transformer measurements give
THE RATE OF DELAY IS ELECTRONICALLY CONTROLLED sufficient information for complete
calculations. (C) Example of tapped
ENTIRE UNIT OCCUPIES ONLY 14" OF PANEL SPACE transformer.
PRODUCES AN INFINITE VARIETY OF EFFECTS
is not completely accurate, but the result
The basic assembly requires only 14" of panel space (contrasted is sufficiently close to make the trans-
with the thousands of cubic feet in an echo chamber). It's inex- former usable in many audio applica-
pensive, for costly rewind and take -up motors with switching acces-
tions.
With the proper load on the second-
sories and expensive floor and studio space are not required. Yet, ary the impedance reflected back to the
in terms of program use it will provide exactly the effects clients primary would be such as to lower the
specify with excellent reverberant qualities in an infinite variety primary impedance considerably. For
of uses. general application this can be assumed

*DEVELOPED BY AUDIO FACILITIES CORP., N. Y.

Manufactured and sold exclusively by Tech Labs.
Patents applied for.

TECHNICAL SPECIFICATIONS
Input impedance Bridging for 600 -ohm line
Input & output level O vu
Output impedance 600 ohms /250 .n. Fig. 4. Method of making measure-
Controls Single control operation ment by substitution. Signal Generator
Reverberation time 0 to 10 sec., continuously variable voltage is kept constant while adjust-
Finish Grey wrinkle. Others to order ments are made. The technique is de-
Power requirements 117 volts 60 cps single phase scribed and formula given in the text.
120 watts
to lower the primary impedance to one
fourth. This gives the primary imped-
For Literature & Demonstration Records Write To: ance at the lowest frequency responses
of the transformer.
Manufacturers of Precision Electrical Resistance Instruments
With the impedance of the primary
PALISADES PARK, NEW JERSEY winding known and with the output of
the audio oscillator still applied to the

44 AUDIO ENGINEERING DECEMBER, 1950

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AmericanRadioHistory.Com
primary, but with R removed, voltage
ratio measurements can be made on the
secondary winding, as at A in Fig. 3,
and its impedance determined by the
formula (1). Succeeding measurements
HARVEY Presents the
and calculations can be made on any
number of multiple secondary windings. Newest Development In Tape Recording!
Tapped Winding Calculations
Now suppose we have a transformer
with a tapped winding in which the im- NEW PT63-AH
pedance of two sections is known, but
the third unknown, as at B in Fig. 3.
The impedance of the unknown section
can be calculated from the formula:

Z, = Za11IZa -1) (4)

Where Z,= unknown impedance;
Za = impedance of known section
and
Zt = total impedance of sections
4 and Za.
In order to make our impedance cal- 3 HEADS: Erase ... Record ... Playback
culations complete for a given trans- Designed To Monitor Directly From The Tape
former, it is not only necessary to know While You Are Recording!
the impedance of individual windings
Developed from the famous PT6, the new MAGNECORDER PT63
and tapped sections, but also those tap-
ped windings on the same core in combi-
offers 3 separate heads -
Erase, Record, Playback for MONI- -
TORING FROM THE TAPE while recording. The addition of this
nation. The commercially made variable feature assures finer results by eliminating most recording errors.
impedance transformers have this in- All heads, contained in a single housing, are individually alignable
formation in chart form for easy refer- and replaceable, and each one is triple shielded to eliminate cross-
ence. Such ready information makes the talk and hum. 71/2 -inch and 15 -inch tape speeds, easily inter-
transformer more versatile for any given changeable. (3 speeds ... 3 3/4 ", 7 1/2" and 15 "... are also avail-
application and saves the builder much able at slight additional cost). Attractive black grain leatherette
time and many a headache. We can in- over wood construction. $350.00 Net, with Case.
dex the impedance for our transformer
in the same manner. The third and last PT63 -J
formula makes this completeness pos- AMPLIFIER
sible. A new single channel port-
Suppose we have a transformer in able amplifier which con-
which we have a two -section tapped tains a separate record and
winding having impedances of 500 ohms playback amplifier so that
and 10 ohms respectively, as shown at you can monitor from the tape while recording. In addi-
tion, 10 watts of audio is provided to drive both the

,
C in Fig. 3.
5 -inch monitor speaker or an external loudspeaker.
Substituting in the formula : Response flat from 50 -15kc at 15 ", sec. The 19" x 7"
control panel provides a switch to change equalization
Z. 10I pg -1 J = 368 ohms.
for either 71/2" or 15" tape speeds. Switching is also
The impedance of any other tapped provided for record, playback or bias readings on the
winding, combinations can be calculated 3" VU meter. May be directly rack mounted when re-
moved from case. $387.00 Net, with Case
in the same manner.
Note also that in this formula it is not
V SIT THE Telephone: LUxemburg 2-1500 NOTE: In view f the
necessary to know the primary imped- AUDIO - rapidly oho ging
ance. The calculations deal with only the TORIUM market conditions,
and visit our oll prices shown are
knowns and unknowns of the secondary Come
new sound depart subject te change
...all
01 (c)Ì I2:
windings. The resultant values apply to melt these without notice and
items and many more
tapped windings on the same core; this
fact should be kept in mind when making
on working
at all times.
display
;Z A \,IY( IiI) are Net, F.O.B.,
N.Y.C.

calculations employing the last formula. : ' . ..:.ti`..

103 West 43rd St., New York 18, N. Y.

AUDIO ENGINEERING DECEMBER, 1950 45

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AmericanRadioHistory.Com
 VECTOR SLIDE RULE
[from page 20]

0 = 0.9 when 0= 1.47 approximately, and

tanh O becomes about 0.9951 when O = 3.0.
Minimum -Loss Networks
MICROPHONES PROVED* TO BE THE
An impedance- matching device is oc-
casionally required which may neverthe-
FINE-QUALITY-ECONOMICAL ANSWER TO less introduce a certain amount of loss
into a system. In order to keep this loss
at an absolute minimum, a transformer
MANY MICROPHONE PROBLEMS is often indicated to accomplish the im-
pedance match.
The "HERCULES"- Here is a revolutionary new Where some additional loss is permis-
microphone unit that provides the ruggedness, sible, a "minimum-loss" resistive atten-
the clear reproduction, and the high output long uator can often be used. When its loss
needed for Public Address, Communications, Re-
can be tolerated, the attenuator is often
cording at an amazingly low price!
much less expensive than the trans-
List Price $14.50
former, and is smaller and lighter.
The minimum amount of loss which a
"T" attenuator must be designed to in-
MODEL 510 troduce is determined by the ratio of the
impedances which it is intended to match.
The "GREEN BULLET"- Specially designed to pro-
vide quality music and speech reproduction at The resulting actual design is an "L"
moderate cost. A streamlined unit that lends itself pad, based upon the "T" pad circuit
to fine-quality, low -cost installations where dura- previously discussed. However, when the
bility is an important factor. Features high out- pad is designed for the minimum possible
put, good response, high impedance without the
need of a transformer. amount of loss for a given impedance
List Price $17.50 ratio, R, vanishes and only R, and Rs
remain to be calculated (see Fig. 6).
MODEL 520 A procedure for the design of mini-
mum -loss pads is based on the equation° :
The "RANGER"- Recommended for those appli-
cations where long lines are used and a rugged = cosh -' \/Z,Zs
O
hand -held microphone is needed. Ideal for outdoor In this formula,
O is the loss of the
public address, mobile communications, hams,
audience participation shows, etc. Designed for attenuator in nepers (= loss in db divided
clear, crisp natural -voice response of high intelli- by 8.686). Z, /Z° is the ratio of the im-
gibility. Has heavy -duty switch for push-to -talk pedances to be matched, so chosen that
operation. the ratio obtained is greater than unity.
List Price $27.50
The procedure is as follows :
MODEL 505C 1. Obtain the ratio Z, /Zs on scales A

The "DISPATCHER " -Complete and B of the "vector" slide rule.

unit, includes Model 520 Micro - 2. Record the reading on scale A of
phone, A88A Grip -To -Talk this impedance ratio, and subtract the
Slide -To -Lock Switch, and number 1 from this result. Set the runner
S36A Desk Stand. De-
signed to handle the most MODEL R5 to this new value on scale A.
severe field requirements 3. The runner now indicates on scale
of paging and dispatching Sá1 or Sh2 the minimum loss O in nepers
systems. Ideal for police,
railroad, taxicab, air- of the desired attenuator. If the ratio
MODEL 520SL port, bus, truck and all of the impedances is less than 2, then O
emergency communica- will be less than about 0.882 and scale
List Price 535.00 tions work. Sh1 is used ; for greater impedance ra-
tios, refer to scale Sh2.
CONTROLLED RELUCTANCE CARTRIDGE
Available for service installation. Ideal for
- 4. To determine this minimum loss in
decibels, divide O by 8.686. Use scales
replacement of crystal cartridges in Shure C and D.
cases of Models 707A and 708 Series. Can 5. Calculate R° and R,. These resist-
also be used in most semi- directional micro-
phones where space permits. Supplied with ances are found with the "vector" slide
rubber mounting ring. rule, as explained before. Steps 5, 6
List Price $9.00 and 7 are omitted, since Rs is not used
*Specific information provided
on reque..t. in the special case of the minimum -loss
pad.
Patented by Shure Brothers, Inc. Note that R, is always located on the
high -impedance side of the attenuator.
SHURE BROTHERS, Inc. ° From "Reference Data for Radio Engi-
Microphones and Acoustic Devices neers," Federal Telephone & Radio Corp.,
New York, 3d Edition, pp. 158-9, by per -
225 West Huron Street, Chicago 10,111. Cable Address: SHUREMICRO mission.

46 AUDIO ENGINEERING DECEMBER, 1950

www.americanradiohistory.com
AmericanRadioHistory.Com
The pad may match a high impedance to
a lower impedance, or vice versa.
The range of the "vector" slide rule
allows minimum -loss pads to be designed
_Newell Al
to match impedances having ratios as
great as 100 to 1 (this ratio causing the
minimum loss to be 26 db). HIGH FIDELITY
It is often difficult to find the correct
values of resistances from stock for any MAGNETIC TAPE
certain attenuator. Resistance values can
then be selected which can be connected RECORDER
in series or in parallel to give the re-
quired resistance values. It is found that Model 400
the graphical solution illustrated in Fig.
7 speeds up the work considerably when
parallel resistance combinations are
needed.
The following rule applies to the use
TERMINAL brings you
of Fig. 7: this new incomparable
15,000 cycle perform-
If a straight -edge be kid connect-
ance at 71/2 inches per
ing points corresponding to two re-
sistance values upon alternate scales,
second that equals the
the intersection of the straight- performance of 15 IPS
edge with the intermediate scale in- full -track recorders
dicates the equivalent resistance of and gives 4 to 1 sav-
a parallel combination of the first ings in tape cost.
two resistances.
Example: If resistors of 100 ohms and 90
ohms be connected in parallel, what is the 2 FULL HOURS OF PROGRAM
resistance of the parallel combination?
Solution: The dotted line (A) in Fig. 7 MATERIAL CAN BE COMBINED ON ONE 10" REEL
connects 100 ohms and 90 ohms on alternate
scales (1) and (3). The equivalent parallel
METER 8OUTPUT SWITCH - Position "B"
(Level), connects meter "Line Output" plug,
71/2" -15" EQUALIZATION
Ironies for proper operation at
- Adjusts elec
71/2 or 15 i.p.s.
resistance is read as 47.4 ohms on the in- anc "Phones" monitor plug to the output of
the playback for monitoring of playback,
INPUT TRANSFER SWITCH - Properly con-
nects input plug for: I) 200 ohm microphones
termediate scale (2). This process can be while recording or playing back tapes. Posi- such as R.C.A. 448X, KB -2C, etc. II) Balanced
continued for more than two resistors in tion "A" connects "Une Output" plug, and bridge for bridging telephone lines or bal-
"Phones" monitor plug to the record ampli- anced studio lines. III) Unbalanced bridge
parallel. Suppose that a third resistor of fier for direct monitor of the incoming pro- 100,000 ohm input for radio tuner, phono
80 ohms be connected in parallel with those gram. Under position "A" there are three
of the example. Dotted line (B) connects switch positions designated: LEVEL - which
pre -amp, bridging public address equipment
or unbalanced studio lines.
the resistance already in the circuit (47.4
connects the meter to measure record volume
level. FOUR -INCH "VU" METER -
Volume level
meter used to indicate proper record volume
ohms) with the added value of 80 ohms on SIAS -which connects the meter to indicate level. This instrument can be switched for
proper record bias. I functions as listed under "Meter B
scale (4), and the new equivalent resist- ERASE-which connects the meter to indicate Output Switch."
ance is found on scale (3) to be 30 ohms.
This chart, while simple, is found to be
proper erase current.
SPEED CHANGE - Toggle switch permits
OUTPUT LINE TERMINATION SWITCH
Places 600 ohm terminator across amplifier
-
quick choice of 71/2 or 15 i.p.s. tape drive when same is not externally loaded (This is
a great time-saver for general use in con- speeds. necessary for proper meter calibration).
nection with audio systems. RECORD BIAS ADJUSTMENT -Biased for
maximum output of 1000 cycle tone (factory
OPERATION SELECTOR - Switch provides
for normal forward or fast forward or fast
adjusted). rewind.

AUDIO PATENTS
CUSTOM SET -BUILDERS - AUDIO ENGINEERS
Terminal Radio can furnish promptly all components required
Ifrom page /I for FAS amplifiers and speaker systems, in addition to turntables,
pickups, and FM -AM chassis necessary to assure the superlative
the pentode section is the mixer. The vari- performance of which FAS installations are capable. If you haven't
able oscillator uses a separate triode. a copy of the Terminal Radio catalog on hand, write for one today!
Each of the oscillators is coupled to a grid
of the mixer pentode by adding a pickup coil
to the tuning inductor and connecting this
to the pentode. Assuming that both oscil- FREE WRITE FOR YOUR PORTFOLIO OF 15 IDEAS
lators are well shielded and the leads FOR CUSTOM RADIO -PHONOGRAPH INSTALLATIONS.
dressed, the main danger of pulling comes This profusely illustrated booklet gives you actual photos of installations in typical room
from capacitance between the triode and settings.
pentode plates within the combination tube;
this is indicated by a dotted capacitor in the New 1951 Terminal Sound Catalog now available
drawing, and is by no means negligible. Write for your free copy!
The output of the pentode plate contains
components of both oscillator frequencies,
so that the variable oscillator frequency
may be coupled to the fixed oscillator
through the dotted capacitor, the lower part
of L, and the bypass capacitor C, to ground.
This creates a potential difference between
the triode anode and grid.
To prevent pulling, Cr is connected be-
tween the pentode plate and the upper end Distributors of Radio & Electronic Equipment
of L. which is connected to the grid through
Cs. This forms a bridge, the arms of which 85 CORTLANDT ST., NEW YORK 7, N. Y. WOrth 4 -3311 Cable: TERMRACIO
are the two sections of the coil, the ca-

AUDIO ENGINEERING DECEMBER, 1950 4'e

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AmericanRadioHistory.Com
 PRECISION E Setulstjti
the GROMME lof OA
d
PUY
ifj-t v3-

No
Postage Stamp
Necessary
If Mailed in the

Out -performs larger United States

Response ± DB 20 t 1

Total distortion 1.57

Peak power 20 watt
10 DB feedback.
BUSINESS REPLY ENVELOPE
First Clem Permit No. 41987, See. 84.9', P. L. & L. New York, N. Y.
50 PG List $ 73.5
Both models feature the
cuits known to electronic
bass and treble controls,
AUDIO ENGINEERING

PRECISIO 342 MADISON AVENUE

641 -43 MILWAUKEE A
NEW YORK 17, N. Y.

IOOK TO ALLI C V British Hearing Aid

The design of hearing aids in Great
for your high- fidelity Britain is as controversial as elsewhere, and
in Wireless World for August 1950 A.
Poliakoff describes some of the factors af-
custom sound components fecting one particular British model.
Listed as the attributes of a good aid in
Just name your need in high- fidelity audio order of importance are optimum volume,
WORLD'S LARGEST STOCKS components -ALLIED will deliver immedi- avoidance of pronounced peaks, low case
OF ALL FAMOUS MAKES ately from the country's largest in -stock noise, and a "nice looking response curve."
supplies. Make your selections of tuners, The optimum volume is a point which the
ON HAND amplifiers, speakers, baffles, cabinets, author has studied over a period of years
record changers, transcription and phono and concludes is within the range 75 to 98
FOR IMMEDIATE equipment, wire and tape recorders, pre -
amps -all the equipment you want, with db above reference. In addition, compression
DELIVERY
the exact specifications required -at the is added so that no bad transients will af-
Allec-Lansing Audio
price you want to pay. For everything in fect patients with recruitment, and also that
Development Bell Bogen
hi-fidelity sound, depend on ALLIED. the optimum level may not be exceeded. For
Brook Browning Collins
low level signals, a.v.c. action is used. The
Clarkston Electro-Ysice
General Electric Jensen
use of baked lacquer on the smooth metal
Jim Lansing Knight case minimizes case noise. Hinges are elimi-
Livingston Magnecord nated by a sliding case lock on the inside.
Markel Masco Messner The frequency response is varied by use of
Mclnlosh National different earpieces, and not by changing
Pickering Presto
amplifier response. Finally, the cost of aids
RCA Rek-O -Kul FREE 1951 CATALOG is discussed in relation to radio receiver
Radio Craftsmen Scott Write today for our omplete Buying prices.
Stephens Thoidarson Guide. (Custom Installers ... ask to be
University Y-M Corp. put on our special mailing list.) WE
STOCK EVERYTHING-FOR IMMEDIATE Transistor Noise
Webster -Chicago
Western Electric
SHIPMENT - ANYTIME - ANYWHERE.
The application of transistors to the solu-
tion of various audio problems has been
ALLIED RADIO limited, to date, by their high noise level.
833 W. Jackson Blvd., Dept. 17 -M-O H. C. Montgomery discusses this problem
CHICAGO 7, ILLINOIS in the September 1950 Bell Laboratories
Record. Transistor noise level is a function

48 AUDIO ENGINEERING DECEMBER, 1950

www.americanradiohistory.com
AmericanRadioHistory.Com
 of the biases on the emitter and the col-
lector electrodes, but its spectrum shape is
constant. The octave noise level is constant
throughout the spectrum which means that
the noise power in the 50-100 cps octave is
the same as that in the 20 to 40 kc octave.
The noise therefore has a predominantly
large low -frequency character. For an aver-
age Type A (Bell Telephone Laboratories)
Transistor in a single -stage amplifier, the
A noise is 80 db below undistorted output in
the 100-3,000 cps band and 75 db down for
the 10-cps to I -mc band.

Conference Telephone
An advanced design conference telephone
system is described in the Ericsson Review,
No. 1, 1950 by G. Thames. The new sys-
tem known as the Ericsson DYA permits
conference calls to be carried by micro-
phones and loud speakers in addition to the
telephone handset. The entire system is
compatible with PBX or public telephone
exchange systems and may be used with-
out disrupting regular telephone service. In
the DYA system any extension telephone
may be designated as master station for
the conference system. At a master station,
it is always possible to maintain secrecy,
since the main station has control over who
is connected to the conference. The lines
connected to the conference are always in-
dicated by lighted bulbs with numbered
lenses. Also PBX (local internal) calls
may be interrupted and the conference line
used with the PBX line held until the end
of the conference call, at which time the
PBX call may be picked up from the held
position.
a The remainder of the article discusses
the detailed operation and installation of
THE FIRST CHOICE OF RADIO ENGINEERS
More radio engineers use Magnecorders
such a system and describes the components.
than all other professional tape record-
MAGNECORDER ers combined. Here's why -

For every purpose ... HIGH FIDELITY, LOW COST

AUDIO DESIGN NOTES WIevery purse! Stations are enthusiastic about the life-
like tone quality and low distortion of
[from page 22]

amount of power radiated by the port is

response: 50 -
Magnecordings. Magnecorder frequency
Skc ± 2 db. Signal -
1

noise ratio: 50 db. Harmonic distortion

approximately proportional to the area. In less than 2 'A. Meets N.A.B. standards.
PT6 SERIES
practice, this means that for a given reso- Most widely used profes- No other recorder offers such fidelity at
nant frequency the larger the enclosure the sional tope recorder in such a moderate price.
the world.
larger will be the port and the more effec-
tive the resonator. Usually, one does not GREATEST FLEXIBILITY
use a port area less than half, nor more Mount a Magnecorder in a rack or con-
than twice the cone area. sole cabinet for delayed studio and net-
The importance of sturdy construction of work shows. Slip it into its really portable
the cabinet can not be overemphasized. Mo- cases for remotes. Add to your Magne-
tion of the walls absorb energy which would
otherwise have been radiated from the port.
cord equipment as you need it-
combine
Magnecorders to suit every purpose.
It is good practice to stiffen the back and P563 SERIES
front of the cabinet with 2 x 4's. The force Three heeds to erase,
record, ood monitor from MORE FEATURES
produced by the voice coil might be as high the tepe.
as 5 lbs. at the resonant frequency and the Your Magnecorder, new or old, can now
enclosure must be able to stand this force have 3 heads (separate erase, record,
without rattling. and playback) to permit monitoring from
In order to eliminate radiation from the tape. Three speeds (15 "-
71/2 " -33/,"
-up to an hour on a 7" reell available
port at higher frequencies the interior of
P17 SERIES on both PT6 and PT63 equipment. Dual
the enclosure is usually lined with some A complete console
absorbing material such as Celotex. The ma- for only $930.00.
track heads also available if desired.
terial used should have high absorption at Outstanding lea -
the higher frequencies (500 cps up for lores and flexibil-
ity. Models for port- Write for NEW CATALOG
example) but negligible absorption at the able or rack mount
resonant frequency. The objection to simul- also available. MAGNECORD, INC., Dept. A -12
taneous radiation from the port and cone is 360 North Michigan Avenue, Chicago 1, Ill.
that destructive interference occurs at cer- Send me latest catalog of Magnecord Equipment
tain frequencies causing large dips in the Name
response curve. This difficulty does not oc- Company
cur at the resonant frequency because here
Address
the radiation from the cone is negligible
compared to the radiation from the port. City zone Stet.

AUDIO ENGINEERING DECEMBER, 1950 49

www.americanradiohistory.com
AmericanRadioHistory.Com
 NEW PRODUCTS
Audio Generator. Designed essen- single unit in the crossover-frequency
tially for supplying the two -tone test range. Thus is avoided the distortion
signals necessary for intermodulation which frequently is present when woofer
measurement, General Radio's new Type and tweeter are operated in different
planes. Technical description may be ob-
1303 -A audio generator is equally well tained from Tube Department, Radio
suited for use as a general purpose beat - Corporation of America, Harrison, N. J.
frequency oscillator. It may be used to
generate a single low- distortion signal
adjustable in frequency from 20 cps to Cable Tacker. Of particular interest
40 kc; two signals, each separately ad-
to installers of sound equipment and juke
boxes is the Phillips cable tacker, a one-
justable, one to 20 kc and the other to 10 hand- operated tool which handles all
sizes of cable up to lh in. OD. Concave
center guides instantly center both large

volts into 10,000 ohms with distortion less

than 0.3 per cent from 100 cps to 15,000
cps, and rising no more than 0.5 per cent
at 30 cps. Total frequency error due to
drift and calibration is less than two per
cent. Output control is logarithmic and
is calbrated in output voltage. Dimen-
sions are 4 x 516 x 4 in. Full technical de-
scription may be obtained from the man-
ufacturer, The Electronic Workshop,
351 Bleecker St., New York 14, N Y.
kc; or two signals with a fixed difference
in frequency maintained between the Dy na in le 31 lerophone. Full vision for
two as the frequency of one signal is both performer and audience is afforded
varied. The fixed difference frequency is by the new : \merican type D -33 micro-
adjustable up to 10 kc, and the lower of
the two frequencies is adjustable up to and small cables which are anchored
20 kc. Output of the generator is con- without damage to insulation. Full de-
tinuously adjustable up to 10 milliwatts scription may be obtained from Phillips
into 600 ohms with less than 0.25 per Manufacturing Company, Minneapolis,
cent distortion. Calibration is in both Minn.
volts and db. Descriptive material may
be obtained by writing General Radio
Company, 275 Massachusetts Ave., Cam- Miniature Attenuator. Following to-
bridge 39, Mass. day's trend toward miniaturization of
electronic components, the new Daven
Series 730 T- network attenuator offers
High -Quality Speaker. Both high - 30 steps of attenuation in a unit only
quality reproduction and moderate pur- 214 in. in diameter. Available in steps of
chase price are features of the Model
515S2 speaker recently introduced by
RCA. Useful response range is 40 to
12,000 cps and power handling capacity
is 25 watts. The vibrating system of the
51552 consists of two voice coils and
cones excited by a single 2 -1b. Alnico

phone. Weighing only seven ounces, the

D -33 does not require a pre-amplifier, and
is distinctively finished in gold and black.
Pickup pattern is omnidirectional. Avail-
or 2.0 db, the unit has a fiat
0.5, 1.0, 1.5 able in all popular impedances. Descrip-
frequency characteristic to 30 kc. Re- tive material is available from American
sistance accuracy is ± 5 per cent. Zero Microphone Company, 370 S. Fair Oaks
insertion loss and constant input and Ave., Pasadena 1, Calif.
output impedance are also characteristic
of the new attenuator. Further informa-
tion may be obtained by writing The VTVM Kit. The new Knight VTVM
Daven Company, 191 Central Ave., New- kit brings precision measurements within
ark 4, N J. the reach of even the most modest purse.
An excellent all- around test instrument
for servicemen, amateurs, experimenters
Audio Oscillator. Exceptionally com-
pact in size, the new Model 510 -A os- and laboratories, the instrument offers
V magnet. The woofer and tweeter are cillator has a frequency range of 18 cps four milliampere ranges and six capaci-
so mounted that the larger cone is effec- to 210 kc in four decades, and has output tance ranges in addition to the standard
tively a continuation of the smaller, and constant within 0.5 db over the entire twenty VTVM ranges. Matched -pair re-
as a result the two cones vibrate as a frequency range. Power output is 10 sistors are used for accuracy of measure-

50 AUDIO ENGINEERING DECEMBER, 1950

www.americanradiohistory.com
AmericanRadioHistory.Com a
 pacitor C,, and the dotted capacitance.
When the bridge is balanced by correct ad-
justment of C,, feedback from pentode plate
PRECISION ELECTRONICS PRESENTS to triode plate in balanced out, and the ob-
tainable audio frequency is much lower than
the GROMMES- CUSTOM AMPLIFIERS before. As an illustration, if L happens to
be centertapped, C, and the dotted capaci-
Designed by Sound Engineers tance should be equal.

for CRITICAL MUSIC LOVERS

For those who want the best
Response 10 to 100,000 CPS
(30.1 DB 10 to 50,000 CPS).
Passes square waves 20to1O,000CPS
...tal distortion 0.27. or less at
20 watts.
Peak power 50 watts.
25 DB feedback; Damping factor -11.
200 PG List $225.00

Out -performs larger amplifiers.

Response t
DB 20 to 20,000 CPS.
1

Total distorsion 1.57 or less at 10 watts

Peak power 20 watts.
10 DB feedback.
50 PG List 573.50 Fig. 2

Both models feature the m

cuits known to electronics; 4 inputs, feedback pickup pre -amp, calibrated
bass and treble controls, hum inaudible. Free technical bulletin. TECHNICANA
r, /a!ir
PRECISION ELECTRONICS, INC.
I ;N

641-43 MILWAUKEE AVENUE CHICAGO 22, ILLIN)IS all the requirements of that country's broad-
casting service.
Some of the ideas presented here offer a
fresh approach to the problem for U. S. and
European readers, and although frequent
reference to American sources is made, their
use is not without understanding.

look to ALLIED British Hearing Aid

The design of hearing aids in Great
for your high- fidelity Britain is as controversial as elsewhere, and
in Wireless World for August 1950 A.
Poliakoff describes some of the factors af-
custom sound components fecting one particular British model.
Listed as the attributes of a good aid in
Just name your need in high- fidelity audio order of importance are optimum volume,
WORLD'S LARGEST STOCKS components -ALLIED will deliver immedi- avoidance of pronounced peaks, low case
OF ALL FAMOUS MAKES ately from the country's largest in -stock noise, and a "nice looking response curve."
supplies. Make your selections of tuners, The optimum volume is a point which the
ON HAND amplifiers, speakers, baffles, cabinets, author has studied over a period of years
record changers, transcription and phono and concludes is within the range 75 to 98
FOR IMMEDIATE equipment, wire and tape recorders, pre-
amps -all the equipment you want, with db above reference. In addition, compression
DELIVERY
the exact specifications required -at the is added so that no bad transients will af-
AlieLansing Audio
price you want to pay. For everything in fect patients with recruitment, and also that
Development Bell Bogen
hi- fidelity sound, depend on ALLIED. the optimum level may not be exceeded. For
Brook Browning Collins
low level signals, a.v.c. action is used. The
Clarkston Eleclro-Voice
General Electric Jensen
use of baked lacquer on the smooth metal
Jim Lansing Knight case minimizes case noise. Hinges are elimi-
Livingston Magnecord nated by a sliding case lock on the inside.
Markel Masco Meissner The frequency response is varied by use of
Mclnlost National different earpieces, and not by changing
Pickering Presto amplifier response. Finally, the cost of aids
RCA Rek -O -Kul FREE 1951 CATALOG is discussed in relation to radio receiver
Radio Craftsmen Scott Write today for our complete Buying prices.
Stephens Thordarson Guide. (Custom Installers... ask to be
VM put on our special moiling list.) WE
University Corp.
Webster -Chicago
STOCK EVERYTHING -
FOR IMMEDIATE Transistor Noise
SHIPMENT -ANYTIME -ANYWHERE.
Western Electric
The application of transistors to the solu-
tion of various audio problems has been
ALLIED RADIO . limited, to date, by their high noise level. -.
..
IF IT'S HI -FI , 833 W. Jackson Blvd., Dept. 17-M -o Alliea R,dts H. C. Montgomery discusses this problem
ALL /ED HAS IT! CHICAGO 7, ILLINOIS - :
.® in the September 1950 Bell Laboratories
Record. Transistor noise level is a function
1

48 AUDIO ENGINEERING DECEMBER, 1950

www.americanradiohistory.com
AmericanRadioHistory.Com
The pad may match a high impedance to
a lower impedance, or vice versa.
The range of the "vector" slide rule _Newell
allows minimum -loss pads to be designed
to match impedances having ratios as
i1\'11
great as 100 to 1 (this ratio causing the
minimum loss to be 26 db). HIGH FIDELITY
It is often difficult to find the correct
values of resistances from stock for any MAGNETIC TAPE
certain attenuator. Resistance values can
then be selected which can be connected RECORDER
in series or in parallel to give the re-
quired resistance values. It is found that
the graphical solution illustrated in Fig.
Model 400 (7I
7 speeds up the work considerably when
parallel resistance combinations are
needed.
The following rule applies to the use
of Fig. 7:
TERMINAL brings you
this new incomparable
.14,;11111.11t ' 1
15,000 cycle perform-
If a straight -edge be laid connect- ance at 71/ inches per
ing points corresponding to two re-
sistance values upon alternate scales.
second that equals the
the intersection of the straight-
performance of 15 IPS
edge with the intermediate scale in- full -track recorders
dicates the equivalent resistance of and gives 4 to 1 sav-
a parallel combination of the first ings in tape cost.
two resistances.
Example: If resistors of 100 ohms and 90
ohms be connected in parallel, what is the 2 FULL HOURS OF PROGRAM
resistance of the parallel combination?
Solution: The dotted line (A) in Fig. 7 MATERIAL CAN BE COMBINED ON ONE 10" REEL
connects 100 ohms and 90 ohms on alternate METER a. OUTPUT SWITCH - Position "B" 71/2" -15" EQUALIZATION - Adjusts elec-
tronics for proper operation at Ph or 15 i.p.s.
scales (1) and (3). The equivalent parallel (level), connects meter "Line Output" plug,
resistance is read as 47.4 ohms on the in- and "Phones" monitor plug to the output of
the playback for monitoring of playback,
INPUT TRANSFER SWITCH - Properly con-
nects input plug tor: I) 200 ohm microphones
termediate scale (2). This process can be while recording or playing back topes. Posi- such as R.C.A. 445X, KB -2C, etc. II) Balanced
continued for more than two resistors in tion "A" connects "Line Output" plug, and bridge for bridging telephone lines or bal-
"Phones" monitor plug to the record ampli- anced studio lines. Ill) Unbalanced bridge
parallel. Suppose that a third resistor of fier for direct monitor of the incoming pro- 100,000 ohm input for radio tuner, phono
80 ohms be connected in parallel with those gram. Under position "A" there are three pre -amp, bridging public address equipment
of the example. Dotted line (B) connects
switch positions designated: LEVEL - which or unbalanced studio lines.
the resistance already in the circuit (47.4
connects the meter to measure record volume
level.
FOUR-INCH "VU" METER -
Volume level
meter used to indicate proper record volume
ohms) with the added value of 80 ohms on BIAS-which connects the meter to indicate level. This instrument can be switched for
proper record bias. several functions as listed under "Meter 8.
scale (4), and the new equivalent resist- ERASE -which connects the meter to indicate Output Switch."
ance is found on scale (3) to be 30 ohms. proper erase current.
- OUTPUT LINE TERMINATION SWITCH -
This chart, while simple, is found to be SPEED CHANGE Toggle switch permits Places 600 ohm terminator across amplifier
quick choice of 71/2 or 15 i.p.s. tape drive when some is not externally loaded (This is
a great time -saver for general use in con- speeds. necessary for proper meter calibration).
nection with audio systems. RECORD BIAS ADJUSTMENT -
Biased for
maximum output of 1000 cycle tone (factory
OPERATION SELECTOR - Switch provides
for normal forward or fast forward or fast
adjusted). rewind.

AUDIO PATENTS
CUSTOM SET -BUILDERS - AUDIO ENGINEERS
Terminal Radio can furnish promptly all components required
from page 21 for FAS amplifiers and speaker systems, in addition to turntables,
pickups, and FM -AM chassis necessary to assure the superlative
the pentode section is the mixer. The vari- performance of which FAS installations are capable. If you haven't
able oscillator uses a separate triode. a copy of the Terminal Radio catalog on hand, write for one today
Each of the oscillators is coupled to a grid
of the mixer pentode by adding a pickup coil
to the tuning inductor and connecting this
to the pentode. Assuming that both oscil- F REE. .. WRITE FOR YOUR PORTFOLIO OF 15 IDEAS
lators are well shielded and the leads FOR CUSTOM RADIO -PHONOGRAPH INSTALLATIONS.
dressed, the main danger of pulling comes This profusely illustrated booklet gives you actual photos of installations in typical room
from capacitance between the triode and settings.
pentode plates within the combination tube; New 1951 Terminal Sound Catalog now available
this is indicated by a dotted capacitor in the
drawing, and is by no means negligible. Write for your free copy
The output of the pentode plate contains
components of both oscillator frequencies,
so that the variable oscillator frequency
may be coupled to the fixed oscillator
through the dotted capacitor, the lower part
of L, and the bypass capacitor C, to ground.
This creates a potential difference between
the triode anode and grid.
To prevent pulline, Cr is connected be-
tween the pentode plate and the upper end Distributors of Radio & Electronic Equipment
of L. which is connected to the grid through Cable: TERMRADIO
C,. This forms a bridge, the arms of which 85 CORTLANDT ST., NEW YORK 7, N. Y. WOrth 4 -3311
are the two sections of the coil, the ca-

AUDIO ENGINEERING DECEMBER, 1950 47

www.americanradiohistory.com
AmericanRadioHistory.Com
ment. Zero- center d.c. dial is included for cases for location work, or as rack-
FM discriminator alignment. Uses 41 -in. mounted equipment for studio installa-
meter. Complete information may be ob- tion. Frequency range of the system is
tained from Allied Radio Corporation, 833 30-10,000 cps ± one db, flutter is only .04
W. Jackson Blvd., Chicago 7, III. per cent rms total, and signal -to -noise
Record Player -P.A. System. Portable ratio is 57 db.
and self-contained within a single carry-
ing case, the Rauland -Borg Model 1254
record player -p.a. system features a 15-
watt amplifier with mixing controls to
permit use of phono background with
live program material. Three -speed tory standard in evaluating the per-
changer is equipped with a dual -type formance of audio systems. The meter is
crystal cartridge and is designed to play direct- reading in percentage of inter -
all types of commercial recordings up to modulation and input volts. Among the
12 in. Heavy -duty 12 -in. speaker is sup- uses for which it is well suited are the
plied with 35-ft. cable and plug. Weigh- correct adjustment and maintenance of
ing only 40 pounds, the entire system is broadcast transmitters, checking linearity
Intermodulation Meter. Compact and of film and disc recordings, adjustment of
completely self-contained, the new Model bias in tape recording, and for quality
31 intermodulatjon meter recently intro- control of audio components and equip-
duced by Measurements Corporation. ment. Model 31 is 8 in. high x 19 in. wide
Boonton. N. J., may be used as a labora- 9 in. deep.

housed in a dark green leatherette carry-

ing case. Full description may be ob-
tained by writing Rauland -Borg Corpora-
tion, 3523 Addison St., Chicago 18, III.

Tiny Precision Potentiometer. No

larger in diameter than a copper cent is
the new Model AJ Helipot potentiometer,
well suited for both commercial and mili-
tary applications where space and weight
must be considered. Model AJ is a ten-
turn unit with an 18 -in. resistance ele- I
Some H
Perha
Ps the
and L ows
eqery this c/a
otexciting dis-
Brings You Record Fidelity
You Never Believed Possible!
inluctance
its long
iár
familiar
G É re- ade
"An exciting discovery," writes Edward Tatnall playing cartridge
seems, version.
Canby, noted authority on sound reproduction, in has
The Saturday Review of Literature... already
forts t
Like a baton in the hands of a symphony con-
ductor, this remárkable new General Electric
meh
problems, e vttal tracttng
stylus brings you the full tonal quality of recorded shingy
If you have Ìbetter...typ, .

music as you've never heard it before! Its feather - of

light tip tracks the record groove with a com-
pliance delicate enough to pick up frequencies the
needle h
eer
nyoptridge
ty7
through 10,000 cycles per second! acquire
ment, and is available from stock in eight
Ask your dealer for a demonstration today! dMult area. progress
--Enit;lRt, aa
resistance values ranging from 100 to T:lr1yALL
50,000 ohms. Power rating is two watts CANBY
and weight is less than one ounce.
Further details may be obtained by writ- HOW COMPLIANT CAN A NEEDLE BE?
ing for Bulletin 108 to Helipot Corpora-
SEND FOR
tion, South Pasadena, Calif.
BATON STYLUS
FOLDER -IT'S FREEI
36-MM Magnetic Recorder- Repro-
ducer. Performance standards of the SINGLE -TWIST BATON Write: General
Motion Picture Research Council are sur- STYLUS STYLUS Electric Company,
passed in the new RCA magnetic record- The single-Twist arm and single
Section 44120,
Reproduces each tone value with Electronics Park,
ing system designed for high -quality pro- damping block of this stylus were amazing clarity. Tracks at 6 S y rature, New York
fessional magnetic recording in film designed for a tracking pressure grams -thus providing the maxi-
production. The new system is aimed at of21 grams. It was recognized, mum degree of compliance that
reducing film and processing costs, and however, that lighter pressure may be used successfully with
providing greater flexibility in meeting would lengthen both record life commercially available tone arms.
acoustical conditions. In addition to the and stylus life.
magnetic record -reproduce unit, the sys-
tem includes a mixer amplifier, recording
amplifier, a bias oscillator for recording,
and an oscillator -preamplifier and equal-
izer for playback. Also included is a self -
oa canrhai -- wt ro/aára! ,
contained high- and -low voltage power
supply. Both 16 -mm and 35 -mm systems
are available, either in portable carrying
GENERAL ELECTRIC
AUDIO ENGINEERING DECEMBER, 1950 51

www.americanradiohistory.com
AmericanRadioHistory.Com
 Reluctance Cartridge Adapter. For Tape Recorder. Although moderately to meet performance standards fitting it
many users of Western Electric 9A Re- priced, the new Sonar Model T -10 tape for many types of professional application.
producing Equipment, an adapter head recorder is claimed by the manufacturer Amplifier response is 20 to 20,000 cps ± 1
which accommodates a standard variable db, and tape response is 35 to 12,000 cps at
reluctance cartridge will be of interest be- 7.5 In. per second, according to the manu-
cause it permits the playing of micro- facturer. Double -track automatic -reverse
groove records through the regular switch recording mechanism permits one hour of
and filter with a minimum of expense for uninterrupted recording or playback. Lit-
conversion. When the adapter is in use, erature may be obtained free of charge
the impedance of the filter is matched to from Sonar Radio Corporation, 59 Myrtle
the reluctance cartridge, and the usual Avenue, Brooklyn 1, N. Y.
high - fidelity response is assured, together
with high output signal. For vertical and Motors for Radio Use. For many ap-
lateral transcriptions the regular 9A arm plications in radio, small motors with a
is plugged back into the arm, giving com- wide range of speeds are occasionally re-
plete flexibility of playing equipment. quired. The new Barcol YAZ motor is
Further information is available from the reversible, and is equipped with a geared
manufacturer, Broadcast Service Co., Ar- head; it has high starting torque, and
cade Bldg., St. Louis 1, Mo. electrodynamic braking for rapid stop-
ping. The motor itself is the shaded -pole
type, producing no interference in radio

leading audio engineers choose

BROWNING FM -AM TUNERS
for discriminating listeners
For custom installations, audio engi-

severe judge of high-fidelity-

neers know they must please the most
the serious
music listener. These engineers know, too,
that only the best engineering resources
can produce such gratifying performance. receivers, and a balanced rotor minimizes
vibration. In the open type, as shown,
.. .And that is why leading audio en- these units are available with speed re-
gineers choose from these BROWNING ductions from 20:1 to 360:1. Closed types
models for their exacting custom in- can be supplied with speed reductions
MODEL RJ -20A FM -AM TUNER stallations. ranging from 7.2:1 to 1,333,800:1. For full
information on this line of motors, write
Armstrong FM circuit; 20 db quieting Barber- Colman Co., Rockford, Ill.
with 61/2 microvolts Separate r.f. and
i.f. on both bands AFC on FM with Gronuues Custom .tmpiitiers. A new
ON /OFF switch AM bandwidth selec- line of amplifiers designed for incorpora-
tion, 9 kc. and 4 kc. Driftcompensated tion into home music systems as well as
FM audio 15- 15.000 cycles =11/2 db. for high -quality public address installa-
20 db treble and bass boost self - tions has just been announced by Preci-
contained power supply. sion Electronics, Inc., 641 Milwaukee Ave.,
Chicago 22, I11. Available in two chassis
types for three models, these amplifiers
MODEL RJ -12B FM -AM TUNER are equipped with four input channels and
Armstrong FM circuit; 20 db quieting
with less than 10 microvolts Separate
ri. and i.f. on both bands AFC on FM
with ON /OFF switch Drift-compensated
FM audio 15- 15,000 cycles =11/2 db
AM audio 20-6600 cycles ±3 db
Triple-tuned i.f.

MODEL RV -10A FM TUNER

MODEL Armstrong FM circuit; less than 10
RV -10A microvolts for complete limiting AFC
with ON /OFF switch 2 -stage
cascade limiter Tuned ri. stage Dril t-
compensated High impedance output.

high- fidelity-
Learn the full specifications for Browning
write for complete per-
formance curves and data on these
models.

In Canada, address:
Measurements Engineering Ltd.
Arnprior, Ontario. means for convenient switching from
magnetic pickup, crystal pickup, micro-
phone, or radio tuner. Model 200 PG has a
B R O W N I N G separate control unit which may be oper-
Laboratories, Inc. ENGINEERED
ated remote from the main amplifier chas-
sis, which has a power output of 20 watts
Winchester. FOR
ENGINEERS
with less than 0.5 per cent distortion or
10 watts at 0.1 per cent distortion. Models

52 AUDIO ENGINEERING DECEMBER, 1950

www.americanradiohistory.com
AmericanRadioHistory.Com
60 and 51 are single -unit models rated at
10 watts with less than 2 per cent dis-
tortion. Complete specifications may be
obtained by writing the manufacturer. 9205 DEGAUSSER
Demagnetize,. Magnetic. tape and fi
Magnetic Reproducer. Availability of
the Type L -6 Polyphase pickup with erase recording and residua IS.
special connector for plugging into the Aceonunoilates 5400 foot reels of t s"
Webster changer tone arm is a recent lape; 1000 f . 35111111. Write for
announcement of The Audak Company, details.
Net Price 859.50

CINEMA ENGINEERING COMPANY

1510 WEST VERDUGO AVENUE, BURBANK, CALIFORNIA

F.part Agent.: Frazer a Il , ltd. 301 Clay Street San Francisco, Calif., U. S. A.

500 Fifth Ave., New York 18, N. Y. Once

plugged in the reproducer becomes a per-
manent part of the arm assembly and
requires no further adjustment except for
stylus replacement.
111111S1
RADIO & TELEVISION CORP.

THE AUDIO FAIR Our Giant Store and Warehouse features Every Modern Shopping Convenience, including a Complete Line
of RCA Tubes, Test Equipment, Batteries, Radio and TV Replacement Parts, etc. Visit our Elaborate
REVIEW Sound Studio and New York's First "Radio Super- Market " -
Serve Yourself and Save on Thousands of
Standard and Surplus Items! Mail Orders Shipped to All Parts of the World Quickly, Completely! -
Iront page 321
NEW RCA WO -56A 7" OSCILLOSCOPE
Lions and recording studios. The machine Unequalled in Performance, Unmatched in Versatility! This new extremely
employs a continuous loop of magnetic sensitive RCA 7" Scope features DUAL CONTROLS for Coarse and Fine
tape with suitable amplifiers and con- adjustments, Identical Vert. and Horiz. Amplifiers ... for response flat
down to DC... for measuring DC component in AC signal circuits. Push -Pull
trol circuits so as to add any desired throughout, High Amplifier Output and Gain, Phase Equality. Advanced
amount of reverberation with a con- sweep facilities include preset fixed positions for TV vert. and horiz.
trollable decay time. Also shown was a waveforms, plus or minus sync for easy lock -in of upright or inverted pulse
waveform, line- frequency sweep and sync, with phasing. Frequency Response
complete line of attenuators, both of the of both amplifiers flat within -2 db from DC to 500 Kc; within db at -6
conventional type and the newer lever 1 Mc; useful beyond 2 Mc. Square wave response -
no tilt and over -shoot.
type, believed by many engineers to be Both amplifiers have frequency-compensated and voltage -calibrated attenu-
more convenient in use. ators. Peak -to -peak calibrating voltage source
Terminal Radio Corporation exhibited
No. A19, Ship. Wt. 31 lbs Net $197.50
only a small number of the many lines
they represent in New York, but featured TERRIFIC! RCA 51552 15" Duo -Cone SPEAKER
in their display was the Ampex line of Engineers and professional sound technicians have nothing but praise for
magnetic recorders. Both the 300 in this sensational new RCA unit. A development of Dr. H. F. Olson, famous
portable cases and the newer model 400 RCA speaker authority, it provides remarkable listening quality at a mod-
were shown, with performance of the erate price. Employs two voice coils, each driving one of the duo -cones,
which vibrate as a single cone, at crossover frequencies (around 2,000 cps),
high quality to be expected from the avoiding "crossover" interference. Has high sensitivity at high power levels
Ampex machines. - will handle up to 25 watts. Delivers superb, high fidelity performance from
The Tetrad Corporation brought a 40 to 12,000 cps, over 60° angle.'Requires no crossover network. Magnetic
structure contains a bridge network to supply equal flux density to the
valuable collection of diamonds to the air gap for each voice coil, from a 2 pound Alnico V magnet. 16 ohms
Fair and displayed them in a glass case
under the protection of a uniformed No. A53, RCA 51552 Speaker, Ship. Wt. 18 lbs Net $48.50
patrolman from the city police force. Price Includes 2'° Discount
These diamonds were industrials which
will be processed into styli for use in
pickups, and the total value of the collec- RCA TV COMPONENTS RCA TUBES
tion was claimed to be $102,000. Also on All RCA Television Components are RCA's unparalleled research facili-
display were a number of charts showing "originals," designed with charac- ties and manufacturing experience
the faulty tracking resulting from worn teristics which are correct both contribute to the quality, dependa-
electrically and mechanically for bility, and operating economy of
styli, together with a number of photos the tubes and circuits. They are EVERY RCA tube. The Quality of
showing the stylus wear resulting from competitively priced! RCA tubes is Unquestioned!
the use on a relatively small number of
plays, using both diamonds and sap-
phires.
Transit Sound Systems Co. Inc. ex-
hibited a new machine which uses a
1% -in. tape which plays back and forth
on twelve parallel tracks, permitting the
playing of a continuous program from
FREE! "Hudson Radio & Television Corp. Dept. 12A
212 Fulton St., New York 7, N. Y.
Please send: 0 51552 Speaker, 0 RCA WO -56A
SEND FOR OUR Enclosed: 0 Full Payment, 0 20% Dep.
10 to 20 hours long. The machine uses
multiple heads, making it possible to play NEW 1951 0 SEND FREE HUDSON CATALOG -lust Out!
any of six different tracks as selected, CATALOG
on a single channel, or to have six differ- Name
ent programs playing on a number of Address
channels, thus giving the listeners a
choice of programs. Operation is as simple
as a home radio, with a single switch to
turn the machine on or off; after running
HUDSON
RADIO 8 TELEVISION CORP.
212 FULTON ST.
NEW YORK 7,N.Y.
Dlgby 9.1192
City

Most Complete Stock

Zone.

of
State
Radio, Television,
Electronic and Sound Equipment in the East!
the tape through in one direction, it re-

AUDIO ENGINEERING DECEMBER, 1950 53

www.americanradiohistory.com
AmericanRadioHistory.Com
 verses automatically, and continues. Pro-
duction of this machine is to be started
immediately, with completed models ex-
MAGNETIC pected in from 90 to 120 days.
RECORDING Triad Tnutsfornur Mtg. Co. exhibited
TAPES TO
famtd2a8 a full line of transformers for high -
quality audio use as well as for a num-
THE HIGHEST
PROFESSIONAL
STANDARDS
OO'N'WE ber of geophysical applications. The pop-
ularity of the line of audio and power
transformer is attested by the list of
users, which includes such names as
Gates, Concertone, McIntosh, Magnecord,
well -
Presto, Newcomb, Lear, Audio Pacific,
Now the
known Duotone
Westrex, and others of equal importance
super -quality is
in the field. The Triad line, although rela-
available in mag-
tively new to audio, is well established on
netic recording
the Pacific coast, largely because of the
tapes for commer-
ability and reputation of the designer
cial and home re- and chief engineer, Lou Howard, who has
corders. The six
been responsible for the design and pro-
Duotone quality duction of quality transformers for many
features assure
years.
finest sound repro-
1'. S. Recording Continuo introduced a
duction for profes- new portable transcription and record
sional program- player employing an all -play stylus and
ming and the reproducing through a small speaker
ultimate in home mounted in the cover of the case. The
entertainment. For quality of reproduction would serve ad-
finest performance mirably in applications where a portable
on any tape re- equipment would be used, and was con-
corder, use Duo - siderably above the average for similar
tone professional equipment. An item of great interest to
quality magnetic most visitors was the spring- driven
tapes! magnetic recorder designed for portable
use, and shown as a sample of the work
being done in Germany at the present
Interchanges with Low Inertia Plastic time. It is said that negotiations are
being carried on for the manufacture of
Other Tapes
Constant Tracking
Wheel
Low Friction - -IN A this device in the United States, and it
is thought that such a device would be

and Winding
No Snarls or Back-
Long Life
High Output
Minimum Back-
- RECORDING
well received.
I.1i11e1 'l'rtutsformer Company exhibited
a complete line of audio and power com-
lash ground TAPE ponents ranging from the smallest
models used in hearing aids up to the
DUOTONE SUPER QUALITY IS AVAILABLE FOR EVERY largest used in amplifier service. Also
shown were a number of completed
IN TAPES FOR EVERY RECORDING NEED PURPOSE amplifiers, following the circuits pub-
lished in UTC literature. From the per-
Made with plastic or kraft paper base in extra long 625 formance obtained. it is obvious that the
or 1250 foot lengths. Plastic base is tough with high equipment will satisfy the needs of most
tear strength and special smooth finish for uniform coat- users, and the wide variety of transform-
ing. All kraft bases are super -calendered for perfect ers in the line ensures full coverage of
surfacing without fillers. For complete data on Duotone all requirements.
standard and special tapes, call or write for illustrated
catalog. University Loudspeakers, Inc. dis-
played a number of speakers for p.a.
systems of various power requirements,
Famous for Phono as well as the line of cone speakers.
Needles, Recording
Needles, Discs, and
Ov00V00000000E coaxial units, tweeters and horns. One
feature of the exhibit was the display of
Quality Sound c umQ ICt te. a cabinet containing a three -way speaker
Accessories Keyporf, New Jersey system with separate controls on the
three ranges. The "highs" channel cov-
Canadian Representative: CHARLES W. POINTON, TORONTO, CANADA ered the range from 3000 to 15,000 cps,
the "middles" channel covered the range
Export Division: AD. AURIEMA, INC., NEW YORK CITY, N. Y.
from 300 to 3000 cps, while the "lows"
channel covered from 45 to 300 cps.
Separate control of these channels made
SUBSCRIBE - for yourself or friends - NOW it possible for the listener to determine
for himself the effect of varying the re-
AUDIO ENGINEERING is the ideal Christmas Gift sponse of the sections, and pointed out
the need for good balance throughout
the entire audio spectrum.
JDIO ENGINEERING With the closing of the exhibits on
12 Madison Avenue, New York 17, N. Y. Saturday afternoon, both exhibitors and
visitors alike began to plan for the third
Sirs Here is my check (or money order) for $ Enter my subscription ord. r Audio Fair, which will be held in the
AUDIO ENGINEERING for the next issues. Subscription Price. In U.S.A Ganad,: same place on Nov. 1, 2, and 3, 1951.
d Pan American Union -12 issues $3 -24 issues $5. All others $4 00 per year. Plea,
Many exhibitors have already expressed
eck one: New Subscription Renewal. their desires for the same or for more
space, and will of course have first choice
..me (please print) of the rooms they occupied this year.
Several other organizations not yet rep-
!dress resented at the Fairs have already indi-
cated their intention of being in next
Zone Stag year, so it is certain to be bigger and
ndicate occupation and firm name in margin below better as time goes on.

54 AUDIO ENGINEERING DECEMBER, 1950

www.americanradiohistory.com
AmericanRadioHistory.Com
 SUPERIOR RECORD REPRODUCTION ASSURED
RECORD REVUE
Ii r 0111 ri !/,' 30I
with SMOOTH RUNNING, NOISELESS
If audio people sold only to audio people, 1 SOUNDEX DISC -DRIVE"
PLAYBACK UNIT
our business would be simple enough. But
-say it again -the main business of audio
is not audio but music.
FLOATING
For every type of recording, a continuously
In an exhibit with which I was connected variable speed, from 30 to 110 RPM can be
we insisted on keeping the door closed, with accurately set and regulated manually. Pre-
a sign, "OPEN -COME IN" on it, be- cision settings for 33 1/3, 45 and 78 RPM
are easily attained.
cause the instant the door opened the music Using 33 1 /3 RPM on a 15 minute run,
we were trying to sell was utterly de- with a line voltage change of 10 volts, the
stroyed. change in speed remained so constant, that
the variation was only 2 RPM in 500. On con-
No music lover worth his salt will listen stant voltage, the speed variation was only
to more than one source of music at a time. 1 /4 RPM or 0.05 per cent.
I think we garnered a fine harvest of "Floating Disc -Drive" completely isolates the
motor from the turntable: minimizing me-
good will among the mousy music lovers chanical vibration, rumble and other harm- 16" turntable-Model No's. TT12 and
in that exhibit and I see no reason why ful effects of direct drive systems -such as TT16- $159.50 less pickup arm
others should not, in Audio Fair III, share rim, gear train etc.
the happy results with us. PICKUP ARM
Therefore I respectfully-and I. hope, with "finger-tip" pressure control
constructively- suggest that in future ex- Non-resonant arm assures perfect tracking
hibits of audio equipment the exhibitors and less record wear. Scale pressure ranges, 0
ponder these principles. to 25 grams. Models are available for every
1. Keep your door closed, so that one type of cartridge:
source of music, no more, is audible at a No. SSI6-single stylus
time. Elementary musical principle. No. DSI6 double stylus
$39.60 net
2. Study your room acoustics and deaden i BRUTAC ELECTRONIC CORP.
Send inquiries to
one or two walls with cloth, for good sound 103 LAFAYETTE ST. NEW YORK 13. N. Y.
quality. Adds to the visual effectiveness of
your exhibit, as well.
3. Place speakers carefully -in a corner
when possible, and at a distance from the
spot where visitors congregate. There was
enormous variation between good and bad
NEED BACK ISSUES?
in this respect at this year's show.
4. Remember the timid music lover and
August 1948 L] February 1950
ale March 1950
respect his intentions keep the average
: September 1948
loudness level down low ; save your full June 1949 June 1950
volume for short tests. A good 30- second September 1949 July 1950
burst at full volume will do far more to November 1949 August 1950
impress your audience than a steady pound-
ing can ever do. With average volume low, December 1949 September 1950
you will not drive away customers, as too January 1950 October 1950
many exhibitors did this year.
5. Use good records, new ones, and make
a point of handling them carefully in front
1948, 1949 -50c each 1950-35c each
of your visitors. Record collectors are
Payment must accompany order.
highly sensitive about this. A pile of dusty,
scratched -up unprotected records is the Circulation Dept., Audio Engineering, 342 Madison Ave., N. Y. 17, N. Y.
worst possible kind of publicity for an audio
exhibit! Make a point, too, of the music
itself, as far as you are able; be aware of
what is playing, keep the record album in
plain sight. A wise exhibitor will have at
least one knowledgeable person on his staff
who can show an intelligent interest in
music -enough to gain the visitor's con-
fidence. (He doesn't know too much him-
RADIO SHACK 5Np SCIINCf
NEW ENGLAND'S
AUDIO LEADER
self, after all.) PRESENTS .+ S,.nd,a unlit
6. EQUALIZE! Yes, there are plenty of .ep°s he.. av.l-
audio equipment purchasers who want highs, THE pe.d,..,eny.
7`415
FREE! RADIO SHACK'S
highs, highs. But there are plenty more who \ tO 501 n 15-

want faithful reproduction and are out to

buy it. That means correct equalization for
the high pre- emphasis in most commercial
discs. Your machine will never sound the
NEW MODEL "400"
PIE GIANT 1951 CATALOG!
Write today for your FREE copy of audio's
worse for proper equalization. Again, if most complete and authoritative buying
you want to demonstrate highs -do it in guide. 177 pages of parts, kits, books,
short bursts. But return to the proper set- MAGNETIC TAPE RECORDER fools, equipnfent. 34 pages devoted ex-
clusively to audio products by Klipsch,
ting in between. Williamson, Brook, Altec- Lansing, Scott,
7. An after-thought : Many audio ex- Pickering, Browning, Stephens, Rek- O-Kut,
15 kc of Ph ¡psi Presto, G d, Thordarson, Missner,
hibitors arrived at the Fair with much audio 15 and T/a speeds Bogen, Radio Craftsmen, etc.
equipment and not a thing to play on it. 66 minutes at 71/2!
Both tape and disc machines were shipped Half or lull tracks PLEASE SEND ME THE FREE CATALOG
mute, so to speak, until some frantic staff Fully portable!
member could dash over to Macÿ s and buy NAME
the first record that he could get hold of, or
until some other exhibitor would kinrll; The brilliant new Ampex "400" features a
STREET
lend a tape. The business of audio is music. 30-15,000 cycle response at 7'/s ", established a CITY STATE
l Bring along a good selection of records.
chosen carefully, and have them in plain
new high in fidelity at that speed and in ifs
price range. Complete in ONE portable case.
RADIO SHACK CORPORATION
sight, where music lovers can see them Complete plug-in head housing and other Ampex
exclusives! Only $750.00. Write for details!
and approve. It will do you no harm (and 167 Washington St., Boston 8, Mass.
may bring you new followers) to display
.1

AUDIO ENGINEERING DECEMBER, 1950 55

www.americanradiohistory.com
AmericanRadioHistory.Com
 a bit of Mozart and Bach and Beethoven.
Even if it never gets played.

4 So here's to a musical Audio Fair III.

Varèse,
RECORDS
Intégrales; Density 21.5; Ioniza-
Lowest priced recording tape on the market tion; Octandre.
Save 30 to 40 per cent on your tape costs Rene Le Roy, flute; N. Y. Wind
Ensemble, 'Willard Percussion Orch.,
BROWN OXIDE STRONG ACETATE BASE Waldman. EMS LP
EMS 401
600 -ft. reels $1.45 each Cabrieli, Seven Canzonas for Brass
(1 to 3 reel lots) Instruments.
N. Y. Brass Ensemble, S. Baron.
1200 -ft. reels $1.95 each Esoteric LP
(3 reel lots) ES 503
Schutz, Weihnachts -Historie (The Christ-
"Reel Your Own " -3900 -ft. roll . . $3.95 mas Story).
The Cantata Singers; Charlotte Bloecher,
O_eet` Ch rieima! di poisi1 /e /or your recorcinf/ enI{tudiall frienJi Wm. Hess, Paul Matthen, conducted
by Arthur Mendel. REB LP
REB 3
SOLD ONLY BY MAIL Ives, Symphony #3 (1901 04) ; Music of
the Am. Revolution.
Orders accompanied by check or money order mailed prepaid National Gallery Orchestra, Bales.
You pay postage if we ship C.O.D. WCFM LP
LP -1
Agents' inquiries invited
4CONe 98 Jay Street, Brooklyn 1, N. Y. It was surely a milestone of some sort or
other in American musical history when,
'tother week, no less than three copies (it
sounded like more) of the Varèse recording
listed above were used at the Audio Fair
to demonstrate hi -fi audio equipment!
Varèse, no less than Ives (of an earlier
generation) has been one of the lost pio-
Now Available! neers of ultra -modern music, than which
nothing could be further removed from
electronic engineering -or at least until
now. Varèse is a Frenchman to the core,

audio in spite of his long residence in the U. S..

and an artist of the longest- haired sort you
can imagine ; but he was one of the first
to discover that things like sirens and bot-
tles and assorted bits of heavy machinery

anthology could be used to make music of a new sort.

His music, in the 1920's, was violently, in-
credibly radical. Few ever heard it. Now,
in the 50's, it sounds just as radical as ever
-but it makes the most superb hi -fi ma-
terial for wide range recording. And so
Paper cover . .
$2.00 Edgar Varese comes into his own ! The
Varèse record consists of one work for
massed percussion (including sirens), an-
Board cover . .
$3.00 other that surely holds all "records" for
sheer potency of brassed dissonance, and
several more works that fall between these.
Distributors write for quantity discount You will either howl with pain or giggle
with amusement -but remember that
The long awaited compilation of reprints from early issues of Varèse is held in very great respect by
AUDIO ENGINEERING, most of which are unobtainable. musicians, that his noisy experiments led
to much that is already a solid part of
Contains 37 articles on the following subjects: today's music and quite taken for granted
Amplifiers Phonograph Equipment by you yourself.
Speakers Tone and Loudness Controls Points of interest above: Note the listing
Noise Suppressors Dividing Networks of four tiny companies (two record shops,
These articles have been of great interest to readers of AUDIO ENGINEER- a lone engineer and a cooperative radio sta-
ING over the past three years. Assembled in one volume, they comprise tion) which can between them stand up to
the most authoritative reference work for the audio hobbyist. the very best on LP from any of the large
companies. Such is LP recording these
-CUT OUT-MAIL TODAY- amazing days. The smaller companies, doz-
ens of them, are beating the biggies at their
Book Division, Dept. A9 own game.
Radio Magazines, Inc. Ives as a lone wolf experimenter in the
342 Madison Ave., New York 17, N. Y. 1900 period, also contributed much that is
now taken for granted in music. His 3rd
Sirs: Enclosed is my check money order for copies of the symphony is a mild work, based on old
Audio Anthology.
fashioned hymn tunes, mostly scored for
strings, and you will find it quite agreeable
(Please check one) Paper cover Board cover '
though in 1904 it was highly ccentric.
Very nice, quiet string recording, with
Name (print carefully) what seems to be flat high end. Good.
Schutz and Gabrieli, from the 17th cen-
Address tury, were two earlier experimenters. The
Gabrieli brass music makes a superb record,
City Zone State as done in the live studio at Reeves in New
York. (Note that clean, simple brass har-

56 AUDIO ENGINEERING DECEMBER, 1950

www.americanradiohistory.com
AmericanRadioHistory.Com
monies allow for very high levels with rela-
tively little tracking trouble.) Gabrieli prac-
tieally isweaoted-., iustrumentai `orchestral"
music right here, applying the earlier choral
techniques to massed groups of brasses.
Schütz, writing in the dreary days of the
30 Years' War in Germany, developed much
of the mixed voice -and -instrument style
that Bach and Handel later used. Engineer
Robert Blake (REB) obviously has a fine
ear for miking this difficult variety of music
and his record is worth an engineering
study quite aside from the music itself.
Trumpets, recorders, organ, solo voices,
orchestra, chorus et al. Blake also recorded
the Varèse LP.

Bizet, Carmen Suite: Smetana, Die Moldau

Orch. of the Viennese Symph. Soc.,
Singer. Remington LP
RLP 149 10
110 ")
Schubert, Symphony #1; Mozart, Fantasia
in F minor, K. 608.
Orch. of Viennese Symph. Soc.; Vienna MODEL 71 SPECIFICATIONS
Symphony, Fekete. Remington LP FREVENCY RANGE: 5 to 100,000 cycles.
RLP 199 -2 WAVE SHAPE: Rise time less than 0.2 microseconds
112 ") with negligible overshoot.
Here are two of the best from the first MANUFACTURERS
OF
OUTPUT VOLTAGE: Step attenuator giving 75, 50,
batch of the new bottom priced Remington Standard Signal
Generators 25, 15, 10, 5 peak volts fixed and 0 to 2.5 volts
LP's, sold through department stores. The Pulse Generators contiruously variable.
new material and /or processing method FM Signal
Generatms SYNCHRONIZING OUTPUT: 25 volts peak.
gives a surface that hisses quietly, like fine Square were
Generators R. F. MODULATOR: 5 volts maximum carrier input.
British shellac -hardly objectionable. As to Vacuum Tobe
Voltmeters
rans ation gain is approximately unity -Output im-
durability, I couldn't say. Also, there is lit- UNF
ltlroMetersield pedance is 600 ohms.
Strren
tle in the way of quality that will interest Caparit, Bridget
POWER SUPPLY: I7 volts, 50 -60 cycles.
1

a hi -fi man, some of the recording being Megr'hrn Meters

DIMENSIONS: 7" high x 1 5 " wide x 7I..2 "deep. overall.
thin and (on a good outfit) considerably %Mt Semmes
Indicators
Tat
distorted. But the Carmen- Moldau record-
ing above, is really excellent -no complaint
Televlslon and
FM
Bqulpment MEASUREMENTS CORPORATION
at all and the Mozart is good, too, though
;

the Schubert on the other side is of the dis-

BOONTON © NEW JERSEY

torted type.
Important point for music -lovers is that
there are a number of quite unusual musical
items already in the list, a development that
was hardly to be expected; the Mozart
Fantasia, originally for mechanical organ, The HIT of the AUDIO FAIR
is one-though the arrangement and play-
ing are both poorish -and another is the Plays 101/2" Reels!
superb voice of Elizabeth Wysor in a pot-
pourri of operatic arias. Keep an eye on
these.

Brahms, Symphony #4 in E minor.

Boston Symphony, Munch
RCA Victor LP
LM 1086
Rachmaninoff, Piano Concerto 1. ;
Wm. Kapell; Robin Hood Dell Orch.,
Steinberg.
RCA Victor LP
LM 1097
Here are two standard works re -done
under new RCA auspices and on LP, and
the slight perplexity noted last month re
RCA's LPs continues -even though both
of these and plenty more like 'em are ex- Complete, for
cellent recordings. console installation with
The new Boston under Munch is a single or dual track heads:
lighter, more streamlined orchestra in the
sound than recently under Kousevitsky.
The Brahms is given a nicely tailored.
rather French performance that suddenly
turns positively furious in the coda to the
third movement and in the last movement.
Interesting. The Rachmaninoff meanders
its involvedly Romantic way, about as it
CONCERTONE
C "rho profession. quality tape recorder you have been waiting for!
N AB standards; tr.odes throughout; 40-15000 cycles at 15 ", 40 -8000
always does (to my somewhat jaundiced cycles at 71/2". Three motors; flutter less than 0.1 %; signal -to-noise
ear) and my best comment is technical, that better than 50 db. Three heads for simultaneous erase, record, play-
the piano is nicely balanced, a bit dead hack. Quick change fron single to dual track. Write for booklet.
sounding, the orchestra well adjusted in
volume but too much in the background as FISHER RADIO CORPORATION Distributors 45 E. 47th St., N. Y.
to liveness perspective.
In Los Angeles: Magnetic Re:* dcrs Co., 7120 Melrose Ave., Los Angeles 46, Calif.
As to recording characteristics -doubt.
The Boston recording is on the beam, i.e.

AUDIO ENGINEERING DECEMBER, 1950 57

www.americanradiohistory.com
AmericanRadioHistory.Com
 of the sort one now expects from that sec-

AMPERITE tion of RCA : a clearly distant -mike tech-

nique that seemingly dulls the highs on first
hearing (no sharp edge to the strings, etc.).
Yet a perfectly legitimate musical sound
GET THIS

BUILT
Studio Microphones from the concert hall viewpoint-probably
IN -

at P.A. Prices more "natural" than the forced brilliance TWIN DRIVE
of the famous ffrr technique with its steely
sharp tone qualities. The Robin Hood Dell with
is a Philadelphia offshoot, recorded in the
Ideal for Academy of Music, reportedly a very fine CROSS OVER
BROADCASTING hall for music. This recording is deader, 4-
decidedly, than the Boston recording, the and
RECORDING
orchestra similarly distant -miked, by the
PUBLIC ADDRESS sound. Strange-but this one will play very FEED - BACK
"The ultimate in micro- nicely with only slight roll -off. If it was
phone quality." says not recorded "flatter" than others of the FOR XMAS
Evan Rushing, sound RCA line, then we have here one of those
engineer of the Hotel The idea of crossovers and twin units seems to have
New Yorker.
combinations of mike technique (softening gut such grip that some U. S. friends ask us why
of the highs via distance), actual acoustics we don't make such things. Well, of course we do,
Shout right into the oily we do it better and build the whole lot into one.
and, most important, the composer's sono-
new Amperite Micro- plus dose of self adjusting feed back which no other
phone -or stand 2 feel rities-Rachmaninoff's tend towards the waken. single. twin or triplet. possesses. Our drive
away-reproduction is dark and fusty. Try this one yourself and Is patented in U. S. A. as elsewhere and only genuine
always perfect. be convinced. Not a good recording, how- Barker speakers have Its resultant quality of full audio
requency range plus freedom from significant reso-
Not affected by Models ever you play it (compare, if you wish, +

nances plus dead beat motion which pin -points tran-

any climatic conditions. with the first mvt. of the same music on sients and detail, plus an overall smoothness making
Guaranteed to with. RBLG -200 ohms the "Twilight Concert" disc reviewed be- highs, middles and lows equally clear -cut and true.
You may ask: Ah! but what aiwut that large cone?
stand severe "knocking RBHG -Hi -imp. low) ; the piano is tinny, hard, there is no If our cone was normal that might hit home. but again
around." real bass nor much in the highs of interest. patented special with perfectly graded com-
List $42.00 It is
pliance from apes to rim, making it comparable with
(In any case, the more I listen the more a whole series of matched cones covering the needs of
"Kontok" Mikes am I convinced that mike technique greatly efficient radiation from below 40 to over 15,000 rim.
Model SKH, list $12.00 affects the apparent "curve" of a finished Back to the drive: It Is a very thin, light metal tube
recording and so, in practice, the equaliza- fixed to the cone apex. On It is a coil of fine wire over
Model KKH, list $18.00 skin of long life stabilised latex. Up to the middles
tion that must be used for a balanced sound the latex won't lies so the coil drives. but as the
in the reproduction.) frequency rises the latex gives and the metal tube
Offer, takes over by induced currents, giving efficient drive
Introductory
for Special "Twilight Concert." to beyond audio limits. A simple but true dual action
Special Write 4.page illustrated folder with in- built, truly matched cross -over. And how the
Offer: and The Columbia Symphony Orchestra, feed -back? Send for details of the Barker Model 150.
Bodzinski. Columbia LP 12 ins. unit with 17.500 gun' magnet. ¶60 post
,and I burxure paid to your home ACT NOW!
AMPERITE'mpany /nC.
MI 4311
Sir Thomas Beecham conducting the
561 BROADWAY NEW YORK 12. N. BARKER NATURAL SOUND REPRODUCERS
Y.
Royal Philharmonic and the Columbia BCM,'AADU, LONDON, W.C.1, ENGLAND.
Canada: Atlas Radio Corp., Ltd., 560 King St. W., Toronto Symphony Orchestras. Columbia LP
MI 2134
Here are two useful and pleasant pot-
pourris of assorted stuff (too much to list,
More Pleasure...for Less but the titles are mostly very familiar)
that most engineers will want to have
around for general test and background
"HAU HEARD
QUALITY?" OF
MUSIC LOVERS purposes. The Twilight Concert, with eight THE SOUND
numbers including the first movement of
AMPLIFIER the Rachmaninoff Concerto above, is a -))))
model of excellent recording with fine
$2050 acoustics, low distortion, smooth, deep per-
spective, excellent low bass as well as fine
highs, sharp but not too sharp. Sir Thomas
Especially designed by CONCORD engineers to (who offers the least interesting music)
give the Hi -Fi Fan an inexpensive yet good qua- gets similar sounds from the same Columbia
lity unit. Normal rated output 8 watts (harmonic
distortion only 2 %). Three inputs for magnetic, Orchestra on his ten -inch disc, one side
and crystal cartridges, and radio tuner; built - of which he made here; but the Royal
in pre - amp for reluctance pickups; separate Philharmonic sound is noticeably duller,
bass and treble controls with flat position-- - less live, not as satisfactory, by any means.
bass gives 10db boost, treble gives 12db boost Who said we couldn't match the British?
and 14db attenuation. Freq. resp. at rated out- Incidentally-here's the same old story:
put 40 -15,000 cps tldb. Tubes: (2)6V6, 6SL7,
6SC7, and 6X5 rect. For 117 V, 60 cycle AC. your tendency will be to boost the highs
Brown hammerloid finish. Size: 10 -1/2 z 6 z a bit for the Royal, to compensate for duller
5 -1/4 ". With tubes.
2 -295A -- Shpg. wt. 10 Ibs
(e
29.50 acoustics; and yet (with tape) the chances
are good that the actual recording curve
is the same for both sides of this record.
ATTENTION HI -F'I CUSTOM INSTALLERS
e s s s

'
Write on business letterhead for information on
Concord's Dealer Plan and Technical Advisory Obvious conclusion to this month's tech-
Service designed especially for custom instal- nical look -see at new recordings: Can't
lation men. Write now for FREE information. somebody get after the haughty big com- Jr
panies and badger them into at 'least nomi-
CONCORD RADIO CORP. nal conformity to one LP curve or perhaps NEWCOMB SOUND BETTER
Mail Order Center and Showroom better, an area of tolerance in respect to
901 West Jackson Blvd. Chicago 7, Ill. recording curve? By which I mean an ac-
r CONCORD RADIO CORP. Dept AM -50
cepted set of outside limits, as to : urnover,
Manufacturers of public address, mobile,
phonograph, musical instrument and wired
pre- emphasis, within which 211 companies music amplifiers Portable systems Port
901 W. Jackson Blvd. , Chicago 7, Ill. able phonographs and radios Transcription
agree to operate. The tolerance should be, players Rack and panel equipment.
O Enclosed $ (include shipping charge. art course, small ideally but it will have to
Any excess will be refunded.) Write today! Circle items of interest and
be quite large practically. Still-even such indicate whether you ore a Dealer, Parts
Rush Music Lovers Amplifiers @ $29 50 wide tolerance as, say, between 400 an+i 600 Jobber or Sound Specialist.
O Send FREE latest Bargain Bulletin cps turnover and between 8 and 12 db pre- NEWCOMB AUDIO PRODUCTS CO.
(
Name emphasis at 10,000 would be immeasurably DEPT. T, 6824 LEXINGTON AVE.
Address better than the constant doubt, to w'hieh HOLLYWOOD 38, CALIFORNIA
L City Zone - State
we are now subjected.

58 AUDIO ENGINEERING DECEMBER, 1950

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AmericanRadioHistory.Com
 TIME -TESTED
A
AES NEWS
[from pay, -I
NEW Intermodulation Meters
udio
year term), Arris Geranis, chick engineer,
DEPENDABLE
SOURCE
WECK, Battle Creek, Mich.
Larry Wells, chief engineer for the Allen
Electric Company, has been appointed Pro-
r Highest Professional 1
t. gram Chairman for the coming year. Sec- Flexibility at Low Cost!
FOR tion meetings are held the third Tuesday of
each month with the exception of June,
HIGH -PRECISION FRACTION. July, August, and December. Members of
AL H.P. INSTRUMENTTYPE other sections who may be traveling through These are self- contained, precision instru-
the area are invited to attend meetings of ments for the accurate direct -reading of
MOTORS & GENERATORS the Southern Michigan Section, and may per cent intermodulation. Compact, both
have integral, high quality signal genera-
P R O D U C E D T O O R O E obtain information about the time and meet- tors to provide the mixed two-frequency
GOVERNOR.COHTIOLLED ing place from any of the officers. tone for test input. The output from ap-
EEO SYNCHRONOUS paratus under test passes through the
DRAG Cu. analyzer section for conversion and meas.
VELOCITY I ACCELERATION E.p.rien<rp for urement on the built -in meter.
DC I AC T.CHOMETER yews «tiry
c
V oppoipoteod
SHUNT nm
' cling
SERIES
áe
r.qum.nTr for
in.
COMPOUND
PERMANENT MAGNET
n.n,
FA n n.d
by engineers of
SPLIT FIELD ability and inno. Specially designed for factory production
n ay, and mon.. testing and laboratory work, this versatile
SERARATELY EXCITED
UNIVERSAL factored .n.s .,-
ond
%le9i,d14n meter makes both low and high frequency
INDUCTION
flill. U«
SOD da- tests -since it includes adjustable voltage
RELUCTANCE T«em I,oOc P « ratio and frequency. Low test frequency:
HYSTERESIS woo a
vowedd T
60 cps from internal oscillator, or 40 -150
ONE
OC
o a THREE PHASE
SERVO
meet
niqu.
0
r.9u
. .as«
. fps from your own oscillator. High test
frequency: 2, 7, 12 kc from internal oscil-
TOTALLY ENCLOSED
m. of wit.
Wenn
PLy.
EMPLOYMENT OPPORTUNITIES may be
AC DYNMICLLY PARED lator, or 2 -20 kc from your own oscillator.
REILMOTOIS
.icvlly.
listed here at no charge to industry or Signal generator output: + 8 dim. 600
TwO Tern a. Wet WOO to members of the Society. For inser- ohms. Analyzer input: 1 volt min., 500 k
ohms. LF /HF voltage ratios: 4:1, 1:1.
tion in this column, brief announcements Voltage ranges: 3, 10, 30 v. Intermodula-
should be in the hands of the Secretary, lion : full -scale ranges of 3. 10. 30 %. Panel
ELECTRIC INDICATOR ;o. r, 7
. 19-. Power o apply: 117 v., 60 cps.
PARKER AVENUE
Audio Engineering Society, Box F,
STAMFORD, CONNECTICUT Oceanside, N. Y. before the first of the
L month preceding the date of issue. Re- Of n .maim tl a- .Ilility, this precision lab.
i

plies to box numbers should be ad- ratory instrument covers an exceptionally

wide LF range. Ideal for disc reproducer
dressed to AUDIO ENGINEERING, 342 testing at 400 and 4000 cps as recommended
Madison Ave., New York 17, N. Y. by H. E. Rays -and for system testing with
all usual frequencies. 41"I measure- noise
* Positions Open Positions Wanted
levels.

MODEL 170 GALVO -PROTECTOR

Connected between the V hcatsionc Bridge

* Very- ('onlldential. Three of the na- and your galvanometer, it prevents meter
tionally known television manufacturing damage and speeds Bridge balancing. Its
companies have come to us for: non -linear element is an automatically
1.
2.
Quality Control Engineer
Receiving Tube Engineer
the pointer on-scale -
changing shunt for the meter. keeps
from far-off- balance
through perfect-balance adjustments.
3. Purchasing Director who has experienced buy-
ing all component parts for television manu- WRITE NOW FOR CATALOGA
Dear Sirs: tun facturing.
short
of
These positions will pay $10,000 up and
ta friend require the highest grade ability. Send
ag Massa -

puT-
full details of your experience, age, salary
mbusetts requirements privately to INSTRUMENT COMPANY
cnased one o Thorndike Deland
ran
transform.
your l 1440 Broadway. Dept. 7C 133 W. 14th ST. NEW YORK II, N. Y.
His enthu- bounds w
ors. New York 19, N. Y.
knew Interna- for
you date 1 am We are retained by our clients and do not
a*0' I might charge the individual. All negotiations
Money ss with You
tional ers business re- handled confidentially.
Loam
transformers.
rans doing
d that
forward
looking Tecomta
recommendation
after Sincerely Yours. 4( Motion Picture Technicians. The Signal
ceived. Corps Photographic Center is interested
in receiving applications from experi-
enced motion picture technicians for Available to you direct ham the factory al savings
New Model Type 2830B. PH. 10,000 ohm est.,
Incremental Ind. over 100 H. Sec. Z 1.25 ohm, openings as: film editors, recordists, that make TWIN -TRAX the only professional -type re-
2.8 ohm, 5 ohm, 7.8 0100. 11.3 ohm, 15.3 ohm mixers, cameramen, laboratory techni- ' corder in the popular -price field. More than a dozen
and 20 ohm. Leakage reartanee under 15 mh.
Size: 5'/e x 4- x 80. F.C. 40.0- x 31/4'.
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cians, scenic artists, scenario writers, model variations for portability, long -play, continu-
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free, duty extra. directors, animators, animation photog-
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(SAVAGE DEVIZES Signal Corps Photographic Center, 35 -11 398 -4 Broadway New York 13, N. Y.
MIr 35th Ave., Long Island City 1, N. Y.

AUDIO ENGINEERING DECEMBER, 1950 59

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 *Electronic Sales Engineer. To sell top
quality line of broadcasting, recording and PROFESSIONAL
CLASSIFIED motion picture studio sound equipment
and components in New York Metropoli-
DIRECTORY
Rates: 10e per word per Insertion for noneommerelal tan area. Must have five years experience
advertisements; 2Se per word for commercial odor. in sales of this type of equipment. Salary,
tlsements. Rates are net, and no discounts will be commission, and expenses. Box 1201.
allowed. Copy must be accompanied by remittance ln
fall, and must reach the New York once by the first
of the month ing the date of Issue. *WANTED: Signal Corps Center, Fort C. J. LEBEL
Monmouth, N. J. has openings in the fol- AUDIO CONSULTANT
lowing Civil Service positions:
Equipment J
Military Instructors-Microwave relay, Sound Recording. Instrumentation
WE PURCHASED a Brush Wire Recorder radar, radio electronics, fixed station
($800 with extras) to fulfill two -year contract radio, central office techniques, teletype
with national detective bureau for secret re- installation and maintenance, repeater 370 RIVERSIDE DRIVE
cordings. Contract has expired. For three hours
of amazing wire recording quality (50 -8000) and carrier, dial central office mainte- NEW YORK 25, N. Y.
without wows or extraneous noises, this recorder nance, theory of electricity. $3100 -4600.
is peerless. In pinches, we have recorded music
from which masters were dubbed. Price $175.00.
Reco -Art Co., 1305 Market Street, Philadelphia Electronic Engineers-Participate In
7, Penna. design. development, modification, con-
FOR SALE: Two UTC LS -50 transformers, struction, and testing of electronic equip-
one each LS -12X, HA -101X, LVM -1 (500 -ohm
line to v.c.). Entire lot, $25.00. Box CD -1,
ment- radio, radar, wire communications, Custom -Built Equipment
AUDIO ENGINEERING. instrumentation, sonar, etc. Responsibil-
FOR SALE: Custom radio -phono assembly in ity deepnding upon experience and ability.
one -piece solid walnut cabinet, with Hallicrafter
AM -FM chassis, JAP -60 spkr, Webster 100-27
$3100 -6400.
U. S. Recording Co.
with GE dual pickup, 7 cu. ft. infinite baffle Technical Writers -Write, edit, prepare
chamber, Kimsul lined. $410. New York area only.
Box CD -2, AUDIO ENGINEERING. technical publications, handbooks, cir- 1121 Vermont Ave., Washington 5, D. C.
PRESTO 90-A amplifier for portable or studio culars, instruction books, etc. Edit and re-
recording. 30-15,000 cps, three microphone inputs, vise scientific manuscripts on radio, radar, STerling 3626
Weston VU meter. equalization selector, line re- electronics, communications, and photog-
cording, public address. Excellent condition. raphy. Write instruction manuals on the-
$225.00. Reco -Art Company, 1305 Market Street,
Philadelphia 7, Penna. ory, operation, and maintenance of Sig-
nal Corps equipment; determine media
and method of presentation of material;
prepare charts, graphs, schematic dia- Consultation Design Fabrication
ELECTRONICS TECHNICIANS grams etc. $3100 -5400.
WANTED Applicants for any of these positions Audio Facilities Corporation
The RCA Service Company, Inc., a Radio
should write Chief, Civilian Personnel
Branch, Signal Corps Center, Fort Mon-
Corporation of America subsidiary, needs mouth, N. J., submitting a completed
qualified electronics technicians for U. S. Standard Form 57, "Application for Fed- 133 West 14th Street,
and overseas assignments. Candidates eral Employment" (obtainable at any first
must be of good character and qualified or second class post office) for review be-
in the installation or maintenance of fore going to Fort Monmouth for a per- New York 11, N. Y.
RADAR or COMMUNICATIONS equip- sonal interview.
ment or TELEVISION receivers. No age
limits, but must have at least three
years of practical experience.
RCA Service Company offers compre-
hensive Company -paid hospitalization, HERMAN LEWIS GORDON
accident and life insurance programs;
paid vacations and holidays; periodic MARCH OF DIMES Registered Patent Attorney
review for salary increases; and oppor-
tunity to obtain permanent position In Patent Investigations and Opinions
our national and international service
organization, engaged in the installation Warner Building 100 Normandy Delve
and maintenance of AM, FM and TV Washington 4, D. C. Silver Spring, Md.
transmitters, electronic Inspection de- NAtional 2497 Shepherd 243E
vices, electron microscopes, theatre and
home television, r -f heating equipment,
mobile and microwave communications
systems, and similar electronic equip-
ment.
Rase pay, overseas bonus, payments
FIGHT RICHARD H. DORF
for actual living and other expenses,
and benefits mentioned above add up to 1N FAN TI LE AUDIO CONSULTANT
$7,000 per year to start for overseas as-
signments, with periodic review of base
salary thereafter. Openings also availa-
PARALYSIS Sound Systems
Product Design
Recording Installations
Technical Literature
ble at proportionately higher salaries
for specially qualified technicians with 255 W. 84th Street Phone
supervisory ability. New York 24, N. Y. Schuyler 4 -1928
Qualified technicians seeking an ad-
vantageous connection with a well- estab-
lished company, having a broad- based,
permanent peacetime and wartime ser-
vice program, write to AUDIO ENGINEERING SCHOOL
Practical engineering training In Audio fundamentals,
Disc. Film. Magnetic Recording. aril Audio frequency
Mr. C. H. Metz, measurements.

i
Studio training simulates Broadcast. Motion Pictures,
Personnel Manager, Telerialon, and Commercial Recording work.
Approved for V
RCA Service Company, Inc.,
Camden 2, New Jersey
JANUARY 15-31 Hollywood Sound Institute, Inc.
1040 -A North Kenmore. Hollywood 21, Calif.
Spicily if Vetaran or Non -Veteran

60 AUDIO ENGINEERING DECEMBER, 1950

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 SENSATIONAL NEW BOOK
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3
AUDIO ENGINEERING DECEMBER, 1950 61

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 Audio Engineering -1950
SUBJECT INDEX
Acoustics gesti,o March, 19. 1listor Lion and Noise Meter, Fixed - Filter
of London's New Concert Hall; Cathode follower Output Stage, The; Type: J. P. Smith; Nov., 22.
Nov., 26. Robert Al. Mitchell; Feb., 13. Filter Characteristics, of High -
Impact of on Music, The; Robert Charts Pass; Werner E. Neuman, Feb., 14.
H. Tanner; Nov., 21. Hygrometric Chart, A New; "Stylus"; Impedance "Jig", An; Allen W. Smith;
Reverberation -Time Calculation, Simpli- April, 24. March, 18.
fied; (Chart) Lewis S. Goodfriend; Reduction in Output Impedance Obtained Intermodulation , Simplified; John
May, 20. with Negative Feedback; Willard F. M. van Beuren; Nov., 24.
Audio Engineering Society Papers Meeker; Feb, 23. Intermodulation Analyzer for Audio Sys-
Automatic Audio Gain Controls; J. L. Resonant Loudspeaker Enclosures: Bob tems, An; Roy S. Fine: July, 11.
Hathaway: I Sept., 16; II Oct., 27. Hugh Smith: Dec., 22. Phase -Shift Method of Measuring Flut-
Convention Program; Oct., 30. Reverberation -Time Calculation, Simpli- ter; Charles A. Hisserich and Arthur
Diamond as a Phonograph Stylus Mate- fied; Lewis S. Goodfriend: May, 20. Davis; July, 15.
rial, The; E. J. and M. V. Marcus; July, Wavelength for Air; Lewis S. Goodfriend; Simple Stroboscopes; L. B. Hedge; Aug.,
25. Oct., 34. 22.
Longitudinal Noise in Audio Circuits; Transient Testing of Loudspeakers; Mur-
Components lan S. Corrington, Aug., 9.
H. W. Augustadt and W. F. Kannen- Frequency Controlled Rotary Converters;
berg: I Jan., 22; II Feb., 18. White Noise Generator for Audio Fre-
Robert W. Carter; June, 18. quencies; J. M. Gottschalk, May, 16.
Sound Reinforcing Systems; Arthur W. Optimum Use of Nickel Alloy Steels in
Schneider; Nov., 27. White -Noise Testing Methods; Emory
Low -level Transformers; L. W. How- Cook; March, 13.
Amplifiers ard; Oct, 20.
Automatic Audio Gain Controls: (AES) Construction Practice: C. G. McProud; Microphones
J. L. Hathaway: I Sept, 16; II Oct., 27. I April, 2(3; II May, 19; III June, 26. Bantam Velocity The; L. J. Ander-
,

Cathode Follower Output Stage, The; son and L. M. Wigington; Jan., 13.
Controls KB -3A High -Fidelity Noise -Cancelling
Robert M. Mitchell; Feb., 12. Overcoming Fletcher -Munson Effects; -, The; L. J. Anderson and L. M.
Equipment Report: Rauland 1825 High - Nathan Grossman and Meyer Leifer; Wigington; April, 16.
Fidelity Phono Amplifier: April, 25. April, 22. Unobtrusive Pressure Harry F.
Feedback Considerations in the
,
Continuously Variable Loudness
;

Olson and John Preston; July, 18.

' Design of; Herbert I. Keroes; I May, E. E. Johnson: Dee 18. Miller Effect, The, (Audiana); Lewis S.
14; H June, 17. Equipment Report: Rauland 1825 High - Goodfriend: July, 28.
For Golden Ears Only: Joseph Marshall; Fidelity Phono Amplifier, April, 25. Motion Pictures, Magnetic Recording in;
Mar.,
Limiting
13.
-
- -, Performance and Opera-
tion of a New; G. A. Singer; Nov., 18.
Filter Characteristics, Measurement of
High -Pass; Werner E. Neuman, Feb.,
14.
M. Rettinger: I March, 9; II April, 18.
Negative Feedback
Loudspeaker Damping as Function of Flewelling Audio System, The; E. T. Considerations in the Design of
Plate Resistance of Output Tube; Dono- Flewelling; Nov., 15. Amplifiers; Herbert I. Keroes: I May,
van V. Geppert: Nov., 30. 14; II June, 17.
Hearing Aid Trends; F. Hardwick; June, Reduction in Output Impedance Obtained
Reduction in Output Impedance Obtained 23.
with Negative Feedback, (Chart); Wil- High Fidelity (Audiana); Lewis S. Good- with, (Chart); Willard F. Meeker; Feb.,
lard F. Meeker; Feb., 23. friend I Nov., 32; II Dec., 34. 8.
"Williamson" Type Using 6A5's;
:

Imagery- for Describing Reproduced Networks, Crossover, for Unequal Voice -

J. H. Beaumont; Oct., 24. Sound: Vincent Salmon; I Aug., 14; II Coil Impedances; Watson F. Walker;
Amplifiers, Pre - Sept, 14. July, 14.
Audio Input System for the Discrimi- Intermodulation Measurements, Simpli- Noise
nating Listener, An: Wayne B. Denny; fied; John M. van Beuren; Nov., 24. Longitudinal in Audio Circuits
Jan., 9. Loudness Controls
(AES Paper); H. W. Augustadt and
Equalized using Single -Stage W. F. Kannenberg; I Jan., 22; II Feb.,
Continuously Variable E. E. John-
,
18.
Feedback: Lawrence Fleming; March, son: Dee., IS.
24. Fletcher- Munson Effects; White -Noise Generator for Audio Fre-
Overcoming quencies: J. M. Gottschalk, May, 16.
Phonograph Reproductions; (Audiana) Nathan Grossman and Meyer Leifer:
C. G. McProud; I Feb., 24; II March, White -Noise Testing Methods; Emory
April, 22. Cook: March, 1:3.
20.
Analogies, Dynamical: (Audiana) Lewis Loudspeakers P. A. Systems, Aircraft; George H. War-
S. Goodfriend; I Sept., 20; II Oct., 36. Adventure in Loudspeaker Design, An; fel; Jan., 19.
Attenuator Calculator using Vector Slide Howard T. Souther; June, 14. Patent Infringement and the Home Ex-
Rule. Rapid; A. E. Richmond; Dec., 19. Crossover Network for Unequal Voice - perimenter; Albert E. Hayes, Jr., June,
Coil Impedances; Watson F. Walker: 28.
Audiana July, 14. Phnsemeter, An Improved Audio -Fre-
Construction Practice; C. G. McProud; Design, Construction, and Adjustment of quency; O. E. Kruse and 11. B. Watson;
friend: I Sept, 20; II Oct., 36. Reflexed Cabinets; David W. Worden; Feb., 9.
Dynamical Analogies: Lewis S. Good- Dee., 15. Phonograph Records, The Best British of
friend: I Sept, 20; II Oct., 26. for the Range from 5 to 20 kc, A: 1949 H. A. Hartley Nov., 38.
; ;
Equivalent Circuits; Lewis S. Good- B. H. Smith and W. T. Selsted; Jan., 16.
friend; Aug., 20. Phonograph Reproduction
New of Advanced Design, A: Determining the Tracking Capabilities of
High Fidelity: Lewis S. Goodfriend; I Daniel J. Plach and Philip B. Williams;
Nov., 32; I1 Dec., 34. a Pickup: H. E. Roys; May, 11.
Oct., 22. (Audiana): C. G. McI'roud; I Feb.,
Miller Effects, The; Lewis S. Goodfriend; Resonant Enclosures, (Chart); Bob
July, 28. 24; II March, 20.
Hugh Smith: Dec., 22. Diamond As a Phonograph Stylus Mate-
Phonograph Reproduction; C. G. Mc- Sensitivity, Directivity, and Linearity of
Proud; I Feb., 24; II March, 20. Direct Radiator Harry F. Olson; rial; (AES Paper) E. J. and M. V.
Recording Characteristics; C. G. Mc- Oct., 15.
;
Marcus: July, 25.
Proud; II, Jan, 20. Symmetrical Corner A; W. E. Gil-
,
Psycho Acoustics
Audio in England; H. A. Hartley; I Jan., son and J. J. Andrea; Mar., 16. Controversial Idea from England; P. G. A.
42; II Nov., 36. Transient Testing of : Murlan S. H. Voigt; Oct., 40.
Audio Fair, The Corrington: Aug., 9. Recording, Disc
Directory of Exhibitors; Oct., 32. Measurements Columbia Hot -Stylus Recording Tech-
Review: Dec, 24. Audio Frequency Phasemeter, An Im- nique, The; William S. Bachman; June,
Broadcasting proved: O. E. Kruse and R. B. Watson; 11.
Frequency -Controlled Rotary Converters; Feb., 9. Heated Stylus Recording Technique
Robert W. Carter; June, 18. Determining the Tracking Capabilities of (AES); Leon A. Wortman; July, 24.
Remote Installations; Elliott D. Full; A Pickup; H. E. 'toys; May, 11. New Technique for Reducing Distortion
Oct., 18. Determining Unknown Impedances in in Sound Recording; Caldwell P. Smith;
Cabinets for Home Use, Readers' Sug- Transformers; L. H. Hippe; Dec., 21. 1 Aril, 28.

62 AUDIO ENGINEERING DECEMBER, 1950

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Recording Characteristics (Audiana); C. in Motion Pictures; M. Rettinger; Speech Communication Conference at M.
G. McProud; II Jan., 20. I March, 9; II April, 18. I. T.; Leo L. Beranek: July, 21.
Recording and Fine-Groove Technique; New Technique for Reducing Distortion Stereophonic Reproduction; Tenny Lode;
H. E. Roys; Sept., II. in Sound Recording; Caldwell P. Smith; Jan., 15.
Recording, Magnetic April, 28. Transformers
Art of Tape Recording, The; Joel Tall; I Performance plus Economy Tape Re- Determining Unknown Impedances in
May, 13; II June, 20; III July, 22; IV corder; Jay Blakesley; Nov., 20. L. H. Hippe: Dee., 21.

--
:

Aug., 16; V Sept., 15. Reverberation -Time Calculation, Simpli- Optimum Use of Nickel Alloy Steels in
- of Meter Data; R. E. Zenner; Feb., fied (Chart); Lewis S. Goodfriend; May, Low -Level L. W. Howard; Oct.,
;

16. 20. 20.

AUTHOR INDEX
Anderson, L. J. and Wigington, L. M. Audio In England; I Jan., 42; 11 Nov., 36. tor Slide Rule; I Dec., 20.
Bantam Velocity Microphone, The; Best British Records of 1949; Nov., 38. Itoys, H. E.
Jan., 12. Hathaway, J. L. Determining the Tracking Capabilities
KB -3A High- Fidelity Noise- Cancelling Automatic Audio Gain Controls (AES); of a Pickup; May, II.
Microphone, The; Apr11, 18. I Sept., 16; II Oct., 27. Recording and Fine- Groove Technique;
Andrea, J. J. and Gilson, W. E. Hayes, Albert E., Jr. Sept., 11.
Symmetrical Corner Speaker, A; March, Patent Infringement and the Home Salmon, Vincent
16. Experimenter; June, 28. Imagery for Describing Reproduced
Augustadt, H. W. and KBnnenberg, W. F. Hedge, L. B. Sound; I Aug., 14; II Sept., 14.
Longitudinal Noise in Audio Circuits Simple Stroboscopes; A ug., 22. Schneider, Arthur W.
(AES); I Jan., 22; 1I Feb., 18. Rippe, L. H. Sound Reinforcing Systems (ABS);
Bachman, William S. Determining Unknown Impedances in Nov., 27.
Columbia Hot -Stylus Recording Techni- Transformers: 11ec., 21. Selsted, W. T. and Smith, B. H.
que, The; June, 11. Hisserich, Charles A. and Davis. Arthur Loudspeaker for the Range from 5 to
Beaumont, J. H. Phase -Shift Method of Measuring Flut- 20 ke. A; Jan., 16.
"Williamson" Type Amplifier Using ter; July, 15. Singer, G. A.
6A5's: Oct., 24. Howard, L. W. New Limiting Amplifier, Performance
Beranek, Leo L. Optimum Use of Nickel Alloy Steels In and Operation of a; Nov., I.
Speech Communication Conference at Low -Level Transformers; Oct., 20. Smmth, Allen W.
M. I. T. (Report); July, 21. Johnson. E. E. An Impedance "Jig "; March, 18.
Illakesley, Jay Continuously Variable Loudness Con- Smith, Bob Hugh
Performance Plus Economy Tape Re- trol: Dec., IS. Resonant Loudspeaker Enclosures
corder; Nov., 20. Kannenberg, W. F. and Augustadt. H. W. ICha t): Dec., 22.
Carter, Robert W. Longitudinal Noise and Audio Circuits Smith, Bob Hugh and Selsted. W. T.
Frequency- Controlled Rotary Convert- (AES): f Jan., 22; II Feb., 18. Loudspeaker for the Range from 5 to
ers; June, 18. Heroes, Herbert I. 20 kc, A; Jan., 16.
Cook, Emory Considerations in the Design of Feed - Smith, Caldwell P.
White -Noise Testing Methods; March, back Amplifiers: I May, 14; II June, IL New Technique for Reducing Distor-
1:3. Kruse, O. E. and Watson. R. B. tion in Sound Recording; April, 28.
Corrhfgton, Merlan S. Audio Frequency I'hasemeter, An Im- Smith, J. P.
Transient Testing of Loudspeakers; proved: Feb., 9. Fixed- Filter Type Distortion and Noise
Aug., 9. Leiter, Meyer and Grossman, Nathan Meter, Nov., 22.
Davis, Arthur and Hisserich, Charles A. Overcoming Fletcher -Munson Effects: Souther, Howard T.
Phase -Shift Method of Measuring Flut- April, 22. Adventure in Loudspeaker Design, An;
ter; July, 15. Lode, Tenn) ,lune, 14.
Denny, Wayne B. Stereophonic Reproduction; Jan., 15. "Stylus"
An Audio Input System for the Dis- Mcl'roud, C. G. Hygrometric Chart, New; April, 24.
criminating Listener; Jan., 9. Construction Practice ( Audiana); I Tall, Joel
Fine, Boy S. April, 26; II May, 19; III Jnne, 26. Art of Tape Recording, The; I May, 13;
Intermodulation Analyzer for Audio Phonograph Reproduction (Audiana); I 11 .lune, 20; III July, 22; 1V Aug., 16;
Systems, An:. July, 11. Feb., 24; II March, 20. V Sept., 15.
Fleming, Lawrence Recording Characteristics ( Audiana): Tanner, Robert H.
Equalized Pre-Amplifier Using Single - II Jan., 20. Impact of Acoustics on Music, The;
Stage Feedback: March, 24. Marcus, E..1. and M. V. Nov., 21.
Flewelling, Edmund T. Diamond as a Phonograph Stylus Mate- van Retiree, John M.
Flewelling Audio System, The: Nov., rial. The: July, 25. Simplified Intermodulation Measure-
Marshall. Joseph ments: Nov., 24.
Full, Elliott D. For Golden Ears Only; March, 13. Volgt, P. G. A. H.
Remote Installations; Oct., 18. Meeker, Willard F. Controversial Idea from England, A;
Geppert, Donovan V. Reduction in Output Impedance Ob- Oct., 40.
Loudspeaker Damping as a Function of tained with Negative Feedback Walker, Watson F.
the Plate Resistance of the Power Out- (Chart): Feb., 23. Crossover Network for Unequal Voice -
put Tube: Nov., 30. Mitchell, Robert M. Coil Impedance; July, 14;
Gilson, W. E. and Andrea. .1. J. Cathode Follower Output Stage. The; Warfel, George H.
Symmetrical Corner Speaker, A; March, Feb., 12. Aircraft P. A. System; ,Ian., 19.
16. Neuman, Werner E. Watson, It. B. and Kruse, O. E.
Goodfriend, Lewis S. Measurement of High-Pass Filter Audio Frequency I'hasemeter, An Im-
Dynamical Analogies ( Audiana); I Characteristics, The; Feb., 14. proved; Feb., 9.
Sept., 20; II Oct., 36. Olson, Harry F.
Equivalent Circuits (Audiana); Aug., Sensitivity, Directivity, and Linearity Wigington, L. M. and Anderson, L. J.
20. of Direct Radiator Loudspeakers; Oct., Bantam Velocity Microphone, The;
High Fidelity ( Audiana): I Nov., 32; 15.
.Ian., 12.
11 Dec.. 34. Olson, Harry F. and Preston, John KB -3A High -Fidelity Noise -Cancelling
Miller Effect, The ( Audiana): July, 28. Unobtrusive Pressure Microphone; Microphone. The; April, 16.
Reverberation -Time Calculation, Sim- July, 18. Williams, Philip B. and Plach, Daniel J.
plified (Chart); May, 20. finch, Daniel J. and Williams, Philip B. New Loudspeaker of Advanced Design,
Wavelength for Air (Chart); Oct., 24. New Loudspeaker of Advanced Design, A: Oct., 22.
Gottschalk, J. M. A: Oct., 22. Worden, David W.
White -Noise Generator for Audio Fre- Preston, John and Olson, Harry F. Design, Construction, and Adjustment
quencies; May, 16. Unobtrusive Pressure Microphone; of Refiexed Cabinets; Dec., 15.
Grossman, Nathan and Leifer, Meyer July, 18. Wort.man, Leon A.
Overcoming Fletcher -Munson Effects; Hettinger M. Heated Styuls Recording Technique
April, 22. Magnetic Recording in Motion Pictures; (AES): July, 24.
Hardwick, F. I March, 9; H April, 18. Zenner, R. E.
Hearing Aid Trends; June, 23. Richmond, A. E. Magnetic Recording of Meter Data,;
Hartley, H. A. Rapid Attenuator Calculator using Vec- Feb., 16.

AUDIO ENGINEERING DECEMBER, 1950 163

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 ADVERTISING
INDEX Ng°. Pflrtrí6ge
Acme 56 'Pews
Air -Tone Sound Cr Recording Co. 43
Allied Radio Corp. 48 Llfl%Cid[laIlY tested
Altec Lansing Corp. 3, 8
Ampex Electric Corp. 13 .U-1 11141 TII.% %SFOIINEIIS
20 W -2 Amplifier $149.50 Amperite Co., Inc. 58 to the `V 11.LIAMSON'
Amplifier Corp. of America 59, 61
Arnold Engineering Co., The 5
Specification
Audak Co. 37
Audio Devices, Inc. Cover 2 This range of 20 watt push -pull
Audio Facilities Corp. 64 output transformers is Intended for use In
equipment reproducing the full audio frequency
Audio Instrument Co. 59
range with the lowest distortion. The design
Audio and Video Products Corp. 12 and measured performance is exactly as speci-
fied by Williamson In the "Wireless World"
Barker Sound Reproducers 58 August 1949 (see also Audio Engineering
Bell Telephone Laboratories 14 Novemoer 1949). The transformer is available
AE -2 Equalizer PreAmp $74.50 in varied range (separate models suitable
British Industries Corp. 31
for KT86, 807 tubes, etc.) Performance ss-
Browning Laboratories, Inc. 52 sured by comprehensive testing procedure *p-
ulled to each unit. Close limits set on shunt
Cannon Electric Dev. Co. V15 reactance at 50 cps., aeries reactance at 5
Chicago Transformer Div. 38 Kc /sec., d.c. resistances and interwtnding in-
sulation resistances at 2 K.V.
Cinema Engineering Co. 53
This it the beet possible trans-
Classified Ads 60 former of its type (weight 14
I. Colbert 61 lbs.) Our new technical data
Concord Radio 58 sheet is available and will be
rushed to you by airmail upon
Daven Co., The Cover 3 application. The price of the
potted model is $19.50.
Dorf, Richard H. 64 Postage, packing and Insurance
50 W -2 Amplifier $249.50 Duotone Co. 54 $1.50 extra. We can guarantee
Immediate despatch.
Electric Indicator Co. 59
Electro- Voice, Inc. V2
PARTRIDGE
McIntosh
Engineering Laboratory, Inc.
Fairchild Recording Equipment Corp
Fisher Radio Corp.
42
57 TRANSFORMERS LTD
Roebuck Road, Tolworth, Surrey, England
910 King St. Silver Spring, Md. General Electric Co. 51
Prices Subject fo Change Without Notice. General Radio Co. 9
Gordon, Herman Lewis 64
Gray Research and Dev. Co., Inc. 41

Hartley, H. A., Co., Ltd. 64

Harvey Radio Co., Inc. 45
THE POWER OF THE PRESS Heath Co.
Hollywood Sound Institute, Inc.
35
60
BOUND VOLUMES
AND THE SPEAKER Hudson Radio & Television Corp. 53

This ad marks the end of the second year of

Interstate Supply Co. 61 1950
our regular advertising in A.E. Next month will Enter your order now for your
mark the beginning of the third. Those two years LeBel, C. J. 64
have resulted in the 215 speaker becoming an copy of the 1950 bound volume of
accepted feature of the American way of living. Magnecord- Inc. 39, 49 AUDIO ENGINEERING. For permanent
Two reasons contribute to this success. McIntosh Engineering Laboratory, reference, the bound volume is easier
First, the ability of this magazine to get into Inc. 64 to store, easier to find things in, and
the hands of men who do understand audio engi- Measurements Corp. 57 it keeps your copies in mint condition
neering. We have utilised the power of the press Milo Radio Cr Electronics Corp. .. 61 throughout the years. The ideal way
to bring an honest message to thinking readers.
Secondly, the ability of this company to make to keep these valuable issues.
better speakers, for the best sales story in the Newcomb Audio Products Co. 58
world is futile unless the goods are there to back 1950 Bound Volumes .. $8.95
up the promised performance. Partridge Transformers, Ltd. 64
Permoflux Corp. 4
The 215 has that performance. In the words of
a new customer "I had a chance to hear the
Hartley- Turner speaker with very good amplifiers
and pickups. found it far better than three U.S.
I
Pickering Cr Co., Inc.
Precision Electronics, Inc.
Presto Recording Corp.
48
33
11
FOR 1951
speakers priced up to $90.00. I am a musician A new offer, made now for the first time
and think know good tone Quality. do not like Proctor Soundex Corp. 55
I 1

speakers that scream high fidelity with every Professional Directory

entitles you to subscribe or to renew your
60 present subscription for one year at the
note, or that remind you of curves and graphs
instead of tone. Without intent to flatter, must cost of $10.00, which includes a bound
say I
I

was amazed and delighted with the Hartley - RCA Service Co., Inc. .... 60
volume delivered to you around January 1,
Turner. It was very poorly mounted and still Radio Corp. of America 6, 7
sounded well." Radio Shack Corp. 1952. Each month you will receive AUDIO
55
Reeves Soundcraft Corp. 40 ENGINEERING -read it, cut out coupons
We have nothing more to say just now except
that we should like to send a Christmas card to Rek -O -Kut Co., Inc. 2
to your heart's content, mark on the pages
the thousands of new friends we have made since as much as you want. At the end of the
we first told you about ourselves. Alas, we Savage Transformers Ltd. year, you receive a fresh, new bound
haven't the clerical staff to get them over to you 59
in time, so now, if that will serve instead, we wish Shure Brothers, Inc. 46 volume of 1951 issues which you can keep
you all a very merry Christmas and the best of as a permanent record. Stop trying to
luck in the new year. Tech Laboratories, Inc. 44 keep each issue neat and clean-use it.
Televex 61 Then, at the end of the year, you'll receive
a completely new set -no creases, no dog -
H. A. HARTLEY CO. LTD., Terminal Radio Corp.
Transcriber Co.
47
61 eared pages.
152, Hammersmith Road, Triad Transformer Mfg. Co. 1 Dept. SV
London W6, England U. S. Recording Co. 64 AUDIO ENGINEERING
United Transformer Co. Cover 4
342 Madison Ave., New York 17, N.Y.

64 AUDIO ENGINEERING DECEMBER, 1950

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 VEW

TYPE OP -182 designed to

mea-
Meters are an audio signal
Power M by
sue D power delivered of the char-
.. .5 surf the actual P load. However, because
sure me suited to
an9e' Re- system to a given they are admirably
the circuit,
love ac 2en3 1\Y dr9e,v°t acteristics of namely: of on A.C.
UracY other applications. Impedance
ln+P
ob s
ess c
Ucpsy Acc Characteristic
of
e4p Determination System.
mae 1.
Source on a Signal
10p0 to: of Load Variation a Multi-channel Mixer
Measurements.
501. Rnn9e of .1 Ca1i-
0.1 w
m 2.
4 Trensuremen
Line
Transmission of
Equalization
Insertion
M

power
watts'n teps1Aeter: 4. Measurementcome lex circuits.
.

rUilli
db and other Measurements.
1ndéáttsmrorn Ó 5° 11 S. Filter and M asur ments- DAVENor
bra and S Radio Receiver e built to
atts ve1. lm'N'
shown on this page Please write
recision.
U\ti4\'eot The equipment
standards
stada
of precision.
engineering department

¿otin9 1
Me
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et 1a 41bY 1
well lmo data
more detailedspecific problems. 1
0l'1: rea help you on
dec.:170`.
20-
0 TYPE OP -962
At

similar can
Characterisë cPst that
s ex to 100 watts.
up
measure
Impedance P
impedances
da 000 ohms.
tween 2 and over 1000
Accuracy 30 to
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mains essentially cycles mw to
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over frequency resistive
range of watts n extenäed
30 to 10,000
cps, Accuracy 100
Range
use of
Flange 1 raw by
Power Rar below amplifier.
-ge: 0.1
externa Meter:
milli_
.01 watt to
of 0.1 milliwwatts in steps brateatin9
fro to +101
arts,
Indicating Meter: óm -10
brated from
I to
Cali-
watt level:
dbttZero meer Iro
watts and 0 to SO milli
Meter Multiplier: horn
Zero level: 17 decibels.-
i:nw. reading.
times scale
Meter Multiplier to 10
itndi
atwer readingExtends
of the
to i,000x4 meter born 0-Ix
the db. reacale value, or
to from __10
db
30 db
2 steps of Co-
THE
NEW ]ERSE?
AVENUE NEW ARK
i85 CENTRAL

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 The UTC type HQ permalloy dust toroids are ideal for all audio, carrier and supersonic
applications. HQA coils have Q over 100 at 5,000 cycles... HQB coils, Q over 200 at 4,000
cycles... HQC coils, Q over 200 at 30 KC... HQD coils, Q over 200 at 60 KC... HQE (mini-
ature) coils, Q over 120 at 10 KC. The toroid dust core provides very low hum pickup...
excellent stability with voltage change...negligible inductance change with temperature,
etc. Precision adjusted to 1% tolerance. Hermetically sealed.

HOA, HOC, HOD CASE

1 13 /16"Dia. e 1 3/16"High

Inductance Net Inductance Net Inductance Net

Type No. Value Price Type No. Value Price Type No. Value Price
HOB CASE
HQA1 mhy.
1 5/8'x 2 5/8 "e 2 1/2"High
5 $7.00 HQA -16 7.5 hy. $15.00 HQC -1 1 mhy . $13.00
HQA-2 12.5 mhy. 7.00 HQA -17 10. hy. 16.00 HQC.2 2.5 mhy. 13.00
HOA-3 20 mhy. 7.50 HQA-18 15. hy. 17.00 HOC -3 5 mhy . 13.00
HQA-4 30 mhy. 7.50 HOB -1 10 mhy. 16.00 HOC -4 10 mhy. 13.00
HQA-5 50 mhy. 8.00 HQB -2 30 mhy. 16.00 HOC-5 20 mhy. 13.00
HQA-6 80 mhy. 8.00 HQB-3 70 mhy. 16.00 HOD -1 15.00
.4 mhy.
HQA7 125 mhy. 9.00 HOB-4 120 mhy. 17.00 H 00.2 1 mhy. 15.00
HQA-8 200 mhy. 9.00 HOB -5 .5 hy. 17.00 15.00
HOD -3 2.5 mhy.
HOA-9 300 mhy. 10.00 HOB-6 1. hy. 18.00 HOD -4 5 mhy. 15.00
HOA-10 .5 hy. 10.00 NOB-7 2. hy. 19.00 HOD -5 15 mhy. 15.00
H QA-11 .75 hy. 10.00 HOB -8 3.5 hy. 20.00 HOE-1 mhy.
5 6.00
HOA-12
u HQA-13
1.25 hy.
2. hy.
11.00
11.00
HQB -9
HOB -10
7.5
12.
hy. 21.00
22.00
HQE -2 10 mhy . 6.00
hy. 131E-3 50 mhy. 7.00
HOE CASE HQA-14 13.00
3. hy. HOB-11 18. hy. 23.00 HOE -4 100 mhy. 7.50
1 /2'x 1 5/16'x 1 3/16 High HQA-15 5. hy. 14.00 HOB-12 25. hy. 24.00 HQE -5 200 mhy. 8.00

ITC INTERS AGE AND LI;I 111'iII.A

These U.T.C. stock units take care of most STOCK FREQUENCIES

common filter applications. The interstage (Number after le fers is frequency)
filters, BMI (band pass), HMI (high Net Price $25.00
FILTER CASE M pass), and LMI (low pass), have a BMI-60 BMI.1S00 LM1-200 8M L-400
1 3/16"x 1 11/16° nominal impedance at 10,000 ohms. BM1.100 BM -3000
1 1141-500 BML-1000
1 5/8 "- 2 1 / fHigh The line filters, BML (band pass), HML BMI-120 BMI-10000 LM1-1000 HML-200
(high pass), and LML (low pass), BM1-400 HM1-200 1M1-2000 HML-500
BM 1500 HM1-500 LML-1000
are intended for use in 500/600 ohm circuits. BM1.750 HMI-1000
LM1-3000
EMI-5000 LML-2500
All units are shielded for low pickup BM1-1000 HM1.3000 EMI-10000 IME-4000
(150 my /gauss) and are hermetically sealed. LML-12000

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