Professional Documents
Culture Documents
Audio 1982 02 PDF
Audio 1982 02 PDF
The
Autherltative mum:numa
Magazine
About
High ridellty
UNDERSTAND
Ell:) AND TIME
CONSTANTS
HOW IT WORKS
CX NOISE _ -_--- -
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STEREO NM
(¡) PIONEER
COMPUTER CONTROLLED
STEREO RECEIVER SX-7
two - AM I
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VOLUME STEP
OUTPUT POWER
I I I I I 11/1//81-21 I
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Finding your favorite station isn't always as easy as ponents that are as pleasant to live with as they are
tuning to 123. to listen to.
For example, now that digital station readouts are For instance, our receiver will commit to memory
standard on most receivers you have to memorize the all your favorite stations. You can preset up to eight
precise call numbers of all your favorite stations. Not AM and eight FM stations. The moment you want to
an easy job if you have a dozen or so stations you hear one you can recall it instantly.
tune in regularly. Should you want to sample a variety of stations
That, however, is just one of the many unpleasant- without any manual effort, simply press Station Scan.
ries you have to deal with if you own one of today's You'll hear five seconds of every strong station on the
conventional receivers. On the other hand, it's just entire tuning band. If you discover a station you like
one of the many reasons you should own Pioneer's you simply stop scanning.
new SX-7 receiver. Needless to say, not all stations have strong signal
The SX-7 is a product of Pioneer's unique new con- strengths. In the past you've had to struggle to tune
cept in component design and engineering called in those stations with weak signals. The struggle's
High Fide/it r for Hw nuns.T he result is a line of co n- over. Due to the SX-7's ID Mosfet transistors you can
O 08I US %neN Ekciconal Corp. 85 O.Io.d OII.e. Moonachie. N J 0707,
t
INPUT PRESET v iLLN.RE
MHz r r- r-
T
SIGNAL 1 2 3
kHz EMI FS CUM TUNING PHONO
PRE SET STEP - eme MUlING
104.3 105.1 106.7 MHz
V
1330 1480 1510 kHz
I
FM
MUTING
S 7 S
AUX/
VIDEO
AM
MEMORY
iL
~NO AUX/V.OEO IAOPTI
/ STOP
TUNING
AUTO. STATEON SCAN
TAPE
Cc,--
MONO
2/ADPT MU-E OFF
SUBSONIC LOUDNESS PRONO
aHz . MM
tune in weak stations as quickly and clearly as you thousands of times a second, in response to music
can strong stations. signals. The SX-7's Non -Switching circuits keep our
Drift, of course, is another way in which distortion transistors from ever completely switching off, so they
has been allowed to sneak in and prevail where there don't have to click back on.
once was music. The only remedy has been to simply If it seems as though the SX-7 has many features
get up and readjust your station. But with the SX-7 you just don't find on other receivers, it's because it
you won't have to bother. Because oar Quartz PLL does. Which is why we invite you to visit your nearest
Synthesized tuning is designed to make drift totally Pioneer dealer. He'll show you the SX-7, and an entire
impossible. line of new Pioneer receivers.
While these technological achievements make our They're all designed to let you spend more time
components easy to live with, others just plain make enjoying music
your music sound better.
Our patented Non
TM
BES Speakefs tr -
AT LAST
A DIFFERENCE
¡fc' ó
1.F
IN SOUNDYOU
FEATURE ARTICLES
CAN SEE. UNDERSTANDING EQUALIZATION AND
TIME CONSTANTS Herman Burstein 26
Most speakers give you true THE CX NOISE -REDUCTION SYSTEM
FOR RECORDS Louis A. Abbagnaro 32
stereo in just one part of the room.
BES Speakers give you true EQUIPMENT PROFILES
stereo virtually SANSUI AU -D11 AMPLIFIER Leonard Feldman 46
everywhere. GOLDRING G-920 IGC CARTRIDGE George W. Tillett 50
AMBER SERIES 70 AMPLIFIER Leonard Feldman 52
That's because STANTON 98OLZS CARTRIDGE B. V. Pisha 54
the heart of a KEF 105 SERIES II LOUDSPEAKER .... . Richard C. Heyser 56
BES Speaker is RECORD REVIEWS
not a cone, but CLASSICAL REVIEWS Edward Tatnall Canby 18
Other speakers a diaphragm THE COLUMN Michael Tearson, Jon & Sally Tiven 20
that vibrates much like a guitar FOLKBAG Tom Bingham 24
string, projecting sound in every TOP OF THE PILE 63
direction simultaneously.You get AUDIO IN GENERAL
360 -degree sound. True omni- AUDIO ETC. Edward Tatnall Canby 6
directional sound. Sound as close WHAT'S NEW IN VIDEO 12
to live as you WHAT'S NEW IN AUDIO 13
AUDIOCLINIC Joseph Giovanelli 14
can get. TAPE GUIDE Herman Burstein 16
Listen to CLASSIFIED ADVERTISING 68
BES and hear ADVERTISING INDEX 84
BEHIND THE SCENES Bert Whyte 87
true stereo. VIDEO SCENES Bert Whyte 90
Everywhere. THAT'S THE WAY IT WAS Walter I. Seigal 94
2
Enter No. 3 on Reader Service Card
If your ears had eyes...
w
elk '
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Distortion is tough to explain-but you can see it, and 4sk ycur local Shure aLdio dealer for a demonstration
you can hear it. For instance, if a poor lens on a fine of :he HE difference. It II bring your music back into focus.
camera distorts the original image, you end up with a
bad picture, even though the rest of the camera does its Shure Hyperelliptical Stylus Cartridges
job. The same witi a stereo system: if the stylus creates
Choose your HE cartridge -from
distortion, the rest of the system can't make up for it, no a broad selection of tracking
matter how good the other components might be. forces, prices, and features:
Shure's Hyperelliptical (HE) stylus tip reduces distor-
tion dramatically because it has longer, narrower contact
areas (the two areas where the stylus tip actually MDDEL TRACKING FORCE RANGE (GRAMS)
touches the record groove walls) which closely simulate V15 Type IV 34-11/4 World.Standard
the shape of the stylus used to cut the master record. I.f97 HE 34-1', 2 Second to the IV
The HE tip provides an audible advantage over spheri- I.197 HE -AH 3/4-11/2 With attached headshell
I./f95 HE 34-11.2 Moderately priced
cal and elliptical stylus tips, giving you pure natural I/75 HE Type 2 34-112 Top value
musical sound w-thout the distortión. M75 HE -J Type 2 1' 4-21,2 Heavier tracking force
o
5AL1 AT C SHURE
Shure Brothers Inc..
0 I
'í-1-Í I(1G Dr 222 rtrey Ave.. Evanston. IL 60204
In Canada: A. C. Simmonds & Sons Limited
Manufacturer of high fidelity components. micropnoncs..o .aspeakers. sound sys-errs and related circuitry.
Enter No. 19 on Reader Service Card
Maio
Editor
Eugene Pitts Ill
Assistant Editor
Kay Blumenthal
Editorial Assistant
Andrea Lynne Hecker
Art Director
Cathy Cacchione
Production Manager
Mark E. Abraham
Associate Editors:
Edward Tatnall Canby, Bert Whyte
Senior Editors:
Richard C. Heyser, B. V. Pisha
Howard A. Roberson
1 Contributing Editors/Artist:
Tom Bingham, Herman Burstein,
Ted Costa, John Diliberto,
If everything were perfect ... a control unit Leonard Feldman, Joseph Giovanelli,
Classified Advertising:
change his preamplifier to meet future developments. Audio 1515 Broadway New York, N.Y 10036
. Laura J LoVecchio Classified Adv. Mgr.
To learn all about the Quad 44 he only has to write for Telephone (212) 975-7530
England: The Paul Singer -Lawrence Media Group.
a brochure and a list of authorized dealers: 54 Burton Court. London SW 3 Sva, England
Telephone, 01-730-3592
QUAD
425 Sherman Avenue
Palo Alto, California 94306
In Canada:
ClUA D
for the closest approach
AUDIO is a registered trademark of CBS Inc. 11982
CBS Publications, The Consumer Publishing Division
CBS Inc All rights reserved
Dewey Decimal Number 621 381 or 778 5
d
1982 QUAD
4 AUDIO/FEBRUARY 1982
Enter No. 16 on Reader Service Card
Introducing TDK AD -X.
The normal bias tape with
Super Avilyn technology.
New TDK AD -X is the first normal new AD -X can easily FREQUENCY RESPONSE AND MAXIMUM To ensure years of
OUTPUT LEVEL
bias audio cassette to use TDK's handle strong signal .lo reliable use, AD -X is
Avilyn magnetic particle-based input without over- o- housed in TDK's Labo-
on the renowned Super Avilyn for- saturation. a FREQUENCY RESPONSE -2008 ratory Standard Mech-
mulation that has kept TDK the When you hear the ó- anism, and protected
leader in audio and videotape brilliant playback re- by TDK's lifetime war-
30 100 1K 10K 20K
technology. sulting from the higher FREQUENCY (Mi ranty. With its distinc-
The Avilyn advan- MOL ane A.ilyn nagnetic particle achieves tive packaging, you
..5 -3-2-1 higher saturation and lower noise.
tage offered in AD -X O 11.7.'...."9
lower bias won't miss it.
is demonstrably clear. ip 60 Bo noise you won't believe So for high quality recordings
You now can record vu that your deck can in the normal bias/EQ position,
and play back-in the Retard at higher levels "improve" so much. snap in the new TDK AD -X. You 11
with far lass distortion
normal bias/EQ pcsition The r_ew AD -X has disccver that the Avilyn advantage
with complete compatibiity for truly versatile applications. Its means superior overall performance
any cassette deck over a wider dy- higher sensitivity makes it ideal for for you.
namic range and with far less dis-
tortion. Even at higher recording
levels, the increased headroom in
all-round home entertainment use
and aLso suitable for any casette
player.
DK®
THE MACHINE FOR YOUR MACHINE
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professional heavyweight, a Rek-O-Kut, chine was marked as flat to 15,000 cords was not then exactly a delight to
maybe, or forerunner of same: Massive cycles although, not knowing of Bell hear, especially for students who
platter, huge swinging pulleys that disen- Labs et al., we had no material of any couldn't have cared less in the first
gaged via a screw -down handle, with sort which would test that remarkable place. At least, had learned long since
I
power switch. On it was mounted a long sonic range. The magnetic cartridge NEVER to squawk. produced only nice
I
16 -inch professional straight tonearm broke off at around 4000, and when we noises, let me tell you, and if had to
I
(straight arms are the latest thing in later added an AM tuner (no FM then) search for a tune or a special place, did
I
1982?) which allowed leeway for profes- things were even worse. Somebody it with almost inaudible volume, as a
sional transcriptions, those huge discs, didn't know enough to build us a wide - matter of course. That helped.
both lacquers and pressings, which pre- band TRF tuner, which just might have Not so our distinguished Professor
ceded the days of tape. This, of course, brought Toscanini and the famed NBC and Head of the Music Department, who
made for superior tracking angles on the Orchestra to us with genuine highs. No gave the main lectures in that dreadful
ordinary twelves and tens of the shellac such luck. concrete lined hall. He never failed to
78 -rpm repertory. An RCA horseshoe The speaker box was no open -back. turn the volume up to the top BEFORE
magnet pickup provided an adequate
point pressure of seven or eight ounces
or more. If you accidentally dragged that
The structure, if remember correctly,
I
Ma 111~
The unique dmigy
DESIGNED of the head assembly
for the Reference
Series Model 105.2,and Model 105.4 is just
FOR one example of KEF's world-renowned
research and engineering.
yEach unit
is housed
in its own
enclosure of selected dimensions to support optimum
radiation over the operating frequency range, and is
scientifically shaped to avoid unwanted secondary wave
formation.
The outs:anding acclaim for the Model 105.2 created a
demanc for a system of similar performance and accuracy
from a smaller enclosure, and at a more affordable price.
Hence the Model 105.4.
Like all Reference Series Speaker Systems, the
, Mcdel 105.4 is a prcduct of KEF's "Total System"
design approach, where the drive units, filter network
an¿ enclosure are developed together to achieve
a targeted response.
And like all Reference Series products, it also
features the unique
-STOP, a self-
powered circuit
designed by KEF for
total protection
against accidental
overload and fault
+ conditions.
Of coarse, the
ultimate criteria
is in listering.
Visit ycur KEF
dealer and listen
tonew
the
Reference Series
Model 105.4.
For his name, write:
KEF Electronics Ltd., do Intratec.
yP.O. Box 17414. Dulles International Airport.
J Washington. D.C. 20041.
' In Canada:
Smyth Sound Equipment Ltd.. Quebec.
The
KEF Speaker Engineers
© 1982 KEF Electronics. Ltd. Enter No. 9 on Reader Service Card
illorwOot
It was a time when most
people were immune to the
9410.rgrij thought that the listening
D ) 0 0 area might be important for
musical results.
I l,
==B
C
-1Er -1ff
z
ÍS r Ir I i
he could, he turned to the grand piano
that was always handy; he was a some-
time pianist and that machine, at least,
he could keep under control.
One year, this Professor had the bad
luck to get himself mixed up with some
of his Physics Department senior col-
!!!!1! (!)
"
c) (7)
a l- n
.
n-
: . --
.. _-_-' 0. -
didn't ask my advice. was merely a
I
abit bothered by our new turntables with It was shocking, distressing in the ex- spreading out of two -channel stereo and
automatic remote-control arms? They, treme, to hear one of those monsters its various extenders via extra channels,
too, can emit blats, if you drop the stylus misused, and most people instantly all the way through NR and companders
on an unintended loud passage. And
these days we have the power to sur-
pass even that 1936 roar. Nevertheless,
sion -
jumped to the inevitable wrong conclu-
give me my small home phono-
graph! You couldn't really blame them.
and down to old-fashioned tone controls
and new -fashioned equalizers for room
adjustments. We are geometrically close
loved that old, big machine. Because
I
I It was surely the most difficult aspect to perfection in the actual chain of repro-
tamed it and made it mine. It would do of our entire early hi-fi, this problem of duction. But to what avail?
wonderful things, assure you, and it did
I
coping with larger, wider range sounds. Well, even so, never forget that the
them for me. The aftereffects of disasters such as I sound of reproduced music was aston-
When, after three years of teaching have described went on for years and ishingly popular in the 1930s and we
"appreciation," removed to a new job
I
persist even now. How about the early loved it. Just as we loved our cars, which
in New York City as one-man music de- High Fidelity Shows? Incredible caco- never seemed more wonderful than in
partment in a tony female junior college, phony. Are we much better today? those heady days. Do you think I needed
I ran into an amazing and helpful coinci- Sometimes. Not always. am grateful ev-
I super-fi to enjoy my budding record col-
dence: Just as I arrived for my new du- ery time Bert Whyte chides a CES dem- lection? Though I learned how to use it
ties, the Carnegie Collection, complete onstrator for badly managed sound. when had it. Do you think I needed a
I
with an updated 1939 model phono- There are plenty of us who still do not heater and snow tires to go skiing in the
graph system even better than the earlier understand. White Mountains of New Hampshire in
one, arrived at the college for me to play Even today, if I may draw the moral, mid -winter? Never heard of such things.
with. And this time was my own boss.
I our biggest collective problem in actual But I got there and back with few com-
My only problem was the students. Alas, hi-fi usage is that still, all too often, we plaints and much pleasure. So it was
they got to use the big machine for study
low -
purposes. They kept its volume suitably
it was in the school library!- use of the equipment we own -
do not know how to make the best sonic
but I quickly found that they usually sound itself and the immensely helpful was there. As they say, it's all relative. A
played the Carnegie records with
"needles" that had no points, only
jagged shards of metal. So, needles
aside, another four years of advanced hi-
-
-or'
fi opened out to me via that endlessly
rewarding monster which again treated
me to its best, in response to my own
concern for getting the best out of it.
As you can guess, I was not ever
going to be satisfied with mere class-
room hi-fi. loved records. was fascinat-
I I
ple and then turned on. Canned music. At last a low impedance cartridge which exceeds
Fortunately, most phonographs were moving coil performarce with moving magnet_ reliability.
really not very loud, including the ordi- The Stanton 98112S provides the highest level of perfor-
nary console or "sit-down" models that
were used in classrooms. Even at full
mance with very low tip mass, the widest frequency
distorted volume, the sound, though un- response and unsurpassed trackabilíty. The moving
pleasant, did not cause acute agony. mcgnet (Samarium Cobalt design) offers a truly new,
Only when the extremely rare 1 930s hi-fi exciting and different sound experience. ' .
came into play, state-of-the-art equip- Stanton Magnetics, 200 Terminal Drive, Plainview, NY 11803
ment with real power and tonal range,
did we find ourselves deep into trouble.
The 981US From STaNTOn THE CHOOF
ICE T1# PROFESSIONALS"
.
AUDIO/FEBRUARY 1982 11
Enter No 22 on Reader Service Card
WHAT'S NEW IN VIDEO
rsi
ibsé.. ,-.,,.
,,,..,,
._+-7
-ioblok
. J
,C.C.
ejblbliob color video camera to use
no tubes and is also said
to be the smallest and lightest
in weight. Doing away with the
vidicon tube allows the camera
Akal Stereo to offer a no -smear picture,
Microphone one without the traditional
The ACM -11V allows home problems of burn -in and
video enthusiasts to surpass after -image associated with
the sound quality of commercial tube -type cameras. The
TV broadcasts when making improved picture results from
their own video productions. employment of a new MOS
The mike is designed to attach image sensor, which also
to Akai's VC -X1 auto -focus performs more efficiently and
video camera and VP -7350 / has a longer life than
VCR, and it incorporates two traditional "tube" sensors.
unidirectional pickups, which Price: $2,000.
cover most of the audio band. Enter No. 103
Rolling off below 100 Hz to cameras, a stand for remote on Reader Service Card
prevent obtrusive rumble, the use, a wind screen, and a con-
mikes have a response up to version plug for use with
15 kHz for accurate recording other cameras.
of voices and ambience. Stand- Price: $49.95.
ard options include a mount Enter No. 101
for attachment to most video on Reader Service Card
JVC
12
WHAT'S NEW IN AUDIO
,
92 dB SPL for one watt at
impedance, low impedance,
one meter, while nominal
and low impedance with a
input impedance is 4 ohms.
-ti locking on/off switch. Each
Price: $1 12.95 per pair.
Enter No. 105
O - measures 3% inches by /
in diameter and can be hand-
inch
on Reader Service Card
held, used with a neck cord as
a lavalier, or mounted to a
gooseneck stand by means
of the standard thread.
Prices: 647CH, $100.00;
647CL, $97.00, and 647CLS,
$105.00.
Enter No. 108
on Reader Service Card
Visonik Car Amplifier
The A201 E delivers
35 watts per channel into
`a
2 ohms and 20 watts oer
channel into 4 ohms, 20 Hz
-- - -. --
-) l] ill
1
9,14 ,0>>>
AUDIO/FEBRUARY 1982 13
THE DL-300 SERIES AUDIOCLINIC
JOSEPH GIOVANELLI
t
namics of the program. This allows the channel interference to the desired sig-
recording engineer to put many lines nal or where multipath distortion takes
very close together when the music is place.
soft, because there is little groove dis-
, placement during soft musical passages. Lowest Frequency
DL-303 The first of the
DL -300 Series, the DL -303
has repeatedly been judged
This in turn, means that there is little
chance of groove overlap. During highly
modulated passages, on the other hand,
- Q. How low can a pipe organ play?
James D. Gibbs, Cedar Rapids, Iowa
A. The lowest frequency produced by
"best of its class." It features groove spacing is widened and grooves most pipe organs is 32 Hz-corre-
Denon's cross -shaped coil
and dual cantilever design are deepened to allow for both greater sponding to what are known as "1 6 -
and a special tensioning lateral and vertical groove swings. foot" pipes. Some pipe organs have
device that maintains ultra- If this variable grooves -per -inch sys- what are known as "32 -foot" pipes;
high performance for tem were not used, the loudest volumes their lowest note is 16 Hz.
extended periods.
possible for long sides would be consid-
erably less. Straight and S -Shaped Tonearms
O. Does the use of a straight tonearm
Detects Deflect on a turntable have any advantages over
the use of an S-shaped one?- Michael
DENON O. Lately I have noticed that when the
selectivity switch for the FM section of
my receiver is in its "Narrow" position,
Lemieux, Rouses Point, N.Y.
A. The straight arm does not have any
-Imagine the signal strength meter deflects some- intrinsic advantages over an S-shaped
well
we'll program. Why should this be?
Cook, Albany, Ga.
-
what, in proportion to the audio of the
Larry
tonearm.
If you have a
A
14 AUDIO/FEBRUARY 1982
Enter No. 6 on Reader Service Card
e
I.
art LW .1 -
.o' '!',
EC) Quandary brought within three inches or less from Garage -Sale Find
O. have several classic perform-
I the tape. The magnetic fields emanating Q. t recently purchased an old-model
ances recorded during the 1940s and from your equipment are much less pow- open -reel deck at a garage sale for a
1950s by Horowitz, Toscanini, et al. and erful than that. You probably have more surprisingly low price of $45. When the
would like to do my own remastering be- than three inches of spacing between monitor switch is in the "tape" mode, I
fore putting them on tape. I hope to im-
prove the frequency range, remove colo-
ration, etc. For my purposes, which type
ment -
your cassettes and your audio equip-
or at least you should in order
to permit adequate air flow. Chances are
hear a strange noise from the right chan-
nel; it sounds like someone blowing con-
tinuously into a microphone. This sound
of equalizer would you recommend: very great that your cassettes would be gets recorded onto the tape, and I would
Input Inclination
ual, this requires that a 10 -kHz signal be A. The quality of limiters found in cas- Q. More and more I see ads for
injected at a -20 dB level, with the bias sette decks varies from one design to receivers which feature mike inputs and
then being adjusted according to a table another. For high fidelity, few serious re- mike/line mixing. If a recordist has a
quency? -
in the manual. How critical is this fre-
Howard Sanner, Jr., Hyatts-
cordists employ such a limiter. There-
fore, it is advisable that you switch out
tape deck as part of his system, what
considerations might make him decide
ville, Md.
A. Accuracy of the signal frequency is
fairly critical, so that you should have an
the limiter when making music record-
ings from which you expect maximum
fidelity. If your deck does not permit ycu
to use the mike inputs of the receiver
rather than those of the tape deck?
Melvin Spencer, San Juan Capistrano,
-
accurate signal generator. You should to shut off the limiter, then be careful in Cal.
probably be within 100 Hz of 10 kHz, recording not to let the record level A. One reason for preferring the re-
because slight bias changes have a fairly meter go above 0 VU. ceiver's mike facilities might be that it
pronounced effect on high -end response. To tell how good a job your deck is has a higher signal-to-noise ratio for
doing, make a tape of a phono disc and mike input. Another reason might be
Steeling Signal? play back the two in synchronization, al- higher gain when dealing with a weak
O. I have a Scandinavian -style audio ternating between them. If you hear little mike signal, and a third might be con-
and record storage system. It is de- or no difference, things are working well. venience of access.
signed so that I can place cassettes di-
rectly below or beside my receiver and Mike -to-Deck Matching Trigger Unhappy
tape deck. Although I'd like to do this, I O. Iwould like to use a microphone O. My cassette deck has an automat-
never have because of concern that the with an output impedance of 250 ohms ic shut-off device that is very "quick -
magnetic fields of the power transform- for recording on a tape deck that has a triggered." When the line voltage drops
ers of my equipment would slowly de- mike input impedance of 30,000 ohms. (for example when my air conditioner
stroy the signals on the tape. A friend Is this a problem? -Robert Shepard, goes on), it clicks off. Sometimes it oper-
suggested that I obtain some steel sheet, Elk Grove, Cal. ates fine for 10 or 12 hours but then
cut it to fit, and place it below or beside A. Ordinarily there is no problem shuts off several times in a row, which is
that of a bulk eraser, to have perceptible cable nearest to the deck to prevent a A. Yours appears to be an unusual
effect on audio tape, it would have to be possible loss of high frequencies. problem; no other reader has reported a
16
The greatest honor a cassette
can receive is to be held in
SA -X. Him Bias Is higher esteem than the one
now setting the high bias
R' It. standard. SA-X has already
gone beyond SA in frequency
response, sensitivity, and res-
olution. It was intended to.
With its ultra refined dual
'1v layer of Super Avilyn and the
similar one (yet). If you buy another Laboratory Standard Mech-
deck, the odds are that the problem will anism, nothing less was possi-
not recur, although of course can't
I
ble. TDK believes sound repro-
promise. duction should have no set
It seems a shame to replace an other-
barrier. No limit.
wise satisfactory deck for the reason giv- For us, high bias was a limit
en. Have you tried taking your complaint to be surpassed. SA -X has
to the manager of the factory, or to won three international audio
someone else at or near the top? Have awards to date. It will doubt-
you called your electric company to less win others.
check whether your line voltage is un- But we take awards philo-
usually low even at "normal" times? sophically. They represent our
Have you consulted an authorized ser- continuing effort to create the
vice shop instead of the factory? machine for your machine. In
If you are intent on a new deck, dis-
that, we could not be happier
cuss your problem with the dealer. If he with SA -X.
maintains a service shop, he will proba-
bly have a Variac which can vary the _ 7
Shopping Around
a
O. I am in the process of shopping for
cassette deck. Is there a good way to
compare decks? One store owner asked
*TDK®
THE MACHINE FOR YOUR MACHINE
-
01931 T0K Electronics Corp.
me what my taste in music is, but does Enter No. 25 on Reader Service Card
this really matter? David Hellman,
Suffern, N.Y. ,
A. It seems to me that your taste in
music is irrelevant to your choice of tape
deck.
Your first step in selecting a deck may v/fi9 /f,r
be on the basis of equipment reviews, .
price, and specifications, which should
give you a group of, say, half a dozen
from which to choose. Next, you should S".á 1411/4ZZI-,_ . ..
90
listen to the decks you have listed as
possibilities, and limit yourself to those 8,90
which seem most accurate when com-
paring the playback signal with the
/Cc
GC.
source (for example, using FM noise as
the source), and which seem to be the
least noisy in playback. Operating fea-
tures and conveniences would be sec-
ondary considerations, although not
necessarily unimportant. Stay with well-
known and reputable brand names, and COLORING has been a leader in Cartridge ing surface noise and prolonging record life.
inquire as to where you will have to go design since 1906. Now we've harnessed
space-age technology and materials to Hear the 900/IGC and the other 900 Series
for service if the need arises. If all other Cartridges from COLORING today. They re
produce the 900/IGC: the first Cartridge/
factors are about equal, it is great to engireered to get the most out of your
Stylus combination to give you esoteric
have an authorized service station near- performance at a down-to-earth price. quality record pressings at a price that's
by instead of having to settle for an un- surprisingly affordable. Write us or call.
authorized shop or having to ship one's We've incorporated an exceptional new We'll give you the name of the COLORING
deck to the manufacturer for service. á computerdesigned stylus created by Dutch Dealer nearest you.
AUDIO/FEBRUARY 1982 17
Enter No. 2 on Reader Service Card
CLASSICAL REVIEWS
EDWARD TATNALL CANBY
-
dents rapturously entering into the fun
they love it. Side 2, alas, is a lesser
effort though they try hard, a batch of 12
Ithink in future the Professor had bet-
ter stick to one-síders and leave the
other side blank.
ports, 155 N. San Vicente Blvd., Beverly
Hills, Cal. 9021 1.)
Sound: A- Recording:B+ Surface: A
rather labored songs for solos on the
signs of the zodiac, sung by the overly Handel: 7 Concerti Grossi (with Henry Purcell: The Complete Music
cultured voice of John Ferrante and the oboe), Op. 3. Smithsonian Chamber for Harpsichord. Robert Woolley.
grossly untutored and hideously out -of - Players, James Weaver. Nonesuch HB 73033, two discs, ster-
tune instrument of the Master himself, Smithsonian Collection N-023, two eo, $17.96.
who should keep out of harm's way. discs, stereo, $15.08. (Smithsonian Sound: A- Recording: A- Surface:B+
He's awful. He should shut up, say. I
Customer Service, P.O. Box 10230,
And let his music speak for him, not out Des Moines, Iowa 50336.) Here are two excellent harpsichord
of him. composers, neither one French, both
Sound: A- Recording: A Surfaces: A-
There are two pianists plus voices on clearly French -influenced. If you have
side 1, just like the prototype Brahms This is one of the most joyous Handel heard Couperin and Rameau, that
Liebeslieder waltzes, and even a few instrumental recordings I've heard in smooth, highly ornamented music with
touches of Brahms here and there. But
mostly we are treated to hilarious flashes
of all sorts of familiar composers and
- miraculously -
years, full of life, rhythm and verve and
also played with mu-
sicological correctness on actual period
the fanciful titles throughout, you'll know
what mean. William Christie plays with
I
Carton(s) of SONEX in grey at $39.95 each for a total of $ . (Include $1.50 for postage & handling per carton).
Carton(s) ofSONEXin brown at $39.95 each for a total of $ (Include $1.50 for postage & handling per carton).
NAME
STREET ADDRESS
MINIM
mil' Esotech Inc.
CITY STATE ZIP P.O. Box24068, Minneapolis, Mn 55424
VISA or MASTERCARD # Exp. Date 1-800-328-4081
Checks and money orders also accepted. In Minnesota (612) 934-5790
Enter No. 8 on Reader Service Card
THE COLUMN
MICHAEL TEARSON
JON & SALLY TIVEN
but the bulk of their fourth album is wast- eigner is quickly losing ground. Dubbing
ed on reprises of familiar territory. 4 a transitional album and reserving
"Break It Up" sounds like "Feels Like judgment until next time might be well
the First Time" meets "Blue Morning, advised, as it is at best a three -song al-
Blue Day" in a minor key dominated by bum. Jon & Sally Tiven
synthesizers, and it's a cliche that the
group's already worn out. "Nightlife,"
which kicks off the album, sounds re- Bella Donna: Stevie Nicks
markably like a reworking of a Ritchie Modern MR -38-139, stereo, $8.98.
Blackmore/Deep Purple riff. And "Juke Sound: B Performance: B
Box Hero" features lyrics that are awfully
reminiscent of Bad Company's "Shoot- With all the advance talk about Bella
ing Star," a dangerous road for Foreign- Donna, one could have expected some-
er to tread considering that they've been thing either incredibly off-the-wall brilliant
criticized right and left for sounding too or a huge failure, but in actuality Stevie
much like Bad Company throughout Nicks' first solo outing strays little from
their career. the style she's established with Fleet-
20
Angels session regulars - fairly right-
wing fellas, and not a new waver in the Tear It Up: Johnny Burnette & The Rock
Boogie," most notably), but no one has
been able to replicate the stinging ap-
bunch to mess with the low-key tone of & Roll Trio proach these guys had.
things. From "Outside the Rain" (which Solid Smoke SS -8001, mono, $6.98. The album kicks off with the chestnut
sounds just like an outtake from Ru- "The Train Kept A -Rollin" (a.k.a. "Stroll
mours) to "Edge of Seventeen" (which Sound: B Performance: A
On") and ends with "Honey Hush." The
was inspired by Tom Petty's wife) there's Any guitar aficionado who wonders Yardbirds incorporated both into one
not a thing here which could possibly of- what the inspiration was for Jeff Beck's tune and achieved great notoriety on
fend a Stevie Nicks fan, but nothing that riff -crazy Yardbirds soloing, or who stage and in the film "Blow Up." Songs
would convince a Ramones fan to buy thought that Scotty Moore (Elvis' axe - best known as Elvis Presley tunes are
Bella Donna either. man) was strictly one of a kind, must
-
given a rousing treatment here, songs
One must give Stevie credit where pick up this record. This was the band like "Lonesome Train" and "Baby, Let's
credit is due she is a unique singer that set fingerboards aflame across the Play House." But even though the songs
and a musical stylist who has stayed globe, even though in its day The Rock are definitely crucial, what makes these
completely within that given style, and & Roll Trio achieved only cult -hero sta- tracks so precious is Burlison's incredi-
disputed any claims that she doesn't tus. Johnny Burnette sings like the big- ble guitar stylings which have only been
have a coherent vision of her music. And gest hick that ever stepped in a cowpie, approximated, never duplicated. Per-
while Bella Donna may not be a particu- and the support by his brother Dorsey haps someone like Robert Gordon can
larly adventurous album, it is musically (on bass) and particularly lead guitarist pull Burlison out of retirement to contin-
sound and idiomatically distinctive, Paul Burlison kicks the proverbial mule's ue along the path on which he started;
which is nothing to scoff at in an age behind. Robert Gordon has championed few modern players can play with such
where blandness and amusicality are the the Burnettes by recording some of abandon yet maintain this level of preci-
trend. Jon & Sally Tiven these tunes on his records ("Rockabilly sion and intensity. Jon & Sally Tiven
Songs In the Attic: Billy Joel the earlier versions of said tunes from
Columbia TC 37461, stereo, $8.98. Cold Spring Harbor, Piano Man, and
Turnstiles. When he recorded these dit-
Sound: A Performance: B+ ties originally, Billy was more of a song-
It is not uncommon for established writer than a complete artist He
artists to want to rewrite history, i.e. re - had no mastery of the recording
mix or re-record those tracks they made process, his career was being
before they developed a "successful" controlled by people who
approach to the studio. This is the basis didn't have his interests at
of many live albums, and the reason why heart, and the Billy Joel per-
many of them are so abysmal is that the sona as we have come to
quality of the artist's performance actual- know it was still in its form-
ly deteriorated with age. The more they ative stages. The idea of
play their old standbys, the more medio- taking each song from the
cre they start to sound until they reach performance where it came
the point where all the life is drained off best seems to have worked
from them, i.e. Frampton Comes Alive. in his favor, and by not going for the
Billy Joel is an exception to many of typical two -record live set fornat
the rules, as he has actually improved he's avoided making this
with his rise to fame. The early Billy Joel stopgap record a burden.
i
was a minor irritation, a smug, self-pity-
ing brat who bitched and whined and
sold only a few records. The mass -mar-
to it, this album
which was actually
-
But when you get down
AUDIO/FEBRUARY 1982 21
7
!
Almost Blue: Elvis Costello & The At-
tractions
Columbia FC 37562, stereo, $8.98.
y4
p
e-
Sound: A Performance: B - n YW
Why country? Elvis' record label
hasn't had much success in the United
States selling him to an audience outside
of the FM rock cultists, which is good for
200,000 or 300,000 in sales but is
nothing compared to Journey, Styx, or
Foreigner. He has not been able to con-
nect with a hit single via the normal pop
route, and as country music seems to
have as much space on the AM band as
rock, it could be interpreted as a shrewd
move for Elvis to have recorded an al-
bum of country standards and not -so -
standards. But let us not ignore the fact
that Elvis' early demos and recordings
had a strong C&W tinge to them, and he i'ó
is able to approach the genre with the
tgi,...
y,
,aPrl
genuine passion of an alkie. d i r
Thus we have Almost Blue, Mr. Cos- .111.l
22
The powerful Speakerlab
Super 7 returns, now dramatically
improved with an open and clear
sound that's so awesome you'll °
a chance -
of a fascination with the occult here? Not
that would mean that Pat
was somehow connected emotionally
with the music on this album, and that,
friends, is hardly likely. Jon & Sally Tiven
Discipline: King Crimson tion of the group last seen on Red, with
Warner Bros./EG BSK 3629, stereo, the same excellent drummer Bill Bruford
$8.98. once again lending his talents to the
project. Studio whiz Tony Levin (ex -Carly
Sound: A Performance: B+ Simon, Peter Gabriel, et al.) and former
Having ended his flirtation with the Bowie/T-Heads accompanist Adrian Be-
contemporary music movement and re- lew add their talents on bass and guitar/
alizing the only difference between the vocals respectively, and the King Crim-
old music business and the new is a few son predilection for pyrotechnics is left
decimal places, Robert Fripp has revived pretty well intact. The most successful
that old dinosaur King Crimson to give pieces on the record are the ones which
himself a commercial vehicle to make sound like jam sessions, where the vo-
noise with. He still hasn't learned to play cals are an afterthought and kept to a
the blues, the lyrics on this latest record minimum. The strains of Mahavishnu Or-
are as pretentious as on any Crimson chestra, Jeff Beckisms, and other "influ-
record past, and he hasn't lost his flair ences" pop up but not to distraction,
for surrounding himself with fine musi- and at last Fripp seems to have settled
cians. In other words, Fripp's latest down into the groove of playing. This
record is his best in seven years, not time around, no more pop -music biz ex-
counting Another Green World. istentialism, no guitar flagellation, just
As one would expect, the King Crim- four people playing together and making
son of 1981 is somewhat of a continua- interesting music. Jon & Sally Tiven
M q
L
O co
C
rn C 9
AUDIO/FEBRUARY 1982 23 g
Enter No. 21 on Reader Service Card
FOLK3AG
TOM BINGHAM
-
group never becomes ponderous or too
many foibles and idiosyncrasies (such as who depends on pills and soap operas self -serious. They never lose the light
his refusal to sign autographs), Gatlin to get her through the day "Prince touch.
manages to maintain consistent levels of Valium and her daytime heroes/Have You can mail order Electricity for
artistic excellence and growth in the face saved her again." "Songwriters Trilo- $7.00 from Redbud Records, c/o Raw
of constant criticism. gy," a solo performance recorded live, Talent, Inc., Box 704, Bloomington, In-
1
Whereas many Nashville superstars describes three songwriters; the first two diana 47402. think you'll be glad you
I
who began as songwriters have all but are trying to make it, while the third is did. Michael Tearson
given up writing their own material (the Gatlin himself giving thanks for his suc-
commonly cited example being Mel cess. Somehow the genuine humility of
Tillis), Gatlin continues to write songs the third section of this song doesn't jibe Livin' on Honky Tonk Time: Joe Sun
that are increasingly more perceptive, with Gatlin's image as an egotist. with Shotgun
more thoughtful, more unflinching in The instrumental backing by Gatlin's Ovation OV 1755, stereo, $7.98.
their depiction of real -life characters in road band is polished and knowing. The
Sound: A Performance: A -
authentic situations, no matter how un- smoothly harmonized vocal blend of Lar-
pleasant they may sometimes appear. ry and his brothers Steve and Rudy has Joe Sun has had several hits in the
(Witness the flap over a Gatlin hit about rarely sounded more lushly alluring than past couple years, including the original
winos, with the memorable chorus, "Will on "It Don't Get No Better Than This," "Old Flames Can't Hold a Candle to
there be Mogen David in heaven/If not, "Until She Said Goodbye" (a quasi -blue- You" (to which Dolly Parton's remake
who the hell wants to go?") grass tune on the order of Gatlin's 1977 can't hold a candle), "Shotgun Rider"
Help Yourself may not be the overall hit, "I Wish You Were Someone I (which crossed over from country to
strongest collection of Larry Gatlin songs Love"), and the gospel quartet -flavored pop), and the recent "Bombed, Boozed
to date, yet not one track is below par, "Wind Is Bound to Change." and Busted." Somehow, though, he re -
of Nashville in awhile. "We're a Bunch But great material requires top-notch hear the big, gutsy voice of fellow Ova-
of Outlaws" is an uncompromising dec- singing to put it across. Aside from the tion artist Sheila Andrews harmonizing
laration of where Sun stands in regard to feeble yodel on "Bombed," that's ex- with Sun on Delbert McClinton's "Honky
traditional country -music propriety. "Bot- actly what Sun delivers. His bluesy, Tonkin'."
tom Line" is unvarnished blues-oriented earthy baritone digs into a song, extract- By now it's become a truism that
country along lines similar to Hank Wil- ing all the emotion that went into tha writ- there isn't that great a difference be-
liams' "Ramblin' Man." "Alabama ing of it. While he's at his best express- tween "hard" country and the "progres-
Rose" is a sorely under -regarded Gary ing pain and sorrow at midtempo and sive" sounds of the so-called outlaws.
Stewart piece which well deserves the slow -grind, "I'd Better Go Home (While I Nowhere is the connection between the
tremulously soulful treatment accorded it Still Got a Home)" shows him adept at two clearer than in the music of Joe Sun.
here. Veteran Boston writer John Lincoln more lighthearted upbeat songs as well. With an appeal that spans a broad range
Wright's "Please Pull Away from Me" is What's more, his reading of Bob Dylan's of the country -music audience and well
the honky-tonk ballad of the year, with "Knocking on Heaven's Door" is sui into rock, it shouldn't be long before Joe
one of the most heart -tugging melodies generis. Sun is right up there alongside Waylon
and heartbroken lyrics I've heard in a Perfectly complementing Sun's vo- and Willie, not to mention Merle and
long, long time. Sam Weedman's "Hobo cals is his regular road band, Shotgun George. Tom Bingham
convince you...listen!
NEWTK100LC
slljIrielc.4701 HUDSON DRIVE; STOW, OH 44224
-
_ __ __ -
qua-
-
e Cons a
Equalization Is used in many, curacy, specifying exactly what the sition or corner frequencies).
many parts of the audio chain. equalization must accomplish and using Without any equalization, record -play-
as a standard practice, and in- terms such as time constant and turn- back response of a tape would exhibit
deed there are several equal- over frequency. A filter is the "how" of pronounced bass and treble losses. Fac-
ization standards which must be fol- this equation, the way in which the tors responsible include the tendency of
lowed closely by manufacturers if their equalization is accomplished, and filters the output of a magnetic playback head
equipment is to interface properly with are composed of resistors and capaci- to drop at the rate of 6 dB per octave as
other pieces of gear and with software. tors, Rs and Cs. frequency declines. Treble losses on the
While we think of the "normal" response For background, let us review the tape are also due to the magnetic phe-
of this gear as "flat," in many cases we
are comparing the unit against a stand-
ard which is not at all flat. One example
equipment -
basics of equalization in home audio
tape, phono, and FM.
Two essential reasons for equalization
nomenon of self -demagnetization, and
due to application of bias in recording;
such losses increase with frequency,
of such a standard is the RIAA response are to improve S/N (signal-to-noise ra- with reduction in tape speed, with bias;
curve established by the Recording In- tio), and to compensate for losses in a and they vary with tape formulation.
dustry Association of America for phono reproducing medium. Minimization of Treble' losses, usually relatively small,
stage response in preamplifiers, integrat- distortion is a further consideration in de- also occur in the record and playback
ed amplifiers, and receivers. ciding how much equalization to apply heads.
Broadly defined, equalization is the and at what frequencies. Therefore, a tape system requires
changing of a frequency band or range Industry standards for tape, phono, compensating bass boost and treble
upwards or downwards in level, that is, and FM call for specific playback equal- boost to achieve flat response. Bass
ization curves, usually defined in terms boost is supplied largely in playback,
changing its voltage level up or down.
The precise industry definitions, which
insure compatibility between parts of the
audio chain, go much further in their ac-
of those mysterious µS (microseconds)
but also often defined in terms of turn-
over frequencies (sometimes called tran-
and should conform to a standard play-
back curve stipulated by the industry
which curve depends on tape speed.
-
26
r
t
2 d -f
OEa
RATE
III
III
T, µs
25
f, Hz
6366
b
111111\: i,]¡ /DEER OCTAVE
I
I1111I_I11 lI1 1
368
AT
ABOVE LOWER
5D, 5
IRE;
ale IRE; TIKE
TINE
70
75
2274
2122
111111IIIIII\IAN.
1I
90 1768
IIIInKIMLIID!,
5
20
111111111111RII `i
100
"ER
103
SHELF 318
1590
500
100
FREQUENCY- Nr 3180 50
-3/
where response is 3 dB above or 3
dB below a stated level may differ
not only restores flat response but also from those for 71/2 ips. At ips, bass
attenuates noise, which is predominant boost begins at 1,768 Hz (f2) and ends
in the treble region. at 50 Hz (f1); at /8 ips, it begins at
1
The simplest case is that of FM, either 1,326 Hz (ferric oxide tapes) or
where stations are required to provide a 2,274 Hz (chrome, chrome equivalent,
specified amount of treble boost in order
to permit an improvement in S/N
the same way as for phono discs. The
in - and metal tapes), and ends at 100 Hz.
From Turnovers
FM tuner should therefore provide stand- To Time Constants
ard treble cut, which restores flat re- At the preference of engineers, stand-
sponse and reduces noise. Standard ard playback curves are more often de-
treble boost (at the station) and cut (at fined in terms of time constants than
the tuner) are less for a Dolby signal than turnover frequencies. However, one defi-
for a non -Dolby one, with a view to min- nition is easily convertible into the other.
28 AUDIO/FEBRUARY 1982
Truth...
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CARNIVAL 3, FESTIVAL 3 and PAGEANT 3 offer
in consequence exemplary sound reproduction,
PAC E4 T3 pleasing, tasteful appearance and unrivalled value
for money. And that's the truth...
.-.
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,, tt
%%//
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lJ/NrW/HH///A1//N?H/
'1;111111111.1111
b
.,
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/Q ,,>`'
/
Mordaunt-Short Inc
Importers and Distributors of
Mordaunt-Short HighFidelity Loudspeaker Systems O
0e"áy
1919 Middle Country Road. Centereach N Y 11720
/oF¢
Telephone (516) 981-0066 Ise /
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//
Q`e
. [2- MS .
Hz R2
R 'ir«
The physical meaning of time con- denoting opposition to current flow in an
ohm Xc. stant will be explored later. Here we will electrical circuit. Resistance is the im-
just state the simple mathematical rela- pedance presented by a resistor, while
dB tionship between turnover frequencies
and time constants, enabling the au-
reactance is the impedance presented
by a capacitor (or by an inductor, which
diophile to readily convert one into the will not be further discussed here
other: inasmuch as inductors are seldom used
t = 159,155/t, (1) for standard playback equalization, al-
t = 159,155/f, (2) though are often used for other audio
Two essential reasons where f is frequency in Hz and t is time purposes such as equalizers, speaker
for equalization are to constant in S.
The equalization curve of Fig. is de- 1
crossover networks, etc.). The combined
effect of a resistor and capacitor is called
improve S/N and to fined as having time constants of t1 = impedance; all types of impedance are
compensate for losses 3,180 µS and t2 = 50 µS. From Equa- measured in ohms.
tion we obtain:
1 A resistor presents equal resistance at
in a reproducing f1 = 159,155/3,180 all audio frequencies, while a capacitor
medium. = 50 Hz, presents decreasing reactance as fre-
f2 = 159,155/50 quency rises. Therefore C in Fig. 2
= 3,183 Hz. behaves more and more like a short cir-
To take an inverse example, the cuit of the output signal as frequency
standard FM de -emphasis curve for non - rises; in other words, treble response
Dolby signals has a turnover frequency declines. By choosing suitable values of
of 2,122 Hz (treble response 3 dB down R and C, a designer can achieve a de-
at this frequency, and continuing to de- sired turnover frequency at which re-
cline at a rate approaching 6 dB per oc- sponse will be down 3 dB. In the case of
tave). Equation 2 converts this into a a non -Dolby FM signal, the desired turn-
time constant: over is 2,122 Hz (or time constant of 75
t = 159,155/2,122 µS). For a Dolby signal, the turnover is
= 75 µS. 6,366 Hz (25 µS).
Table shows the relationship be-
1 By adding one resistor to Fig. 2, the
tween t and f for the time constants and designer can produce bass boost, for
turnover frequencies generally encoun- example that of Fig. 1. The revised cir-
tered in home audio systems. cuit appears in Fig. 3. The added resis-
tor, R2, is much smaller than R1; its pur-
-20 1111111 RESPONSE iO\ duce the curve of Fig. 1, the R1, R2,
and C components would be chosen to
111111111=11111111111n R6 PEROCTAVE
ABA.APPROACHING
III produce turnover frequency f1 at 50 Hz,
FREQUENCY - N= and turnover f2 at 3,183 Hz; the respec-
tive time constants are 3,180 and 50
µS. (It may be noted that the circuit of
Equalization Circuits Fig. 3 is only one of several ways of
Tape, phono, and FM playback equ- achieving bass boost.)
alization customarily employ combina-
tions of resistance (R) and capacitance Time Constants
(C) in what are therefore called RC cir- Let's refer again to the basic equaliza-
--
cuits. To illustrate, Fig. 2 shows a simple tion circuit of Fig. 2, which produces
but basic circuit containing one resistor treble cut. The turnover frequency at
and one capacitor. This circuit produces which response is 3 dB down occurs
treble cut, such as needed for FM de - when the reactance of C equals the re-
emphasis. sistance of R. Why this is so is explained
Before continuing we should review in the final section.
the terms impedance, resistance, and Capacitive reactance in ohms is X, =-
reactance. Impedance is a general term, 1 /21-rfC, where f is in Hz, C is in farads,
30
f,
2 M
S .
Hz R2
R 7C
and n = 3.1416. At the turnover fre-
quency, since X, = R, we thus have R = R2 as Rt. Turnover frequency f1 -
the input signal. We may refer to R1 +
50 ohm Xc. i
1 /2nfC. Transposing
C, we obtain RC
= 1 /21-1f at the turnover frequency.
The time constant, t, is RC. We may
mum -
Hz, where response is 3 dB below maxi-
is determined by At and C. If a
constant voltage were applied to Rt and dB.
simplify by substituting 3.1416 for TT, C in series, it would require 3,180 mil- f2
yielding: lionths of one second to charge C to
t = RC = 0.159155/f. (3) 63.2% of the applied voltage.
In the circuit of Fig. 2, the input signal
charges C through R. It can be shown A basic knowlege
mathematically or by experiment that RC
Turnover Response of
Referring to Fig. 2, we stated earlier
is the time in seconds required for a con- that the turnover frequency f occurs
what the circuit designer
stant voltage to charge C to 63.2% of
this voltage. For example, if R = 10
when the impedances of C and R are intends goes a long way
equal. Accordingly, the signal voltages
ohms, C = 1 farad, and 100 volts d.c. Is across C and R are equal. It may seem towards understanding
applied across the series combination of
R and C, it would take 10 seconds to
that half of the input voltage appears at many parts of the
the output, namely across C. If this were
develop 63.2 volts across C. true, there would be a 6 dB drop in re- audio chain.
In audio we generally use capaci- sponse at f. Actually, though, the drop in
tances far smaller than one farad. A response at f is 3 dB.
more convenient unit of capacitance is The proportion of the input signal ap-
the microfarad (µF) -one millionth of pearing across C in Fig. 2 depends on
one farad. Since the numerical value of the ratio between the reactance of C and
C, and therefore of t, is then increased the combined impedance of R and C; in
by a factor of 1,000,000, we must com- short, on the ratio X,/Z, where Z is the
pensate by changing our unit of time combined impedance. We cannot simply
from one second to one -millionth second add R and X, to obtain Z, because the
f 1- TURNOVER DETERMINED
(µS). Thus we obtain:
t = RC = 159,155/f, (4)
voltages across R and C are out of
phase. Instead we must use vector addi-
/ BY Rt AND C
with tin µS and C in µF, but with R still in tion (akin to the manner in which we ob- RESPONSE CURVE
ohms and f still in Hz. tain the hypotenuse from the le s of a (AS IN FIGURE I)
In audio the time constant is generally right triangle). That is, Z = R + X, .
f
if the circuit of Fig. 2 consists of a
75,000 -ohm resistor and a 0.001-µF f2- TURNOVER DETERMINED
over, the signal across C is proportional BY R2 AND C
capacitor, the RC product is 75, and the to X,/Xe /
= 1 = 0.7071. And
time constant is 75 µS. It takes 75 mil- 0.7071 of the input signal represents a
lionths of one second to charge the ca- drop of 3 dB. RI (LARGE)
pacitor to 63.2% of a constant applied Referring to At and C in Fig. 3, for the
voltage. same reason we obtain a 3 dB drop in
Of what importance is this to the au- response at turnover f1, when the reac- OUTPUT
diophile? Well... the intent of this article tance of C equals the resistance of Rt. R2
SIGNAL
INPUT
is only to explain, not defend, the use of And for similar reasons we obtain a 3 dB SIGNAL (SMALL)
time constants in defining equalization rise in response at turnover f 2, when the
circuits. reactance of C equals the resistance of Rt = RI + R2
As previously pointed out, standard
71/2-ips playback equalization, shown in
Fig. 1, can be produced by a circuit
R2.
A review of high school math is not at
all what was intended here; rather,
Fig. 3 - Bass boost
--
such as Fig. 3. Turnover frequency f2
3,183 Hz, where response is up 3
we've gone through some of the basic
formulas to show how engineers can
produced by an RC circuit.
(Assumptions about source
and load impedances
dB is determined by R2 and C in Fig.
3. At that frequency the reactance of C
must equal the resistance of R2, and the
with very good accuracy -
determine how their circuits will respond
before they
ever put the circuit on the test bench.
as in Fig. 2.)
product of R2 x C must be 50, with R2 Whether or not you ever work out one of
in ohms and C in µF. If a constant volt- these problems for yourself, a basic
age were applied to R2 and C in series, knowledge of what the circuit designer
it would require 50 millionths of one sec- intends, as well as the tools he actually
ond to charge C to 63.2% of the applied uses in a circuit, goes a long way to-
voltage. wards providing a good understanding
Al C, and R2 are all in series with of many parts of the audio chain.
,
á
AUDIO/FEBRUARY 1982
31
+
° ' Ire
11our
`
v
óóI'//I//
'/
1'01'40",,',
i/i/Íi/40/'i
140,.._____..._,......_
i,
LOUIS A.
ABBAGNARO*
he .,
oise Leducthbo
y or
ecords
With the advent of The 16 -bit digital tape recorders have
digital technology in an average signal-to-noise ratio of about
/ =
recording
the balance between
the dynamic range of studio tapes and
studios, 80 to 85 dB which becomes 97 dB
when one allows for peak factors. By
comparison, today's phonograph re-
records has been upset. Prior to digital, cords have an average signal-to-noise
a professional analog tape recorder with ratio of only 60 to 65 dB, which is ap-
Dolby A playing at a speed of 15 ips proximately 20 dB poorer than the new
had an average signal-to-noise ratio of digital tapes. Thus, while the record is
about 73 dB with an allowable peak reasonably well matched to analog
headroom of approximately 12 dB, tapes, it is limited when used with digital
yielding a total dynamic range of 85 dB. software. What this means is that if one
Multi -track mixdown often added some aligns a digital tape and a record with
noise which reduced this dynamic range the same music, the loud musical pas-
by a few dB. sages will sound similar but the soft mu-
sical passages which are noise -free on
Director of Sound Reproduction the tape will be cluttered with noise on
Technology, CBS Technology
Center, Stamford, Conn. the record.
Since the dynamic range of the record is feeling for the the dynamic range of a regular record is
limited by surface noise, our goal was to CX process, ex- indicated as 65 dB from the loudest av-
achieve an essentially "noise -free" amine the graph- erage music to the record surface noise.
record. This led us to re-examine the use ic illustration in Fig. 1. In Fig. 1A, the
of compansion (i.e., signal compression dynamic range of a digital master tape is
during recording and expansion during shown. Here we see the average level of
playback) on records, an old idea but the loud music, the average level of the Table I
one whose time had now arrived for re- soft music, and the tape noise floor. The
cords. The result of these efforts led to range from loud music to tape noise is Average signal-to-noise ratio of
the development of a compatible noise - 85 dB. Assuming the tape has been well tapes and records. (Add 12 dB
reduction system for records which we mastered, the soft music passages are to these figures to obtain peak
call CX. recorded sufficiently above the tape signal-to-noise ratios).
The goals set for CX were simple but noise. Thus, when soft passages are re- Professional analog
challenging, namely: played the music is heard but not the tape with Dolby A 70 - 75 dB
Expand the dynamic range of con- noise. For explanation purposes, a 16 -bit digital tape 80 85
- dB
ventional records by 20 dB to equal that sound level scale is shown in Fig. 1. If
-
Modern stereo record 60 - 65 dB
of professional digital source tapes; the loudest average music is adjusted to Future digital record 80 - 85 dB
Compatibility i.e., the CX record be reproduced at a sound level of 110 CX-decoded record 80 - 85 dB
must sound like an average record when dB in the home, the tape noise floor is
34
CX-ENCODED CX-DECOOED
If the music on the digital tape is trans- Fig. 1-Dynamic PROFESSIONAL
DIGITAL
CONVENTIONAL
RECORD RECORD RECORD
TAPE
ferred directly to this record, the soft mu- range of profes- 14) uD
sic passages lie at or below the level of sional digital tape (A), o LOr
LOUD LOUD
LOUD
the record surface noise. Upon play- conventional [14°c MUSIC MUSIC MUSIC
/
MUSIC
SOFT
known as "ocean roar," since it often -65
SOFT
MUSIC,
I TAPE
MUSIC 45
NOISE
companied by a gritty sound and dis- TAPE NOISE TAPE NOISE
RECORD SURFACE
NOISE
crete ticks and pops. The noise encom- (A) (B) (Cl (0)
AUDIO/FEBRUARY 1982
35
I., t: 41 Rti 1r1.1.1 Fig. 3-CX
a i I>.vE
compression and
expansion functions.
S 5
o
O
We didn't introduce
CX to get into the (X
CX EXPANSION
consumer
the best record
possible. 60
-60 -40 -20
COMPRESSOR/EXPANDER INPUT
on the best studio master tapes. Fig. 4-Block SIGNAL PATH (LEFT) VARIABLE
(LEFT)
The record noise spectrum of Fig. 2 diagram of TIME CONSTANT
LGAIN
36
a selective manner in which all high-level
The CX System
Fig. 3, an input signal at 0 -dB level has
an identical output level, i.e., 0 -dB gain,
while an input signal of -40 dB has an
output level of -20 dB, for a 20 -dB gain. Rather than rely on rumors both. First, about compatibility. We
This nonlinear gain function provides a and unknowledgeable com- have never stated that a CX-processed
relative increase of 20 dB between soft ments, we felt it best to go disc, played undecoded, is identical
and loud music sounds as indicated pre- straight to the source and to, say, a direct -to -disc recording or to
viously in Fig. 1. Below -40 dB, no fur- ask some tough questions of the man a digitally mastered recording. We do
ther gain increase occurs; however, low- who wrote the main portion of this arti- say that the undecoded CX disc is ac-
level signals are still boosted by 20 dB, cle, Lou Abbagnaro, and of Bob Jam- ceptably good, and we make three
i.e., -60 dB input becomes -40 dB out- ieson, Vice President, Marketing and points about this undecoded state.
put, etc. Creative Operations, for the CBS Re- One is that there is no change in the
The CX expander provides for a com- cords Group. relative balance of the operational mu-
plementary process which expands Audio: There has been a lot of talk in sic frequencies, and two, we have
high-level signals at a 1:2 rate and pro- the trade about the CX system's com- smooth dynamic performance, both
vides no expansion of low-level signals. patibility claim, since it is a sort of Holy with and without the decoder, so that
Note that the expansion curve is a mirror Grail for noise -reduction system de- one isn't aware of listening to a com-
image of the compression curve. Thus, a signers. I think that most folks are lis- pressed record. Third, while we do
signal at -30 dB when compressed be- tening for an identical sound between bring up the low-level material, which
comes -15 dB; when the -15 dB signal is an unprocessed or non-CX disc and a does reduce dynamic range overall,
expanded, it returns to -30 dB. CX disc played without the decoder. In such a reduction is suitable to the ma-
The choice of the CX compression
and expansion slopes is based on psy-
choacoustic considerations which are
nounced thing - -
my own listening tests, the most pro-
medium to loud passages. Our studies cords, though admit that it is certainly
I question is .. .
indicated that any slope at low levels not the same program on each of the Audio: Pardon me here. There are at
other than 1:1 would cause a modula- discs. It's my understanding that some least three big stories in the trade press
tion of both record surface and tape
noise which could often be detected
when listening to the record both with
of the mastering' guys at the cutting
houses are complaining about two
items, that they feel there is an unac-
mastering -
which quote some big names in
one guy says "disaster,
not compatible," while another says
and without the decoder. Since 20 dB of ceptable loss of dynamic range and "pure, unadulterated junk." And these
noise reduction was required, we chose changes in the frequency response are well-known names; what you're
the 2:1 rate for high-level signals and re- with the undecoded CX disc. Who saying is that guys were shooting from
turned to 1:1 for low-level signals. This wants to comment on this? the hip, that they had not listened to
choice aids in providing the required Abbagnaro: You're really asking two the system?
smooth dynamic performance essential questions, and I'd like to answer them Abbagnaro: That's right, exactly right.
to this system and yielding the desired It is my understanding that they had not
20 dB of noise reduction. had a chance to fully evaluate the sys-
Because of the "knee" in the com- tem. But it is important to put this into
pression and expansion curves, they perspective. The compatibility issue,
should ideally be matched. This requires we believe, won't be as important if the
standardization during recording and CX system takes hold as strongly as
TAPE
playback. Such standardization is we believe it will. But in the meantime,
achieved by defining the 0 -reference we don't want consumers without CX
level in Fig. 3 such that it corresponds to
a velocity on the record at 1 kHz of 3.54
cm/S rms. All records are mastered
t
AL
OUT
IN
equipment to have any problems, to re-
act lo a CX-encoded disc as if it were
an inferior quality record. We think that
around this reference point to insure that much of the new equipment, still to be
every manufacturer's records will play introduced, will incorporate CX decod-
equally well on all playback equipment. ing. Until then, it's important to us to
This recording specification, however, have the consumer feel the records
does not limit in any manner the levels
AUDIO/FEBRUARY 1982 37
The Country Music Foundation, Nashville, Tennessee,
is proud to announce its Official Archive Collection
-
.
Audio: Okay, you're getting over into to our relationship with the artists and sees on the hardware side and two or
hardware costs now, so it might be producers that it is simply wrong to three software makers. But the list of
good just to review how the royalty ar- crack down in such a fashion. We feel records so far released is only 17 titles
rangement and how the costs to the that the best way to introduce this sys- long, and all of these are from CBS.
consumer situations actually do work tem is to win acceptance by showing What's taking so long, particularly in
out. You announced in May of last year these people its advantages. I have the classical area where there seems to
that you weren't going to charge more had no comments from anybody that be only one release so far? When are
for your CX-encoded discs and that the the system degrades the program the other guys going to release discs?
technology was going to be available when the CX disc is played in decoded Abaggnaro: Let me come to Bob
to the rest of the record industry on a fashion. Even those folks who are de- Jamieson's defense on this one. First I
royalty-free basis. The hardware pres- tractors say that the decoded record is have to point out that he is the third
ently costs from about $50.00 or so to superior to the record system we now man to have charge of this project dur-
$100.00, all in outboard black box for- regularly deal with. ing that year period, and that's going to
mat (with one exception), though this The CX system isn't so simple to im- slow anything down. Also, we didn't of-
will obviously change quite rapidly plement that you just decide to use i1 ficially introduce the system to the
once the IC chips from National Semi- and then just flip a switch. It takes ex- press until May of 1981, so that you
conductor start coming through. So, pertise to handle it in the right way. We first heard about it somewhat early.
then, what will the cost be to the buyer feel we owe the producers of records Now, I assume you know something
of a receiver, for example, during the the courtesy of sharing our knowledge about the leadtime required between
fall of 1982? How much will 20 dB of of the system, because once they have the initial announcement of a system
noise reduction for, say, the 150 re- this knowledge, and become aware of such as CX and the actual widespread
cords available then cost him? what the system can do, we think they incorporation of the system into the
will become convinced that the CX hardware. The same applies to disc
disc is an improvement over existing production.
Í records. Jamieson: We really can't answer for
1
1 Audio: Is this, then, a matter of artist the plans of any other software maker,
and manager option, of contractual ob- just as we wouldn't want them making
ligation? commitments for us. However, can I
If Jamieson: In some cases, there may say on our own behalf that about the
be a contractual obligation involved, time this article appears you will have
but more basically, we are not going to seen an obvious step-up in the rate of
put out any CX records which are a CX releases, so that by the end of
surprise to the artists. We are going to March there will be about 60 to 70 ti-
all of our artists and asking them to lis- tles available. Also, we have just heard
ten to test pressings. Certainly, we that RCA is going to be putting the CX
would like them all to adopt the CX sys- system into their SelectaVision.
tem, but if they have any doubts or any Audio: Okay, one more question. One
42
used to record CX records. Thus, CX re-
of the products of the rumor mill is that cords can be mastered at levels equal to
there is going to be a double inventory non -encoded records with the same pro-
situation on the CX discs, just as there gram material.
was with the various types of quad re- Since a playback calibration is also
cords. My highly placed source at The required, a small CX calibration record
Mill also says that there were some containing 3.54 cm/S reference tones
"test releases" early last year to see if is supplied with the decoders. When the
the CX disc was truly compatible, that decoder is first installed, the record is
is, undetectable from an ordinary unen- played through the decoder and the 0 - CX-encoded records
coded record, and that one of these
discs was the Korngold Violanta. One
reference level is adjusted. The entire
calibration process takes less than one
will yield average
of Audio's esteemed competitors gave minute and is required only upon instal-
record quality
this disc a "Recording of Special Mer- lation of the decoder or when a cartridge when played on
it" award but found the "recorded
sound compressed, lacking in warmth,
is changed. Once calibrated, all CX re-
cords are played without any further ad-
existing stereo
and unkind to the singers." Could you justments. equipment without
comment on this?
Abbagnaro: This gets back to the
When non-CX records are played, the decoding.
decoder should be switched out. While
compatibility question again. It's our playing a non-CX record through a de-
belief that the CX disc, played unde- coder will reduce its noise, the resulting
coded, exhibits no frequency response music program may not be acceptable also track small changes in the musical
changes from the recording pressed in from a listening standpoint. program rather than reaching an accept-
the standard way, and that there are no The reduction of noise with a corn- able average level. This produces a
changes in the dynamics which will be panding system is a dynamic function: modulation distortion of the audio pro-
objectionable or, in most cases, notice- When the music is soft, maximum com- gram material. What appears to be
able to the user. However, with the par- pression and re -expansion occur to pro- needed is a circuit which can alternate
ticular recording you mention, there vide the maximum noise reduction. With between fast and slow operation in re-
were some test pressings made, and loud music, very little compression and sponse to changes in music dynamics
unfortunately it was one of these which expansion are required since the noise is and also ignore small changes which
appears to have gone out to that re- naturally masked by the music As this could induce modulation distortion. This
viewer. As say, however, when the
I
implies, the noise floor is continuously is what CX circuitry provides.
system is set up correctly, we believe moving depending upon the level of the
there are no anomalies or difficulties music program material. A good corn-
that would be objectionable. panding system must handle this motion The CX decoder
Audio: One last question. With your smoothly so that noise modulation is not or expansion cir-
major investment in studio equipment audible. With the CX system, this pre- cuit is shown in
of the analog persuasion, are you sim- sented a dual design problem since the Fig. 4. It's com-
ply introducing the CX system to stall program material is listened to both with prised of left and right variable -gain am-
off conversion to digital? Or at least un- and without an expander. plifiers (VGA) whose gain is determined
til there is a viable system that's digital One obvious solution is to allow only by a common control path arranged in a
all the way through from the disc and very slow transitions of the noise as a feed -forward loop. The CX compressor
pick-up to amplifier, if not the speaker? function of time, which would not be no- is identical except the control path is ar-
Jamieson: If understand it correctly,
I
ticeable to listeners. This requires the ranged in a feedback loop.
CBS is in the music business, so that design of a system with a very long time To discuss operation of the CX ex-
whatever the consumer wants, what- constant in the control path. The prob- pander, assume a properly CX-encoded
ever the configuration, we will be there. lem with such a system is that it will also source of music is driving the decoder.
We didn't introduce the CX system to respond slowly to rapid changes in musi- Note that the left and right channels pro-
get into a noise -reduction race or com- cal program dynamics, rendering it un- ceed directly to the VGAs, whose gain is
petition, but rather to improve the tech- able to follow the typical attacks and de- determined by the central control path.
nology of recording, to give the con- cays of the music. Alternately, if one pro- Thus, except for the variable gain func-
sumer the best record possible. We ceeds to design a system to respond tion, no other alteration of the audio sig-
simply have the technology to make a quickly to music dynamics, a fast attack nal occurs.
better record and we're going to make and relatively fast decay are required. In the control path, the left and right
it available. But whatever that technolo- The drawback with this system is that it signals pass through a 100 -Hz high-
gy, it is the consumer who's going to will move the noise floor about in a rapid pass filter which lets the main portion of
make the final decision, and we will manner and produce noticeable noise the audio program control the gain but
deal with that decision whenever it modulation which is heard as a "swish- eliminates very low frequency signals. Its
comes and whatever it is. ing" sound. In addition, it can be shown primary purpose is to ensure that low-
that a Continuously fast-acting circuit will frequency rumble components on the
AUDIO/FEBRUARY 1982 43
on large increasing forward changes in (decays). As a signal decays from a loud
Hardware Licensees the control signal and, hence, work on to a soft level, the ear will readjust its
For the CX System signal attacks. The diodes shown with listening after about 200 mS and begin
these filters serve two functions: For for- to focus attention or the soft portion of
Advanced Audio Systems Int'l. ward -biased signals, they provide a the music. If a fast decay persists after
Applied Technology dead band which inhibits operation until 200 mS, it will continue to adjust the
Audio Teck Industries a large signal change occurs, and for re- gain rapidly during a time when the mu-
Audionics verse biased signals, they inhibit opera- sic no longer masks any tape or record
Backes & Muller tion for all signal levels. Filter F2, the 30- noise. This noise change may then be-
CM Labs mS high pass, allows a rapid response come audible as an undesirable breath-
MXR to the attack signal. This attack signal, ing or swishing sound. With the CX cir-
Micro-Trak however, often contains unwanted ripple cuit, F3 allows a rapid decrease in signal
Nakamichi components associated with small level during the period when the ear has
Phase Linear changes in the music dynamics which not readjusted to the soft music. After
Phoenix Industries can produce a modulation distortion. 200 mS, F3 no longer functions and F4,
Sound Concepts Filter F2 thus is cut off rapidly and filter F, the 2-S filter, handles the remaining de-
Soundcraftsmen takes over. Because F, is a low-pass cay. Even if noise is now perceived, it
Súperscope/Marantz filter, the unwanted ripple is removed. will appear as a steady component and
Telefunken Since the summation of the outputs of F1 undesirable breathing effects will be
Three additional licensees are ap- and F2 provides the final control, the fast eliminated from the output signal.
plying the CX noise -reduction system attack is handled smoothly and ripple The multipath CX control circuit was
to video technology: MGM/CBS Home components are removed after a few mil- the result of extensive engineering de-
Video, RCA SelectaVision, and Univer- liseconds. While the ripple can be pres- sign and psychoacoustic evaluations
sal Pioneer. ent momentarily, the time is too short for which provided an optimum determina-
the ear to detect any distortion. This pro- tion of time constants, and the same net-
record cannot activate the control path. vides clean response to any music tran- work operates in both the CX compres-
Next, /he left and right channel signals sients which occur. sor and expander yielding smooth dy-
are full -wave rectified, creating a d.c. Filter F4 is continuously in operation namic performance for both the encod-
control signal which is compared against but provides primary control only when ed and decoded music. This is a must
a d.c. reference (Vc). If neither the left no major changes are occurring in music for compatibility. Moreover, the control
nor right signal is greater than Vc, the dynamics; its time constant is 2 S. Filter circuit can be embodied in a simple cir-
control path gain is fixed as is the gain of F3 works only on signal decays, and the cuit configuration which is amenable to
the two VGAs. The system thus operates reverse -biased diode again serves two large-scale integration, and can be real-
with a 1:1 gain over this region. When functions: Namely, it prevents any re- ized with a single integrated circuit and a
either the left or right channel inputs ex- sponse for forward -biased signals (at- few external resistors and capacitors.
ceed Vc, the control path gain increases tacks) and it allows response only for This means CX decoders will be low in
directly with the input. At the VGAs both large changes in reverse -biased signals cost as an add-on to existing stereo sys-
the signal and control path gain increase
together. The output signal thus increas-
es at twice the rate as the input signal on Table II
a logarithmic basis; i.e. a 6 -dB change
Overall album ratings. Reviewers were asked
in the input produces a 12 -dB change in
"How would you rate this album overall?"
the output. This is the 1:2 gain portion of
the expansion curve in Fig. 3.
Pictures Brahms' Rampal's Boiling/
The signal next passes through a fast
At An Fourth Great Zuckerman
attack (1 mS) and decay (10 mS) circuit. Exhibition (CX Encoded) Hits (CX Encoded)
As explained earlier, such a circuit, if
used alone, provides good response for
rapid transitions but also produces audi-
ble noise motion and modulation distor-
1
2
Rating
(Worst) -
100% 100% 100% 100%
5%
tion. To handle these transitions, a multi-
ple -time -constant circuit is used which
operates rapidly for large changes in mu-
sic dynamics and slowly during steady
3
4
5
-
10%
5%
10
5%
10
10 10
5
5
6 10 10 15 19
portions of the program.
7 25 15 15 15
The multiple -time -constant circuit 8 25 25 20 20
comprises four filter paths with specially 9 10 20 15 20
selected time constants. Two of these 10 (Best) 10 15 10 10
filter paths, F,, the 30-mS low pass, and
Mean 7.6 7.7 7.0 6.8
F2, the 30-mS high pass, operate only
44
tems or as an added feature for stereo indicate that the CX-encoded records
receivers or preamps. were rated equally to the non -encoded
records. In Table II, the scores for many WLVEwENCE LEVEL -,
attributes are shown, and again the CX-
Prior to releasing encoded and conventional records
the CX system, received equal ratings. Notice that in the
extensive testing dynamic range category the CX record
was done to en- compression did not appear to be obvi-
sure that both the encoded and decoded ous to these listeners. While we cannot
versions of the record would be accept- guarantee tnat every record will encode CX does not eliminate
able to discriminating music listeners. In
one of these tests, four classical record-
compatibly with CX, the results of these
tests led us to believe that compatibility
the need for proper
ings were distributed to 500 consumers. was possible for a wide range of records record care but
Two of these records were CX encoded
and two were standard CBS Master-
and that the compatible product would ensures many more
works releases. All four records were in
be acceptable to the majority of listen-
ers. Moreover, critical listeners will prob- noise -free plays if
standard jackets and contained no mark- ably be the first to buy decoders and ob- proper care is taken.
ings to indicate any special encoding. tain the full CX benefit of a noise -free
Consumers listened to the four records record.
on their home systems without any CX As has often been reported, proper
decoding equipment. Their systems record care is important to maintain con-
were above average in quality, with an tinued low -noise playback. While it might What this means is that large noise
average retail cost of about $1400. The seem that a CX noise -reducing decoder signals on a record, such as those which
listeners were classical music buffs who would eliminate this need, the answer is would be produced by a deep scratch of
purchased more than 25 record albums not strictly true. Because of the manner the record surface, will be audible even
per year on average. in which CX (and many other noise-re- when played back through a CX decod-
These listeners were asked to fill out duction systems) operates, it reduces the er. Dirty records can also accumulate
questionnaires summarizing their opin- residual surface noise and other low- large dust globules which will produce
ions after auditioning each record. They level signals by 20 dB. High-level signals impulse noise sounds which are also au-
rated each category on a scale of 1 to are reduced by smaller amounts until fi- dible through the decoder. Thus, CX
10. Table I shows the overall consumer nally a 0 -dB (3.54 cm/S) signal receives does not eliminate the need for proper
rating of these four albums. The results no gain reduction. record care, but it does ensure that prop-
erly cared for records will provide many
more noise -free plays than will non-CX
Table 111 records.
Ratings on album attributes; 1 is worst and 10 is best. CBS has initiated the release of CX
albums and will continue to enlarge the
Pictures Brahms' Rampal's Bolling/ CX-encoded library. All encoded records
Attributes At An Fourth Great Zuckerman are marked with the CX logo on the label
Exhibition (CX Encoded) Hits (CX Encoded) and jacket for consumer identification
and cost no more than conventional re-
Type of music 8.2 8.6 6.9 6.7 cords. Initial releases have received
Placement (separation) good acceptance from consumers and
of the instruments 8.2 8.2 7.8 7.7 audio reviewers even though most listen-
Quality of sound ers do not yet own CX decoders. This
reproduction 8.2 8.1 7.7 7.8 would appear to support the claimed
Uniqueness of the compatibility of the CX system.
sound 7.2 7.3 7.0 7.4 CX decoders are available from sev-
Orchestral arrange- eral companies, and the opening of this
ment 8.2 8.2 7.0 7.3 article displays several units. The CX
Tone quality 8.1 7.9 7.7 7.6 logo is placed on the front panel of each
Surface quality 7.3 7.6 7.3 7.6 decoder for consumer identification.
Elimination of back- Both the number of decoders and CX-
ground interference 7.9 7.9 7.8 7.9 encoded records will be increasing in the
Musical (instrumental) next few months. In 1982 several
blend 8.1 8.1 7.7 7.7 preamps and receivers containing CX
Assortment of musical circuitry will also be in the marketplace.
selections 7.8 8.2 6.8 7.1 Thus, CX will soon be available for all
Dynamic range 8.0 7.9 7.4 7.5 consumers who wish to listen to music in
the absence of record noise. A
AUDIO/FEBRUARY 1982 45
EQUIPMENT PROFILE
. P .1! ,r ,
.
,. 'I
_ 1 .
_ Jt
OFF
SPEAKERS
A
1 g -_
4
TREBLE
.t
4= 6LMt
c a. s-uL
.7
-28
-30
-24
-26
p -ta--y
-3 7 -34
-38
1Lí4 INTEGRATED AMPLIFIER -
I 5 AU -D11
AR,I Ftt13t03W.uD4OOd0C
-
_J2
_54 ti
-60
-70
POWER
PHONES
-2
-,
BASS
0
.,
_ r]aoMt
Tao
o
(-FILTERS
te1,t =o
-
=
-
MUTING
-
2
VOLUsd
BALANO
t
u
-3 d 1
3
y L ,5014 4
S
.5 art
J
---
----
I kHz
20 Hz
20 kHz
IN OUT
iT
OH
panel. Nearby, we find the usual phone jack plus calibrated bass
TUNER. SOURCl
and treble controls, each augmented by two pushbuttons which
2
.S'I-2 select the crossover frequency for each of these tone controls
.S2-1 (300 or 150 Hz for the bass control; 3 or 6 kHz for the treble).
Tone defeat, high -cut and subsonic filters, muting switches and
associated indicator lights occupy the center section of the pan-
el. To the right are a passive, accurately calibrated, step-type
master volume control and a smaller, center-detent channel bal-
47
The Sansui AU -D11 does
everything a top -grade
amp should do and does
it as well as any product
I have ever tested.
.
Fig. 3-Equalized RIAA
response, AU -D11
amplifier. Maximum Fig.4-Bass and treble
deviation from RIAA was control range for each
+0.2 dB at 15.5 kHz. turnover frequency.
ance control. The two tape monitor circuits of the AU -D11 are distortion for signal frequencies of 1 kHz, 10 Hz and 20 kHz are
controlled by means of two slim switches with indicator lights, plotted in Fig. 2. Damping factor, referred to 8 -ohm loads and
and next to these is a record selector switch which allows you to using a 50 -Hz test signal, measured 140. also measured CCIR-
I
feed one program source (such as tuner or another tape deck) to IM distortion, using a variety of twin -tone test signals of equal
your recording deck while listening to any other source. Above amplitude equivalent to rated output (each of the two twin tones
this switch are a pair of tiny pushbuttons which select either MC is 3 dB below rated output so that their combination adds up to
or MM phono preamplification and, if MC is selected, a choice of the rms voltage equivalent of full rated output). Worst -case re-
two gain levels (sensitivities of either 100 or 200 µV for rated sults for this form of IM distortion measured 0.0029%, or barely
output). Finally, the main input selector switch, replete with tiny measurable. The twin -tone IM measurement method was ex-
indicator lights, is located at the upper right corner. tended to include an IHF-IM measurement. This involves taking
The rear panel of the AU -D11 contains the usual array of into consideration any and all IM components that appear within
phono-tip input and tape -out jacks, two pairs of color -coded the audio spectrum, from 20 Hz to 20 kHz. The analysis is made
speaker terminals, and a total of three a.c. convenience recepta- on the basis of a spectrum analyzer display whose dynamic
cles (one switched, two unswitched). There are no external fuses range is limited to 80 dB. can therefore report only that the IHF-
I
or circuit breaker reset buttons accessible to the user at the rear IM for this amplifier was less than 0.01 %, as low as am able to
I
only two amplifier sections in the AU -D11, the phono equalizer measure) and is, in my opinion, a more easily measured (and,
and the power amp. When the tone controls are defeated, the therefore, more meaningful) specification than slew rate or
output of the equalizer section goes directly to the power amp square -wave rise -time.
and then on to the speaker systems without encountering any
coupling capacitors in the signal path. Preamplifier Measurements
The equalizer is of the high -gain d.c.-servo type. It features a Input sensitivities for the various input terminals of the AU-
differential input formed of a dual FET, followed by Sansui's DI 1were measured with respect to -watt output (as prescribed
1
previously mentioned DD/DC circuit and a true complementary in the EIA Amplifier Standards), putting them approximately 21
single -ended push-pull output. As for the power amplifier sec- dB lower than specified by Sansui, who still refers these mea-
tion, in its driver stage a pair of differential circuits in a symmetri- surements to rated output. Input sensitivity for MM phono mea-
cal design are connected to each other as dual -complementary sured 0.24 mV, while for the two settings (high and low gain) of
differentials. The power output stage has a differential input, fed the MC phono inputs, measured 9 and 18 microvolts respec-
I
with a constant current source, formed by a low -noise, high tively. The high-level (tuner, AUX, tape) inputs required 27 milli-
current dual FET. volts of input to produce 1 -watt output with the volume control
set to maximum.
Power Amplifier Measurements Phono overload in the MM phono mode measured 200 milli-
The AU -D11 delivered 136 watts per channel before clip- volts for a 1 -kHz signal, while in the MC mode it measured 18
ping. At rated output (1 20 watts per channel, 8 ohms), harmonic millivolts, or a bit better than the 16 mV claimed by Sansui. My
distortion and SMPTE-IM distortion were both equal to 0.002% signal-to-noise results are not directly comparable to those pub-
or lower (that level of distortion being the limit imposed by the lished by Sansui s nce, again, am using the method endorsed
I
signal generating source itself). Power output versus harmonic in the EIA Amplifier Measurement Standards (a fixed input of 5
48 AUDIO/FEBRUARY 1982
As for sound quality,
I can't think of anything
Sansui might have done to
make the AU -D11
any better.
mV to the MM phono, 0.5 mV to MC, and 0.5 volt for high-level 500 Hz or kHz. Since both the subsonic and the low-pass filter
1
inputs, with the volume control adjusted to produce one watt of circuits of the AU -D11 are set at or beyond the audio range
output from the amplifier). In this case, no direct comparison can extremes (16 Hz for the subsonic filter, 20 kHz for the high -cut
be made with Sansui's published specs. MM phono S/N mea- circuit), it was not possible to graphically illustrate their action.
sured a very high 86 dB, while the MC inputs offered a signal-to- Suffice it to say that both filters began to cut response exactly as
noise ratio of 72 dB. Signal-to-noise for the high-level inputs specified and at the slope specified by Sansui.
measured 88 dB, while hum and noise of the power amp sec-
tion alone (with the master volume control turned down to mini- Use and Listening Tests
mum) measured 96 dB. This last figure can be translated to It is difficult to say whether or not Sansui's unique Super-
Sansui's type of S/N measurement by simply adding 21 dB to Feedforward and DD/DC circuitry actually contributes directly to
my result, to obtain a figure of 117 dB relative to rated output. sound reproduction. However, the AU -D11 delivered totally
By using a highly accurate inverted RIAA signal fed to the transparent and accurate sound reproduction when hooked up
phono section of this amplifier and with the record -out terminal to reference speakers and fed with a variety of source material
connected to a Sound Technology 1500 audio analyzer, came I from my latest collection of digitally mastered classical and jazz
up with the "almost ruler flat" phono response curve shown in discs. Actually, aside from being curious about such possible
Fig. 3. The plot is from 20 Hz to 20 kHz, and vertical sensitivity correlation, the question becomes academic. The Sansui AU-
of the display has been expanded to 2 dB per division. The DI 1, in my opinion, does everything that a top -grade integrated
"cursor" (vertical dotted line) has been set to the "worst" devia- amplifier should do and does it as well as any product have I
tion from RIAA, which occurred at 15.5 kHz and amounted to ever tested. A few more frills 'might have been incorporated on
no more than +0.2 dB error. the back panel, such as selectable MM phono input loads
Particularly pleasing was the action of the bass and treble (choice of capacitance values, etc.), but these are matters that
tone controls of the AU -D11. As you can see from Fig. 4, even the knowledgeable audio enthusiast can easily take care of
when the "inner" turnover points of 300 Hz and 3 kHz are externally. As for sound quality, can't think of anything that
I
chosen, the midrange frequency area remains relatively Sansui might have done to make the AU -D1 1 any better.
unaltered. In my view, this is an arrangement that is far prefera- Leonard Feldman
ble to having the controls "hinged" about a common point at Enter No. 90 on Reader Service Card
Etinowicx
The musical accuracy of Bryston components is a Reduces multipath Silver plated brass joints
revelation. Every note emerges with perfect clar- problems for ultra -sensitive signal
passage
ity from a background of silence, then vanishes. Up to twice the power of
iI
The progression of musical events seems real, the conventioral dipole Built to withstand weather
antenna stands just 76" tall
tangible, almost visual in its presentation.... 1
Bryston believes there is a need for reference Receives from all May be mounted on a
fiers, and our Model 1B preamplifier. Their only Test it yourself! We offer an ho Is lo -goodness 30 day MONEYBACK
reason for existing is to provide the most faithful guarantee. If It doesn't measure pq"o your standards, send it back for a
refund of the purchase price. - g
electronic rendition of a musical signal possible
The suggested list price lot Stereo One is $69.95.
within the bounds of available technology. Write BUY DIRECT AND SAVE $10.00
to us and we'll tell you how we do it, and where Send your check or money order for
Manufacturer's Specifications
Frequency Response: 20 Hz to 20
kHz, ±2 dB.
Channel Balance: Within 2 dB at 1
kHz.
Channel Separation: 25 dB at 1 kHz.
Sensitivity: 6.5 mV ±1.5 dB at 5 cm
per second.
Static Compliance: Lateral, 24 mm/
N; vertical, 16 mm/N.
Vertical Tracking Angle: 24 degrees.
Recommended Load Impedance: 47
kilohms.
Recommended Tracking Force: 1.0
GOLDRING to 2.5 grams.
Price: $125.00.
G-920 IGC
CARTRIDGE
qlb
vo
_-
920
J
IGC
Goldring was among the first manu- is stated to be 3.5 microns, which is van den Hul type stylus was the G-900
facturers to use the van den Hul stylus pretty close to the radius of a typical IGC, which is still at the top of the line at
type, a chisel -shape design shown in record cutter stylus. The inventor, Alk $240.00. The model selected for re-
Fig. 1. It bears a certain resemblance to Jouk van den Hul, used an IBM 370 viewing here is the G-920 IGC, which is
the well-known Shibata configuration, computer to optimize the design, which a later version using a modified stylus
but instead of facets, the surfaces con- has to take into account tip mass and which they call the van den Hul II. Ac-
tacting the record are ground into tracing distortion, among other factors. cording to Goldring, this stylus shape
smooth curves. The actual contact area The first Goldring cartridge to use a has the major axis reduced and the mi -
50
nor radius enlarged to "produce a less
radical shape compatible with a wider
"I I i!I -711
range of tonearms and is simpler to
make." The price has certainly been re-
$125.00 -
duced, as the G-920 lists at only
slightly more than half the
G -900's price. The G-920 employs the
same basic construction as the G-900,
with the four coils wound as double pairs
without joins. Weight of the cartridge is
only 4.25 grams and there is a neat de-
tachable stylus guard. Inductance is
Fig. 2 -
Frequency
response and separation
R1:14u C+ - Nt
stated as being 570 mH, and the rated with a 180-pF load (see
output is higher than average at 6.5 mV text).
is stated to be 0.45 mg -
at 5 cm/S velocity. Equivalent tip mass
a little higher
than the G -900's 0.32 but still lower
than most top-quality cartridges these
days. Or VAN DEN HUL
GROOVE WALLS
II STYWS
Measurements
For test purposes, the cartridge was I -ELLIPTICAL STYLUS
mounted on a Sony PS -X800 SLT turn-
table, and the tracking force was set at RELATIVE CONTACT AREA tr..r.., V11...1., yr
1 .25 grams. The first test was frequency
performance in this area was excellent, rienced with mistracking, though must I this figure is now somewhere in the mid-
as the cartridge was able to track all admit that did keep the tracking force dle of the range. My judgment must
-
I
bands on the big drum test on Shure's set at 1 .75 grams just to be on the safe therefore be that the G-920 offers very
Obstacle Course Era Ill even when side. Best results will be had with low- to good value indeed, and will be of partic-
the tracking force was reduced to 1 medium -mass arms. ular interest to those who face budget
gram. However, to cleanly track the The sound quality of the Goldring limitations and also desire a cartridge
Deutsches Hi -Fi No. 2 test disc's 300 -Hz Model G-920 was notable for a tight with a van den Hul stylus.
80 -pm band, the tracking force had to bass, and there is an almost analytical George W. Tillett
be increased to 2.5 grams. It must be character of the response in the treble Enter No. 91 on Reader Service Card
AUDIO/FEBRUARY 1982 51
EQUIPMENT PROFILE
MOP
Amber
series 70
o
ROWEa
Amber Electronics, an audio equip- nals, while five-way, 3/4 -inch spaced No schematic diagram was included
ment manufacturer located in Charlottes- binding posts, color coded for polarity, with the Series 70 amplifier, but accord-
ville, Virginia, informs us that this ampli- are used for speaker connections. These ing to the owner's booklet and from ob-
fier, as well as all of their other products, will accept standard double banana servation of the amp's construction,
has been completely designed and man- plugs, but stripped ends of speaker there are no capacitors in feedback
ufactured in the United States. The Se- cables can easily be connected directly loops and no parallel output devices. A
ries 70 amp is a basic power amplifier to the terminals. There are no fewer than low-pass filter excludes signals above
that operates with either 8- or 4 -ohm seven fuse holders on this surface as 100 kHz, thereby eliminating the possi-
loads in stereo and can also be operated well. Four of these take care of the posi- bility of slew -limiting distortion and TIM.
in a bridged or mono mode, under which tive and negative legs of each channel's (There are those who have argued that
conditions its rated power output in- high voltage (B+ and B-) supplies, an- bandwidth limiting is not the way to re-
creases to 200 watts into an 8 -ohm load other pair is in the positive lines of the duce these problems, but we'll leave
with no more than 0.25% harmonic or speaker outputs, while the final fuse is a that to the audio philosophers.) A high-
IM distortion. 4 -ampere, slow -blow line fuse. The pass filter is used to block d.c. transients
The front panel of the amplifier con- speaker fuses, as supplied by Amber, from being amplified, and don't think
I
tains no controls other than a power on/ are 3 -ampere types, although the brief, anyone will argue against keeping d.c.
off switch and an indicator light which four -page owner's booklet which accom- away from speaker voice -coils if at all
illuminates when power is turned on. The panies the amplifier includes a table of possible! The amplifier is constructed in
back panel is equipped with all of the fuse values that may be substituted, de- a modular fashion so that all circuit com-
necessary input and output terminals. pending upon speaker impedance and ponents, with the exception of the power
Phono tip jacks are used as input termi- power handling capacity. supply, are mounted on replaceable p.c.
52
boards measuring about four inches 3.0 Hz to 100 kHz for the -3 dB roll -off 01114,LOADS
0 -014.1 LOADS
square. The chassis is made of 6 - 1 point. CCIF IM distortion (the production
gauge steel and has, am told, over six
I of a -kHz IM tone when two high -fre-
1
tI08`N
0.1%, while with 4 -ohm loads, the rated amplitude is the equivalent (added to-
78,04 r108W
THD level of 0.25% was reached when gether) of 70 watts rated output. The
output power was 108 watts per chan- unwanted components generated at the
nel. Figure 2 plots SMPTE-IM distortion right of the display at 6, 17 and 18 kHz
1
as a function of output power and results are summed mathematically (the square
were quite similar, with 78 watts per root of the sum of the squares of their
channel delivered for the rated IM level amplitudes) and expressed as a percent-
with 8 -ohm loads and 108 watts per age of the reference rated output level to Fig. 2-SMPTE IM
channel obtained under 4 -ohm load con- arrive at an IHF IM figure of 0.06%. distortion vs. power
ditions. Using the FTC power rule as a output.
criterion, agree with Amber that the
I
-
I
it. In fact, under musical conditions, the low power output levels in an effort to Fig. 3-Distortion vs.
Series 70 exhibited a full .0 dB of dy-
1 detect any evidence of notch or switch- frequency.
namic headroom, which is not a very big ing distortion and could detect none of
headroom number but nevertheless ro. I
these effects either. The amplifier ran
so
means that for short, musical transient quite cool, even after several hours of
signals operating into 8 -ohm loads, the reproducing program material in my lis- il
amplifier can deliver as much as 88 tening room at fairly loud volume levels tt
watts or so per channel without audible using reference speakers not particularly ti
clipping. noted for their high efficiency.
Damping factor (again using 8 -ohm It's nice to find a young company 11
11
loads as a reference) measured around turning out good audio equipment in as
90 for a 50 -Hz test signal. Input sensitivi- unlikely a place as Charlottesville, Virgin-
ty for rated output was exactly 1.1 volt, ia, and certainly wish them every suc-
I
while A -weighted signal-to-noise ratio, cess with this product as well as with fu-
measured 105 dB -
referred to the 70 -watt rated output,
considerably bet-
ter than the 90 dB claimed by Amber. I
tion -
ture ones. If might make one sugges-
I
wonder if they are measuring S/N ac- little four -page 8 Y2 x 51/2 pamphlet as an small amount of IHF IM
cording to IHF standards, since 90 dB owner's manual. There's a lot more they distortion within the
for a power amp is hardly anything to could have told the user about the ampli- audible spectrum. Note:
brag about these days. Slew rate did fier that would have instilled confidence Sweep is linear, from 20
measure approximately 20 volts per mi- in its use. After all, not everyone buying Hz to 20 kHz, so log scale
crosecond, as claimed. As for frequency it will put it through the tough lab tests at top of display should be
response, it extended from 6 Hz to 30 that did.
I Leonard Feldman Ignored (see text).
kHz for a -1 .0 dB roll -off point or from Enter No. 92 on Reader Service Card
AUDIO/FEBRUARY 1982 53
EQUIPMENT PROFILE
A Manufacturer's Specifications
Type: Moving magnet, low impedance.
Stylus Type: Nude stereohedron.
Tip Dimensions: 8 x 71 microns.
Channel Balance: Within
kHz.
Channel Separation: 35 dB at
D.c. Resistance: 3 ohms.
1 dB at
1 kHz.
1
STANTON ~NM
98OLZS
CARTRIDGE . srRaNn
TO
98ai.ZS
net. It is, indeed, a rare MC cartridge that has a user -replaceable (brush removed), with an anti -skating force of 1 .8 grams. The
stylus assembly. The 98OLZS is a lightweight cartridge in con- cartridge, when lightly tapped, was found to be slightly micro -
trast to the usual heavy MC cartridges, thus increasing its track- phonic. As is my practice, measurements were made on both
ing ability on warped records. Because of its low -impedance channels, but only the left channel is reported unless there is a
coils, the 98OLZS moving -magnet cartridge permits the use of significant difference between the two channels in which case
long cables, being insensitive to capacitive loading. The usual both channels are reported for a given measurement.
removable Stanton "longhair" brush is a part of the cartridge Frequency response, using Columbia's STR-170, was +0.5
body, cleaning the groove surfaces just before playing, and, at dB, -0.75 dB from 40 Hz to 7.5 kHz and -0.5 dB to +3.75 dB
the same time, is intended to stabilize the tonearm. from 8 to 20 kHz, with +3.75 dB measured at 19 kHz. Separa-
The body of the 98OLZS consists of a chrome -finished hous- tion was 25.5 dB at 1 kHz, 23.8 dB at 10 kHz, 28 dB at 15
ing and a clear plastic stylus assembly housing. As usual, the kHz, and 25.8 dB at 20 kHz. Using the JVC TRS-1005 test
54
5dB lk,,tww..
1
- - 1
FREQUENCY Hz
square wave.
Fig 1 Frequency response.
record, the left -channel frequency response was +0, -0.5 dB bands on the Shure Obstacle Course - Era Ill. The cartridge
from 1 to 10 kHz, +1 dB at 15 kHz, +1.2 dB at 20 kHz, -0.5
dB at 30 kHz, -2.5 dB at 40 kHz, and -5.5 dB at 50 kHz. The
right -channel frequency response was +0, -0.2 dB from 1 to 8
did not sound bright despite the rise in frequency response at
the 12 to 20 kHz region. On the Shure Obstacle Course Era
IV, the cartridge presented a hint of possible break-up on level 5
-
kHz, +0.25 dB at 10 kHz, +0.75 dB at 15 kHz, +0.5 dB at 20 of the flute passage and an intermodulation type of distortion
kHz, -2 dB at 30 kHz, -1 dB at 40 kHz, and -3.25 dB at 50 was becoming evident at level 5 of the harp -and -flute and flute -
kHz. Left -channel separation was 21.5 dB at 1 kHz, 23.5 dB at and -orchestral bells test bands. Level 5 bands of these two com-
15 kHz, and 16 dB at 50 kHz, while the right -channel separa- binations are recorded at velocities greater than 45 and 54 cm/
tion was 28.25 dB at 1 kHz, 24 dB at 15 kHz, 18.8 dB at 30 S, respectively. It is, indeed, a rare phono cartridge that can
kHz, and 20.8 dB at 50 kHz. From these data it is evident that reproduce these bands cleanly. Overall, the Stanton 98OLZS
the frequency response of the 98OLZS cartridge is excellent performed superbly in being able to track such difficult test re-
despite some output differences between the two channels be- cords. It should be pointed out, however, that it is a rare com-
yond 20 kHz, and the high -frequency separation is most satis- mercially available phonograph record that has musical signals
factory across the entire measured audio spectrum. with a recorded velocity greater than 20 cm/S.
The 1 -kHz square -wave response shows a large overshoot
followed by rapidly decaying, high -frequency ringing, a typical Use and Listening Tests
square -wave response for a moving -coil phono cartridge; this is As usual, performed many hours of listening tests both be-
I
the square -wave response, of course, of an MM type. The car- fore and after measurements. During the period after measure-
tridge -arm low -frequency lateral resonance was a bit low at 6.5 ments felt that the BA -26 pre -preamplifier, though excellent,
I
Hz at an amplitude of +1 dB; vertical resonance was also 6.5 was a bit too noisy for my listening taste, so continued the
I
Hz. The effect of this rather low resonance was not evident when listening evaluation using the Audio Standards MX-10A pre -
playing records. preamplifier or the Ortofon T-30 wide -band transformer in the
The following test records were used in making the reported 48 -ohm switch position. While listening to a wide variety of re-
measurements: Columbia STR-170, STR-100, STR-1 12; Shure cords, was continually aware that the 98OLZS sounded like a
I
TTR-103, TTR-109, TTR-1 10, TTR-1 15; Deutsches Hi -Fi No. 2; moving -coil cartridge. The bass was well defined and tight with
JVC TRS-1005; Nippon Columbia Audio Technical Record good sonic clarity, as well as transient response and applause
(PCM) XL -7004; B & K OR -2010, and the Ortofon Direct -Cut definition. Transparency of sound was excellent when reproduc-
Pickup Test Record 0001. ing the high recorded levels present on most direct -to -disc re-
Wt., 5.4 g; tracking force, 1.5 g; anti -skating, 1.8 g; direct cordings. At no time did notice any coloration of the music. The
I
output, 167 µV (0.05 mV/cm/S), output through the BA -26 98OLZS is also, one of the very few phono cartridges that can
head amplifier, 0.83 mV/cm/S; IM distortion: (4:1) +9 dB later- cleanly reproduce the cannon fire on the Telarc DG -10041 re-
al, 200/4000 Hz, 1.1%; +6 dB vertical, 200/4000 Hz, 4.3%; cording of Tchaikovsky's 1812.
crosstalk (using Shure TTR-109), 30 dB; channel balance, 0.3 My final aural assessment of the 98OLZS was made listening
dB; trackability: high freq. (10.8 kHz, pulsed), 30 cm/S; mid- to dbx-encoded records, thus eliminating the record -surface
freq. (1000 and 1500 Hz, lat. cut), 31.5 cm/S; low freq. (400 noise that constantly competes with the recorded music. During
and 4000 Hz, lat. cut), 24 cm/S; Deutsches Hi -Fi No. 2 300 -Hz this listening period, it became quite evident that the cartridge
test band was tracked cleanly to 95 microns (0.0095 cm), later- was reproducing instrument definition to an even greater degree
al at 17.9 cm/S at +10.33 dB and 43 microns (0.0043 cm), than had noticed in the past.
I
vertical at 8.12 cm/S at +3.64 dB. These last measurements The 98OLZS may open a new era in phono cartridge design
made with the German record are quite remarkable, inasmuch philosophy. Certainly, the 98OLZS merits serious consideration
as it is an extremely rare phono cartridge that is able to track by all music lovers and, in particular, by those who espouse the
more than about 86 microns on this test record. merits and philosophy of the MC phono cartridge. B. V. Pisha
The 98OLZS phono cartridge cleanly played all the test Enter No. 93 on Reader Service Card
AUDIO/FEBRUARY 1982 55
EQUIPMENT PROFILE
KEF 105
SERIES II
LOUDSPEAKER
56
The Model 105 Series II, hereafter referred to as 105.2, is an
improved version of the very successful KEF Model 105. Exten-
sive computer analysis, backed up by an equally extensive pro-
gram of subjective listening, has led to this second -generation,
top -of -the -line system from KEF Electronics Limited.
A three-way loudspeaker system, the drive units are posi-
tioned so as to retain the subjectively important time relation-
ships of the original sound, and the enclosures are contoured to
reduce sound field disturbances. The bass chamber has been
extensively braced to eliminate residual resonances which were
discovered by computer -assisted analysis, and the woofer itself
is mechanically isolated from the enclosure by vibration isolators
to reduce coloration in the lower midrange frequencies.
A 300 -mm (12 -inch) woofer covers the range from 38 Hz to
400 Hz. A 110 -mm (5 -inch) cone unit carries the frequencies
from 400 Hz to 2500 Hz, while a 50 -mm (2 -inch) dome tweeter
radiates frequencies above 2500 Hz. The crossover network is
of extremely advanced design, providing not only correction for
the acoustic amplitude and phase response of the drivers but
the impedance presented to the power amplifier. In addition a
particular response, fourth -order Linkwitz-Riley filter was chosen
to keep the main acoustic lobe of the polar pattern coincident
with the design axis of the loudspeaker at all frequencies. This
Fig. 1 -
Magnitude of
impedance.
necessitates computer matching of all driver units used in a
stereo pair of systems.
The separate head assembly, which houses the midrange
and tweeter units, can be rotated and tilted to position the opti-
mum acoustic axis toward. the preferred listening position. A ±7
degree vertical tilt and ±30 degree horizontal rotation is provid-
ed by the housing assembly. A light -emitting diode (LED) can be
energized by moderate level audio when a switch on the rear of
the housing is set to "listening window" position. The glow is
visible only within the optimum listening areas. This ingenious
assembly allows rapid setup for the most uniform direct sound
from the midrange and tweeter. Once adjusted for best listening
position, the switch can then be used to convert the light to a 2 kHz
peak level indicator, which glows when the peak -to -peak ampli-
fier voltage exceeds that required to deliver its rated output pow-
er into 8 ohms. Peak level settings of 50, 60, 80, 100, 125,
150 and 200 watts adequately cover most amplifiers that might
be used with this speaker.
Connection is made to well -marked terminals on the rear of
the enclosure. An excellent set of installation instructions leads
the user through a step-by-step procedure, and even the least
technically oriented user should be able to set up the system for
optimum sound quality.
Measurements
The impedance at the terminals of the KEF 105.2 is plotted in
Fig. 1, and the corresponding complex impedance, which in-
cludes the phase angle, is shown in Fig. 2. The lowest value of
impedance through the audio band is 7.5 ohms and occurs at
12 kHz. Since this is a transition from capacitive to inductive
reactance, the high -frequency impedance will present no ampli-
fier loading problems. Even the worst -case loading, which oc-
Fig. 2 -
Complex terminal
Impedance.
curs around 3.1 kHz with a 43 degree capacitive reactive angle,
is high enough to present no difficulty. It is technically interesting
to note that the KEF impedance rises below 20 Hz to approach
the properties of a capacitor, and this is caused by a network
within the electronic crossover. The system does not conduct
AUDIO/FEBRUARY 1982 57
My overall impression of
tonal quality was of general
smoothness throughout the
audible frequency range.
Fig. 3- Anechoic
,amplitude response at one
U
voltage drive
corresponding to one
-
Fig. 4 Anechoic phase
response at ore meter
of 3.5103 mS and (b) the
tweeter's air-path delay of
meter with constant average watt into 8 ohms. corrected for (a) the 3.3057 mS.
midrange's air -path delay
ON -AXIS
30' LEFTCHANNEL
, STEREO POSITION
I.0
f RE Q(/Ef (' -
- -
_
current at zero frequency, so a d.c. offset in a power amplifier transition, which indicates the apparent crossover frequency,
cannot pull the woofer cone away from the center of the driver's occurs at around 5 kHz. The phase measurements are present-
magnetic gap. This is a desirable feature because subsonic am- ed as two plots, one corrected for tweeter air -path delay and the
plifier signals, excited by asymmetric music conditions, cannot other corrected for midrange air -path delay.
cause woofer "breathing" that might create a peculiar form of The three -meter room response is plotted in Fig. 5. The mi-
crossmodulation distortion at robust sound levels. crophone is positioned in a conventional listening location three
The amplitude and phase parts of the frequency response are meters from the speaker and one meter above a carpeted floor.
shown in Figs. 3 and 4 respectively. KEF is very specific in The KEF 105.2 was positioned 50 centimeters from a back wall,
defining the listening geometry for the optimum direct sound according to KEF recommendations, and the frequency spec-
response, using the built-in indicator light to define the optimum trum of the first 13 milliseconds of sound to arrive at the measur-
listening axis. These anechoic measurements, which corre- ing position is shown. Later sound arrivals, due to room reflec-
spond to the direct sound, were accordingly made with the mea- tions, are screened out of this measurement.
suring microphone bore-sighted with this indicator light. The am- The direct sound is quite uniform over the full frequency
plitude response is, indeed, the most uniform in this position. range. Response variations below about 1500 Hz are principally
The arrival times do not precisely coincide for sound from the due to reflections from the carpeted floor and amount to only
tweeter and midrange units, which are contained within the head ±2 dB. This measurement indicates that spectral balance of
assembly that mounts on the top of the woofer enclosure. The dynamic program material should be quite good. The uniformity
phase response, Fig. 4, shows that the time delay for the of front position as well as stereo position (30 degrees off front
tweeter is 3.3057 milliseconds, and that of the midrange is axis with the high -frequency head pointed toward the measuring
3.5103 milliseconds when the microphone is positioned one microphone) indicates a good stereo lateralization capability for
meter from the front of the KEF enclosure. The phase response the KEF 105.2.
58 AUDIO/FEBRUARY 1982
Loran" is the cassette of the future .. . tape can stand up to being accidenta ly left Every Loran tape comes with a full life-
but it's here right now. The original and near a source of excessive hea: in your time warranty. Listen to Loran. The new
only heat res'stant cassette shell and tape home or in your ca-. It is indeed the finest generation of cassettes is here right now.
that withstands the oven temperatures of quality tape availa5`e today.
a car dashboard in the sun. Testing proves
Loran also has exclusive features not
that even TDK or Maxell cannot take this
available on any other cassette. Safety LORAN 90 I
kind of punishment.
Tabs" (patent pending) prevent accidertal
With Loran, you'll capture a full range erasures. But unlike other cassettes, you
of sound as you've rever heard it before. can restore its erase and record capabilities
Tape that delivers rr agnificent reproduc- simply by turning the Tab screw a V2 turr.
tion of highs`and lows, along with an excep- Our Hub,Lock (patent pending, secures
CHROME
tionally low background noise level. Super the tape tothe but ín such a way that the mho ... ,0....0
sensitive with an ex:remely high maximum harder it is pulled ¡he tighter it's held. Ve-102221:2212k 2222,,.
.,
007 .
==.
e
- r
Actual cassettes testac in a closed car in the sun.
Loran'" ís manufactarelexclusively by Loranger Entertainment, 10-48 Clark Skeet, Warren, Pa. 16365
Enter No. 10 on Reader Service Cad
The KEF 105.2 scored
extremely well on all types of
material, including piano, a
difficult test.
1522:5711E.
,
Í
Ayr 2nd Ay
. I Ayr 2nd A4
I
E6' 3rd A.
!.1/ ' Ea= 3rd A2
Fig. 7 -
Vertical polar
Fig. 8 - Harmonic
distortion for the musical
energy response. tones of E, or 41.2 Hz, A2
or 110 Hz, and A4 or
440 Hz.
The horizontal and vertical polar response plots are shown in by 41.2 Hz. At 10 average watts there is three percent peak -to-
Figs. 6 and 7 respectively. What's shown is the total acoustic peak amplitude modulation and 6 degrees peak-to -peak phase
energy for direct sound over the frequency range from 20 Hz to modulation of 440 Hz. This rises uniformly to 10 percent ampli-
20 kHz as a function of azimuth (Fig. 6) and elevation (Fig. 7) tude modulation and 12 degrees phase modulation at 100 aver-
relative to the front of the speaker. age watts. This is quite a low level of IM distortion by loudspeak-
Horizontal dispersion is sufficiently narrow at the -3 dB level er standards.
(±16 degrees) that the high -frequency head must definitely be For a linear speaker system, a one -decibel increase in drive
pointed toward the listening position for most accurate stereo voltage should produce a corresponding one -decibel increase in
imaging. The corresponding -3 dB vertical angles are 33 de- sound pressure level. If the change of sound pressure does not
grees elevation and 14 degrees depression from geometric cen- follow this pattern, then certain distortions may be created in
ter. This indicates that the KEF 105.2 should be positioned stereo listening. For example, if this ratio of transfer drops with
away from overhanging shelves and similar objects that could increasing drive power, then the resultant sound will be some-
reflect sound toward the listening position. what compressed in dynamics; loud passages will not be as
Harmonic distortion for the music tones E, (41 .2 Hz), A2 (1 1 0 loud as they should be, relative to soft passages. In the case of
Hz) and A4 (440 Hz) is shown in Fig. 8. KEF protection circuitry the KEF 105.2, the 440 -Hz transfer ratio drops 0.5 dB at 10
cut off the E, test tone bursts at levels above 25 average watts, average watts, compared with its level at 10 rnilliwatts. Middle C
but did allow bursts of A2 and A4 up to 100 average watts (262 Hz) transfer remains constant up to 100 average watts,
(assuming constant voltage across 8 ohms). Harmonic distortion and A2 (110 Hz) roughly follows the pattern of 440 Hz. This
for the higher tones is quite low up to the maximum sound levels implies a small change in timbre for very loud passages com-
one could reasonably ask for home music reproduction; howev- pared with those same passages played at much softer level.
er, the low bass E distortion is a little higher than would like to
I The crescendo test, which checks the masking influence of
see in a loudspeaker system of this high a quality. The second loud orchestral passages on a single inner tone, shows that the
harmonic level of E, is 2 percent at 10 average watts and drops KEF 105.2 slightly softens such an inner voice. A tone of 440
to 0.5 percent at 10 milliwatts. Hz is reduced by approximately 0.7 dB when broad -band noise,
Intermodulation of 440 Hz by 41 .2 Hz, when both are mixed at 20 dB higher level, is superimposed on the tone. This soften-
in equal portion, is shown in Fig. 9. Up to 10 average watts, the ing is essentially independent of level, even up to peak levels of
IM is principally composed of amplitude modulation of 440 Hz 600 watts. This suggests a slight lateral and depth shift of solo
60 AUDIO/FEBRUARY 1982
...and then came
Super Feedforward.
Not many years ago a "high Direct Current) drive circuit.Then, to While Super Feedforward circuitry
fidelity" amplifier delivered 5 watts eliminate the remaining vestiges of puts Sansui's AU -D 11 and AU -D 9
with 5% harmonic distort on. Today, high-level, high-frequency distortion amplifiers in a class by themselves,
Distortion levels of 0.05% -or even in the amplifier's output stage, Sansui all our amplifiers are renowned far
0.005%- in amplifiers with hundreds engineers perfected a unique circuit their musicality, versatility, and respect
of watts and a much wider frequency which, though proposed years ago, for human engineering. Add a match-
range are almost routine. has now been realized in a practical ing TU tuner taany of Sansui's AU .
Reducing harmonic cistortion amplifier design. Super Feedforward, amplifiers and you'll appreciate the
has usually been achieved by using the new Sansui technique, takes the difference 35 years of Sansui dedi-
negative feedback. But too much leftover distortion products present in cation to sound purity can produce.
negative feedback can introduce a even an optimally -designed amplifier, For the name of the nearest
new kind of distortion,TIM (Transient feeds them to a separate, erro cor- audio specialist who carries the
Intermodulation Distortion) that audi- recting circuit that reverses their polar- AU -D 11 and AU -D 9 or other fine
bly degrades the musical sound. ity, then combines them so they cancel components in Sansui's extensive
To reduce TIM and ouner forms of themselves out against the regular line of high fidelity products, write:
residual distortion, Sansui developed audio signal. What's left is only the Sansui Electronics Corp.,1250 Valley
its DD/DC (Diamond Differential/ music, with not a trace of disto-tSon. Brook Avenue, Lyndhurst, NJ 07071.
102.^.
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from the back wall, with more than 2 meters distance from either
j]IIIJL _-111_ rn
speaker to its adjacent side wall. The speakers were separated
by 3 meters, and listening was performed at a distance of 3
meters. No difficulty was encountered in determining the opti-
I ¡ 4
mum listening window, and the LED indicator functioned well,
not only as locator but as peak power indicator.
- I -lit
i
I
' t
11-,11
, I tried to determine whether any audible distortion was pro-
duced if the LED indicators were left in the "listening window"
function while listening to music. After all, the energy to activate
the unit must come from the music signal and represents some
( I
small dynamic load for the power amplifier. I could not discern
!I _ any audible distortion when the indicator was misused in this
way, but to be safe, the proper music listening function should
-WAII be selected, as KEF recommends.
-
POWER
ways there, but that the extreme low frequencies were deficient.
t Í
I To check the bass, hooked up a good quality subwoofer and
I
-50 after careful balance was able to restore the spectral balance
40 50
30 31
- 4'5
which, to my ears, was missing. However, on the majority of
Fig. 10
curve.
- Energy -time
TIME MILLISECONDS
recorded material, could sense little or no difference with and
I
Listening was performed before measurement, with the and sound reproduction. The price is high, but the quality is
speakers positioned according to KEF recommendations. The equally high. Richard C. Heyser
backs of the enclosures were placed greater than 50 cm away Enter No. 94 on Reader Service Card
62
TOP OF THE PILA
Disc Shapes
take over, the standard stereo disc, parts is the grinding of the backs of the
thanks largely to audiophile -oriented stampers to make them fit snugly to the
-
UMOR
record companies, has never been bet- dies of the record press. Too rapid gnnd- STANDARD JVC,"ROCUCTON
ter than it is at present. Even as the com- ing of the stampers results in deforma-
pact digital disc prepares its assault, we tions in the playing surface which show ,.., __
are witnessing dramatic improvements in up as low -frequency rumble and even a
the quality of stereo discs. The Japanese minute loss of channel separation. If you
Victor Company has been in the fore-
front of digital development, but as a
major producer of records in Japan, they
have seen fit not just to maintain their
hold these new discs up to a light, you
will see not a trace of the familiar
"orange peel" mottling of the surface. In
fact, the UHQR disc bears an uncanny
Fig. 2 -
Lead-in noise spectra
(A -weighted at low frequencies;
0 dB is 5 cm/S at kHz).1
high quality standards, but rather to im- resemblance to a master lacquer in this
prove them. Their new UHOR (Ultra -High regard.
Quality Record) disc shows just how high The pressing cycle itself normally Klugh. Dave Grusin's light, airy arrange-
the quality level of the stereo LP can be. takes about 30 or 40 seconds. In the ments make use of a variety of percus-
Some months ago, Mobile Fidelity an- process of compression molding, a shot sion highlights against bass and guitars
nounced that they would make certain of hot vinyl is forced between the faces in quasi -Latin style. String sweetening is
releases available in UHQR pressings. At of the press to expand outward, filling in tasteful, and overall balances are natu-
a list price of $50.00, they were proba- all of the minute spaces between the ral. As good as Mobile Fidelity's stand-
bly wise to test the market with only a ridges in the stampers, which of course ard release of this album is, the UHQR
few thousand pressings. Before getting are record grooves in reverse. The version is even better. With the UHOR,
on with a review of one of these discs, I slower the molding cycle is, the more ac- you feel most of the time that you are
will describe some of the processes curate and free of ticks and pops the re- listening to the master tape. Every 30 or
--
which set these discs apart from others. sulting disc will be. In the UHQR disc, 40 seconds you may hear a tiny click,
The replication of a disc begins with the molding process has been extended but for the most part and especially
plating the master lacquer disc, with to about four minutes. The result is al- between bands the usual array of
subsequent replating of metal parts most total elimination of ticks and pops cisc noises is completely absent. By
yielding successive generations, includ- as well as a record free of stress. comparison, the standard Mobile Fidelity
ing the actual stampers used in the The UHOR disc profile is what records release does let you know, especially be-
record presses. JVC has slowed down used to have back before the days of tween bands, that it is a disc.
the plating processes to avoid stresses "Grooveguard." The disc weighs in at Another area of improvement should
AUDIO/FEBRUARY 1982 63
L
/
/-
' I
i1 IS,
IS :f
ri
e l.
- \ J
0
80'S
E BRINGING US
erence level (7 cm/S lateral velocity at 1 mastered version as well as the "stand- come to think, after many years, that this
kHz), providing more detail and clarity ard" version on A&M (SP -3730). The was perhaps the weakest of Beetho-
from beginning to end of a side. A&M album is an uncommonly finé ven's concerti and virtually unplayable in
To show the reader just how good sounding album: Clear sound, fine de- a dramatic sense.
both UHOR and normal JVC production tailing of effects, good flat pressing. The But old Papa Serkin (father of Peter
are in terms of noise, I measured the half -speed mastered version adds whole Serkin) tells it another way. Miraculously,
noise spectra of the lead-in grooves of dimensions. and without extra fuss, the huge first
the two discs (Fig. 2). Because of the The added presence and clarity in the movement keeps going and does not
relatively high tangential velocity of the high end that we have come to expect is bog down. Extraordinary! I really have
outer grooves, the lead-in portion of a a real plus. Stewart Copeland's percus- never heard it this way before. hate to
I
disc is usually quite noisy. Note that both sion is a principal benefactor. The stick - say so, but it would be 99 percent the
standard and UHOR discs are excellent. on -cymbal sound is much sharper. The same for me in an analog recording. So
At $50.00 a copy, the UHOR disc is album picks up an added depth of field much for our present state of the art.
not likely to become a standard. Its and pinpoint placement with apparently The Telarc microphoning is ideal, with
greatest utility may be to manufacturers, wider separation. a clearly articulated piano that is, thank
who are often hard-pressed to come up There have been artists ill -served by God, neither too close nor too loud but
with decent program material. Obvious- the added clarity of super fidelity albums blends and contrasts with the orchestra
ly, its virtues would be more apparent on (Carole King and James Taylor spring to exactly as the music demands. (This def-
classical music than with Earl Klugh. The mind). However, The Police's Ghost in initely has to do with the excellent musi-
severest test of all would, of course, be the Machine is one of those rarer albums cal continuity, the less important piano
on piano music. Anybody for a UHOR
version of Liszt's b -minor Sonata
one side?
-
John M. Eargle
on
that you really haven't heard right until
you've heard the high priced spread.
Michael Tearson
parts taking their proper subordinate
place in the overall sound.) The sonics of
Symphony Hall are so well recorded as
66 AUDIO/FEBRUARY 1982
o Now you can afford the most accurate cartridge of all,
an Ortofon 'moving coil. Like every Ortofon moving coil model,
the MC10 Mkll is hand-crafted under a micróscope, yet it
costs little more than an ordinary -cartridge.
When you visit your Ortofon dealer,, take along a record
tyou like.'Like.will turn lo love.
TODAY! ADDRESS
CITY STATE ZIP
If you are in a hurry for your catalog please send the coupon to McIntosh.
For non rush service send the Reader Service Card to the magazine.
67
Enter No. 11 on Reader Service Card
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YES! "BLACK BOX 410" 200/200W kit includes
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be-
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68
FOR SALE FOR SALE ' FOR SALE
ABSOLUTELY BEST VALUE S.O.T.A. BUY DIRECT
TAX & DUTY FREE, New model Mayware MKIV tone-
arm $135 (Better than Formula 4) Mayware MC -2V mov-
SA -2, ETC., IN STOCK -
CROWN DISTINCTION SERIES: FM-1, EQ-2, DL -2,
BEST PRICES
ATE SHIPMENT. (213) 467-5725.
IMMEDI- - ANNOUNCING THE ARRIVAL OF LONG
ISLANDS MOST SENSIBLY PRICED
AUDIOPHILE
ing coil cartridge Ogura Nude 'Vital' super -polished dia- EQUIPMENT & ACCESSORIES!
mond stylus, incredibly only $79. MKIV/MC-2V sounds ADVENT SOUNDSPACE CONTROL, original carton, Amber Grado Satin
better with more punchy bass than Ittok/Black Koetsu. manual, mint cond., $300., 1-317-521-3247 or 1-317- Audio Linear 'so Base Saba
Mayware astatic cohesive 'Platter Mat' $15. VISA/MC 521-1174. Clarke Systems KM Labs S.M.E.
accepted. Literature $1 bill. Mayware P.O. Box 58 Edg- CM Labs Live Wire Pyramid/
ware, Middx. England. AFFORDABLE ESOTERICA Sequerra
Central NY State Concord M/C Mastercrari Sonus
RGR APT Dennesen Sound Panels Sound
ABSOLUTELY THE BEST VALUES IN AUDIO OEDNAD MISSION Connections
We Welcome the New Speakers by MIRAGE LAST KUPSCH
HAFLER Grace Mitchell Cotter Ultracraft
3D ACOUSTICS B&O M&K MONSTERCABLE
BOSTON ACOUSTICS BOSTON ACOUSTICS PLATTER MATTER CARTALIGN
Osawa
TUCKER'S COMPONENT AUDIO LTD.
SEQUERRA'S NEW MET 7, 5295. pr. STELLAR STEREO 49 WEST JERICHO TURNPIKE
NAD ELECTRONICS WITH CUSTOM CABINETS 384 Elmira Rd., Ithaca, NY 14850 607-272-2644
DCM TIME WINDOWS AND QED'S HUNTINGTON STATION, N.Y. 11746
MORDAUNT-SHORT CARNIVALS
"SUPER SPECIAL DEAL"
CONNOISSEUR TURNTABLE WITH GRACE
-
AGFA & AMPEX 101/2" & 7" OPEN REEL TAPES
THE BEST! THE FINEST CASSETTES: DI-
RECT TYPE II (C68 & C96) and ASF (C66 & C96).
(516)673-1124
M/C & Visa accepted
All phone orders promptly
shipped pre -paid
70711 TONE ARM DIRECT -TO -TAPE RECORDINGS for the finest re-
AND GRACE F9E CARTRIDGE -5475.00 corded sound available, called "Truly superb" by ANOTHER AUDIOPHILE PUBLICATION?
Charles Repka in AUDIO (Oct, 1980). Only avail- AUDIO UPDATE is published ON TIME. This bi-monthly
AUDITION THESE FINE COMPONENTS AND able on real time duplicated reels & Cassettes, op-
MANY OTHERS includes modifications construction projects, improve-
tional dolby cr dbxll. Ampex video cassettes. WRITE ment methods, data available nowhere else. It's provoc-
IN A FRIENDLY AND RELAXÉD ATMOSPHERE for FREE newsletter subscription & current specials.
ADCOM DCM NAD ative, informative, and a MUST if you enjoy audio. Annu-
Direct-To-Tape Recording Co., 14 Station Ave., al: $14.00. MasterCharge/Visa welcome. AUDIO DI-
ALLISON DYNAVECTOR NAGATRONICS Haddon Heights, NJ 08035.
ALPINE FRIED NILES AUDIO
MENSIONS, 8888 Clairmont Mesa Blvd., San Diego,
PLEXUS CA 92123. (714) 278-3310. TF
AMBER GRACE HARMAN-KARDON HIGH TECHNOLOGY
APATURE GRADO PYRAMID SEPARATES, RECEIVERS, CASSETTE DECKS: ELEC-
Audible Illusions
AUDIO CONTROL
AUDIO-PRO
ISO -BASE
LAST -FLUID
LUXMAN
JIM ROGERS
SOUND CONNECTIONS
SPECTRE AUDIO
TRO-VOICE INTERFACE A, B, C, D SPEAKER SYS-
TEMS: THORENS TURNTABLES. ALL IN STOCK
IMMEDIATE SHIPMENT.
- ANTI-SKATING for AR TURNTABLES!' Proven coun-
ter -weight design of nickels steel & aluminum construc-
tion. Install yourself in minutes. $7.95 postpaid. (Dealer
inquiries invited.) AUDIO INNOVATIONAL PRODUCTS,
BEYERDYNAMIC MAXELL SPECTRO ACOUSTICS EAST: 305-462-1976 WEST: 213-243-1168
MOBIL FIDELITY STAX
P.O. Box 1607, Portsmouth, N.H. 03801.
CIZEK
CONNOISSEUR MONSTER CABLE STD ALL MAJOR BRAND AUDIO @ WHOLESALE. A & T
DNR Mordaunt-Shop 30 ACOUSTICS Audio, Springfield, Ma. (413)737-6227. APT: HOLMAN PRE -AMP, MODEL 1 AMP. Call or
write for quotes or information. Designatron's Stereo
Stores, Inc., 260 Old Country Rd., Hicksville, N.Y.
AMAZING? ISN'T IT
SOUNDSTAGE AUDIO The amount of nonsense that gets thrown around in the
11801, (516) 822.5277
184-10 HORACE HARDING EXPRESSWAY
audio world. If you are Sick of being treated like a 5 -year- ARCAS Engineering offers ty octave pink noise test
FRESH MEADOWS, NY 11365
old child by shoe salemen masquerading as audio ex-
MASTERCHARGE/VISA/AMEX WELCOMED tapes with warble tones. Also, upgrade mods for TEAC
perts, you owe it to yourself to give us a call. Our opin-
(212) 762-3220 EXIT 25 (UTOPIA PKWY) OF THE 2A. ARCAS Engineering RFDa 3 Burthill Rd, Winches-
ions are based on a solid foundation of experience with
LIE ter, NH 03470
the components we sell as well as those sold by our
APPOINTMENTS ARE ENCOURAGED
competitors. Most importantly we don't simply sell the
ALL SHIPPING CHARGES FREE IN THE U.S.A. ARC EQUIP FOR SALE
finest audio equipment available, we arrange it in com-
EXPERT CAR INSTALLATIONS AVAILABLE plementary systems designed to extract the greatest D-51- Exc. $495. SP -5, $475.
benefit from your audio dollars chosen from among the D-52 (B), new, $750. D-100 (mint), $525.
ABSOLUTE SOUND D-100 (A), $625.
followng lines we represent: D-76 (N), mint. $650.
MICHIGAN'S HIGH ACCURACY AUDIO DEALER D-100 (B), new $795.
ACOUSTAT, ACOUSTIC ELECTRONICS, AUDIO RE- D-76 (A), pert. 5795.
Will ship postage prepaid anywhere in the United States
SEARCH AUDIBLE ILLUSIONS, ADCOM, AUDIO IN- D-75 (A) rare, mint $675. D-110 (B), classic $1,745.
CONRAD JOHNSON BOSTON ACOUSTICS 0-79 (new) $2,150. D-150 rare, mint $2,800.
TERFACE, AUDIO CONTROL, CARVER, DENNESSEN,
NAIM AUDIO LINN SONDEK
DCM, DECCA, DYNAVECTOR, ENTRE, FULTON, EC -21 Crossover (new) $445. D-350 (B), mint, $2,160.
DAHLOUIST NAKAMICHI D-350, mint $1,550.
GRACE JR, LINN SONDER, LUSTRE, MARCOF, ME- SP6/A, mint $749.
"MISSION SPECTRUM
RIDIAN, MICHAELSON AUSTIN, MONSTER CABLE, SP4/A, W/MCP-1 h.a., $575.
HAFLER GRACE
MORDAUNT-SHORT, MUSICAL FIDELITY, NAIM AU- OTHER EQUIPMENT
NAD APT
DIO, NAD, ORACLE, POWER LIGHT, POINT SOURCE, MCINTOSH MC 2105, $595.; C-26, 5295.; MC-240,
REGA STAX
REVOX ONKYO
PRECISION FIDELITY, QUAD, REGA, ROGERS, SNELL 5395.; MC 225, w/cape, nice, $325.; (2) MC 30's,
SNELL DELPHI
ACOUSTICS, SOUNDLABS, SPATIAL COHERENCE, $325.; (2) MC 60's, $475.; MAC L-52 (L-14) solid wal-
STRELIOFF SYSTEMS, STD, STAX, SUPEX, TAND- nut cases, $30.; L-54 (L-22), $38.; Cotter NFB-2,
SPENDOR BRYSTON
THRESHOLD POLK AUDIO
BERG, THETA, TECHNICS, R&B $250.; PSC-2, $250.; PS Audio Ill, $95.; Precision Fi-
SOUND BY SINGER, LTD. delity C-4 (A), gold, 5595.; M-7 (new), $795.; Sumo
DETROIT
ROYAL OAK
HARMON KARDON GRADO SIGNATURE
Or visit any one of our stores In Southeastern Michigan
--312
-12400 Morang
4354 N. Woodward
(313) 527.2244
(313) 549-7550
227 Lexington Avenue
New York, NY 10016
(212) 683.0925
Amp 1, exc. $795. Call 317-283-1361 -
"gold" (AMP) (best sounding), 51,850.; Rappaport
Dave.
less than 50 hrs. used. Full 5 yr. warranty in effect. Must THIEL Loudspeakers: models 03a, the new 04a, and
-ANNOUNCING- the 02.
sell for $1300. Call (609) 734-0197 ask for Phillip. HART SYSTEMS MONITOR SPEAKERS
AUDIO CONNECTION, Verona, NJ (201)239-1799
They are not "phase-aligned"
ADIRONDACK AUDIOPHILES Northern New York ' They are not planers or pyramids.
State House of Hi -Fi is now open with Mariah, Polk Au- They do not have wings. ATTENTION: "FOREIGN" AUDIOPHILES AND
dio, DCM Time Windows, NAD, Harman Kardon, Sota, They are simply among the most accurate and mu- DEALERS! Western World Audio Exporters can supply
Audionics, Apt -Holman, Metier, Hegeman, Eumig, McIn- sical speaker systems we have ever auditioned, re- virtue ly ALL brands of hi-fi components, speakers, car-
tosh, Marco(, Nakamichi, Fidelity Research, Toshiba, gardless of price. HART Monitor 4a 5547/pr. HART tridges, etc. (incl. esoteric lines) at VERY attractive pric-
Sony, Signet, Alpine Car Stereo, Denon, Shahanian, Mini 2b $447/pr. HART Woofer 2w 5447/pr. es. Quotes, terms and availability furnished on request.
Conrad Johnson, RG Dynamics. For info. call 518-793- Available in Honolulu -by private demonstration -at Write To: WESTERN WORLD AUDIO EXPORTERS, 373
6639 Mon. to Fri. 10-9 Sat. 10-6. HOUSE OF Hi -Fi, 50 SOUND ORIGINALS (808)946-0078. Free shipping Fifth Avenue, Suite 1556; New York, NY 10016.
Miller Rd., (Rt. 9) Glen Falls, N.Y. 12801. to the U.S. TELEX-423826 SAKIUR.
AUDIO/FEBRUARY 1982 69
FOR SALE FOR SALE FOR SALE
ATTENTION ALL DYNACO AND DYNA KIT ATTENTION NY-FIJI I I AUDIO CONNECTION
OWNERS: ACOUSTAT .INFINITY/.5 KENW000 'AUDIO PURIST'
IN NORTHERN NEW JERSEY
Frank Van Alstine can rebuild and/or repair your Dyna AUDIO RESEARCH SUMO SOUND CONCEPTS
ADS Electrocompaniet RG Dyn./RGR
amplifiers, preamplifiers, and tuners. We have all new *RAW DCM NAD
PC cards and all new highest quality internal circuits for 'LINN SONDEK BAO DENON Audio Pro Gem Turntable Rogers
DENNESEN EUMIG SURE% Audire Grace Rotel
most Dyna units. New POWER MOS-FET circuits for
FIDELITY RESEARCH GRACE MICRO-SEIKI Belles Research Leach LSR&D Spectrum
Dyna ST-150, ST -300, and ST -120 amplifiers. New J- RGR 'SHELL
FET circuits for Dyna PAT -5 and Bi-Fet preamplifiers. All
BOSTON ACOUSTICS Benchmark Live Wire Spica
HAFLER MOOS and more only at Clarke Systems
new circuits for FM -5 tuners with phase-locked loop Lurne' Tonearm Thiel
Delphi Mariah VPI
Mplx, new 8 stage differential IF, new buffered outputs,
no drift, super musical, super sensitive. We rebuild all
ST -400, 410, 416 amplifiers and can repair any, no
matter how badly blown. External 100,000 mid power
OA AUDIO
The Audio Professionals since 1972. Only knowledge
Denon PS Audio
Aren't You Now has a larger selection of ACOUSTAT LEACH LSR&D ROGERS
Ouality Components AUDIO PRO MÓRDAUNT-SHORT REVOX
AMBER SYMMETRY
Featuring: Gonza wire 50: per ft. Keith Monks record sleeves,
Qrious?
It has come to our attention that a great
Linn Sondek, Kenwood Purist Group, LS3/5A. B+W.
Spendor, Supex, Stax, Adcom, Mitsubishi, Decca.
Tandberg, DB Systems, I.M.F., Grado Sig., Shahinian
Obelisk, Monster Cable, Dahlquist, Audio Pro, Grace,
100-$25. Samples $1.00. 4304 Brayan, Swartz Creek,
MICH 48473, 313-655-8693 by appointment.
AUDIO LTD
IN CHAMPAIGN, ILL.
Avid, Marcof, Micro Acoustics, Dual, Strathclyde, Audio Quad KEF David Haller
many people still are not aware that Bob Source, S.A.E., Magneplaner, Carver, Dynavector, Au- Carver NAD Linn Sondek
Heenan Is indeed the elusive Mr. Q. of Q dio Linear, Radian Research, Fulton, Promethean and Mission Vandersteen Dynavector
Audio. Now that we've dismissed the Nagatron. Audio Research 3-D Acoustics Rega
rumors that Mr. Q Is: and much more. 115 N. Walnut 61820. 217.359-
I. A mad Transylvanian hi-fi engineer We Ship Anywhere in the World 3774.
2. The inventor of O Tips
The Sounding Board, Inc. AUDIO MAGAZINE BACK ISSUES WILL SELL MY
We can deal with the truth of the matter. 75 Franklin Avenue COLLECTION OF OLD ISSUES DATING BACK TO JAN.
O Audio Is performance. Ridgewood, N.J. 07450 1966. $200 BUYS THEM ALL. (817) 268.0657
Satisfaction guaranteed or your money back. Call us at (201) 445-5006
Any Problems? Call Bob person -to-person colltct. AUDIO MODIFICATION MANUAL - 230+ pages step-
by-step procedures for many common components.
O Audio Is International. ATTN: LOWEST PRICES. LINN ITTOCK, STAX- Data applicable to almost any unit. Tube circuitry em-
We'll ship anywhere In the world, within 48 hours PHONES, DYNAVECTOR, DENON, FID, RESEARCH, phasized. Applauded by AUDIO, STEREOPUS, HIGH FI-
on receipt of order. GRACE, FULTON, SUPEX, ETC. M. Corb. 11122, DELITY, SOUND ADVICE, et al. Unique Information pro-
Atwell, Houston, TX 77096, 713-728-4343. vided no where else. $25 USA/CANADA, $27 else-
O Audio Is a detective agency.
If youwant to locate a specific piece of equipment, where. California tax applicable. Master Charge/VISA
AUN: WANTED JBL HARTSFIELD EV. PATRICIAN, Welcome. (714) 278-3310. AUDIO DIMENSIONS,
new, used or collectible- its Flighty likely that our
Ouads, Linn Sara + ISO, Berning, All McIntosh, etc. 8888 Clairmont Mesa Blvd., San Diego, CA 92123
vast network of sources will enable us to track ft
713-728-4343, M. Corb, 11122 Atwell, Houston, TX
down.
77096. AUDIONICS BT -2 PREAMPLIFIER, excellent, $250 or
O Audio Is professional. offer, Keene. Raintree Apartments, =32, Roswell, NM
ATTRACTIVE PRICES:, LINN ITTOCK, ASAK, STAX, 88201, 505-623-5101.
O Audio Is hill. DYNAVECTOR, FULTON, DENON, FR, GRACE,
The best used hiI equipment In the world. Not to
QUAD ESL, SOTA SAPPHIRE & MORE. ALSO TUBE AUDIONICS: NEW PRODUCTS
mention our expanding line of new equipment like
CLASSICS & NEW. 713-728-4343, MAURY CORP. Announcing the NEW RS2 preamp & the NEW CC2-S2
HAFLER REGA JAN1S PYRAMID
11122 ATWELL, HOUSTON, TEXAS 77096. amp. These components along with the RS1, BA150,
BEDINI QUAD DB SYSTEMS
Space & Image Composer, LK1 and Revox replacement
Audio and TV tubes factory boxed, speakers, semi- cards are available at OXFORD AUDIO CON., INC., Box
BOUGHT SOLD conductors-low prices, tree price list. Transisleteronic 145, Oxford, OH 45056. Visa & MC. By appt. Free
Inc.. 1365 -39th St. Brooklyn, N.Y. 11218 212-633- shipping in U.S. & P.R. WORLDWIDE shipping. 513-
TRADED BROKERED 2800 TF 523-3333, telex: 427791.
AUDIO DEN presents the PREMIER LMX moving AUDIO RESEARCH AMPS, 0-75 or D -100B, $650.,
Q Audio cartridge. This new moving coil from Sumiko has
the definition, focus and tracking we'd love to hear
D-1108 $975., D -350B, $1,350. Keith Monks double-
plattered record cleaning rrachine ($3,000 new)
in a $500 cartridge, but at less than half the price. $1,250. (213) 473-9813.
95 Vassar Street Audition it at AUDIO DEN, 2021 Nesconet Hwy.,
Cambridge, Mass. 02139 Lake Grove, NY 11755. AUDIO SHOP -A
SPECIALITY STORE WITH a few
select lines for your musical pleasure: GRACE, FR, C.J.
617-547-2727 617-969-2727 Walker, Mitchell, Basik; Audire, PS Audio, Conrad -John-
Write for FREE catalog!
***AUDIO EMPORIUM, MILWAUKEE progres-
sive alternative. Free catalog. 6914 W. Brown Deer Rd.,
-a son; Daybreak, Acoustat, Mission. Inquiries Welcomed.
The Audio Shop, 1124 East Elizabeth St. Fort Collins,
Milwaukee, Wi. 53223, 414-354-5082. CO 80524- (303) 221-1496
70
FOR SALE FOR SALE FOR SALE
AUDIO RENAISSANCE, INC. BOULDER COLORADO AUDIO BUFFS NOW HAVE A CARVER IN THE SOUTH!
Audible Illusion PS Audio Grace Stax Rega BETTER ALTERNATIVE SPECIALIZING IN SUPERI- Instock! Fast, free shipping. READ BROS. STEREO,
Precision Fidelity Music Reference Dynavector KEF OR SOUND QUALITY THROUGH SIMPLICITY. 593 King St. Charleston, S.C. 29403 (803) 723-7276.
Meridian Acoustat Linn Products Mordaunt-Short PRODUCTS BY SPENDOR, REGA, ARCAM, LOGIC. Also FRIED KITS.
Theta ReVox Audio Innovations Symmetry And More AUDIOMASTER. MODERN AUDIO CONSULTANTS,
We stock one of the largest 2888 BLUFF ST., SUITE 210, BOULDER, COLO. CARVER- PRE -AMPS, HOLOGRAM GENERATOR,
collections of Audiophile Albums in Mid -America 80301. 303-449-1440 BETWEEN 6-8 PM. AMPS, TUNERS Call or write for quotes or information.
Try our modifications for improved high end Designatron's Stereo Stores, Inc., 260 Old Country Rd.,
Bryston Mod-Any Model Dahlquist D010 Mod BRB SYSTEMS MODEL 200 REFERENCE AMPLIFIER Hicksville, N.Y. 11801 (516) 822-5277
Used Audio Research D -100A Amplifier $800 Finally, Class A sonic performance has been achieved
Used Audio Research SP -4 Preamplifier 700 without compromising efficiency, reliability, and high HARMAN-KARDON HIGH TECHNOLOGY
Arm with Elec. Lift 85 power output. The Model 200 has low TIM, low static SEPARATES, RECEIVERS, CASSETTE DECKS: ELEC-
-
Used Decca
Used Stax DABO Power Amplifier 850 distortion, high slew rate, and is unconditionally stable TRO-VOICE INTERFACE A, B, C, D SPEAKER SYS-
Used McIntosh 1900 Amplifier Tuner 550 when driving the most difficult speaker loads. The BRB TEMS: THORENS TURNTABLES. ALL IN STOCK
4122 Broadway Kansas City, MO. 64111 (816) 531- Model 200 is the only amplifier that eliminates Transient IMMEDIATE SHIPMENT.
3261 Thermal Debiasing Distortion (TTDD), a major cause of EAST: 305-462.1976 WEST: 213-243-1168
transient crossover distortion in ANY des.gn that is not
audio renaissance, Inc. PURE Class A. To find out more about the most revolu- Circuit boards, plans, parts, and transistors (author ap-
audio research *
stax *
audio innovations *
grace tionary power amplifier since the invention of solid state, proved) for M. LEACH'S DOUBLE BARRELED AMP,
symmetry * ps audio *theta *
precision fidelity send for full product information and the name of the Low TIM 3 Amp, FET Preamp with tone controls, and
rega * audible illusion *
mordaunt-short dealer nearest you. Dealer inquiries welcome. Current Mirror Pre-Preamp. Send stamped envelope for
*
acoustat music reference kef * *
dynavector BRB Systems, P.O. Box 2235, Sunnyvale, CA. 94087 price list. Custom Components, Box 33193, Decatur,
linn products *
meridian revox * *
chartwell/ GA 30033.
*
satterberg and more B 6 W DM6 SPEAKERS, walnut, mint condition.
we stock one of the largest $750.00/pr. 1-609-924-8167.
collections of audiophile albums in mid-amenca Audio
try our modifications for improved high end CABLE TV DESCRAMBLERS AND CONVERTERS. buyers
bryston mod -amplifiers **
dahlquist dg10 mod Plans and pans. Build or buy. For information send Interested
used stax d-80 class a amp-$800.00 $2.00. C&D Electronics, Inc., P.O. Box 21, Jenison, MI in buying the I
AUDIOSTATIC SPEAKERS -
World's finest electros
tatic at THE MOUNTAIN EAR (303) 963-3269.
CARVER, NAB, POLK, 3D, ONKYO, AUDIOCONTROL,
B&W, AMBER, BEDINI, MICRO-SEIKI, DAHLOUIST, DE -
NON, HAFLER, dbx, TANDBERG, VANDERSTEEN,
advice, fast service, and
competitive pricing on a vast
selection of quality audio
components, mid -priced to esoteric.
DCM, GRACE, DYNAVECTOR, AND MORE! THE Call for more information and a copy
AUTOMOTIVE AUDIOPHILES TAKE NOTE
SOUND SELLER, 1706 MAIN St., MARINETTE. WI of our latest catalogue.
MIAH sells and installs all premium brands including
54143. (715)735-9002.
ADS, Mitsubishi, Infinity, Concord, Dahlquist, Al- Audio World, Box 6202A, Grand Rapids, Ml
pine, Sony, Altec Lansing, JBL, Visonik, Blaupunkt, CAPACITORS-CABLES-CONNECTORS 49506, 616-451.3868 weekdays from
EPI, Bose, Linear Power, Monster Cable and many Send $2.00 for information and catalog on our full 11:00 am until 6:00 pm Eastern time.
more. CALL TOLL FREE. MIAH, 6660 Busch Bout. line. RANDALL RESEARCH, 719 Fern eaf, Corona
Visa/MasterCard/American Express accepted.
evard, Columbus, Ohio. 43229. 800-848-7383, del Mar, CA 92625, 714-760-1539.
614-885-5298. Visa, MasterCard and American
Express accepted.
ROCKY MOUNTAIN HI FI
812 Central Ave., Great Falle, MT (406) 781-8683
AUDIO/FEBRUARY 1982 71
For Tweaksi¡ Only FOR SALE FOR SALE
1V W11 CJ WALKER -55 TURNTABLE. The best soundirg
"Cutter Analogue"?
turntable, save one. The best -buy in turntables, save
WORLD OF SOUND presents the new PREMIER
none) $350. With Linn Basik tonearm & cartridge,
LMX moving coil cartridge, with "cutter analogue"
$499. British American Sound; PO Box 1247; Charles-
stylus configuration that closely replicates the shape
ton, SC 29402 (803) 723-6025
and path of the cutting stylus without danger of re -
(411Alt41 COHERENT
ELECTRONICS DIVERSIFIED presents the new
PREMIER LMX phono cartridge. When you hear
this new moving coil from Sumiko you'll know what
cutting the grooves. Amazingly coherent reproduc-
tion. Even more amazing is the reasonable price.
Hear it at WORLD OF SOUND, 1900 Van Ness
Ave., San Francisco, CA 94109.
we mean by "coherent." A remarkably musical car-
Has Arrived. tridge at a reasonable price. ELECTRONICS DI- DB SYSTEMS ELECTRONICS AND AUDIOPHILE
VERSIFIED, 4632 W. War Memorial Dr., Peoria, IL ACCESSORIES ARE WORTH KNOWING ABOUT. Ul-
Unfortunately, you've been pre- 61614. tra -low distortion Preamplifiers, Power Amplifiers, Active
vented from listening to it through Crossovers and more. ACCESSORIES include: DBP-10
normal channels due to the Phono Alignment Protractor $21.95, DBP-6 Phono (ca-
CONNECTICUT: Advent, A.P.T. Holman, B&O, Boston
Acoustics, Carver, Dahlquist, D.C.M. Time Windows pacitance) Equalization Kit $32.95, DBP-6MC Resistive
barricade of reps, dealers and Loading Kit $32.95, DBP-11 (and 11MC) Capacitive
Polk, Haller, Harman/Kardon, M&K Mitsubishi, Nakami-
undergrounds who comprise the. chi, Ortoton, Micro-Acoustics, N.A.D., Stax, Cizek, Sig- (and Resistive) Loading Switch Boxes $79.95, DBP-2J
"In crowd" of Hi -End Audio. They
decide which ones are refused.
You have no choice. These ex-.
net, OED, Teac, Marcofi. Will ship prepaid. Sounds In-
credible, 39 Federal Road, Brookfield, CT.,06804.
(203) 775.1 122 -phone quotes only. TF
$65.95 -
$52.95, DBP-12 Audio Cable -
Switch Box $43.95, DBP-2JAfJ with all gold (10) jacks
10 meter, 400 pF
other lengths $17.00 plus $1.75 per foot,
DBP-8 Speaker Wire (12 gauge), DBP-CK Cramolin Au-
ports dictate which products are COTTER NFB-2 FILTER/BUFFER, $200.; PW-2 pow- dio Kit contact treatment $11.95, GOLD PLATED CON-
available to you and which ones er supply, $200. (415)376-8305. NECTORS (eight per package) include: DBP-13J (1/4")
Phono Jacks $11.95, DBP-13JR (16") Phono Jacks
you will never hear of. Aren't you $14.95, DBP-9AU Banana Plugs $11.95, DBP-13P
COTTER Syetem 2 Preamp, WIN Cartridge w/new
glad these centurions are sapphire cantilever & WIN line contact tip, JMAS MIT -I, Phono Plugs $7.95. DBP-9J Dual Banana Jacks (2 per
guarding your bést interests? KOETSU Black -new & demo, FR6 4ss w/B-60, WIN pkg) $14.95. Complete information available at SE-
SDC-10 Turntable $1095, LEVINSON ML -7(L3) Refer- LECTED AUDIO STORES or drect from DB SYSTEMS,
Our company refused to play the ence Audio (315) 437-1209. P.O. Box 347A, Jaffrey, NH 03452 (603) 899-5121.
polite diplomatic parlour games Orders under $45 add $2.50 Handling. Dealer inquiries
required to gain acceptance Into
this elite circle. -
BEST PRICES
ATE SHIPMENT. (213) 467-5725.
IMMEDI--
CROWN DISTINCTION SERIES: FM -1, E0-2, DL -2,
SA -2, ETC., IN STOCK
invited.
-
able new PREMIER LMX moving coil phono car-
tem by eliminating "time smear" distortion inherent in tridge. Dynamic, accurate, transparent, detailed,
dead flat in the listening chair." normal patch cords. 14 meter $12.75 1m- $16.00 and affordable. Now playing at DESIGNATRON'S,
- Accomplished pianist and notedDavid Gore
designer
2m- $25.00 Send SASE for detailed information D.A.0
P.O. Box 200 Otis, MA 01253
260 Old Country Rd., Hicksville, NY 11801, DE-
SIGNATRON'S, North Country Rd., Setauket, NY
.. The most different sounding DAVID BERNING ELECTRONICS at THE MOUNTAIN
11733.
speaker I've heard." EAR (303) 963-3269.
,
Glenn O. Str
- Audio Alternatives
The only full -range box speaker that goes
down to 32 Hz loud and clear, has an effi-
DIAMOND NEEDLES and Stereo Cartridges at Dis
count prices for Shure, Pickering, Stanton, Empire, Gra
do, Audio Technica and ADC. Send for free catalog.
To take advantage of this unique ciency rating of 90 dB plus tremendous dy- LYLE CARTRIDGES, Dept. A, Box 69, Kensington Sta-
opportunity, simply call or write namic headroom, yet sounds as uncolored tion, Brooklyn New York 11218. For fast service call toll
us and we will send you a and transparent as a good electrostatic. free 800-221-0906. TF
complete package with infor- FOURIER SYSTEMS IN('
mation on the product and how Y40 NE
NEPPERHAN AVENUE
YONKERS NY 10; I
V Al
I/`Y31
I 1
1
DISCOUNTED! Stax phones, Technics, Linn Ittock, Ful-
you can try them in your home on TELEPHONE: (914) 965 581.
ton, Dynavector, FR, Denon, Supex, Lustre, Thorens,
your system for two weeks on a 713-728-4343, Maury Corb, 11122 Atwell, Houston,
Texas 77096.
free trial basis. The quantity is
limited, só if you are sick and tired Accurate 7 LOCATIONS IN DOLBY DECODERS FOR TAPE AND FM. Assembled
of being told by "Experts" what is
goad and what isn't, and are really
of Audio SOUTHERN CALIFORNIA
A REFRESHING CHANGE
$100. Encode/decode Kit $150. Details, reviews. In-
tegres. Box 747, Havertown, PA 19083.
We offer you a chance to make an intelligent decision
serious about accurate music about audio equipment in a relaxed, private, pres- DON'T BE A PATCH CORD SNATCHER, BE
reproduction, then call or write sureless environment. Our specialty is getting you
the best sound for your audio dollars. PREPARED! Ten top quality shielded 36" stereo
today. If not, you have plenty of patch cords with phono plugs for $19.95 plus
time to check out the "speaker of DCM, OUATRE 8000, HAD, DENON, PSE, SUMO. $2.00 shipping. J&J Electronics, Box 504, Win-
chester, MA 01890.
the month" at your local "Hip" hi - HAFLER, PYRAMID. ROGERS, DYNAVECTOR,
PETERSON, LIVEWIRE, GRACE, KINDEL, STAX,
end parlour. Good Luck! MARCOF, MUSICAL FIDELITY, NOMADIC, VPI D010 REBORN
New midbass driver, modified Panasonic Leaf Tweeter,
Call or write: SANTA MONICA (213) 399-HIFI new speaker alignment, anti -diffraction felt and com-
STUDIO CITY (213)768-7478 plete instruction book is the way to correct all the prob-
PASADENA
TORRANCE
VALENCIA
LAGUNA BEACH
(213) 792-4444
(213)542-5275
(805) 255-2487
(714) 494-2030
- read it and compare to any other kit. Kit
Booklet $2
-
lems of this fine speaker. Our booklet gives all the facts
$250,
72
FOR SALE FOR SALE
STILL MORE
RAVE REVIEWS FOR
DYNACO OWNERS: 60,000 LB PARTS INVENTO-
RY! Don't give up ...
send 6 -digit Dyna part number,
Florida's Premier Dealer
presents the new PREMIER LMX moving coil pho-
VMPS LOUDSPEAKERS
description, and model for Quote. 20 -page parts list: no cartridge by Sumiko Definition, imaging, track-
$1.00. PAT -5 BI-FET Preamp: Complete Parts/Assem- ing, detail in a moderately priced moving coil. Hear
bly Manual Package, $169; RCT-5 Relay Kit, $20; BI- it at AUDIO BY CARUSO, 13831 S. Dixie Hwy.,
FET Conversion Kit (upgrades original PAT-5 to BI- Miami, FL 33176.
FET), 549. VISA/MC, CODs welcomed. (614) 889-
2117. SCC, Box 551, Dublin, OH 43017 FREE SPEAKER CATALOG!
Woofers, mids, tweeters, hardware, crossovers, grille
DYNACO ST-416 w/C-100 CAPACITOR BOX, Mint, Cloth, plans, kits, information, much more. Discount
5600. Barry (213) 792-3726. Prices! UNIVERSAL SOUND, Dept. AO, 2253 Ringling
Blvd., Sarasota, Fla. 33577 (813)953-5363.
Dynamics, transient quickness, definition.
AUDIO CONNECTION presents a new moving coil FRIED A/2 LOUDSPEAKER now In stock. Call, write
cartridge that does 'em all and more. PREMIER's or come hear the A/2 and the other amaang, moderate-
LMX with "cutter analogue" stylus is a cartridge ly priced new FRIED "high technology" speakers. THE
you can listen through. Now playing at AUDIO SOUND INVESTMENT, 2935 Woodstock Avenue, Silver
CONNECTION, 615 Bloomfield Ave., Verona, NJ Spring, Md. 20910. 301-589-4808.
07044.
FRIED SPEAKERS & KITS
DYNAVECTOR RUBY and PS AUDIO State-of-the-art sound. Try our prices! Fast, free ship-
For optimal performance from your Ruby, there is simply ping. READ BROS. STEREO, 593 King St.. Charleston,
no better buy than the PS Audio MCA -2 with its high S.C. 29403. (803)723-7276. Also Hafter, PS Audio,
current transformer. The detailing and dynamic range NAD, Carver, more.
-
will astound you. Call for more informaiton or an audi-
tion. Mail orders accepted ten-day money-back trial
available. HERITAGE HILL AUDIO in Grand Rapids, MI,
FRIED SPEAKER CABINET SALE!!! Reduced prices
while supply lasts. (919) 945-5310.
616-458-9202 afternoons.
ELECTRONIC CROSSOVERS -
ALL TYPES Updat-
ed definitive booklet describes applications, how to im-
THALIA II PREAMP
THOEBE PREAMP
THAEDRAIIPREAMP
$225
$350
5550
prove speaker systems; $5.00 postpaid, credited to first GRANDSON 40 W /CH AMP $225
purchase. Huntington Electronics, Box 2009-A Hunting- SON OF AMPZILLA 80 W/CH $350
ton, Conn. 06484. AMP W/METERS
SHIBITA CARTRIDGE $150
ELECTRONIC X-OVERS: 6, 12, or 18dB/octave. Kits SUPER ELLIPTICAL CARTRIDGE $100
from $97.00. Also transient -perfect crossover model SPHERICAL CARTRIDGE $ 75
ALSO AUDIO METRIC HEAD AMP 80 'B'-
6000-6, $175.00. Free folder with reviews. ACE AUDIO $
CO. 532 -5th Street, E. Northport NY 11731-2399,
(516) 757-8990. SHIPPED FREE IN CONTINENTAL U.S.
-
VISA-MASTER CHARGE-MONEY ORDERS
EXCLUSIVE GILBERT 8 SULLIVAN PACKAGE THE SOUND CENTER From Hifi Buyer's Review, November 1981:
PIRATES OF PENZANCE. LP or Cassette plus 96 page 8033 SUNSET BLVD., SUITE 194 "As we've often said when discussing speaker
WEST HOLLYWOOD CA.
book of vocal highlights. $10.98 ppd. Specify. Free ca- design, bigger is better, as least as far as
talog: Musical Concepts, Box 53AA (D, 1,2),
90048 reproducing low bass is concerned. Driver size is
or call
Cedarhurst, N.Y. 11516. only part of the story-big drivers also require a
(213) 650-0060
big cabinet to work effectively. This is what (tone
FASCINATING OLDTIME RADIO SHOW CAS- Audio has employed in the VMPS Super Tower
SETTES! Free Catalog! Sample $2.99. Heritage -A, 11a/R... We measured the nominal impedance as
412 Redbud, Oxford, MS 38655 GENE RUBIN AUDIO-LOS ANGELES 7 Ohms and were pleased to see little impedance
PS AUDIO LINN SONDEK ACOUSTAT variation across the audio spectrum. Sensitivity
FIDELITY RESEARCH FR -84S; Ortofon MC -30; New, NAD REGA PLANAR THIEL was 100dB/1m/1W. This high efficiency shows
Un -opened, Negotiable. (408) 866-4613. HAFLER PYRAMID LS3/5A one of the benefits of the VMPS approach. The
PREMIER GRACE SPENDOR multi -driver design also produced excellent high
FORMULA 4 is the Registered Trade Mark of Mayware QED DYNAVECTOR CHARTWELL frequency dispersion... The critical test of a
Ltd. Pre-paid shipping (213) 571-1299 (Pacific time) system such as this is the ability to produce
accurate stereo imaging without the multiple
drivers sounding like discrete sound sources. In
this the STlla/R succeeded admirably: stereo
AMERICAN AUDIOPHILE location was precise, with the overall sound clean
and with no evidence of coloration... At wall -
WHERE THE DIFFERENCE IS MUSICAL ACCURACY shaking levels there was no evidence of distortion
AND THE GOAL IS TO SATISFY or doubling, and extreme low frequency sounds
were reproduced exactly as they were recorded.
AUDIO INNOVATIONS IMPULSE QED High frequency transients were undistorted even
AUDIO STANDARDS IVIE DYNAMICS
AUDIO TECHNOLOGY
R G
at the loudest listening volumes... If your budget
JANIS RGR
AUDIONICS
allows, and if you have the space required by these
JMAS SHURE
AUDIRE KINDEL AUDIO
very large speakers, the VMPS Super Towers will
SIGNET
provide you with a sonic experience not often
136W LEACH SME
BENCHMARK
found in the home environment."
LUSTRE SPECTRO ACOUSTICS
CIZEK MARCOF SPECTRUM VMPS manufactures loudspeakers with lower
DCM MARIAH SPICA distortion, greater dynamic range, and wider
DECCA MORDAUNT-SHORT STAX bandwidth than any others regardless of price.
DENON NAD SUPEX Nine models are available from $78 to $1699ea,
OUNLOP/SYSTEMDEK NEXUS TANDBERG including kit versions of the MiniTower II ($309 ea),
DYNA VECTOR OCTAVE RESEARCH THETA Tower II ($419ea), E. Super Tower/R ($649ea(.
601011NE PS AUDIO VANDERSTEEN Write for our brochures and copies of reviews
GRACE PLATTER MATTER UPI
H.A.P.I.
from Bert Wt., te, B. V. Pisha, Hifi News E. Record
PRECISION FIDELITY WIN LABORATORIES
Review and toe complete test report from Hifi
REFERENCE AUDIOPHILE RECORDINGS Buyer's Review. All prices include free shipping
in USA.
AMERICAN AUDIOPHILE
SUNRISE PLAZA
5
VALLEY STREAM, N.Y. 11581
716 MADISON AVE
NEW YORK, NEW YORK 10021
VMPS AUDIO PRODUCTS
r\Y'I
,11,9,
15161 561 7114
Imo!!
a division of (tone Audio
1016 Contra Costa Drive El Cerrito CA 94530
(415) 526-7084
Hear VMPS at The Listening Studio. Boston; Mike Hilliard
Audio, Shreveport LA: Bedini Electronics. Sylmar CA; Itone
MASTER CHARGE & VISA ACCEPTED Audio. El Cerrito CA: Odin Sound Stereo, Longmont CO:
Sou'rd Alternative, Ft. Myers FL.
AUDIO/FEBRUARY 1982 73
FOR SALE FOR SALE FOR SALE
GEM + GRACE = AFFORDABLE PERFECTION GNP LOUDSPEAKERS
GET SOUND PRICES ON CAR STEREO - If you've wanted the sonic advantages of a state-of-the- SUCCESS BREEDS MORE SUCCESS
SCANNERS -CB art belt -drive turntable, but haven't wanted to pay the As a manufacturer of a loudspeaker of extraordinary
Call or write Monday - Saturday 10-8 (312)960- high price, nor hassle with tonearm set-up and compata- quality, we are faced with a problem: how to convince
1327. Visa/M.C. R.S. Engineering, 522 Sherman, bility problems, then the new GEM/Grace combination you, the music lover, that our loudspeakers are as supe-
Downers Grove, III. 60515. is for you. A perfectly matched and tuned suspension rior as we know them to be, for we have no intention of
with a Grace 707 mk II or 747 tonearm, jeweled sap- becoming the latest "fad of the month." So our decision
GET INTO BROADCASTING! Learn how to receive phire platter bearing, and superb platter sheet all add up was to let the facts, and our three year record of suc-
free records, tapes, get an FCC broadcast license, start to achieve the greatest information/noise ratio value to- cess, speak for themselves.
your own station. Free details. "Broadcasting", Box day. For information and quote: Designatron's Stereo
130-N5, Paradise, CA 95969. Stores, Inc., 260 Old Country Rd., Hicksville, N.Y. OUR BACKGROUND We are :rained engineers, serious
11801. (516) 822-5277. lovers of music, and have already established a suc-
cessful track record.
CC»
'OPPUGN
GN
eh1
INC., Box 145. Oxford, 01-145056, 513-523-3333. purposes, the most acvanced technological fa-
cilities.
2. We attend concerts and continually listen to live
instruments, for we know that the sensitivity of
H VW
narne0PccUPQase HAFLER: AMPS, PRE -AMPS, SPEAKERS. the ear is unparalled in revealing the nuances of
treat( 1ttP E, an Call or write for quotes or information. Designatron's musical reproduction.
e 9uid\nonets-tThPGCVPHASE,
?0o9y.
5e
t WS is c°mp the pre ee w¡th
Stereo Stores, Inc., 260 Old Country Rd., Hicksville,
N.Y. 11801 (516) 822-5277.
3. We intend to be around for a long time to come.
At a time when there is growing concern about
pczOerrved Bte corhád\o teo1 power the financial well-being of the audio industry, our
GNP Showcase retail Store here in Pasadena
a1d accurate")
tacto;r,ne con5leachpNtteover HAFLER DH -101 PREAMP has experienced dramatic increases in sales
a,ita Phase erairol pan0 crossover We expect to be in stock on this exciting new preamp by each month of our three years of existence. And
:
for that very reason, we will now be distributing
Wne v awe, Dec. 12th. Kit price is $199.95. Custom wired and test-
toe P1s lPr e oPers extra. our products on a national basis through select-
ed, $299.95. Immediate prepaid prepaid shipment ship-
en pllpeed a ment via UPS. THE AUDIBLE DIFFERENCE, 435 Tasso, ed audio dealers.
1a represent
1ep
metits
products
o handcratuh9' Palo Alto, California 94301. (415) 328-1081. TF
Perhaps the best testament to the unusual degree of
neP,Me9°` phas h . 1 satisfaction with our products comes from the fact that in
the past three years, not one of our speakers has ever
drsptaY
i;Uy
F zf *
In
HAFLER IN THE SOUTH!
stock, the superb Haller DH -101 preamp and DH200
been advertised for resale on a second-hand basis.
i amp. kits S. factory assembled. Also new models. Imme- OUR SPEAKERS We believe our LEAD CYLINDER
1.1
diate free shipping. Also Fried (Speakers, Kits), Carver, speaker system to be the finest dynamic loudspeaker
2 Gen1er Vandersteen, NAD, Mirage, Audire, PS, Klipsch, more. available in the world today. And the technology used in
°ntrd READ BROS STEREO, 593 King Street, Charleston, its design has also been employed in all of the other
i1ereo C rei S.C. 29403 (803)723-7276. loudspeakers in our line of products. There is no mys-
'_
t tique about our LEAD CYLINDER speaker system. It
simply represents an imaginative, highly disciplined,
r
Eliminate Your Speaker problem -oriented attack on all of the difficulties that have
2
+ Switching traditionally plagued the designer of dynamic loudspeak-
ers, with the following superb results.
6 ií \ }`'
PmpuNer
Problems 1. Our midrange driver is mounted in an individual,
PdHer lead-damped, cylindrical enclosure, thus banish-
With an SPS-1 Speaker Selection System. ing forever colorations due to enclosure reso-
Play any. or all Accommodates up nance. Moreover, the tweeter is in its own cylin-
simultaneously to 14 gauge wire drical enclosure so that its acoustical isolation
M Floating (separate)
grounds
Amplifier overload
protection
from the midrange eliminates transient interac-
tion. The result is an open, dynamic, and articu-
1 late sound.
Power handling: 100 Accommodates4pairs
o \. .- NV, For watts per channel 2. The midrange and tweeter units are essentially
M more information free-standing, eliminating diffraction effects. The
Price: $79.95. Available direct or through selected rounded, felt-covered edges and surfaces fur-
nic and dealers near you,
dealers. To order. or to obtain further information, ther reduce diffraction and secondary radiation
Mon write or call: Niles Audio Corporation/Dept. IA/
";0-0W D & K IMPORTS P.O. Box 160818/Miami, FL 33116/
effects.
146E Post Rd. White Plains, NY 10601 .914-946-3031 3. The crossover components are located in a total-
Dealer inquiries invited, (305) 271-9181 ly separate unit, reducing magnetic, thermal,
and acoustic interactions.
4. Our drivers are configured with their true acousti-
Two -channel sub-woofe 12dB/octive 100Hz.
,
cal centers aligned, and our crossover is de-
passive filter, bi-amp connections, mode switch signed with phase and impedance compensa-
disables passive network, bass driver level con- tion, to ensure true phase coherence, thus pro-
trols to vary sensitivity, polypropylene drivers, ducing a defined and undistorted picture of un-
non -directional bass response. usual clarity. For the same reason, our speakers
Slimline satellites, 18dB/octave filter, possess a spatial imaging perspective that is
polypropylene mid-range, soft dome tweeter correct in both width and depth.
with control, Mylar capacitors. Exceptional 5. Our separate woofer produces tight, non-boomy
dynamic range. Flawless imaging. bass, to below 26 Hz. The crossover from the
woofer to the midrange is quite low, insuring no
Natural walnut veneers, full dealer service-
bass coloration in the vital midrange.
ability, limited 5 year warranty. Tremendous
6. For all of the above reasons, our GNP LEAD
value. Incredible sound.
CYLINDER speaker system is unsurpassed in
the unstrained reproduction of musical transients
and dynamics.
7. Our speaker design has extremely flat frequency
t response from 26 Hz to 21 kHz.
DESIGN 1C4ll IU We encourage you to listen to our loudspeakers at your
own specialty audio dealer. There is little doubt that
P.O. Box 646
INNOVATION' San Ramon, CA 94583
Óy,NaMN
GNP now takes its place in that select group of compa-
nies in the forefront of the search for the ultimate in
(415) 820-5765 musical reproduction.
74
o FOR SALE FOR SALE I
We are
HAFLER-NEW PRODUCTS
stocking the following: DH101K, $199.95.
DH101A $299.95. DH101AP $399.95. DH103
$19.95, 01-1104 $24.95, DH105 $24.95. DH106
LIST OF EQUIPMENT FOR SALE. ALL TYPES. Send
Stamp. AVI, Box 264A2, Buffalo, NY, 14215.
-
Swiss precision stylus configuration c.osely repli-
in U.S. & P.R. We ship WORLDWIDE. Visa & M.C. OX-
FORD AUDIO CONSLTS., INC., Box 145, Oxford, OH
45056, 513-523-3333, telex: 427791. cable: OXAUD-
CON.
cates the shape and path of the cutter head without
danger of recutting the grooves. Sounds more like
music than any other cartridge in its price range.
0\5
LYRIC HI FI, 1221 Lexington Ave., New York, NY GOLD
HAFLER SUPERMOD PREAMP BY MUSICAL CON- 10028.
CEPTS LINE Intro- `', -
Audlogram says "The sound of the Super Mod tran-
MAGNEPLANER TYMPANI Ill -A .T/M panels. black,
feet, $650.; Precision Fidelity C-4 preamp. $475.; JVC
duces an /
exciting and
scends its origin, its parts, and its piddling cost, fulfilling OL-50, Grace 704, new Dynavector ruby $415.; Power -
our musical expectations ... for the here and now, this light MC4e, $225. (707)938-1131, eves. attractive --
is the one." new mer-
MARK LEVINSON LNP-2, early model no updates, chandiser
The Super Mod is available as a kit for $200. or installed perfect shape, $2000; offers considered. (415)948-
for $250. Also available are an amp mod kit for the DH 6434.
designed to provide a simple, live
200, and a more modest preamp mod kit for $100. demonstration of its Real Time
MARK LEVINSON ML -1. Move up to the best. Reason- Analyzer.
Musical Concepts able Offer. 1-614-451-7471 after 5. By demonstrating the analyzer in
1060 Fifth Plaza
Florissant, MO 63031 McINTOSH BOUGHT, SOLD AND TRADED. 1-313- combination with an equalizer, your
(314) 831-1822 Dealer Inquiries welcome. 229-5191 or 5115 Red Fox, Brighton, MI 48116. customer can easily visualize the
value of GOLD LINE REAL TIME
HARMAN-KARDON HIGH TECHNOLOGY
SEPARATES, RECEIVERS, CASSETTE DECKS: ELEC-
McIntosh, Marantz, Dynaco tube equipment repaired ANALYZERS in solving feedback
TRO -VOICE INTERFACE A, B, C, D SPEAKER SYS-
TEMS: THORENS TURNTABLES. ALL IN STOCK
IMMEDIATE SHIPMENT.
- or restored to original working specifications. Yes we
have transformers and tubes. Professional service at
reasonable rates. Inquire for quotation AUDIO CLAS-
SICS/ATLANTA, P.O. Box 1454, Roswell, GA 30077.
problems at an affordable price.
To find out more about the prof-
EAST: 305-462-1976 WEST: 213-243-1168 itable line of GOLD LINE products,
MCINTOSH, MARANTZ, ARC TUBES. WANTED 713- call or write:
Hawaii's AUDIO SOURCE SYSTEMS presents the
728-4343.
new PREMIER LMX moving coil phono cartridge.
You've never heard a reasonably priced cartridge
that sounds this musical. The secret is the FGV
MICHAELSON 6 AUSTIN TVA -1 Mint $1200 (314) 203-938-2588
"cutter analogue" stylus with constant radius 291-7577
A
groove contact. AUDIO SOURCE SYSTEMS, 470
MIRAGE IN THE SOUTH? West Redding
N. Nimitz, Suite 206, Honolulu, HI 96817.
In stock. Free Shipping! READ BROS STEREO, 593
King Street, Charleston, S.C. 29403 (803) 723-7276.
CT 06896 GOLD LINE
High -Tech, Not High Ticket
Finally, a moderately priced moving coil that sounds
musical, tracks, focuses, and doesn't cost a fortune
the new PREMIER LMX with "cutter analogue"
.
AUDIO/FEBRUARY 1982 75
FOR SALE FOR SALE. FOR SALE
MICHIGAN AUDIOPHILES NAD: RECEIVERS, AMPS, PRE -AMPS, TUNERS, NEW, USED AND DEMO EQUIPMENT FOR SALE:
Apt Holman Grafyx PS Audio TURNTABLE, CASSETTE DECKS Call or write for Dahlquist DO 10 demos, $799 pr; Dahlquist DOM7 de-
Adcom Hailer Rega quotes or information. Designatron's Stereo Stores, Inc., mos, 5650 pr; Genesis 3 used, $440 pr; Magnepan
Boston Acoustics Hitachi Revox 260 Old Country Rd., Hicksville, N.Y. 11801 (516) MG2a used, $600 pr; Magnepan MG 2, used, $500 pr;
Bryston Isobarik Snell 822-5277 JBL L 65 Jubal, used, $550 pr; IMF Studio II used,
Conrad Johnson Linn-Sondek Spendor 5300 pr; GAS Thoebe used, 5295; IMF TLS 5011 used,
Dahlquist Mission Spectrum NAKAMICHI 1000 ZXL $2700.; Bedini 100, $1,250. $900 pr; B&W 801 used, $2000 pr; Yamaha NS 244
Dual NAD Stax 713-728-4343. new, $300 pr; Crown SL1 new, $375; Haller HD 101
Grace Nakamichi Harmon Kardon used $150; McIntosh 2125 used, $1000; Van Alstine
Grado Signature Onkyo Threshold preamp, used, $355; Luxman C 1000, 5500; Ouad 33
NEW ENGLAND ELECTRONICS EXCHANGE
Naim Audio Polk Audio used, $260; Marantz 3600 used, 5260; Koss ESP 9
provides a national marketplace for audiophiles buy-
ing or selling quality new and used equipment. used, $90; Micro Seiki BL 91 demo, $500; Dual 7310
ABSOLUTE SOUND Monthly newsletter subscribers enjoy the benefits of
its nationwide distribution, equipment grading
new, $300; Ouartre GC 500, $450 used; Nakamichi
60011, used, $325; Nakamichi 730 rcvr, used, $950; All
"Michigan's High Accuracy Audio Dealer" used equipment guaranteed 90 days parts and labor.
standards and the guarantee of full and prompt pay-
Detroit, 12400 Morang Ave. (313) 527-2244 ment for products sold. Write or call free for a free Audio Consultants, 10t4 Davis St., Evanston, II.
Royal Oak, 4354 N. Woodward (313) 549-7550 sample newsletter or subscribe ($6.00/yr.) 617/ 60201, (312) 864-9565; 757 N. Milwaukee Ave., Li-
Ann Arbor, 312 S. State St. (313) 662-2026 491-3000. (7-11 PM EST/M-F) Box 82 Harvard bertyville, II. 60048; (312) 362-5594.
East Lansing, 1 045 East Grand River (517) 351-9300 Square, Cambridge, MA 02138.
We Ship Prepaid NITTY GRITTY RECORD CLEANING MACHINE IN
VISA/M.C./AMER. EXPRESS WELCOME STOCK!! $349.00 shipped prepaid! Phone orders wel-
MIDWEST'S AUDIO OUTPOST HAS LARGE SELEC-
TION OF MOVING COIL CARTRIDGES DYNA-
VECTOR-GRACE-PREMIER-OSAWA-SATIN-SUPEX-
- NEW, USED, AND DEMO'S. SPEAKERS: Beveridge
System Ill ($6,000)-52,200 (used). Kinetic Audio Sub
Woofers ($450.)-$249 (demo). UR 149's ($500)-$300
(used). Dalquist DOM-7's ($800)-$600. (demo). Fulton
come. HCM AUDIO (916)343-0558
No compromise.
This is one phono cartridge that doesn't ask you to
more. Many tonearms, SOTA Sapphire turntable, GEM Premier's (55,500.)-$1,900. (used). Pre -Amps: Dayton- choose between accuracy and tracking, coherence
turntables, Sonex, Vac-O-Rec, Sound Connections, Wright SPS MK Ill updated ($600)-$275. (used). Phase and dynamics, performance and price. PREMIER's
S.O. TERIC Head Amp, Hailer Amplifier Modifications, Linear 3000 ($600)-$250 (used). Mitsubishi DAP -10 LMX moving coil cartridge. Audition it at AUDIO
Phase Linear 700B and 400 Modification Kits. S.O. THRESHOLD, 36633 Grahot St., Mt, Clemens, MI
($330.)-$145. (used). Nikko Beta 20 ($400)-$165
TERIC Enterprises, 5256 Section Avenue, Cincinnati, 48043.
(used). Misc. Eumig Ft 1000 cassette ($1,550.)-
OH 45212. (513) 396-6042. $1,100 (new). Revox B-795 turntable ($649)-$500
(demo). 716-461-1585. NORTHERN CALIFORNIANS
MIXER made especially for tape duplication. Will pro- our goal to make the joy o' music possible for every-
It is
duce enhanced high quality second generation tapes. one. At any price we offer solid value, superior perform-
KUHN ELECTRONICS, 4586 Carter Avenue, Norwood, NEW YORK AUDIOPHILES, AudioWorld can save you ance, and traditional service.
OH 45212. TF money. Not only do we offer bargain prices on au- We operate on the theory that you as our customer
diophile equipment, we also eliminate the sales tax has- will achieve the greatest long term satisfaction only
MODIFIED PANASONIC LEAF TWEETERS sle for out-of-state customers. AudioWorld, Box 6202, through a careful analysis of your audio requirements.
TECHNICS -
ONKYO, JBL, SONY CAP STEREO, PIONEER,
The Stereo Factory, Box 1326, Hunting-
ton, W. Virginia 25714. Phone, 304-522-8031. MC &
The concept: An American belt -drive turntable designed to VISA OK.
* A trademark of Johnson & Johnson Products, Inc. PS AUDIO MODEL ONE 80 WPC AMP $300.00;
DYNA STEREO 120 60 WPC 5100.00 BOTH FLAW-
LESS (212) 541-4737
76
FOR SALE FOR SALE FOR SALE
HERITAGE HILL AUDIO in Grand Rapids, MI, 616-458- Our customers have found that Snell's attention to detail
Micro Seiki, PSE, Harmon Kardon, LiveWire, Thorens,
9202 afternoons. Auditions by appointment only.
more ... EXCEPTIONAL AUDIO, (213) 961-6158 in both design and construction more than justifies the
price of these fine products. Audio magazine said: "If
evenings. weekends PST. FREE SHIPPING!!! P.O. Box
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PYRAMID MET 7 and 8W SPEAKERS at The Moun-
well crafted, quirk -free package, the Snell Type 1 de-
tain Ear (303) 963-3269. serves a place on your auditioning list." All Snell prod-
SALE ON THE FAMOUS KEN WOOD AUDIO PURIST
SEPARATE COMPONENTS! Up to 50% savings) All ucts shipped free in continental U.S.
PYRAMID MET 7 IN STOCK. FREE SHIPPING GENE Designatron's Stereo Stores, 260 Old Country Rd.,
RUBIN AUDIO (213)571-1299 (PAC.) new, factory sealed. The LO7M mk II mono amps (150w
ea.) were $600 ea, now $395 ea. The LO5M mono Hicksville, N.Y. 11801 (516) 822-5277.
QUADRAPHILESI Your number one source for four - amps (100w ea) were $395 ea, now 5195 ea. Call or
channel recordings and news is the MCS Review. Annu- write for super combination savings with the LO7C mk II
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al subscription, $4.00 in the U.S., Canada, Mexico; tactile display. Connects to stereo. Plans $10. How
$7.00 elsewhere. Published by QUAD Incorporated, Stores, Inc., 260 Old Country Rd., Hicksville, N.Y.
11801 (516) 822-5277. Wachspress, Box 99141, San Francisco, CA 94109.
P.O. Box 19-A. Capron, VA 23829-0019.
AUDIO/FEBRUARY 1982 77
FOR SALE FOR SALE FOR SALE
SOTA SAPPHIRE, DYNAVECTOR, FULTON, STAX, SPEAKERCABLE SOUNDS SO GOOD, 14 inch outer STRELIOFF DC-1 200/200, HAVE TWO. Mint. List
QUAD, etc. 713-728-4343. Maury Corb, 11122 diameter, $2. per ft. Add $6. by air. Send to: Mr. Choi, $2,500. Best offer. Jerry, (313) 569-6844,
Atwell, Houston, Texas 77096. 31A, Haven St., 8/fl., Hong Kong. Dept. A2
-
SOUNDLAB R-1 ESL IN SOLID ROSEWOOD, new in
carton, list $3,800.
1393, 433-1335.
Sell $2,495 or B/O. (415)-548-
(801) 487.8184
-
ATE SHIPMENT. (213) 467.5725.
(517) 371-5955
SPICA Audio Connection
SOUTH CAROLINA'S ONLY HIGH-END STORE the How can we say in two lines what the SPICA HARMAN-KARDON HIGH TECHNOLOGY
loudspeakers do so right, so musically pleasing for SEPARATES, RECEIVERS, CASSETTE DECKS: ELEC-
-
finest audiophile equipment British American Sound,
P.O. Box 1247 186 King Street, Charleston, SC 29402 the most discerning set of ears?! Please, hear them TRO-VOICE INTERFACE A, B. C, D SPEAKER SYS-
for yourself in Verona NJ, 201-239-1799 TEMS: THORENS TURNTABLES. ALL IN STOCK
TF
IMMEDIATE SHIPMENT.
p II II ILO II II-II II-II II.B STEREO REPRESENTATIVES NEEDEDIIILOWEST EAST: 305-462-1976 WEST: 213-243-1168
-
11 11 11 11 1(11
INOT
a
BE BEAT!
SUPER SELECTION. FULL WARRANTY FAST DELIVERY
SYMDEX LOUDSPEAKERS
We are pleased to introduce the further improved
sic kit of parts for the THD analyzer featured in "Au-
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onstrated. Kit will contain all parts specified in the
parts list, but not chassis, knobs or circuit boards.
e HI-FI, HIGH END& VIDEO Symdex Sigma and the new companion subwoofer, Interested? Write to: 3G Electronics, 108 W. 2nd
a three-way system of unparalleled accuracy and Ave., Latrobe, PA 15650
low coloration. This reference system, which sets
new standards for definition and transparency, is a THE ABSOLUTE SOUND', in its latest issue (ií24),
result of thorough optimization of all design factors plunges into the waters the commercial press fears to
plus construction and components of a quality never tread and tells you:
before used in loudspeakers. The sonic results of What's wrong with digital discs; how to complain about
1,
8 V//
/ this effort have been described by listeners as a
redefinition of the state of the art of dynamic
loudspeakers.
For further information, contact: Symdex, 319 A
them
The truth about car stereos (including their sometimes
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viSA CALL (203) 934-5291 NOW! MAC Which low-priced basic amp ifier is the best
8
* AUDIO PEOPLE *
t 000 Orange Ara., West Haven, CT 06516
Street Rear, Boston, Massachusetts 02210
Current Symdex owners note that factory up-
dates are available.
What's wrong with contemporary preamps
Why most "straight-line" arms are frauds
How the shlockmeisters have taken over the raw tube
market.
p[ m Ii111~111 11 11 1111 1L11 11 11 11 11
You can also read the results of a comparative evalua-
tion of tube preamps, ranging from the Berning TF-10 in
its latest incarnation to the double -tube mod of the Audio
Ij
/"
THE AUDIOPHILE BEST SOUND PER DOLLAR
Regaplanar 2 turntable
Rega Cartridge
Haller DH -101 A Preamp
NAD 4020 Tuner
SYSTEM
(under $2200)
78
The Magazine for the Perceptive Listener
FOR SALE FOR SALE
i
TURNTABLE:
"10" SYSTEM (Under $10,000)
Oracle or Linn Sondek
THE NEW SOUND PANELS -
UNQUESTIONABLY
SUPERIOR TO ANYTHING UNDER $1,000.00. AMAZ-
High
TONEARM:
CARTRIDGE:
Linnitok
Linn-Asak
INGLY CLEAR AND NATURAL WITH IMAGE REPRO-
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Performance
SET-UP:
PRE -AMP:
POWER AMP:
Audio Interlace
Audio -Research SP6-B
Audio -Research D-120
TOUNDED. HEAR THEM WITH THE AMBER ELEC-
TRONICS AND THE GRACE F9E EXCLUSIVELY IN
Review
SPEAKERS: Snell Type A's or Acoustat WESTERN SUFFOLK AT TUCKER'S COMPONENT AU- Full tests and listening evaluations:
Monitor Ill's DIO. (516)673-1124.
TUNER: Rogers T-75 equipment from B&W, Threshold, KEF,
TAPE DECK: Tandberg TD -20A The South Bay's PREMIER dealer Denon, SAE, Hafler, Dynavector, Tech-
SOUND BY SINGER GARLAND AUDIO invites you to audition PRE- nics R&B, STD, ADC, Ariston, Teac,
227 Lexington Avenue MIER's new LMX moving coil phono cartridge. The
New York, NY 10016 LMX's advanced "cutter analogue" stylus delivers
Trans Audio (Oracle), Studer-Revox,
(212) 683-0925 remarkably accurate reproduction because it closely Tandberg, Fidelity Research, Acoustat,
We ship anywhere (M.C., A.E., and VISA accepted.) replicates the shape of the cutter stylus. Hear it at Thorens, ADS, Sumiko (Grace), Apt,
GARLAND AUDIO, 325 S. Monroe St., San Jose,
THE CLASSIC UP -DATE CA 95128.
-Sony Esprit, Ortofon, JVC and more.
DRT-1 RIBBON TWEETER KIT $249.00 The latest and best units.
PC -1 POLYSTYRENE CAPACITOR KIT $12.95 THETA TUBE ELECTRONICS
FELT KIT $15.00 Theta has introduced an IMPROVED preamp, the 1B. It The first audiophile magazine with all
MID BASE DRIVER KIT $89.50 along with the OPT amp & head amp are available at of these features:
Dr. Greenhill reveals how to improve the Dahlquist OXFORD AUDIO CONSLTS., INC., Box 145, Oxford, Technical Advisory Board: J. Robert
DO -10 in the latest issue of AUDIO ALTERNA- OH 45056. Free shipping in U.S. & P.R. We ship
TIVES. Postage paid in the U.S. Visa, M.C.. Check WORLDWIDE. Visa & M.C. 513-523-3333, telex: Ashley, University of Colorado at Den-
or Money Orders welcome. Calif. residents add 6% 427791. cable. OXAUDCON. ver; Elliot Mazer, record producer/
sales tax. engineer; James A. Moorer, Lucasfilm,
RANDALL RESEARCH (714) 760-1539 CLASSIC QUALITY
719 Fernleaf Corona Del Mar, Ca. 92625 Goodwin's is pleased to introduce several new audio
Ltd. and Stanford University; Vincent
components which have significantly advanced the Salmon, acoustical consultant.
THE INTERMEDIATE AUDIOPHILE SYSTEM
art of music reproduction. These modem classics Comprehensive equipment tests
combine aesthetic and technical excellence with a
(Under $4,250) superior standard of construction for longterm listen- using state-of-the-art precision instru-
Turntable: REGA PLANAR 3 ing pleasure. mentation from Tektronix, Bruel & Kjaer
Cartridge: DYNAVECTOR RUBY KARAT
Set-up: MUSICAL FIDELITY QUAD ESL-63 loudspeaker. The product of 17 years and Hewlett-Packard.
Pre -amp: PRECISION FIDELITY C-7 of development and well worth the wait The new Careful subjective listening evalua-
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Power Amp: TRILOGY
Mark Levinson ML -6A mono preamplifier pair. Un-
tions under controlled conditions.
Speakers: SNELL TYPE
Tuner: ROGERS T-75
1
ACOUSTIC ELECT. JANIS PSE & 2 are ready now. Each issue has a
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B&W KOETSU PRECISION FIDELITY, colorful cover and is printed on fine
THE DAVID BERNING CO. LAST PROMETHEAN quality paper. Don't miss out( Send
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DYNAVECTOR MARCOF STAX
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GOLDMUND MUSICAL FIDELITY SUPEX High/Performance Review
GRACE MUSIC REFERENCE TANDBERG Box 2989; Stanford, CA 94305 USA
GRADO NAKAMICHI THETA ELECTRONICS Yes, enter my charter subscription. All
HAFLER PLATTER MATTER VPI
HILL PLASMATRONICS PS AUDIO YAMAHA subscriptions begin with Issue 1.
enclose $24.00 by check or money
order.
Overseas and Canadian subscribers: Please note that
payment must be In US Funds Net payable on US Bank
or Agency. Add $4.00 for non -USA postage.
590 Central Park Avenue. Scarsdale. N.Y. 10583
Name
Mon., Thurs., 10-9 P.M. Tues.. Wed..- Fri 10-7 P.M./ Sat.. 10-6
Ample Free Parking
.
AUDIO/FEBRUARY 1982 79
FOR SALE FOR SALE FOR SALE
THE SENSIBLE SOUND - ISSUE (LUCKY) íe13
First loudspeaker reviews anywhere of: Fourier 1, Rog-
TUBE BIBLE 111
Latest edition is a boy. Lovers of tubes rejoice. Learn TRANSCENDENTAL AUDIO
FEATURES:
-
ers Studio One, Harbeth HL -III, Fulton 80B, 3D8, Mitsu- truth about circuits, power supplies, quality parts, mod.
bishi MS -10, Celestion 130, Polk RTA-12B, Vanders- kits, updates and how to get to TUBE HEAVEN econom- PRECISION STEPPED ATTENUATOR VOL-
teen 2B, AR -48s, Black Shadow, Thiel 03a, Kindel
Phantom, B&W DM -14, Cosmos Omnistatic, Ouad ESL -
63, Infinity IRS -Ill, Fried A/2, Sound Lab R1 + 2, IRS,
tion. Learn about our NB Electronics -
ically. This 30 page book gives lots of technical informa-
we put all of our
money into circuits and quality parts not cute cosmetics
UME CONTROLS
and Alps.
available for solid state or
tube units, assembled or in kit form from Tech Labs
Acoustat II & Ill, KEF 105.2, Mission 770 plus more. and you get more for less. Our bi-monthly publication, POLYPROPYLENE AND POLYSTYRENE
Also, a complete roundup of virtually EVERY turntable The NEW TESTAMENT, is an education in tube circuitry. CAPS from 20 pf to 10 MFD, 160 volts to 600
on the market. If you don't read us you are probably
paying too much or being conned, or both. Join us
$18/4 issues, $3518; back issues available ...
403
- Send $2 for a tube education to:
TUBE GOD
33 N. Riverside Avenue
volts.
HAFLER PREAMP AND POWER AMP MODI-
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Darwin, Snyder, NY 14226
.0"
trans Nova _-v`rt -_
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ej RECORDS
749 Middle Neck Road, Great Neck New York 11024.(516) 466-5674 AUDIOPHILE RECORDS AND CASSETTES:
Shipping free in Continental U.S. ' Direct to disc, digital, 15 -speed and Japanese import.
Call or write: SUPER SOUND RECORD SERVICE (312)
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80
RECORDS SPEAKERS
DIRECT TO DISC AND DIGITAL RECORDINGS: All ELECTRO -VOICE INTERFACE A, B, C, D QUALITY
- -
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SLEEVES 150, white jackets 35', POSTAGE $2.00.
4343.
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TF BUY MCINTOSH AND MARANTZ TUBE EQUIP-
Why burden her with
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FREE ADVERTISING for your USED EQUIPMENT! Pay The quiet smoothness
REFERENCE RECORDINGS
You can expect the extraordinary. Let Professor John-
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AVI, Box 264 -Al, Buffalo, NY 14215 of natural sound will
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give your audio system a royal wring -out! For jazz buffs: I'LL BUY OR TRADE tube gear by McIntosh, Marantz, release her passion
RR -6 "First Takes" ("the best jazz piano sound we've
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For more Information and a dealer'
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ACOUSTAT ARGENT ARISTON AUDIO PRO AUDIRE BOWERS S WILKINS C M LABS CONRAD-JOHNSON
1h11custh
COUNTERPOINT THE DAVID BERNING CO.- DAYTON WRIGHT- DECCA DELPHI DE NNESEN DYNAVECTOR ELECTRO RESEARCH
FRIED GRACE HAFLER HEYBROOK KEITH MONKS KENW000 AUDIO PURIST KRELL LAST LEACH LIVE WIRE LUSTRE
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SOTA SAPPHIRE SPICA STRAIGHT WIRE SUMIKO (The Arm) SUMO SUPEX THIEL THRESHOLD
VP WIN LABS
s e '
13831 South Dixie Highway, Miami, Florida 33176 (305) 253-4433
Call or write for literature on specific items.
1780 Monrovia Suit. A-22
Costa Mesa, CA 92827 (714)845.8877
AUDIO/FEBRUARY 1982 81
WANTED TO BUY OR TRADE WANTED TO BUY OR TRADE BUSINESS OPPORTUNITIES
TOP PRICES PAID: MARANTZ, McINTOSH tube WANTED: 1960s BRITISH SPEAKERS: Tannoy (8 CABLE FM BROADCAST STATION. Unique no in-
equipment. WESTERN ELECTRIC and ERPI speakers, OHM ONLY) 12" Dual concentric. ALTOBASS LTD. vestment/experience business makes money) Others
drivers, horns. (206)323-4987.
triaxioms. (CHUCK MILLER -LOS ANGELES -PHONE Want money? Hate hard work? Lazy way to big money.
AGAIN.) STENTORIAN 12" and 15" duplex coaxial. Cleaver plan $2.00 (Refundable) Noble, Box 10033,
USED AUDIO: LORENZ (Kingdom Products) 12" coaxial LP 312-2. Houston, TX. 77206.
QUAD of England, McINTOSH, AUDIO RESEARCH, DY-
NACO, LEVINSON, MARANTZ tubes, JBL, WESTERN
ELECTRIC, ElectroVoice PATRICIAN 600 and most
other esoteric separates, mc. carts, tonearms, tuners,
RACON 15" 3 -way *15 HTX. Trusonic (Stephens)
coaxials 12" *
122AX, *120CX, 8" *80CX. CAL-
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COLLEGE STUDENTS - EARN EXTRA MONEY
SELL AUDIO EQUIPMENT AT YOUR SCHOOL
8" coaxial CR -8X. STROMBERG-CARLSON 12" coaxi- No investment. Professional sales help. 60 top brands.
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(617) 969-2727 or write: Bob Heenan, Box 782, Brook-
als. Very old Western Electric 12" full range *
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Singles OK. No cabinets. Kalish, 565 Walnut Ave., Red- write. Audio Outlet, Inc. 10 Commerce Court, Newark,
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um for USA audio from 1930's to date. Interested con-
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suggestions please contact. (617) 969-2727 5714 eves. eo Magnetic Tape Manufactu-ing Project in India. Knowl-
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UTAH OM -1 OMH1 SPEAKERS. 212-438-5714 eves. The person would advise complete details of plant &
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for technician or engineer type. Reply box 1-282 Audio clay-Crocker, Room 1470-A,
WANTED: Infinity 4.5. (516) 561-7735, (212) 867- 11 Broadway, NYC,
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RADIO PROGRAMS
CATALOGS. Broadcasts, soundtracks. Personalities of
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0 1 Í,v
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Inglewood, California 90302.
LEGENDS AS IJSiJAi..
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NAME -BRAND RECORDING TAPE, custom loaded.
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311 Cherry Street, Philadelphia, Pa.19106. (215) 923-3035. TAPE. Agfa PEM 468 or 368. Until now, not generally
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70893
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Music for your home. We make it simple. NASHVILLE RECORD PRODUCTIONS WILL PRESS
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82
'EVERY PAIR IS HAND BUILT TO WITHIN IdB
PUBLICATIONS
& HANDLES 350, WATTS (Peak Program)
o
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1
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USE TO ADJUST EOUAUZER3,
.3399
WHO ELSE BUILDS SPEAKERS LIKE THIS? u
rvFr--
CA Los Angeles Bel Air Hi! 113) 477.9569 NY Great Neck Ears Nova - (516) 466-S674
-.
-- 7
- CA La Puente Exceptional Audio 013) 9614158 NY New York Lyric Hilt (212) 535.5710
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1
-9-ti7, .5Lf k.T 13- CA Santa Monica )onus Miller Sound 113) 128-5613 NY Rochester Stereo One (716) 2274111
CA San Diego Stereo Unlimited 419) 2234151 OH Columbus Custom Stereo (614) 235-3531
REMOVES VOCAL FROM MOST STEREO DISCS OH Orford Oxford Audio
The Thompson Vocal Eliminator can actually remove most or CA Fountain Valley Systems Design GP 714) 9647127 (513) 523-3333
virtually allot a solo vocalist from a standard stereo record and CA Ventura Ventura Audio 805) 653-5924 OK OK. City Young Blood Sound (405) 751-I532
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for a brochure and demo record below. COST; $295.00
Audio Ltd. 117) 359.3774 SC W. Columbia Upstairs Audio (103) 791.1985
IL Champaign
Time Delay/Ambience IL
IN
Chicago
Indianapolis
Victors Stereo
HM Gallery
712) 717.0750
117) 2515141
VA
WA
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Seattle
High 'C' Stereo
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(703)
(206)
777.7799
524-6633
Superior; LA New Orleans Wilson Audio '504) 864-3457
Realism Frequency Response
Range a step nearer audio perfection
_ R MI R MI
6074 CORTE DEL CEDRO CARLSBAD, CA 92008
111
1 yk :ti4TÁ0.4 .1
PLANAX
1
AUDIO/FEBRUARY 1982
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84
Í BEHIND THE SCENES
BERT WHYTE
proclaimed from its display in the lobby. standards, existing digital recorders will using this system with absolutely superb
This 70th AES Convention marked have to be retrofitted with circuits and results. For the Smithsonian Institution, I
the last in the three conventions -per -year switches to permit selectable sampling recorded Victor Herbert's complete
format which the AES has been follow- frequencies. This must be done, be- operetta, "Naughty Marietta."
ing for some years now. The next AES cause if a recorder which had an original 3M showed their 32 -channel and 2/4
Convention is set for Montreux, Switzer- sampling rate of 44.056 kHz (a common channel digital recorders, which no
land in March 1982. Then instead of the figure in most Japanese helical slant re- doubt will soon be retrofitted for the new
usual May convention at the Hilton in Los corders) is used to play back a tape with 48 -kHz sampling rate. They demonstrat-
Angeles, there will be a convention in a 44.1 -kHz sampling rate, there will be a ed how a tenth generation digital dub is
October 1982 at the Disneyland con- very slight pitch change, possibly detect- indistinguishable in sound from the origi-
vention facilities in Anaheim, California. able by someone with perfect pitch. nal master, especially in terms of signal-
After that it will be another foreign ven- Conversely, there would have to be ad- to-noise ratio. This point is somewhat
ue, with the next New York convention in justments made for the playback of controversial, with some experts claim-
the fall of 1983, and not necessarily at 44.056-kHz tapes on a 44.1 -kHz digital ing subsequent dubs are structured dif-
the Waldorf. recorder. ferently from the original. Perhaps so,
The truly historic highlight of this AES A 48 -kHz sampling rate will permit a but most people certainly can't hear any
Convention is that at long last we are frequency bandwidth extending beyond difference between copies.
about to establish standards for digital 20 kHz. Those who would prefer an Sony offered new digital equipment in
recording. At a very heavily attended
meeting of the Digital Standards Corn-
mittee.(with AES legal counsel standing
about all this -
even higher top end will not be happy
but the next applicable
multiple for sampling rate is 60 kHz
several areas. Under development for
some time, the PCM 3324 24 -channel
digital recorder will be available for deliv-
by to advise on any "sticky" points), a which is deemed too technically difficult ery by the time you read this report. It is
draft proposal was formulated which re- and too expensive in implementation. a fixed -head recorder, using half-inch
commends 16 -bit linear encoding at a There are other points to clear up, of tape at a speed of 15 ips and providing
sampling rate of 48 kHz per second for course, but once the Committee's work 60 minutes of recording on a 14 -inch
"fixed head" digital recorders, and a is completed we will indeed have a digi- reel Quantization is 16 -bit linear encod-
ing, and sampling rate is selectable for tracks which allow conventional razor- accuracy without the need for adjust-
various frequencies up to 55 kHz. The blade cut-and -splice editing. Sony em- ments and that their new Cross In-
3324 features separate SMPTE time - phasized that their special analog -to -dig - terleave Code error correction system,
code generation, which allows synchro- ital and digital -to-analog converters use used on the PCM 3324, is so effective
nous recording of up to 72 tracks, and Sony -developed integrated circuits that it prevents loss of the music source
the SMPTE track permits compatibility rather than complex discrete circuitry even if up to 88% of signal is interrupted
with video recorders. The PCM 3324 which requires very precise adjustments. within a constrained length of tape! The
also provides two additional analog Sony claims their new ICs assure 16 -bit usual digital specs for dynamic range
(90 dB), unmeasurable wow and flutter,
etc. apply to the PCM 3324.
"...closest thing
,
I e
V? e . . o T n i v
.H::.::::::,,:
r
1-0 I e 1.1 rnl I m i e ni v I I a
-BILLBOARD
TCHAIKOVSKY
Romeo
and Juliet
Nutcracker
Suite
SHOST11KOV (IT
SY PHO W U LAa
g
l
' i . 0.
THE CLEVELAND ORCHESTRA
LORIN MAAZEL LORIN MAAZEL
THE CLEVELAND ORCHESTRA
w.. /
TELARC DIGITAL DG10068 I I TELARC DIGITAL DG 10067
.1
VAUGHAN-WILLIAMS BARBER
GRAINGER FAURL
SAINT LOUIS
SATIS
TELAR¿ F Ia
RIMSKY-KORSAKOV.
SYMPHONY ORCHESTRA
LEONARD SLATKIN 3)11 in1/AI Capricdo Espagnol EDUARDO
DEBUSSY .Ibéria
TURINA,Orgia
.
MATA
DALLAS
SYMPHONY ORCHESTRA
.lialtter
Symphony No.
Leonard Slotkin
I TELARC DIGITAL DG 10059 TELARC DIGITAL DG 10055
Sal I I '
Symphony
O, healra
Sony PCM 3324 digital recorder.
88 AUDIO/FEBRUARY 1982
Enter No. 27 on Reader Service Card
,
of
for me. Hal Rodgers, Senior ance, each instrument is a A. Three different ways.
Editor of Popular Electronics: source of sound that reaches I
"When the lights were turned your ears as two sound arrivals
out we could almost have -one for each ear. iá
sworn that we were in the pre-
sence of a real live orchestra."
The difference in strength
and arrival times at each ear
-
:
"In %M. ere.
- '
TIME DELAY
CARVER
COR ION P OR AT
' PO Box 664, 14034 N E 193rd Place. Woodinville. Washington 98072
BERT WHYTE
-
of audiotaping is still not fully resolved
but that is why the fair use clause is
in the copyright act. Implicit in it is the
"opinion" and "understanding" that as Appeals in San Francisco. In October of if the VCR manufacturers are enjoined
long as the audio material recorded is for 1981, the VCR industry was stunned from importing any more recorders into
the private use of the individual, and is
not subsequently offered for sale, the co-
pyright law has not been violated. -
TV videotaping -
when the appellate court ruled that off -
even for private use
is a violation of the copyright act
this country, the VCR business would
soon perish. VCRs in the hands of the
public would sooner or later need re-
There is absolutely no reason legally, From a technical legal viewpoint, this pairs, and without the necessary parts,
technically or morally to categorize home means that all of the 3 million or so con- off -TV recording would grind to a halt by
video recording of TV programs as a sumers owning videocassette recorders sheer attrition.
special circumstance different from the would be liable to lawsuits, as would There are some ironies in this case.
home audio recording practices of pri- Sony and other VCR manufacturers, all Disney and MCA are making money sell-
vate individuals. Every day, many thou- VCR retailers, and even the agencies in- ing prerecorded videocassettes of their
sands of audio recordings are made of volved in VCR promotion and advertis- productions. Obviously, this business is
copyright material from radio broadcasts ing. Although the Disney/MCA suit was dependent on the existence of a large
rid commercial recordings within the specifically against Sony and the Be- number of VCR units. Are they so naive
around rules of the fair use stipulation of tamax, their next move wojuld obviously that they think the present 3 million
the copyright act. be against the VHS forces. It is also obvi- VCRs would have been purchased if
Be that as it may, there is a great deal ous that enforcement of a ban against their only function was the playback of
more to this case. Sony quite rightly off -TV recording on the owners of 3 mil- prerecorded videocassettes? Pure non-
pointed out that Disney/MCA had
known about the development of Be-
lion VCRs is impossible. Coincidentally,
because of this ruling by the appellate settes are enjoying good sales -
sense! Certainly, prerecorded videocas-
in fact
tamax since the early 1960s, yet had
made no objections until recently.
court making off -TV videotaping a copy-
right infringement, the practice of off -the -
far better than most industry observers
had predicted. But make no mistake -
dictable -
The outcome of the first trial was pre-
no decision, and the case
was referred to the Ninth Circuit Court of
air audiotaping must now be regarded as
a similar infringement. While direct ac-
tion against the VCR owners is unlikely,
most VCRs are purchased for their re-
cording capabilities and the "time -shift"
benefits this permits. Another irony is
°YAMAHA .
emu emu IMO
F
N Q YAMAHA w ...
,...
1
YAMAHA
y Enter No. '- 8 on Reader Yrvtce Card
Astonishing. that the present laser/optical and RCA
CED videodiscs as playback -only medi-
some very hard-nosed types who are
against any form of use fee or a one-time
ums can only use copyrighted material levy of a modest payment at the point of
on which royalties are paid. It is their purchase, these ideas should be consid-
very lack of recording capabilities which ered in order to satisfy the copyright
has turned many people away from pur- holders. Trouble is, in this present Sony-
chasing a videodisc system. Disney/MCA situation, the idea of set-
Strange things appear to go on in ap- tling the dispute in such a manner has
pellate courts. The law cannot be held in thus far not been allowed to be placed in
much "majesty" when apparent igno- consideration. It's a real mess, friends. L11
rance of a subject results in poor deci-
"The sound of this diminutive speaker is sions which can ultimately have a pro- Flash ... Flash ... Flash
nothing less than astonishing. foundly disturbing effect on society. For The Electronic Industries Assn. has
It is worth hearing -
"Listen to the Four if you possibly can.
even if you are not
shopping for a speaker -just for a dem-
example, many years ago an appeals
court ruled against the Crosby FM stereo
petitioned the Court of Appeals in
San Francisco that its three -judge panel
onstration of how good a small box multiplex system, thus saddling us with a ignored or misinterpreted both fact and
can sound." stereo FM system that has a 6 -dB poor-
1 law in its analysis and conclusions that
STEREO REVIEW June, 1978. er signal-to-noise ratio. Ponder, fob, home taping of copyrighted television
Copyright Ziff-Davis Publ. Co.
For literature and information call
what legal maneuvering was involved so material is not fair use. The panel
that Sony was unable to use the fact that ignored the benefits to copyright holders
-
(800) 225-4791 or send coupon.
The Allison: Four costs $280 each in Disney/MCA had longstanding prior of VCR use, according to the EIA's
oiled walnut, $290 in oiled oak cabinet. knowledge of the Betamax system, and petition. Three Congressmen, Rep. Stan
had in no manner ever complained to Parris, Sen. Dennis DeConcini and Sen.
Sony until Betamax was a fait accompli.
ALLISON I must make it clear that Iam not
against copyright protection per se, and
Al D'Amato, have introduced legislation
in the House and Senate to amend the
copyright law to stipulate that it is not an
ACOUSTICS
Seven Tech Circle/ Natick. NIA 017611,U.S.A.
most especially where it concerns the
products of our most creative minds.
Composers and artists need that kind of
infringement for a consumer to record
copyrighted materials on a VCR if 1) the
recording is made for private use, and 2)
protection, and as this protection is pres- the recording is not used in a
Name ently constituted, it works fine. In the commercial nature.
course of my professional recording ac-
Address tivities, most artists have queried on the
I Flash ... Flash ... Flash
City fair use clause of the copyright act have West Germany's television
State Zip
little or no objection to it, especially as it manufacturers were all ready with a wide
Enter No. on Reader Serdlce Card
1
applies to home recording. variety of models equipped for stereo
The court has made its decision, and sound at the Berlin Funkausstellung
AUDIO an entire industry trembles on the brink Show. The system, used by some 29
of extinction. Needless to say, Sony stations, has two separate carrier
THE ULTIMATE spokesmen tell me they will carry this
battle all the way to the Supreme Court.
frequencies for the audio program, and
features automatic switching between
PLAYBACK By no means should it be assumed that
their decision will rule in favor of Sony.
mono, stereo, and two -channel or
bilingual reception at the receiving end.
SYSTEM The copyright laws are full of confusion
and ambiguities. There are reasonable
The system cannot be adopted to the
NTSC broadcasts used in the U.S.,
All of AUDIO's 1981 issues have been people and there are greedy people who though the stereo system used in Japan,
Bound into an attractive and durable would subvert the basic protection of which uses a multiplex technique, could
volume. AUDIO '81 gives you rapid
copyright laws to extract the maximum be adopted.
"playback" of valuable, easy access to vital
of money from this presently chaotic sit-
-
facts, figures, reviews, and articles.
Retresh your knowledge of speaker uation. Many issues in the copyright laws Flash ... Flash ... Flash
technology, construction projects, distortion especially in respect to any kind of The present 10 -kHz channel spacing
theory, and more.
Only a limited quantity is available. A few
sets also remain from 1975, 1977, 1978,
dividuals -
home recording for the private use of in-
have never been clarified
"chapter and verse" so that a clear and
between AM radio stations of the
Western Hemisphere has been retained
by a vote of the Region 2 countries at
1979 and 1980. It's first come, first served, legal statement on the subject is avail- the mid -November meeting of the
so place your order now. able. The widespread and ever growing International Frequency Registration
Send a check or money order for $30.00 practice of audio- and videotaping in the
plus applicable sales tax.
Board. The position taken by the United
home has now reached such dimensions States reverses the FCC's backing of
DO NOT SEND CASH!
Price includes shipping and handling in the that a vague "understanding" of a fair one year ago to permit more stations on
U.S.A. only. use clause in the copyright act will no the AM dial by narrowing the inter -station
longer suffice. There must be a precise, spacing to 9 kHz, as is the practice in
r specific, unambiguous law permitting
AUDIO, CBS Publications, 1515 Broadway,
the Eastern Hemisphere. Additional
New York, N.Y. 10036
home recording for personal use. If you studies, lobbying by the National
own a reel-to-reel, audio cassette, or vi- Association of Broadcasters, and a
01981 01979 0 1977 deocassette recorder it is in your own change in Administrations and in the
01980 01978 01975 best interest to write your Congressman membership of the FCC all led to the
Name and let him know you want the copyright turnaround in this country's stance. The
laws changed to permit home recording. decision will save broadcasters millions
Address
One last word. Although there are of dollars in conversion costs.
City State_ Zip
L 92 AUDIO/FEBRUARY 1982
The only typestereo in the
Michael Roberts, Vice President, Finance..
"To me, Scott speakers are a sound investment."
"I think in logical, practical terms. That's why I just bought Scott speakers.
And why I've replaced my other components with Scott. Dollar for dollar,
+^ -r - ^^
1947 Scott has earned over 160 patents for its
best ideas. And their new auto -range power
meters are the latest in engineering develop-
ments. For me, Scott means great engineering
and superb sound. Believe me-because no
one knows engineering like I do. At least
no one in the Roberts family."
1
Since 1947, Scott has been the only stereo type in the lives of countless families.
Let Scott make the difference in your life, too. For more information, contact: Dept. C,
H.H. Scott, Inc., 20 Commerce Way, Woburn, MA 01888 U.S.A. (617) 933-8800 Telex 20-0177
if SCOTT
...-
I The Scott warranty:
Wunnry ldmtiann Card) Five years on speakers,
three years on electronics,
one year on turntables
and casset to deck.
D SCOT Tm
The Name to listen to:
Makers of high quality high fidelity equipment since 1947.
Enter No. 18 on Reader Service Card
THAT'S THE WAY IT WAS
WALTER I. SEIGAL
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The science of sound
Enter No. 26 on Reader Service Card