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Audio 1974 02

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0% found this document useful (0 votes)
435 views86 pages

Audio 1974 02

Uploaded by

Bruno Lambert
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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THE AUTHORITATIVE MAGAZINE ABOUT HIGH FIDELITY FEBRUARY 1974 75C ®©

47425

*hernial Design
of a High Power
Amplifier High
Voftae Amplifier
*
Desln

n110 ev
www.americanradiohistory.com
AmericanRadioHistory.Com
frqr
xclusively on Capricorn records and tiees.

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More than anything else, the Allman As musicians, the Allman With Pioneer speakers, the
Brothers Band are musicians. Brothers Band prefer the sound of Allman Brothers sound right to the
Accomplished, sophisticated Pioneer speakers. They prefer Allman Brothers. It's that simple.
musicians wiose blues -rooted Pioneer speakers because of their Pioneer makes a variety of
improvisatio-is have carried them to clarity and overall sound quality. They speakers to match any hi-fi system.
the top of their field. prefer Pioneer speakers because they Speakers that are consistent in their
Musicians, not rock stars. Their reproduce the sound of an original clarity, sound quality and ability to
success doesn't depend on sequins performance without adding exactly reproduce the sound of an
or serpents, or make-up, or put-on coloration, hyped -up bass or artificial original performance. Speakers that
showmanship. Instead, they innovate. brilliance. They prefer Pioneer vary because people vary, hi-fi
And they state their fame on their speakers because exactly what goes systems vary, room acoustics vary,
music. in is exactly what comes out. budgets vary and tastes vary.

R-700 CS- 99A PROJECT 100

Series R sound. Their superb bass response can There are 12 different speakers
effortlessly reproduce the lowest of in the Pioneer line. There are six
Series R speakers are designed for
the individual who demands the finest lows with minimal distortion and different musicians in the Allman
in styling, design and sound. Styling uncanny accuracy. Their dome Brothers Band. Different people have
and design as contemporary as the tweeters provide exceptionally wide different needs and different tastes.
state of the art. And sound as dispersion and highs of unsurpassed Even the Allman Brothers. But they
contemporary as a live performance. clarity. agree that Pioneer speakers deliver
Series R speakers bring new life the best sound available.
CS Series Pioneer speakers are part of a
to live performances. And truly live
performances to your listening room. There is a myth about speakers that complete line of Pioneer audio
Their high efficiency, extreme handsome cabinets hide inferior
sound. Fortunately, it need not be the
components -
components preferred
accuracy and zero coloration have by the Allman Brothers Band. A fact
been equally praised by artists, case. you might consider when you make
engineers, critics and musicians. If you seriously demand the your own selection.
-
All of the Series R speakers acoustic quality of custom cabinetry U. S. Pioneer Electronics Corp.
R700, R500 and R300 - deliver the
true vibrancy of a live performance.
along with powerfully smooth sound, 75 Oxford Drive, Moonachie,
the CS series speakers will be your New Jersey 07074.
In an untouched, uncolored and first choice. Their sound is precise West: 13300 S. Estrella, Los Angeles,
unusually natural way. and natural. And their craftsmanship Cal. 90248 / Midwest: 1500
is a reflection of an almost bygone era. Greenleaf, Elk Grove Village, Ill.
Project Series
The air suspension design of the 60007 / Canada: S. H. Parker Co.
Project Series speakers are designed
CS series speakers
to deliver maximum performance per Maximum Size
help to provide
dollar in a contemporary bookshelf Model Type Input Power (HxWxD) Price
design. Smallest of the three, the the quality of sound
R-700 12" 3 -way 75 watts 26"x15"x14" $229.95'
Project 60 is an extremely efficient that is the
R-500 10" 3 -way 60 watts 24"x14"x12" 159.95'
speaker system that delivers a hallmark of Pioneer
R-300 10" 2 -way 40 watts 23"x13"x11" 119.95*
surprisingly high sound level from engineering excel-
PROJ. 100 10" 2 -way 35 watts 23"x13"x101/2" 129.95
moderately powered receivers and lence. From the
compact 2 -way 2 - PROJ. 80 10" 2 -way 30 watts 203/4"x11"x11" 99.95
amplifiers. It is perfect for smaller
hi-fi systems. And equally well suited speaker CS -44 to the PROJ. 60 8" 2 -way 20 watts 181/2"x10%"x81/2" 79.95

-
for 4 -channel systems since many
of the new 4 -channel receivers and
4 -way 6 -speaker CS-63DX 15" 4 -way 80 watts 28"x19"x13" 269.95
CS-63DX, Pioneer CS -99A 15" 5 -way 100 watts 25"x16"x11" 229.95
amplifiers have less power per CS series speakers CS -A700 12" 3 -way 60 watts 26"x15"x12" 189.95
channel thar their stereo counterparts. offer a combination of CS -A500 10" 3 -way 50 watts 22"x13"x12" 149.95
Project 80 and 100 speaker superb sound repro- CS -66 10" 3 -way 40 watts 22"x12"x12" 119.95
systems use their air suspension duction and custom - CS-44 8" 2 -way 25 watts 19"x11"x9" 74.95
design to deliver a beautiful natural crafted cabinetry. 'Fair Trade resale price where applicable.

CO PIONEER® when you want something better


Check No. 25 on Reader Service Card

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AmericanRadioHistory.Com
You're
reading
this page
for the
same
luclio
FEBRUARY 1974 Successor to RADº Est. 1917 Vol. 58, No. 2

reasons FEATURE ARTICLES

we build 24 Thermal Design of a High Power Amplifier


30 High Voltage Amplifier Design
40 Compatible Quadra -Direction Discrete
J.L. Veranth
James Bongiorno
Fumitaka Nagamura

our Stereo System-Part 2

EQUIPMENT PROFILES
speakers. 59
62
Superscope Receiver
BSR Turntable
R-350
710/X
64 Altec Speaker System EQ 5
68 Thorens Turntable TD-125AB Mk H

RECORD REVIEWS
69 Canby's Capsules Edward Tatnall Canby
71 Sherwood's Forest Sherwood L. Weingarten
Better music, wherever you
75 Jazz & Blues Martha Sanders Gilmore
listen. Real fundamental, bass,
including the attack of tympani AUDIO IN GENERAL
and organ. An almost tactile 4 Audioclinic Joseph Giovanelli 20 Dear Editor .. .
feeling of presence. And 6 Tape Guide Herman Burstein 22 Editorial
transparent highs, providing 8 What's New in Audio 54 Advertising Index
unusual instrumental definition. 10 Behind the Scenes Bert Whyte 81 Classified Advertising
First and foremost, we built 14 Audio ETC Edward Tatnall
the LDL 749A to satisfy our own Canby
desire for musical enjoyment.
Including the spatial sensations:
from the intimacy of small
groups to the awesomeness of
full orchestra.
EDITOR Eugene Pitts III PUBLISHER Jay L. Butler
With their precise combination ASSOCIATE EDITOR Edward Tatnall Canby MARKETING DIRECTOR Sanford L. Cahn
of forward -radiated sound and ASSOCIATE EDITOR Bert Whyte COVER DESIGN John Kwasizur
panoramic reflection, LDL 749A ASSISTANT EDITOR Peggy Bicknell CIRCULATION MANAGER Jean Davis
are a compact, elegant way to
put the concert hall in your CONTRIBUTING EDITORS: Herman Burstein, Martin Clifford, Leonard Feldman,
listening room. And the price is Martha Sanders Gilmore, Joseph Giovanelli, C. G. McProud, George W. Tillett,
as realistic as the sound! Sherwood L. Weingarten.
AUDIO (title registered U.S. Pat. Off.) is published monthly by North American Publishing Co., Irvin J. Borowsky,
President; Frank Nemeyer, Jay L. Butler and Roger Damio, Vice Presidents; R. Kenneth Baxter, Vice President/Production:
Nate Rosenblatt, Promotion Director; Mary Claffey, Circulation Director.
RATES-U.S. Possessions, Canada. Mexico, $6.00 for one year; $10.00 for two years; all other countries. $9.00 per year.
Printed in U.S.A. at Columbus, Ohio. All rights reserved. Entire contents copyrighted 1974 by North American Publishing
Co. Second class postage paid at Philadelphia, Pa. and additional mailing office. Back issues, $2.00 each.

Linear REGIONAL SALES OFFICES: Jay L. Butler, Publisher and Sanford L. Cahn, Marketing Director, 41 East 42nd St.,
New York, N.Y. 10017, telephone (212) 687-8924.

Design
Jay Martin, 15010 Ventura Blvd., Sherman Oaks, Calif. 91403, telephone (213) 981-7852.
REPRESENTATIVES: Continental Europe: John Ashcraft, 12 Bear St., Leicester Square, London W.C. 2, telephone 930-0525.
For Benelux and Germany. W.J.M. Saunders, Mgr., Herengracht 365. Amsterdam, Holland, telephone 24.09.08.

Labs
Japan: Japan Printing News Co., Ltd., No. 13.2 Chome Ginza Higasi, Chuo-ku, Tokyo, telephone 541-5795.
Inc.
AUDIO Editorial and Publishing Offices, 134 N. 13th St., Philadelphia, Penna. 19107
Postmaster: Send Form 3579 to the above address

20 Willett Avenue, Port Chester, N Y 10573 2 AUDIO FEBRUARY 1974

www.americanradiohistory.com
AmericanRadioHistory.Com
Now BIC VENTURIputs to rest
some of the fables, fairytales, folklore,
hearsay and humbug
about speakers.
Fable
Extended bass with low distortion angle dispersion in one plane.
requires a big cabinet. Since speakers can be positioned
Some conventional designs are rela- horizontally or vertically, you
tively efficient, but are large. Others are can miss those frequencies so
small, capable of good bass response, but necessary for musical accuracy.
extremely inefficient. The principle of Metallic coloration is eliminated
the BIC VENTURI systems (pat. pend.) in the BICONEX horn by making
transforms air motion velocity within it of a special inert substance.
the enclosure to realize The combination of conical and
amplified magnitudes exponential horn flares with a
of bass energy at the square diffraction mouth results
BIC VENTURI coupled in measurably wider dispersion, equally
duct as much as 140
times that normally
derived from a woofer
'
muui11 uiii11 iioiiiit1i
A
in all planes.
Hearsay A system for every
(Fig. A). And the filtering action achieves
phenomenally pure signal (Scope photos
A speaker can't achieve high efficiency
with high power handling in a small
requirement
B & C). Result: pure extended bass from cabinet.. FORMULA 2. The most sensitive,
a small enclosure. highest power handling speaker system
It can't, if its design is governed by such
limiting factors as a soft-suspension,
limited cone excursion capability, trap-
/
of its size (19 x 12x 111/Z) :' Heavy duty 8"
woofer, BICONEX mid range, super
ped air masses, etc. Freed from these tweeter. Use with amplifiers rated from
B-Shows output. of low frequency driver when driven at a freq.
limitations by the unique venturi action, 15 watts to as much as 75 watts RMS
of 22 Hz. Sound pressure reading, 90 dB. Note poor waveform. BIC VENTURI speakers use rugged drivers per channel. Response: 30 Hz to 23,000
C-Output of venturi coupled duct, (under the same conditions
capable of great excursion and equipped Hz. Dispersion: 120°x120°. $98 each
as Fig B.) Sound pressure reading 111.5 dB, (140 times more
output than Fig. B.) Note sinusoidal (nondistorted) appearance. with voice coil assemblies that handle FORMULA 4. Extends pure bass to
high power without "bottoming"or danger 25 Hz. Has 10" woofer, BICONEX mid-
Fairytale of destruction. The combination of in- range, super tweeter. Even greater effi-
It's okay for midrange speakers to cross creased efficiency and high power handl- ciency and will handle amplifiers rated
over to a tweeter at any frequency. ing expands the useful dynamic range up to 100 watts. Dispersion: 120°x120°.
Midrange speakers cover from about of your music system. Loud musical pas- Size:25x 13 %x13:' $136 each.
800 Hz to 6000 Hz. However, the BICONEXTMhorn sages are reproduced faithfully, without FORMULA 6. Reaches very limits of
ear is most sensitive to midrange strain; quieter moments, effortlessly. bass and treble perception (20 to
frequencies. Distortion created 23,000 Hz). Six elements: 12" woofer
in this range from crossover complemented by 5" cone for upper
network action reduces articu- Humbug bass/lower midrange; pair of BICONEX
lation and musical definition. You can't retain balanced tonal response horns and pair of super tweeter
BIC VENTURI BICONEX horn (pat.pend.) at all listening levels. angularly positioned to increase high
was designed to match the high efficiency We hear far less of the bass and treble frequency dispersion (160°x160°).
of the bass section and operates smoothly ranges at moderate to low listening levels Size: 264 x154 x143/:' $239 each.
all the way up to 15,000 Hz, without than at very loud levels. Amplifier "loud- Sturdily constructed enclosures.
interruption. A newly designed super ness" or "contour" switches are fixed rate Removable grilles in choice of 6 colors.
tweeter extends response to 23,000 Hz, devices which in practice are defeated by Optional bases for floor standing place-
preserving the original sonic balance and the differences in speaker efficiency. The ment. Write for brochure A-2.
musical timbre of the instruments solution: Dynamic Tonal Compensa- Audition today's most advanced
originating in the lower frequencies. tion!' This circuit (patents pending) speakers at your BIC VENTURI dealer.
adjusts speaker response as its sound
Folklore pressure output changes with amplifier iiBRITISH INDUSTRIES Co., Inc.
Westbury, New York 11590.
Wide dispersion only in one plane is volume control settings. You hear A division of Avnet, Inc.,
Canada: C.W. Pointon, Ont.
sufficient. aurally "flat" musical reproduction at
Conventional horns suffer from musi- background, average, or ear -shattering
cal coloration and are limited to wide- discoteque levels-automatically. BIC VENTURI«
Check Na 9 on Reader Service Card

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Audioclinic
Qóó9o Joseph Giovanelli
If the frequency of the unknown
Measuring an Unknown Fre-

March quency
Q. I should like to find out the fre-
quency of an unknown audio signal.
signal is above the range of audibility,
the same basic procedure can be used,
although it would be subject to error.
In this instance you would sweep the
How can I hook up the unknown signal
and a calibrated signal generator, sweep calibrated source until you hear a sig-
Special Phono Cartridge until I hear a beat or null, and then nal. This signal represents the beat tone
Issue take my reading from the calibrated created by the known and unknown
Test Reports on generator?-F. Alexander, Maspeth, signals which are close enough in fre-
New York. quency to produce an audible beat. Un-
Four -Channel Cartridges fortunately, rather than obtaining a
A. The simplest way by which one
can determine a frequency generated by true beat between the known and un -
All About "Q"-Don Davis an uncalibrated source is to obtain a calibrated signals, it is possible that
explains directivity in speaker frequency counter. Certainly if you the harmonics of the signal of known
systems plan to do much along these lines the frequency can beat with the fundamen-
investment in a counter is justified. The tal frequency of the unknown or vice
uncalibrated source is fed directly versa. Thus, when you adjust for the
Quadra -Direction Discrete absence of such a beat, your reading
into the input of the counter. If its
Compatible Stereo System output level is too low for the counter of the known signal frequency may
-Fumitaka Nagamura to handle, an appropriate preamplifier reflect a reading created by harmonics
concludes his series on a must be used. The frequency of the rather than the fundamental frequencies
unknown signal is read directly on the involved. Therefore, be sure to sweep
new multi -channel phono the known signal's frequency over a
system counter's display.
Here is another method for deter- sufficient range to pick up more than
mining the frequency of the unknown one beat. The beat which is the strong-
Plus-Rock, Pop, Classical, signal source. This system is more like est will represent the beating of the two
and Jazz record reviews the one mentioned iri your question. fundamental frequencies.
In this arrangement the unknown signal Where supersonic frequencies are
is compared to a signal of known fre- not involved, a third procedure is
And-All the regular columns possible. Instead of combining the sig-
quency. The two signals are adjusted
to produce equal audio outputs. Each nals, feed each of them into a stereo
signal is fed to the input of a two amplifier channel. Make the same tests
position mixer, whose output is con- while listening to the output of that
nected to an amplifier and loudspeaker amplifier with headphones.
system. Compatibility Between
Thermal design Perhaps the best procedure is to Dolby Devices
of a High Power listen to the unknown and then attempt Q. Are the various makes of Dolby
Amplifier High *
Voltage Amplifier
to match that sound fairly closely to
that of the known generator, by alter-
decoders compatible? Can I play tapes
recorded on a KLH 40 tape -deck and
Design 4 nating listening to one or the other of
the signals, while you adjust the known
Dolbyized on the unit's built-in Dolby
system, though a TEA C deck with
to equal the frequency of the unknown the TEAC Dolby unit, and get no
source. degradation of the sound?-Michael
When you think they are reasonably Deutsch, Travis AFB, California
close in frequency, listen to the two A. Assuming that the various pieces
signals together. You probably will of Dolby equipment are properly
hear them, plus a third signal set up by calibrated and adjusted, there is no
interaction between the two signals. reason why you cannot play a tape
Adjust the known signal till this third made on one machine, on a completely
About The Cover: Our edito- sound disappears. What you will then different make of machine and Dolby
hear is a variation of the amplitude of decoder. The performance of the
rial coverage focuses this
what appears to be one signal. Care- equipment should be perfect.
month on amplifiers, and fully adjust the frequency of the cali- The parameters for proper operation
since few audiophiles actu- brated source until even this effect of the Dolby System are spelled out
ally look into their amps to vanishes. You will then have the two carefully by Dolby Laboratories with
see where the power comes signal sources running at the same this idea of compatibility in mind.
frequency. Therefore, the frequency of
from, we thought we'd show the unknown source can be read as If you have a problem or question on audio,
a few different types of power though it was the known source. The write to Mr. Joseph Giovanelli, at AUDIO,
134 North Thirteenth Street, Philadelphia,
output transistors. accuracy of your results will depend Pa. 19107. All letters are answered. Please
on the accuracy of the known signal enclose a stamped self-addressed envelope.
generator's calibration.
4 AUDIO FEBRUARY 1974

www.americanradiohistory.com
AmericanRadioHistory.Com
a
small miracle
Miracles, even small ones, are hard to believe. We know.
When we first introduced our small 404 speaker some years ago,
believers were hard to find. lbday, our credibility is really being XT-6 SPECIFICATIONS
challenged. The new XT-6 is so good that even the people who know NOMINAL IMPEDANCE: 6 ohms
ADC's "small box, big sound" achievements find it incredible. RESPONSE: 45Hz to 20 KHz w 3dB in average listening
But it's true. This book-sized bantam outperforms anything its size. room.
HIGH FREQUENCY 21/2" viscous impregnated cone tweeter
And rivals enclosures many times its size and price. DRIVER: with 1!'2" Dia. effective radiating surface.
How do we do it? With a unique combination of cone structure, LOW FREQUENCY 6" with high compliance, soft suspension
magnet force and coil configuration, for one thing; they interact to let DRIVER: and viscous coated cone.
a small woofer pump out a staggering amount of bass. Handle as much CROSSOVER
FREQUENCY: 2000Hz Nominal.
power as any standard -sized room requires. And keep distortion at a HIGH FREQUENCY When in "treble down" condition tweeter
minimum. LEVEL CONTROL: level is pivoted from the crossover point to
approximately 3dB down at 10kHz.
Granted, the XT-6 has its limitations. It won't shake timbers. And
ENCLOSURE: Walnut finish air -tight cabinet 12'3i1e"H x
it won't project massive sound into huge rooms. But in typical apartments, 77/s"W x 81/2"D. Filled with sound absorbent
the ADC XT-6, at under $60, gives you more sound per dollar than any material.
other bookshelf speaker on the market. POWER
REQUIREMENTS: 10 watts RMS power output per channel.
The specifications will confirm the technical capabilities of the XT-6. PRICE: $ 58.00
But we suggest you go to your dealer and listen...Even if you don't
believe in miracles, the XT-6 will give you something to think about.

T-6 SPEAKERS
e insider's choice.
Cf eck No. 3 on Reader Service Card
PC:IC 1AUDIO DYNAMICS CORPORATION, Pickett Distric Roac, New N14f ,r, 1

www.americanradiohistory.com
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r
Herman Burstein

Tape Sticking & Heads Buying A Recorder In Europe


Q. There are a few things I would Q. I plan to make a business trip to
like to ask you about tape recording. Europe, and it occurred to me that this
First, does it really make a difference might be an excellent opportunity to
to use a tape advertised as low noise? purchase a high quality tape deck. This
Is lubrication necessary in open reel idea has brought to mind several ques-
recording tape? A disc jockey I've tions: Where is the best place to
spoken to claims that the ads about purchase a deck? What problems might
low noise, extended frequency response, be encountered in bringing it back?
and lubrication are just sales gimmicks. Might servicing be a potential prob-
It all leaves me wondering, and hence lem?-Name Withheld
this letter. A. When you arrive in Europe, you
Please tell me what to watch for might inquire of your host, and use
to detect if my heads have begun to the telephone directory, to find places
wear to the point which warrants re- of purchase. In making your purchase,
placement. be sure that you get a unit designed
With a few of my tapes, one of which for the American market, so that it
is an expensive name brand I've had operates at 60 Hz line frequency and
a problem. The tape coming off the 117 volts; has the type of input and
supply reel tends to stick to itself output jacks customarily used in
causing irregular speed. I've cleaned America; has the equalization (NAB)
the tape several times with silicone employed in America; uses parts
cloth, and run it fast forward and back- readily available to technicians in
ward to no avail. I've surmised that America; meets the electrical standards
it was static electricity causing the of American underwriters; etc. Consult
problem, but if it is, I don't know how American customs about problems in
to overcome it.-Thomas M. Nicholson, bringing back the unit.
Las Vegas, Nevada
A. If a tape recorder is properly
adjusted for low noise tape-bias in- Harm From Demagnetizers
creased, treble boost decreased, and Q. Can a tape head demagnetizer
audio drive current increased-the net introduce a magnetic field of sufficient
result is a moderate but significant strength to damage either the head or
improvement in signal-to-noise ratio. the electronics to which the head is
Good tapes are optimally lubricated; connected? I don't suspect the com-
that is, they have enough lubrication mercial demagnetizers made for this
The QUAD for smooth passage over the heads purpose, but I'm considering building
Electrostatic was the and guides, but not so much as to
first full range elec- one from an old solenoid-Don L.
trostatic loudspeaker cause tape slippage when engaged by Davis, Seattle, Washington
produced commercially the capstan and pressure roller. Such A. I doubt very much that a head
and is still the standard by which all others tapes should require no additional demagnetizer roughly of the size of
are judged. Using closely coupled moving
elements some two hundred times lighter
lubrication on the part of the user. a commercial one will damage the
than the diaphragms of moving coil loud- Adding lubricant entails the danger heads; and certainly not the electronics.
speakers and being entirely free of cabinet of slippage, with consequent wow and However, if you construct something
resonances and colouration, this loud- flutter.
speaker overcomes the usual major prob- When treble response starts to
of the strength of a bulk eraser, you
lems of loudspeaker design and provides should be careful about coming too
remarkably natural reproduction of sound. deteriorate in playback, this usually close to the head; there is a slight
This explains why the QUAD electrostatic signifies that the playback head should
loudspeaker is used by broadcasting and possibility that a very powerful mag-
be replaced. The other heads may have
recording organisations all over the world, netic field might disturb the head
in applications where quality is of prime
to be replaced when they show marked windings. The same applies to the VU
importance, and as a standard of refer- physical wear. meter if there is one in the tape deck.
ence by the majority of loudspeaker I don't know of a cure for the
manufacturers. sticking problem you describe, except
QUAD for the closest approach to to suggest that you stay away from the
the original sound. particular brand which gives you this

QUAD
is a registered trade mark
For details of your nearest dealer
trouble. You state that you have run
this tape at fast speed in order to
relieve the static charge; possibly
this made the situation worse. A remote
possibility is that transferring the tape
If you have

AUDIO,
Philadelphia,
a problem or question on tape
recording, write to Mr. Herman Burstein at
134 North Thirteenth Street,
Pa. 19107. All letters are
answered. Please enclose a stamped, self-
addressed envelope.
write to Acoustical Manufacturing Co. Ltd., to another type of reel may help mat-
Huntingdon PE17 7DB, England. ters.

Check No. 1 on Reader Service Card 6 AUDIO FEBRUARY 1974

www.americanradiohistory.com
AmericanRadioHistory.Com
òu catet fçlI
C ji fier
61íf
cowerdi

Control Amplifier - Combi- monitored or, with a flick of a


nation Amplifier and Pream- front panel switch, you can dub
plifier. It takes a source signal, from one tape deck to another.
such as a tuner or phonograph The AU -9500 can also handle
output, and electronically two phonographs, a micro-
boosts the signal to a level us- phone, a tuner and an auxiliary
able by the speakers. It also input. It can give you normal
has a section tao manipulate stereophonic or reverse the
tonal color with treble and bass channels, monophonic or each
controls and filters of various channel separately. The unit is
types. A control amplifier ready for 4 -channel and the ad-
serves as the brain and func- dition of a noise reduction unit.
tion selectors for a stereo- Sansui aso makes the specifications ánd unusual fea- criminator output which
phonic system. It is exemplified AU -7500 control amplifier tures. Its FM IHF sensitivity makes this set 4 -channel ready.
by the extraordinarily good de- with 32 watts EMS per chan- is a very low 1.7 µV, channel
To the left of the wide
sign of the Sansui AU -9500. nel into 8 ohms and the AU- separation is better than 40 dB linear dial scale are the signal
The Sansui AU -9500 is 6500 with 28 watts RMS per at 400 Hz and better than 30 strength (operating on AM
the ultimate control amplifier channel into 8 ohms. dB at 10,000 Hz. Selectivity is and FM) and center channel
far the serious audiophile. It The AU -9500 by Sansui
an unusually high 30 dB. In meters. The TU -9500 has its
combines a powerful 75 watt is the definition of a state-of- own output level control, noise
RMS per channel (both chan-
addition, the Sansui TU -9500 suppressor and FM muting
the-art Control Amplifier. features a remarkably low
nels driven) amplifier with -
Tyner A high fidelity tuner switches and a rotary switch
controls and input/output flex- 0.3% Total Harmonic Distor- to yield AML Flt) stereo or FM
is an instrument used for the tion hi Stereophonic. A newly
ibility to make it the world's capture of radio signals. It re- monophonic.
premier unit. Each channel is designed Differential Demodu- The AM section, fre-
quires an amplifier to yield sig- lator Circuit (DIM) elimi-
separately driven by the San - nals usable by speakers. It can quently the step child of high
sui AU -9500's twin dual power nates the SCA (Subsidiary fidelity, is not neglected here.
be either AM, FM, or FM Ste-
supply system built around reophonic (called Multiplex) Communications Authoriza- It is newly designed for more
four large capacitors and sep- or any combination of them. In tion) sub-carrier beating and selectivity anti an advanced
arate windings. Parallel push- increases stereo separation. AGC )automatic gain control)
an FM stereo tuner there are
pull output circuits reduce dis- a number of important param-
The Sansui TU -9500 has circuit ensures minimal distor-
tortion. The AU 9500 affords eters: separation, selectivity, set of output jacks that can go tion.
speaker and transistor protec- sensitivity, etc. directly to a tape deck and a Sansui also makes the
tion three ways: I) electronic Sansui's new TU -9500 (a set that can go to an oscillo- TU -7500 with an IHF FM sen-
protector circuit. 2) four perfect match for the Sansui scope to check multi -path. This sitivity at 1.9 µV.
quick -acting fuses. 3) current AU -9500, see control ampli- is in addition to the conven- The TU -9500 by Sansui is
limiter circuit. fier) is an AM/FM and FM tional output to amplifier jacks the definition of a state-of-the-
Two tape decks can be stereo tuner with very good and the less conventional dis- art quality tuner.

appreciate a Sansui amplifier or


To fully
tuner, you must hear the quality inside. That's the only
way to discover why Sansui means high quality
Hear the inner quality of Sansui high fidelity components.
at your nearest franchised Sansui dealer.

Sansui_
SANSUI ELECTRONICS CORP.
Woodside, New York 11377 Gardena, California 90247
SANSUI ELECTRIC CO , Sansui Audio Europa S. A.. Antwerp, Belgium
LTD., Tokyo, Japan
ELECTRONIC DISTRIBU'ORS Canada,
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Can you
live without
a 400 watt What's New in Audio
amplifier?
Maybe. If you don't mind the
loss of quality caused by
clipping during the more
dramatic passages in your
favorite records. Julian Hirsch
put it this way: "Anyone
Levinson Cartridge Preamp
using a low -efficiency The JC-1 allows moving coil cart-
speaker ... with an amplifier ridges to be used to their full advan-
in the 30 to 50 watt class tage. According to the manufacturer,
the revolutionary design of the JC-1
cannot provides extremely accurate and low
approach YPICAL 50 WATT noise disc reproduction. The unit
AMPLIFIER PHASE LINEAR

realistic measures 83/4 in. L. x 3% in. W. x


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levels POWER. PER CHANNEL ATTs
evaluation of test pressings, clear
without severe clipping." If reproduction of highest quality disc
recordings, and simplified and im- Infinity Speaker
you want to listen at a real -life proved analysis of records. Equiv- The 2000AXT is a 3 -way, floor -standing
level without distortion, you alent input noise is -147 dBm; unit using Infinity's recently devel-
need at least 400 watts of frequency response, 20, Hz to 50 kHz oped omnidirectional-wave transmis-
0.2 dB; distortion (THD @ 100 sionline tweeter covering the frequency
amplifier power. At $499, why mV output), less than 0.09%; max. spectrum from 5 kHz to 21 kHz. The
live with anything less than output, 250 mV/0.25% THD; max. 41 -in. midrange and 12 -in. trans-
the Phase Linear 400? input (for rated output), 8 mV; gain mission -line woofer are treated with
(with 2-4 ohm source), 35 dB. The special stiffening and damping ma-
unit includes phono connectors and terials to provide five times the stiff-

Azene
Wnejait
an LED battery tester. Price: $170.00.
Check No. 50 on Reader Service Card
ness -to-mass ratio of other drivers.
This factor is said to eliminate vir-
tually all distortion emitted from
different parts of the cones at different
instances of time. Frequency response
is 35 Hz to 21 kHz ± 3.5 dB; minimum
/oo
THE POWERFUL DIFFERENCE
amplifier power, 25 W. rms per chan-
nel; dimensions, 28 in. H. x 20 in. W.
x 14 in. D. Price: $299.00 each.
PHASE LINEAR CORPORATION Check Na 52 on Reader Service Card
P.O. BOX 549, EDMONDS, WA. 98020
Literature
Superscope Dolby Adaptors A revised and updated edition of
Designed for use with cassette or FM Atlas and Station Directory is
open -reel recorders, the NR -335 available now. Included in the 80 -
Dolby Noise Reduction adaptor enables page book is a listing of FM stations
you to create your own Dolbyized by frequency (with effective radiated
tapes or play back prerecorded Dolby power and antenna heights) and
tapes. This unit is to be used with geographical location. New features
3 -head recorders and features separate in this edition: a discussion of FM
Dolby circuits for record and play- programming trends, station alloca-
back, built-in 400 Hz oscillator, 19 tions, FM station coverage and how
kHz filter, and calibration tone. Also to improve FM reception; an FCC
included are two record level controls, chart showing how to calculate FM
two playback volume controls, two VU coverages; a list of TV channel 6
meters, source monitoring, mic/line stations in North America with in-
switching, and a 2 -position mic-atten- structions for tuning in channel 6
uator switch. Price: $259.95. Model audio on car radios; call letter station
NR -115, an economy unit for 2 -head directory; music formats and more.
recorders, is priced at $99.95. Priced at $2.50 from FM Atlas, Box
Check No. 51 on Reader Service Card 24, Adolph, MN 55701.

Check No. 23 on Reader Service Card 8 AUDIO FEBRUARY 1974

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AmericanRadioHistory.Com
There are some things
you'll appreciate about a Dual
right away.
Others will take years.
You can appreciate some things about a Dual specification. Only by maintaining this kind of tolerance
turntable right in your dealer's showroom: its clean can tonearm calibrations for stylus pressure and
functional appearance, the precision of its tonearm anti -skating be set with perfect accuracy.
adjustments and its smooth, quiet operation. Other Dual features are built with similar
The exceptional engineering and manufacturing precision. The rotor of every Dual motor is dynamically
care that go into every Dual turntable may take years balanced in all planes of motion. Additionally, each
to appreciate. Only then will you actually experience, motor pulley and drive wheel is individually examined
play after play, Dual's precision and reliability. And with special instruments to assure perfect concentricity.
how year after year, Dual protects your precious
The Dual guarantee.
records; probably your biggest investment in musical
enjoyment. Despite all this precision and refinement, Dual
turntables are ruggedly built, and need not be babied.
It takes more than features. Which accounts for Dual's unparalleled record of
If you know someone who has owned a Dual for reliability, an achievement no other manufacturer can
several years, you've probably heard all this from him. copy. Your Dual includes a full year parts and labor
But you may also wish to know what makes a Dual guarantee; up to four times the guarantee that other
so different from other automatic turntables which automatic turntables offer.
seem to offer many of the same features. For example, If you'd like to read what several independent
such Dual innovations as: gimbal tonearm suspensions, testing laboratories have said about Dual turntables,
separate anti -skating scales for conical and we'll be pleased to send you reprints of their impartial
elliptical styli, and rotating single play spindles. reports. To appreciate Dual performance first hand, we
It's one thing to copy a Dual feature; it's quite suggest you visit your franchised United Audio dealer.
another thing to match the precision with which But your full appreciation of Dual precision won't
Duals are built. really begin until a Dual is in your system and you
The gimbal, for example. hear the difference it will make on your own records.
Play after play. Year after year.
A case in point is the tonearm suspension. Dual 1216

Dual was the first manufacturer of automat cs


Dual 1218
to offer a true twin -ring gimbal suspension.
More importantly, every Dual gimbal is hand
assembled and individually tested with
precision instruments especially developed by
Dual. The vertical bearing friction of this
gimbal is specified at 0.007 gram,
and quality control procedures
assure that every unit will meet this

e
Dual 1214
Dual
United Audio Products, Inc., 120 So. Columbus Ave., Mt. Vernon, N.Y. 10553 Dual 1229
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Behind The Scenes
Bert Whyte
AT THIS point in time, anyone 20 Hz to 20 kHz bandwidth. As in in which the unit acts as a unity gain
remotely connected with audio the other noise reduction systems, amplifier. The quality of the com-
and recording knows that Dolby the filter reduces noise only for low ponents in the Dynamic Noise Filter
noise reduction does an efficient and level signals; the noise is passed along and the general construction is of the
reliable job of reducing tape hiss with the high level signals. However, highest order, really of the calibre of
during the recording process. This due to the characteristics of the ear, aerospace equipment. In normal -use,
fact is attested by the virtual standard- the noise that is present during each the low frequency sensitivity is set so
ization on Dolby A -type noise reduction note is masked by the music."
Burwen's own catalog sheet de-
that for example ...rumble ... just
in recording studios all over the world. begins to operate the low frequency
scribes the Dynamic Noise Filter as filter. The high frequency sensitivity
On the other hand, if I had a nickel
for every time an audio engineer
reducing noise by attenuating the high control is set so that hiss just begins
wished he had a device that would
and low frequencies when there is no to operate the high frequency filter.
reduce or remove noise from recorded music present. This is rather an over- For poorer material, a limit can be
material without degrading the signal, simplification as we have seen that placed on the upper cutoff frequency
it also operates at very low signal on the high frequency cutoff control.
I'd be rich! The quest for such a de-
levels. However, it is true that in a
vice has got to be one of the Holy You may recall that last month I
Grails of audio. Through the years great deal of music, there are many
little pauses and rests ... cessation of described that when I recorded Pablo
various ideas have been tried. For
example, in certain specific cases of sound between notes ... much more Casals in Puerto Rico, the mics
picked up the rumble of the air-
single -frequency noise, steep notch than we are consciously aware of
hearing. In this circumstance, the conditioning ducts and also 60 cycle
filtering can be effective. But in hum. Even though I was using 3 -
general, if a tape has hiss, hum, room filter works with maximum efficiency.
Since these music discontinuities are channel, half-inch. Ampex recorders
rumble, or any extraneous noises, that (this was before Dolby of course),
is that ... the noise is there to stay.
of extremely short duration, one might
expect to hear the dynamic "working" there was still a small residue of tape
Or is it? Hold that wistful sigh, Mr. hiss, enough to be obtrusive and
Engineer! There is a ray of sunshine of the filter. Burwen brings some
psychoacoustics into play here by annoying.. Running the tape through
in this otherwise gloomy prospect. It the Burwen filter, after some experi-
is called the Burwen Dynamic Noise
choosing attack and decay time con-
stants for the high and low frequency mentation with various settings of
Filter. the controls, I A/B flipped between
sections of the bandwidth controller
Mr. Burwen gave a detailed tech- such that the action of the filter is filtered output and flat, and the trans-
nical description of his device in the inaudible. An attack time of 1 milli- formation was truly impressive. I
June 1972 issue of AUDIO. With the second was found to be short enough would say that I was getting no more
Burwen Dynamic Noise Filter, there to have no effect on musical transients. than 2.5 to 3 dB reduction of tape
is no compression/expansion, encode/ Decay time was optimum at 50 milli- hiss, but that was enough to remove
decode function as in the Dolby seconds. A shorter attack time would the overlay of hiss. The rumble was
System, but it does utilize the noise have the undesirable effect of the considerably attenuated without much
masking characteristics of human filter being actuated by the "ticks" apparent effect on low frequency
hearing, a basic of the Dolby System. and "pops" of a disc recording. A music content. However, the 60 cycle
For our purposes, the operation of the shorter decay time would reduce the hum was a problem, but one that was
Dynamic Noise Filter is neatly cap- effective reverberation in the program manageable by resorting to a very
sulized by Mr. Burwen.... "The op- material. The low frequency part of steep notch filter. This notch filter
eration of the Dynamic Noise Filter is the bandwidth controller is about would be used before running the
based on two principles: (a) the noise 14 dB less sensitive than the high tape through the Dynamic Noise
output of an electronic system is frequency section because music tends Filter.
dependent upon the system band- to have more low frequency energy I tried the Burwen unit on a variety
width and (b) the human auditory than high frequency energy. of tapes. Some were 15 ips masters or
system `masks out' noise in the presence The Dynamic Noise Filter sounded copies of masters, sans Dolby, and
of the desired signal at frequencies like an intriguing device, and if it here too, they had that miserable little
in the vicinity of the signal frequency worked as advertised, I had envisioned overlay of tape hiss which is so
when the signal-to-noise ratio is several applications where it would distracting. On this material, there was
sufficiently high. The Dynamic Noise be invaluable. Dick Burwen was kind no low frequency noise problems, so
Filter can be described as an automa- enough to furnish me with one of the low frequency control was not
tically variable bandpass filter whose his Model 1000 units, and I found it employed. Judicious twiddling with
bandwidth changes rapidly with each a most useful and fascinating tool. the high frequency control again re-
musical note and whose high and low In a 13/4 -in. high rack panel, up to moved sufficient tape hiss to make
frequency cutoffs are independently four channels of the filter are avail- the tapes significantly quieter, while
controlled by the spectral content of able, with stereo channels ganged in having no or very minor attenuation
the input signal. Noise reduction is pairs or independently. On the panel of high frequencies. It is a fact that
achieved by restricting the bandwidth are controls for high and low frequency the Dynamic Noise Filter discriminates
at high and low frequencies when the sensitivity, a high frequency cutoff, best between noise and music when
signal level is very low (the minimum and a switch that permits listening to the tape initially has a high signal-
bandwidth is 800 Hz). At medium and program material with the filters to-noise ratio. This was borne out by
high signal levels, it passes the full operating, or in the wide band mode these experiments on my own tapes in

10 AUDIO FEBRUARY 1974

www.americanradiohistory.com
AmericanRadioHistory.Com
If it doesn't say Hitachi on the receiver,
it won't say three years on the warranty.
The last thing you look at in a stereo receiver should be one of the first.
If you're like most people, you never glance at your Incorporated into it are Hitachi -developed LTP
receiver's warranty until you get the set home. (Low Temperature Passivation) transistors which
Which could be unfortunate, since a major repair reduce amplifier noise to practically nil.
could be a major expense. (Funny how people always. Not shown is the lower-priced Hitachi SR -3200,
ask about price, but not about repairs.) identical in every way to the SR -5200 except it gives
But you don't have to worry when you buy a you one tuning meter and 13 watts of power per
Hitachi receiver. Because Hitachi gives you one of the channel-so the sound won't overwhelm you in a
longest warranties in the industry: three years, parts small room.
and labor, with a five year guarantee on the transistors. Like all Hitachi components, the SR -5200 and
Frankly we can give such a warranty because we SR -3200 produce rich, clear, true sound.
don't expect you to use it. That's because almost every- Hear the complete line of Hitachi Maxi -Fi compo-
thing that goes into a Hitachi is made by Hitachi-to nents, priced to $600, at your Hitachi stereo dealer's.
our standards, not to some sub -contractor's. Or for more information, write Dept. A-8,
This holds true even for our most modestly priced Hitachi Corp. of America, 48-50 34th Street,
receivers. Like the Hitachi SR -5200 shown above. Long Island City, N.Y. 11101. e- WEIMEa,
It gives you 20 watts of power per channel (RMS Quality always comes first at
at 8 ohms), along with such features as dual meters for
more accurate FM tuning, and four -channel speaker
matrix connections.
HITACHI
Check No. 18 on Reader Service Card
..n.U.ICa
MGMrn¢LIrr

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AmericanRadioHistory.Com
this category, and also when I ran with manipulation of the high fre- ment in the playback of some of the
some of the better quality, least noisy quency cutoff control, and a bit less earlier non -Dolby cassettes and 8 -
commercially recorded music tapes heavy hand on the high frequency track cartridges. I should point out at
through the filter. Of course, there is sensitivity control, you could get an this juncture that almost everything in
the natural tendency with this sort eminently listenable program, more life that is good, costs money, and the
of device to go a bit overboard in the enjoyable than suffering through the Burwen is no exception. It is, in
area of hiss attenuation. This was unfiltered tape. Another use of the fact, an admirable tool for the audio
especially so when playing poorer Burwen filter is when you are making professional, who is probably better
material. A flip back and forte -on the an improved tape copy with equali- prepared to pay the $3500 for the filter
FILTER/FLAT switch would SOOn tell zation. Burwen also claims that in than even the most earnest of audio-
you that you had indeed removed the recording at 7' or 15 ips, the un - philes!
hiss . .. but that you also had weighted tape noise reduction is
As you might expect, such a useful
succeeded in removing some high typically 10 to 11 dB. Needless to say,
frequencies. Even so, in some cases. the filter made considerable improve- item as the Burwen Dynamic Noise
Filter is finding much application in
professional ranks, especially in FM
broadcasting. The reason for this is

3 of the WorIds that many stations are totally program-


med for the special broadcast 8 -track
cartridges, and they suffer from S/N
ratio problems, just the same as those
Best Sellers! used by consumers. One well-known
New York FM station which uses
cartridges say they get a 48 dB S/N
ratio from these cartridges, a lot of
which turns out to be 60 cycle hum
and high frequency hiss. The chief
engineer of the station says that with
as many as six cartridge machines
potted up at one time, the additive
effects of the noise really can raise
havoc with their "on -air" sound.
He has been using the Burwen Filter
and says that hum and hiss are mini-
mized and they are broadcasting a
much cleaner signal. He inserts the
Dynamic Noise Filter in his broad-
casting chain just before the stereo
sells more generator and, as a consequence, can
speaker systems get such added benefits as elimination
of low frequency motor noise, trans-
than anyone else mitted as vibration to the microphone
Chances are very good that you while a DJ is on the air, significant
have heard our sound. In fact, reduction of surface noise on older LP's
and 45's, and automatic "cleaning up"
if you listen to many great of news feeds from such as bad phone
speaker systems, you couldn't lines and shortwave off-air pickup.
miss us. We haven't promoted It was a pleasure to use the Burwen
the name too much, since en- Dynamic Noise Filter. It performed
well and would be an item that many
gineering, sound technology an audiophile would love to have in
and manufacturing techniques are our his system, were it not for that cost.
real forte. All this means to you is You know we are always looking for
incomparable sound for astonishingly fancy professional devices to ulti-
low prices. IT'S NO WONDER. WE mately be revised and reworked and
UTAH SPECIFICATIONS brought down in cost to consumer
ARE NUMBER 1! Here are three ex- level. As precedent we have Dolby
AS 2AX 8 2 WAY ACOUSTIC
amples of quality systems that sell by SUSPENSION SYSTEM -- 559 95 professional A -type noise reduction,
the thousands. NET and its offspring, Dolby B -type noise
FINISH: (ALL MODELS) Genuine Wal- reduction. Who knows? Maybe Dick
WD 90 12"' 3 -WAY ACOUSTIC Burwen has something up his sleeve!
nut Veneer, handsome hand -rubbed, SUSPENSION SYSTEM _.- $99 95 NOTE: In my column in the De-
oil finish. NET t
ï Hdrjft Cbrnpi ancr' cember issue of AUDIO, I described
8 M dranrfe 3' . Tweeter
Please write to UTAH ELECTRONICS for de- 33 txorrnds Suie K2::î Xtu
the new Revox A-700 tape recorder
as the "successor" to the current A-77
ï

tailed information on Model or Models of your HSI.0 12'" 3 -WAY SPEAKER SYS-
choice, TEM-s 119.95 NET "t 2 Heavry Dut, deck. The A-700 is in fact a new
Woofer M,drange Comprrtisrcn Hn generation, higher -priced addition to
5 Tweeter, We.ght-46 pou' ds
-15
Sire <?5'=i fl4
4 t
the A-77 line which will continue to
be marketed. EE
HUNTINGTON, INDIANA
12 AUDIO FEBRUARY 1974
Check No. 40 on Reader Service Card

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AZ/..
s i
ea- amp

4
,
.
..
.
I&_
Mgr,,

The Model 10 Mixing Console


When you've got more talent than money
Any mixing console is simply a crew tiv-e tool. you're exactly who we built this board for.
Getting the most out of it calls for The basic 8 -in, 4 -out board starts
imaginative insight into music and at just $1890. From there you can
skill in the practical application go to 24 -in, with options and ac-
of sound. cessories enough to fill a studio.
If you've got the talent but The TASCAM Model 10.
you don't have the money, It gets your inside outside.

TASCAM CORPORATION
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Audio -ETC
Edward Tatnall Canby

Standing the Strain ignores differences-and new advantages. receive hundreds of new releases for
Music isn't canned merely to preserve review each year, which is a lot more
THE BUSINESS Of audio is MUSIC, it. Better no message at all than a than I can hope to hear all the way
I've been saying all along. To- telephone message? Well, hardly. through, as they should be heard. Yet
day, it's the music of speech Better no news than TV news? Perhaps. I try. We have a responsibility to the
and the music of computers and Better no travel than auto travel? record companies, as well as to you;
synthesizers and the music of pure Ah yes. Get out and walk, boys. they depend on reviews not only for
chance, translated into sound-but So we won't get far if we stick our publicity but for feedback, negative
still, though one man's music is obstinate heads into the sands of past or positive. As a some -time producer
another man's unmentionable, music time. Got to live today! Got to take of a handful of discs, myself, I am
in this widened area is audio's main advantage of today. Music, today, is acutely aware of the time and energy
concern. I'm a musician, so let's look reproduced more often than it is that can go into just one LP record.
at music. I leave the 'scope traces and original. I'm not sorry, though a I could never skim through a pile of
the signal measurements to the rest musician's life now is necessarily them without this thought. If it were
of you. They make music possible. different, if perhaps neither worse my labor-! I persist in trying to
I'm a musician, if the often - nor better than 'way back. As a work out rational means to act like
passionate attachment to the sound listener, rather than a producer (and a dozen reviewers with two dozen
of music, a feeling of oneness with its listeners are still reasonably essential ears, and I could make it-I really
audible expression, makes me a to music's existence), I find so may could. Budget my time, do so much for
musician. I think it does. It's an ear new advantages to the canned sort that each worthy recording, plan a cam-
occupation from start to finish for I will never stop marveling until I paign, to ensure the right emphasis
me. Along with a listening mind, an die. They are real! Even in quadra- on this, and on that, on big and
in-tune emotion, plus a bit of ac- phonic. (Boos from the wings.) New little enterprises, on one type of
cumulated knowledge. That helps. aesthetic dimensions, new experiences music and another. But what happens?
My specialty, though, isn't any one unimaginable in the past. That's what In the middle of such rationality,
kind of music; rather, it's a kind we have in our present musical world, I. put on some record or other and in
of musical sound becoming relatively with audio as its technology, its two minutes I'm snagged. Hung up,
universal: reproduced sound. I judge communications complex. If there's fascinated, bewitched. Hooked. Stop?
my music, relish it, hate it, am bored a shortage of vinyl, or of anything How can I? Every system I've ever
or shocked or elated by it, primarily else, we may have to try to "go back devised, deadlines, post office times,
in this area. I haven't occupied the to nature"-but can we? Better no all go flying out the figurative window
best seat in the concert hall for symphonies than a symphony in the and I am stuck with music itself
years. (Only the fringe seats, now and living room?? Glued, pinioned, utterly immersed in
then, to keep my ear in.) I spent Canned music, for me, is a way of the stuff! (Well, it's worth a mixed-up
years of my life going to hundreds of life and a way of infinite new listening. metaphor.) So I play the disc once
concerts. I loved 'em and still do. But I am all ears. Certainly at a concert, and then I play it again. Reckless
I have other musical business, these though plenty aren't, I always was. expenditure. I have no other recourse.
days. Not a better business; just Now, at home, I find I can listen so The music demands it. I am no longer
different. much more exhaustively, I can "emote" the rational me, I am one large pair
Because I insist that recorded/ so much more safely, so to speak, of ears and connecting mind, I am
reproduced music has its own special I can choose and pick and eliminate, wholly emotion, reception, sensing
aesthetic laws, not necessarily those make my own programs. But more every twist and turn of musical thought,
of the concert, I am perhaps distrusted than anything else, I can hear music of recording technique, feeling the
by some people who think that music in a vastly more varied way than would very presence of the musicians before
is an unalterable, inalienable and ab- ever be possible in the flesh, for me, me, of the recording engineers, of
solute art, however you may hear it. or for most people like me. Yeah, I the composer's living personality,
Mr. Petrillo's "canned music" of a know. Five minutes of real live music unfolding itself, right there in front
generation ago came indirectly from is better than five years of the canned of me. (And behind.) I am never
that idea, though he had more im- product. Yes, definitely. But not more wholly alive. Talk about Higher
mediate tactical matters in mind. absolutely. The canned experience has States of Consciousness-who needs
Like music, the only good asparagus, new values, in new situations. Those 'em! I have 'em. While our Editor
I suppose, is fresh asparagus? A loaf values have become far more important fumes and waits. Sorry about that,
in the oven beats ten in the market- than musicians know, they being Gene. (Yeah, me too, Ed. Ed.) That's
place? Or, to update, no food at all generally conservative souls! Those what listening can be.
is better than-ugh-frozen food. values virtually are music today, if And it is why I so profoundly
Plenty think so. Indeed, the whole music means receiving as well as pro- distrust the idea of background music.
back -to-nature kick is an understand- ducing. Not the principle of it-Mozart wrote
able reaction to our synthetic age. As a listener to canned music, I gorgeous background music for dining.
Right! Yes, when it comes to a plain am a positive glutton. Not so much in It's just the wallpaper approach that
loss of quality. But wrong if one quantity as in thoroughness. We I can't take. Nothing -music, for non -

14 AUDIO FEBRUARY 1974

www.americanradiohistory.com
AmericanRadioHistory.Com
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Check No. 13 on Reader Service Card

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listeners. Tailored and sliced to fit, persuasive reason for quadraphonic be fascinated by gentle sounds like
regardless of musical sense. Turn it sound in MY book is that inherently his, surround sounds, in SQ. Simon is
on and off. Walk into an elevator it demands and gets attention. It such a stylist, so ingeniously twisting
and pick up the middle of a tune, forces you to listen. You can't avoid his music in unexpected directions.
slice it off as you get out. Does it the message, loud and clear. Wow- Have you discovered that his A merican
ever occur to you to wait until the tune is that dynamite. Tune (side 2) is built straight out of
comes to a musical end? Even the It seems to me that the classical the Passion Chorale, the famed ancient
ads that chop off their sleazy music musicians should be the very first to Lutheran hymn tune that appears in
in the middle of a note hurt me. An acclaim it. Where else is their salvation? Bach's St. Matthew and St. John
insult to the art. Even bad music People listen less and less to more Passions and a thousand other places,
should be allowed to have its say in and more, which surely spells the before and since? Not a word on the
its own terms. doom of "serious"-that is, contentful- record. It doesn't say so. I heard so.
To my horror, lately, there are music. Unless people are persuaded to Why? Ask Paul! I played the whole
certain ads for eelymosonary (urf- listen, really listen. record through twice-and I can't
how do you spell that?) or charitable Of course quadraphonic is merely even review it. Naughty, naughty,
concerts of "great music" which use a physical medium with no inherent Canby. Play the right records. Ration
that very music as their sonic wall- artistic quality in itself, other than your ears. (But I can't and won't.)
paper, brutally sliced up to fit. Out- technical. (Don't think that audio Then there was Haydn. I had as-
rageous. Have we no longer any isn't an art, too-I am aware of this. sembled a good batch of Haydn and
musical standards? I don't mean The art of fine engineering.) But it Mozart recordings with the thought
quality standards. I mean simply does provide new facilities, new sonic of an interesting group of related
standards of respect for the musical values that point, even urge, towards reviews. Fine idea. Until I got to
expression itself. Yes, we do make real listening. You can't avoid it. London's STS 15249/54, six discs
music collages, I'll admit, sliced up in Quadraphonic wallpaper, frankly, is stereo. No review! It was the Complete
the contemporary fashion, and I have a contradiction of sense. Why give Symphonies of Haydn, Volume Six,
often done this myself in taped pro- music more impact, more push, why Nos. 36 to 48, and the instant that
ductions. But this is conscious, with an provide it with more detail, with music began, I was lost. (And I had
aesthetic, dramatic intent. It is NOT greater message -carrying ability, with been so anxious, too, to get London's
the wallpaper approach. Not always, more "handles" for the ears, if you music represented in our pages-maybe
anyhow. aren't going to listen? You'll have to this will help.) Stuck again, in total
The trouble with large numbers of fight not to listen. Splendid thought. bliss. Haydn is one of my top con-
us is that we take our music the way Wow -just imagine quadraphonic in sciousness -raising composers when
we take, maybe, pleasant weather. that elevator. Don't forget that the he is rightly performed. This is one
Nice to have around. Even worth four-way medium is at its best in a of the finest sets of Haydn symphonies
seeking out. Just as soon have it, small room space, where the built-in I ever hope to hear, 'way ahead of
when convenient. Or leave it. The space clues of the recording are all others. Right in the middle of the
interest is skin deep. Since music immediately at hand and unconfused. album is my all-time favorite, No. 45.
is almost everywhere these days and I've heard superb quadraphonic in a Plus its immediate neighbors, mostly
background music is useful because room not much larger than an elevator. brand new to me. I've been waiting
on the air it means "this is a commer- Huge hall, all around me. Is that what quite literally a lifetime for this. So
cial," we develop the non -listen we want in our elevators, when the do I just skim the 12 sides? (Would
syndrome only too easily. Can't doors close? I begin to wonder. you really imagine I could do that?)
really blame us. But it's BAD, never- Nope. I spent all afternoon, and
theless. Because it destroys one of most of an evening, absolutely im-
life's real experiences-listening in And so, of a vast
in the very middle mersed (as I say), striding around my
depth, in total concentration, out of spate of catch-up work on record quadraphonic enclosure, reading
knowledge, to sounds that are worthy reviews, I go and get hooked on one Robbins Landon's immense booklet of
of that concentration. That is what recording, and can't stop. I'm proud notes-anything so long as that music
music has been, and still is, thanks of it, though the Editor may groan didn't stop. (Landon is a kindred
to audio. But the going is tough. It's and probably will. Yesterday, to my soul! He knows what I know about one
an uphill fight. intense surprise, it was Paul Simon of the great musical minds.) I was,
Let me tell you, the finest, most (There Goes Rhymin' Simon). I can and am, unhinged. My schedule is
shot. Haydn drips from my ears;
that's why I quit, to write this. But
do you think I'm not going back to
that album, when the drip ceases?
You bet I am. Lucky they didn't
send the other five volumes. Yep,
I'm a real musician.
Should I give up, then, and like
some monk turn over my life to
London and to Haydn, assuming they
complete the approximately 55 LPs
contemplated? I could! I'd need the
time. But no. For tomorrow I'll
accidentally get stuck on something
else. It's a great idea, listening to
music. If you can stand the strain. /E

16 AUDIO FEBRUARY 1974

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MAGNEPLANARTM
loudspeakers are .
Dear Editor:
extremely realistic sounding
and they're only 1" thick. Our
-
top -of -the-line Tympani series Hurray for Heyser editorial judgment are especially note-
which look like folding floor worthy.
screens are sold through Audio Dear sir, I am sure that the editor will receive
Research dealers. We now have Congratulations on your new speaker strong opinions in both extremes of
smaller, less expensive models tests. The precision of Mr. Heyser's the reader response spectrum. Never-
available at the following tests and the candor of his evaluations theless, I would add one suggestion,
dealers: of the data are very helpful. I am es- as Mr. Heyser's methods require a
pecially appreciative that he has the backlog of comparison. Would it be
courage to follow his measurements possible to establish a comparison of
with "Listening Tests," putting the widely known speaker types such as
speaker's strengths and weaknesses as full -range electrostatics, horn -loaded
he hears them into proper perspective. drivers, direct radiators, etc. Also I
University Stereo / Ridgewood, N.J.
Transcendental Audio / Buffalo, N.Y. May he give us many more equipment should think that these methods would
Hi-Fi Gallery / Indianapolis, Ind. profiles. be limited to speakers above the
Hi-Fi Gallery / Evansville, Ind.
Audio Unlimited / Arlington Hts., Ill. H. Kevil bargain basement and console level
The Stereo Shop / Cedar Rapids, la.
The Gramophone Ltd. / Norman, Ok. Kirkwood, MO of quality. Finally, I was pleased to see
Audio Uncommon / Portland, Or. Mr. Heyser's subjective opinions show
Sound Center / Beverly Hills, Ca.
Stereo Hi-Fi Center / Gardena, Ca. Dear sir, an interest in music and a realization
Garland Audio / San Jose, Ca.
High -Fidelity House / Wayne, Pa. Congratulations on the selection of that the perfect speaker does not exist.
Mr. Heyser as your loudspeaker re- I would have been disappointed to
viewer. It is high time that we in the conclude the review with the sort of
U.S.A. have a magazine publishing strained neutrality one finds in AUDIO'S
facts based on scientific measurement competitors.
techniques. L. E. Larsen, M.D.
While I recognize that some loud- Houston, Texas
Contact us if there is no dealer in your area.
M A G N EPAN
speaker manufacturers may look with
fIIIP MAGNEPLANAR" PRODUCTS
P.O. BO% 8642, WHITE BEAR LAKE. MINNESOTA 55110
disdain and despair that the days of Thank you for your kind words
concerning Mr. Heyser's addition to our
"black magic" are coming to an end,
Dealer inquiries welcome.
I for one am delighted. testing staff. Objective test methods are
R. Stoklos a good way to screen systems, as you
Check No. 65 on Reader Service Card
SARAS of America point out, but subjective assessment by
Introducing the Venice, Calif. the buyer and the reviewer should be the
final touchstone, as Mr. Heyser men-
TL -90 Speaker Comparisons tioned in his article. After a number of
Dear sir: speakers have been tested, it may be
I am writing in order to start a possible to rank them by design type,
subscription to AUDIO. The reason for and we would be interested in additional
this, and this extended letter, is to reader and manufacturer comment both
encourage you in your magazine's on this point and Mr. Heyser's reviews
recent speaker testing methods. The in general.
inclusion of Mr. Heyser's expertise
places AUDIO and its management on
a plane of commitment to the audio Custom Home Installations
consumer which is unapproached by Dear sir,
any other publication. Excellent publication you have, keep
I might add that I subscribe to three up the good work. I have one sug-
"audio cultist" publications. These are gestion, which from time to time you
not technically oriented publications, already have done. Articles about
rather they specialize in detailed sub- custom home installation almost always
jective evaluation. Their methods
.
contain information useful to all.
operate on the ultimate criterion of There is always at least some small
audio performance, but this very aspect about somebody else's installa-
subjectivity is at once a source of tion that I haven't thought of, and
The TL -90 by Audionics* incorpo- maybe there are others such as my-
rates a full complement of candor and confusion. Clearly, objec-
RADFORD components with tive testing methods are important self. Your April 1973 article on Arne
transmission line bass loading. when time and expense are involved Berg's home setup was most interesting
The TL -90 is one of four high per- in personal surveys of the audio world. and thought -provoking.
formance transmission loud- Thus, they may provide a method of Robert A. Crapo
speakers from Audionics. Write Gainesville, Fla.
or call for the name of your near- market screening. The failure of test
est dealer. results to correlate with subjective
quality is well known. The impact of We'd like to hear from other readers
`Assembled in U.S. under license by Rad-
ford Audio Ltd. this disparity is most marked in who feel that more articles on custom
speaker testing. It is for this reason home installations would be a welcome
AUDIONICS, INC. that Mr. Heyser's efforts and AuDto's addition.-Ed.
8600 NE Sandy Blvd.
Portland, Oregon 97220 AUDIO FEBRUARY 1974
503-254-8224 20
Check No. 4 on Reader Service Card

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What makes Evolution One sound so good
are all the speakers which
are supposed to
sound so much better.

-46
Our design engineer. Just how good is it?
Great design only comes from You'll be surprised. Especially
great designers. when you pit it against speakers
three and four times higrer
Which is why our Director of
in price.
Loudspeaker Design and
Research, Charles L. McShane, Ithas an extraordinary wide
is an important factor in the range. Low distortion at all
development of this new speaker. frequencies. Wide dispe-sion.
And uniform flat response.
He has spent over twenty years
in research and design of Infact, its low frequency output
loudspeakers. With the top and distortion are better than any
manufacturers in the industry. speaker system we know of for
His design credits include some home use.
of the best selling acoustic - The one revolutionary feature.
suspension speakers now on the
market (several are considered We have priced the Evolution
Some horest talk about One speaker at under Si J0.
a new speaker and its non- standards of the industry).
When you hear how it sounds,
rev3li.tionary advances. Equally important, he believes, you'll know why we think that it
Is the world ready for a non- as Sherwood always has, in offers the outstanding
revolu:ionary speaker? design simplicity. performance -per -dollar we're
No tricks. No gimmicks. famous for.
We think the se-ious listener
might 7e. Behird the develop- You will find Evolution One is the Write us for complete informa-
ment cif Evolution One is the essence of simplicity. tion, and the list of selected
same philosopny that has made Evolution One loudspeaker
Sherwood a leading name in A two-way loudspeaker system dealers.
receivers. utilizing a 10 -inch woofer and a
Sherwood Electronic Laboratories
1.3 -inch tweeter. It is an acoustic
We ve deliperalely not sought the Loudspeaker Division
suspension design.
sensational breakthroughs. 4300 N. California
While the design is fundamentally Chicago. Illinois 60618
We put the emphasis cn refining simple, the execution involves a
tectinologj wh currently variety of techniques which
3h
exists. Refining, perfecting,
evolving tre state of the art.
cumulatively produce a
remarkable sound.
adud011
Another
one
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best buy
Check No. 32 on Reader Service Card

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Editor's Review

T100th ANNIVERSARY of the birth of Guglielmo Deadline for entries is February 18th, 1974. Entry
Marconi, the father of the radio, will be honored forms may be obrained by writing to Executive
at a half-day symposium entitled "The Marconi Director Armstrong Awards, 510 Mudd Building,
Centenary" on February 25th. The intent of the Columbia Univ., New York, N.Y. 10027.
symposium, arranged by Wilmot N. Hess, director of
NOAA's Environmental and Research Laboratory, "Aw, Gee Whiz" Dept.
Walter Orr Roberts of the University Corporation for The following is a verbatim transcription of the
Atmospheric Research, and H. W. Leverentz of RCA first six paragraphs of a press release recently re-
Laboratories at Princeton, will be to discuss Marconi's ceived in the Audio Editorial Offices:
contributions to the field of radio. The symposium "The energy crisis is beginning to knock low
will also cover the evolution of radio into a multi- priorities off their rock-bottom perches. Christmas
billion -dollar -a-year enterprise and the many new lights are hoisted but never lit, Las Vegas casinos
fields of science which have been opened up by darken their miles of neon tubing, we all begin to
Marconi's work. work and play in surroundings that are a mite dimmer
The program will begin with Marconi's daughter, and cooler... .

Mrs. Braga, who will reminisce about her father. ".. .and Ringo Starr's flashing billboard gets a
Following will be discussions of the developments power cut in the glitter burg of Hollywood.
which emerged from early radio, including transistors, "The billboard, located so that it is unignorably
computors, radio astronomy, etc.-achievements stem- noticeable to drivers on both the Sunset Strip and
ming largely from the work of Marconi. La Cienga Blvd., spells out the letters of the Apple
artist's famous first name one by one via the bril-
Golden Lyre Awards liance of sundry lightbulbs, in a glaringly entertaining
The Institute of High Fidelity has honored AUDIO manner that has all of Hollywood, and certain areas
Magazine by presenting its Golden Lyre Award to our of Lompoc, talking about it.
Marketing Director of long standing, Sanford Cahn. "Including Charlie Van Dyke, who remarked on
Mr. Cahn, who has been involved with the magazine his morning KHJ radio program that, however
since the late 40's when it was known as Audio amusing the blazing billboard might be, there were
Engineering, accepted the award at the recent Phila- the following questions to be considered: the energy
delphia Hi-Fi Show. Golden Lyre Awards were also crisis (though it eats a miniscule amount of power
presented to the Philadelphia Orchestra and to Phila- compared to, say, the World Trade Center, the bill-
delphia radio station WMMR-FM. board nevertheless eats) and personal discomfort
(Charlie lives near the sign and was being kept awake
Armstrong Awards at night by its indefatigable resplendence).
Some $4,000 in prize money will be given out at "So: taking all interests to heart, the people at
the tenth annual Armstrong Awards Program for the Apple and Capitol decided to limit the Ringo bill-
best FM radio programs broadcast during 1973. board's hours of luminosity. At 1:00 AM Tuesday
More than 3,000 FM radio stations in the U.S. and morning, November 20, the sign was shut off, not to
Canada have been invited to participate in the com- be relit until 4:30 PM the next afternoon, and the
petition, which is being sponsored by the Armstrong same schedule shall follow each day as long as the
Memorial Research Foundation. It is administered sign stands . . flashing R -I -N -G -O from
. 4:30 PM
by the Columbia University Engineering School, to 1:00 AM, nonoperative the rest of the time.
where the late Major Edwin H. Armstrong was a "Mr. Van Dyke has expressed his approval re-
professor and researcher. garding the Apple/Capitol move. He counts far fewer
The major awards, divided into eight $500.00 sheep before shuffling off to dreamland now, thus
prizes, are awarded for excellence and originality being able to disperse his A.M. wit and music over
in four categories: news, community service, education, Southern California more chirpily. More power to
and music. Half the awards go to commercial stations, him, even if it means less going to Ringo's sign."
and the other four to non-commercial outlets. E.P.

22 AUDIO FEBRUARY 1974

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AmericanRadioHistory.Com
For the world of STEREO- For the world of DISCRETE 4-CHANNEL-
XV-15/1200E UV-15/2400-Q
Designed for use with all stereo and four -channel QDesigned and engineered specifically for
derived compatible systems. v playback of discrete recordings.
The discrete 4 -channel system requires a
"PRECISION" is the one word that best characterizes IUADRAHEDRAL'"completely
new cartridge that could not
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1200E cartridge. We sincerely feel that the 1200E is nals, but also the 30 kHz FM modulated signals. The
the furthest advance achievable today-and perhaps result is the Pickering UV -15/2400-Q. It consists of a
in the foreseeable future-in stereo cartridge design completely redesigned cartridge and a new high per-
and performance. Its exceptional ability to pick up formance stylus assembly, the QuadrahedralTM, spe-
all the material recorded at the lightest possible track- cially developed for this application. The UV -15/
ing forces make it totally unique and superior. 2400-Q performs in a superior manner by every test,
And all of Pickering's exhaustive testing shows that and is capable of satisfying all technical and aesthe-
the 1200E is superior in the flatness of its frequency tic requirements for playback of both discrete and
response and channel separation in comparison to stereo disks. Moreover, its stylus is designed to re-
competitive cartridges. duce record wear.
SPECIFICATIONS: SPECIFICATIONS:
Frequency Response. 10 Hz to 30 kHz Frequency Response'. 10-50.000 Hz
Channel Separation, Nominal 35 dB Channel Separation. 35 dB
Tracking Force: Y. gram, + Y2 gram, -'/a gram. Tracking Force' 1-3 grams
Nominal Output: 4.4 my Output': 3.6 my `2 dB
Stylus Tip: 0.0002" x 0.0007" Stylus: Ouadrahedral
Notes 1. Recommended by manufacturer for optimum
performance 2 When the cartridge is terminated in the
recommended load of 100K ohms and 100 PF. 3. Output

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Check No. 24 on Reader Service Card

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Thermal Design of
A High -Power Amplifier

J. L. Veranth*

THE DETERMINATION of how to needs twice as much heat sink as a transistors is shown in Fig. 1. Higher
remove heat from the power 250 W amplifier, or that an amplifier temperature means that more tran-
transistors is an important generates much more heat when sistors are required to do a given
aspect of the design of power ampli- operated at full power than at half job. Third, the reliability of most
fiers. This task, which separates the power? Do you believe that an ampli- components is reduced by higher
design of power amplifiers from that fier is ever used at half power, or temperatures. The power transistor
of most other audio components, is that a high -power amplifier will be and heat sink temperature determine
called thermal design. The thermal more reliable than a low -power the environment in which these
design of the Bose 1801 amplifier, amplifier, since it just loafs most components must operate. The life-
which delivers 250 watts (rms) per of the time? If so, you may be sur- time of electrolytic capacitors, for
channel into 8 ohm loads, illustrates prised as we study thermal design. example, is strongly dependent upon
several little -understood concepts. The temperature of amplifiers is temperature, as shown by the manu-
Thermal design requires the answers normally limited by three considera- facturer's data in Fig. 2. On the
to three questions: (1) How high tions. First, no exposed parts should other hand, heat removal costs
should the temperature be allowed get so hot that they pose a hazard to money, so that making it too cool
to get? (2) How much power must be the user in terms of burned fingers. can be expensive. This trade-off
dissipated? (3) How is this to be done? Second, the temperature must be is usually weighed by the engineer
The answers to these questions are limited to provide adequate operating and results in the selection of a
not always simple. This is illustrated margins for power transistors. Tran- maximum operating temperature. A
by some common misconceptions. Do sistors are reduced in capability by temperature of 65' C. (150° F.) is
you believe that a 500 W amplifier higher temperatures and must be frequently chosen, since it is cool
derated accordingly. A typical manu- enough to avoid hazards and to
'Bose Corporation facturer's derating curve for power provide adequate device margins

loo 20

75

50

25

o
25 35 45 55 65 75 85
CASE TEMPERATURE, °C.
0
50 100 150 200
CASE TEMPERATURE,°C.

Fig. 1-Power transistor derating (dissipation -limited Fig. 2-Electrolytic capacitor lifetime.
region.)

24 AUDIO FEBRUARY 1974

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AmericanRadioHistory.Com
Selection of the temperature allows neous voltages and currents which The Real Operating Environment
calculation of device parameters, may occur across the load and power There has been a great deal of
worst -case variations, and expected transistors for several cases of opera- discussion on how much amplifier
reliability. A thermostat is then tion. Since an 8 ohm resistive load is power is required in the home
chosen and located so that the hottest being considered, the load current listening environment. This depends
spot in the amplifier will never will always equal one eighth of the upon the efficiency of the loud-
exceed the desired limit. load voltage at any instant. speakers, the size and acoustic pro-
The determination of how much Four cases of load and transistor perties of the room, and individual
power must be removed sounds simple. operating conditions are presented listening taste. Instead of providing
The power comes primarily from in Table I. Since these are instan- another opinion on the subject, we
dissipation in power transistors. The taneous voltages, currents, and watts, determined the actual operating con-
operation of an amplifier power the numbers will not be exactly the ditions of home stereo systems. The
stage is illustrated in Fig. 3. Power same when considering the average questions answered are:
is supplied to the power stage from value of a.c. voltages, currents, and 1. What is the background noise level
the power supply by means of two watts, but the trend will be similar. in the typical home listening room?
voltages +V, and -Ve. This power This data, therefore, illustrates two 2. What are the typical listening levels?
is transferred to the load through significant points. (1) Full -power 3. How much power is used to pro-
power transistors. In a class B ampli- operation is not the worst -case amp- duce these levels?
fier only one set of transistors is "on" lifier condition, since the transistors These were not laboratory tests
at any instant (except perhaps for then dissipate very little power but actual measurements made in
insignificant bias currents). Therefore, relative to the load. (2) A high -power several dozen homes using the stereo
the current flow in the power tran- amplifier works harder to put out a equipment and room configuration
sistors is always equal to the load given power than a low -power found there without alteration. Our
current. Whenever the voltage across amplifier. This can be checked by equipment consisted of a voltmeter,
the load is less than the supply trying the 8 W load case while portable sound pressure level meter,
voltage, the difference between the assuming only a 25 V power supply. and test recording. A 1 kHz warble
supply voltage and the output voltage Of course, this description has been tone was used to measure speaker
is developed across the power tran- oversimplified by looking at instantan- sensitivity with minimum disturbance
sistors. eous values of voltage, current, and by room modes. The subject selected
In order to illustrate more clearly power. For a thermal analysis, we must his own recordings for determining
how the power stage operates, let consider average dissipation. The listening levels.
us consider a resistive 8 ohm load calculations are commonly done for Wide variations in environment,
and a power supply voltage of + 100 continuous sine -wave signals, as in equipment, and taste preclude the
volts. Let us look at some instanta- rms power testing. We must also determination of a "norm." Instead,
we attempted to establish the extremes
by selecting subjects which maximized
+ Vc these variations. All types of equip-
ment were represented within the
constraint that the user felt it was
of adequate quality not to restrict his
or her listening habits. The results,
which should not be considered
definitive bounds, are listed below:
POWER TRANSISTOR (S) Background Noise
Level, dBA 35-68
Listening Level,
Background Music, dBA 48-82
Listening Level, Critical
Listening, dBA 59-95
Level Produced by
1 Vrms/speaker, dBA 74-85
The 60 dB difference between the
loudest listening level and the lowest
noise level indicates that these
listeners were unable to utilize an
equipment signal-to-noise ratio greater
than 60 dB referenced to average
output. It is also significant that a
POWER TRANSISTOR (S) 95 dB level could be produced by 3
Vrms (1.1 W into 8 ohms) in some
systems and would require 11 V (15W)
in others. The startling conclusion for
those users surveyed is that an
average listening level of 95 dB meets
the need even for critical listening.
- vc To produce this level, a continuous
Fig. 3-Amplifier power stage. amplifier power of only 15 watts is
required! Where does the rest go? Read
the accompanying article.

AUDIO FEBRUARY 1974 25

www.americanradiohistory.com
AmericanRadioHistory.Com
recognize that an unregulated power that a high -power amplifier will be music had a crest factor greater than
supply will droop at full load from more reliable because it just loafs 17 dB. Most music has a crest factor
V, to an average of aV,, and that the at lower power levels. But note that between 10 dB and 20 dB (my taste
amplifier at low frequencies will to play at 10 watts, a 25 W amplifier runs toward the high end), which
deliver an output voltage less than must dissipate 20 W, whereas a 250 indicates that I really could not use
the instantaneous power supply W amplifier must dissipate 88 W! my 250 W amplifier at average levels
voltage by a factor of ß. Knowing If you buy the high power amplifier, much above 5 W without frequent
these factors, we can express power it should not be because it loafs. clipping anyway. (The fact that the
dissipation (Pd,,,) in terms of power Actually, all this theoretical analysis amplifier has a higher IHF or peak
output (P°) and rms power rating does not completely answer the ques- power capability than its rms capa-
tion of how much power must be bility gives me, roughly, an extra 2
dissipated in a 250 watt amplifier. dB which is neglected för simpli-
The reason I might buy a 250 W fication because the extra margin
amplifier instead of a 25 W amplifier vanishes, as a practical matter, on a
is because of the extra 10 dB of head long organ pedal or synthesizer note
- room. The ratio of the peak power in
a music waveform to the peak power
anyway).
The question of how much power
vrß(1-Ir+aw) -1 in a continuous sine wave of the
P, is really "needed" is a subjective
P,p.c same average power is called the crest
question beyond the scope of this
factor of the music. A 25 W amplifier
discussion, but the results of some
For a equals 0.9 and ß equals 0.95 would be driven into clipping when
surveys may be found in the box.
the results are shown in Fig. 4. Note played at an average level of 5 W
As a real test of thermal require-
that the dissipation is nearly constant with any music which had a crest
ments, a continuous tape loop of
for output greater than about half factor greater than 7 dB. A 250 W
music with the lowest crest factor
power. You may have heard the story amplifier would be clipped if the I could find (and therefore the highest
power demand) was played at a level
where frequent clipping occured on
CASE LOAD TRANSISTORS the Bose 1801. Monitoring of tempera-
tures with thermistor gauges indicated
Volts Amperes Watts Volts Amperes Watts that this was thermally equivalent
1 1/8 1/8 99 1/8 12
to an average dissipation of 110
2 8 1 8 92 1 92 W/channel, corresponding to a sine
6 312 wave output of only 18 W! This
48 6 288 52
3
continuous -loop operation undoubtedly
1 88 11 968 12 11 132 exceeds most typical home require-
Table I. ments. In fact, we have concluded
that for normal home music reproduc-
tion, where operation is intermittent
1.0
and the amplifier is seldom clipped,
a 250 W amplifier need dissipate
0.9 only 100 W/channel.
This is all the information needed
0.8 for thermal design. The 100 watts
per channel must be removed from
the power transistors without allowing
0.7 the transistor temperature to exceed
65° C. at room temperatures up to
06 30° C. (86° F.). The heat sink parameter
of significance is called thermal
Pd iss
0.5
resistance: The temperature rise
Pspec (35° C.) divided by the power -flow
(100 W). or in this case 0.35 °C/W.
0.4 To choose a heat sink, a simple
modeling technique shown in Fig. 5
0.3 is used. The structure is drawn and
divided into simple sections for
which the thermal resistance can be
02 calculated. These thermal resistances
are replaced by electrical analogs.
0.1 For example, a section of aluminum
becomes a resistor of value equal to its
0 thermal resistance, a source of power
0.1 02 03 04 05 06 07 08 0.9 I .0 becomes a current source, and tempera-
ture rise between two points becomes
Po the voltage drop as illustrated in Fig.
Pspec 5a. The mechanical structure of Fig.
5b, which consists of power transistors
Fig. 4-Amplifier power dissipation per channel.
dissipating powers P,, and P,, a heat

26 AUDIO FEBRUARY 1974

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THE
PROBLEM
Say farewell to the grand old DC300, and welcome to
THE PROBLEM SOLVER, the amp that is going to make SOLVER
-
your job easier and your customers happier. The original
model DC300 was a great amp the first super -power
low distortion amp in the world, when Crown introduced Gone too is the need to baby the amp by carefully
it five years ago. Meanwhile, top sound systems design- juggling load configurations. The Problem Solver can
ers have used it successfully in hundreds of demanding
situations, and made some excellent recommendations reactive-
drive any speaker load - resistive or even totally
with no protection spikes! Parallel speakers
for improvements. The response of the Crown design with no deterioration of sound quality, since changing
team was not an updated DC300, but a totally new and the load impedance only affects the maximum power
different amplifier, the DC300A. It is the only high available, not the ability of the amp to keep on producing
power low distortion amp specifically designed for com- clean sound.
mercial sound applications. (CAUTION: There are some Lowest Distortion and Noise
large consumer -type amps attempting to sell in the com- Also new is the DC300A's IC front end, which sets
mercial sound field without providing adequate continuous new world's records for low distortion and noise. At
power for all load impedances.) the 8 -ohm rated output, IM and harmonic distortion is
Power You Can Count On
The New DC300A has double the number of output
transistors, effectively twice the muscle of the old DC300
below. Servicing - if ever necessary -
less than 0.05% full spectrum; hum and noise is 110db
is a snap, since
removing the front panel accesses the entire circuitry.
at the same price. Each channel has eight 150 -watt Although it is a completely redesigned model, the
devices for 1200 watts of transistor dissipation per channel. DC300A has inherited some characteristics from its
The DC300A is rated at 150 watts per channel continuous predecessor:
into 8 ohms or 300 w/ch continuous into 4 ohms (both PRICE - still under $700. As two amps in one, it will prob-
channels driven) and 500 watts continuous into 2.5 ohms ably give you or your customers a welcome cost/break
(single channel driven). when you design your next multiple -amp system.
Two Amplifiers in One WARRANTY - three years, covering all costs of parts,
As a dual -channel amplifier with separate level con- labor and round-trip shipping.
trols and circuitry for each channel, the IDC300A is
COOLING - excellent heat dissipation provided by
almost two amplifiers in one. This gives you additional massive cooling fins and the entire chassis itself.
flexibility in controlling your speaker load, as when driv-
ing separate front and back speaker systems in a large
DEPENDABILITY - stringent pre- and post -inspection
and testing proves every electronic component, every
auditorium, or when bi-amping a system. For 600 watts circuit module and every finished unit, to bring you one
continuous output at 8 ohms, the DC300A converts to a step closer to install -and -forget field dependability.
mono amp with two plug-in parts. This makes it possible PEOPLE - the same innovative design team and care-
to drive a 70 -volt line directly without a matching ful craftsmen who made the DC300 such a sound success.
transformer. And the same knowledgeable customer -service men
Superior Output Protection ready to discuss your special application and send you
The DC300A output protection circuitry is a rad- detailed technical data. Phone 219 + 294-5571 or write
ically new design which completely eliminates DC fuses Crown International, Box 1000, Elkhart, Indiana 46514.
and mode switches and further reduces service problems

crown
to the negligible level. It is superior in every way to the
old VI -limiting circuit pioneered by Crown and now
used by most other high power amplifiers, since it intro-
duces no flyback pulses, spikes or thumps into the
output signal, whether operating as a single -or dual -
channel amp. MADE ONLY IN AMERICA
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coupler which carries the heat to the
TEMP
RISE -11 -1- VOLTAGE - heat sink, and the heat sink itself, is
transformed to the electrical model
POWER
F LOW -10>
of Fig. 5c, and finally simplified to
that of Fig. 5d. The aluminum heat
coupling structures and thermal grease
5a. MODELING TRANSFORMATION used to fill surface irregularities where
the surfaces are mated have a cal-
culated thermal resistance of 0.06
°C/W so the heat sink must have a
thermal resistance of 0.29 °C/W.
In fact, the coupling structure of
the 1801 has a thermal resistance of
0.065 °C/W, and the heat sink has a
thermal resistance of 0.3 °C/W. It
should be noted that the heat sink
is, by far, the dominant thermal
5b MECHANICAL STRUCTURE limitation for natural convection
cooling, so that reducing the thermal
resistance of the heat coupler has
negligible effect.
The 1801 heat sink was designed
for free-air convection. What about
forced air cooling? In worse environ-
ments, or non -audio applications,
forced-air may be necessary. This
changes the whole picture. For
example, blowing on the heat sink
will reduce its thermal resistance to
0.1 °C/W or less. Then the coupling
5c ELECTRICAL MODEL bracket may have a significant effect.
For this reason the professional
version of the 1801 (the 1800) has a
TRANSISTOR TEMP heavier coupling bracket.
Pdi ss
O COUPLER What's the net effect of all this
effort? It should be clear that all
HEATSINK TEMP
O HEATSINK
relevant information is not conveyed
by the rms power specification. In-
stead, let's look at a curve of power
AMBIENT TEMP
versus time. The time for which the
amplifier can supply a specified power
is given in Fig. 6. This capability has
5d FINAL SIMPLIFICATION proved more than adequate for home
Fig. 5-Thermal modeling. music reproduction. It can be seen
that for short periods of time the
1000 amplifier is limited by its no-load
IH F POWER power supply voltage (IHF power). For
RMS
1

POWER
longer periods, the amplifier is
co
F--
limited by the full-load power
1- 250 supply voltage (rms power). The
3 curve at this point folds back upon
loo itself, since the dissipation is actually
lower at higher power levels. Finally,
w
we reach the region of continuous
o CONTINUOUS POWER operation.
a
All of these regions of amplifier
I-
operation are important and have to
C be considered in their relationships
1-
to the demands of music and the
o capacity of loudspeakers. This dis-
cussion has dealt only with the
thermally limited region, which is
always neglected by a single -number
power specification such as IHF or
.0001 .001 01 10 loo 1000 rms power. Perhaps the insights
TIME, MINUTES provided concerning the thermal
design of an amplifier will somewhat
Fig. 6-Amplifier output power.
offset this lack of data.

28 AUDIO FEBRUARY 1974

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The classics from KLH. Four bookshelf loud- loudspeakers. And when you do, also look for
speakers of such extraordinary quality that each our other bestsellers-the KLH stereo receivers.
has set the standard of excellence in Ilts price The Model Fifty -Five í$219.95t1; the Model Fifty -
range. Pictured to the far left, our popular little Two ($319.95t); and our newest receiver, the
Thirty -Two ($55.00t). Next, one of the best sell- stereophonic; quadraphonic Model Fifty -Four
ing loudspeakers in the country, the Seventeen ($525.001. KLH-the best thing to happen to
($79.,95t). Up front, everybody's favorite, the bookshelves since books.
Six ($139.95t). And finally, our most spectacular For more information, visit your KLH dealer
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really want to know what KLH is all about, we Corp., 30 Cross Street, Cambridge, Mass.
suggest you listen to any one or all of these fine 02139.

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tSuggesied retail prices-sli rly higher in the South and West.

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High -Voltage Amp Design

James Bongiorno*
T HAS BEEN several years since I have written for this is one other manufacturer who is using another similar design
journal, and at that time I was working on an amplifier approach, but with different transistors of an older vintage.
of very radical design both electronically and mechan- Most high power amplifiers today use what is known as
ically. Unfortunately, at that time the transistors involved the high voltage triple -diffused output transistor in the output
were exasperatingly expensive and it would have been stages with supply voltages reaching _± 100 volts. This
impossible to market an amplifier based on that design at approach is, of course, a far cry from the days when we
anywhere near a reasonable cost. This situation has changed, were nervous about using even ± 35 volts, but it is neces-
of course, and today there are quite a few high-powered sary to use the ± 100 volts to achieve the needed power
amplifiers on the market. It is my feeling that these amps are levels. Most engineers seem to feel that the triple -diffused
definitely needed to drive today's low efficiency loudspeaker power device is the answer for these designs. I feel this is
systems. unfortunate, as they are not really the best choice for output
Again, unlike the past, designers seem to be a little devices.
reluctant to write about their designs or philosophies, and There are basically three different types of power tran-
as a result, only a few articles have been published concern- sistors available: single-diffused homotaxial, double -diffused
ing high power amplifier design. I also believe that this epitaxial, and triple-diffused. The single -diffused devices
reluctance is due in part to reliability problems encountered are considered to be very rugged. This is true; however,
in the common approach to these designs. There are presently their extremely slow speed, combined with excessive leakage
on the market six high power amplifiers from major firms versus temperature, makes them a relatively poor choice for
with at least 200 watts per channel, and no less than four truly high quality designs, even though one manufacturer
of them are using this common type of circuit design. There is touting them.
Even though triple -diffused devices are nice to work with,
thanks to their high voltage capabilities, they have several
'Director of Engineering, problems associated with their use. They have several volts
Electronics Division, saturation loss even at reasonable currents, extremely poor
S.A.E., Inc.
beta holdup at higher currents, and virtually no safe area
capability beyond 70 volts. Most difficult of all, they are not
100A available in PNP configuration which means that these
devices must be used in a quasi -complementary design. This
is unfortunate as the classic cross -over notch cannot be
eliminated with this type of output stage design, and one
engineer has openly stated in a recent article that this amp
10A
does indeed have this problem. Another difficult problem
associated with quasi -complementary output stages is their
high frequency instability, which is more commonly described
as common mode conduction or latch-up in the output stage
itself. This problem is due to phase shifts within the output
stage itself and is almost impossible to cure.
10
Full complementary stages do not have this type of prob-
lem when properly designed, but they can only be made
using double -diffused epi-base transistors. These comple-
mentary devices are also available in power Darlingtons,
which we use exclusively at S.A.E. These epi-base transistors
do not suffer from the problems associated with either
.10
Iv IV 10V 100V 200V

single- or triple -diffused devices, as they have excellent beta


411 TRIPLE DIFFUSED
205630 EPITAXIAL
hold-up out to several tens of amperes, virtually no satura-
USABLE CURVE FOR 411's tion losses even at 20 amperes of collector current, and
Fig. 1-Safe operating curves at d.c. for triple diffused excellent safe -area properties. But, best of all, they don't
vs. epi-base; TC is 25° C.
leak at elevated temperatures. When they are used in an
emitter-follower configuration, they have ten times more

30 AUDIO FEBRUARY 1974

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1irrnk BRUSHES
TRIA GL
PICCOLO
VIOLI N
CLARINET

KHz-20,000H
4 KHz-16 KHz
500-5 KHz
140-1.6 KHz 180-2.5 KHz

GUITAR
TRUMPET
TYMPANI
ORGAN

80-1200 Hz
80-1100 Hz
70-188 Hz
20-20,000 Hz 40-320 Hz

Guaranteed to enhance any


fine stereo system!
(Following quotes from 20-12 owners' Warranty cards on file at Soundcroftsmen)

"One of the best investments I ever made!!" ... "Even made a believer out - -___--_
of my wife" ...
"I tbought my system was the best sounding system going, ti S7.44/Age,/
but this equipment makes it sound un -real" ... "Incredible! Every system *V.44
-
a1.18

should have one" ... "Excellent superb improvement of system". . . $299.50


includes walnut -grain
"One Hell of an improvement to what I thought was a good sounding sys-
tem" ... "It would be a very great boon to anyone's stereo system I
love it" ...
"Has made a big improvement in the sound of my system" .. .
- cabinet, or rack -mount.

"Great improvement to my system!!!" ... This is a very fine piece of equip-


ment. It tremendously improves the sound of my system" ... "Can't believe FREE!
how good it makes my set-up sound" ... 'WOW!!! What a change in my
system!".
The "Why's and How's of Equalization",
SPECIFICATIONS and SPECIAL FEATURES an easy -to -understand explanation of the rela-
TOROIDAL and ferrite -core inductors, ten octave -bands per RESISTORS: Low -noise selected carbon -film. tionship of acoustics to your environment. This
channel. RANGE: 12 db boost and 12 db cut, each octave. 8 -page booklet also contains complete specifi-
FREQUENCY response: +- db from 20-20, 480 Hz at
zero setting.
1/2
MASTER OUTPUT LEVEL: "Frequency -spectrum -level" cations, an editorial review of the 20-12 by J.
controls for left and right channels, continuously variable Gordon Holt's Stereophile magazine, many
HARMONIC DISTORTION: Less than .1% THD @ 2 v., 18 db range, for unity gain compensation from minus 12
Typ: -05% @ 1 v. db to plus 6 db. unique ideas on "How the Equalizer can meas-
IM DISTORTION: Less than .1% @ 2 v., MAXIMUM OUTPUT SIGNAL: variable Master "frequency urably enhance your listening pleasure," and
Typ: .05% @ 1 v. spectrum level" Controls allow adjustment of optimum "How typical room problems are eliminated by
SIGNAL-TO-NOISE RATIO: Better than 90 db @ 2v. input. output voltage for each channel, to exactly match ampli-
INPUT IMPEDANCE: Operable from any source 1O0K ohms fier capability, up to 7 v.
Equalization."
or less- (any Hi-Fi Pre -amp. Receiver or Tape Recorder.) SIZE: designed to coordinate with receivers, comes in-

-
OUTPUT IMPEDANCE: Operable into 3K ohms or greater
(any Hi-Fi Amp, Receiver or Tape Recorder.)
CIRCUIT BOARDS: Military grade G-10 glass epoxy.
stalled in handsome walnut -grained wood receiver -size
case, 5y/" x 18" x 11", or rack mount.
WARRANTY: 2 -year parts and labor.
SOUNDCRAFTSMEN, 1721 NEWPORT CIRCLE,
SANTA ANA, CALIF. 92705
Check No. 35 on Reader Service Card

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100A
.
i i ú NNouu
M..u1111111....11...u1...n
1111IIII11111111
uu
ZIMIIIMMuuM1111111111111ou111111MiuMII.II.ou
mizoniumnionommQmmoniummann
000 o gain -bandwidth product than either of the other types,
which must be used in the quasi -complementary format. As
the result of lengthy development, these epi-base devices
are now available in much higher breakdown voltages than
were previously available. This automatically means more

10A liiiiiiiììiiiiiiiìlîlillIIIIII
iiii
.....i...:. ::.. ,.....:
hl
ruggedness in the safe-operating area, which has been exten-
ded further into the high voltage region. At S.A.E., we use
... ......,'.......
m...m.r iiiiioi»ariii ii ..,:..MMIMINIM....0 A
io.auom
.:5ird:....VIMIIIIIIMIIMM...... these devices only in series connection in our output stages,
rather than in the more commonly used parallel connection,

..
11111?%//% '//,%!4Z4í%///.'///.'//.%%ia,lmmu11
;%%i%%iiiis A%"//,eiii and we have found that it is almost impossible to initiate
secondary breakdown, which is the most common cause of
lA

1111111.... u.o
ì111111í%"%1:11%;;%'%.2lííí11ì1111111
N :C:C::iN3i::5::::GG:C:::::
auuuuil_ennmMI.unNMou
fflo ou.ouu
IIUIIII n
uu
ou11111
all amplifier breakdowns.

Performance
Figure 1 illustrates the safe -area capability of one epi-

.IA IIIIIIIIIIIII 111IIII111IIII


IV IV 10V 100V 200V
base device versus one triple -diffused type 411. Figure 2
shows the difference between three epi-base devices in the
series configuration versus three type 411 devices in the
3 TYPE 411 IN PARALLEL
parallel configuration. Since the saturation losses for the
1'75
3 TYPE 2N5630 IN SERIES
POWER SUPPLIES
triple -diffused devices are enormous, they can only be
USABLE CURVE FOR 411's
safely used in the shaded area and are practically useless
Fig. 2-Composite soar curves for three devices of outside these limits. Figure 3 shows the load line capabilities
each type; TC is 25° C. of the two different configurations for both resistive and
reactive loads. As can be seen, the epi-based device has
--- 3 TYPE All's IN PARALELE
considerably better load line capability over the triple -
3 TYPE 2N563O'3 IN SERIES
, T
diffused. In use, this means that amps incorporating these
OSARLE AREA FOR

INCREASED VA
411'3
CAPABILITY OF EPI-BASE
devices, as all new S.A.E. amps do, are capable of driving
INCREASED SAUTE AREA OF EPI-BASE IN
DADY LINE
Nall NAZI
any load angle at full rated power from 0 degrees to 90
COATAASF TO RFE5YRDED AREA FOR O1x3
degrees. Further, we have found in testing that they will
deliver a full -power 20 kHz square wave into a 1µF capa-

B ONNS

LEAD LINE
REACTIVE
ES VA
RSA

-
eriesera - BONY$
LOAD I
REACTIVE
INF 250 VA
citor with no instabilities with less than 0.5 per cent distortion.
Further circuit refinements can be seen in Fig. 4. As shown,
all of the circuitry is fully complementary push-pull from
input to output using full complementary differential inputs
R DM ZUO WAIT -- and full complementary series -connected outputs using epi-
base Darlington output devices. With this particular approach,
limn LINE

there are no bias shifts when the amplifier is driven by


transient low frequency information, which results in
undesirable low frequency modulation noise with single-
differential -input circuitry. For this latter, it is sort of like
a person with one wooden leg or a sprained ankle who favors
Fig. 3-Load line capabilities of three type 411's in one side.
parallel and three type 2N5630's in series for both
resistive and reactive loads.

ol ,^, 1.
O
-}
u

Fig. 4-Schematic of Mk IIIC and CM power amplifiers.

34 AUDIO FEBRUARY 1974

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AmericanRadioHistory.Com
There's much more to all the new AKAI separation controls, 3 tape monitors with rot
stereo receivers than just great cosmetics. Take a panel provisions for dubbing, 4 VU meters to asssu-e
close look: precise level adjustment for each channel, and an
AKAI's new AA-910DB offers outstanding audio muting switch. All just for starters.
performance at a mocest cost. With 24 watts of con - So no matter what you're looking for in a
t r;uous power at 8 ohms (both channels driven)
crough for most needs. Plus a built-in Dolby`w Noise
- quality stereo receiver, look to AKAI ...The inno-
vators.
Reduction System. Which means that the AA-910DB Then plug it in. And listen.
drpvides you with the unique ability to "Dolbyize"
cry tape or cassette ieck used with it. "Colby"' and "Dolbyize" airs. Trade Marks of Dolby Laboratories, Inc.

But maybe you're into 4 -channel. Or think-


ing about it.
Okay! Then c -eck out AKAI's rew AS -980
4 -channel rece ver. 120 watts gives you power to
spare. (30W RMS x 4 at 8 ohms-all 4 channels Rom
driven.) And a list of exciting features that'll make
nur eyes pop! Like front panel 2/4 channel switch-
ing, 4 individua''' 4 -channel modes-Discrete ... SQ
AKAI America, Ltd./Dept. S
2139 E. Del Amo Blvd Compton, ,
A KAI.
e.. Rte ...and CD -4 bu It -in decoder with individual .lifornia 9022) The Innovators

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I THD
DB

CHANNEL A

.07 10ºB

.06 200B

.05 30oB

.O4 4008

.03 50oB
B

.02 60,0
TEST ECU 1M N' IDüAL

.01 7008

.00 80,8
20Hz 200Hz 2KHz 20KHz 20H, 200Hz 2KHz 20KHz

Fig. 5-THD at 8 ohms, ful power 40 V rms. Fig. 8-Crosstalk at 8 ohms, full power 40 V rms.

Another innovative refinement to the circuitry is the


.01 integrated circuit bias regulator which does away with the
possibility of runaway while at the same time maintaining
accurate tracking of the output stage quiescent current. This
.000,
zm 20111
means that there is no shifting of the operating points after
prolonged operation, which with most designs causes over-
Fig. 6-IM distortion at 8 ohms, ful power 40 V rms. compensation, resulting in classic cross -over notch increase.
This, of course, results in long-term listening fatgue. This
DAMPING
FACTOR characteristic can be verified by examining the IM curve,
which is flat all the way down to the milliwatt region, and,
300
indeed, it should be if there are no cross -over products. THD
and IM curves are shown, and for all practical purposes these
200 are the residuals of the test equipment.
Other parameters attained with this design include a
100
damping factor of 250, which we feel is far beyond the
minimum necessary, and a power bandwidth to over 150
20Hz 200Hz 2KHz 20101:
kHz. We have found the design to be quite stable, and we
Fig. 7-Damping at 8 V rms. have driven it into hard overload with frequencies up to

"He3...what do you want for under $100"


If you're looking for the best combination of features,
performance and value ... look no further. Glenburn delivers
just that.
The features ...
Tone arm damping in manual and automatic modes ...
up and down
Tone arm height and stylus pressure finger adjustments
. no tools required

Automatic tone arm lock


Cartridge and dust cover and base standard
... Nothing else to buy.
The performance...
Lowest tripping and tracking forces available under $100
Largest turntable bearing in the industry
Exclusive uni -planar mechanism ... results in smoother,
quieter turntables by putting most moving parts
on a single plane.
And, the value ...
All these unsurpassed features and improved
performance available in four great new automatic turntables
... All priced under $100. Prove it to yourself. At your
nearest Glenburn Dealer. He'll help you choose a Glenburn
automatic turntable to fit your needs as well as your
pocketbook.
Sometimes you have to pay a little less to get a lot more.

C
7 GLENDURN better by design
GLENBURN/McDONALD, INC., 787 Susquehanna Ave., Franklin Lakes, N.J. 07417 (201) 891-8250
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We Earned Our Top -Rating
The Fairfax FX-300 was recently top -rated
over 20 leading medium-priced speakers by one of the most respected
consumer reporting organizations in the world.
That's something money can't buy! Like any of the nationally advertised brands
we topped, we could make all sorts of claims and super -claims for Fairfax
speakers, including a number of SPEAKER FIRSTS we have to our credit. We could
follow the pack and excerpt reviews or we could spend
lots of money to buy endorsements.
However, at Fairfax, our money goes into the speaker. And we think you will
agree with "The Report Money Can't Buy"-the investment is well worth it.
But in order for you to agree that the FX-30C is the most accurate sounding
speaker (rated at 8 ohms with a minimum of seven watts RMS required)
you will have to listen to ours and compare it to theirs-any of the 20 other
speakers we topped and then some.
Visit your nearest audio dealer and ask to hear the Fairfax FX-300, and compare it
to any other speaker in its price range-even some costing considerably more.
If your dealer is not a Franchised Fairfax Dealer, have him contact us
and we will send him a pair of FX-300 speakers for your evaluation-at our expense.
Only Fairfax has the confidence in their product, and your
. judgment, to make such an offer. FAIRFAX

FAIRFAX INDUSTRIES, INC.,


900 Passaic Avenue, East Newark, New Jersey
THE SUPER -SOUND
LINE /
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1111111B111111313111111
1111111=31113=7
11111111111111111111111111111111111
111811111111111111

--
A C

Fig. 9-Square wave response at A, 20 Hz; B, 2 kHz, 20 kHz and loads from 4 ohms up without oscillation, blown
and C, 20 kHz. All at 8 ohm 200 watt output. fuses or other sorts of misbehavior. We think the square
wave photos speak for themselves.

Construction
We call our construction' method "Unisink," and believe
that it is as different as the circuitry, as the entire amplifier-
less the power supply-is made in a single unit, including
the entire heat sink, output stage, and the low level stages.
There are no wires, except for the four power supply
wires, as everything is mounted on two p.c. boards, each of
which can be popped out in less than a minute. The main
virtue of this is, of course, repeatability, but we have found
the design to be extremely reliable, with less than 0.8 per
cent total failure rate among consumers.
The heat radiator works on the principle of heat expansion,
rather than the more common convection principle. This is
quite effective and allows us to set the thermal cutout at
70° C., rather than the more usual 85 or 100° C. Cooler
operation, of course, means longer life.
But what does it sound like? Well, during the initial
listening period, we couldn't believe our ears, but since
we're prejudiced, we suggest that you don't believe us
Fig. 10-Showing method of heat sinking. either. Instead, we suggest you go listen for yourself.

One look at an Audio Research component tells


you that here is audio equipment built for per-
fectionists, by perfectionists. Meticulous design
. highest quality materials ...
packaged with
the kind of craftsmanship that's all but disap-
peared today.
Audio Research equipment isn't just well -
engineered it's "over -engineered." Every
.

element, from the chassis to the smallest elec-


tronic device, is chosen to exceed performance
requirements by a wide margin. Our manufac-
turing techniques, too, go far beyond commonly
accepted audio industry standards.
Few products anywhere are made with such
attention to quality and reliability. So when you
visit your Audio Research dealer it'll pay you to
look as well as listen. If perfection is your goal,
we think you'll agree: there's no substitute for
Audio Research components.

audio research corporation


Box 6003 / Minneapolis, Minn. 55406 / Tel: (612) 721-2961

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Add the new Sony SQA-2030 amplifier. It delivers 18+18 watts, SQD-2020 has all the quality and
decoder/ amplifier and two RMS into 8 ohms at every control convenience of the
speakers to your present stereo frequency in the audio range SQA-2030 plus four calibrated VU
system and you're into four chan- -
(20-20,000 Hz) plenty of power meters to help you balance your
nel. And what four channel! to drive your back channel system visually. If your stereo
Full logic IC circuits increase speakers. It's distortion -free system has high power output, add
separation-side to side, front (THD less than 0.8%). And it's easy a basic amplifier of equal power
to back. SQ records and broad- to enjoy. Once you've balanced plus two speakers. The SQD-2020
casts are reproduced with rock - your system, the SQA-2030's costs $229.50.
and concert-hall realism. master volume control is about all Add full logic SQ to an existing
Matrix recordings and broadcasts, you'll have to adjust. four channel system. Or upgrade
other than SQ, discrete four Thanks to new integrated stereo to four channel (an inte-
channel tapes (with a quad deck), circuits,developed and manufactur- grated amplifier and two speakers
retain the excitement of the origi- ed by Sony, this full logic decoder, are required).
nal performance. Even stereo control center and stereo amplifier The full logic SQD-2070 is an
records take on new depth. is housed in a cabinet about inexpensive choice, $89.50.
And the SQA-2030 gives you half the size of a standard receiver. Go four channel with Sony.
something extra-a built-in stereo It costs just $239.50. It's very logical.
SONY®
Sony offers two other choices
to go four channel. The full logic

9 Wiest 57th St., New York. N Y 100f

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Compatible Quadra- Direction
Discrete Stereo System
Part II

Fumitaka Nagamura*
T HAS GENERALLY been believed that disc records with However, a gradually but steadily increasing revelation of

I transmission inherently limited to two channels are not


readily adaptable to multi -channel transmission of infor-
mation, but it is due to the conception that the two transmis-
the inherent capabilities of discs has been inevitable, and on
the recording side, a glimpse of the truth appeared in an
analysis of physical motions of disc cutter tips during RM
sion axes of discs are required to be independent of and (regular matrix) and other matrix recordings, but recognition
unrelated to each other. To the contrary, full understanding of of "discrete vectors" was never attained.
the two axes that are at right angles to each other leads to the On the reproducing side, no such revelation has been made,
possibility of discs serving as a medium capable of recording and all reproduction has had to stay within the severe restric-
an infinite number of channels of information. tion of two -channel detection.
Additionally, as when recorded these channels form a Only by breaking through the traditional two -axis detection
circular and continuous spatial distribution, relative sequential (pick-up) concept, have new advancements in disc reproduc-
positions of original sound sources remain unrelated in their tion been made possible. It, at long last, provides a most
recorded form. direct method of reproducing from discs in multichannel,
Thus, it is meaningless to segregate discs by channels of and marks the birth of a direct reproduction system in multi-
information recorded thereon, such as two- and four -channel channel, comparable to the conventional reproduction in two
discs, and it is only the number of channels in reproducing channels.
equipment that places any limitation on the overall channel
handling capability. Under this philosophy there is no basis
for assigning the nomenclature "two -channel" to recordings Reproduction of Original Sound
of conventional front -only stereo, and "four-channel" to those In this article, the original sound is defined as something
of surround, or 360° stereo, as both such recordings can be frozen at the time when its record is cut, and it encompasses
reproduced in four or more channels by QDCS. However, for not only the natural sound field but also sound fields created
the sake of conformity with traditional nomenclatures, the exclusively in reproduction. Therefore, once recorded, the
former will be referred to simply as "stereo" in this article, sound is considered to have been endowed with life as a
and the latter as "quadraphonic" which is distinguished from piece of art, so that it is a mandatory requirement to avoid
four-channel reproduction of conventional stereo discs. any unilateral distortion of signals picked up from discs, such
These aspects are not derived from any particularly new as varying relative signal strengths and changing or shifting
principle, as the 45/45 disc system itself has been founded on localization of sounds reproduced, even if such artificial
the same basis. Only, by limiting reproduction to two chan- processes happen to be free from any undesirable audio -
nels, discs have virtually been regarded exclusively as media psychological effect.
for two mutually independent transmission channels, so that
no more than half, i.e. 180°, of the fully circular, 360°
continuously distributed recordings of information on discs, Discs as Media Between
has been correctly reproducible, and the true merit of disc Original and Reproduced Sound Fields
recordings has never been fully appreciated. The ideally reproduced sound field should be a replica of
the original sound field with no distortion and in the highest
'President, N.F. Farrd Systems Corp.
possible fidelity. Therefore, discs as media to connect the
(BC) two fields must record and maintain balanced and correct
V

LF
FC
AF
information in a miniaturized form.
N)
CONVENTIONAL
However, with regard to provision for directional localiza-
STEREO tion of reproduced sound images, the conventional two -chan-
nel stereo system does not provide a balanced distribution
and therefore may be termed irrational. To elaborate, while
IFCI (R)
N
reproduced sound images can best be localized by magnitude
ratios of their vector components detected along 'detection
axes of pick-up cartridges, there always exist two vectors
corresponding to any given magnitude ratio of outputs along
LB
(
BC
V )
RB the L and R axes of the two-channel cartridge. For instance,
as shown in Fig. 11 (A), a vector equidistant from the L and
R axes and in phase, denoted by H, invariably represents the
(A) (B) front center, FC. However, there exists another vector, V,
VECTORS RECORDED ON DISCS LOCALIZED SOUND IMAGES
also equidistant from axes L and R, only in opposite phase.
This latter vector has been interpreted as a non -localized
sound in reproduction, but if the listener is to be located in
Fig. 11-Relationship between recorded vectors and
the center of a sound field as shown in Fig. 11 (B), and the
localized sound images.
reference point is at the front center, its conjugate point to

40 AUDIO FEBRUARY 1974

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After you come up
with a totally new
transport s stem giving
wow and Ilutter of
less than 0.07%
and you announce Ehe
lantastic Teac 450
cassette desk...

what do you do or an encore?


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THE TEAS
It has all the advanced technoo
and Ehe performance of the 45
at a lower cost.

////////1/111111111111IIIIIIfl111111

TAPE
R UN
ME
ñ

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and the family.
A word
about electronics.
The electronics section of the
360S reflects the same kind of
creative attention we've given the
450. There are separate, three - The Cum Laude.
n AC -
Drive Yourself Happy,
position bias and equalization
switches for varying types of tape, In describing the 360S we've al- Why limit yourself to enjoying
mic/line switching, a memory digi- ready told you a lot about the 450, your cassettes at home only? It's
tal counter to reduce your "search" which shares the same transport easy to grab a couple of cassettes
drive system and the same incredi- whenever you head for the car.
TAPE ble 0.07% wow and flutter. But Your favorite music can change
R UN there's still a lot to say. your whole attitude about driving.
MEMORY The 450 has mic/line mixing. And about a lot of things.
ON This feature of reel-to-reel decks The TEAC AC-9 with 12 watts
OP now gives new sophistication to a RMS (6 watts per channel) will fill
time, a tape run indicator to let cassette deck. Professional slide your car and your head with tre-
you check the tape flow from controls allow you to mix two line mendous TEAC stereo sound and
across the room, a Light Emitting inputs and two mie inputs to create make any trip more of a trip.
Diode serving as a peak level indi- voice and stereo instrumental The AC-9 has automatic reverse
cator supplementing your VU composites. providing continuous playback-
meter during recording, and auto- The 450 adds new flexibility to or you can reverse manually at
matic shut-off when your tape Dolby circuitry. On other cassette any time. It also features solid
ends. The kind of sophisticated decks, when you monitor a Dolby- state printed IC construction, a
electronics you'd find in a reel-to- ized signal being recorded, the servo drive motor, and a shock-
reel deck from TEAC. monitor signal is altered by the proof cassette loading system pro-
high-pitched emphasis generic to viding perfect tapehead to tape
the Dolby coding process itself. contact, free of variations due to
However, in the 450, an exclusive road shock and vibrations.
DOLBY FM/COPY switch decodes
the signal without disturbing the
recording process -letting you
monitor with perfect TEAC/Dolby
fidelity.
The 450 has an automatic out-
And as for Dolby?.. put stabilizing network that main-
tains Dolbyized levels despite
We're glad you asked. The Dolby changes in line levels.
Noise Reduction circuitry on the The 450 has solid-state trigger-
360S has a multiplex filter (MPX)
for recording from an FM stereo
ing devices. Solid-state switching
and the elimination of relays fur-
As far as music is concerned -
you can take it with you. So check
broadcast, but which can be ther enhance reliability. out the TEAC AC -9 or its more
switched out, effectively extend- The 450 has an automatic timer modestly priced traveling compan-
ing the frequency range while circuit. You can plug into an ex- ion, the TEAC AC -5.
taping from records or mic. In ternal timer and control your With TEAC doing so much for
addition, the 360S Dolby system is entire system when you're not studios and homes there's no rea-
enhanced with eight external there. The 450 will turn on auto- son not to have the same quality
Dolby calibration controls to en- matically, come out of pause, re- of sound in your car.
able you to optimize your cassette cord, then shut off any connected
deck for a particular type of tape. component, as well as its own
TEAC overlooks nothing! electronics, at the end of the tape. AC -9 Specifications:
DOLBY NOISE REDUCTION SYSTEM Track: 4 track 2-channel Stereo
The Dolby Noise Reduction System virtually Wow and Flutter: 0.25%
eliminates tape hiss generated during the record- Frequency Response: 40-10kHz
ing and playback process. Dolby "encoding" con-
Fast Winding Time: Approx. 80 sec/C-60
sists of increasing low level, high frequency Power Output Ibtal 12W (6w x 2)
signals. This "encoded" signal is then recorded.
Power Requirements: 12VDC, negative ground
0.5A
Tape hiss is inevitably introduced at this point. Dimensions (WHD): 77/4' 25/8; 85/s"
When a Dolby -processed tape is then played back Weight: 6.4 lbs.
through Dolby circuitry and "decoded", the Mounting hardware
boosted high frequency signals are returned to Cleaning kit
their original levels, and the tape hiss is reduced *Dolby is a trademark of Dolby Laboratories, Inc. Power leads and speaker cords
approximately 10 dB.

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What does 0.07% They interfere with and distort Because these details
the sound of music-particularly translate into sound. Not
WRMS record and the higher frequencies. (You've only sound that can be
playback wow and undoubtedly been bothered by the heard, but sound that can't
flutter mean, and whine -y and blurble-y guitar and
piano sounds on most cassette
be heard. As the horizontal
chart shows, there is vir-
how did the 360S get decks.) Well, TEAC's new cap- tually total lack of the flut-
that way? stan shaft is machined to a ter and wow sounds that,
The 360S got that way because critical tolerance of 0.15 until now, have
the 450 is that way,and the 360S is microns. By the way, characterized even
really the 450 with a few of the ex- a micron is
tras (and some of the cost) missing. 1/1000th of a
As for WRMS (weighted root millimeter.
mean square) record and playback So that
wow and flutter-it is a measure- shows you
ment of audio noise made on a where our
scope to display unwanted sounds head is at.
caused by mechanical variations The diagram on this page shows the best cassette decks.
and subtle imperfections in the this 0.15 micron tolerance factor The microscopically perfect
-
tape drive elements in both re- enlarged 4000 times, as compared roundness of our capstan shaft,
cord and playback functions. to a normally "round" capstan the heft of our flywheel, the
As the result of TEAC's totally shaft. critically machined slipclutch, the
new cassette deck transport drive +0.20
perfectly bal-
system, the 450 and the 360S anced torque be-
measure less than 0.07% record + 0.10
tween takeup and
and playback WRMS wow and feed, the dynami-
flutter-a measurement achieved o cally balanced
by no other cassette deck in the increased inertia
world. This statement, of course, - 0.10 provided by our
isn't opinion-it's a provable sta- outer rotor motor
tistical fact. Compare wow and -020 TIME (seconds) (it rotates on the
flutter measurements and you'll 2 3 4 5 6 7
9 10 outside of its mag-
find that our 0.07% places the (Actual wow and flutter chart netic field, rather than on the in-
shows WRMS measurement of considerably less side as with conventionally de-
TEAC 450 and 360S in a class with than 0.07%.)
the finest professional reel-to-reel signed motors), the eight balanced
decks. + 0.6 pressure points by which the cas-
To understand the whole story, + 0.3
sette itself is held in perfect posi-
let's look at the parts. tion, the new unstretchable flat
Some capstans o
drivebelt-all add up to a total
control system for tape flow that
look round. 0.3

is mechanically more perfect than


Ours are round. 06
5 10 15 20 25 30 any ever before achieved in a
The capstan contacts the tape (Actual tape speed chart using TEAC test tape cassette deck.
with 3 kHz signal is extremely constant over 30
and controls its flow. If the capstan minute time span.) It all translates into sound. The
shaft has variations in roundness presence of pure sound. And the
(even microscopic variations), the They said our flywheel absence of unwanted sound.
tape will flow at irregular or alter- would never get off
nating (flat/round) speeds. These
variations in tape speed are mag- the ground. What makes TEAC so
nified electronically and perceived Our new transport drive system nutty on perfection?
as "flutter" or "wow" sound effects. has an exceptionally large fly-
wheel (93 mm) with twice the We don't know. But we've al-
mass of any other TEAC flywheel. ways been that way. We were the
This unusual weight provides first to create a three -motor, three -
greater inertia and stability, and head transport system for con-
works in concert with the other sumer reel-to-reel decks. And we're
transport drive elements to dra- one of the few-if not the only -
A MICRON IS 1
1000 matically smoothen the tape flow to manufacture all of the critical
OF A MILLIMETER -thereby dramatically improving parts such as heads and motors.
the sound. We have this thing about Leader-
77/ What's it all about?
Why this obsession with micro-
ship. So we keep sharpening, im-
proving every nuance. By now
TEAC performance and reliability
scopic tolerances and details of are legendary.
precision that only an engineer's That's probably why we do it:
Actual "Roundness" tolerance mother could love? it's a good feeling.

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3605
Specifications:
2 Heads: Erase and Record/Playback, 4-track 2 -channel stereo.
'150
Specifications:
2 Heads: Erase and Record/Playback, 4-track 2 -channel stereo.
Motor: Hysteresis Synchronous Motor: Hysteresis Synchronous
Wow and Flutter: 0.07% (WRMS) Record and Playback Wow and Flutter: 0.07% (WRMS) Record and Playback
Frequency Response: 30-16kHz (±3dB 30-15kHz), Cr02 Tape, Frequency Response: 30-16kHz (±3dB 30-15kHz), Cr02 Tape,
30-13.5 kHz (±-3dB 30-13.5kHz) Hi-Fi Tape, 30-13.5kHz (±3dB 30-13.5kHz) Hi-Fi Tape,
30-11kHz (±3dB 30-11kHz) Standard Tape 30-11kHz (±3dB 30-11kHz) Standard Tape
Signal -to-Noise Ratio: 60 dB (Dolby Process), 50 dB Signal -to-Noise Ratio: 60 dB (Dolby Process), 50 dB
Rewind and Fast-Forward Time: Approx. 95 sec/G60 Rewind and Fast-Forward Time: Approx. 95 sec/G60
Level Indicators: Two VU Meters, Peak Reading Indicator Level Indicators: Two VU Meters, Peak Reading Indicator
Input: Input: 2 Microphone 0.25 mV/-72dB (600-10k ohms)
2 Microphone 0.25 mV/-72dB (600-10k ohms) 2 Line: 0.1V, 50k ohms or more
2 Line: 0.1V, 50k ohms or more Output: 1 Stereo Headphone Jack 8 ohms
Output: 2 Line Output 0.3V for load impedance of 10k ohms or more
1 Stereo Headphone Jack 8 ohms Power Requirements: 117 V. AC, 60 Hz, 17.5W
2 Line Output 0.3V for load impedance of 10k ohms or more Dimensions (WHD):171/2" 6'S/I6 ; 1054
Power Requirements: 117 V. AC, 60 Hz, 17.5W 18W
Dimensions (WHD):17a/4; 43/4; 101/4" Weight: 21 lbs.
Weight 161/2 lbs. Input-Output Connection Cord
Input-Output Connection Cord Fuse
Fuse Silicone Cloth
Silicone Cloth Cleaning stick
Cleaning stick Plastic cover

...and the rest of Ehe family.


Quality TEAC cassette decks with fewer semi-professional features and therefore priced somewhat lower.
Cassette decks for every system.

250S 160 1q0

T EAC.
The leader. Always has been. An' tam
,r.eM1rm
date a,pnrchaor.
TEAC Corporation of America any TEAC TArE
DECK returned ',nth
Headquarters: warranty aird and evade
prepaul by the
Dept. A-20, 7733 Telegraph Road, Montebello,
California 90640
wed purehaaer wTEMuritamr
oWn+n.ren.r. wl.r.n.
n
TEAC offices in principal cities .mhro -r mdtenW. The ..nw ryp.,hw

in the United States, Canada, Europe,


Mexico and Japan.
TiAC 2 -YEAR W

eTEAC 1973

PRINTED IN U.S.A.

Check No. 29 on Reader Service Card

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tit
Seri«.
11)1)
For Hi -I Stereo Hobby
,4))6"11 ))111),110)11
FrIthu,,iasts
III"'""""'
IIIIIIIgN.IIlll1 1IIIIIIIIIIV

Save Money!
Service and build your own equipment with your own library of
"How -to -do -it" hooks and manuals about stereo/Hi-Fi.

101 Easy
R FERENCE

RADIOaRS
PROJECTS ENGINEERS

HI -Fl STEREO HANDBOOK by William most comprehensive information on Sound Advice sends you only the
F. Boyce (3rd Edition) every aspect of the audio art. Includes books you request! It costs nothing
This edition includes new material on more than 3400 related topics and to join No dues. . No fees!
. . . .

stereo needles, headphones, adapter 1600 illustrations. You can order a book whenever you
circuits, tape -cartridge players, and No. 20675-$29.95. wish-it's up to you!
multiplex operation. The perfect ref- REFERENCE DATA FOR RADIO
erence guide for all persons interested ENGINEERS (5th Edition) *Sound Advice is a library service
in hi-fi/stereo sound reproduction. This book provides complete and com- for subscribers and readers of Audio
No. 20565-$6.95. prehensive reference material including magazine. Our editors choose the
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Hans Fantel (2nd Edition) information. Reinforced by hundreds Stereo and save you the time and
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Gives a general idea of the basic No. 20678-$23.95.
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TAPE RECORDING FOR THE HOBBY- principles of fm broadcasting and the
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Covers a variety of uses for tape re- progresses step-by-step through each for you! Start today. Choose any
corders. Gives useful tips on micro- stage in exacting detail. book(s) here to begin your home
phones, special sound effects, candid No. 20723-$4.95 library of helpful hi/fi books. Watch
recordings, correspondence by record- HOW TO BUILD SPEAKER ENCLO- for Sound Advice as it features new
ing, tape editing, and producing your SURES by Alexis Badmaieff & Don selections and titles expressly for
own program. Davis Hi-Fi/Stereo buffs.
No. 20583-$4.95 A thorough and comprehensive "do-it-
101 EASY AUDIO PROJECTS by yourself" book providing practical All orders must be accompanied by
Robert Brown & Tom Kneitel and theoretical information on the check or money order. Send to:
Contains instructions for building "whys" as well as the "hows" of '
Audio/Book Department, 134 North
simple, inexpensive audio projects constructing high -quality, top -per- 13th Street, Philadelphia, Pa., 19107
using spare parts found in many home formance speaker enclosures.
appliances. Project includes intercom No. 20520-$4.50
systems, telephone amplifiers, AM
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101 EASY TEST INSTRUMENT PRO- the following book(s) for my home audio library. (Please order books by
JECTS by Robert Brown & Tom Kneitel number).
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be put together in a single evening.
20673-$4.50 Am't enclosed
No.
AUDIO CYCLOPEDIA by Dr.. Howard Name
Tremaine (2nd Edition)
A complete reference library for audio- Company name (if any)
philes. This updated edition offers the
Address

City, State, Zip A-2


the listener is at the rear center, and two positions always distances invariably meet in the rear center. In applying this
exist that are equidistant from the two reference points FC situation to conventional stereo, a sound source moving from
and BC. These represent positions straight to the sides, L the front center to the rear center reverts to the front in
and R. This observation embodies perfect symmetry without reproduction, though becoming non -localized due to the
any duplication. phase relationship that gets reversed in the process. None-
In other words, when considering the original sound field theless, sounds emanate from the front left and right speakers,
as a finite field confined within a concert hall, the center of which must be termed a self contradiction.
the front left and right is the front center, and lines extended To eliminate the contradiction, symbols in Figs. 11 (A) and
therefrom in the rear direction along the hall walls in equa (B) may be shifted, preserving symmetry and balance, to
positions denoted by corresponding symbols in ( ). Repro-
MUSICAL INSTRUMENTS
duction in two channels in this format would place the L
MUSICAL INSTRUMENTS
and R speakers to the sides of the listener, and thus could
A BCDE W
OZ
A BCDE not fulfill the original objective of front localization.
áV, Despite the above contradiction, no serious inconveniences
(1) (1) (1) S CT)
O 1-
W
N
have thus far been experienced, but it is due to overemphasis
(ON MIC) placed in recording on front localization and no effort made
to record side or rear localization. Besides, in actual practice,
(OFF MIC) vectors recorded in stereo discs are concentrated heavily
toward the horizontal axis, or the front center, rather than
along the L and R axes.
Advances in recording technique, however, have tended
B
=N toward recording applause and reverberations in opposite
C
f phase in order to express a live hall. This practice inad-

vertently managed to fulfill partially the foregoing symmetry
D tll
U W
s of sound fields. It goes to prove that the 2-2-4 effect has not
E
R been purely accidental as has been generally believed.
DISCS ARE CUT WITH VERY FEW VECTORS ARE LINEAR,
The foregoing situation leads to the necessity of reviewing
NEARLY LINEAR VECTORS ANO CUTTER TIP MOTIONS ARE interrelations among microphone setting and mixing, disc
MOSTLY NON-LINEAR AND COMPLEX
cutting, and localization of sound images reproduced from
stereo discs which are to be localized in front of the listener.
Fig. 12 (A) shows the case of a multi -microphone recording,

OVO
^
I I El
and Fig. 12 (B) that of a two -microphone recording. As
shown, there appears to be a difference in their localization
patterns. In (A) sound localization is ideally recorded and cut
W J into the disc, but when one considers the numerous musical

o(A)
o (B)
instruments that are recorded, there is a limit to the expres-
sion of localization by only two speakers. In (B), on the
other hand, recording and disc cutting reflect some ambiguity
MULTI MICROPHONE SETTING TWO MICROPHONE SETTING
of localization caused by phase differences in sounds reaching
the two microphones, but even with only two speakers, the
phase differences contribute to a partial simulation of
Fig. 12-Differences by microphone setting in recorded grandeur of a large concert hall.
discs and reproduction. Contemporary mixing is believed to have developed its
LB
phase controlling technique as a result of experiences in
the foregoing two extreme cases. Our philosophy of symmetry
A and balance exemplified in QDCS shows, as explained below,
F
that such experience -based approaches have progressed along
the correct avenue.
Firstly, four-direction detection and reproduction of signals
D
RF
recorded per Fig. 12 (A) make possible a more clear-cut
E
localization, by virtue of the increased number of front
speakers, as shown in Fig. 13 (A).
RB
RB Secondly, signals recorded per Fig. 12 (B) involve compli-
cated phase relationships and cause cutter tip motions that
D cannot be expressed by linear vectors. As a result, vectors
(C) (1) (B D
outside the L and R in -phase axes are cut on the disc, so
LB LF RF RB LF RF that reproduction by a four-direction detection provides a
sound field effect more satisfactory, as it is enhanced by the
(\ E
r- added rear speakers.
ILBI RB
r-
L_J
I

L_J I RB I
It should also be mentioned that even in multi -microphone

o L_J recordings in studios, phase shifting and addition of echoes


take place in practice, and that these artificial additives should
basically provide compatible recordings to natural sound field
L B RB
recordings. Correlation of Fig. ll (A) and (B), thus, falls in
(A) (B)
line with natural laws of physics.
4 FRONT CHANNEL REPRODUCTION 4 ,;ORNER CHANNEL REPRODUCTION
However, deliberate recordings of rear localization still
Fig. 13-Four-channel reproduction of stereo discs by fall short of clearly distinguishing between the front and
QDCS. rear, as long as conventional two -channel cartridges are used,
such as in matrix reproduction, as these are incapable of the
48
AUDIO FEBRUARY 1974
from chirp to roar...
... get it all with the broader dynamic In addition to top -of-the -line ED, TDK's *The Importance of Dynamic Range.
range of TDK's EXTRA DYNAMIC (ED) Dynamic -series also includes SUPER Dynamic range, represented graphically in the
cassettes. Dynamic range* is only one DYNAMIC (SD), the tape that turned the chart above, is the difference between a tape's
sensitivity and its noise characteristics, over its
reason for ED's superior total perfor- cassette info a true high-fidelity medium, full frequency response range. The broader a
mance. EXTRA DYNAMIC cassettes also plus the entirely new, moderately-priced tape's dynamic range, the greater is its ability to
have the highest MOL (maximum output DYNAMIC (D) hi-fi cassettes. They all record and reproduce wide variations in signal
level), plus greater sensitivity, higher strengths at different frequencies. In other words,
offer superior total performance on any a tape with broad dynamic range can record very
signal-to-noise ratio, and other superior cassette recorder, without need for spe- loud sounds without distortion, and very soft, del-
characteristics that combine to give TDK cial bias. icate sounds without audible hiss, over the full
cassettes the best -balanced total perfor- frequency response range. Tests prove that TDK's
mance capability of any cassette on the For a totally new and different experi- ED cassettes have a much broader dynamic range
ence in sound reproduction ... for sound than competitive so-called "hi-fi" cassettes.
market today. The result is you capture
all the highs, all the lows, all the com- you feel as well as hear ... discover the For more detailed information on dynamic range
plex characteristics of "real -life" sound dynamic new world of TDK. and other superior total performance character-
istics of TDK cassettes, visit your TDK dealer and
that give the original performance its ask him for your free copy of "TDK's new line of
richness, fullness and warmth. cassettes" brochure ...or write directly to TDK.

the new d namic world of

TDI( ELECTRONICS CORP.


City, New York 11530
755 Eastgate Boulevard, Carden

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distinction by means of the most important factor for locali-
zation, i.e. magnitude ratios of vector projections. This
problem is overcome, as shown in Fig. 14 (B), by QDCS
which detects one and only one ratio of vector projections
for any one of the sound sources. No ambiguity of localiza-
tion, therefore, ever takes place.
Thus analyzed, it follows that the natural approach to
fulfill the law of balance and symmetry invariably contri-
butes to more desirable advancements. Only, with discs, as
long as conventional two -channel cartridges are used, the
approach is not truly effective as their detection axes fail to
RB follow the correct detection directions, even though signals
(A) 18)
are recorded on discs in perfect balance and symmetry. This
2 -CHANNEL CARTRIDGE ODCS CARTRIDGE
is the background for the effectiveness of our four -direction
detection.
As a result, QDCS eliminates all contradictions relative
Fig. 1 4-Comparison of detected vectors by 2 -channel
to localization, for all disc records, be they monaural, stereo,
vs. QDCS cartridges.
or quadraphonic, and systems and discs under QDCS possess
VECTORS SPEAKER complete compatibility, so that only one type of discs suffice
ARRANGEMENTS
to satisfy needs of all types of recording and reproduction.
Illustrated in Fig. 15 are interrelations among the fore-
MONAURAL
E going classifications to facilitate understanding of the fact
that all disc recordings are based on the same principle.
CX) E Characteristics of QDCS Cartridges
QDCS cartridges developed in disregard for compatibility
STEREO
as component parts have features useful in certain specialized
applications, in addition to the four-channel capabilities for
which they were specifically designed. These features are
unrealizable by conventional cartridges and may be sum-
marized as follows:
(1) Monaural Playback of Quadraphonic Discs
By arranging for:
M = LF + RF -90° LB + 90° RB (1)
rear channels can be reproduced in phase with each
QUADRAPHONIC
other, eliminating any rear center losses, and there-
fore suitable for monaural broadcasting.
(2) Stereo Reproduction of Quadraphonic Discs
By arranging for:
L = LF -90° LB (2)
R = RF +90° RB
rear channels being in phase, no rear center losses
take place even when monaurally receiving stereo
broadcasts.
By (1) and (2) above, it is possible to avoid suppression
Fig. 1 5-Optimum speaker arrangements vs. historical
flow of disc cutting techniques. of rear center sounds, necessitated in current matrixed discs
for the sake of good monaural playback, as long as QDCS
cartridges are used.
(3) Multichannel Reproduction of Stereo Discs
As shown in Fig. 13 (A), by placing four speakers in
front and driving them in phase, localization of all
sound sources can be correctly reproduced without
duplication. Such a reproduction provides a more
faithful and clear cut localization of sound images
than is possible with the current two -channel system,
V Co and also a substantially broadened service area.
Furthermore, as shown in Fig. 16, by addition to the
foregoing four front speakers of two rear channels
outputting phaseshifted -90- LB and +90 RB at
adequate levels, a highly satisfactory ambience effect
can be achieved.
(4) Multichannelization
By combining signals from adjacent channels of the
four detection channels, and by placing a speaker at
a spatial location appropriate for the combined
signal, indirect reproduction of channels existing in
Fig. 16-Six-channel reproduction of stereo discs and between becomes possible. Thus facilitated will be
phase relations. further multichannelization by the use of playback
matrices.

50 AUDIO FEBRUARY 1974


O N ICG®
is audio with an
important difference.

..._..
kit
,f-
99 90
y.l..A,1.
92
.i.94.1iA11,A1.a.1.aJ.
1
99 98 100 902 704 1oô.
.t.

ae1
.1..
1

Better Transient Response


Fine Capture Ratio
Large Phono Overload Capacity

The fact is ... Onkyo delivers demonstrably bet- Sensitivity, negligible Total Harmonic Distortion
ter performance with power to spare! The ex- and many more important features overlooked
cellent Transient Response assures crystal-clear by others. You'll see why our receivers, am-
reproduction of complex music signals. Our fine plifiers, tuners, speaker systems and components
Capture Ratio means FM reception at its, best,
free from noise, drift or interference. The larger
Phono Overload Capacity insures distortion -free
-
provide such strikingly pure sound quality
that always exceeds printed specifications.
And, the craftsmanship is second -to-none! Listen
sound from today's dynamically recorded discs, to the important difference. Onkyo ... Artistry in
with most any cartridge. Add to this, exceptional Sound.

OHKYOR Artistry in Sound

Onkyo Sales Section Mitsubishi International Corp 25-19 43rd Avenue, Long Island City, N.V. 11101 / (212) 729-2323

Check No. 22 on Reader Service Card

www.americanradiohistory.com
AmericanRadioHistory.Com
Reproduction Sound Fields by QDCS Also shown in Fig. 16. are the phase relations when the
Figures 17 (A), (B) and (C) show relationships between stereo disc of Fig. 12 (B) is reproduced in six channels.
disc cutting vectors and reproduced sound localization when Reproduction such as this has not come about accidentally,
reproducing in eight channels. Signs in between channels but are realization of hitherto unrecognized basic properties of
denote phase relations between main signals (not necessarily the disc record. Thus interpreted, it should be readily ap-
overriding signals but those that should be correctly locali- preciated that QDCS has proven to be a rationalized and
zed) and adjacent channel crosstalk, and those in between sophisticated form of the current stereo system.
every other channel similar phase relations when reproduc- Just as the 45/45 stereo system has been developed into a
ing in four channels. The complete symmetry of main and direct discrete system, so can this QDCS system be developed
crosstalk signals is another manifestation of the inherent into a further stepped -up direct discrete system.
superiority of the QDCS system. (To be continued)

LF
CF
RF
ee FL
\
FR
/
FL FR

\ //
I

LF- \\ RF LF RF
-- - cR
I n
,/ `\ \--RB LB" --RB
/ \ /
LB I
RB
BL BR BL BR
CB

0° 0"

CD = CD1 0 45
0° 90
IA) (B) (C)
ODCS REPRODUCTION WITH CONVENTIONAL RECOMMENDED QDCS REPRODUCTION QDCS REPRODUCTION WITH IMPROVED
SPEAKER ARRANGEMENTS OF QDCS DISCS COMPATIBILITYFOR STEREO DISCS

Fig. 17-Phase relationships in QDCS system between


primary signal and its crosstalk.

A Standards infrequently change and if they do,

41-Nk NNERMEDIA EL P
the change is set apart as the new standard.
Only rarely does something come along that is
daringly different enough to set it apart from the
norm. INNERMEDIA now offers the discerning
audiophile an alternative to the "box". The
new tri -planer systems provide a full -dimensional

Tri -Planer listening experience never before thought possible.


The sound produced by 270° of effective audio
radiation is characterized by excellent transient

Speaker Systems' response, clarity and a pronounced stereo effect.


PIEZOELECTRIC TWEETER
Borrowing from solid state technology, the

The alternative to the audio world has been broadened by the introduc-
tion of the new piezoelectric tweeter.
Basically, as an alternating voltage is applied
"Orange Crate" to a piezoceramic disc, it bends with the polarity,
driving a compression loaded cone. This speaker
requires no crossover as power is not dissipated
at low frequencies.
Moreover, as there is no need for a voice
coil or magnet structure, a high audio output is
possible from low power input.
Sound performance characteristics and a
functionally aesthetic design combine in the
tri -planar systems to create a value that will let
you feel the difference.
'Patents Pending

Innermedia Elec.
4503 E. Rail Road St.
Sacramento, Calif. 95826
(916) 452-3341
Dealer Inquiries Invited

Check No. 19 on Reader Service Card

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AmericanRadioHistory.Com
When two loudspeakers sound
different, at least one of them is wrong.
Maybe both. problems only complicate the matter without chang-
ing the basic principle. The reproduction is either
right or wrong. Two di ff erent-sounding reproductions
can't both be identical to the original.
The common fallacy is to call the reproduction
wrong only when it's obviously unpleasant (fuzzy or
shrieky highs, hollow midrange, etc.) . But what
about a pleasingly plump bass, lots of sheen on the
high end, and that punchy or zippy overall quality
known as "presence"? Equally wrong. And, because
of the seductive "hi-fi" appeal, much more treacherous.
To glamorize the original that way amounts
to having a built-in and permanently set tone control
in your speaker. For some program material it can be
disastrously unsuitable. Like the funhouse mirror
Unpleasantly Distorted Reproduction that makes everybody look tall and thin, it's great for
short and fat inputs only.
Which is better the Rectilinear III, at $299,
: At Rectilinear, we design speakers to approach
or a comparably priced but totally different -sounding facsimile reproduction of the input as closely as is
speaker by another reputable manufacturer? technologically possible. We restrict the "taste" factor
The ready answer to that question by a nice, to twiddling the tone controls
clean -living salesman or boy-scout hi-fi expert is: of our amplifier in the
"It's a matter of taste. Whichever you prefer privacy of our home. Not
for your own listening. They're both good." in our laboratory.
We want you to know how irrespon- The Rectilinear III
sible and misleading such bland advice is. is our best effort to
Think about it: date in this direction.
A loudspeaker is a reproducer. The And our inspiration
most important part of that word is the for it was a totally
prefix re, meaning again. A loudspeaker different andrather
produces again something that has impractical design :
already been produced once. the full -range
Not something new and different. electrostatic speaker.
Therefore, what it correctly Any serious audio
reproduces should be identical to the engineer will tell you
original production. And identicalness
isn't a matter of taste. m 'i the Undistorted Reproduction are that electrostatics
inherently superior
For example, it isn't a matter of taste whether to conventional speakers in producing an output that's
the body shop has correctly reproduced the original identical to the input. This superiority is due to scien-
color of your car on that repainted fender. Nor is it a tifically verifiable characteristics, such as flatness of
matter of taste whether your mirror correctly repro- frequency response and low time delay distortion.
duces your visual image. Is the reproduction identical The trouble is that electrostatics create tre-
to the original or isn't it? mendous problems with amplifiers, have difficulty
Okay. We know. The ear is less precise than the playing really loud without distortion and are also
eye. And in the case of loudspeakers, it's usually im- somewhat deficient in bass. But-they're accurate,
possible to compare the reproduction and the live undistorted "mirrors" of sound.
original side by side. Furthermore, the speaker is only The Rectilinear III is the first successful
a single link in a whole chain of reproducers. But these attempt to give you this electrostatic type of sound in
a conventional speaker without any of the above
problems.
It allows you to hear what composers,
musicians and record producers have created
for you and not what some speaker
manufacturer thinks will please you.
So, next time you're in a store
and you hear another $299 speaker
that sounds different from Rectilinear I11
ours y ou'll have an id ea
r floor -standing
which of the two is wrong. (6 drivers,speaker
And which is e ropó)

the one to buy.

Seductively Distorted Reproduction


RECTILINEAR
Rectilinear Research Corp., 107 Bruckner Blvd., Bronx, N.Y. 10464
Canada: H. Roy Gray Limited, Ontario
Check Na 27 on Reader Service Card

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Advertisin Index

ADVERTISER PAGE ADVERTISER PAGE ADVERTISER PAGE

Acoustical Mfg. 6 Glenburn/McDonald, Inc. 36 Revox Corp. 77


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Cartridges Bookshelf Speakers Write Direct to Advertiser
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BGW Systems 78 Lafayette Electronics 72 Evolution One Speakers
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BSR 76
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800 Loudspeaker Write Direct to Advertiser Soundcraftsmen 33
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54 AUDIO FEBRUARY 1974


Equipment Profiles
Superscope R-350 AM /FM Stereo Receiver dial area lights up in a bright magenta color when power is
applied. Startling, at first, this bright color is certainly more
visible at a distance than the more subdued shades of color
use.d on many competitive products. The dial pointer is
separately illuminated in red when AM or FM reception is
selected, and illuminated words denote AM or FM reception.
A similarly illuminated large signal -strength meter at the
left of the dial area is operative in both AM and FM tuning.
Below the dial area are the operating controls which include
a separate power push-push switch, a speaker selector switch
(including positions for PHONES, MAIN, REMOTE, BOTH and
MANUFACTURER'S SPECIFICATIONS QUADRAPHASE, about which more later), bass and treble
TUNER SEc.ION: IHF Sensitivity: 2.8 µV. (50 µV for 55 controls, program source selector switch, volume, tuning
dB quieting). THD, Mono: Less than 0.6%; Stereo: Less knob, and a horizontally mounted slide -type balance control.
than 1.5%. Capture Ratio: 3.0 dB. Selectivity: Greater Five centrally located pushbuttons perform such secondary
than 40 dB. IF Rejection: 75 dB. Image Rejection: Better functions as high -filter introduction, tape monitoring, mono/
than 45 dB. Spurious Rejection: 84 dB. AM Suppression: stereo switching, loudness circuit and FM muting. The large
Better than 35 dB. AM IHF Sensitivity: Better than 40 tuning knob is coupled to a smooth-acting flywheel arrange-
V. FM Frequency Response: 20 Hz to 15 kHz+- 1.5 dB. ment. A phone jack at the lower left of the panel completes
Stereo FM Separation: 35 dB @ 1 kHz. the front panel layout.
AMPLIFIER SECTION: Power Output: 25 watts/channel The rear panel, shown in Fig. I, includes refinements not
continuous, both channels driven, 8 ohm loads. THD: Less normally encountered in a receiver selling for so low a price.
than 1.0% @ 1kHz. Power Bandwidth: 15 Hz to 40 kHz. There are, for example, push -type speaker binding posts
Frequency Response: 20 Hz to 20 kHz ± 1 dB. Phono which retain the stripped ends of speaker cables in place by
Response: RIAA ± 1 dB. Noise: AUX, -70 dB. Phono spring action after they are inserted, preventing shorts and
Noise: 4 µV (56 dB below 2.5 mV). Input Sensitivity: eliminating the use of any tools. Besides the usual antenna
Phono, 2.5 mV; High Level, 160 mV. Loudness Control: terminals (300 ohms for FM), phono, tape and aux input and
+8 dB @ 100 Hz, +3 dB @ 10 kHz. Bass Control: + 10 tape monitor jack pairs there is a 4 -channel FM detector
dB @ 100 Hz. Treble Control:+- 10 dB @ 10 kHz. output jack for possible future use with a discrete FM four -
GENERAL SPECIFICATIONS: Dimensions: 167/a in. W. x 5 in. channel adaptor if and when the FCC approves a system
H. x 125/8 in. D. Weight: 20.25 pounds. Price: $279.95. for such broadcasts. A ground terminal, switched and un -
From the people who bring you Sony tape recorder prod- switched convenience a.c. receptacles, a line fuse and the
ucts and Marantz components comes a new line, bearing usual pivotable AM ferrite antenna complete the rear panel
their corporate name, Superscope. The top-of -the line Model layout.
R-350 stereo receiver sells for a bit less than the Marantz As can be seen in the photo of Fig. 2, the entire tuner
2220, one of the low-end models in that better known line, section, including the stereo multiplex decoder circuit, is
and therein lies the apparent objective in the introduction of constructed on a single large p.c. board which is solidly
this new brand-the design and production of components mounted to the metal chassis. Power amplifier circuitry is
devoid of some lesser frills but offering excellent value for mounted on a vertically positioned p.c. board which is
their price. The new line is designed in the U.S. and pro-
duced in Japan, as are most of the Marantz products, for
that matter.
The new line bears little resemblance, physically, to the
products of its corporate cousin, but has a distinctive look
of its own, as can be seen in the photo of the complete
receiver shown above. A light gold anodized front panel of
extruded aluminum is surrounded by an included stain-
resistant walnut -grain cabinet. The normally blacked-out

/4eart7"4tx_

may =II III.

Fig. 1-Rear panel view of R-350 receiver. Fig. 2-Internal view of R-350 chassis.

AUDIO FEBRUARY 1974 59


mechanically fastened to a fairly large heat sink containing Fidelity. Referring to Fig. 3, the measured IHF sensitivity
the four type 2SC 14450 power output transistors. Other was 2.6 µV as against 2.8 µV claimed by the manufacturer.
separate p.c. modules include those 'for preamplifier, tone The 50 dB quieting signal strength measured was 4.3 µV
and voltage amplifiers, power supply components, pushbutton while 55 dB of quieting was achieved at just over 10 µV
switching circuitry and dial lamps. An FET is used as the of input signal, considerably better than the 50 µV listed
r.f. amplifier in the FM front end, which incorporates a by the manufacturer. THD at the 50 dB quieting point was
three -gang tuning capacitor. Bipolar transistors are used for already down to a low 1.5%, while ultimate THD at 1000 µV
the rest 'of the circuitry, with the exception of the stereo measured 0.4%. Note, however, that the mono THD char-
multiplex decoder section which employs a 16 -pin integrated acteristic shown in Fig. 3 is a bit unusual in that for signal
circuit. Power amplifiers are capacitively coupled to the strengths from around 10 µV to 100 µV, THD is actually
speakers (2200 µF) in a conventional transformerless out- lower than it is for stronger input signals of around 1000 µV.
put arrangement powered at just under 54 volts on the Note that in stereo, THD reaches a low of 0.8% at 1000
upper collectors of each pair of NPN output devices. In µV of signal input. This characteristic is plotted only down
all, there are 39 transistors, 24 diodes, 2 IC's and FET in 1 to 30 µV, because that is the signal level at which the
this receiver. A 4700 µF capacitor is used as the main filter circuit automatically switches over to stereo operation. In
in the high -voltage power supply. our opinion, this threshold is set too high and, under typical
listening conditions, may result in monophonic reception of
Laboratory Measurements signals broadcast in stereo that would be perfectly acceptable
Our measurements of the tuner section of the R-350 and sufficiently noise free in stereo mode. Muting level, too,
reflect some of the new measurement requirements proposed was set too high by the manufacturer at 40 µV or so and
in the first draft of the new IHF Tuner Measurement anyone interested in receiving the maximum number of
Standards now under consideration by the Institute of High acceptable station signals would do well not to use this
feature, or at least to defeat it when seeking distant signals.
Ultimate S/N measured 71 dB, a very respectable figure
indeed. This cannot be compared with manufacturer's claims,

Q-"
0 l t
since that specification is omitted by the manufacturer.
Capture ratio measured exactly 3 dB at 100µV, and 3.5 dB at

o
INE LEAST USABLE SENSITIVITY 2.6µV
20 0 ^' ò i 1000 µV, conforming well to Superscope's claims. Image
3i f é

P i - s£
THD STEREO

-- +
30 rejection was 55 dB while AM suppression was a bit better
00
- 444. I i i
.

than claimed, measuring 40 dB. Spurious rejection fell a bit


Ñ
50 ' 3
z
short of claims, at 80 dB, while i.f. rejection measured exactly
SO 50 EA QUIETING
THD MONO
N
75 dB, as claimed.
4 3VV
TO
I{

Figure 4 depicts stereo separation and mono and stereo


100
distortion versus frequency for the R-350. We were, frankly,
0 0

INPUT SIGNAL -µV ACROSS 300 OHMS


amazed at the ability of this particular IC circuit to maintain
excellent separation over the entire audio spectrum. While
Fig. 3 -Quieting and mid -band THD characteristics. mid -band separation measured 34 dB, a bit short of the 35
dB claimed, of far greater importance is the fact that sepa-
ration in excess of 30 dB is maintained all the way from 50
Hz to 15 kHz -a very rare accomplishment in stereo tuner
D
L,' OUT l sections! The three key separation figures for 100 Hz, 1 kHz
WITH ' L 'ONLY APPLIED
-2 D and 10 kHz were 34 dB, 34 dB and 33 dB respectively.
3 7 Distortion in mono measured 0.55%, 0.4% and 0.6% at 100 Hz,
4 D
X
D
1 kHz and 7.5 kHz respectively, while in stereo the key
OUT WITH L' ONLY APPLIED frequencies of 100 Hz, kHz and 5 kHz resulted in distortion
1

THD MONO THD STEREO figures of 0.85%, 0.8% and 0.8% respectively, with no signi-
--«.--1-...,4,,_.-4r."' 0
ficant evidence of "beats" at the higher frequencies measured.
..r.'
IDO IK 104

FREQUENCY -Hz
Amplifier Measurements
Fig. 4 -Separation and distortion vs. frequency. Amplifier performance of the R-350 is somewhat conserva-
tively stated by the manufacturer, too. Rated THD of 1.0%
30W
was attained with 30 watts per channel output, as shown in
1.0
28W-4 BOTH CHANNELS Fig. 5. At rated output of 25 watts per channel, THD
0.9 DRIVEN,8 -OHM
LOADS, KHz INPUT
I
measured a mere 0.1% while IM measured 0.2%. Rated IM
0.8
THD was not reached until each amplifier channel was putting
0.7 out 28 watts. While THD tended to rise slightly at low
0.6 listening levels, it remained well below the low -power claim
0.5 of 0.5% even down to 0.1 watts output per channel. The
0.4 L amplifier section is not quite capable of 25 watts per channel
03 output at the low frequency 20 Hz test point, as shown in

r 25W
25W
0.2 Fig. 6, but of course no claims for such performance are
0.1 made by the manufacturer who quotes only mid -frequency
01 1.0 lo .o 100
performance in accordance with IHF current standards. At
half -power, however, distortion remains well below 0.5% for
POWER /C HANNEL,W ATTS
all audio frequencies. Power bandwidth, as shown in Fig. 7,
Fig. 5 -Mid -band power output vs. distortion. extends from 15 Hz all the way to 48 kHz as against the
40 kHz claimed by the manufacturer. and measurements of

60 AUDIO FEBRUARY 1974


this characteristic were based upon Superscope's nominal 25 pairs of low efficiency systems connected and used simul-
watt rating and a THD of 1.0%. taneously (not for "quadraphase," but for multi -room
installations), there were still adequate sound levels achieved
Quadraphase Speaker Connections with barely audible distortion on really loud peaks. If higher
The R-350 is equipped with an extra pair of speaker efficiency speakers had been used in this arrangement,
connection terminals on the rear panel which they call there would have been power to spare.
Quadraphase. An extra pair of speakers connected to these
terminals and placed at the rear of the listening room will Summary
provide the listener with a quasi four -channel effect not The Superscope R-350 is a reasonably priced stereo re-
unlike that obtained with the familiar Dynaquad circuit ceiver that meets just about all its claims and should rank
promoted by Dynaco during the early flurry of four-channel high in the list of "under $300" receivers that constitute such
activity which preceded more conventional four-channel an important place in the audio component market. It is
technology as we know it today. It is to Superscope's credit easy to use and, though it lacks perhaps the last measure of
that at no point in their instruction manual or in their circuit sophistication, design, construction and performance
advertising material do they imply that this arrangement are all honest. The three-year warranty offered by Superscope
provides "real" four -channel reproduction. In fact, they are for this and its other new products should not be overlooked
careful to state clearly that "The Quadraphase position on the either. This warranty applies to all parts used in the receiver.
selector switch simulates four -channel sound from regular Leonard Feldmqn
stereo sources when two additional speakers are connected Check No. 54 on Reader Service Card
to the rear panel Quadraphase outputs." If you own two
extra speakers and hook them up in this way, you may get
a "poor man's introduction to quadraphonic sound" and we
cannot fault Superscope for this feature, particularly since
it does not add materially to the cost of the set. Since the
R-350 is equipped with a proper set of tape monitor input
and output jacks, there is nothing to prevent you from 30
-.
adding a four-channel decoder (or a CD -4 demodulator) and
an extra back -channel amplifier at a later date if you want º 25

to convert the R-350 to true quadraphonic capability and ¢ 2.0


0
1-
25 WATTS PER CHANNEL
that is all to the good. rn 1.5

Figure 8 shows the tone control, filter and loudness control a 12.5 WATTS PER CHANNEL
o
characteristics of the R-350 and the various responses conform
nicely with accepted practice for these controls. Bass and 0.5

treble controls affect both left and right channels at the turn 10 100 IK i0K
of a single knob in each case. FREQUENCY - Hz

Phono hum was acceptably low at -62 dB with respect to a Fig. 6-Distortion vs. frequency
2.5 mV input signal at kHz required to produce full power
1

OdB=25 WATTS
output. High level input requirements were 160 mV and, 8 -OHM LOADS
with this reference signal, residual hum and noise was 70
dB as claimed. At minimum volume setting, residual hum and
noise measured -80 dB. Volume control tracking for both
á 1
BOTH CHANNELS DRIVEN

a.
channels was accurate within dB all the way down to -60
1

1 a.

dB from full volume setting. Phono overload occurred at an


o2
3
input of about 80 mV which, in theory, would yield a (5 Hz 48KHz
dynamic range of about 88 dB were it not for the lower 5
noise limitations imposed by the phono preamplifier char- it
acteristics.

Listening Tests 0 00 IK 10K IOOK

FREQUENCY - Hz
We put the R-350 through its paces in both the FM and
Phono modes and found the performance generally as good Fig. 7-Power bandwidth.
as that of receivers selling for as much as $100.00 higher.
As mentioned earlier, the high muting threshold interfered BASS BOOST
with our ability to "log" the usual high number of FM +15
TREBLE BOOST

signals when that feature was employed. Specifically, using 0 +10


an outdoor directional antenna, we logged 45 usable signals
with the muting feature not activated. This dropped to 30
signals when muting was employed. Stereo was received from
i +5 LOUDNESS
(-30 dB)
\\
20 signals, though we know that another 8 or so were, in I-
H FILTER

fact, transmitting stereo programming at the time of our


tests. This discrepancy results from the high stereo threshold rc-15
10

set for this model. While only a single peak -reading meter BAS
is employed, it is accurately calibrated and helps to tune to 20
TREBLE CUT

center of channel-though not as effectively as a center -


channel meter might do. Record reproduction was crisp 10 IOO 1K IOK

and noise -free at our preferred listening levels (about 90 FREQUENCY -Hz

dB), and we used both high -efficiency and moderately low - Fig. 8-Tone control, loudness and filter range.
efficiency air suspension systems in our tests. With two

AUDIO FEBRUARY 1974 61


spindle (called a stub) which replaces the long automatic
BSR 710/X Total Turntable spindle for manual operation. In this mode, the arm is posi-
tioned by hand but the motor stops automatically when the
record has been played. If the selector switch is set to AUTO
instead of MANUAL, the record will repeat-until you get tired
of it and push the STOP button. Accessories supplied with the
710/X include a strobe disc, stylus brush, stylus overhang
locating gauge and adaptor bracket, manual 45 rpm adaptor,
and slide -in cartridge carrier.
Our model came complete with a Shure M91E cartridge
which we replaced with an ADC-XLM for some of the tests.
Measurements
Wow and flutter measured a low 0.06% and 0.08% re-
spectively. Rumble measured -35 dB (unweighted) corres-
ponding to an ARLL (audible rumble loudness level) of about
MANUFACTURER'S SPECIFICATIONS -59 dB. The vernier speed control gave a total variation of
Speeds: 33 and 45 rpm. Wow and Flutter: Less than 0.1% five percent. The cueing lever was nice and smooth in opera-
DIN. Rumble: Less than 55 dB DIN. Minimum Tracking tion but tended to be a little slow if used at the maximum
Force: 'h gram. Record Stack: 6 records. Record Sizes: position. Calibration of the tracking force dial was very
12-; 10-; or 7 -in. Dimensions: 1715/ in. W x 14%, in. accurate and tracking error itself was under 0.5 degrees per
D x 83/4 in. H with base and dust cover. Price: $ 1 50.00 inch over the whole record. There was no speed variation with
(incl. cartridge). change in line voltage from 85 to 135 volts. Cycling time
measured 17 seconds from a standing start and 12 seconds from
The 710/X might be considered an economy version of the trip to set down in the automatic mode-a little slow, we
top -of-the -line model 810 which we reviewed in June, 1972. thought.
The main differences are a lighter platter -4 pounds against 7, The 710/X was very easy to set up and even the absolute
and ball -bearing pivots for the tonearm instead of gimbals. beginner will have no difficulty in understanding the well-
Appearance is almost identical with the same black motor written instruction manual. Using the M91E, we found the
board and contrasting satin -finish panel and pushbutton con- optimum tracking to be just under l'/4 grams with the anti -
trols. Three of these adjust the arm for 7-, 10-, or 12 -inch skating dial set for two grams. No trouble was experienced
records and the other three are labelled STOP, SINGLE -AUTO from acoustic feedback (the suspension coils are foam damped
and MANUAL Behind them is the viscous -damped cue lever and and placed on rubber shock mounts). Changing cartridges is
next to it is a knob which adjusts the set -down position of the simple-the slide adaptor is lined up with an alignment post
arm from a minimum of 51/2 inches from the record center to mounted on the motor board. When this is done and the car-
a maximum of six inches. Near the arm mounting is another tridge fixed, a stylus cleaning brush is mounted on the post.
knob-the anti -skating control which has scales for conical and The anti -skating adjustment is not at all critical and tracking
elliptical styli. Tracking force is set by a control on the arm force should be set for about 11/4 to 11/2 grams for cartridges
mounting and the dial is calibrated in steps of one gram up to like the M91E.
four grams. How does the 710/X compare with the 810? Well, rumble,
The speed control is at the front, to the extreme left, and it wow and flutter figures were not significantly inferior and
consists of a rocker -type lever centered in a vernier adjustment the only real difference concerns the extra friction of the arm
ring. Like the 810, the 7l0/X employs what BSR calls "a mounting. We could track down to one gram without trouble,
sequential cam system" which consists of eight pre-pro- but if you want to use a super cartridge like the Shure V-15
grammed cams located on a shaft running parallel with the Mk. III, ADC-XLM, or Empire 1000 ZE/X tracking at 3/4
chassis. The motor is also similar-a four-pole synchronous gram, then the extra expense of the 810 is justified.
type that can be used on 120 or 240 volts by a simple wiring Incidentally, the unit can be bought without base, dust
change. An additional motor pulley is supplied for 50 Hz line cover and cartridge. Designated model 700, this unit is priced
frequencies-thus the 710/X can be used in most parts of the at $129.50. George W. Tillett
world without too much trouble. Also supplied is a short Check No. 55 on Reader Service Card

Fig. 1-View of the chassis with platter removed. Fig. 2-View of the 710/X arm mount.

62 AUDIO FEBRUARY 1974


A DEMONSTRATION
OF QUADRIPHONIC SOUND
Put your left index finger gently in your left ear.
You're listening to monaural sound.
You cannot distinguish thedirection of any individual sound source.
They're all mixed together. This is the kind of sound an ordinary
radio gives you.
Now cup both your hands behind your ears, palms
facing forward.
You're listening to stereo.
You are able to distinguish the
direction of any individual sou,
source in front of you..
This is the way you listen
to your stereo systel
Like a spectator at
a concert.
Now take your
hands away fro
your ears.
Sounds are coming at you from all around you. You are able to distingui
the direction of any individual sound source.
You're listening to the equivalent of quadriphonic sound.
This is the way you hear in real life. Quadriphonic is natural sound.
If you decide to go with a quadraphonic sound system in your
home, this Harman/Kardon 900+ multichannel receiver is as far as
you can go.
It's the world's most advanced four-channel receiver.
It has every kind of four -channel circuitry built in. Apart
from 4 speakers and a turntable, there is nothing to add.
No accessories to buy.
Owning the 900+ doesn't mean you have to dis-
card your stereo albums. It will actually play them
better than ever with a unique"Enhanced Stereo"
feature.
But most importantly, the 900+ carries
Harman/ Kardon's traditional wideband circuitry. It
reproduces not only the frequencies you can hear
but also those you cannot.
This is terribly important. Because the fre-
quencies you cannot hear have a marked effect on
those you can.
This wideband philosophy gives Harman/Kardon
receivers their stunning realism.
For an even better demonstration of quadri -
phonic sound, listen to the Harman/Kardon
900+ at your nearest franchised
dealer.
harman/kardon
Check No. 16 on Reader Service Card
55 Ames Court, Plainview. N Y 11803. U.S.A. Also available in Canada

www.americanradiohistory.com
AmericanRadioHistory.Com
Altec Concept EQ 5 to such a problem would be to glue it in place, which is
acoustically unsatisfactory. Therefore, this reviewer recom-
mends neither pulling on the foam nor handling the speaker
by grasping the solid -appearing foam grille.
The electronic equalizer is a two -channel, solid-state unit
mounted in an attractive walnut cabinet. A two -pin a.c. plug
is supplied with a generous amount of cord. No on -off switch
is provided since the unit is meant to plug into a pre -ampli-
fier utility outlet and be turned on and off with the pre-
amplifier. Four front panel controls are multiposition
switches. Three of the controls are for adjusting equalization
of Low, MID BASS, and HIGH frequencies. The fourth switch
is for selecting one of three modes of operation, equalizer
OUT, which bypasses all equalization; equalizer IN, which
places the equalization in speaker reproduction only, and
TAPE which equalizes speaker reproduction and tape recorder
'playback but does not equalize signals which the preampli-
fier may send to a tape recorder.
A very complete service manual is provided for the
equalizer, a good thing in view of the rear panel complexity
of contemporary receivers and preamplifiers and the require-
ment to wire into and out of the tape monitor positions.
MANUFACTURER'S SPECIFICATIONS Care is needed to assure that proper connection exists, and
System Type: Acoustic suspension with active equalizer. this is no place for hasty hookups. An alternate solution, not
Frequency Response: 30 to 20,000 Hz. 2 dB (with equal- mentioned by Altec and which quickly presents itself, is to
izer). Power Rating: 100 watts. Impedance: 8 ohms. Cross- place the equalizer between the preamplifier and power
over Frequencies: 800 and 4000 Hz. Dimensions: 251/8 in. amplifier. We do not recommend doing this even though the
H x 15 in. W x 10% in. D. Weight: 30 lbs. each. Price: specifications of the equalizer are adequate to do an excellent
EQS speaker, $ 180.00; EQE equalizer, $ 125.00; EQ 5 sys- job in this position. The reason for this caution is an equa-
tem (two EQS speakers and one EQE equalizer), $475.00. lizer turn -on and turn-off output voltage transient which will
The use of program equalization to enhance or diminish produce an annoying sound and possible speaker damage if
selected portions of the frequency range is so commonplace a d.c.-coupled power amplifier is used.
in sound processing that it is referred to in engineering par-
lance only by the letters EQ. The Altec Sound Products Technical Measurements
Division of University Sound has borrowed this terminology The active equalizer supplied with the concept EQ 5 could
to name their equalized speaker system, Concept EQ. The be looked upon as a very special tone control circuit intended
primary purpose of the electronic equalization supplied with to complement the performance of this particular speaker
this speaker system is not, however, the artistic embellish- design. The Low FREQUENCY switch equalizes response in the
ment one seeks in a recording studio. Rather, it is intended 20 Hz to 150 Hz band with the major effect at 30 Hz. The
to make the sound more natural when heard in a conven- MID BASS switch gives additional control at 80 Hz and the
tional listening room. HIGH FREQUENCY switch works primarily above 5 kHz. Both
The speakers are relatively small, measuring 15 x 105/s x the LOW and HIGH FREQUENCY Switches have positions
25 inches. They are finished on four sides in walnut and marked 0, -3, and -6. The MID BASS has the five positions
have a sculptured black foam grille. Electrical connection is of +6, +3, 0, -3, and -6. Because of the substantial inter-
made to two push type terminal posts in a recessed cavity -- action of the LOW and MID BASS response, it is unreasonable
in the rear. No speaker controls exist on the cabinets, and to plot all possible combinations. Figure shows the separate
1

the terminals are clearly marked by both letters and color. effects of the LOW FREQUENCY and HIGH FREQUENCY controls
The foam grille appears to be bonded with adhesive to a with the MID BASS set to its 0 position. The curves are separated
more solid grille in front of the speaker cones. This reviewer by 10 decibels for clarity in this plot. There is actually nearly
is firmly in favor of such a solid backing which protects the a 2 decibel increase in level when the equalizer is switched
speaker cones from mechanical damage from such causes as into operation, which adds some psychological effect in a
the fingers of inquisitive toddlers. However, a gentle tug on before -after comparison. Figure 2 is a measurement of the
the foam is sufficient to break the adhesive bond, leaving MID BASS control alone with the LOW FREQUENCY Control set
an unsightly foam edge protruding. Efforts at poking the foam to -6 and the HIGH FREQUENCY control to 0. The effect of this
back into place are fruitless. The natural household solution control at 80 Hz is quite evident.

LOW S
FREQUENCY .03

7. MID
BASS

HIGH
FREQUENCY

20 100 1000 0 000


FREQUENCY 20 IOO 000 10,000
FREQUENCY

Fig. 1-Equalizer response for low and high frequency Fig. 2-Equalizer mid bass control.
control.

64 AUDIO FEBRUARY 1974


Harmonic distortion at 1 kHz and one volt rms measured
0.03 per cent and was composed primarily of second har-
100
monic components, which is well within Altec's specification. 270°

Signal to average noise power in a 20 kHz band measured


90
75 dB for a rated output of 1.5 volts rms and was mostly 60
c 360°
Hz and 120 Hz with a stronger low frequency flicker com-
60
ponent which proved to be inaudible in the recommended SPL
dB
PHASE
DEGREES
hookup.
70 450°
The Concept EQ 5 is rated as an 8 ohm unit, and this is
quite close to measurement shown in Fig. 3. The maximum
impedance is 31 ohms at 54 Hz. -540°
The anechoic frequency response was measured without 100 IK 106
FREQUENCY -Hz
the equalizer, since the effect of equalization may be seen
by referring to Figs. 1 and 2. The one -meter, one -watt on - Fig. 4-One-meter anechoic response measured on -axis
axis response for this speaker is shown in Fig. 4. Even without with one watt input.
equalization, the low frequency response is relatively uniform
down to below 70 Hz where it then rolls off at nearly the
expected 12 dB per octave. The narrow dips in amplitude
at 1400 Hz and 2200 Hz are due to driver interaction as
100

i1111111/1111111/111111
O11111iM11111;11*!i112Ìr\111111
IIIIII 3600
evidenced by the phase response. The response is substan-
tially non -minimum phase only in the range from kHz to
11;'lII1Iiiiï1M1111111111/111111
1
C::11111 i11111 111111111111 111111
illllll
I 720°
60
3 kHz and at around 9 kHz. SPL PHASE
dB /1111111B 111111Ii11111 DEGREES
An unusual effect was noticed as the speaker was rotated. 111111 il@!II i11111
70 Ili111I11I11 1060^
Figure 5 shows the response at an angle of 15 degrees off
axis, corresponding to this speaker being used as a right 1111111=111111\i111111 1°C0°
channel of a stereo pair. Figure 6 is the measurement for the 1 II111 11I111111111
other 15 degree position corresponding to a left channel. 100 1K 10K
Note the difference in phase calibrations between Figs. 4, 5, FREQUENCY

and 6. Unlike most speakers, the 15 degree off -axis response


is better than its on -axis response. Fig. 5-One-meter anechoic response measured fifteen de-
Sensitivity is quite good and a sound pressure level of grees to the left of center with one watt input.
94 dB is maintained for one watt input over most of the
usable frequency range.
The three -meter response is shown in Fig. 7 for a direct 100

on -axis position and a 30 degree left stereo channel position.


This is the frequency response of the first 10 milliseconds of 90 380

sound when the Concept EQ 5 is placed on a rug floor and


flat against a wall. The listening position is three meters in SPL BO 720°

front of the speaker and one meter above the floor. No other dB PHASE
DEGREES
room reflection components exist except the floor, ceiling 70 1060°
and wall against which the speaker is placed. This is thus the
"early" sound for this configuration. The equalization was
set to a position of -3 for the Low FREQUENCY, O for the
MID BASS, and 0 for the HIGH FREQUENCY. The reason for 100 1K 10K
FREQUENCY
choosing this mounting position is based on the results of
the listening test performed prior to any technical measure-
ment. The curves in Fig. 7 are displaced 10 dB for clarity of Fig. 6-One-meter anechoic response measured fifteen de-
presentation. grees to the right of center with one watt input.

Ax1s
ddé

16
,,1frfwa
16

19 RIGHT

12

Io
OHMS
8

6 20 100 IK I0K
°
FREQUENCY - Hz
2

0
IO 100 IK 06
FREQUENCY Fig. 7-Frequency response due to first ten milliseconds of
sound in a preferred room position measured at three meters.
Fig. 3-Impedance plot. Curves displaced 10 dB for clarity.

AUDIO FEBRUARY 1974 65


Figure 8 is the measured harmonic distortion for the musi- a measure of the ability to handle crescendos. In the Con-
cal tones E,, A,, and A4. The mid frequency distortion is cept EQ 5, a 440 Hz A4 note was reduced 'h dB by noise
extremely low for a speaker in this price range right up to with an average power of 60 watts and peaks approaching
the rated 100 watts. The low bass distortion is also quite 600 watts. At 3 kHz, dB suppression occurred at peaks of
1

low and remains below 5 per cent at levels as high as 100 528 watts and average of 50 watts. The peak noise power at
dB SPL. However, the rapid rise of odd harmonic warns that which 3 kHz began to show a reduction was 33 watts. The
the driver is beginning to run out of capability at this level. conclusion is that crescendos can be handled in excess of
In view of the substantial bass boost available in the equa- 100 watts, but some cross modulation will occur above
lizer, care should be exercised if an amplifier rated for more 33 watt peaks. This is still quite loud for a speaker with the
than 100 watts is used. The sensitivity of this speaker is such efficiency of the EQ 5.
that a 30 to 50 watt amplifier should give all the sound Figure 9 is the IM distortion of the musical tone A4 by
normally required. E, fed at equal levels. A power level of one watt at each of
In the signal suppression test, a musical note at one level these frequencies produces a voltage corresponding to an
is mixed with white noise at a 20 dB higher average level. average power of 4 watts if a single tone with the same peak
The power in both signals is then raised until measurement voltage were to be applied. At this level the IM is 2.5 per
indicates that the tone is being modulated by the noise so as cent. Most of the IM in this speaker is due to phase modula-
to be reduced from its value before noise was added. It is tion for such low frequencies.
Figure 10 is the polar energy response. The unusual dis-
symmetry which produced the effects shown in Figs. 5 and
6 is also evident in this plot. Both Concept EQ 5 units had
this behavior in the plane of symmetry normally used to
make anechoic measurements. The polar pattern suggests that
much of the higher frequency sounds will be relatively
directional with some changes in timbre with angle. The
82 -3RD substantial low frequency response of the on -axis measure-
E2 -2ND EI
ment of Fig. 4, together with the relative omnidirectionality
of lower tones implies that room sound may be richer in
lower frequency reverberation than higher frequency rever-
beration, particularly if there is any substantial drapery.
E4 -3RD A2
E6 -3RD
This, together with the bass boost of the equalizer, may make
I A5 2ND 04 the sound bottom -heavy in some rooms. The correction is to
use conventional preamplifier tone controls if this is found
A3=2ND A2
0.,
to be the case.
Figure 11 is the time -energy plot, which is the response
to a shaped pulse band limited to contain only frequencies
from d.c. to 20 kHz. This is an on -axis measurement. The
contribution at 4.3 milliseconds is at a time which would
0 01
correspond to a cabinet back wall reflection for midrange
0I
I I 1

IDO
WATTS
components. The midrange dips in Fig. 4 correlate reason-
ably well with the arrival times of Fig. 11.
1 I I 1 I" I I l I SPL E1=4I.2Nz
90 90 100

1 1 I .1 I I 1 I SPL A2=110117
90 100 no

I I 1 1 1 I SPL A4=440Nz
90 100 IIO

Fig. 8-Harmonic distortion for the musical tones E A2,


and A,.

ó S

o., 10 00 FRONTAL
POWER WATTS AXIS

Fig. 9-IM of A, by E mixed 1.1. Fig. 10-Polar energy.

66 AUDIO FEBRUARY 1974


Listening Test GRILLE CABINET BACK

A properly built acoustic suspension system will put out a


lot of bass if you drive it hard, and that is exactly what
the Concept EQ 5 does. The close to 17 dB of 30 Hz boost
available when switching the equalizer on can make you run
to save the crockery when a really low note comes along.
10
In anything but a center floor mounted position, the bass
is much too overpowering at the maximum equalizer position.
Experimenting with speaker location soon made us settle on
a wall mounting position. dB 20
Placing the speakers up in a bookshelf configuration did
not produce stereo imagery acceptable to this reviewer. The
problem seemed to be due to polar beaming which caused a
stereo shift and a timbre change with change in listening 30 4
f+
position. It was not until the units were placed down on the
floor that the sound imagery was reasonable accurate. The Ì
majority of listening was done with this wall mounted floor 40
position. 3.5 4.0 - 5.0 .
30
The most balanced sound appeared to occur for this con- TIME. MILLISECONDS
figuration with an equalizer Low setting of -6, a MID BAss Fig. 11-Energy-time response to a perfect pulse band
of -3 and a HIGH of 0. At no time did the top end require limited d.c. to 20 kHz.
any roll -off, although in a moderately "live" room the HIGH
control might prove useful. Certain instruments, such as to listen and just as he got used to the sound you switched
kick drum and tom tom, still seemed "bumpy" even with to "mono" to see the look on his face.
this minimum bass compensation, but a minor touchup with Much of the apparent sound image appears to come from
the normal preamplifier tone controls set that right. the position of the speaker or in the stereo "picture window"
After listening to this combination for a while, it is a shock plane containing the two speakers. It gives the impression to
to switch the equalizer out. I had privately wondered at the this reviewer of a foreshortening of the sound image.
wisdom of a bypass switch position, as one presumably had The Concept EQ 5 is certainly capable of delivering a lot
purchased the equalizer and speakers as a set. When you of sound and backed up by a 50 to 100 watt amplifier makes
switch the equalizer out, it is a good reminder why you an excellent moderately priced choice for rock music.
bought that configuration in the first place. Something like Richard C. Heyser
the early days of stereo when you invited a neighbor over Check No. 60 on Reader Service Card

Thorens TD-125AB Mk II

We reviewed the original Thorens TD -125 more than


three years ago, in June 1969 to be precise, and we placed it
in the highest category then, an opinion which has been con-
firmed by the many thousands of enthusiastic owners of
this deluxe turntable. A few months ago, Thorens released
the TD -125 AB Mk II which has some significant improve-
ments-not in overall performance, because that would be
nearly impossible-but rather in facilities. For instance,
there is an automatic arm -lifting device, and the arm itself
is the new lightweight, TP -16, which has a plug-in cartridge
shell and a magnetic anti -skating system. The adjustment
control is at the right of the arm pivot, and there are four
scales calibrated for conical and elliptical styli and for wet
and dry records. (There's Swiss efficiency and thoroughness
for you!) Stylus pressure is adjusted by a small thumbwheel
located at the top of the arm pivot. Calibration is from 0.5
grams up to 4 grams in quarter gram steps.
At the front of the unit are three sliding-bar controls;
the one on the left controlling the speed (162A, 33'/3, and 45
rpm), the second the ON/OFF switch, and the third the
MANUFACTURER'S SPECIFICATIONS cueing device. A strobe indicator is at the center with a
Speeds: Three, 162/3, 33'/2, 45 rpm. Wow and Flutter: vernier speed control just in front. The 12 -in. non-ferrous
0.06%, weighted according to DIN 45507. Rumble: -48 platter is in two parts with the drive belt going into the
dB unweighted, -68 dB weighted according to DIN 45539. smaller inner section. Both are dynamically balanced, and
Drive System: Electronically controlled, 16 -pole synchronus they fit together precisely. Like its predecessor, the Mk II
motor with belt drive. Power Requirements: 110-130 V or uses a long sleeve bearing with two highly polished contact
220-250 V, 50/60 Hz, 15 watts. Dimensions: 18 in. W x surfaces and a single steel -ball thrust bearing. The motor
14 in. D x 5 in. H. Length is increased by 2 in. when fitted and arm are mounted on springs, isolating them from the
with 16 in. tonearm. Weight: 32 lbs. Prices: $310.00; controls and base. Motor speed is low -25 rpm at 33'/3 rpm
TX -44 dust cover, S15.00; TX -25 hinged dust cover, record speed-which permits the use of a large motor pulley
$ 30.00. for a good drive ratio, as well as reducing rumble.

AUDIO FEBRUARY 1974 67


Now for a look at the electronics: in essence, this consists with four power transistors that easily supply the five watts
of a Wien bridge (see schematic) connected in a positive or so for the motor. This, incidentally, is a 16 -pole syn-
feedback circuit with a power amplifier. The frequency, or chronous type.
speed, is determined by changing the values of components in
the bridge arms. As the motor presents an inductive load, its M easu rem ents
reactance increases with frequency, so the voltage has to be The rumble level was approximately the same as the
increased too. At l61/2 rpm, the motor input voltage is 6.4 V, older model, -46 dB unweighted using the NAB standard.
but at 45 rpm, 12 volts are required. The original 125 used This corresponds to -64 dB by the ANSI "A" weighting or
all discrete transistors, but the Mk II employs two 709 IC's about -66 dB with ARLL weighting, which certainly puts
it into the professional class. Wow and flutter came out at
0.07 per cent, again an exceptionally good figure. Arm
resonance with an ADC-XLM cartridge was just under 8 Hz,
and the rise in output was only 3.5 dB. Calibration of the
tracking pressure dial was extremely accurate-being only
0.1 gram out at 3 grams. As might be expected, there was no
discernible speed change with variation in line voltage from
95 up to 120 V. The speed control gave a variation of +3%
and -2.5% at 331/3 rpm and +4.5% and -3.5% at 45 rpm.
Maximum tracking error was a shade under 0.5 degrees per

111 inch, the average being nearer 0.3 degrees per inch-a
remarkable achievement. The arm lifting device worked
very smoothly with positive cueing-in fact, all the controls
performed as they are supposed to and the unit was a real
delight to use. Styling is clean and completely functional and
workmanship is first class. For most of the tests, a Shure
V-15 Mk II and ADC-XLM cartridges were used. Some
tests were also carried out with CD -4 discs using an Audio-
technica AT-20SL cartridge, and here I ran into a problem.
The lead capacitance of the 125 is around 270 pF-ideal for
most stereo cartridges but too high for CD -4 models which
Fig. 1-Showing the basic Wein bridge arrangement must maintain a response up to 50 kHz. So owners of these
as used in the TD-125AB Mk II. The variable control cartridges must change the connecting leads for special
is the speed adjustment. L, is a stabilizing lamp. low -capacity types, otherwise operation may be erratic.
Apart from this small criticism, which applies to the majority
of turntables and changers anyway, I have nothing but
praise for the Mk II. It is a worthy successor to the Mk I, and
it can be recommended with complete confidence. At
$400.00, it is not cheap but in my opinion, it is worth every
cent. George W. Tillett
Check No. 61 on Reader Service Card

Fig. 2-Closeup of arm mounting.

Fig. 3-Underside of the machine with the protective


cover removed.

68 AUDIO FEBRUARY 1974


Canby's Capsules
Edward Tatnall Canby
The Plucked String

Julian Bream '70s. (Richard Rodney The genius of guitar and lute turns to 1970s British music-engagingly. Two
Bennett, Alan Rawsthorne, Wm. generations. Bennett's Side Concerto is smoothly non -tonal, a fluent and well
1

Walton, Lennox Berkeley). With Melos laid out serial -type piece with ever -interesting colors, the guitar integrated into
Ens., Atherton. RCA ARL-1 0049, the whole. Side 2 is all solo, 3 older-generation men: An anguished Elegy by
stereo, S 5.98. Rawsthorne, sly Latin tidbits ("alla cubana") by a humorous Walton, near -
flippant mandolin -style Variations by Berkeley. Solid stuff, easy listening-perfect
guitar.

Zabaleta. Harp Music of the Ren- "Some of the music is astonishing. .150 years before Bach." say the notes.
.

aissance. Everest 3340, sim. stereo, Harpish provincialism (good music comes from a lot further back than that)-
S4 98 but this is an excellent and musical harpist, well and quietly recorded. 16th
and 17th c. Spanish music. Modern concert harp.

Popular Koto Melodies of Japan. An uncomfortable mix for my ear, the "traditional" (i.e. old standard) oriental -
Everest 3347, stereo, 54.98. type tunes arranged with lugubrious Western harmonies in the minor, not really
proper to the Koto. Good movie music, maybe! It's that sort, anyhow.

Susann McDonald Plays the Roman- She's good-and it's a pleasure to hear the modern (19th c.) harp where it
tic Harp (French). Klavier KS 525, belongs, in music of French inspiration. McDonald's harp really flows-Fauré,
stereo, $ 5.98. Pierné, Salzedo, Tournier, Godefroid, et al., all good harp composers. The re-
cording is DBX'd up to the disc. You can have a DBX-encoded disc, for 100
dB, if you have a DBX decoder.

Sergio & Eduardo Abreu -2 Con- Two young Brazilian brothers and a pair of very unlike concerti-I prefer the
certos for 2 guitars. (Castenuovo- more modern Santórsola, an older-generation Brazilian; he is tonal but dissonant,
Tedesco; Santorsola). Columbia MQ full of good orchestral color and counterpoint; it's a real piece. Castelnuovo -
32232, SQ Quadraphonic, $ 6.98 Tedesco (the New German Castle?), long a U.S. resident, writes old-fashioned
(also stereo). light stuff (1962), mixture of maybe Percy Grainger, Brahms and Robert Rus-
sell Bennett, tossed into a harmless fluff. OK if you like it. The brothers do
nobly in both.

Acoustics

The Complete Rachmaninoff, Vol. 1, Rachmaninoff, pianist and composer, neatly bridged the acoustic/electric change-
Acoustic Recordings (1919-24). over, for some nice multiple comparisons. These acoustics are surprisingly in-
RCA ARM3-0260 (3 discs), mono, formative as music, if minus the fi. Some are Edisons, rounder, fuller. Best
$1 7 94 music is (a) Rachmaninoff (b) Chopin. The acoustic 2nd Pf. Concerto was
incomplete-the missing side is tape-edited in here from later electrical version.
Neat trick.

Complete Recordings of Enrico "All 238 Arias, Ballads, Neapolitan Songs, etc."-and don't think I've played
Caruso. Murray Hill 920328, (14 them all. If you want the saturation treatment, superbudget, better grab quick
discs), $15.95 while the vinyl shortage lets you.

Caruso -59 Recordings, 9 Never Add nine more to the 238 in the "complete" Murray Hill Caruso album! RCA's
Before Released. RCA ARM4 0302, modest 4 LPs come from the Original Source-RCA inherited the Victor wax
mono, $23.92. masters. The extra nine were unissued for various reasons, but not usually
because they were inferior. (Even if so, they'd be interesting.)

Complete Recordings of Mattia Battistini's 100 recordings on eight separate LPs-he's no Caruso, but a fine
Battistini. Perennial 3001 /8 (8 discs) baritone in his day. His opera recordings are here remarkably well restored
mono. (P.O. Box 437, New York) (I've sampled two of the eight discs). Caruso loved high drama and hi-jinks;
Battistini is more dignified and sober on records (though he cut a figure on
stage, they say); which makes him less colorful. He sings out of tune-but so
did everybody in those days. Part of the style.

AUDIO FEBRUARY 1974 69


Canby's capsules
Edward Tatnall Canby

Su per -best

Mozart: Serenade in B Flat, K. 361 One of the absolutely great Mozart works in a stunningly beautiful, superbly
"gran partita." Netherlands Wind recorded performance-one of the great recordings of our time. Often known as
Ens., De Waart. Philips 839 734, Ser. for 13 Winds-but one is a string bass. Vast, expansive wind sound. Hey-
stereo, $ 6.98. why do these Philips recordings "decode" so gorgeously into quadraphonic via
SQ?? Are they slipping something in?

Tchaikovsky "1812" Festival Over- Curious! Encouraged by the excellent "Kubelik Legacy" mono Mercury reissue,
ture. Commentary by Deems Taylor. Philips is bringing out more of the once-famed U.S. Mercury recordings-but now
Capriccio Italien. Minneapolis Sym- imported from Holland, at a premium price. Well-worth it. This is the cele-
phony, Dorati. Mercury SRI 75001, brated real -bells -and -cannon "1812," with illustrated account by Deems Taylor of
stereo, $6.98. (Golden Imports) the cannon and bells (Riverside Church, NYC) recording sessions. I'd take this
part any day over the actual "1812" itself.

Beethoven -Liszt: Symphony No. 9 Here is the all-around finest two -piano recording I have ever heard, bar none.
(complete); Liszt: Festival Cantata. First, the Contiguglia brothers, the most profoundly musical pair of piano
Richard and John Cantiguglia, duo - virtuosi of this century, with brains and taste as well as fingers. And this Liszt
pianists. Connoisseur CSQ 2052, transcription of the big Symphony, unplayed for a century, is uncanny-the
SQ quadraphonic, $6.98. finest job of two -piano recording I know. Not only separation of two unlike
pianos, within a perfect over-all ambience, but even separation within each
piano, as in large concert grands. The two-way play between the performers was
a major Liszt feature, perfectly reproduced-and in SQ too. The Liszt Cantata,
one piano 4 -hands, is lesser fare though with Beethoven quotes (Archduke Trio)
incorporated.

Future Sound Shock. Enoch Light Ah don't shock easy, Enoch, but ah likes this!! A snazzy, mod-jazzy, brassy sound
& the Light Brigade. Project 3 PR with everything from cowbells to sitar, stunningly recorded, loud and clean, with
5077, SQ quadraphonic, $5.9 8. better SQ separation than Columbia. Also in other quadr. versions.

All Over the Lot


Ives: The Celestial Country (1899). No apologies, CRI! The record notes sort of run this early Ives down; not
Vocal soloists, Schütz Choir of Lon- necessary-it may not be violently dissonant, etc. but in other ways it is the
don, London Symphony, Farberman. purest Ives, and very much of its time, that bumptuous beginning of a real
CRI SD 314, stereo, $5.98. American school via such men as Chadwick and Loeffler in Boston, MacDowell
in NYC, Ives' teacher Horatio Parker at Yale. Fun -music stuff and Farberman,
long-time Ives man, gets dedication out of the British performers.

Bach: The Brandenburg Concertos All but one Concerto (they say here) were rewrites of known earlier chamber
(Original versions). Academy of St. works, for solo instruments; here are those earlier versions. Much the same but,
Martin -in -the -Fields, Marriner. Phil- following the annotations, you'll find many interesting diffs. Performers brilliant,
ips 6700 054 (2 discs), stereo, nervous-not too good for the music.
$13.96.

Baroque Harpsichord. (Bach, Gibbons, A forceful but somewhat heavy-handed player, a curiously twangy instrument
Couperin, Scarlatti). Wm Neil Roberts. (with notes out of kelter), recorded too close with an over-boomy bass. I liked
Klavier KS 524, stereo, $ 5.98. the Bach Partita No. 1, and the Gibbons (hardly Baroque); the Scarlatti is
weighty but strong-minded. Didn't like the Couperin much. No lift.

Colin Tilney plays English Virginal Generally for one -keyboard, one -stop small harpsichord, virginal music depends
Music. Argo ZRG 675, stereo, $5.95. on sprightly, virtuoso rhythms and counterpoint to keep up interest-this splendid
record explores the more brilliant and profound music of the British school, by
Byrd, Bull, Gibbons, Famaby, etc., turn of the 16th c. Two modern replica in-
struments, Flemish and Italian.
70
AUDIO FEBRUARY 1974
rwood's Forest
Sherwood L. Weingarten

T'S BEEN CALLED the boob tube, at the core, along with such luminaries had done. It all became very slick,

I the idiot box, a vast wasteland and


a host of other things that can be
printed only by the underground press
as Dean Martin, Peter Lawford,
Shirley MacLaine and Frank himself,
the chief rodent.
Sammy was a phenomenon, able to
so not too many noticed the absence
of soul.
Some of his albums all too obviously
were the product of the years clawing
on asbestos. But television every now
and then does provide a moment of mimic the voices of countless person- his way to the top, the years fighting
brilliance, becoming an arena in alities with an acidity and brightness to stay there, and, mostly, the fatigue.
which talent isn't merely devoured that were peerless. He was able to Too often they had no rough edges,
but instead showcased properly. dance rings around many whose but no life either. Dull, with only
The frequency for such, unfortu- formal training exceeded his by more brief moments of a vitality that was.
nately, is normally about once a year; years and foot -miles than he liked to Technically perfect, but mirroring too
in recent months, oddly, near-perfection admit. Later, he became an accom- clearly what had been lost.
was achieved twice, in both instances plished actor, perhaps one of the most But the recent video show, and the
by superstars (each of whom truly underrated. album that captures most of its
deserves the title). And he sang. Not really well, but excitement and flavor, was a turnabout.
If truth be known, both shows-and with a style and flair. The old fire was rekindled, fanned by
the subsequent original soundtrack On stage, he was excitement person- some previously hidden source of
albums-restored my faith. For I'd ified, able to hold an audience in the vitality to warm every viewer, every
decided some time ago that Sammy palm of his hand, breathlessly awaiting audiophile. His own private energy
Davis Jr. and Barbra Streisand had his next burst of energy. crisis had been solved.
sold out, respectively masked their best Time and fate, however, seemed to The TV and vinyl packages covered
talents in favor of exploiting that demand their tolls. He lost an eye in the gamut of his life, from a child-
which would produce the most revenue. a bizarre accident caused by a desire hood film performance in which he
Apparently I erred. to beat the clock at its own game. He sings (I'll Be Glad When You're Dead)
Sammy (MGM, SE-4914) unleashes fought racial prejudice at every turn, You Rascal You to a poignant, con-
an avalanche of memories for the making his life no easier by converting temporary I've Gotta Be Me. Sand-
aging listener. The long -forgotten to Judaism. Booze had a price, and wiched between are a rocker, Get It On
Will Mastin Trio comes back into so did all the searing words asking (his legs held up nicely for the
focus; so does the Sinatra Rat Pack. what truly made Sammy run. But the visually -oriented dance number);
Most clearly, you remember fondly biggest dues -collector was Old Man a meaningful dedication to "all the
the link between them, a sawed-off Time, who asked first for the legs black hoofers" who didn't make it,
guy whose talent made midgets of most and then the voice and finally, it via Mr. Bojangles; and a tour de
of those around them, the junior appeared, the performing integrity. force, a four -tune medley from George
Davis. Davis seemed to settle for the path Gershwin's Porgy and Bess in which
Davis, of course, was one-third of of least resistance, perhaps the only he assumes two roles.
the trio that also included his father one left, and he started emphasizing One of the TV program's highlights,
and uncle; as for the Pack, he was production numbers, much as Sinatra a boxing ballet from his Golden Boy

AUDIO FEBRUARY 1974 71

www.americanradiohistory.com
AmericanRadioHistory.Com
triumph on Broadway, is missing from Barbra Streisand and Other Musical stopped listening, feeling that she'd
the album, naturally. But what is Instruments (Columbia, KC 32655), burned herself out by giving too much
there should be enough for anyone however, returned her to the showcase too quickly.
who can appreciate a living 47 -year - in which she belongs, a musical frame- Television, however, again proved
old show business miracle. work that is unequaled by any female the error, for this latest extravaganza
Ms. Streisand, to complete the performer. in sound must be considered a rebirth,
musical one-two punch, also had The thrush's recording history is a test met well on a harsh battlefield.
battled her way to the peak of not unique. Her first few LPs were The girl whose ego helped destroy
success, only to virtually turn her marvelous outings of beauty, experi- her relationship with Elliot Gould
back on the music that catapulted ment and solid musicianship; then seems almost guileless on Piano Prac-
her to the top of the charts in a vain came a dry period, during which album ticing, the opening number. Still,
attempt to be what she's not, a serious slickness replaced inventiveness, the she injects humor and potent vocal
actress. ordinary replaced the extraordinary. I riffs to the otherwise routine scales.
Here, as elsewhere in the show and on
the vinyl, there are games played, sort
of illusionist tricks that prove the
voice is quicker than the ear; moreover,
though, there is a wealth of exceptional
music-so much so, in fact, that the
audiophile would prefer the disc to
be quadraphonic rather than plain
ole stereo.
One of the best segments of the
show is a 14 -minute rhapsody of
rhythm, a global tour of sounds. It's
LAFAYETTE slightly choppy in that it is made up
of bits and pieces, but the whole
1974 CATALOG definitely is superior to, and merges
all, the parts. Included are excerpts
from I Got Rhythm, Johnny One Note,
and One Note Samba (replete with
sounds of India); these are followed
The World's Largest by squibs from Glad to Be Unhappy
(Japanese music appears), People
Consumer Electronics Catalog (Turkish allusions dot the background),
Second Hand Rose (juxtaposed with
The world's Foremost consumer electronics the flamenco sounds of Spain), and
catalog is yours for the asking! Over 25,000 Don't Rain on My Parade (with a
items ...
jampacked with illustrations and musical tribute to the American
Indian), not to mention African
descriptions of the very latest in Hi-Fi, CB,
Tape recorders, Radios, Television, Elec- rhythms and Scotch marching sounds.
tronic Parts, Technical Publications. The flip side of the disc, a duplica-
tion of the video opus except that
Ray Charles is absent from the LP,
Your Complete Electronics Buying Guide offers unmatched variety. Its only
flaw is the puerile, juvenile The World
Is a Concerto, a gimmick -filled caco-
Electronics For Home, Business, Industry phony in which the so-called orchestra
is overstaffed by practitioners of the
PLUS The Latest in 4 -Channel Stereo! washing machine, blenders, pop-up
LAFAYETTE 1974 CATALOG 740 toasters, doorbells, electric shavers
and the like. The world may be ready
Our 53rd Year Stores From Coast-to -Coast for such modern madness, but I'm not.
Despite all that Ms. Streisand can
utilize modern instrumentation to
MAIL Lafayette Radio Electronics advantage. This becomes clearly
THE evident in By Myself whereby elec-
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tronic instruments neatly contrast
COUPON Syosset, L.I., N.Y. 11791 with her playful but melancholy vocal
TODAY approach, and Come Back to Me,
Send For Your Free Lafayette Catalog Today! featuring an overdubbed duet with
herself.
Send me the FREE 1974 Lafayette Catalog 740 27024 I Never Has Seen Snow is a fully -
1
orchestrated piece in which Barbra
I Name 1 uses dialect that is good enough to
1 1 almost make you forget she's white.
Address Auf dem Wasser zu singen is a change-
of -pace item, a German Romantic
I City State Zip 1

J j lied. The Sweetest Sounds is a beautiful


ending to it all, carefully walking a

72 AUDIO FEBRUARY 1974


tightrope between pure enchantment
and schmaltz.
Recordings too frequently sound as if
they'd been put together by a flesh-
peddler rather than a producer. In
both these instances, however, art is
IlitIfliosh CATALOG
a result of heart. Maybe talent does nd FM DIRECTORY
out, after all. Hmmmm. Wonder if Get all the newest and latest information on the new McIntosh Sol-
anybody could pair Davis and id State equipment in the McIntosh catalog. In addition you will
receive an FM station directory that covers all of North America.
Streisand on one album?
-Goodbye Yellow Brick Road (MCA,
MCA 2-10003) is a two-disc set from
Elton John that appears to be half 91 11!1 B f 11 11 M W iN

5ú.,W...... tl .... .........


11

superior, half filler. The title tune is


a hit single, but by no means the best ,,. ..' IN m 16

.
16
..

thing in the set. It's easily outclassed


by Funeral for a Friend an exciting
piece combining jazz, classical and
pop and spotlighting David Hentschel
on ARP Synthesizer. Funeral, however, MX 113
leads right into Love Lies Bleeding, an FM/FM STEREO - AM TUNER AND PREAMPLIFIER
ordinary vocal that points up again,
and again, and again, the banality of McIntosh Laboratory, Inc.
most of Bernie Taupin's lyrics. Candle East Side Station P.O. Box 96
in the Wind is a soft tone poem to the
memory of Marilyn Monroe, and has
its exquisite moments; Your Sister
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Dept. 1

Can't Twist (But She Can Rock 'N NAME


Roll) is a driving throwback to the '50s
that is superlative, and Saturday Night's TODAY! ADDR ESS
CITY STATE ZIP
Alright for Fighting is a musical pile-
driver getting heavy airplay, deservedly.
a hurry for your catalog please send the coupon to McIntosh.
If you are in
-Playin' Favorites (United Artists, For non rush service send the Reader Service Card to the magazine.
UA -LA 161-F) is country -folk in the Check No. 21 on Reader Service Card
traditional sense by the composer-
singer who brought us American Pie
and Vincent. Don McLean sings, plays WHAT THEY FEAR......
guitar and banjo, and sort of glides
along with OPs (other people's). The
spark that's normally there when per-
......IS YOUR DISCOVERY!
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what-have -you into one elongated PERIOR PRODUCT AND STILL SELLS FACTORY
composition by Mike OldfiekL The
composer manages, too, to play piano,
organ, guitars, percussion and glocken-
spiel on the disc, which utilizes 274
(count 'em) overdubs. Though basically
a simple, thoughtful piece, the tech-
nical complexities tend to astound the
listener. Though dull in spots, the
minor masterwork could do to rock -
classical music what Tommy and Jesus RSL
Christ Superstar did to rock -opera. The STUDIO
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FEBRUARY 1974 73 6319 VAN NUYS BLVD.. VAN NUYS. CA. 91401 [2131 78 -SOUND
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www.americanradiohistory.com
AmericanRadioHistory.Com
section at the tail. Truly a quiet one- -Ten Years Are Gone (Polydor, PD professionally with rhythm, string and
man thrill show. 2-3005) joins blues, jazz and rock as slide guitars, not to mention harmonica.
-Sweet Revenge (Atlantic, SD 7274) only John Mayall can. Consistently All the tunes but one are Mayall
adds humor to folk-rock, an unusual good, the two-disc package offers 14 originals, led by Harmonica Free Form,
commodity and one that should be tracks that spotlight such stalwart which ranges from mild to nitty-gritty,
cherished. John Prine is the master who musicians as Keith Hartley on drums, from jazzy to bluesy, from excellent
sings and accompanies his own songs Blue Mitchell on trumpet and flugel- to excellent. It's an 11:36 winner. The
with acoustic guitar. All but one of the horn, Red Holloway on tenor and alto first side of the record, by the way,
dozen tunes are his, each folk -country sax plus flute, Sugarcane Harris on is studio -taped; the flip side is a live
with a dash of rock. The wit brings a violin, Freddy Robinson on guitar and concert given at New York's Academy
smile, even when its sardonic or mak- Victor Gaskin on bass guitar. Mayall, of Music.
ing a heavy point. of course, does the vocals and plays -Whatever Turns You On (Colum-
bia -Windfall, CQ32216) declares with
enthusiasm that rock's best showcase
is a quadraphonic arena. West, Bruce
& Laing are the perpetrators of the
musical diatribe, the first half of which
is screaming, often excessive stuff, the
second half of which is super. Leslie
West, guitarist; Jack Bruce, bass player,
and Corky Laing, drummer, spend
Side One trying to see how many gim-
micks can interfere with their playing.
There is an overabundance of echoes,
and it mostly comes off as being just
electric instead of eclectic, a shrillness
aimed at those who didn't go down
with acid rock. By the flip side, though,
they've really got it together, to re -coin
a cliche, and are appropriately gutsy,
driving and natural on Rock N' Roll
Machine, Scotch Crotch and Slow
Blues.
John Denver's Greatest Hits (RCA,
CPL 1-0374) features 11 self-penned
tunes that are among the most -requested
in the singer -composer's concerts. Best
of the country-pop artist's outing are
NEW ASTATIC Take Me Home, Country Roads, Follow
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polyester diaphragm combine to make a blast -proof design ideal like the late iconoclast, Lenny Bruce.
for outdoor-indoor applications and close voice work. High quality There are times on this LP, distributed
in response, in unidirectional, anti -feedback, anti -reverberation by Atlantic, that the resemblance in
characteristics. For rock groups, small orchestras, auditoriums, style is uncanny. Side one of the
PA systems, recording, etc. comedy album is highlighted by Car-
lin's reminiscences of growing up,
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Switchcraft or Cannon types. Front to Back Ratio 15 dB -My Merry-Go -Round (Epic, EQ
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lots of variety, with Nash doing his
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quadraphonic cuts, topped by the title
Designers and Producers of Fine Quality Microphones for Four Decades tune (which uses strings and chorus to
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Check No. 2 on Reader Service Card Better Stop (Messing Around).

74 AUDIO FEBRUARY 1974


Jazz & Blues
Martha Sanders Gilmore
McCOY TYNER: Song of the New enunciates rhythm patterns, and a
World flawless elaboration cot` techniques and
Musicians: McCoy Tyner, piano; ideas. There is a remarkable density
Virgil Jones, trumpet; Cecil Bridge- of sound and exuberant forward thrust
water, trumpet; John Faddis, trum- to his art, an ability to get contrasting
pet; Garnett Brown, trombone; rhythms going between right and left
Dick Friffin, trombone, bass trom- hands that is almost super-human.
bone; Diani Zawadi, euphonium; John Coltrane once said of Tyner: ' S
Julius Watkins, French horn; Willie "First there is McCoy's melodic inven- S° ,

G
tiveness... the clarity of his ideas ..
Ruff, French horn; William Warnick
Ill, French horn; Hubert Laws,
piccolo, flute; Sonny Fortune, flute,
he also gets a very personal sound from
his instrument; and because of the
°
s
'
a
\'ò `
O
P\e

clusters he uses and the way he voices


soprano & alto saxophone; Bob Stew-
them, that sound is brighter than eeGSreaQa
PO
art, tuba; Jooney Booth, bass; P&
Alphonze Mouzon, drums; Sonny
Morgan, conga; Selwart Clarke,
concertmaster; John Blair, violin;
what would normally be expected from
most of the chord patterns he plays.
In addition, McCoy has an exception-
e9\2.
peQQ v

Sanford Allen, violin; Winston ally well-developed sense of form, both


as a soloist and an accompanist. In- OßJ
G>-Oßxg 800... The
Collymore, violin; Noel DaCosta,
violin; Marie Hence, violin; Julian variably in our group, he will take a Professional Performer rBOSE

Barber, viola; Alfred Brown, viola; tune and build his own structure for For Professional Performers
Ronald Lipscomb, cello; Kermit it. He is always, in short, looking for Please send complete information on
Moore, cello; Harry Smyles, oboe. the most personal way of expressing the BOSE 800 to:
Songs: Afro Blue; Little Brother; The himself. He doesn't fall into conven-
Name
Divine Love; Some Day; Song of tional grooves. And finally, McCoy has
taste. He can take anything, no matter Address
the New World.
how weird, and make it sound beau- City State- -Zip
Milestone, MSP 9049, $4.98. tiful." Return to BOSE Corp. The Mountain,
Framingham, Mass. 01701 Dept.-A P

_I
There is not a shadow of a doubt This recording features Tyner in
that McCoy Tyner has proven to be the company of reasonably large
one of the modem piano giants of his ensembles: strings, brasses, and wood-
time-and ours. And this recognition winds. However, they merely act as
has come to him just within the past props for the formidable pianist and
few years. Tyner's Sahara, a Milestone
release, was voted Record of the Year
they, in that sense, water him down
and more is the pity. Although the HELP!
in the 1973 DOWN BEAT Critics' Poll charts are all composed by Tyner and
and was nominated for two Grammy he functions here as a pianist, leader,
Anytime you have a
awards in 1973 for Best Jazz Perform- composer, and arranger, they are in a
question about your
ance by a Soloist and Best Jazz sense over-arranged. AFFIX
Audio subscription,
Performance by a Group. Afro Blue by Mongo Santamaria is please include a
Tyner's credits are probably not the only one of the group which is not mailing label to in- LABEL
new to you. After having led his own written by Tyner and is imbued with a sure prompt service
seven-piece combo at the age of mysterious, exotic atmosphere. It is on your inquiry. HERE
fifteen, Tyner joined the Benny Golson strident, brassy, and percussive and
Jazztet in 1954 which included Art features plenty of piccolo, the work of CHANGE
Farmer and Curtis Fuller, then joined Hubert Laws. Like a wild African OF ADDRESS
John Coltrane's Quartet when it was tribal dance it moves with Tyner in If you're about to
only two weeks old, staying for six years, the lead, literally tearing up the key- move, please let us
leaving it in December 1965. As a board and playing cascading arpeggios
result of this association, Tyner is the
leading figure to emerge from the post -
Trane modal school that played in and
that tumble along. But the tune is
sketchy, repetitive, and does not seem
to lead us anywhere.
know approximately
four weeks before
the move comes L
about. Or, if there is anything wrong with
I
around New York during the mid - Jooney Booth plays a quixotic your current mailing label, please let us
sixties. walking bass in Little Brother and know on this form also. Simply affix your
Tyner's style, a highly individual one, there is lots going on. Tyner literally present label here, and carefully print the
is a compilation of Bud Powell, Horace fills every crevice, startling pianist updated information below.
Silver, Red Garland, and Cecil Taylor that he is while Virgil Jones achieves PLEASE HELP US TO SERVE YOU BETTER
all rolled into one but Tyner is none- a very clear sound on trumpet that
AUDIO MAGAZINE
theless ever himself. In a sense he has lingers nicely, never falling flat. The
134 N. 13th Street Phila., Pa. 19107
synthesized and expanded upon their other horns are mere decorative items,
musical prowess, being of an orchestral, only playing lip -service to the entire Name
concertizing mind and playing with a affair. (Please Print)

tremendous depth of feeling, over- After a slow beginning by the string Company
whelming force of attack which clearly section which doesn't last very long
Address

AUDIO FEBRUARY 1974 75 City State Zip

www.americanradiohistory.com
AmericanRadioHistory.Com
They put a rotary engine in a car. McCoy Tyner picks it up and runs with
We put a cam shaft in a turntable. the ball in The Divine Love, playing
a galloping piano and displaying as-
tounding technical facility. Highest
marks however go to Some Day, a
slow, lyrical ballad which showcases
Booth on bass in a beautifully extend-
ed solo against Tyner's supremely
For the same reason. confident piano and Mouzon's drums.
It gains momentum as it goes along,
Sonny Fortune taking a flute solo
The reason? To make it quieter, smoother, more reliable. played a bit far back from the micro-
The basic record changer mechanisn-like the automobile's phone. Song of the New World is a
piston engine-has been a fairly reliable device that has served very fast tune that has a bright new
with some success for many years. But the very action of world of tomorrow optimism about it
the engine-or the changer-produces constant but, in the final analysis, repeats itself.
vibration and strong, sudden movements
that can ultimately wear it out. The sound reproduction throughout
this recording is sterling-clear as a
Now we have alternatives. For
cars, the Wankel rotary engine. bell!
And for record players, the se- This is certainly not McCoy Tyner
quential cam shaft drive mech- at his best but he is nevertheless
anism used in BSR's finest brilliant.
automatic turntables.
Its even rotating motion programs the Sound A Performance B-
complex automatic functions of the BSR 710
and 810 smoothly and without noisy and poten-
tially harmful quick starts and stops, without slam-
ming metal against metal. And because the cam gears are BACKDOOR
mounted on a carefully machined central shaft, they are all
but impossible to put out of alignment by rough handling Musicians: Colin Hodgkinson, Fender
or constant use. bass; Ron Aspery, alto and soprano
The result: consistent care -free performance, and good saxophones, flute; Tony Hicks,
music. With the BSR 710/X and 810/X Transcription Series drums.
BSR (USA) LTD
Total Turntables. BLAVVELT, NEW YORK 10913 Songs: Vienna Breakdown; Planta-
genet; Lieutenant Loose; Askin' the
Check No. 12 on Reader Service Card Way; Turning Point; Slivadiv; Jive
Grind; Human Bed; Catcote Rag;
Waltz for a Wollum; Folksong;
Model AT15S cartridge shown Back Door.
in Model AT1009 tone arm, Warner Bros. BS 2716, $5.98.
The story goes that two supremely
talented London session players made
their escape from the city scene to the
eerily atmospheric North Yorkshire
moors where they were soon joined by
yet another musical refugee. Thus was
formed Back Door whose melodious
cartridges. To give you musical mettle was tried and tested by
correct, long-lasting per- Brian Jones, the landlord of a fifteenth
formance from discrete century pub at Blakey Ridge called the
4 -channel records. And

THE li
Lion Inn who so believed in the three-
better sound from any some that he financed the recording
matrix record or present
stereo disc as well.
of an LP and had 1000 copies privately
HOT TIP Audio-Technica Dual Magnet
cartridges are brand new and
pressed.
But when one copy made its way to
Ronnie Scott's club in London the
IS SHIBATA loaded with features. Like a sepa-
rate, independent magnetic sys- trio was quickly booked and their
careers have literally taken off from
...and tem fcr each side of the stereo
groove. And smooth response to there, the press having lavished sincere
audio-technica! 45,000 Hz and beyond. Plus very
low moving mass for superior trac-
praise upon the group.
And no wonder when one listens to
The only phono stylus tip design- ing ability. the astonishing Colin Hodgkinson who
ed for the new discrete 4 -channel Get a tip from leading audio has virtually revolutionized the Fender
records is the new Shibata multi- showrooms throughout the
faceted stylus. bass like there was no tomorrow. What
country who are now stocking Hodgkinson has actually done is to
It's the stylus we include on our and recommending the Audio-
new AT14S, AT15S and AT20SL Technica Dual Magnet cartridges. treat the Fender bass as a lead instru-
Audio-Technica Dual Magnet* For every modern record you own. ment, freeing it from its formerly
subservient role, not just playing
audio technica. Patents pending
J
rhythmic backup figures but creating
long fluid lines with it and at times
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76 AUDIO FEBRUARY 1974
accompanying himself such that it The best by far.. .

sounds like two basses rather than one,


thereby contributing a pleasing variety because Revox delivers what
of tone and texture to the whole.
Consider also the very skillful alto all the rest only promise.
saxophonist and flautist Ron Aspery
whose style lies somewhere between
that of Omette Coleman and Robert
Johnson but is Aspery all the way
just the same-both soothing and ag-
gressive. And drummer Tony Hicks
whose musical empathy is far-ranging,
who never steals the show nor has
prima donna fantasies and has been
portrayed as "loose but can strike
like a cobra."
The twelve compositions included
on this LP are all refreshingly brief-
the longest Slivadiv clocked at three
minutes, forty-five seconds-and written
by Aspery and Hodgkinson. It is in this
sense that they are individualistic, jazz
and blues not normally lending them-
selves to the abbreviated forms of
which this group is capable. By a
judicious process of sub-editing they
discipline themselves to present only
their pared -down best.
And well done it is. Vienna Break-
down is a hard -knocking, straight-
forward tune with some frantic but

A
controlled alto saxophone by Aspery
while Plantagenet features Aspery in a
more gentle, controlled mood with For complete details write: Revox Corp., 155 Michael Dnve. Syosset, N.Y. 11791
Hodgkinson playing in counterpoint
to him:
But Lieutenant Loose is all Hodgkin-
son on as intricate a lead bass as you
will find as he treats it like a guitar,
playing a duet with himself. Askin'
the Way features Aspery creating
Coleman -like complexities of phrase - The most respected
on alto against Hodgkinson's bass
which echoes him emphatically. Hicks' name in electronics
drum drives it right along, tying it all
up into the cohesive package it is.
introduces state-of-
Turning Point is a very unusual the-art loudspeakers.
tune taken in a minor key, Aspery
making a lovely alto entrance against
MARK X Dynamic Transducer Three-way Speaker System.
Hodgkinson's bass obbligati. Hicks' utilizing four drivers (1-12", 1-5", 2-2"), with low
drums are missing but reappear in and mid -frequency control..Oiled walnut
Slivadiv in which Aspery barks into his MARK XI Dynamic Transducer Three-way Speaker System,
saxophone like a clucking chicken, utilizing seven drivers (1-12", 2-5", 4-2"), with low.
Hodgkinson ending it with a wild bass mid and high f-equency control. Oiled walnut

scratch. MARK XII Solid State Electrostatic T-ansducer, three


Human Bed is an ultra-musical panel array of electrostatic elements, 1-12" low
frequency driver, 1-5" driver, for lower mid -frequencies,
experience in which Aspery plays a electronic protection circuit, with low, mid and
soft, smooth flute in this slow number. high frequency control. Oiled walnut
Catcote Rag follows in stark contrast MARK XIV Solid State
to its predecessor, frenetic yet disci- Electrostatic Transducer, six panel
plined, the three instruments playing array of electrostatic elements.
1-12" low frequency driver,
as one, while Waltz for a Wollum is 2-5" mid -frequency drivers, with Scientific Audio Electronics, Inc.
Acoustics Division
subtle, sassy, full of surprises and low, mid and figh frequency control.
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Oiled walnut or rosewood.
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Please send comprehensive data
Hodgkinson adorns Folksong with on SAE state-of-the-art loudspeakers.
graceful arpeggios that are ultimately
lyrical. Once again Hicks' drum is (ea/leer/mid Name
ilkAddress
absent.

AUDIO FEBRUARY 1974 77


2e Gel//1e City State-_ _ Zip_

Check No. 30 on Reader Service Card


You're listening to Liszt, The sound is totally uncontrived
cnc succQnly with no superfluous electronics or
overdubs, the only out of place noise
being that of a motorcycle revving up.
Back Door is a trio of total com-
pif'` munication. It is a real find. Enter
through it.
When your high-powered amplifier NOW-ANNOUNCING the newest BGW:
blows an output transistor, it blows out The 250, slightly scaled -down version Performance A Sound A
your expensive speakers, too. BLAM! of BGW's higher-powered professional
They're ruined. amplifiers.
Unless your amplifier is a BGW. Same SCR Electronic Crowbar THE COUNTRY GENTLEMEN: Going
Only the BGW line has fail-safe protection: a high-speed circuit breaker, Back to the Blue Ridge Mountains
Electronic Crowbar circuitry. no fuses, no relays. Musicians: Charlie Waller, guitar;
That other amp you were thinking of The 250 delivers 200 watts per John Duffey, mandolin; Pete Roberts,
buying has fuses to shut it off. Or a channel to a two -ohm load. Ideal guitar; Eddie Adcock, banjo; Tom
relay to disconnect speakers from the with two sets of four -ohm speakers Gray, bass.
power supply. Either way, it can take in parallel: For only $429. Songs: Going Back to the Blue Ridge
a full second or more. Too long. Write for details. And tell your Mountains; Going to the Races;
Short circuit! dealer-BGW means Better Get With Blue Bell; Dark as a Dungeon; Copper
But in a BGW-in milliseconds- it. Kettle; Billy in the Low Ground; I
the Electronic Crowbar safely dis- Saw the Light; Tom Dooley #2;
charges stored energy. Turns the unit BGW, Dept. 2A Brown Mountain Light; Electricity;
off. Saves your speakers. P.O. Box 3742 Daybreak in Dixie; Mary Dear; Sad
4.1 4ù
mi 4 Beverly Hills CA 90212 and Lonesome; Cripple Creek; Don't
Check No. 8 on Reade Service Card the Road Look Rough and Rocky?;
Muleskinner Blues.
Folkways, FTS 31031, stereo, $5.98.
CLASSIFIED
Want to buy, trade or sell components? Looking for a rare piece of equip-
Hayseed and corn pone aside, the
Country Gentlemen have slid along
via their various musical merits from
ment? Want to offer or buy a service? Want a job in the audio field? If your
the country to the city and are here to
answer is "yes" to any of these questions, your ad belongs in Audio Classi-
stay without in any way compromising
fied. Rates are comfortably low-readership is astoundingly high. Use the
their traditional southern Appalachian
handy order form to include your message in the next issue.
roots. Up until a couple of months
ago, one was able to catch the Gentle-
men live week nights at a club in
Georgetown called The Shamrock
(straight out of the fifties and complete
with old-fashioned beer signs), but
8 TRACK CASSETTE -OPEN REEL 08
HEAD now they have made their way up
Wisconsin Avenue to the Red Fox in
Bethesda.
In addition, the Gentlemen have
travelled up and down the East Coast,
having even performed at New York's
infamous Carnegie Hall and having
made a foray to Japan a couple of
years ago. The Japanese let them
know in no uncertain terms just how
pleased they were with them, which
the Gentlemen talk about even to this
day. And incidentally, bluegrass has
really rubbed off on the Japanese for
with they have even formed some groups
a
of their own. Ah, the meeting between
East and West.
year's In this Folkways recording, mastered
subscription to: live in the sixties, we have the Country

tapi guida Gentlemen at their best, the original


Country Gentlemen, that is, which
includes Charlie Waller, guitar, John
Duffey, mandolin, Pete Roberts,
HARRISON TAPE GUIDE guitar, Eddie Adcock, banjo, and Tom
143 W. 20th St., New York, N. Y. 1001 I Please check one D Cartridge Gray, bass.
I'd be happy to subscribe to the Harrison Tape Guide D Cassette The beauty of bluegrass lies in its
for I year (6 issues) at $4 50. Payment enclosed. ebullient improvisatory nature which
Name is superimposed over rather simple
Address songs culled from all the media, re-
City State Zip
- - -
_ ., 78 AUDIO FEBRUARY 1974
suiting in a thoroughly delightful and
natural mixture of spontaneity and
controlled discipline. Thus its kinship
with jazz which travels over similar
routes.
But in bluegrass, strings are king
rather than reeds, horns, and drums,
witness Eddie Adcock's deft plucking
in a duet with John Duffey in Cripple
Creek which begins with a slow coun-
trified statement, then breaks into
rapid-fire picking. Adcock's sophis-
ticated approach to the banjo is further
reflected in Blue Bell, an instrumental
which features fellow cohort Duffey
in some rip -snorting but all the same
intricate mandolin. And Going To the
Races, the first time ever recorded by
the Gentlemen in 1957, is brimfull of
excellent harmonics with Adcock again
holding sway.
Notable also are the Gentlemen's
very remarkable vocalizations and the
exceedingly close harmonies they
achieve voice -wise with Charlie Wal-
ler's clean luminescent tones ringing
out over all. Going Back To the Blue
Ridge Mountains, definitely influenced
by gospel complete with choral re-
sponse, has Waller in the lead and in
Dark As a Dungeon, an old Merle
Travis tune, Waller puts on a very
convincing performance as he does in
the fast -paced Electricity in which he
sings as well as getting in plenty of
guitar licks. And Waller's story -telling
manner in Brown Mountain Light is
indeed intriguing.
John Duffey's contribution as a
singer is also worthy of comment. Straight talk about a itylur
His virtuosity as a vocalist and actor
is overtly displayed in Muleskinner
Blues in which he summons those
mules, hitting high notes all the while.
Mary Dear, on the other hand, has
Duffey depicting the tragic human
waste of war.
Interspersed between these tunes of Listen carefully and you can still hear some audiophiles refer to the
course is the cheerful, betimes corny record stylus as ... "the needle." Although we are not about to
banter of the Country Gentlemen as quibble over semantics, we would like to go on record, so to speak,
they introduce the songs. Although as observing that the stylus of today bears no more resemblance
rechanneled for stereo, the reproduction to a needle than it does to a ten -penny nail. In fact, it is probably
sounds surprisingly natural as though the most skillfully assembled, critically important component in any
it had not in fact been tampered with.
high fidelity system. It must maintain
So climb aboard the Country Gentle- flawless contact with the undulating
men bandwagon who copped the walls of the record groove-at the
bulk of the Muleskinner News Bluegrass whisper -weight tracking forces re-
Awards for 1972 including Best Band quired to preserve the fidelity of your
of the Year, Best Blue Grass Singer records through repeated playings.
(Charlie Waller), Best Vocal Group, We put everything we know into our
and Best Album of the Year. Join Shure Stereo Dynetic Stylus Assem-
their many admirers. You cannot lose blies-and we tell all about it in an
with this one. informative booklet. "Visit To The
And I quite agree with the sleeve Small World Of A Stylus." For your
that " ... the group deserves a North- copy, write:
ern version of a rebel yell."
Shure Brothers Inc.
Performance A + Sound B 222 Hartrey Ave., Evanston, Illinois 60204
In Canada: A. C. Simmonds & Sons Ltd.
AUDIO FEBRUARY 1974 79 Check No. 34 on Reader Service Card
ROY BOOKBINDER: Travelin' Man phi. And to hear him tell it and to Roy Bookbinder sings out above his
Musician: Roy Bookbinder, guitar, hear him sing it, that's exactly what guitar filligree in an open, forthright
vocals. Roy is, having travelled down to fashion, playing a very full acoustic
Songs: Travelin' Man; Delia; Biscuits; Spartanburg, South Carolina to play guitar and filling his spaces well. He
Statesboro Blues; Weeping Willow for Pink Anderson, a great old Carolina has no trouble with the tricky intervals
Blues; Cincinnati Flow Rag It; Baby bluesman who wrote the album's title of Biscuit, singing:
It Must Be Love; Bye Bye Baby tune and who used to make records But don't put no more baking powder
Blues; Never Drive a Stranger From for Columbia and travel the medicine in your bread you see
Your Door; That'll Never Happen shows. You know your biscuits are tall enough
No More; Bad Luck Blues; Missis- Then Roy Bookbinder travelled for me
sippi Blues. north to visit Rev. Gary Davis, one of and in Statesboro Blues, a Blind Willie
Adelphi, AD 1017, stereo, $5.95. the greatest of the "East Coast" blues McTell original which has a get -along
guitarists who sat around in his arm- air about it, Bookbinder inserts some
"This music, some borrowed, some chair in front of his heater, smoking boogie-woogie as he does in Missis-
given, and some made up by me, a Tiparillo and teaching Bookbinder sippi Blues which contains a very pretty
comes mostly from years ago; it tunes such as Delia, a slow blues about boogie passage in midstream. A wealth
means a lot to me and to my friends, a "gamblin' gal," and the melodically of Bookbinder guitar carries Never
some who play guitar, some who enticing Cincinnati Flow Rag II. the Drive A Stranger From Your Door in
perform and make up their own only pure instrumental on the entire which Bookbinder plays slide guitar,
music, and some who just like to recording which has a quiet sidling achieving a drone -like metallic effect.
listen a lot. quality about it. Pure, unadulterated guitar and vocal
"Other songs on this record come The release contains blues from sounds permeate these grooves although
from far away places and from men veteran bluesmen who have now be- it appears as though an echo chamber
who are long gone. Some I learned come legends such as Blind Boy is used in Bye Bye Baby Blues which
from old records and some from my Fuller's Weeping Willow Blues in has a curious resonance about it.
guitar playing friends. I'd like to thank which Bookbinder plays way up in the For the budding blues guitarist
those friends, for the good times, neck, Blind Blake's That'll Never this is a worthwhile album to study
the good music, and for their friend- Happen No More, coming around full and enjoy. It will be a learning ex-
ship." circle with its tongue-in-cheek bawdy perience for you as Roy Bookbinder
So writes the young white bluesman lyrics, and Blind Lemon Jefferson's has truly learned his lessons well.
Roy Bookbinder on the sleeve of Bad Luck Blues which is finally re-
his Travelin' Man recording for Adel- petitive. Performance A Sound A-

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or more advanced audio products dedicated
to expanding the boundaries of the audio No. Hollywood, Ca. 91605
experience. Other Examples RUSH ME INFORMATION ON THE
--a 1500 w. amplifier with less than 0.05% FOLLOWING CERWIN-VEGA PRODUCTS.
distortion Home Hi-Fi equipment
--a 24" servo -control bass speaker that handles
1500w. continuous power
D Musical instrument products
Professional sound reinforcement equipment
--the new Magnastat(tm). The first virtually
perfect "textbook" speaker name
WRITE NOW FOR DATA and expand your address
perceptual boundaries. Because what's outrageous
today may be industry standard tomorrow.

Cerwin-Vega 211R. THE LOUD ACCURATE SPEAKER -$269.50

Check No. 10 on Reader Service Card


Classified FOR SALE
TRANSCENDENTAL AUDIO, LTD. BUFFALO,
N.Y. 716-897-3984
Rates: 254 per word per insertion for noncommercial advertise- THE INVENTORS, ENGINEERS, COLLEGE
INSTRUCTORS AND PROFESSIONAL MUSI-
ments; 504 per word for commercial advertisements. Frequency CIANS at Music & Sound Ltd. offer their clients
discounts as follows: 3 times, less 10%; 6 times, less 15%; 12 a new standard of technical competence, certain
proprietary testing procedures, a mind bogging
times, less 20%. Closing date is the FIRST of the second month research laboratory, and a host of the most
preceding the date of issue. Payment must accompany all orders advanced professional services, including hand
picked component matching/customization/
under $10.00. Use the handy self-addressed, postage paid card at assembly/alignment, room acoustical design and
the back of this issue. When replying to AUDIO box number ads, treatment, calibrated environmental equaliza-
tion, ± dB at your ears, total "A" warranty
send letters c/o AUDIO, 134 No. 13th St., Phila., Pa. 19107. For 1

station service, and the most flexible demonstra-


more information about classified advertising, circle Reader Ser- tion facilities anywhere for the distinguished
array of products from: Sequerra, Dayton -
vice Card #135. Wright, Dahlquist, Infinity, Crown, Decca, I.M.F.,
Quad, Rogers, Spendor, B.B.C. Monitors, Stax,
E.S.S., B&O, J.B.L. and Altec Professional,
Schoeps, S.S.I., Beyer, Custom Radco, Gately,
Braun, Tascam, Ohm, Damped S.M.E., Ortofon
QL-15, Tandberg, shipped pre -paid insured.
Music & Sound Ltd., 1111 Old York Rd., Willow
Grove, Pa. 19090 215-659-9251.
HOUR RABCO SL -8E SOUNDS BETTER THAN
YOUR SL-8EIl For $100 we'll convert "yours"
to "ours." Professional Products Div., Music and
Sound Ltd., 1111 Old York Road, Willow Grove,
Pa. 19090. 215-659-9251. Dealer inquiries
invited, Customized S.M.E Damping Mods.
!!HAND-PICKED DECCA LONDON EXPORT
SERIES & MK VII At long last the ultimate
FOR SALE FOR SALE cartridges, guaranteed from Music and Sound
ATTENTION ALL SERIOUS CASSETTE EN- Ltd., 111/2 Old York Road, Willow Grove, Pa.
PROTECT YOUR LPs. Poly sleeves for jackets
THUSIASTS-At last -No nonsense cassette 19090. 215-659-9251. Individually calibrated
6C round bottom inner sleeves 5C Poly lined
labels. Send for free samples. Joe Bly Enterprises,
response and separation curves included.
paper sleeves 120 White jackets 27C Postage
339 W. 88th St., N.Y. 10024. $1.00. House of Records, Hillburn, New York JAPAN HONG KONG DIRECTORY. World Prod-
10931. ucts information. $1.00 today World Trade
FREE 64 PAGE CATALOG offers hundreds of Inquiries. Hillyard, Washington 99207.
recordings of rare Renaissance, Baroque and
CYBERACOUSTIC AND EQUIPMENT TESTING MAGNEPLANAR, CELESTION, EPI, OHM, RTR,
Classical music. Some records priced as low as
laboratory. CROWN tape recorders, amps, AURI- Audionics (transmission line), ERA and Con-
$1.00 each! All late recordings. In stereo only.
LINEARS, warranty service station, IMF and noisseur perfection turntables, BGW, Sony, B&O
Musical Heritage Society, Box 932 -AU, New York,
Infinity monitors, AKG, Rabco, Decca, UREI, Crown, Transcriptor, Stax, Decca, Intregal Sys-
N.Y. 10023.
Fairchild and more. Barclay, 503 Haverford tems, many others. Hear our Magneplanar &
WORLD'S LARGEST, DEEPEST, MOST Avenue, Narberth, PA 19072 (215) 667-3048 Audionics super speaker system for $ 1,100. High
POWERFUL SUB WOOFER SYSTEM can be or 120 Villa Crest Drive, State College, PA 16801 definition Audio specialists. The Gramophone,
had only at Music and Sound Ltd. 1111 Old (814) 466-6500. Ltd., 757 Asp St., Norman, Okla. 73069,
York Road, Willow Grove, Pa. 19090. 215- 405-364-9477.
659-9251. From $1,000. Bandpass 16 Hz. AUDIO RESEARCH CORP'S Magneplanars IA,
II, and Ill. Woofer Screen', SP -3 Preamp', E. PATRICIAN 800 CONTEMPORARY
V.
FIREWORKS NEWS -Monthly magazine covering PR. MINT EDMOND HAMMITT BOX 96
EC-2, 3 and 4 Crossovers', Dual -51, 75, and 400
Fireworks, Construction, Sources of Supplies, WILLISTON, OHIO 43468 419-836-6011.
Amps, Tone Arm'. Normally shipped from stock,
New Firms -Products. FREE Fireworks Catalogs
pre -paid insured. Music & Sound Ltd., 1111 Old PROFESSIONAL AUDIO EQUIPMENT: Micro-
with Subscriptions! $9.00 per calendar year. York Road, Willow Grove, Pa. 19090 215-
Pyro Press. Box 1202P, Lexington, Kentucky phones, recorders, equalizers, limiters, turn-
659-9251. tables, lathes, cutterheads, disc mastering
40501.
TWO (2) WHARFEDALE W-90 loudspeaker systems, portable mixers, consoles, aligment
ONE OF FLORIDA'S ONLY AUDIO RESEARCH systems, a stereo pair. Must sacrifice, moving tapes. Package deals and installations. Request
DEALERS. Complete Audio Research on dem- out of state. Very reasonable. Call (201) 941- Flyer. Wiegand Audio, Middleburg, Pa. 17842
onstration. SP -3/ Dual 75/ Dual 51/ Magneplanars 1768 -AM ONLY. 717-837-1444.
and Bass Panel (Tri-amped). Plus Phase Linear,
Crown, McIntosh, Hartley, Decca, Stax, S.A.E. CANADIANS: Brand name audio at warehouse CIZEK LOUDSPEAKERS Lowest price in the
Braun, Tandberg, Advent, B&O, Rabco, J.B.L. prices. FREE price list. Baltimore Audio Inc., country. Quotes on your favorite system. Sound
Thorens, E.S.S. (Heil). Complete audio counselling. 2385 Eglinton Ave. E., Scarborough, Ontario, Center, Box 1242, Bloomington, Indiana 47401.
Sound & Sight, 20 N Federal Highway, Boca Canada M1K 2M5. 812-332-4252.
Raton, Fla. 33432 (305) 391-1843. SPEAKER SPECIALIST TOBY Corporation of
THE AUDIO RESEARCH ROOM. The complete
range of Audio Research equipment on display America: 4620 Camp Bowie, Fort Worth, Texas
AUDIO RESEARCH. Magneplanar, Crown,
under ideal listening conditions. By appointment. 76107.
McIntosh, Thorens, Decca, Stax, Revox on
display. Free List used equipment. Stereo Shop, C.M. Santmire, AUDIO SYSTEMS & DESIGN, DIAMOND NEEDLES and Stereo Cartridges at
107 3rd Ave. SE, Cedar Rapids, Iowa 52401. 5421 South 84th St., Lincoln, Nebraska 68516 Discount prices for Shure, Pickering, Stanton,
319-365-1324. (402) 489-9888.
Empire, Grado and ADC. Send for free catalog.
SENSIBLE SYSTEMS & FLORIDA AUDIOPHILES! E.S.S. AMT 1: Phase All merchandise brand new and factory sealed.
PRICES: Hegeman,
LTD, ARP Synth, AR-LST, JVC, Citation, Marantz,
Linear, Klipsch, Sony, Marantz, B & 0, Quad, LYLE CARTRIDGES, Dept. A, P.O. Box 69
Revox, Barzilay, INTERIORS PLUS SOUND Kensington Station Brooklyn, New York 11218.
BGW, Thorens, B&O, Connoisseur, Equa, Akai,
Dokorder, Tandberg, Revox-Beyer, Soundcrafts-
3038 N. Federal Hwy, Ft. Lauderdale, Fla.
33306. (305) 566-3511. DIGITAL:THEORY DESIGN .
men, Hartley, JansZen, Design Acoustics, CONSTRUCTION
Kirksaeter, Audio Technica, 54 othér makes. NEUMANN MICS & ACCESSORIES. Gately
Trades, 89 Day Speaker Approvals. By appoint-
ment only (404) 252-8569. Write for famous
Pro kits and mixers. Most models in stock. Im-
mediate prepaid shipment. Mastercharge. Write
LOGIC
"Blue Sheet" ATLANTA AUDIO PROJECT Ltd.
2126 Faulkner Road, Atlanta, Ga. 30324.
or call Dick McGrew Recording Service. 7027
Twin Hills, Dallas, Texas 75231. 214-691-5107.
NEWSLETTER
SIMPLE
° COPY 5 1.00
NEWSLETTER
LOGIC
WALDWICKNJ.07443
AUDIO FEBRUARY 1974 81
FOR SALE
AUDIO RESEARCH, BRAUN, CERWIN-VEGA,
DECCA, ESS, HEGEMAN, IMF, MAGNUM
OPUS, PHASE LINEAR, QUAD, QUINTES-
SENCE, RABCO, RADFORD, SAE, STAX.
Paul Heath Audio, 354 State Street, Rochester
N.Y. 14608. (716) 232-2828.
ELECTROENCEPHALOPHONE: brainwave moni-
tor. Professional biofeedback instruments J&J.
Rt. 8, Box 8102, Bainbridge Island, Wash,
98110.
CONNECTICUT AREA Audio Research speaker
and amps. Dyna-mod kit and Transcripter turn-
tables. The Stereo Lab. 168 State St., New
London, Conn. (203) 447-9802.
SCOTCH MAGNETIC TAPE, discount Box 167A,
Orwigsburg, Pa.
101/2' RECORDER SPECIALISTS: Used boxed
101/2" metal and fiberglass recording reels NAB
BEFORE YOU BUY center Metal $2.00 each fiberglass $1.25 each.
New 1 mil quality tape on above metal reel 5
for $24.00 on fiberglass 5 for $19.00. Replace-
THAT RECORD . . . ment content labels for 101/2" tape box samples
S.25. Soundd Investment Co., POB 88338
WAIT A MINUTE! Dunwoody, Ga. 30338.
FLAT FREQUENCY RESPONSE TO 18 Hz.
IS IT REALLY A BARGAIN? Sound Systems presents its new Earthshaker One
IS IT THE PERFORMANCE YOU REALLY WANT? woofer system. The system includes an electronic
croossover variable from 20 to 300 Hz and 100
Check the other performances and recordings in the latest watt rms amplifier.
Schwann Record & Tape Guide. SOUND SYSTEMS
Palo Alto, Calif. (415) 328-3761.
If it saves you disappointment over one poor purchase, it's well Mill Valley, Calif. (415) 383-6556.
worth the time to look in Schwann first. SCOTCH 150 STUDIO TAPE -1800' on 7"
reel degaussed and boxed. 12 for $12 POSTPAID
Free price list. WIDE RESPONSE, 6114A SANTA
Schwann -1 Monthly. Special new listing section has MONICA BLVD., HOLLYWOOD, CALIF. 90038.
latest releases: records, 8 -track cartridge and cassette ARE YOUR TAPES BEING SPOILED by record-
tapes. Nearly 45,000 total listings on 773 labels ing or playback on equipment that may be
in classical, recent popular, rock, jazz, musical magnetized? The magnetic signal "printed" on
shows, country, opera, ballet, electronic, tape is quite sensitive to subsequent magnetic
field exposure. You can now actually measure
quadrasonic, etc.
such damaging residuals and really demagnetize
offending components using an Annis Audiophile
Schwann -2 Semi-annual catalog for specialized Han -D -Kit. Write for bulletin & copy of article
"Notes On Demagnetizing" R. B. Annis Co.
categories: pop more than two years old, classic jazz, 1103 N Delaware Indianapolis, Ind. 46202.
older and re-released mono and reprocessed stereo classical
WORLD'S FINEST LOUDSPEAKERS on DEMON-
recordings, classical on lesser -known labels, international STRATION-AUDIO RESEARCH CORPORATION'S
pop & folk on domestic labels, spoken, educational, NEW T -1A, T -II, T -III; IMF MONITOR Ill, STUDIO

---------------
religious, etc. Ill, ALS 40, ESS AMT -1, RTR 280DR, ESR-6.
CERWIN VEGA 320 MT -3200. HEGEMAN,
QUAD, BROCHURES AVAILABLE. PAUL HEATH
AUDIO, 354 STATE, ROCHESTER, N.Y. 14608
(716) 232-2828.
SPECIAL PRICE SAMPLE OFFER MAKE A SOUND CHOICE. Our switching equip-
ment allows instant comparing of all our products.
If your favorite store doesn't carry Schwann, order samples by mail. Audio Research, Magneplanar, B&O, Braun,
Prices include postage and handling. Crown, DBX, Decca, Infinity, Phase Linear,
Schwann Sampler one Schwann -1 (monthly) and Rabco, SAE, Soundcraftsmen and many more.
one Schwann -2 (semi-annual) $2.50 SOUND SYSTEMS
D Latest Schwann -1 (monthly) $1.50 Palo Alto, Calif. (415) 328-3761.
Mill Valley, Calif. (41 5) 383-6556.
D Latest Schwann -2 (semi-annual) $1.25
D Newly revised Basic Record Library booklet. DECCA MK V EXPORT-HAND SELECTED.
Lists 1,000 suggestions in classical music Custom lateral damping for SME tone arms (for
by musical periods for your enjoyment. Send 15{t maximum performance).
for cost of handling, also 8tt stamped self-addressed long envelope. SOUND SYSTEMS
Palo Alto, Calif. (415) 328-3761
I enclose $ for the items checked above. Mill Valley, Calif. (415) 383-6556
Name LOWEST DISCOUNT PRICES ANYWHERE
Address on audio equipment. All major brands dis-
counted. Write for quotes; K&L Sound Services,
City State Zip 264 N. Beacon St., Watertown, Mass 02172.
Dealer's Name & Address
SONY 6544 QUAD TAPE DECK, mint condi-
tion, was $875, asking $4001 Rick, 168 S.

Schwann Record &Tape Guide Huxley Dr., Cheektowaga, N.Y. 14225. (716)
832-5929.
137 Newbury Street, Boston, Mass. 02116 AU

82 AUDIO FEBRUARY 1974


FOR SALE FOR SALE LISTEN TO TV THROUGH
BUY DIRECT FROM ENGLAND'S HI FI MAIL AG 350-2 AMPEX RECORDER. Please call for YOUR STEREO WITH
ORDER SPECIALISTS! SAVE ON SME, LEAK, complete description Scott Kent, BKM Associates,
DECCA, TANDBERG, REVOX, GOLD SPEAKERS, area code 617-658-6565.
TELEDAPTER!
ELECTROSTATIC SPEAKERS, B&O, CELESTION,
ONE STOP for all your professional audio
TRANSCRIPTOR, CAMBRIDGE, AUDIO DESIGN,
requirements. Bottom line oriented. F. T. C.
ORTOFON, LOWTHER, GOLDRING, KEF. Brewer Company, P.O. Box 8057, Pensacola,
INSURED SHIPPING QUOTES FREE OR SEND
Florida 32505.
$2.00 BILLS TO INCLUDE LITERATURE. GOOD -
WIN LIMITED, 7 BROADWAY, WOOD GREEN, PORTLAND'S Works with any television & stereo. No wiring,
OWN HAWTHORNE STEREO
just takes a minute to plug in. Now enjoy all
LONDON N. 22 VISITORS WELCOME TO SHOW now offers the finest in nationally known and
N programming with a full new sound.
ROOMS PHONE 888-0077. esoteric audio components. We stock Advent, Complde and ready to use with instructions.
Braun, EPI, ESS, Harman-Kardon, Infinity, 10 day money back guarantee. SEND ONLY
SCOTCH RECORDING TAPE, lowest prices.
Klipsch, McIntosh, Quatre, Rabco, Revox, SAE, $2.00 for C.O.D. or save C.O.D. charges and
TAPE CENTER Box 43058, Washington, D.C.
Stax, and Phase Linear among others. Home send $16.95 in check, cash or mastercharge
20012. No. to:
trials available as well as complete back-up
QRK AND REK-O-KUT professional turntables, service. Mail and phone inquires welcomed. RHOADES & CO.
HAWTHORNE STEREO, 3580 S.E. Hawthorne P.O. Box 117 INelenwelle, Tn. 37075
tone arms, accessories, Isostatic Audio Systems.
66 Dale Drive, Tonawanda, New York 14150 Blvd., Portland, Oregon 97214.
-Dealer inquiry invited -
(716) 695-1535.
ELECTRONIC CROSSOVERS -ALL TYPES. FOR SALE
HAN-D-MAGS, Audiophile Han -D -Kits and Mag- Definitive booklet describes applications: how to
AR, KLH, ADVENT, DYNACO, RECTILINEAR,
netometers -Free Data, R. B. Annis Company, improve all types speaker systems -$5.00 credit-
ADC OWNERS -Our low cost electronic equalizer
1103 N. Delaware, Indianapolis, Indiana 46202. ed to first purchase. Huntington Electronics. Box
adds a full octave of new bass, provides three
2009, Huntington, Conn 06484.
SONY TA-3120A, $120 R.C. Nuebling, 519 broadband tone controls. Three reviews, litera-
Sixth, Ann Arbor, Mich. 48103. THE MONEY SAVER! Write STEREO SPECTRUM, ture, from NORMAN LABORATORIES, 520
Box 1818, Miami Beach, FL 33139. Highland Parkway, Norman, Oklahoma 73069.
LOUDSPEAKERS -BOSE 901 REPLACEMENTS.
$7.98 postpaid. Quantity Discounts. Moneyback NORTHERN N.J.'S FINEST AUDIO STORE, 20 MCINTOSH, AUDIO RESEARCH, CROWN, ESS,
guarantee. Auratone, Box 580-5, Del Mar, minutes from N.Y.C. Bozak, B&O, Hartley, QUINTESSENCE, HEGEMAN, BOSE, ADVENT,
California 92014. Infinity, Magneplanar, Marantz, Phase Linear, EPI, STAX, REVOX, RABCO, CITATION, PIO-
Quintessence, SAE, Thorens. Write or Call NEER, TEAC, FISHER STUDIO-STANDARD and
THE LARGEST OLDIES CATALOGUE. Over UNIVERSITY STORE, 57 E. RIDGEWOOD AVE., many more. Finest Service on premises. Stereo
6000 records for sale 500 to Sl 50.00 covering Designs, Mercury Mall, Hampton, Va 23666
RIDGEWOOD, N.J. 201-447-5700.
years 1948-1972. Cost of 60 page catalogue is
(804) 838-6394.
$3.00 refundable with the first order. Send to WEST'S LEADING SPECIALISTS in high
Collectors Records, Box 44017 Dallas, Texas definition sound systems offer Celestion, B&O, AUDIO RESEARCH, TRANSCRIPTORS, INFIN-
75234. ER! Tower, Klipsch, Phase Linear, Crown, Citation, ITY, SAE, Ortofon, KLH, Thorens, B & 0, Phase
Pioneer, Connoisseur, Phillips, Braun TG -1000, Linear, Stax. Florida's only state-of-the-art audio
OPERA TAPES. Historical performances of past
Thorens, DBX, Rabco, and more -shipped prepaid shop. Stereo Stuff, 650 W Tennessee Street
40 years. Unbelievable treasures and rarities. Tallahassee, Florida 32304 (904) 222-0812.
IMF Studio Ill and IMF ALS 40 shipped from
ALSO LP RECORDS. Free catalog. Ed Rosen,
stock prepaid ListenUp, Inc., 685 South Pearl,
Box 97, Freeport, N.Y. 11520. DON'T PAY THE HIGH MAIL ORDER PRICES
Denver, Colorado 80209. 303/778-0780.
THIEVES WAREHOUSE OF TAMPA, 1531 SOUTH
CANADIANS -DEEP DISCOUNT PRICES. Name DALE MABRY, TAMPA FLORIDA 33609.
CANADIANS: FREE BARGAIN HiFi and Elec-
Brand Hi-Fi components. All "Canadian Warranty"
tronics Catalogs. Etco (Au), Box 741, Montreal INDUCTORS, MYLAR CAPACITORS, networks
protection. No Duty. Send quotation requests to
H3C 2V2.
Cartronics, Box 783, Hazeldean, Ontario. & raw speakers plus, new 4 channel (commode/
NAB HUB ADAPTERS -Fit Revox, Crown, satellite) speaker system component kits. Custom
MAGNEPLANAR9 LOUDSPEAKERS are ex- TEAC, Robert, $3/pair postpaid. No C.O.D. networks (manufacturers inquiries invited). New
tremely realistic sounding. Our top quality models Quantity prices available. John Kountz, 1085 catalog. Mike Lewis, 3673 W. 113th St., Ingle-
are sold thru AUDIO RESEARCH dealers, some Van Dyke Dr., Laguna Beach, Calif. 92651. wood, Ca. 90303.
of which advertise on these pages. We now ANTIQUES -700 CYLINDER RECORDS. $3500
SCOTCH CASSETTES, CARTRIDGES, REELS.
have two less expensive models for sale. They the lot. Birnbom, 3655 Ridgewood, Montreal.
Discount prices. Lawson's, Box 510 Livermore,
are the MG 1672-P Room Divider and the
Ca. 94550. BUILD YOUR OWN highest quality microphone
MG2167-F Floor Standing model. You may buy
direct from the manufacturer until there is a ORTOFON OWNERS -IMPROVE SOUND with mixers, consoles, phono preamps, crossovers,
dealer in your area. Write us for details. Magna - our Micro-Preamp, which replaces Ortofon equalizers, or voltage controlled devices, using
pan Inc., P.O. Box 8642. White Bear Lake. transformer. Send for free literature. Huntington modules. Free catalog. Burwen Laboratories,
Minn. 55110. Electronics, Box 2009, Huntington, Conn. 06484. 209 Middlesex Turnpike, Burlington, Mass.
01803. Tel. 617.273-1488.
RECORDING STUDIO AND TUNED ROCK PA'S, CUSTOM LOADED MAXELL UDC -90 CAS-
100's of professional products (J.B.L. and Altec SETTES AS LOW AS $1.00. PRIVATE LABELING COMPARE AND SAVE $50, $ 100 AND MORE.
Professional, Tascam, D.B.X., U.R.E.I., Gately, AND OTHER CUSTOM LENGTHS AND TAPES Send $1.50 for complete list of major component
etc., etc.) and customized touring sound systems, AVAILABLE FOR ALL NEEDS. MJS 1126 Cobb discount houses in U.S. to -Component Dis-
including feedback suppression, narrow band St., San Mateo, Calif. 94401. counts, P.O. Box 937, Sunnyvale, Calif. 94086.
(5 Hzl) acousta-voicing/equalization (± 1 dB at HOUR HAND PICKED DAHLQUIST & ORTOFON GRAPHIC EQUALIZER PLANS: Novel circuit
your ears), room design/measurement/treat- MOVING COIL CARTRIDGES AND MICRO very effective/inexpensive, requires no inductors.
ment. All shipped prepaid insured from Music PREAMPS ARE INCOMPARABLE IN OUR Ten knobs (octave bands) compensate your Hi-Fi/
and Sound Ltd., 111/2 Old York Road, Willow CUSTOMIZED DAMPED S.M.E.'SII Music & Tape providing better listening. Complete plans
Grove, Pa. 19090. Sound, Ltd., 111 Old York Road, Willow Grove, rushed only $3.00 GREEN BANK SCIENTIFIC,
INVENTORS -ENGINEERS Pa. 19090. (215) 859-9251. Box 100C, Green Bank, WVa. 24944.
UNBELIEVABLE SAVINGS on 8 track cartridges. BEST OFFER: McIntosh MR77, KHL Nines, BOSE 800 SPEAKERS and amplifiers, Phase
Latest list 250. Bob Musial, Box 11907-A Crown SS724 & SP824, Magnaplanar I, Audio Linear amplifiers, Shure mikes, mixers. Special-
Chicago, 60611. Research Dual 75. Thorens 125 MKII, Decca V. ists in Professional Sound and Service. COMM-
Stax SR3/5. 319-365-6418 after 6 pm CST. TRONICS, 108 W. Poplar, Mankato, Minn.
ENGLAND'S LEADING MAIL ORDER AND 56001. 507-387-8291.
DISCOUNT SPECIALIST OFFER: -SME, Tannoy, DAYTON WRIGHT XG8 Mk II; Marantz 500
B&W, TEAC, Sansui, KEF, Cambridge, Armstrong,
Amp. Brand new -Must sell. (919) 467-9198. SAVE $5001 Revox Professional Model, Sony
Celestion, Decca, London MK V and Decca Tone - ROGERS B.B.C. MONITOR, IMF, B&W Ltd., C500 and ECM22 Condenser Mikes. Brand New,
arm at very competitive price. Please send for Factory Boxed. Cone, 213-798-0511.
Celestion, Radford, Decca, ERA, Connoisseur,
quotes. Reply by airmail. Shipped immediately Audionics TL -90, Goldring, Revox, Beyer, Lamb BOSE 901's, perfect condition, including stands
Freight collect. Southern Audio Services LTD. and more. Custom design and modifications. and equalizer, $395. Freight paid. Craig Dinerman,
@43 High Street, Kingston upon Thames. Surrey, SUFFOLK AUDIO, INC., 120 Boylston St., Suite 304 Brandywine Rd., Savannah, Ga. 31405.
England. 220, Boston, Mass. 02116. (617) 423-2051. 912-355-6720.

AUDIO FEBRUARY 1974 83


FOR SALE FOR SALE FOR SALE
DAYTON-WRIGHT XG8-II Speakers, new, sa- MAGNEPLANAR SPEAKERS $850; Sound -
IMF, B&W, DAHLQUIST, QUAD, BRAUN, B&O,
TANDBERG, CROWN, REVOX, crifice. (919) 467-9198. craftsman 20-12 $225; Crown DC -300, Uher
McINTOSH,
4000L with accessories, Nordmende radio. HYDE,
ADVENT, STAX, ORTOFON, BEYER, PHASE NEW! RECORD, DUB, EDIT, MIX, FADE, MONI- 301 Springdale Ave., Wintersville, Ohio 43952.
LINEAR, and many others. Also wide selection TOR. Eliminate "jungles" of tangled wires with
of first-class used equipment. Expert advice. No
614-264-4987.
Dubie Tape Aid control for 1 to 3 tape decks.
sale final until you are satisfied. AUDIO CON- Dubie Tape Aid Corp. Dept A. 2305 N. Penn. MELLOTRONS-ARP SYNTHESIZERS. Best
SULTANTS, 517 Davis St., Evanston, III. 60201. Oklahoma City, Oklahoma 73107 (405) 524- prices anywhere! Dan Keen, Dept. A, 219 19th
(312) 864-9565. 8588. Street, Avalon, N.J. 08202.
FULTON SENSATIONAL $80 monitor speaker; THORENS TD-125B -Mk II Turntable; used 50 MAGNECORD 1020 Stereo Tape Recorder with
speakers triple priced don't sound better, $160 hours; perfect operating, immaculate physical walnut base. Excellent condition. $200. Write
pair. Futterman custom -engineered monophonic conditions. $225.00. James Ebbert, Chatham J. Kennedy, P.O. Box 125, Garfield, N.J. 07026.
tubed direct -coupled amplifiers, 50 watts reliable
1
Hill Apts. K-22, Chatham, New Jersey 07928. MARK LEVINSON AUDIO SYSTEMS-LNP-2
RMS, $595.00. Futterman mono tubed ampli-
QUADRAPHONIC ADAPTOR-S 12.95 postpaid. preamplifier, JC-1 cartridge preamplifier for
fiers, your specs, request quote. IMF Loud-
Converts any stereo into 4 channel, concert hall moving -coil cartridges, LNC-1 crossover system,
speakers. Grommes-Starck components featuring
sound. Free information. ELECTRO -RESEARCH, portable mixers, professional recording and play-
Masterpiece Music Table. Special savings, Bose
P.O. Box 20285, Ferndale, Michigan 48220. back equipment, -in. 4 -chan. 15 & 30 ips master
901's. B&W walnut speakers, save 20%. Trades
1

recording, custom design and fabrication. Pure


taken. Audiocraft, South Rockwood, Michigan CANADIANS-DYNACO COMPONENTS AT TRE- Acoustic Master Tape Reference Recording, Vol.
48179. Telephone: (313) 379-9945. MENDOUS DISCOUNTS. Write En -Jay Sales,
1, organ and choir, extremely flat, low distortion
SUPEX CARTRIDGES ARE HERE! The in- Hornepayne, Ontario. recording with no equalization, compression,
credible Supex Moving -Coil cartridge is now ESS 3 -WAY ELECTRONIC X-OVER as new, transformers, noise reduction or intermasters;
available in 2 versions -low output (requiring a $125. Walnut cases for Crown DC -300A (2), as excellent for evaluating phono systems, $ 10.50
transformer or cartridge preamp) and high out- new, $20 each. F.C. Filippone, P.O. Box 31, postpaid. Mark Levinson Audio Systems, 21
put. $125. Transformers $35 and $130. Somerset, N.J. 08873. 201-828-8075. Carriage Drive, Woodbridge, Conn. 06525
LEVINSON cartridge preamp $210. Very short (213) 393-2600.
supply (we are one of ten stores in U.S.A. PHASE LINEAR 700 W/CABINET. $650. 5
HEAD-
JECKLIN-FLOAT ELECTROSTATIC
selling Supex). THE AUDIO SHOP, 2985 College Knob Hill, Wichita Falls, Texas 76311. PHONES offer extreme clarity, wide dynamic
Ave., Berkeley, Calif. 94705. (415) 549-0206
range, low distortion, great detail; excellent for
T -W -Th -F 2-8; Sat. 12-6.
MARANTZ 7T PREAMPLIFIER, barely used, still professional monitoring and home use by the
SONY TTS-3000A TURNTABLE, SME -S2 arm, in original box with all papers. $200. Also, most demanding user. Dealer inquires welcomed.
base, cover. $350 new, asking $175. Top -rated Marantz SLT-12 Turntable with Rabco SL -8E $300 with power supply. Mark Levinson Audio
cartridges: ADC -25, B&O SP -12, Empire 1000 Z/ tonearm, $250. Jonathan Fox, 7050 Saranac Systems, 21 Carriage Drive, Woodbridge, Conn.
EX, Stanton 681EE, Ortofon SL-15 with Burwen/ St., La Mesa, Calif. 92041. 714-462-7536. 06525 (203) 393-2600.
Levinson preamp-make offer. Koss ESP -9
CROWN CX-844 FOUR -TRACK with two TS -2 SUPEX MOVING -COIL PHONO CARTRIDGE,
electrostatic headphones-580, ESP -6-$40. All
Sync-Track modules and remote control. Rack use with the Mark Levinson JC-1 cartridge pre-
perfect condition. Fred Bashour (203) 562-2343.
Mount. Excellent Condition, used less than 200 amplifier for the ultimate in disc reproduction,
FOR SALE: Crown DC -300A amp; Audio Re- hours. Best Professional four -track quarter inch $125.00. Sumiko, Inc., P.O. Box 5046, Berkeley,
search SP-3 Preamp; SAE Mark Six tuner. Make machine. Have Two complete systems. Cost Calif. 94705.
offer. Larry Boden, Box 12123, Nashville, Tenn. $3560 each new. Must sacrifice for $2300 each.
Both for $4400 with Service Manual. 33 CROWN SS824 TAPE DECK, SAE Mark Ill Po-
37212. (615) 228-8744. All in excellent con-
Pennsylvania Ave. Needham, Mass. 02192. wer Amp, Kenwood KC -6060 Audio -Lab Scope,
dition.
Hadley 621 Stereo Preamp, Shure M688 Mic
617-444-3495 evenings.
CROWN DC300 MINT, $425; IC1 50, one month Mixer. All mounted in fully portable case. All
old, $225; 2 pairs AR7's w/cards, 4 months old, STUDIO EQUIPMENT: Ampex 4406 Mono for $4000. Call Jeff 212-226-8971, 11AM to
mint, $90/pair; ADC XLM w/extra VLM stylus, $51.73, Stereo 568.98, 4 track $103.48, 8 6PM Mon. -Fri.
under 10 hours, $ 30 complete; Sennheiser track $195.50; MM -1100 16 track $379.50.
HD414 $20. (505) 835-1767. Scully 280B Mono $ 55.09, Stereo $71.18, 4 RECORDING TAPE: Dozen reels 2400', S14,00;
track S107.99. Tascam Console $43.47, Stereo dozen 1200', 511.00; 24 reels 900', $8.00;
ALTEC MULTICELLULAR HORN (3 x 5) with 24 600', $6.00. Postpaid, Guaranteed. Mitchell,
2 track Recorder $34.96, 4 track $44.85. JBL
driver. Altec A-7-800 components. Ampex re- Box 132, Flushing, N.Y. 11367.
4310 $5.93, 4320 $13.25. Phase Linear 400
corders: #4470, 4-t, S250; #960, 1/2 track,
$11.47, 700 $18.38. Gately 16 track Console
1/2 trackplay, $150. Uher stereo mixer. Fred
Bruflodt, 228 University, East Lansing, Michigan,
$499.00. Dolby 361 $14.95, M-16 $184.00 - 8 -TRACK CAR TAPE PLAYERS & 2 Speakers,
$32.00. National Sound, 4507 Hamilton Ave.,
Above prices per month on 60 month purchase Baltimore, Md. 21206.
48823. (517) 332-8050.
plan. Also available on purchase plan Electro-
TWO PRESTO 6N DISC RECORDERS with le Voice, Atlas, Schoeps, Prokit, Pentagon Duplica- NAGRA III, MINT CONDITION. Write: Joseph
heads, stylus heater control, microscope and tors, Metrotech Recorders and Loggers. In South Peterson, 506 Brookland Park Drive, Iowa City,
accessories. $250. Jack Cartwright, 214 Denese call Bill Brock at 615-794-7537. Other areas call Iowa 52240.
Drive, Weirton, W. Va. 26062. 304-723-0261. Bill Hamilton or Ed Gately at 215-449-6400.

CUSTOM-BUILT SPECTRA-SONICS 16 in.-


for
GATELY ELECTRONICS, INC., 57 W. Hillcrest
Avenue, Havertown, Pa. 19083.
LAFAYETTE LA-524 SQ Decoder-amplifier. $50.
212-526-7608.
8 out console. Fine board, fine price. Write
info. Cookhouse Recording 2541 Nicollet Ave., THE SS -3 PORTABLE MIXING CONSOLE pro-
Mpls., Mn. 55404 (612) 827-5441. KIT ORGANS, PIPE AND ELECTRONIC. New vides unmatched performance in remote
and used consoles. Accessories for all brands: recording applications. Available in 2, 4, 8, 16,
MAGNEPLANAR, ESS, Audionics transmission Orchestra Bells, "Band Box", Portable Pipes. and 24 track configurations. Write for specs.
line, EPI, Infinity, Transcriptor, Decca, B & O, Send for R. Eby's book on organ building S3.50 Reply Box No. A42-1.
ERA, CROWN, Marantz 500, RADFORD, Tand - post-paid. NEWPORT ORGANS, 846 Production
TEAC AN -180 DOLBY $200: Heath AA-15 5150;
berg, Connossieur, Quad, Dayton -Wright, Stax, Place, Newport Beach, CA 92660.
AJ-15 $150; McIntosh C-28 $400. All like new
Sony, Citation, Integral Systems, many others
VACUUM TUBE EQUIPMENT has been re- with cabinets. 313-732-4235.
on display at THE GRAMOPHONE, LTD., 757
Asp St., Norman, Okla. 73069, Ph. 405-364-
9477.
cognized by many of us as capable of producing
the finest and most pleasing reproduction of re-
CENTRAL NEW YORK HI-FI ENTHUSIASTS
IMF Studio-ALS40, Infinity, EPI, Marantz, Audio-
-
corded music. NEW YORK ELECTRIC GRAMO-
Technica, Philips, Stax, Pioneer TX9100. Disc -
AKG, ALTEC, AUDIO RESEARCH, Beyer, PHONE WORKS is pleased to announce a new
CROWN, DECCA, EV, INFINITY, KLH 9s, Koss, program for the supply and maintenance of classic washer . .ORTOFON M15E SUPER -79.95
.

Ortofon, PHASE LINEAR, PML, REVOX, SAE, vacuum tube equipment. We have undertaken postpaid, insured. NYS res. add 7% sales tax.
THE SOUND SHOP, 96 Seneca St., Geneva NY
Sony, Stanton, Tandberg, TASCAM, Thorens, to rebuild Marantz and other makes of classic
etc tubed sets to equal or better original specification. 14456 (315) 781-0215.
HI-FI HAVEN How? Write or call for details, or an appointment KOSS ESP-9 HEADPHONES -1 year old and
28 Easton Ave. to visit. We can supply equipment or refurbish seldom used -$100 or best offer. Len Spivak,
New Brunswick, N.J. your own. We are at 47 Jane Street, #10, 97-28 57th Avenue, Corona, N.Y. 11368.
201-249-5130 New York City. (212) CH3-6822. 212-529-5123.

84 AUDIO FEBRUARY 1974


FOR SALE SERVICES SCOTCH MAGNETIC TAPE (USED)
#150. 1800 ft., 7 inch reel, mil 1

BLANK CASSETTES: C-20's thru C -100's. Buy TAPE RECORDER HEADS brought back to polyester, recorded once, bulk erased
direct from manufacturer and save! Example: spec. Wear removed. Brilliant finish. $ 10.00 (no boo). 990, plus 10% shipping
& handling (min. order $ 10.00): slightly
C -20's 400. TARZAC, 638 Muskogee Avenue, each. One day service. E. Maher, 5 Evans Place, used 10-1/2 inch fiberglass reels, %
Norfolk, Virginia 23509. Orinda, Calif. 94563. hole, 50C, metal, NAB, 51.00 each
(plus shipping by weight and zone)
CITATION 12 120w rms stereo amplifier. CUSTOM AND SPECIAL PURPOSE RECORDS
Perfect condition. $200. 1430 Tulane Ave., D-81,
SAXITONE TAPE SALES
for the serious and discriminating artist, from 1776 Columbia Rd., N.W., Washington, D.C. 20009
New Orleans, La. 70112. your tape or records. Editing, timing, single
THOUSANDS OF LIKE NEW LPs and pre- records, pressings, mono, stereo. Prompt, pro-
recorded tapes. Catalogue $1.00 House of fessional, guaranteed. Location recording in this
Records, Hillbum, New York 10931. area, reasonable. Send for list. Audak, 200 N.

AUDIO RESEARCH, RADFORD, PHASE


Taylor, Kirkwood 63122, Mo. (314) 822-2581. AUTO ACCESSORIES
LINEAR, CROWN, QUAD, ALTEC, INFINITY, PROFESSIONAL AUDIO INSTALLATIONS LOW PRICES ON CAR ELECTRICITY adapters.
DECCA, GRACE, AKG, REVOX, BRAUN, We service and sell over 50 lines of professional One wire hook-up. $8.45. Paul Livingstone,
PANASONIC SP -10, ESS, TANDBERG and audio equipment including TASCAM, Scully, St. Marys, Ontario.
many more. Hartley Electronics (Audio Con- Revox, and TEAC. We will install anywhere in the FANTASTIC New Spark Plug Installation Tool.
sultants) 1502 Butternut, Richland, Wa. 99352 U.S. Call or write for a proposal for your custom Save Those Burnt -Fingers. Only $2.00 Postpaid.
(509) 947-5026 after 5 p.m. weekdays, all studio. Sound Genesis Inc., 445 Bryant St., San J&J Mfg., Box 5265, Lincoln, Nebraska 68505.
day weekends. Francisco, Calif. 94107. 415-391-8776.
PROFESSIONAL SERVICES FOR PROFESSIONALS.
SPEAKERS CUSTOM BUILT Folded or straight BUSINESS OPPORTUNITIES
axis horns for the perfectionist. These horns will PHILA. AREA MUSICIANS' SERVICE. Location
provide the finest sound in the world. Duluth recording, record pressing, custom P.A.'s, and 810 DAILY WRITING SHORT ARTICLES at
Electronics Co., 24 East 1st, Duluth, Minnesota guitar amps. Mini studios sound reinforcement. home. Begin immediately! Copyrighted report
55801. 218-624-4153. Write for catalog or call 215-885-2403. Synthe reveals how and where. Send $ 1.00. Specialty
Sound, 329 Harrison Ave., Elkins Park, Pa. Merchandise Co., 7659 So. 42nd St., Omaha,
AUDIO RESEARCH, AUDIONICS TRANS-
19117. Neb. 68147.
MISSION LINE SPEAKERS, B&O, BOZAK,
BRAUN, CROWN, KLIPSCH, LINN SONDEL
TURNTABLE, PHASE LINEAR, QUAD, RADFORD, GOVERNMENT SURPLUS
MAILORDER BUSINESSI Earn $600 weekly
uncomplicated. 100% guaranteed! Complete
-
REVOX, SAE, others. Custom designed and JEEPS Typically From $53.90. Trucks from
. .
setup -$5.00. Franklin's, 2775 Land Park,
constructed music reproduction systems. Each $78.40. Boats, Typewriters, Knives, Airplanes, Sacramento, Calif. 95818.
component analyzed and optimized. Dem- Clothing, Multimeters, Oscilloscopes Transceivers. RAISE REDWORMS ORGANICALLY. Jarnagin,
onstration by appointment Phone or mail Photographic Electronics Equipment, Wide Variety Box 1314, N-10, Route #2, Cheyenne, Wyoming
consultations. AUDIO SYSTEMS & DESIGN, 5421 . Condition 100,000 Bid Bargains Direct from 82001.
South 84th St., Lincoln, Nebraska 68516. (402) Government Nationwide. Complete Sales
489-9888. Directory and Surplus Catalog $1.00 (Deductible 8 -TRACK TAPES 520. Directory Manufactures.
on Orders From Separate Included Catalog) Send $3.00 Star Enterprises, 35-AM2 Woodcrest,
HELP WANTED Surplus Service, Box 820-AUD Holland, Michigan Dayton, Ohio 45405.
ASSISTANT EDITOR 49423.
Popular home entertainment magazine needs JEEPS, TRUCKS, Cars From $31.50 Airplanes, BUSINESS OPPORTUNITIES
experienced editor with good background in Typewriters, Clothing, Multimeters, Transceivers, 825.00 HUNDRED stuffing envelopes. Immediate
audio or electronics. Send resume or call F. Oscilloscopes, Photographic -Electronics Equip- earnings. Beginner's Kit. $1.00 (refundable).
Nemeyer, 134 No 13th St. Phila. Pa. 19107 ment 100,000 Surplus Bid Bargains Direct
. . .
Lewcard. A392 DU, Brea, California 92621.
(215) 564-5170. From Government Nationwide Typically Low as
20 on Dollar! Complete Sales Directory and MONEY AVAILABLE NOW! Both Personal,
SERIOUS RECORDISTS NEEDED. Excellent Business Uses $500 to Millions. Finance
remuneration. We train and equip. Modest Surplus Catalog $1.00 (Deductible First $10 . . .

Order From Included Catalog) U.S. Surplus Anything Get Rich Techniques
. . . Thou- . . .

investment required. Write Box 278, Englewood,


Disposal, 2200 Fuller 601 -B -AUD Ann Arbor, sands Actual Sources. Free Details. AIDS, Box
Ohio 45322.
Michigan 48105. 725-AUD, Holland, Michigan 49423.

SER VICES MANUALS for Gov't Surplus Radios, Test Sets, MAILORDER MILLIONAIRE helps beginners
Scopes. List 500. Books, 7218 Roanne Drive make $500 weekly. Free report reveals secret
EXCITING ANNOUNCEMENT Washington, D.C. 20021. plan! Executive (1 Q2). 333 N. Michigan, Chicago
UNIQUE APPROACH TO AUDIO REPORTING 60601.
AUDIO REVIEW QUARTERLY, a unique publi-
cation featuring revealing, in-depth discussions DON'T PAY the high mail order prices. Thieves EARN AT HOME ADDRESSING ENVELOPES
of controversial issues, EQUIPMENT REVIEWS, Warehouse is coming up to your area. Franchises $800.00 monthly possible. Details 250 and
ratings, recommendations, audio highlights and available. Thieves Warehouse, P.O. Box 8057, stamped addressed envelope. Modem World,
more. AUDIO REVIEW QUARTERLY reports Pensacola, Florida 32505. Dept. 142 489 Bernard Street, East Meadow
issues and ideas other magazines ignore by N.Y. 11554.
HIGH FIDELITY SPEAKERS REPAIRED
exposing factual "behind -the -scenes" information. AMPHRITE SPEAKERS SERVICE
Upcoming issues feature PROFESSIONAL 655 Sixth Avenue, New York 10, N.Y. MUSICAL INSTRUMENTS
EQUIPMENT REVIEWS, exciting exposes, 21 2-C H 3-4812
BUYERS DISCOUNT SERVICE with so much more! WHOLESALE! Professional Guitars, PA Systems,
Special Introductory Subscription Rate: $7.50/ THE NEW YORK AUDIO SOCIETY is a hi-fi Altec Speakers, 240W RMS Amplifiers. Free
year. Write AUDIO REVIEW for exciting details on club with a comprehensive activities program and Catalog. Carvin, Escondido, Calif. 92019.
many new services available to subscribers. numerous member benefits. Come and be our
Take advantage of this offer and mail your guest at one of our meetings and see what we EQUIPMENT WANTED
subscription TODAY! AUDIO REVIEW, Box 175, have to offer. For details write N.Y. Audio Soc.,
Dept. A; Box 5889, Grand Central Sta.; N.Y., N.Y. WANTED: JBL 3E480 OR SE400S Energizer.
North Branford, Conn. 06471. Wm. J. Riese, 16163 E. Brunswick, Aurora.
10017 or call M -Fri. 10AM-6PM (212) 242-
STEREO MASTERS, RECORDS AND ALBUMS. 3900. Colo. 80013.
Check our prices. Newest type high level cut- WANTED-WHARFEDALE SUPER 12 SPEAKER.
RECORDS MADE FROM YOUR TAPES, Also,
ting equipment featuring: Neumann VMS 70 L. Stecklow, 70 East 8th St., Brooklyn, N.Y.
editing and mastering. Send for free brochure.
Computer control lathe, Parametric Equalization, (212) 871-4958.
Nashville Record Productions, Inc., Dept. AM
Dolby, DBX, and the new SX74 Cutting System
204 19th Ave., So., Nashville, Tennessee 37203. WANTED: PIONEER CS-88 Speaker Systems.
by Neumann. Special package prices on album
and single record production. Stereo LP masters CUSTOM RECORDING SERVICE Tape and disc. Write condition and price to R.L.B.-Box 108
Phoenix, Ariz. 85001.
-
$30.00/side, 7" stereo masters $10.00/side. Stereo and mono. Live and copies. Editing.
1000 45RPM stereo singles $217.50 including Masters and pressings. High quality at reasonable WANTED: MPX OUTBOARD DECODER. Scott
mastering. Write or call for brochure. Dick rates. Joseph Giovanelli, Audio Tech Labora- Style 90 amp or Eico HF-20 deJacques Musical
McGrew Recording Service, 7027 Twin Hills, tories. 2819 Newkirk Ave., Brooklyn, N.Y. Products 551 River View Dr. NW Salem,
Dallas, Texas 75231. 214-691-5107. IN9-7134. OR 97304.

AUDIO FEBRUARY 1974 85

www.americanradiohistory.com
AmericanRadioHistory.Com
EQUIPMENT WANTED RECORDS INVENTIONS WANTED
D-150, AKG D200E microphones. PILITA CORRALES -Winner 1973 International PROSECUTE YOUR OWN Patent Application.
CROWN
Springdale Ave., Wintersville, Ohio Music Festival -Tokyo sings about "LOVE," Stereo All Material Necessary -Write Inventors Service,
HYDE, 301
$6.00 AIRMAILED!! Record -Handicraft catalog Box 3574, Washington, D.C. 20007.
43952. 614-264-4987.
$1.00 (Refundable). ARABELL CO. PITOGO, IDEAS, INVENTIONS AND PATENTS, an easy
CASH FOR YOUR unwanted stereo LP's and QUEZON E-327, PHILIPPINES. to read book that tells you in plain language
reel to reel tapes. Record House, Hillburn, New
HISTORIC JAZZ AND SWING RECORDINGS. how to get a patent. Complete information,
York 10931.
Many broadcasts, rare cuts. Catalog for 10 cents including sample patent. Send $4.95 plus 600
WANTED: CROWN, R.O.M. Write Jim Hollinger, from Tulip Records, P.O. Box 6277, San Fran- postage and handling to: Pioneer Press, Dept.
Galen Hall Rd., Rt. #3, Wernersville, Pa. 19565. cisco, Calif. 94101. ÁU11, P.O. Box 76025, Atlanta, Georgia 30328.
WANTED: AMPES 360, 351 DECK "as is" for RECORDS -soundtracks, show, cut-outs. Send
parts. Schneider, 183 Woodside Terrace, Spring- wants -we'll quote. Lesco, 2205 Marylane, TAPE RECORDINGS
field, Mass. 01108. Broomall, Pa. 19008. EVERYTHING ON OPEN REELI Prerecorded
SOUNDTRACKS, original casts and personality classical/popular tapes. Latest releases. Dolby
INSTRUCTION & recordings -Many hard -to -find titles at reasonable Quad. 96 -page catalogue $1. Barclay -Crocker,
Room 857A, 11 Broadway, NYC 10004.
EDUCATION prices. Send for large, new catalog free. Robert
Hiott, Box 471, Miami, Florida 33144. OPERA TAPES, RECORDS, "live" performances,
BIBLE Degrees -Correspondence -Fundamental
PSYCHIC MEDITATION -WITCHCRAFT MUSIC broadcast. Free catalog. Hathaway, 49A Merbrook,
Bible Seminary. P.O. Box 942, Elk City, Okla-
RECORDS. Free Brochure! (Dealers Welcome) Merion, Pa. 19066.
homa 73644.
Brotherhood, Box 1363, Spring Valley, California OVER 16,000 OLD RADIO SHOWS ON TAPE
LEARN TO READ MUSIC IN ONE EVENING! 92077. Latest supplement 50C, complete catalog $2.00
Free details. Write: Anthony Cappeloni, 130
SOUNDTRACK RECORD ALBUMS -Mail Hart Enterprises. 1329E George Washington,
Meloy Road, West Haven, Conn. 06516.
Auction. Free list-Whalon, 2321A Hill -Redondo Richland, Washington 99352.

PHOTOGRAPHY Beach, Calif. 90278. 8 -TRACK TAPES $1.75


By joining Star Tape Club. Buy as many as you
16MM FILMS, ACCESSORIES -Collectors
paradise -Gaines (AM) 15207 Stagg. Van Nuys
TAPE RECORDINGS want or none. No obligation. Big name hit
tapes. Rock, Soul, Popular, Best of, Religious,
Calif. 91405. RENT 4-TRACK open reel tapes -all major
Bluegrass, Classical, Country, Jazz, also Party.
labels. 3,000 different. Free brochure. Stereo -
DISCOUNT PRICES on all photographic equip- Join direct from this ad. Send $4.00 to:
Parti. 55 St. James Drive, Santa Rosa, Cal.
ment, send for price quote of exact items you STAR ENTERPRISES
95401.
want, instant reply. Hope Camera Stores 27179 35 -AM Woodcrest Ave., Dayton, 0. 45405
Chagrin Blvd., Cleveland, Ohio 44122. KENNEDY/TIPPIT/OSWALD Murders) Actual
episodes & police recordings! Reels/cassettes:
PROJECTORS-Spindler-Sauppe SLX-750 (3)
$ 10. Majestic, 9651 Foxbury, Pico -Rivera, PLANS & KITS
Leitz 1.5 inch lenses, random access, push-
California. ELECTRONIC PARTS,
semiconductors, kits,
button controls, magazines -reasonable. Beloit
FREE FLYER. Large catalog $ 1.00 deposit.
Corporation, Beloit, Wisconsin 53511. SPLICE FASTER BETTER BY SHEARING.
BIGELOW ELECTRONICS, Bluffton, Ohio 45817.
Replaces razor. Specify 1/4" or cassette, $16.95;
REAL ESTATE with attached splicing tape mechanism, $24.95. COMPONENT CABINETS
Details-NRPA Box 289, McLean, Va. 22101. Direct from the factory at low factory prices.
IDEAL 5 -ACRE RANCH. Lake Conchas, New Finished -Unfinished -Kits. Free brochure.
Mexico, $5,475. No Down. No Interest $40/mo. AUDIO ORIGINALS
Vacation Paradise. Good investment. Free TAPE & 546 S. Meridian St.
Brochure. Ranchos, Box 2006 XS Alameda,
California 94501.
TAPE RECORDERS Indianapolis, Ind. 46225

8 -TRACK Tapes 3/810, to $1.50 wholesale JOYOUS TV VIEWING! Blab -off commercials,
MUSIC quantities. 4000 titles. Box 4733, Columbus, O. clicks -lights up -restores sound AUTOMATI-
43202. CALLYI Fascinating, ingenious project. Plans,
BRAZILIAN -Latest hits from Brazil. Not Sergio schematic $2.00. Hobby Electronics, Box 2172,
Mendes. Not available in the U.S. Write Bra- SENSE TAPES -Specially -programmed 3 hour Capistrano Beach, CA 92624.
ziliansound, Box 1280, Bellaire, Tx. 77401. continuous stereophonic environments. Reel or
Free brochure. Sunier Productions,
RARE ROMANTIC PIANO SCORES-Moscheles,
cassette.
Box 814, Kentfield, CA 94904.
REPAIRS & SERVICES
Henselt, Herz, Litolff, Scharwenka, Scriabin, AMPEX AUDIO & VIDEO PARTS -SERVICE-
etc. Free catalog. MUSIC TREASURE PUBLICA- 8 TRACK CARTRIDGES AT GREAT SAVINGS.
TAPE. Jones Electronic Service Co. 947 Old
TIONS, Box 127, Highbridge Station, Bronx, Latest catalog 25C. Bob Musial, Box 11907-A,
York Road, Abington, Pa. 19001. (215) 887-
New York 10452. Chicago, 60611.
1522 or 568-7711. Expert Service on all brands
RENT CASSETTE or Open Reel Prerecorded of Audio & Video Equipment.
RECORDS tape. All Labels. Catalog 750. Tape & Time,
CATALOGS Broadcasts, soundtracks, Personal- P.O. Box 740, Hopkins, Minn. 55343. SPEAKER PROTECTION
ities of Thirties, Forties, Box 225, New York, N.Y. HI -DAMP SPEAKER PROTECTORS. For
10028. RADIO PROGRAMS systems rated 40W RMS. Low resistance elec-
SHOW ALBUMS -Rare Out of Print Lp's. Free RADIO PROGRAMS. CATALOGUE OF THOU- tronic relays. Protect your investment. $ 1.98 pair
large list. Broadway/Hollywood Recordings, SANDS: S 1.00 (Refundable). THE RADIO VAULT, postpaid. CAE, Box 1471, Tucson, AZ 85702.
Georgetown, Conn. 06829. BOX 9032 -TV, WYOMING, MICHIGAN, 49509.

FILM -STAGE SOUNDTRACKS. Large free list NOSTALGIA RADIO PROGRAMS traded. Private BOOKS
A. Lutsky, Box 7342, Miami, Fla. 33155. collection. Drawer 3226, Newport, Delaware UNUSUAL BOOKSII 40 for 83.00. Catalogues
19804. 100. International, Box 7798AM, Atlanta,
OLDIES -45 RPM Original hits. Catalog 50C
THOUSANDS OF OLD RADIO COMEDIES, Georgia 30309.
C&S Record Sales, Box 197, Wampsville, N.Y.
13163. Dramas, Band Remotes, Mysteries, etc. $6.00
for 6 Hour Reels Catalogue: $1.00 (Refundable). AUTHORS, BOOKS
FREE LP CATALOG -Deleted Soundtracks
Cassettes also available. RADIOVOX 1756 PUBLISH YOUR BOOK! Join our successful
Shows, Nostalgia, A. Roseman, P.O. Box 16083. Washtenaw, Ypsilanti, Michigan 48197. authors: All subjects invited. Send for free
Phila., Pa. 19114.
1930-1962 RADIO PROGRAMS, Reels, $1.00 appraisal and detailed booklet. Carlton Press
FREE 200 -PAGE CATALOG. 1,400 New Stereo hour! Catalog, $1.00.
hour! Cassettes, $2.00 (Dept. VRB) 84 Fifth Avenue, New York 10011.
Recordings. Renaissance, Baroque, Classical,
AM TREASURES, Box 192M, Babylon, N.Y.
Romantic, Modern Music. Not sold in stores.
Not listed in Schwann 's Highest quality! Budget
11702. HI-FIDELITY
label prices! Available only by mail MUSICAL GOLDEN AGE RADIO -your best source for SERIOUS ABOUT SPEAKERS? We are. Catalog
HERITAGE SOCIETY, Box 932 AU, New York radio tapes. Box 25215-D, Portland, Oregon $1.00. Refunded first order. CY Electronics, Box
N.Y. 10023. 97225. 1471, Tucson, AZ 85702.

86 AUDIO FEBRUARY 1974


Separation saved our marriage
thanks to Marantz speakers.
"Where's the flute Henry?" my wife complained con- sounds that are as pleasing as a nibble on the ear.
stantly. I was about ready to leave her. Then we saw a Marantz We bought the Marantz Imperial 5G Two Way Speaker
dealer. He told us that separation of sound is a true tesi of a for just $99. Perfect for our budget and it delivers fine sound]
speaker system. He suggested we put Marantz and separation even with minimum power equipment. And there
other popular speakers to the test by listening are five other quatity Marantz speaker models
to a familiar recording so we'd be able to hear starting as low as $59 and all are evadable
for ourselves that it's the speaker and not the with the new Marantz acoustically trans-
recording that makes the difference. Oh, what parent foam grill.
a difference Marantz made! What we thought Whatever your power and budget
were two oboes were clearly an oboe and a requirements, keep this in mind. Marantz
flute. And that barbershop quartet...well, speaker systems are built by the people who
they're really a quintet. make the most respected stereo and 4 -chan-
The proof is in the listening. And that's nel equipment in the world.
where Marantz design concepts come into
play. The transducers in Marantz speaker sys-
tems are engineered to handle an abundance
of continuous power, so you get distortion -free
marnf®
To find out how much better they sound
go to your nearest Marantz dealer and listen.

We sound better.
31973 Marantz Co., Inc.. a subsidiary of Superscope Inc.. P.O. Box 99P. Sun Valley, Calif. 91352. In Europe: Superacope Europe. S.A. Brussels. Belgium. Available in Canada. Prices and models subject to change without notice- Consult
the Yellow Pages for your nearest Marantz dealer. Send for free catalog.
Check No. 43 on Reader Service Card
Our most expensive turntable
has direct drive.
So does ourleast expensive.
When Technics introduced direct drive, So does the but with a heavier
SL -1100A
we set new standards for turntable performance. platter, bigger motor and longer tone arm.
That's why we use direct drive exclusively FREQUENCY SPECTRUM OF RUMBLE
in all Technics turntables. m
-40
-ci
No other system measures up to direct drive. -J
-50
Wow and flutter are less than 0.03% WRMS. >
w
60
J
And rumble is down to -65dB (DIN A) and 20 25 30 40 50 60 80 100 200
-70dB (DIN B). BELT DRIVE DIRECT DRIVE FREQUENCY Hz

WOW AND FLUTTER And the SP -10 is for those who insist on
+0.20
+0.10 choosing their own tone arm.
,.I A . r No matter which Technics turntable you
i',
+.
w 1
o
11111*lr,
-0.10 choose, you get the finest drive system that
money can buy. But don't take our word for it.
-0.20
i BELT DRIVE DIRECT DRIVE
Read the reviews.* And you'll agree.
Our DC motor has no noise- or static - The concept is simple. The execution is
producing brushes and virtually none of the precise. The performance is outstanding.
hum normally found in AC motors. The name is Technics.
It reaches playing speed in half a revolution *5F-10: Audio, 8/71; Stereo Review, 9/71.
5L -1100A: Stereo Review, 7/73; High Fidelity, 9/73.
and has electronic speed control that prevents
speed changes due to line fluctuations. 200 PARK AVE., N.Y., N.Y.10017 FOR bOUR NEAREST
AUTHORIZED TECHNICS DEALER, CALL TOLL FREE
All Technics turntables have illuminated 800 447-4700. IN ILLINOIS, 800 322-4400.
stroboscopes, cast aluminum platters and
variable pitch controls. The SL -1200 also has
a precision tone arm, viscous damped cueing
and low -capacitance 4 -channel phono cables. Technics
Check No. 38 on Reader Service Card

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