Audio 1974 02
Audio 1974 02
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*hernial Design
of a High Power
Amplifier High
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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.
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.
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You're
reading
this page
for the
same
luclio
FEBRUARY 1974 Successor to RADº Est. 1917 Vol. 58, No. 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
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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
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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
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r
Herman Burstein
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.
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òu catet fçlI
C ji fier
61íf
cowerdi
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,
Check No. 31 on Reader Service Card
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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
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.
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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
e
Dual 1214
Dual
United Audio Products, Inc., 120 So. Columbus Ave., Mt. Vernon, N.Y. 10553 Dual 1229
Exclusive U.S. Dlslribohon Agency fo, Dual
www.americanradiohistory.com
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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
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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.
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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,
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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
tailed information on Model or Models of your HSI.0 12'" 3 -WAY SPEAKER SYS-
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the A-77 line which will continue to
be marketed. EE
HUNTINGTON, INDIANA
12 AUDIO FEBRUARY 1974
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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 -
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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
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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.
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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
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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
from Sherwocd
best buy
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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.
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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
the extraordinary quality of the new Pickering XV -15/ only faithfully reproduce the 20 Hz to 20 kHz AM sig-
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
m PICKERING
with reference to 5.5 cm/sec record velocity.
The right Pickering cartridge for your equipment is the best cartridge money can buy.
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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.)
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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.
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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
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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.
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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.
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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.
What's a bookshelf
without the classics?
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ESEARCH AND DEVELOPMENT CORP.
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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
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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
"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
-
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
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N :C:C::iN3i::5::::GG:C:::::
auuuuil_ennmMI.unNMou
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all amplifier breakdowns.
Performance
Figure 1 illustrates the safe -area capability of one epi-
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
ol ,^, 1.
O
-}
u
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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.
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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.
C
7 GLENDURN better by design
GLENBURN/McDONALD, INC., 787 Susquehanna Ave., Franklin Lakes, N.J. 07417 (201) 891-8250
Check No. 14 on Reader Service Card
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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
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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.
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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
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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
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
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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...
////////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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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
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
eTEAC 1973
PRINTED IN U.S.A.
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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!
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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
ABC'S OF HI -Fl AND STEREO by tables, formulas, standards, and circuit most important books about Hi-Fi/
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.
principles of sound reproduction you FM FROM ANTENNA TO AUDIO by Sound Advice is convenient because
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TAPE RECORDING FOR THE HOBBY- principles of fm broadcasting and the
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101 EASY AUDIO PROJECTS by yourself" book providing practical All orders must be accompanied by
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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
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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
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
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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.
..._..
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
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.
Onkyo Sales Section Mitsubishi International Corp 25-19 43rd Avenue, Long Island City, N.V. 11101 / (212) 729-2323
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
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
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
www.americanradiohistory.com
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)
www.americanradiohistory.com
AmericanRadioHistory.Com
Advertisin Index
/4eart7"4tx_
Fig. 1-Rear panel view of R-350 receiver. Fig. 2-Internal view of R-350 chassis.
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
.
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
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.
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
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
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
Fig. 1-View of the chassis with platter removed. Fig. 2-View of the 710/X arm mount.
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
Fig. 1-Equalizer response for low and high frequency Fig. 2-Equalizer mid bass control.
control.
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
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.
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
ó S
o., 10 00 FRONTAL
POWER WATTS AXIS
Thorens TD-125AB Mk II
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
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.
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.
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,
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-
P.O. Box 10, Dept. 27024
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
.
16
..
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
Me, For Baby (For Bobby), Rhymes
Cardioid Dynamic and Reasons, Leaving On a Jet Plane
and Rocky Mountain High.
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
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
www.americanradiohistory.com
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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
AUDIO-TECHNICA U.S., INC., Dept. 24 A, 1655 W. Market St , Fairlawn, Oho 44313
76 AUDIO FEBRUARY 1974
accompanying himself such that it The best by far.. .
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
LEASE BREAKING
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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.
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.
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.
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