FEBRUARY

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2 AUDIO ENGINEERING FEBRUARY, 1948

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 John H. Potts, Editor Sanford R. Cowan, Publisher
Member of Audit Bureau of Circulation
C. G. McProud, Managing Editor S. L. Cahn, Adv. Director
Lawrence Le Kashman, Asst. Editor H. N. Reizes, Adv. Mgr.
Louise B. Dresser, Edit. Prod. Mgr. David Saltman, Adv. Prod. Mgr.

áD10
Edgar E. Newman, Circ. Mgr. Jerome S. Harris, Asst. Circ. Mgr.

Editorial Advisory Board Representatives

INEERING Howad A. Chinn James C. Galloway
John D. Colvin 816 W. 5th St., Los Angeles 13, Calif.
s
Paul A. de Mars Dale International Publications, Ltd.
C. J. LeBel 105 Bolsover St.
London W. 1, England
Successor to RADIO J. P. Maxfield
Harris á Floyd
George M. Nixon 297 Swanston St., Melbourne
S. Young White C. 1, Victoria, Australia

Established 1917 CONTENTS FEBRUARY, 1948 Vol. 32, No. 2

Editor's Report 4

Letters 6

Broadcasting Studio Pickup Technique -H. M. Gurin 9

Sound Reinforcement in the Hollywood Bowl-M. Rettinger, and Sterling M. Stevens 15

Analyzing Intermodulation 17

Feedback Preamplifier for Magnetic Pickups-Richard S. Burwen 18

Two -Way Speaker System, Part III-C. G. McProud 21

Facts About Loudspeakers, Part I -0. L. Angevine, Jr., and R. S. Anderson 24

Cavity Pressure Determination of Hearing Aid Gain 27
Elements of Ultrasonics S. Young White 28
I.R.E. 1948 National Convention, Tentative Technical Program 30
Record Revue:
Classical Recordings --Edward Tafna!! Canby 32
Popular Recordings- -Bertram Stanleieh 32
New Products... 34
Technicana: High- Quality Amplifier, Synchrodyne Receiver, Changes in Standard
Frequency Broadcast 36
Professional Directory 36
Advertising Index 48

COVER ILLUSTRATION
Control room of Studio 1, KSL, Salt Lake City, Utah.

AUDIO ENGINEERING (title registered U.S. Pat. Off.) is published monthly at 28 Renne Ave.. Pittsfield. Massachusetts, by Radio Magazines. Inc.. J. H. Potts.
President: S. R. Cowan. Sec 'y-Tree. Executive and Editorial Office at 342 Madison Avenue. New York 17. N. Y. Subscription rata-United States. U. S. Poresaioos
and Canada, $3.00 for year. $5.00 for 2 years; elsewhere $4.00 per year. Single coda 35c. Printed in U. S. A. All rights reserved. entire contenta Copyright 1947 by
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Radio Magazines. Inc. Entered u Second Clase Matter at the Post Office. Pittsfield. Massachusetts, under the Act of March 3. 1879.

AUDIO ENGINEERING FEBRUARY, 1948 3

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 EDITOR'S REPORT

NUMBER ONE BOOK quencies (and, to a lesser degree, the higher fre-
quencies) than those in the middle register, due to the
A FEW months ago one of the largest advertising
characteristics of the human ear, it has been argued
agencies conducted a survey to determine which of the that some compensation is necessary when reproduc-
eight trade publications serving the broadcasting ing sounds at a lower power level. This is not neces-
field were preferred by broadcast station technical per-
sarily true. The sound power developed by a large
sonnel. When the returns were tabulated, three
orchestra, for example, is far greater than that pro-
magazines ran neck and neck, with the others trailing
duced by the average radio. But the orchestra would
badly. Audio Engineering, although in existence normally be spreading this acoustic power over a much
but six months, was rated among the top three. greater area than that covered by a home radio when
More recently, a manufacturer made a similar operated in a living room. Thus the radio could re-
survey. This time, with two more excellent issues produce in the home orchestra music with much less
under our belt and with our increased circulation, sound power, yet give the same degree of loudness as
Audio Engineering was rated best in the field. would be experienced by the listener to the orchestra
at some point in a large auditorium. Therefore no
bass boost is necessary unless the listener operates
MORE ON HI -FI
the reproducing equipment so that the music is not
IN THE same mail we received two letters which as loud as it would be if he were listening to the
point up the wide gulf between the two schools of orchestra directly in an auditorium.
thought on high fidelity. From England, a British Engineers who test loudspeakers are often somewhat
engineer writes that we shouldn't call an amplifier amused at the efforts of designers of amplifiers to
"high- fidelity" unless the harmonic distortion is kept make the electrical response flat to within a fraction
down to around one -tenth of one per cent and the of a db over a wide frequency range, because the
frequency response flat to within one db from 20 to speakers to which the amplifiers connect have such
20,000 cycles. The other writer maintained that his jagged response curves. Actually, if uniform frequency
amplifier had to be designed to boost both lows and response were the only consideration, the care would
highs far above the middle register to give him satis- not be worth the trouble. But in making the frequency
factory reception. Canby has written in his column response flat, distortion is also reduced, so that a fine
that what we really want is pleasing reception, whether amplifier does enable better reproduction from the
or not it is high fidelity, and cites the fact that even a same speaker than could be secured from a mediocre
pleasant voice might sound awful if the speaker got design.
too close to the mike, especially if exactly reproduced.
All this has its parallel, of course, in other fields.
WITH OUR AUTHORS
A couple of decades ago, the same controversy arose in
photography. Portrait photographers didn't like high WINSTON WELLS has recovered from his illness
grade anastigmat lenses because they brought out and his next article on the design of electronic organs
every pore and blemish in the skin, details which were will appear in our March issue. C.J. LeBel and Norman
not normally noticed when directly viewed by the Pickering dropped in to tell how well they are pro-
eye. A fad arose for partially corrected lenses, chiffon gressing in organizing an audio engineering society.
diffusers, and other means of softening the details. Had lunch with Howard Chinn and Bob Monroe of
In some cases, these expedients did give more pleasing CBS. Howard has in preparation an excellent series
pictures, but these devices have largely disappeared of books on audio engineering which we hope to start
with the advent of better photographic materials and publishing in the near future. From KSL comes word
improved techniques in lighting and finishing processes. of a new noise suppressor with many outstanding
Because a reduction in sound power causes a far features. An article on it will appear in an early issue.
greater decrease in the loudness of the lower fre- -.I. H. P.
4 AUDIO ENGINEERING FEBRUARY, 1948

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AUDIO ENGINEERING FEBRUARY, 1948 5

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 AUDIO SOCIETY ACTIVITIES
Sir
A letter from C. J. LeBel (published in
the January issue of this magazine) ex-
plained that a group of audio engineers were
giving serious consideration to the forma-
tion of a professional organization for the
advancement of the science and art of audio
engineering. Your readers will be inter-
ested to know that this proposed Audio
Engineering Society is organized. Dis-
cussions among a group of well -known audio
engineers have already been held, and this
group has appointed C. J. LeBel to be
acting chairman and Norman C. Pickering
to be acting secretary to bring the aims of
this new organization to interested engineers
and technicians. Those who have not been
GROOMING an reached directly are invited to write the
Acting Secretary for further information.

ADC
TRANSFORMER
The formal organization meeting will be
held on Tuesday, February 17th, at 8:00
p. m., at the RCA Victor studios at 155 E.

for FAULTLESS PERFORMANCE 24th St., New York City, at which organ-
izational details will be settled and tem-
porary officers elected. The society has
been fortunate in obtaining Dr. Harry F.
Olson of RCA as the speaker at the first
Complete Tests to Meet
3 Rigid ADC Specifications
technical meeting of the Society, to be held
Thursday, March 11th, at 8:00 p. m., at
155 E. 24th St., New York City. Dr.
ADC Quality Olson will discuss some specific problems
associated with high quality sound repro-
Strict electrical tests are given to ELIMINATES necessity for large duction and present an interesting demon-
ADC Transformers at three dif- over -runs to allow for rejects. stration.
ferent stages of production. In (Customer returns consistently The need for an Audio Engineering
order to give you faultless per- less than A of I %.) Society has long been felt. It is certain to
formance on the job, each and succeed in its aims if firmly supported by
AVOIDS expense and delays due audio engineers and technicians. It will
every transformer must come to rejects which must be sent furnish a medium for presentation of new
within ADC catalog specifica- hack. ideas in audio, discussion of which will
tions on every test. (Customer unify thinking along these lines.
specifications on special trans- GUARANTEES performance as spe- Norman C. Pickerins,
formers.) cified in catalog. (Custom -
ADC Oceanside, N. I.
built transformers guaranteed
IstTEST. After assembly of coil and to meet your specifications.)
laminations, each component i FROM PROF. JONES
given complete performance tests
for compliance with specifications. Dear Mr. Wells:
I have just seen the August number of
Any unit failing to meet all require- Audio Engineering, and have read with
ments is rejected. much interest the first of your series of
articles on the design of electronic organs
2nd TEST. After impregnation, bak- 3rd TEST. After cleaning, labeling, I hope to see the rest of the articles in
ing and casing, each transformer etc., a final continuity, breakdown this series, and I congratulate you on the
is re- checked for continuity, break- and thorough visual check is made. clear presentation of the material in this
This quality control test -plus the first article.
down and other requirements of I notice several points at which the
the particular unit. This guaran- finest materials and workmanship statements you have made cause me some
tees correct wiring, perfect insula- available- assures you of faultless surprise, and in ease you care to know what
tion-no "shorts" or "opens." performance on the job. they are I am mentioning them in the
following comments.
(1) You state that "the pedal contacts
Other ADC Quality Components are usually designed to "make" when the
pedal has been depressed about one inch."
On the manuals you say that "the electrical
JACKS JACK PANELS PLUGS PATCH CORDS contacts "make" when a key is depressed
about one -half inch." These values seem
so large that I have checked them on one
"v4udiu Develop else 9úcede" organ. I had no measuring device with
me, but I should say that on this particular
organ the pedals were depressed not more
than half an inch before the pipes spoke,
and the manual keys not more than three
sixteenths of an inch.
(2) You say that combination pistons
are usually actuated "by means of the
2833 -13th Avenue So., Minneapolis, Minn. knuckles." Last. evening I asked two
different organist, shout t his. Neither

6 AUDIO ENGINEERING FEBRUARY, 1948

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AmericanRadioHistory.Com
of them had ever heard of using the knuckles
for this purpose. They said that the
knuckles might, of course, be used, and
that there might be some occasions when
this would be convenient. However, I
doubt it being a practice that is at all
common. If you were playing, let us say,
on the great manual, and wished to change
the combination for that manual, you
would certainly not make use of your
knuckle.
(3) Your treatment of the tremolo on
an organ seems to suggest that it is a
frequency vibrato. In such a stop as a
celeste my impression is that your state-
ment is correct, but is it not the case that
the tremolo on an organ is usually closer to
a fluctuation in amplitude?
(4) You seem to restrict the term
"voicing" to a balance in loudness through-
out a given rank of pipes. Is it not true
that this balance is only one of several
things that the voicer must do? Does he When 1948 brings important events...
not have the job of making a pipe speak
with sufficient promptness, of seeing that
the speech is good, and of securing a nice
adjustment to the musical quality that is Get long- period coverage with a
desired?
I am not an organist, and perhaps my
remarks will be of no value to you, but if
they interest you, you are welcome to them.
A. T. Jones
"MAGNETONE" Magnetic Recorder
Professor of Physics
Emeritus,
Smith College, To cover the news -making events of '48, or to develop special
Northampton, Mass. programs for rebroadcast, the "MAGNETONE" is unequaled. This highly
professional magnetic recorder has been especially designed for quick,
accurate and controlled recording and playback.
Dear Professor Jones: The "MAGNETONE" uses plated brass wire and makes permanent magnetic
I have just returned to my activities recordings of unsurpassed quality. Recordings may be "erased" and the
after a long illness; otherwise, I should wire re -used any desired number of times. "Erasure is automatic as
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To say that your letter and comments
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ment, for your book, entitled "Sound," Outstanding characteristics of the Model BK -303 "MAGNETONE" are its
has occupied a place within arm's -reach
of my desk since it was first published. fast rewind, fast forward speed, and constant recording speed which
Furthermore, I always enjoy receiving permits any section of a recorded program to be spliced into any other
a letter from a professor of physics since, section without impairing the faithful reproduction. See and hear
during my college days, most of my mail
was from the dean's office ...I never
the "MAGNETONE" ... compare it with any magnetic recorder in America.
thought I'd live to see the day when Write today for complete specifications
things would be different.
But to answer your questions in the Cleveload 14, Oils. U.S.A.
3405 Parklos Avenue
order in which you asked them:
MAGNETIC RECORDING DIV. ACOUSTIC PRODUCTS DIV.
(1) Values of Pedal and Manual Movement
There is, as yet, no set of standards INDUSTRIAL INSTRUMENTS DIV. CRYSTAL DIVISION
for the distance of travel of they keys. DEVELOPMENT COMPANY
Organists and designers disagree widely
on the ideal distances.
The values which you give are typical
of certain instruments. Those which
appeared in my article are mean values,
taken from a representative group of
existing instruments. The trend seems
to be toward shorter distances, and it has
been my experience that an instrument
so designed is less fatiguing to play for
long peri/xls.
(2) Actuating the Combination Pistons by
Means of the Knuckles
I'll admit that this is a technique more
common to theatrical and radio organ -
ists than to those of the church and
concert fields. Practically all of my
professional work as an organist was in
the entertainment field and, along with
many of my brethren, I used my knuckles
to change combinations.
You are correct in assuming that it
would be difficult to use this method
on the manual upon which you were
playing; that is, with the same hand you
were playing with.
[Continued on page 4.41

AUDIO ENGINEERING FEBRUARY, 1948 7

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 Toscanini conducting the NBC Symphony Orchestra.

Broadcasting Studio Pickup Technique

H. M. GURIN*

Factors influencing placement of microphones and performers in broadcast studios

1ìO('. NI.SS hi the engineering develop- broadcasting studio, to achieve the re- characteristic of the space is acceptable
ment of broadcasting equipment and sults mentioned above, involves a number (2) that the volume is adequate for the
studios has been greatly accelerated of technical factors among which are: intended programs and audiences, if any,
in the last decade, and noteworthy con- a. The acoustics of the studio.
tributions have been made in this field.' (3) that the diffusion of the sound field
h. The electrical system characteristics,
As a result, the expectations of higher (amplifiers, filters, microphones, etc.). obtained by proper acoustic treatment
standards of technical perfection and e.. The studio pickup and microphone and geometrical configuration is satis-
performance may he justified. The use- technique. factory and that no unusual grouping of
3 fulness of any improvement is premised It is with the last mentioned item that resonant frequencies exists.2 It is further
on the skill with which this information this article is primarily concerned, and
can be applied so that the quality of the assumed that in the electrical system3
only some comments will be made of the
performanceean keep pace with first two factors. rinee the program is to ' Morse, P. M. & Bott, R. H.-Rec. Mod.
technical advances placed at one's com- Phys. XVI, 69, 1944,
originate in a bro;nlcasting studio of
mand.
.. Nixon.-
conventional design, it is assumed that: ' NBC Engineering Department Bulletin
In broadcasting, whether it is Al \ or -"Down to Earth ins High Fidelity"
FM, the primary purpose is to bring to (1) the frequency reverberation time O. B. Hanson, C. .4. lackey, G.
the listener, in the most pleasing and in-
telligible manner, whatever information
may be transmitted. For speech, one TABLE I
would normally look for intelligibility
and naturalness of the reproduced sound General Properties and Characteristics of Microphones
so that a mental picture of the person Frequency Output Output Directional
and his surroundings may be formed as Model Type Response** Impedance Level* Characteristic..
well as the message being clearly under- RCA Ribbon 30-15,000 50/250
stood. In music, faithful reproduction 44-BX Velocity +6db -55 vu Bi-direct ional
without distortion and the enhancement RCA Combination 30- 15,000 -54.3 vu Bi- directional
77 -D Ribbon Velocity +5db 50/250/600 -57.3 vu Uni- directional
of musical programs to heighten the and Pressure -60.3 vu Non -directional
listeners' personal pleasure are the major RCA Pressure 60-10,000
objectives. 88-A (moving coil) +5 db 50 /250 -55 vu Non-directional
The transmission of sound from a WE Pressure 50-9,000 20 -59 vu Non- directional
633-A (moving coil) +3 db
*Engineering Dept., .Valional Broadcasting WE Combination 40-10,000 35 -55 vu l "ni- directional
639-A Ribbon Velocity +4 db -61 vu Bi-directional
Co.
Nygren, A -FM & Television, Mav '46, and Pressure -fol vu Non -directional
Vol. 6, No. 5, p. 25; Volkmann, I. E.- WE Condenser 50-15,000 (Amp. Out.) (Amp. Out) Uni -directional
(with assoc. ±6 db 30-50/200 -45 vu Bi-directional
,Journal of Acoustical Society of America
XIII 234 ('42); Olson, H. F. -RCA Revier', amplifier) 250 Non-directional
Vol. 1, No. 4, p. 68 (1937); Olson & Massa,
*Input level of 10 dynes /cm'
-4 "Applied Acoustics" P. Blakiston Sons, * *Manufacturer's specifications

PI) il ad) 1phin.

AUDIO ENGINEERING FEBRUARY, 1948 9

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 .
i

111111.111111 FREQUENCY
TYPICAL
or
-.Y
RESPONSE
A

14
.11111111111111 VELOCITY UICROPIN)NE

111111..111111...111111.
to
.1u!!!!!e11111.111111.
1111111111II.11111.
111111Eggiiili111..11111
I.
. :.111111.Eiillìiil
1111!1
.1115111101=191111.111111
.11I11111.I11111.I11111
/.1111I11111I1111II.
5111111.I11111111W
11s1111..111111..111111
6

Fig. 1 left . Ratio of reflected to direct sound energy with respect

to distance from a ribbon velocity microphone.

Fig. 3 above Frequency response of the RCA Type 44-BX

I
.

3 .. 6 IO
microphone.
DISTANCE IN FEET

(1) there is no discrimination in any of effective reverberation of the collected amplitude, two or more microphones
the component parts against any fre- sound. It is obvious that an increase in placed at unequal distances from the
quency within the range under consider- the total number of reflections reduces source of the waves will receive them suc-
ation unless specifically desired for special the energy density of each reflection and cessively, rather than simultaneously.
effects, (2) there is a minimum of phase permits a more uniform and diffusive The time interval will cause the coni-
distortion, (3) there is a minimum of sound field to exist. posite wave to present a different ar-
harmonic distortion, (4) there is a mini- The proportion of reflected to direct rangement of its harmonics to each micro-
mum of extraneous noise. sound in a pickup is determined only phone at a given instant. If the outputs
partly by the acoustical characteristics of these microphones are then blended
Stud.o Pickup Technique of the studio. The directional character and reproduced by a single loudspeaker,
Of the factors listed, probably the most of the sound source and the receptive the results manifest themselves as raspi-
controversial is that relating to studio angle of the microphone used as well as ness and raucous tones, particularly at
pickup technique, which includes the ap- its distance from the source are also im- the higher frequencies. It is for this
plications and placement of microphones portant. reason that single mike pickups are rec-
and performers. It is important to re- Fig. I illustrates the relationship of ommended, particularly for musical pro-
member that the system we are dealing reflected to direct sound energy, Er/Ed, grams. However, if multiple microphones
with is monaural and lacks the ability with respect to distance of the sound are required to obtain full coverage, con-
to discriminate as to the location of a source from a ribbon velocity microphone siderable care must be exercised to avoid
sound, although it can differentiate as to in a suitably treated studio for frequen- distortion caused by wage interference
apparent distance of the source of sound cies between 200 and 1000 cycles. It is and phasing.
to the microphone. readily apparent that any enhancement A general understanding of the charac-
When sound is generated in a space, of the tonal quality of a singer or instru- teristics of the microphones commonly
the collecting system, via the micro- mentalist by the acoustical properties of used in broadcasting is of material assist-
phones, is generally so oriented that the the studio is negligible when the per- ance in selecting the proper type for a
first sounds come from the source directly former is too close to the microphone. specific task to obtain optimum results.
and are followed by the sound reflected Fig. 2 shows the energy response for The tabulation, Table 1, shows the gen-
from the surrounding surfaces. When the various microphones in a typical studio. eral properties and characteristics of
absorption between boundaries equals Since most musical sounds and human several such microphones.
the output of the source, the steady state voices produce sound waves of a corn - Figs. 3 -4 graphically show the direc-
condition is reached. The ratio of re- plicated series of harmonics, each with a tional and frequency response character-
flected to direct sound is considered the differ .nt wavelength, frequency and
istics of the RCA -44 -BY ribbon velocity
Fig. 2. Energy response curves for direct and reflected sounds in a typical studio microphone. Fig. 5 illustrates the RCA -
77-D combination velocity and pressure
s microphone characteristics.
The acceptability of the final outcome
MfUCT[D depends in a large measure on the sul»
NON -O NAt
MICROPHONE
jective reaction of the individual respon-
sible for the performance as well as on the
of listener, and for this reason no hard and
DIRECT fast rules can be established. Instead,
It
ANLCii0M6L Ilré117M"iM[ some illustrations will be given in which
various acoustical problems have been

o-- REFLECTED ULTRA 01RECTIORAL

300 000
FREQUENCY- CYCLES PER SECOND
761116 5000 I0030
met and from which general principles
may he derived n- guide to acceptable
practice
.

10 AUDIO ENGINEERING FEBRUARY, 1948

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 When an interview for an individual major portion of the sound is direct, as it ratio of reflected to direct sound at the
is conducted or a brief address is being should be, when articulation is important, pickup point. The bi- directional micro-
delivered from a small speaker's studio, the reverberation time should be low. phone is particularly suitable for a speaker
a bi- directional microphone can be used, This condition may be carried too far, in a "dead" studio, because the micro-
from both sides if necessary. The recep- and sometimes sounds artificial and un- phone responds to sounds originating
tive sides of the microphone should be realistic. Under practical application, the both in front and behind it, thereby in-
located at least 8 feet from the nearest apparent reverberation may be increased creasing the apparent reverberation. Of
reflecting wall so that no distortion due by increasing the microphone distance course, where the background noise is
to wave interference results. Since the from the speaker, thereby increasing the excessive or the studio reverberation time

OPEN CIRCUIT FREQUENCY RESPONSE

OF A TYPICAL
TYPE 77 -D MICROPHONE

+5
M
Vf
Jw 0

U S
w
0 V2
10

UNIDIRECTIONAL POSITION
15

60 100 1,000 10000 15,000

UNI- DIRECTIONAL POSITION
FREQUENCY IN CYCLES PER SECOND

OPEN CIRCUIT FREQUENCY RESPONSE

OF A TYPICAL
TYPE 77 -D MICROPHONE
+5
M
0

. co
5

1r
w

BIDIRECTIONAL POSITION
20

60 100 Ip00 10,000 15000

01-DIRECTIONAL POSITION FREQUENCY IN CYCLES PER SECOND

OPEN CIRCUIT FREQUENCY RESPONSE

OF A TYPICAL
TYPE 77 -D MICROPHONE
+5
M
0

270' V2
u 10
w
o
15
NOND RECTIONAL POSITION
20

60 loo 000 10,000 15,000

FREQUENCY IN CYCLES PER SECOND
NON - DIRECTIONAL POSITION

Directional Patterns Frequency Response Curves

Fig. 5. Directional patterns and Frequency response curves for the RCA Type 77 -D microphone.

AUDIO ENGINEERING FEBRUARY, 1948 11

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 sponding characteristic curves. By means
of this unit, a large variety of effects may
he obtained as required by the script.
A very useful adjunct along the same
line is an echo chamber, within which an
additional microphone, either non-di-
rectional or bi- directional, and loud -
speaker are located and connected in the
transmission system so that an artificial
delay, together with multiple reflections,
are introduced. The echo chamber is
sometimes used for musical programs,
particularly with small or medium sized
groups where an aural effect of spacious-
ness similar to a concert hall is to be en-
visioned. Fig. 7 is a block diagram show-
ing an echo chamber line -up. Fig. S
illustrates a typical arrangement for a
dramatic presentation using an orchestra
for musical bridges, sound effects, voice
44-DX effects, together with the usual east and
announcer's microphone.

-
DIRECTIONAL CHARACTERISTIC
OF A
TYPICAL
VELOCITY
44 -BX
MICROPHONE
Croups
10.000 C.PS. In setting up musical groups, the
6.000 C.P.S.
1,000
--
C.PS.- ---- technique for microphone placement in
relation to the performers depends on the
type of program, the number of partici-
pants, and the effect desired. The pickup
for a solo instrument or vocalist is gen-
erally a simple nutter. Care must be
taken, however, not to place the micro-
phone close enough to pick up the me-
chanical noise of an instrument such as a
piano hammer, the plucked strings of a
guitar, or the surface noise of bowing, as
in the case of a violin. In the case of a
vocalist, it is important to remember
Fig. 4. Directional characteristics of the RCA Type 44 -BX microphone.
that the low frequency response of the
velocity or ribbon microphone is accen-
is high, auni -directional microphone which simulated, as for example, during a tele- tuated when the distance between the
discriminates against all frequencies phone conversation or when voices in a source and the microphone is less than a
equally, other than those in front of it, is cavern or supernatural voices are being wavelength. Consequently, singers
preferable. reproduced in a fantasy or mystery story. should stay at least 3 feet away or snore,
The customary means involve the use of depending on their volume range. Typical
Special Effects electrical filters and equalizers inserted arrangements for voice with piano accom-
Very often, during dramatic sequences, in the microphone circuit. Fig. 6 is a block paniment are shown below in Figs. 7.1
special speech effects are desired or diagram of such a device with its corre- and .9/1.
Fig. 6 (left). Typical telephone Alter characteristics. Fig. 7 (right.) Echo chamber line -up.

-60
MIXE -Hi PRE AMP H NORMALLY CONNECTED
FEDER TO OTHER
STUDIO
NORUM
CONTROLS

CHO
ADER
-40
-r -
STUDIO CONTROLS
I-

ASP
1
2. PIPE

FADER

=
60

® TELEPHONE
FILTER .--i PREANF
FILTER
I
LADER
PAEANP MAP AMP FADER

40'
-NO
tI
7. --t FADER
NORMALLY
FIXED
T000 5000 63000
]DO
FREQUENCY -204)0
CYCLES PER SECOND I
r

L EQUIPMENT ROOM ECHO CHAMBER J

12 AUDIO ENGINEERING FEBRUARY, 1948

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 SOLOIST

OJti
(A) (B) Oy /
O
/Ohr/ /
OW /

SOLOIST
O` O
0,
Small musical groups, such as quartets (O/ /
or trios, may be treated similarly to a
soloist with piano accompaniment, with Fig. 8 (right). 'Setup
some slight modifications. In this case, for dramatic (program
it would be preferable to keep all the with musical bridges. 0 0 FILTER MIKE

instruments on the same side of the

Fig. 9 (above). A- 0 CAST 0 N,
SOUND
EFFECTS
microphone, as shown in the Fig. 10.
Microphone
If the microphone is located too close ment for solo with place-
0 0 0
to an instrumental group, high differenti- piano accompaniment.
ation of the individual instruments would B-Alternate micro- PICKUP
result. If the microphone is further away, phone placement fo
solo with piano ac- ANNOUNCE
the sounds will blend together, as they do companiment. MIKE
when heard in an auditorium or music ELECTRIC ORGAN

room, and result in a more realistic and

normal reproduction. Care must be
exercised, however, in not going too far
since "definition" may be lost entirely. such conditions, the arrangement of the Laudable efforts4 have been made in set-
For the concert orchestra, the sensitive instruments needs little, if any, changing ting up some mathematical basis for
and comparatively noise -free ribbon ve- from the regular concert seating plan for determining the position but the elements
locity microphone has been highly useful. satisfactory results in broadcasting. Illus- of personal judgment plus the individual
Because of its uniform receptivity at all trated, in Figs. 11 and 12, are the seating acoustical character of the space from
frequencies, it permits greater control of plan and microphone position for the which the program originates are too
the low pitched instruments by proper NBC Symphony Orchestra. important to be neglected.
angular orientation to the axis of a micro- The optimum distance and height of The varying directional characteristics
phone. the microphone in any pick -up can be of the orchestral instruments themselves
It is possible to bring the entire group determined when all the factors, such as must be considered; for example, strings,
within an effective angle of 90° by placing acoustical conditions, random noise, size woodwinds and percussion are practically
a single microphone sufficiently far and character of performing group, type
enough in front of the orchestra. Under of microphone selected, etc., are known. ' J. P. Maxfield -"Livencs.s
casting "-W. E. Oscillator, Jan. 1947.
in Broad -
Fig. 10 (left). Arrangement and microphone placement for small musical groups. Fig. 11 (right). Arrangement and microphone placzmzit for
symphony orchestra and soloist.

n 0 0 0 0 0
/ Ó HORNS

/O / /O 000010000
jO 0Or4i 0000 0000 r 01
`,
CLARINETS I BASSOONS
/

¡
/ / FLUTES / OBOES
/0éi/O0`
O\\
___JO
o 0
/- o O o
/0 9, i
ic nw°OYO
LO,
O O
O( %' 0 O
O
O OI
O O ONOou ó OI
O O/ Oo Ó

AUDIO ENGINEERING FEBRUARY, 1948 13

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AmericanRadioHistory.Com
 o o o
TRUMPETS¡
f
TROMBONE
O
DRUMS

O O O
HORNS BASSOON.

O O O O
FLUTE OBOE CLAP.NETi

000 OELLOSVIOLö
r ,
O O
2N D
_
1
/O OIINS'I
I V,
0___
VIOyINS
1ST _O r

Fig. 12 (left). Microphone elevation and platforms for orchestra for the NBC Symphony. Fig. 13 fright). Microphone pickup for small concert
orchestra.

non -directional, while brasses project or vocalists with strong, well- projected all the instruments cannot be included
strongly in the direction of their bells. voices, additional microphones are not within its effective response angle, and
Since the microphone is essentially mon- required, and the orchestra mike serves additional microphones are necessary to
aural, it is strongly affected by the direc- as the sole pick -up. obtain full coverage.
tivity of the instruments and since the Another equally important reason for
Smaller Groups the use of multiple microphones with a
apparent volume of sound at a given
angle is inversely proportional to the For smaller groups, such as a salon dance band is the prominent use of low
distance of the source from the micro- orchestra or 20 to 30 piece orchestra, the volume sounds such as a muted trumpet
phone, the strings should be placed near- fundamental treatment is the same as or trombone, and other special effects,
est and well within the effective response previously described. The principles of which are an inherent part of the musical
angle of the microphone in use. On the directivity and volume of the instruments content itself. Frequently a rhythm sec-
other hand, the percussions are not only must be kept in mind, and the weaker, tion, consisting of piano, drums, bass viol,
non -directional, but capable of almost non-directional strings, woodwinds, etc.. and guitar are grouped together and
unlimited volume. Consequently, they placed in a correspondingly more favor- separated from the brass and strings.
should be located at the maximum dis- able location, as illustrated in Fig. 13. Because of these special effects, a popular
tance and anywhere within the limits of A departure from the single microphone singer almost always requires his own
the response angle. It will be noted that pickup for a musitpl group is frequently microphone. Two illustrations below,
this arrangement is quite similar to the justified when a popular dance band is Figs. 14 and 15, show the setup for popu-
usual concert seating plan. being broadcast. The use of multiple lar dance bands with and without a
When a soloist is accompanied by an microphones in many cases is absolutely vocalist. In most cases, the special effects
orchestra, the pick -up for the orchestra necessary. When the program originates achieved by use of multiple mikes are
remains the same as described above, but in night -clubs, hotels, ballrooms, etc., considered more important than any
the soloist may have a separate micro- considerable random noise exists. As a detrimental effects due to wave inter-
phone, and placed so that its position result, it is necessary to place the mike ference.
toward the orchestra is at its minimum as close to the source as possible to ex- The foregoing principles as to methods
response angle as shown in Fig. 11. Fre- clude the unwanted noise. Because of the and applications constitute only an out-
quently, in the case of instrumentalists proximity of the microphone to the band, [Continued on page 48]
Fig. 14 (left). Typical arrangement for dance orchestra. Fig. 15 (right). Microphone pickup for dance orchestra with strings and a vocalist.
A- Principal microphone. P- Vocalists microphone. Other microphones for group accentuation.

o O
O O O DRUMS DRUMS BASS
TRUMPETS
o
BASS
TROMBONES

GUITAR

O O O O COUD,
SAXOPHONES

VOCAL15'
1

14 AUDIO ENGINEERING FEBRUARY, 1948

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Sound Reinforcement in the Hollywood Bowl
M. RETTINGER* and STERLING M. STEVENS **

THE PURPOSE of this article is two- quality of outdoor locales. Hearing in the
fold: (1) To give a resume of the open is curtailed regardless of the direc-
public address systems employed in Describing one of the best tion of the wind: articulation tests con-
the Hollywood Bowl during the past ducted outdoors have shown that a wind
nineteen years; (2) To describe in detail known outdoor orchestra with a velocity of 20 miles an hour gener-
the present installation. p-a installations. ally reduces the percentage articulation
Open-air concerts have long been by as much as 40 %, while even gentle
popular with the American people. When winds having velocities from 5 to 10 miles
the music played in the bandshell of such an hour, can reduce it as much as 20 %.
an outdoor theater is suitably reproduced cert series in the world. The number of Figure 1 shows plan and elevation of
over loudspeakers, it can be enjoyed by famous maestros who have appeared the Bowl, and it is seen that its width is
several times the number of persons who
ordinarily could listen to it if it were not
amplified. This fact, plus the concomit-
there outranks that of any other outdoor
concert stage. Celebrated patrons
motion picture stars, music critics, radio
- greater than the length of a football field
and that its total length is nearly 1 /10th
mile. It has a seating capacity close to
ant condition that a larger audience performers, etc. -add a glamour of their 20,000-with the spectators in the last
makes, usually, for more popular admis- own at these occasions. The Bowl is also row 120 feet above the boxes in front.
sion fees, has brought first-class enter- the largest "natural" amphitheater in the Much of the credit for the develop-
tainment to untold millions. The electric world. ment of this cultural center goes to Dr.
ear and the electric mouth are unsur- The land on which the Bowl is situated Karl Wecker, able manager of the Bowl
passed as disseminators of culture. belongs to the county of Los Angeles, and and first -class musician.
The "Symphony Under the Stars" was leased for 99 years by the Hollywood
program in the Hollywood Bowl in Cali- Bowl Association 26 years ago. The First Installation
fornia is undoubtedly one of the best Bowl itself is ideally located in the wind - In 1925, seven years after the inaugural
known and most popular open-air con- protected hollow of some hills dividing program, the first public address system
* RCA Victor Division, RCA, Holly - Hollywood and the San Fernando Valley. was installed in the Bowl. In the light
wood, California. It may be remarked that, contrary to of modern equipment, the installation
** Otto K. Olesen 'Company, Hollywood, popular opinion, the absence of wind was rather primitive. It consisted of
California. contributes markedly to the hearing several dynamic speakers coupled to

The Hollywood Bowl at night during an orchestral program.

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six -foot long horns, and a power amplifier auditor was too small to permit ready With what limited funds were available,
containing two UX-250 tubes. A few localization of the sources. At the boxes, a system was installed which consisted
years later the reproducers were replaced the auditors had a tendency to look at the of a number of high and low frequency
by twenty-five 3%' horns disposed about speakers on top of the shell from where speakers in their respective horns. These
the lawn in front of the stage. The micro - the too powerfully reproduced sound were placed on the ground in front of the
phones-as in many installations of this originated. shell, and the sound from them was kept
type at the time -were condenser units, Of course, given time and money, it to a sufficiently low level to achieve a
which, of course, exhibited many of the might have been possible to develop the realistic representation. While, obvious-
defects usually found in the early kind. installation into a very satisfactory ly, it was not a superior system, it was
Still, the system was able, at the sacri- system. After two programs, however, better than none.
fice of a somewhat restricted frequency it had to be returned to its owners, and In 1945, Leopold Stokowski signed up
range, to deliver the programs to many the Bowl was again without equipment as permanent conductor, and purchases
untold thousands who otherwise would for the amplification of its music. were made of an elaborate RCA installa-
have received it not at all, or else at the But, once more, Leopold Stokowski tion comprising several two-way speaker
cost of a greatly reduced volume. came to the Bowl as a guest conductor, systems, pre -amplifiers, uni-directional
When Leopold Stokowski was engaged and again he insisted on a reproducer microphones, etc. A forty -foot tower was
to conduct a program in the Bowl, he was system. This time-in 1942 -no Para- built at a distance of 30 feet on each side
able to promote, through the good will of mount Studio and no Western Electric of the shell, and a complete two-way
the Paramount Studios and the Western Company were able to lend equipment. speaker system was installed on top of
Electric Company, an elaborate "stereo- each tower. The purpose of this construc-
phonic" public address installation. Three tion was to allow delivery of sound to the
complete two-way speaker systems were
placed on top of a 60 -foot steel structure
erected over the music shell, each system
being driven by a separate amplifier. The
positions of the reproducers on top of the
shell corresponded with the sections of the
,f* 400'
rear sections of the Bowl without flood-
ing the boxes with sound.
This construction also produced a mis-
direction of sound. This time the extreme
aide-sections were conscious of sound
emanating, not directly from the shell,
band below that were picked up by the but somewhat to the side of it. The cen-
473
microphones in front of the sections. The tral audience area and the boxes were
amplifier installation, for its day, was unaffected. But sound did arrive at the
tremendous, consisting of ten 6 -foot racks. "gallery!" It was an improvement, a
The total effect, however, left much to be vast one, and much credit should go to
desired. Because the width of the Bowl the maestro who so clearly recognized the
is 400 feet, auditors in the extreme side need for amplification. For that matter,
sections heard chiefly the loudspeaker Leopold Stokowski is known to many as
system closest to them, thus receiving an a3.. the sound man's friend -a musician who
"unbalanced" reproduction of the music. appreciates and understands the techni-
At a distance of 200 feet in front of the F g. 1. Layout of the Hollywood Bowl. The cian's problems, and who is sufficiently
shelll the "stereophonic" character was stage for the orchestra is at the lower end of acquainted with technical procedures and
lost since the subtended angle:at the the drawing. terminology to convey to the engineer an
idea of the desired results.
Fig. 2. Block diagram showing arrangement of sound equipment.
Final Installation
STAGE PLUG -IN MUSIC PLUG-IN Finally, in 1947, when more funds be-
came available, a permanent steel struc-
ture was built on around the shell so as to
MI-11218 A MI-B218 A maintain its contour. Near the top of
PRE-AMPS PRE-AMPS
this structure were mounted two com-
plete RCA two-way systems consisting of
STAGE! MIXER MUSIC MIXER
four low-frequency horns and 2 high -fre-
0000 0000 quency horns each equipped with p-m.
0000 0000 units. The horns were so oriented as to
0000 0000 cover with sound the area from approxi-
mately 200 feet in front of the shell to the
BOOSTER BOOSTER "gallery." Since localization of sound
BASS EQUAL BASS EQUAL. was not critical at a distance, these raised
STAGö ER MUSICI MASTER systems fulfilled their purpose very well,
and could indeed he operated at a rather
DRIVER AMR 'A' IDRIVER AMP 'B' I high level. The sound definitely came
-it
POWER AMR NO.1 I- -I POWER AMR 80.1 j- from the shell certainly gave the im-
pression of coining from there -and the
--i POWER AMR NO.2 I- F- problem of providing the upper side sec-
j-
POWER AMP. NO.2
tions with sufficiently centralized sound

j- was solved. The area from the shell to a

POWER AMP. 140.5

'APRON' SPEAKERS
-I POWER AMP. NO.4 distance of approximately 200 feet in
front of it was covered with sound by 3
2 4 e z
two-way speaker systems installed below
MI-9119 948 9449 94249 9448 94249 9449 9448 9119 a curved "apron" in front of the shell.
Of course, neither the systems above the
e 1 2 shell nor those below the apron were ex -_
9449 9448 94e49 9449 9448 94E49
SHELL SPEAKERS
posed to view, but were covered withraa
grill work.
16 AUDIO ENGINEERING FEBRUARY, 1948

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 There is a slight impairment of illusion
for the auditors in the boxes inasmuch C7
as the frontal speakers are some fifty feet OVERALL

ahead of the hand, but it is not serious.

It is hoped that next year funds will be-
come available for placement of speakers
below the steps in front of the band shell.
so that even this small shortcoming will
be remedied.
Features
It may now be of interest to explain
briefly some mechanical and acoustical
features of the two-way speaker system
used. The cross -over frequency was
chosen as :300 cycles, rather than suoa
higher frequency, so as to allow a larger
portion of the energy to be issued by the
rather directional high -frequency horns.
This means, of course, that feed -hack O NON - DIRECTIONAL MICROPHONE
e problems are considerably minimized, and
that sound is sent to where it can be G UNI -DIRECTIONAL MICROPHONE

heard and not where it is idly expended. 8 VELOCITY MICROPHONE

But what about the feed-back effect Fig. 3. Types of microphones used and their placement.
produced by the sound coming from the
non -directional low-frequency horns? This than would be the case without the always at the direction of the conductor,
effect is reduced considerably by a low - equalizer in the circuit. the artist, or his manager- compensation
frequency variable band- suppression fil- The system contains also a number of is introduced to achieve time most de-
ter, having an insertion loss of approxi- equalizers which permit the raising and sirable results.
mately 10 db over a hand 20 cycles wide. the lowering of the response above as well Figure 2 shows a block diagram of the
When this variable band- suppression filter as below 10(0 cycles to provide, if neces- amplifier and horn equipment. The two
is adjusted for minimum feed-back, it will s:uy, any desired correction, particularly twelve- position mixers are required clue
be found that the sound from the horns for voice. Normally the channel charac- to time necessity of having to use the
can be maintained at a level 10 db higher teristic is kept flat, but on occasions - (Continued on page .3S

Nkaapting. ?M4ealiGK
ANEW SYSTEM for the measurement sutinued voltage is passed through the analyzer, the high sensitivity of that
of distortion caused by internuldula- device under test. unit, and the high power output of the
tion has been announced by the The output from the equipment being signal generator are among the factors
Electrical Research Products Division of tested is fed to the analyzer where the which will make this new system a valu -
the Western ?lectric Company. Al-
1 percentage of internaodulation, or the al le tool in the motion picture field as well
though designecI to determine optimum percentage of amplitude modulation of as other fields where audio frequencies
processing conditions in variable density time high frequency signal by the low are employed.
sound -on-film recording, the system is frequency signal, may he closely meas-
expected to prove valuable in many- fields ured. . distortion phase meter is pro-
where audio frequencies are used. This vided for determining, when measuring
meter replaces the earlier HA -ll07 sys- variable density recordings, whether com-
tem which has Iaem in wide use for several pression is occurring on the positive or
years. negative half of the low frequency signal.
'Ile new system consists of the RA- The analyzer itself functions by first
125s signal generator unit and the RA- amplifying the input signal from the de-
1257 interuaoclulation analyzer. In opera- vice under test, then eliminating the low
tion, a signal of two frequencies, the low frequency component lay means of
between 40 and 1:i0 cycles and the high band -pass filters. The resulting high
either 2000 cycles or between 7000 and frequency component is amplified and
12,000 cycles, are added by the signal rectified, producing an envelope which is
generator with a minimum of :amplitude a replica of the internodulation in the
modulation of one frequency by the other. input signal. 'fhc average output of the
The high frequency is attenuated to a rectifier is attenuated to a reference
desired ratio, which may he 1:1, 1:2, 1:4, value, amplified, rectified, and applied to
or 1:10, and the two frequencies com- a vacuum tube voltmeter which is ad-
bined in a hybrid coil. Output levels justed to read the per cent internmdula-
range between +23 and -44 dhm at 600 tion directly.
ohms output impedance, sufficient for The inclusion of a phase meter in the
tests of most equipment without the use
Testing with the Western Electric RA -1257
of additional aniiilifiiis which might in Intermodulation analyzer and RA -1258 Signal
themselves in ta iii iii distortion. The Generator.

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 Feedback Preamplifier
For
Magnetic Pickups
RICHARD S. BURWEN

Complete preamplifier with associated cables.

By using negative feedback for response equalization, this pre-

amplifier design presents many advantages over previous types.

HE PHONOGRAPH preamplifier de- process of recording. Since the output ing characteristics of individual records
scribed herein shows how a feedback voltage of these pickups is small, espe- can be easily taken care of with the usual
circuit can surpass conventional de- cially at low frequencies, and as it is a good bass and treble controls elsewhere in the
sign in four ways and actually cost less to idea to isolate such low level circuits from system. By continuing on straight in-
build. These points of superiority are: the power amplifier and a-c supply com- stead of leveling off at 50 c.p.s. it provides
1. Very low output impedance enables ponents, a separate preamplifier unit has 3 db more output at that point than the
use of shielded coupling cable without been designed which includes this equali- N. A. B. playback curve; this helps
causing severe attenuation of high fre- zation and thereby adapts the pickup to compensate for the deficiencies in many
quencies. the medium level input of any flat am- records.
2. Negative feedback reduces harmonic plifier. Selective feedback accomplishes
Design Considerations
distortion. the equalization.
3. Noise and hum originating in the pre- Designed around the G. E. variable The conventional method of accom-
amplifier are also attenuated. reluctance pickup, the circuit produces plishing the job of this preamplifier
4. Simpler to build. the response characteristic shown as the might consist in using two high -µ triode
Proper reproduction from transcrip- smooth curve in Fig. 1. However, it is stages with a resistance- capacitance equal-
tions and commercial records with mag- readily adaptable to other pickups and izer between them. Although this ar-
netic pickups such as the General Electric different degrees of high and low fre- rangement may be fairly satisfactory
and the Pickering requires that the low quency compensation with the aid of provided all the stray capacities are kept
frequencies be boosted with respect to formulas developed later on. to an absolute minimum, we immediately
the middles and, in most cases, that The curve in Fig. 1 has been chosen as run into difficulty when we try to feed
the high frequencies be attenuated to suitable for both transcriptions recorded the output voltage through a shielded
offset the attenuation of lows and em- with the N. A. B. characteristic and com- cable to the main equipment, since shunt
phasis of highs put into the record in the mercial records. Variations from the capacity in the cable attenuates the high
*17 Sheffield Rd., Melrose 17, Mass. complement of this curve in the record- frequencies. We could compen-1 to for

required
Fig. 1 left . Play -back curve and its asymtotes for a cross -over frequency of 500 cycles. Fig. 6 (right). Curve showing equalization
to bring magnetic pickup (G. E.) up to flat response on a constant velocity basis.

l l

4 k
a01". aooQe

1 1 s 1 1 1 1

s 1
100 4000 10000 100P00 loco 1opoo
FREQUENCY- CYCLES PER SECOND FREQUENCY - CYCLES PER SECOND

18 AUDIO ENGINEERING FEBRUARY, 1948

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AmericanRadioHistory.Com
 ANCINNEi Ne`lrintssue"AImOe^fa-

f1 this loss within the amplifier,vbut then

we would always have to connect the
amplifier to the sane cable or use a suit-
able coupling transformer, which would
increase the cost.
Another disadvantage with convention-
al circuits. when the high frequency roll -
off part of the equalizer is inserted be-
tween stages, is that while tube his,
generated in the first stage is reduced.
that generated in the second stage is not.
A simple way of alleviating both these
disadvantages would be to roll off the
high frequencies at the plate of the second
stage by means of a capacitance to
ground instead of between stages; but
new troubles arise from this expedient Under -chassis view of preamplifier.
because this reactance, effectively across
the plate load resistor, will seriously inch aluminum can filter capacitor were grounded, and this preferably by means
limit the signal voltage handling capabil- mounted on top and the rest of the parts of a potentiometer.
ity of the tube and greater distortion will inside. Filament hum was minimized by
result. If the high frequency roll -off completely eliminating filament wires, Hum
capacitor were connected between grid accomplished by feeding the power in
and ground, we have left a new point
It must be pointed out that no amount
through a miniature four-prong socket of care in construction can completely
where stray capacities and Miller effect on the side of the chassis that had two of eliminate hum that originates within the
can cause unwanted attenuation of the its lugs soldered directly to the filament tube itself and that where the utmost of
highs. contacts of the tube socket on the top of fidelity is required the six-volt tube should
Circuit the chassis, the types 7F7 and 6SC7 tubes be replaced by the twelve -volt heater
being conveniently designed with the types to reduce current consumption, so
All these disadvantages are overcome in filament prongs adjacent to each other. the filaments may be heated by a 150
the feedback preamplifier circuit of All the signal -carrying wires were kept ma direct current supply.
Fig. .3. It uses the same number of parts, down to less than a half inch in length
but capacitors in the equalizing circuit Of the tubes indicated the 7F7 is the
and midget coupling capacitors were used one around which this circuit was de-
are smaller; several more advantages are so as to offer as little surface area as
incorporated in the design and construc- signed. It was chosen on account of its
possible to the electrostatic field of the high gain and low harmonic distortion,*
tion. Feedback from the plate "2 of the filament circuit and to prevent loss of
second triode l'2 to its own grid through. the total r -m-s distortion for the pre-
high frequencies through capacity to
the network consisting of R5, C3, and C4 amplifier is estimated to be around 0.1
ground. Hum is thus reduced to a low or 0.2 per cent on peaks. The gain is such
provides the proper frequency compen- value provided that the center -tap and
sation. As a result of this feedback, the not one side of the filament supply be
that with the G. E. pickup, instantaneous
effective output impedance at high fre- peaks seen on an oscilloscope reach five
quencies is of the order of a thousand volts on loud records. However, the
ohms and the outgoing signal can be fed amplification with the type 6SC7 was
through a shielded cable or to certain found to be nearly the same and the
types of tone control circuits that or- measured plate voltages turned out to he
dinarily require a cathode follower driver a little closer to the desired values. The
6SC7 is also cheaper and, in the cases of
without fear of losing the high frequen-
the particular pairs of tubes compared,
cies. Noise originating in the plate cir-
less microphonic than the 7F7.
cuit of the last stage is fed back out of
phase to its grid and noise and harmonie Equalization
distortion originating elsewhere are re- Equalization to flat response front the
duced by virtue of the frequency discrimi- majority of lateral records and transcrip-
nation. Harmonic distortion generated Fig. 2. Detail of feedback stage. Z represents tions requires that the gain rise at a rate
within the second stage is lowered bya fac- the network R5, C3 and C4 of Fig. 3. R is *Sylvania Electric Products Inc., Technical
tor of 6 at 30 c.p.s. and considerably more approximately equal to R4. Manual, Resistance Coupled Amplifier Data
at higher frequencies. Only one point re-
mains where stray capacities can cause ap- Fig. 3. Complete schematic of the magnetic pickup preamplifier, using negative feedback
preciable unwanted attenuation of the over the second stage to accomplish equalization.
high frequencies (the plate P1 of the first
stage) instead of two, and the feedback R7 27K Ra 1SK
5+ 90 -4501
eliminates the possibility of high fre- DESIGN GEM
R2 Ra TER 300
quency oscillations clue to stray capaci- 390 K
1S0K
V.

Cs
tive coupling from plate "2 to the grid OUTPUT
CI N.aqt
rendering the mechanical layout less .02P1 500V 0.1 yl I LOAD R
PREFERNU
critical. PICKUP 1 MEG.)
INPUT
Construction
10
R1

KG
-6SC7 OR 7F7'ß`.
The author's preamplifier was built on (DUAL TRIODE)

a 4 x 2 x 1 inch aluminum chassis with a

bottons cover. The tube and the x :-1
ALL RESISTORS i WATT

AUDIO ENGINEERING FEBRUARY, 1948 19

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AmericanRadioHistory.Com
of 6 db per octave below some frequency straight lines, called asymptotes, show shielded cable will add another 2.5 db to
which we shall call fi and that the gain the limiting value of the slope. the output at 10,000 c.p.s.
fall off at a rate of 6 db per octave above If the phonograph turntable produces Fortunately, we can compensate for
some frequency which we shall call f2. an excessive amount of rumble, common the pickup characteristic without adding
In addition, there may be a frequency at to the cheap types, it may be necessary anything to the preamplifier. It happens
the low end where the gain begins to to choose a gain reduction factor of that if we design the equalizing network
level off again which we will consider about 10 for a leveling off point of 50 for a high -frequency turnover point 12 _
later. Actually, the bends in the curve e.p.s. and in addition lower the values 3560 c.p.s. instead of 2000 c.p.s., the curve
at these frequencies are very gradual so of all three coupling capacitors Cr, C2, of the pickup will subtract from that of
that they can be made with simple resist- and C5. The N. A. B. playback curve has the equalizer and produce almost exactly
ance-capacitance networks and the slope a leveling off point at 50 c.p.s., but this the curve we originally intended in Fig. 1.
only approaches 6 db per octave at a is usually taken care of by the deficiencies For the two equalizer networks of Fig. 5
considerable distance from the bend. The in the recordings and the associated we have.
two frequenciesfr and f2 vary with differ- equipment, particularly the loudspeaker. R..t('..tr = :318 microseconds
ent manufacturers, and if we were to RAGA' = 52.0 microseconds
construct a network for every combina- Pickup Response and Rj('ar = 274 microseconds
tion of fi and 12 in present-day records (I Ici' the actual response of the phono- R1032 = 44.7 microseconds
we would indeed have a large number of graph pickup has not been taken into Zo
networks. The simple way out is to build account. The author tested two G. E. The gain A. =
R
a single network having f1 and f2 repre- cartridges on the Columbia 10004 -M at ¡o, now 1336 c.p.s., was chosen to be
sentative of a large number of records frequency record and on H. M. V. con- slightly less than unity to permit a gain
and leave the rest to be taken care of by stant tone frequency record numbers reduction of at least 50 times and a de-
ordinary bass and treble balancing con- D. B. 4034 and D. B. 4035 which accord- parture from the asymptote of not more
trols elsewhere in the equipment. The ing to the label are accurate tu within than 0.5 db at :30 c.p.s. for the entire
smooth curve in Fig. 3 has therefore been 0.2 db and whose light patterns tend to preamplifier. Network .1 was inure easily
chosen with fr = 500 c.p.s. and f2 = 2000 confirm their accuracy. Agreement was fitted by standard values of resistors and
c.p.s. It corresponds closely to the close between the cartridges and fairly capacitors, making allowance in CA2 for
present N. A. B. characteristic. good between the Columbia and the the plate to grid capacitance of the tube
British records. The general trend of the and socket.
curves aras that of a roll -off 3 db down at For use with other magnetic pickups
RI LI 3000 c.p.s. reaching a maximum clip of 5 having a higher output than the G. E.,
--'WVwHí- -42 to 6 db and then rising again at 10,000 it is suggested that the first stage he
e.p.s. On the Columbia record 10,000 eliminated and the pickup connected
(A) r.ps. was only :3 db down. Discontinui- directly from ground to the PI side of
ties in the curve of the British records, coupling capacitor C2 in Fig. 1. The
Fig. 4, In (A), network for bass boost only.
which take four sides to change from output can he brought up sufficiently by
Xc, - RI at f, (Fig. 1). In (B), network for
5500 c.p.s. down to 5(X0 c.p.s., prevented
-
high frequency attenuation only. Xcz
at f_.
R2
determination of an exact curve for
equalization to flat response, probably on
selecting a higher value of
- provided a
higher leveling off point can be tolerated.
Mathem:atieall, -hairiest way to
t account of the inability of the large point
c Another pickup will of course require
.

attain this curve steps, first by

is in t
different equalization at the high end. A
boosting the lows and then by attenuating
worthwhile addition to the circuit that
the highs in two separate consecutive
amplifier stages. By replacing our Z in
-iÍ-a--iE-
cet
car will make for more pleasing reproduction
from worn records would be a switch
Fig. 2 with the network A or Fig. 4 we RB

can attain the 6 db per octave slope at vV that would shunt a resistor and capacitor
in parallel across the pickup or several
the low end. The turnover frequency fr (B)
pairs so as to cut off the high frequencies
is the point at which the reactance Xcr
Fig. 5. Network (A) to boost bass and attenu- fairly sharply at selected points in the
= RI. A 3 db rise occurs at this point to
ate highs; and (B) equivalent circuit of (A). manner described in the September 1947
effect the gradual bend, and the slope
issue of :tndio Engineering. The pre-
approaches nearer and nearer to 6 db
per octave as the frequency goes down radius to reproduce high frequencies as
because the impedance becomes very efficiently at the center of the record as
nearly that of the reactance Xe,, which at the outside grooves.
doubles in every octave. Above fr the So far as the author has been able ti
reactance is small compared to RI and determine tine let
so the impedance approaches RI, re- equalizer curve whirlt comes closest i

sulting in constant output. bringing the output up to flat response is

the one shown in Fig. G. In ordinar
High - Frequency Attenuation amplifiers it is achieved by means of the
The high frequencies can lie attenuated simple 5 db equalizer in Fig. 7 having a
at a rate approaching 6 db per octave half loss frequency of 25(10 c.p.s. 'l'lii- Fg. 7. Interstage equalizer for flat response
above 12 by replacing Z with the network curve seems to be a happy medium si ire f'om G. E. or similar magnetic pickups. Rg
B of Fig..; where Xc..e = R2 at f2. Below 10,000 c.p.s. will he up about 2 db at the represents the internal resistance of the driving
f2, Xcr lteconies large and the impedance outside of a record and will be down amplifier.
approaches R2; above12, where the effect slightly at the inside.
of R2 becomes small, it approaches A word of caution might here be men- amplifier rain lie powered with plate sup-
Xcr. By passing the signal through a tioned in connection with the use of long ply voltages other than 3(X) volts; in
stage containing network A and then shielded cables between the pickup and fact, there is little difference between
through a stage containing network B amplifier. On account of the 100 mh operation at 90 volts and that at 450
we get the combination of these two inductance of the magnetic pickup and volts. But, in general, the higher the
curves, the same one as in Fig. 1. The the capacitance of the cable, a ten -foot voltage, the less the Ali <tlutimi.

20 AUDIO ENGINEERING FEBRUARY, 1948

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 Two -Way Speaker System
C. G. McPROUD

The third of three articles describing the design and

PART III
construction of an excellent two -way speaker system.

THE FIRST article of this series system is the series filter type, with the an impedance of S ohms, the values are
covered the construction of an eight - circuit shown in Fig. 1. Since both the determined to be as follows: L1 = 1.413
eell multicellular horn for use with an specified high -frequency unit and the mh; L2 = O.SS3 mh; CI = 22.1 µf;
efficient high- frequency speaker unit, low- frequency cone type suggested for C2 = 35.3 pf. Taking refuge again in
providing the constructor with informa- this system were eight -ohm units, the empirical values, it may he stated that
tion heretofore not commonly available, dividing network is calculated for an the two inductances may be made by
and reducing the assembly of a set of eight -ohm circuit, and the input to the winding on forms -4" in diameter and
1
horns to a relatively simple operation. network should be connected to an eight - %" in width, using wood flanges to keep
In the second article, the low-fre- ohm winding of the output transformer. the windings in place. This size of forth,
quency speaker baffle was discussed, to- The choice of network circuit was when used with No. 17 DCF, wire -as
gether with a number of empirical meth- discussed in an earlier article,! and will used in the field coil of Western Electric
ods for determining reasonable approxi- not be repeated here. From that article, 55M%í units -will wind about 13 turns
mations for the size of a reflexed cabinet, however, the formulas for the four cmn- per layer. Referring to the charts of the
and the necessary port opening, for earlier article, it is determined that L1
o-I
loudspeakers of various sizes. In the requites 185 turns and L2 requires 146
absence of suitable measuring equipment, turns. For optimum results, these should
it is essential that approximations be N -E SPEAKER be adjusted with the aid of an accurate
L-2
made, primarily because of the difference IB ohms) bridge, but with reasonable care in the
in the characteristics of the speakers INPUT
winding the coils to these specifications,
themselves, but also to the variation in 2 e ohms
2
the results should be acceptable.
preferences of the individual constructor L -P SPEAKER
The accumulation of sufficient capaci-
and the space available for the finished L -I
(8 hhms)
tance was considerable of a problem until
speaker system. Q9 Q.- surplus material became available. The
This article covers the construction of Fig. 1. Basic dividing network circuit used writer had an arrangement with a capaci-
the auxiliary components required, to- for this speaker system. This is the series tor manufacturer long before the war to
gether with the final assembly of the filter type. provide the values required for dividing
system to provide better than average
ponents of the dividing net kork are as networks at eleven cents per microfarad,
reproduction from a high-quality sound
source. It will be remembered from the follows: furnished to exact required values. How-
first article that a complete system con- 15f1 R ruh
ever, since 10-and l5-µf capacitors are
sists of a kw-frequency speaker, suitably a
f
now readily obtainable at six to eight
enclosed. a high -frequency unit and the cents per microfarad, it is much easier
multicellular horn, and the dividing net- L2 = 0.625 L1 nth to use these units. Two l0-pf units and
work. In addition, there are a few other 159,000 one 2 -µf unit should suffice for the 22.1
features which make the system more CI µf µf capacitor, while two 15-µf units and
f, Ro
flexible, and provide sufficient controls 5-µf unit approach the 35.3 -. f capacitor.
for the critical listener. C2 = 1.6 C1 µf The final values can be built up by the
Dividing Network With a crossover frequency of 900 cps and use of smaller units to the correct values,
using a bridge for the measurement. In
The dividing network consists of two I"Design and Construction of Practical Di- the absence of a bridge, a capacity meter
coils and two capacitors, and serves to viding .Networks," C. G. McI'roud, Ammo
feed the low frequencies to the cone
ENGINEERING, Jane 1947. will suffice.
speaker and the high frequencies to the
horn speaker. There are several reasons
for this -the most important being to
prevent the high -frequency unit from
being damaged by the high amplitude of
the low -frequency excursions which would
be set up in the small diaphragm, inade-
quately loaded for those frequencies. A
second reason is to prevent the high
frequencies front reaching the cone and
causing the inevitable breakup which
occurs in that type of speaker unless it
is especially designed for the purpose.
The dividing network used with this
Fig. 2. Method of arranging switch sections to support the resistors for the 1 db /step at-
" Managing Editor, Arowo Eva tenuator in the h -f speaker circuit.
AUDIO ENGINEERING FEBRUARY, 1948 21

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AmericanRadioHistory.Com
 connected as shown, the total loss is locks in either position. Since the sup-
approximately 12 db -still more than pressor causes a loss of approximately
necessary, but an improvement over the 3.5 db throughout the transmission band,
usual connection. an additional fixed pad of this value
should be connected across the switch
10 -ke Supp terminals in the filter -out position, to
When the speaker system is to be used equalize the levels. This pad is shown in
for reproduction of radio programs from Fig. 6, and consists of two resistors. each
a high -fidelity receiver, some trouble may being a BW -1, 1 -watt type.
he experienced from the 10-kc inter -
channel squeal. A simple suppressor can The Complete Circuit
therefore be installed in the high-fre- The combined circuit of the dividing
quency horn circuit, and if properly ad- network, the attenuator, the 10-kc sup-
justed, it will suppress 10 kc quite effec- pressor, and the other connections are
tively without appreciably affecting the shown in Fig. 6. Note that four jacks are
remainder of the frequency band. inserted between the output of the switch-
This suppressor takes the form of a ing circuit and the speakers, two in each
mull circuit, shown in Fig. 5. The coil is circuit. This permits the insertion of a
a 0.5 ntlt unit, composed of 110 turns of plug into either circuit for measurement
purposes, or permits feeding a signal to

U
V No. 17 DCE wire wound on the same

i
b ZS0.1S
rN ou type of form as used for the dividing net- either speaker without using the dividing
tl 15 b work coils. The two capacitors resonate network. This provides sufficient flexi-
with the coil, forming a low-impedance bility for the most enthusiastic experi-
shunt across the h -f speaker circuit. The menter
Fig. 3. Circuit arrangement for h -f attenua- After the completion of the entire
tor, showing resistor values for an 8 -ohm switching circuit, it is advisable to make
circuit.
frequency- response measurements of both
High-Frequency Attenuator legs of the dividing network and the 10-
Since the high- frequency speaker unit kc suppressor. The resulting curves
is more efficient than the low- frequency should resemble those of Fig. 9, with the
cone, an attenuator will be required in voltage across the two sections being
the h-f output of the network in order to equal at points removed from the cross-
balance the sound output from the two over frequency, and with both outputs
speakers at crossover frequency. The being down 3 db at crossover. The 10-kc
simplest arrangement is to use a 10 -watt Fig.'4. Alternate arrangement showing the suppressor should be adjusted for fre-
adjustable resistor, with a value of 10 useof a 6 -ohm L -pad in an 8 -ohm circuit quency by adding or removing turns
to provide a maximum, loss of 12 db.
ohms, connecting the speaker unit to the
tap. However, this does not give an
easily variable adjustment, and in general,
ro. , from the coil, assuming that the capacitor
values are reasonably close to the speci-
fied 0.25 µf in each section. After arriving
at the correct attenuation peak, the
those who experiment in audio equip- 0.25 0.26
ment prefer rather more flexibility than maximum attenuation may be obtained
H (-- by an adjustment of the 10-ohm shunting
is afforded by a semi -permanent adjust-
ment. 0.5 WI resistor. When correctly adjusted, the
The recommended high-frequency at- attenuation at 10 ke should be approxi-
tenuator is a step potentiometer, with mately 40 db, with the response fiat at
Fig. 5. Circuit of 10-kc suppressor useful for about 9,000 and 11,000 and down 6 db
attenuation values of zero to 6 db in eliminating interstation squeal from wide -
1-db steps. Such a device is not readily range radio receivers. in the vicinity of 9,600 and 10,600 cps.
available on the market, but may be Final Assembly
resistor, 10 -ohms, 10 -watt adjustable,
constructed on a standard switch. The The dividing network, attenuator, and
provides resistance neutralization for the
switch required is a Centralab K-123 in- 10-kc suppressor -if used -should be
coil, and makes the attenuation curve of
dex assembly with two "A" decks and mounted suitably on or in the low -fre-
the equalizer extremely sharp, as shown
two "B" decks. The switch should be quency baffle cabinet. If the entire
by the curve of Fig. 9. This suppressor
assembled with the two "A" decks spaced speaker is to be hidden from view, it is
about 1- /"
apart, followed by the two should be arranged for switching in or
out of the circuit by means of a switch, possible to mount these parts on top of
"B" decks also spaced 1 46" apart, and the cabinet at the sides of the high -fre-
with a %" spacing between the two pairs. DIallory 2006 -I, push- button type vi jc)
This construction, shown in Fig. 2, per-
mits the mounting of 1 -watt resistors
2.7.. 0 0
directly on the switch, and parallels two
o
decks for each circuit, thus increasing the
current carrying capacity. The circuit of
the attenuator is shown in Fig. 3, the
resistors being IRC Type BW -1 in the
values shown. Fig. 3 also shows the con-
nection of the various switch sections. o
A simpler arrangement for the high -
frequency attenuator is to employ a
6-ohm L-pad in the circuit shown in
Fig. 4. The regular I: pads provide at-
tenuation from zero to infinity in their
total rotation, which is more than is Fig. 6. Complete circuit of dividing network, h -f attenuator, 10 -kc suppressor, and jacks to
desirable for this application. When permit access to the various circuits.

22 AUDIO ENGINEERING FEBRUARY, 1948

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AmericanRadioHistory.Com
quency unit. In any case, the controls unit may be reversed, requiring a dis-
should be accessible, but the special re- placement of 9.2-7.45 in. or 1.75 in.
quirements of the physical design may However, the diaphragm of the low-fre-
dictate the actual placement of the parts quency cone is not a plane surface, and
and the controls. It should be remem- the exact point of measurement may not
bered that the currents involved in a low- be definite, although there is some evi-
impedance speaker circuit are relatively dence to support the choice of the voice-
large -at one watt, for example, the coil position as the measuring point. The
current in an ti-ohm circuit is approxi- best method of adjusting the two speakers
mately 0.35 amps. On account of this, is by using the microphone, as previously
the wire used for the connections should described.
be relatively heavy, particularly when Actually, a trained ear will suffice to
higher powers are involved. The choice select the correct location of the two
of switches for such circuits is important speakers, although it mayrequire more
-ordinary toggle switches are not satis- time and experimenting. It is necessau;y
factory for speech circuits at these low to play the same selection from a record
impedances. through the speaker over and over. mov-
The high-frequency horn and unit ing the high-frequency horn slightly
should not be permanently mounted until each time. The best quality will be
the exact location is determined. To make heard when the adjustment is correct.
this determination, it is desirable to have and after all, the ear is the hest judge of

"illl
a microphone and an amplifier, together the performance anyhow.
with an output indicator, for best results. After the correct position of the:high- Fig. 7. Furniture cabinet, enclosing same com-
ponents as used in speaker of Fig. 8. Courtesy
Stephens Manufacturing Co. Inc.

rallanralliii
IIIYlß MEN is how well it "wears" although many
authorities advise us that the ear can be-
come accustomed to any speaker, and

.1ÍI. when it does, any other reproduction

sounds wrong. However, if the user

WÌ Ñ NIÌ
snakes a point of attending a live concert
occasionally in order to keen his persjsec-
tive on a reasonable balas, s, he should
he able to adjust the operation of a two-
way speaker system so that it is capable
of giving increased realism over any

MEMO single -unit speaker available. The "pres-

1111111ii íii
.MIN mm11 nu111
ence" afforded by the reproduction of the
frequencies above 900 cps on a small,
well-loaded diaphragm makes listening a
pleasure, and the time and effort spent in
constructing a speaker of this type will be
well repaid.
Fig. L. Curves of typical response ho.n dividing network, and attenuation to be expected The use of the attenuator in the high -
From 10 -kc suppressor. Dotted curve shows range of adjustment furnished by 1 db /step frequency speaker circuit permits a
attenuator. [Continued on page 381

With the h -f horn and unit connected to frequency horn is determined to the Fig. 8. Typical mounting of two -way speaker
system, commercially available. Courtesy
the circuit, and placed on top of the low- user's satisfaction, the horn should be Stephens Manufacturing ('o. lac.
frequency cabinet, the two should be permanently mounted. Typical speaker
energized by a signal at crossover fre- systems of two-unit construction are
quency. Then, with the microphone assembled as shown in Figs. 7 and S.
about six feet in front of the combined the latter showing a model which may
speakers, move the high-frequency horn be used for monitoring purposes, or in
and unit back and forth until the maxi- locations where the appearance is not
mmm output is obtained, as indicated by objectionable. The furniture cabinet of
the output meter on the amplifier con- Fig. 7 includes the sauce apparatus. but
nected to the microphone. If the position it is all enclosed and suitable for use in the
of the horn is too far forward or too far home. These are conumerchtIiv available
back of the front of the cabinet, the two two-way speaker systems.
leads to the high -frequency unit should Operational Readjustments
be reversed and the procedure repeated. One of the I,ad features of many two-
This will give a new position to the horn way speaker systems is that ,the new
approsiniatel 7.45 in. from the first experimenter is apt to ruts the system
position. with the high -frequency speaker operating
The correct position for the h -f unit at levels considerably above the correct
can be determined roughly by calculation. balance, on the theory- probably--that
-

The dividing network used causes a "now I have a tweeter and you're going
phase shift of 221° at crossover, which to hear the high frequencies. or else."
corresponds to 9.2 in. at 900 cps. Thus This is a natural fault. and is generally
the two diaphragms must he displaced overcome after using the speaj;er for
by that amount. or the phase of the h -f some tune. The best test for any speaker

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 Facts About Loudspeakers
O. L. ANGEVINE, JR., and R. S. ANDERSON

PART I Second in a series for beginners in sound engineering.

APERSON interested in sound distri- tioned intangible factors are involved universally acceptable. In other words, a
bution systems had better be con- allows anyone to think himself an ex- frequency response measurement of an
cerned with loudspeakers as he is pert on acoustics. It also provides the amplifier, tested in New York, will look
going to buy a lot of them. In fact, the acoustical engineer with an alibi in the the same as the same amplifier measured
cost of the loudspeakers can be a large face of apparent contradictions, as most in San Francisco. Unfortunately, there is
part of the total cost of the sound system. acoustical measurements can be made in no such happy solution for loudspeaker
At the same time, the quality of repro- some manner that will permit the desired measurements as there are large varia-
duction of the system can be no better interpretation. tions in observed performance due to the
than its speakers and good results may Loudspeaker Measurements different methods of measurement and
be sacrificed to low prices. Before discussing loudspeakers, it is the differences in the acoustics of the sur-
Speakers are less well understood than important to he familiar with the com- rounding space. Therefore, it is difficult
are electronic devices, such as amplifiers. plexity of their measurements. for the user to evaluate frequency charac-
because they require a familiarity with The average purchasci of loudspeakers teristics from a response curve unless he
acoustics and mechanics as well as elec- is not an engineer amp. mturally, is not is thoroughly familiar with the methods
tricity. The use of speakers also involves familiar with ntagv technicalities of used to obtain it.
the pisychology of hearing and architec- acoustical measurements as they are Measurements are preferably made in-
tural acoustics, which are not part of the made in the laboratory of the speaker doors to eliminate dependence on weather
speaker. The fact that the above-men- manufacturer and recorded as "response and interference by extraneous noises.
curves." Measurements of the frequency But, in a room, thé sound from the
'Chief Sound Equipment Engineer, Stromberg - characteristic of an amplifier or an elec-
('arlson ('o. speaker under test reaches the measuring
Acoustical Enginrer, Stromberg-Carlson trical network are comparatively simple microphone not only directly but also
Co., Rochester, .V. Y. and can he specified in a manner that is reflected from the walls, the ceiling, the
floor, and from anything else that may be
Fig. 1. Outdoor measuring set -up. Two layers of parachute cloth one inch apart serve as a in the room. The microphone measures
windscreen transparent to sound. The speaker is mounted on a baffle flush with the wall and the resultant sounds from many sources,
the microphone supported on an adjustable boom in front of the speaker. each different in frequency response, amp-
litude, and phase -depending upon the
type of reflecting surface and the length
of the reflecting path. Acoustically, a
roost is a hall or mirrors. A listener, be-
cause he has binaural* hearing, is able
to discriminate to some degree in favor of
the direct sound over the reflected sound;
but a microphone used for measuring the
response of a speaker does not distinguish
between them. A speaker response curve
represents, as a function of frequency,
the total sound pressure arriving at the
measuring point from all sources and is
not an indication of the impressions of
the listener.
To minimize reflections, the speaker is
measured outdoors (Fig. 1) or in an
anechoic (echo-free or "dead ") room in
which reflections have been reduced to a
minimum by the use of sound -absorbing
material. The response curve of a speaker
depends both upon these acoustic sur-
roundings and the method of measure-
ment- choice of baffle, distance of mea-
suring microphone to speaker, etc.
Binaural-Webster- "Having two ears. " A
person with two ears is able to determine the
direction of a sound source. Binaural is fre-
quent ly used incorrectly to mean stereophonic
or "three dimensional' reproduction. Any
person listening with two ears is obviously
listening binaurally whether or not the re-
production is stereophonic.

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 more expensive speaker cannot he justi-
fied.
Ì.Ó
The absolute efficiency of a speaker is
the total sound power radiated in all direc-
tions divided by the total electrical power
available to the voice coil. To secure the
total radiation, it is necessary to integrate
measurements made over the entire
surface of a sphere with the speaker at its
center. This is a laborious process and is
seldom doue. An BALA. committee is
now working on a simpler method to give
an approximate measure of efficiency.
To determine the power handling
capacity of a speaker. it is necessary to
measure the level and frequency at which
SPIFR
12' SPI(R
mechanical damage occurs. It is also
necessary to determine the level at which
distortion becomes excessive. It is beyond
the scope of this article to discuss the
measurement and interpretational prob-
lems involved, but let it suffice that there
Fig. 2A. Directional characteristics of typical 8" and 12" speakers at 2000 cycles. is no generally accepted measurement,
Fig. 2B. Directional characteristics of typical 8" and 12" speakers at 6000 cycles.
To obtain the response curves shown radiating device to be directional, it must
in Fig. 4, a speaker was sent to three be large with respect to the wavelength of
well -known laboratories. Each was asked the energy it is radiating. Thus, speakers
to measure the speaker by its normal are non- directional at low frequencies
methods. As can he seen, the curves are where the wavelength is many feet and are
quite different and might lead to different quite directional at high frequencies when
interpretations. The differences in res- the wavelength is only one or two inches.
ponse are due entirely to the methods of Likewise, a large speaker becomes direc-
measurement, each of which is equally tional at a lower frequency than does a
satisfactory when interpreted by an ex- small speaker.
perienced engineer familiar with the meth- But this measurement sloes not predict
ods and acoustics of that test laboratory, what will actually happen when a speaker
but dangerous in the hands of people not is installed in its normal surroundings.
familiar with the measuring technique. If a speaker is used indoors, reflections
To offset this danger to some extent, will var;v the response from point to
manufacturers, when they do publish point in the room and the total sound
response curves, correct for known pecu- arriving at the listener may be several db
liarities in the measuring set -up. greater than the direct sound from the
Point -by-point measurements being speaker. In this case, it is not the on-
tedious, more response curves per life- axis sound pressure that is important. but
time can be made on a response recorder the total radiated sound. With speakers
such as the one shown in Fig. 3. This large enough to be quite directional, if
recorder is sponsored by the authors and the on -axis frequency response curve is
does not necessarily represent the opin- flat, the off-axis, sound pressure is falling
ions of other acoustical engineers. off at the high frequencies. Thus, the
Other Factors total radiation is not uniform with fre-
quency as might be thought from seeing
Frequency response is only one of only an on-axis frequency response curve,
several characteristics to be considered but is reduced at the high frequencies.
when choosing a speaker for a particular One solution might he to increase the
application. Other factors are directional on -axis response with frequency. This
characteristics, transient response, inter- might help if one never listened near the
modulation distortion, harmonic dis- axis, but in the average room, absorp-
tortion, and efficiency. For many of these tion and reflection make both the on-
characteristics, there are, again, no axis response and the total radiation im-
standard invariable methods of measure- portant. A better solution is to use le
ment. directional speakers. As usual, the he-i
Directional characteristics are usually answer may be expensive. Another le--
measured outdoors to eliminate reflection expensive solution involves the use of a
difficulties to which this type of measure- well -known illusion. If the response is
ment is particularly susceptible. Typical peaked in the 1000 to 4000 c.p.s. region,
results are plotted as shown in Fig. 2A. the listener gets an impression of bril-
Note that the 12" speaker is more direc- liance similar to that due to a more ex-
tional than the 8" speaker. Fig.2/i shows tended range of high frequencies. This has
that both speakers become more direction- become an accepted compromise when the
al as the frequency is increased. The rea-
son for both of these facts is that, for any Fig. 3. Automatic audio response recorder.

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 Fig. 4. Response curves hom the same
speaker different measuring methods.
with
(Courtesy Jcnsrrn Radio Mfg. Co.)

Fig. 6. On -axis response of typical 12"

speakers. (Below).

and the common practice is to use a

listening test.
Most of the tests described so far are
objective in nature and there is always
difficulty in interpreting objective tests
in terms of subjective results. For this
reason, a listening test of over all speaker
performance should be made in compari-
son to a known reference speaker. When
making a test of this sort, care must be
taken, to select program material that
covers the frequency range involved. 100 200 300 400 500 700 1000
Broadcast transcriptions may be used FREQUENCY IN CYCLES PER SECOND
that have been selected for the particular
characteristics of interest. South Ameri-
can orchestras with maracas or popular cone speaker radiates the sound directly through it. depositing the fibers on the
dance bands with trap drums allow com- from the face of the cone, whereas the surface of the die. The number and spac-
parison of the high-frequency response horn speaker couples the diaphragm to ing of the perforations and the length of
and spatial distribution. Selections with the air through a horn. The cone speaker time the (lie is submerged control the
string bass and timpani aid in disclosing is usually used for reproducing speech and thickness and weight of the cone. The
cavity resonance and hangover. The test music at relatively low power. The horn next operation dries the cone. At this
must be done by skilled listeners and speaker is used to reproduce speech at point, it is weighed so that not more than
should not be a snap first -impression test. high power and to give it directivity. two cones are made before a weight devi-
ation is caught and corrected. A 12"
Modern Speakers Construction of Cone Speakers cone weighs about 12 grants and requires
Modern speakers can be divided into Loudspeaker roues arc felted from a a tolerance of plus or minus 10 %, so the
two types -horns and cones (as well as short-fihered material. Details are shown process must be controlled accurately.
combinations of them). Horn type in Fig. 5. A short-fibered material of the From this step, the cones go on to be
speakers have an efficiency of about 15% mixture desired is in suspension in water. trimmed to size, lacquer-dipped or treated
compared to about 5% for cone type Into this bath, a perforated die, the shape in any of the number of ways that may
speakers. Both types usually have a of the cone desired, is lowered. .1 vacuum be required.
moving-coil dynamic s ,4eme. Intt the at the Hack of the ,die draws time water .\ spider which holds time Bone and voice

TERMINAL DUST POLE MAGNET

Fig. 5. Speaker assembly. STRIP CUP PIECE I

SPIDER VOICE BASKET YOKE

RING FELT CONE
OUST COIL
COVER

26 AUDIO ENGINEERING FEBRUARY, "1948

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 coil in alignment with the air gap is made operate on. Eight thousand gauss in the ling-type magnet, short- circuiting the
of a plastic impregnated cloth whose gap is still 8,000 gauss whether it is sup- magnet has a demagnetizing effect that
warp and woof are so spaced that air may plied by Alnico III, Alnico V, or an may permanently reduce the efficiency of
pass through but dust and dirt will be electro-magnet field. Of primary impor- the speaker. With a slug -type magnet,
filtered out. A porous spider of this type tance is the cost of the structure to supply shorting bars or mounting boxes only act
relieves the back pressure built up by its the required flux density. as return paths for the flux. This is an
motion so that the trapped air can then Chemically, Alnico V is different from important advantage when speakers are
escape without being forced around the III in that it contains cobalt and copper placed in metal housings.
voice coil where it may introduce spurious as well as the usual aluminum and nickel.
hisses and noises. Another advantage of In addition, it is heat -treated in a manner Rating of Cone Speakers
the outside spider over the old center that results in a material having about Hating the fre41ueury response of a
mounting style, is that it has a high three times the "energy product" of speaker is difficult bcr;nuse there is no
radial stiffness with great axial mobility. Alnico III. The reduced magnet size, standard. Figure 6 shows the measured
r This means a lower natural resonance and using Alnico V, permits some design im- on -axis response of several competitive
closer gap clearances. This, with a dust provements. For a direct comparison, speakers. Some of the variations in re-
cap in the center of the cone, makes a dust consider the 20 -ounce Alnico III struc- sponse in this figure are clue to measuring
and dirt -proof speaker.
The recent introduction of Alnico V as
a magnet material for use in loudspeakers
ture.
R.11í.. In current loudspeakers, the
standard 4.64-ounce Alnico V
magnet produces an equivalent flux den-
conditions as discussed previously. Man-
ufacturers claim different ratings for
speakers of this type. One speaker, no
has served to muddy the waters of an al- sity. Not all of this difference can be better than these, is rated to give 14,000
ready confusing subject. There is nothing assigned to the greater energy of Alnico V. c.p.s. response, although a reasonable
mysterious about this new magnet mate- The small size permits a slug- shaped rating would be 50 to 8000 c.p.s. Conserv-
rial and it contributes nothing to the magnet which appreciably reduces the ative manufacturers are reluctant to pub-
quality of the speaker that cannot be leakage flux. lish ratings until there is a standard,
acquired in some other manner. All that In addition to being more efficient, the because the curves on equivalent speakers
the magnetic structure does is to provide slug-type magnetic structure is less will give some justification even to an
flux in the air sal) for the wuire nil to effec ted by surrounding metal. With a [Continued on page 481

V atii4 P4ei4u4e 24 eteiunifrr.ati4tvs

oecvii>r. 4ici) Qcui
APROCEDURE for measuring the stimuli available to the user of a hearing pressure actually impinging on the micro-
gain of hearing aids, recently de- aid. Hence the magnitude of the gain is phone of the hearing aid, and the sound
veloped by the sound laboratory of directly related to the maximum severity pressure produced in the ear of the user
the National Bureau of Standards, offers of hearing loss which 'a hard-of- hearing by the hearing-aid receiver.
to manufacturers and commercial labora- person may suffer and still derive benefit A major difficulty in testing a hearing
tories a useful and economical method from use of the instrument. aid and the chief expense for testing
for maintaining adequate quality control Though the definition of gain is forth- equipment are encountered in the quanti-
of hearing aids. The apparatus, utilizing right, its measurement is complex and tative determination of the sound level
a cavity pressure method,'. permits a indirect. It involves measuring the sound [Continued on page 471
compact test set-up and therefore is much
Fig. 1. Laboratory assembly of apparatus used For determining hearing aid gain by a cavity
simpler than that required by the free- pressure method. Essential items include (left to right) driver oscillator, the source cavity and
field procedure now in general use. Be- preamplifier source tube, loudspeaker element, electronic amplifier -voltmeter, and in right
cause the equipment may be constructed foreground, the "artificial ear" and its preamplifier, on which the hearing aid receiver is
at extremely low cost as compared to an mounted. The power level recorder Çright) is used here for automatic recording of data. The
sound pressure level in either the source cavity or "artificial ear" can be recorded by switch-
expensive sound -insulated, echoless room, ing the output of one or the other of the preamplifiers into the amplifier and recorder input.
closer control of the gain performance of
hearing aids should now be readily avail-
able even to the small manufacturers.
Definition
The gain of a hearing aid, probably the
most important single factor in its per-
formance, may be defined as the ratio of
the sound level transmitted to the ear of
the user by the receiver to the level of the
sound impinging on the microphone of
the hearing aid. The ear of a hard-of-
hearing person is less responsive to sound
stimuli than a normal ear, and the gain
is a measure of the magnification of sound

I For complete technical details see "A

Cavity Pressure Method for Determining
Gain of Hearing Aids," by E. L. R. Corliss
and G. S. Cook, J. Research, .VB.S Vol. 40,
No. 1 (Jan. 1948) RP 1857.

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 Elements of Ultrasonics
S. YOUNG WHITE

A discussion of first principles and methods of making simple ultrasonic generators.

M\ \
1 inquiries have come in from must be thouscurds of times greater than The second is the energy Mss in the
readers of this series of articles and this loud sound. In fact, any power den- load. Nature has made nuwy materials
from potential users of ultrasonic sity less than about 10 watts/in.2 will which are almost perfectly elastic -you
energy. There seems to be considerable generally produce no effect at all. compress them and they spring back to
confusion in the minds of some as to the Because acceleration increases only as almost original dimensions, less a very
nature of ultrasonics, especially among the square root of the power density, to small amount indeed. In radio terms,
those who are not sound engineers. We increase it by a factor of ten, we must in- their "Q" is very high, and the resistive
have defined ultrasonics in several ways crease our power density a hundred component resulting in heat loss is very
in this series, but let us re -define it in times. So we must think in terms of tens low. One standard way to express the
terms that will have meaning to, say, a of watts or even of thousands of watts per loss in the load is to state how far the
process engineer who may have only a square inch if we wish to tear material wave will travel until it is weakened or
dim recollection of his college physics apart, or seriously change the nature of attenuated to half value.
course. some material composed of very fine Water is rather astonishing in that at
Ultrasonic energy used in processing particles. 24,0(X) cycles the wave will travel about
materials is distinguished from ordinary While high acceleration is our chief aim, 40 miles before it is weakened to half
sound waves as used for communications there are also doubtless some effects power. Most metals have a "Q" of
by two marked differences: first, the fre- produced by the large values of sound several thousand. On the other end of the
quency is much higher and secondly, the pressure we develop in liquids and solids. scale, a 50% solution of cornstarch in
energy density is considerably greater. For instance, a kilowatt /in.2 in steel water, stirred for one minute, will reduce
an ultrasonic wave to half power in about
MAGNETO - STRICTION six inches. This brings us to what we
might designate as the cubical nature of
the load, and we can see that it varies
SMOKE OP STEAM
over very wide limits.
The figures on high power density are
rather discouraging when first encoun-
sPISTON
tered, as in ninny cases we think of a load
say ten feet square, containing 1(X) square
feet, or 14,400 square inches. At one kw
/in.2, this would mean about 15,000 kw
`GLASS TUBE
applied to the load, which sounds quite
Fig. 1. Using a magneto -striction ultrasonic generator to coagulate steam or smoke. impractical. But the "Q" of the load
lowers this figure by a very large amount.
This combination produces very high gives us a compression wave of plus Let us take water as an example:
values of acceleration in the load. 1,000 lb. 'in.2, immediately followed by a If we establish 1 kw over one square
Since all known useful processing effects negative pressure or rarefaction wave of inch, we can have a 1 inch square column
stem from acceleration, we aim to secure minus 4,(X)0 lb. /in.2, stressing the steel of water behind this square inch, and it
the maximum acceleration possible from 8,000, in.2 in a rapidly reversing manner. can theoretically be 40 miles long if we
a given power. Because acceleration in- This effect is independent of frequency. are willing to have the far end working
creases directly with the frequency, the Some generators we have described have at IA kw per square inch. This gives us
higher the frequency the greater the accel- power densities of over a hundred kw/
2.4 million cubic inches, or 43 tons of
eration. For example, the acceleration is in.2, so these values can probably be ex-
ceeded in practice. In fact, there is rea- water hieing treated at one time, and
increased 24 times by simply increasing
son to believe we can disintegrate almost since many of the effects we desire are
the frequency from 1000 to 24,000 cycles.
As for power, an Minch loudspeaker any material in time, as we become able accomplished in a tenth of a second, we
dissipating one watt of electrical power to develop more power. can change this water ten times a second
in its voice coil delivers only about 50 Since acceleration equals frequency and treat 430 tons a second. Since in a
milliwatts of sound energy spread over times the square root of the power den- practical case we must have boundary
approximately 50 square inches, so the sity, to economize on power the must use layer losses and wave interferences that
energy density is about 1 /1000th watt per the highest possible frequency. But in seriously lessen this possible result, we
sq. in., or one milliwatt /in.2 The ear is a practice, there are two modifications shall actually treat very much less, but
sensitive device, so if we listen only a few that must be made. the figure is so large that even so it is
inches from the cone, the sound will he very encouraging.
very loud indeed. Modifications
Now let us return to the effect of fre-
Power Density The first is that many desirable effects quency on acceleration. .1t ten times the
occur at specific frequencies; for instance.
If we wish to produce any noticeable ef- frequency, or 240 kc, we would have ten
dust coagulation of one micron particles
fect upon any material, the power density requires 24 kc for most efficient results, times the acceleration. Unfortunately,
and at 100 kc the effect would he very we would also have ten times the loss
*Consulting Engineer, 52 -12 Van Horn St., per cycle, and ten times the number of
Elmhurst, L. I., N. Y. small.
AUDIO ENGINEERING FEBRUARY, 1948
28

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cycles, so the attenuation would be 100. luum performance for many uses at 4(X0
The wave falls to half value in 0.4 mile, TABLE I
ke.
and we are only treating 0.43 tons of Ultrasonic Values The Brush Development Company
material. If we lowered the power to ten
watts/in., we would have the same a-
Power Density -1 kw sq inch, Frequency
100,000 cycles.
- has a line of Primary Ammonium Tar-
trate (PN) crystal units that will stand
celeration, and treat the material ten Medium Pressure Motion Acceleration temperatures up to 200 degrees F, and
times as fast, so if we could prove the Ib. /inch micro- inches "G" miles/sac,% put out from a watt or two up to several
material fast enough past the generator. Air 10 3,000 2,7000,000 16,800 hundred watts, some c.w. and some
we would again have 430 tons a second. Water 310 95 8 -1,000 520 pulse rating. The larger units have a
So frequency cancels out if the desired Steel 1600 20 18,000 110
7%2-inch housing, and clue to their small
effect occurs in a thousand cycles and if capacity the voltage is pretty high.
the material can be made to flow fast mann whistle can be easily made at home The International Nickel Company
enough. In general, the advantage of in a small shop with a lathe. Consider- has a bibliography on magnetostriction
using the lower frequency and higher able work can also be done on water jets which they will supply to anyone inter-
power is that at the present state of the interrupted by compressed air bubbles, ested. So far as the writer is aware, only
art it is easier to generate high power at as described in the last issue. For com- Raytheon produces magnetostriction
low frequency than moderate power at mercial equipment we have time following: units commercially, but they are easy
very high frequency. Eimer and Amend, (i33 Greenwich St., enough for a radio man to construct.
Since ultrasonic energy is usually use- New York City, has two quartz crystal Better have at least 500 watts in the oscil-
less unless sufficient power is employed units--a table model, 200 watts, and a lator to drive them. It is a considerable
to produce some marked effect on the floor model 500 watts, for about S1,075 nuisance to make up the 500 -watt, 20-kc
material under treatment, and the mini - and 52.250 respectively. They are pro - coils for the job.
nun power level must usually be deter- duced Iq Crystal Research Labs. These A high -power siren good up to about
mined by trial, let us try to define Ui- are well made waits, and the danger of S kc, as written up in a recent article in
tras(mics from a practical point of view. the crystals breaking has been almost Life magazine, may be inquired about
Ultrasonic energy consists of alternate completely removed by good workman- from the Ultrasonic Corp., 883 Boylston
compression and rarefaction waves of ship on the crystal. The oil bath unit St., Boston, Mass. My jet turbine unit
sufficiently high power level to produce containing the crystal could well be re- is not yet in production for general use.
some marked effect in the material, designed for special applications. The Anyone who wishes to investigate ul-
usually by affecting the particles of which range of crystal frequencies is from about trasonic phenomena in a small way can
it is composed. 250 kc to over a megacycle, with opti- [Continued on page 401
This definition can be polished up in
Crystal ultrasonic generator providing 600 watts into final stage. Four Frequencies, 400
time to come, but it indicates there is no kc to 1200 kc, are provided. (Courtesy Einfer (71(11 .1 mend)
Fro n

magic in merely increasing the frequency

of a sonic wave -the power must be
enormously increased over that usually
thought of in connection with sound.
'fable I emphasizes the values that
can be obtained in practice with high
power. It is similar to one given
previously, but increased in power and
given in British units throughout.
There is a very good book of its kind,
"Ultrasonics" by Bergmann, published
by .lohn 1Viley and Sons in the U. S. This
book is by all means the most complete
on the subject, and gives 605 references,
the latest being 1938. It is by a physicist
for physicists, and sloes not lean very far
toward the practical. Many papers are
appearing in the Journal of Mc Acoustical
Society, mostly on underwater sound
work clone during the war.
Po Nor Level
It must be emphasized that the work
done to elate has been accomplished with
power densities not exceeding 10 watts/
cm2 or 65 watts /in.a. Since many effects
have critical minimum amplitudes that
must he exceeded before any noticeable
effects occur, we can appreciate that the
development of much higher power-
density generators will allow many
materials to be worked on successfully
that at present show no effects from the
treatment by the 65 watts /in.2.
There has been some interest from
readers asking what ultrasonic apparatus
is available on the American market.
Some simple devices such as the Hart-

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 1948 I. R. E. National Convention
March 22 -25, 1948
r
THE Institute of Radio Engineers will SYSTEMS I Applications," John D. Kraus, Ohio State
hold its 1948 Annual Convention and "Technical Aspects of Experimental Public University, Columbus, Ohio.
Radio Engineering Show at the Hotel Telephone Service on Railroad Trains," N. "Circular Polarization for F.M. Broadcast-
Commodore and Grand Central Palace on Monk and S. B. Wright, Bell Telephone ing," Carl E. Smith, United Broadcasting
March 22-25. Laboratories, New York, N. Y. Company, Cleveland, Ohio, Robert A
Theme of the convention and show is "Reflected -Power Communication," Harry Fouty, O.S.V. Research Foundation, Colum-
"Radio-Electronic Frontiers," and both the Stockman, Watson Laboratiries, Cam- bus, Ohio.
program and the exhibits are being planned bridge, Massachusetts. TUESDAY MORNING
to fulfill this theme. "Static -Free Systems of Detection," D. L. MARCH 23, 1948
A diversified technical program con- Hings, International Electronic Corpora-
sisting of 130 papers in 26 sessions has been tion, Indianapolis, Indiana. SYSTEMS II
arranged plus two special symposia with "Selective-Sideband Transmission and Re- "Thcoretteal Stud) ,I Pulse- Posit iou Modu-
outstanding invited speakers on "Nucleon- ception," Donald E. Norgaard, General lation Without Fixed Reference," Arnold E.
ics" and "Advances Significant to Elec- Electric Company, Schenectady, N. Y. Ross, St rombcrg Carlson Company, Roches-
ronics." "Statistical Methods in the Design and ter, N. Y.
The annual banquet of the Institute will Development of Electronic Systems," Leon- "High -Quality Radio Program Links," M.
be held the evening of Wednesday, March ard S. Schwartz, Hazeltine Electronics Cor- Silver and H. A. French, Federal Telecom-
24, and the President's Luncheon on Tues- poration, Little Neck, N. Y. munication Laboratories, Nutley, N. J.
day noon, March 23. Both will feature "The Fundamental Principles of Doppler "Signal- to-Noise Ratio Improvement in a
national figures as principal speakers. A Radar," Edward Barlow, Sperry Gyroscope Pulse -Code Modulation System," A. G.
cocktail party is scheduled for Monday, Company, Great Neck, N. Y. Clavier, P. F. Panter, and W. Dite, Federal
March 22, at 6 P.M. Telecommunication Laboratories, Nutley,
On the opening morning, March 22, the NAVIGATION AIDS N. J.
Annual Meeting of the Institute will be "Tlic ltadiovisor Landing S)stom for Air- "Radio-Wire Links for Multichannel Trans-
held. At this meeting, an innovation at craft," Douglas Shearer and William W. mission," E. M. Ostlund and H. R. Hunkins,
I.R.E. conventions, Dr. H. B. Richmond Brockway. Federal Telecommunication Laboratories,
will address the membership on "An En- "Considerations in the Design of a Univer- Nutley, N. J.
gineer in the Electronics Industry -Pros- sal Beacon System," I.. B. Hallman, Jr., "Bandwidth Reduction in Communication
pect, Preparation, Pay." Communication and Navigation Labora- Systems," W. G. Tuner, Melpar Incorpor-
The largest Radio Engineering Show in tory, Wright Field, Ohio. ated, Alexandria, Virginia.
history, occupying two and one -half floors "Surveillance-Radar Deficiencies and How
of Grand Central Palace featuring the They Can Be Overcome," J. Wesley Leas, AMPLIFIERS
products of approximately 170 exhibitors Air Transport Association of America, "Low -Noise Amplifier," Henry Wallman,
will he held in conjunction with the con- Washington, D. C. A. B. Macnec, and C. P. Gadsden, Massa-
vention. Attendance is expected to equal "The Course -Line Computer," F. J. Gross, chusetts Institute of Technology, Cam-
or exceed the figure of over 12,000 who at- C. A. A., Department of Commerce, Indian- bridge, Massachusetts.
tended the 1947 convention and show. apolis, Indiana. "Phase Distortion in Audio Systems," L. A.
"Aircraft Instrumentation and Control," de Rosa, Federal Telecommunication Lab-
Tentative Technical Program
Francis L. Mostly, John A. Biggs, Earl T. oratories, Nutley, N. .1.
MONDAY AFTERNOON Heald, and John C. McElroy, Collings "Visual Analysis of Audio-Frequency Tran-
MARCH 22, 1948 Radio Company, Cedar Rapids, Iowa. sient Phenomena," Donald E. Maxwell,
FREQUENCY MODULATION Columbia Broadcasting System, Inc., New
ANTENNAS I York, N. Y.
"F.\1. Detector Tube kith Instantaneous Antennas For Circular Polarization
Limiting and Single-Circuit Discriminator," "Square-Wave Analysis of Compensated
Robert Adler, Zenith Radio Corporation, "Ail Omnidirectional ligli -(ain Antenna
I Amplifiers," Philip M. Seal, University of
Chicago, Ill. for Circularly Polarized Radiation," A. G. Maine, Orono, Maine.
"A Proposed Combined F.M. and A.M. Kandoian, Federal Telecommunication Lab- "A New Figure of Merit for the Transient
Communication System," John C. O'Brien. oratories, Inc., Nutley, N. J. Response of Video Amplifiers," R. C.
"Ratio of Frequency Swing to Phase Shift "Analysis of the Effect of Circulating Cur- Palau r and Leonard Mautner, Allen B.
in Phase -and Frequency -Modulation Sys- rents on the Radiation Efficiency in Broad- lhunont Lsborat"ri,,. Passaic, N. J.
tems," D. K. Gannett and W. R. Young, cast Directive Antenna Design," Glenn D.
Gillett, Glenn D. Gillett and Associates PASSIVE CIRCUITS
Bell Telephone Laboratories, New York,
N. Y. Washington, D. C. 1'1,q,crties of some Wideband Phase -
"A New Magnetron Frequency- Modulation "A U.H.F. Model Study of Current Distri- Splitting Networks," D. G. C. Luck, Radio
Method," Philip H. Peters, Jr., General butions Induced in Low- Frequency Broad- Corporation of America, Princeton, N. J.
Electric Company, Schenectady, N. Y. cast Towers and a Discussion of Means for "Theory and Design of Constant-Current
"I.F. Design for F.M. Receivers," K. E. Reducing Undesired Radiation," Andrew Networks," Carl S. Roys and P. T. Chin,
Farr, Hazeltine Electronic Corporation, Alford and Henry Jasik. Syracuse University, Syracuse, N. Y.
Little Neck, N. Y. "Helical Beam Antennas for Wide -Band, "New Parameter Adjustment for Television

30 AUDIO ENGINEERING FEBRUARY, 1948

www.americanradiohistory.com
AmericanRadioHistory.Com
 Network Transients," M. J. DiToro, Fed- "External and Internal Characteristics of a Comp is and Supersonics
eral Telecommunication Laboratories, Nut- Separately Quenched Superregenerative Cir- "Phase -Corrected Delay bines," M. J.
ley, N. J. R. C. Wittenberg, Ford Instru- cuit," Sze -Hou Chang, Watson Labora- DiToro, Federal Telecommunication Lab-
ment Company, Long Island City, N. Y. tories, Cambridge, Mass. oratories, Nutley, N. J.
"Application of Tehebysehef Polynomials "The Hazeltine Fremodyne Circuit," B. I). "On the Theory of the Delay -Line-Coupled
to the Design of Bandpass Filters," M. Lmuglin, Hazeltine Electronic Corporation, Amplifier," H. G. Rudenberg, Harvard
Dishal, Federal Telecommunication Lab- Little Neck, N. Y. University, Cambridge, Mass.
oratories, Nutley, N. J. "Losses in Air -Cored Inductors," R. F.
"Matrix Treatment of Four- Terminal Vac- TRANSMISSION Field, General Radio Company, Cambridge,
uum -Tube Networks," F. D. Bennett, "Simplified Procedure for Computing the Mass.
University of Illinois, Urbana, Ill. J. S. Behavior of Multiconductor Lossless Trans- "A Simplified Design Procedure for Iron-
Brown, Argonne National Laboratories, mission Lines," S. Frankel, Federal Tele- Core Toroids," H. E. Harris, Massachusetts
Chicago. III. communication Laboratories, Nutley, N. J. Institute of Technology, Cambridge, Mas.:.
"Optimum Geometry for Ridged Wave - "Coupling Effects Between Infrared Radia-
ELECTRONICS I guides," W. E. Waller, S. Hopfer, and M. tion and a Supersonic Field," W. J. Fry and
Tube Design and Engineering Sucher, Polytechnic Research and Develop- F. J. Fry, University of Illinois, Urbana,
"Thermiouic Emission from (.:rid., in Vacu- ment Company, Brooklyn, N. Y. Illinois.
uni Tubes," M. Arditi and V. .1. Dc Santis, "Fields in Nonmetallic Waveguides," Robert
M. Whitener, Rensselaer Polytechnic Insti- TUESDAY EVENING
Federal Telecommunication Laboratories,
Nutley, N. J. tute, Troy, N Y. MARCH 23, 1948
"The Negative -Ion Blemish in a Cathode - "A Wide-Band Waveguide -Filter Struc- Symposium: Nuclear Studies
Ray Tube and its Elimination," R. M. ture," Seymour B. Cohn, Harvard Univer- A panel uÌ distinguished experts will dis-
Bowie, Sylvania Electric Products, Flush- sity, Cambridge, Mass. cuss basic questions in the nuclear field.
ing, N. Y. "Transmission-Line Vector Diagram," W.
C. Ballard, Jr., Cornell University, Ithaca, WEDNESDAY MORNING
"Wide - Tuning - Range Continuous - Wave
High -Power Magnetrons," Paul W. Crapu- N. Y. MARCH 24, 1948
diet tes, Litton Industries, San Carlos, Symposium: "Advances Significant
California. NUCLEAR STUDIES
to Electronics"
"Wide -Range-Tuning Systems for Magne- "Oscillator Design for the 130-inch Fre-
Five exceptional invited papers from out-
trons," E. W. Father, Raytheon Manufac- quency-Modulated Cyclotron," E. M. Will-
iams and H. E. De Bolt, Carnegie Institute
standing authors wil'' be presented.
turing Company, Waltham, Massachusetts.
"Design Characteristics of Hearing-Aid of Technology, Pittsburgh, Pa. WEDNESDAY AFTERNOON
Tubes," George W. Baker, Chatham Elec- "An Electronic Interval Selector for the MARCH 24, 1948
tronics Corporation, Newark, N. J. Determination of the Deadtime and Re- TELEVISION
covery Characteristics of Geiger Counters,"
ANTENNAS II "A Unitary Tuner-Amplifier for Television
L. Costrell, National Bureau of Standards,
"Physical Limitations of Directive Radiat- Washington, I). C. Receivers," E. L. Crosby, Jr. and G. W.
"Electronic Classifying. Cataloging, and Clevenger, Bendix Radio, Baltimore, Md.
ing Systems," L. J. Chu, Massachusetts
H. Goldberg, National Bureau of Standards,
Institute of Technology, Cambridge, Mass- Counting Devices," J. Howard Parsons,
Monsanto Chemical Company, Oak Ridge, Washington, D. C.
achuset t s.
"A Picture- Modulated R. F. Generator for
"The Radiation Resistance of an Antenna Tenn.
"Health Physics Problems in Atomic Ener- Television Receiver Measurements," Allan
in an Infinite Array or Waveguide," H. A.
gy," K. E. Morgan, Monsanto Chemical Easton, Hazeltine Electronics Corporation,
Wheeler, Consulting Radio Physicist, Great
Company, Oak Ridge, Tenn.
Little Neck. N. Y.
Neck, N. Y.
"A Selective Detector for Heavy Charged "The Application of Projective Geometry
"Reflectors for Wide -Angle Scanning at
Particles," Keith Boyer, Massachusetts to the Theory of Color Mixture," F. J.
Microwave Frequencies," R. C. Spencer,
r rtst it ll te of Technology, Cambridge, Mass.
Bingley, Philco Corporation, Philadelphia,
Wade Ellis, and Ellen Fine, Watson Lab-
oratories, Cambridge, Mass. Pennsylvania.
"Measured Impedance of Vertical Antenna, ELECTRONICS II "Reflection of Television Signals from Tall
Industrial Applications and Buildings," Andrew Alford and G. J. Adams.
over Finite Ground Planes," W. P. Summer,
"Field- Coverage Considerations of New
and A. S. Meier, Ohio State Univier -its, Electronic Circuits York Television Stations," Thomas T.
'Columbus, Ohio. "I:xperivaental Study of the Effects of
''Current Distributions on Aircraft Struc- Goldsmith, Jr. and R. P. Wakeman, Allen
Transit Time in Class -C Power Amplifiers," R. Dumont Laboratories, Passaic, N. J.
tures," J. V. N. Granger, Harvar l'niver-
I
Oliver Whitby, Harvard University, Cam-
- y, Cambridge,
i Massaehustt -. bridge, Massachusetts. ELECTRONICS Ill
"New Receiving Tubes for Industrial l-se," Tube Manufacture
TUESDAY AFTERNOON
C. M. Morris and H. .1. Prager, RCA, "A>l'M Cotton' 114' Work on Factory Tests
4 MARCH 23, 1948
Harrison, N. J. on Cathode Nickel," J. T. Acker, Western
SUPERREGENERATION "('se of Diode Rectifiers with Adjustable Electric Company, New York, N. Y.
"So pctic genera
t it Emerges from Transformers for Motor Speed Control," "A Standard Diode for Radio-Tube Cathode
World War II," IIarold A. Wheeler, Con - W. N. Tuttle, General Radio Company, -Core -Material Approval Tests," R. L. Mc-
,ulting Radio Physicist, Great Neck, N. Y. Cambridge, Massachusetts. Cormack, Raytheon Manufacturing Com-
"Theory of the Sup erregeneration Re- "Servo-System Performance Measurement," pany, Waltham, Mass.
ceiver," W. E. Bradley. Phileo Corporation, Charles F. White, Naval Research Labora- "European Practices in the Manufacture of
Philadelphia, Pa. tory, Washington, D. C. Cathodes," T. H. Briggs, Superior Tube
"Superregeneration-An Analysis of the "Spark Oscillators for Electric Welding of Company, Norristown, Pa.
Linear Mode," Herbert A. Glucksman. Glass," .lames P. Hooker, Corning Glass "Processing Vacuum -Tube Components,"
Watson Laboratories. Cambridge. Mass. Works, Corning, N. Y. [Continued on page 39]

AUDIO ENGINEERING FEBRUARY, 1948 31

www.americanradiohistory.com
AmericanRadioHistory.Com
 To Mr. Canby's widely read column, we
eicvldical Peca2c10s add Bertram Stanleigh's interesting evalu- nopuicai 2ec42ts
ation of recent popular music records.
EDWARD TATNALL CANBY BERTRAM STANLEIGH**

\III month- ago this department

Sc and angrily return to their old machines. NoW we expect new advances in
B\c)
wade a point of the great gulf that The gulf widens. a ding to originate in England,
nee
separates the engineer's conception There is much to be done, however, and it will come as no great surprise
of quality audio equipment and the sort I've made suggestions right along, as to that H\IV has announced TT (transient
of material commonly used in home available equipment. I am ready to go trite) recordings which include frequen-
phonographs. (The observation was farther and give, for what they are worth, cies up to 20,000 cps. The British market
made that, perhaps unintentionally, some a few ideas for equipment, yet to be has been strongly affected in the last two
engineers by their very scorn of this manufactured. Equipment particularly years by the l)ecca ffrr recordings, and
lesser equipment are impeding progress designed to fit the needs of these earnest, these new TT discs are the answer of the
towards better audio quality in the mass intelligent non- engineer listeners who can most important competitor.
market phonograph and radio, playing find nothing to satisfy them for their That American record companies have
into the hands of those who capitalize on money. not felt this pressure for wider range re-
the status quo.) I have been a constant Many people insist on the all -in-one cording can be seen from the number of
plugger of better quality sound repro- console, in spite of disadvantages, and inferior old recordings which are finding
duction, in records and in ordinary home this is significant for it must he con- their way back into the catalog. Grad-
machines too. As a result I am con- sidered. For them there is the mail order ually they are repressing a large portion
stantly asked by friends and readers to radio phonograph, at a saving. But of their prewar catalog of recordings
recommend new equipment, to give them this is no real answer. I have con- which are musically interesting but which
at least the benefit of some of the im- sistently recommended the separate -unit could easily he rerecorded under much
provements I speak of-with their small arrangement. It offers more for the finer conditions today. The popular in-
budgets. money, very much greater flexibility, terest in these inferior recordings coupled
A few, of course want the best. Rec- resistance to obsolescence and perform- with the general lack of interest in the
ommendations to them are in line with ance clearly superior according to en- new Loudon extended range discs seems
what engineers might expect, and in their gineers' standards, to that of standard to indicate that popular demand will not
own terms. But the large majority of consoles costing the same. For under a he sufficient to force our record com-
requests -and I am convinced there are hundred dollars a man can have himself panies to improve the quality of their
thousands and thousands of other like - a good changer, a modest "high fidelity" products.
minded souls-fall squarely in the amplifier or a P.A. amplifier, and a good The inferiority musically of the first
middle of the Great Gulf. People who 12 inch speaker; fora hit extra there is London recordings to be imported has
are sick of their old equipment, dis- the Gl' or Pickering cartridge and pre- created a resistance which will not easily
satisfied with anything in the stores amplifier, or a nylon type crystal. A he overcome despite the vastly improved
within their budget (they say so, in so piece of wallboard baffling gives as good quality of their more recent releases. It
ninny words) -cyan I recommend any
machine other than those they've tried
can they install one of the new pickups
- results as most confined radio cabinets.
In fact here is surely the ideal basic
equipment to suit in its capacity the real
seems that only a prolonged record ban
in this country will give these discs
enough of a foothold to favorably in-
(hut how does one attach a preamplifier needs of the Great Gulf consumer.
fluence American recording technique.
... ), would a new speaker do any good? Except that it has to be put together.
One could hardly hope for so drastic a
Radio salesmen are uniformly vague and Simple for some, but for the majority
entirely uncooperative. On the other this is an impossible thing! Wires to cure.
hand, too many engineers, consulted, are hook up, soldering to be clone. A large The following discs are among the more
unwilling to compromise with their own number of phonograph owners are ready interesting in the current crop:
sky-high standards. What to do, then, and willing to operate more than the Old Man Rebop London 139. Jack Par-
given perhaps S75, to a maximum of over-simple controls on an average nell and his Quartet.
S250? Most people, frustrated, give up machine and they appreciate the im- [Continued on page 4.1
*17.9 W. 4th St., New York 14, N. Y. [Continued on page 4.n * ;1 East 51ah St., _A"eu, York ?,, V. Y.

32 AUDIO ENGINEERING FEBRUARY, 1948

www.americanradiohistory.com
AmericanRadioHistory.Com
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THE CARDAX -The only high level cardioid crys-
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AUDIO ENGINEERING FEBRUARY, 1948 33

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NEW PRODUCTS
HOME RECORDER The maximum frequency range of the performance and excellent near character-
A new home recording unit with profes- amplifier exceeds 20,000 cycles -with the istics.
Dynamic Noise Suppressor the response is 4- Reduction of hum pickup.
sional features has just been announced by
the Universal Microphone Company, Cen- flat to 10,000 cycles and extends to 16,000 5- Controlled groove contour for maximum i
tinela at Warren Lane, Inglewood, Calif. cycles. Independent tone controls allow effective position of recording wire.
Called the Universal RC Recording boost or attenuation at either end of the
Çhassis, this new unit has been designed frequency range. A whistle filter is provided
and built by commercial recording equip- for AM reception. In addition to reproduc-
ment engineers. According to Mr. Fouch ing phonograph records, the amplifier may
of Universal Microphone Company, it is be used with any standard tuner. This
the only home recording unit with patented amplifier was designed to provide the best
and exclusive advantages of: possible reproduet ion of phonograph records,
(1) Recording extremely close tangency. FM or AM.
(2) Patented pantographic movement For further data, write Hermon Hosmer
makes possible equally spaced cutting Scott, Inc., 385 Put nam Avenue, Cambridge,
over the entire record. Mass., Dept. AE.
(3) Groove depth adjustment is visible
and adjustment can be made in re- PORTABLE PA AMPLIFIER
cording position.
A new portable public address amplifier
(4) Pantographic action keeps guide shoe
engineered to provide quality consonant
at correct angle in lead screw thread For further data, write Shure Brus., Inc.,
with the highest price microphones and
-records inside to outside.
loudspeaker systems has been brought out 225 W. Huron St., Chicago 10, Ill.
(5) Lift lever at side of head allows the
by Altec Lansing Corporation, according
operator to locate the stylus in the to an announcement by A. A. Ward, vice- HI -FI AMPLIFIER
exact groove location after the lead president. The new amplifier is catalogued Allied K:eIio Corporation, Chicago, an-
screw has been engaged. nounces a newly designed Knight 20-watt
as Model A -324.
(6) RC Recording Chassis records music phono amplifier that is especially adapted
ane voice at commercial levels and to high -fidelity reproduction from phono-
loudness. graph records, or AM or FM tuners. Es-
(7) Recording head is automatically pecially suitable for industrial plants broad-
lifted at the end of a 10" record. casting music programs, for laboratory
Using a 10" turn table the heavy duty, 110 testing, music hobbyists, and for all pur-
volt, 60 cycle, 78 RPM motor which can be poses requiring wide range response. Pre-
easily converted to 50 cycle operations, is cise engineering has resulted in the produc-
complete with crystal pick -up to play back tion of an amplifier developing less than 2%
12" records. harmonic and less than 8'; intermodulation
Further information can be had from distortion at rated power of 20 watts. Indi-
your distributor or by writing direct to the vidual bass and treble tone controls permit
Universal Microphone Company, Centinela both boost and attenuation of bass and
at Warren Lane, Inglewood, Calif. treble frequencies. With tone controls at
normal, frequency response is plus or minus
SCOTT AMPLIFIER Hum is better
1 db from 20 to 20,000 cps.
The mko:ooie -liard -pass principle reaches than minus 75 db from rated output. Gain
new peaks of performance in the Type 210- is 78 db. Adjustable automatic volume ex-
A Laboratory Amplifier. This unit, sup- The A -324 is conservatively rated at 15 pansion is incorporated. Its action is inde-
plied with a matched variable reluctance watts with a guaranteed full power output pendent of volume control setting. Dual
within 1 db from 35 to 12,000 cycles. Its high impedance input selected by switch.
over -all frequency response is rated flat Output impedances of 4, 6, 8 and 500 ohm
within 1 db from 20 to 20,000 cycles. are provided.
An unusual feature is a continuously For additional details including complete
variable bass control which at the low end specifications and response curves write to
is coupled to a switch which cuts in special Allied Radio Corporation, 833 W. Jackson
equalization to correct for the boomy re- Boulevard, Chicago 7, III.
production which often results from poor
microphone technique. A continuously VOCAL -AIRE SPEAKERS
variable treble attenuator is also provided. The formation of a new congtaImv to take
over production of air column loudspeaker,
SHURE WIRE RECORDING HEADS under the Dilks patents has been announced.
pickup cartridge, provides a complete Them. new recording heads have the
William Petzold and Frank Holdcnecker
phonograph system except for turntable or following feature's: are principals of the new orgainzation to be
record changer and loudspeaker. The ampli- known as The Dilks Company and located
fier provides 20 watts output with less than
1- Versatility of playback and recording at Seymour, Conn. Production has been
circuits. started and deliveries are being made on
2% distortion, and below 8 watts, the dis-
tortion is under _;¿. The output trans- 2- Variety of impedances for individual complete sound systems utilizing the Dilks
former is arranged to match speaker im- needs. Vocal-Aire Speaker unit. The new cocn-
pedances between 2 and 500 ohms. 3- Closely controlled air-gaps for uniform !C,ontinued on page 471

34 AUDIO ENGINEERING FEBRUARY, 1948

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AUDIO ENGINEERING FEBRUARY, 1948 35

www.americanradiohistory.com
AmericanRadioHistory.Com
 proximately 70 turns per layer, and with
the layers separated by 1 mil transformer
paper. The 15-ohm output winding,
section 4, consists of 128 turns of No. 20
wire, equally divided between the two
halves of the bobbin. The start leads of
sections 2 and 3 are connected together,
and to the B supply; sections 2 and 5 in
series comprise one half of the plate
winding; sections 3 and B comprise the
other half. The core is a 13/ -in. stack of
HIGH- QUALITY AMPLIFIER The amplifier design is relatively con- Radiometal laminations, 0.015 in. thick.
ventional, using a pentode for the input
Continuing the discussion of the rela- Coil sections are insulated by three layers
tive merits of tetrodes vs. triodes, but stage, another for the phase inverter,
of Empire cloth. Final measurements give
and two 6L6G's for the output. The feed-
with the details of a high -quality tetrode
back loop includes the output transformer, a primary resistance of 160 ohms total,
amplifier to back up his arguments, P. and an inductance of 60 henrys. The
the connection being made through a
tertiary winding in series with the cathode leakage inductance across the whole
8+ OUTPUT PLATE
primary with the output winding shorted
of the first pentode. The solution to the
problem of applying a large amount of is only 50 mh, approximately.
III

'il
t
I 1

feedback when the output transformer is The results obtained with this ampli-
included in the feedback loop lies in the fier give considerable credence to the
design of the output transformer, which belief that the output transformer's
CORE
uses a specially positioned third winding ability to work properly when included
for feedback. As designed, the amplifier
in the feedback loop determines the
performs without any trace of self-
operating characteristics of the entire
oscillation with the maximum obtainable
feedback (using the special transformer) amplifier.
of 36 db, although the feedback is readily
controllable. SYNCHRODYNE RECEIVER
The transformer construction is unique t'ousi,l,rahle interest lets been shown

w2011a rEB.
in the placement of the windings, which
are arranged as shown in the figure. Sec-
tions 1 and 7 are the two halves of the
feedback winding, each half containing
ill England during the past few months
in a new receiver circuit known as the
Synchrodyne. The circuit was originally
described in principle in Electronic En-
OUTPUT PLATE 20 turns of No. 27 wire, wound 10 turns gineering early last year, and more re-
on each side of the separator S, and dis- cently D. G. Tucker and J. F. Ridgeway
J. Baxandall of the Telecommunications tributed over the entire winding area. have given practical circuits for this
Research Establishment presents the data Sections .'..i, 4, and 5 each consist of 800 receiver with constructional details in the
:August :mil September issues.
for another design in the January issue turns of No. 32 enameled wire, with ap-
of Wireless World.
The principal reason for the use of
tetrodes is one of economy since the
power efficiency is greater, the required
grid swing is less, and the application of
feedback which is almost a necessity with
triodes also aids in the reduction of hum.
The amplifier described provides 10 watts
into a 15-ohm load from an input signal
of 4 volts rms over a working frequency
range from 30 to 16,000 cps. By working
frequency range, the author implies the
response is down 0.1 db at the indicated
frequencies. The harmonic distortion is
less than 0.1 per cent, at rated output,
and hum is 80 (lb below 10 watts output.

PROFESSIONAL DIRECTORY

C. J. LEBEL
AUDIO CONSULTANT Custom -Built Equipment Winston Wells
370 RIVERSIDE DRIVE
NEW YORK 25, N. Y. Designer and Consultant
U. S. Recording Co. Acoustical and Electronic Research
1121 Vermont Ave., Washington 5 D C
307 East 44th St. MU 4-3487
PRODUCT DESIGN INSTRUMENTATION
PSYCHO ACOUSTICS SOUND RECORDING District 1640 New York 17, N. Y.
ELECTROMEDICAL SUBMINIATURE AUDIO

36 AUDIO ENGINEERING FEBRUARY, 1948

www.americanradiohistory.com
AmericanRadioHistory.Com
 The Synchrodyne circuit is not espe-
cially new in principle. It consists of an
r -f amplifier and a heterodyne detector.
The new portions of the circuit are the
means used to mix the local signal and
the received signal, and the method of
synchronizing the local oscillator so that
it works at exactly the saine frequency
as the incoming signal.
A simplified circuit of the Synchrodyne
is shown in Fig. 1. One of the principal
advantages of it lies in the divorcement of
the tuning from the r -f amplifier, with a
single tuned circuit being used in the
s input to restrict high -level signals from
the grid of the first r -f amplifier tube, thus
reducing the tendency toward cross-mod-
ulation. The oscillator is a conventional
three -coil arrangement, with the grid
return being connected to the arm of a
potentiometer across which appears a
portion of the incoming r-f signal. This
provides a means for synchronizing the
oscillator with the signal.
The detector is a ring modulator, and
the output audio signal is fed through a
low -pass filter to remove the unwanted
components. The circuit as shown is said A DYNAMO
to give an audio output of 60 my for an AMONG
r -f input of 10 microvolts, and the circuit DYNAMIC MICROPHONES
is capable of operating with increased
r -f input up to an audio output of the
order of 1 volt.
Suitable design should make it pos-
sible to gang the r -f tuning capacitor
Here is the microphone in its class -
with the oscillator capacitor, since the
a high- output moving -coil dynamic
ioniser is not particularly critical. The that was designed to outperform ...
volume control as shown is of the feed-
back type, and it is also necessary to
outsmart ...
outlast even higher
make adjustments for both r -f sensitivity priced microphones. The "Sono -
and oscillator synchronization voltage. dyne" features a multi- impedance Multi- Impedance
It would appear that while this circuit Switch for
is relatively simple, a few refinements switch for low, medium, or high LOW, MEDIUM,
should simplify the actual tuning opera- impedance -plus a high output of 52 or HIGH
tion. If a limiter were to be inserted be-
tween the plate of the second r -f tube and db below 1 volt per dyne per sq. cm. Impedance

the oscillator, the modulation would be It has a wide range frequency re-
effectively removed from the synchroniz-
sponse (up to 10,000 c. p. s.) and
ing voltage, with probably better per- HIGH OUTPUT
formance. If a limiter similar to those semi - directional pickup. Mounted ( -52 db)
employed in FM receivers were used, it
would also provide an a- v-c- voltage to on swivel at rear, can be pointed
avoid the necessity of manually changing 90° for non -directional pickup. /$04"--*
the gain of the r-f amplifier.
A receiver of this type should provide The "Sonodyne" is ideal for all WIDE RANGE
a high -fidelity signal if the relative phase general purpose use, including pub- FREQUENCY
of the two r-f signals can be held at a
reasonable constant value, since phase
lic address, communications, record- RESPONSE
shift would cause a variation in a -f out- ing, and similar applications. (up to 10,000 c. p. s.)
put level of 6 db when the relative
Shure Patents Andiny
phases differed over the range from zero
to 180 °.
MODEL "51" CODE: RUMON

CHANGES IN STANDARD FRE-

LIST PRICE . . . $37.50
QUENCY BROADCAST
Effective .January 30, 1948, the tech-
nical broadcast services from radio sta-
tion WW V of the National Bureau of
SHURE BROTHERS, INC.
Standards will be somewhat modified and Microphones & Acoustic Devices
improved, according to an announcement 225 W. HURON ST., CHICAGO 10, ILL. CABLE ADDRESS: SHUREMICRO

AUDIO ENGINEERING FEBRUARY, 1948 37

www.americanradiohistory.com
AmericanRadioHistory.Com
 by Dr. E. U. Condon, Director of the nouncements is particularly called to the minute, on 4 minutes past the hour, 9
Bureau. following change: Time announcements minutes past the hour, etc., and resumed
Each of the eight radio carrier fre- in International Morse Code, accurately precisely on the hour and each five min-
quencies 2.5, 5, 10, 15, 20, 25, 30, and 35 synchronized with basic U. S. Naval utes thereafter. The exact moment to
megacycles will be broadcast continuously Observatory time, will be advanced one which the time refers is the moment of
day and night. Standard audio frequen- minute with respect to the old announce- interruption of the audio frequencies of
cies of 440 and 4000 cycles per second will ment scheme. With the new system the 440 and 4000 cycles per second. The audio
be transmitted on the carriers 10, 15, 20, audio frequencies are interrupted at frequencies will continue to be interrupted
and 25. The 440 cycle frequency, which is precisely one minute before each hour for one minute to allow for the time an-
the standard of musical pitch (A above and at each succeeding five -minute nouncement, for station identification
middle C), will also be broadcast on 2.5 period. They are resumed precisely on by voice at the hour and half hour, and
and 5 megacycles. The accuracy of each f
the hour and each five minutes thereafter. to afford an interval for checking radio
of the transmitted radio and audio fre- Under the old system, the time signals frequency measurements free from the
quencies is better than one part in 50 were interrupted for a minute on the hour presence of audio transmissions.
million. and on each succeeding five minutes, Station WWC provides six important
The attention of all users of the while under the new scheme interruptions technical broadcast services to the nation
National Bureau of Standards time an- will he for a minute precisely on the 50th and five to the world, 24 hours a day.
These are: (1) standard radio frequencies,
ealo (2) time announcements, (3) standard
time intervals, (4) standard audio fre-
'µ quencies, (5) standard musical pitch. (6)
radio propagation disturbance warning
notices. The national standard of fre-
quency, of which the Bureau is the custod-
Ingenious New ian, is fundamental to much of the work
in radio, electronics, acoustics, and other
fields where measurements require accur-
Technical Methods ate frequencies. Accurate time-interval
signals are important in seismology. geo-
To Help You desy, navigation, and research. The
Simplify Shop Work Bureau's broadcasts -the only suds serv-
ice being provided by any country -are
being utilized by many organizations in-
cluding schools and universities, the De-
partment of National Defense, scientific
laboratories, manufacturers, amateur
radio operators, observatories, power
companies, communication companies,
musicians, and radio broadcast companies.
A detailed announcement of WWV
broadcast services, LC886 will be pro-
vided upon request from the National
Bureau of Standards, Washington 25,
D. ('.

Two -Way Speaker

Metal Turning Made Easy [from page 231

with New Simplified Tool! small variation in the level of the fre-
quencies above crossover, and this will be
A now tool called "Tru- Turn" makes possible the con- set at a point that appears to give the
version of drill presses, woodturning lathes, or grinder correct balance. The average difference
stands into tools that will turn and cut -off steel, bronze, between the two outputs is of the order
copper and aluminum. The "Tru- Turn" tool shown above
is mounted on a Buffalo Drill Press, Spindle Size. of 4 to 8 db, and with the 3.5 db fixed
The "Tru- Turn" tool is easy to operate and cuts and turns pad to replace the 10-kc suppressor when
bar stock of steel, bronze, copper and aluminum measur- it is out of the circuit, this indicates that
ing W., 3/8' and W. Its built -in micrometer permits ad- from 0.5 to 4.5 db will be required in the
justments that give tool -room accuracy to 1 /1000 inch.
variable pad. It may be desirable to re-
Small tool shops as well as all types of repair shops and Tru -Turn Tool nieve the suppressor from the circuit
garages find the "Tru- Turn" ideal for cutting long pieces
of bar stock into desired lengths. Also, home craftsmen when using the speaker for reproduction
are able to produce accurate, highly finished precisioned- of phonograph records, but in general, the
machined parts from metal even without previous training. band suppressed is so narrow that it is
Accurate, precision work is also easier to do when tension difficult to detect, and little harm is done
is relieved by chewing gum. The act of chewing gum
seems to make the work go easier, faster -thus helping by leaving it in the circuit at all times.
on- the -job efficiency. For these reasons Wrigley's Spear- It does help on AM radio, however, when
mint Chewing Gum is being made available more and the output of the tuner contains any of
more by plant owners everywhere.
the objectionable squeal which goes with
You can get comp /ere information from the usual high-quality tuner.
,lliilbolland
Screw Products Corp., 132 West 13th Street
Indianapolis 2, Ind. The first and attend instalments of this aeries
appeared in the November and December,
AC-55 /947, issues of .AUDIO ENGINEERING.

38 AUDIO ENGINEERING FEBRUARY, 1948

www.americanradiohistory.com
AmericanRadioHistory.Com
 1948 I.R.E. Convention
Valzia,41e
Paul D. \1 illi;un, Eitel- McCullough, Inc.,
San Bruno, Calif.
"Continuous Exhaust Machine for Elec- LINE EQURLIIER
tronic Tube Manufacture," L. Grant Hec-
tor, Monotone Corporation, Elmsford, N. Y.
EQUALIZATION FOR VARIOUS -
o.

I=i111111A1
CONTROL SETTINGS
MEASUREMENTS I 600 -OHM SOURCE AND LOAD .

V.H.F., U.M.F., and S.H.F.

FEATURES

iiiií
"Swept- Frequency 3-Cm. Impedance Indi-
cator," H. J. Riblet, Submarine Signal Ls- somosoasMI011M Adjustable to equalize at
Company-, Boston, Mass. either 8 or 10 kc
"An Automatic V.H.F. Standing -Wave-
Ratio Plotting Device," W. A. Fails, L. L.
JIIIII- i!011111 Continuously variable
equalization control
Mason, and K. S. Packard, Airborne In-
strument Laboratory, Mineola, N. Y.
"Microwave Impedance Bridge," M. Chod-
1101 Elilal COO
111
Engraved scale for easy
resetting
Three -hole mounting
orow, E. L. Ginzton, and J. F. Kane, Stan- The new Type 402 Line Equalizer combines the lower Five units mount on a
cost of fixed units with the flexibility of variable
ford University, California. single 31/2" panel

: ti' '
control. Calibrated dial permits quick adjustment of
"Impedance Measurements by Means of resistance value when panel mounted for use on
Works on lines from 150
Directional Couplers and a Supplementary various lines, or as indication of setting when per-
to 600 ohms
Voltage Probe," B. Parzen, Federal Tele- manently connected to individual line. Resonant Low in price
communication Laboratories, Nutley, N. J. frequency may be set at either 8 or 10 kc by strap
"A Waveguide Bridge for Measuring Gain on terminal lugs to provide optimum adjustment for Type
at 4000 Megacycles," A. L. Samuel and D. flat equalization over entire audio band. 402 $15.00
P. (' randoll, University of Illinois, Urbana,
III.

THURSDAY MORNING
i .íi: ;..+¡i....
._.
'

COMPUTERS
MARCH 25, 1948
I
.
:Fa

;.flt:rr,...S.,7v:,--_ --_ -_-

c
.;-
Systems
-I.:tr,. .Shalt Computers," R. L. Snyder,
University of Pennsylvania, Philadelphia,
Pennsylvania.
"The Univac," J. L. Mauchly. Radio Engineers! Hams!
"Engineering Design of a Large Scale Digi-
tal Computer," James R. Weiner, Charles
If you are interested in amateur
West, and John E. De Turk, Raytheon
Manufacturing Company, Waltham, Mass.
"A Network Analyzer for Study of EIee- radio, you'll want "CO" every
mnagnetic Fields," Karl Spangenberg,
t hnn Walters, and F. W. Schott, Stanford month. Subscribe now. Use the
I oi,rsity, California.
handy coupon below. Attach
Broadcasting and Recording
"Modern Design Features of CBS Studio your remittance and mail today.
Audio Facilities," R. B. Monroe and C. A.
Palinquist, Columbia Broadcasting System,
Inc., New York, N. Y.
"Methods of Calibrating Frequency Re-
cords," H. E. Roys, R. C. Moyer, and D. R.
t- - - - - - - - - - - - -- -CUT OUT -MAIL TODAY-------- ____ -
Andrews, RCA, Camden, N. J.
CO -RADIO MAGAZINES, INC. Call..__
"Distortions in Magnetic Tape Recording
Due to the Configuration of the Bias Field," 342 MADISON AVE., NEW YORK 17, N. Y.
S. J. Begun, The Brush Development Com-
Pany, Cleveland, Ohio. Sirs: Here is my : check (or money order) for S Send me issues
"Instantaneous Audience Measurement Sys- of CO. 12 issues $2.50 -24 issues S4. (Foreign subscriptions are $1.00 higher per
tem," Peter Goldmark, Columbia Broad- year.)
casting System, New York, N. Y. John W.
Christensen, Andrew Bark, John T. Wilmer.
Please indicate: ï NEW RENEWAL

Propagation Subscriber's Name (print carefully)

"Continuous Tropospheric Sounding by Address
Radar," Albert W. Friend, RCA, Prince-
ton, N. J. I City Zone _..__ State ....__
".4 Theory of Radar Reflections from the

AUDIO ENGINEERING FEBRUARY, 1948 39

www.americanradiohistory.com
AmericanRadioHistory.Com
 Lower Atmosphere," W. E. Gordon, Uni- "Selective Alteration of Digital Data in a
versity of Texas, Austin, Texas. Magnetic Drum Computer Memory," A. A.
A BASIC Improvement "New Techniques in Quantitative Radar Cohen, W. R. Keye, Engineering Research
in Sound Reproduction Analysis in Rainstorms," David Atlas, Air Associates, Inc., St. Paul, Minn.
Material Command, Wilmington, Ohio. "Methods for Visual Observation of Pat-
"The Propagation of Radio Waves Through terns Recorded on Magnetic Media," S. N.
the Ground," Knox McIlwain, Hazeltine Alexander, L. Morton, I. L. Cooter, Nation-

KLIPSCH Electronics Corporation, Little Neck, N. Y.

Harold A. Wheeler, Consulting Radio
Physicist, Great Neck, N. Y.
al Bureau of Standards, Washington, D. C.

Microwaves
"Design and Application of a Multipath "Cavity Resonators for Half -Megavolt f
SPEAKER SYSTEM Transmission Simulator," Harold F. Meyer Operation," A. E. Harrison, Princeton
and Arthur H. Ross, Coles Signal Labora- University, Princeton, N. J.
FREQUENCY RANGE tory, Red Bank, N. J. "Analysis and Performance of Waveguide
Hybrid Rings for Microwaves," H. T.
30 to 15,000 cycles ELECTRONICS IV
New Forms of Tubes
Budenbom, Bell Telephone Laboratories,
Whippany, N. J.
"Nest Design for a Secondary- Emission "Frequency Stabilization with Microwave
PERFORMANCE equivalent to Spectral Lines," W. D. Hershberger and L.
conventionally d e s i g n e d Trigger Tube-NUTR- 1032 -J," C. F. Miller
speakers 8 to 16 times as E. Norton, RCA, Princeton, N. J.
and W. McLean, National Union Radio
bulky Selected by Major "Analysis of a Microwave Absolute Attenu-
E. H. Armstrong for his two Corporation, Orange, N. J. ?1''t
most important demonstra- "A Spiral -Beam Method for the Amplitude
ation Standard," Anthony B. Giordano,
tions of FM before the I.T.C. Polytechnic Institute of Brooklyn.
and N.A. 8 conventions. Modulation of Magnetrons," J. S. Donal,
"Synthesis of Dissipative Microwave Net-
Jr. and R. R. Bush, RCA, Princeton, N. J.
works for Broad-Band Matching," Herbert
"TheeDyot.ron -A New Microwave Oscil-
lator," E. D. McArthur, General Electric J. Carlin, Polytechnic Institute of Brooklyn.
"10 -Cm. Power-Measuring Equipment,"
Company, Schenectady, N. Y.
Theodore Miller, Westinghouse Electric
"Electrostatically Focused Radial -Beam
Corporation, East Pittsburgh, Pa.
Tube," A. M. Skellett, National Union
Radio Corporation, Orange, N. J. Receivers
FOR
INDISPENSABLE "A New Two-Terminal High-Voltage Rec- "The Application of Noise Theory to the
Monitoring tifier Tube," George W. Baker, Chatham
Broadcast Station Design of Receivers," William A. Harris,
High Fidelity Radio-Phonographs Electronics Corporation, Newark, N. J. RCA, Harrison, N. J.
Electronic Musical Instruments
"The Design of Input Circuits for Low
(Organs etcl MEASUREMENTS II
High Quality Sound Reinforcement Noise Figure," Matthew T. Lebenbaum,
Systems
"SimpliÍir:,tion of the Theory of Supersonic Airborne Instruments Laboratory, Mineola,
Wired Music Installations Interferomel ry," J. L. Hunter, John Carroll N. Y.
Research, Test Work, Demonstrations University, Cleveland, Ohio. "Frequency Converters," William H. Lewis,
of
Wide Range Reproduction "Frequency Measurement by Sliding Har- Pennsylvania State College, State College,
monics," J. K. Clapp, General Radio Coin- Pa.
pany, Cambridge, Massachusetts. "Radio Set AN /CRD -1," William Todd,
"A General- Purpose Oscillograph for Pre- Evans Signal Laboratory, Belmar, N. J.
The KLIPSCH Speaker System design utilises the
corner of a room as an integral port of the acoustic cision Time Measurements," R. P. Abben-
system, the walls and floor being in effect an ex- houss, Allen B. Dumont Laboratories, Active Circuits
tension of the low frequency horn
Clifton, N. J. "Reactance-Tube Circuit Analysis," R.
"Some Considerations in Extending the Carroll Maninger, C. S. Navy Electronics
Frequency Range of Radio Noise Meters," Laboratory, San Diego, Calif.
FUNDAMENTAL TONES down to
W. J. Bartik and C. J. Fowler, University of
30 cycles per second. "Electronically Controlled Reactance," J.
Pennsylvania, Philadelphia, Pa. N. Van Scoyoc and J. L. Murphy, Armour
CLEAN RESPONSE throughout the
"Some Considerations in the Design of Research Foundation, Chicago, Ill.
range of hearing
Precision Telemetering Equipments," R. "Stable Regulated Power Supplies," Robert
LOW DISTORTION and intermodu- Whittle, Federal Telecommunication Lab- R. Buss, Northwestern University, Evans-
lotion at oll frequencies. oratories, Nutley, N. .1. J ton, Ill.
PERFECT DISPERSION of middle THURSDAY AFTERNOON "The Photoformer," D. E. Sunstein, Philco
and high frequencies throughout the entire room.
MARCH 25, 1948 Corporation, Philadelphia, Pa.
HIGH EFFICIENCY: Because of the "Mode Separation in Oscillators with Two
horn loading, acoustic output for o given input COMPUTERS II Coaxial -line Resonators," Herbert J. Reich,
power is several times that of conventional Components Yale University, New Haven, Conn.
speakers.
"Megacycle Stepping Counter," Charles B.
NON- RESONANT: BASS TONES Leslie, Naval Ordnance Laboratory, Wash-
ARE REPRODUCED - not generated ington, D. C. Ultrasonics
by the speaker. Instruments of low pitch are "Rectifier Networks for Multichannel
clearly recognized; one hears the original tone
Switching," N. Rochester, Sylvania Electric Ifrein page "r J

- not one created by the loudspeaker.

Products, Inc., Boston, Massachusetts, D. do so with quite simple equipment. A
ASK FOR FULL PARTICULARS R. Brown, Massachusetts Institute of Tech- pair of rubber microphones, a Hartmann
Dept. A I,tlogy, Cambridge, Massachusetts. whistle, a Rochelle salt crystal from an
\lerrury Delay -Line Memory Using a old phonograph pickup and a simple low
BROCINER LABORATORY
Pulse Rate of Several Megacycles," Isaac
L. Auerback, J. Prosper Eckert Jr., Robert
powered nickel magnetostriction unit will
allow considerable work to be done.
1516 SECOND AVENUE, NEW YORK 28, N Y REgent 16194 F. Shaw, and C. Bradford Sheppard, Elec- The Navy surplus R. \K -5 receiver, or
tronic Control Company, Philadelphia, Pa. Letter yet the DZ -2, with a tuning range

40 AUDIO ENGINEERING FEBRUARY, 1948

www.americanradiohistory.com
AmericanRadioHistory.Com
 of 14 to 1600 kc makes an excellent vac-
uum tube voltmeter, sensitive down to a
microvolt, and being sharply tuned, can
be used as a harmonic analyzer as well.
Steed& Zeaterey AMPLáFIERS
The signal- to-noise ratio of these two WITH CUSTOM -BUILT FEATURES
receivers is very good.
Do not try to do much with the quartz Design of Bordwell & McAlister's New Commercial Amplifiers
crystals available from surplus. It is embodies the principles which have been proven in custom -built
true that some of the larger transmitting units developed in the Motion Picture Industry, where quality is
crystals have good activity, but they are requisite. Fully licensed.
usually shear cut, and only X cut types
25w. models operate
give a disciplined piston action. The 12w. models operate up
up to 16 indoor speak.
Designed 8 fabricated
shear cuts have activity on the edges in to indoor speakers,
8 by manufacturers of
ers, effectively cover
effectively cover out- high quality Sound &
a rather peculiar manner that makes door audience of 2500. ou.door audience of
Recording Equipment
their emitted pattern very complex 8000.
for the Motion Picture
and almost unusable. Industry. Union made.
2 to 4 high gain
The phonograph pickup types are input channels
usable even if broken if you clear away and 2 to 4 high With or without
any tinfoil causing a short. The full
size job will act as a microphone with
or low goin radio
or phonograph ."" professional "T"
type boss and
input channels. treble equalizers.
many resonant spots up to well above
100 kc, and small pieces, say one -eighth
Output impedances
inch square, may work above 250 kc. If High fidelity reproduction 500, 250, 16 8. 8
used under water they may be rubber at any setting of volume ohms. Overall gain
protected, or given a glyptal coat. If controls up to full rated Frequency response 105 db. Hum level
output with less than 4% flat within 'h db from 85 db below full
used in air, be sure they are lined up distortion. 50 to 10,000 cycles. out pu t.
toward each other or the source, as their
pattern is very sharp. Write today for informative catalog & Technical data.
A word of warning if you go in for Dealer inquiries invited. 12
magnetostrictivn-lie sure you have "A"
or "Z" nickel and not monel, which is ELECTRONIC DIVISION
almost useless. If you have access to a
little electric furnace, treat the rod or BARDWELL & McALISTER, INC.
tube for several hours at 1475 degrees F., PRODUCT BOX 1310, HOLLYWOOD 28, CALIFORNIA
and then turn off the furnace and allow
at least 12 hours for slow cooling. Be
very careful not to shock the rod in
handling. If you even chuck it in a lathe
very carefully and lightly polish it with AVAILABLE AT TERMINAL
crocus cloth, you will lose most of the
activity.
pif
rr THE NEW WIREMASTER
Smoke Coagulation
A magnetostrictive cooled tube Makes
itbdc,4
MEETS PROFESSION.U. STANDARDS
WIRE RECORDER
-
a fairly satisfactory device for setting up SI-ITAIII.E FOR BROADCAST REQUIREMENTS
resonant waves in air to observe coagula- The WIRE)1ASTF.R handles up to a full hour of wire
tion of smoke. The trouble with using a recording and playback on a single spool, as well as
whistle for this work is that the per- standard phono playback of up to 12" records.
A specially designed 10 tube
centage of modulation of the air stream amplifier provides high fidelity wire
is only about 4%, so a large quantity of reproduction (40 to 10,000 cycles
useless air appears as a blast that blows pur second), with dual -tone control
away the smoke you wish to study. We for bass and treble equalization.
Mixing and fader controls are pro-
can use a parabolic reflector and bring vided for two microphone inputs,
the energy to a focus say 7 feet away, so one pi input and built -in radio.
most of the air blast will disappear and Dual recording level indicators and
separate volume control for monitor-
there will be high energy density at the ing add to ease of operation. Output See and hear the
focal point. jack for dubbing available at no WIREMASTER in our
If you take the magnetostrictive rod, extra cast. modern Sound Studio!
The R'1REMASTER is ruggedly constructed to withstand
or better yet, use a tube and water-cool more than average use and is housed in a sturdy portable
it, then you can sweat a 1%2 --inch plate on
one end, say three-sixteenths inch thick.
carrying case. Operates on 115 volts, 50/60 cycles A. C.
Visit our Audio Exhibit at the I.R.E. Show, March
295NET
Take a precision glass tube that clears 22.25, Grand Central Palace, Booth No. 222.
this diaphragm by a few thousandths all
around, and mount it so the diaphragm
is well into one end. Arrange a movable
piston at the other end and adjust it to
resonate the air inside the tube, thus we
can build up quite high field strengths
that will coagulate tobacco smoke and
steam inside the tube. See Fig. 1.

AUDIO ENGINEERING
V'autinaed an page ¡_'!
.

FEBRUARY, 1948
8 5 C O R T L A N D T
NEW YORK 7, N. Y. -
S T R E E T
Phone: WOrth 2.4415
41

www.americanradiohistory.com
AmericanRadioHistory.Com
 To digress for a moment, several friends
of mine have made up little Hartmann Popular Recordings
HARVEY whistles to call their dogs by ultrasonics.
They all had some difficulty in adjusting
the spacing to give oscillations, so they
front payr s I

One of the finest discs yet imported by

has claimed. The real reason is that the air London. The Parnell Quartet has pro-
duced some palatable rebop which might
in the jet must reach sonic velocity in
TRANSCRIPTION order to "pack" the air into the resonant even teach some of its American creators
3 tiling or two. Technically this disc is
cavity. This takes at least 13.6 lbs./in.2 ;ol absolute dream. It is unmonitored
NT of air, and nobody except Superman can ;unl Ilan a very wide frequency range.
develop over 4 pounds pressure, so it is Dickory Dock 'London 137. Ted Heath
Isis ylusic.
impossible to blow a Hartmann whistle and The Ted Heath band is the larger unit
by lungpower. from which the Parnell Quartet stems.
In order to make an intelligent effort Like the quartet, they seem to have
to analyze a load from the commercial grasped the rhythmic quality of American
GRAY popular music. The results are good, and
point of view, there are four things we this disc compares favorably with the
TRANSCRIPTION ARM must know. \Ve shall call them Z, G, Q best dance music currently produced here.
For your favorite cartridge, such as the new
GE Variable Reluctance and Pickering
and T. These represent Impedance. Reproduction is tip to the ffrr standard.
120M. Assures optimum performance; gives Acceleration, Losses, and Time of Ap- Old Time Religion Victor 20-2614. Phil
smoothest possible frequency response, re- plication of the (lower. rris anti Ow Sportsmen.
Harris
duces surface noise ratio, provides adjust. The musical material on this disc is a
able scale to conveniently regulate for ideal Z is the sonic impedance. If the load cheap, condescending imitation of a negro
performance of the particular pickup in is a gas, we must use a gas -type genera- spiritual, but the recording is one of
uso. Net 535.03
tor. If liquid or solid, we can probably Victor's most successful in the popular
VIBROMASTER TYPE K field. It is smoothly monitored, and al-
use either a liquid or solid generator and though the range does not extend beyond
PROFESSIONAL ARM match the impedance to suit. 6,000 cps., there is excellent. clarity and a
"G" is the acceleration required to pro- pleasing acoustical effect.
duce some desired effect. In coagulation
of aerosols or dispersoids we really work
by the length of path of the excursion of Hollywood Bowl
the particles, so that many collisions take from page 171
place in a short time. Most other effects
multiple- microphone method of pick -up.
stein from the acceleration itself. In most
Since the loudspeakers are in such close
cases this must be determined from ex-
proximity to the microphones, and a
periment, as we have insufficient knowl-
for General Electric Variable symphony orchestra covers such a large
edge to calculate in advance at what G
Reluctance Or the New area, it is necessary to use a much larger
value a long chain molecule will he broken
Pickering 120M Cartridge number of microphones than might other-
up, or a crystal broken into several
wise be required. Figure 3 shows a typical
Resonance characteristic flat plus or minus fractions. However, many such effects
orchestra and microphone arrangement.
!'t Db A0 to 1000 cycles (measured in are in the literature. with approximate Sometimes eight, sometimes ten micro-
lO.cycle steps throughout resonant range).
Price, net less cartridge.. $34.50 values of the poweìnnd frequency given. phones are connected to the "Music
General F Inch ic Cartridge. $ 4.77 Q is the ratio of elasticity to losses, or Mixer." The second twelve- position
resonant lise in a closed chamber with mixer is employed for soloists, choirs.
The Pickering Cartridge perfect reflecting walls. This can be very vocalists, or the control of any sound
gives professional qual.
ity to your home pho- high, as shown in connection with water. which must lie balanced against the
nograph. It mounts in 7' is the time of application. In many orchestra.
practically any arm,
operates perfectly even cases, this is less than a tenth of a second. Mixing Technique
of 30 cps, will, but 15 allowing rapid flow of the material The mixing technique for a multiple-
grams pressure; linear
response to over 10,000 through the treating chamber. microphone pick -up of a symphony
cps. Available with sap. Some values given in the literature are orchestra for sound reenforcement is con-
phire (5120M) at $15.00
net, or with diamond 8:3 only approximate, as there is often great siderably different from that for broad-
(D120M) at $39.75. doubt about the actual power generated, casting. Not only is there a loudspeaker
and more doubt about how much actually feed-hack problem to be considered, but
The Pickering Equalizer-
Amplifier works with the
appeared in the load. One example is there is also the requirement of having
Model 120M Pickering coagulation of one micron dust of high to match the amplified sound against the
Cartridge, providing a concentration -about one watt per cubic original sound. Any tendency toward
full 20 db of bass boost
for record compensation. foot per minute, at 24 ke. Another ex- over-or under -amplification is immediate-
Complete with built -in ample is degassing metal and controlling ly noticeable when one has the "real
R rain size -shout 2 to 5
low -pass filter switch to kw per hundred thing" for comparison. Our method is to
minimize needle scratch
on noisy records. Model pounds at 700 ke. amplify each section sufficiently to secure
12511, $19.50 net. Now that ultrasonics is obtaining con- a "pianissimo balance." When the orches-
NOTE: All prices are Net, F.O.B. N.Y.C..
siderable publicity it would seem attrac- tra conductor or his musical assistants
and are subject to change without notice. tive for many engineers to at least obtain agree that a satisfactory low-level balance
a nodding acquaintance with the phenom- has been achieved, the attenuator con-
Telephone_ /"'"""N LOngacre 3-1800
ena involved by doing some work with trols for the individual orchestral section
the cheap and simple units described microphones are set, and attention is
above. It is a rather peculiar form of turned to the "master gain." Various
energy, and well worth studying, es- tests must then be made to establish just
pecially now that we can visualize means how much amplification is necessary to
of generating practically unlimited power make this "smallest" sound readily
103 West 43rd St., New York IS, N. Y.
and much higher power densities than audible in all parts of the Bowl. Once
ever before. "pianissimi balance" is established, the

42 AUDIO ENGINEERING FEBRUARY, 1948

 orchestra conductor controls the dy-
namics of the amplified sound as much as problem. We non -engineers are a bunch
that of the original. There is a difference Classical Recordings of incurable Milquetoasts in this respect!
of some thirty VU between pianissimo IJrwa J,,, i 1 Most people have an unreasonable fear
and quad-forte, and this much undis- mense values in the unit system enough of radio innards. There is high voltage
torted power output must be available in to forego the convenience of a simple about, they know, and things suddenly
the channel. console model -but to put things to- go up in smoke, inside radios. On the
Levels for the vocalists and instrumen- gether is another and an insuperahle other hand, they are unwilling to call in a
talists are established in the same manner.
and care is always taken not to overesti-
mate the sound necessary satisfactorily
to hear "pianissimo." ECONOMY
THROUGH
Letters VERSATILITY..
f,,,,,, pa,,,
However, a motion study will show
that a piston can be depressed much CINEMA
more quickly, and with considerably less
movement of the hand, in this manner, 100 SERIES
when going from a lower manual to a
higher one, or where the alternate hand UNITIZED
is used.
There is, undoubtedly, a certain dignity AMPLIFIERS
attached to reaching under the manual
with one's thumb and depressing a piston.
But it takes t'me and, with the registra-
tion changes demanded by modern PHOTO SHOWS
music, a few milliseconds mean a lot, TYPE 101 -A PREAMPLIFIERS
when approaching the beginning of a IN RACK MOUNTING FRAME.
new musical phrase.
Send for illustrated 4 page bulletin
(3) Amplitude Versus Frequency Tremolo describing complete line of amplifiers.
I believe Thal Veil will find through
actual experimentation, that the tremolo The 100 Series consists of a complete range of units from preamplifiers
recording amplifier and associated power supplies. The series to 43 watt
on an organ is a frequency vibrato, and is designed to furnish
that my treatment of it is correct. high -fidelity, moderately -priced audio channels for broadcast
and recording studios.
The subject has been much debated The standardized method of mounting the chassis permits
facilitates future expansion and modification of rack layouts. extreme flexibility and
since the days of Helmholtz ... I be-
lieve it ranks only second to sea ser en You may obtain any type of channel required by selecting
"units" and mounting them on the rack- mounting frames provided. the proper chassis
Many men, far more learned than I shall (see photo)
ever be, have stated flatly that no appre- All input
and output circuits are suitable for both balanced and unba lanced lines.
ciable pitch variation occurs in an organ Reliable circuits and careful choice of high -grade components make this amplifier
tremolo. series especially suitable for services which demand consistent
reliability. performance and
While I was staff organist at WILL,
1.'rbana- Champaign (1932), t he contro-

CINEMA
versy arose among a group of my friends.
To settle the argument., I connected a
microphone to a cathode ray oscillo-
graph, using an external sweep generator, ENGINEERING COMPANY
so t hat t here could be no coupling bc-
ttceen t he signal and t he sweep circuit. 1510 W. Verdugo Ave. Burbank, Calif.
I later found this to be unnecessary. Coble Address: CINENG BURBANK
The microphone was placed in front of
the organ loft, and the sweep generator
adjusted to hold the pattern stationary
at middle "C," with the tremolo off. FOR RELIABLE CAPACITORS
Upon turning the tremolo on, the
waveform shifted from side to side along
the time axis with each hat, indicating
a periodic rise and fall in frequency.
We measured this deviation and found
it to extend roughly to three per cent
each side of the nominal frequency.
There was little or no variation in height
of the waveform; thus, no observable
amplitude tremolo.
This was on a clarabella flute stop.
The strings proved to be about the same,
while the reeds showed very little pitch
deviation with about a ten per cent
amplitude variation.
During subsequent years, I have re-
peated the experiment with improved
apparatus, and have taken many measure- Write -on firm letterhead -for
Clifienco
new catalog.
ments on organs, string and woodwind Foreign Radio and Electronic Manufacturers
instruments and the human voice. In
all instances, the vibrato was shown to communicate direct with our Export Depart-
be largely due to a fluctuation in pitch. ment at Willimantic, Conn., for information.
(4) Voicing
The term voicing is used in both
senses -to denote the mere balancing of a
rank of pipes in loudness, and to denote
THE ELECTRO
the entire artistic treatment of the rank.
However, I believe the former meaning is MOTIVE Mfg. Co. Inc.
the more frequent one.
Winston Wells Willimantic, Connecticut
AUDIO ENGINEERING FEBRUARY, 1948
43

www.americanradiohistory.com
AmericanRadioHistory.Com
r CC 'CCC'C ' C
WHO'S WHO IN SOUND
fC i C; serviceman to install equipment bought
through other channels. The agony of
assembly is usually turned over, with
enormous trepidation and fear of elec-
with, the housing or cabinet. I suggest
a type of interchangeable -section cabinet.
perhaps two or three basic, simple units,
into which all components could be
trocution, to a sympathetic friend (I fitted, with simple one -twist lock -in
have been that friend); but the fear of mechanical connections instead of
wiring failures, of something going wrong elaborate nuts and bolts (elaborate, for
in the home -made connections never the user). Moreover, these units them-
quite goes! So staunchly does the public selves should be arranged to couple
trust the sturdy manufacturer! This, easily together (in the manner of the
then, is a major disadvantage that keeps multiple unit p.a. systems now avail-
many of these people from even attempt- able) to make one solid piece, when
ing the unit plan of construction. desired. In this way a separate -unit
Suppose then, to come to the point, I
were asked for suggestions as to how an
Tustur .. . a enterprising manufacturer might meet
the needs of this growing number of
RECORD LIBRARY
In this spot a continuing list of records
'Rut CQass' Mate record owners who are unsatisfied with
{lalventional radios and phonographs?
My approach would be something as
of interest will be presented. The list
specifically does not. suggest "the" Ittt<I
recordings or versions. It will dra\c
Rated first class for hand work. Has follows: predomimantly but not entirely from
passed all tests for dependability and postwar releases. All records are theo-
What is needed, as always, is equip- retically available, directly or on order:
true speaking. Choice ment that will give the advantages de- if trouble is experienced in finding them
of carbon or dynamic sired, while avoiding the disadvantages. Audio Engineering will be glad to co-
A platitude, but a vital one. It seems to operate. Records are recommended on
types. Ju ft call upon a composite of musical values, perform-
me that in this case the principle of the ance, engineering; sometimes one, some-
UNIVERSAL separate unit system is an enormous times another predominates but records
advantage. A contrary advantage of unusually lacking in any of the three
HANDI -MIKE will not be considered. Number of
another sort is that of the simple con- records in album is in parenthesis. C:
sole, both due to its lack of clutteriness Columbia, V: Victor, other companies
and to the simplicity of its workings. written nitt.
UNIVERSAL MICROPHONE CO. We must meet squarely the disadvantage
Inglewood , Calif. A GROUP OF POSTWAR REC-
of the hooking-up process in the unit ORDS-"B" COMPOSERS.
system. But we must at all costs avoid Beethoven, Symphony No. 6.
the insurmountable disadvantage in the Walter, Phila. Orch.
usual machine of parts inextricably (for C MM 631 (4)
the amateur) intertwined, both electri- Beethoven, Violin Sonata, op. 30,
cally and mechanically. Finally we must

COME!
B o. 2.
meet the cost problem by remaining Stern, Zakin.
strictly in the Gulf area. Our simplest C MM 604 (4)
basic equipment should not cost much Beethoven, Quartet op. 59, No. 1

snore thais $75, perhaps $100. Top,

("Rasou movsky ").
Paganini Quartet.
with all the extras should be $300 -$400; V M 1151 (Si
above that we reach the engineer's Beethoven, Theme and Variations
stage, already beautifully covered. in F, op. 34.
The problem can be met, it seems to me, I.i. il:ud Shure, pianist
in the way that the vacuum cleaner men, Vox 602 (2)
the makers of home movie equipment Bernstein, "Facsimile ". (Ballet
and medium priced still cameras have music.)
RCA Victor Orchestra, Bernstein.
met a similar kind of problem. By M 1142 , 2
facing the necessity for flexibility, for B artok, Violin Concerto. (1941).
to the complications; and by solving these com- \Icnullio, Dallas Symph. Uurati ..... .

I. R. E. National Convention plications with fool-proof, mistake-proof M 1120 (5

and instantaneous connections and couplings, Berg, "Wozzeck" excerpts. {opera
Radio Engineering Show interchangeable parts, ingeniously sim- Is pIi. of Los \ii_.
plified design that accords with the t'licuiutti I;u, riser.
March 22 -25, 1948 modern home owners' idea of convenience Artist JS 12 2 pl.)
Grand Central Palace and dependability, that builds confidence Britten, Serenade for Tenor, Horn
New York City and Strings.
instead of fear. A vacuum cleaner is no l'cter {'ears, Dennis Brain. Boyd Neel
HEAR - over 100 Technical Papers, simple instrument these days and a good String Orch. Britten.
many on audio topics camera even less so. But ingenious Decca EDA 7 21
SEE - - 167 Engineering Exhibits (not costly) design has removed the dis- B ach, Cantata, "God's Time is the
of Instruments, Components, advantages to the point where just about Best" (No. 106).
Transmitter Equipment loi yard. Glee Club, Radcliffe Choral
anybody can and does use both. I

4 Day Registration" $3.00 Society, instrs. from Boston Symphony

to non -members of I. R. E.
More specifically? Let me say at Technichord T -6 (3 pl.)
once that what I have in mind would B ach, Brandenburg Concerto No.2.
THE INSTITUTE OF call for daring and even radical planning, Boston Symphony, Koussevitsky
RADIO ENGINEERS, INC. not as to components, but as to their (Tanglewood).
East 79th Street
I housing and the means of connecting M 1118 (4)
New York 21, N. Y. and assembling them, which is the vital (Also includes No. 5).
point. Take one aspect only, to begin
AUDIO ENGINEERING FEBRUARY, 1948
44

www.americanradiohistory.com
AmericanRadioHistory.Com
 system may have all the advantages of a
console. In fact -beginning from the
other end -we might better call this a
console model with detachable parts,
and make it available primarily in the New Type 1250
form of a number of "console" models, all
assembled from the basic ingredients . . .
Thus nicely having our cake and eating
it too.
It may be asked at this point why such
a scheme should be of interest to engineer
readers of this magazine? Because there
can be no engineer who is not interested
in the wider acceptance of the engineer's High r. f. current carrying capacity
viewpoint towards good sound equip- 50 amps. max. intermittent load; 30
ment. Good in quality, but also good in amps. steady load. Low loss factor.
its ability to meet varying conditions. Sturdy mechanical design ...
It is to his advantage that more and more Mycalex insulation.
people, intelligent, curious people, if
untrained in engineering, see the phono- Furnished in any
graph not as a mere push -button box number of
with mysterious dangerous insides but, decks.
realistically, for what it is, an assembled
collection of units basically simple in
their separate functions and, given a
little leeway, highly flexible in their
practical use in the home. Most people
aren't dumb. Lots are intensely curious.
Plenty -a big plenty-are ready for a
more complex machine, provided it's
Write for Bulletin No. 472
safe, quick to assemble and adjust, abso-
lutely foolproof and above all, with no
Manufacturers of Precision Electrical Resistance Instruments
menacing "live" wires to touch! Given
this, they'll take almost anything. Look
at the vacuum cleaner. (More next 337 CENTRAL AVE. JERSEY CITY, N. J.
month.)

RECENT RECORDINGS
Respighi, Roman Festivals. (1929). Phila.- Report \o. 1 from lvpical PARA -FLUX REPRODUCF,R USERS:
kip orchestra, Ormandy.
Columbia MM 707
This is relatively little known sequel to
the brilliantly orchestrated Fountains of
Rome (1916) and the Pines of Rome BROADCASTING ENGINEER REPORTS:
(1924). Its lush stuff, fine for hi -fi
recording, but also considerably dis-
sonant, showing the influence of the
"Acetate Master Recording plays 295 times
harsh 1920s. Recording is wider range,
a bit pinched acoustically. This one
seems to have low turnover point, in
from a PARA -FLUX REPRODUCER
European style (300?). Try it.
Schubert, "Unfinished" Symphony, Phila-
without material wear"
delphia Otchestra, Bruno Walter. (Com-
parison: The sauce, with Vienna Philhar- Protecting precious records today is vitally
monic, Bruno d'alter ................. . important. Recordings must last as long
Columbia MM 699 (Victor G -9) as possible. The above report is a typical
The latest of dozens, this recording musi-
cally is first rate. Technically it is wide result of the minimum wear on records
range, but in Schubert this counts for not when PARA -FLUX Reproducers are used.
much; the music isn't highly overtoned The new RM(: lightweight Head permit-
(as Respighi, above.) Here, the Colum- ting the pressure of only 20 grams on the
bia recording technique, without exces-
sive liveness, is not particularly well suited record, as well as the low mechanical im-
to the music. The old Victor album G -9 pedance of the stylus, means longer record
(out of print) sounds better. It is very life. All PARA -FLUX REPRODUCERS
live, and the liveness suits Schubert. Its are tough and durable, yet afford the high-
range is restricted but an apparent boost
in low highs gives fine feeling of brilliance. Para -Flux Reproducer with in
est quality reproduction. Using PARA -
Microphoning, for liveness and detail terchangeable Heads: FLUX is your best assurance of minimum
too, is absolutely first rate. Universal
. .

Lateral only.
record wear and maxin life with im-
Handel, arr. Sir Hamilton Harty, Water proved tone quality.
. .

Verticol only
Music Suite. London Philharmonic, Basil
Cameron. (Comparison: The same. Lon- Sold through local jobber. Write For Bulletin PR4.
don Philharmonic, Harty.) ..............
English Decea EDA 38(Columbia X13)
. Export: Rocke International Corporation, 13 East 40th Street, New York 16, N. Y.

The Old Columbia recording of this suite

as arranged by Harty (the original has
over 20 movements) has long been a
RADIO-MUSIC CORPORATION
recorded classic, and was one of the mile - PORT CHESTER NEW YORK
AUDIO ENGINEERING FEBRUARY, 1948 45

www.americanradiohistory.com
AmericanRadioHistory.Com
 The new recording, same orchestra
Harty is dead -is the first since. (There
-
stones in the recording art. It still sells. call it. (Apologies to Stanleigh, if this
rates as "popular! ")
Disc "Ethnic Series:" (5 albums) Cuban
heart felt, honest singer of her native
musi',.
Saint- Saens, Violin Concerto #3. Louis
are other arrangements of the music, Cult Music, Folk Music of The Central Kaufman, Santa Monica Symphony, I {ach-
however; none is as good as this one.)
In spite of ffrr, I prefer the old set. No
East, Haiti, Ethiopia, American Indian
Songs and Dances. Recorded "on loca-
milovitch ..................... Disc. 805
Another of the film-music players' or-
highs to it, but excellent, highly natural tion' by Charles Hofmann. Harold Cour- chestra recordings. Kaufman has appar-
resonance, enough brilliance to carry the lander, others ..Disc 131, 132, 141, 142, 161 ently made a long series of concertos, this
music. Musically the performance is An astonishing series, representing an being the 2nd released. Same old story:
superb. The new set is of course wider enormous amount of field work with poor liveness, dead studio effect. Violin,
range, but the usual ffrr liveness is not portable equipment. When you hear the beautifully recorded, is too close, balance
good in this music. The performance music" you ll sympathize with the re- is very poor: orchestra far off in the hack -
is duller, less precise, more mannered. cording personnel! Some of these have ground. Let's hope that before the
One more example of t he fact that wider remarkably good quality, though minus December 31 deadline the Santa M.
range, distortion-free recording is only highs. Others are highly distorted, engineers woke up to the facts (a) that
the beginning of success in this business! mainly due to unpredictable noises of music must have liveness, and (b) that a
"Listen to Our Story;" "Mountain people in violent motion, assorted drums violin concerto is not a violin solo with
Frolic." American IaIla,Is,'square dances, with superabundance of low frequency faint orchestral background! Most re-
hoedowns. Various artists. (Records DBs, etc. Try the Central East, Ethio- cording companies left that stage behind
originally made in the later 1920s.) ........ pian albums for best listening, and to ten years ago.
Brunswick 1024 1025 shock your friends and relatives. But
Two rather astonishing albums, edited by this stuff is to be taken seriously too.
Alan Lomax, leading authority on Ameri- Main trouble: excerpts are too many, far
can folk song. These records were all too short. They fade in, fade out just as
made before 1930, a number in 1927, and things get going. Excellent booklets, well
illu rä16 d line photo,.
New Products
originally sold as singles. In these re- t

'from page .i
pressings they are as remarkable for Songs of Tchaikowsky. Irra Pet .ina,
quality as many of the oldest hot jazz Orchestra conducted by \Valt.t 1Lm11
records are. No highs, of course. But Columbia MM 712 pany will also service Vocal -Aire units now
otherwise t hey are excellent, well bal- Technically a very beautiful album. in use.
anced, with realistic and lively acoustics Singer, tinging in Russian, is close, but A new application for the system has been
(no dead studio effects) seemingly very with very great "presence," aided by
little distortion, except, as often happens, hi -fi sibilants, vocal-color overtones. found in laboratories where studies and
assorted blasting due to untrained per- Orchestra at slightly greater apparent analyses of vitration are conducted. The
formers with inadequate mike experience. distance -but by no means a mere back- high power level of t he modulated air
The modern repressing gives smooth, if ground; its tone is live, warm, enveloping. stream in conjunction with the high fre-
not silent surfaces. Music is "authentic," In short, a perfect recording-for this
untouched by radio and commercial type of music. These songs are mostly quency range makes it especially valuable
singing; it, is nasal, out of tune, but often piano, originally. Arrangement for or- for this purpose.
highly musical and sometimes extremely chestra popularizes the album, but does Inquiries relative to the Vocal -Aire sys-
funny. Try "The Derby Ram!" This no great harm, in this case, to Tchaikow-
is priceless historical material, as well as sky. Petina has strange mannerisms tem should be addressed to the new coin-
important music -regardless of what, you (off pitch metes, sli.lings, etc.) but is pany at Seymour, Conn.

It's Tops !
Surveys show that AUDIO ENGINEERING is preferred over all
other technical magazines read by the best informed in the sound
field -the broadcast engineers. Each issue brings you outstanding
articles on five or more of the following subjects:
Broadcasting Public Address
Sound on Film Industrial Sound equipment
and applications.
Recording Acoustic treatment of studios,
Phono Reproduction rooms, auditoriums etc.
In addition, each month Audio Engineering presents latest improve-
ments in sound reproducing equipment design, test methods, and
technical news From here and abroad. The editorial staff includes
top authorities in the sound Field.
Subscribe NCW! Don't miss an issue!
Sorry, back numbers of practically all issues are
unobtainable because of the terrific demand.

AUDIO ENGINEERING
RADIO MAGAZINES, INC.
342 Madison Avenue, New York 17, N. Y.
Sirs: Here is my check (or money order) for S . Enter my subscription order to AUDIO ENGINEERING for the next issues.
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46 AUDIO ENGINEERING FEBRUARY, 1948

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 thousand dollars, though measurements
Hearing Aid Gain can be made over a limited frequency
range with a less effective anechoic cham- TOP NOTCH FOR
fro page.' her built at a cost of perhaps twenty ' TOP
applied to the microphone of the hearing thousand dollars.
aid. In the free -field procedure in corn- FREQUENCIES
mon use, a pure -tone signal from an
Although the Bureau has an anechoic
chamber of adequate quality, it was
!he new
electronic oscillator drives a loudspeaker.
The hearing aid is suspended facing the
necessary to devise some means for test-
ing hearing aids which would release the UNIVERSITY
speaker so that it receives sound radiated
from the speaker.
test room for other work. The new pro-
cedure utilizes a system analogous to a TWEETER
Because the distribution of sound radi- piston and cylinder for applying the inci-
ation from a speaker is non- uniform, dent sound pressures to the hearing -aid
that is, it possesses a directional pattern microphone. The face of the hearing aid
which varies strongly with frequency, and a calibrated measuring microphone
it is not feasible to compute the sound are mle, in effect, part of the cylinder
pressure incident on the hearing aid mi- wall. They are mounted as flush closures
crophone. It is therefore necessary to on opposite sides of a small cavity cut
measure the sound radiated by the into a heavy brass block. The driver unit
speaker at the point in space occupied by of a loudspeaker serves as the piston gen- Use it with any
the hearing aid microphone. For this erating the pressure alternations of a Standard Cone
purpose, a calibrated microphone is sub- sound signal in the air volume enclosed Speaker
rt stituted at the position to be occupied by by the source cavity. It is coupled to the So you want high -fidelity? Then this
the hearing aid. The sound pressure in- source cavity via a brass tube. For sound tweeter is for you. A simple high -pass
. (heated at each frequency by the measur- frequencies low enough for the pressure filter permits quick connection to your
ing microphone is taken to be the sound present cone speaker with only two
alternations in the cavity to he instan- wires. Extends the range of your
pressure incident at the face of the hear - taneously uniform throughout the cavity existing cone speaker to 15,000 cycles.
ing-aid microphone. volume, the indications of the measuring Available in several types unmounted
Test Conditions microphone are a direct measure of the or in cabinet. Prices from $20.00. For
details address UNIVERSITY LOUD-
For these measurements to be valid, sound levels applied to the hearing-aid SPEAKERS, INC.. 80 South Kensieo
sound must come only from the speaker microphone. The frequency range is ex- Avent. White Plains, New York.
with no spurious effects introduced by tended to higher frequencies, at which
reflection of sound from the walls, floor, the sound pressure in the cavity is not
or ceiling of the test room. The interior altogether uniform, by mounting the
surfaces of the test chamber must there- measuring microphone and the hearing
fore be built of material having a very aid microphone symmetrically with re-
low reflection coefficient for sound waves. spect to the speaker tube. (Figures1 and2.)
Moreover, the volume of the room must The output sound level produced in
be large to minimize reflection, and the ear of the user by the receiver of the
sounds originating outside the test cham- hearing aid is measured by the same
ber must be excluded. The construction technique in both the old and the new
of an " anechoic" chamber with highly procedures. Ears differ in size and shape,
absorbent walls and a sound-isolating and so the load which they present to the
structure is expensive. Acoustic materials receiver differs from one individual to the
exhibiting low reflection and high sound next. However, an "artificial ear" has
. absorption are fragile and delicate and been devised2 which contains a measur-
must be carefully protected. A good
chamber can be constructed at an ex- t "Method for Measuring the Perform:ul,,
of Hearing Aids," by Frank F. Romantm
penditure of the order of a hundred Jour. Acous.Soc. Am. Vol. 13, p. 204 (1912
Fig. 2. Dimensional drawing of the cavity and schematic diagram of
the equipment set up
which utilizes a cavity pressure method fo r measuring the gain of hearing aids.

THREADED
TO FIT
SPEAKER
2

NEW!C- MPIETE!

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I60 Value- Packed Pages
of
555 -W SPEAKER the LATEST end BEST in
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THIN WAX GASKET.- ELECTRONIC EQUIPMENT
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1, -!\1
\L
2CC CAVITY/ CONCORD
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DIAGRAM OF SETUP MICROPHONES Downtown ChIcado Branch 225 West Madison St.
LAFAYETTE RADIO CORP.

AUDIO ENGINEERING FEBRUARY, 1948

47

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AmericanRadioHistory.Com
ing microphone in a position correspond- pressure method for applying known
ing to the tympanum of the human ear, sound levels to the microphone of a hear-
ing aid may be simply constructed in a
Pickup Technique
and which presents to the receiver of the
hearing aid a load respresentative of a machine shop. The entire source cavity [front page 14J
1
human ear fitted with an ear mold. Com- unit, including the calibrated standard line and indicate the results that might
parison with measurements on human microphone, its associated amplifier and be expected using the various pick -ups,
subjects has shown that this "artificial output meter, the speaker unit, and signal microphones, and acoustical conditions.
ear" provides a valid though rather in- oscillator can probably be assembled at They are intended as a guide rather than
exact means for measuring the output of an expenditure of a few hundred dollars. strictly formulated rules. There is no
the hearing aid receiver. The differences The cost of a complete "artificial ear" known substitute yet for individual
between the results obtained by using the including the measuring microphone and judgment, taste, or listeners' reactions,
artificial ear and those obtained with its associated amplifier and output meter, which are the principal guides in achiev-
human subjects are sufficiently small so and a small brass block of which the "ear ing the optimum results. The success of
that they do not mar the significance of canal" is constructed, is of the order of every broadcast depends on sound funda-
data obtained using objective method. several hundred dollars. mental principles intelligently applied
The equipment required in the cavity The construction and maintenance of with flexibility and originality, taking
a specially- treated echoless room is ex- full advantage of every technical ad-
pensive. The simpler test procedure vance to meet the needs of a particular
developed at the Bureau provides a more situation. In this way, only, can the skill
economical means of testing hearing aids, in technique of broadcasting keep pace
and one that can easily be adopted by with the engineering developments so

et heat Y E Eg any manufacturer. frequently being provided.

The author wishes to acknowledge the
I
I

oca4 Loud Speakers generous help of the NBC staff and is

le.t Cje
oIr aN

[from pays 2,
,
particularly indebted to Rinehart
and Company for permission to repro-
cY,ao extravagant rating should a competitor duce Figs. 9 to 15 from their current book
care to use it. "Broadcasting Music" by E. La Prade
Q -C Recording ACTUALLY DOES IT Efficiency rating is usually avoided by (1947).
the manufacturer and it has become com-
Cook Exclusive Q-C Quality Control) mon to judge the efficiency of a speaker by
recording doe; these things. the size of its magnet. There is even a ADVERTISING INDEX
general impression that the larger the
IO db Better Signal- Noise. speaker, the more efficient it is. The out-
All Masters Uniformly put of a speaker is proportional to the Arnold Engineering Co. 2
Distinguished in quality. 6
Full Frequency Range
Perfectly Clean.
- flux density in the air gap, the length of
wire in the voice coil and the current in
Audio Development Co
Audio Devices, Inc..... Cover 2
Audio Engineering School ... 48
the voice coil. The size of the speaker or
l.normous Volume Level
Capacity -
Double the
Dynamic Range without
magnet has nothing to do with efficiency
except as it may help determine one of
Audio Equipment Sales
Bardwell & McAlister, Inc . 41
39

Increased Record Wear. the three critical factors. The apparent Brociner Electronics Labora-
loudness of two speakers is not an index tory 40
of efficiency either, since loudness depends Brush Development Co. 7
We are equipped to do your Re- Record- also on directional characteristics and
ing, or to supply complete Q -C Recording Camera Equipment Co. 5
Systems. frequency response. Chicago Transformer
Rating the power -handling capacity of
Corp. Cover 4 Iti
a speaker is extremely dangerous as well Cinema Engineering Co... 43
Write for Detailed Information. as difficult. In the first place, what does Concord Radio Corp..... 47
COOK LABORATORIES
it mean to specify that a speaker is a
25 -watt speaker? It has been found1,2
Cook Laboratories ..... 48
Electro Motive Mfg. Co.,
139 Gordon Blvd. Floral Park, N. Y. that the long time average power for 43
Inc.
speech is 20 db less than the instantaneous
peak power. For music, this value is Electro- Voice, Inc. 33

approximately 12 db. Thus, a speaker General Radio Co. Cover 3

AUDIO ENGINEERING SCHOOL Harvey Radio Co., Inc. 42
A practical 9 months' course in Sound Funda- capable of handling 25 -watt instantaneous
mentals, Recording, and Sound Transmission peaks need only handle 1.6 watts of con- Institute of Radio Engineers. 44
measurements; in a laboratory containing trans- 36
mission sets, oscillators, square wave generator tinuous power. For this reason, a speaker LeBel, C. J.
and intermodulation analyser, and other equip- rated at 25 watts generally will not 36
professional Directory

NO
ment.
Complete recording studios assimilating broad- handle a continuous 25 -watt sine wave Racon Electric Co., Inc. 1
cast, motion picture and commercial sound re- at all frequencies in its range without 45
cording. Radio Music Corp...
For information write danger of mechanical damage or burn- Shure Brothers, Inc.. 37
H. M. Tremolos, Director out. More often, however, a speaker's
SCHOOL
TR ION ENGINEERING
TRANSM ISSION power handling capacity is limited by Tech. Laboratories .. 45
1665 -A Cherokee Hollywood 28, Calif. Terminal Radio Corp. 41
distortion.
VERTICAL LATERAL U. S. Recording Co.. 36
9A, 9B, D- 93306, MI -4856 ' H. K. Dunn and S. D. White "Statistical Universal Microphone Co. 44
Reproducers Reconditioned Measurements on Conversational Speech," University Loudspeakers, Inc. 47
Only new parts used -includes repainting and Jour. Acous. Soc. Am., Vol. 11, Pt. 278;
replating: Jan., 1940. Vibration Systems, Inc.. 48
Response checked with advanced Laboratory s L. J. Sivian, H. K. Dunn and S. D. White 36
equipment Wells, Winston
"Absolute Amplitudes anti Spectra of Cer-
FAST SERVICE
tain Musical Instruments and Orchestras," Western Electric Co....... .. 8
VIBRATION SYSTEMS, INC. Jour. Acous. Soc. Amer., Vol. 9, pp. 1 -10; Wrigley, Wm. Jr. Co. 38
1040 W. Fort Detroit 26, Mich.
July, 1937.

48 AUDIO ENGINEERING FEBRUARY, 1948

 NEW AUDIO & SUPERSONIC OSCILLATOR
with LOW DISTORTION UNIFORM OUTPUT HIGH STABILITY
This new wide- range, continuously adjustable oscillator was designed to
fill a need for an instrument for laboratory measurements of gain, distortion,
impedance and frequency response at frequencies well above the audio range.
With a single dial and four push- button-controlled multipliers, the Type
1302-A Oscillator covers the range of 10 to 100,000 cycles. Because of its wide
frequency range and flat output this oscillator is particularly suited to taking
frequency response characteristics on amplifiers, telephone lines, filters and
other such circuit elements.
FEATURES
WIDE FREQUENCY RANGE -10 to 100,000 cycles -180-degree rotation
of dial
covers the 10 to 100-cycle decade -panel push buttons add in decade steps
ACCURATE CALIBRATION -adjusted with +(1 -)z' ó +0.2 cycle)
LOW DISTORTION -less than 1' ;, at any frequency
SMALL FREQUENCY DRIFT -less than l' , in first 10 minutes; less than '0.2' ;,
per hour afterwards
FREQUENCY DRIFT CONSTANT PERCENTAGE OF OPERATING FRE-
QUENCY- particularly helpful with bridge measurements at low frequencies
CONSTANT OUTPUT VOLTAGE -within ± 1.0 db over whole range: 20 volts
open circuit on 5,000 -ohm output, 10 volts on 600 ohm
STABILIZED SUPPLY-compensated for transient line voltage surges and aver-
age line voltage variations between 105 and 125 (210 and 250) volts
VARIABLE CONDENSER FREQUENCY CONTROL -avoiding contact diffi-
culties often found in variable resistance control
TWO SEPARATE OUTPUT CIRCUITS-balanced 600 ohm and unbalanced
5,000 ohm

TYPE 1302 -A OSCILLATOR S365.00

Cambridge 39,
GENERAL RADIO COMPANY Massachusetts
90 West St., New York 6 920 S. Michigan Ave., Chicago 5 950 N. Highland Ave., Los Angeles 38

www.americanradiohistory.com
AmericanRadioHistory.Com
AUDIO TRAP SFOR ERS
UL

if ; rei /t7/o7
11,1 IN FREQUENCY RANGES
iltoreiny cCiíi/e/.
J/iei
1
Full Frequency Range
30 to 15,000 Cycles, provides uni-
form response over this entire band with
1/2 db up to 10 watts of audio power,
within ± 1 db over 10 watts. Standard
RMA impedances. Hum balancing coil
structures and nickel alloy shielding.
Included are Input, Output, Driver, and
Modulation Transformers; Modulation
Reactors. Sealed in Steel construction,
stud mounting, with pin -type terminals.

Public Address Range

50 to 10,000 Cycles, frequency re-
sponse within ± t/z db up to 10 watts
of power, within ± 1db over 10 watts,
throughout this range. Secondary im-
pedances match 600 and 150 -ohm lines,
y 16, 8 and 4 -ohm reproducing systems.
Listed are Driver and Output Trans-
formers. Sealed in Steel construction,
flange mounting, with solder lugs or
wire leads.

Communications Range
200 to 3,500 Cycles, affords response
with variations not exceeding ± 1 db
over the range of voice frequencies. For
use with 600 or 150 -ohm lines. Input,
Output, Driver and Modulation Trans-
formers offered. Sealed in Steel con-
struction, flange mounting, with wire
leads or solder lugs.

DIVISION OF ESSEX WIRE CORPORATION

3501 A D D I S O N S T R E E T C H ! C A G O 18, I L L I N O I S

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