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com
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 Which ingredient is the secret

of i * leadership?

1. NITROCELLULOSE

2. PLASTICIZERS

3. RESINS

4. OIL

5. DYE

6. SOLVENTS

7. MOISTURE RESISTING
AGENT

THE FIRST SIX of these ingredients are to be found in any lacquer

for professional discs. The seventh is an exclusive AUDIODISC
development that provides permanent resistance to humidity.
This, however, is a fairly recent improvement, and therefore does
not account for the consistent uniform quality that has made
AuDIODISCS the first choice of discriminating recordists for the
past 10 years.
The "setret" lies not in any one ingredient, but in the correct
selection, exact proportioning, and precise chemical control of
all of them. In the ultra filtration, quality control, uncompromising
inspection, and patented precision coating process. All of these
factors, backed by continual research and exhaustive production
testing, assure matchless recording quality in every AUDIODISC.
Re`. U.S. Pat. Off.

Audiodises are manufactured in the U.S.A. under exclusive license from PIRAL. S. A. R. L.. Paris

Audio Devices, Inc., 444 Madison Ave., N.Y. C.

EXPORT Dt:rT.: Ruct:r. I]Tr.ItSATIU.\AL, 13 Lasr .10Tn Jr., i1Lw 1ul;1: 16, n.].

a7-0e-a#exl denideLA 1104.4.NCS

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DELTAMA) -now auai/ab/el
2 mil Allegheny Deltamax

Commercially available
in standard sizes of
toroidally -wound cores,
heat treated and cased,
ready for your use.

Where can YOU use a Magnetic Material

with these specialized, dependable characteristics?
The properties of Deltamax are invaluable for complete consistency in each standard size of core.
many electronic applications, such as new and Deltamax is the most recent extension of the
improved types of mechanical rectifiers, magnetic family of special, high -quality electrical materials
amplifiers, saturable reactors, peaking trans- produced by Allegheny Ludlum, steel- makers to
formers, etc. This new magnetic material is avail- the electrical industry. It is an orientated 50%
able now as "packaged" units (cased cores ready . nickel -iron alloy, characterized by a rectangular
for winding and final assembly) distribAted by the hysteresis loop with sharply defined knees, com-
Arnold organization. Every step in manufacture bining high saturation with low coercivity.
has been fully developed; designers can rely on Call on us for engineering data.

THE ARNOLD ENGINEERING COMPANY

SUBSIDIARY OF ALLEGHENY LUDLUM STEEL CORPORATION
147 EAST ONTARIO STREET, CHICAGO 11, ILLINOIS wIJ 111710

AUDIO ENGINEERING APRIL, 1949 I

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SIX MEASURING INSTRUMENTS IN ONE!
This -hp- Audio Signal Generator does the job of six measuring
instruments; saves time and space, eliminates extra equipment

1. Audio Oscillator 4. Attenuator

Range 20 to 20,000 cps. No 1 db steps, 110 db total at
zero set. teivation of output signal.

2. Audio Amplifier 5. Output Matching

5 watts output.
Transformer
1X distortion. Impedances of 50, 200, 600
and 5,000 ohms.

3. Output Vacuum
Tube Voltmeter 6. Separate Vacuum
Standardised output vol Tube Voltmeter
ages, to 150 volts. Measures external voltages.

/ 205AG AUDIO SIGNAL GENERATO

MAKE THESE MEASUREMENTS
WITHOUT EXTRA APPARATUS

Frequency Response
Here's the compact precision instrument that gives you the measuring
capacities and scope of 6 individual instruments, yet occupies bench space of Audio Gain
but one! This famous -hp- 205AG provides typical -bp- accuracy and ease of
operation (no zero -set, for example) for almost any test job from 20 cps to Filter Transmission
Characteristics
20 kc. It delivers 5 watts power with less than 1.O';i distortion at the commonly-
used impedance levels of 50, 200, 600, and 5000 ohms. Meter calibration, in
Audio Frequencies
volts and db, is based on a 600 ohm level, to conform with RMA standards.
The instrument's output voltage ranges from 150 volts to 50 microvolts. Voltage Measurements
Where input vacuum tube voltmeter is not required, the -hp- 205A is available.
This instrument is identical in other characteristics to the 205AG. And, for Speaker Tests (No
supersonic measurements, the -hp- 205AH is provided. This instrument covers amplifiers needed)
a frequency range of 1 kc to 100 kc and is similar to the -hp- 205A. For full or
details of any of these rugged, long- lasting -bp- instruments, write or wire today. Drive Electro- Mechanical
Equipment
Hewlett- Packard Company 1452L Page Mill Road Palo Alto, Calif.

-hp- AUDIO TEST EQUIPMENT

Send for Catalog showing com-
plete line of precision -built easy -
to- operate -hp- equipment.
laboratori! instruments A N D A C C U R A C Y

THESE -hp- REPRESENTATIVES ARE AT YOUR SERVICE

Ave., Potomac 6960
BOSTON, MASS.: Burlingame Associates, 270 Commonwealth Ave., Kenmore 6 -8100 CLEVELAND 12, OHIO: M. P. Odell, 1748 Northfield
West, Waved.). 4761
CHICAGO 6, ILL.: Alfred Crossley6Associates, 549 W. Randolph St., State 7444 *TORONTO 1, CANADA: Atlas Radio Corp., Ltd., 560 King St.
Box 466, Fort Myers 1269M
DENVER 10, COL.: Ronald G. Bowen, 1896 So. Humboldt St., Spruce 9368 FORT MYERS, FLA.: Arthur lynch and Associates,P.O.
LOS ANGELES 46, CALIF.:Norman B. Neely Enterprises,7422 Melrose Ave., Whitney 1147 DALLAS 5, TEXAS:Earl W. Lipscomb,
4433 Stanford St., Logan 6 -5097
Associates, 2017 S. St. N.W., Decatur 8111
HIGH POINT, N. C.: Bivins & Caldwell, Room 807, Security Bank Bldg., Phone 3672 WASHINGTON 9, D.C., Burlingame sN
Associates, 11 Park Pl., Digby 9 -1240
SAN FRANCISCO 3, CALIF.: Norman B. Neely Enterprises, 945 Howard St., Douglas 2 -2609 NEW YORK 7, N.Y.: Burlingame

2 AUDIO ENGINEERING APRIL, 1949

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 John H. Potts, Editor and Publisher
C. G. McProud, Managing Editor S. L. Cahn, Adv. Director
Lawrence LeKashman, Assf. Editor H. N. Reines, Adv. Mgr.
Louisa B. Dresser, Edit. Prod. Mgr. L. B. Devine, Circ. Mgr.

Editorial Advisory Board Representatives

Howard A. Chinn Sanford R. Cowan, Mid -West Sales
342 Madison Ave., New York 17, N. Y.
John D. Colin
C. J. LeBel James C. Galloway
816 W. 5th St., Los Angeles 13, Calif.
J. P. Maxfield
Dale International Publications, Ltd.
George M. Nixon 105 Bolsever Sf., London W. I, England
Successor to RADIO Winston Wells Harris & Floyd, 297 Swansfon St.
S. Young White Melbourne C. I, Victoria, Australia

Established 1917 CONTENTS APRIL, 1949 Vol. 33, No. 4

Editor's Report

Letters 6

Disc Recording for Broadcast Stations --W. J. Mahoney 9

A Continuously Variable Equalizing Pre -amplifier -David C. Bomberger 144

N.A.B. Convention 15

Compact 6AS7G Amplifier for Home Reproduction Systems, Part II -.C, G. MCProu.l 16

Measuring Procedures for Magnetic Recording 19

An Omnidirectional Microphone- -John A. Hilliard 20

Mass Production Tape Recordings 21

Record Revue-- Edward TatnaU Canby 22

Making Magnetic Recordings Visible 23

Experimental Ultrasonics, Part 11 -S. Young White 2-1

The Cutting Stylus Problem in Microgroove Recording - -'Stylus" 26

1948 Convention of the Speech Association of America 28

New Products :ill

Advertising Index 48

COVf1O

Ultrasonic fountain in transformer oil, created by an immersed quartz crystal excited

by 1511 watts of energy at I00 ke. Converted BC -375, surplus transmitter employed
as generator, is seen in the background. Photo by Lewis S. Guudfriend.

AUDIO ENGINEERING (title registered U. S. Pat. Oft.) is published monthly at New York. N. Y., by Radio Magazines. Inc., .1. H. Potts.
President: Lawrence Lekashman, "ice Pres. Executive and Editorial Offices at 242 Madison Avenue, New York 17. N. Y. Subscription rates-
United States, U. S. Possessions and Canada. 53.00 for year, 55.00 for 2 years: elsewhere 54.00 per year. Single copies 35e. Printed in U. S. A.
ill 1
rights reserved. Entire contents copyright 1949 by Radio Magazines, Inc. Entered as Second Class Matter July 29, 1946 at the Post Office.
New York, N. Y.. under the .tct of March Z. 1,79.

AUDIO ENGINEERING APRIL, 1949 3

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 r

311111n 3H. tuttti

1892-1949

It is with profound regret that this page which for every issue
since the inception of this publication has brought to you the
Editor's Report must be devoted this month to chronicling the
untimely passing of John H. Potts, co- founder, editor, and pub-
lisher of AUDIO ENGINEERING.
John Potts, one of the early pioneers in the development and
progress of the electronic arts, devoted his entire life to our
industry as editor of some of its leading publications, as author
of innumerable articles, and in engineering capacities with the
Radio Corporation of America, the General Electric Company,
Westinghouse Electric Corporation, and the Sperry Gyroscope
Company.
Mr. Potts was president of Radio Magazines, Inc., and editor of
CQ and Radio. The latter was succeeded in May, 1947, by this
publication, and on December 1, 1948, Mr. Potts became pub-
lisher of both CQ and AUDIO ENGINEERING.
John H. Potts, born November 8, 1892, died March 16, 1949.
Author, editor, publisher, engineer. R. I. P.

4 AUDIO ENGINEERING APRIL, 1949

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 a
the NEW
RMPFX

worthy companion to the Famous Model

!
MANUFACTURERS OF THE WORLD'S

After 100,000 hours of continuous commercial op-

;//rnJf
PRESENTS

SERIES
eJ! /(ll'141
'300'
200

eration by broadcasters and recording companies,

the AMPEX MAGNETIC TAI'E RECORDER has
conclusively proved its overall superiority. Because
of this fine instrument's ability to maintain a unique
iiidt -level of fidelity, the 1 \IPEX TAPE RECORD-
ER is now in continuous use by
Bing Crosby, numerous other lead-
ing entertainers, the major net- Model 200
works and record manufacturers.
$3825
F. O. B.
San Carlos. Cal.

Model 300
a ppro.r.

$1500
n- ß.
San curlew, cal.

AMPEX NEW SERIES '300'

Precision engineered for faithful Designed for Network
reproduction and unmatched service. and Recording Companies

SPEED: Operates at 15 and 7.5 inches per second from a

switch on the top plate. One half -hour playing tinte at 15 RANGE: Better than 60 db. dynamic range and less than
inches per second and one hour at 7.5 inches per second. 2rl- total harmonic distortion at the operating point.
AMPEX new Model '300' is better than NAB recommenda-
tions for over -all performance. MODELS: The basic electronic and drive units are avail -
aLlc in portable, rack-mount, and studio console models.
FREQUENCY RESPONSE: Plus or minus 2 db. from 50 Console is sanie size and height as a standard, transcrip-
cycles to 15,000 cycles at 15 inches per second, and plus tion-playback -turntable. A playback only unit is available
or minus 2 db. from 50 to 7500 cycles at 7.5 inches per in console form. Write for completely illustrated brochure
second. today!

ATTEND THE EXCITING AMPEX DEMONSTRATION AT THE NAB CONVENTION APRIL 6 -12, Hotel Stevens, Chicago!

M a n u f a c t u r e d by t h e A M P E X E L E C T R I C CORPORATION, S a a C l e s , C a l i f o r n i a

*
WORLD WIDE DISTRIBUTOR CALIFORNIA
INC.
AUDIO & VIDEO PRODUCTS CORP. BNGN`ROSBEVARD, HORPMOOD A6, AL
1650 Broadway, New York 19, N. Y. Telephone PLaza 7.0780 Telephone CRESTVIEW 11171

AUDIO ENGINEERING APRIL, 1949 5

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 ADC Quality Tone Controls
fir:
In reading over the Feb. issue, I

Wins Again was no little amused by one of the

letters. Speaking of wordage wander-
ing and confused implied thinking -
Take "Does the fidelity rating go

An important part of WESTERN UNION'S nation-

ADC higher directly as the number of con-
trols?" Obviously they have one pur-
pose only . . to give the listener his
wide plant mechanization program is the new own tonal balance choice. If he were
Type 20 FM Carrier Channel Terminal equip- concerned with just one source of
ment. Designed to provide telegraph message program material or better still one
record, he would need no controls
channels for the interconnection of telegraph whatsoever . .
. not even an On -Off
offices, this new equipment was ordered in ss itch ... Ire could just pull the plug!

large quantities from the Radio Corporation of If the listener could take his own
America in the fall of 1946. ADC was chosen recorder to a concert for example,
to provide the transformers and inductors - secure his own balance and handle
its processing all the way down, his
over 85,000 coil assemblies were produced by to -k would also be much simpler.
ADC under rigid specifications and on individ- 1l.vever, when the many music
ual test inspection only 14 were rejected. sources arc considered. AM, FM, dif-
ferent size and quality ET's and rec-
ords are made by twenty or thirty
different mnnufaeturers who use two
or three different cross -over frequen-
cies and recording characteristics.
\\ hen \ \'estcrn l nion re- these enntrols enure in handy!
cently ordered additional From Letters in the Oct. issue "Let
quantities of this equip- your musical sense determine the
curve and your engineering its ul-
ment, Radio Corporation
timate reproduction result," let us
of America again won the pose another problem to further con-
contract award and ADC fuse the thinking! The musician or
was again chosen for the the average ear or better attends the
transformers -inductors. same concert with n person who has a
"tin ear." Same sent, same music.
SERIES 550 -50 TUNER same everything except ears and they
will come away with different im-
The accompanying pho- pressions of that concert. Suppose
tographs show three of their ear impressions were converted
the principal componet.:s exactly to a record and they both build
of Western Union's Type amplifiers. etc. and accurately recreate
20 FM Carrier Channel their impressions . . which is high
.

Terminal equipment. fidelity?

Absolute tonal balance ...
what is
the standard? Whose ear is the cri-
terion ? The conductor has his own
SERIES 2 -A halauee and each listener has his. Tf
the two coincide. then the whole
CARRIER COUPLER ierformnnce will be more pleasing.
Series 550-50-Tuner Pitch? . . . Orchestras in different
Series Transceiver countries tune up to different pitches
550-50Ç . they are not standard as yet!

Series t All this is so well known that I

2 -A
Carrier Coupler might as well sign off and stop an-
This proven dependability of ADC S

noying people!
QUALITY PRODUCTION is available J. P. Cook

to you ...submit your specifications or 2609 Buena

Bakersfield,
Visfa
Calif.
problems for prompt attention. LP R. actions
Sir:
Canby has scored a triumph in his
cídth DEVELOPMENT CO March column! In his discussion of
long -playing records he has hit the
rlrudio Vicecfofa roc 'lese Jr nail right square on the head -and
2851 13th AVE. SOUTH MINNEAPOLIS 7, MINN. (,,,tinned on pre.' ;61

6 AUDIO ENGINEERING APRIL, 1949

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 REDUCING EXTRANEOUS NOISE
IN RECORDING
By A. C. Travis, Jr.* #owfo
Discussing disc recording with experts
in broadcasting and sound studios off and
on for ten years brings one inevitably to
C!/1 YOUR
the point of trying to generalize the re-
cording engineer's problem. Inadequate as DISC
making statistics out of memory may be,
so overwhelming is the impression of unan-
imity that a simple summary promptly
DOLLAR
springs to mind. Regardless of what high-
fidelity ambitions may haunt the recording
engineer, his soul -searing fear is simply
SOUNDCRAFT discs are made in 25 types and
that of making a sub -standard recording sizes. You don't wear your Sunday go- to -meet-
of irreplaceable material. ing clothes to work in the garden. Why use
unnecessarily expensive disc grades for every-
THE FORMULA: The commonest single cause of sub - thing?
broadcasting-standard disc recordings is
Unlike some brands, Soundcraft discs are
PROPERLY COMPOUNDED RECORDING LACQUER extraneous noise. So complex are the reas- all coated with the some high- fidelity lacquer.
ons and cures for this destroyer of other- The grading differences are based on the near-
FOREIGN MATTER IN LACQUER. wise good broadcasting material that they
ness to microscopic physical perfectio _ ,
MINUS MICROSCOPIC OUST IN DRYING transcend the possible scope of n short Three grades in live sizes plus single or
AIR article. To oversimplify, however, it is double face, and oversize masters, are tailored
noteworthy that recorded extraneous noises to every budget.
EQUALS NEW IMPROVED QUIETNESS
IN CUTTING behave somewhat like breakfast foods. STANDARD NET PRICES TO RADIO
They may hiss, swish, crackle. or pop. STATIONS AND RECORDING STUDIOS

THE ANALYSIS: Since even these few categories of noise (/n Standard Packages)
cover a lot of Puffed Rice, spare require- TLIESE ARE
ments hold us down to a limited discus- STRICTLY
THE 'BROADCASTER' 'LONÚ HAIR'
sion of "hiss ". SUPER FANCY
A MASTER selection in install.
The blame for excessive hiss level in taneous sizes for vitally impor
tant recordings.
disc recordings is generally shared by the
blank record and the sapphire stylus. At 10" Double Face f .ae
otso
n, new rn this point buck passing reaches champion-
12"
I6"
10" Single
" '
Face
1.32
2.37
.5e
ship proportions. Most often. however, 12 .so
1.65
neither suspect is ever definitely exoner-
ated. The trouble simply disappears by it-
r§
self. The history of recording disc nuuttl- THESE ARE THE WORE
ut batteries of
Not just the usual hig9
pr ne facture, of course, allows little doubt of THE 'PLAYBACK' A- DAY KIND THE NET
filters to remove LIKE. EQUAL TQ THE
big -piec- removing the fact that with some brands "grey cut- A standard broadcasting - Mr GRADES OF
pope, fite, press microscopic motter
small s 0000012' ting" discs crop up unpredictably from auality -blank record tor
OTHER
professional uses in r
time to time. It is also an admitted fact d1l
io stations, recording and BRANDS
motion picture studios.
that sapphire styli mày vary so greatly as
to make up to 12 db difference in surface 10" Double Face ..S .69
12" 1.14
noise level. Such variation, while uninten Is" 2.07
10" Single Face .e8
DIRT tional, usually occurs where low prices IT' .84
B
V$4
Op Le 1tia
atoeV. dictate loose microscopic tolerances in IS" , 1.44
\a1°`e sapphires.
'tsp1 u 1o9 °s' Tov
Some of the more tricky causes of 'THESE ARE Sul'.H
1ono;\ du`1.1
IotdtY A BARGAIN /
"hiss" include cutting cold discs fresh THE 'AUDITION' ,46% A Arl.SPAR
I;1tr` A selection Irum the runs of
from the delivery truck. allowing smog 'BROADCASTERS" and
(fog -borne soot & dirt to settle in the "PLAYBACKS" having mi-
nor physical defects outside
grooves, and misalignment of the cutting of the recording areas.
PROf,s0ODYvAYS- stylus. Nitrate-coated discs socalled "acet- 61'" Double Face ....S .227

ates") seldom cut quietly unless the alum- 10'

8"
.60
inum bases are at a temperature between
70° and 90 °. Fine or coarse airborne dirt,
12"
I6" " ' .93
1.59

Sourtd4
."7SCIENTIFIC
MANUFACTURING ACCOUNTS
0 moisture. or (lamp dust can spoil the pol- Standard Soundcraft economy packages of only
ishing action of the best stylus. Stylus 20 discs permit stocking wide variety of grades
ATT SING LEAD DISCS and sizes while simultaneously holding inven-
ATTAIN IM6 LfIjDFRSHIP misalignments to be avoided include more tory value down.
IN ONLY TWO YEARS - than a degree or two off vertical and
SawldrnOtRAS NO ROY- I. twist of the shank in installing the stylus
ALTY TO PAY, IS NOT
, in the cutting head.
'
TIED TO A DECADE-OLD
PATENTED PROCESS.EYERY Today, except for occasional tricky re-
301
,' oremostra-
DISC DOLLAR GOES INTO dio ports
cording problems, the most nervous en-
0e CONTINUOS IMPROVEMENT
TO MARE TOUR Souidr'.
DISC A BETTER RECORD
S
_ineer can fortunately forget his worries. distributors in princi-
pal cities and towns
deliver Soundcraft
- ING MEDIUM. With the new, constantly- improved Reeves
discs from local stocks.
_e" err 1
Soundcraft discs and Soundcraft styli com-
bining to keep extraneous noise 55 to 65 db
below peak signal, it's mighty hard to muff
a recording. Soundcraft products have in
deed established disc recording anew on a
standardized predictable basis.
REEVES C! CORP.
10 LAST S7nd STREET NEW YORK 22, N.Y.
Advert semen
i t

J I
'Vice Pres., Reeves Soundcraft Corp.

AUDIO ENGINEERING APRIL, 1949 7

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 6.

For the finest sound 755A

1
-B" direct radiator,
watts, 70.13,000 cycles.

just pick from

this line... 7S6Á -10" direct radiator,
20 watts, 65.10,000 cycles.

757A- dual unit system,

30 wons, 60.15,000 cycles. * NO MATTER what your loudspeaker needs
may be, one of these five Western Electric types
will fit like a glove!
If you're looking for superlative reproduction,
you can't beat the dual unit 757A, with its
unequaled combination of efficiency, frequency
response and power capacity.
If you want the finest in direct radiators, you'll
7281 - 12" direct radialer,
get just that in any one of the four Western
30 watts, 60.10,000 cycles.
Electric types- simply pick the power you need.
All types are available for immediate delivery.
Call your nearest Graybar Representative or write
to Graybar Electric Company, 420 Lexington Ave.,
New York 17, N. Y.

WeStern Electric
754A -12' dire° radiator, extra high
efficiency, IS scans, 60.10,000 cycles
SII -17' direct radiomr, for out-
- QUALITY COUNTS -
-
7
door use. wons. 60 10.000 cycler. DISTRIBUTORS: IN THE U.S.A. Graybar Electric
-
SO

Company. IN CANADA AND NEWFOUNDLAND

Northern Electric Company, Ltd.

AUDIO ENGINEERING APRIL, 1949

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Fig. 2. Automatic radius -equalizer fabricated for Fairchild 199 recorder. Control switch is located at left of equalizer.

Disc Recording for Broadcast Stations

W. J. MAHONEY*

Technical details of a successful, high -quality studio installation.

WI Tit THE RECENT IMPROVEMENTS a rapid method of providing substitu- the shunt arm was 500 ohms, providing
snide in recording and repro- tion when equipment failures arise. a total loss Of 15 db. These recording
ducing equipment, it is now possi- Two RCA 73 -B recorders and two pads are permanently located in the
ble for medium -size broadcast and re- Fairchild 199 recorders with magnetic transmission racks and provide the
cording studios to obtain results com- cutters were considered adequate to dual purpose of isolating the recording
parable with the finest in the industry, handle the volume of work. Duplicate busses in case of short circuit, and mini-
within limitations of their acoustical sets of amplification and control equip- mizing the loading effect of parallel-
studio facilities. However, there is little ment were provided for each pair of ing many amplifier bridging- inputs.
information available to guide the re- machines. The only variation was the 'l'he same type of pads was used to
cording engineer who wishes to custom - necessity to mount controls and ampli- bridge a radio tuner system, the in-
build his installation to obtain maxi- fiers in one rack for the Fairchild coming network, and a "remote" jack
mum performance in each of the vari- position, duo to space limitations, and on the master control bay. This remote
ous services it must perform. In fur- the sise of separate control turret and position is used for all additional
therance of this cause, the author wishes amplification rack for the RCA ma- sources of program material.
to describe the flexible reeording sys- chines. Referring to time block diagram shown
tem designed for the new studios of Program Sources in Fig. 1, note that the input -selector
WSAI, Cincinnati. This paper also The amplification layout itself is switching system allows both record-
includes a discussion of a number of unique. The studio control systems ing and monitoring circuits to be
the practical problems involved in de- were complete and totally independent bridged independently or in tandem
signing a complex system of recording of the recording installation, so it was across each recording bus. Following
equalizers. only necessary to design the recording the switches are l6,000 /500 bridging
The first requirement of the system amplification front the output of the transformers, which provide the proper
was simplicity of routine operations, studio system. At WSAI. which has circuit for location of the standard
such as transcribing network and stu- separate control rooms, it was decided 500 -ohm "T" attenuators. The monitor
dio presentations for delayed broad - to make the recorder bus connection and booster amplifiers fed by each at-
cast; or file. The second requirement to shunt the channel- amplifier input tenuator are identical, with a power
was ability to record transcription mas- at the channel side of the interlock output of x-30 dbm, and a maximum
ters, phonograph record masters, com- system. Feeding from the input side gain of 70 db.
posite dubbings and all the various of the channel was necessary because With a normal attenuator setting,
services required of a studio. In each the recorder bus connection consisted 21 db, the total losses up to the input
of these special applications the proper of a bridging pad, which in absence of the monitor -booster amplifiers will
equalization and levels must be em- of a line or 800-olun resistive load, be approximately 53 db. Assuming the
ployed. The final requirement demands would not provide proper loading for a studio is feeding a level of +8 vu, the
44148 Queen City .-Ive.. channel amplifier. The values of the output of the booster- monitor will be
Cincinnati 11, Ohio. ,erieQ arms of the pad were 1300 ohms. +14 vu. The monitor amplifier works

AUDIO ENGINEERING APRIL, 1949 " 9

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 In planning the equalizers, some al-
teration was made to the basic NAB
pre -emphasis curve to provide for radius
equalizing, at least on the transcrip-
Soon An
tions cut for instantaneous playback.
OR SELECTOR
r- -- .m vu o SCALE
This is a radical departure from ac-
cepted practice and, with the present
degree of standard pre- emphasis (100
.P VUO SCALE
is -sec), admittedly difficult to apply to

-Paw sew all types of program material. Con-

. l9 sequently, a compromise design was
TT
EO IN
employed to permit substantially flat
soon .Sn
RECOROR,C SELECTOR
playback up to 5,000 cycles at time inside
000
ALL LEVEL WOES AT CRS
radius of 3Y inches, corresponding
.svu e
p. p,TpÇ7
s5u zsvu
to 15 minutes at 128 lines per inch.
El itt GI © o

....+....5.
soon
om
REARüRC SYSTEM SEWS FROM OIKKqYI
ALI. CMAV4LS OEREK,AL.
lSoon
0
LETGpEC'9w
Pon
Qo, J

soon
0e
soOn sn
Surprisingly enough, there seems to
be a difference in interpretation of the
NAB curve. Some authorities maintain
that the present standard was set up,
not only to improve the signal to noise
Fig. I. Block diagram of recording installation. Program sources are fed ratio, but to compensate for the poor
to bridging -input pads at 8 vu. response of the cutters end pickups in
into a speaker -matching transformer, vu or better for master recording. at use at that time. A new committee of
the booster amplifier into a 500 -ohm 200 cycles. The equalizers have been standards is at work on a revision of
resistive load. designed so that there is no change the recording section of the NAB code,
The volume indicator is bridged a- in the level at 200 eps on any of the and it is hoped that a more realistic
cross the output of the booster, with positions. approach to the radius and pre- empha-
a standard pad designed to permit the It will be noted that the patch field sis problem will be presented. Certainly
meter to read 0 vu when the booster is allows considerable flexibility. A tip, there is no valid basis to the belief that
providing +14 dbm on steady tone. An ring, and sleeve system is used through- a fixed pre -emphasis curve will over-
tE
additional pad is available on the switch, out, all with double jacks in parallel come, in any way, the serious losses
to shift the 0 vu point to +20 dbm except "Recording Switch #1 & #2." encountered with a varying radius.
from the booster. The additional 6 db Substitution for input selector switch, In addition to the NAB equalization
output, obtained by advancing the mas- bridging coil, fader, booster amplifier, for transcriptions, it was desirable to
have a separate pre-emphasis network t
ter fader, is used when cutting phono- equalizer network and power amplifier
graph or transcription masters. The may be made by appropriate patching. for phonograph records, and a setting
vu meter and pads may also be trans- Also, by use of a single patch cord from for flat response of the system with
ferred to the output of the monitor "Monitor Amplifier Output" to "Re- optional radius -equalizing.
amplifier by a momentary -push switch. cording Switch #2," the bridging coil. Automatic Radius Equalizing Device
This feature, along with the ability to #2 amplifier, and cutter may be con- RCA has manufactured a simple
switch the input of the monitor ampli- nected to the output of the monitor - automatic equalizer which has proven
fier independently, allows the operator amplifier system, across the normaled quite practical. It consists of several
to predetermine the levels to be encoun- loudspeaker transformer. This will al- resistors, totalling 4600 ohms, soldered
tered on a subsequent program from low emergency use of the two recording to a segmented rod, which in turn is
another channel without interrupting machines as completely independent wiped by a contactor attached to the
tlne recording in progress. channels. The vu meter may be trans- cutter carriage. The contactor is wired
Power Amplifiers ferred momentarily to the monitor to two different capacitance values.
Shunting the booster load resistor channel for occasional cheeks of the available through a switch, making in
are the power amplifier input switches. hmcrann level. effect a potentiometer having capaci-
The 4000/500 bridging transformers General Design tance in series with the variable arm.
connected to these switches feed the In designing; the recording system, it A similar device was fabricated in the
various equalizers. The input imped- was felt that sufficient care should be shop for use on the Fairchild machines,
ance of each power amplifier is 500 taken to enable the installation to han- Fig. 2. It consists of a dual- section RC
ohms, with the secondary loaded by a dle complex re- recording work and still network encompassing both radius and
potentiometer calculated to reflect the maintain a faithful likeness to the pre -emphasis functions and includes the
proper impedance. The amplifiers. original material. Obviously, such a automatic equalizer described above.
Brook 12D, hove a maximum gain of system must have an accurately con- However, it was necessary to treat the
SO db and a power output of 30 watts.1 trolled frequency response, minimum Fairchild and RCA cutters as separ-
The losses in the equalizer system distortion. low noise level and speed ate problems, due to the difference in
are of the order of 50 db. This may seem variation, and last, but fully as im- crossover frequencies of the two makes.
high, but it must be remembered that portant as any, an intelligent oper- The Fairchild, and most standard cut-
some of the equalizing positions are ating procedure. ters, have a crossover nt 500 cps. The
capable of producing as much as 25 db The distortion, noise level. and speed RCA heads cross-over at slightly above
rise at 10,000 cycles. At 200 cps, the variation factors are inherent in the 1000 cps, making a difference of about
power into the cutters is about +28 vu original equipment. The frequency re- 3 db in the region from 50 to 1000 cps
for instantaneous trauscriptions. +34 sponse is reasonably subject to the con- between the two brands.
1 J. R. Edinger, High Quality Audio Ampli-
trol of the system designer. assuming Due to the varying impedances pre-
fier with Automatic Bias Control. Acato that first -class equipment is used sented to the amplifier by the cutter
ENGINEERING, June, 1947. throughout. head, most manufacturers provide a

10 AUDIO ENGINEERING APRIL, 1949

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series resistor approximating the nomi- pre- emphasis curve. While set up for RCA MI- 11850-C head is equipped with
nal impedance value of the head. In this measurement, it will be wise also a built -in heater unit and thermostatic
a 15 -ohm cutter, the actual impedance to check the flat -response position of the control to minimize this heating effect
varies from 2 ohms at 50 cps to 30 ohms equalizer, because some networks will on program material; however, this is
at 10,000 cps. The constant -amplitude be found to start the bass boost above not sufficient protection to warrant dis-
response of the head is determined 1000 cps, thus throwing off all readings regardjng the effects of steady tone
partly by the value of the series resist- above this frequency by 1 or 2 db. Ad- during measurement. For this reason
ance, and partly by the internal me- ditional standard equipment should it was found necessary to resort to al-
chanical damping. The RCA heads consist of a good variable -frequency ternating two -second tone bursts with
were provided with a resistor tapped oscillator and a gain -set capable of pre - fifteen seconds of program at normal
from 5 to 15 ohms, in steps of 0.5 ohms. senting proper transmission character - level when working within the 4000 to
A capacitor is used in shunt with this istics to the amplifying system. The 10,000 cps region of the equalized curve.
resistance to improve the high-fre- gain -set output meter should be ac- In this spectrum the amplifiers will be
quency response of the cutter. Experi- curate over a range of 30 db. delivering 8 to 16 db higher power
ment will be necessary to determine Before beginning the design pro- levels than the unequalized portion of
the settings whidu will provide the cedure, it will save notch confusion if the curve. For additional protection, the
maximum response at 10,000 cps with- several styli are tested and set aside tone input to the equalizer system
out appreciably altering the spectrum for measuring purposes. Even a newly should be at least G db below the meter
from 2000 to 5000 cps. Values from 2 sharpened stylus. with slightly dull peaks of the program material. When
to 4 will usually be necessary in a burnishing facets, may give a reduced working in the 50 to 2000-cps region,
15 -ohm circuit. As the compensator response from R to 10 db at 10,000 cps. such a technique of alternation is not
supplied with the Fairchild recorder A recommended procedure is to cut essential if the tone is kept consider-
has no easy adjustment, it is difficult bands of 8 kc, 9 kc, and 10 kc of exact- ably lower than normal program peaks.
n
I.. his method of altering frequency ly the same light pattern width as 1000
epa. With a calibrated pickup, these fre-
Incidentally, comparable troubles may
be encountered on non- temperature-
Playback Standard quencies should not show any devia- controlled heads due to ambient tem-
I -nII'- the designer has an instru- tion when the playback filter is set for perature changes. The author had a
ment such as the FM Calibrator2 or flat response. Obviously, these styli disagreeable experience when trying to
a reliable method of optically meas- must also be acceptable for quietness duplicate a previous day's work on the
uring the stylus tip, it will be necessary of cut. but almost invariably the aatis- following morning with an ambient
to set up a playback device capable of temperature change of only 10 degrees.
acting as an accurate standard for fre- To avoid this trouble, it is good prac-
A
C

RI RI RS 9S Ri RI
quency measurements. The light -pat- tice to introduce program at normal
tern methods of measuring a severely 1 level for at least thirty minutes before
É R2 f62 LOAD
attempting any measurement.
pre-emphasized cutter response is far O
As a last word of caution before pro-
155ÓO

too tedious and inaccurate. although

valuable for constant -velocity meas- Fig. 3. Basic circuit of combine ceeding to the actual equalizer design.
urements. By means of careful light - NAB and radius- equalizing networks. it should be impressed upon the reader
calibration of the Columbia test record (Values explained in text.) that all measurements from 4000 to
YTNY-170 it was determined that a 10,000 cps at 33 1/3 rpm, must be made
factory points will possess both at- at the outer edge of a 1G" disc, unless
Pickering pickup was reliable within tributes. A short-shank stylus is de-
1 db at all frequencies covered on the actually working upon the problem of
sirable, as the long-shank type possesses radius losses. The 10,000 -cps playback
test record. Thereafter, the Columbia an undesirable mass resonance at 8000
record was used as a control to ascertain response will drop 1.5 (lb within one
cps. We do not wish to enter into the
that the characteristics of the pickup inch of the edge, and will drop 9 db at
discussion of 70° versus 87° styli, but three inches with .(1025" radius stylus.
were not changing. It is also advisable
it should be pointed out that there is
to record your own light pattern test -
a difference in the ability of a playback
record as a double check. The next step stylus to reproduce high frequencies 7.5 6.76 6 626 4.6 66
in setting up the standard was careful 1440416
t:m.a
I

from the different cutting angles. We -]

plotting of the NAB playback equalizer. have found the 70° angle to have a-
1000ro 0 -.2 -.5 -.6 -1.5 -1.5

This was accomplished by use of a vari- 5000, 0 -.7 -1.9 -5 -l6 1 -72 -10.2
bout 2.5 db higher response at 10,000 7500,' -22 -LS -117 -22
able frequency oscillator and a gain -set cps when played with a .0025" radius
0 -7.7 -11.7
1

10000^. 0 -2 ` -6 -12 -20 -21 -25.2

capable of inserting sufficient loss to reproducing point, with a slight in-
equal the voltage from the pickup. By crease in distortion between 1000 and
adding this source in series with the 5000 cps. Of course, when recording Fig. 4. Typical radius losses encoun-
inductance of the pickup and measur- phonograph record masters, the wide tered on playback with RCA Vertical -
ing the equalizer through the playback lateral Pickup .0025" radius stylus.
angle -tylus is mandatory.
amplifier, an accurate reading of the
Heating Effect Also, because of these radius losses,
network may he made'. The response checks involving comparative portions
of this circuit was found to be within When the recording heads are sub-
ject to signal, there will be some in- of the high -frequency spectrum should
0.5 db of the complement of the NAB
crease in efficiency due to the heating he made at as nearly the same radius
2 R. A. Schlegel, FM Calibrator for Disc of the damping material. The resultant as possible. In the further interests of
Recording Heads. Aunso ENGINEERING, increased output is therefore consider- uniformity, the experimenter should
June 1947. ably more evident in the damped, or use the best brand of discs, and pre-
3 C. J. Lebel, Light Pattern Calibration
Chart. Communications, April 1940. constant - amplitude, portion of the ferably from the same package, in order
Extended Experimental Study of Optical curve. Because of this, the reference to minimize the chance of error due
Pattern Communications, December. 1940. 1111e may be found to be as much as to non -uniform coating consistency.
4 C. G. McProud, Element- of Residence 2 db higher when repeated somewhere 'l'he "softer" types of coatings will
Radio Systems. Aumo F I:ERING, Nov-
usually produce a slightly reduced
ill the middle of a frequency run. The
I

ember. 19IR.

AUDIO ENGINEERING APRIL, 1949 II

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 7000 and 10,000 cps at radii of 7, 5, 61,
6, 51/2, 41/2, 4 and 31/2 inches. Tabulate
the playback readings of these test cuts,
as in Fig. 4. The desired response of the
radius equalizer will now become ap-
parent. Usually the losses at the smaller
radii will be too great for any practical
amount of compensation to overcome
entirely, especially when added to an
already pre -emphasized response. It i-
satisfactory to employ sufficient equal-
ization to maintain flat playback to
about 5000 on, at these inner radii.
Computation of NAB Equalizer
It is now possible to compute the
equalization necessary to provide the
equivalent of the NAB recording curve.
The responses of the cutter itself should
be taken by plotting the playback read -
ings from the calibrated pickup. 'T'est
frequencies should be 50. 1110, 200. 50R0,
800, 1000, 2000, 4000, 8000, 10,000 cps
Fig. 5. A -NAB standard recording characteristic. B- Typical response of with the highest frequency at the outer
cutter with 500 cycle crossover. C- Response of NAB position on equalizer edge of the disc. By adding the irregu-
shown in Fig. 7 with radius-equalizer at minimum or off. Shaded area-Action larities of the cutter algebraically to
of automatic- equalizer, continuously variable to the maximum shown by line D. the NAB standard curve, the desired
response of the equalizer will be shown.
High- frequency playback response, ap- five effects of the transformer wind- For example, if the cutter is -3 db at
proximately 1.5 db nt 10,1)10 alts, prob- ings adjacent to the equalizer, T -pads
10,000 cps where the NAB standard
ably due to the elasticity of the coat- should be used at both ends of the net -
calls for +10 db, the desired response
ing wader the tremendous accelerations work. An attenuation of 9 db is suf- of the equalizer should be +19 db Thus
of the pickup stylus. ficient to provide complete isolation. the reproducing coin pb, wen t of the
Network Design but it is passible to use only 6 db at- NATI pre- emphasis curve will be met.
In proceeding with the network de- tenuation if the over -all network losses and the system will produce a flat play-
sign, the author desired to insert the become too great. back response from any standard repro-
experimental equalizer in the physical Two methods may be used to provide ducing system. In these computation-,
portion of the circuit where it would the proper working load for the equal- the dcsie-ner should be careful to use
finally be used. In this way it is possi- izer and "-pads. If the input trans- 800 cps ;i- the reference point. Of
ble to compensate directly for all high- former to the recording amplifier must course. euitir that departs from flat
frequency losses clue to long calde runs. be operated without secondary load- response at the high end of the spectrum
amplifier deficiencies, and so on The ing, due to inclusion within feedback by more than 4 or 5 db cannot be fully
test signal was introduced into the front loops, for example, then the primary compensated, and it is also impractieal
of the entire recording circuit at the winding must be loaded with the prop- to attempt to neutralize large peaks or
program selector switch, and readings er value of resistance (in this case, valleys within the spectrum by this
uvere taken from the output of the 500 ohms). However, if the secondary method.
recording amplifier. Inasmuch as the can be loaded, then the step -up ratio The most crucial problem will be the
selector input switch feeds a bridging of the transformer should be figured treatment of the region from 100 to
coil, the oscillator or gain -set must and the proper resistance shunted a- 1,000 cps. Any departure from flat play-
work into a 500- or 600 -ohm resistive cross it to reflect 500 aluns to the pri- back in this spectrum. which inchnles
load. For accurate measurement pur- mary. most music and speech fundamentals,
poses the recording amplifier must feed It may be convenient to utilize the will be serious when the system is called
a resistive load instead of the inductive secondary loading resistance as a po- upon for complex dubbing work. if the
load of the cutter. tentiotneter to control the gain of ideal curve of a recording head with
The experimental form of the equal- the amplifier. Loading the secondary standard 500 -cps crossover is plotted
izer, with the exception of the fixed aids in reducing distortion, and is pre- against the NAB curve, Fig. 5, it will
isolation pads at the input and output ferred whenever it can he done con- lie seen that the spectrum from 50 to
of the equalizer, consisted of variable veniently. 500 cps will be higher than the NAB
carbon potentiometers and an assort- The layout of the equalizer is shown curve by about 2 db. 7'o correct this.
. ment of small tubular paper capacitors in Fig. 3. Tu its experimental form R3. the equalizer must start to rise as low
ranging from .001 to .01 s f. All values R4. and R5 are potentiometers; R1 and as 300 cps and reach +3 db at 1000 cps.
of capacitance within this range should R_ are the series and shunt arms of the However, with any combination of
he covered in steps of .001 µf. Also, isolation pads. Values of 2000 ohms R4 and R5 that did not provide too
several capacitors from .01 to 0.5 if will for R.t and 20,000 ohms for /ia will al- much loss for the system to handle.
he necessary. Three or four of each low sufficient range for test purposes. such a curve became asymtotio at about
value should be available, with actual /la. substituting for the radius equal- 5000 cps when the proper capacitance
measured values marked on the out- izer, should be 5000 ohms. Cs was employed to provide the correct
side. Considerable later confusion will The radius losses should now be slope from 3000 to 4000 cps. In order
be avoided by this precaution. charted. Without any pre -emphasis to keep the respou -e rising from 5000
To isolate the inductive and capaci- equalization, record hands of 11100. 5000, to 10.000 cps. it prove neoes.ary to add
I

12 AUDIO ENGINEERING APRIL, 1949

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an auxiliary capacitance, C3, across plied with Ilse automatic radius- equal- records, the automatic equalizer is
the entire radius -equalizer resistance. izer to change capacitance values, in turned off in this service. However, it
Obviously, any capacitance added here order to provide a less steep curve for is still available if desired.
detracts from the effectiveness of the transcriptions made expressly for copy- A Hat position of the equalizer net-
automatic radius -equalizer unless the ing. Additional positions were provided work was also provided for test and
shunt resistance R4 is lowered. This, on switch to make the maximum radius - other purposes. Without pre -emphasis,
in turn increases the loss of the net- equalizer responses available as fixed it is practical to include a greater de-
work, and a constant check of the out- curves. gree of radius equalization at the inner
put level from the recording amplifier Network For RCA Cutters diameters. The section C2 -R5 is re-
must be made while working with trial 'l'he network designed for use on moved and the loss increased in the
values to ascertain that sufficient power IM.'A recording heads will differ from rear pad, so that there is again no in-
is still available to drive the cutter. the above only in the detail of treat- crease in over -all level when this posi-
The radius -equalizer also must be ob- ment to the spectrum from 100 to 2,000 tion is used. It is practical to find the
served periodically to determine that cps. With the high crossover frequency, necessary pad value by substituting a
the curve is capable of being increased 10(0 ells, it will be noted that the con- standard variable attenuator and read-
by the amount necessary to add frill stant-amplitude portion of the curve ing the loss directly from the dial.
equalization up to 5000 cps at the inner already fits the NAB Standard before Due to the necessity of keeping the
radius. any pre- emphasis is added. Inasmmuch automatic equalizer common to all
The final values of the components as it is impossible to make a rising positions of the selector switch, the aux-
in the equalizing system, as set up on curve of 4 db per octave with a total iliary capacitor Ca, used on the NAß
breadboard, should be capable of pro- of 15 db from 1000 to 10,000 cps and position, became shunt to ground
viding a curve to fulfill the require- which has no effect on the region from through 800 ohms when the switch was
ments of both NAB pre -emphasis and k100 cps down, the real problem is to moved to another position. The result-
radius losses. After these values have minimize any eh:nl_e in the lower ant high -frequency attenuation could
been ascertained, the size of the series spectrum. Fortunately, moat RCA cut- be counteracted on the mom OMA I
resistors between the segments of the ters have a 2 db rise at 2000 cps. By position by increasing the value of C2.
automatic radius -equalizer may be de- taking advantage of this existing hump, However, on the FLAT position the pres-
termined. Lt order that the over -all it is only necessary to design the net- ence of Cs caused 4 db attenuation at
gain of the system should not change work with a slow beginning rise and 10,000 cps. To correct this, it because
by more than 1 db when the sliding con- a rapid increase at the high frequencies. necessary to shunt the series arms of
tactor momentarily shorts two segments, This can easily be done by adding the output pad with a .04 -µf capacitor.
the value of each resistor should be auxiliary capacitance across the radius Figure 6 is a schematic of the entire
kept small. The device built at WSAI equalizer resistance Ra. equalizer and Fig. 7 shows the control
was divided into nine segments, pro- Listening tests indicated that a slight- panel.
viding a change of response every PA ly less steep pre-emphasis curve seems Operating Techniques
minutes. The values of resistance neces- to be in general use today for phono- The operating staff was introduced
sary were found by measuring the set- graph records. A 75 -µsec network, with to several techniques which enable the
tings of potentiometer Ra when ad- a total rise of 10 db at 10,000 cps sounds studio to produce competent work.
justed to give the desired response at quite acceptable. A value of C2 /R5 was For instance, in handling quantities
the various radii. In regards to radius chosen which provided such a curve. of direct -copy material, the original
losses, it was found that the combina- The value of R4 wis so adjusted as to record is made with the cutter carriage
tion vertical -lateral pickups used in hold the signal level If the unequalized in a direction of travel opposite to that
the regular studio turntables were less portion of the frequency spectrum at of the finished copy. This, in conjunc-
efficient than the Pickering Pickups the same level as the NAB position. tion with the action of the automatic
used in the re- recording setup. There- Inasmuch as it is impractical to use equalizer, produces an amazingly faith -
fore, use was made of the switch sup- radius equalization with phonograph (Continued on page 45)

Fig. 7. Control panel and patch field of recording bay.

All bays are identical.
r r
750 II 75011 MA
v-
75011
A
60011 50011
vv
LOW AUTO.
75011
w 750(1

025 AI
_MGM AUTO
I(

OFF

AUTOMGTIC
RADIUS LOW FIXED
EQUAL, ZER
MGM FIXED

INPUT
OEON

76
OUTPUT
002 y1 F,ÇT DECK

1eD11 NO21 °°60 15Nn son taon n 180n loon 4700 07011 S'AR1
AAI` A O O--T
TO Stç[

*won teoon e20n oon

]BM non 7511
IZEp

o
NW.PEIFIER

o o A,'

Fig. 6. Complete equalization system for 500 cps crossover

cutter, showing NAB phonograph and flat equalizers, and
the two- position radius equalizer available for each curve.

AUDIO ENGINEERING APRIL, 1949

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AmericanRadioHistory.Com
 of frequency. Any reasonable func-
6SC7 6SFS 6SL7
tion of frequency is obtainable with
TrM C, L and (1 networks, but a continu-
.on,.or
ously variable function of frequency
INPUT
is another matter.
Fig. I. Schematic
An alternative method of equaliza-
of versatile pre-
tion might be termed "additive."
amplifier with That is, a rise in gain at some fre-
two phono inputs, quency, for example, is accomplished
cathode -follower by the addition of extra voltage at
OUT output. that frequency. To produce an equal-
izing characteristic, a function of
frequency must be applied to the
WIN CONTROL LOW EREOUENCT CONTROL. amplitude characteristic of the added
CAP OUNCE IN 0 \EXCEPT AS Nr. CA.
RESISTANCE IN OMAS )
E:
voltage, and the addition will thus
have phase shift which varies with
frequency. The design process, there-

A Continuously Variable fore, involves vector addition instead

of the vector multiplication of the
ordinary design. While this process
is somewhat troublesome, the realiza-
tion of the design in circuit form is
Equalizing Pre -amplifier readily accomplished, since the vari-
able control element is a potenti-
ometer.
DAVID C. BOMBERGER* The continuously variable equaliz-
ing pre- amplifier presented here util-
reproduction of phonograph
TI E lent is an adjustable equalizer which izes the additive method, with three
records bas long been complicated permits the reproducing characteris- transmission channels. One channel
by a lack of uniformity in the re- tic to complement that of the record- has a characteristic which is essen-
cording characteristics. While broad- ing, whatever it may be. This is prac- tially flat at frequencies below 1000
cast transcriptions have been fairly ticable only when all the required cps, and falls off at the rate of 12 db
consistently made with a standard characteristics are known. Lacking per octave at higher frequencies. This
low end roll -off and high end pre - knowledge of the exact requirements. is the basic channel, to which vol-
emphasis, the recordings available to the approach may be a continuously tages from the auxiliary channels are
the general public have not been so variable equalizer which will approx- added. The second channel has, at
standardized. As a result, it is diffi- imate all possible recording character- very low frequencies, 40 rlb more gain
cult to choose a frequency character- istics. Then an adjustment may be than the basic channel, but its gain
istic for reproduction which will pro- made by ear. While this method does falls at the rate of 12 db per octave
duce satisfactory results for all com- lack exactness, it can lead to aural above about 50 cps. The third channel
mercial pressings. The advent of mi- satisfaction which, after all, is its gain rises at the rate of 12 db per oc-
crogroove recordings, with identical purpose. tave up to 15,000 cps; above this fre-
characteristics as published, promises quency its gain is also 40 db more
hope for the future, but at the mom- Equalization than the basic channel. Outputs from
ent it further complicates the prob- Equalization is uurmally achieved the three channels are added in a
lem by adding yet another character- by what might be considered a "mul- Ingle tube feedback summing ampli-
istic to the list. tiplication" process. By this is meant fier; potentiometers which add flat
One evident solution to the prob- that the gain- frequency characteris- loss in the auxiliary channels permit
tic (in the form of input- output ra- control of the resultant transmission
"1108 East Front St., Plainfield, N. J. tio) is multiplied by some function characteristic.
Fig. 2 (left). Response curves of bass -boost section. Fig. 3 (right). Response curves of treble section.
C 60

I III'II
6 VARIATION ATTENUATION
IN
N LOW FREQUENCY CONTROL So
VA MATION IN ATTENUATION
N MOM FREQUENCY CONTROL
nm
b
Aem S
W
z ]0
aocn
2
20 20
JI

Ao AO

S s . A 100 . s . O ! S S E E 1 S 1 A

i0Ó0 CO
0O 1000 10000
FREOUENCY (CYCLES PER SECOND) FREQUENCY ¡CYCLES PER SECOND)

14 AUDIO ENGINEERING APRIL, 1949

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AmericanRadioHistory.Com
 T he pre -amplifier schematic is 60
shown in Fig. .1. In this particular TT(NUATpN IN LOe
fR(GUENCT COMM

embodiment. as used in the author's

home, the input is a double triode, 50
ATT[MYTNM NI NIGH
reralFNGY CONTIpI
to accept signals from two variable
1
reluctance phonograph pick -ups si-
multaneously. After amplification in $
00
0
\GN

this tube, the signals are fed to a Fig. 4. Limits of

potentiometer for gain control, and available re- Ñ
o 45 Ge__
then split into two channels. One of sponse curves. W
these, the basic channel, goes directly ¢ zo
to the summing amplifier. 'l'he other,
which is further amplified by u triode a COMPOSITE
CHARACTERISTICS
stage, is subdivided into the two
auxiliary channels by low -pass and _
high -pass RC networks. These net- 0, , , , ,, e , o f I I e e f f
11 0 1000 10ä,0
works produce frequency functions FREQUENCY (CYCLES PER SECOND)
suitable for additive equalization.
The feedback amplifier in which Only t h r e e characteristics are db in the high -frequency channel.
the three channels are added has u shown in Fig. 4. Two of these repre- The method of equalization pre-
ocpacitor, C2, across its feedback re- sent extremes, with either no attenu- sented here is not new. Circuits util-
sitor, R4. This, and the capacitor CI ation, or large attenuation, in both izing the addition of several channels
shunting the plate circuit of the in- auxiliary channels. Between these ex- have been described before, but meagre
put tube, cause the 12 db per octave tremes is a large number of possible performance data were given. The
high- frequency cut -off of the basic characteristics. of which only one is data shown here are the results of
channel. The input resistor, R8, for illustrated. measurements made after the circuit
the high -frequency auxiliary channel The required equalization for mi- was tailored to produce what were
has a capacitor, Ca, in shunt for par- crogroove recordings is also shown in considered to be desirable characteris-
tial compensation of the effect of Fig. 4. This characteristic may be tics. Experience with the pre- ampli-
these elements on the high -frequency achieved within a variation of ±2.5 fier has given convincing evidence
auxiliary voltage. db with attenuation settings of 15 db that this degree of flexibility is pro-
The summing amplifier output is in the low -frequency channel and 40 fitable.
direct -coupled to the grid of a cath-
ode follower, which permits the use
of the pre -amplifier at a moderately
remote locution. The maximum out-
put of the pre- amplifier is not limited
by the output stage, which is capable N. A.B. Convention
of swinging almost 200 volts peak -to-
peak. Overload occurs first at the THE 27T11 ANNUAL to,. AIATION of incharge of Engineering, Brush De.
velopment Co., Cleveland, Ohio.
grid of the auxiliary channel ampli- the National Association of Properties of Magnetic Tape and Their
tier, which can swing only about one Broadcasters will be held in Chi- Relation to Magnetic Recording, Reyn-
volt peak -to -peak. Since the mid -fre- cago from April 6 to 13, with the olds \larchant, Development Engin-
eer, Magnetic Tape Equipment, Min-
quency gain from this grid is unity, Stevens Hotel serving as headquarters. nesota Mining & Manufacturing Co.,
the maximum output is also one volt Of particular interest is the Broad- St. Paul, Minn.
peak -to -peak. This is comparable to cast Engineering Conference which A New Portable Audio Amplifier for AM-
the output from a crystal pick- up,in- occupies the first four days of the FM-TV, William W. Dean, Audio En-
sofar as voltage is concerned. Because gineer, Broadacst Engineering Sec-
convention. tion, General Electric Company, Syr-
of the low output impedance of the On April 6, the opening day, the acuse, N. Y.
cathode follower, the output power afternoon will be given over to a tour 'I'he official opening of the exhibits
level of the pre -amplifier is consider- of the Hallicrafters plant, at which is at 5 :00 p.m. in the Exposition Hall
ably above that of a crystal. ladies will be welcome. The papers to of the Stevens Hotel, with ladies again
The measured performance of the be given on Thursday morning cover being invited. Smaller equipment will
pre -amplifier is shown in Figs. 2, 3 television problems, from the selection also be on exhibition on the fifth and
and 4. Fig. 2 shows the effect of of a transmitter site up to operation of sixth floors of the hotel during the
varying the attenuation in the low - the image Orthicon camera, and in- entire convention week.
frequency channel, with large attenu- cluding the description of a 2,000 -me The Friday morning session in-
ation in the high -frequency channel. relay link. volves transmitters and problems as-
In Fig. 8 these conditions are re- The principal audio papers are sociated with them, except for one
versed. It is seen that the two auxili- scheduled for Thursday afternoon, and paper to be given at 11:15 a.m. on
ary channels overlap in the region of are: Automatic Selection of Broadcast Pro-
500 to 1000 cps. The effect of this AM, FM, and TV Audio Measurements, gram Circuits by John A. Green of
Frank H. McIntosh, Consulting Radio Collins Radio Co., Cedar Rapids,
overlap is seen in the composite char- Engineer, Washington, D. C.
acteristics of Fig. 4; it is less than 2 The N A B Recording & Reproducing Iowa, to be followed by a demonstra-
db for attenuation greater than 15 Standards for Disc, and Magnetic Re- tion to be given by Mr. Robert D. Es-
db in the auxiliary channels. Smaller cording, Robert M. Morris, Radio sig of the same company. The after-
Facilities Engineer, American Broad- noon session again deals with televi-
attenuation will be used only to com- casting Co., New York.
pensate unusually poor recordings, or Magnetic Tape Recording and Reproduc- sion, while the Saturday morning
to ereate special sound effects. ing. Dr. S. J. Begun, Vice -President [Continued on page 871

AUDIO ENGINEERING APRIL, 1949 15

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 Compact 6AS7G Amplifier For
Residence Audio Systems
C. G. McPROUD*

Part II- Further constructional details on two -unit amplifier of unique design.

I'l' III: FIRST section of this seH.,.. -4.2 dbnt, tvltich i- not exceptionally titt of this equalization arrangement
a new type of amplifier was de low, but which is within the rango of does not prevent the user from repro-
scribed. This amplifier employs good quality amplifiers. ducing LP records at the correct tone
a novel arrangement for furnishing With the volume control at nux- control settings, because position 4 of
plate power for the output stage as imlum -which is the operating point the high- frequency tune control gives
well as the d -e filament power for all for the greatest room volume normal- the correct roll -off for these records.
the other stages. While the design
was discussed thoroughly, exact com-
-a
ly desired two -volt input signal is List of Materials
required at the two radio input jacks
ponent value were omitted pending for a two -watt output. This does not (:1, C2, C14, 0.05 pt. 400 v, paper
the results of the measurementsents of C;t .003 pf, mica
leave much leeway, but will suffice for
distortion and overall performance.
These measurements have justified
most tuners. The phonograph pre -
amplifier supplies the additional gain
C4, C8
Cs , Co
.002 pf, mica
250µµf, Centralab Hi -Kaps
CT, Cs, CIO, CI t 750 µµf, Centralab Hi -Kays
preliminary tests, and the compo- tu bring the output of magnetic pick- C12 .006 ppf, mica
nents are listed herein. ups to the equal of the radio input,. 0.1 0f, 400 v, paper
The results of the performance tests CI,-,n, b. c 15.15. 10/45( electrohtic
The original design provided for It 10,000 all values Y4-watt
are gratifying. Ifni r Output at one rill -off in the I.P phonograph posi- R1.
unless otherwise specified)
per cent harmonic distortion is 6.5 tion so that these records would re- R2, R. R211 2200
watts at 4011 cps, 6.2 watts at 20 cps, Ttroduce normally with the tone con - R;t, Ra 0.12 meg, 1 -watt
and 0.35 watts at 20,000 cps. Eight trols in the positions for flat repulse. R4 1.0 meg
db of feedback is employed, extend- R7 0.1 meg
However, this does not provide suf- Rs 47,000, 1 -watt
ing from the secondary of the output titient gain, so it is considered more R11 0.5 -meg potentiometer
Ro, R111,
transformer tu the cathode of I72n. desirable to eliminate ]i12 and C.,. R12 *, R17 0.12 meg
The output impedance oti the 16-ohm Values for these eompuneuts are given R13, R14, R1a.
tap is 1.85 ohms, which gives excel- in the list of parts, but it is recom- R16, R22 0.27 meg
lent damping. The frequency response Ris 82.000
mended that the aunt of ,`'ll'n, be con- Rts 68,000
curves were shown in Part. 1, with the nected directly tu the LP position R20 33.000
tapped tone switches in various posi- contact of as shown in the R21 0.39 meg
tions. Hum a n d noise measures schematic, Fig. 4. It should be men- R23, R24 0.18 meg
56.000
Managing Editor, AUDIO ENGINEERING tioned at titis point that the elintiva- 1000
0.1 meg, 1 -watt
Fig. I. Partial wiring diagram of power section to show component mounting. special volume control
(see text)
Rau 0.56 meg
Rai 2700
R33 82,000, 1-watt
R34 22,000, 1 -watt
SW4 Mallory 3136J
SW_ Mallory 3115J, modified
(see text)
SR'a Mallory 31151
VI. 1!2 12SL7
V3 12SJ7
*These components should be omitted
see text.
-
The parts not specifically described
for the power section are as follows:
Cl 0.5 pf, 600 v, oil filled, bathtub
type
C2 40 -40-40/150, electrolytic, with in-
sulating tube
C3, C4 125 tif, 350 v, electrolytic. with
insulating tube
C5 40-30-20-10/450, electrolytic
Ca 0.1 -0.1, 600 v. oil filled, bathtub
type
Rt, R2 600, 5 -watt
R3 500 -ohm wire -wound potentiometer
R4* 15,000, 10 -watt
R5, Rc 6800, 2-watt
R7 5, 5 -watt
SW1 SPST toggle switch

16 AUDIO ENGINEERING APRIL, 1949

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Ti push -pullinput, special channel
mounting, no d.c. in primary;
Freed 17290
T_ 4000 ohms plate to plate, 4-8.16 -
ohm secondary; Freed 15929
T3 325-0-325 v at 50 ma; 5v at 2a;
6.3v at 2.5 a. Freed F-413
X1, X_ 200 ma selenium rectifier
*Shown on diagram as 7500 ohms. This
value should he adjusted to provide 36
volts across filament string.
The performance of any amplifier
depends to a large degree upon the
quality of the components used. At
the time this amplifier was designed,
it was desired to use high- quality
transformers throughout, and to make
the power section as compact as pos-
sible the input transformer had to be Fig. 2. Underside of power section chassis.
mounted underneath the chassis. This
ruled against a cased type, and few ring first to the power section, it will The value for the resistor Ri was
manufacturers list high -quality trans- be noted that the two filter capacitors, shown as 7500 ohms. This gives some-
formers in open -frame mounting. The Ca and Ca, are mounted on a bracket what too much current through the
unit employed was designed to work under the ouput transformer. There- filament string, and it is found that
fore, they are necessarily installed 15,000 ohms is more suitable, since
between a single 12SJ7, triode con-
nected, with no d.c. in the primary, after the wiring to the output trans- the voltage across the filaments should
former is completed. The balancing be 36 volts. R7 has been added to re-
and to obtain adequate driving volt-
age for the grids of the 6AS7G it was potentiometer, R3, is also mounted duce the peak current through the
required that the step-up ratio should on a bracket so that its shaft may be selenium rectifiers, and 5 ohms is a
adjusted through a hole on the chas- suitable value. This resistor is con-
be fairly high. To get this performance
sis between the two capacitors moun- nected between SW1 and Ca.
and retain a wide frequency range,
ted on top. The selenium rectifiers are The push -pull input transformer is
the transformer is wound in two sec-
tions, both placed on the center leg of mounted on a 6 -32 threaded rod which mounted directly below the 6AS7G
a conventional E -I core. Measured
frequency response of the transform-
er itself indicates a droop of 1 db at Fig. 3. Wiring
30 cps and at 30,000 cps. The output diagram of two
transformer, also special, shows a tone -control
droop of 1 db at 17 cps and at 120,000 switches. Switch
cps when operated without feedback, plate on H -F con-
and drooping 1 db at 15 cps and 62,- trol is changed to
000 cps when operated with feedback. furnish tie points
Similar output transformers are avail- on five -step
able in the standard Freed line under frame. Only one
number F -1951 with output imped- contact arm is
ances of 1.2 to 30 ohms, and under
used.
number F -1950 for impedances from
50 to 500 ohms.
The following table indicates trans-
formers of high quality which are passes through two strips of Bakelite socket, using leads as short as possible.
generally obtainable f r o m jobber attached to bent -up angles on the This will normally re:luire that the
stocks and which should perform satis- chassis. Two saw -cuts are made 3 in. leads be connected before the trans-
factorily, since their characteristics apart and extending for two inches former is bolted in place, and since
are similar to those used in the orig- along the chassis. At the center of the leads are likely to be of relatively
inal amplifier. those two cuts, another cut is made light wire, care should be exercised in
between them. This frees two "flaps" this operation. The two bathtub cap-
Construction Hints which may be bent up to mount the acitors are mounted on opposite sides
There are a number of suggestions Bakelite strips. The cover is bent up of the chassis, with tie -points instal-
which may be of interest in the con- from perforated metal to prevent ac- led adjacent to them. One is needed
struction of these two units. Refer- cidental contact with hands or tools. to make the connection to the plate
end of the primary, and the other
TABLE 1
serves to hold RT.
T1 T-. T3
With some transformers it is prob-
Audio Development Co. 214H 314C 515C
able that there will be a tendency to
Chicago Transformer Div.
Stancor
--
215C

A-4750
315F
BO-6
A-3800
(large)
PCC -70
P -4078
oscillate at some super -audible fre-
quency. This may require some ex-
Thordarson T20A22 T22S70 T22R02 perimentation, but it is suggested that
ITTC LS-21 LS-571 R -54 a small capacitor across each half of
CG-132 1 S.552 the primary of the output transform-
CG-16 er, or possibly across the secondary of
Insufficient space under chassis to mount these models. the input transformer, will suffice to
1Voice coil secondary only. 2Voiee ,oil and line secondary. eliminate this trouble. Probable values

AUDIO ENGINEERING APRIL, 1949 17

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AmericanRadioHistory.Com
 RJ!

6
o

R20

33,000
V\v
.V22,000

V, v2 V,
HEATERS

Fig. 4. Schematic of input section, with component values.

will be in the vicinity of .002 µf. Fig- lytic capacitor are mounted on this Centralab 1443 switch on which are
ure 1 is a partial wiring diagram of section, with the controls on the op- mounted the resistors and capacitors
parts employed in the power section, posite side of the chassis. The input necessary to obtain the desired com-
while Fig. 2 is a photograph of the selector switch is mounted on one pensation.
underside of the completed amplifier end, with a lever extending through The high-frequency tone control
chassis. the panel for its operation. If the switch, SW2, needs a little further
The preamplifier section shown in chassis length were extended to eight description. The series of switches se-
the photograph of Part 1 is somewhat or nine inches, the selector switch lected for the tone controls consists
smaller than the average constructor could then be mounted on the front of small units which are desirable in
may wish to employ, but it was built in line with the other controls, and it such a compact amplifier. However,
in this manner to keep the space re- is quite probable that it would be the exact assembly of contacts is not
quired to a minimum. The chassis was easier to install in a cabinet because obtainable, so the switch used was
fabricated from a 2 x 7 x 11 alumin- of the difficulty in cutting a neat slot made by using the frame and mechan-
um chassis base, cutting it apart at to pass the lever -type arm used to ism from a 3115) switch with the
the center. The sides of the chassis actuate the selector switch. contact plate from a 3126J switch.
are then cut 13 in. from the open In the parts list several references This gives a number of tie points for
end, and folded in to provide a 3 -in. were made to the text for further ex- the resistors used for the cut -off cir-
angle. The top is folded down, result- planation. The volume control, R28, cuit, as well as for the input connec-
ing in a chassis approximately 3% x is the loudness control described in tion. The capacitors in this circuit
7 x 2. The tube sockets and the electro- the February issue,1 and consists of a are all mounted directly on the switch,
being soldered to the frame for ground
connection. This is not usually con-
Fig. 5. Input section wiring diagram. sidered the best practice, but it must
be remembered that this section of
the amplifier does not have any a -c
circuits in it, and there is little
chance of ground loops causing hum
trouble. Suffice that the unit as con-
structed exhibits no troubles from
this source. The exact arrangement
of the tone controls is shown in Fig.
3. Similar methods were used for
both, in that all parts are wired di-
rectly to the switch, but the low -fre-
quency control is a standard 3115J
switch without modification.
The overall schematic, Fig. 4, is
essentially a repetition of the schema-
tic published last month, with the re-
moval of R12 and Cs as previously
discussed. The wiring diagram, Fig.
5, indicates the arrangement of parta
and the wiring between them, while
1 "Full Range Loudness Control," Winslow,
AUDIO ENGINEERING, Feb. 1949.

I8 AUDIO ENGINEERING APRIL, I949

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AmericanRadioHistory.Com
 the photograph of Fig. 6 shows the
method of mounting the resistor strip
on the back of the volume control
switch.
Unless the builder is reasonably
well experienced in construction of
small amplifier equipment, it might
. be desirable to increase the overall
size of the input section. It is definite-
Fig. 6. In-
terior of in-
ly possible to construct the unit in put section,
the size shown, but it must be admit- showing the
ted that it is extremely compact, and mounting
as the size is reduced the complexity of resistor
of construction is increased. Of strip on
course, once the amplifier is completed
there should be no need to get at it
rear of
compensat-
again, assuming that the constructor ed volume
takes reasonable care in the selection control.
of resistor and capacitor ratings to
prevent the possibility of failure in
use.
A more conventional construction
of this entire amplifier would un-
doubtedly reduce the hum level still
further, and if a larger power trans-
former were used -one which could
supply the 0.9 amps of filament current
required by three 6 -volt tubes in the gain than with the present arrange- the 12SN7 draws a filament current
input section -the electrostatic field ment. For the uses for which this of 0.3 amps. These are design modi-
existing between heater and cathode amplifier was designed, however, this fications, and some ingenuity on the
of the present first 12SL7 would be should not be necessary. Another pos- part of the constructor will be neces-
reduced. If made in two units, how- sibility is that a 6SN7 could be sub- sary to arrive at the exact desired re-
ever, it would be preferable to use a stituted for the 6SL7 used as Vs, (if sult. It is felt, however, that the amp-
separate cable from the power section a filament transformer were being lifier as described performs satisfac-
to the preamplifier to carry the beater used, together with 6 -volt tubes) again torily, and that no changes are neces-
current, although the signal from the using the amplifier connection rather sary for the purpose for which it was
preamplifier to the power section is than the cathode follower, and the in- designed. The amplifier was designed
of a relatively high level and it is creased gain would be of the order for one application -that of modern-
possible that no trouble would be en- of 10 db. This suggestion would only izing an existing installation, or for
countered from this source. apply if the filaments were arranged providing a con t r o l arrangement
If additional gain is required, the to be supplied from a transformer which could be adapted to cramped
cathode follower section of Vs can be winding, since the 12SN7 will not quarters with the greatest of ease.
changed to a conventional amplifier, operate in a series string with the This requirement is fulfilled ade-
thus giving approximately 32 db more 12SL7 and the 12SJ7, inasmuch as quately by the arrangement shown.

Measuring Procedures for Magnetic Recording

Particular attention is called to the sec- Another problem with which the in-
ABOUT three years ago the Radio tion on Noise which is subdivided into vestigator of magnetic recording equip-
Manufacturers Association organized System Noise and Medium Noise. This ment is confronted is the determination of
a subcommittee of the Committee on subdivision has been suggested since in amplitude variations which are experi-
Phonograph Combinations and Home Re- most cases the inherent noise generated enced in reproduction when steady tone
cording to suggest standards for magnetic by a completely neutralized medium is signals have previously been recorded.
recording equipment. A series of sub - lower than the noise which might be ex- The performance of a magnetic recorder
subcommittees were formed shortly there- pected in a typical magnetic recorder. It depends greatly upon the magnitude of
after, one of which was commissioned to should be kept in mind, however, that such amplitude variations. Measuring pro-
work on "magnetic recording terminology" noise measurements made, even on a cedures should eventually be provided to
and to propose measuring procedures for properly neutralized medium, can produce evaluate this deficiency of mediums and
magnetic recording. This sub- subcommit- indefinite results. To illustrate this point, of complete magnetic recording systems.
tee has now released recommendations for a slightly magnetized reproducing head
measuring procedures for magnetic re- can greatly affect the noise generated by Measuring Procedures for Magnetic
cording. the magnetic recording medium and am- Recording
biguous results might be obtained.
While it fully recognized that this For the proper evaluation of a medium, RAJA Sub -subcommittee on Nomenclature
material will be subject to modification not only the ground noise of the medium and Measurements
with additional knowledge becoming avail- as such is important but also the modula- RMA Subcommittee on
able, it is felt that it presents a valuable tion noise (noise- behind -the -signal). No Magnetic Recorders R7.4
basis for comparing the performance of recommendations are presently available I. FREQUENCY RESPONSE OF
various types of magnetic home recording for an acceptable procedure for determin- UNEQUALIZED SYSTEM
equipment. To give this tentative proposal ing the noise-behind- the -signal. There can, The frequency response of a magnetic
as wide a circulation as possible, the RMA however, be no question that there is a recording system depends upon the medi-
Subcommittee on Magnetic Recording has gap in the measuring procedures which
approved its publication at this time. eventually has to be bridged. (Continued on page 41)

AUDIO ENGINEERING APRIL, 1949 19

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 Lyle Van, WOR- Mutual's ace news commentator (right)
hears principles of Altec miniature microphone explained
by Paul S. Veneklasen (left), Altec Lansing physicist, who
with W. J. Moreland worked on 3 -year development pro-
ject of the tiny microphone. Lyle Van's six- o'clock news
broadcast Tuesday, March 8, was first time the new
microphone was used on the air.

JOHN K. HILLIARD*
Chief Engineer, Altec- Lansing Corp.
1 161 N. Vine St., Los Angeles, Calif.

An Omnidirectional Microphone
The entire communication field advances to higher standards when previously unconquerable obstacles
are surmounted. An indication that such a turn of events has occurred in the audio field comes with
the introduction of a miniature condenser microphone, described in this article, with a diaphragm hav-
ing the area of a human ear drum.

Alarge number of microphones have wide limits in frequency. The response Motion Picture and Television work re-
been developed since the original angle becomes smaller at the higher quiring that they be moved farther
away from cast than otherwise desir-
work of Alexander Graham Bell. frequencies. able. In direct broadcasting or stage
In the broadcasting, recording, and Obstacle interference is a direct presentations they hide the face of the
sound reinforcement fields, the double - function of size and frequency. This performer, since usual technique re-
quires that the artist work very close
button carbon microphone was the varies the directivity and absolute out- to them.
earliest to come into widespread use. put of a microphone. The solution to 2. Bass tones are unduly emphasized as
This was later replaced by the Wente the problem lies in making the size the artists work closer to the micro-
type condenser microphone in 1927. extremely small. phones. This results in boomy repro-
duction with poor intelligibility.
A few years later, dynamic and ribbon A high degree of cancellation in 3. Microphones having freely suspended
microphones replaced the large di- cardioid microphones is usually ob- ribbons are susceptible to puffs of air
ameter condenser type so as to obtain tained only at the middle frequencies. caused by breathing of the artist. This
more uniform response and simplified causes an objectionable rumble and in
Compromises must be taken in phase the extreme can produce damage. They
equipment. Later, directional micro- shift by the use of mechanical and are not shock -proof -a loud hand clap.
phones incorporating features of both electrical networks to obtain approxi- or gun shot can render them inopera-
dynamic and ribbon types became tive. It is difficult to use them for ex-
mately 180- degree cancellation. Earlier terior work in the presence of wind.
available and were designed to provide experiments and data on phase shift 4. Because of their directional character-
various response patterns such as a indicated that the human ear has dif- istics at close range, many microphones
figure eight (bi- directional), cardioid ficulty in distinguishing between a are used to give a required musical bal-
and modified cardioid patterns. Theo- ance in orchestra or band pickup.
system with considerable phase distor- 5. They have powerful magnets which at-
retical patterns indicate that ideal tion and one without. However, later tract iron filings and often block the
conditions can be achieved only under experiments indicate that a minimum microphone during operation.
"dead room" conditions. These pat- phase shift is highly desirable in high- 6. The directional microphones limit the
terns are then considerably modified reproduction of the natural room tones
quality systems. In a comparison of which have been carefully designed by
when used indoors, due to reflection high -quality systems having small and the architect for pleasing listening.
from the wall surfaces. In the extreme large amounts of phase distortion, the In order to overcome many of these
case of very reverberant rooms, little difference can be detected by a critical undesirable features and limitations.
directional gain can be obtained over listening test. a miniature condenser type micro-
that of non- directional microphones. Ail the microphones mentioned phone has been designed. Its overall
Also, directional microphones are which have been available for high dimension is 6/10" in diameter and
larger than non -directional units and quality work have many undesirable 4/10" thick (approximately the size of
the sound field is accordingly distorted characteristics, the most important of a stack of six dimes). It weighs less
by their obstacle effect. This results in which are listed below: the '/a ounce (6 grams). A small cir-
a directional pattern that varies over 1. Their large bulk causes shadows in cumferential sound entrance channel

20 AUDIO ENGINEERING APRIL, 1949

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AmericanRadioHistory.Com
 20 mils thick provides protection for feet a single conductor cable in which fore feedback or howl is encountered
the diaphragm and aids in obtaining the central signal- carrying conductors than can he obtained with other non-
an omnidirectional pickup character- are surrounded and shielded by those directional microphones equal to the
istic. The diaphragm is one centimeter which supply the tube operating power. best directional microphones. Flat re-
in diameter and is of a special lami- The blast -proof characteristics of sponse (lack of peaks) explains why
nated construction. The resonance of the microphone make it unnecessary this is possible -plus the fact that the
the diaphragm is at a high frequency- to protect it from extreme sound pres- sound is practically all reflected energy
y and its peak is controlled by the damp- when more than 20 feet away from
ing so that it is negligible, varying the source (in rooms).
±1 db from its low- frequency sensi- The microphone base is separated
tivity. from the microphone by an extension
The microphone is mounted on a which serves to reduce the obstacle
base which has a maximum diameter interference in the immediate field
of one inch. This base contains a 6A116 of the microphone and also permits
miniature vacuum tube which is easily the microphone to be used directly in
replaced and the bottom of the hase front of the artist with little shadow.
contains a Cannon 6 -pin plug. The weight of the combined micro-
The stand mount and output cable phone, base and extension is approxi-
contains a Cannon receptacle and the mately four ounces. It is anticipated
necessary fitting with a W -27 thread that because of its extremely small
for stand mounts. This cable is in ef- size, weight and shadow as well as
fect a single- conductor shielded cable other outstanding characteristics
designed to perform the necessary mentioned above, this microphone will
The miniature condenser type micro-
functions of the impedance- transform- facilitate heretofore unachieved pick-
phone, photographed inside a walnut up in the radio, television, recording
ing tube by dividing between the
shell, is shown here actual size. and sound reinforcement fields.
central conductor group and an outer
group which also functions to shield sure levels and shocks which might The microphone system is the first
the inner signal carrying group. This cause distortion or damage to other of a series of apparatus resulting from
outer shield provides the leads for type microphones. Tests made on this a new basic investigation of sound
heater current, high voltage supply condenser microphone by firing a 22- pick -up limitations. Major changes in
and ground from the power supply. calibre cartridge at a distance of eight technique, the development of new
This cable may be as long as 400 feet inches indicate that its calibration is uses, and correlative advances in other
and is attached by a 6 -pin Cannon unchanged by such a blast. Based fields are expected to result from this
plug to the power supply and match- upon electrostatic rather than elec- development.
ing transformer unit. tromagnetic principles, it is not sus- So many Altec engineers have con-
The output level of the microphone ceptible to iron filing damage or mag- tributed to the development of this
system is -50 dbm in a sound field of netic induction. The size of the hous- new microphone that no one person
10 dynes /cm? The matching trans- ing and the diaphragm construction can be singled out for special mention.
former provides output impedances to allow the microphone to be used under This project was initiated and super-
work into equipment having assigned wind conditions in external pickup vised by G. L. Carrington. P. S.
input impedances of 30 -50, 150 -250, work that otherwise would be imprac- Veneklasen and W. J. Moreland were
500-600 ohms. The output noise level tical. In public address and sound responsible for important electronic
is less than 30 phone. reinforcement applications, it is pos- and mechanical developments. Capac-
The cable which supplies the im- sible with this microphone to achieve itance of the microphone unit is less
pedance -trap- forming tube is in cf- at lea,t 4 db higher amplification be- thmi 20 micromierofarads.

Mass Production Tape Recording Thus exact speed relation is main- .

tanned at all times.
Recording tape is currently avail-
The final technical obstacle in the recorded music on tape may enjoy a able only in the unrecorded form.
way of mass production of recorded competitive advantage over disc re- which is used by the major broad-
music on tape now has been overcome. cordings, whether of the 78, 45, or casting networks as 'well as in homes,
A machine has been perfected by Min- 33 -1/3 rpm variety. Tape recording offices and schools for making private
nesota Mining and Manufacturing machines for home use have been transcriptions. Announcement of the
Company, St. Paul, that can simul- available for some time. multiple recorder, however, opens the
taneously reproduce 48, hour -long Minnesota Mining and Manufac- way for mass production of pre-re-
tape recordings indistinguishable from turing Company describe the new corded music and promises to affect
the master transcription in one hour, machine as "a high fidelity multiple the whole field of sound recording.
according to an announcement by recorder capable of making tape re- Perfection of the multiple tape re-
W. L. McKnight, president of the cordings which are indistinguishable corder follows hard upon the intro-
firm. from the master transcription." Re- duction of 45 and 33 -1/3 r.p.m. disc
These pre-recorded reels of tape will production is accomplished by an records and machines by Victor and
be designed to compete with disc electrical duplicating process in which Columbia respectively.
records for use in the home, in broad- the signals from a master copy are The single mass production recorder
casting, in schools and theatres. Since picked up by a playback head, ampli-
built to date has been offered for
many sound engineers contend that fied and fed electrically into a number
lease by Minnesota Mining and Manu-
magnetic sound tape has better fidelity of re- recording heads. The master facturing Company, its producer.
than any other known sound record- tape and the tapes to be copied are all
ing medium, it is to be expected that run side by side on a common capstan. [Contehued on page 47]

AUDIO ENGINEERING APRIL, 1949 21

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 EDWARD TATNALL CANBY* too must vary minutely from instant to
OUR EDITOR has brought up a point instant as the musical tone continues. Fix
concerning electronic musical instru- the amplitude mathematically and your
ments where I was technically in er- tone is dead. Listen again to your lady
ror, though the point I had to make was singer and note how much the varying
unaffected. In the February article I spoke amplitude has to do with the musical sense
of "pure" tones to be heard on an electric
he means. Being only human, he will give
you lots of reasons for his energetic (and of what site is singing -some passages be-
organ; it seems that according to engineer- ing almost "flat," others being highly mod-
probably correct) opinions that will make
ing standards of measurement the funda- no engineering sense, for the most part. ulated with vibrato. So too with an oboe,
mental tones produced by such devices Note the singing teacher who insists that a violin, even a trumpet. Only a few in-
(
are not pure, that indeed a pure tone is struments dispense with the vibrato: the
her pupils generate their tone somewhere
very difficult to achieve. What a pure tone piano of course and its relatives; to a
in space a few feet in front of the fore-
is, then, is a matter of engineering vs. considerable extent, the clarinet.
head! Cockeyed, but pragmatic; it works,
musical terminology. From a musical view- But vibrato is merely one factor that
because with such conceptions singers ac-
point, any tone that comes even fairly tually do learn to produce good sounds.) must avoid the mathematically regular.
close to a continuous sine wave form is Even more vital is the tone-color problem.
Explanations in physical terms of these
for all intents and purposes "pure " -by things are up to the engineers to make. Engineers tend to take an average tone
which we musicians mean. of course, some- And in every case the musician, however color for, say, a clarinet, and assume that
thing highly uncomplimentary. A continu- false his physics may be, has a basically this is that instrument's official tone color.
ous "pure" tone in music is a dead ducks sound idea, needing only the delicate phys- There is scarcely any instrument which
It's lifeless, featureless, without character. ical interpretation that will reproduce it produces a constant overtone pattern for
unfit for musical purposes altogether -just in electrical terms. What an astonishingly more than a fraction of a second at a
a noise. I'd say the principal musical dif-
difficult and challenging area this fringe - time; one of the main sources of musical
ficulty with the electronic musical instru- "life" is the dynamically changing tons
area is, between the arts and the sciences,
ment is still that of oversimplification of between objective scientific analysis and color of nearly all instruments as they (a)
the wave forms. You will find that the change pitch and (b) change intensity
the far quicker, more penetrating human
continuing distrust of such instruments intuition! In the end, as we all have to and Ic) change methods of tone produc-
(often a highly unreasonable blanket dis- admit, it's usually "hunch," that solves the tion. Perhaps the natural pipe-organ is the
trust that includes various instruments most baffling problems, when the "hunch" only instrument with a fixed overtone pat-
that work on utterly different principles) is well backed by competent engineering tern that actually persists measurably.
is, nevertheless, basically a feeling that the All of which no doubt leaves most en-
training.
gadgets just aren't musically "natural,"
and this feeling must be reckoned with.
What t h e n, is an "alive" musical gineers exasperated -if music is as touchy
tone? How can it be synthesized? This as all this, what in Heaven's name is the
And by "natural," I hastily add, we do column has touched le the matter before, use of trying to please a musician! And
not mean that your electronic sound must but look at it this way. To be musical a yet this is music and always will be. Ex-
be a good imitation of some specific nat- tone must be complex, irregular, and that asperated or no, these are the actual prob.
ural sound. The advantage of the elec- in many different ways. It must avoid all lems that a sound engineer faces in any
tronic sound is that it can introduce all sorts of too -regular mathematical patterns electronic musical instrument design and
sorts of new qualities. Few musicians that will kill its musical effect. A paradox, they cannot be dodged, only compromised
would quibble about this -unless provoked since most of us have supposed that pitch with. When you come down to it (and
by manufacturers who insist upon using and rhythm in music were at least rea- this a fine reason for this column's dis-
such terms as "electronic clarinet." We sonably fixed quanitities, not to mention cussion of the problem) the same sort of
are entirely ready to recognize the musical tone color. But no. Life, in tone, is highly thing is true for the recorded art. If you
value of new tone color combinations delicate; it succumbs instantly to an over- are going to reproduce musical sound in
whatever names may be assigned to them; dose of regularity. Yes, there must be a a natural- sounding way you must meet the
silly, fanciful, inspirational, or what. sense of pitch, a fundamental tone that is challenge of the musical ear. Your success
But whether your newly created elec- interpretable to the ear in a very exact as a sound man, given sound training, will
tronic sound comes forth like a cello or sense. But even this is seldom mathemat- depend on it. too.
an oboe, a new-born babe with asthma or ically exact. A tone that is interpretable Any electric organ designer knows that
a honking goose la goose is straight -bore, problems of naturalness go far beyond
to the ear as an excellent musical "A"
producing only the odd overtones) the may be far removed from a pure 440 tone. what I have suggested Itere. One must get
musician will give ear and instantly make Almost all musical tone, for example, in- the tone under way with the proper "ping"
up his mind on one vital point -whether cludes the baffling feature of the vibrato. (the musical ear will take nothing else)
the tone is alive or dead; musically natural It is frequency modulated. Take a lady and one must get it properly stopped, too.
or unnatural. Being no engineer, your mu- opera singer producing a walloping A and Can't just turn it on and off. One must
sician will seldom be able to explain what play her 78 rpm record at 33. You will be see that the tone "speaks" a bit late in
astonished at what the ear has managed the keyboard -type instrument; the musi-
27:9 W. 4th St., Neu York 14, N.Y. cian won't like an instantaneous action.
1 The flute, as engineers know, can give an in its own strange way to interpret as a
almost pure sine wave tone. But note well that pitch of 440! The vibrato may waver up Unnatural. Theoretically, as volume in-
such a tone is hardly what one hears in flute and down so enormously that, at 33, the creases tone color should become more
music. A flute player making actual music pro- brilliant. Natural music works that way.
duces the same multiple varieties of irregular- ear recognizes no fixed pitch whatever
ity that are described later in this article. There but only a sort of rapid- action fire siren. And so on. These problems bedevil sound
must be the ictus of the initial accent. a bril- A graph of the sound would be even more engineers and in practice they are bound
liance in loud passages (harmonic tone color)
contrasting with less brilliance in soft passages.
baffling. Yet this isn't all-for even the to involve very great compromises all along
vibrato that is among the most noticeable vibrato's own frequency must not be fixed, the line, depending, of course, on the cash
(and most irregular) in any musical instru- if the tone is to be musical -as electric available to put into refinements. Theo-
ment, a breath -sound that is normal part of organ builders know to their own distress. retically anything is possible. Practically,
the music (and is not a sine wavel -all this and the most ingenious compromise wins out
more, in addition to rhythm, phrasing, etc. A The vibrato is almost regular, but never
mechanically played flute, actuated by a con- exactly so-make it mathematically regu- musically. Far too often in today's elec-
stant stream of compressed air, may produce lar, and instantly the tone is dead. tronic musical instrument some regularity
sine-wave--but the sound will be noise, not Moreover, the amplitude of your vibrato gets in that "kills" the tone as far as
music. No electronic sine wave= "beep" bas yet
been compared to flute music, that I know of ! must not be exactly regular. Amplitud.- [Continued on page :38]

22 AUDIO ENGINEERING APRIL, 1949

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 The beat note resulting from a high level recording of the two frequencies, 200 and 230 cps, is seen in this five times enlargement.

Making Magnetic Recordings Visible

The technique used in making visible the sound tracks shown on in a volatile liquid, such as heptane (which will not dissolve the
this page was described in an article entitled, "Alignment of tape) and the tape is dipped in this suspension for a few seconds.
Magnetic Recording Heads" by B. F. Murphey and H. K. Smith Upon removal, the liquid will dry quickly and the track becomes
in the January 1949 issue of AUDIO ENGINEERING. For some put.- visible. The carbonyl iron may be removed by wiping it off. This
method allows some flocculation of the particles and does not
,v
poses, where several inches or feet of tape are to be visibly ex-
amined (as for editing), Mr. Robert Herr of Minnesota Mining & yield quite so good resolution as the suspension in a more viscous
Mfg. Co., who has supplied these pictures, reports a more convenient medium, but it is simpler and adequate for examination by the
And less messy method. The carbonyl iron is suspended by shaking naked eye.

Below: The word "tape" was recorded with

a full width t/e" track, using an Ampex
machine at 30 inches per second. En-
largement, X 11/4.

Below:
2 6 -times
enlargement
of a 0.1 - inch
wavelength signal
recorded on black ox-
ide tape illustrates the
fringing effect. In contrast
to the other photo of
100 -mil track, no modulation
noise is evident.

Above: A constant tone modulated by a vibrating head is shown

here. Magnification X 60.

1 1 1 1 1/ 1 1 1 1 1 1 1 1
Below: A 0.1-
inch wave
,-r'rrlrl length
M P one 0.1 inch track using
noisy tape shows residue of
modulation noise between the
prominent poles of this strongly re-
11118111M11111111111
Above: Music recorded on oxide -
\` q corded signal. Magnification, X 20. Also
lamination faults i n head are visible.

coated 35 mm film is illustrated by

this photo. Ready means for ed
Ring and track location is pro-
vided by making the track
risible. No enlargement.

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 Experimental Ultrasonics
S. YOUNG WHITE*

PartII -A description of some of the problems of instrumentation

for experimental work in the realm of ultrasonic frequencies.

ABOUT T11E ]IINI)tUM AMOUNT of

equipment required in the inves-
tigation of ultrasonics is a source
of ultrasonic power, such as the Hart-
mann generator, a microphone or
pick -up, and an indicating device
such as a receiver or oscilloscope. Of
course, other indicators can be used,
such as pigeons or insects, which have
positive reactions of various kinds to
certain frequencies and amplitudes,
but the lack of some measurement de-
vices is rather a handicap.
One great difficulty in attempting Test chamber used with two transducers for experiments with transmission
to turn out a standard line of ultra- through various media. One of the transducers of Fig. I is shown separately.
sonic apparatus is the very complex-
ity of the requirements. A biologist can be made if the requirement justi- A real hardship in designing a line
might wish to investigate the effect fies the expenditure. of units is the wide frequency range
of ultrasonic stimulation on cancer, Shielding against powerful electro- we generally wish to cover in general
and a cathode -ray tube production magnetic or electrostatic fields is of- experimentation. A final commercial
mail may wish to use the well -known ten necessary. As a rule, 60-cycle hum installation can often be designed to
dust precipitation effect to more rap- pickup is small, but can be trouble- operate at one frequency only. Before
idly coat his screen with phosphorus. some if not kept in mind. A particu- we can determine this optimum fre-
In these cases both the generators and larly difficult case is when two fling - quency it may be necessary to inves-
observation instrumentation would be netostrictive probes are used close to- tigate an enormous range of many
quite different. Also, the biologist gether as transmitter and receiver. octaves. In working with small par-
would be rather unskilled in using Very often the flux leakage from the ticles in water it is usually interest-
apparatus of this nature. transmitter will directly excite the re- ing to investigate the entire spectrum
In this article we shall discuss some ceiving unit and the supersonic coup- from 10 kc to nearly 10 tae. This is
design features of rather small pick- ling through the medium will be a real test of the designer.
up devices, such as would be used in masked. It is the purpose of this table to
a probe. It is almost universally true It is a great advantage to design a give a rather rough idea of the fre-
that all these receiving probes can series of units interconnected with quency limits of various transducers
just as well be used as low -power modern, 52 -ohm concentric cable. It we may wish to use. The range desig-
transmitters, so it would be a great has a nice line of fittings available nated as "natural" shows the frequen-
advantage always to design them for for all purposes, provides good shield- cy limits within which no unusual
both functions. It is also desirable to ing, is low -loss at all frequencies we difficulty is had in normal design. The
make them immersion- proof, if pos- may wish to use, and is very neat and "extreme" range shows maximum per-
sible, so they can be used in liquids durable. Unfortunately, about t ll e formance ever observed by several ex-
as well as air or other gases. Most of only type unit that can readily be perimenters. It may be only a single
them have a natural temperature lim- made to match this low impedance is sharp peak shown in some unusual
itation of some kind, also, and we a magnetostrictive one. All the piezo- mode of oscillation.
wish to extend this to its highest lim- electries suffer severely from the high Significance of the Resonant Peak
it possible. capacitance. and sometimes it is ne- in general ternis. we can operate
Another requirement is small size. cessary to go to troublesome or expen- our devices at resonance or off reson-
These are to be used in sonic fields sive steps to overcome this. ance by any desired amount. Since
of small wave -length, and in general
we wish them to disturb the field as
little as possible. Of course, if we TABLE 1

work up around the megacycle re- Device Natural Range Unloaded Extreme Range Max. Temp. (F)
gion, the physical size must he many
wavelengths in dimension for practi- Q
cal apparatus for general use, al- Rochelle Bimorph 0 to 30kc 0 -2 me 120
though special microscopic devices Rochelle single 0 to 300 kc 20,000 0 -3 me 120
PN 0- 200 (piston) 0-3 me 250
Magne,ostriction 10- 100 kc 30,000 200 kc 250
Rubber electrostatic 10- 500 kc 3 me 150
% Radio Magazines. Inc., 3 ¡2 Madison Quartz 50- 7,000 kc 10.000 Very high 1.000
Avenue, New York 17, N. Y.

24 AUDIO ENGINEERING APRIL, 1949

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 many show unloaded Q values that vent this. Quartz has high resistance it was hard chrome-plated, or gold
are very high, we can mount them and moisture must be kept out to pre- plating was called for. A length of 2
so that high Q is maintained, or load serve the insulation of the assembly. inches worked out well.
them down to almost any extent. A 7-me quartz crystal, of the X -cut The series of diaphragms gave us
The chief argument for high Q is type is about 20 mils thick, and is the most trouble to design. If we use
the great output obtained at that res- quite fragile. quartz or PN crystals, they a r e
onant peak, a very strong argument So we have our choice of rubber mechanically dead flat, and the dia-
indeed. The price one pays for it is (plastic) diaphragms, or solid metal. phragm is often used under at least
high, however. The rubber must be quite thin and city water pressure, which might
If the units are operated in pairs, offers little protection from sharp reach 60 pounds/square inch at times.
%me being the loudspeaker and the points. However, diaphragms made
other the microphone, this resonance from thin rubber, nylon, or Teflon of
rise is squared, and the output is very a thickness of only two mils or so are
favorable. The frequency stability on very easy to handle, as below 200 kc
the transmitting signal source must or so they have little effect on the
be very great indeed, and in general transmission of ultrasonics through
is hardly practical. if we use a pre- them. To provide clean -cut effects,
cision frequency standard for the sig- they must be placed under tension in
nal to drive the transmitting trans- some way, and the mounting made Fig. 2.(B) When used under pressure,
nvaterpr of by some enns. diaphragm is pushed inward, provid-
ducer, it will not follow the trans- m

ducer peak in many cases, as the Standardized SheU For AU Frequencies ing contact on only a portion of the
transducer is out on the firing line, Figure 1 and the photograph show crystal surface. (A)Pressure behind the
subjected to variations in tempera- an earnest attempt to design a uni- crystal bulges diaphragm outward,
ture, vibration, pressure changes and provides contact only on corners.
the like while the standard crystal is
locked up in a temperature oven. Al-
This bulges the diaphragm inwards, as
shown in Fig. 2B, and the crystal
so, in the field standing waves with
ratios of ten to a hundred are rather would only touch in the center of its
common, and these change due to working face. In general, we need
local conditions. some pressure driving the crystal
This severely limits the use of the against the diaphragm, to obtain in-
high -Q transducer. So in practice a timate contact, and with no pressure
Fig. I. Universal shell design fo on the outside of the diaphragm a re-
load sufficient to bring the Q down to transducer suitable for wide range o verse bulge takes place, as in Fig. 2A,
as low as ten or thereabouts is often ultrasonic frequencies.
employed. Even at this low Q stand- and the crystal touches on the corners
ing waves are severe, and frequency versal shell of wide application in only.
modulation must be employed t o ultrasonic commercial and experi- By soldering a one -quarter inch
break them up. mental work. In most eases it has a button to the center of the diaphragm,
metal diaphragm. This was designed we accomplish two objectives: At
This loading does not seriously af-
to operate through the spectrum from some high frequency any diaphragm
fect the off-frequency operation of the
devices, but of course operation off 10 kc to î me, using practically any
breaks up into complicated modes of
frequency severely cuts down the sig- type of transducer from magnetostric- oscillation, which produce lobes in the
nal. A typical example is a pair of tiou to X -eut quartz. radiated or received pattern. A piston
one -quarter inch cubes of PN crystal An accurate half -inch bore dimen- action is much easier to analyze and
suitable for stable operation in n sion was used with a thick wall so use. This local thickening in the cen-
water supply which might have par- that set- screws and glass -bead lead - ter turns the quarter -inch center into
ticles in it. At 200 kc operation. reso- throughs could be used. A three- a piston very well, as experience lias
nance for both units, an input of 200 quarter inch thread was formed on shown, and gives a pattern very easy
volts of signal on one will give per- the center section and this made the to Ilse.
haps 2 volts on the receiving crystal. tube outside diameter 0.690 inch. as In practice, some care must be used
while off resonance at say 150 ke the this cleared the root diameter of the in making and mounting this center
combination might give an output of thread. This thread was made rather button. Since it will often be used
5 millivolts or so. fine, 24 threads/inch. as very often we with a precision finished transducer
want fine adjustment of the position element, it must be dead fiat and
Diaphragm Design
of the diaphragm in our tests. The squarely mounted. If slightly cocked,
The only transducer diaphragm easy the pattern put out is hard to an-
to design is the magnetostriction shell was usually made of monel, be-
cause it is an attractive material un- alyze, and results are undisciplined.
type. It is inherently rugged and
needs little protection from gas or affected by many liquids. Sometimes IContinueu on page 881
liquids. A simple metal disk silver - Transducer probe for use inair. Details of the interior of the crystal mounting
soldered on the end of the nickel rod. are shown in Fig. 3.
gives almost any desired acoustic
impedance match.
PN and Rochelle crystals are very
fragile and must be protected from
shock and damage if used as contact
microphones. PN instantly melts if
one drop of water comes in contnet
with it, but Rochelle salt often can
he given a protective coating to pre-

AUDIO ENGINEERING APRIL, 1949 25

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 The Cutting Sylus Problem
In Microgroove Recording
"Stylus"

A discussion of the effect of burnishing -facet dimensions on frequency response.

T11E CURRENT INTEREST in n e w only quantitative study of this phe-

methods of sound recording has
made many an engineer re -exam-
_. nomenon, which has been published,
is that of LeBell in 1942. While the
ine more critically the faults of older original study was made with a stand-
systems. Modern disc recordists have e ard- size groove, we believe that its con-
b e c o m e increasingly conscious of clusions may be applied to the micro-
diameter effects, and particularly of LL T
groove without too much error. Every
ù
loss of high -frequency response at cutting stylus has a certain amount
óQG
smaller diameters. This loss occurs of personality of its own anyhow, and
ó the variability so produced is super-
in two parts: First, a loss in record-
ing due to the cutting stylus shape; s imposed on the general trend.
and secondly, a loas in reproduction s=
4 We have used the generalized solu-
due to the reproducing stylus failing á
A
tion given by the above reference -a
to follow the finer groove convolu- graph showing the relation between
tions faithfully (tracing loss). Repro- sÑ ' the fraction: burnish length /wave-
ducing loss can be reduced by using 4
a
length, and the attenuation in record-
a smaller stylus tip, within reason. In ing. We have taken the liberty of
the case of lacquer, it can be reduced continuing the main trend for a db
by using a harder lacquer, again with- further than the reference has, for
in reason. 00 J .2 .3 4 .! A
reasons that will be evident on in-
Only recently has there been much BURN SHING FACET LENGTH spection of his data. This slightly
interest in minimizing recording loss. GROOVE WAVELENGTH
modified graph appears as Fig. 2.
It is not generally realized that com- The testa on which this curve is
Fig. 2. Generalized effect of burnish- based were run at a stylus velocity
STTL.NCTIGN
ing facet length. of 1/ inches, and checked at 234
inches per second. Visual inspection
Fig. 1 will illustrate why. Effectively, of Fig. 1(A) will suggest that the
(A)
- .NNNS..NG SLIPPAGE
GUTTING EWE
there are flats on the sides of the loss might increase at very high peak

9-
- -iIOnT SWAG( stylus, which impede lateral motion. velocities, but the velocities indicated
The shape of the stylus and the include the range of velocities nor-
(B) nature of recording lacquer are such mally expected.
ISNMG-FACET LENGTN
that it is not feasible to derive a solu- The LeBel study was made in terms
tion by theoretioel means, and so of tip burnish length, which is the

¡
laboratory methods must be used. The easiest to measure accurately. The

(C)
Fig. 3. (A) Fre-
quency response __
i
of recording sty - >á
. I t

o-
- . :

inch já 6---'-
Ius at
diameter, 33.3
8
Iti< j : ; :
B
_-
-10
COTON TAUEN TNNU TNN PLANE (A)
rpm. (B) Frequen-
°-=
üd0
cy response of re- >N
--t-- r
Fig. I. (A) General view of lacquer !

cutting stylus. (B) Magnified view of

cutting stylus tip. (C) Magnified cross
section of tip.
cording stylus at Já
7 inch diameter,
33.3 rpm. (C)
s
=-

(B)
-
Frequency re- tow
monly used lacquer- cutting styli pol- sponse of record-
ish the groove walls by a burnishing ing stylus at 5 á
Les
ww
°
° -
inch diameter, ¢¢ .0-
action after cutting. This effect is

-=?=
l

rpm. D
=- áN=
(C)
comparable to the use of a dulled cut- 33.3 ( )

ting tool in making a polished cut in Comparison of >N 0= . ES=

brass. response at 33.3 áo
As the polishing action is made and 45 rpm, .4 çrc 5
EBS .
more effective by increased burnish- mil burnishing goo (D) 2000 3000 4000 5000 2000 opo0
ing- surface length, the high frequen- facet, 5 inch FREQUENCY (CYCLES PER SECOND)
cy response deteriorates. A glance at diameter.

21 AUDIO ENGINEERING APRIL, 1949

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 you get
LTHIS!
4
00.001-,**

í.
Ñi the

atáaild
IMPROVE D

CARDIOID DYNAMIC
MICROPHONE

It Means: Better Performance!

Finer Quality! Greater Value!
Mano@basé Here you have reason after reason for the
fgrowing popularity of the CARDYNE. More
Seleclol eatures have been added ...
response im-
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\mPedance
Recessed High Output
Level
vide a higher standard of excellence! It all
adds up to greater satisfaction on the job!
f X53 db Model
Model 731
b. 716
Built
The E -V Mechanophase* principle provides
-in Cannon a high degree of unidirectivity at all fre-
XL -3 Connector quencies ... cuts reverberation and random
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We Rote doubles conventional pick -up range . . .
Smooth
00
V-46..10.,0000
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The Acoustalloy diaphragm withstands
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loon
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Tilt Control connector and without external shock
Without mount. List Price $59.50
With of
Switch SEND FOR CARDYNE BULLETIN NO. 139
"On-Oli"
lhtead ELECTRO- VOICE, INC., BUCHANAN, MICH.
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Export: 13 New York 16, U.S.A., Cables: Arlab
Standard
Dual Type -

External
Shock
Mount NO FINER CHOICE THAN
Highest Purity
(991%) Cast
Case

Finish
Er/lased
Matnelic Assembly Sir *CZ
SOn thtomium "'Potent Pend.

AUDIO ENGINEERING APRIL, 1949 27

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length at the sides may be slightly burnish is necessary, else the high with a real problem. Compelled to use
less, with the decrease somewhat un- frequency loss rises rapidly. a burnish of about a quarter mil, he
der the control of the lapidary. Just for comparison, at (D) we may have difficulty in getting a quiet
The following formula is too obvious have plotted the response of a .4 mil groove unless he uses a higher cost
to require derivation: burnish at 5 inches diameter at 33.3 stylus. It is a good deal harder to get
Burnish length f 1 and 45 rpm. The higher speed eases a quiet groove when using a small
Groove wavelength Dn response problems, by 3 db at 10 kc burnish, and the lapidary may have
where f = frequency in cps in this case. This saving taken alone to be much more careful than he is
/ = burnish length, inches with a half -mil burnish.
D = recording diameter, inches In spite of all these precautions,
n = speed in rps not every stylus will have equally
A glance will show that the frac- good frequency response, and it may
tion increases with frequency and be desirable for the recordist working
burnish length, and decreases with at less than 6-inch diameter to check
an increase of speed or diameter. each stylus individually, using the
From this formula the graphs of Fig. Fig. 4. Groove wavelength and poorer points for less critical work.
3 were computed. recording diameter. It should also be recognized that
A condition typical of standard would not be significant, but similar small- burnish styli of the best quality
high- quality 16 -inch transcription re- are not all equally quiet. Some are
savings accrue at other stages in the
cording is shown in Fig. 3(A). By recording process, making a signifi- satisfactory all the way in to 5 inches, .

the use of 136 or 144 pitch, the inner while others start to become noisy at
cant total.
diameter is limited to 8 inches. With current interest in higher the 6 -inch diameter. It is highly de-
At (B) we have a condition oc- fidelity, it is evident that burnish sirable to segregate the latter for use
curring in many broadcast stations length will have to be limited. The at the larger diameters only. Again
which have continued to record tran- we may say that each stylus has a
high quality transcription recordist
scriptions with the pitch of ten years and the microgroove specialist will personality of its own.
ago. This results in an inner diameter One may object that this is a lot
both have to use care.
of 7 inches. The injurious effect of a Transcription work will have to of work. True, unfortunately, for the
given burnish is measurably greater, secret of good recording quality has
use a burnish of not over a half mil,
as can be seen by looking at the 10 Ice approximately. It is not difficult to always been meticulous care, and wo
response. Incidentally, this is fairly see no chance of the future remedying
make such a stylus satisfactorily
close to the outer recording diameter quiet. A great many 10- and 12 -inch the situation.
of a 7 -inch microgroove disc.
microgroove discs are recorded in to
Conclusions only a 7 -inch diameter, and a similar Reference
Finally, we go in to the innermost C. J. LeBel,Properties of the Dulled
-
1.
stylus will often suffice. On the other Lacquer Cutting Stylus, J. Acous.
diameter of a microgroove record hand, the recordist working with 7- Soc. Am., Vol. 13, No. 3, pp 265-273,
about 5 inches -at (C). A very small inch microgroove discs will be faced January 1942.

Report on 1948 Convention of Speech Assn. of America

T11E problems and limitations tations of his instrument and testing brator due to leakage. The differen-
of bone conduction audiometry technique. tial should be at least 15 db.
were discussed at the 1948 con- He then discussed the application
vention of the American Speech and
It is necessary to hold the audio-
of bone and air conduction measure-
Hearing Association by the well - meter's bone conduction vibrator
ments to the localization of ear path-
known authority on hearing meas- against the skull with constant pres-
ology. This was then used to explain
urement, Dr. Scott Reger of the sure, because the pressure governs
why some untrained individuals have
State University of Iowa. His paper, the mechanical coupling between vi-
acceptable speech even though hard -
"Factors Influencing the Accuracy brator and head. Also, with some
of- hearing from childhood, while oth-
types of magnetic vibrators, the dis-
and Interpretation of Bone Conduc- ers do not. Children with middle-ear
tance between armature and pole
tion Hearing Tests," was presented impairment may hear their own
pieces (and hencé the output) is af-
in Washington, D. C., on Dec. 28th. voices very well by bone conduction,
fected by pressure. He used a pres-
He first touched on the inherent even though their air conduction
sure of 1000 grams, controlled by a
inaccuracy of measurement of bone special headband structure.
hearing of other people is inadequate.
conduction and air conduction hear- They will tend to have normal speech
ing thresholds by the use of tuning To measure the resulting vibra- development, while those with an in-
forks as described by Weber, Rinne, tions of the skull, he used a crystal - ner ear lesion, and hence impaired
and Schwabach. These methods would type contact microphone held against bone conduction, from childhood may
be valid only if controlled by elabor- the frontal eminence of the forehead be in serious need of speech train-
ate instrumentation. While the mod- by a heavy rubber band. This made ing. Except in extreme cases, this
ern audiometer is superior to the tun- possible a study of the vibration will be of help.
ing fork, he criticized the naive as- waveform, and of the vibrator linear-
ity. Recording Equipment
sumption that the audiometer is a A symposium of interest to record-
precision instrument. Measurements In testing a vibrator it is necessary ing equipment designers was held on
made with a perfect audiometer un- to determine the difference between the morning of December 30, present-
der ideal test conditions are only as the bone conduction threshold of a ing the following subjects and speak-
accurate as the audiologist's testing given unit, and the air conduction ers.
skill and knowledge about the limi- threshold produced by the same vi- [Continued on page 36]

28 AUDIO ENGINEERING APRIL, 1949

www.americanradiohistory.com
AmericanRadioHistory.Com
 A PRECISION HIGH QUALITY
TAPE RECORDER!
10/11/6
wow FOR EASY FOOLPROOF OPERATION

NEW - MAG/C- SWITCH

EQUIPPED WITH THE
NO SOLENOIDS

ONE CONTROL! NO RELAYS

NO BUTTONS TO PUSH
INSTANTANEOUS READING OF INPUT AND OUTPUT LEVELS

OVERALL DISTORTION LESS THAN 1

LOWER FLUTTER LOWER NOISE LEVEL
See this and many other products
manufactured by Arcturus at the N. A. B.
MODEL E -3 -T. R. Convention, Hotel Stevens, Chicago.

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Editing Facilities, Timing Meters and Variable Equalizers for Matching Any Tape Response Curve.
A VAILA81,
contact us at N. A. B. CONVENTION, CHICAGO
111111
Agents and Distributors - Wire - Phone - Write - or contact us at the N. A. B. Convention
CLIFF McDONALD
ARCTURUS ENGINEERING CORPORATION
1755 Glendal'Boulevard Phone NO 3 -1239 Los Angeles 26, California

AUDIO ENGINEERING APRIL, 1949 29

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 NEW PRODUCTS
NEW JACK separate bias rectifier. Convenience re- This family of tiny resistors (type BTR
A new, improved ADC jack for jack
ceptacle provides voltages for operating resistor body measures 3/32" x 13/32 ") is
panels and numerous similar uses is be- noise suppressors or preamplifiers for re- furnished in ± 5 %, 10% 20% tolerances
ing produced and distributed by Audio luctance pickups. Use of the AA -20 is in RMA resistance ranges. Temperature
recommended with the Model RJ -20 Tuner
Development Co., 2833 Thirteenth Ave. for high fidelity installations.
coefficient varies from 0.02% per °C. for
So., Minneapolis 7, Minn. low ranges to 0.14% per °C. for high
The frame of the new ADC jack is ranges. Depending on the size of the re-
made of nickel plated, heavy gauge steel, NEW RESISTOR
sistor, voltage coefficient varies between
A positive advance in the field of 0.0% and 0.27% per volt. Noise level is
electrical resistance has been established inherently uniform and low. The element,
by the Engineering and Research Depart- constructed to IRC's filament principle, is
i -
ments of International Resistance Co. Af- housed in phenolic resin; High pressure
toiNIIRcr ter years of wartime and postwar explora- molding of the housing provides maximum
- tion and development, a new insulated
fixed composition resistor has been pro-
security against humidity damage and
moisture penetration, and enables this
duced that challenges performance stand- new resistor to withstand the most severe
ards for that type resistance unit. salt water immersion tests.
and is die- formed and press -welded for This new resistor, designated by IRC For short periods, overloads of 50% to
utmost rigidity and dimensional accuracy. as the Advanced Type BT, is being pro-
The brass sleeve is nickel plated. To meet 100% may be applied without damage to
duced in 1/3, 1/2, 1 and 2 watt ratings the Advanced BT, and 5 second overloads
the high corrosion resistance requirements -equivalent to JAN Types RCIO, RC20,
called for, silver alloy contacts and nickel of 2.5 times rated load result in only neg-
silver springs were specified in the new RC30 and RC41. It meets joint Army -Navy ligible resistance changes. Frequency char-
design. requirements under JAN -R -11 specifica- acteristics and other performance data are
Dimensions of the new jack are stand- tions. given in Technical Bulletin B -1. Copies
ard, and like earlier types of ADC jacks nay be obtained from International Re-

.
it is interchangeable with any standard -istance Co., 401 N. Broad St., Phila. 8, Pa.
telephone type jack using a /q" plug.
T

1rPS ITS ',i.4" M".°.II 14PS KIO

EQUALIZER -AMPLIFIER
ALL -TRIODE AMPLIFIER
A high -fidelity, medium power, all-
triode amplifier is announced by the
_ -- ----agi
A new Equalizer -Amplifier, the Model
EA -3, for use in conjunction with Astatic
Browning Laboratories, Inc., of Winches- TIN ITS 'M1 . , MN III TYPS Klo, K. Corporation's highly touted Magneto -In-
ter, Mass. as a companion unit to their duction Pickup Cartridge, brings to a
recently released RJ -20 high-fidelity FM- total of three such accessory units pro-
Albf Tuner. Designated as Model AA-20, duced by this pioneer Conneaut, Ohio,
the new amplifier features all triode vol- I-." sound equipment manufacturer.
1211111.4 M14111 MI KJO
tage gain and power stages for response Astatic invaded less than a year ago
within 1 db. from 10 to 17,000 cycles the magnetic type cartridge field, with an-
with less than 1%% harmonic distortion nouncement of its revolutionary Magneto-
at 14 of the rated 15 watts output. Hum Induction Pickup, after years of adhering
level is 65 (lb below maximum rated out- TYPS n.2 2.." : WW1 nR K41
solely to the development and production
put. Extremely high quality pushpull in- of crystal devices. Radical reversal of en-
put and output transformers are used and gineering precedent and drastic simpli-
voice coils from 1.2 to 30 ohms can be fication, embodied in the Magneto-Induc-
matched by tap selection. The output Production experience by IRC on this tion unit, eliminate need for delicate
stage is pushpull 6B4G's driven by two advanced resistor currently totals over 70 handling and common sources of trouble
triode sections of a 6SN7 in cascade with million units. with magnetic type cartridges, the firm

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, Electronic and Nuclear

PRODUCT DESIGN
VINSTRUMENTATION
V ti 121 Vermont Ave., Washington 5, D. C. Research
307 East 44th St. MU 43487
PSYCHO ACOUSTICS SOUND RECORDING STerling 3626
New York 17, N. Y.
ELECTPOr. ED.CAI SUBMINIATURE AUDIO

Consultation Design Fabrication RATES FOR

PROFESSIONAL CARDS S. Young White
IN THIS DIRECTORY
Audio Research Associates
Ultrasonics and Transistors
608 Fifth Avenue $10 Per Month for This Standard Box 1386
Space. Orders Are Accepted
New York 20. N. Y. for 12 Insertions Only Audio Engineering

30 AUDIO ENGINEERING APRIL, 1949

www.americanradiohistory.com
AmericanRadioHistory.Com
claims. The result is peak fidelity of re-
production that is not diminished by con-
sistent service or adverse climatic con-
ditions.
With the advent of the new long -play-
ing records, the Magneto- Induction Car-
tridge was one of the first adapted by
Astatic to the new requirements. It is
Diamonds cost Bess
DICK-UP cartridges equipped with
diamond styli may cost more than
sapphire or metal stylus cartridges, ini-
tially, but the useful life of a diamond
stylus cartridge is so much greater than
the difference in cost that, from the view-
point of length of service, listening pleas-
ure and record life, diamond styli car-
thus available in models for both standard tridges are cheapest by any comparison.
78 RPM and long -playing microgroove
platters.
The Magneto-Induction Pickup has en- For those who want and demand the The diamonds used
joyed steadily mounting acceptance since highest quality record reproduction and for the stylus of Pick-
its introduction. It is felt that availability
of a third type of Equalizer -Amplifier, who don't want their records chewed up ering cartridges are
which lends itself most advantageously to by being played with worn styli, the
many applications, will stimulate still fur- whole diamonds and
ther the rate with which the cartridge it- values of a Pickering Diamond Car- not splints. They are
self is being adopted by the trade. tridge will prove most significant. more resistant to damage
WIDE -RANGE CAPACITANCE TEST than any other stylus gem
BRIDGE
Pickering Diamond Cartridges are
material (sapphire, ruby or
The General Radio Type 1611 -A Capac- unique -their supremacy is unchal-
itance Test Bridge measures capacitance lenged. They meet the exacting
diamond splints). They are
over the extremely wide range of 1 µµf
requirements of the most critical
well cut, gem -polished to
to 10,000 µf, a total spread of 10 billion
high accuracy and precisely
to one. Over this entire range an accuracy listener who wants to hear the
of ±(1% + 1 µµft is maintained. The realism and brilliance original-
mounted to ride smoothly in
dissipation 'factor range is 0 to 60 %. The the groove walls, reproducing
frequency of the test voltage is 60 cycles. ly recorded and which makes
The bridge is useful for measuring all all the fine modulations which
record playing such a pleas-
types of capacitors, and the dielectric can be pressed into modern re-
constant and dissipation factor of both ure. The design and manu-
solid and liquid insulating materials. It facture of Pickering Dia- cordings.
is also suitable for the shop testing of
bushings and insulators in the electric mond Cartridges include Pickering Diamond Cartridges are
power industry. Facilities are provided all known factors which good for thousands of playings . . .
for introducing a polarizing voltage for
the measurement of electrolytic capacitors. minimize record wear compared with hundreds for sapphire
A feature of the bridge is a unique and eliminate unpleas- and less for metal styli. An authority
zero- compensating circuit that balances
out the initial capacitance and dissipa- ant, annoying sounds writing on wear resistance of stylus ma-
tion factor at zero setting of the dials. while recreating the terials, states- ". . the ratio of wear
.
The bridge is completely self-contained,
including visual null detector, and oper- quality, brilliance resistance between diamonds and sap-
ates from the 60 -cycle power line. The and realism of the phires is 90 to 1 in favor of diamonds."
case is of the airplane -luggage type, with
handle for carrying. Over -all dimensions original recording.
are 14% x 16 x 10 inches, and net weighs Pickering Diamond Pick -up Cartridges
i. 30' pound.. are true gems for record playing . . .

BROADCAST EQUIPMENT BROCHURE and cost less.

Three new brochures describing RCA's for transcriptions and
Model D -120
finest AM broadcast transmitter and new
AM -FM and television studio audio equip- lacquer discs
ment are now available to those request-
ing them on broadcast station letterhead Model R -150 for phonograph records
addressed to RCA field offices or to the
Broadcast Equipment Section of RCA Model D -140 for microgroove records
Victor, Camden, N. J., it has been announc-
ed by the RCA Engineering Products Order your Pickering Pick -up Cartridges
Department. from your favorite jobber.
AM BROADCAST TRANSMITTER
(Form 2J -4367) fully describes the BTA-
50F1, latest model in RCA's series of
50,000 -watt AM broadcast transmitters.
The new power -saving triodes and other
design features which can cut broadcast-
ing costs up to $12,000 a year are pre-
sented in detail in the 24-page booklet.
BROADCAST TWO -STUDIO CONSO- d COMPANY, INCORPORATED
LETTE (Form 2J -4604) provides detailed OCEANSIDE, NEW YORK
information on the broadcast two -studio

AUDIO ENGINEERING APRIL, 1949 31

www.americanradiohistory.com
AmericanRadioHistory.Com
 consolette (Type 7601. This 20.page bro-
chure furnishes complete operating data
and specifications, as well as simplified
The New Som rset line drawings.
CONSOLETTE SWITCHING SYS-
TEMS (Form 2J -4622) presents 16 pages
of complete information on the latest
consolette -type switching systems, Models
NOISE SUPPRESSOR* PREAMPLIFIER BCS -1A, -2A, and -3A, for AM -FM and
TV networks. Elaborate or simple switch-
ing problems for controlling up to 15
Successfully exhibited and demonstrated at the studios are outlined in detail in this
brochure.
1949 I. R. E. Show in New York City
SOS CINEMA CATALOG
A new 64 page catalog covering every
phase of motion picture theatre operation
lias been issued by the S. O. S. Cinema
Supply Corp. Over 100 illustrations dis-
tributed throughout the book alongside
the text make it simple to order the wanted
part.
Sections are devoted to equipment for
auditorium, booth, drive-in theatres, elec-
trical installations, lobby, boxoffice, pho-
tography, portable and home movies, pro-
jeetion lighting. 16 and 35 mm projection,
public address systems, theatre sound,
stage, studio, recording and laboratory.
This 1949 edition is claimed to be the
most complete listing ever issued in the
trade and bears out the S. O. S. tradition
as the "Department Store for the Motion
Picture Industry."

92ewe
NEW AUDIO CONSULTING FIRM

Accomplishes a high degree of noise reduction

natural brill'ance and realism -
maintains
essential overtones are repro-
- \udio Research :1- ,o- iat, -. b(8 Fifth
Avenue, New York, has recently been or-
ganized with J. H. Beaumont as general
duced at all volume levels. manager and L. S. Goodfriend as chief
engineer. The services furnished by the new
Introduces no unnatural tonal qualities in the reproduction.
firm include anything from changing a
Can be used with most existing record players and FM or AM tube in an amplifier to the complete design
tuners. of a theatrically equipped auditorium, in-
Installation ant: cp:,7,1 i require no technical skill. cluding the lighting, sound control, acous-
tical treatment, and general overall prob-
List Price $79.50 lems.
The staff includes a number of leading
SPECIFICATIONS : specialists in the fields of audio facilities,
Power supply 115 vols, 50 -60 cycles, the theatre. architectural acoustics. record-
e. c.
ing and reproducing systems, hearing aids,
Frequency range -- 40 to 15.000 c.p.s.
Gain - .01volts input produces .8 volts output to volume control of
.25 to I megohm.
residence radio systems, psycho -acoustics,
patents. technical manuals, and psycho-
logical problems. Their work includes con-
Input sources -- magnetic or crystal pickups, and FM or AM detector sulting. design, preparation of specifica-
output.
Tube complement - 2- 6SL7GT, I- 6SK7GT, I- 6SJ7GT, I- 5Y3GT.
tions. fabrication, installation, and oper-

Size of chassis - 7" s 9" s 2 '.

ation.

l
Also supplied in cort'-in »fion with a high quality power amplifier
for custom end cmrie -' installations. ERRATA
George W. Curran, whose excellent arti-
Professional Model with additional features for broadcast, recording cle on the "Use of the Transmission Measur-
ing Set" appeared in the February issue,
and other exacting requirements available. Price on request.
has mentioned a few errors in typography.
all on page 28. The first word on the page
`Patents Pending. should be "Choose" instead of "constant."
Paragraph f in the second column should
read "The gain of the X- amplifier at the
reference frequency will then be equal to
SOMERSET LABORATORIES, INC. the amount it was necessary to change the
GS loss in (e)." The second paragraph in
1701 Palisade Avenue, the third column should read, "The aux-
iliary amplifier will not be needed if the AF
Union City, New Jersey oscillator can deliver a level at the output
of the branch pad equal to the rated out-
put of the X- amplifier."

32 AUDIO ENGINEERING APRIL, 1949

www.americanradiohistory.com
AmericanRadioHistory.Com
 RECORD REVUE
Warn page .IJ
music is concerned. And I repeat, your mu-
ONE EQUALIZER
sician is on absolutely solid ground when
he objects. After all, are you designing
electronic instrument or a musical one?
an
FOR ALL PICKUPS
)

Some too -pure wave form is generated that,

though perhaps highly impure technically,
measured for distortion, is nevertheless too VERTICAL, LATERAL, MICROGROOVE! The Fairchild 6- position
simple, too fixed in its pattern for the Preamp-Equalizer, Unit 622, can be used with any and all modern pick-
musical ear to take as the basis for mu-
sical performance.
ups. It mounts on your transcription table
The type of electric organ in which in place of your present equalizer. The
sliders are pulled out to add each of the Fairchild 622 makes it possible for you to
overtones of a "pure" fundamental is to use various pickup cartridges ...and be
some extent a victim of this too -simple sure you are getting the best possible per-
pattern. The fundamentals generated by
this machine are incredibly dead to any formance from each. Both lateral and
musical ear, even if something less than
pure by distortion measurement. Even
with a maximum of tone coloration added,
vertical transcription arms can be con-
nected, and selected without switching
by simply using the proper setting of the
-
via the sliders, the compound tone gener- 6- position control knob.
ated is still, to most musicians, relatively
dead and unmusical. That is a widespread EXTRA ADVANTAGES . . . Will not
opinion. Hence, for the purposes of my
February argument on tone color vs. har- become obsolete. Frees one preamplifier.
mony and counterpoint, we may consider Provides for cuing and monitoring. Eli-
the basic tone of this type of instrument minates low level hum problems. Is eco-
as pure -far too pure. nomical. Write for complete details.
a

All of which leads to brief mention of

an electronic keyboard instrument now un-
der development by a well -known sound
SYNCHRONOUS
engineer who shall be nameless, which I
played at length last week. Good. Remark-
ably alive, though it is designed for the
FAIRCHILD TRANSCRIPTION TABLE
simplest uses at a low (home instrument/
price. The answer to this good musical
quality would seem to be la) specifically, HIGHEST SIGNAL -TO -NOISE Together with the
tone color directly generated along with
LOWEST RUMBLE AND FLUTTER 542 Transcription Arm and
the fundamental, as harmonic "distortion" the 622 Preamp- Equalizer,
(or so I understand it) ; (b) more gen- you get these benefits:
erally, a rather nice appreciation of the INSTANT SPEED CHANGE
importance of all these semi- psychological WHILE IN OPERATION Perfectly balanced channel
laws for musical- sounding tone. plus a
from pickup to high level in-
common -sense, ingenious application of put.
then' within the limited means available.
Vital items were, for instance, to my Signal from turntable at line
ear, the excellently contrived initial ictus, level.
the "speaking" of the sound; similarly, the Equalization for any pickup.
well -calculated decay rate when the key
is lifted. Neither is consciously noticeable, Use of two or more pickups
nor should be; the net effect, though, is a with single equalizer.
sense of rightness, of appropriately musical No low level hum problems.
sound. A fairly simple matter of electron-
ic principle- except for the decision as to Synchronous direct drive oper-
values; and that is where it takes what ation.
this designing outfit seems to have, a sense Ease of cuing.
for music and the ability to interpret that
sense directly into 'aids. Another item f
Provision for monitoring.
found pleasing musically was the longer New rugged trouble -free pick-
time required for the keys to "speak" in up reproducer.
the low registers, as compared to the up- High compliance -true line-
per, an excellent and thoroughly musical arity.
idea. The lowest tones were so realistically
delayed and came in with such a fine Economy -the
elimination of
"blot" that one would swear a heavy reed one preamplifier and extra
was speaking. That's the kind of thing a equalizers ...
the pr tien
musician can understand. UNIT 524 of equalizer obsolescence
Musical Tone - Dead or Alive
Between the misprint and the correction
Transcription Table
5485 less Pickup Equipment
Full details are available
on request.
in a monthly magazine there's a long
wait--here's a bit of verbal untangling
that goes back to the February issue. What
came out takes the prize for insanity
We're
among our supposedly sane contributors. at the
Naturally all our readers keep back issues
of AUDIO ENGINEERING. Kindly turn to
N.A.B.
p. 30 of the February issue and look at Show
paragraph two. Note that the second line
( "that changes inde cribably. . .") also
appears farther on, 21 lines up from the 154TH STREET AND 7TH AVENUE, WHITESTONE, NEW YORK

AUDIO ENGINEERING APRIL, 1949 33

www.americanradiohistory.com
AmericanRadioHistory.Com
bottom, where it belongs. The proper line Busch -Serkin Trio. off the highs and you can ascribe your
was omitted, this one installed in its place, Columbia MM 804 (3) own best guess as to the reason, if you
making for a fine Department of Utter Beethoven, Violin Sonata #5 ( "Spring" don't subscribe to mine!) On the other
Confusiont2 Correct reading: Sonata) opus 24. hand the microphone- acoustic factor is not
"T his peculiar relationship between Jasc to Heifetz, Emanuel Bay. up to par here, in common with a number
tone -color and harmony- melody is one of RCA Victor DM 1283 (2) of Columbia chamber recordings, probably
the fascinations of sound as we hear An interesting technical example of the all made at about the same period and be-
it " etc. It was a humorous accident difference between good recording -and ing issued irregularly. The general effect
that this very sentence concluded with the good microphoning -this has the former is too dead, even for a group of only three
remark that it was this kind of thing that but is lacking in the latter. The usual ex- instruments. But more unpleasant is the
left engineers gasping like fish out of cellent tonal range applies here, with what seeming closeness of the two stringed in-
water. Some of you must have gasped sev- at first might seem to be an unusually struments, violin and cello, which have an
eral times. strong pre-emphasis of the high end, that overly sharp and dry sound; the piano, on
is more likely (as one begins to discover the other hand, is relatively off -mike, with
RECORD REVUE in this field) a purely acoustical differ- a good sound on its own but one that
Beethoven, Trio in D, opus 70 ( "Ghost" ence that brings the highs more strongly doesn't mix well with the close sharpness
Trio). than usual to the mike. (But note well of the strings. In some situations this per-
that whether it is actually pre- emphasis or spective effect might be very useful; un-
2 I Ed. not The is what sometimes happens merely a matter of acoustics, the net re- fortunately the piano is notoriously hard
when s compositor reassembles type after mak-
ing a correction. The editors don't get a chance sult is the same in the listening; with this to blend with strings at best and this only
to check it again.) record you will find it desirable to roll makes the musical split here a bit wider...
However, this is still a good enough job
for any listening-I'm splitting hairs for

HARVEY
PROUDLY PRESENTS THIS
the technical- minded. Musically, Rudolph
Serkin does some extraordinarily power-
ful piano playing, as always, and carries
this performance along towards being one
of the best Beethoven items for a good
while.
The "Spring" Sonata, a similar musical
FINE RECORDING COMBINATION combination, is somewhat the reverse.
Though it has good tonal range, I suspect
that the above Columbias have a bit more.
On the other hand, RCA's acoustics and
mike pickup are brilliant, both technical-
ly and with a brilliant sound. There is a
trace too much violin here and there
(Heifetz being the big name) but mostly
the volume balance is excellent. The per-
spective balance is even better and con-
siderably superior to that of the Columbia
MAGNECORD PTO -A recording -here t h e violin and piano
blend, in the general acoustical brilliance,
quality for music, in use now in hundreds of broadcast
Basic tape recorder, excellent as well as they ever can in real life. This
stations and recording studios. Low distortion and wide band reproduction, two album is a continuation of an earlier Hei-
speeds, 7'/- and 15 ", high speed rewind. Frequency response ± 2 db 40 cy to 15 fetz -Bay sonata album, DM 1254.
kc. Synchronous motor drive. Combines with amplifier PT6-P, combination record -
playback- remote with 3 mike inputs. Built-in monitor speaker plus headphone jack. Mozart, Piano Sonata in F, K. 332.
Pre- and post -emphasis cuts in according to use. Line output 600 ohms, 1 ma. into Vladimir Horowitz
Magnecorder head. Many other features, too many to list. Write for literature, or RCA Victor DM 1284 (2)
better still, come in for a demonstration. With 15" plug -in recording equalizer. Kabalevsky, Piano Sonata #3.
Magn.cerd PT6 -A Recorder $278.00 Magnecord PT6.P Portable Ampli- Vladimir Horowitz
lys" fier, with eye, interconnecting RCA Victor DM 1283 (2)
plug -in recording
equalizer 20.00 cords and plugs $462.00 Debussy, Serenade for the Doll; Poulenc,
Presto; Prokofieff, Toccata, op. 10.
BROOK HI- QUALITY Vladimir Horowitz
AMPLIFIER ALTEC 604B RCA Victor 12 -0428 (I )
DUPLEX SPEAKER Highly diverse samples-they couldn't
be more different -of Horowitz' astonish-
New 6045 Duplex Speaker and N-10005 Net-
work incorporate many improvements including ing facility at the piano. These are, to-
lower crossover frequency, improved low fre- gether with numerous other Horowitz re-
quency cone and redesigned high frequency cordings, the finest piano offerings Victor
chamber. 604-8 has extended frequency range
and provides smoothest frequency characteristic has made to date, and you couldn't do
of any speaker. 60' horizontal, 40' vertical better than to sample this wide range of
coverage, crossover 1000 cycles, impedances music, all canned under similar conditions,
16 ohms, power rating 30 watts, IS" diameter,
to see what Victor has to offer in the way
111/z" dp. Net
pric less net- of piano recording technique. Always a
work s1S7.50 big, concert hall sound, very live, with
N -10006 network, plenty of brilliance in the piano tone. But
net 18.00 these are the records we will most look
Model 12A3, 10 -watt amplifier, remote control forward to hearing on the new 45 plastic,
cabinet with pre -amplifier, channel selector, since hiss and scratch interfere prominent-
tone and velum* controls. Frequency virtually
fiat from 20 to 20,000 cycles, 3 inputs, two ly in all of the softer passages. (Victor
equalized fer GE, Pickering, and similar allows them to fall to very low levels.)
pickups á188.s0 The Mozart sonata is a model of good
playing, making what is usually played as
Telephone: Luxemburg 2 -1500 a finger exercise into the real music that
it ought to be. Kabalevsky's sonata is a
All in stock harsh and, I find, rather crude bit of semi -
for immediate
modernism; Horowitz plays it just as
delivery.
harshly as he plays the Mozart with delica-
cy. The Prokofieff Toccata is harsh but
All prices Net, F.O.B. New York and
less so and with more good sense to it, a
(4,OMr'J,N subject to change without notice. very strong rhythm, fiery, breathtaking per-
103 West 43rd St., New York 18, N. Y. formance. The Debussy is lightly humor-
ous, misty, scratchy (i.e., the shellac is

34 AUDIO ENGINEERING APRIL, 1949

www.americanradiohistory.com
AmericanRadioHistory.Com
 scratchy ; Poulenc's Presto is fast, light-
1

weight, over almost before it gets under-

way.
Britten, The Rape of Lucretia. (Slightly
abridged )
Peter Pears, Joan Cross, N. Lumsen,
etc., Chamber Orch.
RCA Victor DM 1288 (8)
This is the newest opera sensation from
this leading British composer, in a per-
formance supervised by Britten himself, an
English cast that is ideally suited to this
music, so utterly different from "modern"
American music. This is a Roman tragedy
set in a classic style, severe, simple, with
small orchestra, no big noises, beautifully
restrained singing; the whole thing builds
by understatement and atmosphere that
gets over even on non -long- playing rec-

As*t.
ords and is, I find, very moving and mighti-
ly impressive. Most of the words are in-
telligible as sung; the notes in the album
give the story. The music is not at all dis-
sonant; rather it is modal, the nearest
equivalent being perhaps Vaughan -Wil-
liams.
A moot point technically: was this or-
iginally one of the famous E.M.I. wide
range recordings? If so, then once more,
as has been noticeable before, the Victor
pressings do not show it. The recording is
very fine, but the highs are certainly far
from exceptional and I'd say they are def-
initely weak. Again, it may be a matter
of acoustics, but I doubt it, in view of
similar effects on other Victor -pressed
E.M.I. imports. Has anyone directly com-
ere are the superlative new Series of
Shure "Vertical Drive" Crystal Car-
a pared a British pressing with a Victor
pressing of a recent, postwar recording? tridges. They reproduce all the re-
Does Victor perhaps treat the masters to corded music on the new wide -range
a bit of polishing? If not, then what?
Mozart, Symphony #39 in E flat, K. 543.
high - fidelity pressings. Unusually
Cleveland Orchestra, George SzelL highly compliant, these "Vertical
Haydn, Symphony #88 in G. Drive" Cartridges will faithfully
Philadelphia Orchestra, Ormandy
Columbia LP: 4109 (I ) track standard records with a force
Two first rate symphonies in this style, of only 8 grams- micro-groove re-
here recorded with excellent acoustics,
performance and engineering; both are on cords with a force of only S grams
the single LP record and (for my taste at (an added protection for treasured
least) a good combination. The two are
also available in separate standard albums, recordings). Will fit standard or
3 records to each. There is considerable special mountings. Have more than
difference in liveness between the two re- adequate output for the average
cordings; the Philadelphia job is big,
brilliant, the Cleveland one somewhat less audio%tage. They are requisites for
live, with a closer feeling. Impossible to the critical listener ... the lover of
know whether this is purely an engineer-
ing difference or whether it is actually a fine music. They are especially rec-
matter of musical interpretation. My guess ommended for those applications
might be that Szell, in the Mozart, pur-
posely used a somewhat smaller orchestra where true fidelity is essential.
as is proper, and perhaps even preferred Available in single needle and
the less live, more intimate pickup, which
also is proper for the music.
dual needle turnover models -as
Chopin, Andantb Spianato and Grande illustrated above.
Polonaise Brillante, Op. 22
Claudio Arrau, piano; Little Orch. For full details, write on company
Society, Scherman. letterhead to Dept. "A."
Columbia MX 307 (2)
This early work of Chopin's is some-
what of a freak -the first part, the An-
dante Spianato, is for piano alone, but
the second part suddenly sprouts an or-
tb..rd ..d.r patene. of a.a.A rHal.nt...e re.pnv. .cAu n.wiro.

40-
chestral accompaniment. Since the two parts
are more or less continuous, this poses
a nice recording problem, and the results
here are unexpectedly happy. Most of C
Columbia's piano solo recording has been
of the close -up, rather dead variety. Here
we have a whole piece where the piano is
necessarily set up in the midst of an or-
chestra in a largish hall or studio. I like
SHURE BROTHERS, INC.
it, and recommend that Columbia try more Microphone, and Acoustic Devices
of the same. A nice, liquid, unpercussive
tone, perfectly suited to Chopin and ac- 225 WEST HURON STREET, CHICAGO 10, III. CABLE ADDRESS: SHUREMICRO

AUDIO ENGINEERING APRIL, 1949 35

www.americanradiohistory.com
AmericanRadioHistory.Com
 tually much better than the hard, brassy, or whose distortion is excessive can-
triumphant Chopin that Victor's artists not be used to illustrate poor diction,
often give us. The Orchestra -when it en-
ters-is not of much importance, as al- for example. The problem is accentu-
for the ways with Chopin, but its background ef- ated by the fact that the speech
forts set the piano off well. The Polonaise sounds are presented alone, not in
640AA CONDENSER MICROPHONE is mostly icing of the most glittering sort,
played perfectly and just a bit icily by
context. It is therefore highly desir-
Arrau. able to have a frequency range of 50
SENSITIVITY: -43 dbm output Auber, Overtures. to 10,000 cycles reproduced uniform-
for sound pressure Boston "Pop" Orch. Fiedler. ly. A large proportion of the record-
of 1 dyne cm- ap- RCA Victor DM 1274 (4)
plied to micro- A fine batch of rip- roaring, sentimental,
ing machines presently offered to
phone dignified orchestral overtures in a real old schools for speech work are unsatis-
RESPONSE: Down 1 db at 40 fashioned style. A good album to have factory. Professor Eubank noted that
cps; down 0.5 db around for general test purposes, as well while tape reusability made it pre-
at 20 kc as casual listening. Big, pompous orches-
tra, nice melodies, climaxes, etc. None of ferable for much routine work, it
OUTPUT Z: 250 ohms
was easier, cheaper, and more com-
it vitally important as music- -but so what!
SMALL SIZE: Ile" dia. x 10" long
pact to store material on lacquer
LIGHT WEIGHT: Only 12 ounces
POWER REQUIREMENTS: 70 ma
SPEECH ASSOCIATION
at 1,4 v; 212 ma at \lr. LeBel pointed out that their
135 v. )from page 281
complaints pertained to inexpensive
LONG BATTERY LIFE: Virtually Recording in the Speech Laboratory,
immune to chan- home -type machines. The engineer
by Giles Wilkeson Gray
ges in battery vol- Recording in the Speech Clinic, by working on inexpensive equipment
tage; change of A B. A. Anderson lias never had to achieve faithful re-
voltage from 1.4 to Recording in the Speech Classroom. by production, a moderately pleasing re-
1.0 reduces gain 1 Wayne C. Eubank
db; B voltage An Engineer Looks at the Problems of sult being his normal goal. It is out
from 135 to 105, Speech Recording, by C. J. LcBel of the question to get a 10 -kc range
0.6 db. Professors Gray, Anderson, and for $135 as one of the speakers re-
The greatly improved performance Eubank emphasized the wide use of quested; for whereas a home recorder
inherent in this new instrument is recording in speech work, and the manufacturer may sell several hun-
made possible by our extensive ex-
perience in subminiature techniques need for high audio quality. As a dred thousand units per year, a pro-
teaching device, a recorder is useless fessional design will be fortunate if
unless it can exhibit a speech defect it sells at the rate of one thousand
Audio Instrument Company I;nly to the student. A machine in the same period. Mr. LeBel showed
1947 Broadway, New York 23, N. Y schose frequency range is inadequate that while magnetic recording media

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had the advantage of reusability,
magnetic recording equipment had
maintenance problems not needed by
disc equipment. These problems are
head wear, head alignment, and bias
and Awn
variation with time. THESE 3 NEW PRODUCTS
In the resulting discussion it de-
veloped that while the schools had AT TERMINAL
paid several hundred to several thou- REK -O -KUT "CHALLENGER" PROFESSIONAL RECORDER
sand dollars for each disc recording 12" 2 -speed recorder with precision overhead lathe
mechanism. Automatic speed change from 78 to 33 -1/3
unit, and had no complaint about rpm. Machined and balanced aluminum turntable, cast
their performance, they were very aluminum frame. Heavy duty precision-balanced motor.
High fidelity 8" speaker. Overhead feed mechanism In-
unhappy about the sound quality corporates a safety cutting head feature, which lifts
cutter from record as center of record is approached,
and/or durability of home wire and thus preventing double cutting and damage to stylii.
tape machines. It was pointed out Wide range, distortion -free amplifier. Inputs for high
impedance microphone, phono and radio. For 115 volts
that they were calling for profession- 60 cycles AC. Size 25 x 22 s 12 inches, weighs 67
lbs. Shipping weight-80 lbs.
al quality, and could expect to get Price 329.95
it only at professional prices.
M- 12 -I92
Educators may not be able to toss interchangeable feed -screw for micro-
around electroacoustical terms a s groove 192 lines per inch. Specify out -
side-in or inside-out. Also for use with
glibly as the average engineer, but M -12 overhead assembly.
they appear to have better trained Net
45 RPM idler wheel, interchangeable
17.95
ears than the average home recorder with 33 -1/3 rpm wheel.
designer. It would be profitable for Nett 6A0
sales departments to drop the idea Advanced Model 180
that any old piece of junk is just W EBSTER- CHICAGO
the thing to sell to schools. This idea Portable Wire Recorder
was the vogue in the disc recorder
with Exclusive
field until the educators learned their
Model 12A3 HIGH Record -O -Magic Controls
lesson. Apparently we are now about BROOK
midway in a similar cycle in mag- QUALITY AUDIO AMPLIFIER
netic recorders, and the disillusion-
ment stage has already begun.

N. A. B. CONVENTION
[from page 15J
meetings cover training of personnel,
advances in facsimile, and a report on
UHF television. An FCC -Industry
Roundtable is scheduled for 10 :45 a.m.,
Within the range of its 10 watt The Webster- Chicago "Electronic
with Royal V. Howard of NAB as power rating, Model I2A3 is equal Memory" is easy to use! Automatic Stops
moderator. in all respects to the famous Brook shut off motor before wire can run off
either spool in either direction. Resets
Two interesting affairs are sched- 30 -watt amplifiers. automatically when Lock -fast Operating
uled simultaneously for Saturday aft -
Along with virtually distortionlesa re-
Lever is returned to center position. Push -
pull output Expanded Range amplifier
ernoon-a tour of ABC and NBC production. Model 12A3 feature.
measure of operating flexibility and
allows recording of voice and music with
television stations, and an open meet- excellent fidelity. Built -in Elapsed Time
convenience which is unique in the Indicator permits accurate timing, cueing
ing of the NAB Recording and Re field of high -precision amplifier.. AI- and editing. New, powerful erase circuit.
though designed primarily for heme Removable Take -up Drum permits fast re-
producing Standards Committee it. use as the heart of custom -built radie- load of recordings longer than one hour.
which all members and interested phonographs. its incomparable audio Has radio input and external speaker or
characteristics make it equally uit- amplifier outlets. Compact luggage case
parties are invited to participate. able for laboratory or commercial measures 17 3/8" x 11 3 /8" x 7 1 /2 ". Car-
application where enacting engineer- rying weight is 27 lbs. Operates on 105-
RMA -IRE SPRING MEETING ing standards prevail. 120 volts, 50 or 60 cycles AC. Complete
with microphone, 3 spools of recording wire
Tin, audio papers are scheduled Complete with separate pre-ampli- and instructions.
149.50
Price
for the I: NIA-IRE Spring Meeting, to fier control Many useful acc,snes available to en-
be held at the Benjamin Franklin cabinet 166.11 hance versatility -write for complete cats -
log!
Hotel in Philadelphia on April 25,
WRITE FOR YOUR COPY OF OUR NEW 1949
26, and 27. Both are spotted for the
9:30 a.m. session Wednesday, and are FREE! CATALOG OF HIGH QUALITY SOUND EQUIPMENT
Audio Power Amplifier with Positive and
Negative Feedback, John M. Miller,
Jr., Bendix Radio.
Longitudinal Interference in Audio Cir-
cuits, H. W. Augustadt, Bell Tele-
phone Laboratories.
These papers should be of especial
interest to the broadcast engineer. Distributors of Radio & Electronic Equipment
particularly those who are involved 85 Cortlandt St. New York 7, N. Y. Phone WOrth 4 -331 I

in system design.

AUDIO ENGINEERING APRIL, I949 37

www.americanradiohistory.com
AmericanRadioHistory.Com
 the assembly was slowly brought up great output in isolated peaked re-
to heat and a ring of solder flowed sponses, with no uniformity of output
EXPERIMENTAL ULTRASONICS around the joint. Slow cooling gave at all. Its modes of oscillation above
us a stable assembly, and the dia- lU kc are so complicated as to defy
phragm was turned off flush. analysis. If you just wish to know
Stretching The Diaphragm A diaphragm thickness between 4
The diaphragm material can be that sonic supersonic energy is in the
and 6 mils proved practicable. The medium, the bimorph will often be a
nickel, morel, German silver and so button thickness did not prove criti-
on. For any reasonable predictability guide with occasional flashes of out-
cal in the sense that a thickness of put up to several megacycles, but for
of results, it must be stretched. This n quarter or half wave showed up in
proved rather difficult. Welding quantitative work it is useless.
greatly increased output. The thicker Quartz has little response off reso-
around the rim did not work out too the button, the less the output, in
well, as the joint was required to be nance, especially when we attempt to
general. For stiffening, a thickness of drive one quartz with another through
waterproof under 100 lb of pressure, 6 mils proved adequate.
and welding often left small gaps. It some medium. So in general, they are
was finally soldered in a jig that kept Crystal Mounting useful well above a megacycle, where
the diaphragm under tension during In general, a sliding reaction type other devices are unusable, and then
the soldering operation. A jig was mounting was used. If we assume the we must frequency modulate the
diaphragm will be bulged inward by transmitter quartz crystal for practi-
external pressure, then we attempt to cal applications. T h e combination
spring mount the crystal so it can then works rather well. With a swept
move longitudinally with the slow band of 100 kc or so at 5 mc, and
displacement of the diaphragm. This 200 volts input, the receiving unit
works out well if good sliding fits are will pick up about a millivolt of sig-
made. nal. Quartz must also be used when
Loading the crystal with a lead the temperature is much above 250' F.
block did little good above 50 Ile or A word of warning -practically all
so, a small mass sliding bakelite plug wartime quartz was shear cut, so do
Fig. 3. Details of end of transducer not attempt to use it under penalty
Icing sufficient to back the crystal.
probe suitable for use in air or gases. of extremely complicated radiation
Characteristics of Various Crystals patterns, useless for any practical
constructed that could be placed in as Mounted purpose.
a furnace and brought to 400 °. After In general, the Rochelle bimorph of Primary ammonium tartrate crys-
precision tinning both the diaphragm either bender or twister type, such as tals (PN) are about the most promis-
and the shell, as well as the button, are used in phonograph pickups, gives ing. They can be used at boiling

. * * Here at last is a binder using modern

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I RADIO MAGAZINES, INC.
342 MADISON AVE. AUDIO ENGINEERING
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1947 1948 1949

Backbone gold stamped with Audio Engineering
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Enclosed find S for Binden
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Name
Round corners, hinges and backbone fully rein-
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Rich blue Dupont Fabricord- stainproof and
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38 AUDIO ENGINEERING APRIL, 1949

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AmericanRadioHistory.Com
 water temperature. They readily come
up to an inch in length in pure piston
action, cut with a natural period of
about 50 kc, are fairly sensitive and
have low noise level. They have too
Choice of 626 Tubular Resistor Values
low a capacitance to be ideal. A half -
inch cube has about 0.8 µuf capacit-

N STOCK
ance, so they suffer from the shunt
capacitance of a long lead or a vacu-
um tube voltmeter or oscilloscope.
Since they very readily dissolve in
water, any mounting must be water-
proof. Any handling with the fingers
should be avoided, as they are gradu- Hundreds of other Stock Types, sizes and values!
ally eroded by finger sweat. They are
quite soft, about like a cube of sugar
in hardness, so they are easily dam-
aged by a blow, or a sharp- pointed in-
strument.
Another controlling difficulty in
making a stable permanent mounting
of the PN is the fact that no pressure
can be used except on the working
faces. These come marked with a lit-
tle black dot, and the crystal must be
wholly supported by simple direct
pressure on these faces only. Other-
wise its sensitivity and resonant peri-
od will be seriously and erratically
affected.
The writer has used these mostly in
the form of cubes. Samples are fur-
nished to very exact dimensions, and
-a dead square.
When mounted in the shell of Fig.
1, they are very stable and uniform.
Care must be taken that no sharp
blow on the diaphragm crushes the
crystal but a reasonable amount of
care will prevent this. However, the theVariety! .. the Range! .. the Quantity!
metallic diaphragm lowers the sensi- Ready to Meet Your Needs Quickly!
tivity very much when used in air or
a gas, so the mounting shown in Fig. More Ward Leonard wire -wound resistors
s was developed. have been produced and used over more years
This mounting as a probe lias sev- than any other make. And records show that
eral advantages. The stretched rubber quite often a stock unit as the perfect answer to
of a thickness of about 0.3 thou- many an industrial need ... for application, for
sandths damps the crystal somewhat, performance, for economy, for quick delivery. For
but an absolute minimum. It has no
characteristics of its own to speak of example: there are 626 Vitrohm tubular stock
as a diaphragm. However, it does not values in fixed and adjustable types and...
do a very good job of protecting the many others ... promptly available! It pays to
crystal, and when used as a contact check into them ...
for your requirements.
microphone considerable care is re- Contact your local Ward Leonard
quired not to damage the crystal. Authorized Industrial Distributor.
When used on the body there is little Send now for handy
danger, but when working around met- Stock-Unit Catalog D -130
al parts that have sharp edges, great Ratio and rlectronk Distributor Division
care must be used. The sliding pro-
tective metal sleeve should be only WARD LEONARD ELECTRIC CO.
53 -R West Jackson Blvd., Chicago 4, U. S. A.
retracted when the crystal is actually
in use.
When used with a high- intensity
source, such as the Hartmann gener- AIIN/IQF/
ator, this unit gives out a volt or two //anar
to drive an oscilloscope, if within two
inches of the generator, and in the
I

'D/plat-a+ The sign of a

Ward Leonard
Authorized
Industrial
WARP LEONARD
maximum field. it will give the same Distributor RESISTORS RHEOSTATS RELAYS CONTROL DEVICES

with the parabolic reflector ten feet

away, sharply focused on the face of WHERE BASIC DESIGNS ARE RESULT -ENGINEERED FOR YOU

AUDIO ENGINEERING APRIL, 1949 39

www.americanradiohistory.com
AmericanRadioHistory.Com
 IN THE PROFESSION, AN HONORED NAME the crystal. However, this is only
true with about two leads about two
feet long and separated. If a six -foot
concentric cable is used the signal
drops rapidly for each foot of cable.
I. C For serious work a cathode follower
stage right at the crystal and imped-
ance matching itno the 52 -ohm line
is required.
Unit Used as Transmitter
Any PN cr. ttl will take 200 volts
of drive. If you wish to operate over
a wide band of frequencies this offers
some problems.
Suitable oscillators should cover
the spectrum from ten to a few hun-
dred kc or higher. The output must,
A-2 SPEAKER SYSTEM 8" DIA -CONE SPEAKER of course, be stepped up in voltage by
some means.
One means is a tuned circuit right
FROM THE LARGEST TO THE SMALLEST at the crystal. Due to its very small
capacitance, this is rather easy to do.
ALTEC LANSING IS FIRST IN QUALITY Somewhat more difficult is designing
a wide -band transformer to step up
To those familiar with the weighs every other con- world and for the elec- the 52 -ohm line to match the crystal.
history of Altec Lansing, sideration. In the design tronics industry general- Another answer is a driver tube at
its reputation in the top - and manufacture of a ly, the history of Altec
level quality field is easily balanced line of speakers Lansing is the clue to its the crystal, choke -coupled to it.
understood. Altec Lan- fulfilling every need for reputation. A warning on using the crystal as
sing is best known as the highest quality reproduc- a self- frequency determining oscilla-
designer and manufac- tion of sound -yet adapt- tor. By the time the crystal is loaded
turer of massive motion able to more confined Write for Descriptive Brochure with a diaphragm and damped by the
picture theatre speaker space, no compromise was - Altec Lansing Corporation,
1181 North Vine St., Hollywood mounting, it is seldom possible to
systems where highest made with quality. For sa, Calif., 161 Sixth Ave., New have it develop sufficient reactance to
obtainable quality out- the professional audio York 1.1, N. Y.
act as a normal oscillating crystal.
This is especially true if it is im-
mersed in water, where the Q often
falls to ten or less. The writer made
Choice of the Professionals a determined but unsuccessful effort
to lock such a crystal to an unstable
The MAGNECORDER o:eillat n.
Working Units in Pairs
Announcing the Two similar units work well in
either air or water. For a first ex.
new addition to riment, have them face to face and
the PT6 series of :..in them with a drop of water. The
tape recording - icnal transmission will be very good.
If they are used with only air in
equipment. between, very high values of stand-
ing -wave ratios will be noted as they
MAGNECORDER are moved apart. These may be 40 db
or so. These are obtained only when
PT6A they are dead parallel and dead con-
PT6 -JA
centric on the same axis.
Especially designed f o r If used in a test chamber, as shown
schools, industry, labora- Tape Recording At Its Best
in photograph, some interesting ef-
tories, smaller radio sta-
tions, and music lovers who
l'rcylleneA" lie,putiae 311 tu 15,0U11 cps. _ 2 db. fects can be observed. If we gradual-
demand the same quality Distortion 2% at full modulation ly fill the chamber with water, reflec-
inherent in all Magnecord tion from the underside of the water
equipment. Magnecord tape recording equipment has will be almost 100% and wave can-
Here Is Quali! y bean proven by months of constant use by cellation will occur. and by careful
the most critical users in radio broadcast filling drop by drop a range of signals
At A Price
of 60 db or more will be had. This
You Can Afford stations and recording studios.
means that a test cell such as this
For detailed specifications ,nid lG.- 0,1 no, r nearest_dislribulur u rilr: must be a complete housing with no
water surface on top. So the filling
MACNECORD, Inc. orifice must be closed by a plug whose
inner wall is flush with the inner wall
360 N. MICHIGAN AVE. CHICAGO I. ILLINOIS of the tube. With a suitable selective
reooivor. almost any of tliosv units

40 AUDIO ENGINEERING APRIL, 1949

www.americanradiohistory.com
AmericanRadioHistory.Com
 will pick up the ticking of a watch
up to 200 kc or so, even through sev-
eral hundred feet of wire. Some in-
teresting work night be done on
machinery n o i s e, especially high-
speed machinery. Most of the analyz-
ing now done acoustically cuts off at
rather ]ow frequencies.
It is somewhat of a shock to find
Weliz
that the ordinary telephone receiver, Chicago FULL FREQUENCY
when overloaded by loud speech, gives
out detectable energy up to 100 kc at
least. We might investigate direct
Output Transformers
pickup of noise above 20 ke from a
phonograph needle tip. The noise
spectrum direct from a grinding
=_ WATTS
ODiffWH6wHW+G

==_==
.0.4 e0.6 6l6'S
O. 10 C1MODf Of
wheel may tell us how many of the a CHICAGO OUTPUT
TRANSFORMERS
cutting particles are engaging the fr.9u.ncy

work, and might be used as a feed

01111111./-__-
-0
control. We know it will be difficult oo
for a reader of AUDIO ENGINEERING -02 tOM 15M 20
to locate a cockroach to chivvy with
ultrasonics, but if he is given his din-
rc

-0.a6_20 30 50
500 1M

FREOUENCY IN C.D.S.
2M
5M

ner on the diaphragm of one of these

units the noises are very unusual.
In the next article of this series No. 804. For use in high fidelity No. BO-7. For matching 600 or 150 -
we will discuss the design of suitable amplifiers. Couples push -pull 6L6's ohm line to a 6/8 or 16/20 -ohm voice
receivers, tuned voltmeters, and the
like. It is obvious to select n commun-
(7500 ohms, C -T) to 6/8 or 16/20-
ohm voice coil. Center-tapped ter-
tiary winding provides 15% inverse
coil. Frequency response within plus
or minus ldb. at full rated output
maximum power level, 30 watts.
-
ications type receiver for frequencies feed -back to reduce harmonic dis- Mounted in compound-filled drawn
1
above 550 kc or so, but many of them tortion to a minimum. In drawn steel case, 45/18" x 37/e" x 311A,",
are too sharply selective for some steel case, 45/ís" x 37/e" x 311/16 ", with Mounting studs and pin -type ter-
uses. The range from 10 ke to 550 ke mounting studs and convenient pin - minals same as No. BO-6 illustrated
requires very special design indeed. type terminals List Price, $23.00
. above. List Price, $22.00
There's a CHICAGO Output Transformer for Every Full Frequency Use
MEASURING PROCEDURES Max. Power
Cat. No. Application Impedance List

FOR MAGNETIC RECORDING B0.1 Single Plate to Line.... Pri.- 15,000 ohms at 0 to 10 ma d-C
Sec.- 600/150 ohms CT +20 dbm .313.00
¡porn page l'/] B0 -2 P.P. Plates to Line ....Pri.- 20,000 ohms
Sec. - CT
600 /150 ohms CT +30 dbm.. 19.00
um, the magnetic heads, the bias level, 80 -3 P.P. dates to Line Pri. -5,000 ohms CT
the signal level, the amplifiers, and the +Sec. -600 /150 ohms CT +40 dbm.. 17.00
180 -4 P.P. Plates to Line Pri. -7,500 ohms CT
speed of the medium. The last four items Sec. -600/150 ohms CT +43 dbm.. 18.00
can be. specified within reasonable limits. -
Pri. 10.000 ohms CT
B0.5 P.P. Plates to Line
Powever, it seems to be impossible at the Sec. -600150 ohms CT; 16/8/4 ohms. +37 dbm.. 24.00
present time to specify a standard medi-
!Tertiary winding provides 1 % inverse feedback. *Split and balanced windings.
um, or standard recording and reproducing
heads. This being the case, the frequency
responses of different media may only be
compared directly when these responses
Famous "Sealed in Steel"
are made using the same or exactly HIGH Q
equivalent magnetic heads. Needless to New Equipment Line
say, the testing procedure must follow cer- CHOKES The units described above
tain standard specifications. It is the pur-
pose of this section to state and explain for Dynamic are typical of CT's New
these standard specifications. Noise Suppression Circuits Equipment Line featuring
I. Speed of the Medium transformer engineering
a. Magnetic Wire. For magnetic re- Two precision -built chokes that's ahead of the trends
cording wire, the speed of the medi-
ium for frequency- response meas-
with inductance values of .8
and 2.4 henrys respectively
accurate to within ± 5% with
- in circuit design. Get the
full facts on the complete
--...6.1111.1111111ú

urements shall be two feet per line now. Check the fea-
second ± 2 %.
up to 15 ma d -c. Units have a
b. Magnetic Tape. For magnetic coated
minimum Q of 20. Remarkably tures, and you'll see why CT is called the
recording tape. the speed of the me-
compact, 114" x 2h." x 1'4". "Engineer's Transformer." Check the
dium for frequency -response meas- NSI-1
Ne. Inductance
.$ h
List
210.00
prices: see how little more these advanced
urements shall be 7.5 inches per NSI-2 2.4 h 10.00 units cost over ordinary transformers.
second ± 2%. Writs for Complete "New Equipment" Catalog Today
II. Signal Level
The recording signal level shall be
set at the Standard Recording Level.
In a given magnetic recording system,
the standard recording level is the val-
ue of audio current in the recording
head such that the resulting remanent
induction in the recording medium
produces an open -circuit voltage at the
terminals of the reproducing head 3501 ADDISON STREET CHICAGO 18, ILLINOIS
which is approximately 12 dh. lower

AUDIO ENGINEERING APRIL, 1949 41

www.americanradiohistory.com
AmericanRadioHistory.Com
 than the Saturated Signal Output, pro-
A DOUBLE NEEDLE vided that the frequency is the pro-
quency of Maximum Response and that
PICKUP CARTRIDGE the bias is set at the value of Oper-
ating Bias Current.
WITH TOP QUALITY PERFORM- Saturated Signal Output
ANCE CHARACTERISTICS The saturated signal outd»t is the
maximum voltage which appears at
-

,q THE MOST CONVENIENT the terminal of the reproducing head

e
NEEDLE REPLACEMENT when the field intensity in the gap of
ARRANGEMENT THAT HAS BEEN the recording head is of such magni-
DEVISED tude that a further increase does not
result in an increased reproduced sig-
THE ASIATIC LQD TURNOVER nal measured at the frequency of max-
imum response and at the operating
bias current.
TYPE CRYSTAL CARTRIDGE Peak Recording Level
The peak recording level shall be
that value of input which results in
Agentle pry with penknife or screw- Needle 10% total harmonic distortion at 400
driver, and ONE needle comes out cycles, as determined in accordance
of the Astatic LQD Double -Needle Car- with distortion measurement procedure.
tridge when replacement is necessary without disturbing the
other needle, without removing cartridge from tone arm. without
... Operating Recording Level
Needle The operating recording level shall
so much as the turn of a screw or use of other tools. Gentle pres- be such that modulation peaks do not
sure with the tip of a knife blade snaps the new needle into place. exceed the peak recording level.
Astatic type "Q" Needle. with three mil tip -radius, and "Q -33," Frequency el Maximum Response
with one mil tip -radius. are employed established types which
have been on the market for some time and are readily available. The rela-
... The frequency of maximum response
is that frequency of recorded magnetic
tively high vertical and lateral compliance of this needle design affords signal which produces a maximum
appreciable reduction in needle talk, contributing greatly to the new cartridge's open-circuit output voltage at the ter-
high standard of reproduction. minals of the reproducing head when
Listening tests by prospective users have prompted such comments as: a constant -current recording signal at
"Unquestionably the best we've heard." You are urged to make your own com- the standard recording level is used in
parisons, note the excellent frequency response particularly at low frequencies. the recording head.
judge for yourself the performance qualities and convenient utility of the Astatic Ill. Operating Bias Current
LQD Double- Needle Cartridge. Available with or without needle guards. The operating bias current shall be
Write for additional details. that value which results in maximum
output at a frequency of 200 cycles at
the standard recording leveL The ex-
THE ASTATIC CORPORATION, Conneaut, Ohio act value shall be the algebraic mean
1,1 Canada: Canadian Asiatic, Ltd., Toronto, Ont. of a higher and lower biasing current
Asiatic Crystal Drplen ataaafartared which results in a 1 db. decrease from
rader Brash Orations., Cs. bateau the output of maximum response.
IV. Amplifiers
a. Recording Amplifier. The recording
amplifier shall be designed and
connected to the recording head in
FREED such a manner that the signal cur-
rent in the head for constant vol-
tage supplied to the amplifier input
does not vary more than ± 1 db.
"PRODUCTS of EXTENSIVE RESEARCH over any specified useful bandwidth
of the recording system.
b. Playback or Reproducing Amplifier.
LINE OF HIGH FIDELITY OUTPUT TRANSFORMERS The frequency response of the play-
back amplifier shall be flat in terms
of voltage output within ± 1 db.
swam. fallowing Prlmat SA<wIM, SPI
.p. to . ul be Imw44. Imp.I..,. .oT Is..i
<itw Push 7Ar., SASSO, IIOA'e, MOO Nm. IM, 7», a0. 7I-laaN IS 4It over any specified useful bandwidth
7nA'a. :ra.
46.t.
I
!N, IN, M
of the recording system.
Pini P.aI p.A1 lAl'a, SALeM. MA', SMI Arne M, N. IS, IS. IFN0M IS .ett
7nA'a ¿An. /We. 75. S. I.S. 1.7 cycles
.at,
It should be pointed out that when
P... pull NS, ILO. INC 4 4 MM Nm. 7IJ000
FINO
A prlln.
7AS 500, 111, ISO.
700, LI la.
IS
high -impedance magnetic heads are
FINO Push II NS. ISO. aVI, M n IAS MM .Im, N. 10.3. 11 ».1000 IS .att. used, resonant effects may give an er-
/1551
A prima
Push SAS, It SN, St. 71. 10,115 Mm. SP 1»x
1
7, N. IS .att. roneous impression as to the unequal -
vwG1m ized frequency response of a magnetic
NtSt Feil SAS, N, IN. St. n,
¿uan,14, It
ISMS ekes. N. N IS. l0, 70.70S011 t.Att recording system. In the recording
N, IVC1a.. 7_f, 1,1 S. I.1 cycles
parallel IAI'e. SAIe', If00 Slme SOI, 111, I50, ».NON 4 +ta head, the resonant effect may result
1141 Push
*OA
P
a IL,.7, 100, 126. SO <Rlt
in a gap field strength which is con-
11141 P.r p lAr, OAte', 7100 eh., N, N, IS, 10. NM
70 4.Alt
siderably higher at the resonant fre-
I

N0A'a, ,Ar... ILI 7 f, L, 1.1, 17 cycle.

FINO P.M pull SU or
Peel pull parallel Iu
»M AOrna 110,
IN, at M
)*7,170, N 70040 N .An.
quency than at other frequencies. In
11N7 P., pull StS or 7100 elms N, N, t. 10 N.NaM N wtt the playback head, the resonant effect
1 Pul pull parallel aL1 7.S. S, 75, 1 cycle.
may account for as much as 6 or 8 db.
higher response at the resonant fre-
quency. This may be a desirable meth-
TOROIDAL INDUCTORS od of obtaining post- emphasis charac-
teristics of a magnetic recording sys-
,, t I... tem but does not tend to improve the
S MCI 1,801111 MS .
signal -to -noise ratio of the system.
loos
In making frequency -response measure-
ments of the medium, it is therefore rec
se 347,7 2,8031 137.2
sos
se 147
TS wm ::I:I;
tea Imes .«al ommended that

Coils for Dynamic Noise Suppraasors

200 662

NY
..I.ar
.....t
i.iii
I-011i
iur
m
100 N. II:: iiI
ns
a
3.
Op
(a) Signal level be that specified as
Standard Recording Level;
(b) Bias be that specified as Operating
Ni, INC gh i N.tlat :Ia1r Bias Current;
N.. 1551
I
LI.O 162
S, N.11 Ilse
lo te
1. solo
(c) Amplifiers meet the requirements
as specified in Section IV:
(d) Measurements should extend either
FREED TRANSFORMER CO., Inc. side of the frequency of maximum
responie until noise becomes the
DEPT. A.G. 1718 -36 WEIRFIELD ST., BROOKLYN 27, NEW TOR

42 AUDIO ENGINEERING APRIL, 1949

www.americanradiohistory.com
AmericanRadioHistory.Com
 limiting factor or the output is 20
db below that obtained at the
frequency of maximum response.
In making overall frequency -response
measurements of a magnetic recording
system, the same conditions as above shall
apply, except the amplifiers shall be those
used in the system.
2. DISTORTION
In measuring the distortion of a mag-
netic system, or any system where a mov-
ing medium is involved, certain precau-
tions must be observed in order to obtain
a true distortion evaluation. Variations in
speed of the medium may cause frequency
and phase shifts which exceed the limita-
tions of the measuring equipment. This
is especially true if the equipment is of
the type where the fundamental is filtered
out by means of a sharply tuned filter and
the residue measured, or where the in-
dividual harmonics are selected and trans-
mitted through a bagd -pass filter of only
a few cycles in width. It is believed that
the band pass of the filter should be
broad enough to permit frequency changes
of the order of at least plus and minus
5 percent. If harmonic distortion meas-
urements at only one frequency are con-
templated, it is suggested that 400 cycles INSTRUMENTS
be chosen as the frequency, since distor-
tion measuring equipment which fulfills that STAY ACCURATE
the requirements stated above exists.
Harmonics above the fifth may not be Soft iron pole pieces and full
too significant, and if such is the case, bridge construction are only two
the playback system need only be com- of the design and production
pensated so that the overall response is superiorities which have made
flat within one db from at least 400 to the SIMPSON name synony-
r 2000 cycles. When making distortion mous with perfection in panel
measurements, the recording current meters.
should be held constant as recommended Whatever your technical
for frequency -response measurements. In problems are the SIMPSON
order to minimize the high- frequency Laboratories will help you
noise, so that is is not an appreciable part work them out.
of the distortion reading, it may be de- Meters available in sample
sirable to permit the high-frequency end quantities at your nearest Radio
to roll off above 2000 cycles. Parts Jobber.
Obviously distortion measurements may SIMPSON ELECTRIC COMPANY
be made at any recording level, and many 5200 -5218 W. KINZIE ST.
CHICAGO 44, ILLINOIS
measurements should be made at different
In Canada: Bach -Simpson, Ltd.,
recording levels and with various amounts London, Ont.
of biasing current in studying the charac-
teristics of the system. Such a study per-
mits a more accurate determination of
the normal recording level and operating
bias.
The recording level is usually not too
important from the viewpoint of the audio
power, as the actual power required is
very low and more power, if needed, can
easily be obtained. Output voltage from
the magnetic head, on the other hand, is
low and requires considerable amplifica-
tion, so that it may be of greater signi-
ficance when comparing media. It is,
therefore, suggested that when making
distortion measurements both input and
output levels be given.
It is therefore recommended that to-
tal harmonic distortion measurements be
made
(a) At 400 cycles (measurements at
other frequencies may be made and
so indicated, but figures of the
400 -cycle distortion values should
always be included):
(b) With a system which is flat within
one db from 400 to at least 2000
cycles;
(c) Using the value of biasing current
as defined by Operating Bias Cur-
rent:
(d) With inputs 6 and 12 db below
the peak recording level.
3. NOISE
a. System
In order to specify noise in a manner
that shows the capability of the equip-
ment, two measurements are recommend-
ed: First, a "high- frequency" measure-

AUDIO ENGINEERING APRIL, 1949 43

www.americanradiohistory.com
AmericanRadioHistory.Com
 ment which excludes hunt and other low -
frequency noises and evaluates the effec-
MODEL 40:11 -11 PROGRAM EQUALIZER tiveness of the Erase, the result of the
addition of Bias (used during recording),
and the high -frequency noise present in
the system; the second method includes
the entire frequency spectrum covered by
the system and is therefore an "over -all"
measurement.
For the high -frequency measurement, a
250 -cycle high -pass filter should be used
to minimize hum and other low-frequency
noises. The equipment noise. with the me-
dium not running, should be at least 10
db below the value measured with the
medium moving, in order to obtain reason-
able accuracy of system noise measure-
ments. If this is not the case, both meas-
INSERTION I.O%S ONLY 14 DR.! urements, "equipment" and "system high
Capable of providing variable regulation over a range of 16 DB. attenu- frequency," should be stated.
action and 12 DB. equalization in calibrated and detented 2 DB. steps at Since the measurement is usually one
both ends of the audio spectrum, the 4031 -B Program equalizer is one of of comparison, it is recommended that the
the most advanced units on the market today. comparison be with the reproduced out-
Designed to fit the needs of motion picture, recording and broadcast put obtained with the peak recording level
industries, this distortion -free equalizer can be cut in or out without as defined previously, and the noise be
changing the signal level at the center of the range. Variable high -fre- stated as so many db below this value.
quency positions are selected at 3, 5 and 10 KC. by a panel key. A separate The frequency range covered by the sys-
control permits independent equalization and attenuation over the low - tem is significant in noise measurements,
frequency spectrum. Designed with a constant "K" circuit, the impedance and it is recommended that the playback
remains constant over the entire range of control. system be at least equalized flat within one
db between 200 and 2000 cycles. The
Toroidally wound coils are used to eliminate hum pickup. Controls specified range should be expressed as ex-
may be operated while the program is in progress without causing clicks tending to the frequency at which the
or apparent change of average level. output drops 15 db below the flat response
Send for literature and complete set of curves. portion. For high -frequency noise meas-
urements, the 250 -cycle high -pass filter
will, of course. determine the low- frequen-
CINEMA
ENGINEERING COMPANY
cy cutoff, and the range would be speci-
fied as being from 250 cycles to some
frequency where the output is 15 db be-
low the flat response portion.
1510 W. Verdugo Ave. Burbank, Calif. For an over -all noise measurement of
Cable Addreis: CINENG BURBANK the system which includes low- frequency
noise, such as hum, the 250-cycle high -
pass filter should be removed and the
noise measured as before. The frequency
range should be stated as extending from
some low frequency, which is 15 db below

Announcing the flat response level, to a high frequency,

which is also 15 db down.
It should be noted that noise measure-
ments require about the same equaliza-
tion as distortion measurements. and it
may, therefore, be possible to use the
TELEVISION INTERFERENCE same equipment by including a 250 -cycle
high -pass filter, since the distortion meter
of the type available is also designed for
Its Causes and Cures noise measurements.
In making both the overall and high-
frequency noise measurements, the medi-
A new Handbook by Radio Magazines, Inc., covering in detail the um should be erased and bias applied as
important facts of TVI. The TVI Handbook is edited to fill the pressing normally done in recording. but without
signal.
requirements of amateurs and other technicians confronted with the it is therefore recommended that when
problems of TV interference, or otherwise unsatisfactory television making noise measurements pertaining to
reception. Included in its thorough treatment of causes and cures are the system
a comprehensive set of TV screen photos depicting all types of la) The medium should be erased and
reception, many case histories, preventative design data, and other bias applied as is normally done
in recording.
equally pertinent facts. It is a vital publication for radiomen wherever (b) The playback system he compen-
TV is on, or about to go on the air. sated flat within one db from 200
to at least 2000 cycles.
Price 50c plus I0c postage, or order from your local dealer. (c) The reference signal he 400 cycles
recorded at the peak recording
level and the noise expressed in
CO-Radio Magazines, Inc. db below this level.
342 MADISON AVE., New York (dl A high -pass filter cutting off fre-
17, N. Y. nuencies below 250 cycles be used.
(e) The frequency range be stated as
Enclosed find $ from 250 cycles to the frequency
for copies TVI Handbook at which the response is down 15
Name dh from the flat response portion.
.

Note: If the equipment noise (medium

not moving) is not 10 db or more below the
Address system noise, both values should be stated.
When making noise measurements of the
City Zone State overall system, which would include
"hum." the procedure outlined for system

44 AUDIO ENGINEERING APRIL, 1949

www.americanradiohistory.com
AmericanRadioHistory.Com
noise should be followed, except that
(a) The 250-cycle high-pass filter not

An EASY and ACCURATE Way to

be used.
16) The frequency range be stated as
extending from the low frequency
which is 15 db below the ttat re-
sponse level to the high frequency

b.
which is also 15 db below.
Medium
Measure Audio Frequency Voltages
Where a noise measurement which
properly evaluates the capabilities of a
medium is wanted, great care must be
taken in erasing the medium prior to the
noise measurements. It has been found
that asymmetry of wave shape of erase
and bias of the high -frequency supplier
affects the resulting noise. Therefore, to
avoid possible errors due to such an ef-
fect, it is recommended complete erasure
be obtained by the use of a strong low -
frequency (60- cycle) magnetic field (so-
lenoid coil structure), having gradual de-
creasing strength where the medium leaves
the field. Neither high -frequency erase or
biasing fields should be applied after the
low -frequency erase, and every effort
should be made to completely demag-
netize the reproducing head or any other
magnetic material which may be in con-
tact (or sufficiently close to cause mag-
netization of the medium). before meas-
urement. The reference signal of 400
cycles should be recorded on a separate
section of the medium or the reference
level established immediately prior to the
low- frequency erase. Since equipment hum
should not be chargeable to medium
noise, a 250-cycle high -pass filter should
be used during measurements.
It is therefore recommended that when
making noise measurements pertaining to
the medium
(a) The playback system be compen- Ballantine
Model 300
sated flat within one db from 200

(b)
to at least 2000 cycles.
The reference signal of 400 cycles
SENSITIVE
be recorded at the peak recording
level and the noise expressed in db ELECTRONIC
below this value.
(c) A high -pass filter cutting off fre-
quencies below 250 cycles be used.
VOLTMETER
(d) The medium be erased complete- Featuring c logarithmic
ly, using a strong low- frequency
field if necessary. Voltage Scale
(e) The frequency range be stated as and
from the cutoff of the filter, 250 Uniform Decibel
cycles, to the frequency at which Scale
the response is down 15 db from
the flat response portion.
Note: if the equipment noise (medium
not moving) is not 10 db or more
below the system noise (medium
moving), high values of noise should
be given.
Submitted by:
Dr. S. J. Begun. Chairman
Mr. L. C. Holmes
Designed for the measurement of AC Voltages from .001 Volt to
Mr. H. E. Roys 100 Volts over a frequency range of 10 to 150,000 cycles. Accuracy
of readings is =2`7o at any point on the scale. Very stable calibra-
DISC RECORDING tion- unaffected by changes in line voltage, tubes or circuit constants.
[from page 1.31 Range switching in decade steps -easy to use -only ONE scale to
ful copy. Also, when making record- read. Output jack and output control provided so that Voltmeter
ings purposely for dubbing, lower can be used as a high -gain (70 DB) high -fidelity amplifier. Acces-
levels are used in order to take ad- sories available to extend readings up to 10,000 Volts and down to 10
vantage of the reduced cutter distor- microvolts. Precision Shunt Resistors convert Model 300 Voltmeter
tion, and care is taken to work at the
outside radii as much as possible. By to very sensitive direct -reading millianuneter. Write for complete data.
careful attention to response and dis- PRICE $200.00
tortion, it has proven possible to re-
record speech program as many as five
times with very little deterioration of
BALLANTINE 1) In addition to the Model 300 Voltmeter, Bal-
tantine Laboratories also manufacture Battery
Operated Electronic Voltmeters, R. F. Electronic
quality. The accuracy of the comple-
mentary NAB pre -emphasis and de- LABORATORIES, INC. Voltmeters. Peak to Peak Electronic Voltmeters,
and the following accessories- Decade Ampli-
emphasis networks allows the faithful BOONTON N. J. U. S. A.
fiers, Multipl;ers, Precision Shunt Resistors, etc.

AUDIO ENGINEERING APRIL, I949 4

www.americanradiohistory.com
AmericanRadioHistory.Com
 America's preservation of the original response
of any phonograph record or transcrip- BETTER COMPONENTS BUILD
leading tion recorded at outside sources. Good BETTER REPUTATIONS
engineers advantage is taken of this factor when
of important dubbing flip sides of phongraph albums
used in daily symphony programs. To
industrial keep the radius losses at 78 rpm from ..__-_
organizations doubling during this procedure, addi-
tional equalization is available during
the last minute of travel by moving
SWITCH the radius -equalizer control switch

to / from "off" to "low- fixed." By addition

of the "off," "low-fixed" and "high -
fixed" positions to the three basic
SPECIFY Clifienco
No product is better than its weakest com-
ponent.
-
That's why more and more manu-
facturers specify EI-Menco the mica capacitor
NEWARK curves, nine curves are available.
Although such a system of equaliza-
that always gives customer satisfaction and
builds better reputations.
tion is not applicable to all conditions CM 15 (9;12" x 1_ x
for of recording, it has proven remarkably For Radio, Television, Other Electronic
Applications
TV, Radio, Sound and practical for speech, for all network 2 to 420 mmf. capacity at 500v DCA
2 to 525 mmf. capacity at 300v DCA
Recording Equipment, recording, and for most music. The Temp. Co-efficient ±50 parts per million
Replacement Parts and per degree C for most capacity values.
tracing distortion generated by this 6 -dot standard color coded.
Electronic Tubes system does not become severe until CM 20 Available in "A ", "B ", "C" and
the last equalization step is reached, "D" characteristics
1500 mmf. intolerances down to
because... and even that is tolerable when played
2 to
±1'
voltage
or .5 mmf. at 500 D.C. working

NEWARK has the most complete on -the- with a good magnetic pickup capable 6 -dot color coded *Whichever is greater
spot stock of all standard equipment... of rejection o fall vertical components. CM 35 Available in "A", "B ", "C ", "D"
from the tiniest replacement part to the and "E" characteristics
most complete installation ... on hand in 3
The segues and overlaps of the sections Minimum tolerance 1%
of a half-hour show are unnoticeable 500 D.C. working voltage
giant centrally located stores, and tre- 6 -dot color coded
mendous warehouses! even on better -than -average home ARCO ELECTRONICS
NEWARK equipment is tops in quality, de- radios. Sole agent for jobbers and distributors
pendability, and performance. Everything Photographs by Rueben Lawson, Jr. in U. S. and Canada.
is Newark-tested and Newark- backed, so 135 Liberty St., New York, N. Y.
you know it's the bestI Write, on /inn letterhead,
I or sample, and catalog.
NEWARK delivers the goods...but fast!
24-Hour mail-order service...faster on
IM/ c/fI,C,ClULQ THE ELECTRO MOTIVE MFG. CO., INC.
phone or telegraph orders. Willimantic Connecticut
NEWARK offers the most complete essen-
[porn page 6]
tial reference book...l48 illustrated pages AUDIO ENGINEERING SCHOOL
full of dota on over 20,000 standard brand
as a reader of at least 13 radio mag- A practical Audio Engineering course in
azines every month, I can testify that Sound Fundamentals; FILM and MAGNET-
items, including IC Recording; Transmission Measurements;
Standard and L -P pickups and changers he is the first to do it. Monitoring and Mixing. Laboratories contain.
Wire, tope and disc recorders Hi-Fi sound The Columbia-Victor controversy Transmission Sets, Oscillators, Distortion
Sets; Harmonic Analyzer; Intermodulation
and P.A. equipment Speakers Mikes is so confused and befuddled by cor- Analyzer and other eqpt. Recording Studio
Accessories etc. assimilating Broadcast, Motion Picture and
porate names, reputations, advertis- Commercial Sound Recording. H. M. TRE-
ing, and quasi -engineering considera- MAINE, Pres -Dir.
Approved for Veterans and Foreign Visas.
tions that just about everyone in the
technical world has got to the point HOLLYWOOD SOUND INSTITUTE Inc
1010 -A Nn. Kenmore Hollywood 27. Calif.
Send of holding his head in his hands try-
TODAY ing to stave off apoplexy. Magazines 8 WIRE SHIELDED CABLE
for FREE and newspapers have skirted the sub- Two No. 16, Six No. 20 tinned, stranded.
new 1949 copper. rubber insulated. coded leads. Water-
ject, adding to the confusion by play- proof rubber jacket. Tinned copper armor
NEWARK ing up the befuddlement of all con- shield overall. New material -No. AES.
Lengths to 400 ft. Price 10c /ft., $90/Mft.,
CATALOG cerned. Canby's comments are the 9700 /101Eft., FOB Chicago warehouse.
first honest, objective, intelligent ones Trans -World Radkr- Television Corp.
9639 Aberdeen Bt. Chicago 21. UL
to appear. Phone.: AUst1e 7 -453R ENgiewood 4-4454
The comments are objective because
Also featuring a complete line of
RADIO AND TELEVISION KITS, SETS, -paradoxically -they are subjective. VERTICAL LATERAL
REPRODUCERS RECONDITIONED
PARTS and ACCESSORIES for homes, Everyone has so far forgotten that l'ypes 9 -A, 9-B, D- 93306, MI-4856, MI- 4871 -G
horns and hobbyists! the only purpose of any record is to Complete Stock of New Replacement Parts
24 -HOUR MAIL -ORDER SERVICE enable someone to listen to music! for All Types
This service is being used by leading radio
3 GREAT STORES! Uptown otl1S W. 45th St. And music is designed for and pro- stations and wired music companies from
Downtown at 212 Fulton St. in NEW YORK duces purely subjective reactions. The coast to coast. Factory prices prevail.
323 W. Madison St.in the heart of CHICAGO only objective view that can be valid VIBRATION SYSTEMS, INC.
1040 W. Fort St. Detroit 26, Michigan
MAIL NOW!
must be based on a subjective reac-
tion.
NEWARK
RADIO A tIIFYISION
Dept. D2 The tremendous, unbelievable, vital ear
NMI
I

fact about LP's is that you can ac-

NEWARK ELEC. CO.. 242 W. 551h St.. N.Y. C.
I,

Please send FREE 1949 Newark Catalog to

tually forget you are listening to a
SECURITY
I

I
Name.
Address
City
- State
record! For someone who has been a
record addict for years, elimination
of the high -pitched surface hiss, the
BONDS

Now'
mental picture of the needle travers-

46 AUDIO ENGINEERING APRIL, 1949

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AmericanRadioHistory.Com
ing a fast -moving disc, and all the
other nerve-shattering disadvantages
Mr. Canby mentions is like finding a
diamond on the street. You can listen
to the music-and not worry. I have
bought about 15 LP's since Septem-
J/oc(linj Action
ber and will never buy another 78. I
have even duplicated some of the mu-
for all TV Cameras
sic I already had on 78's and the dif-
ference makes the LP music sound
and feel like a new, unfamiliar com-
"BALANCED" TV TRIPOD
Pat. Pending
position.
No matter how good Victor's disc
sounds (and they do sound good
I've tried them) no one can convince
- This
and
tripod
was engineered
designed expressly to
me that Beethoven scored a pause in meet all video camera re-
the orchestration every 4'/s minutes.
As long as the pause is there, it isn't quirements.
Beethoven -it's a "canned" imitation.
I regret to say that I don't like Previous concepts of gyro
the new cover design as well as the and friction type design have
old. The magazine, however, is defi- been discarded to achieve
nitely keeping up its standard. absolute balance, effortless
Richard H. Dorf
75 W. 48th St., operation, super- smooth tilt
New York City and pan action, dependabil-
ity, ruggedness & efficiency.
PRODUCTION TAPE RECORDING
Below:
[from page 21] 3 wheel portable
Details concerning the manufacture dolly with balanced
TV Tripod mounted.
of additional such machines have not
been completed.
With the new machine, tape can be
recorded with a single magnetic pat - Complete 360° pan without
tern in the center, or with a double ragged or jerky movement is
pattern of two magnetic paths side - accomplished wits effortless con-
by -side on the tape. trol. It is impossible to get any-
One path plays as the reel unwinds thing but perfectly smooth
forward, the other path functioning pan and tilt action with the
when the tape reverses, which is ac- "BALANCED" TV Tripod.
complished automatically in a frac- Quick-release pan handle adjust-
tion of a second. The double pattern ment locks into position desired
affords twice the playing time with by operator with no "play" be-
the same amount of tape. tween pan handle and tripod
The new multiple recording ma- head . Tripod head mechanism is
chine is designed so that it can re- rustproof, completely enclosed,
cord either the single or double pat- never requires adjustments,
tern type of tape. It can record both cleaning or lubrication. Built -in
paths on the double pattern tape spirit level. Telescoping exten-
simultaneously. In addition, it can sion pan handle.
be adjusted by switch control for re- Write for further particulars
cording different length reels, and
for different speeds.
Reels having 600 feet of tape,
double pattern, and a playing speed AMERA EOUIPU1EI1T
1600 BROROWR9 aEW YORK CITY
Ce
of 834 inches per second can be turned
out at the rate of 48 per hour, each
reel having a full hour's playing time.
Reels with 1,200 feet of tape, double W A N T E D Written by a foremost Audio design engineer-
pattern, and a playing speed of 7% W Electric Vacuum Tulle, Types 101F.
inches per second can he turned out 102F, 272A or B. 310A er B. 311A. 312C,
323A. 325A. 329.A. 34 +A, 349A. 352A, Elements of Magnetic Tape Recording 25e
at the rate of 32 per hour, each reel 373A. 374A, 393A. 394A. 121A Ballant Lampe.
and 999 Applications
Manual 25e
having one hour of transcribed ma- Direct-Coupled FM -AM Amplifier 3t in postage
Box 100. Audio Engineering. 20 Steps to Perfect Amplification
terial.
In addition, 1,200 -foot tape reels Thousands Sold I
W A N T E D Famous Toin -Trax Instruction Book!
designed for playing speeds of 15 and W. E. Carrier Telephone and Carrier Tele- Practically a course in tape re.
30 inches per second can be produced, cording. 30 diagrams, illustrations.
graph Equipment and component.. Filtere. e9., ,

it was announced. Master transcrip- repeating coils, transformers. equalizers. ,',.,e "'..R'aiad <Me. .rl
tions from which the tape records are Type CFI. CF2, Il, C, and 01 her carrier
$250
(a e
m
a,.
1

made, can be played at varying speeds, equipment. telephone and telegraph repeat-
to fit the requirements of the job. ers. Box 101, Audio Engineering.
398 -4 Broadway New York 13, N. Y.

AUDIO ENGINEERING APRIL, 1949 47

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AmericanRadioHistory.Com
 CUT COSTS ON ADVERTISING
FILM PRODUCTION INDEX
f
for Altec Lansing Corp. 40
16 mm Amplifier Corp. of America ._ 46
Arcturus Engineering Corp. 29
AND Arnold Engineering Co. I

Astatic Corporation, The 42

35mm Audio Development Co. 6
1000' Audio Devices, Inc, Cover 2
Audio Instrument Co. 36
capacity Audio Research Associates 30
Audio & Video Products Corp. 5
TO MAKE ROOM, were sacrificing
these efficient, automatic film cleaning Ballantine Laboratories, Inc. _..45
machines -worth $400 only $194.50

BETTER BUY THESE TOO

Stop Watch Film Timers S 24.75
Camera Equipment Co..
Chicago Transformer Corp.
46
41 Ofil
86 mm Cinephone Recorder 495.00 Cinema Engineering Co. 44
Zoomar A 16mm Lens 1175.00
8' Tripods for Spots, etc
Auricon 16mm Recorders
Soud Moviola Composite 35 mm
9.95
535.00
395.00 Electro Motive Mfg. Co., Inc. 46
MAXIMUM
B & H Sound Printer. Model D
Bardwell 5KW F ..
Micro 16 mm Sound Readers
_..
1995.00
111.75
147.50
Electro- Voice, Inc. 27 PERFORMANCE
Houston 16mm Processors
Synchronous Motors 1/12 H.P
3485.00 Fairchild Recording Equip. Jim Lansing Signature
57.50 Speakers will provide an
For details and catalog STUREL.4B Corp. 33 almost unbelievable real-
write Dept. G Freed Tran:former Co. 42 ism. The experience
gained through a quer-
S.O.S. CINEMA SUPPLY CORP, ter of a century of lead-
602 WEST 52nd ST., NEW YORK
Hartley, H. A. Co., Ltd. 48 ership in the sound
19, N.Y.
41arvey Radio Co., Inc. 34 reproduction field has
Hewlett -Packard Co. 2 gone into their develop-
Hollywood Sound Institute 46 ment and design. For
maximum dynamic range
HARTLEY- TURNER and frequency response
Lansing, James B. Sound, Inc. 48 compare Jim Lansing
Highest Fidelity Service. Signature Speakers be-
LeBel, C. J. .._ .. _ 30
We lee ,. ,rd ". in its r, fore you buy.
meaning a desire on our part to give you
honest information and advice on the whole
subject of high -fidelity. Traditionally the Magnecord, Inc. 40 MODEL D -130
speaker a. the weakest Enk in the chain.
The Fla rtley-Turner 215 Speaker, at the
"ridico!o'.s" price of $39.50 is one of the Newark Electric Co., Inc. 45 Designed especially
ntionccnl. We q.:ote "ridiculous" because for music systems
several c.'.: respondents have called it so for
a "real high-fidelity speaker'.' But the 215 and public address
Speaker k designed for superlative perform-
Pickering & Co., Inc. '' I
use. Has exception-
ance rez:ardless of cost. Presto Recording Corp. Cover 3 ally high efficiency.
By a happy chance (or our skill ?) you get Professional Directory ...30
superlative performance at the price of a Recommended for
mass -production unit.
operation and fre-
The service we offer cannot cost You more Reeves Soundcraff Corp. 7 quencies from 60 to
than 51. That is the price we ask for "New
Notes in Radio". a non-partisan guide to 6500 C.P.S. with a
the whete subject of high-fidelity reproduc- Shure Brothers, Inc. 35
tion, supplemented by data- sheets giving full MODEL D -1002 maximum usable
details of suitable radio units and amplifiers. Simpson Electric. Company 43 TWO WAY SYSTEM range of 40 to 15000
In Britain we sell these units complete, or Somerset' Laboratories, Inc. 32 Designed especially for C.P.S.
offer them as home-construction kits, for
our customers are on our door -step. To be S. O. S. Cinema Supply Corp. 48 F M Monitoring and high
fair to you who are so far away we tell you quality home sound repro-
all aho':t them. You can repeat their per- duction. Housed in a
formance with American components. What Terminal Radio Corp. 37 beautiful console type
you cannot copy is the 215 Speaker. Nor.
for that matter, can any other country, for Trans -World cabinet.
it embraces the experience of twenty years' Radio -Television Corp. 45 Write for Descriptive
specialisation in one precise field of en- Catalog containing com-
deavour. But the price we ask puts it with -
in reach of everyone. United Transformer Corp. Cover 4 plete specifications.
Do remember. however, that the U. S. Recording Co.. 30 SEE YOUR JOBBER
price is merely incidental. With us OR SEND DIRECT
everything is subordinate to per-
formance. Vibration Systems, Inc. 46
Catalog free on request.
JAMES B. LANSING
Ward Leonard Electric Co. 39
H. A. HARTLEY Co., Ltd. Wells, Winston 30 SOUND INC.
152, HAMMERSMITH ROAD, Western Electric Company 8 7801 HAYVENHURST AVENUE
LONDON, W. 6, ENGLAND White, S. Young 30 VAN NUYS, CALIFORNIA

48 AUDIO ENGINEERING APRIL, 1949

www.americanradiohistory.com
AmericanRadioHistory.Com
 Here's the
Recorder
You asked for!

The best features of Presto's dual motor

gear drive with the overhead mechanism

and turntable of the famous Presto 6 -N.

`TES, engineers have often asked us for a

1 compact, economical yet high -quality re-
I
corder. Now you may have it in the Presto
66 -G for standard and microgroove recording.
Here is a unit ideally suited and priced for
the typical broadcast station or large tran-
scription manufacturer. List price, Standard
Model, $996! ($70 additional for micro-
groove.)
Here's perfection in total speed regulation
and very low mechanical disturbance, thanks
to the standard Presto dual motor gear drive.
Here's high- quality recording, too, for the
66-G, of course, includes the Presto 1 -D cut-
ting head.
You'll find 66-G equal to the most exacting
recording tasks when used with suitable am-
plifiers such as Presto 92 -A recording ampli-
fier and 41 -A limiter amplifier.

FOR HIGHEST FIDELITY ... IT'S PRESTO DISCS

Microgroove, even more than standard recording,
demands a perfect disc. The answer is Presto. For,
sixteen years ago, Presto made the first lacquer -coated
discs ... and today Presto discs are first in quality.
READY NOW: Magnetic Tape Recorder

You probably saw Presto's c. snücrqu ;lily ma .-

netic tape recorder at the Show. If not, be
sure to see it in Presto's room at the N.A.B. Con-
vention in Chicago.
RECORDING CORPORATION

1 Paramus, New Jersey

Mailing Address P. O. Box 500, Hackensack, N. J.
In Canada: WALTER P. DOWNS, LTD., Dominion Sq. Bldg., Montreal
WORLD'S I..I RCLF7 1I:1.V('FACT('RF.R OF I.VST.I.VT.4NEOUS SOUND RECORDING FQUIPI!ENT .I.VD DISCS

www.americanradiohistory.com
AmericanRadioHistory.Com
 U.T.C. Cor{lmercial Grade components
employ rugged, drawn steel cases
for units from 1" diameter to 300
V'A rating vertical mounting, .

permanent mold, aluminum castings

for power components up to 15 KVA.
Units are conservatively designed
... vacuum impregnated ... sealed
with special sealing compound to
insure dependability under
continuous commercial, service.

A few of the large number of

standard C.G. units are described
Universal units designed to match any rubes within the rated output below. In addition to catalogued units,
power, to line or voi,. cod. Output Impedance 509, 200, 50, 16, 8. 5.
3, 1.5 ohms. Primary impedance X300, 5000, 600.s, 7000, 8000, 10.000, special C.G. units are supplied to
14,000 ohms.
customer's specifications.
Type Asset lo List
No. Watts Typical Tube: Pelee
CVPI 1.2 43. 43. 45, 47, 2A3. 6A6, tiF6, 2/1.6 3 9.00
CVP -2 45, 2A3. 61.6, 6V6. 6115 14.00
CVP.3
30
6.
4.2,
46's, 50's, 300A'e, 6L6's, 601, 807 20.00 INPUT, INTERSTAGE, MIXING AND
CVP -4 125 800'., 801.5. 807'., 4.61.6'., 845' 29.00
CVP -S 500 ::1, 242A'., 203A's, 838's, 845'., ZB -120's 50.00 LOW LEVEL OUTPUT TRANSFORMERS
(200 ohm windings one balanced and con be used for 2S0 ohms)
CO Primary Secondary
Type Imps Impeding List
CG VARIMATCH LINE Ne. Application Ohms Ohms Price
131 plate to grid 15 000 135,000 3:1 ratio 8 9.50
TO VOICE COIL TRANSFORMERS
1 1

132 1 plate to 2 grids 15.000 135.000 centerlapped 10.00

The UTC '. ARTMATCH line to voice coil tr,nsformers will match any 3:1 ratio overall
voice coil or group of voice coils to a 50C ohn. line. More than 50
voice coil combinations can be obtained, as fella -s 133 2 plates to 2 olds 30.000 P W P 80,000 overall 12.50
1.0:1 rallo overall
.2. .4, .5, .62, 1, 1.25, 1.5, 2, 2.5, J, 3.3, 3.8. 4, 4.5,
134 Line to 1 grid 50, 200, 500 80,000 12.50
5, 5.5, 6, 6.25, 6.6 7, 7.5, 8, 9, 10, 11, 12, 14, 15,
hum- bucking
I!, 18, 20, 25, 28, 30, 31, 40, 47, 50, 63, 69, 75.
135 Line to 2 gride - 50, 200. 500 120,000 overall 13.50
Type Audio Primary beceneary List hum -bucking
Ne. .Vans Impedance Impedance Pries
CVL -1 15 500 ohms .2 to 75 ,hms 235 Line to 1 or 2 grids, 54, 200, 500 80,000 overall 17.50
hum -bucking: mul- ohms
CVL2 10 500 ohms .2 to 75 Come tiple alloy shielded
CVL.3 75 500 ohms .2 to75.0ms for low hum pickup
138 Single plate and low 15,000, 50, 200 80.000 overall 13.50
impedance mite or
line to 1 or 2 grids
CG VARIMATCH MODULATION UNITS Hum -bucking
Will match any modulator rubes to any RF load. 233 PP 605, 56. similar 30.000 P to P 25,000 overall 11.00
triodes to AB 45'.. .9:1 ratio overall
Primary impedances from 500 to 20,000 ohms 2A3'., 61.8',, etc.
Secondary impedances from 30,000 to 300 ohms
333 PP 605. 56. similar 30,000 P to P 7.500 overall 11.00
triodes to Seed bias .5:1 ratio overall
61.6's
List
Typleel Modulator Tubes Prie 433 1'P 43, 2A3. similar 5.000 P to P 1.250 overall 12.06
CVM0 12 25 30, 49, 78, 6A6, 53, 2A3, 6B5 8 8.50 tubes to Said bias .5:1 ratio overall
2 or 4 61.6'.
CVMI 30 60 6V6. 6B5, 2A3. 42, 46, 61.8. 210 14.00
CV M-2 60 125 801, 81.8, 808, 4-46, T-20, 1808 20.50 137 Mixing 50. 200, 500 50. 200, 500 10.09
CVM-3 125 250 800, 607, TZ-20, HIC-30. 85-T
845, 30.00 140 Triode plate to line 15,000 50. 200. 500 12.00
C1fM-4 300 600 50-T, 203A. 805, 838..T S5, 'LB-120 50.00 141 PP triode plates to 15,000 50. 200, 500 13.31
CVM-S 600 1200 805, HP-800. 204A. liK-354. 250TH s 115.00 line

150 VARICK STREET / NEW YORK 13, N. Y.

EXPORT DIVISION: 13 EAST 40th STREET, NEW YORK 16, N. Y., CABLES: "ARLAB"

For full details on this line, writ, for Cotato9

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