LAB $300 - World Radio History

StR NOVEMBER 1985 51.95

LAB TESTS: THE NEW $300 CD PLAYERS

SPECIAL IESI REPC, POLK'S SDA-SRS

SPEAKER SYSTEM

ALSO TESTED PROTON D540

INTEGRATED AMPLIFIER

CELESTION DL8 SPEAKERS

TANDBERG TCA 3008A

PREAMPLIFIER

on* T T

TO201, AA 311IASII101 4E02 X08 Od

H0r1dNdedD W OlAdO dW

68030 fTPS L604i028 OAD 861,0it, ZOP II0I0-E******************

11

0

0

0

27 100 0627

..".3111111.E."r

Teac,

The T

eac P0-300

Com

pact Disc P

layerw

on't add anythingto your M

usic.N

o hiss. No pops.

No w

ow. N

o flutter.W

hich means nothing

comes through but the

music, pure and clear.

Random

mem

oryprogram

ming lets you

choose the selectionsyou w

ant to hear in theorder you w

ant to hearthem

. You can repeat,

edit, search, and seekw

ith the touch of afinger.W

hen music is your

passion, listen to Teac --

made purely for m

usic.

,nextrem

e

TE

AC

.C

IRC

LE N

O. 21 O

N R

EA

DE

R S

ER

VIC

E C

AR

D

BULLETIN

by Christie Barter and Gordon Sell

COMPACT DISC CHANGERPioneer is introducing an

"affordable" Compact Disc playerwith a magazine that can hold sixCD's. Up to thirty-two tracks fromthe six discs can be programmedfor play in any order. The unitwill have several repeat -playoptions and a full -function remotecontrol. The inexpensivemagazines are designed to doubleas CD storage boxes.

NEW CD CONCEPT FROM DELOSIn an effort to give

CDCompact Disc buyerstheir money's worth,Delos Records isabout to launch anew "Concert

DELOSLength" series ofCD's offering the

maximum playing time ofseventy -plus minutes. One of thefirst releases will feature theLondon Symphony under GerardSchwarz in an all -Beethovenprogram consisting of one of theovertures, the Piano Concerto No.4 with Carol Rosenberger assoloist, and the Symphony No.5.... Delos has also announcedthat it is abandoning the LP as aformat for classical music. Allnew classical titles will bereleased on Compact Discs only.

TOPS IN POPThe publishers of Billboard, the

record -industry trade weekly,have just come up with The Bill-board Book of Number One Hits,compiled by rock journalist FredBronson. It begins with (We'reGonna) Rock Around the Clock byBill Haley and the Comets, whichwent to No. 1 on Billboard's sin-gles chart on July 9, 1955-a date(and an event) many fans see asthe beginning of the rock era.

Since then there have been oversix hundred No. 1 chart singles,and this new history of hits givesa complete account of them all upto the 605th, USA for Africa's WeAre the World, which went to thetop of the Hot 100 in April. Phoneorders for the book can be placedby calling the publisher, Watson-Guptill, at 1-201-363-5679. Theprice is $14.95.

TECH NOTESFujitsu Ten and Toyota have

cooperated to develop anacoustically integrated soundsystem that will be built into1986 Toyota Celicas....Connecticut is considering a lawthat will require AM stereoreceiver manufacturers to identifyclearly which AM stereo systemtheir unite are designed for. Thisis to help the consumer realizethat there are different,incompatible AM stereo systemsand that the radio he buys maynot deliver stereo from a local AMstereo broadcaster.... In an effortto boost the 8mm video-tapeformat, Sony has announced linesof prerecorded music videos andchildren's programming. Kodak isplanning similar moves, but the8mm format has gotten a verycold reception from video rentaland retail dealers who say theyalready have too many inventoryproblems. .. Matsushita'sFranklin Park, Illinois, plant willbegin manufacturing car stereounits next spring.... SharpElectronics is planning to enterthe U.S. car stereo market with aline of remotely controlled unitsdesigned to be theft resistant....After many years ofdiscussions about High DefinitionTV (HDTV) systems that wouldmake current types obsolete,several Japanese and AmericanTV makers are turning to what isbeing called enhanced definition(sometimes EDTV) NTSC systems,which offer greatly improvedvertical and horizontal resolutionwhile retaining compatibilitywith the hundreds of millions ofTV sets now in use. Experts seelittle need for HDTV for 27 -inchand smaller TV sets, but EDTVcan make dramatic improvementsin pictures this size.

MUSIC VIDEO PRICE CUTSDuring the upcoming holiday

season at least three home videocompanies are dropping theirsuggested list prices on selectedtitles. Vestron is reducing theprice on a number of itsbestsellers to $24.95, includingmusic videcs by Michael Jackson,the Rolling Stones, LindaRonstadt, and Neil Diamond.

Disney is cutting its price ontwenty-one feature films,normally priced as high as$79.95, to $29.95. MGM/UA ismatching Disney's price cut onseveral videos, including theoriginal Wizard of Oz soundtrack,with a specially "enhanced" audiotrack, as well as music videos bythe Everly Brothers and PinkFloyd MCA Home Video hasreduced the suggested retail priceon all of its music videos to$29.95, including titles, like JesusChrist Superstar and The Piratesof Penzance, previously priced at$59.95 and more.

LATIN CD'S FROM RCARCA Records has begun to issue

some of its extensive Latincatalog on Compact Discs. Popularalbum titles like "Reflexiones" byJose Jose and "Como to quieres"by Jose Feliciano are includedamong the first releases alongwith an all-star sampler featuringhits by Juan Gabriel, LuciaMendez, Rocio Durcal, and MiguelGallardo.

ELECTRONIC EAR PROTECTORListening to headphones at high

continuous volume levels cancause hearing loss. The AmeritecEarsaver will shut off the soundwhen the volume exceeds 85 dBsound -pressure level. Normal playwill resume when the volumedrops down to an acceptable level.The company claims the detectionlevel is accurate within ± 2 dB forphones of various impedances.The device is particularlyrecommended to joggers andcyclists who listen to music withheadphones but still need to beable to hear traffic. U.S. Patent No.4,538,296 was granted to theinventors of the Earsaver.

With R

adio Shack's D

igital -Ready M

ach Tw

oO

ur finest speaker system tow

ers above the competiticn. Its m

assive 15"w

oofer delivers a dramatic sonic im

pact that smaller speakers can't m

atch.W

hether you're listening to heavy metal or w

atching Discovery thunder off the

pad, you can actually feel the bass! Ideal for digital audio, the Mach T

wo handles

160 watts of pow

er, and liquid cooling protects the midrange and tw

eeter voicecoils. A

nd for great looks, the 28" high enclosure has a real walnut finish. O

nly219.95 each including 5 -year lim

ited warranty. C

ome in and hear w

hat you'vebeen m

issing. As little as $21 m

onthly on Radio S

hack/CitiLine credit buys a pair.

Rath. Jbaek

The T

echnology Store"

EN

VIS

ION

Of T

AN

DA

CO

RP

OR

AT

ION

Prices apply at participating R

adii Shack stores and dealers. C

itiline is an open-endedcredit plan from

Citibank. A

ctual payment m

ay vary depending on balance. Mach T

wo

shown w

ith grille removed

Stereo Review, BULLETIN 1 TECHNICAL TALK 34

EDITORIAL 4 POPULAR MUSIC 101LETTERS 6 CLASSICAL MUSIC 119NEW PRODUCTS 15 VIDEO REVIEWS 134AUDIO Q&A 18 ADVERTISERS' INDEX 149VIDEO BASICS 24 THE HIGH END 152

EQUIPMENTCAR STEREOThe Audiovox Hi -Comp HCC 2250 receiver/cassetteplayer in the lab and on the road

by Julian Hirsch and Christopher GreenleafHIRSCH-HOUCK LABS EQUIPMENT TEST REPORTSProton D540 Integrated AmplifierCelestion DL8 Speaker SystemTandberg TCA 3008A PreamplifierNikko NR -750 ReceiverPioneer CT-A9Z Cassette DeckCanon VR-40A VHS Hi-Fi Video Cassette RecorderTHE NEW $300 CD PLAYERSLab tests of five players reveal extraordinary valuein sonic performance by Julian HirschNEW LIFE FOR OLD RECORDINGSHow to tape your time -worn treasures by Ian G. Masters

SYSTEMSA prize-winning reader's installation shows that theaudio dollar is inflation -proof by William Livingstone

POLK'S SDA-SRS SPEAKER: A SPECIAL TEST REPORTThe Polk flagship system offers new refinements on theStereo Dimension Array design by Julian Hirsch

MUSIC

28

39

71

81

84

86

KATRINA AND THE WAVESHands across the sea-another triumph ofBritish -American cultural relations by Ann FerrarBEST RECORDINGS OF THE MONTHBach's Magnificat, Style Council, BartOk's The MiraculousMandarin, the Weather GirlsRECORD MAKERS 150The latest from Willie Nelson and Ray Charles, AndrePrevin, David Bowie and Mick Jagger, Julian Lennon, and more

78

93

page 151

page 71

,)age 78

The Polk SLA-SRS speaker on curcover is tested in this issue, page 86.

Vol.. 50 No. 11 NOVEMBER 1985 (ISSN 0039-1220) COVER: DESIGN BY SUE LLEWELLYN, PHOTO CY GROSS

COPYRIGHT 0 1985 BY CBS MAGAZINES, A DIVISION OF CBS INC. All rights reserved. Stereo Review, November 1985, Volume 50, Number II. Published monthly byCBS Magazines at 3460 Wilshire Boulevard, Los Angeles, CA 90010. Editorial and Executive Offices at One Park Avenue. New York, NY 10016; Telephone (212) 503-4000.Also publishers of Stereo Buyers Guide, Car Stereo Buyers Guide, Tape Recording Buyers Guide, and Video Buyers Guide. One-year subscription rate for the United States andits possessions, $9.98; Canada, $10.98; all other countries, $14.98, cash orders only, payable in U.S. currency. Second-class postage paid at Los Angeles, CA 90052, andatadditional mailing offices. Authorized as second-class mail by the Post Office Department, Ottawa, Canada, and for payment of postage in SUBSCRIPTION SERVICE: Forms3579 and all subscription correspondence must be addressed to Stereo Review, P.O. Box 2771. Boulder, CO 80502. Please allow at least eight ...mks for the change of address tobecome effective. Include both your old and your new address, enclosing, if possible, an address label from a recent issue. If you have a subscription problem, please write to theabove address or call (800) 525-0643; in Colorado, call (303) 447-9330. PERMISSIONS: Material in this publication may not be reproduced in any form without permission.Requests for permission should be directed to Irving Benig, Rights and Permissions, CBS Magazines, One Park Avenue, New York, NV 10016.

STEREO REVIEW NOVEMBER 1985 3

SPEAKING MY PIECE

by William Livingstone

Mad About Ads

MosT of the mail an editorgets is composed ofcomplaints from readerswho disagree with some-

thing they've read in the magazineand are angry about it. These days anumber of readers are makingheated complaints about ads.

Readers of general magazines ac-cept the fact that Time or Newsweekmay include many ads for productsthey have no use for. But readers ofmagazines about boating, photogra-phy, or hi-fi want them not just fortheir editorial content, but also forthe advertisements for products re-lated to their subject matter. If sucha magazine contains many ads forcars, cigarettes, or liquor, somereaders become sufficiently an-noyed to take pen, typewriter, orword processor in hand and fire offa letter to the hapless editor.

At the old Collier's magazinewhenever anyone protested againstliquor advertisements on religiousgrounds, the publisher respondedwith a sheet of Biblical quotationsabout Jesus drinking wine, servingwine to his disciples, or turningwater into wine.

The most abusive letters I get arethe ones from readers who think itis immoral for STEREO REVIEW toaccept ads for cigarettes. I can't, ofcourse, claim that Jesus or anybodyelse in Biblical times smoked, and Idon't think the people who are an-gry about cigarette ads in our pages

would be impressed that when Ismoked I used to put away betweenthree and four packs a day at dead-line time.

I have gotten a few rather huffyletters from readers who were an-noyed that our classified ads in-cluded a "Personals" section withsuch entries as "Asian women wantyou for friendship and marriage"and "Oriental beauties love menand music." The former owners ofthe magazine were deaf to my objec-tions to ads of this kind, but ourpresent owners, CBS Magazines, de-creed that the contracts with thepurveyers of Oriental beauties notbe renewed.

The last of those ads appeared inour September issue. I didn't evenhave to appeal to President Reaganto protect the interests of Americanbeauties who love men and musicand might want our readers forfriendship and marriage.

Even huffier than the complaintsabout the personals have been theobjections to the DAK advertisingsupplement in our September issue.There weren't many of them, butthey were intense. A couple of print-able ones are included in thismonth's letters column.

What those who complain aboutads seem not to realize is that thenumber of editorial pages dependson the number of ads. What a sub-scriber or newsstand buyer pays fora magazine often covers little morethan the cost of its distribution, andrevenue from ads is required for theproduction and printing costs. Themore ads, the more editorial pages.It's as simple as that.

The reason advertisers want tobring their message to readers ofthis magazine is that you are pre-dominantly young, affluent peoplewith a proven track record for buy-ing products advertised in STEREOREVIEW. DAK has been advertisinghere for several years, and it was onthe basis of your response that thecompany decided to place the spe-cial supplement in this magazine.You are known to be big spenders.

Small wonder the Oriental beau-ties want you. Now that they aredenied access to these pages, I feel alittle guilty for having protested thatthey lowered the tone of the book.Jesus would probably have beenmore tolerant. 0

ROBERT ACKART

Stereo Review

WILLIAM LIVINGSTONEEditor in Chief

LOUISE GOOCH BOUNDASManaging Editor

SUE LLEWELLYNArt Director

GORDON SELLTechnical Editor

CHRISTIE BARTERMusic Editor

DAVID STEINAssistant Managing Editor

WILLIAM BURTONAssociate Editor

MARGARET BRUENAssistant Art Director

BARBARA AIKENROCCO MATTERAEditorial Assistants

HENRY PLEASANTSLondon Editor

Contributing EditorsLOUIS MEREDITH

CHRIS ALBERTSONRICHARD FREEDPHYL GARLAND

CHRIS GREENLEAFDAVID HALL

JULIAN D. HIRSCHRALPH HODGESLARRY KLEIN

STODDARD LINCOLN

ALANNA NASHMARK PEEL

LINCOLN PERRYPETER REILLY

CHARLES RODRIGUESERIC SALZMANSTEVE SIMELSCRAIG STARKJOEL VANCE

ROMAN BEYERVice President and Publisher

ADVERTISINGAdvertising Director: Winston A. Johnson

(212) 503-5067National Manager: Richard J. Halpern

(212) 505-5070Eastern Manager: Charles L. P. Watson

(212) 503-5071Classified Advertising: (212) 503-5999Midwestern Office, The Pattis GroupAccount Managers: Arnold S. Hoffman

Dirk E. Barenbrugge(312) 679-1100

Western Office, W. J. Curtis & Assoc.Western Manager: Marge Doherty -Wilhite

(818) 784-0700Tokyo Office, Iwai Trading Co., Ltd.603 Ginza Sky Heights Building, 18-13,Ginza 7-Chome, Chuo-Ku, Tokyo, Japan 104Account Manager: J. S. Yagi

(03) 545-3908EDITORIAL CONTRIBUTIONS must be accompa-nied by return postage and will be handled with reason-able care; however, the publisher assumes no responsi-bility for the return or safety of artwork, photographs.or manuscripts.

Member Audit Bureau of Circulations

3PASTEREO REVIEW IS PUBLISHED BYCBS MAGAZINES, A DIVISION OF CBS INC.President: Peter G. DiamandisExecutive Vice President: Thomas M. KenneyExecutive Vice President, Magazines: Albert S. TrainaExecutive Vice President, Operations: Paul H. ChookSenior Vice President, Advertising: Michael J. O'NeillVice President, Editorial Director: Carey Winfrey

Senior Vice President, Robert F. Spillane; VicePresident, Finance & Administration, Robert J.Granata; Vice President, Circulation, Bernard B. Lacy;Vice President, Manufacturing & Distribution, MurrayM. Romer: President, CBS Magazine Marketing,Robert E. Alexander

4 STEREO REVIEW NOVEMBER 1985

NO OTHERHIGH -BIAS CASSETTE

CAN MATCH THESE NUMBERS:

01100 II 00 !Ig:TDK HIGH

POSITIONEXTRA

yr; FIRS METAL PARTICUEto7;z. FOR HIGH BIAS RECORDING

HX$. so

EXTENDED HIGH END -11CiH MOL HICi4-1 0:J fP.JT PtABORATORY STANDARD CASSETTE MECHANISM

Other Type II (high -bias) cassettes are a lcngway from home when it comes to reproducingthe pure, dynamic sounds of digitally encodedmusic sources.

But, number for number, TDK HX-S auciocassettes are number one.

Their exclusive metal particle formulationreproduces a wider dynamic range and higherfrequency response. This enables HX-S tocapture all the crispness and purity of digi:alperformance on any cassette deck with aType II (high -bias) switch.

With four times the magneticstorage ability of other high -bias cassettes, HX-S virtuallyeliminates high frequency

saturation, while deliver ng unsurpassedsersit vity throughout the audio spectrum.

Adcitionally, HX-S exce s in retention of highfrequency MOL, which no othe. high -bias for-mulation attains.

Ana HX-S superiority is not just numerical.To maintain its dynamic performance, HX-S ishoused in -DK's specia ly engineered, trouble -free Laboratory Standard mechanism. It's yourassurance of unerring reliability and durability,backed by a Lifetime Warranty.

For opirium results with Type II (high -bias)and digitally -sourced record-ings, gat TDK HX-S. You'll feel

® more at home with it, whereverTHE MACHNE FOR YOUR MACHINE. you go.

1985 TOK Electronics Corp.CIRCLE Na. 48 ON READER SERVICE CORD

LETTERS

Buying SeparatesI was quite pleased with Thomas R.

Gillett's "The Case for Separate Com-ponents" in August. The "rack system"has defeated many first-time buyers, in-cluding me. After investing in one ofthese, I found the speakers to be quiteinadequate. My only recourse was toupgrade the system. With the additionof a JVC seven -band equalizer and apair of Bose 301 speakers, my systembecame the envy of my friends.

THOMAS L. CHVILICEKBozeman, MT

I enjoyed "The Case for SeparateComponents" very much. I was aboutto make the same mistake (buying anall -in -one system) myself. I'm trying tobuild a good stereo system for about$1,000 and find it very difficult becauseof the range of products. I'd appreciateit very much if you would refer me toany source of information that will helpme to make the best choice.

RUBEN SHIZINIANBrooklyn, NY

STEREO REVIEW frequently runs articlesoffering buying advice in different areas.

In addition, the new, 1986 edition of ourStereo Buyers' Guide includes a featureon "How to Buy a Basic Hi-Fi System"and detailed information on thousandsof current components. So just keepreading!

In a BindSince you started binding STEREO RE-

VIEW with staples, you have reduced theelegant appearance of this prestigiousmagazine to the status of lesser publica-tions. I used to proudly display eachissue next to my stereo system. Now itlooks as though I have started collectinganother magazine.

JOHN LINDaly City, CA

Among the "lesser publications" thatuse the same saddle -stitch method ofbinding are Artforum, The Atlantic.Business Week, Forbes, Harper's, TheNew Yorker, Newsweek, ScientificAmerican, Time, and others.

DAK BacklashI am writing to tell you what a let-

down the September issue is from your

usual editorial standard. Though manypeople may not write, I'm sure they willbe equally offended by your becoming amail-order outlet for DAK. Your read-ers are not interested in such junk.

PETER H. WILLIAMSCincinnati, OH

Preliminary reports on response to theDAK supplement suggest that vast num-bers of our readers disagree with Mr.Williams. Ed.

Thanks for making the DAK Indus-tries "section" in September so easy toremove! I don't expect to find suchadvertising in my favorite magazine.I'm all for the free -enterprise system,but profit can't be all that important.

H. A. LEONARDTuscaloosa, AL

Wrong. For more on this subject, see"Speaking My Piece," page 4.

Taste ExpansionIn response to Editor William Living -

stone's September column, I'm glad tohear that STEREO REVIEw's musicalmission is "to help readers expand their

CALL OUR TOLLFREE NUMBER

8TO FIND OUT WHERE

TO SEE AND HEAR

63PRODUCTS ADVERTISED

IN STEREO REVIEW.

225

For a demonstration of products from any of the advertiserslisted below, call the .1.1.11E0 REVIEW TOLL FREE 800number. You'll get the name and location of a nearby dealerwho will be happy to let you see and hear the componentsin action.

But call right now. The STEREO REVIEW "Where -To -Buy -It" Program for this issue ends November 22. After thatdate you'll have to contact the advertiser directly.

The following advertisers are participating in the STEREOREVIEW "Where -lb -Buy -It" Program. Dial 800-633-2252and ask for the extension of the advertiser whose productsinterest you:

AAL (American NAD (USA) x834Acoustics) x825 Ortofon x835Audio Technica x826 Polk Audio x836Bang & Olufsen x827 Proton x837Beyer Dynamic Inc. x828 Pyle Industries x838Carver Corporation x829 Sennheiser x839Denon America x830 Studer Revox x840Discwasher x831 Tandberg of America x841Hitachi x832 Yamaha x842Jensen Car Audio x833

Stereo Review

PROTON

INTRODUCES

DYNAMIC

POWER

ON DEMAND.

h

1=IN

The competitive amplifierruns out of reserve

capacity in 20 or 30 milliseconds, the D540 main-

tains reserve power fornearly half a second!

PROTON 0540

Competitive "High Current- Amplifier

Rated

NIB PoRMSwer

_,111111k-

NMI

Music is a demanding master. Nowhere

does it ask more of amplifiers than in the

reproduction of musical peaks. It's in this

area of dynamic range that conventional

amplifiers fail. They simply run out of

energy before the sound does. Now, with

the increased dynamics of digital audio

discs and hi-fi video sound, there's more

than ever to hear... or miss.

DPD lets you hear it all. Dynamic Power

on Demand* is a radical new design that

uses two different types of circuits to sup-

ply power. The first is ideal for most of the

signals that music produces. The second

circuit stores power, and au-

tomatically takes over when the

loudest musical passages requ"re

the big reserves; and, it provides

power as long as the musical

peak lasts. That's what only DPD

can do - deliver its reserve

capacity up to 20 times longer

than other amps!

The result is performance

that's fanatically faithful to your

favorite Benatar or Beethoven.

With more realism and dynam,Cs

than you've ever heard before But even

DPD is just the beginning of our remarkable

D540 integrated amp. Add to that a unique

dual action volume control, phono circuitry

for either moving magnet or moving coil

cartridges, complete record -playback flexi-

bility and the ability to bridge to mono. this

is the Proton 0540 with DPD.

The demands of music have never been

better fulfilled.

Proton Corporation 737 West Artesia

Blvd. Compton, CA 90220 (213) 638-5:51

50

200 300 4E 500

TONE BURST DURATION IMILLISECONOS)

BECAUSE

MUSIC

DEMANDS IT.

CIRCLE NO 17 ON READER SERVICE CARD* Pateni Pending

For Dealer Nearest You Call TOLL -FREE 800-633-2252 Ext. 837

OIrside California 800-428-1006 Outside California 800-772-0172

1

LETTERS

tastes by encouraging them to listen tothe best available recordings of a widevariety of music." Unfortunately, I

know of few other dedicated music lov-ers besides myself who actually do listento "a wide variety of music." Not evenyour editor does. A classical -music lov-er "opening his ears" to Bach's Passionsand Mass in B Minor is not an exampleof expanding one's musical tastes.

I implore Mr. Livingstone, as well asother music lovers, to become radical intheir musical expansion. Do as I do,and listen to the best of hard rock, jazz,big bands, synth -pop, classical, and, yes,even punk, to name just a few genres.

EDWARD P. GOETTLInver Grove Heights, MN

I generally listen only to classical mu-sic, but I have nothing against jazz,rock, country, or any other form ofmusic. Nor do I have any objections totranscriptions of classical works for dif-ferent musical instruments.

In short, I'm neither a snob nor apurist when it comes to music. Howev-er, one has to draw the line at synthe-sized classical music. I can imaginenothing more antithetical to the spirit ofthe music of Bach and Handel than the

reproduction of that music by a soullessmachine. The music was written to beperformed by human beings, not com-puters, and one simply cannot analogizetranscribing a lute concerto for guitar totranscribing it for synthesizer.

As for Editor William Livingstone'sstatement that synthesized classics suchas Graziano Mandozzi's "Bach/Handel300" could be "a wonderful first steptoward the serious stuff for a lot ofpeople"-well, that was also said aboutthe execrable "Hooked on Classics" al-bum several years ago, and I am un-aware of any greatly increased interestin classical music because of that re-cording.

I think STEREO REVIEW should havedeclined Deutsche Grammophon's of-fer of 2,000 copies of "Bach/Handel300" and, if DG was determined to begenerous, asked for some real Bach andHandel music instead.

DAVID WARDLubbock, TX

The synthesizer requires participationby human beings when it plays musicjust as a harpsichord or piano does. Theresponse to the offer of "Bach/Handel300" made in our September issue ex-

ceeded our expectations by thousands.We regret that many readers were disap-pointed when our limited supply of therecords ran out.

AntiskatingI must take issue with the method of

setting a tone arm's antiskating com-pensation recommended in August's"Troubleshooting" article by Ian G.Masters. The method Mr. Masters de-scribes will result in the correct anti -skating setting for an extremely lowtracking force, but when the propertracking force is set the antiskating forcewill be too low.

A better approximation of the correctantiskating setting (assuming reason-ably good tone -arm bearings) can befound by playing a blank disc, or therun -out area of a short -sided LP, andadjusting the antiskating so that thetone arm just begins to move towardthe outside of the record. More accurateadjustments can, of course, be madeusing test records, though I believe acertain amount of interpretive experi-ence is required.

STEVE GRAHAMAnn Arbor, MI

When she came by to pick up the rest of11Crstuff I was waiting. I knew I shouldn'the there, but I had to give it one last chance.

She saw me sitting there when she camein, but didn' say a word- just bnished byme leaving a hint of perfume in the au:

My favorite.So I pu' the song on the Kenwood.pur favorite.

,'It filled up the house and it soundedgraft, really great And she came into the roomand put her arms around me and smiled alittle smile and said, "Thank y tfor that."

And then she

Uui.11111111.61

CD's, Cassettes, LP'sIn July's "The Compact Disc Is Here

to Stay," Marc Finer of Sony is quotedas predicting that CD's "will largely dis-place cassettes because there's no longerany need to dub music off of records."Mr. Finer seems to have overlooked theneed for dubbing music off of CD's. Thecassette will remain the most econom-ical medium for those "personal" re-cordings no music store can provide.While most LP's and turntables are nomatch for CD's, some riannfacturersnow offer dbx noise -reduction systemson their cassette decks. Such decks willprove to be close contenders with theCD players. Unless a recordable CDplayer is marketed, I say that cassettedecks are "here to stay."

LAWRENCE R. CHRISMANFPO New York, NY

In regard to the current battle be-tween partisans of Compact Discs andof high -end turntables, lees take a peekat it from a physics point of view. Ananalog record is at best capable of adynamic range of 45 dB, while a CD iscapable of more than 96 dB! It is notunusual to hear a l00 -dB dynamic

range when you attend a concert, andthat 50 -dB superiority of the CD me-dium makes a big difference.

Also, when a stylus is passing over avinyl record, pressures can exceed100,000 pounds per square inch, andtemperatures generated by friction canexceed 2,000' F at the stylus tip. Natu-rally, every time you play a record, a 11 -de of the sound is lost. A CD, in con-trast, uses light; there is no friction andno wear, and it will sound exactly thesame after thousands of playings.Whether a turntable costs $300 or$10,000, the physics behind it is thesame.

Finally, some have labeled the soundof CD's "antiseptic." Well, cleanlinessis next to godliness.

DAVID R. DICKSONSalt Lake City, UT

Opera TodayI would like to commend Contribut-

ing Editor Robert Ackart for the excel-lent job he has been doing as a reviewerof opera recordings for STEREO REVIEW.In this age of sour, biased, carping, andcaptious music criticism, it is refreshingindeed to find a reviewer who can

appreciate the opera singers and con-ductors of our time instead of constant-ly telling us how vastly superior pastrecordings and live performances were.As far as I am concerned, the common-ly held notion that standards in singingor musical performance in general havedeclined appallingly is a canard. I amsick and tired of critics who automati-cally praise any recording of past gener-ations, even mediocre ones, and whogrossly exaggerate the technical flaws ofmodern singers, ignoring or downplay-ing their virtues.

Robert Ackart is a credit to your mag-azine. May he keep up the good work.

ROBERT BERGERLevittown, NY

Buying WiselyThis past year I decided that it was

time to purchase a CD player. I felt thatit was wise to wait for a few "genera-tions.' of players to appear, havingmade the mistake of purchasing an ear-ly Pioneer video -disc player when therewere still some technological bugs in thesystem (later models are vastly su-perior).

In the pas'. when I have been con-

--4

folk -tut

The wonder of a great stereo system is its ability to takemusic and make it almost tangible In the rarified moments o' life,this ability car; be especially powerful. Even ironic.

The Kenwood Spectrum CD84B is for all moments. Itsexciting componertry is highlighted by an Dptimum Servo Ccntrolcompact disc player. In adcition toa completely dedicated 125W'per channel integrated amplifier, the CD846 also features a quart:synthesized AM/FM ste-eotuner. A double auto -reverse full logiccassette deck with high speed dubbing. A linear raclung, ful/yautomatic direct drive t Jrntable. A 7 -band sterec graphic equalizerwith reverb. And a pair of 130W 4 -way tower speake-s.

The Spectrum CD84B One of maiy Hone EntertainmentSystems designed for people who want a little more out of life.

For the Kenwood dealer nearest you, call 1-800-4-KENWOOD. Min RIMS 8 ohms 2CHz to 201tHi wilh no none than 005T HD

KENWOOD

MERITFi!ter

8 mg "tar:. 0.5 rig mobile av per cigEret!,:TC Report Feb:EtE

SURGEON GENERAL'S WARNING: Smokini:auses Lung Caicer, Heart )isease,Emphysema, And May Complicate Pregiancy.

LETTERS

fronted with a dilemma in a major, big -bucks audio purchase, I have alwaysturned to STEREO REVIEW to help memake my decision. I finally decided onthe CD player I wanted, and it wasJulian Hirsch's wonderfully detailedand straightforward review of the SonyCDP-520ES (July) that did it for me.

Thanks once again for helping meplow through a vast web of audio "in-sanity." I have been absolutely de-lighted with my purchase.

GABRIEL DEMOURA, JR.North Providence, RI

Doyle Lawson & QuicksilverI would like to thank Alanna Nash for

her fine review in September of thelatest and last album by Doyle Lawson& Quicksilver, "Once and for Always."Shortly after its release, Doyle left thegroup, but his spot has been more thanadequately filled by Alan Bibey, a fineyoung mandolin picker and vocalistfrom Walnut Cove, North Carolina.The general consensus among festivalpromoters, club owners, and fans is thatQuicksilver has lost none of its instru-mental drive or vocal purity with thepersonnel change, and the group is still

considered one of the top three bands inthe business.

There is some question in my mind,though, about Ms. Nash's saying thatthe band is lacking in "immediacy." I'mnot sure I understand her use of theword. Is she saying that the band lackspresence or impact? If so, I suggest shemake it a point to see the group live soshe can see, as well as hear, the enthu-siastic crowd response to their music.Quicksilver blows crowds away.

As for her comment on Terry Bau-com's bass singing-he doesn't need tolearn anything. If Terry doesn't "nail"the bass notes, they don't get nailed-by anyone. Terry is simply the best.

MILD CANEEasley, SC

Reconstructing SpeakersI recently purchased a used pair of

speakers at a bargain price. When buy-ing the speakers my primary interestwas in the walnut cabinets. Now thatI've had them for a week or so I'm pret-ty dissatisfied with their sound andwish to "reconstruct" them with im-proved woofers, tweeters, and possiblya new crossover network.

Can you direct me to a source where Ican buy quality individual "compo-nents" for speakers?

RODNEY L. CLARKWheelersburg, OH

Next time you should use your ears tochoose speakers. As for changing theparts, that would be a case of out of thefrying pan and into the fire. A good loud-speaker is an integrated design thattakes account of the interactions of allthe components with each other andwith the enclosure, not just a collectionof good parts in a handsome box.

Carts and HorsesFor some time now I have meant to

let you know of my dissatisfaction withSTEREO REVIEW after its change offormat. You are putting the cart beforethe horse. It seems that I read all aboutwhat equipment there is to buy, but nolonger about what to play on it. Is thisaudiophilia as a "high end" in itself?

PETER H. HOMANNTallahassee, FL

As a long-time reader of STEREO RE-VIEW, I have found that your record -

or

What other audio tapes fail to hear.

review section is the most complete andinformative among magazines of thesame kind. But I find one of your sym-bols confusing, the 0 that stands for"digital -master analog LP." Many oldanalog classical recordings have beendigitally re -mastered; these are notequivalent to the modem digitally re-corded releases. Please make a clear dis-tinction between the two types of re-cordings. Also, I rarely see the digital -master symbol at all in the pop sectionthough many of the pop records youreview were digitally recorded.

JASON LINSanta Monica, CA

We do not ordinarily review reissues(and when we do we identify them assuch), so you can assume that the 0symbol indicates a digital recording inLP format. We try to obtain this infor-mation whenever possible, but pop rec-ords are often not clearly labeled.

ProgressLike others, I have taken the appro-

priate amount of time to "normalize"and "equalize" my home componenthi-fi system. I've adjusted the skate,

adjusted the weight, trimmed the anten-na, tinned the leads, dampened theturntable, clipped the speakers, bi-lev-eled the amps, leveled the walls, andalienated my friends. My LP's, openreels, and cassettes go round and round.I've been Dolby C'd and dbx'd, and theonly hiss left is from my cat. Until analternative is found to replace sound viarotation, I'm hanging on to all my"dated" components. They have be-come trusted old friends. And besides,what am I going to do with my bulkerasers, head cleaners, stylus cleaners,record cleaners, demagnetizers splicingequipment, sextant and compass, andball and chain?

BRUCE M. HANGSLittleton, MA

Onward, . . .

Thank you for Alanna Nash's Julyreview of Amy Grant's "StraightAhead." As a Christian, I appreciateany recognition given to a Christian art-ist. Ms. Nash hit the mark when shesaid that "you don't have :o be a Jesusfreak to get into . . ." Christian music.There are so many facets to contempo-rary Christian music that one does not

have to give up good music if one is acommitted Christian.

KAREN J. ROZGAMilwaukee, WI

Cassette NotesSome prerecorded -tape labels are still

not including notes or lyric sheets withtheir cassettes. Now that cassettes arethe major category of sales in recordedmusic, there is no reason to treat cas-sette buyers as second-class citizens. IfDeutsche Grammophon can include atwelve -page booklet with a cassette ofStrauss's Alpine Symphony, there's noexcuse for Columbia not even to give alist of back-up performers with its cas-sette of Dylan's "Empire Burlesque."

Anyway, keep up the good work atSTEREO REVIEW. You still serve boththe classical and popular tastes betterthan anyone else.

DAN J. MOLONEYMarion, OH

CorrectionThe photo of Sting on page 154 of the

September issue was miscredited. Thephotographer was Gilles Larrain.

11110.111.1W

One audio tape is so sensi-tive it can hear a pin drop.Or the full crash of a cymbal.

To no one's surprise, it'smade by Sony.

Designed with our widestdynamic range ever, theUCX-S can pick up the soft-est softs you've never heard.

Or the loudest louds.Without distortion!

And since we packsmaller, more uniform parti-cles on our tape, you canpack more music in it.

And go from one extremeto the other.

So pick Sony. And hearwhat you've been missing.

271-1117,-

deg/.:385 Sony Corp of Araettca Sony Is a regtsteand tradematfr of Sony Corp To, and U )Iw' i.e reetred 'fader -tar of ',on/ C-rf P f

CIRCLE NO. 53 ON READER SERVICE CARD

FINLANDIA.H E WORLD'S F I N EST VODKA. ---

OVER ICE.SEND 'THE WORLC'S FINEST VODKA' AS A GIFT ANYWHERE IN I HL UON IINENTAL U S WHERE AI LOWED BY STATE LAW CALL TOLL FREE 1-800-238-4373

'FINLANDIA" AND THE WORLD S FINEST VODKA.ARE REGISTERED TRADEMARKS OF ALKO LTD 80 AND 100 PROOFIMPORTED BY PALACE BRANDS COMPANY FARMINGTON. CT "FINLANDIA PAYS TRIBUTE TO TRADITION" ,OALKO LTD 1985

NEW PRODUCTS

PanasonicThe Panasonic PV -1442 video -cas-

sette recorder features VHS Hi-Fi audiofor lowered distortion, less wow -and -flutter, and a greatly extended frequen-cy response compared with convention-al soundtracks. Audio signal levels canbe monitored for each channel withdual meters. A special video head pro-vides video effects such as freeze frameand slow motion free from interferenceor noise bars. The deck can be pro-grammed to record four programs overa two-week period. An infrared remoteunit controls nineteen functions. Price:$750. Panasonic, Dept. SR, One Pana-sonic Way, Secaucus, NJ 07094.Circle 120 on reader service card

JBLThe new L series of speakers from

JBL is led by the L 100T (shown), afloor -standing three-way system with a12 -inch woofer, made of laminatedAquaplas for improved damping, and a4 -inch laminated -polymer cone mid-range. Like the rest of the L seriesspeakers, the L 100T also uses a titani-um dome tweeter molded by swirlingnitrogen at high pressure against a filmof the metal. The mold includes a com-plex pattern of ribs to give the domeadditional strength. The tweeter's fre-quency response is said to be smoothand neutral from 3,000 to 20,000 Hzand flat out to 27,000 Hz. Like the

midrange driver, it has a cast andmachined frame.

The wood -veneer speaker cabinet islock-mi'ered. Internal connections usehard -wired, heavy -gauge cable for im-proved current transfer. The bindingposts for external connections acceptbanana plugs, pins, or large -gauge wire.Price: $990 per pair. The other speakersin the line are the L80T, a three-waywith a 10 -inch woofer priced at $750 perpair; the L60T, a two-way with an 8 -inch woofer for $550 per pair; and theL20T, a two-way with a 61/2 -inch wooferfor $390 per pair. JBL, Dept. SR, 8500Balboa Blvd., Northridge, CA 91329.Circle 121 on reader service card

KW DesignsStorage racks for Compact Discs from

KW Designs are made of solid hard-woods (walnut or maple) with all -dove-tail joinery and finished in hand -rubbedoil. The racks can be positioned so thatthe discs are held horizontally or verti-cally. Four cork feet, provided separate-

ly, can be applied to whichever side ison the bottom. Two sizes are available:the CD10, which holds ten discs, $30;and the CD20, which holds twenty, $50.KW Designs, Dept. SR, P.O. Box 5245,Madison, WI 53705.Circle 122 on reader service card

KossHeadphones in the Home Pro Plus

line from Koss use Pneumalite earcushions to improve frequency re-sponse and decrease external noise. Thetop -of -the -line Pro 4X Plus (shown)combines a rare -earth -magnet dynamiclow -frequency element with a piezoelec-tric tweeter. Frequency response israted as 10 to 40,000 Hz. Price: $100.The Pro 4AAA Plus has extra -largevoice coils and oversized diaphragms.The headband is padded with vinyl,and the earcups pivot for increasedcomfort. Price: $85. The K/40LC Plus,weighing less than 7 ounces, has con-trols to adjust the volume levels of eachside independently. Price: $44 95. TheK -6X Plus, also a lightweight model,has an improved high-energy element.Price: $34.95. Koss Corporation, Dept.SR, 4129 North Port Washington Ave.,Milwaukee, WI 53212.Circle 123 on reader service card


NEW PRODUCTS

RevolverThe Revolver is a two -speed belt -

drive turntable with the tone armmounted on one platform and all othercomponents on a lower platform. Thetwo platforms are connected to controlextraneous movement. The synchro-nous a.c. motor drives the platter via astepped pulley. The base sits on threerubber feet. Each Revolver turntable issupplied with the company's PrecisionInstant Grip (PIG) record clamp, Star -mat record mat, and lubrication oil.Price with Linn LVX tone arm andBasik cartridge: $450 in gray or red,$495 in black -ash veneer. Price withouttone arm, predrilled for Linn arm: $255in gray or red, $296 in black -ash veneer.Music Hall, Dept. SR, 108 Station Rd.,Great Neck, NY 11023.Circle 124 on reader service card

CarverThe Carver Car Amplifier, rated at

120 watts per channel into 4 ohms, usesproprietary Magnetic Field Amplifiertechnology. A built-in crossover net-work at 115 Hz can be switched in forbiamping. Pressing a button on theCarver amp bridges it for use as a 240 -watt mono amp. Automatic -reset cir-cuit protection prevents damage andeliminates the need to replace fuses. Aninfrasonic filter eliminates inaudible

low frequencies that would otherwisedrain electrical power.

Input sensitivity is variable from 250mV to 3 V. Distortion at rated power issaid to be no more than 0.05 percent.The amp is 101'4 inches wide, 6 incheshigh, and 2 inches deep, and it weighsapproximately 5 pounds. Price: $350.Carver Corp., Dept. SR, 19210 33rdAve. W., Lynnwood, WA 98046.Circle 125 on reader service card

MarantzTwo new Compact Disc players from

Marantz include random-access pro-gramming for playback of selectedtracks in any order. Specifications forboth players include a frequency re-sponse of 5 to 20,000 Hz (no tolerancestated), dynamic range of 96 dB, andwow -and -flutter below measurable lim-its. The CD -74 (shown) can be pro-grammed to play up to twenty-fourtracks. Unwanted tracks can be can-celed from the program. When usedwith compatible Marantz components,the player can be operated by remotecontrol. Price: $599.95.

The CD -I50 can be programmed toplay up to sixteen tracks in any order.The program material remains audiblein the forward and backward searchmodes. Repeat functions are the sameas on the CD -74. Price: $399.95. Ma-rantz, Dept. SR, 20525 Nordhoff St.,Chatsworth, CA 93111.Circle 126 on reader service card

John Bowers Ltd.The John Bowers Active I is a biam-

plified loudspeaker system with an op-tional outboard control unit. Each Ac-tive I speaker includes three drivers:150 -mm woofer and bass/midrangecones and a 26 -mm tweeter. One built-in amplifier module delivers 200 wattsrms into 4 ohms for the bass and bass/midrange drivers; the other delivers 100watts into 8 ohms to the tweeter. Thelow -frequency drivers are said to use anadvanced motor system for improvedtransients and higher power -handlingcapabilities. There is a six -position fre-quency -response adjustment switch forthe woofer and a three -position switchfor the tweeter.

Although the Active I speakers can bedriven by any line -level signal, the com-panion Active Control Unit was devel-oped to handle the increased dynamicrange of Compact Discs and othersources. Its frequency response is givenas 45 to 18,000 Hz ± 2 dB. The speakersare finished in black -ash, natural -oak,

or walnut veneers, and they measure24% inches high (with the suppliedstands), 10 inches wide, and 14 inchesdeep. The control unit's dimensions are1 I V4 inches wide, 21/4 inches high, and71/2 inches deep. Prices: Active I speak-ers, approximately $2,900 per pair; Ac-tive Control Unit, approximately $700.Distributed by Anglo American Audio,Dept. SR, P.O. Box 653, Buffalo, NY14240.Circle 127 on reader service card

More New Products on page 148

Introducing Karat -anew generation of bookshelf

speakers from Canton.

With Karat, Canton leadsthe way into the digital eraof sound reproduction. The

result is sound so natural andfree of coloration you must

hear them to appreciate theacoustic achievement this

series represents.

like the entire Carton productline, from our mini -speakers toour floor -standing speakers, theKarat bookshelf series offersvalue. Value in sound repro-duction is first and foremost:that's why every element in theKarat series is designed,engineered and manufactureaat the Canton factory in Ger-many.

Value in terms of detailinggoes into every Cantonspeaker as well. That's whywe offer our speakers in avariety of fine finishes, likewalnut and oak veneers, richblack, bronze and white lac-quers and now a premiumfinish, gloss mahogany. For atCanton, \ Ale believe speakersshould look as good asthey sound.

Visit your local Canton dealertoday and learn the value ofa sound investmert: Canton'sKarat series - oroiucts ofGerman quality andcraftsmanship

Ccnton North America, Inc.254 First Avenue NorthMinneapolis, MN 55401

GiNroriDie reine Musik

CIRCLE NO 33 ON READER SERVICE CARD

AUDIO Q. AND A.

by Larry Kiehl

Simultaneous RecordingIs it possible or desirable to make

1 two cassette recordings simulta-neously from the same disc? Or is dub-bing the only way? I have two identical,fairly good cassette recorders.

EUGENE J. BOGUCKIShort Hills, NJ

- It is both possible and desirable interms of achieving optimum sig-

nal-to-noise ratio and frequency re-sponse to feed two recorders simulta-neously rather than dubbing from onetape to the other. Some amplifyingequipment with inputs and outputs fortwo recorders has the circuitry to do justthat. If your receiver, integrated ampli-fier, or preamp has only one set of tapeinput/output jacks, then use "Y" con-nectors to feed the right- and left -chan-nel signals from the tape -output jacks ofyour receiver to the equivalent lineinputs of both recorders. The line out-puts of recorder A are connected to thereceiver's tape -input jacks; the line out-puts of recorder B are connected to thereceiver's aux input.

If you make the connections correct-ly, the signal to be taped will appear atboth recorders. You can then monitorthe recording of recorder A with yourreceiver's tape -monitor switch. Record-er B can be heard by switching to theaux input, but only after the recording iscomplete.

FM InterferenceRecently the only full-time classi-cal music station in Milwaukee

moved its transmitter to an area some35 miles from my home, and now I'mhaving severe reception problems. I have

tried everything with my receiver from asimple dipole antenna to a large Yagisystem, but when the signal is strongenough to avoid hiss, there is tremen-dous interference from numerous otherFM stations. I can receive a listenablesignal in mono, but I want stereo. Doyou have any suggestions?

JOHN L. MILEWSKIMilwaukee, WI

You seem to be caught between arock (hiss) and a hard place (inter-

ference). As I diagnose your problem(with an assist from Julian Hirsch), thehiss is from inadequate signal strengthwhen you are using a simple antenna,and the interference is from front-endoverload when you are using a high -gain Yagi antenna. Aside from the pos-sibilities offered by a new FM tuner thatis both more sensitive and more resis-tant to overload, you might investigatethe use of a directional antenna that haslower gain. Your existing Yagi willserve. If you put an attenuator in thesignal path you can reduce the Yagi'sgain as needed while preserving itsdirectionality. Assuming that you havea 75 -ohm feed from your antenna, it'sworth trying Radio Shack's $4.95 vari-able attenuator (No. 15-578), which willprovide up to 20 dB attenuation.

Class A PowerI'm having reservations about pur-

-,42' chasing a 100 -watt -per -channelClass A power amplifier that's been rec-ommended to me. I own relatively ineffi-cient speakers, and the power of theamplifier may not be enough to drive myspeakers to the volume levels I want. Afriend tells me not to worry, because 100watts of Class A power are equivalent to250-300 watts of power from convention-al Class A/B amplifiers. What watts arewhat, anyway? Is there an industry stan-dard that allows accurate comparisons?

ERIC C. PALIKLyndhurst, OH

Yes, there is an industry stan-dard-it is called Ohm's Law, and

it states that P = E 2/R. Or, to convert itinto English, power output (P) in wattsis calculated by dividing the signal volt-age (E) squared by the load resistance orspeaker impedance (R) that it appearsacross. Example: If your amplifier wereto deliver 15 volts of audio signal toyour speaker's 4 -ohm impedance, itwould be putting out about 56 watts.

In other words, the wattage output ofan amplifier is determined solely by thevoltage it develops across a load andnot by its class of operation or any otherfactor. Some amplifiers, because of theirgreater dynamic headroom or currentcapacity, can put out more voltage for

short periods or into lower impedances,but this has nothing to do with theiroperating class as such.

Incidentally, I've long felt that thevirtues of Class A operation (reducedcrossover distortion and lower distor-tion overall before feedback is applied)are highly overrated. It is a theoreticaladvantage without a significant audibleconsequence. This sort of thing goes onall the time in hi-fi design, and it isusually unobjectionable. Like chickensoup, it can't hurt. Unfortunately, in thecase of pure Class A output -circuit de-signs, a substantial practical price ispaid in terms of heat, size, power limi-tation, and cost in order to achieve adubious sonic advantage.

Power Input/OutputI intend to add a turntable to mystereo system. The ones I've looked

at have a "10 -watt power consumption"specification. Will my 17 -watt receiverbe sufficient to power such a turntable,or is this information irrelevant?

TOM PLOWMANSimi Valley, CA

Irrelevant is the right word. Yourreceiver does not "power" your

turntable, it simply receives the verysmall voltages from the turntable'sphono cartridge and amplifies them suf-ficiently to drive your speakers. The"power consumption" specification ofyour turntable refers to the amount ofcurrent drawn from the a.c. line by itsmotor, and it has nothing to do withyour amplifier's 17 -watt power outputrating-which, incidentally, is ratherlow by today's standards.

Why Prerecorded?QI was recently told by a language

maven that the word "prerecorded"was a silly redundancy. His point wasthat either something was recorded or itwas not, and no "pre" prefix was calledfor. Do you agree?

JAMES FRANKLINWashington, D.C.

Neither silly nor redundant, the"pre" provides a clear signal to

those concerned with such matters thatthe audio or audio/video content of aparticular tape has been commerciallyduplicated. This distinction is helpfulwhen a home recordist in conversationseeks to differentiate commercially pro-duced audio or video cassette record-ings from tapes that have been privatelydubbed off -the -air or copied from discsor other tapes.

The question is far from trivial, sincethe Supreme Court was asked last year


Thinking about a new car?

6 6.. .you have to hear it

to believe it."Popular Mechanics

"I've experiencedall kinds of car stereos,but nothing like this

(Delco-GM/Bose) system:'

6 6 Chicago Sun Times

.this sonic paradise..."Stereo Review

Our experience has convinced us that,regardless of your interest in music,you will require less than one minuteof listening to know that you wantthe Delco-GM/Bose Music System inyour next General Motors car.*

elm] GM

Sound so real, it will change how you feel about driving.

Available on selected models of Cadillac, Buick, Oldsmobile and Chevrolet.

AUDIO Q. AND A.

to judge whether those who duplicated(rerecorded) prerecorded material forprivate use were flouting the copyrightlaws. I'm relieved that the court's deci-sion absolved home recordists of possi-ble charges of grand larceny.

Now ask me about "recorded live."

Equalizer SettingsPlease send me information on theagreed -upon settings for a seven -

band home equalizer with controls at 60,150, 400, 1,000, 2,400, 6,000 and 15,000Hz. One of the articles I've read said todecrease the 125- to 250 -Hz band whenmaking an equalized tape for car use,but my unit has neither of these bands.What is the best way to use my unit?

DAN ARTHLancaster, NY

There are no "agreed -upon set-tings" for an equalizer. An equaliz-

er should be considered a very flexibletone control that can individually ad-just (boost or cut) the relative levels ofthe frequency bands in the audio range.The amounts of adjustment required-if any-and the frequencies at which itis applied depend on the specific pro-gram material you are playing and theperformance of your speakers in a par-ticular acoustic environment.

Experiment with the controls, mov-ing them in small increments, toachieve the most natural-or pleas-ing-sound to your ears. Assuming thatyour system has a reasonably flat fre-quency response, the controls are likelyto produce the following subjective ef-fects when set for moderate boost:

60 Hz: Adds solidity to bass150 Hz: Adds boomy quality to bass400 Hz: Adds warmth and body to

bass1,000 Hz: Brings soloists forward2,400 Hz: Produces hollow, nasal

quality6,000 Hz: Emphasizes the sound of

cymbals15,000 Hz: Adds detail, shimmer, and

air

Keep in mind that unnecessary or ex-cessive boost is likely to sound unpleas-ant. The effect of the boost will providesome clues as to the effect of cuttingback on the frequency bands.

Those writers suggesting a 125- to250 -Hz cut are probably referring to theperformance of speakers installed in therear package shelf of a car. The acoustichorn formed by the tilted rear windowand the package shelf plus reflectionsoff the rear window can interact to pro-duce a boost of those frequencies. How-ever, there are just too many variablesin speaker setups and car interiors foryou to assume that your car needs that

correction. Since adjacent controls onany equalizer interact strongly, I suggestthat you take the panel markings asrough guides rather than gospel. A cer-tain amount of trial and error is alwaysnecessary when equalizing tapes.

Adding a MidrangeI own a pair of speakers that have10 -inch woofers and 3 -inch tweet-

ers. I recently bought a 100 -watt -per -channel integrated amplifier and havealready blown out two tweeters. Can Iremove the stress from the tweeters byadding a midrange driver to each sys-tem? Can I mount the midranges in thebass -reflex ports? Or should I trade up toa system with greater power -handlingcapacity?

T. LATTANZINashville, TN

One of the reasons speaker design-ers include midrange drivers in a

system is to increase overall power -han-dling capability, but that is done in theoriginal design stage, not as an add-onafter the system is complete. To do thejob right, you would have to redesignthe crossover completely and also re-place the tweeter. But if you were to doall that and then mount the midrange inthe port, you would detune the enclo-sure and lose bass performance. Yes,you should trade up to a better system.

Better Sound on Dubs?I was recently making up a partytape consisting of dubs from my old

Sixties records, plus some new stuff !used an expensive high -bias tape in mycassette deck because I wanted to get thebest possible quality. To my surprise,when I played back the tape it soundedbetter than most of the original records.I thought there was always some loss intaping discs.

SAM FIDELMANSan Jose, CA

I'm about to lay a heavy paradoxon you: Even though your tapes

sound better to you, there really was aloss of fidelity in the transfer. I suspectthat your recording process injected ahigh -frequency boost that-to yourears, with your equipment, in yourroom-caused the tapes to sound morerealistic. The boost could come aboutthrough a lower -than -required record-ing bias in your deck or might be builtinto the tape itself. I wouldn't worryabout the boost, except that if yourrecording bias is much too low for thetapes used, you risk distortion. Anddiscs that already have enough sizzlemay become too piercing in the dub.

Buy anySony Compact

Disc Playerand save up to$200 on100

great CDtitles.

Sony's just found a way to giveyou a compact disc library on a sil-ver platter.

Starting September 1, when youbuy any Sony® home, car or por-table compact disc player, you'll beentitled to receive a Sony CompactDisc -Count CouponBook good for upto $200 in dis- imaTruavatar)counts on yourchoice of 100 select Wcompact disc titles.*Each coupon is worth $2.00 off theregular retail shelf price on selectCD titles.**

Just look for the discount certifi-cate inside specially marked Sonycartons. With it, you'll be able to builda complete CD library in no time.

But hurry, because this offer isfor a limited time only. So see yourlocal Sony dealer or these SonyCompact Disc -Count Centers fordetails on the best offer in compactdiscs you've heard in a long time.

DISC -COUNTS AVAILABLE AT ALLLOCATIONS OF THESE PARTICIPATING

RETAILERS:BOSTON COMPACT NEW WORLD RECORDSDISC (Buffalo Area)(Boston Area)BUDGET TAPE &RECORDSCAMELOT MUSICDISCOUNT RECORDSFLIPSIDE(Chicago Area)GOOD VIBRATIONS(Boston Area)HARMONY HOUSE(Detroit Area)J & R MUSIC WORLD(New York City)KEMP MILL RECORDS(Baltimore/Washington)LAURY'S RECORDS(Chicago Area)LICORICE PIZZALISTENING BOOTH/WALL-TO-WALL SOUNDLISTEN UP(Denver Area)MUSICLAND/SAM GOODY

ODYSSEY(Las Vegas)RECORD BARRECORD FACTORY(N Calif)RECORD TOWN/RECORD LANDRECORD WORLD/TSSRECORDS HAWAIIRENAISSANCEMUSIC MEDIA(Dayton)SOUND SHOPSOUND WAREHOUSESPEC'S MUSIC(Florida)STREETSIDE RECORDS(Missouri)TAPE WORLDTURTLE'SRECORDS & TAPESVINYL MANIA(New York City)

SONYTHE LEADER IN DIGITAL AUDIO'"

Compact Disc Players must be purchasedbetween September land December 31, 1985.

"All coupons must be redeemed prior toMarch 31.1986.

'c' 1985 Sony Corporation of America.Sony is a registered trademark of Sony Corporation. TheLeader in Digital Audio is a trademark of Sony Corpora-tion of America


To find out why thetop -selling compact discs are mastered

on Sony Digital equipment,

play them back on a Sony Compact Disc Player./ Hilffig///////MINIIIIIII1 IiiiIMEMS \

Today, nearly 40,...mieap-everyone knows thatstate-of-the-art music isthe Compact Disc.

But did you know that19 out of 20 top -selling popand classical CompactDiscs were mastered onSony Digital equipment?*

Why? Because musicindustry leaders acknowl-edge digital recording asthe most dramatic audiobreakthrough of thecentury... and this break-through was pioneered

by Sony®In fact, Sony

invented the Compact Discsystem and introduced thefirst home, car and portableCompact Disc players.

From third -generationhome players that are the"benchmark" of the indus-try, to a full range of carand portable CD models,Sony sells more types ofCompact Disc players thananyone else in the world.

So, when you considerwhich brand of Compact

Disc player to buy, there'sno doubt you will draw thesame conclusion morepeople reach every day...

Sony.Because, after all, if the

top -selling Compact Discsare mastered on Sony Digi-tal equipment, shouldn'tyou play them back onSony Digital equipment?

*19 (3' the 20 ton -selling pop and classical CompactDiscs listed in Billboard's August 3, 1985 issue weremastered on Sony Digital equipment

SONYTHE LEADER IN DIGITAL AUDIO. -

0 1985 Sony Corporation of America. Sony is a registered trademark of Sony Corporation The Leader in Digital Audio is a trademark of Sony Corporationof America.RCA is a registered trademark of RCA Corp,


"CARVER CD PLAYER:SUPERB SOUND

PLUS THEDIGITAL TIME LENS"

"Leave it to Bob Carver to come up witha CD player designed to please both thosewho love CDs and those who still havereservations about their sound quality."

-Leonard FeldmanAUDIO MAGAZINE

The Carver Compact Disc Player answersthe audiophile's demand for a CD Player whichprovides not only the greater dynamic rangeand richer bass expected from compact disctechnology, but also the musicality, spectralbalance and spatial qualities of well executedanalog high fidelity recordings.

LOGICALHow logical it is for a physicist dedicated

to delivering music with maximum dynamicimpact to offer a state-of-the-art CD player.Anyone who ever wondered why Carver makesamplifiers capable of delivering hundreds ofwaffsof power needwonder no longer after theyhave heard the Carver Compact Disc Player asa sound source.

There are dozens of models of compactdisc players now crva ilable, many of them demon-strating little regard for the finer points of dig-ital playback technology. Bob Carver was in nohurry He wanted to do digital right. And he did.

The state of the art has advanced consid-erably since the first players appeared severalyears ago. The Carver Compact Disc Playermakes use of the latest triple laser beam pick-ups, sophisticated oversampling, digital

filtering technology and, very importantly,Carver's unique distortion reducing dither sig-nal that effectively removes the low level quanti-zation distortion existing in all other CD players.

Except for features like display and pro-gramming, the real determining factor in CDplayer quality is its ability to reconstruct musicfrom digital information bits. And that is not aneasy job nor one that can be effectively achievedwhile skimping on circuitry.

IMPROVED TRACKINGThe Carver Compact Disc Player reads discs

with more precisely focused laser power thanmost other models, resulting in improved track-ing and less chance of drop -outs when dust orsmudges are encountered on a CD.

The Digital Time Lens circuity restoresthe octave -to -octave balance originallyintended by the musician and record-ing engineer.

DIGITAL FILTERINGAlong with a potentially audible signal

ranging up to 20kHz, there are endless imagesof the signal at 40kHz, 80kHz and 160kHz.While they are above the range of humanhearing, they must be removed from the signalto prevent harmonic problems which could turninto audible distortion. Earlier CD modelsplaced an anti -imaging filter after the digital/analog converter stage. Carver uses DIGITAL fil-tering ahead of the D/A converter through aprocess called multiple oversampling. The sig-

AUDIO MAGAZINE

nal is passed through a shift register whichdelays the samples, so that the weighted aver-age of a large number of signals is generated.Through a complicated process, frequencybands are suppressed between 20kHz and160kHz, eliminating harmonic distortion prob-lems early on before the complicated D/A 16bit translation.

The same oversampling process also dis-tributes the same amount of noise over twiceas wide a frequency range, resulting in half asmuch noise in the final signal. Then after trans-lation to analog, the signal is once again fil-tered for a gentle roll -off above 20kHz. Thisyields a marvelously natural musical sound tothe final output.

ABSENCE OF PHASE ERROROne of the important tests applied to deter-

mine the effectiveness of digital -to -analogtranslation circuitry is the reproduction of asquare wave.

cARvraAVE .R 1-1.1L

Corporation, PO Box 1237, Lynnwood, WA 9804

Call TOLL -FREE 800-633-2252 Ext. 82

Reproduction of a 1 kHz digitally gen-erated signal was as close to a true squarewave as I have ever seen from a CD playerthat used digital filtering. (The CarverDigital Disc Player)shows a virtual ab-sence of phase error"

AUDIO MAGAZINE

A. Sguarewave reproduction, 1kHz

B. 72 co-tone phase test signal (200Hz and2k1-lz) with DigitatTime Lens off

PLUS THE DIGITAL TIME LENSOn top of this unerring abikty to prodLce

natural, real-soundinr music from the CD'sdigital bits, the Carver Compact Disc Flaye hasthe remarkable Digital Time Lers circuit tc in-sure your listening enjoyment.

The Carver Compact Disc Player is theworld's only compact disc player to addressthe problem of the bright, hot, harsh soundingmidrange and a lack of ambience and spatialdetail characteristic cf the majority of com-pact discs currently mailable.

When Bob Carve' obtained his first com-pact disc player, he was surprised at the soundderived from most of tie compact discs he pur-chased. The three-dimensionalspective which his analog system provided inlush abundance on phono discs evaporatedinto a flat, brittle wasteland. After extensivetesting, Bob uncovered two fundamental flawsin almost all compac- discs: 1) An unpleasant,harsh spectral energy balance. The overatoctave -to -octave energy balance was shi fedon the CD towards more midrange above400Hz; 2) The amount of L -R signal (whichcarries the spacial detail of the music) or theCD was inexplicobly, but substantially, reduced

when compared with tne amount of L -R signalfound on the corresponding analog disc.

A. Lissajous pattern showing spatial detailIL-R11(L+ R) ratio from an LP record.

B. The same instant of music but takenfrom the CD version. Note the decreased(L-R)conten4 as shown by the narrotted trace.

Carver's circuitry corrects the ratio of L -Rto L+R by performing one extra, but impor-tant mathematical operation on the signalstream that all other CD players fail to perform.This final operation makes a 1 the difference.

The result is a ratural scund with more ofthe three-dimensional information that placesus in the same space with performers. You won'tneed the Digital Time Lens ol all CDs. But it isthere when you need it.

In the beginning, Carve hoped, indeed heexpected, that once -ecordir g artists and engi-neers became more experienced with CD tech-nology fewer and fewer CDs would require theDig tal Time Lens. But both laboratory and lis-tertng tests reveal that the great majority ofeven the most receitly released CDs benefitssignificantly from the Digital Time Lens.

EASY TO USE

Ease of operation is a hallmark of Carvercomponents and the Carver Compact DiscPlayer is no exception. A subtle but easy -to -readLCD display not only shows selection number,elapsed time and total time of the CD, but also"talks" to the user. Turn on tr e Carver CompactDisc Playerand the displayasks fora disc. Whenthe disc tray is open, the display reminds youwith an OPEN readout. When a CD has com-pleted playing, the multi -function displayreads END.

With the Carver Compact Disc PlayersProgram mcble Random Access Playback Sys--em, track search and programming of differ-ent selections is a snap, as is automatic repeatof a preNjou 3 selection or an entire CD. For clas-sical music overs, the Carver Compact DiscPlayer has complete indexing capabilities aswell.

The large, easy -to -use feather -touch .-:on-trols include pause, fast forward and reve.-se.You can even monitor music at high speed tofind a CE Om portion of a selection.

We know you really enjoy music so, youowe it tc yourself to begin your digital experi-ence with the only full feature CD player thathas the ":arver touch. The only CD player thatcan actually improve on what is already the bestplayback medium ever offered.

Aucition the Carver Compact Disc Playerwith Digtal -me Lens atyour Carver Dealer

LAUA. 1.1.1m-kiw-level (4 significant bits) I kHz

signat as reproduced by conventionalCD players.

B. Sime signal with dither added beforeDlA conversion by Carver CD player.Note that dither has caused the distortedstep -wise approximation of the 1kHztone iirtually to owlish Quantization dis-tention has been reduced to insignificance.

IF YOU ALREADY HAVE A CD PLAYER

By buying a CD Player you made acommitment to vastly improve your soundsource. now you can go the short extra stepthat lets digital realize its true potential

That step is the CARVER Digital TimeLens. Simply connect it between your CDplayer and your preamplifier or receiver.

MUSICAL ACCURATE

DISTRIELJTED IN CANADA BY EVOLUTION TECHNOLOGYCIRCLE NO 49 ON READER SERVICE CARD

VIDEO BASICS

Shopping for a VCR

THE first step in shopping fora video -cassette recorder isto decide how you will useit, how much you can

spend, and which features will beuseful to you. That's your home-work.

Let us assume that you are now inthe store. You have already decidedwhat you want your VCR to do, andyou have selected a few machinesthat appeal to your aesthetic senseas well as your pocketbook. Thetime has come to examine featuresmore closely.

A clock/timer is standard, but youmight look for one that is easy toset. All timers allow presetting thestop and start times for recordingtransmitted programs; some record-ers also have a built-in memory thatwill activate the machine at thesame time each day without repro-gramming.

If you do a lot of traveling, a mul-ti -event programmable timer is es-pecially handy. With one of these,you can not only program the ma-chine to start and stop several timesbut also to switch channels. Today'sVCR's can be programmed fromone day to a year in advance (theaverage is two to three weeks), and

the number of "events" (channelchanges) ranges from one to nine.Great, you say, but don't forget thatyou have to pay for these features,so be discriminating. Sacrificing afew events and cutting down thenumber of days you can program inadvance may mean that you canafford another feature you mightotherwise have to do without.

For instance, remote control.When you see an inexpensive ma-chine with remote control, it isprobably not wireless, but perhapsyou don't need to operate your VCRfrom a great distance. If you arebuying a unit with remote control,you should also check the controlmodule's features.

I was looking at a cable -readymachine when I asked the clerk if Iwould be able to record one cablechannel while watching another."Yes," he replied, "but you need aconverter." The attachment he rec-ommended cost $99, and I wonderhow many of them he has sold topeople who don't need it. Unlessyou subscribe to a pay channelwhose signal has to be unscrambledinside the cable converter, you willnot need a special attachment inorder to view that channel normallyon a cable -ready VCR.

Then there is the question ofheads. They say that two heads arebetter than one, and VCR's oftenhave three or more. There is a lot ofplanned confusion here. VCR'sneed at least two video heads to pro-duce a picture of acceptable quality.Adding one or two more can en-hance the overall sharpness, but it

Two heads are better thanone, and VCR's often havethree or more. VCR's needat least two video headsto produce an acceptablepicture. Adding one or twomore serves mainlytoimprove special effects.

serves mainly to improve specialeffects. Recently the industry hasbeen pushing four heads, and somemanufacturers have indicated thattheir machines have as many as sev-

en! They usually fail to say, howev-er, how many of those heads arevideo heads; a "five -head" machinecan turn out to have a three -headvideo scanner and two audio heads.

Find out how many video heads amodel has, but don't take the sales-person's word for it-ask to see thetechnical specifications for that ma-chine. If you want four heads onlybecause you're afraid of being stuckwith an outdated machine, thinkagain. The real advantage of fourheads is being able to generatesmooth slow motion and steadystills, and if that capability is notsomething you need, perhaps the

Even if your TV set is notequipped far stereo sound,a VCR with an MTS decoderwill allow you to recordstereo broadcasts when theybegin in your area.

cost of the extra heads should beapplied to a more practical feature.One sales clerk told me that fourheads would make it possible for meto add stereo! In fact, one has noth-ing to do with the other: two headsand stereo get along quite nicely.

And what about stereo? Herethere is more confusion, for someVCR's boast stereo sound, somehave something called hi-fi stereo,and others are said to be "stereo -ready." What does it all mean?

If a VCR is stereo -ready or hi-fi-ready, you will have to buy an adap-tor to obtain the desired audioeffect. In the future, more commer-cial television broadcasts will havestereo sound, also called MTS (forMultichannel Television Sound).Some new television sets alreadyhave the MTS feature built intotheir audio receiver, and others areequipped with the appropriate con-nectors for a future add-on. Even ifyour television set is not equippedwith MTS, a VCR with a built-inMTS decoder will allow you torecord stereo broadcasts when theybecome a reality in your area.

Stereo is just that, two -channelsound, but the hi-fi designationtakes the equipment a giant step fur-ther, producing a sound that many

24 S I EREO REVIEW NOVEMBER 1985

The picture says a thousand words,but the sound will leave you speechless.

The new Panasonic VHS Hi-Fi Video Recorder.

MIT.T.c; we. Is

." "t( five c'8

-1W Wail1 ILI

Feel the excitement cf a concert.Or the thrill of a car chase. With thisnew Panasonic VHS recorderyou don't just hear sound, youexperience it. Get incredible soundfrom hundreds of prerecorded VHSHi-Fi tapes. Sound reproduced withsuch richness and intensity, it evenrivals the reality of compact discs.

Beyond that, the PV -1740 turns

NIP I'VBTERF )

any TV into a stereo TV, rightthrough your stereo system. Thisyear, over 100 TV stations w II beb-oadcasting in stereo' Sob? able to enjoy more lifelike TVsound than ever before.

The new PV -1740. It's on the lead-ir edge of video technology.Tech -4"' heads give you virtLallyji:ter-free effects. A wireless

IIIIII NIB

p

remote lets you control ?very majorfunction right f-om you- favoritechair. It will eves let yot_ preset torecord J p to 8 slows over 3 weeks.And t make it easier, your settingsare displayed right on wourtelevisiDn screen.

Panasonic VHS Hi-Fi. So advanced,even years from now, it' I still leaveyou speechless. TV Picture Stmulated

°SterealbraadcaLts vary by area

THE PANASONIC LAS VEGAS 'ROAMAPRIL 30 MAY 4, 1986 CALL 4800 722 GOLFLEE IT ON NBC


Panasonic,just slightly ahead of our time.'

MAY MOM 2721MON

2

4 7 4

. Male ... MIT MN 411212171

MOM Phi SAND r-- MODE --1 MIRK RANGEMO mom 77s .a AM ..11

.1.....

700 kte, r ol M

11.3110111

uri mown.

crzni

c n MMN PNONO TUNER AUX/DA TAPE -1.:71

EC= IFILL=M rsosowc j lo.i.tss

AUDIO VIDEO STEREO RECEIVER S -X1130 BALANCED AMP SYSTEM

HT MfR TISIEM 211111121111211M. VCR

S -X1130 AudioNideo/Stereo Receiver

Introducingone brilliant ideaon top of another

Unmatched FM Stereo/AM Stereo reception and video control makes them fantastic. X -Balanced circuitrymakes them phenomenal. Sansui's 130 watt S -X1130 and 100 watt S -X1100 Quartz PLL Audio/Video receiversare so far advanced, they even have a special decoder that lets you receive broadcasts of all AM stereo systems.What's more, their unique X -Balanced circuitry cancels out external distortion and decisively eliminates IHM,for the purest all-around listening pleasure.

But the advantages don't stop there. Both receivers are complete Audio/Video control centers that areradically different-and significantly more versatile-than any others on the market. The S -X1130 delivers allthe highly advanced audio and video performance of the S -X1100, with the added bonus of sharpness and fadercontrols for enhanced video art functions. And both units offer additional audio dexterity with

sharpness

for expanded stereo or simulated stereo, plus sound mixing capabilities.For more brilliant, innovative ideas, check out our full line of superior receivers.

You'll know why we're first, the second you hear us.There's more worth hearing and seeing from Sansui. Write: Consumer Service

Dept., Sansui Electronics Corp., Lyndhurst, NJ 07071; Carson, CA 90746; SansuiElectric Co., Ltd., lbkyo, Japan. SCLIZSILL.

CIRCLE NO. 44 ON READER SERVICE CARDPatapieve P-geadvietecyaid.

VIDEO BASICS

consumers feel is on par with digitalCompact Discs. They find them-selves using their hi-fi video -cas-sette machines to make tapes thatare strictly audio. The inherent ad-vantage of hi-fi VCR systems is thatthey combine extraordinary audiofidelity with extended playing time.And, unlike Compact Discs, theyallow a user to record from a varietyof sources.

Unless you are watching old Gar-bo movies or the Honeymooners,stereo sound is clearly an improve-ment over mono, and hi-fi sound iseven better. But if all you want to dois to time -shift All My Children tothe evening hours or capture theCBS Evening News while watchinganother network, paying the addedprice for these audio featuresdoesn't make much sense. There aremany prerecorded stereo video cas-setes on the market already, but itwill be a while before stereo broad-casts become commonplace. By thattime you may be ready for a new

The inherent advantage ofhi-fi VCR's is that theycombine extraordinaryaudio fidelity withextended playing time.And, unlike CD's, theyallow a user to record

from a variety of sources.

machine anyway-or even for a sec-ond one.

One last bit of advice for discountshoppers. Having told you howgreat and well built the machine is,your salesperson is going to turnaround and urge you to purchasethe store's own extended warranty.This is often where the store makesits money. The machine you pur-chased already comes with a limitedwarranty, and rarely will any majorproblem occur while the store's planis in effect. You know that some-thing is not right when the clerkforces you to refuse the offer five orten times. Once, when purchasing aturntable from such a store, I finallyhad to tell the clerk to stop pushinghis warranty or forget the sale. Thatworks every time.

all allspeffeemi

eel

I

IMPROVEMENT.When you hear th? fidelity of the

AKG K 240 IVkinitar headphone, (i' Iunderstand why so many recordingengineers and prpfessional musiciansprize its studio accuracy. AKG a Sc Fastwo-way electr3sta:.ic/dynamic mock*that set standards or headphone design.

AKG has deuelo3ed a line of stereophonocartridges with the AKGTransversal Suspension System.Selected models feature the van denHul II diamond stylus cut forunparalleled tracking accuracy.

For the best it sound, from "start tofinish"... AKG.

ANL77 Se leck Street

06902

p AKG headpx nesrange in price -or\

5 to S195tcrrtsi000idges fro --I5,

Sugge ted rrtai e

WATTSTHE DIFFERENCE.

Clear, clean sound begins wi-,h elan equipment. Eurc mans have known thgtover 30 years. And t ley et made the products of Cecil E. Maus their tholes.

Imported from Eng and, the lAlEttz...-r cal Parastat II is no rnprouirg

Arrc titan sound systems withimpressive results. The ParastatII wally "washes" dust,impurities and pollution fromrec c rds without harmful fledbui c -up.

lliFtts... the differ3nimpress you. witstA"

Wiesser°\

Oistr b zed in the U.S. by AKG AcoLstics.01985 AKC Acxst es. Inc

CAR STEREO

AuDIOVOXHI -CompHCC 2250byJulian Hirsch andChristopher Greenleaf

TH E Audiovox Hi -CompHCC 2250 stereo digital -synthesis AM/FM receiver/autoreverse cassette player

presents a very attractive and func-tional appearance, especially whenall the lights are on. The panel lightseven change color from amber togreen when the mode is changedfrom radio to tape play. A largemultifunction, multicolor LCD dis-play at the right of the panel showsthe time in amber numerals when-ever the radio is off or while a tapeis playing. The time reading isreplaced by the tuner frequencywhen the radio is turned on byrotating the volume knob. The sta-tus of the various control functionsis shown by highly legible letterswith internal illumination. When acassette is loaded edgewise into thefront -panel slot, certain tuner dis-plays are replaced or supplementedby appropriate tape indications,such as arrows to show the directionof tape motion.

On the lower left of the panel isthe large knob for power on/off andvolume control. When it is pulledout it becomes a center-detentedbalance control. Sharing the samecontrol shaft is a fader tab. The bassand treble tone controls are smallknobs in the upper left that are nor-mally recessed flush with the panel.Pressing a knob in and releasing itcauses it to extend forward for ad-justment after which it can bepushed in again to prevent uninten-tional changes. When the radio is oneach knob is surrounded by a ring ofamber light, which changes to greenwhen a cassette is inserted.

The other controls are light -pres-sure pushbuttons (the tape -trans-port mechanism is controlled by in-ternal solenoids). Next to the tapeopening are large buttons labeledEJECT and FROG (to change tapedirection). Below the opening are

1TRIED ,

I I

DOFF VOL K. BAL ! ! !

C

Eye 4.:VTZEEO.

I I I03 LS NM LOW SCAN SF

VIIEBIET MINCIRYSAM CALI. 11.1114NG

I II I 111111111111111112111

MULTI OMR AY PANE,.

1.HANNEt

I 1-1 LI

the rewind and fast -forward but-tons, which also serve to initiate thetuner's scan and seek modes. Inscan mode the tuner stops at eachreceivable station along the bandand pauses for 8 seconds before pro-ceeding. In seek the tuner moves tothe next signal and remains thereuntil the button is pressed a secondtime. A similar pair of buttonsmarked DN and UP step the tunedfrequency in the indicated directionby one channel increment (0.2 MHzfor FM and 10 kHz for AM) foreach momentary touch or contin-uously if the button is held in.

There are six preset buttons, eachusable for one AM and one FM sta-tion. In tape operation, pressing the5 button initiates a rapid scanthrough the tape, with the deckplaying 8 seconds of each recordedselection before proceeding to thenext; a second touch on this buttonrestores normal playing. The deckwill skip rapidly forward or back-ward through the tape if the 6 but-ton is pressed and then either the FFor REW button.

The FM performance of theAudiovox Hi-Comp 2250was consistently transparent,full, and obviously resistantto multipath.

A group of smaller buttons areused to select Dolby B noise reduc-tion, 70 -microsecond equalizationfor chrome or metal tapes, loudnesscompensation, and the radio band.In radio operation, the MIL equali-zation button becomes a local sensi-tivity selector to prevent overloadfrom a strong nearby station. TheCALL button replaces the tuner fre-quency display by the time, and theM.E. button is used to store a

received frequency in memory forrecall by the desired preset button.

The Audiovox Hi -Comp HCC2250 is rated to deliver 15 watts perchannel into 4 -ohm loads from 50to 20,000 Hz with no more than1 percent total harmonic distortion.It can drive either two or fourspeakers but has a 50 -watt totalmaximum -power rating. The tape -deck frequency response is rated as40 to 14,000 Hz ± 3 dB, with 0.1percent rms flutter and a signal-to-noise ratio of 60 to 61 dB with Dol-by B. Although the radio has built-in power amplifiers, a DIN socketon a short integral cable carries d.c.control voltages and line -level out-puts from its preamplifier sectionfor driving an external power ampli-fier. Price: $400. Audiovox Corp.,Dept. SR, 150 Marcus Blvd., Haup-pauge, NY 11788.

Lab TestsWe connected the HCC 2250 to

two 4 -ohm loads for our tests. Fol-lowing our usual procedure, we car-ried out the tests by modulating ourFM signal generator, connecting itsoutput to the receiver's antennajack, and measuring at the speakeroutputs. Tape -transport measure-ments were made in a similar man-ner by playing standard test tapes.As a result, the performance of theunit's built-in amplifier is includedin each of our measurements. Sincethe power -amplifier sections arebridged, neither side of the speakeroutputs can be grounded.

As sometimes happens, our testsample's radio was slightly mis-aligned, and an FM input signal hadto be detuned by 10 kHz for mini-mum distortion. Since the user doesnot have this option, and our Pana-sonic generator is accurate to within0.5 kHz at the 100 -MHz test fre-quency, we chose to set the receiverto the frequency of the generator


KLIPSCHORN' PICTURED ABOVE

KLIPSCH° Presents TheDifference Between Hearing And Feeling

Dan Wallin is the executivedirector of Record Plant Scoring, Inc.,the world's largest studio for recordingfilm scores. KLIPSCH Loudspeakers areused for playback in the main studiothere.

Dan tells a story of a famouscomposer who was brought to tearswhen he first heard his music overthose KLIPSCH Loudspeakers.

For whatever reasons, KUPSCHLoudspeakers deliver more than thesound of music. They deliver all theemotion of music as well. Most peoplethink it's the way the compression


drivers are able to react so quicklyand so sensitively to every little changeand detail in the music. All the artists'punctuations, as subtle and indefinableas they may be, come through perfectlyclear.

With KLIPSCH, a drum doesn'tjust sound like a drum. It feels like adrum. The same goes for a piano, aguitar ... all the instruments.. KLIPSCHgives you that extra dimension thoughtto come only from a live musicalperformance.

Hear it and feel it for yourself.Take your very favorite recording to

your nearest KLIPSCH dealer and get apersonal demonstration. You'll find atleast one KLIPSCH model within yourbudget. And, you'll find every KLIPSCHmodel lets you feel as well as hearyour music.

For your nearest dealer, lookin the Yellow Pages. Or call toll free1-800-223-3527.

klipschA Legend In Sound:R O. Box 688 Hope, Arkansas 71801

CAR STEREO

and let the measurements come outaccordingly. The effect on the monousable sensitivity was slight: itmeasured 18 dBf (2.2 microvolts, orAV, across the 75 -ohm antenna in-put impedance) and was improvedto 16.6 dBf (1.85 AV) when wetuned the generator for minimumdistortion. The tuner distortion inmono was typically about 1 to 1.2percent at high signal levels with thenominally correct tuning. In stereo,it was about 1.35 percent.

The capture ratio was degradedby the alignment error, typicallymeasuring 4.5 to 5 dB but improv-ing to 1.5 dB with a tuning offset.The HI bandpass of the FM tunerwas quite asymmetrical, yielding analternate -channel selectivity readingof 47 dB on one side of the signalfrequency but over 100 dB on theother. The same effect showed up inthe respective adjacent -channelreadings of 2 and 11 dB, which aver-ages out to about 6 dB.

Stereo channel separation was afunction of signal strength, a com-mon feature of car radios. It meas-ured about 34 dB over much of thefrequency range at 65 dBf (500 i2V)but fell to about 12 dB at 35 dBf(15.5 AV). This channel -blendingaction affected all audio frequen-cies, unlike some circuits that blendonly the high frequencies. Its effectwas to make stereo reception possi-ble only at fairly high signal levels,but it also kept the noise level atacceptable values.

The audio frequency responsemeasured through the FM tunerwas flat within about ± 2 dB from70 to 20,000 Hz, falling off at lowfrequencies to -13 dB at 20 Hz.The loudness compensation boost-ed both low and high frequencies atreduced volume settings. The 1,000 -Hz power output at clipping was15.6 watts with 4 -ohm loads and 9watts with 8 -ohm loads. The 1,000 -Hz distortion was a constant 0.53percent from 0.1 watt to the clippingpoint (this was obviously the tunerdistortion, even though we used 30 -percent modulation to minimizedistortion). Measured over the fullaudio range, the distortion was at itsminimum-a respectable 0.17 per-cent-at 3,000 Hz, rising at bothlower and higher frequencies. Wewere unable to develop the rated 15 -watt output below 100 Hz, but at 50

Hz the distortion at half power andless was about 3 to 4 percent.

The tape frequency responserolled off steeply above 12,000 Hzand below 60 Hz, but it was virtual-ly identical in both directions oftape motion. The fluctuations inhigh -frequency output caused bypoor head contact were also muchsmaller than we normally find in carstereo tape decks. Flutter was 0.18percent JIS-weighted rms and± 0.27 percent CCIR-weighted peakin reverse and about 10 percent lessin the forward direction.

The Audiovox Hi -Comp HCC2250 was easy to operate on thebench, and its legible displays andpractical control layout shouldmake it easy to operate in a car aswell. The alignment error was notthat unusual for car radios, andwhile it degraded the measured per-formance of the receiver in somerespects, it should have no effect onits sound. On our test sample, thelocal -sensitivity switch appeared tobe nonfunctional; pressing it lit theLOCAL readout on the display butdid not change the measured sensi-tivity at all. The unit's case becamequite hot above the output -transis-tor ventilation holes during sus-tained high -power operation, butthis should not affect the life of theradio in normal use. J.H.

Road TestsI spent a lot of time with the

Audiovox Hi -Comp HCC 2250

while traveling about 2,200 miles inthe Northeast and Midwest. Itjoined me for the mixed delights ofCape Cod's back roads and countrylanes in Illinois, and for some par-ticularly vicious potholes in Chica-go within a mile of the SummerConsumer Electronics Show. Thetuner bravely sorted through thecrowded airwaves of the WindyCity as well as those of Philadel-phia, Boston, and Cleveland. Ofcourse, just to make sure we alsoheard it under conditions identicalto our other road tests, we startedout with two runs through our usualBrooklyn Navy Yard/BrooklynBridge test route.

The FM performance was consis-tently transparent, full, and obvious-ly resistant to serious multipath in-terference. Except for the very low-est bass, the whole musical band-width was present. The only prob-lem was an excessive sensitivity toany source of hum or impulse noise,such as arc welding and unshieldedignitions. Even my car's fairly well -isolated ignition system could beheard during low-level programs.

I couldn't get as many FM or AMstations as I'm used to pulling in,but FM broadcasts tended to soundclear when they were receivable,with few sonic interruptions. Theaction of the automatic channel -blending circuitry was not too no-ticeable as it reacted to a recedingstereo FM signal by effectively(Continued on page 140)

HIRSCH-HOUCK LAB MEASUREMENTSiNIMMENEMermo liperov,ixameimmorga,.:.1varl, *

FM mono usable sensitivity(75 -ohm input): 18 dBf (2.2 µV)

50 -dB quieting sensiiivity (75 -ohminput): mono, 17 dBf (1.95 µV);stereo 38 dBf (21.8 µV)

FM tuner signal-to-noise ratio at65 dBf: 70 dB in mono; 66.5 dbin stereo

Tuner distortion at 65 dBf: 1.2%in mono; 1.35% in stereo

FM frequency response: 50 to19,000 Hz +2, -5 dB

Stereo separation (65 dBf) at 100,1,000, and 10,000 Hz: 28, 33.5,and 27 dB

Capture ratio at 65 dBf: 4.5 dB(see text)

AM rejection at 65 dBf: 57 dBAlternate -channel selectivity: 47

dB (see text)Adjacent -channel selectivity: 6 dB

(average, see text)Image rejection 57 dB

Tape -playback frequency response(standard BASF test tapes):120-izs EQ, 55 to 11,500 Hz +0,-3 dB forward or reverse; 70-µsEQ, 55 to 13,500 Hz +0, -3 dBforward or reverse

Tape signal-to-noise ratio(referred to 250 nWb/m at 315Hz, 120-µs EQ): unweighted, 53dB; Dolby B and A -weighting, 64dB; Dolby B and CCIR/ARMweighting, 60 dB

Flutter: ± 0.27% CCIR-weightedpeak; 0.18% DS -weighted rms

Tape speed accuracy: 0% forward;- I% reverse

Fast rewind time (C-60): 97seconds

Tone -control range: +9, -12 dBat 100 Hz; +9, -10.5 dB at10,000 Hz

1,000 -Hz clipping power output(into 4 ohms): 15.6 watts.


ADVERTISEMENT

Consumer Information Series _170-41E'

Getting the most from compact discs.Can your system really keep pace with digital audio?

by J. Robert O'Connell

As an audio enthusiast,you've probably readmany articles on compactdiscs. Most have stressedthe dynamic range avail-

able, and the consistent sound quality, playafter play. Both of those topics areimportant. But what also must beconsidered, and is all too oftenignored, is the impact of this newformat on your present audiosystem.

DYNAMIC RANGE:THE COMPACT DISC EDGE

Recording Engineer

IMPACT ON YOUR AUDIO SYSTEMIncreased dynamic range and

decreased noise floor places newdemands on your audio system. Remem-ber that each 3 dB of additional dynamicrange requires double the amplifier power

Peak Output. The top two curveson the graph at right show the samepiece of music played from a con-ventional LP and a compact disc.The peak output heard from a disc issubstantially greater than that avail-able from the LP, provided the rest ofyour system can reproduce it.

Noise Floor. As can be seen from thethree lines at the bottom of the graph,the noise floor of the compact disc is belowthat of a common listening room, while aconventional LP is above it. This demon-strates that compact discs are so quiet thatother factors (such as the room noise andthe quality of the rest of your audio system)limit the softest sounds you can hear.

Dynamic Range. Since the compactdisc exhibits both increased peak outputand decreased noise floor, the dynamicrange (difference between the softest andloudest sounds) is extended. But thisextended range is only experienced if therest of your audio system is physicallycapable of handling it.

Covered by patent rights issued and/or pending0 Copyright 1984 Bose Corporation All rights reserved

120

110

100

so

80

70

so

so

40

30

20

10

DYNAMIC RANGE COMPARISONBETWEEN A COMPACT DISC AND AN LP

speaker if the result will be "blown" tweet-ers rather than a more enjoyable expe-rience. Finally, and perhaps mostimportantly, the speaker must be ableto create the lifelike impact and flawlessclarity captured by the disc.

At Bos', we've invested

T

100 200 300 400 500(time, in mse:)

600 700 800

COMPACT DISC - NOISE FLOOR Of CONVENTIONAL RECORDINGCONVENTIONAL moon NOISE FLOOR OF A TYPICAL ROOM

RECORDING NOISE FLOOR OF COMPACT DISC

to reproduce it. So, compared with conven-tional recordings, compact discs requirehigher amplifier power. But amplifier poweris only one of the criteria which de-termines the quality of compact discsound reproduction.

Extended dynamic range also placespreviously -unheard-of demands on yourspeakers. And, after all. speakers, morethan any other component, determine thequality of sound you actually hear from acompact disc. The higher the speaker'ssensitivity, for example, the less the neces-sary amplifier power to reproduce thepeaks in source material captured by adisc. Further, to reproduce the incredibledynamic range available from compactdiscs, a speaker must also have highpower handling capability. There's nosense feeding a higher level signal to a

20 years developing Direct/Reflecting" speaker systems todeliver spacious, lifelike sound.We've also designed them to meetthe demands of lifelike recordings,such as the compact disc. So, our901'' Series V system, for example,is rated for unlimited power han-dling. But the only way to evaluatecur speakers, or anyone else's, isto listen to them. For help in prop-erly evaluating speakers, we referyou to article #2 in this series, "Whydidn't they sound like that in theshowroom?" by John Carter, ChiefEngineer.

For reprints of article #2, as well as moreinformation on Bose products, pleasewrite: Bose Corporation, Dept. SR, 10Speen Street, Framingham, MA 01701.

J. Robert O'Connell is manager of BoseAudio Visual Services.

A frame plucked at random from any one ofRidley Scott's four feature films-The Duellists, Alien,Blade Runner, and this year's Legend- is graphicevidence that this man treats the screen as a canvas.Behind the beauty of the imagery is a master storytell-

er with an uncommon abil-ity to make visuals and soundresonate with meaning.

"My obsession for detailangers a lot of people. Inthe end, I think these smalltouches make an enormousdifference.

'All films are, basically, aprocess of accurate guessing. If you're wrong, well,youre wrong.

"Designing sets is one of the most enjoyableaspects of the films I do'

"I'm very respectful of actors. I listen to them'"Sound is primal, as powerful as pictures. It's in-

stant.You dont have to do anything!'"I have this huge frustration with the image on

theater screens and television.The day they invent alittle black box which when placed in every theaterand home optimizes projection and sound ... thatwould be ideal"

The cinematic visions of filmmakers like RidleyScott challenge the manufacturer to offer videoequipment capable of capturing the totality of theirart in all its subtlety and nuance. Mitsubishi acceptsthat challenge.

For a detailed look at Mitsubishitelecommunication equipment forthe home, send for our brochure,Mitsubishi: The Thinking Inside.

MITSUBISHIMitsubishi Electric Sales America, Inc., 5757 Plaza dam, Box C. Cypress , CA 90630-0007

A $10.000 donation in the name of Ridley Scoa has been made to the USA for Africa Relief Fund.

TECHNICAL TALK

byJulian Hirsch

Speaker Sensitivity

SPEAKER sensitivity-oftenconfused with the related butvery different concept of effi-ciency-is one of the few

meaningful ratings included onmost speaker specification sheets. Itis widely misunderstood, however,perhaps because it is frequently ac-companied by a "recommendedamplifier power rating" that is notnearly so well defined. A recent let-ter from a reader cites the exampleof two speakers whose rated sensi-tivities differ by 13 dB-a required -power ratio of twenty to one!-butwhose minimum suggested ampli-fier powers differ by only two toone. My correspondent was under-standably puzzled by the discrepan-cy, and his puzzlement made mevery aware of the semantic pitfallswe risk when trying to make definedspecifications correspond withseemingly related numbers thathave no technical validity.

First, let's define some terms.Sensitivity, as applied to a speaker,normally means the sound -pressurelevel (SPL) measured at 1 meterfrom its front surface when the

speaker is driven by 2.83 volts. Tothe best of my knowledge there is nocurrent standard for speaker meas-urements in this country, but the 1 -meter spacing and 2.83 -volt drivelevel seem to enjoy at least de factoacceptance.

I do not know of a standard testfrequency or other signal definition.Sometimes the signal used to meas-ure sensitivity is full -range pinknoise, and sometimes it is specifiedas "1,000 Hz." A single -frequency(sine -wave) signal is undesirable,however, since a speaker's responsecan vary by several decibels over anarrow range of frequencies. ForHirsch -Houck Labs tests we havesettled on a band of pink noise 1

octave wide centered at 1,000 Hz.Such a signal avoids the possibilityof narrow -band response variationsaffecting the results, and it tests thespeaker's sensitivity near the centerof its useful range.

Why 2.83 volts? Because that rep-resents a power level of 1 watt intoan 8 -ohm resistive load. Disregard-ing for the moment that no speakeris likely to look to an amplifier likean 8 -ohm resistor, except possiblyat a few discrete frequencies, thismeans that the measurement is ac-tually one of voltage sensitivityrather than efficiency. In ratingssensitivity is often listed as "x dBfor a 1 -watt input," but that is notcorrect; the reference level is 2.83volts.

The efficiency of a speaker (ex-pressed as a percentage) is the ratioof its total acoustic power output,

Tested This Month

Proton D540Integrated AmplOer

Celestion DL8Speaker System

Tandberg TCA 3008APreamph.

Nikko NR- 50Receiver

Pioneer CT-A9XCassette Deck

Canon VR-40AVHS Hi-FiVCR

measured in all directions and overthe full audio frequency range, to itselectrical power input from the am-plifier. An efficiency measurementencompasses the speaker's sensitivi-ty, its actual impedance over the fre-quency range, and its directionalproperties. Sensitivity is more ap-plicable to real -world listening con-ditions, however, since the voltageoutput of most amplifiers is fairlyconstant over a wide range of loadresistances. A user does not need toknow how efficient a speaker is, orhow much power is actually beingsupplied by the amplifier, but ratherhow much sound level the speakerwill produce for a given amplifieroutput voltage. Two speakers withthe same sensitivity rating but dif-ferent impedances, such as 4 and 8ohms, will-all else being equal-sound identically loud, even thougha 4 -ohm speaker will draw twice asmuch power from the amplifier forthe same acoustic output as an 8 -ohm speaker will.

It has been widely stated, and itbears repetition here, that a speak-er's sensitivity and impedance rat-ings have nothing whatever to dowith its sound quality. There is afundamental relationship betweenenclosure volume, low -frequencyresponse limits, and efficiency(which, as I have pointed out, isrelated to but is not the same as sen-sitivity). Although this relationshipreally applies only to the perform-ance of low -frequency drivers(woofers), in practice higher -fre-quency drivers can easily be mademore efficient than the system'swoofer. It is the woofer, therefore,that limits a speaker's overall effi-ciency. If a small speaker system isto have a good bass response, itmust be relatively inefficient, butotherwise it can be as good a trans-ducer as a larger and more efficientdesign with the same frequency re-sponse. Since most amplifiers candeliver more power into 4 ohmsthan into 8 ohms, however, speakerdesigners often use 4 -ohm drivers totake better advantage of an ampli-fier's capabilities.

Now we come to the confusingpart of the story. Almost everyspeaker manufacturer specifies arange of amplifier powers that hedeems suitable for driving his prod-ucts. Typically, such ratings follow


Release the High Fidelityfrom Your High Technology.

Hidden inside personal stereos,VCRs, and computers is some-

thing that most people don't evenrealize is there.

All of these personal electronicsdiffer in both function and form, butinside they're all made up of incrediblyadvanced electronic components. Sothey all have the potential to soundextremely good.

With the Bose' family of poweredspeaker systems,you can finallyunleash all thehigh fidelity that'strapped insideyour personalelectronics.

The RoomMate' System.The Bose RoomMate system

brings room -filling highfidelity out of virtually any-thing equipped with a

headphone jack. For example,connect it to one of the newgeneration of portable CompactDisc players, and you'll have the

world's smallest complete digitalstereo system!

The Video RoomMateSystem. The new VideoRoomMate system addstrue hi-fi sound to VCRs,televisions, and videodisc players. Magneticshielding, a volume con-trol and RCA cablesmake it compatible witrany VCR-right out ofthe box. Plug the VideoRoomMate system intoyour video source, and you'll be onestep closer to the theater itself.

Both systems have a built-in amplifierand active equalizer for compolent-system fidelity, and a nearly indestruc-tible cabinet for durability. And bothRoomMate systems use some of thesame audio technology that made theBose 90'' speaker an audio legend.

Best of all, the RoomMate andVideo RoomMate systems are veryeasy to live with. They're affordableenough to use with all your personalelectronics. There's also a line of ac-cessories available, such as travelbags, wall mounts, adapters, and themounting arm shown on the left.

You'll probably find applications for

the RoomMateand Video RoomMatesystems nearly everywhereyou look-because real high fidelityis hiding all around you, in all yourelectronics! Hear the Bose poweredspeaker systems at your authorizedRoomMate and Video RoomMatedealer soon, or write to:Bose Corporation, Department SR,10 Speen Street, Framingham,MA 01701

(apynnt ,5495 Bo. Colorer an I 'V. mfervea Caron. by latent rognlf,ssaM rW ploy Steeecanons tuqect ,o Meng* wrIfoul nonce

.419717.5°Better sound through research.

TECHNICAL TALK

the form "Use with amplifiers ratedfrom 10 to 150 watts" or "Mini-mum recommended power 10watts, maximum power 150 watts."Few other speaker specifications, Ibelieve, cause as much confusion asthis one.

The purpose of a recommended -power specification is to give theprospective buyer a rough, "ball-park" figure for judging a speaker'scompatibility with a particular am-plifier he may already have or beconsidering buying. Generallyspeaking, the minimum recom-mended power indicates that "typi-cal" home listening levels (whateverthey might be) will require an am-plifier rated to deliver at least 10watts per channel. Considering thatthe actual average power requiredfor a comfortable listening level isoften well under 1 watt, this seemsquite reasonable; the 10 -dB powerreserve should be sufficient to han-dle most program peaks. Unfortu-

nately, there is no more likely to bea "typical" music system installa-tion than an "average" listener.These entities might be envisionedstatistically, but in reality they arepurely imaginary. Let's look at a fewhypothetical examples of atypicallistening situations that are morelikely to be encountered than that"typical" one.

Suppose our "average" listenerturns up the volume just a bit, per-haps to override the noise of ahousehold appliance or passing traf-fic. The average amplifier poweroutput might have to be increasedto 4 or 5 watts, and the peaks wouldthen be severely clipped. Obviously,a 10 -watt amplifier would be inade-quate in this situation. On the otherhand, someone in a rural location,without the inevitable urban noisepollution, might be able to enjoy acomfortable listening level with nomore than 0.1 watt of power onaverage. In this case, anything more

than the minimum amplifier ratingwould be wasted.

Now let's consider the matter ofindividual listening preferences.The examples cited might apply topeople who like to listen to light -

classical or popular music at moder-ate levels that might not suit eitherhard -rock enthusiasts or hard-coreaudiophiles who want to re-createlive listening levels. A several -foldincrease in available power mighteasily be needed to satisfy these seg-ments of the audio population. Youcan see that our apparently reason-able 10 -watt minimum recom-mended amplifier rating might haveto be increased to 50 watts or moreunder certain not too unusual con-ditions (and in all these exampleswe have assumed the same listen-ing -room characteristics, which alsoaffect power needs considerably).

Apparently (with apologies toLewis Carroll's Humpty Dumpty) a"minimum power recommenda-

Discwasher.The clear choice for tape care.To maintain sound qualityand prevent damagedtapes, use Discwasher tapecare products regularly.ThePerfect Path" CassetteHead Cleaner is a unique,non-abrasive dry cleaningsystem. Scientifically

c 1985 DiscwasherA DIVISION OF INTERNATIONAL JENSEN INC

designed to remove oxidesand residues from theentire tape path and tapeheads. Discwashercleans capstans and pinchrollers to prevent tapejamming. To eliminatemagnetism problems, use

Discwasher D'Mag" Fortotal tape care maintenance,you can trust Discwasher.

Discwasher, the leader inaudio care technology isthe clear choice for videocare, too.

- -V-The sound and sight come through clean and clear

discwasher1407 North Providence Road, PO. Box 6021, Columbia, MO 65205




Finally, stereo can come out and play.Bose 101 Environmental Speaker

Lion" from a speaker manutacturermeans exactly what he intends it tomean, no more and no less. In mycorrespondent's example, a speakerwith a 102 -dB sensitivity had a min-imum power recommendation of 5watts, while another, rated at 89 dB,was suggested for use with a 10 -wattamplifier. The seeming inconsisten-cy can be explained by the fact thatthere are no 5 -watt amplifiers madethat would be used with componentspeakers; in fact, I doubt there areany suitable 10 -watt amplifiers ei-ther. Literally any amplifier youmight select would have more thanthe recommended minimum powerfor either of these speakers, or justabout any other you might name.

My advice is to ignore the mini-mum -power part of the specifica-tion, with one possible exception. Ifa speaker's minimum -power ratingis high -40 to 80 watts, say-andthe sensitivity is at least 85 or 86 dB.you can infer that the manufactureris hinting that his speaker deserves ahigh -quality component amplifierand would be mismated to a low-priced receiver with a 20 -watt rat-ing. In such a case the speaker'sprice will usually reinforce this in-ference-a $1,000 speaker is wastedon a $200 receiver, although itwould probably sound just fine.

The weatherproof Bose 101speaker can play true high fidelitysound almost anywhere. Optionalmounting accessories and coloreddecorator grilles make the 101system a Jerfect match for anyenvironment-indoors and out.Hear it new at your authorized Bosedealer. For more information, write:Bose Corpo-ation, Dept. SR,10 Speen St., Framingham,MA 0170 -

Better sound through research.

How about that recommendedmaximum -power figure' Considerit just a common-sense admonitionnot to drive the speaker with anamplifier capable of vaporizing itduring a moment's carelessness. Al-though there are few speakers thatcannot be damaged by an over -driv-en 25 -watt amplifier, and an aston-ishing number of speakers (includ-ing some rather small ones) thatthrive when used with a good 200 -watt amplifier, the maximum -pow-er rating is the manufacturer's wayof warning the user not to place thespeaker in unnecessary jeopardy.

In general, however, I would pre-fer to operate that hypothetical "10to 150 watt" speaker from a 150 -watt amplifier than from a 10 -wattamplifier. In fact, I routinely listento speakers through a 350 -watt -per -channel amplifier-which most ofthe time is delivering a fraction of awatt. When the program or otherconditions require it, I use the fullpower of the amplifier for brief peri-ods, and the results are most gratify-ing. And, although few of the speak-ers I test are rated for more than 100or 150 watts, I have never damageda speaker while listening to it.

S I EREO REVIEW NOVEMBER 1985 37

If a videosystem isn'tworth hearing,it isn'tworth seeing.

by Ray Charles

"My word, have you everseriously listened to most videosystems.This is not great sound,my friend, this is noise. They maygive you something pretty to lookat, but they sure make you paywith your ears.

Then one day the Pioneer folksask me to listen to their videodiscsystem called LaserDisc. And I'mamazed. The sound on LaserDiscis every bit as good as I ever heardon my stereo.

Maybe better.I think to myself, 'If the sound is so great, maybe the picture isn't so hot' So I ask the

experts. And they tell me that the picture on LaserDisc is so much better than any othervideo system, nothing else even comes close.

And then they tell me that because the disc is read by abeam of light instead of a videohead or a needle, it can't wear out the way tapes or records do.

Suddenly, it all becomes very clear to me: if you couldget the best sound and the best picture from the samesystem, if you didn't have to give up one to get the other,how could you possibly consider anything else?

I don't care if you're a big video -musicfan, or all you do is watch movies. Eitherway, you're not going to do better thanLaserDisc nohow"

Model shown LD-700

Prices start at $299. Suggested retail price.

LaserDisc"' brand videodisc player is a trademark of Pioneer Electronics Corp.©1985 Pioneer Video. Inc All rights reserved.

PIONEERVideo for those

who really care about audio.

TEST REPORTS

PROTON D540INTEGRATED AMPLIFIER

Julian Hirsch, Hirsch -Houck Laboratories

Aa

MPLIFIER designers have longrecognized the significance

nd desirability of a highshort-term reserve power

capability; it is the basis for thedynamic -headroom specification.But Proton's research suggested thatthe standard EIA 20 -milliseconddynamic -headroom tone -burst testsignal was unrealistically short inview of the peak -power demands ofreal -world music signals. Althoughthe maximum amplitudes mightlast only 20 milliseconds or so,many waveforms decay over amuch longer time period and thuscould require an amplifier to delivermuch more than its rated contin-uous power for as long as severalhundred milliseconds.

To meet this requirement, Protondeveloped a Dynamic Power on De-mand (DPD) system, used in thenew D540 integrated amplifier, thatallows an amplifier's maximum un-clipped output to exceed its contin-uous -power rating by four times (a6 -dB increase) for considerablymore than 20 milliseconds and todecay slowly over a relatively longperiod before returning to the maxi-mum steady-state output level.While the same capability couldhave been achieved by several con-ventional design approaches, anoth-er requirement for Proton's designswas that the amplifier be highly effi-cient and moderately priced.

The D540 is a relatively low -pow-ered amplifier whose output transis-tors normally operate from a low -voltage power supply although theyare capable of much higher powerlevels. There is also, however, a sec-ond, high -voltage supply, togetherwith a power -control circuit thatmonitors the instantaneous outputlevel from the amplifier. When theD540's output power reaches an in-ternally set threshold level (which isclose to the amplifier's continuous -power capability), fast -acting elec-tronic switches connect the high -voltage power supply to the outputtransistors, increasing their maxi-mum power capability to severaltimes its normal value. Because thehigh -voltage supply is used infre-quently and only for short periodsof time, its continuous current rat-ing can be very low. In fact, it mere-ly charges up the capacitors to itsfull voltage, and when more poweris needed the amplifier draws itfrom those capacitors.

Proton's DPD system calls forstorage capacitors large enough thata high short-term power level can besustained for 200 to 400 millisec-onds, after which it gradually de-clines. If a continuous tone is ap-plied at the highest signal level, theDPD power reserve decreases untilthe internal switches disconnect it,leaving the amplifier to operate atits rated continuous -power level

while the capacitors recharge (whichtakes about a second). Because theswitching occurs at close to the am-plifier's normal full -power level,any switching transients are maskedby the program content. And sincethe power transistors operate at afraction of their capability undernormal conditions, they cannotoverheat and therefore require nocurrent limiting or thermal protec-tion systems.

The Proton D540 is a compactbut surprisingly heavy unit with aminimum of visible controls on itsall -black exterior. Simple pushbut-tons turn it on. and off and selectone or both sets of speaker outputs.01her than the small input -selectorpushbuttons, the only visible oper-ating control is the volume knob.The inputs provided are for phono,tuner, CD player (marked DAD, fordigital audio disc), and video; eachbutton is duplicated to allow inde-pendent selection of sources for lis-tening or tape recording. Similarbuttons select playback from eitherof two tape decks or cross -connectthem for dubbing from either ma-chine to the other. There is a smallyellow -green power -on pilot lightand a red light that glows when theDPD power supply is being used.

Behind a hinged door on the frontpanel are small center-detentedkr obs for the bass and treble tonecontrols and the balance control,buttons for mono mode and loud-ness compensation, and a BASS EQbutton that engages a low -frequencyboost circuit to extend the low -fre-quency response of typical smallwoofers. The BASS EQ circuit has noeffect above 100 Hz, but it boosts


Matthew Polk's total dedication to a philosophy of uncompromising quality results in drama-.ically better sounding speakers for you.

"The Genius of Matthew PolkCreates Better Sounding Loudspeakers"

atthew Polk has combinedhuman creative genius andcomputer technology to designloudspeakers of unexcelled

musical sound quality for you.Polk Speakers Sound BetterThe ultimate goal of every one of MatthewPolk's loudspeakers is to enable you toachieve better sound in your listening roomand to give you the greatest listening plea-sure and long term satisfaction from yourmusic and hifi. You will find Grand PrixAward winning state-of-the-art technology inevery Polk speaker system from the least tothe most expensive. At Polk Audio technologyserves music, and you.

Pr "Vastly superiorto the competition...

Our advice is not to buspeakers till you'v

heard the Polks.Musician Magazi

Hear for Yourself Why Polk is #1Last year, for the second year in a row, PolkAudio was voted #1 in the Audio VideoGrand Prix. It was the 4th year in a rowthat Polk won the Audio Video Grand PrixSpeaker of the Year Award. Polk speakers aredesigned better, built better and sound better!We are The Speaker SpecialistO Polk buildsa wide variety of different loudspeakers fordifferent needs and budgets; however, theiiultimate goal is always your total musicalsatisfaction. If you're looking for lifelikemusical quality, world class technology andunexcelled value, Polk loudspeakers areyour obvious choice. You'll always be gladyou bought the best.

For your nearest Polk dealer see page 146.For Dealer Nearest You Call TOLL -FREE 800-633-2252 Ext. 836


Polk audioThe Speaker Specialists

"Polk's Remarkable Monitors RedefineIncredible Sound/Affordable Price"

"At the price, they're simply a steal."Al DIOGRAII MAGAZINE

Anew generation of Polk Monitors isnow available which incorporate thesame high definition Silver Coil

Dome tweeters and Optimized Flux Densitydrivers developed for the SDAs. Polk MonitorSeries loudspeakers have always had a welldeserved reputation for offering state-of-the-art performance and technology usuallyfound only in systems which sell for manytimes their modest cost. In fact, manyknowledgeable listeners consider that otherthan the SDAs, Polk Monitors are the finestimaging speakers in the world, regardless ofprice. They have been compared in perform-ance with loudspeakers which sell for up to$10,000 a pair and are absolutely the bestsounding loudspeakers for the money avail-able on the market. Now they sound evenbetter than ever.

"Open, uncolored, perfectly imagedsound." Ml7SICIAN MAGAZ1A I.

All the Polk Monitors, regardless of priceoffer consistently superb construction andsonic performance. They achieve open, box -less, three dimensional imaging surpassedonly by the SDAs. The Monitor's silky smoothfrequency response assures natural. non -

fatiguing, easy to listen to sound; while theirinstantaneous transient response results inmusic that is crisply reproduced with lifelikeclarity and detail. In addition, dynamic bassperformance, ultra wide dispersion, highefficiency and high power handling are allmuch appreciated hallmarks of MonitorSeries performance.

Polk's Uncompromising Standardof Superior Sonic Performance

The consistently superb performance ofthe Polk Monitors is in large part due to thefact that they all utilize very similar compo-nents and design features. However, moreimportantly, it is the elegant integration ofconcepts and components which results inthe superior sonic performance and valuewhich sets the Monitor Series apart. Audio -

gram magazine said, "How does Polk do it?We think it is mostly execution. They hearvery well and they care." Audiogram isabsolutely right! At Polk we take the samecare with each and every product we build,whether it is our most or least expensive. Welavish the same lengthy amount of criticallistening and tuning on every single Polkspeaker because we know that haying alimited budget does not necessarily indicatethat you have a limited ability to appreciatetrue musical quality. That's why Polk speak-ers sound better.

Pont's remarkable Monitor Series Loudspeakers offer state-of-the-art technology andperformance usually found only in systems wh ch sell fcr many times their modest cost.

Polk dedication to quality is apparent inevery detail of design, construction and

superior sonic performance.

There's A Polk Monitor Perfect for YouThere are six Polk Monitor Series loud-

speakers. As you move up the Monitor Seriesthe speakers get larger, more efficient, han-dle higher power, have greater dynamicrange and letter bass response. They aredesigned so that a smaller Polk played in asmall room will sound nearly identical to alarger Polk in a large room. And, of course,a larger Mk in a smaller room will play thatmuch louder and have even better bass. TheRTA 12C also incorporates unique technol-ogy which results in improved imaging andclarity. Whatever your budget, there is a PolkMonitor which is perfect to fulfill your sonicdreams at a price you can afford.

Digital Disc Ready

For your nearest Polk dealer see page 146.



Matthew Polk's remarkable new SDASRS was selected for the prestigious 1985 CES Design and Engineering Exhibition.

"The Genius of Matthew PolkRedefines State -of -the -Art"

For the last 4 years Matthew Polk hasbeen driven by an all consumingpassion: to develop the ultimate SDAloudspeaker. He has succeeded.

Matthew Polk's Uhimate SDAThe extraordinary new SDA Signature Refer-ence System combines Polk's patented SDATRUE STEREO Technology* with phase -coherent vertical line -source topology. Theresult is a high efficiency, low colorationsystem of awesome and seemingly limitlessdynamic range and bass capabilities. Itreproduces music with a precisely detailedand life -like 3 -dimensional soundstagewhich is unequalled.

Introducing thPhase -Cohere

Line -Source

DA -SR"The Best SDAs yep

impressive and worthy,Matt Polk's signature."

Ilija) idelity.114gazilw

The SDA Signature Reference System'sState -of -the -Art Performance Features Exclusive Patented SDA TRUE STEREO

Technology*Effective Bass Radiating Area Equivalentto a 40" Woofer

Mulitple Driver Line -Source Topology Phase -Coherent Time -Compensated

Driver Alignment Progressive Point -Source Tweeter Array

Full System Complement Sub -Bass Drive Panel Mounted Isophase Crossover

Bi-Wire/Bi-Amp Capability 1000 Watt/Channel Power Handling Non -Resonant Monocoque Cabinet

For your nearest Polk dealer see page 146. CIRCLE NO. 37 ON READER SERVICE CARD


polk nude°The Speaker Sp l`( 1,111,1,

"Polk's Revolutionary TRUE STEREO SDAsAlways Sound Better Than Conventional Speakers"

"They truly represent a breakthrough"ROLLING 5-IONE MAGAZINE

polk's critically acclaimed, AudioVideo Grand Prix Award winning SDAtechnology is the most important

fundamental advance in loudspeaker tech-nology since stereo itself Listeners areamazed when they hear the huge, lifelike,three-dimensional sonic image produced byPolk's SDA speakers. The nation's top audioexperts agree that Polk SDA loudspeakersalways sound better than conventional loud-speakers. Stereo Review said, "Spectacular...the result is always better than would beachieved by conventional speakers." HighFidelity said, "Astounding... We have yet tohear any stereo program that doesn't bene-fit." Now the dramatic audible benefits ofPolk's exclusive TRUE STEREO SDA tech-nology are available in 4 uniquely superbloudspeaker systems, the SDA-IA, SDA-2,SDA CRS and the incredible new SDA SRS.

Polk's Revolutionary SDAs:The First TRUE STEREO Speakers

The design principles embodied in theSDAs make them the world's first true stereospeakers. When the big switch was madefrom mono to stereo, the basic concept ofspeaker design was never modified to takeinto account the fundamental differencebetween a mono and stereo signal.

What is the difference between a monoand stereo speaker? It's quite simple. Thefundamental and basic concept of mono isthat you have one signal (and speaker)meant to be heard by both ears at once.However, the fundamental and basic conceptof stereo is that a much more lifelike three-dimensional sound is achieved by having 2different signals, each played back througha separate speaker and each meant to beheard by only one ear apiece (L or R). Soquite simply, a mono loudspeaker is de-signed to be heard by two ears at once whiletrue stereo loudspeakers should each be

S620 00 ea

a

4a

4#

SDA1395 0

I

SDASE 7'.00f.

o

al

heard by only one ear apiece (like head-phones). The revolutionary Polk SDAs arethe first TRUE STEREO speakers engineeredto accomplish this and fully realize theastonishingly lifelike three-dimensionalimaging capabilities of the stereophonicsound medium.

"A new dimension in the sound."STEREO REVIEW MAGAZINE

Words alone cannot fully describe howmuch more lifelike TRUE STEREO reproduc-tion is. Reviewers, critical listeners andnovices alike are usually overwhelmed bythe magnitude of the sonic improvementachieved by Polk's Stereo/Dimensional Tech-nology. You will hear a huge sound gagewhich extends not only beyond the speakers,but beyond the walls of your listening roomitself The lifelike ambience revealed by theSDAs makes it sound as though you have

"Polk Reinvents the Loudspeaker" HIGH FIDELITY MAGAZINE

orm reo

ventlonal loudspeakers are When conventional speakers re- Only Polk SDA loudspeakergned for monaural operation produce stereo, stereo separation taro full stereo separation

one speaker is heard by both Is reduced because each speaker each ear hears only the oneat once. is heard by both ears. speaker.

Polk's revolutionaryTRUE STEREO SDALoudspeakers fullyrealize the astern.'shingly lifelike,three dimensionalimaging capabilitiesof the stereophonicsound medium.Stereo Review says"the result is alwaysbetter than thatachieved bytional speakers."High Fidelity saysthey're "Mind bog.piing ...astoundingand flabbergasting."

111011I

been transported to the acoustic environ-ment of the original sonic event. Everyinstrument, vocalist and sound becomestangible, distinct, alive and firmly placed inits own natural spatial position. You willhear instruments, ambience and subtle musi-cal nuances (normally masked by con-ventional speakers), revealed for yourenjoyment by the SDAs. This benefit isaccurately described by Julian Hirsch inStereo Review, "...the sense of discoveryexperienced when playing an old favoritestereo record and hearing, quite literally, anew dimension in the sound is a mostattractive bonus..." Records, CD's, tapes,video and FM all benefit equally as dramat-ically. SDAs allow you to experience thespine tingling excitement, majesty and plea-sure of live music in your own home. Youmust hear the remarkable sonic benefits ofSDA technology for yourself You too willagree with Stereo Review's dramatic conclu-sion: "the result is always better than wouldbe achieved by conventional speakers...itdoes indeed add a new dimension to repro-duced sound."

The experts agree: Polk speakers soundbetter. Hear them for yourself!

polk audio1915 Annapolis Road, Baltimore,Maryland 21230In Canada: Dist. by Evolution 7bcbnology

s ran 41 .5+0 1.4+49431 nther palm& Pendmg. FmIgn

For your nearest Polk dealer see page 146 CIRCLE NO. 37 ON READER SERVICE CARD


TEST REPORTS

the response by almost 10 dBaround 50 Hz while cutting theresponse by 18 dB per octave below40 Hz.

In addition to the various signalinput and output jacks, the rearpanel has PRE -OUT and MAIN -INjacks, normally joined by jumpers,for connecting external signal -pro-cessing accessories into the signalpath. A pushbutton near the gold-plated phono jacks sets the pream-plifier for input from either a mov-ing -magnet or a moving -coil car-tridge, and another button selectseither high or low gain for the MCinput. A three -position slide switchselects 100, 200, or 320 picofaradsinput capacitance for the MM input(across a 47,000 -ohm resistance).Another slide switch engages Pro-ton's "anti -clipping" circuit, whichsmoothly rounds off the outputwaveform when the amplifier's lim-its are exceeded rather than allow-ing hard clipping with its audiblyunpleasant high -order harmonics.Another switch connects the twochannels in a bridged mode, trans-forming the D540 into a mono am-plifier with more than double itsnormal power. For stereo operationin the bridged mode, a second pow-er amplifier can be driven from theD540's PRE -OUT jacks.

The Proton D540 is rated to de-liver 40 watts into 8 -ohm loadsfrom 20 to 20,000 Hz with no morethan 0.02 percent total harmonicdistortion. Its dynamic power isvariously rated from 150 to 380watts for loads of 2, 4, and 8 ohmswith durations from 20 to 200 milli-seconds. The D540 is 161/2 incheswide, 12% inches deep, and 31/2inches high and weighs just over 19pounds. Price: $350. Proton Corpo-ration, Dept. SR, 737 W. ArtesiaBlvd., Compton, CA 90220.

Lab TestsPreconditioning the Proton D540

for one hour at 13.3 watts (one-thirdrated power) made its top quite hotabove the transistor heat sinks, butin normal use it never became morethan moderately warm to the touch.With both channels driven at 1,000Hz, the outputs clipped at 60 wattsinto 8 ohms, 90 watts into 4 ohms,and 128 watts into 2 ohms.

The 8 -ohm harmonic distortionat 1,000 Hz fell from 0.006 to 0.002

FEATURES

O Dynamic Power on Demand:dual power supply provides 6 -dBdynamic headroom; highdynamic power available for 200to 400 milliseconds

O Inputs include phono, tuner,CD, video, and two tape decks

O Separate input -selector buttonsfor listening and tape recording

O Dubbing from either tape deckto the other

O Two switchable speaker outputsO Hinged door conceals controls

for bass, treble, balance, mono,loudness, and Bass EQ

Front -panel headphone jackO Separate rear -panel pre -out and

main -in jacksO Bridgeable for higher power in

mono modeO Gold -plated -input jacksO Selectable or MC

phono-preamplifier modesO Switchable sensitivity for MC

cartridge (high or low)O Switchable capacitance for MM

cartridge (100, 200, 320 pF)O Anti -clipping circuitO Three a.c. outlets (one switched)

PROTON D540CLIPPING POWER OUTPUT VS. TONE -BURST DURATION

600

500

'If 400

300

cie

200

8 OHMS BRIDGED (MONO)

100

0

TIME BETWEEN TONE BURSTS = 0 5 SECOND,

2 OHMS

4 OHMS

8 OHMS

- RATED 8 OHM OUTPUT

0.02 0.05 01 05TIME, SECONDS

5 10 20

HIRSCH-HOUCK LAB MEASUREMENTS

1,000 -Hz output power at clipping:60 watts into 8 ohms; 90 wattsinto 4 ohms; 128 watts into2 ohms

Clipping headroom (relative torated output): 1.76 dB (8 ohms)

Dynamic power output: 156 wattsinto 8 ohms; 288 watts into4 ohms; 530 watts into 2 ohms(see text)

Dynamic headroom: 5.9 dB(8 ohms)

Frequency response: +0, -0.5 dBfrom 20 to 20,000 Hz

Maximum distortion from 20 to20,000 Hz at 40 watts output:0.016% into 8 ohms

Sensitivity (1 -watt output): tuner,23.5 mV; MM phono, 0.4 mV:MC phono, 0.G32 mV (high),0.016 mV (low)

Output noise referred to 1 wattoutput (A -weighted): tuner, -91dB; MM phono, -84 dB; MCphono (high), -74 dB

Phono-input overload level (MM):220 to 260 mV depending onfrequency

Phono-input impedance (MM):45,000 ohms in parallel with120-pF capacitance (100-pFsetting)

Slew factor: greater than 25RIAA equalization accuracy: +0,

-1 dB from 20 to 20,000 Hz

percent as the power increased from1 to 40 watts, rising to 0.0033 per-cent at 50 watts. The distortioncurves were quite similar with4 -ohm and 2 -ohm loads, with slight-

ly higher readings and maximumpower levels. In all cases the distor-tion was less than 0.01 percent from1 watt to the clipping point. Thereactive load factor was 2.3 dB. The


TEST REPORTS

amplifier was exceptionally stablewith complex reactive simulatedspeaker loads, showing only a singlecycle of overshoot on a 10,000 -Hzsquare wave signal.

Across the audio range, at ratedpower or less, the distortion wastypically 0.0025 to 0.005 percent,rising to 0.007 to 0.008 percent at 20Hz and 0.01 to 0.016 percent at

The Proton D540 is not onl,ythe most powerful "40 watt '

amplOer we have used, it isone of the few of any ratingwhose capabilities begin toencompass the dynamicproperties of live music.

20,000 Hz. At all times the distor-tion was well below the rated 0.02percent.

Dynamic -power measurementsdramatically demonstrated the ef-fectiveness of the DPD system. Thestandard EIA dynamic -headroommeasurement, with 8 -ohm loads,produced a 20 -millisecond outputof 156 watts (for a headroom of 5.9dB). With 4 -ohm loads, the dy-namic power was 288 watts, andinto 2 ohms it was a prodigious 530watts!

We also made dynamic -powermeasurements under the conditionsspecified by Proton for its amplifierratings, using burst durations from20 to 1,000 milliseconds and offtimes of 500 milliseconds, intoloads of 2, 4, and 8 ohms and in thebridged mode with an 8 -ohm load.The accompanying graph tells thestory more vividly than merewords. With 4- and 8 -ohm loads,the full 20 -millisecond power levelwas maintained for 300 and 400milliseconds, respectively, falling tothe steady-state levels after a secondor two. With 2 -ohm loads, charge isdrawn more rapidly from the high -voltage capacitors, and the maxi-mum output dropped slightly dur-ing the first 100 milliseconds, fol-lowed by a smooth decline to con-tinuous levels after about 2 seconds.In the bridged mode (8 ohms), themaximum output of almost 570watts was maintained for 200 milli-

seconds, and then the outputdropped to 170 watts (the contin-uous value) after 1 second.

The D540's tone controls hadgood characteristics and were capa-ble of making subtle changes in thesound. The BASS EQ control boostedresponse 9.5 dB at 47 Hz and cut itby 12 dB at 20 Hz. The loudnesscompensation boosted both low andhigh frequencies to a moderate de-gree as the volume was reduced.

CommentsBy any objective criteria, the Pro-

ton D540 is an exceptional ampli-fier. Its low noise and distortion lev-els, control flexibility, cool opera-tion, and generally ideal perform-ance by themselves rank it amongthe finest amplifiers we have seen.There are many good amplifiers onthe market, however, and the spe-cial quality of the D540 really showsitself in the performance of its DPDsystem.

Listening to CD's and other wide -range sources left no doubt of theremarkable qualities of this ampli-fier. It begs the issue merely to saythat the D540 is by far the mostpowerful "40 watt" amplifier wehave used (which it certainly is).More to the point, it is one of thefew amplifiers of any rating we haveseen whose capabilities begin to en-compass the dynamic properties oflive music. The peak -to -average ra-tio of music waveforms is often inthe range of 10 to 20 dB, perhaps

more (although of course every caseis different). The Proton D540 has aratio of 6 dB between its peak andits continuous maximum powerlevels, but the average power re-quired, even for loud listening, isprobably no more than a couple ofwatts. That gives the amplifier an-other 13 dB of dynamic range, for atotal useful dynamic range of morethan 20 dB. (Of course, I am notusing "dynamic range" in its usualsense here. I am referring to thepeak -to -average range of musicrather than to the maximum soundlevel compared to the backgroundnoise in the hall.)

In practical terms, this means thatwith a CD or similar source and rea-sonably good speakers, the D540brings us within earshot of the dy-namic range of a live program.Please note that this is not the sameas a realistic simulation of a liveperformance translated to yourhome; that is not within the capabil-ity of any amplifier or any othermeans now known to us. What theProton D540 will give you is adegree of natural dynamics usuallyobtainable only with a few extreme-ly powerful and expensive ampli-fiers. But with such amplifiers youhave to pay for a huge continuous -power capability to reproduce highpeak levels for fractions of a secondat a time. The D540 gives you 99percent of the same sonic impact ata fraction of the price.Circle 140 on reader service card

". . . Marty, don't you think that having a remote -control unit for your car stereois gilding the lily a bit . . .?"

STEREO REviEw NOVEMBER 1985 45

TEST REPORTS

al

CELESTION DL8SPEAKER SYSTEMJulian Hirsch, Hirsh -Houck Laboratories

THE new DL8 loudspeakermakes some of the ad-vanced technology used inCelestion's very expensive

SL6 and SL600 speakers availablein a much more affordable pricerange.

One of the most distinctive fea-tures of Celestion's SL600 speakersystem, which we tested last year, isits thin copper -foil tweeter, whosedome and voice -coil former aremade as a single, integral unit. Ce-lestion used laser interferometryand computer techniques to studythe modes of diaphragm vibration,and the combined voice -coil anddome structure was a result of thatinvestigation. As compared withconventional tweeter construction,this design has reduced mass (forextended high -frequency response)and improved heat conduction (for

higher power -handling ability).However, it is a costly driver tomanufacture, requiring precisionhand operations to mount thetweeter's integrated dome and voicecoil in its extremely narrow magnet-ic gap.

The DL8 uses a similar tweeter,although instead of copper it ismade of aluminum alloy, which ac-tually reduces its moving mass stillfurther. At 2,500 Hz, there is acrossover from the 1 I/4 -inch tweeterto an 8 -inch cone woofer operatingin a sealed enclosure. The system israted for a nominal frequency re-sponse of 50 to 20,000 Hz and a sen-sitivity of 89 dB sound -pressure lev-el (SPL) for a 1 -watt input, and it isrecommended for use with ampli-fiers rated to deliver from 10 to 150watts per channel.

The Celestion DL8, housed in a

walnut -finish wooden cabinet,measures 193/4 inches high, 103/4inches wide, and 103/4 inches deep.Its acoustically transparent dark -brown cloth grille is stretched on aplastic frame that snaps into retain-ers on the front panel of the cabinet.The heavy-duty metal binding -postterminals are recessed into the rearof the cabinet. Although they acceptthe stripped ends of wire leads, theycannot be used with banana plugs orsimilar connectors. Each speakerweighs about 22 pounds. Price:$500 per pair.

Lab TestsCelestion provided us with a fre-

quency -response chart made on aDL8 system (not one of the unitssupplied to us). To our surprise, ourown measurements, both of roomresponse and FFT quasi-anechoicresponse, correlated extremelyclosely with the Celestion curve. Infact, we have never before encoun-tered such close agreement betweenour measurements of a speaker andthose made by its manufacturer,even when the measurements weremade on the same test sample.

For measurements and listening,we installed the DL8's on standsabout 25 inches high, with the rearof the speaker cabinets about 18inches from the wall, in approxi-mately the position Celestion sug-gests.

The room response was amongthe smoothest we have ever meas-ured, and the close-miked wooferresponse was an exact match to thecurve supplied by Celestion. Thetwo curves spliced smoothly andunambiguously, resulting in a com-posite frequency response of ± 1.5dB from 600 to 20,000 Hz. Thewoofer's maximum output was at200 Hz, where it was about 5 dBabove the average midrange andhigh -frequency level. From 70 to20,000 Hz the composite responsevariation was only ± 3.5 dB. Below200 Hz, the woofer's output fell at 6dB per octave from its maximal+ 5 -dB level and a steeper rolloffwas introduced by the crossover de-sign below 45 or 50 Hz.

Our FFT response measurements,made on axis at a 1 -meter distance,closely matched the manufacturer'sgraph, showing a 5- or 6 -dB overallvariation from 200 to 15,000 Hz, a


SURGEON GENERALS WARNING. SmokingCauses Lung Cancer, 'rlEart Disease,Emphysema, And May Complicate Pregnancy.

0 mg. "tar", 0.8 rag, nicotine ay. per cigarette by FTC method

IN THREE OUT OF FOURHIGH PERFORMANCE TESTS WE

CAME OUT AHEAD OF BMW.IN THE FOURTH WE DIDN'T WANT TO.

What are these two cars doing onan aircraft carrier and what are theytrying to prove anyway?

The silver one is a very famousGerman -made spots sedan. A BMW528e teat sells for over $24.000.*

The other one is a new Chrysler_eBaron GTS that goes for under$12.000.* and includes Chrysler's'amous 5-year/50.000-mile Pro-tection Dlar,'* An American car thatcan drcp :he legendary BMW in itstracks!.** And give you back morethan $12.000 in change.

To cramatize the performancesuperiority of GTS over BMW, wesimulated official U'iited States Auto-mobile club tests. Not on the track

where t'iey were actually conducted.Out on the short. treacherous deckcf an aircraft carrier.

In the actual tests. GTS beatBMW in acceleration, from 0- 50. byE full 1.44 seconds. In high speedcornering. GTS stayed true up to .820G Force: BMW lost it at .791. In thet-icky esses of the slalom. GTS wascuiccer than BMW by a convincing5%. And. when it came to braking.f-om 60-0. GTS came up short...13 feet shorter than BMW.

All of this was done to prove onlycne thing. That for under $12.000,half the BMW price. you no longerhave to go overboard to own one oftie world's best -performing cars.

t CHRYSLER LEBARON GTS.ChrYsi IT'S OVER,OVER THERE.

Sticker prics exclude titles and taxes. Standad equipment levels vars. See Lenited War arty at dealerExcludes leases. FUstrictions apply. L SAC test results. GTS with Opt;()Wei largo. sprees handling package and15 inch wheels versus 1985 standard eq ripped BMW. Buckle up for safety.

TEST REPORTS

distinct dip to -6 dB (relative toaverage midrange levels) at 16,000Hz, and a rising output above thatfrequency. The high -frequency risewas due to the tweeter's resonancepeak at 24,000 Hz, where the outputwas more than 10 dB higher thanthe midrange level. Because of thehigh "Q" of the relatively un-damped resonance, the output at20,000 Hz was essentially at mid-range level.

Response measurements on axisand 45 degrees off axis showedmoderate directivity in the horizon-tal plane that changed very littlewith frequency. The two measure-ments differed typically by 3 to 6 dBat most frequencies above 1,000 Hz,but the divergence was never morethan 10 dB up to 20,000 Hz. Thephase linearity of the DL8 was verygood, with less than 0.8 millisecondof group -delay variation from about300 Hz to over 20,000 Hz.

The speaker's impedance was 7.5ohms at 200 Hz and about 7 ohmsfrom 10,000 to 20,000 Hz. Itreached maxima of 32 ohms at 80Hz and 52 ohms at 1,800 Hz. Itssensitivity was exactly as rated, 89dB SPL at 1 meter with a 2.83 -voltdrive level. Woofer distortion wasmeasured with a 3.2 -volt drive, cor-responding to a 90 -dB midrangeSPL. The distortion was extremelylow (0.3 to 0.4 percent) at 90 to 100Hz, and it increased to 1.9 percentat 60 Hz and 5 percent at 40 Hz.

In power -handling tests with1 -cycle bursts at frequencies of 100,1,000, and 10,000 Hz, the woofercone "bottomed" at 100 Hz with adrive level of 25 watts, producing anaudible raspy sound that was clearlydue to excessive physical cone ex-cursion. At 1,000 Hz, still handledby the woofer, the amplifier clippedat 280 watts (into the 28 -ohm im-pedance of the speaker at that fre-quency) before the output of thespeaker showed significant wave-form distortion. Finally, at 10,000Hz the tweeter showed its true met-tle: our amplifier clipped at 1,100watts without any obvious signs ofdistress from the speaker!

CommentsBy any standard, the Celestion

DL8 proved itself to be a very finespeaker. Measurements of a speak-er, of course, give only a few clues to

its sound quality. Nevertheless, inthis case all our test data were sogood, and so closely in agreementwith Celestion's claims, that wemust confess to being impressed.Listening tests tended to confirmour impressions.

Its sound was superbly balanced,with a solid bass that belied its smallsize, yet without undue upper -bassemphasis or boxiness. The middlesand highs were seamless and so wellintegrated that we simply heard thetotal sound and gave up trying tohear the minor response variationsthat our microphone had detected.After all, we don't go to concerts toperform an acoustic analysis on themusic, do we? Perhaps that is thebest way to describe the quality ofthis speaker-thoroughly musical,with an insidious tendency to be solistenable as to discourage technicalcriticism. We made a special effortto be aware of the DL8's spatialproperties ("imaging," if you pre-fer). Like any conventional front -firing box system, its sound stage isessentially confined to the space be-tween the speakers, but it managesto fill that part of the room with awell-defined sound stage, mostly inthe listening room but sometimesincluding the space immediately be-hind the wall. We also found that

these speakers respond very well tospatial enhancers such as "sonic ho-lography" and similar systems.

Finally, encouraged by our meas-urements of the speaker's power -handling ability, we put that to apractical test. Playing a record withvery well -recorded percussionsound, we turned up the volumeuntil the sound was about as loud aswe felt comfortable with in a mod-est -sized room (it had considerablephysical impact at that level). Thespeakers sounded beautiful, with nodetectable compression of dynamicsand a surprisingly visceral effectfrom the larger drums. The ampli-fier power during this time averagedperhaps 10 watts per channel, withfrequent peaks to well over 350watts! This is something we wouldnot recommend with any smallspeaker, including these, but it cer-tainly says something about theirconstruction and quality.

There are many good speakersselling at the price of the DL8.Without attempting to establishwhich are "better" than others (ifonly that could be done!) let me saythat I cannot recall hearing a speak-er comparable in size or price to theCelestion DL8 that I would ratherlisten to for extended periods.Circle 141 on reader service card

. . Yes, Mr. Lehman, Dr. Heinz did yell out, 'Eureka!,' but it was not aboutany speaker breakthrough. It was because after five years of trying to get his re-search assistant, Miss Dionne, to spend a week alone with him up at his cabin inNew Hampshire, she finally said, 'Yes.' "


When you put a satellite in orb t, you want every possible assurance that it will perform. That's whycorporations and governments all over the world ask NEC to build their satellites.

Even if you don't launch object into outer space, it's comforting to know That NEC puts much of oursatellite PCM digital technology into our Compact Disc players for the home.

While most high fidelity companies have only two or three years of experience with PCM digital audio,NEC has been at it since 1965. So it comes as no surprise that other manufacturers are -ow imitating thedigital filtration and high-speed swithing our CD playe-s have had from the beginning. And it's no surprisethat independent attics in America, Europe and Japan have awardec NEC's players top ratings.

You see, building satellites is not enough for NEC We feel obligated totake the world's most advanced technology one step further. Into your home.

NEC Home Electronics (U S A 1 inr 1491 Estes Avenue. Elk Grove Village IL 60007

CIRCLE NO 19 ON READER SERVICE CARDWe bring higi technology home.

TEST REPORTS

TANDBERG TCA 3 008APREAMPLIFIERJulian Hirsch, Hirsch -Houck Laboratories

THE TCA 3008A is Tand-berg's finest preamplifier,designed and styled with theconservatism and under-

statement that characterize Tand-berg products. Physically and elec-trically, it matches the company'sTPA 3009A power amplifier andTPT 3001A tuner. Outwardly simi-lar to the earlier TCA 3002A, whichit replaces in Tandberg's productline, the TCA 3008A incorporatesnumerous changes in internal com-ponents and mechanical design de-tails.

Tandberg products typically offerthe level of performance and qualityof construction for which certainextremely expensive "high end" au-dio components have been noted,but at prices just above those of thebetter mass -market products. Forinstance, all the audio stages usepolystyrene dielectric capacitorsand metal -film resistors (with 1 per-cent tolerances in critical circuits).It is felt by some audio designersthat the dielectric absorption of themore commonly used electrolyticcapacitors causes a loss of detail in

the reproduced sound, hence theirpreference for low -loss capacitorswhose dielectric absorption is typi-cally 500 times less than that of elec-trolytic types. For lower capactiancevalues, most manufacturers use ce-ramic capacitors, whose capacitancechanges with the applied voltage(including the signal voltage itself).Taking the position that the phaseshift introduced by such capaci-tance change can affect the sound,Tandberg uses only stable polysty-rene capacitors instead of lower -costceramic units throughout the TCA3008A. In addition, the entire audiosection of the preamplifier uses dis-crete transistors (no IC chips).

The TCA 3008A's "motherboard," on which almost all the cir-cuitry is located, has been complete-ly redesigned from that in the TCA3002A. Layout revisions have re-duced stray coupling between cir-cuits, and many of the actual cir-cuits differ from those of the TCA3002A. Almost all of the surface onthe mother board not occupied bycircuit components or conductors iscovered with a conductive "ground

plane" that is said to reduce humnoise, and stray coupling even fur-ther. According to Tandberg, themoving -coil (MC) preamplifier sec-tion was also modified for optimumperformance with medium -outputcartridges.

Like other Tandberg products, theTCA 3008A is finished in black withwhite panel markings and brightmetal knobs and pushbuttons. Agroup of four tape -control buttonsselect playback from tape 1 or tape 2or cross -connect the decks for dub-bing from either machine to the oth-er. Other buttons are used for poweron/off and to select the infrasonicfilter, tone -control defeat, mono/stereo mode, and loudness compen-sation.

The headphone jack on the frontpanel has an independent volumecontrol. Other small knobs operatethe bass and treble tone controls(each has eleven detented posi-tions), adjust balance (center de -tented), and select the programsource. Besides the two tape decks,inputs include a tuner, CD player,MM phono, and MC phono. Themain volume control is a largeknob. A red LED pilot above eachpushbutton lights when it is de-pressed.

On the rear of the preamplifier,besides the various signal input andoutput jacks, there is a pair of three -position toggle switches. These se -


lect MM phono-input terminationsof 33,000, 47,000, or 100,000 ohmsand shunting capacitances of 20,120, or 350 picofarads. Next to thepower -cord socket is a voltage se-lector for 115- or 230 -volt opera-tion. There are three switched a.c.outlets, with a total capacity of 300watts, and there is a single un-switched outlet.

The Tandberg TCA 3008A meas-ures 171/8 inches wide, 134 inchesdeep, and 31/4 inches high, and itweighs 121/2 pounds. Available op-tions include black acrylic side pan-els or 19 -inch rack -mounting at-tachments. Price: $795. Tandberg ofAmerica, Inc., Dept. SR, P.O. Box58, Armonk, NY 10504.

Lab TestsMeasured with the EIA standard

load of 10,000 ohms in parallel with1,000 picofarads (pF), the output ofthe Tandberg TCA 3008A clipped at11 volts at any frequency from 20 to20,000 Hz. The headphone output(unloaded) clipped at 27 volts at1,000 Hz. Since the headphone jackis driven by a separate amplifierstage, taking its input ahead of thetone controls, the headphone soundis not affected by the volume, tone,or loudness circuits.

At the standard EIA referenceline -level output of 2 volts, distor-tion was between 0.0024 and 0.0028percent over the entire audio range.The sensitivity for a 0.5 -volt refer-ence output was 67 millivolts (mV)for the high-level inputs, 1.05 mVfor the MM phono input, and 0.055mV for the MC phono input. Therespective A -weighted signal-to-noise ratios (referred to 0.5 volt)were 96, 81, and 78 dB.

The high-level inputs could not beoverloaded by the highest signalavailable to us (10 volts). The MMphono input overloaded at about300 mV at 1,000 Hz and higher, andat 110 mV at 20 Hz (this is stillmore than adequate reserve head-room). The MC input overloaded at16 to 17 mV at middle and high fre-quencies, and at about 14 mV at 20Hz. The measured resistance at theMM phono input was exactly asindicated for the three positions ofthe switch in the rear. The capaci-tance values differed somewhatfrom the nominal values, reading115 pF at the 20-pF setting, 180 pF

at the 120-pF setting, and 315 pF atthe 350-pF setting.

The tone -control circuit providedan adequate range near the frequen-cy extremes and, as is desirable, hadalmost no effect between 200 and3,000 Hz. With tone -control defeat,the basic response was as flat as ourtest instruments could resolve,varying less than 0.1 dB overallfrom 20 to 20,000 Hz. The loudnesscompensation, which affected onlythe low frequencies, was very mod-erate and did not degrade the soundin our use tests. The turnover fre-quency was in the 200- to 300 -Hzrange, with a maximum boost ofabout 9 dB below 40 Hz. The infra-sonic filter, which has a rated -3 -dB point of 15 Hz, affected theresponse by only about 1 dB at 20Hz. Finally, the RIAA phono equal-ization was as flat as we have evermeasured, varying ± 0.5 dB from 20to 20,000 Hz.

CommentsWe have never heard (or heard

oJ) any properly controlled testsdemonstrating the audible differ-ences that are claimed by some toexist between various types of elec-tronic components (principally ca-pacitors and resistors). Under thecircumstances, we confess to con-siderable skepticism. However, weneeded no such evidence to con-vince us of the superior qualities ofthe Tandberg TCA 3008A, many ofwhich are readily measurable with-out probing the outer limits of hu-man experience. It is unquestion-

ably one of the quietest, flattest (infrequency response), and most bug -free pieces of audio equipment wehave had the pleasure of using.

The preamplifier delivered no un-wanted surprises-no switchingtransients, no turn -on or turn-offtransients, no crosstalk between in-puts, no noise at maximum volumesettings, and so forth. It is one of thefew preamplifiers we have usedwhose noise level matches or sur-passes that of a good CD player.Whether or not that made an audi-ble difference, there is no doubt thatit contributed to a thoroughly sat-isfying listening experience.

The TCA 3008A is also one of thefew preamplifiers that can drive me-dium -impedance headphones toear -shattering levels. Music loverswhose family or neighbors do notshare their enthusiasm can dispensewith a power amplifier and speakersand treat themselves to state-of-the-art sound with the help of a pair ofhigh -quality phones and the Tand-berg TCA 3008A.

Probably much or even all of thesame performance can be obtainedfrom some of the exotic preampli-fiers selling for up to several timesas much as the TCA 3008A, but theTandberg unit provides what wewould consider the highest caliberof audio preamplifier performancefor a relatively reasonable price. In-cidentally, opening up its top re-veals an interior layout as clean andattractive as the electrical andacoustic performance it delivers.Circle 142 on reader service card

. . My God, they're clipping!"


TEST REPORTS

NIKKO NR -750 RECEIVERJulian Hirsch, Hirsch -Houck Laboratories

Nnucces NR -750, a moder-ately priced stereo receiv-er, offers a full comple-ment of operating fea-

tures in a compact and attractivepackage. Its digital -synthesis AM/FM tuner can operate in a scanningmode (stopping on each receivablesignal) or it can be tuned manuallyin steps of 200 kHz for FM and 10kHz for AM. The audio preampli-fier has inputs for one high-levelsource (identified as CD/VIDEO) anda moving -magnet phono cartridgeas well as input and output jacksfor two tape decks. Front -panelswitches can connect the decks fordubbing from tape 1 to tape 2. Theaudio amplifiers are rated to deliver48 watts per channel into 8 -ohmloads from 20 to 20,000 Hz with nomore than 0.04 percent distortion.

Like many other digital -synthesisreceivers, the Nikko NR -750 has afront -panel display window thatshows its complete operating statusat all times. Unlike some we haveseen, however, its multicolored dis-play is more informative than deco-rative. The tuner displays includethe tuned frequency and band, thenumber of a selected preset station(each of the seven preset buttonscan store the frequencies of one FM

and one AM station), a red stereoindicator, and a signal -strength in-dicator in the form of a rectangularmatrix of luminous dots whosecolor changes from red to orange togreen as the signal strength in-creases. Other indicators show theselected program source, the statusof the tape inputs and dubbing con-nections, and which of the two setsof speaker outputs is connected(both pairs can be connected simul-taneously since they have separateselector buttons). Finally, two rowsof horizontal red lights show theapproximate power output of eachchannel.

Most of the NR -750's front -panelcontrols are pushbuttons, which areused to switch power on or off andto select the input source, tape -monitor status, frequency band, FMmuting or mono mode (when themuting is disabled), loudness com-pensation, infrasonic filter, andspeaker connections. Two light -pressure buttons scan the tuner upor down in frequency if they areheld in or change the tuning in dis-crete steps if they are pressed mo-mentarily. The bass and treble tone-control knobs are neither detentednor provided with clearly visible in-dex marks. A large volume knob

and a small center-detented balanceknob complete the front -panel con-trols. There is also a front -panelheadphone jack.

The rear of the receiver containsthe various input and output jacks,binding posts for the speaker out-puts and the antennas (300- and 75 -ohm FM inputs and an AM long-wire antenna), and a pivoted AMferrite -rod antenna. One of the twoa.c. convenience outlets is switched.The Nikko NR -750 is finished inblack, and it has black knobs andbuttons and white markings. Di-mensions are 171/4 inches wide, 12inches deep, and 344 inches high;weight is 161/2 pounds. Price: $250.Nikko Audio Corp., Dept. SR, 5830Triangle Dr., Commerce, CA90040.

Lab TestsThe FM tuner section of the Nik-

ko NR -750, like that of many otherreceivers we have tested, had a fixedtuning -frequency error of about 30kHz. The error increases the tuner'sdistortion, particularly at low signallevels, and thus degrades its usable -sensitivity measurement. Althoughthe FM distortion in mono was low(0.1 percent, as rated), the stereodistortion was considerably higherthan the specified 0.2 percent. Thesignal-to-noise ratio, however, wasclose to the rated value for bothstereo and mono operation.

Most other tuner measurementswere good, especially the capture


WOULD YOU BUY HI-FI VIDEO FROM ATV COMPANY?The big word among video manufacturers now has

become audio. Yet, the vast majority of companies :lying tosell hi-fi video used to make nothing but TVs.

If you're looking for true high fidelity video performance,look to a company wi-h a real background in high fidelity.Denon.

Denon's audiophile approach to video is demcnstrated inthe innovative AVC-5D0, a component destined to )ecome theheart of the finest audio/video systems. Frcm its 5 -banddynamic equalizer designed specifically for video applicationsto its multi -mode surround sound signal pocessing, the

AVC-500 epitomizes Denon's scound engireering.Rather t -Ian tack an audio -eceiver onto a videc switcher,

Denon incorporated full video swit:hing into the powerful newDRA-Series AM/FM Stereo Receivers.

Plus, Denon is iitroducing genuine nigh fidelity videocomponents to satisfy the most discriminativ videophiles.They include the VHS Hi-Fi VA -1000 and 1-1000 Stereo -ready25" Full Square Tube Monitor/Receiver.

Whetier you think of these new components as video forthe audiophile or audio for the v deophile, remember one thing.

Law Drive Fairfield, N.J. 07006

SERVICE CARD

MNPERFORMANCE COUNTS,THE THRILL OF REAL CIGARETTE TASTE IN A LOW TAR.

200GARInES

VANTAGE

e

9 mg. "tar", 0.7 mg. nicotine ay. per cigarette by FTC method.

SURGEON GENERAL'S WARNING: Ciga-ette

Smoke Contains CEIbon PA onoxide.

TEST REPORTS

ratio of 1.1 dB, AM rejection of 63dB, and image rejection of 73 dB.The 19 -kHz pilot carrier was pres-ent in the audio output at a ratherhigh level of -46 dB, which shouldcause no problems with normal op-eration of the receiver but makes itimperative that any tape deck usedwith it for recording FM stereotransmissions have an effective 19 -kHz filter (as most do).

The FM frequency response wasflat within 0.5 dB from 60 to 10,000Hz and down 3 dB at 30 and 13,000Hz. The stereo channel separationwas good, between 30 and 40 dBfrom 30 to 8,000 Hz. The AM tunersection's frequency response rolledoff gradually below about 150 Hzand more rapidly above 3,000 Hz.

Measuring the receiver's audiofrequency response was compli-cated by the nearly invisible mark-ings on the tone -control knobs. Weset the knobs as closely as possibleto their center positions, and theresulting frequency response wasdown 2.5 dB at 20 Hz and 2 dB at20,000 Hz. The SUBSONIC filter ap-peared to have a 6 -dB -per -octaveslope, and the response with it en-gaged was down an additional 2 dBat 20 Hz. The tone -control curveswere good, with little effect on themiddle frequencies and a moderatebut adequate control range at thefrequency extremes. The loudnesscontrol boosted the low frequencies,below 300 to 400 Hz, at levels 20 dBor more below the maximum vol-ume setting.

The power -amplifier section hadlow distortion, typically 0.01 to 0.03percent, over practically the entireaudio range at rated power or less.The only exception was at 20 Hz,where the rated power (48 watts)could not be delivered without clip-ping. However, the full -power dis-tortion was only 0.029 percent at 30Hz. The amplifier drove 4 -ohm and2 -ohm loads well, although its pro-tection system shut it off momen-tarily when we exceeded 45 wattsinto 2 ohms. With the 20 -milli-second tone bursts of the EIA dy-namic -power tests, the amplifierwas able to deliver 90 watts to a2 -ohm load.

CommentsWe found the Nikko NR -750 to

be a very satisfactory performer. Al -

FEATURES

O Rated at 48 watts per channelinto 8 -ohm loads from 20 to20,000 Hz with no more than0.04 percent total harmonicdistortion.

O Digital -synthesis AM/FM tunerwith seven AM and seven FMstation presets

El Automatic and manual tuningEl Pushbuttons select speakers,

infrasonic filter, tuning mode,band, muting, loudnesscompensation, tape monitoringand dubbing from tape I totape 2, and input source

O Multicolored LED display shows

receiver's operating status,including tuned frequency, radioband, stereo reception, signal

d sstrength, selecteource, tapemonitoring or dubbing, speakerselection, and audio poweroutput

O Knobs operate bass and trebletone controls, volume, andbalance

CI Front -panel headphone jackO Detachable AM ferrite -rod

antennaEl Inputs for 300- and 75 -ohm FM

antennasCI Two a.c. outlets (one switched)


O Audio Amplifier1,000 -Hz output power at clipping:

55 watts into 8 ohms; 72 wattsinto 4 ohms; 46 watts into2 ohms

Clipping headroom (relative torated output): 0.6 dB (8 ohms)

Dynamic power output: 72 wattsinto 8 ohms; 112 watts into4 ohms; 90 watts into 2 ohms

Dynamic headroom: 1.77 dB(8 ohms)

Harmonic distortion (THD +noise at 1,000 Hz into 8 ohms):0.0245% at 1 watt output;0.013% at 48 watts

Slew factor: greater than 25Sensitivity (1 watt output): phono,

1.35 mV; CD, 75 mVPhono-input overload level: 190

mV at [,000 Hz; 110 mV at20,000 Hz

A -weighted noise (referred to1 watt): phono, -76.3 dB; CD,-77.6 dB.

Phono-input impedance: 50,000ohms in parallel with 125 pF

RIAA phono-equalization error:+0.2, -1 dB from 20 to20,000 Hz

Reactive load factor: 0.18 dB at63 Hz

O FM Tuner SectionUsable sensitivity (mono): 20.8

dBf (6 µV)50 -dB -quieting sensitivity: mono,

17 dBf (4 AV); stereo, 39 dBf(4 µV)

Signal-to-noise ratio at 65 dBf(1,000 µV): mono, 72.6 dB;stereo, 63.6 dB

THD + noise at 65 dBf (1,000µV): mono, 0.1%; stereo, 0.62%

Capture ratio at 65 dBf: 1.1 dBAM rejection at 65 dBf: 63 dBSelectivity: alternate -channel, 57

dB; adjacent -channel, 5 dBImage rejection: 73 dBStereo threshold: 37 dBf (39 µV)19 -kHz leakage: -46 dBHum: -73 dBStereo channel separation: 38 dB

at 100 and 1,000 Hz; 28 dB at10,000 Hz

O AM Tuner SectionFrequency response (-6-dB

points): 80 to 3,000 Hz

though it is not reasonable to expecta $250 receiver to deliver the sameperformance as one costing two orthree times its price, the NR -750comes surprisingly close to doingjust that. Its control flexibilityshould satisfy almost anyone, and itis easy to use, attractive, and com-pact. It also sounds fine. Mostpeople who are looking for a receiv-er in this price range should find itspower output more than adequate,as we did using several differentspeaker systems.

The receiver's instructions advisethat unplugging it for more than six

days may cause its preset stationmemories to lose their information.We left it unplugged for more than aweek, and all the station memorieswere retained. Each time the receiv-er is turned on, the tuner is set to thelast frequency played.

During our tests of the NR -750,we encountered no unwelcome sur-prises. Our only significant criti-cism concerns the essentially un-marked tone -control knobs. Actual-ly, however, any product for whichthis is the major criticism must do apretty good job!Circle 143 on reader service card

58 SITREO REVIEW NOVEMBER 1985

If you can read this,you need a videotape as sensitiveto color as you are. Panasonic Sensicolor;Of course, this isn't an official color blindness test. Butyou already know how sensitive you are to color. Andif you really care about accurate color. Rich color.Color the way TV networks want you to see it. You'llwant Panasonic Sensicolor Videotape.

Panasonic Sensicolor faithfully reproduces color.From the subtlest tones to the boldest hues. Andevery color remains true, replay after replay. Becausethe same technology and attention to detail thatmakes Panasonic a eader in VCRs is behind our VHS'""

videotapes, too. Panasonic videotape13 awailab e in three grades.Premium Standari, SuperHigh -Grade and 1-li-Fi. Allwith Sensicolor qua5ty.

Take one homeanc give it themost ciVicult testof a I. See it with youown eyes

THE PANASONIC LAS VEGAS PRO -AM.APRIL 30 -MAY A 1986 CAA 1-800722.GOLF.SEE IT ON NBC

CIRCLE NO. 9 01. READER SERVICE CARD

Panasonic®ust slightly ahead cf our time."

TVstereo.VCR stereo. AM/FM stereo.And you were going to settle

for an ordinary receiver.Technics introduces the audio receiver that's also

a video switching center.Now Technics allows you to channel your audio and video

into one advanced component To give you not only anextraordinary audio experience, but an astonishing televisionexperience as well.

It's the new Technics SA -560 audio/video receiver. More thanjust AM and FM stereo, it also gives you true stereo IV soundwith an ordinary IV" All coming through your stereo systemwith 70 watts of power.* *

In addition, there's VCR stereos- And cable TV sound.SS Plusinputs for a compact disc player, cassette deck and turntable.All with one remarkable receiver.

Beyond that, Technics also gives you Stereoplex circuitry. Toexpand monaural sound into a spectacular stereo -like effect.

So why settle for an ordinary stereo receiver, when you canhave one extraordinary audio/video receiver. The choice isyours. The receiver is Technics.

Technics

TechnicsThe science of sound

11111111111011,1111.1101.11.0111,

luta!

.111°---71.1111 _VENNI

1--1-

%gni MI sir119111111

wrro.

'1!11111MININIAMINIMEM

.11.1 ein 1.1.1/Milo CC rr r-- 000'114"1"1"111""ItuliPlirwill."1"1111.11

4,,,trin. IV ti.nue l wl ielt .1,111.1611. IN.111, Inv. ha", orl .it It 1,1 on., /011/ /OM I, wall 11(X) P%.1111) Stereo VC:R required a CA*. IV "melte, recomedCIRCLE NO I ON READER SERVICE CARD

TEST REPORTS

PIONEER ELITE CT-A9XCASSETTE DECKJulian Hirsch, Hirsch -Houck Laboratories

pIONEER'S CT-A9X cassettedeck, which is in the compa-ny's new Elite series of audiocomponents, combines a

number of advanced operating andconvenience features with outstand-ing performance qualities. Its tapetransport uses a dual -capstan,closed -loop drive system that keepsthe tape under constant tension tominimize flutter and maintain headcontact. The capstans are turned bya quartz -controlled motor.

The CT-A9X is a three -head ma-chine whose separate Sendust-corerecording and playback heads arepackaged in the same case. It con-tains both Dolby B and Dolby Cnoise -reduction systems, and theDolby circuits are duplicated in therecording and playback sections sothat programs can be monitoredfrom the tape with the correct noiseand frequency -response characteris-tics while they are being recorded.The direct -coupled playback ampli-fier features a low -noise differentialdual-FET input stage.

Another feature of the PioneerCT-A9X is its AUTO-BLE (for bias,level, and equalization) system,which optimizes the key recordingparameters for the specific tape be-

ing used. Computer -controlled cir-cuits record a series of test signalson the tape, play them back, andadjust the bias, recording level, andequalization for optimum frequen-cy response and maximum outputlevel (MOL) characteristics. Theprocess takes about 11 seconds, af-ter which the tape rewinds to its ini-tial position, and the settings arestored in the recorder's memory un-til it is shut off or the calibrationprocess is repeated. The AUTO-BLEsystem is put into operation bypressing one of three buttons,marked UNDER BIAS, PEAK BIAS, andOVER BIAS. Normally the PEAK BIASbutton is used, but the others give auser the option of slightly adjustingthe recorder's performance to suitindividual preferences.

Although the AUTO-BLE system isvery easy to use, it does not have tobe used before making a recording.When a cassette is loaded, the pat-tern of holes on its back edge tellsthe machine its tape type, and it setsthe appropriate playback -equaliza-tion time constant and recordingbias even if AUTO-BLE is not used.Of course, these standard settingsare compromises that may not beoptimum for all individual tapes.

The Pioneer CT-A9X has aunique automatic motor -drivencassette -loading mechanism. Press-ing the eject button causes the tape -well door to move outward, tiltingslightly forward as it does so. Whenthe cassette is slipped into the guidetracks, optical sensors detect itspresence, and the motor shuts thedoor swiftly and silently. Any slackin the tape is then automaticallytaken up, internal sensors detect thetape type, and the recorder's operat-ing parameters are adjusted accord-ingly. If the cassette housing istranslucent or clear, however, theoptical sensors may not recognizeits presence, in which case the tape -well door must be shut manually bypushing it closed. A clear plasticwindow in the door gives a full viewof the cassette label and the headassembly, and its bottom sectionhinges down to give access for clean-ing and demagnetizing the heads.

The information display of theCT-A9X is both functional and at-tractive. A large, bright, horizontalfluorescent level display shows therecording and playback levels over arange of -40 to +14 dB. The barsare colored white below 0 dB andred above that level. The scales arecalibrated in uniformly spaced 1 -dBsteps (there are three light bars foreach decibel of the scale) from -14to +14 dB, with the Dolby -levelmark set at about +3 dB. The dis-play responds rapidly to level in-creases and decays more slowly.

Above the level scales, the wordsTAPE or SOURCE appear in red to


TEST REPORTS

show the status of the monitor sys-tem. The tape type sensed by theloading system is also shown in thedisplay window. In a smaller win-dow below the level display are thelarge, red LED numerals of the four-digit tape counter. Next to thecounter's reset button is a TAPERETURN button that automaticallyrewinds the tape to the point wherethe counter reads 0000.

The CT-A9X also has a usefulremaining -time display. The overalltape capacity (in minutes) is set atthe start with one of four small but-tons under the counter window.The selected time appears next tothe counter reading in contrastingyellow numerals, and when theTIME/TAPE button next to the count-er is pressed, the display shows thetime left on the tape side in minutesand seconds.

The other operational features ofthe CT-A9X are more conventional.Large rectangular buttons controlthe stop, play, and record functions,and smaller buttons select thepause, fast -forward, and rewindmodes. When record is selected,pause is automatically activatedand must be released before therecording starts. Record can only beengaged when the tape is stopped,which prevents "flying starts" butkeeps you from accidentally erasinga tape by touching the record buttonunintentionally (the buttons workwith very little pressure).

The CT-A9X has a music -searchcapability to locate portions of arecording preceded by at least 4 sec-onus of silence. The MS buttons,located just below the fast -forwardand rewind buttons, advance thetape at high speed to the beginningof the next selection or return it tothe beginning of the current selec-tion (a second touch will back it upto the start of the preceding selec-tion, and so forth). To insert there quisite 4 -second silent intervals inyour own recordings, you need onlypress the record -mute button whilerecording. The deck immediatelyswitches out the incoming program,and after 4 seconds the tape stopsand the machine goes into pause.

The CT-A9X has three recording -level controls: a master control thataffects both channels and two small-er knobs that set the levels individu-ally for each channel. The small

FEATURFSaar

0 Separate record and playback and equalization for specific tapeheads used

0 Dolby B and Dolby C noise CI Servo -actuated, logic -controlledreduction transport functions

0 Peak -indicating fluorescent level CI Music -search functiondisplay CI External -timer function in

0 Separate level controls for line record or play mode (includingand headphone outputs Auto-BLE operation)

El Coreless d.c. motor drives reel CI Switchable auto -monitor selectshubs tape during recording, switches

CI Quartz -controlled capstan motor to source program for listeningCI Closed -loop dual -capstan drive CI Tape slack is taken upCI Automatic cassette -loading automatically on loading

Mechanism 0 Switchable tape -counter/CI Auto-BLE system sets bias, level, remaining -time display

PIONEER C T-A9XRECORD -PLAYBACK RESPONSES'+5

o ftair'0 dB (250 nWb/m)

,,, 5u,no0 10

GRAY = TDK AD (TYPEBLUE = TDK SA (TYPE

I, AUTO-BLEII)

PEAK BIAS)

u,c,

15

RED = TDK MA (TYPE IV)

- 20

- 25- 20 dB

20 50 100 500 1k 5k 10k 20k+5-..0,

- 70 ps (TYPES II AND IV)120 ps (TYPE I)

-5

FREQUENCY IN HERTZ

HIRSCH-HOUCK LAB MEASUREMENTSAIWIIIIIIIIIIIMIIIIIIINa

Rewind time (C-60): 75 secondsSpeed error: +0.2%Dolby tracking error: Dolby B,

±0.5 dB; Dolby C, ±0.5 dBWow -and -flutter: 0.022% JIS (wrms)

at start of tape, 0.028% jlS at end;±0.04% DIN (weighted peak)

Line output for indicated 0 dB:0.5 volt

Line input for indicated 0 dB:50 my

Meter indication at IEC-standard0 dB: +4.5 dB

CI Tape used: TDK AD (Type I,ferric)

Indicated 0 -dB distortion: 0.5%Meter indication at 3% third-

harmonic distortion: +6 dBSignal-to-noise ratios (decibels):

Unwtd. A-wtd. CCIR I ARMNR off 53.5 57 47.7Dolby

B 60 66 58Dolby C 62 73 67

0 Tape used: TDK SA (Type II,chrome equivalent)

Indicated 0 -dB distortion: 0.8%Meter indication at 3% third -


Unwld. A-wtd. CCIR I ARMNR off 53 56.5 47.5Dolby B 59 65 57.5Dolby C 62 73 67

0 Tape used: TDK MA (Type IV,metal)

Indicated 0 -dB distortion: 0.8%Meter indication at 3% third-


Unwtd. A-wtd. CCIR I ARMNR off 53.5 56.5 47.5Dolby B 60 65.5 57.5Dolby C 62.5 73.5 66.5

knobs have center detents, and themaster knob has a concentric indi-cator ring that can be set to anydesired point as a reference. Anoth-

er pair of small knobs is used to con -trol the playback level for the lineoutputs (a convenience not oftenfound on cassette decks) and the


BOOM BOXES NESOPHISTICATED TAIPE,T00.

When boom boxes were only built for boom, ordinary tape was good enough.Not anymore.Boom boxes are now built with graphic equalizers and automatic programming.

Dolby has become virtually standard. Some are even capable of high-speed dubbing.Ordinary tape can set one of these boom boxes back four or five years.Sophisticated equipment requires sophisticated tape.People who spend thousands of dollars on audio equipment know this.

They use Maxell religiously.It's built to standards 60% higher than the industry calls for.It's tough enough to stand up to heavy use. Fact is,Maxell sounds as good after 500

plays as it does brand new.And it's sensitive enough to reveal the subtle differences that

features like Dolby and equalizers can make.On a $1000 living roomsystem. Or a $100 portable one.

So get Maxell.And get more than boom out of your boom box.

MEMO

THE TAPE FORSOPHISTICATED EQUIPMENT.

,s1hc tratIcalark I ahm.o..riv. I ..rp N I

TEST REPORTS

volume at the front -panel head-phone jack. Successive operationsof the Dolby button toggle the se-lected noise -reduction system onand off. A smaller button togglesbetween the Dolby B and Dolby Csystems, and a separate buttonswitches the MPX filter.

Finally, the Pioneer CT-A9X isequipped for unattended recordingor playback under the control of anexternal timer connected in the a.c.power line. The deck's timer switchselects either record or play, and aBLE PRESET switch can be set to gothrough the BLE calibration cyclebefore an unattended recording.

The Pioneer CT-A9X is finishedin black; accessory wood -grain sidepanels are available. It measures161/2 inches wide, 143/4 inches deep,and 51/s inches high, and it weighs22 pounds. Price: $799.95. PioneerElectronics (USA), Inc., Dept. SR,P.O. Box 1540, Long Beach, CA90801.

Lab TestsTo confirm that the AUTO-BLE

system would produceperformance from almost any tape,we measured the record -playbackfrequency response of the CT-A9Xwith a number of Type I, Type II,and Type IV tapes ("normal,""high -bias" or chrome -equivalent,and metal -particle coated). The dif-ferences between brands were sosmall that we selected TDK AD(Type I), TDK SA (Type II), andTDK MA (Type IV) for the full testprogram, as representative of better -grade cassette tapes.

With TDK AD tape, we obtainedthe flattest reponse at a - 20 -dB lev-el (referred to the standard 250-nWb/m flux level) using the PEAKBIAS setting of the AUTO-BLE system.From 80 to 20,000 Hz the responsevaried only ±0.5 dB, including acouple of minor low -frequency headripples. The low -frequency responsedropped off to about - 3.5 dB be-tween 20 and 30 Hz, resulting in anoverall response of +1, - 3.5 dBfrom 20 to 20,000 Hz. The responseat the 0 -dB level was the same up toabout 4,000 Hz and dropped offsmoothly to -3 dB at 10,000 Hzand -6 dB at 20,000 Hz.

To see the range of response ad-justment provided by the AUTO-BLEsystem, we repeated the -20 -dB

measurement using the UNDER BIASand OVER BIAS settings. To our sur-prise, the differences were barelydetectable, with the extreme condi-tions differing by only 1 db at20,000 Hz!

The response with TDK SA andMA was much like that with TDKAD, with the same low -frequencybehavior and a variation of lessthan ± 1 dB from about 100 to20,000 Hz. As expected, the 0 -dBhigh -frequency response was slight-ly better with SA and MA than withAD tape; the response of the metalMA tape, for example, was down 6dB at 17,000 Hz.

Given the exceptional responseflatness of the CT-A9X, we wouldexpect it to show very good Dolbytracking, and it did not disappointus. Over the full 20- to 20,000 -Hzrange, the response at levels of -20dB or lower changed by less than 1dB with either Dolby B or Dolby Cin use, and over most of that rangethe change was less than 0.5 dB. At-10 dB, tape saturation began toaffect the high -frequency response,but even there the response variedless than 1 dB up to 15,000 Hz. Thefixed high -frequency boost and cutincorporated into Dolby C has astrong effect on the high -frequencyresponse at levels of 0 dB and high-er. At 0 dB the output was about 15dB greater at 15,000 Hz with DolbyC than with Dolby B.

The playback frequency response,measured with IEC standard tapesover a range of 31.5 to 18,000 Hz,was again extremely flat (see graph).The recording input level needed tomake an IEC standard 250-nWb/mrecording at 315 Hz was 50 milli-volts, and the resulting playbacklevel was 0.75 volt. The same signalproduced a +4.5 -dB indication onthe recorder's level scales. Referredto this level, the A -weighted play-back signal-to-noise ratio was about56 to 57 dB without noise reduc-tion, improving to 65 to 66 dB withDolby B and to 73 dB with Dolby C.The 1,000 -Hz crosstalk betweenchannels was a low -65 dB.

The flutter readings of the CT-A9X were among the lowest wehave seen. Although the deck didnot quite match Pioneer's specifica-tion of 0.018 percent JIS-weightedrms, it surpassed the ± 0.048 -per-cent DIN -weighted -peak specifica-

tion. In any event, both the JISreading of 0.022 to 0.028 percentand the ±0.04 -percent DIN meas-urement are exceptional.

The playback distortion from anindicated 0 -dB recording at 1,000Hz was 0.5 percent with the ADtape, 0.8 percent with the SA andMA tapes. The standard referencedistortion level of 3 percent wasreached at respective recording lev-els of +6.2, +4.7, and +6.8 dB.The headphone volume, using me-dium -impedance 600 -ohm phones,was only moderate, but the specifi-cations indicate that 8 -ohm phonesare recommended.

CommentsTo say that we were impressed

with the Pioneer CT-A9X would bean understatement. Outstanding asits measured performance was, itdid just as well in actual use. Itpassed such difficult tests as copy-ing high -quality "audiophile" LPrecords, CD's, and interstation FMtuner hiss with virtually no detect-able changes in direct A/B compari-sons with the original signals. Thecontrols operate effortlessly, and themechanism is exceptionally quiet inall its modes of operation.

Some of the human -engineeringaspects of the CT-A9X could standimprovement, however. All thecontrols are black like the front pan-el, and the very delicate silver -colored markings are often difficultto read. The three major controls(stop, play, and record) are closetogether and all the same size andshape, making it much too easy tohit the wrong one (even a slighttouch is sufficient for activation).Finally-yes, the list of criticisms isshort-we should mention that wefound an inoperative tape -type indi-cator on our initial test sample, butwe were reassured when the indica-tor on a second sample functioned.

The surprisingly small differencein response using the three settingsof the AUTO-BLE systen (PEAK BIAS,UNDER BIAS, and OVER BIAS) makesus question the usefulness of theseoptions, but the system worked sowell regardless of the setting select-ed that we can hardly fault the deckin that respect. The Pioneer CT-A9X is an impressive machine byany measure.Circle 145 on reader service card


Akso mailable inconvenient 25's packs.

SURGEON GENERAL'S W4RNIN1 Cigarette

Smok3 Contains Carbon Monoxide.

F C GAIRETTEll

aLights 10 mg "lir: ).7 mg i 3otire--Kings 16 mg "ter: to mg nicotineev per cigarette FTC leput 'eh '35

TEST REPORTS

Canon!,!..head

PORTABLE

VIDEO RECORDERVR.40

CANON VR-40AVHS HI-FI VCR

MEMORY

iiik HD

CarronCONTROL UMT Cu., 0

Julian Hirsch, Hirsch -Houck Laboratories

THE Canon VR-40A is a por-table VHS Hi-Fi VCR de-signed for operation from a12 -volt d.c. power source.

The power can be obtained from acar's battery through the cigarette -lighter socket, from the recorder'sinternal rechargeable battery pack,or from an optional a.c. poweradaptor, the CA -30A, which fitsinto the battery compartment (andcan also be used to recharge the bat-tery). Although the VR-40A was ob-viously designed primarily for fielduse with a video camera, it is adapt-able to home video installationswith the addition of one of Canon'scompatible tuner/timer/chargerunits, such as the VT -50A.

The VR-40A, though compact, isfull -featured. It accommodates allstandard lengths of VHS tape cas-settes and can record and play backat three speeds: SP (standard play),LP (long play), and SLP (super longplay). The rotating head drum car-ries four video heads and two hi-fiaudio heads. The standard longitu-

dinal audio track is recorded andreproduced through a single fixedhead. Light -touch pushbuttons onthe front panel control the usualtape functions. An AUDIO DUB but-ton permits adding a mono soundtrack to an existing video recordingwithout erasing the video portion.Also on the front panel is a socketfor the 16 -foot cable of the remote -control unit, which duplicates vir-tually all the front -panel controlfunctions.

The LCD display window on thefront of the VR-40A shows the oper-ating mode (PLAY or REC) in largeletters, with arrows showing the di-rection of tape movement. Smallerletters indicate the speed and thestatus of the dubbing function. Asymbol of a cassette shows that atape is loaded into the machine, andthere is a battery -level indicator.Large numerals serve as the four -digit tape counter, and others belowthem display the time remaining onthe tape in 5 -minute steps.

Along the right side of the record-

er case are miniature phone jacksfor the left and right microphoneinputs and the audio output (suit-able for driving headphones) andphono jacks for the video input andoutput signals. Small slide switchesselect stereo or mono playback, vid-eo record/playback or hi-fi audioonly, audio dubbing or mixing, au-dio output channels (left only, rightonly, stereo, or mono), and the TVchannel on which the VCR outputappears (Channel 3 or 4). There isalso a socket for a video camera.

The Canon VR-40A measures 81/2inches wide, 104 inches deep, and3 inches high. With the battery packinstalled, it weighs about 7 V

pounds. It comes with a detachableshoulder strap (an optional carryingcase is available). Price: $1,030, in-cluding remote control. The CA -30A a.c. adaptor is $120. CanonU.S.A., Inc., Dept. SR, One CanonPlaza, Lake Success, NY 11042.

Lab TestsOur laboratory tests were limited

to the hi-fi audio functions of theCanon VR-40A, although we didplay video tapes through it to verifyits video performance, which ap-peared to be similar to that of theother home VCR's we have used.For subjective tests of its audio


It leaves nothing to be desired.

THE SANYOAV -4000 SYSTEM WITH

REMOTE CONTRDL.A MORE ADVANCED

APPROACH TOHOME ENTERTAINMENT.

It's everything you everhoped for. All the mostsophisticated features inaudio. All the latest break-throughs in video. All in

one perfectly matchecsystem. Featuring theincredible Super BetaVCR, the best picture andsound ii video. A 26 -inchcolor moritor with t-uestereo brcadcast capa-bility and 140 channeltuner. A p-ograrnmablecompact disc player with aremarkable 96cIB dynamicrange. A Lilly automatic

turntable, full logic dualcassette deck, and a pro-grammaole digital AM/FMstereo tuner, all feedinga 100 -watt per channelamplifier with 5 -bandgraphic equalizer. And,rou hold the controls toevery feature, every func-tion right in the palm ofycur hand. It's enough togive you goose bumps.

SAIMIFC1THE MODERN ART OF ELECTRONICS.


TEST REPORTS

quality, we connected the VR-40Ato our main music system, using itas an audio tape deck and recordingfrom FM, LP, and CD sources.

As the absence of audio recordingor playback level controls implies,the VR-40A uses automatic gaincontrol (AGC) to maintain ade-quate but not excessive recordinglevels from almost any source. Sincethe audio inputs are designed formicrophone sources, Canon sup-plies attenuating adaptors that pluginto the recorder's microphonejacks and make them compatiblewith normal line -level signals.

The only way we could determinethe acceptable input limits for eithermicrophone or line sources was bytrial and error, looking for the levelat which waveform distortion ap-peared during playback. Althoughthe microphone inputs overloadedat about 29 millivolts, the line -levelattenuators enabled the recorder towithstand the full 6.5 -volt output ofour signal source without distor-tion. We determined, however, thatat 1.5 volts input the playback levelhad reached its maximum of 0.58volt; higher inputs were merely re-duced to the equivalent of 1.5volts.

Using 1.5 volts as our "0 -dB"input reference, we measured theVR-40A's playback level and distor-tion at 10 -dB intervals. From 0 to- 30 dB, the playback output de-creased from 0.58 to 0.43 volt, andthe distortion decreased from 0.96to 0.41 percent. At still lower inputlevels, the output dropped rapidlyand the distortion rose to 1.4 per-cent at -50 dB.

Since no true 0 -dB level could beestablished, we could not define therecorder's noise in the usual man-ner. The output noise (A -weighted)was -71 dB referred to the 0.58 -volt maximum playback level. Ifone chose to refer the output noiseto the - 30 -dB playback level, forinstance, the noise level would be- 98 dB! Canon's specificationsmerely claim an 80 -dB signal-to-noise ratio, which is probably asvalid as any other number onemight use.

Like other VHS Hi-Fi recorders,the VR-40A had very low flutter. Inboth the recording and playbackprocesses, flutter measured only0.005 percent JIS-weighted rms and

FEATURES

Records and plays back at SP,LP, and SLP speeds (up to 8continuous hours on a -T-160cassette)

O Can be used with video cameraor a Canon tuner/timer

El Normal (longitudinal) monoaudio track recordedsimultaneously with hi-fichannels for compatibility withconventional VHS VCR's

111 Electronic four -digit counterCI Memory rewind to 0000111 LCD display shows remaining

time on tape in 5 -minuteincrements

Nondefeatable automatic gaincontrol (AGC) for audiorecording

CI Stereo headphone output (fixedlevel)

O Wired (I6 -foot cable) remotecontrol duplicates normaloperating controls

O All usual VCRfeatures includingfast forward, rewind, pause, slowmotion, and single -frameviewing

O Operates from internalrechargeable battery pack, a.c.adaptor, 12 -volt d.c. automobilebattery, or a.c.-poweredtuner/timer

0

/0

20

30

- 40

CANON VR-40ARECORD -PLAYBACK RESPONSES (SP SPEED)

-30 dB -20 dB - 10 dB 0 dB

- 40 dB

- 50 d8

-60 dB

0 -dB OUTPUT - 0.58 VOLTS

20 50 100 500 1k

FREQUENCY IN HERTZ

5k 10k


Frequency response in hi-fi mode(referred to 1,000 -Hz level): 20to 15,000 Hz ±I dB (-4 dB at20,000 Hz)

Harmonic distortion in hi-fi modeat 1,000 Hz: typically 0.4% to 1%

Signal-to-noise ratio in hi-fi mode:at least 71 (10 (see text)

Flutter in hi-fi mode: 0.005%JIS-weighted rms; ±0.009%CCIR-weighted peak

Input -overload level: greater than6.5 volts with external line -leveladaptor; 29 mV at microphoneinput

Playback level: 0.58 volt maximum

-± 0.009 percent CC1R-weightedpeak.

Frequency -response measure-ments were also complicated by therecorder's AGC system. Once againtaking the 0.58 -volt playback levelas an indication of "0 -dB" record-ing, we recorded and played backsweeping sine -wave signals at levelsfrom 0 to -60 dB in 10 -dB steps.Since, as we have seen, the upper 30dB of this range is quite com-pressed, the top four curves werevirtually identical and occupiedonly about 4 dB on the graph paper.The frequency response was ± 1 dB

from 20 to 15,000 Hz and down4 dB at 20,000 Hz.

At lower recording levels the play-back output decreased by about 15dB for each 10 -dB step down inrecording level, and the high fre-quencies were progressively moreemphasized. At -60 dB, for exam-ple, the low and middle frequencieswere down about 40 dB from themaximum -level curve, but the re-sponse was elevated by about 11 or12 dB in the 4,000- to 10,000 -Hzrange. Canon's specifications for fre-quency response in the hi-fi modeare simply "20 to 20,000 Hz."

68 SITREO REVIEW NOVEMBER 1985

CommentsListening to the recordings we

made with the Canon VR-40A, itwas hard to believe that its meas-ured frequency response and dy-namic linearity were so far from hi-fi quality. Of course, much of theprogram material broadcast on FMradio is already compressed to somedegree, which may have helped tomask the effects of the recorder'sAGC system. And since we had nocontrol over program levels throughthe tape outputs of the systempreamplifier, there was no way ofknowing to what extent the aberra-tions we measured on the benchwere actually affecting the signalswe were hearing.

In any event, the playback record-ings sounded surprisingly good, freeof noise, flutter, and any obviousdistortions. We even recorded andreproduced FM interstation hisswith only minor alterations to theupper -middle and high frequencies.In this test the VR-40A soundedmuch like one of the better audiocassette decks.

Quite possibly, if the Canon VR-40A had recording -level controls in-stead of a nondefeatable AGC sys-tem, it would be a superb hi-fi audiorecorder as well. But, as we see it, norecorder whose levels cannot be setby the user can qualify for seriousaudio recording, no matter howgood its performance might beotherwise. The VR-40A is certainlycapable of doing a good job in homehi-fi TV audio recording or as a pri-mary home VCR, but so are a num-ber of standard -sized home hi-fiVCR's at lower prices.

The Canon VR-40A portableVCR was obviously meant to beused with a camera in the field andonly secondarily as a home deckwith a.c. power. Typical micro-phones on video cameras are proba-bly not good enough to match thecapability of this machine, and forstereo recording you would needtwo of them, limiting your flexibili-ty of action somewhat. Even so, itsfreedom from noise and flutter, plusa frequency response far surpassingthat of any VCR's longitudinalsound track, certainly make it anattractive choice for video recordingin the field.Circle 146 on reader service card

...Or car owners whowant maximum performancefrom their car stereo system.

We may not rip your roof of' -but we can promise you supertly clean,clear, sound reproduction. Pyle Driver'speakers are handmade -ight here inthe U.S.A. by craftsmen with over 30 yearsexperience creating amazingly accurate sound.

We know you want to hear it all - everyhigh, every low and everything n between -without distortion and without paying a prerniirn

-...- V

price! Pyle Drivers' recommended fcr everyonewho wants a great value and the best sound.

xeThe source of great sound

PYLE DRIVERS*For the name of tie Pyle Driver dealer nearest yo j vel ePyle Industries, Inc., 501 Center St, Hunt -191c r. IN 46750

For Dealer Nearest You Call TDL_-FRE E 800-633-2252 Ext. 838CIRCLE NO. 35 ON READER SERVICE CAF D

WHY ARE THESE THE WORLD'SBEST-SELLING HEADPHONES?

Ask someone who owrE them.Or your Sennheiser dealer.

01985 Sennheiser Electronic Corporation (NY)

CIRCLE NO. 54 ON READER SERVICE CARD TOLL -FREE 800-633-2252 Ext. 839

Precision w

ithoutcom

plication.A

t the very pinnacle of Aiw

a'stechnological breakthroughsresides a new

standard of per-form

ance. A new

level ofprecision. A

new achievem

entin hum

an engineering. It isthe A

iwa A

D-F

990B.

The A

D-F

990B's ability to

Im

eet the dynamic and textural

demands of the best of both

digital and analog sourcem

aterials is unprecedented.T

he ease with w

hich theA

D-F

990B m

akes this out-standing perform

ance avail-able is unbelievable.

At the touch of a single button,

the AD

-F990B

's uniqueD

A T

A system

automatically

analyzes the tape you haveselected. R

eference signalsare autom

atically recordedand then instantly com

paredto the original. O

nce theanalysis is com

plete, in just16 seconds, the A

iwa A

D-

F990B

adjusts bias, equaliza-tion and sensitivity to optim

umlevels.

Through the use of

Dolby H

X P

ro, theA

D-F

990B then

dynamically

adjusts bias levelsin response to them

usic you record. It evenadjusts the bias levelsseparately for each channel.

To m

ake perfect performances

even more effortless the

AD

-F990B

also offers an auto -noise reduction detector,auto -recording level control,auto -dem

agnetizing systemand auto -intro -play facility.T

he Aiw

a AD

-F990B

. Perfec-

tion has never been so easyto achieve.

Ifyoucan't tell w

hether it'sa

Stradivarius

or a Guarnieri, it isn't an A

iwa.

WC

,

ME

I M

EM

F-990

PateZel /Itr4

PPA.-.

31=u 8 13

CIO

1,10,11

anI -W

IC N

AP

A E

MM

A.

I00y IV

RE

A..

The A

iwa A

D-F

990B. S

imply the best cassette deck w

e make.

aM

OM

*

IT

AP

E T

YP

E

a PE

E.

INN

cm,

11.-

./(mounear-A

inimor

Aft

41.

SEA

MM

EW

IMM

O M

t CIIT

OC

IPOR

1114/1011***** MIK

ata"

11* . rty

110C U

LA

N*

F-SPEPIE

7

SIMPL

Y A

DV

AN

CE

DD

olby is a trademark of D

olby LaboratoriesA

iwa A

merica Inc , 3b O

xford Drive, M

oonachie. New

Jersey 07074In C

anada, Shriro (C

anada) Ltd

NINE $300 CD plAy[RsLab tests reveal extraordinary value in sonic performance

byJulian Hirsch

SINCE the introduction of theCompact Disc about threeyears ago, the prices of CDplayers have dropped dramat-

ically. But their performance, espe-cially in respect to error correction,has actually improved. A number ofmanufacturers have recently intro-duced players with list pricesaround $300, less than what youhave to pay for a modest turntable/cartridge combination. We testedseveral of these units to see whatdifferences could be found amongthem and generally to determinewhat, if anything, has been omittedfrom them in order to achieve sucha low price.

Most of the five players wetested-models from Mitsubishi,Pioneer, Sanyo, Sony, and Tech-nics-closely resemble each other insize and general styling. With oneexception (Technics), they areblack -finished "low -profile" units

measuring slightly less than 17inches wide, 10 to 12 inches deep,and 2Y4 to 31/2 inches high. Theyweigh from 7 to 10 pounds. Eachhas a front -loading horizontal discdrawer at the left of the panel and adisplay window on the right. All theplayers have a button that opensand closes the disc drawer (three ofthem can also be closed by pressingthe drawer lightly, which may bemore convenient than using thebutton). Although the five playershave many of the same features (seeTable 1, page 74), we found enoughdifferences in this area to provide aprospective buyer with some basisfor a selection. Equally importantare questions about performance:Has it suffered in the price -reduc-tion process? And are there substan-tive measurable or audible differ-ences between these players?

All the players were subjected to auniform series of tests (summarized

in Table 2, page 76) using the sametest discs, instruments, and proce-dures throughout. We measuredeach unit's output voltage playingthe 0 -dB (maximum -level) 1,000 -Hz track on the Sony YEDS2 testdisc, with the player's output termi-nated in the EIA standard load of10,000 ohms in parallel with a1,000-picofarad capacitor. We mea-sured the output voltage from eachchannel as well as the output imbal-ance (difference in amplitude) be-tween channels. The A -weightednoise level (referred to the 0 -dB out-put level) was measured using the"infinity zero level" band of theSony test disc. Harmonic distortionat 1,000 Hz was measured at levelsof 0, -10, and -20 dB. Channelseparation was measured separatelyfor each direction (left to right andright to left) at frequencies of 100,1,000, and 20,000 Hz, and the tworeadings were averaged.

The SL-PJ1 fromTechnicswas theonly oneof the fiveplayers withrandomtrack ac-cess-justpunch inthe tracknumber andplay. It wasalso one ofthe best per-formers.

Other measurements were madeusing the Philips TS3 test record.Frequency response was measuredwith the TS3's sweeping frequencybands, which slide logarithmicallyfrom 20 to 20,000 Hz in 50 seconds,and the player's output level wasrecorded on a graphic plotter. Thecurves for both channels (see thegraph on page 77) were plotted onthe same chart paper using an ex-panded scale of 2 dB per inch,instead of the usual 10 dB per inch.

ure the approximate phase shift be-tween channels, playing a mono(L + R) track on the Sony test discat frequencies of 1,000, 5,000, and20,000 Hz. From this test and fromthe appearance of a square -wavesignal reproduced from the Philipsdisc we could infer whether a playerused an analog or a digital low-passfilter in the audio outputs, whethera single D/A (digital -to -analog) con-verter was multiplexed between theleft and right channels or two sepa-

Sony's CDP-70 was one of the best players in the group interms of its measured performance characteristics.

From this plot, we obtained theresponse variation, in decibels, be-tween 20 and 20,000 Hz relative tothe 1,000 -Hz level.

The slewing ability of eachplayer's laser -tracking mechanismwas measured by programming themachine to go from Track 1 toTrack 15 of the Philips TS4 samplerdisc and measuring the time re-quired for the transition. Also onthis disc are two tracks, Nos. 17 and18, that have no silent intervalbetween them. With some earlierCD players, it was common for theopening syllable of the vocal onTrack 18 to be clipped, and we usethis test to judge the accuracy withwhich the laser -pickup servo can lo-cate the exact start of a track. Allfive players passed this test easily.

We used an oscilloscope to meas-

rate converters were used, andwhether "oversampling" was usedin the digital -to -analog conversionprocess. Oversampling shows up asa lower interchannel phase shift (re-duced by the oversampling factor)compared with conventional opera-tion, and its use is thought by somepeople to have an audible effect onthe sound of a CD player.

The ability of a CD player to cor-rect for defects in the digital datareceived from the disc is crucial tothe success of the system, since aconsiderable number of such errorsare normally encountered whileplaying a disc. A properly operatingsystem incorporates some digital fa-cility to fill in the "holes" in the pro-gram resulting from data errors. Inearly players, we found substantialdifferences in this respect.

To our knowledge, the only stand-ardized test disc available for evalu-ating error correction is the PhilipsTS4A, which is a modification ofthe TS4 sampler disc with a wedge-shaped portion of its signal surfacedamaged, black dots of several sizespainted on the outer surface, and agroup of parallel lines inscribed onthe outer surface to simulate a fin-gerprint. The size of these calibrateddefects (in micrometers) can be de-termined for any portion of themodified part of the disc by refer-ring to the elapsed time in minutesand seconds in the track beingplayed when the defect begins to beaudible. A failure to correct for thedata errors will be apparent in theform of "dropouts" in the programor actual loss of tracking, which canmanifest itself as "stuttering" oreven a total shutdown.

Our final test (not actually ameasurement) was of the ability ofeach player to withstand physicalshock without mistracking. This is asubjective process involving a "cali-brated blow" delivered to the caseof the player with the flat of thehand (or with the fingers if neces-sary). Since I have been subjectingall the CD players we have tested tothis treatment, I must consider myhand to be a standard of sorts! Atany rate, while playing a disc I strikethe player on its top and sides anddetermine how much of an impactis required to cause mistracking(skipping or actually shutting off).

A player receives a grade of A, B,C, or D depending on its ability tocope with this treatment. An Ameans that a fairly solid blow doesnot cause mistracking, and a D indi-cates that a light drumming with thefingers is enough to cause trouble.So far I have never encountered aplayer deserving an F in this test,but I would probably give an F to aplayer that reacted to a gentle strokeof the fingers (making it quite use-less for normal home operation).

In spite of prior experience indi-cating that CD players sound verymuch alike, we took advantage ofhaving several units on hand at thesame time and connected them to aswitching system so that we couldchange from any one to any otherinstantly at the press of a button.The comparisons were done inpairs, using duplicate discs of thesame recording and cueing them towithin a second (a striking conve-nience of CD's).

Each machine was compared with


each of the others, using two differ-ent recordings. No effort was madeto match levels closer than theyalready were, but the existingmatches were perfectly satisfactoryfor our purpose. The worst mis-match (between the Mitsubishi andthe Technics) amounted to a 1.76 -dB difference in level, which wasjust audible but not enough to affectthe sound -quality comparison sig-nificantly. The other units typicallyhad level mismatches of less than afew tenths of a decibel, and thesedifferences were not audible.

The upshot of the comparisonswas that I was never able to hear theslightest variation in sound qualitybetween any pair of players. Most ofthe time even the switching itselfwas undetectable; although I waspressing the button, it was as thoughit had no connection with the rest ofthe system. I think it is reasonableto conclude that any slight differ-ences that might be detected bysomeone else would be far short ofwhat would be needed to establish asonic superiority for any one ma-chine based on rational criteria.

Mitsubishi DP -107Although no instruction manual

was packed with ofthe Mitsubishi DP -107, we wereable to learn its various operatingfeatures through a process of trialand error. The DP -107 has a glossyblack front panel that handsomelycontrasts with its satin -silver push-buttons and pale -gold markings.

The DP -107 was the only playerin the group to use oversampling(by a factor of two) and digital audiofiltering. However, our phase -shiftmeasurements suggested that, likeall the other players in this test, theDP -107 uses a single D/A convertermultiplexed between the two chan-nels. Also like most of the otherplayers, when a disc is first loadedthe DP -107's display shows the totalnumber of tracks and the total play-ing time on the disc. During playthis information is not available(nor is it likely to be needed).Instead, the display shows either thenumber of the track being played orthe elapsed time on that track.

Although the DP -107 can accessany indexed portion of any track,with the selected index number ap-pearing in the display window, itcannot be programmed for auto-matic access to indexed sections.Programming by tracks is simple.Pressing the PROGRAM button

causes "Pl" to appear on the dis-play, after which the fast -search but-tons (which step in forward orreverse, one track at a time) areused to select the first desired track.Pressing PROGRAM again produces a"P2" on the display, and the processis repeated up to a maximum ofnine selections. After the last selec-tion is made, pressing PROGRAMcauses "End" to appear on the dis-play, and a touch on the play buttonstarts the programmed sequence. It

111114111kon a CD player. Its two large,red figures start at "00" when itis turned on, changing to "OP"when the disc drawer is opened.When the drawer is closed, the dis-play first shows the total number oftracks; then, after a few seconds, itchanges to "01" to show that theunit is ready to play Track 1. Atouch of the play button starts theplaying process.

Under most circumstances, theonly numerical information pro -

Mitsubishi's DP -107 uses two-times oversampling and dig-ital filtering. It also had the best headphone volume.

is a minor annoyance that a pro-grammed playing sequence cannotbe canceled in its entirety except byopening and closing the drawer orshutting the player off and turning iton again (an idiosyncrasy sharedwith the Sanyo CP660).

The DP -107 had, by a comfort-able margin, the best headphonevolume of the group with high -qual-ity, high -impedance phones (weused AKG K340's throughout thesetests). Although the Mitsubishiplayer, like the others, has a buttonthat opens and closes the disc draw-er, it is one of the three whose draw-ers can also be closed by light pres-sure on the front.

Pioneer PD -5010The Pioneer PD -5010 has the

simplest display we can recall seeing

vided by the display is the currenttrack number. Illuminated arrowsand lights show that a program hasbeen entered, that the repeat orpause function has been engaged,and that the disc is actually beingplayed (this last indication is usefulsince the PD -5010 does not countoff the seconds and minutes as adisc plays).

The numerical display does haveanother function, however. In theplayer's fast -scan mode, the displayindicates the number of minutes ofprogram that have been scanned,with a resolution of 1 minute. Whenthe fast -speed button is released, thedisplay once again shows the cur-rent track number. Although not asuseful as an exact minutes -and -sec-onds indication, this approximatereadout is better than nothing.


The Pioneer PD -5010 is easy to use and can beprogrammed to play twenty-seven tracks in any order.

The only respect in which the PD -5010 failed to match most of the

resistance. A light tap of the fingersdirectly above the disc drawerwould usually cause the player toshut down. We would have gradedit D for this, but over much of the

top surface it was considerably lesssensitive, so it received a C. Sus-pecting a mechanical resonance ofthe top plate, we placed one of theother players on top of the Pioneer,and its impact resistance was thenmuch improved. It is possible too,of course, that the sensitivity of our

TABLE i - FEATURES

test sample was not typical of themodel.

The PD -5010 is easy to programby successively keying in the de-sired tracks using the fast -searchbuttons, which step forward orbackward by one track each timethey are pressed, and following eachselection with a touch on the PRO-GRAM MEMORY button. To cancelthe program sequence, you press thestop button twice.

Although the PD -5010 has aheadphone jack, the sound levelthrough the phones we used wasbarely adequate, and we doubt thatmany people would find it satisfac-tory. The headphone level is alsonot adjustable, although that pre-sented no problem at the nearlybackground -music levels we ob-tained from this player. As in theMitsubishi DP -107, the disc drawerof the Pioneer PD -5010 closes witha light touch as well as when its con-trol button is pressed. An interest-ing feature of the PD -5010 is theSUBCODE output connector in therear of the player. According to theinstruction manual, this will supplydigital signals from specially en-coded CD's to various accessoriesthat will be available in the future.

Sanyo CP660Among this group of players, only

the Sanyo CP660 can be pro-grammed by index numbers as wellas track numbers. Instead of using

MITSUBISHI PIONEERDP -107 PD -5010

Fast search

Program audible during search

Fast track skip

Random track access

Index access

Random index access

Programmed play

Maximum number of programmed selections

Index programming

Program -cancel button

Repeat current track

Repeat all tracks

Initial play from selected track

Headphone jack

SANYOCP660

.0

10

go'

16

to

SONYCDP-70

50

TECHNICSSL-Pj 1

to

io

to

15

$.0

74 SIEREO REVIEW NOVEMBER 1985

the fast -search buttons to select thedesired tracks, it has a pair of UPand DOWN keys dedicated to en-tering program information. If in-dex numbers are to be included inthe programming, the INDEX key ispressed following the track selec-tion, then the UP and DOWN keysare used again to select the desiredindex number. Pressing the MEMOkey then enters the selection intothe programmed sequence.

The CLEAR button can clear onlyone memory entry at a time. Toremove a programmed sequence, itis necessary to turn the player off orto open the disc drawer.

The display of the Sanyo CP660uses bright blue -white numeralsthat are smaller than those of someother players but extremely legible.At all times the readout shows thetrack and index numbers and theelapsed playing time in the track inminutes and seconds. Pressing theEACH/REMAIN button changes thetrack -time display to show the totalremaining playing time on the disc.The total disc playing time as wellas the total number of tracks ap-pears on the display when the disc isloaded, but this readout is replacedby specific track numbers and play-

programmed mode, a red light ap-pears on the PLAY key.

The CP660 was one of the twoplayers in this group (along with theTechnics) whose disc drawer is ap-

Sanyo's CP660 was the only player in the group to offerprogramming by index number as well as track number.

parently meant to be closed only bythe open/close button. The drawer

by pressing it inwardwith considerable force, but that isobviously not recommended.

In most respects the CP660 gaveexcellent performance. Its phaseshift was somewhat less than that of

most of the other players at middleand high frequencies. although thereason this was Theimpact resistance was very good onthe sides and good over most of thetop surface, but it earned a C gradeover the disc drive. This was not aproblem in normal use, however.

Headphone volume control

Digital (D) or analog (A) filtering

Oversampling

Disc drawer closes by touch

DISPLAY:

Total number of tracks

Total playing time on disc

Track number being played

Elapsed time on track

Remaining time on disc

Index number

Programmed selection order

Disc -loaded indication

Repeat -status indication

MITSUBISHI PIONEERDP -I07 PD -5010

D A

* *

SANYOCP660

SONY TECHNICSCDP-70 SL-PJl

A A A

*Shown at start-up onlySTEREO REVIEW NOVEMBER 1985 75

What did surprise us about theSanyo unit was its error correction,which would have been consideredbelow average even in a first -genera-tion CD player. Over much of themodified portion of the PhilipsTS4A disc the CP660 simply wouldnot function. It skipped from pointto point and sometimes scanned thetest disc in the reverse direction,from the higher -numbered trackstoward the lower -numbered ones!We have no way of knowing wheth-er this behavior was peculiar to ourtest sample. In fairness, we mustadd that the player had no problemswith any of our music CD's otherthan this test disc.

Sony CDP-70When a disc is loaded into the

Sony CDP-70, the display brieflyshows the total number of tracksand the playing time for the entiredisc. In a few seconds this isreplaced by a "0" and the red word"DISK" to indicate that the player isready to be used or programmed.The blue -white display, using 3's -

inch -high figures, is highly legibleand resembles that of Sony's moreexpensive CD players.

While a disc is playing, the dis-play shows the track and indexnumbers (if any) and the elapsedtime in the track or the total timeremaining on the disc (as selectedby toggling the ELAPSED/REMAININGbutton), and a green PLAY arrowappears next to the window. Otherilluminated symbols show when thepause mode has been selected andwhen the player is operating in aprogrammed mode.

While a programmed sequence is

being entered, the INDEX/RMS num-ber next to the track -number dis-play shows the number of the selec-tion in the sequence (Sony calls theprogrammed mode RMS for Ran-dom Music Sensor). If a track con-tains indexed subsections, duringplayback this portion of the displayshows the current index number.However, there is no provision forprogramming or directly accessingspecific indexed sections of a disc.

The programming procedure forthe CDP-70 is much like that of theother machines. The track -searchbuttons (which Sony calls Ams forAutomatic Music Sensor) are usedto select a track, and its number isstored by pressing the MEMORY but-ton. The latest entry can be re-moved with the CLEAR button, butto remove a programmed sequencecompletely the STOP (RESET) buttonmust be pressed.

The repeat function of the CDP-70 is more versatile than that of theother players tested. One touch onthe repeat button produces a "Re-peat 1" indication in the displaywindow and causes only the currenttrack to be repeated. A second touchchanges the display to "Repeat All"and repeats the entire disc (or entireprogrammed sequence). A thirdtouch clears the repeat function.

The program -scan function of theSony CDP-70 is much faster thanthat of the other players in thegroup. As far as we could judge, thespeed does not increase after a fewseconds (as it does in the others),but the starting rate seems to be fas-ter than the fast scan of the others.Furthermore, if the machine is inthe pause mode, the scanning speed

is tripled, which made it possible toscan a disc in about 36 seconds.

The back of the CDP-70 containsa couple of multipin connectors notfound on the other players. Theseare for use with an optional remote -control accessory (Sony RM-D1K)or certain other Sony audio compo-nents to which the CDP-70 can beconnected, enabling it to be con-trolled with an infrared hand unit.

At least one measurement of theSony CDP-70 sets it apart from theothers -indeed, from all previousCD players we have tested. Its chan-nel separation was greater than wehave ever encountered and wasclose to the practical measurementlimits of our spectrum analyzer.Over the full audio range the sepa-ration was between 104 and 110 dB.It must be realized, however, thatthis figure is of no direct audible sig-nificance since every CD player wehave seen has far more separationthan is necessary for total stereoperformance. But it does suggestthat Sony has taken some unusualdesign and layout precautions andis noteworthy for this if not for anypractical reason. A more practicalquality of the Sony player was itsgood headphone volume -notquite as loud as the Mitsubishi's butvery listenable nevertheless.

Technics SL-Pj 1The Technics SL-PJ1 is quite dif-

ferent from the other players in thisgroup in appearance as well as oper-ating features. In size and shape itresembles one of the Technics lin-ear -tracking record players, whichare barely larger than a 12 -inch disc.The SL-PJ I , while considerably

TABLE 2 - HIRSCH-HOUCK LIB MEASUREMENTS

Output voltage from 0 -dB level

Output channel imbalance (in decibels)

Signal-to-noise ratio (A -weighted)referred to 0 -dB level (in decibels)

Distortion at 1,000 Hz (percent)

Channel separation (in decibels)

Response variation, 20 to20,000 Hz (in decibels)

MITSUBISHI PIONEERDP -107 PD -5010

SANYOCP660

SONYCDP-70

1.77 1.92 1.80 1.85

0.1 0.4 0.2 0.4

97.5 101 99.3 97.5

0 dB 0.0056 0.0032 0.0037 0.0032-10 dB 0.011 0.0022 0.0018 0.002-20 dB 0.027 0.0036 0.0032 0.004

100 Hz 91.5 98.5 97 1101,000 Hz 92.5 96.5 98 108

20,000 Hz 73 81.5 85 105

+0.23, -1.4 +0.15, -0.9 +0.1, -0.6 +0.1, -0.2

TECHNICSSL-PJ1

2.17

0.3

101

0.00530.01550.006

949794.5

+0.3, -0.1


larger than a CD, is only about 121/2inches wide, 12N inches deep, and31/4 inches high, and it weighs about10 pounds. Its control buttons areon a sloping front panel that spansthe width of the bottom edge.Among them are the usual fast -search buttons and the skip buttonsthat move the laser pickup to thebeginning of a recorded track. En-gaging the repeat function lights ared light next to the display.

Selecting a track or programmingthe SL-PJ1 is even simpler andusually faster than with the otherplayers in the group since it is theonly one to offer random-accesstrack selection. Ten small buttons,numbered 1 through 0, can be usedfor direct access to any track num-bered up to 99. Although each of theother machines can access any trackup to No. 99, to do so requirespressing a button up to ninety-ninetimes! That is not as difficult as youmight think, but it is a far cry frompressing just one or two buttons.The SL-PJ I also gives direct accessto any indexed section, but only innormal playing mode (you can pro-gram any sequence of tracks but noindexed subtracks).

After a program has been entered,pressing the RECALLeach programmed track number inthe correct sequence. The CLEARbutton cancels all programmed se-lections; if one is being played, theSL-PJ1 continues in the normal se-quence at its conclusion.

The display window shows thetotal number of tracks and totalplaying time when a disc is firstloaded. During play the readoutshows the current track number

(and index number, if applicable)and its elapsed time. The timeremaining can be displayed bypressing the REM TIME button.

The measured performance of theTechnics SL-PJ1 was in every re-spect as good as or better than theothers. Its overall impact resistancewas, by a small margin, the best inthe group, its output voltage wasslightly higher than the others, andit tied with the Sony player for theflattest frequency response and withthe Pioneer for the best signal-to-noise ratio.

ConclusionsThese low-priced CD players rep-

resent extraordinary value. Almostall of them are better in importantrespects, such as error correction,than almost any of the first -genera-tion players that sold for three tofive times their price less than threeyears ago. Although the more ex-pensive models available todayfrom the same manufacturers and

others have certain operatingconveniences and features lack-ing in these budget -priced units,there were no substantive differ-ences among the five we evaluated.The Sanyo did not come up to theothers in error correction on our testdisc, but otherwise we would behard put to rank these players in anyorder of quality. And since even theSanyo had no difficulty in playingordinary music discs and was theonly player to be programmable byindex as well as track numbers, itmight be the best choice for some.

Nonetheless, I do have some pref-erences among this group. All thingsconsidered, it seems to me that theTechnics and Sony machines hadthe highest overall level of excel-lence, though each of the othersexcels in some respect. No doubtmany buyers would have valid rea-sons for choosing one of the othersinstead. It is hard to see how youcould go wrong, whichever playeryou choose. 0

44,Stilia, Cr 107

PCNEf RID -5010

swami

S061r CC 70

TIONCS SI.P11

FIFOUENcY fYOW

2C 50 00 5011

FiNZIWCY tem

The curves above show the measured frequency response of the five CD playerstested for this article (see Table 2 foe numerical results). In order to makesmall response variations apparent, the ve:tical scale divisions represent only IdB a much finer scale than we use for non -CD -player test -report graphs, whichhave 5 -dB divisions. For each playev, the red curve represents the response ofthe right channel, the clue curve thct of the left channel.

Slew time (from Track 1 toTrack 15, Philips TS4, in seconds)

MITSUBISHIDP -107

3.4

PIONEERPD -5010

3.1

SA Vv0CP660

2.8

SONYCDP-70

3.3

TECHNICSSL-PJ1

3.3

Phase shift (left to right,in degrees)

1,000 Hz5,000 Hz

2.512

4.322

4.34.3

4.22

4.318

20,000 Hz 54 90 77 77 90

Defect tracking (Philips Signal surface 900 900 600 900 900TS4A, figures represent size Painted dots 800 800 500 800 800in micrometers of largestdefect successfully tracked)

"Fingerprint" pass pass pass pass pass

Impact resistance To B C* B** C B

Side B C A A A

* D over disc drawer** C over disc drawer


HANDS ACROSS THE SEA-

ANOTHER TRIUMPH OF BRITISH-

AMERICAN CULTURAL RELATIONS

BY ANN FERRAR

ATRINA LESKANICH. Thename sounds as if it hasleapt off the pages of Tol-stoy's Anna Karenina.

But though it's of Russian origin,the name belongs to a sloe-eyed mil-itary brat from Topeka, Kansas.This young woman, who has afreckled, Ivory Girl face, also hap-pens to be the focal point of a littleU.K.-based rock band that, late lastyear, finally worked its way out ofthe garage and into the executiveoffices of Capitol Records. Theband-Katrina and the Waves-made several Capitol executivesvery happy when its American de-but LP reached No. 25 on thecharts. The album's first single, thejubilant Walkin' on Sunshine, wenton to peak at No. 9.

Critics eager for comparisons im-mediately thought of the Pretend-ers. Like Chrissie Hynde, Leskan-ich, twenty-five, is a Midwesternerwho found a niche across the Atlan-tic, and like Hynde, Leskanich singsand plays rhythm guitar in a groupwith three males (only two of whomare British, by the way). But oncloser inspection, the parallelsquickly fade.

.4t

Hynde writes most of the Pre-tenders' street -wise music-she tru-ly leads her band. Leskanich hasonly recently begun to try her handat composing-she fronts her band,singing and playing cheerful songswritten mainly by the Waves' shylead guitarist, Kimberley Rew.Hynde's vocal style is icy andquirky; her darkly shrouded eyeswarn, "Don't get too close or youmight get hurt." But Leskanich beltsout her heart and soul in a big,booming mezzo-soprano. She has alively, inviting style that beckons toher audiences, "Come on in, thewater's fine."

Recently I met Katrina Leskan-ich-this quintessential girl-next-door-in New York, during theband's second U.S. tour. Sheseemed to have an arsenal of an-swers at her disposal for the inevita-ble barrage of journalists' questionsabout the Pretenders analogy.

"It's understandable that peoplewant to compare us," said Leskan-ich evenly. "One reason is that therejust aren't enough women doingmusic. If a guy comes along andsings a certain way, there's notalways a handy person to draw a

parallel with, because there are somany men in rock.

"I've always been a big fan ofChrissie Hynde," she continued."But there's a definite difference be-tween us. Chrissie's got this hardedge, and you get the feeling thatthings haven't always gone so wellfor her and that she wants to share alittle bit of this misery with others.I've had some hard times, too, butwhen it comes to the music, I wantto forget and to entertain with asmile on my face. And actually,"she added, in utter seriousness,"I've always thought of myself asmore of a Gidget than a ChrissieHynde."

Her live act in New York wouldcertainly support that statement.Let's just say it was not the stuff thatmade Madonna. Leskanich, wear-ing sneakers, hopped and skippedaround the stage like a gangly, gui-tar -toting schoolgirl at a sock hop.And the dominant item in herwardrobe-an oversized smockdecorated with large triangles in pri-mary colors-was a metaphor forthe Waves' music, which is as re-freshingly bright and as fundamen-tal as can be.

The songs on the Capitol LP-eight written by Kim Rew and twoby bassist Vince de la Cruz-areremixed and, in some cases, totallyrerecorded versions of materialfrom a pair of little-known Canadi-an releases on the Attic label. Withthe exception of Cry for Me and TheSun Won't Shine, which are slow,bluesy wailers, the album is madeup of highly danceable pop/rocksongs with irresistible hooks thatdon't let you come up for air. Themusic is earthy and mainly guitar-based-no flashy technology tospeak of-with Rew's Gibson SGSpecial providing a jangling back-drop for Leskanich's powerhousevocals.

Perhaps the most striking aspectof the Waves' album is the un-abashed homage paid to artists fromthe Fifties and Sixties, particularlyChuck Berry and greats from Mo-town and the British Invasion. KimRew admitted without hesitationthat Berry, the Beatles, the RollingStones, and Ray Davies ("a veryunderrated songwriter") wereamong the dominant influences on"Katrina and the Waves."

Rew, De la Cruz, and drummer

Alex Copper-thirty-three, twenty-seven_ and thirty-two, respective-ly-seem like transplants from an-other era. They all sport clean,Mod -style "bowl" haircuts that flapup and down as they bob theirheads during their live shows. InNew York, I half -expected them tobreak out in a chorus of "She lovesyou. yeah, yeah, yeah."

Before signing with Capitol in De-cember 1984, the band spent fouryears carting demos around to rec-ord companies, though its roots goback to the late Seventies. Rew andCooper both Cambridge Universitystudents, formed the Waves andplayed locally. When the short-livedWaves broke up, Rew worked for awhile with the eccentric Soft Boys,which he calls "a sort of neo-psy-chedelic band with elements of theV6vet Underground and PinkFloyd."

Meanwhile Leskanich, the daugh-ter of an Air Force colonel, had beenLying with her family at an Ameri-can base in the English agriculturalcounty of Norfolk. Texas -born andpart Mexican, Vince de la Cruz wasalso living at the base; his fatherheld a teaching post there. Leskan-

ich met De la Cruz in the base cha-pel, where both played the guitar forthe choir.

Impressed with Leskanich'svoice, De la Cruz asked her to joinhim in forming a band. With theaddition of drummer Alex Cooper(post -Waves), Mama's Cooking wasborn as punk rumbled London.

"We were very isolated in thecountry," Leskanich pointed out,"so we weren't influenced by themusic happening anywhere else. Weplayed at the American militarybases because those were the onlyplaces where we could make anymoney. We chose a repertoire thatwent down well with AmericanGI's, so we did covers of Pat Bena-tar, Heart, the Eagles, and theStones."

When Kim Rew gave up hisattempts at a solo career and joinedthem, they dropped the nameMama's Cooking. Calling them-selves the Waves, the foursome at-tempted to break into the Londoncircuit. They performed Rew'ssongs to critical disdain.

"The English kids were goingthrough a dismal period," said Les-kanich. "Everyone was moaning,`Oh, I'm miserable, so I'm wearingblack, and we're all unemployed,and the world's going to hell,' andall this rubbish. Then we came onand played this poppy, happy stuff,and they hated it. Eventually we gotfed up with getting slagged off inLondon, so we went back to the mil-itary bases where we could makesome money."

According to Leskanich, hername got tacked on to the Waves"when somebody suggested that ifwe called ourselves Katrina and theWaves, more GI's would come tothe show in the hopes that I woulddivest myself of my apparel."

Of course, that never happened,but she did begin to divest herself ofa flat, youthful singing style thatowed much to a childhood infatua-tion with such groups as the Par-tridge Family. Rew introduced herto his enormous record collection,which contained work by manyblack artists, including Etta Jamesand Aretha Franklin, and shebought records by Sam & Dave, theContours, Little Richard, Otis Red-ding-anything from the 1950's and1960's that was black. "A lot of thatstuff went into my head," she said,"and now it's coming out of mymouth."

The group made a few singles inEngland, but Attic Records in To-ronto was the only company willing

INN

I WANT TO ENTERTAIN WITH

A SMILE ON MY FACE. AND

ACTUALLY, I'VE ALWAYS

THOUGHT OF MYSELF AS

MORE OF A GIDGET THAN

A CHRISSIE HYNDE.

to stick its neck out for an album -licensing deal with the fledglingband. In 1982, Attic released "Wal-kin' on Sunshine," the group's firstLP, which sounded very much like arough garage tape. It was recordedin a London studio next to a rail-road station. "The floor goes likethis, and the ceiling is dripping,"Leskanich said, demonstrating,"and you have to stop a vocal trackmidway if a train is passing becausethe noise gets in."

Undaunted, in 1983 the groupmade another LP for Attic at thesame studio. The band had madestrides, and the second album, "Ka-trina and the Waves 2," simplysparkled with a refreshing clarityand a "live" feeling that is, to a greatextent, muddied on the fancier Cap-itol rem ix.

By 1984 the Attic recordings hadattracted some attention on alterna-tive and college radio stations, andsoon the band was discovered byCapitol Records and signed to thatlabel. When Andrew Fuhrmann,Capitol's director of talent acquisi-tion, and engineer Scott Litt chosewhat they felt were the ten besttracks from the Waves' two Atticreleases, the group went back to the

creaky London studio to rerecordsome of the material. In New York,Litt put the tapes through theboards at the Power Station studio,using a variety of ambiences.

The result? A polished Americandebut album that has a somewhatPhil Spectorish Wall -of -Sound tex-ture. It's slick as can be, but all the"atmosphere" causes the melodiesto recede behind the "wall," creat-ing much more homogeneity.

"If you've heard the first twoLP's, then the third one's a bit of ashock," admitted De la Cruz.

"But it's better," added Rew, "be-cause the basic sounds have beengiven close attention in a poshrecording studio."

Now that they've entered therealm of the "posh recording stu-dio," what's next for Katrina andthe Waves?

"Hopefully, more of the same,"said Rew, referring to the nextalbum the band plans to finish byyear's end. "We don't really pro-gress. We're doing basic rock-and-roll. All I care about now is the nextbatch of ten good songs."

This emphasis on ten songs-nomore, no less-hints at an inclina-tion toward commercialism thatcould cause the band to becometotally mainstream before they ma-ture enough to take musical risks."We do want a lot of people to likeus so we can play in big places," saidDe la Cruz. And certainly, so far thegroup has managed to win overenough of the right people. Thisdespite the fact that their whole-some, uncomplicated sound andtheir lack of a visual image are a farcry from the androgynous techno-pop that is so ubiquitous today.

Fuhrmann, the Capitol executivewho signed the band, observed,"People always want to hear realacoustic sounds, real singers, andreal emotion. And in a world ofmake-up and costumes, a non -fash-ion statement can be refreshing. Ka-trina has said more than once thatshe's not the next sex thingy. She'snot selling records with a come -hither look."

But she is selling records, and thelabel is banking on a building mo-mentum-the Waves' contract callsfor no fewer than six LP's and onegreatest -hits compilation.

"Our audience," said Rew, "con-tains a lot of eighteen -year -old girlswho want to be like Katrina. Wehad no idea that would happen untilwe started doing gigs here. But theyreally look up to her, so we must bedoing something right."

NEW LIFE FOR OLD RECORDI\GS

How to tape your time -worn treasures / by Ian G. MastersET's face it: not everythingwe choose to listen to is hi-fi, or at least not everythingI choose to listen to. I was

bitten by the audiophile bug at avery early age, but at the same timemy musical tastes were beingformed in the peculiar world of late -Fifties greaser music and early -Six-ties bubblegum rock. I would be thefirst to admit that much of themusic of that period was, urn, un-distinguished, but I still take a per-verse delight in listening to it some-times, and I take pride in a roomfull of old 45 -rpm singles, a few 78's,and some venerable LP's.

The main drawback of these rec-ords is that, however much theymay tug at the old heartstrings, theysound terrible. Most of them wereatrociously recorded in the firstplace, and the vast majority spenttheir early years being played on aseries of truly wretched phono-graphs. My own equipment wasfairly primitive back then, but whatreally did my collection in was theodd assortment of players myfriends used at parties-plus thefact that sleeves were virtually un-

known once you got the recordshome from the store.

Playing these records on a state-of-the-art sound system today is anexercise in masochism that willdrive away anyone but the mostcommitted nostalgist. Even I findthey put my teeth on edge much ofthe time. By now most of themsound as if they were recorded on arifle range during a hail storm.

And yet I do want to hear thisstuff now and again. The obvioussolution is to transfer a bunch of therecords to tape. When I embarkedon a project to tape some of my col-lection, I knew that I would neverend up with high fidelity, but I

thought that some improvementwould be possible, that the materialmight become more listenable witha little manipulation. It turned out Iwas right, and the methods I usedare not at all esoteric or expensive,just time consuming-and ratherfun. if you enjoy the recording pro-cess as much as I do.

Judging from the raft of oldiesradio stations out there and thebrisk sales of reissue albums of oldsingles, lots of people share my

tastes, and probably many of youare also sitting on treasure troves ofold records you'd love to hear againbut can't stand to listen to. So hereis my step-by-step plan for breath-ing new life into such recordings.The techniques are based on a bit oftheory, a bit of reading, and lots oftrial and error. Not everyone willhave the patience to go through allthe steps, but any combination ofthem will result in a tape dub withsome improvement over the origi-nal sound.

For convenience and flexibility,and because I had the equipment onhand, I did my work first on open -reel tape, then dubbed to cassettefor the final version. While thisapproach has its advantages, mostof the restoration techniques I usedwill work just as well dubbing directto cassette.

Step 1: The ProgramEarly on, I realized there was no

point in trying to put absolutelyeverything I had on tape. First,there was simply too much of it.Second, I didn't really like a lot of itall that much. And third, no one,


not even me, would sit still for morethan a couple of hours of this stuffat a time. So I decided to record justtwo C -90's, a total of three hoursmaximum.

Figuring that an average songback then ran about 21/2 minutes, Idetermined that I could record sev-enty-two of my favorites. I wentthrough my collection, digging outpossible candidates, and then dis-carded the more dubious items untilI had the right number. I then listedthe final choices, noting the time foreach one (I had to time a few with a

WINIIIIININIININIIIIIMII

stopwatch, but most had runningtimes on the label) and the locationof the best available copy of each. Asurprising number of the songs Ichose, perhaps half, I had at somepoint acquired as reissues or on LPcollections, and I elected to usethese where possible. Sometimes,however, a reissue was so heavilyprocessed and "enhanced" that itbore relatively little resemblance tothe original, in which case I wentwith the scratchy older version.

Having made my initial selec-tions, I added up the times to seehow close I was to the total Ineeded. As it happened, I was with-in a few seconds of three hours, butthat can be put down to blind luck.Had I been less fortunate, I wouldhave substituted selections until thetotal came out right.

The next step was to make up fourseparate programs, one for each sideof the two final cassettes. My goalwas to have each program fill a sidecompletely, without any annoyingpauses at the ends of songs, andeach side had to have a certain paceand variety in itself. To do this, Idecided that no artist would appear

twice on the same side, meaningthat none would have more thanfour songs in all. As it turned out,very few had that many: the Beatles,Elvis, Chuck Berry, and one or twoothers.

To make up the individual pro-gram sheets, I first assigned thegroups of songs by the same artists,spreading them around as evenly aspossible on the four sides. Then Ifilled up the sides arbitrarily untileach side had eighteen songs, addedup the total time for each one, andjuggled songs around, switchingcuts from side to side, until all foursides came out to the right length-a time-consuming but somehow re-warding exercise. Next I organizedeach side to provide a reasonablysensible or artistic mix: alternatinginstrumentals and vocals, groupsand soloists, male and female sing-ers, fast and slow songs, and soforth. Finally, I arranged all therecords to be recorded in four neatpiles and went on to the next step.

Step 2: Setting UpIt was obvious from the beginning

that the tapes would be mono. Someof the records were originally stereo,and many of the reissues had beenreprocessed in pseudo -stereo, butmost of the cuts were mono, so thatseemed the best way to go. Monoalso had one technical advantage.The physical effects of record wear,as well as of accumulated dirt andscratches, tend to be random interms of phase, so bridging the sys-tem to mono removed a surprisingamount of the garbage interferingwith the sound by canceling out -of -phase material.

I elected to do the bridging right

at the cartridge output, on the theo-ry that the earlier it was done in thesignal chain, the less chance therewould be of tiny phase shifts lettingunwanted noise through. Whetherthis actually made any difference Idon't know. It was convenient forme, but the same results could prob-ably have been achieved by a pair ofback-to-back Y -connectors at eitherthe phono input of the preamplifieror the line inputs of the tape deck.

I next concluded that while few ofmy old discs had much in the way ofhigh -frequency musical content, theworst effects of wear and dirt werein the high -frequency portion of thespectrum. Therefore, I decided tochop the frequency response ratherseverely above about 5,000 Hz.With a slight increase in treble up tothat point, to restore an apparentbrightness, the effect was marvel-ous. The easiest way to accomplishit would have been with a graphicequalizer, but I did not have oneimmediately at hand, so I used asmall filter unit that provided a verysharp low-pass cutoff with a vari-able turnover frequency (it ex-tended down to 5,000 Hz, and that'swhere I left it most of the time).

Experience also showed me thatgradual tone correction was a goodidea in order to match the characterof one song to the next. Althoughthis too could be done with anequalizer, it would require quite abit of restraint not to overdo things.Instead, I simply placed a secondconventional preamplifier in thecircuit and used its tone controls.An extra wrinkle was the inclusionof an old Phase Linear Autocorrela-tor for tidying up the noisiest of thediscs. I didn't use it often, but it washandy on a few occasions. The Au-tocorrelator, the filter unit, and theextra preamp were wired in seriesbetween the tape -monitor output ofthe master preamp and the tape -recorder input.

One technique I experimentedwith turned out not to be a goodidea. In the beginning, I reasonedthat the styli that had ruined therecords in the first place should beduplicated as closely as possible inmaking the tape, because the sizeand shape of the groove deforma-tions would match an older car-tridge better than a modern one. But


I found that the old cartridge I triedsimply made things worse, while thenewer models seemed to have moreability to track the worn grooves. Ielected to use a very good moderncartridge, but one that could stand afairly high tracking force, since thisseemed to help the sound a bit.

Step 3: Preparing to RecordOnce the system was set up and

seemed likely to give reasonablesonic results, I found that somerehearsal was necessary to get thesongs on tape as smoothly as possi-ble. This involved determining howlong the turntable took to get up tospeed and matching that with theoperating vagaries of the tape re-corder so that a reasonably accuratecue could be achieved. I can back -cue my turntable, but it takes a cou-ple of seconds to get up to speed, soI had to practice a while before I wasable to roll the tape at just the rightmoment.

The simplest way to go about the

ME111111.1111111MININN/11111111111\11\1111

MMIII11\111110

,+°,a,4"447,elmmwtransition from one song to the nextis to use the deck's pause control:stop the tape at the earliest possiblemoment after the previous record,restart the turntable, and then rollthe tape just before the music be-gins. While this method works fine,for my taste it leaves a bit too muchof a gap between songs. If you'reusing a three -head recorder andpunch -in recording is possible, roll-ing the new record just before theprevious song ends and then punch-ing in the record function just be-fore the new song starts can give avery nice, clean transition. Butyou'll have to practice quite a bit toknow exactly when to roll the rec-(Continued on page 132)

WHE\ ALL ELSE FAILS...

0110

[IRKING in everyone's recordcollection is at least one discthat no amount of processingwill make listenable but that

happens to be indispensable for a tapedub of favorite oldies. You may find itworthwhile to buy a new copy, or bor-row one in better condition, but thatmay be impossible. Before you write itoff completely, however, you can try afew more drastic measures that may letyou squeeze out another play or two-enough to tape it for further processing.

Severe warps. There are severaltricks to compensate for warps. De-pending on the nature of the warp, oneor a combination of these may workfor you.

A central weight or clamp may flat-ten the disc just enough to make itplay. If the clamp is in contact with thedisc at only a few points, try differentpositions to find the most effective one.You might also try propping up theside of the record opposite the warp byputting a few pieces of paper under it;this may even out the surface enoughfor the arm to handle it. Some warpscan be corrected temporarily by usinga few short strips of tape to secure theedges of the record to the platter(again, try different locations).

If you can lay your hands on an oldrecord player with the 16 -rpm speed(offered on a number of models in theSixties), and if you have an open -reelrecorder with more than one speed, youmight try running both the player andthe recorder at half speed. The armmay find it easier to track the warp atthe slower speed.

Finally, you may want to try un-warping the record. The classic methodis to place the disc between two sheetsof glass (they have to be larger than therecord), placing a weight on top, andthen gently heating the whole works inan oven. Start at the lowest possibletemperature (preferably about 1107),then gradually raise the temperatureover a period of time until you can seethe record starting to flatten; then holdit at that temperature until it looksplayable. Because this method of lat-tening out a warp can also deform therecord grooves, I recommend it only asa last resort, and only to the point

where the record will play. Don't shootfor absolute flatness.

Clicks, pops, and skips. Randomclicks may be caused by dirt and willusually yield to a thorough cleaning.Recurring clicks, however, the kind youhear once per revolution of the record,are caused by scratches. The best solu-tion for such noises is to get an elec-tronic "click and pop suppressor."These are less common today than a

few years ago, but one is still availablefrom SAE.

If a scratch causes the stylus to skipto the next groove, increasing thetracking force will sometimes correctthe problem. Or you can try restoringthe groove by using the tip of a sewingneedle and a powerful magnifyingglass: this won't get rid of the pop, butit may correct the skipping. If you havea spare cartridge with a stylus youdon't mind abusing, another method isto crank the tracking force up to sev-eral grams and then back -cue over theoffending part of the groove severaltimes. Again, that section of the recordwill still be noisy, but it may not skip.If your problem is caused by a crackrather than a scratch, you may still beable to play the record if you very care-fully align the two sides of the crack.But make sure that the stylus alwaystracks from the high side to the lowerside, not the reverse, or you may tear itout of its moorings.

Filth. If a record is truly dirty, suchas one of mine that emerged fromyears in the basement covered withgreen fuzz, repeated applications of arecord -cleaning fluid might fix it. Ifnot, try to find a local record store,record library, or even radio stationthat has a heavy-duty cleaning ma-chine (the Keith Monks unit is the best-known); you may be able to cajolethem, or pay them, to let you use it. Asa last resort, try washing the record inlukewarm water and dishwashing de-tergent (not dishwashing -machine de-tergent), rinse it completely, and dry itvery carefully by laying it on a lint -freecloth on a flat surface. This methodmay be bad for the record in the longrun, but it will probably allow you afew relatively quiet plays for taping.


joaid-ronvil!!! s! ipllop otrip -1P,111

smogs Emptier!!! papa! *!ffigni- 4Z!Jd

SIU auois*Aq

AI`

r HOMAS BRIGGLE, of Akron, Ohio,scribes his stereo installation as a "no -frills" system. The winner of STEREOREVIEW'S Rodrigues Cartoon Caption

Contest, Briggle is a long-time reader of themagazine, and most of his audio purchaseshave been made on the basis of our equipmenttest reports. He says Julian Hirsch represents"a voice of reason in a marketplace of bewil-dering choices."

A computer systems programmer, Briggleworks at a hospital on a medium-sized IBMmainframe. "My educational background is X-ray physics," he writes, "but my first love ismusic. It was sparked by a friend who told methere was a difference between mono and ster-eo records. I was so skeptical I bought a ce-ramic cartridge for $10 and routed the two sig-

speakers strapped to my head. Iwas stunned by the soundstage and have beenentranced ever since."

While still in school he built speaker systemsthat were his own modifica-tion of Paul Klipsch's folded -corner horn design. Later hereplaced those with Altec-Lansing Voice of the Theatersystems. Although his wife waspatient with 24 -cubic -footspeakers in a small livingroom, out of deference to herhe decided to go to bookshelfmodels.

After reading the April 1982Hirsch -Houck Labs test reporton Boston Acoustics A-40speakers, he auditioned themin a local audio store andbought them. A year later hetraded up to his present speak-ers, Boston Acoustics A -70's."They better satisfied mydeep -bass addiction," he says,"while retaining the excep-tional smoothness and disper-sion of the A -40's."

The heart of his system is aYamaha R-50 receiver (re-viewed in these pages in De-

cember 1983). "It appeared to be such a bar-gain," Briggle says, "that I immediately audi-tioned it and bought it. I have not been disap-pointed. My positive experience with the R-50receiver led me to choose a Yamaha P-220turntable.

"The review of the Shure V-15 Type V -MRcartridge was so laudatory that I bought onewithout listening first. My trust was not mis-placed-I haven't heard a better cartridge atany price. It really does track anything!"

Briggle's current tape deck is a NakamichiB X-1, which he bought after an A/B listeningtest comparing the source with the recording. Ithas convinced him that Nakamichi's reputa-tion for quality is well deserved.

The installation is housed in a plain cabinetBriggle built himself. Modest about his skillsas a carpenter, he says, "I built it simply be-cause I was tired of looking at wires."

The cost of Briggle's equipment-receiver,$335; speakers, $270; turntable, $130; car-

tridge, $138; tape deck,$300-adds up to $1,173,which he says is about thesame as the cost of a fairlysimilar component system heput together in 1973. "Butthere is no comparison in per-formance," he adds. "It seemsthe audio dollar has been un-touched by inflation."

Like most audiophiles, Brig-gle continues to expand hisequipment and trade up. Hesays there is a pair of Klip-schorns in his future. He haswatched the rapid maturationof Compact Disc players withinterest. Just at press time hedecided to take the plunge andapply his prize money fromthe Rodrigues contest towardthe purchase of an EmersonCD player he saw advertisedin our September issue. Theunit only cost $178, but Brig-gle says, "It sounds like a mil-lion dollars!"


Special Test Report

POLK SDISESaudio

theirreproduction,pursuit

of realityengineersin

have gone off in a 'variety ofdirections. Over the years, some

have concentrated on further reduc-tion of known (or newly discovered)distortions as a means of providingthe breakthrough to higher fidelity.Others have dedicated their effortsto dynamic -range extension, or pre-cise control of driver dispersion, orpsychoacoustic manipulation of thestereo signal, as the key to realisticreproduction. Among those inter-ested in psychoacoustics as a path togreater realism are both amplifierand speaker designers. MatthewPolk of Polk Audio is very promi-nent in the speaker group.

The new "no -compromise" flag-ship Polk speaker system, the SDA-SRS ($2,600 a pair), represents afurther refinement of the design ap-proach first used in the Polk SDA-1,which we tested in December 1982."SDA" stands for Stereo Dimen-sion Array, which is a system ofusing a second set of drivers in eachspeaker to cancel the interauralcrosstalk produced by the maindrivers in the opposite speaker (seebox on pages 88-89). We found theSDA-1 to be a very fine speaker inall respects, and it was followed acouple of years later by the slightlysmaller SDA-2 and then the book-shelf -sized SDA-CRS.

The SDA-SRS-for SignatureReference System-refines the ba-sic SDA approach in several ways.For example, since it is neither nec-essary nor possible to obtain com-plete cancellation of interauralcrosstalk, in the SDA-SRS the di-mension arrays handle only the fre-quency range between 200 and1,000 Hz; the earlier SDA systemsuse full -range dimension arrays. Ac-cording to Polk, the 200- to 1,000 -Hz band is able to provide some 95percent of the desired acousticalcorrection, and it has the logicalappeal of encompassing the range ofvocal fundamental frequencies aswell as acoustic wavelengths com-

86 S 'TRIO REVIEW NOVEMBER 1985

The Signature Reference

System, Polk's

no -compromise flagship

loudspeaker, offers new

refinements on the Stereo

Dimension Array design

byJulian Hirsch

parable to the dimensions of a hu-man head.

The basic configuration of eachSDA-SRS speaker system consistsof four vertically aligned 6I/2 -inchpolymer -cone drivers for the bassand midrange portion of the mainstereo array and a second row ofidentical drivers about a foot awayfor the dimension array. At frequen-cies below about 200 Hz all eightdrivers act together, and their out -

The sophisticated crossover network in the

Polk SDA-SRS is larger and more

complex than some separate components.

put is augmented below about 100Hz by a nominally 15 -inch passiveradiator. Between the two rows of61/2 -inch drivers is a single verticalgroup of four 1 -inch polyamide-dome tweeters that operate above1,000 Hz.

Since the SDA system's crosstalk -cancellation effect depends rathercritically on precise timing of thesignals arriving at the listening posi-tion, the driver configuration in theSDA-SRS is phase compensatedthrough both the crossover networkand the front -panel mounting of thedrivers. The result is to angle eachspeaker's effective axis of radiationabout 20 degrees inward toward thelistener.

4c

nother factor critical forsuccessful operation of the

interaural correction pro-, ess is preventing room re-

flections in the 200- to 1,000 -Hzrange from reaching the listener'sears within the first 5 millisecondsof a direct signal's arrival. Becausesound travels about 51/2 feet in 5milliseconds, placing the speakers atleast 51/2 feet away from the sidewalls eliminates a possible source oftrouble. A different solution is re-quired, however, to deal with reflec-tions from the floor and ceiling.

The combined group of main and"dimensional" driver arrays in theSDA-SRS is about 30 inches highand is centered about 4 feet fromthe floor, midway between the floorand ceiling of a typical room. In thefrequency range from 200 to 1,000Hz, these drivers act in many re-spects as a uniformly driven linesource with limited vertical disper-sion, thus minimizing any interfer-ing reflections from the floor andceiling.

A line source, however, becomesincreasingly directional as the fre-quency increases, so the array ofhigh -frequency drivers requiredsome special attention. If the fourtweeters were driven in phase withidentical signals, they would havean undesirably narrow vertical po-

0

lar pattern at high frequencies.What the system needed was a ver-tical tweeter radiation pattern thatexcluded output toward the ceilingand floor but had a constant direc-tivity over the useful frequencyrange.

This was accomplished by operat-ing the tweeters as a "progressivepoint source." At the lower end ofthe tweeter range, from 1,000 to2,000 Hz, all four tweeters operatetogether. Above 2,000 Hz, the effec-tive length of the tweeter array isprogressively reduced by rolling offthe signal to individual drivers un-til, at the highest frequencies, onlyone tweeter is operating. As a result,the total acoustic output of the four -tweeter array that reaches the listen-ers' ears is equal to the output of asingle tweeter covering the sameoverall frequency range.

Putting Out the BassThe use of relatively small cone

drivers (with larger passive radia-tors) as bass and midrange repro-ducers is typical of Polk speakerdesigns. It has numerous advan-tages, since the smaller cone diame-ter allows the active drivers toreproduce midrange frequenciesthat would be beyond the ability oflarger cones, yet ample lower basscan be produced by a passive radia-tor that is much less expensive thana conventional 15 -inch driver.

In the SDA-SRS, the multidriverwoofer array and the single largepassive radiator-a rigid disc with anominal 15 -inch diameter and anactual moving -surface diameter ofabout 13 inches-provide an excep-tional low -bass capability. The totalarea of the eight 61/2 -inch driversand the passive radiator is equiva-lent to that of a 20 -inch -diametercone, which is impressive enough initself. Moreover, the proximity of anumber of drivers in a single systemresults in mutual acoustic couplingthat further enlarges the effectivediameter-according to Polk, eachSDA-SRS system has the bass radia-tion of a 40 -inch woofer!

As might be expected, the PolkSDA-SRS is a large, heavy, andexpensive speaker system. Eachcabinet is 633/4 inches high, 21inches wide, and 13 inches deep andweighs about 150 pounds. The topand side trim panels are wood, in achoice of oak or walnut finish, andthe front is covered by a single blackcloth grille. Behind the grille justabove the passive radiator is a black

metal panel as large as the front of arather powerful amplifier. Behind itis the elaborate Polk Isophase cross-over network.

In the rear of the cabinet are fourbinding posts spaced to accept dualbanana plugs and joined in pairs byheavy metal links. These provideseparate access to the high- and low -frequency sections of the system,allowing biamplified operationwithout using a separate electroniccrossover. Each speaker enclosurehas a socket for the cable that con-nects them so that their dimensionarrays can be driven with the appro-priate signals from the oppositespeaker. This connection betweenthe speakers requires that the driv-ing amplifier be able to operate witha common ground between eachchannel's speaker -output terminals.Most amplifiers meet that require-ment, but there are enough excep-tions, including several popularmodels, that caution is indicated.

A Sense of SpaceExtensive listening to the Polk

SDA-SRS with a wide variety ofprogram material led us to formseparate judgments on its two keycharacteristics: the SDA spatial ef-fects and its basic performance as aloudspeaker system.

The SDA system works essential-ly as claimed. Like its electroniccounterparts, it is highly dependenton the program material for itseffect. For example, mono pro-grams are not spatially enhanced inany way by the SDA; the soundcomes from midway between thespeakers, just as it should. Stereoprograms with strong channelblending fill the space bounded bythe speakers, occasionally extendingbeyond those limits. But with highlyseparated material having little cor-relation between the two channels,the effect can be quite spectacular.On occasion we heard the sound toour sides, a full 90 degrees awayfrom the speakers.

With most of the material weauditioned from LP, CD, cassette,and FM sources, the results werevery pleasing. Despite having only a5 -foot separation (in the recom-mended placement in our listeningroom), the two speakers almost al-ways filled the 15 -foot room widthwith a well-defined sound stage thatwas readily apparent from most lis-tening locations. Only when we lis-tened from a point outside the rec-tangle defined by the speakers and

(irr.

!) ri D1;\ 1

n general, sounds arrivingfrom any direction other than

straight ahead (or behind) reachour two ears at slightly different

times. This interaural time delay isone of the ways in which we determinethe direction of a sound source. Whenwe listen to a typical pair of stereospeakers, however, our ears receive ad-ditional signals that interfere with ourability to localize the reproduced soundsource. This effect, shown in Figure 1,is called interaural crosstalk, and it islargely responsible for the usual restric-tion of the stereo sound stage to the re-gion between the speakers and for thelistener's awareness that the sound ori-ginates from two speakers rather thana "real" source.

Although there are electronic tech-niques to compensate for interauralcrosstalk, Polk uses a purely acousticapproach called Stereo Dimension Ar-ray (SDA). Polk's SDA series speakersystems have a second set of drivers,the "dimension array," in each enclo-sure, positioned to the outside of theregular stereo drivers (the drivers usedin both the stereo and dimension ar-rays are vertically aligned).

In the original Polk SDA-1, the twoarrays were spaced apart by approxi-mately the distance between a person'sears; in later versions this distance hasbeen increased slightly. In theory, thecrosstalk signal reaching the right earfrom the left -channel speaker, and viceversa, could be canceled by a similarsignal from the opposite speaker if itwere suitably delayed and reversed inpolarity, as in Figure 2. In practice,with the earlier SDA systems the can-cellation is most effective over a lim-ited area, along a line midway betweenthe two speakers. Nevertheless, there isan increased sense of spaciousnessthroughout most of a listening roomand an extension of the sound stagebeyond the left and right limits definedby the speaker cabinets.

The SDA-SRS refines the earlier de-sign in several ways. One is illustratedin Figure 3, which shows how recessingthe main bass/midrange drivers rela-tive to the tweeters shifts the speaker'seffective axis.

the length of the room did the soundnarrow down to the usual "betweenthe speakers" distribution.

Balance and ImpactAs good as the SDA feature is, we

were even more impressed by theoverall quality of the Polk SDA-SRS as a speaker system. The soundis superbly balanced and totally ef-


LEFT CHANNEL

DELAYEDCROSSTALKSIGNALS

DIMENSION STEREOARRAY ARRAY

RIGHT CHANNEL

STEREO DIMENSIONARRAY ARRAY

STEREO ARRAY

DIMENSION BASS/BASS77.7ARRAY MIDRANGE COMMON

ACOUSTICTWEETERS PLANE

PHYSICALAXIS OFSYSTEM --'

.+---EFFECTIVEAXIS OF

RADIATION

Figure I: Interaural crosstalk with aconventional speaker system. In addi-tion to the desired arrival of the left -and right -channel signals at the corre-sponding ears of the listener, each earalso receives a signal from the oppositechannel, but delayed by the time re-quired for the sound to travel the addi-tional distance D to the opposite ear. Ifonly the two "original" signals fromeach channel were heard, the listenerwould be able to localize the repro-duced sound source more preciselyfrom the arrival times and levels of thetwo signals. The crosstalk from the de-layed signals reaching the "wrong"ears reduces this localization ability.

Figure 2: Stereo Dimension Array inPolk s SDA speaker systems. The "di-mension array" drivers in the leftspeaker produce a right -channel signalwith reversed polarity that arrives atthe left ear with the correct timing tocancel mcst of the interaural crosstalkfrom the right speaker, and vice versafor the dimension array in the rightsystem.

Figure .3. Phase compensation in theSD -4 -SRS system. The bass/midrangedrivers are recessed relative to thetweeters so that their common acousticplane, and thus the effective axis of ra-diation, is shifted by an angle of 20 de-grees toward the listener. As a result,the distances from each set of stereo -ar-ray drivers to the listener's appropriateear are equal, allowing the bass/mid-range and tweeter signals to arrive atthe same time and in correct phase foraccurate reproduction of the originalwaveform.

S l'ERW REVIEW NOVEMBER 1985 89

TIES

)olk recommends that the SDA-SRS speakers be placed asclose to the back wall as possi-

ble and at least 5 feet from theside walls. In our room, we were ableto get them only about a foot from theback wall and 30 to 4 feet from theside walls, which placed the cabinetsabout 5 fret apart (center to center).This separation is somewhat less thanone might normally prefer when listen-ing from distances of 10 to 15 feet, but,as we soon discovered, the SRS thriveson such less -than -optimum conditions.

For all our measurements we droveone speaker at a time, removing theamplifier connections from the otherbut keeping the cable between themconnected at all times. The averagedroom response from the two speakers,measured singly, was notably free oflarge fluctuations from 100 to 20,000Hz. The output rose slightly above10,000 Hz and below 500 Hz, givingthe curve a somewhat "swaybacked"appearance that represented what wasactually a slight lower -midrange em-phasis according to our ears and othermeasurements.

Normally we measure the bass re-sponse of a system with close micro-phone spacing, separately for the driv-en and passive radiators (or ports).This procedure was not easy to carryout in an unambiguous manner for theSRS because of its multiple drivers. Itwas evident that measuring the output

The composite frequencyresponse was exceptional nomatter how you look at it.

of an individual cone would not resultin a meaningful curve, but the passive -radiator response was strong enough todominate the bass output up to about100 Hz, where it could be spliced to theroom -response curve. The resultingcomposite curve is probably at least asvalid as our usual composite responsemeasurements, and it was perfectlyconsistent with what we heard from thespeakers.

The composite frequency responsewas flat within ±4.5 dB from 20 to20,000 Hz, exceptional performance nomatter how you look at it. The systemimpedance was between 5 and 6 ohmsbetween 70 and 200 Hz, rising to 13ohms at 53 Hz and dropping to slight-ly below 5 ohms at 20 Hz. Above 200Hz it rose to 19 ohms at 1,000 Hz,rolled off to 4 ohms at 3,000 Hz, andstayed between 5 and 6 ohms fromthere out to 20,000 Hz. According to

Polk, the actual impedance of the SDA-SRS varies dynamically with the pro-gram content and is also somewhatlower when both speakers are drivenbecause of their dynamic interaction.The speaker sensitivity was as rated,91 dB sound -pressure level at 1 meterwhen it was driven with 2.83 volts ofrandom noise in an octave band cen-tered at 1,000 Hz.

We have never measured alow -bass distortion level aslow as that of the SDA-SRS.

The results of our bass -distortionmeasurements were both expected andsurprising. Expected, because the hugebass radiating surface should generatevery little distortion since only a smallcone displacement is required for a giv-en output. Surprising, because we havenever measured a low -bass distortionlevel as low as that of the SDA-SRS. Ata constant 2.5 -volt input (correspond-ing to a 90 -dB midrange output level),the distortion from the passive radiatorwas about 0.18 percent at 100 Hz anda constant 0.7 percent from 70 to 20Hz except for a sudden rise to 2 per-cent at 30 Hz. Since the distortion re-turned to 0.7 percent at lower frequen-cies, we believe that this "distortion"peak simply reflected hum picked upby the system. To confirm the readingsof our H -P distortion analyzer, we veri-fied them on the spectrum analyzer.The distortion was essentially all sec-ond -harmonic.

With the aid of our IQS FFT ana-lyzer, we were able to expand and es-sentially confirm our base of measure-ments on this system. Measured at 2meters on the speaker's central acousticaxis, the response was ± 4.5 dB from180 to 18,000 Hz. The horizontal dis-persion was good, with the output 45degrees off axis decreasing above10,000 Hz but down only about 8 or 9dB at 15,000 Hz.

The phase compensation of the sys-tem was exceptional, with the groupdelay being constant within ± 0.1 mil-lisecond from 2,000 to 20,000 Hz.Most speakers show a much greatergroup -delay variation at lower frequen-cies, but in the SRS it rose only to 0.4millisecond at 360 Hz and to 2 milli-seconds at 180 Hz. Finally, since theIQS analyzer can measure down tolower frequencies than our regular re-sponse -plotting equipment, we foundthat the passive -radiator response var-ied a total of only 7 dB between 12 and90 Hz. Polk calls the passive radiator a"sub -bass driver"-with good reason!

fortless. It might be possible toexplain the large scale of the soundfrom the SRS system psychological-ly-these are huge speakers, andthey sound as imposing as theylook. It seems more probable, how-ever, that the SDA feature had moreto do with the unusually open andintegrated sound quality. Thespeakers are very attractively styled,and in spite of their size, their phys-ical presence faded into insignifi-cance as we listened to them.

One of the most serendipitous as-pects of living with the Polk SDA-SRS was the rediscovery of the low -bass content in many programs. Weseldom encounter speakers with re-sponse below the audible range. It isquite an experience! Furthermore,with the SDA-SRS it is not neces-sary to play the music loud to enjoythe tactile qualities of deep bass. Itcomes through the floor and theskin even at background -music lev-els, yet the SDA-SRS has less artifi-cial heaviness in the 100- to 200 -Hzrange than most smaller speakers.

Not surprisingly in view of itslarge driver complement and ratedpower -handling capability of 1,000watts or more, the Polk SDA-SRSthrives on power levels that wouldvaporize some lesser designs. Weran out of power from our amplifier(one of the most powerful availablefor home use) when we attempted toreach the speaker's limits with 1 -

cycle tone bursts. At 100 Hz theamplifier clipped at 1,650 watts into6 ohms, and at 1,000 Hz it clippedat 765 watts into 20 ohms. Only at10,000 Hz, where presumably onlyone driver was in use, did we reachthe limits of the speaker and theamplifier at about the same time -1,265 watts into 5 ohms.

Almost any amplifier can drivethe SRS to the highest listening lev-els most people would want since itssensitivity is higher than that ofmost other contemporary high -quality speakers. However, be sureyour amplifier can drive low loadimpedances comfortably-at least 4ohms and preferably 2 ohms. Forexample, we tried out the speakerswith one receiver, rated over 100watts per channel, whose protectiverelays shut it down at levels wewould not consider excessive. Toget the most out of the Polk SDA-SRS speakers, we would recom-mend using an amplifier capable ofdelivering at least 200 watts perchannel into 4 -ohm loads. With thatkind of reserve power you'll be able,at least once in a while, to "openup" the system and enjoy!

90 STEREO REvww NOVEMBER 1985

DESIGNED To BE THE C

ENSEN

,t

COMPACT DISC

141/7 7,,,,,,010'°`

110 `''-1477

,5o,_, vs,A

wITAL"' , ,....

NEWINSEN CLASSIC TRIAX SPEAKER SYSTEMThe technological evolution in sound con-tinues We invented the first car speakermore than 50 years ago and then we in-vented the legendary 11-iaxR car stereospeaker system. Now we have designedthe state-of-the-art car stereo speaker fortoday's music requirements. The newJensen Classic Triax car stereo speakersystem.DESIGNED FOR PERFORMANCEEach speaker handles 150 sizzling watts ofpeak power with a torrie 80 watts RMS.Des:gned for use with today'scar stereo components and thenew high definition digitalrecordings. Yet so efficient,you get plenty of volume outof a standard car radio.

DESIGNED FOR REALISMThe 40-25,000 Hz frequency responsemeans mull hear all the ISiC. The newunitized array and tuned pad ring improveresponse so you get all the dynamic rangein todaw's music. The bass is more clearthan eter before and the new midrangeand tweeter allow a smootier blendingof music than you've ewer experienced.DESIGNED FOR ENDURANCEA classic stands the test of time. Sowhether you invest in the most advanced

audio components or explore thedigital world of c3mpact disc,Classic Triax will handle it withunparalleled fide.ity- today,tomorrow, and years from now.DESIGNED FOR SMILESEmotion should never be under-

-3EINISO

estirated. And youll smile every time youlister. TI -is sound is :hat good. In the finalanalysis, year sound system is only asgood as your speake-s. If your speakersearl play it all, you won't hear it all. Sodon't buy backwards. Speakers first-and1-egin with a Classic!

1111.111

JENSENWhen you want it all.

1935 International lonsvn. Inc.frnSell. and Thai(' are registered trademarks 01 International Jensen. In,

=or Dealer Nearest You Call TOLL -FREE 800-633-2252 Ext. 833 CIRZLE NO 24 ON READER SERVICE CARD

77te SWtaitd Sot atdo

YOU CANS E AND HEARWhen you're this good, you put your warranties

where your mouth is. That's why, overall,Hitachi probably has the finest limited warranty

protection ever offered in home electronicsproducts. Products that perform so well, youmay never get a chance to see how good our

warranties really are.

AM On

(0) HITACHIA World Leader in Technology

NEW COMPACT DIGITAL AUDIO DISC PLAYEROnly Hitachi, a world leader in advanced audio technology, offersLaser Life -a two year limited parts warranty for long termprotection. Yours with the DA -600. With a three -spot laser pick-upservo system: wireless remote control that reads, selects,repeats. skips and scans; memory programming for up to 15selections: slim -line, front load design.

NEW 5 + 2 HEAD HI-FI VCRWith Adjustomatic, a limited warranty superior to indus-

try standards, the exceptional VT -89A VCR fromHitachi has brought hi-fi technology to video sound.Sound finer than any turntable or conventional tape

deck...far superior to ordinary VCRs, it's sound you haveto see to believe. Five video heads, two audio heads,

cable ready, with a computer brain that guides youthrough every program function. Each step is displayed

on your TV screen.

ti

6,0

I

0

4.

1;:33CH 7.1

NEW SIGNAL TRACKER COMPONENT TVBacked by Hitact-is incomparable 10/2/1 limited war-

ranty, this state-of-the-art 20" diagonal flat square tubereceiverf monitor integrates all your home entertain-

ment functions. VCR, VideoDisc Player, stereo system,video games, horn e computer and total TV reception.

Enjoy more or -screen picture and less distortion.And only Hitachi I -as Signal Tracker control, our most

advanced color control system ever. With the handywireless remote control and wood cabinetry you get ease

of operation, creat sound and quality good looks.Simulated TV picture.

m L 11Is AMMEW=

401 W. Artesia Blvd., Compton, CA 90220. (213) 537-8383

ICIRCLE NO. 13 ON READER SERVICE CARD For Dealer Nearest You Call TOLL -FREE 800-633-2252 Ext. 832

BEST OF THE MONTH

Stereo Review's criticschoose the outstandingcurrent releases

IOHN ELIOTGARDINER'SEXCITING BACH

THE young English conductorJohn Eliot Gardiner has cer-tainly proved to be one oftoday's finest interpreters of

large-scale Baroque vocal works. Asdirector of the Monteverdi Choir

Emma Kirkby: genuine joy

and the English Baroque Soloists,he seems able to bring excitement toalmost anything, and his new Phil-ips recording of Bach's Magnificatand Cantata No. 51, "JauchzetGott," is no exception.

The performance of the Magnifi-cat is vibrant in every respect. Thesound of the early instruments issuperb, and their precise articula-tion and the controlled balance Gar-diner maintains bring immenseclarity to Bach's intricate orchestra-tion. The choral singing is as care-fully etched in its detail as theinstrumental playing is, so that thecombined forces blend into a clar-ion ensemble of the utmost bril-liance. And while the vocal soloistscan claim no great distinction, theyadapt themselves to Gardiner's

overall concept so perfectly thatthey become important links in achain of exciting musical events.

On side two soprano Emma Kirk-by, an exponent of Baroque vocalproduction and authentic perform-ance practice, delivers an exuberantperformance of the fiendishly diffi-cult cantata "Jauchzet Gott in allenLanden." She handily demonstratesthat the only way for a singer tomaintain equal footing with a trum-pet is by adjusting vocal timbre, notby forcing the voice to greater vol-ume. This approach lends an ease toher singing here that conveys genu-ine joy instead of the tortured laborthat mars so many performances ofthis work.

This is a wonderful album. Chalkone up for the authentic -perform-ance gang. Stoddard Lincoln

BACH: Magnificat (BWV 234); Canta-ta, "Jauchzet Gott in alien Landen"(BWV 51). Nancy Argenta, EmmaKirkby, Patrizia Kwella (sopranos);Charles Brett (alto); Anthony Rolfe -Johnson (tenor); David Thomas (bass).Monteverdi Choir; English Baroque So-loists, John Eliot Gardiner cond. PHIL-IPS 0 411 458-1 $10.98, © 411 458-4$10.98, © 411 458-2 no list price.

STYLE COUNCILSINGS FOR THEREVOLUTION

/MAGINE the Righteous Broth-ers, Stan Getz and Astrid Gil-berto, the Electric Flag, theJacques Loussier Trio, Ashford

and Simpson, the Guarneri Quartet,and the orchestra from 42nd Streetgetting together to jam for worldsocialism, and you have some ideaof the sprawling, riotous affair PaulWeller has masterminded with theStyle Council's new "International-ists." The second album from Well-er, former leader of the Jam, andMick Talbot of Dexy's MidnightRunners is funny, convincing, and,best of all, musical.

Weller has come up with a devas-tatingly subversive formula, settingvirulently anti -authority, anti -capi-talist lyrics to a variety of decidedlynonthreatening pop styles, fromsamba to Motown soul. All Gone

Away, for instance, cha-chas flitting-ly as it rails against monetarism, itsLatin beat and lilting Club Medflute solo a seductively cheery coun-terpoint to lyrics like, "Come take awalk upon these hills, and see howmonetarism kills." In Come to Mil-ton Keynes a chorus of Broadwaysaxophones and strings swings in-nocuously as Weller sings, "I mayslash my wrists tonight." One of myfavorites is The Stand Up Comic'sInstructions, which features a grizz-ly vocal by Lenny Henry as an ogreof a club owner giving last-minuteinstructions to a comedian: "Tellthe one about the queer."

There's a lot of great music here-fourteen songs' worth-from D. C.Lee's righteously soulful vocal onHomebreakers, a meditation onhow economic forces destroy thefamily, to Weller's call for violentrevolution on the out-and-out rock-er 4'alls Come Tumbling Down. Toarms! But first, let's listen to sideone again. Mark Peel

THE STYLE COUNCIL: Internation-alists. Paul Weller (vocals, guitar, syn-thesizers); Mick Talbot (keyboards, vo-cals); vocal and instrumental accom-paniment. Homebreakers; All GoneAway; Come to Milton Keynes; Interna-ticnalists; .4 Stone's Throw Away; TheStand Up Comic's Instructions; BoyWho Cried Wolf A Man of Great Prom-ise; Down in the Seine; The Lodgers;Luck; With E.erything to Lose; Shout tothe Top: Walls Come Tumbling Down.GEFFEN GHS 24061 $8.98, © M5G24061 $8.98.

Weller, Talbot: subversive pop


IFstOUCOULD HEAR

FOR CD 6 DIGITAL AUDIO MUSIC RECORDING

11111111! IEEE

MEMOREX cox IIMETAL TAPE FOR HIGH BIAS/ORO, SETTING

C)1985 Memtek Products

ItoU'D BUYMEAD.

Introduoing_The Memorex CDX II.'have GotTo Hear kb Believe It.

Without a doubt,the new Memorex*CDX II is in avery special class.

Considerthese points: The CDX II

is a metaltape that canbe recordedand played atthe high bias setting The CDX II comes extremely dose to

matching (see Graph I) the capability oftoday's most challenging sound source-the Compact Disc. The CDX II outperforms leading high

bias tapes hands down. Fact is, wecompared (see Graph II) the CDX II toTDK SA -X and Maxell XLII-S. The re-sult? When it comes to high energy re-cording, no one can match our levels.That's right. No one.

Graph II140.- CDX II has a hher frNuency response

than TDK SA -Rand Maxell XLII-S.

Graph ICDX II peak wordingalmost perfectly with tmusic on a Compact D

OhrWhat MakesThe Memorex CDX II

So Special?A bona fide breakthrough in metal

chemistry. The development of a superalloy. One which lets us turn iron, themost magnetic material there is, into asuper -small particle only 12 millionths ofan inch long.

This metal particle produces thehighest magnetic moment of any tapewe tested. Nearl twice as high as anyconventonal hi bias tape-even

higher pure metal, untilnow the industry champ (seeGraph R. To you, that trans-

lates into more head room.Which means you can accur-

ately reproduce even the mostsudden bursts of high energysound that comes with the

most demanding music sources.

tIGraph IIICDX II has the highestmagnetic moment.

ATape This Good DemandedA Superior Cassette.

So, we spent two years designing ournew five -screw cassette from the groundup. This precision -engineered systemassures that the CDX II works as greatas it sounds. In fact, we guarantee itfor life.

It Unfirnits Your limitations.The Memorex CDX 11 can record criti-

cally demanding music substantiallybetter than the best conventional high

Is trilvEOR Is IT

bias tapes. At critical high frequencies,Memorex CDX II can faithfully repro-

CDXUTDI( SA -XMina XL 1114

Graph IVCDX II can record at a .3-5 dBhigher input level thanMaxell XLII-S or TDK SA -Xwithout reaching saturation.

duce music without saturating at a 3-5dB higher input level (see Graph IV).

Now you can record at higher levelsto minimize hiss, and still capture theloud passages, the peaks, the crescen-dos-without distortion or loss of highnotes. In fact, you can almost capturethe fantastic imaging digital discs havebecome famous for. But you can do it ontape. And do it with ease. Loud andclear. All at the high bias setting.

The CDX IL`bull Find e- No Comparison.

We urge you to put loyalty aside andcompare CDX II to the tape you're soldon now. Or, to any other tape you thinkcan beat it. We're convinced you'll heara difference.

And now that you've heard whatwe've had to say in this ad, there's noreason you shouldn't buy our tape.

And when you do, you'll wish you'dlistened to us a long time ago.

'Comparison of CDX II performance versus CompactDisc containing high-energy electronic music.Data based on independent laboratory 10'tests and examinations.

BEST OF THE MONTH

DomrrsBARTOK:A CD SONICSPECTACULAR

I

AinAL DORATI will be eightyApril, and this season

rings an end to his activeassociation with the De-

troit Symphony Orchestra, withwhich he has continued to make

Dorati: no want of intensity

some very striking recordings evenafter stepping down as music direc-tor in 1981. The latest-but not thelast-issue from this source is insome respects, certainly sonically,the most impressive yet, and as val-uable an addition to the discogra-phy of Dorati's teacher Bea Bart&as to that of the orchestra hebrought to its highest level of pro-fessionalism.

On Compact Disc, Dorati's newLondon album of Bart6k's The Mi-raculous Mandarin and Music forStrings, Percussion, and Celesta ispossibly the most stunning record-ing of an orchestra I have ever comeacross. Surely the opening minutesof the Mandarin on this CD willreplace the various recordings ofAlso Sprach Zarathustra used so fre-

quently in audio salons to show offplayback equipment. It was a hear-ing of that Strauss work in 1902 thatmoved Bartok to get serious aboutcomposing, and in the first ninetyseconds of his ballet -pantomime,completed in 1924, he seems tohave matched the most dramaticmoments of both Zarathustra andEin Heldenleben in terms of orches-tral excitement. Later on there is anecho or two of The Rite of Spring aswell, but all of these resemblancesseem to melt into the totally Bar-tOkian blaze.

What Dorati has recorded here isnot the familiar concert suite, whichends about two-thirds of the waythrough the ballet, but the completescore, including the choral interjec-tions toward the end. The approachis a little more expansive than in theharder -driven performance he re-corded with the BBC Symphony Or-chestra for Mercury two decadesago, but there is no want of intensityhere. On LP the new recording isvery good; on CD it is unbelievablyvivid, with a low end that has to beheard to be believed.

The other work on the new disc isthe Music for Strings, Percussion,and Celesta, which Dorati has alsorecorded before. I didn't have hisearlier version for comparison, butthe new one is different from mostothers in stressing the geniality inthe music rather than its more de-monic, driving qualities. The ap-proach may be surprising for thisfamiliar work, but it is a convincingone, and the recording is also a rea-sonable first choice by virtue of thespectacular sound. On CD (again,the LP is not nearly as impressive)the sound is both rich enough to off-set the inherent dryness of some ofthe scoring and clean enough to pro-ject absolutely every detail as neverbefore.

In view of the exceptional soundquality of this extraordinary CD,which could in time account formore conversions to the new me-dium than anything else yet issued,Dorati and the orchestra shouldperhaps share honors with London/Decca's producer, James Mallinson,and the engineers, Colin Moorfootfor the Mandarin and Simon Eadonfor the Music for Strings, Percus-sion, and Celesta. Honors, in anyevent, are richly deserved. Best of

all is that in returning to such arecording again and again to enjoythe splendor of the sound, you findyourself drawn deeper into the mu-sic itself. Richard Freed

BARTOK: The Miraculous Mandarin,Op. 19; Music for Strings, Percussion,and Celesta. Kenneth Jewell Chorale (inMandarin); Detroit Symphony Orches-tra, Antal Dorati cond. LONDON 0 411894-1 $10.98, 411 894-4 $10.98,411 894-2 no list price.

SUNNY SOULSINGING BY THEWEATHER GIRLS

JrusT when it seems that blackpopular music is about tocollapse beneath the weightof musical clichés that cause

80 percent of all new releases tosound exactly the same, the Weath-er Girls have come along to rescuethe endangered tradition of soulsinging. Two buxom bundles of tal-ent with voices as imposing as theirbodies, Martha Wash and IzoraArmstead bring to pop the samefire, passion, and deep convictionthat were hallmarks of the gospelmusic they sang earlier in theircareers. The general public was in-troduced to the duo during the Sev-enties, when they were known asTwo Tons of Fun and sang back-upfor Sylvester. After striking out ontheir own, they changed their nameto the Weather Girls for their firstbig hit, It's Raining Men in 1982.

With their new album, "Big GirlsDon't Cry," Wash and Armsteadserve notice that they are not one-shot artists but have every intentionof carving out a lasting niche forthemselves.

Overall, the songs are a masterlyblending of Sixties rock-and-rolland rhythm-and-blues with a con-temporary flavor laid over it, espe-cially in terms of the crisp soundand superb production. The combi-nation is not surprising since the co -producers were Hank Medress, whoshaped hits for groups like the Chif-fons and the Tokens during popmusic's golden era, and Jeff Kent,who brought to the project a senseof instrumental excellence, an up -


Technics compact disc players.Technics compact disc players. And the digital compact

Together they' given you what no conventional audiosystem can: the perfection of musical reality

So with Technics, what you hear is not just a reproductionof a performance, but a re-creation of it.

But occasionally even the musical perfection of a compactdisc can be marred by fingerprints, Just or scratches. So theTechnics SL -P2 compact disc player has improvements like an

COMPACT advanced error correction system. designed to[EM comoensate for those imperfections. To help en5L.re

DIG TAL AUDIO that the sound you hear is still completely flawless.You also get sophisticated, convenient controls. Such as

15 -step random access programming so you can play anyselection. In any order. And all of the can be controlled fromacross the room with Technics wireless remote control.

The digital revolution continues at Technics. Perfectly.

TechnicsThe science of sound


BEST OF THE MONTH

to -date style, and technical facility.But the greatest credit for this won-derfully invigorating record belongsto the Weather Girls themselves,who belt out each and every note asthough their very lives depended onit-and do so with robust goodhumor.

Although Armstead has the morethickly resonant, grittier blues voiceand Wash a sweeter -textured one,they blend together as naturally ashamhocks and greens. Their inter-play results in hilarious effects onthe title track, which was a big hitfor Frankie Valli and the Four Sea-sons back in the era of ducktail hair-cuts and pegged jeans. The oldietakes on a totally new life as Izoragrowls out "Big girls .. ." and Mar-tha cuts in with a positively wild".. . they don't c-r-i-yi-yi" that sug-gests the tears might come simplyfrom laughing too hard.

Even the new songs have a by-gone cast to them, especially Well-a-Wiggy, a Jesse Winchester com-position that contains the phrase"hey-bobba-rebop," which I haven'theard in at least twenty years. Re-

Armstead and Wash: a blend as natural as

leased as the album's first single, ithas already become a hit video. Asimilar fate should be in store forLock Me Up, a "hallelujah" of a gos-pel romper, and John Fogerty'sDown on the Corner, set to Carib-bean rhythms.

Exceptional care was taken inevery phase of producing this al-bum. Even the background vocalsare noteworthy, and the spirited in-strumentals are highlighted by thework of L. Leon Pendarvis, whoperforms on acoustic piano and syn-thesizers. Above all, the WeatherGirls prove here that dance musiccan still be a joy to hear as well as tomove to. With them on hand, theforecast for this music may well besunny. Phyl Garland

THE WEATHER GIRLS: Big GirlsDon't Cry. The Weather Girls (vocals);vocal and instrumental accompani-ment. Lock Me Up; Big Girls Don't Cry;Well -a- Wiggy; No One Can Love YouMore Than Me; Down on the Corner;March; Laughter in the Rain; You CanDo It. COLUMBIA BFC 39980, © BFT39980, no list price.

hamhocks and greens

NOW ON CDCompact Discs ofprernously released LP's

POPULARO EARL THOMAS CONLEY: Don'tMake It Easy for Me. RCAPCDI-4713. "Uptempo countryrockers" (December 1983).

ELLA FITZGERALD: The Rodgersand Hart Songbook, Vols. I and 2.VERVE 821 579/80-2 (two separateCD's). More prime Ella.

O THE GRATEFUL DEAD: Fromthe Mars Hotel. MOBILE FIDELITYMFCD 830. "Seasoned, controlled,tasteful" (December 1974).

O WILLIE NELSON: SomewhereOver the Rainbow. COLUMBIA CK36883. "Country -swing standards" (July1981).

OKLAHOMA! The 1980Broadway -revival -cast recording. RCARCDI-3572. "Exhilarating" (June1980).

BOZ SCAGGS: Hits. COLUMBIACK 36841. Released on LP in 1980.

O JAMES TAYLOR: Dad Loves HisWork. COLUMBIA CK 36058."Idiomatic Americana" (August 1979).

O BILL WITHERS: Watching YouWatching Me. COLUMBIA CK 39887."Vintage" (September 1985).

CLASSICALO BARTOK: Concerto for Orchestra.Karajan. DG 415 322-2. "Impressive"(November 1966).

O HOIST: The Planets. Previn.ANGEL CDC -47I52. "Satisfying"(March 1975).

O MAHLER: Das Lied von der Erde.Ludwig, Wunderlich; Klemperer.ANGEL CDC -47231. "Eloquent" (May1967).

O MAHLER: Symphony No. 5.Levine. RCA RCDI-5453. "Strong,clear, long -lined" (March 1979).

O MOZART: Violin Concerto No. 4;other works. Zukerman. CBS MK37839. "Crisp and clean" (January1985).

O PUCCINI: Messa di Gloria.Scimone. ERATO ECD-88022. "Lovinglydirected, beautifully recorded" (May1984).

O R. STRAUSS. Salome. Nilsson;Solti. LONDON 414 414-2 (two CD's).An early -stereo classic.

O WAGNER: Die Meistersinger.Jochum. DG 415 278-2 (four CD's). "Adeeply felt performance" (March 1977).

MASTERWORKSON COMPACT Discs.

PURE GENIUS.

Now CBS Masterworks

enriches its standard of excellence with an unprecedented commitment toCompact Discs. And, only Masterworks has the range of artistry

to complement this state of the audio art.

Discover the difference in major new recordings from superstars likeWynton Marsalis, Yo -Yo Ma, Murray Perahia and Claudio Abbado.

Rediscover legendary recordings from such immortal artistsas Leonard Bernstein, Bruno Walter and George Szell ...the greatest moments

in recorded music, digitally remastered to give you the purest sound

possible from the original tape source. As our commitment continues further intoour unparalleled catalog, you'll experience your favorite

Masterworks performances with a new dimension of subtleties and nuancesunheard of on the original pressings.

CBS MASTERWORKS ON COMPACT DISCS.

THE ARTISTRY OF MASTERWORKS...THE TECHNOLOGY OF PERFECTION.

"CBS: -Maste are trademarks of CBS Inc 19135 CBS Inc

M

A

S

T

E

R

0R

K

S

CIRCLE NO S ON READER SERVICE CARD

The world's largest projection TV mea-sures 82 feet diagonally, is comprised of 27synchronized projectors and is built by NEC.Even if this screen is a trifle too big for yourliving room, it's comforting to know that NECbuilds much of the same technology into ourProjection TVs for the home.

Consider the NEC PJ-3700EN We cleverlyfit a giant 37" picture into a cabinet less than21" deep. Not only is the picture big, it's brightwith F 1.0 lenses. Sharp with high -resolutioncomb filters. Easy to see with a broad 130°viewing angle. And exciting to hear with stereoTV reception.

You see, building the world's biggestProjection TV is not enough for NEC We feelobligated to take this advanced technologyone step further. Into your home.

44.

- ' S _ S A %VD' . ,. agP IL 6000 -


fI

POPULAR MUSIC

Discs and tapes reviewed byChris AlbertsonPhyl GarlandAlanna NashMark PeelPeter ReillySteve Simels

AIR SUPPLY. Air Supply (vocals andinstrumentals); vocal and instrumentalaccompaniment. Just as I Am; I Can'tLet Go; The Power of Love; When theTime Is Right; Sunset; After All; NeverFade Away; and five others. ARISTAAL8-8283 $8.98, AC8-8283 $8.98.

Performance: Big as all outdoorsRecording: Good

Apparently, nobody ever told Air Sup-ply that less is more. Lead vocalist Rus-sell Hitchcock sounds absolutely deter-mined to split a gut, and for my sake, Iwish he would. With its overblownarrangements, treacly lyrics, and super-charged emotion, Air Supply is trash,and not even high-class trash at that. Ifyou buy this album, you will die. A.N.

JOHN ANDERSON: Tokyo, Oklaho-ma. John Anderson (vocals, guitar, har-monica); vocal and instrumental ac-companiment. It's All Over Now; I'veGot Me a Woman; Down in Tennessee;Tokyo, Oklahoma; A Little RockRoll (And Some Country Blues); andfive others. WARNER BROS. 25211-1$8.98, 25211-4 $8.98.

Performance: EntertainingRecording: Good

Country singer John Anderson has sucha bizarre sense of humor that you halfexpect him to have walked out of a JohnIrving novel. On his new album, "To-kyo, Oklahoma," for example, we meet,in Paul Kennerley's I've Got Me aWoman, a couple who live with a mon-key and a Chinese acrobat, with the wifealternately speaking in tongues andplaying slide trombone. Then, in MackVickery's spunky title tune, we're intro-duced to a Japanese cowboy who livesin Oklahoma but finds he can't existwithout Miss Sueleen Poole, who livesin-where else?-Japan.

Anderson has unveiled a taste for theoff-the-wall before, and in the past hehas almost always come up with meat-ier songs than most of those found on

Ex PLANA PION OF SYMBOLS:

0 - DIG!' l'AL-M ASTFR ANALOG LP© = S IMF.° CASSVFrF0 = l'AL COMPACT DISC

= MONOPHONIC RECORDING

COCK ROBIN

From left, Louis Molina Anna LaCazio. Peter Kingsbery, Clive Wright

COCK ROBIN'S impressive debutalbum offers confident power -pop that's refreshingly free ofpretension. A rarity in this

genre, the group's songwriting is morefully developed than its "image." Anyof five songs here could hit the charts,including three hard -rocking numbers(Thought You Were on My Side, JustWhen You're Having Fun, and Bornwith Teeth) and two ballads (WhenYour Heart Is Weak and The PromiseYou Made).

Cock Robin is led by songwriter/bas-sist/vocalist Peter Kingsbery and vocal-ist Anna LaCazio, and one of the thingsthat makes their music so interesting isthe romantic variations Kingsbery andLaCazio play out between the groovesas they alternate lead vocals. OnThought You Were on My Side, the twoaccuse one another of betrayal. OnWhen Your Heart Is Weak, Kingsberyis a doggedly persistent suitor biding histime in the guise of a mere friend butready to strike when LaCazio is vulner-able-and you know it'll happen sooneror later. On Just When You're HavingFun, LaCazio voices the timeless com-plaint that love always seems to compli-cate your life when you least need orwant it.

Although Kingsbery has a tendency towrite passive -voiced, inverted sen-

tences, such as "Of your good inten-tions what has become," he's also capa-ble of powerful imagery-"I was bornwith teeth/ . . . Out the womb into anugly world I've been thrown." Thestrong vocals are complemented by thework of guitarist Clive Wright, whocommands a broad vocabulary. Youhave the feeling he could play foralmost anyone. His playing is sharp,incisive, and mixed out front to goodeffect by producer Steve Hillage, anaccomplished guitarist himself.

The chemistry between Kingsberyand LaCazio is a difficult balancing act,especially for a band that skirts hardrock as closely as Cock Robin. It canwork for a band like Katrina and theWaves, but it can also turn a potentiallysolid group like Missing Persons intotrashrock. Whether Cock Robin canavoid that pitfall, only time will tell. Fornow, they seem to be off to a goodstart. Mark Peel

COCK ROBIN. Cock Robin (vocalsand instrumentals). Thought You Wereon My Side; When Your Heart Is Weak;Just When You're Having Fun; ThePromise You Made; Because It KeepsOn Working; Born with Teeth; Once WeMight Have Known; More Than Will-ing; A Little Innocence. COLUMBIA BFC39582, 0 BFT 39582, no list price.


Auuyof t(sieoon) slowg *noR liAt aauffa 11!A1 I :smooaa NatIVM

'd -Aluaid mem àouosqe JeaA-any e logy -ipag teosS

s! lnq `tunclle learS e Lus! Aseu Azzm

-mot's e Isnrsolou JeynS pamel -sns 'Summit% am pile mum s.uennois

u! 13283 ay1 òllielsou ool omy e isnr 3.1g Won s.uennols pus wommedmoo -oe sAoag limimoddesm leymatuos s!

efpnaz; iaD aldoad vo uumais pox ywn uomnas s,ipag spAeid uo!ssas logos Aq pouumu a881s punos Al pantuoine ue

aom spunos ieym uo itiouodwoo vetting /quo am se 'no puels sip!' meszznq

-Atutmys wag '(aam yurnly Joj mom 11lm.133.1g3 punquow e poleuannros

seq oym) sountieH u8f Jouued uo!sty pu.uoj yllm do swum pail uaym

Smiceid Jo pup{ syp panianut rag Liam inq `s,ppi ualeH LIRA letti se neap s8 aq ton Amu SupoSug SUE.1313A

ota otuy Jo )13!u all u! lsnf op!se anionns letn saSseqo Suomeoq pue 'swim

SmAjap-meop 'num Supmeq-ops mot's 'guar tie ywn uoirt4 ueA 2!pp3

sualeH ueA-Ino Naosi 'pug ay; fp 11V sn slap u0 oupp Suritieyo e aNy Nome

qynn Autne tuay1 mom tam 'mu Su! -Jorms y1lm mom row pot{ of uoisy

isnf leaq Limy!' syoyoas tumAyi latioj pue `snoniquiv IsaStions

munqie ay1 uo sleoon news -pays smell /Wittig Inoqe 131nog Itiounmsu!

ayouppadAq `snonms s111looun of pas Joj osnoxo ue Isnr Anew s! qseu

'Jana Sg ppm se s! seynl snoposoj wag lnq `paitueyo

oneq Amu Sumas am mai( any u! =gm log wag up (3!11'M 13m Joqtuoillos

noA) gull Atutmf uono pue ùumols pog `13U1UIEH Ugf `331ddV 31ULUIE3 tilyn SmAvid vag jjOf S,0.1011 13A '1331

eg Inquy pue ssalpoN `ssamsnq ayi u! ssoonpaid Isouoy ay1 Jo onni yym

Supponn s.ay pue ùo!snj Jo pealsm mou ling Sump wag WI' 'awes am u!etual days glow ay1 àStietp amyl 3.10111 3111

poop :Su!Buo3as poop =ileum pad aapd Isy our 'E8q6E 13d

OO `£8176£ 34 Dug slatno inoj pue :ifs nlsag :rfpvay Ja0 agload :advosg :pug

ay; u; ;iv sn slap :snomquiv luotumed -LU033g IMUOLUTUISU! pue Ig30A t(SIL.30A `18I12) 13011 Bof 'qsvii :Naafi Liar

dYM Aliva u! SuminI aw pet' mei lnO SmAels s! aiam 1tm min.

aleoggns 01 aydsuoo uoyonposd Aqueo Aialeroqllop pue sluotualuesse asmew

-03 341 Ing seuully 01-14 Smscy loge appms pomtutuoo syym `puouj Isoq op° ue ams seemly anols

'aouelsu! soj 'rimy iivay uo pooS mat a ase osaqi, Aposed Supoous

31111 Suyounos In° sowoo Sumppi ale -uogoage aq 01 popuoity sem mina 'so!

Suppeio-asyn imm sopmoo Smium o!sntu quip uoqm oiel lnO SmAels

uo samoptu Aadotu 341 uem iouaq tioaq oney mom shoot' posmano Ino-tuonn 'pp =OS uong *aura e alum Imo wog auto our osneooq Ago!qp i,Supoq os aq

5861 MAMMON Ak31A3N WWI'S go I

08V3 33IAN3S i1301/311 NO LP 'ON 313N10 0178 .2x3 ZSZZ-E£9-008 331:H-1101 Ile° noA IsemeN Jaieea .10d

G99-17CZ. (V?) 01,Za Ni ellousoN

IIIH w13 caq

XO/V1.

mOve..la

X 0A3u

1440.0q01 ea ........10. _

xoploAir. :94!Lusuoi, ..

Aoep xonea JnoA p Aopcx euo

uowpne .gjg aui ul o!snw inpi

-noaq aonpoidai umoiq

iouo!ssapid puo supq Jossaooidoloiinj

l000 pwa, paio4u!puo

'uo!suaixa woolpoey .oici XH Aq100 '21NI

.p puo g Aqpg veil() osio gog atg Japlooai (Did Auo !

luewannbei

ioopo o - luawuoilo qinugo poem

espaid supuiow voipoeu bu!

d anbiun v (builoods ecloi apuog voiow Da onnt mum

suoisdoo

'ono amp SJOIOUJ page

-1p onni) .anpp adoi

JOIOUJ-1(101 puo s!ssouo

AollownuiLunio goo-ap old eui u! smogs eoopey aid sly]. sJpioo

-a/ t3upeoow olpnis

jouo!ssepid 0 Jaxot.0 Buipoal s,puom ay} puoi

-Jan Anon Jepn4s

wog sewoo gog aid 'UNkralq 914 Jo; moN

aiqlssodpins! pupf Auo p af3oLuop ado]. sdog au

-4)9f WOWS

pup peeds bopuitA luoisuoo

epooid 01 pelloiluoo

Jossaooidoiopi

aio siolow 5u!pods suoipun1

ino-apoiru!-apoi piopai puo goo!

apooloino !ono 'ialunoo acuu pasdole 1504es Ienel ocoei opal

oino buipnioul sainpai gl.eg Jaigo

asiniedns siosseooidalowsi

Woe) pogo Jo; pa:4s aq Up

suolpinuipi xis Pi sOulges ivaLuuff3ip eiaidwoo puo 'Pa snyi s!

aouounopad LunuAdo uo!Pzipnba puo lanai sop, Jo)

fselouenbeil

sei eeml lo) sluewisnfpo puoi p

aouanOes o sum gog i# puo

'uolinqo sseid eclol a4assoo Au0pesug Lue4sAs luatuut3p oipwoino

en!suueidwoo o SURA06

JOSS90040101Ui auo suias ow 'gm

X5oput.pa f3upooal al.tessoo

ui auogeow o S4PLU utnoaq puo suioA p pualq anbiun s!La suoil

-ouni icupoo puo uolidOloo poiwo

as!madns 01 ,suioiq Josseoaid

-clop eait.# snid .spopuois

pouossapid lows ol lnq. podsuoii poau

aait.41'.101.0iLl ;r10; 0 sou 11 '4090 a4asso0 col xonam Mau e.4 Jannsuv

6supq eamil puo-sp001.1

ealul `SJOIOUJ anon sou loum

-stypiq Jo no! àtueu maiS IsAoqnnoo ollemA Iseg) ida3uo31ear8-2! Joj Smol

SumAsona lob sjetn pueq e ueo mot; Jallan4p 'map limps000g

prawn/d :33UVULI0J-13d

.86.9$ LZO6E-D111 OO

`86.9$ LZ06£-SIII SIII s1omo my; pue :yaw :noA inowlm :a3ivisuir :auloH

noA :paroid Jad :310v11V uvaH :adolv s,ay,S :spuaw ;gni Isieoon 'ON

-op ìwynii) imnyos mg t(ssepnil `Sig3 -OA) seemly 3AMS :(S1830A 'sseq) 'meld ueu t(stunip) wogs() 331wi oapou Nag olnAt ale7lnp 8u1tu1S :03(10111V3g

7k1' V a!sniu Anunoo Amodulawoo u! spoon Simla

-uoytione Isom all Jo mos soj Sa/Mil `1! 0111! Jo prolsm 'wpm all SSO.OV

sittys pue prq Rind ay 3.1311M 'Ann!' -3p Sop -Suet' 'lamb syouppuy `sAennie se 'puy lop /a7 mom loog v uang

pue 0407 dnoA smug 01 (sanig mg Atiami Addeus ayJ pue imoN .iano 11V MI 1!t1 moms SumoN-putuoiyi

Aqqog ay1 Jo Suppomai guru e) soniq -Ailunoo pub q -v -s wag uo!ssailaid AI

-any e mogoj Imp sSuos gym '13A tunqie -omosydozmos j!--8unqvualua 'sow

spy s! sml òloyin oy1 uo ing 'dl s!yi

Cash (duet vocal); Wendy Waldman,Mac McAnally (background vocals);vocal and instrumental accompani-ment. Nobody's Angel; I Will Dancewith You; Have a Heart; The Last Time;The Last One to Know; and five others.WARNER BROS. 25277-1 $8.98,25277-4 $8.98.

Performance: Quiet desperationRecording: Very good

Karen Brooks is one of the best of theNew Country singers and writers, asevidenced by her work with Jerry JeffWalker and Rodney Crowell, her song -writing (picked up by Tracy Nelson andRosanne Cash), and her two previousWarner Bros. albums. Trouble is, herlast LP, "Hearts on Fire," was soimpressive that this one falls short incomparison. Aside from an unex-pected-and quite stirring-renditionof the Rolling Stones' The Last Time,there are few sparks here to ignite a sol-id, if somewhat stolid, group of songs.Even a duet with Johnny Cash (I WillDance with You) sounds tired and un-imaginative.

This isn't a bad album, by any means,and it's still better than 80 percent ofwhat comes out of Nashville. But it'snowhere near what Brooks is capable ofdoing. A . N.

JOHN CAFFERTY AND THE BEA-VER BROWN BAND: Tough All Over.John Cafferty (vocals, guitar); the Bea-ver Brown Band (vocals and instrumen-tals); other musicians. Voice of Ameri-ca's Sons; Tough All Over; C -I -T -Y;Where the Action Is; Dixieland; andfour others. Scorn BROTHERS FZ39405, © FZT 39405, no list price.

Performance: Springsteen reduxRecording: Fine

As an old Superman fan, I am loath tosay anything bad about an album dedi-cated to "Truth, Justice, and the Amer-ican Way." But let's face facts: the guyswho made this record are only onesmall cut above the level of one of thoseSpringsteen tribute bands you see onthe club circuit out in the boonies. JohnCafferty can't help that, of course (thevocal resemblance is probably an acci-dent of birth), and everything here doesseem reasonably felt. Still there's nodenying that you've heard it all be-fore-and probably too often.

Cafferty is not untalented, as his workon the Eddie and the Cruisers sound-track proved, but in that case his songsaspired only to recall a more innocentera, which they did rather well. Here,however, he's trying much too hard tomake big statements about Life RightNow in America. When he switchesgears for a love song, like More ThanJust One of the Boys, it comes as a gen-uine relief even if the Springsteen man-nerisms still grate. This is not anunpleasant album, and I'd probably en-joy seeing these guys in a bar in theboonies, but there's no escaping theessentially secondhand nature of thewhole business. S.S.

CHINA CRISIS: Flaunt the Imperfec-tion. China Crisis (vocals and instru-mentals); vocal and instrumental ac-companiment. The Highest High;Strength of Character; You Did Cut Me;Black Man Ray; Wall of God; TheWorld Spins, I'm Part of It; and fourothers. VIRGIN/WARNER BROS. 25296-1$8.98, 25296-4 $8.98.

Performance: Clone of the monthRecording: Good

How much does a record's produceraffect the final product? In the case ofChina Crisis, which is still trying to fig-

ure out what trend it should be riding, aproducer has enormous influence. Thegroup's first U.S. album, "Working withFire and Steel," was produced by MikeHowlett, who's worked with technopopbands like Flock of Seagulls. Its agi-tated, high-speed pop sounded like theCars might If Ric Ocasek took voice les-sons from David Byrne.

On "Flaunt the Imperfection," ChinaCrisis called in Walter Becker, and theprevious hyperventilated vocals andsnappy New Wave attacks have beenreplaced by loping, King -of -the -Worldrhythms and satiny arrangements. Even

AN OFFER THAT'S MUSIC To YOUR EARS

(((mobile fldelllYwound lab...,..,,,,,L,"

orrofon111111

DualOrtolon Inc.122 Durant S .. Plainview. NY 11811315161349-9180

TOLL -FREE 800-633-2252

Buy a Dual turntable with an Ortofoncartridge, and get up to 3 OriginalMaster Recordings' fromMobile Fidelity Sound Lab free!

Mobile Fidelity Sound Lab has earned a reputation forproducing some of the world's finest reproductions ofrecorded music. When it came to selecting a cutting sys-tem for their disc mastering they chose Ortofon.

And when Dual needed a phono cartridge manufac-turer to aid in the design of the ultimate Low Mass lbnearmsystem for their new turntables, they too chose Ortofon.

Now these 3 industry leaders combine to make aunique, limited time offer. Simply purchase any new Dualturntable combined with a new Ortofon phono cartridge.

What you'll get is the finest reproduction of music foryour money anywhere. Because of their legendary BlackForest craftsmanship and design, every Dual turntable offerssuperior performance in it's class. And when reproducedwith the Dual/Ortofon U.L.M. tonearm/cartridge system,the sound from your records will astound you!

And to be sure that you have the finest possible musicsource to listen to, just send us proof of purchase and we'llsend you FREE up to 3 "Original Master Recordings " fromthe complete library of Mobile Fidelity Sound Lab.

Your participating Dual/Ortofon dealer has all thedetails.

Ext. 835 CIRCLE NO. 16 ON READER SERVICE CARD


the lyrics are more obscure this time.Trouble is, China Crisis seems to bemore interested in indulging the clever-ness of the group's songwriters than incommunicating anything to listeners."Flaunt" is filled with inside jokes andpointless wordplay, and the cocktail -lounge arrangements just add to theknow-it-all attitude.

Bringing in Walter Becker to producethese precious youngsters is like askingJohn DeLorean to straighten out thedrug problem in baseball. How aboutNile Rodgers for the next album? M.P.

VASSAR CLEMENTS, JOHNHARTFORD, DAVE HOLLAND.Vassar Clements (violin); John Hart-ford (banjo, guitar, vocals); Dave Hol-land (bass); Mark Howard (guitar, man-dolin). You Can't Run Away from YourFeet; Memories of Home; Home Cook-ing; Till Something Better ComesAlong; and six others. ROUNDER 0207$8.98, © 0207 $8.98.

Performance: Old -shoe comfortRecording: Very good

On first listening, this collaboration ofthree of bluegrass, country, and acousticmusic's most accomplished performerssounds a lot like low-key noodling. On asecond go -round, however, it emergesas a recording of subtle beauty. Match-ing Vassar Clements's straightforward

virtuosity with John Hartford's offbeathumor, the album nevertheless finds itstrue depth in Dave Holland's melan-choly soulfulness, inherent both in hisplaying and in the three original songshe contributes to the project.

With Clements's voluptuous, jazzyfiddling taking center stage most of thetime, Hartford sparkles on the banjofills and on his occasional lucid solos,until he and Clements dig down to duelon side two with Scapin' Out on theRoof a Hartford original. The pickingnever shifts into breakneck overdrive,however, and for that I'm glad. This iscasual, relaxed, and moody acoustic in-strumental music-only three vocalperformances-for those times whenyou've had all the Wheel Hoss andOrangeblossom Special you can stand.Don't miss it. A.N.

EVERYTHING BUT THE GIRL:Love Not Money. Tracey Thorn (vo-cals); Ben Watt (guitars, organ, piano,vocals); instrumental and vocal accom-paniment. When All's Well; Shot MeDown; Ugly Little Dreams; Are YouTrying to Be Funny; Sean; and sevenothers. SIRE 25274-1 $8.98, © 25274-4$8.98.

Performance: GrimRecording: Good enough

Everything But the Girl-vocalist Tra-

cey Thorn and multi -instrumentalistBen Watt-is part of an undocumented,unofficial anti -synth backlash that in-cludes bands like U2, Aztec Camera,the Alarm, and the Smiths in a reactionagainst what they perceive as the tyran-ny of electronics and the remotenessand superficiality of synth artists.Thorn and Watt might be consideredthe movement's beat poets and "LoveNot Money" their Howl. Images of war,industrial decay, and the emptiness ofworking-class life crowd one another insongs paced like long, tired sighs.

Both Thorn and Watt have a keen eyefor the sad details of England's decline:the Belfast girl who becomes a recluseafter her boyfriend is gunned down, thehousewife who feels the deadly domes-ticity of her life close in around her likeprison walls, the woman who can'tmake herself fight for the alimony pay-ments she's entitled to. Unfortunately,the lyrics are crammed into songs tooslight to carry them; more attentionshould have been paid to the music.

In their first U.S. release, last year's"Everything But the Girl," Thorn andWatt added elements of West Coastcool and Latin jazz to spare, folk-rockarrangements, but these elements areabsent from "Love Not Money." In-stead, there is a sameness from song tosong-grim, acoustic arrangements forthe end of the world as seen from the

rt V%4i'

anything t"ti!.tI got in t

duiving \V'he

The music cSo g(pl.Driving all night.

basement of a Greenwich Village cafe-that makes you lose interest in "Love"long before Thorn and Watt have hadtheir say. M.P.

BRYAN FERRY: Boys and Girls.Bryan Ferry (vocals); Mark Knopfler,David Gilmour (guitars); Tony Levin(bass); Andy Newmark (drums); othermusicians. Sensation; Slave to Love;Don't Stop the Dance; A Waste Land;Windswept; The Chosen One; StoneWoman; and two others. WARNERBROS. 25082-1 $8.98, 0 25082-4 $8.98,0 25082-2 no list price.

Performance: Silly love songsRecording: Excellent

Here's yet another album in whichBryan Ferry spends forty minutes be-wailing his inability to sustain a long-term relationship with a woman. De-spite the abundant, high -profile side-men and expensive -sounding produc-tion. the whole thing sounds unutter-ably parched. The music lurches aroundpredictably from vague funk to vaguereggae to vague vagueness. Only onSlave to Love does Ferry work up thekind of dreamy romantic mood thatmade his kvetching bearable on earliernumbers like Dance Away or Avalon.Enough of this Moonlight and Rosesstuff, Bryan. As Joan Rivers might say,oh grow up! S.S.

VINCE GILL: The Things That Mat-ter. Vince Gill (vocals, guitar); JenniferKimball, Rodney Crowell, Herb Peder-sen (background vocals); vocal and in-strumental accompaniment. She Don'tKnow; Savannah; If It Weren't for Him.Ain't It Always That Way; OklahomaBorderline; and three others. RCACPLI-5348 $8.98, 0 CPKI-5348$8.98.

Performance: Slowly but surelyRecording: Good

Vince Gill's name appears in the creditsof nearly every hip, contemporarycountry album these days, both as asinger and as a guitarist. Formerly ofPure Prairie League, he has been tryingto break out as a solo artist for the lastcouple of years. The problem he has as astylist and as a songwriter, however, isthat he so closely resembles his mentor,Rodney Crowell. That was more evi-dent on his first release, a mini -album,than on this one, his second, but he hascompounded the problem here by chos-ing Emory Gordy, Jr., Crowell's friendand frequent bass player, as his produc-er, and by writing and singing withCrowell's wife, Rosanne Cash.

The album never really catches fireuntil the last cut, Oklahoma Borderline,where Gill is joined on vocals by Rod-ney Crowell. Still, at twenty-eight, Gillgarners a lot of respect in Nashville, and

as a sure, solid talent, he probably has abright future. Until he gets out of Crow -ell's shadow, though, he will neverestablish his own identity-or a truesolo career. A.N.

VERN GOSDIN: Time Stood Still.Vern Gosdin (vocals); vocal and instru-mental accompaniment. It's Only LoveAgain; I Know the Way to You by Heart;Time Stood Still; Rainbows & Roses;Two Lonely Hearts; Was It Just theWine; and four others. COMPLEAT671012-1 $8.98, 671012-4 $8.98.

Performance: A bit dry, but . . .

Recording: Good

Vern Gosdin has been around countrymusic all his life, writing songs recordedby such luminaries as the Byrds, MerleHaggard, and George Jones, and record-ing either on his own or with his latebrother, Rex. For his new album, he hasonce again come up with one of thosekiller, heartbreak ballads in the titlesong, and when he really connects, as hedoes on this tune, you'd be hard pressedto find anyone to beat him.

Unfortunately most of the othersongs on the album are mediocre, andthe LP suffers from a sameness of tem-po and mood. One of these days, withthe right producer, Gosdin may fulfillall that early promise. But this albumdoesn't even come close. A.N.

The oppor t..nity to indulge in the enriching momentsof life should neve' be taken away. That's why Kellwoodinvented the theft -proof K RC -838-a simple flip of a leverre eases the head unit so you can keep it with you. VVithoutlosing the preset memory.

Its superior audio features include a high -poweramplifier, separate bass and treble controls. 24 stationpresets, auto -reverse, a 4 -channel bi-azimuth,tape head forflawless tracking, Tape Scan, Dolby' B and C and a TunerCall that plays the radio during fast brward or rewind.

The K RC -838. Designed by Kenwoo I to enhance theflier moments in your life.

Fir the Kenwood dealer nearestyou. call 1 -800 -CAR SOUND'Dolby and the double -D srmbol are trademarks of Dolby Laboralcriet C xpof abon

KENWOOD

KENWOODSTEREO FOR YOUR CAR

MARVIN GAYE

THE death of Marvin Gaye, shotby his father on April 1, 1984,the day before his forty-fifthbirthday, left a tremendous

void in the world of popular music.Gaye was a brilliantly innovative fig-

ure in modern rhythm-and-blues, ex-panding the parameters of soul music,especially with the release of his land-mark concept album "What's GoingOn" in 1971. Though he was a giftedcomposer, lyricist, producer, and in-strumentalist, he was above all a singer,a master of vocal nuance with a styleentirely his own. His velvet -smooth, in-finitely pliable, high falsetto was imme-diately recognizable. Personally he wasknown to be a man who could embracethe Almighty with one arm and themost devilish delights of the flesh withthe other-a two-sidedness reflected inthe new Columbia album "Dream of aLifetime."

The album contains previously unre-leased material drawn from twosources. Half of the tracks on "Dream"are ones Gaye laid down over the yearsand entrusted to his mother for safe-keeping. The other selections he re-corded after the release of his singleSexual Healing and its companion al-bum, "Midnight Love," in 1983, whichgot him his only two Grammy Awards.These later songs were intended for thealbum he was working on at the time ofhis death. Taken as a whole, the eightsongs here provide a strange and dis-turbing mini -portrait of Gaye and hisart. The lyrics are etched with the per-sonal conflicts that inspired the music.

Stripped across the top of the backcover is the legend: "This album con-tains lyrical content that might be con-sidered offensive to some listeners,"which could be considered merely abow to the new puritanism were it not,indeed, for the explicit nature of someof the words. In the opener, Gaye singsof his need for a Sanctified Lady, "agood ole church girl" who is whole-somely traditional, but that is followedby Savage in the Sack, which is openlysexual. And then there is MasochisticBeauty, in which Gaye intones in acommandingly icy voice the sadistic de-mands he intends to make on a womanif she does not satisfy him. All of thissounds pretty odd coming from a manwho, on the flip side of the same record,offers a funked-up version of TheLord's Prayer.

At times the new material is distin-guished from the old not only by itsovertly sexual content but also becauseGaye had moved, after his comebacktwo years before, toward a more com-mercial sound. Yet Gaye could becounted on for quality, and some of thebest music is in Ain't It Funny (HowThings Turn Around), which is appar-ently of recent vintage. It is a moderate-ly paced dance tune with immediatelyinfectious rhythms and catchy licks thatGaye negotiates with the masterly senseof timing he retained to the end.

There are many poignant momentshere, too, as in Life's Opera, an ex-tended sermon that Gaye preaches,probably to himself, about the urgencyof seeking good over evil-somethinghe never seemed quite able to do. Thesaddest moment, however, comes in thetitle song, Dream of a Lifetime, writtenin 1970. It is introduced by an orches-tral fanfare of Hollywood proportionsand is based on a theme reminiscent ofthe old standard Stout -Hearted Men.Gaye sings achingly of the success hehas tasted, noting that "the dreams Ihave lost, whatever the cost, the paradeisn't passing me by." The final verse isheart -wrenching in its irony: "So thepicture I paint makes me a sinner,makes me a saint; I won't try, no not I,to deny it. I may cry with the past, butit's easier to laugh at it. I thank God formy wonderful life."

When we consider the demons thatpursued Marvin Gaye, leading to thelast days when he was consumed byparanoia, losing his grip on sanity, itmust be concluded that his life, in spiteof the glitter and popularity, was not allthat wonderful. But his music was.

Phyl Garland

MARVIN GAYE: Dream of a Lifetime.Marvin Gaye (vocals, synthesizers); vo-cal and instrumental accompaniment.Sanctified Lady; Savage in the Sack;Masochistic Beauty; It's Madness; Ain'tIt Funny (How Things Turn Around);Symphony; Life's Opera; Dream of aLifetime. COLUMBIA FC 39916, © FCT39916, no list price.

TOM T. HALL: Song in a Seashell.Tom T. Hall (vocals); vocal and instru-mental accompaniment. That LuckyOld Sun; A Bar with No Beer; Red Sailsin the Sunset; Down in the Florida Keys;and six others. MERCURY 824 508-1$8.98, 824 508-4 $8.98.

Performance: BeachcombingRecording: Good

In years back, whenever Tom T. Hallneeded material for an album, he'd hopinto his car and take off for partsunknown, or at least parts emotionallyunexplored, and sometimes he'd comeback with some of the most extraordi-nary songs in country music.

Today Hall is still jumping into hiscar, but this time he journeyed down tothe beaches of Florida, Georgia, and thelike. If the cover photo is any indica-tion, Hall, in Topsiders, chinos, andgolf jacket, really roughed it to come upwith six original tunes. The idea, ac-cording to the promotion material, wasto capture "summer, recreation anddreaming." But it sounds more like thelyrics of one of the cover songs here, "Iain't got no ambition/Gone fishin'."His half -talking, half -singing versions ofthe four standards are rather pleasant,and a couple of the original songs havesome nice lines in them. But on thewhole this is Muzak, Tom T. Hall style.Unless it happens to wash up on yourown beach, free, better just let the tidetake it. A.N.

THE HOOTERS: Nervous Night. TheHooters (vocals and instrumentals).And We Danced; Day by Day; All YouZombies; Don't Take My Car Out To-night; and five others. COLUMBIA BFC39912, BFT 39912, no list price.

Performance: By the bookRecording: Excellent

The Hooters, apart from being the mostpopular local band in the history ofPhiladelphia, were the guys who playedon Cyndi Lauper's album "She's SoUnusual," which is probably why theywound up with their own record deal.Still, on the basis of "Nervous Night,"their major -label debut, I suspect they'dbe better off hiring themselves out as anall-star back-up band A la the Rumour.On their own, they don't have too muchto say.

The basic sound is not unattractive-mainstream rock with occasionalquirky touches like using a mandolin ora Hohner melodica-and they have allthe stylistic bases covered: a littleSpringsteen here (South Ferry Road), alittle white -boy reggae there (All YouZombies). Mostly, though, this stuffsounds as if the Hooters learned to writeat Corporate Rock Extension School.With the exception of a surprisinglyeffective cover of an old Arthur Lee/Love number, She Comes in Colors, aquintessential slice of Sixties under-ground rock, there's nothing I'll want tohear twice. S.S.

106 STEREO REVIEW NOVEMBER1985

(Continued on page 110)

10 mg. "tar". 0.9 rig. movie ay. pr cigarette by FTC method.

Share the spShare the refreshme

SURGEON GENERAL'S WARNING: Quitting Smoking

Now Greatly Reduces Serious Risks to You Health.

itsubithiGaDas Goldene Lenkrad.The Golden Steering Wheel. The

German equivalent of Car of theYear. How could Vitsubishi Galant,a newcomer to this competition,take highest honors in the countryfamous for brilliant engineering?

Brilliant engineering.Quite simply, the Galant is one of

the most technologically advancedautomobiles ever produced.

The powerful MCA -Jet engine isprecisely managed by ECI "elec-tronic multi -point fuel injection forincreased acceleration power andimproved responsiveness.

Galants sleek lines, the result ofexhaustive wind tunnel testing, yieldexceptional aerodynamic efficiency.

Then theres the available. micro -computerized ECST"suspensionsystem. It automatically adjusts the

Call 1-800 447-4700 for your nearest Mitsubishi Motors Dealer c.1985 Mitsubish Motor Sales of America, Inc*For 1985 model

I TV II IsS H I

suspension firmness to suit roadconditions. It keeps the car levelregardless of load. And lowers theride height at highway speeds ormore handling stability as well asreduced wind resistance.

Innovative ergonomic design pro-vides sumptuous comfort. Even therear seat reclines. And one of the11 functions of the ETACS \/r" elec-tronic control system prevents you

from locking your keys in the ignition.An optional stereo even offers you

steering wheel -mounted switches.The list of its \4vondrous features

goes on. And on. So test drive anew Mitsubishi Galant. You'll quicklyunderstand why this automobile isrecognized as perhaps theworlds most ingeniouslyengineered luxury sedan.

In any language.

IMMEDIATE A'S & B'S: The SinglesCollection. Small Faces: The Universal;Itchykoo Park. The Nice: Thoughts ofEmerlist Davjack; Angel of Death. P. P.Arnold: The First Cut Is the Deepest.Mockingbirds: You Stole My Heart;Skit Skat. And thirteen others. Com-PLEAT 672010-1 two discs $11.98, ©672010-4 one cassette $11.98.

Performance: Mostly forgettableRecording: Extremely variable

Immediate Records, the brainchild ofone-time Rolling Stones Svengali An-drew Loog Oldham, was one of themore interesting independent labels ofthe Sixties, and a lot of interesting art-ists passed through its doors, but thiscollection of obscure Immediate singlesand vault items is likely to be of interestto passionate Anglophiles only. A fewtracks can be listened to withoutsquirming-P. P. Arnold's spectacular-ly soulful original version of The FirstCut Is the Deepest, an interesting Jim-my Page production of the Who's Cir-cles, and the odd Small Faces track-but most of what's here is of sub -demoquality. Not one of the great reissuealbums of our time. S.S.

NICOLETTE LARSON: . . . SayWhen. Nicolette Larson (vocals); Em-mylou Harris, Vince Gill, Ricky Skaggs,Sharon White, Jonathan Edwards (har-

mony vocals); instrumental accompani-ment. When You Get a Little Lonely;Say When; Building Bridges; I JustKeep Falling in Love; Only Love WillMake It Right; Dancin"Round and'Round; and four others. MCA MCA -5556 $7.98, © MCAC-5556 $7.98.

Performance: No, no, NicoletteRecording: Very good

Nicolette Larson is a pop/rock singerfrom L.A. who established herself as afeatured back-up vocalist (with NeilYoung and Linda Ronstadt, among oth-ers) before making three disappointingsolo albums in the late Seventies. Nowthat country music has become, in part,the Last Chance Texaco for failed popsingers, Larson has ambled on down toNashville to try her luck.

Despite hooking up with producersEmory Gordy, Jr., and Tony Brown,who have infused this album with a hip,Emmylou Harris -Rodney Crowell, pro-gressive -country sensibility, Larsonfalls flat on her pretty face. She hasalways, in my opinion, been overrated,possessing an undistinguished voicebetter suited for back-up than solowork, but the real problem here is thatshe doesn't begin to understand how tobreathe life into the material. Shemoves through these top-quality, hand-picked songs as if she's reading an eyechart. A.N.

THE MANHATTANS: Too Hot toStop It. The Manhattans (vocals); vocaland instrumental accompaniment.Don't Say No; You Send Me; Angel ofthe Night; When We Were Made AsOne; C'est la vie; and three others.COLUMBIA FC 39277, 0 FCT 39277, nolist price.

Performance: MellowRecording: Excellent

The Manhattans are the old smoothiesof group soul singing, and this newalbum presents them at their mellowbest. Two highlights are a new readingof Sam Cooke's classic You Send Meand an exquisite bit of nostalgia calledWhen We Were Made As One, which issung a cappella, effectively capturingthe style and flavor of earlier, moreinnocent decades. P.C.

YEHUDI MENUHIN AND STE-PHANE GRAPPELLI: For All Sea-sons. Yehudi Menuhin (violin);Stephane Grappelli (violin, piano); or-chestra. April in Paris; Heat Wave; Au-tumn Leaves; Button Up Your Overcoat;and ten others. ANGEL 0 DS -38118$11.98, 0 4XS-38118 $11.98.

Performance: None betterRecording: Very good

Here's another in the delightful series of"pop" albums by Yehudi Menuhin and

Give us a foot...and we'll give you

a concert!We've packed more musical perfection into one square

foot than you may believe possible. The three-wayDesign Acoustics PS8a speaker system handles upto 200 watts of power, yet is sensitive to the mostdelicate sounds you can hear.

Part of the secret is our Point Source design, withthe smallest possible baffle to eliminate destructivesound diffraction by 40%. Plus a down -firing wooferthat delivers enhanced bass response. And our

Optimized Decade Crossovers"' which insure clean,clear sound in the critical mid -range while improving

stereo imaging.Be prepared for a delightful surprise when you

hear the Design Acoustics PS8a for the first time. Andanother surprise when you hear the low cost. Writetoday for your nearest Design Acoustics dealer.

Great stereo is just two square feet away.

PS8a Three-way Point Source Speaker System

DESIGNACOUSTICSAn Audio-Technica Company

1225 Commerce Drive, Stow, Ohio 44224

For Dealer Nearest You Call TOLL -FREE 800-633-2252 Ext. 826110 STEREO REVIEW NOVEMBER 1985


Stdphane Grappelli. They play in thestyle of the "jazz fiddle" of the 1920's,(neither of them can be much underseventy), and most of the music is wellover a half -century old. But there is stilla youthful gleam to these performances.Perhaps it has something to do with thefreedom with which they attack theirslightly shopworn material, their totallack of self-consciousness, or their irrev-erence. Whatever it is, it works for themas they sidle and strut through theirrepertoire, each displaying a techniqueas flawless as their obvious sense ofhumor about the whole enterprise. Funfor any age group. P.R.

FREDDIE MERCURY: Mr. Bad Guy.Freddie Mercury (vocals, piano); othermusicians. Let's Turn It On; Made inHeaven; I Was Born to Love You; Fool -in' Around; Your Kind of Lover; and sixothers. COLUMBIA FC 40071, © FCT40071, no list price.

Performance: Surprisingly sedateRecording: Excellent

Freddie Mercury, currently the onlymajor rock star who could be mistakenfor a model on the cover of a gay pornomagazine, appears here in a surprisinglyunexcessive solo debut. While I amloathe to criticize the work of anybodywho dedicates a record to his pet cat(the name is Jerry, in case you're won-

dering), I can't find much to get excitedabout here.

Superficially, it all sounds like Queen,for whom Mercury is the over -the -topfront man, but while Queen usually getsaway with making utterly bombasticmusic by winking at the audience asthey do it, Mercury solo sounds as if hetakes the stuff seriously. He's too damnwell behaved. There's a little bit of Car-men Miranda for the Eighties (Let'sTurn It On), a little anonymous dancerock, a halfhearted attempt at overpro-duction (the title song) featuring theMunich Philharmonic, and just aboutnothing you'll remember when the rec-ord is over. S.S.

NEW ORDER: Low -life. New Order(vocals), instrumental accompaniment.Love Vigilantes; The Perfect Kiss; ThisTime of Night; Sunrise; and four others.QwEsr 25289-1 $8.98, © 25289-4$8.98.

Performance: CheerlessRecording: Very good

Few bands put as much distance be-tween themselves and their listeners asNew Order does on "Low -life." Thearrangements are puzzling, at times riv-eting and at others ragged and weary.The flat vocals carry so little feelingthey effectively rob the lyrics of impactThe song titles bear no apparent rela-

tionship to the songs, and no lyric sheetis provided. In fact, the album jacketdoesn't even list the members of theband, never mind the instrumental line-up: just four dimly lit, out -of -focusblack -and -white photos of the bandmembers.

Yet, in spite of these barriers-or per-haps enhanced by them-an undercur-rent of anger and frustration makesitself felt in every beat of "Low -life,"not surprising from a band with as trou-bled a history' as New Order (formerlyJoy Division). The angst is conveyedprincipally through some fierce guitarwork-especially the rising chords ofSunrise, which build to an extraordi-nary climax. and the thrashing rhythmsof Face -up, which slash and burn awayover the repeated cry, "I cannot bear thethought of you."

"Low -life" is strange for other rea-sons. New Order can sound like a synth -pop band in one song and a stripped -down guitar trio in the next. Its mixtureof haute couture, synthesized percus-sion, and raw, U2 -like guitar within thesame song is also novel. It makes for adifficult album but one that rewardsrepeated listening. M.P.

HUGH MASEKELA: Waiting for theRain. Hugh Masekela (vocals, flugel-horn, trumpet); vocal and instrumentalaccompaniment. Lady; Politician; To -

You're looking at the three drivers fromour new NS -75T speaker. We took them apartso we could tell you how they're put togetherto meet the higher demands of compact discs.

The 12" woofer is made from speciallydeveloped carbon fiber material. Lightweightyet very rigid, carbon fiber has superior sonicclarity and low -end definition. Even underthe increased dynamic range and high powerdemands of digital audio.

Both the dome midrange driver and thedome tweeter are made from a unique titanium

carbide composition. The result is outstand-ing transient response, wide sonic dispersion,and three-dimensional, transparent imaging.So you hear all the live in -studio or on-stagesound compact discs were recorded with.

The NS -75T is just one in a completeline of Yamaha NS T speakers. They're readyfor digital when you are.

Yamaha Electronics Corporation, USA. P.O. Box 6660.Buena Park. CA 90622

YAMAHACIRCLE NO 10 ON READER SERVICE CARD

night; The Joke of Life; Run No More;Coal Train; Ritual Danger; Zulu Wed-ding. JIVE AFRICA/ARISTA JL8-8382$8.98, © JC8-8382 $8.98.

Performance: ScintillatingRecording: Very good

The layered rhythms and antiphonalchants of indigenous African musichave always figured prominently in thework of South Africa -born trumpeterHugh Masekela, but the mix has be-come even heavier since he returned tothe continent in 1980. He now lives inBotswana, near his homeland, and re-cords in a modern studio, producinglively music that fuses American jazzand pop with his own traditions. Theresult is a bubbling concoction called"Afrobeat" that is one of the mostrefreshing sounds to be heard today.

Most of the selections here were writ-ten by Masekela, some being adaptedfrom African songs. Serious politicalstatements are often mingled with thecaptivating percussive effect. Politician,for example, is a two-fisted critique ofgovernment corruption, and Coal Train(Stimela) weaves jazz solos aroundcommentary about goldminers who arebrought by train from all over SouthernAfrica to toil "deep in the belly of theearth" near Johannesburg. But there isalso humor and pure fun here, as inTonight, a potential hit with a liltingdance beat. Masekela's charm is vibrantenough to stir us even from a distanceof many thousands of miles. P.G.

NITTY GRITTY DIRT BAND: Part-ners, Brothers and Friends. Nitty GrittyDirt Band (vocals and instrumentals);other musicians. Modern Day Ro-mance; Home Again in My Heart; Tel-uride; Old Upright Piano; Queen of theRoad; Leon McDuff, and four others.WARNER BROS. 25304-1 $8.98, ©25304-4 $8.98.

Performance: Nitty but not grittyRecording: Very good

The Nitty Gritty Dirt Band comprisessuch good musicians, such veteran per-formers, and such witty, old -shoe song-writers that even a mediocre Dirt Bandalbum like "Partners, Brothers andFriends" is at least a Stetson taller thanmost of the albums that come out ofcommercial Nashville. The best materi-al here was written not by the band butby an assortment of fairly-well-knowns-Don Schlitz, Wendy Wald-man, Russell Smith, Dan Tyler. That'sfine, of course, but even with MikeCross's rousing Leon McDuff about theplight of a financially depressed farmer,most of these songs sound like outtakesfrom the Dirt Band's last album. Still,because these guys do what they do sowell (the wry vocals would be enough tosell me), you'll probably want to add itto your collection. A. N .

OAK RIDGE BOYS: Step On Out.Oak Ridge Boys (vocals); instrumentalaccompaniment. Touch a Hand, Makea Friend; Ophelia; Roll Tennessee Riv-

The Nitty Gritty Dirt Band: wry vocals

er; Little Things; Staying Afloat; andfive others. MCA MCA -5555 $7.98, ©MCAC-5555 $7.98.

Performance: SlushRecording: Good

Several months ago, I wondered whyLittle Things, a slight if catchy tune,became an Oak Ridge Boys single. Nowthat I've heard the entire album it'sfrom, the reason is obvious. With thepossible exception of the title tune,there's nothing else that even comesclose to single material. "Step On Out"is, as a matter of fact, one of the poorestexcuses for an album that I've heardsince the Sixties, when record compa-nies could get away with putting one hitand eleven fillers on an album andcharging full price for it. And while pro-ducer Ron Chancey took the Oaksdown to Muscle Shoals, Alabama, torecord, there is about as much r -&-bpunch here as there is on a FlorenceHenderson record. "Adult contempo-rary" stations should love it, though-Step On Out never steps over the centerline. A.N.

PARACHUTE CLUB: At the Feet ofthe Moon. Parachute Club (vocals andinstrumentals). At the Feet of the Moon;Sexual Intelligence; Innuendo; Equal/Equally; Rise Up; and four others. RCA0 AFL 1-5337 $8.98, AFK 1-5337$8.98.

Performance: Below parRecording: Very good

Parachute Club is a Canadian septetthat subscribes to the unpopular notionthat music can be an agent for change."At the Feet of the Moon" is their sec-ond release in the U.S., and it's cast inthe same riffing, Latin -tinged form astheir first album, one of the pleasantsurprises of 1984. (It even reprises thatalbum's best track, Rise Up.) But whilethere's some powerful new materialhere-Innuendo, for instance, sungwith convincing fear and anger by JulieMasi-this record misses the lean, un-varnished sound of its predecessor andshows signs of diminishing social re-

turns. The straightforward, uncompli-cated rhythms that are the group's sig-nature have been given a glossy sheenand extra bottom by producer MichaelBeinhorn. The effect is cleaner, morecommercial, but it also works againstthe unaffectedness and immediacy themusic needs. And several composi-tions-Equal/Equally, Middle Child,Walls and Laws-never get off theground either musically or lyrically.Overall, this album is an intelligentfusion of dance music and social com-mentary, but it is not Parachute Club'sbest work. M.P.

RARE SILK: American Eyes. Rare Silk(vocals); instrumental accompaniment.Oops!; Watch What Happens; 'RoundMidnight; Hello; American Eyes;Storm; and two others. PALO ALTO PA8086 $8.98.

Performance: Not their bestRecording: Good

With the release of a superb debutalbum, "New Weave," in 1983, thevocal quartet Rare Silk presented im-pressive evidence that it might well bethe most gifted group of its kind sincethe great Lambert, Hendricks, andRoss. The three women and one man ofRare Silk blended lush voices with tech-nical excellence and a rare agility thatenabled them to execute complex jazzchanges. Their musicianship was awe-some, and their choice of material wasimpeccable, ranging from Billy Stray -horn to Chick Corea and Richie Cole.

After that auspicious debut, the new"American Eyes" is somewhat disap-pointing. It lacks the knockout qualityof the first album, possibly because thegroup has tried to range over broadermusical turf, with more original writingby member Todd Buffa. Though themusic remains founded solidly in jazz,there are large hints of rock in theinstrumentation, not all of them taste-ful. Still, the treatment of Michel Le-grand's Watch What Happens is daring,if irreverent, and the Calypso -flavoredHello and a fine arrangement of StanleyTurrentine's Storm are standouts. Ex -


perimentation should be encouraged,but I hope Rare Silk won't veer too farfrom the near -perfection they achievedon their first outing. P.G.

KENNY ROGERS: Love Is What WeMake It. Kenny Rogers (vocals); vocaland instrumental accompaniment. LoveIs What We Make It; Twentieth Cen-tury Fool; Tie Me to Your Heart Again;Maybe in the End; It Turns Me InsideOut; and five others. LIBERTY LO -51157 $7.98, ©4L0-51157 $7.98.

Performance: B -gradeRecording: Okay

"Love Is What We Make It" is a collec-tion of "previously unreleased masterrecordings," which is a fancy way ofsaying, "These are the dregs thatweren't good enough to make it ontoany other Kenny Rogers album." Rog-ers's delivery is, as usual, competent, iflimited, but the songs, and in somecases the production (by Larry Butler,Lionel Richie, John Guess, and Rogershimself), will probably produce morethan a few snores in even the mosthard-core Rogers fans. A.N.

SLADE: Rogues Gallery. Noddy Hold-er (vocals); Dave Hill (guitars, backingvocals); Jim Lea (guitars, keyboards,bass, violin, backing vocals); Don Pow-ell (drums). Hey Ho Wish You Well;Little Sheila; Walking on Water. Run-

ning on Alcohol; Myzsterious MizsterJones; Harmony; and five others. CBSFZ 39976, © FZT 39976, no list price.

Performance: Pub grubRecording: Good

Back in the early Seventies, whenheavy-metal was actually taken seri-ously, Slade's music was dismissed asderivative, mindless pap. But whatwe've come to realize during the currentheavy-metal renaissance is that mind-lessness is what this music is all about.Hence the unlikely resurrection ofNoddy Holder and his bumptious(though. judging from the album coverphotos, somewhat embarrassed) crew,helped out of retirement by Quiet Riot'scover of Cum Feel the Noiz.

Derivative Slade surely is. The open-ing track here, Hey Ho Wish You Well,is less than thirty seconds old before it'salready ripped off Deep Purple (Smokeon the Water) and Van Halen (Jump).By side two, Slade has plundered mostof BMI and started in on ASCAP. Butno matter. After all, familiarity is essen-tial to bar -room anthems.

"Rogues Gallery" is the musicalequivalent of pub grub-a healthy wal-lop of bangers and mash washed downwith a half -dozen pints of bitter. Thesongs slosh merrily around, their horsyrhythms and singsong lyrics spillingfrothily forth in invitation to sing along.The more the merrier. M.P.

THE STYLE COUNCIL: Internation-alists (see Best of the Month, page 93)

MEL TILLIS: California Road. MelTillis (vocals); instrumental accompani-ment. California Road; One MoreTime; Diggir:' Up Bones; Another She'sLeaving Song; You Done Me Wrong;and five others. RCA AHLI-5483$8.98, ©AHK1-5483 $8.98.

Performance: EarnestRecording: Good

Now that Ernest Tubb is gone, Mel Til-lis has become, at the age of fifty-three,something of an elder statesman ofcountry music. Seldom flashy, some-times ponderous, Tillis nevertheless hasmastered that slim groove between gut -level honky-tonk and mainstreamNashville Sound, and when he openshis mouth there is no doubt that he isthe genuine article, someone who caresabout the music and its evolution.

With that in mind, Tillis's first albumfor RCA is pure, basic, traditional mu-sic. The material, with the usual coun-try themes, is solid, if a little dull-sur-prising, since Tillis owns seven publish-ing companies-but he manages tomake them sound more heartfelt than Iimagine anybody else could. A.N.

THE WEATHER GIRLS: Big GirlsDon't Cry (see Best of the Month, page96)

Tandberg's TPA -3009A Mono Power Amp is uniquely designed to meet the amplification needs of today...and the future: a high power, high current (55 amps) MO6FET amplifier in an advanced configuration,totally free of negative feedback and voltage/current-limiting circuits.

It handles - with ease and precision - the reactances and very low bad impedances found in today's highperformance loudspeakers, as well as custom multi -speaker system installations - and fully complimentsthe dynamic range and ultra low distortion made possible by digital recording. The amplifier iselegant, compact, rugged and affordable.

TheTPA3009A: Engineered for the most demanding loudspeakers.. .and discriminating ears

TANDBERG OF AMERICAOne Labnola Court. Armcnk. NY 10504(914) 273-9150

For Dealer Nearest You Call TOLL.-'

II 1

ONE NIGHT WITH BLUE NOTE

Art Blakey: driving rhythm for a jazz classic

BLUE NOTE, the jazz label thatwas founded in 1939 andyielded an outstanding crop ofrecordings until it became a

part of the Transamerica conglomerate.bounced back in capable hands lastyear. and the event was celebrated withan ambitious concert in New York'sTown Hall. I would not go so far as tocall the concert the "jazz event of thedecade"-as one critic did describe it-but with twenty-five major jazz musi-cians on hand, the lineup was certainlyimpressive. Now most of it is availablein just about every recording format,including video.

There are dull moments, to be sure, in"One Night with Blue Note Preserved,"but they are relatively few. The nadir isreached in Volume Four, which is dom-inated by a quartet led by the overratedsaxophonist Charles Lloyd. With himare two fine musicians, Cecil McBeeand Jack DeJohnette, and Michel Pe-trucciani, a pedestrian pianist. 1 wouldsuggest skipping this part, but it alsocontains two solo tracks by guitaristStanley Jordan, who brings a new tech-nique to his instrument.

Shades of the old Sixties Blue Notesounds are heard on Volume Three,which features Johnny Griffin, FreddieHubbard, and Curtis Fuller with arhythm section driven by An Blakey;one track each with saxophonists Stan-ley Turrentine and Lou Donaldsonjoined by organist Jimmy Smith; andtwo excursions by Grover Washington,Jr., on soprano sax and guitarist KennyBurrell.

The most satisfying volume overall isthe second, which contains Cecil Tay-lor's Pontos Cantados, in typical ven-turesome style, and four tracks by aMcCoy Tyner quintet that has WoodyShaw and Jackie McLean up front, withstrong rhythmic support from CecilMcBee and Jack DeJohnette. McLean'sAppointment in Ghana and Tyner'sBlues on the Corner also get my vote.

Herbie Hancock seems to have a pen-chant for melons. His Canteloupe Is-land, which starts Volume One, is moreinteresting than Watermelon Man, butthat may well be because it is less fre-

quently heard. In Canteloupe Island,and in an even better version of JoeHenderson's Recorda Me, we hear Han-cock with a quintet completed by Hen-derson, Freddie Hubbard, Ron Carter,and Tony Williams. The same rhythmsection is featured to advantage withvibist Bobby Hutcherson and flutistJames Newton on Little B's Poem.

The boxed set of four LP's is beauti-fully packaged and comes with a copy ofthe concert program, a poster, colorphotographs, and producer MichaelCuscuna's authoritative liner notes.The digital recording was made withobvious attention to detail. (A releaseon CD is intended.) Viewed as a whole,this set hits the target more often thannot. Bruce Lundvall, the guiding lightbehind Blue Note's resurrection, de-serves a lot of credit for bringing a vitallabel back to a semblance of its old, glo-rious self. Chris Albertson

ONE NIGHT WITH BLUE NOTEPRESERVED. Freddie Hubbard,Woody Shaw (trumpet); Curtis Fuller(trombone); James Newton (flute);Grover Washington, Jr. (soprano saxo-phone); Jackie McLean, Lou Donald-son (alto saxophone); Joe Henderson,Bennie Wallace, Johnny Griffin, Stan-ley Turrentine, Charles Lloyd (tenorsaxophone); Herbie Hancock, McCoyTyner, Cecil Taylor, Walter Davis, Mi-chel Petrucciani (piano); Jimmy Smith(organ); Kenny Burrell, Stanley Jordan(guitar); Bobby Hutcherson (vibra-phone); Ron Carter, Cecil McBee, Reg-gie Workman (bass); Tony Williams,Jack DeJohnette, Art Blakey, GradyTate (drums). The Blessing; Jumpin'Jack; Summertime; Moanin; Sweet andLovely; Appointment in Ghana; Broad-side; Bouquet; Hat and Beard; Blues onthe Corner; Passion Dance; Pontos Can-tados; and twelve others. BLUE NOTE 0BTDK 85117 four discs $34.98. Alsoavailable as four individual volumes:BT 85113/4/5/6 $8.98 each, © 4BT85113/4/5/6 $8.98 each. Excerpts ontwo video-tape cassettes: SONY96W00093 and 96W00095 Beta Hi-Fi$29.95 each, 96W50094 and 96W50096VHS Hi-Fi $29.95 each.

JAZZ

CHARLIE PARKER: Bird at theRoost: The Savoy Years, Volume One.Charlie Parker (alto saxophone); MilesDavis, Kenny Dorham (trumpet); TaddDameron, Al Haig (piano); Curley Rus-sell, Tommy Potter (bass); Max Roach,Joe Harris (drums). Ko-Ko; Groovin'High; Hot House; White Christmas;Cheryl; Salt Peanuts; Ornithology (twoversions); Slow Boat to China (two ver-sions); and eight others. SAVOY JAZZSJL 2259 two discs $11.98.

Performance: ImportantRecording: Decent airchecks

In modern jazz no name is quite asmagical as Charlie Parker's. His careerwas relatively short, but it encompassedthe transition from swing to bop, andno other player had more influence onbop than Parker. Fortunately, Parkerwas recorded extensively, so there existsa sizable library of his work. But therewere also unofficial recordings, rangingfrom the covert tapping of club soundsystems to airchecks of his broadcasts.Some of the broadcasts, aired from NewYork's Royal Roost in 1948 and 1949,made their way onto Savoy albums thir-ty years ago and are now being reissuedin two double -disc albums called "Birdat the Roost: The Savoy Years."

The first volume contains twentytracks, some of which offer differentperformances of the same tune. Al-though jazz is an art form based largelyon improvisation, many musiciansstray only so far from a successful noteprogression, doing no more than re-creating an earlier improvisation. Par-ker did that only to a limited extent, sohis freewheeling approach to a tunecould often be more interesting than thecomposition itself. A case in point isSlow Boat to China, a perfectly dreadful1948 pop song that Parker elevated andmade into a classic. Recorded threeweeks apart, the two versions in this setfeature solos by Parker that bear only aslight similarity to each other, and bothare marvelous examples of the heightseven the tritest music can reach in thehands of a master improviser.

Parker's creativity alone could havecarried this album, but it also featuresextraordinary performances by trum-peters Miles Davis and Kenny Dorham.The sound, too, is remarkably good. Amust for serious collectors. C.A.

THE LIVING TIME ORCHESTRA:The African Game. The Living TimeOrchestra, George Russell cond. Organ-ic Life on Earth Begins; Consciousness;Cartesian Man; The Future?; and fiveothers. BLUE NOTE BT 85103 $7.98,BTC 85103 $7.98.

Performance: FascinatingRecording: Very good

Although George Russell may be heardfrom infrequently, he's intellectuallystimulating when he is. "The African


Err" 10 W. 10 can nod""'

On the inside, where it counts, we engineered the most sophisticated andpowerful technology available today.On the outside, we designed a control panel that's straighrforward andeasy to use.That's it. Because, at NAD, the music is the most impertant feature.

AN UNCOMMON COMPANYFor Dealer Newest You Call TOLL -FREE 800-633-2252 Ext. 83L CIRCLE NO. 11 ON READER SERVICE CARD

Featured above on the right is tie NAD 7140 AM/FM Stereo Receiver. Industrial desogn by Reln1-old Aeiss Design, Chicago

For more info-mation on the NAD 7140 ancla list of deale-s send us the coupc-i 3elow.

NAME

ADDRESS

CITY STATE

NAD (USA). INC., 675 Canton S-reet, Norw pod, MA 02062

r

This catalog can save you up to 60% on yournext car or home stereo, telephone, or VCR.

FREEStereoCatalog

Refer to the Crutchfield Catalogbefore buying your next car orhome stereo, telephone, or VCR Low discount prices100 pages of helpful articles,shopping tips, charts, andinstallation guides

Color photos, complete productdescriptions and technicalspecifications on hundreds of thefinest brand name products

You get more value shoppingCrutchfield:Lowest possible pricesFull factory warranties23 toll -free lines staffed byhelpful sales and technicaladvisors

Huge in -stock inventories24 hour shipping guaranteedAll major credit cards welcome Liberal return privilegesComplete satisfaction guaranteed

-ICall or write now for your

FREE CatalogUse the coupon below or call toll -free:

800-336-5566In Virginia, call 800-552-3961

1010

We now serve CANADA!Please enclose $1.00 for catalogpostage.

Be sure to mention Stereo Review when calling.Rush me your FREE Buyer's Guide.

Name

Address

City State Zip

CRUTCHFIELD

Game" is a nine -part suite exemplifyinghis concept of Vertical Form, a systemof polyrhythmic organization based onthe layered rhythmic principles of Afri-can music. The music aims to conveyRussell's impressions of the total evolu-tionary process, beginning with the ori-gins of homo sapiens in Africa. Each"event," as the movements are called, istitled in high-toned anthropological, bi-ological, and philosophical terms. Butregardless of the ideas Russell seemedto have in mind, the music is exciting,full of lush clustered sounds enhancedby a hint of atonality. None of it is verycomplicated or inaccessible, but Russellis bent on charting new paths. Some-how he manages to make it all soundfunky, immediately inviting, and, ofcourse, stimulating. P.G.

TANIA MARIA: Made in New York.Tania Maria (vocals, keyboards); vocaland instrumental accompaniment.Don't Go; E Carnival; My Space; I Do ILove You; Together; and three others.MANHATTAN ST -53000 $8.98, 4XS-53000 $8.98.

Performance: Strangely subduedRecording: Very good

Although the fiery Brazilian singer -pianist Tania Maria has made at least ahalf -dozen records in the U.S., this oneis the first on a major label, Manhattanbeing a subsidiary of Capitol. Unfortu-nately, it is also her least excitingrecording to date. Not that it lacks mer-it. All the songs are, as usual, her owncompositions, and they are as infec-tiously melodious and enticingly rhyth-mic as any of her other efforts. The flawseems to be in the production, which istoo laid back, bordering on the slick.Maria seems strangely subdued here.Even her wonderfully percussive pianowork is shunted into the background,blending into the overall sound, and shenever lets go with one of those marvel-ously inspired bursts of exuberant im-provisation that are almost her trade-mark. Perhaps the intention was tomake her more palatable to an easy -lis-tening audience. If so, it was a mistake,for Tania Maria without spice and dar-ing is like a trip to Brazil in the rainyseason. P.G.

WYNTON MARSALIS: An AmericanHero. Art Blakey (drums); WyntonMarsalis (trumpet); Billy Pierce, BobbyWatson (saxophones); Jimmy Williams(piano); Charles Fambrough (bass). MyFunny Valentine; Blakey's Theme;'Round Midnight; Time Will Tell; andtwo others. WHO'S WHO IN JAZZWWLP-2I026 $8.98, © WWC-21026$8.98.

Performance: InterestingRecording: Fine remote

The release of "An American Hero"obviously represents an attempt to cashin on the phenomenal success of trum-peter Wynton Marsalis. These 1980 re-cordings were made during a Fort Lau-derdale engagement when Marsalis was

nineteen, and they are, in fact, by ArtBlakey's Jazz Messengers. They shouldhave been released as such, of course,but, deceptive packaging aside, they area welcome addition to the catalog.

There is a good measure of Marsalis'ssometimes fiery, sometimes mellowtrumpet here, and the set serves well-along with 1981 and 1982 Blakey mate-rial that has been released by ConcordJazz-to chart the maturing process ofMarsalis's artistry. Except for My Fun-ny Valentine, the album consists of pre-viously unreleased material, and it rep-resents a palatable slice of one ofBlakey's many fine Messenger editions.Still, we could have done without Bla-key's Theme, which has been doctoredup to accommodate thirty meaninglessseconds of Marsalis demonstrating hisclassical technique. C.A.

MABEL MERCER: Sings Cole Porter.Mabel Mercer (vocals); Cy Walter, StanFreeman (piano). It's Delovely; EveryTime We Say Goodbye; Experiment;Ours; After You; Ace in the Hole; So inLove; Looking at You; Use Your Imagi-nation; and four others. ATLANTIC81264-1 $8.98, © 81264-4 $8.98.

Performance: IncomparableRecording: Good

There's very little one can add to thechorus of praise that Mabel Mercerreceived during her long and magnifi-cent career except to say that she trulywas a supreme artist. Any doubt aboutthat can be quickly banished with evena casual listening to this rerelease of aclassic.

Mercer was particularly at ease withthe intricate, sophisticated, and grandlyromantic lyrics of Cole Porter. Thereisn't a performance in this album thatwouldn't have brought a nod of appre-ciation from Porter himself. Althoughher voice was drastically limited inrange when she recorded these songs,Mercer was able to manipulate it withall of the grace, humor, and (often) starkpassion of a truly great actress. Note toall "Style" craving Yuppies: try this oneon the tape deck of your BMW! P.R.

MEL TORME: 'Round Midnight. MelTorm6 (vocals); Marty Paich Dek-Tette, Shorty Rogers and His Giants(instrumentals). The Lady Is a Tramp;Lulu's Back in Town; A Foggy Day;Hello Young Lovers; Marie; Hey, LookMe Over; When the Sun Comes Out;The Surrey with the Fringe on Top;andseven others. STASH l ST 252 $8.98, ©STC 252 $8.98.

Performance: Vintage velvetRecording: Excellent

Record collectors who are familiar withMel Torme's commercial releases fromthe middle to late Fifties will recognizethe songs and the arrangements on anew Stash release called "'Round Mid-night." These are, however, previouslyunreleased 1956-1962 recordings takenfrom Guard Session and Guest Startranscriptions, government propaganda

1 Crutchfield Park. Dept. SR. Charlottesville. VA 22906.

and National Guard recruitment pro-grams that radio stations ran as a publicservice. The smooth instrumental ac-companiments feature some of the topWest Coast jazz men of the period, andeach of the two instrumental groups, theMarty Paich Dek-Tette and Shorty Rog-ers and His Giants, is also representedby one track to themselves. The per-formances are superbly professional,the sound is monophonic but excellent,and Eric Comstock has provided awealth of information and observationsfor the liner notes. By all means, treatyourself to this one. C.A.

EDDIE "CLEANHEAD" VINSON:Sings the Blues. Eddie "Cleanhead"Vinson (vocals, alto saxophone); ArnettCobb, Buddy Tate (tenor saxophones);Ray Bryant (piano); Larry Gales,George Duvivier (bass); other musi-cians. Hold It Right There; High ClassBaby; Past Sixty Blues; Old Maid Boo-gie; He Was a Friend of Mine; Clean -head Blues; When My Baby Left Me;Cherry Red. MUSE MR 5310 $8.98, C)MC 5310 $8.98.

Performance: ExcellentRecording: Excellent

I have admired the way Eddie "Clean -head" Vinson handles a blues since Ifirst heard him do it on a Mercuryrecord some thirty-five years ago. Thisnew Muse album, culled from previousrecordings that were released between1978 and 1982, features his vocals andalto sax in a wonderful collect..;;. withfine accompaniments that include saxo-phonists Arnett Cobb and Buddy Tate,pianist Ray Bryant, and the orchestrathat calls itself Roomful of Blues. PeterLowry's liner notes are contrived andself-serving, but the music is right ontarget. Unless you have the Muse al-bums from which the material stems, Irecommend adding this set to your col-lection. C.A.

YELLOW JACKETS: Samurai Samba.Yellow Jackets (instrumentals); othermusicians. Homecoming; Deat Beat;Daddy's Gonna Miss You; Sylvania; Sil-verlake; and three others. WARNERBROS. 25204-1 $8.98, © 25204-4 $8.98.

Performance: Not distinctiveRecording: Satisfactory

The four members of the Yellow Jack-ets, a prominent jazz fusion group, havespent most of their careers working ses-sions behind other artists. In "SamuraiSamba," their third album, they contin-ue to sound like a highly professionalback-up band that lacks a musical per-sonality of its own. The Jackets leantoward the heavy beat that is standardin pop fusion but play little that mightqualify as jazz. Alto saxophonist MarcRusso tries hard on Daddy's GonnaMiss You, one of the more invitingtunes, but comes off sounding like aDavid Sanborn clone. It's hard to imag-ine anyone's being very satisfied withthis album-certainly no jazz loverseeking real substance. P.G.

Toshiba's CD playercomes completewith rack system.

TM Dolby labs 100 watts per channel minimum RMS power irio E ohms from

20-20,000 Hz with no more than 0.005% THD. To.h.bra AmeN2 a. inc 82 Totowa Road, Wayne, NJ 07470

Not only is a CD player standard equipment in Toshiba's outstandingSystem 150, so is the double cassette deck with double -reverse, high speed dub-bing and Dolby*B and C NR. As well as AM/FM stereo digital synthesizer tuner,100 watt per channel integrated amplifier**, direct -drive turntable, 4 -way speakersystems and 14 -band graphic equalizer. All in a sleek glass -top cabinet.Toshiba's System 150. The only option is to buy it. In Touch with Tomorrow

TOSHIBA


Stereo Reviewfor great stereo buys!

Subscribe to Stereo Reviewand you'll learn about thebest buys in audio. Eachissue helps you select theequipment that's best foryou and the music you'llenjoy most!

Stereo Review tells youeverything you need toknow about sound equipment:what's available, what to look forwhen comparing, what it costs, whatit'll do for you.

Another part of Stereo Reviewthat's worth its weight in gold: the

Stereo Review monthly tests of receivers,cassette decks, speakersystems, phono cartridges,amplifiers, audio/videounits, compact disc play-ers, and everything else youcould need for great soundat home or in the car!

Plus reviews of the latestclassical, popular, jazz and rockdisc and tape recordings...specialbuyers guide features on receivers,car stereos, tape equipment andspeakers...the newest in audiotechnology ...favorite columns.

Order Stereo Review today with the coupon below. It'llsave you 50% oh the lull subscription price!

Stereo Review MrP.O. Box 2771Boulder, Colorado 80322

Mrs.Ms

(please print full name)

I

I

I

I

ka.NEW SUBSCRIBERS ONLY

AddressSend me STEREO REVIEW for:0 One year (12 issues) for $4.99-50% ott!

0 Two years for $9.98-50% off'

0 Three years for $14.97-50% off!

Savings based on full one-year subscriptionprice of $9.98. Offer valid in US. and possessions only Please allow

30 to 6C days for delivery of first issue.CHECK ONE: 0 Payment enciosed. Wowd you like to receive special offers from qualified

0 Bill me later. users ol our mailing list? Yes 0 No.

Apt.

City

State Zip

I

I

I

I

I

It's amazingwhat happens to soundonce

you get it outofabox.In the small town of

Struer, Denmark, you'll find themost advanced speaker researchcenter in Europe.

There, the designers andengineers at Bang & Olufsen arededicated to creating ways thatimprove the way you listen to music.

Now, Bang & Olufsen hascreated a new series of speakers thateliminates the "boxy" sound foundin conventional speakers that areshaped like boxes.

Of course, as with all speak-ers, the best way to judge them is tolisten to them.

Short of that, you can beginto appreciate the RL Series by think-ing about what makes a goodlistening room.

The worst possible listeningroom is one where all the dimen-sions are the same. The resonancecaused by reflections and the in-herent soundwave reinforcementdistorts music.

That. what happens insidea speaker shaped like a box.

Parallel walls within thespeaker amplify and distort certainfrequencies. This blurs the sound.

Although this fact has beenknown for some time, to date theproblem has only been solved by themost costly systems.

The RL Series Speakers arean affordable solution to the problem.

The unique shape creates aseries of non -parallel surfaces. So,like a concert hall(a room with non-parallel surfaces), the result is a pure,undistorted, "open" sound.

For Dealer Nearest You

This shape, the material,and the internal construction haveallowed us to eliminate the cabinetresonance and rear sound dispersionyou hear in box type speakers.

In terms of capability RLSeries Speakers accurately reproducean extremely wide range of music.Including the kind thatl found oncompact discs.

Call TOLL -FREE 800-633-2252 Ext. 827

We could go on and on. Butwhy listen to us when you can actu-ally listen to a pair of RL:s.

Just stop by any Bang &Olufsen Dealer and audition eitherthe RL Series 60 or 140. We thinkyou'll enjoy them.

Bang&Olufsenof Denmark


CLASSICAL MUSIC

Discs and tapesreviewedRobert Ac rtRichard FreedDavid HallStoddard Lincoln

BACH: Magnifica4 Cantata "JauchzetGott" (see Best of the Month, page 93)

BACH: Flute Sonatas (BWV 1020 andBWV 1030-1035); Partita for Flute(BWV 1013). Jean-Pierre Rampal(flute); Trevor Pinnock (harpsichord);Roland Pidoux (cello). CBS 0 I2M39746 two discs, © I2T 39746 two cas-settes, no list price.

Performance: ExcellentRecording: Excellent

Considering that both Jean-Pierre Ram -pal and Trevor Pinnock have recordedthe Bach flute sonatas with differentpartners in wildly opposed styles-Rampal in a slick performance withRobert Veyron-Lacroix, Pinnock in animpeccably authentic performance withStephen Preston-you approach this setwondering just how the two will ironout their differences and produce a uni-fied performance.

Most of the ironing out has been doneby Rampal. While Pinnock remainstrue to his authentic style, with itsdetailed articulation and spacious pre-sentation, Rampal has mellowed con-siderably. His tempos are slower, allsigns of slickness have vanished, andpoise complements his usual surfacecharm and wit. Playing with Pinnockapparently changed his whole conceptof Bach, resulting in excellent perform-ances of these works. S. L.

BARTOK: The Miraculous Mandarin;Music for Strings, Percussion, and Ce-lesta (see Best of the Month, page 96)

BEETHOVEN: Symphony No. 7, Op.92 (arr. Beethoven); Fidelio Overture,Op. 72b (arr. Sedlak). Octophoros. AC-CENT 0 ACC 8434 $12.98, ACC48434D no list price (from Audio -Source, 1185 Chess Dr., Foster City, CA94404).

Performance: Highly entertainingRecording: Splendid

Before the days of the phonograph,masterpieces of the symphonic reper-toire were available for home consump-

Ex P LA N ATION OF SYMBOLS:

0 = DIGITAL -MASTER ANALOG LP© = STF.REO CASSFTFE

= DIGITAL COMPACF DISCe = MONOPHONIC RECORDING

DVORAK'S STRING QUARTETS

Prague String Quartet: wholly authentic

THE complete works for stringquartet of Antonin Dvotakwere recorded by the PragueQuartet in the mid -Seventies

and released by Deutsche Grammo-phon for sale overseas, but the record-ings have never been available in theU.S. until now. PolyGram Special Im-ports is bringing the twelve -disc set infor the first time, and it is a wonderfulmusical treasure.

Dvotik's string quartets were writtenover the period 1862-1895, basically thesame time span as the symphonies(1865-1893) but extended slightly at ei-ther end. Hearing them in chronologicalorder offers profoundly illuminating in-sight into the composer's struggle toachieve mastery of the quartet medium.The very first quartet, in A Major, datesfrom Dvotak's twenty-fourth year. It islyrical to a fault and, not surprisingly,permeated with elements of Schubert,Schumann, and Mendelssohn. The Sec-ond Quartet, in B -flat Major, composedabout seven years later, displays a morechromatic texture indicating the in-fluences of Liszt and Wagner. In thenext four quartets, however, writtenover the following four years, Dvotakput more of himself into the music, andby the time of the Quartet No. 7 he wasbeginning to exercise greater control.The Seventh, Dvotak's first quartet tobe published (1876) and performed inpublic (1878), has a furiant-style scher-zo in which the composer's Czech rootsare in full view. The Quartet No. 8(1876) is more restrained, maintainingan almost Brahmsian pastel atmospherefor the first three movements but sum-moning a splendid burst of energy forthe finale. The Ninth Quartet, in DMinor, was dedicated to Brahms.

It is with the Quartet No. 10, in E -flatMajor, that we arrive at the works dis-

playing Dvotak's fullest mastery. Themusic is drenched in Slavonic color,highlighted by the famous Dumka slowmovement and a finale of terrific vigor.The Quartet No. 11, in C Major, is themost imposing of them all in terms offormal mastery on a grand scale, partic-ularly in the first movement.

The F Major American Quartet,No.12, remains the most popular, and itis certainly a prime product of the com-poser's sojourn in this country. Thefinal quartets-No. 13, in G Major, andNo. 14, in A -flat Major-are masterlysummations of his contribution to thestring -quartet literature and deservemore attention than they've received.

The performances by the PragueString Quartet are not only wholly au-thentic in tone and style but wholly con-sistent in interpretive stance and execu-tion. Unlike some quartets that haveperformed these works, the Pragueplayers make no attempt to sweeten fur-ther what is intrinsically sweet andtouching. It is the sinewy, sometimesflinty aspect of Dvotak's utterance thatgets more than the usual stress here,most notably in the American Quartetand the preceding Quartet No. 10.

Although the recordings were doneover a four-year period, in the pre -digi-tal era, the sonics are absolutely true tolife, with a comfortably resonant yettonally warm -hued ambience. I can un-reservedly recommend this set, espe-cially at the bargain price that PSI isasking. David Hall

DVORAK: String Quartets Nos. 1-14;Two Quartet Fragments; Two Waltzes,Op. 54, Nos. 1 and 4; Twelve Cypresses.Prague String Quartet. DEUTSCHEGRAM MOPHON/POLYGRAM SPECIALIMPORTS 2740 177 twelve discs$71.76.


tion

L

Get allon

from

the newestMcIntosh

McIntosh

XI.

of

ii..7..ri

Cip

-

...., ......

- -

0

and latest informa-stereo equipment

Laboratory.

i Speakers

t

Illy

. -1 fi---',,- .=,.----,--..,r-'.7.,

__

,

- - b"bleb it

0 I-

SIR 5110 I itnerSit 5112 tiriplifierI 7114 Preamplifier

........... ' \ Ai

__ 0: (13

MC 2255 Stereo Power Amplifier

Send For Your Stereo Information

McIntosh Laboratory Inc. SREast Side Station P.O. Box 96Binghamton, N.Y. 13904-0096

Name

Address

City Stair

Zip

Phone Area Code

JCIRCLE NO 32 ON READER SERVICE CARD

tion not only through reductions forpiano but also through transcriptionsfor small ensembles. Besides transcrip-tions authorized by the composers ortheir publishers, there were, of course,countless unauthorized arrangements.According to the liner notes for thisrelease, it was in an effort to combat thisplague of pirate reductions that Bee-thoven decided to publish a version ofhis Seventh Symphony scored for anensemble of nine winds. He also madesome drastic and surprising cuts, trim-ming the scherzo down to a straight A-B -A pattern and providing a finaleshorn of its development section. Themain key became G Major instead of A,but with the scherzo in its original keyof F Major. Wenzel Sedlak's 1815 ver-sion of the Fidelio Overture knocks outtwenty-six bars midway through toavoid an awkward bit of modulation.

Both of these works make for highlyeffective and entertaining listening, par-ticularly in these beautifully moldedand justly paced performances by theBelgium -based Octophoros ensemble.The recording is excellent too. D.H.

BERG: Jugendlieder (Early Songs).Dietrich Fischer-Dieskau (baritone);Aribert Reimann (pianist). ODEON 270195-1 $12.98 (from International Bookand Record Distributors, 40-11 24thSt., Long Island City, NY 11101).

Performance: WinningRecording: Clear

These twenty-three short songs (severalof them last little more than a minute)are taken. from a much larger groupwritten by the youthful Alban Bergwhen composition was his avocation.They may not have any great musicalsignificance, but they reveal an aspect ofthe composer not readily seen in hismajor vocal works, Wozzeck andLulu-that is, simplicity, a sense ofmelody, and an immediate appeal tothe listener. Dietrich Fischer-Dieskau'sGerman enunciation is a model for allto follow, and his style has the polish wehave come to expect from him. Hemight have tempered the extremes offorte and piano a bit, the former seem-ing too big for these vignettes and thelatter sometimes so soft that the song ismomentarily lost. Fine accompani-ments are provided by the composerAribert Reimann. Recommended toanyone interested in the canon of Berg'smusic. R.A.

BERLIOZ: Romeo et Juliette. BrigitteFassbaender (mezzo-soprano); NicolaiGedda (tenor); John Shirley -Quirk(baritone); Chorus of the Vienna StateOpera; Austrian Radio Chorus and Or-chestra, Lamberto Gardelli cond. OR-FEO 0 S 087 842 two discs $23.96,MC 087 842 two cassettes $23.96, ©CD087 842 two CD's $34.

Performance: Fully realizedRecording: Well balanced

Berlioz's "symphonic poem," as hecalled Romeo et Juliette, is a curious

work that is not readily assimilated. It is"neither an opera in concert form nor acantata, but a symphony with chorus,"Berlioz suggested; he might have added,"and three solo voices." While there isno direct quote from Shakespeare'splay, the vocal portions of the score,both choral and solo, tell us what theplay is about in terms of narrative andimage.

The excitement of the piece lies in thetexture and color of the scoring. Thereis real musical drama in the extendedorchestral sections and in the final cho-ral confrontation and reconciliation ofthe feuding families. The two choruseshere perform throughout with care andreverence for Berlioz's intentions. Therecording, made in Vienna's acoustical-ly glorious Musikvereinsaal, is sonor-ous, resonant, clear, and well engi-neered in terms of dynamics, and theperformance is a thoughtful and sensi-tive one in the hands of conductor Lam-berto Gardelli. R.A.

COUPERIN: Concerts Royaux. RobertClair, Janet See (flute); Davitt Moroney(harpsichord); Jaap ter Linden (bassviol). HARMONIA MUNDI HMC 1151$11.98, © HMC 40.1151 $11.98,90.1151 $17.

Performance: ExquisiteRecording: Sensitive

Written for Louis XIV's Sunday after-noon chamber concerts, Couperin'sConcerts Royaux are so unbearably re-fined that they almost defy modern per-formance. The only way to play themseems to be to out -refine them-whichis exactly what these musicians do.Throwing in every French mannerismimaginable and succumbing utterly tothe characteristics of early instruments,they abandon themselves to the style socompetely that any self-consciousness islost in their oneness with the music.Couperin's exquisite decadence has metits match at last. S.L.

CRUMB: A Haunted Landscape. NewYork Philharmonic, Arthur Weisbergcond. SCHUMAN: Three Colloquiesfor Horn and Orchestra. Philip Myers(horn); New York Philharmonic, ZubinMehta cond. NEW WORLD 0 NW 326$9.98.

Performance: DefinitiveRecording: First-rate

These are two more in a series of workscommissioned by the New York Phil-harmonic-in most cases for its variousfirst -chair players that has already en-riched the repertoire with such works asJohn Corigliano's Clarinet Concertoand Vincent Persichetti's Concerto forEnglish Horn. William Schuman'sThree Colloquies was introduced in Jan-uary 1980, George Crumb's A HauntedLandscape in June of last year; bothwere recorded live, with some subse-quent studio takes.

According to Crumb, his piece "is notprogrammatic in any sense," but, rath-er, evocative of a generalized "aura of


mystery . . . the tiny, subtle nuancesof emotion and sensibility that hoverbetween the subliminal and the con-scious." Over a "cosmic drone" in theform of a pedal -point low B -flat sup-plied by two alternating (and overlap-ping) double basses, the evocativemeans involve an enormous aggrega-tion of percussion instruments-in-cluding exotic devices from Asia, SouthAmerica, etc.-with an amplified pianoplayed on its innards and even the twoharpists tapping their sounding -boardswith their knuckles. A measure ofCrumb's success is that the listener (thislistener, anyway) was not taken with thevariety of exoticisms so much as theintriguing-and at times truly haunt-ing-atmosphere these devices help toevoke. The "night music" (if you cancall it that) of the opening has an almostIvesian quality, ensuring an abundanceof warmth as well as color.

Percussion instruments are quiteprominent in Schuman's Colloquies,too, though by no means as numerousor as exotic as in the Crumb. Schumanhas always known how to make effec-tive use of the battery, and here eventhe suspended cymbal becomes anagent of some eloquence. The piano-not amplified, but played the old-fash-ioned way, on its keys-has an assertiverole in establishing the dramatic tex-ture, as do the drums and various bells(or cousins thereof). The three sectionsare headed, respectively, "Rumina-tion," "Renewal" and "Remem-brance"; no "program" more specificthan those general implications hasbeen set forth.

Schuman, who has generally favoreda tripartite layout in his orchestralworks, advises that this one is not a vir-tuoso concerto, but simply "musicwhich required a solo French horn torealize its intentions." The solo part, inany event, is every bit as full of chal-lenges as any out-and-out concerto, andthe work as a whole is powerful stuff.With each hearing it seems to touch adeeper level, through that directnessthat has been Schuman's consistentlyeffective approach.

Both works, performed by the musi-cians for whom they were created,receive what may well be regarded asdefinitive performances, and the re-cording itself is first-rate. R. F.

DELIUS: Violin Concerto; Suite forViolin and Orchestra; Legende. RalphHolmes (violin); Royal PhilharmonicOrchestra, Vernon Handley cond. UNI-CORN-KANCHANA 0 DKP 9040 $11.98,

DKP (CD) 9040 $17 (from HarmoniaMundi USA, 3364 S. Robertson Blvd.,Los Angeles, CA 90034).

Performance: SuperbRecording: Excellent

This was the last recording made by theEnglish violinist Ralph Holmes, fourmonths before he died in September1984 at the age of forty-seven. Thenature of the music makes it a touchingvalediction; it also brings some valuable

$10 REBATEM III HE CartridgeMI1OHE CartridgeVN5MR StylusVN5HE Stylus

$5 REBATEVN45MR Stylus

VN35MR Stylus

N97HE Stylus

N95HE Stylus

N95ED Stylus

N9I ED Stylus

additions to the catalog. Holmes's feel-ing for Delius's music was splendidlymanifest in his recording of the threeviolin sonatas with the composer's asso-ciate, Eric Fenby, as his keyboard part-ner (Unicorn UNS-258), but even thatmight not have prepared anyone for hiseloquent authority in the concerto. Thisrecording of it would have been wel-come simply because there is none oth-er in current circulation, but it happensto be the most persuasive account of thework yet offered on records. VernonHandley realizes the beauties of theorchestral writing every bit as fully as

Beecham did on his old 78's, and thewarmth and vividness of the new digitalrecording leave nothing to be desired.

The concerto dates from 1916, and, ifstill far from being a general repertoirework, it has been recorded a half -dozentimes. The four -movement Suite of1888 was not even performed in publicuntil last year, and the Legende, of1895, may not have been heard in thiscentury-at least in its orchestralform-until this recording was made.These are not great works, probably noteven "important" ones, but they arelovely and substantial ones-bitter-

Save up to $25°42 on thequickest stereo improvement

you can make.Shure's Holiday Savings Rebate on Cartridges and Styli .

A new Shure phono cartridge on the end of your tonearm is the bestinvestment you can make to improve the sound of your stereo system.

And from now through December 31,1985, you can receive a cash rebateon a variety of Shure's most sought after cartridges - like the world -acclaimedV 151ype V -MR.

If you already own a Shurecartridge, you can "tune it up"with a genuine Shure replacement- or upgrade stylus, and earn arebate too.

Whether it's a gift to yourselfor someone you love, a new Shurecartridge or replacement styluscan really bring the sounds of theseason alive. For the name of yourShure Dealer, call (312) 866-2553.

Cartridge and Stylus Savings$25 REBATEV15 Type V -MR

Cartridge$20 REBATEV 15 Type V -B

Cartridgefi 15 'type V -P

Cartridge$15 REBATEML140HE

CartridgeMLI2OHE

Cartridge

SHURE°

STEREO REVIEWREVIEW NOVEMBER 1985 121

sweet and nostalgic in the most unmis-takably Delian character. And therecould be no finer performances of thismusic than you'll find here. R. F.

HANDEL: 0 come chiare e belle; Clori,mia bella Clori; Amarilli vezzosa (IIduello amoroso). Patrizia Kwella, Gil-lian Fisher (sopranos); Catherine Den -ley (contralto); London Handel Orches-tra, Denys Darlow cond. HYPERIONA66155 $11.98.

Performance: FreshRecording: Crisp

Titled "Il duello amoroso" ("TheAmorous Duel"), this recording offersthree utterly charming cantatas written,along with about a hundred others,while Handel was sowing his oats in Ita-ly. The texts concern the usual denizensof Arcadia, and the music relies on asophisticated melodic style that is clear-ly recognizable even this early in Han-del's career.

Patrizia Kwella, the star of the album,sings in such a naturally pure style thatthe few vocal problems she has in noway detract from her performance.Catherine Denley sings with grace andease, and the London Handel Orchestraunder the direction of Denys Darlowoffers confident support and some finesolo playing. The performances are asfresh as the music. S.L.

LULLY: Dies Irae; Misere. Soloists,Chorus, and Orchestra of the RoyalChapel, Philippe Herreweghe cond.HARMONIA MUNDI HMC 1167 $11.98,

HMC 40.1167 $11.98, © HMC90.1167 $17.

Performance: SumptuousRecording: Splendid

Highly esteemed by musicologists butrarely heard, Lully's thirty -some motetsare even less widely known than hisoperas. Consisting of massed choralpassages interspersed with arias, duets,and trios, all supported by full orches-tra, the motets are written, as one wouldexpect, in the grand manner. They aresplendid music, each making a strongimpression with dramatic settings oftraditional texts and noble simplicity oftexture.

The forces of France's Royal Chapelproduce a sumptuous sound in the twomotets recorded here, and PhilippeHerreweghe brings out their full dignityin his spaciously paced readings. In all,a welcome addition to the catalog. S.L.

MOZART: Requiem (K. 626). KathleenBattle (soprano); Anne Murray (mezzo-soprano); David Rendall (tenor); MattiSalminen (bass); Chorus and Orchestraof Paris, Daniel Barenboim cond. AN-GEL 0 DS -38216 $11.98, 4DS-382 I 6$11.98.

Performance: PedestrianRecording: Very good

Except for Kathleen Battle's soaring so-prano, this is a stodgy and thoroughlypedestrian performance of the Mozart

Requiem. It taxis around with swoopinggestures but never takes off. In the linernotes, Kenneth Dommett makes an elo-quent plea for continued use of theSassmayr version of Mozart's last testa-ment. I agree, but let's have a better per-formance. S.L.

MUSSORGSKY: The Nursery.TCHAIKOVSKY: Songs. Jan DeGae-tani (mezzo-soprano); Gilbert Kalish(piano). NONESUCH 0 79103-1 $11.98.

79103-4 $11.98.

Performance: Enchanting, movingRecording: Clear, crisp

The "enchanting" above applies toMussorgsky's The Nursery, the "mov-

Zoltan Kocsis: in his element

ing" to the Tchaikovsky songs. Thereare ten of the latter, for the most part inthe minor mode, introspective if notdownright sad. They are songs as wewould expect this composer to writethem, characterized by beautiful melo-dy and performed with affecting sensi-tivity by Jan DeGaetani. Among thetitles are A Summer Love Tale, BlueEyes of Spring, The Sounds of Day AreStill, and From the Day That I WasBorn, as well as the obligatory None Butthe Lonely Heart.

The Nursery is what makes this discimportant to collectors, however, for awhole new aspect of Mussorgsky's art isilluminated in this song cycle. Theheavy, serious world of Boris Godou-nov, for instance, is replaced by theworld of a little child caught up in theinterests of little children-his nurse, abeetle, his doll, evening prayers, a hob-by horse, a naughty kitten. No Tchai-kovskian, flowing passages here, butrather a child's quick, sharp intuitions.The songs are exquisitely sung by De-Gaetani, whose perceptive evocation ofthe child makes you almost believe hewill come running through the room.Pianist Gilbert Kalish provides the fineaccompaniments for the songs of bothcomposers. R.A.

PURCELL: Suites for Harpsichord.Kenneth Gilbert (harpsichord). HAR-MONIA MUNDI 1158 $11.98, CD 40.1158$11.98, © 90.447 $17.

Performance: IntimateRecording: Sensitive

Purcell's harpsichord suites seem at firstto be very short and rather bland. Uponfurther acquaintance, however, they arerevealed as exquisite miniatures inwhich Purcell transformed the Frenchkeyboard idiom into something veryEnglish and very personal. In this re-cording Kenneth Gilbert brings out thatintimate style as well as the lyricism ofthe more subdued pieces such as theimprovisatory preludes, the smolderingallemands, and the sarabands. Althougha bit too much of this approach carriesover into the more robust dances, thegeneral effect is excellent.

Gilbert plays a rare, late -seventeenth -century harpsichord, signed "VaudryParis," that has been restored by DerekAdlam. Its exquisite tone is perfect forthis repertoire. S.L.

RACHMANINOFF: Piano ConcertoNo. 3, in D Minor, Op. 30; Piano Con-certo No. 4, in G Minor, Op. 40. ZoltanKocsis (piano); San Francisco Sympho-ny Orchestra, Edo de Waart cond. PHIL-IPS 0 651 4377 $10.98, 733 7377$10.98, © 411 475-2 no list price.

Performance: MercurialRecording: Very good

Zoltan Kocsis's recording of Rachmani-noff's Fourth Piano Concerto was re-leased in the spring of 1984 paired withthe First Concerto. The new entry onthis Philips release, therefore, is theThird. Kocsis gives a swift and mercu-rial reading of its opening movementthat does not well serve this most com-plex and subtle of Rachmaninoffs con-certo movements. He also opts for theshorter cadenza. Similarly, I find a cer-tain lack of the requisite poetic senti-ment (not sentimentality) in the slowmovement. In the more extrovertedand brilliant finale, however, the youngpianist is entirely in his element.

I have never been able to take to theG Minor Concerto, even in the classic1958 Michelangeli recording on Angel.Only in the diabolical last movementdoes Rachmaninoff's inspiration takefire, and Kocsis responds to it with allthe brilliance at his command. Thepiano sound on the Compact Disc isremarkably true to life, and the orches-tra's sound is rich, detailed in texture,and well balanced both among its sec-tions and with the soloist. D.H.

RESPIGHI: La Fiamma. Ilona Tokody(soprano), Silvana; Peter Kelen (tenor),Donello; Mara Takacs (mezzo-sopra-no), Eudossia; Sandor Selyom-Nagy(baritone), Basilio; Tamara Takacs(mezzo-soprano), Agnese; KolosKovits (bass), Bishop; others. Hungar-ian Radio and Television Chorus; Hun-garian State Orchestra, Lamberto Gar -(Continued on page 127)


1935 R.J.RLYNOLIDS TOBACCO CO.

16 mg. "tar",1.2 mg. motina ay. per cqarette by FTC method.

SURGEON GENERAL'S WARNING: Quitting Smoking

Now Greatly Reduces Serious Risks to Your Health.

tCci.j)x

AMERICA'S PERFORMANCE -VALUE LEADERIN STEREO COMPONENT SEPARATES...

GUARANTEED* TO IMPROVE AND ENHANCEYOUR LOW -POWER STEREO SYSTEM!

All the power you need to hear the Full Dynamic Range of the fabulous newDigital. dbx. Dolby and Compact Disc recordings-without obsoleting your present stereo system...

Add our new Power Coupler, the

PC -1... just $39.00!Don't sell or trade in your receiver just because you need more power!

The Preamp/Tuner section of your receiver can be instantly coupled to aSoundcraftsmen high -power amplifier with the amazing PC -1 Power Coupler.

You must HEAR it, to believe it!The improvement is Fantastic!It is well known that all Loudspeakers have, in addition to a "StaticImpedance, a far more important "Dynamic" Impedance that canextend as low as 2 ohms, and averages less than 4 ohms in mostcases. Therefore, it is extremely important to consider the powerand performance capabilities of an amplifier into loads as low as 2ohms. The inability of an amplifier to fully drive such low -impedanceloads is audible as a compression of the music signal, and as adistortion or roughness during high level passages.

Soundcraftsmen's new power amplifiers are specially designed toexcel in the low impedance ranges, because this area is so vital toaccurate reproduction of this breathtakingly powerful low and mid-range portion of the audio frequency spectrum. For musically fulland accurate reproduction of the most demanding passages, yourstereo system's loudspeakers need the continuous low impedancepower that can only be supplied by an Ultra -High -Current amplifier.Ask for a High Current demonstration with yourfavorite recording, and you'll hear music you'venever heard before!

PCR800 Power Mosfet Amplifier205 wattslchannel

8 ohms, 20-20kHz 0.050/0 THD '449.300 watts/ch. 4 ohms

All Soundcraftsmen amplifiersare Made in the U.S.A., and are High Current design!

*That's a strong statement, we know...but we're sure you'll be amazed and delighted with your new High Power system's performance!...So sure. that we offer a10 -day money -back guarantee on your Soundcraftsmen PCR800, plus a Free PC -1, when purchased from any Soundcraftsmen authorized participating Dealer.

FREE PC -1 OFFER...Take this Market Research Coupon to yourdealer, ask for a demonstration of how alow -power receiver or integrated amp can playFANTASTIC music by adding the Power Couplerand the $449.00 PCR800 (or ANY of our otherhigh powered amplifiers). Then present thecoupon for your FREE $39.00 PC -1 when youbuy ANY Soundcraftsmen amplifier from yourparticipating dealer.

FREE $19. TEST RECORD...Phone (714) 556-6191, Write, or Circle ReaderCard # below for name of your nearest par-ticipating Dealer and 16 Page Full ColorBrochure, complete specs and prices...We'llalso send you a Special Survey card for yourFree Frequency Analyzer Test Record, a

IIIII ==================COUPON-s39.00 VALUE -FREE

PC -1 POWER COUPLERVALID ONLY IF PRESENTED AT TIME OF AMPLIFIER PURCHASE

'39$39 J; parIlopd' °My. sublecI IL

I ADDRESS SHIP FREE

112

PC -1 TOCITY STATE ZIP DEALER

YOUR RECEIVER CUSTOMER. MAKE & MODEL N:.. DEALER

NAME

'39

DATE

AMP MODEL SERIALPURCHASED: NUMBER

Original coupon only is Dealer's authorization to give FREE PC -I to Purchaser,II Dealer is out of stock, mail original coupon to SoundcraftsmenWe will send PC -7 direct to Purchaser if Coupon is completed and signed by Dealer

IIM = 111. MI MI MI IM = = = MI I= = = MI In = MI NM IMI I= NMI MI Ell MI MI NM =II no

$39

S19.00 value. CIRCLE NO 4 ON READER SERVICE CARD Soundcraftsmen Inc., 2200 SO. Ritchey, Santa Ana CA 92705 PH: 714-556-6191

FREEINFORMATION

SERVICE

Here s an easy way for you to get man-ufacturer s information about productsadvertised or mentioned editorially inthis issue Just follow the directionsbelow and the literature will be sentto you tree of charge from the manu-facturer

aTear out one of the perforatedpostage -free cards. Please print or

type your name and address where in-dicated. Use only one card per person.

bCircle the numbers on the card thatcorrespond to the key numbers at

the bottom of the advertisement or edi-torial mention that interests you. (Keynumbers for advertised products alsoappear in the Advertisers Index.)

CSimply mail the card. One card perperson is all that is necessary. No

postage is required.

dThis address is for our Free Infor-mation Service only. All other in-

quiries are to be directed to. StereoReview, One Park Ave., New York, N.Y.10016.

FREEINFORMATION

SERVICE

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

13 17 18 19 20 21 22 23 24 25 26 27 28 29 3031 32 33 34 35 36 37 38 39 40 41 42 43 44 4546 47 48 49 50 51 52 53 54 55 56 57 58 59 6061 62 63 64 65 66 67 68 69 70 71 72 73 74 75

76 77 78 79 80 81 82 83 84 85 86 87 88 89 9091 92 93 94 95 96 97 98 99 100 101 102 103 104 105

106 107 108 109 110 111 112 113 114 115 116 117 118 119 120

121 122 123 124 125 126 127 128 129 130 131 132 133 134 135

136 137 138 139 140 141 142 143 144 145 146 147 148 149 150

151 152 153 154 155 156 157 158 159 160

4 Please send me 12 issues of Stereo keview rir 54.99 and bill me.(Full subscription price $9.98)

PLEASE PRINT- Use only one card per person.SR11853

NAME

ADDRESS

CITY(Zip Code

STATE ZIP CODEafter Januarymust be included to insure delivery ) Void 31, 198E

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

31 32 33 34 35 36 37 38 39 40 41 42 43 44 4546 47 48 49 50 51 52 53 54 55 56 57 58 59 60

61 62 63 64 65 66 67 68 69 70 71 72 73 74 75

73 77 78 79 80 81 82 E3 84 83 86 87 88 89 9091 92 93 94 95 96 97 c8 99 100 101 102 103 104 105

'06 107 108 109 110 111 112 113 114 115 116 117 118 119 120

' 21 122 123 124 125 126 127 128 129 133 131 132 133 134 135136 137 138 139 140 141 142 143 144 145 146 147 148 149 150

151 152 153 154 155 156 157 158 159 160

4 Li Please send me 12 issues of StereoI F ull stihscriptioi price $9.98)

PLEASE PRINT - Use only one card per person.

tot 54.99 and bill me.

SR11852

NAME

ADDRESS

C."; TY STATE_(Z p Code must be included to insure delivery )

_ZIP CODE

Void after January 31, 1986

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

31 32 33 34 35 36 37 38 39 40 41 42 43 44 45

46 47 48 49 50 51 52 53 54 55 56 57 58 59 60

61 62 63 64 65 66 67 68 69 70 71 72 73 74 75

76 77 78 80 81 82 83 84 85 86 87 88 89 90

91 92 93 94 95 96 97 98 99 "00 101 102 103 104 105

106 107 108 109 110 111 112 113 114 "15 116 117 118 119 120

121 122 123 124 125 126 127 128 129 130 131 132 133 134 135

136 137 138 139 140 141 142 143 144 145 146 147 148 149 150

151 152 153 154 155 156 157 158 159 160

4 Please send me(Full subscription

PLEASE PRINT- Use only one card per person.

NAME

12 issues of Stereo Re .v for 54.99 andprice $9.98)

bill meSR11851

ADDRESS

CITY STATE ZIP CODE

(Z p Code must be included to insure delivery.) Void after January 31. 1986

111

BUSINESS REPLY CARDI IRST CLASS PERMIT #2/ PHILADELPHIA, PA

POSTAGE WILL BE PAID BY ADDRESSEE

Stereo ReviewP.O. BOX 13878PHILADELPHIA, PA. 19101

NO POSTAGENECESSARYIF MAILED

IN THEUNITED STATES

MOW 111=110Mir

BUSINESS REPLYP

CARD]CLASS PERMIT 0' HILADF LPHIA, PA



BUSINESS REPLY CARDFIRST CLASS PERMIT #27346 PHILADELPHIA. PA.




IN THEUNITED STATES


IN THEUNITED STATES

"INMIMS;

SIM

-MIIPFer

1

Reved and updated!

SteriseOREMeViSS1014

SIERSO.TEST

RECORDI -

STAFF ofcHNICA,74 MOSTEDITED 04° -is-RESENT EASV-

T"E REVIEW .cORATEAtTpEO-sTERHEssivE, AC EvER DEVE-om THEcO1ARRE RECUR° popTED EfEss1014

TES p.340 Tie VTO -LIE REvisED NAL SRT14

Tills latest version contains everything you need toget the fullest. most realistic reproduction fromyour stereo equipment. You can actually perform acomplete stereo system checkup by ear alone.A test a record Jack,

Employing the most advanced recording, master-ing, and pressing techniques, the Stereo ReviewSRT14-A Is produced to strict laboratory standards.Engraved in its grooves are a series of preciselyrecorded test tones, frequency sweeps, and pinknoise signals that enable you to accurately analyzeand check your stereo system for: Frequency response. Wow and flutter. Stereo separation. Optimum speaker Cartridge tracking placement.

ability. Cartridge Tracking Channel balance. Force it Anti -skating. Hum and noise, Musical Instrument

Including turntable Tuning Standards, andrumble. more . . much more.

Step-by-step instructionsIncluded with SRT14-A Is a detailed Instruction

manual, complete with charts, tables, and dia-grams. It explains the significance of each test. Ittells you what to listen for. It clearly describesany abberations in system response. And it detailscorrective procedures.For professionals too

Included on the record are a series of tests thatcall for the use of sophisticated measuring instru-ments, such as oscilloscopes, chart recorders, anddistortion analyzers. These tests permit the ad-vanced audiophile and professional to make precisemeasurements of transient response, recorded sig-nal velocity, anti -skating compensation, IM distor-tion, and a host of other performance characteristics.SRT14-A record contents CARTRIDGE TRACKING, HIGH FREQUENCY FREQUENCY RESPONSE, 20 kHz to 25 Hz SEPARATION, LEFT -TO -RIGHT / RIGHT -TO -LEFT CARTRIDGE TRACKING, LOW FREQUENCY CHANNEL BALANCE LOW -FREQUENCY NOISE TURNTABLE FLUTTER TONE -BURST CARTRIDGE AND SPEAKER PHASING FREQUENCY -RESPONSE SWEEP, 500 TO 20,000

Hz, LEFT AND RIGHT CHANNEL INTERMODULATION DISTORTION ANTI -SKATING ADJUSTMENT 1000 -Hz REFERENCE TONES FLUTTER AND SPEED ACCURACY STEREO SPREAD CHROMATIC OCTAVE STANDARD "A" GUITAR TUNING TONES

The final stepStart getting the most out of your stereo system.Make the SFIT14-A your next record purchase. Justcomplete the coupon and mall it along with yourremittance . . . today!

CHARGE ORDERS-for your convonlonetoPHONE TOLL FREE 1-800-345-8112.IN PENNSYLVANIA ONLY 1-800-662-2444.

Test Record, Dept. 30013P.O. Box 603, Holmes, PA 19043

Please send SRT14-A Stereo Test Records $9.95 each. ($11.95 outside U.S,A )

Enclosed is0 CHARGE: Visa

0 MasterCardE American Express

Account N Exp. Date

Signature

Print Name

Address

City/State/Zip

*Residents of CA. CO. CT, DC. FL. IL. MA. MI, MO. NJ and NY\,...State add applicable sales tax.

intercom music corp454 MAIN AVENUE

WALLINGTON, NEW JERSEY 07057

(201) 778 8222 (800) 221 1574

NATIONAL DISTRIBUTOR

OF MANY FINE LABELS

1.7s - Cassettes - CD's

"LISTEN TO OUR SOUNDS"

MUSICMASTE AS

One Of Our Many Ane Labels

DISTINCTIVE, UNUSUAL CLASSIC RECORDINGS

BY

WORLD FAMOUS ARTISTS


Take your cuefrom the 1985

TAPE RECORDINGBUYERS GUIDE

If you're thinking about buying tapeequipment or accessories, think smart.Get some sound advice from StereoReview's 1985 Tape Recording BuyersGuide. In this new, fact -filled editionyou'll find: Over 1,000 Product Listings:

Decks, tapes, VCRs, mics, mixers.IR Directory of Manufacturers:

Over 130 entries. Test Reports: Decks (Akai to

Onkyo), VCRs and headphones. Special Feature Articles: All the

facts and figures you need to know,to get the best buy.

-ORDER YOUR GUIDE TODAY! -

rTAPE RECORDING BUYERS GUIDE

P.O. Box 603, Holmes, PA 19043I enclose $4.95 ($395* plus $1 post-age/handling). Outside USA $6.00.

Name

Address

City

State Zip'Please add your applicable sales las

delli cond. HUNGAROTON 0 12591-93SLPD three discs $32.94, HCD12591-93 three CD's no list price.

Performance: IntenseRecording: Bright

La Fiamma (The Flame), Respighi'sonly opera to have achieved a measureof international renown, tells a demonicstory. Set in Ravenna during the Byzan-tine era of the seventh century, theaction, like that of // Trovatore, is basedon belief in witchcraft, but while weknow that Azucena in the Verdi opera ismistakenly accused of the black art, inLa Fiamma witchery is essential to thebackground and unfolding of the story.A second level of the narrative concernsaspects of passionate love.

The score reveals influences of Rim-sky-Korsakov and, to a lesser extent,Richard Strauss, both of whom played apart in Respighi's musical develop-ment. It is muscular, sensual, passion-ate, and at times melodiously romantic,which accounts for its relative populari-ty in certain parts of Europe. If theopera as a whole is of a second order -challenging credibility dramatically andderivative musically -its composer wasnot. In La Fiamma we experiencemuch of the excitement of his cycle ofRoman tone poems.

The present recording, performed byHungarian artists in virtually unintelli-gible Italian (the men are a bit morecomprehensible than the women), iscompelling. The artists sing with suchconviction that we are caught up in themelodrama. Respighi's tessitura issometimes cruel to the women's voices,a fact emphasized by the "Russian"quality of their singing, which is slightlysharp and cutting. The men fare better.The chorus is musically clean and dra-matically impassioned throughout, andthe orchestra under Lamberto Gardel-li's precise direction plays well.

The producers of the album deservepraise for the accompanying notes andlibretto (in six languages), which give adetailed account of the opera in the con-text of Respighi's other work and whichenable the listener to follow the dramat-ic line easily. R.A.

RIMSKY-KORSAKOV: Capriccio es-pagnol (see STRAVINSKY)

SCHUBERT: Quintet in C Major (D.956). Lindsay String Quartet; DouglasCummings (cello). ASV 0 DCA 537$11.98, C) ZC DCA 537 $11.98 (fromInternational Book and Record Distrib-utors, 20-11 24th St., Long Island City,NY 11101).

Performance: WonderfulRecording: Lush

The Lindsay Quartet and cellist Doug-las Cummings turn in a warm, heart -feltperformance of one of Schubert's mas-terpieces, the C Major Quintet. Follow-ing the drama of the work closely, theysavor the lyric passages and pull out allstops for the stormy sections. Theirsound is as sumptuous as the music,

JncLoCALL TO

800-62

sieve'LL -FREE

2-2340NI, AK, HI call (2343 CANAL ST. NEW

12) 226-7229YORK, NY 10013

WE SHIP C.O.D.DOME STEREO

TECHNICS AKAISA 170 99 AA A75 IISA ISO 112 AA 111 139SA 311 149 AA 141 199SA 360SA 460

169199

AA R32GIN 15

149199

SA 560 359 000.66 229155 II 129 01.611 164R58 14 97 NI 018 14Rs$ 18 113 01.044 139ASS 24 119RS1 2113 139 JVCR51 33*RS1 4111

162139

CP 1001eV 1201

6999

111111 491, 179 009 300. 139NSA 788 249 RD* 400 199RS1 93311 169 K0* 110 11951 11 113 KM 110 159SI 8106 64 kW 55, 205St 8206 7s 11.100 92Sl 8106 149 10.110 1095-D91 99 RI 300 179St PI 209 13 4001 31911 P3 799 10.1001 409St PM' 709 I1031 799SI IA2 757 THOWENSSt In/ *I 219 ID -I46 228

DAC 10.717 340E0M-101,41 97 00-16000 2600.307 92 70.166 16 1770.330 86 10.12614 1200360 86 70.3181,900 469 co -1 2151666 729 7C370 321A 5444 1109 f( 371 260

HEADPHONESSONY SOINNIETSER

MOI 11 110.40 190041.291 13 90.323 12MDR £101 1S 140-230 IiMDI 15011/ 21 140-41051 26MCM111101 21 110.41451 44MDR SIO IS 110420 49MDR 550 27 113.430 69MDR IDS 65 105.100 31MDR E232 17 117.423 64001-71305 SO *KGMDR -015 42 I4 19MCI *77 SI 1 740 62

1340 IIIPH3NO CARTRIDGESor OFON

Muerte 11160r9 111-1041 19OM Iu 72 61,1011 29007'1 49 611,901 129OM I t 89 5.11 I 99

STEREO -TO -00AIWA

115 1107 97 SCA 7 3965 MP 119 1151102 I* 1 82(003 39 M-005401 45re OS 45 X5.006 77SCA 5 45 NS 502 40

SONY TOSHIBAWM DM 52 ITA.SI 95WM F15 II (TA 12 /9WM !ID 30 810.57 122WM III 75 1711.116 69WM. IS 76 131.53 35WM MS 119 111.11 96RIM 712 ST V.30 31MM PIS 129 V.19 39

SANYOMG R60 37 MG -P30 37

MG 1110 19 00.11007 89MG 110 19 NP 41 19

TELEPHONES &ANSWIRINE PAAOIONS

PHONE -MATE UNIDEN0 8.0 109 11.1020 SI0 945 106 11.1040 790 7141 155 10.3100 890 SlOC 89 (14100 990 S$SC 107 (11.4010 139

SANYO HCOODA CALLAS 1100 69 (01.50 94A13000 79 (A1.671 94414000 165 (.01.615 09X5700 79 (AT -A/5 9411 (S00 199 (AT 690 129

PANASONICKIT 1070 41 101.2340 56KIT 1214 21 0I1.3202 65III 1620 139 017.3130 161KIT 162S 119 1001.8471 147III 7130 63 VA84120 110III 2330 54 VA -1080 34

69.1090 91CODE -A -PHONE

IOW 75 2115 1711575 149 7420 72253D 116 1471 147

COMPUTERSCOMMODORE ATARI64 135 13011 139MPS 103 '19 WM 1051541 161 1025 1691707 '84 1027 709128 299 1050 162

FLOPPY DISKS70C 11." ,s001O00gir p. 16 50M.ma14 10CANON TYPEWRITERSIry.,m.S 139Ipecac 6 179Iowa, 10 139

VIDEO RECORDERSFISHER JVC

els 341 100.140 339SHARP 141111.110 369

00.3811 619 ZENITH00.5115 259 VR.7100 39910,583 781 94.3010 459NC 104 331 011.6000 999

TOSHIBA5020 309 1420 319

RCA110371 315 OLP.950 949617.385 369 110.800 199081.150 599 017.650 599

PANASONIC711,1330 2/9 1N,I145P 6.1340 359 P9.173099.1430 462 FY.1740PH.143 I 465 PV,580076.1140 499 76.11300111.9600A 949 P6.100

179660859469699

1799

VIDEO CAMERASPANASONIC HITACHI

M.410 469 GP -le 775P8.158 419 RCAPI 918 699 (00.011 4351111,919 749 CM -021 715

VIDEO DISKSPIONEER

10.700 441 10900 871

VHS VIDEO TAPESALL BRANDS

I 170 4 79 1.170 NG S 89

SONY SETA TAPES1.100 437 1750 4941.830 6 II 1.750 UK 5 69

SONY U-MATICVIDEO TAPES

1(5.101 11 21 ((A-301 14 99115.1011111 11 99 8C1.3000 114901301 12 99 ICA-6011 II 99M3.101111 1399 MOWN 20 99

AUDIO TAPESMAXELL TDK

101 C.90 1.65 SA.90 1 6001111 C-90 2.11 50.60 1 110111(.60 I49 100.90 38901.II1C.60 I 99 M0-60 3.291l1 C.90 2.49 /0011.90 5 49IN C.90 IS *00.60 4 39111 0.60 79

CAR STEREOBLAUPUNKT, PIONEER, SONY

RADIOS IL SPEAKERSALL IN STOCK

CALL FOR LOWEST PRICESSONY AUDIO

(515 09 M1.10 221(1.07 99 2111.100 22511-110 119 DT0.1000 385

JENSEN SANYO11.900 121 97E.21 17511.920 139 771.07 16911.940 714 P1.6050 911E160 164 P1.6100 1110E.980 184 P1.6110 135972 300 175 PANASONICAl2.300 191 (013/0 179070.400 224 (01.884 705012.500 254 C01.934 275

SHERWOOD EPI(110-110 135 118.72 169(110110 179 151.22 199(00.301 191 111.32 279100.260 75 111.41 239SCA 740 49 11.55 39SO 2100 141 11.60 65

CLARION CONCORD69001 105 071.101 12569501 101 MIMI/ 21481000 134 1411416 207011078 134 14P1.118 309871501 164 1171.520 279950078 235 1111SS0 439

CAR SPEAKERSJENSEN

1.3033 75 p. 51365 56,pr13023 69 p, 5 1369 43 pr13010 43 pr 11401 17 pr

1.3003 46. pc 1.1405 37, p.US -630 46/pr US 670 47 p.35.420 35/pr

CLARION56970 47.'pr 5E430 46,prSE -970 55, pr SE -570 36,pr5(-630 65, pr

RADAR DETECTORSUnoden tondo 15 117Werke Cobra 3100 110Urordcon Cobra 4100 139Whittler Spec 'rum 179Spectrum Remote 179

834 161 ISO 1998341 179 $60 149837 169 861 89841 167 864 79

DEARCAT SCANNERSK 701 159 5.71011 183

No credi t cords. 'lease remit by money order, cashiers o feed (heck.Personol clwrks will br held 3 weeks for bank clearance. We will shipC.O.D. (Cosh, o- certified check ONLY). Continental U.S., odd SO. oforder for Shipping & Handling 51.00). Shipments by air: doubletime charges. Prices subset, to change without notice. Manufacturer'sgi.orontee & warranty only. All wk. ore final. NY Reedents must odd

sales icur Wholesale - call for details.

2IRCLE NO 65 ON READER SERVICE CARD

and their playing is freely flowing yetalways under complete control. A finerecording. S. L.

SCHUMAN: Three Colloquies forHorn and Orchestra (see CRUMB)

R. STRAUSS: Songs. Lucia Popp (so-prano); Wolfgang Sawallisch (piano).ANGEL 0 DS -38256 $11.98, 4DS-38256 $11.98.

Performance: Very satisfyingRecording: Clear; good presence

The twenty-one songs here include theeight Strauss composed to the poetry ofHeinrich von Gilm, an Austrian writerof little importance save that Straussimmortalized him in this cycle, fromwhich Zueignung and Allerseelen arebest known. In all of the songs, manyfamiliar and others refreshingly less so,Lucia Popp sings with estimable musi-cality, her clear bright voice easily meet-ing Strauss's demands. Moreover, shesings the poetry as if she enjoyed it aswell as the music. Particularly effectiveaccompaniments are offered by Wolf-gang Sawallisch, whose work on thepiano is as dedicated and sensitive ashis conducting from the podium, forwhich he is perhaps more famous. R.A.

STRAVINSKY: L'Histoire du soldat,Suite. RIMSKY-KORSAKOV (an.

Blackwood): Capriccio espagnol, Op.34. Chicago Pro Musica. REFERENCERR -17 $17.98.

Performance: SkillfulRecording: Demonstration class

Perhaps I've simply entered terminalcurmudgeonhood, but I'm afraid I failto see the need for this sort of thing.When the Compact Disc has virtuallyeliminated interruptions from even thelongest pieces and the playing time of agreat -sounding LP side has beenstretched to forty minutes, why wouldanyone want to have to turn a recordover to complete a twenty -five-minutework? And, while piano duet and othersmall -ensemble reductions of sym-phonic works served a purpose in therealm of home entertainment before theinvention of the phonograph, whywould anyone choose to hear a cham-ber -ensemble arrangement of so specifi-cally orchestral a piece as Rimsky'sfamous Capriccio in these days of show-piece orchestral recordings?

The composer Easley Blackwood.who is the pianist in this group other-wise made up of Chicago Symphonymembers, has made a surprisingly effec-tive setting of the Capriccio in whichRimsky's original solos are preserved,but it cannot help sounding like the sub-stitution it is, no matter how well exe-cuted. It is done brilliantly here-more

convincingly, in fact, than the skillfulbut rather characterless performance ofthe Stravinsky. The sound itself is ofdemonstration quality, and perhapsthat, rather than sheer musical pleasure,will be this disc's prime appeal. R.F.

STRAVINSKY: Le Sacre du printemps;Symphonies of Wind Instruments. Or-chestre Symphonique de Montreal,Charles Dutoit cond. LONDON 0 414202-1 $10.98, © 414 202-4 $10.98, 0414 202-2 no list price.

Performance: Very goodRecording: Very good

I would recommend this recording, inany format, for Charles Dutoit's ele-gantly hieratic, beautifully blended real-ization of the Symphonies of WindInstruments in the original 1920 scor-ing. But the absence of backgroundnoise makes the Compact Disc the per-fect medium for this work, in whichmoments of silence play a crucial role.

For sheer beauty of sound, Dutoit'sLe Sacre du printemps (in the 1921 ver-sion) goes straight to the top of theheap, particularly for those who find thesound of Leonard Bernstein's Israel re-cording too dry (though I rather like LeSacre that way). But Dutoit's interpreta-tion is somewhat uneven and lacks theoverall forward thrust of Bernstein's.Dutoit dawdles slightly in the introduc-

NEW

AGE

IN

Jfor elr,r color catalog wt,Iv Ir

GRP Records, Dept. C

r5bW 5/th StreetNew York Al Y. 10019

pLzyhe hottest legends in

to the most in nora-l1,-c new age pioneers,

le a new era in artisticnological mastery with

ny that has made aout ofsound.e reproduction thatthe highest state -of -the -

,digital recording technology.l'who else but GRP

*4.GRP

RECORDS E

its I E

COME. ANI V


HEADROOMConventional design wisdom generally dictates a

complex solution to a complicated problem: In this case, anElectrostatic headphone to reproduce the increased dynamicran e, frequency response and fast transients of digital.

er bypassed convention with the DT 880s byemp oying the most sophisticated version of the simplestdesign approach to create digital reference dynamicheadphones. Using an advanced computer -modelled designwith a proprietary Hostaphan' diaphragm, we createdphones that do more than reproduce increased dynamics,

1 transients and a wider frequency response. Theyuce music. With the increased psycho -acoustic

eadroom" of an ambient listening environment.

ACCURACY IN AUDIO beyerdynamicHBeyer Dynamic, Inc. 9-09 Bun, Avenue, Hicksville, New York 11801 (516) 935-8000

For Dealer Nearest You CallTOLL -FREE 800-633-2252 Ext. 828CIRCLE NO 52 ON READER SERVICE CARD

tion, but then his pace is just finethrough the Cortege of the Sage. A finesense of impenetrable mystery is gener-ated in the so-called "Pagan Night"introduction to Part II, and Glorifica-tion of the Chosen One and Evocation ofthe Ancestors come off splendidly. Asmight be expected, Dutoit and his or-chestra make the most of the conclud-ing Danse sacrale.

Stravinsky's own recording of LeSacre remains the standard by which allothers must be judged, and by thismeasure Dutoit falls a little short. But,at least on CD, he and the London pro-duction staff, recording at the Church ofSt. Eustache outside Montreal, haveworked wonders in clarifying the com-plex rhythmic and linear strands fromwhich this masterpiece is woven. D.H.

TCHAIKOVSKY: Violin Concerto in DMajor, Op. 35; Serenade melancolique,Op. 26; Melodie, Op. 42, No. 3 (orch.Glazunov). Pinchas Zukerman (violin);Israel Philharmonic Orchestra, ZubinMehta cond. CBS 0 IM 39563, 0 IMT39563, no list price.

Performance: SoulfulRecording: Very good

Surprisingly, this is only the secondrecording Pinchas Zukerman has madeof Tchaikovsky's Violin Concerto (hisfirst was made in 1969 with Antal Dora -

ti and the London Symphony). Zuker-man's tone here is hot, and his readingis soulful but always within the boundsof good taste. The slow movement is aparticular gem, and though the violinistbrings plenty of brilliance to the finale,he does not push things too far. The per-formance was recorded in concert, andit is a very fine one overall, with ZubinMehta and the Israel Philharmonic pro-viding enthusiastic backing. The twoslight filler pieces are played with a fineamalgam of fervor and finesse.

Not the least interesting aspect of thisrelease is the unexpected warmth andspaciousness of the sound from TelAviv's Frederic R. Mann Auditorium,normally a locale noted for its tight, dryacoustics. D.H.

TCHAIKOVSKY: Songs (see MUS-SORGSKY)

TCHAIKOVSKY: Symphony No. 6, inB Minor, Op. 74 ("Pathetique". Chica-go Symphony Orchestra, James Levinecond. RCA 0 ARC1-5355 $12.98, C)ARKI-5355 $12.98, 0 RCDI-5355 nolist price.

Performance: StoicRecording: Good

James Levine avoids tearing Tchai-kovsky's passion to tatters in his read-ing of the Pathetique. The very slow

pace of the introduction to the firstmovement sets the stage for a portraitof Tchaikovsky more as stoic than as avictim of hysterical self-pity. But if Tos-canini could bring a Verdian flair toperformances of the Pathetique, certain-ly Levine is entitled to his approach.

The finest thing in this performance isthe eloquent, superbly controlled Ada-gio lamentoso. The muted horns at thefinal climax snarl in truly blood -chillingfashion, and the funeral tam -tam strokeis as sepulchral as anyone could possi-bly wish. The recording itself is veryfull-bodied, though not as transparentin texture as Levine's recent RCA re-cording of the Dvotak Seventh, alsowith the Chicago Symphony. D.H.

VERDI: Requiem. Anna Tomowa-Sin-tow (soprano); Agnes Baltsa (mezzo-soprano); Jose Carreras (tenor); Jostvan Dam (bass -baritone); Vienna StateOpera Concert Chorus; Sofia NationalOpera Chorus; Vienna PhilharmonicOrchestra, Herbert von Karajan cond.DEUTSCHE GRAMMOPHON 0 415 091-1two discs $19.96, ©4l5 091-4 two cas-settes $19.96, 0 415 091-2 two CD's nolist price.

Performance: Grand but slowRecording: Very good

Herbert von Karajan's earlier recordingof the Verdi Requiem, with the Berlin

American AcousticsD -Series Digital Loudspeakers

Soundsational

r411/01

Li!akiai

Soundsational. Sensational Speakers

Soundsational High FidelityFeel the sound of live music Clean, clear, electrifying sound at ALLlistening levels

Sensational Looks-,peakers look great with any room decor Brass grilled

walnut woodgrain finish matches popular lines of audio. video andcomputer fur nit( lit'

Soundsational Digital Audio ReproductionFlom a soft whisper to the roar of a 747 let. D -series speakershandle /he wide dynamic range of today S compact disc players

Sensational 10 -Year Limited WarrantyYou expect quality audio products from American Acoustics. acompany with a heritage extending over 100 years An outstanding10 -year limited warranty backs up this superior product quality

American AcousticsOne Welt Plaza Winslow. IL 61085Phone (815) 367 3811

Series speaker, ...name M CMG io,annn, w St LouisCa n Coy nooston lawnohts Atlanta Canon Inoianaponsin Chicago area AI Alan% 0.41.0 Sferru

Allgraphic equalizers

are not createdequal!

There's nothing in is price range that can comparewith the AZDEN GX-50. Handsomely styled tocomplement the rest of your audio components,it has all the features you coL Id possibly want.

Stereo 10 Band Graphic Equalizer Real -Time Spectrum Analyzer Pink Noise Generator High performance Electret

condenser microphoneFor more information about AZDEN Equalizers,Phono Cartridges, Headphones. and Mixerswrite to:

AZDEN147 New Hyde Park Rc ad, Franklin Square, New York 11010.

A division of Jaoan Reza Co., LTD.

For Dealer Nearest You CallTOLL -FREE 800-633-2252 Ext. 825CIRCLE NO 45 ON READER SERVICE CARD


Philharmonic and different soloists, isstill in the catalog, but his new Vienneseperformance is superior in most re-spects, most conspicuously in terms ofthe sound on CD. The basic approachremains the same: very grand but veryslow; perhaps "massive" would be thebest term. But there is more of a senseof drama in the new version, with aluminous delicacy ip the orchestralplaying as well as plenty of power. Thecombined Viennese and Bulgarian cho-ruses are quite marvelous, and for themost part the soloists are too. If some ofthe sheen seems to have faded fromCarreras's high notes, he is nonethelessextremely persuasive, investing the "In-gemisco" with the simple dignity oneknows better than to take for granted(and what gorgeous wind playing in thissection!). The sound of the CD is exem-plary in its balance, depth, and overallrealism.

Some listeners may feel that the slow-ish pacing throughout tends to holdback the drama somewhat and suggestsa certain degree of self-consciousness inthe interpretation. There is a greatersense of momentum in several otherimpressive recordings of the work, ifnot quite the level of vocal and orches-tral refinement of the new one. The sev-enteen -year -old recording with thesame orchestra under Solti has beentransferred to CD (London 411 944-2),

and, though the soloists are overall notas good as Karajan's and the generalapproach is far more extrovert, I canimagine that some may prefer it for itsgreater sense of sweep-its more oper-atic character in contrast to Karajan'smore ceremonial one. But then, whyshouldn't a requiem be ceremonial?The contrasts are sharp enough, in anyevent, to make a choice between the twoCD versions fairly simple for the listen-er who knows what he wants. R.F.

VIVALDI: The Four Seasons. Amster-dam Guitar Trio. RCA 0 HRC1-5466$9.98, HRE1-5466 $9.98.

Performance: JoyousRecording: Fine

If you like Vivaldi's Four Seasons, whynot hear it played on guitars? If you likeguitars, why not hear them play TheFour Seasons? Either way, this record isa romp. The spirit, technique, and Vi-valdi are all there. Enjoy! S.L.

CollectionsKATHLEEN FERRIER. Chausson:PoEme de l'amour et de la mer. Op. 19.Kathleen Ferrier (contralto); Halle Or-chestra, Sir John Barbirolli cond. Bach:Vergiss mein nicht (BWV 505); Ach,dass nicht die letzte Stunde (BWV 439).Kathleen Ferrier (contralto); Millicent

Silver (harpsichord). Brahms (orch.Sargent): Vier ernste Gesange, Op. 121.Kathleen Ferrier (contralto); BBC Sym-phony Orchestra, Sir Malcolm Sargentcond. LONDON fa) 414 095-1 $10.98, 0414 095-4 $10.98.

Performance: FerrierRecording: Passable to awful

The idea of previously unreleased Kath-leen Ferrier recordings is exciting, andthese performances are charged with thevividness and urgency that perhapscome only in "live" presentations. TheChausson, with Sir John Barbirolli con-ducting, is especially magical: singerand orchestra are clearly swept up in themusic's enchantment. The 1951 air -check did not yield the happiest sonicresults, and four bars of music are miss-ing from the work's opening section,but the magic makes itself felt.

The Bach songs were taken down inanother air -check, this time apparentlyon acetate discs instead of tape, at theend of 1949, and the sound is execrable.The Brahms, taped by the BBC itself inJanuary of the same year, is much clear-er, though it is not as good as the Chaus-son in orchestral detail. The perform-ance is heartfelt, but Sargent's orches-tration of the accompaniments-asmuch as I can make out of it here-seems less than successful, and the Eng-lish text is less effective than the Cier-

0 dumii-ArtegitTERN29 North Hillside Lane

Monroe, CT 06468

CLASSICAL CD's from $11.00POP/JAZZ/COUNTRY CD's from $10.00

ORDERS ONLY

TOLL FREEi-buo 231. 5811 1. 800. 382. 2242 (203) 452 .14u

FOR COMPACT DISCS AND CASSETTES FOR COMPACT DISCS. CASSETTES FOR INOUIRI S AND CONNECTICUT ORDERSCOMPUTER SOFTWARE/HARDWARE

ILA:rsterCard

EXTENSIVE DOMESTIC AND IMPORTED SELECTION WRITE OR CALL FOR A FREE CATALOGUE ALSO CALL US FOR THE BEST PRICES

ON COMPUTER SOFTWARE/HARDWARE

For Fast Delivery send cashier's check, certified check, or money order. Personal and company check allow 3 weeks to clear. Shipping-($1 minimum). C.O.D. add an additional $1.90. Alaska, Hawaii, Canada, P0, APO, and FPO $5.00 minimum.

Mastercard /1 Visa include card no. and expiration date). Connecticut residents add 7.5% sales tax. We ship same day for most orders.Prices subject to change without notice. Defective merchandise replaced with the same item only. All sales are final.


audio SAVE MONEY

COMPONENTSAKAI GXR-88 31 -ID, DOLBY B&C. AUTO -REV. CASS. . . .

AKAI GX-7 3 HEAD DOLBY B&C CASSETTE DECKKEN WOOD KVR-A50 (45x2) VIDEO READY STEREO RECEIVERAIWA ADF-330 DOLBY B&C, SOFT TOUCH CASSADC SS -415X 10 BD PER CH. EQUALIZER with ANALYZERSANSUI DW-10 SANSUI'S BEST DOUBLE CASSETTE DECKSANSUI SX-1130 New! TOP RECEIVER W/AM STEREOTEAC EQ-A20 10BD. PER CH. EQ. W/SPECTRUM ANALYZERTEAC R-666 XBL DOLBY B, C. & dbx & AUTO -REV. CASS DKTEAC V -350C DOLBY B&C CASS DKTEAC V -530X DOLBY B, C, AND dbx CASS DK.TEAC V -900X 3 HEAD, DOLBY B, C, AND dbx CASS DK.BSR 123 12 3 -WAY SPEAKER SYS. (PAIR)TECHNICS SA -460 (50x2) TV, AM, FM STEREO RECEIVERTECHNICS RSB-33W 'NEW' DOLBY B, C. AND dbx dubbing CASSTECHNICS SL -J3 QUARTZ PROG LINEAR TURNTABLETECHNICS RSB-78R AUTO -REV DOLBY B.C. & dbx CASS.DKTECHNICS RS-B11W 2-SPD DBL CASS W AUTO TAPE SELECT.SONY We Have a Complete Selection of SONY Products

$329.95229.00169.95149.95CALLCALLCALL85.00

198.0090.00

150.00CALL98.00

219.95CALL

149.95CALL

149.95CALL

PORTABLESSONY WM-F75 NEW! AM -FM SPORTS WALKMAN CASS 99.95SONY WM-W800 DUAL CASSETTE WALKMAN 'NEW' CALLSONY CFS-5000 3 -PC., AUTO REV.. 5 BD. EQ 99.00JVC PCW-88JBK 3 -PIECE PORT SYSTEM W/dubbing CASS. 195.00

AUTOMOTIVESONY ES -R10 DIGITAL CASS W AUTO -REV & FADER 149.95JENSEN RE -980 AM -FM DIGITAL CASSETTE 179.95JENSEN J-3033 6x9 TRIAX SPEAKERS (PAIR) 69.00SANYO FTE-D6 FOR GM, FORD & CHRYSLER, DIN -COMPATIBLE.. 162.00SANYO FTU-52 AM FM CASS W/DOLBY B&C, METAL CAPABLE 128.00

Mimi, audiow 12 E. Delaware PI., Chicago 60611

Phone Now1-312-664-0020

Price Lists & Quotes

Hours:10:00-5:00

Mon. thru Sat.

TOLL FREE1-800-621-8042Orders & Quotes

man. In the absence of Ferrier's studiorecording of the Brahms with JohnNewmark, though, this might be said tofill a gap.

In any event, the Chausson alone, foranyone with the patience and imagina-tion to compensate in the mind's ear forthe substandard sound, makes the discworthwhile. Sales are to benefit theKathleen Ferrier Cancer ResearchFund. R.F.

BARBARA HENDRICKS: MozartConcert and Opera Arias. Misera, doveson (K. 369); Non temer, amato bene (K.490); Ah! lo previdi (K. 272). Lucio Silla:Frapensier pia funesti di morte. Idome-neo: Padre Germani, addio voi foste. DieZauberflate: Ach, ich laid's. Le Nozze diFigaro: Dove sono. Barbara Hendricks(soprano); Leslie Pearson (harpsichord,in Idomeneo aria); English ChamberOrchestra, Jeffrey Tate cond. ANGELDS -38180 $11.98, © 4DS-38180$11.98.

Performance: Somewhat unevenRecording: Clear, intimate

It is always gratifying to follow thegrowing eminence of a young artistdedicated to the tasteful performance ofgreat music. Such a singer is BarbaraHendricks, whose personality is appeal-ing, whose feeling for music is sensitive,and whose voice is beautiful. If the per-

formance seems uneven, it is becausesome of these arias are so long and,from our present-day viewpoint, so for-malistic, that they are difficult to sus-tain interpretatively.

Of the three so-called concert arias,the most effective is "Ah! lo previdi" (K.272), which Hendricks sings with sus-tained conviction and purity of tonedespite its length. The final two operaarias, however, Pamina's "Ach, ichfahl's" from Die ZauberflOte and theCountess's "Dove sono" from Le nozzedi Figaro by themselves warrant theprice of the record. Possibly because ofthe greater familiarity of these twoselections, or possibly because of theirreadily understandable emotional con-tent, the soprano is at her very estima-ble best in them. Jeffrey Tate conductswith taste and awareness of Hendricks'sinterpretive intent, and the EnglishChamber Orchestra under his directionplays very well indeed. R.A.

MARILYN HORNE. Arias. Saint-Saens: Samson et Dalila: Mon coeurs'ouvre a to voix. Gounod: Sapho: 0 malyre immortelle; Hero sur la tour soli-taire. Massenet: Herodiade: Venge-moid'une supreme offense. And five otherarias by Auber, Offenbach, Godard,Donizetti, and Cherubini. MarilynHorne (mezzo-soprano); OrchestrePhilharmonique de Monte Carlo, Law-

rence Foster cond. ERATo/RCA NUM75170 $10.98, ©MCE 75170 $10.98,ECD 88085 no list price.

Performance: EfficientRecording: Good

This recording might well be titled"Marilyn Horne Does Her Thing," forit shows off this consummate singer ather technically dazzling best. The arias,all in French (and very good French,too) are of varying musical merit, butall are performed with the amazingcoloratura, flawless trill, exciting chesttones, and other accomplishments wehave come to associate with Horne. Theopening aria, from Auber's Zerline, issung with dash; Saint-SaEns's "Moncoeur s'ouvre a to voix" is taken at sucha slow tempo that you stand in awe atthe singer's stamina of breath; Offen-bach's "Ah! que j'aime les militaires" isdelivered with great good humor; and atleast the first part of Gounod's "Herosur la tour solitaire" from Sapho ismovingly interpreted. Still, although Iam one of Horne's admiring fans, I

have to label the performance "effi-cient" because she seems somehow notcaught up in the music. Perhaps there isjust not that much to be caught up in.

If only this great singer, now at theheight of her powers, would be recordedin some full-length opera musicallyworthy of her. R.A.

atit,

11

Si

4,o

INI:=11/111:11111:1=11MSIIM im.em an =Sas mo.imimen:avm WO am mi an in as MD SED =I =I IMO MIAMI =I SIM =WO op OD

TIME FREIGHT ON NAME BRAND STEREOVIDEO RECORDER

AKAI VS -603 VHS STEREO HI -Fl W'WIPELESS REMOTE $599.95SANYO VCR -7500 BETA STEREO HI-FI WWIRELESS REMOTE.... 549.95SANYO VCR -7150 BETA HI-FI W/WIRELESS REMOTE 349.95

HEADPHONESKOSS PORTA PRO NEW HEADPHONE 39.00SONY MDR -M-77 'NEW' SONY MONITOR HEADPHONES 59.95SENNHEISER MS -100 MINI -OPEN AIRE 35.00

TAPE -AUDIO & VIDEOSONY UCXS-90 NEW HIGH BIAS CASSETTE TAPE 18.00/10

TDK SA -90 SUPER AVILYN CASSETTE TAPE 16.00/10

TDK SAX -90 DOUBLE COATED 'SA TYPE CASSETTE 25.00/10TDK D-90 LOW NOISE CASSETTE TAPE 11.50/10

BASF CRS 11-90 CHROME DIOXIDE EXTRA 15.90/10

FUJI M40 METAL CASSETTE 30.00/10MAXELL XL 'S' 90 TYPE I OR II (PLEASE SPECIFY) 24.00/10MAXELL UD 'S' 90 II NEW HIGH BIAS, (NOT 'XL') 20.00/10MAXELL XL -II -90 TYPE I OR TYPE II (PLEASE SPECIFY) 22.00/10

CARTRIDGESSHURE V-15 TYPE 5 MR NEW TYPE "5- CALLSHURE V-15 VP TYPE 5 "P" MOUNT CALLAUDIO-TECHNICA AT-155LC REGULAR MOUNT 79.95AUDIO-TECHNICA AT-122EP "P' MOUNT 27.95

COMPACT DISC PLAYERSAKAI CO-A7TB 3 -BEAM LASER. WIRELESS REMOTE, PROG.. 340.00TECHNICS SL -P1 PROGRAMMABLE AT 'NEW' LOW PRICE!. . . CALLTECHNICS SL -P2 WIRELESS REMOTE, PROGRAMMABLE . . CALLSONY D-5 DELUXE PORTABLE AT NEW LOW PRICE CALLOTHER CD BRANDS AVAILABLE CALL

SEE A BETTER PRICE? CALL US! WE WANT YOUR BUSINESS!!UPS rates apply on these units. Prices and Availability Subject to Change

VISA

- send for free price list -NameAddressCityState Zip

or use your address label

es

0.00.0OHO


TRY & BEAT

OUR PRICES I

& SERVICE!ifitr=litz

CALL OUR AUOIONIDEO

HOTLINE TOLL -PH!

800-221-0974MON-FR1 9AM-1 OPM SAT 9AM-5PM E.S.T.

tex N Y. AK ;

In N.Y. State Call: (718) 253-8888

smuREREBATE

V15-5MR CARTRIDGEOur Price 5138Mfr. Rebate . - 25

TechnicsSL-PJ91 CD PLAYER

black finish 15 step programming 2 -speed search

random accessmemory S21 0

Your Net CostAfter Rebate '113

,,,.. expires 12/31151

Sans leiSX111000 SONIC

AUDIONIDEO PERSONAL STEREOSCONTROL CENTER WM-F10 Il S89 80 watts per channel WM-F75 S99 multidimensionithe D -5S DISCMAN. Callatre/hall AV surround WM-F18 S60mode CFS-5000 S95Call for price! FH-11W Call

T E AC NECCASSETTE DECKS VHS VIDEO RECEIVERV -900x MODEL N-961.$325R -666X 4150 hi-fi/MTS/SAPV -530X $118 top -of -the -lineV -360C 889

Limited Quantities Call for price!

ADC PanasonicSS -425X EQUALIZER PV -200

VIDEO 12 band per channel VHS CAMCORDER computer memory 2 -hr. record 8 play- built -1n spectrum back w/auto focus

analyzer $28n0 Call for price!

Technics GREAT BUYS ONAUDIO 8 VIDEO TAPE!

SA -560 RECEIVERVIDEO!

FUJI 7120 51.17 ea

70 watts per channel FSONIC M:116 :54:04 ra

digital am/tm AUDIO!stereott.v. tuner FUJI FR 8890 86 ea

SONY UD,590 51.75 ea

5350(All tapes sold in sedans of 10only. I 'Nice reflects Inforebate of 50k as of 10/1185

A rchandrse i5 brand new I. A tee/1 ).

e=cI lo change lAnirnum

LET US BEAT ANYPRICE YOU CAN FIND!

THIS IS JUST A SMALL SAMPLINGOF OUR GREAT PRICES,

Call or write for FREE catalog.

STEREOCORPORATIONOF AMERICA

E'L'..11

Dept. 111 1629 Flatbush Avenue.Brooklyn, N.Y. 11210


NFW LIFE FOR OLD RECORDINGS

Continued fivm page83

ord and when to punch in therecorder.

Since I was using open -reel, I

recorded successive songs on alter-nate tracks. This enabled me tooverlap the fade at the end of onesong with the beginning of thenext-and to go back and do it overeasily if something went wrong.When all the songs for a cassetteside were done, I simply mixed thetwo open -reel tracks together anddubbed them to the cassette, withsome touch-up level -riding as I

went. This technique only works,however, if you start with a blankopen -reel tape and if your recordercan get into and out of the recordmode absolutely silently. Mostdecks can get in quietly enough, butsome will put a loud pop on the tapewhen you stop recording.

Step 4: The RecordingPrepare to spend a lot of time

actually recording: at least threetimes the final running time, per-haps more. But don't begrudge thetime; you want to get as close to per-fection as possible, because even thetiniest flaw will drive you to distrac-tion for years to come.

The following steps will have tobe done individually for each recordplayed-there are no shortcuts.First, clean the record you are aboutto record by the best method youhave available. Then check the sty-lus and clean that if necessary. Dub-bing old records is very effective atgetting dirt onto a stylus, and Ifound I had to brush mine at leastafter every record, and often I hadto apply cleaning fluid too.

Place the record on the turntable,put the stylus in the groove, and doa trial play. Watch the tone armvery carefully to see if it swingsslowly back and forth; if it does, therecord is off center and will have tobe corrected. Those old 45's were

often very far from true, but theproblem was usually with the centerhole. The groove area was fine mostof the time, so if you can somehowget a record to revolve without thearm wavering, the wow you wouldotherwise hear will be gone. Most45 -rpm spindle adaptors allow forsome play, so you may be able tonudge the record enough to centerit. If not, remove the adaptor com-pletely and carefully center the rec-ord by hand. You may then be ablejust to play it, but it's advisable touse a record weight or clamp (theyare available from several compa-nies) to hold it in place. If you don'thave such a device, a couple ofpieces of tape on the edges of therecord will fix it to the mat.

Next, set all your processing de-vices, if you are using them, to theirneutral positions. On a trial run,gradually apply just as much cor-rection as you need. It's not a badidea to go back and listen to a bit ofthe previous song as well, to makesure the quality differences betweenthem are not too extreme. Then findthe loudest part of the song and setyour recording level.

Setting levels can be tricky. Whilesome singles have a reasonably widedynamic range, most are very com-pressed. In the former case, you willprobably want to do some manuallevel -riding so the quiet bits don'tdisappear. Be aware also that differ-ent sorts of music read differentlyon the meters, so strict adherence tothe standard practice of peaking at 0dB may cause apparent level differ-ences. You should "cheat" the levelup or down to match the precedingcut; after all, we're not too worriedabout minor levels of distortion inthis exercise. You are unlikely tocause much distortion anyway sincehigh -frequency energy is typicallyabsent.

When your record is prepared forrecording, listen to part of it, prefer-ably a quiet passage. If it still soundsvery noisy in spite of your cleaningand filtering, you might considerplaying it wet. Dousing it withrecord -cleaning liquid or even water(one acquaintance uses methyl alco-hol, which strikes me as a bitextreme) can sometimes do won-ders for clicks, pops, and othernoises. Wet playing is definitely notrecommended for your audiophilerecords (many people claim it haslong-term adverse effects), but inthis case it is probably justified. Yousimply want one good, clean pass ofthe disc, and what happens afterthat is relatively unimportant.

I32 STEREO REVIEW NOVEMBER 1985

Wet playing needs some atten-tion, however, since the liquid willtend to flow out toward the edge ofthe disc rather than moving alongwith the stylus. A damp paper toweland a very light touch can help theliquid move toward the center ofthe disc, although you may alsohave to add more liquid as therecord plays. The fluid you use willalso have a tendency to combinewith residual dirt on the record tomake a kind of "concrete" thatbonds to the stylus, so the stylusmust be cleaned after each playingeven if the next record you tape willalso be wet.

Now is the time to use all you'velearned in rehearsal, cue up therecord, and actually put it on tape.If you suspect any problem with thestart-a slight miscalculation of theturntable's run-up time, for in-stance, or a slow finger on the pausebutton-stop and do it over. If all iswell, listen carefully to the record allthe way through to make sure thereare no hidden skips in its middle.When it's over, it's often a goodidea to hasten the fade a bit so thatthe pause before the next song won'tbe too long. Then put the deck inpause and prepare to record again.

Ideally, when you finish recordingthe last song, you will have a perfecttape. If, like me, you have an inter-im open -reel step, you will still haveto make your final mix, but that willallow you some slight corrections ofthings you may have missed duringthe original dubbing. I find that it'svery useful to smooth out the levelsa bit from one song to the next, andI have also experienced "creepingEQ" from time to time-I tend tohave an increasingly heavy hand on,say, the low -frequency correction asthe tape progresses. Even if youmaster the tape on cassette, a finaldub may be a good thing for thesame reasons, and with this sort ofmaterial a further tape generation isunlikely to make much difference tothe sound quality. You may findthat if the recordings remain a bitnoisy, using a lower -grade tape foryour final mix will roll off some ofthe highs.

To go through this whole process,you really have to want to hearthose old records, and you reallyhave to love tape recording. But ifyou qualify on both counts, youcould end up with an enjoyable, lis-tenable collection of golden oldies. Icertainly have. In fact, I'm juststarting into my second batch, tocatch up on all those records Irejected the first time around! 0

avincpserviceWh'DeNver Satisfaction

CASSETTE DECKSCM On

Teec W440CHigh Speed DubbingTom V9DOX3 -Head

Below Csaier Cost $369Technics RS833 $189High Speed Dubbing

$229

DISC PLAYERS

JVC Disc PlayersBelow Dealer Cost

Sony C-5Portable Disc ManPioneer CLD900Plays Cad and LaserDiscs

Pioneer LD700Below SostAKAI CDA7Below Dealer Cost

$199

$229

$888

$549

$299RECEIVERS

CALLProtor 930Digital Schotz Tuner

Techn ca SA -46050 Wa-tiCHAM,Fk,i/TV Band $199Mama/1985 MM BebodelswCost Call

I SPEAKERS

Koss M-80o Hand -Rubbed

Walrut Veneer

$62e3"The Tower" 64 4 etby Sansui 41 vea3 -way 1E0 wattSansul S-517rloor Standing3 -way $47ea

4.)

CAR STEREO

Concord I22RDigital with DolbyClarion 8500Digital wits Scan $129Marantz Car 360 0129Digital Auto -Reverse I

Jensen J3033$79pr6x9 Tnax II

Pyle DriversBest CarSpeaker Built CC II

SPECIALSDenon DP -37Servo bri. amwith Four 'earWarranty

$199Audio Source E0' IISpectrum Analyzer $v9and Mic

SOME ITEMS CLOSEOUTS. SOME LIMITED OUANTITIES. ALL WITH FULL

FACTOR' WARRANTY PRICES ARE AS LONG AS THEY LAST DEALER

INQUIRIES WELCOMECIRCLE NO 56 ON READER SERVICE CARE

800-356-9514or Cal 608 271-6889

la. C.O.D.

SPECIALS

EQ

Teac EDA-10=MI With SpectrumAnalyzer

Proton EoulprnentSpecialsADC SS7:15X

CallSpecial Purchase CallDenon SoeclalsOn Many Models Call

TAPESMizell or Sony

$4.99eaL-750 or T-120Maze'HGXL-75" or T-120 $5.99eaMaze]XLII 90TDKSA90

1.99

1.00VIDEO RECORDERS

$839Panasor c PV9600AVHS HiF Portable With Stereo Tuner

Sony S_HF600Super Beta HiFiPanasonic PV15454 -Head HiFiJVC GRCIUTop -Rayed CamCorderNew Low PriceSony KV250125 Inch MonitorBelow Cost

$639

$539

Call

$629

WISCOVIN DISCOUNT STEREO

7411 w tklger rd mddison wi 53/1.1

B 9-8 SA' DA 9-'

FREEder is

A DIFFERENT KIND

OF RECORD CLUB

TREMENDOUS SAVINGSINCLUDING COMPACT DISCS...

to every record and tape in print-no "agree -to -purchase" oblication of any kind.

DISCOUNTS OF 2 0% TO 73%oft mgf. suggested list ... special catalog

features hundreds of titles and artists.

MOST LABELS AVAILABLEincluding most imports through spacial custom

ordering service-guarantees satisfaction

SCHWANN CATALOGlists thousands of titles.

DISCOUNT DIVIDEND COUPONSredeemable immediately for extra discounts.

NEWSLETTERSinformational news and happenings in the

work of music ... special super sale listings.

DISCOUNT NEEDLE GUIDEmost mfg. replacements available.

QUICK SERVICEsame day shipping on many orders...

rarely later than the next several days.

100% IRON -CLAD GUARANTEESon all products and services-your totalsatisfaction is unconditionally guaranteed

Discount Music Club is a no -obligation membershipclub thal guarantees tremendous discounts on allstereo records, tapes and CD's and et you buy whatyou want...when you want...or not at all it you choose.

These are just a few of the money -saving reasons towrite for free details. You can't lose so why not fill outand mail the coupon below for immediate information.

CISCOUNT MUSIC CLUB. INC. DEPT. 1185481 Main Street, New Rochelle. N.Y. 10801

Name

Andres!,

City

State Zip

PRICE SERVICE SELECTION SATISFACTION1tres a sample of our amazing prices,HIFI STEREO VIDEO TV

Yamaha R9 $592 Sanyo Beta HiFi $357JVC RX500 .....482 Panasonic PV1330 .. 241Aiwa ADF990 382 JVC HRD 725 631Nakamichi LX5 588 Fisher FVH810 234B&W DM220 218 Sony 13 Color 286Technics SL0200 ....69 Sharp 19' Color 198Tandberg TCD3014 .1092Sansui SX1130 566'Rogers LS3 5A 191

Thorens TD320 342'ax ER -X111 337Mission 737 . . 234

163Yamaha CDX2 . 292Devoe DP45F 2

Sony 'Discman".199 A44

Alpinee7R STEREO

$392H I( 4.90i 293 Kenwood KRC929 ..467Grace F9E 122 Yamaha YCR550.... 313

RECORDING TAPE Nakamichi TD700 .. 633TDK SA90 159$1.58 B&W LM1Maven XLII90 1 62 Sony XR7511 281Panasonic 1120 ...4.37 Blaupunkt Houston 367

Call or write for all your home electronic needs.Computers software peripherals. personal portablestereo. Casio syrthesizers. Yamaha organs. calculators.Canon copiers radar detectors. microwave ovens

Free International Monthly newsletter d price list Cradit Plans available Friendly. knowledgeable people Same day shipment in most cases Fill U.S. warranty on all goods.

TYPEWRITERSCOMPUTERS

IBM SelectricII ... S588SCM Enterprise XT.. 184Royal 2001 199Atari 130XE 126Commodore C128 256

ForService.Fastecalslt. (212) 684-6363

Hours 9am-7pm EST Monday -Saturday

Or write our World Headquarters2' Park Avenue. Dept. 12. New York. NY 10016

Prices subiect to change without notice We reserve the rightto lima quantities. Offer may be withdrawn anytime

CIRCLE NO 71 ON READER SERVICE CARDCIRCLE NO. 70 ON READER SERVICE CARD

VIDEO REVIEWS

Discs and tapesreviewed byChris AlbertsonLouis MeredithAlanna Nash

PAT BENATAR: In Concert. Pat Bena-tar (vocals); instrumental accompani-ment. Hit Me with Your Best Shot; Lit-tle Paradise; Love Is a Battlefield; HellIs for Children; Looking for a Stranger;Heartbreaker; and nine others. PIONEERARTISTS PA -85-090 LaserDisc $24.95.

Performance: TypicalRecording: Good

Originally taped for an HBO special,this 1983 concert at the New Haven,Connecticut, Veterans' Memorial Coli-seum is guaranteed to delight Pat Bena-tar's many fans. I found the going a bitrough, however, partly because thelighting at the concert was unfit for vid-eo taping and partly because Benatar'smaterial is not, on the whole, very inter-esting. For over an hour, she jumpsaround the large stage, a small leather -clad figure in spiked heels, while theband performs in an all too predictablefashion. There is pathos and feeling inIn the Heat of the Night, but most of theprogram is high-energy stuff of little dis-tinction, though the crowd is whippedinto a frenzy by it. It's hard to imagineanyone jumping up and down andscreaming to Benatar's recordings of thesongs in this set, so you have to attrib-ute a good portion of the enthusiasmhere to the atmosphere created by alarge, youthful concert gathering. Ifyour LaserDisc player is equipped forrandom access, though, skip to the lasttrack and enjoy Love Is a Battlefield,which is the cleverly conceived, well -produced Benatar video you might al-ready have seen on your favorite musicchannel. C.A.

BLONDIE: Live! Blondie (vocals andinstrumentals). Rapture; Heart of Glass;Dreamin; One Way or Another; StartMe Up; Call Me; and five others. MCA80060 VHS Stereo and Beta Hi-Fi$29.95.

Performance: Giving it their allRecording: Good remote

This is supposedly the last concertBlondie gave before splitting up severalyears ago. I don't know if that's true(there's nothing in the credits aboutwhere or when it was recorded), but theshow does have a special excitementabout it, and Deborah Harry and theboys really do perform as if there's notomorrow. They also perform more likea real band than usual, instead of as asinger and her back-up.

STAR TREK IIITHE latest Star Trek movie, TheSearch for Spock, directed withVulcanian aplomb by LeonardNimoy, is easily the most faith-

ful to the feeling of the TV series of allthe big -screen Treks so far. The plot,involving mysticism, reincarnation,and intergalactic warfare, doesn't reallymake a lot of sense, but the camaraderieand interplay between the series regu-lars is vastly entertaining (DeForestKelly as the irascible Dr. McCoy is par-ticularly funny), the special effects(courtesy of George Lucas's IndustrialLight and Magic) are often breathtak-ing, and Christopher Lloyd (of TV'sTaxi) is a great Klingon villain, a

Genghis Khan with a healthy sense ofthe absurd.

The whole thing is space opera at itsmost rousing, and, with the exception ofone sight gag involving an attemptedVulcan nerve pinch by McCoy, it trans-lates extremely well to the small screen.Even better, the sound on the laser -discversion is sensational: realistic andclean as a whistle. Louis Meredith

STAR TREK III: THE SEARCH FORSPOCK. William Shatner, DeForestKelly, James Doohan, George Takei,others. PARAMOUNT al LV-1621 laservideo disc $29.95, 01621 VHS Hi-Fiand Beta $29.95.

8

6

0X

The production values are good, thepacing of what amounts to a set of thegroup's greatest hits is tight, and at fifty-five minutes the video is just the rightlength. There aren't many groupsaround today that have the magnetismBlondie had when Debby Harry wasreally revved up, and this video cap-tures it all pretty well. Definitely worthhaving. A. N.

LAURA BRANIGAN. Laura Branigan(vocals); instrumental accompaniment.The Lucky One; Satisfaction; Gloria;Don't Show Your Love; Self Control;How Am I Supposed to Live WithoutYou; All Night with Me; I Wish I CouldBe Alone; and two others. PIONEERARTISTS PA -85-101 LaserDisc $24.95.

Performance: Very goodRecording: Excellent remote

There is no real substitute for livemusic, and even the video of a live con-cert rarely does the event full justice.Laura Branigan's first extended video

release, recorded last year at Caesar'sTahoe, is a case in point. The producershave spliced brief video clips into TheLucky One and Solitaire, but the effectis to make these two tracks look likerough cuts awaiting an editor.

Nevertheless, Branigan is in finevoice, and her performances translatewell to the electronic home medium. Iespecially liked the emotion -charged TiAmo, which in the wrong hands couldso easily become maudlin, and the tearsyou see on Branigan's cheeks in HowAm I Supposed to Live Without You canalso be heard in her voice.

I was less taken by the long version ofGloria, Branigan's launch pad, madeeven longer by the inevitable introduc-tions-not only of her band and back-up singers but also the light man, moni-tor man, janitor, and so on. That sort ofthing is okay if you're there, but it isboring when you're forced to view itrepeatedly on a video disc or tape. Theprogram ends with the surrealistic SelfControl, a wonderfully imaginative pro -


II ORDER TOLL -FREE

o

TEAC v -530x

I

BASFBONUS PACK CHROMECASSETTE CASE

5 95

Cassettes.....

BASF T-120 OR L-750 ' ...,.

-Chrome tiCS

ye.. $489 L-:..- 8)\..... 0,, ..,,

'TOP 10' RECEIVERS

otihemood 5-266050 -Watts per Channel Pere,erDigital FM AM tuning16-Stabon PreSetS KIIMOMMW36,

$29995MARANTZ 58640 I- :6; '6 fTeSet EllaCk '229.95MARANTZ SR940 1004 Cr, Ihg RehOte Blaat '379.95NIKKO NR750 40W Ch 0g 23PreSet Elba '249.95SANSUI SX1130 /91of cnAMILFMSter .'649.95SHERW000 52680 70ee cnDrgl&PreSets '339.95TECHNICS SA150 75* Ch Dg 14-PreSen '119.95TECHNICS SA360 27,5 en ClogTV FM AM '179.95TECHNICS 5A460 %)... rn Dygni AM RA '209.95TECHNICS 5A560 ".. T' DI4AN FM NMI ,379.95

'TOP /0'TAPE DEOG

2 Motor 2Heacl Cassette Deck001by 8 C & Mos Norse ReauCtiOn15Proararn Music Search-

$149°AKAI HXA2 'DuCn Dolby 8 & CAKAI GX40000 ' Reel -TO -Reel &HealsSANSUI DVI913DOuble-DeCk BlackTEAC R5S5X DOltai 9 C 34.10( A RTEAC R6641011 SMOt 001by B C Obk BUciTEAC V360C Soft TOuChCalby 8 & CTEAC V707RX Snead A RDOIN B & Or.TECHNICS RS811W DOubee-DecsTechnics It51378R A a 9 S a-

69 95'249.95299 95179.95239.95

79.95139.95149.95259 95

We Carry A CompleteSelect ion Of

SONYPRODUCTS. PLEASE CALL OR

WRITE FOR OUR PRICES

TOP 10'CARTEACKIES A TURTITA8L15

AUDIO TECHNICA 152LP -.PiCKERING 625111 1,5*SHURE V15 TYPE VeSTANTON 680EL 06604-F4 SIMLATECHNICS 54.801 Manua, EleltDriveTECHNICS 51.1200MKN Manual OurI2TECHNICS 5113 -ear 0.0PrOgTECHNICS 51003 ' WartaTECHNICS 5100300 ,16'. 50 0117 Arr.-

'79 9529 95

109 9544 9559 95

799 95149 9599 95

139.95

TOP 10'SPEAKERS a SPEAKER STANDS

AUDIOSOURCE 151': pa., '79.95TEAC 6110 pair '179.95*TECHNICS 580300 - pair '199.95*TECHNICS 58132

ICS 581.52 'pair '99 95

TECHNICS pair '119.95'SHIPPEO U P S OR PARCEL POST

PLATEAU SPEAKER STANDSPLATEAU 710 Heg, S CsPLATEAU L.50 'P LATEAU 110 .45.9nr '.:

PLATEAU L50PLATEAU L70 -6

pair 19 95pair '34 95pair 39.95pair '49.95pair '49 95

TOP 10'EQUALIZERS a PERIM

1111 SS -315X $19995.10 -Band Per Channel Equalizer Built 93 Spectrum Analyzer -- -

WOO r-,ns Noise GeneratorAT,. .' . Tape Dubbing

ADC 55115X55115%'-'-. -'F '129.95AUDIOSOURCE E01 -II -80 Cn 60 fog '259.95NUMARK 0411650 " ..- meArn0 FO '189.95NUMARK MA IBM Mime PreAmo EC '269.95NUMARK 602600 ' "5E0 Mir '169.95TECHNICS 5H8025 ,61 Chanel EC '84.95TECHNICS 548055 .51 En E0 AM, '219.95TECHNICS 51013065 138an0 ner-Cnan EC "349.95TECHNICS 548066 1290 CNTOuch CO'C 319.95

DO NO, 'ONO (Atm

uPNIMum ORD,

SONNY NO 0 0 -- , KA mAnoNEW FACTO., ONESN PMN 00 ...... D

NI WO' NISPONSINL/ [ON Nv TYPOCePINCIN MONS

800.221.8180 IMMUS1CWORLD23 PARK ROW NEW YORK, NY 10038

"TOP TEN" SPECIALS OF"fteiaae,_

"THEMONTH 0...0009.

--wicsasasies""1-

IN NEW YORK, ALASKAAND CANADA

CALL: (212) 693-0396

$57vmsCERTIFICAIE

SHOP at HOME and SAVE10% to 50%

AND MORE . . . ON QUALITY MERCHANDISE-FULLY GUARANTEED

TOP 10'COMPACT DISC PLAYERS

Tischnics 51.P2.61051 Loading CD PlayerRemOte Control.15 Step PrOgrammable.in Your Choice Of Black

or Silver $28995AKAI CDA7T PYOg 8330. Jr Save' .3349.95HITACHI DA4000 FKograrninaDie914. '299.95HITACHI DA600 reogrammarole PemDte '399.95SANSUI PCV7508 arOgrarnmable Sew,' '259.95SONY 05Deluxe ,ortarole nome CC Play, '229.95TECHNICS SLP1 ,ogramrnaole '229.95TECHNICS 51936 remote Pog BEY. 349.95TECHNICS SLP191 yo, we gw 229.95TECHNICS SLPJ1 ,:r ''.....' '.' ' 229.95

'113P 10'HIGYVINCIn/5 a M/CROPINCITNE/

SONY MDR -M77iiseini Open Dyil.31114 HeaelPhom3.3Suitable For Digital Music Source

$59$5BEYER 01880 Aire

KOSS PROAX - -

SENNHEISER 11041051. -Den AreSENNHEISER H0430 , Aors

SONY MDRE232 -6-,e6SONY MORCDSAUDIO TECHNKA AT9100SHURE 5M57 . .'SONY ECM939LT .

I'99.95*54.95'29.95'79.95'19.95'69.95'16.95'94.95'79.95

'TOP 10'AUDIO Acc/500Tues

discwasher' DKCKStMOtal Record Care SyStem incis aes

Stylus Care System IerostatRecord 1.1,-A 5vcre,Walnut B., ...r Cover

$3295ALLSOP 71300 - *6AUDIO TECHNKA A76002 ' 900AUDIO TECHNKA AT605 -**OISCWASHEP STYLUS CARE SYSTEM.DISCWASHER DISCSET -DISCWASHER RCS

SHURE SFG7

6.956.99

19.956.95

18.959.95

12.957.95

12.95

'TOP 10'STEREO- TO -GO

SONY I WIA-F75. 5E/lash Reshtant 51. -its WalkmanAlia FM Stereo C AutO-Reverse DAuto Tone Selo-

'TOP 10'CORDLESS PITCNI.5 a TELEPMOMB

NEW FT011 PANASONIC VA -8120Style Line Telephone

AT&T NOMAD 4067 .. ' '99.95COBRA CP460 . ....se50, '149.95PANASONIC KXT2130 .-- Met, AutO Pella. '74.95PANASONIC IIXT22323 -2 Mem TOne PulSe '34.95PANASONIC KICT2271 Mem Tone Pulse '59.95PANASONIC KX1-23.10 57. MemSDk510ne PuNe'59.95PANASONIC KXT3T30 ineSDKriann 24. '129.95PANASONIC KXT3821 *-*TeS1'.'"ne Pace '89.95

'159.95

'TOP 10'011,51NE989G MIACINIINIGA 174ALE15

PHOrlEMPTE MiniMate 5000Beeoerie,,, Reirurie

Machine 4Plari, aprMirr.1SSERP vc,ce '<Mateo .

CODE A PHONE 2530 EPerJeness Remote '154.95DICTOGRAPH 01A1R 101. Portal* '59.95INSTADIAL 'WV POrIaOle Ogle '4995

'5995'59 95'89 95'79 95'99 95

'16995

PANASONIC KKA70 Poaable 30 DM!"PANASONIC KXT1115 15. DyerPANASONIC 68111350 60- DowPANASONIC KXT1415 Peo.nee 035PANASONIC KXT1425 *--6PANASONIC KX11325 - -

TCP 10'VOW MURDERS

Panasonic PV -1545ria Head VHS H..F, 1.

.14 Day 4 -Event MPxOutputS

.21 FunChon Remote

BETASANYO VC7250 .- "-

SANYO VC7500 6.SONY 51ie8400 -SONY SLHE600 .

VHS

$59995

Rem

JVC 880725 -JVC HRD225 Silver or 880235 BlackPANASONIC PVI i40 a0D0I0 Stere:PANASONIC PVI 140 -:.21D 8Es .1 nelRCA VLT6OD - '5-23y7Exe"..

'37.0 95'429 95'549.95'689 95

'679.95'459.95'529.95'879.95'529 95

'TOP 10'VIDEO ACCESSORIES

SURROUND SOUND M-360

$10995 $26995PANASONIC RS035 74.95SANYO MICR66 " 29.95SONY WIY1101iSONY WM1115 - 119.95SONY WM75 :. 7895SONY WMO6C - aai6u6 C aft '209.95SONY INMOC2 ivartz PO4W 8 & C NR '149.95SONY WMF1ON AM EV on.n, kr,. '89.95

'149.95

-ADC V200NORTRONKS VCR130 -NORTRONICS VCR135RECOTOB 0601A-RECOTON V604ARECOTOls V6124 RECOTOK V615Is 'SANSUI 80779 VIDICRAFT OETAILER ill

99 9511 9511 9584 95

144 95129 95179 952E995159 9S

f AKAI SPEC AL PURCHASE'AAA 25 Receiver

AAA 35 Receiver

-$10995

$13999

Below Original Ceal CostAAA 45 rrecely

GO R66 CassettE CIPCk

419 9Fa

ALL PRODUCTS CARRY U.S. WARRANTIESALL DEFECTIVE PRODUCTS EXCHAMED WITHIN 30 DAYS

23 PARK ROW DEPT. SR -11 NEW YORK, NY 10038

sesso°11010°

ScotchT-120EXC OR L-750EXC

$679

SCOTCH T 120EG

II

II11

I

I

I

I

$irs ucx-s 90

each 4.79/

'TOP 10'CAR STEREOS

CONCORD HPL-520Digital Tunmg rt, ,t prev.rt.12 5 Watts Per CeDOlbx 8 & C DC Tape Dm,

$29995-BLAUPUNK I ASPEN SOR A RDrgBLAUPUNKT HOUSTON c R Rem DrgSANT D E0A600 - 'Band Equalize'CLARION 6900RT 6950RT A R Dby PPCLARION 8500 8550 240 RAP(JENSEN AT25008L 9..x. 1E0V C18 C 36/SANYO FTC38 11N Cn metalSANYO FTE50 D.9 DINS C AMSSSONY ESP.° D1 12 PESCI A RAMS

'229.95'419.95`7495129.95

'139.95339.95`6895199.95159.95

'TOP 10'CAR 5PEatERS

JE.NSF SIX 300

,SC Watto Ma.Oe. Channel 4,7

CLARION 5E152 .

CLARION SE970JENSEN 13003 .

JENSEN 15013JENSEN 13023JENSEN 13033SONY ES -592VISONN 05001 UTTLE DAVIDVISONIK 05200 SLIM DAVID

49549.95

'49.95149.95'59.95'74.95'79.95'5995

mt,164.95'139.95

We Carry A CompleteSelection Of

(V) PIONEER'CAR STEREO. AUDIO F. VIDEOPRODUCTS PLEASE CALL OR

WRITE FOR INFORMATION

'TOP 10'RADAR DETECTORS & CAR seartnr

WHISTLJEW SPECTRUM Ouairaivne Radar Detect,ORSPECTRUM REMOTEpzempr, ,oyne Rana, DEW'

$189"BEL 834 .

COBRA 604100FOX SUKERFOX 3..uf"iletUNIDEN BANDIT 95 NetAUDIOSAFE HI 11M LOCI

PACE ALERT PA4000 perPAGE ALERT PA4444 .--JrfiPSPE

IN DO 113000 A

179.95149.95179.95149.95

34.9579.9589 95

339.95249 95

'TOP 10'NCO TAPES

SONY UCX-S90tp Artp Get : Foln"1

1,5°Cr corN,

BASF CREII90-2PK ' .

MAXELL XUS-90 OR XLIIS-90MAXELL XU1-90 - L.evei 2.ar.SONY 2PK NOrmal BiasTON ADX-90 NOnix.3805708 SAC -90 Sucre. AmNnTCK SAX -90 Super H18rasTEAC COC.90 NOnnal Reel Wee, CassetteTEAC CRC -90 0.8k3S ReeITOReel GISSette

'3.99'149'1.79'149'1.99'1.69'2.49'3.29'3.49

TOP 10VIDEO TAPES

FUJI T'12000 My,-MAXELL HCX1 750 -MAXELL T-120RCA 1.120SCOTCH 1750SONY L-750040SONY T 1201.1IKTIN HIGEXT 120TON L.500TOM T 12014F -

LWEASigir AvFtELOLIN1NOENOTE:

'8.995.994 994 895 495 995 995 993 997 49

COMPUTERS IN EVERY MAJOR BRAND.THIS UST1NG IS JUST A SMALL SAMPLE INOUR '10,000,000 INVENTORY. PLEASECALL US TOLL FREE OR WRITE TO US FORPRICES ON ITEMS NOT LISTED IN THIS AD.

DEALERS / INSTTTUTIONALINQUIRIES CALL 0300) 221-3191

ismommwompammommin oma =mum Es NE ====IIIMMMMERIMINIIIIII=INIMMOMMINIMMILIMMMEEMMIOCIRCLE NO 39 ON READER SERVICE CARD

duction directed by William Friedkin,who receives credit on neither the discnor the sleeve. C.A.

ELTON JOHN: Night and Day: TheNighttime Concert. Elton John (vocals,piano); Nigel Olsson (drums); Dee Mur-ray (bass); Davey Johnstone (guitar);other musicians. I'm Still Standing;Your Song; Saturday Night's Alright forFighting; Goodbye Yellow Brick Road:and nine others. VEsTRON 1011 VHSHi-Fi and Beta Hi-Fi $29.95.

Performance: As usualRecording: Good

Shot in 1984 at Britain's cavernousWembley Stadium, this new concertvideo by rock's Mad Hatter is largelyindistinguishable from any other con-cert video now before the public. Eltonis in good form, musically, and the songselection, nicely balanced between thestar's Seventies and Eighties material,should satisfy even the most rabid of hisfans. Unfortunately, the man has neverhad a particularly riveting presence, andhis veteran sidemen, who are not aginggracefully, radiate all the enthusiasmand charisma of the executives of a fu-neral home.

Director Mike Mansfield gives us lotsof shots of swaying fans and resorts toso-so computer graphics when thingsget particularly dull, largely to no avail.

I think it's time we all faced up to it:barring the presence of a genuine auteurat the helm (Martin Scorsese, JonathanDemme), concert videos almost nevercome off. L.M.

MICHAEL NESMITH: TelevisionParts Home Companion. Michael Ne-smith (vocals, comedy routines); instru-mental accompaniment. The Voyage ofKona Tiki; Life with Roger; DuellingLounge Pianos; Chow Mein and Bowl-ing; Total Control; and five others. PA-CIFIC ARTS PAVR 526 VHS Hi-Fi andBeta Hi-Fi $29.95.

Performance: At times pricelessRecording: Fine

Michael Nesmith's "Television PartsHome Companion" derives from thesimilarly titled NBC series, which, atthis writing, may or may not become afixture of the upcoming TV season.Some of the sketches here were appar-ently deemed unsuitable for broadcast,although I can't figure out why. Like theshow itself, the tape is a mixed bag,interspersing comedy sketches withbrief blackout bits and rock videos. It'suneven, but Nesmith is so utterlycharming that you almost don't care.The musical numbers are warmhearted,funny, and a treat to look at, and onelong sketch-in which Nesmith, as theurbane Cole Porter, visits his Okie rela-

tives back in the Dust Bowl-is hilar-ious. All in all, worth a look. L.M.

MADONNA. Madonna (vocals); othermusicians. Burning Up; Borderline;Lucky Star; Like a Virgin. PIONEERARTISTS PA -85-M019 LaserDisc$12.98.

Performance: PneumaticRecording: Very good

Sure Madonna's act is exploitative.Sure, she's selling sex. But 99 percent ofall rock stars since time immemorialhave gone the same route, and rappingMadonna for her updated Eighties teaseact smacks ever so slightly of a doublestandard. The real problem with Ma-donna, at least as demonstrated in thesevideos, is that she's colossally uninter-esting, a woman with all the depth andsubstance of a Jordache girl.

There is only one recurring visualimage hare: the star's navel. The rest,save for an attractive fashion shoot inVenice that forms the basis for Like aVirgin, is routine MTV fodder. Madon-na is viewed dancing clumsily (I find itdifficult to believe she ever made it intothe Joffrey Ballet), singing in herinimitable Brenda Lee -on -heliumvoice, and flaunting a physical appealthat, like Pia Zadora's, is at best anacquired taste. The LaserDisc sound,for what it's worth, is excellent. L.M.

r

VAIAuFROM AMBICO

FIRST NAME INVIDEO ACCESSORIES

Call ourToll -Free Number1.800-231-0031

In NJ call201-767-4100

New! Top QualityVideo Accessoriesat Affordable Prices.

Our engineers have developed a line of accessoriesthat offer you top performance that's easy on

your pocket, too! Trust the Val -U group...Rely on Ambico Quality... Count on us

for Performance!

1u IL-IGHTV-1 000

014-.u.POWERV-8000

AMBICO FIRST NAMEIN VIDEOACCESSORIES

50 Maple Street, Norwood, NJ 07648

CIRCLE NO .7 ON READER SERVICE CARD138 S I ERE() REVIEW NLY1' EMBER 1985

CELEBRATING LABELLE S NEWEST STORE IN LAWRENCE I NE V. WORK

A6p0T OOP

CAMERA & S E REO OF MA I NECAMERA DEPARTMENT AUDIO VIDEO

1-800-341-0783 1-800-443-1927Call Toll Free Anywhere in Continental USA A Hawarr Virgin Islands Puerto Rico

GRANDOPENING

SYOSSET('224 W JERICHO TPK

L I NEW YORK515-496-2235

SHOP NOW FOR CHRISTMAS!

OPENSUNDAYS

10 to 8CLOSED

SATURDA

Ml {411 ANYlull

LAWRENCE PRICES AND SEND ALL MAIL ORDERS TO MASH uBAY HAR3OR MA _L. PRODUCTS

3,5-65 ROCKAWAY "PK IN EFFECTL I NEW YORK OCT :6516-321-1320 THRUI NOV 25. 5 16-3 7 1-2 800

°INF PsIN1A00D, NEW YORK 11696 1,

50 IMP DRIVE I ARC

C ALL FOR SHIPPING AND 1,ANDLIVG CHAP ES. ASK ABOUT DETAILSON COD ORDERS. MONEY ORDERS ACCEPTED. ALLOW4 WEEKS

C _EARAN.:.E ON PERSONAL CHECKS.

>-40cc

Fm4

rn0

LL1

a.co

4O

4OzIn1/1

0

4

IXAl.

Q

z

zLua.

.-1

004Lu

fSa.

______-.._-10995

AWFMSTEREORECEI.TECHNICS SA -150 AKAIAA-A3514750

48 watts per channel25 watts per ch Quartzsynthesized digital tuning _

if....,...._ .

... Akai-AA-A 25 (32 watts) 117.50,,. ,Alai AA -A45 (65 watts) 179.96

SCOTT 379 RS JVC-RX 220 (45 watts) 169.45JVC-RX 330 VB (55 watts) 219.9565 watts per ch 5 hand Technics SA351 (45 watts) 149.96

graphic equalizer el Technics SA560183 watts) .. 339.957.---,..- .....- F9995. Technics SUV-6X (.100 watts) 249.95

',Technics SA460 (50 watts) 209.95Nikko NR 750 (48 watts) CALLScott 359RS 145 watts) 169.95

Quartz lock digital tuning

STEREO -TO -GO

WMF-65WMF-75WMF-15WMF-18WMF-t2WM-75 .Aiwa HSJ-4(111

SONYWM-10 MK2

'110Super Walkman stereo cassetteplayer with Dolby $5995

WMDC2 139.95WMD6C 239.95

69.95129.9549.9529.9599.9599.95

10995109.95 SRF-20189.95 WA -20079.95 SRF-544.95 WM-II _ .89.95 1CF-7600A139.95 Aiwa HSE07

VIDEOSAV-MS.13300N, IC

ZENITHVR-2150

V-1340329.95 VR-18013

V-5800 . 45995 R"V-1545 VLT-385

PV -8500 659.95 VLT-470

V-8000 459.95 CI -C°4° K-959 729.95 VLT-600

VLT-625 11FK-450 429.95VLT-950 FF

Radar DetectorsWHISTLER

!WM, SPECTRUMnews

Ouadradyne Radar DetectsWhistler Spectrum remote 199.96Whistler 3 119.05

BELS34-W Super HetrodyneRadar Detector (rated 41) 180.96

BEL861 90.96BEL 860 13416BEL 837 . 179.96BEL 720 . 79.95BEL 864 9996BEL841 . . 199.95Bell 834 19936

SANYOFTE-25

399 00289.00

319.95449.95629,95 VT -5P

..499.95 INCLUDE WITH JVC

56a95 GXN 80 61995949.95 Call for other makes

and models.

EQUALIZER/MIXERS

ADCADC SS315X Equalizer andSpectrum Analyzerwarecrophone.AudioSource

E0-1 series 2 269.95AudioSource E0-8 wispectrum

display 779.95AudioSource RT-Al 139.95TEAC EOA- 10 99.95TEAC EOA-20 99.95Technics SH-8055 229.95

NUMARK DISCO MIXERSDM -500 99.95DM -1550 179.95DM 1800 299.95DM -1150 139.95DM -1650 209.95

JVC'HRD-150HRD-725HRS-1000HITACHIVT -74

CAR STEREOSAll night illumination DolbyB & C AM SS 95watts per channel. fader clock.auto reverse AM SS music search.$1 79"

FTE-15FTE-20FTE-30 .FTE-40FTE-50FTE-60FTE-D4FTE-D6 .

129 95149.95139.95160.95199.95229.95149.95169.95

FTE-D7 .

FTU-45FTU-55..FTU-42..FTU-52PA6050 .

PA6100PA6110

199.95119 9512995119.95134.95

99.95119.95139 95

SOINTY14040.ESRIO

ildn511> 515995

TIMTechnics SLCI D-3Fully auto quartzdirect drive 9495

Technics SLBD- I 54.95Technics SLBD-2 59.95Technics SLBD-3 67.95Technics SLOD-2 .. 74.96Technics SLOX-2C3 114.95Technics SLOX 338 129.95Technics SL -J2 . 109.96Technics SL-Jl . 79.95Technics SL -2 . . 119.95Technics SL -L3 139.95Technics SLD-500. 149.95JVC LFX4 79.95JVC OLFX5B 99.95JVC OLL 208 139.95AKAI AP -X1 54.95AKAI AP -A201 69.96AKA) APO -A50 99.96

reARTRIDGES

ortofon $5995

Technics SLJ-3Linear tracking.fully auto quartz lockprogrammable 12"

Technics SL1200 44/(11PRO DISCCTURNTABLE 289 -

TM -14 Made in Denmark AUDIO- Frequency response ,

20 to 20.000 Elliptical styles Fits all P moan' .8'

turntablesTM -7 44.95

AUDIO TECHINICAHR 101 EU . 39.95HR 201 EU . 54.95HR 301 EU 74.95

HR 401 EU 89.95

SHUREDT -15P 39.95DT -25P 59.95DT -35P... 74.95V-15VMR '39.95

, TECHNICAHR -401 EU $9995 Frequency response 10-30.000 Linear contact Fits all P -mount turntablesSTANTONPRO -3000 29.95PRO -4000 59.95PRO -5000. 79.95PRO -96 99.95

EPC PS58 TECHNICS Frequency resP0"44547.95 10-35.000 Channel separation 25 CM'S

As(Al HXA3X 12999Dolby ,B. C, DBX. timer.start switch HD h4ads

Arai HX-A131 59.95keiti HX-AZ11 79 95Asai HX-A331 139 95Ass GXR-EI) . . 199.95Areal 059-20 ... 26935fOcai GX3 .. 329 95Aka HXR 43 155.95Aka, GXA LX . 159.95tkai GXR 59 .. 5t9.95technics PSB 11W 189.95Technics P58-14 . 99.95

PSB 18 124.9E

AKAI GXR66 209953 -way noise reductionsystem DBX. Dolby B Ctwin field super GX heads.Auto reverse, Programmable

Technics RS8 24W 129.96Technics RSB 11W 13995Technics RSB 49R 189 95Technics RSB 78R 254 95JVC KDW 55J 229.95JVC KDV-6J 229 95

0:IMPACT DISCPWERS

Technics SLP-2 $24995S beam law! syste n. fu iunction wireless remote;ontrol qk ICA access systernstant prc gram locatio

System 1(-kvy inputarogramrr

Technics SL- P1Technics SL.- P3 -

Aka! CD-F7TJVC XL -V 303 ..

AKAI CD-A7Tbeans laser system 27

function wireless remoteInstant program locationsystem auto -play selectedrepeat

$30995=208.95 Hitachi DA 4000319.g5 Sanyo DA D8219.95 Sony 052411.95 Technics Portable (new

239.95179.95209.95CALL

BLANK TAPES

XL -II C90 1.79T-120 479T-12OHGX 999

TDKSA -90SAX -90T-120T-120 EHG -----

Minimum 10 Tapes

1.792294 79599

JENSEN NEW LOW PRICES,'CAA AUDIO

ATZ-500Dolby* Bard C noise reductior , programmabletape. intro take scan, LCD quart

AM -FM CAR STEREOS -4e#15995

181011011

ATZ-300 199.95ATZ-200 179.95E0A-5000 99.95EOA-2500 69.95

RE -960 199.95RE -WO 199.95RE -9s0 159.96RE -900 129.95

CONCORDCAR STEREOSHPL-122R 10 -watts p.-'channel. digital quart:separate base trebletape. etc

y

BOSE ALPHA IIw -way bookshelf speaker - 100w/per ch csn woofers

51999` pairADVENT BABY2 -way bookshelf speasers.exceptions quality in acompact see $1

299,!,a,r

SCOTT 177 DL 3-waySCOTT 172 DL 3 -wanbookshelf speakers 120 w tola

513996pair

Panasonic PV -210ALL -IN -ONE VHSVIDEO CAMERAAutofocus 6 I Power Zoom. 10 Lux

PRICED TOO LOWTO MENTION,

SONY

06W WA7CHMANEFD -20A .139.95 FC-391 179.95FD -20 AEB169.95 EC -40A 179.95

COLOR TVKV-5300 429.99 KV-1972 .479.95KV-1365 319.9.5 KV-1976 .509.96KV-13964 349.91 KV-1996 .479.95KV-13079 149.95 KV-267(TR 679.95KV-177CR 429.96 KV-2675 769.96KV-1965 399.95 KV-268)' 929.95KV 196E 399.95 KV 269C 699.95

CALL FOR OTHEFBRAN .TS AND MODE LS

BL AVPUNKT raMtalTUCSON

AM -FM c rgital stere 3, pushbutton tuner auto reverseDolby' r oise reduction, fade

AM -FM CAR STEREOSFrankfor 119.95 Sat ramen o 27995Seattle 179.95 W:shington sq .435.95Richrnor d 219.95 Nob Yorker S I 51995Manhatt in 219.95Asper 93R 24 219.95

Digital Readout Auto -reverse Electronic Scan 10 watts Fader Control Separate Base & Treble

*laJCX300

JENSEN

6 x9 Triax 150 watt3 -way car speakers

96999 Pa"

'21995

PanasonicCOS -92-4 supremeseries AM -FM stereocassette player autoreverse DBX. NR.Dolby El & C, digital

j'21995

AUTOMOTIVE SPEAKERS

JENSEN J3013 6'n' coax 75wJ3003 4 ' coax 50s 49.95 p

UE 630 5 . triax 65w 49.95 p-.05620 5 ." Coax 55w 44.95 pr.U5420 4 coax 35w 37.96 pr.JCX-200 6x9" coax 150* 54.95 5c.J2033 64" Inas 100w 79.95 re.J2423 6:" max 75w . 9916 sr.

44.96 Fir

CALL FOR

OTHER MODELS

533995

m

03375

Tit

D

zm

TYPEWRITERSBROTHERS EP -22

i6 Character Display ComputerAdaptable 6 Works on ACIDC

CANON Typestar SR 159.95CANON Typestar 5 139.95CANON Typestar 6 . 219.95CANON Typemate 10 149.95Panasonic RKT-40 339.95Panasonic RKT-400 249.95Panasonic RKT-35 269.95

o Clarion8500R

,ereWera's51.,*Digiwi AM -FM stereo tunerautc-reverse tape separatebase and treble

/3100R . .

95CORT .

13995

139.95 4100R 59.9510995 200E0B-2 79.9512995 6700R 109.9510995 61038 99.95239.95 137258 169.95

WTSUBleirAM -FM Car Stereodigital quartz, CZ -75'sesarate base &Ire tle. Dolby,facer control, etc includes 1E0 Watt AMP.

SONYES -S 92 0c9" Coax 80 watts .E5--5 7 5'. Coax 43 wattsESS-42 4 ," coax 40:v--BLALPUNKTI3 2630 Ze 30 *MISQ....4335 ex 6 Coax 35 wattsEL 505015e" Coax 60 wattsCL 4145 a" x lEr watts...0.4145 ex10" duel cone 45 wt

59.95 pr.39.95 pr.3995 pr

34.95 pc.69.95 pr.69.95 pr.69.95 pc.49.95 pr.

925996

we Can'y atenser. ]1:0searnon or -4

(1,0 PIONEERCAA S.APIE0 Au0.0 I atone 0MOW'S PLEASE CALL CAown Ka

20 day return policy. All returns must be phoned in for prior authorization and must be received within 20 days from receipt of c rig nal sly pment. All products must be returned in original factorypackaging, clean and unscratched. and blank warranty card Do nol tape. or deface manufacturers' original cartons. Shipping and handl ng charges nor relict Jet ePictures are for illustration only anddo not represent the product exactly as shown Rainchecks available upon request. Please call and reserve yourpurchases it you plan to pick us et store. Quantit es are limited and sub)ect to mailability


DUPING CABLES AND ENHANCER ALL -IN -ONE

NOW! Make Dupes so Closeto the Original You Can HardlyTell Them Apart!

r)

Boosts andEnhances Video and Audio Signals

Is it the originalor "Super Dupe"?

NOW "4

SIERE° IseE coUP011FOR DETAIL

To make professionalquality tape -to -tape copies,you need more than justcables, you need "SuperDuper"!...duping cables andenhancer all -in -one."Super Duper" regainssignal loss by boosting andenhancing video signal apowerful 3 dB... audio signala booming 20 dB!You can't make a dupe tapethat's exactly like the original,but-with "Super Duper"-your dupes are so close to theoriginal, you can hardly tellthe difference.

To make dupe tapes that lookand sound so close to theoriginals-order your "SuperDuper" today!

Separate video and audiocontrols AC power supply included All gold connectors foroptimum conductivity Measures only 33/s" x 21/4" Perfect for duping moviesand music videos

ORDER TODAY

CALL TOLL FREE ..1-800-231-0031

10 DAY

HOME TRIALWe are so sure thatyou will be delightedwith this product, wemake this guarantee:If, for any reason, youdo not feel that theunit is all we say it is,you may return it fora full refund (exclu-sive of shipping)within 10 days-noquestions asked. So,order yours today!

TOMORROW TODAY, INC.4 New Hyde Park Rd., Franklin Square, NY 11010Please send me (qty.) I understand that it I am not completelysatisfied, I may return the Super Duper Enhancer(s) for a full refund(exclusive of shipping) within 10 days.

ESuper Duper only $49.95 plus $2 shipping (Total: $51.95).Stereo Super Duper only $69.95 plus $2 shipping (Total: $71.95).

Send check or money order (no C.O.D.$) payable to:Tomorrow Today, Inc..

or Charge it: 0 Visa 0 MasterCard 0 Amex

Acct. a Exp Dat NY State residents please add appropriate sales tax.

Name

Address Apt. *

City State Zip

0 Enclose $1.00 for Video Accessories Catalog. Dealer inquiries invited.Write on your letterhead for information.

Auolovox HI -COMP HCC 2250Continued from page 30

switching to mono. I sorely missed amanual mono button, though. AMbroadcasts were nearly unlistenableeven in strong reception areas be-cause of the very limited bandwidthand high noise levels. One of myfavorite exercises in road testing isto try to distinguish between AMstations by their signal qualityalone, but I had to forgo it with theHCC 2250 since every stationsounded the same-dreadful.

Tape playback was noticeablybrighter in reverse than in the for-ward direction, which made tapesrecorded with Dolby B sound dulland unmusical when decoded inforward play. Some very well -recorded tapes exhibited continualslight but audible treble shifts inreverse play, which leads me to sus-pect that either the tape guiding orthe playback -head azimuth was notconsistent. The player passed alltape -handling tests with no sign ofdanger even to my oldest, most frag-ile cassettes, but it showed a certainsusceptibility to shocks and vibra-tion from rough pavements orwashboard surfaces. It should bepointed out, however, that for ourroad tests we clamp the unit firmlyto the car in a way that presents itwith stronger vibrations than nor-mal in -dash mounting does.

The loudness control boosted thehigh treble enough to make hiss andstatic rather prominent, but I wasglad to have it. It helped equalizemy car's midrange acoustics nicely.Having both scan and seek tunercontrols is useful, as any travelerknows, and it was simple to usethem. Despite being the same sizeand just above the main tuning but-tons (UP and DN), the scan and seekbuttons offer enough resistance tomake accidental activation unlikely.In general, this versatile receiver'scontrols are thoughtfully arrangedand easy to locate. The pop -out tonecontrols are an especially nicetouch, as is the ignition -off tape -eject system.

The amplifier had sufficient mus-cle to drive two sets of speakers tohigh listening levels without audiblestrain, though the face -plate illumi-nation dimmed with peak powerdemands. Used with a straightfor-ward, efficient, four -speaker car sys-tem, the HCC 2250 would have lit-tle need for an add-on booster am-plifier. That can't be said for manycar stereo cassette/receivers wehave seen. C.G.Circle 146 on reader service card


NATIONWIDEVIDEO DISTRO UTORSEVERYTHING

INELECTRONICS

PANASONICRCAJvCGE

QUASARAKAI

SHARPBASFTDK

A LLSOP 3HITACHI

VIDICRAFTMAGNAVOX

PIONEER

WE STOCK MOSTMAJOR BRAND NAMES

CALL TODAY FORTHE LOWEST PRICE

NATIONWIDE

DISTRIBUTORS Address 7591 N.W. 55th S-.

MIAMI, FL 33166ENCLOSE $1 FCR SHIPFiNG AND HANDLING

:FREE 60 PAGE BUYERS GUIDEMAIL TO: Name NATIONWIDE VICE°

RECEIVERS -TURNTABLES -TAPE DECKS -SPEAKERSCAR STEREOS -VIDEO RECORDERS -TV SYSTEMS -ACCESSORIES

.0uNck, DISCOUNTS FOR CHECK OR MONEY ORDER E--]Ws\ ALL MERCHANDISE SOLD WITH FULL MANUFACTURER'S WARRANTY,

,11:0* FACTORY -FRESH CARTONS S MOST DOUBLE -BOXED FOR ADDED PROTECTION.

OPEN MONDAY THRU FRIDAY 9 A.M..6 P.M. EST -1SATURDAY 9 A.M.12 P.M. EST

CALL TOLL FREE TODAY!

1 t00032703558IN MIAMI: 592-5886


STEREO REVIEW CLASSIFIEDEQUIPMENT

F -

audio-technica

11DIAMONDS ARE NOT FOREVER!

When was the last time youchanged your stylus? If you can'tremember, then it may alreadybe too late!!

We specialize in phono cart-ridges, factory original replace-ment styli, headphones & recordcare items only!!

(800) 221-0906CALL TOLL -FREE FORFREE PRICE QUOTESVISA/MC/C.O.D. ORDERSN.Y. State (516) 599.1112

SEND SELF ADDRESSEDSTAMPED ENVELOPE FOROUR FREE CATALOG.

LYLE CARTRIDGESDept. SR, Box 158

Valley Stream, N.Y. 11582

Phonps Opp() Mon

nth0

F

1

Sat. 9am 8pm

OrrOrOn SHURE sTaNTon

FREE CATALOG -LOWEST DISCOUNT PRICES on

Stereo/esoteric components and accessories for thehome and car: Sony, Bose, JVC, AR, SAE, other"high quality" brands. AUDIO UNLIMITED, 12031/2D

Adams Ave, La Grande, Oregon 97850. (503) 963-5731, 10-6, M-Th, 10-4 Pacific Time.

ARE YOU INTERESTED in Quality Preowned AudioEquipment? Subscribe to "The Sound Trek," pub-lished 6x annually, your listings of items for sale orwanted, $8/yr. Call or write: Play it Again Sam, 12611-R, Madison Avenue, Lakewood, Ohio 44107, (216) 228-0040. MC/VISA.

tereol 1.7 NoyXpress (714) 594-5749

CALL FOR PRICEFAST & FRIENDLY SERVICE

Most Orders Shipped Within 48 HoursHOME AUDIO

s'AMAHA ADS BOSE. HAFLER HARMAN KARDONINFINITY. AR. ALTEC, SONY DB% JBL.iC AIWA.

TECHNICS AKAI SAE MICRO SEIKI ADCOMTEAC STAX ADVENT AUDIO SOURCE.

AND MANY MORE

CAR AUDIOADS ALPINE. BLAUPUNKT CONCORD SONY.

KENWOOD PIONEER. CLIFFORD ALARMS

VIDEOSONY. JVC. RCA. PANASONIC

709 Brea Canyon Rd., Suite 9, Walnut, CA 91789

AUDIO DISCOUNTS offers quality audio equipmentincluding esoterics and car stereo at DISCOUNTPRICES! Monday thru Saturday call: (301) 593-8833.AUDIO DISCOUNTS, 1026 McCeney, Silver Spring, MD20901. VISA, M/C, C.O.D. for your convenience.

HIGH -END SPEAKER KITS, raw drivers and autospeaker systems from the world's finest manufactur-ers. For beginners and audiophiles. Audax, Becker.Dynaudio, Dalesford, Jordan, JVC, SEAS, Morel, Siare,Peerless, Focal, Scan -Speak. Free price list. A&SSPEAKERS, Box 7462S, Denver, CO 80207. (303) 399-8609.

CALL TOLL FREE! 1-(800) 826-0520 for NAD, Haf-ler, Denon, Dahlquist, Tandberg, dbx, 3D, Proton,Nittygritty, B&W, VSP, Thorens, Grace, CWD, Monster, M&K, Grado, Belles, Oracle, Talisman, Cun-tech, Stan, Astatic, Tiptoes, Audioquest, DCM, Proac,

Dynavector, Last SOUND SELLER, 1706 Main, Mar-

inette, WI 54143. (715) 735-9002.

BANG & OLUFSEN, ADS, Luxman, NAD, Thorens,Kyocera. Reasonable prices. Soundcrest Inc., (201)756-4858.

THEY DON'T DISCOUNT IT? WE DOI GET LOW PRICESon ALL types of audio equipment -including high -end and even esoteric products not normally dis-counted! Now we can save you money on the equip-ment you REALLY WANT. Extensive selection -noneed to settle for second choice. Thousands of sat-isfied customers nationwide. Call us for price quotesor friendly, expert advice. Catalog $1. (616) 451-3866.VISA/MC/AMEX. THE AUDIO ADVISOR, INC., BOX6202, GRAND RAPIDS, MI 49506.

CONNECTICUT: APT -Holman, Boston Acoustics, B&W,DCM TIME windows, Dynavector, Fourier, Hailer, Kef,Mitsubishi, Proton Ortofon, Panasonic, Pioneer, Quad,Robertson, Sanyo, Signet, Thorens, Walker. PioneerVideo. Mitsubishi Video. Will ship prepaid. SOUNDSINCREDIBLE, 39 Federal Road, Brookfield, CT 06804.PHONE QUOTES ONLY CALL: IRA, (203) 775-1122.

PAY DEALER COSTOn Home & Car Stereo....Video Equipment alsoSatellite T.V. All top brands. No deposit, same dayshipping, no lemon guarantee. Full lifetime ser-vice. Call 9am to 9pm daily, 5pm Saturday.

1-301-488-9600INTERNATIONAL HI Fl DISTRIBUTORS

Moravia Center Industrial ParkBaltimore, Maryland 21206

HAFLER, YAMAHA, BOSE, MCINTOSH, etc., in stock.Trades welcomed. Audio Exchange, 57 Park Place -SR,NY, NY 10007. (212) 964-4570.

PIONEER. PIONEER, PIONEER, PIONEER, PI-ONEER, PIONEER. Home audio, car stereo. FREEcatalog. THE STEREO FACTORY, 1010 10th St., Hun-tington, W. VA 25701.

PHILIPS, AUDAX, PEERLESS, FOCAL, AND DYNAU-DIO LOUDSPEAKERS in stock with good prices andcompetent service. Crossover components also.MADISOUND SPEAKER COMPONENTS, 8982 TableBluff, Box 4283, Madison, WI 53711. (608) 767-2673.

UNPRESSURED, PERSONALIZED CONSULTATIONand lowest prices on a variety of superb components.COMMUNITY AUDIO, 318 West Duval, Philadelphia, PA19144. (215) 843-9918.

luxmanHarman KardonTandberg eBoston Acoustics ANAudio controlSherwoodInfinity ADSDenon AIWARevox GRACEKenwooa CarOrtofonHaflerThorens

M & KB & 0SMEAna More,

We DeliverFreeAnywhereIn The U S

The SOUND Approach6067 Jericho Tpke , Commack, NY 11725Charge It ... CALL (5161499-7680

NAKAMICHI, CARVER, REVOX, CROWN, Bang & 01-

ufsen, Tandberg, Kyocera, NAD, Thorens, Harman/Kardon, B&W, DBX, E -V, ADS, DCM, Klipsch, andother quality components. Best prices -Profes-sional consultation. All products covered by manu-facturer's U.S.A. warranty. Amerisound Sales, Inc.,East: (904) 262-4000; West: (818) 840-0878.

DISCOUNT PRICES on woofers, mids. tweeters,crossovers, grille cloth, plans, much more. Send$1.00 for information packed catalog. UNIVERSALSOUND, Dept SRD, P.O. Box 36052, Sarasota. FL33583. (813) 953-5363.

TOLL EVEN

FREE 1-800-221-5678 524 HOURSALL BEST BRANDS LOWEST PRICES Credit Cards Accepted Cash on Delivery

Video Recorder Video Camera Compact DiscPlayer Receiver Amp Tuner Casst. Deck -Record Deck S krs. - Blank Ta Accessories

NEC, 27 Rockland Plaza, Route 59Nanuet, NY 10954 Phone (914) 624-3610

Speakerkit Catalog -30 proven designs for home,cars & (and) pro. JBL, Audax, Heller, polypropylenedrivers, & crossovers. $2. Gold Sound, Box 141SR,Englewood, CO 80151.

Audio Tape at Wholesale!$1.75

MAXELL XLI or XLII90 $1.75MAXELL XLIS or XLIIS90 $2.19NEW HIGH BIAS:

MAXELL UDSI or UDSII90 $1.59MAXELL MX90 $3.75MAXELL HE44 HEAD DEMAG $11.95FUJI FRI190 $1.75KONICA GMII90 $1.59KONICA METAL 90 $2.99JVC Fi160 $ .59MAXELL LN90 $ .89

MIN. ORDER $25Universal Wholesale Inc.

12 Commercial Road, Albany, NY 1220515181438-8040

All in -stock orders shipped 24 hours. All phoneorders rec'd by 12 noon (EDT) shipped same day.

COD orders OKWe sell Stereo & Video Components Also -

Send $1 for Catalog

DIGITAL AUDIO SPEAKERSAll NEW digital -ready speaker KITS from Speakerlab

high efficiency andpower handling Inverse Axis Alignment polypropylene drivers 18 dB/octave filters EASY -TO -BUILD KITSwith or withoutprebuilt enclosures great for videomonitor use

CIO HAVE THE BEST FOR LESS.BUILD A LEGENDARY SPEAXERLAB KR.

For a FREE catalog call 1-800-426-7736 or write

-spal<crlabDept SR56. 735 N Northlake WaySeattle, WA 98103

SR5 I I. Include SI .25 for fast 1st class mail.

LOWEST PRICES, Bose, DBX, JBL, B&O, Nakamichiand more. Dynamic Sound, Box 168, Starkville, MS39759. (601) 323-0750. 2pm-9pm.

AUDIOPHILES! HEAR JSE infinite slope loudspeak-ers on 7 day trial auditionings. Also Hafler and Thor -ens dealers. SOUND UNLIMITED, 178 Main Street,Bristol, CT 06010. (203) 584-0131.

SAVE UP TO 75%! Esoteric loudspeaker kits, acousticfoam, drivers, enclosures, capacitors etc. Catalog$2.00. Refundable. Audio Concepts, 1631 CaledoniaSt., LaCrosse, Wisconsin 54602. (608) 781-2110.

ULTRA HI -END SPEAKER SYSTEMS using the bestfrom Europe; Dyn Audio-Vifa-Siare-Audax-M.B. Lowprices on kits or fully assembled systems for home,car and truck. Save $$$. For FREE info. pak write -DNL Sound Co., 10 Bellam, San Rafael, CA 94901.

NEEDLE 1 CORPORATION OFFERS THE LOWEST

PRICING ON ALL GENUINE NEEDLES (STYLI) &CARTRIDGES BY MOST MAJOR BRANDS. ONEDOLLAR BILL FOR CATALOGUE. PRICES & TO OR-

DER: 1-800-N.E.E.D.L.E.1 (am/ex) OUR ADDRESS:P.O.B. 431, BROOKLYN, NY 11219.

$100 REWARD IF WE CAN'T BEAT ANY PRICE IN THISMAGAZINE. Merchandise must be in stock. Hugeproduct selection. Mid-Fi to state-of-the-art. Thismonth's special. Sony D-5 Disc Player $229.00. SSD(201) 575-8910.

QUALITY TUBES / SEMICONDUCTORS / KITS /SPEAKERS / REPAIRS. Dynaco, Phase -Linear spe-cialists! FREE Information; specify your needs. SCCBox 551 SR, Dublin, OH 43017.

BEAT THE PRICE FIXERS with low discount prices on:Carver, ADS, Bang & Olufsen, Revox. Nakamichi, Met-ier, Kyocera, Tandberg, Luxman, H.K. ManufacturersU.S.A. warranty on all. ISLAND AUDIO, INC. (904) 253-3456.

'GETTING YOUR SHARE OF AUDIO BARGAINS.Prices have fallen! FREE information packet. STEREOCOST CUTTERS. Box 551 SR, Dublin, OH 43017.

WE BUY/SELL/TRADE McIntosh. Large selection oftube and solid state. AUDIO RESOURCE, $1 MetairieCourt, Metairie, LA 70001. (504) 833-6942.

STEREO CLEANER. All purpose cleaner to keep ste-reos looking new. Save for metals, plastics. wood-2oz. trial bottle send $1.50 postage and handling.ICOE, POB 263. Daisytown, PA 15427.

J.S. AUDIO oilers home, car, digital. & esoteric audiocomponents at extremely competitive prices. Call (301)890-3232 or *rite to J.S. AUDIO, One Childress Court.Laurel, MD 20707. MC -VISA.

CAUTION NAKAMICHI BUYERS! Nakamichi goodsnot intended for sale in the United States arebeing sold by unauthorized dealers. NAKAMICHIUSA CANNOT BEAR ANY RESPONSIBILITY FORSALES OR WARRANTY SERVICING OF UNITS NOT

COVERED BY OUR APPLICABLE WARRANTY. For

the name of your nearest authorized Nakamichidealer, 1-800-421-2313. In California call 1-800-223-1521.

ROLEX WATCHES -Heuer, Brealing, Porsche. Tudor.Seiko. Chronosport. Lassale, Authorized dealer (800)247-2499; in Michigan (616) 343-8069.

ORDER TOLL FREE 1-(800) 222-3465. AR * AIWA* AMBER * B&W BOSE GRADO HARMANKARDON HAFLER * JVC * LAST NITTY GRITTY* PREMIER * SHURE * SONY * TALISMAN * ANDMORE. HCM AUDIO, 1600 BX MANGROVE, CHICO,CA 95926. (916) 345-1341.

BEST PRICE DGITAL.Call for the lowest prices oICD Players&

DigitaElleactyGear.

V 191131r-V

ECT RON1C:,LoDISTRIBlITORS

5 CommonwealthWoburn, MA01801

MAILORDEP:Foi repo service sendcertaied

check

Or moneyorder 11.11ptices

reflect cashdiscount. No

cash discountorillIC/VISAI

Personal checksreduge

Zr.'0%eir:9..draviVs:?3tc17ar,4

ttonrOle"grr;c7'ZgCr0 D MAnS

erevdents add Sot, sales.ta,Moss. Orders

(617) 933-1440

Experienced friendly advice, ACOUSTAT, PS, Metier.SAE, QUAD. KLIPSCH, THORENS, GRADO, FRIED.ADCOM, MONSTER CABLE, CD PLAYERS, More. Im-mediate. FREE shipping! READ BROTHERS STEREO,593-B King St., Charleston, South Carolina 29403.(803) 723-8276.

REMOTE CONTROL OWNERS. Now available Com-mand Center. Newest discovery in remote controlholders. Securely holds 1 to 4 units. Easy operation,maximum protection. Send for FREE information.National Luxury Marketing, 3243 Arlington Ave. Suite201C, Riverside, CA 92506.

Nakamichi; BX 125 $339, BX 150 $349, RX 202 5499,RX 303 $699, RX 505 $839, Dragon $1299, TD 1200Mark 2 $999, TD 700 $679, TD 500 $499, Yamaha: R99849, C80 $549, M80 $749, CD2 $489, CD3 $479, CDX2$319 A1020 $479, 11020 $259, DX7 $1399, Tascam:Porta 1 $479, 38 $2395, Sony TCD5M $399, WMDGC$199 New USA Warranty. VISA/MC/AMEX/Diners COD.Taskamichi Audio, (206) 221-2977, (206) 361-2455.

SAVINGS TO 40%: Nakamichi Home/Automobile,Revox, NAD, KEF, B&W, Yamaha, Highphonic, Mis-sion, Denon, Plus 100 others, SASE Required, Box18009, Seattle, WA 98118. East 1-202/723-7404,West 1-206/325-7601.

CONCERT SOUND HAS MOVED. LINN SONDEK -NAIM-NAD-REGA-MORDAUNT SHORT-GRADO.7103 BLANCO (NW CORNER LOOP 410) 340-1224.

LOWEST POSSIBLE PRICES ANYWHERE! FULLWARRANTY- Most Audio brands!! C.D:s-Car Prod-ucts -Computers (Hardware -Software) -Most VideoBrands!! ELECTRIFIED DISCOUNTERS, 996 OrangeAve.. West Haven, CT 06516, MC/VISA (203)937-0106.

Qualirg TapcsSOLOw limoOLNSAILN PRICER

TOW12 Ile__

AD 49AD le ..IA 40SA 10ADS 110

*DX 90SAX 10SAX 10HXS SOion 90MA 102 .

MA 90MAI KO 4.1111

MAP 10 5.11

TEACCDC 90 ... 2.1111cRC 90 .... 121

leetaiteiLL

URIC/NM IMP

4/11160TDI( 1.120 . ......

1125 1.120 BOG&OS11.2111

.10 U1190 New 1.011 1.1AXEU. T-110 4491.311 UD-S 10 ..... tee MALT-110NGX . SAD1.241.as

UO-S 10 1.11111

x71 ao i.e. MAX. 1-iXICOW 7.49SONY 'In lee1.05 XL 110 ..... 1.1111SONY 21201.016 5.1111

2.011 xL ISIS .. illSONY I.190 4.119

2.29 XL IIS 90 .... 1.211 SONY /SWUNG 5.111tit SO21011120 4111Ste MX 90 US 11021101112011G lee5.49lee

UD 55-90XL I 31.903 awe

SOON METAL 10 LeeRID NF ao .75 F1a10 1.71/

iiF 90iiF 120HFS 911

l.KXS 80UCXS 90

1 Se1.491.Nlee

111401111111111911111111

DOM 26J5DISCSET

1449TAPE :ARE tie

CALL NOM 7110-474-34 II 7 OR ORDER RV MAILmown COST s war 54.50 FOR AMY OMEN w usoi.

wismvnosu owns mower 11012311. WNW FOE VISMIC.

QUALITY TAPES864 East 715 Street Dept SR 11,Brooklyn. NY 11230

AUDIOVISION authorized dealer for ADS, B&O, Carver,Dahlquist, Denon, Grado, NEC, Polk. Nakamichi, Ya-maha, Pioneer Video, Ortofon. Audiovision, 210 SouthMain, Moscow, ID 83843. (208) 882-3505.

VIDEO recorder, camera owners. FREE video acces-sory catalog. Discount prices. Tomorrow Today Inc.,Dept. SR, 4 New Hyde Park Rd., Franklin Square, NY11010 (800)231-0031.

SUBSCRIPTION TELEVISION RECEIVERS completedetailed plans for home construction by anyone. $5.00.Jansen Electronics, POB 168R9, Dundee, OR 97115.

ELECTRACRAFT features: Aiwa, AR, AudioquestB&O. Dahlquist, DCM, Denon, Grado, Metier, KlipschMitsubishi, Monster. PS Audio, Revox, RH Labs, Sig-net. Sota, Spica, Sumiko. Tandberg. ELECTRACRAFT, 400 Cedar St.. Sandpoint, ID 83864. (208) 2639516.

DISCO/STAGE LIGHTING. dimmers, color -organs.Foggers, mixers. Professional sound. Send $1.00 largewholesale catalog. P.O. Box 20395, Bowling Green, KY42101.

RCA-JVC-MAGNAVOX-PIONEER-VCR'S-CAM-ERAS-CAMCORDERS-MONITORS-Home & CarAudio. The Stereo Factory, 1010 Tenth St., Hunting-ton, W.V. 25701. 1-800-GET-VCRS orders only. 1-304-526.0132 Information.

CONCERT SOUND HAS MOVED. Linn SondekNa -NAD -R EGA -Mord a unt Short -Grado-Magnepan. 7103 Blanco (NW Corner loop 410). SanAntonio 340-1224.

JINGLE BELLS, JUNGLE BELLS!!! The holiday sea-son Is here again and so is Direct S ght and Sound...Five years and 40,000 customers later, we continueto offer the best in audio, video, and auto sound in-cluding esoterics at incredible prices! We sell andservice only U.S. warranty merchardisell ...Our stallis not only knowledgeable, but helpful and cour-teous in choosing the right component for you. Call404-351-6772. Direct Sight and Sound, 3095 BollingWay, Dept. S, Atlanta, GA 30305. MC/VISA/AMEX.COD with deposit. Free catalog.

AMERICANS LARGEST DEALERS IN HIGH END USEDSTEREO. We buy by phone. STEREO EXCHANGE.687A, Broadway, between 3rd & 4th St. (opposite TowerRecords) NYC 10012. (212) 505-1111 and (800) 833-0071.

POLYACOUSTIC FOAM RUBBER speaker grilles. Re-placement, custom, OEM. Information 256. CustomSauna -5111185, Algonac, MI 48001.

Sing with the world's best bands! Device removes vo-cal from most records $395.00. For free brochure anddemorecord. call LT Sound. Inc. at (404) 493-1258 extC-41.

CALL US! WE ARE THE BEST IN THE U.S. Conrad-

Johnsor, Hafler, Perreaux, PS Audio, Proton, Revox,

Crown, ADS, Klipsch, Dahlquist, Duntech, Oracle,M&K, Sony, Celestron, Technics Professional, APT,Bar Audio Pro, dbx, Ohm Acoustics, Infinity, Mon-ster Caole, Har-nan/Kardon SAE, Stax, Amber, De -

non, VSP Labs, Adcom, DCM, Tandberg, Thorens,Grace, 3rado, Dynavector, Nitty, Gritty, VPI, more.AUTOMOTIVE: Concord, Sony, Proton, Zapco, UngoBox ani much more. Friendly expert consultation.Fast, free shipping, Member of Better Business Bu-reau. MC/VISA. REFERENCE AUDIO SYSTEMS,18214 Dalton Avenue, Gardena, CA 90248. (213)398-4205,(213) 391-2679.

CARVERATTENTION

CARVER BUYERS!Some organizations are offering for saleCARVER products whose factory serialnur-ibers have been defaced, modified, orremoved. These units may not be covered byCarver Corooration's Limited Warranty.For the name and location of the nearestauthorized CARVER Dealer, please contactCARVER CORPORATION, P.O. Box 1237,Lynnwood, WA 98046 - (206) 775-1202.

aASIS SPEAKER PEDESTALSBy: Rich Acoustic Labs

(Oasis Speaker Pedestals are designed withpc -per tilt alignment and height to improvetie total tonal balance, imaging, and basez?gionEe your speaker system.

- Dealer 8 Rep Inquiries Invited -SOLID OAK OR WALNUT

(NO VENEERS)

6-1/2- H. x 11-1/2" W. x 10-1/2" D.

geld $39.9i plus $:3.00 shipping to: Rich AcousticLabs, 2401 Row Clark Circle, Dothan, Al. 36301.

Fa C.O.D. Visa, MC, AE, call (205) 793-4746.

GREAT SOUNDS!Lartriend FM a compact FM radio for,our active lifestyle! No cord. fits easily

on either ear Includes battery. Greatgrit for the logger. cyclist. skater.fisherman. Mall S19.96 SIGNATURE

PRODUCTS. 521 S Andrews Ave.,Suite 11 -FM, Ft. Lauderdale, FL33301. MONEYBACKGUARANTEE!

ATTENTION AAFLER, DYNA, CROWN OWNERS, Webuild new higher performance circuits in Hailer, Dyna,Crown audio components. Not "modifications", butnew PC cards and stable, non -stewing circuits thatdrrvl real world loads with music signals. Write orcall ror free catalog and sample of Audio Basics, ourmonThly newsletter. Jensens Stereo Shop, 2202 RiverHills Dr., Burnsville, Minn. 55337. (612) 890-3517.

MOVIE FILM/VIDEOTAPES

WE CONVERT OVERSEAS VIDEOTAPES to Americanstandards, Visa -Versa. lowest prices. Appel Audio, 74-1837 Ave.. NY. NY 11372. (718) 507-5800.

1,000.000 VIDEOTAPES/SOUNDTRACKS, Video Cat-alogue -$1.00. Soundtrack catalogs: $1.00. RTS/SR4.Box 1829, Novato, California 94948.

VIDEO MOVIE TAPES. Everything imaginable! All rat-ings. VHS. Beta. Giant catalog $2.00. Tower, Dunkirk,MD 20754-0213.

AUDIO SPECIALTY SHOP

AUDIOPHILES/VIDEOPHILES! We have the widestselection of audio/video equipment available. Ky-ocera, Allison. Adcom, Infinity, NEC, Thorens, Her-man-Kardon. Soundcraftsman, Canton. Haller,Klipsch. Luxman. VHS Hi-Fi! Call for information.CONTINENTAL SOUND, 98-77 Queens Blvd.. RegoPark, NY 11374. (718) 459-7507. Immediate delivery.MC/VISA/AMEX.

RECORDS

COLLECTORS' Soundtracks, Mint. List $1 (refund-able). Jemm's, P.O. Box 157, Glenview, III. 60025.

ORGAN AND CHORAL RECORDS. For free catalogwrite: Gothic Records, P.O. Box 1576-F, Tustin, CA92681.

FREE RECORD, CASSETTE AND COMPACT DISCCATALOG: Features a tremendous selection of re-maindered LP and cassette values in all musical cat-egories. Compact disc, cassette and LP new releasesat discount prices. Many imports and smaller labelsoffered. Prompt delivery. Rose Records, Dept. SR, 214SO. Wabash Avenue, Chicago, IL 60604.

LIVE OPERA PERFORMANCE ON DISCS -VIDEOS.Unbelievable treasures -free catalog. Legendary Re-cordings. Box 104, Ansonia Station, New York City, NY10023.

SEND FOR A FREE CATALOG of many rare Moisei-witsch recordings. Rara Avis, POB 357. Fairfax, CA94930.

DON'T BUY Mobile Fidelity, Nautilus, Telarc, etc. fromanyone but us ... or you'll pay too much! FREE LP &CD catalog. Satisfaction Sounds Inc. 2888 Bluff St.,Suite 381 B Boulder, CO 80301. Toll free 1-800-443-0100 ext. 588B.

OPERA -HISTORICAL PERFORMANCES. VIDEO &DISC. Most comprehensive selection. Catalog $1.00.LYRIC, Box 622, Merrick, NY 11566.

FREE CHAMBER MUSIC RECORD CATALOG! FREErecord offer! Brass! Strings! Woodwinds! CRYSTALRECORDS, Sedro Wooley, WA 98284.

MIDNIGHT! The Rock Mail Order Specialists -Rareimports by all major artists -The latest in worldwideindependent release -largest selection of 50's & 60'srock & R&B. Send $1 for giant catalog. Next day ser-vice. Amex welcome, or visit our store: Midnight In-ternational Records, 255 West 23rd St., New York, NewYork 10011. (212) 675-2768.

OLDER DISCONTINUED LP RECORDS -All catego-ries, quarterly catalog $4.00 (refundable). Write or Call:Rampage Records, POB 24, Camden, AR 71701. (501)836-8310.

RAY'S RARE MUSIC FACTORY. Scarce Records,Tapes. Send requests w/phone #: 115 East 9th -8K,NYC 10003.

RECORD COLLECTORS SUPPLIES. REPLACEMENTJACKETS, inner sleeves, 78 RPM sleeves, operaboxes, etc. COMPLETE CATALOG. Cabco, Box 8212,room 640. Columbus. Ohio 43201.

COMPACT DISCS

COMPACT DISCS! Most $11.99-$13.99. 3000 plus ti-tles in stock. Free catalog plus monthly updates. OZRECORDS, 5246 Memorial Drive, Stone Mountain.Georgia 30083. (404) 292-5452.

COMPACT DISCS & ACCESSORIES. Call TOLL FREE

1(800) -ALL -DISC, (in CT. 1 452-0203), for FREECATALOG M -F 10-8, Saturday 10-6. ALL DISC MU-

SIC INC., 41 Monroe Tpke., Trumbull, CT 06611.

COMPACT DISCS! Over 3000 titles priced from $9.49.Send $2.00 for catalog. DISC HAVEN, Box 602, NewLondon, CT 06320.

COMPACT DISCS!!! FREE CATALOGUE!!! 2000*titles -100's at $11.99!!! Call Lasersounds Unlimited(415) 964-1148. 24 Hours -7 Days! Thanks!!!

COMPACT DISCS AND LASER VIDEO DISCS. Niceprices -free lists. MC/VISA. SIGHT & SOUND INC..18 Bennett St., Boston, MA 02135. (617) 787-4465.

COMPACT DISC, AUDIOPHILE ALBUMS! DIS-COUNT PRICES! Prompt shipping. Catalog $200 re-fundable with orders. FOR THE RECORD. Box

21201SR. Columbus, OHIO 43221.

COMPACT DISC CENTERP.O. Box 6185. Clifton Park. NY 12085

NY (518)664-2550Outside NY -To Order Only

CO 1100232-3687

Many Discs $12.99Quantity 10 and over only $11.99

$2.00 Cont. U.S. gaming

FREE CATALOGUE

COMPACT DISCS -Classical, Opera, Jazz -over1,300 titles IN STOCK -detailed catalog $1.00-ETHEL ENTERPRISES, P.O.B. 3301, Dept. SR, Falls

Church, VA 22043.

LOWERING COST -$9.95 year membership. Pur-chase all CD's at wholesale cost for year. Prices start$6.95 Classical, Jazz, Popular, Imports and Exports.$2.00 catalog and further details. Tivoli Entertain-ment, 725 S. Gilbert, Iowa City, Iowa 52240.

COMPACT DISC/AUDIOPHILE AND IMPORT AL-BUMS. Large selection, fair prices, fast service, de-tailed monthly BULLETIN. 20% discount on initialpurchase. Call 1-800-525-2514 for FREE catalog, orwrite The Essentials Marketing, Dept. 585, POB 3366,Lynnwood, WA 98046.

USED & NEW CD'S. SAVE MONEY. Audio House CDClub, 4304 Brayan, Swartz Creek, MI 48473 (313) 655-8693.

COMPACT DISCS AT DISCOUNT PRICES. Send $2 foa quality, up-to-date catalog to: Cat's Compact Discs,Dept SR. POB 22773, Nashville, TN 37202

NORTHEASTERN COMPACT DISCS & CASSETTES.

Lowest prices. Widest Selection. Order Today'CALL TOLL FREE 1-(800) 231-5811 (In Connect-icut 1-(800) 452-1490). 7 days/week: 9:AM tc11:PM EST. VISA/MC/COD accepted. Northeast-ern Compact Discs & Cassettes, 29 N. HillsideLane, Monroe, CT 06468. See our ad in the frontof this issue.

4500 TITLES/ROCK/JAZZ, CLASSICAL AND MORESuppliers to the industry. Phone orders preferred. CallCD Establishment at 1-800-328-0073. MN. residents612-645-8589. or send 51.00 (refundable) for the mostextensive CD catalog ever! CD Establishment, 1451University Ave.. St. Paul, MN 55104.

"THE GREAT JAZZ CD SALE" -Featuring Delos($9.95), Windham Hill ($10.95), GRP ($11.95), DMP($12.95). The CD Deli, 5706 7th Ave., Brooklyn, NY11220. (718) 439-3324. "We carry all CD labels."

IMPROVE SOUND OF YOUR CD SYSTEM -BYPASSTHE PREAMP. Easy how -to -steps plus helpful tips.$6.00. Money back guarantee. J. Pann, 5818 SantaCruz Ave., Richmond, CA 94804.

CD SUPERMARKET -PRICES SLASHED. Most com-pact discs $12.49. Prompt delivery. Large selection.For information or phone orders call TOLL FREE 1 (800)382-1985. CA. residents call 1 (800) 322-1985. CD SU-PERMARKET, 12525 Aviation Blvd. Suite 8210, Re-dondo Beach, CA 90278.

WHOLESALE PRICES on many import and audiophilelabels. Largest selection of Jazz CD's in stock any-where! Free newsletter, or send $2 for 4500 CD cata-log (with complete Japanese discography). CHICAGO,905 S. Oak Park Ave. Oak Park IL, 60304. (312) 383-5810

LASER VIDEO DISCS

* Laser Video Discs *

Largest selection in the U.S., with over 1.400 titles.We STOCK what othersjust list. 10° discount on alltitles. C.O.D.-personal check, VISA. MASTERCHARGE. and telephone orders accepted. No timelimit on warranty returns. FOR FREE CATALOG.write: Starship Industries. 605 Utterback StoreRoad. Great Falls. VA 22066. Or call (703) 430-8692or (703) 450-5780

LASER DISC HOTUNERecorded message on new laser disc releasesavailable 24 hours a day. (703) 430-0330

BUSINESS OPPORTUNITIES

ERASE DEBTS with little-known law -CREATE wealth!Details FREE-WealthKit, No. DD11, Billings. N.Y.12510.

MAIL ORDER OPPORTUNITY! Start profitable homebusiness without experience or capital. Informationfree. Mail Order Associates, Dept 785, Montvale, NJ07645.

POCKET HUNDREDS Mailing Circulars! Spare/fulltime. Sincerely Interested rush self-addressed enve-lope: Headquarters-MGG, P.O. Box 870, Woodstock,IL 60098.

WANTED -INDEPENDENT Home and car audio deal-ers. Franchise opportunity available. Call now! (201)882-0268.

WHY NOT MAIL CIRCULARS? Work part or full time.Have capability of $500 weekly. Hurry! Limited offer.HOWELL COMMUNICATIONS, 508 West Park, Waxa-hachie, TX 75165.

SECOND INCOME mailing circulars. Senoff Enter-prises, M.R., 1589 Albion. Rexdale, Ontario M9V 186.Proven successful. Start Immediately.

ELECTRONIC REPRESENTATIVES NEEDED! Low-

est possible prices!! Over 100 brands! Audio,Video, Car Stereo, Computers, Electronic Ex-

perts, 1000 Orange Ave., West Haven, CT 06516.

INSTRUCTIONS

YOUR OWN RADIO STATION! AM, FM, cable, li-censed, unlicensed, low-cost transmitters! Free in-formation: Broadcasting. Box 130-R11, Paradise, CA95969.

BE A RECORDING ENGINEER! New classes quar-terly. Institute of Audio/Video Engineering, 1831 Hy-perion, Dept L, Hollywood. CA 90027. (213) 666-3003.

FOR INVENTORS

INVENTORS, AIM wants -Ideas, Inventions, NewProducts, improvements on exisiting products. Wepresent ideas to manufacturers. Confidentiality guar-anteed. Call toll FREE 1-800-225-5800.

INVENTORS! Can you profit from your idea? CallAMERICAN INVENTORS CORPORATION for free in-formation. Over a decade of service. 1-800-338-5656.In Massachusetts call (413) 568-3753.

BOOKS & MAGAZINES

Complete Satellite ListingsSend $1 for sample copy, or call

800-358-9997in U.S. 800-556-8787in Ca.707-725-2476 all others

satelliTV.aveekP.O. Box 308Z FORTUNA, CA 95540

AMERICAN RECORD GUIDE. Reviews of classical re-cordings. Bimonthly, $19.50/year. FREE SAMPLE IS-SUE. Write RD#2, South Road, Millbrook, NY 12545.

FOR SALE

European Auto Dealers List! ... IMPORT CONSUL-TANTS! is divulging their sources for European cars.Buy your next Mercedes, Porsche. BMW, or favoriteimport directly from Europe. ELIMINATE THE MID-DLEMAN and save thousands of dollars. Further-more, should you decide to use our facilities for thenecesary E.P.A. and DOT conversion, IMPORT CON-SULTANTS will not only help arrange the payment,shipping, bonding, insurance, customs clearance, andwarranty of your car for no fee, but will also refund theprice of this book. For your list of over 5,000 Euro-pean dealers send $24.95 to: IMPORT CONSUL-TANTS, POB 15, Plumsteadville, PA 18949. For Visa/MC call (215) 766-7676

EDUCATIONAL OPPORTUNITIES

LEARN WHILE ASLEEP. Hypnotize! Astonishing de-tails, strange catalog free! Autosuggestion, Box 24-ZD. Olympia, Washington 98507.

TAPES

OLD TIME RADIO -original broadcasts on qualitytapes. Free catalog. Carl Froelich, 2R Heritage Farm,New Freedom, Pennsylvania 17349.

ONO

1930-1962 RADIO PROGRAMS. Beats Television!!Tapes, $1.00 Hour! Established esteemed dealer. In-formative 275 page catalog. $1.25. AM Treasures, Box192SR. Babylon. N.Y. 11702.

TAPE WORLD0

1-800-245-60000

\IAA 90P1.90N26 10SA8101102.110

D..90

D NO .130

S193993892.10

2 00

1 lb1 40

190

TOR 449TOWIEDPRO -TAA1ELLE ES11.11/1eLL GOLD-

EN

O

S 99

919S Vi

VISee

SONY UCIIS 10 1 WSONY 1010 W8,11E811.90FUJI METAL 10 3

IlAW METAL 120910

x»TS

10

1 MI

640

.6 FIRSHIPPING

We WILL ET ANY MICE OF THE TOTAL ORDERINCLUOING ALL SNIPINNG &MANDL/NG CNAPCAS Y

318 SNIPPING 1111 SIZE ORDEN C OD ADO 1 93SCTIOOLS GOVT ON PO Give 1.4 212.1

220 SPRING ST MAIER PA NovCOMPLETE LINE OF TON AND MAXELL IN STOCK

MF 8 30.5'00412 283-8621

O

AMPEX PROFESSIONAL SERIES AUDIO TAPE SALE.High quality open reel 1800' or 2400' on 7" reels, usedonce. Case of 40, $45.00. 101/2 x 3600' and cassettes.MC/VISA. Valtech Electronics. Box 6 -SR, Richboro, PA18954. (215) 322-4866.

CLUBS

CLASSICAL MUSIC LOVERS' EXCHANGE. Nation-wide link between unattached music lovers. Write:CMLE. Box 31sr, Pelham. NY 10803.

2125O3599

To place a response generatingmoney -making ad

call us collector

send your copy to:

Stereo ReviewClassified Advertising

1 Park Avenue, 5th FloorNew York, NY 10016

Rates:Regular Classified-$4.95 per

word, minimum 15 words or $74.25Display-$595 per inch,

3 inch maximum

Frequency discounts and otherexciting options available. Call

collect for information.

Charge your ad to AmericanExpress. Diners Club, MC, Visa

RENT THIS SPACE Min Stereo Review sClassified section.

You'll reach over 575,000prime prospects for yourmail-order products andservices-at affordable

low rates. To place your ad,or for further information,call Lois Price collect at:

(212) 503-5999

STEREO REVIEWMANUFACTURERS DIRECTORY

HIGH PERFORMANCE AUDIO KITS Enjoy Surround Sound at home...

P -250 -DL $249 assem/$179 kit Reduce tape noise 30 dB

P -522 -NR $139 assem/$79 kitCall or Write for a FREE full line catalog

PHOENIX SYSTEMS Dept 201. WC & VISAP.O. Box 338-B (404) 934-9626Stone Mtn. ,Ga . 30086 add $1 for First Class

STEREO REVIEW

REGIONAL MAIL ORDER MARTNORTHEAST

"PRICE BREAKTHROUGH"

POE POVitillyalIS$399

VIDEO, CAR STEREO, ACCESS.STEREO/ESOTERIC COMPONENTS,

AUDIO UNLIMITEDCall or write for free price list today!

LOWEST

La Grande, Oregon 97850

PRICESOn over 125 Brands

12031/2E Adams Avenue

(5031 963-573110-6 p.m M-TH, 10.3 Fri. (Pacific Time/

Call or write for free price list today!

DURACELL12AA - 4 PACKS

22"Add 52 50 shipping Texas resident add 5%

VISA/Mastercard Checks

Sesame Enterprises2101 Myrtle Ave.* EI Paso. Tx. 79901*(915)542-1E38'Ali batteries imported Duracell is a registered trademark of Duracell in(

SOUTHEASTERN

MUSIC LOVERS -Whatever Your Taste

ANY ALBUM or CASSETTE -currant or old S2 -S3

Also great list and prices on compact discs.Send the names of your favorite artists for completedetails to:

MUSIC and MUSIC Inc.PO Box 6698

Birmingham, AL 35210

Stereo Review tunes inproven retail customers

for your messageYes -83% of Stereo Reviewsubscribers plan to purchaseaudio and/or video equipmentin the next 12 months' So yourregional ad in Stereo Review',,GUIDE TO AUTHORIZEDRETAILERS can get great recep-tion among thousands of ready -to -buy customers every month-at low regional rates.

Call Collect for details.Lois Price-(212) 503-5999

1983 Stereo Review Subscriber Survey

MADE IN THE USA

200 200 WATTS' OF ULTRACLEAN POWER IDEAL "COM-PACT NISC" SYSTEM AMPLIFIER-005 demand up to TENTI MES the power of conventional LPs and tapes! Now the highpower you reahy NEED is affordable too-the Sound Values"Model 400."

COMPARE. Compare sound. quality of materials, work-manship and warranty Even to amplifiers costing FAR more.Built expressly for us using proven circuitry and premiumparts. the Sound Values Model 400 achieves a new level ofsupeeamp" costelectiveness . without compromising.

#A400 Power Amplifier-$399 00Ado '.t2.75 f cr packing, shipping. and guaranteed delivery

2 -YEAR LIMITED WARRANTY ON PARTS 8 LABOR

MASSIVE 25 -LB TRANSFORMER-FOR TREMENDOUS1410+1 CURRENT CAPABILITY

FAN -COOLED+ ELECTRONIC CIRCUIT PROTECTION

ABSOLUTE STABILITY DIMENSIONS: 16V1"WKI4WD17V4"11; NET WEIGHT: 45

Ike: COLOR: Satin Black. COMPLETE... READY TO PLUG IN AND ENJOY!

'200 wars per channel into liohm (300 watts 0, aohm), 20 to 29kHz. Dotectan-el drove, at ens than 0 05°0 THO

ORIGINAL MRS TER RECORDINGS

$5 MFSL-THE "SONIC BARGAIN OF 1985"

-SUPERFIDELITYMOBILE FIDEUTY LP ..JUST 55!

ooLgnt another dealer's stock of out -of -print MFSL "co;lechir titles While they last . choose any or all of thetoilownig at the prices shown (Please add 52 45 packingshipping and guaranteed delivery to your total record order I

] (popularl MFSL #1-028 MELISSA MAN-CHESTER -Melissa" (single Ip) $5

(classical) MFSL *2-501 BOULT/LONDON PHIL-HARMONIC "Eiger Falstaff' (double Ip) 58

(laud) MFSL #2-503 DON SEBESICY "3 Works for

Jazz" (double Ip) $8

- ALL 3 TITLES 15 records]: GREAT GIFT acIDEA FOR YOURSELF OR OTHERS JUST "Iu'"

IT TUBE CORNER

$5

Quality European tubes:6CA7 EL34 Mullard (matched pair) S19.95

12AX7 Tungsgram (single tubes) $2.99thud 12 45 paving. snipping and guaranteed delivery to your total tubeOrner

VISA/MASTERCARD ORDERS ONLY: PHONE

1-800-443-4548 (OUTSIDE OHIO)1-614-889-2117 IIN OHIO)

HOURS 10 AM -4 PM Eastern

MAIL ORDERS: Cl Ins Ad Coupon. cj, check the items you wanta id send your cneck money order or Visa Mastercard Info (Be sureIC In:lude shipping Charges Ohio Residents Only. Add 5 5% SalesT x)

TO:

SOUND VALUESSOUND VALUES, Box 111.

6931 Rings Road. Amlin, OH 43002

I-OUR"GOOD FAITH" GUARANTEE

(1 for any reason you're not completely satisfied with yourpurchase. Sonply return it to us within 30 days of receipt for aprompt VC Wendy relund or exchange. whichever you prefer

K irdiy 2-4 weeks tor deTvery Than. You'

411MI IWO I= MI Ma 1=1

STEREO REVIEWGUIDE TO AUTHORIZED RETAILERS

W"FI IE..ksTERN -

hiFibuys

YOU CAN AFFORDSOMETHING BETTER

AT HI Fl BUYSWE CARRY THE BEST STEREO & VIDEO AT THE BEST PRICE! ADS Dynavector Nakamichi Sherwood Bang & Olufsen Hafler Ohm Sony Belles Infinity Perraux Systemdek Carver InterAudio by Bose PS Audio Thiel Denon Kenwood Robertson Thorens Desktop Speakers Mission Sharp NEC Mitsubishi Quasar Minolta AND MORE!

10 ATLANTA LOCATIONS (404) 261.4434

AUTHORIZED DEALERS

11111/1111AIT

ii=thrimmuestmbovoi.

Mem Far M El bat

NamOhooMNI lAselpswr The

ardOMINICT O MUMMA Mye ErncoRAMA Auto* Cando FtLadonlala: Audio Insight FL Wefts. Auto Irearitcual Allemsolo*dep. Wood, OWN *Mum Ashomells, temp Poet kded ILO lam too Aso Ism Mew FLLad -Ye, M.Pim I NamePommild: ANKH. F. ClosnederPeremd Auto R. Mom talimirerSand SEAM leseMemee. MM. htWM Soudan Pada liNshesserStem Son Oadless Wet HeftNM: Mentypes Mitt SyrnponekEx SoladdelM: SO RemotaMEOW tweets: too VArenouse Mewls: Sheep Coy. AIM De-b* Ilanwe. bout leder SimMikeKenna Ompriem: FM HFoamy lieleas: M Fi fiefs Lai -Mlle: Skew ShoweSWAM Mad* (wire, too

fledralle: Myr Era. lallows:Sandscioe Anspuilr *cawsSound

IIISINSINPM WOK PirespeNLEnmen trim Mtn AudioN OMINCANOLNIA Ms* eudodrys AaM.1119: Mt kidt Sued NdetJeaYawNN.soaln

team Ekcbonicri= SiewEiL NZLINIglekLadeste7

remour* Aslboolomede avememe. Smu

ChsterehpA Nashulls: F Buys

Wad Jaws CI%Mr bon Servo Motto

limplic Opus 11MINN Mismoks: Audoinmocs Mr.O ils Mir Doed Sound lasilorbarrel Akdo Ilidirist pay's

illirat Lindsey Vtrd Ms.VI: 10 .1=12 9erta Video MYsr,4=Ernco Chmistewillt

:LEST VINSINIA Oellewwl4

Sound Post bYttseing Sound

x(THEAsT

MONSTER CABLE & INTERLINK atLOWEST POSSIBLE PRICES

Authorized Dealers for:

OnkyoJBLHaflerBoseDahlquistSignetNitty GrittySystemdek*Carver

DCMJensenPioneerAiwaGradoSonyPrecision Fidelity'Kenwood: Car.Home. Basic

sewTROLLEY yap' STEREO364 Trapelo Road (617) 484-7847Belmont, MA 02178'not available via mail order. in store only

YOU RE ON THE RIGHT TRACK WITH TROLLEY

TEAS 1'

WHAT YOU DON'T KNOW ABOUTAUDIO COULD HURT YOU

UNLESS YOU VISIT

LeonardRadio

AUTHORIZED DISTRIBUTORADCOM DUAL OHMADS DYNAVECTOR ORTOFONALPINE GRACE PROTON

B&OB&WCROWNDAYTONWRIGHTDBX

GRADO REVOXHARMON- SOUND.

KARDON CRAFTSMEN.113 STAX-SUMIKOLUXMAN TANDBERGMcINTOSH THORENS

DENON NAKAMICHI YAMAHA55 WEST 44TH ST. NYC (212) 840-2025

69-34 51ST AVE. WOODSIDE, QUEENS, NY(718) 803-1111

LEONARD RADIO OF NJ INC.160 ROUTE 17, PARAMUS, NJ

(201) 261-5525Avallable in Paramus only

VISIT OUR SHOWROOMS FORLOWEST POSSIBLE PRICES

Custom Designed AudioSystems by James Gala

Many audiophiles who desire high quality audio systems are misledby well-meaning but misinformed friends, salesmen, and magazines,whose understanding of acoustics is superficial or compromised insome other regard. As a result, many expensive "mistakes" are made.

GALA SOUND, located in Rochester, N.Y.and established by pianist/acoustician JamesGala, sells musically accurate and superblycrafted audio components.

Audiophiles, music lovers, and recordingstudios interested in achieving the highest levelof sound reproduction now rely on GALASOUND for state-of-the-art audio systemscustom designed for their specific needs,listening environments and budgets.These systems are second to none.

If you're serious about sound, you can own the finest: a customdesigned audio system from GALA SOUND.

Phone, (do not write) Jim Gala at (716) 461-3000.

KEF BarW QUAD MAGNEPLANAR THRESHOLDMARK LEVINSON McINTOSH PERREAUX BRYSTON REVOX BELLES

GALA SOUND3122 Monroe Avenue, Rochester, New York 14618 (716) 461-3000

STEREO REVIEWGUIDE TO AUTHORIZED RETAILERS

)1i.1 I II \ST

The Heart Of Any Fine Audio System

At Performance Audio/Video, we recognize the importance of speakers in anyaudio or video system. With this in mind. we have collected several of the world'sbest sounding speakers in all categories for you to audition.

Now, you no longer need to shuttle from store to store to audition speakers whileattempting to remember the sound you heard two hours or two days earlier.

It is very rare to find an audio dealer who gives you the opportunity to auditionso many fine products in one store. Why not take advantage of this? Also. see howmuch easier the selection of fine components can be in the presence of great speakers.

STOP CHASING SOUND. FIND IT AT PERFORMANCE AUDIO/VIDEO

ALSO FEATURING Denon Tandberg Kyocera Proton -Audio & Video Systemdek HarmaniKardon Dual Soundcraftsmen Thorens VSP Alphason UPI Robertson Audioquest Grado JBL Sony Signet Advent Bose Monster Cable Triad Discrete Technology AR Amber Adcom Tiptoes C. J. Walker DCM Time Window and Time Frame,

& other fine lines ...

Call Harold Minto. Proprietor

(516) 378-4389365 South Bayview Ave. (Corner Atlantic Ave.), Freeport. Long Island. New York 11520 M/C

Showroom Hours. Mon Fri 12 Noon to 7 p m Sal 11 a.m to 6 p m VISAWELL WORTH A TRIP FROM ANYWHERE AMEX

RETAILERS' EXCLUSIVE!Network with proven customers in your region

via Stereo ReviewNow for the first time. Stern(, Review helps youbeam your sales message to pnwen, ready -to -buycustomers in your region With no "interfer-ence- from mail order advertising

83% of Stereo Review subscribersplan to buy in the next 12 months.

( Wry four -fifths of Stereo Review's young, afflu-ent, educated subscribers plan to buy equipmentin the next 12 months.' And your advertising canconnect you with these desirable customersevery month in Stereo Review's Gl'IDE TOAUTHORIZED RETAILERS

An effective, exclusive regionalnetwork-at reasonable cost.

This ideal new medium is open only to authorized retailers.And unlike ads in local media, your message inStereo Review's new GUIDE TO AUTHORIZEDRETAILERS is virtually guaranteed to tune in theproven customers in your region. So you targetyour true market as never before-at very reasonable cost 1600 per 1 /9 page regional loserLion (minimum size), additional inches 5200each Disci n ntcd rate for 6 insertions. $57S

Call Collect: (212) 503-5999

SAVEON STEREO AT

PERDUE'Sdbx.

Tandberg FostexKENWOOD s-rarrron

of amigo liltintoshfa%

Bang&aufsen IrANakamichi

1'67,7k_I MosserCardi

CWDITELAR

PERDUE RADIO CO.SALES & SERVICE SINCE 192210 South Park St., Montclair, NJ

(201) 744-43431103 Bloomfield Ave., W. Caldwell, NJ

(201) 575-8264

A

A7rarifiEd

203-937-0106

Lowest Possible Prices!!

MOST MAJOR AUDIO &

COMPUTER BRANDS!!!

CD'S- HI END AUDIO - CAR PRODUCT

COMPUTERS -(11AFDWARE SOFTWARE)- TAPE

VIDEO (VHS & BETA!- HEADPHONES

MOBILE TELEPHONES - PORTABLES

RADAR DETECTORS- CB S - SCANNERS

FULL WARRANTY- PROMPT SERVICE

996 ORANGE AVE. 13:WEST HAVEN. CT. 06516

audio den ltd.THREE AL DITIONING ROOMS

Authorized Sales and ServiceAUDIO AND VIDEO COMPONENTS ACCAJPHASE AOCOM A.R. TURNTABLES CT A...SF CONRAD JOHNSON DUAL DYNAVECTOR GRACE JENSEN GRADO HAFLER

INFINITY J H MICHELL KLIPSCH KOETSU MAGNEPAN MAGNE PLANAR MONSTER CABLE NAKAMICHINEC PEARLCORDER PROTON

POLK RODGERSSAE STAXJSUMIKO SOTA SYSTEMOEK THORENSVPJ YAMAHA ZETA

RENTALS TRADE-INS DISCS & TAPESSMI-H HAVEN PLAZA

2021 YESGONSET HWY. (RT. 347)LAKE GROVE, N.Y. 11755

(ADJ TO SMITH HAVEN MALL)

To place your ad or for more information, call today. We're waiting to connect you!'19145 Stereo Review Subscriber Survey (516) 360-1990

NEW PRODUCTS

Audio ControlAudio Control's Phase Coupled Acti-

vator is designed to re-create the low -bass frequencies in music that may havebeen rolled off during the original re-cording or by the playback equipment.Digital logic circuitry analyzes incom-ing signals, and missing fundamentaltones in the lowest two octaves are digi-tally reconstructed. The unit can beconnected to any preamplifier, inte-grated amplifier, or receiver that has atape -monitor or signal -processing loop

(it includes a replacement input/outputloop).

Other features include an infrasonicfilter with an 18 -dB -per -octave slopeand a built-in electronic subwoofercrossover with a relative level control.Signal-to-noise ratio is given as 118 dBand frequency response as 5 to 100,000Hz. Price: $259. Audio Control, Dept.SR, 6520 212th St. SW, Lynnwood, WA98046.Circle 128 on reader service card

Acoustic ResearchThe ES -1 turntable, part of Acoustic

Research's Connoisseur Series, has adie-cast T -bar with a three-point sprungsuspension that acts as a decoupledchassis for the platter and tone arm.Driven by a twenty -four -pole synchro-nous motor, the ES -1 has speeds of 331/3and 45 rpm. The platter uses a close -tolerance, precision -honed journal -and -shaft sleeve bearing. The jeweled thrustbearing is polished to optical standardsto reduce rumble, which is rated as -78dB (DIN 455398 weighting). Wow -and -

flutter is given as 0.04 percent (DIN45507).

The optional tone arm has an effec-tive length of 9 inches and an effectivemass of 13 grams. Turntable -base finishoptions are Brazilian rosewood orNorth American cherry veneers. Price:$625 in rosewood with tone arm, $500without; $475 in cherry with tone arm,$350 without. Teledyne Acoustic Re-search, Dept. SR, 330 Turnpike St.,Canton, MA 02021.Circle 129 on reader service card

AdcomRated at 200 watts rms per channel

into 8 ohms from 20 to 20,000 Hz withless than 0.09 percent total harmonicdistortion, Adcom's GFA-555 poweramplifier is designed to remain stableunder the extreme operating conditionscreated by some exotic speakers, includ-ing loads varying from 40 to 2 ohms.The GFA-555 has a transient outputcapability of more than 800 watts perchannel into 2 -ohm loads.

Eight high -current output transistorsin each channel can deliver more than20 amperes into low -impedance loads.The amplifier was designed with a min-imum of components between inputand output. A 700 -watt toroidal trans-former with dual secondaries mini-mizes interaction between the channels.Price: $599.95. Adcom, Dept. SR, 11Elkins Rd., East Brunswick, NJ 08816.Circle 130 on reader service card

NECThe CD -509E Compact Disc player

from NEC can be programmed to playfifteen tracks in any order or to repeatany user -defined segment of a disc. Dig-ital filtering is used to eliminate phaseand time -delay distortion, and high-speed C-MOS switching is said to elim-inate switching distortion. Fast -forwardand reverse operate in two speeds withthe program remaining audible, andother controls allow skipping to thestart or end of the current track. Thereis a front -panel headphone jack withadjustable output level. Track number,index number, and elapsed time areshown in the digital display. Price:$449. NEC Home Electronics, Dept.SR, 1401 Estes Ave., Elk Grove Village,IL 60007.Circle 131 on reader service card

DCMDCM's Time Frame TF 500 speaker

is a slender column finished with wal-nut -stained, solid -oak end caps and adark -brown fabric grille. The folded,tapered transmission -line enclosurehouses a 61/2 -inch woofer and a 3/4 -inchsoft -dome tweeter. Rated sensitivity is90 dB, and nominal impedance is8 ohms. The speaker is 41 inches high,17 inches wide, and 63/4 inches deep.Price: $499 per pair. DCM Corporation,670 Airport Blvd., Ann Arbor, MI48104.Circle 132 on reader service card

PioneerPioneer's two automotive Compact

Disc players, the CDX-1 and the moreelaborate CDX-Pl (shown), resist mis-tracking caused by vibration with cir-cuits that memorize the changing posi-tion of the laser pickup. Both playershave two parts, an operating modulethat fits into the dash and a processingmodule that can be installed elsewhere.such as behind the dash. Conveniencefeatures on both players include search,skip search, scan, track repeat, and discrepeat. Both models have a display forelapsed playing time, total playing time,remaining playing time, number of thetrack being played, and the total num-ber of tracks on the disc. If the playersbecome excessively hot, the disc mecha-nism automatically disengages to pro-

tect the laser pickup. Protection fromscratches and cigarette smoke is pro-vided by the doorless, dust -proof discslot.

The CDX-I is designed for use in aPioneer Centrate autosound system.The CDX-Pl is compatible with mostother car stereo systems and includescontrols for bass, treble, volume, andbalance. Prices: CDX-1, $549.95; CDX-PI, $599.95. Pioneer Electronics, Dept.SR, 5000 Airport Plaza Dr., LongBeach, CA 90815.Circle 133 on reader service card

Digital Audio ControlConnecting Digital Audio Control's

Model 50/2000 infrared remote -controlsystem to an amplifier or receiver en-ables a user to switch four inputs, adjustvolume, balance, treble, and bass, andperform other control functions fromup to 45 feet away. The receiving unitconnects in the tape -monitor loop of an

amplifier or receiver and has its ownreplacement loop for connection of atape deck. It can also be connectedbetween a preamplifier and power am-plifier, or it can itself serve as a pream-plifier for high-level sources.

The remote unit includes on/off but-tons for power, loudness compensation,tone -control defeat, and audio mute aswell as the source selectors, stereo/mono selector, and the adjustable con-trols. There is also a timer control forturning the system off automatically af-ter 30 or 60 minutes. The volume -con-trol range is 75 dB. The treble control'srange is ± 10 dB centered at 10,000 Hz;the bass control boosts or cuts frequen-cies around 100 Hz by the sameamount. The system's frequency re-sponse is given as 20 to 20,000 Hz ± 0.5dB. Price: $155. Digital Audio Control,Dept. SR, P.O. Box 67, Mountain View,CA 94042.Circle 134 on reader service card

ADVERTISERS' INDEXREADER PAGE

SERVICE NO. ADVERTISER NUMBER

45 AAL (American Acoustics) 12912 Aiwa 70

AKG 277 Ambico International 138

20 Audio-Technica U.S., Inc. 110Azden 129

64 Bang & Olufsen 11852 Beyer Dynamics 128

Bose Corporation 31Bose Corporation 35Bose Corporation 37

33 Canton 1749 Carver Corporation 22-23

5 CBS Records 99Chrysler Corporation 48-49Crutchfield Corporation 116Delco Electronics 19

27 Denon America, Inc. 5527 Denon America, Inc. C371 Discount Music Club 13310 Discwasher 36

Finlandia 14

63 GRP Records 12813 Hitachi 92

Illinois Audio 13143 Intercon Music Club 12739 J&R Music World 13724 Jensen 91

Kenwood Electronics 8-9Kenwood Electronics 104-105

2 Klipsch & Associates 2930 LaBelle Camera & Stereo 139

Marlboro 65Maxell Corp. of America 63

32 McIntosh Laboratory Inc 120Memorex Corporation 94-95Merit 10-11

50 Mission Electronics C4Mitsubishi of America 32-33Mitsubishi 108-109

31 NAD USA 11560 Nationwide Video 141

19 NEC Home Electronics 51

19 NEC Home Electronics 10070 New York Wholesale Warehouse 13367 Northeastern Software 13016 Ortofon 1039 Panasonic 259 Panasonic 59

Pioneer Video 3837 Polk Audio 40-4317 Proton Corporation 7

35 Pyle Industries 69Radio Shack 2R. J. Reynolds/Camel 123R. J. Reynolds/Salem 107R. J. Reynolds/Vantage 56-57R. J. Reynolds/Winston 47

44 Sansui Electronics Corp. 26II Sanyo 6754 Sennheiser Electronic Corp. 69

Shure Brothers 121

62 Sony Audio 20-2153 Sony 'Tape 12-13

4 Soundcraftsmen 12438 Stereo Corp. of America 13247 Studer Revox 10222 Tandberg of America 11348 TDK Electronics 5

21 Teac Corp. of America C21 Technics 601 Technics 977 Tomorrow Today, Inc 140

57 Toshiba America, Inc. 11765 Uncle Steve 12756 Wisconsin Discount Stereo 13314 Yamaha International Corp. 1 1 1

NOVEMBER

More New Products on page 15 STEREO REVIEW NOVEMBER 1985 149

RECORDby Christie Barter& Steve Sirnels

Lerner. Copland: gala

'HE young American pian-/ ist Bennett Lerner, whosefew recordings to date areavailable on the Etcetera la-bel, makes his New YorkPhilharmonic debut in a per-formance being carried by thePBS network on November14 in its Live from LincolnCenter series. Since the occa-sion is a birthday celebrationfor Aaron Copland, who willbe eighty-five on that day,Lerner will play Copland's Pi-ano Concerto, a work thecomposer himself introducedwith the Boston Symphonyunder Serge Koussevitzkynearly sixty years ago. ZubinMehta will conduct the Phil-harmonic in this telecast per-formance.

Lerner's latest record forEtcetera, released by theDutch -based company lastmonth and being brought inby Qualiton Imports, is a fol-low-up to his LP debut, whichwas an album of Americanpiano music. This secondvolume includes short worksby Paul Bowles, Marc Blitz -stein, Roy Harris, and Wil-liam Schuman.

Prior to the Copland gala,Live from Lincoln Center isoffering the enthusiastical-ly received New York CityOpera production of Puc-cini's La rondine. The airdate is October 30. 0

'/'HE two performancesof Stephen Sondheim's

musical Follies presentedin concert form by the NewYork Philharmonic right

after Labor Day wererecorded by RCA, with LP'sdue in stores by the end ofOctober. Headliners on thetwo -record set include LiciaAlbanese, Carol Burnett, Bar-bara Cook, Erie Mils. LeeRemick, George Hearn, andElaine Stritch. 0

SURFERS RULE, OKAY?They may look like refu-

gees from the cast of HappyDays, but they're really theoriginal Beach Boys in alltheir early -Sixties glory.That's the way they lookedwhen they made 'SurferGirl," to be released by Mo-bile Fidelity in its Original

The Beach Boys: classic

MAKERSMaster Recordings series.

The Boys' classic album, dat-ing from 1963, includes suchBrian Wilson faves as Catch aWave, Little Deuce Coupe,and In My Room as well asthe title tune. This is, to ourknowledge, the first audio-phile version of any authenticsurf music (Telarc's BeachBoys tribute on CD by con-temporary soundalikes theCalifornia Project notwith-standing). "Surfer Girl" willbe available on LP and cas-sette; no word yet on a Com-pact Disc. 0

DEUTSCHE GRAMMOPHONis not generally big on

artist -oriented retrospectives,but someone there must havefigured the company couldn'tlet 1985 slip by without hon-oring Dietrich Fischer-Dies-kau on his sixtieth birthdaythis year. DG has just re-leased seven CD's containingthe creme de la creme of thegreat baritone's catalog. 0

APENSIVE -LOOKING JulianLennon contemplates

the forthcoming release ofStand by Me, a long -formvideo portrait of the artistduring his recent debutAmerican tour. Filmed fromMarch through May, the doc-umentary includes rehearsaland concert footage fromboth the opening (San Anto-nio) and closing (San Francis-co) shows. Thirteen songs areincluded, mostly from Ju-lian's "Valotte" album, aswell as two tunes associated

)with Julian's dad, John (DayTripper and Stand by Me).Directed by Martin Lewis af-ter original director SamPeckinpah died unexpected-ly, the MCA Video tape runsan hour and will be availablein time for Christmas. 0

AHIGHLIGHT of The Wil-lie Nelson Special, airing

on the Nashville Network onSaturday, November 2, is aduet Willie Nelson sings with

Ray Charles in Austin, Tex-as, in their first on-stage ap-

pearance together. Thetune is Seven Spanish An -cols, one of ten tracks on

Charles's Columbia LP" Fri endsh i p," whereIli Nelson was his guest.

In "Friendship," cho-sen as one of our "Best of

Lennon: video debut

the Month" recordings lastNovember, Charles teams upfor duets with ten friends whoalso happen to be ten of thebiggest names in the country -music business, including, inaddition to Nelson, HankWilliams Jr., Ricky Scaggs,Chet Atkins, and JohnnyCash. Our reviewer, AlannaNash, found the whole thing"irresistible."

Another album -related ca-ble offering, this one featuringFreddie Hubbard, is the finalshow in the Arts & Entertain-ment Network's Jazz in Octo-ber series. Studio Live withFreddie Hubbard, airingOctober 27, was taped in1981 during a studio sessionfor Hubbard's album "RideLike the Wind" on ElektraMusician. 0

As they used to say outfront in the old vaude-

ville houses, "The show ain'tover 'til the fat lady sings."Well, the beloved musicalparodist Anna Russell was re-cently ringing the curtaindown on her international ca-reer of many years with aseries of farewell concerts.One of them, taped at Balti-

Charles. Nelson: friends

gis"!)

It

RECORDmore's Museum of Art lastNovember, resulted in "AnnaRussell: The (First) FarewellConcert," which has been re-leased by Video Arts Interna-tional in both VHS and Betaformats. The program in-cludes such Russell standardsas How to Compose YourOwn Gilbert and SullivanOperetta, Wind Instruments IHave Known, her essay onEnglish folk songs, and, ofcourse, her famous analysis ofWagner's Ring cycle. HerRing routine was recorded byCBS at a Town Hall perform-ance in April 1953 and re-leased on LP later that year. It

Russell: farewells

has been an active title in theCBS catalog ever since.

VAI has also released PierPaolo Pasolini's Medea forhome video in both VHS andBeta. With Maria Callas inthe title role, it is the onlynonmusical theatrical filmmade by the late soprano. 0

JAPANESE pianist MitsukoUchida grew up in Vienna

and got ner musical trainingthere. She won first prize in aBeethoven piano competitionin Austria and second prize ina Chopin competition in Po-land, and although she playsthe work of those two com-posers often, she has special-ized in the music of Mozart.

Having played all of Mo-zart's piano sonatas in a high-

ly acclaimed seriesof recitals in London,she is now recording them forPhilips. The third album inthe sonata series was issued inthe United States this sum-mer, and the fourth is sched-uled for January release.

Fittingly, Uchida made herNew York debut this summerat the Mostly Mozart Festi-val, playing the popular Con-certo No. 21. Philips has an-nounced that it will recordUchida in a complete cycle ofthe Mozart piano concertoswith the English ChamberOrchestra conducted by Jef-frey Tate.

ou may have missed ityou the Live Aid tele-cast, but not to fret. DavidBowie and Mick Jagger'sduet on the venerable Mo-town classic Dancing in theStreet will be appearing inmovie theaters throughoutthe country by the time youread this. All proceeds fromthe clip, which features Jaggerand Bowie desperately tryingto upstage each other, will bedonated to the Live Aid foun-dation, and it's scheduled toopen in over 5,000 theaters,reputedly a record for anytheatrically released video.The music track, incidentally,has been substantially re-mixed since the clip's initialtelevision appearance.

711E Indianapolis Sympho-ny under John Nelson is

scheduled to record for NewWorld Records this month,one group of sessions beingdevoted to works by the Pu-litzer Prize-winning compos-er Ellen Taaffe Zwilich. Fea-tured on the forthcoming al-bum is Zwilich's SymphonyNo. 1 (Three Movements forOrchestra), which won herthe Pulitzer in 1983. Also in-cluded are her Prologue andVariations for string orches-tra and a piece titled Celebra-tion, commissioned by the In-dianapolis Symphony for theopening of its new concerthall, the Circle Theatre, inOctober 1984.

7HE same piece, Zwilich'sCelebration, figured in

Andre Previn's inaugural pro-gram as the new music direc-tor of the Los Angeles Phil-harmonic on October 10. Pre -

JON HOFFMAN/STILLS/EMI AMERICA

MAKERSyin, who grew up in Los

Angeles and has been a fre-quent guest conductor with

Uchida: mostly Mozart

the orchestra is only theninth conductor to head thePhilharmonic in its sixty -six -year history.

He is also leading the or-chestra in a new series ofrecordings for Philips. Sched-uled to be recorded within thenext year are Prokofiev'sFifth Symphony and an al-bum of short works by Tchai-kovsky, Mussorgsky, Smeta-na, and others.

Philips has just released aGershwin album in, whichPrevin performs as conductorand piano soloist with thePittsburgh Symphony, a cou-pling of Mozart's Piano Con-certos Nos. 17 and 24 inwhich he serves in the sametwo roles with the ViennaPhilharmonic, and a record-ing of Brahms's Piano Quin-tet in which he joins the Mu-sikverein Quartet of ViennaPhilharmonic string players.

Due from Angel is a cou-pling of the two Ravel pianoconcertos with Cecile Oassetas soloist and an album ofMozart arias sung by Kath-leen Battle, with Previn con-ducting in both instances_And from RCA will come. in

Bowie, Jagger: dancing

time, recordings by EmanuelAx of the five Beethoven pi-ano concertos, also con-duced by Previn.

OS ANGELES is also the siteIL right now of the sixth'an-nual New Music America fes-tival (October 31 to Novem-ber 10). More than eighty-fivecomposers and three hundredmusicians are taking part inthe festival, and many of thethirty-five scheduled eventswili feature premieres byWest Coast composers.KUSC-FM is broadcastingthe evening concerts in LAand will offer the programs tosome three hundred stationsaround the country. 0

BACK in 1066 when Wil-liam the Conquerer took

os,er what we now know as

Previn: going home

England, there wasn't even aBritish Broadcasting Corpo-ration, let alone home video.When William ordered acomplete survey of his newdomain, it was recordedpainstakingly by hand. Com-pleted in 1086, the survey wascompiled in the DomesdayBook. Now, to celebrate thenine -hundredth anniversaryof that event, the BBC hasembarked on a new survey ofthe land, flora, and fauna ofEngland, which is scheduledfor completion in 1986.

The new Domesday Bookwill run to about two millionpages of text, charts, graphs,maps, and photographs, all ofwhich will be stored on twovideo discs. Philips is sup-plying the technology. No listprice has been announced. 0

THE HIGH END

by Ralph Hodges

There Will AlwaysBe a McIntosh

THIRTY years ago, the U.S.high-fidelity market virtual-ly belonged to Scott andFisher, if you had to respect

a budget, and Marantz and McIn-tosh if you did not. Ownership ofeither of the M's was so unassailably"high end" that the less fortunatewere not permitted even to questionits desirability when ladies werepresent.

Today, the first three companieshave become essentially offshoreenterprises, justifiably proud oftheir names and histories but withthe ubiquitous Made in You -Know -Where legends on their products'rear panels. But McIntosh? McIn-tosh components are still made inBinghamton, New York, just asthey used to be and probably evershall be. And to say "made" there isno exaggeration.

According to Gordon Gow,McIntosh's chief executive officerand one of the company's foundersin 1949, "We of course acquireknobs, switches, controls, tuning ca-pacitors, and the like from the FarEast, because we can't find theirequivalent here, and it would not bepractical or important to makethem ourselves. But all our chassis

components, our front panels, ourtransformers, our speaker -driver as-semblies, and the rest of the crucialelements originate on the prem-ises." And so they do. The complexof three buildings-one of them aconverted bowling alley that nowhouses a respectably large anechoicchamber and a complete photo -pro-duction studio ("We were neverhappy with outside work")-repre-sents the kind of vertical manufac-turing facility that is rare to vanish-ing in this country.

With a preamplifier, a tuner, Sev-eral power amplifiers, a receiver, aremote -control system, severalspeaker systems, and a CD player(an elaboration of a Philips designand apparently the only thing of sig-nificance for which an outside sup-plier is vital), McIntosh is, astonish-ingly, our last remaining full -lineaudio manufacturer. And there ismuch more to come. A projection -TV audio/video complex is nowrunning in prototype form, and thecompany has taken what is called a"serious" stockholders' position inCompusonics, the Palo Alto organi-zation that is trying to record audioon floppy discs via a novel digitaltransform and expects to be wagingsuccessful battle against digital au-dio cassettes in a few years.

But what is McIntosh that thehigh -end audiophile should pay at-tention to it? The company adver-tises only enough to keep the cog-noscenti aware that it's still alive(and McIntosh executives freely ad-mit there have been times when italmost wasn't). It does not solicitmagazine test reports and, in fact,has a long history of resisting them.It is obsessed with cosmetic de-tails-perhaps, one worries, to theexclusion of other, weightier mat-ters. Possibly worst of all, its prod-ucts are eagerly bought by doctorsand lawyers without ever really be-ing listened to, just as the same con-sumer group buys Rolls Royceswithout ever really driving them.

But there's another side of thecoin. Even if those doctors and law-yers don't really listen, McIntosh'sown people tend to, if record collec-tions of 2,000 and living rooms lit-tered with CD's are any indication.Although the expense of a McIntoshsystem can be truly hideous, there isno evidence that any McIntosh ex-

ecutive ever lost sleep over it, theprices being honestly representativeof what was built in. The philoso-phy of "pay a little less, hear a littleless" seems alien in Binghamton.People blink at you and change thesubject. Every McIntosh product isthe best statement on the technolo-gy McIntosh can make at the time,and the pricing comes later, an atti-tude that apparently engenders re-spect and a comfortable confidencein McIntosh worshippers.

So do the cosmetics, which areextravagantly designed to outlivethe owner. When an especially an-tique McIntosh comes in for ser-vice, the folks from the front officeturn up to admire it. And if it isn'tall that admirable (there are storiesof amplifiers that have taken bulletsfrom outraged wives who thoughtnew shoes for the children a greaterpriority), it will be before it leaves,and for a charge that makes yourdry-cleaning bill seem exorbitant.

McIntosh's vacuum -tube technol-ogy is the oldest and among themost venerated in the business. Yetat a time when tube gear enjoys con-siderable high -end popularity, noth-ing new in this line comes fromBinghamton. To ask why producesgeneral weeping, wailing, and wall -pounding. "It's the tubes," explainsGow. "It kills us to recondition oneof our classic old products and haveto send it back with the originaltubes, but we cannot find replace-ments that will serve. Certainly wecould not justify a new productbased on today's tubes. Our custom-ers would haul us into court, andthey'd be right!" What this saysabout manufacturers who do use to-day's tubes is debatable. But what itsays about circuit design that per-mits tubes to be still usable aftertwenty years or so is impressive.

In any case, what does an all -McIntosh system of today soundlike? On the basis of hearing two ofthem, I'd say expensive, potent, po-lite (too polite?), and somewhat un-derdamped in the low frequencies.The sophistication of the high -fre-quency array for the XRT 18 speak-er system may be hard to touch withanything much short of a well -exe-cuted ribbon design. As for the lowbass, I suspect it will serve McIn-tosh owners, present and future,very well.


Improving on the sonic performance of the DenonDCD-1800 was no easy task, considering that reviewers in theU.S.,West Germany, and Japan claim "never to have heard abetter sounding CD player." Yet Denon set out to build playersthat exceed our original performance level and make themmore affordable.

We began with the compact DCD-1000, a Denon CDPlayer at an unthinkably low $359.95, Yet it includes Denon'sunique DDAC, the world's only digital -to -analog convertorthat's hand -tuned for reduced D/A transfer distortion. And ithas Denon's Real Time phase correction circuitry.

TOLL -FREE 22

Better still is Denon's DCD-1100. This full-sized machinehas the same high-performance DDAC, the same Real Timephase correction, and adds wireless remote control with a10 -key pad for direct track access.

The deluxe DCD-1500 uses twc separate 16 -bit DDACconvertors (one for each channel), and computer -analyzedlinear -phase filtration for perfectly flat -requency response. Itswireless remote even features volume adjustment.

Now, no matter how much or how little you plan to spendfor a CD Player. you can own one from the Company thatinvented digital audio in the first place. Denon.

Denon Ameica. Inc.. 27 UPOI Drive. Fatrtiek. N.J. 07006

CIRCLE NO 27 ON READER SERJICE CARD

LECTROF11C5

European technology at affordable prices

3-P OD

I I 1111,1

IIFdI prEICOS.41119 - ROTOR COrtrOl

Mission Electronics Corp. of America 5985 A-lantic Drive, Unit 6, Mississauga, Ontario L4W 1S4 Phone: (416) 673-3777CIRCLE NO 50 ON READER SERVICE CARD

LAB $300 - World Radio History

Documents

Transcript of LAB $300 - World Radio History