SONY DAT 11-0K BOSE LIFESTrIE AND MORE

"Mt SEPTEMBER 1990 i $2.50

LOUDSPEAKERS:THE STATE OF THE ART

HI-FI UPGRADES

FIRST TESTS:SONY DAT 11-0K

ALSO TESTEDBOSE LIFESTrIEMULT1ROOM SYSTEM,B.I.C. SPEAKERS,AND MORE

2727 51

Presenting the Limited Edition Bose' 901'il

AVery Limited Edition.Elegance and Performance for aselect few.

The 901 Concerto system. Inspired byone of the great symbols of live music -the concert grand piano.Witness the elegant look of back lacquer- hand polished to a deep, ultra -glosssheen. Its visual richness affirms that youare only satisfied with the best from Bose.The Concerto is a limited edition of thelegendary Bose 901 Series VI Direct/Reflecting' speaker - the most criticallyacclaimed loudspeaker in the world. Asour flagship product, it sets the standardfor musical realism, dynamic range andbass reproduction.

Destined to become a collector's item.

To commemorate this rare offering, you'llreceive a beveled jade lead crystal plaque,along with a parch-ment certificate ofownership and aspecial CD devel-oped specifically fordemonstrating thebenefits of 901 speaker technology.

To avoid disappointment, we encourageyou to place your order early. Becausewhen the Concerto systems are gone,they're gone forever.

The system price of $2,200.00 includescustom high -gloss black pedestals and 901Series VI active equalizer. Credit cardsaccepted for factory direct sales.

To order or obtain furtherinformation, please call:

1-800-444-BOSEBetween 8:30AM and 9PM(liT)

CIRCLE NO. 24 ON READER SERVICE CARD

System

Hailed by the Critics:"The Bose 901, fortifiedagainst the rigors of thedigital age, still makes thelistening room seem toexpand.""It is apparent from the firstnote why so many listenersare captivated by thisspeaker."Hans Fantel,The New York Times , 1990

"...I must say that I havenever heard a speaker systemin my own home which couldsurpass, or even equal, theBose 901 for overall 'realism'of sound."Julian Hirsch, Stereo Review, 1968

" ...ir has a total sound thatsoars, with a brilliance thatdefies description."Mode -m Hi-Fi & Music, 1977

"If music isimportant in your

life, sooner orlater you will owna Bose system."

Better sound through resea-ch.

Introducing the Sony D-35

Discman° Portable Compact

Disc Player.

Mozart, at the tender age of

8, measuring just 4' tall, created his

magnificent Symphony in C Minor.

He proved that size is no

obstacle to genius. As does the

multi -talented prodigy called the

Sony D-35 Discman. Measuring just

5"across, the D-35 is the only port-

able CD player blessed with a Direct

Access- keypad, for zeroing in on any

selection. And, thanks to its Program/

Time Edit function, it is easier

than ever to create perfect tape

compilations.

There's an LCD Music Calendar,

which gives you enough information

to keep track of your tracks-plus a

remote control attached to the

headphone cord. And an 8x over -

sampling digital filter to create a

sound quality that many home CD

players would happily lay claim to.

The D-35, like all Sony Discman

portables, offers the expertise

expected from the inventors of the

compact disc. And like the Maestro

himself, it demonstrates that size

has nothing whatsoever to do with

ability.

SONY.THE LEADER IN DIGITAL AUDIO-

opynglo l990 &,. (prAforon o. Mieino All oglos refereed no, thurnon lweo ha es, ono Leder n DAitol Audio ore itodernorks A Any

How Often In The History

Of Music Do We Find Something

Small, Yet Incredibly Gifted?

Stereo Review® Incorporating High Fidelity®

BULLETIN 5 POPULAR MUSIC 103LETTERS 8 BACKBEAT 118NEW PRODUCTS 13 CLASSICAL MUSIC 120AUDIO Q&A 20 RECORD MAKERS 134SIGNALS 22 THE HIGH END 136TECHNICAL TALK 36

EQUIPMENTTHE BASICS: THE EYES HAVE ITVideo components by Ian G. Masters

HIRSCH-HOUCK LABS EQUIPMENT TEST REPORTSSony DTC-75ES Digital Audio Tape Deck, page 39B.I.C. Venturi V620 Speaker System, page 50AudioSource Amp One Power Amplifier, page 54Cambridge SoundWorks Model Eleven Portable, page 60AKG K280 Headphones, page 66

THE STATE OF THE SPEAKERPure science, technology, and black art

UPGRADINGBreathe new life into your hi-fi system

BOSE LIFESTYLE MUSIC SYSTEMA special test report

SHOW STOPPERSOutstanding new products from CES

MUSIC

by David Simon

by Ian G. Masters

by Julian Hirsch

by Rebecca Day

29

39

71

76

80

85

MODERN JAZZ ON CDA special compact disc offer

NEEME JARVI"I believe it's every conductor's duty to help composersbecome known" by Lawrence B. Johnson

BEST RECORDINGS OF THE MONTHWorld Party, Schubert Piano Sonatas, Nitty Gritty DirtBand, and Liszt Piano Concertos

25

90

95

Cover: For more on Nakamichi's CDPlayer 2, see page 85. For more on Infinity's Modulussubwoofer/satellite speaker system, see page 71. Carpet courtesy ABC Carpet & Home, fruitbowl from LAS Collection, carafe from Dampierre, candlestick from Platypus, furniture by

Clodagh Ross Williams. Design by Sue Llewellyn, photo by Hing/Norton.

PAGE 76

PAGE 134

COPYRIGHT © 1990 BY DIAMANDIS COMMUNICATIONS INC. All rights reserved. Stereo Review, September 1990, Volume 55, Number 9. Stereo Review(ISSN 0039-1220) is published monthly by Diamandis Communications Inc. at 1633 Broadway, New York, NY 10019: telephone (212) 767-6000. Also publishers ofCar Stereo Review, Stereo Buyers' Guide, Compact Disc Buyers' Guide, and Video Buyers' Guide. One-year subscription rate for the United States and its ptssessions,$13.94: Canada, $18.94: all other countries, $21.94, cash orders only, payable in U.S. currency. Second-class postage paid at New York, NY 10001, and at additionalmailing offices. Printed in the U.S.A. Authorized as second-class mail by the Post Office Department, Ottawa, Canada, and for payment of postage in cask'. POST-MASTER/SUBSCRIPTION SERVICE: Please send change -of -address forms and all subscription correspondence to Sbereo Review, P.O. Box 55.627, Boulder, CO80322-5627. Please allow at least eight weeks for the change of address to become effective. Include both your old and your new address, enclosing, if passible, anaddress label from a recent issue. If you have a subscription problem, write to the above address or call (800) 876-9011. PERMISSIONS: Material in this publicationmay not be reproduced in any form without permission. Requests for permission should be directed to: The Editor, Stereo Review, Diamandis Communications Inc.,1633 Broadway, New York, NY 10019. EDITORIAL CONTRIBUTIONS must be accompanied by return postage and will be handled with reasonable care, but thepublisher assumes no responsibility for return or safety of unsolicited art, photos, or manuscripts.

VOL. 55 NO. 9 STEREO REVIEW SEPTEMBER 1990 3

"The Polk set is the best sounding system we have tested.

It played loudly and cleanly, and it projected excellent imaging.

In -car measurements were superb."CAR STEREO REVIEW.

November/December1989

The Speaker Specialists

5601 Metro Drive Baltimore, Maryland 21215 301/358-3600CIRCLE NO. 90 ON READER SERVICE CARD

Q! %Ai*0430000000104000.4111111111*94.4100406146.1/01111464001000001111000,001/1110555501600411001110404,00*00110fiteili9e11AP.080.111111*00011ffrile00911111141111101110111,00IP00410004100111011961110000001100011190*0016011100411111110011141,00110110110.*:00111*41.00410111011111000111*111101141000,111501/00411115111000111.111100011100111110060400.011114$0011040,411.010001viii001100411110050.411111164******111,011141111411.0111*01.601/.*4114006.110.00.11,51100**641/0wilei,"*steii

***1141111-011001itsoo.elletrefatkilsOolle11b11.4101111..*00041110101,Sfileiloireve*0000,0410gliOliftss**01IlksivillOrrefo.**Oftlitfilbel000sielmosivo0911111110:000*****eltile*41):100Oefi1eills041*10111410.0041*****41***4- Glie104-11401114-9.51110-1111,,041ke**100.5...0.00:5411-04,4-11***146 EllitiPlikivibro",WOIki- IMAM, **It1triK iII*: stk

BULLETIN

by Rebecca Day andWilliam Livingstone

LASERDISC UPDATEIn a recent Nielsen survey of

one thousand adults, only 34percent of the sample were awarethat laserdisc players areavailable, 28 percent believedcombi-players cost more than$1,000, and 25 percent saidlaserdiscs cost more than $50.Moreover, 62 percent felt that theformat would be obsolete in a fewyears.

In support of the growingformat, the Laser Disc Associationreports that thirteen companiesare now selling laserdisc players,the major movie studios arereleasing their big titles onlaserdisc (most of themsimultaneously with videotapereleases), 4,500 videodisc titlesare currently available in the U.S.,generally for $24 to $34 each, andmany companies-includingPioneer, Kenwood, RCA, Sony,Yamaha, Philips, Magnavox,Panasonic, and Denon-havecombi-players that sell for lessthan $1,000. Sony's new MDP-333lists for $600. This month Pioneeris introducing the CLD-980 with asuggested retail price of $500, andscheduled from Radio Shack inthe fall is the Realistic MD 1000,expected to sell for $499.95.

EQUIPMENT NOTESDenon's new TU-860NAB tuner

($475) receives all major stereobroadcast formats, including FMXand C-Quam, a stereo AM formatdeveloped by Motorola that hasbeen widely adopted bybroadcasters.... Citing revisedprojections, PSB Speakers hasdropped the suggested retail priceof its New Stratus speaker by$100, to $1,400.... Althoughdesigned to safeguard computersand office equipment, Avdex's PCLock ($130) can also be used tosecure audio and video equipment.For more information, write toAvdex, 115 Henry St., Freeport,NY 11520.... Bose has beennamed the official supplier ofprofessional sound systems forthe sixteenth Winter OlympicGames in France in 1992.

MUSIC ON S -VHS TAPESFor owners of Super VHS VCR's,

new releases from Super SourceVideo in San Francisco includeTchaikovsky's Swan Lake($49.95) performed by theBolshoi Ballet of Moscow and"The Voyager Odyssey" ($34.95),a music video featuringouter -space photography andworks by such composers asRespighi, Hovhaness, Liszt, andRichard Strauss. Both wererecorded in digital video anddigital hi-fi stereo. For orderinginformation call 1-800-331-6304.

DISC EXCHANGEThe Compact Disc Exchange is

an on-line cn buying and sellingservice for people with computersand modems. Subscribers pay $10a year for the ability to list ororder discs, which are thenmailed through the exchange.Handling fees are $1.95 for sellersand $2.75 for buyers of discspriced $15 or less and 15 percentof the price for discs over $15.The service has an electronicbulletin board for the exchange ofinformation about artists or discsas well as live "chat sessions"every night, with each 4 -hoursession devoted to a particularmusical category. The service canalso be accessed through theData -Tel communications gatewayfor a $1 -per -call charge. For a free15 -minute browse through thesystem, call by modem1-415-824-7603.

MUSIC NOTESOn September 12 at 8:00 p.m.

Eastern time, PBS presents"Amazing Grace with BillMoyers," a 90 -minutedocumentary on the well-knownhymn with such varied singers asJudy Collins, Johnny Cash, andJessye Norman. On September 14,PBS will repeat a program ofEvening at Pops with the lateSammy Davis, Jr. as soloist withthe Boston Pops Orchestra underJohn Williams.... Davis is amongthe Americans featured on newpostage stamps from Tanzaniahonoring black entertainers.Others include Michael Jackson,Gladys Knight, Smokey Robinson,

and Stevie Wonder.... That'sEntertainment Records, anEnglish company that specializesin musical -theater recordings, isnow marketing its CD'S in the U.S.under the TER logo. The firstreleases are two American showswith English casts, Wright andForrest's Kismet and StephenSondheim's Pacific Overtures, ontwo cn's each.... RCA/Novus hasreleased for the first time on cn"Whites Off the Earth Now," anearly album by Cowboy Junkies.Coming next month from RCA isthe soundtrack album for the filmMr. and Mrs. Bridge (with PaulNewman and Joanne Woodward).The score was composed byRichard Robbins.

HAIL AND FAREWELLAt this year's Tchaikovsky

Competition in Moscow thewinning singers were theAmerican soprano Deborah Voigtand the Korean -born baritoneHans Choi. An eighteen -year -oldgirl from Japan, Akiko Suwanai,placed first in the violindivision.... Among older artistsnow curtailing their appearancesis the Spanish soprano PilarLorengar, who has announcedthat her performances in Tosca inBerlin this summer were herfarewell to the operatic stage. Thephenomenal Australian divaDame Joan Sutherland sings herlast staged performances in operathis month in Sydney inMeyerbeer's The Huguenots. DameJoan told The AustralianMagazine that she looks forwardto gardening and to becoming alistener again.

STEREO REVIEW SEP' EEMBER 1990 5

When it comesto great audio,

we're not afraidto cut corners.

What's true in life is true in loudspeakers: Ifyou don't keepan open mind to new ideas you'll end up pretty square, likemost speakers in the world.

At NHT'® we're obsessed with great sound and the tech-nology that creates it. That's why our speakers are angled at27 degrees. It's part of an acoustic technology called FocusedImage Geometry. It's one reason bur unusually shapedspeakers give you exceptionally accurate sound.

An example of better thinking going in, and better soundcoming out. That's our angle.

EVERYTHING YOU HEAR IS TRUE.

Now Hear This, Inc., 537 Stone Rd., #E, Benecia, CA 94510For the NHT dealer nearest you: (U.S.) call 1-800-NHT-9993; (Canada) Artech Electronics Ltd., Dorval, Quebec H9P 2S4


Stereo Review

LOUISE BOUNDASEditor in Chief

MICHAEL SMOLENExecutive Editor

SUE LLEWELLYNArt Director

CHRISTIE BARTER WILLIAM WOLFEMusic Editor Technical Editor

DAVID STEINManaging Editor

REBECCA DAY, WILLIAM GOLDMANROBERT ANKOSKO

Senior EditorsARINDA J. SEGARRAMARYANN SALTSER

Assistant Editors

BARBARA AIKEN, ROCCO MATTERAEditorial Assistants

MICHAEL RIGGSWILLIAM LIVINGSTONE

Editors at Large

Contributing Editors: Robert Ackart,Chris Albertson, Richard Freed, Phyl

Garland, David Hall, Ron Givens,Bryan Harrell (Tokyo), Roy Hemming,Julian Hirsch, Ralph Hodges, StoddardLincoln, Ian Masters, Louis Meredith,

Alanna Nash, Mark Peel, HenryPleasants (London), Ken Pohlmann,

Parke Puterbaugh, Charles Rodrigues,Eric Salzman, Steve Simels, Craig

Stark, David Patrick Stearns

WINSTON A. JOHNSONVice President and Publisher

ADVERTISINGAdvertising Director: Nick Matarazzo

National Manager: Charles L. P. Watson(212) 767-6038

Account Manager: Sharon Dube(212) 767-6037

Corporate Account Manager: Tom McMahon(212) 767-6025

Assistant to the Publisher: Nadine L. GoodyClassified Advertising: (800) 445-6066Midwestern Managers: Arnold S. Hoffman,

Jeffrey M. Plaster, (708) 679-1100Western Managers: Robert Meth,

Paula Mayen, (213) 739-5130Tokyo Office: lwai Trading Co., Ltd.603 Ginza Sky Heights Building, 18-13,Ginza 7-Chome, Chuo-Ku, Tokyo, Japan 104Japan Representative: J. S. Yagi, (03) 545-3908Production Director: Karen RosenProduction Manager: Michele LeeBusiness Services Director: Greg RopertiNewsstand Sales Director: Margaret Hamilton

STEREO REVIEW is published by DiamandisCommunications Inc., a subsidiary of HachettePublications, Inc.

President & CEO: Peter G. DiamandisExecutive Vice President: Robert F. SpillaneSenior Vice President, Finance, & CFO: Arthur SukelSenior Vice President, Manufacturing & Distribution:

Murray RomerSenior Vice President, Operations& Administration:

Roberti. GranataVice President, Controller: David PeckerVice President, General Counsel: Catherine Flickinger

Vice President, Circulation, Leon RosenfieldVice President, Communications, Phyllis Crawley GatesVice President, Marketing, Anthony F. IncalcateraVice President, Research, Bruce Gershfield

6 STEREO REVIEW SEM-EMBER 1990

P amass!!!rrvoraiii. -

V elO

16-

PULL- LOSIC CONITIVML.

!asL.CEIC"71

I /ILI 71 CAS; IN LAW

2

ROCA JAll 1 I UVI

DISPLAY

. SIG -...FORNIATSCAWCAIG DIGITA. COWAN. TUNERMASSME DECK AIDPKIIRIVer

Panasonic brings you theCQ-1D90. It finds your favoritetype of music automatically- no matter where you are.

When you're driving, searching

for your favorite music on the radio

can drive you crazy. Especially if

you're in unfamiliar territory.

But our new car radio has ID

Logic* circuitry. A computer chip

that stores information covering

over 10,000 stations in over 4,300

cities in the U.S. as well as parts of

Mexico and Canada. You program

it to know where your home town is.

Then, the CQ-ID90 will not only

pick up all the local stations, it will

find them by format. And if you

drive out of town, just indicate the

direction you're heading in (N, S, E,

W every 30 miles or so), and the ID

Logic tuner will automatically look

for the desired stations along the

way. And that means, whatever you

want to listen to (classical, country,

rock, jazz, easy listening or talk),

you won't have to fumble up and

down the dial for it.

The unit also includes a full logic

tape deck with Tape Program

Search (TPS), Dolby** B and C

noise reduction, and a micropro-

cessor to ensure smooth tape

operation. Instead of protrud-

ing knobs and buttons, a

smooth, touch -sensitive dis-

play serves as the control

panel for most functions.

The new Panasonic car

stereo with ID Logic. You

always knew there was a way

to make car audio more conve-

nient. Now, you can put your finger

on it.'ID LOGIC is a trademark of and Is manufactured under licensefrom PRS Corporation. N Y 8 H.K All Rights Reserved

"Dolby and the double ()symbol are registered trademarks ofDolby Laboratories Licensing Corporation

Panasonic®'List slightly ahead of our timeCIRCLE NO. 82 ON READER SERVICE CARD

LETTERS

Home Theater spatial localization and ambience. Sincethe recording engineers would know the Compact Disc Deterioration

The whole audio industry seems to beattacking a major problem with music

characteristics of the playback system,they could make a recording that would

When I began purchasing co's aboutfive years ago, I did so with the belief

reproduction backward. The problem is sound exactly how they wanted it to. that I would be able to enjoy them forthat when we play back a recording at LESTER A. SHALLOWAY probably the rest of my life. I recentlyhome in a small room it won't sound Miami, FL heard, however, that a chemical reac-like Carnegie Hall (or wherever). One tion between the aluminum and theobvious but impractical solution is to Home THX is here. See "The State of polycarbonate layers that make up a CDput your stereo system in a room with the Speaker" on page 71 and "Show will eventually render it useless. Ac -the acoustics of Carnegie Hall. What the Stoppers" on page 85. cording to information supposedly pub -audio industry has tried to do is nearly lished in a reputable trade magazine, byas impractical. People have tried todesign speakers that will distort thesound so that when they are played in a

Stereo ImpositionIt is fine for Ian Masters to praise the

the time a CD reaches eight years of age,microscopic cracks at the interface be -tween the layers will begin to cause

small room they will give the illusion of availability of hi-fi everywhere ("Stereo errors in tracking and reading it. Thesea large room. The cost of some of these to Go," June), from lawn to bathroom errors will increase over a short periodspeakers is so great you might as well to elevator to surfboard to desert island. of time, making the CD unreadable.build your own auditorium! But is anyone still aware that the ubi- Are you aware of this limitation in the

The most practical solution is not dif- quitous diffusion of sound can also con- CD format, or is it just a rumor?ferent speakers but more of them. That stitute an unfair imposition? Loud- FRED N. MCCIENIIANwas tried with quad, but it never devel- speakers blaring in a park or in a neigh- McHenry, ILoped. Now with the birth of video wehave Dolby Surround (which is really a

bor's yard, even if they meet hi-fi specs,are not always a welcome addition to Editor at Large Michael Riggs replies:

lot like quad) and Lucasfilm's THX sys- the "quality of life," because inescapa- Essentially, it's just a rumor. Compacttern. If a system like THX were devel-oped for home use and the recording

ble sound can also disturb, distract,annoy, and desensitize, not just uplift.

discs are not indestructible, but they willnot normally deteriorate on their own. A

industry used it properly (not for special JOHN KELLNER manufacturing defect, a crack in theeffects), it should be possible to get good E. Walpole, MA plastic on the underside of a CD (an

Noted audio critics agreeabout the new PS3 Speaker System:

"The speakers that have caught my ear in the past fewmonths have been small and remarkably compact."

"...you can hear the bass evenly throughout the roomregardless of where you put the woofer."

"The sound was lively, full of punch and power, andextremely true on the nuances..r- Howard Blumenthal,

HI -TECH HOME"Imaging was well focused..The PS -3 also soundedstartling for its dimin-utive size, with lots ofpresence and warm,rich bass"-CD Review

"...the PS -3 satellites sound smoothand natural. They do their job withclarity..." "The woofer continuesthe smooth work..7

"...impressive imaging. All the instru-ments and voices seem to bein just the right place"

"If the PS3 speakers were soldlike magic elixirs, I would havebought a case!"- Rich Warren,

Chicago Tribune"...any listener would assume that

another, larger system was playing.The sound in our listening room was

smooth and well balanced..'.'- Julian Hirsch, Stereo Review

Don't choose any speaker system without first hearingand seeing the new PS3. Visit a Design Acoustics dealer near

you. Write today for dealer list, full reviews, and color brochure.

DESIGN®ACOUSTICSAn Aucho-Technoto Company

1225 Commerce Drive. Stow, OH 44224 (216) 686-2600

8 STEREO REVIEW SEPTEMBER 1990


Alen-teh Myles -Black VelvetStill Got This Thing; Love Is;more (Atlantic) 404.475

Teenage Mutant WOTurtles -OriginalSoundtrack (SBK) 406.900

Jack DeJohnette-Parallel Realities (MCA)

407.270Louie Louie -The StateI'm in (WTG) 407.023Wilson Philips (SBK)

406.793Corey Hart -Bang!(EMI America) 406.470Kid Creole & TheCoconuts -PrivateWaters In The Great Divide(Columbia) 406389Randy Brecker-Toe ToToe (MCA) 406.355Lee Ritenour-StolenMoments (GRP) 406.280The Rippingtons-Moonlighting (GRP)

406.272Little Feat -RepresentingThe Mambo (Warner Bros.)

406.058Film & The B.B.'s-NewPants (Warner Bros.)

406.017Patti Austin -Love IsGonna Getcha (GRP)

405.951

Jane Child (Warner Bros.)406.579

Suzanne Vega -Days OfOpen Hand (A&M) 405.944John Scofield -Time OnMy hands (Blue Note)

405.928Nejse-Tokyo Blue(EMI America) 405.910Damn Yankees(Warner Bros.) 405.886Heart -Brigade (Capitol)

405.555Pretty Woman -OriginalSoundtrack (EMI) 405.407Tommy Page -PaintingsIn My Mind (Sire/Warner Bros.) 405.399

Pubic Enemy -Fear Of ABlack Planet (Columbia)

406.710

DISCS, DISCS, DISCS, DISCS!

PICK ANY 8 CDsFOR A PENNY

PLUS A CHANCE TO GET ONE MORE CD -FREE! mmoimisp-complete details on other side

Robert Plant -Manic Nirvana. Eric Claotcn-Journeyman. Billy Joel -Storm Front.Hurting Kind; Tie Dye On The Bad Love; Pretending; Old Love; We Didn't Start The Fire;Highway; etc. (Es Paranza) 405.019 etc. (Warner Bros.) 400.457 more :Columbia) 387.902

Paula Abdul -Shut UpAnd Dance (The DanceMixes) (Virgin) 406.264

Slaughter -Stick it To Ya(Chrysalis) 404.830Smokey Robinson -Love, Smokey (Motown)

404.566Dianne Reeves -NeverToo Far (EMI) 404.517Michelle (Ruthless)

404.483Kylie Minogue-EnjoyYourself (Geffen) 403.857Maze Featuring FrankleBeverly -The GreatestHits/Lifelines Volume I(Capitol) 403.642Eddie Money -GreatestHits Sound Of Money(Columbia) 403.428Canadian Brass -EnglishRenaissance Music(CBS Master.) 403.402The Kinks -UK Jive(MCA) 403.303Louis Armstrong -TheBest Of The Decca Years -The Singer (Decca)

402.941Oran "Juice" Jones -ToBe Immortal (OBCL)

402.784Gipsy Kings-Mosaique(Elektra/Musician) 402.727Stacy Lattisaw-WhatYou Need (Motown)

405.385Nick Lowe -Party Of One(Reprise) 405.076Seduction -NothingMatters Without Love(A&M) 404.954

Vladimir Horowitz -TheLast Recording(Sony Classical) 405.985Born On The Fourth OfJuly -Original SoundTrack (MCA) 404.947Sheena Easton -TheCollection (EMI America)

404.863Laura Branlgan (Atlantic)

406.009

Bangles -Greatest Hits(Columbia) 405.977

Van Morrison -SaintDominic's Preview(Warner Bros.) 364.927Elvis Costello -ArmedForces (Columbia) 363.622Little Feat -Feats Don'tFail Me Now (Warner Bros.)

363.523Best Of The Doors(Elektra) 357.616/397-612Traffic -The Low Spark Of,.High Heeled Boys (Island),

351.924Rolling Stones -Exile OnMain Street (RollingStones Rec.) 350.652Best Of Procol Harum(A&M) 344.457The Byrds-Greatest Hits(Columbia) 342.501Bad Company -10 From 6(Atlantic) 341.313

Isaac Stern -Humoresque-Favorite Violin Encores(CBS Master.) 405.720

Technotronic-Pump UpThe Jam (SBK) 405.209

A Decade Of Steely Dan(MCA) 341.073Beet Of Kansas°(CBS Assoc.) 327.742Joe Cocker -GreatestHits (A&M) 320.911

Motown's 25 el Hits(Motown) 319.996/399.998Elton John -Greatest Hits(MCA) 319.541

Creedence ClearwaterRevival -20 Greatest Hits(Fantasy) 308.049The Best Of Emerson,Lake & Palmer (Atlantic)

306.969Best Of The GratefulDead (Warner Bros.)

291.633Best Of The Doobie Bros.(Warner Bros.) 291.278

The Notting Hillbillies -Missing... PresumedHaving A Good Time(Warner Bros) 405.381

CI'ConnOr

Slimed O'Connor -I Do Not Bonnie Raitt-Nick OfWantWhat I Haven't Got. Time. Have A Heart; Love(Chrysalis) 405.001 Letter; etc. (Capitol) 381.087

Kaoma-World Beat (Epic)402.800

Dion And The Belmonts-The Wanderer -18Original Hit Recordings(Laurie) 405.548

The Best Of The Dregs -Divided We Stand (Arista)

386.979Bo Diddley Is AGunslinger (Chess)

379.677Roy Orbison-The All -Time His, Vols. 1 & 2(Columbia SpecialSpecial Prod.)

377.945The Who -Who's Better,Who's Best (MCA) 376.657

The Very Beat of Poco(Epic) 367.623Marvin Gaye -GreatestHits (Motown) 367.565

Joni Mitchell -Court andSpark (Asylum) 367.102

Soul II Soul -Keep OnMovin' (Virgin) 386.037

Bobby Brown -Dance ...Ya Know It (MCA) 402.602

Heart-Dreamboat Annie(Capitol) 405.936Paul Anka-30thAnniversary Collection(Rhino) 405.761

The Band -To KingdomCome...The DefinitiveCollection (Capitol)

388.181/398-180Crosby, Stills, Nash AndYoung-Deja Vu (Atlantic)

404.202Jim Croce -Jim CroceLive: The Final Tour (Sala)

403.154Jimi Hendrix -EarlyClassics (SpecieMusic Co.) 402.677Eagles -Live (Elektra)

400.713/390.716Joe Cocker -Mad DogsAnd Englishmen (A&M)

389.783/399.782

Kenny G Live (Arista)401.505

BUSINESS REPLY MAILFIRST CLASS PERMIT NO. 660 lERRE I-AU1E

POSTAGE WILL BE PAID BY ADDRESSEE

Columbia House1400 NORTH FRUITRIDGE AVENUE

TERRE HAUTE, IN 47812-9202

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NO POSTAGENECESSARYIF MAILEDIN THEUNITED STATES

Carly Simon -My Romance. Time After Time; Janet Jackson -Rhythm Nation 1814. Aerosmith-Pump. Love n An Elevator;Something Wonderful; etc. (Arista) 404.533 Miss You Much: plus more. (A&M) 388.918 Janie's Got A Gun; etc. (Geffen) 388.009

ANY 8 CDs FOR A PENBarbra Streisand-ACollection: Greatest Hits(Columbia) 401.141R. Strauss & Britten:Sonatas for Cello & Piano.Yo -Yo Ma, Emmanuel Ax(CBS Master.) 402.180Liszt: Piano Sonata;3 Petrarca Sonnets; more.Vladimir Feltsman(CBS Master) 388.538

Michael Bolton -SoulProvider (Columbia)

383.083George Harrison -BestOf Dark Horse 1976-1989 Billy Ocean -Greatest(Dark Horse) 402.594 Hits (Jive/RCA) 400.879Brahms: Piano SonataNo. 3/Scherzo.Bronfman(M usicmasters)

402.263Benny Goodman -Private Collection/Beethoven, Brahms, etc.(Musicmasters)

402.214/392.217

Lisa Stansfield-Atrection(Arista) 404.905Jody Watley -You WannaDance With Me? (MCA)

402.610Joan Jett -The HitList (CBS Asso /Blackheart) 402.628The Best Of LutherVandross-The Best OfLove (Epic)

400. 473/390 476

Brahms: Violin Concerto;Bruch: Concerto No. 1.Nadja Salerno -Sonnen-berg; De Waart, MinnesotaOrch.(Angel) 400.135Ricky Van Shelton-RVSIII (Columbia) 402.040David Benoit -WaitingFor Spring (GRP) 401.901

Lenny Kravitz -Let LoveRule (Virgin) 401.893Duran Duran -Decade(Capitol) 401.869Dionne Warwick -Greatest Hits (1979-1990)(Arista) 401.679Pat Benatar-Best Shots(Chrysalis) 401.646Chicago -Greatest Hits1982-1989 (Reprise)

401.166Robert Palmer -Addictions, Volume One(Island) 400.937

Belinda Carlisle -Runaway Horses (MCA)

400788Paul Simon -NegotiationsAnd Love Songs(Warner Bros) 400.721Joe Satriani-Flying In ABlue Dream (Relativity)

400.655Puccini-Tosca.Various Artists; Pretre,Paris Conservatoire Orch.(Angel) 400-168/390.161Dave Grusin -Migration(GRP) 400.044Midori-Paganini Caprices(CBS Master.) 389.791Terence Trent D'Arby-Neither Fish Nor Flesh(Columbia) 389.726Miles Davis -Aura(Columbia) 31fr312Bob Dylan -Oh Mercy(Columbia) 389.282Tony Bennett -Astoria(Columbia) 389.254Young MC -Stone ColdRhymin' (Delicious Vinyl)

400085

On The Cutting EdgeDepeche Mode -Violator(Reprise) 405.423The Rave -Ups -Chance(Epic) 405.316World Party -GoodbyeJumbo (Chrysalis) 405.027The Blue Nile -Hats(A&M) 404.525Tanita Tikaram-TheSweet Keeper(Warner Bros.) 403.832The Church -GoldAfternoon Fix (Arista)

403.162Midnight Oil -Blue SkyMining (Columbia) 402.636Nine Inch Nails -PrettyHate Machine (TVT)

402.438Kate Bush -The SensualWorld (Columbia) 401.232The Psychedelic Furs -Book Of Days (Columbia)

400.689Laurie Anderson -Strange Angels(Warner Bros.) 389.940Indigo Girls (Epic) 381.269R.E.M.-Eponymous(I R.S ) 374.777

Ian McCulloch-Candleland (Sire/Reprise)

389.593The Jesus And MaryChain -Automatic(Warner Bros.) 389.551David Byrne-Rei Momo(Sire) 389.494The Mighty Lemon Drops-Laughter (Reprise)

389.478The Smithereens II(Capitol) 389.387Big Audio Dynamite-Megatop Phoenix(Columbia) 388.215Camper Van Beethoven- Key Lime Pie (Virgin)

388.074Squeeze -Frank (A&M)

388.058Bryan Ferry / Roxy Music-Street Life (Reprise)

384230Peter Gabriel -Passion(Geffen) 383.810

Adrian Belew-YoungLions (Atlantic) 407.577Lloyd Cole (Capitol)

406.405

Linda Ronstadt-Cry LikeA Rainstorm, Howl LikeThe Wind (Elektra) 389.874Jethro Tull -Rock Island(Chrysalis) 388.157Neil Young -Freedom(Reprise) 388. 32Melissa Etheridge -Brave And Crazy (Island)

388.090Grateful Dead -Built ToLast (Arista) 388.025Rolling Stones -SteelWheels (RollingStones Rec.) 387.738Roy Orbison-MysteryGirl (Virgin) 377.101Quincy Jones -Back OnThe Block (OwestWarner Bros) 389.577

Son Of "Movies Go ToThe Opera" -VariousArtists (Angel) 404.665Rickie Lee Jones-FlyirtgrCowboys (Geffen) 388199Taylor Dayne-Can't FightFate (Arista) 388.017Elton John -SleepingWith The Past (MCA)

387.993Tracy Chapman -Crossroads (Elektra)

387.95'Madonna -Like A Prayer(Sire) 379.594MqtleyFeelgood (Elektra) 387.944Stanley Turrentine-LaPlace (Blue Note) 387-159Gloria Estefan-CutsBoth Ways (Epic) 382.341

SEND NO MONEY -JUST MAIL POSTPAID CARDColumbia House, 1400 N. FruitridgeP.O. Box 1129, Terre Haute, IN 47811-1129

Please accept my membership application under the terms outlined in thisadvertisement. Send my 8 Compact Discs and bit me only A plus shippingand handling. I agree to buy six selections at regular Club prices in the comingthree years -and may cancel membership at any time after doing so.My main musical interest is (check one): (But I may always choose from any category)0 Hard Rock 0 Soft Rock 0 Modern Rock O Light SoundsRobert Plant, Michael Bolton, Sinead O'Connor Carly Simon,Aerosmith Fleetwood Mac Depeche Mode Barry Manilow0 Heavy Metal 0 Black Music O Easy Listening 0 Jazz 0 CountryMotley Crue,Slaughter

Luther Vandross,Bell Biv Devoe

Johnny Mathis,Ray Conniff 0 Classical

Mr.MrsMiss Print First Name Iniripl Lost Nome

Address Apt

City

State ZipDo you have a VCR? (Oa) 0 Yes 0 No 231/F90Do you have a credit card? (03) 0 Yes 0 NoNote we reserve the right to reject any application or cancel any mernbershp. These oilers not ayailabte in APO. FPO.Alaska. Kamm Puerto Roc° write for details of alternative otter Canadian resetents serviced front Toronto. Applicablesales tax added to all orders.

Send these 8 CDs for 14

Extra Bonus Offer:LI also send one more CDright now, for which I will bebilled only $6.95.

and I'm entitled to getibis ways co FREE

JZJ/F6 JZK/59

Dave Edmunds -CloserTo The Flame(Capitol) 387.126Tina Turner -ForeignAffair (Capitol) 387.118Joe Cocker -One NightOf Sin (Capitol) 387.084Ziggy Marley & TheMelody Makers -OneBright Day (Virgin) 386.987Harry Connick,Jr.When Harry Met Sally -Music From The MotionPicture (Columbia) 386.821Mozart: Symphony No.41(Jupiter); DivertimentoNo.1,K136. Muti, BerlinPhil.(Angel) 386.466Babyface-Tender Lover(Solar/Epic) 386.177Eric Marienthal-RoundTrip (GRP) 385.914R. Strauss: Metamor-phosen; Duet Concertino;etc. Esa-Pekka Salonen,New Stockholm ChamberOr.(CBS Master.) 385.195Youssou N' Dour -TheLion (Virgin) 384.362George Benson -Tenderly (Warner Bros.)

384.214Cher -Heart Of Stone(Geffen) 383.893Fleetwood Mac -Greatest Hits(Warner Bros.) 375.782

Don Henley -The End OfThe Innocence (Geffen)

383.802Guns N' Roses-GN'RLies (Geffen) 376.087Mozart: Flute Concer-tos; Adante; Rondo.Jean-Pierre Rampal AndZubin Mehta, Israel Phil.(CBS Master.) 383.364Haydn: Piano Sonatas33, 38, 58, 60. Emanuel Ax(CBS Master.) 383.331Roxette-Look Sharp!(Parlophone) 381.939

The B -52's -Cosmic Thing. Love Shack;Roam; plus many more (Reprise) 383.877

AND A CHANCE TO GETONE MORE CD -FREE!

complete details belowTom Petty -Full Moon k.d. lang And TheFever (MCA) 382.184 Reclines -Absolute Torch

& Twang (Sire) 381.624Berlioz: Symphonie Fan-tastique. Norrington,London Classical Players(Angel) 382.747Steve Reich: DifferentTrains - Kronos Quartet /Electric Counterpoint - PatMetheny(Nonesuch) 380.071

DliCtf (11889 F.11411 11C BIOtti

Chick Corea ElektricBand -Inside Out (GRP)

404.574Rachmaninoff: PianoConcerto No. 3; RhapsodyOn Theme Of Paganini.Feltsman; Mehta, IsraelPhil.(CBS Master.) 383.315Paula Abdul -ForeverYour Girl (Virgin) 374.637Skid Row (Atlantic)

379.602Fine Young Cannibals -The Raw And The Cooked(I. R.S.) 379.214

Basia-London WarsawNew York (Epic) 401.752The Traveling WIlburys-Volume One (Wilbury)

375.089Jeff Beck -Guitar ShopWith Terry Bozzio AndTony Hymas (Epic)380. 303Richard Marx -RepeatOffender (EMI) 380.915

Selections with two numbers contain 2 CDs and count as 2 -so write in both numbers.

HERE'S HOW TO GET YOUR 8 CDs FOR 16...

Just mail the coupon and we'll send your 8 CDs,together with a bill for is, plus shipping and handling. You agree to buy just six more selections in the nextthree years, at regular Club prices (currently $12.98 to$15.98, plus shipping and handling) -and you may cancelmembership at any time after doing so. Free Music Magazine sent every four weeks (up to 13times a year), describing the Regular Selection for yourlistening interest, plus hundreds of alternates. And SpecialSelection mailings up to six times a year (total of up to 19buying opportunities). Buy only what you want If you want the Regular orSpecial Selection, do nothing -it will be sent automatically.If you'd prefer an alternate selection, or none at all, justmail the response card always provided by the datespecified. You always have 10 days to decide; if not, you mayreturn the Selection at our expense. Half -Price Bonus Plan. If you continue yourmembership after fulfilling your obligation, you'll be eligibleFor our money -saving bonus plan. It lets you buy one CD athalf-price for each CD you buy at regular Club price. 10 -Day Free Trial. We'll send details of the Club'soperation with your introductory package. If not satisfied,return everything within 10 days and you will have nofurther obligation. Extra Bonus Offer: you may take one additional CDright now at the super -low price of only $6.95 -and you arethen entitled to take an extra CD as a bonus FREE! Andyou'll receive your discounted CD and your bonus CD withyour B introductory selections -a total of 10 CDs in all!

COLUMBIA HOUSE: Terre Haute, Fs -17811t 1990 CBS Records, Inc.

unlikely occurrence), or a gouge orscratch penetrating the protective lac-quer coating on the label side couldallow air to reach the aluminum infor-mation layer, which would then oxidize.Although this sort of problem is notunheard of it is far from common.Remember, the CD format is now abouteight years old: if what you heard weretrue, discs would be decomposing at afurious rate right now. Our c'p's from1982 still play as they did then.

Best of the SmallestRegarding Ken Pohlmann's article

"The Best of the Smallest" in July, I

would like him to comment on the useof one of the five CD portables he testedas part of a stationary audio system. Ido not currently own a CD player. Ifthese small players are as good as theysound from his article, it makes sense touse one both as a portable and for myexisting home and car systems.

MORTON H. FIELDBeverly Hills, CA

Ken Pohlmann replies: While the per-formance specifications of CD portablesand home players are competitive inmany respects, some portables have alower signal-to-noise ratio than goodhome players as well as mechanicallynoisier transports. As a result, you mighthear some noise when listening to softpassages in a quiet room.

Long CassettesYour June issue gives contradictory

advice on the use of C-120 cassettes. Onpage 31, Ian G. Masters advises to "buylonger tapes . . . . Handled carefully, C -120's work just fine." On page 67 SteveSimels cautions: "The longer the tape,the less reliable. . . . In other words,don't use a C-120." So which is it?

J. STOLLERNew York, NY

Executive Editor Michael Smolen re-plies: The longer the tape, the thinner itis, therefore the greater the chance of itsstretching or breaking. Ian Masters wasanswering a question about makingdubs for use on a trip. In general, we donot advocate the use of C-120 cassettesfor recordings you'll want to keep andplay over and over again. The new C-100 tapes from companies such as TDK,Maxell, and Sony are a better bet.

WirelessI was intending to form a new compa-

ny to promote the use of my InferredAbsolute Zero interconnects and cables,which would retail in the reasonablerange of the competition mentioned inJune's "Getting Wired." I was shockedto find from your article that there areno more adjectives left to use. My prod-

uct uses "functionally perfect" lampcord from my local hardware store, butthe secret is in the insulation. The add-on jacket and cryo-desistance systemmay be a kilowatt consumer, but theaccuracy of sound elevates even a mid-fi system to the heights of esoteria.

I hope that if any new superlatives areinvented in the near future, I will beable to register a couple of them beforethe competition does.

MARK VAUGHNPlover, WI

Correction"Audio for Video" in August stated

that the Bose Video RoomMate pow-ered speakers have a two -position vol-ume switch; there is a continuouslyvariable control. Also, mounting brack-ets are optional, not supplied, and theonly supplied adaptor plug is a mini -to -RCA type. The article said the speakershave 6 -inch drivers, but the drivers are41/2 inches as stated in the caption. Weregret these errors.

FINALLY, YOU DON'TNEED A DUAL INCOME

TO AFFORD DUAL WOOFERS.The new Advent® Heritage loudspeakers offer handcrafted pecan

cabinetry and digital -ready, dual -cone technology.Two 8 -inch, high -excursion woofers produce low frequencies, while

the ferrofluid filled, polyamid tweeter provides wide dispersion andimaging of higher frequencies.

So when you get a pair, you won't spend a fortune. It will only soundlike you did. THE HERITAGE BYFor free literature and the name ofyour nearest dealer, call 1-800-4SPEAKR DV E

(((e))) C1990 Intemational Jensen Inc. Sound as it was meant to be heardAdvent° M a registered trademark o1Internattional Jensen Inc.

READY

STEREO REVIEW SEPTEMBER 1990 9

Learn to play Bach

It may have taken a musical genius to

write the Toccata and Fugue in D Minor, but

it shouldn't take a technical genius to play it.

Or at least, that's the thinking behind

the Mitsubishi M -C6010, the world's first CD

changer with on -screen commands.

The way we see it, you shouldn't have to

spend the best years of your life figuring out

how to work your audio equipment. So we've

put the directions right on the TVscreen in

front of you, in the form ofmenus that lead

you through every function, step by step.

And confirm what you're doing while you're

doing it.There are menus that cover all the

usual functions, like programming discs and

recording them to tape.

And then there are menus for things that

aren't usual at all. For instance, imagine being

able to customize your CD library according

arg c&tiFEAT OH

1.44,7-^s- VCR E

The M -C6010 CD changer The M -R8010 HomeTheater receiver.

© 1990 Mitsubishi ElectricSales America, Inc. For the name of your authorized dealer, call (800)527-8888 ext.145.

in three easy steps.

ne Liste

KY

selectTERr next

CD PLAYAll discs

Disc3 Trk:07Time: 1m23s

to category. You name each magazine, and the

next time you insert it into the changer, your

title -"Sixties Classics" or "Elevator Greats"-

will appear on the screen. Or if you feel like

browsing, you can call up the names of every

magazine in your library with a quick flick of

the remote control.

As a piece of video equipment, our CD

changer is pretty impressive. But we could

hardly expect you to buy it on looks alone, so

we gave it all the technology any right-minded

audiophile would insist on. Dual 18 -bit linear

D/A converters. 8 -times oversampling during

the filtering process. And digital de -emphasis,

a special circuit for accurate playback of the

high frequencies sometimes present on CDs.

Of course, the best way to get the most

out of all this technology is to make it part

of a Mitsubishi Home Theater System, so

your audio and video components can work

together as a cohesive unit. Everything in the

system-from our big screen TVs and VCRs

to our CD changer and Home Theater

receiver - operates the same way and can be

controlled by a single learning remote.

With all of this in mind, picking out

your next CD changer should be as easy as

playing "Chopsticks:'

Nt MITSUBISHITECHNICALLY, ANYTHING IS POSSIBLE®


Toy wonder Francis Goldwynhas a new idea that's150 million years old.

THE CHRISTIAN BROTHERS BRANDY.. 40% ALC. BY VOL 180 PROOF)1990. CB VINEYARDS. MENLO PARK. CA.

He also prefersChristian Brothers Brandy.

Founder, The Manhattan Toy Co., Ltd.Prehistoric and modern toys.Last year's sales: $5,000,000.

ChristAiBrothersWhen you know better.

NEW PRODUCTS

PIONEERPioneer's Elite CLD-92 combination

laserdisc/cD player features an eight-times-oversampling digital filter and a20 -bit digital -to -analog converter. Athree -line comb filter is said to providebetter color definition, less video noise,and less cross -color distortion than pre-vious models. Operating features in-clude flip -side play, random play, intro

scan, twenty -chapter memory for laser -discs, digital field memory for videospecial effects, and on -screen filing forfavorite selections. The CLD-92 comeswith a ten -key remote control. Price:$2,000. Pioneer Electronics, Dept. SR,2265 E. 220th St., P.O. Box 1720, LongBeach, CA 90801-1720.Circle 120 on reader service card

KLIPSCHThe Chorus II uses Klipsch's new

tractrix hybrid midrange horn, which issaid to improve detail in complex mu-sical passages and to provide a moreopen sound. The three-way system hasa rear -mounted sub -bass radiator to im-prove low -frequency bandwidth andoutput. Frequency response is rated as39 to 20,000 Hz ± 3 dB and sensitivityas 101 dB at 1 meter with a 1 -watt input.Nominal impedance is 8 ohms. Powerhandling is rated as 100 watts contin-uous, 1,000 watts peak. Dimensions are39 x 18L x 151/2 inches, weight 89pounds. The cabinet is available inoiled or lacquered walnut or oak veneer,unfinished birch veneer, or satin black.Price: $1,790 a pair. Klipsch, Dept. SR,P.O. Box 688, Hope, AR 71801.Circle 122 on reader service card

FRIED PRODUCTSThe Fried R/4 is a three-way speaker

system that incorporates full transmis-sion -line loading of the midrange. It hasa 10 -inch vented -pole polypropylenewoofer, a 51/2 -inch polypropylene mid-range, and a 1 -inch fluid -damped dometweeter. Nominal impedance is 8 ohms.Frequency response is rated as 30 to20,000 Hz ±2 dB, power -handling as 25to 100 watts per channel. Crossoverpoints are 250 and 3,000 Hz. The cabi-net is finished in wood veneers with acloth grille. The built-in pedestal tiltsthe speaker so that outputs from the dif-ferent drivers arrive in phase. Dimen-sions are 34 x 12 x 101/2 inches, weight56 pounds. Price: $1,255 west of theRockies, $1,195 in the East. Fried Prod-ucts, Dept. SR, 7616 City Line Ave.,Philadelphia, PA 19151.Circle 121 on reader service card

JVCThe JVC SC-F007U is a Super VHS -

C modular portable video system saidto include the smallest S -VHS -C record-er available. Components include a Su-per VHS Hi-Fi recorder/player, a 3 -inchactive -matrix liquid -crystal color moni-tor with built-in speaker, a charge -cou-pled -device camera with microphone,and a rechargeable battery pack. Thecamera can be connected to the mainunit directly or by a cable. Price: $2,499.JVC, Dept. SR, 41 Slater Dr., ElmwoodPark, NJ 07407.Circle 123 on reader service card


NEW PRODUCTS

TEALTeac's AD -3 CD player/cassette deck

has a 16 -bit four-times-oversamplingdigital filter, dual 16 -bit digital -to -ana-log converters, and a three -beam laserpickup. Operating features include six-teen -track programming and three-wayrepeat. The autoreverse cassette sectionhas Dolby B and Dolby HX Pro, syn-

chronized dubbing, and external -timerrecord and play. The AD -3 comes withits own remote control, but it is alsocompatible with Teac's Unified Remotesystem. Price: $399.95. Teac Corp. ofAmerica, Dept. SR, 7733 TelegraphRd., Montebello, CA 90640.Circle 124 on reader service card

MB QUARTMB Quart's Model 290, the successor

to the Model 280, is a two-way book-shelf speaker with a 1 -inch titaniumtweeter and an 8 -inch woofer. An inte-grated reflector disc in the protectivegrille of the tweeter is said to improvedispersion and response accuracy. APoly -Safety switch shuts off the tweeterin case of an overload. Nominal imped-ance is 4 ohms, and sensitivity is ratedas 89 dB at 1 meter with a 1 -watt input.Frequency response is rated as 40 to32,000 Hz. Each speaker measures 17 x11 x 111/2 inches and weighs 22 pounds.Cabinets are available in solid oak, oakor walnut veneer, or black or white lac-quer. Price: $699 a pair. MB Quart Elec-tronics, Dept. SR, 25 Walpole ParkSouth, Walpole, MA 02081.Circle 126 on reader service card

PROGRESSIVE DESIGNProgressive Design's CD -2000 com-

pact disc cabinet, available in eitherbrown or black oak, holds 104 discs. Itcan be used as a freestanding cabinet orhung (without the base) horizontally orvertically on a wall. The cabinet meas-ures 50 inches tall and 7 inches square,and the base is about 13 inches square.Price: $119.95. Progressive Design,Dept. SR, 61 E. Lake St., Northlake, IL60164.Circle 125 on reader service card

AumPRismThe AudioPrism APPA-8500 is a

multi -element indoor FM antennawhose half -wavelength phased arraycan be switched by a remote controlamong three different directions spaced120 degrees apart. The antenna's direc-tionality is said to reduce multipathinterference to a negligible level. Anomnidirectional mode can also be se-lected, and the three -position switch -able "true -resistive" attenuation (0, 12,or 18 dB) can reduce strong signals thatcould overload a tuner's front end.Rated impedance is 75 ohms. The col-umnar antenna stands 63 inches highand is 121/4 inches in diameter; weight is241/2 pounds. It is finished in a black orbeige coarse -weave fabric, and end capsare available in black or off-white lac-quer or in solid oak. Price: $250; oakend caps, $50 extra. AudioPrism, Dept.SR, P.O. Box 1124, Issaquah, WA98027.Circle 127 on reader service card

.%udiorri,m $7,14)Indoor FMAntenno


li

r

What do you do after build-ing the largest, most sonically-

accurate speaker system inthe world?

If you're Infinity, you takeeverything you've learned fromthe 71/2 foot, $50,000 InfinityReference Standard V and applyit to the most sonically -accuratecompact speaker system inthe world.

And you call it Modulus.A speaker system for the 1990's.

Technologically, it is an

encyclopedia of high science,from its time -aligned driverarray to its servo -controlledsubwoofer to its acoustically -inert, sand -filled pedestals.

Sonically, it has thepower to drop jaws with itsabsolutely uncanny musicalaccuracy.

And visually, it would beas at home in the Museum ofModem Art as in any listeningroom. With or without itsoptional modular components.

To audition the newModulus system, bring yourfavorite disc or tape to a selectedInfinity dealer.

And experience Researchand Development, Infinity style.

(1fNe gnat you back to what its all about. Music.

For literature and the name of your nearest Infinitydealer, ealI (800) 765-5556. In Canada, call(416) 294-4833, H. Roy Gray, Ltd. 01989 InfinitySystems, Inc. H A Harman International Company.

NEW PRODUCTS

CODA TECHNOLOGIESCoda's Model 01 preamplifier uses

field-effect transistors (FET's) for allvoltage gain, which is said to isolate itfrom sources and cables and to provide"warm" sonic qualities without degra-dation of response. Designed to use nooverall feedback, the Model 01 isclaimed to remain stable with any loador interconnects. Source selectors havegold-plated contacts, and the chassis is

made of anodized aluminum. There arefive line -level inputs and one phonoinput, which has switchable gain andloading for use with all types of car-tridges. Two buffered recording loopsoperate independently of the source se-lector for listening. Price: $2,500. CodaTechnologies, Dept. SR, 9233 WausauWay, Sacramento, CA 95826.Circle 128 on reader service card

SANSUISansui's RZ-9500AV audio/video re-

ceiver is rated to deliver 105 watts perchannel. It offers matrix surroundsound and five preset equalizationcurves. There are seven inputs, includ-ing three for video, and the monitoroutput is switchable for audio or video.The digital AM/FM tuner has thirty pre-

sets, direct -access tuning, and presetscan. The volume knob is motorized forremote operation, and the supplied re-mote control can also operate otherSansui components. Price: $439.95.Sansui USA, Dept. SR, 1250 ValleyBrook Ave., Lyndhurst, NJ 07071.Circle 130 on reader service card

DUALThe Dual Manhattan 1100 stereo sys-

tem has a digital FM tuner, a dual cas-sette deck, an integrated amplifier, a CDplayer, and an active subwoofer-allintegrated in a six -sided 43 x 13 x 13 -inch tower. The amplifier is rated at 50watts per channel and drives a pair oftwo-way satellite speakers. The tunerhas automatic and manual tuning andeighteen presets, the cassette deck fea-tures Dolby B and Dolby C noise reduc-tion, and the CD player features a three -beam laser pickup, a 16 -bit D/A convert-er with a four-times-oversampling digi-tal filter, and twenty -four -track memo-ry. The remote control operates power,volume, and CD and tuner functions.Price: $1,990 complete. Dual, Dept. SR,122 Dupont St., Plainview, NY 11803.Circle 129 on reader service card

CONRAD-JOHNSONThe Conrad -Johnson Evolution 2000

hybrid power amplifier uses both vacu-um -tube and solid-state technology in azero -feedback design. Tubes handlevoltage gain, and complementarymetal -oxide semiconductor field-effecttransistors (c-mosFET's) handle currentgain. Five pairs of high -current devicesin the final stage are said to providenearly unlimited current capacity. TheEvolution 2000 is rated for 200 wattsper channel rms into 8 ohms from 20 to20,000 Hz with no more than 1 percenttotal harmonic or intermodulation dis-tortion. Dimensions are 221/2 x 19 x 101/2inches; weight is 114 pounds. Price:$4,995. Conrad -Johnson, Dept. SR,2800R Dorr Ave., Fairfax, VA 22031.Circle 131 on reader service card

16 STEREO REVIEW SEVEEMBER 1990

Bonnie Raitt:Nick Of Time

54410

Robert Plant:Hanle Nirvana

54122

Paula Abdul:Forever Your Girl00933

5 inead O'Connor:I Do Not Want WhatI Haven't Got 33512

The ultimate in sound...The ultimate in savings...

COMPACTDISCS

FOR THEPRICE OF

WITH NOTHING MORE TO BUY...EVER!Alannah Myles(Atlantic) 30045

Eric Clapton:Journeyman(Warner Bros.) 53940

Milli Vanilli: Girl YouKnow It's True(Arista) 01048

Linea Ronstadt: CryLike A Rainstorm, HowlLike The Wind(Elektra) 52221

Dianne Reeves:NeverToo Far (EMI) 44301Kenny G: Live(Arista) 64505Peter Murphy: Deep(RCA) 44638Carly Simon: MyRomance(Arista) 24824Tracy Chapman:Crossroads(Elektra) 42496Guns N' Roses:Appetite For Destruc-tion (Geffen) 70348The Best Of Steely Dan:Decade (MCA) 54135

Janet Jackson'sRhythm Nation 1814(A&M) 72386

The Who: Who's Bet-ter, Who's Best (MCA)00790

Don Henley:The End OfThe Innocence(Geffen) 01064

Eagles: Greatest Hits,Vol. 1 (1971-75)(Asylum) 23481

Quincy Jones: BackOn The Block(Warner Bros.) 64116

Horowitz At Home(DG) 25211

The Moody Blues:Greatest Hits(Threshold) 34284

Whitesnake: Slip OfThe Tongue(Geffen) 01147The Dizzy GillespieSymphony Sessions(Pro Jazz) 44022

The Fabulous BakerBoys/Soundtrack(GRP) 44637The Black Crowes:Shake Your Money-maker (Geffen) 52142Bon Joy!: New Jersey(Mercury) 00516Cher: Heart 01 Stone(Geffen) 42874

Tom Petty: Full MoonFever (MCA) 33911The Traveling Wilburys:Volume One(Warner Bros.) 00711

Roy Orbison: BlackAnd White Night(Virgin) 64495

George Harrison: BestOf Dark Horse, 1976-89(Dark Horse) 80307

Happy Anniversary,Charlie Brown (GRPArtists) (GRP) 64278The Beach Boys: MadeIn U.S.A. (25 hits!)(Capitol) 64143

Jazz CD Sampler(PolyGram) 73406The B -52's: CosmicThing (Reprise) 14742J.R. Baker: Every-body's Favorite Synthe-sizer Pieces(Newport Classic) 44611

Duran Duran: Decade(Capitol) 73573

Lisa Stansfield: Affec-tion (Arista) 34198

Bobby Brown:Dance!...ya know it!(MCA) 73660Supertramp: Classics(14 Greatest Hits)(A&M) 04891

Kentucky Headhunters:PickIn' On Nashville(Mercury) 24740

Marcus Roberts: DeepIn The Shed(Novus) 73646

20 Great Love Songs OfThe '50s & '60s, Vol. 1(Laurie) 20768Barry Manilow: LiveOn Broadway(Arista) 24805

Solti: Tchalkovsky,1812 Overture(London) 25179Richard Marx: RepeatOffender (EMI) 01118Kitaro: The Kojiki(Record Of Ancient Mat-ters) (Geffen) 43758

Clint Black: Min' Time(RCA) 01112Fleetwood Mac:Greatest Hits(Warner Bros.) 00796Madonna: Like APrayer (Sire) 01029Stanley Jordan: Cornu-copia (Blue Note) 73847Najee: Tokyo Blue(EMI) 44482

START WITH 4 COMPACT DISCS NOW!Yes, start with any 4 compact discs shown here! You need buy just1 more hit at regular Club prices (usually $1 4.98-$1 5.98), andtake up to one full year to do it. Then choose another CD free. Inaddition, as a member in good standing, you can get 2 more selec-tions Free after completing your first year of membership. That's 8CDs for the price of 1 with nothing more to buy... eve (A shippingand handling charge is added to each shipment.)

HOW THE CLUB OPERATESYou select from hundreds of exciting CDs described in the Club'smagazine and mailed to you approximately every threeweeks (19 times a year). Each issue highlights aFeatured Selection in your preferred music cate-gory, plus alternate selections. If you'd like theFeatured Selection do nothing. It will be sent toyou automatically. If you'd prefer an alternateselection or none at all, just return the cardenclosed with each issue of your magazine, bythe date specified on the card. You will have atleast 10 days to decide or you may return yourFeatured Selection at our expense. Cancel yourmembership at any time after completing yourenrollment agreement, simply by writing to us,or remain and take advantage of bonus savings.

FREE 10 -DAY TRIALListen to your 4 introductory selections for a full 10 days.If not satisfied, return them with no further obligation. You send no

money now, so complete the coupon and mail it today.

SAVE.50°/CSE

r

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1,3000,sr 'We.

Bruce Hornsby & TheRange: A Night On TheTown (RCA) 63689Gary Burton: Reunion(GRP) 53144Fine Young Cannibals:The Raw And TheCooked (I.R.S.) 01068Pavarotti: Volare(London) 25102Randy Travis: NoHoldIn' Back(Warner Bros.) 34766Del Leopard: Hysteria(Mercury) 00927

The Smithereens 11(Capitol) 10619Pretty Woman/Sound-track (EMI) 34631Restless Heart: FastMovin' Train(RCA) 10802Poco: Legacy(RCA) 54060Chicago: Greatest Hits1982-89 (Reprise) 63363

George Gershwin PlaysRhapsody In Blue(Pro Arte) 44635

Michael Penn: March(RCA) 83798Best Of Dire Straits:Money For Nothing(Warner Bros.) 00713The Church: Gold After-noon Fix (Arista) 71667

Depeche Mode: Violator(Sire) 73408Cowboy Junkies: TheCaution Horses(RCA) 54612

Prince: Batman/Soundtrack(Warner Bros.) 60344

Gun: Taking On TheWorld (A&M) 82473Lynyrd Skynyrd:Skynyrd's Innyrds(Hits) (MCA) 01150The Cure: Disintegra-tion (Elektra) 01109Peter Gabriel: Passion(Geffen) 63668Frank Sinatra: CapitolCollector's Series(Capitol) 64362Rod Stewart:Greatest Hits(Warner Bros.) 33779

Phil Collins: 12 InchersAtlantic) 44300

Simon & Garfunkel:The Concert InCentral Park(Warner Bros.) 44006

START SAVING NOW-MAIL TODAY!

Aerosmith: Pump(Geffen) 63678Led Zeppelin IV (Runes)(Atlantic) 12014Hank Williams, Jr.:Lone Wolf(Warner Bros.) 64311

David Lanz: Cristo-fori's Dream(Narada) 00853M.C. Hammer: PleaseHammer, Don't Hurt'Em (Capitol) 34791

Diana Ross & TheSupremes: 20 GreatestHits (Motown) 63867Styx: Classics (14Greatest Hits)(A&M) 1482213 Jazz Classics(Compose) 10460Dionne Warwick:Greatest Hits(Arista) 00667Hugh Masekeia:Uptownship(Novus) 73607The Jimi Hendrix Expe-rience: Electric Lady -land (Reprise) 23362Julia Fordham: Porce-lain (Virgin) 50098

Skid Row(Atlantic) 10138Enuff Z'Nuff(ATCO) 64257

Mail to: BMG Compact Disc ClubP.O. Box 91412/Indianapolis, IN 46291

YES, please accept my membership in the BMG Compact Disc Club andsend my first four selections, as I have indicated here, under the terms of thisoffer. I need buy just one more CD at regular Club prices during the next year-after which I can choose another CD FREE! In addition, as a member ingood standing, I can get 2 more selections FREE after completing my firstyear of membership. That's 8 CDs for the price of one...with nothing more tobuy, ever! (A shipping/handling charge is added to each shipment.)

RUSH ME THESE 4 CDs NOW (Indicate by number).

City

P

I am most interested in the musical 1 7 EASY LISTENING (Instrumental/Vocal Moods)category checked here --but I am 2 17 COUNTRY 3 El HARD ROCKalways free to choose from any

(check ggg only): 4 Cl POP/SOFT ROCK 5 CLASSICAL

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IN 46219-1194 TRADEMARKS USED IN THE ADV'T ARE THE PROPERTY OFVARIOUS TRADEMARK OWNERS.

We reserve the right to request additional information or reject any application. Limited to newLmembers, continental USA only. One membership per family. Local taxes, it any, will be added.

ZJU44 CZ

"Model Eleven...Exquisite Sound...Dwarfs AnyPortable Stereo ...A High lech Wonder...Thumbs Up:'

Doug Simmons-The Village Voice

MODEL ELEVENBY HENRY KLOSS

Cambridge SoundWorks'Model Eleven is the world's firsttransportable full -range, high per-formance component system. Itconsists of a powerful 3 -channelamplifier and two "satellite"mid /h' -frequency speakers-allpacke in a rugged "BassCase"T"that, when empty, serves as the sys-tem's subwoofer. Model Eleven'sperformance, when coupled with yourportable CD or tape player,** rivals thatof the most expensive component sys-tems. And because we market it directlyfrom our factory, it costs hundreds less thanit would in stores.

The &lira used in ModelEleven5 nma-way satellitespeakas are no -compromise, lakh-perjonnacecomponents-71'11st like

oud erpect tofind in thefinest home speaker..96tE775.

Performance that rivals thebest home component systems .

Until now portable music systems were,at best, a compromise. Even the mostexpensive ones lack the deep bass necessaryfor full, natural sound. But Model Elevendelivers the all-out performance previouslyfound only in high quality home componentsystems. Its three speakers are designed to

Satellite Speakers

I

BassCase Sublinner

STOLEV CD Player

Made In U.S.A.

work with a room's acoustics for optimumperformance. Remove the satellite speakers,amplifier and your portable CD player fromBassCase. Place the satellites where theycreate a musical "stage" near ear level. Putthe BassCase where it reinforces low fre-quency ou ut-on the floor, even behindftuniture. The result is musically accurate

The Ideal"Second Stereo"Use It 52 Weeks

A Year

Fits under airline seats -23 lbs. Can be checked as luggage.

Works on all electrical systems.

Delivers the full range of music.

Is backed by a unique5 -year warranty.

Perfect for boating, camping& vacations anywhere inthe world.

sound virtually identicalto our acclaimed

Ensemble® speaker system.Model Eleven can be used virtually

anywhere in the world -115- or 230 -volt,50 or 60 Hz AC or 12 -volts DC. Because theentire system fits under an airline seat-orcan be checked as baggage-you can take itjust about anywhere. But Model Eleven'ssound is so good, so "big,' you may want tokeep it home. It's anideal second (or first)music system forastudy, bedroom orkitchen. At $749t wedon't know of anycombination ofcomponents near itsprice (transportableor not) that approachesits sound quality

Henry Klasscreated the dominant speaker modelsof the 50s(AR),'60s (IVO and 70 s (Advent)-astel asour kg*/ acriainedEnsemble and Ambiance' speakers. While packitigasterearysteminto a suitcase before a vacation, he realized that an amplfrer am*Jerald Pm small speaker s take up the scune space requiredforan acoustic suspension uvofer to reproduce realb deep bass. Matno the krspirationfirBassCase, Model ElevenY bass speakerenclosure which doubles as the emir .rystemcanyirtg cam.

"We Know Of No Small Speaker That Surpasses TheOverall Sound Of Ambiance :'_stereo.

AmbianceBY HENRY KLOSS

Ambiance is an ultra -compact speakerthat proves high performance, small size andlow cost need not be mutually exclusive.Ambiance is ideal for bedrooms, dens, dormrooms... or for use as an extension speakeror in surround sound systems. While nospeaker of its size can provide the same lowbass as our Ensemble and Model Elevensystems, Ambiance has more output in the

40Hz region than any "mini speaker" we'veencountered. Stereo Review magazinedescribed Ambiance as ...beautifully bal-anced, delivering a full-size sound imagewith not a hintof its origin in two smallboxes...very few small speakers we haveheard can match the overall sound ofAmbiance, and we know of none thatsurpass it:' Available in Nextel or primedfor painting for $109 eaclat , or in solid oakfor $129 eacht -backed by our 30 -daymoney-backguarantee-direct fromCambridge SoundWorks.

Made In U.S.A.

Ambiance isan ulirdcompact speaker that proves high perfomaance,small sizeandlowcastneednotbemutuallyerrlusrvr.

"Cambridge SoundWorks May HaveThe Best Value In The World. AWinner."

EnsembleBY HENRY K LOSS

Ensemble is a speaker system that canprovide the sound once reserved for the bestspeakers under laboratory conditions. Itvirtually disappears in your room. Andbecause we market it directly, it costs hun-dreds less than it would in stores.

Ensemble consists of four speaker units.livo compact low -frequency speakers repro-duce the deep bass, while two small satelliteunits reproduce the rest of the music, makingit possible to reproducejust the rightamount of energyin each part of themusical rangewithout turningyour listeningroom into a stereoshowroom.

Your listeningroom works with Ensemble,

not against it.No matter how well a speaker performs,

at home the listening room takes over. Ifyouput a conventional speaker where the roomcan help the low bass, it may hinder theupper ranges, or vice -versa. Ensemble, onthe other hand, tales advantage of yourroom's acoustics. The ear can't tell wherebass comes from, which is why Ensemble'sbass units can be tucked out of the way-onthe floor, atop bookshelves, or under hurt -

EnsembleWith Original

Black -LaminateBass Cabinets.

$599t

David Clark-Audio Magazine

Made In U. .

ture. The satellites can be hung directly onthe wall, or placed on windowsills or shelves.No bulky speaker boxes dominate your livingspace, yet Ensemble reproduces the deepbass that no mini speakers can.

Placementforkastbass rclulatrement.

Placemeatfor morebass reatforccmcnt

from Has.

I I T

Not all the differences are asobvious as our two subwoofers .

Unlike seemingly similar systems,Ensemble uses premium quality componentsfor maximum power handling, individualcrossovers that allow several wiring options

and cabinets ruggedly constructed forproper acoustic performance. We evengold-plate all the connectors to preventcorrosion.

Unlike satellite .rystems which use a sliglelarge subsaofer Dzsemblefeaturesseparate

compact bass unitsfor each stereo channelMg fit more gracefulbl ilitoyour living

envimnment, (mill* minimize the tylectsofthe listenitgroomS standing saws.

30 -day money -backsatisfaction guarantee.

At only $599t-complete withall hardware and 100' of speakercable-Ensemble is the value on to-

day's speaker market. Esquire maga-zine describes them by saying, "You get

a month to play with the speakersbefore you either return them or keep

them. But you'll keep them:' Stereo Reviewsaid "It's hard to imagine going wrong withEnsemble:' For literature, reviews or to ordeLwrite us at the address in the coupon, or call1-800-AKA-1-11FI!

Pdacementfor mastbass vu acoustic

co treinforcements.ndc n

lbucan put Ensemble's low -frequency units cractbi where tho, should goforsuperb bass. )(yucca?' t do this with conwntionalspeales becauseyou have to be concerned about the upperfrevuenciescomtierom the same enclastors as the low ones.

'fly Model Eleven...Or Ensemble...Or Ambiance...

Risk Free For 30 Days.Call 1 -800 -AKA -FM*

(800-252-4434)All Cambridge SoundVtbrks products

are sold only factory direct. This allows youto save hundreds of dollars and audition ourproducts the rtght way-in your homefor 30 days, with no risk, no sales personhovering nearby.

Our toll -free number connects you toa Cambridge SoundWrks audio expert. Heor she will answer all your questions, sendliterature and reviews-or take your order(you can use Visa, MasterCard or AmericanExpress) and arrange shipment via UPS.Your Cambridge SoundWorks audio expertwill continue as your personal contact with us.

*9AM to mic.night (ET), seven days aweek. In Canada, call 1-800-525-4434.Fax: 617-332-9229. Outside the U.S. orCanada, 617-332-5936.

©1990 Cambridge SoundWorks. °Ensemble is a regis-tered trademark of Cambridge Sounchnbrics."BassCase.Ambiance, Model Eleven and Cambridge SoundWorks aretrademarks of Cambridge SoundWorks, Inc. Ensemblereview quote reprinted with permission of Audio Magazine,©1989 Diamandis Communications.

* *CD player not included in Model Eleven system.


CAMBRIDGE SOUNDWORKSSUITE 102S, 154 California St., Newton, Massachusetts 02158

1:1 Send more information and test reports.0 Send Ensemble (black -laminate woofers) $599. Send Ensemble (vinyl -clad woofers) $499.t0 Send Model Eleven risk -free for 30 days, $7491O Send _ (qty) Ambiance (Nextel), for $109 ea. tO Send (qty) Ambiance (Primed), for $109 ea. t0 Send- (qty) Ambiance (Oak), for $129 ea. tI'm paying by 0 Check 0 MC 0 Visa 0 AmExAcct. Number Exp

Signature

Name

Address

City State Zip

Phone (Area Code)____ NumberFOR IMMEDIATE SERVICE: 1-800-AKA-HIFI.MA residents add 5% sales tax.

fun bass cabinet version $499. Ai prices plus freight (Ensemble$8-$27, Model Eleven $6-$16, Ambiance $4-$12). Delivery time

1_1m* 2-7 days. Mt ship worldwide, induding APO & FPO. _1

AUDIO O&A

by Ian G. Masters

Surround Speaker PositioningQMy present system uses several

pairs of speakers and a simple ma-trix circuit to provide a form of surroundsound, but now I want to upgrade to areceiver with Dolby Pro Logic. The prob-lem is that my listening room is verylong and narrow, with a considerabledistance between front and rear speak-ers. Is there a way to derive a mix ofmain and surround information andfeed it to speakers halfway down theroom to fill in the hole in the sound?

Buzz BREZINSKILexington Park, MD

AYou needn't go to the trouble. Oneof the recommended speaker ar-

rangements for Dolby Surround play-back, with or without Dolby Pro Logicdecoding, is for the surround speakersto be beside the listening position, rath-er than behind it. Assuming you usuallysit about halfway down your room, sim-ply feed the "midway" speakers the sur-round signal. The same material can befed to speakers at the rear as well, but inhome setups the sound will usually bebetter with a single pair of surroundspeakers.

Y -ConnectionsQJust when is it possible to use Y -connectors? On inputs? Outputs?

Both? Specifically, can two turntableswith magnetic cartridges be connected tothe same phono input, to save having tobuy outboard cartridge preamps?

CHARLES MASONNew York, NY

AIn general, an audio signal can besplit to feed two inputs with no ill

effects, but it's usually risky to combinethe outputs of two components and feedthem to a single input. The signal fromone source would not only pass to thedesired input but would feed into theoutput circuits of the other componentas well. Since the internal impedancesof most output stages are much lowerthan the inputs they are designed to beconnected to, damage to one or othercomponent (or both) could result fromhooking them together.

Phono cartridges are slightly differ-ent. Connecting the outputs from twocartridges to a single input is unlikely todamage them, but cartridges are de-signed to work properly only when con-nected to a circuit with a very specificresistance and capacitance. Placing un-expected components, such as anothercartridge, in the circuit would preventeither from performing properly.

Connecting ProcessorsQThe sound of my system has beenmuch improved by the addition of

an equalizer connected to a tape -moni-tor loop. When I listen to audio from myVCR, however, I can't use the equalizer atthe same time, and without it the soundis terrible. I would like to connect theequalizer to the preamp-out/main-injacks provided on my amplifier, but I'mworried that the high output from thepreamplifier section will fry the equaliz-er. Should that be a real concern?

JOHN P. MCDONNELLWurtsmith AFB, MI

A No. The image of an audio systemPi as a chain of components in whichthe signal becomes progressively strong-er as it goes from one part to the next isperhaps natural, but things don't workthat way. At most points in the system,signals are within a relatively narrowrange usually called "line level," al-though the term is imprecise. Both thetape -monitor circuits and the preampoutputs use line -level signals, so yourequalizer will work just as well connect-ed to the one as to the other.

Normally, the best setup is after thepreamp, as that enables equalization tobe applied no matter what signal sourceyou may be listening to. The only timeyou may want to patch the equalizerinto a tape -monitor loop is if you wantto record the corrected signal.

Preventive Service

(2 Except for the speakers, all myequipment was made by the same

company, and all of it was purchasedalmost ten years ago. Since then, themanufacturer has gone out of business,

but repair service and parts replacementare still available. I have noticed no lossof quality, but would it be sensible tosend everything in for an overhaul whileI still can?

HELMUT AULGURAPO, New York

AIt's not really necessary, but itwould certainly do no harm. Audio

equipment is pretty sturdy stuff; and it'sunlikely that the performance of yoursystem has changed at all since youbought it. Most hi-fi gear doesn't slowlydegenerate over time; if it breaks itusually does so obviously. Still, smallthings can deteriorate: Level and tonecontrols can become dirty, and there-fore noisy, for instance. A general clean-ing of contacts, knobs, and switchesmight well be a good idea, and sometests to make sure that your equipmentreally does perform to spec might bereassuring as well. But it's unlikely thata visit to the shop will result in any dra-matic improvements or even forestall abreakdown later on.

Woofer DiameterQMy subwoofer produces a large

standing wave in one part of my lis-tening room. I have taken it for grantedthat this is a normal characteristic oflow -frequency sound, but a friend main-tains that it is caused by the relationshipbetween a woofer's diameter and thesound being reproduced. Would using alarger driver eliminate the effect?

ERNEST SWALLOWCondado, PR

AUnfortunately, things are not thateasy. We normally express the

pitch of a musical note in terms of itsfrequency; in a speaker, that's the num-ber of times the diaphragm moves inand out in 1 second. Since the soundradiates away from the speaker at a con-stant rate, regardless of frequency, pitchcan also be expressed in terms of wave-length, or the number of inches or feetneeded for a complete positive -negativecycle. The higher the frequency, theshorter the wavelength.

A 40 -Hz signal has a wavelength ofabout 28 feet. If two parallel surfaces inthe listening room are separated by asimple fraction of the wavelength -14feet, say-a standing wave will be set upevery time a 40 -Hz note comes along:The signal will bounce back and forth,each compression and rarefaction oc-curring at the same place in the room. Ifyou stand at that point, the sound willbe very boomy, but at other spots youmay not hear the note at all. It all has todo with wavelength, which has to dowith frequency. It has nothing to dowith the woofer's diameter. 0


VDAT IS HERE

8 hours of CD quality on a $3 VHS tape

Introducting the First VDATDigital Audio Recorder ...

Just grab any VCR, a $3 blank video tape, andthe PCM 44.1. Then make a perfect digital -to -digital copy of over 8 hours of CD's by touchingtwo buttons and walking away..

Since the PCM 44.1 just copies numbers, there isno need to set recording levels, bias, equaliza-tion or Dolby.

You can preserve yourpriceless LP collectionwith inexpensive videotape, make live recordings,time -shift FM broadcasts,or make ten-hour party

Audiophile SoundUpon playback, the video signal from your VCRpasses back through the PCM 44.1. The PCM44.1 adheres to the VDAT standard for errorcorrection, which provides full data recoveryeven if there are dropouts on the tape. Correctdata is fed to the best Philips 4x oversamplingD/A conversion chip set available. The PCM44.1's ouput stage contains only the highestquality analog components and regulated powersupplies.

The PCM 44.1 features the Philips linearity -selectedTDA-1541A-S1 - the world's lowest distortion audioD/A converter. It is the same chip found in Philips'$4000 LI-IH 1000 Reference Series CD Player.

good that you will probably endCM 44.1 as an outboard D/Awhen you aren't recording.

Steal Your VCRwily needs your VCR when you) music. When you're not usingour VCR records and plays back1.

1111111111111110versampling A/DL.1 outboard A/D converter usesmpling to eliminate phase dis-and non -linearity. Over 99% ofshelves today were mastered

ampling A/D converters. Theiliasing filter in these old ma -Lase distortion and aliasing totortions often worse than thoseorders they replaced. And thesearen't linear, especially at lowpassages are distorted. Over-nearity Mean that your first re -

AD 44.1 will probably sound- best CD.

We put the AD 44.1 in its own chassis with fully -regulated power supplies, thus providing fullisolation for lowest distortion. The AD 44.1 willallow any digital audio recorder to make faith-ful recordings at 44.1 or 48KHz.

Made In The USAIsosonics is a Cambridge, MA based company,founded by a team of audiophile engineersfrom the Massachusetts Institute of Technol-ogy. We are committed to producing innova-tive audio technology that maintains the high-est quality and truest sound possible.

Satisfaction GuaranteedIf you're not completely satisfied with any Isos-onics product, return it within 30 days for a fullrefund.

5 -Year, 5 -Day WarrantyEvery Isosonics product is unconditionallywarranted for five years. What's more, if wecan't fix it within 5 working days, we'll sendyou a replacement unit immediately.

Eou can own a PCM 44.1 for $1495

You can own an AD 44.1 for $495.

Special offer: Buy both units to-gether for $1750.

(All prices include shipping. MA residentsplease add 5% sales tax.)

To order your PCM 44.1 or AD 44.1(with our 30 -day money -back guarantee)

CALL TOLL FREE(800) 969-3700Overseas & Canada:

Voice (617) 354-8100 FAX (617) 864-5722Or send a check to:

1./OfONICf142 Rogers Street

Cambridge, MA 02142Master Card /Visa/Amex Accepted

0 ON READER SERVICE CARD

narks. VDAT is a trademark of the Video Data Storage Institute.

SIGNALS

by Ken C. Pohlmann

3-D AUDIO

you are sitting in your liv-ing room enjoying SuperBowl XXIV. A Coca-Colacommercial comes on-

the one with the people singingtogether on the hilltop. The soundseems to envelop you, coming fromall around the room, not just out ofthe stereo TV speakers.

You are flying an Air Forcefighter-bomber on a training mis-sion over the Mojave Desert, wear-ing your flight helmet with its built-in headphones. Suddenly you hear awarning tone behind you and toyour left-enemy missile! You bankquickly to avoid the danger.

Those are examples, one actualand one anticipated, of a new gener-ation of signal processors that willadd an entirely new dimension toaudio reproduction. Stereo has oc-cupied the center stage of audiotechnology for more than thirtyyears, but its center -stage position-ing is exactly the problem. Whileconventional stereo can reproduce apanorama of images between andjust outside two speakers, it fails tospread the panorama beyond thatfrontal arc. Clearly, because naturalsound comes from all directionsand not just an arc in front of thelistener, two -channel stereo cannot

provide truly accurate reproduc-tion. In fact, if spatial fidelity wereconsidered as important as otherforms of fidelity, ordinary two -channel stereo would be con-demned as a grossly distorting re-production method.

An encompassing sound field canbe conveyed with early reflectionsand ambience processing, but thatrequires additional playback chan-nels complete with their own ampli-fiers and loudspeakers. Using a dif-ferent approach, it is theoreticallypossible to encode an audio signalwith spatial cues so that when it isreproduced the brain will be psy-choacoustically fooled into localiz-ing images from several directions.In fact, such a system isn't that dif-ferent from conventional stereo,which creates phantom soundimages where no sound sources ac-tually exist-between two loud-speakers. But with so-called 3-Dprocessing, those same two loud-speakers could, in theory, createimages all around you.

In practice, however, it is very dif-ficult to create the cues necessary tofool the brain into hearing soundsoutside the stereo arc. Ironically,that difficulty is a tribute to the mil-lions of years of evolution thatshaped our ear -brain system, espe-cially the long interval in our devel-opment when accurate localizationof saber-toothed tigers, for example,was critical to our well-being.

Despite the difficulty of expand-ing the perceived sound stage, thevast potential for commercial gainhas encouraged numerous compa-nies to develop 3-D audio process-ing systems. Archer Communica-tions, Audio & Design, Auris Per-ceptual Engineering, Crystal RiverEngineering, Gamma ElectronicsSystems, Holophonics, HughesElectronics, and PM Productionsare among the companies con-vinced that they are on the pathtoward the audio technology thatwill supersede ordinary stereo.

Although you may not have heardof these companies, you may wellhave heard their sound. Coca-Colasigned an exclusive worldwideagreement with Archer Communi-cations to use its QSound technolo-gy in commercials. QSound, whichuses a formidable array of digital

signal processing (DSP) chips andsoftware to place images outside thestereo arc, is applied to the soundsource itself; it is not available toconsumers, only to those who li-cense the process.

Hughes Electronics, a division ofGeneral Motors, has developed theSound Retrieval System (SRS),which can be applied at the repro-duction side of an audio system tosynthesize a wide sound stage fromany incoming signal. The SRS cir-cuitry performs fixed and dynamicequalization and level adjustmentson the sum (L + R) and difference(L - R) components of a two -chan-nel stereo signal to fool the ear intohearing multiple sound sources. In adramatic SRS demonstration at aHughes laboratory, the effect blewme away. Apparently Sony was alsoimpressed because it is offering SRScircuitry in many of its stereo TV's.

Gamma Electronics markets theBedini Audio Spacial Environment(BASE) processor. This analog de-vice can be used anywhere in thereproduction process. It manipu-lates channel timing to expand thespatial content of stereo recordings.Once the master recording is pro-cessed, no decoders are required tohear the result. When you watchThe Little Mermaid on tape or mu-sic videos by Motley Cite, you'rehearing BASE processing.

Other companies' efforts may notyet have reached the ears of the pub-lic, but they have high hopes. PMProductions has developed Meyers3-D Audio, a patented technologythat mathematically models the hu-man auditory system and digitallyprocesses signals to provide sound -localization cues. One application isa system that would give pilotsaural directional cues. For example,a tone seeming to come from be-hind you, high and to the left, couldwarn you of, say, an incoming mis-sile and tell you how to evade it.

That is perhaps a fitting applica-tion of 3-D audio technology, be-cause it would close the circle fromsaber-toothed tigers to enemy mis-siles. One thing is sure: Naturalsound localization is an importantpart of listening and an inherentweakness in current stereo repro-duction. With new technology, thatmay soon change. 0

0


EXPENSIVESOUNDINGSPEAKERS!

Speakers are tile most important part of your stereo system. It is the speaker that turns amplifier signal into soundand so ultimately determines what you hear. If your speakers do not perform well, your

stereo system will simply not sound like-mt_sic.

The search for musically satisfying speakers, however, can lead tosome very expensive products. And if you have already bcug1:. thosehigh priced speakers, then you better not listen to Paradigms. But ifyou haven't, better not miss them. Why? Because from the time theywere first introduced, Paradigm's sheer musical abil:ty utterlyamazed listeners.... but what caused even more amazement %as theunprecedented low price.

So go ahead, get expensive sounding speakers.... without the expense.Visit your authorized Paradigm dealer.... and listen.

The critics agree:

". .. For once we wholeheartedly agree... tl-e Paradigm Is most definite.y ano -compromise two-way design capable of outperforming systems costMgseveral times as much."

- Hi Fidelity Magazine

". . . natural, open and clear...excellent depth... lots of hall sound... big,expansive soundstage... well defined... a rare achievement for anyloudspeaker, but when the price is taken into account the Paradigm'sperformance must be considered as nothing short of remarkable."

- Sound & Vision Magazine

C'RITICSCHOICE,AWARD music . . . above all

In the U.S.: AudioStream, MPG Box 2410, Niagara Falls, N3w 7c.rk 143)2In Canada: Paradigm Electronics Inc., 45" Fenmar Drive, Weston, Ontarip M9L 216


How to make an Onkyo receiver as good as its competition.

WetO:ip fwm4f

Remove high capacityOnkyo transformer

Eliminate room -to -roomremote capability

Substitute smaller.less efficient heat sink

If we wanted to make an Onkyo receiver as goodas our competition, it wouldn't be too hard.

First, we'd remove our proprietary heavy dutytransformer, replacing it with a commonly usedsmaller version. Unfortunately, this means lesscurrent capability, resulting in compromised lowimpedance performance and compressed musicaldynamics. Sonic anemia.

Next, we'd substitute a much lighter, cheaper heatsink. Of course, this greatly increases the chanceof thermal overload when the music's cooking, butsince we'd already be using a low capacitytransformer, the music wouldonly be half baked anyway.

Room -to -room remotecapability would have to be

sacrificed. After all, if we're not concerned with per-formance, why should we bother with convenience?

As a finishing touch, faceplates & chassis would beplastic instead of metal. True, that wouldn't give usthe same structural integrity. But we'd be cuttingso many other corners you'd probably nevernotice the difference.

Now, we could do all these things to an Onkyoreceiver. But then we wouldn't have a componentas extraordinary as our new TX -866, with 185 wattsper channel of dynamic power, plus the ultimate in

room -to -room musical control.

At Onkyo, all our receiversare built to be better.

And, that's a differenceyou can hear-and see.

ONKYO.200 Williams Drive, Ramsey, N.J. 07446 201-825-7950


SEM OM

MODERN

JA11

ON CD

COLUMBIA Records' new series ofContemporary Jazz Masters fea-tures the most influential worksof modern jazz in revitalized up-

to-date digital sound. The first CDsampler from this series is nowoffered to readers Of STEREO RE-VIEW below cost. To get your copyof this compact disc, fill out the cou-pon on this page and mail it alongwith $2.50 plus $2 for postage andhandling-a total of only $4.50 for afull 70 minutes of music.

If you are like most readers ofSTEREO REVIEW, you probably grewup listening to such pioneers of jazzfusion as the Mahavishnu Orchestraand Weather Report, the saxophon-ists Tom Scott and Stanley Turren-tine, and the guitarists Al Di Meola,John McLaughlin, and Lee Riten-our. Each of these artists or groupsis represented on the CD sampler bya choice selection.

Other strains of contemporaryjazz to be heard on this compactdisc include the lyricism of the flu-tist Hubert Laws and the saxophon-ist Paul Desmond, the abstractionsof the trumpeter Miles Davis, theoriginality of the guitarist AllanHoldsworth, and the melodic ex -

Columbia'sContemporary JazzMasters series embraces awide range of musical styles cov-ered by innovative jazz artists of thelast two decades. It includes manyrecordings that have been unavail-able for years and twenty-one thathave never before been released oncompact disc. The digital remaster-ing from original analog tapes hasbeen carried out with the same carethat Columbia lavished on its ear-lier traditional Jazz Masterpiecesseries. The original cover art is used,but new liner notes have been com-missioned.

To sample this series for yourself,send a check or money order for$4.50 made out to The Jazz Mas-ters, P.O. Box 179, West New York,NJ 07093. New Jersey residentsplease add 6 percent sales tax (270).Fill out the coupon below, clip itfrom the magazine, and include it

with your order.Outside the Unit-

ed States the cost is$7.50, and payment

must be made in theform of an interna-

tional postal money order.All requests for this new compact

disc sampler must be received nolater than November 1, 1990. Theoffer is void after that date. Pleaseallow six to eight weeks for de-livery.

This is the seventh special mu-sical offering arranged for our read-ers by the editors Of STEREO RE-VIEW to help you give greater depthand breadth to your collection andto increase the enjoyment you de-rive from music. Reader response tothe previous offers has been gratify-ing, and we are confident that youwill enjoy this sampler of landmarkrecordings of the uniquely Ameri-can art form known as jazz. 0

irst,accircses.ce ird ',awe A...

JOHN O'CONOR FAITHFULLY RECREATES MOZART.

Get a free Up Close CD of Mozart Piano Concertos No. 21 & 27 featuring John O'Conor. Send check or money order for $3.75 (U.S. funds) to cover shipping and handling to:

Pianist and music scholar,

John O'Conor has nothing

but reverence for Mozart.

That's why, when asked

by Telarc International to

record Mozart's Piano Con-

certo No. 21, he wanted to do

it right. Which meant embel-

certo the way it was originally

conceived, new, ornamented

solos had to be written.

O'Conor wrote them in

the style of Mozart, studying

operas like Don Giovanni and

The Marriage of Figaro to get a

feeling for how the composer

solo voice in his

irther the accuracy

ording, O'Conor

Telarc goes to greatlengths to create a senseof realism in theirrecordings. And theBoston T1030

Reference Standard

BY REWRITING IT.

Boston Acoustics, Dept. S4, P.O. Box 625. Holmes, PA 19043. Allow 4-6 weeks for delivery. Offer is good until Seprnber 30, 1490 or while sup?lies last.

highs of strings andwoodwinds with clar-ity. Plus our 6% -inchmidrange features an

extremely wide sonicrange (250 to 2500 Hz)to ensure flat mid-range response. And

Through methodical

positioning of the three omni-

directional mikes, Renner

created just the right mixture

of direct and reflected sound

from piano and orchestra. He

then used a stereo pair of

directional mikes to bring the

piano sound into focus. Ren-

ner's philosophy: the fewer

microphones used, the better.

The effect is dramatic.

You, the listener, are instantly

transported to the fourth row

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In front of you is the Scottish

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our dual 8 -inch woofersfaithfully recreate thelowest tones of theorchestra, without

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- strings to the left and right.

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Visit a Boston Acoustics

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Music this good should

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BostonAcoustics

2

4

1 -Since 1949 McIntosh handcrafting has made thedifference in Quality Manufacturing for highestQuality Sound.

2 -The solder fountain provides soldering that hasideal temperature control with thoroughness.These combine to give the Long Life Quality forwhich McIntosh is famous.

3 -At McIntosh, Quality Engineering is reinforcedin production testing and inspection. Twentypercent of McIntosh employees work in someaspect of Quality Assurance.

4 -Hands with experience and talent crafting acomplex sub -assembly.

5 -Glass for a front panel must be perfect to expressthe Promise of Quality.

6 -Every detail of the complicated panel isinspected and re -inspected.

7 -The precision voice coil is wound on a coolingblack anodized coil form. Attached to the fabricsuspension, it is ready for assembly to the mag-netic structure.

At McIntosh each step in the life of a product isa QUALITY DECISION.

Quality of Sound begins with accuracy of designand engineering. It is enhanced by precisemanufacturing, then assured by continuousQuality Assurance inspection.

Quality Sound....QualityCraftsmanship

5

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For information on McIntosh productsand product reviews, please send yourname, address and phone number to:

McIntosh Laboratory Inc.Department A90PO Box 96 East Side StationBinghamton, NY 13904-0096

Handcrafted with pride in the United States by dedicated, highly trained craftspeople.CIRCLE NO. 29 ON READER SERVICE CARD

THE SASICS

Home entertainment's

visual component-

the tenth in a

continuing series.

BY IAN G. MASTERS

40UR ears and eyes functionin very different ways.For sound, we have onlytwo sensors, which detect

air -pressure variations over time;each is capable of receiving only asingle sequential waveform. Oureyes, on the other hand, containmillions of sensors capable of pro-cessing a vast number of separatebits of information at the sametime. To duplicate this processingelectronically would require mil-lions of channels of information-unless there were a way to analyzethe visual information and convertit to a sequential signal like audio.

In a television camera, light re-flected from an object is focusedonto a light-sensitive plate. At everypoint on the plate, the light inducesan electrical charge proportional toits intensity. To turn these chargesinto usable signals, they are scannedin a carefully defined order to makea voltage sequence that can be reas-sembled as a picture.

As the sensing device repeatedlyscans the charged surface from sideto side and top to bottom, its posi-tion is determined by a synchroniz-

111 'V IT

ing (or simply sync) signal, which isadded to the sequential output ofthe sensor so that the picture can bereconstructed. A conventional TVpicture tube (a cathode-ray tube, orCRT) produces a beam of electronsthat varies in intensity according tothe video signal. The beam is aimedat the phosphor -coated inside faceof the picture tube, which glowswherever the beam hits. The syncsignal directs the beam to a point onthe CRT's face that represents exact-ly the corresponding point on theTV camera's sensing device. Animage is thus "painted" on the TVscreen point by point.

A TV picture is divided into anumber of horizontal scanninglines. In the NTSC system used inNorth America, Japan, and someother places, there are 525 of theselines in all, together making up acomplete video frame. Actually, all525 lines are not scanned in se-quence; rather, each frame is di-vided into two fields of 262.5 linesapiece. In the first field, every otherline is scanned, and then the secondfield fills in the spaces between-aprocess called interlacing. A certainminimum number of fields must bedisplayed each second for us to per-ceive a smoothly moving image. Ifthere are too few fields per second,the image will seem to flicker andmotion may seem jumpy. In theNTSC system, the picture is brokendown into approximately 60 fieldsper second, just slightly greater thanthe minimum rate necessary forsmoothness. Interlacing increasesthe amount of vertical detail (verti-cal resolution) without introducingflicker or increasing the number oflines per field.

A Composite SignalThe core of the video information

is its basic black -and -white level,known as luminance, which deter-mines the brightness of each pointon the video screen. Practically alltelevision is in color these days,however, and this requires the in-clusion of a color, or chrominance,signal as well. To avoid makingexisting TV sets obsolete, the inven-tors of the color system added thecolor information on a subcarrierstrategically located at the high -fre-quency end of the black -and -whitesignal to minimize interference be-tween the two and degradation ofthe luminance information.

STEREO REVIEW SEE ' FEMUR 1990 29

THE BASICSThe resulting composite video sig-

nal, containing luminance, chromi-nance, and synchronizing informa-tion, can be carried, along with theaccompanying audio signal on an-other subcarrier slightly above thevideo band, in a single 6 -MHz Tvchannel. The Tv signal itself isabout 4.5 MHz wide, with the videoportion extending to 4.2 MHz. Bro-ken down into picture elements,this yields a horizontal luminanceresolution, or definition, of just over330 lines. That is, the system canproduce detail sharp enough thatwith an ideal receiver we could dis-tinguish about 330 alternating verti-cal lines across a width of the televi-sion screen equal to its height. Toreduce the system's bandwidthwould reduce this resolution.

Preserving the PictureFor broadcast television, achiev-

ing such a wide bandwidth requiresthe allocation of enough space in theradio spectrum to accommodate thefull signal, but developing devicesto record this much material tookyears. The initial method was to usea system of rotating heads, record-ing the video information across a2 -inch tape in a series of very nar-row side -by -side bands running al-most perpendicular to the directionof tape travel. Even for professionaluse, many companies sought asimpler, cheaper method, and onethat showed early promise usedhelical scanning. In this system, thetape wraps around a rotating headdrum, which records a series of longtracks diagonally across the tape,each track corresponding to a singlefield of video. Rotating heads com-bine high head -to -tape speeds (orwriting speeds), for wide band-width, with low linear speed, to con-serve tape.

A number of attempts were madeto adapt the technique for home usebefore Sony introduced the first suc-cessful consumer system: Betamax,or simply Beta. Sony's system usedhalf -inch tape contained in a plasticvideocassette, which could be re-corded and played back on a video-cassette recorder, or VCR. Beta wasfollowed shortly by the similar, butincompatible, VHS system. Bothformats were designed to enablemanufacture of recorders that

would be reliable and affordable,and this involved some technicalcompromises. The original Beta andVHS systems yielded horizontal re-solution of only about 160 to 240lines-considerably inferior to thepotential of broadcast signals butreasonably close to the performanceof most color television sets at thattime.

At an early stage, VCR designersbegan to offer extra tape speeds toallow more material to be fitted on acassette with some sacrifice in qual-

ity. The VHS system now has threespeeds: standard play (or sP) letsyou record 2 hours on a T-120 cas-sette, long play (LP) 4 hours, andextended play (EP) 6 hours.

All VHS machines today can re-cord in sP and EP and play back atall three speeds. A few will record inLP mode as well, although thatspeed is found mainly on olderVCR's. The years have seen littlechange in the original Beta and VHSsystems other than advances intheir audio quality and a series ofVHS enhancements lumped to-gether under the name VHS HQ.Beta has been almost totally sup-

planted by VHS, however, when itcomes to standard, or tabletop,home VCR'S.

More Buttons to PushUntil quite recently, the VCR

manufacturers concentrated mainlyon bringing prices down and addingfeatures and functions. From thestart, practically all VCR's containedtheir own tuners because early TVsets did not have outputs for tapingoff the air. The built-in tuner notonly let viewers tape one programwhile watching another, but it alsoenabled time shifting-using a tim-er to record a program for laterviewing.

The first VCR's contained simpletimers that would turn them on andoff at predetermined hours during a24 -hour period. Soon, however,more sophisticated programmingcontrols were added that enabled anumber of broadcasts to be re-corded at different times over peri-ods ranging from a week to a year.As the operation of vat's becamemore involved, the need for elabo-rate remote controls grew, and theearly wired versions gave way to thevirtually universal infrared remote.The built-in tuners kept up with theproliferation of cable Tv, and mostVCR's are now cable compatible orcable ready.

Another field of considerable ac-tivity over the years has been in vid-eo special effects. At first, thesewere confined to still frame, or stopmotion, achieved by halting the tapeand letting the video heads read thesame track over and over. To thiswas sometimes added visual search,for seeing what was on the tapewhile winding forward or backwardat high speed. Both these functionswere improved by adding extra vid-eo heads. Only two heads are re-quired for normal playback, butnow many VCR'S are four -head ma-chines. In some VCR's the extraheads are used only for cleaner spe-cial effects, but others have one pairoptimized for the highest tape speedand the other pair for the lowest, toimprove picture quality. A few re-cent models have digital effects aswell, including such tricks as pic-ture -in -picture, or PIP, where a sec-ond video source is visible in thecorner of the main image.

30 STEREO REVIEW SEPTF.MBER 1990

41111111111611- - ..=',. -Starting with the first digital recording of

music in 1972, Denon has produced an unbrokenstring of digital audio breakthroughs.

Denon's LAMBDA processor.....,..- bilaterally offsets the digital

.......

"" -'waveform to eliminate the

,.. distortion that occurs when

--

low-level waveformscross the zero line.

The LAMBDA Super Linear Converter: Another significantigital audio first from the first company to record misic digitally.

Denon's CDplayer innovations in-clude the Super Linear Con-verter, the 20 -bit digital filter, thereal 20 -bit converter and noise -shap-ing filter circuitry.

Denon's latest digital advancement is theLAMBDA Real 20 -Bit Super Linear Converter inthe DCD-1560. The LAMBDA system's digitaloffset processor and dual 20 -bit converters elimi-nate the most common source of distortion in CDplayers: the zero crossings of low-level signals.

Denon's consistent leadership in digital audiotechnology may explain why earlier generation

Denons often sound betterthan current competitors' models.

And why a leading hi-fi journalfound that a moderately -priced Denon

equalled or outperformed all others tested,including machines costing over $1800.

What makes Denon CD players better? Per-haps it's that Denon performs every step in themusic chain from recording artists through press-ing CDs. And that Denon has concentrated onone thing and only one thing for 80 years.

Music.

DENONDCD-1560 shown with the optional side panels available for most Denon models.Prices quoted are manufacturer's suggested retail prices and may vary.


DESIGN INTLGRI T V

Denon America. Inc.. 222 New Road. Parsippany. NJ 07054

IF GOD EVER SPEAKSTO YOU,THIS IS THE TAPE

TO RECORD IT ON.here are some things you wantto record with absolute accuracy.Which is why Maxell has cre-

ated Metal Vertex - the most preciseaudio cassette ever.

52% LESS MODULATION NOISE.

And that's compared to our top -of -the -

line MX tape. Thanks to a sturdier, fiber-glass -reinforcedguideblock, steelpins, wider pres- _sure pad, and 40

high precisioncrown -shaped crollers, Metal

eo

Vertex virtuallyeliminates tapefluctuation. Plus our proprietary Techno-Silver backcoating reduces friction andfurther improves tape -running stability.All of which makes for a tape with thelowest modulation noise level available.Anywhere.

MODULATION NOISE

MX

METAL6ERTEX

BIAS NOISE

10

20

6 8 10 12 14 16

FREQUENCY (kHz)

A REVOLUTIONARY

NEW CASSETTE SHELL.

To better absorb outsidevibrations, our new three-piece shell is made of a highlyvisco-elastic, super composite materialwith almost twice the specific gravity ofthat found in most cassettes. Yet what

makes this mechanism truly unusual is thegolden emblem center, which is not sim-ply decorative but serves to dampenexternal vibrations even further. Bad vibesaside, our new Metal Vertex cassette shellalso provides unmatched durability andheat resistance.

WIDER DYNAMIC RANGE AND

THE HIGHEST MOL IN EXISTENCE.

The Metal Vertex magnetic coatingconsists of extremely fine (.3 micron)metal particles, packed together with highdensity through a process called parallelbundling. That not only increases dynamicrange, it pushes the Maximum OutputLevel ldb to 2db higher than our MX tape(depending on frequency). That, in turn,allows for a substantial improvement insensitivity and an astonishing 40% reduc-tion in distortion.

If you're surprised by all these incred-ible specs, don't be. Remember, Maxell has

always been at the forefrontof creating magnetic tapefor the world's most sophis-ticated equipment. So if whatyou're recording demands su-perior reproduction,look to Metal

Vertex from Maxell.Anything less and youdon't have a prayer. maxell,

0 1990 Maxell Corporation of America, 22-08 Route 208, Fair Lawn. N.1.07410


00

Metal Vertex 90dli.........,,.,."...,,,.,,,..maxeii,,...._,,,..

hIRES-PIECS CONSTRUCTIONTechno-StIver Back Coat

THE BASICSA handful of tabletop VCR'S also

provide editing assistance in theform of a flying erase head, whichpermits smooth transitions betweenrecorded segments because the erasehead is mounted on the head drumrather than at a fixed point earlier inthe tape path. This feature is morecommon in portable recorders thanin home equipment.

Smaller and BetterShortly after the introduction of

home VCR'S, several companies pro-duced battery -operated portableunits designed to be used with sepa-rate video cameras. These have nowgiven way to all -in -one units calledcamcorders. In addition to portabil-ity, virtually every camcorder in-cludes a zoom lens, which enablesyou to widen or narrow the field ofvision; an automatic iris, which ad-justs for varying light conditions;autofocus; an electronic viewfinder(a tiny built-in monitor); and a widerange of other facilities.

The popularity of camcorders hasgiven rise to a couple of newformats, both aimed at making theequipment smaller and lighter. Oneis VHS -C ("C" for compact), whichconforms to the VHS standard butuses a smaller cassette that permits20 or 30 minutes of recording at SPspeed. The other is 8mm, whichemploys a narrower tape than VHSas well as a small cassette but per-mits as much as 2 hours of record-ing. An 8mm cassette usually has tobe played back through the cam-corder (there are very few 8mmtabletop VCR's) or dubbed to a con-ventional videocassette.

Other new systems have beenforthcoming as well. A desire forhigher video quality has resulted inthe redesign of both the originalhome video systems. Sony began itby bringing out Super Beta, whichcould produce somewhat higher re-solution but was not completelycompatible with standard Beta;tapes made in the original formatwould play on the new machines,but Super Beta tapes would not playon all previous Beta decks. The Betaupgrade was followed shortly byVHS HQ and later by Super VHS(or S -VHS), which offered still bet-ter performance-and had the samekind of reverse incompatibility. Al-

though nearly all of the improve-ment afforded by S -VHS can beseen on any good TV, the greatestbenefit is achieved with monitorshaving separate luminance andchrominance inputs, called Y/C orS -video connections.

Similar upgrading has affected theportable formats as well with thearrival of advanced 8mm, calledHi8, and its VHS equivalent, S -VHS -C. Ultimately, Sony took thetechnology a step further with itsExtended Definition (ED) Beta,claimed to provide still higher reso-lution and also providing separateluminance and chrominance outputsignals. But ED Beta was perhapstoo late in coming, and too costly, tomake a lasting impression on con-sumers.

At about the same time as theoriginal tape -based systems were in-troduced, work was proceeding onvideodiscs. Several competing sys-tems emerged, but the most techni-cally sophisticated-and the onlyone that survives, at least outside ofJapan-is the optical laserdisc. Thevideo information on a laserdisc isencoded as a series of physical de-formations. A laser beam isbounced off the disc to a light-sensi-tive element, and the resulting elec-trical signal can be reconstructed asa television picture.

Aside from its higher video quali-ty, one of the laserdisc's advantagesis its ability to include CD -formatdigital sound along with the pictureinformation. The compact disc it-

self grew out of the laser videodisc,and a logical extension of this inrecent years was the introduction ofcombi-players, which can handle 8 -and 12 -inch laser videodiscs, 3- and5 -inch CD'S, and 5 -inch CD Videos,or CDV'S, which hold 5 minutes ofvideo with digital audio plus asmuch as 20 minutes of digital audiowithout video.

The End of the LineThe various improvements to

video storage systems eitherprompted or followed on similardevelopments in TV sets them-selves. The desire to reproducesomething close to the full band-width of original broadcast signalsprompted the development of colorsets able to resolve 300 lines ormore, but this meant that thechrominance information includedat the upper end of the video signalcould interfere with the luminanceinformation. The solution was theaddition of a comb filter, which sep-arates the color signal from thebasic picture without restricting theluminance bandwidth.

Further advances included the ad-dition of direct audio and videoinputs and outputs, Y/C inputs totake maximum advantage of S -VHSand Hi8, and increased screen sizes(CRT's are now available with diag-onal measurements as great as 35inches). The new -generation TV setsare usually called monitors or moni-tor receivers. An extension is theprojection television, which operatessomewhat like a photographic slideprojector, casting a large image on ascreen either from the front or therear. Most early projection Tv's suf-fered from lack of brightness andpoor off -axis visibility, althoughboth of those problems are less evi-dent in recent models.

A current thrust in video engi-neering is the quest for even betterperformance. Improved -definitiontelevision (ifYrv), which modifies anexisting video signal, is available ina few sets, and true high -definitiontelevision (HDTv)-a whole newstandard with much greater band-width-is waiting in the wings.

NEXT: Audio on the move-stereojumps from the living room to thehighway and bicycle path.


CRAZEDBRONX MANTACKLES TV

DURINGBIG GAME,

MISSES 4THQUARTER.

You know low it is. You're sitting there watc1 r g the game and you

get a little worked up. No harm done. Except, you're seated in front

of a 45" Pioneer Big-Screen.Then, you're faced vvit-i the reality of being

knocked out by the sharpest, brightest big -screen with the leanest,best -looking ouild ever. But, even though its lea and mean, it won'tglare at you, thanks to a non -reflective screen. It's all part ,3f what

makes Pioneer the standard in the big -screen tell.

Imagine, a big -screen television designed to )verwhelm you withbrilliance, not bulk. What a game plan.

CIRCLE AC. -1 ON READER SER), ICE CARD

Call 1-800-121-1404 for the dealer nearest you.

.= 1990 %neer Electronics (JSA) Inc.. Long Beach -CA

TECHNICAL TALK

byJulian Hirsch

MULTIROOMINSTALLATIONS

/N recent years, there has beenincreasing interest in extendinghigh-fidelity sound beyond theconfines of a dedicated listen-

ing room. Aside from the uneco-nomical and usually inconvenientsolution of installing a separate mu-sic system in each of the desired lis-tening areas, there are a number ofways to solve the problem.

Most receivers have two (andsometimes three) sets of speakeroutputs, activated singly or in com-bination by a front -panel control.To distribute programs from such asource to other rooms requiresnothing more than running wires tothem from the receiver and install-ing the extension speakers.

Unfortunately, this approach istoo elementary to be fully satisfyingto most people. Neither the volumelevel nor the program source is con-trollable from the remote locations,limiting its application to casualbackground listening. Although aswitch at the extension speakers cansilence them, and an "L -pad" atten-uator can provide volume control,the maximum level is still deter-mined at the source.

Lately, however, a number ofmanufacturers have introduced

more sophisticated multiroom com-ponents. A year ago (September1989) we tested and reported on theLuxman TP-117, a tuner/preampli-fier designed to serve as the heart ofa two -zone multiroom system. Con-taining two complete preamplifiersin addition to a tuner, it is able tosupply separate programs to each oftwo zones (a zone may consist ofone or more rooms, although all ofthe speakers in a given zone mustcarry the same program). With theaid of infrared remote -control re-peaters, program selections and oth-er control signals can be transmittedback to the TP-117, giving eachzone a considerable degree of con-trol over the system's operation.

As the review last year men-tioned, the accessory units availablefrom Luxman, together with a num-ber of TP-117's and a considerableamount of in -wall wiring, make itpossible to create multiroom instal-lations of almost unlimited com-plexity.

This month, we report on a verydifferent sort of two -zone system,the Bose Lifestyle Music System. Itsonly special installation require-ment is running wires from the Mu-sic Center (which includes both atuner and a CD player) to the speak-ers. The remote -control signals aretransmitted to the Music Center byradio, eliminating the need for re-peaters or any in -wall wiring exceptthe speaker lines.

Within certain constraints, the re-mote listener can control the pro-gram source and listening levelthrough the system remote control.Distribution to the remote speakers

Tested This Month

Sony DTC-7 5ES DigitalAudio Tape Deck

Venturi V620Speaker System

AudioSourceAm OnePower Ampli

Cambridge SoundWorksModel Eleven PortableMusic System

AKG K280 Headphones

is at line level, since the Bose speak-ers intended for use with the systemare powered by built-in amplifiers.

Each of these systems was de-signed with some degree of single -brand integration. The Luxman sys-tem, beyond the use of TP-117'sand certain remote accessory de-vices, does permit almost any suit-able power amplifier to be used tosupply a remote zone, as well as anytype of speakers. The Bose system isconsiderably more integrated, al-though it does allow the secondzone and additional rooms to beserved by external amplifiers andspeakers (which, however, wouldnot be turned on and off by the sys-tem itself) or by other brands ofpowered speakers.

Both the Luxman and Bose sys-tems share a common weakness,however. A program selection canbe verified only by the audibleresults, and there is no visual indi-cation at the remote point of whichsource (or radio station or CD track)has been selected.

At the June Consumer ElectronicsShow in Chicago, I saw portions of amultiroom system soon to be intro-duced by a/d/s/ that will addressthis problem. Each room (or zone)has a small control panel, about 6inches square, installed flush withthe wall. The upper half of the panelis devoted to an LCD display, withseveral buttons below it.

With these controls, almost anytypical function of an audio system(program source, tuner frequency,volume, and so forth) can be select-ed or adjusted, and the actual set-tings are visible on the display,which in effect becomes the frontpanel of a remote receiver.

When multiroom systems finallyappear with this sort of capability,they will be true, logical, evolution-ary descendants of the relatively un-sophisticated (or costly, or both)systems that preceded them. Thereare other fascinating developmentsin multiroom systems, made possi-ble by digital technology, that areclose to being commercially realiz-able. Meanwhile, many people willfind the techniques employed in theLuxman, Bose, and other availablesystems to be quite workable andusually preferable to multiple com-plete audio systems. 0


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CAR STEREO REVIEWT.

NERGY loudspeakers have become thepersonal favorites of discriminating audiophilesthe world over. ur Dual Hyperdome tweeteris the key reason why ENERGY recreates theoriginal performance with uncompromisedaccuracy. ith more than $1 million in develop-ment, it exhibits better dispersion than anyother tweeter on the market today. hat's alsowhy our new ENERGY 22 -Series incorporatesthe revolutionary SPHEREX''' baffle. is smooth,sculpted surface angles gracefully out of the

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©1990 ENERGY 3641 McNicoll Ave, Scarborough Ontario, Canaca M1X 1G5 (416) 321-1800

TEST REPORTS

SONY DTC-75ESDIGITAL AUDIO TAPE DECKCraig Stark, Hirsch -Houck Laboratories

SONY'S DTC-75ES digital au-dio tape deck gives Ameri-cans their first opportunity topurchase a full -featured DAT

recorder designed for home use. Itofficially introduces the Serial CopyManagement System (SCMS) sup-ported by tape and equipment man-ufacturers and the American andEuropean recording industries. This"one -generation" arrangement al-lows a user to make digital -to -digitalcopies of CD'S but not to make digi-tal -to -digital copies of the copies.The new Sony DAT deck also incor-porates the latest in 1 -bit designdevelopments in its digital -to -ana-log (D/A) and analog -to -digital (A/D)converters. And, perhaps the mostwelcome news of all, the DTC-75ESdigital recorder actually costs lessthan a number of today's best ana-log cassette decks.

At first glance, indeed, it would beeasy to mistake the DTC-75ES for aregular topflight cassette deck. Itscassettes, though smaller than theirfamiliar analog counterparts, meas-uring only 27/8 x 3/8 x 21/16 inches, gointo a similar -looking cassette well,which is equipped with a power -assisted door. Interior illuminationand a transparent door panel give

full visibility to the tape reels andlabel.

Since the research and toolingneeded to produce the high -preci-sion mechanical drives and headsrequired by the DAT format is verycostly, the ability to borrow in thisarea from existing VCR drive/headtechnology is an important consid-eration in holding down the cost ofhome DAT machines such as theDTC-75ES. The transport mecha-nism of the DTC-75ES uses a stand-ard head drum, 30 millimeters(mm) in diameter, which spins thetwo audio heads at 2,000 rpm (1,000rpm in the lower -fidelity long -playmode). The heads are mounted atan angle to the drum, and as thetape is slowly pulled around it, theyare alternately exposed to the tapeover a 90 -degree arc. They can thusread or write the long, diagonallyrecorded ("helical -scan") tracks thatcontain both the digital audio signaland the subcode information.

The subcode fields in DAT record-ings hold such important informa-tion as absolute time codes, pro-gram -selection numbers, and start,skip, and end codes. Unlike analogcassettes, in which blank spaces be-tween selections can be tolerated,

DAT machines must preserve thecontinuity of the subcode informa-tion even in the absence of an audiosignal. For this reason, then, thefast -forward button of the DTC-75ES does not run the tape directlyto the end but instead automaticallystops the machine at the last re-corded "end ID" marker. At thatpoint a new selection can be re-corded immediately, or an interven-ing silent space can safely be addedby using the record -mute button.

"Start ID" codes can be writtenautomatically or manually, andstart, skip, and end codes can bewritten or erased manually eitherduring or after the initial recording.Using the DTC-75ES's editing facil-ities, the exact locations of thesecodes can be shifted backward orforward by up to 70 seconds, inincrements as small as 0.3 second.Further, since the originally as-signed selection numbers will oftenneed to be changed because of sub-sequent editing or the addition ofnew selections, the DTC-75ES pro-vides a RENUMBER button that up-dates all of the program numbers ina single pass.

The DTC-75ES supports all threeof the DAT format's sampling rates:48 kHz for analog -input standardrecordings, 44.1 kHz for digital -input recordings of cri's and com-mercially recorded DAT'S, and 32kuiz for analog -input recordings inlong -play mode. In long -play mode,a C-120 cassette will hold 4 ratherthan 2 hours of music, at the cost of


TEST REPORTS

limiting high -frequency response toabout 14,500 Hz.

The low-level inaccuracies inher-ent in even the best 16 -bit linear D/Aconverters have recently given riseto the idea of 1 -bit conversion,which employs an ultra -high-speedstream of pulses at a constant am-plitude to express the 65,536 (216)amplitude values that can be repre-sented by the 16 -bit signals used indigital audio recording. This 1 -bittechnology is now finding its wayinto various CD and DAT machinesand is incorporated in the SonyDTC-75ES. Its advantage is thatpulse intervals that are preciselycontrolled by a quartz clock can bemaintained far more accuratelythan can the transistor/resistor-dependent analog voltages withwhich digital amplitude valuesmust normally be associated in D/Aconversion. The result is better han-dling of very low-level signals. Andsuch low-level signals are not lim-ited to musical passages markedpianissimo; they occur in the transi-tion area between the positive andnegative halves of every audiowaveform.

Unfortunately, however, to im-plement pure 1 -bit conversionwould theoretically require over-sampling the recorded signal not ateight or sixteen times the normalrate, as is commonly done in high -quality CD players, but at 65,536times the normal rate. Since thestandard sampling rate for CD'S andfor DAT decks in their digital dub-bing mode is 44,100 times a second,the rate needed to generate therange of pulsewidths required forstraight 1 -bit operation would riseto an awesome 2,890,093,500 sam-ples a second, or roughly 3 giga-hertz.

While operating at such frequen-cies is beyond the capacity of cur-rent integrated -circuit technology,"noise -shaping" and "bit -compres-sion" techniques can be (and are)employed by various companies toobtain high performance from a 1 -bit design in a considerably reducedbandwidth. In the Sony DTC-75ES,for example, these techniques areused in conjunction with a high-density linear converter that is itselfremarkable in being able to operateat up to 50 MHz. Large-scale integra-

tion (L.si) of the various DAT circuitsactually helps make higher -frequen-cy operations possible, and at thesame time it helps bring down theproduction cost.

The display window of the DTC-75ES manages to present an enor-mous amount of information with-out visual clutter. In addition to alinear tape -counter mode, the abso-lute time, program time, and re-maining time on the tape are shownby successive presses of the COUN-TER MODE button. (The same but-ton, in conjunction with variousprogram -number keys, also controlsthe brightness of the display.)

The deck has a twenty -two -seg-ment -per -channel peak -holding lev-el indicator that is calibrated from-60 to 0 dB. When making a digitalrecording it is imperative never to"run into the red" (a common prac-tice with analog decks). Once all 16binary bits have been turned on, at0 dB, any larger input will createsevere distortion. For that reason,the DTC-75ES's level indicator issupplemented by a two -digit nu-meric MARGIN readout, which dis-plays the difference, to the nearest0.5 dB, between the 0 -dB point andthe maximum signal level encoun-tered in either channel. If the recordlevel goes too high even momentar-ily, the margin indicator will flashuntil the MARGIN RESET button ispressed. In addition to the clutchedrecord -level controls (which affectonly analog input signals), adjusta-ble, digitally controlled fader facili-ties are provided.

The deck's remote control can beused to program up to sixty selec-tions for playback in any order. Ithas the usual scan and automaticsearch functions as well as a repeat

function for individual selections,the whole tape, or specific portionsof a single selection. In conjunctionwith a number of Sony CD players,the remote control can also be usedto synchronize dubbing operations.

If pressed during play mode, thefast -forward and rewind buttonsprovide audible cue -and -review fa-cilities. Entered from the stopmode, fast -winding runs at twohundred times normal tape speed. Afront -panel switch is used to selectamong the rear -mounted analog, fi-ber-optic digital, and coaxial digitalinput jacks. A switch for timer -con-trolled operations is also provided,as is a front -panel headphone jackwith its own level control.

The Sony DTC-75ES measures16% inches wide, 133/4 inches deep,and 51/4 inches high. It weighs about161/2 pounds. Price: $950. SonyCorp. of America, Dept. SR, SonyDr., Park Ridge, NJ 07656.

Lab TestsWe checked the frequency re-

sponse of the DTC-75ES both withthe Sony TY-7551 calibrated testDAT and by making overall record -playback frequency sweeps with ourAudio Precision System One testinstrument. Results for the five fre-quencies on the test tape are shownin the box on page 44. In no case didthe deck's response deviate from theideal by more than 0.16 dB.

Predictably, total harmonic dis-tortion (THD) of a 1,000 -Hz tone at 0dB was roughly twice as high on anoverall record -playback basis as itwas in playback -only mode. Again,however, as the figures show, inboth cases the distortion was mea-surable only in the third decimalplace. Our crosstalk measurements

FEATURES

O Digital inputs and outputs fordirect CD and DAT dubbing inregular and long -play modes

O One -bit A/D and D/A convertersO Twenty -two -segment -per -channel

peak -level indicators withpeak -holding margin indicator

O Remaining, absolute, andprogram time indicators pluslinear tape -counter mode

O Editable start, skip, and endID markers with one -touchprogram renumbering

O Analog outputs and coaxial andoptical- digital outputs

O Ninety -nine -selection automaticmusic search and music scan

O Repeat play of whole tape, singleselection, or portions of aselection

O Full remote control for deck andcompatible Sony CD player

O Adjustable digital fader


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Overwhelming envy could interfere with

their listening pleasure when you play a few

of your favorite tracks for them.

Your friends will remember the great

sounding receivers we built back in the

Sixties that reproduced the music of Clapton,

Jimi Hendrix and The Doors. You can just

imagine what our FM sounds like now with

improvements such as balanced mixers and

a MOSFET front end. A heavy duty power

Don'tFriend

Expenssupply, bypassable tone controls and a low

noise motorized volume control help ensure

the cleanest, most distortion free amplification

whatever the signal source.

Because you demand that your receiver

is your Audio/Video command center, we

provide input jacks for CD, Phono, Video 1

and 2, Tape 1 and DAT/Tape 2. To enhance

your home theater experience our engineers

have added Dolby® Surround and a remote

RV -1340R MX= gan=cEZZAM....,

EITL.4-k7

control to harness all this power from the

best seat in the house.

Yes, the RV -1340R does look expensive.

That's because we haven't gone away from

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an all -aluminum cabinet or cheapened the

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Too much for your friends to believe?

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INEEL CORPORATION 14830 indra RI% . Li \ kith CA 90 MssCIRCLE NO. 103 ON READER SERVICE CARD

TEST REPORTS

Fast-forward/rewind time (C-120)Speed errorWow and flutterLine input for indicated 0 dBLine output at indicated 0 dB

PLAYBACK PERFORMANCE(Sony TY-7551 test tape)Frequency response (dB)

1,000 Hz20 Hz100 Hz10,000 Hz20,000 Hz

Signal-to-noise ratios (dB)unweightedA -weightedCC1R/ARM

Channel separation (dB)1,000 Hz10,000 Hz

Linearity (dB) at -60-dB level

LABORATORY MEASUREMENTS

48 secondsnot measurablenot measurable

0.45 volt2.0 volts

LEFT

0.00+0.16+0.09+0.04+0.05

101.21106.30104.57

98.9595.53-0.01

RIGHT

0.00+0.15+0.03-0.01

0.01

101.46106.83105.31

98.0790.07-0.01

+.3

+2

+

0

SC1NY INC-75E5 DIGITN AUDIO /APE DECK

INPUT/OUTPUT It\FAI6TY

1ff CHANNIEI-RIGH CHANNFI -

-1.0 -100 -0! -80 --70 -60 -40 --.40 -20 -10 0

INPUT EVfl PEC78(15,1

11141 ri4.100,,C 0i5/GLOW 00 AKAN l0 101/ tivit,AN41(7.7. AM 0.Gani

CHANNII. ANNO, WIT -CHANM1E -

044AN(1. ANVOG INPUT -/01,I GLAM.( 0611AI AfIli - -

/

- .50 -

31,1 EFI/Fe merisi

20

LEFT RIGIlTotal harmonic distortion plusnoise at 1,000 Hz

0.0016% 0.0017%

RECORD -PLAYBACKPERFORMANCEFrequency response (dB)

1,000 Hz 0.00 0.0020 Hz +0.16 +0.16100 Hz +0.07 +0.0710,000 Hz +0.02 +0.0120,000 Hz +0.00 +0.01

Signal-to-noise ratios (dB)unweighted 90.21 90.21A -weighted 92.51 93.05CC1R/ARM 89.87 89.80

Channel separation (dB)1,000 Hz 89.23 89.51

10,000 Hz 83.19 78.01Linearity (dB) at -60-dB level -0.02 -0.01Total harmonic distortion plusnoise at 1,000 Hz

0.0039% 0.0036%

6bi 01

8

8 0 010

a001

-20 - 8 -16 -14 -12 -10 - -6INPUT. IfVfl (112(605)

TO? Al IIARMOVC OISTORTION TYU5 NOISk VS NPU1 If Vfl

fA`4VOGIN111151

lEff CHANI\flCHANNB

-2 0

revealed excellent channel separa-tion as well.

The graph of total harmonic dis-tortion plus noise (THD N) vs.analog input levels shows the im-portance of not exceeding 0 dBwhen recording a DAT. Given the94-da A -weighted signal-to-noise ra-tios (overall record -playback) wemeasured, there is ample marginavailable to encourage erring on the

safe side when setting record levels,though this may mean changing thehabits of a lifetime. The separateleft- and right -channel low -level -lin-earity measurements (see graph)disclosed no nonlinearities of conse-quence down to a level of approxi-mately - 90 dB.

In an attempt to get at least someindication of the measurable differ-ence between digital -to -digital dub-

bing and copying a CD via theplayer's regular analog outputs, wealso measured the deck's THD Nin decibels at various levels withboth analog and digital inputs (seegraph). The approximately 6 -dB dif-ference (a 2:1 voltage ratio) betweenthe analog and digital curves acrossmost of the dynamic range showsthe clear advantage of recording dig-ital -to -digital if possible. Still, the

44 S'I'EREO REVIEW SEPTEMBER 1990

ON VOL ti, BASS TUNING JTREBLEON - SEEK - UP

FADER -PULL

eh AJct:rtttliftirtt 11:11rAkeiLeil

NAstAellf COOL VOILCILL.

APT DN DISC- UP MIL

When the music of America plays, so does Blaupunkt.And two star performers are the Woodstock CM

20 with removable chassis and the Nashville CM 40- Blaupunkt's new, under $400, AM/FM cassettereceivers with CD Charger control.

Ir stall a Woodstock or Nashville and enjoy thebril 'ant clarity of Blaupunkt sound, whether you're listen-ing to your favorite cassette or radio station. The real per-formance begins when wc.0 integrate either receiver witsour CDC 01 compact disc changer. The Woodstock orNashville will program and play up to 12 compact discs n anydesired order or track combination.

Blaupunkt's technology is reknowned for delivering out-standing tuner perfornal:_-,e Each tuner yields an exceptionalfrequency response .1E5 Hz to 16kHz, with FM Preset Scan,and Travel Store, which automatically finds thestrongest FM

ON- TRAC K- UPBALANCE-PU..1

statiors and loads them it to memcry presets.Each cassette deck offers headliner features like

auto reverse, Cassette Prog-am Search and Colby Bnoise reduction. The amplifiers are power plus - theWoodstock -a powerful 2C watts; the Nashv lie

- an even more powerfu 4C watts. And both maybe easily upgraoed with the built-in, true 4-c hanne ,

RCA pre -amp output.You- response on heart -1g them will be tumultuous

applause.For a dealer near you, cal- 1-800-237-7999. Wha:ever

part of the country you live in, the best sound in the countriis Blaupunkt.

BLAUPUNKTBosch Telecom

The Blaupunkt name and BLJE DOT symbol are registered trademarks of Blaupunkt-Werke GmbH Bosch Telecom. 1S90 Robert Bosch CoeporatIon

C,IRCEE NO. 67 ON READER SERVICE CARD

TheAudioAnaIf you ask five different

audiophiles which is thebest high bias audio cas-

sette to record music on,you're likely to get five dif-ferent opinions. But ifyou ask the Audio Preci-sion Analyzei" you'll get adefinitive answer, rightthere in living color:TDK SA -X.

The Audio PrecisionAnalyzer is one of themost sophisticated piecesof laboratory equipmentof its kind. It's used byaudio engineers toevaluate an audio cas-sette's performance in avariety of areas. Two ofthe most critical of theseareas are MOL (Max-imum Output Level) andbias noise, which togetherare used to measure whatis known as dynamic range.

MOL is indicated bythe curve at the top of

TDK SA -X's DYNAMIC RANGE, THE WIDEST OF ANY HIGH BIAS

the analyzer's monitor; measure of an audio cas-bias noise is indicated by sette's dynamic range atthe curve at the bottom. that particular frequency.*The vertical distance The greater the distance,between any two points the greater the dynamicon these curves is the range. And the greater

lyzerNeverLies.

TAPE, IS SHOWN HERE ON AN AUDIO PRECISION ANALYZER:

the dynamic range, the cassettes (the results ofmore sound the cassette which were published incan faithfully reproduce. the March 1990 issue), it

When Audio magazine utilized an Audio Preci-conducted an exhaustivetest of 88 blank audio

sion Analyzer to evaluatedynamic range. AsYou Can Get

What the analyzer toldAudio-in no uncertainterms-was TDK SA -X'sdynamic range was thewidest of all Type II audiocassettes tested. Whichmakes it the best tape youcan use to capture the for-tissimos, pianissimos, andtransients of today'smusic sources.

So if you want themost faithful sound repro-duction you can get froma high bias tape, look atwhat the Audio PrecigionAnalyzer is telling you.And listen to TDK.

SAX41:TDK.

Irk, I, Posi 90

As Serious

TEST REPORTS

B.I.C. VENTURI V620SPEAKER SYSTEM

Julian Hirsch, Hirsch -Houck Laboratories

AlBER

of years ago, B.I.C.America introduced a line ofloudspeakers featuring an

unusual form of ventedbass enclosure. Instead of a simpleopening in the cabinet wall or atubular duct with a constant crosssection, the speakers use a taperedduct whose effective cross-sectionalarea varies over its length, fromwide to narrow to wide again, beforethe duct opens to the outside of theenclosure.

The tapered duct is similar inprinciple to the Venturi tube used in

flowmeters, which create changes inthe pressure and velocity of the gasor liquid flowing through the tube.According to B.I.C., the taperedduct used in Venturi speakers in-creases the sound pressure at thevent by as much as 140 times as wellas providing improved loading ofthe rear of the speaker cone. Thepractical benefit is high -efficiencybass performance from a compactenclosure, a combination normallydifficult to achieve in an inexpen-sive speaker system.

The current line of B.I.C. Venturi

speakers consists of five models,ranging from a compact bookshelfspeaker to large, three-way floor-standing models. The V620 wetested is the smallest of the floor-standing units, a compact two-waysystem measuring 22N inches high,9 inches wide, and 111/8 inches deepand weighing about 21 pounds.

The V620 has a single 6 -inch conewoofer formed of carbon -impreg-nated polypropylene with a butyl-rubber surround. This rigid, low -mass driver operates up to 3,000 Hz,where there is a crossover to a 3/4-inch soft -dome tweeter with ferro-fluid cooling. The rectangular port,measuring 61/2 by 13/4 inches, is atthe bottom of the cabinet's backpanel.

Twin gold-plated five -way bind-ing posts are recessed into the rearof the cabinet. A removable blackcloth grille, retained by plasticsnaps, covers most of the speaker'sfront panel. All of its exterior sur-faces are veneered in black or oakwood -grain vinyl. The front sideedges of the cabinet are chamferedto minimize diffraction, and thecabinet is internally cross -braced toreduce resonance effects.

The manufacturer's specificationsinclude a frequency response of 49to 20,000 Hz ( -6 dB at 39 Hz) and asensitivity of 90 dB sound -pressurelevel (sPL) at 1 meter with a 1 -wattinput. The nominal impedance is 8ohms, and the speaker is recom-mended for use with amplifiers de-livering from 20 to 100 watts perchannel. Price: $329 a pair. B.I.C.,Dept. SR, 895 E. Hampshire Rd.,Stow, OH 44224.

Lab TestsAs recommended by B.I.C., we

installed the V620 speakers on121/2 -inch spiked stands about 2 feetin front of a wall and 8 feet apart.The room response was quitesmooth over most of the tweeter'srange, varying ±2 dB from 4,000 to20,000 Hz. The woofer's responsewas also very good over most of itsrange, within ± 3 dB from 35 to2,000 HZ, but there was a distinctdepression of about 4 dB in the com-posite response curve between2,000 and 4,000 Hz. The overallcomposite response curve was ± 5dB from 30 to 20,000 Hz, excellent

50 STEREO REVIEW SEVITM MR 1990

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Engineered for the sophisticated audio enthusiast.

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TEST REPORTS

performance for a speaker the sizeof the V620.

Other response measurements,including quasi-anechoic FFT tests,also showed a dip of 4 to 6 dB in the3,000- to 4,000 -Hz range. The hori-zontal directivity of the system,over a 45 -degree angle off its for-ward axis, was very good up to10,000 Hz and still better than aver-age all the way to 20,000 Hz. Theupper -midrange hole was present inboth the axial and 45 -degree off -axiscurves, however, indicating that itwas not merely an interference ef-fect but a true reduction of the sys-tem's acoustic power output in thatfrequency range.

The system sensitivity was 89 dB,close to the rated 90 dB. Its mini-mum impedance in the bass andmidrange was 6.3 ohms at 200 Hz,and the overall minimum was 4.5ohms at 7,000 Hz. The two bass -res-onance peaks were 45 ohms at 28 Hzand 25 ohms at 80 Hz. The averageimpedance was roughly 6 to 8 ohms,

ll

close to the 8 -ohm nominal rating.Over most of the audio frequencyrange the impedance phase anglewas less than 25 degrees, a furtherindication that a pair of V620's

Our initial listening testsshowed the B.I.C. V620 to bea balanced -sounding speakerthat compared favorably withcostlier systems. It certainlydid not sound like theinexpensive speaker it is.

should be very easy for any ampli-fier to drive.

At an input of 3.15 volts (corre-sponding to a 90 -dB SPL, in the sensi-tivity measurement), the woofer'sdistortion was between 1 and 2 per-cent from 50 to 100 Hz and typically0.5 to 1 percent from 150 to 1,000

You can pick up your car, Mr. Devlin. Say-who installed your car stereo anyway? I had to

use the jaws of life to replace a fuse!"

Hz. In single -cycle pulse power -han-dling tests, the woofer cone rattledat 100 Hz with an input of 135 wattsinto its 10 -ohm impedance. At1,000 and 10,000 Hz, our amplifierclipped (at 880 and 1,020 watts,respectively) before there was evi-dence of driver overload.

CommentsOur initial listening tests showed

the B.I.C. V620 to be a balanced -sounding speaker system that com-pared favorably with other, costliersystems. It certainly did not soundlike the inexpensive speaker it is.

After our tests, when we saw theupper -midrange response depres-sion in our measurements, we won-dered if it could possibly be a meas-urement artifact. It should havebeen audible, but we had not de-tected it in a moderate amount ofpre-test listening. More listening,with a variety of music, finally con-firmed the depression's reality, butfortunately its effect disturbed theear much less than the measure-ment curve disturbed the eye.

Obviously, for this characteristicto be heard, there must be a signifi-cant amount of program energy inthe 3,000- to 4,000 -Hz range. Sur-prisingly few of the recordings andFM broadcasts to which we listenedmet that requirement. But every sooften, switching between our refer-ence speakers and the V620's pro-duced a hollow -sounding effect thatmust have been the result of itsupper -midrange output deficiency.The characteristic often affected theambience more than the tonal bal-ance of the program. But even whenit was present (and it showed up inboth speakers of the pair we tested),it was rarely strong enough to beobvious without an A/B compari-son with a speaker having a uniformresponse in that range.

Aside from this anomaly, thesound of the B.I.C. V620 was verygood and thoroughly satisfying. Fewspeakers at its price would be likelyto equal it, much less surpass it.When the speaker's efficiency, fre-quency range (both the deep bassand top treble were excellent), andoverall balance are considered, it isclearly a good value-and very at-tractive to boot.Circle 141 on reader service card


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TEST REPORT'S

AUDIOSOURCE AMP ONEPOWER AMPLIFIERJulian Hirsch, Hirsch -Houck Laboratories

THE compact, low -price Au-dioSource Amp One stereopower amplifier, althoughconservatively rated at a

modest 60 watts per channel, canmeet the requirements of mosthome audio systems. It is housed ina lightweight (a little more than 14pounds), low -contour package thatmeasures 161/2 inches wide, 115/8

inches deep, and only 23/8 incheshigh. A distinctive feature of thefront panel is a pair of round, illu-minated level meters about 11/2

inches in diameter.Individual level -control knobs for

the two channels are at the right endof the panel; several small pushbut-tons and a headphone jack occupythe left. Each button displays asmall red light when it is activated.The power button is red, but theothers are black, like the amplifier'spanel and case. Two of the buttonsactivate the two pairs of speaker -

output terminals on the rear apron,another increases the level meters'sensitivity by 10 dB, and the fourthturns on the soft -clipping circuit,which rounds off the peaks of a sig-nal that might otherwise drive theamplifier into hard clipping. By re-ducing the level of high -order har-monics in the amplifier output, softclipping lowers the risk of damaginga tweeter.

The level meters have two scales,calibrated in watts (into 8 ohms)and decibels relative to the 60 -wattmaximum power rating. The metermovements respond rapidly to levelincreases, with a slower decay. Thepower -scale calibrations extenddown to 0.2 watt (200 milliwatts), or20 milliwatts in the expandedmode, providing useful readingsover the full listening range.

On the Amp One's rear apron aretwo sets of insulated binding -postspeaker terminals, which accept sin-

gle or dual banana plugs as well asstripped wire ends. A slide switchconnects the two channels forbridged (mono) operation, increas-ing their maximum output to about170 watts into 8 ohms. The amp hasa single unswitched AC outlet and auser -accessible fuse holder (an in-creasingly rare convenience). Un-conventionally, there are two pairsof input jacks, marked for line andCD sources. They are not selectableand differ only in their sensitivitiesand impedances, which are 30,000and 50,000 ohms, respectively.

Through the ventilating slots onthe top cover can be seen a huskytoroidal power transformer as wellas the amplifier circuit board and itstwo rows of black heat -sink fins.The specifications include a powerrating (with both channels driven)of 60 watts per channel into 8 ohmswith less than 0.04 percent total har-monic distortion (THD), frequencyresponse of 20 to 20,000 Hz ±0.5dB, 110 dB signal-to-noise ratio, and2 dB headroom (presumably dy-namic). The rated sensitivity is 0.8volt for the line input and 1.3 voltsfor the cD input. Price: $300. Au-dioSource, Dept. SR, 1327 N. Caro -Ian Ave., Burlingame, CA 94010.


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TEST REPORTS

Lab TestsThe 1 -hour preconditioning at

one-third rated power from bothchannels left the top of the AmpOne comfortably warm. During thefollowing high -power tests it be-came noticeably hotter, but in nor-mal operation it became only faintlywarm. With both channels driving8 -ohm loads at 1,000 Hz, the out-puts clipped at 80 watts, for a clip-ping -headroom rating of 1.25 dB.The output into 4 ohms (for whichthe amplifier is not rated) was 100watts per channel. We made 2 -ohmmeasurements on only one channel,with the other connected to a 4 -ohmload, since we have found thatmany amplifiers not specificallyrated for 2 ohms will blow an inter-nal fuse or become otherwise dis-abled when driving 2 -ohm loadswith both channels. The 2 -ohm out-put at clipping was 84 watts.

Dynamic power tests produced anoutput of 110 watts into 8 ohms (fora dynamic headroom of 2.6 dB), 170watts into 4 ohms, and an impres-sive 225 watts into 2 ohms. The lastfigure is actually a more importantperformance indicator than the con-tinuous 2 -ohm output power, dem-onstrating that the Amp One can

deliver high-level program peaks,without clipping, to almost anyspeaker.

The amplifier's distortion variedonly slightly with power and fre-quency. From 6 to 60 watts into 8ohms, at frequencies from 20 to20,000 Hz, distortion remained be-tween 0.032 and 0.036 percent.With 4 -ohm loads, the range was0.062 to 0.07 percent from 1 to 100watts, and into 2 ohms it was 0.11 to0.14 percent from 1 to 80 watts.

The soft -clipping circuit com-menced rounding off the waveformpeaks well below the maximum un-clipped power available without it.For example, at a constant 0.2 per-cent distortion, the Amp One deliv-ered 90 to 94 watts into 8 ohmsfrom 20 to 20,000 Hz when soft clip-ping was turned off. With soft clip-ping switched on, the power was 51to 55 watts over the same range.More power was available only atthe expense of more distortion thanin the normal operating mode.

The amplifier's frequency re-sponse was flat from 10 to 2,000 Hz,rolling off at higher frequencies to-0.6 dB at 10,000 Hz and -1.6 dBat 20,000 Hz. This was the onlymeasurement we made that did notmatch the manufacturer's rating.

FEATURES

Bridgeable for 170 -watt monooutput into 8 ohms

Switchable soft -clipping circuit Compact toroidal power

transformer Independent front -panel level

controls for both channels Illuminated output meters

calibrated in watts into 8 ohmsand decibels relative to rated

power; front -panel switchincreases sensitivity by 10 dB

Two sets of speaker outputscontrolled by front -panelbuttons

Front -panel headphone jack Separate input jacks for CD and

line sources Single unswitched AC outlet

LABORATORY MEASUREMENTS

Output power at clipping (1,000Hz): 80 watts into 8 ohms, 100watts into 4 ohms, 84 watts into2 ohms

Clipping headroom (relative torated output): 1.25 dB into 8ohms

Dynamic power output: 110 wattsinto 8 ohms, 170 watts into 4ohms, 225 watts into 2 ohms

Dynamic headroom: 2.6 dB into 8ohms

Harmonic distortion (THD + noiseat 1,000 Hz into 8 ohms): 0.04%

at 1 watt, 0.033% at 10 watts,0.036% at 60 watts

Maximum full -power distortion(20 to 20,000 Hz into 8 ohms):0.036% at 60 watts (10,000 Hz)

Slew factor: 3Sensitivity (for a 1 -watt output

into 8 ohms): line, 95 my; CD,160 my

A -weighted noise (referred to a1 -watt output): line, -91 dB; Co.-91.6 dB

Frequency response: 20 to 20,000Hz +0, -1.6 dB

The slew factor was 3 because of avisible waveform distortion that oc-curred above 60,000 Hz.

Input sensitivity at maximumlevel settings, for a reference outputof 1 watt, was 95 millivolts (my) atthe line inputs and 160 my at the CDinputs. The respective A -weightednoise levels, with EIA standard gainsettings, were -91 and -91.6 dB,relative to 1 watt. Referred to theamplifier's 60 -watt rating, these fig-ures correspond closely to the rated110 -dB signal-to-noise ratio.

The meters proved to be as accu-rate as could be expected from suchsmall scales and certainly more thanadequate for their intended pur-pose. At rated power, they readabout 10 percent low and showed anincreasing error at lower levels,down to about 50 percent low at the60-milliwatt calibration, where theactual output into 8 ohms was 88milliwatts. These errors were com-parable to the width of the slendermeter pointer, which is highly visi-ble against the white scale.

CommentsThe AudioSource Amp One is a

good value in a compact and attrac-tive amplifier, and, although itwon't appeal to "high -end" enthu-siasts, it can do a first-rate job inmost installations. It sounded asgood as most of the more powerfuland better-known amplifiers wehave used, with more than enoughpower for the kind of listening mostpeople enjoy-that is, not at the lev-els experienced in a concert hall bythe conductor, the orchestra, andthe first few rows of listeners.

The Amp One's size, weight, andcool operation make it a practical,stylish companion for most of to-day's source components. We oper-ated it on top of a CD player withoutfear that its weight would deformthe player's top or that its externalhum field would degrade theplayer's signal-to-noise perform-ance (the amplifier's toroidal powertransformer generates a very lowexternal magnetic field). The AmpOne produced no turn -on or turn-off transients. Indeed, it was as civ-ilized an audio component as wehave used in some time. And, notleast of all, its price is right.Circle 142 on reader service card


Join Philips Classics in a once -in -a -lifetimerecording event.

A BICENT

The myth, mystery and magic of Mozartare but pale shadows of the drama that wasthe man. When Mozart died, at 35, he leftbehind a monumental legacy. As the childgenius of a family of geniuses he becamethe toast of Europe, "the little wizard" as hewas dubbed in Vienna. His exploits wouldbecome the stuff of legends. But when hedied, he died a pauper and was laid to restin an unmarked grave.

A MONUMENTAL RECORDINGPROJECT.

In 1991 the world commemorates the death,200 years ago, of Wolfgang AmadeusMozart. As we prepare to honor his great-ness, Philips Classics will celebrate him withTHE COMPLETE MOZART EDITION. Start-ing in October 1990, the COMPLETEMOZART EDITION will assemble all theworks Wolfgang Amadeus Mozart composed,collected together for the first time in anyrecorded medium and issued on CD in spe-cially designed packaging. This is a seriesunlike any other, monumental in scope andcomprising all known authentic, originaland complete works plus as many fragmentsor movements as could possibly be per-formed. THE COMPLETE MOZART EDITIONwill contain full -digital recordings, many ofwhich will appear on CD for the first time.And many newly recorded works, varyingfrom a complete opera to a 17 secondAndante, including some music neverheard before. This is the most monumentalrecording project ever attempted. THECOMPLETE MOZART EDITION is a connois-seur's library of the best of Symphonies,Operas and Chamber Music.

EVERY NOTE HE EVER WROTE.In October, we will send you the 12 CD setof The 41 Symphonies to audition inyour home Free for 15 days. Performed by

IAL CELEBRATION

The Academy of St. Martin -in -the -Fieldsunder Sir Neville Marriner, you will receive"The Jupiter", "The Haffner", in fact, all theglorious symphonic works Mozart wrote(1-41). Each month thereafter, and continu-ing as long as you maintain your series sub-scription, we will ship additional volumes,each for your Free 15 day audition. You maycancel your subscription at any time.As your series subscription continues(monthly through December '91), futurereleases will include the Serenades &Divertimenti, including the famous "Einekleine Nachtmusik"; the Dances, the PianoConcertos -27 glorious works, includingthe early Concertos after J.C. Bach; Musicfor Violin & Orchestra, including theConcerto for Piano & Violin; the WindConcertos; the Chamber Music, including10 unfinished fragments; the Piano Musicplus Mozart's very first composition writtenwhen he was five; the Masses & SacredWorks; the Organ Sonatas; the Oratorios;Concert Arias & Vocal Music; Theatre& Ballet Music; the Operas; Diversa& Rarities.

MOZART'S LIFE'S WORK...A Lifetime of Listening Pleasure.

THE COMPLETE MOZART EDITION com-prises 180 CDs of some of the most gloriousmusk ever written. There will be manyMozart sets issued during the Bicentennialyear, but this is the only COMPLETE MOZARTEDITION-and best of all, you will receivethese volumes immediately upon release,culminating with the final volumes in Decem-ber 1991. THE COMPLETE MOZART EDITIONfeatures the finest artists of our time: TheAcademy of St. Martin -in -the -Fields, SirNeville Marriner, Alfred Brendel, MitsukoUchida, The Beaux Arts Trio, Kid to Kanawa,Jessye Norman, Sir Colin Davis and manymore. This is the Complete Mozart Edition,in 44 volumes, sent to you in 15 monthlyreleases from October 1990 to December1991. Each release includes between ten and

the special price of $7.95 perdisc delivered to your home.

THE MOZART GAZETTEYour Bonus Guide to the Bicentennial.In addition, you will also receive the quar-terly MOZART GAZETTE, your official guideto the Mozart anniversary celebration featur-ing forthcoming releases in the series, newsof the artists and orchestras and an interna-tional preview of events in the MozartBicentennial Celebration. THE MOZARTGAZETTE is yours, Free, as long as youremain a subscriber to THE COMPLETEMOZART EDITION.

Reserve your subscription to THE COMPLETEMOZART EDITION at the special price of$7.95 per disc plus tax (we pay shipping).Write to:THE COMPLETE MOZART EDITIONc/o The International Preview SocietyP.O. Box 91179, Dept. 64Indianapolis, IN 46291-0179Charge your subscription to your AmericanExpress and Optima, VISA, MasterCard, DinersClub or Discover Card. Your card will becharged monthly for each shipment.

For Fastest Service, have your credit card readyand use our toll -free number:

(I-800-926-2338)

TEST REPORTS

CAMBRIDGE SOUNDWORKSMODEL ELEVENPORTABLE MUSIC SYSTEMJulian Hirsch, Hirsch -Houck Laboratories

THE Cambridge SoundWorksModel Eleven transportablecomponent music system isa direct descendant of de-

signer Henry Kloss's KLH Model11, which was very popular in the1960's. The original Model 11, ad-vertised as a "stereo phonograph ina suitcase," consisted of a four -speed record changer, a low -powerstereo amplifier (71/2 watts per chan-nel), and two detachable speakers.The amplifier had conventionalbass, treble, and balance controls aswell as a pair of auxiliary input jackswith a switch to select the desiredsource. The complete $199 systemweighed 26 pounds, qualifying it asportable if not exactly a feather-weight.

The KLH 11 made no claim tohigh-fidelity performance, althoughit was a very respectable "mid-fi"system for its time. Ideal for chil-dren's rooms and college dormito-ries as well as a convenient portablemusic source, it was not only a suc-

cessful product in its own right butalso inspired a host of "compact"music systems from many othermanufacturers. (Even KLH pro-duced several variants designed forfixed use in a home.) The KLH 11disappeared from STEREO REVIEW'SStereo Directory in 1973, and theonce flourishing "compact" audiomarket dwindled and vanished overthe next several years.

As Cambridge SoundWorks tellsit, Henry Kloss wanted to enjoygood music while on a recent vaca-tion. Although a portable CD playerand a couple of small poweredspeakers could fit into a suitcase,the combination was not conve-nient to carry, set up, and repack fortransportation. And its sound quali-ty, which lacked the deep bass of agood home system, was also notgood enough to satisfy a serious lis-tener or to do justice to CD'S.

Kloss set out to design a portablesystem compatible with the soundquality and dynamics of today's dig-

itally recorded music. Noting that apair of small powered speakers anda portable CD player together occu-py about the same volume as anacoustic -suspension woofer enclo-sure, he designed a carrying case ofan appropriate size. Called the Bass -Case, it measures 191/2 x 161/2 x 61/4inches and is made of a compositematerial with a 5/8 -inch -thick rigidfoam core and outer layers of high -strength, luggage -grade plastic.

The BassCase holds a single 7 -inch, long -throw acoustic -suspen-sion woofer. Internal struts and atransverse rib add strength andform an airtight seal when the caseis closed with its four heavy-duty,toggle -locking latches. Internaldamping is supplied by a soft foamchosen for its acoustic properties.The foam has cutouts for the sys-tem's two satellite speakers, its min-iature amplifier, and a personal CDplayer or radio/cassette player. Thesupplied cables (two 15 -foot lengthsfor the satellites and a 20 -foot lengthfor the BassCase) wrap around thewoofer's magnet structure for trans-portation.

There is an electronic crossoverfrom the woofer to the satellites at150 Hz. Each satellite has a 3 -inchmidbass/midrange driver and a 3/4 -inch copolymer -dome tweeter in ablack ABS plastic case with internaldamping and stiffening. Dimen-sions are only 61/4 inches high, 41/4inches wide, and 31/8 inches deep.The back of each case has a keyholeslot and a threaded insert formounting on a wall or stand. Theblack metal grille is not removable.

A three -channel amplifier powersthe woofer and the two satellites.The frequency response of each am-plifier channel is shaped to optimizethe performance of the speaker itdrives. This reduces the number ofparts needed in the passive cross-over between drivers in the satel-lites (although, according to thespecifications, it is still a complexten -element design) and is said toelicit extended bass response from amore efficient woofer than wouldotherwise be possible for the sameperformance.

The amplifier measures 7 incheswide, 3 inches high, and 5 inchesdeep. Its total output is given as 36watts, without specifying how this is


Believe itor not, compactdisc for the carhas been around awhile. There areeven a chosen few who could actuallyafford to buy one.

Well, now car CD is really here.Because Pioneer has

advanced the technology sofar and created a line of

players so extensive thatnow it's possible

for anyone toafford the clar-ity of digitalCD sound.

It begins with our new single -playCD systems.

You'll love the high power as muchas the price. But try not to overlook thedetach-able face-plate. Aninnovativesecurity feature we recently devel-oped for added convenience.

And while we're on the subject ofconvenience, Pioneer's 6 -disc multi -play changers let you enjoy hours ofuninterrupted music while you drive.Plus they can be easily added to yourcar without replacing your existingaudio system.

For those who want it all, we alsooffer an incredible

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"In its price category,the Adcom GFA-535is not only an excellent choice;it's the only choice:'

The complete report:Sometimes products are too cheap for theirown good, and people don't take them seri-ously: the Superphon Revelation Basic DualMono preamp, Rega RB300 arm, AR ES -1 turn-table, Shure V15 -V MR cartridge, and the B&KST -140 power amp. They can't be any goodbecause they cost so little, right?

Wrong, of course.Adcom appears to be having the same prob-

lem with their $299.95 GFA-535 amp. Credi-bility.

Now if this amplifier were imported fromEngland and sold for $599.95, then maybe itwould be taken seriously. And highly praised,no doubt.

For the baby Adcom is one of the finestsolid-state amps I have heard. No, not the best;I'm not sure what is the best. But it's anamplifier that is so good for so little money asto be practically a gift.

Actually, when Rob Ain from Adcom called,I was about as enthusiastic about the GFA-535as you were before you finish reading thispiece. But Rob insisted, "You've gotta hear thisamp."

He brought it over the next day, along withthe GFP-555 preamp ($499.95), and we putboth pieces into the rest of the system: a ShureUltra 500 in a Rega RB300 arm on an AR ES -1table, with Quad ESL -63 speakers on Arcicistands. Then we chatted for a half hour or sowhile the electronics warmed up.

And then, simultaneously, the two of usdecided to shut up and listen.

Sam Tellig, The Audio Cheapskate

Vol. 10 No. November 1987

Adcom GFA-535 power amplifier.

"I've never heard the Quad ESL -63 soundbetter," Rob said. Of course, he was hardly animpartial observer, but the sound was extraor-dinarily clean, detailed, and musical. If itwasn't the best sound I have ever heard fromQuads, it was pretty close.

This humble $300 amplifier was driving apair of very revealing $3000 speakers and giv-ing a very good account of itself. (We listenedfirst to some Goran Sollscher classical guitar.)

"So how come this product isn't flying offthe dealers' shelves?" I asked Rob.

"I don't know. Everyone wants the GFA-555with 200 watts per channel. Including peoplewho don't need it."

"Does the GFA-555 sound any better?" Iasked.

"It's our aim to have all our amps soundpretty much the same. You pay more money,you get more power."

Rob pointed out that while the GFA-535 israted at 60Wpc, it puts out more like 80. Andwhile I did not do any measurements, my ex-perience with other amps tells me Rob's right.I suppose Adcom doesn't want to steal salesfrom its GFA-545, rated at 100Wpc and sellingfor $200 more.

After a couple of hours, Rob left, grinningfrom ear to ear, and I later sat down to listenalone. True, when I tried certain Telarcs andpushed hard I could get the amplifier to clip-two LEDs quickly light up (very useful). Butthe Quads were running out of the ability touse the power anyway. My first impressions

were confirmed: the GFA-535 is one of thebest amplifiers around for driving Quads.Spendor SP- ls, too.

Suddenly, it hit me what this meant. Con-ventional wisdom had been dealt a severeblow. You know, the old saw that you shouldnever power a good pair of speakers with a

"The GFA-535 remindsme of... amplifiers thatsell ...for about threeand five times theprice:'cheap amplifier. Here was a cheap amp-oneof the cheapest on the market-that soundedgood with Quads, Spendors, later Vander-steens. Probably Thiels, too-at least the CS1.What it means is you can stretch your speakerbudget a bit and get the speakers you reallywant, then economize by buying an AdcomGFA-535 for $299.95. True, you may be a littlepower shy, but probably not much. And to saythe least, the GFA-535 would make a decentinterim amp.

What does the GFA-535 sound like? (Youthought I'd forget that part, right?) Well, thisis one of the most neutral amps I've heard.

6 ...the baby Adcom isone of the finest solid-state amps I haveheard...so good forso little money as tobe practically a gift'While it doesn't sound particularly tubelike,it avoids the typical transistor nasties throughthe midrange and into the treble. I wouldn'tcall it sweet-there's no euphonic coloring-but it isn't cold or sterile. What it is, is smooth.And detailed. Far more detailed than I wouldever imagine a $300 amplifier could be. TheGFA-535 reminds me of the Eagle 2A and PSAudio 200C, amplifiers that sell, respectively,for about three and five times the price. Ofcourse, they have more power. And they aremore detailed. The point is, the Adcom comesclose. Very close.

The bass, like everything else, is neutral, cer-tainly not fat and overdone. But it's here where

you notice that this amp is not a powerhouse.You just don't get the solidity and extensionyou get with a very powerful (and expensive)solid-state amp. Nor do you get the breadthand depth of soundstage that you often findwith a very powerful amp. The Adcom GFA-535 sounds a wee bit small, which it is.

My only criticism, and it's more of a quib-ble, is that the speaker connectors are non-standard and unique (so far as I know). You in-sert bared speaker wire into a hole and twistthe connector tight a quarter turn. Most speakercables will fit, but some will not. Certainly MITwon't. Neither will the best Kimber, the kindwith eight clumps of strands. The less costlyfour -clump Kimber will, and proved an ex-cellent choice. My sample amp was quiet-

"This amplifier is sogood and so cheap that Ithink any CD owner whobuys an integrated ampis nuts:'no hum-and ran cool. There are selectors fortwo sets of speakers. And the 535 looks nice.

And talk about economy: If you're not in-to LPs anymore, you could buy a Mod Squad,dbx, or Old Colony line -level switching box-or possibly a B&K Pro 5 preamp, with itsswitchable line amp section (only $350), or theAdcom SLC-505 passive preamp ($150)-andrun it with a CD player. In fact, if you are intoCD only (no tape, no tuner, no phono), youcould buy a CD player with a variable volumeoutput and run it directly into the Adcom. Thisamplifier is so good and so cheap that I thinkany CD owner who buys an integrated ampis nuts.

In its price category, the Adcom GFA-535 isnot only an excellent choice; it's the onlychoice. The real question is whether youshould buy one even if $299.95 is much lessthan you planned to spend for an amp-ie,whether you should put the money into a bet-ter CD player or pair of speakers instead.

ADCOM®fine stereo components

11 Elkins Road, East Brunswick, NJ 08816U.S.A. (201) 390-1130 Distributed in Canada by:

PRO ACOUSTICS INC. Pointe Claire, Quebec H9R 4X5


TEST REPORTS

divided among the speakers. Thethree high-level inputs (auxiliary,tape, and CD) are balanced withinthe amplifier for minimum noisepickup and are selected by a knobon the front panel. Other knobscontrol volume, balance, bass, andtreble (the last three are center-detented). Slide switches controlpower and mono/stereo mode, andthere is a red LED pilot light.

As befits its portable status, theModel Eleven can operate from115- or 230 -volt AC power (50 or 60Hz) or a 12 -volt DC supply. Theamplifier also provides a 9 -volt DCoutput for a portable CD or tapeplayer. The system includes a 12 -volt adaptor to power it from anautomobile cigarette lighter, a ster-eo mini -plug adaptor, and wall -mounting hardware for the satel-lites. The speaker cables are fittedwith polarized plugs at one end and

The BassCase has cutouts in itsdamping foam to hold the satellitespeakers, the amplifier, a portable co ortape player, and the connecting wires.

stripped wire ends at the other; onceconnected properly to the speakers,correct attachment to the amplifieris assured. The complete ModelEleven system, ready to carry,weighs about 23 pounds. Price:$749. Cambridge SoundWorks,Dept. SR, 154 California St., New-ton, MA 02158; (800) 252-4434.

Lab TestsWe tested the Cambridge Sound -

Works Model Eleven as a system,measuring from the amplifier inputto the acoustic output of the speak-ers. The satellites were placed on26 -inch stands about 2 feet in frontof the wall, with the BassCase on thefloor midway between them. The

system's averaged room responsewas smooth, uniform, and strongdown to below 70 Hz. The Bass -Case's close-miked (anechoic-equivalent) response was within± 1.5 dB from 50 to 160 Hz, fallingat about 24 dB per octave below thatrange and about 14 dB per octaveabove it. Splicing the curves pro-duced a composite frequency re-sponse of ± 3.5 dB from 45 to20,000 Hz.

We checked the amplifier's tone -control range by acoustic measure-ments of the system output at theextreme control settings. The rangewas approximately ± 10 to 11 dB at100 Hz and +10, -20 dB at 10,000Hz. Although speaker impedancesare accounted for in the design ofthe system and therefore need notbe of any concern to the user, wethought it would be interesting tomeasure them anyway. The satel-lites had a minimum impedance be-tween 3 and 4 ohms, with a peak of17 ohms at 170 Hz. The BassCase'simpedance peak was 14 ohms at 60Hz, and its minimum was 4.6 ohmsat 150 Hz. Its impedance rosesteadily above 200 Hz, indicatingthe use of a passive inductor toremove high -frequency signals fromthe woofer circuit.

Output from the 3 -inch driver ofone of the satellites was greatest at200 Hz. The tweeter's horizontaldispersion was excellent, typicallyexhibiting less than 6 dB differencebetween the on -axis response andthe response 30 degrees off -axis allthe way up to 20,000 Hz. The satel-lites had very good phase linearity,with less than 0.1 millisecond (ms)variation in group delay from 1,000to 20,000 Hz except for a single 0.5 -ms jog at 4,500 Hz, which appearedonly on the speaker's axis and ap-parently was associated with its cab-inet dimensions.

The integration of amplifier andspeakers prevented our usual sensi-tivity and power -handling tests. Wedid make distortion measurementson the BassCase output, however,using the onset of audible buzzing at100 Hz as a criterion for maximumsignal -handling ability. With thedrive set just below the buzzingpoint, the woofer's distortion variedbetween 6 and 14 percent from 20 toabout 48 Hz, dropped to between 3

and 4 percent from 50 to 85 Hz, andsloped off at higher frequencies to0.6 percent at the bass driver's nom-inal 150 -Hz crossover frequency.Reducing the drive level by 10 dB(which still left a healthy bass out-put) cut the distortion to 7 percentat 20 Hz, 4 to 5 percent from 25 to48 Hz, 1 percent at 80 Hz, and 0.5percent from 125 to 200 Hz.

CommentsThe best way to judge an inte-

grated system such as the Cam-bridge SoundWorks Model Elevenis by using it, since many measure-ments of its individual componentsare either impractical or meaning-less. We chose to operate the ModelEleven as we would on a vacation(without traveling, however). Asidefrom the extremely stiff BassCaselatches, which for a while resistedour efforts to open them, the setupwas easy and straightforward. Themost convenient program sourcewas an inexpensive portable radio/tape player. Since we didn't have aportable CD player on hand, we useda home CD player as our source ofdigital program material.

The results were highly satisfacto-ry, rivaling the performance of ourmain system in many respects. Likesome other good three-piece speak-er systems, the Model Eleven gaveno audible clues to the size or con-figuration of its components. TheBassCase could not be located byear, even though it was usually mostconvenient to place it behind one ofthe satellites, and its output was per-fectly integrated with that of the sat-ellites. The hum field above theamplifier made it necessary to placethe portable unit a few inches awaywhile it was playing a tape, but noother anomalies came to light.

The sound was smooth and full -range, with a tendency towardbrightness. The upper bass was sub-jectively flat, resulting in a non-boomy reproduction of male voices,and the low end-down to about 40Hz-was clean and ample enough toprovide a solid footing for thesound of an orchestra. The maxi-mum volume level was as impres-sive as its quality. This system caneasily produce much louder undis-torted sound levels than we care touse, making conversation practical -


Unfortunately, most CD changerschange more than the discs.

Typically, a CD changer'scomplex transport mechanismdoesn't isolate the playing discenough to prevent vibrationinterference.

Something that can turna perfectly good performanceinto a rather shaky one.

Fortunately there's a CD

changer that won't add anyadditional shake, rattle or rollto your music.

The new CDC -805 fromYamaha. The first CD

changer with a vibration -freetransport system.

A remarkable accomplish-ment which isolates andclamps the play' disc, justlike a single-disper, soyour music won't s er fromany vibes of the bad variety.

But there's much moreto it than merely a superiorchanging mechanism.

Due to Yamaha's Single -Bit Technology, theCDC -805 sounds far betterthan most single -disc CDplayers on the market.

There's also somethingwe call PlayXchange.

A creature comfort thatprovides uninterruptedmusic, permitting you toload up to four CDs withoutinterrupting the disc playing.

The CDC -805 is also theonly changer with a built-in

equalizer.Five

digitalpresetsdesignedto giveevery

type of music even moremusical presence -even aflat setting so you can bypassthe EQ altogether

The CDC -805 is the onlyfive -disc changer that canprovide 10 -disc relay pby patching two CDC 5stogether-something defi-nitely worth consideringfor custom installations.

Here's yetanother point wellworth considering.

The CDC -805. Theonly CD changer withalive -mode digitalequalizer

Instead of your typicalbelt drive, Yamaha's CDC -805 uses long-lasting gearsfor added reliability. A small,yet significant reason whyYamaha can confidentlyback every CDC -805 with atwo-year limited warranty

Stop by your Yamahadealers showroom for anearful of Yamaha's remark-able new CDC -805.

The first CD changercapable of changing eventhe most ardent audio-phile's mind about buyinga CDchanger YAMAHAC

171990 Yamaha Electronics Corporation. USA. P.O. Box 6660, Buena Park. CA 90622. Tom Scott's newest release, Then, Changes, is available on GRP Records at your local record store.

TEST REPORTS

ly impossible in the same room.Like all Cambridge SoundWorks

products, the Model Eleven is solddirect from the factory, with a thir-ty -day return privilege. It carries afive-year limited warranty; prob-lems resulting from a manufactur-ing defect will be repaired free thefirst year and for no more than $25over the next four years.

The Cambridge SoundWorksModel Eleven is a truehigh-fidelity component systemthat can hold its own withothers many times its price.BV,.",'ft:PAJ%RSit9riZtttknPsir2M=M.jML,',I,i;-ltS,VMN,A-Wit:o1;jAlr6

The obvious conceptual connec-tion between the Cambridge Sound -Works Model Eleven and the KLH11 inspired us to set up our long -retired KLH Model 11 and test itwith the same procedures and in-struments. The results showed dra-matically how much progress hasbeen made in the last twenty-sevenyears. The KLH unit sounded likethe mid-fi compact system it was(and still is-it did not seem to havedeteriorated over the years in stor-age). By no stretch of the imagina-tion could it be described as a hi-ficomponent. The new Model Elev-en, on the other hand, is a true high-fidelity component system. Today'simproved program sources soundedthin, confined, and really not verypleasant through the older system,whereas the Model Eleven couldeasily hold its own with moderncomponent systems selling formany times its price and occupyingeven more times its space. True, theModel Eleven's price is three timesthat of its predecessor, but inflationis responsible for most, if not all, ofthat apparent increase. And it is alot more of a music system, no mat-ter how you look at it.

Although the Model Eleven prob-ably would not satisfy many audio-philes as a main system, it was notintended to. But for use in dens,dormitories, or other limited -spaceinstallations, and especially fortravel, it has no equal for its combi-nation of performance, value, andportability.Circle 143 on reader service card

AKG K280 HEADPHONES41 olt: tt f t 01 t Itfla Ifdift ?ION WANE& I ESI EINSPOtt

Julian Hirsch, Hirsch -Houck Laboratories

THE AKG K280 "Parabolic"headphones appear to be aconventional dynamic cir-cumaural headset with

open-air earcups that vent the rearof the diaphragm to the room. Thatdescription could apply to a numberof headphones, from AKG andmost other manufacturers. Likemany other AKG headphones, theK280 has a self-adjusting headbandwith a soft plastic strap and soft,foam -filled ear cushions that fullyenclose the wearer's ears. A straight10 -foot cord emerges from the leftearcup and is terminated in a stan-dard quarter -inch stereo phoneplug.

There is, however, much more tothe K280 than meets the eye. Eachearcup contains two dynamic driv-ers, one above the other, angledtoward the center of the ear. Adeflector molded into each earcup,

just forward of the diaphragms, alsodirects the sound into the ear. Ac-cording to AKG, the two dia-phragms are tangent to a parabolicsurface whose focus is at the en-trance to the ear canal. This ar-rangement forms an acoustic lensthat directs the sound into the ear,presumably with a minimum ofmodification by the shape of thepinna (outer ear). Computer -aideddesign was used to minimize theinterference patterns between theidentical signals radiated by the twoangled diaphragms and to optimizethe overall transient response of thesystem.

According to AKG, the parabolicdesign gives the K280 a "surround -sound" quality that more accuratelyconveys the perspective of a concerthall than conventional phones. Thedual drivers increase power -han-dling ability and reduce distortion


TEST REPORTS

compared with a single -driver de-sign. Moreover, they reduce theheadset's impedance to 75 ohms-somewhat less than that of mosthigh -quality stereo phones.

The K280 headphones weigh 250grams (about 8114 ounces) withoutthe cord and exert a pressure ofabout 350 grams on the wearer'shead. Their rated power -handlingcapability is 200 milliwatts. Therated frequency response is 20 to20,000 Hz, and the rated sound -pressure level (sPL) is 94 dB. Price:$195. AKG Acoustics, Dept. SR, 77Selleck St., Stamford, CT 06902.

Lab TestsWe tested the AKG K280 phones

on an ANSI standard coupler. Thefrequency response was very flat( ± 1.5 dB) from below 100 Hz to1,000 Hz, falling off at lower fre-quencies to -9 dB at 20 Hz. Theoutput dipped to about -5 dB be-tween 1,000 and 4,000 Hz, rising to+2 dB at 10,000 Hz before droppingto -6 dB at 18,000 Hz. At a drivelevel corresponding to a 94 -dB SPL,the total harmonic distortion plusnoise was just over 3 percent from100 to 300 Hz and rose at lower fre-quencies to 8 percent at 30 Hz.

The impedance (per channel) var-ied between 70 and 83 ohms from20 to 13,000 Hz. A slight impedanceglitch at 4,000 Hz may have beencaused by a diaphragm or structuralresonance, but there was no evi-dence of this in the frequency -response measurements. While fre-quency -response measurements onheadphones are reasonably reliableat low and middle frequencies, theresonances in the cavity betweenthe headphone and microphone di-aphragms make the response jaggedand unpredictable above a couple ofkilohertz. Our response measure-ments, made with the Audio Preci-sion System One, were taken at thir-ty frequencies across the spectrum(at approximately one -third -octavespacing) and smoothed once by av-eraging each reading with the onesimmediately above and below itsfrequency.

CommentsBecause of the interaction be-

tween the acoustic structure of anearcup and the specific shape and

size of a given listener's outer ears-to say nothing of his internal audi-tory system-judging the sound ofheadphones from measurements iseven less meaningful than judgingloudspeaker sound by measuredoutput. In addition, there are greatdifferences between a listener's in-terpretation of headphone soundand his response to the same pro-gram material heard from a pair ofloudspeakers.

In general, headphones put mono(in -phase) sounds in the middle ofthe listener's head. Left- or right -

The sound of the AKG K280headphones had the well -knitcoverage o.fthe spectrum thatis achieved only by ht:11-quality speakers, and itsexcellent bass performanceeven led me to pair itwith a powered subwoofer.

channel information appears, ofcourse, only in the correspondingear and seems to originate from thatside. A full stereo program can pro-duce a very listenable spatial effect,which is nevertheless quite unlikethat heard in a normal room. Binau-ral recordings, made with closelyspaced microphones and meant tobe heard through headphones,create the closest approach to a"you are there" sense of reality,with one glaring exception: Whilethey can produce an amazingly life-like effect around perhaps a 270 -degree angle, including the sidesand behind the listener, they aretypically unable to make a soundappear to be coming from in frontof the listener.

Although AKG makes no claim tohave solved this problem, the attri-bution to the K280 of "surround -sound" listening was intriguing. Ilistened to a number of CD'Sthrough these phones, includingbinaural recordings as well as ordi-nary stereo ones. The results weresomewhat inconclusive.

As might be expected, binauralprograms were reproduced with

great realism, though at no time didthe source appear to be in front ofme. As a speaker on the recordwalked from side to side in front ofthe dummy head containing the mi-crophones, he seemed to travel overor through my head.

Stereo recordings were anothermatter. The sound of the K280phones was quite unlike that of theAKG K340, which has been one ofmy favorite headphones for someyears. On the whole, it was muchmore speaker -like in character, withthe well -knit coverage of the spec-trum that is achieved only by high -quality speakers. Although theK280's extreme highs were notquite as strong as those of the K340,its bass was much more like that ofsome of the better speakers we havetested recently. Still, however, asmuch as I tried to hear a "surroundsound" effect, I could not convincemyself of its presence. That was notsurprising, since in the days ofquadraphonic sound many head-phone designers tried with no suc-cess to develop four -channelphones.

Although the K280 does not quitesurround you with sound, it is defi-nitely the most speaker -like head-phone I have heard. Its frequencybalance, and especially the qualityof the midrange and bass, camecloser to matching that of goodspeakers than other headphones-even the finest ones, whose soundquality can far surpass that of anyspeaker in some respects. Apparent-ly the balance is a result of thefocused sound field of the head-phones, although the exact details ofthe process are not explained. Theexcellent bass performance of theK280 even led me to pair it with apowered subwoofer; the result wasat least as effective as with speakerswhile retaining most of the private -listening aspect of headphone use.

Whether or not the sound of theAKG K280 has surround qualities,it is an excellent headphone thatmight be a good choice for someonewho doesn't like "headphonesound" but has to keep a low sonicprofile. It is the nearest thing I'vefound to wearing a pair of goodspeakers that have been miraculous-ly miniaturized.Circk 144 on reader service card


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CE CARD

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The

state o

the

BEYOND all doubt., loudspeak-ers provide the highest extra -musical entertainment valueof any hi-fi component. Audiofans may argue for hours overthe sonic merits and short-comings of this amplifier orthat CD player, but just abouteveryone will generally agreethat there's a difference be-tween the sound of speaker Aand the sound of speaker B.Of course, serious listenerswill still argue about which ofthe differing speaxers soundsbetter-but that's exactlywhere half the fun lies.

Even today, in the 1990's,there is no accepted standardfor precisely how an "ideal"loudspeaker should behave,much less how to achieve"ideal" perform Ince, withwhatever combination of purescience, technology, and blackart. But this is a happy state ofaffairs, at least from the purelyobservational viewpoint, be-cause as a result the profusionof speaker types, sizes, shapes,and designs is richer than everbefore. This musical varietyshow runs the gamut from the

Combining

pure science,

technology;

and back artwir

by David Simon

budget -priced to the unabash-edly high -end, from diminu-tive mini -monitors to unre-pentant giants.

Consider Boston Acoustics'newest minispeaker, the HD5.A mere 91/4 inches on its long-est side, the HD5 is an excep-tionally compact two-way sys-tem with a 51/4 -inch wooferand 3/4 -inch soft -dome tweeter.The new design, in the tradi-tion of the company's highly

regarded A-40 (which it super-sedes), places a premium oncorrect octave -to -octave bal-ance, imaging precision, andsolid, clean bass performance.These virtues are pursuedlargely by sweating the details:The new model includes suchfeatures as woofer basketsformed with structural brac-ing to reduce internal vibra-tion, flush -mounted drivers,and even countersunk screwheads to control image -blur-ring diffraction. The HD5 isprojected to sell at $150 a pair.The slightly larger HD7,equipped with a 7 -inch wooferbut otherwise identical, listsfor $200 a pair.

At the other end of the scaleis the latest "statement" prod-uct from one of the oldestnames in loudspeaker designand manufacture, JBL. Thecompany's XPL series em-ploys new components devel-oped specifically for the line,including titanium domes forboth the 1 -inch tweeter andthe 3 -inch midrange. In thetop of the line, the XPL 200($3,398 a pair), these drivers


are joined by a 12 -inch compositelow -frequency driver incorporatingJBL's Symmetrical Field Geometryhigh -efficiency magnet structure.The resulting full -range systemclaims impressive power handlingand a significant reduction in "pow-er compression," a sort of dynamicnonlinearity found to some degreein all loudspeakers. The cabinet isfinished in a dramatic black lacquerwith molded, multilayered, steppedbaffle boards for phase integrity anda rounded back and nonparallelsides to break up any internal stand-ing waves.

HybridsAudio enthusiasts have a long-

standing fascination with panel -type loudspeakers that shows nosigns of diminishing in this decade.Many listeners believe that planar-style designs have a clear advantageover conventional dynamic -driverdesigns in reproducing transientsand the full panoply of musicalnuances. As a rule, however, full -range panel speakers are grosslyinefficient. They tend to be dread-fully large, to need monstrous am-plifiers, and to be very expensive.

NE solution is the hy-brid speaker, in whichefficient, compact, andrelatively inexpensivecone woofers are used

to excite the air at low frequencieswhile one of the several varieties ofplanar or ribbon drivers, with theirattendant virtues of precise imag-ing, dynamic detail, and spacious-ness, manages the middle -frequencyand treble ranges.

Examples of hybrid speakers areproliferating. One of the newest isfrom Apogee, best known for costly,highly regarded full -range ribbonspeakers. The Boston -area firm'slatest effort, the Centaur, mates an8 -inch long -throw woofer with a 26 -inch, "line -source" ribbon driver,mounted in a dipole configuration,that reproduces all frequenciesabove the bass region. The two driv-ers reside in a vertically orientedcabinet, about 4 feet tall and just 11inches deep, with the woofermounted about halfway up the tow-er. Efficient, strontium -based mag-nets improve the ribbon's sensitivi-ty; the Centaur system is said toreach realistic sound levels (107 dBat 4 meters distance) with as little as50 watts of amplification. And it'snot too expensive at $1,495 a pair.

A somewhat similar approach istaken by Celestion, whose stunningThousand Series hybrid loudspeak-ers also combine ribbon top endswith dynamic woofers. There's onebig difference, however: Celestion'sribbon driver is not used as a dipoleradiator. Instead, its back wave isabsorbed in an asymmetricallyshaped, damped chamber, a designthat Celestion says enhances sensi-tivity. The ribbon driver operatesover the entire audio range above900 Hz. Its position at the corner ofthe cabinet gives the Thousand Se-ries speaker its unusual flat -cornershape while making it somewhateasier to locate for best sound. The3000 model, at $1,999 a pair, in-cludes an 8 -inch woofer and is ratedfor usable bass down to 49 Hz.

Hybrids of a technically differentsort altogether come from Martin -Logan. The Midwestern maker'sline includes-among larger, evenmore imposing models-the SequelII, which combines a dynamicwoofer and an electrostatic paneldriver. The panel covers the rangeabove 250 Hz, and the woofer israted for a useful output down to 28Hz. To make its electrostatic panels,Martin -Logan uses vapor deposi-tion to coat an extremely light-weight polymer film with conduc-tive material. The panel's curvedsurface is said to yield tightly con-trolled horizontal dispersion (30 de-grees), while in the vertical planethe driver is said to behave like a 4 -foot line source. Standing some 6feet tall and weighing 110 pounds,the Sequel II ($2,500 a pair) is alofty unit, but its top two-thirds islargely transparent, lessening its liv-ing -room impact considerably.

Home TheaterAudio/video enthusiasts have for

years put hi-fi speakers (and ampli-fiers) in multimedia setups, but onlyrecently have speaker designers be-gun taking the idea of the home the-ater very seriously. Nowadays theyare creating systems dedicated asmuch to video film sound as musiclistening.

By far the most dramatic exampleis Home THX, the domestic ver-sion of the THX Sound Systemsfound in more than four hundredupscale movie theaters. Licensed bythe creator of THX, Lucasfilm Ltd.,Home THX was developed by Lu-casfilm's technical director, Tom-linson Holman, in an effort to re-create for high -end home theaters

Successor to KEF's

legendary Model 105,

the new 105/3 Reference

Series speaker features a

KEF Uni-Q driver for

the upper midrange and

treble along with two

midrange drivers and

dual coupled -cavity

woofers. Price: $3,500

a pair.

Meridian's new four -piece

D6000 Digital Active

Loudspeaker uses digital

filters for its crossover

network and includes

four 75 -watt amplifiers

as well as remote -

controlled preamplifier

functions. Price: $12,000.


Atlantic Technology's

Pattern Surround HomeTheater ($1,500) is a

powered five -channel

surround -sound system

with its own Dolby Pro

Logic decoder.

111

Ohm's FRS -7 uses a

corner -mounted tweeter

to generate a

controlled -directivity

sound field. Its 6w -inch

woofer is acoustically

coupled to a 10 -inch

passive radiator for

extended bass response.

Price: $680 a pair.

JBL's new XPL 160

($2,500 a pair) features

titanium -dome tweeters,

composite woofers with

Symmetrical Field

Geometry magnets, and

a molded foam baffle.

Apogee's Centaur is a

hybrid, with a dipole

ribbon tweeter and an

8-iuch polypropylene

woofer in an acoustic -

suspension enclosure.

Price: $1,495 a pair.

Polk's newest Signature

Reference Series speaker

is the SRS 3.ITL

($2,000 a pair).

Featuring Polk's Stereo

Dimension Array design

to cancel interaural

crosstalk, it takes only

I lh square feet

of floor space.

Infinity's three-piece

Modulus system

($3,000) includes a pair

of two-way satellites and

a 250 -watt

servo -amplified

subwoofer.

exactly the quality, quantity, andlocalization of sound heard by theartists, engineers, and directors on afilm's "dubbing stage." The systeminvolves strict guidelines for suchcharacteristics as the directivity,placement, and frequency responseof loudspeakers as well as for anenhanced Dolby Pro Logic sur-round decoder. The Home THXmenu calls for seven speakers in all:identical left, right, and center (dia-logue channel) front speakers, twinsubwoofers, and two rear speakers.

Technics is among the first licen-sees for Home THX equipment,along with a new division of SnellAcoustics, Snell Multimedia. Snell'sinitial Home THX line encom-passes the three required speakerdesigns as well as optional stands toplace the front speakers at optimumprojection -Tv height and the rearones at the proper height for the sur-round function. The entire speakercomplement, which Snell assertscan also provide top-quality soundfor pure music listening, is priced at$4,993 (not including decoder, am-plifiers, or video components).

MUCH more modest sur-round -sound arrangementfrom Atlantic Technolo-gy is the Pattern Sur-round Home Theater,

comprising a single subwoofer andfive tiny satellite speakers. Each sat-ellite contains twin mid/high-fre-quency drivers that can be indepen-dently oriented to augment or re-duce reflected sound (a good idea inprinciple for surround channels,since the satellites can be arrangedto present a more diffuse sound tothe listener, reducing the chance ofdiscrete localization of surroundsources). All five amplifier channelsare contained within the compactbass enclosure. The $1,500 systemalso includes a Dolby Pro Logicdecoder, making it a plug -and -playhome theater with the addition ofjust a video source and monitor.The Pattern design is also availablein a simpler, three-piece active ster-eo system with only two satellitespeakers ($499).

One of the busiest frontiers of cur-rent loudspeaker development isthat of stereo imaging. Employing abewildering variety of tricks andtechnologies, designers vie to pro-duce the most realistic, three-dimensional "sound stage."

Soundwave Fidelity's dynamicdesigns concentrate on producing


unusually flat power response-thetotal of radiated sound energy in alldirections. The firm's compact Sil-houette model ($950 a pair), like allSoundwave speakers, uses tweetersbuilt on a compact, high -powermagnet structure, which permitstwo of the tweeters to be mountedcheek -by -jowl on either side of the"prow" of the unit's pentagonal en-closure. (The speaker also has two61/2 -inch woofers in a sealed enclo-sure, for usable bass to below 60Hz.) The close spacing lets the twotweeters work in concert withoutinducing interference, yielding ex-ceptionally broad dispersion. Theresult is said to be very spacioussound with outstanding stereoimaging and wide dynamic range.

Ohm Acoustics takes a differenttack with its FRS ("Full -Room Ster-eo") speaker series. For example, inthe FRS 7 ($650 a pair), the driversare designed for controlled directiv-ity. The high -frequency drivershave a somewhat restricted hori-zontal dispersion, and they are ar-ranged on the FRS 7's front corners

So much for the 1990's. How will theloudspeakers of the next decade soundand work? We can only guess, ofcourse, but a good window on at leastone possible future is a cooperatii,eAnglo-Danish study project currentlyunder way. Nicknamed Archimedes,the study functions under the aegis ofthe Eureka initiative, a joint researchventure among nineteen countries ofthe European community to applyadvanced technologies to enhancecompetitiveness in world markets.

Archimedes is a joint venture ofBritain's KEF, Denmark's Bang &Olufsen, and the acoustical labs of theDanish Technical Institute. Its aim isto study and assess the effects ofacoustic reflections on loudspeakersound in a wide variety of rooms, andthen to model an "ideal" speaker-onewhose sound quality would remain thesame in different rooms and withdifferent placements.

From the pure -science standpoint,the project requires a vast amount ofdata gathering. In the DanishInstitute's very large anechoicchamber, multiple arrays of carefully

so as to steer their strongest trebleoutput well across the room towardthe opposite corner. Thus, as the lis-tener moves out of the "sweet spot"between the speakers, the more dis-tant unit's treble output at his posi-tion actually becomes stronger, aneffect said to preserve stereo imag-ing and a coherent sound stage overa wider listening area. The floor -standing FRS 7's driver comple-ment includes an 8 -inch woofer, a114 -inch dome tweeter, and a 10 -inch, rear -firing passive radiator.

vEN after many years of hi-fidevelopment, there is noth-ing wrong with refining asuccessful design. An objectlesson is the KEF Model

105/3 monitor, the latest evolutionof a design that's more than adecade old. And what refinement:The Model 105/3's bass section en-compasses twin 8 -inch drivers inKEFs "coupled cavity" arrange-ment, which places the drivers oneabove the other, linked by a rigidmetal rod in such a way that vibra-

matched loudspeakers are strategicallydispersed to locations where-with theaid of computer -controlled digitalfrequency- and time -domain responseshaping-they can simulate earlyreflections from different wall, floor,and ceiling surfaces for a wide varietyof "virtual" rooms. The process beginswith extensive listening tests using alarge panel of listeners to gatherstatistics about how perceived soundchanges according to room size, finish,and loudspeaker placement.

Archimedes has been going on formore than two years now, and it hasmoved from data -gathering to morepractical, concrete developments.Although no reports have yet beenissued regarding prototypeloudspeakers, the study should soonprovide much more than a glimpseinto the loudspeaker technology of thenext century. The methodology beingused suggests strongly that the resultwill be a "smart" speaker, one inwhich adaptive digital processingautomatically compensates forresponse changes induced by thecharacteristics of the listening room.

tion of the driver frames tends tocancel out instead of being trans-mitted to the cabinet. For the topend, the KEF flagship system em-ploys a three -unit vertical array of61/2 -inch polypropylene midrangedrivers. The middle unit is also atweeter, being one of KEFs "uni-Q" coincident -source combinationdrivers. A compact, 1 -inch dometweeter is placed within the center ofthe midrange cone, giving the dualunit a single acoustical focus andenabling it to cover almost the en-tire musical range except the bot-tom few octaves of bass. KEF saysthat the 105/3 has extremely uni-form directivity-within 2 dB from50 to 17,000 HZ up to 30 degrees off -axis. The design also provides bothnotably high sensitivity (a rated 93dB sound -pressure level at 1 meterwith 1 watt input) and excellentpower -handling abilities (up to 300watts). The result is one of the wid-est dynamic ranges of any loud-speaker available. The price of glo-ry, in this case, is $3,500 a pair.

Digital SpeakersBut the loudspeaker that most

compellingly embodies late -twen-tieth-century hi-fi thought must bethe Meridian D-6000. This four -piece system-a pair of two -driversubwoofers and another pair of two-way satellites-has the most exten-sive electronics ever incorporated ina speaker. These include threebands of amplification and, mostimportant, comprehensive on-board digital processing. The digitalfunctions include advanced 1 -bitdigital -to -analog (D/A) conversionand extensive digital signal process-ing (DSP) for digital -domain cross-overs, response shaping (to matcheach D-6000 to a reference ideal),tone control, and more. The D-6000also provides complete system con-trol, including multiroom capabili-ties, for it is not just a loudspeaker;it's also an unusually full -function,remote -controlled preamplifier. Infact, Meridian's $12,000 D-6000 isan entire high -end audio system ex-cept for the source components.

Because engineers may well cometo prefer the overall system prob-lem -solving that this kind of inte-gration on a grand scale makes pos-sible, it could be the next loudspeak-er trend. Or, more probably, it willprove to be only one of the manydivergent trends that keep thespeaker field endlessly stimulatingand fascinating.


UPSOONER or later, we all get theurge. The cat has manicureditself on the speaker grilles oncetoo often, fingerprints are per-

manently etched onto the receivercontrols, the tape deck screamsevery time it sees a cassette, and thebook propping up the corner of theturntable really must go back to thelibrary-three years late. Perhapsit's time to breathe some new lifeinto the old hi-fi.

Even when new, a stereo systemalways involves some compro-mises. Few of us have the budget tobuy the "ultimate system"-assum-ing we know what that is-and sowe normally settle for what we canafford, with the intention of addingor replacing components later. Of-ten, however, we get used to whatwe have and end up living with it inspite of its shortcomings. Mostlythis doesn't matter very much interms of performance, as audioequipment is pretty hardy, but itcan eventually show signs of wear.And technology does march on;some components have seen re-markable advances in a very shorttime, so even if what you own isperforming properly it may notmatch the quality of what you couldbuy today.

Whatever the reason, almost allaudio enthusiasts occasionally feelthe need to upgrade. One way wouldbe simply to relegate the old systemto the basement and start fresh, butoften it is possible to attain higherperformance levels and greater flex-

ibility by keeping what you havethat is still good and applying yourresources to improvements thatreally are improvements.

THE CRITICAL EYE -

The first task, then, is to turn acritical eye on what's in your systemnow. Look at each component inturn, assess how well it's doing whatit's supposed to be doing, and de-cide if that's enough for you.

Some problems will be obviousimmediately: loose knobs, malfunc-tioning pilot lights, and the like.Look also for such signs of wear asoxide buildup within a cassette re-corder or crumbling foam sur-rounds in speakers. More seriouscould be circuits orfunctions that simplydon't work, or onlywork sporadically.Such faults mightspell the end for aparticular piece ofequipment, but notnecessarily: even ma-jor faults can some-times be fixed quiteinexpensively, or atleast for a lot lessmoney than compa-rable new equipmentwould cost. If thecomponent in ques-tion is otherwise sat-isfactory, the repairoption should cer-tainly be considered.

BY IAN G. MASTERS

Look closely as well at the ergo-nomics-the ease of use-of theequipment you have now. Are thereenough inputs for all the sourcesyou use (or intend to use), or do youhave to do a lot of unpatching andrepatching to listen to certainthings? Are the controls on yourtape deck or CD player easy tounderstand? Can you read themarkings and displays on the vari-ous components? Is your remotecontrol impossibly complex, or-worse-do you have to use six sepa-rate ones? In short, what drives youcrazy about using your current sys-tem? If there are lots of things, ornone, you'll know what to seek outor avoid when you buy new gear.

The most critical concern, ofcourse, is how well

Is it time

to breathe

some new

life into

your old

hi-fi

system?

your present equip-ment performs. Un-less your componentsare very old, chancesare that they will bepretty good on thisscore, but some areasdo warrant investiga-tion. Mechanical de-vices, for instance,may develop speedirregularities overtime, a situation thatis difficult to remedyshort of replacement.Tuners vary consid-erably in their abilityto pull in weak sig-nals or discriminatebetween strong ones,

which might suggest either a newtuner more suited to your situationor a better antenna. Older phonocartridges are rarely a match fortheir 1990 equivalents, even if thestylus is in good shape. And so on.

Listen particularly to the combi-nation of amplifier and speakers.Distortion at anything more thanmoderate levels might mean thatyou are providing too little power orthat your speakers have developed aphysical problem, such as a rubbingvoice coil. Above all, pay attentionto the character of the sound yourspeakers produce. Human beingsare notorious for being able to ac-commodate mediocre sound, butspeakers have taken great strides inthe past few years, and even somemodest ones made today outper-form the stars of yesteryear.

Throughout all this, you shouldhave a very clear idea of what youwant your new or upgraded systemto do. Measuring the componentsyou now have against that idea willhelp you determine which of themto keep and which should be re-placed. The more you can salvage,the better.

- SHAPE UP OR SHIP OUT -

Except for equipment that youknow will never be used again, it'sworthwhile at this stage to optimizewhat you already own. In somecases you might be surprised to findthat components you were ready todismiss are not so bad after all andmight be useful in the upgraded sys-tem. Even if that doesn't happen,equipment that works properly willmake a greater contribution to a sec-ondary system.

In some cases, all you have to dois a bit of cleaning. Removing sev-eral years' worth of oxide and dustfrom the heads and guides of yourcassette deck, for instance, can oftenpay surprising sonic dividends. Thesame is true of the stylus in yourphono cartridge. An occasional re-moval of fluff will not prevent thelong-term buildup of dirt on the sty-lus, which usually requires a specialstylus -cleaning kit. The cost isworth it, but don't bother if you'vealready discovered stylus wear; onlyreplacement will cure that.

A shot of contact cleaner in everycontrol and switch you can reachwill often rid your system of pops,scratchy noises, and intermittentlevel differences. Another shot onall jacks and plugs can improve con-

tact and reduce certain types ofnoise (this can often be accom-plished simply by unplugging andreplugging them a few times). Youmight also consider replacing thecables with ones of better grade, par-ticularly if long runs are involved.Low -capacitance patch cords andheavy-duty speaker cables may ormay not yield a sonic improvement,but they never do any harm.

Some pieces may require repair ata service facility. Most service cen-ters will give you an estimate that iseither free or bears only a nominalcost. While you're lugging equip-ment to the shop, make sure toinclude your cassette deck even if it

appears to be working properly. Thebest thing you can do for yourrecordings is to have your deckmatched to a particular tape;chances are, an older deck will havebeen optimized for a tape no longeravailable in its original form, so it'sa good idea to pick an up-to-dateformulation and have your machineadjusted for it. Even if you plan tobuy a new recorder, an extra onealways comes in handy.

- MOVING ON -

Once everything is working aswell as money and time can make it,it's often worthwhile to do a littletinkering with the positions of vari-ous components, as this can some-times reveal quality that you neverknew they had.

Turntables, for instance, can besensitive to where they are placed.In one spot, they may pick up bassfrom the speaker, enhanced by aroom mode, and be susceptible to

acoustic feedback. At high levelsfeedback is immediately apparentand unbearable, but it occurs at low-er levels too and might only beheard as muddy sound. Moving theturntable just a short distance canoften cure this sort of effect. By thesame token, it may be only a matterof inches that determines whetheror not the record -playing equipmentis stable or causes the arm to bounceout of the groove when someonewalks across the floor. If you domove your turntable to check thesethings out, or even if you don't,make sure that the unit is absolutelylevel; otherwise skipping, uneventracking, and a range of other illsmay result.

Even more important is the posi-tioning of your speakers. Before youdecide that their sound is terrible,try moving them to new locations-the difference is often dramatic.You may even find that those dogsyou couldn't wait to get rid of areactually pretty good, or at least goodenough to be used in the rear or in asecond room.

ADDITIONS

By now youthat there is no real reason to fiddlewith your system. But even if youdecide to live with what you have,there are still ways you can improveit. One way is to add new functionsto it. If, for example, you have beenholding off on buying that CDplayer, now might well be the time.Don't worry too much about wheth-er your system is "digital -ready." Ifit can handle reasonable levels with-out stress using the sources you nowhave, it should have little difficultywith digital sound.

Alternatively, you might decide toadd video to the system. Audio/vid-eo components, and the systemsthey inhabit, can be very compli-cated, but they need not be. In thesimplest configuration, all you haveto do is connect the outputs of a hi-fi VCR to any line or tape input onyour receiver or preamp and off yougo. The TV set should ideally beplaced midway between the speak-ers (and not too close to them unlessthey are shielded), but it can be con-nected to the VCR with a normalpiece of 75 -ohm antenna cable. Ifyour VCR is of relatively recent vin-tage it will probably offer MTS off -air stereo reception, which maymean you can squeeze another fewyears out of the old TV set.


Once you have this sort of setup,expanding to a surround -sound sys-tem is relatively easy. A decoder isnecessary, but one may already beincluded in the VCR or TV set.Beyond that, a small second stereoamplifier and a modest pair of rearspeakers are all you need. If youdecide to go for broke, adding am-plifiers, speakers, and an outboardsurround decoder make it possibleto create a truly impressive audio/visual experience in the home. Butthe core can still be your old hi-fi.

If video doesn't appeal to you,there are a number of things thatcan be added that will improve yoursound without breaking the bank.Some systems may benefit from theinclusion of an equalizer, for in-stance. While this device, which islittle more than an elaborate tonecontrol, should be used with care, itis capable of smoothing out therough spots in some difficult acous-tic environments. In others, such asvery small rooms, devices that"widen" the sound stage can pro-duce some very pleasant effects forvery little outlay.

Probably the best add-on is a sub -woofer to extend the low bass.Many speakers, particularly smallones, tend to' roll off the lowestmusical notes; a separate speakerfor this part of the spectrum canrestore the "body" of the music.And because a subwoofer can beplaced practically anywhere in thelistening room, it can be positionedwith a view to reducing the effectsof standing waves. Some subwoof-ers are driven by the main ampli-fier, which is convenient as long asyour amp has enough power. Othersrequire their own channel of ampli-fication, but that needn't be expen-sive. And still others are powered,with built-in amplifiers.

IN CONTROL

If you are satisfied with yoursound quality as it is, your effortsmight be better directed to the wayyou control it. That clutter of re-mote controls on the coffee table,for instance, can be replaced with asingle universal remote. Some uni-versal remotes will control theequipment of only one manufactur-er, but an increasing number areshowing up with the ability to"learn"-they can be programmedto emulate any infrared remote.Most of these are fairly complicatedto set up, and the limits vary as to

how many functions they can ac-commodate, but once working theycan take much of the frustration outof operating an audio system.

Another entry on the scene offerstrue hands-off listening: The CDchanger lets you load anywherefrom five to a dozen discs at a timeand then program cuts from amongthem for hours of unattended listen-ing. Not everyone requires a chang-er, but it can be very useful in somecircumstances. And the machinesgenerally offer the same level of per-formance as their single -play cous-ins at much the same price.

With some kinds of components,newer models may do more but

By farfar the

most important

components to

consider in

upgrading are

your speakers.

they are unlikely to sound any bet-ter. There are several areas, howev-er, where updating can definitelypay sound benefits. Given theamount of time a lot of music loversspend making tapes, for instance, itmakes sense to replace a cassettedeck that lacks the more advancedcircuits for getting music onto theoxide. While practically all record-ers offer basic Dolby B noise reduc-tion, for critical listening Dolby Cshould be considered a basic mini-mum, and Dolby HX Pro is a defi-nite advance as well. Metal tapecapability also lets you squeeze anextra measure of performance outof the cassette, a distinct advantagenow that a lot of CD's are beingdubbed. Digital audio tape will takethis a step further.

Unless you are prepared to aban-don vinyl entirely, now may also bethe time to look closely at the equip-ment you use to play LP's. Most ofus have collections of conventionalrecords, and however dedicated we

might have become to the compactdisc, we will want to hear the oldermaterial from time to time. Thereare still lots of turntables and car-tridges out there, but the selection isbeginning to diminish; an invest-ment now in high -quality record -playing equipment may mean youwill be able to listen to those oldCarpenters records well into yourdotage.

At the very least, you shouldinvest in a new cartridge; althoughsome carry astronomical price tags,a couple of hundred bucks will buyyou as good a cartridge as mostaudiophiles would ever need. And itwill probably last indefinitely, as thelistening emphasis shifts towardtapes and CD's.

By far the most important compo-nents to consider in upgrading a sys-tem are your speakers. They deter-mine how everything else sounds,so they should be chosen with greatcare. It may be, of course, that youare content with the speakers youhave now, but unless they are fairlyrecent models, the chances are thatyou will be able to improve yoursound considerably by buying new-er ones. But inferior speakers stillabound, alas, so newness doesn'tguarantee quality. If this aspect ofyour system is what needs updating,prepare to spend a lot of time seek-ing out the speakers that are rightfor you.

When you find them, do them abig favor: make absolutely sure youhave enough amplifier power todrive them. There's no point ininvesting in new speakers and thenstarving them of watts; too littlepower may both negate the gainsyou thought you were getting inupgrading and damage your newspeakers. Take time as well to findthe best position in your listeningroom for the speakers; all roomsand all speakers differ, and it'sworth some effort to make sure youactually achieve the improvementsyou are seeking.

Upgrading a stereo system can of-ten require more thought and inves-tigation than buying a whole newset of equipment. But by retainingand optimizing what is still useful,and replacing only what needs re-placing, you will almost certainlyend up with much better sound. Theexperience is more satisfying, too.That is, until technology passes byagain and the cat takes a liking tothe new grille cloths. But then noth-ing is forever.


BOSELIETYLE

IVUSICSYSIEW

Multiroom, multizone sound from a few small packages

T first glance, the BoseLifestyle Music Systemlooks like a slim, un-usually stylish receiverpaired with a three-pieceloudspeaker-there isnothing revolutionaryabout that. In fact, it

does perform all the functionsof just such a system. But itdoes a great deal more besides.

To begin with, the "receiver"is really a combination pream-plifier/control unit, CD player,and AM/FM tuner called theLifestyle Music Center, and un-like a true receiver it containsno amplifiers. It can, however,drive many more loudspeakersthan a conventional receivercan, provided they containtheir own amplifiers-as doesthe Acoustimass poweredspeaker system that the Life-style Music Center comes

with-or have separate amplifi-ers cevoted to them. The speak-ers can be spread all over yourhone and can be divided intotwo "zones" with incependentcontrol over the music deliv-ered to each one; you could, forexample, have the tuner playingin one part of the house and theCD player in another. The sys-tem can be operated from liter-ally anywhere in or around thehouse by means of an innova-tive radio -frequency (RF) re-mote control. One of :hese con-trols comes with the basic sys-tem and you can buy extras formultiroom installations.

Few of the elements thatmake up the Lifestyle MusicSystem are essentially differentfrom features of other equip-ment already available, but theway they are organized andcon:rolled is. As a result, it can

111,111111Julian Hirsch

deliver high -quality music in a sin-gle room or throughout a housewith equipment so compact that italmost disappears from view. Nocostly custom installation is re-quired, and the system is easilyexpanded simply by adding pow-ered speakers and running the nec-essary wires to connect them.

HE powered Acoustimassspeakers that come as partof the Lifestyle system arevery similar to the standardBose Acoustimass 5 three-piece loudspeaker system,with the addition of poweramplifiers, electronic cross-

overs, and protective circuits builtinto the bass module. The systemalso includes a proprietary dynamicequalization circuit to maintain au-dible bass at low listening levels.

Each of the satellite speakers con -

A Special Test Reportiblack box measuring 181/4 x 125/8 x97/8 inches and weighing 37 pounds.It contains two 6 -inch cone driverswhose front and rear surfaces are inseparate compartments, each open-ing to the outside through a ductedport. This configuration acts as anacoustic bandpass filter, with arange of about two octaves, whoselow out -of -band harmonic outputmakes the bass source unlocatableby ear. The bass module contains aseparate 50 -watt amplifier for eachof the satellite speakers and a 100 -watt amplifier that drives the woof-ers. The amplifier heat sink formspart of one side of the bass module.Near the ports are bass and treblelevel -adjustment knobs useful forbalancing the outputs of the two setsof drivers to suit a variety of roomconditions.

The CD -10 Lifestyle Music Cen-

The Lifestyle Music Center incorporates an Arvi/FAI tuner and a player.

sists of two nearly cubical boxes,about 4 inches on a side, mountedone above the other. The cubes canbe aimed independently to obtainthe desired coverage of the listeningarea. Each cube contains a single21/2 -inch cone driver operating atfrequencies above about 150 Hz.Floor stands and wall -mountingbrackets are available for use withthe satellites, which can also beplaced directly on a table or shelf.

The Acoustimass bass module is a

ter has tuner preset memories forthirty stations and input and switch-ing facilities for three other line -lev-el sources (tape, auxiliary, and vid-eo) besides the built-in tuner and CDplayer. The Music Center deliversthe selected audio program at linelevel to the power amplifiers in theAcoustimass bass module, and acontrol signal from it turns the am-plifiers on and off with the rest ofthe system.

' The third component of the sys-

tem, vital to its operation, is theremote control, which appears quiteconventional but is actually as un-usual as the other components ofthe system. Unlike other remotecontrols, which send their com-mands on infrared light beams, theBose control operates at radio fre-quencies (in the 27 -MHz range) anddoes not have to be aimed at thedevice being controlled. In fact, itdoes not need to be in the sameroom, or even in the same house, asthe other system components. Itsrange is conservatively rated atabout 60 feet.

The remote control operates all ofthe functions of the Lifestyle MusicCenter. Numbered buttons selectany preset tuner channel or anytrack of a CD. Other buttons providefull control of the CD player, includ-ing play, pause, scan, and randomand repeat play.

The low -profile Lifestyle MusicCenter measures 161/2 inches wide,9418 inches deep, and 21/2 inches high,and it weighs only 71/2 pounds. Itstop and bottom are rounded panelsof brushed aluminum that contrastwith its black chassis. The tophinges up to reveal two rows of but-tons for selecting the input source,programming the tuner memories,tuning, volume adjustment, andother functions. The CD transport isalso exposed when the top is lifted(it cannot be operated until the cov-er is down, however). There is also adisplay window, visible when thecover is closed, that shows the tunerfrequency and preset channel num-ber or the CD track number andelapsed time.

In addition to the normal comple-ment of signal inputs on its rearapron, the Lifestyle Music Centerhas two pairs of outputs, labeledZONE I and ZONE 2. The remote con-trol also has a switch that lets it con-trol either zone. The Lifestyle sys-tem can supply separate, simulta-neous programs to the two zones.The amplifier or powered speakersin the second zone must be connect-ed by shielded cables to the Zone 2jacks on the rear of the Music Cen-ter. To avoid conflicts of control,the first zone to select a particularsource has full control of its opera-tion except for volume-the otherzone can select the same source andcontrol its volume in that zonewithout affecting what is heard inthe first zone.


A single zone can encompass anumber of rooms, each with its ownset of loudspeakers, and it is notnecessary to use Acoustimass speak-ers in all rooms. For rooms set upfor background listening only, Boserecommends using its Lifestylepowered speakers ($339 a pair),which are small, single -driver unitssimilar to the company's VideoRoomMates. Another alternative isto use a room's existing audio sys-tem, feeding one of its auxiliary ortape inputs from one of the Life -Style Music Center's outputs. In anycase, all that is necessary is that thespeakers in a room have their am-plification inputs wired to the mas-ter Music Center.

The basic Bose Lifestyle MusicSystem, including the Music Centerand the powered Acoustimassspeakers, lists for $2,400 and is sup-plied with one remote controller, anAM loop antenna, and a cable to linkthe Music Center with the Acousti-mass bass module. Additional re-mote controls are $149 each, andadditional Acoustimass poweredspeaker systems are $1,300 each.

In the LaboratoryWe tested the Bose Lifestyle Mu-

sic Center as we would a conven-tional receiver, measuring the CDand tuner output signals at the Zone1 jacks. We tested the Acoustimasspowered speakers separately, driv-ing the bass module's input directlyfrom our test -signal sources.

HE performance of the Life-style Music Center's FMtuner section was, for themost part, unremarkable.Its 50 -du quieting sensitivi-ty was 24 dBf in mono and43.5 dBf in stereo, corre-sponding to voltage levels

of 4.3 and 41.2 microvolts (Av),respectively, into its 75 -ohm anten-na terminals. The noise level at a65-dBf input was -77.5 dB in monoand -69.2 dB in stereo. The distor-tion varied somewhat with level,reaching a minimum of just under0.2 percent in mono at 35 to 45 dBfinput and rising again to 0.35 per-cent at the standard measurementlevel of 65 dBf. In stereo, the distor-tion was about 0.8 percent for allsignal levels exceeding 45 dBf.

The muting and stereo thresholdwas 24 dBf (4.3 Av). Selectivity wasgood, reading 71 dB for alternate -channel spacing and 6.5 dB for adja-

Walls are no barrier to the system'sRE (radio -frequency) remote controL

cent -channel spacing. Image rejec-tion was a good 71 dB, and the cap-ture ratio of 1.3 dB was better thanaverage. The AM rejection was poor,measuring 30 dB at a 65-dBf leveland only 13 dB at a 45-dBf input.

The FM frequency response was+0.6, -0.1 dB from 30 to 15,000Hz. Channel separation reached37.5 dB in the midrange, falling toabout 30 dB at 15,000 Hz and 26 dBat 30 Hz. Stereo-subcarrier leakageinto the audio was -40 dB at 19kHz and - 55 dB at 38 kHz. Power -line hum was -70 dB at 60 Hz. TheAM section's frequency responsewas down 6 dB at 85 and 2,900 Hz.

The maximum audio output froma 100 -percent modulated FM signalwas 1.52 volts. From a 30 -percentmodulated AM signal it was 0.44volt. A CD test track at 0 -dB levelproduced a maximum of 3.86 voltsoutput. Our measurements on thespeaker system showed that theselevels were more than sufficient todrive the speakers to a very highoutput level, since only 0.2 volt wasneeded to produce a 90 -dB sound -pressure level (sPL) at 1 meter fromone of the satellite speakers.

The CD player had a frequencyresponse of +1.4, -0.2 dB from 20to 20,000 Hz, with most of the vari-ation being a rise at about 18,000Hz. The channel separation was 57dB at low and middle frequencies,decreasing to 46 dB at 20,000 Hz.The total harmonic distortion plusnoise (THD + N) at 1,000 Hz wasabout 0.01 percent for levels under-20 dB, rising to 0.05 percent at 0

dB. At 0 dB, the THD + N was about0.1 percent between 1,000 and12,000 Hz, rising to 1.6 percent at 20Hz and 3.2 percent at 20,000 Hz.

The low-level linearity of the CDplayer was good down to - 70 dB,with errors of a fraction of a decibel.At -80 dB, however, the errorincreased to +2 dB, and at -90 dBit was about +6.5 dB -somewhathigher than average for today's CDplayers but still respectable per-formance. The noise spectrum wasbetween -120 and -135 dB overmost of the audio range, and 60 -Hzhum was -118 dB. Interchannelphase shift was a maximum of 0.7degree at 10,000 to 15,000 Hz.

The de -emphasis response errorwas between 0.04 and 0.05 dB from1,000 to 5,000 Hz, reaching + 0.5 dBat 16,000 Hz. The A -weighted noiselevel was -105.5 dB, and the A -weighted quantization noise was-78.5 dB. The dynamic range(EIAJ) was 91.4 dB.

HE CD mechanism was ableto slew from Track 1 toTrack 15 of the Philips TS4test disc in 3 seconds, slight-ly slower than average. Theerror -correction system per-mitted the player to trackthrough information de-

fects as large as 1,000 micrometers,but a 1,250 -micrometer gap in thedigital data flow produced mistrack-ing. The relatively light construc-tion of the Music Center made itfairly sensitive to impacts; moder-ate finger -tapping on any part of thecover or sides of the unit causedmistracking.

The room response of the Acous-timass powered speaker system wasmeasured with the satellites about 7feet apart on 24 -inch pipe stands.The bass module was on the floornear a wall, between the two satel-lites. The bass and treble adjust-ments were set flat, although wemade separate measurements to es-tablish their range of control (abouta 6 -dB range in the bass and roughlythe same above 2,000 or 3,000 Hz).

The averaged room response ofthe satellites was ± 3 dB from 200 to13,000 Hz. There was a fairly nar-row resonance peak of 6 to 8 dB at14,000 Hz. The close-miked bass re-sponse, measured separately at thetwo ports and then combined, was±4 dB from 36 to 160 Hz, with themaximum output at 60 to 65 Hz.

It is difficult to establish a mean -

STEREO REVIEW SEP-I-EMBER 1990 83

A Special Test Reportingful overall response curve for athree-piece system whose separatewoofer can be located almost any-where in the room, with uncertaineffects on its frequency response.Our best estimate of the overall fre-quency response of the Acoustimasspowered system is that its effectiverange is from below 40 Hz up to20,000 Hz.

The standard unpowered BoseAcoustimass 5 system, which isvery similar to the powered Life-style version, typically shows a dipin its output through the crossoverregion from 100 to 200 Hz. We didnot find this effect to be as promi-nent in the powered version, eitherby measurement or in listening; infact, it was rarely noticeable. Ourcomposite response curve (which is

least valid in this frequency range)does show a minor depression ofperhaps 5 dB between 160 and 220Hz, but this is comparable to thenormal response variation in a live-room measurement.

Quasi-anechoic FFT responsemeasurements confirmed the char-acteristics observed in our roomcurves. The satellites' polar re-sponse was very good at frequenciesunder 12,000 Hz, with less than a 6-dB difference between the responsecurves measured on -axis and 45 de-grees off -axis.

At HomeWe installed the Bose Lifestyle

Music System in a room that wasalready equipped with an Acousti-mass 5 speaker system and a modest

component audio system. Since theinstallation was to be temporary, weran speaker wires to a pair of BoseLifestyle powered speakers in adownstairs room, which served asZone 2.

Each of the small Lifestyle pow-ered speakers has a single 41/2 -inchcone driver, driven by a low -powerstereo amplifier built into one of thespeaker cabinets. Their small size (6x 9 x 6 inches) makes them an idealcomplement to the basic LifestyleMusic System for use in less -criticalareas such as a kitchen or den.

During a few weeks of evaluation,we managed to check out all of thesystem's control and operating fea-tures. Everything worked exactly asspecified. Those operating the sys-tem in one of the two zones had no

Stacked pairs

of miniature

speaker cubes

handle all but

the lowest

frequencies.

indication of the existence of theother zone other than by theirinability to interfere with its priorityin respect to tuner or CD -playeroperation. Taking a controller intothe back yard (with windows openso that we could hear the systemplaying) showed that the range ofthe RF remote -control system ex-ceeded 100 feet.

The sound of the Zone 1 systemthrough the Acoustimass poweredspeakers was excellent. The speak-ers can play as loud as any personwith normal hearing is likely torequire, and up to that level thesound did not seem strained or dis-torted. The small size of the satel-lites and the concealability of thebass module can make it difficultfor a listener to accept the reality of

the system's bass response, whichextends down to the vicinity of 40Hz. Also, the Dynamic Equalizationfeature is one of the most effectiveand least obvious loudness compen-sators we have run across. Even atlow background levels, deep organpedal notes filled the room, yet athigh levels they did not becomeoverpowering.

In respect to sound quality andease of operation, the Bose LifestyleMusic System makes very few com-promises. Perhaps its most obviouslack is any information at the listen-ing location concerning the currentprogram source, which station is be-ing heard, which CD track is playing,and so forth. To some degree, thisproblem exists with many multi -room systems, but we were mildlydiscomfited by having to select sev-eral of the FM presets in order to pindown which one we had been listen-ing to. This information (plus theusual CD track and time readouts) isvisible only on the Music Centeritself, and then only from a viewingpoint directly above the window onits cover.

In terms of measured FM and CDperformance, the Bose LifestyleMusic System, in many respects,does not match some relativelyinexpensive conventional separatecomponents. Nevertheless, undermost conditions its minor aberra-tions of distortion or frequency re-sponse were totally inaudible to me.It is a mistake to conclude that acomponent with 0.005 percent dis-tortion will sound better than onewith 0.1 percent distortion or that achannel separation of 40 dB in theuppermost octave will be audiblyinferior to a 100 -dB separation. Putinto a realistic perspective, the Life-style Music System's performancemeasurements are quite adequate.What distinguishes the system is itsexceptionally ingenious and attrac-tive styling and its ability to providea home with a two -zone, multiroominstallation without major construc-tion expense or arrays of unwieldyand expensive components.

Our total experience with theLifestyle Music System was verypositive. Its convenience (with vir-tually total system control fromanywhere around a house), the in-visibility of most of its components(including speakers), and its verylistenable sound are difficult tomatch-especially at the price.


New products from

T 11 P_

the Consumer Electronics Show

by Rebecca Day

pITY the unassuming travelerwho happened upon Chicagoduring the first week of June.

Walls shook, floors rumbled, andrestaurants were packed when55,353 manufacturers, journalists,distributors, and retailers jammedinto McCormick Place and nearbyhotels to hear and see the latestaudio and video products, games,and gadgetry at the SummerConsumer Electronics Show.

The hot topics at this show werehome theater and multiroomaudio systems with an emphasison custom installation. TheTHX Sound System, developedby Tomlinson Holman forLucasfilm in 1982 and currentlyfound in hundreds of certifiedmovie theaters across the country,will be available this fall for thehome. Technics introduced a HomeTHX ten -piece speaker/controller/amplifier ensemble, which has a listprice of $12,000, and SnellAcoustics demonstrated its HomeTHX speaker systems withLexicon's prototype THX decoder.

Multiroom audio/video isbecoming more widespread as Sony,Carver, a/d/s/, Adcom, and Terkshowed various new types ofremote -control systems that giveusers access to source equipmentfrom any room in the house.

Four years after they firstappeared at CES, digital audio taperecorders, now equipped with theSerial Copy Management System,

finally seemed to be on their way toconsumers. Sony introduced twomodels (see test report on page 39),which have been in stores since theend of June, and Technics, JVC,Denon, Philips, Onkyo, and Casioall showed DAT recorders that wereslated to be on sale by year's end.[Shortly after the show, however,Congress postponed considerationof a bill to require SCMS circuits inDAT decks, and as we went to pressa group of music publishers filedsuit against Sony seeking to halt the

sale of the decks. Stay tuned.]Breathing new life into a

languishing category, Toshibashowed its new TRX-2000

satellite TV receiver ($1,949),supporting the introduction withclaims that since cable channelscrambling began in 1986, morethan forty new satellite TV channelshave been added to the airwaves fora total of 150.

Compact disc changers continueto gain in popularity, as docombination laserdisc/CD players.Denon demonstrated its firstcombi-players, NSM-Lions showeda one -hundred -disc changer, Sansuishowed a five -disc mini -size changerthat is expected to retail for about$180, and Nakamichi's new MusicBank system stores as many as sixdiscs inside the changer.

As usual, there was no shortage ofnew products in Chicago, and onthe following pages are some ofthose we found especially exciting.

STEREO REVIEW SEP' I'EMBER 1990 85

momenta.. .......'1V. 3 - 12:53

akamichi'salternative tomagazine- orcarousel -type co

changers is theMusicBank system inits CDPlayer 2, whichcan store a front -loaded stack of sixdiscs and play themin any order. The$649 changer canalso operate as asingle -play machinewithout removing thestored discs.

1he a/d/s/ 750iLin -wall speakeris designed forserious listening.

The flush baffle of thethree-way system isfinished in premiumwalnut veneer or blacklacquer. A perforatedmetal grille isoptional. Price: $1,200a pair.

Carver's CT -6preamp/tuner,just 13/4 incheshigh, is part of

the new Pro-Phileline. FeaturingCarver's SonicHolographytechnology, the $550CT -6 has four audioinputs, two tape loopswith cross -dubbing,and twenty AM/FMpresets.

CDesigned forportable viewing,the JVC HR-P1UVHS Hi-Fi VCR

($1,499) can operatefrom AC power, abattery pack, or a carbattery. It has a3 -inch LCD colormonitor, four videoheads, two audioheads, and two stereoheadphone jacks.


laupunkt's CDCM1 car CDchanger ($900) isthe first

autosound product touse integrated fiberoptics to transmitdigital audio signals.A BlaupunktWashington SQR 49cassette receivercontrols the changer.

proton's attractive,easy -to -useUVA-2000universal remote

control comespreprogrammed tooperate componentsfrom manymanufacturers. It canalso be updated toaccommodate newcontrol codes. Price:$140.

The Serial CopyManagementSystem fordigital audio

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t [

EEME JARVI considers himselfa man on a mission. Gleefulrecord collectors and over-whelmed critics might assumethe prodigiously productiveconductor, who already hassome 160 recordings to hiscredit, means that he's deter-mined to outdo the likes of

Herbert von Karajan and EugeneOrmandy in sheer number of cata-log entries. That may well happen,since at fifty-three he has manyyears ahead of him to achieve it, butaccording to Jarvi his swelling dis-cography is incidental. His drivingpurpose is to explore, to discover, toshed light-in particular, to cham-

by Lawrence B. Johnson

pion less familiar Romantic andNeoromantic symphonists.

"I believe it's every conductor'sduty to help composers becomeknown, to find the very great quali-ties that have not been noticed,"Jarvi told me recently. "I'm alwayshappy to pick out a composer whohas not been at all known." And thefirst example he cited was his Esto-nian countryman Eduard Tubin,who died in 1982 at the age of sev-enty-seven, utterly unknown in theWest. Thanks to Jarvi's series ofrecordings for the Scandinavian Bislabel and his persistent concert pro-gramming of Tubin's symphonies,another latter-day Romantic corn -

poser has at last emerged into theinternational limelight.

Jarvi added proudly that, underthe banners of Bis, Chandos,Deutsche Grammophon, and Or-feo, he's done as much for the Swed-ish composers Wilhelm Stenham-mar (1871-1927) and Niels Gade(1817-1890), as well as the RussiansAlexander Glazunov and NikolaiRimsky-Korsakov-whose namesare familiar enough but whose sym-phonies are hardly basic repertoryto Western audiences. "Glazunovand Rimsky-Korsakov are alwaystalked about as second- or third-rate, but I do not believe that,"Jarvi said. "They were both masters


of orchestration, and their sym-phonies are filled with great tunesand very good development."

In a sense, Jarvi's crusading re-flects his own long service in ob-scurity, and the plans for his nextcampaign, pledged to the revival ofsome American Neoromantics, be-speak his current status-as anAmerican citizen and as the newlyvested music director of the DetroitSymphony Orchestra. If he has hisway, he will whip into public con-sciousness the works of Walter Pis-ton, Paul Creston, and Amy Beach.And in the process music lovers willget a clearer picture of this masterlyupstart whose very name his admir-ers still do not pronounce to his sat-isfaction. Indeed, much of the worldstill has Neeme Jarvi born in thewrong place.

f1RST of all, his name. Amused,hinting mild vexation, an art-ist who has learned how toplay an audience and markethimself American -style, Jarvisits onstage at Detroit's Or-chestra Hall minutes before heis to lead a concert with the

_ orchestra that becomes his inSeptember. It's meet -the -maestrotime, and a patron has asked abouthis name. "Nobody pronounces itright in America," he replies with afaint grin. "It's YAIR-vee," and herolls the R in a way that Americanssimply can't. "Oh, YAIR-vee,"echoes the voice from the audience."No, no," volleys the conductor,deadpan. "YAIR-vee. And, by theway, I was not born in Finland, orSweden. I was born in Estonia, but Iam an American citizen now."

Jarvi, who became a certifiedYankee in 1987, makes his homewith his wife Liila in Shrewsbury,New Jersey. They have three chil-dren, all musicians. Paavo, twenty-seven, is a conductor and graduateof the Curtis Institute; Maarika,twenty-six, holds a performance de-gree in flute from the New EnglandConservatory; Kristjan, eighteen, isa pianist. From the time Jarvi im-

'I believe its every

conductori duty to help

composers become known.

migrated with his family to Americain 1980, he said, two objectiveswere paramount in his life: to be-come a U.S. citizen and to have hisown American orchestra.

"Nobody knew me in America,coming from Estonia," he recalled."You see, I had to wait until 1990.But you have to work in otherplaces first. This is the style withAmerican orchestras. If you gothrough all the steps slowly andsurely, then you can succeed. Amer-ican orchestras are usually lookingfor people from Europe and espe-cially from Germany-even ifthey're not very good conductors.Orchestra man igers simply lookthat way, and so American orches-tras have a strong German or Italianinfluence."

JArvi spoke on that point withauthority. By now he has conductedall the major American orchestras,and he has even begun an open-ended series of recordings with theChicago Symphony for Chandos.(The first fruit of that associationwas yet another swatch of obscureRomanticism, Franz Schmidt's Sec-ond Symphony, released by Chan -dos early this year.) In 1979, evenbefore he'd settled here, he made hisMetropolitan Opera debut, withTchaikovsky's Eugene Onegin, andwas promptly invited back for thefollowing season to conduct Smeta-na's The Bartered Bride. That planwas dashed, however, when the Metorchestra went on strike, and he wasnot to return to the house until the1986-1987 season, when he led ac-claimed performances of Mussorg-sky's Khovanshchina.

Opera is no small matter inJarvi's life. He has an affinity formusic writ large, in whatever form.Just recently he was in Sweden put-ting the final touches on a full-length recording of Prokofiev's TheFiery Angel for Deutsche Grammo-phon, due for release sometime nextyear, the centenary of the compos-er's birth. It will bring his Prokofievdiscography to some twenty al-

bums, including nearly all the com-poser's orchestral music. He hasdone just as well by Shostakovich,having recorded that composer'sfirst ten symphonies with the Scot-tish National Orchestra for Chan -dos and the last five with Sweden'sGothenburg Symphony for DG.That's to say nothing of assortedrecordings of Shostakovich concer-tos and suites.

To be sure, Jarvi has pursuedmore than just these two modernRussian masters into the core reper-tory. His first international noticesprang from a Sibelius symphonycycle for Bis, eventually extended toinclude all of the orchestral music,and for Chandos he has recordedmost of Richard Strauss's orchestralworks. Almost without exception,Jarvi's far-flung ventures (he likesto refer to "enterprising" repertory)have brought favorable reviews andstrong sales. It was his one dip intothe basic Austro-German Sym-phonic literature, a series of theBrahms symphonies with the Lon-don Symphony for Chandos, thatdrew the most emphatically mixedcritical response.

ow he's embarked on new en-terprises: Bruckner, plungingin with the Eighth Symphony,and a projected Mahler cyclewith the Scottish Nationalthat he says will continue intothe late Nineties, both forChandos. On the DG docket,with Gothenburg, is a disc of

operatic intermezzos-"the sort ofthing Karajan did long ago"-andanother of Russian pops warhorsessuch as Tchaikovsky's 1812 Over-ture and Rimsky-Korsakov's Rus-sian Easter Overture.

But that's just Jarvi keeping thepot boiling. His heart is with theRomantic symphony he hasn't dis-covered yet, by the composer mostof the world has long since forgottenor never noticed.

"It makes my life happier to findnew composers," he said, "and towork with nice record companies


who accept my wishes to dosuch recordings." Loomingahead, however, is the ques-tion of whether Neeme Jarvi,the demon recording artist,can find happiness with hisnew orchestra, the financiallyplagued Detroit Symphony.While both DG and Chandoshave expressed interest in re-cording Jarvi with Detroit inthe offbeat repertory of hischoice, officials of the hard-pressed DSO have made nocommitment.

Detroit's departing musicdirector, Gunther Herbig, ac-cepted the directorship of theToronto Symphony (effectivethis fall) when the DSO failedto come through on some develop-mental pledges and saw its financialsituation deteriorate from serious todesperate. Jarvi takes over an or-chestra whose leadership insists theoperation cannot long remain afloatwithout $18 million in state and pri-vate funding. At this writing, DSOofficials were by no means confi-dent the orchestra would be in busi-ness to welcome its new artisticchief.

But Jarvi takes a philosophicalview of the crisis, preferring to focuson what he calls a first-rate ensem-ble and the privilege of conductingin the refurbished Orchestra Hall,a seventy -three -year -old structurethat visiting performers routinelyrank among the world's premieracoustical achievements. The newman is frankly counting on the BigThree automobile makers-Chry-sler, General Motors, and Ford-tobail the orchestra out and, as Volvohas done for the Gothenburg Sym-phony, to provide the wherewithalfor DSO recordings.

ITH his Detroit appoint-ment, Jarvi joins the exclu-sive club of jet -set musicdirectors. He remains mu-sic director of the Gothen-burg Symphony, and al-though he relinquishedcommand of the ScottishNational two years ago and

now holds an emeritus positionthere, that orchestra has a specialplace in his heart. He returns toScotland for a single week of con-certs each year "just to rememberthe good times we had together."Last spring, Jarvi was awarded anhonorary doctorate by AberdeenUniversity.

This rather late bloomer on the

Kirvi joins the Detroit Symphony team

RECOMMENDEDRECORDINGS

Dvoilk: Symphonic Poems. ScottishNational Orchestra. CHANDOS CHAN8798/9 two cD's.

Gade: Symphonies Nos. 3 and 4. Stock-holm Sinfonietta. Bis CD -338.

Glazunov: Symphonies Nos. 4 and 7.Bamberg Symphony. ORFEO C-148201.

Mussorgsky/Ravel: Pictures at an Ex-hibition. Scriabin: Poem of Ecstasy.Chicago Symphony. CHANDOS CHAN8849.

Part: Symphonies Nos. 1-3; Cello Con-certo ("Pro et contra '9; Perpetuum mo-bile. Bamberg Symphony. Bis CD -434.

Prokofiev: Alexander Nevsky; ScythianSuite. Scottish National Orchestra.CHANDOS CHAN 8584.

Rimsky-Korsakov: Symphonies Nos. 1-3; Russian Easter Overture; Capriccioespagnol. Gothenburg Symphony.DEUTSCHE GRAMMOPHON 423 604-2two CD'S.

Shostakovich: Symphony No. 8. Scot-tish National Orchestra. CHANDOSCHAN 8757.

Sibelius: Symphony No. 4; The Ocean -ides; Canzonetta. Gothenburg Sympho-ny. BB CD -263.

Stenhammar: Symphony No. 1. Go-thenburg Symphony. Bis CD -219. Wellup on Jarvi's list of personal favoritesamong his recordings.

R. Strauss: Don Juan; Also sprach Za-rathustra: Two Songs. Felicity Lott (so-prano); Scottish National Orchestra.CHANDOS CHAN 8538.

Tubin: Symphony No. 4. Bergen Phil-harmonic Society. BB CD -227. Askedto cite the cream of his own recordings,Jarvi put this one right at the top.

world music scene came toconducting from an improba-ble starting point. Back in hishome town of Tallinn, Esto-nia, young Neeme JArvi firstmade a name for himself as axylophone player. He still re-calls proudly how he couldplay the last movement ofKhachaturian's Violin Con-certo on the xylophone. By thetime he got to the LeningradState Conservatory, he hadmastered a wide range of per-cussion instruments and wassufficiently accomplished as apianist to tackle the Beetho-ven concertos.

Collecting a double degreein percussion and choral con-

ducting in 1960, Jarvi worked hisway up to chief conductor of theEstonian Radio and Television Or-chestra and in the same year, 1963,began a thirteen -year tenure as prin-cipal conductor of the TallinnOpera. International opportunityopened its door when he won firstprize in the 1971 Conductors Com-petition at the Accademia Nazion-ale di Santa Cecilia in Rome. Hewas named artistic director of theEstonian State Symphony and ledthe belated Soviet premieres ofStrauss's Der Rosenkavalier andGershwin's Porgy and Bess.

ECORDINGS, it can be fairlysaid, have made Jarvi's ca-reer. It is a compliment re-turned. Jarvi fondly recallscollecting records as a boy,long before he ever dreamedof making one himself. "I stillgo to the record shops," hesaid, "but I miss the old 33's.

There is so much repertory thatnever will appear on CD, and withLP's you could read the jackets."

For that matter, he is less thanenchanted by the modern technolo-gy that brings his big Romanticrepertory to life in our living rooms:"I prefer the old stereo [analog LP]recordings," confessed this mu-sician well on his way to his two-hundredth recording. "They gave amore natural acoustic than [digital]recordings on compact disc. Thesilence [of CD's] is good, and there'sno turning of sides. But the 33'ssounded better." 0

Lawrence B. Johnson a free-lance writerbased in Detroit, writes about music forCD Review, the New York Times, andother publications.


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BEST RECORDINGS OF THE MONTH

Stereo Review's criticschoose the outstandingcurrent releases

WORLD PARTY'SWARMHEARTEDROCK NOSTALGIA

DEPEN DING on your politi-cal point of view, youcould call the Sixties eitherthe greatest period ever for

rock-and-roll or an overrated andessentially foolish decade that re-fuses to go away, looming over con-temporary art and life like a gigan-tic, suffocating blanket of aestheticsmog. There's no mistaking, howev-er, where Karl Wallinger comesdown in this debate: "GoodbyeJumbo," the second World Partyalbum (World Party being, essen-tially, a Wallinger one-man show),is clearly the work of somebodywho's fascinated, perhaps even ob-sessed, by the period, particularly itsmore obstreperous music.

At various times on this quitelovely record, Wallinger evokes (orquotes outright) such Sixties iconsas the Rolling Stones, Bob Dylan,the Velvet Underground, the earlyKinks, and the Beach Boys. And thespirit of the psychedelic -era Beatleshovers over just about every song.Even the cover photos are perfect;check out the Rickenbacker guitarand Wallinger's psychedelic yellowjacket.

Evoking the Sixties is, of course,an enterprise fraught with peril. Six-ties rock, for all its pleasures, had ashigh a b.s. quotient as any othermusic, and it had an innocence thatseems unduplicable in these morecynical times. While everybody hasinfluences, and Sixties influencesare as valid as any, the idea of anentire album of cheerful acid -tingedpop here in the Nineties is a bituncomfortable, verging on XTC/Dukes of Stratosphear territory-that is, self-conscious parody.

Fortunately, Wallinger avoidsthose pitfalls through a deceptivelysimple strategy: He just pretendsthey don't matter and goes aboutmaking the music that sounds good

to him. And so, in a splendidly clan-gorous rocker like Way Down Now,he doesn't worry whether a back-ground chorus is reminiscent of the"Whoo's!" from the Stones' Sympa-thy for the Devil; he just throws itinto the mix with an exhilaratingnonchalance. Even better, especiallyfor a guy who might be dismissed asa tie-dyed hippie manqué like ToddRundgren, Wallinger lets his lyrics,at least, acknowledge that we're liv-ing in a different world from the onethat inspired his musical idols. Forexample, in the astonishingly beau-tiful When the Rainbow Comes (amusical pastiche of George Harri-son, if you can believe such a thing),Wallinger slyly quotes from theBeatles' version of Please, Mr. Post-man, but the original song's post-cards and letters are transmogrifiedinto more, shall we say, au courantletter bombs.

In fact, for all his obeisance to theSixties, there's no escaping the factthat Wallinger, for better or worse,has a thoroughly contemporary sen-sibility. In that respect, he remindsme more than anyone else of Prince,another pop obsessive who's found

a way to translate his influences intosomething both original and famil-iar (you can hear the similaritymade explicit in this album's churn-ing Take It Up). Wallinger isn'tquite as brilliant as Prince, and"Goodbye Jumbo" has the oddtrack where you won't have thefaintest idea of what he's going onabout or where his melodic ideasare stretched a little thin. But most-ly it's a warmhearted, sonically gor-geous collection of lovably eccentricpop songs from a guy who'd be anobvious talent in any era. That itmay remind aging baby boomers oftheir jukebox past is merely one ofits pleasures. Grab this one immedi-ately. Steve Simels

WORLD PARTY: Goodbye Jumbo.Karl Wallinger (vocals and instrumen-tals): Chris Witten (drums); Guy Cham-bers (keyboards): other musicians. Is ItToo Late; Way Down Now; When theRainbow Comes; Put the Message in theBox; Ain't Gonna Come Till I'm Ready;And I Fell Back Alone; Take It Up; Godon My Side; Show Me to th; Top; LoveStreet; Sweet Soul Dream; Thank YouWorld. CHRYSALIS Fl 21654, © F421654, © F2 21654 (53 min).

Karl Wallinger: an obsession with the Sixties

BFST RECORDINGS OF THE MONTH

MICHELDALBERTO'SSCHUBERT

LEVEN years ago the youngFrench pianist Michel Dal-berto, having won the ClaraHaskil Competition at the

age of twenty in 1975 and the LeedsCompetition three years later, madea striking recording for Erato ofSchubert's big D Major Piano Sona-ta (D. 850) and the two -movementC Major (D. 840). He subsequentlymade some interesting Mozart con-

Dalberto: convincing

certo recordings, but we haven'theard a great deal from him sincethen. He has now, however, com-mitted himself to recording all theSchubert sonatas for Denon, andVolume 1 is certainly compelling.

The Schubert Sonata in A Minorwe usually hear is the one composedin 1823 (D. 784). On the new discDalberto plays the later and biggerone in that key (D. 845), composedin 1825 and dedicated to the sameArchduke Rudolph we remember asfriend, pupil, and patron of Bee-thoven. With it are Schubert's veryfirst sonata, in E Major (D. 157),composed ten years earlier, when hewas only eighteen but was alreadyproducing some of his finest songs,and a baker's dozen of tiny waltzes.The early sonata itself is no mereapprentice work; it is in three move-

ments and is usually thought to bemissing a finale, but the menuettorounds it off conclusively enough.

Dalberto's way with both sonatas,even more assured than in the twohe recorded in 1979, suggests noth-ing less than a born Schubertplayer-and a more thoroughly per-suasive one than several of his morecelebrated senior colleagues. Thereis not a phrase that is not fully con-vincing or that calls attention toitself at the expense of the music'soverall design and continuity. Dal-berto doesn't call attention to him-self, either. There is no self-con-sciousness in his playing. The musicseems to shape itself as sponta-neously as one imagines it did forSchubert himself when he first set iton paper. Subtleties of touch and anapparently instinctive regard fortone are taken for granted after thefirst few bars, and tempos at allpoints are especially sound; the mu-sic always moves, with the most nat-ural momentum.

That natural momentum servesthe little waltzes especially well. De -non's decision-or perhaps it wasDalberto's-to present only twelveof the thirty-four Valses sentimen-tales of Op. 50 (D. 779) was a judi-cious one: All thirty-four wouldhave become a bit of a blur, but 10minutes' worth works just fine, andI imagine the rest of the set will turnup in subsequent installments. Aftera decent pause, the solitary, gentlymelancholy Waltz in A -flat Major(D. 978), the latest work on the disc,brings the program to the sort ofconclusion that seems to sum up inbarely more than a minute theessence of both Schubert's own spir-it and that of the Viennese characterthat was to flourish in the well -loved works of the great waltz com-posers. In short, Dalberto displays agood sense of programming as wellas superior playing, and Denon, forits part, has given us about as hand-some a recording of a piano as canbe imagined. Richard Freed

SCHUBERT: Piano Sonata in A Mi-nor, Op. 42 (D. 845); Piano Sonata in EMajor (D. 157). Valses sentimentales,Op. 50 (D. 779): Nos. 1, 3, 5, 7, 14, 13,19, 21, 24, 28, 30, and 34. Waltz in A -fiat Major (D. 978). Michel Dalberto(piano). DENON CO -73787 (67 min).

NITTY GRITTYDIRT BAND: NOWEAK LINKS

FOR the follow-up to "Willthe Circle Be Unbroken,Vol. II," the Nitty GrittyDirt Band could presumably

take a rest-that award -winning al-bum is conceivably as much of alandmark as its predecessor. In-stead, the Dirt Band has respondedwith one of its strongest recordsever, "The Rest of the Dream," awonderful collection of songs ofpleasures big and small, love trueand otherwise, and characters whocurdle the blood and tickle themind.

Among the odd bodies who driftthrough the Dirt Band's world arethe sixteen -year -old waitress fromBruce Springsteen's From SmallThings (Big Things One DayCome), who shoots her lover be-cause she can't stand the way hedrives. And in Just Enough AshlandCity, one of the two unforgettableJohn Hiatt songs, we meet the self-proclaimed Big Shot who picks ahoney who's "just enough small-town girl to cook my supper in anevening gown."

There's also a tribute to Junior'sGrill ("It's heaven with a cornerbooth"), kicked off with riffs remin-iscent of Wake Up Little Susie; twoplangent tunes about the exaltationand sadness of romance, Blow Outthe Stars, Turn Off the Moon andSnowballs; and Hiatt's title song, asober meditation on the cyclicalevolution of life and love. Somesongs are stronger than others, butthere are no weak links in thechain.

"The Rest of the Dream" wouldbe an outstanding album for thesongs alone, but the vocal and in-strumental treatments are also stel-lar. Lead singers Jimmy Ibbotsonand Jeff Hanna read just enoughirony into the lyrics and deliverthem with the correct twangy fla-vors, and the band balances therhythm section with exquisitetouches of mandolin and harmoni-ca, bringing in the occasional wash-board for rural authenticity.


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CocliAfter nearly a decade of

being America's glamour drug,researchers are starting to un-cover the truth about cocaine.

It's emerging as a verydangerous substance.

No one thinks the thingsdescribed here will ever happento them. But you can never becertain. Whenever and howeveryou use cocaine, you're playingRussian roulette.

You can't getaddicted to cocaine.

Cocaine was once thoughtto be non -addictive, becauseusers don't have the severephysical withdrawal symptomsof heroin-delirium, muscle -cramps, and convulsions.

However, cocaine is intenselyaddicting psychologically.

In animal studies, monkeyswith unlimited access tococaine self-administer untilthey die. One monkey presseda bar 12,800 times to obtain asingle dose of cocaine. Rhesusmonkeys won't smoke tobacco ormarijuana, but 100% will smokecocaine, preferring it to sex andto food-even when starving.

Like monkey, like man.If you take cocaine, you run

a 10% chance of addiction. The

1987. DDB Needham Worldwide Inc.

risk is higher the younger youare, and may be as high as 50%for those who smoke cocaine.(Some crack users say they feltaddicted from the first timethey smoked.)

When you're addicted, allyou think about is getting andusing cocaine. Family, friends,job, home, possessions, andhealth become unimportant.

Because cocaine is expen-sive, you end up doing what alladdicts do. You steal, cheat, lie,deal, sell anything and every-thing, including yourself. All thewhile you risk imprisonment.Because, never forget, cocaineis illegal.

There's no way to tell who'llbecome addicted. But onething is certain.

No one who is an addict, setout to become one.

C'mon, just oncecan't hurt you.

Cocaine hits your heart be-fore it hits your head. Your pulserate rockets and your bloodpressure soars. Even if you'reonly 15, you become a primecandidate for a heart attack, astroke, or an epileptic -type fit.

In the brain, cocaine mainlyaffects a primitive part where theemotions are seated. Unfortu-nately, this part of the brain alsocontrols your heart and lungs.

A big hit or a cumulativeoverdose may interrupt theelectrical signal to your heartand lungs. They simply stop.

That's how basketball playerLen Bias died.

If you're unlucky the firsttime you do coke, your bodywill lack a chemical that breaksdown the drug. In which case,you'll be a first time O.D. Twolines will kill you.

Sex with coke is amazing.Cocaine's powers as a sexual

stimulant have never beenproved or disproved. However,the evidence seems to suggestthat the drugs reputation aloneserves to heighten sexual feel-ings. (The same thing happensin Africa, where natives swear bypowdered rhinoceros horn asan aphrodisiac.)

What is certain is that con-tinued use of cocaine leadsto impotence and finallycomplete loss of interest in sex.

It'll make you feel great.Cocaine makes you feel like

a new man, the joke goes. Theonly trouble is, the first thingthe new man wants is morecocaine.

It's true. After the highwears off, you may feel a littleanxious, irritable, or depressed.You've got the coke blues. Butfortunately, they're easy to fix,with a few more lines oranother hit on the pipe.

Of course, sooner or lateryou have to stop. Then-fordays at a time-you may feellethargic, depressed, evensuicidal.

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BEST RECORDINGS OF THE MONTH

Always a group that eschewedtrends to follow its own musicalpath, the Dirt Band is becoming oneof the foremost lyric- and rhythm -oriented acts in the history of coun-try -rock. "The Rest of the Dream,"a delight from start to finish, showswhy. Alanna Nash

NITTY GRITTY DIRT BAND: TheRest of the Dream. Nitty Gritty DirtBand (vocals and instrumentals). FromSmall Things (Big Things One DayCome); Waitin' on a Dark Eyed Gal;Junior's Grill; Blow Out the Stars, TurnOff the Moon; The Rest of the Dream;Just Enough Ashland City; HillbillyHollywood; Snowballs; Wishing Well;You Made Life Good Again. MCAMCA -6407, © MCAC-6407, MCAD-6407 (37 min).

BARRY DOUGLASPLAYS THE LISZTCONCERTOS

IANIST Barry Douglas's dis-cography-which includessuch formidable works asthe Beethoven Hammer-

klavier and the Brahms D MinorConcerto and Piano Quintet, alongwith exotica like Liszt's Dante So-nata and Tchaikovsky's Sonata in GMinor-suggests an intellectual'svirtuoso. While the new RCA re-lease of his recording of the Lisztconcertos seems intended to alterthat impression, what it brings tomy mind is the all -too -short careerof the British pianist Solomon, whowas equally a master of the intellec-

Douglas: ardor and fireworks

Nifty Gritty's Jeff Hanna, Jimmie Fadden, Bob Carpenter, Jimmy Ibbotson

tual peaks of the repertory and of itsbravura showpieces.

That Douglas, an Irishman, has asimilar potential is well demon-strated in this program, which alsoincludes Liszt's Hungarian Fantasy.He is more than a match for the vir-tuoso demands of the two concer-tos, running double octaves anddazzling passage -work in the bestbig -league style, but he also handlesthe lyrical episodes with a highlydeveloped sense of poetry. Ofswooning sentimentality there is lit-tle, but there is no lack of ardorfrom either the soloist or the con-ductor, Jun'ichi Hirokami, the win-ner of the 1984 Kiril KondrashinCompetition. With the youthfuldrive he brings to bear here in lead-ing the London Symphony, his rolegoes far beyond that of a mereaccompanist.

I was even more impressed withDouglas's performance of the Hun-

garian Fantasy, which is on a some-what smaller scale than Solomon'sclassic version but is graced with aremarkable sense of the dulcimerovertones in the piano figuration ofthe extended slow section. Andwhen the quick -paced friss finallyarrives, Douglas provides fireworksaplenty.

The excellence of the musician-ship is enhanced by the recording,in which piano and orchestra arecaptured in a single acoustic per-spective, with no sense of the pi-ano's being in your lap. The orches-tral sound is full and brilliantthroughout. In all, a splendid pro-duction. David Hall

LISZT: Piano Concerto No. 1, in E -flatMajor; Piano Concerto No. Z in AMajor; Hungarian Fantasy for Pianoand Orchestra. Barry Douglas (piano);London Symphony Orchestra, Jun'ichiHirokami cond. RCA © 7916 -4 -RC, ©7916 -2 -RC (55 min).

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POPULAR MUSIC

Discs and tapes reviewed byChris Albertson, Phyl Garland,Ron Givens, Roy Hemming,Namur Nash, ParkePuterbaugh, Steve Simels

ALABAMA: Pass It On Down. Ala-bama (vocals and instrumentals); vocaland instrumental accompaniment. PassIt On Down; Here We Are; Down Home;Forever's As Far As I'll Go; Jukebox inMy Mind; and four others. RCA 02108-4-R, 2108-2-R (34 min).

Performance: New diversityRecording: Good

In "Pass It On Down," which Alabamaco -produced with Josh Leo and LarryMichael Lee, the band shows a willing-ness to go beyond its usual base ofSouthern rock songs and love ballads toexperiment with a diversity of stylesand lyrical content. These are subtlechanges, of course, worked in to test thewaters. The title song, a call for environ-mental action (handily released as a sin-gle in time for Earth Day), is still aSouthern stomper in the Charlie Dan-iels tradition. Moonlight Lounge, too, isthe kind of heavy-footed party rap theband is known for, and there's the obli-gatory love song in Goodbye (Kelly'sSong), which works equally well as afarewell to a child.

But there's also Jukebox in My Mind,a fine song in the pure honky-tonk mold(marred by the gimmick of a quarterfalling into a coin box), which lead sing-er Randy Owen delivers in his bestMerle Haggard syntax. The tune is vast-ly different from anything else the bandhas recorded, and Down Home is also aslightly more sophisticated tribute tosmall-town life than they've tackled be-fore. There's even a country bubble -gum song, Here We Are, written by BethNielsen Chapman and Vince Gill.While most of the impressive trackswere contributed by outside writers, thegroup's bassist, Teddy Gentry, proveshis worth with Fire on Fire (co -writtenwith Ronnie Rogers and Greg Fowler),which blends erotic longing and thekind of melodic advancement Alabamahas long needed to elevate it from itsusual five -note span. All in all, theband's move toward more tuneful ma -

EXPLANATION OF SYMBOLS:

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LLOYD COLE

LOYD COLE is a wounded ro-mantic who has found in NewYork a city of dashed dreamsand boundless possibilities, and

its personality has possessed his muse.The expatriate Briton left his band, theCommotions, last year and relocated toManhattan, where he discovered bothsongwriting inspiration and sympathet-ic musical accomplices. His new albumis an oddly affecting combination ofromantic fatalism and brisk, flowingmelodies evoking the middle -periodBob Dylan of "Blonde on Blonde." It'sthe old antic bohemianism and upstartliterariness of Greenwich Village re-turned and burnished to a contempo-rary, CD -worthy aural gloss.

The mood of the album, sustainedthrough thirteen songs and 50 -odd min-utes, is one of melancholy reverie nur-tured in the wee hours. No superfluousadornment is hung on these tunes, yetthey are exquisitely detailed with guitarfiligree by Robert Quine and inspiredby such odd touches as the lonesomeharmonica that drifts like a human crythrough Downtown. Cole's vocals are amarvel of understatement, whetherdreamy and diaphanous a la Bryan Fer-ry in No Blue Skies or an unvarnishedsing -speak, as in Loveless.

Love seldom measures up to dreamsof it in Cole's universe, and he dealswith heartbreak as if it were an oldfriend he expects to run into time andagain. His conclusions are so foregonethey're endearing; in To the Church hereports, "I'm looking for a religious girlwith child-bearing hips and a weddingveil/But I'm saddened to report it's noteasy." How can you not love a rockerwho's holding out for old-fashioned val-ues in this jaded age? In a delightful,

sprightly folk-rock jig called Undressed,he pays his companion a peculiar com-pliment: "You look so good whenyou're depressed." Best of all, in the lan-guorous, midtempo No Blue Skies helets fly with a put-down for the ages:"Baby, you're too well read."

Echoes of the Velvet Underground,another New York touchstone, quietlypermeate "Lloyd Cole." It's there in themodest simplicity of the arrangements,the jewel-like quality of the guitar work,and the romanticization of the urbandemimonde. The city is the backdropfor songs such as What Do You KnowAbout Love?, in which he becomes onewith the Village street he's wandering:"It's raining on Bleecker Street/It's rain-ing from my heart down to my feet."

The Dylan, Village, and V.U. refer-ences are no doubt intended as homageand celebration of Cole's arrival, but heis very much an original. No onematches words and music with quite hismellifluous ease; check out the gracefulorchestration of A Long Way Down orthe amiable, frictionless gait of IceCream Girl. Cole is clearly one of themost gifted songwriters on the contem-porary scene, and this album is a delec-table piece of poi:waft that glimmerslike a rain -slicked city street beneath astreetlamp's glow. Parke Puterbaugh

LLOYD COLE. Lloyd Cole (vocals,guitars, bass, keyboards, harmonica);other musicians. Don't Look Back;What Do You Know About Love?; NoBlue Skies; Loveless; Sweetheart; To theChurch; Downtown; A Long Way Down;Ice Cream Girl; Undressed; I Hate toSee You Baby Doing That Stuff Water-line; Mercy Killing. CAPITOL 92751-1, ©92751-4, 92751-2 (52 min).

CARLY'S STANDARDS

1N her liner notes for "My Ro-mance," her lush new album of popstandards, Carly Simon writes, "Igrew up wanting to be . . . a dancer,

until I wanted to be a jazz singer, until Iwanted to be a folk singer, until Iwanted to be a rock singer, until I forgotwhat it was that I wanted, and just did it(whatever 'it' is)."

There are those who will argue thatSimon proves herself a dilettante withboth that statement and this record, hersecond collection of romantic popularclassics (the other one was the disas-trous "Torch" of 1981). There are alsothose who will say that anyone whoreally appreciates Rodgers and Hart,Dietz and Schwartz, Styne and Cahn,and other masters of sophisticated jazz -pop would do better to turn to FrankSinatra, Ella Fitzgerald, and the lateSarah Vaughan. What could Simon,from a generation whose music re-volved around acoustic guitars andplaintive ballads, contribute to the mu-sic of an era when singers used theirvoices as band instruments and sangagainst full rhythm sections and horns?As it turns out, plenty.

According to the notes, Simon grewup with these songs floating around herfamily's New York home. ArthurSchwartz (of Dietz and Schwartz) washer parents' closest friend, and afterattending each new musical that openedon Broadway, the Simons came homeand plunked out the songs on the piano,young Carly later becoming mesmer-ized listening to the recordings of theforemost popular singers of the Fortiesand Fifties.

That may explain how she came bysuch a surprising sense of phrasing forsongs like Rodgers and Hart's Be-witched and Jule Styne and SammyCahn's Time After Time. Her deft mas-sage of these old chestnuts becomeseven more seductive paired with herimpeccable intonation and elocutionand her direct, yet heartfelt, manner ofdelivery, devoid of hokey frills or affec-tation-an approach that also charac-terizes pianist Michael Kosarin's subtleyet substantial contributions, MichaelBrecker's saxophone and Steinerphonesolos in two cuts, and Marty Paich'sunobtrusive orchestral arrangementsthroughout (a compliment that couldnot be paid to the late Nelson Riddle forhis kitschy work in a similar vein withLinda Ronstadt).

What's missing here, however, is asense of fun, of stepping back from areverential pose to enjoy the thrill ofthis collaboration and the rejuvenationof a genre. Some may, indeed, find "MyRomance" too stiff, plodding, and un-derstated, perhaps even airless.

And yet, in the midst of these plush

renditions, Simon the contemporarysinger is very much alive, loosening upthe melody a bit in Time After Time orsliding the word "bothered" (in Be-witched) over more bent notes thanusual. She also offers up a new song,What Has She Got, that she wrote withKosarin and Jacob Brackman, match-ing Fifties -style lyrics and perfumedsentiments with a swirling melody ofromantic longing. A lovely, upliftingsong, it fits as beautifully into the pro -

Carly Simon: seductive

gram as if it had been written in thepostwar period.

Just by choosing such songs as DannyBoy and My Funny Valentine and treat-ing them with sensitivity, Simon hasfreed them from the Las Vegas clichéswith which they're associated. But thereis another reason these songs no longerseem so dated under Simon's aegis:When she sings, "Now the young worldhas grown old," in Little Girl Blue, she'saddressing her own peers. For agingbaby boomers, the declaration is notcamp but a dry-eyed verity. Some songsare timeless, after all. Alanna Nash

CARLY SIMON: My Romance. CarlySimon (vocals); Michael Kosarin (pi-ano); Michael Brecker (saxophone, Stei-nerphone); Marvin Stamm (trumpet);David Nadien (violin); Jimmy Ryan(guitar); Wayne Pedziwiatr (bass); SteveGadd (drums); orchestra, Marty Paichcond. My Romance; By Myself/I SeeYour Face Before Me; When Your LoverHas Gone; In the Wee Small Hours ofthe Morning; My Funny Valentine;Something Wonderful; Little Girl Blue;He Was Too Good to Me; What HasShe Got; Bewitched; Danny Boy; TimeAfter Time. ARISTA AL9-8582, © AC9-8582, © ARCD-8582 (38 min).

terial, with a lighter instrumental touchand increasingly mature subject matter,is unquestionably a major improve-ment. A.N.

FOSTER AND LLOYD: Version of theTruth. Radney Foster (vocals, guitar);Bill Lloyd (vocals, guitars, mandolin,six -string bass, tambourine); Sam Bush(fiddle, mandolin); Vince Gill (guitar);other musicians. Is It Love; Version ofthe Truth; I Wishdaida Run into You;Leavin' in Your Eyes; Side of the Road;It's a Done Deal; and four others (fiveothers on CD). RCA © 2113-4-R, 02113-2-R (38 min).

Performance: Your favorite artistsRecording: Very good

Radney Foster and Bill Lloyd, the BratPackers of the contemporary country -music scene, are back with their thirdalbum, one that keeps the foot tappingand the senses reeling to postwarhonky-tonk and Sixties rock and pop ala the Beatles and the Byrds. But then,what else is new in this "Version of theTruth" since those styles have alwaysbeen the backbone of Foster andLloyd's hybrid sound?

Well, there's a more artful integrationof styles, a tighter vocal harmony (withJohn Cowan and Jeff Hanna brought infor the elusive third parts), and anupgraded level of musicianship-andnot just in the final cut, Whoa, a stylishinstrumental featuring Albert Lee andtwo blasts from the past, the Rascals'Felix Cavaliere and guitarist DuaneEddy. There's also a looser, less self-conscious feel to this album, in partbecause F&L recorded with their tour-ing band-pedal-steel guitarist PeteFinney, bass guitarist Byron House, anddrummer Bob Mummert-beforebringing in the star pickers.

That said, F&L's act is getting a bitstale. Lyrically, they plow the same oldground as every mediocre pop act be-fore them. Their strong suit-an abilityto write songs that seem vaguely famil-iar and yet surprisingly inventive-isalso their liability. There's somethingdistasteful about hearing the stamp ofyour favorite artists on every cut. It's aDone Deal, for instance, is rife with DayTripper -like guitar riffs, Leavin' in YourEyes is cut straight from the Phil andDon Everly mold, Side of the Road hasa Dylanesque Subterranean HomesickBlues approach, and the Byrds are allover All Said and Done, right down tothe twelve -string -guitar framework.And so it goes. Foster and Lloyd are tal-ented fellows, but now that we've seenhow well they can mimic their in-fluences, it's time to see what they cando on their own. A.N.

JOHNNY GILL. Johnny Gill (vocals);vocal and instrumental accompani-ment. Rub You the Right Way; Fair-weather Friend; Wrap My Body Tight;Feels So Much Better; Never KnowLove; and six others. MOTOWN MOT-

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6283, © MOTC-6283, MOTD-6283(49 min).

Performance: First-rate balladeerRecording: Satisfactory

Johnny Gill, a former lead singer withthe New Edition, is no new MarvinGaye, as his Motown promotional ma-terial asserts, but he is a first-rate soulballadeer with a highly appealing, inti-mate style that commands attention. Inthis debut album, for which he's beengiven star -level production, he's at hisbest in the ballads, which include oneshimmering jewel, My, My, My, whereGill exudes the kind of sensuality anddramatic intensity that grips the listenerand never lets go. In fact, this song andGill's interpretation of it are goodenough to be worth the price of thealbum, though there are plenty of othergoodies. P.G.

BRUCE HORNSBY AND THERANGE: A Night on the Town. BruceHornsby and the Range (vocals andinstrumentals); other musicians. ANight on the Town; Carry the Water;Fire on the Cross; Barren Ground; andsix others. RCA 2041-1-R, © 2041-4-R,

2041-2-R (56 min).

Performance: RockierRecording: Good

In his first two albums, Bruce Hornsbycarved out a distinctive niche in popmusic. The sound of his music hasbecome instantly recognizable, so muchso that Don Henley's recent hit End ofthe Innocence, co -written with Hornsbyand featuring his sparkling piano,seemed more Hornsby than Henley,Henley's vocals notwithstanding. Now,in his own new album, "A Night on theTown," Hornsby is paradoxically not soinstantly recognizable. Chalk it up toartistic growth.

Let me reassure Hornsby fans, how-ever, that this album will sound familiarin parts. Hornsby hasn't given up onkeyboards. Rather, this is mostly aRange album, with a greater emphasison the band than before. And there aresuperb contributions from a variety ofguest artists, including Jerry Garcia onguitar, Wayne Shorter on saxophone,Bela Fleck on banjo, and Shawn Colvinsinging background vocals and oneduet. To try and put it in some perspec-tive, I would guess that if you've been aHornsby fan before you'll probably like"A Night on the Town." If, on the otherhand, you haven't been a Hornsby fan,you'll probably like it too.

As in Hornsby's previous albums, thesongs he's written for this one-andthose by his frequent collaborator,brother John Hornsby-hark back totheir home state of Virginia and to theSouth in general. The two Hornsbyshave succeeded, however, in creating aview of small-town life that applies toany region of the country. While thenature of the racism described in a songlike Fire on the Cross may be specific to


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the South, the provincial narrow-mindedness of Across the River can befound everywhere (and I say this as thenative of a dinky Midwestern town).Hornsby's upright moral outlook hasbeen demonstrated before, in songs likeThe Way It Is and Look Out Any Win-dow. In "A Night on the Town," he'slost none of his righteous fire.

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a refreshing counterpoint to tunes likeCarry the Water, which feature Horns-by's enjoyable but familiar keyboardruminations. "A Night on the Town"represents the best of both worlds: It istrue to the Hornsby style while strikingout for new musical territory. R.G.

BART HOWARD: Bart! Bart Howard,K.T. Sullivan, Julie Wilson, WilliamRoy (vocals); John Loehrke, Jeff Cars-well (bass); Lenny Steinberg (drums);Howard and Roy (duo -pianists). Imag-ining Things; Beautiful Women; WhoBesides You; On the First Warm Day/My Love Is a Wanderer; Beware of theWomen; Let Me Love You; WhenSomebody Cares; Walk -Up; and nine-teen others. PAINTED SMILES 0 PSCD-114 (61 min).

Performance: Okay to superRecording: Crisply up -front

The wise, witty, insightful, occasionallycynical, mostly romantic songs of BartHoward have long brought smiles tofaces in the smartest supper clubs-especially if the incomparable MabelMercer or Felicia Sanders were singingthem. But aside from Fly Me to theMoon, most of Howard's songs, num-bering in the hundreds, have beenrecorded much too rarely. Along comesBen Bagley, that tireless rescuer of ne-glected but worthy musical gems, tohelp remedy the situation.

At seventy-three, Howard's voicemay not be as secure or pitch -steady asit once was, but he can still put acrosshis own lyrics ingratiatingly, and cer-tainly authoritatively. Even so, he haswisely limited himself to singing just adozen of the generous twenty-eightsongs included here-and he mixesthose with the delicious chirpings oftwo of the most admired canaries ontoday's cabaret scene: veteran Julie Wil-son and up-and-comer K.T. Sullivan.

Wilson drags all sorts of innuendosout of It Was Worth It, Let Me LoveYou, and So Long As He Loves Youwith her usual pungent style. But it'ssuperstar -to -be K.T. who steals theshow with her beguiling versions of YouAre Not My First Love, Who BesidesYou, Year After Year, Perfect Stranger,and several others. Sullivan, who'ssomething of a cross between BarbaraCook and Bernadette Peters, with adash of early Irene Dunne, has the rareability to convey vocally both foxinessand insouciance, sometimes within thesame song. And she teams up with theurbane and always first-class pianist -singer William Roy for a few delightful-ly animated duets. R.H.

NITTY GRITTY DIRT BAND: TheRest of the Dream (see Best of theMonth, page 96)

PRETENDERS: Packed! ChrissieHynde (vocals, guitar); other musicians.Never Do That; Let's Make a Pact; Mil-lionaires; May This Be Love; No Guar -

CIRCLE NO. 56 ON READER SERVICE CARD110 STEREO REVIEW SEPTEMBER 1990

antee; When Will I See You; and fiveothers. SIRE 26219-1, C) 26219-4,26219-2 (39 min).

Performance: HonestRecording: Fine

"Packed!," the first Pretenders album infour years, initially seems offhand, cas-ual, and even a little perfunctory. Chris-sie Hynde, essentially the one and onlyPretender, slaps a new title (Never DoThat) on an old song (Back on theChain Gang), covers Jimi Hendrix forthe second time in a row, and leavesloose threads-studio chatter, count-downs, and sloppy endings-hangingon the album. "Packed!" contains theonly truly bad song she has ever written,Millionaires, and, overall, doesn't seemto know where it wants to go. Emotion-al anomie, however, might just be thepoint; in one of her most telling lyrics,Hynde sings, "Give me a sense of pur-pose/A real sense of purpose now."

While "Packed!" might lack the fireand fury of the first few Pretendersalbums, it's honest and refreshingly un-pretentious. Hynde isn't pretendingshe's resolved all her contradictionsinto a neat and tidy bundle. One minuteshe's speed -rapping over a cranked -uppunk -tempo blowout; the next she'swearing her heart on her sleeve in a con-fessional ballad. Throughout the album,Billy Bremner's crisp, chiming guitar isas sentimental in its yearning as areHynde's repeated cries for a lover'sattention: "When will I see you?,""How do I miss you?," and "Don't youwanna take me home?" are three of herrepeated importunings. She is most ef-fective in the slower, more personalsongs. Indeed, her beautifully detailedvocal in Let's Make a Pact may be thefinest singing of her career.

Mixing expressions of vulnerabilitywith cries of outrage at obscene wealth,razed home towns, and the like, Hyndehas painted an honest, unretouchedportrait of herself and her feelings aboutthe world. It's not a perfect album, butit's a genuine one-and somehow thatmeans more. P.P.

ULTRA VIVID SCENE: Joy 1967-1990. Ultra Vivid Scene (vocals andinstrumentals); other musicians. ItHappens Every Time; Staring at theSun; Three Stars; Special One; GreyTurns White; Poison; and six others.4AD/COLUMBIA C 46227, OCT 46227,0 CK 46227 (43 min).

Performance: Paisley popRecording: Very good

Echoes of Syd Barrett and woozy psy-chedelic pop circa 1967 waft like in-cense through the music of Ultra VividScene. As was the case in the Sixties-and it still holds true today-psychede-lia is the place you go when realityoffers not enough of some things andway too much of others. As such, "Joy1967-1990" is a diverting place to letyour mind wander in a hypnotic slip-

stream of imagistic pop with a slightundercurrent of danger tugging in theother direction.

New Yorker Kurt Ralske, whoformed Ultra Vivid Scene, is somethingof a one-man band. His drowsy, boyishvoice calls to mind the North Carolinapop savant Mitch Easter. The main dif-ference between Ralske's Ultra VividScene and Easter's Let's Active is tech-nology, with Ralske utilizing pro-grammed drums and synthesizers whileEaster generally plays it straight. To my

mind, "Joy 1967-1990" is one hands-ondrummer shy of being a terrific poprecord; the chinky percussion trackssimply lack the organic dimension es-sential to music of so colorful a stripe.Still, it's first-rate trance -pop, especiallywhen Ralske locks into an energetic lit-tle run of songs near the beginning thatincludes Staring at the Sun and ThreeStars. P.P.

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JAZZIIIIF _ _ _ _11111111JACKJACK DEJOHNETTE: Parallel Reali-ties. Jack DeJohnette (drums, keyboardbass); Herbie Hancock (piano); Pat Me-theny (guitars, synclavier). Jack In; Ex-otic Isles; Dancing; Nine over Reggae;and three others. MCA 0 MCA -42313,© MCAC-42313, MCAD-42313 (55min).

Performance: StagyRecording: Too much reverb

Drummer Jack DeJohnette's back-ground is broad in scope, ranging fromwork with T -Bone Walker and variousChicago blues groups to stints with Col-trane, Monk, and Miles Davis. Heplayed with Davis in his style -setting"Bitches Brew" album and ever sincehas been closely identified with high-energy synthesized jazz forms, but hehas never stepped on the treadmill offormulas that traps pop -market seekers.True jazz fans will find "Parallel Reali-ties," the drummer's new album, to be acut above most fusion fare, but suchfence straddling is not my cup of tea.Herbie Hancock is present playingacoustic piano, guitarist Pat Methenycontributes fine moments, and DeJohn-ette is excellent throughout, but this isessentially contrived music, createdmore with buttons and switches thanwith body and soul. "Album and CDrecorded exclusively with Monster Ca-ble," boast the credits; fine, but I wishthere hadn't been quite so many cablesused in the performance. C.A.

ROY HARGROVE: Diamond in theRough. Roy Hargrove (trumpet); RalphMoore (tenor saxophone); AntonioHart (alto saxophone); Geoffrey Keezer,John Hicks (piano); Ralph Peterson, Jr.,Al Foster (drums); others. Proclama-tion; Ruby My Dear; A New Joy; Confi-dentiality; Broski; Whisper Not; andfive others. Novus 3082-1-N, © 3082-4-N, 3082-2-N (63 min).

Performance: PersuasiveRecording: Excellent

On the evidence here, trumpeter RoyHargrove has a bright future: "Dia-mond in the Rough," his debut record-ing as a leader, has more polish than thealbum title would indicate. Thestraight -ahead bop set presents Har-grove with two groups-a sextet, withfine work by tenor saxophonist RalphMoore and pianist Geoffrey Keezer,and a quintet propelled by drummer AlFoster. Both groups also feature note-worthy performances by alto saxophon-ist Antonio Hart, who clearly deservesgreater exposure than he has been giv-en. Hargrove himself has a crisp, engag-ing tone and a style that perhaps stillowes too much to others, but he shouldeventually find his own path. Remem-ber, there was a time when Dizzy Gilles -pie's work was virtually indistinguisha-

ble from that of another Roy, the lateRoy Eldridge, so I wouldn't worryabout Roy Hargrove's derivative out-put. His playing is remarkably maturefor a man who, judging by the photo,looks to be in his late teens. C.A.

CHRISTOPHER HOLLYDAY: OnCourse. Christopher Hollyday (alto sax-ophone); Larry Goldings (piano); JohnLockwood (bass); Ron Savage (drums).No Second Quarter; Lady Street; Memo-ries of You; Hit and Run; West SideWinds; and five others. Novus 0 3087-1-N, © 3087-4-N, 3087-2-N (51min).

Performance: SubstantialRecording: Very good

Christopher Hollyday's first Novus al-bum was an ear -opener featuring aquintet with trumpeter Wallace Roney,pianist Cedar Walton, and drummerBilly Higgins. His second, "OnCourse," is an aptly named quartet datefeaturing young musicians whosenames have yet to be established, andthey deliver an excellent set under avery gifted leader whose music ismarked by good taste, control, and ahealthy sense of tradition. The influ-ence of Charlie Parker and JackieMcLean is clear, but it does not stand inthe way of Hollyday's ability to makedistinctive statements. His group of rel-ative unknowns can wail with the bestof them, and I can't remember when,say, Herbie Hancock, George Benson,or Miles Davis made an album that washalf as good as this one. If Hollydaystays on this course, there's no tellinghow high he'll soar. C.A.

KEITH JARRETT: Changeless. KeithJarrett (piano); Gary Peacock (bass);Jack DeJohnette (drums). Dancing;Endless; Lifeline; Ecstasy. ECM © 839618-4, 839 618-2 (49 min).

Performance: AbsorbingRecording: Excellent remotes

At the dawn of the fusion era, Keith Jar-rett had great success with his extended,lyrical solo -piano improvisations, inconcert as well as on records. This newrelease, featuring 1987 concert record-ings by Jarrett and two stellar rhythmmen, Gary Peacock and Jack DeJohn-ette, has the pianist still playing long,drawn-out pieces, being as lyrical andcreative as ever, and generating thesame kinds of enthusiastic responsesfrom audiences in Denver, Dallas, andHouston. This is not the kind of musicone wanders in and out of, and though Iremain a fan, I still think Jarrett has atendency to stretch his pieces too far;there often comes a point where I losemy concentration. For the most part,however, "Changeless" is an absorbingalbum. C.A.

1 Crutchfield Park, Dept. SR, Charlottesville, VA 22906 112 STEREO REVIEW SEVrEMBER 1990

NAJEE: Tokyo Blue. Najee (saxo-phones, flute); Fareed (guitars); othermusicians. Talkin'; Stay; Cruise Con-trol; I'll Be Good to You; Tokyo Blue;Buenos Aires; (Superwoman) WhereWere You When I Needed You; andthree others. EMI El 1H-92248, C)E41H-92248, © E21S-92248 (47 min).

Performance: Slick but sweetRecording: Very good

Najee serves up the sort of slick, easy -to -swallow instrumental popular musicthat is so much in vogue these days, buthe does so with an admirable commandof tone and technique on reeds, usuallytenor or alto saxophone but also sopra-no sax and flute. From time to time heuses vocals to change the pace andbreak the monotony (one problem withthis type of music is that the lead hornvoice is merely backed by the otherinstruments without much interplay),yet he serves up this palatable fare withstyle. He's at his best here in the sweetnumbers Stay and My Old Friend, butthe set is consistently engaging if notparticularly challenging. P. G.

MARCUS ROBERTS: Deep in theShed. Marcus Roberts (piano); ScottyBarnhard, E. Dankworth (trumpet);Wessel Anderson (alto saxophone); oth-er musicians. Nebuchadnezzar; Spiri-tual Awakening; The Governor; andthree others. Novas 0 3078-1-N, ©3078-4-N, CD 3078-2-N (42 min).

Performance: MeaningfulRecording: Very good

"Deep in the Shed," the title of Florida -born pianist Marcus Roberts's secondalbum, refers to the "woodshed," ordrawing board, to which one returns tohone one's craft. Roberts is indeed hon-ing his skills, and evidence of that isoffered here. He is still touring andrecording with Wynton Marsalis, inwhose group he replaced Kenny Kirk-land five years ago, but-his ardentadmiration of Marsalis notwithstand-ing-I suspect it won't be long before hetruly strikes out on his own. Like Mar-salis, Roberts has a respect for andunderstanding of jazz's past styles,which he uses wisely to adorn his own,more current ideas. Also like Marsalis,and Art Blakey before him, Roberts hasused his key to open doors for new tal-ent; his new album introduces five newplayers.

The influence of Ellington, too, is evi-dent in this blues -oriented set, impart-ing an easygoing indigo mood to Nebu-chadnezzar and Mysterious Interludeand providing familiar surroundings fortrombonist Wycliffe Gordon's Nanton-ian grunts and growls. No one standsout among the newcomers, but timeand experience are bound to remedythat. Time and experience have stoodMarcus Roberts in good stead: He be-comes a more interesting performer andcomposer with each release. This is aglorious album. C.A.

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Disco Phono Cartridges

Stanton 68CEL-MPMatched Pro Disco Cartridges

The choice of professional DJ's now comesIn a pair of cartridges that are matched foroutput performance & frequency response Standard -mount

POW $6995Pri ce (STA 680ELMP)

Stanton 500ALStandord mount spherical 519"Stanton I.-500ALP -mount spherical

Stanton 500ALMPStandard mount 2eack

$29"

Pickering 625DJ-Standard mount. elliptical

$32"

Stanton 680ELStandord mount, w/extro stylus . . . 554"Stanton 890ALSlandard mount. for pro use 564"

519"

Camcorder Specials

Sharp VIL270Super -Zoom VHS Camcorder

12:1 variable speed power zoom ens withmacro CCD image sensor HO security High-speed electronic shutter Flying erasehead Date clack display

?OW $89995(SHA V1.1.270)

Sharp VLL-150*VHS. 6 1 zoom. 4 -lux 559995

Sony CCD-F338mm, 4 -lux, 61090w CALLJVC GR-60VHS -C, 2 -speed zoom. flying erase 5CALLPanasonic PV -610WHS. 2Iux, 81 zoom. flying erase . . .159995RCA CC -320VHS. 5.1ux. 8 X zoom 5899"Sony CCD-TR5.8mm 4 -lux. 6:1 zoom . $CALL

A/V Furnit e & Racks.

Bell'Oggetti B-500La Forza A/V Furniture

Metal with tempered gloss shelves Adjustable levelers Upper section hos30 -degree swivel For TVs up to 100 lbs. Block or white 23 5 8"W X 30 1/2' H X 19"D

our 5/9995Price (89.0 8500-colof)

Wood Technology W-410Speoker stands. 8" high pair 53495

Speaker Uppers 2050Speaker stands. 12- w/costers . 1,1$r $5995

Target TAP10Speaker stands. adjustable. casters . Foie 57495

Elite EL -35-Audio cabinet 3 -shelves 59995

Elite EL -82TV/VCR cabinet. oak. casters 5129"Standesign PentaAudio rock 5 -shell. black ash . . . . 5249"

Disco Equipment

Atus AM100Stereo Preamplifier/Mixer

Inputs for two turntables two line level inputs Mic input ''Talkover" ono switch Monitorsystem for cueing Master bass & treblecont-ols VU meters display outpu-

PocT $8995Price (ATU AM100)

Gemini HPM-100Heodptione/microphone ideal for mixing539"

Atus AM300E-Mixer. 5band 10. echo $199gs

Gemini MX-6500SEMixer. 3-phono. sound effects . . . . $249"Gemini MB -560Disco Speaker. 15"wooter . Ench5325Gemini PDM-5000Mixer. w/digital sampling 5449"GLI PMX9000AMixer pre amp.w/E61, scratch effect 5449"

Television Specials ,.,

Samsung VM-300313" Color TV/VCR

Space saving combo features a VHSrecorder with HO circuitry 110 channelcable -compatible tuning 14 -day 4- eventtimer Wireless remote

icxor.rr

Price .7 (SAM VM3003)Samsung TB -05705" black & white. AN/FM

Sony FD -10A2" Watchman black & white 19"Samsung TC-3833 13" color, on -screen, remote $199"

$7995

JVC AV -2080S-20" stereo monitor. surround . 5CALLSony KV-27TS3027" stereo monitor. A/V in sCALLToshiba CF -305430" stereo monitor. 700 -line res $999"

Olcink Video ape

Fuji T-120HQVHS Tape

A high quality. general purpose video tape Fine-grain Beridox particles are denselypocked & uniformly dispersed for low noise &high output

a'sr- $299°Price

Sony L750ESBela Dynomicron lope .

laPock(FUJ TI2OHQ)

. $250°TDK T-120HSVHS high standard 104,04 $299°Maxell T-120EX-VHS. standard grade 10.Pack 53195

TDK T-120EHGVHS. extra high grade . . 10.Pacl, 53490

Scotch T-160EG+VHS, high grade 10.Pack 54190

Sony P-1208mm metal video tape . io-Peek 55290

Blank Audio Tape

Denon HD8-100High Bias Tape Special Package

Metal ferric hybrid formula providesextraordinary performance using the high -biassetting Ultra low noise 10 -pack plus1-HDM-100 metal tape bonus

P:: -PackPrice (DNN HD8 /100-10)

TDK MAXG-90Metal cassette. new formula . . . loch 5109°Maxell MV90Verlex deluxe metal cassette . . Each 51490

TDK SAX -90Deluxe high bias cassette . . . io-nack

$199°

Sony SR -90Metal cassette 10 -pack 51990

Maxell XLIIS-90High bias cassette to.pacw 52150

Sony SR -100Metal cassette 10 -pack 5218°

TO ORDER BY MAIL:SEND MONEY ORDER, CERTIFIED OR CASHIER'S CHECK, MASTERCARD, VISA, AMERICAN EXPRESS or DISCOVER CARD (Include Interbank No,expiration date and signature.) TO: JAR MUSIC WORLD, DEPT. SR0990, 59-59 QUEENS -MIDTOWN EXPRESSWAY, MASPETN, QUEENS, NY11378. Personal and bEniness checks must clear our Authorization Center before processing. Shipping, Handling & Insurance Chargeis 5% of Total Order with a $4.95 minimum. (Canadian Orders Add 15% Shipping, with a $9.95 minimum charge.) For shipments by air,please double these charges. $25 MINIMUM ORDER. DO NOT SEND CASH. SORRY, NO C.O.D.'s. NEW YORK RESIDENTS PLEASE ADD SALES TAX.

ALL MERCHANDISE SHIPPED BRAND NEW, FACTORY FRESH, AND 100% GUARANTEED. Copyright 1990 JAR Music Wond MMUS1CWORLD

K A i DI TA A DIO ACCESSORIES/VIDEO RECORDERS/COLOR TELS/BLANK VIDEO TAPES/VIDEO ACCESSORIES/PERSONAL COMPUTERS BUSINESS

TER FURNITURE/CAR STEREO RADAR DETECTORS/CAR SECURITY ERSONAL PORTABLES CLOCK RADIOS PORTABLE

Audio Add-0ns

1142114111WW11

dbx 3BX-DSDynamic Range Expander

Increases dynamic range by as much as50% Reduces background noise by as muchas 20% Impact restoration odds punch tomusical material

oar

$2 9 9 9 5Price (DBX 3BXDS)

Audio Prism CD StoplightCD marker $14"Audioquest FeetSorbothane Shock absorbers . . a.pook $3495

Cutting Wedge CW1AAcoustical tiles. pack of 40 $79"dbx 1BXDSDynornic range expander $17995

dbx SNR1Noise reduction unit 9199"dbx 120XDSSub Harmonic synthesizer 519905

Headphones/Microphones

Sony MDR-CD6Lightweight Digital Stereo Headphone Digital -ready Sealed -ear design 3Ornmdome drivers Spring loaded soli -touchehptical earpads Frequency response 2-25kHz Gold -coated double -layer diaphragm

PoW $7995Puce

Memorex SL55(SON MORCD6)

in the ear headphone. min, plug .$899

Sony FVX-30Dynamic microphone, uni an/oil . . $29"Koss Pro4AAA +*Closed ear headphones $3995

Sony MDR -V4Lightweight closed ear headphones . $59"Koss JCK200

$8995mvireless headphone system

Sony ECM -909Stereo condenser microphone . . . . $8905

Portable CD Plia ers

Technics SL-XP2Portable Compact Disc Player

4X oversampling Dual Drik converters xesboss system 18- track programming Auto -off Includes rechargeable Ni-Cad AAbatteries. AC adaptor & headphones

?9; $/8995Price (TEC SLXP2)

Teac PDP7I6 -track programming. 2X oversompling $14995

Panasonic SI101 18.1rock programming, PBS boss boost . 916995Sony D2lighlweight. 3 -way repeal 9699sSony D922.track programming, rechargeable . $19995Toshiba XR9459.40 oversompling. w/heodphones . . 527999Sony D25.40 oversompling. w/headphones . . $299"

Video AddOns

-6-,Of>Vidicraft VidiMate

For Superior Home Videos 4 -powerful video units in one 2 -inputs Split-screen for easy adjustment Auto fader Opticom outline enhancer Color. tint,brightness & detail controls

Our

$24995coca (V1D VIDIMATE)

Vidicratt Vidi ViewA/V Remote transmitter/convener . 929"Audio Source SSOnellSurround Sound Unit $129"Azden VE-100Video editor 129"Videonics Direct Editor +Video editor, for all lormals . $49985JVC JXS900A/V swilcher. 7.in/2.oul $649"Sony XVC-900Color corrector $84995

Monster Cable Specials

Monster CableAll -Purpose Audio/Video Footers

Specially developed energy -absorbingsyslem isolates components from vibrations IsoTec high-energy absorption material

Preiur$ 95 4 -Pack

Price wri, 7 (MC APF)

Monster Cable CDSRI2CD stabilizer rings 12 -Pack $985

Monster Cable CramolinContact cleaner/enhancer $11"Monster Cable Discus PlusCD stabilizer disc, super -special . . . . $19"Monster Cable CDCK/KitInterlink CD cable & sound rings . . . $3480Monster Cable AVCK/KitVideo cable & remote booster 38"Monster Cable Heavy Duty FootersInsulators 4 -Pack $6995

Personal S

Sony WM-701SSpecial Anniversary Edition Cassette

Mini -size Dolby B & C NR Mega -Bass Full.logic controls Remote Rechargeablebatteries Platinum finish Lightweightheadphones Con also use 1 AA battery

Our

$21995Price (SON WM80IS)Sony Wh1.2051*Cassette Walkman auto reverse $34"Sony WMF2065AM/FM/Cassette Walkman. outozeverse $5995

Panasonic RQA-60AM/FM/Cassette. recording $67"Toshiba KT -4978Cassette auto reverse. rechargeable . . $79"Panasonic RE3V-500AM/FM/Cosselte. Dolby B $99"JVC CXR9JAM/FM/Cassette. rechargeable. Dolby B $159"

Univer motes

Memorex AV8Audio Video Remote Control

Replaces up to 8 standard infrared remotecontrols Preprogrammed so it does not hoveto learn commands from original remotes Battery saver circuit

OurLew SlitP

9 9 5Price (MEM AV8)

One For All URC-3000Allows URC4000/5000 to work w/X.10 $39"Memorex CP4For up to 4 audio/video components . $4995One For All URC-4000Reploces up to d remotes $69"One For All URC-5000Pre.programmed for mosl VCRs . . . . $89"Memorex CP8 TurboReplaces B remotes, LCD clock/display919"JVC RMS1Touch sensitive LCD. II program sources $179"

Video Care/Accessories

Solidex 628Electronic VHS AutoWinder

Hydraulic action soft -elect Headlightspower indicators Aulomolic stop and powershutdown Rewinds tape at controlled speed

Our

Price (SO 628)Discwasher VHSVHS head cleaner

Geneva VCR -I30$8"VHS Spray head cleaner

Lebo 97324VHS/Bela storage core. holds 24

Solidex 6000VHS rewinder

Rack Factory VHS45/OakVHS storage cabinet 927"Solidex 728Brrrn tope rewinder

$889

. . 99"

$24"

$3995

Panasonic RX-DT5AM/FM/Cassette CD Player

Digital tuning 24 -presets ProgrammableCD player Remote control Auto -reverse X8S Exlro Bass System Clock/ timer Requires 10 X D & 4 X AA batteries

Our

ifisc". $29995 (PAN RXDT5)Panasonic RXFS400AM/FM/Cossette recorder. mic . . $49"Sony CFM-14011AM/FM /Cassette. AC/DC 54995Sony CFS-W320AM/FM/Dual Cassette apiece .

Sony CFD-60AM/FM/Cosselte/CD. winking . . . 95995Toshiba RT8089AM/FM/CD/Dual Cossele 5229"JVC PCX-200JAM/FM/CD/Cassette. 3 -piece . . . 9329"

$8995

:1,oR

it

Tio McatkVH Video Movie Specl

MGM/UATop -Ten Winners

IrrArrilitri !Hit

All Dogs '"'""Go To

`Heaven

.e.A. 1995HOME VIDEO

Also Available . . .

For 17.95 EachA Patch Of Blue Battleground HometownChato's Land Destination Tokyo Khartoum The Scalphunters The Teahouse Of The

August MoonTorpedeo RunThe White Buffaloe

rkri.

Product Plus CD84Oak Compact Disc Holder

Genuine oak construction makes this anattractive addition to any system Completewith sliding glass doors Holds 84 discs

ourLOW $3995Price (PPL CD84)

Leslie Dame LP140/0akRecord storage cube. holds 140 . . .

$189s

Kalmar /540CD flip through teak holder, stores 40 . . $1779

Leslie Dame CD-260KDFloor stand. holds 260 discs $5995

Product Plus CD/162Oak/gloss cabinet. holds 162 CDs . . . $6905Leslie Dame CD-576KDNew limbo CD storage. holds 576 . 9388'Product Plus M5-300Floor standing CD unit, holds 300 discs 95880

ORDER TOLL -FREE24 HOURS A DAY

1.* All` O418-i417-373700-221-8180

utsde U,S.A Call:I 1

J&R Music World, Dept. SR0990, 59.50 Queens -Midtown Expressway, Maspeth, Queens, NY 11378

SIONS/VIDEO PROCESSORS/CAMCORDERS/VIDEO CAMERASPUTERS PRINTERS MONITORS/COMPUTER SOFTWARE/FLO

CHINES/TELEPHONE BUSINESS SYSTEMLCULATORS ITERS RECORDS

upeASpecittb!S Video ovie Specials

Rogers & HammersteinCollection

ikoutpt-titILUOI);

249'

MIC

Also Available For 17.95 EachCarousel (MacRoewhones)The King And I (Kerr/Brynner)Oklahoma (MacRae/Jones)Soutn Pacific (Brazzi/Gaynor)State Fair (Crain/Andrews)

The Streisand Collection . .

For 17.95 EachMy Name Is Barbra (1965)Color Me Barbra (1966)A Happening in Central Park

(1967)Putting it Together: The Making Of

the Broadway Album (1986) One Voice (1987)

Databanks/Reference

Sharp Z61-2200Electronic Organizer

32t< memory large 12 X 4 I rte display 6built-in discipliness. Calendar. schedule.telephone, memo. calculator. clock Secretfunction

our $9995Price (SHA ZH2200)

Selectronics 1000010K databank. 10K character memory . 52695Selectronics HH220*Desktop Wordfinder. thesaurus . . . . 53495Franklin ACE 200Pronounces/spells 90K words . . . . 59995Royal GM -200 -

64K databank. 6 -line display . . . $129.Sharp OZ -7200*Wizard 64K databank/calendar. etc . . CALLFranklin LM -4000*Language Master. 13K word -spell . . 5249"

Car Stets°

010 N iii.

Panasonic CQ-H05Digital AM/FM Cassette Car Stereo

7.5 watts per channel Hypertuner with18 -FM & 6 -AM presets Separate bass & treble Multi-lunction LCD Seeldscan Preampoutput 4 -way balance control

om

lii?isc'o $17995Clarion SE -5361*Speakers. 3 -way system Pair 55995

Pioneer GM42APower Amp. 30 watts/channel . . $64"Sherwood SX-1092Speakers. 6" X 9". 3 -way pair 57995

Sherwood XR-2204*Car Stereo. AM/FM/Cosselle $9995Pioneer TS-TRX6OSpeakers 2 -way. 150 watt handling Cal, '189°Clarion 9772RTStereo, AM/FM/Cassette $22995

(PAN CQH05)

itIantiliMailakall

Clock Radios

Sony ICF-C240Dream Machine Clock Radio

AM'FM tuner Red LED display Dream bar Sleep timer Easy time:alarm setting Bot'ery power backup system Choosebeige. gray or white finish

itti $74 95NICE, (SON ICFC240.c olor)

Panasonic RC -6092Dual wake up system, back-up

Sony ICF-C101W*Cube design. backup

General Electric 74965*Stereo w/cassette recorder

Sony ICKS950*Stereo. dual alarm, line -in jock

Panasonic RCX-250Sterea. dual alarm

Proton 320Higtvech, dual alarm

525"

527"

559"

569"

574"

59995

Home Appliance Specials

-;(1

KitchenAid KSMSGRHeavy Duty ProLine Mixer

325 watts Easy -to -use bowl -lilt handle 10 -speed solid state control 5 -qt -stainlesssteel bowl Flat beater, dough hock & wire

grey finishour

once 52 8 995 (KA KSA-15GR)

Black & Decker 9334

Metro 9800Electronic Digital Scale

Highly accurate scale uses strain gougetechnology No moving ports Only 1.25'thick Steel construction Large easy to read

2995POGO

$(MTS 9800 -color)

Panasonic EV-228Panobrator massager, variable speed . 53995 Compact vacuum. rechargeable . . . 539"Panasonic ER -200B KnJps/130*Beard/hair trimmer 549" *Coffee maker. 10 -cup

$5495

Marshall 85 Panasonic NI.682Blood pressure monilor, LCD readout . . 554" Slearn iron. nonstick surface 55995Remington HR2 Delonghi Alfredo*Ladies hair remover. rechargeable . . 55995 *Euro-style loaster/oven, asst colors . . S79"Interplak PB-2 Sharp R3V80*Plaque removal dental instrument . . . 574" Microwove Oven. 500 watts . . . . 93V5Braun 3550 Panasonic NN -6509Mens deluxe electric shaver 588" *Microwave Oven, 1.1 Cu. It, 700 watts 5199"

Cordless Phones/Answers

AT&T 5500Cordless Telephone

Corded sound quality Indoot outdoor use Extended life batteries Speakerphone Dual keypad 90 memory 10 channels Digital security system Lighted dial

a.9:, $77995Price 4, (ATT 5500)

Panasonic KXT-1450Answering Machine. beeperless remote $6995

Panasonic KXT-3720Cordless phone. 104 speed del . . . 59995

AT&T 5200Cordless phone. corded sound quality . 919"Panasonic KXT-2634Answering Machine/Speokerpbone . . 514995

Code A Phone 5890Answering Machine/Feature prone . . 5159"Phonemate ADAM*Digital Answering Machine/Phone . . si9995

Typewriters/Word Processors

Panasonic KX-W1510Personal Word Processor

58.000 -character text memory 3.5"diskdrive 80 -character X 25 -line 9"CR1 display 63.000 Accu-Spell Plus dictionary 45.000 -word thesaurus

?:'; $5 2 9 9 5POOP (PAN KXWI510)Panasonic KXR-530Typewriler, 7K text memory 5169"Canon Typesfar 110AC/DC Portable typewriter 5179"Brother AX -550typewriter, w/Word Processor features . $21995Brother WP -760D*Word Processor. 70K dictionary . . . ,349"Brother WP80*Portable Word Processsor. Disk -drive . 5499"Canon Vomiter 80Worrl Processor, bubble let printer . . $699c5

Order Toll Free24 Hours A Dayl

Musical Instruments

Yamaha VSS-200Digital Voice Sampling Keyboard

Mid size with 49 keys Voice sampling withdetachable mic 100 preset FM voices &sampled voices Digital synthesizer voiceeditor Requires 6 X C batteries

7O.; $095Nice F (YAM VSS200)

Yamaha PSS-50Keyboard. 32 -keys. 100 FM voices . . . 5399sYamaha DD6Electronic drum pads, 100 PCM patterns 599"

Yamaha PSR-18*Keyboard, 61 -keys. stereo 516995

Casio CT -615Keyboard. 5 -octave lone bank . . . 518995Casio CT -670Full size keyboard. 12 note polyphonic 5339"

Casio CPS -300*Keyboard. midicompolible . . . .5379"

- Assorted Specials;,

British Boston 4427Portable Clock gadio

AM/FM tuning with LCD (Liquid CrystalDisplay) Compact lightweight design Blackfinish Includes AC -jock & case Requires 3X AA batteries

$34 95Price(BB 4427)Braun AB-30VSAlarm clock. voice controlled . . . 529"Zelco 10006*Micro halogen lamp 53995

Bushnell 13-7305Ensign Standard Binoculars. 7 X 35 . . . 54295SciSys Checkers -Table*Electronic checker game 549"SciSys Bridge*Electronic bridge game $8995

SciSys ConquistadorElectronic chess game $12995

Facsimiles/Copiers

Canon PC -I1Personal Copier

Fast speed of 10 copies per minute Zoomlens allows reduction & enlargement 70-122% Stationary platen & document holder Single toner cartridge system

LOW 597995PrICO

Murata M900Compacl Fox. Spage feeder . . .

Canon PCICopier, rapid -start for instant copies

Sharp UX-110Fax. 5 -page document seeder .

Sharp UX-181Fax. 10 -page teed. 601 aulo-dial

Canon Fax 23fax. paper cutler, 15 page (cede/

Murata M2000*Fax, paper cutter. 30 -page leader

(CAN PC11)

.5399"

.5399"

. 5499"

. 5649"

.5749"

. 5999"

TO ORDER BY MAIL:SEND MONEY ORDER, CERTIFIED OR CASHIER'S CHECK, MASTERCARD, VISA, AMERICAN EXPRESS or DISCOVER CARD (Include Interbc nk No,expiration date and signature.) TO: J&R MUSIC WORLD, DEPT. SR0990, 59-59 QUEENS -MIDTOWN EXPRESSWAY, MASPETH, QUEENS, NY11378. Personal and business checks must clear our Authorization Center before processing. Shipping, Handling & Insurance ChargeIs 5% of Total Order with a $4.95 minimum (Canadian Orders Add 15% Shipping, with a $9.95 minimum charge) For shipments by air,please double these charges $25 MINIMUM ORDER. DO NOT SEND CASH. SORRY, NO C.O.D.'s. NEW YORK RESIDENTS PLEASE ADD SAXES TAX.

ALL MERCHANDISE SHIPPED BRAND NEW, FACTORY FRESH, AND 100% GUARANTEED. Copyright 1990 J&R Musk World

BACKBEAT

SOMETHING FIERCETHIS WAY COMES

by Steve Simels

0 NE of the coolest thingsabout rock-and-roll-atleast in the days beforesuch demystifying phe-

nomena as an Establishment rockpress and MTV-used to be theopportunity to discover stuff onyour own. What, after all, could bemore gratifying than stumblingacross a neat record by some bandneither you nor anybody at yourschool had ever heard of?

Of course, these days that kind ofhappy accident happens less fre-quently than it used to, perhapsbecause of the global consolidationof the entertainment industry andthe resultant Orwellian manipula-tion of audience taste. But thanks toa small group of unrepentant mu-sician/entrepreneurs worldwide, itstill can happen. In fact, it just did,and therein hangs a tale.

Briefly, a package-a letter and acD-recently crossed my desk. Ididn't recognize the band responsi-ble for the disc, but the note wasfrom a reader who, some monthsbefore, had sent me a flattering fanletter. His new missive extolled thevirtues of a group called SomethingFierce, three youngsters from Way-zata, Minnesota, who are apparent-ly, to paraphrase Mel Brooks, worldfamous in their home town.

Now, like most critics, I get simi-lar packages fairly often, few ofwhich I have the time to audition.Nevertheless, I decided to give theCD, titled "Franklin Pierce," a spin.And you know what? It was the bestpiece of rock-and-roll I'd heard inages, a little masterpiece of wit andsongcraft. True, there were obviousinfluences-the Beatles, XTC,Squeeze, all sorts of pop stuff rang-ing from the Sixties to the earlyEighties-but the tunes were so un-failingly catchy, so wickedly funny(I defy anyone to listen to the gor-geous Deep and Meaningful withoutcracking up), and so beautifullyplayed (Steely Dan guitar solos in apost -punk context?) that the groupseemed like that rarest of rare birds:a young band with a fully devel-

oped, thoroughly original stylisticidentity.

However you describe SomethingFierce, it's a great band, and theonly question left is, where has itbeen all my life? The answer, as Idiscovered during an expensivephone call to Jeff Carpenter, one ofthe band's two principal songwrit-ers, is both mundane and inspiring.The trio has been in Minnesota,doing what they do for the love of it,with occasional breaks for graduateschool and nonmusical jobs.

Brief bio: Something Fierce gottogether at Carleton College, a smallliberal -arts school of 1,800 studentsnear Minneapolis, in 1983. Fromthe start, it was a songwriters' band:"We try to let the songs determinewhat our style is," Carpenter ex-plained. The "Franklin Pierce" al-bum, which the band billed in typi-cally wry fashion as having "a fuller,more presidential sound," is actual-ly their fourth-the first three wereoriginally on cassette only. Al-though the guys still work day jobs,they play at least four or five nightsa month to a devoted and expand-ing local following (they've alreadymade back the money it cost to pro-duce the "Franklin Pierce" CD).

Asked to describe the band's mu-sic, Carpenter came up with (in allseriousness) "original danceablepop," a characterization that could,of course, also be applied to Madon-

na, whom they in no way resemble.Later he added, almost offhandedly,"If we can't do what we do and besuccessful, I'd rather just do whatwe do."

That mildly quixotic attitude isprobably why Something Fierce isoff in the boonies making great mu-sic that I had to discover essentiallyby accident. Unlike the majority ofthe preening careerists featured onradio and TV today, these guys havetaken to heart Rick Nelson's sageadvice: You can't please everyone,so you might as well please yourself.But if, against the odds, it's still pos-sible to discover a cool band onyour own, there's no reason whysaid cool band can't get a big breakeventually, and Something Fierce isso obviously good that I wouldn'tdiscount the possibility.

In the meantime, you can order"Franklin Pierce" go SomethingFierce, 2220 Springwood Rd., Way-zata, MN 55391. Postpaid, the costis $9 for the cassette version and$12 for the CD. Make the check pay-able to the band, and don't forget toask about the rest of its catalog,including the wonderful "Some-thing Fierce This Way Comes," fea-turing the dance classic The IronicTwist, and the forthcoming Christ-mas single Satan Claus ("He's goteight reindeer-and he fills themwith fear!"). Be the first kid in yourschool to get hep to these guys.

Something Fierce: from left, Jerry Lefkowitz, Jeff Carpenter, and David J. Russ

118 STEREO REVIEW SEVIEMBER 1990

ter. SAVE MONEY, TIME AND FREIGHT ON FAMOUS BRAND STEREO EQUIPMENT!nII

IAI*

I'a -g

lb111

CASSETTE DECKSTECHNICS SBL-36

PowerfulLoudspeaker System Linear Phase 2 -WaySystem Large Dram 10"Woofer Anhresonancecabinet AttractiveWoodgroin Finish

CALL FOR PRICE

DBX SF -5000. Soundlield technology

as 3 -way monitor Computer designed Life -like imaging- -so SALE: $299.95 pair

111

1.1

IS

TECHNICS SBS4073 -Way Speaker

System 12" Woofer Horn SuperTweeter High Heal Rests -lance Efficiency BossReflex Design HeavyDuty Anti -ResonanceCabinet

CALL FOR PRICE

JENSEN 3120 12", 3 -Way 1T, lowfrequency driver 150Watts peak power 160watts continuous Barton hickory finish

List: 5139.95 ea.

SALE: $74.95 ea.

PORTABLESSONY WM-AF57

AM/FM Stereo RadioCassette Player

Dolby B NR Auto -reverse with directionand mode selectors Variable Mega Bass Ultra -light MDRheadphonesList 594.95

SALE: $62.95SONY WM-AF604Sony Super Walkman AMIFM Stereo CassettePlayer X-tro Small Size Auto Reverse QuickCharger Dolby B NRList 5169.95

SALE: $116.95SONY D-25Discman PortableCD Player Ultra Small & LightWt 21 -Track Random Music -Sensor 4 -Repeat Modes Unilineor Converterw/Digital Filter

CALL FOR PRICE

AUTO

SHERWOOD XR-1604Car Stereo with Cassette Deck

High power Removeoble din 19presets Dolby- BOC Auto reverse Fulllogic CD -inputList. $40995 SALE: $219.00

r7IFI.ur trLaiLkaTA

PANASONIC CAE -850II CD Player Ak4IFM Slerio radio Removeoble din 24 presets 4x over -sampling Requires separate amp

4,4 List $700.00 SALE: $330.001.1

CD PLAYERS

mrMaid/4.1.11

171

SHERWOOD CD -1182Remote Control Compact Disc Player .1 Full !unction remote control with 10 keypad 3 beam laser 8X oversampling 4 way repot functionList 526995 SALE: $139.95

-

TECHNICS SL -P370Programmable

Compact Disc Player A new generation of CD player usingshe MASH Digital -to -Analog converter Linear Motor transport 10 key directaccess on Iront panel & remote control

CALL FOR PRICE

AMR lull

SHERWOOD CDM-1260R6 -Disc CD Changer with Remote

4X oversampling 'Obits 2 DA Convertors 32 track random programming 10 key remote

List 5319.95 SALE: $219.95

laEllffEEEEIE .6121111

TECHNICS SL-PC25Rotary Compact Disc Changer

Change discsduring play with top -loading.5 -disc rotary design Completely pro-grammable: repeat and random play lor 5discs Multi -function. 25 key wirelessremote control Quadruple oversampling 20 step random access programming

CALL FOR PRICE

.111.0.1XLM7038KCD Multi -Changer

6-F1 CD Changers player Remotecontrol Random Access program up lc32 steps 18 bit DAC 4 X oversamplings

Digital FilterCALL FOR PRICE

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CLASSICAL MUSIC

Discs and tapes reviewed byRobert Ackart, Richard Freed,David Hall, Stoddard Lincoln,Eric Salzman, andDavid Patrick Stearns

BRITTEN: Sinfonia da requiem, Op.20; Peter Grimes, Op. 33, Four SeaInterludes and Passacaglia; The YoungPerson's Guide to the Orchestra (Varia-tions and Fugue on a Theme of Purcell),Op. 34. Royal Liverpool PhilharmonicOrchestra, Libor Peek cond. VIRGIN 0VC7 90834-2 (63 min).

Performance: First-rateRecording: Likewise

The Sinfonia da requiem, composed in1940 when Britten was still in his twen-ties, is one of those masterly pieces thatsomehow manages to emerge after longperiods of puzzling neglect. Its back-ground and its substance combine tomake it a sort of preamble to the WarRequiem. In any event, it is probablyBritten's finest work for orchestraalone. It has been appearing in our con-cert halls in the last few years and isnow represented by four or five record-ings, including the composer's own onLondon. Libor Pekk's riveting new per-formance is no mere courtesy gesture bya Czechoslovak conductor who's takenover an English orchestra but the sort ofmusicmaking that bespeaks the mostgenuine commitment.

That impression is sustained in theother two works on the disc, which fol-lowed the Sinfonia by only a few yearsbut are much more familiar. Peekplaces the Passacaglia neither after theSea Interludes, as is usually done, norbefore them, as is sometimes done, butbetween the last two of them. Thearrangement works very well-and, ofcourse, one of the advantages of CD'S isthat if you don't care for his sequenceyou can program the one you prefer. Inany case, you couldn't ask for a moreconvincing performance of this music.

The chronological programmingmakes for an exhilarating conclusion. Itwas the Liverpool Philharmonic-notyet "Royal"-that first performed andrecorded The Young Person's Guide tothe Orchestra, under Sir Malcolm Sar-gent in 1946, and one might infer a bit

EXPLANATION OF SYMBOLS:

ao = DIGITALLY RECORDED LP= TAPE CASSETTE= COMPACT DISC (TIMINGS ARE.

TO NEAREST MINUTE)

of proprietary relish on the part oftoday's players and their conductor.The recording puts all three works inthe most natural aural frame, from theperspective of a good seat smack in thecenter of a fine hall. R.F.

DONIZETTI: Maria Stuarda. EditsGruberova (soprano), Maria; AgnesBaltsa (mezzo-soprano), Elisabetta;Francisco Araiza (tenor), Leicester; oth-ers. Bavarian Radio Chorus; MunichRadio Orchestra, Giuseppe Patanecond. PHILIPS 0 426 233-2 two CD's(133 min).

Performance: Very satisfyingRecording: Clear, resonant

Donizetti's Maria Stuarda is basedloosely on Schiller's verse tragedy and iswritten to a libretto built upon characterrelationships rather than action. It isalso transcendent in its fecundity ofmelody, sweep of orchestration, andtheatrical totality created by musicalone. The technically superior newPhilips recording is performed by artistswho understand and have mastered thecomposer's florid and powerfully dra-matic style. As Maria, Edita Gruberovadelivers one of her best recorded per-formances. A few alternate end -of -scenehigh notes are unnecessarily assaultedand, unhappily, out of vocal focus, butshe sings the role with expressive lim-pidity and brings to the helpless Maria atouchingly pitiable quality. Agnes Balt-sa's Elisabetta conveys the contrastingqualities familiarly associated with Eng-land's great queen-strength, intensefeeling, jealousy, hesitancy in the face ofirrevocable action. These diverse facetsof character are portrayed with a seam-less mezzo-soprano that manages Doni-zetti's fioratura with the ease of a cham-pion steeplechase racer.

Francisco Araiza sings Leicester withconsiderable effect. His instrument hasdarkened in recent years but withoutloss of agility, so that in this vocallyrather light role he comes off to goodadvantage. As Cecil, Simone Alaimouses his pleasing, fairly large baritone tore-create effectively the implacability ofElizabeth's foremost advisor in his de-sire for Maria's death. Francisco Ellerod'Artegna is effective in his scene withMaria as she confesses past wrongs; it isthe one extended passage for this char-acter, and the basso performs it withsimplicity and sincerity. The BavarianRadio Chorus's contributions to thismost un-German of operas are full ofdramatic fervor, tonal richness, and af-fecting pianissimo passages. Likewise,the Munich Radio Orchestra respondswith precision and full-bodied tone toGiuseppe Patane's wishes and delivers areading best described as opulent. Theconductor himself paces and colors the

performance so that encounters be-tween the various characters are at alltimes incisive and compelling. R.A.

DVOrtAK: Symphony No. 5, in F Ma-jor, Op. 76; Othello Overture, Op. 93;Scherzo capriccioso, Op. 66. Oslo Phil-harmonic Orchestra, Mariss Jansonscond. EMI/ANGEL 0 CDC -49995 (64min).

Performance: SpiritedRecording: Good

An interesting program this, inasmuchas it includes the last of Dvoffik's "ap-prentice" symphonies (the only one ofthe early series he allowed to be pub-lished); the Scherzo capriccioso, repre-senting the composer at the height of hisCzech -nationalist phase; and the con-cert overture Othello, a score that pavesthe way for the late symphonic poems.

An airily bucolic tone pervades theopening movement of the F MajorSymphony, along with influences fromBrahms and pre -Ring Wagner, but themelodic contours are essentially in thegenuine Dvoffik mold. Even though theslow movement echoes the big openingtune of Tchaikovsky's B -flat Minor Pi-ano Concerto, which was given itspremiere the same year (1875) in Bos-ton, the music is no less beguiling for allthat. It is in the scherzo that we get thereal McCoy-a sizzling dance move-ment that points straight to the Sla-vonic Dances. The finale is a bit longand weighty, but it brings the symphonyto a conclusion with a jubilant return ofthe opening theme. Mariss Jansons andthe Oslo Philharmonic are in top formthroughout, tackling the music withsplendid rhythmic address without ne-glecting its tenderly atmospheric quali-ties. The Scherzo capriccioso likewisegoes with splendid dash, if not quite the

Gruberova: a touching Mary Stuart

6


CLASSICAL MUSIC

authentic Czech lilt that characterizessome other readings.

The neglected and fascinating Othellooverture was conceived by Dvorak asthe last of a trilogy of overtures on thesubjects of nature, life, and love, follow-ing In Nature's Realm and Carnival.The composer himself conducted thetrilogy in 1892 as part of a concert inNew York's Carnegie Hall marking hisappearance on the American scene asdirector of the National Conservatory,and his program notes for that occasionmade clear that in Othello he had inmind the tragic final scene of the Shake-speare play. The performance here isfirst-rate, and, in a welcome move, EMIapparently altered its Oslo microphonesetup to provide a greater sense of spaceand a touch more brightness than in itsprevious recording sessions there. D.H.

LISZT: Piano Concertos Nos. 1 and 2;Hungarian Fantasy (see Best of theMonth, page 100)

MAHLER: Das Lied von der Erde.Brigitte Fassbaender (mezzo-soprano);Thomas Moser (tenor); Cyprien Katsa-ris (piano). TELDEC 0 2292-26276-2 (61min).

Performance: ExcellentRecording: Ideal

Mahler's piano version of Das Lied vonder Erde was apparently lost for nearlyeight decades. Stephen E. Hefling, whoprepared the critical edition once theautograph materials came to light, pro-vides an indispensable note with thisrecording, pointing out that this versionis by no means a mere sketch or "study"for the well-known orchestral versionbut a fully developed alternative to beconsidered on its own terms. There aresome curious differences, though. Thefour inner movements have titles differ-ent from those in the orchestral ver-sion-"Die Einsame im Herbst," "DerPavillon aus Porzellan," "Am Ufer,"and "Der Trinker im Fruhling," respec-tively, instead of "Der Einsame imHerbst," "Von der Jugend," "yonderSchOnheit," and "Der Trunkene imFrahling"-and there are a few changesin the texts themselves. There are differ-ences, too, in the music, as Heflingnotes, in respect to pitch, rhythm, tem-po, and nuance-and in the concluding"Abschied," which is nearly as long asthe five preceding movements com-bined, these differences are fairly nu-merous.

While Mahler did indeed produce pi-ano versions of his earlier orchestralsong cycles or collections-Lieder einesfahrenden Gesellen, Kindertotenliederand the other Racked songs, and DesKnaben Wunderhorn-it does seem cu-rious that he would want to provide a

Brigitte Fassbaender

"WINTERREISE"EST anyone assume that BrigitteFassbaender'srecording Schu-bert's Winterreise is merelysome sort of stunt, Alan Blyth

points out in his annotation for the Ger-man mezzo's new Angel disc that bothLotte Lehmann and Elena Gerhardt notonly sang this cycle but wrote about theeffectiveness of women singing "men'ssongs." Fassbaender sang Winterreisefor the first time at the Schubertiade atHohenems in the summer of 1987 andmade this recording a year and a halflater, having in the interim settled inand refined her interpretation. It is anoble one, seemingly effortless and un-contrived, projecting the directness andsimplicity of the text with a power thatis the greater for concealing the subtletyand thought behind it.

If the opening "Gute Nacht" seems alittle metronomic at first, its treadlikeregularity sets up just that lulling mel-ancholy the text calls for. The same sortof common-sense directness insures anuncommonly convincing poignanceand freshness in "Der Lindenbaum"and a pure, uncluttered luminosity in"Einsamkeit." Clearly, Fassbaenderdoes not see these twenty-four songs asseparate units but as inseparable partsof a continuous narrative. Pulse andmomentum support that continuity in asort of arch, reaching a peak of intensi-ty-with an impression, wholly appo-

site to the texts, of self-restraint im-posed over some resistancein "DieKrahe" and "Im Dorfe." When the endis reached, in "Der Leiermann," thesense of finality is quietly, intimatelyoverwhelming.

Fassbaender's voice quality itselfsuits the music and her approach to itsplendidly. The sound is at all pointslovely but never too pretty, suggesting asimple purity from which all nonessen-tials have been scrubbed away-as has,perhaps, the notion of Winterreise as awork to be sung only by men (eventhough Schubert himself may have soconceived it). The pianist is AribertReimann, the composer of the operasLear and The Ghost Sonata, who hasmade an important second career asaccompanist to some of today's out-standing singers. Let us remember that"to accompany," especially in such awork as this, does not mean merely "toprovide a back-up" but rather "to be acompanion." Reimann is a partnerhere, and a superb one; I cannot imag-ine the songs or the singer being betterserved. The sonic focus, too, is exem-plary, and the booklet contains full textsand translations. Richard Freed

SCHUBERT: Winterreise (D. 911).Brigitte Fassbaender (mezzo-soprano);Aribert Reimann (piano). EMI/ANGEL0 CDC 49846 (70 min).

STEREO REVIEW SFr l'EMBER 1990 121

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similar alternative in the case of a workthat he did not regard as a song cyclebut took pains to label a "symphony."To most of us by now, and by no meanssolely because of familiarity, the orches-tral textures constitute an essential partof the work, of its character and sub-stance as well as its form, such that wecannot imagine its having been con-ceived in other than symphonic terms.Even in such a committed and largelypersuasive presentation of the pianoversion as this one, it is not so muchthat the piano part sounds like a reduc-tion of the orchestral one as that thedimensions indicated in the vocal writ-ing seem scaled more to symphonicthan to keyboard partnership.

Apart from such admittedly subjec-tive observations, it must be said thatthis CD makes as strong a case as can beimagined for the piano version. BrigitteFassbaender, who seems to thrive onexploring unusual or unexpected ap-proaches to familiar works, respondswith somewhat greater urgency andpoignancy here than in her recording ofthe orchestral version with Carlo MariaGiulini for Deutsche Grammophon-perhaps because she is aware that somuch more is riding on her own contri-bution in this case. Thomas Moser doesnot suggest great reserves of strength,but in general he is also a sympatheticand persuasive interpreter. CyprienKatsaris, of course, has recorded a lot oforchestral music in piano transcriptions(all the Liszt settings of the Beethovensymphonies), and this may perhapshave equipped him with special insightsfor such an assignment. In any event, hedischarges it heroically and with thegreatest taste and sensitivity.

It seems unlikely that anyone wouldchoose the piano version of Das Lied inpreference to the orchestral one, but forthose who may be interested in it forcomparison's sake, it is even more un-likely that it will be brought off morepersuasively by any other team. Teldechas put it all in ideal aural perspectiveand provided full texts and transla-tions. R.F.

MENDELSSOHN: Symphony No. 1,in C Minor, Op. 11; Symphony No. 5, inD Major, Op. 107 ("Reformation").Leipzig Gewandhaus Orchestra, KurtMasur cond. TELDEC 0 44933-2 (55min).

Performance: MuscularRecording: Rich, reverberant

The New York Philharmonic's musicdirector -designate, Kurt Masur, herecompletes his Mendelssohn-symphonycycle with the Leipzig Gewandhaus Or-chestra, with which the composer'sname is indissolubly associated. The CMinor Symphony (1824), Mendels-sohn's initial foray into full-scale sym-phonic writing, is redolent of Beethovenand Weber in the first movement and ofthe brusque side of Mozart in the third -movement menuetto. The Weber ele-


ment comes to the fore in the finale, butthere is also some powerful fugal devel-opment that shows conclusively theyoung composer's mastery of the mu-sical nuts and bolts. As set forth in asinewy performance by Masur, the FirstSymphony emerges as a work of consid-erable power.

The Reformation Symphony, Men-delssohn's second full-scale symphony(notwithstanding its being numbered asthe Fifth because of its posthumouspublication), was written to celebratethe three -hundredth anniversary of Lu-theranism. Masur, however, seems in-tent on soft-pedaling those ceremonialassociations, which have often led tooverly pompous readings, in favor oftempos that evoke the purely festive ina secular sense. There is no lingering inthe slow introduction, though theDresden Amen is intoned with duemystical reverence. The delightfulscherzo sounds a mite pushed to myear, but the brief and somber slow -tem-po bridge to the finale is done to tellingdramatic effect. The finale, built aroundthe chorale Ein feste Burg ist unser Gott,is the movement that trips up manyperformances if the pomp is overdone.Masur views the finale as more of apeople's celebration than a solemnchurch ritual, and I believe the music isbetter for it. In short, this is a provoca-tive and stimulating reading.

My one reservation has to do with thereverberation characteristic of theNeues Gewandhaus where the record-ing was made. While it results in verywide-ranging and full-bodied sound, inthe strings especially, it also makes forill-defined timpani strokes. ThoughClaudio Abbado offers a more conven-tional interpretation in his Mendels-sohn cycle with the London Symphonyon Deutsche Grammophon, the re-corded sound is virtually ideal fromevery standpoint. If the music's thething, however, I would not pass up thisunusual reading by Masur. D. H.

PURCELL: The Fairy Queen. NancyArgenta, Lynne Dawson (soprano);Charles Daniels, Jean -Paul Fouche-court (countertenor); Thomas Randle(tenor); Bernard Deletre, ThomasLander (bass); Les Arts Florissants, Wil-liam Christie cond. HARMONIA MUNDI

401308/9 two cassettes, 901308/9two cces (129 min).

Performance: BuoyantRecording: Fine

Opera, according to the seventeenth -century English dramatic poet JohnDryden, consists of "a poetical tale . . .

represented by vocal and instrumentalmusic, adorned with scenes, machines,and dancing." In order to insure theperfection of each element, in Dryden'stime the tale was represented by actors,who did not sing, while the singers anddancers, who were not called upon tospeak, operated on a purely incidentalbasis. Thus, in this recording of Pur-

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cell's music for The Fairy Queen, anadaptation of Shakespeare's A Midsum-mer Night's Dream, we hear nothing ofthe confused couples who have escapedthe Duke's court, nor of Titania andOberon's quarrels, nor even of Bottomand his rustics, all of whom are a part ofthe spoken "poetical tale." What wehear are the numerous songs and cho-ruses as well as the incidental music tothe various masques: There's the one inwhich a drunken poet wanders intoTitania's court and is pinched into un-consciousness by her attending fairies,and another, a masque of night, whichis meant to lead the Fairy Queen intopleasant slumber. Oberon's birthday iscelebrated by a splendid masque of theseasons, and the final nuptial masqueintroduces Juno and Hymen amid agood deal of chinoiserie. This is allinterspersed with the dance music thatopens and closes each of the work's fiveacts.

In order to re-create the full spectaclein your mind's eye, you'll have to studythe accompanying booklet very careful-ly, as you also will to comprehend thesequence and the elaborate "scenes andmachines." But Purcell's music is sostrong and luminous that it stands firm-ly on its own, and you'll be thoroughlybeguiled by its beauty even without thevisual trappings that a recording mustleave to the listener's imagination.

As we have come to expect from Wil-liam Christie's recordings with Les ArtsFlorissants, the performance is indeed avery good one. His principal soloistsinclude Nancy Argenta, who sings thethree roles of Night, Spring, and Juno ina clear, well -articulated soprano; LynneDawson, who gives us a most movingPlainte; and Thomas Randle, whoselight tenor is a joy in his many solos asPhoebus, Autumn, and a Chinese man.You can almost smell the fumes of theDrunken Poet's breath as rendered byBernard Deletre, and when he's joinedby Jean -Paul Fouchecourt as Mopsa,rowdiness reaches even greater aban-don. The choral singing, of a transpar-ency that allows us to hear the innerworkings of Purcell's pungent lines, isespecially splendid in the HandelianMasque of the Seasons.

The instrumental overtures, preludes,and dance pieces receive buoyant per-

formances, to say the least. Many ofthem, in fact, are played so fast that oneexpects the Keystone Kops to make thenext entry rather than the fairy cohortsof Queen Titania. But in the end, Ithink, it must be pointed out that Chris-tie has refitted this work, which in itsday would have been presented as alarge-scale English theatrical event, tothe overrefined setting of the Frenchsalon. I question his constant use ofdouble -dotting and rhythmic altera-tions. While they are effective at times,they very often weaken the strongrhythmic profile of Purcell's music.Also, his mix of English and Frenchsingers presents some problems regard-ing diction. The French forces do verywell indeed, but there are lapses as anoccasional vowel is nasalized or the ren-dering of a phrase is decidedly moreGallic than English. Altogether, though,this is a spirited and beautifully pre-pared production. S.L.

RAMEAU: Les Surprises de l'Amour.Les Musiciens du Louvre, Marc Min-kowski cond. ERATO 245 004-2 (52min).

Performance: A breakthroughRecording: Resonant

This is the first recording of a workthat's important to the current FrenchBaroque revival, both for the forward -looking nature of the music itself andfor the way it's performed. While themusic, a suite of dances arranged ac-cording to an elaborate mythologicalprogram, has all the surface gentility ofits time, the mid -1700's, there are alsostartling flashes of ambiguous tonalityand oddly contrasting cross rhythms..Accordingly, Marc Minkowski and hisMusiciens du Louvre adopt an expan-sive style of performance that puts acertain emphasis on the thorny, imper-tinent side of Rameau's musical person-ality. Their approach is more convinc-ing than the leaner, more Handelianstyle of Rameau by John Eliot Gardinerand Frans Brtiggen or the more volup-tuous style of Sigiswald Kuijken. Min-kowski has not only given us anextremely enjoyable recording of someextremely charming music but has con-tributed greatly to our understanding ofthe French Baroque. D.P.S.

William Christie: beguiling Purcell

SCHUBERT: Piano Sonatas; Valsessentimentales (see Best of the Month,page 96)

SCHUMANN: Fantasiestikke, Op. 12;Blumenstdck, Op. 19; Davidsbundier-tanze, Op. 6. Vladimir Ashkenazy (pi-ano). LONDON 425 109-2 (71 min).

Performance: Mostly elegantRecording: A little too close

Over the years, Vladimir Ashkenazyhas been one of the most consistentsources of musical pleasure in a reason-ably broad, if not exactly all -encom-passing, repertory. If there is anythingat all negative to be said about thisfourth installment in his new Schu-mann cycle, it is only by the measure ofwhat he himself has led us to expect,and even at that it amounts to rather lit-tle: simply that in several of the moredeclamatory episodes he tends to sounda little uncharacteristically aggressive, ifnot quite coarse. It is an effect that may,in fact, have been created, or in anyevent enhanced, by the very close-uprecording, which has the piano sound-ing a bit larger than life. Just turningdown the playback level doesn't seem tohelp. Otherwise, there is little to speakof other than the unselfconscious ele-gance that illuminates all of this pian-ist's work. There is no end of poetry inthe quieter sections, in which we arereminded of how true to life London/Decca's piano reproduction can be.This is a fine issue in so many respects;let's hope for a little more restraint inthe sonic focus next time. R.F.

COLLECTIONLONDON CLASSICAL PLAYERS:Early Romantic Overtures. Weber: Obe-ron. Mendelssohn: Fingal's Cave, Op.26. Berlioz: Les Francs-juges. Schu-mann: Genoveva, Op. 81. Schubert: Ro-samunde. Wagner: The Flying Dutch-man. London Classical Players, RogerNorrington cond. EMI/ANGEL 4DS-49889, CDC -49889 (59 min).

Performance: Very satisfyingRecording: Superb

The early -instrument movement hasbeen working its way up past Beethoveninto the high tide of Romanticism forsome time now. And here we are. RogerNorrington, who has recorded the Ber-lioz Symphonie fantastique, is, in fact, avery sympathetic interpreter of the ear-ly Romantics, and these popular,colorful, and lyric tone poems are veryfresh -sounding in this new/old guise.The works here range from Schubert's1820 overture to Rosamunde to theoverture to the 1841 version of Wag-ner's The Flying Dutchman, which evenin its earliest form strains the resourcesof the Classical orchestra.

It looks as if we're going to need awhole different period orchestra forworks of the later nineteenth century-one for each decade, perhaps! E.S.

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CABLE TV CONVERTERS. DESCRAMBLERS Guaranteedlowest prices in 'U.S., Jerrold, Hamlin, Zenith-many others!Lowest dealer prices! Orders shipped within 24 hours!MasterCard-Visa-C.O.D. accepted. Free catalog-call(800) 345-8927 only! Pacific Cable Co., Inc., 7325 1/2 ResedaBlvd., 1366, Reseda, CA 91335. All other information, call (818)709-9937.

LOWEST PRICESOn over 125 brandsCar - Home - Video

For Specials List -800.233-8375Audio Unlimited

HIGH QUALITY BRANDS-Car, Home, Video including eso-teric. Audio Unlimited. 1203D Adams Ave., La Grande, Oregon97850. (503) 963-5731.

LOW PRICES!! NAD, DENON, HK, JBL, NA-KAMICHI, CARVER, BOSTON ACOUSTICS,LUXMAN, HAFLER, ADS, B&K, KEF, ONKYO,PROTON, BOSE, SNELL, DCM, M&K, PS AU-DIO & OTHERS!! SOUND ADVICE:(414)727-0071."STEREO WORLD" IS YOUR DISCOUNT MAILORDERSOURCE WITH SUPER DEALS ON HOME AND CAR STE-REO LINES INCLUDING: KENWOOD, TECHNICS, PAN-ASONIC, JVC, SONY, PYLE, PIONEER, SHERWOOD. JBL,HIFONICS, BLAUPUNKT, AUTOTEK, ADVENT, AND MANYOTHERS. CALL OR WRITE FOR FREE CATALOG. FREEUPS IN 48 STATES, 10AM-6PM MON-FRI; VISA/MC: CODACCEPTED. "OUR 4TH YEAR:' P.O. BOX 596, MONROE. NY10950. (914) 782-6044.

SAVE 40% ON HIGH -END home speakers,subwoofers, amplifiers. FREE CATALOG!RTRD. 3021 Sangamon Ave.. Springfield. IL62702.1 (800) 283-4644.

AUTHORIZED

High -end and hard -to -find audio components.Low, low prices! AUDIO AMERICA (Virginia).Call 1-703-745-2223.

SAVE UP TO 60% AT

RADAR WORLDNOBODY TREATS YOU BETTER SINCE 1976

MVO $295bra

PASSPORT

maxon

WE WILL MEET OR BEAT ANY PRICE

K40unNlen

MEMBER BETTERBUSINESS BUREAU

30 DAY PRICE GUARANTEE

30 DAY MONEY BACK GUARANTEE g ALL MODELS NEW/FULL WARRANTY -ALL ORDERS

1 DAY TO 1 WEEK DELIVERYARE CHECKEDFOR

FRAUD

FREE Double Warranty 0,E14, ar,,,9a:101t,63

RADAR WORLD 1 -800 -237 -BUYS AILF 9-5 CST CALL NOW,A DIVISION OFCOMP-U-TRONIX 1 -800 -USA -4566 Sat. Sun & After 5pm CST

CALL TO ORDER OR FOR PRICES 24 HOURS EVERYDAY,RADAR WORLD 210 S Milwaukee. Wheeling. IL 60090

CALL USLAST

WE WILL

BEAT ANY PRICEPRINTED IN THIS MAGAZINE ON

AUDIO & CAR STEREO

The SOUND Approach6067 Jericho Tpke., Commack, NY 11725FAST DELIVERYFULL WARRANTY (516) 499 7680

SERIOUSAUDIOPHILES

DESERVESERIOUSSERVICE.

And that's what youwill get at ReferenceAudio/Video . We offerthe best in high -end

audio and the best infriendly service by ourknowledgeable staff.From the latest CDplayers to the finesthigh -power amplifiers,you'll like our surpris-ingly affordable pricesand fast shipping.

Holiday GiftCertificatesAvailable

COUNTERPOINT. LREVOX. ACOUSTATMOD SQUAD JSEDAHLQUIST BOSENEC. DBX MELOSHALFER PROTONPS AUDIO. ONKYOCELESTION PHILLEXICON CRESTVELODYNE STAXFOSGATE PRECISVPI AUDIBLE ILLDCM OHM. TEACJBL. HARMAN MRSUPERPHON AKGSONANCE- MERLINIA '4.10 SAE DUAL

Call us at (213) 517-1700

18214 Dolton Ave, Dept. S, Gardena, CA 90248Hours: M -F 9 to 6, Sat. 9 to 1 Pacific Time

LOUDSPEAKER COMPONENTS -KITS. Eton, Dynaudio, Fo-cal, Eclipse. Catalog $1. Meniscus, 2442 28th St. S.W. Wyo-ming, MI 49509. (616) 534-9121.

HIGH -END LOUDSPEAKER systems, speaker kits and thewidest selection of raw drivers from the world's finestmanufacturers. For beginners and audiophiles. Free catalog.A&S SPEAKERS, 3170 23rd St., San Francisco, CA 94110.3(415) 641-4573

SINGERS!REMOVE VOCALS

FROM RECORDS AND CDs!

SING WITH THE WORLD'S BEST BANDS!An Unlimited supply of Backgrounds Fom standard

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LT Sound, Dept. SR -5, 7980 LT ParkwayLithonia, GA 30058 (4041482-4724Manufactured and Sold Exclusively by LT Sound24 HOUR PHONE DEMO LINE: I4041482.2485

EXPERIENCED, FRIENDLY ADVICE! AUDIRE, PS, CWD,STAX, KINERGETICS, THORENS, MIRAGE, GRADO,FRIED, MONSTER CABLE, QUAD, SPICA, STRAIGHT -WIRE, more. Immediate, FREE Shipping! READ BROTH-ERS STEREO, 593-B King Street, Charleston, South Caro-lina 29403. (803) 723-7276.

CABLE TV DESCRAMBLERS-FREE CATALOG!1-800-648-7938. Jerrold, Oak, Hamlin, etc. Guaranteed Low-est Dealer and Retail Prices, Warranties, Immediate Delivery.MCNISA COD. Republic Cable Products. Inc.. 4080 ParadiseRoad, #15, Dept. 710, Las Vegas, NV 89109.

PHILIPS, AUDAX, PEERLESS, FOCAL, AND DYNAUDIOLOUDSPEAKERS in stock with good prices and competentservice. Crossover components also. MADISOUND SPEAK-ER COMPONENTS, 8608 University Green. Box 4283, Mad-ison, WI 53711. (608) 831-3433.

FOR SALE

THE BEST RECORD RACK IN AMERICA. Stackable, porta-ble, oak units hold LP's, CD's and tapes. Free Mailorder Bro-chure. (please mention Stereo Review). Per Madsen Design:(415) 928-4509. P.O. Box 330101, San Francisco, CA 94133.

LOW PRICES -HIGH END EQUIPMENT: Carver, Nakamichi,Infinity, Haller, Lumen, ADS, B&K, Bose, Onkyo, Proton,Phillips and much more! (414) 725-4431.

WE SELL SECOND HAND high quality Audio and Video with amoney back guarantee. We Modify quality components Too!For a FREE monthly inventory send your name and address to:ROSS' EXCHANGE 3061 Clairemont Dr. San Diego, CA 92117or call (619) 276-8235.

CASH FOR ALL TYPES of used Stereo equipment. We buy byphone. THE STEREO TRADING OUTLET, 320 Old York Rd.,Jenkintown, PA 19046. (215) 886-1650.

ADS., NAKAMICHI, CARVER, BANGOLUFSEN, REVOX, B&W, KEF, HARMON/KARDON, N.A.D., LUXMAN, HAFLER, TAND-BERG, ADCOM, DENON, KLIPSCH, YAMAHA,D.B.X., INFINITY, J.B.L. AND OTHER QUALI-TY COMPONENTS. BEST PRICES -LIVE PRO-FESSIONAL CONSULTATION WEEKDAYS -AUTOMATED PRICING AND INFORMATION3AVAILABLE 24 HOURS. ALL PRODUCTSCOVERED BY MANUFACTURER'S U.S.A.WARRANTY. AMERISOUND SALES INC.,EAST: (904) 262-4000 WEST: (818) 243-1168.FREE Catalog. Best Prices on DJ Sound & -ighting Equip-ment. Call SUPERIOR SOUND & LIGHTING 1-(800)359-9201.

IN -WALL STEREO SPEAKERS. All majorbrands IN STOCK. Quantity discounts. Con-tractors welcome. Fast deli very. THESOUND APPROACH, 6067 Jericho Tpke.,Commack, NY 11725 (516) 499-7680.

., B. H. ENTERPRISES1678 - 53rd St. Brooklyn, N.Y. 11204 - Mon. -Fri. 8.7, Sun. 9-6

CAL_ (800) 451-5851 IN NYC (718) 438-1027

RADAR DETECTORS SECURITYCOBRA

966 11/1 21........50 3112 _ 84. SYSTEMS

9T7 Vocw RN 15t 3165.... 124. 3170..144

MS- - I". 894 """ Ce'MEEIMM 750...... 129. 5031130 113.RO9 ..... 79. 806x.. 117. 425 91 225 69.RD3X1. 147. R027..100. 35E ........ IBAAMC Spectum 25E 164.

C367031AX 159.

mat et058700 134Q68717106 248.CS EN03 wag LK

.119.C64 Reeder ....... 147.

11.11.223,1=1R024 .. 44 RCO ...... 49.RCQI 53. RCOO ..1W.RCQ5 _ 70 REAL_ 109.

. m2FM 149

SUNGLASSES0.438064

are ranRegular 94. 119.

ADS. MIX Jilt80819 4,9,0959, 9,49Iribity, Cowin Vega,Auto TNL Beeoeha ...

CALL

( CAR STEREOS )

21:1ZIE PIONEER IIKIESZEMOMCOT= 347. 810OR ....... 324. New 00k 50006...... 584.CDeAte . VW XEH7100TCR ....... Mt New CO3ers SLOW.. 579.00x0301 509.

.010.0007.0 21 10EH 5100 ORCM/140

ORn 41 in. Xlin57 in KEHM°R 194. Washielon SONS .. 439.

raw,. 931. 0711097 119 KEH 18°' OR 161 PNIedephieSOR49 . 345.

0.. Ise. zasago 216 Ka 1500....................943 NeervillaCM40 ...... 299.

0e6.7. 270. 037070 299 KEH 5696 TR.............. 254. Montreal CA140 248.017120 in 007283 344 1(915636 234. Pheenia SOFQ9 ........ 193.14517400 35t 017500 CALL KEN 7670788 234 Tempe SOF29 169.

MMEEIN 6E11E656 222.10441546199. Bc01on SOR49 ........ 197.

ca.. era, mega 499 4E115/57 189. 8014747114. NeepurISCR29 ...... 189.

CORM In 0011505 71.1 KE. MAO OR.......... 384. ci ,,,laioNcaw., at um= 9A %0X8700008.......... 489. A,,,,' 3000 ....931COSMO 300. 0419800427 COX 850 339. C014 284. Awl/361m . .. 33900719.0 2.3 05109 M MUM 359. 0E9650 339. 4966 6033 799.

CONCORD 9971 ST"9.CCH SOO 1191.0X70%

349.RT 101.

0X70% 349. CX60X 309.KENWOOD 0(50X 279. CX4OX 249. ."42, reTia.33e.'CCM.. KCCa'n ''. MU 279. 209. ; Pi 214.

1KOiCC r. 3 0 4 .'" : CC .5 75 3 5 0" , MIEZI'll 9 773 e1 S T

.5,111, 919.. ,,,, 2. 73. 8X1310399. 9733117In.

01 419 288 MC MO in 4.C4 M. 9701 717 179.

*IC MO 2A mecca M. * .. OW 229 9703 117 .9. 9425 777 VAKS PS 2020 . 300. 692531 399. 9723 RT 179.'4"Cajil 03 R23..... M. 673791 In. 97070 in.KS PM ... .. M. 9671 117 1013 5670 CO 399

HCC 1270 ..................164 MCIrIBEM 501'''' "1 '''33'FCC 1170 .................121 718. 9. . ;;;. 3970 ill 3557003770 R. 299.

HOC 1070 124, ne0 en. ms e. SHERWOODFCC 1035 ". nee 399. nea 488. V2704 489. 012307 IAFCC 2503 359. 7303 PA 7790 446. 002607 In 1042204 139.

ICC 230 .................. 169. ga33 at 5932 570. 1710350 194. C910230 in.459. 091504 199. 011604 239

WeScon AMOK WaMeseCeet cod 04 d.o..9007 0.00.77.10696.19999COO .on /4999 6099 Nese ead 5750 1910 50 %MI kw UPS MOMS 49454.39

174 MIA.. int lb nmeln h 17.49057.41 lam Ful nem

THE MINI AD WITH MAXI SAVINGS

DENONAUTHORIZED DEALER

The mark of a true Denon.This sticker tells you who is an authorized

Denon dealer and who isn't.Some people who offer Denon products are

not authorized dealers. That can lead to problems.First, only authorized dealers offer you the

protection of a Denon warranty with yourpurchase: at other dealers, you may have nowarranty at all.

Authorized Denon dealers stock onlycomponents designed for the U.S., and have thetraining to help you select the one right for you.

Authorized dealers know Denon technologyinside and out and stock factory parts for yourDenon to preserve true Denon sound.

So before you buy your Denon, look for thisDenon Authorized Dealer Sticker.

It assures you of the authentic Denon tech-nology and support you expect. And nothing less.

To find your nearest AUTHORIZED Denon Dealer call:1-201-575-7810(9:00 am -5:00 pm EST) DENON

100% OXYGEN FREE COPPER INTERCONNECTS WITHGOLD PLATED CONNECTORS. .23 INCH DIAMETER, 1METER LENGTH PAIR.18 GUAGE CENTER WITH BRAIDEDSHfELCi. $18.95 + $3.00 SHIPPING. TX RESIDENTS ADD$1.33 FOR TAX. MAIL CHECK OR MONEY ORDER TO: JFL,8910 WYNMEADOW, HOUSTON, TX 77061.

NOW YOU CAN HAVE THE SOUND YOU WANT AND SAVE.Complete step by step plans to build your own speakers. Manyunusual designs in brochure. $4.95 Components available.Also low, low prices on home and car audio equipment. Pi-oneer, JVC, Sherwood and more. Call 1-800-331-7940.

FOR SALE

Dia/ This Number And Save!1-800-736-9011"iREE

RECEIVERS CD PLAYERS CAR STEREOYamaha Doran AlpineFO( 330 215 DC0820... Call 7180 289RX 530 Call DCMM-. Call 7280 CallFIX 730 call CCO 1560. Call 7903 CallNakamichi Hitachi 3525. 415TA-LiA. Call 3554 369TA -2A 455 Yamaha PioneerTA -3A. Call coce05.- Call KEH8100.. CallPioneer COC810... Call KEXM800. CallVSX 4700. Call COX 530- 229 KEH6070.. CallVSX 5800. 399 COX 830... Call SoundstreamVSX 9700. Call Pioneer D10011 275IMO POM-533.. 225 020011 Call8500 Can PDM830. 295 Tc303 CalDenon POM-733.. Call SS 10 CallDRA425... 345 CW3080. Call BostonDRA 825... Call 131.0 797 CallORA 825... Call 6500 Call 5.2 Pro 285AVC 3000. New NAD SonyJVC 5100 399 CDX A30... 375F9(703 325 5170 Call C0X6020. CallFO( 903 Call 5300 Call MB QuartF9<903 839 Nakamichi 215. CallPhilips COP 2A.... 399 kickerFR780 Call ODC4A.... Call Kicker 2.... 195FR880 495 CP-1 Call Super 2 CallFR960 Call JVC BazookaNAD XLI431... 215 T16 149

7103 815 XLM 403... 255 718 Call740a Cali X1.2 1010. Call T62A. New7800. Call ,...,..Ph111Pa Cowl&AMPLIFIERS L4-'80 Call RX 728 Call

C080K.... Call FIX 738 CallDemonPMA 720... Call

CM 487... 745 cD.3 CallPMA 1520. Call SPEAKERS UnidenPOA 2400. 539 P11111111210 RD 9XL 124

POA MOO. Call PN 5+ Call Card 184

'rum 375 PN8+ 325 CAMCORDERSAVC 700.... Call D.Moustlos SonyYamaha PS3 Call CCDTR5... 795OSP-700.... 839 PS10 Call CCDF55.... CallDSPE-300. Call KEF CCD F77.... CallAVS-700.... 245 C25. Call PanasonicMX -1000.... Call C35. 319 PV 520 788MX -803. Call C55. Call CanonCX-1000.... 859 Mirage Al MK2 CallAX -900 529 1MA280 Call MinoltaAX 700 Call 11%360 Call V-18. NewHAD Polk RCA1700 Call 4A. Call CC320 849own:. Pm 7(1 t-Imi m con raii

Atlantic Buyers Club18 Oak Hill Road, Toms River NJ 08753 All items are

factory fresh with full warranty and a 10 day money back.

ATTENTION AUDIO BUYERSIIIIIAuthorized dealer for ADS. ALPHASONIK,CARVER, DENON, DUAL, HAFLER, INFINITY,KENWOOD, NHT, ONKYO, ORTOFON &YAMAHA. THE SOUND APPROACH, 6067 Jer-icho Tpke., Commack, NY 11725 (516)499-7680

INSTRUCTION

FREE CATALOG. Institute of Audio/Video En-gineering. 1831 Hyperion (SR), Hollywood,CA 90027. RECORDING SCHOOL. (800)551-8877, (213) 666-2380. Approved for In-ternational Students. Member of NATTS.

COMPACT DISCS

OVER 12000 USED CD's. $3.99 to $9.99. Buy/Sell, 6th Year,Visa/MC. Send $2 for 24 page catalog. AUDIO HOUSE. 43046Brayan, Swartz Creek, Michigan 48473. (313) 65518639.

COMPACT DISCS -At low warehouse prices. Now in our 5thyear. CATALOG: Send $2.00, OZ ENTERTAINMENT, 1575 PHighway 29, Lawrenceville, GA 30244.

LIKE -NEW CD'S $4.99, UP. We pay you up to $7.00! FREESTOCKLIST: CCM, 1105 Webster, Sandy, Utah 84094-3151.(801) 571-9767.

COMPACT DISC PRICES STARTING AT $5.99. SEND $2FOR CATALOG, REFUNDABLE WITH ORDER. HARRISHOUSE OF MUSIC, BOX 388759, DEPT. SR. CHICAGO, IL60638.

WE BUY AND SELL USED COMPACT DISCS. COMPETI-TIVE PRICES! FAST SERVICE. WRITE CDCS, 551 VALLEYROAD, SUITE 124, UPPER MONTCLAIR, NJ 07043.

LOW COMPACT DISC prices-Schwann CD and COLOR CAT-ALOGS $8.00 -Mini -Catalogs $3.00-DUWARS, P.O. BOX 6662-D, Greenville, SC 29606.

Could you be missing the full impact of your CDs? Our newproduct is guaranteed to enhance your CDs or we'll buy it back!Write us today. Alternative Audio Solutions, Dept. S. PO Box36359, Cincinnati, Ohio 45236

20 FREE records, tapes or CD's with member-ship. No minimum. CD's $6.49-$10.98. FREEdetails: Campus Electronics, 3 Golf Center,Hoffman Estates, IL 60195.

GREAT CLASSICAL MUSIC!The very best CDs, Tapes, & Home

Learning Programs - guaranteed!eCall or write today for your freeCatalog & Guide to Great Music

PERFORMERS' CHOICE -^s

Box 560, Dept. SR36, Cazenovia, NY 13035Phone: 315/655-9796 Fax: 315/655-4411

Twenty free compact discs, records, cassettes with member-ship! FREE details. Blue Ridge, Rt. 6 Box 833-L, Bassett. VA24055

INVENTIONS WANTED

A NEW IDEA? Call NATIONAL IDEA CENTER of WashingtonD.C. FREE INFORMATION -1(800) 247-6600, Ext. 150.Come see THE INVENTION STORE!!

INVENTIONS/NEW PRODUCTS/IDEAS WANTED: Call TLCIfor free information 1-800-468-7200, 24 hours/day-USA/CANADA.

MOVIE/FILM/VIDEO TAPE

CABLE TV WIRELESS REMOTE CONVERTERS/DESCRAMBLERS. SALE/USE REGULATED BY FEDERALLAW. T.J. SERVICES. (313) 979-8356.

CABLE TV CONVERTERS-DESCRAMBLERS WHOLESALECLUB! WE SPECIALIZE IN DEALER SALES. OUR LOW 10LOT PRICES: JERROLD NRX3DIC $95, ZENITH ZTAC $150,MANY OTHERS! VIDEO -TECH, 3702 S. VIRGINIA ST.,#160-304, RENO, NV 89502 CALL TODAY! VISA/MC/COD800-562-6884

TAPES

4.95 SHIPPING ANY SIZE ORDER. UPS 1-800-245-6000

gr)

raz "."--""!II

FUJI 71201 PRO 02 1 W MAXELL 1AX .M. 240FuJo FAA ..29 1 ss FAX 10 200Fu.n. oW.Ao 49 .11,140 170SONY ME Al (b..° 3. XLASTO LTASONY OM . SA ISO 7 0 xLA.IM 2.20

VISA MCNG EXTRACHARGE

0

we Am Am Any Ana ol no Tow Omer akKM2.0A 20020.0 A

1NAMIR9 Ow,. PA 92 SNAA.0., SueOnfr. COOMMIMAA Tams112NUS Wawa* Am.,. YMCAS

TAPE WORLD 220 SPRING ST. BUTLER. PAINS,DEALER PROGRAMS ON DENON. TRATE AND OCTAVE

rnrlb3U412 281 hh.800 24:3 00110

O

1800' AMPEX REELS USED ONCE -SAMPLE $3.00. NEWMAXELL REELS/CASSETTES. TDK SA90: $1.79, AR100:$1.55. AUDIO TAPES, BOX 9584-S, ALEXANDRIA, VA.22304. (703) 370-5555. VISA/MC.

LASER VIDEO DISCS

SOUTHWEST LASER. 1,000's of discounted titles. Monthlyspecials. For a catalog send $2.00 to 9800d Topanga Canyon,Suite 318, Chatsworth, CA 91311.

CAR STEREO

TMS ELECTRONICS14 CAPITOLA ROAD

DANBURY, CT 06811(203) 746-7252

AUTOMOTIVE ONLYSHERWOOD

(800) 999-2003C.O.D.S ONLY.

ROCKE(oto1'I'4:XR.1504... 210 PUNCH I So ._..370

5CP.802 155 POWER No AST

PYLE PRECISION POWERKP6940D.. ......... .145 PPI 2075. 365

.100 PPI 2150.... 485

WL1880 .190 PPI 4200. 380

WL15160.... 170

KF.NWOODKRC RIO 195

SONY KAC 821XR.7400... KAC 921 340CDX4020... 1141 KDC 930 390

KDC C200 470

XEC.1000 195 PIONEERKEH-8100Q8 335

ROSTON ACOUSTICS DER 55 395RA767 KEXM800/30 7605.2 PRO 285 GM -2030 45

GM :30x0 135

GM -4000 385KICKER

INFINITYCIO/F10 67 RSA 52K 99

C12/F12 75 RSA 63K .145

.CERWINVEGA IADS HK 'PHOENIX *BAZOOKA*CLARION CIBIE *COBRA BEL K40 *ALPINE

1111111).2taa

43 Racal Court S.I. NY 10314

CAR STEREO SPARS

ALPINE

ADS

AUDIOAUDIO CONTR.

AUTOTEK

BLAUPUNKT

BASOOKA

BOSTON ACOUSTICS

CARVER

CLARK.CONCORD

DATA BANNS

CASIO

PERSONAL STEREOS

scwvSONY WATCHMAN

DENON

HARMON KARDON

11,FONICS

INFINITY

JVC

JELL

K NWOOD

A. BO1.1

NAKAMICHI

ORION

RADAR DETECTORS

BEE VECTOR

LINDEN

SNOOPERwHISTLER

COBRA

ALSO CALL FOR FULL OE TARS OF PURCHASE

CALL FOR LOW LOW PRICES

PPNEER

POLK

PRECISION POWER

pvLE

ROGATORD TOSGATE

SORT

SOuND STREAM

SHERW000VAMANA

U.1( RAPOS

NAK04100PROToN

MiM1SYSTEM

DENON

718-370-1303MONEMV.FRIDAV IMAM 71,01

"The Quick Connection"

B.J. AUDIO991 Beechmeadow

Cincinnati, OH 45238(513) 451-0112

HOMENAKAMICHI H/K ONKYO CHICAGO SPEAKER STAND CARVER AIWA DESIGN ACOUSTICS DENON POLK CELESTION ADCOM YAMAHA HAD PARADIGM

CAR ALPINE BOSTON ACOUSTICS AUDIO CONTROL POLK AUDIO ROCKFORD FOSGATE KENWOOD CARVER SOUNDSTREAM NAKAMICHI

ADS COUSTIC BAZOOKA INFINITY PRECISION POWER MB QUART DENON SONY YAMAHA

PYRAMID IN/C. Visa or COD PYLE

TOP NAME BRAND CAR AUDIO, WHOLESALE TO THEPUBLIC. GUARANTEED BEST PRICES ANYWHERE. AU-TOSOUND 912-923-2236.

MISCELLANEOUS

CLASSICAL MUSIC LOVERS' EXCHANGE". Nationwide linkbetween unattached music lovers. Write CMLE, Box 31, Pel-ham, NY 10803. (800) 233-CMLS.

TERMPAPER assistance. 15.278 papers available! 306 -pagecatalog -rush $2.00. Research, 11322 Idaho 2065X, Los An-geles 90025. TOLL FREE HOTLINE: (800) 351-0222 (Califor-nia: (213) 477-8226).

BUSINESS OPPORTUNITIES

MAILORDER OPPORTUNITY! Start profitable home businesswithout experience or capital. Information Free. Mail OrderAssociates, Inc., Dept. 667, Montvale, NJ 07645.

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MAKE $100 PER HOUR! Learn to be a professional mobile DJor DJ company. Our VIDEO shows you how. "STARTING A DJBUSINESS." $21.95 + s/h. MCNisa/COD 1-800-445-8729.

RETAIL MART

WE HAVE THE FINEST SHOWROOM in our area with the bestselection of audio/video components available. We representAdcom, Infinity, Thorens, NAD, Polk, Yamaha, Canton,Luxman, Klipsch, SONY ES, and more. CONTINENTALSOUND. 98-77 Queens Blvd., Forest Hills, NY 11375. (718)459-7507.

LOUDSPEAKERS

KITS, CABINETS AND ASSEMBLED SPEAKER SYSTEMS.14" x 20" CATALOG OF HANDCRAFTED SPEAKERS, $5.00.(REFUNDABLE WITH ANY SYSTEM ORDER). ADVANCEDSOUND, DEPT S, 711 E. MAGNOLIA AVE., KNOXVILLE, TN37917. (615) 637-6694.

LOUDSPEAKER CABINETS - Large selection of high -qualityCabinets ready to finish in Oak and Walnut. Also available ingloss and matte laminate colors. Grenier Cabinets, 5901 Jen-nings Road, Horseheads, NY 14845. (607) 594-3838.

WANTED TO BUY

TOP DOLLAR PAID FOR QUALITY LP 8 CD COLLEC-TIONS! ROCK, JAZZ, CLASSICAL (especially Early MER-CURY. RCA, LONDON Stereo; LYRITA, British EMI).U.S.A.'s LARGEST USED/COLLECTOR SHOP! PRINCE-TON RECORD EXCHANCE, 20 TULANE STREET, PRINCE-TON, N.J., 08542. (609) 921-0881.

1.111",411, '1

NEW YORK WHOLESALE

Prices subject tochange

Prices excludeshipping charges

Not responsible fortypographical errors

FOR FASTEST (212) 684-6363 °AXR (212) 684-8046HOURS: MONDAY -FRIDAY, 9AM-7PM EST SATURDAY 10AM-5PMor Write Direct: 2 PARK AVENUE, DEPT. 15, NEW YORK, N.Y. 10016

We sell authorized U.S. branded merchandise and parallel imports. All products covered by manufacturer's warranty or New YorkWholesaler's exclusive limited warranty. Manufacturer's rebates may not apply. Ask for full details at the time of purchase.

CO PLAYERSHARMON KARDON

H07300 229HD7400 259HD7500 329HD7600 449

RECEIVERS CASSETTE DECKS CAR STEREOS CAR STEREOS

SX1700 ... 169CALL FOR LOW PRICES

NAKAMICHIRD26 0

SX2700VSX3600 .... .. 309 TOW203VSX47005

.. 229

.429 10W303

JVC149 CD760

RD460

64+:269 luiticppkeeerr:22Kicks

249199

199

YAMAHA 10560 699699249

VSX57005 .489 TDW503COC605 ... .. .259 349 PA304 389 _DENON

VSX9700S .... . .699 TDW901COC610389 ut.,H41tu 159469 VSXDIS 899 TDV521 279 PA301

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INDEX To ADVERTISERS

READER PAGESERVICE NO. ADVERTISER NUMBER

60 Adcom 62-63- Advent 950 Allen Products Co. 10880 Altec Lansing 106-10758 API -Energy 3837 Audioquest 101

- Bacardi 98-99- B.I.C. America 10867 Blaupunkt 45- BMG-CD Club 17- BMG-Mozart 5924 Bose Cover 2, 143 Bose Express Music 113- Boston Acoustics 26-27

157 Cambridge Sound Works 18-19118 Cambridge Sound Works 46- CBS -Columbia House CD Club 9a, b- Christian Brothers 1256 ComponentGuard 11088 Coustic 51188 Coustic 5368 Coustic 55- Crutchfield 112

- Delco 9427 Denon 3132 Design Acoustics 871 Discount Music Club 124

1 Electronic Wholesalers 12558 Energy 38

- Illinois Audio 119- Infinity 15170 Isosonics 21

39 J&R Music World 114-117

48 M&K 9325 Maxell 32-3329 McIntosh 2822 Mitsubishi 10-11109 Mobile Fidelity 102

61 NHT 6

47 Onkyo 24

82 Panasonic 797 Paradigm 23- Phase Linear 111- Philip Morris -Marlboro 56-5731 Pioneer 35, 61, 68-6931 Pioneer 105, 109, Cover 390 Polk Audio 494 Pyle 97

- Radio Shack 70- R.J.R. Magna 41

17 Sammi Sound Technology 99103 Sherwood 42-43- .6th Avenue Electronics 122-123- Smirnoff Cover 459 Sonance 47- Sony 2

- TDK 48-49

- Wisconsin Discount Stereo 127

- Yamaha 65

SEPTEMBER

U

COby Christie Barter& Maryann Saltser

THE French composer andconductor Pierre Boulez,

who celebrated his sixty-fifthbirthday earlier this year, isbeing honored by Sony Clas-sical with an "edition" all hisown, the rerelease on CD of allof his CBS Masterworks re-cordings. The "Boulez Edi-tion" will eventually com-prise some fifty cp's docu-menting a recording careerspanning more than twentyyears.

Boulez has been acclaimedfor his recordings of twen-tieth-century classics by suchcomposers as Debussy, Rav-el, Stravinsky, Bartok, andBerg as well as of his ownworks. Among the initial re-releases is a coupling of hisEclat/Multiples for fifteen in -

Boulez: a new edition

struments and the orchestralRituel in memoriam Mader-na. His years as music direc-tor of the New York Philhar-monic (1971-1977) are repre-sented in albums of music byVarese and Berg as well as athree -CD set containing thecomplete orchestral music ofRavel. Also due this fall: reis-sues of Boulez conductingSchoenberg and Webern.

PERFORMING live for thefirst time in fifteen years,

David Cassidy gave a sneakpreview of his new Enigmaalbum scheduled for Septem-ber release. Cassidy was onhand for Enigma's "LastGroove at the Grove" party,the last official function be-fore demolition of the famousCoconut Grove night club in

R D

Cassidy: goodby

Los Angeles. The crowdscreamed in recognition asthe former Partridge Familyheartthrob opened with thefirst verse of I Think I LoveYou before getting into newmaterial. Some of rock's mostcelebrated producers areworking with Cassidy on thenew record, including PhilRamone (Paul Simon, BillyJoel) and Eric Thorngren(Talking Heads, Ramones,Huey Lewis). All but two ofthe songs were co -written byCassidy.

ON the evening of July 7,the eve of the World

Cup finals in Rome, theworld's three leading ten-ors-soccer fans LucianoPavarotti, Placido Domingo,and Jose Carreras-ap-peared and sang together forthe first time on any stage atthe Italian capital's ancientBaths of Caracalla. LondonRecords taped the concert forrelease this month on com-pact disc, audio cassette,videodisc, and VHS video-cassette.

Pavarotti's recording of"Nessun dorma" from Puc-cini's opera Turandot wasused as the World Cup'sunofficial musical theme,which probably accounts forthe startling rise of the albumfrom which it's drawn, "TheEssential Pavarotti," to theNo. 1 spot on the British popcharts at the end of June.According to London/Decca,this was the first time a classi-cal album had ever reachedthe top of the pops in theU.K. 0

134 STEREO REVIEW SEPTEM BF.R 1990

M A

Coconut Grove

pRODUCER Jolie Jonesr- (Quincy's kid) has en-listed the help of some specialfriends to work on a music -video project about recycling.nicety Yak, Take It Back,Separate Your Papers fromYour Trash will serve as thecenterpiece of a major recy-cling campaign to be spon-sored by the Take It BackFoundation, which was co-founded by Ms. Jones. Deb-bie Gibson, Quincy Jones,Carlos Santana, B.B. King,Natalie Cole, Tone Lac, Pau-la Abdul, Joe Cocker, RandyNewman, Charlie Daniels,the Judds, and a host of oth-ers are set to join Jones andher production team at A&Mstudios in Los Angeles whenproduction gets under way inearly September.

The song used in the videois based on the 1958 tune bysongwriters Leiber and Stoll-er. By incorporating special

effects and animation, Joneshopes to get the recyclingmessage across to youngpeople especially. "Kids needto assume responsibility,"Jones said, "because they'rethe ones who are going to beleft here with all the gar-bage."

AUSTRALIAN rockers Mid-night Oil added a noon-

time mini -concert to theirscheduled two -night stand atNew York's Radio City Mu-sic Hall this past May. Anestimated 10,000 fans spilledonto Sixth Avenue in front ofthe Exxon building to heartheir favorite environmental-ly conscious band perform ontop of a couple of flatbedtrucks beneath a banner pro-claiming, "Midnight OilMakes You Dance, Exxon OilMakes Us Sick." Betweensongs such as Dream world,John Lennon's Instant Kar-ma, and Blue Sky Mine, leadsinger Peter Garrett, who isalso president of the Austra-lian Conservation Founda-tion, talked of corporate re-sponsibility and pleaded forbetter treatment of the earth.The show was broadcast liveby metropolitan New York -area radio stations and wasfilmed for possible release asa long -form video or docu-mentary. 0

N honor of the Silver Anni-versary of The Sound of

Music, CBS/Fox Video is re-leasing a special edition of thepopular musical as part of anew Rodgers and Hammer-stein Collection. The collec-

Domingo, Pavarotti, and Carreras: world -class soccer fans

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tion also includes The Kingand I, South Pacific, Oklaho-ma!, State Fair, and Carou-sel. The last two classic mu-sicals are new to home video,and all six films have beenremastered for this release.The Sound of Music is pricedat $24.95, the others at$19.95.

Originally released toAmerica's movie houses in1965, The Sound of Music,starring Julie Andrews, re-ceived five Academy Awardsthat year, including Best Pic-ture. The original Broadwayproduction of 1959, whichstarred Mary Martin, was theeleventh and final collabora-tion between Richard Rodg-ers and Oscar HammersteinII. The original -cast andsoundtrack albums have bothbeen rereleased on CD. 0

M A

Andrews in The Sound of Music: anniversary revival

recordings. Subsequent BMGreleases featured the youngpianist as soloist in concertosby Prokofiev, Shostakovich,

Jones: refuse refusenik

ADISTINCT highlight of theearly 1990-1991 season

is the American debut of theRussian pianist Evgeny Kis-sin, who will perform at Lin-coln Center this month withthe New York Philharmonicunder Zubin Mehta. Kissin,barely nineteen, will playboth of the Chopin pianoconcertos, works he recordedlive with the Moscow StatePhilharmonic at the tenderage of twelve.

Kissin's first studio record-ing, of Rachmaninoff's Sec-ond Piano Concerto, fol-lowed his London debut atthe Barbican Center in 1988.It was released at the end ofthat year by BMG Classics,the company for which Kis-sin has made most of his

and Haydn. A Mozart con-certo disc is planned for re-lease in 1991. Meanwhile,

BMG has compiled a two -co"musical portrait" of Kissin,to coincide roughly with hisNew York Philharmonic de-but and his first solo recital inthis country, at Carnegie Hallon September 30. BMG willalso record that recital.

GRACENOTES. The PublicBroadcasting System's

popular summer series"American Masters" contin-ues with an August 20 pro-gram titled John Hammond -From Bessie Smith to BruceSpringsteen that documentsthe work of the late recordproducer, who in the courseof a long career discoveredand developed some of themost talented and influentialAmerican popular artistsThe program includes per-formance clips, auditiontapes, and interviews withsuch diverse musicians asCount Basie, Bob Dylan, andGeorge Benson. . . . Deutsche

Midnight Of:.- sick of the slick

K E R

Grammophon has just re-leased laserdisc and video-tape versions of "Bernsteinin Berlin," the No. 1 best-sell-ing record of Beethoven'sNinth Symphony as con-ducted by Leonard Bernsteinat the end of last year to cele-brate the collapse of the Ber-lin Wall. . . . "Theodore,"which CBS Records calls analternative -music sampler,contains a number of pre-viously unreleased or nonal-bum tracks by such artists asKate Bush, Big Audio Dyna-mite, Poi Dog Pondering, andthe Psychedelic Furs. . . . Re-cently signed to new or re-newed long-term exclusive re-cording contracts are the con-ductors Daniel Barenboim(Erato) and Gunter Wand(BMG) and the pianist IvoPogorelich (Deutsche Gram-mophon). . . . DRG has

Kissin: U.S. Debut

formed a subsidiary labelcalled Cabaret devoted tosuch club performers as JulieWilson, Margaret Whiting,Sylvia Syms, and AndreaMarcovicci. . . . Soprano Jes-sye Norman was the recipientof six honorary doctoratesthis year, from the NewSchool for Social Research,Yale, Juilliard, Western NewEngland College, KenyonCollege, and Edinburgh Uni-versity.... The first multi -Platinum single of the Nine-ties is Madonna's Vogue,which was certified by the Re-cording Industry Associationof America for over two mil-lion in sales-in less thanthree month's time.

a

STF REO REVIEW SEPTEMBER 1990 135

THE HIGH END

by Ralph Hodges

A SOLID CENTER

/N his recent report on the eighthinternational conference of theAudio Engineering Society("Technical Talk," July 1990),

Julian Hirsch concentrated exclu-sively on headphone stereo. I'd liketo concentrate on loudspeaker ster-eo, particularly on the on -again off -again issue of the value of a centerchannel for stereo reproduction.

Way back when, the concept ofstereo wasn't even out of the boxbefore there were predictions that acenter channel would be essential.The recording industry was not im-pressed, however, and to this daythe center sonic image in music stu-dios remains a "phantom" image,unsupported by an actual loud-speaker.

For its part, the motion -pictureindustry has special requirementsthat make the center channel themost important carrier of audio in-formation, and a center speaker hasalways been dedicated to it. It is evi-dently this situation, together withDolby Laboratories' strong advoca-cy of a center speaker for both cine-ma and home -theater presentations,that has reignited interest in threefront channels.

Originally, the appropriate con-stituent of a center channel for

reproduction of two -channel stereowas widely believed to be the sum(L + R) of the two recorded chan-nels. That was logical, but hardlyoptimum. For example, when thereis signal only in the left (L) channel,there will also be activity from thecenter (L + R) speaker, pulling theinstrument toward the middle, thusnarrowing the stereo stage and alsoquite possibly altering the perceivedbalance of reverberant to directsound. Audiophiles noted this effectwith displeasure and kicked the cen-ter speaker out of the system (orsometimes left it there, discon-nected, as a visual reinforcement forthe phantom center image).

Today, the center signal is prop-erly derived from a logic -enhancedmatrix decoder equipped to identifysignals that should go predominate-ly to the left, right, or center speakerand steer them appropriately by in-terchannel gain adjustments. A de-coder implies an encoder, and in-deed one is used by mixers in pre-paring film soundtracks. Such en-coders are so far rare in music stu-dios, however, and hence the use ofa decoder with music productionsguarantees some unplanned events.But these are usually perceived asbenign, and there is, of course, nopicture that a sound has to match.

So much for what the moderncenter channel is. How does itsound to experienced listeners whoare in some cases just becomingreacquainted with the concept afterlong periods of uninterest or inat-tention? Three papers at the confer-ence at least touched on the ques-tion, and, surprisingly or not, theywere usually more concerned withthe desirability of additional direct -sound sources than with the imple-mentation. Their presenters wereTomlinson Holman of Lucasfilmand the University of Southern Cal-ifornia, David Moulton of the Berk -lee College of Music, and the near -legendary George Augspurger, headof the Los Angeles consulting firmPerception Incorporated.

Augspurger started things offbriskly by declaring that ". . . con-ventional two -channel stereo can-not produce a center image thatsounds the same as that from a dis-crete center channel, even if it is sta-ble and well defined." A bit later on

he illustrated his point with anexperiment that entails sweeping anarrow band of noise up in frequen-cy while listening on the precise cen-terline of a two -channel system. Atsomewhere between 2,000 and4,000 Hz the center image is lost,and so is much of the sound energy.At some higher frequency the imageraggedly re-establishes itself. Whatis happening? At roughly 2,000 Hzthe difference in distance betweeneach ear and the two speakers is onehalf wavelength; the contributionsfrom the loudspeakers at that fre-quency are out of phase at the ears.This sort of cancellation would nothappen with a logic -steered center -channel system.

Holman explained that a center -channel speaker, if unequalized, willsound distinctly different from leftand right speakers simply becausethere are differences in shadowingand diffraction effects produced bythe listener's head on sounds im-pinging from the sides and soundsfrom in front. Whether equalizationcan fix things up is in some doubt;the audible differences are essential-ly on the order of comb -filter ef-fects, narrow in bandwidth andinaccessible to many equalizers.Still, as Holman pointed out, filmmixers will have equalized thesound assuming a center -channelspeaker-an argument in its favorfor home theater. The argumentdoesn't hold for music recordings,however.

Moulton wasn't thinking of centerchannels when he hypothesized thatthe ear -brain mechanism, con-fronted with a phantom centerimage, can only conclude it is hear-ing the first side -wall reflectionsfrom a singular, unified sonic eventthat it somehow missed entirely.Confusion is understandable, butthe mechanism usually adapts suffi-ciently to let two -channel stereowork. Nevertheless, a center speak-er would normally be slightly closerto the listener than the side speak-ers, and its temporal precedencemight be enough to persuade the earthat it's not losing its mind.

These are the current theories sur-rounding the center -channel contro-versy. Optimum practice is still inthe works. It will probably differ fordifferent ears. 0


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increasingly recognized as the big-screen standard he PD -M92 Multi -Play CD Changer, theultimate refinement cf the six -disc magazine system invented by Pioneer. And the TZ speakerseries, a product of _Dioneer's renowned studio mcm=er techno_ogy. Pcr those who accept nocompromises in their home entertainment experience, Elite delivers theimpact and realisrr_ available only frcm today's most superb technology

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SONY DAT 11-0K BOSE LIFESTrIE AND MORE

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