Professional Documents
Culture Documents
STEREO
EOUIPMENT
& RECORD
REVIEWS
OD
SPEAKER SPECIFICATIONS e 1
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PERFECTUNE
a tiny
.
digital computer
that flashes a light
when you're
tuned right
Inside Scott's new 382C AM/FM stereo receiver is a specially-developed digital computer circuit called "Perfectune,"
that takes the fiddling, guesswork, and wasted time out of tuning ... gives you perfect sound, instantly, every time.
How does it work? The Perfectune integrated circuit scans the other tuner circuits and decides exactly when you have
tuned for both lowest distortion and best reception. It then flicks on the Perfectune light .
Perfectune gives a far more exact reading than a meter, which may read
at its highest point when the signal is masked by interference. The Scott
382C still has a meter ... but it's a signal strength meter you use only to
position your antenna for optimum signal ... then you let Perfectune take
over for perfect sound!
Perfectune is only one of the advanced Scott features that make the
382C your best AM/FM stereo receiver buy. The photos below show some
of the other Scott exclusives incorporated in this superb unit.
VII
a.
5 10 10
SINE WAVE POWER OUTPUT
PER CHANNEL IN WOTTS
Full complement of 7 "Wire -Wrap" ... a per- New IC multiplex sec- Full Complementary Snap -in printed circuit
modular construction
Integrated Circuits .. . manent connection tion that gives better Output circuitry that
more than any compet- technique that elimi- stereo performance gives virtually distor- for reliability and ease
itive receiver. nates solder joints. and reliability. tion-free listening at of service.
all levels.
Specifications:
Power (± 1 dB) 110 Watts. IHF power specifications @ 0.8% distortion, both channels
DSCOTT®
driven: Dynamic power @ 4 Ohms, 45 Watts per channel; Continuous power @ 4 Ohms, 33
Watts/channel, @ 8 Ohms 25 Watts/channel. Selectivity, 40 dB; Frequency response, ± 1 dB,
15-30,000 Hz; IHF power bandwidth, 15-25,000 Hz; Cross modulation rejection, 80 dB; Usable
sensitivity, 1.9µV; Stereo separation, 30 dB; Capture ratio, 2.5 dB. Prices and specifications
subject to change without notice. Walnut -finish case optional. For detailed specifications, write:
Choose either the 382C AM/FM stereo receiver at 5299.95 or its FM stereo counterpart, the H. H. Scott, Inc., Ill Powdermill Road Maynard, Mass. 01754
342C at $269.95. 0 1969, H. H. Scott, Inc. Export: Scott International, Maynard, Mass. 01754
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How to flip over the sound
without flipping over the reel.
For y ears you've flipped over a little And the beat is steady. That's and Pause Control fox easy editing.
thing called a reel. You flipped because the because there's Dual capstan drive on all Then there are two big VU meters, each
tape would run out at inconvenient times three speeds. 'That way the Tijuana Brass sensitive enough to catch the difference
like 30 seconds into the Minute Waltz, won't sound like 76 T .mbones and between a wheeze and a whisper. Plus a
or three and a half movements of your vice versa. 4 -place digital tape counter for some
favorite symphony. Of course, if youcon't want it to run of that long-distance aping you might
Something had to be done about it. forever, use the automatic shutoff. get involved in.
Panasonic, the world's leading Will the Symposium match your Top it all off with a smoked-glass
manufacturer of tape recorders, did rig at home? Yes. It has 30-20,000 CPS dust cover that doesn cost extra-and
something. That something is the Panasonic response, and the signal-to-noise ratio everything's beautiful
Symposium. It's a Solid -State 4 -track is more than 52 db's p_.s a recording system So why not go dcvn to any dealer
stereo deck that's unflippable. that has an AC bias of 90kc. For sound - we permit to carry the Panasonic line.
Unflippable because of continuous on -sound or sound -w- -sound that's We think that once yc a hook up our
Automatic Reverse. You'll never flip over plenty of fidelity. Model RS -796, you can stop flipping
another reel again. And the turn around You'll be crazy about our control over its reel and really start flipping
is so quick you'll hardly miss a beat. panel features, too. L -ke headphone output over what you hear.
PANASONIC®
200 PARK AVENUE NEW YORK 10017
For your nearest Panasonic dealer, call ¡B00) 243.0355. In Conn.,853.3600.We pad for the call.
Tape Deck, Model RS -796
Check No. 1 on Readers Service Card
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November 1969 Vol. 53, No. 11
Successor to Est. 1911
AUDIO
1 .
g&cetteger.
A SUBSIDIARY OF GULTON INDUSTRIES. INC.
Continental Europe: John Ashcraft, 12 Bear St., London W.C.2. England.
Tel. WHitehall 0525. For Benelux & Germany: W. J. M. Sanders, Mgr.,
Herengracht 365, Amsterdam, Holland. Tel 24.09.08.
Japan: Matsushita Inc., 709 Kitano Arms, Hirakawa-Cho, Chiyoda-Ku, Tokyo.
AUDIO Editorial and Publishing Offices, 134 N. 13th St., Philadelphia, Pa. 19107
Check No. 2 on Readers Service Card Postmaster: Send Form 3579 to the above address
2 AUDIO NOVEMBER 1969
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The Avant Garrards
a complete story in two volumes
rh oftvve» er.Egl
Ciiereezrt,,,rl<Y7a
F/nera /ai,i,...,.,r,< l,rrrir._.,
.<.
-.-
Volume I. Packed with drama, this 24 page full- Once you get involved with the Avant Garrard
color Comparator Guide describes the eight distinc- story, you won't want to put it down. Send for these
tive new component turntables in the Avant Garrard best sellers today. They're free!
line. Each new model is a chapter in itself. Featured r
is the outstanding Synchro-Lab Series including the
magnificent SL95B at $129.50, the world's most ad-
vanced automatic transcription turntable.
World's Finest
Volume II. Stirring adventure in 12 pages. This Dept. AS19, Westbury, N.Y. 11590
full-color Comparator Guide gives you daring new Please send Comparator Guides
insight into the world of modules. Garrard intro-
duces four exciting units, complete with fine car- Name
tridge, base and dust cover, ready to plug in to other Address
components and play. They range from the SLX-3 at
$99.50 to the X-11 "Demi" at $39.50. City State Zip
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record, stylus, and cartridge -
are
linear. You have to expect some non -
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"Thanks to the Dolby System our new recordings of The
Vaughan Williams symphonies are free of tape noise;'
says Roger Hall, Manager, Red Seal Artists and
Repertoire RCA Records.
"The Vaughan Williams symphonies have greet dynamic
range and many pianissimo sections," says Mr. Hall,
"Thus when we assigned Andre Previn and the London
Symphony Orchestra to record all nine of these sym-
phonies, we used the Dolby System to preserve this
dynamic range and to ensure that the quiet sections of
the works would be free of the degradation and dis-
traction of tape hiss, print -through and cross -talk."
Music lovers everywhere appreciate the new realism of
noise -free Dolby recordings. Over 100 companies in 19
The Dolby A301 countries are recording with the dependable Dolby
System. On your next recording session why don't you
use the Dolby System? Call or write...
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0 Unbalanced Circuit
© Balanced Circuit
DPOT
make before break
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A Royal Wedding
of Gutperformers
PIONE-Ea
PIONEER ELECTRONICS U.3.A. CORPORA -10'4 140 Smith Street, Farmingdale, N.Y. 11735 (516) 694-7720
West Coast: 1335 W. 134th St., Gardera, Ca f £0249 (213) 323-2374 & 321-1076 Canada: S. H. Parker Co., Prov. C.ntaric
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IMPROVED
PERFORMANCE! New Elac/Miracord Turntable
Benjamin Electronic Sound has in-
What's New troduced the Model 750 automatic
turntable, at $139.50. It is said to be
identical to the Miracord 50H
In Audio ($159.50) except that the Model 750
has a special four-pole induction
Pan Pot
PROFESSIONAL anced.
Check No. 105 on Reader Service Card
STUDIO
and Audio Pot Pourri
The 1970, 552 -page Allied Radio
EQUIPMENT Auto Cassette Player
catalog (No. 290) is available free on
request.
Check No. 108 on Reader Service Card
UNEXCELLED PERFORMANCE IN
AMPEX, SCULLY AND OTHER Sony/Superscope enters the auto
PROFESSIONAL RECORDERS cassette machine market with its new
Model 20 stereo automobile cassette
Extremely smooth response from player. It features a push -in front -load- Michigan Magnetics has added a
20 Hz to 20 KHz. ing operation that permits one -hand shifting cassette head to its line that
Extra wide pole faces for minimum insertion of cassettes. The cassette is is said to provide bi-directional cas-
low frequency contour effects. automatically ejected when the end sette recording and playback. The new
Hi -Q, low loss core structures. of the tape has been reached, where- tape -head system operates in a similar
upon power to the unit is shut off. manner to the eight -track shifting
Extra deep deposited quartz gaps technique.
for sharp, clean edge definition. The auto cassette machine also fea- Check No. 109 on Reader Service Card
Full gap depth for maximum wear
tures fast -forward and rewind for
program search, and tone and volume Formation of a new hi-fi firm, Hege-
life. controls. Incorporating an 18 -watt
All metal hyperbolic face for re- (IHF) dynamic music power output, man Laboratories, Inc., specializing in
duced oxide loading and intimate the company states that the Model 20 top-quality hi-fi kits and factory -wired
tape contact. is the most powerful auto tape unit
units, color VTR, and electronic musi-
Gap Colinearity-Precise Gap available. cal instruments, was announced by A.
Alignment For Both Azimuth and Stewart Hegeman, Chief Technical
Phase on Multi-Track Heads, either Officer.
4 -Channel or 8 -Channel.
Norelco Philips is reported to have
MORE CONVENIENT THAN a small, 26 lb. video tape recorder that
FACTORY REPLACEMENT uses 1/2" chromium dioxide tape. It is
Available locally, from your said to be priced at $646.00. First
distributor. shown at a European photo show,
Replace heads in the field, mini- where it was not equipped to use the
mum down time. Plug-in simplicity. U.S. 525 -line TV system, reports are
Power requirements are 12 volts that a U.S. model will be introduced.
No need for a spare nest. auto battery, positive or negative
(
Wide choice of Record, Play, and ground). Signal-to-noise ratio is 45
.
Erase Heads, for 1/4 inch, 1/2 inch, dB; wow and flutter, 0.28% 1% ips; Morris L. Finneburgh, Sr., Board
and 1 inch tape, in a variety of outputs, two extension speakers (im- Chairman of the Ohio -based Finney
track styles. pedance for each channel is 3.2 ohms). Co. (manufacturer of FINCO an-
Full details in Nortronics Bulletin Dimensions are 27/8" H x 7-3/16" W x tennas), has been elected to the "Elec-
81/4 D. Price is under $119.50, com-
tronic Hall of Fame," sponsored by
7295A, available free on request. the National Electronics Association
plete with car mounting bracket and (NEA). He is the first living indus-
hardware, head -cleaning device, and a
07ortronies
COMPANY. INC.
coupon for purchase of a 3 -pack of
prerecorded Superscope cassette al-
bums at a special introductory price
trialist elected, previous persons being
Thomas A. Edison, Lee DeForest,
John A. Fleming, Allen Dumont, Ed-
win Armstrong, Guglielmo Marconi,
8101 Tenth Avenue North of $8.85.
Minneapolis, Minnesota 55427 Check No. 106 on Reader Service Card and John P. Graham.
Phone: (612) 545-0401
Check No. 8 on Readers Service Card
8 AUDIO NOVEMBER 1969
www.americanradiohistory.com
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reminded of Bugatti racing car engines, or
the instrument panel of a Duesenberg
"J" model roadster. It was all very confi-
dence -inspiring!
SCULLY: The look of the machine was
important and had its advantages. In
later years, when transcription record-
ing came into being, some of the broad-
casting outfits would keep the lathe in
full view to impress their clients.
The "modern" version of the lathe came
out about 1938, I believe.
A Professional Viewpoint: An in- SCULLY: Yes, and except for conve-
terview with Larry Scully -* nience features dictated by advancing
technology and the advent of stereo,
the present lathe has the same basic
Larry, these days your Scully Recording the motor drive the turntable very configuration.
Instrument Co. is mainly engaged in the smoothly.
manufacture of tape recorders, whereas SCULLY: Well, it was very good for the What was the original method used for
for many years the principal production time. The motor was controlled by a the reduction of rumble in the lathe?
was of disc recording lathes. Am I correct? governor which made it quite smooth. SCULLY: In the initial units there was
That's right. My father started The entire lathe operated on a purely a motor and a gear -reduction system
ScULLY:
mechanical basis, of course. used to drive the turntable directly.
the business in 1918, after having
You needed a thrust bearing in order
worked at the Columbia Record Co. What did they do about lead screws in to carry the weight of the turntable,
from 1905 to 1918. He was in the those days?
experimental laboratory. In those early and that meant you had to have either
SCULLY: They cut their own lead
a ball thrust of a plain bearing. The
days the record companies had to screws, and in those days the pitch was
plain thrust bearing produced a lot of
manufacture all the equipment used to quite coarse, running perhaps 70 to 80
produce a disc. They made their own friction because of the mass of the
lines to the inch so they had very little
table, whereas the ball bearing tended
lathes, made their own soundboxes and trouble with overcutting. to produce rumble, or worse still, a
megaphones to pick up the sound in
the studio, did their own plating, made I presume the coarse pitch was practically pattern on the record.
mandatory, since there were no really I've never heard of that. What kind of
their own presses ... the whole works. quiet sections on a disc and everyone had pattern?
Even their own phonographs! to bellow into a megaphone in order to SCULLY: A pattern produced by the
drive the cutting stylus. vibrations. You could practically count
He worked mostly on the development
SCULLY: That's right. It took a lot of the number of ball bearings by the pat-
of the disc recording lathe, and from
acoustic energy to move the dia- tern. The ball bearings used to be set
that experience when he left Columbia
phragm and the relatively heavy mass in the ball races in felt in order to min-
in 1918 he started to make the lathe on
of the stylus against the resistance of imize this problem. Of course the re-
his own, hoping to interest some inde-
the wax master. quirements then were far less than they
pendents to get into the record busi-
ness. It took him about a year to build After your father set up his company, who are now. In 1938 we went to the belt
the first machine. bought the first lathe? drive, primarily to get rid of the thrust
SCULLY: Well, he didn't really start a bearing involved in a "straight-
Was this the machine that worked on company at that time. He bought the through" drive.
"gravity drive," and gave rise to the ex- necessary machine tools and built the
pression of "throwing the weights out of That was the multiple bearing system, if
the window"?
lathe at home. Then he went to New I recall. At that time, I believe you also
York and sold it to a group that became had a massive flywheel at the bottom of
SCULLY: Yes, it was a weight -driven the Cameo Record Co. My father was the lathe, driven by a belt, with the fly-
machine. The lathe was usually put a fairly good showman too. He would wheel and the turntable connected by a
up on a pedestal at least 5 or 6 ft. high, not bring the machine to New York to shaft with a flexible decoupling stage.
so that there would be enough of a demonstrate its performance.. Instead SCULLY: Yes, we have this filter drive
drop for the weights to drive the ma- he would have them come up to his assembly that cuts down the rumble
chine for the amount of time needed house, where he used the living room and also was designed to keep out
to cut the disc. If they wanted a longer with fancy backdrops and special light- high -frequency flutter.
time there was a hole in the floor to ing to set off the machine, which if I
give the weights more room, or they Larry, I have heard through the years that
may say was pretty impressive. in order to take best advantage of all the
raised the pedestal even higher. They
Sounds like he pre -dated some of our precision built into the lathe and to keep
had to use platforms to stand on in
modern merchandising methods! And I rumble at the absolute minimum, it is
order to operate the machine. preferable to mount the lathe on a con-
quite agree about the appearance of the
Iunderstand that although this all sounds lathe. The first time I saw one with all crete floor. Is this true?
relatively crude, this arrangement made the gleaming engine -turned finish, I was SCULLY: It would be nice to always
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FREQUENCY RESPONSE IN HERTZ
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have it that way, but it has been my Lathes last a long time, and people gen- producers who insist on all sorts of wild
erally don't order them by the dozen. I effects, and who are literally forcing many
experience that with the type of solid-
presume that between yourselves and the studios into multi -track situations. They
ly constructed floors they have in New
one other company in field the market is feel that an eight -track studio is already
York, for example, there isn't much of "old hat." Wouldn't it be cheaper and
pretty circumscribed.
a problem. technically feasible to sync together two
SCULLY: Yes, even when we had liter-
What if the floor is the standard wood 16 -track machines and afford these pro-
ally the world market to ourselves, it
type? ducers thirty-two tracks?
wasn't a tremendous business. The
SCULLY: Well, if it is wood, you can Japanese and the Italians, too, looked ScuLLY: It might be a distinct possi-
run into troubles. at the possibilities of the disc lathe bility since with that many tracks
business right after the war and con- available you could use some of the
With resonances, I presume?
cluded that it was too limited. Today tracks as control tracks.
SCULLY: Yes, although sometimes you
can be lucky enough to be at a null we build the lathes strictly as a cus- Yes, the control tracks would help. And
point of the vibrations. Depending on tom product. with all the tracks self sync, the effects pos-
the general construction of the build- sible would be almost limitless. Then, too,
This limited market was what prompted
ing and the type of wood floor, some your move into the tape recorder field. there shouldn't be much trouble in the
type of extra damping would be eventual mix -down to two -track stereo.
That was about 1961?
necessary to use the lathe in such a SCULLY: Once the two machines were
SCULLY: That's right. We decided we
location. had a good reservoir of machine tools, synced together, everything else
trained personnel, and experience would work quite normally.
Many record critics often speak of rumble
in a recording, but I have always con- which was certainly related in many If the two recorders could be synced
tended that a well -maintained lathe ways to the manufacture of tape re- together, I wonder if there would be a
mounted in an optimum way has rumble corders. problem because of small but nonetheless
so far below signal as to be inaudible, differing degrees of tape stretch on the
and what these critics are hearing is mold In 1961 I presume your first products had
two recorders? Mylar does stretch, al-
grain due to the electroplating process to be machines for the full -track and half-
though these days they have that special
and subsequent grinding of the stamper track mono and two -track stereo on quar-
"pre -stretched" Mylar tape.
in order to make it fit properly in the ter -inch tape, and three -track stereo on
half -inch tape? SCULLY: I don't think that would be
press.
a factor and the degree of displace-
SCULLY: I would say that is correct, SCULLY: No, our first tape machine
ment between the two tapes would be
although we must admit that, with product was a playback-only unit, the
minute. We make our big multi -track
the vertical component of the stereo model 270. That unit was designed to
recorders for two-inch tape and all
disc, rumble suppression has been be used with automated radio station
equipment, which at that time was the two-inch machines we have on
made more difficult and you have to
order at present are for 16 tracks. It
keep on top of all the factors involved. thought to be a "coming thing." We
produced this unit between 1961 and doesn't mean that if someone wants to
The lathes are still being made in spite of go to 24 tracks that his machine is
1963, and when the anticipated sales
your emphasis on tape recorders these
of the radio station equipment didn't
obsolete; but he would have to
days. That is done in a separate plant, as a get a new head assembly and the ad-
different division? materialize we went into production
of our first quarter -inch two -track re-
ditional electronics. So there is a cer-
SCULLY: It is not actually a separate tain degree of flexibility possible be-
division, what we do is combine the corder. Shortly thereafter, the three -
fore we may have to think about
lathe work with machine work neces- track machines were the big thing on
syncing two 16 -track units together!
sary for the tape recorder. the market, and then the four-track,
half-inch tape unit was the mainstay Most of the 4-track units are on half -inch
Singer Jerry Vale in control room, with of production for several years. tape, but I understand you have made
Scully 280 tape unit at right.
some 4 -track units using one -inch tape.
Then about three years ago, the eight-track
machines came into being, and then the SCULLY: Yes, these were for the most
16 -track and the 24 -track . . . and just part for the European market.
where will it all end?
I suppose they wanted wider track widths
SCULLY: Well, from our experiences to give them better signal-to-noise ratios.
in the field, it would seem that the That isn't much of a problem any more
16 -track unit seems to be presently with the advent of the Dolby System, I
favored and is thought by many to should imagine.
have the most versatility. SCULLY: That's right. The Dolby Sys-
The 16 -track unit uses one -inch tape?
tem has helped in this respect. Never-
theless, I don't feel track width should
SCULLY: Yes, and we have made some
be restricted if it can be avoided.
12 -track one -inch recorders as well.
Isthis because distortion is higher at the
Let me ask what may be a dumb question.
narrower track widths?
As you know, 24 tracks are being used,
and these days the studios are in a pecu- SCULLY: Only marginally so, but the
liar bind with these rock-and-roll record kind of quality our clients seem to
www.americanradiohistory.com
How to recognize a stacked deck.
www.americanradiohistory.com
wided Taled
wonder...
and linear too
SüJE raLL
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AUDIO NOVEMBER 1969
SANSUI ELECTRONICS CORP.
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Los Angeles, California, 90007
SANSUI ELECTRIC CO., LTD., Tokyo, Japan Frankfurt a.M., West Germany
15
AMPLIFIER BEHIND THE SCENES SCULLY: Yes, about 1934 I built a
(Continued from motor for the lathe, but the cost today
SHOPPING? page 14)
tape -machine construction that run con-
trary to some of the old accepted prac-
precludes any such possibility, even
if we had the time and the inclination.
tices. For example, a friend of mine builds
believe you make all your record and
Try this checklist a high -quality recorder in which he uses
what would seem to be an amateur anach-
I
www.americanradiohistory.com
Sound
us out ...and you will be listening to
the most brilliant sound repro-
duction you can get from an
automatic turntable.
The BSR McDonald 600.
Its precision British crafts-
manship can be seen...and
the market for a hi-fi stereo
system, be sure your dealer
demonstrates it with a BSR
McDonald turntable.
It'll speak for itself.
Write for detailed specifica-
tionE on the 600 and all the
heard. BSR McDonald Automatic
There's anti -skate control. Turn -ables.
And a tone arm that's so finely
counterbalanced, th s superb el,
turntable can even play up- BSR
,,......
Mc DONALD
side-down, and still track per-
fectly. BSR (L SA) LTD., BLAUVELT. N.Y. 10913
A pause control lever allows
you to stop playing anywhere
on the record and then reposi-
tions to the exact sarre groove.
Groovy. And when the last
record has played, the exclu-
sive Decor-Matic power switch
on the base shuts oft both the
turntable and the complete
system automatically.
The BSR McDonald 600 must
already be soundirg pretty
good to you. So when you're in
type stage in some instances since Vanguard But EVR is moving fast. A Canadian company who
Records demonstrated its four -channel "Surround has marketing and distributing rights for CBS'
Stereo" system, which utilizes magnetic tape- EVR film process has acquired world-wide EVR
Both Crown International and Telex, for example, rights to the Hal Roach Film Library, for example,
have introduced four -channel tape machine which includes some 500 comedies ( Laurel &
models; H. H. Scott has a four -channel, 35 -watts Hardy, Harry Langdon, et al).
(rms) / channel integrated amplifier, the Model
499 "Quadrant." With the above video systems using cartridges,
and with the tremendous consumer acceptance of
Vanguard's demonstration was quickly followed cartridge ( and cassette) audio tapes, could car-
by a four-channel broadcast (utilizing two stereo tridges for conventional video tape recorders be
FM stations) at Tanglewood, Mass., with Acoustic far behind?
Research, Inc. being one of the sponsors. AR there-
upon set up a four -channel system in its Grand The Japan Broadcasting Corp. has begun some
Central Station exhibit room for all to hear. Re- experimental broadcasts of two sound channels
ports are that CBS is producing the demo tapes. for television, we learned. Westinghouse had de-
New York City, too, has had four -channel broad- veloped a "stereo -sound TV" ( experimentally )
casts with the cooperation of multiple broadcast some years ago, of course. But advocates of stereo
stations. Even more exciting, however, are proto- FM sound for TV are gaining strength.
type designs of equipment that will enable one FM
broadcast station to transmit four -channel stereo If the past Institute of Electrical and Electronic
through use of the SCA piggyback frequency. Engineers ( IEEE) Chicago Spring Conference
Adapters have already been designed to convert was any indication of things to come in home en-
conventional stereo ( two -channel) FM receivers tertainment electronics, expect to see more and
to four-channel receivers. The FCC is now mulling more digital tuning through pushbutton and
this one over. And to top it all, Time Magazine re- thumbwheel controls.
ports that an enterprising inventor has created a
four -channel system for LP discs! Further, we expect active equalizers to make
considerable headway in 1970, both for enhancing
Meanwhile, speaker manufacturers might have speaker performance and to modify sound output
an opportunity to double sales again should the to meet the need of a particular environment.
new concept be accepted. A. P. S.
www.americanradiohistory.com
Words are inherently limited in stimulating of every instrument. With no loss of power.
the emotions aroused by music. This is especially so That's what it takes for a cartridge to
in describing how high fidelity components perform. recreate the most subtle nuances that
With cartridges, for example, we speak of distinguish one musical instrument from
flat frequency response, high compliance, another. An oboe from an English
low mass, stereo separation. Words lace these horn. A trumpet from a cornet.
enlighten the technically minded. But they do We call this achievement "100% music power."
little or nothing for those who seek When you play your records with an XV -15, you won't be
only the sheer pleasure of listening. concerned with even that simple phrase.
We kept both aspects in mind when Instead, you'll just feel and enjoy the renewed experience
developing the XV-15 series of carfridges. of what high fidelity is really all about.
We made the technical measurements. And we listened. PICKERING
We listened especially for the ability of
these cartridges to reproduce the entire range
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It's easy to print specifications ... It's something else again to back up performance claims with the hard
cold facts of laboratory tests. Every Astrocom/Marlux Model 407 is furnished with its own gràphic read-out
of its frequency response tested on level recorders calibrated to National Bureau of Standards Accuracy.
The Model 407 is built to inspire confidence ... serious recordists everywhere appreciate the ease of tape
handling with the soft touch solenoid operated controls, the unswerving accuracy of the hysteresis syn-
chronous capstan motor and the smooth tape spooling afforded by the supply and take-up reel motors.
The addition of a precision impedance roller to this tape drive system ensures consistently low values
of wow and flutter. Four heads allow reverse play plus "off -tape" monitoring. The premium -quality heads
and the all -silicon transistor electronics give signal-to-noise ratios of professional specification.
The Astrocom/Marlux Model 407 has many other features designed to please the discriminating recordist.
Our dealers can demonstrate to you why the Model 407 is outselling much more
expensive recorders and is today's most outstanding tape recorder value.
ASTROCOMIMARLUX
Oneonta, New York 13820
www.americanradiohistory.com
edge suspension that supports the cone making up for the reduced velocity, so Diffraction Horn-See "Horn."
while permitting axial movement. See that the frequency response is uni- Direct Radiator-A speaker whose
"Surround." form. cone or diaphragm radiates sound
Cone Stiffness-Stiffness is the op- At resonance, there is likely to be a directly into the air. The word
posite of compliance. Cones made of peak in response. The height of the "directly" includes cases where the air
stiff materials are strong but tend to peak is greater the higher the Q, in front of the speaker may be par-
break up into undesirable modes of which can be controlled by adding a tially confined by a partition with
vibration. Often incorrectly used to resistive element to the motion. This openings, forming a front air chamber,
refer to the stiffness of the suspension. reduces the peak; its effect is called or by obstacles such as an acoustic
(The surround and spider.) Stiff cones damping. lens. A direct -radiator speaker facing
deform only slightly when pressure is If the amount of damping is too into an expanding passage coupling it
applied. much, the motion at resonance is re- to the air becomes a horn speaker (see
Crossover Network- (Dividing Net- stricted too greatly. With too little, it definition) A direct -radiator speaker
.
work)-In multi -speaker systems the would still be excessive. Critical damp- system is simply one or more speakers
incoming signal to each speaker must ing results in a condition for which the mounted in an enclosure. The speaker
be restricted to the frequency range moving element does not overshoot its itself is called a direct radiator if it is
for which that speaker is used. This is rest position after being deflected. Re- designed for use in a direct -radiator
done by means of an electric filter. In sponse is down 6 dB at resonance. system.
inexpensive systems this may be a Less -than -critical damping results in
Direct-radiator speaker systems are
single element-a capacitor-in series increased response at resonance; a
relatively simple, can be made quite
with the tweeter. More elaborate sys- slight amount (one-half of critical, to
compact and have low efficiency. The
tems use both inductors and capaci- be exact) produces flat response. In-
latter is not necessarily bad.
tors. These are called LC filters. In creased damping beyond critical pro-
these, the signal fed to the woofer is duces a fall -off in bass response. So, Distributed Port-In a bass -reflex
cut off above a certain frequency in while damping is desirable and in fact cabinet, a port consisting of a series of
addition to cutting off the signal to the necessary, there can be too much of a small holes. The air friction in the
tweeter below its working range. good thing. holes increases the acoustic resistance
The Crossover Frequency is the Damping can be mechanical, acous- of the port which may be desirable in
transition point from one speaker to tical, or electrical. An example of some cases.
the other. Two-way systems have one mechanical damping is friction. Acous- Dividing Network-See "Crossover
crossover frequency, three-way sys- tical damping utilizes resistance to air Network."
tems have two, and so on. Dividing flow, as by covering the back of the
Doublet (Dipole)-A speaker with-
networks do not cut off abruptly but speaker by a perforated material. out a baffle radiates sound into the air
have slopes to their frequency charac- Electrical damping is caused by the
from both sides of its diaphragm. This
teristics. Accordingly, they may have "back e.m.f." (a voltage opposing the is called an acoustic doublet. Its fre-
6 dB -per -octave, 12 dB-per -octave or signal voltage when the voice coil
quency response and power capability
even higher slopes. The sharper slopes moves through the magnetic field in
fall off rapidly as the frequency de-
require more L and C elements. For the gap) This reduces the flow of
.
creases. It can provide reasonable bass
the reasons for choosing particular fre- current and the resulting motion. Elec-
response if made large enough, as in
quencies and slopes, see the discus- trical damping is improved by using
some electrostatic speakers. At low fre-
sion under 2 -way and 3 -way systems. high flux density in the gap. It is
quencies, its distribution pattern con-
Damping-The cone/voice-coil as- operative only when the speaker is centrates sound along the speaker's
sembly has inertia, and is held in place connected to an operating amplifier.
axis, with a minimum in the plane of
by a springy suspension. Because of Amplifier damping factors greater than
the cone edge. The distribution is
inertia a cone tends to keep moving 5 to 10 have no significant effect.
made more uniform by reflections from
after the applied force has been re- Diameter-The specified diameter the room walls.
moved. The springy mounting results of a speaker is the outside diameter of
in a tendency to oscillate. At the (so- the speaker frame; the cone diameter Doubling-The creation of large
called) resonant frequency of a cone, is less-considerably so if a wide sur- amounts of second -harmonic distortion
at the lower end of the reproduced round is used to provide high compli- by non-linearity; an effect that occurs
frequency range, the effect is quite ance. We will not discuss the rare in the bass range. This component, of
large. See "Hangover." The duration cases where frames are made oversize double the fundamental frequency,
of the oscillation is determined by the to increase the nominal diameter. can actually be much greater than the
"Q" of the speaker, as in an electrical Diaphragm-The moving, sound - fundamental itself, producing a false
tuned circuit. radiating element of a loudspeaker. illusion of bass response. Driving a
Appreciably above the resonant fre- See "Cone." This terms also applies to speaker hard at low frequencies causes
quency, the inertia determines the elements such as the dome -shaped mostly third -harmonic distortion, or
behavior of the speaker: the velocity radiators of some tweeters and mid- tripling. Its effect is similar to dou-
of the cone decreases as the frequency range units, the variously-shaped mov- bling. These types of distortion can be
increases. But the ability of the cone ing elements of horn-loaded speakers, avoided by designing a speaker for
to transform the energy of its motion and the driven elements of electro- linearity. See reference.
into sound increases with frequency, static speakers. (continued on page 89)
www.americanradiohistory.com
Pioneer has a magnificent obsession ...with quality
Case in point. Pioneer speaker systems. Our engineers of the speakers. This means hand selecting the finesi.
combine the latest knowledge of audio state of the art walnut, seasoning it properly to remove humiidity, trim-
with the highest quality materials and components to pro- ming it precisely by computer control, assembling it under
duce the ultimate in loudspeaker performance. Pioneer's climate controlled conditions and facilities, laminating
exhaustive program of quality control is constantly main- and molding the latticework grille. The staining process
tained since we produce every single component from alone requires 10 steps and utilizes an exclusive oil created
cone paper and crossover networks to the latticework by Pioneer. Quality comes with painstaking experience..
grilles on our own production lines. Each step along the And Pioneer has over 30 years of it. The end result::
way is typical of Pioneer's dedication to quality crafts- speaker systems acoustically designed and constructed to
manship. provide the pinnacle of sound reproduction and the
The same follows through in cabinet making. Our skilled gracious elegance of contemporary design. That's why
designers and handcrafters make the enclosures as acous- they're called the Outperformers.
tically perfect as possible, to match the advanced design Hear them today at your Pioneer dealer.
CS-63DX - 4 -way 6 -Speaker System with 15" woofer 283/8" x 18'/e" x '
13356". $259.00; CS-99 - 5 -way 6 -Speaker System with 15" woofer
16" x 25" x 113/4" $215.00; CS -88 - 3 -way 5 -Speaker System 24356" x
-
.
CID PIONEER®
PIONEER ELECTRONICS U.S.A. CORPORATION, 140 Smith Street, Farmingdale, N. Y. 11735 (516) 694-7720
West Coast: 1335 W. 134th St., Gardena, Calif. 90249 (213) 323-2374 and 321-1076. In Canada: S. H. Parker Co., Province of Ontario
www.americanradiohistory.com
Part of a cutting room at Sterling Sound.
RECORD MASTERING is both The Cutting Lathe of the "V" shape of the groove,
science and art. The pro- width control is accomplished by
State-of-the-art technology pro- deepening the groove, an action
duction of quality record
vides the mastering studio with called depth control. During quiet
masters is dependent upon nu- high -quality tape -to -disc transfer
merous factors, and is a precise or lateral passages the depth is de-
equipment with a high degree of creased to conserve space, and as
co-ordination of man and machine. automation and reliability. The
Mastering is the step between vertical modulation increases, the
lathe, in its simplest form, is a basic groove depth is increased. As
recording and manufacturing. The machine which revolves the blank
master lacquer disc is electroplated depth is increased, basic pitch must
disc and slowly moves the cutter - also be increased proportionately
after it is cut, and the metal part head and stylus across the disc sur-
which is then separated from the to make room for the wider groove.
face. The rate at which the stylus This pitch -and -depth control must
lacquer contains ridges instead of moves across the disc is referred to
grooves. This metal plate is used as take place just before actual modu-
as the pitch and it is measured in lation so an advance head is needed
a die on the press which stamps lines per inch. When grooves are
out the vinyl plastic records. on the tape machine to feed pre-
unmodulated they can be very view information to the lathe.
Without even considering the close together, cut at fine pitch,
sound aspect, we are dealing with The Neumann VMS 66, a mod-
but as modulation increases, the ern, sophisticated lathe, uses a
a precision mechanical operation. pitch must be increased to leave
The size of a record groove is often computer to control pitch and
room for the "wiggles" of the depth in a way that wastes no
two one -thousandths of an inch groove. This is called variable -pitch
across, less than the thickness of a space. The computer contains six-
cutting and the rate varies on a teen memory cells which store
human hair, and its length on one normal LP from about 400 lines
LP can be almost a mile. With its modulation and preview informa-
per inch to perhaps 150 lines per tion separately. The memories are
wiggles up and down it must never inch. Fixed -pitch lathes are still
get smaller than two mils, and from alternately charged and discharged
used but their pitch must be set every quarter revolution of the
side to side it must never cross into coarse enough to allow for the
the groove beside it. The master turntable and the control signals
highest modulation, which wastes are stored for half a revolution. By
lacquer, or acetate as it is often considerable space on quiet pas-
called, must be perfect. The spac- utilizing the right and left signals
sages.
ing and dimensions must adhere to separately, space is provided only
rigid specifications to ensure that In stereo cutting, the stylus is for the groove wall that needs it.
the record will play on all types of modulated in a vertical plane as When cutting at fine pitch, addi-
equipment, and the master should well as laterally so that some form tional control is required to pre-
not present any problems in subse- of groove -width control is required vent "wall echo." It is particularly
quent operations of plating and in order to maintain a minimum noticeable at the beginning and end
pressing. groove size, usually 2 mils. Because of unmodulated passages in the
President, Sterling Sound, Inc., New York, N.Y.
www.americanradiohistory.com
Voltage supply in your city can vary as much head for optimum reproduced frequency re- all of the features of the Mark II plus pressure -
as 10%. And even a 2% variation causes a sig- sponse. No compromise combination heads. sintered ferrite heads for extended frequency
nificant tape speed change in tape decks with The three heads and four preamplifiers also response and virtually no head wear. It sells
induction motors and a difference in repro- make possible tape monitoring while recording. for under $260.
duced sound that is intolerable. The tape transport mechanism assures a The hysteresis drive Mark IV, the top -of-the -
The Concord Mark II stereo tape deck com- fast startup-you don't miss a note. Supply line Concord deck offers all of the performance
pletely ignores fluctuations in line voltage. It and takeup tape tension arms eliminate startup and conveniences of the Mark II and III includ-
is driven by a hysteresis synchronous motor burble. A special flutter filter eliminates flutter ing wide gap record, narrow gap playback
which locks onto the 60 cycle power line fre- due to tape scrape or cogging action. A cue heads, tape source monitoring, sound -on-sound,
quency and maintains constant speed (within control provides instantaneous stop and start echo recording. Plus, a dual capstan tape trans-
0.5%) regardless of voltage variation from 75 operation. Other important conveniences: the port mechanism with electronic automatic re-
to 130 volts. So if you're about to buy a tape flip -up head cover permits you to see the head verse, no metal foil or signal required on the
deck that doesn't have a hysteresis synchro- gap position markings for professional editing; tape. Superior recording performance plus the
nous drive motor, you're liable to negate any 3 speeds; automatic sound -on-sound with ad- convenience of automatic reverse and continu-
other fine feature it might have. justable level controls; variable echo control ous play. A superb instrument with the finest
Don't get the idea the hysteresis motor is all for reverb recording; calibrated VU meters performance money can buy, and it's under
the Concord Mark II has to offer. It also has with individual record indicator lights; stereo $330. Audition the new Concord Mark series,
just about every other professional feature. headphone jack; electronically controlled dy- the tape decks with the hysteresis synchro-
Three high-quality heads: ferrite erase head; namic muting for automatic suppression of nous drive motor. For "all the facts" brochure,
wide gap Hi -Mu laminated recording head for tape hiss without affecting high frequency re- write: Concord Electronics Corp., 1935 Arma -
optimum recorded signal and signal-to-noise sponse. All this, for under $230. cost Ave., Los Angeles, Calif.90025.(Subsidiary,
ratio, narrow gap Hi -Mu laminated playback The hysteresis drive Concord Mark III has Ehrenreich Photo-Optical Industries, Inc.) ß 32
For copy of Concord Mark III Instructico book, mail 25C in cc _m
www.americanradiohistory.com
www.americanradiohistory.com
To own Marantz is to own the best. In this case, $2023.00 of it.
But in this unique system you'd have the finest FM stereo tuner,
preamplifier, power amplifier, and speakers in the world. With
the most natural, true-to-life sound.
If you can afford broadcasting in true stereo, and lets you see if the signal is out
of phase. It also visually monitors stereo separation and lets you
check your other equipment, too. Of course, it has all cf the other
superior Marantz features and specifications also -that's why
system, this is it. it's the world's most precise tuner. $495.00.
With the Model 7T Solid -State Stereo Preamplifier you can run
the whole show with an extensive array of controls. Tuffs unique
preamp has an input stage so well designed that it can't be over-
MdrdfltZ. loaded. Consider, too, distortion so low it can't be measured on
conventional test equipment. And-there are many other reasons
why the Model 7T costs $395.00.
If our Marantz Ultimate System is too much for your budget, don't
despair. You can get unmatched Marantz-quality component
-
systems in all price ranges as low as $199 for a complete
stereo receiver. Whichever components may serve your individ-
ual purposes best, an instrument bearing the Marantz name rep-
resents the ultimate in its price range. To prove that this is more
than just an advertising claim, Marantz backs all its products
with the same three-year warranty on parts and labor five-year -
warranty on speaker components.
Sound out all the facts for yourself at your franchised Marantz
dealer's. He'll be happy to demonstrate. Then let your ears make
up your mind.
Check No. 31 on Readers Service Card ©Marantz Co., Inc., a subsidiary of Superscope Inc., 1969.
P.O. Box 99C Sun Valley, Calif. 91352. Send for free catalog.
www.americanradiohistory.com
Build an
INTEGRATED -CIRCUIT
TONE -CONTROL STAGE
DICK CRAWFORD INTEGRATED CIRCUITS are fast be- How do recent linear integrated
coming an electronic way of life. circuits measure up to these criteria?
But there are certain require- Very well indeed, for low-level and
ments that integrated circuits should preamplifier applications. The author
fill before they can be adopted in the has had the opportunity to use quite
best of hi-fi equipment: a few linear integrated circuits, and
1. Low distortion.
the experience has prompted the de-
2. Low noise. sign of this tone-control circuit
3. Adequate output level. The Baxendall or feedback type of
4. Output short-circuit protection. tone control circuit was chosen. Since
5. Input overdrive protection. it is a feedback type of circuit it
Long and sometimes sad experi- achieves the tone-control action by
ence in the misuse of audio equip- varying the amount of negative feed-
ment leads me to the last two back at different frequencies. This
requirements. generally results in lower distortion
Fig.1-Schematic of IC tone -control circuit. For stereo use, two Fig. 2-Schematic of the tone control rearranged to work with
identical units are required. The numbers in circles indicate pin a single positive supply voltage. This requires two additional
numbers. Both 100-k pots are linear. resistors and one extra capacitor, but eliminates need for the
negative supply.
4- BASS
BASS 100 K
100 K
.047 .047
µF µF 0
50µF/6V
+ 15V
o--3
O + 10µF/25V
IN 10µF/25V
-
.001
µF
µA741C
IN 10µF/25V OUT
µA741C I(-ED
+ OUT
100 K
100 K -15V TREBLE
TREBLE v â
10 K
20 to 36 V
ó - 50µF/25V
T -
www.americanradiohistory.com
0.1 100
20
90
15
-224.enPE3Eigi.
60 TOTAL NOISE
10. 20 Hz to 20 kHz,10YV
70
1/2 60
50
-5
40
10y4
30
15
Full CCW 20
0.1 10 100 1K 10K 20K
20 100 1K 10 K I
Fig. 3-Frequency-response curves for the Fig. 4-Measured harmonic distortion of Fig. 5-Noise output. Total noise of the
tone -control circuit of Fig. 1. the IC tone control. circuit from 20 Hz to 20 kHz is 10 µV.
than the more conventional tone con- Figure 5 shows the noise character- which the author is fond, but I,pre-
trol, where control is achieved by istics of the tone control. This in- sume that others could be used. The
varying the loss at different fre- cludes the impedance effects of the National LM 307, Motorola 1539G,
quencies. Secondly, it uses linear tone -control network, the noise char- RCA CA-3029, and Signetics N-5709
potentiometers, which implies better acterisics of the integrated circuit are suggestions. Not all of these have
tracking between the two channels of itself, and a 600 -ohm source imped- internal frequency compensation, so
a stereo amplifier insofar as the tone ance. As can be seen the noise is you had best refer to the data sheets
controls are concerned. Conventional relatively constant at 100 nanovolts of those devices for recommended
tone controls use audio or logarithmic per square root Hertz up to about 1 unity -gain compensation networks be-
potentiometers, which, due to the way kHz, where it begins dropping. This fore plugging them in. The Fairchild
they are made, typically do not track is probably due to the current noise distributors (try your phone book) are
as well as linear potentiometers. of the IC and the impedance variation my source for the µA741C's.. Amelco
A disadvantage of the Baxendall of the tone control with frequency. and Texas Instruments are also re-
circuit is its relatively low input im- At any rate, the noise including hum putedly making the µA741C. The cir-
pedance. Another disadvantage is its is very low, being only 10 microvolts cuit diagram of the µA741C or as
nominally low gain, namely one. A from 20 Hz to 20 kHz. If the signal close to it as a user is apt to get, is
third disadvantage of the typical cir- is 1 volt rms, then the signal-to-noise shown in Fig. 6. A veritable forest of
cuit is that it requires a center tapped ratio is 100 dB. transistors, all on a silicon chip less
potentiometer, but this drawback has This unit could be built in a box as than 1/16 in. square.
been eliminated in this design (see an adjunct to a present amplifier, but A perfect amplifier has been de-
Fig. 1). it is really intended as part of the scribed as a straight wire with gain.
The performance is very good. From control circuitry of a stereo amplifier his tone -control circuit has no mid -
Fig. 3 we note that nearly 20 dB of or preamplifier. frequency gain, little noise, and al-
control are available at 20 Hz and 20 The particular integrated circuit most no distortion. Perhaps it could
kHz. Control is proportional to rota- chosen is the Fairchild µA741C, of be called a flexible wire. /E
tion. The response is within plus or
minus one dB from 20 Hz to 20 kHz Fig. 6-Schematic of the Different models may require compensation circuit
IC itself.
e
when the controls are set in midposi- elements external to the IC.
tion.
Distortion is exceptionally low, 11
0
never rising to more than .025 per V`
cent for any output level up to 5 volts Q12 13
Q1g
RB
7.5 k
Q15
e
Q17
this mode its output will have less Q Q10 Q22
than one volt d.c. offset. Figure 2 OFFSET
shows an alternative arrangement for NULL
o
Q11
coupled, as shown.
www.americanradiohistory.com
iersatility that's surpassed only by performance
A new criterion of excellence in sound has arrived. The the unique facility for Dynamic Microphone Mixing
P oneer SX-1500TD AM/FM multiplex stereo receiver which provides simultaneous recording with broadcast
was meticulously designed for the audio perfectionist. music ...voice over music announcements ...5 -position
Its advanced design circuitry, incorporating an FET front speaker selection for announcements over speakers in
end and IC's IF strip, offers an array of features for the several locations. You can connect up to three different
ultimate in stereo performance. Music power is at a speaker systems.. Complementing its magnificent sourd
zenith of 180 watts, rated in compliance with the stand- reproduction is the subdued elegance of the hard
ards of the Institute of High Fidelity. Extremely versatile, rubbed, oiled walnut cabinet faced with brushed silver
it provides six sets of inputs. The pre and main amplifiers and jet. Hear the true sound of quality at your Pioneer
may be used independently. An exclusive highlight is dealer. Only $399.95, including microphone.
PIONEER
PIONEER ELECTRONICS U.S.A. CORPORATION, 140 Smith Street, Farmingdale, N. Y. 11735 (516) 694-7720
West Coast: 1335 W. 134th Street, Gardena, Calif. 90249 - (213) 323-2374 & 321-1076 In Canada: S. H. Parker Co., Prov. of Ontario
www.americanradiohistory.com
ACOUSTICAL MATCHING of
SOUND SYSTEMS & AUDITORIUMS
DAVID L. KLEPPER*
THE SOUND -REINFORCEMENT sys- (3) A typical concert hall of per- Acoustics -Sound System "Match"
tem is one of a number of haps 1500-3000 seats. Sound reinforce-
electroacoustic systems that is ment is not provided for orchestral One of the first things to consider
required in the design of a performing music; perhaps not even for a soloist. in the acoustical match between the
arts hall. Any electronic reinforcement It is provided for a narrator speaking sound system and the auditorium is
system is intimately involved in the with the orchestra and for announce- the type of system that should be
overall acoustical design of the hall. ments. Occasionally it is provided for used. There are two basic kinds of
However, all systems of any type must amplification of very weak instruments sound -reinforcement systems. One is
be matched to the hall acoustically as when requested by the music director. a distributed -loudspeaker system.
well as matched to the program. Plan- Harpsichord amplification is an exam- There are many kinds of these, includ-
ning any sound system requires con- ple, although harpsichords are avail- ing some with a loudspeaker for each
sideration of what it is supposed to do able that can carry the 1500 to 3000 seat built into the seat back. The most
both acoustically and in terms of com- seat hall. In any case, the sound rein- typical installation is a ceiling -mounted
munication. forcement system should be planned distributed -loudspeaker system.
Need and Purpose. There is no stock around these specific uses. The second basic kind of system is
solution for every auditorium. Not all (4) A multi-purpose performing - the central system which places the
spaces require reinforcement systems. arts center, a theater -concert hall - loudspeaker in reasonable proximity to
We were recently asked why we did auditorium. This is the most typical the stage or the front of the hall in an
not include a sound reinforcement sys- college, university and municipal attempt to provide directional realism
tem in our estimates for a certain 300 - performing-arts facility. Speeches and for the amplified sound.
seat theater. The reason was there was narration with an orchestra will re-
apparently no particular need for a quire amplification in this hall. It has
sound reinforcement system for that become conventional to provide sound
theater. Such theaters as the Tyrone reinforcement for musical comedy be-
Guthrie in Minneapolis and the new cause musical comedy pit orchestra
Alley Theater in Houston, Texas, with sound is scored to be loud and brassy
approximately 800 seats, do not have and listeners expect singers to be am-
any need for a sound reinforcement plified so as to be heard against the
system; they are used by resident the- sound of the loud pit orchestra. Most
ater companies and the acoustics are opera composers are quite careful to
so designed that electronic reinforce- score orchestral music so as not to Fig.1-Hall with both a distributed loud-
ment is unnecessary. Let us consider a compete with singers on the stage, so speaker system and a central system.
number of different performing -arts opera usually does not require elec-
facilities to determine whether sound tronic amplification. Figure 1 shows a hall with both
systems are required and for what pos- (5) A typical summer festival con- types of systems. Reasons for the
sible uses. cert hall. In most cases, all the ampli- superiority of the central loudspeaker
(1) A small outdoor -music facility, fication is provided inside that would systems over the distributed -loud-
perhaps seating 1000 people with a be provided in a conventional concert speaker system are fairly well illus-
well-designed acoustical bandshell. We hall (not for the orchestra itself). trated in this example. Remembering
might say no electronic amplification Amplification would usually be pro- that sound travels at about 1130 feet
is required for this particular facility vided for all activities including orches- per second, the listener over at "Z"
if used just for orchestra and band tral sound for the outdoors. All these would hear sound in the nearby dis-
music. considerations have to go into the tributed loudspeaker well in advance
(2) A large outdoor music facility, program for the sound reinforcement of sound from the stage. This would
perhaps located in a park in the mid- system. have two bad effects (1) he'd localize
(6) A gymnasium/auditorium/coli- sound as coming from the loudspeaker
dle of a city with attendant traffic and
seum that is also used for performing rather than from the stage, and (2),
aircraft noises. Sound reinforcement
arts. Generally, amplification is pro- the live sound from the stage would
would be required for practically all
vided for all activities. he delayed sound with respect to the
activities in this facility.
° Senior Consultant, Bolt Beranek and
Newman, New York, N.Y.
36
AUDIO NOVEMBER 1969
www.americanradiohistory.com
THE HEART OF YOUR DYNACO
RECEIVER SYSTEM
SCA-80 amplifier
The SCA-80 delivers 40 watts Front panel low -impedance Center channel speaker can be
per channel rms continuous headphone jack is always live. driven without an auxiliary am-
power from 20-20,000 Hz at 8 Rocker switch permits you to plifier with mode switch in
ohms. Plenty of power for driv- choose between main and re- BLEND, which also reduces un-
ing 4 ohm speakers too. mote speakers too, or turn realistic stereo separation
speakers off. when using headphones.
www.americanradiohistory.com
is to provide a satisfactory balance be-
nearby loudspeaker sound and would
actually be heard as an echo unless tween the singers and the orchestra
some kind of tape loop or acoustical and it is always the singer that re-
delay device was used to delay the quires amplification.
sound to the nearby loudspeaker. The architectural integration of
In designing sound reinforcement these elements is, of course, of supreme
systems, it is preferable, whenever importance. Visual masking can help
possible, to use a central loudspeaker eliminate an audience's awareness of
system located over the proscenium. amplification per se. If permanent
The design goal is that the live and footlights are installed in a theater
amplified sound should arrive at the then perhaps the microphones can be
listener's ear at approximately the same mounted in the footlight troughs.
time so that they reinforce each other, Whether or not the footlights are used
much as sound reflected off sound - for a particular show, if amplification
reflecting panels or a hard, reflecting Fig. 2-Typical central loudspeaker system or reinforcement is provided, the foot-
ceiling reinforces direct sound from with directional footlight microphones. light troughs are raised and the micro-
the actor's or singer's voice. Distributed phones are hidden from the audience.
loudspeakers should be used locally in The directional characteristics of the Loudspeaker integration is both an
performing -arts halls to solve deep microphones and the loudspeaker sys- architectural and room -acoustics de-
underbalcony problems or an unfavor- tems have to ensure that there is little sign problem. Often a sound trans-
able throw ratio (nearest-to -farthest danger of feedback. At the same time parent loudspeaker grille is indicated
seat) problems. Usually, deep under - the loudspeakers and microphones at just where the most important
balconies should be avoided for im- must be chosen for smooth frequency sound-reflecting element of the ceiling
portant room -acoustical reasons aside response, both to avoid feedback and or sound -reflecting panel should be
from the sound system. However,. for naturalness of reinforcement. This located. This creates an acoustical de-
when line -of-sight on the central loud- basic system generally in use today sign problem regarding which should
speaker is lost, the central loudspeaker has one bad effect in that the be compromised-the loudspeaker sys-
systems must be supplemented with microphone is quite a distance from tem, perhaps by being displaced to a
local time -delay loudspeakers. An un- the speaker, actor, or singer. This less favorable location-or the room
favorable throw-ratio would occur if means it will pick up some reverberant acoustics of the hall.
the distance to the farthest listener is sound which reduces clarity as com- Figure 3 shows the new Fisher The-
ten times the distance to the nearest pared with a microphone close to the ater in Detroit with emphasis on the
listener. It is a difficult engineering persons speaking or singing. One pos- loudspeaker system. It was especially
job to design a central loudspeaker sible solution is the use of wireless lit up for the photograph.. When the
cluster that will provide both adequate microphones. These raise other prob- lights are off it just appears as a part
levels at the farthest seat without un- lems including interference and the of the proscenium, and nobody is par-
duly high levels at the nearest seat. coordination between microphoning ticularly aware of the loudspeaker
One possible solution is the use of dis- and costuming. system. I have had people ask me,
tributed loudspeaker over the farthest The directional characteristics of "Where's the amplification system?"
seating area, again delayed so that the microphone are arranged to dis- In addition to this central loud-
amplified and live sound coincide. We criminate against orchestral sound be- speaker cluster which is the main
are becoming cleverer at designing cause in musical comedy reinforce- sound reinforcement -system for the
central loudspeaker systems so that ment the orchestra is always more
their directional characteristics can be than loud enough. The singers' voices
coordinated with the room design to should be brought over the orches-
provide fairly even coverage even tra. Sometimes producers or conduc-
under throw -ratio conditions that sev- tors may demand microphoning the
eral years ago would have been con- orchestra.
sidered unfavorable for a central If the hall has an electronic rever-
loudspeaker system. The central loud- beration system and if we want to add
speaker system is the general solution reverberation to an orchestra during
to reinforcement for performing particular times, microphones are used
activities. for the pit orchestra. This requires a
Figure 2 illustrates the typical cen- lot of rehearsal and a considerable Fig. 3-Loudspeaker system appears as part
skill on the part of the sound system of the proscenium when lights are off.
tral loudspeaker system combined with
directional footlight microphones that operator. However, when requested by
are intended to pick up action on the people to provide amplification for the theater, there are supplementary stereo
stage. The directional characteristics pit orchestra, it is preferable to put loudspeakers for special effects and
of the microphones have to be chosen microphones in the pit-maybe con- for broad source amplification located
carefully so that there is no undue nect them, perhaps demonstrate them, behind perforated metal on the walls
variation in level as the actors pro- but not use them during the show be- of either side of the proscenium. The
ceed from one microphone to another. cause the main purpose of the system close-up of the low -frequency horn
38
AUDIO NOVEMBER 1969
www.americanradiohistory.com
The world's fastest
bookshelf speaker.
That's not a joke. The new Rectilinear planation would require a very in- cies. Which means that the low and
X is at least four times faster off the line volved discussion of loudspeaker phase high frequency components of a signal
than its closest competition. And you're response as distinct from amplitude re- that enter a speaker at the same instant
not reading a drag -racing magazine. sponse, but the basic idea is quite don't arrive at your ear at the same
But let's begin at the beginning. simple. instant. There's a smearing effect. This
A few months ago, we announced Sound waves travel through air at accounts, in part, for the gutsy, canned
the Rectilinear X (that's a ten, not an the rate of approximately 1135 feet per sound of some popular speakers, which
ex) as the world's first high-fidelity second (at room temperature). There- many people like although its bears no
loudspeaker. We explained that it was fore, if you're sitting let us say 1/3 feet
1 1 resemblance to live music.
the first speaker system to pass a signal from a speaker, you'd expect a signal Now, time delay distortion is least
more or less unaltered, in the same to reach your ear one one -hundredth audible at low frequencies' and be-
sense as a minimally acceptable ampli- of a second (10 milliseconds) after the comes more and more obvious going
fier. (We didn't say, as a few people amplifier feeds it to the speaker termi- up into the midrange. Woofers, with
seemed to interpret us, that our new nals. their massive moving parts and com-
$199 bookshelf speaker made all cost- Not so. It will reach your ear more plex networks, are the worst offenders,
lier systems obsolete. There will prob- slowly. so it becomes important to keep them
ably always be a need for larger, more It seems that speakers don't speak the out of the midrange. The only speaker
expensive speakers for reasons of instant they receive a command from system that goes all the, way in this re-
power, efficiency, versatility, special the amplifier. Between the entry of the spect is the Rectilinear X.
acoustical problems, etc. But not ac- electrical signal and the exit of sound, Although the specially designed 10 -
curacy.) there's a time delay. Not just a slow- inch woofer has remarkably little time
What we want to point out in this ad down of the rate at which pressure am- delay to begin with, it's crossed over at
is the specific reason for the superior plitude builds up (i. e., transient re- 100 Hz to a 5 -inch midrange driver with
accuracy of the Rectilinear X as a lis- sponse), but an actual moment of si- phenomenally low time delay distor-
tening device. lence. Dead silence. tion. Thus the entire midfrequency band
Not the frequency response, al- What's more, the length of this mo- has the benefit of minimum time delay.
though it happens to be beautifully flat ment is frequency dependent. Gener- And you can hear it.
and smooth. Nor the absence of har- ally speaking, lower frequencies are At 500 Hz, for example, the Recti-
monic distortion, although the 10 -inch delayed longer than higher frequen- linear X has a time delay of less than
woofer with its one -inch linear travel 0.2 millisecond. By comparison, the top -
won't distort a 50 Hz signal at 10 watts of -the -line model of the most famous
any more than a medium-priced stereo name in bookshelf speakers has a delay
receiver. Nor even the transient re- of approximately 0.8 millisecond at the
sponse, although the exceptionally same frequency, mainly because most
low -mass tweeter follows steep wave of the output is still coming from the
fronts with great alacrity. woofer. The Rectilinear Xis literally
No. The truth is that all of today's faster off the start line.
top speakers have reasonably smooth Since no other speaker system cuts
frequency response, low harmonic dis- off the woofer at 100 Hz, and no mov-
tortion and good transient response. ing -coil speaker is faster in the lower
And it would be utterly impossible to midrange than our 5 -inch driver, the
predict their individual sound quality Rectilinear X is the world's speed king
or their relative ranking from these At which point we can't resist bor-
data alone. rowing a phrase from the underground.
However, as we have discovered, "Speed kills." Our competition.
there is a measurable quantity that cor- (For further information, see your au-
responds very closely to audible differ- dio dealer or write directly to Recti-
ences in speaker performance. Time linear Research Corporation, 30 Main
delay distortion. Street, Brooklyn, N. Y. 11201.)
In our introductory advertising, we
Rectilinear X
referred to this much -neglected crite-
rion by the more specialized mathe-
matical term of envelope delay distor-
tion, a concept with many ramifications
in network theory. A sophisticated ex-
www.americanradiohistory.com
T'SONY
www.americanradiohistory.com
excellent. Solid-state i.f,filters
are used. With their help
alternate channel selec-
tivity reaches a full 70 dB.
What's more, they never
require realignment.
While we streamlined
the 6040, we did pro-
vide a number of im-
Sony has placed its name on an filling volume, without distortion. portant operating conveniences:
under $200 FM stereo/FM-AM re- The tuner employs a completely switches for easy selection be-
-
ceiver the Sony STR-6040. We passive
front end. There is no tween the most common pro-
broke the $200 price barrier with-
amplification of the incoming sig- gram sources, radio or records
out putting the slightest dent in
nal frequency. This eliminates and for instant comparison be-
quality. We did it by eliminating
two common problems: internally tween original and recorded pro-
the unessentials, designing an gram material; automatic stereo/
amplifier with less than a super generated background hiss and mono circuitry; a headphone
jack
power rating and bydrawing upon overloading of weak stations by and an auxiliary input on the front
advanced radar and microwave strong ones (spurious -response panel; and precise tuning
meter.
technology in the tuner design. rejection is 100 dB down). The Sony name, Sony quality
The amplifier delivers 30 watts The Sony 6040 comes through and an un -Sony -like under
-$200
RMS continuous power into 8 with flying colors in all areas es- price tag. That's the
Sony 6040,
ohms, both channels operating- sential to superior receiver per- and that's beautiful music.
more than enough to drive even formance. Sensitivity, stereo sepa- Sony Corporation of America,
relatively inefficient "bookshelf" - ration, capture ratio and noise 47-47 Van Dam St., Long Island
size speaker systems to room - suppression characteristics are City, N.Y.11101.
SONY®
www.americanradiohistory.com
and the high -frequency horns behind DIRECTIONAL LOUDSPEAKER
ULTRA -DIRECTIONAL MICROPHONE
this sound transparent grille can give ONE PER CORNER ONE PER SIDE
OVERLAP ZONE OCCURS IN AISLES)
. ALL COVER ENTIRE STAGE I
0
OpAISLE
Historically, sound systems have loudspeakers in a AISOE°° 0 0 0
been considered necessary to make 0 0 0 0 0
theatre -in -the - 0 0 0°Ó o ó ó 0°
o 0 0
sound louder for an audience. How- round. 0 0
o o
o
ever, often the emphasis should be on o
0 v 0
o
° 00
greater clarity than with live sound oo°o°° ó°°o 0
www.americanradiohistory.com
An Gutperformer
for the Tape Deck Set!
Tape recorcting has rejachec a new level of a»- a one hand operation significantly redicirg
cellence wi:h the new Pioneer T-600. These moulting and threading time aid the possibility
remarkable innovations tell the story. The ir- of torn or damaged -axes. Other feat_ res include:
genicus auto -reverse unit offers the fastest autc- solid state circuitry 4 heads 4-tra:k stereo &
rratic and pushbutton reverse playaack and monaural Record/Flayoack; 2 VU rreters; hyste-
recording - less than a second Nc mo-e turning
tape over... no mare annoying recording inter-
resis synchronc.is motor; center cacstan drive;
heacphone jack; autcmatic tape Jra<ing- push-
rap:ions. Tite dramatical y d fferent sw nç-in, button 4-cigit counter; vertical ar horizontal cper-
swing -cut pinch roller assures cptirrum tape atior. Naturally, the ciLa!ity is inccmparab e. Ifs
pressure at all times -just rich- fo- flawless
reproductior. Reel oading has been re egatec to
a Pioneer Outperforme-. Ask ycu- Pioneer cealer
for a demonstrat on. 0 -ii, $299.95 ir.cL dust :over.
CO PIONEER®
:IONEER ELECTRONICS J.S.A. CGRPORßTION, 140 3mi:h Street, Farmingdale, N.y. ' 1735 (E16) 694-7720
nest Coast: 1.335 V. 13zth St., Garden:, Gal f. 90243 (213) 323-2374 & 321-1076 Canada: S h marker Co Proe. Ontar o
B F
A
a West German G
(D) This assembly from
pocket portable number of plastic
uses a
pulleys with thin rubber tires. Check for
binding bearings and out -of-line spindles.
Small wonder that the Miracord 50H is the world's fective anti -skate; the 6 pound cast aluminum turn-
most coveted automatic turntable. The top, top table; and a dynamically -balanced arm that tracks
authorities have awarded it top rating. And who to 1/2 gram.
doesn't want the very best? Enjoy the world's second best automatic
The Miracord 750 is virtually identical to turntable and save $20 over the cost of the world's
the 50H except that it employs a dynamically- best. The Miracord 750 is only $139.50 at your
balanced, 4 -pole induction motor instead of a high-fidelity dealer.
Papst hysteresis synchronous motor. It also costs Benjamin Electronic Sound Corp.,
$20 less -$139.50. Farmingdale, N.Y. 11735. A division of Instrument
Systems Corp. Available in Canada.
The new 750 still offers all of these wonderful
Miracord features: the exclusive Miracord push-
buttons; the slotted lead screw for precise stylus
overhang adjustment; piston -damped cueing; ef-
ELAC/MIRACORD 750
another quality product from BENJAMIN.
www.americanradiohistory.com
! WI II
SAVE
UWE
D New D Renewal
Name
Address
New Renewal
Name
Address
New Renewal
Name
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New Renewal
U. S., Possessions, and Canada only
AUDIO MAGAZINE
134 N. Thirteenth St.
Philadelphia, Pa. 19107
What is Electronic Suspension? LWE Electronic Suspension speakers can How does Electronic Suspension work?
LWE researchers have taken the be used with any good amplifier (min. LWE speakers utilize an electronic net-
principle of inverse (negative) feedback- 20 dB of feedback). work to generate their own error voltages
used so effectively in amplifiers-and when the speaker does not follow the
adapted it to use in LWE speakers. amplifier out -put. Inverse feedback is
This revolutionary breakthrough in utilized to control the speaker cone elec-
technology has been recognized by is- tronically at all times, rather than allow-
suance of U.S. Patent No. 3,449,518, ing a resonant mechanical or acoustic
dated June 10, 1969. mass -spring system to discolor response
at low frequencies. Such "discoloration"
occurs in most conventional designs such
as folded horn, acoustic suspension, tuned
port, drone cone, and bass reflex speakers.
Provides the best transient response ever Delivers infinitely better musical instrument
achieved in a Hi-Fi speaker. definition and clarity.
Eliminates speaker resonance and its bad effects Reduces distortion almost completely . . .
(resonant peaks, boomy bass and muffled especially at high volume levels.
percussion). Increases speaker efficiency 5-10% over
Extends low frequency response, ranging from passive means of speaker equalization
20-20,000 Hz* in the LWE II to 29-15,000 Allows freedom in speaker placement due to
Hz* in the LWE VI. compact size (fits on floor or shelf-horizontal
Makes possible Room Gain Control to compen- or vertical positioning).
sate for room acoustics and size. Adapts to any good quality amplifier or receiver,
solid state or vacuum tube. (min. 20dB)
www.americanradiohistory.com
There are
only two food things
about an LWE
"Instant Kit" . .
LW E
The Sound of Excellence
ACOUSTRON CORPORATION / 2418 Bartlett Street Houston, Texas 77006 / Phone: (713) 524-7407
BLAINE B. KUIST
FLECTRONIC CROSSOVERS are get- Fortunately, I talked to a profes- Again with simplicity in mind, I
ting the spot-light in a re- sional audio engineer about my in- focused on parallel high- and low-
surgence of interest in bi- and terests. His reaction was, "Why not pass L -C filters involving the famil-
tri -amplification (high, interme- use high- and low-pass filters?" iar networks of conventional speaker
diate, and low frequencies split The key idea was to feed the fil- crossovers except being designed for
ahead of the power amplifiers) . ters from the pre -amplifier, match- 600 ohms instead of the usual 4-, 8-,
A lot of hi-fi buffs might be inter- ing the 600 -ohm output impedance or 16-ohm speaker voice-voil cir-
ested in an alternative that is simp- of the pre -amplifier with a 600 -ohm cuits.
ler to build (2 hours), not too costly input impedance of the filter. The
600 -ohm output impedance of the
The filter networks selected and
($50 for two channels with one built are described as follows:
crossover point), high in reliability filter was also matched and termi-
Parallel, m -derived
with few components and top per- nated by a 600-ohm resistor (in m = 0.6 for constant impedance over
formance. parallel with the 100-k ohm input 85 per cent of transmission band
The alternative is the old work- impedance of the power amplifier). Impedance in and out: 600 Ohms
horse-passive L -C filter networks. Thus the filter was matched at the Crossover frequency: 500 Hz
An article about Electronic Cross- input and output with 600-ohm con- Attenuation at crossover: 3 dB
oversl, intrigued me with the poten- stant impedances. Slope of attenuation: 12 dB/octave
tial of improved sound with bi -am-
plification. My hi-fi fever set in last Settling on Filters The component values are de-
spring after looking for a starter This sounded simple enough- rived from these formulas:
outfit with my teenage son. Casual until I tried to find the filters. A R.
L1 = (1 + m) Henry
looking and listening led to growing
interest.
search of electronic catalogs, stores,
and magazines indicated filters were
2 ffc
ESP Auto -Reverse with Tape/Source 6 -Head Function with Sony Exclusive
Monitoring in Both Directions. The Roto -Bilateral Head Assembly. This
unique Sony/Superscope 780 records, unique three -head assembly is actu-
plays back, and permits tape/source ally equivalent to 6 separate heads and
monitoring in both directions. Reverse provides complete recording features
mode switch selects one-time or con- of tape/source monitoring, sound -on -
tinuous reverse. Unique design per- sound, and echo in both directions of
mits recording and tape/source tape travel.
monitoring in both directions.
Tape -Equalization
Selector Switch.
Get the most out
of your tapes by Electronic Sensory Search, Another
selecting proper
record -equalization
Sony exclusive -
put on your favorite
prerecorded tape and press the ESS
curve and bias volt- button. The Model TC -780 switches to
age matched exactly fast -forward, precisely locates the
to either standard or beginning of the recorded material,
low-noise tapes. stops, and shifts to playback mode. All
automatically. No long leader -tape
delay.
mH d.c. mA Resistance
However, the United Transformer Typical "Q" curves for the metal - for shielding although this was
Company catalogs listed coils that core coils rise to a peak then fall off found later to be unessential.
covered the audio -frequency range after the saturation point of metal
with Q's of the order of 10 to 30 at cores is reached. The peak Q (about The assembled filters are shown
the 500 -Hz crossover point. 160) for the MQA coils occurs at in the Fig. 1 with the back of the
For the first pair of coils, the about 5 kHz. At the crossover of cover and the board exposed to
HVC Variductors were tried be- 500 Hz the Q is about 40. At 20 kHz, show wiring and components for one
cause they were adjustable and Q is about 25 and at 20 Hz it is in low- and high-pass filter combina-
available at a nearby electronic the range of only 1 to 2. tion.
store. The coils were finally set rea- The HVC coils being adjustable, Response vs. frequency curves
sonably close to the desired values the peak Q falls somewhere in the were run with an audio generator
but they were sensitive to set, al- lower half of the audio range de- and a VTVM with the results shown
though once set, they held their set- pending on the setting. At 500 Hz in Fig. 3. The 520 -Hz crossover point
tings and worked well. the Q is in the range from 5-15. was close enough to the 500 -Hz goal.
For the second pair of coils, the Although the MQA coil had in The crossover point was down
MQA fixed inductances were chosen. general the higher Q characteristics, 3.5 dB from the bass plateau and
Fig. 2-Schematic of the passive filter networks used with the bi- Fig. 3-Frequency-response curves for the author's passive
amplification system described by the author. Two networks are networks.
required for stereo.
L, 305 mH
.,..,,., -5 CROSSOVER ....FILTERS WITH
MQA COILS
520 Hz
FROM PREAMP INPUT Z a ó -FILTERS WITH
OUTPUT Z = 60052 600s2 0.53 -10
HVC COILS
-15
-20
C2, 0.33
Lz
191 m
20 100 1K 10K
FREQUENCY in Hz
www.americanradiohistory.com
Indoors
and out, uffleifflosfuempulam
Bozak quality
is always
the same.
Whether it be at the great summer music
festivals or in your living room, Bozak speakers
are your assurance of the ultimate in tonal
quality and the faithful re-creation of all
types of music.
From the new Tempo Ito the incomparable
Concert Grand,- all are designed in
accordance with the basic laws of physics
without resorting to gimmickry or magical
"breakthroughs" in the science of acoustics.
Each uses the same Bozak designs, differing only
in the number of speakers employed. Each is
truly a fine musical instrument for the home.
Write today for a free catalog on the entire
Bozak line ... exquisite furniture styles, speaker
components, speaker systems ... the
prerequisites for your own
private music festival.
speaker:
Bass Permitsperformance to full same as passive Reduces woofer response by resistance and
damping and transient damping ability of amps. reactive impedance between ampl. and
response speakers.
Amplifier IM distortion minimized by same as passive IM distortion due to hi and low going
performance high and low freqencies go- thrrough same amplifier. Dynamic range
ing through separate ampli- limited because power peaks for hi and
fiers. Greater dynamic range low are additive.
due to separate amplifiers.
Crossover network <0.1°/o THD <0.1°/o THD Can be <0.1°/o THD with top quality
distortion Coml. units 0.1 to 0.5°/o components.
Reliability Good-few components. Has several fold more com- Good-few components.
ponents with more chance for
problems.
Costs Crossover: parts $50 for 2 Crossover: parts $50 for 2, Crossover: lowest cost
Ampl: Requires amplifier for ready -built $100-$200 for 2. Ampl: only 1 stereo required.
Time to build by 2 hrs. for 2 20-40 hours. for 2 2 hrs. if coils ready built; add time if coils
amateur to be wound.
4.0 from the treble, vs. the goal of fed into the Altec-Lansing treble overs vs. conventional crossovers
3.0. Theoretically, the total sound horns mentioned earlier and Klip- after the amplifiers.
pressure level should then suffer a schhorn bass corner horns. The This article presents another
bit of a drop in the crossover region. defenders of the conventional cross- alternative, the passive filter net-
Practically, this slight dip could not over have pointed out that the elec- works ahead of the amplifiers. Com-
be measured in the total output from tronic crossover (or filter) ahead of paring filters with electronic
the speakers (audio generator input the amplifiers adds little or nothing crossovers, it appears that there is a
and microphone pickup) and cer- to the damping of the bass speaker lot to be said for the filters, especi-
tainly could not be detected by ear. which is horn loaded like the ally for the audiophile who wants to
The insertion loss was 3.6 to 3.2 dB Klipsch. Theoretically, this might build the device himself with mini-
(20 Hz and 20 kHz respectively) . be right. I have not had the oppor- mum time and cost. Advantages and
As the text books state, distortion tunity yet to check this by A -B tests disadvantages of the three alterna-
for the passive filter network should of conventional crossovers vs. filters tives are listed in Table I.
be practically nil. This was checked with the horn -loaded speakers. The debates continue on whether
through the courtesy of a manufac- Probably the differences are less the sound is significantly better
.
turer's amplifier clinic and proved prominent than with direct -radiat- (and worth the cost) with the cross-
to be so. The filters were used be- ing speakers. All I can say at this over ahead of the amplifiers. To any-
tween a Dynakit PAT-4 preampli- point is that the sound from the one who has listened to an A -B test
fier and two Dynakit 120 amplifiers. horns with the filters ahead of the with direct radiating speakers, there
The THD was measured at 2 volts amplifiers is superb. is no doubt about the result being
output, which would fully load the If you have been following the in- audibly better with crossovers ahead
amplifiers when feeding 16-ohm teresting articles and letters to the of the amplifiers. And for the audio
speakers. No difference could be editor in Aunio Magazine for the buff who is determined to get the
read in the THD with and without last year and a half on this subject, best in sound, an easy, economical,
the filters in the output. you are pretty well posted on the and reliable way to it is with the
In my setup, the amplifiers were pros and cons of electronic cross- passive filters.
www.americanradiohistory.com
Acoustic Research
announces its receiver.
19 kHz
510
DOUBLER
BIAS
38.kHz
AMPLIFIER
FROM
19 -kHz
AMPLIFIER
38 kHz
COMPOSITE SIGNAL
RECTIFIED PULSES
will be some R in the L line and some with poor high -frequency separation practice, however, there are not only
L in the R line. How Sony compen- than to have to listen to noisy stereo amplitude differences to be compen-
sates for this "impure" separation will with optimum separation. As with sated for, but phase differences at
be shown shortly. most such niceties, the switch in a different audio frequencies as well.
You will recall that up to this point, consumer-actuated control, so the Only careful initial design can take
no de -emphasis has been applied to listener still has the option. care of these phase -response differ-
the signal, since to have done so pre- The next stage, though labelled pre-
viously would have resulted in nearly amplifiers, really serves a more impor- Fig. 4-Symmetrical negative -feedback
total attenuation or elimination of the tant function than just straight circuit optimizes separation.
vital super -audible frequencies which amplification. A schematic of this
are a part of the composite signal portion of the circuit is shown in Fig.
prior to stereo demodulation. That 4. The resistor -potentiometer combina-
process is accomplished now, after tion connecting the emitters of the L
demodulation, and because two dis- and R channels provides a form of
tinct signals now exist, a de-emphasis negative feedback between the chan-
network is required for each. The net- nels. You will recall that up to this
works themselves consist of nothing point, there may be some residual L
more than the usual R -C network to in the R channel and some R in the
"roll off" the high frequencies in a L channel. For purposes of illustra-
prescribed manner (75 -microsecond tion, let us assume that the L channel
time constant, just as in monophonic contains 0.9 L and 0.1 unwanted R,
FM). and that the converse is true of the
At this point in the circuit, Sony R channel. Now, if the amount of
introduces a HIGH BLEND switch negative feedback is such that -0.1
which, by means of a small capacitor (0.9R + 0.1L) is introduced into the
connected between the L and R cir- (0.9L + O.1R) channel (10 per cent
cuits, permits the mixing together of feedback), the resultant signal coming
the higher audio frequencies. Since out of the "L" line will be (0.9L -
this, in effect, ruins separation at these 0.01L + 0.1R - .09R), or, (0.89L +
high frequencies, you might wonder 0.01R). Although we have reduced
why such a "partial stereo defeat the amplitude of the desired L signal
switch" would be introduced. It can from 0.9 to 0.89, we have simultane-
be shown that the high -frequency ously reduced the undesired R content
noise associated with stereo FM, in from 0.1 (10 per cent) to .01 (1 per
the presence of a weak signal, appears cent. In "dB" terms, this represents
in opposite phase in the L and R an improvement from 20 dB of separa-
channels. Thus, the switch is only tion to 40 dB. It should be obvious
intended to be used for such poor- that while all this improvement is tak-
reception situations. When the switch ing place in the "L" channel, the same
is shorted, some of the high -frequency feedback correction is symmetrically
noise of one channel cancels that in taking place in the "R" channel. In
the opposite channel, albeit at the ex- theory, at least, proper adjustment of ences between channels and between
pense of high -frequency stereo sepa- potentiometer in Fig. 4 should result main- and sub -channel components,
ration. The philosophy here is that it in complete elimination of unwanted so that a separation figure of 40 dB
is better to enjoy noise-free stereo L in R and unwanted R in L. In (Continued on page 91)
www.americanradiohistory.com
A-15000 Exclusive triple -motored drive system 4 precision heeds for instant off -the -tape monitoriirg Mike -line mixing 4 independent
amplifiers Automatic tape lifter All -pushbutton controls, automatic shutoff Steren echo for special sound effects Choice of cabinet or portable styling
Play it by ear.
You'll like what you hear.
And you can go right on hearing it, too. Because cur A-15000
tape deck comes complete with carefree automatic reverse. in other
words, this machine doesn't care whether it's coming or going.
It's a standard four -track model wth all the quality
TEAC is famous for. And plenty of unique features,
like the popular ADD recording for simultaneous
playback and recording on separate tracks.
Yes, you'll like what you
hear on this one. Including
the price. (That part
sounds almost as good
as your favorite tapes.)
TEAC
TEAC Corporation of America 2000 Colorado Avenue Santa Monica, California 9040.1
Fig. 1-The Mark Ill head cover is hinged to provide access to
pad/flutter
the heads for cleaning and editing. Note the cleaning
filter at the left of the assembly.
Basically the circuitry is fairly con- pedance whenever there is any signal
Concord Model "Mark Ill" present, and thus effectively discon-
Three -Head, Four-Track ventional. The microphone input jack
in each channel feeds the base of the nect a 1-µF capacitor from shunting
Stereo Tape Deck the output. In the absence of sig-
first transistor in the record circuit,
with the auxiliary inputs feeding the nal, the diodes are biased positively
MANUFACTURER'S SPECIFICATIONS:
same points through the open -circuit- and the capacitor shunts the output
Speeds: 71/2, 33/4, 17/8 ips; Motor: Hyster-
ing microphone inr ut jack and a re- circuits, reducing the tape hiss appreci-
esis synchronous; Speed accuracy: 99.7%
with line -voltage variation from 100 to sistor to make up for the additional ably. This circuit employs eight diodes
128 V; Frequency Response: 71/2 ips, 20- sensitivity of the rnic inputs. A slight and two transistors, but is relatively
23,000 Hz; 33/4 ips, 20-14,000 Hz; Wow amount of bass boost is provided by simple, and effective enough to reduce
and flutter: 71/2 ips, under .09%; 33/4 ips, hiss by about 4 dB, which is sufficient
under 0.12%; Signal -to -Noise Ratio: 52
feedback around the first pair of tran-
sistors, while the high -frequency boost to be an improvement to the ear.
dB; Bias frequency: 200 kHz; Reel Capac-
ity: 7 in.; Dimensions: 181/2" wide, 13" is provided by bypassing the output The physical appearance of the re-
high, 65/8" (over knobs and head cover). emitter with a resonant circuit which corder is fairly conventional in that
Weight: 253/4 lbs. Price: Under $260.00. is switched to provide compensation there are two reel hubs, the head as-
for the three speeds. sembly, the capstan and idler, and the
Replete with practically everything
In the playback circuit, which oper- control knob, which is of the bar type.
the recordist could want in a tape ma-
ates even during recording to provide It has five operating positions: to the
chine, (except power amplifiers and
for tape monitoring, the playback left of the STOP position is the REWIND
speakers) the new Concord Mark III
head feeds the integrated circuit function, and to the right are the
offers three speeds, low wow/flutter,
directly, with playback equalization PLAY/RECORD position, the cuE func-
sound -on -sound facility, echo facility,
being provided by feedback to one tion, and FAST FORWARD. The record
tape or source monitoring, and buttons are actually two levers at the
dynamic muting. This is the first ma- base of a differential amplifier in the
IC. The turnover point is switched for lower left corner of the panel, with the
chine we have examined which incor-
the three speeds. The IC is followed digital counter directly above them.
porates an integrated circuit in the
by one transistor which feeds the line One desirable device is the guide
electronic lineup, which serves mainly
outputs, and the headphone monitor- roller and tape -tension arm at the left
to reduce the total number of transis-
ing circuit requires another transistor of the head cover. The roller tends to
tors as separate elements. Even so,
which drives a transformer to furnish smooth out the tape tension as the
there are 13 discrete transistors, the
the low impedance for the usual stereo tape is drawn from the supply reel,
two integrated circuits,. and 15 diodes
headphones, while the record -level and is aided by the tape -tension arm.
in the circuit, not to mention the four
meter is driven from the emitter of the A similar tension arm is located at the
additional diodes in each of the inte-
transistor directly through a calibrat- right of the capstan, so that the effect
grated circuits, as well as five tran-
ing resistor and a diode. The meter in- of warped reels is minimized, and _
sistors.
Each of the record circuits requires dicates record level when the monitor even sticky tape does not affect the
four transistors, while each playback switch is in the SOURCE position, tape motion.
although it also indicates the output At the right of the panel is the
circuit employs two plus the integrated
circuit. The metering circuits require from the playback head either during amplifier control section, which is
playback or while recording if the mounted directly on the panel. At the
one diode for each channel, and four
are used in the power supply. The re- monitor switch is in the TAPE position. top are three switches: one turns on
mainder of the diodes are in the The "dynamic range expander" cir- or off the dynamic muting circuit, and
dynamic-range -expansion circuit, as cuit takes its input from the line-output the other two select tape or source
are two additional transistors; the final jacks, amplifies it, and applies it to a monitoring on the two channels indi-
transistor is used as a voltage regulator. pair of diodes which offer a high im- vidually. Below these switches is the
D'Arsonval movement
tuning meter shows when
you have tuned to strongest
and clearest signal on
AM and FM.
Illuminated call outs Stereo in two rooms,
indicate function that is separately or at once.
operating. Simple front panel switch-
ing eliminates the complex-
Tape Monitor Switch for ity and expense of ex-
The Nocturne 330 instant comparison of
recorded material and
ternal switching devices.
Power Output: 90 watts, ± 1 db. original program. Separate power ON/OFF
70 watts, IHF, @ 4 ohms. switch permits you to turn
Frequency Response: ± 11/2 db 7-50KHZ @ 1 watt. Headphone receptacle receiver on and off without
Hua and Noise: 90 db. permits personal listening. upsetting other controls.
Square Wave Rise Time: 3.5 microseconds.
Stability: Absolutely stable with all Extended frequency Contour for low -volume
response beyond the normal listening. Contour can be
types of speakers hearing range gives extra
Usable FM Sensitivity: Better than 2.7 Microvolts, IHF. switched in or out, at your
realism to the sounds you discretion.
Total Harmonic IDistcrtion: 0.5% can hear. Nocturne sound is
Spurious Response Rejection: 75 db. cleaner, more transparent, harman kardon
Image Rejection: Better than 45 db more sharply defined.
A wbsid!ary el Jervis Corporation
buy it!
AUDIO NOVEMBER 1969 Check No. 67 on Readers Service Card 67
www.americanradiohistory.com
left -channel record -level control, and as the record/playback responses for
under it is the dual VU meter, with all three speeds. Bias frequency meas-
illuminated indicators to show when ured 190 kHz, which is certainly high
the machine is recording. Next is the enough to avoid the fifth harmonic of
AUX IN
right-channel record-level control,, and the highest frequency likely to be re-
below it is the power switch-a push- corded. This has long been the stan-
push button-and the headphone jack. dard criterion, although we have meas-
(( }] LINE OUT ured a number of machines in the past
At the lower right of the recorder
panel are the two microphone jacks. A year which have been over 100 kHz,
knob at the top of the panel operates so there seems to be a trend in the
the speed -change function-mechani- direction of higher and higher bias
cally for the tape transport, and elec- frequencies.
trically to change equalization. Wow and flutter measured .075% at
The head cover is hinged to provide 71/2 ips, 0.18 at 3%, and 0.24 at 17/g,
MIN MAX MIN easy access to the heads for cleaning all of which are excellent. THD meas-
S -O -S ECHO and editing, as is shown in Fig. 1. The ured 1.5% at "0" recording level, while
MIXING
LEVEL tape path is first past a tape cleaner- the 3% point was found to be at a +6
a cylinder of felt over which the tape level. S/N measured 46.5 dB below
passes, and which also serves as a flut- the 3% distortion level, but this in-
ter filter. It is encased in a metal hous- creased to 50.5 with the dynamic range
ing which exposes only a portion of expansion circuit activated. A micro-
the cylinder, allowing it to be turned phone input of 0.8 mV was sufficient
to a fresh position when it gets soiled. for a "0" recording level, and an auxil-
Fig. 2-Input and output connections are
made in the recessed panel on the right Next the tape passes an automatic iary input of 0.168 V provided the
side of the case, and additional switches shutoff lever, then the three heads, same level. The measured output level
and controls for sound -on -sound and and out to the capstan. During play or was 0.68 V for the "0" recorded level
echo are on the same panel. record, hinged covers are raised in signal. Microphone input impedance is
front of the heads to provide shielding relatively high, measuring better than
and to carry the pressure pads. A pilot 10,000 ohms, while the auxiliary input
Fig. 3-Frequency-response curves: The light at the top of the head cover indi- is 100 k ohms. Channel separation was
two upper curves are response from stand- cates when power is on. a good 35 dB at 1 kHz, which was also
ard tapes, while the three lover curves show measured from track to track between
At the right side of the case is a
record/playback responses at all three adjacent recordings-also good.
speeds.
cutout exposing a panel, Fig. 2, which
+5 STANDARD PLAYBACK. TEST TAPES
accommodates the auxiliary input
Tips
jacks, the line output jacks, and the Operation
05dBl
-5 SOUND -ON-SOUND and ECHO switches,
gips The Mark III is easy to operate,
x -10 3
as well as the level controls for these
easy to thread, and easy to listen to.
RECORD/PLAYBACK RESPONSE functions. The power cord also enters
zW
+5
The dynamic muting circuit helps the
/
C.)
11
Performance
surprising what only 4 dB can do, par-
ticularly when the hiss is already fairly
ips
Figure 3 shows the frequency - low. The echo function works as would
20 100 1K 10K 20K
response of the Mark III on a standard be expected, although this type of ac-
RESPONSE (dB) test tape for 71/2 and 3% ips, as well tion always gives a slight repetitive
4-Appearance of the mechanism with the panel removed. Fig. 5-View of rear of the recorder showing motor and printed
Fig.
circuit boards. The speed -change switch is shown at the top.
Note the accessibility for servicing from this side.
www.americanradiohistory.com
BOSE
on the reproduction of
BASS
If you have heard the BOSE 901 Direct/ReflectingTM speaker for music reproduction. Contrary to convention, the
system, or if you have read the unprecedented series
fundamental resonance of the 901 is designed upward
of rave reviews, you already know that the 901 is the
lcngest step forward in speaker design in perhaps two to about 200 Hz. The reasons for this departure are:
decades. Since the superiority of the 901 (covered by 1) Below 200 Hz, phase irregularities are much more
patent rights issued and pending) derives from an audible than above 200 Hz.
imerrelated group of advances, each depending on the 2) Any speaker exhibits strong phase irregularities
o:hers for its full potential, we hope you will be in the region of and above its fundamental resonance.
interested in a fuller explanation than is possible in 3) Below fundamental resonance, these irregularities
a si-igle issue. This discussion is one of a series on the are absent. Both amplitude and phase
technical basis of the performance of the BOSE 901. characteristics are very smooth functions of
In other issues of this frequency and are electronically equalizable.
series we have explained how a Thus the 901, by having its fundámental
multiplicity of same -size, full -range,
resonance designed at 200 Hz, allows us to make
acoustically coupled speakers
use of this region of smooth response to
"eliminates) the sound coloration
reproduce bass instruments with
caused by resonances
of speaker systems using only unprecedented accuracy of timbre.
D) Active Equalization. Since
a small number of speakers
phase and amplitude are very
and by irregularities in the
smooth below fundamental
radiated energy spectrum of
resonance, it is possible
systems. employing crossover
through active equalization to
networks.' * But how does
the Jse of 4 inch, full -range
control the amplifier signal
to maintain flat radiated
speakers allow such spectacular
power down to lower frequencies
bass performance? It has
than even the largest con-
always been assumed that large
Walnut grille
ventional speakers can produce.
woofers in large enclosures are required
modification Ask your franchised BOSE dealer
to deliver full bass response. The extra. Can be for an A -B comparison test with
answer to this question lies in the tact that bass added to any
901. the best conventional speaker
performance is purely a matter of how much
systems, regardless of their
ai you can move and how well you can control
size or price. Listen especially
i-s movement. In the 901, this depends
for the deep accurate bass of the 901
on four interrelated features.
in contrast to the artificial bass
A) The 'Array Effect', by which a group of proximate
(excessive response between 80 Hz and
sma speakers, moving in phase, acts like one large
200 Hz) which is often mistaken in
I
speaker with the area of the group. conventional speakers for good low frequency
B) The Special Design of the Drivers Used in the 901.
response, but whose thumping and droning
These are special long -excursion, high compliance
cause listener fatigue.
speakers with large magnets, which can move
large amounts of air.
C) Use of the Well -Controlled Frequency Region Below *From 'ON THE DESIGN, MEASUREMENT AND
EVALUATION OF LOUDSPEAKERS', Dr. A. G. Bose, a paper
Fundamental Resonance. In conventional speaker presented at the 1968 convention of the Audio Engineering
design the fundamental resonance is pushed as low as Society. Copies of the complete paper are available
possible and the region below this is discarded from the Bose Corp. for fifty cents.
THE
O
You can hear the difference now.
BOSE 901 DIRECT/REFLECTINGTM Speaker System - $476 the Stereo Pair, including Active Equalizer. Slightly higher in areas south and west. Pedestal base extra.
www.americanradiohistory.com
leaving the amplifier controls accessi-
sound which is easily recognizable as
the result of any tape re-entry system.. marked head -gap positions -
For editing purposes, the accurately
MANUFACTURER'S SPECIFICATIONS: High Filter: 12 dB/octave with 6 -kHz and range" pair of amplifiers can be used
MAIN AMPLIFIER SECTION-Power Out-
9 -kHz cut-off points. Cross-over Filters: as wide -range amplifiers simply by
Low Crossover: 12 dB/octave at 400 or 800 setting the "low" crossover switch to
put (rms)/ channel: Low-Range Amplifier,
Hz. High Crossover; 12 dB/octave at 2500 "flat." This first pair of amplifiers
33 watts; Mid -Range Amplifier, 23 watts;
or 5000 Hz. boasts 33 watts per channel RMS and,
High -Range Amplifier, 15 watts. Music
Power: Low -Range Amplifier, 80 watts; GENERAL-Dimensions: 163/4" x 66/32" x with its capability to act as a wide-
Mid -Range Amplifier, 50 watts; High - 12". Weight 36.3 Lbs. Price: $695.00. range (flat -response) amplifier, could
Range Amplifier, 35 watts. All referenced actually be used as a conventional
to 0.5% THD. Frequency Response: Low - Proponents of electronic cross -over
stereo amplifier all by itself. Taking
Range Amplifier, 10-100,000 Hz, 1 ±1 dB; amplifiers should have a field -day with
it one step further, the second cross-
Mid -Range Amplifier, 100-100,000 Hz, ±1 the new Kenwood SUPREME 1. While over switch, besides providing mid -
dB; High -Range Amplifier, 1000-100,000 the idea of dividing the various fre-
Hz, ±1 dB. Signal -to -Noise Ratio: 90 dB.
high crossover frequencies of 2500
quency ranges electronically instead
IM Distortion: 0.2% at 3 dB below rated and 5000 Hz also has a FLAT po-
of by means of L -C passive filters po-
output. sition, so that owners of two-way
sitioned after amplification is not new,
speaker systems (as opposed to three-
CONTROL AMPLIFIER SECTION-Input this new unit from Kenwood incorpo-
Sensitivity: Phono 1, 2 mV; Phono 2 (low-
way) can also use these amplifiers to
rates so many flexible features that it
level setting), 0.1 mV; Tuner, 200 mV; advantage.
may, perhaps, encourage heretofore
AUX; 200 mV; Tape Head, 2 mV; MIC, 2 trepidatious audiophiles to try this ap- A front view of the SUPREME 1 does
mV; Tape Play, 200 mV. Bass Control: not in any way disclose its unique
proach to feeding woofers, mid -ranges,
±12 dB at 100 Hz. Treble Control: ±12 multi -amplifier construction. The at-
dB at 10,000 Hz (with selectable cross -over
and tweeters.
To begin with, the SUPREME 1 is the tractive silver-banded and dark olive
frequencies of 2000 and 5000 Hz). Equali-
zation: RIAA 20-20,000 Hz ±1 dB, NAB first integrated amplifier we have front panel, shown in Fig. 1, is
20-20,000 Hz -±1 dB. Signal -to -Noise tested that actually includes six power- equipped with modern, metal-turned
Ratio: Phono, 60 dB; Phono (Low), 50 dB; ful amplifiers on one chassis (three controls, push buttons, and levers, all
Tape Head, 60 dB; Tuner, 90 dB: AUX 90 for each channel) . What's more, just of which combine to denote extremely
dB. Frequency Response: 20-50,000 Hz ±1 in case you are not ready to discard flexible but uncluttered design. The
dB. the inductance -capacitance crossover six pushbuttons at the upper left select
FILTER SECTION-Low Filter: 12 dB/ networks present in your existing signal sources while the two, two -
octave with 40- and 80 -Hz cut-off points. speaker systems, the so-called "low position levers directly below are
www.americanradiohistory.com
all the quality of
SHERWOOD
amazing
value
break-
Ihroui!h
Sherwood, who for almost two
decades has been known the world over as pioneers
and innovators iin sound components, now offers you
its top -rated receivers at lower -than -ever prices.
Every element of construction, precise engineering,
and pacesetting design are the same. Quality control
is incomparable; nothing is changed but the value.
249°
1.8 pV FM sensitivity Microcircuit IF and Synchro-phase limiters
2 FET's Main & remote speaker switches Mono output Variable
FM interchannel hush FM distortion-one of the industry's lowest.
(Photos shown are in optional walnut cabinets)
'299°
SH ERNVOOIC)
ELECTRONIC LABORATORIES, INC.
INNOVATORS
1 r oo s. 00000
IN FINEST QUALITY TUNERS / AMPLIFIERS / RECEIVERS / SPEAKERS
4300 North California Avenue, Chicago, Illinois 60618
WRITE DEPT. 11-A
www.americanradiohistory.com
power and tape -monitor switches. At The lower brushed aluminum band stereo amplifiers), a line fuse and a
the lower right area below the selector of the panel turns out to be a hinged DIN multiple tape recorder socket
push buttons is a five -position mode door which, when swung downward, (standard with many foreign makes of
switch which includes such long- discloses less -often -used controls, such tape recorders) complete the rear
abandoned positions as mono, reverse, as a phono input switch (for low- or panel layout.
stereo, left only (to both speakers) high -gain operation of the second In case you're wondering how six
and right only. The volume and bal- phono input), a phase reversal switch, power amplifiers and two professional
ance controls are concentrically (How long since we've seen that, even preamplifiers can be crammed into the
mounted, but use huge front and rear on expensive equipment?), six tiny small confines of this unit, Fig. 2 dis-
knurled knobs. It is obvious that these level controls for balancing low-, mid- closes that every cubic inch of inner
are intended to be (and, in fact, are) and high -frequency speakers of each chassis surface and volume is most
the most -often -used controls. Separate channel (set only once, at installation, efficiently and neatly used. Vertically
bass controls (for each channel) and or when changing speaker comple- mounted p.c. boards abound and
treble controls occupy the right area ment), and microphone input jacks highest -quality components are in
of the panel, each calibrated in dB of and tape playback jacks which elimi- evidence. Heat sinking of output cir-
boost or attenuation. Directly below nate the need for getting at the rear cuits was found to be quite adequate
the bass controls are the low -filter panel every time you want to play a and extended use of the instrument
switch (with cut-off settings at 80 and tape through this amplifier. at high power levels (even under in-
40 Hz) and a tone-defeat switch In addition to the usual imput jacks strument and continuous testing) did
which eliminates the bass control ac- and convenience outlets located on the not raise the temperature of the case
tion entirely. Similarly, below the tre- rear panel of this amplifier, there are by more than a few degrees.
ble controls, are the hi -filter switch six sets of output terminals (binding
Electrical Measurements
with cut-off selectable at 6 or 9 kHz post type). The crossover frequency
switches are also back here, since they In general, we found the Kenwood
and a treble cross -over switch en-
SUPREME 1 to be conservatively rated
abling treble action to start at either 2 will be adjusted only once. Recorder
output jacks as well as preamp output in just about every specification. For
or 5 kHz or permitting defeat of the
jacks (for those wishing to drive other example, individual power amplifier
treble control altogether.
ratings measured 35, 25 and 15 watts
Fig. 4-Tone-control action. Note vari-
for low, medium and high channels of
Fig.3-THD measured separately for the
three amplifiers associated with each able crossover action of bass control. each stereo channel before total har-
channel. Dotted curves represent 5 -kHz setting of monic distortion (THD) of 0.5% was
treble switch. Solid treble curves are at reached. Results are shown in Fig. 3.
2 -kHz setting. Tone -control action was balanced and
symmetrical, as shown in Fig. 4 and,
10
20 for our listening tastes, we preferred
HI-RANGE AMPLIFIER AT 10 kHz
CO
15 the 5 -kHz crossover for the treble con-
MID RANGEAMPLIFIER AT 1500 Hz
de"a AMPLIFIER
'17 l0 trol because it enabled us to add just
LO-RANG
AT 400 W-5 a bit of emphasis at the extreme highs
without "lifting" the middles. A plot
á 0
m
IItII111111111Is111111;1d111111Kiix,.r.,_.
11111111HIII1111311111i111®A11lil
zqx:pe:znarg--r-,.-,..-_ _.. i: .
L
400Hz
8 0Hzl
2.5kHz
5tclLH
lished specifications. As will be noted
later, however, using the six amplifiers
to drive two sets of woofers, mid-
+5
:+:
11
pp .
1u. 6 -kHz N
Lw
5
. . range and tweeters is not all that easy.
Intermodulation (IM) distortion in a
cuTJ' Z
llfiiz:, . `
15
1111II11113111111,
1111111111111111111111111b...
1l111110Wrinlesime,
zL
w
':
15
20
25
i/ i
I . 1
multi -channel amplifier has relatively
little meaning, since the two frequen-
cies used in measuring this form of
IN t0K I00K
30 distortion will actually be fed to two
NCY (Hz) 20 100 1 K 10 K different amplifiers, and resultant IM
FREQUENCY (Hz) should be negligible. Our listening
tests disclosed that this was so-for
BEAUTÌFUII /
MS
/fe AO
LOST N.
PNd
GES
T ON
RNyo''
TURN
?jcFcq
d roo.
www.americanradiohistory.com
Fig. 7-Upper
trace represents
output of mid-
range amplifier; BEES E!B1
I1,
KIM
lower trace is out-
WirkM
put of bass ampli-
fier. Frequencies
applied as noted. 100 Hï Mr
1112011,0
300 Hz NM"
-wargum-
800 Hz 2 kHz
we could detect no evidence of IM totally shattering! The highs were too tronic crossover principle that we de-
and, when attempting to overload the penetrating, while the mid -range tones cided to take a set of dual-trace scope
amplifiers, THD seemed to appear seemed like we had a double "pres- photos to illustrate just what happens
long before we could detect any evi- ence control" in the circuit. Only then between the low -range and mid -range
dence of IM distortion (the reverse is did we open the hinged "trap door" amplifiers as one sweeps from low to
usually true in conventional wide - and attack the six little level controls higher frequencies. The results are
range single amplifiers). put there for just this kind of situation. shown in Fig. 7, and the captions are
For reasons which are not readily ap- self explanatory. Note, that at 800 Hz
Power-bandwidth, that much re- parent, we 'found, after about a half (the crossover point we selected), the
spected IHF specification, also has hour of careful adjustment, that the amplitudes of output in low and mid-
little significance in a multi-channel mid -range controls wanted to be at range channels are just about equal,
amplifier of this type, since the manu- about 1 o'clock, while the high -range which is as it should be.
facturer readily admits that the mid - controls settled in at about 12 o'clock
and high -range amplifiers have less -all the while the low -range controls Summing up, the Kenwood SU-
power -handling capacity than the low - were fully clockwise! Admittedly, elec- PREME 1 will enable the patient and
range sections, so no attempt was trical measurements had disclosed that discriminating user to "shape" tonal
made to derive a power response output power was balanced for all fre- response to a degree not possible with
curve for this equipment.. quency segments when these controls conventional wide -range amplifiers. It
were all set identically, but evidently has adequate power reserve, excellent
the efficiencies of the woofer, mid- control flexibility, and is most attrac-
Listening Tests range and tweeter elements used were tive in appearance and in price. If
Since using the Kenwood SUPREME nowhere near identical, and perhaps you've already selected a "sealed"
1 involved disconnecting all crossover built-in losses in the crossover net- speaker system that you don't want
networks, we could not use "sealed" works no longer present had served to to break into, this unit is obviously not
air -suspension type speaker systems. compensate for these differences be- for you. If, however, you plan to build
We therefore employed a venerable fore. After careful adjustment of these up your own speaker arrangements,
but well-respected pair of infinite - level controls, however, we must con- buying either "ready made" but ac-
baffle, three-way systems, and pro- fess that the balance was as smooth cessible multi -element speakers or
ceeded to tear out the coils and ca- over the entire frequency spectrum as purchasing your own woofer, mid-
pacitors from each one. Following anything we had ever heard. It should range, and tweeter systems, piece-
connection instructions, and using the have been-since we were really able meal less crossover networks, the
six-wire cables supplied by Kenwood to custom -tailor it to our own indi- SUPREME 1 will be a most fitting way
for each system, we turned the ampli- vidual taste-something you just can't to supply them with precisely bal-
fier on, not knowing what to expect. do with tone controls alone. anced quantities of clean -sounding,
Our immediate disappointment was We were so intrigued with the elec- distortion-free audio power.
www.americanradiohistory.com
but this one is somewhat more com-
www.americanradiohistory.com
throughout that oddly suits the musi-
cal substance. As always, dissonance
familiar in orchestral form is accen-
tuated, made even more acerbic, by
the piano's percussiveness. No won-
der the music impressed the experts
Make yourself
who first heard it! Virtually all of
those last faint traces of Romanticism
still observable in the slow parts of
the orchestral work are here sup-
pressed, partly by the nature of the
miserable.
piano, more positively in the nature
of the playing. These boys are cool Check the features of the new Ferrograph Series Seven tape
customers, seemingly nerveless, totally decks and recorders with what you now own or plan to buy.
competent with both rhythm and
fingering. If you've been shopping for
The piano sound is ideally dis- a tape deck, or have been
tributed in the stereo with just enough thinking about upgrading
your present unit, the one
separation so that we can tell which you're looking for hasn't
pianist is playing what, yet with an been available till now.
over-all blend that presents the whole Entirely new in design, the
music as it should be heard, in one versatile Ferrograph Series
Seven tape decks and re-
piece. The sound is hard and precise, corders are from Great Brit-
properly in line with both the music ain's leading producer of
and the performance. I'd rate the quality tape recorders. They
incorporate the most wanted
whole project as impressively cool, features requested by audio-
almost chilly, rather than hot-blooded philes and professionals.
-but this is surely part of the music's Many of these features are
usually found only in much
message, especially in this one -color higher priced units.
piano form. The Scherzo a la Russe
is a brief much later commissioned
piece, originally for Paul Whiteman's
band in 1944.
NEW GENERATION FEATURES OF FERROGRAPH
Performance: A Sound: A- SERIES SEVEN TAPE DECKS/RECORDERS
All solid state with FET front end Accessible output level adjust-
Entremont Plays the Chopin Waltzes. ments
Columbia MS 7196 stereo ($5.98)
3 belt -free synchronous motors Separate control for mixing input
The record cover on this one shows for precise speed signals
Philippe Entremont, dressed in his
3 speeds (17/8, 33/4, 71/2 or 33/4, Delay device for "click -free"
tails and white tie, standing up at the 71/2, 15) recording
piano keyboard, playing (presum-
ably) the Chopin Waltzes in a most
3
Erase
heads - Record, Playback, Independent monitoring facili-
ties for each channel
undignified position. We trust he Variable speed spooling for in- V Remote control Start/Stop
didn't record them that way. It dexing and editing
doesn't sound so. They flow and purr Adjustable reel heights to elimi- Straight, direct, visible tape
and dance with the nicest elan, all nate tape scraping loading
grace and elegance but never either Brake adjustments for each reel 3 outputs per channel (8-16 ohm
www.americanradiohistory.com
NOW...for the first time -a Pablo Casals conducts Schubert Unfin-
ished Symphony, Mozart Symphony
No. 40. Marlboro Festival Orchestra.
Columbia MS 7262 stereo ($5.98)
quality ORTOFON Cartridge A number of unusual circumstances
obtained in this recording from the
www.americanradiohistory.com
longer suitable, less crisp, more
sprawling in detail than the best
Mozart and Haydn performances to-
Enjoy push-button
day, forcing the music to sound big-
ger than it should.
FM stereo at its finest.
Keep in mind that in Casals' day
the G minor was the great Mozart The ADC 1000 ...$28900
symphony, seemingly a serious and
proto -Romantic work in contrast to
what seemed the frivolity of most of
the other symphonies. The G Minor,
accordingly, always got the "heavy"
treatment, to emphasize its profund- Here is a new, improved
ity of emotion.. We no longer think ADC FM stereo receiver
with Dio-Matic push-button
that way today. We see profundity tuning priced much less
beneath even the lightest -hearted Mo- than you would expect for
zart. And so there is no longer any an instrument of this quality.
Preset any five FM stations
reason to perform the G Minor with and have music as you like it.
that doomful sound that somehow Instantly. Effortlessly. This powerful,
implies it is striving to be the Un- modular constructed, solid state 100 watt unit
includes an FET front end for perfect FM tuning. The ADC 1000
finished of Schubert, far ahead of its has been designed to perform at extremely low distortion. The
time. The Symphony is great enough result, superior sound. Crisp. Alive. Brilliant. Equipped with
without such anachronisms. facilities for all programming sources. Walnut cabinet optional.
The ADC 1000 is an American made professional
Note an occasional curious growl- receiver that merits the consideration of all audiophiles.
ing noise. It is Casals at work. Most
of the great performers seem to suffer
from vocal incontinence, especially on
the Columbia label! Glenn Gould is
a famed vocalizer and even Rudolph or this unusual value in a
Serkin, Marlboro's head man, has
been known to sing his own accom-
paniment before the stereo mikes.
90 watt FM stereo receiver.
Performances: B+, B- Sound: B- The ADC 606 ... only 999°°
Beethoven: Symphony No. 6 "Pastoral."
Boston Symphony, Leinsdorf.
RCA LSC 3074 stereo ($5.98)
Perhaps it was unconscious mental
indigestion on my part-but I did not
react with any favor to this Sixth Shop around if you wish, but
Symphony. It is all too American in the odds are you will not find
an American made solid state
an opulent sense, played by this
receiver to match the beauty and
self styled "aristocrat of orchestras" performance of the ADC 606 anywhere
in a fashion that somehow says to near this low price. True bookshelf depth
me, look how good we are, how big -only 17" wide, 5" high and 9" deep including
and powerful, too. It is not, for my side panels that eliminate need for separate cabinet.
Compare the high performance features of the amplifier
ear, dedicated to Beethoven. It is and tuner sections and judge for yourself. Write for complete
dedicated to Erich Leinsdorf and the specifications on both of these five receivers.
BSO. Prices are suggested resale.
The whole thing is both too hard
and too smooth, too much the mailed
ZAUDIO
fist in the nylon glove. The Pastoral
CCD DYNAMICS
CORPORATION
is the toughest of all the Symphonies
to project convincingly, for it is both
subtle and naive, a wonderfully or-
ganized and yet utterly trusting work;
it must be approached, somehow,
r- Please
NEW MILFORD, CONNECTICUT 06776
Name
I
with a compassionate humanity of
I send I
Address
feeling, in the playing as in the specifications
I
on ADC 1000 City
conducting. and ADC 606
Instead, when this disc began to receivers. I
State Zip
spin I received a strong mental image I I
L_ Quality Magnetic Cartridges Home Entertainment Electronics Hi Fidelity Speaker Systems
J
AUDIO NOVEMBER 1969 Check No. 83 on Readers Service Card
83
www.americanradiohistory.com
of the prosperous BSO, best pro ing movement is pure Madison ave- Sorry. I'll have to take a turns next
players in the world, sitting there nue. The jolly scherzo in the village time.
sleekly doing their thing, profession- is violent enough to sweep Beetho-
Performance: C+ Sound: B
ally perfect, even if this was the 99th ven's peasants off their jolly feet. As
time that old chestnut had hit the for the famed storm, it is as you
Boston boards. An evil approach to might expect, literally the loudest, Smetana: The Moldau and Other Works.
any Beethoven, but especially the fiercest version imaginable-and in- Slovak Philharmonic of Bratislava, Ladi-
slav Slovak, Ludovit Rajter.
Sixth. As for Leinsdorf, my inner ear sincere for it. Beethoven does not
RCA Victrola VICS 1443 stereo ($2.98)
tells me he is fussily self-conscious make good Berlioz. Only the quiet, Well, I dunno. The Czechs, of
about effects, exaggerating each pp, gentle finale variations begin to take course, usually do a splendid job con-
each sf, as though double strength off into sincere, meaningful musical ducting their own national music-
might give double value. The open- expression. So I heard it. but these are the Slovaks, from the
other end of the country. (Very con-
fusing: one of the two conductors
here is named Slovak. Bet he's a
Czech.) I found the record reason-
ably pleasing, but no more. The
Slovak orchestra isn't too accurate in
You probably think it's impossible
detail, though its playing is intelli-
to get the big sound of a 12 -inch woofer
gent and easy, and the recorded
You've SEEN and a midrange-tweeter from an
enclosure measuring only 71/4 x 101/2 x
sound has some typical East -Europe
drawbacks, a bit of distortion of a
51/2 inches...that is, until you hear
the Mini - the MAXIMUS 1! metallic sort in the loud passages, a
slightly thumpish variety of percus-
Be sure it's the MAXIMUS because sion sound (transients) and, if I am
today we've got imitators. Better still -
now HEAR let your ears compare...you'll be
able to choose THE sound imaginative
right, quite a dose of volume com-
pression. This makes the softer parts
of the music, the cleanest in sound,
the technology makes possible! rather unnaturally loud and close as
Your MAXIMUS dealer has seven compared to the climaxes. We have
MAXIMUS! superb systems from compacts to a moved well away from these familiar
magnificent 4 -speaker 3 -way system - faults, and a good thing too.
from $39.95. Only MAXIMUS makes The disc includes, besides Sme-
the original mini -MAXIMUS! tana's old favorite Moldau, Murmurs
of Spring (Sinding), the Secret of
Suzanne Overture (Wolf Ferrari),
the familiar Dances of Galanta by
Kodaly and something called Donna
Diana, the overture to an opera by
Reznicek. It turns out to be very fa-
miliar light -music stuff. As the notes
say, consider this to be a comfortable
concert ... It is, generally speaking.
But not very exciting.
Speaker systems Performances: B- Sound: C+
shown
reading
clockwise
from top:
MAXIMUS 33 The Richest Sound on Earth. (Six Ac-
MAXIMUS 44
MAXIMUS 7
claimed Triumphs of the Recording
Ion optional base) Art from the Fabulous Philadelphia
MAXIMUS 22
MAXIMUS I
Collection on Columbia Records.)
MAXIMUS 55 Philadelphia Orchestra, Ormandy.
and
MAXIMUS 5 Columbia MGP 7 stereo (two discs)
This, we note, is the Columbia ver-
t,NUMsOUN sion of the "Richest Sound on Earth,"
CORP
not the current RCA variant. Not
much more need be said, except that
MICN NOEJ
these two discs, which I assume are
specially priced,. contain the big
sound-sensations you might expect:
Side 1, the Pines of Rome by
Respighi. Side 2, the Bach Toccata
MAXIMUS SOUND CORP. 809 Stewart Ave., Garden City, N.Y. 11530, (516) CH 8-6404 and Fugue in D Minor (transcribed
WILL I HEAR
...
THE DIFFERENCE?
If your turntable rumbles and wows If your amplifiers put out only five watts at 10% distortion . If your speakers have a frequency
range just good enough for speech ... If your phono arm has the incorrect overhang required by the older record changers ... If your cart-
ridge requires a vertical force of a dozen grams to keep its stylus in the groove ...
And if your records have been torn and mutilated by that
stylus- YOU ARE NOT LIKELY TO HEAR THE DIFFERENCE.
BUT If you own one of the many superb modern amplifiers ...
If your turntable produces no audible rumble or wow If you have ...
selected your speakers from the many excellent models available today . . If your cartridge has a response that evenly covers the audible
.
range of frequencies with little distortion ... And if the recommended tracking force is of the order of one gram ...
THEN You owe it to the engineers who designed your equipment, to the artists
and technicians who produced your records and, above all, to yourself to .. .
hear
the difference!
..I ' !-2_
.
t
. ¡
ef e(^1 i
! J1 1 - illie
`/
%/¡:
,e
A
i/ _
3.1
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RABCO
AUDIO NOVEMBER 1969
MANUFACTURERS OF THE ONLY STRAIGHT LINE, SERVO DRIVEN PHONOGRAPH ARM.
11937 TECH ROAD, SILVER SPRING, MARYLAND 20904
Check No. 85 on Readers Service Card
www.americanradiohistory.com 85
closer and drier than the expansive Electronic -Plus me to these discs with extended at-
German sound. The two discs are Charles Wuorinen: Time's Encomium. tention. I was very decidedly im-
close to an equality as far as com- For synthesized and processed syn- pressed. The Nonesuch series, I would
munication is concerned. (The price thesized sound. suggest, is qualitatively far ahead of
Nonesuch H 71225 stereo ($2.98) a lot of the stuff that still is being
difference is all the sillier.) Andrew Rudin: Tragoedia. For electronic
music synthesizer.
thrown out at us.
As for Thomas Arne, the history Nonesuch 71198 stereo ($2.98) I would suggest, however, that you
books have long pigeonholed him as Kenneth Gaburo: Music for Voices, In- admire the sensitive cover designs
just another British second-rater struments, and Electronic Sounds. New of Elaine Gongora on several of these,
under the shadow of Handel; some- Music Choral Ensemble, Univ. of Il- as you listen, and studiously ignore
body's ears were unsubtle when that linois Contemporary Chamber Players,
Gaburo.
the "program notes" on the reverse
judgment was made, a long while Nonesuch H 71199 stereo ($2.98) until your own ear has had a chance
back. (No LP records to help.) Arne Morton Subotnick: The Wild Bull. For to adjust to these new sounds. It is
is more conservative and far less electronic music synthesizer. the habit of most young composers,
original than Emanuel Bach but, sur- Nonesuch H 71208 stereo ($2.98) and many middle aged ones, to write
prisingly, he sounds out very clearly Three of these four Nonesuch com- preposterously pretentious annotations
of his own generation, 25 years missions are here reviewed late-and of a sort designed to impress their
younger than Handel. He writes in for good reason. They arrived at a professional colleagues rather than
an outwardly Handelian manner but time when suddenly the air was full reassure the unknowing outsider (who
the sound-to our ears now-is of electronics. Dozens of records were buys the record, after all). Not that
clearly different, already implying the hurled onto the market all in a rush the notes are false, or in the end lack
turn to gallant music which was to to get on some sort of sales band- usefulness. But it is so easy to be
overwhelm England a dozen or more wagon (as far as I can figure) and snobbish and obscure in words, where
years after these works were com- no honest reviewer in his senses could the musical product itself-even elec-
posed. The Arne side of the Argo possibly have listened to such an
tronic-is a far more direct and hon-
record parallels the Bach, with an enormous barrage with any intelli-
est presentation to the ear. I warn
orchestral work, a concerto and brief gent reaction, even if there weren't
parallel masses of Beethoven, Mozart, you that if you read these accounts
solo sonata, for Mr. Malcolm's harpsi- before listening, you will merely be
chord. and the rest!
Better late than never. Luckily, a intimidated. Put off. Even horrified.
Performances: A-,A- Sound: B, B, private project came up that brought Like, say, "The poem, with regard to
D011'í
listen to the
AIexperts ...
An expert hears music one
an
way; you hear it another.
Nothing is more personal
than a man's relationship with his music. So no
one can recommend a certain sound, or speaker
to you. No one knows that much about you.
That's why University offers the widest selec-
tion of speaker systems in the industry
cause as a listener you are your own
be-
expert.
-
And because every expert also has his own price
range, the University line starts at less than $50
and extends beyond $300.
There's only one way to choose. Look and listen,
until one particular sound, style, and price
listen to
listen closely enough
choose University.
-
reaches out and grabs you. If you look and
chances are you'll the speakers
UNIVERSITY®SOUND -
(Pictured: Senior Ill, Estoril, Laredo speaker, with the Studio Pro
120A-world's only certified receiver all by University Sound.)
ADIVISION LTV L/ ALTEC. INC
OF N G
9500 W. Reno Oklahoma City, Oklahoma
86 AUDIO NOVEMBER 1969
rMwr Wn Af. nn Random Carviea rar.i
www.americanradiohistory.com
its formal design, semantic and pho- years. (Composers, generally still has a curiously academic and non-
netic content, morphology and articu- oriented towards live audiences, ob- electronic sound to it, one of relative
latory potential (governed on one ject to a "live" performance solely conservatism. The reason is interest-
level by concern for intelligibility), via loudspeakers in a hall. Who ing. In the composer's words, "The
to a large extent determined the
structure of the composition." OK,
wouldn't?) The choral movements, RCA Synthesizer ...
is prejudiced by
the startling single voice of a soprano, its design toward 12 -tone equal tem-
OK, but how about saying it in Eng- the sudden bray of brass, are beauti- perament." And so his music is com-
lish? That would help. fully integrated with the electronic posed in the tempered scale like "old
These are works of the new and elements of the Gaburo piece. fashioned" music. Who would have
much improved generation of elec- Only Charles Wuorinen's recent ever thought it would sound strange,
tronic sound, cleanly synthesized, "Time's Encomium," worked out on as electronic music, because of this
richly varied, bright, percussive, no the relatively ancient Columbia - very fact? It does. That's how far
longer with that dull "recorded" Princeton (RCA) Music Synthesizer, we have come.
sound of the early attempts, so often
lifeless in color and lacking in any
transient impact. Impossible to char-
acterize each in detail-but speaking
generally, there are several further
points. Not only is the sound clean
Tandlwras Love Child WNW1ïVipii r
and varied but the style of sound is
now more fully in line with electronic SERIES 11
capabilities, full of short, sharp twit- Full Track and
ters, blops, twangs, sizzles, with a Half Track
minimum of those dismal dun-colored
wailings so common in the older
music. Moreover, the shift from tem-
pered pitch to all-inclusive pitch-no
fixed scales-is marvelously well ac-
complished, again very much in line
with the medium's own nature. This
is a lot more important than we may
yet realize.
Further: the greatest single ele-
ment of dramatic exposition in these
very long works is tempo, the sense
of speed or slowness of motion which
has governed traditional music of all
sort and here reasserts itself in new
terms. Morton Subotnick, for instance,
has some of the most purely fast
PORTABLE/SOLID STATE/BATTERY OPERATED/TAPE RECORDER
music I ever hope to hear on side 1
of his splendid "Wild Bull," an ab- At first, it was almosta labor of love to meet all the rigorous demands for
soletly breathtaking tempo and one of Tandberg excellence. Then, after exhaustive development, this fine product
was born for critical, on -the -spot, professional -type recordings that require
the most powerfully exciting displays
of sound -power I have ever heard.
"better, clearer, more natural sound." The quality speaks for itself
Tandberg. Try it. But first, to start with, review these important features:
-
Similarly and oppositely, Kenneth 3 separate heads; 3 speeds; 7" reel `capacity (cover off); mixing facilities
Gaburo's Music for Voices, Instru- with separate level controls; ±0.5% absolute speed tolerance; automatic
ments, and Electronic Sounds includes imiting control; 200 ohm monitor headphone socket; built-in speaker;
accepts ten 1.5 D cell or nickel cadmium batteries; weight 10 lbs.
a long slow movement that is full of
the most startlingly silent pauses, SPECIFICATIONS
-
--
Frequency Response: 71/2 ips 30-20,000Hz (±2 - ALSO, AVAILABLE
briefly interrupted at precisely the db 40-16,000Hz); 33/4 ips 30-13,000Hz (±2db
right rhythmic intervals to produce 50-9,000Hz); 17/e ips 30-7,000Hz (±2db 60- "Pilotone"
4,500Hz). Signal-to-noise Ratio: ± 71/z ips 61db.
an ultra -slow feeling of tempo. (And Now: 71/2 ips better than .1%; 33/4 ips better
what gorgeously silent record faces! 'hen .15%; 17/a ips better than .35%. Erase &
Bias Frequency: 85.5KHz ±2KHz; below 5% distor-
Not a breath of sound for seconds -ion. Transistor Complement: 41 transistors, 8 di-
at a time, as though the amplifier odes, 2 zener diodes. $449.50
Optional AcesssariES:
were turned off.) Carry Bag $ 29 95 AC Power Supply S 44.95
Finally, in this last work, there is for better, clearer, more natural sound Model 11-1-P
the now-triumphant combination of For Professional Sound/ Film Syn-
electronic and "live" sounds that has chronization and Audio Engineering.
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been working itself out in terms of .P.O. Bog 171, 8 Third Avenue, Pelham, N. Y. 10803 chronizer and power supply optional.
$699.00
performance needs these last few 914 PE 8-0772
AUDIO IS A
1)I0
STEREO
01Yw T
lC
WELCOME
OR OW
RvM%
Historical
M I)IC)
AUDIO
CHRISTMAS
.= STEREO
VRIS
..
GIFT!
FiVF-CHAN.N'EL sTERÉO }
.`S
TWO CHANNELS SOUNDáD Send a subscription to a friend or
.
www.americanradiohistory.com
LAYMAN'S GUIDE TO This effect is utilized in electrostatic like a push-pull amplifier; distortion is
SPEAKER SYSTEMS speakers. In the simplest type, the dia- greatly reduced. Electrostatic speakers
(Continued from page 24) phragm is a thin, conductive mem- require a connection to the power line
brane, spaced a short distance away for the high -voltage bias supply but
from a perforated metal plate. The consume very little current and can be
Driver Unit-Speakers with rela- signal voltage is applied between the left plugged in all the time. The dia-
tively small, light diaphragms designed two conducting surfaces, together with phragms are very light. Since they are
for use in horn speakers (see defini- a fixed d. c. bias voltage. The push- driven virtually uniformly over their
tion). Also used on occasion to refer pull type of electrostatic speaker uses entire surfaces, response can be made
to a direct -radiator speaker itself to a diaphragm suspended between two very smooth. They are used mostly
distinguish it from the assembly of a conducting surfaces or a series of for the higher frequencies.
speaker or speakers in an enclosure, or closely spaced wires. It operates much (To be continued)
speaker system.
Dynamic Speaker (Moving-Coil
Speaker)-A speaker in which the
varying magnetic field produced by
the varying signal current in a coil of
wire interacts with a surrounding fixed
magnetic field produced by a perma-
nent (or electro-) magnet, to produce
motion of the diaphragm. The voice
coil is generally composed of a num-
ber of turns of wire forming a cylin-
der. Some unusual designs use a zig-
zag metal ribbon as a voice coil;
Modern
"printed -circuit" construction has also
been used.
Ducted Port-A tube or duct join-
ing the air outside the cabinet to that
inside. In small bass -reflex cabinets
designed to produce extended bass re-
sponse, the required size of a simple
port is so small that there are excessive
energy losses due to friction as the air
oscillates back and forth in the port.
A duct permits the opening to be made
larger and the losses reduced.
Edge Damping-A viscous com-
pound applied to the surround of a
cone speaker. When a signal current
starts in a speaker, the motive force
generated by the voice coil is applied
to the apex of the cone. Because of the
mass and flexibility of the cone, a wave
is set up that travels radially outward
along the cone to its edge, at the sur-
round. Here it is reflected and travels
back toward the voice coil and is re-
flected outward again. The resulting
This is the Yikko STA -701 B...th In performance, styling, features
wave-like motion of the cone surface hottest performer ii tig Nikko line (like F.E.T., I.C. and Triple Ci -cuit
gives rise to irregularities in the fre- This is the pteduc1 of years of pian Breaker Protect on) and valuº .. .
quency response. A viscous material ring and design...carefal y, tho.ght- Nikko has created the Modern Mas-
Lilly defiled in every :.tail, to f II terpiece . . . t ead and shouìders
on the surround absorbs the outward special need in t -e s:e-eo make- above the masses.
travelling wave and smooths the re- tday! You may not know from F E T
sponse because of its internal energy but you do know what you like -tear
loss. the '701 B . . s:on.
ances consistently drew throngs of ing the blues just doesn't fit. In any
case I am not really any longer a blues Rock that can bridge the generation
screaming moptops; its material was
guitarist. I went into Cream a blues gap is provided by a pair of Flower
original (written by Clapton and
guitarist and came out a rock and roll children (that's their last name, not
Bruce) and stood far above that of
player." their social label) on GENESIS (Skye,
the many mini-talents.
Baker, now 29, is a one-man tor- SK -1006D), part of the recording
But the Cream's harmony curdled,
with its members creating much verbal nado. His expertise is especially evi- company's "discovery series." Wendy
noise tinged with egocentricity (each dent on "Do What You Like," his own (age 18) and Bonnie (age 15) actu-
wanted the limelight; each, in truth, composition and at 15:20 the longest ally sing (instead of vocalizing with
merited it). So the triangle, as most cut of the LP. His musical bag encom- a rasp or shout) and offer gentle har-
human triangles eventually do, broke passed everything, sitting in with al- mony. The background of the disc,
down. most every band available at first, then produced by jazzman Gary McFar-
After the split, Clapton and Steve meandering through traditional and land, consists of light strains from
Winwood, who originally was with avant-garde jazz to his place in rock. drums, fender bass, organ, piano, and
Spencer Davis' band before forming "For about two years," he admits, "I guitar.
Traffic, began jamming together. Red- just sat on the drums and played non- The duo, who wrote the tunes (and
haired Baker, cooled by time, swal- stop. I didn't care if I was on my lyrics, which neatly avoid hammer -
lowed his remaining anger and joined own, I just used to play away." like references to drugs, Vietnam,
in. But the trio, though good, sounded Winwood, only 21, is Blind Faith's black problems, etc.), sing mostly in
too much like the Cream. Along came voice and, as such, stamps the combo unison on the 10 tracks, but occasion-
DON'T
MAKE A
SOUND
cuit. Direct coupling for cleanest sound, greatest ef-
WITHOUT THE ficiency, lowest distortion.
High fidelity performance? You bet! You can use
POWERLINE FROM the Power-Line not only for public address applica-
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reproduction.
UNIVERSITY 16 Models to choose from: eight deluxe and eight
standard with or WITHOUT OUTPUT TRANSFORMERS
The industry's first and only solid state, transistorized, (and if your system's size will let you use the trans-
computerized public address amplifiers with high formerless models, University just saved you a bundle
fidelity performance. of time and money) with 20, 35, 60, or 100 watts of
,
Built from the ground up to take full advantage of clean, proven performance.
space-age circuitry, with features you won't find in For more details, write for our new catalogue
any other line at any price. and the name of your nearest University dealer.
Dependable? Any amp in the Power -Line series can
gó from no load to full load, even a complete short
circuit, without blowing an output transistor! (Or r1101 UNIVERSITY®SOUND
anything else, including your stack.) Why? Because of ADIVISION OF LTV LING ALTEC, INC.
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IIIIIIIIIII11111111111111II1IIIIIIIIIIIIIIIIIINIIII
I IIIIIIIII I I I I IIIIIIIIIIIIIII11111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111IIIIIIII
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the swing era, from 1939 to 1941, John McLaughlin, guitar, and Tony MODELS;
for multiple set
reception-in
and they reflect the sound musical Williams, drums, Davis creates a set HWK-75 easy -to -handle kit
75 ohm form.
judgment and serious approach of of ravishing sound impressions. This HWK-300
For Color TV- FM/FM
300 ohm
is beautiful, meaningful musicmaking, UHF/VHF Stereo
this bandleader and saxophonist. Four
Ellington numbers are included: Har- flawlessly recorded, and in the grand Turn your whole house into a home
entertainment center. Operate up to
lem Speaks, The Gal from Joe's, tradition of Davis' most exalted per- four sets, or be able to move your
formances. All of the strength, con- entertainment equipment from room to
Echoes of Harlem, and Lament for a room. Kit includes all necessary parts,
Lost Love. Two numbers feature trol, and imagination that characterize fittings and instructions.
Lena Horne, who sang with the band this performer's finest work are
in 1940 and '41: Haunted Town brought into focus here. THE FINNEY
and Good-f or -Nothin' Joe. Possibly Performance: A+ Sound: A
COMPANY
34 W. Interstate St., Dept. AM- lBedford.Ohio44146
I
ist Time!\
'®® and the solo viola by Josef Staar. or Prokofiev 5th symphony (excerpts
Maazel may be young in years but of course) . The sound is up to
.4lco Control Center allows your choice of up
to 6 stereo speaker systems to be selected his reading here is amazingly mature. Deutsche Grammophon's high stand-
simultaneously. Push -on & push -off switches
enable you to optionally select your choice of His balances are all good, he never ards and the transfer to 33/4 ips is not
speaker pairs. Easy access rear panel connec- too devastating, except in some of the
tors to match your particular system. No ex- overpowers in the solo parts, his pace
ternal power required; no impedance match more robust sections where it is all
problems. Useable with low or high impedance namamaa4
circuits. Leather -styled black metal with too easy to hear the compressor at
brushed aluminum trim. 5%" x 2%" x 3`3i6" ARTICLES AND STORIES OF INTEREST
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CC4RCA 4 RCA $19.95 copy of Tape Ministries and Testimonies SAVE by subscribing to
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Check No. 98 on Readers Service Card Check No. 22 on Readers Service Card
98 AUDIO NOVEMBER 1969
www.americanradiohistory.com
ASK...
work. With a tape machine with auto- soon to be followed by RCA cassettes,
YOUR DEALER
matic reverse, this is a great three-
hour escape from the usual and in-
and this marks the entry of the big
boys into the cassette derby. It is
FOR AMINADO
creasingly banal music on FM. none of my business what delayed
their entry, `null said that with the emor?stpatior?
The Anita Kerr Singers. Ampex/Dot, promotional push that they can and
X5951, open reel, 33/4 ips ($5.95)
are putting behind their cassettes, the
Nothing earth -shaking here, but little package is headed for the big It'll
good solid pop stuff, expertly per- time. I still think the price has to turn
formed and cleverly arranged. Main come down some before they really you
blessing is that they don't scream at on!
catch on with the kids, which is where
you, but are actually quite articulate the big money is, but this is just a
and pleasant-voiced. The group tackles matter of time.
such as "When the World Was Young," Are Columbia's cassettes any better
"Windmills of Your Mind," "Good- than what has been issued by other
bye," "My Way," and seven others. companies? They appear to have a
Orchestral playing is top notch little less hiss than most cassettes, the
and good balances between voice and distortion content is fair, but on sev-
orch. Nice, bright, clean sound, low eral I caught what sounded like drop-
hiss, slight print-through and cross- out or tape making poor contact with
talk. the heads. Frequency response seems Mikado Model 2410 ... has everything
to -'tend to 8-9 kHz, but with the you'll ever need in a music system. 20
West Side Story (Original Sound Track) still very evident tape hiss, it isn't very Watts AM/FM/FM MPX Tuner amplifier
Columbia, Cassette 16 12 0004 ($5.95) complete with Garrard automatic changer
usable. There seems to be a fair quo- and two speakers. Fits most pocket
I Love How You Love Me: Ray Conniff.
tient of mechanical problems with the books $189.95
Columbia,Cassette 16 10 0612 ($5.95)
Today's Themes For Young Lovers. Percy cassettes themselves; some reel stick-
Faith Orch. and Chorus. Columbia, ing and binding, for example, (a pro-
Cassette 16 10 0290 ($5.95) duction of "Camelot," was unusable
My Name is Barbra: Barbra Streisand. in this respect). In summation, they
Columbia, Cassette 16 10 0168 ($5.95) got their balloon off the ground, and
no doubt the product will please those Mikado Model 2425... This 60 Watts
This, as you can see, is a batch of who are less critical. It is obvious they AM/FM/FM MPX Tuner amplfier is one of
cassettes from Columbia. Nothing can do better, and with some of the the outstanding buys on the market to-
extra -ordinary about the titles, stand- day. Engineered to give you 99% pure
promised improvements in cassettes sound. This is 1% or less harmonic dis-
ard Columbia fare. What is news is reportedly not too far off, the medium tortion across the entire bandwidth (20-
that there now are Columbia cassettes, may soon mature. 20,000 CPS) at 10 Watts RMS per channel
or 20 Watts both channels. Compare this
unit with receivers selling for $400 or
more. Our price $179.95
MIKA
Here are the newest and most unique microphones ever ELECTRONICS CORP.
introduced with a custom designed wood grained leather box 1072 Bryant St., San Francisco, Calif. 94103
Telephone (415) 861-1811
Check No. 26 on Readers Service Card
Check No. 99 on Readers Service Card
AUDIO NOVEMBER 1969 99
www.americanradiohistory.com
FOR SALE
FM BACKGROUND MUSIC-Miniaturized
CLASSIFIED SCA Adapter Module connects to any FM
Tuner. Operates on 12 volts. $29 postpaid.
506 per Performance guaranteed. K-LAB, Dept.
Rates: 256 per word per insertion for noncommercial advertisements; Al, Box 572, S.Norwalk, Conn. 06856.
word for commercial advertisements. Frequency discounts as follows: 2 times,
less 15%; 6 times, less 20%; 12 times, less 30%. Closing
date is the FIRST of HARTLEY CONCERTMASTER in home
the second month preceding the date of issue. Payment must accompany
all demonstration: West Orange, Scotch
Plains, Boonton, N. J.; Port Jervis, Matty-
orders under $10.00.
dale, N. Y.; Newtown Square, Windsor,
Pa.; Miami, Florida; Holland, Mich.; Albu-
querque, N. M.; Logan, Utah; Daly City,
Chico, L. A., Calif.; Columbus, Ohio;
Dixon, Illinois; Helena, Mont.; Kensing-
SERVICES SERVICES ton, Md. ALSO: Tokyo, Hong Kong,
Noumea, Johannesburg. Write HARTLEY
HIGH FIDELITY SPEAKERS REPAIRED DON'T THROW YOUR OLD CARTRIDGES CORP., Ho-Ho-Kus, N. J. 07423.
AMPRITE SPEAKER SERVICE AWAY. Send us $50.00 and any old used
168 W. 23rd St., New York, N.Y. 10011 cartridge and we will ship you via air pre- RECORDS, TAPES, MOVIES, BOOKS. Un-
CH 3-4812 paid anywhere any one of the following limited selection, big discounts. Send 500
Top Stereo Cartridges: Shure V-15 Type II, for record or tape catalog, 259 for others.
RENT STEREO tapes $1.00 week. Catalog Empire 999VE, Stanton 681EE. These are Specify catalog desired. Murphy's, P.O.
259. Tape Library, Box 8126, Washington, NEW and include diamond stylus. Write Box 358A, LaPlace, Louisiana 70068.
D. C. 20024. for lowest quotations on all stereo com-
100
AUDIO NOVEMBER 1969
FOR SALE FOR SALE EQUIPMENT WANTED
AMAZING DISCOUNTS on famous brand FOR SALE: Ampex 300-350 1/2" 4 Trk- YOUR OLD CARTRIDGE IS WORTH
high fidelity stereo components. No $2500; 602-2 71/2-IPS-$450, 350-2 Play- MONEY! Send us the following amount
small wonder that we have set new sales back Elecs., $100, 300 Mono Elecs. with now-and your old cartridge AFTER
records each year since 1959. Write. meter panel-$75; 350 type sel-sync- you've received your factory -fresh
Arkay Electronics, 1028-05 Common- $35; 350-3 master bias osc.-$50, Sigma replacement by return airmail: SHURE
wealth, Boston, Mass. 02215. 4-mic mixer-$75; REL Precedent tuner- V15 Type II, $48.50; M91E, M92E, M93E,
$100, Guy Heitmann, 12 Lake Rd. Peek- $18.50; M55E, $14.75; M3D, $8.75. STAN -
FOR SALE: Marantz 7C w/cab. $140, 9's skill, N.Y. 10566. TON 681EE, $34.50; 500E, $19.50. EMPIRE
(new) $500 a pair, SLT-12U turntable $125. 999VE, $47.50; 888VE, $34.50; 808E, $17.50.
Sony turntable w/base/A&D arm/Decca MARANTZ 7C and 8B. HEATH 10-14 PICKERING XV-15/750E, $34.50. ADC 25,
cart. $200. 1-581-1311. P. Haley, 1021 Scope. Mint condition. Best offer. Shep- $72.50; 10E Mk II, $32.50. When sending
Hazel Place, Mexico, Mo. 65265. ard, Box 4302, State College, Miss. 39762, us your trade-in cartridge, you may add
601-323-2756. a pair of KOSS, SUPEREX, SHARPE, etc.
FILIGREE WOODWORK used by top headsets to your order for a total savings
quality hi-fi manufacturers available for OLD RADIO PROGRAMS on tape. Gang- of up to 50%. INFORMATION WILL BE
handi-crafters. Send $0.50 for sample and busters, Jack Armstrong, Whistler, etc. ENCLOSED. KIMBERLEY ELECTRONIC
literature. Empire, Box 937, Pacific Pali- Sample: 2 hr. $6.00, 4 hr. $9.00. Hundreds ASSOCIATES, 101 Oak Street, San Fran-
sades, Calif. 90272. more in Hobby Magazine ($1.25 or free cisco, Calif. 94102.
with tape order). NOSTALGIA, Dept. A,
HARPSICHORD: Same as owned by Phila- 9875 S.W. 212 St., Miami, Fla.
WANTED: Stereo Disc Cutter. 3C Westrex
delphia Orchestra and RCA Victor. In kit or better. Peter J. Helffrich, RD No. 2,
form for home workshop assembly, $150. Allentown, Pa. 18103.
Clavichord kit, $100. Free brochure. Write:
CASH FOR YOUR unwanted LP's and pre-
Zuckermann Harpsichords, Dept. R., 115
INSTRUCTION recorded tapes. Record House, Hillburn,
Christopher St., New York, N.Y. 10014.
New York 10931.
SOLID-STATE audio plug-in octal (1" dia. EARN YOUR Degree in Electronics Engi-
x 2" H) modules. Mic preamps, disc & neering through combination correspond-
SITUATION WANTED
tape preamp-equalizers, tape bias osc. & ence -classroom educational program. Free
record amp., power amps & power sup- catalog. Grantham Electronics Engineering AUDIO SPECIALIST MANUFACTURERS
plies. Send for free catalog and audio Institute, 1505 N. Western, Hollywood, REPRESENTATIVE seeks new lines for Ari-
applications. Opamp Labs, 172 S. Alta California 90027. zona. California representatives wanting
Vista Blvd., Los Angeles, Calif. 90036. affiliate sales office invited. Box AN9-1.
LEARN Electronic Organ Servicing at
OLDIES -45 RPM. Original hits. Over 4000 home. All makes including transistors. Ex- WOULD LIKE TO WORK as a record dis-
available. Catalog 25g. C & S Record Sales, perimental kit-trouble-shooting. Accred- tributor assistant. Call (215) KI 6-0220.
Box 197, Wampsville, N. Y. 13163. ited NHSC. Free Booklet. Niles Bryant
School, 3631 Stockton, Dept. 1D, Sacra- HELP WANTED
KENWOOD amplifiers and speakers-dis- mento, Calif. 95820.
count prices-free catalog and quotations. SERIOUS RECORDISTS to make records
Playboy Shop, Box 221, Agana, Guam. WALL SYSTEM-Cabinet Builders-New manufactured by RCA custom records. We
techniques described in booklet, "Cabinet train, equip and provide protected fran-
CATALOGS Broadcasts, Soundtracks, Per- Panel Cutting with Portable Saw." Send chised territories. Modest investment re-
sonalities of Thirties, Forties. Box 225, 600 (Stamps accepted) Independence Spe - quired. Send resume to Mr. Bloch, 418 N.
New York, N.Y. 10028. cialties, Box 2988, Phila., Pa. 19126. Main St., Englewood, Ohio 45322.
I- 1
CLASSIFIED ORDER CARD COPY FOR YOUR AD
L J
AUDIO NOVEMBER 1969 101
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Ampex Corporation 33 Clark, David 95
Classified 100
Astrocom/Marlux 21
Concord Electronics Corp. 27
Audio Dynamics Corp. 83
17 Dolby Laboratories 5
BSR (U.S.A.) Ltd.
Index Benjamin Electronic Sound Corp. 47 Dynaco, Inc. 37
uniCLUB
saves you more
Gauss Electrophysics
Harman-Kardon
Hi -Fidelity Center
77-78
67
94
RECORDS TAPES STEREO GEAR BOOKS LWE, Div. of Acoustron Corp. ....50-51
Lafayette Radio 95
Living Tapes Magazine 98
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AUDIO
the authoritative magazine about ugh fidelity
The ultmate test of a stereo cartridge isn't tae The acoustical characteristics that d_stinguish one hall
sound of the music. from another, or any hall from your listening room., represent the
It's thesound of the hall. subtlest frequency and phase cotmuonents of :he recorded waveform.
Many cf today's smoother, better -tracking cartridges can They end up as extremely fine cndu:azions Df the record gr. ove,
reproduce instrumental and vocal timbres with conside-ab:e even Ener than the higher harmonics 3f most instruments.
naturalism. But something is often missing. That nice, indistorzd When a cartridge reproduces these undulations with the ctrrcst
sound seems to be coming from the speakers, or from nowhere .n precision, you can hear the specific acpustics of the Markgräfliches
particular, ra:her than from the concert hall or cpera stage. Opernhaus in Bayreuth, or of ar.y oth.r hall. If it doesn't, you can':.
It's easy to blame the recording, but often it's the cartridge The Stanton does.
"The tracking was excellent and distinctly better in this respect than any other cartridge we have tested ...
The frequency response of the Stanton 681EE was the flattest of the cartridges tested, within ±1 dB over most of the audio range."
Hirsch -Houck Laboratories, HiFi/Stereo Review, July, 1968.
The specifications. Frequency response, from 10 Hz to 10kHz, ±'/t dB. From 10kHz to 20kHz, individually calibrated. Nominal output, 0.7mV/cm/sec. Nominal channel
separation, 35dB. Load resistance, 47K ohms. Cable capacitance, 275 pF_ DC resistance, 1K ohms. Inductance, 500mH. Stylus tip, .0002" x .0009" elliptical. Tracking force, 8/4 to L'/r gm.
Cartridge weight, 5.5 gm. Brush weight (self-supporting), 1 gm. "Each Stanton 681 is tested and measured against the laboratory standard for frequency response, channel separation,
output, etc. The results are written by hand on the specifications enclo..ed with every cartridge. The 681EE, with elliptical stylus and the "Longhair" brush that cleans
record grooves before they reach the stylus, costs $60. The 681T, identical but with interchangeable elliptical and conical styli both included, costs $75.
For free literature, write to Stanton Magnetics, Inc., Painview, L.I., N.Y. 11803.
Check No. 103 on Reader Service Card
SPANISH/Oak s. ''f ' ` CONTEMPORARY/Pecan
TRADITIONAL /Cherry
Unretouched photographs
and the unvarnished truth about
the new ARIES Console Speaker System.
The Aries 21/2" cone/dome tweeter is
particularly unique. For instance, to ob-
1,1111,1
tain ultimate response, damping com-
pound is metered onto the cone within
a tolerance of ±0.001 oz. And control
,
of cone/dome materials insures a radia-
Y. -r., w-. tion area that varies predictably with
......
frequency to insure uniform dispersion
TONE BURST
TONE BURST TONE BURST
Il
at all frequencies.
0 db Even the crossover network is unusual.
-5db
/*- Four inductors (iron -core type for the
woofer to avoid losses), three capacitors
(with a Mylar type for the tweeter to
10 db N W vi maintain response beyond the high fre-
O
yy
O 0pp ÓÓÓ00 O
O
O HAT; 7C
w
X
Ñ S g Sc quency limitations of electrolytic types),
FREQUENCY IN HERTZ
and a 5 -position rotary ceramic switch
offers precise control with up to 10 db
attenuation at 10 kHz.
But Aries is more than a distinguished
If you are as serious about musical half -roll surround, and rigid deep-cone music reproducer. It is also handsome
of: reproduction as we are, the follow- geometry. It's a combination that insures furniture in its own right. Tasteful design
ing discussion may help you in choosing 3/4" linear cone movement, precise tran- and robust construction set Aries apart
your next speaker system. And the actual sient response, and high power handling from the anonymous styles of the past.
response curves and tone burst tests may capacity without frequency doubling. In every detail from the hidden 2' x 4"
prove most revealing when compared with The mid -range was designed with equal bracing to the authentic hardware and
other speaker systems currently available. care. A specially treated 6" cone speaker richly finished hardwood veneers, Aries
is mounted in its own sealed inner en-
can be an attractive addition to your
Aries is an uncommon speaker system.
home ... a delight to ear and eye.
Larger than the ubiquitous bookshelf closure. Speaker resonance is well below
speakers for a very sound reason greater : the crossover point to insure peak -free See and hear the new Aries at your
internal volume permits a worthwhile ex- response and clean transients in this sen- E -V dealer's soon. Look ... touch ... and
tension of bass with lower distortion and sitive part of the spectrum. Oscilloscope above all, listen. It can be an eye-opening
higher efficiency. Effective use of this vol- testing of every unit is routine so that experience. $275.00.
ume comes from a 12" woofer with 91/2 laboratory standards are maintained in ELECTRO -VOICE, INC., Dept. 1194A
pound magnet structure, new sealed -foam production. 602 Cecil Street, Buchanan, Michigan 49107
For name of nearest dealer, call TOLL -FREE: (800) 243-0355 /ll o
ANY HOUR, ANY DAY. In Connecticut call collect: 853-3600 V
A SUBSIDIARY OF GULTON INDUSTRIES, INC.
Check No. 104 on Reader Service Card